[laughs]

And then we played week four, it was a, a return game to play Vanderbilt, because remember, we had beaten Vanderbilt two years ago in Atlanta.

So, and we all would've signed off on that knowing that we got a win in the first game, but my point is they dropped 70 on us in week four.

And as I said in my open of our preview radio show, that losing and playing Ole Miss and at Vanderbilt in the first four weeks of the season, that's when the wheels started to come off a little bit.

In other words, I don't know that Georgia State football really ever recovered from those two games.

They give up s- they gave up 63 points at Ole Miss.

They gave up 70 at Vanderbilt.

in the ATL?

It's always, anytime I tune in, I'm like, "I had no idea," and about school lunches, the only thing I ate were the peanut butter cookies.

Hi, American Dave.

It's English Dave here, host of The Shakespeare Mindset, the show that helps you improve your life the bard way, not the hard way.

The book I'd like to recommend is Into the Woods by John Yorke.

John, like me, was a BBC TV writer in the UK who worked with dozens of scriptwriters creating hundreds of hours of TV drama.

We're always being told that the key to successful podcasting is storytelling, but no one ever explains how or why.

You probably know that every story has a beginning, a middle, and an end, and that most stories are about a character who goes on a journey, fights battles, and learns something along the way.

think that math is right.

No, and all of that's awesome.

And so when you are working, if you're a songwriter or a producer, over your career you are building copyrights and you are building points and you own, and they call it a catalog, when you aggregate all of these things that you're working on, at the end of a career, at the end of a five-year career, a 10-year career, 20, 30, 40, you have a chunk of things that you actually own, and you can sell them or sell parts of it or choose to do what you will with it.

When you're a session player, when you're an engineer, when you are on that side of the glass, so to speak... uh you don't have that at the end of the day um and there are back-end funds and there's stuff like that but they're always very careful not to call it a royalty because that would mean you own some of it it's a payment from a fund and we're grateful for the funds that happen the afm sag after a fund and uh there's a there's a couple of them um and it's sort of It's fundamentally flawed because out of a total of 100% of a record, on any given record deal, typically an artist gets 18 to 20 points of their own record.

So the record company owns 80% of the final thing.

They make the... artists pay the producer the producer's four points it comes out of the artists 18 to 20 percent and managers that protect artists rights don't want the artist giving their little piece of the thing and everybody sort of holds their clutches and record labels that they're streaming and they own the shit like songwriters are starving and record labels are making money that is what's going on and so if they don't If there's not a mechanism for the other people that work on these records to own their share of it and not have it come out of the artist's side and the labels take some of it, that's the type of thing that the industry will probably have to figure out.

I know there's a lot of artists that... do their absolute best when they sign record deals to go, I want to make sure that songwriters on my album will get points.

yeah i'm excited to hear man uh and then i'd like to leave everybody with this question uh my favorite question of the night two truths and a lie and it's not what you think it's the two biggest truths and the biggest lie about nashville two truths you stand by and something that you have learned to be a lie?

And, uh, like, uh, in, when I'm writing a sitcom, it feels like I'm pranking people with a lot of severe personality faults, whilst a stand-up it feels like you're the personality fault and you've got-

[laughs] Yeah.

That, that's a very nice, very nice way of summing it up.

Yeah.

I think, um, I mean, I, I stopped doing stand-up because I, I, I was not bad at it, but I wasn't, I wasn't good enough at it to, to kind of get to the next level.

So I kind of got...

I'd been doing it for seven or eight years, and then all these people who'd been only been doing it for two or three, uh, so all my generation, they all started to do very well.

he sounds like someone who's been in a lab experiment and just come up with a thought out of nowhere.