It only took 11 guests to get back to Chris and Kyle’s roots of the audio and touring profession. A guest from our previous podcast, and a friend from way back, Chad Olech goes through his lessons and intersects of the entertainment touring industry, as well as being a dad, husband, human, and the meme lord of the inner circle of social media.
Currently FOH Engineer and Production Manager of Fall Out Boy, his decades of grinding through tough situations has changed his demeanor and outlook on the profession. Right after we recorded this episode, he added another accolade to his impressive resume of artists by winning FOH mixer of the year at the TourLink conference.
From making people laugh, to the importance of family and downtime, Chad and his legacy continues to be an intricate part of what we need to have today. Still, bringing us together by simple, loose, connections.
The Loose Connection podcast is Hosted by Chris Leonard & Kyle Chirnside
email us at looseconnectionpod@gmail.com
Follow us on Instagram , Facebook,
It only took 11 guests to get back to Chris and Kyle’s roots of the audio and touring profession. A guest from our previous podcast, and a friend from way back, Chad Olech goes through his lessons and intersects of the entertainment touring industry, as well as being a dad, husband, human, and the meme lord of the inner circle of social media.
Currently FOH Engineer and Production Manager of Fall Out Boy, his decades of grinding through tough situations has changed his demeanor and outlook on the profession. Right after we recorded this episode, he added another accolade to his impressive resume of artists by winning FOH mixer of the year at the TourLink conference.
From making people laugh, to the importance of family and downtime, Chad and his legacy continues to be an intricate part of what we need to have today. Still, bringing us together by simple, loose, connections.
The Loose Connection podcast is Hosted by Chris Leonard & Kyle Chirnside
email us at looseconnectionpod@gmail.com
Follow us on Instagram , Facebook,
I know I'm not the most kind soul in the touring business. I can be a sarcastic old curmudgeon asshole at times. I hope that people think back and go. Oh well, you know he helped out when he could. Or you know, if somebody had a question he wasn't always a dick. You know, especially in the like in the audio community, more maybe than any other. I don't want to be known as the guy that like. Well, I'm not showing you what I do on that EQ or I'm not telling you what compressor I used or any of that old school bullshit that most of us kind of grew up with. You know people trying to guard their secrets that aren't, they're not fucking secrets. You know like, yeah, everybody knows what it is. Somebody just needs help trying to figure out how to make it work.
Speaker 2:Hi everybody, kyle Chernside, with Lose Connection, I'm joined with.
Speaker 3:Chris Leonard.
Speaker 2:Hi, hey, hey. So this episode is going to be a fun one too, because we kind of stepped away from this other thing. We started doing this thing and we had this dude on the other thing and he's been a friend of mine for a long time and I love the guy I really do. Chad Olich, everybody Fernhouse, engineer for Fallout Boy, right now, amongst a resume longer than my arm full of great bands, including some of my favorites. I mean, he did some of your favorites too.
Speaker 3:Yeah, we've been in some of the same circles. We're both toward with Disturbed and a handful of other bands. I mean, yes, we don't want to sit here and read all of his credits. We dip into some of the bands in the episodes, but yeah, it was fun. You know, while he is a fellow audio engineer like us, we actually we didn't spend a whole lot of time talking about audio, which is also okay.
Speaker 2:Kind of like our later episodes on that other thing.
Speaker 3:But what we did get into at some point, which I just wanted context for those who don't know. You know, chad is kind of known as the meme lord and if you are friends with him on Facebook, quite frankly, and he posts three to four plus memes a day and we kind of dip it.
Speaker 2:Low edgy Low edgy.
Speaker 3:Yeah, but that's the we just kind of talk about, like you know, the effects of memes on society and things like that and it just so. I just want to give context, you know, as we get to that point. But you guys have spent time, we talked about being dads being dads. And you guys had both. You know, both have mixed for an extended period of time the same band, fallout Boy, right. So there's this interesting tie, this loose connection, if you will.
Speaker 2:Tied the story together a little bit. Told a little story about seeing Chad last time out this summer.
Speaker 3:Yes, yes. So again, tell a friend about the podcast. If you're digging these conversations, you can also tell me if you don't like it either, too. Bad press is good press. You know, there is no such thing as bad press. Tear it up, I don't care, we haven't got any hate mail yet, Chris.
Speaker 2:So we're working on actually receiving some hate mail. I'll try harder getting hate mail.
Speaker 3:I was pretty good at doing that, at least once on the previous podcast. Well, check it out.
Speaker 2:They can send their hate mail to the Instagram. Loose connection pod.
Speaker 3:Yep at loose connection pod Instagram Facebook TikTok.
Speaker 2:Yep, they can start sending it right now, like today.
Speaker 3:Do it, send it now. Go and listen to this episode. Bye.
Speaker 2:Once again, chris, I feel like we haven't done this in a long time, but I'm glad it's our friend Chad, I really am. I'm glad you had the suggestion that we need to bring some audio people back, and what better way to do it.
Speaker 1:Oh, I'm not sure that this is your best choice, then, no, I dig it because we don't even have to talk about audio right now.
Speaker 2:We can bullshit about other stuff and like there's no bills to pay, there's no like it's just us hanging out for real. This time it's for fun.
Speaker 3:It's for fun To be clear. There's bills to pay, but no one's helping us pay them yet that's right.
Speaker 2:If people want to help us pay the bills, we'll go. That's right. Email me at kternside. Put up that GoFundMe link, yeah.
Speaker 3:Chad. I want to ask you we've been doing kind of a leadoff question that we do with everyone what was your earliest remembrance of experience in music? Are you listening or tangible, or you know what's your earliest memories?
Speaker 1:of music. So I guess that's a. For me that's a two-part answer. My earliest kind of remembrance is the Snoopy Christmas, like the. You know the.
Speaker 3:Snoopy.
Speaker 1:Christmas red band or whatever. The you know it's the Christmas song that comes out every year. That's the first record I remember getting as a kid I was probably I don't know five. You know it was the you know mid-70s. But the first like rock thing I got and the first thing that kind of really got me into modern music was Kiss Alive 2. Wow. So yeah, I got Kiss Alive 2 in like 70, I don't know, 79, maybe just a year or two after it came out. And yeah, I was, you know, nine, 10 years old.
Speaker 2:Did you join the Kiss Army?
Speaker 1:I never did. I was a Kiss fan and still kind of loosely, I'm an old Kiss fan. But yeah, I know, I never, never joined the Army. I did consider it a couple of times but quite frankly, my laziness won over.
Speaker 2:I feel like it was in every magazine I picked up when I was a kid and I was like, damn, I should do this, that or the Fiend Club, like I think that's the two that I would have joined is the Kiss one or the Misfits one, and I never did.
Speaker 1:And yeah, I never got into Misfits.
Speaker 2:Let's talk about Kiss for a second. So you say old fan? I had Destroyer on a track that we got at a garage sale and my parents wouldn't let me play it. One, two, I got Love Gun on vinyl with the original cover with all the chicks laying across them on the front, which I totally love that album. And then, three, I toured with the dudes from Kill Switch, engage and we played with Kiss at that heavy TO in Toronto, in Montreal, or whatever. Yeah, and watching and listening to Paul Stanley's banter in between songs was the absolute highlight of going to see Kiss at this point.
Speaker 1:Yeah, I believe there's a YouTube montage of all of a whole it's probably a whole fucking Toursworth of his banter.
Speaker 2:What is wrong with that guy, Matt?
Speaker 1:nothing. He's like the original rock star yeah.
Speaker 2:For sure. I remember in the late 70s and early 80s like if you didn't go out as a Kiss member for Halloween, you were a douchebag Like that Somewhere, dude, somewhere, I've got a picture of me.
Speaker 1:I believe I went as ace frilly. I'm almost positive. We will need to cop that eventually I'll see if I can find it, I'll send it to you. It's embarrassing, but not so embarrassing that I care if people see it. I was probably 10 or 11 at the time, nice.
Speaker 2:Everyone had to do it, and if you had a Kiss lunchbox at school, you were top tier badass Like.
Speaker 1:Yeah, I was too poor for the Kiss lunchbox we never, I was too.
Speaker 2:Yeah, no.
Speaker 1:No themed lunchboxes. For me, the brown bag all the way, yeah. School lunch or free lunch, oh yeah, that too yeah that's for sure.
Speaker 3:I remember the, at least in my time. I'm a hair younger than the two of you. Exactly, I always looked forward to, when I was allowed to buy lunch at school, the French bread pizza that came in like this plastic bag and all the cheese melted to the bag or whatever. But I mean, it was just this. It was probably the shittiest pizza pizza, but as a kid you didn't have it at home and it was the thing that I'd look forward to if I could get to hot lunch at school.
Speaker 1:Yeah, see, ours was always on Friday and it was a French bread pizza, but it was on a sheet tray. Yeah, it was just I don't know probably 30 pieces per sheet tray, and then just keep bringing out the sheet trays.
Speaker 2:It was a good bartering tool too, because on pizza day you usually got fries, and you could either trade your fries for another slice of pizza or trade your pizza for another thing of fries.
Speaker 1:Well, you went to a bougie school. We didn't have any of that.
Speaker 3:Yeah, we Kind of prepping you for prison really is what that sounds like.
Speaker 1:Well, I mean, if you look at a school cafeteria, and look at a prison cafeteria, it's the colors that are different, like the color scheme on the walls, and the tables are the only thing that are different.
Speaker 2:Okay, let's talk about jail. They have this thing. They call it the cornbread and it's really just yellow cake, but that is a bartering tool as well that I found out.
Speaker 1:Just from a friend my jail experience is very, very limited.
Speaker 2:Same, but the yellow cake was there. I got to try that.
Speaker 3:Well, Kyle, you had the chance to have a full circle moment this past summer-ish right. So to set the stage here, kyle, you got to go out and see Chad but, more importantly, the band that Chad's been with for the last well, since 2013. I can't do math quickly right now to see how many years it is, but 11 years. Wait, we're coming up. No, no, no, you're coming up on. I'm coming up on 11.
Speaker 1:It's just past 10.
Speaker 3:Yeah, a decade With Fallout Boy, right. And so, kyle, you did some Fallout Boy stuff early days and you got to come out and see them and I don't know if you get to see the band and whatnot, but maybe walk through. What was that full circle experience? I remember you texting me telling me what it was like, and then we can kind of get into the history of you two working with.
Speaker 2:I'm going to get emotional. I really am One Chad is full circle different dude and I love going to see him at his shows and stuff because I saw him prepping in Nashville before this and I have not been to see Fallout Boy since I worked for them. That's how long this has been and we had a chance on the Max Tour we played Was it Maryweather Fair or we?
Speaker 1:were. It was Kyahoga Falls. Kyahoga Falls, yeah.
Speaker 2:And we had a chance to come and the band dudes came with me and I went and said hello and then I scurried down to my seats and I literally had an emotional moment. Those are the songs that kind of broke my career. If there was a break in my career, that was the break in my career, With Sugar going down, dance, dance all the way through. Thanks for the memories and some of the songs I'll fully adieu. Like I had an emotional moment, Like I remember getting on the bus the first time with them and I got the middle bunk because those dudes have it. They shared a bus before we had our own bus. So I grabbed a middle bunk because no one knew. And I remember Joe Truman popping his head out of the bunk beneath me. He was probably 17 years old at the time and he goes who's this old dude sleeping above me? And I was like, oh, this is how we're going to start this Dude.
Speaker 1:And, by the way, you're only, like, three or four years older than them.
Speaker 2:Yeah, I know, and man, it was an emotional moment, like all these memories came back, flooded me and I got to go hang out with Joe and I saw Patrick and Andy for a moment and it was quite enlightening One because I got to tell everyone thank you and they're very humble kids. So when you say that to Patrick or any of those guys, it's like dude, no, thank you, like, and I just they were one of the first that I felt appreciated with and, if anything, broke my career, because I was just a shitty punk rock kid from Missouri, like I had met Chad previously on Nonpoint and I worked at a venue in Springfield Missouri so he'd come through with all these crazy new metal bands that were coming up, and so it literally all that culminated full circle and I got to go up and say hi after the show again and Chad hung out, we talked about the rig a little bit, like it was an emotional experience from an emo band.
Speaker 1:Yeah, it was great. Well, and I don't know, did you know that, max, and I think Chad was frozen? Am I? Yes?
Speaker 3:So emotional that you, you froze me out, you froze him out. There we go, you're back.
Speaker 1:I'm sure you probably knew this, kyle, but for anyone who didn't know, max and Ryan opened for Fall Out Boy for a period of time, like at least one whole leg. I can't remember if it's two legs or one leg, but yeah, they were out with us and they actually rode our backline bus during that leg.
Speaker 2:Yeah, they were so excited too. Like Max literally held me during sugar going down because I was like I was tearing up, it was crazy, and he told me stories about things that they would do with him and just the experience of being out with him. And to tell you the truth, that's one of the first thing I said to Max when I met him in LA was he reminded me of a young Pete Wince, without the dark side of Pete Wince, like oh, it's not going to be OK, everything's not the greatest. Like Max was like the business dude, the creator. Like his lyrics, his persona, like he held himself. Like Pete was in that time of music and I hope he took it as a compliment. I'm still working for him, so I think he did.
Speaker 3:Now Chris is frozen. We're hitting a bit of a lag here.
Speaker 1:Kyle, can you hear?
Speaker 3:me, I'm going to hit it. I'm going to hit stop.
Speaker 2:We can edit all those parts, so was it just them two performing. So it was Tracks and Ryan and Max and that was it.
Speaker 1:Yeah, that was it.
Speaker 2:Yeah, they've definitely evolved full band and it's fun. It's definitely a fun show now. Max was so impressed with the Fall Out Boy show. He always referenced some of the set pieces and how things were coming in and out and how things moved around, and I totally know that you're gigging and rehearsing that stuff and getting it all together. That's your main focal point. Yeah, because even when I come see you work, it's like you mix some. That's like your respite from telling people how to use cable ramps all day.
Speaker 1:Yeah, I mean so. I mean luckily, like you, you spent a lot of time with the guys I've spent I mean I don't actually even know how many shows I've done with them. At this point we're at 10 and 1 half years, so it's got to be 1,000, 1,200 shows.
Speaker 3:So it's got to be somewhere in that ballpark.
Speaker 1:So the audio side of it I still pay a lot of attention to. But I pay a lot of attention to it at times other than production, rehearsal, production, rehearsal for me and I'll go over whatever new tracks they have. But anything that's been there for a while it's a quick tidy up the desk or with whatever new toys I may have brought in for the show. But most of the time is spent getting other people to do their jobs properly with the show looks and seems right. And then come show days. I spend, not including show time. I spend probably two to three hours a day doing audio Excuse me not concluding the show and then the show is 90 to 100 minutes long, so hour and a half hour 40. So four hours. Four and a half hours a day dealing with audio. The rest of the time, the other four out of 18. So the other 14 hours a day I'm doing something production related.
Speaker 2:That's insane. How do you still do it, man? Like I noticed these last few tours, I am just slowing down and I'm so glad that we were a support act on this last amphitheater tour, because I think it would have killed me. Like doing a club tour was rough, it was rough.
Speaker 1:So I can only credit my crew. Without the people that I've hired or that have been hired before me, there's not a chance Without my stage manager, or at least a good stage manager. I feel blessed that I have who I consider to be one of the best in the business, and Sean Bates, and I don't have to worry about the stage at all. As a matter of fact, if I go on the stage, he's probably going to yell at me. I shouldn't go near the stage, I shouldn't go near the dock. If I go near those two things, I get yelled at. That's his domain, that's his world. He'll call me. If there's a problem Other than that, during the day I'll walk through and just out of curiosity see where we're at. You know. But yeah, he handles all the local crew, deals with all of our knuckleheads, you know, and if we have any crew issues it goes through him usually first and then comes to me.
Speaker 1:So between him and then my production coordinator, you know, without those two positions it would be, and it helps that. I mean, you know the followup guys. It helps that they are the guys they are. So it's not that they want things to be perfect, but they're not assholes. You know like if something happens and there's a real reasonable excuses to why it happened, they're generally pretty cool with it. You know like they're like oh, all right, well, is it gonna happen again? No, it was this, and we, you know, because this happened, this happened and we've solved this problem, so this shouldn't happen again. And they're like okay, yeah, don't let it happen again and we're good.
Speaker 2:That's a testament to the industry, dude. It really is like bands that don't sit there and like stop production rehearsals because some choreography wasn't correct, or like walk off the stage or like I mean, you hear about the nightmares but you really don't hear about the great people. You know a lot of people aren't doing that, so physically, how does this take a toll on you doing? I mean, they still tour pretty hard. Three in a row, four in a row.
Speaker 1:Yeah, not generally. We don't generally do four in a row. That's pretty rare. Like a three in a row is kind of special, like usually it's twos, ones and twos. I'm not sure if it's true or not, but I heard rumor that Patrick has to approve a three in a row the singer. That may or may not be true, that may be just be a rumor that's circulated inside our camp, but it is. Three in a rows are a bit on the rare side for us and normally if we're doing a three in a row there's like they're kind of I mean, obviously a three in a row is all back to backs, but they're not long drives, they're spaced close together, like not that you'd ever do this, but like an LA, anaheim or something like that, where it's a short drive and he's staying in a hotel or whatever and he can properly rest. I think and again, like this could be total bullshit. I think that's what one of the qualifications kind of is.
Speaker 2:Needs a data set up as hypobaric chamber or whatever.
Speaker 1:Oh, God, no, he's the most normal dude ever, but no, he just has to let his voice rest, you know, and yeah, he's a friendly dude, so he'll sit and talk with kind of whomever you know, and that's not so great if you're trying to let your voice rest.
Speaker 3:So, after having done what almost a thousand shows, or a thousand shows, 11 years now, at this point? So what is what's still the pinnacle that drives you each day to be out there, short of the mid-check?
Speaker 1:I mean obviously the paycheck's nice and all, but I mean I just love what I do, you know, like the production side of it. It's funny. I love what I do audio-wise. I like what I do production-wise. You know, I've always said the production pays the bills and the audio is what I love. So it's still a lot of fun, even the production side, even when the production side's a nightmare and everything's going sideways and shit's breaking. And you've got people building set pieces that weren't meant to be built in an hour and you've got all of your focus and all of your team's focus is trying to fix something somebody else did improperly, or maybe not even improperly, just not in the most convenient way. You know that's kind of it's maddening, but it's still fun. It's that pressure is still kind of fun. That's awesome.
Speaker 3:How does someone know if they're cut out to be both a PM and slash front of house LG, whatever the slash is Right, you know. Obviously, for whatever reason, the reasons that being in the audio spectrum are often what's the magic there that makes someone capable of excelling at both? Because obviously many people are requested to do both because it'd be the budgets or because you know, or various things. But what's the magic in a person to be able to do both really well for longevity?
Speaker 1:I wish I knew. I mean I honestly don't, because I've seen people that I thought would be okay at it, that I thought would have the right temperament, the right attitude, the right you know. I mean even the right intelligence. Which I mean? Let's be honest, this job needs intelligence but, based on some of the people doing these jobs, you don't have to be the smartest. You know you have to be able to get the job done. But yeah, I don't know. I don't even know why I can sometimes succeed at it.
Speaker 3:But I imagine there's two big sides to being a production manager and one is your ability to manage people, personality, interactions, egos, all those things and then just literal attention to detail of like logistics and you know checkpoints things of that sort right.
Speaker 3:So I mean to me I would think the magic's also being someone who can actually deal with people, no matter the level, right, like to me that almost has to. You could almost be worse at checking all the boxes, a figure of things out because there's other people around you, but if you can't be that mediator between a group of people and see the band or the different crew members, I feel like that has to be the number one sauce in there.
Speaker 1:It does help a lot, you know. I mean, I've always said I know plenty of guys that are in this business that are ungodly successful, that are mediocre or worse at their jobs, but they're a great hang, they're a great person to be around. You know the unibrow cow. You know you can live on a bus with them. You know that's almost arguably more important. It's definitely. I think at this point it's definitely as important.
Speaker 1:You know, cause if you can't live on a bus with you know somewhere between eight and 11 other people. You know different personalities, different sexes, different political spectrums, different everything. You know every race, creed and color, everything you can think of. You're gonna have a problem. You know, and I know people that are incredibly right-wing and I know people that are incredibly left-wing that can be on the same bus and have no problems at all because the respect and the fact that they just you know, they understand there's a time and a place for everything and you know nobody wants to hear this guy's an idiot or that guy's an idiot. Or you know at two in the morning where you're trying to unwind before you take your three hour nap, before low down.
Speaker 2:I've talked to people about this before too, and the interesting thing to me is we've been dealing with all this stuff way before it became a media outlet.
Speaker 2:Oh yeah, like we've worked with different sexes, races, colors, age groups, old mean dudes, old mean ladies, like we've done the whole bit.
Speaker 2:So like it's kind of like a when they talk about baseball players and they're like oh, he came to work and he did his business, he did his business. I think we've been doing our business for a long time and it kind of does Like it sorts itself out Like you can put us on any tour and be able to fit in and do the right thing there's still some people out there that can't, but, like you said, there's other boxes to tick as well and being able to sleep and hang out and be able to do the thing with them and know that they're doing their job. Like I think everybody, like you said at the beginning, like the people around you make you successful. So being able to put people in positions that you know that the job's gonna get done. You might sacrifice on like, oh, that dude's feet smell, but he's really, but he's really gonna finish in his shit up early and like, tell me, what does he do?
Speaker 1:No, but that's totally true. Every human has a plus and a minus. You know, I've yet to meet a perfect person. Kyle's probably as close as we've come. But yeah. We're still, we're still ticking it. We're missing a couple tick boxes there.
Speaker 1:My feet stinking For sure, but no, I think that's definitely a thing Like you've gotta be able to get along with people. You've gotta be able to. I mean, you do have to be able to do your job to whatever level is acceptable or tolerable to your employer. You know, obviously. You know most of us strive to be the best we can be, or maybe even better than we can be. But you know, ultimately it is personality. It's like you said, chris, you've gotta be able to get along.
Speaker 1:Like for the last more than 10 years, for the last 15 years, I'd say for at least the last 15 years one of my rules when I come into a camp is listen, I kind of have to be able to fire anybody. Like I don't care if it's the drummer's brother, is his tech, if he's not doing his job or there's a problem, I gotta be able to let him go. Yeah, but by the same token, oh, go ahead, chris. Also, what did you figure that out? It took me probably almost 10 years of touring to figure that out. You know, I've never claimed to be smart or quick, so it took me longer than it should have.
Speaker 1:But yeah, so that's kind of I mean, it's not a hard fast rule, but it's kind of one of the things I go to management with and like, hey, listen, if these people aren't cutting, I'm not gonna replace anybody when I get there, like I'm not gonna walk in and just bring my people in, right, I've never once done that. I won't do that Because for me, you know, yeah, I have dudes for every position that I would love to hire, but maybe there's someone better. You know, maybe the dude I thought was the best, maybe he's only the second or third best, and now I found somebody who's better. You know, we're all looking for new talent and we're all. You know, not all of my friends are always available when I need somebody, yeah, you know. So you have to have a talent pool to pick from.
Speaker 3:That was a big political game that I learned early on. That I was very surprised by is the PM relationship. Oh yeah, when a PM comes into a camp and he and they may not be the way you are and we're like you know.
Speaker 1:I've been fired because of it, so I know what you're talking about.
Speaker 3:But I mean like for those who don't know, like you get this relationship with the PMs, they get brought into a camp. Typically you have a PM and TM relationship. So I'm gonna break this down a little bit for you know, people who maybe don't in the touring world, tour manager is like kind of like you know overall the whole tour, whereas production manager more sees like production details or whatever tour manager is more dealing with like the, the band and the label and the bigger money set of things. The PM is more of like logistics and things like that.
Speaker 3:And they often come in pairs and when one is forced to work with one they haven't worked with before or don't necessarily want to work to, and one of them wants to bring in some of their people but don't have their people, it gets very political really quick it does, and the stupidest little things that shouldn't have gotten someone fired will because that's their scapegoat to be able to bring someone else in their camp and it's at least I don't know. I know I'm talking like maybe 15 years ago, maybe it still is. It could be a pretty vicious fricking cycle of rotating camps when some of that stuff happens.
Speaker 1:Oh, I definitely still, as a thing I just witnessed with this past summer. I won't name the artist or the crew or any of the people involved, but there was definitely a power struggle of old school dudes, new school dudes, and there was no jail. They didn't get along. I don't know that they didn't get along. They didn't really like the way each other worked. So, yeah, and at the end of the day, it's whoever has the artist's ear the most or management's ear the most. I guess, yeah, whoever's closest kind of wins. I guess I don't know. I've been on the losing scenario of that before, which is why I don't fire people when I come in. Like my rule is I'll come in and I'll see who's good and if you're good, you keep your job. If you suck or you're an ass, then I definitely know people that can replace you.
Speaker 3:Have. They're short of the actual pandemic years. Have there been any major changes that you've seen in the touring industry pre and post COVID pandemic?
Speaker 1:It's crazy busy right now. There's that. I don't think I've ever had more trouble securing buses, trucks and not so much gear Well, yeah, even gear to some degree and vendor crews, the touring and everybody of course is gonna see this in their own light. For me, I haven't seen the shortage on Backline and tour like band audio guys and band lighting guys. I've seen the shortage on vendor side much more than the band side of things. Artist side. I've not had a problem hiring somebody, yet Vendor side has been. You know we've had some issues.
Speaker 2:How much would you estimate the cost of just fuel has went up for you post pandemic.
Speaker 1:Oh, that's a good question, is it?
Speaker 2:ridiculous.
Speaker 1:Now, like you see the bill and you're like what the Well, because we do our bus budgets and bus and trucks we do all in, so I don't see a fuel bill per se, but bus cost has gone up. I wanna say $2 to $300 a day, Probably $200 a day, maybe $300 a day per bus.
Speaker 2:So a grand a week. It's probably up.
Speaker 1:Maybe a little bit more, but yeah, it's gotta be at least in that ballpark. Yeah, trucks have gone up as well, but not the same jump as buses have, but buses thankfully bus drivers for the most part have also gotten a bump in pay which accounts for some of that. You know, some of that bump. It's not all just fuel or corporate greed, if you will Some of it to operate costs yeah. Yeah.
Speaker 2:It's crazy.
Speaker 1:Yeah. So I mean I would say overall transportation cost. If you're a one bus, one truck tour, your operational costs probably went up somewhere between a thousand and $2,000 a week, yeah, maybe even a little more, depending on you know again, what kind of routing do you have. You know, if your agent sucks, you know you could be tearing through fuel.
Speaker 2:So did you see any correlation with ticket prices and attendance or anything? I mean because even a ticket price right now has exponentially went up since COVID as well. You know too, I remember when Rage announced they were gonna go do their stadium reunion thing with Run the Jewels or whatever, and I think the lowest price ticket was $400.
Speaker 1:I was like they're not their anti-corporate yeah.
Speaker 2:Zach drives in a reasonable car.
Speaker 3:I have no doubt. And magically, they're no longer together again. So yeah, shocking.
Speaker 1:I mean. So it's weird for me because I've been in this fallout white bubble for a decade and they keep their ticket prices at a unreasonably low In my opinion unreasonably low level based on other ticket prices that I see. You know, I think our top ticket price before dynamic pricing hits, you know this is the original ticket price. I think our top ticket price on the last tour was $85 or $100 or maybe a buck and a quarter, something like that. Not bad, no, that's a pick ticket, you know. So that is reasonable. You know 300-level seats or lawn seats were still, you know, 40 bucks or 35 bucks, something you know, somewhere in that ballpark.
Speaker 1:I think I don't see all of the ticket prices, but I do know dynamic ticket pricing has done it's skewed people's thought of what ticket prices are, because if you know the Taylor Swift show or, but really any tour, I'll just use Taylor because she just blows up everything. She can't not sell something out. You know when she goes on sale, her fans all hit it one time, broke the servers last time. But also the way the dynamic ticket pricing works. From my understanding of it, the price just starts to do this as the demand does this, the same way airline tickets do.
Speaker 2:You know, is that yeah?
Speaker 1:yeah, search, so essentially search pricing, you know, and it's, I mean it's. I see it as a double-edged sword. I guess they did it to try and help counter ticket scalping, because oh, that's so good. I mean that's you know, that's what the, that's what I've been told. The thought was.
Speaker 2:But their counter was is that you can buy a ticket on Ticketmaster and now sell it back to Ticketmaster at the price that you want for it.
Speaker 1:Like you can create an account, that's so crazy that they do that. See, you're a step ahead of me because I don't my ticket's pretty often, so I'm a little out of the loop on that side. Yeah, if I go to shows it's just to visit friends. It's very rare I go to actually catch a show, and if I do, I usually call somebody to at least get me a ticket at, you know, at cost, at cost, without paying the ticketmaster's surcharge.
Speaker 3:I'm really torn on the ability to be able to resell your tickets, right. So it's like, on one hand, right, let's say, because people obviously make a full, people literally make a living on resell tickets, right, you know, I mean, you buy four, you sell two to pay for the two that you just bought, you know, because you can. So it's like, on one hand, I can appreciate the house, on the other hand, it's like man, that just totally skews the whole system of what. But then, like what, if you truly couldn't make it, Should you be able to sell your tickets back? Yeah, so there's that weird double-edged score that I don't know how to. I don't know how much I care or think it really matters, I don't know.
Speaker 1:I mean I guess my only concern really.
Speaker 1:I mean, I'm kind of all for do what you want, as long as it's legal, you know, but to me it does hurt the artist at some point. Not necessarily financially, because the If their show sells out because Ticket Scalpers bought all 16,000 tickets, they're still getting theirs, they're still getting their pay. But where it hurts them is the actual drop count, the attendance. If Ticket Scalpers bought 16,000 tickets, it could only resell 5,000. All of a sudden you've sold out your show but you've only got a quarter of the house full or a third of the house full. So it hurts them in that respect. I think and I don't know all of the financials on how all of this works I have a very, very keyhole look at stuff, so I don't see the big picture always, but I feel like it hurts the artist a little less financially and a lot more almost mentally. You know like the show doesn't look as good, or you know like the attendance doesn't look as good and it pisses off the fans for sure, which doesn't help the artist in the long run.
Speaker 3:Yeah, I mean it's interesting. Hey, so you? What's it been like? I saw you had some pictures. You were able to bring your daughter out a few times out to some shows. What's it been like raising your daughter through this time of touring, you know?
Speaker 1:I mean.
Speaker 3:I've got daughters and kids, so I mean, like, what's that been like?
Speaker 1:I mean for me it's been pretty good my kid, so far. She's just turned 15 a few weeks ago. Yeah, I know, so far she's got a very level head on her shoulders. You know, I've always said her mom's raised her right.
Speaker 2:Shout out to mom.
Speaker 1:Yeah, exactly. My wife, you know, has done, unfortunately for her, most of the heavy lifting when it comes to this, because I have been traveling for, you know, in my entire kids, Well, in my entire marriage, you know, like they don't, I guess the plus side is they don't know anything different with this family. You know, I can't see how people did it before technology, sure, I don't understand. Prior to FaceTime or Skype, before FaceTime, like yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. I would probably go nuts. I mean, my daughter and I don't talk, neither one of us are big phone conversationalists. So you know, a phone calls like, if we're lucky, five minutes of what'd you do today, nothing. What'd you do today, nothing, you know.
Speaker 3:The record, even when I'm home, it's the same conversation I had with my 15 year old daughter. 100%, yeah, not missing.
Speaker 1:She got home from school today and I said, hey, how was today? It's good. What'd you do? Nothing, good, thank God. Thank God, education's still working. All right, let's go.
Speaker 2:It's so true though it's like. I love how I mean there's a ton to unpack in the whole she doesn't know any different. Like this is the way it is. Like this is the way that the family is. And I think that about Kemper too, like a lot, because at some point, like you said, you just feel like garbage and you're on the road and you get 10 second conversations or you don't get to the hotel in time or there's nowhere to go where it's quiet. Like that bums me out. You know like and I think I'm being a bad dad but they don't know any different. Like as long as the time that you do spend with them is the quality that you want, it's great.
Speaker 1:And that's what I've always tried to do is that when I'm home, generally speaking, my entire career, when I'm home, I'm home Like I don't, from the time my kid it's home from school to the time she goes to bed, and when she wakes up until she leaves for school, I'm usually there Like which is, and on the weekends I mean, I don't really do, I'm a friggin' hermit, like I'm not-. Yeah, but you camp and stuff.
Speaker 2:I see pictures you go camping, oh yeah, but I would camp with my family, it was the same thing in my house.
Speaker 3:Yeah.
Speaker 1:It's just in a camper. But you know, I mean, like on the weekends, like I'll, I have a couple of friends locally that I'll hang out with, but really like once a week, once every two weeks, we'll go out and usually on a weeknight we'll go out, have a couple drinks, catch up and I go home, like usually two, three hours tops. You know, I mean, we're all old, you know we're. It's not the days of staying out till four in the morning and, you know, trying to survive the next day anymore. You know, if I do that now, I'm brutally dead for a week. Yeah, yeah, but yeah.
Speaker 2:Nothing's good happens after 10 pm.
Speaker 1:Exactly, I mean New Year's Eve this year I was in bed by 930 and asleep by 10. It was great, I loved it, but to the point like when I'm home I am home Like I'm not, I'm not off, like you know, like the guy that has the nine to five office job, he has the nine to five but then he may also have to do work at home later and do this and do that. You know, whatever, excuse me, for me I don't really have that so much so I can do my advanced work and my other stuff that I do have to do for tour During those six, seven, eight hours, however long it is the kids at school, you know I can do, punch all my stuff into that hole and then after three or four o'clock in the afternoon, I don't shut anything off. I, you know, I'm a production manager. The phone never gets shut off.
Speaker 1:But you know, a lot of times, depending on who it is, if I know what the call's about or the email, I'll look and go. Okay, that can wait till tomorrow. Sure, you know, some of them can't. You know, obviously there's been plenty of dinners and other events that I'm like, oh sorry, I gotta take this, I'll be back in 10 minutes. You know, and it sucks, but you know it's when you're getting paid to work. You know you gotta do your job.
Speaker 2:How do you find time for all the memes? Is that just? Do you have a window open ready to rip? Is that just? That's where I wanted to go.
Speaker 1:So I crack up at people asking me how long, like how many hours a day, I spend on that or whatever. If I spend 10 minutes a day on that, I'd be surprised.
Speaker 3:All right, but real talk though. So, yeah, how do you store them? How do you know what you have or haven't posted? Is you have a set of images full of memes, like there has to be a system here.
Speaker 1:Like I thought about this Probably more than I have. Um, so basically I get shit sent to me constantly. Now, like every day I go to no, no, and that's great.
Speaker 1:I go to. You know why I like it? Because I don't have to do any work. Then I just have to. I get the text and I go oh, that's funny, I'll save that one. I've posted that one before, that one, you know. Whatever, and to the point of whether I know if I've posted it before or not, I have no fucking clue. I have a general knowledge of some of them. Like some of them I'll look at and go no, I've definitely posted that. But some of them I look at and I've been called out a couple times like, oh, you posted that before. I'm like I probably did. I post anywhere between 15 and 30 a day, like there's a fair chance that I'm reposting shit every now. And what has happened? I've posted something and then, like four days later, facebook memories will pop up and it's right there. And I'm like oh, son of a bitch.
Speaker 3:I've never posted that one before. You know what's funny you I mean you probably realized this like you've actually become a source for some people that, like they expect, like that's, like, that's part of my daily, like I people are freaking out at home right now.
Speaker 2:Right now during this someone's going to chat. Okay, I haven't seen a meme in like 30 minutes.
Speaker 1:Oh no, I last time I posted was about eight o'clock this morning, so it's 11, probably 11 hours ago that it's going.
Speaker 2:But this thing is oh, go ahead, chris.
Speaker 3:Go ahead, go ahead go.
Speaker 2:So but this thing is kind of turned into this new cable ramp thing and cable management thing and I think that is the absolute coolest, like so yeah, that that started.
Speaker 1:So it actually started with the followup way to our we. I was walking around and, like we had on the summer tour, we had a bunch of people who were rookies for lack of a better term, they just hadn't really toured and, yeah, the first if you go to the cable ramp fails. At Instagram the first four or five pictures are followup white pictures.
Speaker 2:And they're yours.
Speaker 1:They're mine that I took, you know. And then once I posted, those people started and I didn't even have the cable ramp fails at Instagram thing at the time, I was just posting them randomly and then somebody said, oh, there should be an Instagram page for this. And I went yes, there should, and added it. Now I mean it's weird, because if I don't post anything for a while I don't get any, but if I post some, it's like it's like people remember and they're like, oh shit.
Speaker 1:I took a picture of this ridiculous cable ramp situation, like the craziest one I saw was where they taped the snakes to the sand. Yes, I was like I don't even understand how. Like that doesn't make any sense.
Speaker 2:But yeah, I mean, we does legal everywhere, just about.
Speaker 1:I'm telling you that was more than we do that.
Speaker 3:Yeah, but yeah on the meme thing though.
Speaker 3:I put some thought of this today. I am probably you know. Yes, these are the things I think about. But, like I thought about, like the history of what memes have done in terms of society. You know, and and do you like? First off, I did look up to see, like when you know who created the first meme and where that kind of came from and actually Richard Dawkins is actually the first one. Who, who coined the term back to you back in the 70s, believe it or not?
Speaker 2:No shit what.
Speaker 3:Yeah, richard Dawkins family feud. Like, like the like the evolutionist. Oh, he's thinking Richard.
Speaker 1:Dawson. Dawson oh that's a dude from Hogan's Heroes, oh.
Speaker 2:God, I'm an idiot.
Speaker 1:I was like Richard, richard Dawson did that. That's great.
Speaker 2:Drunkie used to be used to be wasted on that show. We were just kids, we just thought that's what, that's the way he was.
Speaker 3:Yeah, he coined the word meme in a book in the 1970s 76, actually, oh wow. And then eventually, probably about the 80s is when the first iteration of internet memes would have been like typing a smiley face with like a colon dash and then a parentheses. Yeah, yeah, you know and then became like emojis and means anyway.
Speaker 3:So that's, that's not the whole point. My point was is that, like you know, I was like I wonder if there's going to be a time in the future when we literally have, you know, our kids or grandkids would ever go to school and they learn about memes. And what I mean by that is that, like I mean, there have been major events in our history that are kind of told and lived through meme culture. I'm serious.
Speaker 1:No, you're right, it's kind of scary, like when you think about it like I mean almost everyone, I would imagine, has learned about a major event because of a meme.
Speaker 1:first, I will fully admit I have not watched the news in five years maybe, maybe more. Anything that I learn is strictly well, anything that I hear of not that I learn anything I hear of is strictly via social media or a text message. And then I'll go and you know, if you have a message, you know you can go and then I'll go and you know if it interests me I'll go and look at it, research or whatever, and I, as sad as it is, I do try to do that with most of the things I post. I don't do a thorough fact check, but I at least do a quick cursory like is this even close to the truth?
Speaker 2:You have to or you'll just get busted on the internet. I want you to your friends and they'll think you're a dick. Yeah, the. The latest one for me has been the Stephen Hawking thing. Now that we're talking about Steve's right now, like holy shit, they did not wait for that one at all.
Speaker 1:No, I mean yeah, and I don't know how to take any of that stuff, because there's no, there's no proof. No it's alleged, but it's in a court document. So you know, I don't know. At the end of the day, I hope whoever did that, fries, yeah, but the the, the memes came out like instantaneously, like nobody slept on that.
Speaker 1:Oh no, they were then, like, I mean the submarine memes when the when the submarine got crushed, going to the Titanic. I mean those. And it's funny because, like I am not shy about posting something that's semi controversial, I won't post anything that I know is outwardly false. I won't post anything that I know is outwardly racial or or sexist or something like that, but I have no problem calling out a bunch of rich dudes who are dumb enough to go 20,000 leagues under the sea and got crushed in their fucking soup can?
Speaker 2:It wasn't. It wasn't that what they called it, the submersive, or something like that?
Speaker 1:I don't remember what it was called, but I mean like they had been, like there were, there was investigations about that stupid submarine, that it was not safe. And you know all this, like, hey man, if I don't blame you for doing it, but if you die doing it, that's on you. Like, like you made a choice to go do this and you know I feel bad for the family members and the. You know the people outside, but the people that chose to do it, you know the risks. You know it'd be like me skydiving. I know the risk. If I shoot doesn't open, that's on me. I knew the risk going into it. You know it's not like they were uninformed. Well, I shouldn't say that. I hope they were not informed, yeah.
Speaker 3:I mean like the memes are. You know they? I think they embody what you know pictures, were pictures worth a thousand words, right? So you can say so much with just a simple meme. I'm just curious to see down the road, you know, when you know what, when we're looking back at like like major events, will memes at some point get tied to these major world events that like our kids and grandparents, and and, or will they even get the memes at that point? Because sometimes half these memes if you didn't understand what the event that happened and work oh, you don't get it.
Speaker 1:Yeah, you don't get it?
Speaker 3:I don't know, it's just interesting cultural.
Speaker 1:I mean that's. I'd be willing to bet, if there's not already, there will be in the next five years a college course on memes and the culture, or something to that effect.
Speaker 2:Yeah, I have a shot at this. A junk professor gig. Oh, there you go. I'm going to mention this for another 400 bucks a semester or whatever.
Speaker 3:Adjunct professor, professor, when you're done touring, that's what the funniest part is I don't know shit about him.
Speaker 1:I've never made one, I just look for shit. I find it like intriguing or funny and, like I said, people send me stuff all the time. I've never run short Like I know word of a lie. I'm a folder on my phone that probably has 500 in it. You know, like if I didn't, if nobody sent me one for a month, I'd get through the month. You know, without looking for anything else. Fashion it out. Well, the funny part is I have to go through now because some of them are so old. I have to go through and be like, oh, that's so not Right Relevant anymore. You know. Like, oh, the submarine thing, oh, that's not even funny anymore. Like, you know, whatever it's got to be, I have my own like code, if you will, which is really stupid that I'm even talking about this. Like, yeah, they, uh, yeah. Like, if it's more than about a week old, I'm like, yeah, it's, it's past, it's, it's not, it's not relevant, it's not funny anymore.
Speaker 3:You're already building the course for this, this, I don't know. Just start documenting some of these thoughts in your head. It'll make sense.
Speaker 1:If I start documenting this shit, I'm lined up in a fucking nut house.
Speaker 2:I had something pop up in my memories. I was from like six or seven years ago and I had to think about it for a second because, like you said, once they go past you totally forget about it. But it was like I was marked safe from Romain lettuce. Today Do you?
Speaker 1:remember that one. Yeah, the E Coli or whatever it was. Yeah.
Speaker 2:Yeah, the E Coli virus or whatever. But then I went back even further and there was like the, the swine flu, there was bird flu, there was like all these crazy ones, uh, the earthquake in Massachusetts.
Speaker 1:People just showed their chair knocked over. Their chair knocked over.
Speaker 2:I still get a good giggle every once in a while when I see something that's like a relic because I have them in my, my iPhone or whatever, like I'll save some good ones or whatever, and man that in in GIFs. I think Giffy and memes have changed the way people communicate, because I'm in a ton of text message streams where people would just send a GIF of whatever like the little animated thing, yeah, and that's how people communicate. Now they're like oh, I need that dude on roller skates with a shirt off. Like, how many times have you got that?
Speaker 1:one, Like, I mean, I feel like that. I feel like that the private text message part of it or group text message part of it, when, when that comes into that, I feel like and I'm somebody's going to type under this that I'm an asshole and I'm a old fucking boomer and whatever, but I feel that's. I feel that's really like a Gen Z, maybe millennial thing, more than it is a Gen X thing. And I don't, Chris, you're probably millennial right.
Speaker 3:I'm born a lot of Gen X millennium right on the curve, okay.
Speaker 1:I'm died. I'm dead. Center of Gen X. Kyle, you're probably upper gen X, yeah.
Speaker 2:Yep, yeah.
Speaker 1:Oh, you're a little older than I thought. I thought you were like 74. Not years old. 74 years old, yes, yeah. So like from the Gen X side, like I feel like a lot of us. I feel like a lot of us, if we're doing it, it's because we're in with all the young kids and we're like, oh, I gotta gotta be cool, gotta gotta do this, yeah. And in the yeah yeah, I mean in the meme thing like it's probably technically the same thing.
Speaker 1:For me, it's just a. It's a funny little thing that's gone Way out of control. Yeah, Again, luckily I spend the amount of time I've spent on the toilet Working on this. That's where I expect you to be when you are posting your memes, as over the toilet.
Speaker 3:So that's not usually where I'm when I'm posting it, usually like when I post it it's. I just woke up in the morning.
Speaker 1:I'm like, yeah, send, send, send, send. Okay, cool, yeah, where I find them is usually one. Yeah, I'm like, yeah, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, yeah, I'm like screaming, I don't say thank, thank, thank you for what is done, done for my dating. Okay, on my personal in your social media space. No-transcript. I'm on the toilet because there's nothing else to do. It's not like the old days where I had to read the toothpaste tube. Yeah, now I've got this handy little computer in my hand that I can, you know, I can use that, um, so I'll do that. And then, you know, that's really about it. Sometimes, like, honestly, sometimes, if I'm trying to fall asleep, I'll go through Instagram, and Instagram puts me to sleep in like 15 minutes, like scrolling through there, just scrolling through the videos, more than, uh, more than the stories, excuse me, um, so that's the reason.
Speaker 3:you know the tick tocks that have been on, that have been out for like two, three weeks and now you're seeing when it's getting real at that point.
Speaker 1:Exactly I'm. I'm Gen X, I'm old, like that's how I find out about tick tock stuff. I don't have a tick tock out yeah.
Speaker 2:I'm from a pride.
Speaker 1:They probably banned me from an artist's perspective.
Speaker 2:I talked to Ryan and Max about this social media bit all the time because I don't get it Like I have to have the kids explain stuff to me sometimes Like, oh, dude, you can't say that. I'm like, why can't I say that? And then they're like, well, at least they're cool about it. But it's the same thing with, like, the business side of Instagram and tick tock and all these reels and stuff that are going around. Like, if those dudes don't get over a million plays or a million likes or whatever on their thing, their label will come down on them. It's crazy, not like come down on them, but they're like frowned upon. You know, like they're trying to hit numbers and stuff and we've talked to a couple of guests about this as well. Like, if they're like watching numbers all the time, like they'll post a video and just go watch numbers all the time.
Speaker 2:And I remember this about follow up boy Pete used to go to all the YouTube videos that someone would take in the crowd or whatever.
Speaker 2:And if someone said something mean or rude or obnoxious about Pete or the band or whatever, that dude was literally hurt and I thought that was like super genuine back in the day. He was like man why would people say that about us, like you know, and I think it fueled his interview style where he turns into this other Pete that most people see in public, and it kind of honed his personality. So I don't know where I was going with any of that, to tell you the truth, but it just weird how it works differently for different people. Like I'm trying to slow it down, but then I realized, holy cow, chris and I need to do some work. I need to put out what I'm doing. Like it's a way to communicate with people that we haven't communicated. Like I don't call Chad I think I talked to Chad once this summer, twice this summer. Like I don't call a lot of the people that thumbs up my post or whatever, but that's a way that I keep in contact and know everything's like cool.
Speaker 1:Yeah, I mean it sounds not to be. I don't know what the right word is, but it's the loose connections. You know, like it's all these people that you're friends with and I am friends with. Like there's nobody on my Facebook page that I haven't personally met at some point or another. You know, or there may be a couple, but really like a very small handful, because I don't let people in there that I haven't met or at least talked to or had some kind of business interaction with. But they're not all like friends in the sense that I'm going to like give them a call on Saturday and see how they're doing, and I barely do that with my close friends that I've had since high school.
Speaker 1:But, like the most people would get as a text of like and I'm the fucking worst at remembering to text people just to say, hey, how are you doing? Is everything okay? You know I'm I've got to be one of the worst humans on the planet at that. You know, if you text me, I'll happily text back and text for whatever. But I am God awful at even this Christmas, in New Year's, like, I didn't send out a single like Merry Christmas, happy New Year text. I got dozens of them and I was like I got family shit, I got this, I got that and apparently I'm a self-absorbed asshole and just didn't couldn't come up with the time to do it.
Speaker 2:I'm going to negate half that. You always put up on Thanksgiving and Christmas that anyone needs a place to go or a place to eat or whatever you. You do that on a yearly basis. It's like and that's how I know you're okay too. Yeah, For the record.
Speaker 1:Yeah, I mean, yes, I do so that's. That's something my family's always done, that We've always had a kind of an open door policy for holidays and I do it for Easter if I'm home as well. Yeah, my house is your house. If you, if you don't have a place to go, or even if you have it like I'm not saying you have to be homeless, like if you've got no family to hang out with on the holiday, and you want to hang out with my knucklehead family, come on over.
Speaker 1:Like, yeah, there's always way more food that can ever be eaten. You know like we ended up throwing stuff away 10 days later because it finally rotted and we couldn't eat the leftovers anymore. You know, like, I mean, it's just what we do. You know it's been my my. You know my dad did that when we were growing up there was always you know he's a bartender and stuff. So there was always the random barfly that came over for, you know, the Thanksgiving or the Christmas, or, you know, not usually Christmas day, but Christmas Eve Thanksgiving. You know, random people showing up, random people showing up.
Speaker 2:I have other questions. What's your favorite fall upway song, chad? Oh, don't, don't say Saturday, because it's the last one.
Speaker 1:It's not either. It's either hallelujah or just loyal order of water buffaloes.
Speaker 2:Two amazing tracks.
Speaker 1:Yeah, it's one of those two. But heartbreak on the new record. I fucking love that song, so that's that's. They don't play it live anymore, which kind of bums me out. They played it for the first. They played it like January through March or April and then they stopped playing it live for some reason. But yeah, but home. Hallelujah and water buffaloes are definitely two of. They probably are my two favorites, like when they're when they're in the set, especially when they're set in the set together, I'm like, oh, it's nice, it's a good 10 minutes right there that I'm gonna be super stoked.
Speaker 2:Um, then the second question would be if you could go back and work with an artist that you worked with before, who would it be?
Speaker 1:Oh, that's a good question.
Speaker 2:Could you have a nice list of interesting stuff Like I always thought about, like your early career you did a ton of new metal and then you got into some pop and then you got like you've been all over the place. So one I got to do Sammy Hagar with Bonham and now I see why that that dude something, he's something special, he really is Jason's.
Speaker 1:Jason's such a good dude. I do enjoy working for him when I do Um, but to go back and work for somebody, um even if they're not alive. Oh yeah, sure, uh, I think, thankfully most I would say either it's a, it's a coin flip. Either thin Lizzie, yes, or Allison chains.
Speaker 2:Yes, with Lane, or was that after Lane?
Speaker 1:I worked with him after Lane. I worked with them, uh, on the reboot. I started to know six. Um, it would be one of those two, I think for sure, probably as much as I love the Alice guys. They're all sweethearts. Uh, I saw him last time I was in LA. I saw him. All the really nice dudes, um, I'd probably lean more towards thin Lizzie, um, and and and more more importantly, the thin Lizzie that I worked with, which was, you know, people will call it a bastardized reboot, I'm sure, because the only guy that was in the shit he wasn't even in the original original, scott Gorham. He joined on the second record, I think.
Speaker 2:Was Richard Fodos with you?
Speaker 1:No, it was uh uh, scott Gorham, john Sykes, tommy Aldridge, and then uh, yeah, and then the uh bass player was just a session dude from LA.
Speaker 2:So you were at center staging rehearsing that show and I was down the street, yeah.
Speaker 1:Yeah, with followup, followup. Yeah, yeah, I came, I came and saw you in. Uh, super Dave.
Speaker 2:Yep.
Speaker 1:Yeah, I popped over.
Speaker 2:It was crazy. I was like who's rehearsing down there? And then Lizzie and I was like let's go yeah.
Speaker 1:I mean I'll tell you what that was arguably the most starstruck, if you will, that I've ever been. I was sitting in that studio when Scott Gorham came in first and I didn't really know Scott, like I mean, I knew thin Lizzie, but I didn't know Scott as a, as a rock star or rock icon or whatever you, whatever you want to call them. Um, but then John Sykes came in and I was a massive blue murder white snake fan and I was just like, oh, this is like. This is the dude that wrote still the night. You know, or or maybe not that one, but you know, wrote half of that record.
Speaker 1:You're three quarters of that record, you know, and then Tommy Aldridge comes in and I'm like fuck Tommy. Like Ozzy white snake fucking black oak Arkansas. Pat Travers, like that dude's a monster and what?
Speaker 3:a nice dude yeah.
Speaker 1:And what a nice like. He's a grumpy old man at times but he's a sweetheart. Yeah, um, but yeah, when those two walked in, when Tommy and John walked in, that's arguably the most in awe I've ever been in rehearsals. Like sitting at the table with my computer and I'm just like, oh, like that that's the hit parader pictures from my wall when I was in, you know, 10th grade. Yeah and yeah, so that that that is probably the band and I had a ton of fun with those guys. Like we had a super small crew. There were four of us, including the merch guy and, as myself, a drum tech, a guitar tech and a merch guy and it was super low, not low dough as in like they didn't pay well, but super low dough is in like we didn't have a lot of crew. There's a bus and trailer, everybody on one bus. They treated us really well.
Speaker 1:I slept about an hour a night because we'd stay up telling story. Well, we wouldn't tell stories. We say I'm listening to stories from John and Tommy until you know. Three or in the morning, four in the morning. And the thin Lizzie guys at least when I was working with them they were guys. At least when I was with them. They got hotel rooms every night. So we'd get to the city and I'd have to check them. I was the tour manager in front of house. I'd have to check them straight into the hotel as soon as we got there, at six seven in the morning. So I'd go to bed three or four in the morning, get up six seven in the morning, check them into their hotel. They'd go to sleep until two, three o'clock in the afternoon when I'd go grab them for sound check. I'd sleep from eight to 11 when we loaded in and you know, and then just do it all again. But it was so much fun.
Speaker 2:Theater style venues like house of blues.
Speaker 1:Uh, it was all Europe, uh, and it was all, yeah, all clubs. Yeah, like 1500, 2000 caps, tops, like yeah, we played a couple that were like 500 caps. So awesome. Yeah, it was a good time.
Speaker 2:Can't do that now, that's for damn sure.
Speaker 1:Yeah.
Speaker 2:I saw him at download and Richard Fotis was playing with them and I went and stood at front of house. Uh, Nick Payne from SSC was like the the system tech for the day and he had a little espresso machine set up. So it was them in darkness, right in a row, and I never had so much fun high on espresso shots Like that was amazing, Richard. Richard from Singles.
Speaker 1:Yeah, what year was that? Do you remember?
Speaker 2:Holy shit, I'd have to look it up. It was download. Those were the two headliners and Lizzie in darkness so it had to be like 2008, 2009, 10, somewhere.
Speaker 1:Just before I worked for them or just after. It was because I worked for them. I worked for them 2008 and nine. Um, I didn't do any. I didn't do any major festivals with them. They'd done festivals before I got there, this this season, before I got there, and they did festivals after, uh, John and Scott split and it became uh, Scott and I don't remember who else came in. I think Brian Downey came back and a couple other dudes came back and they did thin Lizzie again before they turned it into black star writers.
Speaker 2:Ah, that's what happened. I have to check that out. Yeah, iconic show for sure. Do I have any more questions, chris?
Speaker 3:Well, Kyle, didn't you say that you guys had some other connection, either on a tour together or across paths outside of Fallout Boy?
Speaker 2:Well, we did. He was doing nonpoint, I was doing his band from 1000 or 1000 Palms of Hot Wire, used to be eyelid and cataract like these hardcore kids from the Inland Empire. We did that and then I was going. I loved Brian Head and I used to go see the deftones all the time like a journal and change my life and around the fur and stuff like that. And there was an, there was an idea that I might apply for a front house for deftones and Chad got it and dude literally called me and was like bro, like, and we talked for a little bit but he was like I got it because I'm doing PM and front house, dude, and actually no, when I well, when I first got deftones, I was just mixing because Eddie Kertru is still there as the tour manager.
Speaker 1:I was just front of house. And then Eddie parted ways with the guys, or they part ways with him, or whatever. Whatever happened between them and I actually got the call from management saying hey, this role is changing into a TM front of house role. Do you want it? And I'm like, well, fuck, I don't know, I'm already the front of house guy. If I say no, do I lose my? Do I lose my front of house job, or how does this work? And so I actually called Eddie Kertru and I was like you know, eddie, you got me this job. Like what do you want me to do? Like you know, like. So he's like hey, man, do whatever you want, it's all cool. I was like all right, well, I guess I don't want to lose my front of house job because they are, they're super fun to mix.
Speaker 2:Was that way, pony?
Speaker 1:No, no, that was well. So the first time I'm so, yeah, it was way after yeah, so the first time I mixed them was on Taste of Chaos, tour 2000. Six, yeah, I was gonna say six, yeah, nice, thank you. And I got hired for that because I knew Kertru, but I was there doing story the year Um oh, yes, yeah so it was deftones, deftones, thrice story.
Speaker 1:The year was the bill that year, so I was already going to be there with story. So Kertru hit me up to do deftones as well, because Bill Head couldn't do that tour. For I'm not sure why, for one reason or other, bill couldn't make that tour. So I filled out on that tour and did that whole leg, which was a lot of fun because she was still there then. And then when I came back I came back on Diamond Eyes. During the Diamond Eyes cycle, kind of about halfway through, bill retired Well, actually no, bill had already retired and Michi Michi who mixes TSO now. Michi was there to in front of house and Michi was going off to do TSO. So Kertru had me come in to take over the rest of that tour.
Speaker 2:Favorite deftone song to mix live Well, that's a good one. I love that band. Oh man, my own summer I would make people poop their pants.
Speaker 1:That's a great song. Seven words is great, I think. Digital bath probably. I know people that use that for their system tuning still. I've heard people use that yeah, yeah probably digital bath, I think, although, like a couple songs off Diamond Eyes, stefan's guitar is just so fucking good, like I've seen the butcher and good tune and the song.
Speaker 1:Diamond Eyes and then even on Coine New York, and there was a couple really good tracks that were fun to mix and fun to listen to. Funny, funny fact I didn't like deftones. When I went to work for them I wasn't like I didn't like their music and then now they're arguably one of the more favorite, one of my more favorite bands that I've mixed.
Speaker 3:You know, that's something I've mentioned that else were before and so recently actually is. I find that there is artists, almost everyone I've ever toured with I have a completely different respect for their music than I would have had not worked with them. Oh sure, whether I didn't like them before I worked with them, or I may. I may not like anyone else in their genre, but I will, like, I have a special place for them. There's this connection that you make. I mean and I know you guys probably shoot me for this but like, like, for instance, like when I worked with Don Henley I don't really care for the Eagles, sure, prior to working with Don Henley and then, like, once I did, like I got it, like it, just it registered.
Speaker 3:You know you, just you, can, you, you have this connection with the music that you, just you know. And then, like, tears are fears. It's like I've tried to like other things in that same genre. You know, whether it be Durandurand or whatever, that's kind of in that same vein, same timeframe. I don't care for any of it. Quite frankly, that synth pop, 80s, early stuff, whatever, none of it does any hurting me.
Speaker 3:I just doesn't, I don't know, like there's just, like it's not. So you would think that it's like oh man, if I can get into this music, that I would be able to get into the genre, the timepiece, but I think there's just something else there that just can.
Speaker 1:I know there definitely is. There's definitely, because you make a connection on a personal level, I think, which is part of it. I think the other part of it, though, is like, for me, like it's not necessarily that I didn't like death tones, I never gave it a chance, yeah, that's for, like, I'd heard like a piece of one song and what that's not for me, you know, like and it's which isn't fair to the artist. I don't know that any artist cares that a single person does that, but you know, but you know it's, it's. It's one of those things where, like, when you, when you have to sit and listen to it, you're like well, I mean fallout boy, it's not that I didn't like them, but before I worked for them, I had literally never heard one of their songs. Somehow I had avoided all of their music, and not on purpose, it's just. It just never passed through my wheelhouse, ever, you know.
Speaker 1:And I was like on the flight, because I left death tones and went straight into fallout boy rehearsals, flew from Germany straight to Connecticut to do fallout boy rehearsals. On that flight over, I was listening to all the songs, making all my notes, and and I was like I'll know, I'll know some of these songs. You know just by accident. They're, they're a massively popular band. I have to know some of these songs just by accident. Didn't recognize a single one of them, like somehow somehow I'd never heard sugar or never heard you know, thanks for the memories. Or dance dance.
Speaker 3:That's funny because you were out with like story of the year and stuff like that, which is I mean you know, similar, similar yes no, like I mean
Speaker 2:that's all.
Speaker 3:Yeah, I mean if you were on Warped or whatever, I mean like that's, like that's the same, you know? Yeah, you know.
Speaker 1:I don't, I don't really understand it and, in all honesty, I'm sure I did hear them. Sure, I had to have there were two big for me not to have heard them, but I didn't None of it like registered as a thing, like I didn't hear it often enough to stick or whatever, but it was the weirdest.
Speaker 2:Chad. Chad never goes on elevators or goes in grocery stores.
Speaker 1:I don't know that they were elevator or grocery store music Ten years. I'm not even sure they are now, but they weren't 10 years ago. I don't think you weren't a hot topic, chad. Come on. You know I lost. I was on Hot Topic. I don't know that I've ever really been in Hot Topic, spencer's I did Spencer's when I was in high school, but yeah, but yeah, it's one of those things where, like and like, I actually like the emo genre as a whole or whatever. Yeah, whether it's called emo or I don't know whether it's probably got 12 other subgenres to that, yeah for sure.
Speaker 1:But like the story, the years, the, the follow up boys, the, my cams, you know a lot of those artists like I actually will listen to on my own, which I'm sure I'm going to get a bunch of crap for that.
Speaker 3:You know I've, you know I've fallen into the emo scene late in late in life. You know I mean Kyle and I, early on you know like kind of first episode, we kind of talked about some of our you know upbringing and music tastes, stuff like that. And you know the short story is that I kind of grew up in a Christian household, right, so like I wasn't exposed to a lot of like mainstream stuff till like later on, sure, and so like in my high school era, ish or post high school era, when that emo scene was popping off of the early, you know mid 2000s, it just wasn't even my radar. I was more into system of a down disturbed Chevelle the more you know mainstream rock.
Speaker 1:Right, and that's what I. When that came out, that's what I was to, I was, I was disturbed. Static X, you know, still Aussie, still Sabbath, still some of the classic stuff. But for the modern stuff it was, you know, it was all that. Yeah, it was all that same modern rock.
Speaker 3:So I mean so like this. Last year I went and saw thrice's 20th anniversary of you know, artists in the ambulance, you know, and it's like, just because that almost feels like artists in the ambulance, I hadn't really appreciate that album till the last. Like two, two, two years. Yeah no, it's still like a new album to me. Yet here they are. A torgola. 20th anniversary of the album Totally.
Speaker 1:Yeah. Well, I mean, like follow up boy to me is still new, like I'm only 10 years into, follow up Boy, which is, you know, in the history of my life, that's still pretty new. I'm, you know, I'm not a young, I'm not a young spry chicken anymore. But yeah, they, they definitely. You know, none of that stuff hit me, same like you. It didn't hit me when it was popular the first time, even though I was working for Story of the Year in 2004, I think it was, you know, like they were popular and I was just you know my chem open for us on you know a tour. So I got into all that stuff. Matter of fact, super Dave got the my chem job because he mixed front of house for them on, or maybe his monitors I can't remember which one he was doing on the on the tour where they open for Story of the Year.
Speaker 2:Yep, that's right. He had came from Lucky Boys confusion, I believe.
Speaker 1:Yeah, well, he was working for Story and he doubled up and did my chem.
Speaker 2:Were you on that tour. When they got in the fight with God smack.
Speaker 1:No, that was probably about six months before me, and I semi joked that I don't know if that fight would have happened if I was there, because I've known the God smack guys for well now, for 25, 26 years. Yeah, like, do you know who was?
Speaker 2:doing monitors for God smack.
Speaker 1:Scambler.
Speaker 2:No, it was. Dave Coyle was out with them.
Speaker 1:Oh, coyle is out, I haven't even Nice.
Speaker 2:He told me about that. When he started with the fall off, he was like I beat up some dudes, yeah, from.
Speaker 1:St Louis.
Speaker 2:Yeah they.
Speaker 1:yeah, I mean I don't. I mean I've heard both sides of the story, you know, and I'm sure there's a third side in there somewhere. But yeah, I've always said that I was like, if I was there, I don't know, because, like I've known those God smack dudes for like a long time and not knowing exactly what transpired, you know, like I feel like maybe I could have diffused the situation a little bit.
Speaker 3:Well, let's, let's take this semi full circle and stay in the fallout boy zone here. Kyle and Chad. Kyle's going to go first and I'll get Chad what's, what's, what's your go to craziest road story from being at a fallout boy.
Speaker 2:Oh my God, they. They're probably way crazier when I did them than when Chad has had them, because they've all turned into adults and had babies and and it can be cruising too, but I mean, you know, if it involves the man's cooler, but whatever.
Speaker 2:My, my go to one and I even told it at AES at a student summit one year and they loved it was we were at the Chance in Poughkeepsie and we were outside and it was snowing and everybody is left and it's on the first tour because I remember we had the like curtains in the van picture in the back and like all this crazy stuff for like a kabuki that dropped and it was a keyhole and we had this dude named dirty John out with us and Pete thought it would be hilarious if we could brand dirty and and he was going to brand him with Pete on a, on, on, and he wanted to put Pete on him somewhere.
Speaker 2:And so I got a coat hanger and I made a P and an E and sort of like a T and a E and we put it in a coffee can with like a torn up phone book to heat it up and I was like whoa, you can't put it right on the skin, dude, it's going to stick and pull off the skin and stuff like that.
Speaker 2:We got to put something like on there and Charlie, one of our security guards, chuck, chuck, chuck, chuck out, went and got a stick of butter and buttered his butt and Pete heated up the coat hanger roll hot and he got it out and it was red and it snowed out and there was only like about six or seven fans standing around or whatever. But he stuck this coat hanger on dirty's ass and he jumped and he's like, oh my God, no, he pulled it off and he put it directly back on again. So about a week later it healed and he was like it hurts so bad. Will you look at it like I think it's infected and he pulls it down and it looks like a dick and balls because the P With the letters kind of went into like a little helmet shape and everything. So dirty Miller, John Miller, forever has a dick and balls on his ass from Pete when it's outside the Poughkeepsie chance venue. That's fucking hilarious.
Speaker 1:And I didn't tour with dirty, but I've met dirty a couple times. He comes out every now and then to shows. I think I think he's Florida, jacksonville, yeah. So we're playing Jacksonville on this next year's run. So I'll probably bump into him again Honestly, like as you asked that, and thank God Kyle went first. For two reasons One I know I'm not a fan of the Poughkeepsie. Two reasons One I know I can't top it Like I can't come up with I'm not sure I can come up with anything in my fucking career that can top that. But man, since I've been there, I mean not to say that we're boring, but we're kind of boring. You know, like Our craziest stories probably. Like we had a truck roll over, yeah, and we had to sort out a new video all the day of the show, yeah, like you know dumb shit like that. You know our private jet broke down and we had to fly commercial. You know just.
Speaker 3:All right If you need to go like pre 2000, 2005,. That's fine too, If you.
Speaker 1:I mean I will say it like I have either been fortunate or unfortunate, in the respect that I've always worked for bands that were mentally stable for the most part. I think I'll leave the name of the band out of this, just because I'm not sure they want the story being told, but we were in, I was in London, or we were in London, we had just played the Astoria it was. I think it was their first time headlining did really well. This band was Really well known for partying and just being a fucking Kind of a nightmare for a tour manager like they would. You know, they were the kind of band where the drummer would come up to me at like, say, bus calls 2 am. He'd come up to me at 1 55 and be like hey, man, we're pushing bus call to five, all right, well, I guess you know. All right, oh, I guess we'll figure this out or whatever. Or we can't push it to five because we'll be late, so you can push it to four. And then we got a roll because we got to make to the next show. So anyway, we're in London.
Speaker 1:Arguably, at least two of them were alcoholics, you know. So there's a whole big fight going on between the band guys. The drunk guy who has since been in recovery for got to be 12 years, 14 years now does really well sober, has a great life. He's sleeping. The drummer, who's the second drunk guy, is yelling at somebody else. I think about eating a tuna fish sandwich or something equally benign, but they're fighting about it. The drunk guy sticks his hat out of the bunk and goes to the drunk guy Number two hey, dude, shut up, go to bed. You're drunk. And I stick my head out of my bunk. I'm like yo, dude, when the drunk guy calls you drunk, you might want to go to bed. Yeah, because this guy is always drunk. And if he's calling you out, man, you got to be fucked up. Like, yeah, I've like.
Speaker 1:That band was the only band I've ever worked for, that is, and I'd work for them again because they're nice guys. But they were probably the most Testing of patience and ability, mostly because they didn't have a lot of money. They were, you know, bus and trailer. You know like I was getting paid, I don't know 1,800 bucks a week or 2,000 bucks a week or something like that to Farni House TM back in the early 2000s, and you know it was, it was trying, but but they are nice guys I'm still friends with. I'm still friends with all but the singer to this day, and mostly not him, because I just I haven't seen him and he's a bit awkward of a of a human anyway, so he's definitely not a social media dude. So, yeah, but that I mean.
Speaker 1:Other than that, I've worked for some pretty fucking chill bands and yeah, I've been, I've been very fortunate in my career. I've only worked for. I've only got one artist, who I won't name, that I wouldn't work for again. They offered me a job, just not offered me a job. They asked if I'd be interested in a job in the last three to five years and I was like their business manager asked me and I was like they're not going to make enough money. They're not going to make enough money. He's like what do you mean? I was like I got a good idea where they're getting paid and I need more than that.
Speaker 2:That's a good way to put it, yeah.
Speaker 1:I'm not telling you no, but they're going to go negative dollars to pay me.
Speaker 3:Nice Also.
Speaker 2:I remember one last conversation I had with Chad and I did when I moved to Vegas. I was there and they were playing at Mandalay and I call them and I was like, hey, man, I kind of want to come see you to say what's up. And he goes okay, cool, and you got the list and he came. He always comes out to meet you and stuff Like Chad's awesome, like super hospitable. He brings me in and he goes. First thing he says to me he goes you're not the same for the show, are you?
Speaker 2:I was like no, I just want to say hi to I think Rob Gibson was out with you guys at the moment and a bunch of other guys that I knew and, of course, the band guys, but you were like the show's totally different now. Like the show's totally different.
Speaker 1:Well, that was so, we were doing a corporate show. That was a corporate show we were doing.
Speaker 2:Yeah.
Speaker 1:For I don't even remember who the client was, but that was a corporate one off. So it was. It was not a standard followup boy rock show, it was our corporate, you know. 60 minute, 45 minute corporate show.
Speaker 2:Wow, yeah, but I was thinking, no, that wasn't the only time. But I did leave early. I did just come say what's up to everybody and kind of.
Speaker 1:I think you stayed, Just feel like you stayed for dinner maybe, and then bounce out for dinner yeah.
Speaker 2:But yeah, and it was when you guys are out with Wiz Khalifa and they were giving Joe copious amounts of weed every day and Joe was like please take some of this and like he gave me this whole like stuffy cooler full of Wiz Khalifa weed.
Speaker 1:Oh, jesus, take home.
Speaker 2:He was like please take some of this to me. They keep giving it to me every day.
Speaker 1:So what's funny is I because I, yeah, you worked with the guys back when everybody kind of hung out together and we still, everybody's still super friendly. I'm in the dressing room every day talking to all of them but, like you see a side, you have seen a side of them that either they don't have anymore or I haven't really seen one of the other. Yeah, Just because of the situation where it's more. It's definitely not formal, but I think it's more formal than the like, not that you did trailer.
Speaker 1:Not that you did the van and trailer days with them, but it's more formal than the van and trailer days. You know what I mean.
Speaker 2:Oh for sure, and they were teenagers. Uh, patrick and Troman were both teenagers when I started with them Andy's the oldest and then Pete's next, and they were the only two that were over 21. So, like in retrospect, looking back on those, like I still, when I was at that show, I looked up to the stage and I still saw these kids that used to go to the mall until they couldn't you know, and uh, it was. It was super full circle for me. I was glad I came out and actually stayed for the show because, um, it was an emotional moment for old K rasel dazzle, standing in the audience watching the boys play songs. Dude, they played home hallelujah that night and I, I just I sang every fucking word at the top of my lung. I think I was wearing like a chrome agg shirt. Everyone was like what's up with this pussy. Like I was like I love this song, bro, oh man.
Speaker 3:Well, I am going to end on my question that, uh. I may have used it a lot on the previous podcast, but it's still my question, so I'm taking it back. Fuck yeah, uh, chad, if power back. If you could define your legacy how you'd want to be known, how would you define that? Uh, I mean, hopefully I answered this in a similar way to that.
Speaker 1:I've answered it before, or at least don't sound like some kind of an idiot for saying something totally different. Um, I mean, I think I just want to be remembered as someone who did a good job, you know, uh, and was kind enough. I know I'm not the most kind soul in the touring business. Uh, I can be a sarcastic, uh, you know old curmudgeon asshole at times, but I hope that people think back and go. Oh well, you know he helped out when he could.
Speaker 1:Or you know, if somebody had a question he wasn't always a dick, you know, especially if he was a dick, but I'm not sure what he was talking about. You know, especially in the like in the audio community, more maybe than any other. Well, I mean really more in my personal life, but in what we're talking about in the audio community, uh, you know, like, I don't want to be known as the guy that like. Well, I'm not showing you what I do on that EQ or I'm not telling you what compressor I used or any of that old school bullshit that most of us kind of grew up with. You know people trying to guard their secrets that aren't, they're not fucking secrets. Yeah, like yeah, everybody knows what it is. He needs help trying to figure out how to make it work. Sure.
Speaker 3:Yeah.
Speaker 1:I think that's probably about it, just just to be known not to be a total dick, just a partial dick.
Speaker 3:Love it All right. Well, thank you, chad, I appreciate it Just a tip I don't have the jokes though.
Speaker 1:Right, I'm gonna stop yeah.