Joe Twist’s Journey Through Film and Concert Music (Part 1) | 114

Joe’s music has left an indelible mark on both film and concert stages. You might know his work from the beloved animated series Bluey and The Strange Chores, or from his intricate orchestrations and arrangements in Hollywood’s major motion pictures. His versatility shines through in his collaborations with a diverse array of artists, from Moby to The Wiggles, and his compositions have resonated with audiences worldwide.

Today, we’ll explore Joe’s journey through film and concert music, delve into his creative process, and hear stories from his remarkable career. So, sit back, relax, and join us as we unravel the musical tapestry of Joe Twist.

Biography:
Australian composer/arranger Joe Twist is one of the most ‘in demand’ composers in Australia and abroad (Limelight Magazine). Straddling film music and concert music arenas, his music crosses genres including ancient vocal music, opera, contemporary orchestral music, jazz, music theatre and cabaret. Twist has received wide acclaim for his music for film and television including the successful animated series Bluey, as well as arrangements and orchestrations for many major motion pictures produced in Hollywood. He has created music for many renowned international artists and ensembles such as Moby and The Wiggles, and his work have been performed and recorded by the world’s greatest orchestras, including collaborations with The Los Angeles Philharmonic, The Hollywood Scoring Orchestra and all major Symphony Orchestras in Australia. Twist’s works appear on numerous commercial recordings including Twist’s own album Dancing With Somebody.

For full biography click HERE. 

Stay in touch with Joe:

• Website: https://joetwist.com/
• Facebook
• X
• Soundcloud
• YouTube
• Spotify

Links Mentioned in this Episode:
Grumpiest Boy in the World
SingScore – Joe Twist

Where to find me:
Crescendo Community Facebook Group: https://www.facebook.com/groups/crescendocommunity
Official Crescendo Page: https://www.facebook.com/CrescendoMusicEd/
YouTube: https://www.youtube.com/user/CrescendoMusicEd
Twitter: https://twitter.com/crescendomusic
LinkedIn: https://www.linkedin.com/in/debbie-o-shea-62a3741b/
Instagram: https://www.instagram.com/CrescendoDeb

Introduction

Here is the Crescendo Music Education Podcast – Episode 114.

This podcast is being recorded on the lands of the Turrbal people. I acknowledge them as the traditional owners of the land and pay my respects to elder’s past, present and emerging. They were the first music makers on this land.

If you’d prefer to listen to this episode, click here!

About ‘Read the Episode’: Sometimes, we would rather skim visually than listen to a podcast! That’s a great way to learn too!
The transcript of episode 114 of The Crescendo Music Education Podcast is below.

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Debbie O’Shea 

Welcome to the Crescendo Music Education Podcast Joe Twist. Hello Joe.

Joe Twist 

Hi Debbie, thanks for having me.

Joe Twist’s Bio

Debbie O’Shea 

A delight. I would like to start by reading your bio, so I’ll see how I go. Let me know if I get anything wrong. Okay, here we go. Australian composer/ arranger Joe Twist straddles film music and concert music arenas. He has received wide acclaim for his music for film and television, including successful animated series Bluey and The Strange Chores, as well as arrangements and orchestrations for many motion pictures produced in Hollywood. He has created music for many renowned international artists and ensembles such as Moby and The Wiggles.

His works have been performed and recorded by the world’s greatest orchestras, including collaborations with the Los Angeles Philharmonic, the Hollywood Scoring Orchestra and all major symphony orchestras in Australia. Twist receives numerous commissions and performances of his music from choirs in Australia and around the world and I’ll wait till everyone hears these choirs good heavens, including The Choir of Trinity College Cambridge, Chanticleer, Voces8, The Idea of North, The Young New Yorkers’ Chorus, L.A. Choral Lab, Sydney Chamber Choir, The Australian Voices, Gondwana Voices, Adelaide Chamber Singers and many more. Credits include vocal and operatic works such as The Grumpiest Boy In The World, Victorian Opera and the landmark LGBTQ rights work Watershed The Death of Dr Duncan, which received rave reviews following its Opera Australia season in the Sydney Opera House, just this year, in 2024 directed by Neil Armfield.

I know Joe that that’s your short bio. And I sort of feel like, okay, I’m here talking to this famous person. And all you listeners out there, you’re about to hear from a famous person. So Joe, listening to this bio, brief bio, I just presented. What would you like to add to that summary?

Joe Twist 

Oh, nothing, because there’s so much already there. Hearing you rattle it off. I’m thinking, oh gosh, it’s so eclectic, I do so many things. Maybe that I have worked with the Sydney Children’s Choir and Gondwana Voices for, well I used to when I lived in Sydney more, but I used to teach sight reading there, and that I love writing music for all different things and I even have a horror film that’s just come out that I’ve scored, but I love writing music for kids, which is not a horror film. It’s completely different. So the only other thing I would kind of add as an idea is that kids stuff is where I really love being and that in the end, what I love doing is telling stories through music, whether it be, something that’s not for kids at all and something that’s totally for kids.

Debbie O’Shea 

I had a little listen to part of The Death of Doctor Duncan, so not for kids that one.

Joe Twist 

Yeah, that’s right.

Debbie O’Shea 

Yeah, but you’re telling a very important story. So I find this actually, with a few of the composers that I talk to, is that storytelling is often at the heart of what they do. Do you have a preference? If you were told you can only write for adults or only for children forevermore. What would you pick?

The Age-Group Dilemma

Joe Twist 

I would actually choose children, even though, weirdly I mean, I think Watershed is probably my most important work now and it’s not for kids. But if someone said you had to choose the rest of your life, I would absolutely choose for kids. I mean, I’m really lucky that I work with Joff Bush on Bluey, I suppose we should point out that I’m not Joff Bush and I didn’t write the incredible theme. I’ve done about 20 episodes of that show and a bunch on albums and arrangements and things like that too. And also The Strange Chores by the way, is the same animation studios, which sort of connected with the same composing group. But I love doing like, whether it were a feature film or a choral piece.

I love doing stuff for kids, because I’m a big kid, really and even where I come from as a musician in terms of the storytelling element.

I mean, yeah, I love being an adult and being kind of intelligent and sometimes even political and really thought provoking about things with this set. Of course, there’s no reason why we can’t challenge children with important things. I mean, obviously there’s things that are made for kids and Watershed isn’t one of them. But in the end, I’m just a big kid, and look, I even feel like I came to music, really through mostly composers like John Williams and Alan Silvestri, Jerry Goldsmith and that’s all the stuff that I look back at with great nostalgia growing up, Star Wars, Back to the Future, big kid kind of movies, I guess, in a way. But also when it comes to working on animation that has the same flavour and for choral music. So just anything that is positive and wild eyed and whimsical.

I love doing that the most I think, because I just think that writing stuff for kids has the most potential for being whimsical and positive in that way. And I will add though just one last thing, you did mention in my bio too one piece that is for kids, the other opera I have, which is called The Grumpiest Boy in the World. And I adored working on that. It’s lots of fun. It’s a 45 minute opera that is so made for kids in every sense, like it’s only, well actually sometimes it goes for 38 if you play it fast enough.

So it just brings them right into the world of opera immediately with this kind of accessible story about a kid who’s grumpy but then realises his special place in the world. And he meets monsters and giants and talking birds and all sorts of crazy stuff. I say whimsical, maybe the other word I’m looking for is magic. And in my opinion, if you can fuse magic and storytelling together, then you’re on a winner. And that’s what kids love, I think.

Debbie O’Shea 

Yeah, oh, I want to see it now. Grumpiest Boy in the World. How would you see it?

Joe Twist 

Yeah, that’s probably more difficult, um, there is actually an educational resource that Victorian Opera created. I would just head to their website and see if you can find The Grumpiest Boy in the World. I really should go looking for that. But they actually created an educational resource for schools to use with that. So I couldn’t recommend that more highly, too. There’s a little bit that you can sing as a chorus, and you can learn before you kind of go in with your class, before you go in and watch the opera and that kind of stuff. So, yeah, if you can, I really should put more of that in my website too.

I focus a little bit more on scores that are available, most of my educational stuff is available through SingScore by the way, who has Paul Jarman and Dan Walker and all sorts of other great Australian composers. Think Jess Wells is on there and Sally Whitwell possibly as well.

Debbie O’Shea 

And I have to interrupt here, because guess what, I am now on SingScore.

SingScore!

Joe Twist 

Oh great, are you Debbie? That’s fantastic.

Debbie O’Shea 

I am. I’m a bit excited. My works are not to be compared to yours, but I just, I look at the composers that are on SingScore, and go Oh, goodness.

Joe Twist 

But, you know, I firmly believe more and more people can compose, like I mean, I do it for a job every day, like that’s all I do. But I encourage people more and more to write. I mean I’ve seen stuff written for kids, for schools, by teachers, and I’m usually learning from you, because I don’t stand in front of children every day. I kind of had this backwards kind of thing where I do a thing that I think is like good for kids.

And then I present it to directors, and by the way, some of them on Bluey, like Joe Brumm, Charlie Aspinwall, well not only are they versed very much in animation, but also in education, like they’re very well versed in even the philosophy I think, of education. And the feedback I get is fascinating. So I’m always learning, like I probably really should even just do a degree in education or something like that. So what I’m trying to say is like, do not underestimate, I think some of the best stuff written for kids is not written by full time composers, for sure.

Debbie O’Shea 

I think what you need ideally, of course, is both and what I do in my little, simple works is I understand children and I know what their vocal range is. I’ve done quite a lot of training in choral work and whatever. So I know a lot of mine are a way to introduce two parts. So there’s only this small part of soprano alto. So like, Yes, I think having the education part and the experience with kids really helps. But believe me, I am very aware I lack the depth of compositional knowledge that someone like you has. So what you need is both.

Joe Twist 

You do.

Debbie O’Shea 

You’ve worked with kids so much, you have that knowledge of kids too. But anyway, I don’t want to talk about me.

Joe Twist 

I just want to say one little thing is I feel like the issue I have sometimes is you have to be creative to write that something that’s going to be accessible, that’s going to challenge, but also be doable, but yet is also kind of creative and has a story to it and that kind of stuff. It’s tricky. And sometimes I assume something can be done easily, and then I learn it can’t and then that’s how you write the next piece a lot better.

Debbie O’Shea 

Or you just go, I’ll just edit that kids.

Joe Twist 

That’s right.

Debbie O’Shea 

Just before we leave this particular topic, I really believe, like you, that more people should write because it’s like I tell my Preps, my four year olds, you’re a musician. You are in my room, you are singing, you are playing, you are involved. You’re a musician. I don’t believe a musician is the professional that gets paid for their work. They’re all musicians. They’re all artists. It’s an important part of an element of your soul. That’s being a bit deep, isn’t it?

Joe Twist 

Oh I like it though. It’s true. I think it’s completely true. It really goes to the idea that we don’t need to divorce ourselves from music, like we share the music as a group and that even though it’s written down on a score, that’s really just a representation of what it is. So it’s not really a thing until it comes out of your mouths and audiences listen to it or we listen to each other as we sing. So, yeah, it’s this ever evolving beast. I think to be very philosophical about it makes a lot of sense.

Debbie O’Shea 

I love it. Tell us about your composition journey. Now you’ve alluded to it when you were young you loved those big movies and it’s great you’ve ended up writing movie music yourself. You’re sort of living your dream, but I’m sure that was quite a journey I would imagine.

Joe’s Composition Journey

Joe Twist 

Yeah, and it’s still going on. I can never really believe that I kind of am actually doing what I’m doing, because it’s still a struggle when you’re doing it and it’s still a job, dare I say. I still have taxes to pay and what have you. But the journey, yeah, it really starts with, I mean I’m just a kid from the Gold Coast, you know. And it starts with film scores in particular, I just was fascinated by these colours and emotions and this matching of picture and music, not just sound, but music specifically, which is interesting. And I guess it really came out in the movies of that time, the sort of post Star Wars period, Harry Potter would be another one that’s a bit later, things like that, that have these distinctive melodies, but this beautiful orchestration.

But even then, sometimes they might not have much melody; they kind of are an undercurrent, and they’re always there telling a story. But that’s Hollywood, and I’m Joe from the Gold Coast. And then I sang in choir in school, I went to Keebra Park State High. It’s really more of a football school, but I was the choir captain. I had a great teacher. We had no facilities I must say, there was no grand piano in the place. But hopefully that’s changed. But the teachers were fantastic. The choir was a way to join with friends and sing.

And I loved harmonising and learning about harmony, and I’d be sort of discovering all these different colours that were in the film scores as well, but also then being introduced to how they actually take from the classical canon, in particular, the hundreds and hundreds of years of that. But the other thing that brings us to the next journey is UQ. Because UQ had a very strong choral program, particularly with James Cuskelly. I sang in Conscientious with Richard Swan for a while and I also sang for many years with Graeme Morton in Brisbane Chamber Choir as well. Oh and Stephen Leek. I mean I did a lot with The Australian Voices at different times. So I moved to Brisbane, got into the whole choral world.

But what I realised really was that I had this interest in musical storytelling and even though I wasn’t doing film with choir, yeah, it’s not film, but it’s still music and it’s still storytelling. It’s words and it’s music. It’s a different kind of thing. So I’ve really juggle too. I mean, I do write orchestral works and chamber works as well, but having that kind of background of film and always wanting to do it and choral, I really built up the choral throughout my 20s, wondered more and more about film, but film’s a real thing you gotta get into and it’s such a technology thing. In fact I mean, just to sort of describe the two ideas that I am to the choir and the film.

One is so non tech. We stand in with these as a PDF, I guess it is tech, but we stand with a piece of paper right, in a group in a room, we just sing, and then maybe there’s a piano, right? And a film is really a recording medium, like you collaborate, but the way you conceive it often isn’t necessarily even writing music down these days.

I did this whole horror film just recently where I just had all these different sounds pre recorded in my computer and I just had the director here, and we just played with them and then I wrote a few melodies and did that kind of thing. So then you go and record it, you have to write some things out for the musicians.

So it’s a whole different way of thinking about music compared to the way choral music usually is. Although, I mean, in choral music some of the best ways to do it sometimes is just to improvise things for us, isn’t it? So there’s a connection. But in the end, there’s the language, the words that we sing are a story that we create and the way that John Williams may choose a French horn with its sort of noble and heroic quality, or the force theme for Luke Skywalker.

In choral music, what I’ve just thought about recently is that really it’s melodies and it’s rhythms and it’s words, but it’s actually elongated vowels separated by consonants, if you break it down, right? I mean, that’s just taking all the fun out, but the reason why I’m breaking it down like that is because what I thought is, like you use colours to denote something to be almost, there’s a word that I learned in academia, symbiotic. Or not symbiotic, semiotic, sorry, semiotic, the symbolism of a thing, of a creative sound, like a French horn playing a melody in a minor key which has all these symbols to it, so does an ‘ooh’ vowel and an ‘ah’ vowel when we sing ooh vowels, like, there’s an absolute purity to it, an ‘e’ vowel is a different kind of thing. So I really think there’s a connection there.

Film composers use different instruments and different combinations of them to create colours and create moods and symbolise things. In choral music, the story is already there and we do symbolise things like script. And maybe there’s a word like sky and it’s an ‘ah’ vowel, and it is the thing right. Now, you wouldn’t generally, I mean, I guess the idea I’m describing here is with word painting. But you generally wouldn’t think if you’re going to symbolise a sky as you sing it, that it would be low voiced very closely with notes very close together. It might be a minor key. I mean, I guess if you say gloomy sky and then it’s a whole different thing. And ‘ooh’ is an interesting idea, that an ‘ooh’ vowel opening up to ‘ah’. So that’s a colour in a sense.

So then you think, Okay, well, how do I? I’m literally just breaking down how I think about composing here I know and I’m getting really in the weeds. But just to summarise, this is how I think about the link between film music and choral music and storytelling. And it’s kind of the same thing, just in a whole different way. That was a lot.

Debbie O’Shea 

No, no, I love it and I think that gives us a very different perspective, like I get how they’re both storytelling, but I’d never thought, you’re talking about timbre and tone colour related to like you were saying length of sound and the colour of the vowel and where it’s placed in the voice.

Joe Twist 

Where it’s placed in the voice, exactly.

Debbie O’Shea 

All of those things. And what you’re really doing is composing in a similar way to instrumentation, if you’re doing it for an orchestra. And I’d never thought of it like that, but that makes complete sense.

Joe Twist 

Look, and I think about all this after the fact, I must admit. Like when I’ve written a lot of pieces, it just happens intuitively really, because you sing with a choir and you get to know repertoire and you see what other composers have done and you go, Oh, that’s cool. But what if I did this text and I did it this way, or a bit of that. It all happens that way.

But it’s just interesting to break it down and I just like to relate it to film music because it’s kind of where I started and what I wanted to be and then choral music is something that happened as I grew up. There was just more opportunity, but I realised the reason why I was drawn to it was just the sort of physical element of me loving singing with people and discovering harmony, but also because there’s a connection to the process in my opinion. Because really we get very visual I think sometimes and I know it’s sort of backwards, but we get sent a film.

Most of the time when you do film music, you score the music on top of the movie. Sometimes it happens the other way, but it’s rare. Like if you’re writing a song for characters right? Usually it’s a response, whereas choral music, it’s like they’ve written a script and there’s so many verses and if the poet is dead, you’d better not change the order of the words, but if they’re still alive, I love collaborating with lyricists by the way, then you can kind of ask them, Do you mind if I do this? And, Can I just switch these words around?

That’s the kind of kind of collaborative thing, but it’s the same sort of thing and it also reminds you of something that John Williams said, that he thinks of himself less as a artist and more as an artisan, or in a sense that he’s kind of a journalist rather than a novelist, because he’s using his technique and he’s using procedures that are musical, but it’s not as though he sort of owns them. It’s not as though he creates them. It’s more that he provides them as a service.

And I like that idea. I relate more to that. I mean, I think there’s arbitrary to it and it’s a kind of very modest way, I guess, of describing what it is we do, but I think it’s just film and choral music in particular. I think have a great opportunity for collaboration and storytelling in that way, that we think this is bigger than just ourselves. But who doesn’t write, who doesn’t love, right? I’ve got into a Mahler Symphony where, really it’s all about Mahler, and he’s just created this magic thing. So there’s different things, but personally I love the kind of collaborative element of all of it.

Debbie O’Shea 

Yeah, I love that. And you mentioned a lyricist. Do you prefer to write music with a lyricist? Or do you like to do words and music yourself, or just the mixture?

Joe’s Preferences

Joe Twist 

I haven’t written words to a piece since I wrote a piece called Rain Dream, which is for Gondwana Voices.

Debbie O’Shea 

How funny you should mention that. I played it, at the time of recording because I’m recording a couple of months ahead, yesterday. I played a segment of Rain Dream to a hopefully very wide online audience. It was beautiful. It was Gondwana. I took a snippet from the Gondwana performance. Oh so beautiful.

Joe Twist 

Thank you. I mean, I feel like it’s actually one of the best creative ideas I’ve had and I don’t usually have them. I just had this idea of a child who lives in the bush who’s never seen rain. I think I just heard it on the news, because we were going through such drought and this was in the early 2000s right?

Which is when I wrote it. And I just thought there really should be, why don’t you write a piece, a choir piece? And I knew there was a competition for Gondwana as well. So that’s where the stars align. But I very rarely have them, I must admit, which is why I kind of come to everyone else. I often use a lyricist. I mean, look, even just to go to Watershed that we were talking about, that was collaborating with Christos Tsioklas, who wrote The Slap, Alana Valentine who’s a great playwright. But I often work with, for my educational stuff, a wonderful poet who you might know named Joshua Clifford.

Debbie O’Shea 

I know Josh. Hi, Josh. Shout out.

Joe Twist 

Shout out to Josh. Absolutely. He was in Birralee for years and he wrote these beautiful poems, I think, for an Anzac service at one point. I think they even went to Versailles at one point and I set his words. And it just was so natural. And we did more and more of it. There was even a really interesting one where I wrote, there’s a piece on SingScore people can look up, which is called Flying Home. And he kind of actually rewrote words.

I had actually set the words from a Sesame Street song, which you probably all know, Ernie sings it, I Don’t Want to Live on the Moon. Anyway, I tried to see if I could get the right to use the words. Jeff Moss is the composer and the studios kept saying to me, Look, a song is a song. The words and the music are one. You cannot separate them unless you get a contract and rights and we’re not even interested. So I just realised, Okay, well I’ve got a cool melody here and people like the piano part and the vocal parts kind of great for kids, so I need to rewrite this.

And Josh came to the rescue and we turned it into Flying Home and it had the same kind of sense of wonder and the same sort of sweetness. But warmth as well too, I think in that song. So, yeah, I mean, there’s so many ways to do things and you know Rain Dream is one where I just kind of had an idea and went for it and I think it’s relatively successful. But then most of the time I want to collaborate with people. And I guess that again, goes to the whole film thing, because directors and animators come to you and they’ve got this thing, and they want music for it. Look, I’ve just done another piece with Josh’s words. I collaborate with a South Australian lyricist called Jodie O’Regan, she writes a lot of lullabies.

You look her up, she’s pretty fantastic. And also my dad. I mean, that’s in some ways where my interest, my sort of side interest in literature, although I’m really not an expert, I think I’m very visible and also finding text that’s suitable to sing can be to be quite a specialised thing as well. You can love literature and you can get into Ulysses S. Grant and Tennyson and whatever and think this is brilliant, brilliant poetry, but to sing, it would just kind of actually do the words disservice. It’s a special thing, I think, that we do when we write choral music in particular. So yeah, I like to do it all, but collaborating is my focus most of the time.

Debbie O’Shea 

I love that. I think collaborating, one of my favourite sayings is one plus one equals a lot more than two.

Joe Twist 

Absolutely and even if it’s like something where you’ve done it, but someone might just just add a suggestion. I mean, I can do this on film scores too. Sometimes you’ve got a lot of music to write and there’s a bit that’s just really difficult. And you know a composer who’s probably really good at this kind of stuff, because we try and be eclectic and do what we do, but there’s maybe just something that’s a little bit out of our comfort zone or our wheelhouse.

So you get someone else to write, but it’s still part of your work. Or you get someone else to just, kind of, What would you do with this bit of the text? Maybe they just give you a suggestion and whether it’s a co-write or not, you work that out later. But you can’t be precious about this stuff. And in a sense, art is tricky and you would know this, we change the music that composers have written all the time for our own groups, because we just have to and we rearrange.

Debbie O’Shea 

You need to sometimes.

Joe Twist 

That’s right. It doesn’t diminish the beauty of the idea of the composer. In many ways it kind of shows how, again, we’re saying about how we’re all composers and we should all share this sort of philosophical thing you were describing earlier.

Debbie O’Shea 

It really is magic. I’ve got two little pieces that I’ve not put on SingScore because Jarms and I collaborated and we came and worked here in my office. And if I could live my life like that, I’d be a very happy little chappie. And I had two little pieces I’d written and I said, but look the piano part’s not great because I’m just an average pianist. And he goes, Well, if we added this, and then we looked at how I’d laid it, he said, then we can, I mean, this is over time.

We spent a fair bit and we have this little unaccompanied part here. Let’s just sing piano this. And it was just magic, just these little bits, even though the pieces were written, but they were nothing special, but with the two of us on them, I think they’re really quite special now, because we collaborated.

Joe Twist 

Fabulous. I love that. And also what I like about what I do in some sense too, is I’m jumping from a show, I’m often working on The Strange Chores recently by the way, which is on ABC Me, it’s even more than Bluey, it’s a bit more specifically directed at kids. But I just want to talk about eclecticism, I guess, in that I’m in this show called The Strange Chores, just about monster hunters and fighting off goblins and fun stuff like that, it’s very sort of Harry Potter.

And then I’m writing a serious choral work for church. I do a bunch of church music as well. Totally different. I love the storytelling that happens in church as well. I’m not particularly religious as a person but I love the ceremony of it and everything. So, yeah, if you’re eclectic, then you can kind of offer what you can to different people at different times, the way you did with Jarms.

Debbie O’Shea 

I think it’s great. And you know what? You don’t get so bored.

Joe Twist 

Well that’s what I wanted to say, too. That’s kind of what I was trying to hem with. That is that I do this every day and I love writing choral pieces, but I gotta tell you, like sometimes I’ve had commissions sort of three, four in a row, and they’re all quite similar. I’m like, oh I’m out of ideas. I just don’t know what to do next.

So when I’m working on a TV show, like something totally different and a whole different way of thinking of this, more recording, like you don’t turn up to these sessions with directors with a score at all. You just put the music in the video, you send the video to them, or you just go to a studio and you play it with them these days and you just watch their faces and hope and pray that they like it, often they don’t.

Sign-Off

Thank you for joining me for this podcast. Don’t forget, you’ll find the show notes and transcript and all sorts of information on crescendo.com.au. If you’ve enjoyed the podcast or found it valuable, you might like to rate it on your podcast player and leave a review. I’d really appreciate it if you did. All I can be as the best version of me. All you can do is be the best you. Until next time, bye.

Just for Laughs

As we know, laughter relieves stress, don’t lose sight of the funny side of life.
Now, what do you call a fish wearing a bow tie? Well, of course, sofishticated.
Sofishticated! (laughs)