The Sound of Gold with guest Jonathan Woody

0:21 Hi, welcome to The Sound of Gold. It is so great to be back here with you. I am tuning in from my music studio in my home. I'm here with my cat Callie and here she is. You can kind of see her. It is Monday presently. It is the last week of October. And wherever you are in the world, I hope you are having a beautiful day, whether you are watching this today on Monday or watching this on another day recorded. The Sound of Gold, if you know and if you don't know, is about music. We focus on music, musicology, composers. We focus on music venues, musicians.

1:04 I also am a music teacher, so we also welcome music teachers. and all types of entertainers because the arts are not just, I mean, music is what I, for me, it's what keeps us going. Music heals us. Music touches our soul and music is universal. We connect. It doesn't matter what language you speak or where you live. We connect through music and through the arts, we find ways of connecting, whether we are singing, playing an instrument on stage, performing, uh, There's just different ways. I am so excited to introduce my guest today. But before we do that, it is the end of our Monday here, the end of our Monday afternoon, evening. And I just want to welcome you in and ask you just to sit back, relax. If you're driving, listen and just don't close your eyes. But if you're in a space, in a place where you can just close your eyes and relax for a couple minutes, I just want to welcome you with a little Monday melody.

2:07 Here today, the weather is sunny and breezy, so I'm just going to call this a Monday Breeze Melody. Melody Thank you.

3:17 That's a little Monday breeze for you. And I am so excited. I have a longtime friend who I am so excited to introduce today. And it is a dear friend of mine, Mr. Jonathan Woody. I know you're sitting backstage. Please come out and join me. Thank you. Thank you. Thank you. Good to see you. You as well. And I'm so excited to have you on the show. We met years ago on a film set and we've stayed good friends since. And it's such an honor and privilege to have a great relationship with all my guests and with you as well. And Jonathan, there's so much about you. You are so talented and you bring so much to the platform. I know my audiences out there love to hear the story behind the success.

4:13 I don't know where you want to begin, but maybe at your earliest stages, what inspired you and what's brought you to where you are and who's inspired you? As with many people, especially aspiring actors, a lot of people mentored me along the way. I asked a lot of questions. I was very fortunate to be mentored. I had decided very young that I wanted to be in radio. I didn't know how I was going to do it. I wasn't even out of high school. But I opted not to go to college right out of high school. And then, of course, I did what everybody does. I worked at the restaurants, waited. At the table, cleaned the restrooms, all that stuff, and decided, okay, I'm going to go get into music. So I skipped from the children's Arizona University and offered one when I was still in high school in the music.

5:03 And so I decided. To go right back to Arizona, Flagstaff, Arizona. Oh, yes, beautiful there. Oh, wonderful, wonderful people as well. But I lived in Nashville at the time with Mom and Dad, so I moved back to Arizona, Phoenix, and just totally on the cuff enrolled in a broadcasting school, Ron Bailey Broadcasting. Back then, you had to have everything was analog. You had to have a certain amount of training. especially on the analog, but you also had to have an FCC license where you couldn't be on the air, which meant you had to pass government tests. I had to learn face angles, Morse code. I just want to talk on the radio. But anyway, you had to do it.

5:48 It was the law. So I got eight and a half months of training at Ron Bailey, went to Long Beach and got my first class. And that was actually my general class. And then I got my first class in San Diego about two months later. So I still have my first class FCC license. I don't even think they have one, have to have one. And ended up, my first job was in Shilla, Arizona on radio. Hugh Williams, the station there, just one of the mentors. I could not have been without Mr. Williams. Anyway, back then in radio, Much more different from today. You did everything. One thing, because I had the first class FCC, I was able to help the engineer. I couldn't make engineering decisions, but the engineer could tell me what to do and I could do it.

6:41 Did everything. I was on the air, sold advertising, wrote advertising, copied. That's how you made the most money back then, is selling the advertising. We got paid very little radio. And so when you did that, you got a commission for the sales. But I love writing copy. I love producing the commercials. But anyway, we did it all. But so did everybody else. And then from radio, I just decided, you know, the highlight of my radio career, I was so fortunate. I became engaged after broadcast school. And my fiance decided that she wanted to go to Northern Arizona University. Well, I had been in broadcasting for five years at this point.

7:26 I was, not to date myself, but I was at least six years out of high school. Before I went to college. And I got a job at the radio station in Flagstaff. She went to college and then I decided, well, I got my broadcast degree, why not get my speech communication degree? I'm there, why not do it? So I did. I enrolled at NYU. Got my music scholarship back, was able to study music and theater while I was there. But The highlight of the radio career was very young. I was very fortunate to be able to work with Wolfman Jack for several years. Yes. I had seen in. The trade unions where you could bring Wolfman Jack into town to your radio station, and he would do a couple of remotes for you and an evening show.

8:13 You know, everybody got together at the club. I had a lot of fun. But anyway, I presented this to the radio station. I was selling radio at. Lord, in college, Lisa, I was waiting tables at Blackboard Steakhouse and singing. I was a singing waiter. I was on the air. For one radio station from 6 to midnight Monday through Friday. And then I sold advertising for the other radio station in between my class lectures Monday through Friday. Well, hey, I just wanted the piece of paper. I told my counselor, I want out. I want the piece of paper. And then, you know, love you. Bye. I was focused. I was out of there in three years of communication BA.

8:54 And I'm not the type. Anyway, this took money. So I presented this to the radio station. I said, why don't we do this? This would be an incredible thing to be able to do. And the station would make money. And we'd bring Wolf Menchak into town. You have to keep this in the preference of 1986, 87. Totally different ballgame back then with broadcasting. They said, OK, you can do it, but we're not going to do a thing to help you. Here's the fee, which was what we had to pay to bring Wolfman to the station. And we paid the fee and they said, you better make money or you're not doing it again. I sold advertising for that thing. I sold tickets for the show.

9:36 When we brought him into town, we could do three live remotes. And then the club night where everybody brought their cars and brought their girlfriend. Any of you were at the hop, so to say. I had a lot of fun doing that, but it was the most work I've ever done in my life. Anyway, I didn't make the profit, but I made my sales commission, and I was able to pay my tuition in college. With the sales from these remote. Oh, man. Well, Lisa, I worked him to death. I swore to you. He called me Woody Man. And he liked to be called Woody Man. Woody Man. Woody Man. Woody Man. Nothing British. He did not like anything British. And we were doing live remotes. I had to have him in a five-star hotel, hard to do in Flagstaff.

10:24 I had to have a limousine. And I had to have the convertible. Well, the only convertible I could get my hands on in Flagstaff. Was an MG. Oh, wow. Only one. I'm not kidding. And this wasn't going to work with his wanting of American atmosphere and music, which I totally agree with. But anyway, I had to get him some convertible, the only one I could get. And he got in and he said, wait a minute, wait a minute, British. I said, I know, Wolf, I know. We're going to the next remote. We're going to the remote. And we got mooned. Oh, gosh. We got mooned. Okay, Wolf, let me in on the secret.

11:06 What is this? He said, it's a compliment. Don't worry about it. Okay, fine. It's a compliment. He said, it's from American Graffiti. Oh, how funny. Gotcha. There you go. Of course, he started the cruising era. But we did the club show two nights after that. Of course, had security issues, even in Flagstaff. And you didn't have to. Deal with the things you have to deal with. It was relatively safe, no problem at all. But we were just really getting mauled, so to say. And I wasn't used to that. But he was. And he would every now and then house security. I called the police department. They're out there. Okay, let's go. But we were trying to get this NG out of that. And it would not start.

11:51 Oh, no. He's just banging my shoulder like that. Jump out of that. Jump. I didn't even open the door. Jump out of the car. People are running at us. And I shut the car off. I put it in a neutral. And I pushed the car. Popped in. Popped the clutch. Hit it. Boom. We're out of there. And he said, don't do that again. What do you mean? I didn't do it to begin with. But that was just really exciting. Exciting. Oh, I bet. Learned a lot. I was in a unique position. I've been doing this for seven years now. And I make a lot of money selling advertising.

12:32 I do very well. I do very well on the air. Everybody loves it. Seems to have a fun time. But how did you reach the level of success you reached? And he helped to have three stations in Mexico. That's how he started the cruising movement. They kicked him out of L.A. He told me to my face. They said I sounded black. I said, well, what's wrong with that? I mean, you sound great. He said they didn't want it in L.A. In the 50s. So he went across the border, got these stations, started the whole cruising movement at stations that were twice the power of any station in this country. And he boomed. Across this country.

13:12 What do you mean by cruising? And I said, well, the cruising era, all the high school kids, they'd get out at night on Friday and Saturday. They'd jump in their cars and go down Hollywood Boulevard. They'd do Chinese fire drills. You'd get wound. It was the cruising era. Okay, understood. I did a little bit of that in Phoenix in the 70s. But he started this era. And I asked him, I said, that's all well and good. The station, would you sell a lot of advertising? He said, no. He said, they just kept going at it. I said, what's that? What does that mean?

13:57 He said, 1%. All right, 1% of American Graffiti, the movie. OK. To understand how important that was at this time, The studios owned everything. They owned the movies. They owned the actors. They owned the distribution. They owned the production. They owned the concessions. They owned the theaters. You did not get a percent of anything. And George Lucas, the director, said repeatedly, well, if this is about you and the era you started, you have to do this. And he said, no, I don't. And I'm paraphrasing. I don't ever want to speak for them. But this is what he told me verbally. And he's 1%.

14:42 You didn't get 1% of it. The production company did not want to produce the movie because they were worried about the script. They did not like the script. And this movie was filmed in documentary style is how they actually filmed it. So the script, it didn't read like a regular movie. They didn't want it unless somebody big. Was behind it. Well, he was friends with Francis Ford Coppola, who was just coming out to God. And he really didn't have a lot of time to put it, but he came on as a consultant. And then they agreed to produce the movie. So Coppola was a consultant for graffiti. But long story short, you didn't get a percentage of the movie set. And that was just an incredible thing for him to do, to be able to get a percent in.

15:30 I don't know exactly how it was done other than that's what he told me. But there was some kind of a deal between Lucas and him that I think Lucas gave up some of his money so Wolfman would come do it. Because the studios were just, he didn't get it. It was just the way the business was. It wasn't they were trying to be mean. It's what the business was. That's it. Boom. But yeah, he told me that I could have conversations. With him like that. And it meant a lot to me as a young broadcaster because here I'm in the, you know, it was, I would never have an opportunity again like this in my life. And we were coming down to the end of the four days that I had access to. And we were working on those four days and we got done with the show and everything.

16:11 And he said, Jonathan, he said, I want out of here. I said, what do you mean, Wolf? He said, wait a minute, wait a minute. I'm out of L.A. I want to buy this radio station. Are you talking to me? I said, Wolf. I know you know about radio stations. We have to disclose your name at some time or another. Sure. He said, well, my name's Bob Smith. I said, God. His name was really Bob Smith was his name. Really? I said, well, at some point in time, I'm going to do. But we've got to, by law, disclose the name. He said, I know, I know. He said, just get me there. Get me there. I said, okay, okay. And so I approached the station people. I said, I have a buyer for the station. Okay.

16:53 Been broadcasting five years to this point. I'm going to NAU getting my communications from in there. Ha, ha, ha, ha. I'm like, no, no, I'm serious. I'm serious. And they said, OK, who is it? I said, I can't tell you right now. I said, I'll tell you when we have to, but I can't tell you now. Long story short, we got that thing all the way to the table. All the way to the table. Got everything. I mean, we were down to the tacks. And then I had to tell them who it was. I said, Bob Smith. They said, who's Bob Smith? And I told them. And of course the price went so high that he wouldn't. Entertain it at that point. And that was right. The station's price was already inflated, but if they had known who the buyer was, it would have been like, and it was like triple once they found out. So he ended up buying a radio station, I believe in North Carolina. He moved to North Carolina.

17:43 I know that. And we spoke a couple of times after that, but, He died fairly young. He died, I believe it was 58 years old. I got a call from one of his sons when it had happened. And, of course, just real sad. It broke everybody's heart. But I'll tell you, when we were going home, we were talking about the radio station. And I was taking him back to Phoenix because he had to get back to L.A. And I had him in the limo. He always sat next to me for some reason. He wanted to sit next to me in the front. Okay, fine, no problem, please. Great, great. And his wife, Lou, was with him. And if you wanted Wolfman Jack, you had to go through Lou or Todd.

18:25 Todd was his son, and Lou was his wife. So you're getting to Wolf without them. Anyway, they were having an argument in Sedona, and I'm trying to get back to Phoenix, where we had been with Mrs. Flanagan. I said, I miss you, Flanagan. I miss you, Flanagan. He said, don't worry. Don't worry. You're with me. You're with me. Don't worry. Okay, fine. But it's 55 miles an hour at this time. The speed limit changed 50 miles an hour. We're on I-17. And if you know anything about I-17 in Arizona, north and south, you don't speak. You don't do it. And anyway, they're talking about some ring in Sedona. And finally, they finish whatever they're doing with the ring. They get the ring. We're in the car. And we're going. They say, go away. Go away. I said, I know.

19:06 And I'm doing about eight on the way down. I mean, sure enough, I get pulled over. He said, don't worry. We're having a little technical difficulty. Yeah. I said, is that who I think it is? I said, yes, sir, it is. And he went, give me a driver's license. I gave him a driver's license. He said, do you know what you're doing? I said, yes, sir, I was speeding. And he went back to his car, made sure I was clean and all that good stuff. He just walked right back up to the car, gave me a ticket, and left it. Didn't even say hello, said nothing. And his, bam, smacked him across the back of the head. I said, boom, you said you were going to help him. He just sat there. It was just good.

19:51 I have never had a speeding ticket since, and that was the only one I've ever received. What a great story. On the radio, I went corporate. Oh, actually, I should probably be quiet for a little while and let you say something. I apologize. Oh, no, not at all. I love these stories. And I know my audience does, too. For those of you that remember Wolfman Jack, I mean, he had a voice that was unforgettable. And what a what an honor it is to have you on the show, sharing with us your experience with being his manager and working with him. And what can I know? I have so many questions. I'm sorry.

20:32 I wasn't his manager per se. When I had him under contract, I was his manager. But in fact, his family, best I know, managed him because I had to go through his family to get to him. But it was just really an experience. It was once in a lifetime. Once in a lifetime. And what a great story. You know, There's a little lag in our communication with the technology today. So it's not anybody's fault other than, I don't know, sometimes technology does that to us. So for our listeners out there, we appreciate your patience. And Jonathan, I want to ask you, with the experience you have and where you were then, have you.

21:25 What is your interpretation of success with radio shows and your education? And what have you seen? I'm asking two questions. Comparing then to now, how do you see it's changed so much? There's a delay in the communication. If I got the gist of it, after radio, I was approached by a company called Safelite Autoglass. They were Lear Siegler Industries at the time. I was on the air at a radio station in Reno, Nevada, K-R-O-W. And they called me and they said, look, we'd like you to. Go to L.A. And work for us. And I'm a broadcaster. I'm a broadcaster.

22:07 I don't know how to sell auto glass. And they said, look, you know where Lear-Sigler is, right? Lear-Sigler Industries. I said, yes, sir. Yes, I do. He said, well, you know, we don't ask twice. I said, I understand. And I thank you. And next day. This is your call that doesn't happen twice. It was SafeLight Autoglass. And they said, look, we're on our way out of town and we'd like you to join us. And I said, sir, Phil, you have to answer one question for me. I said, you're going to send me to Los Angeles. I'm a broadcaster. That's what I do. You're going to throw me to the dogs and Los Angeles is going to eat me alive. And there's where I'm going to be.

22:52 He said, nope. He said, you'll learn how to sell auto glass. He said, we want you because of your ability to communicate. Yeah, communication is everything. And I stayed in the corporate world. But I never got out of theater. I still communicated with my agents. I still did community theater productions. I still stayed involved. I won my first TV series. was when I was still working with Safelite. It was High Mountain Rangers. And it was with Robert Conrad. And Robert Conrad pack-heart-lead me in. Yeah, so I could become a Screen Actors Guild member because it was a union production. And this is when I worked for Safelite Autoclub.

23:37 And so I was still trying to stay in it. But I love Hollywood. Don't understand me, but I never trusted Hollywood. I was going to make my own way. It's just not a program. I'm fine to do it and depend on adults to It helped me. But anyway, he took that part. Apologies for the technical difficulties. Back in the day, network television was king. I believe it was 88. And my cat's singing. I'm sorry. Oh, it was, you know, it was network television at the time. And the networks were a big deal. If you saw a television show, it was none of this, what we have today, where, you know, you have view on demand. If you wanted to watch a certain show, it was a certain time, a certain day on a certain network.

24:23 That was it. So the networks were in control of everything. Well, that thing hit the air. And when it hit the air, the next day at my office at Safe Flight, the phone started ringing off the hook. People wanted to know if that was me. And they had chastised me for taking time to do this. And I said, you know, well, it could have another effect. You know, they said, yeah, but we won't go out there working. I said, okay. But that's when people called insurance agencies, claims companies, people who I'd made sales calls to for five years who knew me. And I haven't said a word.

25:03 I was always quiet about it because I was scared to let my employers know. Oh, yeah, they don't take kindly to it. They don't. But it did my. career with Unilever and had a good career with Unilever. Once again, my communication skills were in marketing for them and did a very, very good job for them. But then I decided it's time for me to just do it. I could never get the acting out of the blood. Couldn't get it out. And it's time for me to do it full time. And I've been doing it full time for the last six years. But my first TV series was High Mountain Rangers with Robert Conrad. First movie was Vacation, National Lampoon Vacation.

25:47 Yes. The most recent film was Dark Thing, filmed in Fort Lauderdale. And the most recent TV series was Bad Monkey with Vince Vaughn, who was just another wonderful person to work with. Vince Vaughn was just incredibly wonderful. That's wonderful. That was great. There's a little story on that that was kind of funny. I played the part of the priest, and I did a funeral for an arm in a casket. It's called Bad Monkey, and it's on Apple. Anyway, we did it. We got through everything. And when you have a part like that, you have what they call a wrangler. And the wrangler makes sure that you're in your trailer, and you have your script, and makes sure you go to where you need to go. They direct your every physical moment.

26:38 So you're where you need to be when you need to be there. They don't leave it to chance. And she brought me to Prince when we were getting ready to film. Brought me to the Prince floor. And she had me to sit down in the chair. She said, sit down here. I said, okay. And I sat down there, right where she told me. And Vince Vaughn comes in. And he said, introduced himself to all of us. There were about four of us there. He said, who are you? What have I seen you in recently? I said, the right stuff on Disney +. I played the singer. That's what I was right here, right? And then the wrangler tapped me on the shoulder. You're sitting in his chair. Oh, no. You put me in his chair. I got to get up. He said, no, sit down.

27:22 Don't worry about it. What do you want to sit in your chair? What do you want? I said, a bagel? He said, a bagel. I sat in Vince's chair. He sat in mine. And he ordered me a bagel. But that's the way he was throughout the whole production. Wonderful spirit. Wonderful. Aw. I have a question for you, Jonathan. And I know we have a little bit lag in between our conversations with technology today. And so, again, to my audience, our audience out there today, we appreciate your patience. My question to you is how and why did you segue from radio to film? What was it that inspired you to make that change? or to make that shift?

28:08 In radio, I enjoyed sales, but I always excelled more at the creative end, writing copy, producing copy, doing voiceover work, being a live announcer, doing live shows every day, being on your toes. That is what I loved about radio. Corporate world has none of that, other than good communication skills. So I kept doing voiceover work because. I had to keep my hands in it. And so from voiceover work, And then just started getting an agent in the town that I lived in. And the agent, you know, they'd call me, they'd send me on things. And I, right, right. And so then I.

28:48 Would just slowly transition into it until I felt, you know, confident enough. And really, it took me a long time. But I like the comfort of what's, you know, solid. But acting is not that. You have to be able to do the ups and downs equally well. And that's what I think I measured with so many different jobs. I think I was able to make that. Yes, exactly. And here's another thing. During the pandemic, there are a lot of actors that you're never going to see now. Because during that pandemic, and I relate this to. The silent film. Movies were silent.

29:29 Okay. You just stick in relations, facial gestures, talking. These people could not talk. They could act, but they could. Silent actor to talking actor couldn't handle it. Not that they were bad actors, but they weren't good speakers. So during the pandemic, there was no such thing. As an in-person audition, if you could get an audition at all, they'd pretty much cancel all production. Oh, sure. When you could get an audition, it was in person. But during the pandemic, you had to do a self-tape.

30:09 Sure. Like musicians. I had a comfort. Level with self-tapping because all of my years in radio and law, I had no trouble with pushing buttons, turning dials, looking at this needle. I could do 50, 20, 30 things at the same time. I made a transition from in-person auditions to taping everything to be able to do a presentable audition tape. A lot of people can't make that transition. I think because of the radio experience, it was a totally new technology. Digital was just an incredible change for broadcast, especially if you're on the engineering side. The other thing that I think I was able to do was do rejection. Rejection, I was able to, that came from the corporate world, came from the acting world too.

31:03 Don't call me, we'll call you. That kind of thing. So you have to be able to deal with the criticisms as well as the success. And the criticisms, especially in a positive manner. I don't need to be happy when I'm successful. You're gonna have to shut me down, I'll be so happy. The hard times are when you need to be strong and when you need to have the capability inside to pull it out and not let the rejection stop you from the next thing. I'm sure you've heard that we make bad decisions when we let emotions enter into our decision. Yes. Or that's a hard thing to do. That's a hard thing to do. But you have to do it.

31:44 So I think the transition to self-taping, people can really excel in. But then I think also being able to deal with criticism as well. As success is important. And I'm not talking about, you know, criticism and bullying. I'm talking about critiquing, professional critiquing, professional criticism. Other than that, there's not room for any criticism. So, Jonathan, sorry again for the lag in the technology today. I don't know. We're doing the best we can. Thank you for your patience to our listeners. So Jonathan, I don't mean to interrupt you, but I'm interrupting you because we have a little bit of a lag. And I want to ask you, for our audiences out there, some people are watching us, but other people are just listening.

32:37 So for those that are listening and are not seeing the scroll underneath our screen, how can people out there connect with you if there's a show or a film or they want to connect with you about tips or tricks on communication or see some of your work on screen? Can you share with us how they would connect with you online? Sure. I'm on JonathanWoody60. That's just like my name. J-O-N-A-T-H-A-N W-O-O-D-Y-6-0.

33:21 And that's my Instagram. I'm also, I'm told you can get me at YouTube Jonathan. And so there'll be a few things on there. That one doesn't have as much as the Instagram. And you're also on IMDB. Technology is so fun. I'm sorry, Lisa. It skipped. Yes, it's OK. It happens. I'm asking, you are also on IMDb, is that correct? I think you are. Yes, I'm also on IMDb. And that's my name, Will. Nice. Well, for our audiences out there, the music world and the film world is not very different when it comes to showing up and having to go for auditions and getting approved. Or maybe, you know, in some ways it's very similar. In other ways, it's very different. I'm also have my foot in the film world. And it's different in the way that like you, you don't just go to a restaurant and send them your demo tape and hope they call you. It's similar in the way that you audition and yeah, wait for them to call you.

34:33 So I take back what I said. It is very similar, more similar than different. And yeah, it just, the business, both music business and the entertainment business, it's very much entwined. And, you know, we just got to keep going. And Jonathan, you're our true inspiration. And you have, you thrive with your skill of communication and knowing what you've learned at school and tapping into connecting with people to move forward. And you have this gift of, you've connected with such great people in your path. Can you share with us some trips or, yeah, some trips, some tricks, sorry, some tricks on how you've made the connections you've made or tips, tips, tricks?

35:28 Well, yeah. I've developed a lot of salesperson skills along the way. That's the thing the corporate world taught me how to do and radio taught me how to do, is be a good salesperson. And that gave me the education skills to be able to weave your way through difficult situations and make them positive. You always have to be positive. That's a big thing. Keep the emotions out of it as much as you can. That's always good. That will help. Keeping the emotions out of it, absolutely. Another good communication skill is always straightforward. Oh, yeah. Oh, yeah.

36:15 But being a good salesperson has enabled me to really be a super good communicator. Listening is very important. And that's what the problem here was today with all the time lapsing. I haven't been able to listen to you well. And listening is key. to good communication because you can't solve a problem unless you know what it is. So you have to hear that problem. And then with emotion, try without emotion to think through the pros and cons of that, whatever it is. But that, in a nutshell. Those are the, at least were my, you know, major growing points with communication skills. Plus I had a father who was one of the best communicators the world has ever known. This man, President of the Senate, Admiral, Motorola, WebCorp, William J. Woody, and his communication skills were like.

37:13 None I have ever seen in my life. He could tell you to go to hell and you'd be going, yay, and loving the trip, you know, and you'd never even know what to do. I've never had.... I've never had to exhibit that skill. But, you know, he just watching the way he maneuvered probably helped with my communication skills as well. You don't get too far up in life without good communication skills. Absolutely. And the other thing is a vocabulary. And if there was anything, oh, yeah, it's my vocabulary. I need to work on that every single day. You need to be learning something.

37:58 Every day. Yes. And I want to. Many other things that go into good communication skills. I'm sure of it. We have the communication lag in the technology, so it makes communication a little bit difficult today. But I do understand what you're saying, and I appreciate you, and I want to follow up on what you're saying. My dad was one of my greatest inspirations as well, and my dad taught me so much, and I'm congratulating you because I've worked with you on film set and I've followed you on Instagram and Facebook, but we're also friends.

38:39 And how you show up always is so important. And I'm saying this for my audiences out there. One of the greatest, excuse me, greatest things my dad taught me, and I take this with me, is you are your own billboards. So always show up showing your best and always show up doing your best no matter what kind of day you're having and keep kind of like keep the personal emotions out of it and always put your professional self first because that will be appreciated so much more than if you're going off, you know, in communication on your emotions. So thank you for sharing that, Jonathan.

39:22 It's so important. You know, and to latch on to that a little bit, in radio, that was. so important. And they told me this very early on. In broadcast school. But my communications degree told me about it, too. When you're on the radio, you could have had a bad day. You just lost your girlfriend. And you're just having a bad day. Yeah. You can't go on the air like that. No matter what has happened to you in that time, you have to put that smile on your face. You have to smile with you. You just got to keep going. That's right. Always show your best. Always do your best. And you do that.

40:08 You're a great example. You're a great inspiration to so many, Jonathan. We have a couple minutes left. And can you share with us what your next film is? we could expect to see you in, next film or commercial? Dark Thing is getting ready to premiere. I don't know when or where yet, but they have something ready to premiere. And then you can currently see me in an MLS commercial. Major League Soccer commercial. I'm one of the principals. Yeah, and current TV series is Bad Monkey with Vince Vaughn. And I... I did a movie about eight, nine months ago called Chicken Head. And I was the only person that didn't get killed off.

40:55 It was a comedy. And they called me a couple of weeks ago and said, I'm going to be in Chicken Head 2, right? Well, I was hoping for the call. I'm the only one standing. So I'm going to be in Chicken Head 2 coming up. And that's Matt Florio's production. Yes. Shout out to Matt Florio. Another mentor that I cannot say enough good about. Yes. Ditto. And I've worked with him as well. And he's just, he's so much fun. Yeah. He, he, he always amazes me with the things that he remembers. Yes. I don't know how much time we have left, but he brought it to my attention.

41:35 Yeah. We're just about, we're just about out of time, but Jonathan, I want to thank you for, for being on the show today and we will, we will stay connected. For my audiences out there, thank you so much for your patience with the audio today. Technology does that once in a while. Until next week, I'm not going to share who my guest will be because that's always a surprise. But I want to wish you a wonderful week, a wonderful day. Always find a. Moment just for yourself. Life is. And please keep music alive in the arts because these are the things that touch our hearts and make us laugh and bring us peace and joy.

42:27 And thank you. So much for being today. I look forward to being here again next week for you.