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Speaker 1: Today I was she Giinsburg. Thanks for listening. This is

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Speaker 1: better than yesterday. Useful tools and useful conversations to help

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Speaker 1: make you all day today better than yesterday.

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Speaker 2: Every episode since twenty thirteen. Thank you so much for

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Speaker 2: being here.

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Speaker 1: Big thank you to the people who grabbed their free

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Speaker 1: audio book. The book is titled things Were a Lot

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Speaker 1: Worse Yesterday. I sent out heaps this week. If you

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Speaker 1: want an audiobook, it's easy peasy. There's a link in

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Speaker 1: the show notes.

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Speaker 2: Click it. There's a free book for you. I want

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Speaker 2: you to have it. It's great. And I say that

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Speaker 2: as someone who's very proud of the work. I think

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Speaker 2: it's really good. I have a question for you now.

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Speaker 1: You can either respond to this question with, oh, that

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Speaker 1: was my favorite, or I was that one, the heart throb, the.

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Speaker 2: Shy one, the kind of older brother one.

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Speaker 1: The bad boy with the facial hair which required a

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Speaker 1: set square to get right, the one who had the

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Speaker 1: gaps in the eyebrows, the young, cute one that would

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Speaker 1: grow into.

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Speaker 2: Sexuality over time. I'm not going tot you, Timberlake.

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Speaker 1: Yeah, I'm talking about boy bands. In recent years, what

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Speaker 1: South Korean culture has done with the Western pop concept

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Speaker 1: of the boy band is just astronomical. It's given this

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Speaker 1: sonor an entirely new lease on life, because make no mistake,

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Speaker 1: it's incredibly difficult to put together a boy band, let

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Speaker 1: alone have one that's going to hit after hit. So

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Speaker 1: with that in your mind right now, you now you

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Speaker 1: know exactly what I'm talking about, because it is through

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Speaker 1: that lens that my guest today is having one of

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Speaker 1: the most interesting, most forward thinking conversations about masculinity that

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Speaker 1: I have ever witnessed, while at the same time being

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Speaker 1: pants whittingly hilarious. My guest today is the extremely talented comedian,

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Speaker 1: writer performer Bridy Kinnel. She and I first work together

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Speaker 1: on a largely improvised satirical news show that I put

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Speaker 1: together for Comedy Festival a couple of years back, and

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Speaker 1: while working with her, it was pretty evident that she

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Speaker 1: is the embodiment of a super oversized talent. Bridy has

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Speaker 1: not only written a brilliant, hilarious my She's written the

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Speaker 1: music and the songs for this brilliant hilarious musical, which

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Speaker 1: is based on the final tour of a fictional boy band.

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Speaker 1: So yeah, writing those songs is really hard. She's written

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Speaker 1: enough for an entire musical.

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Speaker 2: She's incredible.

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Speaker 1: The title of the show, Look, it's pretty out there,

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Speaker 1: so you've got kids listening now you turn this down.

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Speaker 2: Pause, do not listen beyond this part.

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Speaker 1: The name of the show it's spelled was two c's

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Speaker 1: fuck Boys Live in const.

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Speaker 2: That you hero pronounced the double.

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Speaker 1: Scene like buck I think, as in the things in

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Speaker 1: your face. Fuck Boys has just wrapped up a critically

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Speaker 1: acclaimed run at the Adelaide French and it's playing right

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Speaker 1: now at the Melbourne Comedy Festival until the end of

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Speaker 1: this week.

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Speaker 2: Do not walk, run with your fingers, open.

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Speaker 1: Your phone, get in the show notes. There is a

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Speaker 1: link to the tickets right there. Do everything it can

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Speaker 1: to get a ticket. Audy and I went and saw

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Speaker 1: this show when it was in Sydney on an earlier run.

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Speaker 1: We snort, laughed and sang along from the moment the

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Speaker 1: house lights went down to the standing ovation at the end.

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Speaker 1: It is absolutely sheer brilliance and the entire show long,

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Speaker 1: Bridy is delivering a very very strong message about the

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Speaker 1: very real experiences with men that inspired this show. It

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Speaker 1: is fantastic because that is why comedy is so powerful.

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Speaker 1: Comedy can often say things that a serious conversation cannot,

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Speaker 1: especially if you're singing it. So if you haven't already

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Speaker 1: bought tickets to the show right now, I can't tell

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Speaker 1: I can't help you see the show before it goes global.

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Speaker 1: I'm immensely proud and so grateful that you can hear

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Speaker 1: this conversation with the genius and wonderful Bridy Connell. We've

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Speaker 1: got a lot to talk about today, but I think

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Speaker 1: what might be a really great place to start this

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Speaker 1: conversation is preparing people for the name of a band.

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Speaker 1: We're probably going to say about three hundred times. Yes,

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Speaker 1: you've written a new musical about a boy band. It's

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Speaker 1: a musical about a boy band that has an entire

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Speaker 1: female cast. Yes, so all of the cast in drag

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Speaker 1: m What band names didn't make the list? Let's start there.

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Speaker 1: Let's start with band names. It didn't make the list.

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Speaker 3: Look, I would love to tell you the band names

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Speaker 3: that didn't make the list, But the name came first

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Speaker 3: and the boy band came second.

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Speaker 2: I knew, which is a first for boy bands.

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Speaker 3: Which is first for boy bands. So can we reveal

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Speaker 3: the title? It is rude. If you have little people

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Speaker 3: around block, there is the show, and the name of

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Speaker 3: the band in the show is fuck Boys Live in concept.

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Speaker 3: But I had the idea that I wanted to write

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Speaker 3: something about fuck boys because I was dealing with a

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Speaker 3: few of them at the time, many moons ago, so

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Speaker 3: that came first, and then later down the line, I

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Speaker 3: decided that the container would be a boy band concept,

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Speaker 3: so fuck boys, And at first I thought it's fuck

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Speaker 3: Boys and Musical, or it's fuck Boys Part one. I

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Speaker 3: thought it was a catchy title that probably wouldn't be

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Speaker 3: allowed to be put on any poster in that.

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Speaker 2: Technically we're not swearing because it's in the spelling.

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Speaker 1: It's two C it like buckle or what's another double sea?

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Speaker 3: Hum?

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Speaker 1: Oh gosh, I can't think there's a there's another double

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Speaker 1: sea word that should be okay, English is so ship

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Speaker 1: When you're trying to explain to a six year old

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Speaker 1: why is that a C but an S sound?

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Speaker 2: I don't know. English is so dumb.

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Speaker 3: My goddaughter asked me what what means? What does what mean?

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Speaker 2: That is? That is then entire Sam Harris meditation right there,

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Speaker 2: Just if you can be with what is? What is what?

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Speaker 2: And when you find what is? Where are you?

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Speaker 3: Wow? I'm healed.

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Speaker 2: I listened to a.

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Speaker 1: Lot of the meditation app that is so yeah. So

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Speaker 1: the name of the band is Fuck Boys, So don't worry.

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Speaker 1: We'll say this word so many times it'll stop making sense.

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Speaker 2: Uh. It's a staggering, staggering piece of work, Audrey.

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Speaker 1: And I saw the first production of it that you

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Speaker 1: did in Sydney at this amazing little theater in Darlinghurst.

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Speaker 1: It was unbelievably good, and it was so wonderful because

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Speaker 1: it played upon what I loved about it is it

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Speaker 1: was as someone I have a son who's six, I

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Speaker 1: have a stepdaughter who's nearly twenty two. I am myself

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Speaker 1: a human male person. I know what it is to

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Speaker 1: be a teenage boy, to be a man in his twenties.

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Speaker 1: I see the kind of teenage boys and the men

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Speaker 1: that Georgia interacts with, and I see the kind of.

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Speaker 2: Kid that Wolf is.

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Speaker 1: The perilous threat of men in our community is giant,

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Speaker 1: and yet somehow, one of the best commentaries I've ever

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Speaker 1: seen about it was through the lens of a musical

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Speaker 1: called Fuck Boys, about a boy band's last ever tour.

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Speaker 2: Well than it was.

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Speaker 4: Amazing, I really appreciate that I really believe that satire

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Speaker 4: and laughter is one of the best ways, if not

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Speaker 4: the best way, in my opinion, to make a point.

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Speaker 3: Because you're so right, there's a lot of parallel. Well

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Speaker 3: it's an overused phrase, but it's a real thing. Toxic

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Speaker 3: masculinity is everything.

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Speaker 1: It's called unhealthy, healthy masculinity and unhealthy, absolutely very unhealthy,

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Speaker 1: because toxic means you're never going to be remediated, like

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Speaker 1: we can't ever build there unhealthy, we can get healthy.

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Speaker 3: Yes, there's hope.

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Speaker 2: This hope has to be right. People off though, bro, No,

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Speaker 2: of course you can't.

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Speaker 3: But there are so many examples of unhealthy masculinity and

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Speaker 3: unhealthy dating practices, and I wanted to say something about it,

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Speaker 3: but I have never been the sort of writer that

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Speaker 3: wants to beat someone over the head with the message

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Speaker 3: that this is a bad thing. I like to sort

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Speaker 3: of sneak in the vegetables and do it through laughters.

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Speaker 1: The first time I ever went to the comedy first

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Speaker 1: of the Melbourne nineteen ninety six, I went to that

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Speaker 1: show like I could hear all around us in the

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Speaker 1: town hall, just the walls on either side of our

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Speaker 1: room caving in with explosive laughter and there's one lady

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Speaker 1: on stage sitting on a swing in a like in

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Speaker 1: a grown up's version of a kid's skirt, doing a

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Speaker 1: monologue about how you know, her life as a woman

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Speaker 1: in the dating scene was terrible. And while that was

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Speaker 1: very valid, not the fund not probably a comedy first

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Speaker 1: of all show.

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Speaker 2: No, I was disappointed.

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Speaker 3: Yeah, you've got to find the ways to package these

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Speaker 3: things because if people and we found this doing the

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Speaker 3: news show, if people laugh at a thing that otherwise

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Speaker 3: have always had a very strong automatic opinion about, suddenly

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Speaker 3: they find themselves laughing at an opposite of that.

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Speaker 1: It goes around the bias that they've had. Suddenly they

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Speaker 1: reconsider something.

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Speaker 3: Yeah, and the thing is as well with the show. Yes,

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Speaker 3: it's a critique of some you know, terrible practices in

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Speaker 3: the dating wilderness that I've seen, but it's also quite affectionate.

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Speaker 3: It's not right en off anybody. It is, you know,

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Speaker 3: important that we can laugh in Pokemon and people and

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Speaker 3: as you say, have a little tiny kernel of hope

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Speaker 3: that maybe things will change. But to your point, I

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Speaker 3: remember a really early example of being given a serious

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Speaker 3: message in a funny way, and it stuck with me.

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Speaker 3: I think it was about ten or eleven, and all

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Speaker 3: of the kids at my school or in like two

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Speaker 3: of the years, we were pulled into a meeting with

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Speaker 3: our MAT's teacher and he had a serious chat with

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Speaker 3: us because there was too much name calling going on

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Speaker 3: on the playground, which is a very serious thing and

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Speaker 3: it's very important to talk to kids about this and

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Speaker 3: being kind and not bullying each other. But he said,

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Speaker 3: I'm really disappointed that you're calling each other names, but

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Speaker 3: I'm especially disappointed at how much swearing and how many

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Speaker 3: unimaginative names you're calling each other. So if you're going

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Speaker 3: to call people names on my playground, let's raise the bar.

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Speaker 3: Let's do it in a creative way. And he went

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Speaker 3: through a list of Shakespearean insults and insults from pop

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Speaker 3: culture and great movie insults, and he said, if I

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Speaker 3: hear you insulting someone, it had better be a ten

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Speaker 3: out of ten insult, otherwise you're in trouble. And it

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Speaker 3: got us so relaxed in such a good mood laughing

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Speaker 3: about it that I think it really did sort of

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Speaker 3: make an impact. It's not that he cured bullying with

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Speaker 3: one pep talk, but it gave us a message in

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Speaker 3: a really different way than ten year olds are used

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Speaker 3: to hearing it, And that's always stuck with me, that

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Speaker 3: there's other ways to critique something.

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Speaker 2: Dick head is really unimaginate.

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Speaker 3: Yeah, I never used to swear at all. I was

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Speaker 3: such a good kid, And so now to think that

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Speaker 3: I've written a show called fuck boys, I think my

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Speaker 3: ten year old self would be quite alarmed.

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Speaker 1: So I do want to get to the show, but

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Speaker 1: I think it's useful to point a picture of her.

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Speaker 1: How did you get to be the person that wrote this? Yes, incredible,

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Speaker 1: shall we say, observance of masculinity and femininity and how

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Speaker 1: the intersect and our community, but.

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Speaker 2: Also a true, true.

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Speaker 1: Love letter, a love letter to boy bands and the

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Speaker 1: culture of boy bants. When you were getting talked to

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Speaker 1: about more creative squeares in the playground, please, that was

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Speaker 1: not in Australia.

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Speaker 2: It was in news.

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Speaker 3: That was a new Yes.

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Speaker 1: Yes, When you were young though, you were writing screenplays

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Speaker 1: and you were winning competitions and stuff, when did you realize, like, oh,

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Speaker 1: not everyone's writing screenplays. When did you realize that you

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Speaker 1: were maybe a little bit different from other kids.

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Speaker 3: I have always loved pottering away with a pen and paper,

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Speaker 3: writing and drawing and just creating things, and I've always

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Speaker 3: loved performing. I remember when I was in about years

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Speaker 3: three or year four, we all had to do a speech.

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Speaker 3: We had to talk about an activity or a hobby

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Speaker 3: that we had, and I'd worked on it at home.

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Speaker 3: I had a little idea. My mum helped him make

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Speaker 3: some props. I got there and just did what I

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Speaker 3: thought was the brief, and I had created this costume

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Speaker 3: of this cave. I loved to cook and bake, and

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Speaker 3: so I'd created this little chef costume with a little hat.

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Speaker 3: And I'd made an oven out of a cardboard box

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Speaker 3: and covered it in foil, and my mom had helped

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Speaker 3: me make it, and I adopted this terrible French accent,

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Speaker 3: and I was Pier the French chef, and I was

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Speaker 3: cooking chocolate muffins, and I put real flowers in the

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Speaker 3: bowl instead of flour, and the chocolate chips were rocks,

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Speaker 3: and all of these things, because I thought, oh, I

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Speaker 3: can do a funny thing about cooking, which I love.

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Speaker 3: But why wouldn't I do it? Is Pierre the French chef?

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Speaker 3: Like that just seemed obvious to me, and everybody else

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Speaker 3: did not do a character peer the French chef. They

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Speaker 3: just said hello, I'm Jessica and I like to skip

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Speaker 3: and that was great. But I had so much fun

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Speaker 3: creating this character. And I had so much fun. As

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Speaker 3: soon as I got that first little delicious laugh from

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Speaker 3: my fellow year three is, I thought, oh, this is

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Speaker 3: really cool. I like making people laugh. And so it

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Speaker 3: wasn't a conscious decision that I was setting out to

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Speaker 3: create a comedy performance. It just felt really natural in

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Speaker 3: my eight year old brain that that's how I would

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Speaker 3: answer this assignment. And I think since then, I just

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Speaker 3: kept I kept always finding I wasn't like the class clown,

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Speaker 3: but I was always trying to find ways to bring

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Speaker 3: in humor to whatever I was being asked to do.

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Speaker 3: Probably did annoy a lot of teachers when I was

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Speaker 3: meant to be writing much more formal essays than I

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Speaker 3: ended up handing it.

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Speaker 2: So two things.

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Speaker 1: I've just started doing volunteer teaching at my son's school,

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Speaker 1: teaching ethics in the time when other kids go into

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Speaker 1: scripture or whatever.

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Speaker 2: There's a a.

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Speaker 1: Not for profit in New South Wales that teaches ethics

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Speaker 1: to primary school kids and some high school were in

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Speaker 1: primary school right now, and I can tell you that, yeah,

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Speaker 1: there's you know, some kids might be a little disruptive,

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Speaker 1: but if they're creatively destructive and like, that's a good one.

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Speaker 2: But it's also I need you to sit down, like

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Speaker 2: I am.

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Speaker 3: Impressed and everything needs to be a bit.

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Speaker 1: I am impressed and not now. Secondly, I would I

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Speaker 1: can absolutely relate. I was eight years old. I was

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Speaker 1: in grade three as well, when I was still on stage,

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Speaker 1: and I've got their first laugh and in all going well,

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Speaker 1: in nine days from now, it will be sixteen years sober,

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Speaker 1: and I can tell you on full reflection that laugh

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Speaker 1: was the first high I ever got. And I chased that. Yeah,

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Speaker 1: I chased that. I tried to find other things that

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Speaker 1: would make it. They kind of felt a little bit

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Speaker 1: the simular, but they had terrible consequences. But there's truly

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Speaker 1: no high that I feel inside my body that I

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Speaker 1: get when I do that. And I don't know if

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Speaker 1: it's exactly a selfish thing, because yes, I feel great

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Speaker 1: doing it, but I can tell by the reaction the

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Speaker 1: other person's happened if I've done it really well, they

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Speaker 1: feel something.

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Speaker 3: Similar totally, And at the risk of sounding really earnest

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Speaker 3: and corny, I do think it's so special about being

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Speaker 3: able to make people laugh and to share laughter and

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Speaker 3: to spread a bit of joy is a really wonderful thing.

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Speaker 3: Like I feel very clear that my purpose sounds like

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Speaker 3: a lofty word, but I feel really clear that what

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Speaker 3: I'm here to do is to spread laughter through my creativity.

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Speaker 3: And it makes me feel really happy that even when

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Speaker 3: i'm you know, it might be the cleverest joke that

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Speaker 3: I could possibly make, or the worst pun, but making

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Speaker 3: somebody laugh really makes me feel happy. And you can

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Speaker 3: share that with someone who's so special.

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Speaker 2: Finding that is a great thing.

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Speaker 1: Telling your parents, hey, I'm going to spread laughter through

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Speaker 1: my creativity doesn't generally boy, you know, adults with confidence

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Speaker 1: that you'll be able to afford Carrie payments and ran sure,

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Speaker 1: like how did your folks? How did they take it

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Speaker 1: when you were like, no, I'm not going to go,

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Speaker 1: you know, go and go down that route and you

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Speaker 1: sit in a cubicle.

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Speaker 3: I'm very very lucky because they're both incredibly supportive people,

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Speaker 3: and as long as I really am giving something a

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Speaker 3: red hot go, then they'll be like, cool, you're taking

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Speaker 3: it seriously and giving them go. So we support that,

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Speaker 3: which I feel very privileged at because a lot of

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Speaker 3: my creative friends don't come from that same position. I'm

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Speaker 3: very lucky because on the one hand, on Mom's side

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Speaker 3: of the family, Mum was an actor for years before

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Speaker 3: she became a teacher. My grandma was a drama teacher,

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Speaker 3: so there's lots of that creative thread running through. And

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Speaker 3: then Dad, he's very business minded, very strategic, So I

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Speaker 3: feel like I definitely got the show from mom and

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Speaker 3: the business from Dad, so together they've been really good

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Speaker 3: sort of Dad, especially in like building my career, like

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Speaker 3: those sort of mentors.

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Speaker 2: You've got a show from mom and biz from Dad. Yes,

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Speaker 2: that is very.

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Speaker 3: Fortunate, very fortunate, And moments where there have been very

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Speaker 3: quiet patches, I've been lucky that I can, you know,

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Speaker 3: talk to Dad and make a little action plan and

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Speaker 3: give myself some KPIs to get back on track. And

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Speaker 3: it's also the reason that I started writing in the

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Speaker 3: first place. I love performing, it's probably my first love,

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Speaker 3: my biggest passion. But I learned very quickly that's been

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Speaker 3: around waiting for the phone ring and be offered a

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Speaker 3: big part. It could be a while to get that

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Speaker 3: phone call, So that's why I started writing. Work, and

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Speaker 3: so I think having the ability to do both has

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Speaker 3: kept me busy and kept me focused. But from my dad,

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Speaker 3: I really do treat this whole career as a nine

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Speaker 3: to five unless I'm actually gigging. When I'm writing a

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Speaker 3: show or rehearsing a show, it's nine to five, and

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Speaker 3: then I put it away don't look at it again

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Speaker 3: for the rest of the day. Just I really try

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Speaker 3: to keep it as my job, and I love it

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Speaker 3: and it's a job I'm grateful for. But I don't

348
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Speaker 3: want to to take over my whole life, because I

349
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Speaker 3: have had periods of that and it's not a healthy

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Speaker 3: balance for me.

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Speaker 1: What would you say to people about create The benefit

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Speaker 1: of creating the thing you want to do, whether or

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Speaker 1: not it leads to you actually getting paid.

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Speaker 2: For doing that thing.

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Speaker 3: There are so many benefits to creating your own work,

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Speaker 3: whether or not it leads to paid work. I think

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Speaker 3: you're always honing your craft, which means you're always getting

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Speaker 3: runs on the board. Whether there's two people in the

359
00:17:30,560 --> 00:17:33,600
Speaker 3: audience or two thousand, you have still done something that's

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Speaker 3: contributed to your growth even now. In the current script

361
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Speaker 3: of Fuck Boys, there is a line in the show

362
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Speaker 3: which is a line from my first ever solo show,

363
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Speaker 3: which I did Adelaide Fringe over a decade ago. And

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Speaker 3: it's not like I thought that was going to lead

365
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Speaker 3: to anything. But doing that show and learning from it

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Speaker 3: and growing, and then doing the next Holo show and

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Speaker 3: tanking and then learning and then having a great night

368
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Speaker 3: and then tanking again. All of those runs on the

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Speaker 3: board have led me to a place now where I'm

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Speaker 3: really lucky that this is my career. But were it

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Speaker 3: not for those risks, were it not for those moments

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Speaker 3: where I tried and failed and kept going and made

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Speaker 3: terrible short films and really questionable sketches, I wouldn't be

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Speaker 3: able to confidently create the work that I do today.

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Speaker 3: So I think it's a frustrating thing sometimes when you

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Speaker 3: can't quite see where it's leading, But you have to

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Speaker 3: trust that you have to keep going because if you

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Speaker 3: want to get to that place, the only way to

379
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Speaker 3: get there is to do this work. Every time you

380
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Speaker 3: do it, you're getting better. It's I don't believe I'm

381
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Speaker 3: not one of those writers who will sit around and

382
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Speaker 3: wait for inspiration to strike. That's why I said before,

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Speaker 3: you know, I really do try to treat this as

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Speaker 3: a nine to five sit down and write, whether I

385
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Speaker 3: feel inspired to or not. And it took me a

386
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Speaker 3: while to get to that place because I definitely used

387
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Speaker 3: to be like, I'll just wait for a great idea

388
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Speaker 3: and then I'll go from there. But I think now

389
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Speaker 3: because I can be quite disciplined and just go so great,

390
00:19:00,359 --> 00:19:02,919
Speaker 3: it's time to start writing. The first hour might be

391
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Speaker 3: absolute garbage flowing out of my pen, but I know

392
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Speaker 3: that if I keep going, something will emerge, and I

393
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Speaker 3: trust that I can find the something. But if you

394
00:19:11,560 --> 00:19:13,480
Speaker 3: don't do that work, you will never find the something.

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Speaker 1: The nine to five part is important as well because

396
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Speaker 1: and this happened to me when I worked in breakfast radio.

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Speaker 2: Tony Ordrew's is his name at eleven? What do we

398
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Speaker 2: get off here? We've got off her at nine at

399
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Speaker 2: eleven oh one.

400
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Speaker 1: If as a breakfast team, we're still sitting in the

401
00:19:31,320 --> 00:19:33,960
Speaker 1: office getting talked to about some client thing or whatever.

402
00:19:34,200 --> 00:19:35,960
Speaker 1: He'd say, You guys can put the rest of this

403
00:19:36,040 --> 00:19:40,520
Speaker 1: in an email. You you go home now, and you

404
00:19:40,520 --> 00:19:43,000
Speaker 1: know the salespeople like, oh, it's like they need something

405
00:19:43,000 --> 00:19:47,160
Speaker 1: to talk about tomorrow, because otherwise, you know, what's their life?

406
00:19:47,240 --> 00:19:48,919
Speaker 1: Their life is sitting at a meeting with you in

407
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Speaker 1: this building, going home, sleeping in the afternoon, picking up

408
00:19:51,040 --> 00:19:54,320
Speaker 1: their kids, having some an hour with them before they

409
00:19:54,320 --> 00:19:55,600
Speaker 1: go back to sleep. Do you back here at four

410
00:19:55,600 --> 00:19:57,680
Speaker 1: in the morning, they've got nothing to talk about. Yes,

411
00:19:58,720 --> 00:20:01,600
Speaker 1: it's so important to when you sit down for that

412
00:20:01,640 --> 00:20:04,719
Speaker 1: first hour, that's your subconscious floating things up.

413
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Speaker 2: You've got to get out there and feed it.

414
00:20:07,800 --> 00:20:10,119
Speaker 1: You've got to go out there and put fuel in

415
00:20:10,119 --> 00:20:13,280
Speaker 1: the furnace and then just let it sit and compost

416
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Speaker 1: for a bit.

417
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Speaker 3: It's that beautiful metaphor that is used a lot amongst

418
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Speaker 3: creatives about you can't pull, you can't draw from the

419
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Speaker 3: well if you're not filling the well. So that's exactly that.

420
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Speaker 3: If you're not living your life and filling the well,

421
00:20:25,480 --> 00:20:28,760
Speaker 3: it's very hard to create anything. I think there's also

422
00:20:29,520 --> 00:20:33,440
Speaker 3: that very damaging stereotype of the tortured artist, which I've

423
00:20:33,440 --> 00:20:35,959
Speaker 3: never resonated with, where you can only write that amazing

424
00:20:36,000 --> 00:20:39,320
Speaker 3: breakup album when you're going through it and you're really heartbroken,

425
00:20:39,400 --> 00:20:43,679
Speaker 3: or if you're high, or if you're through a whiskey

426
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Speaker 3: or it's three am.

427
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Speaker 1: I just know it's terrible when you listen back to

428
00:20:48,160 --> 00:20:50,960
Speaker 1: that stuff, you're like, oh, it felt I thought we

429
00:20:51,000 --> 00:20:52,480
Speaker 1: thought that, we all thought that was the greatest song

430
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Speaker 1: we've ever made, and you just do it now.

431
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Speaker 3: But I believed it for a long time, and I

432
00:20:57,040 --> 00:21:00,920
Speaker 3: felt a bit of impositive syndrome because I'm just a cheerful,

433
00:21:01,359 --> 00:21:03,879
Speaker 3: little optimist who likes to go to bed at a

434
00:21:04,000 --> 00:21:07,800
Speaker 3: reasonable time. So I thought, therefore, I'm not a true artist.

435
00:21:08,240 --> 00:21:12,280
Speaker 1: So the idea of creativity and making people laugh is

436
00:21:12,320 --> 00:21:14,080
Speaker 1: something you're like, oh, this is good, this is good,

437
00:21:14,320 --> 00:21:17,159
Speaker 1: and I sitting down and writing. There's a delay between

438
00:21:17,200 --> 00:21:21,399
Speaker 1: there creativity and the laugh. When did you start becoming

439
00:21:21,440 --> 00:21:25,639
Speaker 1: aware of improvisational theater where the creativity and the laughter

440
00:21:25,760 --> 00:21:28,040
Speaker 1: happened at the same time, and often you're just as

441
00:21:28,119 --> 00:21:30,240
Speaker 1: surprised as the audience.

442
00:21:30,480 --> 00:21:33,840
Speaker 3: I sort of got into improv by mistake. As I

443
00:21:33,920 --> 00:21:37,120
Speaker 3: was growing up. I did any sort of performing arce

444
00:21:37,119 --> 00:21:41,320
Speaker 3: activity I could. I loved it all. And then it

445
00:21:41,359 --> 00:21:44,680
Speaker 3: was at school camp, I think in year seven or something,

446
00:21:44,680 --> 00:21:47,280
Speaker 3: where we all got divided up into groups and each

447
00:21:47,320 --> 00:21:49,840
Speaker 3: group had to do a little segment of the three

448
00:21:49,880 --> 00:21:52,720
Speaker 3: Little Pigs or something like that, and nobody wanted to

449
00:21:52,760 --> 00:21:56,760
Speaker 3: be the big bad wolf because obviously a dastardly villain,

450
00:21:56,760 --> 00:21:58,879
Speaker 3: and I thought, I'll be the dustedly villain. I get

451
00:21:58,880 --> 00:22:01,400
Speaker 3: all the best lines. And so I was the dastardly

452
00:22:01,400 --> 00:22:04,800
Speaker 3: big bad Wolf, and I was a very enthusiastic Year

453
00:22:04,840 --> 00:22:08,240
Speaker 3: seven actor. And so when I huffed and puffed and

454
00:22:08,280 --> 00:22:10,120
Speaker 3: blew the house down at the end and then came

455
00:22:10,160 --> 00:22:13,600
Speaker 3: down the chimney or whatever happens, I.

456
00:22:13,160 --> 00:22:14,760
Speaker 2: A confusing Big Bad Wolf with Santa Claus.

457
00:22:14,800 --> 00:22:19,880
Speaker 3: But sure I entered the Pig's house with such enthusiasm

458
00:22:19,920 --> 00:22:22,720
Speaker 3: and such force that I immediately broke the prop cauldron

459
00:22:22,760 --> 00:22:25,320
Speaker 3: that was supposed to be my downfall. And so the

460
00:22:25,359 --> 00:22:28,359
Speaker 3: cauldron spilled over, and I thought, oh what do I do?

461
00:22:28,480 --> 00:22:30,840
Speaker 3: Oh gosh, and everybody else on stage looked horrified because

462
00:22:30,880 --> 00:22:33,840
Speaker 3: the whole climax of this piece was ruined now because

463
00:22:33,880 --> 00:22:36,520
Speaker 3: the Big Bad Wolf was still alive. And so in

464
00:22:36,520 --> 00:22:39,119
Speaker 3: my head I just thought, okay, we'll justify it. This

465
00:22:39,200 --> 00:22:41,439
Speaker 3: is good news for the wolf. And so I went, ah, hooray,

466
00:22:42,440 --> 00:22:44,560
Speaker 3: you'll never catch me. And then I ran off the

467
00:22:44,600 --> 00:22:47,119
Speaker 3: stage because I thought, great, well, that's a great outcome

468
00:22:47,160 --> 00:22:49,000
Speaker 3: for the wolf, is that he didn't get killed. Happy

469
00:22:49,040 --> 00:22:52,560
Speaker 3: Days totally ruined the show. The rest of the year

470
00:22:52,600 --> 00:22:53,480
Speaker 3: sevens didn't know what to do.

471
00:22:53,440 --> 00:22:55,960
Speaker 2: Awful and the prop and the.

472
00:22:57,320 --> 00:23:00,280
Speaker 3: Well, the theater director came up to me afterwards. She

473
00:23:00,359 --> 00:23:02,280
Speaker 3: had this sort of like souity voice and she said,

474
00:23:02,720 --> 00:23:06,080
Speaker 3: h I saw your performance as the Wolf. You should

475
00:23:06,080 --> 00:23:09,000
Speaker 3: try improvisation. We meet on Tuesdays and then just left,

476
00:23:10,440 --> 00:23:12,840
Speaker 3: and so I remember that really vividly.

477
00:23:12,880 --> 00:23:13,159
Speaker 2: We met.

478
00:23:13,240 --> 00:23:15,720
Speaker 1: She were a cloak, like in my head, like she's

479
00:23:15,760 --> 00:23:17,800
Speaker 1: got a cloak on. It's like in the in the

480
00:23:17,840 --> 00:23:19,640
Speaker 1: Tower and the Traitors where they come up from.

481
00:23:21,040 --> 00:23:23,639
Speaker 3: One woman herself who said, we meet on Tuesdays. And

482
00:23:23,680 --> 00:23:26,880
Speaker 3: so I went the next Tuesday to this this improvisation club,

483
00:23:26,920 --> 00:23:29,280
Speaker 3: which is all the year eight girls, so obviously adults,

484
00:23:29,359 --> 00:23:31,879
Speaker 3: grown adults compared to me at year seven. And I

485
00:23:31,920 --> 00:23:34,440
Speaker 3: was terrified and I didn't do anything in that club

486
00:23:34,480 --> 00:23:36,479
Speaker 3: for months and months and months because I was too scared.

487
00:23:36,560 --> 00:23:38,000
Speaker 2: But but you watched.

488
00:23:38,280 --> 00:23:40,840
Speaker 3: I watched, and I learned, and I really enjoyed it

489
00:23:40,880 --> 00:23:43,160
Speaker 3: as an audience member, and eventually I got my confidence.

490
00:23:43,200 --> 00:23:45,679
Speaker 2: Well, the style of improvisation that are you doing in

491
00:23:45,680 --> 00:23:46,480
Speaker 2: New Zealand and.

492
00:23:46,760 --> 00:23:48,800
Speaker 3: That was all sort of theater sports in short for.

493
00:23:48,920 --> 00:23:50,080
Speaker 2: More kind of gaminess.

494
00:23:50,160 --> 00:23:53,440
Speaker 3: Yeah right, yeah, and then when I moved to Sydney,

495
00:23:55,040 --> 00:23:58,960
Speaker 3: I transferred and finished my degree over here. I joined the.

496
00:23:59,040 --> 00:24:00,760
Speaker 2: Oh so you did go to you and I did

497
00:24:00,800 --> 00:24:02,480
Speaker 2: go to what I just thought it well.

498
00:24:02,720 --> 00:24:04,679
Speaker 3: I tried very hard to get into drama school, and

499
00:24:04,680 --> 00:24:07,439
Speaker 3: I had about four auditions in a row where I

500
00:24:07,520 --> 00:24:10,520
Speaker 3: was first reserve on the wait list, so close and

501
00:24:10,640 --> 00:24:13,360
Speaker 3: yet so far, and so I thought, oh god, I'm

502
00:24:13,359 --> 00:24:14,639
Speaker 3: never going to be an actor because I didn't go

503
00:24:14,680 --> 00:24:16,600
Speaker 3: to drama school, and that's the only way you could

504
00:24:16,600 --> 00:24:17,080
Speaker 3: be an actor.

505
00:24:17,200 --> 00:24:19,160
Speaker 2: I did. I was just I was turned away left

506
00:24:19,200 --> 00:24:22,520
Speaker 2: and right. Yeah, that and music school like ok.

507
00:24:22,840 --> 00:24:25,000
Speaker 3: Yeah, And it's so hard because it is hard to understand.

508
00:24:25,080 --> 00:24:27,240
Speaker 3: It's a subjective thing anyway, you don't know exactly what

509
00:24:27,280 --> 00:24:30,040
Speaker 3: they're looking for. But also in my brain when I

510
00:24:30,080 --> 00:24:33,440
Speaker 3: was auditioning, I thought, okay, so if you want a job,

511
00:24:33,520 --> 00:24:35,320
Speaker 3: whatever job it is, you have to go and do

512
00:24:35,359 --> 00:24:37,000
Speaker 3: the course to get the job. And so to be

513
00:24:37,000 --> 00:24:39,159
Speaker 3: an actor, you must go and do this course. And

514
00:24:39,200 --> 00:24:40,960
Speaker 3: all of the actors that I admire have been to

515
00:24:41,000 --> 00:24:43,240
Speaker 3: all the big drama schools, and so when I didn't

516
00:24:43,240 --> 00:24:45,240
Speaker 3: get in, I was devastated and it took me a long

517
00:24:45,320 --> 00:24:49,440
Speaker 3: time to be okay with the fact that I didn't

518
00:24:49,480 --> 00:24:50,560
Speaker 3: get in or I nearly got in.

519
00:24:51,000 --> 00:24:54,600
Speaker 1: Universal messaging we did kid kids about university is so terrible,

520
00:24:54,680 --> 00:24:56,000
Speaker 1: like if you don't get the course, your.

521
00:24:55,920 --> 00:24:59,879
Speaker 2: Life is over. Truly, it's bullshit, bullshit, What course did you?

522
00:25:00,640 --> 00:25:02,840
Speaker 3: I ended up doing. I did an arts screet in

523
00:25:02,840 --> 00:25:05,480
Speaker 3: Spanish and French, which.

524
00:25:06,000 --> 00:25:08,240
Speaker 1: Degrees that are less useful than a drama one that's

525
00:25:08,280 --> 00:25:08,960
Speaker 1: got to be up there.

526
00:25:09,440 --> 00:25:13,919
Speaker 3: I can't say I use it very much, if at all,

527
00:25:14,040 --> 00:25:17,240
Speaker 3: but going to UNI, thank god I did, because when

528
00:25:17,240 --> 00:25:19,240
Speaker 3: I was there, I joined the improv club there, I

529
00:25:19,359 --> 00:25:22,480
Speaker 3: joined a sketch comedy group, I joined the theater group,

530
00:25:22,760 --> 00:25:24,280
Speaker 3: and all of the people that I met and Sydney

531
00:25:24,280 --> 00:25:27,240
Speaker 3: I'm still working with today. So many of my creative

532
00:25:27,560 --> 00:25:31,000
Speaker 3: collaborations come from that time. And that was really that

533
00:25:31,160 --> 00:25:33,160
Speaker 3: sort of became the boot camp for me as a writer.

534
00:25:33,440 --> 00:25:35,200
Speaker 2: Where was the which unie was it?

535
00:25:35,240 --> 00:25:35,840
Speaker 3: Sydney UNI?

536
00:25:36,080 --> 00:25:36,720
Speaker 2: Sidney YUNI?

537
00:25:36,800 --> 00:25:39,400
Speaker 3: So Michael Hang and Ben Jenkins and Steen, all those

538
00:25:39,440 --> 00:25:42,160
Speaker 3: people were the elders who were wise and passing down

539
00:25:42,200 --> 00:25:43,240
Speaker 3: their comedy knowledge.

540
00:25:43,320 --> 00:25:47,600
Speaker 1: So for folks who may not realize that Sidney Yuni

541
00:25:48,680 --> 00:25:55,080
Speaker 1: had a long tradition of lunchtime, theater sports and the

542
00:25:55,960 --> 00:26:01,280
Speaker 1: great Superstars. Andrew Danson was the like the headhun show

543
00:26:01,320 --> 00:26:04,199
Speaker 1: of that. Rob Carlton was in that, Adam Spencer was

544
00:26:04,240 --> 00:26:06,560
Speaker 1: in that, like all the great all the really great

545
00:26:06,600 --> 00:26:09,760
Speaker 1: Rebecca to like all the big great people who went

546
00:26:09,800 --> 00:26:14,200
Speaker 1: onto huge, huge, huge things. They did just hundreds, if

547
00:26:14,240 --> 00:26:18,600
Speaker 1: not thousands of hours of flight time being shit sometimes.

548
00:26:18,680 --> 00:26:20,479
Speaker 3: That was the thing. I couldn't believe it. I remember

549
00:26:20,640 --> 00:26:23,720
Speaker 3: coming to Sydney Union and going to the pub lunch time,

550
00:26:23,760 --> 00:26:25,920
Speaker 3: not knowing that the show was on. This is before

551
00:26:25,960 --> 00:26:29,639
Speaker 3: I before I joined this group, and I heard this

552
00:26:29,760 --> 00:26:32,320
Speaker 3: huge ruckers So I followed the noise and it was

553
00:26:32,600 --> 00:26:35,639
Speaker 3: Manning Bug going off on a Thursday lunchtime with people

554
00:26:35,640 --> 00:26:37,680
Speaker 3: doing improv and there were probably, you know, two or

555
00:26:37,720 --> 00:26:41,240
Speaker 3: three hundred people packed into the pub watching, and my

556
00:26:41,280 --> 00:26:44,399
Speaker 3: mind was just blown that they could have a regular

557
00:26:44,400 --> 00:26:46,639
Speaker 3: audience and exactly as you say, just runs on the

558
00:26:46,680 --> 00:26:52,280
Speaker 3: board every week, sometimes absolutely flying high, sometimes tanking really hard.

559
00:26:52,320 --> 00:26:54,159
Speaker 3: And then when I joined and I started getting those

560
00:26:54,240 --> 00:26:57,840
Speaker 3: runs on the board, that was a huge time of

561
00:26:57,880 --> 00:27:02,000
Speaker 3: creative growth for me because getting the experience, getting the

562
00:27:02,040 --> 00:27:04,679
Speaker 3: opportunities to just try and fail and try and fail

563
00:27:05,119 --> 00:27:07,600
Speaker 3: is something that we often don't have in a small industry,

564
00:27:07,680 --> 00:27:10,639
Speaker 3: whether it's not heaps of performance opportunities. So it was incredible.

565
00:27:11,680 --> 00:27:16,000
Speaker 3: It was with respect to my wonderful degree that was

566
00:27:16,040 --> 00:27:16,600
Speaker 3: my degree.

567
00:27:16,720 --> 00:27:17,320
Speaker 2: Yeah, truly.

568
00:27:18,200 --> 00:27:19,800
Speaker 1: Ed Cavalier I think was another one that was a

569
00:27:19,840 --> 00:27:21,840
Speaker 1: part of it. So when you see Ed Cavalion having

570
00:27:21,920 --> 00:27:24,919
Speaker 1: been paying attention and he's just so fast, show so sharp,

571
00:27:25,440 --> 00:27:30,400
Speaker 1: it's because for countless days, countless, like hundreds, hundreds, hundreds,

572
00:27:30,520 --> 00:27:31,879
Speaker 1: he was up there on stage in front of two

573
00:27:31,960 --> 00:27:34,000
Speaker 1: hundred people who are going, we want funny and now.

574
00:27:34,040 --> 00:27:36,040
Speaker 3: And not just two hundred people who want funny and now,

575
00:27:36,080 --> 00:27:40,160
Speaker 3: but two hundred often drunk, rowdy students who will very

576
00:27:40,240 --> 00:27:42,440
Speaker 3: much let you know if they're not finding things funny.

577
00:27:42,520 --> 00:27:44,720
Speaker 3: So learning to wrangle that and harness the energy of

578
00:27:44,720 --> 00:27:46,520
Speaker 3: a room was a huge lesson.

579
00:27:47,200 --> 00:27:49,359
Speaker 2: It's you mentioned having a small industry.

580
00:27:49,400 --> 00:27:51,880
Speaker 1: I guess in other countries you can you can get

581
00:27:51,920 --> 00:27:54,720
Speaker 1: flight time up and be shit and suffer in front

582
00:27:54,720 --> 00:27:57,560
Speaker 1: of audiences that you don't know. But when the industry

583
00:27:57,640 --> 00:27:59,480
Speaker 1: is small like it is in Australia, like, yeah, people

584
00:27:59,520 --> 00:28:03,920
Speaker 1: know you sucked, and that's good incentive. It's good insended

585
00:28:03,920 --> 00:28:06,600
Speaker 1: to be a little bit better. But it's funny because

586
00:28:06,600 --> 00:28:09,840
Speaker 1: Geez just finishing her degree right now and just how

587
00:28:09,880 --> 00:28:10,840
Speaker 1: different universe.

588
00:28:10,880 --> 00:28:12,680
Speaker 2: So you're what you're at Yearly ten years ago or so.

589
00:28:12,800 --> 00:28:16,200
Speaker 1: Yeah, so even in ten years since you're at Yearni University,

590
00:28:17,680 --> 00:28:20,399
Speaker 1: I dare say, like, the idea of two hundred people

591
00:28:21,040 --> 00:28:24,320
Speaker 1: on the piss on a Thursday lunchtime at her campus

592
00:28:24,600 --> 00:28:29,480
Speaker 1: is that doesn't exist. It's like not because she does

593
00:28:29,520 --> 00:28:32,919
Speaker 1: her lectures here, she sits on a laptop and we

594
00:28:32,960 --> 00:28:35,160
Speaker 1: were talking about it last night, speaking of men.

595
00:28:35,720 --> 00:28:36,159
Speaker 2: In that.

596
00:28:37,560 --> 00:28:39,840
Speaker 1: I was able to be kind of transitioned into the

597
00:28:39,840 --> 00:28:44,440
Speaker 1: world of as you know, number two of four boys

598
00:28:44,840 --> 00:28:47,640
Speaker 1: who went to an all boys school, transition to the

599
00:28:47,640 --> 00:28:50,240
Speaker 1: world of like, oh, maybe women aren't the thing that

600
00:28:50,920 --> 00:28:54,560
Speaker 1: I've learned they were from the lunchtime chats at school

601
00:28:54,640 --> 00:28:58,680
Speaker 1: and you know, among my toy cohort of males. Oh wow, okay,

602
00:28:59,040 --> 00:29:02,040
Speaker 1: this is It was a difficult transition for me, you know,

603
00:29:02,080 --> 00:29:04,440
Speaker 1: because I made some mistakes with that, but I learned

604
00:29:04,520 --> 00:29:06,880
Speaker 1: very quickly that oh this is okay. And so you

605
00:29:06,960 --> 00:29:10,720
Speaker 1: have that kind of enforced almost enforced socialization, Like there's

606
00:29:10,760 --> 00:29:12,880
Speaker 1: so many engineers who can't look people in the eye

607
00:29:12,880 --> 00:29:15,800
Speaker 1: when they show up on day one of UNI back

608
00:29:15,800 --> 00:29:17,960
Speaker 1: in the day, but because they have to actually go

609
00:29:18,000 --> 00:29:20,000
Speaker 1: to a place that's not in their house, be with

610
00:29:20,040 --> 00:29:22,360
Speaker 1: people either on public transport or in a lecture, and

611
00:29:22,400 --> 00:29:24,840
Speaker 1: actually bump up against These are guys who've probably never

612
00:29:24,880 --> 00:29:27,720
Speaker 1: spoken a woman's name to her face ever, right, But.

613
00:29:27,680 --> 00:29:29,160
Speaker 2: They're real good at maths.

614
00:29:29,760 --> 00:29:31,240
Speaker 1: By the end of three years, they at least know

615
00:29:31,240 --> 00:29:33,520
Speaker 1: how to have a conversation, and they at least know,

616
00:29:33,880 --> 00:29:36,760
Speaker 1: you know, kind of OSMO some socialization into their lives.

617
00:29:38,520 --> 00:29:40,520
Speaker 2: It's not just about the degree.

618
00:29:40,320 --> 00:29:45,360
Speaker 3: Absolutely not. You do so much growing socially and emotionally

619
00:29:45,480 --> 00:29:47,760
Speaker 3: through being there. I talked to my little cousin a

620
00:29:47,800 --> 00:29:52,239
Speaker 3: little while ago, who started UNI last year, and it

621
00:29:52,280 --> 00:29:56,160
Speaker 3: is interesting just comparing our experiences because, as you say,

622
00:29:56,160 --> 00:29:58,120
Speaker 3: so much of it now is online. She's really been

623
00:29:58,160 --> 00:30:01,040
Speaker 3: trying to throw herself in socially and it's you know,

624
00:30:01,040 --> 00:30:04,360
Speaker 3: it's been the making of her. But she's moved to

625
00:30:04,440 --> 00:30:08,120
Speaker 3: a different city, you know, she's she's really she's really

626
00:30:08,160 --> 00:30:10,360
Speaker 3: gone all in because I don't think she was interested

627
00:30:10,360 --> 00:30:14,000
Speaker 3: in that style of just being behind a screen the

628
00:30:14,200 --> 00:30:18,480
Speaker 3: entire time. And I think, you know, post COVID everything's changed.

629
00:30:18,520 --> 00:30:21,080
Speaker 3: The landscape has changed so much. In some ways it's

630
00:30:21,120 --> 00:30:23,840
Speaker 3: great because it's way more accessible for so many people. Yeah,

631
00:30:24,320 --> 00:30:27,400
Speaker 3: but we do miss that piece of It's not.

632
00:30:27,400 --> 00:30:30,560
Speaker 1: Just about the knowledge, like as far as helping our

633
00:30:30,560 --> 00:30:35,280
Speaker 1: community be more I dare say cohesive or more community.

634
00:30:35,560 --> 00:30:37,840
Speaker 1: It's just really important to bump up against other people.

635
00:30:37,880 --> 00:30:42,000
Speaker 1: And I think for me, comedy is vitally important for

636
00:30:42,120 --> 00:30:45,760
Speaker 1: that because when I did the Sydney Comedy for Civil

637
00:30:45,840 --> 00:30:49,560
Speaker 1: program launched the other night and there was a room

638
00:30:49,600 --> 00:30:52,400
Speaker 1: full of like business leader, business leader kind of people.

639
00:30:52,440 --> 00:30:54,040
Speaker 1: But in the same room with three hundred people. Is

640
00:30:54,040 --> 00:30:56,040
Speaker 1: that the Darling Quarter Theater at Darling Heart. It's amazing.

641
00:30:56,240 --> 00:30:58,240
Speaker 1: There's you know, people in overalls who live in a

642
00:30:58,240 --> 00:30:59,960
Speaker 1: sharehouse in five dog with eight other people.

643
00:31:00,520 --> 00:31:02,000
Speaker 2: They both laugh at the same thing.

644
00:31:02,120 --> 00:31:07,040
Speaker 1: Yes, And that is so so so powerful because we

645
00:31:07,080 --> 00:31:09,560
Speaker 1: are more alike them. We're not than we're told, Oh

646
00:31:09,640 --> 00:31:11,400
Speaker 1: my gosh, and we find the same shit funny.

647
00:31:11,520 --> 00:31:14,360
Speaker 3: We find the same stuff funny, and we have for

648
00:31:15,200 --> 00:31:18,440
Speaker 3: thousands of years. My brother's are historian and sometimes we

649
00:31:18,480 --> 00:31:22,720
Speaker 3: go deep into nerdland of sort of why we laugh

650
00:31:23,040 --> 00:31:26,680
Speaker 3: and what different cultures find funny throughout history. And I

651
00:31:26,840 --> 00:31:30,959
Speaker 3: find it weirdly comforting that you know, etched on the

652
00:31:31,000 --> 00:31:34,880
Speaker 3: walls of ruins around the world and embalmed in ashes

653
00:31:34,920 --> 00:31:37,920
Speaker 3: and Pompeii are dick jokes and your mum jokes and

654
00:31:37,960 --> 00:31:41,120
Speaker 3: things that might be extremely immature, yes, but have been

655
00:31:41,120 --> 00:31:43,400
Speaker 3: making our species laugh for thousands of years. I find

656
00:31:43,400 --> 00:31:47,120
Speaker 3: that weirdly comforting because we are all connected by laughing

657
00:31:47,160 --> 00:31:47,640
Speaker 3: at things.

658
00:31:48,160 --> 00:31:50,480
Speaker 1: We're back with more from Variety in a moment. Have

659
00:31:50,520 --> 00:31:52,360
Speaker 1: you got your tickets yet? Come on, man, There's a

660
00:31:52,400 --> 00:31:54,200
Speaker 1: link in the show notes, which is also where you

661
00:31:54,200 --> 00:31:57,440
Speaker 1: will find links to the YouTube channel for this podcast

662
00:31:57,800 --> 00:31:59,600
Speaker 1: and the story Club YouTube channel.

663
00:32:00,200 --> 00:32:01,480
Speaker 2: Show on the twelfth of April.

664
00:32:01,520 --> 00:32:04,880
Speaker 1: Next weekend has completely sold out, but the fourth of June,

665
00:32:05,280 --> 00:32:07,160
Speaker 1: we're getting it out on sale as quick as we

666
00:32:07,200 --> 00:32:07,840
Speaker 1: possibly can.

667
00:32:08,040 --> 00:32:10,840
Speaker 2: That's also where you can find your free audio book.

668
00:32:11,200 --> 00:32:11,800
Speaker 2: That's where it is.

669
00:32:11,880 --> 00:32:13,640
Speaker 1: Get on that free audiobook and when you get that,

670
00:32:13,680 --> 00:32:15,240
Speaker 1: I'll be able to let you know about tickets and

671
00:32:15,280 --> 00:32:16,400
Speaker 1: shows and et cetera.

672
00:32:16,880 --> 00:32:17,560
Speaker 2: Back with Bridy.

673
00:32:17,640 --> 00:32:23,520
Speaker 1: In just a moment, Stephen Pinker was on the show,

674
00:32:23,680 --> 00:32:26,400
Speaker 1: like I'm just dropping names like crazy. He was talking

675
00:32:26,440 --> 00:32:29,680
Speaker 1: about his new book Common Knowledge. When I know that

676
00:32:29,720 --> 00:32:31,960
Speaker 1: you know that you know that I know that. We

677
00:32:32,040 --> 00:32:34,520
Speaker 1: both know that we drive on the left hand side

678
00:32:34,520 --> 00:32:35,800
Speaker 1: of the road means it's safe to drive.

679
00:32:36,000 --> 00:32:36,680
Speaker 2: Yes, all right.

680
00:32:37,320 --> 00:32:39,280
Speaker 1: Laughter is one of the things that creates common knowledge,

681
00:32:39,520 --> 00:32:43,800
Speaker 1: and it's really, really, really powerful, and which is why

682
00:32:44,640 --> 00:32:46,600
Speaker 1: when you've got that serious message about kids, don't just

683
00:32:46,680 --> 00:32:48,120
Speaker 1: use the word dickhead or fuck.

684
00:32:47,880 --> 00:32:51,760
Speaker 3: With even though you know can be satisfying a pretty

685
00:32:51,760 --> 00:32:52,200
Speaker 3: good one.

686
00:32:52,560 --> 00:32:57,720
Speaker 2: It's better than dickhead, bastard, dipshit, dipshit. It's funnier and

687
00:32:57,720 --> 00:32:58,480
Speaker 2: a key we accent.

688
00:33:00,200 --> 00:33:05,479
Speaker 1: When people see you up on stage improviding, they might think, hey, look, hey,

689
00:33:05,480 --> 00:33:07,240
Speaker 1: if you're doing it really well, I think, oh this, No,

690
00:33:07,360 --> 00:33:09,240
Speaker 1: they wrote that, they wrote that.

691
00:33:09,240 --> 00:33:10,800
Speaker 2: That's that totally, that's written.

692
00:33:12,160 --> 00:33:15,520
Speaker 1: What would you say to people about what they might

693
00:33:15,560 --> 00:33:18,520
Speaker 1: gain out of maybe learning a little bit about the

694
00:33:18,560 --> 00:33:22,000
Speaker 1: structure of how improv works and how that might benefit

695
00:33:22,080 --> 00:33:23,800
Speaker 1: their day to day life.

696
00:33:24,520 --> 00:33:29,480
Speaker 3: I think it's one of the best things that I

697
00:33:29,880 --> 00:33:32,320
Speaker 3: ever did, was go on that Tuesday afternoon to that

698
00:33:32,320 --> 00:33:35,600
Speaker 3: improv club, because you know, even though I was a

699
00:33:35,640 --> 00:33:38,000
Speaker 3: kid who was into performing and all of those sorts

700
00:33:38,040 --> 00:33:40,880
Speaker 3: of things, I found it very easy to play a character.

701
00:33:40,880 --> 00:33:43,640
Speaker 3: But sometimes being myself, especially at that age, I could

702
00:33:43,680 --> 00:33:46,280
Speaker 3: get quite shy, and even when I moved to Sydney

703
00:33:46,280 --> 00:33:49,200
Speaker 3: and joining the improv club here, I still didn't talk

704
00:33:49,240 --> 00:33:51,720
Speaker 3: for about three months because I find it much easier

705
00:33:51,760 --> 00:33:53,720
Speaker 3: to be a character on stage than myself in the

706
00:33:53,760 --> 00:33:56,360
Speaker 3: real world sometimes, or at least I definitely did back then,

707
00:33:57,040 --> 00:34:00,320
Speaker 3: and I think improv is such a good way to

708
00:34:00,360 --> 00:34:03,000
Speaker 3: help you through that because it teaches you so many

709
00:34:03,040 --> 00:34:06,040
Speaker 3: life skills. My first ever improv coach, in my first lesson,

710
00:34:06,120 --> 00:34:08,560
Speaker 3: said that when you learn to improvise, you become better

711
00:34:08,600 --> 00:34:11,279
Speaker 3: at life because you have to be present, you have

712
00:34:11,360 --> 00:34:13,520
Speaker 3: to listen, you have to be a team member, you

713
00:34:13,520 --> 00:34:16,120
Speaker 3: can think on your feet, but also that you tap

714
00:34:16,160 --> 00:34:19,400
Speaker 3: into this sense of play that we just so often forget,

715
00:34:19,480 --> 00:34:22,319
Speaker 3: especially as we're adults. You know, we can get very

716
00:34:22,360 --> 00:34:24,400
Speaker 3: serious and bog down in the day to day and

717
00:34:24,400 --> 00:34:28,440
Speaker 3: we forget to be playful. Something that I really passionately

718
00:34:28,600 --> 00:34:33,840
Speaker 3: believe is that the phrase child's play is a terrible phrase.

719
00:34:33,920 --> 00:34:37,040
Speaker 3: It's not child's play. It's play for everyone, regardless of age.

720
00:34:37,080 --> 00:34:39,080
Speaker 3: We should all play. It's just a thing that we

721
00:34:39,160 --> 00:34:42,399
Speaker 3: need as people, and so to improvise to tap into

722
00:34:42,480 --> 00:34:45,080
Speaker 3: our playful side, it makes you bit of human, You're

723
00:34:45,120 --> 00:34:48,080
Speaker 3: more relaxed, you're more open to ideas. Whether or not

724
00:34:48,239 --> 00:34:50,799
Speaker 3: you want to turn it into being an actor is

725
00:34:50,840 --> 00:34:54,000
Speaker 3: beside the point. It opens your mind and just helps

726
00:34:54,040 --> 00:34:57,239
Speaker 3: you connect with people, and in a way that's very

727
00:34:57,239 --> 00:35:00,239
Speaker 3: different to the ways that we're very rigidly doing of

728
00:35:00,280 --> 00:35:00,640
Speaker 3: the time.

729
00:35:00,800 --> 00:35:04,800
Speaker 2: The thinking structure about here. We are in this perilous.

730
00:35:04,320 --> 00:35:06,439
Speaker 1: Situation where up on stage, it could be in front

731
00:35:06,440 --> 00:35:07,759
Speaker 1: of twenty people, it could be in front of two

732
00:35:07,840 --> 00:35:10,560
Speaker 1: hundred people, and we don't know how this is going

733
00:35:10,640 --> 00:35:15,240
Speaker 1: to end, but we both want this to end really well, yes, okay,

734
00:35:16,040 --> 00:35:19,439
Speaker 1: we just simply don't have time to argue about whose

735
00:35:19,480 --> 00:35:24,239
Speaker 1: idea is better, and if we do, the audience will

736
00:35:24,840 --> 00:35:25,440
Speaker 1: get that.

737
00:35:25,400 --> 00:35:27,120
Speaker 2: And this whole thing is going to fall on its face.

738
00:35:27,600 --> 00:35:31,080
Speaker 1: So the best first idea that can get us to

739
00:35:31,120 --> 00:35:33,080
Speaker 1: a big laugh that we get out on is the best.

740
00:35:33,120 --> 00:35:35,520
Speaker 2: It doesn't matter what it is, because we can build

741
00:35:35,520 --> 00:35:35,799
Speaker 2: on it.

742
00:35:35,960 --> 00:35:37,960
Speaker 3: And if I treat your idea like it's the best

743
00:35:38,000 --> 00:35:40,400
Speaker 3: idea I've ever heard, and you're treating my ideas the same,

744
00:35:40,520 --> 00:35:42,880
Speaker 3: then the whole thing will flourish. But if I'm just

745
00:35:42,920 --> 00:35:45,839
Speaker 3: looking after myself and you're just looking after yourself. Then

746
00:35:45,840 --> 00:35:47,640
Speaker 3: we're putting a wall between us, and the whole thing

747
00:35:47,680 --> 00:35:50,839
Speaker 3: will fall over immediately. It really is a good exercise

748
00:35:51,000 --> 00:35:55,560
Speaker 3: in setting your ego aside, and it takes a while

749
00:35:56,120 --> 00:35:59,640
Speaker 3: to get used to that feeling. It's a bit counterintuitive.

750
00:35:59,640 --> 00:36:02,239
Speaker 3: But the sooner you stop trying to find the big laugh,

751
00:36:02,760 --> 00:36:04,239
Speaker 3: the sooner you will get a big laugh.

752
00:36:04,360 --> 00:36:04,839
Speaker 2: Oh yeah.

753
00:36:05,480 --> 00:36:11,080
Speaker 1: The I was like, improv was how I started, and

754
00:36:11,520 --> 00:36:13,240
Speaker 1: I did not realize it, but it gave me yourselt

755
00:36:13,280 --> 00:36:16,160
Speaker 1: a superpowers that once I started working in radio and

756
00:36:16,200 --> 00:36:18,920
Speaker 1: working with phone calls.

757
00:36:18,600 --> 00:36:20,600
Speaker 2: The program director was like, what are you doing that?

758
00:36:20,960 --> 00:36:21,520
Speaker 2: What is that?

759
00:36:21,760 --> 00:36:24,440
Speaker 1: I'm like the stuff I would do at l the

760
00:36:24,480 --> 00:36:27,040
Speaker 1: White Theater when I was in high school. It's that's

761
00:36:27,080 --> 00:36:30,640
Speaker 1: that's to just go whatever they just said. You just

762
00:36:30,680 --> 00:36:32,319
Speaker 1: try to build on it because you know where you're

763
00:36:32,320 --> 00:36:33,440
Speaker 1: trying to get to. You're trying to get to a

764
00:36:33,440 --> 00:36:35,360
Speaker 1: big laugh at the end, and then they play the

765
00:36:35,400 --> 00:36:39,520
Speaker 1: song tell me more, you know, because these are guys

766
00:36:39,560 --> 00:36:42,440
Speaker 1: who would literally write down every talk break. Yes, right,

767
00:36:42,520 --> 00:36:44,399
Speaker 1: all right, and there's a benef there's you know, there's

768
00:36:44,400 --> 00:36:47,359
Speaker 1: structure in radio as well. But that gave me something

769
00:36:47,400 --> 00:36:51,040
Speaker 1: that I never had before a couple of like really

770
00:36:51,040 --> 00:36:51,760
Speaker 1: cool concepts.

771
00:36:51,760 --> 00:36:53,000
Speaker 2: I know, it's it's two simple words.

772
00:36:53,000 --> 00:36:55,799
Speaker 1: But if you take one thing, yes, and I mean

773
00:36:55,840 --> 00:36:59,399
Speaker 1: it's real high school level kind of improvisation. But if

774
00:36:59,400 --> 00:37:03,920
Speaker 1: you can go, hey, I don't know, I'm going to

775
00:37:04,000 --> 00:37:07,279
Speaker 1: run like because my tire is flat. Yeah, And I

776
00:37:07,320 --> 00:37:11,120
Speaker 1: guess what I could do rather than ah, fucking we

777
00:37:11,160 --> 00:37:13,799
Speaker 1: can't do shit about fucking that situation. I can't change

778
00:37:13,800 --> 00:37:16,200
Speaker 1: a tire on the phone. What I can do is

779
00:37:16,280 --> 00:37:18,680
Speaker 1: throw some possibility into the situation because that's the only

780
00:37:18,719 --> 00:37:19,760
Speaker 1: thing that's going to move forward.

781
00:37:19,880 --> 00:37:23,520
Speaker 3: Absolutely. And it's funny, yes, And it's such a famous

782
00:37:23,560 --> 00:37:25,280
Speaker 3: concept for improvisers and comedians.

783
00:37:25,280 --> 00:37:27,440
Speaker 2: It's purpered a bit by the hoity toitia types.

784
00:37:27,600 --> 00:37:31,320
Speaker 3: I know, isn't it funny? Because it's it is purpered

785
00:37:31,320 --> 00:37:33,719
Speaker 3: a little bit, But it is a guiding principle for

786
00:37:33,800 --> 00:37:37,120
Speaker 3: a reason. You know, we're building scenes and stories and

787
00:37:37,200 --> 00:37:39,440
Speaker 3: characters out of thin air, and the way we do

788
00:37:39,520 --> 00:37:41,880
Speaker 3: that is to listen and build on what you've just said.

789
00:37:42,239 --> 00:37:45,560
Speaker 3: And yeah, when you can finally connect the dots that

790
00:37:45,560 --> 00:37:48,560
Speaker 3: that is fantastic for stage, but even better in real life.

791
00:37:48,880 --> 00:37:51,200
Speaker 3: Not that you need to literally go around saying yes

792
00:37:51,280 --> 00:37:53,839
Speaker 3: and all the time. But if you have that philosophy,

793
00:37:54,320 --> 00:37:56,400
Speaker 3: it just makes you a much better person to be around.

794
00:37:56,760 --> 00:38:00,319
Speaker 1: When I'm doing this ethics teaching, which I do on Tuesday,

795
00:38:00,160 --> 00:38:02,400
Speaker 1: they call me mister Gainsburg and can cause me.

796
00:38:02,480 --> 00:38:04,319
Speaker 2: I can teach him as well. He calls me. You know,

797
00:38:04,360 --> 00:38:05,640
Speaker 2: you got to call me mister de Ginsburg. Want to

798
00:38:05,680 --> 00:38:06,759
Speaker 2: be in there. It's not your dad.

799
00:38:08,520 --> 00:38:10,440
Speaker 1: One of the things that you're training, because they train

800
00:38:10,520 --> 00:38:12,279
Speaker 1: you as well how to be a teacher, like not

801
00:38:12,440 --> 00:38:15,160
Speaker 1: proper teaching, but well you know enough for half an hour.

802
00:38:15,920 --> 00:38:18,720
Speaker 1: One of the things is that's a great answer, briety.

803
00:38:18,760 --> 00:38:20,680
Speaker 1: Can anyone build on what Brighte has just said?

804
00:38:21,280 --> 00:38:23,000
Speaker 2: Anyone add to what? Add to that?

805
00:38:23,560 --> 00:38:26,879
Speaker 1: Just just showing the nature of discourse and how can

806
00:38:26,920 --> 00:38:30,000
Speaker 1: we make this particular idea bigger or better or a

807
00:38:30,040 --> 00:38:33,440
Speaker 1: little more chewy. The other thing I think improv is

808
00:38:33,520 --> 00:38:37,320
Speaker 1: wonderful at in that it just gives you a sense

809
00:38:37,400 --> 00:38:41,439
Speaker 1: of it doesn't matter what happens. I get to make

810
00:38:41,480 --> 00:38:43,880
Speaker 1: something out of it, and I get to choose what

811
00:38:43,960 --> 00:38:44,960
Speaker 1: to make out of it.

812
00:38:44,960 --> 00:38:47,440
Speaker 2: It can either be a tantrum.

813
00:38:47,560 --> 00:38:49,760
Speaker 1: I can either use it to justify me screaming and chouting,

814
00:38:49,920 --> 00:38:52,560
Speaker 1: or I can make something fun out of this. You

815
00:38:52,560 --> 00:38:54,160
Speaker 1: don't even have to be on stage at the matting, but.

816
00:38:54,480 --> 00:38:57,799
Speaker 3: You no, you don't. In any situation, you can make

817
00:38:57,840 --> 00:39:01,400
Speaker 3: anything out of it. I love that that they're starting

818
00:39:01,400 --> 00:39:03,799
Speaker 3: them young with that concept is really important. It's really

819
00:39:03,880 --> 00:39:06,960
Speaker 3: nice because it's also so often, you know, with your

820
00:39:07,000 --> 00:39:09,480
Speaker 3: brainstorming or having a chat about something, and not in

821
00:39:09,480 --> 00:39:12,719
Speaker 3: a stage situation, just in a work situation, you might

822
00:39:13,920 --> 00:39:16,920
Speaker 3: have to go through several terrible ideas that are the

823
00:39:16,960 --> 00:39:19,680
Speaker 3: wrong idea to get to the brilliant idea. But you

824
00:39:19,719 --> 00:39:22,040
Speaker 3: can only get to the brilliant idea if it's a

825
00:39:22,040 --> 00:39:23,960
Speaker 3: safe place to yes end and try things out and

826
00:39:23,960 --> 00:39:27,040
Speaker 3: add to the conversation. But if you immediately shut ideas down,

827
00:39:27,440 --> 00:39:29,279
Speaker 3: nobody's going to want to suggest anything, and then you

828
00:39:29,320 --> 00:39:31,719
Speaker 3: never get to the brilliant idea. So just as a

829
00:39:31,719 --> 00:39:35,360
Speaker 3: philosophy and a mindset for making people feel comfortable to

830
00:39:35,480 --> 00:39:38,280
Speaker 3: share and create and offer ideas, it's brilliant.

831
00:39:39,400 --> 00:39:43,160
Speaker 1: The Koreans have really done something incredible with boy bands recently,

832
00:39:43,719 --> 00:39:44,600
Speaker 1: and that they have.

833
00:39:45,040 --> 00:39:48,480
Speaker 2: It was always there with magazines.

834
00:39:47,880 --> 00:39:52,560
Speaker 1: And postcards and posters and things, but the monetization of

835
00:39:53,080 --> 00:39:57,560
Speaker 1: female teenage infatuation has been something that boy bands have

836
00:39:57,640 --> 00:40:00,960
Speaker 1: done since they began Oh yeah in the in the

837
00:40:00,960 --> 00:40:04,799
Speaker 1: sixties fifty sixties, the South Koreans and taking it to

838
00:40:04,920 --> 00:40:08,640
Speaker 1: completely the next level. How old were you and there

839
00:40:08,719 --> 00:40:11,680
Speaker 1: possibly is a hormonal event diagram that crosses over how

840
00:40:11,760 --> 00:40:14,919
Speaker 1: old were you when you first became aware of There's

841
00:40:14,960 --> 00:40:16,440
Speaker 1: these four boys all seem to know the moves to

842
00:40:16,480 --> 00:40:17,000
Speaker 1: the same song.

843
00:40:17,600 --> 00:40:19,120
Speaker 2: That's interesting. Do they know each other?

844
00:40:20,000 --> 00:40:25,640
Speaker 3: How did this happen? The first boy band that I

845
00:40:25,680 --> 00:40:31,280
Speaker 3: really remember having like a big proper face was Westlife.

846
00:40:32,400 --> 00:40:35,120
Speaker 2: Yeah loved that was kissing posters kind of thing.

847
00:40:35,600 --> 00:40:38,320
Speaker 3: Well, actually I didn't have any posters on my wall,

848
00:40:38,520 --> 00:40:40,320
Speaker 3: but my friend Jackie did, and she was the only

849
00:40:40,360 --> 00:40:41,960
Speaker 3: one of us that had a West Life poster. So

850
00:40:42,000 --> 00:40:43,759
Speaker 3: we would all love to hang out at Jackie's house

851
00:40:43,840 --> 00:40:45,759
Speaker 3: because then we could like talk to the boys on

852
00:40:45,800 --> 00:40:47,920
Speaker 3: the poster and that was very exciting.

853
00:40:47,680 --> 00:40:50,200
Speaker 1: And in your mind they were speaking back in a

854
00:40:50,280 --> 00:40:52,239
Speaker 1: version of English that you could understand, because when you

855
00:40:52,239 --> 00:40:54,440
Speaker 1: actually hear them talk like, I don't even know what

856
00:40:54,440 --> 00:40:54,799
Speaker 1: that is.

857
00:40:55,920 --> 00:40:57,880
Speaker 2: I did radio was McFadden for a couple of weeks.

858
00:40:58,440 --> 00:41:01,400
Speaker 3: Great one right, and I'm like, oh yeah, great, point,

859
00:41:01,480 --> 00:41:04,960
Speaker 3: and I agree, yes ha ha and yes and ran.

860
00:41:05,160 --> 00:41:07,080
Speaker 3: Not only were they talking back to me, osh, they

861
00:41:07,360 --> 00:41:09,760
Speaker 3: were singing directly to me. And I had written lyrics

862
00:41:09,840 --> 00:41:11,800
Speaker 3: that were just for my ears and I didn't apply

863
00:41:11,840 --> 00:41:14,360
Speaker 3: to anybody else. But I think that's the beauty of

864
00:41:14,400 --> 00:41:18,360
Speaker 3: pop music generally. I you know, I was just starting

865
00:41:18,440 --> 00:41:22,920
Speaker 3: primary school when Spy Skirls launched, so I just had

866
00:41:22,920 --> 00:41:25,959
Speaker 3: this fantastic I was really lucky to be a little

867
00:41:26,040 --> 00:41:28,240
Speaker 3: kid when there was this huge explosion of pop groups,

868
00:41:28,280 --> 00:41:31,520
Speaker 3: girl groups, boy bands. So it was just everywhere, and

869
00:41:31,760 --> 00:41:33,640
Speaker 3: you know, I did dance classes and all those things,

870
00:41:33,680 --> 00:41:35,759
Speaker 3: and I really fancied myself as a pop star in

871
00:41:35,800 --> 00:41:38,080
Speaker 3: my bedroom with hair brush in the mirror, and so

872
00:41:38,200 --> 00:41:41,680
Speaker 3: it was just such a constant soundtrack. I remember even

873
00:41:42,520 --> 00:41:47,520
Speaker 3: going to school and making up Backstreet Boys lyrics and

874
00:41:47,520 --> 00:41:51,000
Speaker 3: Spy Skills lyrics to songs that didn't exist because I

875
00:41:51,040 --> 00:41:52,920
Speaker 3: wanted to be cool and it's like, you don't know

876
00:41:53,000 --> 00:41:55,279
Speaker 3: this song, you haven't heard the latest single, and then

877
00:41:55,360 --> 00:41:58,439
Speaker 3: I would just make up a pretend Backstreet Boys song,

878
00:41:58,840 --> 00:42:00,839
Speaker 3: which clearly is a skill that I've needed all these

879
00:42:00,920 --> 00:42:01,399
Speaker 3: years later.

880
00:42:01,719 --> 00:42:07,040
Speaker 1: That is brilliant, the whole it's been difficult watching some

881
00:42:07,160 --> 00:42:12,400
Speaker 1: of the documentaries about life in those boy bands, particularly

882
00:42:12,480 --> 00:42:14,560
Speaker 1: the Lou Pearlman stuff.

883
00:42:15,160 --> 00:42:18,080
Speaker 3: No, it's it's so funny, isn't it. It's such a

884
00:42:18,120 --> 00:42:22,320
Speaker 3: contrast between this beautiful, squeaky clean, highly polished image were presented,

885
00:42:22,640 --> 00:42:24,320
Speaker 3: and then if you're watch any of these documentaries or

886
00:42:24,360 --> 00:42:26,880
Speaker 3: you do any dig in whatsoever behind the scenes, that

887
00:42:26,960 --> 00:42:29,680
Speaker 3: can be so seedy. It can be so grueling. These

888
00:42:29,680 --> 00:42:32,200
Speaker 3: performers are often so young. I think Justin Timberlake was

889
00:42:32,239 --> 00:42:36,160
Speaker 3: fourteen when he became part of Instinct, Like, it's it's

890
00:42:36,280 --> 00:42:41,160
Speaker 3: crazy this pressure and this global scale that you know

891
00:42:41,160 --> 00:42:42,760
Speaker 3: you're under the microscope suddenly.

892
00:42:42,880 --> 00:42:45,040
Speaker 2: Well, the money was staggering.

893
00:42:45,719 --> 00:42:48,040
Speaker 1: I remember when I worked, because I worked in radio,

894
00:42:48,120 --> 00:42:54,000
Speaker 1: when Human Nature launched as an Australian boyband and they're great.

895
00:42:54,680 --> 00:43:00,040
Speaker 1: I remember Phil telling me, oh Man Backstreet Boys and

896
00:43:00,280 --> 00:43:03,680
Speaker 1: was on a sixty four percent deal. Hang on, wait

897
00:43:03,719 --> 00:43:07,600
Speaker 1: what because you're sixty four five guys get five percent?

898
00:43:09,160 --> 00:43:11,680
Speaker 2: What even? How you could?

899
00:43:11,840 --> 00:43:16,080
Speaker 1: They sold millions, ten twenty thirty million records, They sold

900
00:43:16,080 --> 00:43:16,920
Speaker 1: out stadiums.

901
00:43:17,440 --> 00:43:19,960
Speaker 2: They made no money, and it like that.

902
00:43:20,080 --> 00:43:24,080
Speaker 1: Is so so bad because we all love those songs.

903
00:43:24,239 --> 00:43:27,200
Speaker 3: Yeah, and you have no idea, how cut throat it

904
00:43:27,239 --> 00:43:28,759
Speaker 3: is on the other side. I didn't know any of

905
00:43:28,760 --> 00:43:31,439
Speaker 3: that until I watched that documentary, and I was flabbergasted, because,

906
00:43:31,640 --> 00:43:33,160
Speaker 3: you know, they were the biggest stars in the world

907
00:43:33,160 --> 00:43:35,920
Speaker 3: for a while, so you just assume, you just assume

908
00:43:36,000 --> 00:43:39,000
Speaker 3: that that means they're loaded and everything is perfect. It

909
00:43:39,080 --> 00:43:42,319
Speaker 3: really wasn't, you know. But that's not what the music

910
00:43:42,320 --> 00:43:43,080
Speaker 3: would have you believe.

911
00:43:43,520 --> 00:43:45,600
Speaker 1: Were then New Zealand boy bands that showed up that

912
00:43:45,600 --> 00:43:46,880
Speaker 1: you got to go down to the record store and

913
00:43:46,920 --> 00:43:47,480
Speaker 1: say hello.

914
00:43:47,400 --> 00:43:50,719
Speaker 3: To, oh yeah, oh yeah, big time. I remember really

915
00:43:50,800 --> 00:43:54,400
Speaker 3: vividly when I think it would have been maybe twelve

916
00:43:54,480 --> 00:43:56,839
Speaker 3: or something. One of the radio stations back home did

917
00:43:56,840 --> 00:43:59,520
Speaker 3: this nationwide competition to build a boy band and it

918
00:43:59,560 --> 00:44:02,160
Speaker 3: went for months. I reckon and they built this boy

919
00:44:02,160 --> 00:44:03,680
Speaker 3: band and they were like, Okay, this week we're looking

920
00:44:03,719 --> 00:44:05,960
Speaker 3: for the bad boy. This week we're looking for the

921
00:44:05,960 --> 00:44:07,480
Speaker 3: heart throng. And they built this boy.

922
00:44:07,400 --> 00:44:08,799
Speaker 2: Band to make a great TV show.

923
00:44:09,120 --> 00:44:12,240
Speaker 1: Cowel on the line, I really like the one direction

924
00:44:12,320 --> 00:44:12,960
Speaker 1: this is going in.

925
00:44:13,000 --> 00:44:18,040
Speaker 2: I think it could really work, You laughed.

926
00:44:18,680 --> 00:44:22,440
Speaker 1: Terrible part I was even I held the bow like

927
00:44:22,560 --> 00:44:24,640
Speaker 1: back that far as I was walking towards it.

928
00:44:24,719 --> 00:44:26,600
Speaker 3: He still went for it.

929
00:44:27,200 --> 00:44:29,360
Speaker 2: Look, we're looking for the bomb with the eyebrow ring.

930
00:44:29,400 --> 00:44:31,640
Speaker 3: That's right. So they built that band and I loved

931
00:44:31,680 --> 00:44:35,440
Speaker 3: that entire crosis. I know the radio session was the Edge,

932
00:44:35,480 --> 00:44:37,280
Speaker 3: but I can't remember what the boy band was called.

933
00:44:37,320 --> 00:44:39,480
Speaker 3: But they released a song and it was great. And

934
00:44:39,520 --> 00:44:42,000
Speaker 3: then there was also the first concert I ever went to.

935
00:44:42,280 --> 00:44:44,200
Speaker 2: Yes, it was.

936
00:44:44,360 --> 00:44:46,960
Speaker 3: It was a festival and I saw in the same

937
00:44:47,080 --> 00:44:48,799
Speaker 3: day a really weird line up for me. I saw

938
00:44:48,800 --> 00:44:51,080
Speaker 3: the Living End, who I thought was so cool, and

939
00:44:51,120 --> 00:44:56,120
Speaker 3: I saw Nesian Mystic Do you remember, Okay? So that

940
00:44:56,280 --> 00:44:59,399
Speaker 3: to me was like sort of boy band territory Ish

941
00:44:59,800 --> 00:45:01,719
Speaker 3: and I just thought they were so cool and they

942
00:45:01,719 --> 00:45:03,480
Speaker 3: had great moves and everything. But they were a bit

943
00:45:03,520 --> 00:45:05,399
Speaker 3: cooler than maybe some of the boy bands that I'd

944
00:45:05,400 --> 00:45:07,240
Speaker 3: been growing up with. But I thought they were amazing.

945
00:45:07,520 --> 00:45:10,520
Speaker 1: When you were in this West life obsession, like the

946
00:45:10,600 --> 00:45:12,640
Speaker 1: second May came on the Telly did you like hit records?

947
00:45:12,680 --> 00:45:13,640
Speaker 2: So you could watch it back.

948
00:45:13,480 --> 00:45:18,760
Speaker 3: Again or I wouldn't, Yes, but also just to practice

949
00:45:18,800 --> 00:45:22,000
Speaker 3: my Irish accent, I just thought it was so cool.

950
00:45:22,280 --> 00:45:25,000
Speaker 3: I was really fascinated even then. You know, it's funny.

951
00:45:25,000 --> 00:45:27,399
Speaker 3: I've written the show which is about a boy band.

952
00:45:28,239 --> 00:45:31,840
Speaker 3: And I haven't really realized until the last year or

953
00:45:31,920 --> 00:45:34,520
Speaker 3: so how much of this has been an interest of

954
00:45:34,560 --> 00:45:36,239
Speaker 3: mine for so long, because I love a lot of

955
00:45:36,320 --> 00:45:39,640
Speaker 3: music genres. But I remember when I loved West Life

956
00:45:39,719 --> 00:45:42,920
Speaker 3: and five and Backstreet Boys. I really was quite fascinated,

957
00:45:42,960 --> 00:45:44,839
Speaker 3: not just by the music and the video clips which

958
00:45:44,840 --> 00:45:48,680
Speaker 3: i'd watch every Saturday morning, but I was really fascinated

959
00:45:48,719 --> 00:45:51,000
Speaker 3: by how they were put together. And I loved this

960
00:45:51,080 --> 00:45:54,719
Speaker 3: with One Direction too, and they were put together by

961
00:45:54,760 --> 00:45:56,600
Speaker 3: that panel being like, Okay, this is how we're going

962
00:45:56,640 --> 00:45:58,279
Speaker 3: to balance this group, this is what we need. I

963
00:45:58,400 --> 00:46:02,640
Speaker 3: was really fascinated by the mechanics of it all. And

964
00:46:03,239 --> 00:46:07,120
Speaker 3: I didn't remember this until like the last year, but

965
00:46:07,160 --> 00:46:10,640
Speaker 3: when I was in my final year of school, I remember,

966
00:46:11,360 --> 00:46:13,360
Speaker 3: not to brag, but I was a prefact. All the

967
00:46:13,360 --> 00:46:16,239
Speaker 3: prefects had to be responsible for that one activity. So

968
00:46:16,480 --> 00:46:19,359
Speaker 3: if it's your week, you're doing an activity. And I

969
00:46:19,600 --> 00:46:23,239
Speaker 3: remember putting so much effort into my activity, which was

970
00:46:24,040 --> 00:46:28,319
Speaker 3: a school wide like search for the new boy band

971
00:46:28,360 --> 00:46:32,120
Speaker 3: of the school. And I spent so long on this,

972
00:46:32,200 --> 00:46:34,880
Speaker 3: and I had like the panel, like the Simon Cowell

973
00:46:34,960 --> 00:46:38,320
Speaker 3: type characters on the panel, people from all year groups

974
00:46:38,480 --> 00:46:40,759
Speaker 3: like did like a Spice girl's number or a Backstreet boy's

975
00:46:40,840 --> 00:46:43,520
Speaker 3: number or an original song, And they were raided on

976
00:46:43,560 --> 00:46:46,880
Speaker 3: their dance moves and the characters that they had and

977
00:46:46,920 --> 00:46:49,200
Speaker 3: the boy band. That one was called Shake and Bake

978
00:46:49,400 --> 00:46:52,600
Speaker 3: and they did pancake related boy band songs. It was fantastic.

979
00:46:52,640 --> 00:46:55,600
Speaker 3: They performed an assembly. It went off, so clearly I

980
00:46:55,640 --> 00:46:59,080
Speaker 3: have been interested in the production elements of it for

981
00:46:59,120 --> 00:46:59,479
Speaker 3: a while.

982
00:46:59,560 --> 00:47:01,480
Speaker 2: Did you choreograph Shaking Bakes performance?

983
00:47:01,680 --> 00:47:03,680
Speaker 3: I know they choreographed it themselves, and then when they

984
00:47:03,719 --> 00:47:07,000
Speaker 3: performed an assembly, I said, boys, listen, great effort, but

985
00:47:07,080 --> 00:47:09,799
Speaker 3: if we're going all the way to the big gym

986
00:47:09,840 --> 00:47:11,960
Speaker 3: for school assembly, we do need to refine a performance.

987
00:47:11,960 --> 00:47:13,879
Speaker 3: So I stepped in for the big one.

988
00:47:13,960 --> 00:47:16,200
Speaker 1: There's one particular boy band move which I'm a massive

989
00:47:16,200 --> 00:47:19,040
Speaker 1: fan of, and I even on mask singer once, so

990
00:47:19,280 --> 00:47:21,440
Speaker 1: I got to do it, which is the holy the

991
00:47:21,440 --> 00:47:24,080
Speaker 1: microphone when you catch the passing butterfly, hold it to

992
00:47:24,120 --> 00:47:26,560
Speaker 1: your heart and then release beautiful.

993
00:47:26,800 --> 00:47:28,759
Speaker 2: It's only for the slow tempo once.

994
00:47:28,960 --> 00:47:30,200
Speaker 3: Oh yeah, that was soulful.

995
00:47:30,480 --> 00:47:33,319
Speaker 2: Tell me exactly when it comes to boy band moves.

996
00:47:33,320 --> 00:47:36,600
Speaker 3: So you have some favorites I love the heart pulse.

997
00:47:36,680 --> 00:47:39,560
Speaker 3: This one, I will say in fuck boys because it's

998
00:47:39,600 --> 00:47:42,919
Speaker 3: not only boy band, but it is this weird fuck boy,

999
00:47:43,480 --> 00:47:46,520
Speaker 3: very strange masculinity. There's a lot of pelvic thrusting going on,

1000
00:47:46,680 --> 00:47:49,440
Speaker 3: and that's a great time. I quite like how all

1001
00:47:49,480 --> 00:47:51,440
Speaker 3: the different boy bands that we're sort of referencing in

1002
00:47:51,480 --> 00:47:53,799
Speaker 3: the show, but that we've talked about even today, they

1003
00:47:53,840 --> 00:47:56,440
Speaker 3: all had like their own little moves or their own influences.

1004
00:47:56,440 --> 00:47:58,960
Speaker 3: And some of them had very like hip hop influences

1005
00:47:59,000 --> 00:48:01,400
Speaker 3: some of them some of them book almost of it

1006
00:48:01,560 --> 00:48:03,920
Speaker 3: like aerobics sometimes.

1007
00:48:03,960 --> 00:48:04,399
Speaker 2: Yeah, but.

1008
00:48:05,880 --> 00:48:09,080
Speaker 3: It's just such a there's a lot of insynct moves

1009
00:48:09,160 --> 00:48:12,319
Speaker 3: that we've sort of referenced. I really enjoy that. It

1010
00:48:12,440 --> 00:48:14,920
Speaker 3: seems like not just boy bands, but every pop group

1011
00:48:15,160 --> 00:48:17,760
Speaker 3: in the early to mid noughties had like a Latin

1012
00:48:17,840 --> 00:48:21,720
Speaker 3: inspired moment. There's a lot of like weird flam manco

1013
00:48:21,880 --> 00:48:23,000
Speaker 3: flourishes here and there.

1014
00:48:23,320 --> 00:48:26,000
Speaker 1: When it started coming time to put this show together,

1015
00:48:27,480 --> 00:48:29,239
Speaker 1: I mean, you wrote all the songs, that is.

1016
00:48:29,360 --> 00:48:32,160
Speaker 2: I know a bloke that wrote.

1017
00:48:32,000 --> 00:48:37,240
Speaker 1: The music and lyrics for Avenue Q Oh wow.

1018
00:48:37,400 --> 00:48:38,640
Speaker 2: Yeah, he's an amazing guy.

1019
00:48:40,200 --> 00:48:42,600
Speaker 1: And we were talking about how much work it takes

1020
00:48:42,640 --> 00:48:45,200
Speaker 1: to put the music and lyrics together for a musical.

1021
00:48:45,200 --> 00:48:46,040
Speaker 2: It's called the Book.

1022
00:48:46,280 --> 00:48:50,440
Speaker 1: It's a gargantuit amount of work. Did you understand what

1023
00:48:50,480 --> 00:48:51,360
Speaker 1: you were undertaking?

1024
00:48:52,360 --> 00:49:00,640
Speaker 3: No? Emphatically no, And I cannot believe how it's been.

1025
00:49:00,800 --> 00:49:03,120
Speaker 3: I've loved it, but it's been so hard. I've never

1026
00:49:03,160 --> 00:49:06,880
Speaker 3: worked so hard on anything, let alone something so deeply silly.

1027
00:49:07,040 --> 00:49:08,600
Speaker 3: I've been working on this at the same time that

1028
00:49:08,640 --> 00:49:11,799
Speaker 3: my brother's been finishing his PhD. And sometimes he would

1029
00:49:11,840 --> 00:49:14,440
Speaker 3: come home and be like, today at this incredibly important

1030
00:49:14,440 --> 00:49:16,640
Speaker 3: piece of research, and I would say, today I spent

1031
00:49:17,280 --> 00:49:21,880
Speaker 3: three hours finding rhymes for the word clitorists. And both

1032
00:49:22,320 --> 00:49:24,359
Speaker 3: things that we're doing are equally valid and important. But

1033
00:49:24,480 --> 00:49:27,240
Speaker 3: goodness me, it's been so hard. I've been really lucky

1034
00:49:27,239 --> 00:49:30,000
Speaker 3: that I've worked with this incredible music producer, so once

1035
00:49:30,040 --> 00:49:32,799
Speaker 3: I've composed the melodies and chords and all of that

1036
00:49:33,040 --> 00:49:35,440
Speaker 3: and figured out, you know, how the song goes. Working

1037
00:49:35,480 --> 00:49:38,080
Speaker 3: with this unbelievable producer it's called Dave Ritori, who is

1038
00:49:38,080 --> 00:49:41,520
Speaker 3: a pop producer, it's taken them to this next level of,

1039
00:49:41,600 --> 00:49:45,080
Speaker 3: you know, really feeling like a proper boy band's back catalog,

1040
00:49:45,160 --> 00:49:48,480
Speaker 3: and that's been super fun. But Yeah, it's been so

1041
00:49:48,600 --> 00:49:51,560
Speaker 3: much work. I started work on this years ago. I

1042
00:49:51,600 --> 00:49:55,719
Speaker 3: had the idea for fuck Boys in twenty nineteen, and

1043
00:49:55,760 --> 00:49:58,440
Speaker 3: so it's been a lot of drafting and redrafting and

1044
00:49:59,160 --> 00:50:01,319
Speaker 3: a lot of hits, so that maybe didn't make the

1045
00:50:01,360 --> 00:50:02,000
Speaker 3: final show.

1046
00:50:02,440 --> 00:50:05,520
Speaker 1: Oh, that's for the that's for the extra fan only

1047
00:50:05,680 --> 00:50:09,600
Speaker 1: release inside. Well, it's for the fan club release, you know,

1048
00:50:10,440 --> 00:50:13,320
Speaker 1: which was always where the great, the really great singles

1049
00:50:13,480 --> 00:50:15,680
Speaker 1: were the Chris like Hanson do it every year.

1050
00:50:15,680 --> 00:50:17,759
Speaker 3: They start out a Christmas single, hands another one.

1051
00:50:18,120 --> 00:50:20,480
Speaker 2: Well, I would argue they're not a boy.

1052
00:50:20,320 --> 00:50:21,560
Speaker 3: Band, but they don't have the moves.

1053
00:50:21,880 --> 00:50:24,719
Speaker 2: They also weren't assembled. They are brothers.

1054
00:50:24,760 --> 00:50:27,320
Speaker 3: True, well they were assembled by the parents.

1055
00:50:27,640 --> 00:50:30,560
Speaker 1: Not really, they were just they were. There's there's seven

1056
00:50:30,600 --> 00:50:33,640
Speaker 1: of them. There's just three of them. What, there's seven handsome.

1057
00:50:33,320 --> 00:50:36,360
Speaker 3: Brothers live on the mic. That's crazy.

1058
00:50:36,640 --> 00:50:39,080
Speaker 1: Of all the bands in the world that I have

1059
00:50:39,360 --> 00:50:45,759
Speaker 1: bought tickets for, booked plane tickets, booked hotel rooms, there's

1060
00:50:45,800 --> 00:50:47,400
Speaker 1: only one of them that I've ever done that for.

1061
00:50:48,160 --> 00:50:50,600
Speaker 1: And there's only one band I've ever followed around the

1062
00:50:50,640 --> 00:50:52,200
Speaker 1: country on a tour, and that is Handsome.

1063
00:50:52,680 --> 00:50:54,279
Speaker 3: Yeah, that's fantastic.

1064
00:50:54,360 --> 00:50:57,240
Speaker 1: I once saw mataw LIKEA seven times in fifteen days.

1065
00:50:57,600 --> 00:50:59,880
Speaker 1: I've gone around the world with a triple A lamited

1066
00:50:59,880 --> 00:51:01,760
Speaker 1: and around my neck when I worked a music television

1067
00:51:01,760 --> 00:51:04,040
Speaker 1: The only und I've ever followed around on a tour

1068
00:51:04,200 --> 00:51:08,000
Speaker 1: is Handsome Has the fucking amazing. Those guys are amazing

1069
00:51:08,040 --> 00:51:10,520
Speaker 1: because they got dropped after their second album and they

1070
00:51:10,600 --> 00:51:13,520
Speaker 1: went all right, we have the most engaged, most rabid

1071
00:51:13,560 --> 00:51:14,000
Speaker 1: fan base.

1072
00:51:14,120 --> 00:51:15,240
Speaker 2: Yeah, and they.

1073
00:51:15,120 --> 00:51:21,160
Speaker 1: Went straight with posted with letters, with mail, the pre email.

1074
00:51:21,640 --> 00:51:24,439
Speaker 1: They kept this fan base and nourished this fan base

1075
00:51:24,520 --> 00:51:28,200
Speaker 1: and gave them the exclusives and you know, invited them

1076
00:51:28,200 --> 00:51:30,279
Speaker 1: first to the gigs and had like Prince was also

1077
00:51:30,320 --> 00:51:32,799
Speaker 1: doing it ninety six the NPG Music Club.

1078
00:51:32,800 --> 00:51:35,440
Speaker 2: He would release albums to only those people.

1079
00:51:35,520 --> 00:51:36,120
Speaker 3: How special.

1080
00:51:36,320 --> 00:51:39,680
Speaker 2: Yeah. So yeah, hands next level man, next level.

1081
00:51:39,800 --> 00:51:45,360
Speaker 1: But they don't quite have the exploitation element that the

1082
00:51:45,480 --> 00:51:47,440
Speaker 1: boy bands that you've written the music all about have.

1083
00:51:51,640 --> 00:51:54,560
Speaker 1: The other wonderful thing And you mentioned it earlier because

1084
00:51:54,560 --> 00:51:57,319
Speaker 1: of some of your experiences in the dating world with

1085
00:51:58,120 --> 00:52:02,279
Speaker 1: perhaps unhealthy versions of men and courtship. So I'm going

1086
00:52:02,320 --> 00:52:05,400
Speaker 1: to have to talk about this. I'm going to musical,

1087
00:52:05,920 --> 00:52:09,560
Speaker 1: That's what I'll do. But there's something about musical comedy,

1088
00:52:09,560 --> 00:52:12,359
Speaker 1: particularly if you're telling it through the lens of something

1089
00:52:12,400 --> 00:52:14,360
Speaker 1: that sounds like a boy band song.

1090
00:52:14,719 --> 00:52:19,160
Speaker 2: You know, because some of them are really close, the

1091
00:52:19,200 --> 00:52:21,000
Speaker 2: real ones are really.

1092
00:52:20,640 --> 00:52:23,120
Speaker 1: Close to the subject matter.

1093
00:52:24,239 --> 00:52:28,279
Speaker 2: I want it that way is break those lyrics down.

1094
00:52:28,800 --> 00:52:29,960
Speaker 2: Not a great look.

1095
00:52:30,040 --> 00:52:31,680
Speaker 3: That's where a lot of it came from listening to

1096
00:52:31,719 --> 00:52:34,240
Speaker 3: the well, not listening to the lyrics, reading the lyrics

1097
00:52:34,280 --> 00:52:36,160
Speaker 3: and go oh gosh, when you strip away and catch

1098
00:52:36,200 --> 00:52:36,720
Speaker 3: you tune.

1099
00:52:36,880 --> 00:52:38,959
Speaker 1: Some of this stuff is tell me why it's nothing

1100
00:52:38,960 --> 00:52:40,160
Speaker 1: about a party?

1101
00:52:40,440 --> 00:52:41,680
Speaker 2: Come on, I want it that way.

1102
00:52:41,880 --> 00:52:46,080
Speaker 3: It's it's yeah. My eyebrows were very raised when I

1103
00:52:46,120 --> 00:52:48,200
Speaker 3: read some of these were so right about the whole,

1104
00:52:48,880 --> 00:52:51,960
Speaker 3: like building the comedy musically. I love musical comedy, and

1105
00:52:51,960 --> 00:52:53,440
Speaker 3: I've loved it for a long time. You know. I

1106
00:52:53,440 --> 00:52:56,240
Speaker 3: grew up the Flight of the Concords being my absolute heroes.

1107
00:52:56,320 --> 00:53:00,680
Speaker 2: You know, come on, Zealand, right, I say some for

1108
00:53:00,719 --> 00:53:01,440
Speaker 2: the rest of us, will you?

1109
00:53:01,800 --> 00:53:06,560
Speaker 3: But I think a lot of people are off musical comedy,

1110
00:53:06,600 --> 00:53:09,520
Speaker 3: and I understand why. I think it's really hard to

1111
00:53:09,760 --> 00:53:12,080
Speaker 3: get it just right. If the music's great but the

1112
00:53:12,160 --> 00:53:14,520
Speaker 3: jokes are bad, the whole thing falls over vice versa

1113
00:53:14,640 --> 00:53:16,760
Speaker 3: whole thing falls over. You've got to do the music

1114
00:53:16,840 --> 00:53:19,080
Speaker 3: and the jokes really well for the whole thing to

1115
00:53:19,120 --> 00:53:22,520
Speaker 3: be great. And something that I really believe that I've

1116
00:53:22,520 --> 00:53:25,360
Speaker 3: worked hard with Dave as well would have been putting

1117
00:53:25,400 --> 00:53:28,359
Speaker 3: the finished tracks together, is that the comedy isn't just

1118
00:53:28,400 --> 00:53:30,759
Speaker 3: in the lyrics. It's got to be in the orchestration.

1119
00:53:30,880 --> 00:53:33,000
Speaker 3: It's got to be in the rhythm. What's the funniest

1120
00:53:33,880 --> 00:53:36,440
Speaker 3: sound or sample or type of drum that we could

1121
00:53:36,520 --> 00:53:38,759
Speaker 3: use here to emphasize this joke. So there's so many

1122
00:53:38,760 --> 00:53:41,000
Speaker 3: different layers of it, which is why it's very time

1123
00:53:41,040 --> 00:53:45,319
Speaker 3: consuming but very satisfying that we've got it right. It's

1124
00:53:45,360 --> 00:53:50,080
Speaker 3: also where a whole lot the idea to As I

1125
00:53:50,120 --> 00:53:51,879
Speaker 3: said before, you know, I wanted to do a show

1126
00:53:51,920 --> 00:53:55,800
Speaker 3: about fuck boys as a species that I'd encountered in

1127
00:53:55,840 --> 00:53:59,319
Speaker 3: the wild. But the boy band piece came later. And

1128
00:53:59,400 --> 00:54:02,160
Speaker 3: it was when I was at a party and I

1129
00:54:02,200 --> 00:54:08,320
Speaker 3: saw this guy repeat, almost forbade him, the same attempt

1130
00:54:08,360 --> 00:54:11,439
Speaker 3: at picking up a woman three times in the course

1131
00:54:11,480 --> 00:54:12,640
Speaker 3: of one night that I went, oh my god, it's

1132
00:54:12,640 --> 00:54:14,120
Speaker 3: like a dance routine. And then I went, oh my god,

1133
00:54:14,160 --> 00:54:16,080
Speaker 3: it's like a dance routine. And that's where it sort

1134
00:54:16,120 --> 00:54:19,520
Speaker 3: of crystallized to me seeing this really performative element and

1135
00:54:19,560 --> 00:54:22,600
Speaker 3: I was like, oh, it is a routine. We can

1136
00:54:22,680 --> 00:54:25,480
Speaker 3: rehearse this, and we can these two things can work together.

1137
00:54:25,840 --> 00:54:26,200
Speaker 2: Wow.

1138
00:54:26,200 --> 00:54:28,160
Speaker 3: A huge shout out to that man. Thank you.

1139
00:54:28,200 --> 00:54:33,080
Speaker 1: Can you please reveal at least like the first three moves,

1140
00:54:33,160 --> 00:54:34,680
Speaker 1: like an idea?

1141
00:54:35,480 --> 00:54:39,879
Speaker 3: There was you know what, It's funny because there was that,

1142
00:54:40,200 --> 00:54:43,120
Speaker 3: But there was also another guy that after I had

1143
00:54:43,120 --> 00:54:47,520
Speaker 3: that idea that I guess maybe you know when you

1144
00:54:48,080 --> 00:54:49,759
Speaker 3: notice a red car and then suddenly all you can

1145
00:54:49,800 --> 00:54:51,480
Speaker 3: see is red cars. I'd had this thought of like,

1146
00:54:51,480 --> 00:54:53,000
Speaker 3: oh my gosh, it's like a routine, and then I

1147
00:54:53,000 --> 00:54:56,000
Speaker 3: started seeing it everywhere. And my favorite example of this

1148
00:54:56,200 --> 00:54:58,960
Speaker 3: is when I was at a family friend's place for

1149
00:54:58,960 --> 00:55:03,800
Speaker 3: a holiday, a holiday long weekend, and I had told

1150
00:55:03,800 --> 00:55:05,600
Speaker 3: her about this idea for a show that I was

1151
00:55:05,640 --> 00:55:08,000
Speaker 3: working on, and she said, oh, you'll love my cousin.

1152
00:55:08,040 --> 00:55:10,080
Speaker 3: Then he's a fuck boy, and I was like, fantastic,

1153
00:55:10,120 --> 00:55:11,920
Speaker 3: I'm going to do some research, and so I made

1154
00:55:11,960 --> 00:55:14,399
Speaker 3: sure to talk to him all weekend and at one

1155
00:55:14,440 --> 00:55:18,319
Speaker 3: point at the weekend, we're all outside looking up at

1156
00:55:18,360 --> 00:55:20,240
Speaker 3: the stars. It's a beautiful night. That was a bonfire,

1157
00:55:20,239 --> 00:55:22,480
Speaker 3: all having a great time, and he asked me, can

1158
00:55:22,480 --> 00:55:25,520
Speaker 3: you read any can you read the stars? And I said, oh, no,

1159
00:55:25,800 --> 00:55:27,919
Speaker 3: I know the poth handle, that's it. And he goes, here,

1160
00:55:28,000 --> 00:55:30,960
Speaker 3: let me show you. And he put around me and

1161
00:55:30,960 --> 00:55:33,760
Speaker 3: started pointing out stars and I said, wow, they're so beautiful.

1162
00:55:33,920 --> 00:55:36,200
Speaker 3: And then he looked at me and goes, yeah, it

1163
00:55:36,320 --> 00:55:38,600
Speaker 3: is beautiful just looking at me. And I think he

1164
00:55:38,719 --> 00:55:41,600
Speaker 3: thought that was a really amazing line. But then I

1165
00:55:41,640 --> 00:55:44,240
Speaker 3: went back the next year for that same holiday weekend

1166
00:55:45,080 --> 00:55:49,600
Speaker 3: and he, forbadim said that same exchange to another woman,

1167
00:55:49,800 --> 00:55:53,000
Speaker 3: and it made me so arm around, happy, arm around. Wow,

1168
00:55:53,040 --> 00:55:55,600
Speaker 3: the stars are so beautiful. What a beautiful view. Yeah,

1169
00:55:55,680 --> 00:55:59,880
Speaker 3: it is a beautiful view looking directly at this woman. Perfect, perfect,

1170
00:56:00,400 --> 00:56:03,600
Speaker 3: Thank you so much. Directly into the script, that's ideas you.

1171
00:56:03,560 --> 00:56:08,279
Speaker 1: Go watching your show with my wife, Audrey, who's she's

1172
00:56:08,280 --> 00:56:10,000
Speaker 1: a little bit younger than me, not like she's seven

1173
00:56:10,040 --> 00:56:13,120
Speaker 1: years younger than me, but we both very much are

1174
00:56:13,120 --> 00:56:16,400
Speaker 1: of the same era of being a part of that

1175
00:56:16,440 --> 00:56:20,720
Speaker 1: boy band. Think it'd be incredible if a western country

1176
00:56:20,800 --> 00:56:24,120
Speaker 1: could do anything to rival what South Korea is doing.

1177
00:56:24,400 --> 00:56:27,359
Speaker 1: I don't think it's possible, all right, because we just

1178
00:56:27,440 --> 00:56:33,719
Speaker 1: don't have the machine like industry that feeds for every

1179
00:56:33,719 --> 00:56:35,840
Speaker 1: one of those people, Like when we did Australian Idol,

1180
00:56:35,880 --> 00:56:37,360
Speaker 1: for every one other person that you saw on the

1181
00:56:37,360 --> 00:56:39,919
Speaker 1: top twelve, we probably had to audition around fifteen hundred

1182
00:56:39,960 --> 00:56:40,800
Speaker 1: and twelve hundred people.

1183
00:56:41,280 --> 00:56:43,640
Speaker 2: Okay, we just don't have the numbers.

1184
00:56:44,200 --> 00:56:47,720
Speaker 1: So to have like a little love letter in time

1185
00:56:48,560 --> 00:56:51,719
Speaker 1: to the moment where you know, this was the real

1186
00:56:51,760 --> 00:56:54,880
Speaker 1: cultural thing and so formative for so many people.

1187
00:56:55,040 --> 00:56:58,759
Speaker 2: I think even though the Georgia you.

1188
00:56:58,719 --> 00:57:01,520
Speaker 1: Know, usually the economics of it, the artist she really

1189
00:57:01,640 --> 00:57:04,479
Speaker 1: likes you're a solo artists because you can't really tour

1190
00:57:04,600 --> 00:57:04,959
Speaker 1: a band.

1191
00:57:04,960 --> 00:57:06,800
Speaker 2: It's not really it costs too much money.

1192
00:57:06,800 --> 00:57:10,719
Speaker 1: You have seen hotel rooms yeah, and flights me and

1193
00:57:10,760 --> 00:57:13,160
Speaker 1: a tool manager easy. So that's the kind of artist

1194
00:57:13,160 --> 00:57:16,480
Speaker 1: you followers, all solo artists now. But it doesn't mean

1195
00:57:16,520 --> 00:57:18,240
Speaker 1: that people who maybe didn't grow up with boy bands

1196
00:57:18,280 --> 00:57:20,280
Speaker 1: couldn't get a vibe out of what's happening in your show.

1197
00:57:20,520 --> 00:57:22,600
Speaker 3: Well that's the thing that really struck me into me

1198
00:57:22,640 --> 00:57:24,600
Speaker 3: by surprise. So we did the first ever version of

1199
00:57:24,640 --> 00:57:26,920
Speaker 3: it as part of the New Work's Festival at Old

1200
00:57:26,960 --> 00:57:29,040
Speaker 3: Fits a couple of years ago, and that was great

1201
00:57:29,040 --> 00:57:31,760
Speaker 3: because I learned so much, and you know, the show's

1202
00:57:31,800 --> 00:57:34,240
Speaker 3: grown from them. But I really just expected that the

1203
00:57:34,280 --> 00:57:38,120
Speaker 3: audience would be women my age who'd maybe you know,

1204
00:57:38,280 --> 00:57:41,640
Speaker 3: dated and encounted some fuck boys. It didn't really click

1205
00:57:41,680 --> 00:57:43,920
Speaker 3: to me until we saw that the audiences there were

1206
00:57:43,960 --> 00:57:45,840
Speaker 3: a lot of people of all ages who'd grown up

1207
00:57:46,120 --> 00:57:49,080
Speaker 3: with boy bands, and that the container, you know, it's

1208
00:57:49,120 --> 00:57:51,320
Speaker 3: about fuck boy behavior, but the container of the show

1209
00:57:51,400 --> 00:57:53,840
Speaker 3: is this boy band. That the nostalgia piece was going

1210
00:57:53,880 --> 00:57:56,200
Speaker 3: to be such a drawer cut. Hadn't even clicked on

1211
00:57:56,240 --> 00:57:59,520
Speaker 3: my brain until we started seeing the audiences and whether

1212
00:57:59,600 --> 00:58:01,680
Speaker 3: you grow with new Kids on the Block or backstreet

1213
00:58:01,720 --> 00:58:06,760
Speaker 3: boys or five or one direction, that each generation has

1214
00:58:06,800 --> 00:58:08,960
Speaker 3: that anchor point. And so that was really interesting to

1215
00:58:09,040 --> 00:58:15,919
Speaker 3: us that that it was a wider age range demographic

1216
00:58:16,560 --> 00:58:19,160
Speaker 3: than I was expecting, and that people just have such

1217
00:58:19,160 --> 00:58:21,480
Speaker 3: a soft spot in their hearts for that sort of

1218
00:58:21,560 --> 00:58:24,760
Speaker 3: music because it also reminds you of, you know, maybe

1219
00:58:24,760 --> 00:58:27,040
Speaker 3: when you are twelve and you've got that poster that

1220
00:58:27,080 --> 00:58:30,000
Speaker 3: you're talking back to and a more innocent time.

1221
00:58:30,320 --> 00:58:32,000
Speaker 2: Yeah that song is actually for me.

1222
00:58:32,160 --> 00:58:34,720
Speaker 1: Yeah they're singing it's not for you, Jackie it's for me,

1223
00:58:35,240 --> 00:58:38,600
Speaker 1: and we already agreed that was my boyfriend, not yours exactly.

1224
00:58:38,960 --> 00:58:41,080
Speaker 1: There will be fights later in the playground.

1225
00:58:41,160 --> 00:58:42,520
Speaker 2: I will call you a very creative name.

1226
00:58:42,600 --> 00:58:44,080
Speaker 3: We had a fight in you two when we all

1227
00:58:44,200 --> 00:58:46,720
Speaker 3: entered the Talent Quest as Spice girls, but we all

1228
00:58:46,720 --> 00:58:48,680
Speaker 3: wanted to be baby Spice. And then one of our

1229
00:58:48,800 --> 00:58:50,680
Speaker 3: very wise mothers said, okay, well then just all be

1230
00:58:50,880 --> 00:58:53,760
Speaker 3: baby Spice. There's eleven of you, there's only five Spice girls.

1231
00:58:53,880 --> 00:58:56,120
Speaker 3: All just be eleven baby spices. And we were.

1232
00:58:56,720 --> 00:59:02,360
Speaker 1: That's see supervisation, Yes and flexible. Good job, mum, that's

1233
00:59:02,480 --> 00:59:06,560
Speaker 1: really very very good. One of the songs in the show.

1234
00:59:06,760 --> 00:59:10,080
Speaker 1: It's a testament to a time when I guess before

1235
00:59:10,120 --> 00:59:11,720
Speaker 1: you had to swipe, I mean, go through all the

1236
00:59:11,800 --> 00:59:15,680
Speaker 1: trouble swiping for sex. You actually had to push a

1237
00:59:15,720 --> 00:59:18,160
Speaker 1: button on a Nokia like fifteen times.

1238
00:59:18,240 --> 00:59:20,200
Speaker 3: Yeah, when we used to work for things I worked.

1239
00:59:20,400 --> 00:59:21,640
Speaker 1: Do you know how much effort it took me to

1240
00:59:21,680 --> 00:59:25,680
Speaker 1: type this out with my thumb, the words you up,

1241
00:59:26,240 --> 00:59:29,120
Speaker 1: sometimes just the letter you wow. You know, because I

1242
00:59:29,160 --> 00:59:31,440
Speaker 1: care about your time, I don't want to waste it.

1243
00:59:32,320 --> 00:59:34,160
Speaker 1: I don't want to spoil the show. But that's just

1244
00:59:34,280 --> 00:59:39,960
Speaker 1: magnificent ode to shitty pick up culture and how transactional

1245
00:59:40,080 --> 00:59:42,680
Speaker 1: relationships have unfortunately become.

1246
00:59:42,760 --> 00:59:45,120
Speaker 3: Yeah, and that's the thing. Like that song is my

1247
00:59:45,160 --> 00:59:48,080
Speaker 3: favorite song in the entire show, and it's our second song,

1248
00:59:48,160 --> 00:59:49,840
Speaker 3: and it was the last song that I wrote. I

1249
00:59:49,840 --> 00:59:52,200
Speaker 3: couldn't quite figure out this missing puzzle piece of the script,

1250
00:59:52,800 --> 00:59:55,480
Speaker 3: and then I just thought, why fied it? It's a

1251
00:59:55,520 --> 00:59:58,200
Speaker 3: simple thing in front of me on my Phone's that's

1252
00:59:58,240 --> 01:00:00,240
Speaker 3: what it's all about. And it is, you know, the

1253
01:00:00,280 --> 01:00:02,960
Speaker 3: whole show is. Yes, as we've talked about. It has

1254
01:00:03,040 --> 01:00:06,400
Speaker 3: some deeper critiques, I guess, but it's pretty affectionate. And

1255
01:00:07,400 --> 01:00:09,360
Speaker 3: I think that song as well. I love because it

1256
01:00:09,360 --> 01:00:12,760
Speaker 3: feels like the most boy bandy. I think Dave and

1257
01:00:12,800 --> 01:00:15,000
Speaker 3: I really nailed the production of that song.

1258
01:00:15,320 --> 01:00:18,400
Speaker 1: What are the challenges of being, like I said, all

1259
01:00:18,440 --> 01:00:21,560
Speaker 1: female cast, all in drag. What are the challenges of

1260
01:00:21,640 --> 01:00:23,720
Speaker 1: trying to get that look? Because you've got to get

1261
01:00:23,720 --> 01:00:26,200
Speaker 1: the look right, got to get the look yeap. What

1262
01:00:26,680 --> 01:00:28,240
Speaker 1: was the thing that gave you the real breakthrough with

1263
01:00:28,240 --> 01:00:29,080
Speaker 1: getting the look right?

1264
01:00:29,560 --> 01:00:29,760
Speaker 2: Yeah?

1265
01:00:29,800 --> 01:00:31,680
Speaker 3: Well we did, you know, we really tried to find

1266
01:00:31,720 --> 01:00:34,440
Speaker 3: the different archetypes within the band. So there is the

1267
01:00:34,520 --> 01:00:37,320
Speaker 3: cute like little brother boy next door type, there's the

1268
01:00:37,440 --> 01:00:39,600
Speaker 3: leader of the group, there's the bad boy, there's.

1269
01:00:39,480 --> 01:00:40,080
Speaker 2: The heart throb.

1270
01:00:40,160 --> 01:00:44,240
Speaker 3: Finding those elements and yeah, as you say, we've got

1271
01:00:44,240 --> 01:00:46,880
Speaker 3: a female and non binary cast playing these roles and

1272
01:00:46,920 --> 01:00:52,680
Speaker 3: so finding the ways where we can leave ourselves, you know,

1273
01:00:52,760 --> 01:00:56,880
Speaker 3: and find this completely new look has been hilarious and challenging.

1274
01:00:57,360 --> 01:01:01,720
Speaker 3: But we've experimented, played with a lot of different drag maker,

1275
01:01:01,760 --> 01:01:04,000
Speaker 3: We've tried a lot of different looks, we've tried a

1276
01:01:04,000 --> 01:01:06,600
Speaker 3: lot of different eras of boy band style to find

1277
01:01:06,640 --> 01:01:09,680
Speaker 3: what sort of worked for us. But it's really remarkable.

1278
01:01:09,920 --> 01:01:11,880
Speaker 3: The first time that we ever put on our costumes

1279
01:01:11,880 --> 01:01:15,640
Speaker 3: and makeup, we worked with this amazing makeup artist who

1280
01:01:15,640 --> 01:01:17,400
Speaker 3: does a lot of drag tutorials, and she came in

1281
01:01:17,440 --> 01:01:20,000
Speaker 3: and gave us this fabulous lesson about how to transform

1282
01:01:20,000 --> 01:01:22,640
Speaker 3: into the lads. And as soon as we put on

1283
01:01:22,680 --> 01:01:25,640
Speaker 3: the makeup and we put on our costumes, it really

1284
01:01:25,800 --> 01:01:28,240
Speaker 3: was very transformative and we all just you know, we're

1285
01:01:28,240 --> 01:01:31,040
Speaker 3: taking up more space and it was it was so

1286
01:01:31,160 --> 01:01:33,920
Speaker 3: much fun and it really was the thing that unlocked

1287
01:01:33,920 --> 01:01:37,920
Speaker 3: the performance performance for us. One of our cast members,

1288
01:01:37,920 --> 01:01:42,160
Speaker 3: Megan Walsh, who's this phenomenal actor. She plays Tyler, who's

1289
01:01:42,200 --> 01:01:45,520
Speaker 3: like the heart throb of the band, the jock, and

1290
01:01:46,120 --> 01:01:49,800
Speaker 3: his look is, you know, eyebrow slit, very like muscly

1291
01:01:50,200 --> 01:01:53,400
Speaker 3: protein bro, that kind of vibe. But in her life

1292
01:01:53,520 --> 01:01:56,320
Speaker 3: outside of this show, she works as a burlesque performer

1293
01:01:56,520 --> 01:02:00,120
Speaker 3: in the most sort of like nineteen forties fifties an

1294
01:02:00,200 --> 01:02:03,880
Speaker 3: upstarle that you could imagine. So she has this double

1295
01:02:03,920 --> 01:02:07,919
Speaker 3: life at the moment where it's the epitome of femininity

1296
01:02:08,320 --> 01:02:11,680
Speaker 3: and all of this thing going to this Tyler skeazy

1297
01:02:11,960 --> 01:02:15,760
Speaker 3: jock bro. It's amazing. It's just been such a lesson

1298
01:02:15,800 --> 01:02:19,640
Speaker 3: that gender is just such a performance. You know, it's.

1299
01:02:19,520 --> 01:02:23,880
Speaker 1: Amazing going to see Fuck Boys the musical is it

1300
01:02:23,960 --> 01:02:26,600
Speaker 1: is the best date night you'll ever go on, ever, ever.

1301
01:02:27,240 --> 01:02:29,720
Speaker 2: And I don't know how much time you got to

1302
01:02:29,760 --> 01:02:30,720
Speaker 2: do it, but.

1303
01:02:32,360 --> 01:02:35,520
Speaker 1: If you want, what would be really fun is we

1304
01:02:35,600 --> 01:02:39,440
Speaker 1: could recreate like a kind of Channel V segment where

1305
01:02:40,280 --> 01:02:42,600
Speaker 1: you know, I interview the band, or we get Danny

1306
01:02:43,040 --> 01:02:45,800
Speaker 1: Clayton to interview the band, and we could just do

1307
01:02:45,840 --> 01:02:47,920
Speaker 1: the whole thing with the crash Zooms and the Dutch Tilts,

1308
01:02:48,000 --> 01:02:50,600
Speaker 1: and we could you know, and then cut it up.

1309
01:02:50,640 --> 01:02:52,320
Speaker 1: We could run it through a processing things so it

1310
01:02:52,320 --> 01:02:54,360
Speaker 1: looks like it's VHS whatever, But.

1311
01:02:54,320 --> 01:02:56,760
Speaker 2: Like that's a total like you totally want to do

1312
01:02:56,800 --> 01:02:57,400
Speaker 2: it if you want to.

1313
01:02:57,400 --> 01:02:59,439
Speaker 1: Like if you want to, I don't know wherever you're going,

1314
01:02:59,440 --> 01:03:02,080
Speaker 1: but we could absolutely make that happen.

1315
01:03:02,120 --> 01:03:04,520
Speaker 2: We could light it like it like we used to

1316
01:03:04,600 --> 01:03:05,400
Speaker 2: light those things.

1317
01:03:05,480 --> 01:03:09,880
Speaker 1: And because there was a particular way that those bands

1318
01:03:09,880 --> 01:03:11,800
Speaker 1: that the performance wasn't just on stage, it was also

1319
01:03:12,440 --> 01:03:15,440
Speaker 1: the way that people are in interviews is as choreographed

1320
01:03:15,440 --> 01:03:16,360
Speaker 1: and as created.

1321
01:03:16,440 --> 01:03:18,920
Speaker 3: They're maintaining their characters and all that press that they do.

1322
01:03:18,960 --> 01:03:22,560
Speaker 1: The answers they give are or very written beforehand, and

1323
01:03:22,560 --> 01:03:24,840
Speaker 1: they are rehearsed, just like the dance moves.

1324
01:03:25,040 --> 01:03:26,200
Speaker 2: The questions are approved.

1325
01:03:26,640 --> 01:03:29,880
Speaker 1: It was I mean, you could tell when the questions

1326
01:03:29,880 --> 01:03:32,440
Speaker 1: weren't approved but they just didn't answer them. You're like,

1327
01:03:32,640 --> 01:03:36,280
Speaker 1: oh really mate, Okay, it was fun because we're naughty

1328
01:03:36,320 --> 01:03:39,080
Speaker 1: boys live, but you can tell when they would be like,

1329
01:03:39,080 --> 01:03:40,800
Speaker 1: oh fuck, I don't know what to do here because

1330
01:03:40,840 --> 01:03:44,000
Speaker 1: the guy is over there with the stern look and he's.

1331
01:03:43,840 --> 01:03:45,320
Speaker 3: Got my past who tells us what to do?

1332
01:03:45,600 --> 01:03:47,800
Speaker 2: Yeah, yeah, pretty much. So yeah, we should totally do that.

1333
01:03:47,840 --> 01:03:48,840
Speaker 3: We should totally do that.

1334
01:03:49,920 --> 01:03:50,960
Speaker 2: It'll be mad, mad fun.

1335
01:03:52,360 --> 01:03:53,640
Speaker 1: I can't wait to see it because the show has

1336
01:03:53,680 --> 01:03:55,640
Speaker 1: changed obviously, as you mentioned, like, the show's changed a bit.

1337
01:03:55,640 --> 01:03:58,080
Speaker 1: And there's the best part about a live performance is

1338
01:03:58,120 --> 01:04:02,000
Speaker 1: that you could tweak time every night. But there's a

1339
01:04:02,080 --> 01:04:07,640
Speaker 1: thing about going to see something live. You're not going

1340
01:04:07,720 --> 01:04:09,680
Speaker 1: to get the same performance that people got the night before,

1341
01:04:10,240 --> 01:04:12,920
Speaker 1: and the people the next night won't get that performance

1342
01:04:13,440 --> 01:04:16,440
Speaker 1: really truly relies on the reaction that you give as

1343
01:04:16,440 --> 01:04:18,640
Speaker 1: an audience member, and if you laugh a little harder

1344
01:04:18,680 --> 01:04:22,800
Speaker 1: at something particularly dark, the cast no, oh shit, there's

1345
01:04:22,840 --> 01:04:24,080
Speaker 1: some dark stuff coming up later.

1346
01:04:24,640 --> 01:04:25,600
Speaker 2: I'm gonna milk ut just.

1347
01:04:27,880 --> 01:04:29,600
Speaker 1: And I'm going to be maybe a little bit prem

1348
01:04:29,720 --> 01:04:32,560
Speaker 1: or pointed about it, and you're not going to get

1349
01:04:32,560 --> 01:04:35,280
Speaker 1: that rubbing your phone with your finger hoping something magic

1350
01:04:35,320 --> 01:04:35,880
Speaker 1: is going to happen.

1351
01:04:36,520 --> 01:04:39,160
Speaker 3: And I hope as well, with the dark things that

1352
01:04:39,240 --> 01:04:41,600
Speaker 3: the show does touch on that at least it can

1353
01:04:41,720 --> 01:04:44,960
Speaker 3: be some sort of fast as people go, oh, it's

1354
01:04:45,000 --> 01:04:47,240
Speaker 3: not just me who went through that terrible experience of

1355
01:04:47,320 --> 01:04:50,720
Speaker 3: being you know, love bombed or gas lighting or whatever

1356
01:04:50,760 --> 01:04:53,560
Speaker 3: it was, and we can all laugh together at the

1357
01:04:53,600 --> 01:04:55,000
Speaker 3: absurdity of the whole thing.

1358
01:04:56,160 --> 01:04:58,600
Speaker 2: Thanks for coming around, Thanks for having again.

1359
01:05:01,800 --> 01:05:04,560
Speaker 1: That is Brady Connell. The show is called Fuck Boys

1360
01:05:04,600 --> 01:05:07,080
Speaker 1: Live in Concert. It is at the Melbourne International Comedy

1361
01:05:07,120 --> 01:05:10,320
Speaker 1: Festival right now until the sixth of a.

1362
01:05:10,560 --> 01:05:15,480
Speaker 2: Brawl, So get hard into that. Do not miss it.

1363
01:05:15,480 --> 01:05:16,880
Speaker 2: It is genius.

1364
01:05:16,920 --> 01:05:19,840
Speaker 1: It is absolutely, absolutely genius. It is one of the

1365
01:05:19,880 --> 01:05:23,439
Speaker 1: most important conversations about masculinity in the modern world that I.

1366
01:05:23,320 --> 01:05:25,560
Speaker 2: Have ever seen. And it's also hilarious.

1367
01:05:25,600 --> 01:05:27,640
Speaker 1: And I still can sing the songs in my head

1368
01:05:27,720 --> 01:05:29,520
Speaker 1: and I saw the show maybe nine months ago.

1369
01:05:30,640 --> 01:05:33,720
Speaker 2: Unbelievable. Thank you so much for listening to the show.

1370
01:05:34,000 --> 01:05:35,520
Speaker 1: If you want to get in touch and stay in touch,

1371
01:05:35,560 --> 01:05:37,320
Speaker 1: there's a newsletter in the show notes you can get

1372
01:05:37,320 --> 01:05:39,480
Speaker 1: on that. Don't forget your audiobook on there.

1373
01:05:39,560 --> 01:05:41,520
Speaker 2: It's free, it's yours habit. I want you to have it.

1374
01:05:42,000 --> 01:05:43,560
Speaker 1: And also come and see us live when we do

1375
01:05:43,600 --> 01:05:46,400
Speaker 1: the Story Club gigs. That's in Sydney. But if you

1376
01:05:46,400 --> 01:05:48,240
Speaker 1: come make it to the show, there's a YouTube link

1377
01:05:48,280 --> 01:05:49,680
Speaker 1: for that as well in the show notes. Thanks to

1378
01:05:49,760 --> 01:05:52,160
Speaker 1: Damien Haffanan and the team for putting the show together today.

1379
01:05:52,320 --> 01:05:55,520
Speaker 2: I'll see you back here on Monday.