On The Road Again: Revisiting Our Podcasting Roots!

Before the studio. Before the gear. Before FastFret was a permanent co-host. Sean was recording in his car — and somehow it worked.

This episode is a love letter to the On The Road era of SeanGeek — the raw, unfiltered, gloriously imperfect days when the show was just a guy with a microphone, a moving vehicle, and something to say. No studio. No setup. Just go.

Sean looks back at what made those early episodes so compelling — not despite the chaos, but because of it. The sound quality had its challenges. The conversations went wherever the road took them. And listeners loved every unpolished minute of it.

It's also a conversation about what podcasting looks like now versus then — how technology has made everything easier and somehow harder at the same time. The unrealistic expectations. The marketing costs. The pressure to be perfect. And why none of that matters as much as just showing up and being genuine.

This episode covers:

• The origin and spirit of the OTR segments — recording on the go before there was a studio to go back to
• How raw sound quality became part of the charm rather than a liability
• The spontaneity of on-the-road conversations and why they hit differently than scripted content
• How podcasting has changed since the early SeanGeek days — technology, expectations, and the cost of chasing perfection
• Why authenticity and passion will always outperform polish when it comes to building a real audience
• Reflections on Dax Shepard's Armchair Expert and what long-form authentic podcasting looks like at scale
• Shoutout to Corey Morissette, Mixtapes from Hell, and the Cinderella connection that keeps coming back

Mentioned this episode:

• Mixtapes from Hell
• Cinderella
• Stanley Simmons
• Corey Morissette
• Dax Shepard / Armchair Expert

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Episode Transcript

(00:00):
Listen to the Sean Sean GeekSean Geeking podcast. Yeah, you got
it, folks. It's me again witha little aptitude for all you out
here in white bread land.Let's see, we're on 92fm and it feels
like a nice clean little bandso far. No one else is using it.

(00:21):
The price is right. Don't youfind it crusty Dave?
This is bigger than friendship.
This is what you call cosm andthe Buddhists call it, let me see.
Reincarnation.
Mushy, mushy. Hey, wait aminute. Since when is Pismo beach

(00:46):
inside a cave, I wonder.
You know, I just think weshould have turned left at Albuquerque
and then maybe a right turn atLa Jolla.

(01:08):
Shush. Hush, please.

(01:45):
All right, There was requestsfor this, so I'm going to do this
right now. Going through theold episode catalog as we prepare
to relaunch. Not relaunch, butbasically we're taking a little holiday
just to get some business inorder. Lots of behind the scenes
stuff. One of the things thatpopped up during my homework phase

(02:10):
in between episode recordingsis that OTR was a very popular segment
on this show. Very incrediblypopular segment on this show. I decided
I'm going to start revisitingthese. But here's the thing. When
we were doing these OTRepisodes or on the road episodes,
they were purposely done withthe intent that the technology that

(02:38):
was out at the time when wewere doing this, keep in mind, this
is like, you know, 10 yearsago, eight years ago, nine years
ago, something like that, whenwe were doing these. And the technology
we had at the time is nowherenear the technology we have nowadays
to record. So I was recordingin my vehicle into my phone. This

(03:01):
is how it was back in the olddays, folks. This is how we did things.
And at a certain point, asTodd and I were. As Todd became the
official co host of the show,I would do these call ins from the
road to Todd. Todd would be instudio, I would be on the road and

(03:22):
I would call in and I wouldrecord these. Now I will say there
was something great aboutdoing that. It was negatives, it
was positives. The positives,the positives were Todd and I always
had time for each other. Youknow, he, you know, I think he was
at home, he'd done eatingdinner. And then I would call on

(03:44):
my way home from work becausehe got home way earlier than I did
and I could just call him. Andwe had the time for the phone call.
It didn't really get in theway of anything. And honestly, I
probably could have put twoepisodes out a week back then. Editing
was not really a thing. Youknow, we recorded what we had. I
would insert a theme song. Oneof our previous theme songs previously

(04:09):
was Flying was the one of thetheme songs and another one a composition
I had done. Two separatecompositions I had done, which we
use as the intro to the show.I might have tagged beginning of
the show with one of our ownin house ads for our own show with

(04:29):
myself doing myself, Todd andCora geek doing impersonations of
celebrities promoting ourshow. So the editing was minimal.
The content was a lot. We wereable to do a lot of content. The
turnover time was very, veryquick, which was pretty good. And

(04:51):
another pro of this was beingcurrent with things. Sometimes we
release episodes that wererecorded two, three, four weeks ago.
So there is something aboutbeing current. Sometimes it doesn't
matter. Sometimes it doesmatter. So that was an advantage.

(05:14):
But the biggest thing thatpeople said they liked about the
show at that time was that itwas very raw, it was very live. So
anyway, the, the nature of itwas that shit is gonna happen, motherfucker.
You know, while I'm driving,if somebody cuts me off. Random thought.

(05:39):
The thing is, when you'redriving, your brain is in a different
mind space. You'reconcentrating on the road, you're
concentrating on the peoplearound you, and random thoughts will
pop into your head thatwouldn't pop into your head if you're
in front of a monitor screen.Whatever. You're not having the same
sorts of thoughts pop intoyour head now to equate that into

(06:03):
other things, into otherworldly things not related to podcasting.
I generally come up with mybest songwriting ideas when I'm driving.
You know, you're. You'rehearing the, the rhythm of the road,
if you will. The, the. Theimperfections of the road create

(06:24):
a beat. The. The motorcycle infront of you that has a really shitty
muffler that drowns out everyother sound around you. That sound,
you know, that rhythm of thatsound could be a guitar riff, you
know, so there's a lot ofsquirrel things that are happening

(06:47):
and you can hear them and theyinfluence what you're going to talk
about as a podcast, as itwould. Writing ideas in terms of
music, writing ideas in termsof, you know, just fiction writing.
All my best ideas have alwayscome when I'm driving, so it really
impacts the content live whilewe're recording the podcast on the

(07:12):
road. So I'm going to releasethis in a different way because I
think the other thing to keepin mind is the. So those are all
the pros, the on the Roadepisodes. The cons were, were always
the sound quality. Always acon, always a problem. One person's

(07:37):
louder than the other. Forexample, it was recording back then.
Because of the technology, itwas recording out to a single audio
file. So if two of us weretalking initially, there was one
audio file. And if Todd waslouder than me, well, then Todd was
louder than me. If I was tooquiet, while I was too quiet, if
the ambient noise was toomuch, well, the ambient noise of

(08:00):
the car was too much. Later,we adapted to that mode of recording
the podcast in that Todd wasin the studio, and Todd would have
two separate tracks. He'drecord. One track would be his, one
track would be mine. And on myend, I could isolate my track. So

(08:24):
if I needed to turn myself up,I could. So, guys, this is gorilla
podcasting at its best becausewe were learning on the fly how to
do things. There was noinstruction manuals on how to do
a podcast. There's so manyqueries on threads or Facebook or
Reddit on, you know, how do Ido this? How do I do that? There's

(08:48):
so many resources on how topodcast. If we were starting a podcast,
now would be so much easier,but we would be going into a market
that is flooded with content,so it'd be very easy to lose your.
Your moment. It'd be hard tobuild any momentum with the Enough.

(09:12):
There's so many negative,Negative teddies out there that say,
well, you, you know, oh,there's too many. Too many podcasts
in the marketplace. You know,do we really need another podcast?
And then on the podcasterside, the thing that you're inundated

(09:33):
with nowadays that we weren'tinundated with back then was, I bet
you I can make your podcastbetter. First, $500 an hour. I will
edit your podcast. We'll doyour social media for you. I will
produce your podcast. I willedit your podcast. I will create
images for your podcast. Iwill transcribe your podcast. All

(09:56):
this bullshit stuff that comesout that is incredibly overpriced.
Now, I'm not saying the valueof these people and the work they
do is not worth the money, butthat's like the equivalent in my
brain of this is, look, you'vegot this great idea. You're going

(10:20):
to help kids sharpen theirpencils for them, right? You're going
to do their photocopying forthem. So you go to a school, right?
You go to school and you go tostudent look, you need some help
with the administrative sideof your homework and that sort of
stuff. How about you pay meand I will hole punch for you, I

(10:46):
will put your stuff in abinder for you, I will make photocopies
for you, I will do scans foryou, and I'm gonna charge you $20
an hour for it. Well, look,you're asking a kid who's, you know,
8 years old to do the work forthem. Do you think this child has
an income? No, they don't. Soyou're going after the wrong market.

(11:12):
Same thing with podcasters.The people who think that podcasters
make money and have money are.No, they don't. But here is the thing,
and this is the thought Iwanted to put out there. See, this
is. So this was not my planwhen I recorded this. Again, just
like I said, look, I'm on theroad. I'm seeing things. My brain

(11:35):
is working on a differentlevel. I'm getting different ideas
as I'm driving. So here's.Here's the thing that popped up,
and I might have already lostmy train of thought because I'm looking
at the weather patterns in thesky ahead of me, and there is. Look,
I ran the map to get homebecause of all this construction.

(11:56):
I have no idea which way I'msupposed to go home every day. It's
different every day based ontraffic patterns and everything else.
And when I ran the map to gohome today, it took me on an alternate
route. And there was a commentin there that said something along
the lines of rerouting due toweather conditions. There's tornado
warnings here in Winnipegright now. Like, what the fuck? What

(12:21):
the fuck? Okay, yeah. So whatI was going to say was, so this.
So the podcasting. So allthese people out there asking for
money from podcasters to dotheir marketing, to do their Instagram
page, to.
Do their Facebook page, to dotheir editing, to do their video
editing, to take care of this,take care of that. The prices they're

(12:45):
charging is expensive. And I'mnot saying their time is not worth
it. Not at all. But in thismarket that we're in, I've noticed
there is a particular thinggoing on, not just in our market,
but in every sort of market.There is this fantasy that there

(13:07):
is tons of disposable income,that if you are doing a hobby like
podcasting or a hobby likemaking music, playing your music
live and that sort of thing,there's this weird thing that the
market believes that everyoneis wealthy right now. It not a big

(13:30):
deal. To drop $800 for aconcert ticket, not a big deal. To
go fly to New York to go see aband play, to, to have a 200% increase
in the price of your streamingservice or your gaming service like
an Xbox or PlayStation.There's, we all have tons of money

(13:54):
and the market can totallybear 200% increases on things or
in terms of concert tickets,way more than 200%. You know, to
be able to be able to go see aconcert for 50 bucks. And now the
starting price is 250. Thelowest starting price, at least in
Canada is 250 for a concertticket. Unless you're going to, not

(14:15):
a secondary venue, not a thirdlevel venue, but a fourth or fifth
level venue. Unless you'reseeing them in that environment.
If you're seeing people in aconcert hall or a theater or whatever,
the pricing on that stuff isridonkulous. It's super high and

(14:38):
I'm trying to mercury this isnot easy. So there's this fantasy
that there's tons of money indisposable income for people who
do artistic pursuits. Theythink. Now here's the logic is flawed.
So it's the people that aremarketing towards podcasters are

(14:59):
the same people marketing tothe general consumer that wants to
go see a concert. So they'retargeting the opposite market for
the same price value. So if Iam touring, people are not paying
for the general artist. Peopleare only paying to see the highest

(15:21):
level artist, the 200, 300,400, $2,000 concert tickets. There's
this strange crazy assumptionthat these artists that are getting
paid, you know, tens ofmillions or hundreds of millions
of dollars to tour just thoseartists that podcasters are in the

(15:43):
same boat. There's podcastersof all levels. There's the fake podcasters,
I like to call them. Those arethe celebrities that pay an editor,
pay a marketer, pay a socialmedia influencer. You know, these,
these high level, like I'mlooking at you, Dax Shepard, fucking

(16:07):
dish rag. Fucking hate you.You know, you've got your, you're
floating on your wife's moneyand putting a podcast together and
hiring the highest levelpeople to put your show together
instead of doing the workyourself. Want to do a podcast, but
I want to put any of the work.And I'm just gonna hire a team around
me, dude, and they're gonna doall the work for me. Like that's

(16:29):
what's happening right now.That's the, that's the market that
these fucking horrible peoplethat are chasing us podcasters hey,
well, this is the going price,man. Now this isn't the fucking going
price. And here's the thing isthey're saying, they're saying, well,
this is my price. It's $50 anhour, a hundred dollars an hour,
whatever the heck it is.Saying this is my price for the service

(16:52):
I provide for you to edit yourpodcast or whatever, right? They're
saying this is the goingprice. But that is the going price
for fucking celebrities whohave too much money and can afford
to drop 100k year to maketheir podcast. Right? That's the
going price for that. But it'snot a realistic price. It's going

(17:14):
to the, to the classroom,asking an 8 year old to shell out
$100 an hour to do, to holepunch for them. It is the same equivalent.
There's no money inpodcasting. And there's this thing
that's going on. We talkedabout this before and I can't remember
if we talked about it or maybeI heard it somewhere, I can't remember.

(17:35):
This is possibly Pot ofThunder or one of those shows where,
you know. No, it's Cobras andFire where they're talking about
nepotism in the musicindustry. So we've got Stanley Simmons,
which is the sons of PaulStanley and Gene Simmons. They've
got a project called StanleySimmons. They're making all these

(17:55):
music videos, they're puttingan album out. Like they're spending
the money on getting theirbrand. They're doing the things you
need to, they're spending lotsof money to promote their band. And
hey, Stanley Simmons isgetting talked about in headlines
here. Like they've got, theyget their daddy's money. And nowadays

(18:16):
to succeed as an artist, youneed to have money behind you to
promote what you're doing. Andif you are just an artist that doesn't
have any of those backings,that doesn't have any of those gifts,
financial status, if you don'thave any of that money behind you,

(18:37):
you're not going to make it inthe music industry. You can't do
the old look, we got a band,we wrote some, we have gear, you
know, we have enough money tobuy gear and we're gigging and we're
playing and people are comingto see us and we play enough shows
and we, we play the largercrowds, larger crowds. And we're
touring, we're actually makingmoney, we're making kind of a living.
We're able, you know, quit ourday jobs. We could do that now. Now

(18:59):
we're getting noticed. Hey, aLabel just noticed us and signed
us. That doesn't happenanymore. No, it's prepackaged stuff.
Unless you're Stanley Simmonsand you have money. If you're Stanley
Simmons, you have money. Youcan put money behind your product.
You can use the money to openthe doors that you need to open.

(19:20):
Unless you're Nepo baby is theterm. But it is the only way the
music industry is allowed tosucceed. They got behind Youngblood,
the industry, they decided,hey, we're going to take this Youngblood
kid and we're going to pushhim and we're going to put money.
They decided that that's theproduct they want to endorse. But

(19:41):
Youngblood would never made iton its own without. Without sponsorship.
It's sponsorship in terms ofmoney, sponsorship in terms of pausing.
I'm gonna put my name behindthis guy. You know, that's the only
way to make it now. You can'thave talent and fucking grind. You
can't go out there and grindbecause you can't make any money

(20:04):
touring, you are going to loseyour shirt touring, you're going
to have to take time off fromyour day job, which you need to have
because you don't have anoption. You need to have a day job.
So you're going to have totake holiday time unpaid, likely,
because if you want to tourenough to get your name out there,
you're going to have to takeunpaid time to go tour and tour and

(20:28):
lose money to get your nameout there, you're going to go grind
at a loss. You're going tohave to either quit your day job
and get another job when youcome back from your tour, you're
not going to. If you're lucky,you break even on the tour. And by
break even, I mean the drivingexpenses, the gas. Hey, gas is expensive.
Now, folks, did you noticethat? Gas is really expensive and

(20:51):
some of these venues are payto play. That's right. Well, you
have to guarantee us you'regoing to sell a thousand tickets
at this 500 capacity venue. Soyou're going to have to pay up front
for some of these shows. It'sa losing proposition. You need to
have money to succeed. And Ithink these people that are coming
after our podcast asking forour money for marketing, for editing,

(21:16):
for video editing, forInstagram likes, they are viewing
it as. Look, if you're a pot,if you're. So here's the thing. If
you are, quote unquote, aserious podcaster that is a Nepo
baby, or someone that hasmoney that is willing to spend thousands
of dollars on your podcast,hoping it takes off. That's who they're

(21:39):
targeting. And if I'm notwilling to play that game, I can't
afford their rates. And I'mnot a serious podcaster. That's kind
of the assumption. Just like,look, if you, if you truly, truly
like music and you want to seeyour favorite bands, plural, hey,
you need to come from money.The only people that can afford the

(22:00):
arts are millionaires. Peoplethat make six figure plus salaries
per year are the only onesthat can afford to go take in entertainment
at a higher level. That's notwho music's fucking for. Music's
for the blue collar person,you know, the guy who works in a

(22:22):
factory and makes, you know,maybe $10 above minimum wage or even
makes only minimum wage. Musicwas for the blue collar people and
it has now become music isonly for the rich. Only the rich
can afford to go see themusic. That's why I say support local
bands and local venues. Butunfortunately, you know, I can go
to a venue and see five bandsfor 10 bucks, five bands for 20 bucks.

(22:46):
Who's making money here?Nobody. Nobody's making fucking money.
You got to move tickets, butyou can't move tickets unless people
know who you fucking are. Yougot to grind. You got it. You got
to tour at a loss for severalyears. You got to support your, your
band by having a day job andtaking a loss for several years until

(23:09):
you can maybe break even. Butif you're breaking even, who's making
fucking money? How do you getto the next level? Oh, well, you
take a loan. Take a hundredthousand dollar loan and, and, and
pump money into your bed. Whocan afford to fucking do that? It's
not. The market has to fuckingbreak. And it's not just in podcasting,

(23:32):
it's in, it's in everything wehave. We don't need another Olivia
Rodrigo. We don't need anotherfucking Taylor Swift. We don't need
another the Red HeadedIrishman guy, whatever, Ed Sheeran.
We don't need another EdSheeran. We don't need a bit, another

(23:52):
Billie Eilish. We need ahundred more Billie Eilishes that
came from YouTube and madetheir career and did the grind and
people took notice. We need ahundred more of those. We don't need
another five fucking MaroonFives. We don't need more. We don't
need. I'm getting pissed off.We don't need another fucking record

(24:17):
label going. We need. We needanother Taylor Swift. Let's Put some
money behind this OliviaRodrigo girl. I know you write your
own songs, but trust us, ourinstincts are better. You need to
change your sound. What theyfucking did to Katy Perry. She wrote
songs on an acoustic guitar.She was a little folky, right? She

(24:39):
was doing her own music. Well,she gets noticed by a record producer.
Hey, you know what? Your songsare pretty good, but there's too
much guitar in them. We needto add a fucking. Fucking dance beat.
We need to get rid of yourreal drummer and use a fucking drum
machine. Let's put some loopshere. No, no, no, no, no. You don't
need to sing the chorus fourtimes because the chorus is four

(24:59):
times. We'll just loop shitthrough. We don't need to have music
that sounds like musicanymore. They take someone who has
something, and because itdoesn't have something that came
before, it's not any good ifit's original. Well, where did fucking
original ideas come from?Taylor Swift didn't come out of the,

(25:20):
you know, out of nowhere. Butnow everybody sounds like Taylor
Swift. Let there be one TaylorSwift. Let there be one. Olivia Rodrigo
when she started, you know,find an artist that sounds great
and let them be that fuckingartist. Instead of trying to transform
them to sound like everythingelse on the radio that's fucking
disposable, let's put moreonus on music. I've noticed that

(25:45):
a lot of the music on theradio today, I couldn't tell you
what the music sounded like. Ican tell you what the vocals sounded
like. The music is a rehash ofsomething else. I'm fucking stuck
in traffic. This is pissing meoff even more. What the fuck is going
on here? Look, I got reroutedbecause of the fucking storm and

(26:08):
the traffic's not even fuckingmoving. The speed limit here is 80
kilometers a fucking hour. Iam going five, and then I stop for
three minutes. Oh, I went 20.Oh, I went 20, and now I'm back down
to zero. This is fuckingridiculous. So that's my rant. Look,

(26:31):
corporations that know nothingabout fucking art. Oh, it's a fucking
zipper merge. Where's thefucking sign for zipper merge? Fucking
hell, Winnipeg. You know what?Eat my fucking ass. This is fucking
stupid. Fucking stupid zippermerge on a fucking highway. And you

(27:00):
know what? There's noconstruction going on. There's guys
walking around with signs. Idon't see anybody doing any fucking
work. Un fucking believable.You know, in the old days, I would
have been home 20 minutes ago.I'm not even halfway home. Un fucking

(27:21):
Believable. I hope it's TonyGreg sending me messages because
I could use some cheering up.And that guy cheers me up. He's the
shit. He's the guy. He's, youknow, he's the man. He's the, you
know, fucking chairman. Heneeds to be the chairman of the Sean
Geek and Fast Friend. FastFriend podcast. The guy's aces, man.

(27:47):
Cases. So hopefully thisshit's recording. Hopefully my phone
is not letting me down.Hopefully this is happening, so I
don't even know where it'sgoing. Anyway, so these on the road
episodes, I don't know if Ishould release these as actual episodes

(28:09):
or not. The sound quality isgoing to be shit. It's in my car,
it's using an earbud. You'rehearing ambient sound. It's not great.
Maybe I'll put a poll outthere and see what people want. I
mean, I was building up to a597, 598, 599 to our 600th episode.

(28:33):
I had some plans, butscheduling with the kids and stuff
has been tough. Abby's soccerseason is heavy in June and I'm out
doing soccer games multipletimes a week. Lining up my only free
nights with Todd or any of theother co hosts of the show has been

(28:54):
difficult. So I don't know,I'm gonna put a poll. Maybe I will
release this as an episode. Inother news, by the time this episode
drops, those fuckers atTrailer behind the Metal Shop are
making. They're making moveson the Sean Geek podcast network.

(29:16):
Yes, that's right. We have apodcast network, sort of. We decided
that we gave those two guysover at Trailer behind the Metal
Shop. We gave them anopportunity, said, look, certain
times, certain weeks that Toddand I can't seem to schedule an episode

(29:36):
in, so if you would be sokind, these guys offered to say,
hey, look, we can, we can, youknow, we can fill in your holes in
your schedule. And you know,they say, you know, we can record
an episode. We have thispodcast idea, you know, running the
podcast live, kind of livefrom, from their workplace, which

(29:56):
I don't know how they get awaywith recording episodes while episodes
of their show while they're atwork. They shouldn't they be working?
I don't know how they thatshit off. But anyway, these two guys
made it seem really enticing.You know, says, well, you know, you
guys don't seem to go into theheavy stuff too often. There's a
market there and if they workoff of our backs, me and Todd's backs,

(30:18):
they can rest Court episodesof Trailer behind the Metal Shop.
Okay. They used to callthemselves Metal Shop, and then they
changed the name of the why.But, you know, they. Now they get
a really long title. It soundslike, you know, like a Fiona Apple

(30:41):
album title. So anyway, sosomehow they've been angled their
own channel. So it's like, wehelp these fuckers get going, right?
You know, here's what we cando for you. You know, like, you don't
have to pay hosting fees. Youknow, we'll just. We'll just. We'll
just insert it as extraepisodes. Then the next thing I know,

(31:03):
they've got their own podcastchannel. I'm like, whoa, I thought
you guys were gonna be fillerepisodes to give me and Todd a break.
They said, no, no, no, no, no,no, no, no, no. We're good. Thanks
a lot. So now they get theirown fucking podcast channel, and
now we don't have someone tofill in the holes. Well, that was
the whole point. You guyswere. You know, I don't know if the

(31:26):
show is any good. I don'treally want to listen to it. I mean,
like, fucking like Beavis andButthead or something. But anyway,
so apparently I got wordthrough the grapevine. I got. Rory
messaged me, and he said, hey,just to give you guys a heads up,
you know, we're gonna starthaving guests on our show. Guests

(31:47):
on your show? Why are youhaving guests on your show? I thought
it was just you guys in theshop. They were. They're bringing
on a big guest tonight,apparently. So when this episode
here drops, Metal Shop willhave released an episode already.
And I don't know how they'returning. Like, are they not editing
their show? Like, I don'tunderstand what's going on there,
but apparently they're notediting their show. They just fucking

(32:09):
put episodes out. And they'reon our fucking patreon, too. Like,
I think nomenclature, thegnomen over there is like a bit of
a hacker or something, youknow? I guess when you're. When you're
using an old Windows 95computer, there's special ways to
hack I guess you can use orsomething, but I don't know. Holy

(32:30):
fuck. It looks like thistornado is going to hit, man. The
last time we had these exactweather conditions in F5 dropped.
And I don't mean fuckingwrestling, whatever, wrestling, whatever
the fuck that is. No, an F5tornado dropped in a place called
Eli. I think that's where itwas. The conditions were perfect
for an F5 to drop whatever itwas five years ago. Well, apparently

(32:55):
the conditions are identical,so I was told not to take the perimeter
highway on the way home, so.Fuck, who is fucking messaging me
like crazy here? I don'tunderstand. Okay. Anyway, so, yeah,

(33:15):
so I'm almost home. I'mprobably gonna stop recording here.
I'm gonna release this as anepisode. I don't know if it's long
enough, but Todd and I aretrying to plan our next episode.
And like I said, Abby's soccerseason is crazy. Maybe you get a
couple of solo episodes, butwe've got stuff planned. We got some
big stuff planned. We havesome returning guests. I'd like to

(33:36):
do the returning guest afterepisode 600, ideally, so we could,
you know, focus on Todd and I,because, I mean, you know, the show
is me and Todd, right? So I'dlike to make sure that Todd and I
have a few episodes out beforewe bring people back. I do want to
bring up, though, for surethat you need to join our Patreon.

(33:58):
We have a new patron on ourpatreon. That's Danny Pabst from
Mixtapes from Hell. He's along standing friend of the. Of the
and the podcast rock show. Heand Dwayne, they are both phenomenal
individuals and they getapproached by Corey Morissette to

(34:25):
do mixtapes from Hell. And I'mlike, well, that's kind of a good
idea, you know, even thoughthe idea came from me and Todd, Ha
ha ha. We did a Cinderellaepisode and Cory said, I gotta do
a Cinderella podcast. But thenhe came up with an alternate idea
for a podcast to do Mixtapesfrom Hell. So every season we'll

(34:46):
be making a mixtape based on aparticular band's output. How do
you pick 16 songs, 17 songsfor the ultimate mixtape. So they're
doing Cinderella and hebrought in Danny Pabst and Dwayne
and fuck. This show is quicklybecoming a top three show for me.

(35:08):
I love this show. I love the.I love how excited they are. They're
just so excited to berecording a podcast. People out there
in podcast lines. Should Istart a podcast? Yes, start a podcast
if you're passionate. Thesetwo guys love. They can't believe

(35:30):
they're recording a podcastevery week. They're loving it. They're
having fun and joining aseasoned veteran like Corey, it's
fucking. It's great. You know,you get one person who's been around
the block a few times, andthen you get two newbies that are
just in love with the process.I want to See more mentorships like

(35:51):
this, you know, CoreyMorissette giving these. Teaching
these guys the ropes. Bringthem in. Look, you co host the show
with me. I'll do the editingand whatnot, and I'll host it and
all this sort of stuff, youknow, and just let them have fun.
Because you know what? If youinfect people with that energy to
make a podcast and do apodcast they love, it's not about

(36:13):
the numbers. It's not aboutthat. It's not about being the number
one podcast. It's not aboutthat. It's about creating something.
Creating a show around a bandthat you absolutely love and love
doing what you're doing. Andtrust me, when you enjoy what you're
doing, people will hear it.People will enjoy it. Don't look

(36:33):
for algorithm. Don't look forthis. The algorithm is if you enjoy
doing what you do, people willcome, people will show up, and I'm
showing up. So thank you,Dwayne, newest patron on our Patreon.
I love how you use the simplerecipe of enjoying what you love,

(36:55):
loving your spouse and talkingabout your spouse endlessly on the
show, and just honoringeverything about what you love. It's
beautiful. It's beautiful. Sothank you, Dwayne. Thanks to all
our other patrons. That wouldbe Sam. Let's see if I remember them
all here. Sam Thompson, CoreyMorrissette, Kevin from Saskatoon,

(37:18):
or Zeke from Speedy Creek.Ruby Ronald. George Moore, Tony Griggs.
I probably missed somebody.Anyway, peace out. I am home. And
just like the old on the roaddays, we're done. See you guys on
the flip side.
Thank you for listening, andwe'll see you next week, and bye.

(37:42):
Have a good day.