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Speaker 1: Nine podcasts you might effect but blind a laudcropt you

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Speaker 1: and I'm Freddie Young and welcome back to another episode

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Speaker 1: of Admission.

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Speaker 2: Where have we been? Where have we been? Where have

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Speaker 2: we been?

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Speaker 1: I know I've missed you? Ras did you miss me?

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Speaker 2: Oh well, yeah, of course it's I suppose it's only

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Speaker 2: been a fortnight. But I actually I am pleased. I

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Speaker 2: am pleased to report that yesterday I was at a

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Speaker 2: I was at a party, and the party I was

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Speaker 2: having a chap to some people in their twenties and

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Speaker 2: they said to me, jeez, jeez, Russ, we hope you're

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Speaker 2: doing admission because of this week, because we missed you

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Speaker 2: last week. Freddy, how good that.

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Speaker 1: That's really And what do you think maybe it's a

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Speaker 1: is it? Could we? I mean it definitely wasn't intentional,

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Speaker 1: but is it maybe a good strategy to occasionally just

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Speaker 1: go dark?

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Speaker 2: Or Scarcity works? As you know, Freddie, I mean it's

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Speaker 2: scarcity of course, is one of those things which really

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Speaker 2: smart marketers understand the role of scarcity, because you know,

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Speaker 2: there's always a temptation that more is more. However that's

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Speaker 2: not always the case. If you can actually have people,

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Speaker 2: you know, pent up demand, what's in pent up demand margin.

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Speaker 1: We've got a good example actually of topics to cover today. Actually,

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Speaker 1: so yeah, today, Russ, we're going to talk about Aura,

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Speaker 1: their new campaign. I want to talk to you about

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Speaker 1: the abundance agenda, sort of a topic coming out of

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Speaker 1: here the US and luxury some sales effects going on there.

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Speaker 1: Interesting And I've also got a pitch for you, Russ,

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Speaker 1: in regards to encouraging weddings and marriage in Australia.

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Speaker 2: Okay, well, I'm up for all of that now before

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Speaker 2: we go there. On I think I did. I think

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Speaker 2: I said it on LinkedIn that Freddy Young should have

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Speaker 2: a book club called think Tank. Now. I thought that

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Speaker 2: was a pretty good idea. I got nothing from.

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Speaker 1: I didn't I didn't toss you alike or something like that.

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Speaker 2: Nothing.

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Speaker 1: I'm sorry, Ras. I do actually really really like that

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Speaker 1: as an idea, and it sort of has the feel,

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Speaker 1: I guess of like it could become something more. You know,

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Speaker 1: It's one of those things if you read sort of

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Speaker 1: historical stories, like you know, it's the beginning of you know,

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Speaker 1: a runaway political party or sort of a revolutionary guard.

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Speaker 1: It started off as a very innocent, innocuous book club,

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Speaker 1: but things just got out of hand, and you know,

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Speaker 1: in twenty years time, we're all at the guillotine. But

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Speaker 1: I think it's a really good name.

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Speaker 2: Well it's a good name, and I can see you

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Speaker 2: doing it as well. I can see you creating a

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Speaker 2: book club called think Tank, and I can see it prospering.

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Speaker 2: I mean, you know, I mean everyone these days has

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Speaker 2: got something going on on the side, so to speak, Freddy,

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Speaker 2: and I'm just I'm here to encourage. Just because it

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Speaker 2: was one of those quick ideas doesn't mean it's a

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Speaker 2: bad idea, all right. This is this is one of

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Speaker 2: the things that one of the things you've always got

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Speaker 2: to be very careful about when your time your idea right,

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Speaker 2: So you need I think what you need to do

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Speaker 2: is you need to make sure that the receiver of

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Speaker 2: the idea, the potential buyer of the idea, they need

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Speaker 2: to be ready. They need to be ready to buy.

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Speaker 2: One of my great failings has always been not putting

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Speaker 2: in the time and the effort to make sure that

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Speaker 2: the buyer of the idea is ready to buy. You know,

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Speaker 2: I get too excited about ideas. I just go, oh, mate,

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Speaker 2: here's here is the perfect idea for you bang and try,

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Speaker 2: and just I suppose assume that the buyer of the idea,

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Speaker 2: like you Freddie right, goes, yes, Russell, that is a

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Speaker 2: good idea. I will do a book club and call

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Speaker 2: it think Tank. But no, you weren't ready for it.

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Speaker 1: It's it's actually it's something that it resonates with me

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Speaker 1: very deeply, and I'm sure it would anyone who has

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Speaker 1: been part of a large project. And you know, the

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Speaker 1: brief has come in and off the bat you've sort

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Speaker 1: of said, oh, well, I think we should do a

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Speaker 1: and people ah, yeah, maybe or not, maybe not, And

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Speaker 1: the working group then spends another couple of weeks going

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Speaker 1: through it, and then you know, the third person there says, hey,

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Speaker 1: this might sound crazy, but what if we did a

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Speaker 1: And everyone goes, You're a genius, and just sitting there

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Speaker 1: fuming in your seat, trying your best not to scream

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Speaker 1: at everyone that why weren't you listening three weeks ago?

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Speaker 2: But here's the thing, you know, and we've always got

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Speaker 2: to go back to Paul Arden, Paul Arden and his

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Speaker 2: book It's not how good you are, it's how good

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Speaker 2: you want to be? Give one of his great lines,

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Speaker 2: give away your ideas they're not yours anyway. I've always

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Speaker 2: liked that as a as a notion. You know, if

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Speaker 2: you hold your ideas too close to your chest, they're

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Speaker 2: not yours anyway. I really I've always thought that, you know,

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Speaker 2: that's probably fair enough. I'm happy to go with that,

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Speaker 2: because I'm going to hit you with an idea shortly

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Speaker 2: which I'm not sure that it is original. You know,

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Speaker 2: I can tell myself Jesus Us, well done, right, but

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Speaker 2: I'm pretty certain that it's not. In fact, now as

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Speaker 2: I'm talking about it, I can remember where it came from.

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Speaker 2: I've sort of given them a bit of a different

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Speaker 2: spin in my own mind, but no, I can actually

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Speaker 2: recall where it came from. So here's another one that

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Speaker 2: we had the other day. I was having a conversation

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Speaker 2: on Saturday evening with one of the great TV writers

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Speaker 2: of Australia genuinely, John Cassima is his name, and he

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Speaker 2: was one of the original grumin people in fact, and

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Speaker 2: I said to him, we had this idea on admission

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Speaker 2: the other day that there should be writing writers writing

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Speaker 2: rooms in the commercial creative ie advertising world, And he goes,

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Speaker 2: what don't you do that? I said, no, we don't.

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Speaker 2: If you've got a culture of give away your ideas

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Speaker 2: because they're not yours anyway, then why would you not

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Speaker 2: actually have a writing room for the creation of advertising ideas?

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Speaker 2: And I'd go another step on this one, Freddy. Given

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Speaker 2: the machines are going to do most of the work

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Speaker 2: comes to the ads, marketing, communication media, a lot of machines,

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Speaker 2: right are going to get involved, why would you not

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Speaker 2: actually say, you know what, we're going to create a

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Speaker 2: writing room where there's six brains, let's just say six.

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Speaker 2: There are six brains that are going to absolutely articulate

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Speaker 2: the very best platform we possibly can and write it

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Speaker 2: beautifully because the thing that we are going to be

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Speaker 2: able to do better than the machine is the writing.

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Speaker 1: That is very true. I think I saw a post

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Speaker 1: actually the other day that said, and I think I

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Speaker 1: agree with it. It's that your posture towards AI is

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Speaker 1: very much so dependent on your ability to gauge the

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Speaker 1: quality of its writing. So if you read a lot

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Speaker 1: and you can write a decent sentence and you're as

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Speaker 1: in effect, just not very impressed by the style of

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Speaker 1: writing that comes out of it, then you're actually not

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Speaker 1: too worried. Whereas if it's regularly pumping out something and

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Speaker 1: it makes you more articulate than you currently are, then

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Speaker 1: of course you're terrified.

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Speaker 2: Yeah, yeah, well I suppose what happens. I mean, I'm

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Speaker 2: sure you do this, Freddy, I know I do. If

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Speaker 2: you're listening to a speech, you've got your AI filter

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Speaker 2: right up, don't, haven't you? So yeah, and you can't

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Speaker 2: help yourself, Canny, You cannot help yourself. But think I

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Speaker 2: know where you've been leaning or what you've been leaning on.

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Speaker 1: I should say, it's it's incredible how it's that. There

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Speaker 1: are a few tells. Obviously, the M dash is a

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Speaker 1: very large one. That's just everywhere now, sort of that

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Speaker 1: double hyphen, which is a shame because I actually I

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Speaker 1: employed the M dash and I still do so much.

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Speaker 1: And I hate how that's I'm now getting No one's

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Speaker 1: directly done it, but I'm getting accused, I'm sure by

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Speaker 1: readers of using AI in my writing because of that.

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Speaker 1: But the other one is, and I hate this so

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Speaker 1: much now i'd see red whenever I read this. But

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Speaker 1: whenever a sentence says it's it's not about this.

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Speaker 2: It's about X. That is.

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Speaker 1: For whatever reason, Chatpt just loves to throw that one

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Speaker 1: out there.

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Speaker 2: So this is my.

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Speaker 1: Plea to the world. Please please delete that sentence from

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Speaker 1: anything that goes out to the public.

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Speaker 2: So tell me about M dash. I don't know about

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Speaker 2: M dash.

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Speaker 1: The M dash is like a hyphen in It's called

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Speaker 1: an M dash because it is the width of an

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Speaker 1: M in a typesetter, and you might use it instead

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Speaker 1: of a comma sometimes where you might say that was

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Speaker 1: sold to me by my friend Freddy. You could use

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Speaker 1: a comma or you might use a dash, and it

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Speaker 1: just conveys a bit more of a punch, whereas a

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Speaker 1: comma is more of a sort of an underhanded gesture.

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Speaker 1: I feel like the M dash is more of a

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Speaker 1: direct point. I feel like Kerawak would have used an

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Speaker 1: M dash and not a comma. So that's why I

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Speaker 1: always liked it. It's got force, it's got energy to it.

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Speaker 2: Totally. I'm massive on the dash. I just didn't know

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Speaker 2: that it was called an M dash. I pretty much

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Speaker 2: write everything with a dash. I've got dashes everywhere.

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Speaker 1: Yeah, no, it's you do take me actually very much

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Speaker 1: as more of a dash man than a comma.

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Speaker 2: Very much a dash man.

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Speaker 1: I'm secretly I'm becoming more as I get older. I'm

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Speaker 1: not entirely sure if I'm using it correctly. But the

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Speaker 1: weird thing I've noticed to myself is I'm now a

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Speaker 1: semi colon. Man, I love a semi colon.

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Speaker 2: Oh yeah, semi colons. Well, when you when you've got

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Speaker 2: to do, you know a list of things you know,

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Speaker 2: and and you use the semi colon in between each

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Speaker 2: of the you know items on that list. Oh magnificent.

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Speaker 2: Now I do need you to say repeat, Secretly, I'm

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Speaker 2: an Mdashman. Secretly, I'm a dash Man. Secretly, I'm a

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Speaker 2: dash Man. Was it from a SpongeBob SquarePants? Secretly I'm

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Speaker 2: a little naive one of my favorite Spongebobs. We need

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Speaker 2: Charlie Aycroft and repeat the all of SpongeBob from beginning

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Speaker 2: to end.

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Speaker 1: He has he has the SpongeBob cannon within his mind.

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Speaker 2: Man, Now, Freddy to the agenda. What are you going

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Speaker 2: to do? First?

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Speaker 1: First, I'd like to talk to you about Aura's latest campaign. So,

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Speaker 1: Aura is the finish health tracking ring brand, and they've

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Speaker 1: just recently launched a bold new campaign titled give Us

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Speaker 1: the Finger. I heard about this first actually this morning

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Speaker 1: I was listening to a podcast and the host read

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Speaker 1: was going through their usual fare, and then they finished

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Speaker 1: their read out about Aura's new campaign, and they finished

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Speaker 1: it with give us the Finger, and it stopped me

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Speaker 1: dead in my tracks, and I thought, what an incredible line.

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Speaker 1: We've actually got a clip. Let's watch this kiss a.

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Speaker 2: Wren stop. I'm get seven, I would.

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Speaker 1: So what we've just seen is a sh short, fifteen

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Speaker 1: second version of a beautiful sixty second film that I

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Speaker 1: think everyone anyone involved in and in advertising should go

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Speaker 1: and watch. But this campaign features real older New yorkers

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Speaker 1: and performers, including tango dancers and a street ball legend,

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Speaker 1: lifting up their index finger and sort of challenging a

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Speaker 1: young person, often overcoming young people in quite an almost

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Speaker 1: aggressive but a very proud manner. When you watch that spot,

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Speaker 1: what's the first thing? What strikes you about it? Russ?

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Speaker 2: Well, until ninety seconds ago, I had no interest in

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Speaker 2: having an Aura, And now I've already started Google searching.

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Speaker 2: Where do I go? Seriously? That is? I suppose it's

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Speaker 2: about my age as much as anything, because they're showing

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Speaker 2: me in a way, aren't they. In the advertising was

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Speaker 2: one of the great mysteries of advertising, like should you

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Speaker 2: show the audience in the ad. Yeah, I just think

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Speaker 2: that is very, very powerful. They've done the exceptional and

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Speaker 2: all I've seen is the fifteen second, so I imagine

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Speaker 2: that thirty the sixty, as you say, is fabulous, because

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Speaker 2: what I was also going to say to you is,

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Speaker 2: not only wasn't Iron Aura Bayer until a moment ago,

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Speaker 2: how well have they done that in order to achieve

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Speaker 2: that in fifteen seconds?

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Speaker 1: It's incredible and you are right, So go watch the

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Speaker 1: sixty because it's beautiful and it's just as fun.

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Speaker 2: To watch it.

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Speaker 1: But as a creative construct as well, it works just

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Speaker 1: as well in the fifteen and I haven't seen it yet,

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Speaker 1: but I dare say there will be six second spots

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Speaker 1: that are just as beautiful and moving. So at all

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Speaker 1: levels of execution here, I am in love with this

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Speaker 1: campaign and that point you just made their RUSS though

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Speaker 1: about that question around showing the audience, show the audience here.

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Speaker 1: So what's really interesting about this campaign is if you

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Speaker 1: were to compare say the Aura and their current strategy

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Speaker 1: to maybe another health tech brand, another wearable like Woop

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Speaker 1: so Whoop went, it really embedded itself with elite athletes

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Speaker 1: and even special forces units. So we're seeing NFL stars,

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Speaker 1: baseball stars, Navy seals even becoming better and indispensable through

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Speaker 1: the data and the insights that they're uncovering. And all

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Speaker 1: the spots are sort of as you'd expect of the category.

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Speaker 1: You're seeing cyclists go up a hill and you know

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Speaker 1: there's lots of data sort of above hanging above their

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Speaker 1: heads and whatnot. We haven't in this spot, we haven't

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Speaker 1: even they don't even mention the data. They don't actually

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Speaker 1: tell you, like, they don't show you an interface, they

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Speaker 1: don't show you anything that the product actually does. So

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Speaker 1: like it's it's just a beautifully subtle and emotional appeal

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Speaker 1: to a new, potentially underserved audience in this market. I

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Speaker 1: really love it.

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Speaker 2: Yeah, the line, the line is outstanding. As you said,

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Speaker 2: give us the finger. Outstanding line and it is so interesting,

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Speaker 2: isn't it. Where just sometimes looking cool is enough, And.

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Speaker 1: You're so right, that's the takeaway of this campaigns sometimes

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Speaker 1: it's enough to look cool.

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Speaker 2: This has always been one of the battles between let's say,

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Speaker 2: the fashion business and traditional advertising, right, so let's just

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Speaker 2: let's agree. I think we will agree on this that

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Speaker 2: what they've done with Aura is actually they've said, we're

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Speaker 2: going to call We're going to turn it into a

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Speaker 2: fashion brand. So it is fashionable to wear an aura

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Speaker 2: ring and have a look at the have a look

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Speaker 2: at the wearers in the advertising. I'd like to be

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Speaker 2: just like them, right, So they've used the fashion advertising model.

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Speaker 2: Advertising people, traditional advertising people have always struggled to, I think,

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Speaker 2: discern what is fashion advertising versus what isn't In the

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Speaker 2: advertising agency, people are always looking for the idea, right, So,

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Speaker 2: what's what is the idea for a product, brand, service

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Speaker 2: X that we can then, you know, what's the proposition?

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Speaker 2: We can jump off an idea, off that proposition and

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Speaker 2: create advertising. Fashion don't really care about ideas, right in

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Speaker 2: the In the world of fashion, it's I want to

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Speaker 2: make my product dress, skirt, or or a ring look cool, right,

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Speaker 2: and I want it to look cool to a particular audience.

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Speaker 2: And it looks so cool that that particular audience says,

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Speaker 2: I want to look just like that what I've just

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Speaker 2: seen in that ad. Okay, it is it is no

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Speaker 2: more complex than that. And yet and yet, goodness me,

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Speaker 2: do we work hard to make it more complex than that.

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Speaker 2: It's I suppose that's a observation maybe I'm wrong, but

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Speaker 2: that's what it feels like.

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Speaker 1: It's it's definitely I can imagine behind the scenes, a

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Speaker 1: lot of the work would have been done behind the

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Speaker 1: sense of at earlier stages, whether it was by the

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Speaker 1: brand itself or by the Age and See they were

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Speaker 1: working with to say, we really are going to focus

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Speaker 1: on an older demographic here, and in fact, we're going

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Speaker 1: to make this platform really about aging and conquering and

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Speaker 1: vitality into old age, which is that sort of the

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Speaker 1: courageous part. And once they've signed off on that, most

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Speaker 1: of the work's sort of already done there. I think

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Speaker 1: it's really really a beautiful, defensible strategy going forward, and

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Speaker 1: the fact that they've got the visual so as you've

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Speaker 1: often told me, I thought of Ted Horden when I

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Speaker 1: saw this, so as an extension of this campaign, a

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Speaker 1: real life activation. They got a bunch of older New Yorkers,

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Speaker 1: like a whole parade of them, to get into yellow

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Speaker 1: cabs and then to drive around town giving pedestrians the

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Speaker 1: finger sort of waving IV they're index Finder out and

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Speaker 1: then of course all the reaction shots are then young

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Speaker 1: people giving it back and having a wonderful time. And

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Speaker 1: the question i'd put to you, Rus is do you

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Speaker 1: think this is going to resonate and encourage younger demographics,

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Speaker 1: because I'm sure that would have been the trade off

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Speaker 1: in their mind would have been are we going to

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Speaker 1: lose Are we going to lose some young people here?

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Speaker 2: Well? Maybe you are. However, what you are doing is

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Speaker 2: pointing yourself at the richest demography in the history of

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Speaker 2: the world in that you've got Yeah, I mean, you know,

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Speaker 2: let's say born between forty six and say sixty five,

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Speaker 2: seven done and sixty five. Let's say that between forty

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Speaker 2: six and sixty five. Certainly in the Australian context, it's

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Speaker 2: twenty five percent of the population and fifty percent of

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Speaker 2: the wealth, and so right, and what do they want?

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Speaker 2: They want longevity, clearly they want We all want longevity.

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Speaker 2: They are going to buy into it. You could probably

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Speaker 2: triple the price of an aura and they still sell twice.

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Speaker 2: You know, as many it's going to go completely nuts,

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Speaker 2: would be my having seen that fifteen seconds. But it

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Speaker 2: strikes me as they've got it right. And equally they've

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Speaker 2: managed to in the communication to the client, they've managed

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Speaker 2: to persuade the client. You know what, there's this incredible.

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Speaker 2: You know, there's demography is in our favor here. If

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Speaker 2: we go down this strategic route, this creative route, we

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Speaker 2: are in a demographic sense, We're going to absolutely make Makay,

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Speaker 2: We're going to do really well. And I mean we're

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Speaker 2: going to have to track it, aren't we, Freddie, because

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Speaker 2: you know, our speculation is this is going to brain it.

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Speaker 2: I just hope it does now ay too.

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Speaker 1: And I think that's a really that's exactly the correct

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Speaker 1: argument I think you've just put there, Russ, is that

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Speaker 1: we're not this isn't a creative appeal. We are facing

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Speaker 1: our sale to a demographic We're letting the world the

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Speaker 1: fuel this camp and it's success here. I think that's

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Speaker 1: really deft. That's exactly right.

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Speaker 2: Yeah. And if we use you know, if we use

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Speaker 2: the John Steel, the John Steel VENN diagram human truth,

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Speaker 2: culture truth, brand truth, you know cultural truth. You know,

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Speaker 2: seventy is the new fifty, sixty is the new forty.

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Speaker 2: All right, human truth, No one wants to die, right

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Speaker 2: brand truth. This teake will help you, you know, have

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Speaker 2: a fulfilling life. I mean, just bang away, you go.

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Speaker 1: Beautiful, beautiful, well done to everyone involved. That I think

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Speaker 1: the agency. There was nice and frank, so give a

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Speaker 1: shout out to them. Incredible, incredibly well done.

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Speaker 2: I was thinking, you're right. I mean, once you've all agreed,

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Speaker 2: once you've agreed the creative strategy, the only thing you

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Speaker 2: then need to do, like, what's the next thing a

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Speaker 2: phone call to the director? Right? Who's the director? The director?

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Speaker 2: I think in this case matters. So I don't know

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Speaker 2: who directed it, but you know, if I was in

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Speaker 2: that situation, you'd say, someone get me Guy Richie.

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Speaker 1: Yes, and it's yeah, it is reminiscent of that. And

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Speaker 1: when you go watch the sixty you'll see even some

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Speaker 1: more I guess visual effects at play there. It's a

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Speaker 1: spot that's very much even though it works really well

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Speaker 1: at the fifteen, the sixty second is very well worth

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Speaker 1: your time. It's an entertaining, watchworthy spot. Moving along us,

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Speaker 1: So have you heard of this is an idea that's

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Speaker 1: gaining quite a bit of popularity and a bit of

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Speaker 1: stead here over in the US. But are you familiar

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Speaker 1: with the abundance agenda?

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Speaker 2: I'm king to know more.

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Speaker 1: This is an idea largely getting pushed by Ezra Kleine

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Speaker 1: of The New York Times and Derek Thompson of the Atlantic.

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Speaker 1: And so the Abundance Agenda is essentially a manifesto for

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Speaker 1: the Democratic Party here in the US, and it argues

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Speaker 1: that the answer to so many social problems isn't really

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Speaker 1: about redistrict We need to start talking about the supply

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Speaker 1: side of things. So they want to see more housing,

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Speaker 1: more infrastructure, more clean energy, more childcare, more immigration, more

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Speaker 1: abundance of everything. Not about cutting the pie, but making

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Speaker 1: a bigger one. So this is a push and a

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Speaker 1: really I think compelling idea for the Democratic Party going forward.

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Speaker 1: And so some of the ideas or like you know,

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Speaker 1: the theories or the practices that they'd like to see

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Speaker 1: is increase in yimbiism. So yes in my backyard, so

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Speaker 1: zoning reform there, huge clean energy investments, and really just

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Speaker 1: deregulation around the bottlenecks of vetocracy to unlock infrastructure growth.

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Speaker 1: And so I'm sure in Australia there's still a lot

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Speaker 1: of conversation. I'd lean on you to get a richer

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Speaker 1: picture of what's going on over there, But I imagine the

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Speaker 1: Liberal Party is right now sort of gathering itself and

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Speaker 1: figuring out what we can do in the future to

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Speaker 1: really sort of reclaim our spot. And it struck me

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Speaker 1: as really quite strange and who would have guessed this?

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Speaker 1: But the new vision for the Democratic Party here in

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Speaker 1: the US, I think just translates so well for the

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Speaker 1: Liberal Party back in Australia.

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Speaker 2: What do you think I can see where you're going?

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Speaker 2: And yes is the answer. So what I think is

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Speaker 2: interesting is liberal strategy. Liberal strategy needs to be for everyone, right,

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Speaker 2: So it shouldn't be about, oh, we need to appeal

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Speaker 2: to people who've got it, you know, let's say right leanings,

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Speaker 2: or what it should be is we need to ensure

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Speaker 2: that everyone can see the benefits for everyone off the

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Speaker 2: back of what we do. And the Abundance Agenda is

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Speaker 2: about this is going to be good for everyone, right.

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Speaker 2: So housing is a really interesting one. So the Liberal

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Speaker 2: Party or sounds like the Democrats. I'll have to do

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Speaker 2: some reading about the abundance Agenda. You've definitely piqued me

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Speaker 2: interest there, how housing supply right, So clearly, clearly housing

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Speaker 2: is a significant issue in Australia, like a massive problem,

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Speaker 2: you know where. I mean the average house the average

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Speaker 2: house price here is twice what it is in the UK.

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Speaker 2: I mean, it's utterly mental you've got to have for you, Freddie,

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Speaker 2: for you to buy a house, it's probably going to

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Speaker 2: be ten times what you're earning, whereas when I bought

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Speaker 2: a house it was three times what I was earning.

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Speaker 2: That's only one generation to go. Supply Supply is everything

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Speaker 2: in Melbourne. In Melbourne two and a half percent, it

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Speaker 2: might be actually Victoria two and a half percent of

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Speaker 2: the total total housing stock. Two and a half percent

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Speaker 2: is public in France, for example, Well in Paris it's

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Speaker 2: twenty five percent of the total housing Vienna. It's more

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Speaker 2: than that. The very idea that we have not got,

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Speaker 2: the very idea that we have a supply issue in

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Speaker 2: housing is just utterly mental. Right, So that needs to

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Speaker 2: be fixed and fixed fast. And yeah, why wouldn't the

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Speaker 2: Liberal Party takes some Demo lead, you know, some lead

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Speaker 2: from the Democrat strategy. They should do that. Why wouldn't

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Speaker 2: you do that? I I'm completely on the positive around Yimbi.

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Speaker 2: I was at a train station called Jewel on Thursday.

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Speaker 2: Now Jewel is north of Melbourne, Freddie, it's basically Brunswick. Yeah,

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Speaker 2: and I saw the future when I was at the

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Speaker 2: Duel train station because there is a brilliant r MIT campus.

430
00:24:27,840 --> 00:24:31,640
Speaker 2: Right there. There is a beautiful public pool, the Brunswick

431
00:24:31,640 --> 00:24:35,639
Speaker 2: Public Pool. There is an amazing place to go shopping

432
00:24:35,680 --> 00:24:39,920
Speaker 2: and get what you need Sydney Road. And there's some

433
00:24:40,080 --> 00:24:44,320
Speaker 2: really cool apartments which are all around the train station.

434
00:24:46,160 --> 00:24:50,200
Speaker 2: That is what Melbourne will rapidly become. That is what

435
00:24:50,280 --> 00:24:53,440
Speaker 2: we will rapidly become. And I say, well, that looks

436
00:24:53,480 --> 00:24:55,480
Speaker 2: like a really good place to live. Why wouldn't I

437
00:24:55,520 --> 00:24:57,800
Speaker 2: want to be near an educated near where I can

438
00:24:57,800 --> 00:24:59,679
Speaker 2: get educated, Near where I can have a swim, near

439
00:24:59,720 --> 00:25:01,920
Speaker 2: where I I can go to the pub and also

440
00:25:01,920 --> 00:25:04,320
Speaker 2: get the groceries. And Okay, so the price I've got

441
00:25:04,359 --> 00:25:05,639
Speaker 2: to pay is I don't have a back garden. Well,

442
00:25:05,640 --> 00:25:07,760
Speaker 2: who wants a back garden anyway? I prefer to be

443
00:25:07,800 --> 00:25:09,280
Speaker 2: downstairs talking to my neighbors.

444
00:25:09,600 --> 00:25:13,680
Speaker 1: I agree entirely. It's something I sort of I guess.

445
00:25:14,240 --> 00:25:18,800
Speaker 1: I wonder how many of my generation are going to

446
00:25:18,800 --> 00:25:22,679
Speaker 1: be opting or looking for places that. Well, let me

447
00:25:22,680 --> 00:25:25,920
Speaker 1: put it this way. If I were to give someone

448
00:25:26,000 --> 00:25:29,280
Speaker 1: my age the option of a place that's a little

449
00:25:29,320 --> 00:25:33,040
Speaker 1: further out, harder to get to, with a backyard, and

450
00:25:33,080 --> 00:25:35,719
Speaker 1: a place a good apartment, same sort of you know,

451
00:25:36,600 --> 00:25:42,199
Speaker 1: let's say internal inside land size square footage, but you

452
00:25:42,240 --> 00:25:46,200
Speaker 1: know it's an apartment and there's no backyard. How far

453
00:25:46,359 --> 00:25:50,639
Speaker 1: out do you go before people start opting for the apartment.

454
00:25:50,920 --> 00:25:54,439
Speaker 1: And culturally, do we still just like have this idea

455
00:25:54,600 --> 00:25:57,720
Speaker 1: of like a status of needing to have a backyard

456
00:25:57,760 --> 00:25:59,159
Speaker 1: for you to really have made it?

457
00:25:59,240 --> 00:26:02,200
Speaker 2: What do you think? Yeah, there's there's there are stats

458
00:26:02,240 --> 00:26:05,080
Speaker 2: that that is still very much the Australian dream and

459
00:26:06,359 --> 00:26:09,960
Speaker 2: which I can understand. But equally, you know, the promotion

460
00:26:10,119 --> 00:26:12,199
Speaker 2: of yes in my backyard needs to happen, and so

461
00:26:12,280 --> 00:26:15,160
Speaker 2: there isn't really I don't know that anyone's actually prosecuted.

462
00:26:15,200 --> 00:26:18,040
Speaker 2: The strong you know, the strong argument around well, this

463
00:26:18,160 --> 00:26:21,240
Speaker 2: is actually how it actually because this is how it

464
00:26:21,280 --> 00:26:25,080
Speaker 2: has to work, because you can't keep on expanding because okay,

465
00:26:25,119 --> 00:26:28,920
Speaker 2: so therefore all of the services have got to keep

466
00:26:28,920 --> 00:26:30,760
Speaker 2: on expanding. And if you just think of a circle

467
00:26:30,760 --> 00:26:33,119
Speaker 2: in your head. This is in the Melbourne context, if

468
00:26:33,440 --> 00:26:35,159
Speaker 2: you think of a circle in your head and there's that,

469
00:26:35,520 --> 00:26:38,080
Speaker 2: there's the boundary, the current boundary. If you keep on

470
00:26:38,119 --> 00:26:40,400
Speaker 2: going out from that boundary, clearly what's going to happen

471
00:26:40,440 --> 00:26:42,119
Speaker 2: is you're going to have less and less housing the

472
00:26:42,160 --> 00:26:46,080
Speaker 2: further out you get, right, so you can't afford to

473
00:26:46,080 --> 00:26:49,520
Speaker 2: do it. So as long as you're on train lines,

474
00:26:49,760 --> 00:26:53,560
Speaker 2: as long as the development happens on train lines, I e.

475
00:26:53,720 --> 00:26:58,520
Speaker 2: The apartment, the apartment, mid size apartment. I really wish

476
00:26:58,600 --> 00:27:03,040
Speaker 2: in our city we had no tower apartments. I just

477
00:27:03,040 --> 00:27:05,920
Speaker 2: don't understand that we should just have medium density apartments.

478
00:27:06,840 --> 00:27:08,840
Speaker 2: You know, we should we should aim to be we

479
00:27:08,840 --> 00:27:11,680
Speaker 2: should aim to look like Paris, not New York.

480
00:27:11,760 --> 00:27:13,679
Speaker 1: Tunny you say that that's that's the city in my

481
00:27:13,720 --> 00:27:16,040
Speaker 1: mind when you were describing Duel just then. And I

482
00:27:16,040 --> 00:27:18,800
Speaker 1: know people are probably smirking as I say this, but

483
00:27:18,840 --> 00:27:21,159
Speaker 1: as you were describing Duel, I was thinking, God, that

484
00:27:21,200 --> 00:27:22,520
Speaker 1: sounds like Paris, really doesn't.

485
00:27:22,800 --> 00:27:26,600
Speaker 2: Yeah, well, of course that Houseman. I think Houseman was

486
00:27:26,600 --> 00:27:30,359
Speaker 2: the designer of the New Paris, which which interestingly was built.

487
00:27:30,400 --> 00:27:32,400
Speaker 2: Paris was built about the same time as Melbourne was built.

488
00:27:32,520 --> 00:27:36,000
Speaker 2: Was pretty interesting, right, and so they they well, there's

489
00:27:36,040 --> 00:27:39,800
Speaker 2: nothing over five stories, right. And but the important thing

490
00:27:39,960 --> 00:27:42,920
Speaker 2: is whenever you go into, you know, a middle class

491
00:27:43,560 --> 00:27:48,199
Speaker 2: Paris apartment, they're substantial in terms of size. There is

492
00:27:48,280 --> 00:27:50,840
Speaker 2: plenty of there is plenty of space within which you

493
00:27:50,880 --> 00:27:54,600
Speaker 2: can have a good family life because it's medium density

494
00:27:54,640 --> 00:27:57,919
Speaker 2: has been sort of the overriding you know, planning that

495
00:27:57,960 --> 00:28:01,600
Speaker 2: they've had there for well forever. So I mean, imagine

496
00:28:01,640 --> 00:28:03,919
Speaker 2: if we could just redo docklands right now, Freddy, if

497
00:28:03,960 --> 00:28:06,200
Speaker 2: we could redo the docklands, what you would do is

498
00:28:06,240 --> 00:28:08,879
Speaker 2: you'd pull down everything that was there, maybe apart from

499
00:28:08,920 --> 00:28:12,240
Speaker 2: the footy stadium, right, pull down everything, and you just

500
00:28:12,359 --> 00:28:15,439
Speaker 2: you would have amazing medium density living. And I'll go

501
00:28:15,480 --> 00:28:18,880
Speaker 2: one step further. You know when I say a quadrangle, right,

502
00:28:19,400 --> 00:28:22,600
Speaker 2: you know in a business, in a business, in the

503
00:28:22,640 --> 00:28:26,520
Speaker 2: building context, quadrangles like as in a quad.

504
00:28:27,800 --> 00:28:30,800
Speaker 1: Square, a village square exactly that.

505
00:28:30,960 --> 00:28:33,560
Speaker 2: So imagine because the issue with the docklands when you're

506
00:28:33,600 --> 00:28:36,040
Speaker 2: down there is like it's windy, right, It's cold and windy,

507
00:28:36,320 --> 00:28:38,360
Speaker 2: which is why when people came to live in Melbourne

508
00:28:38,360 --> 00:28:39,959
Speaker 2: they didn't they didn't got to the docklands. They went

509
00:28:40,040 --> 00:28:43,560
Speaker 2: east because it was better. So you can deal you

510
00:28:43,600 --> 00:28:47,400
Speaker 2: can deal with the wind if you have medium density quadrangles.

511
00:28:48,000 --> 00:28:50,800
Speaker 2: So the garden, the shared gardens are inside the building,

512
00:28:50,840 --> 00:28:52,120
Speaker 2: not outside the buildings. That makes sense.

513
00:28:52,200 --> 00:28:54,560
Speaker 1: Yeah, I really like that. And there's actually that there's

514
00:28:54,600 --> 00:28:57,280
Speaker 1: a beautiful I've I've determined, if I'm ever rich enough

515
00:28:57,280 --> 00:29:01,320
Speaker 1: to buy and to my own place, I'm actually going

516
00:29:01,400 --> 00:29:03,200
Speaker 1: to have my and if it does have a garden,

517
00:29:03,240 --> 00:29:05,000
Speaker 1: it's going to be at the center of the house,

518
00:29:05,120 --> 00:29:07,200
Speaker 1: not at the back. I'm not going to have a backyard.

519
00:29:07,240 --> 00:29:10,440
Speaker 1: I'm going to have a midyard, exactly.

520
00:29:11,120 --> 00:29:13,920
Speaker 2: I love the idea of a midyard, right, and I

521
00:29:14,040 --> 00:29:17,400
Speaker 2: fully endorsed the midyard. See, I'm fast too, I'm fast

522
00:29:17,800 --> 00:29:19,240
Speaker 2: to appreciate your ideas for it.

523
00:29:21,040 --> 00:29:25,200
Speaker 1: Well, you've always been a very open minded, receptive man, Russ.

524
00:29:26,440 --> 00:29:28,640
Speaker 1: So I saw this other story, well, actually a couple

525
00:29:28,640 --> 00:29:31,920
Speaker 1: of stories that have sort of confluenced. There's a confluence

526
00:29:31,920 --> 00:29:35,600
Speaker 1: of stories right now happening in the world of luxury, Russ.

527
00:29:35,840 --> 00:29:39,760
Speaker 1: So you, as you know, the big buyer of Dior

528
00:29:39,880 --> 00:29:42,760
Speaker 1: and Chanelle that I know you are, you would have

529
00:29:42,840 --> 00:29:46,440
Speaker 1: realized that since twenty nineteen, do you'r Chanelle have hyped

530
00:29:46,520 --> 00:29:50,600
Speaker 1: their prices something like seventy five percent. So this really

531
00:29:50,960 --> 00:29:55,920
Speaker 1: was an example of greed flation. And the argument made

532
00:29:56,000 --> 00:29:59,680
Speaker 1: was people sort of like kept buying them, and it's

533
00:29:59,680 --> 00:30:03,400
Speaker 1: sort of I've created this idea really that oh jeez,

534
00:30:03,480 --> 00:30:05,720
Speaker 1: the elite when you're aiming at these markets, you can

535
00:30:05,760 --> 00:30:08,840
Speaker 1: really just charge anything, and they're of course going to

536
00:30:08,920 --> 00:30:13,600
Speaker 1: keep buying because you know, it's really no concept to them.

537
00:30:13,640 --> 00:30:15,440
Speaker 1: They're completely elastic.

538
00:30:15,520 --> 00:30:18,280
Speaker 2: They actually want they actually want the brand symbol to

539
00:30:18,360 --> 00:30:21,480
Speaker 2: equal ridiculous price. That's that's right, right, So when they

540
00:30:21,480 --> 00:30:23,360
Speaker 2: walk down the street, people say, oh my god, that's

541
00:30:23,360 --> 00:30:25,360
Speaker 2: a thirty five thousand dollars handbag exactly.

542
00:30:25,560 --> 00:30:29,080
Speaker 1: But what's been strange is that this year we've actually

543
00:30:29,120 --> 00:30:32,880
Speaker 1: seen some effects of this. So the brands that were

544
00:30:32,880 --> 00:30:36,600
Speaker 1: really guilty, like De Orange, Chanell, you know, a Chanell

545
00:30:36,680 --> 00:30:40,360
Speaker 1: Classic bag now costs more than a Rolex sub Mariner,

546
00:30:41,760 --> 00:30:45,480
Speaker 1: they've actually started to see price hits, sorry, sales hits.

547
00:30:45,520 --> 00:30:47,720
Speaker 2: It makes no sense, is it that a Chanel bag

548
00:30:47,760 --> 00:30:50,360
Speaker 2: costs more than a watch? Makes no sense at all.

549
00:30:50,520 --> 00:30:54,840
Speaker 1: It's entered a weird, a weird territory. You're right, it's

550
00:30:54,840 --> 00:30:57,880
Speaker 1: completely illogical, and they're suffering now for it. They're starting

551
00:30:57,880 --> 00:31:02,080
Speaker 1: to see sales hits. And the more modest brands, I

552
00:31:02,200 --> 00:31:05,960
Speaker 1: think it was Louis Vauton perhaps wasn't getting so carried away.

553
00:31:06,480 --> 00:31:10,320
Speaker 1: They're having much stronger sales because they sort of remained

554
00:31:10,320 --> 00:31:14,880
Speaker 1: at you know, for elite people. A pretty reasonable price,

555
00:31:15,320 --> 00:31:18,640
Speaker 1: and it just it struck me though, and it got

556
00:31:18,720 --> 00:31:21,480
Speaker 1: me thinking about you know, at the same time, I'm

557
00:31:21,480 --> 00:31:25,160
Speaker 1: sure you were aware, but Hailey Bieber who sold Road

558
00:31:25,440 --> 00:31:31,720
Speaker 1: Beauty to Elf Cosmetics for one billion dollars recently, I'm

559
00:31:31,800 --> 00:31:38,360
Speaker 1: wondering if these luxury brands are investing enough sort of

560
00:31:38,400 --> 00:31:45,400
Speaker 1: in their icons. Is this the first sign potentially of weakness,

561
00:31:45,400 --> 00:31:48,760
Speaker 1: a first crack in the mask of Dior and Chanelle,

562
00:31:48,800 --> 00:31:51,520
Speaker 1: because who knows like that are they going to reduce

563
00:31:51,840 --> 00:31:55,440
Speaker 1: their prices? Has a luxury brand ever done that before?

564
00:31:56,080 --> 00:31:59,400
Speaker 1: So they're in a tricky position and thinking about you know,

565
00:31:59,480 --> 00:32:02,760
Speaker 1: the Umay's burken bag was you know, that was originally

566
00:32:03,440 --> 00:32:06,080
Speaker 1: sort of a copy of Jane Burke, and she used

567
00:32:06,120 --> 00:32:08,840
Speaker 1: to carry around a picnic basket because you know, it

568
00:32:08,880 --> 00:32:12,680
Speaker 1: could carry her newspaper and all her books, and that's

569
00:32:12,720 --> 00:32:16,240
Speaker 1: how it sort of became an iconic and very expensive

570
00:32:16,400 --> 00:32:20,160
Speaker 1: thing to own. I think luxury brands may have forgotten,

571
00:32:20,520 --> 00:32:24,440
Speaker 1: unlike these celebrity driven brands, just how important, like the

572
00:32:24,560 --> 00:32:29,680
Speaker 1: personal story was to their success, like these meaningful icons.

573
00:32:29,720 --> 00:32:31,960
Speaker 1: So I guess the question I wanted to ask you

574
00:32:32,160 --> 00:32:35,400
Speaker 1: is thinking about the future of these luxury brands. Is

575
00:32:35,440 --> 00:32:38,880
Speaker 1: it enough just to have a celebrity on the billboard

576
00:32:39,480 --> 00:32:41,960
Speaker 1: or do these luxury brands need to start thinking about

577
00:32:42,000 --> 00:32:45,000
Speaker 1: how they can really tell stories around their products again.

578
00:32:44,800 --> 00:32:48,240
Speaker 2: Well, well, and get back to scarcity as well, right,

579
00:32:48,440 --> 00:32:52,080
Speaker 2: because you know, this is the industrialization of luxury luxury

580
00:32:53,000 --> 00:32:55,520
Speaker 2: over well, I suppose probably the last five decades really,

581
00:32:55,760 --> 00:32:59,160
Speaker 2: whereas it's a bit like international travel pretty you know

582
00:33:01,600 --> 00:33:05,200
Speaker 2: only well probably two generations ago. But two generations ago,

583
00:33:05,720 --> 00:33:09,040
Speaker 2: if you got on a plane and went overseas from

584
00:33:09,440 --> 00:33:11,480
Speaker 2: in the Australian contact, gone on a plane and flew

585
00:33:11,520 --> 00:33:14,920
Speaker 2: to Europe for a holiday, my god, you were rich, right,

586
00:33:14,960 --> 00:33:18,440
Speaker 2: you were, you were really really part of the jet set.

587
00:33:19,720 --> 00:33:23,160
Speaker 2: And of course that's just normal now. So and I

588
00:33:23,200 --> 00:33:26,000
Speaker 2: suppose that is what's happened to luxury brands if they've

589
00:33:26,040 --> 00:33:30,080
Speaker 2: they've gone the way of of travel, luxury travel, I suppose,

590
00:33:30,200 --> 00:33:33,400
Speaker 2: And what they do need to do is find a

591
00:33:33,400 --> 00:33:35,120
Speaker 2: way to get back to having give it a scarcity.

592
00:33:35,160 --> 00:33:37,520
Speaker 2: Oh I suppose. Look, you know what, there's a ton

593
00:33:37,560 --> 00:33:40,080
Speaker 2: of there's still a ton of the world to sell to, right,

594
00:33:40,800 --> 00:33:45,360
Speaker 2: So if you're in the luxury brand mastiche is that

595
00:33:45,440 --> 00:33:49,480
Speaker 2: the word, right? So if you're if you're what is

596
00:33:49,480 --> 00:33:52,920
Speaker 2: it LVMH if that's if that's your business. Okay, so

597
00:33:53,040 --> 00:33:55,880
Speaker 2: maybe maybe on Fifth Avenue you're not selling the thirty

598
00:33:55,880 --> 00:33:58,840
Speaker 2: five thousand dollars Chanel bag like you used to. However,

599
00:33:59,280 --> 00:34:03,200
Speaker 2: in India, China and South America they're going off right,

600
00:34:03,800 --> 00:34:07,520
Speaker 2: So maybe on a global scale, you're not so worried

601
00:34:07,560 --> 00:34:10,640
Speaker 2: about this one thing. I am really pleased though, Freddie

602
00:34:10,760 --> 00:34:13,680
Speaker 2: is it clearly clearly the sort of the notion of

603
00:34:13,719 --> 00:34:15,840
Speaker 2: Fifth Avenue and fashion brands. It's starting to sort of

604
00:34:16,239 --> 00:34:18,680
Speaker 2: get into you, get into your psyche there for you.

605
00:34:18,719 --> 00:34:19,640
Speaker 2: I'm very happy about that.

606
00:34:19,960 --> 00:34:25,399
Speaker 1: It's it's hard, it's hard not to you walk around. Yeah,

607
00:34:25,480 --> 00:34:28,600
Speaker 1: it's I was actually I was having a discussion with

608
00:34:28,960 --> 00:34:32,480
Speaker 1: my girlfriend the other day and she she conferred, she

609
00:34:32,560 --> 00:34:37,600
Speaker 1: admitted that she can she's felt a change in her

610
00:34:37,640 --> 00:34:41,400
Speaker 1: psyche walking around, being like, like, my idea of what

611
00:34:41,440 --> 00:34:45,239
Speaker 1: it meant to make it back in Australia is very

612
00:34:45,280 --> 00:34:49,080
Speaker 1: different to what my idea of making it is in America.

613
00:34:49,280 --> 00:34:51,160
Speaker 2: It's just it is a world.

614
00:34:51,400 --> 00:34:53,640
Speaker 1: It is a world apart, and it changes the way

615
00:34:53,680 --> 00:34:55,480
Speaker 1: you think about things. As much as you try.

616
00:34:55,520 --> 00:34:58,680
Speaker 2: There's no question, no, no, no, there's no question that

617
00:34:58,680 --> 00:35:02,120
Speaker 2: that's what happens when I when I worked in London.

618
00:35:03,360 --> 00:35:06,799
Speaker 2: I can't tell you how badly I needed a dun

619
00:35:06,960 --> 00:35:14,400
Speaker 2: Hill briefcase. I mean literally, I don't know what. I

620
00:35:14,440 --> 00:35:16,040
Speaker 2: don't know that I would have committed a crime to

621
00:35:16,040 --> 00:35:20,839
Speaker 2: get it, but geez it, I had to have it.

622
00:35:20,960 --> 00:35:23,759
Speaker 2: I just had to have it. And you had to

623
00:35:23,800 --> 00:35:26,600
Speaker 2: have a mont Blanc pen. If you didn't have a

624
00:35:26,600 --> 00:35:29,839
Speaker 2: mont Blanc pin Freddy, you were no one. No one

625
00:35:30,080 --> 00:35:32,759
Speaker 2: you were, You weren't going to get anywhere, mate. So

626
00:35:33,520 --> 00:35:36,400
Speaker 2: is it brands and how they reflect to and what

627
00:35:36,440 --> 00:35:38,799
Speaker 2: you are and your ambition and where you're going. They

628
00:35:38,840 --> 00:35:41,160
Speaker 2: do play a very very very big role where you

629
00:35:41,239 --> 00:35:41,839
Speaker 2: live right now?

630
00:35:42,080 --> 00:35:44,880
Speaker 1: Absolutely? And just on a quick tangent there you're mentioning

631
00:35:45,239 --> 00:35:46,799
Speaker 1: mont Blanc. Did I tell you I went to an

632
00:35:46,800 --> 00:35:49,640
Speaker 1: event called Letters Live the other evening?

633
00:35:49,719 --> 00:35:50,239
Speaker 2: Sounds good?

634
00:35:50,280 --> 00:35:54,080
Speaker 1: Tell me it was an event that started in London.

635
00:35:54,640 --> 00:35:57,799
Speaker 1: But so you rock up at a theater and it's

636
00:35:57,800 --> 00:36:00,279
Speaker 1: sort of a stage up front and a lectern and

637
00:36:00,440 --> 00:36:04,279
Speaker 1: surprise celebrity guests for the evening, one at a time

638
00:36:04,320 --> 00:36:07,000
Speaker 1: will come out and they'll read like a famous letter

639
00:36:07,120 --> 00:36:12,200
Speaker 1: from history. So you get yeah, it was a really fun,

640
00:36:12,719 --> 00:36:16,520
Speaker 1: beautiful evening. Like ansel aunsel el gort he was the

641
00:36:16,600 --> 00:36:20,640
Speaker 1: lead character in the Fault Now stars and amongst a

642
00:36:20,680 --> 00:36:25,160
Speaker 1: bunch of other really talented, exciting celebrities, they read these

643
00:36:25,719 --> 00:36:27,719
Speaker 1: letters from history and did a beautiful job sort of

644
00:36:27,800 --> 00:36:30,759
Speaker 1: acting them out. But the whole event was brought to

645
00:36:30,800 --> 00:36:34,480
Speaker 1: you by mont Blanc Pens and I thought, well done,

646
00:36:34,600 --> 00:36:37,640
Speaker 1: mont Blanc, really really good, because you know what I

647
00:36:37,680 --> 00:36:39,560
Speaker 1: want to do after this. I want to go home,

648
00:36:39,920 --> 00:36:42,120
Speaker 1: get a nice pen and write a letter to someone.

649
00:36:42,320 --> 00:36:43,439
Speaker 2: And did you I did?

650
00:36:43,640 --> 00:36:43,879
Speaker 1: Yeah?

651
00:36:43,920 --> 00:36:47,279
Speaker 2: Good man, wouldn't it be wouldn't it be glorious for

652
00:36:47,360 --> 00:36:51,919
Speaker 2: all of us if the written word came back? I mean, well, look,

653
00:36:52,040 --> 00:36:53,600
Speaker 2: as you know, I do have a little trick which

654
00:36:53,640 --> 00:36:56,799
Speaker 2: I do quite like. I write. So every Sunday I

655
00:36:56,840 --> 00:37:01,359
Speaker 2: write letters, oath letters, a letter and hopefully more than

656
00:37:01,400 --> 00:37:06,200
Speaker 2: one because I write thank you on Sundays, which I

657
00:37:06,200 --> 00:37:09,600
Speaker 2: do hand handwrite. But then I take a photograph of

658
00:37:09,640 --> 00:37:10,759
Speaker 2: the letter and text it.

659
00:37:11,160 --> 00:37:13,759
Speaker 1: I do remember you telling me Russ I forgot you

660
00:37:13,840 --> 00:37:18,040
Speaker 1: did that? That is that is such a nice brilliant

661
00:37:18,120 --> 00:37:21,719
Speaker 1: use of a Sunday. I'm really I'm really enamored with that.

662
00:37:22,000 --> 00:37:24,600
Speaker 1: Well done, well done. That's well, it's just amazing.

663
00:37:25,040 --> 00:37:32,440
Speaker 2: There's two ideas and I'm starting to get some traction made.

664
00:37:33,040 --> 00:37:36,920
Speaker 2: Oh mate that I can see you doing that, and Freddie,

665
00:37:36,920 --> 00:37:38,440
Speaker 2: I don't care if you copy me, right. It's a

666
00:37:38,480 --> 00:37:42,040
Speaker 2: good thing. It's a good thing because ultimately it's writing

667
00:37:42,040 --> 00:37:45,719
Speaker 2: a letter, all right, and there is you know, you

668
00:37:45,719 --> 00:37:48,200
Speaker 2: wouldn't even know what an aerogram is or was, do

669
00:37:48,239 --> 00:37:49,640
Speaker 2: you if I say aerogram?

670
00:37:49,800 --> 00:37:50,880
Speaker 1: No, what's an aerogram?

671
00:37:50,960 --> 00:37:56,000
Speaker 2: Okay? So aerogram was imagine a piece a full sheet

672
00:37:56,440 --> 00:38:00,760
Speaker 2: light light blue and very very very light, but beautiful

673
00:38:00,840 --> 00:38:03,560
Speaker 2: quality paper, and you would write a letter on that

674
00:38:03,640 --> 00:38:06,520
Speaker 2: a four and then folded in it was you'd then

675
00:38:06,560 --> 00:38:10,839
Speaker 2: folded in thirds and it was self ceiling, and then

676
00:38:10,880 --> 00:38:12,680
Speaker 2: you would write, you know, the address to the you know,

677
00:38:13,000 --> 00:38:16,120
Speaker 2: you know, mum blah blah blah. So this was how

678
00:38:16,200 --> 00:38:19,920
Speaker 2: everyone communicated because it was light. Therefore it could it

679
00:38:19,960 --> 00:38:22,040
Speaker 2: could go on an aeroplane and it wouldn't cost you

680
00:38:22,120 --> 00:38:24,319
Speaker 2: a lot because it was so light, you weren't paying

681
00:38:24,320 --> 00:38:27,759
Speaker 2: for the weight of the of the letter. So my

682
00:38:27,920 --> 00:38:33,319
Speaker 2: generation and generations prior to myself all wrote on aerograms

683
00:38:33,400 --> 00:38:35,400
Speaker 2: when they did their travel. You know, this was the

684
00:38:37,120 --> 00:38:39,960
Speaker 2: it was, and you know what, you probably wrote a letter,

685
00:38:40,440 --> 00:38:42,560
Speaker 2: maybe not every day, but pretty close to every day.

686
00:38:42,560 --> 00:38:44,320
Speaker 2: That was just part of the rhythm of life.

687
00:38:44,760 --> 00:38:48,520
Speaker 1: Do you remember the last sort of letter that you

688
00:38:48,560 --> 00:38:51,560
Speaker 1: wrote I'm talking about? You know, it sounds like you

689
00:38:51,600 --> 00:38:53,919
Speaker 1: actually do it quite a lot. But the last time

690
00:38:53,960 --> 00:38:58,200
Speaker 1: you say, wrote a letter of sort of the old

691
00:38:58,960 --> 00:39:01,160
Speaker 1: romantic style that I'm thinking of. Do you remember the

692
00:39:01,200 --> 00:39:01,879
Speaker 1: last one you did?

693
00:39:01,920 --> 00:39:07,040
Speaker 2: A letter of passion? Yes, exactly that. When was the

694
00:39:07,120 --> 00:39:08,640
Speaker 2: last letter of passion?

695
00:39:09,320 --> 00:39:10,360
Speaker 1: When did you ask you?

696
00:39:10,719 --> 00:39:17,839
Speaker 2: I couldn't possibly tell you, Freddy, Oh goodness, a long time.

697
00:39:17,840 --> 00:39:20,480
Speaker 2: Hey this, I've got an idea. Yep, I've got an idea.

698
00:39:21,280 --> 00:39:25,920
Speaker 2: So the way we need to get more money into

699
00:39:26,120 --> 00:39:30,080
Speaker 2: people's hands right in order back to the abundance agenda.

700
00:39:30,239 --> 00:39:34,759
Speaker 2: So I would suggest you in particularly younger people, but

701
00:39:34,840 --> 00:39:38,000
Speaker 2: you know for everyone and everyone, if they got more

702
00:39:38,000 --> 00:39:39,480
Speaker 2: money in the hands, they're going to spend more money.

703
00:39:39,560 --> 00:39:39,759
Speaker 1: Right.

704
00:39:41,440 --> 00:39:43,680
Speaker 2: Tax reform is something which has been on the agenda

705
00:39:43,760 --> 00:39:47,920
Speaker 2: in Australia four fifteen years. Nothing's happening. There is a

706
00:39:48,960 --> 00:39:51,920
Speaker 2: there is a summit. Oh, let's call it a summit.

707
00:39:52,480 --> 00:39:55,520
Speaker 2: There's a summit coming up in September which apparently is

708
00:39:55,560 --> 00:39:57,879
Speaker 2: going to be about productivity reform. You know, good luck.

709
00:39:57,960 --> 00:40:01,360
Speaker 2: Let's hope. I'm not cynical. I'm not a sn person. We

710
00:40:01,400 --> 00:40:05,719
Speaker 2: will watch with great interest, tax, productivity, et cetera. Right,

711
00:40:05,760 --> 00:40:08,640
Speaker 2: so things need to change, and everyone knows that they

712
00:40:08,680 --> 00:40:13,040
Speaker 2: need to change. What interests me is where are the

713
00:40:13,160 --> 00:40:16,920
Speaker 2: large corporates? So let's go with supermarkets for example. Clearly

714
00:40:16,960 --> 00:40:19,759
Speaker 2: it's in a supermarket's interest for more people to have

715
00:40:19,800 --> 00:40:24,200
Speaker 2: more money in their hands. Right, where's the lobby group?

716
00:40:24,239 --> 00:40:27,880
Speaker 2: Where where's the corporate lobby group, the commercial lobby group

717
00:40:29,040 --> 00:40:33,560
Speaker 2: that is actually saying we want you know, the FMCG manufacturers.

718
00:40:34,040 --> 00:40:35,920
Speaker 2: Surely it's in their interest for more people to have

719
00:40:35,920 --> 00:40:36,360
Speaker 2: more money.

720
00:40:36,840 --> 00:40:40,520
Speaker 1: I really like that idea. So you would be you

721
00:40:40,560 --> 00:40:45,400
Speaker 1: would be asking, say a supermarket or perhaps another example

722
00:40:45,480 --> 00:40:49,759
Speaker 1: might be PNNG to come out and say, hey, this

723
00:40:50,239 --> 00:40:54,200
Speaker 1: we really we are in favor of households having a

724
00:40:54,239 --> 00:40:55,320
Speaker 1: little more cash in their pocket.

725
00:40:55,400 --> 00:40:59,200
Speaker 2: Yeah, And why can't they be the radical ones? Why

726
00:40:59,239 --> 00:41:03,719
Speaker 2: can't they be the ones that say because you know,

727
00:41:03,840 --> 00:41:06,960
Speaker 2: I don't know that we need to be I don't

728
00:41:07,000 --> 00:41:08,719
Speaker 2: know that we need over sixty year olds to get

729
00:41:08,719 --> 00:41:12,279
Speaker 2: a new richer, right, but we do need over sixteen

730
00:41:13,000 --> 00:41:15,640
Speaker 2: over sixteen year olds to have the opportunity to get richer.

731
00:41:16,160 --> 00:41:18,160
Speaker 2: And I think right now, the way that we're structured

732
00:41:18,400 --> 00:41:21,640
Speaker 2: is that that's not really how young Australians feel. I

733
00:41:21,640 --> 00:41:23,560
Speaker 2: don't know that young Australians feel that, you know, the

734
00:41:23,600 --> 00:41:26,040
Speaker 2: world is their oyster and if they work hard, things

735
00:41:26,080 --> 00:41:29,480
Speaker 2: will go well. Yeah. So I'm just wondering who can

736
00:41:29,520 --> 00:41:32,840
Speaker 2: be the radical voice. And perhaps the radical voice is corporate.

737
00:41:32,719 --> 00:41:37,160
Speaker 1: It's an interesting idea, and so they would be They

738
00:41:37,200 --> 00:41:40,400
Speaker 1: would be the ones in your mind attending this summit

739
00:41:40,440 --> 00:41:43,080
Speaker 1: and saying we have a problem, and it is that

740
00:41:43,160 --> 00:41:44,960
Speaker 1: young people do not have enough in their pockets.

741
00:41:45,040 --> 00:41:48,200
Speaker 2: Yeah, and they can say it. I mean, they could

742
00:41:48,200 --> 00:41:50,839
Speaker 2: be very upfront about it. Right, it's in our interests, right,

743
00:41:51,400 --> 00:41:53,359
Speaker 2: we want people to be better off and we want

744
00:41:53,360 --> 00:41:55,040
Speaker 2: people to have more money in their pockets buy because

745
00:41:55,080 --> 00:41:58,160
Speaker 2: our business is going to go better. But that's the

746
00:41:58,239 --> 00:42:02,680
Speaker 2: role of business, right, So we need we business, We

747
00:42:02,719 --> 00:42:04,800
Speaker 2: need to be more successful, we need to be more prosperous.

748
00:42:04,800 --> 00:42:07,120
Speaker 2: And here's the way that you can do it. And

749
00:42:07,760 --> 00:42:09,120
Speaker 2: you know they're going to turn up and say, oh,

750
00:42:09,200 --> 00:42:11,800
Speaker 2: we want the corporate tax to be reduced. No, no, No,

751
00:42:12,200 --> 00:42:14,680
Speaker 2: I'm not talking about that. I'm talking about the structure

752
00:42:15,320 --> 00:42:17,600
Speaker 2: of our country and how we can make sure that,

753
00:42:18,000 --> 00:42:21,080
Speaker 2: as I say, over sixty year olds, they're going okay.

754
00:42:21,160 --> 00:42:23,560
Speaker 2: In the main they're going okay. Not everyone over sixty,

755
00:42:23,560 --> 00:42:26,120
Speaker 2: but in the main they're going. Certainly those over sixty

756
00:42:26,160 --> 00:42:29,280
Speaker 2: five they're going pretty damn well. So we're not talking

757
00:42:29,320 --> 00:42:32,760
Speaker 2: about them anymore. They've had their fun. We're talking about

758
00:42:32,760 --> 00:42:33,400
Speaker 2: young Australia.

759
00:42:33,760 --> 00:42:36,720
Speaker 1: I agree with it, russ. I think it should be

760
00:42:36,800 --> 00:42:39,200
Speaker 1: a concern of everyone, and even you could go direct

761
00:42:39,200 --> 00:42:41,640
Speaker 1: to the source of do you think these older people,

762
00:42:41,719 --> 00:42:45,160
Speaker 1: you know, these over sixties who are doing okay, do

763
00:42:45,200 --> 00:42:49,120
Speaker 1: you think they're concerned enough with the economic prospects of

764
00:42:49,200 --> 00:42:49,680
Speaker 1: young people?

765
00:42:49,880 --> 00:42:54,960
Speaker 2: I do, Yes, is the answer, and I think that

766
00:42:56,120 --> 00:43:00,160
Speaker 2: I wonder if in the Abundance Agenda, where one of

767
00:43:00,160 --> 00:43:05,600
Speaker 2: the tenets of the Abundance Agenda is intergenerational fairness, because

768
00:43:05,920 --> 00:43:08,319
Speaker 2: my view is that that is a very easy sell,

769
00:43:08,400 --> 00:43:10,879
Speaker 2: no matter where you are, what political persuasion you might be,

770
00:43:11,320 --> 00:43:14,040
Speaker 2: we're in the business of intergenerational fairness. Who's not going

771
00:43:14,080 --> 00:43:15,520
Speaker 2: to say yes to that?

772
00:43:15,560 --> 00:43:18,279
Speaker 1: You're right, there would be You'd have to be a

773
00:43:18,280 --> 00:43:21,120
Speaker 1: pretty twisted set of individual to say, actually, can we

774
00:43:21,280 --> 00:43:22,479
Speaker 1: talk about that one a bit more?

775
00:43:22,719 --> 00:43:25,160
Speaker 2: Yeah, I'm not into intergenerational finness. I like it when

776
00:43:25,280 --> 00:43:28,080
Speaker 2: I like it when everything's unfair, you know, like so

777
00:43:28,200 --> 00:43:32,680
Speaker 2: seriously intergenerational fairness pretty simple, I reckon, Freddie, I know

778
00:43:32,719 --> 00:43:35,000
Speaker 2: you wanted to talk about weddings and the wedding tax.

779
00:43:35,239 --> 00:43:36,239
Speaker 2: Can that wait till next week?

780
00:43:36,320 --> 00:43:39,359
Speaker 1: Yeah, we can do that next week, Russ. Thanks man,

781
00:43:41,520 --> 00:43:43,840
Speaker 1: Thank you Russ for today. It's good to talk to

782
00:43:43,920 --> 00:43:46,719
Speaker 1: you again, and thank you to our listeners for joining us.

783
00:43:47,280 --> 00:43:49,759
Speaker 1: A pleasure as always, and we'll see you next time.

784
00:43:50,120 --> 00:43:54,320
Speaker 2: Zere Freddy, thanks for listening. You can subscribe to Admission

785
00:43:54,320 --> 00:43:56,400
Speaker 2: wherever you get your podcasts.

786
00:43:55,880 --> 00:43:59,400
Speaker 1: And follow us on Instagram at Admission Podcast. You can

787
00:43:59,440 --> 00:44:02,680
Speaker 1: send us some an ad an idea, anything you reckon

788
00:44:02,680 --> 00:44:05,080
Speaker 1: we should talk about. You can also follow me Russell

789
00:44:05,120 --> 00:44:08,120
Speaker 1: Holcroft on x or LinkedIn, and of course you can

790
00:44:08,239 --> 00:44:10,759
Speaker 1: hear me on three W Breakfast every morning with the

791
00:44:10,880 --> 00:44:13,799
Speaker 1: inimitable ros Stevenson. Chatty you next week, Freddy. So here

792
00:44:13,840 --> 00:44:14,000
Speaker 1: as