Comedians Emma Crossland and Sam Wilkinson know a bit about Meat Loaf but, as they're rapidly learning, not enough to do a review podcast. Still, they'll give it a good old go.
This episode ventures into some lovely territory as we discuss Martha and the merits of Tom Waits's original versus Meat Loaf's swelling orchestral arrangement, then we all feel a bit sick as we talk about Where the Rubber Meets the Road's horrible sexual politics.
Plus there's a bit of chat about the lovely time that Emma's just had / will be about to have going to have had on holiday and we do a plug for our show at Brighton Fringe (https://www.brightonfringe.org/events/crossland-wilkinson-tea-and-coffee-on-arrival/)
Next time we'll dive into what happens when Meat Loaf and Jim Steinman fall out as we discuss It's All Coming Back to Me Now and Modern Girl.
Chat out of Hell is a is a review podcast: all music extracts are used for review/illustrative purposes. To hear the songs in full please buy them from your local record shop or streaming platform. Don't do a piracy.
Music extracts on this episode:
Martha by Meat Loaf from the album Welcome to the Neighbourhood (1995)
Martha by Tom Waits from the album Closing Time (1973)
Where the Rubber Meets the Road by Meat Loaf from the album Welcome to the Neighbourhood (1995)
Comedians Emma Crossland and Sam Wilkinson know a bit about Meat Loaf but, as they're rapidly learning, not enough to do a review podcast. Still, they'll give it a good old go.
This episode ventures into some lovely territory as we discuss Martha and the merits of Tom Waits's original versus Meat Loaf's swelling orchestral arrangement, then we all feel a bit sick as we talk about Where the Rubber Meets the Road's horrible sexual politics.
Plus there's a bit of chat about the lovely time that Emma's just had / will be about to have going to have had on holiday and we do a plug for our show at Brighton Fringe (https://www.brightonfringe.org/events/crossland-wilkinson-tea-and-coffee-on-arrival/)
Next time we'll dive into what happens when Meat Loaf and Jim Steinman fall out as we discuss It's All Coming Back to Me Now and Modern Girl.
Chat out of Hell is a is a review podcast: all music extracts are used for review/illustrative purposes. To hear the songs in full please buy them from your local record shop or streaming platform. Don't do a piracy.
Music extracts on this episode:
Martha by Meat Loaf from the album Welcome to the Neighbourhood (1995)
Martha by Tom Waits from the album Closing Time (1973)
Where the Rubber Meets the Road by Meat Loaf from the album Welcome to the Neighbourhood (1995)
Somewhere, some girl is crazy, and some boy is half out of his head. Somewhere, somebody's fearless, and someone won't wind up dead. Somewhere, it's Friday night in any city centre in the uk. Welcome to Chat Out of Hell! Boom a dum a dum a dum! Chat Out of Hell! Ah, welcome back! Hello Emma, how are you?
Emma:I'm good Sam, how are you?
Sam:alright, thank you. Who are we and what are we doing here?
Emma:Well I'm Emma Crossland and you are Sam Wilkinson we are, doing a podcast about that Meat Loaf and that.
Sam:That Meat Loaf that
Emma:and that. Each record we do, we take two songs and we listen to them and we dissect them
Sam:and then, after this whole series, at some point, TBC, we are gonna sit down and write our own Meat Loaf slash Jim Steinman mini rock opera, just to prove how easy it is. You feeling good about that?
Emma:Yeah, I'm feeling really confident about that
Sam:so we're two episodes down now, surely we're master musicians.
Emma:I mean, I've started trying to learn the for Bat out of Hell on the ukulele.
Sam:But Emma, that's already a song!
Emma:I figure if I learn to play it, then I can get into the right frame of mind for composing our own beautiful mad rock opera.
Sam:All right, I'll allow it. Oh, it's more effort than I've put in. So, this is normally the bit where we might go over emails from the loafers and exciting news and stuff that's gone on, but due to a scheduling palaver, we're actually recording this episode before the previous one has even been released.
Emma:I love that, we're calling this a scheduling palaver when I'm just going on holiday and I think I'm allowed to go on holiday
Sam:Yes, but it is causing a palaver for me.
Emma:Oh, I'm really sorry.
Sam:even though you had planned your holiday long before we started this podcast, so
Emma:yeah, okay. I take full responsibility for the scheduling palaver
Sam:we can downgrade it to a kerfuffle. if you like.
Emma:I feel like kerfuffle is, a bit strong, but okay.
Sam:We are running with a lovely badge competition, so do remember to look at our podcast art. Email in a name suggestion for our nice bat mascot to chatoutofhellatgmail. com so instead of messages this episode, I thought we're gonna guess what the news will be in three weeks time when this comes out So, Emma, how was your holiday?
Emma:Fantastic. I did insert thing that I did here. It was great, the weather was, insert weather forecast here
Sam:I mean, it's Florida, I'm pretty sure you can make a stab at that one
Emma:it's gonna be sunny, it was really sunny and I went to Disney World because I'm a grown up and that's what we're allowed to
Sam:You can do what you like Nobody's gonna judge
Emma:Apart from you.
Sam:Yeah, I'm gonna judge you, but the listeners aren't, cos they're nicer than me. I can't believe that you were there at Disneyland during the second coming of Elvis. That was a real surprise to all of us.
Emma:I just need to, pull you up on something here, Sam, because I'm not going to Disneyland. I'm going to Disney World. There is a difference.
Sam:Pray tell.
Emma:One is in California and one is in Florida. This, I hope, isn't going in the podcast.
Sam:It doesn't sound very funny so far, so it probably won't.
Emma:No, no.
Sam:Thanks for sticking with us, listeners. Emma, so we're both bringing a Meat Loaf or Jim Steinman song every episode to this for us to pull apart and discuss and make stupid jokes about. What are you going to bring this time?
Emma:This time I'm bringing Martha from Welcome to the Neighbourhood.
Sam:Oh, that's lovely. And I am gonna bring Where the Rubber Meets the Road from Welcome to the Neighbourhood.
Emma:So we're in a real sort of mid 90s era for this. And I feel like it shows.
Sam:So go find those on Spotify or YouTube or whatever now. Give it a listen. Let's start with Martha.
Music:Lucky that you found someone To make you feel secure Oh, cause we were all so young and foolish Now we are mature And Those were days of roses, beauty and prose, And Martha, all I had was you, and all you had was me. And
Sam:so that was Martha I love this song. I've loved it for many years. It's genuinely one that gives me pause every time I listen to it, and so we've not launched straight into a,, a big high energy, hey listeners, you've just listened to this. Emma, what do you think of this song? Why did you bring it today?
Emma:I brought it today because I know that you're a Tom Waits fan. And you sent me a text the other week to say, You didn't tell me Meat Loaf covered Martha. So I've sort of brought it forward in my plan.
Sam:Okay.
Emma:Because it seemed appropriate to bring it up now. Basically I wanted to get your take on it. because for me, on Welcome to the Neighbourhood, which is definitely a second tier Meat Loaf album, shall we say.
Sam:Sure
Emma:It's got some good, but it's not all gold.
Sam:As we'll find out later in this episode.
Emma:But for me, this song doesn't really do what I want a Meat Loaf song to do. It's not up there with, my preferred
Sam:Oh, interesting. Interesting, okay. You listened to this album as a teen, we've already discussed this. Did the song of an aging man calling his lost love and trying to make up for lost years resound with Teenage Emma?
Emma:No
Sam:ha ha ha ha
Emma:I think it was probably on the skip list.
Sam:ha
Emma:Now that's not to say that I don't appreciate the song, and I think the Tom Waits version is gorgeous in its pared back nature, this is a big ol theatrical bollocks up.
Sam:Ooh, okay, so This might be our first real disagreement, because I, When I first listened to this song about a week ago, I messaged you immediately to say, What the fuck is that synth at the beginning? And still not 100 percent sure if it is, it's either, a string section a very cheap synth that sounds exactly like a shit string section.
Emma:I went into the sleeve notes to have a look at this. And, you've got lead vocal, Meat Loaf, obviously you've got piano. You've got keyboards, and then it's just music and lyrics. So this is definitely synth tastic orchestra.
Sam:Synth in the first couple of notes really, blows it for the rest of the song because I think it's a really lovely arrangement. I genuinely do. I think the song suits Meat Loaf's kind of ever more booming slash, baritone tones and the swelling As he goes further and further into the reminiscing and trying to make up for his lost love. I really love it
Emma:well, you're not alone in that. Because I did a little bit of digging around, and on YouTube there is an episode of The Big Interview with Dan Rather with Meat Loaf. And in that, he declares that one of his two favourite songs, of his own songs is Martha.
Sam:what's his other one? Is it one of the biggies?
Emma:no.
Sam:Oh.
Emma:And he really hates I'd Do Anything for Love.
Sam:of course he would. He's a dickhead as we'll. Find out later on.
Emma:the other one is for Crying Out Loud.
Sam:I don't know. Oh, for crying out loud. I love you.
Emma:Yeah.
Sam:have heard that. Is that off this album as well? No, off the first one, isn't It's off anyway. So, Meat Loaf, when he sang this, so, I know he was late 40s when Bat out of Hell 2 came so he may have been into his 50s the point that this was recorded.
Emma:I mean it was 95 that this came out, so
Sam:We could do some quick maths, but we're not gonna. Let's say he was late 40s his 50s, and,
Emma:Yeah.
Sam:Is the right age to be singing this kind of song. So, we both loved the original Tom Waits version, but Tom Waits wrote this song when he was like 24.
Emma:He was really young, wasn't he? Yeah.
Sam:that he had this kind of, that whole, mean, we are here to recommend music, we're here to recommend a completely different artist now.
Music:Those were days of roses, poetry and prose and Martha. All I had was you and all you had was me. There was no tomorrow, we'd packed away our sorrows and we saved them for a rainy day
Sam:the album Closing Time by Tom Waits is a bourbon drenched, smoky cigarette of a dive bar
Emma:not to be mistaken for the song Closing Time by Semisonic.
Sam:Which is a WKD soaked very small spliff thinking song of a Weatherspoons. But I, so I think Meat Loaf is, at the point that this is recorded. He's the right man with the right range to be sing this song. And I think he, I think he it very well.
Emma:there's something about it that's just so heartbreakingly sad which did appeal to dramatic Emma as a sad teen
Sam:ha. Yeah, but I guess dramatic, sad teen Emma didn't have the life experience to know about lost loves from 20 years ago.
Emma:No, but we're starting to reach that point now, aren't we?
Sam:Yeah, well that's exactly what I was going to say actually, because the older I get, the more I like this song. And it's not just there's lost love sentiment, but relationships and friendships that have fallen by the wayside and the sort of the, oh, why don't I just pick up the phone and ring them? But you never do. It's so sad. But Tom Waits did do that in his imaginary, his imaginary character of old Tom Frost did do that.
Emma:The, Meat Loaf pronunciation of"Frost" does bother me a little bit Frost
Sam:Frost. You are
Emma:Frowsed. That, that, that does grate a little bit.
Sam:Yeah, I'm not saying he does this perfectly but I do think there is something lovely about the ever swelling, not a real string section.
Emma:I think if it had a proper orchestral arrangement it would be stunning. That, that sort of slightly squawky arrangement with the keyboards just, Ugh, I don't like it.
Sam:It's a missed opportunity to you.
Emma:Mm. Yeah.
Sam:Okay, yeah.
Emma:Which, I mean, maybe this is like a deeper interrogation of the song because it's all about missed opportunities and
Sam:Oh, oh boy. Oh boy, Emma. You just blew this thing right open. It's a lovely song. We're here to take the piss out of things, and there are a things in it to take the piss out of. Like the fact that The opening verse is character Tom Frost. Speaking to the operator try and get Martha's number in order to call her and catch up after many years. And what he says is, Operator, number please. It's been so many years. Never specifies who he's trying to call, what town she lives in nothing like that.
Emma:I mean,
Sam:me any old number, I'll try. Hello, hello, is Martha? Christ, it is! Oh my God!
Emma:do you think there's an element of artistic license in there?
Sam:I fear there may be, Emma. I fear there may be.
Emma:Has he got more on Martha other than just her first name or just hoping for Martha's? Cause, there's quite a lot of songs called Martha. as an aside, if you Google Meat Loaf Martha, you get a lot of Martha Stewart recipes for Meat Loaf.
Sam:You do and that is a problem I've found repeatedly while trying to research stuff this podcast that he really has we'll talk about why he has his name probably a bit down the line, but he could have picked a more efficient stage moniker, I think For SEO purposes.
Emma:I mean, back when his dad named him Meat Loaf. I, I don't think SEO was high on the list of concerns,
Sam:but he should've thought that might come along. That's all I'm saying.
Emma:should have predicted the internet.
Sam:Anything else to say on Martha? we're heavily in agreement in it. And it's such a lovely song that there's very little that we can tease around it. Whether or not he fully hits the mark, I agree, is kind of It could have been better, but I think it's a nice song for his voice. To be honest with you listeners, if you've struggled through the rest of this album, you do deserve something lovely at the end.
Emma:Are you saying that this isn't wall to wall bangers?
Sam:There are some bangers on this album.
Emma:Hmm.
Sam:there's some interesting things, which we'll talk about in a few minutes. So the only thing left to do is to rate it on our patented Meat Loaf rating scale. Jim Steinman was not involved in this song, and that means we fall back on our Meat Loaf rating scale, where the top score would be Marvin Lee Aday, the middle score would be Marvin Lee Okay, and the bottom score is Marvin Lee No Way. Emma, where do you want to place this?
Emma:For me, I think it's a Marvin Lee Okay.
Sam:I would hold out for this to be a Marvin Lee Aday.
Emma:Well, it's ok we're allowed to disagree
Sam:I'm gonna call this a Marvin Lee A Day!
Emma:I'm going for Marvin Lee Okay
Sam:I mean, that voice was Marvin Lee, no way, but fine.
Emma:No, that was the okay of a sulky teenager, which I think is appropriate.
Sam:enough. Okay, yeah, no, that's fine. Yeah, yeah. So that's Marvin Lee Okay. So, listeners, you've had a lovely time. Now, I'd like you to go to YouTube or Spotify, whatever, find the song Where the Rubber Meets the Road, and I've got a little challenge for you when you listen to this one. Count how many seconds it is you get in before you mutter to yourself, Jesus Christ. I think you'll be unpleasantly surprised.
Music:You can call her a slut, or you can call her a slave Just remember to call her Miss When the rubber meets the road Welcome to protection mode Used to be sex was a fire, now love meets the road you say, girl, you're a beauty, but I'm no beast I got a little contract right here
You can slam on the brakes
Sam:so that song ends on crickets, and I think rightly so.
Emma:So come on Sam, give us some facts before we get stuck into this
Sam:so this is the very first song on the album, Welcome to the Neighbourhood, which is the follow up album to Bat out of Hell 2, so just to put that into context. Meat Loaf's just revived his career with a massive worldwide mega smash that's gone super platinum and sold loads all around the world and he's touring everywhere. And this is the very first song that he decides to put on his next album. It was written by Sarah Durkee and Paul Jacobs, who have worked with Meat Loaf quite a bit, they are veterans of the National Lampoon comedy group, which Meat Loaf toured with as part of a stage show before him and Jim Steinman started seriously recording. They're a husband and wife duo. They wrote the majority of the Bad Attitude album. I've not heard that one, have you?
Emma:I was listening to parts of it earlier today.
Sam:Okay. So these are the songs they wrote on Bad Attitude. They wrote Bad Attitude. Modern Girl, Piece of the Action, Jump In The Gun, and Sailor To A Siren. Are they all rubbish by any chance
Emma:I haven't heard all of them, but I am planning on bringing Modern Girl to the next table.
Sam:Interesting. Okay. So that's my facts about the song. Or. all my useful interesting facts for now. Shall we get stuck in?
Emma:Yeah, Yeah, let's. I've been on to songmeanings. com because it's always fun to see what people think. There are six comments under this. the latest one is 2011 from Christo Tracey they say, if you ask me, it's a critique of the politically correct society, along with the blame culture and nanny state.'Used to be sex' implies a desire to return to the permissive days of before. A good song, intense and brilliantly close to the bone. Meat Loaf rocks, no discussion."
Sam:Oh well, oh, no discussion's allowed I guess that's it. Thanks for listening everybody, we'll see you next time. Oh. It's interesting you went on songmeaning. com because, as always, I did go on YouTube looking for good comments. And, tellingly, I couldn't find any of worth. On the plus side, there are refreshingly few comments saying, yeah that's right and so on, but not as few as you'd hope. And more than you'd hope saying that this is their favourite Meat Loaf song. So right, let's be kind for a second. It does have very catchy hook.
Emma:Oh,
Sam:were both singing along
Emma:in some respects and we have sung along to it before
Sam:Yeah
Emma:on car journeys back from gigs.
Sam:Yeah, yeah. But we won't beat around the bush. This song is gross, isn't it? It's horrible.
Emma:There are some choice lyrics in here.
Sam:Yeah, I did invite the listeners to count how many seconds before they say Jesus Christ to themselves at the beginning. I'll walk you through my response when I first listened to this song properly and not in your car. That opening bit where it's all quiet, Somewhere some girl is crazy, some boy's half out of his head, Somewhere somebody's fearless and someone won't wind up dead. Somewhere two hearts are pounding and they don't care what's correct. Somewhere somebody's fallen in love, without a background check. And that just made me think, Ooh, that was a bit of an unfortunate phrasing, Meat Loaf. Surely you can't mean something like that. PC believe Son, I'm Mr. you me. I'm the ultimate king of correct. And if you wanna make it, you gotta make her take it. As a sign of
Emma:Yep, just there, right there. It's that make her take it.
Sam:And don't forget if you're gonna do it you got to see through it to the heavenly trust that it is Then you can call her a slut you can call her a slave. Just remember to call her Ms
Emma:so, this came out in 95 when I was eleven and even then it made me think, ooh, ooh, what's this, ooh, ooh,
Sam:Oh dear
Emma:The next verse. You say, girl, you're a beauty, but I'm no beast. I've got a little contract right here. See, you can slam on the brakes any time you got the stick, even if we're in fourth gear. Cop in the front seat, lawyer in the back seat, getting it on videotape. Got a shrink in the bed, Lord, sitting on the headboard, swearing that we both got raped. What do you do with that?
Sam:It's a horrible song, Emma! It's a horrible song, catchy hook. I really bring it for a reason, because we do have to touch on something in this podcast, and we've not come to it yet which is the dark side of Meat Loaf. So by all accounts, he was a loving family man who was genuinely dedicated to advancing his family's happiness, and his friendship with Jim Steinman is a very rare example in our culture of a male friendship where they're willing to talk about it in terms of love, and they talk really honestly about each other's importance in their lives. That's all fantastic and amazing, but politically speaking he was a fucking tool.
Emma:Yeah, absolutely. Like, the worst politics
Sam:It's awful, right? He falls down this hole that a lot of aging rockers do, where all the money and drugs turns you into a colossal bell end. And I think this is maybe the start of that point for him,
Emma:Yeah, it's definitely a complaint about a modern society where, you know, women are allowed to, like, Say no and that.
Sam:Yeah, absolutely. It wouldn't have happened in my day,
Emma:This definitely appears on later albums as well, which we will get into in future episodes.
Sam:and in later interviews. So yeah he's big fan of Donald Trump. He's a climate change denier. He argued strongly against COVID restrictions, He was reported to have died of COVID, but that was never confirmed, but We're talking about a very rich, very comfortable man who gave no shits about other people's comfort. But that said he did provide some entertainment in his later life. At the 2011 Australian Football League Grand Final, the pre match entertainment was headlined by a 12 minute set from Loaf. The performance was panned as the worst in the 34 year history of AFL Grand Final pre game entertainment in a multitude of online reviews by football fans and Australian sports commentators. Meat Loaf responded by calling online critics"buttsmellers" and the AFL"jerks", vowing to convince other to play at the event. the following year AFL actually hired Scooter, who played their version of the Logical song three times, to rapturous applause.
Emma:Is that true, or is this you being weirdly obsessed with The Logical Song?
Sam:It's a magical miracle, Emma.
Emma:Listeners, I'm a bit concerned because in a few weeks time have a very long road trip down to Brighton from here in sunny old West Yorkshire and I'm frightened that Sam is going to sneak the Logical song into the playlist he's driving so gets choose.
Sam:song in a five hour drive?
Emma:Oh, this is an interesting way to end the partnership
Sam:It's fair to say that neither of us are fans of this one at all. It's horrible. It shines a light on the real man when Jim Steinman's not there to tidy up his lyrics a bit. But Emma, I still have a quiz. Do you want to do the quiz?
Emma:of course
Sam:As always Emma it's the standard quiz format. I've got three statements and one of them is a lie. Is it statement number one? The backing vocals were provided by Meat Loaf's daughter, Pearl Aday. And there is good reason to believe that Meat Loaf made rude gestures at Pearl on his deathbed. Is it fact number two? The songwriters, Sarah Durkey and Paul Jacobs, are more famous for contributing lots of songs to the equally problematic adult cartoon, South Park. Or is it fact number three, the song was produced by Ron Nevison, who said of Meat Loaf, he can't sing for very long, and his pitch isn't that good either. Emma, which one of those is a lie?
Emma:This is really hard. I don't know this. The last time I sort of had inklings, but this time I'm not sure. I'm gonna go for the last one.
Sam:Ron Nevison, he Meat Loaf can't sing that long, and his pitch isn't that good either. That was not the lie. The lie was fact number two,, where songwriters Sarah Durkey and Paul Jacobs are more famous for contributing lots of songs to the equally problematic adult cartoon South Park. They're actually more famous for contributing lots of songs to Sesame Street.
Emma:Sesame Street.
Sam:They've undermined an entire educational institution. I don't know what they're teaching those kids. Backing vocals were indeed provided by Pearl Aday, Meat Loaf's daughter. Sister, in an interview with People Magazine, on Meat Loaf's death, she said, Each person had a moment of sweet and funny confessions from her father, who maintained his personality. Quotes, He flipped a couple of us off, which is very dad. very appropriate
Emma:okay,
Sam:Yeah, I think that is quite in keeping with everything else that's been described. To be fair, and in his defence, the rest of the interview does describe him as a very good father, and I think it's all meant in hilarious jest.
Emma:Yeah, it's
Sam:I don't think I would. I think I'd probably find some sincerity for once in my life. But who knows? Who knows?
Emma:it's just one of those weird dad jokes, it? Ha ha ha
Sam:so. After Jim Steinman died Meat Loaf shared some very beautiful and moving comments about his life partner and best friend and then on his own deathbed He flips off his kids
Emma:Yeah
Sam:And then yeah the full quote from Ron Nevison His biggest problem is lack of stamina. He can't sing for that long. His pitch isn't that good either It took a long time with him. He did great. He just doesn't sing for as long as most people do. He'd do maybe half a song at a time and only a couple of takes at a time. I need more than that. I need a whole song. So there we are, that's Where the Rubber Meets the Road. A frustrating mess of horrible attitudes wrapped up in a upsettingly catchy hook. So we're using the same scale again for this song, there's no Jim Steinman in this episode, so it's Marvin Lee Aday, Marvin Lee Okay, or Marvin Lee No Way. What do you think?.
Emma:It's obviously Marvin Lee.
Sam:Marvin Lee, no way! So that was episode three of Chat Out of Hell. Emma, how did you find that?
Emma:it's much easier when we do it together in
Sam:easier in person. We're not going to do a lot of these online, I wouldn't have thought, but we had to do so that Emma doesn't catch any viruses before she gets on a plane.
Emma:because Sam is
Sam:I am with them. Good. So yeah, thank you. It's unpleasant, isn't it?
Emma:Yeah, it is,
Sam:So thank you for listening, everybody. Do you agree with our opinions on Where the Rubber Meets the Road and Martha? If you do, good, you're right thinking people. And if you don't, that's fine. Let us know, email us in, chattoutofhell@gmail.Com Do keep your names coming in for our Cheeky Bat mascot competition in order to win a badge with it on. Emma what aree our songs going to be next week? Do you want to give yours first?
Emma:Mine is gonna be Modern Girl from the Bad Attitude album.
Sam:And I'm gonna go for, so we've had some songs from Jim Steinman and Meat Loaf working together, and we've had now some from Loaf flailing wildly on his own. I'm gonna dig deeper into their relationship, so I'm gonna go with It's All Coming Back To Me Now, which has been recorded by several people. Meat Loaf did it last, so lots of versions out there. I'd listen to the Celine Dion one, if I were you, listeners. that's your homework for next time, you can just email us in chatofhell at gmail. com and tell us what you think about those, which we'll include in the recording. As always, keep your general Meat Loaf thoughts and anecdotes flying in. Did Meat Loaf park too close to you at Burning Man so that you couldn't get in your driver's side door? Do let us know. Listeners, if any of you live in Brighton, or you know anybody in Brighton, please do help us out. Go out and find Crossland and Wilkinson on Facebook, you'll find details of our show at the Brighton Fringe Festival. Emma, tell them about our show.
Emma:Our show is a multimedia extravaganza. It is a fever dream set in a capitalist nightmare. we've got a puppet. We have a presentation. We are a business and this will be your induction into our business. we're definitely not evil.
Sam:I did mean like times and dates and stuff, but that's good too. Yes, so please do come and see Crossland and Wilkinson Tea and Coffee on arrival at the Brighton Fringe Festival. We are there on the 25th and 26th of May at 4:15 PM The Hare and Hounds.
Emma:I just popped the camera back on so that Sam can admire our massive flyers.
Sam:if you do live in Brighton If you do If you live in
Emma:up.
Sam:Then you'll be able to see us both around the town centre earlier in the day where we'll be handing out A4 flyers for our show.
Emma:Because I can't be trusted to order things correctly.
Sam:We're calling it a USP and leaning into it. So there'll be free posters if you come and find us somewhere in Brighton, in the zone that you're allowed to flyer in. So yeah, it'd be fantastic. Please do come down and see that if you're in the area, or it'd really help us out if you found the event on Facebook, and told other people about it instead. Listeners, thank you very much for tuning in, or whatever it is you do do on podcasts. Go away, listen to our songs for next time It's All Coming Back to Me Now, and,
Emma:Modern Girl
Sam:we'll see you all in two weeks time for another Chat Out of Hell. Bye everybody! Bye!