Hello magical friends! Especially Leah, the newest member of the WZRD Radio patron, whose support lets me do these interview episodes.
Today I’m super excited to be talking with Stacy Santiago Pisani and John Pisani of Swish and Flick! The energy and Slytherin Pride they brought to wizard rock is legendary. If you’ve never heard of them before, you’re in for a real treat.
But first—the music. We’re kicking it off today with “Our Love is Magic” by Dandy Decadence.
“Our Love is Magic” was a special requestion from WZRD’s wonderful patron Amanda. She’s sending a shout-out to Stephanie and Kaitlin for still finding time to make magical music, even in their first year of being moms.
And now it’s time to welcome Stacy and John of Swish & Flick to the show!
So let’s start at the beginning. How did Swish & Flick come to be? Where did the name come from?
Stacy: I think most Harry Potter fans will recognize it as the wand motion that you have to do in order to get the levitation spelled just right. So you do wingardium leviosa and do a swish and flick with your wand. And I just thought that would be a really cool, like, band name. We started out around 2007. It was October and I was just writing lyrics for fun with no intention, just making funny, bawdy lyrics and sending them around as email—on emails. I sent it to John, I sent it to an email listserv type thing for The Group That Shall Not Be Named, which is the Harry Potter Meetup group in New York City and it was just kind of a joke. Then when I saw Draco and the Malfoys perform for the first time at Evil Day, which was an event in New York City, I knew that I had to take those lyrics and turn it into an actual wizard rock project. And that’s how we began.
John, did you have any input or were you just along for the ride?
John: Mostly along for the ride? I think my one input in the beginning was to convince Stacy to let me be in the band. I think she was gonna do it as a solo project to start with and then I convinced her that it might be more fun if there were two people on stage and a little bit of live instrumentation. Stacy’s written 98% of the songs pretty much and I would just throw in lyrics here and there. For example, like on Cho Chang, the lyrics that I sing, I think I came up with most of them. We would just be in the kitchen, I don’t know, cooking dinner or something and writing these songs just for fun or to make ourselves laugh.
Stacy: And mind you, John and I were in a band together since 19…95?
John: We started in 95, yeah.
Stacy: ’95, yeah. So we’ve been doing music together for a long time.
And were you both Harry Potter fans or… Cuz you said you were part of The Group That Shall Not Be Named.
Stacy: Yes. So we were both into Harry Potter. I was more involved with the fan community and into wizard rock and I kind of pulled him in.
John: Yeah. We—we…I had read all the books—
John: —and, you know, seen the movies along with Stacy, you know, we would read them around the same time.
Stacy: I think we were reading the exact same copy, so we would have to fight over who gets to read it first.
John: I remember I read, I read the end of book six first.
Stacy: And did, did you spoil it?
John: I think I might have spoiled it for you.
Stacy: I think you did spoil it.
John: Just a little bit.
Stacy: I’m pretty sure you did.
John: But everybody knows about that now.
Stacy: Yeah. But at the time, this is like when the books had just, we were reading them when they came out.
That seems like a very Slytherin thing to do. Are you both Slytherin house?
Stacy: Slytherin by choice, but—
John: Of course!
Stacy: Yeah, Slytherin by choice but every time I take those sorting test things, most of the time I’ll get sorted into Gryffindor or Ravenclaw.
Well Gryffindor, and Slytherin are two sides of the same coin so that makes sense.
John: I’m always sorted into Hufflepuff every time.
Stacy: Why are you saying it like it’s a bad thing.
John: It’s fine.
John: I mean, I think it’s terrible that they even have houses.
Stacy: It’s a real thing though. I have a friend, Kelly from Madam Pince and the Librarians, she actually went to a British boarding school and they had houses, like it’s real.
John: I mean, yeah. It’s just, you know “how, how can we extend tribe mentality further? Oh, let’s put kids in houses.”
Stacy: So serious.
My patrons were curious: despite the sometimes salacious or risqué themes there isn’t a lot of actual swearing in Swish and Flick music. Was that a deliberate choice you all made?
Stacy: It is. And the funny thing is the F word is, like, my favorite word like, ever. I just wrote a novel and I needed to edit it down so I searched the effort cuz I knew I used it a lot and there were 150 instances of the F word in my book.
Oh my goodness.
John:: And it’s YA.
Stacy: And it’s YA, yeah. It was pretty conscious for us cuz at the time there were a lot of young people in the community including, you know, actual, like, kids. Plus we had our own kid, our daughter, Chloe. She was about, I don’t know, one or two when we started and she would come with us to the shows. So it was a conscious decision that everything should go over the heads of the really small kids and using curses are kind of in your face and really can’t go over their heads. So I purposely didn’t put much swearing. But there is that one song, that mashup cover of My Dad is Rich On a Boat. That’s got tons of swearing and that was intentional.
John: We made up for it.
Stacy: Yeah, all those years of not swearing in that one song.
On a similar note, my patrons had a challenge for you.
As mentioned, you’ve written a lot of sexy songs for Slytherin House. If you wrote something similar for Hufflepuff, Gryffindor, Ravenclaw, what would you call them?
Stacy: So I—
Stacy: Excuse me! I think that Swish and Flick songs are…a lot of it is about being aggressively obnoxiously house proud or debauchery in the common room. So to put this in other houses—I thought about this—I would make, like, a Hufflepuff booty song, kind of like Lil Jon’s “Get Low” and it would be called “Back It Up, Badass Badger” kind of like one of those songs that the DJ will play at a party and then everyone will start dancing and doing the same dance moves so I can imagine, like, all the Hufflepuffs doing the Back It Up Badass Badger dance together.
I love that so much.
Stacy: Now I feel like I have to actually write it.
I feel like that too.
Stacy: So for Ravenclaw, I’m thinking, like, “Read You Like a Ravenclaw.” Cuz you know, like Ravenclaws’re supposed to be very bookish. So reading you, but reading you like a drag show MC. So, like, a Ravenclaw throwing shade song…
Stacy: For Gryffindor…Gryffindor… There’s this DMX song that I’ve always loved, “X Gon’ Give It To Ya.” Everybody should go look that up, it’s a classic hip hop, golden age of hip hop song.
John: rest in peace.
Stacy: Rest in peace, DMX, Yonkers’ own. So kind of playing off the “X Gon’ Give It To Ya,” “Gryff Gon’ Give It To Ya.” So kind of like this aggressively obnoxious house proud kind of battle cry. Like I would imagine the song being played for the Gryffindor Quidditch team as they’re taking the pitch, getting ready to play a match…
Like a hype-up song for an MMA fight.
Stacy: Oh yeah. For sure.
John, did you have any ideas for your 2%?
John: No, no. I can—I can only really just add on to something Stacy’s already made.
Stacy: He’s—he’s the hype man. He’s the Flavor Flav of Swish & Flick.
John: I don’t even know if I’m that—
Stacy: Oh, you’re totally the Flavor Flav of Swish & Flick.
John: Y’know, she’s like John Lennon who brings Paul McCartney his song and Paul’s like “Oh, why don’t you change that one line?” and then he gets a writing credit too.
Stacy: I think you do more than that.
John: I don’t really do much writing in Swish & Flick but I help out with arranging,
Stacy: That’s big.
John: Recording, mixing that kind of thing. And then, when we play shows, you know, it’s kind of equal amount of work on both shoulders to put something together for the show.
That makes sense. Are there other wizard rock bands you can think of that match the house-proud energy that Swish and Flick has brought, for the other houses?
Stacy: I can hear certain songs, like that “Caw Caw MFers” song that Ludo Bagman does. That’s kind of aggressively house proud. I mean, of course there’s Draco and the Malfoys, but they’re also Slytherin… Tonks and the Aurors, very Hufflepuff proud.
John: Madam Pince, right?
Stacy: Madam Pince? Oh! How could I forget that? How could I forget HufflePride? The song that I did with Ariel Factor Birdoff. Yeah. HufflePride, definitely aggressively Hufflepuff house pride.
John: Maybe more aggressive than we are.
Stacy: Yeah, it’s pretty aggressively proud but fun.
I do think that Hufflepuffs rule the fandom. I feel like most of the fan clubs are run by Hufflepuffs.
Stacy: Yes. Hufflepuffs are really good at, um—
Stacy: —bringing community…finding and um…
Stacy: Sandwiches and bringing the community together.
That makes a lot of sense. All right, it’s time for our first music break. Here’s Ariel Factor Birdoff with “No More Restrictions.”
“We R Death Eaters” was a special request by WZRD’s fabulous patron, Geoff, who sends a shout-out to Grace Candido-Beecher: one of a kind artist and fabulous friend. He adds “Long live The Trash Train!”
And we’re back with Stacy and John!
WZRD patrons noted that you’ve done at least one collab with my last guests, Hawthorn and Holly, the song “I Don’t Want My Dad To Go To Azkaban.” How did that happen? Tell us the story.
Stacy: We met Hawthorn and Holly, I believe it was at Terminus, which was a huge fan con…Harry Potter fan con in Chicago and that was the first fan con that we ever went to.
John: Yeah, that’s when we met them.
Stacy: Yeah. So we met, we met them there and we immediately hit it off, became friends, and we knew that we wanted to do a song together and you know, we’d always talk about it for years, every time we saw each other. “Yeah, we should do a song together.” So Christie actually started to write it so she and Leah wrote part of the song, they wrote the chorus. Eddie wrote the chord progression. They recorded a demo, left some space for me in the demo. So they sent me the demo and I wrote into those spaces, I produced a song around it and we just sent that song back and forth. Like, we were never actually in the same room to collaborate on this song. It all happened through emailing files back and forth.
Stacy: Yeah. So Christie just gave me an idea of what she wanted lyrically and asked me to create a rap part for the song and I kind of produced the musical part centering around Eddie’s guitar melodies and that’s how it came together. I think the first time we ever were in the same room for it is when we had to perform it live.
John: And then there had been other collaborations too. At least, what, one or two more? The LeakyCon song…
Stacy: Right, with Erin Pyne.
John: Any others?
You mentioned one earlier…
Stacy: Yeah… Yeah, yeah. We did “Shot For Shot” with Undesirable Number One, that was another—
John: Oh yeah. Right, right.
Stacy: —that was another one where we wrote it not being in the same room. So we would throw lyrics back and forth through email. Richard produced the song and he did come over to record it, right? In our studio? Am I remembering that correctly?
John: I don’t know. I, I don’t remember that, but maybe?
Stacy: I feel like some of it, some of it actually, we were in the same room for it, but for most of it, it was a ‘back and forth through email’ collaboration.
John: Oh, there was also the time we got to be in the backing band for Split Seven Ways/Malfoy Manor—
Stacy: Oh yeah.
John: —for one gig.
John: That was fun. Did you play drums?
Stacy: I do that a lot. I do a lot of that kind of live collaboration, like doing drums for people, but as far as recording songs…
Stacy: …I think that’s it.
It sounds like you all have been sort of a, like a core of music recording for wizard rock because you did that article for Into The Pensieve about recording a music video—
—and then recording and editing all of this music with other bands.
How did that happen? Was that just, like, something that naturally occurred or did people reach out?
Stacy: I think people knew that we had the studio or if they didn’t know we would say “look, we have this studio. If you want to record in, in our studio, that’s cool.” We’ve recorded other bands and have not been on their tracks, they’ve just used our studio. Like we recorded some of Deanna Benfante’s stuff for Celestial Warmbottom. Who else’ve we recorded in our studio?
John: Devin came over once.
Stacy: Devin! Yes!
John: But I don’t think the recordings ever got finished.
Stacy: Fred and George the Band. I’m pretty sure it was like a mixed tape type deal. Just kind of like it was known in the community that, that we could do this for people and it just came about.
John: And also, um, maybe this is slightly off topic, but, um, kind of related to these kinds of collaborations was that Stacy has put on a lot of different shows in the New York area You know, starting first in our apartment so they were like—
Stacy: House shows.
John: —little show parties, house party kind of things but in an apartment building. The cops got called once, right?
Stacy: I wrote about that in one of my articles.
John: And then kind of growing from that into, you know, the, uh, New York City Wizard Rock Festival and then even we’ve got a couple of years ago, even doing some shows before the pandemic happened, you were booking, what was it? Women—
Stacy: Uh, I did the, Witch Rock Series that began at Sidewalk and continued at the Parkside.
John: So, you know, Stacy’s been hanging out with all these musicians and communicating in one way or another. Either about shows or…
John: …producing songs or playing on, you know, during their set. I think like you had said, it happens kind of naturally when, when you’re already doing one thing in the space, in the head space of doing one thing, like putting a show together that other stuff might pop up.
You’re an extrovert, aren’t you?
John: Me? No, I—the reason why Stacy was doing The Group That Shall Not Be Named and I wasn’t, it was like, I don’t like people. I just want to stay at home.
No, I did mean Stacy.
No, I always got the impression that you were sort of…shy?
Stacy: John or me.
John: Yes. I’m definitely shy.
Stacy: I mean, I am too. Except when it comes to fandom, then I am out there. I’m definitely extroverted when it comes to fandom. Outside of it, I’m pretty shy.
What is it about fandom that makes the difference?
Stacy: I think because I already know that there’s acceptance there and I, I already know that it’s a space where people…where there’s neurodiversity within that space so I could be okay to be socially awkward and that’s totally fine and I don’t have to apologize for it. So it gives me freedom to just be myself.
That makes sense. I think that’s something that comes up a lot, how fandom is so comfortable for so many people because it is so accepting.
That was a joke on Twitter earlier about the Wizard Rock Sampler. You know “we’re all neurodiverse, how do you expect us to have our recordings in on time?”
John: Luckily they do get them in for the Wizard Rock Sampler, because otherwise—
Stacy: Otherwise John would be upset.
John: —it would never come out.
That’s true. John, you do sampling for—or mixing?—for everyone.
John: No, well mastering. Mastering. Which is—
Okay. Teach me.
Stacy: He makes it all sound even, right?
Stacy: You talk about it.
John: So, you know, like the last one was a lot of tracks. I think 34 maybe? It was like a double album and every track’s from a different person so it’s recorded differently and it’s in—some might be in a decent studio, some might be just like a mic into a phone or a laptop or something. So, you know, you take those 34 tracks and you wanna make it sound like they all belong together and that when you’re listening to the whole album and you go from one track to the next, you know, one is not blaringly loud than the previous one or one doesn’t have a ton of bass and the one after has no bass, you know? You want, you want it kind of just to be even as you go through the album.
How do you do that? Give us the, like, 30 second overview.
John: Well, there’s these things called plugins and what plugins are is—they’re these little audio software applications, and you put a few of them in a row—let’s say EQ, compression, and limiting—and then you listened to the track and then you listen to the next one and then another one, and maybe you have a track that is from a professional recording that you use as your sort of, uh, baseline, you know. I might use—this might sound funny—but I might use a Kesha song, for example, as my baseline.
Stacy: He does that a lot.
John: And then, you know, I just try and make all the songs that come in sound kind of like that Kesha song. Or if that’s not right, then maybe it could be a song from, I don’t know, Belle and Sebastian or, um, Of Montreal or something. Like, whatever I like. And then I just kind of use those as baselines for making everything else sound…sound good as best I can.
So it’s something you’ve developed an ear for.
John: Yeah. I mean, it’s the most technical part of recording and I’ve been doing it for 20 years or so. And it’s just, you know, the more you do it the better you get at it, basically. And it’s just something that interested me back a couple decades ago and so started doing it for friends and then little by little, you know, a few clients here and there.
And you have a whole studio in your house.
John: We do have a studio, yep. The house is newly renovated and the studio’s kind of been the last thing that we’ve been putting together. It’s a little bit in shambles right now.
Stacy: We—we should preface that because we moved, we moved our entire studio into a new house so it had to be reconfigured, re-set up, and then we renovated the house. So, yeah.
John: Yeah. So when we started Swish & Flick we were in an apartment; we had the whole studio in one bedroom in the apartment and that’s how it was for a bunch of years. And then we moved, we bought a house, but the house needed a lot of work. We were able to do some studio work, but just a little bit and then, you know, nothing like a major recording or anything. And then we moved out again so that we could renovate the house. And then we moved back in, we moved back in a year ago and so now we’re like in the house and it feels permanent and we can actually start setting stuff up.
Stacy: For real now.
So you’re not quite ready for the horde of wizard rockers to descend on you, but soon?
John: Not quite yet.
Stacy: Not quite.
John: But you know, there’s nothing like getting somebody saying “you know, I’m going to come by in two months” to like, get you in gear to like, make sure you have everything up and running.
Do you have someone or do you need one of WZRD’s listeners to give you a deadline?
John: Exactly. We don’t have anybody.
All right listeners, you heard them. I’d love to know, thinking back to the early days of Swish and Flick, was there someone who did something that made you all feel welcome or comfortable as, as performers when you were starting out—like inviting you into a studio?
Stacy: I can think back to a specific show where I felt that we were really accepted by the greater wizard rock community. So that up until that point, I felt like we had our own small supportive community in The Group That Shall Not Be Named. So I had, you know, this great group of friends who were behind us, but I feel like it wasn’t until we played the Wrock Wreggies gig at Terminus that I understood that we were now being accepted by the wider wizard rock community in terms of the, the listeners and the other bands. There’s something about when you’re onstage and you see people who are not your friends singing along to your songs and dancing that lets you know, that you’ve, you’ve made it. And then that’s how I felt at that show.
John: It was a very special show for us.
Stacy: Yeah. Like I remember, I was doing this thing where I wanted the audience to wave their arms side to side, not really quite being sure that everyone was going to do it because not everybody in the audience was my friend. Like, I knew my friends would do it. But then when I saw from the very front, all the way to the back, everybody in the audience waving their arms, I was ready to cry. And I think I, I turned to John. I was like “oh, we’ve totally made it.”
John: At least for one night.
John: I mean, there’s been a lot of people, I think, along the way that have welcomed us. Pretty much everybody that we’ve met has, has welcomed us. You know, like coming from mainstream, downtown New York City music scene where we didn’t know anybody—and that was partly on us. And also just that’s how the scene is kind of, you know—
Stacy: Every man for himself.
John: Yeah. Very competitive, yeah. And then to come into wizard rock, which is a scene and you know—
Stacy: Not even a scene, it’s a community
John: —it’s a community, um, and it’s just, was so welcoming. From other musicians to fans, to people that put shows together. And also kind of just to back up to what Stacy was saying about The Group That Shall Not Be Named, I didn’t know any of them personally, maybe Stacy did. So to me, they were—at first they were fans. And you know, when we played our first couple of shows just to have people there that were into us was absolutely amazing and—
Stacy: Because we had played shows with our muggle band to, like, an audience of one.
John: Which was called Cookie Galore, if anybody wants to look it up. Stacy wrote some great songs for that too.
Stacy: John did too.
John: Not really.
Stacy: Yes you did.
John: So The Group That Shall Not Be Named, I think Swish and Flick wouldn’t really have ever happened without them.
Stacy: Yeah, that’s true.
John: They really supported us to an amazing degree. Not only in the beginning, but really all along.
Do you have, like, a specific moment or idea of something that they did in mind?
Stacy: From the very beginning, like, when I sent out those emails with lyrics to the listserv…I mean, they’re the ones who reacted to it and encouraged me and they’re the ones that came to the shows…they’re the ones that talked about us to the rest of the community and, you know, hyped us up and, and validated us. I don’t know if we would have become a thing or gone as far as we did, if it weren’t for their personal support.
John: Yeah, and I, I remember our first show was that an Ihop in New Jersey—
John: —which was surreal to begin with, just to play in an Ihop. Like, we were in a booth and they were in booths, we were all in booths
Stacy: People eating pancakes.
John: Yeah. I mean, we were like, we’re sitting up, um, were we standing in front of the table? I don’t even remember. But anyway, uh, you know, and there’s a couple dozen people there at least all from the group. And—
Stacy: Going out to New Jersey for people who are, you know, from the city—
Stacy: —it’s like a big deal.
John: Right. And they were cheering us on. I was so stunned and surprised—and happy, of course. And then it just grew from that.
I’m happy that it was such a easy, instant…
John: Yeah, exactly. It was instant. Yeah. Maybe the second show wasn’t as good, but you know, less people came out to it, but whatever, you know, eventually there’s always ups and downs.
And now y’all are legends
John: really? That’s cool. What I always wanted to be.
So I know that last year you released the Pink Edition of “If You Didn’t Come to Party” and I think you relatively recently worked with Ariel Factor Birdoff on a project. Are you all working on anything now?
Stacy: I’m supposed to be working on stuff for Ariel Factor Birdoff, um, as my producer name Dandy Decadence. They are working on—and I’m pretty sure that they had mentioned this in their interview—their, um, Paradise Lost hip hopera. So I’m supposed to be producing that. I’ve been really busy though so I haven’t been doing what I should be doing. John, you want to talk about Evil Ecker?
John: One thing that has kept us busy is we live in a town near Sleepy Hollow but not in Sleepy Hollow. We’re, what, five miles south of it or so, but Halloween’s a big deal here also.
John: There’s a main street going down the middle of the town and then there’s a bunch of side streets that are all about a block long. A lot of them are dead ends, if you can imagine that, so maybe there’s about four parallel dead ends. Times two, so about eight. And on Halloween—before we had moved here, they started playing music on their porches—
Stacy: Like live bands.
John: Live bands. And they would usually pick a band and sort of become that band. We live on a street that has one of those bands called Evil Ecker and we were lucky enough to be invited to join them and in fact, the first gig we did, I, I was in it and Stacy was not. I was playing bass and it was the Rolling Stones, but actually Swish and Flick went on before them, which was fun and interesting. But it wasn’t our crowd, which we know that it’s always better when it’s our crowd. And then after the Rolling Stones, Stacy joined the band for the following Halloween, that would have been 2018, I think? And we were Joan Jett and—
Stacy: I got to be Joan.
John: Yeah. I was going to say “guess who got to be Joan?”
Stacy: It’s—it’s like a full year endeavor. Like we rehearse, we start rehearsing like way before Halloween. And we try to, we rehearse every week so that when we perform on Halloween, like, we are that band. Like we’re in full costume, yeah.
Stacy: So we, we embody the band that we happen to be doing that year. And it’s such big deal, we’re not allowed to reveal what band we’re doing until it’s officially launched. So we can’t even say anything now in case our neighbors are listening.
John: We are in the middle of rehearsal for this Halloween. We can’t say the band, but they… can we say they used a lot of makeup?
Stacy: I guess… I think I did leak it to one person in the wizard rock community.
Stacy: Just because I knew that they would be totally into it.
John: It’s an amazing night Halloween here. It’s—
Stacy: I’ve always tried to encourage the, The Group That Shall Not Be Named to come up for it. It’s a big ask because it is kind of far from the city. I encourage listeners. It’s open to all Irvington, New York, Halloween.
John: Now they know where we live.
Stacy: Oh, who cares?
Well, they have to know anyway so they can come record with you.
John: I’m just kidding.
So you have Halloween hard rock…
And Paradise Lost hip hoperas…
Any Swish and Flick or wizard rock?
John: I’m starting to do music on my own that may or may not turn into something. Part of setting up the studio we, you know, we want to do more music and um, I have a project name, which is The Dark Arts, but I don’t know if it’s going to be wizard rock or not. And I don’t even know what it’s going to sound like, but I have the name.
With that name it kind of has to be.
John: Yeah, it could be, but you know, I think it has good crossover potential. I don’t know if anybody has taken that name. I would like to claim it now, but if someone has already taken it, then I’ll have to really it.
John has dibs.
Stacy: As far as wizard rock, I’m not doing anything, I’m not really planning on doing anything. I feel like I’ve, I’ve moved on from my wizard rock career as somebody making wizard rock for myself and I’m going to continue supporting the wizard rock community as far as I’m going to keep producing for people… When it’s finally safe to do so—and I think it’s going to be soon—to put on more shows, be it house shows or try to start up with another club in the city. But actually, I mean, right now I’m really focusing on my novel. So that’s taking up a lot of my time. So family and writing.
That makes sense. You did mention those house songs earlier though.
Stacy: Oh yeah. Yeah. I’ve got, I’ve got to do those.
Well, it does sound like you all have a lot going on and I look forward to seeing the outcome
And with that, here’s our final music break, leading with “10 Crimes” by Into the Pensieve.
“If I Were a Snitch, Man,” was a special request from WZRD’s stupendous patron, Moritz.
And once again, we’ve arrived at the end of the show. Thank you so much, Swish & Flick, for being here today. Where can WZRD Radio listeners find you online?
Stacy: So sadly, our band presence online is kind of defunct we no longer have our .com. We don’t have a web commerce store anymore, but you can find us on every streaming platform. You can find us on YouTube, Apple Music, and please, please, please use our songs on your TikToks in a positive way. That would be awesome. We don’t have a very active TikTok ourselves, but we encourage you to use it on YouTube and on TikTok. As far as social media ourselves, you can find me personally, SwishAndFlickFTW—that’s with the ‘and’ spelled out—FTW. That’s on Instagram. And our Facebook page is @SwishAndFlickWrock. On Twitter we are @SwishAndFlick and I use that maybe twice a year. If you want to find me personally on Facebook, Stacy Santiago Pisani.
John: I also just, like, one little note for some reason, at least on Apple Music and probably the rest of the services—on a lot of songs I’m listed as the only song writer. And we’re trying to get that fixed, but really, ah, Stacy’s the songwriter on those songs and I’m like a co-songwriter, but for whatever reason her name is not listed as a songwriter when it should be.
Stacy: Good thing that we share a bank account.
Did you all say if you have a BandCamp?
Stacy: We don’t have a Swish & Flick BandCamp. I have a song or two, um, on BandCamp as Dandy Decadence.
John: You should check that out, if you don’t already.
And are all of your songs on TikToK?
Stacy: I think all of the ones that are not on a compilation, is that correct? Unless the compilation is available itself through TikToK. Both our Christmas songs from Jingle Spells are on there because Jingle Spells is available on TikTok.
What would be a fun thing for someone to do with one of your songs on TikTok?
Stacy: A TikTok dance. That, that would be ultimate for me. If someone did a TikTok dance to a Swish and Flick song.
John: Or like, uh, cheerleading. Like we used to have—
Stacy: Oh yes!
John: —cheerleaders for some of our songs when we played live. So that would be cool.
Stacy: Mhm. A Flick’s Fly Girls thing.
All right, magical listeners. I, ah, look forward to seeing what you do with that.
John: Us too.
Congratulations to Geoff, the first listener to guess Episode 28’s theme of “a cappella!” There will be more Totally Knuts download codes up for grabs with episode 30, so stay tuned!
If you’ve heard your new favorite song today, visit the transcript at WZRDRadioPod.WordPress.com and follow the link to buy it. Then tell all your friends to download it too because without our wizard rockers, we wouldn’t be here.
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And now, here’s Swish & Flick!