Juliet Meyers - You Should've Been Here Last Week

[00:00:00] You Could Count The Punters On One Hand, Rock That Sweat They Were Completely Rammed, They Were Filled Up To The Gun Holds, They Were Queuing Down The Street, They Said You Shouldve Been Here Last Week, I Swear, You Shouldve Been Here Last Week, Oh Yeah, You Shouldve Been Here Last Week

[00:00:28] Welcome to the latest episode of the podcast You Shouldve Been Here Last Week, the podcast run by myself, Steve Gribbin and Paul Ricketts. Hello. Ah, I think I was going to say that. You left the government last.

[00:00:48] In which we delve into various areas of the comedy industry or this business that we call show. We've interviewed promoters, comedians, writers, you name it. And we're sort of like trying different aspects of the comedy industry.

[00:01:02] And today's special guest is standard comedian, writer, podcaster, dog owner extraordinaire, the wonderful Juliet Meyers. Welcome. Hello. I actually don't have a podcast. Do you know the reason I put that in is because you were actually on our podcast. Ah, now that's true. That's true.

[00:01:19] Yes, we had a pandemic podcast. We did. And I suppose it's a good time now to mention the fact that Steve is doing this podcast while suffering from the pandemic. Yeah, we wouldn't have laughed. We had two and a bit years ago, but now I know.

[00:01:38] I actually knew you a long time back in the nineties when you were doing something else. And which was less mention it, it was journalism. Yeah. Yeah. And so you were working for Scholastic. Yes.

[00:01:53] Who then at that time were flying high because they just started publishing Harry Potter. And I was publishing quite cute little magazines for kids learning English around the world. And there you were. Do you want to say what you would?

[00:02:10] Yes, I basically was a Callow young journalism graduate that sent you a letter because in days nobody had email and said, yeah, how about this idea for your magazine? And that's coming and meet you in your office and very lovely offices in near Holborn. That's right. That's right.

[00:02:31] Now it was weird. What was so weird was and you were great and you were entertaining and we took loads of photos and you had a funky bowl of hat on. But didn't it take us quite a while to remember? To publish it. No.

[00:02:51] I just remember that we didn't remember each other for ages. I remembered you, I think. Oh, did you? Oh, no. I was going to mention it because I thought, well, wait a minute. Yeah, perhaps you're not. Perhaps I got it wrong. No, I just didn't.

[00:03:06] Can you remember what you spoke about? What the article was about? It was about Londoners being the most unfriendliest people in Europe and that people visiting the country would have to accept that.

[00:03:22] I remember that I was then going around London talking to people and they were being unfriendly. And I was recording their unfriendly replies. That's right. I remember that because I remember the photo was you holding an A to Z or something. Yeah. Wow.

[00:03:37] What made you take the leap then from that? Well, all the sort of classic class clown, you know, chit in the office that made silly quips.

[00:03:50] But I mean, essentially what I did was there was a comedy course at the City Lit and I even then I didn't I wanted to sign up for yoga and it was full. And I saw stand up comedy for beginners.

[00:04:05] So yeah, if that course hadn't been full, I'd have been far calmer. I would have just done yoga. But it was full. And I remember I had the brochure at the prospectus in the office and I saw it said stand up comedy for beginners.

[00:04:20] And I said to this woman, I was working with what sort of idiot does that. And she said, it sounds like you want to. And I said, yeah, I do, I think actually. And I did it. I was, you know, I'm sure I was awful at it.

[00:04:36] My first performance, my bum cheeks trembled of their own accord. I was so nervous and probably so awful, but then somehow I grew to love it. Can you remember your first ever comedy gig the actual venue? Yes. Yes.

[00:04:54] Well, I mean, it was part of a showcase for the comedy course. You know, I was terrified all day. I think it went all right. But I mean, you know, I think it partly went all right because everyone invited friends and family. So everyone was very supportive.

[00:05:09] You know, there's that thing is an error about I would think some comedians are writers, some are performers. And I remember thinking some people they didn't have anything that I thought was very funny, but they performed the hell out of it. Yeah. I don't think I did.

[00:05:26] I think I just stood there desperate to remember it, desperate for it to be over. I'm wondering if anyone could see my bum cheeks trembling. A career in variety could have been yours. Can everyone else see this? It seems like they're vibrating round the run.

[00:05:52] Like there is some act isn't there that someone does to like music and they go do, do, do, do, do, do, do, do, do. And their bum cheeks kind of. Yes. There was opportunity Knox used to have one every month, didn't they?

[00:06:06] And anytime anyone did anything with their body, Wills was the music they did it to. Oh, OK. Where they pulsate a muscle or something. Yeah. Oh, OK. Is that what that cheers call them? Wills. Yes, it is. Do, do, do, do, do, do, do, do, do, do.

[00:06:29] I'm trying to think what I even spoke about. I think I might have held out to Jammy Dodger and pretended and put it on my head and said, oh look, I've been shot or something awful. That's realistic, isn't it? Yes. Anyone else from that course continue doing comedy?

[00:06:54] There was Shappie Korsandi or Shaperak Korsandi as she now is. Yeah. And I think Hal was sort of. Hal Crutton. Yeah, I think Hal Crutton was either in another advanced group or pretty much at the same time, but definitely Shappie.

[00:07:17] There was a girl who, Jenny Colgan, who didn't become a stand-up but became a multimillionaire from selling like chick-lits type of. That's right. I've met her after the radio show with her once already. Yeah. Very nice actually.

[00:07:34] We've been talking to a lot of confidians about this and it's those people that you think that you meet along the way and you think, oh, they're going to be really, they're going to create a big splash and then, and they're very funny and then they just disappear.

[00:07:49] Yeah. Like we were talking the other day about her. Do you remember the big guy from Liverpool called Anton? Do you ever remember him? Oh yeah! Who was sort of. He was funny. Really funny. I mean there was a lot.

[00:08:02] I remember him because he always looked a little bit scruffy and I'd always say to him, oh, I thought that was amazing mate and kind of be a bit gushy. And he'd always go, yeah thanks. Like he was just couldn't get out the room quick enough.

[00:08:20] But there was a lot of that. You know, I think, I mean on the course there was a girl who actually was the funniest but she just didn't do it because it's a crazy life, I guess isn't it?

[00:08:32] I think that's one of the issues that keeps coming up again and again. It's not so much to do with the comedy is it? It's kind of strength of mind or I don't know what it is because yeah, the life is very weird.

[00:08:45] If you're trying to have a relationship or if you've got a job, I mean I weirdly had a job that I was beginning to not care about and so sometimes I'd gig in Manchester and I would just say to people in the office, I'm just nipping out

[00:09:03] and I would get my bag and go and gig in Manchester and eight out of ten times it didn't matter. Every now and then people say, where on earth were you?

[00:09:15] And I'd say, oh no, I felt really ill or something but I mean I was sort of the boss but you know it's hard to travel miles. Before I started gigging if you'd have said to me I think one of my first gigs was in Bournemouth

[00:09:33] and it was like Bournemouth, this is where I used to come on holidays a kid, how have I come here for the weekends or Manchester or something and so yeah, you know the hours, the food. The food, yes. The ubiquitous against the pasty. Yes.

[00:09:51] Which is very, very bad for you. Yes. Come with a health warning kids, don't try this, don't try this. Absolutely, you know so all of that and I think the toilet, I think it does take a bit of a toll on your sort of life,

[00:10:05] your relationships unless you've got a partner that totally gets it. I mean the thing I did love though, even though it was dysfunctional was I don't do this as much now is I do love the chats in the car on the way to and from the gigs. Yeah.

[00:10:25] I really miss that because I don't do that as much. You know, I've been in cars where people are just chatting away and it's all gossipy and then I've been in cars where on the way to the gig everyone's very tense because they're slightly

[00:10:38] psyching each other out with that sort of how many times you've done this who are you gigging for? I once got a lift to Bath really early days when I didn't know what the hell I was doing. I got a lift with Jimmy Carr and his lovely Porsche

[00:10:54] and I kept trying to make stupid small talk and he was concentrating on his one-liners. He was like, mate, I'm in this to win. One of the things that changed the industry was comedy courses because more women got into the industry because of comedy courses

[00:11:16] in my opinion because it was a safer place for them to get a set together and then go on to the circuit. I mean, what do you reckon? I think so. I think maybe just more women being visible, created more women thinking, well, I might do it too.

[00:11:36] You know, I mean, this brings us quite quickly round to has the circuit changed for women and there's certainly a hell of a lot more women. But I mean, like I remember when I first started doing the circuits, you know, not nearly as many as there are now.

[00:11:54] And you know, there was that thing of being introduced. I remember being introduced so many times with we've got a woman now but give her a chance. What does that mean? Or, you know, once someone said we've got a woman,

[00:12:12] she's got lady parts and everything and you just go... You told me a story once. Oh, I think the worst introduction I've ever heard about the toilet was involved in it. Oh, yes, yes. Well, this is terrible. This, I don't know where to start with this.

[00:12:30] There was a notorious comedian on the circuit about 15 years ago who he invited me to his house. I said, I was gigging in the north, but he said, look, I've put in a word for you. Come and stay at my house.

[00:12:46] I'll collect you in my top of the range Mercedes unless you want my wife to collect you in her brand new sports convertible. And I stayed with him and, you know, it was a little odd. He couldn't really get away from remembering for a second

[00:13:04] that I was Jewish, even though I kept saying it was irrelevant to anything. But then about a year later, he was introducing me a gig and he said, and the next comedian has stayed at my house and the audience went, ooh.

[00:13:20] And then he said, and she left the floater in the toilet. Okay, that's... And... Oh, my God. I am angry about that on a lot of levels. That's no introduction, but be... My diet is very good. Thank you. I don't do floaters. Yeah. And he knew that.

[00:13:41] He knew that, like, because afterwards. But, you know, it meant that the audience went, I think he even said my brand new toilet and my brand new house. Was it top of the range toilet? Yes, exactly. Top of the range toilet.

[00:13:54] So I had to come on stage to the audience going, errrr. But when I came off stage and I said to him, I didn't. I didn't. He went, no, I know. And it's like, well... Then why did you even say that? Yeah. Sabotage. Sabotage. Exactly what he did.

[00:14:12] It was sabotage and it was sort of a slight... He was a psychologically quite strange guy who doesn't do it anymore because he's dead. But, I mean, like... Top of the range funeral. Killed by a floater. Yeah. But... What a way to... It's what he wanted. Yes, yes.

[00:14:36] Exactly. It's amazing how it's all part of that sort of awfulness of gigging, though, you know. And then we stayed in some Airbnb that was so cold I held my overheating laptop all night as a hot water bubble. Oh, my God.

[00:14:54] But I think there's more women just because I think there's more women. And there are a lot of bills that I look at and I think, oh, it's Jurassic Park. But mostly there are women on at most decent comedy clubs. But you veered into something else

[00:15:11] which was writing for other people. How did that happen? How did that first start off? I mean, I think I always wanted to do that. But, I mean, by pure luck, I suppose, I was with Sarah Millican when...

[00:15:26] I don't know if she was going to be on Mock the Week or maybe someone she knew was and they were discussing a joke and I kept trying to come up with other possible jokes that might work. And then she said, oh, do you want to

[00:15:42] work on the pilot of my TV show? And I loved that. And then she chose me to actually work on the TV shows. So it was that thing of luck. But I don't think she'd have used me unless I was decent. She always reassured me about that.

[00:16:01] And she didn't choose all the writers that worked on the pilot. Is there always a conflict there? I mean, I was once asked about, say, if you write a real absolute zing and you think, oh my God, that's so good. And then you think...

[00:16:16] I've got to give it to them. I can't, I can't keep it. Weirdly. I don't know. It's weird, I guess, because all the people I've ever written for... I've never written for Sarah's stand-up shows. I only wrote for her TV shows. And that was specific subjects.

[00:16:35] So it always felt like you were writing a joke that was for a particular situation. But ours is always the case. I always think so often, the ones I'd think were zingers. It wasn't for her purposes. But she was a brilliant person to write for

[00:16:54] because she's got a very defined persona. So it's... Whereas I find it harder to write for myself because I'm like, you know, I'm a bit girly, I'm not very girly, you know, I'm middle class, but I'm not Xander Rahm Strong saying jolly every two minutes type posh.

[00:17:14] But Sarah has a very defined persona. And so did the other people I've written for. Well, okay, you see the TV recording and you see the person doing your material and you hear the laughter. How's that feel? Well, I bloody loved it.

[00:17:32] But also I think, you know, I mean like... I think sometimes I'd watch Sarah performing it much better or delivering it much better or sometimes she'd slightly tweak it and she might have given it more economy of words or something, but I think I just love the fact

[00:17:54] that I'd be like, hooray, you're doing a joke and then you'd hope it would stay in the edit. You know, you'd go, oh, don't cut it, don't cut it. It was great. I loved it. Yeah. I mean, you can't... We don't want to know everybody,

[00:18:10] but you've written for other people as well. Yeah, yeah. It was Sarah that I mostly wrote for. But I think I wrote a few times for Gary when he did Mock the Week, Gary Delaney. One or two things for Angela Barnes. I wrote for Susan Cowman

[00:18:31] when she did the monologues on the Commonwealth Games. No, that's a good one. I wish I'd got an agent, a writing agent when I was writing for Sarah's shows because I think I would have had more leverage. Yeah. Jason Manford as well.

[00:18:52] I used to do stuff occasionally for Jason Manford, but most of these people now, they're doing their tours. They're selling out arenas. There's all sorts of rumors. I mean, you know yourself, we can't name anybody, but there's rumors flying around about people on the circuit

[00:19:07] that are just generally general jobbing circuit comics that get other people to write for them, which is kind of weird. It's not the same dynamic at all as being a TV, TV, where you've got to have that, the voracious beast of television eats all the shit.

[00:19:25] But I've always found that strange when people will, well supposedly they're wealthy enough to pay for the comedians to write for them. I just thought that was a bit weird. I guess, I mean, it's weird. I mean, in the case of Sarah for TV,

[00:19:42] obviously she's just so busy. She was doing so much that she did write herself. So I was just there sort of chipping in with, you know, some extra backup stuff. But when people write for, you mean people writing for their stand-up shows? Yeah.

[00:19:59] I mean, not even for their stand-up shows for their 20 minute sets. Yeah, that is a bit weird, isn't it? I've not going to say who it is. No, no, I mean, I'm intrigued. I'm going to ask you the minute the record. Stop the record. Yeah.

[00:20:15] But it does seem weird, doesn't it? Because you think, well, because I get it. If you've done an Edinburgh Hour and you've got someone to help polish your jokes, maybe I get that. But yeah, that you think, well, why are you doing comedy

[00:20:33] if it isn't what you've written? I don't know. Could people do it for different reasons, you know? I think... As it makes it a path to something else, you know? Yeah. I think laziness is probably the answer. Yeah, but like just...

[00:20:48] Why would you go through the effort of writing stuff, coming up with subjects when you can just pay someone a tenner and get a half-decent joke, which you think you can deliver? I guess. I mean, it seems weird though. I mean, it seems... Because like I'm saying,

[00:21:04] Sarah Millican writes all her own shows. And so you can understand why she'd get writers for her little TV spots. But it was like she'd be giggling around the country and then proportionally the time she could spend on doing jokes

[00:21:22] that she just got that needed to be subjects that she needed to talk about the topical. But yeah, someone doing a 20-minute set, that is very odd. You know, that's... Yeah. And so what? I mean like this comes to the thing of... I keep thinking, you know,

[00:21:46] that thing about shouldn't it all seem like it's coming from your persona? I'm going to name someone. I'm going to name Jack Whitehall, because in the early days he had writers. And I knew one of these writers. And this is just for his 20 minutes.

[00:22:03] And one of the writers said to me that his dad had got in contact with him and said, look, I want you to write ten minutes on Cyclis and how much of a pain in the arse they are. And the writer said quite... Quite rightly, you said,

[00:22:24] you do know that your son doesn't drive because at that point Jack had no licence. And also the Cyclis thing, it's a bit hacky, isn't it really? Yes. And to which Jack Whitehall's dad says, well I drive and I want you to write

[00:22:40] that material so I can write it. Wow. How can I put this? Perhaps Jack's dad was always aiming for Jack to hit the market of mainstream. Yeah. Yeah. I've got a quick funny story about Jack Whitehall's dad at one time was doing the comedy story

[00:23:01] about ten years ago. And Jack Whitehall had admittedly had quite a good gig and he came into the booth at the comedy story and he goes, when's Jack going on again? Oh my God! He said, what? He said, no it doesn't work like that.

[00:23:15] You do need twenty minutes, you go off and he goes, well he does rather good, he deserves to go on again, don't you? Wow. It's just crazy when is he going on again? Like, I mean I had years ago, a really long time ago,

[00:23:31] a friend of mine said, will you talk to my friend, he's thinking of doing stand up. And I rang this guy who, you know, was called something typically posh. And I said yeah, try it downstairs at the king's head,

[00:23:45] that's a really good place for your first five minutes. And this guy went, no I don't want to do five minutes, I want to do longer. And I said, but it's, you just start off with five. And he said, well what if,

[00:24:00] what if I do five but I won't get off? And I said, you know, and I was like, but you have to get off because there's lots of other people. And he said, but if they're enjoying me,

[00:24:14] you know, and I had to sort of say at the end of the call because I'd given him the number for downstairs at the king's head. And I was thinking, oh good, you don't have to say, please don't say Juliet Meyers. He didn't need the number. Yeah.

[00:24:33] Peter be on the phone going, what the hell? Who is this guy? Like I've gone, and it's wonderful there, do as long as you like. Oh, one last question about a joke that you told once that stand up for labor gig. Yeah, you know the joke

[00:24:48] because such a funny story and what happened afterwards. I do know well, but I don't have far you're expecting me to tell this story in terms of, well, I used to have a joke and I don't say it anymore due to sensitivities

[00:25:04] because I've learned that if it offends but the joke was, I love the fact that I'm even positive, but the joke was do I used to talk about the fact that people often thought I was gay and I'd say I'm not, you know, like possibly by whatever.

[00:25:22] And then I'd say, I do have a question about being a lesbian and I'd say, do black lesbians have bigger dildos? And it would normally, you know, it would sort of do quite, it would get me out of jail at quite laddie gigs and I, you know,

[00:25:43] just would play juxtaposition or whatever. But the stand up for labor gig, these two women absolutely stormed out mumbling and then I think complaining at the back of the room and said, you know, that's a really awful cliche that you think lesbians do that and would use dildos

[00:26:12] and it's so ignorant and how dare you, how dare you, you know, comment on something that's not your world. So I kind of never told it again. Oh, I tried to defend you. Yes, you did defend me. Look, well, yes.

[00:26:35] And I defended myself because I still believed in it. But I think it does indicate that, you know, there is that thing that you come across occasionally on the circuit. And I guess this is sort of what Jimmy Carr does a lot of,

[00:26:53] I always think a lot of what his jokes are, beautifully crafted, but I don't like how they could be interpreted or what he's saying. And that to me was a joke that worked with the audiences while I believed in it.

[00:27:13] I had a joke when Emperor Hirohiso came over to visit the Queen and the Royal Family and in the mall, all the British soldiers turned their backs on him and they started whistling Colonel Bogey, you know, from the film, but Jojo's not quite.

[00:27:31] But my joke was I said, do you really want to upset the Japanese? What you should whistle is... Well, every time I did it, it got a really big laugh the first couple of times and every time afterwards people just go, no, no, not having it.

[00:27:48] It's slightly different, but I used to have a joke actually at the gig that I was introduced after the bloke saying I did a floater in the toilet and they didn't like me at all. But I used to have a joke about Gardner's question time

[00:28:00] about there's always a posh woman on saying, we don't like the slugs, we want the slugs to go away, we don't want the slugs. And I'd always say it's how... I know you're saying slugs Margaret, but it sounds like you mean immigrants. And... And... Thank you.

[00:28:23] That makes me want to bring it back. But you're my target audience, whereas in Skunthorpe or Grimsby or wherever we were, they applauded that joke because they misunderstood. Yeah, well, that's the other thing. So they applauded and then I did it in Brighton a few months later

[00:28:45] and they booed me because they thought I was saying that and it just felt like, wow, how divided are you, Kate? Brighton was like, how dare you? Immigrants were a valuable source of revenue and I was like, I know, I know. And it just felt like...

[00:29:04] Do you know what? Forget it. Yeah, I mean, you can't... There are some acts that make a verge of that. Like someone like Scott Gopur, O'Connor Larkin, he's the best thing of those. And he's always got that thing of he doesn't care whether the audience goes,

[00:29:19] and he just continues. Well, it sounds like you would question... If it gets a certain reaction, it does lead to you thinking, should I do this or should I...? No, I mean, I've done it myself. I've dropped my best joke when I first started.

[00:29:35] I had to get rid of it because it was misconstrued. What was it? I can't even tell it. I can't even tell it. I went through a stage where... All I got down here at the punsline was, and his penis was huge.

[00:29:54] I remember the first time I'd done it, I had... What's his name? Adam Bloom going, that's a cracking gag. I love that gag. And I just thought, wow. And it went great for a year. And then suddenly it didn't go great. And people said,

[00:30:16] I don't like the inf... I don't like that gag. And I dropped it. And then every so often for about a year, I would do it once every six months. But once it's in your head, that people can take it the wrong way, it's never going to work.

[00:30:33] And in the end you go, well, I can write another joke and let's forget about it. I think that's it. But that's so interesting that you say it went well. That is your own self-confidence with it. But also, I do think the world has become...

[00:30:47] And I'm not saying this is a bad thing at all. I think it's a good thing. But the world has become a little bit more... Don't say stuff at other people's expense. I don't know if you're a joke about the enormous penis. Was that? Yes, yes it was.

[00:31:05] I'm intrigued. I feel like now your whole listenership should try and... If this was the punchline, what was the set? Yeah. You see white people to write it with their own setups. Yes. If you're listening, I'm like, yes please do. Yes. It's like...

[00:31:26] Yeah, that's quite an interesting area about self-policing or self... Awareness when you're telling a joke. Because some people, it bothers them. And then other people... If you really don't care and that's what you do, then that's what you do.

[00:31:45] If you're thinking, oh wait a minute, I don't like it. Making the room feel uncomfortable and think the wrong things about me as a comic and let alone as a person. Then I think well drop the joke, write another one. Yeah, I think so. I guess it's just...

[00:32:02] It's annoying if you believe in it enough. But yeah, I guess I've actually got... This feels like this is more just therapy for my stand-up now. But I've had a joke about my bicycle being stolen by Jack Whitehall's dad.

[00:32:21] Now I've said that if we don't include the Jack Whitehall bit. But no, I've got a joke. And it's actually true that I got my bike nicked. And I say to the audience, please said they'd found it. And so I went down to the depot

[00:32:41] and the guy said there you go. And he pointed to a bike that was blue and I said my bike was red. And the audience loves the fact that the guy says go on, just take it. They love that.

[00:32:54] And they're happy for me to do that with me sort of like indicating with my head just get the hell out of here. But when he says I don't understand and I say that bike is red, that bike is blue, my bike was red.

[00:33:09] And he says, what's the problem? And I say God, I know you guys say you don't see colour anymore. The audience doesn't agree with you. Really? They don't get the irony of that. Oh God. I don't know. I don't know. And it's weird. But they just don't.

[00:33:33] Whether they're upset that still levelled against the police or I don't know, I don't know. I'm not sure if it's the police or I have no idea because I have a solution for you. Yeah. Sell me the joke.

[00:33:54] Well, I would if I didn't love all the bit before because they love that, but see that's interesting. Isn't it? Maybe it is that though. Maybe it's that. If I told that joke, I would get the laugh. No one would have the problem.

[00:34:11] I would go to the police and I would get the laugh. You know, middle class white woman calling out the police. Yeah. So that's interesting, but yes, whereas if you said it, they'd be like, yeah, you know, or not every also it could happen the same way.

[00:34:33] You could oh God, there's another black comic talk about being black. Can't talk about anything else. I did used to get a good reaction. When he quit. Yeah. You're angry now. I'm back writing for people on stage. Yeah. We've all got those jokes. They're sort of your favorites.

[00:34:55] You like them, but then you try them again and again and again and again. It's nothing. And it comes to the day we have to take the joke outside and go, listen, I'm really, really sorry. I'm going to have to pop you in the canal now.

[00:35:09] And the joke is going, just try me again and you're going, I'm sorry. And meanwhile going, but I personally love you. So the joke is going. So get rid of me. The others hate you. I love you. I gave birth to you. Jokes like that. Exactly. Madra.

[00:35:33] I think with some jokes, I don't think I ever made a massively conscious decision, but I just go, you know, maybe I'll leave that out for this one gig. And then you just forget about them. Then it becomes one, two, three, four.

[00:35:47] And then the next thing you know, like 50 gigs are gone by and you haven't done the joke. Yeah. Jokes drop out, you're set without you even making a conscious decision to do it. They just disappear. And then sometimes you're doing a setup

[00:36:01] and you think, oh, whoa, wait a minute. You finish the joke. I used to do that joke after this. Yeah, yeah. I'm sure this bit used to be longer and then you go, oh. I'm just pissed off that I was out of fantastic stuff about the riots

[00:36:17] and that was 12 years ago and every summer I prayed for more riots. So I can't joke out. You're on the streets trying to stop. Brilliant. Hot, isn't it? Look at this window. I seem to remember Chris McCorzlin telling me once he's got a joke about

[00:36:37] someone in the news had chopped up two bodies and put them in two separate suitcases and he was like, when's that going to happen again? I've got the best joke about that. Well, I think it's now is the time to wind this up. Well, thank you, Juliet,

[00:37:00] for being a guest on our podcast. It was fantastic. We really enjoyed that. For those of you watching at home, if you watch it on YouTube or getting this on Spotify or anything, many platforms is on. Please watch, like, subscribe, share,

[00:37:16] give it to people, tell people, tell your friends, tell your relatives and help share the love that you should have been here last week. So I'd like to say goodbye to everybody. Goodbye. That's great. Can I just add? I didn't know it was face.

[00:37:30] I thought it was just audio. I could have put some makeup. I do apologize. That's all right. We don't see color. But always a pleasure chatting to you too. Thanks, Juliet. That was great. Thanks for being there.