WEBVTT - TALKBACK TINGZ: #FreeBritney Poetry inspired by John Laws 📻

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<v Speaker 1>The radio.

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<v Speaker 2>So talkback tings is where we play the weird shit

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<v Speaker 2>that happens on talkback radio. It's such a unique, cooked

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<v Speaker 2>world of its own, isn't it talkback radio?

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<v Speaker 3>Oh my god, it isn't coming from FM radio? Tight bright,

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<v Speaker 3>no dead air, You move on. You don't really have

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<v Speaker 3>conversations unless that's the point of the whole segment. But

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<v Speaker 3>talk back now they got a field endless amounts of air.

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<v Speaker 4>Well.

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<v Speaker 2>I heard something during the six hour drive back home

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<v Speaker 2>to Bogenate Wearingham right now, and I thought, oh, that's

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<v Speaker 2>very out there, that's odd. But I'm thinking, Mitch, you

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<v Speaker 2>can implement it into your FM radio world. So John

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<v Speaker 2>Law's right, the King.

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<v Speaker 1>We've heard from.

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<v Speaker 2>Him quite a few times. In this segment. He was

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<v Speaker 2>taking a call from someone and halfway through he sort

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<v Speaker 2>of just broke into song. What but he wasn't singing.

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<v Speaker 2>It was more like poetry.

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<v Speaker 3>Right.

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<v Speaker 2>It sounds weird, but give it a listen. I really

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<v Speaker 2>think Mitch you should take this on board.

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<v Speaker 3>I don't think I need it. I think my show

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<v Speaker 3>is just fine. But all right, we have the audio.

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<v Speaker 3>This is John Laws on AM Radio.

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<v Speaker 4>One three hundred five six four sixty five two. Should

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<v Speaker 4>you like to give us a call and tell us.

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<v Speaker 1>What Sorry that fucking number. Simplify it. It's like one

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<v Speaker 1>three hundred John Laws.

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<v Speaker 2>It spelled his name.

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<v Speaker 3>Hey, listeners already have damage frontal lobes, like, don't make

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<v Speaker 3>them have to hours?

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<v Speaker 1>Is thirteen one o six five easy? I'm sure you.

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<v Speaker 2>Know when you use the text on a Nokia as

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<v Speaker 2>the letters and numbers would be there. I'm pretty sure

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<v Speaker 2>one three hundred whatever it is, that spells one three

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<v Speaker 2>hundred John Laws.

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<v Speaker 1>Oh my WSFM.

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<v Speaker 3>Oh that's actually smart. So they catered for that back

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<v Speaker 3>in the day when that was really cool.

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<v Speaker 2>But he doesn't say that. He says the number four

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<v Speaker 2>one three hundred five six four six fighter.

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<v Speaker 3>His listeners can barely remember to take their blood pressure medication,

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<v Speaker 3>not alone that number.

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<v Speaker 1>All right here again, continuing the audio, is that.

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<v Speaker 4>Is on your mind? We better talk to Ross Ross?

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<v Speaker 4>Are you there? Yeah? Mite, Okay, what do you want

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<v Speaker 4>to talk about? Ross?

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<v Speaker 5>Oh? Yeah, just dumb. I had a bit of a

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<v Speaker 5>culture shock myself the other day. I drive a truck

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<v Speaker 5>up and down the up the coast and Queensland coast

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<v Speaker 5>and out as far as Mount Either and I was

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<v Speaker 5>getting ready to find in me truck and the gear

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<v Speaker 5>bag was missed five minutes on the front steps. And

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<v Speaker 5>I come from a country team where you went down

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<v Speaker 5>the pub and you left your wallet and your money

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<v Speaker 5>on the on the bar when you went to the toilet.

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<v Speaker 4>Yeah, nobody touched a thing.

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<v Speaker 5>Yeah.

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<v Speaker 4>Oh, god knows what's happened to that lovely attitude we

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<v Speaker 4>used to have in little towns where you could do

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<v Speaker 4>anything you like. You just got to be so careful

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<v Speaker 4>these days because the world has become a much more

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<v Speaker 4>violent place than a much more dishonest place than it

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<v Speaker 4>used to be.

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<v Speaker 5>Yeah, and you know, everyone looked after everyone else.

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<v Speaker 4>That's right, everyone.

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<v Speaker 5>Looked up for everyone up now it makes you really

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<v Speaker 5>paranoid about people, you know.

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<v Speaker 4>I remember a story I did about little towns. I

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<v Speaker 4>might read that for you.

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<v Speaker 2>Oh no, yep, yep.

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<v Speaker 4>Okay, Russ, turn your radio on and listen, because it's

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<v Speaker 4>a good story about little towns. Are you ready?

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<v Speaker 1>Where do you get a good town from?

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<v Speaker 6>Let's just think about the magic of the little town.

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<v Speaker 6>A little town is where everybody knows what everybody else

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<v Speaker 6>is doing, but they read the weekly newspaper just to

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<v Speaker 6>see who got caught doing it. A little town is

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<v Speaker 6>where if you get the wrong number, you can talk

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<v Speaker 6>for fifteen minutes anyway if you want to. In any town,

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<v Speaker 6>the ratio of good people to bad people is one

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<v Speaker 6>hundred to one.

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<v Speaker 1>Where'd you get that statistic? From?

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<v Speaker 6>One hundred are uncomfortable in a little town? The one

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<v Speaker 6>is uncomfortable. The small town policeman has a first name.

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<v Speaker 6>The small town school teacher has the last word. The

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<v Speaker 6>small town preacher is sometimes a full time The small

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<v Speaker 6>town farman takes turns. And you say, why would anybody

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<v Speaker 6>want to live in one of these tiny, blinker New

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<v Speaker 6>Missic towns. I don't know. Maybe because in the class

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<v Speaker 6>play there's a part for everybody. What in the town

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<v Speaker 6>jail there's rarely anybody? And then you're still among friends.

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<v Speaker 1>Oh my, Mitchell, what did you think when you heard

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<v Speaker 1>that live?

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<v Speaker 2>Well, I mean, I'll be honest, I did think, what

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<v Speaker 2>the fuck is going on? Where did this come from?

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<v Speaker 2>And I also did think, oh, he's clearly not reading

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<v Speaker 2>that life. His voice sounds way younger.

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<v Speaker 3>Yeah, that was in the mid eighties. At least the

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<v Speaker 3>pleme wasn't on his throat as well at that point

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<v Speaker 3>in time.

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<v Speaker 2>But then I thought this is John Laws we're talking about.

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<v Speaker 2>He has been in radio for four hundred years, and

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<v Speaker 2>so there must be some key to his longevity, and

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<v Speaker 2>I feel that that might be the fact that he

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<v Speaker 2>really thinks outside the box. So, Mitchell, I think you

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<v Speaker 2>should take an inspiration from his poetry. I was quite inspired.

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<v Speaker 3>And what starts some poetry on the night show or

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<v Speaker 3>the national breakfast show that I'm doing.

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<v Speaker 2>No, precisely, that's what I'm thinking. You've got this new

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<v Speaker 2>fancy radio gig. You're doing breakfast hours at the moment,

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<v Speaker 2>and I was thinking you should call your boss and

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<v Speaker 2>find some gentle guitar music similar to what John Laws

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<v Speaker 2>has with the pan fleute, and then just say to him, hey, man,

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<v Speaker 2>I've got this idea. Can you let me know what

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<v Speaker 2>you think of this and then wing it? Just improvise

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<v Speaker 2>something similar to that.

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<v Speaker 3>Hold on, wait a second, now, I don't want to

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<v Speaker 3>implement this in my show.

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<v Speaker 1>I've got enough content. I'm more than a cross it. Ay.

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<v Speaker 2>If it's good enough for the great John Law, it's

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<v Speaker 2>good enough for you. BUCKU exactly can learn a thing

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<v Speaker 2>or two from him. I feel like poetry could be

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<v Speaker 2>your thing.

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<v Speaker 1>I found some music. This is perfect this is lovely

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<v Speaker 1>sounds like something from Banjo KAZUOI.

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<v Speaker 2>Okay, so call your boss dB.

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<v Speaker 3>No, no, I'm going to call my producer. I'm going

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<v Speaker 3>to call my producer, Alex Alex. Yeah, Alex is my

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<v Speaker 3>producer for the Winter Breakfast show.

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<v Speaker 2>That I oh wait, that is that the same intern

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<v Speaker 2>Alex that we had on this podcast. We brought her

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<v Speaker 2>into Oust Jenna, Oh my god, yes we did, and

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<v Speaker 2>then we offered her a role on this podcast as

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<v Speaker 2>a producer. And then she ghosted it.

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<v Speaker 1>Oh my god, she fucking did.

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<v Speaker 2>We did a welfare check and we just presumed she

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<v Speaker 2>was dead. So she's back from the dead working on

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<v Speaker 2>your radio show, is she?

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<v Speaker 3>Yeah, she got the call up. She's my head producer.

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<v Speaker 2>She's alive.

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<v Speaker 1>Yeah.

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<v Speaker 2>Wow. I can't believe she faked her own death just

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<v Speaker 2>to get out of working on this podcast. That's unbelievable

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<v Speaker 2>something I would do, sho.

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<v Speaker 1>You should imagine myself when I got a call from

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<v Speaker 1>a number, I.

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<v Speaker 2>Thought it's a polter guys anyway, So maybe call Alex

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<v Speaker 2>then your producer and just say, oh god, this is

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<v Speaker 2>actually better, because she'll be really polite. She won't have

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<v Speaker 2>the heart to tell you that it's fucking stupid. Yeah, like, hey, babe,

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<v Speaker 2>I'm thinking outside the box. I want to bring something

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<v Speaker 2>fresh to the radio show next week.

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<v Speaker 1>What do you think of it?

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<v Speaker 2>And then what do you want your poem to be about?

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<v Speaker 4>Well?

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<v Speaker 3>Maybe ask her now, what's what's my poem to be?

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<v Speaker 3>And I'm gonna have to have an idea for a poem?

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<v Speaker 3>What about Princess Diana's mural?

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<v Speaker 7>Nah?

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<v Speaker 2>You do better, You do better when you're improvising. Maybe

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<v Speaker 2>ask her to give you a random topic.

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<v Speaker 3>Oh good, Yeah, okay, I'm going to dial her through.

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<v Speaker 3>I'm going to connect my phone so she knows it's me.

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<v Speaker 1>Fucking hell.

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<v Speaker 2>Can I hear the music again?

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<v Speaker 4>Yeah?

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<v Speaker 3>I've got options on this gentle guitar number three, which

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<v Speaker 3>you've heard. Okay, this sounds like the final Ballad of

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<v Speaker 3>the Titanic as it's something to the North Pacific does.

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<v Speaker 4>Yeah?

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<v Speaker 2>That one's too emo.

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<v Speaker 1>It needs to be a bit inspiring.

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<v Speaker 2>Yeah, this one sounds like New Poise panty line if

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<v Speaker 2>by Libra it does.

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<v Speaker 1>Yeah, it does. I like the bat trash.

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<v Speaker 3>I truly throw milk because I don't want the kathium

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<v Speaker 3>and take from regular milk.

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<v Speaker 1>That's why I drink thir good. All right, now, I

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<v Speaker 1>like three, this is it?

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<v Speaker 4>This is it?

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<v Speaker 1>Okay, that's it.

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<v Speaker 3>I'm gonna call it, but I'm going to get her

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<v Speaker 3>opinion on which.

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<v Speaker 1>It's me. You're not.

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<v Speaker 3>You won't speaker phone rule number one, like I taught you. Oh,

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<v Speaker 3>I had an idea for the show. I'm thinking you

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<v Speaker 3>know how you have Tom Gleisman from Have You Been

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<v Speaker 3>Paying Attention?

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<v Speaker 1>Monday?

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<v Speaker 3>Yeah, I'm thinking on Tuesday, just to like tie into

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<v Speaker 3>that comedy aspect and the fun we should do, Like

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<v Speaker 3>I should do poetry on the air, okay, like live poetry,

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<v Speaker 3>live lyrics about a topic that's current.

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<v Speaker 6>Okay, cool fun. It'd be like, yeah, like a like

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<v Speaker 6>a slam poetry kind of thing.

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<v Speaker 3>Yeah, not even slam, like inspiring, Like I want to

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<v Speaker 3>inspire like like people like kids listening, what's topical, what's

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<v Speaker 3>happening at the mow in like culture? Well, I mean

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<v Speaker 3>you could you know, kind of do something inspiring in

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<v Speaker 3>terms of Brittany you know Britney spears, people control.

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<v Speaker 1>You, Oh my god, Britney Spears. Coolpie. I just like

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<v Speaker 1>get some music out and I'd like I'd sing to music.

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<v Speaker 4>Ideas.

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<v Speaker 3>It'd be like.

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<v Speaker 7>We knew you from a girl titan c but now

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<v Speaker 7>look at you like an old haggard boot free Brittany.

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<v Speaker 7>Let her out of that cage.

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<v Speaker 1>Poor poor Brittany. It makes me filled with rage.

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<v Speaker 3>Blonde hair, blue eyes, her father doing this.

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<v Speaker 1>I desp.

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<v Speaker 3>Something like that, you know, like a poem, a current, Yeah, yeah,

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<v Speaker 3>that could work.

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<v Speaker 1>Or what else is topical?

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<v Speaker 5>Well?

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<v Speaker 7>I mean royals, topical royals?

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<v Speaker 1>Yeah, yeah, yeah, yeah, yeah. You shouldn't have got in

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<v Speaker 1>that taxi cab. I'll die.

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<v Speaker 3>Why did you have to die? You would have been

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<v Speaker 3>sixty today. It's the sixty of three.

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<v Speaker 1>Of her life.

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<v Speaker 3>There was a statue made for die and it was

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<v Speaker 3>built from concrete and live.

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<v Speaker 1>Concrete and line. A beautiful sons attended.

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<v Speaker 3>Tension was at an all time no sign of Queen Lizzie,

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<v Speaker 3>no sign.

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<v Speaker 1>Philip wasn't there. I guess he probably couldn't, because Philip died,

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<v Speaker 1>just like die, Princess die. Yes see, I think there's

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<v Speaker 1>something you die too.

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<v Speaker 3>All right, Well, well we can talk Monday and then

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<v Speaker 3>we'll send it to men, because I reckon that's good

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<v Speaker 3>to center like dB and the buses.

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<v Speaker 7>Yeah, I love that. Okay, fabulous, all right.

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<v Speaker 3>Thanks Alex, We'll talk to you over the weekend. Love you,

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<v Speaker 3>love you see thanks the tips. Oh my god.

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<v Speaker 2>Now that didn't That didn't even feel like a prank call.

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<v Speaker 2>That felt like a genuine fucking brainstorm. And you know what,

0:12:21.160 --> 0:12:21.679
<v Speaker 2>I'm soul.

0:12:21.920 --> 0:12:24.280
<v Speaker 1>I loved it. I actually might run that allio on

0:12:24.320 --> 0:12:26.360
<v Speaker 1>Monday morning. That was Inspirationior.

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<v Speaker 2>Oh my god, that was actually quite impressive. You know what,

0:12:31.080 --> 0:12:33.839
<v Speaker 2>Maybe save it for when you're back doing nights radio,

0:12:33.880 --> 0:12:36.199
<v Speaker 2>because I believe you don't have a news reader.

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<v Speaker 1>Right, yeah, I have no newsreader.

0:12:37.679 --> 0:12:40.200
<v Speaker 2>That could be your way of keeping people in Ford.

0:12:40.280 --> 0:12:42.880
<v Speaker 2>You just sing the news at them. Imagine Sandra Sully

0:12:42.920 --> 0:12:43.280
<v Speaker 2>doing that.

0:12:43.600 --> 0:12:50.200
<v Speaker 3>Oh my god, twelve dead in a car crash on

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<v Speaker 3>the Hume high Away this morning.

0:12:55.520 --> 0:12:57.319
<v Speaker 2>Do you know what? The most impressive part what?

0:12:57.720 --> 0:12:58.360
<v Speaker 1>What? What?

0:12:58.360 --> 0:12:58.760
<v Speaker 4>What? What?

0:12:59.360 --> 0:13:03.400
<v Speaker 2>The fact that John Laws's poem wasn't actually rhyming. I

0:13:03.440 --> 0:13:05.880
<v Speaker 2>don't know if you realized that, but you managed to

0:13:05.880 --> 0:13:07.640
<v Speaker 2>make your rhyme even though you didn't need to.

0:13:07.720 --> 0:13:10.200
<v Speaker 1>Because I've been to fucking theater school. I studied improv.

0:13:10.320 --> 0:13:11.840
<v Speaker 1>If there's one thing in life I can.

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<v Speaker 3>Do, I will never be a builder, never be a salesman.

0:13:16.160 --> 0:13:18.200
<v Speaker 1>If there's one thing I can do, it's fucking rhyme

0:13:18.240 --> 0:13:18.720
<v Speaker 1>on a song.

0:13:18.800 --> 0:13:20.800
<v Speaker 3>I don't know where that is ever going to come

0:13:20.840 --> 0:13:22.560
<v Speaker 3>in handy, but you know what, I've got it.

0:13:22.720 --> 0:13:25.160
<v Speaker 2>Yeah, you've found your niche and you need to go

0:13:25.240 --> 0:13:27.720
<v Speaker 2>for it. I think this is your new thing. I mean,

0:13:27.760 --> 0:13:30.360
<v Speaker 2>I'm saying this now, like, oh, you should definitely start

0:13:30.400 --> 0:13:32.440
<v Speaker 2>doing this on radio or on our podcast. But I

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<v Speaker 2>think if if one week you came in and said

0:13:34.720 --> 0:13:37.440
<v Speaker 2>I have another poem, we'd be like, oh, the moment's passed.

0:13:37.640 --> 0:13:40.520
<v Speaker 1>We've been caught up in the moment. Now, is it

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<v Speaker 1>just me?

0:13:41.559 --> 0:13:44.840
<v Speaker 2>You should follow these idiots online search a couple of

0:13:44.920 --> 0:13:45.360
<v Speaker 2>mitches