The Dive Podcast

31: Navigating the Realities of Breaking into Musical Theatre with Jacob Steen

• Season 2 • Episode 31

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In this episode, we speak with Jacob, a young musical theatre performer, who shares his journey from a small dance school in Melbourne to starring in major shows like Mary Poppins and Groundhog Day.

Highlights:

  • Jacob's early dance training in Melbourne and the pivotal moment when his first dance school shut down.
  • The unexpected audition and subsequent casting in "Mary Poppins," which set a high standard for Jacob's future endeavors.
  • The challenging yet transformative experience of being let go from "Moulin Rouge!" and how Jacob used that setback to fuel his determination.
  • Transitioning from "Moulin Rouge!" to "Groundhog Day" in a matter of weeks and the valuable lessons learned along the way.
  • The importance of maintaining routines and continually working on skills, even while performing professionally.
  • Insights into the Australian musical theater scene and the mindset needed for long-term success.

What to Expect:

  • Candid and motivational conversation with Jacob about his career journey.
  • Behind-the-scenes anecdotes from his time in major musical productions.
  • Practical advice for aspiring performers.
  • Insights into maintaining routines and skill development.
  • Encouragement for anyone pursuing their dreams in the performing arts.
  • Valuable lessons learned from setbacks and triumphs in the industry.

Here Are Your Next Steps 👇🏻

Step One: 📝Get your FREE Audition Prep Workbook

Step Two: 🫂 Join Free Facebook Support Group

Step Three: 👀 Check out the Momentum Program for aspiring MT performers looking to become professional

Step Four: 🎥 Watch our MOST DOWNLOADED Podcast Episode with Luca Dinardo

Speaker 2:

Hello and welcome If you are new here. I'm Taylor. I'm the host of the Dive Podcast. I'm also a musical theatre performer and I've been in the industry for over 10 years. Alongside that, I'm also a yoga and dance teacher and I'm the creator and founder of the Dive, which is the fastest growing support platform for musical theatre artists, both emerging and professional. Join us for conversations on mindset behind the scenes, stories of professionals in the industry and how you can navigate the challenges that we face as artists. Once a week, you'll have a professional guest come on the show who we will interview, and every second week you'll have me as your podcast host, where I'll be coming on and sharing with you practical exercises and resources to help you on your way to becoming a professional in the industry. Thank you so much for being on, jacob. I'm so excited that you're here and we actually lived together for a little while back when.

Speaker 1:

We did, we did Early this year.

Speaker 2:

Yeah, and you would have probably then seen a lot of the behind the scenes of what the Dive podcast was, because I was only creating it when we were together.

Speaker 1:

Yeah, built from the ground up literally in my little office that we had in the top room, always riding away, riding away planning schedule.

Speaker 2:

Yeah, exactly, it's so good. Yeah, well, it's awesome to have you on. We're such great friends and I got to meet you on Mary Poppins, which was just such an awesome experience to work together and you've gone ahead and built this beautiful career for yourself and it's just been kind of a whirlwind because it's only. It has been Kind of only happened in the past how many years, like two, three years.

Speaker 1:

Yeah two, let's go a humble, two years.

Speaker 2:

A humble two, yeah A two, yeah, a humble two yeah, well, let's kind of start there. Let's kind of give people a picture of what it's been like for you, maybe a little bit about where you're, where you trained and kind of how you got into your first musical. All right.

Speaker 1:

So I'm 21 now. I'm living in melbourne. I grew up in Melbourne. I grew up dancing in this tiny dance school in Boronia, which is like a suburb you know Boronia, yeah, small suburb and it was like not, it was not like where people went to make it big. Do you know what I mean when I? I think I was in about year eight or year nine that dance school shut down and my mom and I we were like what are we going to do? And then the principal of that dance school, she was like, well, you know, jacob could be really good. I don't know how she said it, but she was basically like he could be serious with this if he wanted to. And I was like I did not care, I was like I just want to dance, it's not that serious. But then we were like, all right, let's do it. And it was.

Speaker 1:

I went to May Downs School of Dance in the city and that was like a huge thing for me, cause I was like, oh my gosh, the city. I'm going to have to drive with whoever for 40 minutes to get there, which is crazy now, because like I go to the city all the time. And then so I went there and I remember just the types of kids that were there. This was during like Matilda and School of Rock, and then I'd make friends and then I'd be like, oh, where's like, where's Tiana? And they're like, oh, she's doing Matilda today, so she kind of come to dance and I was like, oh my gosh, this is crazy. Like all these kids my age were like already there you know Doing the thing.

Speaker 1:

And yeah, and it was, I think it was that that kind of was like kind of made me feel like if they can do it, I can do it.

Speaker 1:

And then so after that, after that, I did that until year 12 and then in year 12 I auditioned for all the the schools and I got into music theater at vco and then so I planned to do the three years there and then in my first year I got it was a I don't even know what you would call it, it was super like not official because there was no way to contact me I got a message about auditioning for Mary Poppins and I was like sure, I was kind of like not thinking about that far ahead until, like you know, I was in the last year of full time and then I'll start thinking about doing stuff and I was like I'll just do it for experience and like to put myself out there.

Speaker 1:

And then it happened and that was like I thought I was riding on a train to a destination and a boulder just came and smashed the train off the rails. It was literally, and I was like, okay, this is crazy. And then so, yeah, I did marry poppins with you for however long and that experience was like such a great first experience to have you know yeah like, just have my level yeah, level of expectation of how I should be treated great people to be around.

Speaker 1:

The standard was just set at such a high bar for my first experience, which is just something that I'm grateful for forever, you know.

Speaker 2:

Yeah.

Speaker 1:

So then, after that, I left to do Moulin Rouge, and I did that for about three months. That was a very challenging time for the people that I mean, like, should I talk about it or should I not?

Speaker 2:

You can absolutely talk about it if you wish. I mean, I'm fine to talk about it.

Speaker 1:

I think maybe it would be good to talk about. So I got into that show. I was supposed to be in Understudy, santiago and I was in the ensemble T7, and rehearsed for four weeks and then started doing shows like one on one off because they wanted to sort of ease me into it. And basically it just got to this point where they were like we have made a mistake with casting you in this show and it was like such a tough time like it was like so confusing. I remember when I found out I like I couldn't eat or speak. I was just like what is happening Surprisingly? I was so resilient. I was like great, let me try even harder, which is obviously for a few days I was like wow, my life is whatever I thought it was. But then I just got back up and I was like I want the next thing even more.

Speaker 2:

Even with that, because I was living with you at this stage and a bit of backstory because I was there a little bit of it, and it wasn't that you weren't trying, or I think there was even some physio stuff to help you get stronger and all different sorts. There was all these avenues you were taking and it just so happened that the circumstance happened where we weren't able to fill that role in the capacity that they once thought, which is a shame on their part. But also maybe, like you just said, you then used that as power and fuel where a lot of people would probably diminish and really be upset with those things and stay there and maybe not feel so good, really be upset with those things and stay there and maybe not feel so good. But what made you feel like strength and power to actually continue and go ahead?

Speaker 1:

Well, I remember in the official meeting I was like, if we were going to do this again, what could I have done differently? And they were like honestly, nothing. You did everything that we asked of you. You put in the effort, which is it was a bit freeing actually, because I was like, okay, although this is affecting me directly, it is not because of me. I mean like it is because of me, but it wasn't because of anything I could have done different.

Speaker 1:

And then I think what empowered me was, yeah, it's just this feeling of I can be a victim, like I can sit and be a victim and be like, oh my gosh, how could this happen to me? But it's not. I feel like when I feel like that, nothing happens, nothing changes, which I am not a fan of. So I was kind of like, even if just for a story, what an amazing story for me to be like at the bottom of how I'd ever felt maybe in my life and then to bounce back into something I didn't know when it was going to happen, but to come back and people be like no, people be like oh, that's Jacob. He got let go or fired from a job, but now look how he walks, you can't even tell he's still growing and energetic. And I just thought wow, I know who I can be, so I'm going to try.

Speaker 2:

Did you surprise yourself in that that you went ahead and kind of just took that and was like, right, use this as a redirection, using it to your strength. Did you surprise yourself or do you feel like that? Maybe through your upbringing you've already had that sort of quality, so you had that from a base forever?

Speaker 1:

just like loving a challenge, or like people saying, oh no, you can't do it this way, and then being I don't know, I love the rebellion of like I'm going to be the one to do it, you know, which is like it can help but it also can hinder. But yeah, in this situation it really helped me.

Speaker 2:

Because then from there you ended up going on to Groundhog Day right, which was one of the most incredible experiences for you.

Speaker 1:

It honestly, would have had to be supernatural. Like I auditioned for that show, I think, four weeks after I'd been let go, so some time off. But then four weeks I auditioned for it and then a few weeks later after that and I got that and I was like what do you mean? Well, clearly it does happen, but I was like this could not have come at a better time in, with everything that was going on, and to bounce back into another show like a month and a half after being set back and it's like that.

Speaker 2:

That experience for you was obviously so good.

Speaker 1:

I got to see you in it, which is awesome, and you know, imagine if you were still in moulin you probably wouldn't have been able to do that right yeah, and also if I had have stayed in that show I would have just kind of traveled along, obviously learned some, but like having the drop but then the win, like it's just the range is huge yeah.

Speaker 2:

Because in the moment it never feels like it's what is meant to be. You're like no, but then now, looking back at how it's all panned out, can you now see, like, why things have happened that way?

Speaker 1:

I can, yeah, yeah, and even people close to me, like my agent and my best friends and my mom and my family, just being having like reinforcing that sort of idea of like things that are meant to be won't pass you by, that sort of thing and like of course they're going to be crap times but there will be things that feel and are right. And also, I think, by the biggest takeaway that I learned, which is like crazy, is that I'd much rather not get a job because it isn't right for me than be put in a job. Not get a job because it isn't right for me, then be put in a job that isn't right for me and it's just uncomfortable. You can kind of tell when you're like, oh, I don't think I'm right for this and then trying to do it is like painful.

Speaker 2:

It's almost like fitting a mold, that if you're a triangle and you're trying to get through a square, it doesn't work. Yeah.

Speaker 1:

It's just not enjoyable. But then, doing Groundhog day, I was like, oh my gosh, everything that I have inside me is already enough for this character and I didn't have to like change. Not change who I was, but change myself to be the thing you know.

Speaker 2:

Yeah, what an experience Crazy.

Speaker 1:

Crazy experience.

Speaker 2:

So crazy and it's so good and like we were talking a little bit earlier and we can go into this now about you know there was obviously maybe some routines and things that helped you in that progression. And I mean, when you're getting into the industry so young and so fresh, you know there's so much growth happening and lots of things to like take on board. When you were like starting out into your first year basically of training and then all of a sudden you're doing eight shows a week. What was that shift like for you and what would you say like you learned the most from actually like being in the show?

Speaker 1:

I think what I learned probably is that once you get there, it's not the end of like learning, which was a rude awakening. I know there's this quote about like when you get to the top of the mountain, it's just the bottom of the next, which is, oh my gosh, it was just a lot of staying on top of everything and because I had left my full-time two years early.

Speaker 1:

I think the more I went on, the more I realized I needed to work on my skills. But when I first made that transition I was like, well, I need to practice. And it's not. I knew it wasn't good enough for me to just do the eight shows because, like, once the show's done, what am I left with if not, if I haven't been like working those skills while I can, while I've got the money, while I've got the time and while I get to put it into practice, it's like the best time. It was like the best situation.

Speaker 2:

Yeah it was so good to see you actually install that as an individual, because it's a big network like musicals here in Australia and that we have some fantastic like artists coming to shows and new people and experienced people. It's a whole mix mash of different people. And there's one thing that I definitely will call out and if people that are musical theatre performers I definitely believe we're all at a different journey and whatnot but there is that mindset that kind of comes in. It's very easy to get into a show and arrive like arrive in a show and not continue that skill development. And there is times for that, for sure, because sometimes you feel like you've done the work right, you've done all this work to get into this thing, and then you're here and you've made it sort of you know vibe. But the people that I've worked with that have this longevity you know Lisa Songtag comes to mind to different artists that I really admire and look up to. They're all people that don't arrive.

Speaker 2:

They constantly are humbled by the next work or what they can improve on and they're bringing that into that weekly life and seeing that that was already a thing for you, you kind of got into the habit of that, probably without even knowing it, that that's what you need to and because you were starting out your training and you needed that next extra step, but you were able to actually go ahead and do it whilst in a show, which then probably reinforced the importance of it yeah, and I think also looking people in that show specifically, that I I was like oh my gosh, I think they're top-notch performers.

Speaker 1:

But people like Kim Hodgson, who I was like oh my gosh, she's amazing and she always oh, it just freaks me out a bit. I would ask her about what she does and even still, I don't know how old she is, but she's been doing it for a while and she's like doing classes and it's that sort of thing that you don't see. I don't know if she's doing classes, but what I know is that when she turns up, she's doing a banging job of it.

Speaker 2:

Yeah, and there's probably that misconception that when you don't see it, because everything's online now a lot of the time, we think that the people are actively posting, that they're in class, that the people that are working on it. But I think there is such power in not having to share, like whilst you're still working away on your skills. I feel like there's a time and place to share and making sure that we're sharing authentically in a way that actually is expressing us where we are now, what we have to offer in a place. That's fun. But I do believe there is that hidden power of you're really only as strong as what you're doing when no one's watching, I believe more than anything. Yeah, succeeding in silence, yes, I think it's so attractive and it's so more important because it's really kind of like the definition of discipline as well. That comes in.

Speaker 2:

It's a lifestyle, it's not a party trick you know absolutely well, we're talking about routines, then, and maybe some things that really helped you along the way when you kind of got in, because there's a lot of people on here that are aspiring performers that want to do the skills they want to work on their skills, that ultimately, we all want to be in a musical, we want to work professionally and we want to have not only the gig but we want to be able to stay there and sustain it and build longevity. We were just recently talking about routines and maybe some things that have been helping you lately and the importance of that, how you found that. Would you love to speak a little bit about that? And maybe how performers can start to create that for themselves?

Speaker 1:

Yeah Well, I think it would be if I was thinking from like the perspective of I hadn't done any like big main stage professional gigs. I think it's about like a perspective change because what I'm facing now is that I haven't had this much free time ever and so I'm having to work my routine and figure out what classes I need. And I think it would be like helpful to change your perspective in the sense of, like the routine that you create before you start working is a routine you can always fall back on in terms of like strengthening skills you've already got and also learning new skills. Basically, what I've been doing is ballet is my non-negotiable, especially after like career stuff that I've had. I'm like I want to be strong, I want to prevent injury, all that and just have that discipline.

Speaker 1:

And then finding a singing teacher. I listened to Jeff's episode. I love him and he talking about having a vocal coach and then also a technical singing teacher and just someone to help you stylistically and then someone to help you technically. And then finding your voice, finding what works for you so that when auditions come up, you can be like I know who I am when I'm performing. And I think this matches that and I'm going to go in.

Speaker 2:

Yeah, just give it.

Speaker 1:

Yeah, yeah, think this matches that, and I'm going to go in.

Speaker 2:

Yeah, just give it, yeah. Yeah, it's so important and a lot of the things that come up, especially with auditions, because at the end of the day, we're musical theatre performers and we're all auditioning all the time. You know the routines are really what are going to save you. The things that you're doing week in, week out are really. I love the thing that you said about when you're in the show, even if you're in the audition, having actual habits and things that you can fall back on that you know are progressing you. It's definitely going to allow us to not feel the rejection so much or not feel the ups and downs as much, because you're creating, or starting to create, those real foundational habits that actually make you feel progressed and make you feel like you're in, or starting to create those real foundational habits that actually make you feel progressed and make you feel like you're in this momentum regression mine and if an audition comes up and you don't get it, you're like fine, because I'm still working on me and I'm progressing in this direction.

Speaker 1:

That I know, essentially, is what I'm needing to work on yeah, and it's also great to have somewhere to put that feeling of like. If an audition goes really well or it goes really badly, regardless, you can take the experience and be like I need to think about this when I'm doing this. I need to think about my plies more, because I was like unstable landing jumps in that dance call or like work on my legit voice or like my vibrato, whatever it is. You can take it. It's like a tennis match, really Like audition technique. Audition technique, you know.

Speaker 2:

Yeah, that's it, I love that.

Speaker 1:

So good yeah.

Speaker 2:

When I'm just talking a little bit about auditions. I'd love to know was there any perceptions you had of auditions before going in? Because of course you said you were growing up Baronia, then you're going to another dance school and you're seeing other people kind of get into things, but you never really knew how that was going about and then you were going into an audition.

Speaker 1:

What were you thinking before? And then you did the auditions, because a lot of performers that are listening in haven't auditioned as well. Yeah, bring in piano sheet music. And I was like, simply what for Like, why would I bring sheet music in? And I remember I brought it in I don't know what I thought it was going to be like. And there was a person on a piano and I was like, what's he doing here? And only like, as I walked in, I was like, oh no, come on. I was like I have to sing with the piano. I was like, oh my God. I was like I have to sing with the piano. I was like I've never done that before, but that was before I started full time. So I was lucky to have an audition and I was like, oh, there's a whole other skill that I need to learn. I don't know what I thought was going to happen, but I didn't think they were going to play my music. I was like, how would he know how to play my music?

Speaker 2:

He, they were going to play my. I was like how would he know how to play my music? He's never seen it before, you know, or how would they know? Well, maybe a better question to actually ask you is knowing what you know now about auditions, what advice would you give yourself before going in?

Speaker 1:

I would say part of it is learning as you go, but knowing how you work. If you need quiet time before you're going to meet the material in the audition room, prioritize that. I know it can be intense when you walk in and there's all these people, or there's people you're seeing on stage, currently like in the same room as you, and you're like, oh my gosh, I adore that person. It's really a lot, it's heightened. But I think the advice I would give is that know what you can do before you get there. Don't figure out what you can do when you're there.

Speaker 1:

That was a big thing for me, because I remember doing scales and singing notes that I was like I didn't know I could do this and then no one's going to hire someone who doesn't know what they could do. You know, or if you don't trust yourself, how can they trust you sort of thing. There was a kind of a time where I felt like I could do it alone or I could turn up, not talk to anybody and just kind of be fine. And then I heard this quote I don't know where it was from, but it was like don't push away the people who might understand you the most and I was like everyone who's there. I know you're not really competing because everyone is so different, but they get it.

Speaker 1:

If anyone's going to understand how you feel, it's other performers, and I think that was like a huge thing for me because I was like nobody gets me. All the people who I was talking to tried to understand me but just can't really fathom the intensity of it. But other performers we're all in the same boat just trying to figure it out, as it happens. So yeah, making friends at auditions, I think there are people who I see, who I kind of go for the same things, and just having building friendships with them so that I know that I've got someone to talk to. And also it's another reason to look forward to my auditions, because I'm like, oh, am I gonna see him, am I gonna see them again? Like it adds like just an element of like support and something to look forward to.

Speaker 2:

Yeah, well, there's so many different people and I mean I love that you said that we're all kind of in the same boat, because sometimes what it looks like when you're at an audition even pros or people that have been I've done a lot of auditions myself like it may look like we have it all together, but like I still get jittery and nervous, like I still want to do well, like I have to still navigate that.

Speaker 2:

I think even a recent audition I did, I couldn't go into like the big room where everyone was like warming up because just too many people for me. It would make me even more anxious. But maybe when I was beginning I would feel like, oh, I have to be in there with. So you start to learn different ways on what actually suits you best and what's actually going to help you, so that you can actually then go into the audition and give your best shot. And I think that only comes with experience. So that would definitely I would personally recommend, you know, have a look at what goes well in the audition, but things that maybe can make you feel safer or make you feel like you can still be authentic and show up, and, yeah, that only comes with experience, but I think having that reflective mindset is going to really help. You know you go forward for sure yeah, and also trying.

Speaker 1:

I know rehearsals are usually the place to try new things, but also try different audition things at each different thing. Of course. Do this things that you feel like you need to succeed in your audition, but also try different things. What happens when I don't go into the big room and I just kind of play my music and focus on my breath or whatever it is? Or what happens when I learn the choreography in the front row from when I first get there? Or what happens when I learn in the back? What happens when I ask a question that I actually, because I know for me. Sometimes I'm like, oh, I won't ask because I don't want them to think I'm some lie, I don't want them to think I'm whatever, but then asking, I get the information I need and maybe so do other people in the room. You know what I mean. It kind of is it's for you, for the performer, to try.

Speaker 2:

Yeah a lot of listeners in and people I've been speaking to recently love listening to the podcast and something they wish they could implement is actually like how these things we're talking about actually can impact them directly.

Speaker 2:

So I'm just going to give a little two top tips on something that we were just talking about. The thing that you said, you know trying out if you're do the dance around in the front or the back. I now actually don't do it in the front, because I used to go right to the front center, you know, to give the dance round and like halfway through I would mentally just forget Corrie, because I have been going flat out every time, like all the rounds, and so by the time it gets to groups I'm exhausted. So now if you see me in an audition, I'll be like near the back or and there's actually more space, which is so much better because you can do your own thing and then you can just mark it fill in your body. So your own thing and then you can just mark it fill in your body. So that's what helps me. But, like you said, maybe you need to be at the front so that you can absorb and can go flat out.

Speaker 1:

So that's definitely one tip that I give. Did you have anything to add on that? Well, also, yeah, for me I love starting at the back, because one I can kind of warm up to my confidence, and then, by the time the lines are switching, I get to the front. For when my focus drops off, it's usually the fourth or fifth bar of eight where my focus literally just I'm like I'm hungry or something Like I just cannot focus. But then by the time I get to the front, I'm like, oh, it's right there, I'll just you know that's how I work, but I only figured that out like now. Yeah, oh, it's right there, I'll just you know that's how I work, but I only figured that out like now.

Speaker 2:

Yeah, that's it and I think that that's so. You've wrapped that up really beautifully. Because there is so much information nowadays, I feel like all students we want to do well, I still consider myself a student, never ending learning, but I definitely feel like there's this need to know everything, because if we feel like we know everything then we can be safe. But I think there's such beauty in the unknowing of it all, being a beginner, discovering it all for the first time. You know we can give you every single second of what happens into an audition, but it's never actually going to help you until you're there and experiencing it and seeing how you're responding to it. So you know, I want to kind of give people that are listening in just a bit of more freedom. Know that you don't have to know everything to progress. Because I tell you, we both didn't know Like I mean, back when I wasn't posting anything, we weren't doing classes posting, we weren't like the audition experience was similar to you. You didn't like I knew At that stage I had to sing, but you don't know, for example, something simple I'm going to learn to the mirror and then all of a sudden turn around or turn to the side.

Speaker 2:

These things. I just don't know. But I think you actually learn the most by sometimes not knowing, because it kind of either catches you off guard, but it's in those small moments that when things catch you off guard is when your routines and your skills and your development on yourself are really going to take over. So I thought of wrapping it up all into what we were speaking about there, that bringing back focus to what you need to work on and having that as the predominant factor in your life of okay, this is what I need to work on. They're all going to show up when all the other factors are like against you.

Speaker 1:

Yeah. Or when you feel like you're losing control, the things that you've practiced in a quiet or like nice place, they're just going to meet you where you need that's. That is a crazy thing that I've learned what you've put in before can just come out now without even you thinking about it. Crazy, right it is.

Speaker 2:

Well, it's been awesome having you on, Jacob. I feel like we can talk for hours and hours.

Speaker 1:

Thank you for having me. You at least have the turnaround that we have on, but we've lived together, so you've seen all the things. It's so good.

Speaker 2:

Yeah, I'd love to maybe ask this because I feel like you're a, you know, a humble two years into the industry. Is there any advice you would give younger Jacob, now being in the industry, that you would love to give?

Speaker 1:

I'd probably say surrounding myself with people who elevate the ideas that I have for myself already. So, for example, if I've been thinking about, oh, I really want to get feel stronger in this, having people behind me who can help guide me to get better at what I want, rather than worrying about these noisy at what I want, rather than worrying about these noisy, irrelevant ideas about like how things look I know that in this industry, there's a massive element of like how things look, but I want to be around people who are concerned with how they feel, about what they're doing, about where their life is going, not how it looks, Because how it looks has nothing to do with how it feels.

Speaker 2:

Boom.

Speaker 1:

Let's go.

Speaker 2:

Let's go. It's been awesome having you on, jacob. I love speaking to you and I really was happy and proud of our conversation. I know that there's a lot of different elements in there that people can go ahead and take from. We talked about routines, talked about coming into the industry fresh and that sort of experience auditions, what they look like and the different things and the things they've experienced has just, you know, shaped you into who you are now and I'm really happy to see, like your progression and the work that you put in and it's it's really awesome to see yeah, thank you.

Speaker 1:

Thank you so much, thanks for having me, of course.

Speaker 2:

Well, if anyone wants to ask Jacob a question, you can probably reach him on his email.

Speaker 1:

Yeah, I'm going to email Jacob J-A-C-R-B-Z-S-T-E-E-N at gmailcom.

Speaker 2:

Boom.

Speaker 1:

There you go, because you want to email me?

Speaker 2:

Yes, and, as always, if you have a question for us at the Dive or you want to reach Jacob as well, you have our email access, which is info at the divecomau. We have a free community online on Facebook if you want to be involved as well. Anyone that's listening in. I've just been starting to build this. There's about a hundred students in there and it's all about mindset and career development. I'm going to be running some upcoming workshops once a month on there with guests and, yeah, building excitement there, so you can go and check that out, and otherwise you can check out our website for free resources. There's a bunch of free resources that are on there now, from breathwork, meditation, different meditations and resources to help you on your way to becoming a professional in the industry. So feel free to go check all of those out and I will see you on the next episode. Thank you, jacob. Thank you, bye, everyone.