iTunes Exclusive Episode Spotlight Ellen Goldfarb

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What's up Empire? It's Rob.
You're boy.
No, I'm just kidding. I'm not that hip. Let's be honest.
Welcome.
Not our normal opening, because it's not a normal episode.
If you're hearing my voice, it means a couple of things.
At least once in your life you've checked out the Clubhouse Podcast live every Sunday nights,
7 Eastern 4 Pacific, your one-stop shop for all things pop culture,
which we greatly appreciate.
But it also means you check us out in your favorite podcast app,
because it's time for another iTunes Exclusive, a milestone episode.
This is iTunes Exclusive 325.
You believe that? 325 times you've done this thing.
Not to mention the 400 and some odd that we've done on the regular shows.
We're doing work, kids.
But it's also a subset of the subset,
because this is our fourth Spotlight episode.
I love, we do our Spotlight episodes.
With our Spotlight episodes, we actually focus on an individual,
whether we talk to them live in studio,
or whether I got the opportunity to talk to them outside of this deal,
the mothership of our studio.
But in this case, it's a little bit above.
This was an opportunity that I got to sit down with a filmmaker
for a one-on-one interview that I think you're going to dig.
She is director, producer, renaissance woman, Ellen Goldfarb,
and she has a documentary that played earlier this month
at DocuFest for VideoFest.
It is called Dare to Be Different.
And if you are a fan of the 80s, like you know I am,
you're going to want to stick with us for this episode,
because the documentary she made deals with a radio station
New York called W-L-I-R.
And if you don't know the story, it's really, really interesting.
A lot of, if you love bands from the 80s,
there is a greater than zero chance that this station
is the reason you even know who they are.
So again, it's a station out of New York.
She's got a documentary, it's called Dare to Be Different.
But before we get into that deal,
I want her to tell you the answer to a very important question
that I've always asked people, and I always love to hear the answer.
And that question is, why is it that 80s music
has held up so well over the years?
And this is what she had to say.
Well, first of all, I think it was a happier time.
And I think a few reasons.
I think that generation is now the generation
that's like leading companies, corporations,
we're like in our 40s, 50s, 60s, that generation.
So we're kind of the leaders now.
So people love that music.
They want to bring it back.
And so it's the people that are speaking out about it.
But it was a happier time.
And the music really still has relevance today.
I mean, they're playing it everywhere.
If you go into a 7-Eleven, a grocery store,
Denny's, like it's playing.
I'm going to make it target.
Like you're always hearing 80s music,
and 80s music has a big influence on music of today.
Like electronic dance music,
and a lot of the bands that are popular today.
And this, you know, DJs that are, you know, like,
all that stuff, it's all influenced by synthesizer
and punk and new wave.
It's all influenced by that.
There's also another voice that you're going to hear as this goes on.
And that is the voice of Friend of the Show.
We had her on the show last week as a matter of fact.
Kelly Kitchens actually helped set this up for us.
And it really had a great time talking
and really getting to know Ellen and her work.
And in this next clip,
I want to kind of give you a background of who she is
and why this particular subject matter
was so important to her.
Check this out.
So I currently live in Los Angeles.
I've been there for 22 years.
But I'm originally from New York.
And L.I.R. was my station, you know, growing up.
I graduated high school in 1983.
So I grew up with the station.
I listened to it when it was a rock station
and when it switched over, just like Kelly, like my life changed.
Like everything in my world changed.
I didn't have the easiest childhood
with like divorced parents and whatnot.
And I felt like the radio and the music was just my escape.
It was my solace.
It was my.
Like nobody could take that from me.
And I was addicted.
I would go to the clubs and dance and, you know,
find like-minded people that love the music.
I'm like, oh, you love this song too.
Oh, it's so cool.
And like you always wanted to hear.
You always wanted to listen to the radio every day
because they were always breaking a new song.
And they had this program called The Screamer of the Week
which we talk about in the film.
So every week DJs would find imports that they liked.
And the listeners would call in and vote.
And I remember I would call in and vote for which song
I liked the best.
And then every Thursday night they would announce
The Screamer of the Week.
And then for a whole week that song would have like this
weird scream before it would come on.
And we found out as we were making the movie
that it's actually from a Disney track that they took.
Oh, really?
It's interesting.
Yeah.
Which we did not realize since because they already
took care of it and it's fair use because we're
showing what they did.
But yeah, it's from a Disney track.
And it's like this witch going.
And that's how you knew what was The Screamer of the Week.
And it was just...
You're hearing some excerpts from an interview
that I got to do recently with Ellen Goldfarb
talking about her film Dare to Be Different.
There's a documentary that played recently here
is playing in festivals around the country
or any more about that later.
But I'm going to play it two little segments back to back
because they kind of tie together.
And we had a really great discussion
Ellen and Kelly Kitchens and myself
where if you hear some of the noise in the background,
there was a lot of things going on.
And we were kind of off to a side room.
But there was a lot of people there
that were milling about smartly.
And they had a great time.
And great job by Kelly by putting all that together.
But these next two segments together,
we're going to talk to you about
for those of you who do kids with the clothes in the hair
and getting off my lawn.
There was a power to radio
that really, I think,
get summed up really well in this next segment.
And we're going to back that up with another segment
where we talk about cassette tapes
and how vital they were to people
getting to know certain music in the 80s.
And it reminds me of a story from someone in my family,
one of my cousins,
the only one of the grandkids that's older than me.
And when he was in college,
there was a radio show that he loved.
He was in Florida State and he was from Tampa.
And a certain morning show that he absolutely loved.
And what his dad would do is his dad
would record that morning show
onto a cassette tape and send it to him.
And he would set his alarm clock
to that cassette tape.
So it was like,
even though he was listening to the show on a delay
for a few days,
it was still like he was waking up to his favorite show.
And we talk about that a little bit
in that second segment.
But the first segment we're going to talk about
is actually about really how powerful radio was
to those of us that grew up in that era.
It was the social media of our time.
Yeah, absolutely.
Because it told you where to go,
what the whole cold clothes were,
where to get your hair cut,
where are the DJs going to be,
where are you going to go dancing?
Yeah.
Well, and it was a way to find your people.
Your people, yeah.
It was, you know, find it if you heard somebody else
was listening to propaganda or something else.
Then you were like, oh, I love them too.
And so then you instant, instant probably.
It was just like me.
Yeah.
And it's just...
Oh, like you mentioned,
the bumper stickers on their cars.
Right. Yeah.
That's the way from that.
Like, you knew who that person was.
Yeah.
And then you found the bumper stickers.
Like, I have bumper stickers at my house now
of the stations I listened to growing.
Yeah.
That are still on there.
Because they defined who you were.
Hey, great.
So I grew up on Long Island.
And then there's New York City.
And then there's upstate New York.
So I went to college in 1983, upstate New York.
And so it's four hours from Long Island.
So we didn't get LAR.
Right.
And there were people that went to college
at there from everywhere.
And so I would, when I would come home on break,
I would, I had one of those tape recorders
where, you know, you hit play and you had the little cassette tape.
I always get the 90 minute to 60 minute wasn't long enough.
Right.
And I would just put it on.
Because I didn't want to stop and start.
I wanted to hear the DJs, the commercials.
Like, everything about LAR was special.
Wow.
And so I wanted to bring those tapes with me.
So I wanted to feel like I was listening to the radio
while I was studying and I was upstate.
Right.
Again, you're listening to our exclusive interview,
our one-on-one interview in this spotlight episode
with Ellen Goldfarb and her film Dare to Be Different
that aired earlier this month as part of Dallas Video Fest.
Dallas Video Fest, kind of a little bit different this year.
If you're going the first weekend in November to check it out,
there'll be alt fiction weekend.
Bart Weist is such an amazing job and we're big fans of Bart
and all this stuff that he's gotten to let us do for the last five years now.
We've been hanging out with Bart and the crew over there.
We're going to keep this thing moving.
And now that we've kind of got the groundwork laid a little bit,
I want you to understand who this station was, W-L-I-R, in New York.
And I really want you to...
This is a really good background to it.
And if you get a chance to see this documentary, do so.
Because it's really a lot of fun and you get a lot of really good interesting...
I'm telling you, as this thing goes on,
you're going to hear some names and go really trust me.
You're going to...
Here's the background on the station.
So we start talking a little bit about the history of W-L-I-R
when it actually started, when it was born.
It came around in the 50s.
We briefly touch on what kind of music it played when it first was born
and then through the 70s.
But the period that we're really focusing on is 1982 to 1987.
When the station completely changed format,
they were the only station in the country to do something like that.
There was another station on the West Coast K-Rock, K-R-O-Q,
who were incorporating bands like that into their...
I guess you can call it classic rock format,
but they didn't completely switch over.
L-I-R was the only station at that time that completely switched over.
And they took a huge chance in this giant market in America, New York,
where there was kind of like a Davian Goliath story.
They were small, privately owned station that had to battle.
These megawatt stations of New York City.
And L-I-R was always a progressive station.
So in the 70s, they started to play like progressive hippie type music,
like the Grateful Dead and Joni Mitchell,
and Crosby Sills and Nash, bands like that.
And then eventually the other stations caught on
and it all turned into kind of like rock.
And they were starting to lose money and needed to do some kind of a switch
in order to stay alive.
So Dennis McNamara is actually the pioneer of all that.
He was the station's program director.
He was the one that was doing the research of the music that was coming out of England.
And there was also a scene in New York at that time with the CBGB stuff happening.
And this was all happening actually in the late 70s.
So Dennis was starting to pull this music into the format in the late 70s,
way before they officially changed format.
And what Dennis decided to do was to give these bands these, you know,
I guess they were only really playing on like college stations.
They did special programs like that.
They had a program called Off the Vote, where I mean literally
the records were coming in off an airplane.
And the DJs were going to pick them up at the airport.
And they would have weekly meetings and just throw these songs on and be like,
what do you think? Is this going to be a hit?
Like they were deciding our future.
Amazing.
And the DJs were so amazingly, you know, they were so musically talented.
Like thank God for them.
It wasn't just Dennis.
It was like all of them collaborating.
And they were all geniuses.
And they knew what were happening.
And actually sometimes they didn't get it right.
I mean, as I was talking to them, you know, some of them said,
oh, I wish I would have thought this or that.
We actually have a funny segment in the YouTube segment where one of our DJs is saying,
yeah, you know, I know.
So and so was really championing you too.
He's like, but I really didn't hear it.
We're all going to happen after that.
It's just a funny story because, you know, sometimes they didn't 100% get it right.
But for the most part, I mean, look at all the bands they broke.
And, you know, they really were the station responsible for bringing all of these bands into America first.
Because Dennis went over to England and then he made relationships with the labels and the management.
And they were just sending the imports to him.
Like, oh, my God, there's a station in the United States that wants to hear this music.
Because they didn't want to play it in England.
It was like pirate radio over there.
There was, we have our artist talking about it.
There was BBC one.
There was BBC two, three and four.
And that was it.
So there was no platform unless you were playing in small clubs in England and in Europe.
There was really no radio platform for them.
So the fact that they got airplay here was like, oh my God, it's a commercial station.
It's not even an underground college station.
It's a commercial station playing our music in New York City.
The biggest music market in the world.
So they were so appreciative of LAR.
And, yeah.
And then K-Rock was doing, so we interviewed Jed, the fish from K-Rock.
And, you know, they were breaking a lot of LA bands.
They were eventually breaking the European bands on the West Coast as well.
But, you know, just different.
And so eventually they kind of shared music a little bit.
You know, like Oingo Boingo, that was from LA.
LAR started playing them.
And then LAR was shared music.
So eventually those were the two big stations.
So they were the first waivers.
And then after that, all these other stations across the country were like, oh, what are these two stations doing?
And then they started popping out, like the ones in Dallas and everywhere else.
San Francisco, and Tenigo, and all over, yeah.
So...
You are listening to some excerpts from the interview I got to conduct with Ellen Goldfarb along with Kelly Kitchens.
For Ellen's film Dare to Be Different, shown recently at Dallas Video Fest.
And you're going to hear later on, there's going to be some other festivals involved as well.
This films a lot of fun, especially if you're a child of the 80s.
Or if you've always been interested in the music of that era.
This deals with WLIR, a station out of New York, that, as she's been saying,
like other stations weren't playing some of this stuff from overseas that was just different.
And it kind of changed the shape of the decade musically.
We're going to play you two more segments back-to-back, because they're fairly short segments.
The first one, you're going to find out some of the bands that they got to play,
that played this station played in order to get it out there.
And then we're going to talk a little bit about something called Air Checks.
And what Air Checks are are basically the segments where DJs talk.
Where, if you recorded stuff, you didn't want to get the DJs voice.
But as Ellen said earlier, she wanted that in there.
She wanted to be able to say, yes, I wanted that.
I wanted the commercials.
And some of the Air Checks they were able to get for this documentary.
Let's get right back into it.
Here's some of the bands that they broke in this country.
The bands that he was pulling into the rock format in the 70s, in 1982,
they just made it all about those bands.
And so those bands were right.
From the New York scene, Blondie, the talking heads, television,
the hormones, of course, Joan Jett.
They were playing the runaways back then.
And then from the British side, I mean, you name it.
Elvis Costello.
Durand Durand, the cure, DuPesh mode, the Smiths, XTC.
I mean, I can go on and on.
There's so many bands.
Thompson Twins, Tears for Fears, Billy Idol, et cetera, et cetera.
That whole genre of music.
And they brought it into this new format.
And they called it new music.
Because Dennis had a thing.
He told his staff, you know, I don't want to call it new wave.
Because eventually, you know, as it caught on, you know,
through the 80s, people were calling it new wave.
And he said, you know, I feel like new wave is just going to be a term
that's going to be kind of outdated.
So I want to call it new music.
Because that's what he was doing.
He was bringing anything that sounded new that didn't sound like
typical music.
He wanted to bring it in.
So he mixed like ska, reggae, punk, synth, new romantic.
He mixed all this music onto one radio station, which was very unique.
They didn't do that in England.
They didn't do it anywhere.
We got so many air checks for our film.
I mean, I have hundreds of air checks that were given to us by fans
and a couple of people that were like, you know, they worked at the station.
But they were just obsessive LAR people.
And they've cut these air checks pristine for all these years.
So they were digitized and sent to us.
Thank goodness.
Okay, so now that you kind of know what this is about,
this is another real quick segment we're going to play for you.
Because I did ask her, who's in this thing?
So here's a real quick segment about who's actually in this film.
And this is just a taste.
There's a lot more artists and people in the industry in this film than just as in this quick 24 second clip.
But this is just to give you an idea of some of the people that Ellen was able to get to talk to that are in this documentary.
We have a lot of people.
A lot.
We have, say if I remember off the cup of my head,
but we've joined at Debra Harry and Chris Stein of Blondey,
Billy Idol, Cheers for Fierce, Kurt Smith,
Tom Bailey of The Concentred,
Psyphernan, Psyphernan of The Fix,
Dave Wakeling of The English Beat.
Oh yeah, we have Lil Toll first of the cure.
And that's just a few.
That list could go on forever.
It's another reason you have to check out this documentary.
It's just mind blowing.
And there'll be times you're like, oh, I totally forgot about that.
And really, they played those guys.
And it's just for people like me,
it's a trip down memory lane.
But for other people, it might be something getting you exposed to new artists that you may not have heard of,
that we just adored in that decade.
This next one is kind of cool.
One of the people that she got to talk to is Thomas Dolby.
And in front of the show, John Hauser, big Thomas Dolby fan,
so I know Doc's going to be checking this out.
But interesting story about her experience with Thomas Dolby,
I'm going to let her tell it to you.
So Thomas Dolby scared the daylights out of me.
What?
Because he literally blinded me with science.
No.
The guy is a genius.
And as I was interviewing him,
I was so intimidated by him that I messed up some of my questions.
And he got a little annoyed about that.
And I just went into, like, my face turned white.
And I'm like, oh, it went fine after a while.
But I know that he definitely intimidated me the most.
But he's a lovely guy and we appreciated him being in the film.
How about that?
And again, that list kept going on and on and on.
You can look this up on IMDB.
It's out there.
And you can see some of the people involved in this film.
And because they had such a passion,
because WLIR really broke them into the big time,
especially in America, where we weren't big on importing.
We loved exporting our talent.
But we weren't big on importing our talent.
And this was a huge catalyst in that category.
Now, there is one group that this radio station
really helped launch in America that they couldn't get a hold of.
But this is also a very interesting story.
So check this out.
You choose manager.
We didn't get.
So Bami was somebody that we didn't get.
And that was, it hurt us for a while.
There are a lot of political reasons why.
We didn't get, I think, we're not actually really sure why.
We just couldn't get through to him.
But he didn't mention it.
We have Paul McGinnis, his manager.
I don't even know why we didn't.
I think there's just, there's Fort Knox surrounding you too.
And so Paul McGinnis had a very close relationship
with Dennis McNamara.
Paul is no longer the band's manager.
So we had to get through to their other manager
who really doesn't know the history of their relationship.
But Dennis and Paul, like I said, they were very close.
And you two was absolutely broken in the United States
through L.I.R., everybody knows that.
And we wanted to make it clear.
And right, we played the little sound check of Bono thanking W.L.I.R.
at the concert hall.
Yeah, like nobody else was playing us, you know.
So thank you.
And so that was good.
At least we got that.
As we continue on with our interview with Ellen Goldfarbe,
the Renaissance woman of Dare to Be Different.
She has two or so many different hats.
And again, thanks to friend of the show Kelly Kitchens
for setting this up for us.
Really had a blast talking to her.
We're going to keep playing some more of this interview for you.
The next thing we're going to have her talk about with you
is, was there anybody that she was actually surprised
that she was able to get?
Because this lady is a go-getter.
I mean, she's focused.
She's going to talk a lot here in just a little while
about what it took to make this film.
But even when you're that tenacious,
you get some surprises.
Well, Andy, we were supposed to interview them in L.A.
and it didn't work out.
And so for many years, I thought,
okay, we're never going to have them.
And then the last year, we ended up getting Debbie and Chris.
So that was great.
Same with Joan, you know, because of scheduling.
Joan and Kenny had been amazing.
Joan Jett wrote theme song for the movie that nobody else has.
And it's at the end of our film.
So we own the rights of that.
And for our film, they own the rights of the song.
But we're going to help promote the song through our movie
and vice versa.
And we're really excited.
It's a great song.
Yeah, this is great.
They've been amazing.
How cool was that?
Oh, yeah, by the way.
Joan Jett.
Huge icon in the music industry.
She wrote a theme for my movie.
Like, like, that's a dear diary kind of day.
Let's be honest.
That's a red letter kind of a day.
We're going to keep playing some more stuff for you.
We're going to play another two segments back to back
because they're both kind of quick.
Because I want you to understand, like,
what it took for you to get this film done.
So we're going to talk about,
because when you deal with this many artists
and this much kind of music,
you got to find ways to get it done.
And it's an interesting story that she's going to tell you
about getting the rights to the music and things like that.
And then I wanted to talk about not only that,
but she's also going to talk about the message
that this film, she wants this film to put forward.
And I think there's a couple of really great segments
check this out.
We had to do a lot of crowdfunding, begging, bleeding.
No, we got investors.
Candy Gray.
We heard an LLC.
And so we have investors in our LLC.
And then we did two crowdfunding campaigns.
I mean, we've been raising money as we go.
We would raise money.
Shoot.
Raise money.
Go to New York and shoot.
Raise money.
Do this.
Production.
Post-production.
And so the last bit was clearing the music rights.
So we hired a assessing company who have been wonderful.
Wendy and Julie, they have been so hardworking
in helping us clear the music.
We have an MFN deal, most favorite nations,
where they get one set price in the order.
We have to agree on that, the labels.
So there's the publishing rights and the masters.
And it's hard to just go in there and know who owns which rights.
Because so many of these songs were on small labels back then.
There was island records and tire records.
And so now they're all owned by the big three.
But some of them split rights.
And some of them don't own the masters.
They only own the publishing and whatnot.
It was a big puzzle trying to figure out that.
But they've done a great job.
And we're really appreciative of that.
W-L-I-R, their slogan was dare to be different.
And that has a lot of meaning.
And in this day and age, it's very important that people dare to be different.
And really go with their heart of what they believe and what they want to do.
And even if it's going against the norm.
And being who you want to be expressing, who you want to express.
Especially musically.
We need that kind of music backing to be like.
Everything is so sterile now.
It's so programmed.
And if you look at what radio was back then,
I mean it was this unbelievable source of culture that's not really existing anymore.
And we need to have that back.
We need to have something like that back.
I'm so tired of listening to processed radio.
I can't.
I don't actually.
How about that?
It's a pretty strong message that her film puts forward.
I really want you to check this out.
And we're going to talk more about it here in just a minute about where you can find this film.
So now let's talk about the technical aspects.
Because you know we like to ask that when we interview filmmakers on this show.
So the next question is, how long did it take to get all this done?
2010.
So.
So this has been quite a journey for you.
Yeah.
The very last shoot we did was, I think it was Billy Idol.
It was our last interview.
So that was 2016 at some point.
We're cutting out.
But we're doing, we're, we have a distributor for the US and Canada.
I'm not allowed to formally announce it.
It will be announced soon.
So we're cutting the film for its final cut for that and mixing the sound for that version
and finishing off the uncredits and whatnot.
So we're still working on that for this distributor.
But yeah, it's like never ending.
Filmmaking can't be a never ending process.
But it's that labor of love and it shows through when you get a chance to check this out.
So film gets done at Dunnish, I guess, because she said they are still doing some editing.
But once you got it out there, check out where this thing debuted and where it's been even
before it got here to Dallas.
We're all premiered at the Tribeca Film Festival in April.
And I believe with the world premiere, we've probably had five or six there.
I showed the film, the film was shown at the Big Eddie Film Festival in upstate New York.
And it's going to be this week or next week in Arkansas, the Hot Springs documentary Film Festival.
And we've just premiered at the downtown LA Film Festival and now tonight.
And then I'm sorry, tomorrow night here.
And then in November, we're going to be in Twin Cities at the Unseen Film Festival.
We're going to be in Long Island at the Gold Coast Film Festival.
And St. Petersburg, Florida at the Caltura Festival.
And then there's some international festivals that are interested as well for early 2018.
How about that?
It's going worldwide, man.
I keep telling you, you got to check this out.
I mean, I would give you the plugs, but we're all about shameless self-promotion on this show.
So why don't we just let Ellen give you the plugs?
The website is dare tobedifferentthemovie.com.
And so we'll be updating on when we can make our big announcement about distribution.
And also after that, when people can find it on TVOD.
So upload on Amazon iTunes, purchase DVDs.
Believe it or not, I get requests every day of people saying, when can I buy your DVD?
So, you know, you think like buy a DVD.
But this generation, they want to buy a DVD.
I'm so the same way.
We like to hold it in our hands.
They want a simple, easy job.
And we haven't mastered the concept yet.
If I buy a DVD, I can have a commentary track.
I can have all these other things that I can't have on a digital screen.
If you see me, yeah, exactly.
And we're also working on a soundtrack.
So that's what I was going to ask.
We're going to look at the next tape.
So we want to have a DVD soundtrack together.
People can buy it.
So we'll have that on the website.
Exactly.
And then we're on Facebook.
So it's dare to be different, call in the movie.
Okay.
Since there's a lot of dare to be different.
And then we're on Twitter, DTBD, the movie, and same with Instagram, DTBD, the movie.
And you can, from the website, if anyone needs to contact us, there's an info at dare to be different.
The movie goes there and we'll have our people.
With the schedule of where you're going to be, we talked about it a little bit here.
The schedule for the film is going to be as well.
All the festival information will be up as soon as we're allowed to.
Put up ticket sales and whatnot.
We post everything on the website.
And I post like crazy on social media.
So yeah.
I would not know anything about posting like crazy on social media.
I just, I wouldn't.
If you believe that, welcome to listening to the first time you've ever heard this show.
I'm just saying.
What a great interview.
Had a great time talking to Ellen Goldfarb and Kelly Kitchens helping out there as well.
One of our favorite people in the world.
About the film dare to be different.
Keep your eye out for it when it comes to a city near you.
Go check out this film.
Had so much fun.
Thank you to Ellen for taking some time out and hanging out with us.
And giving us that great interview.
Had such a blast talking to her.
And we're looking forward to what you hear about it.
When you hear about it, tell us about it.
And how are we going to do that?
Well, we're going to give you our plugs.
Visit our website.
www.theclubhousepodcast.com.
Find out everything you need to know and some stuff you don't.
You can follow us on social media.
Twitter is at ClubhouseShow.
Everything else is the Clubhouse Podcast.
All three words in that order or you will wind up somewhere else.
You can follow me on social media if you'd like.
It makes me feel better about myself.
Pretty much everything is, yes, that Rob Urban.
That is about ERVIN.
My normal co-host for this show is Chad Womack.
You can follow him at ChadNPG69.
The official fact checker of this show is Don Ford.
You can follow him at FONDONGO.
Just keep typing A's and A's and O's.
You'll get there eventually.
Also, email Don for information on how we can come to a live show.
We love doing live remote shows just like we did for Dallas video fest.
Email him.
He's Don at theclubhousepodcast.com.
Email me.
Questions, comments, concerns.
You can even tell me the little pounds saying.
It's cool.
I'm Rob at theclubhousepodcast.com.
Chad is Chad at theclubhousepodcast.com.
Charlotte Parker is on Pinterest because we're morally obligated to say that.
Jules Womack's probably just hanging out with her husband because that's what happens.
Faith Ford.
She loves her husband Don.
Don's getting home the day from another bit of doing a Lord's work.
He's getting back today from that and I'm sure they're spending some time together.
Our normal show every Sunday night.
Seven Eastern.
Four Pacific is your one stop shop for all things pop culture.
Or just keep subscribing on your favorite podcast app and get all the cool stuff like this.
So until next time, I'm Rob.
Clubhouse is closed.
Brittany Palmer.
You can interview her for anything.
I'm just saying.