In this video, I wanna explore how to compute the limit of a piecewise function, particularly, I'm gonna be interested at the switching numbers, that is those numbers for which the function changes its behavior, cause after all the piecewise functions we're gonna encounter in a typical calculus course, you're gonna see some type of nice pre-calculus function, some nice pre-calculus function. This is what we call an elementary function, a function created by using the algebraic operations of additions, traction, multiplication, division, exponents, we can also use transcendental functions like exponentials, logarithms, trigonometric functions, through inverses, composition, any type of combination there, right? We have these elementary functions and a piecewise functions is gonna be pieced together these different pieces. Now, in terms of calculating limits, if you're looking for any number in the domain that's not associated to a switch, like if you look at x equals three, then a little bit to the left of x equals three, it looks like eight minus two x. A little bit to the right of x equals three, it still looks like eight minus two x. Therefore, the limit as x approaches three of f of x here, this is just gonna be the same thing as the limit as x approaches three of eight minus two x. Because near x equals three, the function just looks like a line. You don't see the square root part when you're near x equals three. I mean, so then the limit calculation would just be evaluation of the function. So you get eight minus two times three. So we get eight minus six. The limit should be two, which is exactly what you expected right here, right? The y-coordinate. Great. Now that's if we're trying to evaluate, or that is if we wanna compute a limit when we're not near the switching numbers. You just look at what's going on in that part. When it comes to piecewise function, the switching numbers are the most interesting because that's where it switches behavior. So you'll notice with this function if you take, first of all, f of four in this situation is undefined. It does not exist. The domain doesn't tell you what to do when x equals four. We can do when x is bigger than four, but when x is less than four, but not when x is for itself. That we can still consider the limit in this situation because if we wanna compute the limit, take the limit as x approaches four of f of x. What's that gonna equal? Well, it turns out that if you approach from the left versus approaching from the right, you get a different approach because of this piecewise nature of the function. So let's explore that for a little bit. If we consider the portion to the left, if you take the approach to the left of four, then the function thinks you're a line. And so the approach will be that of a line. Take the limit as x approaches four from the left of f of x. This is gonna behave just like the left portion of four. So that is as you approach four from the left, this will look like eight minus two x. But as this is a linear function, the limit will be the evaluation of the function as we saw in previous videos for lecture 10 right here. So we get eight minus two times four. You're gonna get eight minus eight. You're gonna get zero. So the left-handed limit is gonna be zero. So as you approach x equals four from the left, we think y will approach zero. All right, what about if we approach it from the right? If we approach from the right, on this portion of the graph, we actually think we're a square root function. So if you approach from the right, we think it's gonna behave like the square root of x minus four, in which case then in that situation, we get the limit as x approaches four from the right of f of x. This will then look like the limit as x approaches four from the right of the square root of x minus four, which by the limit properties we've seen previously, we can actually evaluate this function at x equals four. We get the square root of four minus four, which is gonna be the square root of zero, which is zero. And so as we approach four from the left, we see that y will also approach zero. And you'll notice that these two limits are in agreement. The left-handed limit says it should be zero. The right-handed limit says it should be zero. And since the limits both think they should be zero, we see that the limit of f of x is gonna be zero here because the both one sided limits agree. Let's take another example. Let's take the limit as x approaches zero of the absolute value of x. You'll notice that the typical absolute value function itself is naturally a piecewise function. It's graph makes that classic v-shape like so, right? We see that the absolute value function, it's a piecewise function, right? It looks like x when x is greater than or equal to zero. It looks like negative x when x is less than zero, excuse me. And so if we wanna find the limit as x approaches zero of the absolute value of x, well, we consider the left-handed limit as we approach zero from the left of the absolute value of x. This will look like the limit of just negative x as x approaches zero from the left. That'll look like negative zero, which is equal to zero. On the other hand, if we take the limit as x approaches zero from the right of the absolute value of x, this will be just the same as the limit of x as x approaches zero, and we see that's equal to zero. So again, like the other example, the left-handed limit and the right-handed limit both agree that both are zero. So the limit of the absolute value of x as x approaches zero will be itself zero.


The Court of Appeal of Boudre has reserved judgement in the case or reverse judgement in the case between the leader of the indigenous people of Biafra Namdi Kano and the federal government. Tuesday was fixed for hearing of the appeal between Kano and the federal government. During the proceedings, the Court of Appeal asked the federal government legal team to confirm if Kano's charges were met seven times since 2015. Lawyer from the office of the Attorney General of the Federation admitted in the affirmative. Recall that Justice Binta Nyaku had, on the 8th of April, struck out 8 out of 15-count terrorism-related charges against Kano. The satisfied Kano, through his lawyer, Chief Mike Uzakome S.A.N., approached the Court of Appeal challenging the remaining seven-count terrorism-related charge file against his client. They maintained that the forceful rendition of Kano has not been denied by the federal government and all the counts alleged except one. They did not mention the location where Kano was purportedly committed and had committed due offence. I will be able to demonstrate before the Court of Appeal, as we did before the law called, that Namdi Kano never jumped bail. You jumped bail when you voluntarily escaped from trial and refused to attend trial. We all saw that on the 16th of September 2017, Namdi Kano was with his late father Eze Kano in his ancestral home in Umuahia, Afarauku, Ibeko, Umuahia, Abia State. When the federal government, using the Army, through Operation Battle, invaded the home and killed in cold blood twenty-eight unarmed Nigerians, Namdi Kano managed to escape by providence.


All right. This is not a cool slide. So yeah, my name is Christian. I'm going to be talking about the Nintendo, so I'm from Canada, from Montreal. Thank you. Hello, Livestream. And I am a Ruby developer, so I build web apps full-time, but in my spare time I tend to hack on random stuff because my brain does that. And for the past three months, the random thing I was toying around with is the Nintendo. It's not because I was playing in Nintendo, it's because I want to understand how it worked. So it all kind of started, I guess I was sleeping, and for some reason I thought about the Nintendo and I started asking myself how it worked. And at first I just wanted to understand how all the little parts work together to display pixels on the screen. But then I went down a rabbit hole and I eventually want to display my own pixels on the screen. So here's sort of like the three-month journey that I'll take you on. So to answer my first question, this is what the inside of Super Mario Brothers looks like. They're called ROM boards, and they're called ROM boards because it's basically just two ROM chips, and a ROM chip is read-only memory. So the chip on the right is called the program ROM, and this basically has like machine code, it's actually like the code for Mario. And on the left side you have the character ROM. So character ROM is just graphics for the game. So the first thing I did was I wrote a little program to extract the graphics from a ROM file.  If you want to do it, it's just a very simple binary format, and it's really well documented. It's really fun. Anyway, but not all the ROM boards look like this.  So Nintendo, when they built the original Nintendo, they knew that technology would get better over time. So they made it so that the cartridges could take advantage of this advancement. So I don't know if you're not familiar with the Nintendo. The Nintendo didn't have any storage. So the way you would play a hard game is you'd either have to leave your Nintendo on overnight for many days, or the game would provide you a way to input a password. Yeah, a password. A very long password for some games. But then Zelda came along, and Zelda introduced... Zelda's cartridge had a battery in it, and the battery was powering RAM. Just kind of mind blowing to me. And this battery apparently lasts six years. So if you still have Zelda today, well apparently you could just switch out the battery. Really cool stuff. Then I started going down the rabbit hole. So this is my first program. You might look at this and be like, wait, this is not a program, it's a blank screen. I'm like, no, it's not a blank screen, it's a black screen. It actually... I am proud of that black screen. Because that black screen took me a long time. I'm a Ruby developer. I work with high-level languages. I'm a self-taught developer. I didn't go to university. I'd never done assembly before. And yeah, it took me a while to figure out how to display a black screen. Had to read about the NES, which is... So the NES was released in 1985. So just finding information about that was kind of tricky. And then I had to find tools to write assembly for the NES. That was kind of tricky too. Anyway, fun times. So I was learning this with a friend, and he was kind of doing his own thing on his side. I was doing my own thing. I was like, oh geez, this is the wrong slide, it doesn't matter. I was talking to my friend and this, okay, spoiler alert, this was the next milestone. But anyway, I have a ball that's on the screen, and I'm like, oh my god, it works. And he's like, no way, oh my god. And I'm like, yeah, oh my god. And then I was like, wait a minute, is it normal that we're getting excited about displaying a ball? Yeah, totally. So the NES is powered by the 6502 CPU, which is the same thing that powers the Apple II and other retro consoles. So it turns out you can't really use high-level languages for this CPU, because it's two megahertz. It'd be far too slow. So instead, you've got to speak its language. You've got to speak machine code to it. I don't know about you, but I don't want to write hex code all day. I'm used to having a high-level language. So this is where the CC65 tool chain comes into play. So this is basically an assembler and a linker. And a linker will give you NES ROM files that you can then run on emulators. And this allows you to write code. I say code because, well, I mean, it's still super low-level. It's not the code you'd expect for, it's not high-level language or anything. So you can read and write the memory. You can add and subtract. And you could compare numbers. And then you could jump around your code based on those comparisons. So it's very, very limited. And what the CPU will do is it'll essentially just go instruction by instruction. It'll execute your code. And that's what you have to build a game. So yeah, spoiler alert. I showed you this earlier. But this was my second milestone. I managed to display a ball. And it was awesome. I was so happy. So what I had to learn to display this ball is what's called the picture processing unit. And this is basically the graphics card for Nintendo. It's capable of displaying a 256 by 240 pixel image, of which you lose around 5% of the image because of the overscan of the old CRT screens. You can't use RGB. I learned that. So you're actually limited to a 54-color palette. And you can only use 25 colors at a time. So super limited. The NES wasn't powerful enough to let you render one pixel at a time. So instead, the screen is divided into 8 by 8 tiles. So you can actually control every tile. You have two layers. You have a background layer and a sprite layer. And sprites are just 8 by 8 objects with an x, y coordinates. And it turns out to build games, all you have to do is write to the right memory address. Just kind of cool. You don't have function calls. You just write to the right spot. And that's how you display stuff. So milestone number three, sorry. The ball moves and it bounces off edges. I was stoked. So here's my conversation with my friend. I'm like, send him the video. And I wait. He's like, oh, my god. Wait, is that real? And I was like, yeah, that's real. He's like, no way. I'm like, yeah, it's real. So the way what I had to do to get this working is I needed a way of knowing when time passes. So it turns out the NES renders at 60 frames per second. And between each frame, you have what's called a vertical blank. And you have a small period of time where you can prepare the graphics for the next frame. And this will trigger an interrupt. So an interrupt is just a way for something to tell the CPU, hey, stop and go here. So if I have this infinite loop that's just incrementing numbers all the time, and the NMI interrupt triggers, well, it'll bring the program counter to the interrupt. And then I can do my stuff. And then I can return back to wherever I was before the interrupt. So milestone four. Yes, I learned how to read controller inputs. So it turns out controller inputs are just a special memory address that you can read from, which is pretty awesome. And it turns out the Nintendo only had eight possible buttons, which fits really well in a byte. So it turns out when you press a button, it just toggles a bit. And if you press two buttons, well, it toggles both bits. And so what you can do in assembly is you could read the right memory location and then you could do bitwise operators to see if a button's pressed or not. Pretty cool. Milestone number five. I'm playing against a robot. It's a very unfair robot because all the AI does is set the Y position of the paddle to the Y of the ball, so I can never win. But at least I can test my program and make sure, you know, the bounciness works and all that stuff. Tooling. Turns out there's a popular emulator called F-C-U-X. I don't know what that means, but it turns out the Windows version of it has a debugger. I don't have Windows. I run on Mac, so I have to use Wine to run this version of the emulator. And it gives you a really cool debugger. You can set breakpoints. You can watch the memory. So if you see, I don't know if it's clear, but you can see the memory address is changing. That's because the ball is moving around, the paddles are moving. You can see all this really helpful when you're working on assembly code, because you can't do console log or stuff like that, right? Turns out this emulator has support for Lua. So Lua is a scripting language. And you can advance the frame. You can read and write to memory. So you can do cool stuff like you can overlay stuff on top of the UI to help you for debugging. But then I was like, wait, Lua, can't you do unit testing with Lua? Right? So yeah, turns out you can. So I wrote some unit tests to make sure my game works. And as I develop it, I can make sure I don't introduce any bugs. Yeah. Two tests. Yes. All right. So in terms of resources, there's this really great wiki called NES Dev that basically explains everything about the Nintendo. And I found learning assembly was really hard to grasp at first. And it turns out the Nintendo is really old, and there's a whole bunch of different emulators for it, and they're all open source. So I ended up finding a Go emulator. And whenever I had troubles understanding how the 6502 assembly worked, well, I just opened up the emulator code and figured it out, kind of read it. So next steps, well, I want to just improve the game, have a title screen. I eventually want to put it on an actual cartridge. I don't know how to do that yet, but I'll figure it out. I want to open source the game so that other people that want to learn assembly and 6502 can do it. And I'm going to be starting a YouTube channel and really going in depth into how I built this game, really taking the viewers' hands and going step by step on how to build a game like this. So my name is Christian. I hope you like the talk. That was it. Thanks.


is now time for your favorite segment IonMPI with Digikey. This week's IonMPI is from Jackson's Instruments. I like to mix it up a little bit. This week it's the MPIs from TI and what's interesting is that this is like this is like a meta MPI because I was researching this MPI and then as I was doing so I discovered other interesting MPIs so this is going to be like a journey I'm going to take you through. That's right. So this week the MPI is the TI CC 2652RB which is a wireless microcontroller 2.4 gigahertz wireless microcontroller. Let's look at the block diagram. So every chip company is now doing this thing where it's not enough to have microcontrollers like MSP430 and then separately you have some wireless chip that you or can chip that you connect up. Now everything is becoming very integrated. They're taking the the chip the microcontroller chip and other dyes for sub microcontrollers for wireless controllers. They're bonding them together and they're putting them in a package to make it super integrated and super small. So TI has been known for a really long time for their CC series of wireless chips and so the CC 2652 and they also have like a sister product which I'll talk about in a little bit the 1352. These are Cortex M4s. You can see there in the in the main chip is I'm just gonna get my stats right. It's a Cortex M4 48 megahertz 352k of flash 256k of ROM and I think that's where they put like the the soft device that's the software wireless stack. It's in ROM so you don't have to upload that every time. 8k of cache and 80k of RAM. So it's you know pretty capable Cortex M4. Got lots of sweet peripherals and the RB series the B at the end stands for BAW which is the it's a really interesting technology and it's basically a built-in high precision temperature compensated resonator looks like this it's like a piezoelectric resonator that's in the die and so you don't need an external crystal and there's always been internal resonators RC resonators inside of chips you know every Cortex I've seen has some basic 8 megahertz or 4 megahertz one that you can then PLL up but they're usually not that precise and they're definitely not precise enough to do wireless communications where you have to maintain that frequency and that frequency the RF frequencies generated from the resonator crystal but the BAWs are precise enough that they can do it so there's a short video. Yeah for this we're just going to play a few seconds. A few seconds but check the video on YouTube because it's actually was kind of cool I was like what is this BAW? So does it play clip? Yeah. At Texas Instruments we're making groundbreaking advances in bulk acoustic wave resonator technology. For decades designers have relied on timing devices with external high-frequency quartz-based VCXOs and or integrated LC-VCOs for meeting the timing requirements of high-speed applications but quartz-based solutions can be bulky and expensive. Okay so sweet so there's the 2652RB and what's neat is uh you know I actually have one why don't we go the overhead real fast and I'll show that there is no nice nice coin there. A little sneaky top seeker there. So here is the the main chip I might even zoom in a little bit and then so this is the 2652RB you can see there's an antenna here these this is the RC you know filter to take the differential output make it single mode so you can have an antenna but you'll see actually that there's usually a crystal here and they don't have it so there's no like 16 or 18 megahertz crystal that's normally there at 16 or 8 or 4 megahertz it's not here this I think might be a 32 kilohertz crystal but that's also optional for low power usage so you can basically you save on your bill of materials you know 20 30 cents and you don't need that space but you can still have RF chipset okay so let's go back to this one okay so while I was researching this though I found like the sister product which was like really fascinating to me this is the CC1352 which you can see here and what's interesting about this chip is it doesn't have the bulk acoustic wave resonator thing but it does have dual RF outputs it has both 2.4 gigahertz so of course it can do and like the 2652 you can do BLE you can do thread it can do ZigBee it can do you know any basically everything except Wi-Fi at the 2.4 gigahertz but it also has a as you can see at the top you know it has 2.35 to 2.5 megahertz but it also has from 287 megahertz up to 1.3 gigahertz like sub 1 gigahertz band so you can do 433 you can do 862 915 all of your favorite sub gigahertz frequencies you can do as well so you can do I know some people like to do ZigBee at sub gigahertz to get wider range so that's cool and there's also a CC1352 P and 2652 P and that includes a plus 20 dBm output power amplifier built into the die so you get like massive range with these chips and it's all integrated which I think is really neat it's they're all like basically pin compatible not exactly but you know because obviously if you have two RF outputs you're going to drop some GPIO but for the most part it's the same chip the same setup but you could have different frequencies different power outputs it's cool stuff it's all part of this family okay another thing that I saw while I was doing these it was really nifty is that there is the main CPU this Cortex-M4 there's the RF chip which is basically a Cortex-M0 and you communicate with that you know through the SimpleLink firmware there's also a sensor microcontroller which is a 16-bit mcu so it's like some msp4 30 something something and this is an ultra low power sensor coordinator chip and what you can do is you know one of the issues is that you want to wake up the whole chip right and then like enable some sensor give power to the sensor you have to wait until that sensor comes up takes a measurement and goes back to sleep so what the sensor coordinator can do is it can control the analog digital peripherals and like get measurements for you can even do like analog reads digital writes and reads and then delays like with the timer so that you can have this like micro micro computer start up get your sensor set up ready to read the data and then sometime later you can bring up the whole chip as a you know processor wake up and read all the sensor data in all at once and then shut down instantly so you can reduce your power usage there so there's a couple dev boards so the one I got is this one it comes with a debugger it's pretty expensive it's got USB by default it does you know BLE of course but then you can also try out some examples it does both central and peripheral in case you're wondering so it has a bunch of BLE examples that comes with the ccs compiler but then of course it also does multiple protocols and it can do them at the same time so you can have like a ZB to BLE bridge for example if you wanted based on this chipset I also really like the resource center for this chip because I was like you know I basically spent the weekend I learned how to use this chip and it had a really neat tutorial system like as you were learning how to install the IDE and you were going through the examples they had the little quizlets and stuff to teach you you know how does BLE work how does it be work it was pretty easy I installed it on Windows and I was basically compiling within 23 minutes okay and there's a little short video that they had we're going to play that and then we're going to tell you all about it yes we can get it so take it away at TI we understand the IoT landscape changes quickly and developers are constantly adapting the new simple link platform is here to help within a single software environment developers now have access to a broad scalable portfolio of microcontrollers that allow 100 application code portability how do we do this it starts with TI drivers a collection of completely portable easy to use functional APIs for the simple link MCU peripherals all built on a consistent hardware abstraction layer TIR TOS is then integrated into the software development kit or SDK industry standard POSIX APIs enable application code portability between various RTOS kernels along with connectivity options and wireless stacks let's say you want to design a new home thermostat with this common core software you can use an msp432 MCU to manage the interface and start delivering differentiated products quickly and it's easy to scale this design for new connected applications to add local Wi-Fi network control simply migrate your original code to the new cc3220 wireless MCU which comes preloaded with the needed Wi-Fi stack and you're done but what about commercial buildings or other industrial spaces once again you can easily port your application to the bluetooth 5 ready cc2640 r2f wireless MCU or the cc1350 device with an integrated long range sub one gigahertz transceiver for new functionality with one investment you have now created thermostats for the home a building and several industrial applications it's just that simple let us help you build the next generation of connected devices using the new simple link MCU platform one environment unlimited potential okay and where can you get this lady ate up you can get all these chips and the dev board everything else i uh mentioned over at digikey go to digikey.com and search for cc265 and you'll see the whole series or also the 20 sorry the cc1352 so there's a whole family of different chips again you know some of them have this acoustic wave oscillator and some of them don't some do sub gigahertz some don't but they're all as far as until 2.4 gigahertz ble thread zig b et cetera 802 54 um so cool stuff from ti and i'm i'm playing around with this and i might even show this off on uh upcoming desk lay data all right on mpi


Welcome to passive transport osmosis. In this learning module, you'll explore what passive transport osmosis is and how it moves water through a semi-permeable membrane. Passive transport is the movement of molecules across cell membranes without using any energy. In all cells, osmosis is the movement of water through a semi-permeable membrane. In this process, water moves from a solution of high water potential to one with low water potential. Cells with the lower potential draw water in through the semi-permeable membrane. Cells with the high potential release water through the same membrane. Osmotic pressure generates enough force to move the volume of water on both sides of the membrane. Osmosis forces both sides to find a balance. Water molecules continue to move until both sides reach an equilibrium. Let's examine what this looks like in a lab setup using sides A and B in this beaker. Side A has a lot of large protein molecules and a few water molecules. Side B has fewer protein molecules and more water molecules. The semi-permeable membrane that separates the two sides has small openings that prevent the protein molecules from passing through. In this setup, osmosis allows both sides to reach an equilibrium by only moving the water molecules to the semi-permeable membrane. The water moves from B to A because B has a higher concentration of water molecules than A. This is osmosis in action. Once equilibrium is reached, side A still has more protein molecules, so its volume actually goes up. Osmotic pressure moves the water molecules from side to side regardless of other solutes in the liquid. The final diffusion of water through the membrane from side B to side A is called net osmosis. This process replays itself every day in plant and animal cells. Osmosis moves water in and out of cells without requiring any energy from the plant or animal. Today we've reviewed passive transport osmosis. You've learned that osmosis allows water to move through a semi-permeable membrane to reach equilibrium. You've also explored how passive transport works without using any energy. Congratulations! You have completed passive transport osmosis.


I think we're living in times of unprecedented change. Economic integration versus nationalism is going to be the big driver. A lot of things that change the world is really not being predicted before. We need to invest in infrastructure 60 billion annually. If we have a better understanding of each other culture, that will accelerate connectivity and integration. There's a need for us to cooperate, collaborate so that we can all prosper. Migration is not a problem to be solved. It is a reality to be managed. The whole energy of the youth is about disruption now. But again the question is whether we have enough talent to be promoted into a regional level. It's about educating the world's empowerment of unemployment. In this day and age innovation needs to be a core competency that every country has no matter what stage of development they are in. The Forum can leverage its knowledge networks and its relationships to address global challenges with immense commitment. We're now becoming a single economic community. How do we build trust? Open government partnership is a crucial step towards greater transparency, towards fighting corruption. One of the biggest contributors to economic integration in Asia is the spread of regional production networks and global supply chains. The more we enable women to make the decisions about how their house is built, the more opportunities we have to prioritize the safety of their building, especially after an earthquake. If you want to really move as an ASEAN, the regulations will have to be at ASEAN level and not at country level. That will allow small media businesses to really play at the global level. I think the Asian economies can leapfrog, put smart grid, put smart technology in order to integrate more renewables into their infrastructure development. Grow Asia can help improve the capacity of our farmers, access to market and share best practice with other countries. I was inspired by the Meet the Leader sessions when I got the chance to meet Tony Fernandez from Air Asia. Providing air connectivity and rail connectivity and road connectivity allows a small media enterprise to venture out of its home market and grow its business into a larger operation. For the emerging middle-class consumers, this means higher income and stronger purchasing power. We have to re-invent our economies. Chains can be painful, but there can be no progress without chains.


Wow. So that's really how it would come to be, you know. Yeah, that's great, because I haven't obviously heard that sailors starting out fascinating. All right everybody, thanks for joining me on what is going to be pretty much first in a series of flashback Let There Be Talks, the flashback episodes. A lot of people out there are just discovering the show over the last couple of years, but the show's been going on for over 12 years now, and there are tons of guests that people always recommend to me that have already been on, and I thought it would probably be best to maybe put out one every Thursday and, you know, either let you relive it or hear it the first time. So today is a very special one since AC DC is out there and about to tour again for the record power-up which came out back in 2020, you know, due to COVID they couldn't tour. So now here they are out, announced a tour, new bass player, new drummer, and going through Europe and I'm sure eventually be hitting the States. I saw them a few months ago at the Power Trip Festival out there in the Coachella desert, and, you know, it was something I didn't think I was ever going to see again, but AC DC is celebrating their 50-year anniversary right now in true AC DC fashion. They have kept the mystique, they have not said if this is a farewell tour, they're not even really calling it a 50-year anniversary tour, although they did drop some merch today that finally had the 50 logo. So, oh, by the way, this is my Bond Scott sweatshirt in honor of the great Bond Scott who we lost 44 years ago yesterday, so a lot of AC DC history around this episode. You can hear the way that Brian Johnson auditioned, you can hear how Brendan O'Brien produced the record back in 2020, how it was made secretly, how Cliff Williams and Phil Rudd joined back up to do the record. There's a lot of good, good stuff here and it was the only podcast that AC DC has ever done, so an absolute honor. You know, I could have ended the podcast after that and if you haven't heard my Phil Rudd interview or Cliff Williams, those are on there also. Today is Brian and Angus. I recorded this episode about 2.30 in the morning because they were in Australia and I had to stay up and that was a weird thing during that time coming out of COVID because I was kind of going to bed around 8 o'clock with nothing to do, so staying up till 2.30 was, it was pretty easy though because I was so jacked on adrenaline. Anyway, here's the episode. I hope you guys all enjoy it. In the meantime, I will be in Portland, Oregon tonight at the, where am I at? The Trailblazers Arena, whatever. I think it might be called the, I can't remember what it's called. I'm dumb. Anyway, tonight Portland, tomorrow night Vancouver and Saturday night Salt Lake City with my man Bill Burr.  I love all you guys. Check it out. Here it is from back in 2020. My ACDC conversation with Brian and Angus. Thanks for tuning in. How are you guys? Thanks for joining me. This is a pretty monumental day for me. I nine years ago started a podcast. I wrote on the list of dream guests and you guys were at the top. And here we are nine years later. Good to be here, Dean. Good to be here, my son. It's funny because I, I'm a huge ACDC fan. I could see the headline ACDC does massive fans podcast.  I think it is. Yeah. For me, yes. I've never seen a podcast. I think it was in that move. What was the night of the, what was the night of the, you know, the one where they all become P pods or something. What was that? The night of the visit as from Mars with two chicks or something like that. Another one, you mean either come with a P pods. Yeah. An ice cream. I got something to show you guys. A couple of things. Angus, can you see me? You got the, you got a screen there. You've got a great logo behind you. Okay. Here's something cool. I want to show you guys. I want to show you two things just to let you know where I'm coming from. And I took the logo off just for a minute. This is a 1978. And this is the first time I saw AC DC Oakland call a CM power age tour. Oh, wow. That's really, that's something that looks really good. Yeah. And the bill was cheap trick. AC DC journey boys to call Ted Nugent. Good. Sounds a good bill. That's a good bill. And as I said, those are the same fans I listened to this day. Now, Brian, you're going to love this one. Good. This is the three of us 1985 flying the wall Cal Palace backstage. Oh, that is great. Me son. Look at that. Now that is a Brian with the Heineken and he's wearing a Statue of Liberty shirt given the middle finger. And Angus looks super happy to take the photo. I got to tell you something about that. That day it was what I would say exact to skydive and they said, Hey, the guys will take a quick photo with you. Hurry up. And I went in there and it was like skydiving at skydive before and it was just a burst of adrenaline. And I don't even remember you guys are like, all right, mate, have a good one. And I was like, what happened? And I got home and I had the photo. I call the podcast, let there be talk. But I think in the honor of Brian being here, it's going to be for those about to talk today. There we go. Oh, thank you. It's an honor to have you guys on here. I want to dig in a little bit on a course, a long career that you've had and it's been incredible, the whole ride. I want to talk a little bit about when you guys first got together, the audition back, Brian, when you joined the band, I was wondering what was I read recently that you were going and you did a vacuum commercial, picked up a little money and then went to do the audition.  Yes. Yes, it was on the way. I didn't have that much money, you see. And when I was asked to go down, I had to try to, this guy had formed and just, I've never done an advert before, just an old guy from the past. And he said, if you come down and pay you some money, I think it was 35 quid or something. And I said, oh, that should pay for the gas. You don't have a lot in the back.  Well, I wasn't very far to a place called Vanilla Studios. Is that right, Angus? Vanilla? Yes, it's probably right. It was something like, I think, Torek. Yeah. And anyway, I got there and I looked in and it looked the business, you know, guys with hair and beards and, you know, jeans and with holes in and everything. I said, this must be the place.  They were all playing pool. And the cut of my jib, you know, I wasn't dressed like anything except what I was at work and Joe from up north. I started playing pool with them. And it wasn't until the tour manager, a guy called here and Jeffries come down and said, has anybody seen that Jordy fella from Newcastle with it? And I said, oh, that's me. He said, they've been waiting for you for an hour upstairs. Angus, at what point in this audition, I always wondered this. How many guys had you looked at? And obviously you made the incredible perfect choice. But were there other guys that came in? Was it a long audition process? Did that guy from Crocus ever come in?  No. We never got that guy. There were just various people. A lot of people, you know, somebody might recommend somebody. And so basically, at the time, it was just Malcolm and myself, really. We were there with our guitars. And me and him had been writing songs and stuff. And so it was just me and Malcolm strumming away there with guitars.  And then we would just play away with the two guitars and see how it would go. And there was quite a few different people. But I guess it was a case of who stood out. And the funny thing is, when he walked through the door, Brian stood out just the way he walked. And you sat up and you paid attention.  And then he said, hello, how are you? And one of the guys would get him a cup of whatever he wanted. He wanted coffee or something. And it was a case of, OK, do you know any songs by us? Yeah, I think he said, yeah, I know, he knew Rosie because he'd been digging with a band. And they did a couple of songs and they did Rosie. And I think it was a highway to hell he knew, too, I think. And then a few other ones. And Mao, I think, said, you want to try something to be comfortable with or something. And Brian said, oh, I'll try. Well, not push city limits. And off he went. Here he was. And we were banging away on that tune. And then we did Rosie. We tried Rosie with him.  And he did a great job. We asked if we just put it on a tape. And he says we had something. And he said that. And he talked a little bit. And I think he had a beer or two with Mao. Yeah, we did. He was going back up north. And Mao said, well, if you mind, we'd get you down again at some point. I think it was about a week later or so. And Brian came down again. And we got him. And I think the labs, we got the rest of the guys. And a couple of run-throughs. And then it was, again, me and Mao sat there. And I think we tried. We were jamming on one of our couple of ideas that we were going to put down an album. And again, you know, he's in tapes to see how it was.  Just do whatever comes into your head, if you think.  And he was given info what he knew at the time. And then, you know, and he was back. And Mao said, well, we'll definitely let you know as soon as we, you know, what we're going to do. We'll get in contact with him. Anyhow, after he left, me and Mao were playing away.   And I said, what about if we, if we took that piece and we'd not used it before. And we, and we try and hook that into that song, you know, for a good, you know, for a good singing thing. And I'll give you the singing line for help with Mao. And he said, well, let's hear what you got, right? So we put that little chord idea together. And it was working Mao would seem happy. And then he says, right, do your little singing and what you hear. And I was doing the, you know, well, the back and black, you know. And I, and then after it, and as soon as I, it's kind of went, and then going up the scale.  I said, you know, he could really hit those notes. He talked to me and he went, I said, because that's, you know, you could hear it in his registers and what we had done. And I said, he's got that edge on his voice. And then he went, hey, hey, you know. And I said, and mutt, actually, mutt Lang had also heard what we had and mutt also knew another producer guy who had said about Brian's voice, you know. And he said, oh yeah, Brian's got that breezing thing down pat. He's got it very natural, you know. And mutt liked that, you know. We'd sing it, you know, in vocalist.  And Malcolm went, yeah, yeah. And he said, leave it with me.  Well, how would you like to come in and join us then, you know? Talk to Brian. Wow. So that's really how it would come to be, you know. Yeah, that's great, because I haven't obviously heard that sadist story, you know, fascinating. It's fascinating because I remember the phone call Angus from Malcolm. And it was my dad's birthday up in the castle, you know. And I had bought my dad a bottle of whiskey for his birthday present. And I went home to my mom and dad's, and there wasn't anybody there.  It was about 2 in the afternoon or something, 2.30. And I went, oh, well, I said, I'll just leave it here. And then the phone rang because Malcolm had my mom's dad's number. And that was the phone call. And I said to Mal, I remember, I said, hang on, are you sure this is not a hoax? He says, no. I said, well, could you ring us back in 10 minutes just to make sure that I'm not dreaming this, you know. And he did, God bless him. And he went, no. He says, you fancy coming to the Bahamas, we're making a record and all of this. And I said, oh, yeah, yes. He said, I'll get your people to get in touch with you. Okay. He said, I'm off to watch the Grand National on the telly, which is a horse race, you know. And I put the phone down and I looked and I was going, there's nobody here. So I opened my father's, Chris, my father's birthday present and I had a glass of whiskey to celebrate. There wasn't anybody there to tell it was strange, you know. I got a question for you, Brian. When you go in to work on this stuff, of course your style's a little different in Geordi. How did you try a different, a few different styles while you guys were working on the stuff in Bahamas? Were you stepping up to the mic going, how's this kind of character? Is this voice, because it is a little more radical and more violent than, say, a Geordi record? Well, I think that was down a lot longer and Malinang, recognizing that I could do a bit more than I thought I could do. You know, I was always constrained by the songs I'd sung before. You know, it was just what you did. And it was, I could get up there, but maybe it sounded a little too sweet, maybe. You may be. And I think Mot Langer, whose brilliant vocal thing, you know, but he doesn't take any prisoners when it comes to that.  And so he'd ask us, he'd say, could you get up there full voice? And I'd go, well, jeez, I'll give it a try. It's awful high, isn't it? And he'd say, just try it. Of course, I did, and it even shocked me that I could do that without pulling any tricks on the desk to make it, because I knew one day you got to sing it. Oh, my God.  And so, yes, I think through that album, it taught me that, it taught me a lot. It really taught me just about everything I know now about how to get the best out yourself or listen to instruction, you know. But at the same time, you know, just enjoying the whole process, you know, because it's not better than hearing, and I didn't know I could do that, you know. I mean, it's crazy, but it's true. You've got to be pushed sometimes. You've got to be pushed to show what you can do.  Plus, we did a couple of weeks, you know. I remember when Muck said, we'll get all the guys in the band, and we'll get, you know, get there with the song ideas.  So as when we got to the Bahamas, we could get straight in, get the sounds and start work.  And so it was a case of that, you know. So, you know, we were pretty, we were, we were kind of like we had that pretty much together, and then it was a case of, you know, getting the rest, you know, getting lyric and stuff, making sure that when we got to the Bahamas, it was a case of, you know, the band could get upset, get set up, not upset, but get set up.   So, and then when we got there, you know, we had a lightning storm and all the power went out for three days. Yeah. Yeah. Welcome to the Bahamas. Yeah.  I remember, I guess you and Mal weren't happy with the guitar sounds, you know, the amps and all that, the speakers. And I remember saying something amazing because they were trying to figure it. And somehow you and Malcolm said, hang on, why don't we turn the speaker up against the wall? Now, I don't know what exactly you're doing, but I remember saying it and I remember working this great sound, you know, it was, I cannot remember exact technical details, but it was little things like that, that stick in my mind about that album. And Malanga being real pleased that they got this fantastic sound.  Can you remember that, Ang? That's right. Because when he first set up and we got the sound roll and we were doing the song back and forth. Yeah. Yeah.  It sounded a little bit too collide. That was it. And Mal, and Mal had said, you know, and he listened, he said, it just doesn't have our, you know, we want that, you know, a little bit of grit in there. And so, you know, it was a case of, okay, let's get what we, you know, get at the AC-DC sound. And Muck was always cool like that. He goes, well, use no sound, you know, use the guys, you know, that's what he ever heard as on stage. He goes, I, you know, I hear it. I know it. He goes, and Muck was always good, you know. So Mal said, maybe if we try the, they blocked off one of his like the stacks. And he did the same with mine. He put them in a different spot. And then he got us in, you know, with the guitars, make sure that, you know, it was getting the sound we knew. And then after that, it was a case of, you know, like we were ready to go. Everyone get the drums. Everyone all tuned in and get, you know, get started and lay that track down. So that was the first track we laid down. Wow. Back in black, the first song. Yeah. Unreal. Unreal. It was the track that set the pace to the album. Yeah. And once we knew that, because we knew that was, you know, even before we went, when Mal got that idea, you know, it was one of those things that you hear it and you go. And I said to Mal, that's first track that we get. Yeah. Because I've set the pace. Anything that we did after those songs, like shoot the thrill and all that, had to stand up to that track for me and him. Any song we put together, you know, that was the, what was the thing? And that's as we went along. And then that did set the pattern of that whole album. It set the pace. Yeah. Guys, when you guys were in the studio and you're working on Back in Black, is it a lyrical collaboration or all you guys writing the lyrics or how was that working, Brian? Well, at the time it was, you know, Malcolm and Angus always had title and basic idea about what the song should be about and, you know, and how it should go and all of that. And so, you know, Malcolm, I know, I think it was, Malcolm used to come down with a cassette in the afternoon to me and just gonna, yeah, John, I listen to this one's called Shook Me All Night Long.  You know, that's a bit soft.  And it worked great. I remember once, I was about the fifth song in, I think it was Hell's Bells, I'm not sure. But I remember, you know, because it had been a frenzy of writing and all that. It was real work, work, work, you know.  It was getting horrible outside and mud come down and he says, you all right? I said, I think my brains turned to mush. I said, I can't think of a thing. I said, no. And the lads have got this song called Hell's Bells, you know, and I went, oh, God. I said, and just then, honestly, for the first time, the first four lines of that is basically a weather report. I guess, you know, Weston and that big storm came through. And I was looking, I'm going Hell's Bells. And mud came down and he said, oh, it's all right. Just relax. It'll come.  And there was this, you know, like early in the Bahamas, it was big black clouds coming in. And he says, I just did much. And that's Roland Funda that is. And then the rain came down and then the lightning and all of this. And that just all made sense, you know, and that turned out to be a crack at that one, you know. Oh my God. To say the least, it's one of the most incredible AC-DC songs of all time and an album opening smasher. I mean, just to see, I was at the back and black tour at the Cal Palace. And, you know, this is pre-internet. This is pre-cell phones. This is pre-YouTube. Well, here we are. We're in the room. The lights go out. Nantucket's done playing. Here comes AC-DC. The bell comes down. The riff comes in. And the vocal comes out of the speakers. And it is insane. I never forgot it to this day. Like one of the most incredible performance, vocal performances I've ever heard. Who was it? Here's something amazing about back in black is this, this record is so unbelievable. And everything that happened, the songwriting, the production, Muck Lang, the vocals, all of that. But then the record company seemed to really step it up for you guys. And this is like really next level stuff that they were doing because who knew, I mean, here's a new singer that's never been done before.  They're going for it, man. They must have known this is a smasher. Yeah, well, we were pretty lucky at that time. At first it is a hard thing to do because as you say, I mean, record companies are, they've also got a business side to them. So a lot of them kind of go, well, is this really going to happen? How many bands can do that? But I think it's when they heard the quality of the album and they heard the song and everything, I think that really put the seal on it. And they said, listen to the vocal and everything and what they've done. And I guess their feedback from people within their going, it's a cracking album. And so I think they got excited about it. And that's, I think, half the thing that helped push it along. So it was good in that sense. And we got everything what we had said, because at least even quite tough, we wanted an album cover. We wanted it all in black because of the death of Bonn. So it was our tribute to Bonn. So that was because they also, people go, why did they want to have a morning? Because black being the morning, what you do for funeral or something. Why do they want that? But that was our way.  And as Malcolm said, it was also a thing of, what does the cover really mean? It's what's inside really matters. So the whole project, it was really good when they got it and they said, okay, we're going to give it a good shove. And we were lucky also too, because a lot of radio guys out there, they would hear it and a lot of syndicated radio were going. When I put these guys on radio, all the phones light up. That's how much a lot of people were plugged into that album. So it was just that initial strong feedback. I think they said, well, we've got to push this. It's unreal. It's unreal.  Ryan can also tell you too, we were touring on that album. We had to tour this. And we were playing all over the U.S. doing a lot of dates. And for us as a band, really after we had finished touring, and then we had stopped touring. And I remember being at home and it was really the next year. We were getting ready. We were going to actually be performing in Australia here. And I remember our tour manager, he was there early and I remember talking to him. And he said to us at the time, he said, do you know him?  And I said, well, that's a lot of albums. I thought, hey, we've sold, you know, a million and a half album. I really thought, great. And he said, no, he said, what you don't understand? He said, that's just in LA alone. That's in LA alone. He said, that's not the rest of the country. He said, imagine what's coming in the rest of the country. That's insane. I couldn't believe it, you know? No. I mean, this thing is, it's an animal. I mean, I know you have a new record out, but I cannot ignore the second biggest record of all time. This thing is, it's unreal. It is incredible what you guys have created. I've got to remember too, it's a rock album. It's a hard rock album. So, you know, you're getting across to a big audience. You know, you're crossing a lot of what would normally not. I mean, people who were managing us, I remember David Krebs, you know, he was part of this management, Libra and Krebs. And David Krebs had always said to me, any rock band will only sell X amount of, you know, a couple of million records tops. That's all they do. He goes, whether it be this or this band or that, you know, nobody gets faster, you know. And he was shocked, you know, that we went above those numbers. Well, yeah, at the time, you'd think there's probably only like two million rock fans or something. And for a record to be really huge, let's say like the Eagles greatest hits or the Michael Jackson thriller, that's kind of like all kinds of people listen to that type of music where rock is a category. This is the group of people. But this thing, it grabbed everyone. Yeah.  Let me ask you this, Brian. Now you're out on tour. ACDC, of course, was used to nonstop touring all the way up to highway to hell. They've just worked their asses off.  At what point you're doing a ton of dates.   You know, it was, you know, it was very doble. It certainly took it out here because there's not much breathing space in there. But you know what, when you're rocking with a band and all of that and, you know, and the great thing is with a record, I'd always, you know, as a matter of habit before I did gig, I'd play the album to make sure that I wasn't wondering, you know, you get lazy and you wonder from the original things and that I was putting on and make sure that I was on the money with the things. And once you, you can hear yourself doing it. You're just going, it's strange.    And one of the things that, one of the most exciting nights of my life, I was sitting with, I think, Marlon Clifford. I think we were playing cards. I can't remember in a hotel room and we just heard, Hi, this is Wolfman Jack and I'm going to play something now that's going to change your life. AC DC back in black coming from Wolfman Jack. I never forget it.   And it was, but you've got to remember, I think it was the record itself that was the magic, not all the shit that went on around it. It was this missile of a record. I came out and just, you know, just inexplicable really apart from the great songs. I mean, that's easy to figure that one out. But why those particular 10 songs at that particular time? Yeah, that's the big, you know. And the sequence. I can't figure it out. I mean, those are things you don't try to figure out. You just go, oh, the magic was here and it was 100% chemistry and lightning in a bottle. Let's get into a little bit about the next record here, which I think is another masterpiece. And I think for those about to rock is it's an unbelievable record. It's a totally different record. And I could say it was probably my favorite out of the Brian era. I know that I read quite a bit that you guys went and did it, I guess in Paris in a warehouse or something. And Malcolm wasn't very happy with Mutt taking a long, long time. Mutt had started to change his production style of really going long. Am I correct? It was a case of, you know, we had started originally. We were written up in Paris, in France.   But when Mutt, when we got there, there was a lot of things. Mutt really was searching.  He really wanted this, you know, something that brought life to the drums naturally. That gave a good ambience. So we were there in one studio and we tried, you know, and it wasn't really coming, the sound that he wanted, you know. He tried various setups, different setups. And he still, and he tried different approaches. And then he said, and he was finding out, you know, where did other people try their, you know, they're set up with drums and that.  And he thought, well, you know, I'm going to go check out a few other studios. And so he went around various other ones and he would try different setups with the drums. And then he would get Malcolm and myself and go, you know, come and have a listen. And then, you know, we'd be in one by then. We still, he goes, yeah, this is better, but it's not what I'm hearing. And he said, you know what, because we had been in this big rehearsal room where we'd been doing pre-production with him. And he said, you know, we were getting this really great live drum sound, natural sound. And he said, why don't we, you know, what about if we do this? We get, you know, we get that Stone's mobile, you know, the mobile bus thing that they had, which was a recording studio on wheels. We'll get that here. And then we'll just set up in that big warehouse. So that was where we ended up setting up. And he thought, great, because he could put the drums, you know, where he thought the drums were happening the best. He could, you know, with the guitars, he could do ended.  He even had his even set up, you know, how we would live, you know, like with the amps and that just to see if that was even going to be something unique. So he tried different setups. Then once he was happy with what, you know, with what he was hearing, it was a case of, okay, you know, get bound to the fact of start recording the songs. But it was, that took a little while, you know, moving back and round and trying to find. And so that was really what was kind of delaying it a bit.  So, you know, it would take a lot longer in that part. So that was becoming a little bit, you know, with us, I guess, you know, what we didn't want was the band getting burned out, where we keep playing the same song until it becomes sort of too tired. You didn't want to lose the energy of it. And that was what, and you didn't want fatigues to set in.  So that was what Malcolm, we really was, you know, he didn't want the band to sound like it, you know, like, you know, you're getting into a kind of burnout. Okay, I got it. Brian, I think that this record, you really shine again on it. The amazing thing about AC DC, I've always said, is a lot like the Rolling Stones. You have so many songs that have never been played live. And it's crazy to think about, you have albums and albums and albums of these songs that have never, ever been played live. And then a couple of them, boy, like Spellbound, I think is one of the great, great, great AC DC songs. I love that song. It's one of the most fabulous problems you can have, you know, having too many songs, you know. It's usually that we're around for a lot of bands, you know, it's unanswerable.   And there's just no room to fit them in, unless you did a week and you had five different sets. Yeah, yeah. Pretty tough. I get it. I do an AC DC tribute once a year with a lot of rock stars in L.A. and Spell Burr and Mark Marin and we do this big AC DC tribute. And we, you know, this year I was like, well, we got to do Soul Stripper.  Listen up, you know. I get it. I get it. I understand it. Yeah. If you think of it, I remember, look, even when we were back in black, I think one of the, I remember we were going to Detroit and we were in Detroit. Were they even on that back? Oh, no, no, sorry. When we were coming to do, after we were coming to do, when we were touring for those about the rock. I remember the opening night, we were on stage playing for nearly three, three and three quarter hour. Look, Brian's up there on vocal. He's strained for anyone going what he was doing. And we're going for all the hard ones, you know. We come off of stage, we think, oh, we've only been on three and a half minutes. People are going, you've been on three hours, 45, you know, 45 minutes to that. When you put together the set list, was there any songs that you wouldn't touch, Brian, or Angus, that you didn't want to do? That was like a bond era. Like I noticed that Live Wire went away, of course. That was always a great opener. Brian will tell you, every song we ever done, back in black included, for those about the rock in there. We went through, in rehearsals, we did all those tracks. We were prepared for any of those tracks to come up and play. We would have to go on and go, we know we have to play this one. We know we have to play that one. We know we have to play this one. We know we have to play those tracks. And you were saying before, like, stones, you know. Well, if I went to see the stone, I've got a wish here. And I go, I want to hear the stones do. I want to hit them to jump in jackpot. I want to hear Street Fighter Man. I want them to play all my favorites. You see what I mean? And that's what happens with us. We have all those tracks.  We know these are big songs that we've got to play. And then on that, we've got to go, OK, maybe we can color it up a bit and bring in something a little bit different. This is where it ends up. How long can we sustain it on stage? We never wanted to get on and go, you know, these guys are, you know, you know, getting up there and we're not peaking. For us, it's a band. That was always our thing. We always went, we always went, we wanted to go on it. These strands, we wanted to go like that. I know that Phil is back. And you had Simon Wright. You had Chris Slade. It's funny because Phil is the secret weapon of AC DC. When he gets in, when he gets behind that kit, it's on. You can talk to the greatest drummers on the planet. I've interviewed most of them on this show. And all of them will be like, oh, yeah, Phil Rudd. You think he's doing nothing.  And they go, I don't know what I'm doing. And these are giant top pro guys. He has a unique gift. It's a natural thing that he put it this way. When I first time ever Phil got behind the drums and play, I said to him now, when that guy starts driving, you know, when he starts driving and you're doing a guitar solo, man, I've got to play harder. I have to lift the game. I have to really build into it. Because I ain't going to be hurt once he starts cracking that. He's got a unique drive. And he just seems to have a natural thing. He says he looks at my little legs going and he goes, I know what you're going to do. He is unreal. He's the secret sauce. Yeah. You know, he said to me, young Dean, once he said, ah, John, ah, ah, ah, ah. He said, you've got to watch out for them dental drummers. And I said, what's a dental drummer? He said, ah, you know, the kind to see how they'll fill it.  He, you know, I don't know what it is he hits the beat. You think he's going to fall off the stool before it just hits it right where it's supposed to swing. You know, a roll, whatever you want to call it. It's just natural. And it gets you every time, you know. He's great. And we love him. He's fit, he's healthy.  And I mean, it is that. It's just that he's so natural.  And I've had a lot of guys on. I had Paul Stanley on. Recently, he was talking about two hip replacements and stuff like that. I watched you Angus my entire life since 1978, jumping from three stacks of marshals, landing on your knees, full tilt head bobbing the entire time. I mean, doing, doing the circle on it. What, what is your body like right now at your age? Have you had any surgeries or anything? None, none whatsoever. You know, I mean, I've been on stage. I might do the odd bruise and ankle, you know, you know, do the damage to my, I used to use, lose a lot of my, my, my, my nails on my, my feet. They used to go first, you know, because I don't know the way I was in tears. They would, I was guaranteed every tour I would, you know, at least three or four times during the tour, I would, you know, lose a toenail or two, you know. So that was always expect, but I've been pretty, pretty lucky.   They go, I can always tell when we got the B stage, because, you know, I guarantee my feet were going to go through them. Yeah, I'm lucky, I've been pretty lucky, you know.  That lasted, I got on stage, that lasted all of a second, that came off in the first thing, and I still had to play with the fraction finger, so I was pretty, I got through that, you know. How about you, Brian? How are you doing? Well, you know, I've been lucky, I've never spent a night in hospital, any life, touch wood. And, you know, it's, apart from, you know, the obvious was when my ears went and all that, but that's invisible, so thank God for that.  I know you don't want to get really into the, the hearing thing and stuff like that, but I'm so happy that you're back singing in this band and it gives me goosebumps. I'll tell you guys a funny story. I heard the record back in March. I was called down to Sony. They said, Ah, yeah, who do you know then? Nobody had heard the record. And they said, we want to get ACDC on the podcast. We know you're a monster fan and we know you've been doing this nine years and it's your dream guest. We want to do this. Come down. So I signed an NDA, a secret clause. It's just me in a room, no one in there, a bottle of water. They turned it on and I was losing my mind. And then for the next seven months, I had to walk around like I didn't know anything. Listen to the club. I know, right? I saw in the club. It was awful. They give me a non-disclosure all the time. Here you go. Oh, dear me. We'd be walking around for months and going, So man, what's happening, man?  I don't know what you're talking about. Oh, come on, man. I don't know what you're talking about. It's just another kind of foot.  Well, you know, it was funny. It was like about a month ago. I was like, well, you know, COVID, maybe it's not coming out now.  I'll just go on and do a whole episode about how I heard this. And I said, eh, better wait a little while. I don't want to blow this. And a week later they called me and said, all right, it's on. And so don't talk about it. It's going to happen. And I was like, oh my God, and I was just losing my mind. But funny to listen to it.  I remember I rode the bus for an hour, went to Tower Records, got that back in black and got home. This was the same. I drove across the LA in traffic, parked, went upstairs, sat down, and they go, are you ready? And I go, oh, absolutely. And they go, do you just want to hear a couple of songs? They go, what are you out of your mind?  And, uh, and realize came on. And I was like, wow, this is killer. But by the time we get to the crown jewel of this record, Demon Fire, I'm like, Demon Fire and Witch's Spell. I'm like, oh, oh, here, here is some serious rockin' going on right here. Well, I mean, what, what a couple tunes back to back right there. When I first heard it, just like you did. I think I sent off a communicator to Angus. And I said, hey, mate.  He said, but I got to say is that I'm happy. I'm not the guy that's got to pick a single from this because I am, I'm confused.  Let's talk about through the mist of time. That's got to be the most, the most different song AC DC has ever done. Is this, did Brendan have a hand in this? Because it does kind of have a, it's almost kind of an Americana Springsteen kind of vibe. This is totally different for AC DC. Yeah. Well, somebody, somebody also commented. It's like a stax or something, you know, like from that. The ideas, you know, the song ideas were like with Mal and myself and it was just at the time, you know, when you're doing something, you know, we would play a track and then you would do something. And when you would play back a few tracks in a row and you would go, something stands out. And when you got a few ideas and you run them fast and that one jumped out at you.  So that's how we, you know, it always was the way we work. We always, you would listen to them, but the ones that jumped out, you go, there's a bit of magic there. That's got AC DC written all over it. So a lot of the ideas and a lot of these songs, they came from when we were going to do the album Black Eyes, Malcolm and me had a lot of years where the two of us had just been in a little studio just working away all the time, just writing songs. And in that period with so much stuff, when we, even when we went to do Black Eyes, it was a case of, you know, you've got a few boxes of your ideas and it was a case of, we only got even the box one and we were just pulling out the first season stuff that we had of tracks, you know, and we were putting a lot. And it was a case of we, you know, when we were sitting down with Brendan and Brendan's going, I like that, I like that. And that was just the first CD, I like that.  And then we go, you know, even when we were doing it, I think we got to, we were putting down tracks for Black Eyes, you know.  You've got enough for a great album here. And I was even saying to Mal, hey, you know, we were all in here, should we just continue and do some more?   We, you know, if we got a good idea, we're going to use it. Basically, that's really what, what, what I had when I, you know, I had to go through all of this material. And, you know, and for me, it, it, I mean, going through, it's a lot easier tasks, as I said, because of that time, you know, we had marked out all what were the ACDC, the ones that really stood out. So, you know, and I've still got a lot of those ideas. You know, so I'm, I'm, I'm still not done with all of it, what I have. Yeah. Well, there might be another one that you're saying. Huh? Yeah, I'm good. And maybe I don't know how many that I would have. Wow. All right. I know you got to get out of here. I cannot thank you enough for doing this. It's, it's pretty monumental to me. I mean, you don't understand what your band has done. To my life is, it is, I have bonded over some of the greatest friends over your music. I have had some of the greatest memories at your concerts, hands down, some of the greatest live rock I've ever seen.  And I can't thank you enough for doing this show. It means so much to me. Oh, thank you.  Thank you. Brian real quick. Thank you, Dean. I'm a big watch guy. Brian, what are you wearing today? Oh, this is a Graham. Graham? I know Graham out of England, London. Yeah. Well, this is, this is for the 1944 day-day landings on the American from the Second World War. So that's, that's, that's, it's a, it's a, you know, it's a celebrate. Well, it's not a celebration. It just, it is for that. It's called the overload special.  So anyway, it's fine. Angus. I'm a bit of a history buff. Oh yeah. Yeah. Angus, I got one question for you. I know you've got an army of SG's. My favorite one is the back in black one with the white pick guard. What SG, if they were all gone, which one would you have to have? It would it be vintage or is it a newer one? It's a vintage one. The one that I've always had and been on nearly every album, every album I've ever done is a guitar that now I, you know, because it's been on so many, you know, AC DC's. I just save it for the studio now. And I keep it like, you know, I keep it away. You know, I don't want to be because it over the years when I used to use it live, you know, it got so many bumps and cracks and I got to the point where I just thought I don't want to damage it anymore.  And when I've got that guitar, you know, it's so reliable, you know, I just have to put it in and plug it in. And I can get all my guitars lined them up and I can go through them all and go in and you put them in. Everyone will go, yeah, that's a great sound. That's a good sound. But that wasn't a good sound. That's the one, you know. It's just got its own thing to it. And I don't know, I don't know why another. And it's funny, you know, because Malcolm, my brother was the one that said to me when I was younger, he said to me, hang, there's this little shop not far.  They got a few Les Pauls and whatnot. He said that they got this great SG in there. And he knew I was looking for one, you know.  I picked, you know, I tried and went through the other ones. When I got to that SG and I played it, went through the other ones, I came back, I played it and it was like, I just went this one. It, you know, it just, it played so well.  I can put it, when I put it on, it makes, if I'm playing, it makes my, you know, it just does its own, it's got its own thing, you know. I love you guys, man. Thank you so much. Thanks Dean, me son. I could talk to you guys for 20 hours, man.  Never. Thank you guys. Thanks Dean. It's a pleasure, me son. Congrats on that new record, man. I cannot wait to see you guys out on the stage again. Thank you. Thank you. Bye. Bye bye. See ya.