08: Imaginariums, Geese and a special Guest

Welcome to our first one with Video - a huge thanks to Issy for letting us use her Looks Like We Made It set for this one - we are working on our own in coming episodes so watch out for that!

in this one Issy’s away recharging this week, so Martin’s drafted in special guest James for a proper catch-up.

James is a music guru and an Synth savant and currently works around the North East helping primary school kids work together to create a band - think school of rock but with all the required checks and qualifications!

James is here to tell us all about his launching of the Junior Producer Club, where kids step into an “imaginarium of synths” and leave with a track they actually made. 

Expect tangents, chaos, and at least one conversation about strangled geese, so in other works the same as every other week.

To get in touch with James about his Junior Producer Club and anything else to do with synths or music creation, email him at juniorproducerclub@gmail.com

Thanks for listening to Allegedly Thriving and for coming along for the inevitable detours.

If you want to learn more about the two potentially unhinged presenters:

Martin - Photographer and Owner of Terry Harrison Art: Martin Newham Photography  and TerryHarrisonArt

Issy - Director, Owner and all round Digital Genius:  Howell Studios and Howell Media

Transcript

Welcome And Thriving Check In

SPEAKER_02 0:02

So anyhow, now we're here. I will do an intro because we're really shit doing intro. Cool. But um I'm Martin. Welcome to the Allegedly Thriving Podcast, the weekly podcast where we ask ourselves and anybody else who happens to be in the room whether they are thriving or merely surviving the wonderful world of small businesses in the Northeast. Now, Izzy's on holiday today, um, not just today, this whole week, recharging, trying not to think about work. Um, so I've got my very good friend James with me today to talk about what he's up to. Um and I'm gonna start as I start all of these podcasts with the question. I mean, that's a lie, I don't always start the podcast. Sometimes we don't ask this question right until the end, but I'm gonna ask you the question, James. Welcome to the podcast. And um, first of all, introduce yourself and tell us are you thriving or surviving?

SPEAKER_00 0:48

Thanks, mate. So I'm James, longtime friend of Martin's. Um, currently teaching music and doing various other side hustles, which no one doubt we're gonna cover today. Let's answer the question first. Being honest, right now I'd probably say surviving. Ooh, obviously, we we like a good surviving because that means there's loads to question lots of potential to thrive, but currently couldn't put myself in the thriving category wholeheartedly.

SPEAKER_02 1:14

Okay, okay. So so so how what what's happening? Why are you just surviving?

SPEAKER_00 1:18

Well, I mean, first and foremost, uh surviving sounds worse than it actually is, I guess. So I'm currently happy and I would consider myself doing well, but am I thriving in all the areas I want to? No. So what do I do currently? So currently I teach music to kids, to primary school kids, Monday to Friday. I go to ten different schools and I teach kids how to play together in a band, and honestly, it is an absolutely frickin' awesome job, and I love it, right? For so many reasons.

SPEAKER_02 1:50

I mean, it sounds horrendous in my mind, but you know how I feel about children. So I mean, I all I've got an image now of is you know, there's that whole school of rock thing with Jack Black, you know what I mean? Yeah, but with feral kids.

SPEAKER_00 2:05

And you're not too far off. Okay, cool, cool. It kind of is a little bit like that. It's it's very much the school of rock vibe, but with uh behavioural issues that aren't covered in the film. So are you Jack Black in this? Pretty much, but in a legal, DBS cleared, official way. Do you think Jack Black would ever pass a DBS check? Absolutely not. No, not not in the character that he played, no. I think he was there like under false pretenses, wasn't he, in the film?

SPEAKER_02 2:32

Yeah, he was like a roadie or something who just ended up being a teacher. Yeah, yeah, he wouldn't pass checks.

SPEAKER_00 2:39

I mean, but what I do like is some of the stuff that he did. And how we talk some of the things. He certainly would have passed a randomised drug test. 100% not. No. So when we talk about this job, a lot of people go, Oh, yeah, Jack Black, School of Rock. And yeah, there are some similarities, but it's way hard work, it is really difficult. But you do get these occasional moments where it genuinely feels like you're in some kind of film because when it clicks, or when a kid learns a new thing, for example, they learn how to use the feet and the hands when drumming, and it just happens and they're so buzzing and they're so happy and excited. That's a truly rewarding moment. Or when a really shy kid who won't sing in rehearsals gets up on stage to do the concert

Life As A Travelling Music Teacher

SPEAKER_00 3:20

and absolutely belts out a tune, seriously proud moments, right? It's it's those little golden nuggets that make that job incredibly rewarding, and I would say, in that respect, thriving, yes, right? So that's the day job. Absolutely love it. It's hard work, it's exhausting, but it's incredibly rewarding. So, but it's the other stuff that we're talking about, isn't it? Mainly today.

SPEAKER_02 3:45

So we can talk about whatever you want, to be honest. I mean, what I want to know first of all, I mean, just going briefly back onto the whole teaching side of things, is you've been doing it for nearly a year now. Yeah. So have you had the oh captain my captain moment yet, or is that not happening? What do you mean? Oh, have you not seen that? Explain Dead Poet Society. Right, go on. You're not seen Dead Poet Society, Robin Williams. No. Oh, okay, all sorts of stuff happens, but they all stand in solidarity with the teacher. Right. They stand up, oh Captain My Captain, and they stand up and they support him and all of that.

SPEAKER_00 4:13

These are primary school children.

SPEAKER_01 4:15

We're talking like six-year-olds up to sort of like ten-year-olds.

SPEAKER_00 4:19

Okay, fine.

SPEAKER_01 4:20

So that's me. I'm gonna say probably not. Probably not, okay.

SPEAKER_00 4:24

That's fine. No, there are there are some moments, mind, where some of the older kids, it's really cute. I've seen some of them try and emulate my role. So, like, it could be anything from where they're telling other kids to shut up if they're not being quiet, or if they're playing the drums when I'm trying to teach someone else, and they'll just take it upon themselves to go, shut up, Tommy, or whoever it is. And then some of them will just copy some of the techniques that I do like when I'm conducting the band and I'm clapping them in time and doing the click. I see some of the kids copying that, and that's adorable, right? That's kind of like imitation's the highest form of flattery or whatever, right? No, it's cool. So that kind of stuff happens, yeah.

SPEAKER_02 5:02

So you're out there influencing young minds and their creativity and building confidence and all of that. Yeah, but that's your main job and your day job. But I know because we talk quite a lot, that that's not your real passion. That's kind of getting you to where you want to be. It's working in the right field. Exactly.

SPEAKER_00 5:18

So what is it you're what is it you really want to do? Right, well, it's kind of good question this Martin, thanks.

SPEAKER_02 5:27

So it was a leading question, it's part of the reason we're doing the podcast. So, you know, I felt I had to get there.

SPEAKER_00 5:33

I'm kind of a little bit doing it, but it's it's I feel like I'm at the beginning, hence the surviving part of this. So it's in its very early stages, but I've got this vision about getting a whole generation of kids really excited about electronic music, so synthesizers and drum machines. I'm I'm doing this, which means you know I'm excited, right, when this comes out.

SPEAKER_02 5:55

That's cool. That's cool. I mean, we are actually filming this one as well. We've got the lens caps off, so I I can actually get the footage of you just going. For those that aren't watching, it's some sort of hand gesture that looks a little inappropriate.

SPEAKER_00 6:07

Kind of a bit gimme, gimme, gimme. Yeah, it's just it's it's the happy feelers, right? Yeah, don't do it that way. Yeah. This way, not that way. So, what's the clock? What am I trying to do? So, yeah, I've got this vision in my mind about a whole generation coming up being very excited about synthesizers and drum machines and just generally creating not just digital music but music in general. It's about getting a whole generation to just continue to embrace the creativity and make their own music, right?

SPEAKER_02 6:36

So I mean I've got to applaud the vision because I mean that's a broad vision, you want a whole generation, you know what I mean? Well uh well well done, you damn right.

SPEAKER_00 6:46

Love it, yeah. So we were talking earlier on, and we don't want to go down a rabbit hole or a tangent, but you know, in today's modern world that we live in, AI is prevalent. You can literally say some prompts and a full song comes out, right? But where's the fun in that? Where's the reward? Where's the creativity? It's just a thing that happens. There's so much joy to be had in actually creating and going through that process yourself and it being entirely yours, and that's something I'm really keen to sort of take kids through as a journey and give them the sort of means and direction to do so. Do you know what I mean? Yeah, so currently I have a thing called Junior Producer Club, and this is where um kids typically um book in for a four-week programme, and over the course of that four weeks, sometimes it's longer, sometimes it's a little shorter, but typically four weeks is the sweet spot at the moment that I've found. And during that time, the kids will come over and they'll visit my studio, which is an imaginarium of synthesizers and drum machines. You've seen it, it's ridiculous, right?

SPEAKER_02 7:50

Is imaginarium the collective noun of synths? Because if it's not, it needs to be, right? I have an imaginarium of synthesizers. Oh, that is that is that is amazing. Yeah, brilliant. That's better than a murderer crow, is that? I love that. The collective noun. An imaginarium of synthesizers.

SPEAKER_00 8:06

I think I think if it wasn't, it is now, mate.

SPEAKER_02 8:08

Oh, I think okay, we need we need to get that trending. Yeah. All five people listening, please. You know, hashtag imaginarium.

SPEAKER_00 8:17

So these kids will come round and ultimately over the course of the junior producer journey, I will guide them through various steps. I will let them do all the decision making, right? They come up with all the ideas, and I'll just guide them in a direction in order to extract whatever's in their brains, whatever ideas they've got. It's my job to extract those and get those down so that they can then materialize and the kid can hear and see them, right?

SPEAKER_02 8:49

So you must you must get a lot of the first couple of weeks, must just be everything, like everything being chucked in the mix. Yeah. Sound effects, yeah, yeah. Every kind of every kind of guitar sound, every beat you can possibly think of, all in one.

SPEAKER_00 9:03

100%.

SPEAKER_02 9:03

Oh, that's gotta be that's gotta be difficult listening. Oh, yeah. So is this is this the Ross in Friends when he got into synths type scene?

SPEAKER_00 9:11

Yes, you're dead on, mate, right? So imagine, because typically age group we're looking at here is between sort of like eight to sixteen. Um so imagine the the younger end of this age group, sort of ask an eight-year-old to design a car, it's gonna have rockets on it, it's gonna have flames coming out the sides, it's gonna have wings. This kind of stuff is what you see an eight-year-old do in musical form, right? So one of the kids that came in um literally wanted machine guns, lasers, helicopters, and the way that I tackle it is certainly the first session, right? If they're it's about getting them acclimatized to the imaginarium of synths, right? And helping them feel comfortable in knowing that there are no wrong answers, you can't break anything. Basically, do the things, right? Play the thing, twiddle with that fader, you know, see what happens, kind of thing. If they can get out of that initial nervousness, which is what I make sure they do in the first five minutes, as soon as they get in, it's like, right, you're gonna touch that, you're gonna play with that, you're gonna hear this, right? Once they get through that, there are no wrong answers. I say, right, what kind of thing do you want to make? What kind of sound do you want to hear? What kind of track do you want to make? And once we get that decision from the kid, that's where the direction starts. And session

A Vision For Kids And Synths

SPEAKER_00 10:30

one is about throwing everything at the wall and seeing what sticks. So getting all the ingredients out there. So it will be machine guns, weird sounds, stuff that makes no sense, and we'll just throw it all down, and everything's a yes from me. Yes, you can, right? What else do you want to hear? A guitar that's really loud and really rad. Cool, let's do that, let's record that. You want to hear an explosion? Brill, that's going in too, and it'll all get laid out, and it's essentially I describe it to them as sort of ingredients before you're making a dish or a cake, right? Let's hear all the ingredients first, and that's how we start the process, right? Nothing's a wrong answer. Make the weird sounds, put the weird stuff out there, get it down. If that's done in the first session, cool. What we typically see is a bit of a reaction from the parents, which is like, What the hell is this? What am I paying for? But the kids like, Mint, look at all the stuff that I wanted, it's all there, right? That's session one, and it's not as formulaic as I'm making out, right? It varies for each kid, but typically the first session is let's get some stuff down. Anything, nothing's a bad idea, right? And from there we just refine it, and that's when I start to steer it in a direction by using either-or questions. So, you know, reminding the kid what their vision is. Let's say you wanted to make a rock song, okay. So, what do you think should be in a rock song? Guitars? Great, shall we record some guitars today? Yeah, brilliant, cool, get the guitars out, right? Sort of gently nudging them down that path, but then whatever they do with that guitar, it's on them, it's up to them, right? There'll be various bits that work and various bits that don't work so well. And I'll tend to highlight, oh, did you hear that bit that you did there? That was minced. Shall we use that? This could really work. Listen to this, boop, and I'll just show them and they go, Oh, yeah, cool. They've made the decision, I've just gently guided them towards it, right? We just repeat that process and they end up coming out with like they end up coming out with a really good finished product. That is really cool. It is pretty cool. Yeah, I do enjoy that.

SPEAKER_02 12:36

I think what I like most about that is that I I don't have kids, so I don't know the only education system I can base it on is one the one I went through, and anecdotally what I know of education systems, which isn't huge. But what I love about your approach is the fact that there's a there's no there is structure, but there's no visible structure. There isn't a right or a wrong way of doing it. Whereas I think almost every other educational kind of guideline that there is is a right and a wrong way of doing things. And and that some subjects it makes sense, yeah. Some subjects absolutely there's the right way and there's the wrong way. Yeah, but I think we get really um used to getting young, rigid, young, mobile, and um kind of spongy minds, really kind of free minds, and very early on we try and put them into these rigid little structures, yeah, and we completely destroy creativity. Um, and I think you can see that. Um, you can see that in the the way kids are these days and everything like that. I think I think I think the creativity just seems to be dying, and I think what you're doing is brilliant because it helps people realise that there are no boundaries, there may be you know limits to what technology can give, but other than that, whatever you believe, you can create, and it's up to you to decide whether it's good or bad.

SPEAKER_00 13:55

Right, it's that freedom, right? I love it. Yeah, thanks, mate. You made me think of something. We might have to edit some of this so I don't get in trouble, right? So there is a a school that I go to, and there's a freelance music teacher that comes along and he teaches these kids. What sounds like I think it's supposed to be clarinet, but it actually sounds like a room full of strangled geese. You know, when you get a whole like lake full of

Junior Producer Club And The Four Week Journey

SPEAKER_00 14:20

geese and they're all kicking off at night time, sounds a bit like that sort of strangled geese sound. And for the past what, six months, I've heard them do the same set of songs. So he'll turn up, they'll see the notes or whatever they're doing to get the structure of the song, and it's just rinse and repeat every week. I'm not saying they don't enjoy that, right? But it is so formalaic and structured that it's like, right, there's your instrument, here's what we're gonna do again, and it's the same stuff. So it's that is that feels to me like that box that you just described.

SPEAKER_02 14:56

So I remember learning guitar, classical guitar, when I was in my teens and early years and teens, and it was very much like that. And I think learning learning an instrument from scratch. I think a lot of people teach themselves guitar, they'll do things like they'll they'll learn chords, they'll teach themselves chords and stuff like that. But I think when you get to the more classical side of things, I don't think a lot of people pick up a violin and teach themselves violin. No, I think they go to classes and they have to go through the scales and the arpeggios and all these little things, and you have to you have to practice and practice and practice and and just add infinite to get good at them. Yeah um, and I think there's a lot of skills you learn in doing that, there's a lot of there's a lot of reward you get, but there's a lot of effort you have to put in. It's a good lesson in effort and reward. Um, but it's hard, and you go through a long period of it sounding shit. And I find the older I get now, the harder I find it is going through that period of everything shit, yeah, knowing that it will get better, yeah, because I hate I really hate being shit at something. The advantage I think you've got is that to an extent with the synths, your programming sounds into the synths, so you're just pressing a key. I don't want to sit there and take away from the skill that's involved, um, because I've seen you making stuff, and Jesus, it's it's it's like an old telephone exchange with with twiddly knobs and you've got to love the wire sliders and sine waves and all of this shit. It's brilliant. Um, but at the same time, you know, it's pressing keys, and if you've got certain sounds or sounds, certain keys, then I can see how a child can quite easily make something that's really, really rewarding, yeah, as opposed to spending four hours trying to learn a clarinet. Yeah, it's a really good point.

SPEAKER_00 16:47

All you've learned in four hours is ha you're dead on. You're absolutely right. It it's almost that instant gratification that I think is a winner. And to be able to create a track in four weeks is is very quick, right? Versus four weeks of learning a violin, for example, you would see some small incremental progress, but yeah, the different worlds, right? So it's probably unfair to compare what I'm doing to the field of strangled geese, right? So you raise a good point though.

SPEAKER_02 17:13

I think the Oh, it wasn't it wasn't my intention to sit there and and and and try and defend the strangled geese. Um, you know, you would hope that in six months they'd at least be less strangled. Yeah. If they're still strangled after six months, something ain't working. Less asphyxiated geese more. Those poor geese. Free-range geese. Have we turned into maybe you know, asphyxiated fowl? Maybe guineas, you know, if we've gone to robins, or just uh ducks, a swan with a throat infection. A swan with a throat infection.

SPEAKER_00 17:46

I feel like we've gone down a tangent here, mate. That always happens, don't worry. That's what this podcast is about. Tangents. Anyhow. So, yeah, hopefully we've got a bit of a gist about Junior Producer Club. Yeah, cool. At the moment, it it's in its early stages. I'm still in the pilot phase, which I'm really enjoying because the whole purpose of a pilot is to learn. And I honestly thought in the beginning that I'd be able to do some almost some kind of formula, like week one, we're gonna lay down a beat, week two, we're gonna add some melody to it, week three, we'll do right. Absolutely not the case. It's just right, in those four weeks, how can I bring their ideas to life? And it's different for every kid depending on what they want to do and how how they learn, how quickly they learn, um, what the preferential learning style is. It it all varies, right? But ultimately, yeah, it's just getting those ideas out. So, my goal is in the short term to increase the number of people on that pilot, um, get more feedback, test, learn, improve, iterate, right? That kind of stuff. I've got a bit corporate there saying iterate, but you know what I mean.

SPEAKER_02 18:52

Yeah, you you spent 20 years working for Sage, so I I think we'll forgive you.

SPEAKER_00 18:56

Yeah, yeah. It's fine. And you know what? I'm grateful for those 20 years, um, because it has allowed me to buy an entire studio's worth of stuff, which is great. Um, longer term though, I've got a vision in my head for group sessions, right? So probably moving away from my home studio and moving into some kind of space, either renting a space or whatever, free space, whatever, like community centre. I haven't yet defined where it's going to be, but I want to get five or six kids around a table with either a synth or a drum machine, or maybe their own identical synth station, not fully figured that out, but something that gives them immediacy and live tweakability and something that sounds absolutely amazing very quickly. They'll all go through a mixer, everyone's on headphones, every kid has got a specific job to do, and it'll be challenging but fun, right? So it might be like, Martin, you're gonna make this bass line. Here's a synth that sounds amazing for bass, here's what you can do with it. Your job is to program in these notes and make it sound like you want it to sound kind of thing. Everything will be synchronized, so everything's in time for a start, massive win. And then essentially, I want to record a synth jam. So all of these kids are doing something, but they're all contributing to the same track and they're hearing it in real time. Again, under my careful guidance and direction, it'll still be their ideas, but it'll be within the parameters that I set, so I know it will sound great, right? And then during that session, we record that synth jam. So within an hour, they have fun, they make loads of weird and wonderful and wacky and amazing noises. Hopefully, along the way, they understand and they learn how they did that, so they've learned a little something about synths and drum machines along the way. So if and when they come to do that again, they'll they'll be able to go, Oh, I know that the cutoff makes it sound like this, you know, stuff like that. But again, the immediacy of it is after that hour, they go away with a track that the grown-ups can hear and that they can share with the mates, and they can say, I did this jam over the weekend with these other people, could be the mates, could be people that they don't know.

SPEAKER_02 21:13

So they got something tangible out of it straight away that they can share and listen to again and be like, I made this.

SPEAKER_00 21:18

Yeah, imagine like some house music or something, or like probably showing my age, but like orbital or something really experimental that Bjork might do, or something, right? Just getting a bunch of kids around a bunch of electronic gear and making something like that that is theirs, and that hour will fly by, right? And by the end of it, they've just got this thing. Like so, what do you need to make that a reality? This is a good question, right? And I know you and I have chatted about this in the past, outside of this podcast, right? So I currently have some gear that could be used, but ideally I need a bit more gear, I think, in terms of either identical stations or just something that's a bit more portable uh and uh child friendly so that uh basically I need enough instruments uh uh

Scaling Up To Group Synth Jams

SPEAKER_00 22:10

to enable five or six kids to do that as a group. So it's the technology is is one of the things not necessarily a blogger, just something that needs to be put in place. I need a space to do it and then there will need to be some kind of structure and like I mentioned about sort of control parameters in order to make sure each kid is set up for success. So a bit of thought around sort of the specific things that I'd be asking them to do in order to make sure that it all fits together and sounds amazing.

SPEAKER_02 22:40

So you need money for equipment although that's not the a deal breaker at the moment you need a venue which is something you do need help with so if anybody was listening that had a venue that might be suitable they need to get in touch. That would be amazing spot on not that anyone listens but you know you're gonna ask you never know you never know um you know you you might share this with a bunch of your mates and who knows um and then you need to get your head down and do some work because it sounds like that third one's all about you. It is mate it is and 100% on me that third point right okay cool so if somebody is listening to this and they're interested in the Junior Producer Club in unleashing the creative potential within their child from a musical perspective and not just that because obviously a lot of the things that you're going to teach people teach these kids are transferable skills they'll be able to work elsewhere. It's basically about enriching their entire brains yeah how would they get in touch with you?

SPEAKER_00 23:34

Ooh good question I I have them I didn't really think about this question Martin I mean it's kind of central to business. Yeah getting in touch is quite important. Yeah I was kind of going to do one of those build it and they will come type of things you still need a contact no it's it's true. My email is juniorproducerclub at gmail.com nice so we've got that far I've got I've got a JPC email that's cool so any sort of interest or inquiries can go to that email. Yeah that'd be the best way to get in touch basically cool. You mentioned some of these sort of transferable skills and that kind of stuff because like first and foremost in my mind I'm like wouldn't it be super cool and amazing to get these kids around the table doing a synth jam it would just be firstly it would just be the most epic thing ever right but the things that then quickly follow in terms of what's really important you mentioned a few of these life skills right but think about it five or six kids around the table it's teamwork right it's collaboration. In some cases it might be a compromise right there's two kids with competing parts who's going to decide who does what? Who does you know how does that work? But there's the sort of problem solving and critical thinking skills right all of these things come into play and people don't necessarily realize that this is the case in music but in that environment all of those things would come out and I think ultimately you mentioned confidence building that is a constant that I see throughout my day job and that I've seen in junior producer clubs so far that kids' confidence increases exponentially the more that they realise that they can actually do without boundaries and when they see the final product or when they hear it in this case they're absolutely buzzing and it just kind of like explodes their creativity and confidence it's like a cycle of positivity so I think a lot of that good stuff will come out of these group sessions as well you know and if if one of those kids out of however many sessions goes away and says Mama Dad I want a synth for Christmas then my work is done like cool you know what I mean yeah totally yeah awesome well this this podcast has essentially been an infomercial uh for you uh which was the point in doing it as well it's fine it's fine um so we normally then uh after we've determined whether we're thriving or surviving I'm thriving by the way um but you know didn't ask me it's fine I'm good you did you didn't know the format of the show it's the tacit just assumption that I am thriving okay it's a fact it is a fact now I'm always thriving I'm very rarely surviving to be fair um it's a m it's a mindset in reality I am just like a swan you know gliding peacefully above and underneath everything's going f not not a throat infected swan though that would be

Gear Needs Venue Help And Contact Details

SPEAKER_00 26:20

so no um so no I think we normally end on some more lighthearted questions sometimes some silly ones but um I can't think of a really silly one but what I am interested in is um getting an idea of your tastes so what's the one film you could just watch over and over again and never get tired of easy answer back to the future all day long oh you're one of those every day you're a BTF I'm gonna see it BTT the um at the Eat Flix oh you love that eat flix yes I do mate I don't get it I'm interested to see what food they're gonna bring out to my favourite ever film of all time nice it's such a film the music just everything Martin McFly I mean I actually oh man I I try and ask as many primary school kids as possible if they've seen Back to the Future and if they haven't I tell them to go and watch it because if only for that Johnny be good scene where he's playing the guitar.

SPEAKER_02 27:13

I'm assuming a lot of them haven't no they're like what Back to the What now especially with Back to the Future too oh no it is back to the future because I forget I I I forget which one is it where they actually go to the future that's two. That's the first the hoverboard uh yeah hang on wait so in yeah no that's two that's the first one they go back in time yeah that's right and then have to get back to the future there because they get stuck in the past whereas in the second one they go to the future with the hoverboards and stuff. Hilarious watching it now but because it's now the past for us. Yeah and they think they can go through to 2012 or something like that or something. Yeah maybe not 2012 but something like that but we've passed it.

SPEAKER_00 27:55

Although not to get too political mate but I think they did predict the whole rise of Donald Trump in the Biff character you know when he like uh illegally won all the money at the casino and then started to sort of rule the world we we don't we try to steer away from the tangerine monster

Favourite Films Tangents And Goodbye

SPEAKER_00 28:10

yeah because if you get me started on him Jesus it'll be a long podcast would never stop.

SPEAKER_02 28:16

No we could go into local elections as well but we shouldn't do that. Definitely not do that. Stay clear of politics fair enough so the the film you could watch over and over again 100% Back to the future that's cool. What was that absolutely insane thing you showed me that time in the motor home on the on the laptop well what the hell was that was Kung Fury that was 28 minutes of absolute goodness and I have mentioned it before on the podcast for Izzy to listen to to watch I've still not recovered from it. I know um they keep talking about potentially doing a feature length sequel with Michael Fassbender but wow I I think they're struggling just to get it across the line I don't even know what genre we would put that down as but like just mental yeah mental it's the weirdest thing I've ever seen brilliant laser raptors the guy that gets bitten off the snake three times or something. It's just amazing you know what I mean Kung Fury he's the he's the Kung Fury it's just mad. It's brilliant I love it. Uh if anybody hasn't watched it Kung Fury I don't know what it's on these days but find it brilliant. 28 minutes Michael Fassbender you will not be disappointed. 100% okay well I think we will draw that to a close so thank you for listening to the allegedly thriving podcast special edition with James Clark. Thanks for having me founder of the Junior Producer Club. Thank you very much will be in the bio if you're interested in engaging as services in any way shape or form musically only please nothing else his wife would not be happy thanks all cheers thanks Martin it's alright thanks buddy it's your first podcast thanks dude that was fun what I might do is um