Today on the Talk Show, we're in Los Angeles. And specifically, we're at EP LP with Grant Smiley. Welcome aboard, guys. Nice to hear another Aussie accent.
Yeah, you come to LA and you manage to find every Aussie. Good job, guys. We actually want to make that has Bondi Harvest down in Culver City. And we'll just send Nick Stone, who from Blue Stone.
The Australians have invaded. Did you invade America? Yeah, we got on the boats and in 2014, we arrived here. We opened in 2015.
But obviously 2013 was the first sort of toe in the water. So it was like, we signed the lease at this particular spot we have and it took 18 months of planning and building and whatever else. And then you open the doors. We had lunch the other day.
What was the name of that place? Ciccone's. We were butchering the absolute Cachinis, the Cucchini's. We're just being very Australian.
We can't be influencers because we can't pronounce anything. I didn't mention it at lunch, but growing up, I used to come and watch you at Prince of Wales. So mate, you gave me my disco education. Probably robbed you over a few brain cells along the way too.
Mate, it was good fun. So you used to DJ, obviously back in the day. How long were you DJing for before you moved into the hospitality game? Yeah, good questions.
I started, well, when I was 16, I looked, clearly exactly the same as I did today. And I would turn 16 in year 12. So I was really young. So then I...
Were you like drastically smart? No, the old ladies wanted to get me out of the house as quickly as possible. But so what I had to do is go on wag school, go meet all the bouncers at the Metro in the city at the time. And I went and decided that I was going to be a promoter because that's the only way I was going to get in.
And they said, you have to write your name on a pass, you know, and that's how you get a dollar per pass. And I said, Hey, can I use a drill? They said, What do you want to use a drill for? Because otherwise you got to write all the time.
They said initials. I said, get it down there and bang, let's get them all out there. So your mark was the drill hole. And so then I was banging them out at universities or whatever else.
So I was making like 300 bucks a week as a year 12. And they'd give me a hundred buck drink card. I'd turn up going, thank you. So I sort of got interested into that sort of nightclub space.
But I was, I was a musician at school as well. So then I post, you know, finishing up school, I decided that I wanted to go and pursue that DJ thing. I was doing a marketing management double degree at Monash, but at the same time I was pursuing the music stuff and became a DJ. That went pretty well.
I was promoting, running clubs at the same time. And the first pivot was saying, I don't want to be a promoter anymore. So I want to be judged by the musical, you know, acumen that I can have because giving yourself a job's a bit, you know, whatever. And you're competing as your peers and all of a sudden you run that nightclub.
Oh, funnily enough, he's just playing there. But then I started producing and then that was, you know, the first record we put out was a track called Fontal. It went pretty well. I used to go to the gym with Sean, Sean, Sean.
Yeah, so when we came to the gym today. Magnificent. So we were like, went on the winter area, sold 300,000 copies. And that was for that part of it.
We couldn't get the record signed. So I started my own record label and that was how that came to be and did our own film clips, self-funded. And until the point where we said we've got to go to Warner. You guys can distribute it.
See you later. Bye. Rest is history. And then did that for the best part of, you know, 15, 20 years.
And then decided the hospitality was, it was just more the 300 flights a year is exhausting. Oh yeah. Late, late nights. Well, that was all right.
But you just get used to that. It's like habitual, but just missing your friend's birthdays, going to weddings, never went to them, you know, never Saturday night at home ever with your mates, ever, ever, ever. Cause that was meant you weren't relevant. If you weren't working on a weekend, you weren't, you weren't a good job.
What makes a good DJ? Sunglasses. Well, because that's what I'm trying to understand. Cause there seems to be like a big, like a filmmaking and videography.
There's a huge scope, right? So you have the, um, the, the DJ who has, you know, a thousand CDs and they're rocking up at the school and they've got the strobe light, which is only for big, uh, the big songs. Can you, what's the spectrum of DJ? What are the different types of DJs and how do you end up becoming a producer?
Okay. Two questions, two parts of it. Um, how do you become a good DJ? I don't know.
The barriers to entry back then were a bit more significant. It was 22 bucks for a vinyl single. So you had to pick, make sure what you're buying was good because everything was expensive. Um, and then you had a box, one crate.
That was all you could carry. Not like these days USB and everyone's a DJ now because it's all, it's all greed. It's too hard to curate. You were curating the music.
Well, you had X amount of hours and that was all I had. So you better make sure it's bloody good content. And then assume that everyone's played the biggest record before you got there. Because that's what made a good DJ.
Make your B's or A's and make sure you can still kill the night without having to play a hit. That was my rule. As long as I can, how long can I go without giving them what they want? So what's the secret?
What was the secret track that you'd pull out if shit was going bad? What was the one that... Drop the pressure. A bit of that.
I was going to say Love Shack, but I'm clearly in a different part of the country. No, I used to do this mashup with In Excess New Sensation and Daft Punk. And it used to blow the roof off. It was two old vinyl things and it was old live drums.
So having to correct it all the time on vinyl, which is tricky. And then get back to your point, how do you become a good DJ? Make the record and the producer part of it. The only way to be an authority in the space is to make it and be relevant.
So that was the other reason I stopped DJing. I just didn't have time to produce. And if I can't actually get in there and drop a record and be like, I want to be happy in the chart all the time. So on the tools, you're using like Ableton or something?
Logic Pro was our weapon of choice. But everyone, each their own. It doesn't matter whatever you start on as long as you're making good music. And I think that's the other problem too, is this enormous shotgun approach to music these days because there's such a proliferation of technology out there.
So now you're getting, hang on a minute, I'm showing my age. But we used to sit there and play, you'd make a record, okay? To get it out on, it wasn't even CD back then. You're pressing it on vinyl.
You have to go on, that cost, right? So if I'm going to get it signed, that guy's got to say, I'm going to spend X on a test pressing. Then we're going to take the record shops and they're going to have to want to buy it. Otherwise there's an enormous amount of money going out here.
So I had ears on it. I had a guy from the record label who said, I believe in it. And he'd be almost playing it down the phone to record stores going, what do you think of this record? Because they don't want to, are you going to buy it?
Because we want to get X amount of buy-in to actually produce the record. So, or now it's like our export, it's on the net. You can buy it or it's download for free. So the quality control aspect, I feel, is not there.
So samples? Is that like, are you like getting beats or stuff from other songs? Like this sort of, is that electronic? Is that the genre or what is it?
Yeah, I mean, sampling is not, you know, not electronic. I mean, Kanye's been doing it forever. I like some of his biggest records have got samples. It's just the clearance if you want to sell it and leveraging against other people's works.
Obviously having unique, uh, original stuff is your best avenues. You don't have to worry about clearance, but there's no problem using other people's works as long as you pay them for their use. Were you focused on personal brand back then? Because I think the Smiley brand, the Grant Smiley brand, back when I was going to clubs, it was, you'd nailed it.
Like just. Nova, bit of one love. It was all there. Was it, is that what you were thinking back then?
Like how can I, how can I build my personal brand? I'd be lying if I told you With that mindset. I killed it, mate. No, what you think about it is the others were big at the time, which is with Jigsaw and Windsor.
But we need this record and the benefit of it on. There's always something that happens on the day. It didn't happen to me. It happened to Jet.
So poor old Nick Cester, they had these fallbacks in front of them and they were weren't allowed to play drums live. Well, they were playing live, but they weren't amplified. So it was a click track and whatever else. And then they had the live monitors back through here and the monitors went dead and you could hear himself on this delay about two seconds on the other side of the substandard.
And it was just like way out. I'm not gonna you guys are dead. And the next day I was all about how Jet's performance was terrible. It wasn't their fault that the amplifiers went out.
And if they had to play live like they wanted to, there would have been no drama. But that's that's showbiz. Hey, what was the highlight of all the different performances you did? Which one stands out?
So many good ones. I mean, Ibiza was always great to go and play. We played a festival in I played the Love Parade in Berlin. Doesn't mean people, you know, they're all so different.
The bowl in Melbourne when it was on fire for the summer days, just closing those things was pretty amazing. And there's nothing better than, you know, when we had track like a performance or whatever else. So when there's 20,000 people singing back to you, like it's pretty, you know, amazing when I was sitting in, I can't remember, I was with Ivan. We were in maybe Magnetic Island or something.
And they said, are you going to number one? Like, that's pretty, that's pretty impressive. I think because you think we're a bit naive. You know, I was a bit naive.
The first one out smashes it. Then you go for your next nomination of the ARIA awards. You know, well, that's good to even get one. And then you lose it.
And you're like, ah, it's pretty hard to get, aren't they? It's pretty hard. People have gone their whole lives as career musicians that have never even picked up one of these things. And old mate just waltzes in year one and gets four of them.
That's a good thing. It's great. But it was just the time was timely. It was sounded different.
And then after that was sneaky. And then after sneaky, it was presets. And after the presets, just electronic music had a moment. I just happened to have a record with the other guys that connected for whatever reason.
And you were doing radio with John Corse. Sure was. Just the two of you. Yep.
Was that a, did you guys have a partnership? Were you in business together? Yeah, a bit of both. So with Nova, you know, contrary to popular belief, I don't tap you on the shoulders and go, Hey, you blokes, Kelly it down.
One Love, join me onto a show. I was at seven and I was running seven and John was at one love. And I knew that between the two of us, we sort of had the Melbourne kind of club scene happening for the minute from a musical perspective. So I said, Why don't we go to Nova?
We'll go and pitch them on a show. We'll just sit there and give them a free show and we'll see if they air it. And so we went and did this demo, put it together and went down and they said, Yeah, we'll do it. But it was at the time it was called Overdrive.
That was their show name. So we said, No, we'll do that. And then over the next year, we said, Maybe we'll put a fee on it, but not a big one. It was never about the money.
It was just more to cover the production costs and whatever else. And so we evolved that, evolved that, evolved that. And then I started saying to the guys at the Prince, maybe in the background, I was sort of weaving in a bit of, Maybe I'll just jump ship and we'll join the team together and see what was what. And because I was running seven, I was running all the promo, all the marketing.
And I said, And they said, You can just set up and DJ. I'm like, For more money. I'm like, Magic. There goes the day job.
And I'll just set up and play records. So John and I started playing. It was just then the one love brand. It's a bit like having two full forwards.
You know, they could say, John, you're going to Sydney. You're going to Adelaide. And it was kind of they could build the brand with all of us. We bought this suite of dudes that we got all just fill in.
But obviously you get to a point where it dilutes the brand so much that you go to Prince on a Saturday night and there's the B-team kind of not disrespect anyone at the time. But sometimes you'll just, they sent us everyone out, all the 8s, all around Australia. But one love was really popping at the time. But back to your point about John and I.
So we, we did a lot of stuff together and I think we, we both benefited from leveraging each other's, you know, kind of, he was a, he was a ministry sound guy. I was one love guy. And then we were together. It was kind of, that's some of the parts, I guess, bigger than the whole.
What did you learn about collaboration? Oh, look, I think I've always tried to collaborate with people smarter and better than me. I think you've always, you've always got to. If they're stupid enough to go hang on, hang on with me, that's awesome.
But I mean, even with, you know, TV Rock, Ivan was a far better producer than I was. But I was always the kind of guy that say that it's not going to work on the floor. Let's just ax that, do this, do that. You can spend five hours fashioning that kick because that's what he's amazing.
He's a genius. But maybe the magic was that I could market it better than other brands and I could get it through the, cut through the noise and get it into the right hands to make sure it was getting played at the right time. So I think the collaboration thing is here. We get, I like, if I can explore the best chef or the best architect or the best designer and the best real estate and the best whatever, just get the best, figure it out, get a way to get it because the outcome is so much better if they're vested and they're smarter than you because you know, you never want to be the smartest one in the room.
What happens with music and you know, years on from that track being released, how many years ago was that? 11, 12. Do you still make money from songs because they're still getting played on the radio? I'm flying, mate.
I reckon, I think last year, I've got a feeling I might've collected 78 bucks. And the admin fees are on me. So that's what happens. It just, the, so you think about it is with the others was big at the time, which is and then after sneaky, it was presets.
And after the presets, just electronic music had a moment. I just happened to have a record with the other guys that connected for whatever reason. And you were doing radio with John Corse. Sure was.
Just the two of you. Yep. Was that a, was that a, did you guys have a partnership? Were you in business together?
Yeah, a bit of both. So with Nova, you know, contrary to popular belief, I don't tap you on the shoulders and go, Hey, you blokes kill it down. One love, join me onto a show. I was at seven and I was running seven and John was at one love.
And I knew that between the two of us, we sort of had the Melbourne kind of club scene happening for the minute from a musical perspective. So I said, why don't we go to Nova? We'll go and pitch them on a show. We'll just sit there and give them a free show and we'll see if they air it.
And so we went and did this demo, put it together and went down and they said, Yeah, we'll do it. Um, it was at the time it was called overdrive. That that was their show name. So we said, no, we'll do that.
And then over the next year we said, maybe we'll put a fee on it, but not a big one. It was never about the money. It was just more to cover the production costs and whatever else. And so we evolved that, evolved that, evolved that.
And then I started saying to the guys at the Prince, maybe in the background, I was sort of weaving in a bit of, maybe I'll just jump ship and we'll join the team together and see what was what. And because I was running seven, I was running all the promo, all the marketing. And I said, and they said, You can just set up and DJ for more money. I'm like, magic.
There goes the day job. And I just set up and play records. So John and I started playing. It was just then the one love brand.
They could, it's a bit like having two full forwards, you know, they could say, John, you're going to Sydney. Great. You're going to Adelaide and was kind of, they could build the brand with all of us. We bought this, this suite of dudes that we got all just fill in.
But obviously you get to a point where it dilutes the brand so We hired way too early, thinking that we were going to get the sign-offs from the city and all of a sudden it's like two months later, you've been paying 40 grand a week of costs and it's two months by, you know, you're not factoring that into your bill cost, then it's just straight out the door, no benefit. But wouldn't do that again, you just gotta wait till you get sign-offs and then just go hard, do some training and hire at that stage. What came first, Ponyfish Island or this venue? No, Ponyfish is a year nine, so it's been going for a while.
That was a pop-up for two weeks, then on the first night we sold out a beer four times and I said, this is permanent. Is a pop-up just a way of people saying, we're testing? Yeah, it's the same way that someone says, I'm an entrepreneur, and I go, I wouldn't prefer to be called a fucking successful business person because I reckon entrepreneurs are the guy that keeps on fucking failing. Pop-ups are pretty non-committal.
It's complicated. But I think for us it was though, because it was a piece of freaking concrete in the middle of a river. We still have to bring ice there every day. There's no ice machine, there's no power.
It's a bizarre spot. It's bizarre. But it's so unique. So if it worked, it was going to be amazing because you're not going to get a piece of land like that anywhere else.
But you can't get insurance on there either because, you know, the great flood of 97 and the great flood of 2016, like it floods every year. So you got to just factor that in now. Yeah, you just buy fridges with motors on the top so you don't blow one up when the water comes up and, you know, like, you're just going to get everyone out. So you'd had a bit of, you know, practise with a venue in Australia and then you move over here.
What's the biggest difference in Australian laws and regulations and American laws and regulations? Like what blows your mind? I'd say the one thing that like when we first got here and I still think every Australian tourist has seen this. When you go to a venue and you say, Hey, can I have a scubber, a beer, thanks.
And the guy goes, I'll just go get you a server. And you're like, what do you do? I'm the back waiter. I'm like, I just want a beer, right?
Can you just tell the guy who's going to get, let's just cut out the middleman, right? Because in Australia, it's like a brand's working in a section. I'm taking your drink order. I'm clearing your plates.
I'm dropping your check. See you later. Bye. Right.
Here, it's like, no, no, no, I don't collect that. I'm just taking the orders. I'm the front man. There's someone else who does that job.
Did you try and push it the other way? I tried it. We tried it on and the, and all the servers and we couldn't get staff. They're like, I'm not doing that.
And I just explained, I'm like, you get the tips for that guy. You can pull and you get the lot of it. Sure. It was like, you've asked them to go and jump off the side of a building.
I think I've created a bunch of drama in the US before where I have managed to get someone to do something or it's a shift that took like even yesterday. They have to split checks at the end of the night tips and you've caused that drama. Well, we even, not to brag, but we went to IHOP last night. You really go for it.
And uh, no, the lady actually, the uh, the waitress said, uh, can I, can I just close your uh checkout? Because I'm finishing my shift. Yeah. That's weird too.
How about you just leave it open, love. Yeah, it is strange. It's odd. I'm just going to, I'll come and make sure that I'm, I'm leaving.
So I'm just letting you know that I'm leaving and they're going to be taking up. It's like, so much drama. How does it, what does it do to, um, the culture of, you know, your venue and the staff? Look, it's all about how you deal with it.
I think at the same time, like you can have a model in America where it's kind of everything is a piece of real estate. So you can rent this for $2,000 on a Saturday and that seats that and that seats that. And it's quite a common sort of thematic even at sports bars, booths, like 400 bucks minimum spend. It's a real estate game.
It's real estate. It really is. And, and, but we found that then you can't really regulate the kind of crowd or if you do, you're a bunch of 15 blokes always buy two tables, but then you got 15 knuckleheads still hanging around. This is really, this is not the best look.
So we sort of decided we'll create a rooftop pub kind of scenario where it's just, it's elevated and it's, it's beautiful, but I'm not going to try and worry about this bottle service sort of kind of thing. And I want you to come often and enjoy it. And it's not pretentious. It's just kind of part of the community.
And I think that's what's made it give it some longevity because there's always the hot new thing that rocks through the venue. So there's like down the street when the nice guy was, was banging, it was just bottles. And then they open up another venue up the road called Poppy. And then that hot crowd goes there and then they're sort of singing for their stuff up and down the road.
So bottles that just, I haven't been to that many venues. So yeah, bottle of tequila, bottle of tequila. Is that common in Australia as well? They're starting it now.
It's starting. It's a bit try hard or does it seem like in Australia? It's complicated. But I think for us it was though, because it was a piece of freaking concrete in the middle of a river.
You know, we still have to bring ice there every day. There's no ice machine. There's no power. That's a bizarre spot.
It's bizarre. But it's so unique. So if you, if it worked, it was going to be amazing because it's, you're not gonna get a piece of land like that anywhere else. But you can't get insurance on there either because, you know, the great flood of 97 and the great flood of 2016, like it floods every year.
So you gotta just factor that in now. Yeah, you just buy fridges with motors on the top, so you don't blow one up when the water comes up and you know, like it's just, you got to get everyone out. So you'd had a bit of, um, you know, practice with a venue in Australia and then you move over here. What's the biggest difference in Australian laws and regulations and American laws and regulations?
Like what blows your mind? I think the one thing that like when we first got here and I still think every Australian tourist has seen this. When you go to a venue and you say, Hey, but can I, um, can I just grab a beer? Thanks.
And the guy goes, I'll just go get you a server. And you're like, what do you do? I'm the, I'm the back waiter. I'm like, I just want a beer, right?
Can you, can you just tell the guy who's, who's going to get, just cut out the middleman, right? Because in Australia, it's like brand's working in a section. I'm taking your drink order. I'm clearing your plates.
I'm dropping your check. See you later. Bye. Right.
Here it's like, no, no, no. I don't collect that. I'm just taking the orders. I'm the front man.
There's someone else who does that job. Did you try and push it the other way? I tried it. We tried it on and the, and all the servers and we couldn't get staff.
They're like, I'm not doing that. And I said, explain. I'm like, you get the tips for that guy. You can pull them.
You get the lot of it. Sure. It was like, you've asked him to go and jump off the side of a building. I think I've created a bunch of drama in the U S before where I have managed to get someone to do something or it's a shift that took like even, uh, have to split checks at the end of the night tips and you've caused that drama.
Well, we even, not to brag, but we went to IHOP last night. You really, you really go for it. And, uh, no, the lady actually, the, uh, the waitress said, I can, I just close your, uh, checkout because I'm finishing my shift. Yeah.
That's weird too. How about you just leave it open, love? Yeah, it is strange. It's odd.
I'm just going to, I'll come and say, make sure that I'm, I'm leaving. So I'm just letting you know that I'm leaving and they're going to be taking up. It's like, so much drama. How does it, what does it do to, um, the culture of, you know, your venue and the staff?
Look, it's all about how you deal with it. I think at the same time, like you can have a model in America where it's kind of everything's a piece of real estate. So you can rent this for $2,000 on a Saturday and that seats that and that seats that and it's quite a common sort of thematic, even at sports bars, booths, like 400 buck minimum spend. It's a real estate game.
It's real estate. It And no one says anything. It's frightening. Yeah, it's crazy.
With the US currency, when it's going good against the Australian dollar, do you invest in different ways? Do you say, hey, the US is doing really well. I'm going to start doing more in Australia, or does it not really come into consideration? Not really.
At the moment, sort of, for us, our next two years is here. And it would be a distraction for me to go and look at anything back home. It's only wrong. If the Aussie peso really falls away and it gets to like 50 cents or something, I'll go and buy a house back home because it's double your money.
That's attractive, but other than that, not really. I think it's kind of, we're only in US dollars here. And I guess, you know, we get the benefit of it when I go home and sell it to family. That's nice.
But in the inverse, the tourism is a bit more challenging when the dollar's up against it because, you know, people are sitting there going, mate, drinks are freaking expensive and that hotel's not 200 bucks, it's 300 bucks. So, but you know, as always when you're on holiday, you sort of think about it in the currency you're in. Otherwise, you have the worst time of your life. Well, because then it actually is the same, but just when you put the conversion on it, it kills you.
Yeah, it just ruins your holiday. It's going to go, don't worry about it, leave it as it is. So for Aussies coming to LA, what are three things that they can do? One thing in the morning, one thing in the arvo and one thing at night that's different to what everyone else is doing to have a great experience.
Well, look, there's a thousand things you can do here. I guess it depends where you're staying because that's a little bit of a driver. But I mean, you've got to do a hike. It's one of those things that's a quintessential Californian thing to do.
And if you're on this side, of course, it's Runyon, you'll see more ripped bodies in the morning than you've ever seen in your life. It's like it's tops off at 6.30, ready to go. Ridiculous. And if you're down, if you're down sort of Malibu way, you can go to Temescal Canyon, any of those ones.
But look, there's a thousand online things for hikes. That's all fun. What's your hike of choice? I actually live right near Runyon, so it's kind of pretty easy to just go and bang it out.
But I do it at sort of five in the morning when it's dark. Yeah, still top off. And then I guess from like the afternoon and evening things. I mean, afternoon in California can be interesting.
We've always thought that you can never go to a pool, right? A hotel pool. All the hotel pools are free. Just go and sit by one.
So even if you're not staying at the addition, just go rock up and use their pool. Because here in LA, you can go to the Mondrian and then. Yes, mate. Well, Tommy keeps saying you can only go while I'm here, guys.
Obviously doesn't want you to buy the pool with it. You just go rock up to the Roosevelt. They're happy to take your money. Use it by the pool.
Knock it out. So if you don't have a pool at your place or your Airbnb, go down to the Roosevelt, tell them I sent you and you're good to go. But seriously, it's a great tip and you can use the hotel pools. No problem.
That's a great idea. And then by night, look, I think one thing they do really well here is the dodgy sports bars. If you want to go to Barney's or one of those kind of ones and just get, you know, 15,000 beers on tap and more sports than you know what to do with. And we think we've got sports here.
You've got all year round. There's NBA. That's being college and then professional. Then it's hockey.
Then it's, you know, it's just every night. Something's going on. And if you get to a Lakers game or a Clippers game at Staples, it's unbelievable. Is there any tips on getting tickets?
They always just gonna be fucking expensive. They are expensive, but I'll just go to StubHub. StubHub is if you get them last, last minute, if you're prepared to hold your breath and see what's wait half an hour, an hour before tip off, they're either going to be empty or you can get a deal. And if it's just an online scan code, so you can get it five minutes before tip off.
You down the site, know you're going in and just wait for the last minute deal. Oh, awesome. So America is known for, you know, thinking big. It's the land of opportunity.
You back when you're DJing, you're at Prince, you're in Albury. Were you thinking big? Were you thinking this is on the cards for you? I didn't think California was on the cards, but I mean, I always had multiple businesses.
I, you know, I sold my DJ agency to Ministry of Sound. I sold my record label back to my partners because I just sort of didn't have any passion for it anymore. But I was always going to create new things. So I don't know if this is my forever career.
I think probably the next steps are going to be hotels or something like that. I don't know. But I don't think we're actually tied to anything anymore. I think you're only as limited as your own dream.
But you've also got to have the stones to back it up. Yeah. My only thing is, I suggest, you know, you don't want to risk every single dollar you've got in your pocket to fulfill a dream. It's pretty boring to be, you know, especially the older you get.
I don't have children. But if you had to, if you're risking your livelihood of your family or your children, you just can't do that anymore. But risk as much as you can afford to lose and just push it in. APLP, is that a records reference?
Yep. Yep. So extended play and long play. So the old, you know, seven inches and 12 inches of the extended play long play.
And luckily enough, the next cafe is called Springs of Life. And then Grandmaster Recorders, when we found the site and it was an old recording studio, I walked in and went, fuck, that's what we're doing. You know, so the musical undertone is just one that we've just decided is a thematic to travel through. Doesn't necessarily play a significant part.
We have videos here, but it's not, you know, we're certainly, it's just more of a reference to what was the past and what is now my future. Yeah. That's an amazing spot. It's like we can see behind us what hills are.
What are they? Is that the Hollywood Hills? Hollywood Hills. Yeah, Hollywood Hills behind us.
So nice. It's the Sunset Strip, just straight up back this way. And at nighttime, you know, it's a pretty, pretty special spot to look up on. You know, there's not too many spots in the world like this.
And funnily enough, you just got to find that magic one straight up is too close to the hill. You don't get the same sense. And then one street back, it's too far away. So, you know, it's that lucky.
Well, it wasn't lucky. I think my business partner, Dave, was in real estate. So he did a great deal finding it. And you've made enough impact that no other one's going to come here anytime soon.
I think we're good. I think we're good. Grant, thanks so much for coming on The Daily Talk Show. We really appreciate it.
All the time you've given us. It's been awesome. Great to see you. It's The Daily Talk Show.
Hi, TheDailyTalkShow.com is the email address if you want to send us an email. Otherwise, see you tomorrow, guys. See you, guys.