Josh Madden | In episode 82 of Light Culture Podcast, Paper Magazine founder David Hershkovits talks with polymath creative director and culture enthusiast Josh Madden
Josh Madden has an outsized role at MDDN, a management and production company founded with his brothers, Benji and Joel Madden. Living at the intersection of art, music, and fashion, he launched Nylon Men’s Magazine and is a creative director of streetwear brands X-girl and X-Large. We take the cultural temperature and talk about growing up in Maryland, when he knew his twin brothers were superstars, why print magazines matter and the eternal appeal of Michael Stipe.Read Transcript
Josh Madden is a self-described polymath, which means that he’s pretty good at a number of different things. Officially a creative director of streetwear brands X-girl and Extra Large [XLARGE], he lives at the intersection of art, music, and fashion. Just where and what that intersection is and how he manages that Venn diagram is something we’re going to talk about. He also has an outsized role at MDDN, a company founded by his brothers, Benji and Joel Madden, of the mega pop-rock band Good Charlotte. We’ll ask him all about that as well. Social media platforms, media marketing strategy, digital marketing strategy, brand positioning, creative consulting, and brand ambassadorships are some of the touchpoints where he has left his fingerprints. Though settled in LA where has dibs on Hollywood royalty via his high-profile sisters-in-law, Nicole Richie and Cameron Diaz, we nevertheless met back in the day in NYC when magazines were all the rage, and Josh was a commanding yet low-key presence beloved by one and all. He went on to launch Nylon Men’s Magazine, and evolved into the creative influencer that he is today. So here we are, looking to catch up and do nothing less than take the temperature of the zeitgeist. Welcome, Josh Madden.
Wow, man. I’m- I’m humbled. I don’t know what to say after that. But, yeah, thank you so much, David.
It’s you, brother.
It means- means a lot.
You did it. I- I didn’t- [laughs] I just wrote it out. But it’s true. So, you know, we’re saying we’re taking a temperature. So what’s your temperature? You know, everybody’s taking everyone’s temperature these days. I don’t know about in LA, but in New York, any time you walk in somewhere, somebody wants to take your temperature.
So what’s your temperature like these days?
You know, I’ve been talking to you in my head for like three or four days. I’ve been talking to you for the last couple days in my head because I wanted to sound really, really smart and insightful. I don’t know, man. I want to give like really quick and small, concise answers. But I think the temperature right now is really interesting. I mean, both physically and in general, because I think that there’s, it’s like there’s a hole in the wall and a lot of people running through, and a lot of people are, I think, trying to save each other. I mean, in a good, really good and positive way. But I think the temperature right now is like it’s- it’s frenzied and frenetic. It’s a time in history where a lot is happening all at once, you know? I’m an old forty-three-years-old, also kind of young, I think in some ways, but I imagine that at certain times in history we look back so fondly, or we look back so respectfully at certain times in history where a lot changed at once. And I can- I think, you know, I just try to remind myself right now on a daily basis that that’s what we’re going through. In these times in history with so much change going on. The temperature’s frenzied, man. But at the same time, I think a lot of it’s in a positive way, you know?
It’s interesting that you mentioned how in history things have changed all at once. I immediately think about ’80s New York or even ’90s New- You kno- But those, it takes awhile for those things to actually be clear for us to look back and say, “Yes, something really has changed here.” I think right now, it’s happening everywhere, as opposed to downtown New York, or central capitals of culture, where things have popped in the past. But now, because of the way you were describing it, we’re all experiencing this time that we’re in. Stuff is happening everywhere.
I came up in a really small place in the middle of nowhere, and magazines and media were our screen time, we didn’t have cable television. I think we had five channels. We lived in a pretty strict household and we had gotten a hold of magazines, and it showed us the world. That was our screen time. I was thinking about it the other day. I was like, all my screen time is unreal, and I’m doing my best to manage it, we would look at magazines and we would have these five or ten magazines, and they were all different, you know, whatever we’d get our hands on, and that was our screen time. And we looked at magazines, like every page, you got to know every photographer and every writer and even the ads, they were so effective. And that was our screen time. And I think we’re getting there again, because there’s this hyper noise situation that’s going on. I think it’s easy for me to look at things and be romantic about the history that maybe you lived or someone else lived. I try to be respectful and realize that there’s parts of it that were really hard. I’m sure there are moments of things that are really sweet and really amazing things came out, but we all benefited from what your generation did, and what you anda lot of people that you worked with, what you did, really, we benefited from it. I think we have to really stop in this moment and ask ourselves, “Are we gonna do, right now, what future people can benefit from?” Everyone loves to talk about moments in history that see change happen, and it was certainly, I would say, probably scary for people, there was no handbook for it. We’re not in a lull by any means. It’s buzzy, you know? It’s like really buzzy. If you go look at the MTV awards from the early ’90s or something, and look at the shirts that Michael Stipe was wearing, or look at the messaging that was on clothing. It was talking about all of these issues, and they’re really not that different, we have to be aware that right now everyone’s listening more than they were ten years ago, you know? So the long answer to your shorter question of the temperature right now I think we’re in a bit of a frenzied state. And it’s gonna take a lot of us getting our heads put on and quieting the noise for ourselves, and then choosing what we’re gonna band together and what we’re gonna change in the messaging that we’re gonna put out there.
When you’re talking, it made me think, also something I’ve been thinking about, which is magazines. Recently, I started subscribing to magazines. Which I never really did. I would always prefer going to the newstand. But of course, there are no newstands left anywhere, cause, people aren’t buying magazines in the same way. But, given so much of this screen time and the procession of images and people not really staying on very long on any one thing, and randomly discovering stories here and there, depending on their feed. It just seems like a great time to launch a new magazine. Because I think people would really respond to getting something in the mail that was printed, that they could hold in their hands and look at, just as an escape from all of this onslaught of persistent images. I know you worked at Nylon and helped launch Nylon Men’s Magazine – or did launch it. How do you feel about that? Do you think there’ll ever be a comeback for magazines?
The answer to that is yes. You know, the first magazine that I ever did anything for was your magazine. The first photoshoot that I ever styled – I was not a stylist by any means. I mean, there was- I don’t know if there was, you know, I don’t know what Mel Ottenberg was doing at the time. I’m a big fan of Mel and what he does. I’m a fan of many stylists that, you know, Mordechai Rubinstein, I think he’s a stylist. I moved to New York and I had done stuff for my brothers, but there was never a ti- any title on it. It was finding clothes at thrift stores and hunting down things. My information retention around certain things, like fashion and certain things, just was better than, you know, as a younger guy, as a younger kid, I wanted to remember things about sports or some impressive, masculine information, I guess. I don’t know. I wouldn’t say fashion isn’t masculine, I wanted to remember wrestler names in WWF [laughter] But I was never that kid. I remembered music and fashion-related things, and I just remembered by memory recall, and I didn’t choose that about myself. It was there. But I moved to New York and I had done that for my brothers in music videos and just being an older brother, and helping out wherever I could. I met The Misshapes kids really early on. I had met Leigh before Misshapes started and, um, I met Geordon and Greg, and all of that group of kids was like a gen- genius group of kids. I was a little bit older, but I was like, “Man, this is really gonna be something.” You know, I saw it and I was like, “This is something here.” And they took me to the Paper offices, and I didn’t know anything about anything. I didn’t know anyone in fashion, I knew what I knew that I had collected on my own, I had never been to a fashion show, I was new to New York. I didn’t know anyone. They took me up there and, that’s where I think I had met you briefly, I met Kim, I met Mickey. I remember meeting everybody, and that was the first shoot that I ever did, something like fifty people in ten pages or something.
Oh, right. I remember that.
Jimmy Webb was in it, my friend Junior Sanchez, all these different kids and people were in it. I didn’t know what I was doing, David. I didn’t have an assistant, I didn’t know about pulling, I didn’t know about letters of intent. I knew Kelly Cutrone through my brother. At the time, Kelly was helping launch the career of Jeremy Scott and, a bunch of other people.Carol and Humberto were just opening, Opening Ceremony. And I styled a couple things for them. But, when I did that Paper Magazine, I have issues in my house now, I’m trying to think of who was on the cover. But man, it changed my life. It changed my life. Like for real, it changed life. I had always stuff with Benj and Joel, and they’re my best friends and my partners in everything we do. But the Misshapes kids, and- and you guys changed my life. Because there was something I had done, you know? I can just talk for an hour about just doing that shoot. It was crazy. Then I started doing brand stuff, and, um, yeah, like I think magazines are really important because, like music and- and food, and visual art, and visual media is something that empowers us. You run on a treadmill or run outside, or do whatever you do, and you turn on a certain song, and you will run faster. I was talking to my brother last week about taking magazines and creating collages on our walls. I was just talking to somebody about clicks and this and that. But in a magazine, it’s not about clicks, what makes a successful issue is a totally different conversation. You could put something in a magazine, and someone that lives, in Arkansas or Cleveland, Ohio, can receive it, and cut it out, and put it on their wall. And the story of whoever you chose to put in that magazine, whatever- whatever- I think in the media it’s really- I’m sorry, I’m going on a tangent. But in the media, I think, we don’t realize that we’re just stewards, a lot of bands I listened to – I didn’t know what they looked like. And then some people I saw what they looked like, I didn’t know what their art looked like or I didn’t know what their music sounded like. But the written word, and those photos that you put out there the messages. I’m here today because of that. Because of magazines and music, and nothing else. Music and- and popular culture was like my religion, and magazines were like the Bible, or the Quran, [laughter] Or the Torah.
I had a friend who was in advertising, and we were talking about branding Paper. And he came up with the idea, he said, “Read the Bible.” But then he thought about it again and said, “Well yeah, well nobody reads the Bible. So what- that wouldn’t be very good. So you mentioned your brothers, and I’m really curious because you’re the older brother. You have these two younger brothers, who were twins, and I know you also have a sister. But, the two brothers are the big superstars. How was that? I’d love a little picture of when you realized that they had talent or they were gonna do something different from what you were doing.
I knew my brothers were superstars from when we were little. I knew it. It never surprised me when they started their band. You know, they don’t really regard themselves that way, they’re. Really interesting people, man. I’m super fortunate.
There’s a handful of people that I’ve met, and then six, and seven, and eight years later they’re famous, or they have songs on the charts. I’ve always kind of wondered, you know, I think like anybody, any other human, you’re like, “Why am I here? Why was I put here?” And like I believe personally that I was put here to help magnify the voices and the messages of people that are, I don’t know if I’d say good, cause that’s kind of like too black and white. But people that I think need to be heard, or have a message, or empower humanity in some way. And, with Benj and Joel, It was never a question in my mind for them. I was there. I remember the day that they started. It was never a question in my mind. You definitely are surprised when you’re standing onstage and there’s sixty thousand people, and you’re like, “Wow. That’s my little brother.” Now we have a management company. We manage fifteen or seventeen artists. There’s people that like you just see a light in them, you see something, and, you know, you look and you’re- You look at them and- That’s why I think everybody loves documentaries. I’ll watch any documentary. I think it’s such an amazing cause, as humans, we’re looking at this documentary that’s like thirty years ago. Like this kid, how did they know they were gonna be this artist? Or how’d they know they were gonna be this band or whatever? And there’s always this little twinkle in their eye where, you’re like, “Man, they knew. How- how did they know?” And it’s just this thing, and I don’t think everybody’s meant to be, Michael Stipe or Madonna or, you know, Alexandria Ocasio-Cortez. Like I don’t think everybody’s meant to be that position. I think we’re all meant to be in the positions that we’re in. I just knew from the beginning with those guys.
And you didn’t have that gene for music for yourself?
No, we all grew up singing, We grew up in a really like- Our family, our- our house was pretty storied, it’s pretty well-known in music and everything. Dad was like in and out, We were really poor and, um- Like a lot of people. We found our comfort in music, even DJing, which I have to be honest with you. I only enjoyed maybe twenty percent of the time DJing because my place in the world is a person that just really likes to show people stuff. And when you’re singing in a band or playing music as a DJ, you’re serving people what they want, you know? There’s a reason that the biggest hit is in the last three songs of a rock and roll set or a musician’s set. I enjoy music and art in a different way. It’s very, very special to me. I’m not saying it’s not special to other people, but I DJed as a means to an end, and I had my picture taken Cause it was something people wanted to do I think. But, to be perfectly honest, I’m just as happy, on a photoshoot, playing music. I make a lot of photos now, and I make a lot of music videos, and I make a lot of media now. And I think I love setting the tone and I love putting people onto stuff. I think Benj and Joel The two of them are dynamic people and can speak to the masses, and I’m not short-winded and I’m really bad at making a point. [laughter] And I’m okay with it now. I was always really frustrated. I had a speech impediment growing up. I still do, here and there, when I get tired. And, I was really, really overweight, for many years. I just think that I was like really happy in my place with them. I like being part of the brain trust. I became what I was with Benj and Joel, I became to a lot more people, someone to bring stuff to and hopefully help bring information. I’m just really obsessed with minutia. I don’t think that lends itself to pop stardom. [laughter] You know?
Well you said you have a lot going on right now, and you were talking about that as well. On various projects and things. So can you tell us a few that, uh, would be helpful and advancing your goals to, tell the stories of people that you think are important for us to know about?
Yeah. Yeah, of course. About two years ago, I got into this space, working with this brand XLARGE and X-girl, and they were a big part of my youth. I really like the ethos that the brand was started with. I ended up meeting the founder, Eli and I’ve become friends with Eli. I really like that this XLARGE brand was started at- It’s one of the first brands with- with Erik Brunetti’s brand FUCT, to use the phrase streetwear, I think it was Vision Streetwear, FUCT, and XLARGE were using the term streetwear. I really like that you didn’t have to be a really amazing skater. I can skate but I’m not like Chad Muska, you don’t have to be an amazing athlete, there’s a lot of brands about being athletic. You didn’t have to be, you know- And it was like this group of people that was before they were Spike Jonze was just Spike and Jason Lee was just around. I don’t think he was a pro skater at the time. And everybody around was sort of just making their way. There was a huge transition going on in the Beastie Boys career, and everybody that they had around, this group of people we’re just all creatives. And I think it was some social commentary involved; it wasn’t this negative cooler than thou situation. And it was just a brand identity that I really felt like really resonated with me, and has resonated with me through my whole life. When you get involved, it takes some time for people to see your vision, or to share in the vision. And I’m really excited, with X-girl I started talking to Carlos Slinger from Liquid Sky about a year ago, and Claudia Rey, and we have an X-girl and Liquid Sky collaboration coming. And it was really important to me because Liquid Sky was the first place in New York City that carried X-girl, and I think Liquid Sky is like one of things that’s just kind of like a pillar in a culture that isn’t I think where it should be. I think they will be though. I think as time goes on, everything will have a documentary and every- everything will- will get its credit.
Liquid Sky definitely would deserve one. It reminds me of the X-girl connection to Liquid Sky, because Chloe Sevigny was kind of the face of X-girl back then. Right? In the ’90s when it first launched. Was Carlos’ girlfriend for a while, and I believe actually lived in the basement of Liquid Sky for a period of time. So the connection is very strong.
Yeah, I don’t know much about, I’ve talked to Carlos, um, a lot. The DJ that really brought me up in DJing, Junior Sanchez, grew up in New Jersey and DJed at the Tunnel and Limelight. We were from like two different worlds. He was a kid. He was like thirteen-years-old when he started passing out flyers, and then ended up DJing I think around the time he was fifteen. When I met him, he took me around- He was like- “If you can get a plane ticket, you can crash on the floor of my hotel room and you can open for me or do whatever.” And I was like, “Sure.” I had known about the music because I had gone to raves in Baltimore, but you know, One minute you’re in raves in Baltimore and then a couple years later, you’re having dinner with Arthur Baker and Peter Hook. I don’t know that much about Chloe. I used to see her at places like Tokyo Seven and certain thrift stores in the Village. I would be there just doing what I was doing, and I would see her and I would be like, “Wow.” You know, like I’m here living this life. I think all those people deserve their place in history. I think that was another thing with Benj and Joel, through everything we did there’s very few people I’ve ever met or seen that made me star struck. Like I saw Anton Corbijn when I was eating in a restaurant, and I was facing the wall. I didn’t see anybody the whole time I was there. And I got up to leave and Anton Corbijn was sitting at a table behind me, and I was like, “Whoa. That’s Anton Corbijn.” The people that I get star struck by are maker-type people. I think Tamra Davis is amazing because she made How High. She made Billy Madison. And then she made Radiant Child. And I think that’s a crazy career to have. Make pop culture movies, but also make documentaries. I think the people that I get star struck by are like people that I- I like, you know. But ultimately like I see you walking through Tompkins Square Park and I’ll just be like, “Damn. I’m really here. I’m really here. I’m in this- I’m in this world too. I can help.”
Well I- I’m gonna feel that way when I go to LA, man, and I see you. [laughter] I’ll really be excited. For real.
Yeah. I think it’s cool. I think it’s cool, man. New York will always be my home, I was working on this project for the last nine months with Ricky Powell. Who just passed away.
Oh, really? They had a little memorial for him last night, in Washington Square Park.
Yeah. It was last night. I was working with Ricky in the last like nine months, and I got connected to Ricky through Eli, who started XLARGE. There had been a collaboration with Ricky in the past and someone posted it. And I sent him a picture of it, and he was like “Wow, man. Like I don’t even have one. Can you get me one?” And I was like, “Uh, they don’t exist. Like this is from the past when you did a collaboration. But we could do it again.” And he was like, “I would love that.” He was like- “What picture do you want of mine?” And I was like, “I don’t want a picture of yours, I want a picture of you. I want to do the same thing.” Nobody really understood. I have a great love for everybody in the culture. I don’t know Jeanette Beckman, but I have a great love and I’m a huge fan of Jeanette Beckman.You had her on. I’m talking to his team now, cause I want it to be tasteful. I don’t know if it’s gonna come out. It’s funny. We became close friends. He got his Instagram hacked, It was Saturday afternoon and I was sitting at my brother’s house in the yard. And, Ricky, was talking to me about his Instagram, And I was like, “I’ll get everybody on it right now. We’ll get your Instagram back for you.” All I’m ever trying to do is bring information to the conversation, you know?
I think it’s so important that we know where all of this stuff came from. The men and the women the different minorities, everything we have that’s so amazing and culture didn’t just come from one person, or one group of people, or one age group, or one type of person, you know?
We have a company where we wanted to sign all different kinds of artists and not have one type of music. I think it’s cool every single day I get to interact with artists on the creative side. I’m in the studio now. We have three recording studios here. And I get to be in the studio and- say like, “Ah. Check out this.” It was always important to me. I saw shows at St. Mark’s Church that was on my street. And I was like, “Ah, like Patti Smith’s first show is rumored to be in this church.” When I went to New York for the very first time, I stayed at the Gershwin cause Andy Warhol supposedly helped decorate, designed the lobby and do everything. Life to me is almost like a museum that you can go to and you can be a part of. We come from so far away that everything we ever did we’re excited about it. Cause it was just something that we read about, you know?
Speaking about heritage as you were, and about Extra Large [XLARGE] with the Beastie Boy connection. Basically Mike D was one of the sparks for that whole brand, but wasn’t necessarily an owner, whatever the relationship was. But X-girl, was started by Kim Gordon of Sonic Youth, and it was very much a celebration of girls, Women.
And now you’re not a girl, right? I could call you a he?
I just want to jump in. The company, the person that really runs X-girl – And that’s why I’m the global creative director for XLARGE, but I’m a creative director for X-girl. The person that runs X-girl lives in Japan, and she’s been with the brand. So the people that help run the brand now, this guy, Shin Minikgawa he came to visit the States in end of ’91, early ’92, and he started bringing, XLARGE and X-girl to Japan. And that’s how it influenced Nigo. That’s how Nigo, who started Bathing Ape, saw XLARGE. And, Shin is a huge art collector, he’s really tight with Sorayama and Kusama, and- and all these artists. We’re very, very close. He’s like a big brother to me. And, Oa-san, was working with him from the earliest, and she is really X-girl. And the people that make a lot of what I make, both I would say, ninety percent all identify as women, are women. And maybe ten percent men. When I moved out here a lot of people that I met, and people that I continue to meet, a lot of the people that I think are groundbreaking and doing stuff in subculture, in- also pop culture as well- But a lot of the women that I meet, I just continually am meeting women. I love their voices, you know? I really, really love their voices. I’ve always, I think, worked really well with women. For X-girl,I gotta be up front and say that like a lot of what is going on most of what’s going on is women. My knowledge that I just bring to the table. Of things like Liquid Sky or culturally, my voice in the conversation is just for the information.
Do you think those brands are positioned now to make a big comeback? Because they’re legacy brands. It’s not that easy sometimes to bring back. We’re talking very familiarly about the history of these brands. You know, the Beastie Boys, Kim Gordon, Sonic Youth.
But today, it’s not the same. It’s not the same world. It’s not the same demographic. Is there a plan to bring it into this, uh, world we’re in today?
I can’t speak for Kim Gordon or Mike D, two people that I greatly admire. And Adam Yauch, who’s no longer with us. I know we’re all a little bit older and we love our youth and what all of these records meant to us. But I think the voices and what they continue to do, like I don’t know if you ever listened to Echo Chamber, but Mike D is talking to all ages, you know? He’s playing all music and he’s super in touch. I think Kim, for men and women and everybody, I think Kim is an amazing, strong voice. And I think there’s time. I mean, I’m not an authority to speak on culture, you know? I’m- I’m only a-
Yes you are.
I’m only a-
Yes you are. [laughs]
I’m only a junior in the conversation, I think. With respect to people like you and Kim, and other people, that have- been in it, you know. I think it’s interesting because I personally think that culture, that there’s certain times in culture where there’s the impetus of change, and voices and thoughts are the impetus of change, right? And I think at certain times when things get going and, we all push behind the car, and then the engine turns over and we all ride in the car, right? The impetus for change or movements is a bunch of people pushing behind a car, and one person in the front seat popping the clutch, and then we’d take off, you know? And, there’s times where the car’s rolling and driving along no one’s back there pushing cause it’s just rolling, and culture’s going and it’s growing, and growing, and growing. And in times where it runs out of gas, and we’re all back there pushing again, you know? Michael Stipe is someone that I listen to constantly. Um. And he’s not, you know, in the forefront of pop culture right now, but I’ll be damned if I don’t think that he won’t be there again at some point, in his own way, on his own terms.
If he wants to, yeah. If you saw that show called Song Catcher, I believe it’s called. Where they do the history of the song and they had, um-
Song Exploder. Yeah.
Song Exploder, right. With, uh, Losing My Religion and Michael Stipe That was a fabulous episode of that, I thought.
Have you- have you ever seen the documentary that MTV made on REM?
Anybody that listens to this podcast and anybody, um, I think is looking for information or looking for anything in- inspiring or music-related, MTV made this documentary, I think you can buy it on streaming services or whatever. But, man, it’s so incredible. That band, the history of that band and the way that they dealt with everything, and Michael’s way of doing things is incredible. I’m a gigantic fan of the band, the music, but also the way they organized and executed things. To that end I point artists in the direction of that documentary all the time, and I’m like, “Oh, you think your band has it tough. Look at this band. They were on the Monster Tour and their shit started and stopped like four times. Every single member of the band had something happen to them. That’s why that tour has like eighty different t-shirts cause it kept stopping and starting. It’s so inspiring to see. I’m on this quest to understand success. And I don’t mean financial success, but what we deem as a success. Everybody thinks everybody else had some kind of big break or some kind of like thing that helped them out, and it’s really like everybody is just out there the same. They’re trying to figure it out. I think there’s a lot of people that are quote-unquote born on third base or whatever, but even getting to know a lot of those people, I’d say like, “Man, I never knew that they were dealing with this or that.” It’s interesting. To the conversation of Mike D, or Kim Gordon, or Michael Stipe, or any number of people there are times in the world when everybody turns down the volume on some people. And it’s not right. It just happens. All of these people have gigantic voices and messages that reach people. It’s weird to say it like this, but it’s anybody’s game any day. You yourself, you’re doing this podcast and you don’t know if in two years all the sudden everyone just decides to turn and look and consume what you’ve been doing. All you can do is just make what you make and go with your purpose. Same thing for brands or anything else. If the purpose is there and if it’s run with the same DNA that made it successful, you just stay the course. You just stay the course with your DNA of what made you, you. And there are some things that I’ve done in the last two years that I think really, brought it back to itself. I like working with brands like that. I like working with brands that people have undervalued. I like working with things that people are undervaluing. Cause I see the value in a different way, you know? And it’s just about communicating that I think there’s something that’s good and historically inspiring that there’s a story there. And there’s a message, there’s always going to be a need for those stories, because none of us are new. None of us are some new thing. We’re just a version of something before us.
Well, Josh, it’s really great talking with you because it’s been a while, and now I remember why I always enjoyed your company. Love hearing what you’re saying, and you’re taking on the zeitgeist, and hopefully we’ll run into you on the streets where we belong, in the not too distant future. Thank you so much for being on my show today.
I’m thrilled, man. I could talk to you for hours, man.
I have a myriad of questions for you. My big respect to your whole team and everything you guys have done. And what you continue to do. What you continue to do now is just- just as important, if not more, than anything you’ve ever done. And having your voice out here and having you talk to all these people that you deem important or you’re gonna bring their message. Your platform is incredible, and your platform is respected, and I’m beside to be able to talk to you today. So thanks so much.
Thanks, Josh. Peace, bro.
I’ll see you soon.