Nov. 5, 2013 - The Joe Rogan Experience
02:13:17
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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Good googly moogly, ladies and gentlemen. | |
| We're live. | ||
| Actually live? | ||
| That's it. | ||
| Actually live. | ||
| It's that easy. | ||
| We don't fuck around anymore, man. | ||
| That's pretty cool. | ||
| It's beyond cool. | ||
| This video that you gave me. | ||
| Let's get right to it, Joe. | ||
| First of all, I love the characters, and I see a reality show in your future. | ||
| I see a parody of a Duck Dynasty-type, Moonshiners-type situation, but far better. | ||
| With music. | ||
| Fuck it. | ||
| Genius guys who live out in the desert, who just happen to make amazing music and be completely retarded. | ||
| And think they're a punk rock band. | ||
| No, that's fucking great. | ||
| It's really interesting what you're doing. | ||
| I love how you're, you know, you don't have any rules. | ||
| You just do whatever the fuck you think is interesting and creative and mix the two of them together. | ||
| I mean, credit where credit is due when it comes to working with Laura Milligan and Mike King, her husband. | ||
| Laura's just like, she'll just go off on a tangent, and I'll just film it, you know? | ||
| And we just kind of go with it. | ||
| So you pick the right wig for the right tangent, and then you just go. | ||
| I like what you did, too, where you're mixing different styles of music. | ||
| You're mixing, like, legit country music. | ||
| And then some of the songs sound almost like Tool. | ||
| You know, some of the sounds have, like, your same type of vocals that you would in one of your Tool songs, but it's just got this completely different extra vibe to it. | ||
| Yeah, I think there's a lot of flexibility just because we are kind of a moving target, so when we start to kind of get inspired in some direction, we're not really confined to, you know, I love Slayer, but Slayer is Slayer. | ||
| Right, yeah. | ||
| They're not going to always put out a country record. | ||
| Yeah, no, that's kind of one of the cool things. | ||
| I really enjoy what you're doing. | ||
| You just do whatever the fuck you want to do. | ||
| You don't have a box that you have to fit in. | ||
| You're just doing what you feel like doing. | ||
| I would never expect you wearing a wig and playing this character. | ||
| I mean, you ride it too, man. | ||
| It's not like you just play it at the beginning. | ||
| No, it fucking keeps coming back. | ||
| It's really funny shit, man. | ||
| It's really funny shit. | ||
| Thank you. | ||
| What inspired you to make a half-country, half-comedy, half... | ||
| I think just watching... | ||
| I think we talked about this last time. | ||
| Monty Python movies. | ||
| Right. | ||
| You can't really pin them down. | ||
| Right. | ||
| And the meaning of life. | ||
| That's kind of how we did this new DVD. There's the whole documentaries at the beginning. | ||
| When you go out and watch the DVD again, you can actually skip the documentary if you want to, but it was important to see the documentary and see Billy Dee and Hildeberger so that you understood when they came back up later in the actual show, who the hell, who the fuck is that? | ||
| If you didn't see the documentary, you don't understand who those people are. | ||
| When you do the live shows, do you play the documentary first? | ||
|
unidentified
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Yep. | |
| That's our opening band. | ||
| That's a great idea, man. | ||
| And the live DVD that you filmed, was that in Phoenix? | ||
| Did you film it in Phoenix? | ||
| Yeah, Phoenix. | ||
| Still repping Arizona, baby. | ||
| That's where we are. | ||
| Have you seen the, there's been a lot of camera trap photos of jaguars? | ||
| They're starting to cross the same paths from Mexico into the United States that the drug guys do? | ||
| Jaguars the cars? | ||
| No, no, no. | ||
| Jaguar is in the native North American giant cat. | ||
| Yeah, yeah, there's, well we have like, I guess, are they called pumas? | ||
| Mountain lions. | ||
| Yeah, they have the mountain lions up around us, but we haven't actually, I haven't actually seen the jaguars coming up. | ||
| Yeah, there's not that many of them. | ||
| They're starting to take photos of them on camera traps. | ||
| Apparently a long time ago they were a native species in North America and now they're starting to make its way through your town. | ||
|
unidentified
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Excellent. | |
| Indeed. | ||
| So is winemaking season over for you now? | ||
| Yeah, I just wrapped up. | ||
| Had a good year. | ||
| A lot of interesting challenges, a lot of stuff that came up that I wanted to try. | ||
| Stuff that was going to give me a hard time, kind of give me trouble. | ||
| Well, that's another perfect example of you just not fitting in a box. | ||
| Oh, he makes wine. | ||
| Like, you don't just dabble in it. | ||
| You have a fucking vineyard, like a full-time set of employees, a vineyard. | ||
| You produce an excellent wine, a bunch of different ones. | ||
| It's really good stuff. | ||
| You know what you're doing. | ||
| I mean, you just threw yourself into winemaking. | ||
| Yeah, I mean, that's one of those, you know, you could pretty much read the back of a yeast packet to figure out, like, what to do to inoculate fruit. | ||
| But, you know, to really actually learn how to make wine, you just have to dive in, you know? | ||
| You can go to, I suppose you can go to, you know, college to get all the nuances and be taught how to make wine with fear in mind, but... | ||
| Just dive in and make it. | ||
| It's really, it's not that difficult to get over the first basic hump of, like, the 101s of it. | ||
| It's not that hard. | ||
| Then, you know, after that, then it's like the nuance is the, you know, the upper percent of just intuition, instincts. | ||
| Do you mingle at all with the people in the wine world? | ||
| Do you communicate with other people in the wine industry and go to conferences? | ||
| I've got guys on speed dial that I know that are world-class winemakers from around the world. | ||
| If I have a question that I think that they've seen the answer to or seen that challenge or seen that hurdle, I will not even hesitate to text or call or write or email or something just to go, okay, so here's the challenge or here's the thing I'm going to try. | ||
| And based on, you know, the kind of fruit that we get, because the fruit we get is not like you would get in Napa or get in, necessarily get in New Zealand. | ||
| It might be more specifically like Adelaide Hills, but not necessarily the Barossa. | ||
| You know, so there's, you know, different stuff. | ||
| Parts of Spain, maybe. | ||
| Parts of Italy, maybe. | ||
| Do you do anything to your soil? | ||
| Or do you just let it be what it is? | ||
| For the most part, you have to give it some food now and then, some kind of nutrients that are not going to cripple. | ||
| You don't want to give it steroids or anything like that, but you want to give it something that it needs if it needs a little extra dose of something. | ||
| So what do you do? | ||
| Do you add, like, minerals? | ||
| Yeah, yeah, if there's something that it's kind of short on. | ||
| How would you know? | ||
| You take petioles, you take the, you know, samples from the plant, you take samples from the soil. | ||
| We have, for moisture, we have a pressure balm that pressurizes the leaf to see how much moisture it actually needs today. | ||
|
unidentified
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Wow. | |
| And you give it, like, if it wants 10, you give it 9. Yeah, that's a thing about the grapes for wine. | ||
| They're supposed to suffer a little bit, right? | ||
| Why is that? | ||
| It just gets them stronger. | ||
| I mean, you know, you train jujitsu, there's suffering involved. | ||
| You're not going to get anywhere unless you are pushed a little bit. | ||
| Even as a grape? | ||
| Even as a grape. | ||
| Even as a celery, Joe. | ||
| Even as a celery. | ||
| I see. | ||
| I see now. | ||
| It all becomes clear. | ||
| How many years have you been doing this now? | ||
| I broke ground around 2001, 2002. Made my first wine in 2004. Wow. | ||
| I find that absolutely fascinating. | ||
| I've never once heard of a rock star who decided to not just make wine. | ||
| I mean, I suppose Sammy Hagar has a tequila, right? | ||
| How much is he really involved in it? | ||
| Is Sammy out there harvesting agave? | ||
| Is he pressing it? | ||
| I don't know. | ||
| I don't think so. | ||
| Okay. | ||
| I don't think so. | ||
| He's definitely not doing what you're doing, man. | ||
| No. | ||
| I mean, because for me, I have my staff in the tasting room. | ||
| So basically, come to Jerome. | ||
| There's a staff of people that, of course, rotate. | ||
| But we have Chris Turner who's my right-hand man in the vineyard. | ||
| I'm not a vineyard guy. | ||
| I'm in the cellar. | ||
| So Chris has his team of people in the actual vineyard making sure that they all have their finger on the pulse of what I'm looking for in the grapes to make the wine. | ||
| We have, of course, our shipping staff and, you know, the business affairs managers and stuff. | ||
| But in the cellar, it's just my wife and I. It's just us making the wine, pressing the grapes, inoculating. | ||
| So there's not actually a staff of people in the actual cellar because that's my house. | ||
| Wow. | ||
| So it's just us doing it. | ||
| I don't think people quite understand. | ||
| He can't make it. | ||
| It's Harvest. | ||
| So, wanted his employees to handle that. | ||
| I don't quite think you've been listening to me. | ||
| There's nobody in the cellar but me. | ||
| I mean, we have a couple guys. | ||
| I have a friend down the street that comes up and cleans up after me. | ||
| I have a guy that comes out at the beginning of the season because I'll buy some new equipment that I don't know how to use. | ||
| I go, Greg, make that work. | ||
| He'll go, okay, I'll read the directions. | ||
| We hate reading directions, so I'll just have Greg figure out how to make that go. | ||
| How do you piece together a team? | ||
| Like, when you decide that you're going to start making your own wine, you get a piece of land, you decide where you're going to grow grapes, you decide... | ||
| How the fuck do you piece together a team to create wine? | ||
| It's like anything else. | ||
| It's hit and miss. | ||
| Just figure out who has natural, you know, natural talent toward it or is willing to do all the work if they're not even naturally. | ||
| I mean, my wife doesn't. | ||
| She's not a chemist. | ||
| But she works the lab. | ||
| I went, guess what you're doing? | ||
| So she's like, I am. | ||
| So you're nine years into production, essentially, but 10, 11, 12 years into this project. | ||
| Is it still challenging for you? | ||
| Do you still enjoy it? | ||
| Yeah, because every year that I'm making wine on my own, you know, previous years, like from 2004 up to about 2009, I had other, you know, people, I was kind of like looking over their shoulder and trying to be involved in doing it. | ||
| But until 2010, you know, like part of nine, but part of 10, until I was actually in, you know, doing it myself, You're only going to learn that way. | ||
| You just dive in, basically. | ||
| Wow. | ||
| And now, how many months out of the year does it take to do that, and then the rest you devote to whatever else, like Pussifer or anything else you like doing? | ||
| Anything else, yeah. | ||
| Don't even look for me on August 1st. | ||
| August 1st to November 1st, don't even look. | ||
| I'm not around. | ||
| I'm dug in. | ||
| So for four months, you're gone. | ||
| Yeah, yeah. | ||
| Do you enjoy that, that you're committed to this, like, four-month project, that for four months you're accounted for, that's it, this is your life? | ||
| Yeah, I mean, it's nice to know that, you know, I'm going to be sleeping in my own bed. | ||
| Right. | ||
| And it's, you know, it's hard work. | ||
| You're up at, you know, I'm up at 630 doing punchdowns and just checking things out and make sure everything's, you know, not, you know, something didn't blow up or I forgot to seal something so it's leaking or, you know, there's just those tragic things that kind of happen in the cellar that you look over and the spout wasn't shut and there's, like, Pinot Gris pouring onto the ground. | ||
| You're like, fuck! | ||
|
unidentified
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Bonehead move, ran over and shut it. | |
| It's such an interesting idea, but I love the fact that you figured out a way as a musician to guarantee that you're home for four months. | ||
| People don't know, musicians or comics, that fucking road gets sad, man. | ||
| It gets so boring, and it gets so weary. | ||
| It gets grueling. | ||
| Your body just, as you go forward in time... | ||
| There's no going back in time. | ||
| Your back doesn't get, you know, it doesn't get stronger from the journey. | ||
| It gets weaker. | ||
| Yeah, especially the travel. | ||
| We were talking about a guy that you know that had a blood clot from an airplane ride and was feeling like shit. | ||
| And I was telling you how I flew back from England and got sick. | ||
| The flights, every flight is like going on a bender. | ||
| It's like getting hammered. | ||
| Every one of them is just like, just wrecking your body like, oh, and skidding in the home plate. | ||
| That was fun. | ||
| Dumbling in the bed. | ||
| Not at all. | ||
| Yeah, it's very weary. | ||
| It really beats you down. | ||
| So then when that's over, November's done, do you just chillax for a little bit? | ||
| Last couple years, no, I would jump right into doing some stuff with Perfect Circle or Pussifer. | ||
| If the guys were ready with Tool, I would work with them, or maybe we'd go out and do some quick tour or something. | ||
| And that's only just to kind of You know, keep it alive and because you've done some work that you need to kind of tidy up and do something with. | ||
| Like we came out with conditions of my parole and I had to like, I had to promote that record so I had to get on the road right away in November. | ||
| That was a couple years ago. | ||
| And in between, you add some jiu-jitsu. | ||
| Yeah, that was the fun part this year. | ||
| Poor Matt Mitchell from Pustle Free came out to record some tracks with me. | ||
| I'm up at 6'7", out there doing my thing, and then I would come in and we'd try to work on a song or work on some tracks, and he was helping record some stuff. | ||
| And then I go, I gotta go, I gotta quickly distem this fruit, and then at 11.45, I've got to drive down the hill because I've got to go do jujitsu from noon to 1, and then I'll be back up here at 1.15. | ||
| We can do a vocal, but then I've got to press the chardonnay. | ||
| He's like... | ||
| Who the fuck are you? | ||
| And he's known you from long before this. | ||
| Yeah, yeah, yeah. | ||
| I toured with him. | ||
| First time I met him was on a Perfect Circle tour. | ||
| So what do these people think that have seen you pre-wine and post-wine? | ||
| Did they think originally, like, oh, this is just his new thing, he'll do it for a little bit, and then it's probably, you know, it'll last a year or so. | ||
| Twelve years later. | ||
|
unidentified
|
Twelve years later. | |
| Twelve years later, how many bottles do you make a year now? | ||
| I did about... | ||
| I'm horrible at math. | ||
| This year I did about six and a half, 7,000 cases in my cellar. | ||
| Holy shit. | ||
| That's incredible. | ||
| How many acres are you growing on? | ||
| In northern Arizona, right now I have planted... | ||
| 40, just under 40 planted, and only about 10 of those are actually producing at the moment. | ||
| Southern Arizona, my sister company, Arizona Stronghold, I have access to fruit from our vineyards down there, so there's a lot of growers all over the state, and there's growers just over the border into New Mexico as well, just over from those counties, so there's also kind of a mirror image terrain over in New Mexico with even more established vineyards than we have in Arizona. | ||
| So 40 acres you're planting on, but only 10 of them you're actually harvesting fruit from? | ||
| Yeah, and probably by next year I'll see a little bit more from the other 30, and then by 2015 I'll see full production from everything. | ||
| How does that work? | ||
| Do you have to do something in the soil? | ||
| Do you have to just get the grapes used to it? | ||
| Just plant it, and it takes you three to four years to see fruit off the vine once you plant it. | ||
| Really? | ||
| It's a commitment in time, for sure. | ||
| So you plant it, and is it just a matter of it growing, or is it... | ||
| Establishing. | ||
| You want to make sure... | ||
| And it all depends on what you're kind of going for. | ||
| You know, if you want to plant, like, tighter spacing and set fruit a little earlier on the plant when it's younger so it doesn't quite get big and kind of, like, almost stunt its growth in a way, you get some really concentrated fruit on a smaller vine. | ||
| But you've seen some that are, like, these huge old-school vines. | ||
| There's different schools of thought on that. | ||
| You got guys that pull out everything in 20 to 30 years or just pull everything out and start over because the vine might produce, you know, an eighth of what it was producing when it was younger. | ||
| And if it's not great, I mean, if it's like producing an eighth of, you know, that fruit and it's fantastic, just undeniable fruit, well, yeah, hang on to it. | ||
| But if it's not, most guys are pulling it out. | ||
| Wow. | ||
| Starting over. | ||
| Do you find that this whole process, you know, The whole process of creating this new thing and then getting involved in this completely new endeavor, does that do anything to the rest of your creativity? | ||
| Do you find that it opens up new possibilities for other things that you create? | ||
| I mean, yeah, it opens up other stuff because it's a whole different kind of creativity. | ||
| When you're in the cellar and you're just hovering over some of these wines, you're having to be kind of, you know... | ||
| You have to have the technique down. | ||
| You have to understand the process that you're going through. | ||
| But you also have these opportunities to go, okay, I have to make a creative decision right here. | ||
| There's a challenge that's come in. | ||
| Something comes in extremely ripe that you didn't expect it coming in extremely ripe because the numbers were just all over the map. | ||
| The sugars are extremely high, and it's just probably not even finished fermenting. | ||
| It's so ripe. | ||
| And then you have something come in that's completely underripe, and you go, hmm, if I put these together, they're right at the right number that I want, rather than trying to finish something that's not high enough sugar and something that's way too high sugar. | ||
| You know, there's little moments like that that happen that you just didn't expect and you can't plan. | ||
| It's just chaos, and you just have to just navigate the chaos. | ||
| Were you a big fan of wine before you did this, or is this just something that you just decided to slowly but surely step into? | ||
| I guess I had a great-grandfather who made wine in northern Italy, but I didn't know that until I was actually planting grapes. | ||
| Wow. | ||
| So you just dove in? | ||
| Dove in, yeah. | ||
| But I was into wine a little bit, you know, back in, I lived in Boston for a while, so I, you know, I enjoyed wine with my friend Kurt. | ||
| He worked at a nice Italian wine shop, so he'd always bring stuff home on the weekends, and we'd, you know, he would grill, and I would drink this wine, and, you know, years later I'd go, oh, wow, that was pretty, I think we're drinking some pretty awesome wine. | ||
| Yeah, I don't know shit about wine. | ||
| I have a really good friend who's a real connoisseur. | ||
| He has this gigantic room in his house that he constructed, that it's digitally set to a certain temperature. | ||
| I mean, he has this ridiculous collection of wine. | ||
| He's in the LA area? | ||
| Yeah, he lives in the Palisades. | ||
| He built this room onto his house before he moved into this house. | ||
| He's a nut. | ||
| And, you know, he can look at wine lists and tell you what's good this year, what's not. | ||
| I mean, he's constantly on top of it. | ||
| And he took me to a wine testing for his birthday. | ||
| Wine tasting, you know, they brought up different flights of wine. | ||
| It was all good to me. | ||
| But hearing people describe it, it's baffling. | ||
| The fruity taste, the tannin, the smoky mix. | ||
| Yeah, but people don't really get... | ||
| You don't have to know any of that stuff. | ||
| If you know somebody that owns a cool shop or has a nice tasting room like Matthew over at Coval, just go talk to Matthew about what they have on their list or go to Silver Lake Wine or talk to Randy or April or George to go, okay, what's open when you have their tastings? | ||
| And they just take notes on... | ||
| You have stuff in front of you. | ||
| Okay. | ||
| Write down, did I like it? | ||
| Did I not like it? | ||
| Did I not like it? | ||
| Just write down what you liked and what you didn't like and why. | ||
| If there's just a couple words like, I didn't like that because of this. | ||
| Or I like that because of this. | ||
| Write it down. | ||
| And then you just show them, like, write down, have them write down what the wines were that you had. | ||
| And not so much for you, but for them. | ||
| And come back again and do it again for some other flight or whatever. | ||
| And once you have some notes down, they're going to start to figure out what you might like. | ||
| And then they're going to go, okay, try this or try this and then come back and tell me if you liked it or not. | ||
| I tend to like the fruitier, like a Pinot Noir, like that kind of wine. | ||
| And again, don't even gravitate toward the Pinot. | ||
| Just taste stuff and then write down what it was and start kind of keeping a log or something of what that was. | ||
| Because if you have a pretty good intuitive person working at one of those wine shops, they can kind of go, okay... | ||
| Having poured you a hundred little tastes over the last couple months, we've narrowed down what you like. | ||
| Do you see yourself going into whiskey next? | ||
| Dude, I love Angel's Envy. | ||
| Angel's Envy? | ||
| What is that? | ||
| Can I plug? | ||
| Sure. | ||
|
unidentified
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Why not? | |
| What is it? | ||
| It's a mellow bourbon aged in port barrels. | ||
| It's super mellow. | ||
| In port barrels. | ||
| So they take the port, it pours out, and then they make the biscuit. | ||
| Wow. | ||
| They buy the barrels from somebody. | ||
| How does that affect the taste? | ||
| What is it supposed to do to the taste? | ||
| I couldn't tell you. | ||
| I'm not a whiskey guy, but I like that one. | ||
| That's it right there, Angel's Envy. | ||
| There you are. | ||
| Hello. | ||
| Do you see yourself doing anything else? | ||
| I mean, any other crazy ideas you have cooking in the back burner that you might get into? | ||
| I cook a little bit, but I don't think I would actually, I wouldn't go be a chef. | ||
|
unidentified
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I would probably open up like a, you know, pizza place or something. | |
| I could see you doing that, though. | ||
| I could totally see you becoming a chef somewhere. | ||
| Well, it started out, I just wanted to open up a restaurant. | ||
| And then here I am. | ||
| Wow. | ||
|
unidentified
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Who wants pizza? | |
| And always in Arizona. | ||
| Yeah. | ||
| Got a couple things up my sleeve in Arizona. | ||
| Brick oven pizza place. | ||
| Northern Arizona is pretty fucking badass. | ||
| Do you live near the mountains? | ||
| I'm near Sedona. | ||
| Oh, okay. | ||
| Yeah, that's an interesting spot. | ||
| Yep. | ||
| A lot of weirdos in Sedona. | ||
| You think? | ||
| A lot of people believe in crystal power. | ||
| Yeah. | ||
| Those are the people you just reach up and grab their leg and pull them down to the ground and stay here. | ||
| What happens to people? | ||
| How does that happen where you get a spot like Sedona, per se, where people gravitate towards their healers, in quotes? | ||
| I don't know. | ||
| I have no answer for that. | ||
| I have no answer for it either. | ||
| I've always been fascinated, though. | ||
| It's like, how does a spot like that come to be? | ||
| Well, I mean, you can... | ||
| If you've been in a decent-sized city, there's always going to be a spot. | ||
| For example, in LA, you've got Millie's over on Sunset. | ||
| What's that? | ||
| Millie's Cafe, Millie's Restaurant. | ||
| It's a little breakfast place over on Sunset. | ||
| That's always going to have a gathering of people on that spot. | ||
| Yeah? | ||
| It's like that morning spot. | ||
| I'm going to write that down. | ||
| I've never heard of it. | ||
|
unidentified
|
Millie's. | |
| Millie's on Sunset. | ||
| Where? | ||
| Sunset in what, you know? | ||
| Just... | ||
| Say Silver Lake? | ||
| Yeah, it's in Silver Lake. | ||
| Just the side of Silver Lake Boulevard. | ||
| There's a lot of fucking cool spots down there. | ||
| Yeah, a lot. | ||
| But that's that one that just like, no matter what, no matter who owns that spot, there's always going to be people gathering in that spot for a cup of coffee or like some kind of, you know, sunrise kind of event. | ||
| A brunch. | ||
| If it's not called brunch someday. | ||
| Just like something. | ||
| Even if it ends up being a donut shop, there's always going to be something there where people gather in that spot. | ||
| And you kind of have to assign some kind of value to... | ||
| That energy you're talking about in Sedona to like those little, we'll call them vortexes. | ||
| Right. | ||
| There's some kind of gathering vortex at that spot. | ||
| Well, I think a lot of those places, especially in LA, they have this deep history of people returning to these spots. | ||
| And then it almost gets like seeped into the wood. | ||
| Places like the Comedy Store or... | ||
| You ever eat at Dan Tana's? | ||
| No. | ||
| Fantastic place. | ||
| It's one of the oldest school, old school restaurants in Hollywood. | ||
| It's on Santa Monica, right near Boys Town. | ||
| And it's this like super old school bar slash restaurant that hasn't changed the menu since 1966 or something like that. | ||
| Cooks a fucking tremendous steak, has amazing pasta, the waiters all wear tuxedos. | ||
| It's just one of those like super duper old school spots. | ||
| That's cool. | ||
| Yeah, and when you go in there, it's like Cantor's Deli. | ||
| You ever been to Cantor's Deli? | ||
|
unidentified
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Oh, yeah. | |
| Yeah, that feel, like, that place has been used, man. | ||
| It's just a, it's in the, you feel it. | ||
| Yeah. | ||
| You know, you can't get that in a new place. | ||
| I've been at Cantor's in years. | ||
| Oh, it's a classic. | ||
| That is a classic comic spot, because it's open 24 hours a day. | ||
|
unidentified
|
Yeah. | |
| We go there all the time after food, or after shows. | ||
| Yeah, because the Largo's right across the street. | ||
| Yeah, yeah, yeah. | ||
| L.A. has so many of those really cool old-school spots that have just been around for so long. | ||
| And I think, back to our Sedona conversation, it's probably some version of that, where those spots just kind of have that... | ||
| And, you know, just in general, I was driving to L.A. from kind of the Sedona, Prescott area, and I forgot that the Yarnell fires, they kind of had the road closed off, so I couldn't go that way. | ||
| But I thought, you know, a month had passed, and I figured everything wasn't fine yet. | ||
| So I get to a certain spot and there's of course a guy standing there going, psych, you can't go this way. | ||
| So I had to backtrack and then I kind of took another route that took me farther kind of back-tracked west-ish and kind of came back in. | ||
| There's an area out in that way where it's basically it's that kind of Sedona place where you go there, but there's no people. | ||
| There's no cell signal. | ||
| There's nothing. | ||
| It's just these crazy moon rock You know, setting with these Joshua trees and cacti just as far as the eye can see. | ||
| And it's like these crazy rolling hills. | ||
| It was like the coolest hour and a half, you know, added hour and a half to my trip. | ||
| It was completely worth it. | ||
| And when you see that kind of place, you can go, you can see how somebody who, you know, when Sedona isn't there yet, you can see how somebody would go, I want to start something here. | ||
| There's an energy here that I want to, like, you know, Did you see that video of those dopey Boy Scout guys who tipped over those hundred million year old rocks? | ||
| Did you see this? | ||
| You know, I think it's called Goblin Canyon. | ||
| There's an area of Utah that has these incredible... | ||
| Did they find the boys? | ||
| They made a video, these dumb fucks. | ||
| They made a video of pushing over this hundred million... | ||
| Did the rocks fall on them? | ||
| Unfortunately, no. | ||
| Is it too late? | ||
| Yeah, it's too late. | ||
| I don't think you can glue it back. | ||
| What do I mean? | ||
| Is it too late to... | ||
| To kill them? | ||
| I didn't say that out loud. | ||
| I did. | ||
| Yeah, they're too stupid to be held responsible, unfortunately. | ||
| But they did get fired from the Boy Scouts. | ||
| Which, yeah, that sucks. | ||
| But the point is, it was one of these really cool ancient structures where it's this... | ||
| This giant like top like a mushroom cap almost and it's just all this wind and sand has eroded it to the point where this is like this little peak that's holding this thing in place and it was so fucking cool looking and these tools just decided to tip it over. | ||
| Did you find it? | ||
| There's ads on everything. | ||
| What's that? | ||
| There's ads on them? | ||
| Of course there are because it's what happens when a video gets 10 million hits in a week. | ||
| Whoops. | ||
| No worries there for me. | ||
| Those structures are so cool, though. | ||
| It's so interesting when you see something that's been created by hundreds of millions of years of erosion. | ||
| I was in a cave in Colorado. | ||
| There's the thing. | ||
| These things. | ||
| So that's 170 million years old or something like that, this structure. | ||
| And these fucking idiots push this thing over. | ||
| I mean, it's like a Coen Brothers movie. | ||
|
unidentified
|
Duh. | |
| The Dublin Valley exists. | ||
| You're hired. | ||
| Yeah. | ||
| Cut it. | ||
| So sad. | ||
| But those things, that area, Goblin Valley, is another one of those sort of Those spots where you drive through it has such an impact. | ||
| Where it draws idiots. | ||
| Those fuckheads. | ||
| Hopefully people will learn from the reaction to this and it'll never happen again. | ||
| There's still a lot of really cool shit there. | ||
| One time I went on one of those publicity flights for the Blue Angels. | ||
| They took us. | ||
| You go down to San Diego and then from San Diego you cut across deep into the desert and And it looks like that. | ||
| It has all these incredible rocks and weird formations and desert. | ||
| There's something badass about that, man. | ||
| Is that the area? | ||
| Yeah, there's a lot of those things there. | ||
| And it's all just wind and erosion that's caused all this stuff. | ||
| That's pretty amazing. | ||
| Yeah, the desert southwest of Of this country has some really fucking interesting landscape and fascinating energy to it, too. | ||
| I'll try to text you or email you with the exact area that it was that I was driving through. | ||
|
unidentified
|
Cool. | |
| But you can basically make sure you bring water. | ||
| Yeah, right. | ||
| Because for some reason, if your car breaks down, there's no signal. | ||
| You're not getting out of there. | ||
| Yeah, what do you do? | ||
| You have to wait for someone to rescue you. | ||
| There's people out there. | ||
| You go by ranches and stuff throughout that area. | ||
| Yeah, that's when counting on humanity gets very sketchy. | ||
| You don't realize how vulnerable you are until your car runs out of gas in the middle of the desert. | ||
| And you're like, oh shit. | ||
| Okay, this is not just a matter of convenience. | ||
| This is a matter of we might dehydrate to death out here. | ||
| Yeah. | ||
| There was actually a mixed martial arts fighter, former UFC champion Evan Tanner, who went on this sort of vision quest in Death Valley and wound up getting disoriented, lost his water, and died. | ||
| Decided he was going to go camping. | ||
| Don't do that. | ||
|
unidentified
|
Don't get all, like, into the wild on people. | |
| Too late. | ||
| Yeah, he did it. | ||
| He died. | ||
|
unidentified
|
No, that's not good. | |
| Yeah, it was definitely not good. | ||
| But he was an interesting cat. | ||
| He was the type of guy that, you know, he was a... | ||
| Whether or not it was a smart move, it was a typical Evan Tanner sort of self-discovery type of a journey. | ||
| And he did a lot of those. | ||
| And most of them he came through. | ||
| But some of them, you know, this one obviously didn't work out for him. | ||
| He was a fascinating guy though. | ||
| Really interesting, very deep thinker, like a deep original thinker. | ||
| It's just, you know, these guys are always trying to test themselves, not just inside the cage, but in life period. | ||
| And for him, it was, I think, a bit of a vision quest to go out there in one of the most extreme environments known in North America and test himself or see, find himself. | ||
| Yeah, I think, but you know, when you're going to do a thing like that, you probably should prepare to be tested. | ||
| Exactly. | ||
| It's like the Into the Wild movie, the same thing. | ||
| I mean, the movie's infuriating. | ||
| The book is infuriating. | ||
| The story's infuriating. | ||
| There's a 7-11. | ||
| Yeah. | ||
| You don't have to do that, man. | ||
| Well, not only that, if you're gonna do that, if you're gonna do that into the wild shit, man, you should take... | ||
| If you really respect nature, well, you should fucking prepare for it for a long time. | ||
| You should really know what you're doing. | ||
| Like, I am in love with these subsistence shows... | ||
| Like these shows, like these Alaska shows where these people, they live off the land and trapping and hunting and fishing. | ||
| But they fucking know what they're doing. | ||
| And they've been doing it a long time. | ||
| And they have like cabins set up along the way, like in case they get trapped outside. | ||
| They know that they just have to get a half mile down the road and they can get to this cabin. | ||
| There's dry wood inside of it. | ||
| They can start a fire. | ||
| There's matches. | ||
| Everything's ready to rock and roll. | ||
| Overprepared. | ||
| Exactly. | ||
| Duh. | ||
| They're ready. | ||
| I mean, they're in Alaska. | ||
| It's 50 fucking degrees below zero. | ||
| If you're a runner... | ||
| And you're like a, you know, a semi-distance runner, like a four-mile runner or, you know, like a 10k or whatever. | ||
| You do sprints and you do marathons for training. | ||
| You do the extremes. | ||
| Yeah. | ||
| And you do it often and you do it well and then you go do your race. | ||
| Well, it's also, if you really do respect that area, if you really do respect the wilderness, you've got to prepare for it. | ||
| You really have to prepare to respect it. | ||
| It's the only way you can respect it. | ||
| Because by going out there unprepared, you're disrespecting it. | ||
| And it doesn't give a fuck about you. | ||
| It doesn't give a fuck about your ego. | ||
| It doesn't give a fuck how, you know, a lot of guys might get lost out here, but I got a natural sense of the woods. | ||
| It's not hearing that shit. | ||
| It's not hearing that shit. | ||
| No. | ||
| No. | ||
| It'll dry you out and turn you into coyote food. | ||
| Yeah, it's gonna school you, for sure. | ||
| Do you enjoy the fact that there's, like, less humans out where you are? | ||
| Do you feel that there's a benefit in that? | ||
| Yep. | ||
| There is, right? | ||
| Yeah, yeah, absolutely. | ||
| I mean, you know, it's all a matter of perspective and, I guess... | ||
| It's a microcosm, macrocosm kind of situation where if you're in a big city like this, you're going to see a cross-section of a certain kind of people. | ||
| My friend Todd today was just talking about the talking in reference to just any kind of infrastructure or hierarchy. | ||
| You got your 10% that are kicking ass. | ||
| You got your 80% that are just kind of coasting. | ||
| You got your 10% that suck. | ||
| So you're going to end up, if it's LA or if it's like a 400 population town, you're going to have similar percentages. | ||
| There's going to be 10% that care and know what they're doing or want to know what they're doing and then 80% that are just there and then 10% that you just want to run over. | ||
| That's the one good thing about being in a place like New York City or LA where there's a large population is that 10% is a larger number. | ||
| You can cultivate a good group of them. | ||
| Yeah, but you have to go out and find them. | ||
| Yeah, you've got to find them, you've got to keep them close, and you've got to feed off of each other. | ||
| And then hopefully encourage some other people, perhaps that are in the other 80%, to break free. | ||
| Maybe tip the numbers a bit. | ||
| I agree. | ||
| When you die 75. Because we're all capable. | ||
| We're all capable of, you know, learning, doing. | ||
| Do you feel a responsibility for that or towards that as an artist? | ||
| Do you ever feel like because of what you're doing, because you're so motivated, you get so much done, you have so many different projects going, do you realize the impact of that? | ||
| Because a lot of people are inspired by not just the work ethic that you have, but how much quality shit you produce, whether it's wine or music. | ||
| I appreciate the compliment. | ||
| I think you can't really worry about it. | ||
| You just got to do what it is you're doing. | ||
| And for me, I just have to do what I'm doing. | ||
| There's a sense of responsibility for the art or for the process and just for myself. | ||
| I care about what I'm doing. | ||
| If I start caring about what you think about what I'm doing or whether it's going to be helping you, then I'm an assisted living employee. | ||
| You said something in your video that was very unpretentious but had the potential to be massively pretentious. | ||
| But it wasn't because you were being honest. | ||
| And what you're saying is that life is too short to not create with every breath you take. | ||
| Right. | ||
| But when you said it, the audience cheered. | ||
| It was a real moment. | ||
| They recognized that real moment. | ||
| But goddamn, the wrong person could say that. | ||
| And you're like, well, you just shut the fuck up. | ||
| Create with every breath. | ||
| Oh, please. | ||
| Yeah, we get that all the time. | ||
| Yeah, but... | ||
| You really mean it. | ||
| If you really mean it, it is inspiring, and that's where the cheer in the audience comes from. | ||
| People fucking love that. | ||
| They love when someone is motivated to make shit, motivated to put out art, motivated to test themselves creatively. | ||
| It's exciting. | ||
| I have a lot of people around me, especially within the music, within the film, within the animation, all those things, but especially In the vineyards and the restaurant stuff, I see people that are just, every day, I'm inspired by their work ethic. | ||
| Because, you know, we were talking about a restaurant. | ||
| Like, that's not a whim. | ||
| That's not something you can kind of just start on a whim and not expect to be responsible for keeping the boat floating. | ||
| That's like, you know, I see there's a restaurant in... | ||
| In Arizona called F&B, Pavle and Charlene, and just watching what they go through, but not go through, that's the wrong way to put it, but just their process and their motivation and their fire. | ||
| Their drive just it's very inspiring And then a lot of the winemakers that I know in the state as well They're just you're watching them go through their changes and you're watching them go Where they discover a new thing about a new potential of what they can do and how much better they can make it and You know just see you just see that process. | ||
| It's really inspiring. | ||
| Do you watch any of Anthony Bourdain's TV shows? | ||
| Do you know who he is? | ||
| Yeah He had the No Reservation show, and now the new show is... | ||
| His wife trains with Henzo. | ||
| Yeah, yeah. | ||
| His wife's good, man. | ||
| I saw their kid training there when I was there last. | ||
| Isn't that hilarious? | ||
| Yeah, she's badass. | ||
| She's at the fights constantly. | ||
| I've never actually met Anthony, and I've seen some of the shows. | ||
| He's a great guy. | ||
| I heard he has a new one that's kind of fun. | ||
| Yes. | ||
| What is it called? | ||
| Parts Unknown? | ||
| Parts Unknown? | ||
| Yeah, and it's basically the same show. | ||
| But this one he has more control of, and now it's on CNN, it's got a bigger budget. | ||
| But the show, the one that he had on the Travel Channel, was the first experience that I had ever had with chefs. | ||
| Like, I knew that I liked good food, and I kind of understand that it takes a special person to make good food. | ||
| But I'd never understood how intensive the process is or how creative the process is. | ||
| I mean, he explores some really boutique restaurants where these guys grow their own food, hunt their own meat. | ||
| And there's one place in Spain, I think it was. | ||
| I think it's closed. | ||
| It was called El Bulli, where this guy was, this head chef was this legendary guy who brought in all these amazing chefs. | ||
| And they would just create these fucking intense works of art these small plate works of art that were just so Unique and inspiring maybe want to write jokes, you know, maybe make maybe want to expand my comedy routine, you know, and You know, but at the same time, as intense as they are about those unique dishes, you'll also catch them eating a bowl of popcorn. | ||
| Yes. | ||
| Yeah, why not? | ||
| Well, Bourdain's a big one on street food. | ||
| He loves, like, street tacos and shit. | ||
| I mean, why not? | ||
| Why be pretentious about it? | ||
| It's all about the full spectrum of these... | ||
| Kind of like that film, Perfume. | ||
| What is that? | ||
| Was it dubbed? | ||
| Yeah. | ||
| Intense movie about this guy. | ||
| It's got a perfume, a story of murder, I think is what the title is, right? | ||
|
unidentified
|
Is that right? | |
| Yep. | ||
| And it starts going off about this child who was born in poverty that... | ||
| We had such an incredible sense of smell. | ||
| He didn't differentiate bad smells from good smells. | ||
| He just could smell everything and he was very good at deciphering all these smells. | ||
| I'm not gonna spoil it for you. | ||
| You gotta see it. | ||
| I'm not gonna watch it. | ||
| You can spoil it. | ||
| It's awesome. | ||
| Is it really good? | ||
| This is the trailer right here? | ||
| It's pretty awesome. | ||
| It's pretty intense. | ||
|
unidentified
|
Dude's a creeper. | |
| He's a creeper. | ||
| I think it's got Dustin Hoffman, huh? | ||
| I read about a polar bear today, or a dog they trained to smell if polar bears are pregnant. | ||
| You have to. | ||
| Just stop and think of that. | ||
| How specific is that? | ||
| A dog trained to tell if polar bears are pregnant. | ||
| So does he just kind of sit around... | ||
| Almost like a firefighter kind of waiting for a fire. | ||
| Das Parfum. | ||
|
unidentified
|
Ooh. | |
| Good movie? | ||
| You recommend that? | ||
| Yeah, I do. | ||
| Okay, I'll get something. | ||
| I gotta fly to Kentucky tomorrow. | ||
| I'll throw that bitch on the laptop. | ||
| It's pretty fun. | ||
| I think you'll enjoy it. | ||
| If you don't enjoy it... | ||
| I'll recommend another movie you want to enjoy. | ||
| Okay. | ||
| Sounds like a good deal. | ||
| A dog that can smell if a polar bear is pregnant. | ||
| They say that the best way to describe how good a dog's nose is is skunks. | ||
| Because that's the one time where we can smell parts per million. | ||
| The skunk is so, the scent is so strong that we actually can catch that scent from blocks and blocks away. | ||
| Very much like a dog can smell things. | ||
| Okay. | ||
| Yeah, which is pretty an interesting way of exploring the idea because otherwise it seems like intangible. | ||
| Well, when, yeah, when we have javelina around Arizona and as soon as the javelina are coming and we're near the vineyard or near their yard, the dog is up. | ||
| Yeah. | ||
| He can smell them. | ||
| Already. | ||
| Well, they're scary animals. | ||
| Not even in the yard yet. | ||
| They're up and they can tell. | ||
| Those are freaky things, man. | ||
| You ever seen when they hunt javelinas? | ||
| It's pretty intense. | ||
| They're one of the few animals that when you call them, they come running. | ||
| Like if you make a sound like an injured animal, they don't sort of like sneak around or try to... | ||
| Dart. | ||
| They come running straight towards that sound. | ||
| And then they realize there's a person there that, yikes! | ||
| They haul it and turn around and run the other way. | ||
| But they supposedly taste great. | ||
| They taste very much like a wild pig. | ||
| Yeah, but it's one of those situations where if you don't field dress them properly, they've got some weird glands that'll just ruin all the meat. | ||
| You cut the wrong gland and it's done. | ||
| Yeah, probably the tarsal glands. | ||
| Yeah, they're stinky fucking animals. | ||
| But they have to be, man. | ||
| They have to be wild, hardy bitches. | ||
| They're living out there in the desert, man. | ||
| That's what they look like. | ||
| Just like a freaky, small, wild pig-looking thing. | ||
| And people keep telling me that they actually have more in common with a rat than a pig. | ||
| Yeah. | ||
| But that looks like a fucking pig to me. | ||
| Yeah, it looks like a pig to me, too. | ||
| But... | ||
| I guess a rat kind of looks like a pig, too. | ||
| They're just small. | ||
| I have no desire to eat them, so they must not be a pig because I love a bacon. | ||
| They apparently taste really good. | ||
| They taste very much like pig. | ||
| Wild pig is supposed to be the best. | ||
| I've never had a wild pig. | ||
| There's got to be some place in LA that serves javelina. | ||
| Some place in LA has to serve javelina. | ||
| You would assume, right? | ||
| Let's find out. | ||
| I bet it's really hard to get commercial javelina, though. | ||
| You know, you'd have to hire hunters to go out and get it for you. | ||
| What kind of a supply could you actually get? | ||
| What's that place that's up in like Malibu? | ||
| It's like that kind of game restaurant. | ||
| Oh yeah. | ||
| The Saddle Peak Lodge. | ||
| I wonder if they have it. | ||
| I don't think so. | ||
| I was there recently. | ||
| They have like elk and venison and things along those lines and pheasant. | ||
| I don't think they have javelina. | ||
| That's pretty freaky. | ||
| You gotta go to New Mexico to get javelina. | ||
| Just call them and say, step up. | ||
| Yeah, call them and say, listen, man. | ||
| I'll come in. | ||
| Javelina tacos. | ||
| If you have polar bear period-sniffing dog steaks and javelina. | ||
| There was a website that was selling exotic meat from animals like lions. | ||
| They were selling lion meat and Also, Javelina Cantina? | ||
| What is that? | ||
|
unidentified
|
It's Sedona, Arizona. | |
| Oh, do they really sell javelina there, though? | ||
| Probably not. | ||
| No, that's like a Friday's. | ||
| That's a TGI Friday's. | ||
| But in Arizona, it's more like a Thursday. | ||
| They take a day off early? | ||
| A little more laid back. | ||
| A little longer weekend. | ||
| It's hot. | ||
| Yeah, it's hot as fuck in the summertime, man. | ||
| And then you get that Sheriff Alpaio dickwad. | ||
| You know who that guy is? | ||
| You don't know who Sheriff Arpaio is? | ||
| You guys have the most controversial sheriff in the entire country. | ||
| Down south around Tucson? | ||
| He's the guy that puts everybody in pink underwear and pink jumpsuits and has the men stay outside in tents, no air conditioning, makes them work. | ||
| It sounds like college. | ||
| I think there's more butt-fucking than regular college. | ||
| I think he's just this really controversial, conservative guy. | ||
| Yeah, see the photo of these guys? | ||
| He puts them in this clean and sober, I guess. | ||
| He had Mike Tyson in one of those, apparently. | ||
| And didn't get knocked the fuck out? | ||
| No, I mean, he's pretty insulated by the time you get to him. | ||
| There's quite a few people with guns in the way. | ||
| True. | ||
| But he's famous for sort of representing Arizona. | ||
| We have a lot of those people. | ||
| Like the governor, that Jan Brewer chick? | ||
| She's one of the few people that I've ever seen give a debate where I was like, hmm, I could be a governor. | ||
| I was listening to her talk and I was like, I could do that job. | ||
| I could definitely beat her. | ||
| George Bush wasn't enough? | ||
| You had to wait until you heard Jan Brewer speak? | ||
| No, I don't think I could be president. | ||
| I have too many skeletons. | ||
| But I could be a governor. | ||
| I could totally... | ||
| They'll let you get away with a few skeletons if you're a governor. | ||
| True. | ||
| I mean, none of them are bad. | ||
| I've never done any real crimes. | ||
| I don't have any bodies or anything like that. | ||
| Drug use. | ||
| I've said a few things. | ||
| But... | ||
| Said a few things might come back to haunt me, but I watch her give debates, and I'm like, oh, this is hilarious. | ||
| And then she won. | ||
| I mean, I watched a debate where she was just absolutely stumped. | ||
| Yeah, I realized I could beat this chick. | ||
| All I have to do is prepare a little. | ||
| This ain't hard. | ||
| How the fuck did she win? | ||
| How is she your governor? | ||
| How is that? | ||
| I don't know. | ||
| You didn't vote for her, did you? | ||
|
unidentified
|
No. | |
| How far away is the place you train jiu-jitsu? | ||
| Is it a real town? | ||
| Yeah, it's in Cottonwood. | ||
|
unidentified
|
So it's a small dojo. | |
| Brazilian Jiu Jitsu, it used to be one point in time it was super hard to find a good Jiu Jitsu gym. | ||
| Guys would buy like VHS tapes and train each other and now it's so amazing. | ||
| There's guys in Prescott now, there's guys in Cottonwood. | ||
| I think there might be guys in Sedona, but there's definitely guys in Prescott and Cottonwood. | ||
| Well Arizona itself is a huge hotbed for mixed martial arts. | ||
| You know, you've got the Lab, which is where Benson Henderson comes from, John Crouch's place. | ||
| Then you've got Power MMA, which is where, you know, Aaron Simpson, C.B. Dalloway, a lot of, like, big-name MMA fighters. | ||
| A lot of guys come out of Arizona. | ||
| Megaton Studios there. | ||
| Yeah, yeah, yeah, yeah. | ||
| Yeah, it's really interesting how that sport has... | ||
| It's opened up the door for not even people that want to compete in MMA, but people that are just interested in exploring martial arts. | ||
| You know, the amount of legit martial arts schools is probably at an all-time high in this country now. | ||
| Yep. | ||
| Yeah, I would agree. | ||
| I just got back from training with my friends in St. Louis. | ||
| I hurt my wrist. | ||
| How much training do you do when you're on the road? | ||
| On the road it's harder. | ||
| Way harder. | ||
| I mean, you know, if we have a day where we can go in and train and we have like a nice day off or a day off, you know, two days off, then I can risk it. | ||
| But, you know, to go in and just, there's what time, you know, when would you do it on a show day? | ||
| There's just no way. | ||
| But you've been involved in one form or another, at least peripherally in martial arts, for a long fucking time now, right? | ||
| Yeah. | ||
| I saw a photo of you with BJ Penn back when, you know, he was like a purple belt. | ||
| I got injured in like 2003 or 2002, actually before that, and then it just kind of compounded, and then I had to just stop around 2003. That was the back thing, right? | ||
|
unidentified
|
Yeah. | |
| This is what I got drawn out of my blood. | ||
| This is what pushed me over the top and gave me the flu. | ||
| I'm going to pull this up for you. | ||
| You see this fucking ridiculous amount of blood they sucked out of my body. | ||
| Come on! | ||
| Yeah. | ||
| Jello shots, let's go. | ||
| That's what they take and heat up and then spin in the centrifuge. | ||
| I'll let you know how it works out, but I've been dealing with a back injury for the past... | ||
| All together for about four or five years now, but pretty bad over the last year and a half, on and off, and started to get numbness in my hands and things along those lines, where I was realizing that my nerves were getting impeded and smushed, and I realized I had to do something about it. | ||
| So I don't have any of the symptoms anymore, but this is supposed to do an amazing job. | ||
| You did that here? | ||
| Yeah, I did it in Santa Monica. | ||
|
unidentified
|
Okay. | |
| Well, they do it in Germany, and that's where I was going. | ||
| Dana White has been going over there for... | ||
| He has Meniere's disease, which is something to do with the inner ear and makes vertigo and tinnitus. | ||
| He gets like this ring in his ear and like literally can't stand up, loses his balance. | ||
| But the guy who developed this process in Germany trained a bunch of other doctors and now They're doing it in Santa Monica as well. | ||
| So I just went in today. | ||
| You're my guinea pig then. | ||
| I'm in. | ||
| I just got the first injections today, but I'm with you. | ||
| Old dudes with back problems. | ||
| Salute. | ||
|
unidentified
|
Hey. | |
| It's the one thing that does suck about About training. | ||
| Your body's your vehicle. | ||
| It's not a race car. | ||
| It's just fleshy. | ||
| In general, wrestling and jujitsu, it's just brutal. | ||
| It's not just going into a gym and there's a direction that this weight machine moves and that's it. | ||
| Yeah. | ||
| It's every direction. | ||
| That's why it's so critical to find good training partners. | ||
| Just like we were talking about cultivating good friends, cultivating good training partners is another one. | ||
| There's a few guys at 10th Planet Jiu-Jitsu that I know I can count on to not spaz out, to be technical. | ||
| And I'm still learning that. | ||
| Even now, I'm so used to my wrestling background where it's like, go, go, go. | ||
| And I'm having to go slow, slow, slow. | ||
| Yeah. | ||
| If you've watched, like, really high-level guys go at it, one of the more fascinating aspects of it is it looks like there's very little effort being applied, you know, especially when they're sparring. | ||
| A little bit more so when they're competing. | ||
| When they're competing, you know, they're going after it. | ||
| But when they're sparring, like, a lot of times these guys are just sort of rolling around, it seems like. | ||
| They're flowing. | ||
|
unidentified
|
It's like walk, walk, walk, sprint, walk, walk. | |
| Never give the guy a position where he could sprint to the finish line. | ||
| Always make him, he's got four or five steps before he can sprint, because a regular person won't see the difference between that, between what looks like casual rolling, and even though they're casually rolling, he's always going to be two or three spots away from the finish line. | ||
| It's chess. | ||
| Yeah, it really is, and that's something that I've found when we're talking about things that inspire you creatively. | ||
| I get inspired by people who have a lot of discipline for jiu-jitsu. | ||
| I get inspired by people that are constantly creating and putting a new slant on that. | ||
| Jiu-jitsu is very much an art form. | ||
| I mean, the word martial art, it seems wrong to people that don't participate in it. | ||
| Like, the word art seems like the wrong thing. | ||
| But when you do it, you realize, like, if you watch it and you see, if you have an aptitude for it, you understand it, and you see what's going on, then you watch someone who's really good at it, it becomes beautiful. | ||
| And then it does become an art. | ||
| It is something, not just an art as far as, like, something creative, but an art, like, as in something visually beautiful. | ||
|
unidentified
|
Mm-hmm. | |
| And very, very inspirational, man, I think. | ||
| And it's also another one of those things that I think, like creating wine, like putting together a band, like putting together a comedy act, like writing a novel, like these things that we do when we put our thoughts and our creativity into something, they sort of, they don't just exist in a vacuum, but they sort of enhance all the other aspects of our life, too. | ||
| I agree. | ||
| Yeah. | ||
| And just in general, I mean, there's just that whole physical aspect of making the blood go through your system and being in shape. | ||
| You just start thinking more clearly. | ||
| You're more creative. | ||
| You can kind of you can kind of solve puzzles better if you're just if you're if I notice if I just I just need a break and I just start slouching off It starts to kind of compound if you don't get back into Something walking running. | ||
| No doubt. | ||
| Do you ever fuck around with yoga a little bit? | ||
| Yeah, I need to do more That's one of those things that I just feel like it's that that's the that's the on the to-do list that I just keep being embarrassed about having to put it on the next to-do list and Yeah, that's one of those things that everybody always says too. | ||
| I need to do more yoga. | ||
|
unidentified
|
We talk about yoga and, oh god, I need to do yoga more. | |
| And it's an absolute embarrassing reality. | ||
| I have to do more yoga. | ||
| Yeah, I have a couple good DVDs that I slap in the laptop on the road. | ||
| That's a very satisfying thing to do, to work out in a hotel room completely alone and do just a whole yoga class through a laptop when you get through it. | ||
| It's a real feeling of accomplishment. | ||
| Because I could have just ate Doritos and watched TV instead. | ||
|
unidentified
|
Which is what I did last night. | |
| Yeah. | ||
| It was actually Swedish fish. | ||
| It wasn't Doritos. | ||
| Swedish fish? | ||
| Those are rare. | ||
| When you have those nearby, it's really tough to say no to them. | ||
| That's what I'm saying. | ||
| You're like, ooh, Swedish fish. | ||
| I can do yoga or I can have these. | ||
| Well, you can do both. | ||
| That's where it gets off. | ||
| I was out of town, so when I'm in a hotel out of town and my wife, wherever she is, it's my opportunity to watch all those stupid movies that she just won't watch while I'm around. | ||
| Like what? | ||
| I watched that new Riddick movie. | ||
|
unidentified
|
I saw that! | |
| I saw that with my daughter. | ||
| She was looking at me like, what the fuck did you take me to sing? | ||
| I'm like, I'm sorry. | ||
| It's so awful. | ||
| I watched the whole thing. | ||
| It's so bad! | ||
| I watched the whole thing. | ||
| Yeah, it was one of the worst movies. | ||
| Laughing the whole time. | ||
| Laughing at myself, knowing that she's probably laughing, knowing that it sucks so bad, and here I am watching the whole thing and just laughing at myself for watching. | ||
| The craziest thing is the first one was really good. | ||
| You know, and I tried to explain that to my 17-year-old after we saw it. | ||
|
unidentified
|
Which one? | |
| I was like, the first one was good. | ||
| Near Dark. | ||
| It was a good fucking movie. | ||
|
unidentified
|
It was scary. | |
| And that is a good, scary science fiction movie. | ||
| But somewhere along the line, what is this? | ||
| Number four? | ||
| Four, I think? | ||
| I can't tell you how many times I've watched Chronicles. | ||
| Is Chronicles good? | ||
| I don't... | ||
| Well, my wife doesn't think so. | ||
| LAUGHTER There's something going on now, man, with science fiction movies where there's so much CGI and they can get away with doing so much on the screen visually that I'm detached. | ||
| I went to see Star Trek, the last Star Trek one, Into the Darkness, whatever the fuck it was. | ||
| And I was like, this is just a bunch of things happening. | ||
| I have no connection at all to any of these people. | ||
| The first one I was pretty connected with. | ||
| Not bad, yeah. | ||
| But the last one was just like, just a series of things happening in front of you where you don't give a fuck. | ||
| Right. | ||
| You know, it's just... | ||
| They're almost... | ||
| Well, I guess, you know, it comes down back to the art. | ||
|
unidentified
|
Yeah. | |
| If you see somebody... | ||
| Taking even a mediocre script and just running with it. | ||
| When you see an artist kind of taking those, being able to tell those stories to where you just believe it. | ||
| I don't know if I used this example with you last time, but I just saw it again this season of Sons of Anarchy, watching Kim Coates fully get an erection over Alton Goggins in drag. | ||
| And it's just, you know, it's, you know, Walton Goggins has fake tits, and he's, you know, like, a mask, and he's trying to get his son back, and, you know, the lipstick's all smeared, and, and, like, you know, Kim Coates is trying to figure out how he's gonna date this dude. | ||
| It's just such an awkward, but they completely sell it, like, like, all the way, you're, you're convinced, like, that, he loves her. | ||
| And it's like, not a her, it's Walton Goggins, and a, and with fake boobs. | ||
| There you go. | ||
| That's hilarious. | ||
| I haven't given that show a chance. | ||
| Try to find a shot of Kim Coates staring at him-her. | ||
| It's incredible. | ||
| Now, is he supposed to be a transsexual or a transgender or a transvestite? | ||
| I think she still has her previous equipment, but also has tits. | ||
| So, are the tits, those are implants or are they hormones, implants? | ||
| I don't know. | ||
| They don't specify. | ||
| They don't really say, I don't think. | ||
| Yeah. | ||
| The only thing that'll throw you off with those things is the dimple size. | ||
| Men generally don't have the right nipples for boobs like that. | ||
| So when you see them, and they used to be a man... | ||
| Can I go? | ||
| I'm just trying to give you advice, bro. | ||
| If things get dark, don't get sensitive. | ||
| If shit gets weird, the transgender community is there for you. | ||
| You sound like you've done a lot of research on this. | ||
| I have, unfortunately. | ||
| I'm fascinated by gender identity. | ||
| I'm fascinated by people who decide that they... | ||
| Well, then you'll love... | ||
| And you can see why they brought... | ||
| There he is. | ||
| He's got his arm around it now. | ||
| Wow. | ||
| That's awesome. | ||
| But you can see why, when it first came up, they were just using this tranny to blackmail the dude. | ||
| And even in that scene, the character Tiggs, Kim, was so distracted by what was... | ||
| They were supposed to just be doing his job. | ||
| And he was so fascinated with this person. | ||
| And you could see why the writer put him back into a later season. | ||
| Because anybody who's watching that show went... | ||
| Bring her back. | ||
| That was awesome. | ||
| And now he's now... | ||
| Oh, wow. | ||
| Oh, wow. | ||
| How did they do that? | ||
| So that's the dude from The Shield. | ||
| Yeah. | ||
| Oh, that's hilarious. | ||
| Yeah, and Justified. | ||
| I'm missing out. | ||
| I need to start. | ||
| He's one of my favorite actors. | ||
| But I think he's a great actor. | ||
| That dude can act his ass off. | ||
| He was fantastic in The Shield, too. | ||
| Aren't they on, like, season... | ||
| What's season? | ||
| Like, six or seven? | ||
| Yeah, I can't catch up now. | ||
| It's too late. | ||
| It's just daunting. | ||
| It's too much work. | ||
| Sons? | ||
| Yeah. | ||
| I don't know. | ||
| I can't... | ||
| Do you watch anything else on TV that's stupid? | ||
| No, because I mean, I watch all kinds of stupid shows, but I'm always looking at, like, if I find out there's an actor that I like... | ||
| In a thing. | ||
| I want to see how they're dealing with the puzzle they've been dealt. | ||
| That's kind of like why I'm even watching it. | ||
| I just want to see... | ||
| The craft of... | ||
| Or you hear a rumor of like, watch this fucker unravel. | ||
| Because you can... | ||
| This particular actor is having some issues, so you'll want to watch the show to watch if you can see if you can get a whiff of the crazy coming off them. | ||
| Like, what do you mean? | ||
| Maybe they're getting into pills or something. | ||
| You seem just trying to hold it together. | ||
| Two episodes later, there's a new character that could potentially take over that person's position. | ||
| Oh, that's funny. | ||
| Building an end of the script to go, okay. | ||
| So you add the background. | ||
| You add a little flavor. | ||
| Yeah, just to see how that's going. | ||
| Well, that's a common issue, especially the pills. | ||
| Yeah. | ||
| Poor fucks. | ||
| Yeah, and it's hard to, you know, I have a lot of friends that go through that kind of stuff, and that's one of the hardest things to get out of your system. | ||
| You'd probably rather, you know, you're better off trying to get off heroin, because the pills just go deep. | ||
| Yeah, well, the pills essentially are heroin. | ||
| I mean, that's what they are. | ||
| They're opiates. | ||
| And they leave a lot, they just do damage. | ||
| Yeah. | ||
| Major damage. | ||
| And they prescribe them like they're giving out free gum. | ||
| I mean, it's amazing how many people are on prescription painkillers in this country and how many of those painkillers are opiates and how many of those people are addicted to those opiates. | ||
| We're fucking weird when it comes to that, man, without a doubt. | ||
| That's one of the most disturbing aspects of our society, the amount of pills that people consume. | ||
| You know, it's dark, and when you see someone that you care... | ||
| It kind of started, right, kind of, you know, like about a generation before us with the Valium, all of a sudden. | ||
| Sure, the Rolling Stone song, Mother's Little Helper. | ||
| Yeah, she goes running for the shelter. | ||
| Yeah, that's when they first found out that you could live a shitty life and get through it with some sort of medication. | ||
| And just medicate yourself and dull the angst and dull the desire to free yourself from this fucking hellish existence. | ||
| Or just go do something. | ||
| You could definitely do that too. | ||
| Just go do something. | ||
| Yeah, I wonder how long it's going to take society to figure that out as a whole. | ||
| So that'll be a thing of the past. | ||
| Do something without expecting to be compensated for. | ||
| Just do it because you want to do it. | ||
| Yeah. | ||
| No, that's great advice. | ||
| For some people, I think they have a hard time finding something that they actually enjoy doing, too. | ||
| Well, you're so conditioned to want stuff, to have the fluff around it from the glory days or whatever. | ||
| You forget to just work harder for less, to just enjoy what you do. | ||
| You have children now. | ||
| I have a son who's 18. What is it like seeing someone who you created who's about to enter into this crazy world as an independent? | ||
| I mean, he's essentially on his way to being a man. | ||
| 18 is basically at the launching block of manhood. | ||
| Well, you know, He's way smarter than I am. | ||
| I don't have any worries about him finding his way. | ||
| He's intuitive. | ||
| He's personable. | ||
| He is good at understanding social dynamics, but he's extremely smart. | ||
| He wants to go into chemistry and biology. | ||
| But he's also an incredible cello player. | ||
| Wow. | ||
| He got a scholarship to play cello for a performance of high school for cello. | ||
| But he's not going to pursue cello for his college. | ||
| That's just an extra thing he does and he rocks at it. | ||
| So I don't have any... | ||
| I guess part of it is when you... | ||
| My parents or my dad is just a very active person. | ||
| Very smart man and And healthy. | ||
| And so when I see him, when you know, when you kind of know where you've been, you know where you're going. | ||
| So I have a feeling that just having my son see what I did, see what my dad has done, he has, in a way, he has a good compass, good navigation skills. | ||
| Yeah, the only concern that I have, the big concern, is that Children today are growing up with so many more variables than we ever did and Also much more potential for quicker learning because of the internet and and with that Again more potential more more possibilities more variables more things to think about it's like more more that could potentially be overwhelming right and I think most kids are I think there's like you know just my father | ||
| was a high school teacher and by the time he retired it was basically because They kind of pushed him out to get into a new person who wasn't going to question the curriculum. | ||
| He was very adamant about making the people who came into that classroom. | ||
| You had to make an effort in his classroom to pass the class. | ||
| You couldn't coast. | ||
| It wasn't anything. | ||
| It was like a... | ||
| Multiple choice questions. | ||
| You were answering the questions. | ||
| And you had to know the material. | ||
| And you had to be on time. | ||
| You had to put in, over the course of the year, you were also doing homework and coming in with completed thoughts that counted towards your grades. | ||
| And if you didn't complete all aspects of that in his class, you didn't do well. | ||
| Yeah, if there's any one thing that you can instill in a child that's going to guarantee them a healthier existence is an appreciation for work, an appreciation for accomplishing things, setting and accomplishing goals. | ||
| So few kids are ever indoctrinated into that sort of way of life. | ||
| We didn't get to school unless he got up at 6am and snow-blowed the driveway in the winter. | ||
| We weren't going to work. | ||
| Where did you guys live? | ||
| Boston? | ||
| Michigan. | ||
| Michigan. | ||
| Yeah, I lived in Boston. | ||
|
unidentified
|
Same sort of situation. | |
| Our driveway was almost a quarter mile long, so if we didn't snow blow the driveway, we weren't getting to the main road that was hopefully plowed. | ||
| A quarter mile? | ||
| Of snow blowing. | ||
| Holy shit. | ||
| Well, luckily it was snow blowing and not shoveling. | ||
| Yeah. | ||
| Motherfucker. | ||
| Yeah. | ||
| A quarter... | ||
| And you're dealing with some serious snow up there. | ||
| Yeah, because it's on Lake Michigan side, so you get a lot of... | ||
| Oh, God, it's fucking cold. | ||
| My senior year, we had seven days of school in January. | ||
| What? | ||
| That's hilarious. | ||
| The blizzard would hit on Sunday or Monday, and boom, dawned until Thursday. | ||
| Tell me, though, how awesome were snow days growing up? | ||
| That's one thing people in California, Arizona... | ||
|
unidentified
|
HBO, Mountain Dew, and Red Licorice. | |
| I used to look out that window, and if I saw a foot on the car outside, I'd be like, fuck yeah! | ||
| And then you would call that number. | ||
| It was a number. | ||
| They would list off the different towns where school was canceled. | ||
| And if they got to Newton, I would go, fuck yes! | ||
| It was just this huge free day. | ||
| Yeah, that was a beautiful thing. | ||
| It was also the thing that I really appreciated a lot about growing up in a really fucking cold place. | ||
| Despite, on top of learning that, you know, there's a good to having really fucking cold, snowy days, and that's you really appreciate the sunny days with a different vigor, you know? | ||
| Seasons. | ||
| Yeah, but there's also the quiet. | ||
| There's a weird quiet when everything's covered in snow. | ||
| That I don't think anybody will ever appreciate unless they experience it. | ||
| Oh yeah, it's amazing. | ||
| When you're out there and it's like a full-on snowstorm and there's just a foot and a half of snow on the ground, the trees are covered with snow, you don't hear shit. | ||
| It's this weird, eerie, ringing silence. | ||
| Yeah, because if it's a rainstorm, of course you're hearing rain. | ||
| Yeah. | ||
| But just that floating snow, big chunks coming down, it's almost like an incredible sound barrier. | ||
| Yeah. | ||
| Which just absorbs everything and you're just like, you're such like an isolation tank. | ||
| Yeah, you hear like every now and then you hear like a car in the distance trying to get out of a driveway. | ||
| Or your neighbor yelling, fuck it won't start! | ||
| Yeah, I grew up in this area that was across the street from a river, and it was a fairly rural area, and this giant park and a river was across the street from my house, and the street was pretty steep, and every time it would snow, or especially if it would rain, the street would become a hockey rink. | ||
| And I would watch cars drive down the hill and just right when they got to my house, they'd be losing control. | ||
| Just bouncing off curbs. | ||
| I think there's something to learn about that. | ||
| And there's something about dealing with weather that I think is healthy for a person. | ||
| Healthy for your character. | ||
| And I haven't driven a car in snow. | ||
| In, you know, decades, like, for any length of time. | ||
| But in Jerome, we get snow in the winter. | ||
| And it's amazing to me how people just cannot drive in it. | ||
| We get it every year, you know, a little bit, sometimes a lot more. | ||
| But having to, like, I immediately just get in my Jeep and I go up to a point in the town where it's the problem spot and just park and wait because there's somebody that can't get up the hill or around the bend because they just can't understand not to slam on the gas. | ||
| So you park and wait to help people? | ||
|
unidentified
|
Yeah. | |
| Really? | ||
| Because, well, I'm helping, you know, I'm not, don't, you know, I'm not, there we go. | ||
| It's just that one of those ones where they do the crash thingy. | ||
| Not because I'm like some kind of, you know, helping hand type guy. | ||
| Oh, Jesus, look at this. | ||
| Oh, Jesus Christ. | ||
| That guy's getting... | ||
| The cool thing about accidents in the snow is they just sort of bump into each other and slide around. | ||
| No one's glued on the ground, so it's not the same kind of impact. | ||
| Well, you know, I go up there to help them out just because I know if I don't, there's going to be like 20 cars behind them that can't get where they're going. | ||
| So it's just more a matter of bringing a plunger to the shit show. | ||
| There's a certain amount of camaraderie, too, when things like that happen. | ||
| Snow and people have to help push people's cars out of spots and things like that. | ||
| That's another thing that people don't deal with in L.A. The lack of weather in L.A. is, I think, one of the reasons why people are so cocky. | ||
| Because they never get humbled. | ||
| This isn't even fucking rain here. | ||
| You know, I remember after the earthquake in 94, it's just when I moved here, in 93, whatever it was, I moved here right after that happened. | ||
| And I remember people were so nice. | ||
| They were so humble. | ||
| It was a weird thing. | ||
| It was like it brought people together for a little bit. | ||
| That was a weird, that was a strange experience to be, you know, I was all, you know, like Steve Martin the jerk out in the backyard with my dogs in front of me, like, you know, like, Hearing the trees just like creaking. | ||
| Around and all the car alarms, like a symphony of car alarms going off. | ||
| It was crazy, like hearing the glass shatter everywhere. | ||
| Yeah. | ||
| Freaked me out. | ||
| Yeah, I missed it. | ||
| I came right after it happened, but I got caught in one of the bigger aftershocks. | ||
| I was in an apartment on North Hollywood, and my apartment moved around. | ||
| The best way I could describe it is if it was a refrigerator box. | ||
| It just went side to side, side to side, side to side. | ||
| It was made out of nothing. | ||
| And I was just going, holy shit. | ||
| Were you up by, like, Blankersham, Vineland, and Camarillo right there? | ||
| Yeah, yeah, yeah. | ||
|
unidentified
|
That's where I was. | |
| That's where I lived. | ||
| Oh, no kidding. | ||
| Right behind the blockbuster there by the Firestone. | ||
| Yeah, I was, like, just, I guess it would be just east of Laurel Canyon, like, deep down, like, Moorpark. | ||
| I was on Moorpark. | ||
| Yeah, you weren't that far from me. | ||
| No, that fucking thing was just... | ||
| I was outside nude with my dog as a Merkin. | ||
| Freak the fuck out. | ||
| Yeah. | ||
| And there was that feeling about, like, Los Angeles then, where people were humbled. | ||
| You know, they were, like, a little nicer to each other. | ||
| And I felt it again in New York right after September 11th. | ||
| I remember I lived in New York in the early 90s, and then... | ||
| When I went back to New York, I remember, like, California, I'm thinking that people in California were, like, a lot more mellow and nicer than people in New York, and people in New York always had that sort of hard edge to it. | ||
| But when I went after September 11th, that edge was gone. | ||
| There was this warmth to people in New York and a friendliness that I hadn't ever experienced here before. | ||
| I was like, this is really interesting. | ||
| I'm like, there's a real tangible positive impact That this tragedy has had. | ||
| It's that people are appreciating each other more. | ||
| People are appreciating. | ||
| Yeah. | ||
| I think, you know, it's almost like people need perspective. | ||
| They need to see negative to appreciate positive. | ||
| You need to see those shitty Michigan winters to appreciate a good summer day. | ||
| In California, every day is a great summer day. | ||
| Today was a great summer day. | ||
| It's fucking November 4th. | ||
| It's 82 degrees outside. | ||
| You know, we're a little spoiled when it comes to that. | ||
|
unidentified
|
Mm-hmm. | |
| People need nature. | ||
| They need to see it. | ||
| They need a fucking rainstorm to just kick your ass just to let you know this fucking thing can come down on you at any time. | ||
| Of no point. | ||
| That's where it ends. | ||
| I liked it. | ||
| That's true though, right? | ||
| I think that's the one curse. | ||
| It's almost like being born rich. | ||
| You never have to deal with adversity in California. | ||
| There's a lack of appreciation for the fact that you're actually on a planet. | ||
| That you're actually a part of nature. | ||
| There's no seasons here, so you don't really get the chance to see that change. | ||
| What a perfect place to put the factory of all things fake. | ||
| If you really wanted to think about a great way to fuck up a culture, just take a spot where the weather never changes and then put cameras on people and pretend they're interesting. | ||
| Pretend they're amazing. | ||
| Give them lines to say that they're way too fucking stupid. | ||
| Oh yeah! | ||
| Convince them. | ||
| Give them cocaine. | ||
| Give them tons of money for pretending. | ||
| Confuse the shit out of everybody. | ||
| Make it so that they get in line first at the clubs. | ||
| Everybody lets them in. | ||
| They throw velvet carpets down and they walk on them and everybody cheers. | ||
| Confuse the fuck out of everybody. | ||
| Right. | ||
| This is the spot. | ||
| And by the way, it never rains. | ||
| And it never rains. | ||
| It rained in Arizona this year. | ||
| Did it? | ||
| Yeah. | ||
| Got a lot of good rain. | ||
| Yeah, Arizona doesn't get much props, man. | ||
| It's not like when people talk about the cool spots in this country. | ||
| Arizona doesn't get much props. | ||
| Unless you're on, you know, unless you're on a vision quest. | ||
| Unless you're on a vision quest. | ||
| Unless you're looking for some solid peyote. | ||
| Yeah. | ||
| Some San Pedro cactus and a good sweat lodge. | ||
| That's for you. | ||
| Try to find your spirit. | ||
| That's for the kids. | ||
| That's for the kids? | ||
| I don't fuck with that peyote. | ||
| I've never fucked with peyote. | ||
| I've heard mixed reviews. | ||
| Um... | ||
| You know, maybe. | ||
|
unidentified
|
Maybe? | |
| I had a bald friend who had a good experience on it. | ||
| Oh yeah? | ||
| Did he look like you? | ||
| A little bit. | ||
| Not then. | ||
| Not right then. | ||
| Yeah, I've been more of a mushroom guy myself. | ||
| Mushrooms and tryptamines. | ||
| But, uh, hey, I would snub my nose at no peyote. | ||
| Peyote's a weird one, too, because you can actually own, legally own the cactus. | ||
| Not just own it, but you can buy it at hardware stores. | ||
| You can go to Home Depot and get San Pedro cactus. | ||
| I'm pretty sure that's how you make it, right? | ||
| I don't know. | ||
| I was with, uh... | ||
| I was with some indigenous people who invited me into their ceremony, so it was quite a special moment. | ||
| Yeah, I have no personal experience, but I have one friend that did it and said that he was In an apartment building and he was listening to people talk that were easily five blocks away. | ||
| And he was listening to every word out of their mouth. | ||
| And he couldn't believe that he could hear it, but he was absolutely sure that he could hear it. | ||
| God bless him. | ||
| God bless peyote. | ||
| He woke up with one of those orange cones stuffed in his ear. | ||
| I don't think he did. | ||
| No, he woke up trying to figure out whether or not it was a dream. | ||
| That's the problem with those hallucinogenic experiences. | ||
| Even if it's an incredible, beneficial experience, there's that wrestling match where you're like, was it real? | ||
| What was that? | ||
| And I try to get people to look at psychedelic experiences as this way. | ||
| Whether it was real or whether it wasn't real, the experience was exactly the same. | ||
| So if you took mushrooms and truly did go to another dimension and communicate with ultimate knowledge and tune into the love of the universe, tune into the frequency of life and of progress and Or, whether it happened in your mind, it's still the same experience. | ||
|
unidentified
|
Right. | |
| But, you know, if people are going to do those things, I think it goes back to what you were talking about before, about understanding, you know, preparation for this thing you're going to do. | ||
| Having respect for it, too. | ||
| Yeah, having absolute respect for it and understanding what you're getting into and understanding when you get, you know, wherever you go. | ||
| Understanding how to handle... | ||
| Just finding a center in yourself that can handle what it is you're seeing and try to stay out of fear. | ||
| Stay in the moment. | ||
| Stay away from fear. | ||
| And just prepare. | ||
| If you're going to do those kind of things, just prepare. | ||
| For the journey. | ||
| Prepare for the journey and learn how to let go. | ||
| And if you are going to do those things, do it hopefully with somebody who knows what the fuck they're doing. | ||
| Because if you start messing with that stuff and neither one of you know what you're doing, you're both going to be under that fog of fear. | ||
| Right. | ||
| You're both going to be terrible. | ||
| But if one guy's like, dude, trust me, I've been here before. | ||
| I know how to get out of this neck of the woods. | ||
| Right. | ||
| You're going to be okay. | ||
|
unidentified
|
Right. | |
| How much benefit have you had personally from psychedelic experiences? | ||
| I didn't, you know, I didn't really do a lot of it. | ||
| Compared to people that I knew that did a lot of it and didn't make it out. | ||
| Didn't make it out? | ||
| There's a lot of guys, you know, you know, you've met them. | ||
| You've met those kind of people that just, they didn't quite make it out. | ||
| And it's kind of twisted them for life. | ||
| How many people do you know like that? | ||
| Dozens. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| Holy shit. | ||
| Just, you know, they're just not, they're never going to, just because of the whole nature of how it breaks down some of those barriers between your left and right brain, just metaphorically, you know, just how you think about your creative processes. | ||
| They can never quite get their feet back on the ground to understand what it means to actually do a thing, rather than just, you know. | ||
| Imagine a thing. | ||
| So you know dozens of people like that? | ||
| What was it? | ||
| Was it like a series of trips or was it like... | ||
| They just did too much. | ||
| Too much. | ||
| Too much, too long. | ||
| Just lived in that world for too long? | ||
|
unidentified
|
Yeah, that is a problem. | |
| And didn't prepare. | ||
| Again, didn't prepare for what they were going to do and see. | ||
| McKenna always had the best advice when it came to psychedelics. | ||
| Large doses infrequently. | ||
|
unidentified
|
Yeah. | |
| Right. | ||
| And prepare. | ||
| Yeah. | ||
| Prepare and don't do it all the time. | ||
| Do it and then process. | ||
| Figure out what can you get out of this. | ||
| Again, it's contrast. | ||
| Whatever journey you took, even if it's not on the psychedelics, even if it's just some entire... | ||
| You're going to go for a month to be silent in some... | ||
| You know, some spiritual place and introspection and, you know, do a fast or whatever. | ||
| You don't want to do that like, you know, 12 months out of the year. | ||
| They don't have any contrast with anything. | ||
| Just go do it, get intense about it, prepare for it before you go, and then be ready to take a while to come out of it when you are coming back, and then you live your normal life. | ||
| Do you feel like when you're creating wine or when you're putting together a DVD or when you take on a project that you're kind of on a journey like that as well? | ||
| Absolutely. | ||
| Everything that I've done, there's been some element of preparation attached to it. | ||
| It's not something I just dive into. | ||
| And then every time those things are accomplished, there's this feeling of reinforcement of the process. | ||
| Yeah, I mean, you know, everybody has a way to trick themselves into thinking they're right, or, you know, kind of consistently put a particular process in to get some result back that reinforces the behavior. | ||
| But, you know, aside from that, if you're just preparing... | ||
| There's definitely a satisfaction coming from even the happy accidents along the way, things you learned that you didn't think you were going to learn, stuff that was actually a challenge that you hadn't prepared for but you managed to get through. | ||
| Those are the kind of things that really make those results satisfying. | ||
| Do you intentionally seek inspiration like through books or through documentaries or anything? | ||
| Not intentionally, but just, you know, I'll be reading a book or an article or seeing a film and somebody will use a word that resonates on some level and I go, ooh, I'm going to write the word down. | ||
| Then I might build something on that word. | ||
| But not right now. | ||
| It could be two years from now that I've come back to that word. | ||
| Right. | ||
| So it's just following your own curiosity or interests, and that eventually leads you to inspiration. | ||
|
unidentified
|
Right. | |
| I mean, if you're into physics and just geometry and general chemistry, there's these structures that are already there in terms of the relationships between numbers and shapes and angles and just molecules. | ||
| And they're very similar in respect to just emotional experiences, just life experiences, even just the journey from an infant to an elderly person. | ||
| There's very common angles and structure and commonality between those experiences that can resonate. | ||
| So if I see a word That for some reason resonates with me at the age of 35 or 40. I write it down right away because most likely there's some kind of geometry or resonance with that word that's speaking to me at this age in this stage of my life that I should pay attention to. | ||
| So I'll write it down and I'll see, I'll explore more to see if it is in fact something that wouldn't be relevant when I was 20, might not be relevant when I'm 60, but it's relevant now. | ||
| So I'll look at it and I'll build on it. | ||
| Yeah, that's an interesting thing about getting older and the ideas that you come across, these ideas are sort of cross-referencing with these other experiences that you've had in your life up to this point now, and now it resonates. | ||
| Now it makes sense. | ||
| Whereas at 21, it didn't mean a damn thing to you. | ||
| A documentary on a guy making sushi when you were 21 would be like, what the fuck am I watching? | ||
| But when you're 41, it's like, oh, okay, this guy's kind of obsessed with this art. | ||
| There's something to this. | ||
| This guy's making swords. | ||
| Look, he's folding the metal. | ||
| I watched a whole documentary on this guy making traditional-style samurai swords and the incredibly intensive, laborious process involved in folding steel, hammering it down, folding it, hammering it down. | ||
| Fascinating shit. | ||
| Yeah. | ||
| And that, like everything else, it's all just... | ||
| There's no skipping any steps in that. | ||
| Impossible. | ||
|
unidentified
|
Weaving a rug properly. | |
| Yeah, making your own fucking clothes out of thread. | ||
| Weaving threads together. | ||
| They had to do that. | ||
| That's what they did. | ||
| There's no other way. | ||
| I watched this... | ||
| A documentary on indigenous tribes, Inuit tribes, creating fishing nets, and that it would take them a year often to create one net. | ||
| A fucking year! | ||
| You better have a couple already made. | ||
| Yeah, you have to have a couple already made and, you know, that's the way you're eating. | ||
| That's the way these fucking people are going to eat. | ||
| It goes back to those subsistence shows that I'm absolutely fascinated with. | ||
| There's this one that I've been watching now. | ||
| It's called Life Below Zero. | ||
| And it's just these different families, families or individuals who live up in Alaska and then go from one to the next and follow these people in this one tribe that's... | ||
| A man and a woman. | ||
| And the woman is a native Inuit woman. | ||
| And the man is American from the lower 48. And they have children together. | ||
| And, you know, like they've lost family members because they fell through the ice and died. | ||
| I mean, this is like, this is real shit. | ||
| This woman who's, they're walking across the ice and they're like knocking holes into the ice to make sure that it's Deep enough for them to walk with their children and they're gonna put this net down underneath this ice and feed it to each other on the other side of the river and they're gonna catch fish and that's how they're all eating. | ||
| And there's no other way to eat. | ||
| And this is what they do. | ||
| And that's their life. | ||
| And there's something about it that's so fucking terrifying to you. | ||
| That just shut me down. | ||
| Yeah. | ||
| That sounds cold. | ||
| Oh, it's fucking cold as shit, man. | ||
| You know, this woman had lost two family members. | ||
| She'd lost one of her sisters and I think one of her brothers. | ||
| Or maybe a cousin or something like that. | ||
| I was just going to reach for a sweater. | ||
| Yeah. | ||
| It's wild shit, man. | ||
| But to them, that's life. | ||
| That's what they're doing. | ||
| That's their existence. | ||
| Laughing while they're doing it. | ||
| I guess people just adapt and get used to it. | ||
| But there's also this... | ||
| Intense spiritual connection with their food that way. | ||
| You know, when they're pulling these fish out of this water and they're grabbing hold of it and making sure it doesn't fall back under the ice, like, there's this intense connection between this animal, this creature that they just caught. | ||
| We don't really ever get, and when they eat that animal, there's also this intense feeling of satisfaction that goes with that, this substance living. | ||
| Very intense, man. | ||
| We've lost touch with that because we have so much available to us, no matter where we look. | ||
| We've got food, clothing, shelters pretty much readily available. | ||
| We've gotten a little lazy on that kind of stuff. | ||
| A lot lazy. | ||
| And I think it's a lot like what we were talking about in Los Angeles. | ||
| I mean, Los Angeles is too goddamn easy. | ||
| There's no weather. | ||
| You know, there's no weather. | ||
| It's simple. | ||
| Go to the supermarket. | ||
| Everything's spelled out for you. | ||
| Soft life. | ||
| Soft life creates soft people. | ||
| We've got to figure out a way to fix that. | ||
| What's the way, dude? | ||
| Um, yeah. | ||
| Reset. | ||
| The only way, I think, is for people to figure it out on their own. | ||
| To be inspired by people who have figured that out? | ||
| You know, this marble is way smarter than we are, so when it decides that there's any even, you know, if the kids get a little too cocky, it'll toss a few tidal waves or toss a few meteors at it. | ||
| Just to reset. | ||
| It'll just reset, and you'll go back to having to figure out what to do with your time not having your PDA. Yeah. | ||
| I've always wondered if that's what it did with the dinosaurs. | ||
| If the earth looked at the situation and was like, mm, god, this is a mess. | ||
| No one's gonna figure that out. | ||
| No one's gonna stop that. | ||
| They're stupid as fuck and they don't have to get smart. | ||
| They kill everything with their face. | ||
| They weigh 50,000 pounds a piece. | ||
| Right. | ||
| Alright. | ||
| You know what? | ||
| It's time to throw an eraser their way. | ||
| Yeah, I agree. | ||
| I think that's probably the case. | ||
| Eventually, how dependent we are on just everything digital and electrical, just a simple, naturally occurring electromagnetic pulse will just fucking ruin people's lives. | ||
| Yeah, one big fat solar storm that erases everybody's Kindle. | ||
| Yeah, done. | ||
| And go try to find a book now. | ||
| A hundred years from now, try finding a book. | ||
| Books would be like records. | ||
| It would be like trying to find vinyl today. | ||
| I make vinyl. | ||
| Do you? | ||
| Hell yeah. | ||
| Everything. | ||
| A few people do, right? | ||
|
unidentified
|
Yeah. | |
| It's still pretty common. | ||
| We try to do everything. | ||
| There are only a couple of things I've released with Full Surface that haven't come out on vinyl because they're just digital, but pretty much everything. | ||
| Even the remixes we do, we'll do vinyl for it too. | ||
| Well, there's a weird push now for not even just a digital copy of something, but in the cloud, to leave everything in the cloud. | ||
| Like, have you seen these new Google Chromebooks? | ||
| They barely have a hard drive. | ||
| Everything's in the cloud. | ||
| You're accessing your data. | ||
| And I'm not being like, you know, Grandpa trying to hang on to his... | ||
| Macs or 8-track tapes or anything like that. | ||
| I mean, I honestly just like, I keep, when I download stuff off iTunes, I have like a hard drive and I just can't let go of the idea of like, just deleting it all and getting it later when I want it because, I mean, are we really going to watch those CSI Miami episodes again? | ||
| Probably not. | ||
| Probably not, but you feel better if they're sitting in a metal box on your desk. | ||
| I paid for them, so why don't I have them somehow near me? | ||
| I'm not willing to accept the idea that everything's in the cloud and that it's secure either. | ||
| That's the other thing. | ||
| They want you to put all your photos in the cloud and contacts in the cloud. | ||
| That stuff, I was like, nah. | ||
| I don't believe you. | ||
| Think about it before you print this photo out. | ||
| Fuck you. | ||
| I'm not going to have this photo if something crazy happens like that and it's lost. | ||
| Yeah, and also the latest revelations that the NSA tapped into the Google Cloud and basically accessed everything that was up there, which is, you know, Google's all pissed off, but come on, you didn't see that coming? | ||
| You know, aren't you guys at the front of the line? | ||
| Don't you know what's possible and not possible? | ||
| Personal Ventress? | ||
| You seen that show yet? | ||
| No, what's that? | ||
| I've seen it before. | ||
| What is it? | ||
| It's Everything You're Talking About. | ||
| It was a show that just started, you know, a couple seasons ago, like maybe the third season or second, third season I think now. | ||
| Ben from Lost is on it. | ||
| Oh really? | ||
| Yeah, and it's all about him having been the engineer of this computer that was predicting national threats. | ||
| And it takes everything. | ||
| It takes every camera, it will access any camera that's in the system, the cameras on your phones, every microphone, and it puts together all of this data looking at all the digital information. | ||
| And predicts, like, international threats. | ||
| But the trick, you know, the whole trick of the story is, like, nobody really knows about this thing at all. | ||
| It's so self-contained that it inserts this information into studies or, you know, when they're looking at somebody. | ||
| That was two weird people. | ||
| That was Ben from Lost and Jesus. | ||
| That was Jim Caviezel. | ||
| Yeah. | ||
| The Passion of the Christ? | ||
| Yeah. | ||
| That fucking nutty dude? | ||
| That dude thought he was Jesus. | ||
| Is that Candy Alexander in the back? | ||
| No way. | ||
|
unidentified
|
Benjamin Button's mom. | |
| Oh, okay. | ||
|
unidentified
|
Wow. | |
| So good? | ||
| You recommend this? | ||
| It's funny because everything about what this show is all of a sudden came out with all this NSA spying. | ||
| They're like, that's what they're doing already. | ||
| So this show is like kind of being a cutting edge thing, like going, oh, there's this supercomputer doing all this stuff, and they're looking through the cameras, and they're gathering all the information, and all of a sudden you go... | ||
| No, no, they're doing that right now. | ||
| This is not a stretch. | ||
| This is not a supernatural show. | ||
| This is actually happening. | ||
| Well, it went from being something that a guy like Alex Jones would rant and rave about to the reality of the day. | ||
| And it happened within like... | ||
|
unidentified
|
Right. | |
| You know, I mean, everybody sort of just realized, like, oh shit, like, everything you've ever emailed somebody actually is somewhere in a database. | ||
| That is the facts. | ||
| That's the world that we live in now. | ||
| This isn't science fiction anymore. | ||
| That off-color photo you sent me? | ||
| Dude, I told you that wasn't real. | ||
| What do you... | ||
| Does that freak you out? | ||
| What do you think this is going to lead to? | ||
| This dissolving of privacy? | ||
| I don't know. | ||
| Part of me says I'm not really that important that I'm too worried about anybody looking at what I've got. | ||
| You know, the government sifting through my crap. | ||
| There's nothing of... | ||
| Yeah, I agree in that personally, but I also see it as something that's very different than I think what people are realizing. | ||
| I think everybody's worried about their personal privacy and people are worried about... | ||
| Not just their personal privacy but the government being able to access their personal privacy and to be able to look into their photographs and read their emails and I get all that but I think that ultimately what we're dealing with is a dissolving of boundaries between people and information and that it's going to be some there's going to be some breakthrough one day Whether it's some ability to read minds or some new | ||
| way of connecting people, some new way of separating boundaries, that's going to make this seem like a joke. | ||
| That this is just basically one more step in this never-ending trend of dissolving of boundaries. | ||
| I don't know. | ||
| Again, I don't know. | ||
| The other side of me is like, don't be looking at my emails. | ||
| That's just my personal stuff. | ||
| There's nothing of interest there for you. | ||
| I think I've done my part for society. | ||
| Why are you looking at my bung? | ||
| Yeah. | ||
| I think the people that are doing it too, that's one of the weirdest things. | ||
| This Edward Snowden thing, when it came out, it was... | ||
| They were trying to discredit him, and they're like, this high school dropout, Edward Snowden. | ||
| And you're like, wait a minute, man. | ||
| Didn't you guys hire him? | ||
| Like, you're making fun of him now, but this is your fucking employee, man. | ||
| And he's telling everybody that he had access to everybody's email. | ||
| Not just encrypted, but could actually fucking read them. | ||
| It wasn't just metadata. | ||
| He could actually go and read your emails. | ||
| And he was a high school dropout? | ||
| Like, who else is working for you guys? | ||
| Who gets these jobs? | ||
| How do they get these jobs? | ||
| The questions... | ||
| The questions are just leading to this weird ultimate reality, which is that the trend seems to be, across the line, this dissolving of boundaries between people and ideas and people and information. | ||
| And then eventually everyone's going to have access to everything. | ||
| It seems that that is the trend. | ||
| And again, I think that that's, you know, I get caught up in the idea of like, Well, maybe this is part of some, you know, this might be just our tendency to do things. | ||
| You know, this is what we do to control people, you know, just through the ages. | ||
|
unidentified
|
Power, you know, power wants more power. | |
| But at some point you have to wonder, like, so is that choice and the dominant, you know, whoever's in charge, that's a tendency of whatever we are, whatever makes us up. | ||
| Is that an extension of what, again, going back to the marble, Is that what the marble wants? | ||
| In some way, is that consciousness just trying to sort some things out and take us to the next step? | ||
| You know what I mean? | ||
| I have no answers to that. | ||
| I'm just saying... | ||
| Of course not. | ||
| I started asking those questions of like, okay, so what's the... | ||
| How would I, you know, if I was David Koresh, how would I rationalize that perspective? | ||
|
unidentified
|
Yeah. | |
| So think like a crazy person who comes up with some awesome rationalizations to justify the actions. | ||
| And then try to go the other way. | ||
| Try to be more like the paranoid, opposite, defensive, reasonably defensive person who wants to know what the fuck do you need to see in my emails? | ||
| I don't understand why that's important to you. | ||
| I try to look at it as someone who's analyzing the human beings as a complete alien outsider, looking at us collectively as a group, which is what we move as a group. | ||
| We act as a group. | ||
| And I would say, well, look, here's this thing that works collectively to make technology, but thinks it's an individual. | ||
| They all think that they're individuals, but essentially all they're doing with their manic desire to acquire goods and to acquire material possessions, what they're really doing is just pushing innovation because they need the biggest, baddest, newest, craziest. | ||
| They constantly need the latest and greatest. | ||
| They're pushing for these innovations, and these innovations are constantly, within three, four, five months, the exponential increase of these things is making every new step far more powerful than any step before it, and it's happening faster and faster and faster. | ||
| It's happening exponentially. | ||
| And I don't even think the creatures even realize they're doing it. | ||
| The periods, as McKenna had put it, the periods between novelty and normality are like a hum now. | ||
| It's not even a peak and valley anymore. | ||
| Yeah, McKenna described it as a funnel. | ||
| That, you know, if you spun a quarter around the top of the funnel, it would take a long time to go all the way around the circle. | ||
| But as it gets lower and lower, it's getting faster and faster and faster and faster until it reaches what he thought would be a point of ultimate novelty. | ||
| But he thought it was going to be December 21, 2012. But I think, you know, he had a... | ||
| He's a dude. | ||
| He's a guy. | ||
| At the end of the day, as brilliant as he was, as fantastic as his mind was, he's still just a person with an idea. | ||
| We grab ideas sometimes and ride those bitches right into the rocks. | ||
| But, you know, if you look at those beautiful chaos equations that kind of make those cool kind of paisley-looking things, but you look really close and you see, like, oh, the detail becomes... | ||
| Practiles, Mandelbrot set. | ||
| Yeah. | ||
| So, you know, if you look at that, when we get down to the bottom of that funnel and you're looking close enough, there's a deeper funnel. | ||
|
unidentified
|
Yeah. | |
| There's just as much detail as the funnel above it. | ||
| Yeah. | ||
| He might ultimately have been right in some sort of a way that December 21st, it might not have even been that exact day, but that era, the era between 2012-2013, which is the era we're living in and experiencing right now, it might ultimately be this new Opening for this new future and this what we're talking about whether that's that TV show or the Revelations about the NSA that could be just the first steps and opening up this new door of perception this new door | ||
| of reality, right? | ||
| Yeah, we're living in strange times man. | ||
| Yeah, totally. | ||
| Yeah mix and it makes you know makes a person When I'm you know trying to write songs or trying to make this wine or you know doing you know doing whatever writing doing comedy bits or whatever It almost makes it feel weird. | ||
| You almost feel kind of in an odd, like, self-conscious way of, like, what am I doing? | ||
| Like, you go to a show and you see, like, the dude up there dancing around in front of the people that are, like, watching him dance around. | ||
|
unidentified
|
And, oh, look at you dancing around. | |
| It just feels so fucking weird. | ||
| It's such a weird relationship of, like, such a show-and-tell kindergarten thing. | ||
| And when I... Like, when you say a word enough times, it sounds weird. | ||
| Yeah. | ||
| Yeah. | ||
| That, when I look at that, and I think about it like that, like repeating the word to the point where it doesn't make any sense anymore, that thing just seems so strange, standing... | ||
| So, I'm going to imagine, like most people, at some point in their career, whatever it is they're doing, they all of a sudden kind of go, what the fuck am I doing? | ||
| What is this thing I'm doing? | ||
| Yeah, if you're paying too close attention to ballet, if you're locking into a ballet, you can enjoy it if you're in the moment and you're just appreciating the movements, but if you look at it too closely, then you start to step back and pull back and look at it in the perspective of this planet spinning a thousand miles an hour in a circle around this gigantic nuclear explosion. | ||
| You're like, look at this asshole in tights. | ||
| Throwing his body through the air. | ||
| This is so preposterous. | ||
| Why does anybody give a fuck whether or not you can sing the words to your play? | ||
| My wife was taking Spanish, or Italian, rather, and one of the things that she did in her class was they took everyone to an opera. | ||
| So we went to an opera. | ||
| And so we're sitting there with the rest of the people in her Italian class watching this opera. | ||
| I'm like, this has got to be one of the dumbest fucking ways to entertain people I've ever seen in my life. | ||
| You're singing in this language that nobody understands. | ||
| Everything is like, everyone falls in love immediately, so I can't buy it. | ||
| There's no reason why these people are in love with each other so quickly. | ||
| They're ready to die. | ||
| This is preposterous. | ||
| This is made in an era when people didn't have books. | ||
| Like, they bought into this because they were dumb as shit. | ||
| But yet, here we are, you know, 21st century. | ||
| And it seems absurd. | ||
| And as it would if anybody coming here from some different, you know, galaxy, walking in and seeing, you know... | ||
| A stand-up comic or a band playing on a stage or a person getting up so early in the morning to make bread. | ||
| That's food. | ||
| I guess that makes more sense. | ||
| How about to make wine? | ||
| Yeah. | ||
| I mean, you always kind of take that out of perspective like... | ||
| Somebody comes to this culture, and then there's this thing where you stick rocks in your ear, and that's like this thing you do, and there's like, oh, there's better rocks than other rocks that you stick in your ear, and then people start stumbling around and bumping into a wall. | ||
| Okay, so you pick up a rock, and you put it in your ear, and there's different kinds of rocks that feel different and give you different effects, and there's certain rocks that are really expensive, and some that you can just pick up and stick in your ear, but you just basically bump into a wall afterwards, and that's cool, right? | ||
| Yeah. | ||
| Okay. | ||
| There you have it. | ||
| Good luck. | ||
| Yeah. | ||
| It just seems so absurd. | ||
| When you kind of take the words and replace them with, you know, other objects or things. | ||
| You know, wine, food. | ||
| I mean, you know, food is food, but like singing a song. | ||
| Yeah, and there's some things that to the people that participate in them are life itself. | ||
| It's almost, you know, one of the things that I do, I've done since I was a young man, is play pool. | ||
| I play in tournaments, and I play like at a just below professional level. | ||
| And to people that play pool, no. | ||
| That's a weird word that only gets used to, it only gets used outside of pool. | ||
| Shark, actually, in pool is a negative term, meaning someone who distracts you while you're shooting. | ||
| They try to shark you. | ||
| Like, if you were shooting, I was like, wait, come on, man, you ain't gonna make this shot. | ||
| If I was fucking with you while you were shooting, that's called sharking someone. | ||
| It's actually... | ||
| Poor form. | ||
| And it never happens in tournaments with the highest level guys. | ||
| They never do that. | ||
| But my point was that to the people in that world, pools everything. | ||
| I mean, to watch the great matches going from tournament to tournament. | ||
| You know, nowadays they're watching them streaming on the internet, whether it's through pay-per-view venues or... | ||
| Whether it's through some people set up cameras at various tournaments. | ||
| But to a person who has no connection to that world, it's idiotic. | ||
| You're watching these fools. | ||
| The table never changes. | ||
| The six holes remain in the exact same spots. | ||
| And it's just about which way the balls roll around. | ||
| Like, who gives a fuck? | ||
| Nothing changes outside that table. | ||
| I mean, this is the microcosm of microcosms, man. | ||
| I mean, it's a fucking table. | ||
|
unidentified
|
Right. | |
| It doesn't even move. | ||
| It's level. | ||
| It doesn't even move. | ||
| It's just a matter of balls colliding, and that interests you, but to the people that are involved in it, it's everything. | ||
| Or a person who goes through that kind of process of self-discovery. | ||
| You did something and it went in the hole you wanted it to go in, and you had that positive reinforcement and that encouragement from that behavior. | ||
| Then you follow it more because, like, you got some kind of accolades either from yourself or from someone around you, so you start pursuing that thing, and it has more about your ego developing in terms of, like, the praise that you got for doing that thing. | ||
| Yeah. | ||
| So, you know, so you end up, you can see how things get to that level. | ||
| You know, watching, you know, watching your, you know, English footy. | ||
| I was never... | ||
| A footie fan until I had somebody kind of walking me through what was happening. | ||
| And then I recognized something and I was, you know, patted on the back for recognizing this thing that I still don't have any fucking idea what I was talking about. | ||
| But, you know, I'm watching it more because I want to see where this goes. | ||
| And you're like... | ||
| Six total goals tops, and that's what we're watching here. | ||
| If you're lucky. | ||
| Yeah. | ||
| But, you know, at the same time, now that I've got sucked into the rabbit hole, I completely enjoy what that is. | ||
| And there's probably a bunch of English dudes right now outside of the studio ready to kick my ass for even mentioning that that might not be something that's interesting. | ||
| There's like a fury. | ||
| Well, at least you didn't call it soccer. | ||
| I did not do that. | ||
| I would not go that. | ||
| They'll fucking scream at you. | ||
| It was football before football. | ||
| They have a point. | ||
| They do have a point. | ||
| But yeah, it's that same thing. | ||
| It's that seeking higher truth in whatever discipline it is. | ||
| Whether it's the discipline of football or winemaking or music making or jokes or jujitsu. | ||
| Those microcosms, those worlds that exist sort of wholly on their own and are very difficult to appreciate by people standing outside of them. | ||
| It's a very fascinating aspect of human beings. | ||
| So I guess going back to what you were asking about the Pussy for DVD, the flexibility of everything that we do, I guess that's kind of what that is. | ||
| And the guys that I work with, realizing how absurd some of the things are that we do anyway with our other projects or with this project. | ||
| But we do it anyway because we're just really enjoying, we're in the rabbit hole, we enjoy seeing how far we can take a particular absurd obsession with something. | ||
| And that's absolutely what I loved and appreciated about it. | ||
| Besides the fact that it was funny and besides the fact that the music was good, I loved and appreciated the fact that I could tell that this structure was wholly your own. | ||
| You just decided to do it this way. | ||
| I don't know if you saw some of the shows that we normally have. | ||
| Table and chairs that we set up at the front of the stage. | ||
| Depending on the show, there will be different kinds of tables and chairs. | ||
| We always have some wine and some stuff on stage because we have friends that have either opened for us or are coming down to see us or are actually playing in this particular band that while they're not doing anything, they sit down and have a glass of wine on stage at the front of the stage with us. | ||
| We've done a lot of shows like that where we've had Like, you know, two drummers and two bass players and a couple extra guitar players and then like that rhythm section just sits down for five songs and just having wine and cheese at the front of the stage just kicking it and then they get back up and do it because it just felt, it just feels more casual. | ||
| Even Karina Round will sing a couple songs and I'll sit down and just kind of, you know, watch the show from the stage. | ||
| Is that something you saw someone else do or just decided to do it that way? | ||
| I don't know that I've seen anybody do it. | ||
| I'm sure that has to have been done at some point. | ||
| I've been trying to put this other show together with no luck. | ||
| Where we have several bands kind of come up and do a very similar thing, but they play, you know, four songs, and then they sit down, and maybe there's some kind of segue where one of those guys is playing with that other band, and then, like, a band does, you know, four songs or five songs, and they sit down, and the other guys come back up and say, just keep rotating. | ||
| You know, rather than doing your whole set and, like, here's who I am, and this is what I do. | ||
| You know, just kind of, you know, do it almost like a very well-rehearsed Rehearsal, you know? | ||
| Yeah, a very well-rehearsed rehearsal. | ||
| Like, not the final performance, but like a week before it. | ||
| A little glimpse into what it was, you know, a little bit of the chaos of those guys getting up there to do their next three songs, and it's not like them in their rhythm and in their element of like, you know, start to finish, this is our set. | ||
| Right, right. | ||
| This is more like, we're going to get up and do these three songs, and then... | ||
| We kind of have to, and it's not like, you know, some guys have to get a full-on boner to go do their set and do the whole thing and, you know, we fucking nailed it, man, or whatever that is. | ||
| But just the idea of getting up and performing those songs in a couple of ways and putting them and putting us in an uncomfortable, unfamiliar environment that kind of helps us Just look at it again and re-enjoy what we remember doing when we started doing it, in a way. | ||
| Fuck yeah, dude. | ||
| I'm working on that. | ||
| Yeah, I love it. | ||
| That's exactly it, man. | ||
| You know, if you could find that... | ||
| That's an honest energy. | ||
| And an honest form of expression, too, because you're showing the whole thing. | ||
| You're showing the underbelly. | ||
| You're pulling the curtain back. | ||
| But if done right, it's not necessarily the underbelly. | ||
| It's a show in and of itself that has depth and movement and passion and uncertainty and fear and all the real stuff that comes along with a movie. | ||
| Yeah. | ||
| Or is within the songs you're hearing. | ||
| All that stuff is built into each one of those stories. | ||
| Usually there's some form of conflict within that song. | ||
| That's why they wrote it. | ||
| Yeah. | ||
| And in seeing that preparation, it makes you appreciate the final product even more so. | ||
| Yeah. | ||
| That's badass, man. | ||
| Are you touring right now? | ||
| Just got done with Harvest. | ||
| I'm doing a lot of writing. | ||
| Training Jiu-Jitsu. | ||
| Well, I was until I hurt my hand. | ||
| You say you sprained it, you think? | ||
| I had my coach in St. Louis fell on it. | ||
| That wasn't me. | ||
| I was going the wrong way. | ||
| It's totally my fault. | ||
| I was going the wrong way, pushing the wrong way, and I had my hand out the wrong way, and he went the other way, and his whole body landed on my hand. | ||
| I could hear, like, popcorn. | ||
| Did you get an MRI'd or anything? | ||
| I just, this happened four hours ago. | ||
| Doesn't look that bad. | ||
| I think you'll be okay. | ||
| Yeah, I see some swelling. | ||
| Yeah, so I had the poor guy on the plane, I'm, like, using a puke bag to go, can I get some ice? | ||
| Like, icing my arm on the plane coming here. | ||
| Do you think the bones cracked? | ||
| I don't know. | ||
| I have no idea. | ||
| I had to come do this fucking podcast instead of going to the doctor. | ||
| Dude, I hear you, man. | ||
| I know what it's like. | ||
| I gotta get up in four hours and go to the airport. | ||
| Well, I mean, the good news is I'm getting... | ||
| Kim Sae is doing some tattoo work on me, so I'm actually kind of out of the training game for a minimum of like a week or so. | ||
| Anyway, because I gotta let the thing heal. | ||
| What are you getting done? | ||
| I'm getting more of my snake, my Arizona Rattler. | ||
| Oh, wow. | ||
| Is this a guy who's doing this in California? | ||
| No, Kim. | ||
| Kim Say. | ||
| Kim Say. | ||
| You don't know Kim? | ||
| No. | ||
| Kim's work? | ||
| No. | ||
| How dare you. | ||
| She. | ||
| How dare you a lot. | ||
| She. | ||
| She? | ||
| Yeah. | ||
| Where is she? | ||
| I'm going to forget the name of her. | ||
| How do you spell her last name? | ||
|
unidentified
|
S-A-I-G-H. S-A-I-G-H? Mm-hmm. | |
| K-I-M. And Sean Barber. | ||
| Oh, wow. | ||
| She's wild work, man. | ||
| Fantastic stuff. | ||
| Yeah. | ||
| And so what town is she in again? | ||
| She's in L.A. Memoir Tattoo? | ||
| Memoir. | ||
| That's the word I was looking for. | ||
| I was going to say heirloom, but that's my friends that make food. | ||
| Wow. | ||
| Beautiful. | ||
| Memoir Tattoo. | ||
| And where's that at? | ||
| It's in kind of the Hollywood... | ||
| I think I'm Beverly. | ||
| Wow, she's got some fucking amazing work. | ||
| Yeah, she's got some skills to pay the bills. | ||
| And Sean's work is awesome, too. | ||
| Now, that's another art form that over the last, say, two, three decades has really come into its own in a very strange way that didn't really exist before. | ||
| Right. | ||
| And again, when you step back from it, you go, what are you doing? | ||
| You're drawing on yourself. | ||
| The fuck's your problem? | ||
| Go fucking get, just get a pad of paper and just, you know, draw a little bit on it. | ||
| And then when you don't like it, you draw another one. | ||
| But no, like, but, you know, but then I get caught up in the, just the art of tattooing. | ||
| Like you said, it's just, it's come so far and just people are so passionate about it and do such good work now. | ||
| It's no longer... | ||
| You know, Tasmanian devils and shit. | ||
| It's for real. | ||
| Yeah, I've had both of my sleeves done by the same guy, Aaron Della Vadova from Guru Tattoo in San Diego. | ||
| And Guru Tattoo is one of those cool shops where They're all artists. | ||
| They're all creating these weird pieces of art when they're not painting. | ||
| When they're not doing tattoos, they're painting. | ||
| When they're not painting, they're doing some guy's sculpt. | ||
| They're fucking around constantly. | ||
| This is just one more medium that they express themselves in. | ||
| But the medium of tattooing... | ||
| There was the tattoos of the 1950s and the 1960s, and they have no relation. | ||
| To what is being done today. | ||
| Well, in the U.S. Yes. | ||
| You always had the Japanese tattooing. | ||
| It's just like insane beautiful stuff. | ||
| Insane beautiful and ridiculously fucking painful because they're doing that tapping way. | ||
| That's part of this one I got done with that. | ||
| Oh, did you? | ||
| In Osaka. | ||
| No kidding. | ||
| How long does that take? | ||
| It didn't take much longer than the gun. | ||
| I mean, the guy was fantastic. | ||
| That was the chopstick tattoo in Osaka. | ||
| So they use one stick, they hold it there, and the other stick taps over the top of it? | ||
| Wow. | ||
| That's pretty cool. | ||
| How precise can they get with that thing? | ||
| It's pretty precise. | ||
| Get in there, buddy. | ||
| That's pretty bad. | ||
| I love the Thai style ones that they're doing, too. | ||
| I'm gonna have them do a drag, and I'm actually gonna talk to Memoirs. | ||
| What's the number? | ||
| 353? | ||
| What is that? | ||
| That's part of my wine story. | ||
| Can you tell us the story? | ||
| No? | ||
| It's a secret? | ||
| Really? | ||
| You have secrets? | ||
| The NSA is gonna fucking tap in your email, son. | ||
| Release that secret. | ||
| Well, then the secret's out. | ||
| And so you had that guy do that with that tapping style? | ||
| Yeah, with the bamboo. | ||
| I think Tara Patrick had her whole arm done that way. | ||
| She's like this huge Japanese sleeve. | ||
| I'm pretty sure she had it done the traditional way. | ||
| Like the full, I don't know what the word is, they do it. | ||
| It's funny, when you go to Japan, you can't show your tattoos. | ||
| I was at a gym. | ||
| I was in the gym. | ||
| Yeah, they made me cover up. | ||
| They told me I have to go back to my room and put a long sleeve shirt on. | ||
| And I couldn't train. | ||
| Because you're a fucking derelict. | ||
| Yeah, I try to let them know I'm not. | ||
| Yeah, that's her. | ||
| Her tattoo there. | ||
| I'm pretty sure that's done the traditional way, or at least part of it is. | ||
| Yeah, in the Japanese culture, that's not a good thing. | ||
| No. | ||
| It's bad. | ||
| That's the Yakuza. | ||
| It's really interesting because they're the ones who created such beautiful, these beautiful full-piece body designs, those body suits that are actually just one long, flowing piece of art. | ||
| That's the origin of that, but not respected in the country where it came from. | ||
| It's funny. | ||
| Yeah. | ||
| It's kind of fucked. | ||
| I got jumped. | ||
| Please. | ||
| So sorry, please. | ||
| What did they do? | ||
| Made me put the robe on. | ||
| I had to put sweatpants on and a top to be in the gym. | ||
| Where were you in Japan? | ||
| Which part? | ||
| I think that was in Tokyo. | ||
| Yeah, that's where I was too. | ||
| They were not having it. | ||
| If you have anything on your neck, you have to wear a turtleneck. | ||
| If you have tattoos on your neck, it's much more discriminatory than it is in America. | ||
| Politely discriminatory. | ||
| Yeah, they're very polite. | ||
| Very polite about it. | ||
| They're so polite in such a strange way. | ||
| It's a really interesting culture. | ||
| We went there pretty shortly after Fukushima. | ||
| Where there was this weird feeling of distrust for the government's assessment of the damage and the dangers. | ||
| And we had this long conversation with this taxi driver because he had to drive us from the venue all the way down to Tokyo and it was about an hour's drive. | ||
| And so he spoke pretty good English and he was saying that for the first time people are openly starting to question whether or not the government's being honest with them about whether or not they can eat vegetables. | ||
| Whether or not their ground is radioactive and their fish are edible. | ||
| Right. | ||
| And I would have to agree with that. | ||
| That's starting to happen. | ||
| Yeah. | ||
| That's a scary fucking thing, isn't it? | ||
| They might have ruined their country. | ||
| They might have to bail. | ||
| Because it could get worse. | ||
| I mean, there was another earthquake just last week that was a 7.3 off the coast of Japan. | ||
| Yeah, it was another one. | ||
| Didn't cause a tsunami, but it could have. | ||
| All it takes is the plates go this way instead of that way, and then whoosh, the water's coming. | ||
| Yeah. | ||
| And if it does, they're fucked. | ||
| Yeah, you know, there was a beer that a friend of mine had at his local sushi place. | ||
| And I went in, I was like, hey, can I get some of that beer? | ||
| He goes, no. | ||
| I said, what happened? | ||
| He said, oh, the earthquake. | ||
| So it stopped production. | ||
| He goes, no, it's gone. | ||
| The family's gone. | ||
| The beer is gone. | ||
| The building's gone. | ||
| They're gone. | ||
| Yeah, gone, gone. | ||
| Like, never coming back. | ||
| Yeah, you see some of the damage. | ||
| And by the way, that ain't shit compared to some of the fucking tsunamis that they know have hit different parts of the world. | ||
| That's why I always laugh whenever I drive by Malibu. | ||
| I was in Malibu today, and I was driving by, and I was looking at these houses they have perched over the ocean, and I was like... | ||
| Sleds. | ||
| Boy, there's no guarantee that's gonna be there tomorrow. | ||
| No, those are just sleds with the... | ||
| They're basically playing a long, extended game of musical chairs. | ||
| And they know for sure one day the music's going to stop and their houses are going to, for sure, go flying out into the ocean. | ||
| When in Michigan we had all that snow, you'd always have, you know, you could do bobsledding and stuff. | ||
| You kind of just, you know, sled down the hill. | ||
| And that was, when I see those houses, that's all I can think of is sledding in the winter in Michigan. | ||
| Well, they'll get erased one day. | ||
| I guess if you're, like, way up in one of those bluffs, You probably got a pretty good shot at sticking around. | ||
| Of not falling completely in the ocean. | ||
| But those things have massive landslides, too. | ||
| There was a couple of years ago, there was a news report where these people were waking up in the middle of the night, these horrible cracking noises, and they realized that their houses were sliding off the side of this hill down into this valley. | ||
| Yeah, it just gives out. | ||
| You know, you decided to put a foundation in the ground that decided to not be there anymore. | ||
| Right. | ||
| And it all just in giant, huge, 30, 40-acre chunks just slides down and takes these $5 million houses with it. | ||
| You hear it. | ||
| They're not worth $5 million anymore. | ||
| Not anymore. | ||
| If I may. | ||
| I think you're correct. | ||
| And I think even if you wanted to reclaim that land, boy, it's tough to pinpoint where your house used to be. | ||
|
unidentified
|
Yeah. | |
| Good luck with that survey. | ||
| Yeah. | ||
| Yeah. | ||
| Those dudes with the sticks looking through that hole. | ||
| Yeah. | ||
| They're going to have to do a lot of measuring. | ||
| That was me in the military. | ||
| Did you do that? | ||
| That's what I did. | ||
| What'd you do in the military? | ||
| We put in grid coordinates for like the tank batteries to pull in and you know if you're gonna if you're gonna shove a big missile in a tube and launch it somewhere you had kept you have to know where you are and To know where it's going basically, so that's what we would do is we would put the the survey points What branch of the military are you in? | ||
| Army. | ||
| How long we in for? | ||
| Three three years well six years total. | ||
| What year was this? | ||
|
unidentified
|
82 to 85 and then reserves from 85 to 88. Look at you, that's you. | |
| You handsome bastard. | ||
| I'm not a wig. | ||
| That shit's real, yo. | ||
| Did you get anything out of being in the military? | ||
| Yeah. | ||
| Discipline. | ||
| Yeah, just, you know, again, just being responsible. | ||
| Responsibility. | ||
| The ability to respond. | ||
| Yeah, people that have gone through that, it's very interesting to see. | ||
| I had a friend who was real lazy and kind of shiftless and never got anything done, and then went away, went to boot camp, came back, and this motherfucker always folded his napkin after that and sat up straight and got shit done, and I was like, wow. | ||
| They turned this dude around. | ||
| Like, they really did. | ||
| I wouldn't recommend it today, because joining today, you have a high likelihood of either being forced to assassinate someone for the government, or finding yourself in a position where you really wouldn't want to be, and people are shooting at you that don't like Americans. | ||
| Unless it's your calling, I wouldn't really recommend it, but god damn. | ||
| For some people, it really is a game changer. | ||
| I agree. | ||
| Not everyone can make it through it, but a lot of guys kind of washed out during that whole basic training process. | ||
| What made you join? | ||
| College fund for art school. | ||
| Really? | ||
| Yeah. | ||
| Were you pretty convinced that we weren't going to go to war during those times? | ||
| Completely. | ||
| I was like, ugh, war? | ||
| You know, I didn't, I just didn't believe it. | ||
| And then I got appointed to go, I got through a long process, but basically got handed an opportunity to go to West Point by going to the preparatory school for a year. | ||
| And got to the end, like when I finally got my appointment to go to West Point, they said basically you have to forfeit your army college fund to go to art school. | ||
| And I didn't really go in to be a career military person. | ||
| I kind of went in to get college funds so I could go pursue the arts. | ||
| But you know, again, my behavior was being reinforced as far as the way I was excelling in the military. | ||
| So it was very tempting to go, I could be an officer. | ||
| Let's do that. | ||
| And then, you know, I got to that moment where I had to, like, I had to make that decision. | ||
| In that moment, you have, basically, I had, like, three hours to check the yes box and accept my appointment or check the no box and, you know, go back into the regular army and then go back and go to art school. | ||
| Wow. | ||
| And I chose art school. | ||
| And if I had not done that, I would have, provided I made it through West Point, which is not a guarantee, if I had made it through West Point, I would have been in the first Gulf War as a lieutenant. | ||
|
unidentified
|
Wow. | |
| That's fucking crazy. | ||
| Gulf War 1, I think they call it. | ||
| I had a friend who is a cop and he was in the Army Reserve for 20 years and had less than a month to go until he was out for 20 years and they shipped him to Iraq for a year and a half. | ||
| Come again? | ||
| Yeah, he was in the reserves. | ||
| And the reserves, during the Iraq War, after September 11th, they just started sending people over there. | ||
| You were under contract. | ||
| That's it. | ||
| It didn't matter if you had a month to go. | ||
| During that month, you were assigned a year and a half tour of Iraq. | ||
| And he went not just once. | ||
| He came back and they sent him again. | ||
| They sent him twice. | ||
| He did three years in Iraq when he had less than a month to go. | ||
| Damn. | ||
| And there was nothing he could do about it. | ||
| His whole life was thrown into chaos. | ||
| His relationship, his job, everything gone. | ||
|
unidentified
|
Yep. | |
| Sorry, you live in Iraq now. | ||
| You're over there, you're a soldier. | ||
| I mean, it's a fascinating thing to watch. | ||
| Well, at least he made it alive. | ||
| He got lucky, yeah. | ||
| He came back different, though, I'll tell you that. | ||
| He came back, you could tell he had seen some shit. | ||
| There's no avoiding that. | ||
| I mean, he saw combat duty. | ||
| And Wasn't planning on it, thought he was getting out, thought he was going home, thought reserve meant reserve, thought 30 days meant 30 days. | ||
| No, it means two one-and-a-half-year tours, or at least all in total, somewhere around three years. | ||
| Do you like the beach? | ||
|
unidentified
|
Well, we don't have water, but we got sand. | |
| Yeah, I don't know. | ||
| I guess there's good to be gotten from almost everything. | ||
| But for you, at least it was a positive experience. | ||
| I dodged, you know, quite metaphorically and literally dodged a bullet. | ||
| Yeah. | ||
| Wow. | ||
| That must be something you think about often. | ||
| But, you know, I could see, you know, I could see how I could have excelled at that and done well for, you know, done my part in that setting. | ||
| I have an aptitude for it. | ||
| A lot of my friends are law enforcement and military, so I get along with them well. | ||
| You know, I also have all my, you know, crazy liberal friends that I get along with well. | ||
| So I think it just would have been, if it was a path that I would have chosen, I would have just done whatever I could do with it. | ||
| The law enforcement friends, I bet, understand your friendship with the crazy hippies and liberals more than the crazy liberals understand your relationships with the law enforcement people. | ||
| Absolutely. | ||
| Isn't that funny? | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| God bless them. | ||
| God bless them all. | ||
| The open-minded liberals. | ||
|
unidentified
|
Yeah. | |
| Yes. | ||
| There's not that many of those, are there? | ||
| When it boils down to it, there's a lot of aggressive progressives. | ||
| Yeah, and I noticed that. | ||
| And, you know, coming from that background of being, you know, supposedly like the liberal Democrat. | ||
| It's pretty amazing. | ||
| Well, they have this idea and they think that it's right and they think that they should violently try to support that idea. | ||
| Whether or not other people have that idea or not, they think that their idea is correct and their idea is on the right side of history. | ||
| And so it's something to be violently pursued. | ||
| Yeah, but boom, I don't know. | ||
| I don't know who's right. | ||
| I don't think any of them are. | ||
| The truth is in the middle somewhere, right? | ||
| Yeah. | ||
| Listen, man, I gotta go to the airport in, I think, five hours. | ||
| Alright. | ||
| So, let's wrap this bitch up. | ||
| I just came from the airport. | ||
| Thank you for doing this, man. | ||
| I'm glad you did. | ||
| I'm glad you did. | ||
| I mean, you literally pulled right up, the car's out front, and then... | ||
| If people want to watch the DVD, how can people watch this? | ||
| It's coming out on, I think, the 26th of November. | ||
| The What Is Pulisifer DVD show, Live in Phoenix, comes out on the 26th, as well as the Perfect Circle series. | ||
| Box set. | ||
| And the songs from this, where could they get those? | ||
| On that. | ||
| Yeah, they're on this DVD. It'll be released on iTunes. | ||
| I think, yeah, we're doing this separate. | ||
| You can get the live album off of iTunes. | ||
| Just the songs. | ||
| Beautiful. | ||
| Beautiful. | ||
| Go get it, folks. | ||
| And follow on Twitter. | ||
| Pussifer on Twitter. | ||
| And there it is, right there. | ||
| DVD and soundtrack available. | ||
| What did it say? | ||
| November what? | ||
|
unidentified
|
November. | |
| Twenty-six. | ||
| Twenty-six. | ||
| As well as the Perfect Circle one as well. | ||
| Live at Red Rocks. | ||
|
unidentified
|
I know this is a good Sunday. | |
| We got the documentary guys like... | ||
| You can't talk to the camera. | ||
|
unidentified
|
Oh yeah, I'm not supposed to talk to the camera. | |
| No, no, I know. | ||
| Did you live in character when you did this? | ||
| No. | ||
| No, that was like... | ||
| I mean, literally that was with Laura and me in that costume. | ||
| We were like... | ||
| That came out for the weekend. | ||
| I'm like, what are we going to do? | ||
| And Mike, her husband, was like... | ||
| Just had a new camera he wanted to try out. | ||
| I think it was the Canon 5... | ||
| D or whatever. | ||
| It's just trying to like, you know, let's just get some footage, see what we get. | ||
| And we just did all that and we went, did we just do that? | ||
| Like, no script, just kind of went, well, let's do this. | ||
| Let's do this. | ||
| And then, you know, went to Walmart, like actually spent like two hours in Walmart grabbing stuff just for that day to see what we could come up with to come up with costumes. | ||
| That Halloween shirt and everything was just like on a quick trip to Walmart to see what we can come up with. | ||
| That was beautiful. | ||
| You're a beautiful man, Maynard. | ||
| God bless you and men like you. | ||
| Thank you. | ||
| Onward. | ||
| Alright folks, that's it. | ||
| This ends. | ||
| We will put all the commercials on it. | ||
| Stick this bitch up on iTunes. | ||
| And we'll see you on Friday with Dan Carlin from Hardcore History. | ||
| Big kiss. |
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