Join the thrill ride as Brad Taylor, the maestro of military fiction, returns to discuss his latest page-turner, "Dead Man's Hand." Picture the world's geopolitical chessboard as a backdrop for our deep dive into the mechanics of military thrillers. From the war in Ukraine to Russia's enigmatic Dead Hand system, we explore the challenges and risks of writing stories that intersect with real-world events. For aspiring novelists and avid readers alike, this is your masterclass in the dance between fact and fiction, and the strategies authors like Brad employ to stay one step ahead of the headlines.
With co-host, AM Adair, author and veteran.
Make sure to check out Jason on IG @drjasonpiccolo
Join the thrill ride as Brad Taylor, the maestro of military fiction, returns to discuss his latest page-turner, "Dead Man's Hand." Picture the world's geopolitical chessboard as a backdrop for our deep dive into the mechanics of military thrillers. From the war in Ukraine to Russia's enigmatic Dead Hand system, we explore the challenges and risks of writing stories that intersect with real-world events. For aspiring novelists and avid readers alike, this is your masterclass in the dance between fact and fiction, and the strategies authors like Brad employ to stay one step ahead of the headlines.
With co-host, AM Adair, author and veteran.
Make sure to check out Jason on IG @drjasonpiccolo
Hey, welcome back to the Protectors podcast. We are back again with Brad Taylor and my excellent co-host, who seems to be on every author list that I've ever had so far Amadeir. Welcome to the show, brad, welcome back. I think this has to be like your seventh or eighth time, yeah thanks, thanks for having me Seems like every few months there's a new book coming out. Now it's Dead Man's Hand, but I love it. Keep them going, absolutely, yeah, I'm going to play the next one.
Speaker 2:Oh geez, you know what's really cool is I was right before we got on we were talking about Charleston and stuff like that and I remember going like my first trip down to Charleston in years. There's a little bookshop downtown and they have a whole section for like local authors. So I'm always everywhere I go now with the authors and stuff like that Is that Bunsin Books. Yeah, it is.
Speaker 3:Yeah, yeah, they do my book launch.
Speaker 2:Oh, that's awesome. That's a really cool place. I like it. And then where I was up in Rock Hill, and then Rock Hill has this like book store. It's like Life, liberty and Books. It's really cool. And then I'm up there, I'm like I'm over here taking pictures of all the books. I like it. Local authors. I love Charleston. I'm ready to move.
Speaker 3:I call it the Promised Land.
Speaker 2:It is. Don't tell anybody about it.
Speaker 3:That's too late.
Speaker 2:Everybody else knows the only issue we the only issue you have is what you said is like there's no word to shoot guns and you just got. You got to talk about this Henry lever action. You got.
Speaker 3:Yeah, yeah, that's actually. I spent so much money to my wife's like what are you buying all these parts for? Didn't it come ready to run? It's like, yeah, it did, but since I, you know, got it from Henry, I'm going to put all these parts on it. So I mean, I redid the whole thing. New trigger, you know, four in M lock, four in Chisholm, buttstock. I stripped a 300 blackout I had for a T two aim point three, power magnifier, surefire flashlight, the whole nine yards muzzle break.
Speaker 2:I tell you what, though, like when you like. Yours is 357.
Speaker 3:Yeah.
Speaker 2:Mine's a 44. And I tell you it's like it doesn't feel like you're shooting a 44 Magnum. So I imagine it's like nothing.
Speaker 3:No. So I was shooting plates because out on the range I shoot at you. You can't shoot rifle rounds at plates, but three bit sevens pistol rounds, so I can do it and I can be just like John Wayne on a horse. And so he had all these plates lined up and you know I'm knocking them down, knocking them down, and my daughter videotaped me. She said I'm a videotaped in this one and so I said, okay, hang on, I'm going to get this perfect. And I went pow, missed. I was like stop, stop, stop, hey, record again. So, like you know, clean the plates. It's pretty simple to do with a rifle. It's in fact it's remarkably it's impossible really to screw it up. And that's all the comments is like there's not much recoil. Is this, you know, photoshopped? I'm like it's 357. I mean, eight pound rifle is not going to be a whole lot of recoil.
Speaker 2:I am. So I have a single shot 4570. And I think it's an old Ruger and I want to. I brought that out to the range a couple of weeks ago and I'm shooting it and I'm like, oh, that's the first time I ever shot a 4570. And I'm thinking, you know, because I initially wanted to get a 4570 lever action, and I shot that thing and I'm like, damn, I really need to get a 45-70 lever action. I mean, it's just that round, it's just it reminds me of, like you know, like a Buffalo Hunter or something like that.
Speaker 3:Yeah, exactly that's what it looks like.
Speaker 2:Yeah.
Speaker 3:It's, like you know, a patch and ball round.
Speaker 2:I think it's really cool, because your last build was in AR, wasn't it?
Speaker 3:Yeah, yeah, it was yeah, actually I'm still. I just for Christmas I've got a 6.5 Creedmore. In fact I'm going out and shooting tomorrow that I just read it. All the components I got a JP Enterprise low mass bolt carrier, iconic trigger, silent capture, spring, new buttstock. In fact, just before we came on here, the UPS guy, I saw him walk up. He's got a piece for me. My wife doesn't know about it.
Speaker 2:What is it? I think it's like Legos. It's like Legos for us.
Speaker 1:I'm doing the same thing. The DECO knows everything. You should know this.
Speaker 3:Right.
Speaker 2:I'm like, looking around my desk here and I'm like, should I even pull this out? I'm like, so I built the 9mm AR out of arrow precision and then I put the rise arm on it. I mean, then I'm like, oh, you know what, I have this old commemorative border patrol AR I had. I'm like, let me put a new trigger on it. It's like Legos for adults. But it's like I think it's like when you're building something, you're putting it together. It's kind of like you're not thinking about books, you're not thinking about anything.
Speaker 3:I want to see how tight a group I can get on that thing. It shouldn't pretty well right now, but for Christmas I told my wife here's my list of parts I would like. I think you have to be really specific, because they make something like an H2 buffer, h3 buffer, h1 buffer and I was like, don't get the wrong one. I've got to have this one because it's a 308, you know it's 6.5, but it's 308 build. So I've got to have this type of buffer and that type of low mass operating system. I want the stainless, I don't want the nitride. Get this, get that. And so I got to go shoot it tomorrow and see how it works. Probably blow up my face, but no.
Speaker 1:Well how much of that actually ends up being used as detail in the stories you create, or is it vice versa? You do your research and then decide. This is my new wish list.
Speaker 3:A lot of times it'll end up in the book if it's important. I don't spend a lot of time on weapon systems in the book, that you know. I just don't see the need to bore the reader with everything. But if it's necessary, if it's something that's critical to the book itself, then it'll make it in the book. But I mean, you know if Pike's going to draw a pistol and shoot somebody when the gunfight's going on, you want the gunfight to flow.
Speaker 3:So he draws his pistol and shoots somebody. He doesn't put his hand around his Glock 23 with his RMR holo sight and withdraw it from his Kydex holster with his Oakley sunglasses on and press check the pistol. You know it just slows everything down. So if I can get away with saying pistol, I'll say pistol. I mean I'll describe it. You know beforehand. You know hand out Glocks or something like that. But like we were talking about the Creed that you know there's no way I'd start talking about. It's got a JP Enterprise, a little mass bolt carrier and silent capture spring and it's iconic two-stage trigger and you know that's just kind of boring.
Speaker 2:I do see a lot of books that they really do throw a little way too much detail on like product placement, yeah.
Speaker 3:I'll be honest with you.
Speaker 2:I'll do some product placement oh yeah, yeah, exactly, you know, he pulled out the hand.
Speaker 3:Because I said I put you in a book. I was at a shot show. I said look, I've got a 300 blackout suppressed. It could be a Jim Tech suppressor. Oh yeah, roger, that Listen, jim Tech suppressor. And that's what they were shooting for that.
Speaker 2:Maybe you know what Maybe that's what it is because I'm really kicking around the idea and I've actually started writing a fiction book because my whole life has been like nonfiction. I'm like I really want to do something. I'm like maybe the back of my mind is saying, hey, maybe I just want free gear. I'm just seriously when you, when you start writing these books and that's one thing I want to get into you is like you know, you go from the work in any unit and you work in the military and then having that flexibility to jump into the fiction world and start writing. And now that I started writing fiction, I'm starting to see like, oh, this is cool. I could like run these stories the way I want to run them. I could run these operations the way I would run them. So let's talk about that, about, like you know, obviously, working for Delta Force, working for soft and all that you're really meticulously planned. So how did you transfer like this meticulous planning and keeping it where you're not divulging TTPs? Well, part of it.
Speaker 3:actually it's most of the guys that earn software. Anybody's planning any exercises here. You're kind of a fiction writer. So when you design an enormous exercise where you're going somewhere, you know, pick a country and going to Peru, you're going to brief the guys. They're going to do it real world. You know it's an exercise, but they're going to. They want everything real world. They don't want anything handed to them, and so you'll give them intelligence package, you'll give them all this kind of stuff, but because it's an exercise, you have to make them do what you want to do. You don't want them to crack a real bank when you want them to go to the one you rented next door, things like that and so you have to craft.
Speaker 3:Okay, like when you write a novel, pike's going to do one thing. There's something he's going to do. Well, he could do a thousand things and there's got to be a reason why he didn't do 999 other things, because that one thing is the only thing that makes sense. Otherwise you'll get emails you know out the wazoo about. You know why didn't he just do this and why didn't you just do that. So you've got to design the scene as in. This is the, what he had to do at this moment in time, and that you know when you design exercise, you basically have to do that I cannot have the team go this way, I can't him go that way. So you're building the, you know the scenario for the team, for them to execute, and so it kind of translates that way.
Speaker 2:You know, the other thing about writing these books is keeping them current. Now, with Dead Man's Hand there's, it's very current, it's, you know, real world. What is your go-to for, like your open source, reliable information?
Speaker 3:Oh, I got a ton. I wouldn't say I have one Every morning. I spend about probably two hours every morning reading feeds from all over. Then they come from all over, you know, from the Middle East, anywhere that I can get. There's nothing top secret about it. You know foreign policy, war on the rocks, breaking defense, defense one, all the earlier bird briefs. You can get militarycom AI from the Middle East. There's just a ton of different people out there that you can get on their news feeds and they'll send it to you and a lot of its duplication.
Speaker 3:You'll see the same story. Sometimes it's not, though, and I'll get a story that I see that picks my interest, and that's usually what drives the plot. In this case, I was following the war in Ukraine, not because I had no intention about writing in Ukraine. The worst thing you can do is writing current events is something that's actually happening. It's better to write about the horizon. This could happen, and then you know, in the perfect world, when your book gets published year and a half later, boom, there it's happening. Then you look like a genius, but in this case, the war was going on, and I actually told my publisher I was doing a research on Ukraine just because I'm interested in it. I follow it and I have some friends that are over there, and so I was tracking what was going on, and so I started doing research on just the entire ecosphere of Russia and Ukraine, the history and all that, and I stumbled on a thing called the perimeter system, which I'd never heard of.
Speaker 3:That's a Cold War thing that we, ronald Reagan, came up with, the Strategic Defense Initiative, the Star Wars thing, which basically said we can shoot out any missile in the sky, we get this up in the air and it's a complete umbrella and nobody can ever attack us with nuclear ballistic missiles. Of course it never came anywhere near to that ability, but it scared the hell out of Russia. Russia couldn't compete with that. And so they said you know, this is going to give them. They're going to have the ability to do a first strike on us, because we can't do anything about it. They're going to do a first strike on us. And so their answer to that was a perimeter system, which in the West we called the Dead Hand, which was, it's, like the earliest rendition of artificial intelligence. They had this system that monitored seismic activity, monitoring communications between headquarters. It had all these little monitoring stations, that if they all went dead, then anybody any second lieutenant who was still alive could launch the perimeter system, which was basically a ballistic missile that went up in the atmosphere and sent launchcoats to everything that was still available, and everything in the Russian arsenal would go up in the air. And the Russians did that because they were like, okay, that's our deterrence. Their deterrence is SDI, ours is even if you wipe out the Kremlin, our missiles are coming and that thing is still exist. It is still around and it's caused a lot of consternation. When Ukraine went off, it was like holy moly, you know what's going to. They still have this perimeter system and I started reading about that and I was like man, that is too juicy for I'm going to use that in a story.
Speaker 3:Now I did tell my publisher. I said here's the risk. I've got three risks for you. Risk number one Ukrainian. The war on Ukraine ends before the book is published and I was like that's a very low risk, but it is a risk.
Speaker 3:Risk number two the Somebody that the very beginning the book deals with Sweden and Finland trying to join NATO and Turkey and Hungary and all these guys tell them not to. And so there's a plot line through there and I said risk number two is Sweden's probably gonna join NATO before the books published. I said it's gonna be a race. But they might turned out they're not gonna join it over the books published, but probably two weeks later they will. Unless what happens in my book happens, then they won't join. But and then risk number three was that Putin is removed via coup or some other means and I said that's just not gonna happen. He's a strong man, he's, he's got it under control. And then those Wagner guys went across the border. Brosnan starts rolling into Moscow. I'm about, you know, a month away from turn to book it. I'm like, oh my god, it's happening.
Speaker 2:Can you imagine, I mean, and that that whole thing like I'm just watching, I'm like this is like a bad movie. Yeah, I'm feeling like I'm back in the 80s, like I'm gonna have to tell my kids about doing like that. You remember in the 80s and you probably do it too like where we have to get underneath the desk. There's gonna be an atom, a nuclear war, the name of every cold house had the symbol, the nuclear symbol, and that movie the day after freaked me out.
Speaker 2:And then they were talking about like Putin's gonna launch a new key when he's not gonna do that. I'm like, oh my gosh, what are we doing? I'm like we're back to the world across the border.
Speaker 3:I was like you got to be kidding me, yeah, and so I started. I mean, I knew all about. The only good thing for my book was I've used Wagner in two other books, and so I'm like I'm not gonna use Wagner again. Nobody had ever heard of when I started writing the book, and then they blew up on the stage and I was like thank goodness I didn't use them, because they're gonna get decimated, it's gonna get rid of him and that's surely off. That's what happened. So I'm like thank goodness I stayed away from Wagner on this one.
Speaker 1:So they often say the truth is stranger than fiction. But for fiction writers, we, maybe it's just our imagination, maybe we see the stories that most you like, politicians and media don't pick up one, but more often than not our Fiction actually ring has more of a ring of truth to it than reality does.
Speaker 3:Yeah, and so you know honestly part of the heart. One of the hard parts about writing is You've got a right fiction that somebody will actually believe when in real world crazy stuff can happen and it's true it happened but if you put it in a book it'd be like that would never happen. Like if I wrote the pregosin was gonna cross in from Ukraine, Roll through Ross Taub and head on up to the Kremlin Everybody go. That's so fanciful. Well, yeah, that's what he did.
Speaker 1:It's like that scene from the movie demolition man, you know, when they tell Stallone's character that Schwartz in there was president, yeah right.
Speaker 3:Yeah, so I mean the actual. The plot of the book is a group of partisans called the wolves in my book, from Ukraine. They they decide the only way to end this war is to take out Putin, and they're gonna go. They're on the road. They've got some disaffected GRU guys who also think that Putin's gonna bring down Russia, and so they're like we gotta get rid of this guy. And so they help the wolves to take out Putin.
Speaker 3:Unbeknownst to any of them, putin has changed what used to be called the dead hand to the dead man's hand, which is not if there's a first strike. The dead man's head was really just for a first strike. If there was a first strike and all these cataclysmic things happened with the seismic activity and all that. And the book Putin changes it to if I'm dead, launch the missiles. And he's got his five horsemen who have for the four horsemen who have this capability to launch the missile. But nobody knows that except for him and his four horsemen. And then that's kind of the dilemma that pike faces is now he's got these guys gonna go take out Putin. Well, he's got to stop the good guys in order to let the bad guy live, to prevent the catastrophic event that's going on.
Speaker 2:What is going on and Brad Taylor's mind. You know, I, yeah, but I was bringing, I'm so excited about writing fiction. I was like, everywhere I go, I'm looking at scenes. Yeah, I'll go to like, if I go to Philly, I go to Wilmington, I go anywhere, I'm looking at a scene. Is that like you? Like when you're just rolling around like huh, that would be good for the book.
Speaker 3:Yeah, especially when I got a new place like a Charleston. I know it's so well that you know a lot of they'll start out in Charleston quite a few times. You know he's pike's office is down on Shem Creek, that kind of thing, so I can do that out of the back of my hand. But if I'm rolling around somewhere Some place new, I'll take a look at it. In fact we went to Middleton Plantation, which is this big plantation here in Charleston. It's a tourist thing, but we were tourists for a day in our own town. Hey, let's go to Milton Plantation. I went out there and they've got all these canals and these rivers and these old buildings and ruins and I'm like man, I could use this in a book. So then I start taking pictures. You know I still have my file. I haven't used it yet, but I was like. You know I could definitely see how this would work out.
Speaker 2:Now, like, when you're writing a scene like that, how do you like you take the picture and then you're like, huh, okay, this can go in there. And then what is your visualization process? Like, do you like, are you mapping out this book ahead of time? You're like, okay, I'm gonna throw a scene like here. Are you just kind of got it?
Speaker 3:I look at, probably Much like any research I do for a book. Probably 10% of that research ends up in the book and so I'll hit a place like for this book. We went to Copenhagen, sweden, finland, estonia, all over the place, and we hit it. Just a bazillion different places and there's just ton of cool stuff out there. I don't know when I'm gonna use it or how I'm gonna use it, but I'll take a ton of pictures when I see it, and my, my photo album, for instance. We just did it. I had to download them for a lane to do something with them. I I had 1,568 pictures from that trip and most of the pictures are something that nobody would care about. So I'll take pictures of the interior of you know like there's really cool bars that go down underneath the ground and they've got a karaoke that's in this arched thing from you know the 1600s and I'm like man, I'm gonna put that in a book. So I take a ton of pictures inside and then when I get outside, I'll take a picture of the street sign on here, street sign across the way, the next intersection, so that when I get back I can find it on a map. There's nothing worse than that. It's happened to me over and over again. When I have this coolest location I wanna use and I can't remember where the hell it is, especially when I'm done with the whole trip, you're like, okay, this was somewhere in the country of Finland, and then you're going back to your head okay, day one, we went here. Day two, we went here. Day three. Okay, that's a day three picture. You know, it's just too much work, so I'll take pictures of street signs, pictures of everything near it, and if I can't find a street sign, I'll take a picture of a store the nearest.
Speaker 3:For instance, there was an airfield, and this is a good example of one I didn't use in a book. We were going up to some runestones in Sweden and there was an airfield. That was. As we're driving along, there's this dirt airfield out in the middle of nowhere. I had just rudimentary lights and things like that, and as soon as I saw it outside, the car tour guide was driving. I said slow down a little bit. I took a bunch of pictures and I have no idea where we are. We've been on the road for an hour and a half, we're on the same freeway, and so the next thing I saw was a you know, quarter mile mile up the road was a bus stop. I took a picture of that bus stop. Then when I get back I mean I'm not gonna use the bus stop, but I can Google that bus stop and figure out where that is on the map and then I can find that airfield.
Speaker 1:Well, if you ever need somebody to do your map tracking for you on these trips, I humbly volunteer. As tribute. I will follow behind and make sure you know exactly where you are.
Speaker 3:Yeah, I do. My pictures have gotten worse and worse and worse. I'm gonna have to get ahold of them because I was going through my book research trips, like I went for Enemy of Mine, my third book. I went to Dubai, Cutter and one other place, oh, Frankfurt, Germany, and I looked at the pictures. I have 268 pictures. Now I come home and I've got 1,568. Oh my gosh, what are you doing with that camera?
Speaker 2:You know, welcome to crime scene photography. Yeah right, man, you know, when I was in a field we didn't have smartphones. It's how old I'm dating myself now. But now, like, if I would do it, I would carry like little sticky notes or just a little pad and I would write okay, like this is where I'm at, take a picture of that first, and then, overall, then you get zoom in, it's like because that's the thing. Is like when you're taking so many pictures, especially when it comes to scenes, you have to be able to recount it. And the same thing's happening I'm seeing with authors is like when you're doing these site surveys and stuff, it's like you're basically gonna have to testify, quote, unquote, testify to it later on.
Speaker 2:Yeah or someone else in your email.
Speaker 3:I guarantee it, you'll get something. Usually I'm pretty accurate. I'm not above making something up too. I had a scene in DC for One Rough Manor very first book and I used to go to this Irish pub, four Quartz Pub. In fact it was in the last book. Devils ran some ends at Four Quartz Pub and it's a really cool Irish pub. I used to love going there when I was I was liaison up in DC for a while and I wanted to use it, so I had to have this ambush site. Well, it's kind of in a strip mall, but I made an alley. There's an alley right here. Well, there really isn't an alley, but I'm like, screw it, I'm putting an alley there.
Speaker 1:Well, that's the beauty of fiction you have that luxury of being able to create the world that you need to, to be able to tell the story that you want.
Speaker 3:Yeah, cause I mean I'll do like in this book. The Vossa Museum plays a big role. There's a big fight scene that goes on there shoot out and the Vossa Museum. We just went there as a tourist. This is what getting on the ground helps me.
Speaker 3:I'm not as good as some other people can figure it out without getting there, but the Vossa is this giant ship. You guys know what the Vossa is. It's this huge battleship they made, they spent bazillions of dollars on it and then they launched it in Sweden. They launched it off the coast and it went a hundred meters and sank, killed all aboard and sat in the bottom of the channel for 800 billion years and the silt got over it. Well, they lifted it out in the I can't remember is either 70s or 80s they lifted it out. It's a complete Galleon that they've put in this museum. It's really cool to look at.
Speaker 3:So we went to see it and as I got in there, it's real dark and there's all these little tunnels everywhere and there's viewing platforms and I'm like I can use this to book. So I took a ton of pictures about it and but when you're doing the the actual, when I'm designing, you know when you do an assault for real, you're. You're facing the enemy and that's it. He gets. The enemy gets a vote. When I'm writing the book, I'm like I get to through a scene. I'm like, wait a minute. That hallway goes this way. I can't get out. You know he's gonna get away. Okay, he's not gonna be there, I'll put him over here. You know, I can rewrite the whole thing to make sure it works out.
Speaker 2:Well, you know, when you bring up like fiction books, so you also keep your foot into the world of nonfiction. You're always I see you like always talking about, like what's going on in a world, yeah, and staying relevant in your field. So how do you like you know what's your, your viewpoint on that? Why do you? Why do you? Why are you outspoken? That's what I'm trying to say.
Speaker 3:Well, mainly it actually comes from talking to people. I know that it's amazing. Well, I shouldn't say they're ignorant, but my wife keeps saying people don't know what you know. To me it's kind of like I don't know why. I mean, I've got a Bookshelf here full of books that I'm just constantly reading about. So you know, as soon as the Hamas thing broke out, I was amazed at how many people didn't. One know who've Moss was, and two thought Hamas and Hezbollah were the same thing. You know, the whole thing was just. I was just like this is not. None of that's right. That's not how this works. None of this works that way.
Speaker 3:And so we were to party one time, right after it happened, and Somebody said something and I had to correct him. I just couldn't stand by. Usually I'll say a word. He was going on and on about, you know, hamas is this and that the other thing is completely wrong. And so I said, well, actually, and so I started talking about it.
Speaker 3:Next thing, I was kind of like you have Hutton, everybody's gathered around me and I was talking on. You know, they were asking questions and things like that. Well then I got asked you them speak. There's a was a Roundtable discussion downtown and they called me out of blue, said could you come out and talk about what's going on with the mouse? Said, yeah, I can. I mean, I don't have a presentation. I'll give you a five minutes feel and you can ask me questions, but I'm not gonna spend the next three days building a presentation for you. And so that's what Elaine said. You know, you know, you just do this on Facebook, just do this little three minute thing about what's going on. And so I said, okay, I Agree with that.
Speaker 1:It's like a bit, then again, you also have to keep in mind, you know, we all we came from a different world and our day-to-day was different than most people's day-to-day. So it does make sense that the things that we kind of took for granted are things that your average person might not Necessarily know about. So the fact that you take the time to actually put that out there, I think that's not only really important, but it's critical that we kind of start Getting something out there so people can actually educate themselves a lot of it when the Wagner coup was going on.
Speaker 3:I did a couple of videos on that and that research was solely for books. I mean, I had Wagner way back when Five books ago I think it was. I knew about them and so I just did a ton of research on them and they were the bad guys in the book. So I knew all about Frick goes and I knew all about where they came from. I knew about their fight in Syria. I knew what they're doing in Central African Republic. I knew all that stuff and so when this blew up Once again, I was kind of like you guys never heard about Wagner before, but it's because I done all the research beforehand. So Elaine said why don't you do something on that? I said, okay, I'll do something.
Speaker 2:I Love it. I love your manager behind the scene and the chief of staff.
Speaker 3:Yeah, I love it. I'm under everything. Oh, I forgot.
Speaker 2:I know I was like what's up, tco? I'm like, okay, that's true, it's. It's great to have a guidepost and have someone it's like there who's like, hey, you know what, brad, you have the idea. Not everybody knows what you know.
Speaker 3:Yeah. I'm not saying I'm an expert, but every time I do a video I say you know if I'm wrong. On this I'm wrong, but here's my opinion.
Speaker 1:I say, and then I know you've got a tour coming up for the book, correct? Yeah, yeah.
Speaker 3:January 23rd book comes up.
Speaker 1:Outstanding and you're gonna be, I'm assuming somewhere on this, and this is obviously my own personal interest. Do I coming through Memphis with Mark Greeney at some point?
Speaker 3:Yeah, we are going back to novel.
Speaker 1:Yep, yes, I will be there.
Speaker 3:All right I.
Speaker 2:Think I might need a road trip out there.
Speaker 3:Huh, apparently. I'm shooting the streets of Memphis happens all the time.
Speaker 2:Hey, maybe I'll bring some guns with me. Well, obviously I'm gonna bring guns with me, but uh, you know I didn't want to bring it up because every time I talk about guns I always bring up my 5-7 pistol.
Speaker 3:Oh. You know, what I actually. We were just shooting the other day and I was looking at the fight. I haven't shot one before, oh my god. But I saw that it was soft recoil and all that, and my younger daughter. I was like I get one of those for her. Really, I'd get it for me.
Speaker 2:No, okay, hold on everybody just. Whenever I'm around my desk, I'm always pulling things out, but I have a little what do you call this victims chest bag, and I'm thinking myself okay, if I'm gonna go Hiking you know out on the appellations or something, there's gonna be more opportunity for me to run into something that's not a bear. And I'm gonna want something with a little less recoil and and something has like a red dot and something that is a 5-7.
Speaker 3:Which one is it this makes that this is a Smith. Yeah, okay.
Speaker 2:Oh my gosh, the Smith is great and you know what? Here's a deal. I love high-end guns. I'd go out. I'd love to buy an FN or something like that.
Speaker 3:But if it's better than FN, I look. I researched both of them.
Speaker 2:Oh, I love this guy. I tell you what, brad, if you shot this, you'd be like, really, there's no, it's like having an AR in your hand. And then, yeah, these little magazines are like there's my herd, so I've never fired one.
Speaker 3:But I did a lot of research on them. I was came close to buying one. One thing I can figure out how to suppress it there's I mean it's got a threaded barrel, the Smith's got a spread barrel. But I googled. The only thing I could finally is European suppressors. Were they invented the thing?
Speaker 2:I think we might have to figure this out. I think that's you know what. Let's do a quick little IG thing here how do we suppress a 5-7? Pistol?
Speaker 3:I mean yeah, and If somebody says we can put a 45, can on it. Yeah, okay, I understand, I could do that.
Speaker 2:Yeah, but I'm 57 it's just an incredible gun. I've never shot anything like it.
Speaker 3:It's almost like a real quick yeah behind you, I am there, homer Simpson, just win the bushes.
Speaker 1:Yeah, actually my husband would actually really like the comparison of Homer Simpson.
Speaker 2:So there he is.
Speaker 1:He's got it. He's got his headphones in, so he doesn't realize that he actually broke through the background.
Speaker 2:You know what I love. I Wish, I wish this is one of the days. I wish I uploaded the EC YouTube Because I love for people to be like you gotta see that, because it was like the funniest thing in the world. Like you have those virtual backgrounds and all of a sudden there's like someone walk through. I'm like that's the best thing ever. I wanted to say something because, like you ever see that one with a news guy, it was like it's awesome. Well, brad, I appreciate you coming on AM as well.
Speaker 1:Absolutely. It's always a pleasure and, brad, it is always great to see you and I'm really looking forward to catching you on the book tour.
Speaker 3:I'll see you in Memphis. Thanks for having me appreciate it.
Speaker 2:Absolutely.