May 16, 2018 - The Joe Rogan Experience
02:04:23
| 
| Speaker | Time | Text |
|---|---|---|
|
unidentified
|
Four, three, two, one, boom. | |
| We've done a thousand what? | ||
| How many podcasts? | ||
|
unidentified
|
1,116. | |
| Steven Tai was the only man to bring a crystal ball. | ||
| You're the first. | ||
| Cause you got to bring it with you when you come. | ||
| Do you bring that everywhere? | ||
| Yeah. | ||
| I'll bring it with me to Maui. | ||
| I'll bring it with me to Europe. | ||
| Yeah. | ||
| For the long ones. | ||
| What is the deal? | ||
| What is it? | ||
| It's just I'm into crystals. | ||
| It's pretty. | ||
| It's got a beautiful occlusion and when you get the light just right on it, just like me on stage at night when the light is just right. | ||
| Dude, you look fucking fantastic for 70. Can I just tell you? | ||
| I found out you were 70. I was like, holy shit. | ||
| You look really good. | ||
| Your skin looks amazing. | ||
| Why, thank you. | ||
| It really does. | ||
| Thanks. | ||
| And I walk around like this and wonder why everybody's fucking taking pictures and busting my chops, walking through the airport. | ||
| I actually have a t-shirt that says, go fuck your selfie. | ||
| Because you're walking with the dogs, you're walking with the girl, and they come over and want to stop and take a selfie. | ||
| Thank you. | ||
| Thank you for that. | ||
| It's good living. | ||
| Is that what it is? | ||
| Well, I don't know. | ||
| I spent 30 years of it on drugs and drunk. | ||
| Maybe the crystal helped you. | ||
| I think so. | ||
| That's it. | ||
| Might have done something. | ||
| Yeah. | ||
| How long have you been carrying that thing around? | ||
| I don't. | ||
| It lives in my house. | ||
| I have one I do keep in my pocket, which is not here today. | ||
| Oh. | ||
| What is that? | ||
| You bring switchblades? | ||
| Jesus Christ. | ||
| Joe Perry and I got a thing. | ||
| Both bring switchblades? | ||
| We just collect knives, man. | ||
| We just, you know, I'm such a country boy. | ||
| And when I did Idol, every night, when I walked out on stage and it went, and I'm walking next to J-Lo and Randy, my knife was right in my pocket. | ||
| In case someone jumps you? | ||
| No, open my fan mail. | ||
| Oh, okay. | ||
| Yeah. | ||
| Switch play to open fan. | ||
| It's fun. | ||
| It's a cool thing. | ||
| It's fun. | ||
| I don't often carry it, but I thought because I think you're so fucking cool that I would bring a couple of cool things from my house. | ||
| You know, I'm just like that. | ||
| Oh, thank you. | ||
| I'm one of those guys that when I leave the house, I say, goodbye house. | ||
| Remember, I got a son and three daughters. | ||
| And I know after watching, what was your last? | ||
|
unidentified
|
Triggered. | |
| Triggered. | ||
| That you got a bunch of kids too. | ||
| And it starts wearing off on you. | ||
| I think it's a beautiful thing. | ||
| I think it's a beautiful thing too. | ||
|
unidentified
|
You have three girls. | |
| Your wife and two girls. | ||
| I have three girls. | ||
| Three daughters. | ||
| It will happen to you. | ||
| I do too. | ||
| Oh yeah. | ||
| You're a legit eccentric. | ||
| Like there's some people that pretend to be eccentric. | ||
| You're like a legit one. | ||
| I am, and I love it. | ||
| In fact, I love me. | ||
| It's good to love you. | ||
| More than that, I love us. | ||
| I love us too. | ||
| I love us. | ||
| I say that all the time. | ||
| I'm super happy about this. | ||
| I'm so fucking excited. | ||
| Seriously, I gotta ask you, what the fuck do you eat for breakfast? | ||
| How did you get so fucking smart? | ||
| Oh, I'm not that smart. | ||
| I just remember things. | ||
| There's a difference. | ||
| There's a difference between being smart and just remembering a lot of shit. | ||
| You remember things? | ||
| Yeah, I'm not that smart. | ||
| Well, remembering things is huge. | ||
| It helps. | ||
| It certainly helps. | ||
| But what is smart, right? | ||
| Smart is like, can you solve equations? | ||
| Can you figure things out that other people can't figure out? | ||
| Do you know things other people don't know? | ||
| No. | ||
| I just remember shit that smart people have already figured out. | ||
| But you accumulate situations. | ||
| You know, it's like Jimi Hendrix said, you know, you experience. | ||
| Experiential. | ||
| So if you remember those things over and over, you're going to become a wizard. | ||
| You're a wizard. | ||
| You're so good. | ||
| Thank you. | ||
| You're so good. | ||
| That's why I watched your show and I watched the beginning right before you walked out on stage, The Triggered. | ||
| And two things that came to my attention was, one, you were talking with your producer, whoever, that said, there's your chair, and by the way, your bottle of water's right there. | ||
| We need those guys, right? | ||
| Oh, for sure. | ||
| And the other thing is, you were sitting on the couch alone, reading your notes. | ||
| Yeah. | ||
| Yeah. | ||
| And you showed that. | ||
|
unidentified
|
Yeah. | |
| It's a beautiful thing. | ||
| I can't live without my notes. | ||
| I can't... | ||
| I fly at such a speed, such an altitude, that I can't remember what I did yesterday. | ||
| But then I have long-term, where I go, yeah, that was three months ago. | ||
| But I just thought I would read you a timeline, okay? | ||
| Because I saw you reading your notes, okay? | ||
| April 15th, lunch with the kids in Venice. | ||
| My daughter lives in Venice. | ||
| Hi, Chelsea. | ||
| That's a long time ago. | ||
| Drove to San Diego, yeah. | ||
| Well, you know, a month, because I don't have good memory. | ||
|
unidentified
|
Right. | |
| All right. | ||
| Drove to San Diego that night after that. | ||
| So you write things down, like, after you did them, just to solidify them in your head? | ||
| No, I just came from a whirlwind of press, and Steve and Tyler Day released a documentary that Casey Tebow did, and all this shit happened, and we played the Jazz Fest in... | ||
| New Orleans. | ||
| New Orleans. | ||
| And that happened in the last two weeks, and I just said... | ||
| To Amy, what have we been doing in the last... | ||
| Where have we been? | ||
| Right. | ||
| So I wrote it down. | ||
| Drove to San Diego after Venice. | ||
| Did a private show. | ||
| Flew to Orlando that night. | ||
| Right. | ||
| Okay. | ||
| Private gig with David Foster, Katy Perry, Pia from Idol. | ||
| This girl was so sweet. | ||
| Rehearsed with the band, and during the break from the band, I was in Disney World. | ||
| I rode my roller coaster. | ||
| I just got back from Disney World, and I rode your roller coaster yesterday. | ||
| Okay, so you know you've made it when, right? | ||
| See what I mean? | ||
| The day before yesterday. | ||
| So I'm going through this list, and I went, wait a minute, we what? | ||
| And it was just a... | ||
| Rode the rollercoaster, then I ran over... | ||
| The rockin' rollercoaster. | ||
| The rockin' rollercoaster. | ||
| It's great. | ||
| Right? | ||
| Two times it goes up like that. | ||
| Then it goes backwards. | ||
| Yeah. | ||
| Zero to 60 in 2.8 seconds. | ||
| It's pretty dope. | ||
| Yeah. | ||
| Sick. | ||
| Electromagnetic propulsion. | ||
| Dude. | ||
| Dude. | ||
| What are we doing here? | ||
| What are we doing here? | ||
| So then I went over to the animal kingdom to visit some of my old girlfriends. | ||
| No. | ||
| Did you do the Avatar ride? | ||
| I had to. | ||
| Holy shit. | ||
| I fucking love Avatar. | ||
| Holy shit is that Avatar ride intense. | ||
| The one when you get on the bike? | ||
| Yeah. | ||
| You're flying on the dragon, the virtual reality? | ||
| That's the greatest ride of all time. | ||
| The greatest. | ||
| I think it's called Flights of Passage. | ||
| I think that's what it's called. | ||
| It might be. | ||
| It's like the Na'ave. | ||
| I fucking... | ||
| I just got... | ||
| I went to... | ||
| Just to break here for a second. | ||
| I went to Betty Ford eight years ago. | ||
| Because I got fucked up with my foot stuff and just stuff. | ||
| With your foot stuff? | ||
| I had an operation on my foot, you know, and I kept the meds right by the bed, you know what I'm saying? | ||
| What'd you get done to your foot? | ||
| Broke up with my girlfriend, so they were right there, and I thought, well, I took one five minutes ago, and I'd take another one. | ||
| That's what kind of like... | ||
| Yeah, that happens to a lot of people with those pain pills. | ||
| And so I checked myself into Betty Ford, but... | ||
| Good for you. | ||
| While I was there, they let me out a couple times. | ||
| I saw Avatar. | ||
| Eight times. | ||
| Did you get Avatar depression? | ||
| Never. | ||
| Do you know what that is? | ||
| No, no, I became her. | ||
| Right. | ||
| Which one? | ||
| Sigourney Weaver? | ||
| Oh. | ||
| No, not Sigourney. | ||
| The Sigourney Weaver character? | ||
| No, the other one. | ||
|
unidentified
|
Right. | |
| Yeah, the girl. | ||
| Not the guy. | ||
| It became her, and I just watched her moves. | ||
|
unidentified
|
She's pretty dope. | |
| I cannot wait for that to come out. | ||
| Yeah. | ||
| It's going to come out soon. | ||
| Okay, then we flew right to New York City after the show. | ||
| Okay. | ||
| Went to see Bruce Springsteen's one-off on Broadway that night. | ||
| How was that? | ||
| Sick. | ||
| Sick. | ||
| He's so good. | ||
|
unidentified
|
He's amazing. | |
| Now, I gotta tell you, I'm not the biggest Bruce Springsteen fan, but I respect him. | ||
| I love his music. | ||
| I know he became a phenomenon like 72, like when we did. | ||
| And sitting there and watching him be honest and talk to this crowd and sing songs and play the piano and talk his truth. | ||
| And then he says something like, he goes, you know this New Jersey thing with a pregnant pause? | ||
| He goes... | ||
| I invented that. | ||
| And that was it. | ||
| He won my heart. | ||
| Because when someone says that, it was so real and so true. | ||
| But Sinatra was from Hoboken. | ||
| Yeah. | ||
| And I'm from Yonkers. | ||
| Okay. | ||
| Or the Bronx. | ||
| Or the Bronx. | ||
| I was born in New Jersey, too. | ||
| Were you? | ||
| Yeah. | ||
| Newark. | ||
| Wow. | ||
|
unidentified
|
Fascinating. | |
| Newark, New Jersey. | ||
| Trivia. | ||
| And right where you were born, they put an airport. | ||
| I think it was already there. | ||
| Hmm. | ||
| So you lived in the high-end neighborhood, huh? | ||
| Not really. | ||
| Okay, so that night, flew right to New York City after the show, went to see Bruce Springsteen. | ||
| I said that, redundancy. | ||
| And you loved it. | ||
| I loved it. | ||
| I loved it. | ||
| Then I did, the next morning, woke up, did a Harper's Bazaar shoot for the cover with my daughter, Liv. | ||
| Keith Richards' daughters were there, all that stuff. | ||
| After I hung out with Lenny Kravitz, had a nice couple slices with Lenny, my bro. | ||
| Flew to Muscle Shoals right after that and recorded a song with Nuno Betancourt. | ||
| Sick as fuck. | ||
| So good. | ||
| So good. | ||
| That was three days of this. | ||
| This is a hell of a timeline you got going on here. | ||
| Yeah, and that was the next day. | ||
| I went right to Rick Hall's place who passed away like three months ago and his son Rodney Hall works the place. | ||
| It's called Fame Studios. | ||
| And I sat in a room. | ||
| He took me all over the place and I walked in to like the demo room where you could smell the oxides off the tape. | ||
| Wow. | ||
| With like Percy's Sledge demo. | ||
| When a man loves a woman! | ||
| You know, that first shit. | ||
| The first stuff. | ||
| Wilson Pickett. | ||
| And I'm sitting in the room with him, and I'm telling you, man, I started to cry. | ||
| I cried. | ||
| I welt up three times there. | ||
|
unidentified
|
Wow. | |
| Just to be in the room... | ||
| I'm standing doing the vocals to Brown Sugar, right where Little Richard sang. | ||
| Right where he sang. | ||
| I see a picture on the wall of him standing right there. | ||
| And this is all in Muscle Shoals? | ||
| Yeah, Muscle Shoals. | ||
| Did you see that documentary? | ||
| I did. | ||
| I watched the documentary first. | ||
|
unidentified
|
Incredible. | |
| I said, I'm in. | ||
| What is it about that place? | ||
| How did that place... | ||
| Okay, here's what it is. | ||
| It's the vibes. | ||
| If you're into vibes, if you're into living, if you're into feeling alive, you can always feel sad when your mom dies. | ||
| But you've got to amp that up. | ||
| You gotta feel good when bad things are going on. | ||
| You gotta thank God when bad things are going on. | ||
| You gotta be into crystals. | ||
| Love your girlfriend. | ||
| Try to be happy. | ||
| Try to find the positivity in negativity. | ||
| And then, when you listen to music and your very favorite thing and you close your eyes, that's vibes. | ||
| That's something you can't even talk about. | ||
| Really. | ||
| It's how you feel personally. | ||
| Whatever you've been through in your life, Those vibes of those songs, Wilson Pickett, Little Richard. | ||
| I mean, the Allman Brothers started there. | ||
| So when you listen to the Allman Brothers, you're in the room where Greg said to his brother, let's do this song. | ||
| So do you think it is because all those talented people performed there and they let it soak into the building? | ||
| Is that what it is? | ||
| Because there's places that do have a magic to them. | ||
| I always talk about the Comedy Store like that. | ||
| The Comedy Store has a magic to it. | ||
| When you're there, there's something about that place that feels like great things have happened in that place before you. | ||
| You feel it in the wood. | ||
| You feel it in the carpet. | ||
| It's in the air. | ||
| Do you feel like that was Muscle Strolls? | ||
| Is it because all those great artists have performed there and almost like the room has a memory of it? | ||
| I think so. | ||
| Because there's some scientists that think that things have memories. | ||
| It's a weird, impossible-to-prove idea. | ||
| Okay, well when you die, did you know that you're on the table? | ||
| You die, and if the table is, you're being weighed as you die, it goes down a number. | ||
| What's the number? | ||
| 21 grams. | ||
| It's not real. | ||
| Huh? | ||
| That's not real. | ||
| It's not true. | ||
| No, it's one of those things that people always say. | ||
| You sure? | ||
| Yeah, there's no way of really measuring. | ||
| Oh man, you just burst my balloon. | ||
| Fuck you. | ||
| Hold on, man. | ||
| It's one of those hippie things that people... | ||
| It's one of those hippie things that people love to say. | ||
|
unidentified
|
You sure? | |
| Pretty sure. | ||
| Jamie, why don't you Google it? | ||
| But I'm pretty sure that's not real. | ||
| Anyway, I believe in that. | ||
| I do too, sometimes. | ||
| I walked in the room and like, check this out. | ||
| So if... | ||
| One of my favorite Hendrix songs. | ||
| Well, are you experienced, right? | ||
| Not necessarily stoned, but beautiful. | ||
| Meanwhile, you walk on stage and go, fuck me. | ||
| These edibles. | ||
| I walk in here and go, fuck me, I didn't do my nails. | ||
| And these edibles. | ||
| You used to do all kinds of crazy shit. | ||
| What do you mean? | ||
| Drugs? | ||
| Drug-wise. | ||
| Well, fuck yeah. | ||
| Of course. | ||
| Well, yeah. | ||
| While you were being born, I was walking around New York City with John Belushi, knocking on everybody's door to get some blow. | ||
| I mean, we were good friends. | ||
| It's what you did back then. | ||
| I believed that... | ||
| In the spirit of music was, think of it this way. | ||
| Why do you think they're called booze spirits? | ||
| And when you listen to your favorite song, you want to fuck your wife. | ||
| I think that spirits, you know, wherever it takes you, whatever feeling it is, whatever. | ||
| When I went to Muscle Shoals, I put my hand on the wood. | ||
| I felt the room because I knew that Little Richard stood right in front of me. | ||
| All I gotta do is close my eyes and go back in time for a second. | ||
| I did a song with... | ||
| Roots Rock Reggae! | ||
| Play the funky music! | ||
| And it was... | ||
| Shit. | ||
| See, I don't have a long-term memory. | ||
| Who did that song? | ||
| Come on, help me. | ||
| Play the funky music, White Boy? | ||
| No. | ||
| Roots Rock Reggae. | ||
| Roots Rock Reggae. | ||
| Who's the best reggae artist of all time? | ||
|
unidentified
|
Bob Marley. | |
| Bob Marley. | ||
| Okay, his son calls me up and goes, you gotta do the song. | ||
| I go in, they put on the two-inch tape, Oxide, the old-fashioned two-inch tape, and I'm in there ready to sing, right? | ||
| And they start rolling, and I'm listening. | ||
| I got everything turned up, and I hear Bob walk into the studio. | ||
| I hear the drummer sit down at the drum set and his stool squeaks. | ||
| And he farts. | ||
| No. | ||
| But you can hear him pick up sticks. | ||
| You hear the bass player. | ||
| Fucking around with his bass and talking to Bob Munn. | ||
| What you fucking, how you feeling today, Munn? | ||
| And I'm in the room with Bob Marley. | ||
| So what is spirit if that's not it? | ||
| I made them play that back again for me because I just closed my eyes and you're in the room with Bob Marley. | ||
| Well, there's certainly something, right? | ||
| When you hear a song, a great song from the past and you get goosebumps and you just feel it inside of you. | ||
| There's something. | ||
| You're getting moved. | ||
| But what does that have to do with booze? | ||
| I think booze is called spirits because it puts you in that place. | ||
| Phony. | ||
| Releases some inhibition. | ||
| It releases inhibition. | ||
| It's also a great truth serum, isn't it? | ||
| It is, but is it false or is it just that it just gets abused? | ||
| I think it's not false, exactly. | ||
| It makes you say things you wish you didn't. | ||
| Then you go, I was lying. | ||
| I was only fucking around. | ||
| Well, you could be in love for a moment. | ||
| Bitch, you know, fuck you, fuck you, man. | ||
| Oh, that stuff. | ||
| I thought you meant the nice things. | ||
| Tell me you never done blow. | ||
| I've never done blow. | ||
| Ever? | ||
| No, unfortunately. | ||
| You don't drink either? | ||
| I drink. | ||
| Okay, cool. | ||
| Yeah. | ||
| When I was growing up, my friend's cousin sold blow, and I saw disastrous results, and I was scared off of it when I was very young. | ||
| Wow, good for you. | ||
| And then I had some friends that, as I grew older, had blow problems, so I never touched it. | ||
| See, you're one of them, man. | ||
| That's beautiful. | ||
| You're a normie. | ||
| Normie in some ways, but I've done a lot of different drugs. | ||
| Believe me, like you said in that last documentary, just joking, you are farthest from the normie. | ||
| Well, I'm a normie compared to some people. | ||
| It's smart that you thought not to do that? | ||
| Yeah. | ||
| It just seems like one that I would like too much. | ||
| Yeah. | ||
| You know, it's one of the reasons why I never fucked with speed either. | ||
| I feel like I'd be like, now I can get things done. | ||
| Yeah, but you drink coffee, don't you? | ||
| Yeah, but it's mild. | ||
| Coffee doesn't really... | ||
| That is fucking mild. | ||
| This man is just mild. | ||
| What is it? | ||
| Chameleon, which changes your fucking skin into another color. | ||
| This is a cold brew. | ||
| Cold brew coffee. | ||
| It's just coffee. | ||
| I mean, this is really not that. | ||
| It's not coffee. | ||
| It's called Lucky Jack Nitro Cold Brew Coffee. | ||
| You might as well just stick this in your arm. | ||
| I don't think so. | ||
| Really? | ||
| Yeah. | ||
| I mean, I don't know because I've never stuck anything like that in my arm. | ||
| Neither have I. I'm just saying. | ||
| I have a feeling that it's not that. | ||
| It's pretty strong. | ||
| Actually, it's probably not like what I make in the morning is like... | ||
| Kona coffee. | ||
| I love Kona coffee. | ||
| And I fill that fucker to the top. | ||
| It's so dark that when you pour it, you can't see through the stream. | ||
|
unidentified
|
Yeah. | |
| That's when you know you're going on Joe Rogan and gonna spew some shit. | ||
| Some real shit. | ||
| Oh fuck. | ||
| Some hot lava. | ||
| Hot lava. | ||
| From Kona. | ||
| So we did that song. | ||
| We did Brown Stoker. | ||
| Me and Nuno Betancourt. | ||
| And we got all the players from way back then, the horn sections. | ||
| Got girls to sing it. | ||
| It's just going to be... | ||
| Bobby Womack sat in that room. | ||
| And he did, you know, I used to love you, but it's all over now. | ||
| That was that day. | ||
| Marvin Gaye. | ||
| I'm in this room with all his tape. | ||
| So if you're a musician, you feel the vibes. | ||
| If you're comedic and you go to the comedy store, you feel like you're walking around in placenta. | ||
| Yeah, there's not a recording spot for comedians. | ||
| You know, you guys have a bunch of performing spots, but you also have recording spots. | ||
| We only really have performing spots. | ||
| Yeah, that's cool. | ||
| We record in those performing spots. | ||
| But I'm performing. | ||
| Yeah. | ||
| I mean, I go into... | ||
| I just had these on last night, fixing the lyrics. | ||
| And when you have them on, you're listening to the track. | ||
| It's something you can't explain. | ||
| Nobody understands that. | ||
| And it's akin to tripping on acid. | ||
| It's akin to being drunk and sucking face with a girl and making out with her. | ||
| It's akin to... | ||
| Watching your kids be born. | ||
| It's an elevated experience. | ||
| It's way elevated. | ||
| And if you buy it and you push the top floor like I do, way past the penthouse. | ||
| Boom. | ||
| Well, I know you do it. | ||
| That's why I'm reading this off. | ||
|
unidentified
|
Okay. | |
| This is a day. | ||
| This is a day. | ||
| This is, well, it was a month. | ||
| Well, whatever it is. | ||
| And also, you've been doing this a long time. | ||
| This is like a life. | ||
| I mean, the reason why you don't have any memory is because you probably filled all your hard drive space with crazy experiences. | ||
| Well said. | ||
| I have forgotten more than most people could ever remember. | ||
| How could you not? | ||
| How the fuck could you remember everything you've ever done? | ||
| Go talk to a farmer about some shit that happened in the 50s. | ||
|
unidentified
|
Oh, that was the day that a cow wouldn't give us milk. | |
| They remember. | ||
| Well, there's two things going on here. | ||
| I'm surrounded by people that always remind me. | ||
| That's good, too. | ||
| You got a good team. | ||
| Yeah. | ||
| And sometimes I got to be on. | ||
| Like live on The Tonight Show. | ||
|
unidentified
|
Right. | |
| This thing I did, what was it, with that beautiful blonde? | ||
| Entertainment Tonight. | ||
| I just watched it back. | ||
| I thought, that's the best interview I think I've ever done. | ||
| Because she looked me square in the eye. | ||
| She was beautiful. | ||
| She asked the just right questions. | ||
| And it was just perfect. | ||
| And you gotta be on in those moments. | ||
| Yes. | ||
| That's all. | ||
| That's what I'm saying. | ||
| Me too. | ||
| Do you miss being not sober? | ||
| Sometimes. | ||
| Sometimes? | ||
| Yeah. | ||
| Yeah, I miss... | ||
| What's the pros and cons? | ||
| That if I do, I'll wind up doing too much. | ||
| For sure? | ||
| For sure. | ||
| I can't control it. | ||
| It's just the way you are. | ||
| Just the way I am. | ||
| And I don't want to push it again. | ||
| Because when I get that way, my kids don't talk to me. | ||
| I get a divorce. | ||
| I'm thrown out of my own band. | ||
| Right, right. | ||
| What else? | ||
| I lose everything. | ||
| I mean, it's happened enough times for me to finally realize, you know what? | ||
| It's not worth it. | ||
| Right. | ||
| You know? | ||
| I get it. | ||
| You understand what I'm saying? | ||
| Yeah. | ||
| And I got a lot of beautiful friends. | ||
| I got a beautiful bunch of friends. | ||
| To keep me in line, you know, I got two sponsors, one on the West Coast, one on the East Coast. | ||
| That I call up all the time and go, I want to get so fucked up right now. | ||
| How does that work when you call them out? | ||
| What do they say? | ||
| Don't do it, Steven! | ||
| No, no. | ||
| Do they ever say, fuck, dude, I do too, but I keep it together? | ||
| Exactly. | ||
| That's what they say? | ||
| They'll just say, what else is new? | ||
| Do you guys ever talk about it the way fat people talk about food they used to eat? | ||
| No, because we don't do that, what is it called, looking back and digging into the dinosaur shit. | ||
| No, we don't do that. | ||
| But you do, if you go to like an AA meeting, they do get up and tell awesome stories about getting fucked up, right? | ||
| See, when you get sober, if you don't continue your aftercare by going to a couple meetings every now and then, you're going to wind up using again. | ||
| Really? | ||
| Especially someone like me who watched Janis Joplin up there, okay? | ||
| 1968. I'm in a high school. | ||
| She's got bangles and beads like this shit on. | ||
| She's drinking Southern Comfort and she's spitting and using the F word. | ||
| Smoking cigarettes. | ||
| She was a powerful woman. | ||
| And you're watching her. | ||
| And she's fucking the power in song. | ||
| Take another little piece of my heart now. | ||
| That's why I covered that on my country album. | ||
| Yeah. | ||
| Yeah. | ||
| To this day, I listen to that song at least once every couple months. | ||
| I just put that in the headphones. | ||
| So you see what songs can do for you? | ||
| Yeah. | ||
| Well, when you grew up in the 60s, and what we did was we experimented. | ||
| I mean, if you think about what they tell us, Christopher Columbus discovered America. | ||
| No, the bow of his boat was full of booze, and he fucked Queen Elizabeth or whoever. | ||
| She goes, oh, good boy, you know. | ||
| And she sent him on his way with some money and said, bring me back some countries. | ||
| You think? | ||
| And by the way, he wasn't the first person here. | ||
| That's what America wants us to believe. | ||
| But anyway, so Christopher Columbus, he's got that in his head to go check shit out. | ||
| Right. | ||
| He's drinking. | ||
| He's going by the stars at night. | ||
| It's kind of like that. | ||
| It's like you never took LSD. I've taken acid. | ||
| Okay, so then you know it. | ||
| You look out. | ||
| We used to take acid in high school, and we'd go to these... | ||
| A ski slope in the summertime, right? | ||
| Beautiful green hills going up and we'd ride the chairlift stoned as fuck. | ||
| And we got our stuff from San Francisco, from Mousley. | ||
| I would call him up and go, dude, more colors. | ||
| More colors! | ||
| Ray Thurban was going to kill me, but that's what... | ||
| So you understand that that's just... | ||
| It's like... | ||
| You know, is it fucked up and it's drugs? | ||
| Yeah, but you're also... | ||
| It's like, I'd love to do ayahuasca. | ||
| But you can't. | ||
| Maybe my bucket list. | ||
| And that's what I'll talk to my sponsor about. | ||
| Hey, I got this... | ||
| I'm in Maui. | ||
| Maybe I've been here too long, but... | ||
| Over in Hana, they're doing ayahuasca. | ||
| I saw that you were at Ram Dass' place, because you were there with my friend Duncan Trussell. | ||
| Hell yeah! | ||
| Yeah. | ||
| Yeah, Duncan sent me a picture of you guys together. | ||
| Do you know, I went back and they had a silent auction, and I, you know, I know Ram Dass. | ||
| He's a beautiful Jewish kid from Long Island. | ||
| Long Island? | ||
| And he became what he did. | ||
| Talk about spirituality. | ||
| So, I'm at the silent auction, and I bought this and that and this and one of these Mellotron type thing that you squeeze box, you squeeze the fingers and play it. | ||
| And when I left there, a guy comes over and says, you just bought the first edition of his book in his own handwriting. | ||
| You just bought his... | ||
| I forget what the hell those things are called. | ||
| Not an accordion, right? | ||
| It's an accordion type thing. | ||
| Like an accordion. | ||
| And I got to listen to Ram Dass talk and sat right in front of him. | ||
| What a trip. | ||
| Yeah, he's a trip. | ||
| I need to meet him before he leaves this earth. | ||
| Yeah. | ||
| Duncan raves about him. | ||
| Yep. | ||
| So what were you doing there? | ||
| You obviously have an interest in psychedelic experiences, but you are wary about Attempting them at this stage after your sobriety? | ||
| Would I love to trip again? | ||
| Yeah, I would. | ||
| Do you think you could do it? | ||
| Maybe it's getting fucked up that's the bad thing. | ||
| Just getting fucked up. | ||
| Just getting drunk and coked up. | ||
| Maybe that's the problem. | ||
| In a shamanic ceremony, maybe it wouldn't be a problem at all. | ||
| Here's the deal. | ||
| It's all one thing. | ||
| Getting fucked up, shamanic, whatever. | ||
| If you're taking drugs and you're fucked up, you're fucked up. | ||
| Doesn't matter if it's shamanic or not. | ||
| If you get high, and that tweaks that little thing in my brain that goes, here I go. | ||
| Remember, I got high for 30 years. | ||
| I'm from the 60s. | ||
| With the best of them, I got high. | ||
| And it took them down. | ||
| Some of them, most of them. | ||
| You came through it remarkably unscathed, if you think about it. | ||
| Yeah. | ||
| Thank you, God. | ||
| It's pretty amazing. | ||
| Thank you, God. | ||
| Thank you, God. | ||
| Think about that one. | ||
| Yeah, think about that one. | ||
| We could talk for two hours about times I did shit and almost died. | ||
| Oh, sure. | ||
| And then I could also tell you how many times I took shit and wrote things like... | ||
| I'm listening to this guitar lick that Joe's playing. | ||
| He did an interview here with you. | ||
| But he didn't tell you how in his fucking sleep he would play these riffs. | ||
| And I come down the hallway because, you know, as I see it, of course, not as they see it, But as I see it, we were up in New England, and he was playing at a place, and I mowed the lawn at my parents' place, and I quit my last band, and I was fucking a la-hoo-zer. | ||
| I was crying. | ||
| I was in no more bands. | ||
| The dream was over. | ||
| He drives up in an MG, we go, and he's playing that night. | ||
| I swear to God, this happened. | ||
| And so we decided to move down to Boston, but all in an apartment, because I thought... | ||
| I knew why those bands didn't make it, but I knew in my heart that if I had a bro in a band, Like a Mick and a Keith. | ||
| Like the Kinks. | ||
| Dave and, you know, Ray. | ||
| Any of those bands, they had, you know, it was two guys that were really tight. | ||
| They'd feed off each other. | ||
| They'd fed off each other. | ||
| Exactly. | ||
| So we moved down there. | ||
| I got really tight with Joe. | ||
| I'd hear him. | ||
| We'd get so schwacked. | ||
| So stoned on Boone's Farm. | ||
| You know, and we'd, I mean, fucking... | ||
| I said, what do you say? | ||
| What'd you say? | ||
| Anyway, but he would play these licks. | ||
| They were so fucking... | ||
| For every song you've ever heard, Sweet Emotion, every one of those licks, walk this way. | ||
| There's 20 that got lost in the ether. | ||
| Right. | ||
| 20 that got lost in ether. | ||
| So I went out and bought a little thing called a tape recorder back then. | ||
| Remember, this was 71. You know, a lot of shit wasn't, no phones, no cell phones. | ||
| So I would record that shit. | ||
| And so anyway, where are we going with this? | ||
| That's where these songs came from. | ||
| And stuff would come out of my head while I was... | ||
| Like, sweet emotion. | ||
| Wait, whoa, fuck, get me paper and pen. | ||
| I write that shit down. | ||
| Suddenly, whoops, on the radio. | ||
| See, so I use that place that you get, you go to, and you eat edibles. | ||
| Do you ever write some of your routines when you're in animals? | ||
| Oh, for sure. | ||
| Yeah, I record them. | ||
| Well, there you go. | ||
| Yeah, no, for sure. | ||
| Well, and also, check this out, the best part of it is, when I got sober, I started writing even better shit. | ||
| I'd go in a room with four guys and say, we're going in to write a hit, we're going to stay in this fucking room until we do, or until we can't stay in each other's smell. | ||
| And we would leave in seven hours with a fucking song. | ||
| And a good one. | ||
| And one that would live way past all of us. | ||
| Check that shit out. | ||
| What did it feel like when you did have these drunken stoned moments when you came up with a song like Sweet Emotion or a riff and then all of a sudden you're listening to it on the radio? | ||
| How fucking surreal is that? | ||
| What is that like? | ||
| I remember we used to go up to... | ||
| First of all, most of our first stuff was recorded down in Hell's Kitchen. | ||
| In New York, at the record plant. | ||
| You know, John Lennon had a studio upstairs and we were down in Studio A with Jack Douglas. | ||
| So we went from there for the 70s, and then end of the 70s, I had done every drug on the planet that I could because I thought it was cool, and if I didn't, I wouldn't be cool. | ||
| And those were the kind of people I hung out with. | ||
| You can't do that, dude. | ||
| You ain't fucking shit, man. | ||
| Then you get early 80s, totally fubar. | ||
| 84, 85, 86. What was 80s? | ||
| Coke? | ||
| A lot of the hard stuff. | ||
| Yeah, 70s. | ||
| Snorting heroin, snorting coke. | ||
| So 60s and 70s was? | ||
| 60s was weed, right? | ||
| Drinking. | ||
| Getting jiggy with the stuff that was happening with the English invasion. | ||
| Listening to Elvis and checking your shit out. | ||
|
unidentified
|
Then what about the 70s? | |
| Seventies, finally. | ||
| Well, 65, 64, I was a drummer in a band at school, you know, the school drummer. | ||
| Then I bought a set of drums because I wasn't getting looked at and made fun of and called, you know, lipo and lipo-ania and got beat up after school. | ||
| I thought, if we get a little band together, play at lunch, that'd be really cool. | ||
| We were called the Maniacs. | ||
| So we played at lunch, and I went, holy shit, Marsha Resnick is talking to me now. | ||
| Holy shit. | ||
| And I feel cool. | ||
| Do you remember her name? | ||
| Ah, whatever. | ||
| Isn't it funny? | ||
| There's always one girl from high school. | ||
| Jill Ellsworth. | ||
| That was her. | ||
| And she looked at me, and no one did before. | ||
| What's no different than any other human? | ||
| Then 65, 66, 67, Chain Reaction, 68, The Strangers. | ||
| 69 was Woodstock. | ||
| I went early and left three days later. | ||
| I still have a Coca-Cola cooler. | ||
| The day it was over, okay? | ||
| We tried to start with the car and too much water got in the gas. | ||
| We couldn't get lost. | ||
| And everybody left and all their tents and all the sleeping bags were just left there. | ||
| Hundreds of acres of tents. | ||
| There's no pictures of it. | ||
| I walked around and I thought, you know, so I stole a Coke cooler. | ||
| And I still have that to this day. | ||
| You still have it? | ||
| Oh, yeah. | ||
| Was it from Coca-Cola? | ||
|
unidentified
|
It was a Coca-Cola cooler that you brought your shit in. | |
| With an opener on the side. | ||
| But I remember walking down this path that was called Groovy Way. | ||
| And I stole this banner off the trees. | ||
| Which we used for Aerosmith in the beginning. | ||
| I had these girls duplicated, so it was two guys looking at each other, you know, smoking a joint, and that was the Aerosmith thing in the beginning. | ||
| But when I was at Woodstock, I'm walking down Groovy Way, and it was where Ken Kesey and the Pranksters had all their buses. | ||
| So I'm tripping on acid, and these helicopters are coming by with 500 pounds of hot dogs, and they're dropping them. | ||
| They're dropping them in the field, and you hear this... | ||
| And I'll show you not. | ||
| And then another giant pile of pots and pans to cook the hot dogs. | ||
| I mean, it was a disaster area. | ||
| Woodstock. | ||
| You know this, right? | ||
| Yeah. | ||
| Anyway, so I grabbed the pots and pans, and I started... | ||
| And some other guy walks over, and he's going... | ||
| Another guy comes over and he starts doing this. | ||
| By the time I was done, an hour later, there was 50 people banging on every pot that was there. | ||
| That was a moment. | ||
| Then when I got up from that, tripping my ass off, I walked down a path and walking towards me was one guy. | ||
| And it was Joey Kramer, my drummer, who I knew from high school. | ||
| But that I met there. | ||
| Later on to become, I was the drummer for Aerosmith in the beginning, so move forward now, 60 to 70. All the bands that broke up, I went up to Sunapee. | ||
| I was mowing the lawn at a place called Traorico, my family place, that I did my whole life. | ||
| That's what I do. | ||
| I'm a country boy. | ||
| 360 acres that my Italian family bought that came over from Calabria in 1890. Five brothers that were musicians. | ||
| So they worked in New York City. | ||
| They made a little money. | ||
| So for four grand, they bought 300 acres. | ||
| So every year of my life when I was born in fucking 1948... | ||
| I mean, it's like, how... | ||
| You know, I know I was 70 a couple months ago, but... | ||
| I feel like... | ||
| I just... | ||
| When people would say that, it was like, what? | ||
| What? | ||
| My daughter, Chelsea, would say, it's a big one, Dad. | ||
| You've got to stay here. | ||
| We've got to celebrate it. | ||
| I have no concept of time. | ||
| I feel like, on one hand, I've lived 300 lives already. | ||
| On the other, I feel like, what's that number? | ||
| That's a fuck of a big number. | ||
| Does it feel like it just happened? | ||
| Oh, definitely. | ||
| You look back and think of Aerosmith's first gigs and feel like, God, that just feels like a couple of years ago. | ||
| A couple of years ago. | ||
| A couple years ago. | ||
| That's the thing about Aerosmith. | ||
| Okay, so we went up and signed up. | ||
| He drove by in his MGE and his glasses with white tape in the middle. | ||
| I'm telling you, man. | ||
| Hair down to here. | ||
| Come on, man. | ||
| Come hear my band. | ||
| So I went and heard him. | ||
| It was a Joe Perry project. | ||
| No, it was the jam band. | ||
| Joe Perry jam band. | ||
| And they were... | ||
| They only had one song that was good. | ||
| I won't get into it, but... | ||
| Because they couldn't, you know, they weren't in tune and shit. | ||
| But they played Rattlesnake Shake, you know, by Mick Fleawood, you know, Fleawood Mack. | ||
| And when I heard that, I sat there and I went, life flashed. | ||
| All the bands that I was in, that I broke up, I know why. | ||
| And I knew that if I take all the shit that I know, And put it into that and try to carve that shit out. | ||
| If we can live together, smoke weed together, fuck girls together in the same apartment, we'll have it. | ||
| And all I want to do is get my fucking toe on the door. | ||
| That's all I ever wanted to do. | ||
|
unidentified
|
If I could just get into the comedy club. | |
| Look into my eyes. | ||
| Yeah. | ||
| I know that feeling. | ||
| Fuck yeah. | ||
| Yeah. | ||
| So, we moved to Boston and I'm the drummer. | ||
| And one day... | ||
| Ray Tobano, a guitar player at the time, walks in and he goes, hey, I got a friend of yours, because I didn't really want to play the drums. | ||
| You're behind everybody, you know? | ||
| You get pissed off. | ||
| Your wife wonders why you're not on the cover or something, right? | ||
| Because I want to be the lead singer, because I want to get laid. | ||
| Well, what do you want to do? | ||
| Well, Tommy Lee was the drummer. | ||
| Oh, well, he had a fucking 12-inch cock. | ||
| That helped. | ||
| Okay, that helped. | ||
| He's a good-looking guy, too. | ||
| Hi, my name is Tommy Lee. | ||
| Right. | ||
| That helps. | ||
| But they have to see it first to know. | ||
| And believe me, he showed it. | ||
| We used to... | ||
| We were up in Vancouver doing our best records. | ||
| And Nicky Six, a dear friend of mine, he was in Maui with me. | ||
| And I said, you know what, man? | ||
| We've got to climb to the top of that hill. | ||
| You've got to stop smoking. | ||
| And we did. | ||
| We climbed to the very top of the hill. | ||
| Right above Nude Beach, Little Beach and Big Beach. | ||
| Anyway, it's like this. | ||
| He was like... | ||
| So we quit smoking. | ||
| And he got sober. | ||
| We went to a meeting that night and everything. | ||
| I got up to Vancouver and they're in Studio B. We're in Studio A. He's with Bob Rock. | ||
| They're producing this album called... | ||
| I don't know what. | ||
| They asked me to sing on it and... | ||
|
unidentified
|
Dr. Feelgood, right? | |
| And the fucking record... | ||
| It was one of the first times... | ||
| Musicians, when you get your shit put on a Pro Tools and it gets fixed, it ain't you anymore. | ||
| See, I'm from the old school where if you practice and get good, you're good. | ||
| So what you did at the Comedy Store the first time, you could do in your basement in front of your kids. | ||
| Be just as good. | ||
| Don't you think? | ||
| Yeah, so Pro Tools for musicians, it's like... | ||
| It makes you good. | ||
| It can take your vocal and fix it. | ||
| It can take your drums and fix it to a grid. | ||
| Does that bother you? | ||
| What are you going to do about it? | ||
| But it does make the music sound better, but... | ||
| Yeah, but listen to Charlie Watts. | ||
| Right, right. | ||
| He drags so beautifully in Keith Richards. | ||
| But that was my point. | ||
| There's something missing from that, right? | ||
| Well, yeah. | ||
| The soul's gone. | ||
| Yeah. | ||
| Because now it's computerized, and even though it's really good... | ||
| It's still not the same as listening to James Brown. | ||
| Just think about this. | ||
| Yeah, they got a new song, each band. | ||
| Right. | ||
| But yeah, if they're all using Pro Tools and fixing shit, yeah, it's the same sound coming out. | ||
|
unidentified
|
Right. | |
| Now, maybe a different singer. | ||
| But it's the same feeling, right? | ||
| And by the way, you can do it really professionally. | ||
| In my eyes, some of my dear friends, Marty Fredrickson, Nuno Betancourt, these fuckers get behind it and... | ||
| Ready for your vocal? | ||
| Yeah. | ||
| Yeah. | ||
| We'll come up with a... | ||
|
unidentified
|
Done. | |
| Recorded. | ||
| They move it there, they move it there, they move it there. | ||
| They got the drums. | ||
| They go, listen, you think we got a song? | ||
| And I go, you think? | ||
| That's how easy it is. | ||
| Right. | ||
| And I've done that many times. | ||
| Do you miss the raw, no changing, no adjusting, no enhancing? | ||
| No, no, no, wait a minute. | ||
| I've done that many times. | ||
| Of course. | ||
| I've taken, like, what did I do that on? | ||
| Pink. | ||
| I'm down in Florida. | ||
| I'm at the Marlin Hotel. | ||
| Wow. | ||
| I'm living in a room. | ||
| I'm sober, as can be. | ||
| When I say that, that means like when the sun went down, I turned the light on and it started raining. | ||
| Pink is my new obsession. | ||
| Pink ain't even no question. | ||
| Pink, on the lips of your lover, That's how it went. | ||
| So I did that until the sun came up and I turned the light off. | ||
| So I used that time period at night for the whole album. | ||
| That whole album was... | ||
| I wrote everything at night when I was... | ||
| I would get so tired, I'd feel stoned. | ||
| And I would write. | ||
| And then I would take the lyrics of Pink, and I wrote seven verses, which only needed three. | ||
| But I wrote seven. | ||
| Aerosmith's Biggest Secret. | ||
| Wrote 21 songs. | ||
| Only put 14 on an album. | ||
| Hello? | ||
| Pick the best out of 21? | ||
|
unidentified
|
Right. | |
| You can have a good album. | ||
| Right. | ||
| That's like you going somewhere for three months, writing your new fucking skit. | ||
| Your new skit. | ||
| And you get, you hit on, you be doing your edibles or whatever gets you off. | ||
| You hit on three fucking incredible things. | ||
| Yeah. | ||
| You write them through. | ||
| You come back and if you want to, you can do all three if you want to. | ||
| On your worst day, the worst one is great. | ||
| Because you're Joe Rogan. | ||
| You already know what good is. | ||
| You know what funny is. | ||
| You know how to make that, you know how to weave something together. | ||
| Alright, so I put, and this would be before Pro Tools, a thing called ADATs. | ||
| And so the guy we're working with says, sing that chorus. | ||
| Sing that verse. | ||
| And so we already had the chorus. | ||
| I sang that verse. | ||
| He just put that verse in where all the verses go. | ||
| And I listened back and I went, fuck! | ||
| We got such a great song here. | ||
| That's how I use Pro Tools. | ||
| I don't use it to manipulate. | ||
| I'll never fix my vocal. | ||
| But your vocals, there's something about your vocals that you wouldn't enhance them if you fixed them. | ||
| Like, you have a raw, soulful quality to your voice that if you fucked with that and digitized it, you'd lose all of it. | ||
| I mean, I'm sure they can do some things, the real artists with Pro Tools and... | ||
| And move things around, it'll still sound amazing, but there's no errors in your singing. | ||
| You know what I'm saying? | ||
| Any crackle or pop, it's just gonna be better. | ||
| Yeah, when did you learn that? | ||
| You feel that. | ||
| As an adult, as a person who doesn't look for perfection, you just look for beauty. | ||
| You know, perfection is not beauty. | ||
| No. | ||
| I mean, it's an unattainable thing. | ||
| Chase it and you can get excellence. | ||
| And what's wrong with America right now is everybody's trying to look for that perfection. | ||
| And stuff fat in their ass. | ||
| Yeah. | ||
| Rubber in their lips. | ||
| That too. | ||
| Yeah. | ||
| But there is no perfection. | ||
| In fact, there's an imperfection. | ||
| Beauty and imperfection. | ||
| So listen to the first album. | ||
| Some of my first songs... | ||
| It comes once a day on the shade of my window. | ||
| Bullshit! | ||
| So I'm watching Janis Joplin. | ||
| I went, what the fuck? | ||
| Mick Jagger and fucking Little Richard. | ||
| The one the Beatles. | ||
| Me and Bobby McGee. | ||
| You know, Paul's daughter texts me all the time. | ||
| She's beautiful. | ||
| Fucking line of clothes beyond belief. | ||
| And she goes, Dad's having drinks. | ||
| Come on over. | ||
| Uh-oh. | ||
| So this was three nights ago. | ||
| Come over with a fat bag of Coke. | ||
| You can smoke. | ||
| You spliff all day here with ten bags of Coke and I'll watch it. | ||
| I just don't do it. | ||
| I understand. | ||
| I got that strength, you know what I'm saying? | ||
| Thank you, Lord. | ||
| Thank you, God. | ||
| I appreciate it. | ||
| So I walk in, and it doesn't mean I don't want to do it while I'm watching this one and that one do it. | ||
| I get it. | ||
| I want to crawl up her ass. | ||
| My friend Doug Stanhope says he's waiting to do heroin right before he dies. | ||
| Oh, it's fun. | ||
| I heard it's amazing. | ||
| Well, think about it. | ||
| When do they give you morphine? | ||
| Right before you die. | ||
| No, no, no. | ||
| I don't know what that drug is, but they give you something like that, right? | ||
| They've done that, too. | ||
| When do they give you morphine? | ||
| When you're in pain. | ||
| Exactly. | ||
| Yeah. | ||
| And what human isn't in pain all the fucking time? | ||
| A lot of people are in pain all the time. | ||
| Those that can't get their shit together and at night they go home and they jerk off and then they drink a beer and they smoke. | ||
| You know what I mean? | ||
|
unidentified
|
Right. | |
| It's a little hard for people. | ||
| They don't make enough money. | ||
| They vote for Trump. | ||
| Whatever the fuck's going on in America right now, I can't figure it out. | ||
| But a lot of people, like I was when I was younger, Are in pain. | ||
| Yeah. | ||
| Girlfriends leave you, you're in pain. | ||
| That white picket fence and the wife, 18 years, she leaves you, you got two kids, I'm in fucking pain. | ||
| I'm in pain. | ||
| So what's the best thing to do? | ||
| Is that the best thing to do, though? | ||
| No, it's not, but that's why people do it. | ||
| What is the best thing to do when you're in pain? | ||
| Well, we have to be a little bit elevated as humans to know what to do in that case. | ||
| You listen to people like Marianne Williamson. | ||
| I don't know who she is. | ||
| You know, she's fucking brilliant. | ||
| Do you know who she is, Jamie? | ||
| He doesn't know anything about this. | ||
| She is fucking... | ||
| Is she a singer? | ||
| No, she's just a spiritual person. | ||
| Oh, she's spiritual. | ||
| When I got sober, I started listening to her tapes. | ||
| I'd get on the treadmill in the morning, you know, because I can't even... | ||
| I don't even feel alive unless I'm out of breath. | ||
| That's what I get for being a musician. | ||
| I lose a pound tonight on stage sweating with Aerosmith, right? | ||
| I'm up there with... | ||
| Standing next to fucking Joe Perry, really... | ||
| The last of the real rock stars. | ||
| You stood across from him. | ||
| He's a bad motherfucker. | ||
| I don't know if he was stoned or not with you, but he's... | ||
| When I get text messages from him, I'm like, holy shit. | ||
| And I saw him in the beginning, and I knew he was that. | ||
| He's something special. | ||
| I knew he was that. | ||
| He's got a recognizable... | ||
| There's certain people that have a sound. | ||
| Joe, he absolutely has a sound. | ||
| You know who has a sound? | ||
| Gary Clark Jr. You hear Gary Clark Jr. play guitar, you go, okay. | ||
| That's a Gary Clark Jr. riff. | ||
| There's certain people that have a sound. | ||
| Joe most certainly has a sound. | ||
| It's like he's expressing himself through that guitar in a very recognizable way. | ||
| You know? | ||
| You two together, man, what a fucking combination that was with his guitar and your voice. | ||
| And here's the trip. | ||
| In the beginning, you know, the first album, people have said, who's singing on the second album? | ||
| Because on the second album, I kind of sing like that. | ||
| Kind of like that Pee Wee Herman. | ||
| Mmm, chocolatey. | ||
| What are you doing? | ||
| Because I want to sound black. | ||
| What the fuck? | ||
| I'm not stupid. | ||
| I get it. | ||
| I wanted to put some fucking soul in my voice. | ||
| I knew I had it. | ||
| So you're trying to force it out like a baby? | ||
| No, no. | ||
| What I learned was, you know, like from Nat King Cole. | ||
| It's the kind of music I listened to when I was a kid. | ||
| When I met Natalie, I walked up behind her and I went... | ||
| She went... | ||
| No one has sung that ever to me except my daddy. | ||
| His dad passed, obviously, way before, but those are the records I listened to. | ||
| That was Nat singing his best shit. | ||
| So you wanted to recreate that. | ||
| Well, here's what I wanted to sound. | ||
| I wanted to sound more like Joe Perry was playing. | ||
| And singing really sweet and nice. | ||
| Isn't it Dream On? | ||
| It's sweet and nice. | ||
| I kind of went there when... | ||
| We wrote a song on a waterbed. | ||
| Joe Perry and I were sitting around smoking a big fatty. | ||
| And Mark Lehman was there. | ||
| He was our road manager. | ||
| And Joe goes, I'm looking at him. I'm looking at him. | ||
| And that was a sentence. | ||
| He spoke to me and I said, We all live on the edge of town, where we all live in a soul around. | ||
| People start coming on, we do just a grin and say, we gotta move out, go sit in, moving in. | ||
| See what I'm saying? | ||
| So he spoke to me. | ||
| And you translated it? | ||
| Yeah. | ||
| I would listen to the bit. | ||
| We would sit around and we would jam. | ||
| That's what we did the best. | ||
| And we would create this music. | ||
| And I would put the headphones on later because I'm the lyricist and I wrote the melody. | ||
| I see when I heard Joe's band, I thought, I'm going to take my dad, Vic Tolerico, who went to Juilliard in New York, and I grew up in the Bronx, 5610 Netherland Avenue, 6G, the apartment, and I grew up under the piano, and my dad would practice every day on a Steinway. | ||
| So who lived between the notes? | ||
| Joe. | ||
| You know what I'm saying? | ||
| I love your names, Joe. | ||
| I just love Joe's. | ||
| Fucking love Joe Perry. | ||
| Fucking love. | ||
| You know, he's my bro. | ||
| You go, hey, Joe, what the fuck, man? | ||
| It's always been that. | ||
| So, but anyway, so I took my melody. | ||
| You know what I hear when I listen to him playing? | ||
| So when you guys did your second album and you did that sort of affectation, is that how you would call it, of your voice? | ||
| After you heard it and you listened to people talking about it, did you decide to change it for the next album? | ||
| I did just go away for a minute, didn't I? I love it when I do that. | ||
|
unidentified
|
Yeah. | |
| The melody that I learned from my dad and then listening to the music we listen to, you know, Dorsey and Frank Sinatra and Nat King Cole and then Janis Joplin and the Village Fugs, who were the first ones to put on the back of their album Lunatic Vagina. | ||
| That's who sang the song. | ||
| It's 61. The Mothers of Invention. | ||
| These fucking bands. | ||
| And I went, what? | ||
| So I thought singing really like my dad taught me in the notes and right on. | ||
| You know, C, D, E, F, G, A, B, C. You know, whatever the fuck. | ||
| Wrong. | ||
| You gotta, not only that, but if you don't put inflections into it, there ain't no feeling and there ain't no meaning. | ||
|
unidentified
|
I got to love you like I do last time, baby! | |
| Whoops. | ||
|
unidentified
|
Right. | |
| You know where you say it. | ||
| But you have to feel it. | ||
| It can't be something you're trying to feel. | ||
| It's got to be something you actually feel. | ||
| Does that make sense? | ||
| Yeah, but I think, you know, Joe, hats off to him, man. | ||
| The way he played his guitar in practice at night, he'd fucking nod out. | ||
| He'd be sitting in his chair, and the fucking chair, the couch caught on fire. | ||
| Just I walked in with a pot of water. | ||
| And he's laying there, ropes full of smoke. | ||
| I went, Joe, what the fuck, man? | ||
| And he's playing this riff. | ||
| And we turned it into a song. | ||
| This kind of stuff happens so much. | ||
| And he did it away, too. | ||
| I mean, fucking A, obviously. | ||
| You know, Tom Hamilton. | ||
| Sweet emotion. | ||
| That's how a band comes together, you know? | ||
| And I can't tell you any other way than that magic. | ||
| And every inch of the way, the reason it doesn't feel like I'm 70, and I don't feel the time, and it feels like yesterday, we just started, is because every time I'm on stage, I'm singing those same fucking songs again. | ||
| Same way. | ||
| Same feeling. | ||
| Same looking. | ||
| Same people. | ||
| Different people. | ||
| Different people, but I'm singing those same songs. | ||
| Do you know the guy that's looking... | ||
| Anyway, so to answer your question, second album sounds a little bit more raunchy, more in tune with Joe's guitar, and I think we found our sound second album. | ||
| 3rd, 4th, 5th, 6th, 7th, 8th, 9th, 10th, 11th, 12th. | ||
| We got it. | ||
| But it took that. | ||
| First album had songs on it like Walking the Dog. | ||
| Because we ran out of songs. | ||
| That song we played in clubs. | ||
| I remember, we had a contract. | ||
| What are we going to do? | ||
| So we wrote Moving Out. | ||
| Then the guys would get stoned and drink Boone's Farm and I'd go, come on you guys, we fucking wrote this song. | ||
| Fuck you! | ||
| And flicked their joint at me. | ||
| So I remember getting pissed off walking out. | ||
| They hate me when I tell this story, but I remember being really fucking angry, walking out to this piano and writing. | ||
| One Way Street. | ||
| I don't play guitar. | ||
| And I wrote... | ||
| Make it, don't break it, the first song and the first album. | ||
| Some great shit, because I feel like, you know, in anger, you know, I didn't know what to do, but I used that. | ||
| So I wrote a bunch of songs, and I think it lit everybody's fuse. | ||
| I think that. | ||
| Joe certainly lit mine. | ||
| Tom Hamilton, in his outtakes, as he called them, sweet emotion. | ||
| That's Tom Hamilton. | ||
| Now, throughout this whole time, were you exercising back then? | ||
| Did you do things to move around back then? | ||
| Or were you just living life? | ||
| Because you say you're always trying to be out of breath. | ||
| You're always doing things physically. | ||
| No, no. | ||
| What I'm saying now is when I started getting sober, I thought, fuck, I got a treadmill and I got into shape. | ||
| And you didn't do that before you got sober? | ||
| No, because we were on tour three shows a week. | ||
| I was 127 pounds. | ||
| I was just skinny mini and just trying to... | ||
| There was no MTV. We had to play... | ||
| Just check this out. | ||
| You wonder what drugs I took and why. | ||
| People get enamored by that. | ||
| But take it out of the picture. | ||
| We got high. | ||
| I got high. | ||
| Because my manager was getting stoned too. | ||
| They loved it when bands were stoned. | ||
| Because they could hand us a piece of paper and we would sign it. | ||
| Oh, 50% of all of our publishing. | ||
| Thanks, pal. | ||
| And words like imperpetuity. | ||
| These fucking managers back then, I can tell you the dark secrets. | ||
| Please do. | ||
| You do? | ||
| You're on a urine? | ||
| I do. | ||
| I just told you. | ||
| The dark secret is they'd get you high and get you to sign contracts. | ||
| We all got high together. | ||
| Right. | ||
| But they knew when you were good and fucked up, you know, here, sign this. | ||
| No. | ||
| All managers loved it when their bands were fucked up. | ||
| Think about it. | ||
| Hendrix stoned out of his fuck. | ||
| Here, sign this. | ||
| Yeah. | ||
| John Lennon thought, what was his name? | ||
| The New Broom. | ||
| When he got a new lawyer and Paul was with Linda. | ||
| You know It's it's what happens back then you get your confidence today, too, right? | ||
| I mean the record business has been that way always because artists are impulsive and they're not business wise and People come along and exploit that. | ||
| Yes. | ||
| Very impulsive. | ||
| Yeah to think of what it takes if you study this for a second What does it take for a bunch of guys? | ||
| We're not in love with each other We love, I love, I really love what you just said. | ||
| What's your name again, young one? | ||
| Jamie. | ||
| Young Jamie. | ||
| I love what you just said. | ||
| Can we talk after this? | ||
| Can I, tell me that again so I can write it down? | ||
|
unidentified
|
Sure. | |
| See what I mean? | ||
| You know, so get five guys together. | ||
| Right. | ||
| That love what each other's doing. | ||
| I love the way Joey Kramer plays. | ||
| Brad Whitford plays guitar like a madman. | ||
| Joe Perry. | ||
| Tom Hamilton. | ||
| You know, to love what these guys do and then write songs. | ||
| Who are we? | ||
| Who are we? | ||
| We're fucking, and writing songs for 48 years? | ||
| Still? | ||
| When I turn on the radio on, I hear a sweet emotion. | ||
| And I hear that fucking song, I don't want, what is it, I don't want to kiss your thing? | ||
| No, no, I don't want to miss a thing. | ||
| I just fucking hear, I still turn around and hear that old shit. | ||
| What magic we had. | ||
| What magic it takes for David Grohl to sit down and do his scribbling. | ||
| He's a fucking... | ||
| For as old as he is, he's 12. I love him. | ||
| When I walked into Paul McCartney's party, you know... | ||
| What's his name? | ||
| Was walking out. | ||
| Where's Amy? | ||
| Help. | ||
| Dr. Dre was walking out. | ||
| I walked in and there was Ringo, and it was Oprah, and there was... | ||
| I mean, everybody that I... I live on Maui, so I live there with... | ||
| You live in Maui? | ||
| Oh, yeah. | ||
| Really? | ||
| Really? | ||
| What did you say, man? | ||
| No, because everybody thinks Maui is Maui Waui. | ||
| Back in 72... | ||
| Everybody thinks that still? | ||
| Well, I don't know. | ||
| In 72... | ||
| I think they don't think that anymore. | ||
| I could buy a case of Maui Buds and have it sent right to my house. | ||
| I did it all the time. | ||
| From Maui. | ||
| It was called Maui Waui. | ||
| I've heard that name before. | ||
| Anyway, everybody thinks... | ||
| But you live there right now? | ||
| I live there right now. | ||
| What is that like? | ||
| Okay, look. | ||
| That's gotta be beautiful. | ||
| I'm in an old-fashioned band. | ||
| We all get paid the same. | ||
| You okay? | ||
| Oh, what? | ||
| An old-fashioned fucking band. | ||
| Who does that? | ||
| Today, you got Rihanna. | ||
| How much do you think she makes tonight? | ||
| I don't know. | ||
| And the dancers? | ||
| Compared to... | ||
| Well, this is a big difference. | ||
| Rihanna compared to the dancers. | ||
| And the dancers, and you, and Joe Perry. | ||
| Well, with the band, we all get paid the same. | ||
| Right. | ||
| When I took Idol... | ||
| Ka-ching! | ||
| Started making some paper. | ||
| Yeah, is that why you did it? | ||
| Everybody made fun of me. | ||
| And believe me... | ||
| Did you do it just for the money? | ||
| No, but... | ||
| No, you know why I did it? | ||
| Why? | ||
| Because I thought nobody knew who I was. | ||
| Everybody knows this guy. | ||
| Singing. | ||
| Nobody knew you as a human. | ||
| And nobody knows this guy. | ||
| Oh. | ||
| So you wanted them to know you as a human. | ||
| My mom's passed away and she said, you know, they need to see that side of you. | ||
| You as a person. | ||
| But you decided that American Idol was the best way to show that? | ||
| I thought it was the first thing was... | ||
| I had no managers back then that had the good sense to offer me anything. | ||
| I got the offer from Marty Fredrickson. | ||
| How long ago was this? | ||
| How long have you been on this for? | ||
|
unidentified
|
2000... | |
| 10 and 11? | ||
| 11 to 12. I get to sit next to J-Lo and Randy Jackson, that motherfucker. | ||
| A beautiful guy. | ||
| And J-Lo. | ||
| J-Lo's beautiful too. | ||
| You know what us men need? | ||
| I think what everyone needs is the word called incentive. | ||
| Right? | ||
| Is it her ass? | ||
| It was her ass at the time. | ||
| I'd look at it all the time. | ||
| But she'd say, you're harassing me. | ||
| And I'd say, who's ass? | ||
| Her ass. | ||
| Yeah, I know. | ||
| But the funniest fucking thing is we would do, all three of us, and I think that's missing now, but all three of us, you know, to do American Idol, you got to go to Des Moines, Iowa. | ||
| And in a gym, and you're all set up with a whole crew and, you know, three people with these microphones, you know, the 12-foot mics hanging down over your head like this, and 12 cameras and high-def up your wazoo. | ||
| And 50, 40 people a day would come through. | ||
| All these 16-year-old, 17-year-old little trollops with, you know, red lipstick on and push-up bras and going, to dream the American dream. | ||
| Get out of here! | ||
| You know, after the 30th, 40th one, you're sitting there doing this. | ||
|
unidentified
|
Right. | |
| So you need that incentive from each other. | ||
| And sometimes it will get so... | ||
| It was just shit burnt out after the 40th person, 50th person. | ||
| But that's what people like, though. | ||
| There's something about American Idol. | ||
| We like really talented people, but we also like people who are delusional. | ||
| Yeah, and we, trust me, it took me about two weeks to get into it because I told myself, I am never going to tell some young girl who can't sing that she can't sing, get the fuck out of here. | ||
| Right. | ||
| Like that other guy. | ||
| You know what? | ||
| That Simon guy? | ||
| Yeah, Simon. | ||
| I don't like your music, besides which it's country and I don't like country. | ||
| I heard him say that. | ||
| That seems not appropriate. | ||
| But that's also foolish. | ||
| He's a weird case, isn't he? | ||
| Because he's not a singer. | ||
| Well, you know what? | ||
| Whatever he is, I said, I'm a singer. | ||
| How can I say that to a girl? | ||
| It's going to be, there may be some days breastfeeding her baby and wants to sing. | ||
| Maybe she wants to, her baby's sick and she's sitting on the bed and wants to sing, but J-Lo told her she can't. | ||
| Right. | ||
| I didn't have it in me. | ||
| Well, you shouldn't have it in you. | ||
| I mean, that's his shtick, right? | ||
| His shtick is to be a mean guy. | ||
| Yeah. | ||
| And people like that. | ||
| They like that mean guy shit. | ||
| They would say to me, come on, man. | ||
| Take it up a notch. | ||
| Who would say that? | ||
| That the producers? | ||
| The producers? | ||
| You kidding? | ||
| They don't know what the fuck they're doing. | ||
| They're the ones who... | ||
| They got me a couple times ago. | ||
| Did they? | ||
| Oh, yeah. | ||
| They got you to turn it up? | ||
| And then you feel bad about it. | ||
| Disingenuous. | ||
| Well, you know, I mean, like... | ||
| There would be moments where, I mean, we were burnt. | ||
| We're in, like I said, Iowa or some Texas. | ||
| I'd look over and The boom started going like this, right? | ||
| And I started getting it and they would say, number one! | ||
| Because it was in the shot, you know? | ||
| And then so I would whip out a limerick. | ||
| I'd go, time for a limerick! | ||
| And stop everybody. | ||
| Everyone would stop. | ||
| I'd say something like, you know, I once met a whore from Dallas. | ||
| She used a dynamite stick for a phallus. | ||
| They found a vagina in North Carolina and her asshole in Buckingham Palace. | ||
| And the fucking, you'd see the boom going like this. | ||
| The place was just enough to bring it up and we'd finish two more and we'd leave. | ||
| But it was fun like that. | ||
| And it was a good payday. | ||
| So when you're asking me to have a house in Maui, yeah. | ||
| And I was made fun of for doing that. | ||
| Well, who made fun of you for doing that? | ||
| Ah, Joe Perry didn't think it was a smart thing. | ||
| He said, that's one step under Ninja Turtles. | ||
| And he's my bro, and I read that and I thought, I went, what the fuck am I doing? | ||
| Joe, keep in mind, when I'm alone by myself, I went... | ||
| Is he right? | ||
| When I thought to myself, would Bob Dylan do this? | ||
|
unidentified
|
Ooh. | |
| Yeah, I had those thoughts. | ||
| Right. | ||
| Kind of fucked me up for a minute. | ||
| But then I went... | ||
| Dylan doesn't have a house on Maui, does he? | ||
| No, I didn't have one then. | ||
| But I wanted one. | ||
| Got a house. | ||
| How much money that guy's got? | ||
| I'm sure. | ||
| He's got a house everywhere. | ||
| He's probably got a house on the moon. | ||
| So I took Idol and I... No, I never... | ||
| So you bought a house on Maui with the money from Idol. | ||
| This is where we started. | ||
| You have kids, right? | ||
| Your youngest is what? | ||
| She just turned eight. | ||
| Eight. | ||
| Okay. | ||
| I have my two last kids, Chelsea and Taj. | ||
| We lived in Marshfield, Massachusetts, and when I could, I would take them to either Disneyland or World or Maui. | ||
| Go to the Four Seasons and discover. | ||
|
unidentified
|
Beautiful. | |
| Right? | ||
| With your kids. | ||
| Yeah. | ||
| But every morning, I'd wake up, and I would run to the right and go all the way down to La Perouse, and I'd run back. | ||
| I think five miles down, five miles back. | ||
| I always saw this house. | ||
| I thought, is that where... | ||
| I didn't know who lived there, but I thought somebody. | ||
| What's the lead singer in The Grateful Dead? | ||
| Jerry Garcia? | ||
| Rumor was he lived there. | ||
| I kept looking at it, and it just... | ||
| It was such a beautiful house. | ||
| But it was ridiculous. | ||
| Amount of millions, you know? | ||
| I don't have that. | ||
| You know, you don't have that when you're in a band. | ||
| You share all the money. | ||
| Plus management, publishing... | ||
| And then that contract you saw when you were stoned. | ||
| I mean, come on. | ||
| Right. | ||
| So you're into MMA. What a segue, right? | ||
|
unidentified
|
Beautiful. | |
| So I'm looking at... | ||
| Where the fuck is my notes? | ||
| Help me, Michelle. | ||
| I want to talk to you about aliens. | ||
| Oh, really? | ||
| Let's go with that. | ||
| Where the fuck is... | ||
| You've got a lot of notes in front of you, man. | ||
| You think? | ||
| You have absolutely the most notes. | ||
| I never even finished that week. | ||
| That's okay. | ||
| We can do whatever you want, man. | ||
| No, no, we're good, man. | ||
| This right here is really important. | ||
| So... | ||
| I don't know. | ||
| What the fuck, man? | ||
| When did you compile these? | ||
| This morning. | ||
| You just decided that... | ||
| Yeah, I finished the vocal last night at 11. Up at Nuno Bettencourt's house. | ||
| Got to bed at like... | ||
| I couldn't sleep until 4. I'm going, Joe Rogan, Joe Rogan. | ||
| What the fuck? | ||
| What the fuck? | ||
| Oh, man. | ||
| You're sweet, man. | ||
| You're sweet, too. | ||
| It's... | ||
| I mean, what a format. | ||
| To talk. | ||
| Truth. | ||
| Not only that, when people watch your show, they know who's full of shit and who's not. | ||
| For sure. | ||
| After a while. | ||
| Yeah. | ||
| Yeah. | ||
| But the ones that are telling the truth? | ||
| They know that, too. | ||
| I think you're taking it up a whole shitload of notches. | ||
| Well, this is what you were saying about American Idol. | ||
| Before, they knew you as just the guy behind the microphone. | ||
| You sang songs that touched people and moved people. | ||
|
unidentified
|
She just put it right over there. | |
| Oh, she wants a different stack. | ||
| Okay. | ||
| Yeah, I'm sorry. | ||
| But even that, like, this, having a conversation like this, it's, uh... | ||
| There's just not enough of these out there. | ||
| Well, there is now. | ||
| Now there's more of them. | ||
| But for the longest time, you would never be able to have this kind of conversation because of the same people that would tell you to turn it up a notch on American Idol. | ||
| There'd be producers around. | ||
| There'd be people trying to fuck with things. | ||
| Adding their direction. | ||
| And this is my... | ||
| The studio notes. | ||
| We have notes. | ||
| This is what we want you to do, Stephen. | ||
| We want you to talk about this. | ||
| Stop doing that thing where you keep singing. | ||
| People don't want to hear that anymore. | ||
| What we want you to do is this. | ||
| And for you to speak your mind like you do, your truth, and have someone across from you speak their truth in their words, in any language they want, and not be edited or audited, is unreal. | ||
| Isn't that weird, though, that that's unusual? | ||
| Just think about it. | ||
| 40 years ago, you couldn't say ass on the radio. | ||
| I don't know if you can now. | ||
| I think you can now, but... | ||
| I hear a shithole on CNN. Yeah, you can say that. | ||
| You know, Don Lemon. | ||
| Don Lemon, yeah. | ||
| Yeah. | ||
| One of my favorite guys. | ||
| You know, for like three weeks, quoting Trump and shithole countries. | ||
|
unidentified
|
Right. | |
| It was great. | ||
| I went, yeah, turn the TV up. | ||
| Well, it is a new freedom in terms of that, but I think it's because of the internet. | ||
| People are getting used to swears. | ||
| They're getting used to people just speaking unedited. | ||
| They're getting used to uncensored video. | ||
| They're getting used to things. | ||
| Well, it's just words. | ||
| This uncensored behavior is way past the word fuck. | ||
| Sure. | ||
| The words are just representative of thoughts and intent, right? | ||
| They're just noises. | ||
| It's like the best way to describe what's going on in your head is use all the words. | ||
| Use them all. | ||
| Use the ones that are really coming out of your head. | ||
| Don't hold them back and give me some watered-down version of what your real thoughts are so I have to decipher it and sort of put it through a filter and try to figure out what did Steven mean by that. | ||
| God, I got so... | ||
| I got so angry at the way things were going about, God, I want to say, six years ago that I quit management. | ||
| I got my lawyer, Dina LaPolt, to manage me. | ||
| Well, I quit the management that was managing the band. | ||
| Right. | ||
| And they're also gone now. | ||
| God bless. | ||
| One of them passed away. | ||
| Rest his soul. | ||
| He was a good man. | ||
| And the other one didn't have a lot of good things to tell the band. | ||
| Wrong direction all the time. | ||
| And now my band is with my management. | ||
| We're together a fucking gang. | ||
| So six years ago, I would talk to people and I'd go, you know what, fuck you. | ||
| I'm going on Rogan next week and I'm going to fucking say your name. | ||
| I mean, I just built a house up in Laurel Canyon. | ||
| These fucking guys, I'd come home and I had a water wall and, you know, this guy Lee and people would come and go, don't tell fucking Tyler. | ||
| And I wanted to lean back so the water wall wouldn't... | ||
| Rolls down, right? | ||
| Rolls down and wouldn't spray on the bridge that goes across? | ||
|
unidentified
|
Right. | |
| Not a chance. | ||
| So after a year, I get there and they go, you know what? | ||
| I heard them say, fuck Tyler. | ||
| No, I'm just, you know, I'm just saying. | ||
| So that's the kind of stuff I went, I'm on Rogan. | ||
| You're fucking toast, pal. | ||
| That manager story is a story that you hear from... | ||
| I just heard it from a friend of mine. | ||
| She was telling me about... | ||
| Her manager has given her shit advice and she just dropped him. | ||
| Why are there so many people in management that give shit advice? | ||
| Well, because out of ten of them, two of them know the answers and they may be right. | ||
| Yeah. | ||
| The rest of them know how to play the game. | ||
| If you read the book, it's easy. | ||
|
unidentified
|
Yeah. | |
| To manage a band? | ||
| You just got to tell them what they want to hear. | ||
| Yeah. | ||
| Sweet talk them. | ||
| Yeah. | ||
| Well, no, no. | ||
| It's a hard thing to be a manager, to manage a band. | ||
| It's even harder. | ||
| The hardest thing is to know direction, to look at people's feelings, know what they're about, why they're about, what guy in the band should do this interview, what interviews to do. | ||
| Which one's to do? | ||
| Which one's not to do, right? | ||
| Which one's not to do? | ||
| Well, don't do any one where they're gonna stop it in four minutes. | ||
| You know those Tonight Show ones? | ||
| Sometimes you have to. | ||
| That's all they give you. | ||
| You gotta take it. | ||
| It just seems so fucking forced and fake and weird. | ||
| Your book, you gotta sell books. | ||
| This stands for me. | ||
| I wrote a book. | ||
| I was so fucking pissed. | ||
| I wrote, does the noise in my head bother you? | ||
| Right. | ||
| To people, I would say that. | ||
| I'd go, what the fuck's wrong with you? | ||
| What are you talking about? | ||
| What do you mean did I write lyrics? | ||
| What did you do last night? | ||
| The guys would give me shit for not writing lyrics or finishing a song. | ||
| They were upset that you were writing a book? | ||
| No, no, no, no, no. | ||
| Back when you were writing a song and being a band, right? | ||
| Yeah. | ||
| We're in a studio. | ||
| We put the song down. | ||
| You lay the track down. | ||
| And then Steven's got to go and write the lyrics. | ||
| Right. | ||
| If I don't, the next day they go, well, what the fuck, man? | ||
| And I say, well, I'm trying to get my wife pregnant. | ||
| I have a life. | ||
| I get it. | ||
| What were you doing last night? | ||
| You know, but that's the kind of shit that happens. | ||
| You get a lot of pressure on you. | ||
| And then, because they did that, I went and wrote Walk This Way, the lyrics, had them in my bag, finished the whole record, got in a fucking cab, went to 321 West 40, the record plant in New York. | ||
| Got out of the cab, went upstairs, went, I got it! | ||
| And I fucking went white. | ||
| I left the lyrics in the cab, the whole album. | ||
| And my producer goes, we're doing Walk This Way tonight. | ||
| So I went upstairs, took a pencil, listened to the track like I did the night before that I wrote the lyrics, and wrote them on the wall. | ||
| And that's what happened. | ||
| But, you know, no one in the band thought I left the lyrics. | ||
| Who the fuck has got those lyrics in that cab? | ||
| Somebody. | ||
| Everybody thinks you fucked off. | ||
| The worst part, yeah. | ||
| The band went, yeah, right. | ||
| You left the lyrics in the cab. | ||
| And you know what? | ||
| Maybe when you're stoned on coke, nothing's funny. | ||
| It's really a suck-ass drug. | ||
| That's why I avoided it. | ||
| Good for you. | ||
| Thank you. | ||
| Speed could get you... | ||
| Well, you know what? | ||
| A little bit of speed. | ||
| Maybe it seems like the move. | ||
| Yeah, I bet you did a little bit of speed. | ||
| But this coffee, right here? | ||
| Yeah, that's what I'm saying. | ||
| It's good. | ||
| I can feel it. | ||
| Downers, for me, and how I... Look at you, you're shaking. | ||
| I had stem cell shots put in my shoulder today. | ||
| Oh, come on! | ||
| Did you really? | ||
| Did they take him out of here? | ||
| No, there's some new process they do. | ||
| I'm in serious pain right now. | ||
| Oh, man. | ||
| That's why I'm shaking. | ||
| Like, watch. | ||
| I can barely pick this up. | ||
| I just saw. | ||
| I thought, fuck, it's coffee. | ||
| I'm doing it, too. | ||
| No, it's not coffee. | ||
| Look. | ||
| If you just caught me five hours ago, I'd be moving like a... | ||
| Like, perfect. | ||
| Something. | ||
| Like, something smooth. | ||
| I'll be okay in a day. | ||
|
unidentified
|
Yeah. | |
| What do I take for my feet? | ||
| Yeah, yeah. | ||
| Gabapentin. | ||
| Gabapentin? | ||
| Gabapentin. | ||
| It's a great drug. | ||
| It's not, you don't get high from it, but it kills pain. | ||
| This is to alleviate some shoulder tears. | ||
| I have some tears. | ||
| Look at the fucking signs of you. | ||
|
unidentified
|
Work out. | |
| Yeah, you can see. | ||
|
unidentified
|
Yeah. | |
| So, which is a great, so by the way, let's go quickly. | ||
| Back to your book. | ||
| Yeah, no, there's a noise in my head bother you. | ||
| I wrote this, and I wrote you a little, uh, something. | ||
| Oh, you wrote me something? | ||
| Oh, thank you, man. | ||
| Oh, no, sweet. | ||
|
unidentified
|
Thank you. | |
| That you were very sweet. | ||
| That's awesome, man. | ||
| Just remember, the less hair I got, the more head you get. | ||
| Okay. | ||
| The less hair you got, the more head you get. | ||
| That makes sense. | ||
| You think? | ||
| Love, Steven Tyler. | ||
| Steven Tyler. | ||
| What did I say? | ||
| You said Steve. | ||
| I think I said Steven Tyler. | ||
| Let's go back, tape it. | ||
| I'm pretty sure I've never said Steve Tyler ever, so... | ||
| I don't care, but... | ||
| Thank you, man. | ||
| I really appreciate that. | ||
| If you put me down in the worst way, I still love you. | ||
| I didn't do that, and I wouldn't do that. | ||
| I'm just saying because of the show, and because of the trails you've left in life, I love you. | ||
| I love you too, man. | ||
| I'm just telling you. | ||
| I've been a fan of yours since I was a kid. | ||
| You're fucking monumental. | ||
| I love you, man. | ||
| This is getting weird. | ||
| I love your truth. | ||
| No, no. | ||
| I just fucking love your truth. | ||
| So you're into... | ||
| Tell me about this fucking shoulder shit. | ||
| Why are you so big? | ||
| You're into wrestling and stuff? | ||
|
unidentified
|
Yeah. | |
| You're into wrestling. | ||
| You do your left hand or your right? | ||
| No, no, no. | ||
| I switch it up. | ||
| Mostly right. | ||
| Yeah? | ||
| Yeah. | ||
| For that. | ||
| No. | ||
| Are you wrestling? | ||
| Yeah, I do. | ||
| Martial arts, yeah. | ||
| You do? | ||
| Yeah, my whole life. | ||
| Okay. | ||
| Jiu-jitsu mostly. | ||
|
unidentified
|
Wow. | |
| But my shoulders are, they've got some issues from some years of abuse and tears and some minor arthritis. | ||
| And this one's been, apparently I had some sort of a separation on this one sometime in the past and I didn't know. | ||
| Yeah. | ||
| There's a lot of tears. | ||
| So I've had some great success with stem cells. | ||
|
unidentified
|
Mm-hmm. | |
| Mezycomel. | ||
| Mezycomel? | ||
| How do you say it? | ||
| Mezycomel? | ||
| Whatever. | ||
| Anyway, stem cells. | ||
| Yeah. | ||
| I had it sucked out of my... | ||
| Your hip bone? | ||
| Hip bone. | ||
| Yeah. | ||
| And they put it in my knee. | ||
| I had a knee replacement. | ||
| Oh, you had a replacement? | ||
| Whole thing. | ||
| Yikes. | ||
| You walk very well, though. | ||
| Well, it... | ||
| What was wrong with your knee? | ||
| It had a nine-degree valgus. | ||
| It was like this. | ||
| Ooh, from... | ||
| Because I had an ACL reconstruction. | ||
|
unidentified
|
Right. | |
| I had both of those done. | ||
| Don't believe the doctors. | ||
| Don't? | ||
| Nine years. | ||
| Nine years. | ||
| That's it. | ||
| For someone like you, nine years. | ||
| No, no. | ||
| I have one in my left knee that's 24 years old. | ||
| And it's still working. | ||
| Awesome. | ||
| Wow, good for you. | ||
| I throw kicks with it. | ||
| Well, maybe not everybody. | ||
| It's all about meniscus. | ||
| It's about the amount of cushioning and whether or not they do a good job replacing the ligament. | ||
| But I had very good doctors on my left and right knee. | ||
| Shout out to Dr. Gettleman. | ||
| Wow, good for you, man. | ||
| Mine, it didn't work. | ||
| So it started going inwards. | ||
| What year did you get it done? | ||
| Don't forget what I... 98? | ||
| Yeah, mine was 94. I have a buddy, 93 actually, I have a buddy of mine who had one done though and his knee is really fucked up to the point where he is about to get a replacement and he actually got a hip replacement on one of his hips because of the damage in his knee. | ||
| Yeah, because if the knee is going in, then this is pushing that way. | ||
| So it's going out. | ||
| And I didn't know any of this shit. | ||
| I just, I knew I couldn't take Vicodin or Percocet or any of that stuff. | ||
| How long ago did you get your knee replaced? | ||
| Six years ago? | ||
| I want to say. | ||
| Yeah. | ||
| Five, six years. | ||
| Now I got to get the right one done. | ||
| So now I'm going to Europe with my loving Mary band. | ||
| I got a country album. | ||
| So you need to get your right one done because what's going on with it? | ||
| Okay. | ||
| The left knee never hurt. | ||
| Right. | ||
| But the right knee hurts. | ||
| Never pinching, no nerves, no where, no how. | ||
| Right knee hurts. | ||
| It's fine, except that's the right side. | ||
| If it pinches on the nerve, it goes out like that. | ||
| I can't be doing that on stage. | ||
| I've seen a Rolling Stone's gonna be going, he's fucking stoned again. | ||
| Do you think they would say that? | ||
| No, I don't. | ||
| Sons of bitches. | ||
| Rolling Stone's a bunch of different people, though. | ||
| You can't really attribute it all. | ||
|
unidentified
|
Yeah. | |
| No, I'm not worried about that. | ||
| I'm just worried about it. | ||
| It doesn't... | ||
| Are you sure that that's the only way to do it, though? | ||
| Have you talked to other doctors? | ||
| Because what they're doing now with regenerative... | ||
| Regenerative? | ||
| Why can't I say that? | ||
| Regenerative. | ||
| Why did that one stumble? | ||
| With regenerative medicine, they're able to replace meniscus and cartilage and regrow shit. | ||
| You might want to hang on. | ||
| They're able to do some shit now where they can fix things they've never been able to fix before. | ||
| And every year gets better. | ||
| And I'm pretty close to the cutting edge of this stuff. | ||
| Yeah, I've had a bunch of doctors on my podcast talk to me about it, particularly Dr. Neil Reardon, who does a lot of work down in Panama that they can't do in the United States yet. | ||
| And he did Mel Gibson and Mel Gibson's dad, who was 92 at the time and on death's door in a wheelchair. | ||
| Now he's 100 and he's walking around. | ||
| Yeah. | ||
| I know about those people down there. | ||
| I know about the people up in... | ||
| Go. | ||
| Go to Panama. | ||
| But Penenberg is one name that did my knee. | ||
| And my knee is so fine. | ||
| You wouldn't believe it if you saw it. | ||
| So it's fine? | ||
| It moves good? | ||
| The left knee is good. | ||
| But the right... | ||
| So it pinches. | ||
| And it hurts like fuck. | ||
| My knee just goes out. | ||
| So I can't go on tour with Aerosmith. | ||
| Jumping around like I do. | ||
| But there's other, I'm just saying, I don't know how your knee is. | ||
| I don't know what's going on with it. | ||
| You gotta give me names. | ||
| I will 100% give you names. | ||
| But there's other options now. | ||
| And it's one of those things where, according to the doctors that I've spoken to, the longer you can hold out, the more likely you are to never need surgery. | ||
| Especially when it comes to replacements. | ||
| They're able to do a lot with hip replacements now, with Regenikine and stem cells. | ||
|
unidentified
|
The longer? | |
| Yeah, the longer you can wait. | ||
| Because what they're able to do now is different than what they're going to be able to do in five years and in ten years. | ||
| The longer you can wait, the more likely it is they can regenerate tissue. | ||
| Yeah, yeah, yeah. | ||
| Yeah, they're doing all kinds of crazy shit now with stem cells. | ||
| Well, now that they're allowing it, there's a guy live that is into telomeres. | ||
| Telomeres, yeah. | ||
| That's your longevity gene. | ||
| Sure. | ||
| And he says that people that are like, people that conduct bands, these silly guys and shit. | ||
| Silly. | ||
| Musicians. | ||
|
unidentified
|
Right. | |
| Those silly fucks too. | ||
| Silly music players. | ||
|
unidentified
|
Right. | |
| People that are able to... | ||
| Let a childish side of them out. | ||
| Those little tollywog tails stay longer. | ||
| Old people, they grow shorter. | ||
| And he's close to finding that out. | ||
| So I love today. | ||
| I love what's going on. | ||
| I'm going to look into this. | ||
| Yeah, please do. | ||
| We'll talk afterwards. | ||
| I'll give you some names and numbers and shit to look up. | ||
| But so, MMA. I'm looking at it. | ||
| One of the girls that works for me... | ||
| Said, well, that's the same thing as what you're into right now. | ||
| MMA for me. | ||
| I'm into MMA. Only... | ||
| Music? | ||
| It's something... | ||
|
unidentified
|
No, no. | |
| It's something I got into in the last year with my lawyer, Dina LaPolt. | ||
| And it's called... | ||
| I'm sick and fucking tired of getting beat and ripped off for the songs I wrote in the 70s. | ||
| And where's the money? | ||
| Where's the money? | ||
| It's not even a joke. | ||
| Right. | ||
| It's not even a joke. | ||
| And now that there's a format that's digital... | ||
| It's even less of a joke. | ||
| You want to fucking go break into these buildings and take a gun and shoot people. | ||
| Because they're not paying you. | ||
| You mean things like Spotify and things like that? | ||
| They're not paying you. | ||
| They're taking the money for plays of your song. | ||
| They're giving you whatever. | ||
| First of all, publishers. | ||
| You know what it's all about? | ||
| 100 years ago. | ||
| 50 years ago, 20 years ago, publishers take the money we make on Toys in the Attic. | ||
| Millions, right? | ||
| They keep that money for a year. | ||
| They put it in the bank. | ||
| They keep the interest. | ||
| Then they pay after they keep the interest. | ||
| Of course. | ||
| That's one of those. | ||
| Remember before I said there's so many dirty little things I can tell you. | ||
| How about finding out managers buy the first three rows of your shows? | ||
| And get the money from the fucking promoter. | ||
| In their pocket. | ||
| Brought to them in a paper bag. | ||
| You want to fucking go there? | ||
| Is that what happened with you? | ||
| No, it's the kind of shit that happens in a business. | ||
| So they buy the first three rows and then sell those tickets? | ||
| Think of how simple that is. | ||
| Think of how simple. | ||
| They go up to the guy that's suing the show, right? | ||
| If you have a 90-10 deal, fucking great. | ||
| The manager goes and goes, first three rows. | ||
| See you later. | ||
| Or you don't get Aerosmith. | ||
|
unidentified
|
Wow. | |
| Or you don't get Bob Dylan. | ||
| Or you don't get Jimmy Buffet. | ||
| And they're just depending upon those people to not tell you. | ||
| Yeah. | ||
| I mean, who's going to tell you? | ||
| Here's what happens. | ||
| You only find that shit out. | ||
| Afterwards. | ||
| If you're going out with a girl that says, I'm the one that brought the money back to him. | ||
| Oh, shit. | ||
| Is that how you found out? | ||
| That's not how I found out. | ||
| Somebody found out that way? | ||
| That's the story I heard. | ||
| Oh. | ||
| Let's keep it like that. | ||
| That's the story I heard. | ||
| And this woman's willing to talk about it. | ||
| Oh. | ||
| But the deal, here's the deal. | ||
| You know, You know, I'd love to get angry as shit about stuff. | ||
| I love that. | ||
| I'm Italian. | ||
| You kidding? | ||
| You know what's so funny? | ||
| I got sober, right? | ||
| And they went, you have an anger management problem, Steven. | ||
| Once you got sober? | ||
| Fuck you. | ||
| You know what I mean? | ||
| You think when you get sober, you're off the drugs. | ||
| Your isms are wasms. | ||
| Right. | ||
| Bullshit. | ||
| All the reason you drank, for all the reasons that you drank, they come out even more. | ||
| Right, and then you have to manage all that shit. | ||
| But you've got to learn how to. | ||
| That's a good thing. | ||
| Well, exercise, right? | ||
| Well, you know, you've just got to read certain books. | ||
| Pia Malady, you know, Co-dependency no more. | ||
| It's just shit. | ||
| You know, shit. | ||
| Stuff. | ||
| Spiritual stuff. | ||
| How to rise above your abnormalities. | ||
| It's not so good to smack your wife when you get angry. | ||
| Definitely not good. | ||
| No. | ||
| You gotta learn how to manage that anger. | ||
| For sure. | ||
| Well, it wasn't too about... | ||
| I got sober in 88. So you do the math. | ||
| Because I had enough for those years, right? | ||
| I was out of my fucking mind, 81, 82, 83. So you got sober in 88 for how long? | ||
| I got sober in 88. 14, 15 years. | ||
| Then I had, you know, Don't Want to Miss a Thing came out, right? | ||
| And I'm up in... | ||
| I know we're jumping around, but this is a great show. | ||
| It's good to use these as bites, you know, right? | ||
| It's good to just talk. | ||
| I think so, man. | ||
| We went up to a place we'd never played. | ||
| So what I was getting to before, a point I really want to make strongly, no cell phones, no MTV, nothing. | ||
| Right. | ||
| I used to buy these plastic stickers, and I'd go around to each guy's room at 1325 Com Ave and ask him for $20. | ||
| And we'd get $60. | ||
| I'd get these stickers with Aerosmith on it. | ||
| And I would put them on people's windshields. | ||
| Piss them the fuck off because they're really sticky. | ||
| And I'd put them where you throw the money when you go through... | ||
|
unidentified
|
Tollbooths. | |
| Tollbooths. | ||
| Right? | ||
| I'd put them... | ||
| That's a good move. | ||
| So everyone... | ||
| Oops, what's that mean, Aerosmith? | ||
| What is this Aerosmith thing? | ||
| Where'd you come up with the name? | ||
| We just sat around. | ||
| You know, hookers... | ||
| Shit stains, jits, you know, you just throw shit around. | ||
| And someone said Aerosmith. | ||
| Joey Kramer goes, how about Aerosmith? | ||
| And I went, what the fuck does that mean? | ||
| He goes, well, you may, I used to be in a band and we were called Aerosmith for a while. | ||
| So there was another Aerosmith before Aerosmith? | ||
| Well, it wasn't. | ||
| I heard from the drummer who was in Joey's band. | ||
| It was just a really short-lived band. | ||
| You know, club thing. | ||
| There's an idea. | ||
| So maybe there was a band that performed a couple of times called Aerosmith. | ||
| Maybe. | ||
| Maybe. | ||
| Who knows? | ||
| Are they alive still? | ||
| Well, all I know is this. | ||
| For all the names I heard and thought, I didn't see anything into it. | ||
| I have this knack of looking at someone and not necessarily remembering their face, but I feel you. | ||
| It's like stupid. | ||
| I don't explain this. | ||
| It's a vibe. | ||
| It's like, I'm like a transmute. | ||
| Oh, you don't have one of these? | ||
| No, I don't. | ||
| Guess you do. | ||
| I definitely don't. | ||
| Well, you do now. | ||
|
unidentified
|
Hashtag fuck you. | |
| I definitely don't. | ||
| You don't have this. | ||
| Fuck this. | ||
|
unidentified
|
Well, I guess I'm fucked again. | |
| Okay. | ||
| Leave that. | ||
| I'm going to shoot that fucking thing. | ||
|
unidentified
|
It's yours. | |
| But, um, where the fuck were we? | ||
| So when, you know, you kind of, I kind of feel things. | ||
| I feel, I don't remember. | ||
| It's like Brad Pitt's got this disease. | ||
| Brad Pitt has a disease? | ||
| He's got this thing where he can't remember people. | ||
| Propofofiabia. | ||
| He can't remember faces? | ||
| Is that what it is? | ||
| That's a good thing to tell people if you're Brad Pitt. | ||
| Like, I'm sorry, man. | ||
| I have a disease. | ||
| I can't remember you. | ||
| Because you probably meet so many people. | ||
| They're like, Brad, I fucking met you 15 years ago. | ||
| Starbucks. | ||
| You don't remember, dude? | ||
| That's what people come up to me and say. | ||
| Yeah, I'm sure. | ||
| Steven, don't you remember? | ||
| Yeah. | ||
| Yeah, you say I have propo... | ||
| Yeah. | ||
| I've got it written down. | ||
| Everywhere but right here. | ||
| I'm going to start telling people I got that shit. | ||
| Propophobia. | ||
| You can look it up, man. | ||
| Look it up. | ||
| It's ridiculous. | ||
| It is. | ||
| Developmental prosopagnosia. | ||
| Yeah. | ||
| Face blindness. | ||
| Yeah, bro. | ||
| That's what I got. | ||
| Yeah, but... | ||
| But, you know, not on a large scale, but I'll meet people backstage and they, you know, it took me like 25 years to be able to go, you know, I just don't remember. | ||
| Fill me in on it. | ||
| You know what I mean? | ||
| It took me three years to... | ||
| Do you know what Dunbar's number is? | ||
| No way. | ||
| This is a number that you can keep of intimate relationships like friendships and close ties of people that you know in your head. | ||
| And it's somewhere around 150, which they think is roughly about the size of tribes that people lived in back when we were developing. | ||
| The human... | ||
| Your genes really take a long time to change, and they think that we essentially have very similar genes to people that lived roughly 10,000 years ago. | ||
| 10,000 years ago, that's essentially how people lived. | ||
| They lived in these small groups of people. | ||
| 150, 200 people max. | ||
| And that's stuck in your head. | ||
| That's then. | ||
| Then there was another million people here a million years ago. | ||
| There was another million people? | ||
| You don't think so? | ||
| What do you mean? | ||
| You don't think there were people here before the last Ice Age? | ||
| They went underground. | ||
| Yeah, that's not... | ||
| What? | ||
| They went underground. | ||
| Don't you think? | ||
| I don't know. | ||
| The Grand Canyon, those caves, shit, places? | ||
| They went underground? | ||
| I don't know. | ||
| I think so. | ||
| Well, I'm just talking about people, people. | ||
| Just people, people that lived 10,000 years ago. | ||
| Okay, we can go back that far. | ||
| It's just the number. | ||
| That's the reason why you can't remember so many people. | ||
| I like that. | ||
| You believe that... | ||
| What do you believe? | ||
| I Feel you feel as though there were people here a long long time long long time ago. | ||
| I watched Graham Hancock. | ||
| Yeah Yeah He makes a lot of sense that there's been periods of you know Massive loss of life and you know cataclysms and comets passing by. | ||
| Yeah I believe that we're... | ||
| Have you not watched Unacknowledged? | ||
| What is Unacknowledged? | ||
| You gotta watch Unacknowledged. | ||
| What is that one? | ||
| Okay. | ||
| You gotta watch Unacknowledged. | ||
|
unidentified
|
What is it? | |
| You gotta watch Unacknowledged. | ||
| Is that that Stephen Greer movie? | ||
| No. | ||
| It is. | ||
| It is? | ||
| Yeah. | ||
| Listen to me, man. | ||
| No? | ||
| No. | ||
| No good, huh? | ||
| No. | ||
| There's a fucking industry. | ||
| And the industry is in people wanting to get mystery solved. | ||
| The great mystery of is there life out there. | ||
| And nobody has any answers. | ||
| I did this show for sci-fi called Joe Rogan Questions Everything. | ||
| And before that show, I was a hardcore believer in a lot of wonky conspiracies like Bigfoot and aliens. | ||
| I just love them because they seem so interesting. | ||
|
unidentified
|
I don't live in Bigfoot. | |
| You don't live in Bigfoot? | ||
| No, I don't believe in Bigfoot. | ||
| Bigfoot's the most plausible. | ||
| You think so? | ||
|
unidentified
|
Yes. | |
| Why? | ||
| Because there was an animal called a Gigantopithecus that lived alongside human beings as recently as 100,000 years ago. | ||
| It was a real, absolutely real animal. | ||
| Okay. | ||
| And they found fossilized bones in these things, and they found teeth from an apothecary shop in China. | ||
| There was a real animal. | ||
| It was a gigantic bipedal hominid that was somewhere around 8 to 10 feet tall. | ||
| So this thing lived at the same time people did. | ||
| So this is probably the reason why there's this myth of Bigfoot. | ||
| That at one point in time, this was a real thing. | ||
| But what about that they're walking around now? | ||
| Probably not. | ||
| That's what I'm saying. | ||
| Most likely not. | ||
| That was what I was saying. | ||
| I'm sure it was a giant... | ||
| Yeah, but there's, you know... | ||
| So tell me about aliens. | ||
| Tell me about... | ||
| It's a business. | ||
| Most of it is a business. | ||
| What about the Air Force General that said... | ||
| Did that tape, gave it to his wife, and said, don't put this out until I'm dead. | ||
| Did you not feel as though when he was speaking any of that was real? | ||
| I think... | ||
| You've seen that, right? | ||
| I think too many... | ||
| Have you seen that one? | ||
| Yeah, I've seen a lot of those. | ||
| I've seen a lot of those people. | ||
| There's one in particular. | ||
| There's a lot of former military people that say they've seen crazy things, and it's entirely possible that they really did. | ||
| It's entirely possible. | ||
| But it's also possible that they're crazy. | ||
| It's possible that they love attention. | ||
| It's possible that they're bored. | ||
| It's possible that they're schizophrenic. | ||
| It's possible that they have memories that they've concocted over the years and enhanced, and it's gotten them attention, and it's putting them in documentaries, and it gets them interviews on television programs, but that there's no evidence. | ||
| And the problem with all these people is they all have this same feeling about them, and they're not... | ||
| There's very few of them that come across as rational and objective. | ||
| Most of them come across as there's something wrong. | ||
| There's wires that aren't connecting. | ||
| If you talk to them about other things in life, if you had a chance to talk to them for a long period of time, sit down with them for three hours, ask them about ghosts and psychics and all kinds of other shit, they almost all believe in that stuff. | ||
| They're believers. | ||
| They want to believe in nonsense. | ||
| I hear you. | ||
| As soon as that crops up, I'm out of the room. | ||
| But it's possible, I mean, not just possible, it's 100% likely that there's alien life out there. | ||
| Likely. | ||
| 100%. | ||
| I'm glad you said that. | ||
| You're going to scare me for a second. | ||
| No, I think it's more likely that there is. | ||
| I just love that movie because it kind of had a nice thread through it. | ||
| That movie's horseshit. | ||
| There's a lot of those movies that are horseshit, and that guy, he knows some of that's horseshit. | ||
| Like there's a little baby that they had found that's an aborted fetus. | ||
| They were trying to pass that off as an alien baby for a long time. | ||
| But they have genome tests. | ||
| You don't believe that we're hybrids? | ||
| No. | ||
| I don't believe they're hybrids. | ||
| Can you tell me about the link between monkeys and us? | ||
| Seriously. | ||
| Between the two frontal lobes and the brain of the monkey. | ||
| Well, we are hominids. | ||
| We are primates, and we're just the most advanced primate. | ||
| The real question is, how did we get to be so much more advanced? | ||
| That's what I asked you. | ||
| Well, it's more likely that we found fire, and our diet changed, and hunting, and then the stoned ape theory, which is a very fascinating theory. | ||
| The stoned ape theory is Terence McKenna's theory that human beings found psilocybin mushrooms. | ||
| And that through the use of psilocybin mushrooms, which in low doses increases visual acuity, produces these ecstatic states, that it might have helped us develop language and communication and creativity. | ||
| And this, in turn, was the reason why the human brain doubled in size over a period of two million years, which is the greatest mystery in the history of the fossil record. | ||
| They don't know why they did it. | ||
| But there's a very clear path. | ||
| So then you do believe the humans were here a million years ago? | ||
| Humans? | ||
| Well, some form of primate was certainly here millions of years ago, as was deer. | ||
| Deer were here millions of years ago. | ||
| There's a lot of animals. | ||
| Didn't mean to interrupt you. | ||
| No, it's okay. | ||
| I don't know. | ||
| I feel that. | ||
| I feel like, you know, just because there was an ice age, that took part, that took, it was like how many hundreds, hundred thousand years was the ice age? | ||
| Well, there's been a bunch of Ice Ages, but the most recent one ended somewhere in the neighborhood of 12,000 years ago. | ||
| That was nothing. | ||
| Nothing, yeah. | ||
| From beginning to end. | ||
| And we don't know what caused it. | ||
| Well, when the Ice Age exists, we have to remember that some parts of the world aren't experiencing the Ice Age, and then humans thrived in Africa during parts of the Ice Age. | ||
| I mean, there's a lot of human beings that live all over the world. | ||
| The real question is, where did they start? | ||
| Most likely from Africa, but they could have possibly started from some other places, too. | ||
| We're starting to learn that. | ||
| The Pangea thing, right? | ||
| The people that are learning, no, not really. | ||
| Why? | ||
| Well, I mean, there's that too, but I mean, mostly just people traveling. | ||
| But what you really learn from is archaeologists. | ||
| Those are the people you learn from. | ||
| And biologists, people that really understand the human genome. | ||
| They really understand the differences between people that emerge from China versus people that emerge from Western Europe versus people that emerge from... | ||
| You know, or Native Americans. | ||
| I mean, there's so many different types of human beings that came from different climates and that their bodies evolved from these places. | ||
| And there's real science to that. | ||
| You're not going to get that from these goofy fucking documentaries. | ||
| These goofy fucking documentaries are basically a business. | ||
| And the business is, there's a bunch of people out there that want to know the answers. | ||
| What is the truth? | ||
| And so you get, I was aboard the secret UFO. I saw the magnetic controller that makes us travel through the cosmos and bend time and space. | ||
| It's like a wormhole. | ||
| And they'll say a bunch of science-y sounding shit. | ||
| But there's no evidence. | ||
| There's nothing. | ||
| When they talk about it, there's nothing. | ||
| Will you let... | ||
| What's David... | ||
| That guy says that he is the reincarnation of Edgar Cayce. | ||
| Do you know that? | ||
| Did you know that? | ||
| Yeah, I've heard. | ||
| Do you know who Edgar Cayce is? | ||
| Yeah, of course. | ||
| Famous psychic who never really figured out anything. | ||
| Understood. | ||
| And thought to be a fraud most widely by scientists and skeptics. | ||
| Drinking too much laudanum. | ||
| Loudnum? | ||
| Is that what he did? | ||
|
unidentified
|
Loudnum. | |
| Don't you think? | ||
| I don't know. | ||
| I don't know what he did. | ||
| Everything was written and everybody was stoned. | ||
|
unidentified
|
Well, I think there's also... | |
| When you talk about the psilocybin mushrooms, opiates, loudnum, the last hundred years. | ||
| How do you say loudnum? | ||
| Loudnum. | ||
| Loudnum. | ||
| Everyone was drinking that shit. | ||
| Yeah, right. | ||
| But look, I... Yeah, yeah. | ||
| There's, you know, there's... | ||
| Yeah, that shit was in that, uh... | ||
| Japanese, they never left the island. | ||
| Do a lot of Japanese have the same eyes, shapes? | ||
| Yes, they do. | ||
| Is there a reason? | ||
| Well, there's a reason why... | ||
| They didn't leave the island and come back after mating with anybody else. | ||
| They stayed on that body of land. | ||
| Do you think they're from aliens? | ||
| No, absolutely not. | ||
| It's just that they stayed on that plot of land. | ||
| Sure. | ||
| But wouldn't you agree that a lot of people from Asia look fairly similar? | ||
| Yeah, I do. | ||
| There's variations in the similarities, but they look similar, right? | ||
| But I think it took millions of years. | ||
| That's my take. | ||
| Look, I can't prove anything. | ||
| No, they do believe it took millions of years. | ||
| I always finish stuff by saying, I didn't see it. | ||
| Right. | ||
| When I go out at night in Maui and walk around, I'm dying to see UFO. Me too. | ||
| So are you. | ||
| Everybody is. | ||
| Because the second I see one, the second, that will make clear shit like, you know, The song I wrote called Back When Cain Was Able, and it was about a mothership and shit. | ||
| Way before I knew anything about UFOs. | ||
| Did you ever see anything when you did psychedelics? | ||
| When you did drugs? | ||
| Whether you did mushrooms or acid? | ||
| I never saw anything that wasn't there. | ||
|
unidentified
|
For sure? | |
| I'm not that kind of people. | ||
| I'm not the kind of people. | ||
| Some people have though, and the idea is that there are things that are out there in neighboring dimensions that you're really not capable of accessing them. | ||
| That's where the real aliens live. | ||
| I don't know, man, but I just know that all these people that are pushing it, there's fuckery involved in all these people. | ||
| No, I hear you. | ||
| That's a real problem. | ||
| I hear you. | ||
| I hear you. | ||
| Because it's fun. | ||
| It's fun. | ||
| You want to believe, right? | ||
| You want to believe that there's a general out there that's seen a spaceship that's under the mountain. | ||
| Tell me about it, Mr. General. | ||
| And he goes on a lecture tour, and you've got to pay money to see him, and he's in a documentary, and there's a lot of those people out there, man. | ||
| I live with it. | ||
| I was backstage with Joe Perry. | ||
| What'd you do? | ||
| My whole life. | ||
| So I get what you're saying. | ||
| The wow of the thrill of the story. | ||
| People love to tell stories. | ||
| There's something inside me that says, you know what? | ||
| They still haven't found that missing link. | ||
|
unidentified
|
If you talk to biologists, they say that's horseshit. | |
| But they do. | ||
| They have Australopithecus fossils. | ||
| They have the things that were like us that are different from a long fucking time ago. | ||
| They have those. | ||
| And the size of the brain? | ||
| Yeah, the brain changed. | ||
| It doubled over a period of two million years. | ||
| I mean, that did happen. | ||
| But they know what we used to be. | ||
| There are simple hominids, or rather ancient hominids, that are very similar to human beings, and they slowly became human beings. | ||
| And there's also, they keep finding all these different versions of human beings. | ||
| Like, there wasn't just... | ||
| There wasn't just Homo sapiens, and of course there's Neanderthals, but there was that one from Russia. | ||
| What was that called? | ||
| That was in that book, Hominid. | ||
| What is that? | ||
| I can't remember. | ||
| It starts with a D, but it's one that they've found very recently. | ||
| Very recently. | ||
| You find it, Jamie? | ||
| Yeah. | ||
| Here it is. | ||
| Denisovan hominin, an extinct species or subspecies of archaic humans. | ||
| They're founded in the 1970s by the Russian paleontologist Nikolai Odov. | ||
| So there's been a bunch of different forms of humans. | ||
| We're just the most successful form of human. | ||
| The idea that it's just alien DNA connected with people, it's sexy, it sounds fun, but there's no evidence. | ||
| I hear you. | ||
| But isn't that what we are as humans? | ||
| Well, we are mutations. | ||
| We are an ancient thing that slowly figured its way out. | ||
| We became better at seeing things. | ||
| We became better at hunting. | ||
| We became better at harnessing fire. | ||
| Where do you think free will came from? | ||
| There's a lot of people that don't even believe it's real. | ||
| They believe in determinism. | ||
| They don't even believe that free will is an actual thing. | ||
| I mean, I've heard Sam Harris argue it pretty successfully, that there is no such thing as free will, that you are an accumulation of your genetics, your life experiences, all the things that have happened to you, the people that you've come in contact with. | ||
| That's true. | ||
| Behavioral. | ||
| Behavioral psychology, that's true. | ||
| Think about your behavior. | ||
| Yeah. | ||
| And how much of your behavior is shaped by millions of adoring fans and people screaming and cheering you on and singing songs that move people and literally change generations, give people goosebumps when they hear them. | ||
| I mean, all that stuff has shaped who you are. | ||
| I mean, all that stuff changes who a person is. | ||
| And who you are now and the way you behave now is in many ways shaped by your life experiences as much as it is by your genetics. | ||
| And you wouldn't be this person if you hadn't lived that life. | ||
| And the decisions that you make from this moment on right now leave the studio and have a conversation with someone will be shaped at least in part by this conversation and mine will be by my conversation with you. | ||
| This is what the idea behind determinism. | ||
| Okay, so I would ask was who said this? | ||
| Who was into this? | ||
| There's many many people that come up with this concept, but I've heard it that it was really argued to me by Sam Harris the most successful. | ||
| Wow, interesting. | ||
| I just wonder why then You know, certain monkeys, certain breeds of monkeys, smart ones, bonobos. | ||
| I love them because I'm a bonobo. | ||
| You know, they'll put a stick in something and pull out shilogy, but, you know, they haven't taken, well, wait a minute now, then. | ||
| They haven't gone past that. | ||
| Well, you know, primatologists actually believe that chimpanzees have entered the Stone Age. | ||
| This is one thing that's being considered now, that they've started the use of tools on a regular basis. | ||
| They think that they're learning from each other, and they think that if they are evolving, right, and if human beings evolve over a period of millions of years, we are actually watching chimpanzees evolve in real time. | ||
| Well, I think so, too. | ||
| A long, long process. | ||
| It'll take millions of years. | ||
| But they have entered the Stone Age. | ||
| So they think that, who knows, with a series of mutations, of natural selection, with a bunch of different things happening, what a chimpanzee is today, most likely it will be a different thing in two million years. | ||
| Of course it will. | ||
| I totally agree on that. | ||
| These intelligent animals, they're going to experiment with things. | ||
| Here it is. | ||
| Macaucs often use stone tools. | ||
| Monkeys have been living in the Stone Age for 50 years. | ||
| So for 50 years, these animals, just 50, okay? | ||
| I'm not sure about that. | ||
| That's when somebody first saw them using the stone. | ||
| True. | ||
| Well, in terms of primatologists observing behavior. | ||
| So these archaeologists have uncovered stone tools they believe these animals have used. | ||
| Or other humans. | ||
| Yeah, or other humans. | ||
| Because you can't figure stone out. | ||
| Right. | ||
| Now, what do you think about when you look up in the night? | ||
| Look, I don't know the answers. | ||
| That's why I got my girls on. | ||
| Well, I definitely don't know the answers either. | ||
| Again, remember, I just said, I just repeat shit, smart people figured out. | ||
| That's all I'm doing. | ||
| What about the stones that are cut up in, not Machu Picchu, but up in whatever? | ||
| I know what you're talking about, yeah. | ||
| Those, you know, the laser cuts. | ||
| Well, not laser, but yeah, very precise cuts. | ||
| Yeah, yeah. | ||
| Whoever it was. | ||
| Most likely advanced civilizations that have been wiped out by cataclysms. | ||
| And that's what I'm saying. | ||
| So my mind goes to, fuck yeah, we were here. | ||
| We went underground. | ||
| There's places, I saw movies of it, where you go into the mountain, you go back three miles in the mountain. | ||
| Have you seen this? | ||
| Yeah, there are. | ||
| Yeah, there's incredible cave systems. | ||
| Three fucking miles back. | ||
| But there's natural cave systems. | ||
| Giant rooms like this in there. | ||
| There's natural cave systems in Texas that go back miles into the mountains. | ||
| Into the hills, I should say. | ||
| That's where my head goes with this. | ||
| Ghosts, come on. | ||
| That's your own fear. | ||
| I don't know, but you know where you're talking about Muscle Shoals? | ||
| Yeah. | ||
| The feeling in that room? | ||
| There might be a similar feeling when a violent encounter happens in a house. | ||
| That might be what a ghost is. | ||
| What a ghost is might be this thing that you can't capture, you can't put it in a box, you can't weigh it on a scale, but you get a feeling when you're in a place where something horrible happened and you can feel it. | ||
| It's not impossible to imagine that that's the case. | ||
| And Rupert Sheldrake was the guy that I told you believed that, and he's a scientist, and some people would argue against it, but that he believes that things have memory. | ||
| And then it's possible that even this table has memory. | ||
| All the people that have sat where you sat. | ||
| I think it's got a vibe. | ||
| I'm not sure if it's memory. | ||
| You know it's got memory? | ||
| Water. | ||
| Nobody knows about that yet, water. | ||
| Right. | ||
| Because it never goes anywhere. | ||
| You can never get rid of water. | ||
| It's true. | ||
| You can boil it, steam it, it goes up, it comes back down. | ||
|
unidentified
|
Right. | |
| I think when they find out the memory in water, I also got to tell you, for the billions of babies that were, this is terrible right now, strangled, people with their heads bashed in, murdered, wars, billions, where are their ghosts? | ||
| Where's that? | ||
| Where's that energy? | ||
| Where is that energy? | ||
| Because in New York City alone, there were hundreds of thousands of people murdered. | ||
| Maybe you feel it. | ||
| That means apartment buildings should be going like this. | ||
| Not necessarily. | ||
| Because maybe it's accumulation of all experiences, positive and negative. | ||
| Maybe. | ||
| And the negative experiences are outweighed by the positive experiences. | ||
| For the most part, most of the time, life is pretty good. | ||
| Most of the time, life is not filled with war. | ||
| Life is not filled with cannibalism and murder and animals eating you most of the time. | ||
| So most of the memories accumulated in these individual areas were probably positive. | ||
| But sometimes the idea behind like haunted houses and shit like that is that something so extreme happened that the remnants of that experience are trapped in the very fiber of the room. | ||
| I don't know if I believe it, but it's not outside the realm of possibility. | ||
| I don't either, because I'll tell you, who thinks about it? | ||
| Some human. | ||
| Yeah. | ||
| That knew that. | ||
| Right. | ||
| Here's what I would test. | ||
| I would find out somewhere that some unbelievable murder was taking place. | ||
| Right. | ||
| Don't tell anybody, and let 10 families sleep in there. | ||
| See what happens. | ||
| Dun-dun-dun. | ||
| I'm sure they have those ghost shows. | ||
| You got more notes? | ||
| I do. | ||
| I just want to finish that thing about MMA. I want to ask you about Lil Tay. | ||
| Yeah. | ||
| About Lil what? | ||
| Who is it? | ||
| I did that for Jamie. | ||
| Lil Tay's a nine-year-old shit talker who flashes money and talks about her Bentleys and Rolls Royces. | ||
| Fuck, nine years old? | ||
| Nine years old. | ||
| It's fake. | ||
| Her parents talk her into it. | ||
| Sorry. | ||
| So, but anyway, MMA for me is a music modernization act. | ||
| Okay? | ||
| So about five, six years ago, Dean LaPolt and I just started looking at that, and she's beautiful, blonde lawyer, woman, great woman, very smart, very intelligent. | ||
| Speaks over here at Brandeis or somewhere. | ||
| She's my lawyer, was my manager for the longest time, but she and I decided to go to Washington and start flashing this shit around saying, you know, what's fair and what's not? | ||
| Why are musicians not getting paid? | ||
| Right. | ||
| So, I just thought, MMA, it's the same thing. | ||
| Music Modernization Act. | ||
| I won't forget this. | ||
| I sometimes forget it because my... | ||
| But that you can't forget. | ||
| So to attain fair market value royalty rates and treatment for music creators in the digital era. | ||
| The digital era right now is where if I... They can play my music because it's digital over air, you know, Spotify. | ||
| And I don't get paid. | ||
| The artist, fuck me. | ||
| I got enough money. | ||
| I'm the happiest guy on the planet. | ||
| I got beautiful kids, I go to sleep fucking with a smile on my face. | ||
| I get to do Joe fucking Rogan. | ||
| I'm happy. | ||
| I'm in a band named Aerosmith with Joe Perry. | ||
| I'm happy as can be. | ||
| But I look at these poor fucks that don't... | ||
| You gotta hear this. | ||
| Well today, too, they have to give up merchandise, they have to give up a piece of their concert sales, they have to give up everything. | ||
| Well, yeah, that's what's going on. | ||
| Because there's no more money in actual record sales. | ||
| It's called 24-7 or some kind of bullshit like that. | ||
| Some crazy thing where they have a piece of everything... | ||
| Because managers see it and they want your money. | ||
| Right. | ||
| Well, they also realize that their avenue of revenue is gone. | ||
| So then they locked on to merchandise, they locked on to ticket sales, which used to be all yours, right? | ||
| Yep. | ||
| Like when you used to do concerts back in the day, you used to get paid for your record, even if you got fucked over, you got some money from the record, but then you would get all the money for the concerts, right? | ||
| But, well, not unless we were own managers. | ||
| 90-10 means we take 90% out, 10% of the gig goes to there. | ||
|
unidentified
|
So you make $800,000 an ID. But now the record company gets it. | |
| Oh, God. | ||
| That's different, right? | ||
| Isn't that a different thing? | ||
| Well, the record company gets publishing. | ||
| You know, with all these digital outlets. | ||
| Of course. | ||
| And then the record company decides to give whatever is left to the artist, which is usually little to nothing. | ||
| Smokey fucking Robinson, my dear friend. | ||
| I go up to this guy and I go, I don't like you, but I love you. | ||
| That guy, all these songs. | ||
| Phenomenal. | ||
| This fucking guy went to the digitals. | ||
| Said, you owe me $250,000 with proof. | ||
| They offered him for his music being played over the last five years. | ||
| Why do they owe him that specific amount? | ||
| Because he was getting nothing back. | ||
| Nothing was coming to him. | ||
| He's going, shit, the coffers are empty. | ||
| You know, it says, what the fuck? | ||
| I'm Smokey Robinson. | ||
| I hear my music, his music's covered by thousands of people. | ||
| The guy knew, legally, $250,000 was owed to him. | ||
|
unidentified
|
Okay. | |
| Okay? | ||
| He was offered $12,000, and he was said... | ||
| If you don't like it, sue us. | ||
| Now, Smokey, you don't have that kind of money. | ||
| So what we've done is... | ||
| How crazy is this? | ||
| Smokey Robinson doesn't have that kind of money. | ||
| You would think that Smokey Robinson should be just wealthy like a king. | ||
| And this is not to say he's not. | ||
| If he had no money at all, he's one of the happiest guys and his wife is his sweetest. | ||
| And maybe he's attained something that you and I don't recognize yet. | ||
| Or the mass media. | ||
| But he's got something. | ||
| He's rich. | ||
| But when it comes to him getting paid actually for his songs, that's really fucked up. | ||
| So what did he do? | ||
| What did he decide to do? | ||
| I don't know. | ||
| I don't know where it's going. | ||
| I gotta talk to him. | ||
| But David Israelite, the president and CEO of the National Music Publishers Association, and Dina, we went to Washington. | ||
| Imagine. | ||
| This beautiful blonde and this fucking guy. | ||
| Now we're in Washington and me, you know, saying, what's up with this? | ||
| This money is going right out the window and not to the artist. | ||
| These new artists are getting nothing. | ||
| So we decided to do something. | ||
| For the first time, songwriters will have representatives overseeing administration of mechanical licenses and administration. | ||
| So someone's now at least, not only can he complain, but there's someone watching that goes, no, no, no. | ||
| You do, in fact, legally owe him $250,000. | ||
| Smokey, come here. | ||
| Sit down. | ||
| And for the first time. | ||
| So this is something we're trying to get past in the next... | ||
| Don't you think? | ||
| Yeah. | ||
| It should be that? | ||
| No, I do think. | ||
| That's the reason why we're not on that. | ||
| We're not on Spotify. | ||
| And the reason why we're not on it is because it didn't make any sense. | ||
| They were like, we want to put you on. | ||
| It's going to be great for you. | ||
| I'm like, how's it great? | ||
| You guys are going to make money. | ||
| You guys are making money. | ||
| You don't give us any. | ||
| That whole streaming thing is this weird smoke and mirrors song and dance they put on. | ||
| You're going to be a part of something big. | ||
| But what are you selling? | ||
| All you sell is artists' work. | ||
| You don't have anything to sell. | ||
| And I say to them... | ||
| And then the artists get paid so little. | ||
| So little. | ||
| So where's the money going? | ||
| Because there's all these... | ||
| In their fucking pockets. | ||
| They're public companies and they're traded and they're worth millions and billions. | ||
| Like, where's all that money? | ||
| Where's it going? | ||
| What's generating it? | ||
| And you need to say to them, what if I'm bigger than you or a motherfucker? | ||
| Motherfucker. | ||
|
unidentified
|
Wow. | |
| 1909? | ||
| What are you saying? | ||
| The laws were written, check this out, in 1909. On track. | ||
| And not paid attention to. | ||
| Okay. | ||
| Till fucking yesterday. | ||
| Yesterday. | ||
| I mean, you know, five years ago. | ||
| So we're trying to get this shit going. | ||
| The Music Modernization Act gains momentum in the Senate. | ||
| Oh, Smokey Robinson. | ||
| Powerful. | ||
|
unidentified
|
Yesterday. | |
| Yesterday. | ||
| Jesus Christ, Jamie, you're on the ball. | ||
| Wow. | ||
| So this is it right here. | ||
| I mean, you know, it's just... | ||
| Yeah, well, yeah, there's been some fuckery. | ||
| There's been some legal fuckery. | ||
| And, you know, it continues. | ||
| He created magic. | ||
| This guy, I said to him, what do you mean I don't like you, but I love you? | ||
| Seems that I'm always thinking of you. | ||
| Where the fuck did you come up with that line? | ||
| Like I've said to Paul, you know, what was this, you know... | ||
| He says, well, I was sent to New York to do some kind of publishing thing with lawyers... | ||
| And I was sitting in a hotel in New York right before I went in and I thought, I wrote those lyrics. | ||
| Somehow, him being a young black man with songs 50 years ago, in New York with lawyers, probably white, not just saying, He was put in a situation where he had the magic. | ||
| He had the magic. | ||
| He wrote in a paper, I don't like you, but I love you. | ||
| Maybe the hate that he had for what was about to happen created the opposite. | ||
| I don't know, but that's what he told me. | ||
| He said, I was down there and waiting to meet my lawyers, and I said, that? | ||
| Let me ask you this. | ||
| Because you never know. | ||
| When Napster came along... | ||
| I fucking hated that prick. | ||
| They started stealing our songs. | ||
| Yeah, great. | ||
| Take all the albums we've ever done. | ||
| Take all the albums Nuno Betancourt. | ||
| Take all the albums that fucking the Rolling Stones ever did. | ||
| Put them in a box over there. | ||
| Now all my friends can have access to that box. | ||
| No, no. | ||
| Anybody can do it. | ||
| It's peer-to-peer. | ||
| Everyone's sharing songs. | ||
| And I'm sure people are listening to me now and say, what a prick. | ||
| He's a fucking rich old fuck. | ||
| Right. | ||
| But what's happened is it's become the norm. | ||
| Well, what's become the norm is that people recognize that you can't do that with movies, right? | ||
| They recognize that if you're stealing movies, it's illegal. | ||
| Like if you get caught with a BitTorrent account, you got a bunch of movies on there and you're letting people download them, you can get prosecuted. | ||
| Yeah. | ||
| Let me ask you, why so much for that and not for somebody's songs? | ||
| Well, there is a thing with songs, too, but it's just not as common. | ||
| Right, Jamie? | ||
| Is that the case of people have been sued for having tons of songs, right? | ||
| Haven't they? | ||
| Yeah, but I think for sure the movie industry has gone after that. | ||
| Yes, they go after you. | ||
| The movie industry has gone after them. | ||
| If you're dubbing their movie. | ||
| Yeah. | ||
| It's just songs, for whatever reason, after Napster became something that people think that you should just be able to get for free. | ||
| Yeah. | ||
| And then you get, like, Apple Music and Spotify and... | ||
| What's the other one? | ||
| Spotify, what's the other? | ||
| There's another one? | ||
|
unidentified
|
Tidal's getting in trouble right now. | |
| Who is? | ||
| Tidal, the company that Jay-Z owns with a few other artists. | ||
| They get in trouble for streaming too? | ||
| Faking streams and not paying people. | ||
| I mean, it's just, think about some new band. | ||
|
unidentified
|
It's fuckery. | |
| My daughter, Chelsea, she's in a band with John Foster, her husband. | ||
| They put something out, and it's fucking ridiculously great. | ||
| Where's the money go? | ||
| Well, this is what I'm saying to you. | ||
| When Napster came along, and then things changed, do you think that's when the music business really got crazy? | ||
| That's when they really say, look, we're not getting money from record sales anymore. | ||
| We're in the record business. | ||
| They can do this shit digitally. | ||
| We've got to get a piece of that concert sales. | ||
| We've got to get a piece of those tickets. | ||
| We've got to get the merch. | ||
| We've got to get everything. | ||
| We've got to solidify. | ||
| We've got to still make it a big deal. | ||
| The pricks and the money grabbers from artists just re-thunked it. | ||
| Yeah, streaming. | ||
| They re-thunked it. | ||
| And streaming seems like a more hostile version of it. | ||
| But let me ask you, who do you think gets the money at the end of the day? | ||
| Somebody. | ||
| Executives. | ||
| You bet your ass. | ||
| It goes somewhere. | ||
| You know, when I watch this movie called Vinyl, you see that? | ||
| No, I haven't seen that. | ||
| It's a documentary on whatever. | ||
| When it was out for a bit, Mick Jagger and Martin Scorsese, they did a pretty good job. | ||
| They just got too into the character's brain going fucking crazy. | ||
| And not enough of what was really going on. | ||
| It was the New York Dolls. | ||
| Mick Jagger's son was called the squeaky parts or the nasty parts. | ||
| And it showed the managers Snorting blow and thinking how they could fucking take this and that. | ||
| It was so easy. | ||
| All the money was coming into them. | ||
| They were making deals where the nasty parts weren't even signed to the label. | ||
|
unidentified
|
But you hear that? | |
| They were signed to the manager and the manager had a secret deal with Sony. | ||
| But you hear that about boxers having shitty creepy managers. | ||
| You hear it about musicians, comedians, everything. | ||
| I hope there's kids out there right now listening to this that want to become lawyers and say, it should be the wild, wild west with these guys. | ||
| It should be a new type of lawyer. | ||
| My uncle used to say, oh really? | ||
| You know another way when I would say things to him like, You know, what about these lawyers that took on a case, they find out after a year and a half, the case is still going on, grand jury, but they find out that the guy that they're handling really murdered the girl. | ||
| He's not allowed to speak. | ||
| They're not allowed to speak. | ||
| Because that's the way we are. | ||
| Shit's got to change. | ||
| They can bow out, but usually they don't. | ||
| You know, when O.J. Simpson was caught, right? | ||
| They chased him around. | ||
| A dear friend of Aerosmith's, when we got sober, we got sober in 88, the whole band did. | ||
| We had a guy to come out with us every month. | ||
| And we'd have meetings and make sure everything was right, beautiful and cool. | ||
| We're in Germany. | ||
| How's everybody feeling? | ||
| Go in the room. | ||
| You cool? | ||
| Yeah. | ||
| Everybody good? | ||
| You feel like using? | ||
| Fuck yeah. | ||
| Are you gonna know? | ||
| You know, shit like that. | ||
| Really cool guy. | ||
| He was asked to go in and see OJ. Toxic psychosis. | ||
| Out of his fucking mind. | ||
| Snorted so much coke and speed. | ||
| Oops. | ||
| Didn't mean to do that. | ||
|
unidentified
|
Hold on. | |
| Who had toxic psychosis? | ||
| OJ Simpson. | ||
| He did? | ||
| My guy, he's passed away since. | ||
| OJ Simpson snorted coke and speed? | ||
| OJ Simpson? | ||
| You don't think he was on coke that night? | ||
| I don't know. | ||
| You tell me. | ||
| I didn't know. | ||
| You tell me. | ||
| Well, you're the one who brought it up. | ||
| It's not out there? | ||
| I didn't hear that. | ||
| Did you hear it, Jamie? | ||
| Well, he was so fucked up. | ||
|
unidentified
|
I can only tell you a hearsay. | |
| Did I see him myself? | ||
| No. | ||
| No. | ||
| It makes sense. | ||
| My guy was brought in there, and I'll tell you why. | ||
| Because he was one of those AA gurus. | ||
| That the court system saw as somebody that if he says, Joe Rogan, he was on drugs that night, he didn't know what he was doing. | ||
| And now the judge goes, okay, let's get him into rehab and he's not, you know. | ||
| Yeah, but you can't do that with murder. | ||
| Nobody's going to buy that. | ||
| Toxic psychosis, you cut your wife's head off. | ||
| He was on drugs. | ||
| There's some kind of law. | ||
| Anyway, the lawyers were looking to find someone to say that if he was caught. | ||
| They never did a blood test on him. | ||
| But my guy came out. | ||
| When he was arrested. | ||
| My guy came out. | ||
| He was in jail. | ||
| Right. | ||
| He came out and said he was fucking... | ||
| Toxic psychosis is when you do too much cocaine or too much speed or too much anything. | ||
| Right. | ||
| You know, like... | ||
| But he also had a history of domestic abuse. | ||
| He was very violent. | ||
| He had hit her a bunch of times. | ||
| And it could have just been that he went crazy and just stabbed her. | ||
| But didn't all his friends say he was doing blow all the time? | ||
| Didn't that guy that he jumped out the window say he was selling a blow? | ||
| I don't know. | ||
| Oh, I do. | ||
| Look it up. | ||
| I would have to... | ||
| Anyway, so I'm just telling you, sometimes these things do exist. | ||
| Yes. | ||
| That's a sad thing. | ||
| What does that have to do with corrupt managers? | ||
| I don't know. | ||
|
unidentified
|
I don't know either. | |
| I'm not sure how I got there. | ||
| It's okay. | ||
| What was I saying? | ||
| What do you got, Jamie? | ||
| The lawyers. | ||
| Fucking lawyers. | ||
| Oh right, I was going to lawyers. | ||
| Fucking lawyers. | ||
| So a lawyer brought in this AA guru, a guy that knows about drugs and says, hey, he was on drugs that day. | ||
| It kind of softens the blow of the murder. | ||
| He didn't know what he was doing. | ||
| If he was convicted. | ||
| If he was convicted. | ||
| Right. | ||
| So he never, you know, look it, come on. | ||
| So that was what they were going to probably use on appeal. | ||
| Yeah, you know how lawyers are. | ||
| To write in a sentence. | ||
| Lawyers will bring him in. | ||
| Like right now, Trump won't say I apologize to John McCain because if he does... | ||
| Doesn't everything else he said then come into light? | ||
| I don't know. | ||
| You tell me. | ||
| That's a good point, but he never apologizes about anything. | ||
| No, but so what? | ||
| Just say he did now. | ||
| He's got lawyers. | ||
| Listen, I knew these fucking lawyers. | ||
| They tell him, no, no, no, no, no. | ||
| Don't apologize now because if you do, it's going to shed light on all the other shit you said about McCain. | ||
| I don't think he listens. | ||
| I think Trump does whatever the fuck he wants. | ||
| I don't think he's gonna listen to any...he's a 72-year-old billionaire and I don't think he listens to anybody. | ||
| I think he does whatever the fuck he wants. | ||
| That's what I think. | ||
| That's the only thing that explains his tweeting and all that crazy shit that he says all the time. | ||
| Perhaps. | ||
| That's just complete guessing. | ||
| No, I know him. | ||
| I knew him. | ||
| Did you? | ||
| Yeah, fuck yeah. | ||
| Does it feel weird that he's a president? | ||
| Very. | ||
| He called...okay. | ||
| Amy, over there, worked for his wife for seven years. | ||
| And then I got her. | ||
| And I was in Maui, sitting on my bed, and I get a phone call. | ||
| It's Donald. | ||
| She goes, Jesus Christ, it's Donald. | ||
| She hands me the phone. | ||
| Do you say the Donald or just Donald? | ||
| No, she said it's Donald. | ||
| You work for Ivanka. | ||
| I'm just kidding. | ||
| Melania. | ||
|
unidentified
|
Okay. | |
| She worked for Melania and the family for seven years. | ||
| Okay. | ||
| Um... | ||
| I get the phone call, I pick it up, I'm sitting down, and I said, hey Donald. | ||
| Because I'd been down to Mar-a-Lago and offered money to do shows, one-offs for him, and just stuff. | ||
| I've been up to his little castle. | ||
| And he calls me up and I said, Donald, you can't use Dream On. | ||
| As for causes, not campaigns. | ||
| And he did anyway. | ||
| He did anyway. | ||
| And I had to assume. | ||
| I got Dina to assume. | ||
| Send him a letter of cease and desist. | ||
| So I've been through that shit. | ||
| So I kind of know where lawyers live. | ||
| You know, this whole world's run by lawyers. | ||
| And Donald's got 90 lawyers that are telling him what the fuck. | ||
| Okay, maybe he's not listening. | ||
| But when everyone is saying, if you just say, John McCain is a fucking hero. | ||
| If we don't see John McCain as a hero, then how do you expect any young people to want to ever join the armed forces? | ||
| Because for everything they do and bullets they take, they're going to be laughed at by presidents like Trump. | ||
| What the fuck are you saying, Donald? | ||
| Well, he said something crazy like, I like soldiers that don't get caught. | ||
| But they do. | ||
| War is war. | ||
| Soldiers don't get caught because they want to. | ||
| Exactly. | ||
| So I just tell you that he's not saying anything because he's being told what to do. | ||
| See, I think he just does whatever the fuck he wants. | ||
| And if the lawyers tell him, Stephen says you can't play Dream On, he's like, fuck him. | ||
| I know, that's what he did. | ||
| He played with anyone, so I had sent him a cease and desist. | ||
| Then he sends a letter and said, what? | ||
| When I'm playing Kid Rock or fuck something, what? | ||
|
unidentified
|
What? | |
| Did he found a better song? | ||
| He goes, I found a better song. | ||
| Actually, I'm going to frame it. | ||
| Well, that's his thing, you know? | ||
| He likes insulting people. | ||
| And you know what? | ||
| I see how people get off on his what it is-ness. | ||
|
unidentified
|
I get that. | |
| Isn't he a president for this time, though? | ||
| I mean, this is the time we were talking before the show about people trying to drag people down and social media and there's so much hostility and people looking to be angry and insult. | ||
| This is the time for that. | ||
| In a lot of ways, unfortunately. | ||
| I wonder if he's opening something good. | ||
| Is he opening Pandora's box for good? | ||
| Or is he opening Pandora's box for bad? | ||
| It's our choice. | ||
| I think it's our choice. | ||
| But he's our president. | ||
| He's a president. | ||
| But I think we can respond to this bad feeling that we have about those kind of actions in a positive way. | ||
| I think that's where there's an opening. | ||
| I think the opening is for people to recognize that You're not gonna live forever. | ||
| You can't insult people into the grave and feel good when you're dying. | ||
| It doesn't matter. | ||
| Like, what makes you feel good right now? | ||
| If something makes you feel good to constantly be knocking people down and shitting on their grave, you're probably a terrible person. | ||
| Nobody wants to be a terrible person. | ||
| At least the majority of people don't. | ||
| So I think the majority of people are going to recognize that this path is a bad one. | ||
| That it might feel good in the short term to say, fuck you! | ||
|
unidentified
|
Yeah! | |
| We're going to make America great again! | ||
| We're going to fucking light the world on fire! | ||
| But I think after a while, when the tide goes in and the tide goes out, people are going to realize that this is not the way to go. | ||
| I hope. | ||
| I hope we're going to learn. | ||
| I think the world is getting better overall. | ||
| I think there's terrible moments that have always existed throughout human history. | ||
| But I think overall, if you look at the period of time we live in now, You know, and Steven Pinker wrote a great book about this, and there's a lot of evidence. | ||
| I fucking read his book. | ||
| Yeah, there's a lot of evidence and points to that. | ||
| Every now and then I'll find somebody, I'll read something, see something, and I call my managers, get me his number. | ||
| Call Steven up. | ||
| I'm from Boston. | ||
| I met him and had lunch. | ||
| He's great. | ||
| At the, what do you call, crab. | ||
| You know Boston? | ||
| Yes. | ||
| One of the best restaurants on the planet. | ||
|
unidentified
|
The Barking Crab. | |
| The Barking Crab. | ||
| I fucking met him. | ||
| I had lunch with him. | ||
| And my manager, Rebecca. | ||
| What a fucking slamming guy. | ||
| Yeah, he's a really kind person. | ||
| Long hair, as fucking smart as can be. | ||
| Super friendly. | ||
| This is the kind of people. | ||
| I agree with you. | ||
| It's time for lifting up. | ||
| Yeah. | ||
| Well, I think that's going to happen. | ||
| I really do. | ||
| There's a big film on us right now. | ||
| It's natural. | ||
| There's a big film on us. | ||
| Well, the more stupid shit goes on like this, the more people are going to recognize that this is not good. | ||
| It doesn't make people feel good. | ||
| And it's not even good for conservatives. | ||
| But conservatives just like it because it's their turn now. | ||
| And their turn, they got a bully on their side. | ||
| The bully's going to kick ass. | ||
| It's going to fucking do things the way we want. | ||
| Yeah! | ||
| But even they're going to realize, like, this isn't the way you would admire people. | ||
| This isn't the way to go. | ||
| There's a possibility to be kind and conservative at the same time. | ||
| This is possible. | ||
| I think things will balance out. | ||
| Well, you know, only time will tell. | ||
| Yeah, look, I'm overly optimistic at times, so don't listen to me. | ||
| No, that's the best way to be. | ||
| I think so. | ||
| You definitely don't want to go into the hole. | ||
| That's what I'm saying, dawg. | ||
| I mean, look at the music business. | ||
| You know, look at Hunter S. Thompson. | ||
| Quote... | ||
| The music business, you know, when it comes to streaming, you know this one. | ||
| I love The Scrolls. | ||
| It's a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free and good men die like dogs. | ||
| There's also a negative side. | ||
| I fucking... | ||
| Hunter and I, we were good friends for a bit. | ||
| I love that guy. | ||
| Yeah, yeah. | ||
| I'm a giant fan. | ||
|
unidentified
|
Yeah, yeah. | |
| Him and you. | ||
| Yeah. | ||
| Let's wrap this up right here. | ||
| Dude, you're the best. | ||
| What do you say? | ||
| You're the best. | ||
| I fucking hope this is... | ||
| We gotta do this again. | ||
| I hope we opened up some doors here. | ||
| We did. | ||
| We had a great conversation. | ||
| He certainly opened up some doors with me about UFOs and shit. | ||
| He brought a crystal ball. | ||
| I gotta rethink my shit. | ||
| That. | ||
| That's what I believe. | ||
|
unidentified
|
You know what? | |
| It's totally possible that UFOs are real, but beware of people that tell you they know the truth. | ||
| Because people want to know the truth. | ||
| So the people that come along and tell you, I know the truth, too many of them are full of shit. | ||
| It's an easy con game. | ||
| That's my thought on it. | ||
| Steven Tyler, motherfucker. | ||
| Respect. | ||
| Goodnight. |
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