1 00:00:00,320 --> 00:00:04,040 Speaker 1: This is a podcast about failure with me. 2 00:00:04,640 --> 00:00:10,680 Speaker 2: Lola Berry, author, nutritionist, and yoga teacher, join me as 3 00:00:10,720 --> 00:00:13,840 Speaker 2: we get to know these guests and learn about how 4 00:00:13,880 --> 00:00:19,720 Speaker 2: their failures have ultimately shaped their dreams. Welcome to Fearlessly 5 00:00:19,960 --> 00:00:39,040 Speaker 2: Failing with Lola Berry. Hello, I am so humped for 6 00:00:39,120 --> 00:00:44,600 Speaker 2: today's guest. This is the first in real life recording 7 00:00:45,120 --> 00:00:50,640 Speaker 2: from Los Angeles that I have ever done on this pod, 8 00:00:50,760 --> 00:00:54,800 Speaker 2: and it is with the iconic Grant Smiley, so Uzzie 9 00:00:54,920 --> 00:00:55,680 Speaker 2: listeners will. 10 00:00:55,560 --> 00:00:56,880 Speaker 1: Remember him from TV rock. 11 00:00:57,000 --> 00:01:02,000 Speaker 2: That incredible song Flaunted is one two Arias very prolific 12 00:01:02,120 --> 00:01:05,680 Speaker 2: DJ producer on his own record label, had his own 13 00:01:06,160 --> 00:01:10,000 Speaker 2: like like I think it's a PR firm ID collective, 14 00:01:10,040 --> 00:01:12,040 Speaker 2: but it was where he kind of like looked after 15 00:01:12,120 --> 00:01:15,039 Speaker 2: talent as well, so it was more than a PR 16 00:01:15,120 --> 00:01:22,240 Speaker 2: firm worked Nova Channel V. Then twenty thirteen, moves to 17 00:01:22,440 --> 00:01:27,400 Speaker 2: La sets up Botanical Hospitality Group. Within eighteen months opens 18 00:01:27,520 --> 00:01:32,000 Speaker 2: the iconic rooftop bar and restaurant EP and LP. He's 19 00:01:32,000 --> 00:01:36,200 Speaker 2: got Melrose Theater like you can legit outdoor theater, beautiful, 20 00:01:36,640 --> 00:01:41,160 Speaker 2: stunning wat Jennie dancing out out you know, in the 21 00:01:41,200 --> 00:01:45,240 Speaker 2: starlight and you can see like the Hollywood sign from there. 22 00:01:45,920 --> 00:01:47,919 Speaker 1: He's also set up Strings of Life. 23 00:01:47,960 --> 00:01:51,600 Speaker 2: He opened that in the middle of the pandemic, and 24 00:01:51,840 --> 00:01:54,280 Speaker 2: this summer he's opening Grandmaster Records. 25 00:01:54,360 --> 00:01:56,360 Speaker 1: He's absolutely unstoppable. 26 00:01:56,640 --> 00:02:00,360 Speaker 2: You'll hear in this chat how calm, cool and elected 27 00:02:00,400 --> 00:02:00,920 Speaker 2: Grant is. 28 00:02:00,960 --> 00:02:03,120 Speaker 1: But he is hungry, like he's. 29 00:02:02,960 --> 00:02:07,559 Speaker 2: A go getter, and he really believes in working hard, 30 00:02:07,720 --> 00:02:10,120 Speaker 2: rolling up your sleeves and having no regrets. So I 31 00:02:10,200 --> 00:02:19,800 Speaker 2: really hope you enjoy the wonderful Grant Smiley. Grant Smiley, 32 00:02:20,040 --> 00:02:23,880 Speaker 2: you have been on my dream podcast guest list for 33 00:02:23,960 --> 00:02:26,320 Speaker 2: quite some time, and now they're living in the same 34 00:02:26,440 --> 00:02:27,200 Speaker 2: part of the world. 35 00:02:27,240 --> 00:02:28,320 Speaker 1: It's finally happening. 36 00:02:28,440 --> 00:02:30,600 Speaker 3: Welcome by the way, Oh my goodness, thank you. 37 00:02:30,960 --> 00:02:33,640 Speaker 2: It's such a culture shock. I know it sounds really weird, 38 00:02:33,639 --> 00:02:35,960 Speaker 2: but it is. I picked up a rental car yesterday. 39 00:02:36,000 --> 00:02:38,799 Speaker 2: In the back was like a half eaten packet of chippies, 40 00:02:38,880 --> 00:02:40,120 Speaker 2: a knife and assess me. 41 00:02:40,200 --> 00:02:42,400 Speaker 3: Bar Oh, it's just what you want. It's a survival kit. 42 00:02:42,480 --> 00:02:43,520 Speaker 3: Have youve near the las Well? 43 00:02:43,560 --> 00:02:46,840 Speaker 2: I was gonna say, welcome to la I don't know 44 00:02:46,880 --> 00:02:49,280 Speaker 2: if you remember this, but I was seeing you At 45 00:02:49,280 --> 00:02:51,280 Speaker 2: the first time I met you. I would have been 46 00:02:51,360 --> 00:02:54,440 Speaker 2: eighteen years old. I was working in a clothing store 47 00:02:54,440 --> 00:02:56,040 Speaker 2: in Grevelle Street called Stevie. 48 00:02:56,160 --> 00:02:58,880 Speaker 3: I remember with acid washed jeans. Yeah, how good. 49 00:02:59,000 --> 00:03:00,639 Speaker 1: You were the king of Prince of Wales. 50 00:03:01,000 --> 00:03:05,040 Speaker 2: Yeah back to that day time, right, that was the 51 00:03:05,080 --> 00:03:08,079 Speaker 2: first time we actually met, I'm pretty sure through. 52 00:03:07,960 --> 00:03:09,400 Speaker 3: Linden right, yeah exactly. 53 00:03:10,040 --> 00:03:13,000 Speaker 2: So okay that I kind of want to start there 54 00:03:13,120 --> 00:03:15,679 Speaker 2: because you're doing all these amazing things here in LA. 55 00:03:16,120 --> 00:03:17,560 Speaker 1: You've got so many projects on the go. 56 00:03:17,720 --> 00:03:19,440 Speaker 2: We caught up for a coffee last week and I 57 00:03:19,480 --> 00:03:21,680 Speaker 2: was like, I can't keep up with what this guy's doing. 58 00:03:22,720 --> 00:03:24,640 Speaker 2: But when I got to know you, you were kind of 59 00:03:24,680 --> 00:03:30,200 Speaker 2: like an incredible DJ producer, had your own record company 60 00:03:30,240 --> 00:03:34,200 Speaker 2: as well or producing company, and then so there's so 61 00:03:34,280 --> 00:03:37,880 Speaker 2: much stuff. So okay, I deep dived you, my friend. 62 00:03:38,680 --> 00:03:43,640 Speaker 2: You graduated school like year twelve at sixteen, right straight 63 00:03:43,680 --> 00:03:44,400 Speaker 2: into promoting. 64 00:03:44,640 --> 00:03:44,880 Speaker 3: Yep. 65 00:03:45,960 --> 00:03:48,320 Speaker 1: Is it true that so you have to put like 66 00:03:48,360 --> 00:03:48,760 Speaker 1: your name. 67 00:03:48,880 --> 00:03:50,200 Speaker 2: I used to be a promoter at Prince back and 68 00:03:50,240 --> 00:03:51,720 Speaker 2: day and you have to put your initials on like 69 00:03:51,840 --> 00:03:55,320 Speaker 2: every pass right annoying? And what did you do to 70 00:03:55,400 --> 00:03:57,360 Speaker 2: kind of like speed that process up? 71 00:03:57,480 --> 00:03:59,400 Speaker 3: I got a drill bit and drilled through a bunch 72 00:03:59,440 --> 00:04:02,000 Speaker 3: so it was real quick at sixteen. Yeah, and then 73 00:04:02,040 --> 00:04:05,520 Speaker 3: I went so I actually met Peter Raft funnily enough, yeah, 74 00:04:05,560 --> 00:04:08,560 Speaker 3: and we his old man was a fruiterer at the 75 00:04:09,640 --> 00:04:11,720 Speaker 3: Melbourne University. So I used to go and drop off 76 00:04:11,760 --> 00:04:14,240 Speaker 3: passes inside the fruit stand with him, so to be 77 00:04:14,440 --> 00:04:16,800 Speaker 3: in between all these nectarines and stuff to be my passes. 78 00:04:16,800 --> 00:04:19,080 Speaker 3: And I'd go and hit all through the city dropping 79 00:04:19,120 --> 00:04:22,159 Speaker 3: off passes every it wasn't like. Pretty quickly I realized 80 00:04:22,200 --> 00:04:24,280 Speaker 3: that just your friends wasn't enough, and maybe if you 81 00:04:24,320 --> 00:04:26,400 Speaker 3: want to get traction beyond that, try and get these 82 00:04:26,440 --> 00:04:28,520 Speaker 3: real estate bits that were pretty good and fun and 83 00:04:28,839 --> 00:04:30,680 Speaker 3: not that I was even going to Melbourne Union. I 84 00:04:30,720 --> 00:04:32,440 Speaker 3: never went there, but I went there to promote and 85 00:04:32,760 --> 00:04:34,200 Speaker 3: sort of see if I can make a few bucks 86 00:04:34,200 --> 00:04:34,800 Speaker 3: on the side. 87 00:04:34,880 --> 00:04:37,159 Speaker 1: So, and that was for the iconic Metro, right, that's 88 00:04:37,200 --> 00:04:37,920 Speaker 1: what started. 89 00:04:38,000 --> 00:04:40,120 Speaker 3: Yeah, but that went from the Metro and then from 90 00:04:40,120 --> 00:04:42,120 Speaker 3: there I went to Redhead and a few other bits 91 00:04:42,120 --> 00:04:44,000 Speaker 3: and pieces around the way and had a lot of fun, 92 00:04:44,080 --> 00:04:47,920 Speaker 3: you know, so good, but then decided that promoting school 93 00:04:47,960 --> 00:04:49,640 Speaker 3: was great. Don't be wrong. I think it was really good, 94 00:04:49,960 --> 00:04:51,400 Speaker 3: you know, networking kind. 95 00:04:51,240 --> 00:04:53,440 Speaker 1: Of thing scene as well. It was great, super. 96 00:04:53,279 --> 00:04:55,320 Speaker 3: Young super young, but I also would look like I 97 00:04:55,360 --> 00:04:57,000 Speaker 3: was ten. So the only way to get into a 98 00:04:57,080 --> 00:04:59,200 Speaker 3: nightclub was to actually go to meetings during the day 99 00:04:59,600 --> 00:05:01,160 Speaker 3: and make look like I was sort of you know, 100 00:05:01,279 --> 00:05:03,880 Speaker 3: part of the crew. But then after a while, obviously, 101 00:05:03,880 --> 00:05:06,320 Speaker 3: if you start performing for the venue, then you start 102 00:05:06,320 --> 00:05:07,800 Speaker 3: to know the faces of the door, and all of 103 00:05:07,839 --> 00:05:10,160 Speaker 3: a sudden, the id piece just goes away, and then 104 00:05:10,680 --> 00:05:12,880 Speaker 3: then you're getting invited by rival clubs to say, oh, 105 00:05:12,880 --> 00:05:14,640 Speaker 3: this guy's making some move somewhere, we should get this 106 00:05:14,680 --> 00:05:17,720 Speaker 3: guy over. So all those bits of like the doors, 107 00:05:17,960 --> 00:05:21,000 Speaker 3: access and restrictions and whatever else went away because I 108 00:05:21,040 --> 00:05:22,640 Speaker 3: was actually kind of once you got that foot in 109 00:05:22,680 --> 00:05:25,360 Speaker 3: the door and the hustle continued. Yeah, but sort of, 110 00:05:25,720 --> 00:05:28,200 Speaker 3: you know, promoting was like really good. I think, you know, 111 00:05:28,279 --> 00:05:30,600 Speaker 3: that's an introduction to networking around your wagh the world 112 00:05:30,640 --> 00:05:32,559 Speaker 3: to try and meet people as many as you could, 113 00:05:33,800 --> 00:05:35,640 Speaker 3: but equally figure ou how to make a dollar along 114 00:05:35,640 --> 00:05:37,279 Speaker 3: the way. I mean, I think you see a lot 115 00:05:37,279 --> 00:05:39,280 Speaker 3: of promoters end up as real estate agents because there's 116 00:05:39,279 --> 00:05:42,680 Speaker 3: no so many people you know, prospected. Yeah, so I 117 00:05:42,720 --> 00:05:45,120 Speaker 3: think that those kind of things were really good, and 118 00:05:45,160 --> 00:05:47,520 Speaker 3: even they still play in good stead The amount of 119 00:05:47,560 --> 00:05:49,440 Speaker 3: volume of people I met over the years, and it 120 00:05:49,440 --> 00:05:51,599 Speaker 3: could have been as a DJ, could have been as promoter, 121 00:05:52,000 --> 00:05:54,120 Speaker 3: could have been as anything, and then hopefully they trusted 122 00:05:54,120 --> 00:05:56,120 Speaker 3: you or had a good experience with you along the way, 123 00:05:56,200 --> 00:05:59,040 Speaker 3: and then they continue your evolution in the path. Now 124 00:05:59,240 --> 00:06:00,920 Speaker 3: that's not to say that I wanted to continue to 125 00:06:00,960 --> 00:06:03,640 Speaker 3: do one dollar per person entry passes with a drill 126 00:06:03,680 --> 00:06:05,400 Speaker 3: bit and I'm a forty four that'd. 127 00:06:05,200 --> 00:06:05,680 Speaker 2: Be real weird? 128 00:06:06,640 --> 00:06:07,960 Speaker 1: How good? Like it's so? 129 00:06:08,320 --> 00:06:10,400 Speaker 2: And is it true that you did a double degree 130 00:06:10,400 --> 00:06:11,480 Speaker 2: at Monash as well? 131 00:06:11,920 --> 00:06:14,360 Speaker 3: I did a management marketing double yet, so. 132 00:06:14,440 --> 00:06:19,560 Speaker 2: Like you're promoting your studying full time double whammy. By 133 00:06:19,600 --> 00:06:22,280 Speaker 2: the way, was that at Clayton It was, oh, that's 134 00:06:22,320 --> 00:06:23,600 Speaker 2: where I went Mensi's building. 135 00:06:23,720 --> 00:06:26,599 Speaker 3: Yeah, and then I moved to Corefield, to the concrete 136 00:06:26,640 --> 00:06:28,560 Speaker 3: jungle of Corefield, so it was just a little bit 137 00:06:28,560 --> 00:06:29,640 Speaker 3: closer to finish it off. 138 00:06:29,720 --> 00:06:32,720 Speaker 1: So for all the Melbourneites listening, they'll love this. Yep, 139 00:06:33,320 --> 00:06:34,599 Speaker 1: So I want to know where. 140 00:06:34,720 --> 00:06:38,640 Speaker 2: So I heard that you played the sacks for eight 141 00:06:38,720 --> 00:06:39,640 Speaker 2: years at school? 142 00:06:39,720 --> 00:06:40,280 Speaker 1: Is that right? 143 00:06:40,400 --> 00:06:40,640 Speaker 3: Yep? 144 00:06:40,800 --> 00:06:44,320 Speaker 2: Okay, So I'm imagining you're doing all this promoting. 145 00:06:44,360 --> 00:06:45,560 Speaker 1: You're making a quick bark. 146 00:06:45,760 --> 00:06:49,040 Speaker 2: You're making all these connections, but you've probably got this 147 00:06:49,160 --> 00:06:50,400 Speaker 2: like burning desire for hang on. 148 00:06:50,400 --> 00:06:51,640 Speaker 1: My passion is really music. 149 00:06:51,800 --> 00:06:54,440 Speaker 2: So when did you kind of switch from hang on 150 00:06:55,320 --> 00:06:56,560 Speaker 2: I want to focus on music. 151 00:06:57,000 --> 00:06:58,799 Speaker 3: Yeah. I mean, look, you know, there's only one Kenny 152 00:06:58,800 --> 00:07:00,440 Speaker 3: g on the planet, so you know that if you 153 00:07:00,560 --> 00:07:02,839 Speaker 3: play in the sack, you probably go you have been covered. 154 00:07:03,000 --> 00:07:04,520 Speaker 3: But equally, it's sort of like all of those things 155 00:07:04,560 --> 00:07:07,599 Speaker 3: you did it at school because it was part of 156 00:07:07,600 --> 00:07:09,520 Speaker 3: the requisite, you know, kind of you had to do it. 157 00:07:09,520 --> 00:07:10,440 Speaker 3: You had to pick it up as part of the 158 00:07:10,480 --> 00:07:12,400 Speaker 3: curriculum and do an instrument that would just happen to 159 00:07:12,400 --> 00:07:16,040 Speaker 3: be the instrument. But yes, music was certainly something I 160 00:07:16,120 --> 00:07:19,920 Speaker 3: really enjoyed. But then part of that process, along the 161 00:07:20,000 --> 00:07:22,800 Speaker 3: DJ and how the DJ thing came into music, was 162 00:07:23,080 --> 00:07:25,320 Speaker 3: promoting I was out round surrounded by clubs all of 163 00:07:25,360 --> 00:07:27,960 Speaker 3: a sudden, the DJs became my really good buddies, and 164 00:07:28,040 --> 00:07:30,440 Speaker 3: my best mates were DJs. And but one of the 165 00:07:30,440 --> 00:07:33,120 Speaker 3: most challenging things you have to say to someone is 166 00:07:33,160 --> 00:07:35,280 Speaker 3: I'm also passionate about music. And like two of my 167 00:07:35,320 --> 00:07:37,680 Speaker 3: best buds actually were in what we were doing music 168 00:07:37,720 --> 00:07:41,040 Speaker 3: together at Xavier and they you know, you go and 169 00:07:41,040 --> 00:07:42,960 Speaker 3: see them say hey, I also want to play some records. 170 00:07:43,000 --> 00:07:45,120 Speaker 3: And it depends how your friends take things. Is often 171 00:07:45,160 --> 00:07:47,400 Speaker 3: a good but like a metronome of where they really 172 00:07:47,440 --> 00:07:49,960 Speaker 3: sit in your life. Because I was expecting them to 173 00:07:50,000 --> 00:07:53,440 Speaker 3: say definitely don't do it, and you know, one of 174 00:07:53,440 --> 00:07:55,520 Speaker 3: my mates was a bit oh, you really think you 175 00:07:55,560 --> 00:07:57,000 Speaker 3: want to do it, But the other couple of my 176 00:07:57,000 --> 00:07:58,520 Speaker 3: other mates were like, oh, this is one hundred percent 177 00:07:58,520 --> 00:08:00,560 Speaker 3: you should definitely go for it. And and I've been 178 00:08:00,600 --> 00:08:03,160 Speaker 3: practicing at homes, bought some stuff, and I just really 179 00:08:03,200 --> 00:08:06,680 Speaker 3: felt like the ability to pick up the craft was 180 00:08:06,720 --> 00:08:09,080 Speaker 3: super simple because of the music that I've already been doing. 181 00:08:09,120 --> 00:08:10,760 Speaker 3: So you know, the ability of sitting there saying this 182 00:08:10,800 --> 00:08:13,160 Speaker 3: is faster, this is slower, this sounds good with this. 183 00:08:13,760 --> 00:08:15,920 Speaker 3: The key signatures. Some people might get nerdy and say, 184 00:08:15,960 --> 00:08:17,760 Speaker 3: well this works with this and G minor works with 185 00:08:17,800 --> 00:08:20,880 Speaker 3: their sharp or whatever else. But it's also anyone who's 186 00:08:20,880 --> 00:08:24,400 Speaker 3: playing records, why does it sound good together? Generally they're 187 00:08:24,440 --> 00:08:26,200 Speaker 3: in key, or if it sounds weird, it's kind of 188 00:08:26,240 --> 00:08:26,960 Speaker 3: they're out of key. 189 00:08:27,160 --> 00:08:27,480 Speaker 1: Yeah. 190 00:08:27,520 --> 00:08:29,920 Speaker 3: So at some point anyway, I decided that maybe making 191 00:08:30,160 --> 00:08:32,079 Speaker 3: playing records was the first part of it not making 192 00:08:32,080 --> 00:08:34,360 Speaker 3: at that point, but playing records was more fun than 193 00:08:34,440 --> 00:08:36,640 Speaker 3: just giving out dollar the person passes. I want to 194 00:08:36,679 --> 00:08:38,520 Speaker 3: be the guy that's influencing the room. I reckon, I 195 00:08:38,520 --> 00:08:40,240 Speaker 3: can do a better job than that guy, you know 196 00:08:40,600 --> 00:08:41,280 Speaker 3: that kind of thing. 197 00:08:41,760 --> 00:08:42,880 Speaker 1: So good, and. 198 00:08:42,760 --> 00:08:45,439 Speaker 3: Start collecting records and it was sort of making sure 199 00:08:45,480 --> 00:08:47,000 Speaker 3: you go out and buy all this stuff. And it was, 200 00:08:47,040 --> 00:08:49,520 Speaker 3: you know, twenty two bucks a mile not cheap. 201 00:08:49,600 --> 00:08:52,080 Speaker 1: This isn't coming with the USB, shove it into. 202 00:08:52,080 --> 00:08:53,640 Speaker 3: Yeah, you know. I had to then take out two 203 00:08:53,640 --> 00:08:56,240 Speaker 3: createsive records. So the first two year gig, and you know, 204 00:08:56,559 --> 00:08:58,600 Speaker 3: one of the first gigs, one of the major first 205 00:08:58,600 --> 00:09:01,160 Speaker 3: gigs I did, was at this place in Melbourn called Saratoga. 206 00:09:01,280 --> 00:09:03,160 Speaker 1: Oh my goodness, I's saw for my eighteenth birthday. 207 00:09:03,240 --> 00:09:04,840 Speaker 3: Is such a good place, right. We used to start 208 00:09:04,880 --> 00:09:06,400 Speaker 3: really late at night and go to really late in 209 00:09:06,440 --> 00:09:08,360 Speaker 3: the morning. But on a Friday night there was you know, 210 00:09:08,400 --> 00:09:10,480 Speaker 3: a bunch of legends playing there that had been being 211 00:09:10,480 --> 00:09:13,520 Speaker 3: there for a very long time, and someone called out sick, 212 00:09:13,559 --> 00:09:15,200 Speaker 3: and all of a sudden I was playing in the 213 00:09:15,240 --> 00:09:18,319 Speaker 3: main room and I thought I'd done a killer job. 214 00:09:18,960 --> 00:09:21,240 Speaker 3: I crushed it, and the place was really going hard right. 215 00:09:21,280 --> 00:09:23,040 Speaker 3: It was really good. But the next week a buddy 216 00:09:23,040 --> 00:09:24,520 Speaker 3: of mine rings me up. It was also the general 217 00:09:24,520 --> 00:09:27,760 Speaker 3: manager there, and he said, hey, hey, Champ, wasn't really 218 00:09:27,760 --> 00:09:31,200 Speaker 3: that good. The boys weren't happy with your performance. I think, 219 00:09:31,280 --> 00:09:33,400 Speaker 3: you know, young Buck and a bunch of like older 220 00:09:33,480 --> 00:09:36,120 Speaker 3: dudes who were really not that excited about it. And 221 00:09:36,160 --> 00:09:37,800 Speaker 3: they said, so you're not going to play on Fridays, 222 00:09:37,800 --> 00:09:39,840 Speaker 3: we can give you a little side room, shitty gig 223 00:09:39,840 --> 00:09:41,280 Speaker 3: on Saturday. Excuse my French. 224 00:09:41,480 --> 00:09:42,880 Speaker 1: He was like, oh, you can throw as much as 225 00:09:42,880 --> 00:09:43,320 Speaker 1: you want. Peace. 226 00:09:44,200 --> 00:09:47,200 Speaker 3: But anyway, I ended up, you know, devastated, saying I 227 00:09:47,200 --> 00:09:49,240 Speaker 3: thought I'd killed it. I'm told of my friends come 228 00:09:49,280 --> 00:09:51,199 Speaker 3: down that Friday when I make this a part about 229 00:09:51,200 --> 00:09:54,000 Speaker 3: your DNA. And as it turns out, you know, the 230 00:09:54,040 --> 00:09:56,360 Speaker 3: first big gig was also a heartbreak gig. Like it 231 00:09:56,440 --> 00:09:58,680 Speaker 3: was a no, a hard no like sort of and 232 00:09:58,720 --> 00:10:00,760 Speaker 3: then you could take it into way it was either well, 233 00:10:00,800 --> 00:10:03,199 Speaker 3: then okay, that's I'm not going to be playing main 234 00:10:03,240 --> 00:10:05,880 Speaker 3: stages or do that kind of thing again, or maybe 235 00:10:05,880 --> 00:10:07,480 Speaker 3: I just could to reevaluate it and figure out a 236 00:10:07,520 --> 00:10:09,720 Speaker 3: new way to get back to that main room. And 237 00:10:09,800 --> 00:10:13,160 Speaker 3: so for me, then that also spurned the impetus to say, well, 238 00:10:13,240 --> 00:10:16,000 Speaker 3: why am I playing other people's records? Maybe I should 239 00:10:16,000 --> 00:10:18,160 Speaker 3: be making my own records because I've got the ability 240 00:10:18,200 --> 00:10:20,839 Speaker 3: to do so. But you also, I wanted to fast 241 00:10:20,880 --> 00:10:24,400 Speaker 3: forward the opportunity because starting from scratch, sure it takes 242 00:10:24,400 --> 00:10:25,880 Speaker 3: a minute, and you can do it, but it's just 243 00:10:25,920 --> 00:10:28,439 Speaker 3: like anything, You've got a repetition time, you know, practice 244 00:10:28,480 --> 00:10:30,800 Speaker 3: over and over and over. You not an overnight success. 245 00:10:31,720 --> 00:10:34,240 Speaker 3: So I sought out and a guy called Ivan Gough 246 00:10:34,280 --> 00:10:37,080 Speaker 3: who was produce a partner of mine for TV Rock. 247 00:10:37,160 --> 00:10:38,920 Speaker 3: But he was the kind of guy that he was 248 00:10:39,360 --> 00:10:41,440 Speaker 3: coming to one one love at the Prince of Wales. Yeah, 249 00:10:41,640 --> 00:10:44,600 Speaker 3: and he said, you know, do you want to make 250 00:10:44,640 --> 00:10:48,800 Speaker 3: a record and I'll forget about it. Let's definitely do that, 251 00:10:49,480 --> 00:10:52,920 Speaker 3: And that became an first few records were exceptionally well received. 252 00:10:52,920 --> 00:10:55,480 Speaker 3: But my sort of recognize that, you know, he'd had 253 00:10:55,480 --> 00:10:58,840 Speaker 3: a whole you know, a generation almost arounder his belt 254 00:10:58,840 --> 00:11:02,240 Speaker 3: of producing records in an underground capacity. But perhaps my 255 00:11:03,080 --> 00:11:05,840 Speaker 3: partnership with him can unlock a whole new potential that 256 00:11:05,880 --> 00:11:09,600 Speaker 3: we both could collaborate on. And you know, I was 257 00:11:09,679 --> 00:11:13,479 Speaker 3: leveraging the fact that I could probably like particle accelerate 258 00:11:13,559 --> 00:11:17,560 Speaker 3: my development by leveraging off someone who's been far in 259 00:11:17,600 --> 00:11:19,400 Speaker 3: advance of me at the time. And I think that's 260 00:11:19,440 --> 00:11:21,360 Speaker 3: also if you said you were in the kitchen and 261 00:11:21,400 --> 00:11:24,160 Speaker 3: you were with a really great chef, that you working 262 00:11:24,160 --> 00:11:25,880 Speaker 3: with someone and they put the time and energy to 263 00:11:26,040 --> 00:11:29,079 Speaker 3: tell you their knowledge of twenty years, as opposed to 264 00:11:29,120 --> 00:11:30,920 Speaker 3: you fumbling around and saying, well, why do why have 265 00:11:30,960 --> 00:11:33,200 Speaker 3: I gone this way forever? And all of a sudden, Oh, 266 00:11:33,320 --> 00:11:34,000 Speaker 3: that's the right way. 267 00:11:34,280 --> 00:11:35,960 Speaker 1: It's like your training ground as well. 268 00:11:36,160 --> 00:11:40,200 Speaker 2: Yes, so is this was flauned like talk me through 269 00:11:40,280 --> 00:11:42,600 Speaker 2: flaunt It? You want to know my first memory of 270 00:11:42,600 --> 00:11:46,640 Speaker 2: Flaunt It. I was working at that clothing store. Shawnee 271 00:11:46,640 --> 00:11:49,200 Speaker 2: b came in and played it on repeat you not 272 00:11:49,360 --> 00:11:52,439 Speaker 2: for like an hour straight and was dancing out of 273 00:11:52,440 --> 00:11:54,079 Speaker 2: the shop and I was like, god it, mate, it's 274 00:11:54,120 --> 00:11:54,560 Speaker 2: a winner. 275 00:11:54,760 --> 00:11:57,720 Speaker 3: Like it wasn't a winner. Though it wasn't a winner. 276 00:11:58,120 --> 00:12:00,960 Speaker 3: It wasn't. I've bosst that track down people throats. I 277 00:12:01,000 --> 00:12:03,800 Speaker 3: mean that record was funny because Shawning was with a 278 00:12:03,800 --> 00:12:06,400 Speaker 3: band called Dirty Laundry and so he was doing some 279 00:12:06,440 --> 00:12:08,920 Speaker 3: things with Dean Cherney and other Melbourne dj and I 280 00:12:09,000 --> 00:12:10,600 Speaker 3: heard him and I was sort of talking to him 281 00:12:10,600 --> 00:12:12,440 Speaker 3: about it and sort of I said, I want to 282 00:12:12,440 --> 00:12:14,000 Speaker 3: do something with you at some point. We've done a 283 00:12:14,000 --> 00:12:16,880 Speaker 3: few other bits and pieces, and I just sort of 284 00:12:16,880 --> 00:12:18,760 Speaker 3: thought that he had an interesting kind of rap style 285 00:12:18,800 --> 00:12:20,720 Speaker 3: that hadn't been done on house music, you know, yet, 286 00:12:20,880 --> 00:12:23,000 Speaker 3: And we had this kind of bed that was sitting 287 00:12:23,040 --> 00:12:25,320 Speaker 3: around door not much, and so I got him into 288 00:12:25,320 --> 00:12:27,600 Speaker 3: the studio and we sort of we wrapped like riffed 289 00:12:27,600 --> 00:12:29,760 Speaker 3: on this thing for a while. And the flaunt that 290 00:12:29,800 --> 00:12:32,200 Speaker 3: you and everyone else knows was certainly not the flaunt 291 00:12:32,200 --> 00:12:35,000 Speaker 3: that where it started. So it was a bit more underground, 292 00:12:35,840 --> 00:12:39,600 Speaker 3: way more sort of like cool record. And then we 293 00:12:39,679 --> 00:12:41,320 Speaker 3: sort of left it and even and I was talking 294 00:12:41,320 --> 00:12:43,640 Speaker 3: about it again, this is in a good place. But 295 00:12:43,640 --> 00:12:45,640 Speaker 3: I think we needed like a main room mix as 296 00:12:45,720 --> 00:12:48,199 Speaker 3: opposed to one for the underground clubs. And that's what 297 00:12:48,520 --> 00:12:50,920 Speaker 3: I guess. And the benefit of being a DJ was 298 00:12:50,920 --> 00:12:52,480 Speaker 3: I could go and take it out on a Saturday night, 299 00:12:52,520 --> 00:12:55,920 Speaker 3: play it and a crowd, which bit's not working, which flat, 300 00:12:56,040 --> 00:12:58,280 Speaker 3: Let's figure this out and whatever. So we ended up 301 00:12:58,280 --> 00:13:00,719 Speaker 3: with his main room mix, and I guess the sort 302 00:13:00,720 --> 00:13:02,640 Speaker 3: of Shawne's points saying, I'm sure he was excited. I 303 00:13:02,640 --> 00:13:04,400 Speaker 3: think when anyone does the first record, you always a 304 00:13:04,480 --> 00:13:06,960 Speaker 3: very excited about it. And yeah, the testament sometimes me 305 00:13:07,000 --> 00:13:08,880 Speaker 3: wake out the next morning. I know I'm still enjoying 306 00:13:08,920 --> 00:13:11,320 Speaker 3: it a week later. Does it really still resonate with me? 307 00:13:11,920 --> 00:13:13,800 Speaker 3: But I was playing that record for him, you know, 308 00:13:14,360 --> 00:13:17,040 Speaker 3: four six weeks at the Prince and wherever else around Australia, 309 00:13:17,920 --> 00:13:21,480 Speaker 3: getting okay reactions but nothing like stupid, but also knowing 310 00:13:21,520 --> 00:13:23,160 Speaker 3: that I thought it was going to have had something 311 00:13:23,200 --> 00:13:26,360 Speaker 3: about it. Sent it off to a few record labels 312 00:13:26,400 --> 00:13:29,560 Speaker 3: and primarily got no's across the board from all of them. 313 00:13:30,280 --> 00:13:32,240 Speaker 3: And I know you touched on earlier about perhaps, you know, 314 00:13:32,280 --> 00:13:34,800 Speaker 3: starting your own record label and all those things. Well 315 00:13:35,280 --> 00:13:37,920 Speaker 3: that was the very first start of my record label 316 00:13:37,960 --> 00:13:40,080 Speaker 3: because I sort of realized that I've got a bunch 317 00:13:40,080 --> 00:13:42,160 Speaker 3: of no's again, you know, with the track, people saying 318 00:13:42,160 --> 00:13:43,760 Speaker 3: it's not you know, maybe we can sign it was 319 00:13:43,800 --> 00:13:45,040 Speaker 3: put it out, but I'm like, no, I think it 320 00:13:45,040 --> 00:13:46,560 Speaker 3: needs to be more than that. I need a plan. 321 00:13:46,600 --> 00:13:48,599 Speaker 3: I need to figure out what it is. Are we 322 00:13:48,679 --> 00:13:51,440 Speaker 3: doing a clip, We're on this, we doing that? So 323 00:13:51,800 --> 00:13:54,040 Speaker 3: in the end, just said no to everybody, and because 324 00:13:54,080 --> 00:13:56,600 Speaker 3: there was nothing really on offer. Flu to Sydney, got nos, 325 00:13:56,640 --> 00:13:59,400 Speaker 3: flu to Brisbane, got No's. I'm like, well, this is well, 326 00:13:59,440 --> 00:14:01,120 Speaker 3: we're gonna put at assaults. So we got to press 327 00:14:01,120 --> 00:14:03,280 Speaker 3: it our soulves. But then I can create the artwork, 328 00:14:03,320 --> 00:14:06,600 Speaker 3: I can control the narrative. Frank from One Love said, 329 00:14:06,640 --> 00:14:08,480 Speaker 3: I'll do the video. It's terrible. If you've ever seen it. 330 00:14:08,520 --> 00:14:09,560 Speaker 1: I have seen it. 331 00:14:09,840 --> 00:14:11,840 Speaker 3: It was a two thousand dollars film clip and it shows. 332 00:14:12,440 --> 00:14:13,800 Speaker 1: I'm going to put it in the show notes for 333 00:14:13,840 --> 00:14:15,040 Speaker 1: anyone want to see it. 334 00:14:14,960 --> 00:14:18,360 Speaker 3: It's bad. But again we had no money, no budget, 335 00:14:18,400 --> 00:14:20,800 Speaker 3: no anything. And the thing, the thing that was interesting 336 00:14:20,920 --> 00:14:23,800 Speaker 3: was you find pretty quickly that there's a reason why 337 00:14:23,800 --> 00:14:26,000 Speaker 3: you do want to sign with the record label because 338 00:14:26,120 --> 00:14:28,240 Speaker 3: we end up doing a distribution deal. Because there's a 339 00:14:28,240 --> 00:14:30,840 Speaker 3: thing called an isr C code, which is an international 340 00:14:30,920 --> 00:14:33,720 Speaker 3: recording source code. Now that's like your barcode, right, So 341 00:14:33,720 --> 00:14:35,040 Speaker 3: if you're going to scan it and you went to 342 00:14:35,120 --> 00:14:37,000 Speaker 3: you know, back in the days you actually sold CDs 343 00:14:37,040 --> 00:14:39,200 Speaker 3: and vinyls whatever, So you go and scan that at 344 00:14:39,200 --> 00:14:40,840 Speaker 3: any store in Australia and it would track through it 345 00:14:40,880 --> 00:14:42,440 Speaker 3: and you be able to figure it out. And that's globally, 346 00:14:42,520 --> 00:14:43,840 Speaker 3: by the way, you'd be able to figure it out. 347 00:14:44,320 --> 00:14:46,680 Speaker 3: So for me, then trying to figure out at the time, 348 00:14:46,760 --> 00:14:48,960 Speaker 3: so a JB High Fight, which is a really big retailer, 349 00:14:49,000 --> 00:14:51,520 Speaker 3: then selling a lot of singles, like what's your opening order? 350 00:14:51,600 --> 00:14:53,000 Speaker 3: I'm like, I don't know. You tell me what your 351 00:14:53,040 --> 00:14:56,640 Speaker 3: opening order is. So I'm committing to press singles, and 352 00:14:56,720 --> 00:14:59,040 Speaker 3: then trying to do this. What's this? I said, how 353 00:14:59,080 --> 00:15:01,760 Speaker 3: do I get that bark thing? And then trying to 354 00:15:01,760 --> 00:15:03,680 Speaker 3: figure out all this, you know, what's my billing cycle? 355 00:15:03,720 --> 00:15:05,200 Speaker 3: What's this? What's that? I'm like, oh, this is hard. 356 00:15:05,440 --> 00:15:07,000 Speaker 3: I actually just want to make records and I actually 357 00:15:07,080 --> 00:15:08,720 Speaker 3: want to do other bits. So we went back to 358 00:15:08,760 --> 00:15:10,280 Speaker 3: Sony and did a deal with Sony and said, you 359 00:15:10,320 --> 00:15:13,000 Speaker 3: guys handle all that stuff. I don't know about. 360 00:15:12,800 --> 00:15:13,400 Speaker 1: That kind of stuff. 361 00:15:13,440 --> 00:15:16,080 Speaker 2: Yeah, it's a bit similar to book publishing my backgrounds book. 362 00:15:16,120 --> 00:15:19,440 Speaker 2: You can self publish, but you lose access to exactly 363 00:15:19,480 --> 00:15:21,040 Speaker 2: the same equivalent. 364 00:15:20,920 --> 00:15:22,200 Speaker 1: Of what you've just described. 365 00:15:22,560 --> 00:15:24,760 Speaker 2: But this you one two arias from this did you 366 00:15:24,760 --> 00:15:26,640 Speaker 2: sell over like three hundred thousand copies? 367 00:15:26,680 --> 00:15:28,160 Speaker 3: He has the highest selling record of the year. You 368 00:15:28,160 --> 00:15:29,760 Speaker 3: can't lose that one. That's the only one that people 369 00:15:29,760 --> 00:15:32,560 Speaker 3: don't vote on, so that's a good one. So that's 370 00:15:32,600 --> 00:15:35,600 Speaker 3: just the straight up numbers number and then the best 371 00:15:35,640 --> 00:15:36,960 Speaker 3: dance track of the year. But I mean, what was 372 00:15:36,960 --> 00:15:40,440 Speaker 3: the first of the dance areas to really break through? 373 00:15:40,440 --> 00:15:42,800 Speaker 3: So there was Us as the first dance that was 374 00:15:42,840 --> 00:15:45,080 Speaker 3: the highest selling record. That's the only time that it's happened. 375 00:15:45,080 --> 00:15:48,440 Speaker 3: But then from then it was the Preset, Sneaky, you know, 376 00:15:48,800 --> 00:15:51,240 Speaker 3: all those kind of cats that rolled after us that 377 00:15:51,320 --> 00:15:53,560 Speaker 3: were kind of but it was a really strong period 378 00:15:53,600 --> 00:15:55,960 Speaker 3: of dance music post what we did sort of really 379 00:15:56,000 --> 00:15:57,360 Speaker 3: crossed over to the mainstream. 380 00:15:57,440 --> 00:16:00,320 Speaker 2: Also, you were hosting a show on nov I was 381 00:16:00,400 --> 00:16:02,480 Speaker 2: you Channel V I did not know about until I 382 00:16:02,560 --> 00:16:03,000 Speaker 2: Deep Dough. 383 00:16:03,240 --> 00:16:05,320 Speaker 3: Yeah, yeah, I was doing that, so it was I 384 00:16:05,320 --> 00:16:06,880 Speaker 3: mean that was sort of at the same time, I 385 00:16:06,920 --> 00:16:09,800 Speaker 3: was trying to figure out how to when you're often 386 00:16:10,040 --> 00:16:12,720 Speaker 3: you know, here, I try to control the narrative about 387 00:16:12,720 --> 00:16:16,640 Speaker 3: what I do. But we similarly why how those things happen. 388 00:16:16,720 --> 00:16:18,480 Speaker 3: It's not like no overcomes and knocks on the door 389 00:16:18,520 --> 00:16:20,080 Speaker 3: and says, hey, man, would you like to do a show? 390 00:16:20,640 --> 00:16:22,480 Speaker 3: You know, like for anyone out there who's done whos 391 00:16:22,520 --> 00:16:25,160 Speaker 3: hustled like you're doing your own podcast, whatever else. Ultimately 392 00:16:25,600 --> 00:16:28,600 Speaker 3: you're trying you creating something and hopefully creating your own audience. 393 00:16:28,600 --> 00:16:30,240 Speaker 3: So similarly, I went and over and said, he's a 394 00:16:30,240 --> 00:16:31,480 Speaker 3: free show. I'm going to do it. I'm going to 395 00:16:31,560 --> 00:16:33,240 Speaker 3: produce it. We'll figure it out. I'll get you the guests. 396 00:16:33,240 --> 00:16:35,280 Speaker 3: Because I had access to a lot of these internationals 397 00:16:35,680 --> 00:16:37,600 Speaker 3: friends of mine, I can say, let's do these interviews. 398 00:16:38,560 --> 00:16:41,360 Speaker 3: Reached out to John Corse, who was my DJ, you know, 399 00:16:41,720 --> 00:16:44,000 Speaker 3: collaborator at The Prince, and said, mate, sure we do 400 00:16:44,040 --> 00:16:46,040 Speaker 3: it together, because probably two is better than one in 401 00:16:46,080 --> 00:16:50,240 Speaker 3: this show. We're doing that. But back to the point 402 00:16:50,240 --> 00:16:52,600 Speaker 3: of what you're controlling. So I figured out pretty quickly that, 403 00:16:52,920 --> 00:16:55,360 Speaker 3: you know, I should be having my own DJ booking 404 00:16:55,360 --> 00:16:58,400 Speaker 3: agency because I was producing this Records and I'm sitting 405 00:16:58,400 --> 00:16:59,920 Speaker 3: there saying, okay, so I'm making this, I've got to 406 00:17:00,000 --> 00:17:02,280 Speaker 3: record label that's doing this, and then I'm booking all 407 00:17:02,320 --> 00:17:04,399 Speaker 3: these other someone I was taking twenty percent and I 408 00:17:04,400 --> 00:17:06,880 Speaker 3: should be taken to twenty percent. And then I also 409 00:17:06,920 --> 00:17:08,520 Speaker 3: know all the other DJs and maybe I can book 410 00:17:08,560 --> 00:17:10,679 Speaker 3: them and get a better booker. And so then I 411 00:17:10,680 --> 00:17:13,080 Speaker 3: was leveraging people like Ruby Rose and whatever else. And 412 00:17:13,119 --> 00:17:14,000 Speaker 3: saying why don't you all. 413 00:17:13,840 --> 00:17:16,399 Speaker 2: Come Alongstina worked with you for a little while. Wow, 414 00:17:17,080 --> 00:17:17,760 Speaker 2: she's a good mate. 415 00:17:17,840 --> 00:17:20,200 Speaker 3: Yeah, she's unreal. So we're just sort of put together 416 00:17:20,240 --> 00:17:21,720 Speaker 3: this thing. I was throwing my own events. I'm like 417 00:17:21,760 --> 00:17:23,920 Speaker 3: against cut the promoter out. Let's just make sure we 418 00:17:23,960 --> 00:17:26,720 Speaker 3: will make better cuts with the DJs direct, We'll will 419 00:17:26,720 --> 00:17:29,840 Speaker 3: facilitate parties, and we'll produce Channel V. So we had 420 00:17:29,840 --> 00:17:34,960 Speaker 3: this V Nova events like booking agency. It was great, 421 00:17:35,000 --> 00:17:36,560 Speaker 3: it was really, it was an amazing time. 422 00:17:36,920 --> 00:17:38,240 Speaker 1: Really was that id collective? 423 00:17:38,320 --> 00:17:39,720 Speaker 3: Is that right? So that was before that, we had 424 00:17:39,760 --> 00:17:42,280 Speaker 3: a thing called three sixty Yes, so three sixty Agency. 425 00:17:42,320 --> 00:17:45,080 Speaker 3: We sold that to Ministry of Sound eventually, so those 426 00:17:45,119 --> 00:17:46,879 Speaker 3: guys bought it with the staff and brothers and we 427 00:17:46,920 --> 00:17:49,920 Speaker 3: had you know, everyone from Timmy Trumpet through to Will 428 00:17:49,960 --> 00:17:51,920 Speaker 3: Sparks whatever else. You know. Then they all went off 429 00:17:51,920 --> 00:17:53,959 Speaker 3: and it was great to sort of, you know, get 430 00:17:54,000 --> 00:17:57,760 Speaker 3: to a point though. I started to really spend more 431 00:17:57,800 --> 00:18:01,680 Speaker 3: time outside of music and I was sort of doing, 432 00:18:01,840 --> 00:18:03,560 Speaker 3: like like you said, I collected, which was a pr 433 00:18:03,600 --> 00:18:06,919 Speaker 3: agency that I started. Yes, I always had a passion 434 00:18:06,960 --> 00:18:09,959 Speaker 3: for high level creative outcomes. Yeah, and you know it 435 00:18:10,080 --> 00:18:13,400 Speaker 3: was then trying to figure out where do I best 436 00:18:13,440 --> 00:18:15,920 Speaker 3: spend my time and what am I most passionate about? 437 00:18:16,240 --> 00:18:18,600 Speaker 2: Yes, definitely, and that's what this is the thing that 438 00:18:18,680 --> 00:18:24,080 Speaker 2: I heard. So when you were like DJing, touring, producing, 439 00:18:24,160 --> 00:18:28,600 Speaker 2: but also touring with like pretty mega mega artists. 440 00:18:29,320 --> 00:18:29,639 Speaker 1: PS. 441 00:18:29,680 --> 00:18:32,760 Speaker 2: We're recording this in your wonderful EP and LP, I 442 00:18:32,800 --> 00:18:34,000 Speaker 2: can hear a bit of background. 443 00:18:35,320 --> 00:18:37,640 Speaker 1: But you're on three hundred flights a year, right, and so. 444 00:18:37,760 --> 00:18:40,560 Speaker 2: You were missing weddings, you were missing you know, family 445 00:18:40,600 --> 00:18:41,600 Speaker 2: things probably as well. 446 00:18:42,080 --> 00:18:43,920 Speaker 1: What kind of is that? What kind of like made 447 00:18:44,000 --> 00:18:44,679 Speaker 1: you go? Hang on? 448 00:18:45,720 --> 00:18:47,520 Speaker 2: I want to focus on, like, well, I want to 449 00:18:47,560 --> 00:18:49,320 Speaker 2: know the switch from all this to hospo. 450 00:18:50,200 --> 00:18:52,119 Speaker 3: Yeah, I mean it's good questions. Yeah, the fatigue on 451 00:18:52,560 --> 00:18:55,920 Speaker 3: gigs and stuff. I think it's also in reality you're 452 00:18:55,920 --> 00:18:58,000 Speaker 3: knowing what it does to take it the top, top 453 00:18:58,040 --> 00:18:59,560 Speaker 3: top of your game. And look, I think in Australia 454 00:18:59,680 --> 00:19:01,400 Speaker 3: most people might say that I did a pretty good 455 00:19:01,480 --> 00:19:04,199 Speaker 3: jobs in the music field and the DJ field, but 456 00:19:05,040 --> 00:19:07,080 Speaker 3: on the international scene, I think I got onto the 457 00:19:07,119 --> 00:19:09,359 Speaker 3: cusp of it and I was always DJing with the 458 00:19:09,400 --> 00:19:11,680 Speaker 3: top echelon of fellas because I always knew it was 459 00:19:11,720 --> 00:19:13,240 Speaker 3: we were all, you know, it's like anything. It's a 460 00:19:13,280 --> 00:19:15,760 Speaker 3: little clickie at the top, and you're always traveling around together. 461 00:19:16,119 --> 00:19:19,000 Speaker 3: But in order to maintain the rage and really to 462 00:19:19,080 --> 00:19:22,400 Speaker 3: continue the growth and do whatever else, I just knew 463 00:19:22,400 --> 00:19:24,720 Speaker 3: that there was an enormous amount to sacrifice for the 464 00:19:24,720 --> 00:19:26,320 Speaker 3: rest of your life. And I was looking at dudes, 465 00:19:26,320 --> 00:19:28,159 Speaker 3: and I love guys like Carl Cox, and I love 466 00:19:28,200 --> 00:19:30,800 Speaker 3: all those cats, but they're all, you know, single blokes 467 00:19:30,840 --> 00:19:33,080 Speaker 3: traveling around with the same DJ crew, doing the same thing. 468 00:19:33,080 --> 00:19:35,480 Speaker 3: And I'm like, fast forward twenty five years, that's where 469 00:19:35,480 --> 00:19:38,200 Speaker 3: I could be. And if that's my aspiration, that's fine. 470 00:19:38,200 --> 00:19:40,879 Speaker 3: Now then Cox, he's done a thousand and one things 471 00:19:40,960 --> 00:19:43,880 Speaker 3: zones of Unreal Motorbikes, has an amazing life FI right, 472 00:19:43,960 --> 00:19:47,479 Speaker 3: So I love you listening, But it's just everyone's got 473 00:19:47,520 --> 00:19:50,520 Speaker 3: different apples rapples, everyone's got their own kind of things 474 00:19:50,560 --> 00:19:53,880 Speaker 3: they wanted to do. And I was fatigue personally fully fatigued, 475 00:19:53,920 --> 00:19:57,280 Speaker 3: and just sort of looking forward to something different. And 476 00:19:57,320 --> 00:20:00,040 Speaker 3: I also knew that there was perhaps more things in 477 00:20:00,119 --> 00:20:02,760 Speaker 3: life they could further define you. And say that I'm 478 00:20:02,800 --> 00:20:05,920 Speaker 3: enjoying hospitality right now means that doesn't mean forever I'm 479 00:20:05,920 --> 00:20:07,480 Speaker 3: going to do that and I can change again, and 480 00:20:07,520 --> 00:20:10,719 Speaker 3: I probably will. But the point when hospitality came to 481 00:20:10,760 --> 00:20:14,920 Speaker 3: it's in its full force was I've done a couple 482 00:20:14,960 --> 00:20:16,840 Speaker 3: of little things in Melbourne. I've got a bar in 483 00:20:16,840 --> 00:20:19,639 Speaker 3: Melbourne called Ponyfish Island, which was a fun, little you 484 00:20:19,680 --> 00:20:21,199 Speaker 3: know thing in the middle of the Yarrow River that 485 00:20:21,320 --> 00:20:23,320 Speaker 3: was an ice cream shop that we turned into a 486 00:20:23,400 --> 00:20:24,280 Speaker 3: bar and restaurant. 487 00:20:24,520 --> 00:20:27,080 Speaker 2: So do you know where I was at the launch 488 00:20:27,119 --> 00:20:28,520 Speaker 2: of my Mexican cousin. 489 00:20:28,359 --> 00:20:31,680 Speaker 3: There you go? That was that was yours right with salty? 490 00:20:31,960 --> 00:20:34,440 Speaker 2: Yeah, I was, And I think there was a point 491 00:20:34,440 --> 00:20:37,600 Speaker 2: where you and I had a meeting about Happy Places movie, 492 00:20:37,720 --> 00:20:40,560 Speaker 2: but early on we're going to do one over here, Yes, please, 493 00:20:40,640 --> 00:20:41,240 Speaker 2: let's do it. 494 00:20:41,359 --> 00:20:43,879 Speaker 3: So there's all those things that you know happened over 495 00:20:43,960 --> 00:20:45,840 Speaker 3: time and you start to think this is actually quind 496 00:20:45,840 --> 00:20:47,800 Speaker 3: of kind of fun. And I guess the where the 497 00:20:47,880 --> 00:20:52,320 Speaker 3: real best way to explain how you can address hospitality 498 00:20:52,320 --> 00:20:54,240 Speaker 3: and music. And this is not from worrying about whether 499 00:20:54,320 --> 00:20:56,240 Speaker 3: Shane turned up for work or not, because that's boring 500 00:20:56,280 --> 00:20:58,360 Speaker 3: and no one there's no way about Shane or work 501 00:20:58,400 --> 00:21:00,600 Speaker 3: or not. But is in relay. So you got a 502 00:21:00,640 --> 00:21:02,159 Speaker 3: record and you say it's what's it going to do. 503 00:21:02,200 --> 00:21:04,400 Speaker 3: It's going to have what's this groove, what's this beat, 504 00:21:04,560 --> 00:21:06,360 Speaker 3: what's this cover look like? What does it do? There's 505 00:21:06,400 --> 00:21:09,280 Speaker 3: a thousand permutations in so how how you make a record? Right? 506 00:21:09,560 --> 00:21:11,960 Speaker 3: And I'd say the same thing happens for hospitality. So 507 00:21:12,080 --> 00:21:15,119 Speaker 3: it could be everything from what's the color palette of 508 00:21:15,160 --> 00:21:17,280 Speaker 3: the of the place, what's the cuisine, and then if 509 00:21:17,280 --> 00:21:18,800 Speaker 3: you want to dive into the detail of that, what's 510 00:21:18,840 --> 00:21:20,920 Speaker 3: the plate all those things? 511 00:21:21,840 --> 00:21:22,639 Speaker 1: Oh, how cool? 512 00:21:22,800 --> 00:21:25,160 Speaker 3: And so then if you want to be creative inside 513 00:21:25,160 --> 00:21:27,040 Speaker 3: that space, it's ultimately up to you. Then it's about 514 00:21:27,040 --> 00:21:29,080 Speaker 3: what's the signage package, what's this? What's that you know? 515 00:21:29,119 --> 00:21:31,200 Speaker 3: And then if it's defining each level by each room 516 00:21:31,240 --> 00:21:33,520 Speaker 3: and what moment by moment needs to have some sort 517 00:21:33,520 --> 00:21:36,400 Speaker 3: of input, experiential outcome, or whatever else it might be, 518 00:21:36,920 --> 00:21:39,000 Speaker 3: that's now my new that's where I get off on 519 00:21:39,040 --> 00:21:41,199 Speaker 3: that ship now because it's kind of really important to me. 520 00:21:41,440 --> 00:21:44,920 Speaker 3: Devil's in the detail. So when you talk about the layers, 521 00:21:45,000 --> 00:21:47,399 Speaker 3: and often say about layers and hospitality, it's it's like 522 00:21:47,440 --> 00:21:49,280 Speaker 3: a it's like a layered cake. It's going to have 523 00:21:49,320 --> 00:21:52,720 Speaker 3: it can sometimes have one hundred layers. Yeah, because and 524 00:21:52,800 --> 00:21:56,040 Speaker 3: you're only really is you know, inspired, or is you 525 00:21:56,080 --> 00:21:59,920 Speaker 3: know soft or not soft? If you're not. If you 526 00:22:00,080 --> 00:22:02,000 Speaker 3: want to put the basic kind of out comments you're 527 00:22:02,040 --> 00:22:04,280 Speaker 3: selling food and drink to people. It's not hard, you know. 528 00:22:04,480 --> 00:22:07,280 Speaker 3: But if you want to be really successful ultimately and 529 00:22:07,320 --> 00:22:10,640 Speaker 3: get through the pitfalls of a pandemic, then you've got 530 00:22:10,640 --> 00:22:13,040 Speaker 3: to have this one hundred layer cake that even if 531 00:22:13,119 --> 00:22:17,560 Speaker 3: forty five layers buckle, the thing still stands, and so 532 00:22:17,600 --> 00:22:19,080 Speaker 3: you can get through it, you know what I mean. 533 00:22:19,240 --> 00:22:21,439 Speaker 2: But I feel like so as someone that has enjoyed 534 00:22:21,440 --> 00:22:26,280 Speaker 2: this beautiful rooftop at Eve and LP and Strings of 535 00:22:26,280 --> 00:22:28,840 Speaker 2: Life as well now and I'll be going thereafter for 536 00:22:28,880 --> 00:22:29,400 Speaker 2: a coffee. 537 00:22:29,640 --> 00:22:31,439 Speaker 1: Good for me. 538 00:22:31,560 --> 00:22:36,040 Speaker 2: I feel like you're giving me the consumer and experience, 539 00:22:36,359 --> 00:22:39,720 Speaker 2: and that's where the magic is that you can't get 540 00:22:39,720 --> 00:22:42,360 Speaker 2: from any anywhere else. It's all about like the feeling 541 00:22:42,400 --> 00:22:44,480 Speaker 2: that I get, and you talk about when you were 542 00:22:44,960 --> 00:22:47,280 Speaker 2: younger doing all the promoting and people would trust in you. 543 00:22:47,520 --> 00:22:50,800 Speaker 2: I think you're here again, creating through all that creative stuff. 544 00:22:50,840 --> 00:22:53,040 Speaker 2: Sure it's harnessed not now from music. Well it is, 545 00:22:53,080 --> 00:22:55,480 Speaker 2: because you've got rooftop bars that have music. But I 546 00:22:55,520 --> 00:22:58,480 Speaker 2: mean you've got all this, like like you were saying, 547 00:22:58,520 --> 00:23:01,840 Speaker 2: the color palette, the tone, all of that, and you're 548 00:23:01,880 --> 00:23:05,840 Speaker 2: giving people an experience. It's so interesting because I think 549 00:23:06,119 --> 00:23:09,639 Speaker 2: the food, drink and then you put it next to 550 00:23:09,760 --> 00:23:12,280 Speaker 2: like your past of music. It's a no brainer, Like 551 00:23:12,320 --> 00:23:14,960 Speaker 2: it makes total sense that this is where you are 552 00:23:15,040 --> 00:23:18,040 Speaker 2: in your life right now because one you're killing it 553 00:23:18,119 --> 00:23:20,160 Speaker 2: and so you've got that same work ethic that you've 554 00:23:20,200 --> 00:23:24,480 Speaker 2: ever that you've in your DNA. There's no question this. 555 00:23:24,560 --> 00:23:26,920 Speaker 2: I'm just telling you you're great basically. 556 00:23:27,119 --> 00:23:29,400 Speaker 3: But look it sounds all great. I mean, look, there's 557 00:23:29,400 --> 00:23:31,199 Speaker 3: one thousand and one issues everyone deals with. You know, 558 00:23:31,240 --> 00:23:33,440 Speaker 3: heavy is the crown in these kind of things ultimately, 559 00:23:33,800 --> 00:23:36,840 Speaker 3: but you know, I find that, you know, the experiential 560 00:23:36,840 --> 00:23:40,080 Speaker 3: piece you talked about is that intangible thing that's really 561 00:23:40,320 --> 00:23:42,320 Speaker 3: it's key. I mean even the way that you know, 562 00:23:43,440 --> 00:23:45,200 Speaker 3: not to say that you have the design for Instagram, 563 00:23:45,240 --> 00:23:48,080 Speaker 3: you just know that certain light conditions can be sympathetic 564 00:23:48,119 --> 00:23:50,439 Speaker 3: to people wanting to create their own content. They're in 565 00:23:50,440 --> 00:23:52,000 Speaker 3: a space they want to be, they want to brag 566 00:23:52,000 --> 00:23:54,359 Speaker 3: that they're in a spot. Now, does that what's the 567 00:23:54,400 --> 00:23:55,120 Speaker 3: next wave to look? 568 00:23:55,200 --> 00:23:55,280 Speaker 1: Like? 569 00:23:55,320 --> 00:23:57,120 Speaker 3: You know, we've all seen we've got, like, don't me wrong, 570 00:23:57,119 --> 00:23:59,160 Speaker 3: We've got some neon signs that people love taking photos. 571 00:23:59,440 --> 00:24:01,320 Speaker 1: I've had one in front of Where Love Lives. There 572 00:24:01,320 --> 00:24:03,760 Speaker 1: you go, right, and is that also the signature cocktail? 573 00:24:03,920 --> 00:24:06,840 Speaker 3: Yeah, and it's also was Alison Limerick where Love Lives 574 00:24:06,840 --> 00:24:08,439 Speaker 3: with a record that we named it after, So it 575 00:24:08,520 --> 00:24:10,840 Speaker 3: was an iconic cast record at Frankie's Bar, which is 576 00:24:10,880 --> 00:24:14,160 Speaker 3: named after FRANKI nuckles, So it's there's always a music 577 00:24:14,200 --> 00:24:16,440 Speaker 3: piece in there. But you know, I think for me now, 578 00:24:16,480 --> 00:24:20,120 Speaker 3: the challenge is what is the what's the next enduring 579 00:24:20,600 --> 00:24:22,840 Speaker 3: you know kind of trend where people can still showcase 580 00:24:22,880 --> 00:24:25,520 Speaker 3: themselves in venues and you'll know where it is without 581 00:24:25,520 --> 00:24:29,159 Speaker 3: having to be so direct about you know, signage or 582 00:24:29,200 --> 00:24:32,080 Speaker 3: other ways of it. So at Grandmaster, we're out've got this. 583 00:24:32,400 --> 00:24:36,919 Speaker 3: We've got this monochrome stairwell that's gonna that's lit spectacularly. 584 00:24:36,920 --> 00:24:38,320 Speaker 3: I think people are going to want to stand in 585 00:24:38,359 --> 00:24:40,080 Speaker 3: the stairwell. They're just doing anything else than to be 586 00:24:40,080 --> 00:24:43,840 Speaker 3: a stewell. No, but it's definitely an amazing piece of 587 00:24:43,960 --> 00:24:46,560 Speaker 3: like it's a moment. It's really strong, and I feel 588 00:24:46,560 --> 00:24:49,720 Speaker 3: like the front room of that particular venue, I mean 589 00:24:50,440 --> 00:24:53,200 Speaker 3: just to give some texture. It was a recording studio 590 00:24:53,640 --> 00:24:56,359 Speaker 3: from seventy one to twenty sixteen. You know, Bowie, Blondie, 591 00:24:56,400 --> 00:24:58,480 Speaker 3: Chili Peppers, Cagne, Food, Farighters. You know. I can go 592 00:24:58,520 --> 00:25:00,320 Speaker 3: on and on and on and that people people that 593 00:25:00,400 --> 00:25:03,760 Speaker 3: recorded in this in this iconic building. And you know, 594 00:25:03,800 --> 00:25:06,360 Speaker 3: I wasn't necessarily expecting that we're going to do that project. 595 00:25:06,400 --> 00:25:08,400 Speaker 3: We're looking at a different site and the owner just said, 596 00:25:08,440 --> 00:25:10,199 Speaker 3: you want to pull up and because we've seen this 597 00:25:10,240 --> 00:25:11,720 Speaker 3: other building, I'm like, maybe we'll do that. And he 598 00:25:11,720 --> 00:25:13,440 Speaker 3: said I was going to show this recording shit. I'm like, 599 00:25:13,680 --> 00:25:16,080 Speaker 3: I don't really have time, but sure you have a look. 600 00:25:16,200 --> 00:25:20,960 Speaker 3: Walk into this thing. I'm like, I'm doing it's so good, 601 00:25:21,119 --> 00:25:23,440 Speaker 3: and you know, but the thing is now it's sort 602 00:25:23,480 --> 00:25:26,080 Speaker 3: of for us when you often, you know, with the EPLP, 603 00:25:26,480 --> 00:25:28,440 Speaker 3: not many people would even pick up the ep LP 604 00:25:28,680 --> 00:25:30,840 Speaker 3: was the extended play long play twelve inch, seven inch 605 00:25:30,920 --> 00:25:35,359 Speaker 3: kind of but here only matters if it's if it's 606 00:25:35,400 --> 00:25:38,080 Speaker 3: not successful, it's successful, and goes, what's EPLP. Who cares? 607 00:25:38,119 --> 00:25:39,680 Speaker 3: I'm just going to go there because it's the name, 608 00:25:39,880 --> 00:25:41,920 Speaker 3: Like you could call it a pile of dog shit, 609 00:25:41,960 --> 00:25:43,199 Speaker 3: and people go, I'm gonna go to a pile of 610 00:25:43,200 --> 00:25:45,480 Speaker 3: dog shit? You go, why because it's cool. I really 611 00:25:45,920 --> 00:25:46,200 Speaker 3: know how. 612 00:25:46,080 --> 00:25:49,360 Speaker 1: Many reviews there are, both on podcasts and on YouTube 613 00:25:49,400 --> 00:25:50,160 Speaker 1: of EP and LP. 614 00:25:50,560 --> 00:25:52,480 Speaker 2: I'm glad like so many, Like that's how I knew 615 00:25:52,480 --> 00:25:56,560 Speaker 2: about the cocktail. But also people do these. There's a 616 00:25:56,560 --> 00:25:59,119 Speaker 2: few LA podcasts where people talk about their weekend and 617 00:25:59,119 --> 00:26:01,919 Speaker 2: break it down, and it fully gets mentioned in like 618 00:26:02,119 --> 00:26:05,080 Speaker 2: I've listened to like girls full weekend stories just to. 619 00:26:04,960 --> 00:26:06,160 Speaker 1: Get a like sniffer. 620 00:26:07,080 --> 00:26:10,200 Speaker 2: But so you you actually mentioned Grand Master Records because 621 00:26:10,200 --> 00:26:11,879 Speaker 2: I was so excited to learn that it had been 622 00:26:11,880 --> 00:26:13,960 Speaker 2: a recording studo. I had no idea until because you 623 00:26:14,000 --> 00:26:15,840 Speaker 2: and I spoke about it the other day. But it's 624 00:26:15,840 --> 00:26:18,440 Speaker 2: opening this summer in La. It is yeah, yeah, and 625 00:26:18,760 --> 00:26:23,520 Speaker 2: Italian restaurant yep, rooftop bar yep, and then this, So 626 00:26:23,680 --> 00:26:26,840 Speaker 2: talk to me about Studio seventy one. Is that part like. 627 00:26:26,880 --> 00:26:28,720 Speaker 3: Or is that still start part of the same building, 628 00:26:28,720 --> 00:26:31,200 Speaker 3: But that was the original studio, So the studio so 629 00:26:31,240 --> 00:26:34,159 Speaker 3: it's got three parts of the three rooms inside Studio 630 00:26:34,160 --> 00:26:37,359 Speaker 3: seventy one where the drum room, which was Dave Grohl's 631 00:26:37,400 --> 00:26:40,400 Speaker 3: favorite drum room on the planet. So I've got Dave 632 00:26:40,760 --> 00:26:42,800 Speaker 3: one of Dave's drum kits to be able to put 633 00:26:42,840 --> 00:26:46,920 Speaker 3: as part of the DJ console. It's fun and it's 634 00:26:46,960 --> 00:26:49,320 Speaker 3: going to still have like a live performance aspect of it, 635 00:26:49,359 --> 00:26:51,720 Speaker 3: whether it be a DJ or be a band or 636 00:26:51,920 --> 00:26:55,120 Speaker 3: be like a recording piece. We can do that. So 637 00:26:55,240 --> 00:26:57,479 Speaker 3: the and the I guess the restaurants headed up by 638 00:26:57,520 --> 00:27:01,080 Speaker 3: Monte Klidrevic. It was Iceberg's yeah in Sydney with his 639 00:27:01,119 --> 00:27:04,119 Speaker 3: wife Jackie, So they're going to spearhead it and so 640 00:27:04,160 --> 00:27:06,160 Speaker 3: the food will be banging. We know that, so good. 641 00:27:06,600 --> 00:27:08,440 Speaker 3: And then the rooftops, you know, three hundred and fifty 642 00:27:08,480 --> 00:27:10,920 Speaker 3: four hundred people looking straight up at the Hollywood Sign. 643 00:27:11,000 --> 00:27:13,840 Speaker 3: Literally the Hollywood signs right in front of you. So 644 00:27:14,400 --> 00:27:16,240 Speaker 3: if you want to sort of tick the Hollywood box 645 00:27:16,280 --> 00:27:18,400 Speaker 3: when you come out to LA for those people from Australia, 646 00:27:18,440 --> 00:27:20,240 Speaker 3: like you'll first come to probably Strings of Life for 647 00:27:20,560 --> 00:27:21,800 Speaker 3: a flat white, and then you're going to go to 648 00:27:21,840 --> 00:27:23,640 Speaker 3: ep and or a selfie in front of the where 649 00:27:23,680 --> 00:27:25,040 Speaker 3: Love Lives, and then you're going to go and check 650 00:27:25,080 --> 00:27:28,080 Speaker 3: out the Hollywood Sign at Grandmaster, and you know, the 651 00:27:28,119 --> 00:27:31,560 Speaker 3: dining room was where Mantley Cruz to do free concerts 652 00:27:31,560 --> 00:27:33,520 Speaker 3: in the back of this building, like it's just got 653 00:27:33,560 --> 00:27:37,800 Speaker 3: this storied pass that often when we're making up these 654 00:27:38,040 --> 00:27:41,720 Speaker 3: bullshit stories about why things mean something, I'm actually in 655 00:27:41,760 --> 00:27:44,800 Speaker 3: this in this next venue more of a custody in 656 00:27:44,880 --> 00:27:46,879 Speaker 3: relation to making energy. 657 00:27:47,000 --> 00:27:48,800 Speaker 2: Like not to get too hippie on you, but the 658 00:27:48,880 --> 00:27:50,800 Speaker 2: energy must feel pretty awesome in there. 659 00:27:51,000 --> 00:27:54,400 Speaker 3: I'm sick, right, it's going to be really great. And 660 00:27:54,440 --> 00:27:57,280 Speaker 3: this is the really the hardest part about the creative 661 00:27:57,320 --> 00:27:59,800 Speaker 3: process of this is you know, which bits do we 662 00:27:59,840 --> 00:28:02,520 Speaker 3: talk about first and which ones aren't we talking about? 663 00:28:02,560 --> 00:28:06,280 Speaker 3: And you know, I've got a ninety five page you 664 00:28:06,320 --> 00:28:09,399 Speaker 3: know concept art deck that's like goes from everything from 665 00:28:09,480 --> 00:28:14,240 Speaker 3: coasters through to you know, collabs with clothing outcomes and 666 00:28:14,359 --> 00:28:16,760 Speaker 3: re releasing some old vinyl that was produced from that 667 00:28:16,880 --> 00:28:19,480 Speaker 3: era back on Columbia or whatever else and repressing an 668 00:28:19,520 --> 00:28:23,680 Speaker 3: underground master like records. Again. So there's so many like again, 669 00:28:23,680 --> 00:28:26,080 Speaker 3: but this is taking your brand outside your four walls. 670 00:28:26,440 --> 00:28:28,440 Speaker 3: And I think that, you know, the experiential piece where 671 00:28:28,480 --> 00:28:30,000 Speaker 3: I was saying before about whether it be lighting or 672 00:28:30,000 --> 00:28:32,399 Speaker 3: whether it be when you can participate in a dish, 673 00:28:32,480 --> 00:28:34,840 Speaker 3: like it's either you to crack the dessert or people 674 00:28:34,880 --> 00:28:37,879 Speaker 3: want to always be now part of the conversation, a 675 00:28:37,920 --> 00:28:40,840 Speaker 3: part of the process, demonstrate that they've been in this 676 00:28:41,000 --> 00:28:43,960 Speaker 3: spot or whatever else. And I feel like the now, 677 00:28:44,000 --> 00:28:47,080 Speaker 3: it's sort of this experiential piece of it is for 678 00:28:47,200 --> 00:28:50,720 Speaker 3: me to take the brand beyond four walls and then 679 00:28:50,920 --> 00:28:52,880 Speaker 3: have it as part of your home or your lifestyle 680 00:28:53,000 --> 00:28:56,480 Speaker 3: or if that's me populating, you know, even for the 681 00:28:56,480 --> 00:28:58,520 Speaker 3: most basic things your playlist that you can come and 682 00:28:58,600 --> 00:29:00,640 Speaker 3: listen to here. Now you go to Spotify and you 683 00:29:00,680 --> 00:29:02,000 Speaker 3: can listen to it on your weekend while you're by 684 00:29:02,040 --> 00:29:05,520 Speaker 3: the pool, you know, and defining yourself by what you're not. 685 00:29:06,320 --> 00:29:08,120 Speaker 3: Like we're in the rest of La everyone's just banging 686 00:29:08,120 --> 00:29:10,280 Speaker 3: out hip hop. I'm like, nah, Grandmaster's going to be 687 00:29:10,320 --> 00:29:12,040 Speaker 3: rock and roll. That's it. We do not deviate, we 688 00:29:12,120 --> 00:29:13,800 Speaker 3: do not change. If you want to go and listen 689 00:29:13,800 --> 00:29:16,080 Speaker 3: to that stuff, go go elsewhere you do you But 690 00:29:16,120 --> 00:29:18,040 Speaker 3: if you want to come here for something different, then 691 00:29:18,040 --> 00:29:19,960 Speaker 3: I've got you covered. And I feel like that's the 692 00:29:20,240 --> 00:29:21,760 Speaker 3: It's a bit like the John West you know, it's 693 00:29:21,800 --> 00:29:23,560 Speaker 3: the John West is saying it's the fishy rejects and 694 00:29:23,600 --> 00:29:25,000 Speaker 3: makes him the best. We've got to be the same. 695 00:29:25,320 --> 00:29:27,480 Speaker 3: You know we've got to say no, no, no and 696 00:29:27,920 --> 00:29:30,440 Speaker 3: be defined, but those way more important to me than yes. 697 00:29:30,520 --> 00:29:34,080 Speaker 2: I love you to sport tuna into this conversation. I 698 00:29:34,120 --> 00:29:36,200 Speaker 2: want to ask you. I know I'm I'm backtracking a 699 00:29:36,240 --> 00:29:38,840 Speaker 2: little bit just about Strings of Life because you opened 700 00:29:38,880 --> 00:29:41,920 Speaker 2: it in smack bang in the middle of a pandemic 701 00:29:42,120 --> 00:29:46,120 Speaker 2: in LA which was really heavily effected. It was how 702 00:29:46,200 --> 00:29:47,920 Speaker 2: on earth do you go about doing that? 703 00:29:48,160 --> 00:29:50,000 Speaker 3: Well, the hardest part about that is when you sort 704 00:29:50,000 --> 00:29:51,760 Speaker 3: of think about your brand and we've sort of been 705 00:29:51,800 --> 00:29:54,520 Speaker 3: sitting on it. So we're ready to go at the 706 00:29:54,560 --> 00:29:58,480 Speaker 3: start or in February March ready to go, and then 707 00:29:58,560 --> 00:30:01,520 Speaker 3: we all lockdown so that we kind of the end 708 00:30:01,520 --> 00:30:03,320 Speaker 3: of that. So we literally were about to open two 709 00:30:03,400 --> 00:30:05,240 Speaker 3: days before the startup pandemic and. 710 00:30:05,200 --> 00:30:06,600 Speaker 1: It's one year today, one year. 711 00:30:06,520 --> 00:30:08,640 Speaker 3: Today, it's one year today. We made it through one year. 712 00:30:08,720 --> 00:30:10,520 Speaker 3: So the first thing there was no one was allowed 713 00:30:10,520 --> 00:30:12,000 Speaker 3: to leave the house, so clearly that wasn't going to 714 00:30:12,040 --> 00:30:13,800 Speaker 3: happen at that point. There was no real takeaway, I'm 715 00:30:13,800 --> 00:30:15,600 Speaker 3: sure like at the same in Australia, no one wanted 716 00:30:15,640 --> 00:30:17,280 Speaker 3: to know about leaving and staying at home. You're just 717 00:30:17,280 --> 00:30:20,480 Speaker 3: doing lockdown, bought every crappy old soup that you could 718 00:30:20,480 --> 00:30:22,480 Speaker 3: reheat and think you're not going to like go through 719 00:30:22,480 --> 00:30:24,840 Speaker 3: a bomb crisis or something, right. Yeah, but we also 720 00:30:24,880 --> 00:30:27,840 Speaker 3: then had you know, the race relation issues and George 721 00:30:27,840 --> 00:30:31,040 Speaker 3: Floyd happened and we got ransacked in our in strings 722 00:30:31,040 --> 00:30:33,040 Speaker 3: of life. But like the straight up like the week 723 00:30:33,080 --> 00:30:35,600 Speaker 3: before or again about to reopen again. So it was 724 00:30:35,680 --> 00:30:38,040 Speaker 3: kind of rebuild and took life machines gone, this that 725 00:30:38,120 --> 00:30:40,000 Speaker 3: the other you know, you keep on but again look 726 00:30:40,000 --> 00:30:43,240 Speaker 3: at the First War problems. You reopen, you do it again, 727 00:30:43,240 --> 00:30:45,360 Speaker 3: and you know, you pick yourself up and go. So 728 00:30:45,440 --> 00:30:48,720 Speaker 3: there was plenty of things up against this, and then 729 00:30:48,760 --> 00:30:51,200 Speaker 3: when we finally got to the start line, there was 730 00:30:51,280 --> 00:30:54,680 Speaker 3: no you know' launching effectively a to go service, you know, 731 00:30:54,760 --> 00:30:58,040 Speaker 3: and it's sort of from a brand experiential outcome, you know, 732 00:30:58,120 --> 00:31:00,280 Speaker 3: not sitting inside, not doing all these things is that 733 00:31:00,360 --> 00:31:02,200 Speaker 3: you sort of would have thought would be natural to 734 00:31:02,240 --> 00:31:05,480 Speaker 3: a brand. It was just really trying to create a 735 00:31:05,520 --> 00:31:08,840 Speaker 3: branding piece. And then we sort of luckily, sometimes the 736 00:31:08,880 --> 00:31:12,000 Speaker 3: pandemic offers you some good outcomes, and for us, the 737 00:31:12,080 --> 00:31:15,880 Speaker 3: outdoor seating piece, we actually could extend our patio significantly 738 00:31:16,400 --> 00:31:18,959 Speaker 3: and then just really invested in this outdoor kind of 739 00:31:19,000 --> 00:31:21,120 Speaker 3: culture and it's sort of very Australian to sit. We 740 00:31:21,200 --> 00:31:23,640 Speaker 3: sort of did like they're doing bills or any Australian 741 00:31:23,640 --> 00:31:25,920 Speaker 3: cafe when you can sit on your window ledge and 742 00:31:25,960 --> 00:31:27,800 Speaker 3: do those kind of things, which Americans are kind of like, 743 00:31:27,800 --> 00:31:29,200 Speaker 3: why would you sit on your window ledge. I'm like, 744 00:31:29,200 --> 00:31:30,400 Speaker 3: because that's where you just hang out and have a 745 00:31:30,400 --> 00:31:32,840 Speaker 3: coffee with your mates. Like it's not you know, it's 746 00:31:32,880 --> 00:31:35,200 Speaker 3: not unusual in Australia to do these kind of things. 747 00:31:35,520 --> 00:31:37,160 Speaker 3: So we just sort of really made it a place 748 00:31:37,200 --> 00:31:40,080 Speaker 3: that people could just come and hang out and talk 749 00:31:40,160 --> 00:31:42,840 Speaker 3: about life and other bits and pieces and take you 750 00:31:42,960 --> 00:31:45,600 Speaker 3: to go, but still sit on our balcony, but not 751 00:31:45,720 --> 00:31:47,880 Speaker 3: really because it was kind of a little bit gray 752 00:31:47,880 --> 00:31:49,280 Speaker 3: in the areas whether we should have had our lad 753 00:31:49,400 --> 00:31:51,720 Speaker 3: or not. But it sort of then just continue to 754 00:31:51,720 --> 00:31:53,960 Speaker 3: grow and grow and to the point where now we're 755 00:31:53,960 --> 00:31:57,040 Speaker 3: about to we're gonna launch our second location in Santa Monica, 756 00:31:57,040 --> 00:31:59,240 Speaker 3: which will come online this summer as well, and so 757 00:31:59,280 --> 00:32:01,440 Speaker 3: it's great, you know, sort of we managed to build 758 00:32:01,600 --> 00:32:05,200 Speaker 3: a pretty robust and solid brand even inside a pandemic, 759 00:32:05,200 --> 00:32:07,600 Speaker 3: which tells me that once we're taz off today without 760 00:32:07,680 --> 00:32:10,400 Speaker 3: near restrictions, it should start to really move the needle. 761 00:32:10,840 --> 00:32:14,200 Speaker 1: So exciting. And I want to ask about the Muro's theater. 762 00:32:14,520 --> 00:32:18,360 Speaker 2: Yeah, so is it true that this was literally an 763 00:32:18,360 --> 00:32:20,400 Speaker 2: old car park unused. 764 00:32:20,480 --> 00:32:22,440 Speaker 3: Yeah, well the Wheather Cinemary is. It's definitely it is 765 00:32:22,520 --> 00:32:24,360 Speaker 3: still a car park technically if you can drive your 766 00:32:24,360 --> 00:32:25,960 Speaker 3: car up on there. Now it's sort of built so 767 00:32:26,040 --> 00:32:28,040 Speaker 3: you can do that. We did a drive in actually 768 00:32:28,080 --> 00:32:29,720 Speaker 3: with Lamborghini was a bit of fun, so they can 769 00:32:29,760 --> 00:32:32,280 Speaker 3: put their cars on there. But this rooftop theater for 770 00:32:32,360 --> 00:32:35,320 Speaker 3: me was kind of Again, you look at the views 771 00:32:35,360 --> 00:32:37,400 Speaker 3: when you're on the rooftop, it's pretty amazing looking at 772 00:32:37,400 --> 00:32:40,280 Speaker 3: the Hollywood Hills, and you come back to what your 773 00:32:40,280 --> 00:32:42,640 Speaker 3: best utilization of your space, and you create things out 774 00:32:42,680 --> 00:32:46,000 Speaker 3: of I guess necessity, and we sort of thought that 775 00:32:46,240 --> 00:32:50,360 Speaker 3: the roof as a cinema could be really special looking 776 00:32:50,360 --> 00:32:52,800 Speaker 3: back up those twinkling you know, Hollywood Hills, and we're 777 00:32:52,800 --> 00:32:54,560 Speaker 3: in a place where they do make the movies and 778 00:32:54,560 --> 00:32:57,080 Speaker 3: if you actually want to access to actors and talent 779 00:32:57,240 --> 00:32:59,040 Speaker 3: or producers, you can actually get to do a pre 780 00:32:59,160 --> 00:33:01,520 Speaker 3: movie to talk about the stuff. So we did We 781 00:33:01,600 --> 00:33:03,040 Speaker 3: launched with a few of those kind of bits and 782 00:33:03,040 --> 00:33:07,000 Speaker 3: pieces and it just sold out every night, like literally 783 00:33:07,200 --> 00:33:09,440 Speaker 3: every night sold out. And so we do a thing 784 00:33:09,480 --> 00:33:11,120 Speaker 3: where you'reeting for dinner in a movie, so you get 785 00:33:11,120 --> 00:33:13,760 Speaker 3: them downstairs at six thirty. You got sixty people in 786 00:33:13,800 --> 00:33:15,880 Speaker 3: your dining room. So it's you know, your first turns 787 00:33:15,880 --> 00:33:18,760 Speaker 3: a rocker. And then people walking at seven o'clock thinking, 788 00:33:18,800 --> 00:33:20,880 Speaker 3: because Elle's a bit of a later town. At seven o'clock, 789 00:33:20,920 --> 00:33:23,480 Speaker 3: the place is pumping like wow, this joint's popping. But 790 00:33:23,520 --> 00:33:25,640 Speaker 3: then you throw them up onto the roof they watch 791 00:33:25,640 --> 00:33:27,320 Speaker 3: a movie, and then yet put them back onto the 792 00:33:27,360 --> 00:33:29,480 Speaker 3: main rooftop afterwards to one more drink. It's sort of 793 00:33:29,480 --> 00:33:32,160 Speaker 3: a bit like exiting back into a casino, you know. 794 00:33:32,560 --> 00:33:35,760 Speaker 3: But it's been wildly successful. Last year we couldn't operate 795 00:33:35,800 --> 00:33:37,959 Speaker 3: it clearly. But this year it's coming back again, and 796 00:33:38,280 --> 00:33:40,120 Speaker 3: each year it comes with a new thematic and new 797 00:33:40,160 --> 00:33:43,080 Speaker 3: sort of theme, and it's been It's amazing. And I 798 00:33:43,160 --> 00:33:45,480 Speaker 3: think that you sort of once that we had a 799 00:33:45,520 --> 00:33:48,200 Speaker 3: pop up out there during the pandemic, which was card 800 00:33:48,240 --> 00:33:50,400 Speaker 3: Los Palmas. That was just a Mexican kind of thematic 801 00:33:50,440 --> 00:33:52,920 Speaker 3: to them pop up, which is great. But I think 802 00:33:52,920 --> 00:33:56,040 Speaker 3: it's back to time to get back to normal kind 803 00:33:56,080 --> 00:33:58,320 Speaker 3: of outcomes where you know, we can go back to 804 00:33:58,360 --> 00:34:01,320 Speaker 3: our sold out nights and do some cool little launchers. 805 00:34:01,320 --> 00:34:03,600 Speaker 3: And more than ever now, I think the studios are 806 00:34:03,920 --> 00:34:05,960 Speaker 3: like Netflix and huluus of the world, are all wanting 807 00:34:06,000 --> 00:34:09,840 Speaker 3: to do premieres because you know, the traditional premiers for 808 00:34:09,880 --> 00:34:14,360 Speaker 3: those kind of companies don't exist. There's no point weding 809 00:34:14,360 --> 00:34:17,319 Speaker 3: into a red carpet for free service at home. But 810 00:34:17,400 --> 00:34:19,600 Speaker 3: they do want to say, you know, potentially still get 811 00:34:19,600 --> 00:34:21,319 Speaker 3: their talent to come down and do their little bit 812 00:34:21,320 --> 00:34:23,920 Speaker 3: of a junket and whatever else, but on a rooftop, 813 00:34:23,960 --> 00:34:26,439 Speaker 3: particularly this year again when it's sort of people wanting 814 00:34:26,480 --> 00:34:30,320 Speaker 3: to be overly cautious in relation to the ongoing pandemic 815 00:34:30,440 --> 00:34:32,000 Speaker 3: or the wrap up of here. It seems like the 816 00:34:32,040 --> 00:34:34,440 Speaker 3: COVID ferry went away today on the fifth conjourn. But 817 00:34:35,280 --> 00:34:38,480 Speaker 3: I think that certain companies will not want to alienate 818 00:34:38,520 --> 00:34:41,680 Speaker 3: their non vaccinated get you know, because it's not compulsory obviously, 819 00:34:41,960 --> 00:34:43,879 Speaker 3: and if you had someone on your team that wasn't 820 00:34:43,880 --> 00:34:45,919 Speaker 3: but they were they feel safe, I'd say they'd feel 821 00:34:45,920 --> 00:34:48,640 Speaker 3: safe outdoors. And then we've got one of the only 822 00:34:48,680 --> 00:34:51,920 Speaker 3: outdoor cinemas now in Soco. So as it turns out, 823 00:34:51,920 --> 00:34:53,600 Speaker 3: it's going to be I can't see it not being 824 00:34:53,640 --> 00:34:54,440 Speaker 3: an amazing yet. 825 00:34:54,640 --> 00:34:57,759 Speaker 1: Ah, so good? Is it true that it opens on 826 00:34:57,800 --> 00:34:58,720 Speaker 1: the fourth of July? 827 00:34:58,960 --> 00:35:01,200 Speaker 3: It opens on fourth of July, and people were saying, well, 828 00:35:01,239 --> 00:35:03,080 Speaker 3: would open on fourth of July. It's a big beach day. 829 00:35:03,080 --> 00:35:04,480 Speaker 3: I'm like, let's where you're open it on the fourth 830 00:35:04,480 --> 00:35:06,040 Speaker 3: of July? Do I sell out night and make sure 831 00:35:06,080 --> 00:35:07,439 Speaker 3: you have a little week go to the beach. 832 00:35:07,560 --> 00:35:08,640 Speaker 1: Can't watch a movie. 833 00:35:08,400 --> 00:35:10,399 Speaker 3: That's it so dirty dancing you can't go wrong? 834 00:35:10,480 --> 00:35:13,520 Speaker 1: Bit to Patrick, Oh you cannot be dirty dead. See. 835 00:35:13,600 --> 00:35:15,440 Speaker 2: I was going and say, what is your I guess 836 00:35:15,440 --> 00:35:17,319 Speaker 2: that your most popular would be. 837 00:35:17,400 --> 00:35:20,040 Speaker 1: Like La La Land that we sold. 838 00:35:20,280 --> 00:35:22,200 Speaker 3: I know we saw that out there six times last year, 839 00:35:22,239 --> 00:35:24,440 Speaker 3: but you know, I think that we found out the 840 00:35:24,440 --> 00:35:27,400 Speaker 3: magic is that the demo ultimately is that, you know, 841 00:35:27,560 --> 00:35:31,000 Speaker 3: we have a client base for the cinema that's pretty 842 00:35:31,040 --> 00:35:34,040 Speaker 3: much female skewed and it's sort of a date night 843 00:35:34,200 --> 00:35:37,239 Speaker 3: or they're the ones driving the sale decision. So if 844 00:35:37,239 --> 00:35:39,839 Speaker 3: we decided to put on some you know, hardcore male flick, 845 00:35:39,880 --> 00:35:42,000 Speaker 3: even though you said even things like you think would 846 00:35:42,040 --> 00:35:44,319 Speaker 3: sell Bruce Willis, you know, maybe would have been knack 847 00:35:44,360 --> 00:35:46,080 Speaker 3: of tummy. Plaza is just down the road to Studio 848 00:35:46,120 --> 00:35:49,839 Speaker 3: City and die hard guys are like an seen it. Yes, 849 00:35:50,000 --> 00:35:51,680 Speaker 3: but if you sit there and put Bridesmaids on and 850 00:35:51,680 --> 00:35:54,640 Speaker 3: goes like happy, I see that love that movie. 851 00:35:55,080 --> 00:35:56,480 Speaker 1: Notebook, I imagine would fly. 852 00:35:57,520 --> 00:35:59,520 Speaker 3: I'm not just passed the actual bottle of plank. Let's 853 00:35:59,520 --> 00:36:01,759 Speaker 3: just get into it, you know, Ladies' night. 854 00:36:01,880 --> 00:36:04,600 Speaker 1: It's so good. Okay, So this question, I don't know 855 00:36:04,640 --> 00:36:05,239 Speaker 1: if you remember this. 856 00:36:05,320 --> 00:36:06,880 Speaker 2: I asked you this a few years ago when we 857 00:36:06,880 --> 00:36:10,239 Speaker 2: were having a drink on the rooftop and EP and LP. 858 00:36:10,800 --> 00:36:16,560 Speaker 2: So you are super kind, super friendly. You always make 859 00:36:16,600 --> 00:36:17,959 Speaker 2: time for me every time in. 860 00:36:18,000 --> 00:36:20,239 Speaker 1: LA and I'm like, can we have a coffee? Every time? 861 00:36:20,280 --> 00:36:21,600 Speaker 1: Without fail? You make time for me. 862 00:36:22,480 --> 00:36:25,360 Speaker 2: You're very calm, like your nature is very calm, but 863 00:36:25,400 --> 00:36:30,640 Speaker 2: you're also running big, big hostpo staff. I imagine you've got 864 00:36:30,680 --> 00:36:33,279 Speaker 2: to have like a little bit of cutthroat about you. 865 00:36:33,320 --> 00:36:36,200 Speaker 2: Do you have that in your nature because I don't 866 00:36:36,239 --> 00:36:36,680 Speaker 2: see it. 867 00:36:37,000 --> 00:36:39,000 Speaker 3: Yeah I do, I do. It's just how you go 868 00:36:39,040 --> 00:36:40,719 Speaker 3: about you can get those outcomes out of people. How 869 00:36:40,760 --> 00:36:42,680 Speaker 3: have you choose to like, don't mean wrong. I'm happy 870 00:36:42,719 --> 00:36:44,600 Speaker 3: to have a direct conversation, but it'll be direct, but 871 00:36:44,640 --> 00:36:47,319 Speaker 3: it won't be necessarily unfair. It's just really going to 872 00:36:47,360 --> 00:36:49,560 Speaker 3: be here. We are, let's have a chat about it. 873 00:36:49,600 --> 00:36:51,800 Speaker 3: And you probably know why you're here kind of thing. Yeah, 874 00:36:51,840 --> 00:36:55,000 Speaker 3: because there's no point blowing up with someone and being 875 00:36:55,120 --> 00:36:57,319 Speaker 3: you know, getting irate, because you're still going to come 876 00:36:57,320 --> 00:36:59,719 Speaker 3: back to the same position and you can often kill 877 00:36:59,719 --> 00:37:01,400 Speaker 3: them with kindness. We've sitt there and we've gone back 878 00:37:01,400 --> 00:37:03,040 Speaker 3: and said, we've talked about this, but we've come back 879 00:37:03,040 --> 00:37:05,319 Speaker 3: to it again. So where do you want to be? 880 00:37:05,320 --> 00:37:07,279 Speaker 3: Because if we can't get to this place where you 881 00:37:07,320 --> 00:37:08,799 Speaker 3: need to be, I need to find someone that can 882 00:37:08,880 --> 00:37:10,920 Speaker 3: do that. And often at that point they'll fall on 883 00:37:10,960 --> 00:37:13,920 Speaker 3: this ord and say that's where we are. And if 884 00:37:13,920 --> 00:37:15,480 Speaker 3: it gets to a point though, if I want to 885 00:37:15,520 --> 00:37:19,320 Speaker 3: manage someone out out of a spot, I'll manage them out. Ultimately. 886 00:37:19,640 --> 00:37:21,520 Speaker 3: It's not you know again, it's not. This is just 887 00:37:21,560 --> 00:37:23,520 Speaker 3: a big business, you know when you're talking about by 888 00:37:24,040 --> 00:37:26,600 Speaker 3: October this year, we'll have six hundred employees out here. 889 00:37:26,960 --> 00:37:29,520 Speaker 3: Oh wow, So you just can't afford I can't afford 890 00:37:29,560 --> 00:37:31,600 Speaker 3: a drong go running around being an idiot, because I 891 00:37:31,719 --> 00:37:36,080 Speaker 3: love that you just said yes, and I get that here, 892 00:37:36,120 --> 00:37:38,239 Speaker 3: but I mean I've had more lawsuits than you've had 893 00:37:38,320 --> 00:37:41,480 Speaker 3: breakfasts in America. Like, so everything here comes back to 894 00:37:41,560 --> 00:37:44,400 Speaker 3: some ambulance chaser trying to try and find a dollar. 895 00:37:44,760 --> 00:37:47,239 Speaker 3: So if you've got someone who's incompetent or just being 896 00:37:47,840 --> 00:37:51,439 Speaker 3: irresponsible in their position of power and we haven't held 897 00:37:51,440 --> 00:37:53,880 Speaker 3: them to account, then it'll come back to buy you. So, 898 00:37:54,280 --> 00:37:56,680 Speaker 3: you know, as much as I certainly am, you know, 899 00:37:56,680 --> 00:37:59,800 Speaker 3: trying to drive this pipeline of opportunity for all our employees, 900 00:38:00,400 --> 00:38:02,080 Speaker 3: and it really is in America for us, it's to 901 00:38:02,120 --> 00:38:04,960 Speaker 3: grow or die proposition because if you can't continue that 902 00:38:05,000 --> 00:38:07,680 Speaker 3: pipeline for them, then they will leave anyway and you'll 903 00:38:07,719 --> 00:38:11,080 Speaker 3: lose the good ones. So again I mentioned poor you know, Johnny, 904 00:38:11,080 --> 00:38:12,560 Speaker 3: whoever else the Internet for you shift, you've got to 905 00:38:12,600 --> 00:38:14,360 Speaker 3: get big enough. That doesn't matter that whether they do 906 00:38:14,440 --> 00:38:16,640 Speaker 3: or they don't. That's a manager's position to figure out 907 00:38:16,680 --> 00:38:19,360 Speaker 3: how to get through. But our biggest and underlying is 908 00:38:19,360 --> 00:38:21,399 Speaker 3: shit at the moments is staffing because there's a bit 909 00:38:21,440 --> 00:38:24,840 Speaker 3: like Australia when you have the job keeper in Australia, 910 00:38:24,920 --> 00:38:27,160 Speaker 3: whatever else they're earning more money staying at home at 911 00:38:27,160 --> 00:38:30,359 Speaker 3: the moment. So the hospital, particularly when you're talking about it, 912 00:38:30,360 --> 00:38:33,319 Speaker 3: it's been a space where you had to wear a mask. 913 00:38:33,360 --> 00:38:35,840 Speaker 3: You couldn't do this, you couldn't do that. I understand 914 00:38:35,840 --> 00:38:38,000 Speaker 3: why people didn't want to necessarily come back and do 915 00:38:38,080 --> 00:38:41,520 Speaker 3: the dishes for fifteen bucks an hour. Yeah, but you know, 916 00:38:41,840 --> 00:38:44,520 Speaker 3: it is changing a lot, and I think that there's certainly, 917 00:38:44,680 --> 00:38:46,839 Speaker 3: you know, it's just always going to be the inflationary 918 00:38:46,880 --> 00:38:48,719 Speaker 3: animal that's going to come through America this year. It's 919 00:38:48,719 --> 00:38:50,880 Speaker 3: going to put prices up, pay our staff more, do 920 00:38:50,960 --> 00:38:53,239 Speaker 3: whatever else. But unfortunately it's just going to be what 921 00:38:53,360 --> 00:38:55,279 Speaker 3: it is. But it's they've got to get the lay 922 00:38:55,280 --> 00:38:59,160 Speaker 3: beforece back. That's the biggest, biggest challenge for twenty twenty one. 923 00:38:59,400 --> 00:39:02,080 Speaker 2: Everything is like getting me so like this is the 924 00:39:02,080 --> 00:39:05,120 Speaker 2: thing as well, coming from Australia coming to LA like 925 00:39:05,560 --> 00:39:08,719 Speaker 2: it feels like a completely different beast. Obviously, like the 926 00:39:08,760 --> 00:39:13,200 Speaker 2: population of California is more than the entire population of Australia. 927 00:39:13,239 --> 00:39:16,640 Speaker 2: There is that, so things feel more direct, they feel 928 00:39:16,680 --> 00:39:19,799 Speaker 2: more specific, they feel clearer, they feel and I'm not 929 00:39:19,840 --> 00:39:21,479 Speaker 2: saying one is better than the other, but I feel 930 00:39:21,560 --> 00:39:25,680 Speaker 2: like when you're talking about having six hundred staff. You know, 931 00:39:25,800 --> 00:39:28,359 Speaker 2: the stakes feel quite high here for anybody. I think 932 00:39:28,360 --> 00:39:31,439 Speaker 2: if you're an Aussie coming over here chasing something, a dream, 933 00:39:31,520 --> 00:39:34,360 Speaker 2: an opportunity, you need that kind. 934 00:39:34,239 --> 00:39:34,600 Speaker 1: Of like. 935 00:39:36,320 --> 00:39:38,040 Speaker 2: I don't know what the mentality is, but it's kind 936 00:39:38,040 --> 00:39:40,399 Speaker 2: of very it's clear, it's direct, and there's no real 937 00:39:40,480 --> 00:39:43,040 Speaker 2: time for like wasting. And I feel that when I'm 938 00:39:43,080 --> 00:39:44,719 Speaker 2: with you, like, I don't feel like you waste time 939 00:39:44,880 --> 00:39:45,360 Speaker 2: at all. 940 00:39:45,719 --> 00:39:47,360 Speaker 3: No, I certainly don't probably wake up in the mid 941 00:39:47,480 --> 00:39:48,920 Speaker 3: of the night too. I often and think you've got 942 00:39:48,920 --> 00:39:50,600 Speaker 3: your noteput out and making sure I don't forget things 943 00:39:50,600 --> 00:39:52,960 Speaker 3: from the morning. It's a bit annoying, but to your point, 944 00:39:52,960 --> 00:39:55,960 Speaker 3: I mean, I feel like we're doing deals. We do 945 00:39:56,600 --> 00:39:59,160 Speaker 3: again you do. It's a bit like you kiss a 946 00:39:59,160 --> 00:40:00,600 Speaker 3: lot of frogs trying to f the prince or the 947 00:40:00,600 --> 00:40:02,560 Speaker 3: princess in America. But you have a lot of meetings, 948 00:40:02,600 --> 00:40:04,200 Speaker 3: a lot of people sort of saying let's do stuff, 949 00:40:04,239 --> 00:40:06,520 Speaker 3: let's do stuff. It's not that you're wanting like an 950 00:40:06,520 --> 00:40:10,320 Speaker 3: Australia where oh you've done well already loless so you 951 00:40:10,320 --> 00:40:12,160 Speaker 3: probably should just call you call your jets. A bit 952 00:40:12,200 --> 00:40:13,680 Speaker 3: you know, and that's the old Australian like you know, 953 00:40:13,719 --> 00:40:16,399 Speaker 3: we've all talked about tall puppy whatever else. It's more 954 00:40:16,440 --> 00:40:19,200 Speaker 3: here is they'll say to you at strings of life, 955 00:40:19,239 --> 00:40:20,960 Speaker 3: for example, hey, how many more of these do you 956 00:40:20,960 --> 00:40:22,640 Speaker 3: want to do? Do you need money? Do you need capital? 957 00:40:22,680 --> 00:40:24,400 Speaker 3: Do you need like another site? What do you need? 958 00:40:24,440 --> 00:40:26,080 Speaker 3: How do we help? And it's more like me with 959 00:40:26,160 --> 00:40:28,480 Speaker 3: my stick fending them off, saying, oh, I'm good, we'll 960 00:40:28,480 --> 00:40:31,200 Speaker 3: just keep on growing at our own pace. But they 961 00:40:31,239 --> 00:40:33,760 Speaker 3: do want to grow brands, they do want to grow chains, 962 00:40:33,760 --> 00:40:35,920 Speaker 3: they want to grow you as a person, they want 963 00:40:35,960 --> 00:40:38,440 Speaker 3: to grow everything that's about you. And then you can 964 00:40:38,480 --> 00:40:40,680 Speaker 3: start to get these developers calling you and saying, let's 965 00:40:40,719 --> 00:40:42,480 Speaker 3: do stuff. I heard you guys are great curators of 966 00:40:42,520 --> 00:40:43,920 Speaker 3: outcomes that we need to do more. We need to 967 00:40:43,920 --> 00:40:46,560 Speaker 3: do more. And this is a is a platform that 968 00:40:46,600 --> 00:40:48,920 Speaker 3: takes you not only to you know, if your gateway 969 00:40:48,960 --> 00:40:51,920 Speaker 3: cities in New York, Miami, if that's just America, it 970 00:40:51,960 --> 00:40:54,960 Speaker 3: could also be then you know, UK, it could be Spain, 971 00:40:55,040 --> 00:40:57,799 Speaker 3: it could be anywhere. It's just definitely not necessarily straight 972 00:40:57,840 --> 00:40:59,800 Speaker 3: back to Australia where we've got our you know, significant 973 00:40:59,840 --> 00:41:02,680 Speaker 3: lay costs and all the rest of that. Don't be wrong. 974 00:41:02,719 --> 00:41:04,120 Speaker 3: I do want to go back to a street at 975 00:41:04,120 --> 00:41:06,640 Speaker 3: some point with some of these brands and do that. 976 00:41:07,719 --> 00:41:09,719 Speaker 3: But it feels like then, in the right time, we'll 977 00:41:09,719 --> 00:41:11,800 Speaker 3: come back as the international company. It's a bit like 978 00:41:11,840 --> 00:41:13,319 Speaker 3: you know when you get the Aussi actor that comes 979 00:41:13,360 --> 00:41:15,040 Speaker 3: back home, because you almost have to go away to 980 00:41:15,080 --> 00:41:17,320 Speaker 3: become popular all over again. Totally. 981 00:41:17,760 --> 00:41:20,120 Speaker 2: You look even at Steve brl when he got loved 982 00:41:20,239 --> 00:41:22,400 Speaker 2: after he made it in Australia. 983 00:41:22,640 --> 00:41:23,480 Speaker 1: No, I love this. 984 00:41:23,640 --> 00:41:29,359 Speaker 2: I actually found some old YouTube interviews with you, like 985 00:41:29,760 --> 00:41:33,600 Speaker 2: early TV rock days, Holy moly, and I think I 986 00:41:33,640 --> 00:41:38,000 Speaker 2: said you a photo of those scary so it realize 987 00:41:38,040 --> 00:41:40,800 Speaker 2: how inspiring you are though, Like this is like literally 988 00:41:41,000 --> 00:41:43,880 Speaker 2: you're like, do I work harder than most people? Absolutely? 989 00:41:44,080 --> 00:41:45,880 Speaker 2: Like this is you in the middle of the interview 990 00:41:45,920 --> 00:41:47,640 Speaker 2: and you say things like you've just got to roll 991 00:41:47,719 --> 00:41:50,480 Speaker 2: up your sleeves. I believe in having no regrets and 992 00:41:50,560 --> 00:41:53,120 Speaker 2: invest in your passion. I mean, this is no brainer. 993 00:41:53,160 --> 00:41:55,080 Speaker 2: But it sounds like you live like this way today. 994 00:41:55,120 --> 00:41:57,640 Speaker 1: Is that right? I love it. 995 00:41:57,640 --> 00:42:01,399 Speaker 2: It's so inspiring and you have always made me so 996 00:42:02,400 --> 00:42:04,839 Speaker 2: excited to be in America. So thank you for being 997 00:42:04,880 --> 00:42:06,520 Speaker 2: such a big support from the get go. 998 00:42:06,600 --> 00:42:09,200 Speaker 1: Budgie here, dude, just took a minute, I know. 999 00:42:10,239 --> 00:42:12,000 Speaker 2: Thank you so much. Total honored to have you on 1000 00:42:12,040 --> 00:42:13,600 Speaker 2: the show. Your a legend. 1001 00:42:13,680 --> 00:42:14,040 Speaker 3: Pleasure. 1002 00:42:16,160 --> 00:42:21,800 Speaker 2: That's a wrap on another episode of Fearlessly Failing. As always, 1003 00:42:21,920 --> 00:42:25,319 Speaker 2: thank you to our guests and let's continue the conversation 1004 00:42:25,480 --> 00:42:31,239 Speaker 2: on Instagram. I'm at Yamo Lollaberry. This potty my word 1005 00:42:31,280 --> 00:42:36,000 Speaker 2: for podcast is available on all streaming platforms. I'd love 1006 00:42:36,040 --> 00:42:39,120 Speaker 2: it if you could subscribe, rate and comment and of 1007 00:42:39,200 --> 00:42:40,759 Speaker 2: course spread the love.