Stirring up childhood trauma. Memories. Yeah. Will you work with me on this maybe a little? Maybe not. Or group therapy. It's an honest answer. I like honesty. I'm very honest. About what time something broke down at a time. I didn't get the abandonment help early in my life. I think we got it a little later. Your life is grueling. They've got books. I don't have so much money. But not about money. How are you? Good to see you. Good to be here. Good to see you too. How have you been? I've been good. Sorry. You don't have to get up. I'll just. Nice. Hey, come on. Come on now. We're a collective. I like to like your pants. I am a swinger group, right? No. No. Thank you. I didn't realize this could be that exciting. I know. I'm here to make it exciting. He's talking about this on his podcast. I'm here to make it exciting. I'm here to make it exciting. I'm here to make it exciting. Yeah, I'm like, this is going to, I'm going to be covering this. All right, let's get started. Are you ready? Are you ready to talk about it? Yes. I have a whole set of books. Oh, thank you. Does everyone know each other? I think we all know who we are. Except Jill's new to the group. Yeah. Yeah. Welcome, Jill. And Jerry. And me. Jerry. And Jerry. You guys want to kind of give each other, give everyone a little background? Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. So, if you want me to start? Yeah, go ahead. Hi, I'm Jerry Fishkin. Often known as Dr. Gerald Lauren Fishkin. PhD. I'm a friend of Julianne's. We've done a podcast together on my new book, The Science of Shame. I'm in Long Beach but I'm all over the world actually. So my fourth book, my first three were on occupation repertory now and my second or my first one for the national book tour. So it's going to be fun. So, and we are going to be doing podcasts together and co-hosting some very interesting shows. There's no shame in that. There's no shame in that. So, I have a fair question. Is it the podcast, is it the Psych one-on-one? Yes. So it'll be part of that. Yeah, we had talked about co-hosting and then I was going off on that. She's got an established show with a great following. I think we're going to make it better. So we're going to both be on every episode? No, every few weeks. Yeah, I have a full-time clinical practice. I have a private practice in Naples Island, Long Beach. But I have two publicists, one on the East Coast and one on the West Coast, Beverly Hills, that will be working with us to bring this thing up to where I want it to be. That's awesome. And it's not just about selling books. That's not even what this is about. It's about bringing contemporaneous issues into the world. To the public, possibly having call-ins. I wrote the first book, Police Burnout. So that has a lot of cachet and has brought me into it. I've done hundreds and hundreds of shows nationally with that book. And then the firefighter and paramedic burnout. Nice. Do you have a cast-host burnout? No, we don't burn out. There's nothing to burn out. That's right. We love what we do. No issues here, right? No. Me? Hi, I'm Jill. I'm Jillian. Call me whatever, not Vicky. I'm Chewing Pizza. Sorry. And I'm a writer and I work with Rosemary and Nestor at their home slash production office, helping out with whatever. I'm good with social media, which is the millennial thing to say, but it's actually what I focused on in school. I focused on television screenwriting and I'm a big fan of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the of the and I am happy to help out with the podcast and I'd love to do whatever I can to help out. I'm just glad to be here. Do you identify as a millennial? Yeah, and I don't think that's a bad thing. No, no, no. I just want to examine you. Take that in. What a millennial. Official, month, year, claim. Millennial, love style. This is what that is. No, because I am too. 25 or 21, right? Millennial? You identify as a millennial? Emotionally. 12? I think Jill's role, that's pretty big because that's kind of what the focus of this meeting is all about is how do we utilize social media and do what we can to maximize the downloads of our shows and get people to know about what we're doing. That's what I do. That's one quick question. How are we defining social media? I know that maybe sounds really simple. For me, from my perspective, I say I'm more social and new media than just social media. New media is what you're doing. New media is the podcast. The social media is the interactions that occur because of it. Right. So for me, it would be the interaction between social and new media and its money-making components. Sounds good. Well said. Thanks. Thanks. I went to school. I only have three degrees. So with that, what I really want to take away from this meeting is for all of us is kind of a strategy moving forward when we promote shows and new episodes and do it in a way that is beneficial to everyone. And I've been looking at stats hardcore. That's all I've been doing. And using Google Analytics, I think one of the interesting points that I got from that is when you direct people to the We Play Radio site, it benefits everybody. And Josh has been doing an amazing job. He's a marketing promotion machine. And what I've seen from these statistics is that people that come in on your episode or your page or your show page at the We Play Radio site, those people go from there and they've gone to the director's chair. They've gone to Nestorius Public Radio. They've gone to Jimmy Cavs. That's cool. You know, site one-on-one. I mean, pretty much... So then they're checking other things out. Yeah. They're calling. Josh. And so, you know, that was my vision for it. The statistics back it up. And so I think it's important as we move forward that we have that our strategy is maximum exposure for everyone. And through, you know, very powerful shows like yours, everybody benefits. And so with that, you know... I'd love for you to talk a little bit about what you do and kind of... I'd love for everyone to almost have it down to a checklist, you know. You have a new show that comes out that's been posted. I do this, this, and this for this new show to make sure that, you know, it's at least getting out there. And another thing is like, you know, for example, your show, Jimmy. You have these bands in that they have their built-in fan base, you know. That's why they're here. That band should have no problem with, you know, once your show is posted, tweeting out that link or posting it on Facebook, whatever their social media outlet is. And I don't think it's wrong to ask those that are guests to follow through with, you know, posting it on Facebook. Yeah. Yeah. And they can put it on their outlets and doing that for you. Well, I can tell people up front. Yeah. And you tell them... Before they even step in here, I'm like, you're going to have to take pictures with me to promote, like a series of photos. Right. And you're going to have to leverage your own social media followings. Because otherwise, what do I need them here for? Yeah. You know, if I'm promoting whatever it is they're doing, we need the, you know, we need a return. So I tell them ahead of time. I mean, if it's somebody who's really well-known, it's hard to really push them. So I suggest. Mm-hmm. I've not ever had anyone not. Mm-hmm. Yeah. I mean, you've had huge people in here already. So they've all done it. But I always tell people up front, the expectation is if you're coming on and I'm promoting or I'm putting myself behind whatever it is you're doing, I expect you to do the same. Right. So I just put it out there. Which I haven't done that yet. So when you ask them to promote, to do the same, do you have a list? Do you... You know, like, Juliet, do you have a list or a... A list or a model for them to promote? Well, what I'll do is I will, as soon as I have the link to... Once Jeremy tells me it's up, I go and get the link. I either email or text them the link and I say, here it is. And then I send them a link to the tweet that I put out. And I say, you can either retweet this with your own message or here's the link. You can tweet it yourself. Okay. Usually they retweet because it's just easier. Mm-hmm. Um... And that's basically how I go about it. I send them whatever pictures we take. Like, I'll ask Jeremy to snap pictures of me and that person. We'll take the... I will send them those pictures naturally retouched first. But those are pretty static events, right? What? They're static. I don't know if they're calling up people to come and listen. What? What Jeremy was saying. To attract people to the website. Is what attracting? I don't understand. Pictures and all of that. No, I'm saying if a guest is... In order... Rather than just sending out a tweet without a photo... Oh, okay. It's adding an extra... Layer. Layer. Yeah. Because there's something for people to look at. So when I post it on Facebook, I'm like, here's me and Margaret Cho. She's on today. Right. You know, blah, blah, blah, blah. It's something for people to look at rather than just go to this link. Beautiful. Okay. The visuals tend to work. And then if I have four or five pictures with the person in different setups, I... Like, for example, I'm going to send a picture of me and my friend. I'm going to send a picture of me and my friend. And then I'm going to send a picture of me and my friend. So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... So if I have four or five pictures with me and my friend in different setups, I... and I took some pictures like when I was buying stuff because I'm going to do a giveaway so when I was buying stuff I had the sales guys like take my picture holding these underwear take my picture doing whatever and for the week that that's a new podcast I'll be posting all these pictures of me holding up underwear or me trying on underwear or whatever just to get in I mean it's stupid but it works so it's just like I look for things like that to just put out there Josh what would you say everyone should be doing in terms of like you need to be doing this if you have a podcast I asked you I mean I I mean I think the social media aspect is really important depending on does that mean Facebook Twitter Facebook Twitter Instagram I think all three are really important I think Instagram has become a better sales tool now for some reason has become the the best sales tool for media I would say Twitter is probably the least valuable in my opinion Instagram although Facebook tends to skew older so sometimes Twitter's good it like depends on who your audience is really shows up in snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snapchat snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap snap because Snapchat is 14-year-olds putting filters on pictures. But that would go back to what you just said. It depends on who your audience is. Yes. So if you have someone like Kristen Ritter whose audience is a wide demographic from 14 to 35, then that would be... I mean, it might be a layer, but do I think it's not make or break? No. It really does depend because Snapchat is the most personal medium, so it's about how much of the personal you're giving to your audience, which is why it depends on that. And your engagement level. You have to sit there and answer people more on Snapchat. You don't actually have to answer anybody on Snapchat, which is sort of the beauty. You just put stuff out there. You don't have to, but what I'm saying is if you don't, what happens is you have these people who then feel you're not engaging. I think that's more of a problem on Twitter because people feel like they have to respond, but if you're just putting something out on my story, it's like, well, you have like 10 seconds to look and 24 hours to ask your questions, and I may or may not see them, and you just got to deal with it. Like, I think a good example of a celebrity who uses Snapchat is Chris Hardwick. Does anyone know who that is? Nerdist. Nerdist. Yeah, he's a nerdist. He hosts at midnight. He literally like takes pictures of his cats and then outlines them and draws like superhero cakes on them on Snapchat. He doesn't like talk to anybody. He just is like, this is my cat. But... But that's Chris Hardwick, and he's like at the top, you know? But he wasn't always, and for a long time he like wasn't. It's, again, it's like your audience. Like, it wouldn't be necessary for you. I mean, for me, it doesn't, Snapchat doesn't mean it. Would it be safe to say that what you're trying to focus on with everyone that has a show here is that to mass market on social media and whatever benefits you, but at the very minimum, do it. Wait. Yeah. But mine... I mean, Facebook, with Instagram, with my Snapchat. I mean, whatever works for you. Whatever works for you. But the thing is, doing it and also... You know, experiment, see what works for you. Right. And people are not seeing every post you do. So being constant about it, like I don't mind, I will push it down people's throats. Yeah. You know, it's like the same thing with my book. It's like people would say, you're constantly posting about the book. I'm like, you know what? That's okay. When it's not on the bestseller list, I'll stop. Yeah. I mean, it's not a mystery. You know, as long as it's working, I'm going to keep posting it. It's not a mystery. I'm going to keep doing it. So if you don't like it, don't fucking follow it. No, no. That's how I look at it. So I just say keep going. It all comes down to the old school, I think, you know? Yeah. Fuck the world, you know? It's like you just have to keep... You just have to be really diligent and really... That's the issue here. That's the issue. That's really the issue. How can we, as individual podcasts, become more diligent and more... I don't want to say the word... Assaulting with our... Social media posts with what Jimmy just said. It doesn't matter. I mean, I don't fuck around with Twitter. I don't fuck around with Instagram. And I'm not fucking around with Snapchat. And that's fine. And I'm not going to. You know what I mean? And the thing is... So I'm negligent, me, of posting my shows on Facebook. I am. I even have a Facebook page for my podcast. If you look, the last post I put on there is probably... I'm going to say... Maybe not that long ago, but a year ago. Which is ridiculous. It's ridiculous. You know what I mean? That's not helpful. It's ridiculous. But I'm saying, for me, it's something that I have a problem with. Meaning, I have a... It's not that easy for me to do it. That's all. I'm going to verse Pesta one quick thing. At some point here, it would be really helpful for me. And if it's for the rest of us, then we could do it. I would like to know, Josh, your process. As far as from show posting. Because I think you have the highest... I'm one of the most downloads in the industry. So I would like to look at a successful model that perhaps I could follow. That's more simple and concrete than in theory. Well, okay. Well, first thing you have to remember... The one thing that I'll say that just like the obvious is that I have a platform from the start. So I have a sex... You know, I write for the sex columnist in London. So I have those people. Instance London? Sex columnist. Sex columnist. One of the... One of the big... Gay Times. Gay Times magazine, which is their biggest like blog. So you already have... So I already have that. Yeah, yeah, yeah. And then I do dating for Huffington Post. And I do sex for the advocate. So it's like there's enough things. There are some things already that I cross. But that's smart. I mean, that's something that we could be doing too. Yes. Like you can be writing... I know you write for DGA magazine, right? No. Oh, you do. Yeah. I don't write for DGA. Like if you ever wrote an article... But you could. You could. You could. You could. You could. You could. You could. You could. You could. You could. You could. You could. You could. You could. You could. You could. You could. That would boost our podcast. So if you're using your DGA content, you could... Yeah. To answer... No, I mean, your question about that, to answer to his first response to your point is last meeting we had, I gave out these pamphlets about the seven successful steps or whatever the hell to great podcasting, right? And so one of them was cross-promoting. So if I can get on Josh's show... I mean, right now, we can just focus on what we can... We have control over, right? I don't have control over getting my podcast reviewed on the Gate Times London. I don't have that control. But I do have control over maybe asking Josh, who's been on my podcast, to come back on my podcast, talk about his podcast or his book. Well, that's the thing that we can also do. Right. It's like, I do think there is a value. And if I have a show where there's somebody who... Maybe you come on and you... Or you come on and you have a... There's a dialogue where you can say, well, here's what's really happening. From a psychological perspective. Because a lot of times, I cover... A sex question. You know, I can't get to everything that gets sent in. Right. So I can only answer what's in two pages of my column. So I will take things that I get. And at the end of each episode, I usually answer one of them. Mm-hmm. You know, that's something that you and I could talk about together. That would be great. And then I say, you know what? If you want to hear more from Julianne, you should listen to whatever. I think that's a really good opportunity for everybody here. If you have something that you're like... I don't know. You have somebody... Maybe you have a gate. A sex-related thing. Or something that's sex-related. If anybody's doing anything sex-related, I can come on your thing. And then say, I'm going to be on Julianne's show at the what? Check it out. Does it have to be sex-related on a podcast? I'll do sex... You don't have to convince me on anything. I'm talking about sex. Just know that I'm probably going to write about it at some point. I'll change your name. I'll change your name. So... So... So... So... So... So... So... So... So... So... So... So... So... So... Yeah, because I want to say more. Because I want to actually, because Jill's going to take notes for us, and we can type this up. But to actually have the steps that you do so we all know exactly how you do it. So we have a template for what do we do. What do we do? And none of us can really, after this meeting, say we don't do Twitter and we don't do this. Or we don't know how to go about it. Right. We can't do that anymore. That's so important. To all of us. So to tell you where I start, I mean, some of this might be stupid. I'm just going to tell you the whole thing and take what you want from it. So when I start, I figure out who, I take a look at who might be interesting. I'm not looking necessarily for the most famous person, although I know that helps. But I look for people who are really interesting or that I can put a different spin on things that they said before. As a guest. As a guest. So, you know, people who I can get to talk about things in a different way than they have in other spaces. So I make sure that, so once I book the person, I then have a template that's an outline. And I go through and I do what the opening of the show is going to be. So that's one paragraph. Then I have my questions for that. Oh, then I have, I do things that are irritating me that week. So whoever I want to trash for five minutes, I, you know, if so and so is being annoying, you know, if Beyonce does something, I'm like, uh, you know, or Susan Sarandon needs to shut the fuck up. Then I talk about that. And I list, I go through and I take notes of what's going on with that person. And I have every point that I want to make. I do not tell the guests what the subjects will be. Unless I think they're so stupid that they don't read anything. But I usually don't tell them because then the reactions aren't organic. So I go through two or three things that I hate that week. And I, again, I list everything about them that I need to talk about or that I want to work in. And if I don't, I don't know. If I have a joke about it that I think is funny that I need to work in, I mark that down. Then I put a list of the 20 of the, I usually write about 30 questions. And I put them in, I mark a priority list. So I have a star next to questions that I have to get to. And then I have the questions that if somebody's not that talky, I will get to. But I know which questions I can, I can not cover. And still make it sound cohesive, coherent and cohesive and that it worked. And then I do the sex question at the end. So I write what that's going to be. And then I write what the closing is going to be. Thanks so much for being here. So I basically have a four page typed document by the time the pod, by the time it comes to a for the podcast. I bring that with me and that's how I go through the whole thing. Soon as that's done. Does everybody have that thing I gave last time? Yeah. Yeah. Okay. If you could resend it. No, what I'm going to do is, could I print something? Could you print something if I email it to you? Well, we, we covered that last time. Didn't we? Well, there, a lot of the stuff is the way he's saying that way. But we're taking notes. Okay. Okay. I'll check them out in the mail. So then I finish, when I finish the podcast, I do the pictures with the person here. I thought you had Jeremy taking the photos. You also do pictures? Well, he takes them. Oh, whatever. Like, like. It's not during the actual podcast. Either way. To get as much as you can. Because the more you have, the more material you have to promote with. So take pictures recording, take pictures post with them, take pictures giving them bunny ears. Whatever. Like, have as. As much material as you can. Because the worst case is you don't use it. Right. Right. You know, but have it. And then what I do is, like for example, the first episode I did was a straight female porn star. And I did that only because I knew people expected me to do something dirty. But they probably expected a man. And so I gave them a woman. And she. The sex toy company. That is the biggest sex toy company in the world basically. They manufacture her toys. So I spoke to them. I went to. I did a story on the factory actually for a magazine. I went to them and I said, I'm going to have her on. I'm going to talk about the toy. And they said, great. We'll give 20% off to all your listeners. If you. If they use code porn again 20. So then all of a sudden we had something to work with. Like I could say. I had. And they made it. They made the coupon good for a month. So basically for a month I was able to say, listen to the podcast. If we play radio, there's a code to get 20% off your entire purchase this month for any sex toys. And, you know, even people, if they say they're not buying them, they're buying them. So it did well for them. It was a little plus for me. Gave us something extra to promote. So, you know, that is just another example like this, like the guy, the underwear designer. I'm going to have him sign 10 pair of underwear and I'm going to tell people, listen to the podcast. And I'm going to ask them to tweet what his answers to certain questions were. And if they listen to the podcast and tweet that, I'll send them a pair of signed underwear. And they don't wash those underwear. I mean, they're they're new and I can't fucking wait for that. But there is there is somebody that I know just saying that Jack for a second. There is someone that we know that does a really successful podcast. He's like, we're on the top. Like 250. You know, iTunes. Like he's been on my show. He's been on my show as well. I'll make that in court is his name. And so what he does is he has like a shit ton of reviews. I don't know how much reviews are very important. Okay. Okay. So he he makes T-shirts and he reaches like he'll do different T-shirts and he'll invite. If you do a five star review, take a screen grab, send it to me and I'll send you a T-shirt. I think that's so unethical that. But I mean, that's like a. So it's not me saying to people, I'll pay for my book for you if you give me a review on Amazon. Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol Hol I'm emailing everybody this thing because one of the things is how do you engage the audience? How you engage the audience is by however you do it as I choose okay with that because like an Amazon It's a free thing Would be like I don't know because you're already a listener of the show Right, right, right. You know, if you're not a listener, you're not a fan. You're never gonna hear his Five stars just to get a t-shirt Because they're hardcore listeners Basically says if you if you give me a five-star review on iTunes take a screen grab Email it to me at blah blah blah. I will send you a t-shirt. Just tell me what size I'm getting people to get me a t-shirt I'll give you a review in exchange for check this out He made the last year. I think he was on my podcast when we finished our episode He made the top 250 podcast of iTunes. You don't know what that means That's how many fucking thousands of podcasts. You're on iTunes 250 if you look at his reviews He's got like a ridiculous amount of five-star but we charted in the UK and here without giving people anything But that's you Yeah, but anyway, but then I only brought it up because you have have guests that have things and stuff like that I don't necessarily have in that whole thing Because like you could have had Kristen Ritter give me three pictures or Jessica Jones had and you would have had something really like you I'm sure she would have had no problem doing that I know you can do that in the future. It's possible I don't know or when you're on the set next ask her to sign a few things and then promote that podcast again by saying We're giving away to Jessica Jones had signed by Kristen Ritter The problem yeah, yeah, there's bigger issues with stuff like that because I can't even get that stuff for myself But she was here. I can't get the merchandise Marvel won't give me anything. I mean, I'm just saying it's not so easy anyway The general idea of incentivizing isn't necessarily unethical depending on how you do it because the thing is people just because The way humans are people like shit. They Know they only write bad reviews They only take the time out of their day to do that if they're upset if they like something They'll keep doing it and keep listening to it because of you know, the laws of inertia, right? But Then they not write everything they may not write a review. So you the goal is to translate that Like into some sort of action, but the unethical part comes in is when you're not asking people You're asking people to give you a certain review for the t-shirt if they sent you something with a one-star review You're not gonna get a t-shirt. You're not asking people to you're not giving them something for a review Yeah, but if you don't know something I started to participate in that right? Yeah, right We're sure I think they all know that so this general idea of incentivizing a positive review is It doesn't matter I mean doesn't matter Let's go back whatever I need With you taking photos you take photos right? So we tell me I take the photos then he tells me the podcast is that right, right? So then I I sometimes we delay the podcast depending on What when I want to put it up or whatever Jesus or day? It's So can I say that that was one of the things that said that I mentioned and by the way I said everybody Be a collective that we play radio calm so if you did not get the document that I sent Please contact Jeremy or myself and that story is about whatever the fuck my email is But make sure you make sure you let me Jeremy know that you did not get the document I sent It's called seven reasons for whatever I just sent it one of the things just so just add and then Joe can can can it said be consistent on the days you released the podcast meaning train your audience Audience because then every Monday his audience is expecting to hear the new podcast. It's one of those things Well like for example this Monday we are doing it and then we'll put it up I assume that day Right. Well, we're that night that Josh does the makes things real easy for me as I get his Podcast summary before he even makes the podcast. So oh, yeah, I have it ready to go But I can't yeah Really? Me if he's lucky you'll get my like a week later I can't Listen to the narrative and I just start thinking but I know what I'm gonna cover like I'm in control of the podcast I know But the point is is that I have it Yeah So if you if you want to post on a regular schedule, I can't do it until I have your son, but I do it after and it makes it and it makes it Difficult this isn't everybody but some people it takes a while and it makes it difficult for Jeremy because if you remember the first If you if you were the first meeting that we had The idea was that he wanted all of the show summary submissions by Friday Because it makes it easier for him to have them Let's say by Friday and then he can just put them all at one shot while he's seeing you as opposed to what I 24 but also like my summary by Friday market I Do them Sunday night author of big Cohen's you've been trying to do not Sunday I don't get specific I don't get specific Like he talks about whatever it's very it's all market material Thank you Did you hear this? Everything all the so so initially was by Friday, but let's say that you want them by what set Sunday afternoon I tried to do them Sunday night when when I have a cube Build up of summaries I bang them out Sunday nights. Okay, so there it is But that means you should get them before Sunday night Well, what I'm saying is you did a show, you know Thursday Thursday and I don't get my next one your summary Until you know three weeks later. No What I'm saying is that consistency of releasing on every Monday is broken, correct So we get that? So back to you Can we just let you know say what she was gonna say sure you were saying I'm just saying that the consistency is the most important thing because people Won't look for something. They don't know to look for I mean they'll find you know Say they're searching for Kristen Ritter and then they stumble on your podcast and then you say at the beginning and end of every episode Hi, thanks for tuning in. I release new podcast every Sunday And then at the end of your podcast say hey Thanks for Tuning in don't forget every Sunday a little be a new episode like subscribe the comments below You're really boxing yourself down there if you do that and then if you don't deliver for whatever reason It's gonna be then your listeners Just be safe to say that consistency is the priority I'm glad you know developing the consistent You know so middle for your podcast Preferably, you know, you can batch it out before Sunday fantastic, but by all means trying to get it by Sunday Yeah, so then that way there's still a consistent. Yeah, exactly And that's sort of the thing is like it is putting more pressure on yourself But when you live up to that expectation Then you get you will get a greater audience You'll see the return and? If you don't like there are plenty of you know big like youtubers out there who are like yeah I do stuff every Thursday, and then you know when their next one comes out. They'll be like I have stuff going on next week It'll be Tuesday or Thursday, but keep an eye out for it because then they'll look for it, and then it'll be bookmarked But just having that expectation there will dare help you a lot and When you say like like or subscribe YouTube like here's the here's actually something? I wanted to say something because you were listing your social media YouTube is social media. It's not just a video viewing platform. It's a social experience and I Because all the podcasts are on the we play radio YouTube channel as The we play radio channel runners or whoever's in charge of that you should be a YouTube partner Are you a YouTube partner? No, you should be you basically Sign up with them. It's really easy like it's super easy and then for every like every comment every subscribe you get a return from the ad to get paid and Then we're nowhere close to being paid for YouTube But you you know it's small amounts, and it's but the thing is it gives your return because then YouTube is invested in promoting your material on the front of their page Not just one thing like YouTube is a whole nother discussion. It's good much. I think it's important Yeah Yeah, yeah just a ABCD so Not to diminish that I think it's important to support That's the thing it's like because you're a collective you're not just individual podcasts doing your own thing like there needs to be That probably from the top down. It's not something you individually need to do It's something that the podcast channel needs to tell me to get back to his show and how he does his show Yeah, let me ask you a question when when the podcast or when the show is You know out there. There's an option to listen to the podcast or watch it on YouTube Do you give the listener or viewer? Do you does when they watch it on YouTube? Do you still get one hit or download that that's something that I didn't want to mention while we're on this? But you know I think we should get back to what Josh was saying, but yes That's one of the issues is that statistics do not carry over from from YouTube into this business that we're looking at for the podcast? Okay, I don't know people I don't push people to you. I don't even mention I don't even like I don't think to me that's a discussion about when we want to be on YouTube But let's I pretend for the month for the purposes of the podcast download. I treat it like radio Yeah, okay, so for the purposes of podcast right? It's radio if I'm gonna do something on YouTube That's a different promotion channel for me Okay, so I pass to me is radio So I have your summary already inside myself I'm already in and then what happens is I retouched a photo and then I start with Well, what I do is I take the podcast and I go through and I pull quotes from them from my guests So I basically transcribe certain pieces of the podcast So that when I send it to press people That I did it they don't have to do work So in other words I don't send them the podcast so that they can listen to it because they're never gonna listen They have nine million things coming through so I pull quotes from them and I'm like you'll never believe what Madonna's dancers Just said they said that she I Give them my headlines and then all of a sudden you'll see on the advocate Madonna is an ice cold that whatever it is, you know, and then they'll run clips of my podcast because that's where it comes from. I become their source of information. So when you say you pull quotes, you're pulling audio? I go through and listen in a headset and I type it. And then you're not actually editing anything that you send them as well, audio-wise? No, I send them a link to the entire podcast and I let them embed the podcast in their posts about my podcast. With the transcribed quotes? But they don't use it as transcribed quotes. They write an article and include quotes as though they listened or interviewed. You know what I mean? So when they go through, I'm basically spoon-feeding them information so that they don't have to do any work. It's plug and play for them. They get an article and it took them two seconds. And where are your lists of where you're sending these quotes? I go to people I know will be interested in me. So for you, maybe you want to pitch psychology today. I know that's a long-league magazine, but maybe you get a guest that has a really good quote that you want to send them. And you pitch them and you're like, visit Julianne at We Play Radio. Whatever. I go to places I know will be into me. The Advocate, The New York Post, Gay Times, World of Wonder, Queerty, any of those online outlets that has traffic that would be interested in the people I have on. Yeah, so Julianne, for example, just did a show with Officer Dion Joseph, who's the Skid Row cop. He's gotten... Tons of exposure. He's had viral videos and all that kind of stuff. But the subject of Skid Row and psychology on Skid Row is huge right now here in Los Angeles and throughout the United States. So any place that has something to do with the homeless to Skid Row, to many of the organizations that are... the missions that are down in that area should all be interested in that episode. L.A.ist is an online magazine. L.A. Weekly. You just gotta submit to these people. And sometimes you bombard them. Like what Josh was saying, when you talk about L.A. Weekly, L.A.ist, those are Los Angeles... L.A. I-S-T. Okay. Are you talking about sending a tweet or Instagram with these people's names? No, no, no. I actually send them an email, and I say, hey, my new podcast is up. Today I had Margaret Cho. Right. And here are headlines. Here are the headlines from the thing. And I put Margaret Cho on being bisexual. And I put a quote. Margaret Cho on hating Muslims. I'm making this up. And I write her quote. Margaret Cho on Donald Trump. And I try to pick the most salacious, the most headline-grabbing quotes that they give during the hour. And I send it to the editor of a magazine. And I say, here's a picture of me and Margaret. Here's... So I send them... I send them one of the pieces of artwork that we took. So there's a... So, like, you'll look at the advocate, and it's a picture of me and Madonna's dancers. You're basically creating a press kit. Yeah, I'm sending a... Are you sending it as yourself or someone else? I mean, are you... As myself. I send it as myself because I... I mean, marketing is my background, so I... Here's a public... I know... What I'm saying is that I get all these things that come from some PR organization. Well, that doesn't look like you. Is that you or is that not you? Like... I see we play radio... I think he's talking about Breaking News. Yeah, I see the same... No, that's my PR company. But that's... But that's really you, right? I mean, there's no... Yeah, I mean, or somebody who helps me out. Yeah, but that's my company. That's different than what you're talking about here? Yes, because... Is PR Breaking News sending those emails, or are you? I send them because I have relationships with the press. Here, you can send an email to info at LAS and go, hi, I'm Vic Carlin. I was a writer for Howard Mandel. I have a great podcast this week. I have... I mean, the good thing to do is to pitch yourselves to different outlets. So, for example, Julianne, like, you have, obviously... You know, you could go to Psychology Daily, have a website, and you could say, I'd like to contribute. Here's my credentials. Here's what I'm doing. Here are the kind of guests I have. I think I could really provide you with da-da-da-da-da. Are you going to get a ton of money for that? No, but for two hours that it would take you every two weeks to write something, the exposure for the podcast, you know, if it... It says at the bottom... Yeah, and you know what? That's funny, Josh, that you mentioned that because that was who was going to hit up. So that was funny. Yeah, and what's funny is people will say to me, well, what's exposure worth? They're like, I can't go to Gelson's and buy lettuce with exposure. I'm like, no, that's true, but you're not seeing the forest for the trees, which is what we're trying to do is build something so that eventually people come with ad money. Exactly. And so that's our whole... This is exactly what she and I have been working on, getting sponsorship and... But in order to do that, you've got to have numbers and you have to be able to have... Show people that they're going to get something in return for doing that. That's a very good point and I think it's something... Right. Because we've had this in the past. We've had so many shows in the past and hey, I got this sponsored. They'll pay for a show and then they're gone because there was absolutely no return from that. And if you're an investor or a company, why are you going to keep giving someone money that you don't have? Well, and I can see it's kind of working because I've all of a sudden started to get pitches. Like I got two people... I got emails last week from two people about... From PR firms about people that they wanted to put on my podcast. Oh, really? That's good. First time. First time. Would you be willing to have... I got that email from Gravitas. You got that one. I got one that I'm actually doing on the 26th of people that... They were like, these two guys... I'm like, oh, that's... That's interesting. Sure, I'd be happy to have them on. But I was encouraged to see that people looked at it as a place to go. Oh, yeah, that's beautiful. Do you know what I mean? So I'm happy. Like I was thrilled to see that. Yeah. But I think the exposure of doing something like right where at the bottom it says, you know, if you want to know... If you want to find Julianne or Jerry, you know, you go to weplayradio.com and you make sure they put that at the bottom. You know, that's just the way it grows. How do you... Josh, how do you monetize your... Do you monetize your show or do you... Are you getting... No, I just started it. Oh, this is brand new? I'm only on the 10th episode. I've only been doing it a month. Well, you're a genius because just listening to you, it sounds like you wrote the book on it. I just been doing it a month, but the thing is I'm a marketing person. You are. Obviously, you're a marketing man. A marketing publicist. Yeah, I hear that. I have two publicists and a virtual assistant someplace in the world. I don't even know where the hell they are. And so what I'm going to do is I'm having my publicists, both of them, feed our stuff to where we have to go. That's what you... But it has to be very specifically designed. Like the way your emails are designed, you know, you really have to grab people and pull the quotes from the episodes that are really going to get people's attention. Like I'll put in the subject line... What sound bites? Madonna is a fucking bitch. Quote. You can't put that on. You can't type. You can't type that, though. Yes, I can. Because I know these people. Asterisk, blah, blah, blah, K-A-N-G. So just a technical note on that. Make sure that the information you're sending these people is going to translate to something that's going to count toward our statistics. That's exactly right. You send them the wrong thing, we're never going to see the stats, and we need those notes. Say that again. I'm sorry. Say that again. You need to send them the links that are going to lead to our website. Got it. Got it. So... When people come in, it counts toward the stats. I never say iTunes. To the website. Or iTunes. Does it matter? I never say iTunes. I never give people links to iTunes. I send them to WePlayRadio. WePlayRadio. Right. WePlayRadio. WePlayRadio. Because if they come to WePlayRadio, they're going to find you guys, not just me. I have two websites, one for my book and one for me, and WePlayRadio is right there under the videos section. And so we're going to promote WePlayRadio, but I'm also thinking... How many hits do you get on your website? That I get... We've just started. It's only been up for a month, and we have almost 1,000 right now. Right. So I... So I think... Zero. I think that's another thing to keep in mind is everybody, like these outer websites or anything... Right. You need to know what your stats are for those. We have Google Analytics on both websites, and I have... Two of my publicists are both watching. So every time we do a show, we watch and see. Every time the show goes up, we watch and see. Josh, your show... Is it always already up when you send out the letters, or you wait until before it's... Well, for example, when we first did it, we waited... Because remember, we sent to the press first. There's a whole thing about we took it off YouTube because I promised a few people exclusives. So we gave it to a few outlets first and then put them up so that in exchange for putting it up, they had something new and fresh and that nobody else had seen before. Also, sometimes it wears out after a while. It's like I don't know that they'll be covering it as much now because they've done four in a row for us. So I don't know how many times I can go back to the same well. They're kind of like, okay. But like your typical letters that you're sending, are they after the thing has gone up? I really do it basically concurrently. We get them up. The minute they go up, the minute Jeremy tells me they're up... I post it Sunday night and he promotes Monday morning. I promote Monday morning. Right. And then I have already... Sometimes Jeremy will send me a link so I can hear it and pull the quotes before it's up. Like you sent me files so I can go through, listen, pull the quotes and basically have the quotes out Monday morning. In most cases, because the YouTube upload is an automatic process, that happens that night. But nobody really knows that. So I don't know. No, it's not for listeners. Right. I'm saying you can use that to go... Oh, I forget about that. Yeah, and you can go there as the host to watch your show before it gets posted on the website. That's what I always do. Oh, I don't even... Yeah, I think Julianne does that, so... So, I mean, I don't know if I've answered enough about how I do those emails. I think if I have more questions, I can contact you. Okay, you can call me. And then after that is when I start the social media storm. What's the storm? Which is Facebook on my author page, Facebook on my personal page, Twitter from my personal account, Twitter from my book account, Twitter from my PR account, and then Instagram. And I do all of those. Twitter I do maybe three times that day because you can't count on the fact that people have seen it after you posted it once. Maybe a fraction of your followers have seen it. So you do three times a day on each of your Twitter? Yeah. Do you do it yourself or do you use, like, tweet deck? No, I do it myself because I like to change them up. And that's on Monday? On Monday. And I do it all week. So every tweet... Three times a day, all week. If you do it three times a day... I mean, there's no real formula. But I'm saying if you do it three times a day, every tweet is slightly different. Yes, and I do it different ways. Like, sometimes my tweet will be from me. Like, sometimes it's from me directly. And I say, go to WePlayRadio. You won't believe what so-and-so said, blah, blah, blah, blah, blah. And then sometimes I share it from the WePlayRadio website. So once a day, I might do that. So I share it different ways through different channels. Is it bad, do you think, if we did use a tweet deck or something to, like, just bring it out three times a day? No, I'm just anal. Because I can't do three times. No, you know what I'm like. You know what I'm like. So there's another... That's me. There's another... You can schedule a tweet. You can do that. You can schedule a tweet. You can schedule a tweet. You can schedule a tweet. You can schedule a tweet. You can schedule it. So you can just do one tweet and then it'll blast it out without you having to do it. That's a tweet deck? Yeah. And there's another one, too. Isn't there another one? There's times. There's times. There's, like, HootSuite and Tweet... I mean, there's, like, nine different platforms. So I can follow you and that's going to be a real fun experience because then I can see exactly what you're doing. Well, I already followed you, so if you don't follow me, you're going to get unfollowed anyway. Okay. Because I have a strict rule. Okay, well, that's cool. What I mean is, I don't know if I have all three of your Twitter accounts. You don't have to follow all of them, but I can follow anyone who doesn't follow me. Okay, that's cool. So Cher can go fuck herself. You don't follow anyone that really doesn't follow you? For the most part, no. On any of your accounts? Mm-hmm. Awesome. Why? Because. Reciprocal promotion. And I have a verified blue checkmark, so, like, I'm better than they are. So what is your Twitter account? I'm kidding. I'm totally kidding. I sound awful, but I joke. What? Is this tattooing you don't follow people who don't follow you? No, I don't, for the most part. And what people do now is to get follows. They'll follow you, get you to follow them, and then they will unfollow you. Have you noticed that? Yeah, it's awful. And the minute I check every two weeks, I go through my newest followers and I will unfollow every bitch. Do you send them a message? No, I just unfollow them. Oh, bitch, don't try that shit. And they want to be followed by people with blue checkmarks. Mm-hmm. And so I'm like, bitch, please, unfollow, unfollow. How many followers do you have? Like 130,000. 130,000 or something. Why do you keep track of 130,000? I don't. I only look at the newest. Okay, so your PR, what's that Twitter account? PR is Breaking News PR. That has only, that has like 11,000. And the book account has like 5,000 of my first What's that one? Porn Again book. Porn Again? And then the other one's just your name and your first name? That's the one where if you're going to follow, I'd say to follow that. The rest of it's just a rehash of what you're getting. You don't, you won't want to see all of it. Okay. But the hundreds, some thousand, you still stick to that about you only follow them if they follow you? I follow to that, like to 2,500 people. That actually looks really good when you have way more followers than everyone. Yes, and that's, and I won't follow people back if they have the same number of followers that they follow because basically all they're doing is trying to get followers. Yeah, you don't have to follow everyone No. that, that follows you but you won't follow anyone that doesn't. Correct. And that's the best. That's how you're smart. Right. So you have to, I'm very deliberate about how I do it. Is that okay? Is what you did. You're great. You're great. You're doing great. And by the way, from where we started, from where we started, and you're like, maybe you should have a Twitter that links to weekly radio and you're like, so what is it? Yeah. I've got to set my Twitter account in properly though. Because I would, you know, yeah. So anyway, so we got, so I go from that and I just keep promoting it and then I ask the people to retweet. You say in your tweet, please retweet. No. I call or text my guests and I say, I just tweeted about it. Can you retweet? Or, and sometimes I'll go to Gay Times Night, like if it's somebody I write for, I'm like, can you please tweet this? Can you please retweet? So do you, do you, do you, when you tweet your initial tweet, you have their name in the tweet, right? Yes, but just remember that you have to put, if you're starting with their name, you have to put a period and add, where all of your, where everybody doesn't see it, only they see it. Or like, hey, Christian Ritter, sort of thing. If it's the first, I didn't know about that. Oh, come on. Oh, okay. So if it's the first, like if I'm replying somewhere or tweeting an ad, if I'm going to do Josh, I do point, like period, and then add Josh Zabara. Never start a tweet with an ad. Never start a tweet with an ad. It has to be period because then it goes to all of his followers. Right. I never knew that. Yeah, that's a thing. Say that again? If you're starting a tweet with a person's address, so if I was going to say, hey, if I was going to say, Nestor, check this out, I'd have to put period at Nestorius because the period before fools it basically into thinking that it's, there's text before the address. Otherwise, you're just addressing it to that one person and the rest of your followers don't see it. But what if you, what if you're like, hey, check this out, at Nestorius? Then you're fine. You can only use a period Just never start with it. It's just if you're starting with it. Yeah. Because it looks more like the body of the message than a... Yeah, it doesn't work in there. Yeah, it only works the first one. So in the middle you can put at and everyone else... And you're fine. It's only if you start with it. If you were going to send something to me and say, at Josh Zabara, check this out, you have to put a period before that. What if you're going to tweet your, if you're going to tweet your podcast out, I always start with period at Kristen Ritter or period at Jessica Jones, at Kristen Ritter. But also, also remember that putting an at and an address does not necessarily show up for people who are searching for that person or that subject. That's the hashtag. The hashtag is what makes them find it. So you're sometimes better off saying Kristen Ritter fans, hashtag Kristen Ritter than at Kristen Ritter. Right. And get her to read it. If you tweet it, that's fine. Say that one more time. Instead of at Kristen Ritter, you put hashtag Kristen Ritter. So like, hey, hashtag Kristen Ritter fans. Right. Because people who are searching Kristen Ritter are using a hashtag not her address. But then you do another thing after that or just that. At Kristen Ritter will just go to her. She'll see it. Do you do a whole screen of things? If you're searching Kristen Ritter, the hashtag will show up too. Like if you're just searching the name Kristen Ritter, like the hashtag will show up. The at symbol won't always show up. It won't. It won't always show up. But you're saying you do a mix, you do a link, like you'll do a little list. I'll do hashtags and things sometimes. So like when I see the kind of dancers I'll do. What is that? Like plus like Kristen Ritter, what does that look like? Hashtag? I'd be, well, if I wanted her to see it, I'd be like, period, at Kristen Ritter was amazing on my at WePlayRadio podcast. Check it out. And then I'd put hashtag Kristen Ritter, hashtag Jessica Jones, hashtag whatever I could put on. So people who are searching those subjects, it comes up. Do you do like hashtag WePlayRadio? No, because WePlayRadio is not a hashtag people look for. I do at WePlayRadio. I do at WePlayRadio, but I hashtag LGBT, and I put sex, hashtag, sex gets searched all the time, porn gets searched, hashtag sex, hashtag porn, hashtag. But also, do you tell people to subscribe? I try to tell people to subscribe at WePlayRadio. Maybe I should do separate tweets saying that, please subscribe at WePlayRadio. I just go. I just can't get everything out of it for the character. I just go, subscribe, We don't have to do every single thing every single time. There's a reason there's 140 characters on it. It's the thing that you have to be consistent and varied in the content that you put out. Right. Because otherwise, if you put out like nothing, then people will forget they follow you, and by the time you do tweet something, they'll be like, who is this person? Why do you follow them? Or if you just tweet the same thing all the time, they'll unfollow you because they're like, we get it, we know, we've seen this. That's why I do like a mix of like the things I post, like I'll post a picture of, like let's say I do an article for Gay Times, and usually they're pretty racy, so like this week it was about, or this month there was one about golden showers, right? Well that's a hot, that's like a weird topic for people, but it gets attention. So, right? But people want to know, like whether they'll admit it or not, they're curious. So I put that out, and they have like sexy pictures of me with another guy, you know, like not dirty, but like, you know, like, so that gets attention. Then I won't do that for a couple of days, and I'll do something about me signing books at Barnes & Noble, and then I'll wait a day, and then it'll be a link to a We Play radio, and then I'll wait, the next day will be, so I vary it, and then I'll post a picture, or then I'll take a picture, I go out in public, I see people wearing something they shouldn't be wearing, I take a picture, cut their head off, and I'm like, who the fuck wears this in public? Yeah, in Walmart. Right, so I, so I, I, I vary what I give people, so I try to sell them and entertain. And like, you have a question. I have a question, and I have a question. Yeah. Because, something that I don't like to do, that I was doing before, but I'm not now, is linking them. So, I don't really find, like, I feel like, and I don't like the Facebook, Twitter, and Instagram. I don't like that people link them, and they're all the same. Right. I'm like, why am I going to follow you on all three? That's why I don't do it. I don't like doing it. Okay, so it's okay that I don't. Yes. Okay, I actually craft my messages specifically for the platform. So, the way it reads on Facebook is entirely different than the way it reads on Twitter. And it should be, because they're different groups of people. Right. That's what I feel like. The thing I always tell people that I think is, like, really useful for people, especially who are learning social media, is think of each platform as, like, an extended family member who you kind of like, or, like, an acquaintance who you want to get to know better. Like, you'll say, oh, hey, do you remember, like, we talked about this thing. If, if you said that to a person, that's the way that you should say it on Twitter. Like, oh, hey, you might be interested in this, like, because you, the you is everybody. So, try to engage with them. And it's very smart to, That's what I was going to say. Engagement is the key. It's so important. If people answer you, or like it, if you don't answer back, or you don't ever talk to them, they'll be gone. And if you answer them once, they'll be friends for life. For real. For super real. Like, I have people who will, like, literally, if I sold them my used chapstick, they buy it. Just because I answer them, and they're like losers. I mean, I'm so mean. They're like losers in wherever, right? But, they love it. But they're into it, and I answer them, and they're like, wow, somebody's paying attention to me, and it's somebody who's, you know, they think is cool, or whatever. Right. Forever, they'll buy whatever and try to sell them. I don't know how many of you, like, grew up in L.A., or like, well, then, you know, those of you who do grow up, you know, you always have that one aunt, or that one grandparent, that's like, one time, I saw Barbra Streisand in a diner, and they will tell you that story for the rest of their life, because it's so exciting that someone that they watched engaged back with them. So, when you're, you know, tweeting back at someone, or Facebooking, responding to someone's Facebook comment, you're giving someone that story, like, oh my God, like, me and my group of friends listened to this podcast, and the person who I listened to and enjoy, and gives me entertainment, knows I exist now, and that's a part of a powerful feeling for a lot of people. And I get people who are like, and by the way, just a little aside, when I first came out, my first date, my first date ever, Barbra Streisand was sitting at the next table. Oh! How gay is that? That's fantastic! It doesn't get, it doesn't get, it doesn't get, I was like, I meant to be, I'm like, I meant to be gay. This is totally right. No more questions. Yeah, no, Cher would have been gayer. Or Liza, either way there. So, I have Ada Chipotle. I, I have a question for both of you. So, I talked to my publicist in Virginia this morning, and she said, we were talking about Twitter, because somehow I have a Twitter confirmation code number, and I don't know how I got it, and so she, I said, what about Twitter? She said, I can't do it. A publicist can't do it? Well, because she's also running two Facebook pages. They're not on the social media. No, she's doing, but not a lot of, we have, yeah, I mean, you have two publicists. I do, I have one in Beverly Hills, but, she doesn't do something. Why do you have two? Because, the first, the one in Beverly Hills was my first, was my first book 30 years ago. Okay, can I make a suggestion? Sure. That's going to be totally objective and mean. sure. Get somebody who does what you, what you need them to do, not somebody who tells you what they can't. Yep. No, no, no, I have, she, Mari in Virginia does it. She does it. But she's not doing Twitter. We're not doing Twitter yet. Well, you have to, and if she can't, you need somebody who can. Who does? Well, I mean, to me, why do you need two publishers? Why can't you get eight publishers? Because we're, she's working with my publisher, and she's doing a lot of major work. Press kits, I mean, getting me out, I'm getting a lot of shows, I'm doing book signings, I'm, she's getting me out. But you need two? Well, the other one, the Beverly Hills guy, just, he just came on board. He's doing a lot of work for me. All right, well, I'm sorry. The only addition you need, the only addition you need to that, is someone that does social media. Yeah, I mean, to work with, but you're, you're, so I need your card. Yeah. Because I need to do some Twitter, and this is really important. I'll send out my email address to everybody, and you can all But it's also really important that you do, that some of it is authentic with you. that's what I said. Because the minute people find out that you're not, and by the way, I have tons of friends who pay people to do it, and they will do things like, I'm in public right now, don't tweet, like they call the person, they're like, make sure you don't tweet, make sure you don't tweet now, because I'm in the, people can see me, people can see me, and it becomes this game, and the minute people know it's not you, you're over. Okay, so, tweets are really a tight out time. I have had, I have had help, at different times. And that's fine. That's fine. And what she did, just so you know, what she did, is she studied all the stuff that I did, tweet, she looked at, read all my stuff, she tried to like, and we spent time talking, so she would then, sometimes run stuff by me, by me, first, but she kind of like, picked up a little language, of how I would use it. if you get somebody's voice. And it was a temporary thing, but I needed help at that time, because I knew shit was going to blow up a little bit, and I needed help. I couldn't stay on it. If somebody can capture your voice. And she actually did a great job, and nobody would know it wasn't me. Yeah, as long as they're not tweeting this. And Mari has my voice. No, that was like, The thing that you need to be doing yourself, is your day to day life. Like, if you follow, okay, I don't know how many of you are TV buffs, but I'm going to go with this example, because it's one that works for me. There's, I'm sure everyone will find someone like this in their niche. But for me, That seems a good wife. I love that, but no, for me, Well, the last show sucked, canal water. For me, sorry, I had to scoot this way. But for me, the person with the greatest Twitter who I follow, is Jane Espenson, who's a television writer, and she's great. She has a very specific way of engaging with people, and it's not for self promotion, it's just because she uses Twitter, but that's why people follow her. She'll tell you, complete random things from like the writer's room. She'll be like, we got a shipment of giant five pound gummy bears today, so now everyone has like ten five pound gummy bears, and she'll show that. But then she'll go home later with like a writing assignment, and be like, I have an outline view for writing once upon a time later. Who wants to write for an hour? And then in like an hour, we'll all check in. She'll call them writing sprints, and so when you're done, like you're like, oh yeah, I just finished writing my essay, I just finished writing my first pilot. She'll be like, great, good for you. The thing that no publicist can substitute is that. And I mean, you don't have to do that, but that's something that makes her specifically her. And that's why people will follow you, because you're not everybody else. If you're just tweeting what you're promoting, nobody cares, because they won't want to watch it. They'll want to watch it because they care about you. And that's why you're promoting because they care about you. That's the whole thing, right? I started doing tweets, and I started doing from like a philosophical, psychological thing. I don't know, what's going on today is something really kind of, because my whole motto is making psychology understandable. Yeah, right. Right. Thank you so much. Yeah, I definitely want to know. It's crazy. Because you know what? For me, Jill, the whole thing is, I just need to know the mechanics of it, because I need to know how to like, throw it out. Yeah, exactly. Because once I learn that, that I can go in there and I can start doing the tweets, no problem, because I started getting into that. What I did also, just so you know, Jill is available and stuff, is that I also hired somebody just to give me lessons, like a few hours, a couple days. Oh, just literally to get lessons, and I just paid her for those lessons. Yeah. That's how I learned about the period app. You know, like there's all these tricks, and so I'm sure she can also. I'm happy to help. I'll send out like my email to everybody. I had to do that. Because the thing is, Jill, what's your Twitter? Dude, I was in New York. My Twitter is at Jill Hill. I don't have the kind of Twitter because I don't, I mean, I hate it all, but I'm trying to be a Twitter. But I don't, I don't manage my Twitter for followers in that way, because I, it's not something I use focus or for promotion in any way, but I've managed other people's Twitters and gotten them lots of followers. Because I was like in charge of the transmedia league for my school, for example, and that was like a new media, social media association, so I ran that Twitter and that had a million followers. But for me personally, like my Twitter is just like a really good place. Well, I can say, I just want to add one thing, which is two, well, two things, which is what I've learned about Twitter is it really is like having a fan club. Yep. And so it is that level of like engaging and like engaging and ask questions, they can comment, you can answer them. The second thing is that I have personally, like I reached out to somebody who made a, there was a documentary I made about this guy. I reached out to him through Twitter, I found him on Twitter, and he ended up on my podcast. Did you direct message him? Yeah. I did. I can't tell you how many times I've got. I'm not going to. So many. When you're done, I want to add, I want to add. When you're done, I want to add something. Like that I'd never have met otherwise. And I want to just say, because another thing, that happened this past week, I've also gotten, I've gotten so much press and interviews, people getting in touch with me from Twitter, because there's a lot of journalists. So a lot of the people that I follow are actually journalists. And that was by Kathleen. That was from the one I told you. So anyway, so following a lot of them, and then they eventually get in touch, and then they interview me. That's another thing. And then the third thing is getting in touch with some people directly. I just met yesterday, the second person that I met on Twitter is like Nia Vardalos. So I'm kind of resharing names. Yeah, yeah. Vardalos. But it doesn't matter. She's perfect for my podcast. And she's also was really nice. Does everybody know who she is? My big fat group. Yeah, yeah, yeah. She's grown. I was going to say, potentially, there's other psychologists. There are other people. Hold on, hold on, hold on. The reason, hold on a second. She liked, or she liked one of Rosemary's interviews, and I was, and she was like so excited. So I'm like, instant messenger. Maybe she'll meet with you because we have a film that is always, that is always being compared to that film. And that film, when it's been opened, and in two weeks, in seven theaters, grossed how many million dollars? Like 300. Three, no, no, no, no, no, no. In two weeks, in seven theaters, small theaters, how much money did? It was two months. She started with 20 million, but it went up to 300. Okay, all right. So we wanted to find out how she did it and how she did it in the grassroots. I'm like, call her. Maybe she'll meet with you. My point is, it's a fan club, but it also can be a networking platform. You should have a hard work call. Musicians do, for other, for whatever, maybe reporters that are music. We can use that to like increase who our guests are and also to get find people because part of this whole deal with Josh, and what I'm trying to do is actually have guests that have following, that are on Twitter, that have a presence already because that's what's going to help me because most of them have a bigger presence than I do. But also the thing is, everybody is cool to somebody else. Like, we are all a group of people in the room who are cool to someone. If I didn't know Rosemary, I'd be like, oh my gosh, this is a director from The Good Wife and she's done so many cool things and like, she wants to talk to me about something. That's honestly how I felt when like, Rosemary first called me to like, go to lunch. I was like, she was like, hey, your aunt told me about you at the film festival. I was like, but you directed a film at the film festival. Like, you're cool. Why are you talking to me? Everyone, everyone is cool to somebody else and so, you have to remember that when you're interacting on social media. Am I cool to you? Yeah, because whenever you, listen, listen, this is actually important. Yeah, that's awesome. He is cool though. Yeah. This guy rocks out with some of the most underground punk on the internet. But what I'm saying is, when you're interacting, when you're reaching out to somebody on social media like Twitter, it's not just a random person in the back being like, hey, I'm the mouth breather of the party. How are you? Like, no one's going to think of you that way. They're going to be like, oh, cool. I wonder who you are. Oh, that's cool. Like, in the age of where I grew up in and when internet was like, becoming a thing, the age where when you met someone new online, it was scary, that's over. That doesn't happen anymore. People have to prove to you that they're scary. Can I, can I throw something in here? Everyone's an asshole but not everyone's scary. One of my episodes, episode 99, social media 101, a good friend of ours, Kathleen Sheehan, kind of broke it down a little bit, kind of like what these guys are talking about, but just broke down the effectiveness of Twitter, Instagram, and Facebook. She breaks it down a little bit and makes it more user friendly. Who's this? Her name is Kathleen Sheehan. But if you go to episode 99, social media 101, which is the episode, it's the whole interview. Sheehan, like Sheehan? Social media 101, your episode. It's called episode 99, social media 101. It's called it's on the WePlay Radio. It's not that far down. And it's, if you want to follow her on Twitter, it's Kathleen Sheehan. Sheehan. It's at Kat Sheehan. S-H-E-E-H-E-N. I'm following her. Oh yeah. No, but I'm saying she's always posting stuff. K-A-T? K-A-T. K-A-T-S-H-E-E-H-A-N. But more importantly, listen to the episode because it's pretty interesting. Are you reading your hand? I'm trying to get some downloads. Are you reading your hand? Yeah, it's four downloads. Yeah. What's up? I'm trying to get some downloads. Please, four more downloads. I'm trying to get some more downloads. Question to you that just jumps down, right? Please, Josh. Josh. Question to you to especially be, Josh, our shows are similar where we have guests and they have a following and in my case, the whole transition from live to podcast is affecting me because the guests like to promote their live appearance. Right. So how do you go about directing, not with your guests? Do you tell them not to that it's not a live thing? And my question to you is, has the live broadcast been eliminated? Um, yeah, that's what we were talking about. So, here's the thing. There's actually multiple things regarding live. One, the most live listeners I've ever seen at any one time is on your show. And outside of that, nothing. Live is not working. I don't even tell people that I'm doing this. I try to keep them not knowing what I'm doing. We don't live in a culture now where people are going to say, oh, I'm going to do this thing at exactly this time. People listen on their own time. And the other thing about that is that anybody that you tell to go watch your show live is not going to download the show and they're not going to subscribe to your show. That goes out the window as soon as they sit there and they watch it live. So it doesn't contribute to our stats. So as far as I'm concerned, I've contemplated the idea of removing live because I don't think it helps our cause. That would be my favorite. Yeah. Are you okay with you? That would help me. Live should be all good. Because basically, I would have to retrain my audience. I'm an old school guy. Me and my friends, me and I, I've never been a podcast guy. I've always been a live guy. My audience enjoys my show because it's a live spontaneous. So whatever, if I want to be a mature, if I want to be Peter Pan, if I want to be mature, talk about whatever, it's a live thing. Since we are transitioning into podcasts, then it has a... Well, there's no transition. I mean, the podcast... The point is that you want to focus my live audience to be retrained to download. Because as you mentioned, once they hear it, they've heard the show. Why are they going to read down on this? They want to recap or crack up again or hear a certain segment of the interview or information. But the question that I ask is, is the majority of the artists that I'm dealing with or their PR firms, they want to know so they can get mass density and mass promotion, mass exposure with their artists. So the only way to do that is through sending them a link to the episode. Right. Because those downloads... I understand that. I do that already. What my question is, is they like the live aspect. Who does? All the PR people I know. Well, here's what you can do. Here's what I do about it. Transform it into a tape session and then just do what you said, which is don't announce it. The live segment, just... I never announce the live thing. Number one, I don't like people to know where I am because I'm crazy people. So I never... Usually when I'm somewhere, I say... If there are pictures of me signing books somewhere, you better bet it happened two hours before. So I don't say, oh, I'm at the Grove right now. Right, right. So I don't tell people that. And then what I do is if there's somebody promoting something like a live show, I'll say to them, when is it that you need this to air by? I try to give them a week of it airing before whatever it is they're promoting happens. And on the podcast, you'll know, I'll say, RuPaul's Drag Con is... You know, the weekend of May 7th and May 8th. But nothing else is time-pegged because I don't want people to listen and be like, this is old. Yeah. And even when I talk about current events, like if I talk about Beyonce or I talk about Rita Wilson having a new album, I... Oh, it's terrible. Why is she singing? But anyway, when I talk about that, I talk about it in a way that's like just bitchy and mean and funny no matter when it comes out. Do you know what I mean? Like no matter when you hear me ragging on her, it's still topical because it's fun to listen. I try to make it that way. It's worse to look at if you saw her on TV. Oh, I've seen it. 25. She's what, 60-something trying to look 25? I cover... You need to listen to the first few. I've covered it ad nauseum. I will. I promise you. Okay. Cindy Lauper doing a country album. Oh! That will be covered. Believe me, it's on the list. Good. I'll listen to that. Yeah. So I have a question. Since I'm new on the block here, Jeremy, do you... Is there a cachet or an ethos for We Talk Radio? In other words, we're all talking individually about our shows and networking, but what about We Talk Radio, the umbrella? There should be. It doesn't sound like there is. Well, that's the best thing. Well, I know another is. So what do you mean? Well, I don't know what I mean. Like, so you are the umbrella for a lot of us wild and crazy folks. But is there a... idea about what We Talk Radio as a station or a network looks like? Well, there should be. With logos and, you know, We Talk Radio. So when somebody hears We Talk Radio, wow, you know, he's there, you're there, we're there. Have you visited the website? Pardon? Have you visited the website? I have. Okay. So the first thing you see when you go to the website is all of our hosts. Yeah, I know that. But We Play Radio should have, like, a Twitter that is... I think it's, like, sort of like a network. Like, I'm just pulling this from my brain because this was yesterday. There's a show called The People's Couch on Bravo. Yes. I like it. Whatever. How to treat us that little blank. I'm so glad that you are ragging on me for it. Okay. So yesterday they had, like, a whole... I'll rag on you for other things. Good. That's fine. But not this. But they had a marathon yesterday of The People's Couch, like, that was just all day until 8 p.m. Right. And they were sharing gifs and saying, hey, don't forget to tune on this. And by the way, afterwards, we're showing School of Rock. Like, they're behind all of their content and promoting it. And when a new episode of something comes out, like, the network says, hey, we're doing this, and then shares all the retweets from the people who create the show. Right. And when you have that sort of fostered sense of community, people are then going to want to explore more within that community. If they're like, oh, this person is supported by the same people who support, like, Rosemary. So let's go check this out because they must have something in common. And we like all of these things. So it's sort of like you're, like, the father of the podcast. That's right. And that's what I'm getting at. That's what I'm getting at. So I have something I'd like to bring up then because I think the website is great. And I know it's like you'll retweet stuff as we play radio. Like, you'll retweet our stuff, right? Which is great. Which is great, and I appreciate that. But the other, the Instagram aspect of it, and I know you have your own, like, Chester Farnsworth of it on Facebook. Yeah, I'm, no, I, I, my Instagram is, yeah. The Instagram is not good. No, I don't know. So I just, because I know the other day, because I, because I follow. There's more cigar shit on there than there is. And that's not like you were at the bar the other day with a drink, and I was just like, this doesn't represent me playing radio. No, you're right about that. I fully admit that. So I'd like to be able to not have that stuff. Like, that should be your own either Chester Farnsworth. Sure. It's on there, or whatever. You know, I, I started that, um, with the intention of it being studio related. Right. And then it just kind of transformed into my own person. You can always bring it back. You can always bring it back. So we just use it, so you should do a Chester, whatever name you want. So we, you can still do that, and then just use replay radio to promote. Yeah. We play, I mean, that's easy to do. Like, stills from whenever they're filming here, take a look. Okay. Okay. And then just take a picture and be like, look what we've got going on in the studio today. Yeah, he's got all the material. He's got all the pictures. He's got it. Yeah. Is that too, do you? I need, I need a copy of those pictures most of the time. Okay. Because as they're being taken, they're usually on other people's phones. Right. Got it. And as long as I have the photo, I'd rather have a steady stream of those photos. And download Repost App, because, I mean, annoyingly, Instagram doesn't just naturally let you repost. I know. But, like, if he, he manages social media great, which is, awesome, because if he posts something that's excellent for WePlay Radio, if you can repost it, You can just repost it without having to actually do the work. I mean, because sometimes you can't do the work. And, like, the thing is, if you are, You can even give me the login, and I can repost my own for you. If you don't want to. So we should repost each other. Yeah. And, like, always have your phone out. I'm fully ready and willing to hand over any WePlay Radio accounts to people who, I can help with anything. But, like, people should always have their phones out when they're watching TV, or when they're listening to something. Like, if you're reading, if you're, like, watching, I don't know, a Shonda Rhimes show that's dealing with psychology. I feel like I'm learning. Oh, no. I feel like I'm learning. Oh, Shonda Rhimes. I'm learning so much about you today. I hope that's good. I like Shonda. But if it's not, oh, well, because this is who I am. No more. But, um, but if, like, let's just say you're watching a Shonda Rhimes show that deals with psychology, and, like, you have a feeling about it, like, have your phone with you. Tweet about it. Because it's, Twitter shouldn't be work. Social media shouldn't be work. Like, a solid, 90% of the time. 10% of the time, be working hard. But otherwise, just be. Just put yourself out there. You know, once I get the, once I get the technicalities of it taken care of, I'm good to go. Yeah. We can make it back. That's why we're paying Jillian. I don't, yeah, exactly. I don't exactly want to ask my son, who's 24, that he's kind of a smart-ass. Well, I just want to go back to the We Play Radio, because I just feel like we have our own individual things, sort of, working on our own. Who's, who's our brand? Yeah. But, like, is the We Play Radio of it all? When this was first starting, that, this was an issue that, not a problem, but something that I thought wasn't being addressed, which is, what makes us We Play Radio? Besides, we all come here, and it's called We Play Radio, and we're on the same website. Right, we need, like, a mix of the same. Yeah. It's like, yeah. Back to the stuff we definitely need. Well, let me just finish the second part. So, so, like, to me, the one thing, we, we're very eclectic, which is fun, but it also makes it very hard, because we're not all psychology, we're not all sex, we're not all, you know, direct talking, show business. So, to me, what we have in common is a playfulness. And that's a, it's a very wide umbrella. But, I think, and we're, and we, our original is in our own way. So, one title, like, like a log line, like, come play with us. When we play radio, that's really good. We play radio. Come play with us. I came up with that name. That's a, well, I love the name, but thinking of it being playful, So, if we play off, we play radio, and maybe there's a log line, come play with us. So, it makes me feel like, I'm going to be engaged in a playful, fun experience, which I feel like this is. Yeah. So, it's a brand. So, what you're saying is, we play radio. And the come part works for him. Huh? We can say, see you and play radio. Well, for you. And for me, that works. You could, you could actually, if that's the tagline, though, you could put that on your show. Like, that's hilarious. But, but the point being that, to me, I like that, come play with us, because it's calling people to action. It's saying, who doesn't want to play and have fun? And it says a childish fun to it. Which I think we have. I think we have to stick around different variations of that. We can play with that. Because, come play with us, play with us, could be, I mean. Well, you're very sexual on your show, so it might sound like, but as a broad. Right, but I'm saying we should come up with variations on that same theme, and see what we like. Come play with us. Yeah. Come play with us. Let's play. Let's play. We play nice, but we don't like. Play nice. Like, we should come up with like, if we should do it. Just buzz words and play. And then see what. But I think we should. But I think it's a great concept. Yeah. Okay, I agree, and like, maybe perhaps, when we, we're probably getting towards the tail end of this meeting, but maybe have us set another date, and we can, between now and then, come up with our ideas, either share them. Or I can, you know, we can submit ideas over email. We can talk over email too. And then just, and then come up with it, so that we can just get past this, but I think, in the maturation of what's going on here, it kind of needs to happen now. But there should also be check-in meetings along the way, like every few months, like, just like a 30 minute meeting, if you, even all are on Skype or something. I'm trying to do that. So it's like, here's what our new business is. Here's what we are all doing this month. That's cool. I'll promote that. I think we need like a promise report, but I think we need a mission statement. A mission? What you do is, you do need success leadership. You need a mission statement. Yeah. If you're building a brand, this would be a brand. And I think part of what I've heard, as a new guy here, or a new person, is there's a spontaneity in this room that's unbelievable. And everybody's bringing their own thing, the music, the sex, the celebrities, the theater, the entertainment. Everybody here is bringing something major. We're like the breakfast club, but old. Me for yourself. Yeah, like we're the cocoon version of the breakfast club. That's it. Which character are you going to be? But I think that's what identifies the network as something unique. Yeah. So I think it's that uniqueness that will attract people. Exactly. So I think this is, that's really good and absolutely necessary. What I'd like to do now, just because, you know, we've been here an hour and a half, I want to spend just a little bit talking about action items to come out of this meeting. So. But can we bring up a couple things before we get to that? Sure. Action items. Yeah. I have a couple things that I'm hoping we can fix a little bit. One is I don't, I feel like the booking every hour on the hour doesn't work. It's not enough time. I feel stressed to get in and out. And I have a guess that our people who are used to being not in a lobby and not rushed, like these are people who go to Good Morning America green rooms. And I know that's not what we are. But I can't have somebody waiting in the lobby with me. And then come up here and then have to race out. Like I need 10 minutes on each end. So is there any way we can do like. Yeah. That's really difficult. And it's only difficult from a technical aspect because the scheduling system just doesn't work that way. Can we eliminate one, like the 11 o'clock and build an extra 10 minutes into each block? Are people really using the 11 o'clock? I think it's not. The issue is about being on the hour, isn't it? It's not about the 11 o'clock. Yeah. But Jeremy's issue is this. That the way he set up the template for the schedule, it's one hour, one hour, one hour. In order to go one hour and 15, it's more complicated. It's not a whole. It's not about the 11 o'clock. It doesn't have that function. It just doesn't. So. But is there a way that. The only way I could do it is if we had hours in between. I can't do 10 minutes or 15 minutes. 15 minutes, 20 minutes. Unless, unless we're all okay with the understanding that when you're doing the show, your show may not start on the hour, which used to be the initial philosophy, right? It's a little loose. And if we're not doing live anymore, then. It doesn't matter. It doesn't even matter. Right. Because the whole point of that historically was, is that when we were at the old studio, we were running it exactly like a radio station. Right. This show starts at 7 p.m. Yeah. And the next show starts. It was live. So it was live. Right. So. And it was five minutes in between. So the show is 55 minutes. You have five minutes. We had a green room there and it was a little more. I mean, for the most part, I can swing it. But then there are some people like, you know, this Andrew Christian guy. It's like he's used to like, you know, so I don't. I feel funny like that. When is your show? When is your show? When is the show that you're talking about? Monday. That's the end of it. But we're fine because we're doing that as a separate thing. Monday and Monday. No one else is doing it. I'm just I'm just saying. That was the other. No, but it's a it's a valid thing that I just want to know if it's a possibility from Jeremy. Like what? The so. So I think what I'll do is I'll experiment with the scheduling system to see if we can provide more flexibility in between shows. But if we're not doing live, I also think that we should be okay. If you know, so it's like, yeah, or is everybody cool with that? Well, my I'm not trying to be difficult, but, you know, sometimes my shows are late. If I'm doing a nine or ten o'clock and we even pushing each show 15 minutes, eventually the people, whether it's me or anyone else doing a later show that adds up to great much later. And it's just not really. Well, got your shit together, man. And do your show like. Well, I don't want to I don't want to have a guess that now I have to keep them somewhere for ten to 15 minutes. Well, no, that's true. There is both issues. That's not. And also, to be honest, like, you know, I don't want to be, you know, doing things two hours later either. Right. Right. But this is what we're talking about here. First of all, his show is a two hour block. Your show is Tuesdays, right? And your show is Tuesdays. No, it's Monday. Monday. Who's before you on Tuesday? I have no idea. Nobody. Nobody. Flexible. So, you know, I'm sorry. You should be Janet. Right. Right, right, right. So your show starts eight to ten. So he's got the opening from six to seven, seven to eight. That's on Tuesdays. OK, that's open. So if you run in, if you let's say you do a show from seven to eight and you happen to run ten minutes later, he's not going to get a shit. He's not going to go into a shit fit. His show is always on Tuesdays. Johnny Show, the L.A. Taco Radio is every Thursday from seven to eight. My show used to be from nine to ten, but there's no point in having him waiting an hour when there's no show. So I've moved my show from eight to nine. And so I'm Johnny's done. I'm not talking about like a major thing. I'm not. I need a little bit of, you know, like five. And it's before. No, no, no. Listen to me. I'm saying this. I'm saying this because yeah, I'm saying this because there's only a couple of days where you would be affected by this. I think that in general, like the issue really is not really an issue. You got to use that word, but it's tight for anyone. If I had someone who's a no name who's off the street, it's like you still don't want it's like to rush someone in and rush someone out. There's no you know, there's a natural pace to doing this. People talk into a new environment. They need to feel comfortable in the city. Say that's fine. But. I'm saying that but it's not just one did the only thing that I can get over So far in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in my time in not the only issue. It's pretty quick. What I'm saying is I can only speak from my perspective. If I set up the scheduler, because we're only I think seven full-time shows right now, I can set up the scheduler. We have time slots from Monday through Thursday that there's an hour opening after each hour. So you start at seven, eight to nine is open, nine to ten is the next. When you say eight to nine is open, it's blocked, you mean? Meaning you can't book for that time. Yeah, but that makes it that's going to make it more complicated. This is what I'm suggesting. This is what I'm suggesting. I'm suggesting since most of us, most of the time, this is not an issue, that we all are okay with the show if it has to be started 15 minutes late. You have to be flexible. End of story. That's just the way it is. I actually don't. I'm not okay with that. What are you okay with? I'm not okay with Kristen Reddard coming and having to wait 15 minutes extra. I'm just not. I suggest that if you have someone of any kind of, you know, whoever, you want to book your show as early as possible. Here's the other thing. You really don't want to have people like that downtown here after nine o'clock. That's what I'm saying. It's a little grisly here. You're missing the point. I think we're missing the point. Everybody. We should be that way. Everyone's important. I still don't understand how we're just having an animal report. Because if you block out, because this is my problem. This is my problem. This is my problem. So Johnny has a show from 7 to 8. I want to do my show from 8 to 9. You blocked out 8 to 9. Now I can't do it. Now I've got to book 9 to 10. Or do it on another day. Or do it on another day. When the time slot you want is open. Because live doesn't count anymore. So it doesn't really matter. I think we should just read it the way it is and just be okay. This is an issue. This doesn't happen. Do you have to start your show late ever? Even when Janet was here? Because you came in late, if anything. Not because Janet ran over. I can't recall if that's ever happened. That's never happened to me. Has that ever happened to you? There have been a few times where I say to Jeremy, is there anybody? And he's like, yeah, there's somebody coming in right after. And I'm like, uh... Who's coming in right after usually? I don't know who it's been. Is it you? I don't know. Probably Wednesday? Let me ask a question. I do Wednesdays, Thursdays. Right. Let me ask you a question. I have no schedule. I do it whenever I get to the point. When you're coming in after me, my show wraps usually on the hour. It just wraps. That's the way it is. Most of us are like that. Right. I wrap. It's not the show that's the problem. I can end on time. I know what you're saying. You're saying you want to have a cushion. It's the then the guest is done. And I'm like, okay, grab your stuff. We've got to get out. Yeah. I'm saying, I'm saying, you're an anomaly. And so are you with this. All right. Can we just chill for a second? If we are also... No. I don't want to block a whole fucking hour in between shows. Hold on. I'm not finished. I'm not finished. The other issue is trying to get pictures and do the stuff that we need to do within that window of time. That's the other problem with having back to back. It's like, when do these photos happen? When do they... Yeah, because if you don't have promotion material... I'm just saying that. I just think what you're saying, I try to be respectful. And if there's a special guest or something, then I try to let you know ahead of time. Anyone who's watching, I try to let you know in a way. Like, you know, when you book it, I try... Do you read those notes? Yeah. So I try to let you know. So, so, yeah. Maybe that would be helpful. I hear what everyone's saying. I... From my... My needs are from a technical perspective. And the reason for that, why that's important, is because if it becomes a free for all without any structure behind it, then I can't manage it by myself. I just simply can't. So, so it needs to fit into some kind of, you know, in this case, I'm using this scheduling system because when I wake up in the morning, I see what... I don't know who's going to book when. I look at the schedule in the morning. It says I got these shows to do today. Most people book at least two or three weeks in advance. Sure. But I'm saying... I look at it on a daily basis. Right. So, so all I'm saying is, I need it to fit into some kind of structure in order for me to be able to manage it by myself. Mm-hmm. And, and whether that means finding another scheduling system that allows you to do 15-minute increments... Right. ...that, that give you a 15-minute window... Awesome. ...between, you know, and then people can schedule at 8.15. Right, right. And then, you know, if you schedule at 8.15, then it knows to not allow the next person to not allow the next schedule to happen till 9.30... Right. ...for example. Right, right. You see what I'm saying? Yeah, that'd be great. So I, I need a system like that in order for it to be manageable. Yeah, I, I... The current system doesn't do that. It doesn't. So the only thing I can do is I can, I, I can do it by the hour. Right. I, I, I, I'm completely against that. I just think that the, the people who are getting affected by 15 minutes here and there and the amount of shows that are going to be affected within those people does not warrant blocking out a whole aisle. Right. Well, then my argument to that would be that I won't get the level of guests that are going to help this network. You, you, you're, you're... Because I won't bring them here. Your, your, your, your shows, Josh, are not going to be impeded by a preceding show. I've looked at the shows that you've booked. 95% of the times there's no show after yours. But I don't know... Or there's no show behind yours. All I can tell you is I've been here at times where I have to rush out and I will not ask people of a certain level to come and invite me. Who, who, who has followed you that you'd have to rush out? I don't know. You don't have to look at the schedule and who's been here before. No, I... But you know there are times where I'm running out. I, I, I, I, I respect what Josh is saying because, you know, you want to treat people Absolutely. with the level of, of respect that they're used to. Absolutely. Because you, you want them to be able to... They're not going to come here otherwise. to, to retweet and do all the things that, that are really necessary. Right. And also, yeah. What I'm saying to this problem is give me an opportunity to look into... Okay. ...a different schedule and a different billing system. Okay. A different piece of software... Yeah. ...that is going to accommodate everybody. Yeah. That's all it comes down to. And in the meantime, I'm fine with if I have to, if I... You don't have to rush. That's all I'm asking is that... You don't have to rush. ...somebody can come in and I have five minutes when it's done. You don't have to rush. Right. So I say to... At least. Can I... To the shows that, that need... Hold on one second. Yeah. To the shows that need this kind of accommodation right now, your, your show, maybe your show, Vic, your show, Rosemary, just block off two hours for your show at the moment until I find something that allows us to, to be more finite in our schedules. Well, and also then, as a concession for that, if I book that and somebody needs the time, if Vic is like, the only time I can get whatever, then, then I'm also sometimes willing, if the guests, if I can move somebody, I don't have to, I'm not on a schedule with like that. So I don't have to stick with the time that I book. Sometimes. So if somebody needs something and they see that it's me, I'd rather somebody say, the only time I can get my guests is that hour you have, because I might be able to move... That's just complicated, man. It's not complicated. It's actually built into the system. Yeah, but, but then, but then again, you're blocking an hour. Listen, you do what you want. It's only going to be in certain circumstances where we know we have to do it. It's not going to be across the board. Okay. It's going to be... Just don't fuck on my Thursday night. Do whatever the fuck you want to do. Then that's the issue. Then what you're saying is, if somebody needs something, then I'm going to do it. It's not going to be across the board. Okay. It's going to be... Just don't fuck on my Thursday night. Do whatever the fuck you want to do. Then that's the issue. Then why don't you just say that? So then it's about you. No, I'm just saying. I'm just saying. I don't think it's necessary for everybody to be impeded by an hour. Hold on a second. Hold on. Hold on. Look, this is until I can find software that does it better. Right. Which could be in an hour. Can I make another suggestion? But if that's your need, if you're too... Don't worry about my need. Don't worry about my need. Hey, Jimmy wants to talk. Come on. Go, Jimmy. Let me just add this real quick from my own experience. Okay, so what I'm saying is that... Wait a minute. Coming from my experience with a so-called web radio station where there was an hour per DJ or show, I understand his dilemma or the situation he was going for, especially if you have a guest, because it's like, okay, you got to get the fuck out now. Thanks for being here. Right. Right. And when you're dealing with certain DJs, they tend to be long-winded. So, or egotistical. So, they go into your tent and that becomes a violation, a disrespect or whatever. I don't think that's the case here. Let's just say, for instance, I'm following you, Josh, right? I actually had this experience on tonight where I'm used to coming up here and there was an hour window and one day I knocked on the door and you're broadcasting. To me, that was like a big... It was an appearance on my show. You can see that. Right. That was a big disrespect that I felt like it, but I didn't know. The point is, it's like, number one, you're a DJ. You're a DJ. You're a DJ. You're a DJ. You're a DJ. You're a DJ. You're a DJ. You're a DJ. So, if you're in here in the hall or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall room or in the hall Even though it's a great interview or whatever, you don't wanna rush your guest out. Especially if you're gonna add the PR aspect to it. The PR aspect to it, with the pictures, you know, you wanna thank them for their time. You know, I'm okay with the human element. If I could be here and you're right in the way, all right, it's cool. I mean, I think we try, we effort to not do that. I mean, we're all adults. I think we do not have to do that for the most part. You're not gonna get into your fucking ass while you're here, and we are, we're keeping it at home. I think like, my suggestion would be, I think that, I agree, it's not really been a major issue where we have to do this double hour block. Right. I think that's a little bit of an overreach. What I do think is, if you guys know you're gonna need extra time, it might be helpful to try and book the first hour of any night, because you can get here as early as you want early to set up. It's not up to us. But it's sometimes the best. It's also the guest. Yeah, I know, I'm just saying, it's possible. I'm not saying that, or, or, use a suggestion. Let me just finish, let me just finish this. So, that's one option. And then I would say, in those cases, where you do need some extra time, so you take 10 minutes. It's not a big deal, right? 10 minutes, everything's fine. But I do think it would make sense. I like living in a real world where schedules actually mean something. And that's why I think we really do need an actual schedule that actually reflects real time. Where we give each other 15 minutes before and 15 minutes after. Because people need to acclimate, people, guests need to acclimate. You never see a TV show. Almost more before than after. I mean, I know we need the pictures and whatever. But I do agree that people need to, like, use the bathroom for last. And sometimes people run late. They come in and your fucking guest is in here until like one minute before the show. You have to set up. But if you can schedule that reflects that time In a perfect world. Before and after would be great. If we find that, yeah. Right, 15 minutes before, 15 minutes after. So it would be actually hour and a half blocks. He's working on that. That's the other thing. But for now, I don't think we need to do this double hour block. Yeah. Do you want me to help you look up scheduling systems? Say that again? Do you want me to help you look up scheduling systems? That's sort of what my roommate does for her workplace. So she's worked with like a million of them. I can send you leads. Well, I need one that works in a WordPress framework. WordPress? Yeah. Got it. I think we should all come to the agreement while Jeremy's going to work on the technical aspect of it is that we're all adults. Some of us. None of us take time out. None of us are fucking making a livelihood out of this. Let's all be professional and also just courteous. Because at the end of the day, hey, if your show's running a little late, if my guest is here with me, I tell them we're running late. Right. How does everyone feel about? I'm just kind of. Like, you know, this is the way it's going to be. If a broadcast is going on and somebody's recording and somebody walks through the door, to me that's very disruptive. Yes. You want them at late? Yes. No, no, no, no, no. That's not good. No, no. So we still need to wait in the lobby. We still need to check in. The rule is. The rule is supposed to be have been texting you in the lobby. The rule is you don't come up to the studio unless Jeremy gives you the OK. In other words, just don't come up and knock on the door or open the door. Right. That's been the rule. I sent those out, the administrative rules, to everybody. That's the best we can do. It's worked. I don't have a schedule. If I know Josh is doing a show, I know who's doing a show before me. Johnny, always. Johnny's always done at 5. I don't know. I don't remember. I don't know. I don't know. I don't know. I just read them all the same. I know because I look at the schedule. Yeah, but I don't remember. So I know what show is going on. This is just the way it should be. You should know what show or if there's a show before you. Just go on. You should have the. All right, I know. Yeah, I get it. Hold on. You should have the show. Schedule. Bookmark. Sorry. So you can go. So wait, what? What? So you should have the show. Schedule. Bookmark. So feel great. You just go, boom. Let me see what shows are there. I look at it before. And then basically, you know. I think whether you know it or not, it's still text time. Yes, agree. Agree. It doesn't matter. Yeah, I think the simplified thing would be text. Because I'm guilty of that. Yeah, yeah, yeah. It's text. Hey, is it cool to come up? No. Sit tight. Right. If your guest comes in, hey, they're still in. I mean, I'll eat for my press coffee. Hey, do you want to go? Regardless of that, you know. Even when I know, even when I hang them out. Don't I text you? I'm like, can I come up? It's just courtesy. All right, so action items out of this. I'm going to look for a scheduling system that will allow us to do 15 minute blocks that, so basically, you book at 8.15. Scheduling system would know to not make the next available stop till 9.30. So if I can find a system like that, that would be awesome. We'll do that. And if not, we'll do it. And if you guys don't bring high profile, and if you guys start this shit and don't bring high profile fucking guests onto our network, you're both going to get fucking kicked out. I don't even think it's about that, though. I think it's about just, you need time to settle in. I know. It does. It does. We got it. We got it. We're just going to leave it. What are your other action items? Yeah, let's move on. Josh, you had something else you said? You got two more things? Yeah, I was just going to ask you, like, in this new scheduling. This new scheduling system that we may or may not have, is there a way that you can hold a time for, like, a short period? Because I had one time where the person said to me, what are my options? And I sent it. And then I went back, and those options weren't there. You book. So can I book it? Sure. And then can we get it to you in the meantime? And you don't mind if it happens a couple times? No, it's not a few. This is fine. If we all do that, there'll be no time. Just don't fuck with the thing. I'm going to take everything. Just let me take it. That's not right. Everything. Let me know as soon as possible if it's not going to happen. Well, it would just be within a day. But sometimes, like, I went back to somebody, and then I went back, and the time was gone. There's no ability for you to delete a schedule from the system. But you can just tell me, and then I can remove it. OK, cool. Because I keep track. I keep up with cancellations just on my own. He sometimes sends emails, then he's got to go out of town. Like, I'm booked on the 26th. You're leaving on the 26th. Ironically enough, my guests that are on Monday. So I booked on Monday. Yeah. Yeah, I did one like that. OK. Can we just take a little? I mean, I know this is petty, but I just want to be able to have water here. Can we just throw money in? Yeah, I'll get water to buy bottled water. I just want that bottled water here. There's been bottled water sitting in my refrigerator. But I don't want you to buy it. No, I don't care. Yeah, I think we should just contribute money to. I think we should just give a couple of bucks and have a case of water here. Well, I take it out of the collective. He's putting it into it. We're paying for that part of it. He's putting it into it. So the water is there. Is that really not money? Is that really not money? I really feel like, OK, I'm just going to put this out there to everybody because it's something. And I know Jeremy doesn't care. I just want to say this out loud. I just feel like he does a lot, a lot, a lot for us. And for $50 a month, I think just adding water. I just feel like I just want it to be on the radar that if we eventually. That's all. If we eventually, if we at some point want to have somebody try to do publicity for us to help us as we play radio, maybe it's still, maybe it's not. Or something that we might in the future think about putting in a little, even if it was $10 more a month or $20 more. If we had to, I'm just throwing it out there as an option. I go to Louie's Bakery and bring some space. What I do with my show is I deal with musicians. I've been listening to the benefit. Professional or non-professional. The point is they all have a self-sufficient. Right. I always bring a bar. Me and my lady, we bring liquor in, we bring water, you know. Right. Just so I can accommodate my guests. I know, I know. I try, I always try to remember to grab water. Jeremy always has water in the refrigerator. All right. Now I know. Okay. You're free to take it. That's why. So I also. Can I take it off? Before you. Do you want to call it? I know. I know. He always has water in the refrigerator. Ricky never wants to take it out of the refrigerator. I always bring water for my guests. I have to get that. You do? I bring water too because I didn't have it. I like how you said nothing. It was like a threat. But just in case. By being friendly. Do you have a contact list? Because I don't have anyone's information. Yeah, the mailing list is the contact list. What's the email? The mailing list is collective at We Play Radio. So nice to meet you. Nice to meet you. It would be nice to have individuals. So nice to meet you. Nice to see you. I feel good seeing you. Share? We have some. I've got to go. Nice to meet you. I have your email. I'll send you a email. Okay. See you soon. See you soon. Bye. What we should do is we should try this. Yeah, I'll send you my email and phone number. Yeah, and then you can call me whenever. That's what I do. On Twitter? Yeah. Hold on. Hold on. Did you finish your action list? Yeah, absolutely. I'm happy for having help. Well, I want to know what it is. Okay. Guys, guys, guys, guys. Jeremy did not finish his action list. He just has a couple of points. There's a couple of small points I want to get through. Okay. Yeah, he's going to get his email before. But action items right now I have mission statement. Yes. Slash tagline. Yeah. Scheduling system and contact list. What else are we going to do? Your Instagram. We play radio feed. Fix my shit here. Also the instant. The couple of points would be great if we had everyone's phone number. That's their email. Twitter and exactly. You'll have it by the second. I mean all of it. Please, if you did not get my email. Three months ago. Was there some mail? If you did not get my email. 384-4578. Make sure you let Jeremy know. You should have it right now. It should be in your email. You text me or call me and I'll send it. I sent it about an hour ago. Thank you. I appreciate it. What other action items? Thanks for all your help. What are we doing about social media for the group? We decided we're not doing social media. Then contact me if they have trouble. Okay. I thought we're not doing social media. Did I miss something? Stupid. What? Jill is going to type on the notes. Yeah. I was going to get them out to everybody. Yeah. I was going to get your email and send them to you with just like a few questions and follow ups of stuff. Just info on weplayradio.com. Info at weplayradio.com. Right. Okay. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Okay. And I think that we'll discuss… And moving forward… We'll discuss… This is hard. How much help Jill is going to provide for WEPLAYRADIO… She's going to send me… And… How we compensate her for that… Yeah. Yeah. That's another thing… Whether you do it individually… And I know… Or… Well, that's different. If people want their individual lessons… Right. That's separate from whatever is done… For the collective… Yeah. Okay. And… And… And… And… And… And… And… individual lessons. They're helpful. I found them helpful. People can find them to be helpful and it's way better than booking an appointment at the Apple store for that shit. Who wanted to meet them? She and I. Yes. And you're together. Yeah, we're, yes. I can't get somebody to just fucking do my Facebook shit. I'm not serious. I can't fuck with you. It's, what is his name? So one other thing I wanted to point out. Jill Nussbaum. Oh, Jill Nussbaum at gmail.com. You need to change the way that we title our shows because of the way it shows up on iTunes. Okay, one more point here. This is important. So if anyone, if everyone can look at this, this is an example of what Vic's show looks like when you look at it on iTunes. Can you tell what any of his guests are? No. You have no idea. Yeah, it's a fair question. Wait, let me see. Let me see. So what we need to do is the title of the show needs to be the important part. The first thing. Because the title of the episode. Yeah, that's true. That's very true. I think mine's coming through. Now, finally, they'll write. Look up. What's that? The titles for my show are finally coming through. Yeah, no, but I'm talking about how they're posted. Right. That needs to change. Right. Is that internally or what we write? Internally. He's talking about this. Look up the way successful podcasts do it. Look up Welcome to Night Vale, A Fairly Good Adventure. A lot of the titles and a lot of the descriptions start with a lot of things. Yeah, absolutely. Bye, everybody. Take care. Is that the problem? Bye, guys. Bye, guys. It's both. It's this. No, it's both. It's this and this. So you can do something internally. I get that. I see that. Look here at the description. No, I'm not. Meet professor something. Oh, I know. It's not. So the first word really needs to be your guest, the important piece of your show. The guest is here. Isn't the first. It should be in the description, too. I think the problem is that this says episode number and it says your guest. Safari. So it's going on here. Because it's. Normally. Yeah, you're right. Just don't use it. Yeah. So far, it hasn't worked. Hold on. The point is, when somebody comes and looks at this, they're not seeing any of the guests. Here, come over here. They don't know what the show has anything to do with. Isn't some. And then they're never going to come back to it. But isn't part of the problem all that space that says VidCon's it's a fair question? Yeah. So how do I fix that? Well, hang on. Let me show you. Look. I'm telling you, when you submit your titles, first thing should be your guest. Name, name. It's the first thing. I wrote it. I wrote it. I write episode 30. Okay, this isn't just about you. But you're not being clear. But he doesn't know how to fix it. I don't know what you're talking about. You keep saying it. He is saying it. I don't type VidCon's it's a fair question. You keep telling me that's taking all this time. No, no, no. That's the name of the show. I don't type that. That comes out automatic, believe it or not. Yeah. So I don't get. So I'm not being argumentative. I'm trying to understand. Yeah, no. I know it's not about you. So you need to change the name of your show to it's a fair question, not VidCon's it's a fair question. No, no. That's not what I'm saying. No, let's have a talk. Okay. All I'm saying is when you're submitting your summaries, if you want that name to show up first, make sure your guest name is first in both the description and the title. So when somebody goes to the iTunes site, that's what they see first. Nothing else really matters. Why don't you look at the right? I don't know. I need to see. You have to go on your iTunes. I'm going to go on iTunes right now. I follow the Welcome to Night Vale podcast. This is how their episode listings look. And that's a good benchmark. Because they're a very popular podcast. Okay, but the problem. What does it look like? We don't list them like that. Yeah. We list the entire name of the show. But that's fine. But like the episode name is always first. You don't. That's the way the format is. I get that. So that means you would have to change the name of your show to just it's a fair question. I'm not going to change the name. No, you don't need to change the name. Yeah, so that's what we think. Just like your guest. Like this always says Welcome to Night Vale. But like it'll be like episode X this title. I write the episode name. There's only one place I can write. And it says what I write in the box is I write episode number and the person's name. Okay. Sometimes I might say actress name. That's all I write. Now what am I supposed to do that's shorter than that? Not write episode number? I just use yours as an example. Everyone has a stage. I know. I'm just saying everyone else has those things. But I'm trying. Because we're talking about me. I'm trying to know what to do. It's weird. See, look how my name comes up on iTunes. Meet Professor. It comes up the name. Let me see. That's not the person's name. That's what you submit. I'm not talking about that. I'm talking about here. It's gone. Yeah, but it's not here either. It must be the way it's being listed on iTunes. Not the site. It doesn't seem like it has a public description. So I'm going to find the story of public radio on iTunes store when I put that in. What's the topic? Josh, would you email me the way that you set up your iTunes? I didn't do it. Oh. Jeremy does all of it. Okay. I see. It's very simple though. It's very simple. I don't know. The story of public radio. Yeah. I'm not a public. We may have to. We may have to do it. Get rid of that title. Yeah. Of your show. Right. You see what I'm saying? That's exactly what I'm saying. But that's an integrated. That's part of you. You have to get rid of it. Absolutely. So get rid of it. Yeah. I'm going to get rid of it. Because look what's happening. You see, Nestorius Public Radio, that comes up when you select. When you select, you're already on Nestorius Public Radio. That's redundant. Right. Right? Right. So for instance, this is what I'm saying. When you go to the show summary submission. Yeah. You choose the date. Right. You choose the name of your show. Right. The name of your show, it's what is what's being embedded into your episode title. So it'll say Nestorius Public Radio. And then my subject is episode blah, blah, blah. Feels like that needs to be fixed by Jared. That just has to take off. Yeah. That's the thing. Once that's done, you'll be able to read the first sentence. Right. Correct. Because you see. Okay. Yes. What I'm saying is. This is very clear. This is simple. Is that okay? I need to meet it. Yeah. Yeah. What I'm saying is the first words in your title that you put. Fuck. Should always just be the guest's name. Okay. Because then it means. That's the title. Okay. What about the summary? The summary, I think you should put the guest's name first there. Because it's about what you see. Right. It's just like. You don't. I limit my things to be in the writing of the song. Because it means every first sentence is going to be that name first. I can do that. It just doesn't. Yeah. What's most important about it? Because people aren't going to look. People. People. What I'm saying is as a user. Yeah. You come in. Right. You want to just. You're not going to click on the. You don't want to see this. I get it. But it's going to be there now. Right. That's going to be gone. So the first thing you're going to see is Jeremy Henson. Guest Jeremy Henson. Right. But it should also be in the description. Okay. If that's easier, I'll do it. I just. I just think because that's the first thing you're going to see. I thought that. Yeah. If you're seeing this anyways. But if you think it's going to make a difference to see it. This is like the most interesting smile of all day. I'm not a smiler. But I'm honored I got to see you long stretch. Yeah. I'm not a smiler. You do understand. I put a lot of notes in. So I have no expression. It's not about me. I get that. No. I don't put that. I felt like you took offense because I used your shot. No. I don't hear it. I'm trying to understand it. Okay. I personally like to single out. I just want to know. I don't want to take on the story. So I'm going to say the same thing. That's it. Stir it in that pot. Just stir it about up. Oh my God. You're the last one. I just think it's a good thing. I think there's a TV show. That's all we want to show. It's a series. We can take care of that. There is a series. I told you that. I know people on the air that want to take care of him. Oh my God. I'll start anyways. Well, that's actually pretty interesting. If you type up Ron Rodriguez in the director's chair, people will always find you. They're looking for him. When I go and pick the name of my show and then look for the description. I go, John. Fuck Robby Rodriguez. He's a fucking good guy. I still like having a number. Who is he? Because I can go episode 58. So, I just want to share this with the world. I just uploaded one of my photos from my Cuba trip for National Geographic. Travel. All right. Wait, look. You already know what happens here. No. If I pull it up. Sorry, I have to. I'm going to stop it. Right now. All right. What is that? I'm going to stop it. I'm trying to shut it. It's a noise. Okay. So, if I go to my podcast, if I type in Pornigan here, the title does come up first. So, no. I got this. Where is it? Like, if you go to the audio one or whatever. Here it is. It's the Pornigan podcast that we have to remove. You don't need to have done this. But, to me, if you're already going and looking for it. It looks better on the phone. I took this from iTunes on the computer. Can I see that dress? But, I still feel like this would have enough. I mean, VIXX is a longer title. Thank you. And I got it. Yes. So, people with short titles, it's not as big of an issue because yours is kind of short, too. And it's not that big of an issue. But, it needs to be uniform across the board. Is it all the same? A common practice with long titles is to abbreviate it. So, like, I don't know if it's a problem. I don't know if it's a problem. I don't know if it's a problem. I don't know if it's a problem. And, you know, the story is kind of like a famous… I'm just going with YouTube because it's coming to mind. But, My Drunk Kitchen is a big popular thing. It's been on for a while. People know it as an abbreviated MDK. And, you know, your audience base will know what it is. So, you have that for the first… No, I just think we need to remove the show name from the title of the episode. Got it. Got it. That's true. Can we go back at some point and make all my titles uniform? Because it drives me nuts. More so than… Like, that shares quotes around some of them, not just some of them. Yeah. And I feel like if I want to get everything so polished that if somebody ever wants to advertise, if they look at it and play video, it's like uniform. It's like polished. Everybody, it's like all looks the same. The photo details automatically come out. Because my goal is... If we're going to go back and take out... Well, then that's why it's there. It's the same thing if you bought it and then I didn't. No, no, I know that. This is crazy. I might be able to do it programmatically. This is crazy. No. No. To break it down to the highest or the highest focal length shutter speed based on the photo I took? That's not something I'm going to do. It doesn't matter. I mean, I feel like our goal, I think one of the things we have to do is we need a mission. That should be our play radio. What is a play radio? And the goal has to be, as far as I'm concerned, making this a self-sufficient... A self-sufficient mission. Where... Yeah, we didn't finish our meeting. And I think we didn't get there. That that's the goal is to get as much as we can to make it right. We didn't really finish it. We have to close the meeting with a serenity prayer. I'm sorry. I mean, that's a bit of a safe way to finish. And everybody needs to be doing... I thought you left. We should close it. I can't do it. What was that? His hand closing out. But towards the goal of... Wait, hold on. Let's just let Jeremy finish the meeting. The goal of this being a self-sufficient mission. Yeah, that will be done. I don't know. I would love it. That's the goal. All right, Jeremy. As far as I'm concerned. Jeremy, tell us. Bring us out on the note that you want us to think about. Okay, we all need to be on the same page. That's the note. Okay. But... Meaning? You know, Josh is thinking what I've been thinking for a long time. Is that if we are a cohesive unit in the sense that we all are doing the same practice. We're all promoting our shows. We're all making sure that our numbers... Our numbers are up. You know, to have advertising actually be able to generate some revenue off of this and get a return. Be great. It would be wonderful to be able to do that. And as Josh said, it should be a self-sufficient business. Right. Patreon. Who? Patreon is super important and you should do it. What? Say what? Patreon. It's a website. Basically... Come again in English? It's sort of like Kickstarter but less like needy. You put it out there. You have the option. You can donate. Like, look, you can get the content for free or you can be a donator and supporter of my product and for every new episode, like donate a dollar. I think those things are great options but we're not there yet. Why? Because we don't have enough listeners yet. But that's one of the ways to get listeners. You get listeners by asking your listeners for money? Because you're not saying we need this to survive. You're saying, hey, do you want to support us? It's just an option that's there. It's how the guild got started. I will say I have been asked. There is a podcast called Peace at 4. It's a podcast. It's a podcast. It's a podcast called Peace to Fun that's huge in the gay community and they've had me on a lot and they are always about donations and I've actually given them a little bit of money because they've been so supportive of me. So, so, why don't we get the other stuff in order? Yeah. Yeah. I think we have to be buttoned up and all that. All I'm kind of saying is that we need to be cohesive. I think what you're saying is what, I'll tell you like what I'm hearing also is like I was sold right away. The very beginning of this. Of what? When you said Josh is, he's getting, he's sending people not to iTunes but to the We Play Radio. And when I was sold is when you said and look at all the other shows that are being hit. People are . That is direct black and white proof of what you've been saying from the beginning. Before it was a theory. Now it's actually being proven in fact. And so I totally see why being a cohesive unit, sending people to the We Play Radio, how we will feed synergistically with others. That's just one aspect. And then having each other like you should come on and talk about something. We should talk shit about something sometimes. I got plenty of stuff. Can I just real quick? Yeah. Well basically what you would like us all to focus on is more social media promotion in regards to promoting your shows and promoting the station. Consistency with the summary so that they're up quickly and the audience is trained to be seeking out that new episode. Focus on the show. I think that's the key. I think that's the key. I think that's the key. I think that's the key. I think that's the key. I think that's the key. I think that's the key. I think that's the key. I think that's the key. I think that's the key. Consistency with the summary so that they're up quickly and the audience is trained to be seeking out that new episode. Focus on the download aspect whether it's promotion whether it's eliminating like in my case the live audience aspect. Retraining them to download. Subscribe. Subscribe to the station. And eventually hopefully building a rapport with other audiences so we all interact with each other's audiences. audiences and have it grow. So at the same time, the main focus would be promoting our shows, but underlying promoting the station more effectively. Right, but add to that, if you know of media, because you do music and you have interesting guests, if you know of outlets that might be interested in covering your podcast, reaching out to them too. Yeah, if you write for Bulldozer magazine. Yeah, I do that. With my realm, I do that. And do they retweet freedom? It depends on the guest, obviously. If it's a high profile music artist, established music artist, that tends to take off more. My show fluctuates from high artist to what I like. Sometimes it's just our focus and me, I'm saying me too, my focus on, okay, this is what I need to do. Do you know what I mean? Rather than letting it happen somehow. But overall, what you've been saying is as a collective, let's focus on promoting the show, promoting the station, and effectively increasing the audience. And in a perfect world, at the point where this is making money and this is all you do for a living. That would be my dream. Right, so that will happen. It'll happen. It will happen. I hate computers. But I think at some point, and I'm just putting this out there because this is how my mind's working. I'm not suggesting we do it now. But in a perfect world, there would be somebody like Jill who can write copy as well so that show descriptions are consistent. It's not my version of what a show is, your version. Somebody who takes it and then sends it to Vic and says, do you approve this show description? Great. So everything has a uniform feel so that the brand of We Play Radio sounds... I'm happy to do it. Hold on, I will just say that, I mean, this is a matter of theory, but part of my stuff is my humor and who I am. It's my voice. Right, but that person wouldn't... It can look, but I'm just saying, like, you have a very distinct personality and voice. I would suspect, I would expect that your summaries reflect that. Now, I could be totally wrong. I don't think they do. That's okay, it doesn't have to be. For me, I don't, I have a very unique way of writing and I want it. But that could be fine, too, as long as, like... If everything's uniform... As long as it has some kind of, like, there's some kind of narrative thread to this brand. Because otherwise... I think we came up with our idea of the website. Well, that's going to be the website, too. Yeah. Because I mean, that's fine, even if, like, say you hire me to write copy for people who want me to do it. And then if you want to write your own, that's fine. And just, like, send it to me and be like, oh, hey, just don't forget to put the name. And then you're going to have your guest here. You know, I think... I don't want people to think that the composition of their summary is the be-all and end-all to getting their show. There's so many shows that are very, very popular, and there is no summary. It's the guest name and that's their summary. Right, but that's them. I'm talking about We Play Radio as a company. No, I understand. I'm just saying... I don't want the... I don't want the summary to be what's in your mind is what's making or breaking your show. No, but for example, when I worked for Warner Brothers, okay, we had a very... We have nine million movies. Some are stupid comedy. Some are horror films. Some are whatever. They're all different voices. Every movie we're putting out is a different thing, okay? So press materials are written differently because it's a different audience. I get that. But everything that's Warner Brothers had a certain style to it underneath that umbrella. So if you're really going to... If you're really going to be a slick, polished brand that you expect big people, blue chip advertisers eventually to write checks to, then it's got to look flashy and polished and together and written well and no mistakes and things are consistent and whatever. Otherwise, there are people who do it that way who are all buttoned up and they're going to get the money. Yeah. Because I would look at that when I spent money from the studio. Elevator typos and not all the stakes or any of that stuff in there for sure. And I... I literally cut and paste. So that's... Okay. So then maybe somebody does kind of need to monitor that at some point. We should be doing ourselves a favor. Yeah. Yeah. I think that what you're saying... That's why I said in a perfect world. What you're saying makes absolute sense. Yeah. I think sometimes we have to be careful as to how long and how much time is put into a summary because I will guarantee you... You just want to get them. He's having trouble getting them. Most people won't even click the read more. They'll be like... Nobody reads it most of the time. They subscribe to your show or they see what it is in the subject and they play. But I'm talking business to business not business to consumer. You're right. Yeah. And think about... I'm not saying we shouldn't do it. I'm just... I want people to be realistic about it. Yeah. But I'm not talking about what the iTunes consumer reads. I'm talking about what Revlon reads and whether they're going to write a text to you. So then right now we just need to make sure we're concise. We get the summaries on time. And that we're paying attention to not doing a 2.5. Other businesses won't care if they're perfect but they'll care if they're imperfect. Yeah. So it shifts that whole thing over. Yeah. I feel like you get me. Which is like it's like... I'm not sure that the important points are up front. Yeah. Yeah. Yeah. That's all. The guest names should be first. Okay. That's great. Awesome. Okay. You know what I mean? Jimmy, your show summaries are crazy. They're very long. I got a document of cutting the summaries. All right. Good. What would be the ideal length? How many words? Less than three. Less than three. Less than more than three. I'd say no more than three sentences. Yeah. For sure. I say so and so. I say who they are. Like so and so, you know, Madonna's cleaning lady joins me for an hour and we talk about da-da-da-da-da-da-da-da. We also discuss relationships and sex related issues. You don't want to miss this hour. Yep. Mine's even shorter. Well, I like to – mine's not significantly longer but I do like to put a tease or something. Oh, but what do you mean by that? It's very similar to what you're talking about. Usually if you say sex, that's all you mean. People keep writing ghost stuff. I just want to know what you mean because the racist term is ghost. That's what I'm doing. It's when people want to put something that's just a ghost in this like exclamation point. Ghosts don't translate. I find that sex or porn should be skipped. I mean, the internet. So what do you mean by tease? A tease of like – and you won't believe, you know, the addiction that he reveals. Like push bait. Okay, yeah. It's push bait. I mean, that's good. That's what people click on. Hinge the name. You should put in the notes also for people that they can put that link in like bit.ly. Which link? And shorten it just so they know. But when you go on Twitter, it automatically shortens it. Just so you know. It gives you the extra space. Well, it does it. Yeah, it does. You go on Twitter? It all does. If you click it – Maybe they have a special Twitter for you. Maybe I need to update it. No, I need to update all my shit. Maybe if you update TweetDeck because Twitter does it for you. Okay. Yeah, and encourage reviews. I think reviews are really important. Send people T-shirts. I mean, send me a review at the end of your podcast. I mean, the uniform – I give you $2 for a podcast. You should be offering – I never thought I'd ever put all that in the notes. You should be offering – I'm sorry. I'm sorry. I'm sorry. I'm sorry. I give you $2 for a podcast. I never thought I'd ever put all that in the notes. You should be offering – I never thought I'd ever put all that in the notes. You should be offering – You got to subscribe. You got to subscribe. – Pornigan condoms. I will mail you a Pornigan condom or underwear, whatever, if you write me a five-star review on Twitter. He won't do it. I can't. I won't do that. It's actually the ethic for the most, but whatever. Is there anything that the ones that are left here of us, is there anything that we can do to make it easier for you? That's like my reviews of my book on Amazon. I keep them very pure. Other than the obvious like titles or – Go ahead. Like I ask for – No, I mean the thing that we make – I'll see you. Hold on. You guys, hold on. Oh, hold on. Sorry. The thing I want to see happen is just that we follow through with these things and try to get the numbers up and continue to focus on that. As far as the technical side or that work – Or your house or anything. My house. Anything at all that we're doing? Well, this is long-term goals, but I'd love to be back in a student's life. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I don't know what we're doing. Well, this is long-term goals, but I'd love to be back in a studio again instead of here. Right. Okay. That's down the road. Okay. Very good. But, yeah. That would be cool. I mean – So, that should be one of our goals is to get out of here and get back in a nice studio. Well, and also, I think, to raising the numbers thing, I also think people should remember to re-promote shows that aren't new. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Okay, because sometimes there's a timeliness issue. Like, for example, you know, when it's the RuPaul's Drag Race finale next week, I'm going to repost Morgan McMichaels and whatever. Most people's old episodes are timeless in most cases. And all that content is still completely valid. Like, for example, Vic, when they were doing the whole OJ TV show, that would have been a perfect time to push out your Cato Kaelin episode. Oh, right. I've got it ready for the 30th anniversary. Okay. I didn't know you did have other ones. You should be doing it when the Emmys come. That show is all about the Emmys, so you should be pumping that out when the Emmys are up. I'm voting for John Travolta. I couldn't even watch it. You know that movie did very well. That show did very well. If he's even nominated, I'm going to... I couldn't get past the first episode. Anyway, all right. Are you going to be nominated for directing of an episode? Thanks for the heat. She's going to be nominated. Thanks for the webinar. I appreciate everyone taking time and making the episode come out. Thank you for inviting me. Yeah, thank you so much. I really appreciate you coming. Of course. And if you ever need help with anything, just let me know and I'll... Just email me... Yeah, I'll email you the notes. And then I'll put it as a Word document. And then any questions or info I want you to have will be in the body of the email. Okay, great. Thank you. Because you shouldn't have to do all this stuff. There's a lot of work. Yeah. You know, I like doing it. And I think we have some really talented, special people. Okay. You know. I mean, that looks like Mandy. It's him. But it looks like Mandy can take it. Who? I don't even know who that is. Or like Homeland, Salt, Big Beard, Princess Bride. Because my father compared to that. Oh, okay. I know Princess Bride. Yeah. How's it going, man? All right. Nestor, good to see you again. Dude. Good to see you. Thanks for being here. It was so nice to see you. No, of course. I hope I wasn't overbearing. Two and a half. Two thirty. It was very wonderful to meet you. Very wonderful. You too. You too. Yeah. Two thirty and a half. I just came from a cigar factory. Oh, that's great. Isn't that dope? Is that in Cuba? Yeah. Gorgeous. That's a new car in Cuba. No, that's a 1960 Chevy Impala. He's joking. It's a Model T. No, it's a 1960 Chevy Impala. And it's unbelievable. Yeah, it's crazy. It's unbelievable that they have this car. They have... Where are you from? I'm from Scottsdale, Arizona, where I live here now. Oh, Scottsdale. Yeah? Scottsdale. Scottsdale. Scottsdale. Scottsdale. Scottsdale. Scottsdale. Scottsdale. Scottsdale. Scottsdale. Scottsdale. Scottsleich elementary school together. Yeah, you would predict you could take school together. That's hilarious. Only if you violate the terms of these pictures. Her mother, Vicky's mother, my mother. That's so cute! That's so awesome. So I get to know this information. That's awesome. That's really cool! I love that. Yeah, they're an impressive bunch for sure. The photo one, the shutter speed, the aperture, doing the high end stuff. Yeah, they are. I'm able to lay at Leah's graduating from school just using my white hair. I haven't talked to them in so long. Didn't one of them wear white hair? No, I have Apple iPhone 6. Damn! On the one hand, we, on the other hand, enjoy those clothes. You can see everywhere. Well, apparently. I don't know how they pay. That's crazy. I feel like these are expensive. Where did you get them? They're from the States. They actually have an amazing film studio. I transferred to there for a little bit. And I was like, what a job to be a major in. And then I found that major and then I did that. I was, for a brief time, majoring in political science at the University of Arizona, because they've got a great program, but political science is not what I thought it was. I thought I could be the Leslie Knopf who gets things done. The rest of the background is signal. It's all probabilities of getting the correct outcome. It's a lot of game theory and calculus stuff. 176 of the second centuries. That's how fast the fucking service was. Which is what makes this came about. Oh, wow! That's a nice place! It has like a sand desert onto it. I grew up right by there. Composed the photo, like the composition. This shit is so fast. It's almost impossible to shoot a blurry photo with an iPhone 6. It's almost impossible. If you shoot a photo with an iPhone 6, trust me, I've tried to. Are you from here? My family is from Chicago. No, no, no, you can manipulate that. You can manipulate the settings of what the phone is. I mean, that's fast. Yeah, can you say it's not a judiciary? You can shoot it at night. It's not known. No, they're more like a super rich family. My grandpa was an attorney out in Chicago. Your grandpa? Grandpa Joseph Ettinger. He's more famous in some circles because he did a lot of defense attorneys in the 70s and stuff. He's a top guy? Yeah. He likes to think he is. He's like Bernie Sanders. He's like, I'm gonna talk like this. This is how I talk. That's nice. That's cool. That's cool you know Lauren. So you're Lauren's age? I think she's a year older than me. Okay. Yeah. Unless I'm getting the answer mixed up. They're very nice. They're very nice people. I've never had a single bad thing to say about them. Who are we talking about? His cousin I went to school with for like years. You're Jewish, right? Yes. And he's Jewish. That's what it is. He's fucking Jewish. We all know each other. You guys are connected. I'm Jewish too and I don't have any of that. You know me? Me too. I didn't want to, you know I'm writing for, I'm Jewish too. You're writing for what? I'm writing for a new magazine which I don't know if he knows. It's called Power Bottom. What is it? It's a monthly. Power Bottom? You should talk to him about it for sure. Power Bottom? Yeah. What is that about? It's just about getting condom. Gay guys? Yeah. It's a power bottom. You're so full of shit. This guy is so fucking out of his mind. I wouldn't even know. I'm not. He's so out of his mind. I didn't want to get Josh Jones. Power bottom. I wouldn't even be surprised. My aunt runs the Scottsdale International Film Festival but that's, she used to run too and they merged. She used to run Out Bar Film Fest which was like the only gay festival in like Arizona and I like, that's the film fest I grew up going to. Like gay men taught me how to put on eyeliner and fake lashes like when I was like five like that's. I think there's a magazine called Power Bottom. I would have like, okay. I'm the only straight guy in the whole thing. Yeah. And I am. What's that? Power Bottom. Did you see this? I like when you go real fast. Did you see this? I just posted this to my nephew's page because he bought it. He bought it. I'm a little sorry. Why did you do that? I know. It's ridiculous. What is that? It's just a gun for Republicans. I mean a gun bed for Republicans. Is it real? Yeah. Sadly. That's awesome. I have a lot of spark in my teeth. Hi. Do you mind if I scooch the ground a little bit? Yeah. I'm going to have an issue with that. I'm hard-eating. Also my neck pain is very close to the cell. Is it real? Yeah. Holy. I love this guy. I've never seen that in this long. I'm curious. Hello. Yeah. I'm not sure. I don't know. I don't know. I don't know. Is this real? Yeah. You're not kidding. It's real. No I am not kidding. Do you remember the underwear? No this is the underwear. Do you remember this? Yes. Yes. So it's in my Holidays. Holidays. Holidays. Holidays. Holidays. Holidays. Holidays. Holidays. Holidays Holidays Holidays Holidays Holidays Holidays Holidays Holidays Holidays Holidays Holidays Holidays Oh, that's hilarious! That's hilarious! That's real? Yeah! Yeah, it's real. Well, I mean, looking at a book for a while, I didn't think of that. But then you can go to their underwear and they can actually go like their collection, and there's that, and they can put their eyes on them, and that's a nice feature because they're actually around wealthy, but they don't have to fetch to be like, they have a very different brand, so there's evidence. So, you know, yeah, they can have a good look at it. Amen! That's a good point. There is a standard thing in the next world where we buy a few of these, and then we have to look at the underwear. Oh, I saw that! That's a good point. That underwear line, I saw that in China, and it's not really cool. I saw it in China, and I didn't buy it. I don't know what it did, but it's in the KKP. Yeah, yeah, that's what it is. I was writing for the Central on March, but here's the thing, the underwear, if you're getting that, you're good. Yes, honey? Do you think you could get off the computer and have us clear up a little? Yeah, I'm looking for something, but yes, for sure. Just give me a second, I'll look through it. . . . . . . . . . . . . . . . . . . . . . . . . . .