Joshua Turchin Performs At The NYC Dunkin Music Lounge

Episode Transcript

Speaker 1 (00:01):
So welcome to the iHeartRadio Duncan Lounge. I'm Lex Miller,
and today we have a true powerhouse of the entertainment industry,
Joshua Turcha. He has had an impressive journey from Broadway,
national tours to now writing his own original musicals. Joshua's

(00:21):
captivated audiences everywhere. So let's delve into his incredible journey
and creative process.

Speaker 2 (00:26):
Sure, how are you doing?

Speaker 1 (00:28):
I'm great?

Speaker 2 (00:28):
How are you? I'm good.

Speaker 3 (00:29):
I'm excited to be here.

Speaker 1 (00:30):
I'm so excited to be here too. I mean, I've
heard soundcheck. I'm a huge fan of yours already and
I just can't wait to see you for worm in person.

Speaker 3 (00:36):
I'm a huge champ of yours.

Speaker 1 (00:37):
Thank you. So, can you take us back to your
first experience in the industry. What sparked your passion for performing?

Speaker 2 (00:44):
Sure?

Speaker 3 (00:44):
I have always had a love for performing and music
and just everything to do with the industry. But I
really started when I came up to New York for
three weeks in twenty fifteen, and I never like left
and cause I ended up getting cast in a national tour.
I got an agent. It was the national tour of

(01:07):
a Christmas Story, which was a crazy experience. And from
there I just kept on performing and kept music, directing
and writing, and I've been up in New York ever since.

Speaker 1 (01:19):
Wow. So I was telling your mom this earlier about
that fact. I actually knew who you were because of
the Christmas Story tour, which is so funny because I
was in high school at the time, and I was
just like, I want to be one of those like
Broadway kids or one of those tour kids. And I
remembered your name all this time, and then you started
blowing up and I was like, well deserved, So this
is amazing.

Speaker 3 (01:36):
I started posting on TikTok and it was kind of
a thing to pass the time during quarantine because whenever
you things shut down, there was kind of that feeling
of what no. And I ended up making a bunch
of videos on TikTok and following trends and people started
liking them and people apparently like them, and it feels really.

Speaker 1 (01:59):
Weird, you know what. It's amazing. But going back to
a Christmas Story, can you talk about that experience a
little bit?

Speaker 2 (02:06):
Sure? I think I have a few people who were
part of the Christmas Story Tour here, right, Yeah, So
you were my tutor.

Speaker 3 (02:17):
Yeah, and thatcher in the back. He was the understudy
of the dad in a Christmas story, the Old Man,
and they he ended up also being the child wankler.
And so I've known him since i was eight, and
I've known you for over half my life.

Speaker 1 (02:36):
Now.

Speaker 3 (02:37):
That feels really weird. That feels really weird. Christmas Story
was really fun. My first year, I was Randy, who
was the younger brother in the show, one of the Principles,
and was super super fun to do because it was
my first professional job and it was just an incredible experience.
In my second year, I was the swing, which was
a very different experience, still fun, but because of it,

(03:01):
I learned how to memorize things very quickly, pick up
on things. I have a funny story about this swing
part actually because it was the first stop. It was
twenty sixteen, and I was I just turned ten. I
just turned ten, and I was so sick. I was
like I had no voice. I was like talking like this,

(03:23):
and it was very unfortunate because we were at our
first preview and I had an entire setup backstage. I
had my computer setup because the swing track you were
on stage for like one song in the beginning and
one song in the end, very easy, very light. So
I'm like, I'm just gonna mouth the words because I
couldn't sing, and hope for the best and just go back.

(03:48):
I had a steamer setup and we finished the opening number,
and the kid if I don't know if any of
you know what Christmas Story is about, it's about a kid
named Ralfi who really wants a rifle for Christmas for
some reason because he's like obsessed with cowboys, and he
has these friends flicking Schwartz. And in the opening number,
everyone's on stage and the kid playing Schwartz isn't there,

(04:12):
and I'm there. I'm we're waiting in the wings because
we all entered through the same wing, and I'm talking
to the other kids. I'm like, where is Josh because
his name was also Josh. I'm like, where is Josh?
He wasn't there, And I don't remember what happened, but
I was walking back to my dressing room when suddenly
the entire wardrobe team and the associate director come running

(04:34):
towards me and they're like, you can't go back to
yourssing room.

Speaker 2 (04:36):
You're gonna go on Schwartz now, you're playing shorts and
I'm ten years old and going what and I've had
no voice? I did, I've never practiced the track, and
I'm gonna have to I'm realizing I'm gonna have to sing.
It's a sticky, sticky, sticky situation with no voice, which
is like the most a tonal passing and Paul song.

(05:00):
And it ended up going and it went well.

Speaker 3 (05:03):
I went on for Schwartz and Josh and I are
still friends, and I'm friends with so many people from
the tour still and I talked to them a lot.
And it was just such an amazing first experience in
the industry because, you know, being a principle as my
first job really made me realize how much work goes

(05:25):
into performing, and then being a swing made me realize
how much swings have to do because I understudied every
single child's role in the show, and I had to
go on for multiple different kids over the course of
like two three months. And overall, it was just an
experience I wouldn't trade for anything, because it really helped

(05:46):
prepare me for becoming an adult in the industry, which
I just became a few weeks ago, which is really fun.
So Wit.

Speaker 1 (05:55):
I have to ask, did you get to go on
for all your tracks?

Speaker 3 (05:57):
I did not. I was like an understifer. There was
one time where I was really close to going on.
But what they did for Ralfie is they had two
alternate tracks. So there was Ralphie and then there was
another track named THEO and Or. No, no, it wasn't THEO.
It was Thor for some reason because the first kid
who played that track was like, I want to name
my part Thor, and so I ended up going on

(06:20):
for Thor a lot. But I never went on for Ralfie.
I never went on for Brandy. But I did go
on for a lot of the ensemble kids, which was
very fun because there's so much stuff that the kids
in the show have to do. They have to carry people,
they have to move multiple props or like multiple like
scenic things. There was a lot going on the show.

(06:42):
There was a giant tap dance number, so having to
learn each individual tap dance part was fun. But yeah,
that's awesome.

Speaker 1 (06:51):
So from a Christmas story, you got to play Flounder
and the Little Mermaid. I did selfishly. I'm obsessed with
the Little Mermaid, so I need to hear everything so
so I Yeah.

Speaker 3 (07:00):
I played Flounder in the Hollywood Bowls version of The
Little Mermaid, I sing She's in Love. It was an
incredible experience because the Hollywood Bowl is like seventeen thousand
seats and at the time I was, I was twelve,
and it was nerve racking because when you enter out
on that stage, you're like, oh, it's just performing, it's

(07:21):
gonna be easy. And then you step out and then
you see this giant feeder and you're just kind of like,
oh no, and that the stage itself is huge. It's
like it's literally like two Broadway normal Broadway stages put together.
It's that that size. So you have to run across

(07:43):
the stage to get to the other side. And it
was an amazing experience. It was with Harvey Feierstein, it
was with Leam Michelle, it was with Ken Page. She
recently passed away, which when I heard that happened, it
really hurt because I were with him at the Hollywood Bowl.
He was we know, he was Sebastian. He was Sebastian Cheech.

(08:07):
Marin was the chef, which was very fun. It was
really fun.

Speaker 2 (08:15):
And then there was me playing flounder and I'm still
friends with multiple.

Speaker 3 (08:21):
Of the mercisters in the show. Holly, who is one
of the merse sisters I still talk to on a
daily basis and she's so so amazingly talented and so sweet.
And yeah, they let me keep some of the stuff
from that show too, because there is a cut thing
from one of the moments in the show where like,
you know, do you guys know the Little Mermaid, Right,

(08:43):
There's like a moment where Vanessa, who's really Ursula in
disguise spoiler alert runs. She ran onto the stage. It
was one of the actresses and she was being attacked
by different puppets and then ran off stage. And it
was the live to film version of the movie, so
it was in between the film and there was like

(09:04):
a live orchestra playing behind us. It was incredible. And
there was a Scuttle puppet that they cut because they
ended up getting rid of that because I guess they
realized people are gonna be watching the giant screen, They're
probably not going to see the people. So I have
the Scuttle puppets still. It's in my room and I

(09:25):
see it every day and I think, wow, I wish
this was used because now it's like kind of cut
into like three different pieces. It's really just a seagull
stuffed animal on a stick, but it's my seagull on
a stick.

Speaker 1 (09:41):
I think you should post a picture of that.

Speaker 3 (09:43):
I feel like I should too. After this, I'm going
to go home and take it out Justice for the
scuttle pupet exactly.

Speaker 1 (09:49):
So the real reason you're here today is you've pivoted
a little bit from acting to composing. So can you
tell us about the moment you decided to write your
first musical?

Speaker 2 (09:57):
Sure?

Speaker 3 (09:57):
I mean, I've been writing songs since I could first
reach the piano keys, and I wrote I ended up
writing the musical when I was it was like ten
through twelve, and it was mostly happening because I was
getting to the point where I was too tall to
be in chos and too small to be in shows.
So I was just really the perfect age to write

(10:20):
because I wasn't working and well, well no, I was
still doing a lot of stuff, but it was much
more dead than happened previously. And I'm like, that's a
fun idea for something to write about. And then I
wrote about it, and then there's this musical theater festival
that was doing its first season off Broadway and off

(10:41):
off Broadway, and I sent it in. It was a
blind submission process, so they didn't know I was twelve,
and it ended up getting accepted, and it was such
an amazing experience because it really taught me how important
it is to rewrite in theater, because they say that
most of writing is rewriting, and oh why god, they
were not kidding, but it really taught me so much

(11:05):
and it was a really great experience.

Speaker 1 (11:08):
That's awesome. So you won Best Book for Perfect Fit?

Speaker 3 (11:11):
Yes?

Speaker 1 (11:12):
And is that the musical?

Speaker 2 (11:13):
That was?

Speaker 3 (11:14):
That was? That was the show? And that's unbelievable.

Speaker 2 (11:18):
It was it.

Speaker 3 (11:19):
So much time was spent rewriting that book. There was
a there was a lot of stuff that I was
trying to fix because when I sent it in, it
was like a two acts show and it really, in
my opinion, now knowing what I can do, writing wasn't
that great Now for a twelve year old, it's really good.

(11:42):
But trying to get it to a place where it
could have been, like where the book could have been
performed and sound natural and makes sense and make narrative sense,
have the characters have once was very important.

Speaker 1 (11:56):
So I mean at twelve years old, that is no
small feet though, but that's unbelievable that you were able
to accomplish that at such a young age. And now
you said, like taking what you know now to go
on to bigger things. So what inspires your songwriting and
your book writing are their specific themes or experiences, like
you said being a child actor is one of them,
But like, is there something specific that resonates with you?

Speaker 3 (12:15):
I love writing for time periods and genres. Those are
the types of things that really inspire me. Like right now,
I'm in the process of working on a little pirate musical,
which is really fun because from that, I'm taking a
lot of inspiration from sea shanties and a lot of
Irish folk songs in Scottish folk songs, and a lot

(12:36):
of also early like seventeen hundred's Colonial America songs, because
that had such a distinct style and to replicate that
is so much fun. And so that's really what I
try to use for inspiration. I try to listen to,
like if I'm writing a song that's like a nineteen
thirties pop song, for example, which is just like like

(13:00):
a lot of like nineteen thirties jazz songs follow very
specific structure, so I love to be inspired by the
structure of those like older songs, because those are the
that's the foundation for all modern pop music. So it's
very important to me.

Speaker 1 (13:16):
Are you a history buff to begin with, or just
things that you've done in your research kind of?

Speaker 3 (13:21):
I don't know if I would consider my Well, maybe
I am a history buff. I've never considered myself a
history buff, but I love studying history. So if studying
history makes me someone who loves studying history, I guess
I love studying history.

Speaker 1 (13:38):
So can you tell me more about this pirate musical?

Speaker 4 (13:40):
Sure?

Speaker 1 (13:40):
This is amazing.

Speaker 3 (13:41):
Yeah, So I started working on it after a very
eventful cruise and.

Speaker 2 (13:50):
It's a lot of fun. What the show is about.
It's about a boy who.

Speaker 3 (13:55):
Kind of gets swept up into the world of piracy
right as it's coming to an end. Because the end
of the Golden Age of piracy was a very very
big event, And there's a lot of different forms of
media that I'm using for inspiration because at that time,
of course, there is no social media, and there is
there is no way to get information quick but there

(14:15):
were a lot of newspapers and there were a lot
of journals, like historical journals.

Speaker 2 (14:21):
That have records of pirate trials, that have records of
pirate rex that have records of people going after pirates.
And that's one of the things that makes me so
excited to kind of tell this part of history.

Speaker 3 (14:34):
And I'm working on it still and it's going well.
I'm in the process of doing a lot of rewriting
for plot and re outlining and writing more music which
is coming soon, so I'm really excited.

Speaker 1 (14:47):
Yeah, So can you talk about how you approach that process,
like you're writing process?

Speaker 3 (14:52):
Sure, yeah, I guess as it pertains to music. I
know a lot of people have the question do you
start with with music or lyrics? First? I start with
an outline of the song. Honestly, I write down what
the song should be about. I write down why is
this song going to be sung, what is the style
of the song, what is the emotion of the song

(15:13):
that's trying to get across. And then from there, I
write how does this get a character from point A
to point B? And I just write this entire outline
at the top of my notes document because I write
all my songs in notes, which is very helpful, except
when there's no cell service because then I can't get
to it, but otherwise, from there, I start working on

(15:36):
a first lyric because I think first lyrics are the
most important part of a song. A lot of people
talk about whether hooks are important or the verses. It's
always the first lyric because that's where everyone gets the
expectation for what the song is going to be. The
first lyric and the first part of the song sets
up what the song is number one going to be about,

(15:57):
what the structure is going to be, if it's going
to be verse core, verse chorus or whatever structure. And
from there I write the music, and I write the
music based on what I think would best match how
the first lyrics sounds, and then it evolves from there.
Sometimes songs like you know, come really fast, and they

(16:18):
come instantly where I'm like, this makes most sense, this
is the line, this is the line, this is line.
And then there are songs I write that I'm feeling,
Oh why did I say that?

Speaker 2 (16:28):
No, And that's that's where rewriting comes in because I've
done so much rewriting on songs, and even before I
get to a first full draft of the song, I
have pages upon pages of scrapped lyrics that will never
see the light of day or may see the light
of day.

Speaker 3 (16:45):
In another song. And when I'm trying to write a song,
at least for lyrics, I like doing things that make
as much sense spoken than as sung, because if I'm
going to have a lyric that's super pope like, super poetic,
it doesn't really need to be a song because poetry

(17:05):
in and of itself is its own song form. So
finding something that makes sense sung to music makes sense spoken,
makes sense for the character are all things I try
to look for when I'm writing a song.

Speaker 1 (17:19):
I'm learning so much right now. That is so it's
just such a thought provoking thing. Like again, I'm the
kind of person like I know songs from like the
first chord if I've heard it a thousand times. But
you're right, the first lyric really is just like sets
the whole Yeah, wouldn't have even thought of that. That's
so cool. So how is your experience as a performer
influenced your songwriting.

Speaker 3 (17:38):
Over the years As a performer, I've really learned because
I'm now now I do a lot of composing and
I do a lot of music direction around around different
places in New York City. Writing things that can be
sung is very important because I look back at I
remember the first thing I ever orchestrated and the first

(17:59):
thing I ever wrote harmonies for was a song from
The Perfect Fit when I was twelve, and it it
was not good. The harmonies I wrote just and the.

Speaker 2 (18:11):
The types of orchestrations I was doing were unplayable and
unsingable because having someone go like da da da D
like trying to match at my at like when I
was much younger, trying to.

Speaker 3 (18:26):
Match what was in my head with what was going
to be sung was hard. Because of course, there has
to be compromises when it comes to working on harmonies,
because you want something that's not going to blow someone's
voice out eight times a week, because when you write
like in the Stratosphere, it becomes unsingable and it could

(18:49):
end up hurting someone, and I think as a composer,
that's the last thing you want to do. You don't
want to be responsible for someone injuring your voice because
they were trying to sing one of your songs and
it was so high.

Speaker 1 (19:02):
I think that's something you really should pride yourself on,
because especially like as a girl like having to work
on like your belt and all these things. But if
you're singing in the stratosphere eight times a week, it's
it's a lot. So thank you for doing that, of course.
So can you talk a little bit more about your
music direction and your recent projects at both fifty four
below and the Green Room?

Speaker 3 (19:20):
Sure, yeah, I'm gonna put down my water. I do
a lot of stuff at GREENO forty two and fifty
four below. I've I actually had one to fifty four,
like about a week ago. I do things there all
the time, staying with the Green Room, and I find
it so much fun. And I specially love working with bands.
I think when I'm playing with the band, it's the

(19:43):
most special experience for me because we're all listening to
each other, We're all listening to the performer, so there's
a lot of multitasking happening on stage just to make
sure that we're all going to try and make the
performers sound good. And it's whenever like that cohesiveness works,
it works, which is very very special. I love working

(20:06):
with performers. I love being able to play new songs
and explore different styles of playing, Like recently I've been
doing a lot more jazz playing because I've been doing
a lot more jazz in my shows and it's the
most incredible experience. And being able to do that with
singers in a band and having a crowd listen to it,

(20:27):
it's really incredible. And yeah, that's amazing.

Speaker 1 (20:31):
And do you know who the band is beforehand? Like,
do you have a collaboration kind of thing that you
get to deal with?

Speaker 3 (20:36):
Yeah, I would say I use a lot of the
same people for shows, and I do know who the
band is before the show because I need to know
what are they going to be able to play, what
are their what's their skill set? Where are they the
best at? What can they add to the show? Is
very important? And I am yeah, I'm doing a show.

(21:00):
So I'm doing a few shows next week over the
next two weeks at green Room and fifty four where
I'm playing with totally new people who I've never played
with before. And I love playing with new musicians because
even if we don't know each other, we all kind
of speak the same musical language and so there's always

(21:21):
that connection with them.

Speaker 1 (21:23):
That's awesome. So finally, can you tell us a little
bit about the songs you'll be playing today.

Speaker 3 (21:28):
Sure, So I'm going to play three songs. Two of
them are from the Pirate musical and one of them
is a standalone song. Everything you're going to be seeing
today is finished but still in progress because things evolve
over time and you know, rewrites happen. And yeah, I'm
going to sing a song called Captain's Code, I'm going
to sing a song called Sailed Away, both from the
prior musical, and then I'm going to show a new

(21:49):
one that's a more country pop style called This is
Your Life. And I'm really excited to debut that here.

Speaker 1 (21:58):
That's so exciting. And last, i'd be remiss not to
ask you, as we are in the Duncan Music Lounge,
if you could have coffee with anyone at a dunkin Donuts,
who would you want it to be?

Speaker 3 (22:07):
Ooh, that's really hard. Sorry, I'm gonna say. I'm gonna
say my family. He's here.

Speaker 1 (22:15):
But very cute.

Speaker 3 (22:16):
Yeah, and Alan Menken but mostly my family. No, but
my family amazing.

Speaker 1 (22:23):
Well, take it away, Josh, thank you so much.

Speaker 3 (22:28):
One of the songs with Hient Music I'm currently working on.
This is a not an older version, but an in
progress version. Because things are changing in the show. The
show is still in development, so things are added and
taken away literally every single day, so I hope you
all like it. Every free man is the right to

(22:55):
vote on any affair given on our vote. If a
man votes wrong, then he slid his throat as he
broke the captain's cold. If the limb is lost, then
the man will beg to cover the cost of his
own right leg. If the money is lost, will be
shot instead because he broke the captain's cold. And you
don't fight.

Speaker 2 (23:12):
Back if they cut your hand, demmy man's fight is
left on legs, and the light will end when blood
is drawn, no matter who dies, we sail at dawn,
clean up your mess, and thank god you survive one
more day.

Speaker 3 (23:27):
If you want to be free, then you better robey better, obey, better.

Speaker 2 (23:31):
Obey, better obey the captain's gold. Obey better, o baby
better obey you better obey the captain's cold. If you
sing aboard a'm maiden fair and cover her clothes and
cover her hair, then your lover and you will be
left bare and to watch me sail away. If you

(23:52):
find you gambling for a price, and we've warned you once.
When you've gambled twice, you'll be left no share your
cards and yes, and.

Speaker 3 (24:01):
You've watched me sail away, And.

Speaker 2 (24:04):
You don't stand down if your crew gets caught, and
you don't stand down when your captain shot. If you're
standing down, and when the.

Speaker 3 (24:10):
Ship's at board, then it's not our ship that you're
fighting for.

Speaker 2 (24:13):
When the war's over, you get on your knees. Boy
again free.

Speaker 3 (24:20):
If you want to be free, then you better obey
better baby, baby.

Speaker 2 (24:24):
Better obey the captain's go.

Speaker 3 (24:27):
Obay, better obey, you, better obey, you better obay.

Speaker 2 (24:31):
Sailor steals and another is pay Then he'll be dead
by the end of day. The money somehow disappears to
slit his nose and cut his ears. The captain keeps
us safe and fed. We serve the ship until we're dead.

Speaker 3 (24:45):
We all we pay the debt.

Speaker 2 (24:47):
We oh by following the Captain's cool. Really, you don't
keep secrets from your crew, lie about the things you
cry when we all learned you broke the captain's code.

(25:08):
So take your piss, take your sword, get on your knees,
pray to the lord because someone's going overboard.

Speaker 3 (25:18):
You broke the Captain's go.

Speaker 2 (25:21):
Better, O me better, roll me better, be better, roll
me better better, obaye the Captain's gold.

Speaker 3 (25:38):
Cool, thank you. So that song I really love writing
in sea shanty style. So that was inspired by a
lot of different Celtic and sea shanty songs. That's why
there was a lot of you know, percussion in the beginning.
And yeah, I'm gonna do the second one now, which
is called Sailed Away, takes place towards the end of
the show, And I mean, who who doesn't love a

(26:02):
good ballad.

Speaker 2 (26:13):
I sail to away so my mama is safe because
my mama is safe without me. I sail to way,
so my father is safe because my father is safe
without me. And I went on the run like I

(26:38):
had killed their son. Oh, I sail away. I sail
to way so my brother is safe and my brother

(26:59):
is saf withol me. I sailed away so my sister
is safe and my sister saf withollo me. And never
was the same when they forgot my name or I

(27:22):
sailed away, And I hope they're alive, safe in that

(27:42):
same place I lived on, safe in their home, safe
on land, safe in doing fine without me. Know they
won't cry on the day I die. They've done their crying,

(28:05):
so have I. I sailed away from my family at home,
and my family's at home without me. I sailed away
from my family at home in time there at home

(28:26):
on the.

Speaker 4 (28:27):
Scene, thank you, that's time for the last one who's excited.

Speaker 3 (28:46):
Hey, I'm excited. So this one is called this is
Your Life. And this kind of spurred from an idea
I had when I was sitting in my bedroom. I
really didn't want to school because I'm a junior at NYU,
which is really fun. I'm in a philosophy class right now,

(29:08):
so I've been thinking a lot. Thank you and I
when I was writing the song, I was thinking what
would have happened if someone like who I knew in
the future came back in time and told me literally
how my entire life was going to go. And that's
what kind of caused the song to happen.

Speaker 2 (29:36):
If I traveled back in time a few years before
we met where I promised that, I'd tell you all
I know, though you wouldn't recognize me. I'd take you
from your door and I'd show you how your life
was gonna go when you move out of your family

(30:00):
this house, She'll cry all night, so your mom is
gone to call the check if you're all all right,
and log will try to hide it. It'll make your
daddy cry. You were always daddy's girl, but you'll have
to say goodbye. This is your life. Make it a

(30:21):
good one. This is your life. I guarantee that I
can tell you just how good your life's gonna be.
This is your life. It's a good one. Waiting to

(30:46):
see you when you're in your senior year, you won't
study four exams because you'll go and party with your
friends and stuff. You'll hop from bar to bar until
you're in some fancy car and they'll take you home

(31:08):
in and up in your bed. And you'll never truly
see him because your love is blind, and she'll never
really say to him what's on your own mind when
you need his chance to cry on well, he doesn't
want your wait, and you'll always stay help worried why

(31:30):
he's coming home so late. This is your life, and
make it a good one. This is your life. I
guarantee that I can tell you just how good your
life's gonna be. This is your life. It's a good one.

(31:59):
Wait and see and they your almost stone to graduate.
And you'll get your first job doing something you'll hate,
or break up with the guy because he treats you bad,
and you'll go back home to your mom and dad.
You'll meet a man with a hard gold it'll feel
like young love. Bub we both God or if I
had the chance to love your way back when I
take your hand and do it all again. This is

(32:23):
your life. Make it a good one. This is your life.
I guarantee that I can't tell you choice how good
your life's gonna be. This is your life. It's a

(32:48):
good one. Waiting see, Oh it's a good one. Hey,
thank you.

Speaker 4 (33:08):
I want food, and.

Speaker 3 (33:13):
Thank you so much for having me.

Speaker 2 (33:15):
Thank you to the Tonun Lounge.

Speaker 3 (33:16):
Thank you to.

Speaker 2 (33:17):
iHeartRadio, thank you to you, thank you to all of you,
thank you to sound and live stream, and thank you
all so much for being here. It's really an honor
and I'm so thankful. Thank you,