I sit down with Dan Bain, a writer, director, performer & maker of fun things based in NZ. In this episode we talk about the album cover for the album Hail to The Thief by Radiohead and discuss the way this album and Radiohead in general have inspired Dan throughout his career as a creative. We get into Dan's workflow a bit and see how he manages his many projects as a sort of one band band production company. There's also the usual gentle banter with plenty of laughs along the way.
3:00 Interview Starts
4:02 Hail to The Thief by Radiohead
42:47 Life Update
46:47 All My Covid Jokes Promo
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Gidday ruddlemaniacs I hope you had a wonderful weekend hope your Monday is going well so far we're back with another interview by the time this one airs I think I'll be into my first week of fun employment so I'm hoping that uh currently present time Taylor right now is resting up I hope he's looking after his hands I hope he's uh keeps writing and I just in general hope that he's not sitting there stressed out and in horror thinking that he's made a terrible mistake I'm sure it'll be fine I've been I've been thinking about this decision for a long time it was not one that I made uh I made lightly so I hope you're having a wonderful week I hope Taylor is having a restful Monday morning and I hope you enjoy this interview with Dan Bain so Dan Bain is a Christchurch based performer much like myself he is a writer a director a performer and a maker of fun things based in news Zealand according to his link tree bio I've known Dan for a little while now he's always been very kind to me I think we are pretty good buddies as I mentioned in the interview we are both very similar in the fact that we are suffer better Control Freaks and we are kind of one-man bands and that we handle a lot of different areas of production in our respective uh areas Dan is a designer much like myself he has his own unique style and he is leans more into the photographic element where I think mine is more like the whatever the opposite of photographic is I don't want to say illustrative because I'm not an illustrator but it's not as photographic as dance in the first interview which you're about to hear shortly we talk about the album Hail to the thief by Radiohead which I admittedly didn't know a lot about Radiohead I was familiar with them and I knew of them but I didn't really know anything specific about the band so I do apologize to some of my questions are a little bit stupid or I'm just not asking good leading questions because I just don't know enough about the band I did some research I listened to the album the morning of but I just don't think you can compare that with someone who's been a fan of them for a long time asking the right questions but I think it was an interesting conversation all the same I really enjoyed talking to Dan about the way that Radiohead combine physical art in the real world with music I didn't really know that about them when we started this interview so that was a really interesting thing for me to learn anyway I'm not going to waste any more of your time hope you enjoyed the interview as you see at the end of this interview we talk about coming back next week for part two where we delve into Dan's current main project which is the perfect storm improv show at little Andromeda so with that let's crack into the interview with Dan Boone
My name is Taylor Ruddle and I have a good friend of mine as a guest today this is Dan Bain hi Dan thanks for joining us on the show today pleasure to be here thank you for having me Taylor how are you doing you're having a good a good day um yeah it's been pretty good so far I've just um I've just set up a dinner is kind of just waiting for the oven to be turned on which feels like a great kind of position to be and everything is done it just needs to and then away it all goes the final uh big red button to push so that's fantastic exactly so I spent most of the morning looking we're listening to the album that you've selected for your uh it's I guess it's a poster but it's also the album cover um is that correct yeah yeah it's the kind of the key key album art that also got used as a bunch of um uh promo material and uh that that sort of thing um for the yeah so for the listeners out there the album we're looking at in this episode is Hail to the thief by Radiohead which was from 2003 I think yeah that that sounds about right I'll just read I've got a little bit of the blurb from Wikipedia here so I'll read that off to anybody unfamiliar with Radiohead so how to the thief is the sixth studio album by the English rock band a Radiohead it was released on the 9th of June 2003 through pile of phone internationally and a day later through Capital Records in the United States it was the last album released under radiohead's record contract with Emi the parent company of parlophone and capital and I've got another Spiel here but it's just about the technical details of the album which maybe we can get into later so for the audio only listeners we'll just give it a quick would you like to describe what exactly the album cover looks like to the listeners Dad yeah so the the album cover is uh first of all it's a painting uh and it's it's quite a simplistic painting of uh it's the it's it's a it's a really simplified and um stylized down map of Hollywood um and it's kind of been broken up into city blocks or neighborhoods and each of the neighborhoods has a a slogan I guess painted across it kind of hand written um saying things that were sourced from street signs so just things that it just says things like TV oil pool teens Sunset hamburger um just just things like that um that all of which here were sourced and the colors very much it's very much kind of primitive kind of a primitivism take on on roadside signage so it's all block capitals and it's all really kind of primary colors um uh yeah and uh so yeah it's got a real uh kind of Americana kind of vibe to it but I was gonna chime in and say that it feels like a very important sort of Americana doesn't it um yeah and also uh it kind of has a the the effect of having all those words kind of jammed together though does kind of create this really uh a kind of an uneasy scent here I guess um is how I would describe it um yeah with them kind of out of the context of actually advertising a business and just having that kind of I don't know the the the the the piling on of these rampant signalers of capitalism um it feels a little bit almost pre-apocalyptic to me like if you were to be walking down uh totally empty Hollywood you would just kind of see these bits and pieces and there's something very like consume consume consume about it to me and yeah because the band actually recorded this album in Hollywood have I got that correct hmm yeah yeah I imagine going from England to there it was probably a bit of culture shock seeing all of the the neon signs and stuff like that yeah and I mean you know uh Los Angeles Los Angeles itself is such a I mean it's not even it's not even quite America you know it's that's right it is its own a thing unto itself yes um I've heard this yeah Amsterdam apparently uh if you go to Amsterdam you haven't really been to Holland I imagine the same as with LA yeah yeah and so what in particular makes this album I guess the question actually is more like is it specifically this artwork that is Meaningful to you or is it the in the album in its entirety I think it's a combine I mean it's a combination of the two um this for me I picked this because it's um it's it was a really distinct art project that kind of went a lot along with the album um so obviously this is the this is the Hollywood map but there is a bunch of there's a whole lot of other city maps um done in the same style oh that's really cool I didn't know that yeah so there's like a there's a Baghdad and um yeah there's there's a there's a bunch of other artwork that kind of uh went along with it and so these are they're all done by um Stanley donwood who is kind of the the artist slash graphic designer that's done most of um the Radiohead liner notes since uh uh okay computer yes um and but also with um this other entity called Dr choc which is Tom York from Radiohead that's his kind of uh Fine Art Watcher uh I was noticing that looking back because I did read the thing about it being the same artist that they collaborate with for each album and there's quite a range of styles like their first one okay computer almost looks like it could be a 3D generated artwork and then all sorts of uh almost like that pulpy magazine cut out um photocopied a bunch of times thing even some punk bands do on some of the albums and down to actually using uh I assume oil paints or maybe acrylic paints for this one so there's quite a range there I was going to say as well the other maps that you mentioned before were they specifically ties into this album or were they an already existing piece of artwork that they kind of they were they were all done while during kind of along with the making of of this kind of alcohol so they're definitely were these kind of um a parallel project yeah that kind of went on with with like we're recording this music and we're also making this this kind of Art in the AE yeah that exploring the same themes through different mediums that's great I really like that and one of the things that I I do really enjoy about um this pace and the kind of progression of it is that it kind of it works a really lot of kind of indistinct line between um as as you mentioned kind of Fine Art and Zine kind of scribbles and it was one of the it was one of the is certainly a big influence kind of for me on uh uh I'm sure we'll talk about this at some point but my um The Perfect Storm Instagram which is all a huge amount of it is really kind of primitive but hopefully evocative hand drawings that are quite um have a a kind of scribble yes I say that now that you mentioned really made kind of aesthetic yeah that was one thing that I noticed because I obviously went through some of us listening to I'm familiar with Radiohead but not to the extent where I could really name many of their songs or anything but I was familiar with that little logo the bear I think the shirt dude yes and as I was looking through I thought yeah this is Dan or like something about it just feels like the kind of design work that you do in all the projects so I can definitely see it made sense as to that you were a fan of this uh this band that and the the other one is um the one that really they did a lot of us uh along with the sharp tooth Bears is another one called The Crying Minotaur oh which is again it's it's kind of a it's a very same same aesthetic really scribbled kind of picture but of them other um Minotaur that's always crying uh that's a big big kind of um kind of anime tears kind of where where um yes I'm looking at it just now that's really cool I like that and that's a Radiohead album cover or is it just a an image that they've used that one is um that one really got used a lot in um the amnesiac gotcha yeah I really like that that's great I I do enjoy that kind of uh Sharpie pen drawing into some nice toothy paper that so the ink bleeds a little bit and then you put a live Trace over there and a design and you're getting quite a nice look in the sort of um to quote Marco Pierre White the chef there is um thorough and Perfection you find perfection and that's why I quite lying about that look and I think a lot of that I remember reading something about this album about they put it together in about two weeks Radiohead tried to work quickly and spontaneously avoiding procrastination and over analysis the guitarist Johnny Greenwood said we didn't really have time to be stressed about what we did we got to the end of the second week before we even heard what we did on the first two days which is a good lesson that people can take about not getting too bogged down and trying to make your artwork perfect before releasing it is that something that you find yourself struggling with or have you been pretty good about just being able to continuously output things without worrying too much about the quality I try I I mean I try not to I mean it's such a line that to walk right is yes you don't want to get caught up in perfectionism but you also don't want to just be just putting out kind of substandard stuff that isn't that's right you do need to have uh the sort of bar a minimum bar of quality before you release things yeah yeah and so um but but I it really resonates me with me when you mentioned that quote about um through imperfection finding Perfection because I think um I think certainly for the for the work that I do for advertising um in kind of promoting perfect that theme um not only is uh kind of uh fairly easy to kind of generate I can do it pretty quickly but it it's the reason I kind of gravitated towards it is that thematically aligns with the show your show is you know the show is generated in the moment and often if you if you looked at it in retrospect you would say this is imperfect but at the at the moment the Liz generated 90 of the time it's perfect in the room it's the right thing yes and so and that's why we called it perfect it is like it's it's perfect but it's a little bit [ __ ] that's the most kiwi description I've ever heard um so we will definitely get the perfect storm to the listeners out there let's try mine as much out of the radio here as we can so when do you remember the first time you listened to this particular album or was there an ad campaign or anything that kind of Drew you to it were you just a fan of Radiohead beforehand I was a fan of Radiohead beforehand I'd been I've been a fan of Radiohead since um uh probably 98 I think uh like like I think everyone I uh my my first taste was the creep single uh oh yeah of course which now seems so far away from kind of what radio hit is and does but yeah that was that was uh that was an entry point for sure um I was a huge fan of the bins um which was kind of the follow-up album after the first after their kind of initial one and the beans was also one of the earliest uh CDs that I ever owned oh the end and also Okay computer actually but definitely the bins and both of those um I was obsessed with the physical object um it's a nice thing to have isn't it yeah and the the you know the multi-page kind of booklet that yeah and also the it had I mean they both had they had lyrics in them but sometimes the lyrics were wrong um you know like sometimes they were very clear it's like that's not the lyrics at all that's it's and it's not that um you know there's no room for confusion it's not like oh maybe I've been hearing it wrong that's what they actually are those are completely different words with a completely different sentiment so sometimes there would be those kind of um kind of puzzles or Mysteries or Mysteries within it do you thought early drafts of something yeah I was gonna say do you think it was intentional like they had to get something to the designers to make the booklet and they just sent what they had at the time or do you think it was done on purpose just to be a little bit interesting and weird I I my my gut feeling is that it is deliberate because everything seems so intentional yeah yeah wow that's that's sort of the thing from a bygone age like I'm more into video games than music and video games used to come with a little lore booklet and quite often those two I think sometimes you felt like they weren't written by the developers of the game and they would be very vague and weird ways or they would just be playing wrong and stuff but there was like there was something exciting about reading it like it helped build to the anticipation of playing the game because you'd get it in the store we had to go back into stores back in those days and then on the drive home you could be reading the booklets uh sort of getting excited for the game and yeah and I certainly have have a very similar memory of of going to with my friend to hire a video game from um you know yes absolutely uh like PC World or something like not higher not even a PlayStation game like hiring a PC game that's right and uh and being on the bus back to his house and just like going through all this [ __ ] that's in the thing like just so much stuff and being like it's very much just getting hyped about it yeah it's very much a pre-internet kind of experience that and I'm gonna guess that Radiohead are still releasing physical CDs it seems like they would still have vinyls being released as well is that accurate to say yeah yeah I um I just for Christmas I got the re-release of uh kid a and amnesiac which is a kind of double album oh that's a package thing yeah it also has an extra one of a bunch of unrelated material that was unreleased um from those those sessions and um but it's still not quite as even though they've got like all that space they still you know the the there isn't like the the booklet yeah that kind of came with it with um when they released uh I think it was Emily's egg might have been kiddo maybe it was kid a there was there was a booklet in it and then there was another hidden booklet that's awesome you know how you know how so there's the booklet slides into the front of the CD case and then there's the back of the CD case yeah that has the spindle that the seat yes yeah sits on but that's made of two pieces and you you and if you pried that off there was another there was another booklet yeah um which just and you know again this was I mean it was very nascent internet days I didn't have the internet yeah yeah at that kind of point so I discovered it myself yeah and it like it blew my mind I was you know I it's like I found a Secret magazine that's great um hidden inside this thing then that I'd had for eight what was the content of the second booklet do you remember yeah so the second booklet had all this I'm pretty sure it was I'm pretty sure it was the kid a one and the secret booklet had again it was it was just an illustration very similar to kind of the the it was just illustration and you know um sharp tooth bears and crying minotaurs because it was from it was from that period but they were there were also all these lyrical fragments in it and throw it like all the artwork kind of does have um that didn't make any sense at the time um but that then were when amnesiac which was kind of the um came out quite soon after uh today um and was kind of a companion album to it in some ways they were lyric fragments from from amnesiac so they were like a sort of teaser for the next album yeah wow wouldn't you just love to have the time to be able to work little secret turkeys into your projects like that I know amazing I mean that's the that's the advantage I think of collab of the collaboration with Stanley donwood right is that the band is mostly recording albums and then and you know he comes in and it's like what's this album about oh yeah and then him and Tom go and have a drink and like what what are the lyrics like and he's like ah it's this kind of thing and he's like okay cool and then yeah I mean you know he can go away and do just like great you guys are you guys are recording music for four weeks cool I'm gonna go do weird sketches and um and these kind of glacial oil paintings and yeah stuff like that have you ever worked in tandem with another sort of artist like that where you're both doing uh you're kind of working on the same project but you're handling different aspects of it yeah so the the thing that kind of jumps the most to me it was my I did a collaboration with um uh Chris Readington who's a fine artist sculptor and a seat designer and he was he was the set designer on my production of uh Titus andronicus yeah and we spent a long time trying to work out what the set was for that and we we're struck on a couple of things really early one of them was that the uh it was basically going to be these two structures that were made out of light boxes right so so when you when you when you stood on them they could be lit from underneath through the box the box was they were kind of like x-ray boxes kind of kind of like that so we had though we had these two structures one either side of the stage and they were a little bit modular so they could rearrange a little bit but not not a huge amount um but they would they would change and we were very happy with that um but the next thing was what what was the what was the background and we had this idea for this bait it was just going to be a big drapery but we weren't quite sure what it was going to be and then he kind of went away and hit did some did some of his Fine Art guy thinking yeah and then he came back and with this concept it was just it was a big abstract painting that was mostly mostly Rhythm red and white dots kind of Jackson pollocked onto it right but when you were right back and you got to understand this thing's massive it's um it's like 10 meters by four meters right right this this painting um and when you went right back it was there were 13 uh vertical kind of delineated vertical stripes
um imagine like the Roman letter I like I I I I I all throw it kind of ghost-like underneath the spattering and stuff and I'm like yeah I'm like this is cool this is cool what's this and he's like oh this is the 13 murders that happened during the play oh that's really thematic and I'm like oh yeah that's cool and so he would go and do this and off um I actually found myself it was hung up in the before it got before got installed on the stage it was hung up in the workshop um and occasionally if I got stuck with what I was doing with the with the actors on stage or whatever I would um I'd just go out and sit in the workshop and just look at the painting oh wow that's really cool and just and just be like I think the answers are maybe in the painting somewhere um yeah even though it's you know it's very very abstract it's not like they were they weren't literally there but you know it was a really kind of this painting is also all about the thing I'm making yeah it sort of feeds back into the production of the actual play that's really fascinating I was gonna say as well you I think we're fairly similar in the way that we are kind of one person production houses we tend to do a lot of the stuff when we're producing what we produce yep is that the way you like to do it or do you sometimes think to yourself maybe it would be nice to have an artist to handle all the Arts and I don't know like a a music person to handle the music and a video person and thing like that or do you quite enjoy the hustle of doing it all yourself um yeah I'd love to have I I mean I think I could do more stuff if I could delegate more things out um but I'm also I'm also really I'm I'm such a control freak I relate to you uh 100 there friend uh yeah I was just so it has to really be someone that I'm no kind of really gets what I'm after yeah um and also someone that I know knows that someone I know that can kind of work with me because I'm I am always going to be like oh like it I love this this bit is so great this bit is so great this bit here what if it was you know yeah yeah totally yeah do you do you think you'll ever reach a critical mass where you feel like you need to look into getting other people to help or do you are you feeling like you've kind of got a handle on it um at the moment I mean I mean for the scale of things that I am currently doing uh I I don't I don't need anyone to help me but there is uh that is that is limiting um it's you can't you can only scale so far up that's true if you're doing everything yourself um but the unfortunately um scaling requires Capital um is the the kind of the the key thing there so um yeah I like I've got a bunch of things that are kind of I know are kind of menial tasks that I do all the time even though that you know the quote unquote creative tasks but you know I know exactly what you mean there was a book recommended to me I can't exactly remember who the author was but it was a fellow comic and the book is called who not how and I basically see the same thing that you said it was written by Dan Sullivan um who not how the formula to achieve um the title because of bigger goals and it comes down to that idea that as a creative if you are succeeding then eventually you're going to have to start valuing your time in terms of what is it worth to like you know you think of yourself as a company and you think what is my time worth as an accountant for example me as an accountant I'm not very good at it like you know I get it done in the end but it's not something I would say I'm very good at but like you say you need Capital sometimes to make this sort of thing happen and so that's the that's the um but yeah like there are things like I mean I I make a fit a number of podcasts currently the editing of them is you know it doesn't need to be me that does it yeah you know that I've already made the content I don't need to be I don't need to go through it and cut out the ums yes um I thought that some there's something that I still do um because yeah because they haven't got to a point where I can kind of justify tipping them over and you're just going actually it's worth me
expansionist phase of of kind of any anything I think yeah I was gonna say this is what I feel like we've maybe had this conversation in person before but your production company companies maybe not the right word your newest octopus theater um your eventual goals for that I can see that becoming a bit like a Disney and that it's a sort of media uh I don't say Mogul as such but do you know the vibe that I'm talking about here where a production house maybe is the best way to yeah to work that is that something you could see happening with nose octopus yeah it certainly is a um it's umbrella company right um I think is is kind of how I see it and yeah it's it's it's genre and form agnostic in there it doesn't you know I'll produce a theater show um but I'll produce a comedy show I'll make a podcast uh yeah you know I'll make it uh you know I uh my but it published my book you know what I mean like that's right yeah I'll leave a link to that at the end with all the tags cool thank you yeah um yeah so uh yeah it's just uh at the at the end of end of the at the end of the day is the sports folk love to say it's just that um it's just a it's just a name and a logo to plunk on things but yeah it's you know it's it was quite fun when um you know I'd go into a little Andromeda when I just started producing their um before I even worked there and it'd be like oh yeah that show that show's got that logo on it yeah that show's got there look like there's like four shows in the season that have got like just just little like in the corner and it's like oh you're nice good it is nice to see your own kind of takeover begins yeah yeah yeah exactly wait how long until they're all they're all noose octopus in some way yes um oh I was gonna follow up to that but I've lost my train of thought there the sorry no that's right um we'll Circle back to the radio hit a little bit um are there any projects you've taken on or done in the past that you feel like this poster was a direct inspiration for like did you take any elements of it and use them in your own way for your own work I think I've used this this kind of idea of um uh kind of cascading text um uh oh a lot um and I think more so the maybe less this this one this one particularly I chose because it really tickles me I really like it um uh but in terms of the the more the more scribble kind of style the more um the the imagery from kind of the being the the beans especially was really uh definitive I think I guess for me or kind of defining yeah because I you know I was listening to it when I was 15 16 in the things that I think you know the things that you kind of get into there are really kind of formatively yeah they're really imprinting uh who you who you're going to become okay um and yeah there was a bunch of little just little kind of scribblies in there much like the sharp tooth beer or the crying Minotaur that I would just draw I would just draw them on everything yeah I've seen it there again something that even a child could yes because they were they were they were simple but they were cool and um yeah was there an origin story for the sharp tooth beer because that's the only thing I sort of had in my head is synonymous with Radiohead but I really don't know anything else about the symbol yeah I think it might have been a a initially designed as a um a polar bear um and there's some sort of I think there's some sort of climate change messaging around it that would make sense because the I was reading about the production of this album and it was fairly political even though they seem to sort of um or they seem to deny it a little bit in what I've read but a guy I work with um well actually did I don't know if I told you this so I told you I'm finishing up at work on uh 4th of May this year no but either congratulations or commiseration whatever is the correct way to respond to that I found that that question that answer depends on um the age of the person I tell it to people my generation and younger usually cheer and give me a sort of go off Queen kind of response but um a lot of people um older than us and sort of my parents age tend to just ask well what are you going to do instead and so I Believe by the time this podcast drops I will it'll be my first week of what I'm calling Fun employment yes um so I had a reason that I brought that up the Radiohead logo what were we just talking about before that yes politicization yes so a fellow that I worked with at this point he was telling me that that sort of two early 2000s Bush presidency um war on terror kind of era even though it was terrible for the states uh it was amazing for punk rock and yeah I was just thinking back about how we also got that Green Day American Idiot album I believe that was an anti-busch thing and then even the name even the name from this album I think was an anti-bush uh sentiment that they sort of appropriated um you presumably would have been more cognizant than I was during this time like I was probably uh eight years old something like that when this album came out do you remember much about being alive during that time the bush era yeah yeah a little bit um I remember I was um I was in I was in America on the first anniversary of 9 11. oh wow um yeah in New York City yeah um and yeah that was very busy um
yeah and I went like I mean I went to Ground Zero when it was still a kind of a hole on the ground um and uh uh appalling actually because I mean it actually was just um hurricane fencing with people selling American flags oh geez it was it was really I found it really tortry yeah um yeah kind of unpleasant um uh but yeah no I remember I certainly remember that era and I remember um uh when uh when they uh the invasion of um Iraq yeah happened um yeah I was just talking about that this morning I thought that does seem odd to call that a war because it seemed more like a like an occupation than anything else based on what little I've seen about it and stuff yeah um yeah so uh and and I certainly remember at the time being very um I think it was a real Point turning point for me of realizing their end kind of going to America for the first time in the the bush presidency of kind of realizing that um uh America is the world's biggest propaganda machine the the the the the kind of um the land of the free the home of the brave where the streets are paved with gold and the freest country in the world and and everyone wants to live here um is a not really like is smoke and mirrors oh yeah like bits of America are blooming great well uh what a incredible Place absolutely incredible but huge huge chunks of it I just just awful I just just so unpleasant um did you spend quite a bit of time over there I spent three months there touring um touring around kind of from um kind of from uh all down the kind of east of the country so from kind of New Jersey New York Pennsylvania all that kind of thing but also also I went all the way down to to Alabama I spent yeah Birmingham down there um when you're saying New York New Jersey um uh Pennsylvania I imagine American listeners would be going well no wonder you don't think the country's that amazing yeah yeah yeah and like yeah later on I was uh not on that particular trip but I also spent some spent a bit of time in um uh LA and and San Diego which is very very different yeah I think yes I think that's you know the huge part of it is that it's actually so big and it's really diverse to say that America is like one thing is just is is wrong absolutely it's like a whole bunch of different countries almost um
cohabitating I guess is the word yeah we're coming up 140 so we will we won't take up too much more time on this one but one thing I've just been looking at this the sharp tooth beer icon as we've been talking and I noticed that you've actually done you've sort of done this with your perfect storm promotional artwork in that your little cartoon characters versions of the of the performers are in their own way almost like a little logo like they have the same kind of line drawn on each uh even though the body changes and you see them in different situations you can still recognize what they are kind of immediately and they are just built up of simple lines yeah absolutely and and there is even the the kind of um my one my ones I guess the nod to the sharp tooth particularly is that they have these kind of um skeleton Grill kind of thing yes it's very distinctive yeah yeah yeah yeah and so that's yeah kind of the vibe that they all have so maybe with that we can end the Radiohead discussion here unless there's anything else you'd like to add about Radiohead that you've been uh just burning to say um no I don't I mean I don't think so I just think that they they are a a great example of um kind of cross-disciplinary stuff with the yeah with the discipline we're both both forms are kind of equally important and and don't it's not like they went to a photo shoot for the cover of the album yeah that has purpose doesn't it and then then that was there it's like no no this is where we're doing uh we're doing an art thing here yes you're right I really I really like that because that's kind of you're you're a multi medium uh disciplines with what you do so that actually make quite a lot of sense the whole the whole time I was looking at the artwork for Radiohead I just thought yeah this is Dan it's like this is Dan all over yeah yeah yeah it's like oh I guess I see where it comes from now yeah exactly so so uh thank you for talking to me about uh radioheader this week for the listeners we we're going to record it now but check back in next Monday for our discussion on Dan's creation Perfect Storm hmm thanks for having me thank you for joining me great interview with Dan there I really enjoyed having the conversation with them I learned quite a lot and just about about uh where Dan draws a lot of his inspiration from I even say it in the interview that I was looking through a lot of radiohead's artwork album artwork and just thinking to myself yeah let's stand all over and so with that we have quite a nice base to work off of which leads nicely into part two of the interview with Dan Bain which is more about his perfect storm show we talked about it a little bit in this interview but I really wanted to hold off and get as much of the conversation as we could about the Radiohead album and then move on to a perfect storm next week so if you enjoyed that come back next Monday the episodes drop at about six in the morning because back when I was working in an office there were certain podcasts I just needed to listen to on the way in to just help me get into or help me get through the Monday as we all we all know Mondays can be kind of tough so I hope yours is going okay right now if you want to follow Dan online you can visit us linktree at I am Dan Bain he also runs three different Instagram accounts he has new stock to purse which is his main Instagram account he has stand up in Hell which is another project of his involving AI artwork and demons well AR artwork generated demons performing stand-up comedy so if that kind of thing is your jam definitely check that out and then if you want to get a little preview for next week's interview go to Instagram and search perfect show and you can see the interesting design of the feed that Dan has which is the focus of the last sort of 10 minutes of the show next week Dan does a couple of podcasts the first one is Sleepytime mumbles which is a good one to listen to when you go to bed into a few episodes of that that is at sleepytime.buzzboro.com all the links for these below by the way will be in the show notes he's also got a new podcast called X-Men the Animated Series re-examine which he does with kiwi expat living over in the UK Javier a hot Queen I think you pronounce his last name I really apologize if I said that wrong have you you could of course follow Dan on Facebook at I am Dan Bain you can also sign up to his mailing list there I am on the mailing list I quite enjoy receiving it each month and then finally Dan has a book which you can buy called these are not the rules of improvisation you buy it through a Kofi website so I've got the link down in the show notes as for me as always I am Taylor rattle I'm on Facebook Instagram Tech talk and YouTube as Taylor ruddle comedy blessed to get the same handle on all of those sites I'm not on Twitter I was on Twitter but didn't enjoy it if you want to catch me doing stand-up comedy live you can come out on the last Thursday of the month at spriggan Fern Merivale in Christchurch for a show called pizzas pints and punchlines I believe that is 45 dollars and and that gets you entry to the show a pint and a pizza super reasonable in this economy and of course you get access to a hilarious comedy show usually featuring me and then on usually the third Saturday of the month at union Fair in prebbleton we have a similar format of a show it's dinner and a show and again it's about I believe it's 45 or 55 but that includes dinner and dessert as well as entry to the comedy show so in this economy that is a hell of a steal if you're interested in either of those go to facebook.com can do comedy for more info and to book your seats and one more thing just while I remember please leave a rating review on Apple podcasts if you'd like to help me out a couple of weeks ago when I recorded this I checked the rankings and I was ranked number 55 in New Zealand in the comedy interviews category which if I'm honest is probably more of a reflection on the fact that there are not many comedy interview podcasts on the New Zealand um Apple Store but either way if you really if you wanted to help me out and get me as close to the top as you can I think the top two are Tom Sainsbury's small town uh Scandal I believe was the name of it and then the ZM Cruise funny body I don't know my brother listens to it but either way if you want to help me knock off either of those two leave a rating a review on Apple podcasts and we will get this podcast to the Moon One Last Thing Before You Go on the 10th of May 2023 my first ever mini comedy special goes Live on YouTube for free we filmed it almost a year prior and I'm so proud of the final result the name of the special is Taylor ruddle all my covered jokes and like I said you can watch it for free on YouTube if you search Taylor Ronald comedy into YouTube you can find it or you can just visit www.tayloruddle.com spish that's s-p-e-s-h and you will be redirected to the YouTube video I'm so happy with the final product especially given that I only did the set like for the first time on the night and I'd love for you to check it out and let's see if we get it to 500 views before the end of the year