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Unsigned518 - A Special episode celebrating Blotto! · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves punk rock music fighting the 13 cabin in the dazzle jazz rock now on the beat guitar with a short wind radio bass his motherfucking envy scrolling look at motherfucker cuz here he comes Andy Sculling wearing his orange hat.
• 0:27
  Speaker B: Welcome to unsigned 518. I am here with members of Blotto and of the. The Blotto family, I guess you could say. And what we're going to do is, you know, it's an audio podcast, so I can't point and be like, hey you. But we'll just, I guess, choose who goes first and go around the virtual room and introduce yourself to the listeners.
• 0:50
  Speaker C: We're going alphabetical order. Lee Harvey, you go first.
• 0:55
  Speaker A: F. Lee Harvey Blotto. I'm the drummer and the vice president in charge of slogans and phrases.
• 1:01
  Speaker C: Very nice.
• 1:03
  Speaker D: Paul Josman, otherwise known as Bowtie Blotto. My current position is I'm sitting down Broadway Blotto.
• 1:15
  Speaker C: I'm the president of Lotto Industries, I guess, multi acquisitional conglomerate in secret underground buildings in Albany.
• 1:30
  Speaker E: I guess that's me. I'm Rob Lichter, also known as Bert Blotto. I'm Blotto's webmaster and archivist and apparently director of their documentary at this point. That's new.
• 1:42
  Speaker B: Excellent. So that's kind of why we're here. I do have some questions prepared for everybody, but I do want to talk about the film which premieres April 12, if I'm not mistaken. Yeah, got some. Got something. Right. So, April 12th, host music hall. Am I two for two?
• 2:04
  Speaker C: Yep.
• 2:06
  Speaker B: So I guess we want it. Not. I guess we do want to talk about the film and we will touch on, you know, some other points of your career and anything else you want to talk about. But I guess the first question that I'm gonna have since we have Rob here in the room is do you think you would have sanctioned the documentary if it were not being made by Blotto insider Rob Lichter, AKA Bert Blotto? Or was having someone you can trust essential in telling your story?
• 2:38
  Speaker A: That's hard to say. I mean, anybody could do a documentary about us with or without our approval. But I don't think that anybody could because a lot of the source material was stuff that we had in our personal archives and probably not available anywhere. You wouldn't even know where to look or what it was. And, you know, I mean, Bert's been collecting this stuff, you know, for decades. And I. So, I mean, you know, Bert's the best person in the universe to do this. Would we have been cool with somebody else doing it? Well, yeah, maybe, you know, I mean, yeah, I don't know.
• 3:25
  Speaker D: But an insider would do it. And I'm glad that it was an insider because although I would say Bert had considerable leeway and freedom and how to organize it, sequence it, what pieces were of all the video and interviewers and all these people that interviewed and everything, he picked stuff, you know, pretty much on with all his own autonomy. And we have made comments I'd say was mostly tweaking, tweaking, fine tuning things, you know, a little bit more of this, a little bit less of that, that kind of thing. But the. By the way, the, the movie, as you can see, is called hello, My name is Blotto the Movie. I just want to make that plug again.
• 4:09
  Speaker B: It is just, you know, audio podcast, but I can see it and it looks fantastic. He's got the, got the logo behind him several times. Almost like a Hollywood premiere style, right?
• 4:20
  Speaker D: Exactly.
• 4:21
  Speaker A: Yeah.
• 4:22
  Speaker C: Or post game interview.
• 4:24
  Speaker B: Right, or post game interview. Yeah. So I guess that rolls into my next question also about the movie. Hello, My name is Blotto the Movie. To have created something with such a lasting legacy has to feel amazing. You know, inducted into the Eddie's hall of fame in 2015. And then with the release of the movie, your music and legacy is. It's another stamp which will extend it even further. How important do you think the documentary is to the entire legacy of Blotto?
• 4:58
  Speaker C: We're the band that just won't go away. And I think. Go ahead, Boat.
• 5:06
  Speaker D: You know, when we were playing, I mean, we started playing together back in the 70s. In the documentary, it talks about the band. We were in the Star Spangled Washboard Band before Blotto. And then all the time we're in Blotto. And then after we were playing full time, we were still playing part time and so forth. And all that time we were playing, I mean, I wasn't thinking about a legacy really. You're just like doing, you know, we were playing stuff that we enjoyed. We enjoyed each other's company. You know, we, we had an audience that, you know, was pretty, pretty supportive. And you're really thinking about, like, what you're doing and not saying, well, let's, let's do this now because we're going to make a movie 30 years from now and we want to have this, this, this clip.
• 5:59
  Speaker B: Right. And I guess kind of a question that. That was not written down, but, but Rob Specifically speaking of not knowing the lasting legacy, what made right now the time to put out the documentary after having compiled for so long.
• 6:18
  Speaker E: The short answer is Sarge died. The. I had tried to get this off the ground back in around 2000, and I had intentions of getting all these guys, including Cheese, and then before we could get together, Cheese died. And then I was able to get some interviews, and I've been, you know, shooting some footage of them and collecting footage of them and all that stuff in the years after that. And always kind of had in the back. In the back of my head, it would be so cool to put together this in a documentary, but who's got the time? You know, and all that. And then, you know, again, it was always in the back of my head. And then Sarge died, and I was like, you know, what am I doing? What am I waiting for? Because this is stupid. So I just said, like, whatever has to be done, it needs to get done. So I said to the guys, okay. I'm serious this time. And they said, okay. And. Yeah. So mentally I was putting things together in my head. That's mentally. And imagining what would be needed to connect all this footage that I had to make it chronological and interesting and tell the story, and ended up interviewing them. And it went for hours and hours and hours and we ran out of storage and et cetera. We got to do this again, and we did another hours, bunch of hours session a couple months later, and then again a couple months after that. And then I would put the whole thing together and say, oh, we never talked about this one little piece. So we did it again. So it just kind of grew like that, that I started with having this massive archive of their appearances and photos and posters and whatnot, and kind of arranged that as a skeleton and then used their. Their stories and put it together from there.
• 8:19
  Speaker D: Yeah, I think, you know, he started. It was a couple years ago that this. Bert started, like, getting serious about this. And like you said, we. We got together and did some interviews so that we would talk about the. Like the chronology of the band or of the group, really. And then there, you know, there would be this narration that then he could tack things, you know, videos and pictures and so forth. Right. You know, into that to make the story. And we had to keep going back and doing, you know, speaking more about this and that and the other thing. Right. So that we had the. The. The narration, as it were, of the chronology and as we. You know, I guess I felt myself, as we did this, more and more if we started to pick up more and more momentum and finally we hit a. Like a critical mass where we're like this, okay, this is really going to happen. But it took a couple of years of. Of. Of us going back and back and doing. Do more interviews and then giving bird names to people that we worked with, former band members, photographers, people that were on our crew, other people on the music scene and so forth, you know, and then he'd do that, and then we'd say, oh, what about these other two people? Oh, and then he'd get in his car and go off in this, you know, and that went, you know, how many wash, rinse, repeat, you know, did we have on that? But as we did that, I mean, I. I'm looking back on it, we were building, like, I could feel the momentum building and building and building as we were doing it. And you could see that it was becoming inevitable. And, you know, looking back on it, that was a lot of fun.
• 10:03
  Speaker A: Yeah. If you look at the. This, you know, it's. It's kind of. There's two. Two stories, two cycles. There's the washboard band, which, you know, generated all this heat, and we're, like, playing in front of huge crowds, and we're touring the country, and we're all, you know, the precipice of fame. And then it all came crashing down. And then Plato starts, and the same thing happens. I mean, it's like this double parabola. And by the. You know, when Blotto finally crashed and burned in 1984 and stopped going full time, you know, it was. It was crushing. I mean, and it was. I mean, it was crushing for me, but for Broadway and Bowtie and Sarge, who. This is the second. This is their second rodeo. And the same thing kind of happens. And I think we all kind of spent the next couple of decades licking our wounds. I mean, like, disappointment's not a strong enough word, but failure is probably too strong of a word. We don't think we failed, but it's like, God, what. What happened? And, you know, what. What's the point? And, you know, why do anything? And then this movie came, and all of a sudden the whole thing is compressed into this, like, this film. And all of a sudden we're all like, you know, we feel, I don't know, validated. I mean, it's just. There's this weird feeling that, like, yeah, I guess we did something, you know, and like I said, the other three guys, you know, more than me because, you know, they had this whole history going on before I showed up. And so, you know, there's that.
• 11:44
  Speaker E: Yeah. I wasn't even originally sure that I wanted to include the Star Spangled Washboard Band. I figured one of my thoughts was that that was gonna be just, you know, getting too far into the weeds of what they did before and things like that. I didn't want to go into that. But even though I had this footage of them and they were hilarious and all that. But again, like, what Flea Harvey just said is that absolutely is the basis of everything. And you can see the story repeating itself where it's. Yeah, they were trying to make it big, and they almost made it big. And, I mean, some people would consider what they did very successful, but they were trying to just break through that next level. And for many reasons, it just didn't happen. So they said, forget it. We're never doing this again. And because these guys are who they are, they couldn't imagine not just having fun playing. And they did. And that organically grew into the next thing. And they said, oh, what's happening around us? Everything's. You know. And then just. Just followed that momentum and they were getting bigger and bigger and everyone's, you know, cheering them on and all that stuff, and they were trying to get to that next level. And the people at the next level building said, you know, no, thanks for full. And, you know, that was it. And I think at that point, they were not ready to try it a third time.
• 13:04
  Speaker D: So, you know, this comes out in the film. This is irrelevant to what Lee Harvey was just saying in the Washburn. Yeah, I mean, we flew pretty high, close to the sun, and, you know, things didn't quite work out. And that band had sort of some of the same issues as Blotto and that it didn't fit into a neat slot in the entertainment business. And I think in some ways we, like, we would do better today because there's all kinds of niches that that groups can inhabit. But after the Washmore band and we had toured for, like, seven years and. And done all this stuff, and. And when that ended, I thought to myself, I'll never do that again. And really, I just thought I'd never do that again. And to make a long story short, Blotto, we were just playing for fun. All of a sudden, this record starts getting played in WNEW and WLAR and, you know, in Jersey and all this. And it's like, oh, darn it, now I'm gonna have to go out and do something about this and that. And that took us out for, like, another four years. Different stuff then, particularly the videos that were popular back in the 80s.
• 14:17
  Speaker A: In. In 2019. We, you know, went through our. Our vault of recordings and got out a bunch of live recordings and a bunch of demos that sounded pretty good and remixed them and remastered them and put them together on a cd. And I think we were all kind of surprised on how. How good it sounded. And I remember we were at Arabellum Studio with Art, and we're, like, mixing this stuff. And I looked at Bowtie, and I go, you know, this stuff sounds really good. You know, we might. We might want to just, you know, just go back out there. And he just looks and he goes, lee Harvey, if we did that, it would. It would be the biggest disaster of my life. We're not. There's no way we're doing that. And I'm like, yeah, you're right. Of course. There's no way we're doing that.
• 15:01
  Speaker D: No.
• 15:03
  Speaker B: So I guess I wanted to go back a little bit to talk about the early days, if that's okay. Um, so while I don't specifically remember seeing the video for I Want to Be a Lifeguard on Day one of mtv, because I was eight, but I do very specifically, sitting in front of the TV on the day that MTV switched on and watching until I couldn't keep my eyes open anymore. So I definitely saw the video on day one because it was, what, the 36th video played on MTV of all time. But I guess, like, just, you know, this question kind of comes from. Well, I guess all of them come from my own curiosity, but, like, making videos, like before mtv, I guess, what was the outlet for releasing videos? Or were you just kind of making it for fun or, you know, did you have a sneaky insider information that videos were going to be the thing?
• 16:10
  Speaker D: Pick me. Pick me.
• 16:12
  Speaker C: Yes, it was a happy accident. Two guys, Tom Glesserman and Dave Lefebvre, were students that had to do a video project. And they approached us in March or April of 1980. Yeah, 81. And said, we'd like to make a video of you. I want to be a lifeguard. And we asked, well, what will it cost us? And they said, nothing. We said, okay, we'll do it. And we went from place to place in one of our live appearances.
• 16:53
  Speaker D: And he. He.
• 16:56
  Speaker C: They only did it with one camera. So to get the effect of a video from all angles, we had to do Lifeguard and then do Lifeguard again. And then do Lifeguard again.
• 17:11
  Speaker D: Close.
• 17:11
  Speaker C: Close up on Bowtie Close up on Sarge and lip syncing with a live.
• 17:18
  Speaker A: Audience at JB Scott's.
• 17:21
  Speaker D: Over and over and over again, bands were making videos. And I can't remember exactly where you would see them, but bands were making videos. But, you know, we didn't know that there would be a national forum called MTV for these videos to play. But it's like, well, just do it and then see what happens. I remember when we finished that video and we played it, we, we premiered it at J.B. scott's. Like, the audience was wrapped with, with attention. Right? Because it was. So the idea of a music video was still, you know, relatively new.
• 18:02
  Speaker E: And.
• 18:02
  Speaker D: Back then, like a VHS tape cost, what, like $40 or something? It was incredible.
• 18:09
  Speaker C: And getting back to what we were talking about before and not fitting into any niche, the washboard band people used to tell us all the time, oh, when video cassettes come out, you guys got it made. So way back when, in the 70s, people were saying that, you know, we were just right for visuals.
• 18:35
  Speaker A: But in 81 when, you know, the video got finished and they, they got an A in their class at suny. And then they called us in June and they said, a whole bunch of our classmates just got hired by this company called Music Television in New York. And we don't really know what it's all about, but they asked if they could take the Lifeguard video with them to work. And we're like, it didn't cost us anything. So it's like, yeah, why not? You know, we'll see what happens. And then all of a sudden we're hearing from all over the country, you know, that this MTV is a thing. And. Yeah, and that's how we ended up there the first day.
• 19:15
  Speaker B: And I really wonder if it's a coincidence that all videos or a lot of videos after that, like early videos adopted that same format as I want to be a lifeguard. Like the, you know, performance shots, loose based stories, some lip syncing. Like so many videos look like I want to, I want to be a lifeguard. Like from the.
• 19:38
  Speaker C: Yes, we invented that reinvented.
• 19:40
  Speaker B: I'm saying that.
• 19:41
  Speaker A: Yeah, well, in the early days of, in the early days of YouTube, I was cruising and I was looking for, I think I just typed in Lifeguard. And I got a hit for a posting worst 80s video of all time. And it was the Lifeguard video. And the, and the guy posted it with a message saying, you know, this is the most crass attempt to cash in on the music video craze. I've Ever seen. You know, this is garbage. And all these people. And then I. I'm going, we got to take this down. Then I looked, and they were like 600 comments already. And it was this intergenerational debate on whether or not Blotto sucked and if so, how much. And then, you know, a bunch of people were saying, no, they didn't cash in on it. They. They kind of invented it.
• 20:30
  Speaker B: Dude, we're there on day one.
• 20:32
  Speaker C: Yeah.
• 20:33
  Speaker B: Literally, it was.
• 20:34
  Speaker E: It was funny when I interviewed Tom Glerserman, the director, one of the directors for the video. I mean, of the video for the document, I thought it would be funny if he read the comments from that specific YouTube video of the worst. You know, I just wanted to. I thought I could pepper that in. I had it, you know, in my imagination. And like Harvey said, it's hundreds and hundreds of comments. So we just kind of started at the top and went. And we were getting into it, and it wasn't funny because most of them we found were, oh, I love Blotto. Oh, my God, I miss these guys. This is when MTV was great. Like, it was all so positive. It was boring, but, like, we couldn't get anything hilariously derogatory out of it. So that was disappointing and. And also really encouraging at the same time.
• 21:23
  Speaker D: It's funny, though, is the music video the ante to the game, like, rose quickly when. When all of a sudden bands were hiring, like, Hollywood directors and that to make videos. And. And so the. The. You know, they. They quickly. What do you want to call it, like, production inflation in the videos. But it was a really. It was a really fun time. And. And being. Being part of that was just so much fun. And again, it was so, you know, we weren't. There were a lot of lucky happenstances, you know, that. That caused that to happen, and our own, you know, diligence and hard work, if I do give us, ourselves a little bit of credit.
• 22:08
  Speaker B: So I guess another question that, you know, we had talked a little bit about before we got rolling, but I wanted to kind of get your opinions on, is the advantages and disadvantages of achieving what Blotto Chief achieved, like, back in the 80s compared to bands that are trying to make it now. So I guess we'll start with maybe what are. What are some of the advantages you see in smaller bands now?
• 22:37
  Speaker C: Bowtie and I went to the Eddies last week, and there was a duo there that has made a lot of music and toured all over the country based on the power of the Internet and That's what bands today have. You can record a studio album in your bedroom and put it out there and put it out for sale, and people will buy it and they will clamor for you in person. So we didn't have anything like that.
• 23:15
  Speaker D: It's every, you know, the gear is better and cheaper now. You can use video and recording tools are very accessible and quite good. Yeah, you know, you can make just like. Like Cersei is the band he's talking about. You can. Whereas before in the 80s, you know, they were gatekeepers to your access to radio or television or these things. Now, because of the democracy, if you want to call it, or the meritocracy of the Internet, you know, you can go out and find, you know, present yourself and find people that like it and build your own following. So, I mean, that's just incredible.
• 24:02
  Speaker A: And the whole. The whole thing with the Gatekeepers, I mean, we. We made it through the gatekeepers in 1980. We were incredibly fortunate. We got on radio first in Albany and then in New York City, and then all over the place. And that was like a 1 in 100,000 shot. And then MTV comes along and there we are on that. And those are the days of mass media. And. And so we were a mass media entity. We were, you know, everybody listened to the radio, everybody watched mtv, you know, and that's just not the case anymore. I mean, now, you know, you have to be clever, you know, as well as lucky, but you've got to carve out your audience via TikTok or social media or however. I mean, you really have to work it. We were just lucky that we landed on these. On these massive platforms and that everybody got to hear. But, you know, like I said, that's like one in a hundred thousand.
• 25:00
  Speaker D: And we were just lucky as we. As we managed to skirt the gatekeepers. And, you know, we, you know, we came in on the guest list or something, but, you know, we were very lucky to, you know, to get the radio airplay, you know, in MTV exposure and those type of things without having, you know, a gatekeeper buddy, you know, pushing us. I mean, it is a fact back then, if, you know, if one of these big labels or, you know, people in the industry got behind you, they could push a band, like, really hard. And that doesn't happen quite so much now because everything is so diverse. So, like, diverse and diluted. But I. I still think it's. It's better. Although the thing I missed from. From, you know, the early days was top 40 radio, which is you know, kind of homogenous and, and now every, you know, everything, there's all these niches, right. And each one is its own little echo chamber.
• 26:07
  Speaker B: Right.
• 26:07
  Speaker D: So you know, you don't, you don't naturally get, get, get exposed to, to the, a more heterogeneous set of stuff.
• 26:17
  Speaker A: Yeah, I mean, we could make fun of a top 40 hit and everybody would know what we were talking about. Now, I mean, you make fun of, you know, I don't know, a Taylor Swift song. And probably 25% of the people are gonna know what you're talking about and everybody else is out listening to something else.
• 26:34
  Speaker E: But also, if I can jump in, if you do make fun of a Taylor Swift song, chances are 100 people have already made that exact same joke because everyone has, has access to their, you know, so like you were saying that anyone can make something in their room and put it up on YouTube. So with their phone, I was gonna say for free. So whatever a phone calls, you have a phone anyway, so let's just say for free, you edit it on your computer with some free software, you put it up on YouTube, which is free. You get on Facebook or Twitter or whatever and send it out to your friends and they send it there for. And somebody sends it and you could literally overnight have it sent to a million people. And then one of those people is going to be, have a platform like, you know, a DJ or whatever the modern equivalent of a DJ is. And you know, that's how you get your audience. And out of the billion people you've just, you know, shotgunned your content to, if enough of them like it, it'll grow within that community. You could be a band that only writes songs about three quarter inch screws. And you're gonna find enough people in the world who love 3 quarter inch screws and are gonna be buying your album. And you know, whereas the exact opposite in 1984, three, whatever all that, where it's, you're, yeah, you're almost, you know, the same as everybody else, but you're not quite the same as everybody else. So we can't, you know, so we have no use for you. And that's just a completely 180 degrees from now.
• 28:14
  Speaker B: And I guess the opposite side of that coin, if anybody has any opinions on what you think some people might have with disadvantages today that don't exist now, that did exist back in the early 80s.
• 28:32
  Speaker D: Or even the 80s if you go to the 50s or whatever. But when there were gatekeepers, let's say the Phenomena of Elvis Presley or the Beatles on the Ed Sullivan show where you had, I don't know, 80 million people all watching at once. Right. There was mass viewership, you know, even into the, even in the 80s, because there weren't. There was control and focus right on, let's say, on television. And now that's just unheard of. It just doesn't never happens that, that there's any mass phenomena like that.
• 29:10
  Speaker A: Yeah, I mean, the only thing that's is like super bowl halftime, which, you know, everyone like tunes in in order to hate it, you know. And, you know that that's kind of the only thing that's. That's comparable and it, it doesn't work anymore because everything's so fragmented. You know, people's tastes are so fragmented.
• 29:29
  Speaker D: But it's, you know, what's better or not or, you know, I don't think I would say one's better than the other, but I do miss. I think we're missing something with those mass events that, that, that people turned into and in the heterogeneous nature of top 40 radio where you could hear a song by Bob Dylan and then like, you know, some novelty song and then Leslie Gore and, you know, Jimi Hendrix and, you know, the association or something. These, you know, these, these bands that were all kind of different.
• 30:05
  Speaker B: So I guess, I mean, I don't really have any other planned questions. I've. We've gotten a half hour of audio which already makes an excellent podcast. But I guess just to. To end it, I'm just going to kind of let you free form if anybody has anything that they wanted to add about, about the film or, or anything, just kind of open up the floor to you guys and, and let you get your thoughts out.
• 30:31
  Speaker A: Well, the film premiere is going to be really fun. We're going to be doing a Q and A afterwards with, with our pal Chris Wenk. And I just, you know, everything's just kind of pointing to that. Just like it's two weeks away and I think we're all just so high with anticipation that it's just. It's just going to be fun to be, you know, in a room with 400 friends. It's just going to be great.
• 31:00
  Speaker D: You know, it's funny, I don't think I, I'll probably know every person that's there. And the last time I saw a movie when, when I knew everybody in the audience was, I think, when I saw a racer head at the Third Street Cinema in Rensselaer in 1979. But it is it's, you know, I mean, it's kind of fun. Yes, it's. And it's flattering, too, to have a, you know, to have a. A movie made about, you know, it's not about me personally, but, but, you know, the group. And it is fun to. To go back. I mean, there is a, you know, playing in a band. There's a lot of highs, you know, when you're touring in that the gigs are really fun, but there's, you know, there's 24 hours in a day, and you're only on stage for maybe two. So you've got the other 22 hours in the day which, you know, can be tediously boring or like. Or really stressful, are not glamorous, I guess I would say. And, But. But looking back on it, you just think of, like, all the really good times, and there were. There were countless great times, great friends, great experiences. You know, it's. Playing in a working band is the best job. Working touring band, the best job you can have.
• 32:19
  Speaker C: I'd like to give kudos to Bert for capturing the essence of what we were, what we are. He is an insider. He started out as a fan, and then the first cut we saw of the film, we were just bowled over by his technical expertise and his sense of telling a story, telling our story, which was just great. And as good as Bert is, that didn't stop us from individually, collectively, arrogantly and incessantly.
• 33:10
  Speaker D: Yes.
• 33:12
  Speaker C: Telling him how to do his job.
• 33:18
  Speaker D: Yeah. This wouldn't have happened without Bert. There's no way. It's. It's impossible. He's the. He's the person who. Who initiated it to begin with and then kept bringing it up and. And caused us to. To get involved. And like you said, the death of Sarge was a catalyst for this and just kept having us come back doing interviews and that. And like I said, it. Somehow it picked up momentum and it. And at some point it hit critical mass and. And you know, you knew it was going to happen, even though it. Probably from when it hit critical mass and now is at least a year and a half.
• 33:59
  Speaker B: All right.
• 34:00
  Speaker D: Yeah.
• 34:01
  Speaker E: The only other thing that I would want to add, it's. It's a little off topic, but I recently found out that the word helicopter is not made of the root words helic and copter. It's made of helico and ter with the silent p. Helico meaning circular and ter meaning flying. I just thought that was fascinating. I thought I'd tell you that's great.
• 34:28
  Speaker B: That is I'm going to use that. Totally. Oh, well, next time I'm in my helicopter.
• 34:36
  Speaker E: There's a whole section in the documentary about Latin root words, so that'll.
• 34:42
  Speaker C: I found out that when you smile, the pleasure center in your brain reacts as if you just had 2,000 chocolate bars. So keep smiling.
• 34:55
  Speaker D: Well, the people on radio can't, can't appreciate this, but this is the. The badge that everyone attending the the movie premiere will. Will get this for a souvenir. Hello, my name is Blotto the Movie. So.
• 35:11
  Speaker B: I, I will, I will hopefully see you there. I'll hopefully be there.
• 35:15
  Speaker D: Okay, well, you'll get one.
• 35:17
  Speaker B: I'll be wearing probably not this orange hat, but it will be an orange hat. So that way I'm easy to, you know, easy to spot. But thank you so much, gentlemen. I really appreciate this. This has been really cool for me personally to be able to do this and again, I just, I really appreciate it. So thank you so much.
• 35:36
  Speaker D: Thank you. Thank you. We appreciate your help.
• 35:41
  Speaker B: Is produced and hosted by me, Andy Scullen. New episodes are available every week wherever you stream. Dream Podcast. If you'd like to help support the show, please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com unsigned 518. If you would like to advertise on the show, send me an email@unsigned518mail.com and to be a guest on the show, reach out to me through Instagram at unsigned518. Take care of one another and I'll see you next week.