Aug. 23, 2018 - The Joe Rogan Experience
02:00:57
Participants
| 
| Speaker | Time | Text |
|---|---|---|
| Five, four, three, two, one. | ||
| Live. | ||
| And we're live. | ||
| Mr. Carmichael? | ||
| Hello, my friend. | ||
| Mr. Neighbors? | ||
| Hello, Joe. | ||
| I brought Jamar. | ||
| I know. | ||
| Jamar, welcome. | ||
| Thank you, man. | ||
| Didn't know you were coming, but glad to see you. | ||
| Me neither, man. | ||
| He made me come. | ||
| He just came by. | ||
| I was like, I'm going to Joe Rogan. | ||
| And he was like, I'm going to come. | ||
| Perfect. | ||
| Perfect. | ||
| What the fuck is going on, man? | ||
| What are you up to? | ||
| I just got in from New York like two hours ago. | ||
| And now I'm here. | ||
| I feel real. | ||
| I don't know. | ||
| I feel like a... | ||
| You know, you ever see like a homeless man smoking a cigarette? | ||
| Yeah. | ||
| And he just feels like real zen and this is his. | ||
| That's how I feel emotionally right now. | ||
| Really? | ||
| Yeah. | ||
| Like a homeless dude smoking a cigarette? | ||
|
unidentified
|
Yeah. | |
| What a weird analogy. | ||
| I feel... | ||
| It's great. | ||
| It's really great. | ||
| Trying to figure that out. | ||
| That feeling. | ||
| It's like I have everything that I need right now. | ||
| In your life. | ||
| I have everything that I need. | ||
| Yeah. | ||
| But you've been killing it for a long time, man. | ||
| You know, you were killing it when I wasn't at the store. | ||
| I had heard about you when I was gone. | ||
| I had heard about you. | ||
| I think Ari is the one who told me about you. | ||
| Oh, yeah. | ||
| You know, and then I found out that Spike Lee directed your special. | ||
| I was like, what? | ||
| Like, what the fuck is happening over at the comedy store? | ||
| Spike Lee's directing comedy specials? | ||
| That was a fun one, because it was, like, just such a... | ||
| I was like, it has to be in the OR. Nobody filmed in the OR. And so, like, you know, getting everybody to agree to that. | ||
| Yeah. | ||
| And then, like, because even Spike was like, but the main room's right here. | ||
| It's so big. | ||
| And it's like, but I don't do the main room. | ||
| I do the OR. Yeah. | ||
| Yeah. | ||
| The main room's pretty good, too. | ||
| I used to be prejudiced against the main room. | ||
| I'd be like, ah, it's too big. | ||
| It's too showy. | ||
| The wall's dirty and grimy. | ||
| It depends on, like, you know, if the sides are full or open and what the... | ||
| The room can change depending on, like, so many factors of, like... | ||
| Seating and whatever, just the sound of it. | ||
| Well, the room really changes when it gets empty late at night. | ||
| Like, that's a strange room. | ||
| Like, Brody's doing those midnight spots. | ||
| Those have been some fun spots to watch, just when Brody's just... | ||
| Tommy used to make me follow Brody all the time. | ||
| That's such a fun, interesting thing to do. | ||
| Because what else is left at that point. | ||
| The audience is headspace. | ||
| Yeah, they're in such a different place that it's just fun to piece it back together and figure it out. | ||
| Jamar, you get a lot of those freaky spots. | ||
| Yeah, man. | ||
| You ever had to follow Brian Holtzman? | ||
| Many times. | ||
| I'm like, no! | ||
| What happens with him? | ||
| Well, he's just so crazy. | ||
| He'll say so much crazy shit that the audience is just like stunned. | ||
| Yeah, it's like Brody times 20. Really? | ||
| You never see Holtzman? | ||
| Funny as fuck. | ||
| Yeah, I don't think I have yet. | ||
| Oh my god. | ||
| Dude, Holtzman said some of the darkest shit I've ever seen anybody say on stage. | ||
| He went on stage after... | ||
| Do you remember Susan Smith, that lady that drowned her kids? | ||
| She was a lady that... | ||
| She drowned her kids. | ||
| I forget what the context of it was. | ||
| Holtzman went on stage like two days later and was like, I heard those were bad kids. | ||
| I heard they sat that close to the TV. They never put away their blocks. | ||
| They fucking spilt their milk. | ||
| Those kids would not be missed. | ||
| When you say that, maybe I have heard Brian Holtzman. | ||
| Dude, right after September 11th, Mitzi wouldn't let him go on stage. | ||
| She's like, keep him off stage! | ||
| She wouldn't let him go up! | ||
| She wouldn't let him go up! | ||
| Couldn't risk the potential riot. | ||
| Well, he's a really funny guy and a really good comic, but he's never been a professional. | ||
| Like, his whole life. | ||
| He's been doing comedy forever. | ||
| When I came to the store in 94, Holtzman was already there. | ||
| And he's never been a professional. | ||
| He's always had a job. | ||
| He's always been... | ||
| He was a dog catcher. | ||
| He was a meter maid. | ||
| Like a bunch of different shit. | ||
|
unidentified
|
Yeah. | |
| So he's never really branched out. | ||
| Yeah. | ||
| Eleanor was telling me how he fought Martin Lawrence's bodyguard. | ||
| Well, you could call it that. | ||
| You could say... | ||
| I would say Martin Lawrence's bodyguard beat the fuck out of Brian Holtzman. | ||
| That's how I would say it. | ||
|
unidentified
|
He... | |
| Martin Lawrence was heckling. | ||
| And Holtzman's on stage. | ||
| He's saying crazy shit. | ||
| And there's like 10 people in the room. | ||
| And Martin was heckling, apparently. | ||
| And Brian got off stage to point out that it was Martin Lawrence. | ||
| He's like, look! | ||
|
unidentified
|
This fucking rich, famous motherfucker's heckling me! | |
| Boom! | ||
| Oh, wow. | ||
| And he gets knocked out by Martin Lawrence. | ||
| Oh, it was that immediate. | ||
| This wasn't even a parking lot thing. | ||
| I heard it was a showcase. | ||
| Is that what you heard? | ||
| That's what I heard. | ||
| Those stories get twisted, right? | ||
|
unidentified
|
Yeah. | |
| Stories get weird after a while. | ||
| Yeah. | ||
| But yeah, those were the dark days of the comedy store. | ||
| That was like... | ||
|
unidentified
|
I want to say that was like... | |
| I don't even know if that was the 2000s. | ||
| What is it now? | ||
| I haven't really been in... | ||
| I've kind of been, but is it now still that place where you go experiment, try out? | ||
| I do. | ||
| Jamar is actually, I go to see Jamar when I go. | ||
| It's usually at whatever 1 a.m. shit. | ||
| Right. | ||
| You know what I mean? | ||
| It's great. | ||
| I just hit him up and be like, hey, man, I'm going up. | ||
| I'm going to do some crazy shit. | ||
| You coming through? | ||
| Oh yeah, I love it. | ||
| For those one o'clock sets, it's a different world. | ||
| It's experimental. | ||
| It's strange. | ||
| It's kind of sad. | ||
| There's a little bit of sadness in the room. | ||
|
unidentified
|
Yeah. | |
| It's perfect. | ||
|
unidentified
|
Yeah. | |
| Oh, the sadness. | ||
| Oh, the sadness. | ||
| The sadness is those late night... | ||
| Because you're looking at your watch like, why am I not at home? | ||
| Why am I not asleep? | ||
| I remember that feeling my first time going to the comedy store. | ||
| Just being like, why am I sad? | ||
| Just like this thing that just weighs you... | ||
| I remember feeling kind of like... | ||
| Worthless? | ||
| No, just kind of like... | ||
| It really feels like a ghost is choking you up. | ||
| It's like a weird... | ||
| Who's ghost? | ||
| Oh man, pick one. | ||
| Yeah, there's a lot of ghosts. | ||
| There's a lot of ghosts in that room. | ||
| And they come, when everyone's gone, that's when they show up. | ||
| You think for real? | ||
| No. | ||
| No, I don't think for real like you'll see them, but you definitely feel like weirdness. | ||
| Yeah, no, there's a weird... | ||
| Especially when you bomb and you get that cold... | ||
|
unidentified
|
Like, fuck you, Pryor! | |
| Well, you know, he bombed there, too. | ||
| There's some classic famous stories about Pryor bombing as he was filming live in the Sunset Strip. | ||
| Like, some of the sets... | ||
| Oh, Mythologic had the footage. | ||
| Oh, really? | ||
| Yeah, the Showtime doc. | ||
| We had the footage of that show. | ||
| Oh, the show where he was prepping? | ||
| Where he was getting ready? | ||
| No, no. | ||
| The show where it just didn't go... | ||
| Oh, so they filmed a few of them? | ||
| Yeah, well, they filmed that strip show where he had to come back the next night and kind of redo it. | ||
| He just had... | ||
| He was just... | ||
| He... | ||
| You know, operated from such a place of just, like, it was so—it had to be honest to him, I think, and it just hadn't gone up in a while and was on stage and was just, like, in the room and just sat in it. | ||
| He just sat—the footage is crazy. | ||
| Send me that. | ||
|
unidentified
|
Wow. | |
| Yeah, yeah, it's really crazy. | ||
| Who's got the footage? | ||
| Well, it's in the doc. | ||
| You can see it in the documentary, like, a little bit, but I think it's extended footage. | ||
| I haven't seen the extended footage, if that exists, but— There's some great old cassettes that I bought from, like, a gas station. | ||
| There were Red Fox's Comedy Club. | ||
| Red Fox had a comedy club, and Pryor would go up and just fuck around, man. | ||
| Just fuck around. | ||
| And there was many of them. | ||
| I mean, there was like seven or eight recordings. | ||
| Maverick's Flats, I think it was. | ||
| That was the name of the company? | ||
| I think so. | ||
| Off of Crenshaw or something over there? | ||
| Oh, where the club was? | ||
| I don't know. | ||
| I got them when I was living in Boston. | ||
| I was living in Boston and I found them at a gas station. | ||
| They were for sale. | ||
| And it was crazy because it was a small crowd. | ||
| You could tell it was a small crowd. | ||
| Pryor was just fucking around, man. | ||
| He was ad-libbing. | ||
| You could tell that it wasn't structured, and some of it was really funny, and some of it kind of fell flat, and you could hear the clink of glasses and shit in the background. | ||
| It was just so real. | ||
| Richard Pryor back then, he was doing something that It's like he had figured out a thing that he could do that other people hadn't figured out and that thing was like just be Totally honest and also just explore ideas on stage in front of people like not even have it mapped out yet Just just fuck around and find what's funny And he'd be smoking cigarettes and just talking and he figured out a way to turn and then you would see it boiled in To like Richard Pryor live | ||
| or live in the Sunset Strip or any of his specials you'd see it boiled down into that Yeah, yeah. | ||
| Doing it for television. | ||
| You know, he performed for television really well. | ||
| And that's like kind of an element that I think people kind of forget. | ||
| Like how well of a... | ||
| It connected with you watching it at home. | ||
| Even me, 20-30 years later, after it's filmed, and just watching it with my dad, he plays really well here. | ||
| You know what I mean? | ||
| To you, you can feel how personal and how honest it is. | ||
| So when it was boiled down, he was also captured really well. | ||
| Did you ever see him live? | ||
| No. | ||
| Pryor? | ||
| Yeah. | ||
| Wait, how old do you think I am? | ||
| No, he was alive doing stand-up 10 years ago. | ||
| Yeah, maybe a little bit more. | ||
| Maybe 15 years ago. | ||
| When did he die? | ||
| Maybe it was more than 15 years ago, now that I'm thinking about it. | ||
| Did you ever see him live? | ||
| Yeah, I had to follow him. | ||
| Like five weeks in a row, man. | ||
| Really? | ||
| 2005 he died? | ||
| Okay, so it was more than I thought. | ||
| Like a run? | ||
| He did a run before he died. | ||
| It was probably right before then. | ||
| Actually, I want to say it was like the late 90s, early 2000s, somewhere around then. | ||
| He was real sick, and they would have to carry him to the stage. | ||
| And it would take like five minutes for him to get to the stage. | ||
| So they'd introduce him, and the comic would get out of the way, and then... | ||
| Chewy and Marilyn Martinez's husband would help him walk to the stage. | ||
| They would hold on to him, take him to the stage. | ||
| It would take forever. | ||
| It was a slow process. | ||
| And they'd get him and they'd sit him down and they'd crank up the mic like this. | ||
| Because his voice was so soft. | ||
| Feeble, yeah. | ||
| Yeah, and he would do stand-up. | ||
| Do like 15, 20 minutes, and then I would go on after him almost every time. | ||
| It would be me. | ||
| And just eat shit. | ||
| I would just eat shit. | ||
| Because, first of all, first of all, nobody knew who I was. | ||
| And second of all, they just saw Richard Pryor, and they're sad. | ||
| Because he's fading away right in front of everybody. | ||
| Yeah, it's an interesting feeling. | ||
| Never before has a British-type intermission been needed more. | ||
| A British-type intermission! | ||
| You know, where it's just like, alright, Richard Pryor's gone, and 15 minutes, people go smoke cigarettes, come back. | ||
| What year did you start doing stand-up? | ||
| 2008. Yeah, so you missed it. | ||
| Did you go to the clubs at all before then, to look around? | ||
| No. | ||
| Well... | ||
| Two nights before my first time. | ||
| Two nights before your first time? | ||
| Yeah, two nights before my first time, I went to the Comedy Store. | ||
| Wow! | ||
| My first day in LA, I saw the whole show, 9 to 2am. | ||
| Wow, you sat through the whole show? | ||
| The whole show, did the open mic that Sunday. | ||
|
unidentified
|
Whoa. | |
| That's an experience, man. | ||
| The people that do that, man, that's like running an ultra marathon. | ||
| Like sitting through 9 p.m. | ||
| to 2. It's interesting. | ||
| I can watch it, you know, I can consume a high volume of it in a lot of cases. | ||
| I've always been interested in whatever people are talking about. | ||
| And it was just an interesting sampler of like, all right. | ||
| What's fascinating about the story is the 15-minute blocks that you're seeing, these completely different viewpoints, 15-minute chunks. | ||
| If you sit there for long enough, you sit there for a couple of hours, and you watch that many different people, you watch eight different people go up, it's very weird. | ||
| Yeah, the strength of it, I think, for what stand-up is, especially right now, what it helps is it allows you to think of yourself in context. | ||
| And that's more important now than ever, especially with stand-up. | ||
| If you're on and you're competing against the 3,000 other specials that came out this week, It's in context of mass consumption. | ||
| So if you're going up in the middle of a marathon show, you're going up in the OR in the middle of a show, and they saw eight comics before you, they'll see nine after you or whatever. | ||
| Right. | ||
| You have to, like, kind of sketch a place in their minds in context of everything else that they saw that night. | ||
| It's really important. | ||
| So are you going like, okay, so what happened? | ||
| Well, no, you can't do that because then you can only be yourself. | ||
| It forces you. | ||
| It's not saying, like, you know... | ||
| It's not saying change who you are. | ||
| I think it makes a more dynamic version of who you are. | ||
| Because you have to be memorable in context of all of these people and these different styles. | ||
| Also, I think what you do... | ||
| Because whatever you make and you release into the world, you are also releasing in the context of other art that people are consuming. | ||
| So even if you release your stand-up album... | ||
| A lot of times people who buy stand-up albums buy stand-up albums. | ||
| So they listen to you in context of the other stand-up albums that you have. | ||
| It's a strong comparison culture stand-up has. | ||
| Like hip-hop, where it's always in relation. | ||
| It's not, this is my favorite rapper. | ||
| This rapper is better than that rapper. | ||
| And comedians and consumers of it. | ||
| It's a lot of association. | ||
| It should force you to be you. | ||
| Specifically you. | ||
| That's needed more than ever before. | ||
| You need to be yourself completely. | ||
| Or if you're a character, that character needs to be Hammer the fuck down. | ||
| Yeah, and who you are changes depending upon your environment. | ||
| That's one of the things about the store. | ||
| Like, since I've come back to the store, it's tightened me up. | ||
| It's made me better coming back to the store. | ||
| Because it's like being in that environment, being in that pressure cooker around all these other creative people and everybody's constantly getting after it. | ||
| Yeah. | ||
| No, it's great. | ||
| It's a really good... | ||
| Kind of artist colony. | ||
| At its best, it can operate like that. | ||
| You can just kind of run around. | ||
| On its best, I remember nights where we would run between rooms, even before getting spots, just to go see each room, different comedians. | ||
| You just kind of absorb it and watch it and get excited about it. | ||
| Yeah, you could do three different sets in that place and have three different universes. | ||
| You're in the belly room, then you're in the main room, then you're in the OR. That's Three different worlds. | ||
| Yeah. | ||
| They really are. | ||
| Yeah, three completely different energies. | ||
| It changes people, too. | ||
| Like, that's one of the reasons why Kinison became who he was, because he was doing those late-night spots. | ||
| He was doing those same spots that, like, Holtzman gets. | ||
| Those late spots, and he just had to capture people's attention. | ||
| So he'd just go out there screaming. | ||
| Speaking of existing in context, that is a style that's just completely created from frustration. | ||
| Other comedians create Sam Guinness. | ||
| Other comedians and ex-wives, you know? | ||
| And ex-wives. | ||
| I mean, he had like... | ||
| I mean, everybody had ex-wife jokes, you know? | ||
| There was a lot of that. | ||
| Take my wife, please. | ||
| You know, that kind of shit. | ||
| There was a lot of wife jokes and ex-wife jokes, but Kenison... | ||
| What he did was just screaming. | ||
| You know, it was just raw. | ||
| And you looked at him, this little fat balding guy, and you're like, oh yeah, he probably had a real rough time of it. | ||
|
unidentified
|
Yeah. | |
| Well, you just believe his hatred. | ||
| You believe it completely. | ||
| Remember that video he was watching of Sam Kennison? | ||
| It was like really late night, and maybe it was like 1 o'clock in the morning, and he was like... | ||
| Every comic just gets worse! | ||
| Every joke just gets worse! | ||
| Well, he also came from a... | ||
| He was a preacher. | ||
| So he had this ability to just rant and rave and project and he knew the rhythm and he knew the fucking... | ||
| He had this thing that he would do that was very much like a revival tent, like one of those tent preachers. | ||
| I remember watching him on Married with Children with my dad. | ||
| That's my first song. | ||
| He was brilliant on there. | ||
| Wasn't he on a show where he played like someone's conscience? | ||
|
unidentified
|
Herman's head. | |
| Oh, yeah. | ||
| Him on the shoulder. | ||
| Damn, Jamie. | ||
| How'd you pull that reference out? | ||
|
unidentified
|
I used to watch that show. | |
| Damn. | ||
| Herman's head. | ||
| Yeah. | ||
| Yeah. | ||
| It's funny how you discover people. | ||
| Like, you see him on Married with Children and you're like, he shot a wall? | ||
| What? | ||
|
unidentified
|
What? | |
| He shot. | ||
| They fucking fixed the sign at the comedy store. | ||
| I was so depressed when I came back. | ||
| I'm like, you guys fixed the Kinison hole? | ||
| Why would you fix the bullet hole? | ||
| He shot. | ||
| Shot a hole through the fucking sign in the parking lot. | ||
| You know that sign that's near the back walkway? | ||
| The one that, you know, in the corner? | ||
|
unidentified
|
Yeah. | |
| There's a bullet hole in the back of that thing. | ||
| They fixed it. | ||
| Oh, it's not there anymore? | ||
|
unidentified
|
They fixed it. | |
| Oh, why did he do it? | ||
| Because he's crazy. | ||
| He had a gun. | ||
| I think it was him and Dice were in some sort of a fight. | ||
| He pulled out a gun and blam! | ||
| He shot the sign. | ||
| He tried to shoot Dice? | ||
| I'm like, no. | ||
| I think he just wanted Dice to know that he would shoot him. | ||
|
unidentified
|
Oh. | |
| It's an ex-preacher, by the way. | ||
| That sounds like the story. | ||
| It wasn't Herman said? | ||
|
unidentified
|
No, it was not. | |
| That was on at the same time. | ||
| The show was called Charlie Hoover. | ||
| Really? | ||
| Yeah. | ||
|
unidentified
|
Wow. | |
| I remember him standing on a show. | ||
| I remember the image of that. | ||
| Yeah, he was like the devil conscience type character, right? | ||
| Is that what it was? | ||
|
unidentified
|
Tim Matheson was the guy. | |
| Oh, wow. | ||
| Look at that. | ||
| And Tim Matheson's the guy from Animal House, right? | ||
| Yeah. | ||
|
unidentified
|
Yeah, yeah. | |
| I think why I confused it. | ||
| Herman's Head had four people in his head, and there's four different actors. | ||
|
unidentified
|
Man, they don't even do shit like this no more. | |
| Yeah, for good reason. | ||
| There's a reason we're scrambling for the name. | ||
| They have him with Alex Jones. | ||
| Look, back to those images he just had. | ||
| Go back to the images. | ||
| Scroll down. | ||
| Scroll down. | ||
| Look. | ||
| Alex Jones is in the middle of that. | ||
| That's not even Kinnison. | ||
| Wow. | ||
| That's Alex. | ||
| Wow. | ||
| That's just someone's comparison. | ||
| Kinnison has a... | ||
| That was a great headshot, him screaming. | ||
| Yeah. | ||
| He's the guy that got me into comedy, really, in a lot of ways. | ||
| Cocaine, Sam Kinnison, Family Entertainment Hour. | ||
| Yeah, he got me into comedy because I thought comedians were... | ||
| I thought it was like people who go on Tonight Show and they had their sleeves rolled up. | ||
| You ever notice? | ||
| Here's a crazy thing, folks. | ||
| I enjoyed watching that, but it never seemed like me. | ||
| I couldn't see myself doing it. | ||
| People gotta stop doing that. | ||
| They gotta stop doing it. | ||
| Why are you doing your Tonight Show set and your... | ||
| Colbert's not even... | ||
| They block... | ||
| It's so fucking disrespectful. | ||
| They block shoot. | ||
| These things. | ||
| What do you mean? | ||
| They'll do like 10 comedians at a time. | ||
| And he's not even there. | ||
| And they throw to it as if... | ||
| It's the rudest thing I've ever heard. | ||
| And the fact that comedians still go on the show and would still do it is insane to me. | ||
| Wow, I didn't know that. | ||
| That's insane to me. | ||
| So how many do they do in a row? | ||
| I heard like 10, I could get the number wrong, but he's not there. | ||
| It's not, you know, you're just doing like this show in front of this audience in the studio. | ||
| And he pretends to throw to you? | ||
| Yeah, and he throws to you like you're there and it's like this thing that's like... | ||
| He doesn't care? | ||
| No, well... | ||
| Again, man, but it's on us as much as it's like, of course they're going to do that. | ||
| They're going to do that to any genre of entertainment that would allow such a thing to happen. | ||
| They will do it to you. | ||
| They're not going to do it. | ||
| Rihanna's doing a... | ||
| These things are so contrived. | ||
| It's the same set. | ||
| You come out in front of the same curtain. | ||
| People put on the same outfit that they didn't wear yesterday and would never wear again tomorrow. | ||
| And they come out and they pretend to be a comedian from 1993. And it's like, who the fuck are you? | ||
| What are you fucking doing? | ||
| For a set to get passed around to a couple of agents that want to come see you? | ||
| Who cares? | ||
| I was talking to Theo Vaughn about this. | ||
| We were talking about whether it's worth it being on one of those shows. | ||
| No, no. | ||
| It's never worth it capturing yourself not as yourself. | ||
| It's a waste of your time. | ||
| Used to be worth something. | ||
| This is why it's confusing, because there was no venues before. | ||
| So when Johnny Carson would have you on The Tonight Show... | ||
| Yeah. | ||
| No, and that was... | ||
| Listen, it served its purpose. | ||
| It was very important at the time. | ||
| It was an outlet where there weren't a lot of outlets. | ||
| And now... | ||
| Those times are gone. | ||
| What the fuck are we doing? | ||
| Especially unless it's like... | ||
| You know, with that said... | ||
| You know, Kemmel built a club and has the audience travel from the studio to the club and the comedians would do it there. | ||
| And it's like, oh, that's like an effort. | ||
| You know what I mean? | ||
| Like an effort to create a space. | ||
|
unidentified
|
He has a club? | |
| Yeah, it was like a space, a separate studio. | ||
| I believe they're still doing it. | ||
| I don't know if I've seen a Kemmel set, a stand-up set recently. | ||
| But there was like an effort. | ||
| I always really appreciated that about Kemmel. | ||
| Like, like, Kimmel, like, you know, at least try, like, I don't know, just try. | ||
| There are too many options for comedians to go through this same filter of capturing themselves in a way that's not authentic to them. | ||
| So you're saying that if I go on Colbert, I should do it with my shirt off? | ||
| If you want to have your shirt off, if there's a purpose, you know what I mean? | ||
| Like, like, you should... | ||
| You should do it like you would do a regular set in the belly room. | ||
| Yeah, that's me. | ||
| Well, I mean, because it's like, you know, if stand-up is art, right? | ||
| If it's art, if it is an art form, then it's supposed to be, like, the medium is supposed to come to the artist, not the other way around. | ||
| Right. | ||
| You know, because even on those same shows... | ||
| If you see a live music performance, the staging's different, it's specific to the audience. | ||
| In the context of a show and a live production and you have this space, they fill it in the way that makes sense to the artist. | ||
| And then it's like, stand up. | ||
| It's just like you could just go through a slideshow of just the exact same thing. | ||
| Well, I guess when a musical artist gets on Colbert, one of those shows, they're already kind of famous, right? | ||
| They already have an album out. | ||
| And when a stand-up gets on those shows, they're trying to get seen. | ||
| Like, maybe you don't have a special yet. | ||
| Maybe you just showcased and they picked a few people. | ||
| You've done any of it yet? | ||
| I don't do any of those. | ||
|
unidentified
|
Oh. | |
| A specific reason? | ||
| Yeah! | ||
| I think I never liked it. | ||
| I remember one time, like, I was gonna do Letterman while Letterman was on Letterman, and I remember, like, sending a set in or whatever, and they responded, like, okay, you know, we could do it, but could... | ||
| He'd do his jokes in a more traditional set-up, punchline format. | ||
| And I remember just emailing back, like, I'll just do it when I'm famous. | ||
| When I'm just not going to listen to this bullshit note. | ||
| People, they change, that's the other thing. | ||
| Again, compare yourself to a musician. | ||
| Imagine you're a musician going on, and they're like, we like this song, but could the bridge come first? | ||
|
unidentified
|
Right. | |
| And then you do the... | ||
| You would be like, go fuck yourself. | ||
| Right. | ||
| You know what I mean? | ||
| And comedians allow, like... | ||
| You can't say Pop-Tart. | ||
| If you say Pop-Tart, we're going to get sued. | ||
| Exactly. | ||
| Comedians allow a lot of shit. | ||
| Say pastry. | ||
| Can you say pastry? | ||
| But that doesn't make any sense. | ||
| Well, we're just trying to hit the road, Gerard. | ||
| Toasted Strudel is the sponsor. | ||
| We're just trying to hit the road, Gerard. | ||
| No, man. | ||
| Do you, man? | ||
| No, I get it. | ||
| Enjoy yourself. | ||
| I wouldn't do it even back in the day. | ||
| It didn't make any sense to me. | ||
| They would go, you should put together a five-minute set for The Tonight Show. | ||
|
unidentified
|
And I'd be like, I don't want to do it. | |
| And they're like, you should do it. | ||
| It's good exposure. | ||
| This is like the fucking 90s, right? | ||
| When it actually probably meant something. | ||
| I was like, I don't... | ||
| I don't see it happening. | ||
| I'm not doing it. | ||
| It's not stand-up. | ||
| You're taking a little piece of it. | ||
| Stand-up, a short set is 15 minutes. | ||
| And in 15 minutes, I might cover two concepts. | ||
| I need time. | ||
| I go over things. | ||
| I get thorough. | ||
| If I'm talking about a subject, I get involved in that subject. | ||
| I want to bring people on a journey. | ||
| And I also want to be able to set them up. | ||
| I want to be able to explain how I think about things so that by the time I get to something controversial, they already have a sense of how I approach things. | ||
| You can't do that in five minutes. | ||
| In five minutes, you've just got to get into it. | ||
| And it's a very condensed... | ||
| Homogenized version of who you really are. | ||
| Man, just do a late-night spot with a five-minute setup, then leave. | ||
| Just a setup. | ||
| Yeah, just a setup, then shake. | ||
| I remember I saw Louis do one. | ||
| Louis C.K. did one. | ||
| One of those Letterman or Tonight Show or something like that. | ||
| And I was like, God, he shouldn't even do this. | ||
| Because it's such not a good representation of what he's capable of. | ||
| Well, some people are like... | ||
| Jerry Seinfeld should do that. | ||
| He should absolutely do that. | ||
| Yeah, he could do it. | ||
| I love Jerry's Tonight Show sets. | ||
| His makes sense. | ||
| Yeah, it makes sense. | ||
| It makes sense. | ||
| It's perfect for it, and it translates very, very well. | ||
| Well, when I watch those shows today, I'm like, why are they still a thing? | ||
| When I see a late night show, and no disrespect to anybody who hosts a late night show, but to me, it's like they took a boat and tried to turn it into a plane. | ||
| They're like, hey, it's 2018, but let's pretend it's not! | ||
| We'll be right back with a commercial! | ||
| Hey, we're going to have commercials! | ||
| We're going to shove commercials into things. | ||
| But today, everybody watches HBO and Netflix. | ||
| Like, what am I doing here sitting through a fucking commercial? | ||
| I get... | ||
| It may be weird. | ||
| Because I actually... | ||
| I enjoy advertising. | ||
| You do? | ||
| Yeah, yeah. | ||
| Like, a lot. | ||
| I'll stare at, like... | ||
| Billboards. | ||
| I'll watch commercials. | ||
| I'll watch, like... | ||
| Because I do think it speaks to what... | ||
| America thinks we are as a culture. | ||
| You know what I mean? | ||
| It speaks to what they think is appealing and what they think is going to work. | ||
| In a way, in the same sense, you can gauge a lot from a person by the types of questions they ask you. | ||
| You can gauge a lot from even a climate by the type of commercials, what they feel is... | ||
| Because they're trying to appeal to everybody. | ||
| So this is what they're saying. | ||
| This is what we think everybody is thinking right now. | ||
| Or how everyone feels or what they want. | ||
| But I love... | ||
| I'll watch it. | ||
| And even the Tonight Show and these things... | ||
| Anything in function at its best is fun. | ||
| It's just... | ||
| Where it hits a wall, and what we're saying about comedy and what we're saying about a lot of things, is when a thing tries to be something that it's not. | ||
| When it feels like... | ||
| These late night shows, when they're just doing fun things that they think are fun and interesting, I love... | ||
| You know, Kimmel always every year does like the parents that tell the kids that no Halloween, that they ate all the Halloween candy and the kids' reactions and stuff like that. | ||
| I eat that stuff up. | ||
| I love that stuff. | ||
| You know what I mean? | ||
| No, those sketches are fun. | ||
| But like when it, you know, when shows pretend to be, you know, 1989, it's just like when comedians pretend to be of a different era, pretend to, it just feels false. | ||
| And I think that's what you check out. | ||
| Yeah. | ||
| It's just unnecessary at this point, you know? | ||
| Because of the internet, you just have too many other venues. | ||
| Yeah, it's a lot of options. | ||
| A lot of options, yeah. | ||
| And watching things on the internet is so much more satisfying. | ||
| It's like watching a comic on a podcast, you're gonna get a chance to see who the fuck they really are. | ||
| Yeah. | ||
| Instead of some weird set in front of some audience that got shipped in from Burbank and they got applause signs and everything. | ||
| It's very surreal when you go to a live taping and you watch that. | ||
| It's really surreal. | ||
| Oh, it's very, like... | ||
| And I'll sit... | ||
| I have, like, you know... | ||
| It's always weird. | ||
| I have, like, weird late-night things. | ||
| Because I... I'm bad at being the celebrity type of thing. | ||
| I'm just in it and just looking at it. | ||
| And when the crowd is giving an unnatural reaction to things, it's just like, what are you... | ||
| You're too introspective. | ||
| You're not going to just dive into the fakeness. | ||
| I'm like, hey, bro, what are we doing? | ||
|
unidentified
|
For real. | |
| What is this? | ||
| What is this? | ||
| Like, what do you... | ||
| Is this rewarding for you? | ||
| Applause side, everybody! | ||
| Yeah, like, is this... | ||
| What are we doing? | ||
| Let's clap our way through the uncomfortable moment. | ||
| This is weird. | ||
| We'll be right back. | ||
| We'll be right back. | ||
| Thank you. | ||
| We'll be right back. | ||
| That we'll be right back shit is like... | ||
| What is that? | ||
| Where are you going? | ||
| Stay put. | ||
| Can't you just shove those commercials in later? | ||
| Let's just keep rolling. | ||
| What the fuck are we doing? | ||
| We'll be right back. | ||
| It's strange, man. | ||
| The advertisement model of shoving an ad in every 15 minutes to shoving a series of ads in. | ||
| How the fuck did they ever do that? | ||
| Well, I mean, you know, the unfortunate reality, or fortunate reality, I guess depends on, you know, what company you work for, is, I mean, that's, it's an advertiser's medium, right? | ||
| And everything, they'll find a way to put the commercials, even with the internet, you know, like, YouTube becomes traditional television. | ||
| The internet commercials are longer than the TV commercials. | ||
| They'd be two minutes. | ||
| You can skip them. | ||
| Do you get two-minute ones now? | ||
| Don't think I like a minute, two-minute... | ||
| I see minute ones. | ||
| I get excited when I see a 15-second one. | ||
| It's like, oh man, so we're gonna... | ||
| I'll just sit here. | ||
| Gonna sit through Ron Howard's masterclass again, huh? | ||
| But even sometimes you'd be like, damn, this is too long. | ||
| Even if it's 15 seconds. | ||
| Yeah, you'll mute it. | ||
| Yeah, sometimes I'm looking up commercials and I hate having to watch a commercial to watch a commercial or like some type of, you know what I mean? | ||
| Like some type of ad or like a trailer to something. | ||
| I'm like, oh, now I have to sit through this trailer to watch the trailer. | ||
| It is true that a commercial does kind of show you what they think the culture is about right now. | ||
| Yeah. | ||
| What they think people are interested in right now. | ||
| Yeah. | ||
| What a real, manipulative, mainstream version of what the average American is. | ||
| That's what we think appeals to. | ||
| They think we're depressed, too. | ||
| Well, a lot of people are. | ||
| You're not depressed. | ||
| No, I'm good. | ||
| Handsome bastard. | ||
| Beautiful body, going on stage shirtless. | ||
| You're not depressed. | ||
| But some people are. | ||
| A lot of people are. | ||
| What percentage do you think is probably more than 20% of Americans are depressed? | ||
|
unidentified
|
Yeah. | |
| Let's just take a guess. | ||
| Let's see what a recent poll shows. | ||
| It's not going to give us a real good idea, but I'll say 20%. | ||
| 20% of Americans suffer from depression. | ||
| What do you think? | ||
| A form of depression? | ||
| Are we saying specifically depression? | ||
| Are we saying like mental depression? | ||
| Not illness. | ||
| Depression. | ||
| How do you define? | ||
| Yeah. | ||
| Because, I'm just saying, the reason it's hard to quantify is because it's like, it also is a thing that comes in phases or post-event, like, specific, like, depression. | ||
| You know what I mean? | ||
| That's why I'm just wondering how we're... | ||
| And I can't believe it's not as easy as... | ||
| Man, get over that shit! | ||
| Like, I can't believe it's not. | ||
| But it's not. | ||
| Yeah, I mean, it's... | ||
| That's how I get over shit. | ||
| Fuck it! | ||
| Some people have real issues. | ||
| Yeah, exactly. | ||
| It's hard to, like... | ||
| It's like, wow, you got a cancer? | ||
| Get over it. | ||
| I'm like, man. | ||
|
unidentified
|
Come on, man. | |
| We got a tumor. | ||
| You mean, like, specifically, like, event-based, like, if something has happened... | ||
| That sparks, like, sadness. | ||
| I don't think so. | ||
| I forget that there's more than one reason to be depressed. | ||
| Oh, 6.7%. | ||
| 16.2 million adults in the United States, equaling 6.7% of all adults in the country, have experienced a major depressive episode in the last year. | ||
| 10.3 million U.S. adults experienced an episode that resulted in severe impairment in the last year. | ||
| Wow. | ||
| 50% of all people diagnosed with depression are also diagnosed with an anxiety disorder. | ||
| It's estimated that 15% of the adult population will experience depression at some point in their lifetime. | ||
| Well, yeah, like post. | ||
| But what does that mean, though? | ||
| Like if your dog dies? | ||
| What does that mean? | ||
| You lose a job, girlfriend breaks up with you? | ||
| Yeah, post-event. | ||
| I remember going through a real dark period after losing a friend. | ||
| It happened twice. | ||
| I get the Jamar mentality of just like, I don't know, niggas, just get over that shit. | ||
| But is that sadness or is that depression? | ||
| That's a good question. | ||
| I don't know clinically where the line is. | ||
| As humans, isn't it just highs and lows? | ||
| Highs and lows. | ||
| Deal with this. | ||
| Deal with that. | ||
| Deal with the happiness. | ||
| It's highs and lows, but it's just your expectation of what the next phase is. | ||
| There's also legitimate issues that people have with mental problems. | ||
| Their brain doesn't produce enough hormones. | ||
| There's people that have legit serotonin and dopamine issues. | ||
| Jamar just on a suicide hotline like, look, nigga, I said, get over that shit. | ||
| Nigga, get some ice cream. | ||
| Go outside. | ||
| Don't you have friends? | ||
| The sun is out, though. | ||
| Oh, you don't have friends. | ||
| Oh, your friend fucked your wife. | ||
| Oh, they committed suicide, too? | ||
| Oh, and your friend was also your boss. | ||
|
unidentified
|
Oh. | |
| So now you're fired and you don't got a wife. | ||
| Okay. | ||
| And your dog's gone. | ||
| Where's your dog? | ||
| Oh, your friend took your dog. | ||
| This would be my favorite episode of Frasier. | ||
| Yeah, some people have it rough, man. | ||
| Some people have leukemia. | ||
| Some people have... | ||
| Genetic disorders. | ||
| Some people's brains don't work right, and for whatever reason, whether it's nature or nurture, there's something going on that's real bad, and they're in a hole. | ||
| Ari described it really well. | ||
| He did a podcast recently with me, and he talked about he went through a serious depression episode where he was suicidal. | ||
| And his brain was just... | ||
| The way he described it, it was like it was broken and I had to get it fixed. | ||
| And he started off on medication, then weaned himself off on medication. | ||
| But when he was on the medication, it's also when his career took off. | ||
| And when his career took off, I mean, it alleviated a lot of the... | ||
| What a lot of his issues were was also just like an unfulfilled life, frustration, expectation, unrealized, and then on top of that, compounded, there was like legit mental issues that were bothering him. | ||
| I guess I was just unclear on what depression actually is. | ||
| I'm like, because now that you say that stuff, I'm like, hmm, maybe I have felt that. | ||
| Everybody feels highs and lows. | ||
| You're right about that. | ||
| You're for sure right about that. | ||
| But you also exercise a lot, and I think that probably helps. | ||
| Yeah, I'm just souping myself up in my head and shit. | ||
| Well, no, exercising just releases a lot of the bullshit that people carry around. | ||
| A lot of what makes people feel terrible is that their body is fighting against their brain. | ||
| Their body holds in so much tension and they're so fucked up and they never get an endorphin release and their body's like an overflowing battery, like oozing out of the sides. | ||
| People don't meditate. | ||
| That don't work for people. | ||
| That shit kills it for me. | ||
| How often do you meditate? | ||
| Shit, like every day. | ||
| How much time? | ||
| 20 minutes. | ||
| Oh, that's good, man. | ||
| Look, that is a beautiful thing. | ||
| If you could force that into your schedule and make sure that that's a part of your life. | ||
| I got it from Seinfeld and Oprah right now. | ||
| TM? Do you do TM? Yeah. | ||
| I mean... | ||
| Doesn't it activate something that all humans have, which is like... | ||
| So we're supposed to kind of do that, though. | ||
| Well, it allows you reflection. | ||
| And also, what I think it does, one of the really good things that meditation does is it stops momentum. | ||
| Because there's like a momentum of shitty thoughts and bad ideas and bad decisions and just anxiety and all these issues that could fucking just accumulate inside your consciousness. | ||
| And they never, when unaddressed, they continue to like push at you from the back. | ||
|
unidentified
|
Mm-hmm. | |
| And it's like you're just constantly in this state of momentum of all the bullshit that's going on. | ||
| But if you have a time for real reflection and just pause, even if you're just concentrating only on your breath, it seems to stop that momentum and give you a chance at like a renewed perspective. | ||
| Yeah. | ||
|
unidentified
|
That's great. | |
| Remember that time I had a spiritual awakening in your house? | ||
| Yeah. | ||
| A spiritual awakening in his house. | ||
| I remember that a lot. | ||
| What happened? | ||
| What was it about? | ||
| Just hit him one day. | ||
| I was watching like a Seinfeld interview or something. | ||
| He was like, yeah, I do it twice a day and something. | ||
| I was like, man, let me see. | ||
| So I went down. | ||
| I used to live with him. | ||
| So I went downstairs in my room and I meditated and I came back upstairs and I was like, he was sitting on the couch and I was like, I was like, Gerard, nigga. | ||
| I just had an awakening. | ||
| He was like, what happened? | ||
| And I was like, I don't know man, but the first message I got was, you can't save the world, but you can help. | ||
| He was like, okay. | ||
| I'm going to go back down to my room. | ||
| So when you do it, what's your process? | ||
| How exactly do you practice TM? I sit there, cross my legs, in through the nose, out the mouth, in through the nose, out the mouth, until you get into the state. | ||
| Dwight also, though, has the ability to completely clear his mind. | ||
| He's one of those people that it takes me anywhere from 20 minutes to an hour to fall asleep. | ||
| You know, like, even if tired, it's still like, alright, there's a moment. | ||
| Jamar could immediately, like, immediately, just like, alright, being awake is over? | ||
| Alright, and then just fall asleep, like, instantaneously. | ||
| He can clear his head really quickly and, like, focus on one thing. | ||
| You got a high level of, I don't give a fuck. | ||
| Yeah, it's a very high level of... | ||
| I think I'm numb, Drodd. | ||
| Yeah, no, you are, you are. | ||
| Congrats, bro. | ||
| So, you go in through the nose, out through the mouth, and what are you thinking when you're doing that? | ||
| Nothing. | ||
| Nothing? | ||
| Are you thinking about the breathing? | ||
| Well, I think about nothing and then if I have a task or something, like if I be like... | ||
| You could do affirmations. | ||
| You know, like, hey man, I want to be great on stage tonight. | ||
| Or I want to get this writing done. | ||
| Or I want to... | ||
| You know what I'm saying? | ||
| Or you could hype yourself up and shit like that. | ||
| Like... | ||
| Your intention. | ||
| Whatever intention that you want to do, you know what I'm saying? | ||
| You set that. | ||
| Hey, I want to, you know, whatever the fuck. | ||
| And then it'll be easier to complete that task. | ||
| For me, I have ADD. I'm bad at focusing on things, but that really helps me focus. | ||
| You have ADD, but you don't have a problem meditating. | ||
| Yeah, because it's the lazy... | ||
| I'm really good at being lazy, and it's kind of lazy to... | ||
| Meditating is kind of like... | ||
| It's a chill thing. | ||
| You like chill activities. | ||
| Do not move in. | ||
| Yeah, and just sit there and fucking zone out and shit. | ||
| If you like mushrooms and all that shit, this shit is perfect for you. | ||
| It's getting high off your own DMT. That's what it is. | ||
| It's just your own DMT, the spirit molecule, all that shit. | ||
| I don't know if it's that. | ||
| You're not tripping, right? | ||
| It is. | ||
| You ever do it, Ryan? | ||
| No. | ||
| I've gone through phases where I've tried meditation. | ||
| I shower for an hour and 15 minutes, so that's kind of where that is. | ||
| You kind of zen already, though. | ||
| Just kind of walk around and think. | ||
| Yeah, I kind of... | ||
| I don't know. | ||
| I've tried it, but it's not really my thing. | ||
| But you work out, though, and you know those endorphins? | ||
| You can just do that. | ||
| You can also do that by just sitting there and just breathing and focusing on the breath, and then all of a sudden your mind starts going into an altered state, and then you'll start... | ||
| Yeah, I meditate. | ||
| I just don't meditate every day. | ||
| But I definitely feel it. | ||
| I think exercise does that, especially cardio and especially yoga. | ||
| Something about yoga classes that just forces you into this state of mind where you're only concentrating on the movements that you're supposed to do. | ||
| So if you could clear your head and stay focused on the movements and not... | ||
| Delve into, you know, your bank account, or your fucking credit card debt, or what's wrong with your car, or what other bullshit you have bouncing around your head. | ||
| If you could just take the time to concentrate only on the yoga, it has this, like, cleansing effect. | ||
| Yeah, it really makes you be like, hey man, fuck that shit. | ||
| Yeah, fuck that shit. | ||
| Most things are not worth freaking out about. | ||
| Most. | ||
| The vast majority. | ||
| A good question I remember reading is just ask yourself, what problems do I have right now? | ||
| But genuinely, like, problems. | ||
| And the answer may not always be zero, but it's usually surprisingly small. | ||
| When you think about, like, the immediate, you know... | ||
| You know, the base level of Maslow's hierarchy. | ||
| Right. | ||
| You know, like, if that's taken care of, usually it's like, oh, I don't, you know, there are things that are ongoing things to figure out, but, like, things that you could define as, like, a problem. | ||
| And then just kind of Staying in that space of like, you know, control. | ||
| Like a real issue. | ||
| Like what's a real issue? | ||
| Well, where there's like immediacy, like, you know, and when there are real problems, you know, a lot of times you handle it well. | ||
| Like instinctually, the things like a lot of times people get calm and In, like, those intense situations, like, you know, like, they can handle, like, real problems. | ||
| It's the anticipation of problems and the anticipation of solutions that that's what drives you crazy. | ||
| That's a very good point. | ||
| Yeah, that's a very good point. | ||
| Yeah, a lot of times real problems, they also sort of enlighten you to the fact that most of the time your problems are bullshit. | ||
| You know, you break your leg, you go, oh, this is real. | ||
| Yeah, that's an immediate, you know. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| Yeah. | ||
| And so just staying in the space of like, you know, alright, you're in a control center. | ||
| You know what else that helps me is, like, because yoga's hard to do... | ||
| Doing things that are difficult to do make things easier. | ||
| Make other things easier. | ||
| Working out, hard workouts make other things easier. | ||
| Running hills, kickboxing, anything that's brutal. | ||
| It gives context to everything. | ||
| Growing up in the hood makes Hollywood interactions easier. | ||
| You know what I mean? | ||
| It gives context to everything else you're doing. | ||
| What is the struggle? | ||
| Yeah. | ||
| It's like, well, it's like, you know, by the time you get on stage, you're like, well, my body thought it was going to die this morning. | ||
| Yeah. | ||
| And it didn't. | ||
| Yeah. | ||
| So this is fine. | ||
| Yeah. | ||
| And now this tag doesn't work. | ||
| Do you guys know very many people who do jujitsu? | ||
| No, and by very many, I mean you. | ||
| Yeah, they're the most chill people ever, because they're getting choked all the time. | ||
| They're fighting for their life every day, so they're so mellow. | ||
| They used to train killers trying to break their arms. | ||
| If the experience is not that, then we're cool. | ||
| Then it's like, whatever, man. | ||
| I'm not worried about it that much. | ||
| Yeah, we, you know, the world's pretty soft right now. | ||
| It's easy to get upset about nonsense if nonsense is the only thing that you have that's a difficulty in your life. | ||
| Well, it's that and it's the reward for complaints. | ||
| It's like a culture that's where we are rewarded for publicly, you know. | ||
| Yeah. | ||
| For having a public complaint. | ||
| What you mean? | ||
| Well, rewarded in the sense of like, you know, you get, you can get attention for, you can get attention for like, but I'm just saying by publicly airing, you know, a grievance about a project and I'm speaking especially specifically about how we respond to content is just like, by publicly saying this, you can speak to your respective group and you have an immediate reward for it. | ||
| So it's like, you know, it's like, I don't even know if we're more sensitive. | ||
| We're just more outspoken about, you know, things. | ||
| Well, people are definitely more outraged. | ||
| They're looking to get outraged. | ||
| That's a really common thing now that just didn't exist a few decades ago. | ||
| But I don't even think it's outrage. | ||
| You know what I mean? | ||
| I really don't think it's outrage as much as it... | ||
| because outrage we've seen what outrage looks like at the when at the peak of like the Black Lives Matter movement was where people at a cause by people outraged but that's in the streets but Yeah, but that's what outrage is. | ||
| And I don't want to confuse that with, like... | ||
| Recreational outrage. | ||
| And it's really important to draw that distinction. | ||
| Again, people are vocal about things. | ||
| Some issues real. | ||
| A lot of things we start getting upset about. | ||
| We get upset about certain cultural appropriation things of the week because there's a sushi restaurant on a college campus. | ||
| You know what I mean? | ||
| We get caught up in those things and not focus on I don't know. | ||
| The thing that corporations are afraid of isn't outrage, it's trending. | ||
| You don't want to trend negatively for whatever period of time. | ||
| When people are upset with you and that you've done something genuinely wrong, They'll show it. | ||
| It will extend beyond that. | ||
|
unidentified
|
If it makes sense. | |
| If it makes sense, yeah. | ||
| Yeah, I think that a lot of what outrage is is like comedian trying out jokes. | ||
| You know how you try out jokes and 30% of them are just straight bullshit? | ||
| They just don't fucking work, man. | ||
| You try them, they stumble out, you gave it a shot, or you'll ad-lib something in the moment on stage, and even after you say it, you're like, what the fuck did I just say? | ||
| I think there's some of that that people are trying to... | ||
| Like I was reading this article the other day about some woman who was saying that yoga is supporting white supremacy. | ||
| Because it was the dumbest shit ever. | ||
| Some Indian lady. | ||
| She was saying the cultural appropriation of yoga by white people is supporting white supremacy. | ||
| And, you know, it's really funny. | ||
| What are we doing? | ||
| Exactly. | ||
| What the fuck are we doing? | ||
| But what she did is she tried a bad joke. | ||
| She's a professor. | ||
| Some bullshit college where they're just drowning in liberal arts. | ||
| And she just figured out a way to say something outrageous that she thought made sense in her own weird bubble. | ||
| But this got published in a newspaper. | ||
| And then the whole world went just collectively, what the fuck are you talking about? | ||
| But that's what it's like. | ||
| It's like you or I trying a bit... | ||
| Late night at the store, you just riff something, and it just goes into a corner and just gets stuck. | ||
| Like one of them Roomba vacuum cleaner things just bouncing off the wall. | ||
| Like, this is not working. | ||
| I gotta bail out of this. | ||
| No, it's funny because it is. | ||
| It's creative outrage. | ||
| She tried to make outrage where it didn't exist. | ||
| And sometimes it catches, right? | ||
| Like hoop earrings. | ||
| White girls can't wear hoop earrings anymore. | ||
| White girls are scared to wear hoop earrings. | ||
| Because they're getting called out for cultural appropriation by, which is hilarious, by Latina chicks. | ||
| Particularly Latina chicks are saying, and it's just all social justice warrior bullshit. | ||
| But what's really funny is, so I had to, because I'm an asshole, I had to Google it. | ||
| Well, who the fuck invented earrings? | ||
| The Sumerians. | ||
| The oldest version of hoop earrings is from 2500 BC, from Iraq. | ||
| So Iraqis are the only ones who really can claim cultural appropriation on people wearing hoop earrings. | ||
| Not Mexicans. | ||
| So Mexicans, settle down. | ||
| Leave those white girls alone because you stole it too. | ||
| I thought that was black girl shit. | ||
| It's everybody's shit. | ||
| It's like who invented pants? | ||
| You're culturally appropriating. | ||
| You're wearing pants. | ||
| Who invented pants? | ||
| You're on a Korean phone bitching about people doing yoga. | ||
| The fuck are you talking about? | ||
| Man, the internet goes deep. | ||
| It's crazy! | ||
| People are losing their mind. | ||
| They're looking for things to get outraged at, and so they're trying jokes. | ||
| They're taking swings. | ||
| You know, they're trying. | ||
| They're throwing pitches out there. | ||
| You know, they're spitballing. | ||
| Well, I mean, and eventually, if it's like, if you... | ||
| You're gonna run out of ways to approach it. | ||
| You know what I mean? | ||
| Like, you're running out of places to stab the thing. | ||
| Well, they try some that don't stick, or some stick for like a couple days. | ||
| Like, you remember bossy? | ||
| They were trying to say you can't say bossy? | ||
| No, why, why? | ||
| Well, you can't call girls bossy. | ||
| It's sexist. | ||
| Girls bossy? | ||
| Don't call them bossy. | ||
|
unidentified
|
It's sexy. | |
| There was a thing where they were trying to stop the use of the word, the phrase bossy. | ||
| They were saying bossy sexist. | ||
| Can I ask a question? | ||
| When did cunt become a bad word? | ||
| It depends on whose house. | ||
| If you're in England, man, they don't give a fuck. | ||
| I don't think I heard it used until... | ||
| I didn't grow up around it. | ||
| I didn't hear people saying it, so I don't think I heard it used until... | ||
| I mean, I was probably... | ||
| Out-team. | ||
| That sounded like a Hollywood bad word. | ||
| Yeah, it sounded like a Hollywood bad word, yeah. | ||
| Yeah. | ||
| No, it's a word that... | ||
| When you used it, you fucking really were angry. | ||
| Yeah. | ||
| Yeah. | ||
| It's just... | ||
| I don't know where it came from. | ||
| It's like the new bitch. | ||
| It's not new. | ||
| I mean, it was around a long... | ||
| It's been around since I was in high school. | ||
| But you called someone a cunt in high school, and you were ready to fight her brother. | ||
| Oh, wow. | ||
| Shit would get deep. | ||
| You couldn't say cunt. | ||
| You could say bitch. | ||
| You're a fucking bitch. | ||
| Fuck you, you're a loser. | ||
| You know, like, you're a cunt. | ||
| Oh! | ||
| They'd be like, what the fuck did you just say? | ||
| Yeah, I didn't hear it a lot at all. | ||
| And I could never imagine myself casually calling somebody a cunt. | ||
| But if you lived in England, you could. | ||
| Especially if you lived in Australia, they'd call someone a good cunt. | ||
| Hey, he's a good cunt. | ||
| Oh, so it's a nice word. | ||
| Yeah, he's a good dude. | ||
| He's a good cunt. | ||
| My friend Israel Adesanya, a stylebender, he wears a shirt that says good cunt. | ||
| He just wanders around. | ||
| He's from New Zealand. | ||
| They think it's funny. | ||
| People get upset about it? | ||
| He's a savage. | ||
| You better be careful. | ||
| Get upset with him. | ||
| He's a UFC fighter. | ||
| Oh, okay. | ||
| Alright. | ||
| He's from another country. | ||
| It means a different thing in New Zealand. | ||
| If you say cunt in New Zealand, it's... | ||
| It's like, I mean, what's the equivalent? | ||
| What would be equivalent of cunt the way they say it? | ||
| Good dude. | ||
| He's a good fucker. | ||
| He's a cool motherfucker. | ||
| He's a good cunt. | ||
| Were you asking because... | ||
| There he is. | ||
| They're a stylebender. | ||
| He wears that everywhere. | ||
| No one says shit. | ||
| Yeah, well, yeah. | ||
| But they sell those shirts. | ||
| Good cunt. | ||
| I don't know. | ||
| Why were you asking, Jim? | ||
| Fuck censorship. | ||
| Hashtag fuck censorship. | ||
| Hashtag make cunt great again. | ||
| I'm just going off of it. | ||
| Well, I was going to say, is it that people's reaction to it just kind of bothers you? | ||
| Yeah, I'm like, it's a terrible bad word. | ||
| Like, that word sucks. | ||
| It's no motherfucker. | ||
| You don't like it? | ||
| You don't think it's more fun to say, you know, rhythmically. | ||
| It's just trash. | ||
| It's like, hmm. | ||
| But I was going off of what we were talking about earlier. | ||
| Interesting. | ||
| Shit, trash. | ||
| I don't know. | ||
| If you went to Australia, though, they would say it so many times, it would just slip in. | ||
| It just gets normal. | ||
| Yeah, I guess it is just, it's this one syllable, like... | ||
| Cunt. | ||
| It means dude over there sometimes. | ||
| Like, and this fucking cunt, he goes over there, and they'll start talking about it like, this fucking dude, they'll literally say it in the same way you would say this fucking guy. | ||
| Yeah. | ||
| It's just a different thing. | ||
| I mean, look, they're all just sounds that convey expression. | ||
| The real problem is when you demonize one. | ||
| You can't say the C word anymore. | ||
| Don't say the C word. | ||
| Well, yeah, I mean, again, it's just like, I just want us to have, like, adult arguments. | ||
| Yeah. | ||
|
unidentified
|
Right. | |
| Well, it's hard to have adult arguments if you have forbidden words. | ||
| Well, yeah. | ||
| Well, because that's like the shit that your sister got mad at you about growing up. | ||
| Right. | ||
| You called me, you know what I mean? | ||
| Right, right, right. | ||
| It is kind of like, that's the thing. | ||
| I mean, you were saying intention earlier, but I mean, it's always like intention. | ||
| Like, what do you mean by, I get in like these types of, my mom is Southern Christian woman in any curse word that I say. | ||
| Any curse word. | ||
| She doesn't like it. | ||
| And I curse her on her all the time. | ||
| I always do just because we get into the argument. | ||
| While simultaneously respecting her views and beliefs, it's also like, you know, these cuss words redid your fucking kitchen, lady. | ||
| No, but I just wanted to like... | ||
| No, I love watching her react to it. | ||
| It's fun. | ||
| Yeah, yeah. | ||
| Because it's just like, oh, this, through the filter of you, really... | ||
| See, I grew up non-suppressed. | ||
| My parents were hippies, and they didn't give a shit what we said. | ||
| I couldn't really say it at school, but there was no language restrictions in my house. | ||
| I'd be allowed to say anything. | ||
| That's great. | ||
| It was weird. | ||
| That's great. | ||
| My friends would come over to the house. | ||
| Did you just say fuck in front of your mom? | ||
| I'm like, yeah, fuck it. | ||
| What? | ||
| Did you go around people that used to just talk shit back to their mom? | ||
| Oh, I never did that. | ||
| No, it was fun to watch. | ||
| I had a friend. | ||
| My friend Alex. | ||
| It's still one of my favorite moments of life. | ||
| I came to his house after school and his mom's name is Patricia and she was just like, Al, take out the garbage. | ||
| He was like, go to hell, Pat. | ||
| That's his response. | ||
| He called his mom Pat? | ||
| Yeah, he called his mom Pat. | ||
| Whoa! | ||
| My mind was blown. | ||
| He told his mom to go to hell. | ||
|
unidentified
|
He called him Pat. | |
| It was amazing. | ||
| And she just argued back. | ||
| Wow. | ||
| Single mom or was the dad around? | ||
| He knew that, but he wasn't around. | ||
| He lived separately. | ||
| But it was always so free and amazing. | ||
| It was amazing. | ||
| That's a struggle to who's the man. | ||
| When did you start cussing around your mom? | ||
| Tuesday. | ||
| Yeah, it's been a few hours. | ||
| No, I probably started... | ||
| I mean, I moved out when I was a teenager, so I probably... | ||
| I mean, she's heard me say it kind of throughout, but just not stopping it in conversation. | ||
| It's been years. | ||
| I mean, I just always just kind of flow. | ||
| I'm low-key still afraid to cuss in front of my mom. | ||
| Yeah, no, I do. | ||
| I cuss in front of my mom. | ||
| I cuss in front of my niece and nephew. | ||
| How old are they? | ||
| I have an 11-year-old niece, a 9-year-old nephew, a couple 2-year-old twins, a 3-year-old niece. | ||
| And I am myself and speak exactly how I normally speak. | ||
| You're an adult longer than you're a kid. | ||
| And so it's just like, why am I going to pretend the world sounds different? | ||
| Look, I'm with you, but... | ||
| And for like... | ||
| Whose kids are they? | ||
| Your brothers or your sisters? | ||
| Yeah, my brother. | ||
| Your brother and sister-in-law. | ||
| And everybody cool with that, or do they get upset? | ||
| Uh... | ||
| They... | ||
| I mean, they go like, oh, come on. | ||
| Sometimes. | ||
| But it's also, they get it. | ||
| My brother, they're very understanding. | ||
| While they get it. | ||
| They get that it's just like... | ||
| It's how people talk in the real world. | ||
| Yeah, yeah. | ||
| I mean, I think that's important. | ||
| Again, you don't want to... | ||
| That's the thing, man. | ||
| That's how you know you fucked up. | ||
| If you're at a job where not only can you not swear, but you can't swear off job with the people you work with, or they'll tell. | ||
| Yeah, you can get in trouble. | ||
| Yeah. | ||
| If there's certain jobs where people have where they got off work and they went out with some co-workers and they told a dirty joke or started talking shit, that'll get back to human resources and they'll be fired. | ||
| Bosses are now following their employees online and shit. | ||
| Do you see that girl that got fired from NASA? Fucking hilarious. | ||
| She got fired from NASA yesterday. | ||
| She's like, holy fuck, I got a job at NASA. And some guy tweeted her, he said, language. | ||
| And she said, suck my dick and balls, I work at NASA. And he said, yeah, and I am one of the people that oversees something at NASA. And then that was it. | ||
| She's about to be an astronaut. | ||
| Well, she was about to be an intern working at NASA. Look, here it is. | ||
| Everyone shut the fuck up. | ||
| I got accepted for a NASA internship. | ||
| And look, he writes language. | ||
| She says, suck my dick and balls. | ||
| I'm working at NASA. And he says, I'm on the National Space Council that oversees NASA. Oh, that's hilarious. | ||
| Oh, how dare. | ||
| How dare you, Homer Hickman. | ||
| Come on, that's funny. | ||
| First of all, that shit is funny. | ||
| Suck my dick and balls, and it's a girl. | ||
| Second of all, we didn't even go to the fucking moon. | ||
| You don't think we went to the moon. | ||
| I saw you talking about that. | ||
| Yeah, no, I don't. | ||
| Look, I could be convinced. | ||
| I was convinced that we didn't for a long time. | ||
| Now I'm convinced, I have no fucking idea. | ||
| Yeah, I don't really. | ||
|
unidentified
|
It's... | |
| I... Don't think we went to the moon just off of base. | ||
| It's not rooted in science. | ||
| How much have you really paid attention to it? | ||
| Because I went down the rabbit hole for many, many years. | ||
| I go off kind of like... | ||
| It's always like the social kind of where there's smoke, there's fire type clues of just like... | ||
| Us being in a race and no country's coming second. | ||
| Other space programs not catching up to 1969. 1969, 1972. American technology. | ||
| You know what I mean? | ||
| Every time we went was under the Nixon administration. | ||
| That's a good one. | ||
| These types of little things that just make you go, eh, no problem. | ||
| Not like a flat earther, but it's just like... | ||
| Did you ever watch the press conference? | ||
| You ever watch the press conference when they return from the moon? | ||
| Uh, no. | ||
| Wait. | ||
| What's the clue? | ||
| What's the clue in there? | ||
| Or what's the suspicious thing? | ||
| They look super depressed. | ||
| They look super deceptive. | ||
| They look fidgety. | ||
| And they're talking weird and they're saying shit that they refute later. | ||
| One of the things they said, Michael Collins, who's actually never... | ||
| He's supposed to be in... | ||
| He never landed on the surface of the moon. | ||
| Buzz Aldrin and Neil Armstrong did. | ||
| He stayed up in the orbiter. | ||
| And they were asking about stars. | ||
| And he said, I don't recall seeing any stars. | ||
| And then years later he wrote in his book about how magnificent the stars looked. | ||
| There's a lot of that shit. | ||
| But the press conference itself... | ||
| I didn't see that. | ||
| And this doesn't mean anything. | ||
| I'm not a cop. | ||
| But if I was a cop and I was interviewing them, I'd be like, these motherfuckers are guilty. | ||
| Something is wrong here. | ||
| They seem like guilty people. | ||
| And you could say, hey, man, they were probably psychologically distressed. | ||
| They were probably dealing with the pressure of having come back from the moon and all this fame that they had never experienced their whole life. | ||
| They're astronauts. | ||
| They're scientists. | ||
| And now all of a sudden they're standing in front of all these people and everyone's asking them questions and they feel super nervous. | ||
| It's like, nah, these niggas was lying. | ||
| Let me tell you, everybody... | ||
| My favorite thing is when you... | ||
| Because I'll say it very casually. | ||
| And people become like, you know, patriots and rocket scientists and want to tell you how we went. | ||
| I'm like, you don't know either. | ||
| Well, all this we shit is bullshit. | ||
| Because it wasn't you and it wasn't me. | ||
| So let's stop with that. | ||
| Also... | ||
| We probably lied about it, and we lie better than any other country on Earth, and I'm proud of that. | ||
| There's a lot of weird shit with the video footage. | ||
| There's a lot of footage where it looks like they're on wires, or they're dangling from wires, and they bounce back up from their feet in this weird way. | ||
| It looks like they're being yanked up from the ground. | ||
| There's a video where it looks like they're on trampolines. | ||
| If you Google astronauts on trampolines... | ||
| No, I'm not even kidding. | ||
| It just looks like they're... | ||
| I actually put it up. | ||
| It's a video that I found. | ||
| Google astronauts on trampolines. | ||
| There's a video on YouTube. | ||
| And you're watching them bounce around. | ||
| You're like, wait a minute, wait a minute, wait a minute. | ||
| You guys are on the fucking moon and you're hiding behind the lunar module. | ||
| Like, you can't see their feet. | ||
| You can't see how they're doing this. | ||
| But it looks like either they're bouncing on something or they're being yanked up in the air. | ||
| Or it's one-sixth gravity and it just has a weird effect on people. | ||
| But look at this. | ||
| Watch this. | ||
|
unidentified
|
Like, how strange is this? | |
| See, look, he just lands. | ||
| But doesn't that... | ||
| I mean, even the way he's moving, it's like he's being dangled. | ||
| It's very strange. | ||
| You see him bouncing around. | ||
| But that also could just be... | ||
| All the stuff we did at... | ||
| We were, like, playing golf and bouncing around. | ||
| Like, the moon landing set was built by the people who made Discovery Zone. | ||
| But it also could be... | ||
| He just, like, slides. | ||
| Like, he fell. | ||
| Boom. | ||
| Look, he's... | ||
| He just jumped up and fell. | ||
| That's so strange. | ||
| But it also could be, this is just what your body does at one-sixth Earth's gravity. | ||
| You know? | ||
| There's a whole bunch of... | ||
| Yeah, I don't know. | ||
| You know what? | ||
| I'm excited to see someone else going back to the moon, and then if it matches... | ||
| This is from a movie. | ||
| I forget what the name of the movie was. | ||
| They show some special effects they use in movies. | ||
| But watch some of the weird shit. | ||
| Go a little bit further ahead of this. | ||
| Yeah, right there. | ||
| There's some of the weird stuff where you see these guys fall down, and then it looks like they just get yanked back up by wires. | ||
| It's very strange. | ||
| Huh. | ||
| But the press conference is a strange issue. | ||
| Yeah, it's the social aspect of it, because I won't begin to know how the flag is supposed to look and the waving and the shadows and the thing that a lot of people argue about. | ||
| It's just the political. | ||
| I kind of think I know when the government's lying about something. | ||
| You know what I mean? | ||
| The history is there. | ||
| Watch this. | ||
| Watch that guy stand back up. | ||
| Watch this. | ||
| Watch how he gets up. | ||
| Like he's gotten yanked up. | ||
| There's a bunch of those. | ||
| There's a bunch of those that makes it look like they're on wires and they're being pulled back up to their feet. | ||
| It's very strange. | ||
| But, again... | ||
| Have you ever been in 1-6 Earth Gravity? | ||
| I haven't. | ||
| I don't know what that... | ||
| Maybe it just looks fake because when you're in 1-6 Earth Gravity... | ||
| That's just how movement looks. | ||
| Do you think we've never, ever been live up until this day? | ||
| My conspiracy... | ||
| belief is specific to thinking that a man has walked around on the surface of the moon. | ||
| Specific to that. | ||
| Crashing, you know, lunar, whatever. | ||
| That's all 100% legit. | ||
| Yeah, of course. | ||
| It's specifically man moving. | ||
| Did he get out and go like this? | ||
| Yeah, it's specifically that. | ||
| You don't think anybody's ever done this? | ||
| I don't think so, no. | ||
| In life? | ||
| Yeah, I don't think. | ||
| I mean, we're the only country that would have. | ||
| See if you can find the press conference, some weird clips from the press conference. | ||
| Because the press conference will trip you out. | ||
| And see just like other... | ||
| You know, countries who have the means to do it, like, their intention about going. | ||
| Yeah, play some of this. | ||
| Play some of this and go big screen. | ||
| Look how sad these guys look. | ||
| It's so weird. | ||
| Watch this. | ||
| It was our pleasure to have participated in one great adventure. | ||
| It's an adventure that took place not just in the month of July, But rather one that took place in the last decade. | ||
| We all here and the people listening in today had the opportunity to share that adventure over its developing and unfolding in the past months and years. | ||
| It's our privilege today to share with you Some of the details of that final month of July that was certainly the highlight for the three of us It | ||
| looks so fake. | ||
| But again, that could be just extreme nerves. | ||
| It could be people that don't know how to handle being in front of press. | ||
| It could be introverts that are forced on the camera. | ||
| It could be a lot of issues. | ||
| If you went to the moon and then you came back and you were sitting at a press conference, what would your actions be? | ||
| Would you be like, yeah! | ||
| Or would you be more like certain? | ||
| It would look like a Lakers press conference after they won. | ||
| I'd be like, lean back, I had my hat on. | ||
| With some champagne? | ||
| Yeah, just pointing to reporters. | ||
| What's up? | ||
| And why didn't they bring back like a rock or something? | ||
| They did. | ||
| Sure, they brought it back a lot. | ||
| They brought back many rocks, but some of them turned out to be petrified wood. | ||
| They gave one of them to the prime minister. | ||
| Wait, that's a real thing? | ||
| That's a thing? | ||
| Yeah, they gave a moon rock in 69 or 70 to... | ||
| There's the prime minister of Holland, whoever it was, whoever the person runs Holland. | ||
| And years later, they analyzed it, and it was petrified wood. | ||
| It was not a moon rock. | ||
|
unidentified
|
Wow. | |
| In fairness, I do get the, like... | ||
| By the time we got to Holland, the gift basket is going to change. | ||
| We're not giving away the real moon rocks to Holland. | ||
| England gets a real moon rock. | ||
| France gets a moon rock. | ||
| They get a moon rock. | ||
| They gave us a statue. | ||
| Just go find some rocks. | ||
| What do you think about this Mars mission? | ||
| Look, that's all real. | ||
| Look, rovers are real. | ||
| The technology is proven and legitimate, and I don't think you could ever fake anything today like you could fake things in 1969. I think, if anything, for sure what they did is, it's been proven that they've faked some footage, for sure, some photographs. | ||
| There's a photo of Michael Collins. | ||
| You recorded in a world where even the importance of syndication was known. | ||
| I think they also lost the telemetry data, which is like the binary hard ones and zeros that show the distance between the Earth and lunar module at every step of the trip. | ||
| They lost it? | ||
| Yeah, they lost that shit. | ||
| But, you know, then again, you gotta realize, like, people die, and people are responsible for storage, and no one's paying attention, and there's funding, and their funding gets pulled, and there's plausible reasons for some of the fuck-ups. | ||
|
unidentified
|
I don't know. | |
| I mean, there are episodes of Blossom being guarded in a vault somewhere in Burbank. | ||
| Episodes of Blossom, bro. | ||
| Right, but you can get fucking money off of Blossom. | ||
| You can't make any money off of these goddamn moon landing clips. | ||
| Look, there's some people that absolutely are convinced that we didn't go, and I used to be one of them. | ||
| And I would love if they proved that it was fake. | ||
| It would make me more happy than anything else in the world. | ||
| You know what? | ||
| Oh, it would make me very happy, too. | ||
| The thing that keeps me holding on to maybe we went is I toured NASA once, and they were nice. | ||
| Wow, that's probably it then. | ||
| I was like, yeah, they were nice. | ||
| But you gotta realize those aren't the same people. | ||
| You know, when people say, like, NASA lies. | ||
| Okay, but those were NASA from 1969. These are different humans. | ||
| You know, we're talking about 48 fucking years ago. | ||
| These are completely different human beings. | ||
| They stand on the backs of liars. | ||
| Yeah. | ||
| Well, stop inviting us to NASA so we can let us ask questions if you're gonna fucking lie. | ||
|
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|
What? | |
| That's what you say about the tour. | ||
| I'm like, stop inviting us to NASA and allowing us to ask questions if you're gonna lie. | ||
| I don't think they think they're lying. | ||
| I don't think they're involved. | ||
| If there was a conspiracy, like say if they did fake the moon landing, no one today who's alive was a part of that. | ||
| Except Buzz Aldrin. | ||
| He's the only one still alive. | ||
| Did he punch the dude in the face? | ||
| Yeah, he punched some guy. | ||
| Bart Sebril. | ||
| Bart Sebril made a movie. | ||
| I had dinner with him. | ||
| Oh, with the guy he punched? | ||
| Yeah, dinner with him many years ago. | ||
| And back when I was a full-blown moon non-believer. | ||
| And, you know, I contacted him, got a hold of him, took him to dinner. | ||
| I love that. | ||
| I like that you use your celebrity for good. | ||
| I don't know if it's for good, but it was for my own curiosity. | ||
| Just like these real specific pockets of people that you just want to talk to. | ||
| Well, I wanted to sniff them out. | ||
| You could see someone doing interviews. | ||
| You could see someone in an edited format, and you kind of get a sense of who they are. | ||
| You don't really get a sense of who they are until you actually talk to them. | ||
| You and him sharing a plate of pasta. | ||
| Did he give you anything that gives context to that moment? | ||
|
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He was convinced. | |
| He was absolutely convinced that it was a hoax. | ||
| What he was convinced was that there was a space race between us and Russia and that it was... | ||
| It was essentially a militarized space race and what they were trying to do is prove military superiority. | ||
| If you had the rockets that could get you to the moon, your technology was superior. | ||
| And the way he framed it is like the United States had control over what was aired. | ||
| They put it on television and no one foresaw the future. | ||
| No one foresaw that one day you would be looking at these clips on YouTube and analyzing them and putting them in slow-mo. | ||
| They didn't even think that that was going to be a thing. | ||
|
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They thought they were going to show it on television and that would be it. | |
| Yeah, and they were going to show it in black and white and they were going to have it 3D projected so that you would project it on a screen and then people who were filming it would have to film the screen. | ||
| They didn't even get a live feed. | ||
| When it was airing on television, it was airing people filming the screen that it was being projected on. | ||
| What? | ||
| Yeah, they broke it down so it looked more and more grainy and fake. | ||
| If you were trying to do something that was not done to the technology of the day that would possibly obscure some fraud, they did it all those ways. | ||
| There's so many things that they did In terms of conspiracies, it's a conspiracy theorist's wet dream. | ||
| Because if it is a fake, it's the biggest fake of all time. | ||
| And there's so many things that are squirrely about it. | ||
| There's so many things. | ||
| Doesn't mean it's fake. | ||
| Yeah. | ||
| But there's so many things. | ||
| Has anybody been to the moon? | ||
|
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No. | |
| No one's been to the moon since 1969 to 1972. Those are the only trips. | ||
| They did seven attempts, six of them successful. | ||
| Apollo 13 was the one that wasn't successful. | ||
| That was that big movie. | ||
| They landed on the moon and then came back seven times. | ||
| 262,000 miles away. | ||
| Now, here's where it gets crazy, or plus or minus, depending on where the moon's at. | ||
| That's not that far. | ||
| What's crazy is... | ||
| 262,000 miles is pretty far. | ||
| What's crazy is... | ||
| No, no, no, my bad. | ||
| I'm thinking about, oh, that's three zeros. | ||
| Because I was like, what map are you seeing? | ||
| What's interesting is that no other human space mission, where a human's been a part of it since then, has ever gone more than 400 miles from the Earth's surface. | ||
| Is that where the... | ||
| Space station, all the space shuttle missions, everything. | ||
| I thought it was further than 400 miles. | ||
| So the guy you had dinner with did what for Buzz Aldrin to sock him? | ||
| He told Buzz Aldrin he was a liar. | ||
| He said, you're a liar and a crook, and Buzz went, wah! | ||
| Bitch! | ||
| Yeah. | ||
| Popped him right in the jaw. | ||
| Did anything happen after? | ||
| Does anyone contact him after that? | ||
| I mean, I'd imagine... | ||
| I don't know. | ||
| I don't know what he's doing these days. | ||
| Outside of the PR of it all. | ||
| I think he's an Uber driver now. | ||
| I mean, immediately after the punch... | ||
|
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Buzz off? | |
| No, no, no. | ||
| The guy, Bart Sebrel. | ||
| But I mean, immediately after the punch, is there any type of, like... | ||
| I think he tried to press charges and the cops told him to go fuck off. | ||
| I think it was one of those things. | ||
| It wasn't the best punch either. | ||
| I mean, if you go to the hospital from that punch. | ||
| Buzz was like in his 80s at the time. | ||
| Damn. | ||
| But he harassed a lot of those guys. | ||
| He harassed a lot of the astronauts and tried to get them to swear on Bibles. | ||
| He'd bring a Bible and say, swear on this Bible that you want on the moon. | ||
| Yeah, I mean, there's a lot of weird shit. | ||
| There's another one that's a 25th anniversary of the Apollo Moon missions. | ||
| He gives a speech at the White House in front of this group of honor roll students, like some of the best students in the country. | ||
| And Neil Armstrong gives this real weird fucking speech. | ||
| It's like, we have here amongst us... | ||
| You want to hear it? | ||
| Find Neil Armstrong's cryptic speech. | ||
| What makes it weird... | ||
| When you'll see it, you'll get it. | ||
| It doesn't mean we didn't go to the moon. | ||
| It doesn't mean that, but it's fucking weird. | ||
| It's really funny because I presented it as like, yeah, I don't think we went, and I didn't even have half of what you're giving me. | ||
| Oh, I'll give you way more. | ||
| Watch this. | ||
| You're going to watch this. | ||
|
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This is from A Funny Thing Happened on the Way to the Moon, Bart Sebril's movie. | |
| But this is a real thing that happened. | ||
|
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|
Today we have with us a group of students among America's best. | |
| To you we say we've only completed a beginning. | ||
| We leave you much that is undone. | ||
| There are great ideas undiscovered. | ||
| Breakthroughs available to those who can remove one of truth's protective layers. | ||
| What? | ||
|
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|
He is. | |
| The fuck does that mean? | ||
| A little unfair to it is when you add that fucking Wonka music to anything, everything sounds incredibly creepy. | ||
| Yes, true. | ||
| But it does sound like he's trying to tell you something. | ||
| I mean, you can't get more cryptic. | ||
| And you also can't get more exciting if you're a conspiracy theorist. | ||
| It almost kind of sounds like he's like... | ||
| And to the child who actually figures out how to go to the fucking moon. | ||
| There are great breakthroughs for those who can remove one of truth's protective layers? | ||
| What would you rather? | ||
| The moon confession or the R. Kelly confession? | ||
| If you had to pick one. | ||
| R. Kelly made a song. | ||
| It's your song. | ||
|
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I did it. | |
| I need that moon confession, bro. | ||
| I need that moon confession. | ||
| The R. Kelly... | ||
| I don't need that confession. | ||
| I'm good. | ||
| I get it. | ||
| That's up to the law now. | ||
| I think the law is going to have a piece of that. | ||
| R. Kelly seems to be pretty Teflon, but the moon confession would be fascinating. | ||
| I would be excited. | ||
| Or like a moon... | ||
| I don't know. | ||
| I guess it's not on them to prove that they went. | ||
| Just some type of... | ||
| Why lie? | ||
| Well, 1969. It's a different world. | ||
| Nixon's president. | ||
| I don't know if they did lie. | ||
| I don't know. | ||
| I used to think I knew. | ||
| I do not think I know. | ||
| I mean, it's foolish. | ||
| I don't know jack shit about astrophysics. | ||
| But I know if there was a lie, you know, if there's any president, we would guess would be down. | ||
| It'd be Trump. | ||
| He'd tell us about it. | ||
| Well, no, I'm saying, like, I'm saying, like, Nixon, just like, it is a perfect storm of, like, the time. | ||
|
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|
Oh, yeah. | |
| Oh, yeah. | ||
| That's Nixon. | ||
| Yeah. | ||
| Oh, he's the most deceptive president of all time, except the current one. | ||
| It's very interesting. | ||
| I've shut down a lot of barbecues. | ||
|
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Now you have more information. | |
| And by the way, this is a fraction of the shit. | ||
| Dude, I did research for years. | ||
| I debated a scientist on Penn Jillette's radio show about it. | ||
| How'd it go? | ||
| Pretty good for me. | ||
| Even though I don't even agree with some of the shit that I said back then. | ||
| Where does that argument end on just to agree to disagree? | ||
| It was a time constraint. | ||
| I would do it far differently now. | ||
| I think far differently now that I did that. | ||
| I would not take this I know we didn't do it approach. | ||
| Because I don't know we didn't do it. | ||
| Yeah, no, and that's the thing. | ||
| I very casually go... | ||
| Yeah, probably not. | ||
| Yeah. | ||
| But it's just the things that don't add up to me don't add up in a way that just makes me go, yeah. | ||
| Do you know about the Van Allen radiation belts? | ||
| You know about all that? | ||
| Not enough to, like... | ||
| There's a belt of radiation, like a donut-shaped belt of radiation. | ||
| From just years of... | ||
| No, no, no. | ||
| It just naturally surrounds the Earth. | ||
| Oh, you know what I'm thinking about? | ||
| I'm thinking about the... | ||
| Never mind. | ||
| I'm thinking about the belt from years of, like, satellites and stuff. | ||
| Oh, yeah, yeah. | ||
| There's that shit, too. | ||
| But there wasn't much of that in 1969. What about it? | ||
| The Van Allen radiation belt is an intense band of radiation for miles that surrounds the Earth that you would have to go through. | ||
| To get to the moon. | ||
| So apparently, though, there's a hole that you could go through in the top where the radiation belt isn't there. | ||
| But the idea is that there was no shielding to protect them from radiation. | ||
| They just were in this aluminum tin can. | ||
| You ever touch a lunar module? | ||
| There was a science exhibit I went to once that had a replica of the lunar module, and you could put your hands on it. | ||
| And it's like, whoa, this thing is made out of Coke cans. | ||
| It's so nothing. | ||
| I want to show you. | ||
| It's so weird looking. | ||
| There's also like photographs that are fucking wonky, lights that go at two different angles. | ||
| And they say, well, that's possible due to, you know, uneven terrain and, you know, things reflecting off of things, all these different variables. | ||
| Which is also true. | ||
| I really enjoy just like playing around in the... | ||
| Where is this? | ||
| It's in Houston. | ||
| Oh, wow. | ||
| Is that a space shuttle? | ||
| Yeah, it's the shuttle. | ||
| You see, I have a... | ||
| You've seen these. | ||
| You're another dude that walks around with a phone with no case on. | ||
| Yeah, this is me on the red phone. | ||
| You don't put a case on your phone, dude. | ||
| No, Steve Jobs died so that we could feel its sleekness. | ||
| You're a risk taker. | ||
| I like the feel of the phone. | ||
| It's good. | ||
| A lot of people do. | ||
| Neil deGrasse Tyson was sitting in the very seat 24 hours ago, said the exact same thing. | ||
| Yeah. | ||
| He has his with no case on either. | ||
|
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I was like, ooh. | |
| If he could only be here now. | ||
| And he don't drop it. | ||
| Oh, he would go crazy on us. | ||
| He's one of the reasons why I dropped it. | ||
| Talking to him, I'm like, eh, it doesn't really make sense. | ||
| He thinks we went? | ||
| Yeah. | ||
| Well, he's dedicated his whole life to the idea of it. | ||
| Well, you know what also... | ||
| He hasn't. | ||
| He's dedicated his whole life to science. | ||
| No, but I'm just saying, that's part of it. | ||
| It's part of the kid growing up. | ||
| It is, but he's not an indulger in conspiracy theories. | ||
| He's got too much other shit to think about that's real. | ||
| He's thinking about actual real science. | ||
| He doesn't have time for that nonsense, but he will illuminate you on why he thinks it's stupid. | ||
| And it would be an incredibly difficult task to fake that. | ||
| But it wouldn't be as difficult in 1969 as it would be in 2018. If you try to do that in 2018, basically impossible. | ||
| I mean, America, I mean, the Tuskegee experiment existed. | ||
| You know what I mean? | ||
| What year was that? | ||
| Was that the 60s? | ||
| It went on for, what, 20 years? | ||
| It was like a... | ||
| I don't know the exact... | ||
| But it was like 20 years of history where this is happening and so many things can just kind of happen under the surface of... | ||
| Did they give people syphilis or did they pee? | ||
| Yeah. | ||
| What's that? | ||
| They were giving black men syphilis. | ||
| It just kind of like... | ||
| I don't even know what the research was exactly, if it's monitoring its effects or... | ||
| I think that was exactly what it was. | ||
| Yeah, and it was just... | ||
| Yeah, for like 20 years at the Tuskegee Hospital. | ||
| There are real conspiracies. | ||
| Unquestionably, undeniably real conspiracies. | ||
| Like Gulf of Tonkin got us into the Vietnam War. | ||
| They pretended that a ship got attacked by North Korea or by North Vietnam. | ||
| Was it North Vietnam? | ||
| Whatever it was. | ||
| By Vietnam in the South Pacific and this motivated everybody to get into war with Vietnam. | ||
| Never happened. | ||
| It's fake. | ||
| Made it up. | ||
| Operation Northwoods, 1962, signed by the Joint Chiefs of Staff, vetoed by President Kennedy. | ||
| It was a signed order where they were going to plan out fake attacks on America. | ||
| They were going to launch a drone jetliner and blow it up in the air, blame it on Cuba. | ||
| They were going to arm Cuban friendlies and have them attack Guantanamo Bay. | ||
| They're going to pay them, arm them to attack Guantanamo Bay. | ||
| And then it would give us the motivation to go to war with Cuba. | ||
| This was all signed by the Joint Chiefs of Staff. | ||
| They're going to sacrifice American lives. | ||
| They were going to kill Americans. | ||
| They were going to have people attack Americans. | ||
| And they were going to blame it on the Cubans. | ||
| And they were orchestrating it all to get people motivated for a war with Cuba. | ||
| And President Kennedy came along and said, what in the fuck are you talking about? | ||
| And he vetoed it, stopped it. | ||
| And a year later, he was dead. | ||
|
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|
Mm, mm, mm. | |
| This is one of the things that he did. | ||
|
unidentified
|
Oh, man. | |
| One of the things that he did that lead many people to believe that there was a conspiracy that, you know, he was murdered. | ||
| That's a good one, too. | ||
| The Lee Harvey Oswald case is a fascinating one. | ||
| Lee Harvey's murder is the shadiest-looking shit you've ever seen before. | ||
| Jack Ruby runs his hell by the cops. | ||
| It was like a motion picture of, like, just with a director, like a B-movie director. | ||
| Yeah. | ||
| Yeah, it really was. | ||
| What happened with Lee Harvey Oswald? | ||
| Lee Harvey Oswald is captured by the cops. | ||
| He says, I'm a patsy. | ||
| I didn't do anything. | ||
| And they're walking him. | ||
| They're holding on to him. | ||
| By the way, he's behaving like a guy who got framed. | ||
| He's not behaving like a guy who just shot the president. | ||
| And they're walking with him. | ||
| This is after he said he was a patsy. | ||
| They're walking with him through the courtyard. | ||
| And Jack Ruby, who was a mob guy, walks right up to him and shoots him in front of everybody. | ||
| Jack Ruby, who is a nightclub owner, who is deep into the mob. | ||
| Look at the shot! | ||
| Yeah, watch this. | ||
| He's walking. | ||
| Look how they have him, too. | ||
| Look at the shot! | ||
| Bang! | ||
| Just walks up to him. | ||
| They grab him. | ||
| Hey, you caught it out there, mister. | ||
| It looks like it's playing on Turner Classic Movies. | ||
| It does. | ||
| You could add music to this. | ||
| I'm surprised no one's added. | ||
| Give me some volume, Jamie. | ||
| Play that from the beginning. | ||
| Let me see him walking again. | ||
| Give me some volume. | ||
| Let me hear this. | ||
| But look at these. | ||
| They're walking him through. | ||
| But look how the cops are like way on the outside too. | ||
| I don't want to get shot. | ||
| Look how they're holding him. | ||
|
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|
There's a man with a gun. | |
| Get him! | ||
| Never shot another round. | ||
| Shoots one round. | ||
| Kills him. | ||
| And that's it. | ||
| Very strange. | ||
| Strange place to shoot him, too. | ||
| Where did he shoot him? | ||
| The guts. | ||
| You know, like in the movies. | ||
| It's just weird. | ||
|
unidentified
|
Even the way he drew his gut was very, like... | |
| Yeah, I think there's probably many people involved in that murder. | ||
| Very, very, very likely. | ||
| You know, the Zapruder film didn't get played on TV till more than ten years after the assassination. | ||
| That was that long? | ||
| You know who played it? | ||
| Who? | ||
| Dick Gregory. | ||
| Oh, he was the... | ||
| That's incredible. | ||
| Dick Gregory got a hold of that film and he brought it to the Geraldo Rivero show in like, what was it, like 1970-something. | ||
| I think the murder was in 63. Yeah. | ||
| And I think he brought it on the Geraldo Rivero show. | ||
| 75. 75. Yeah. | ||
| How about that? | ||
| Hey, man. | ||
| And you know what? | ||
| And knowing that it played on Geraldo more than makes up for the Al Capone's vault fiesta. | ||
| Geraldo used to be legit, man. | ||
| He was that guy. | ||
| People don't realize Geraldo was super legit. | ||
| Dick Gregory is a king. | ||
| He was a journalist. | ||
| Oh, he was amazing. | ||
| Dick Gregory was amazing. | ||
| I mean, he was an activist before anybody even knew what the fuck that meant. | ||
| And as a comedian... | ||
| For him to be appearing on this show, Geraldo Rivera, beautiful hair. | ||
| God, look at his hair. | ||
| And Dick Gregory, looking young and handsome. | ||
| And he brings this out and explains to people, hey, it is highly likely that the president got shot from the front. | ||
| And look at his head go back into the left. | ||
| You see his brain spray and the blood spray out of his head. | ||
| It's crazy. | ||
| When they played it, people were stunned. | ||
| And you could clearly see him grabbing his neck. | ||
| You could see the whole deal. | ||
| It's a fucked up video. | ||
| And it's amazing that if we didn't have this video, we would probably have a completely different narrative of what happened to Kennedy. | ||
| One guy with one camera opened up the possibility that there was a massive conspiracy that killed the president. | ||
| And it led to the release of countless books and so much speculation. | ||
| How many files? | ||
| There's still... | ||
| What's the timestamp before all the files around the case? | ||
| Well, some of them were released fairly recently. | ||
| Yeah, they came out last year or maybe even this year. | ||
| And I don't even remember. | ||
| Look at that. | ||
| Boom! | ||
| Back into the left. | ||
| I don't remember what the conclusion was. | ||
| Oh, I just missed it. | ||
| Rewind it? | ||
| Yeah. | ||
| So greeny. | ||
| Yeah. | ||
| Here. | ||
| Watch. | ||
| Back into the left. | ||
| Watch here. | ||
| Here comes the spray. | ||
| Bang. | ||
| Aw, shit. | ||
| Yeah. | ||
| The way his head throws back, it seems very likely that he was hit from the front. | ||
| However... | ||
| It's also possible that he was hit from the back and that his body just spasmed that way. | ||
|
unidentified
|
Yeah. | |
| You know, I mean, no one really knows. | ||
| Have you seen Jackie, the movie Jackie? | ||
| No. | ||
| They capture, he captures, like, that moment, you know, it's for the film, but in such a, like... | ||
| It's a really beautifully captured moment that he kind of plays throughout the film. | ||
| Just for that alone, I thought the movie was beautiful and very underrated, but he captured it really well. | ||
| Yeah, it's a crazy moment in history. | ||
| They assassinated the president. | ||
| It was caught on film. | ||
| But again, if Dick Gregory didn't get that video footage to Geraldo Rivera, is this in the movie? | ||
|
unidentified
|
Yeah. | |
| Oh, Jesus Christ. | ||
| What in the fuck? | ||
| Yeah, it's crazy. | ||
| Was she picking up his brains? | ||
| No, that's not true. | ||
| You know, Lenny Bruce had a whole fucking bit on that. | ||
| Yeah, I heard that. | ||
| He had a whole bit on that because they tried to say that she was picking up his brain. | ||
| She was running away. | ||
| She knew that he was dead and she was escaping. | ||
| She was climbing off the back of the car. | ||
| To escape. | ||
| And then the Secret Service is behind her, and he tried to help her. | ||
| Damn. | ||
| Yeah. | ||
| Fucking crazy, dude. | ||
| There's also the difference in the autopsy. | ||
| The autopsy in Dallas, the way they examined his wounds in Dallas versus the way they described him in Bethesda, Maryland, when they flew him to that hospital, completely different. | ||
| Really? | ||
| Yeah, yeah. | ||
| They turned the entry wound into the neck, which they said was a bullet hole. | ||
| They turned that into a tracheotomy wound. | ||
| They changed the way they thought the entrance wound to the head was. | ||
| Yeah, there was a lot of weird fuckery that went on between Dallas and Maryland. | ||
| And then there was also generals in the room that were there that wouldn't allow doctors to come and do certain parts of the autopsy. | ||
| There's a lot of weird shit. | ||
| Wow. | ||
| I mean, also, it's the president. | ||
| You have to realize the president of the United States is shot. | ||
| It's top secret. | ||
| Yeah, no, I get that aspect of it, but just, like, to not have the files line up, but then release both files? | ||
| When were they released? | ||
| There's a great book on it. | ||
| The book's called Best Evidence by a guy named David Lifton. | ||
| And I fucked up once and read this book before I went on stage. | ||
| I was working in Philly. | ||
| And I was on the road. | ||
| I was young. | ||
| And I didn't understand. | ||
| You've got to put yourself in a good frame of mind before you do stand-up. | ||
| And I was reading this book freaking the fuck out. | ||
| I was like, oh my god, they shot the president. | ||
| This is real. | ||
| They killed the goddamn president. | ||
| And I went on stage super bummed out. | ||
| I explained to the lady that ran the club. | ||
| I'm like, I'm so sorry. | ||
| It won't happen tomorrow. | ||
| Because I was there for the whole weekend. | ||
| I'm like, I read this book. | ||
| And she's like, don't read that book tomorrow. | ||
| I was like, I won't. | ||
| I got to pee. | ||
| Go ahead. | ||
| Yeah, I've done that before. | ||
| I went up. | ||
| I remember one time. | ||
| I mean, this is the craziest set ever. | ||
| I'm at Baltimore Comedy Factory. | ||
| Which is already... | ||
| You know, just with my style in that club, already shouldn't be a thing that happens. | ||
|
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|
Well, you got to find that out the hard part. | |
| Already that. | ||
| But, you know, whatever. | ||
| And also, my friend Angelo just passed away. | ||
| And I was going through what we were talking about. | ||
| I was trying to make sense of that. | ||
| Coupled with, it was right after like Christmas and the holidays, so I hadn't gone up for a few weeks. | ||
| So being rusty, depressed at the Baltimore Comedy Factory, you know, is a combination that led to like, it almost, I remember experiencing it from up here. | ||
| You know what I mean? | ||
| Like, it's one of those things that you experience where you're just like, you're just kind of looking down at it, just like, huh. | ||
| Going on stage after something terrible. | ||
| Yeah, no, I mean, it zaps you. | ||
| Especially if you're, you know, if who you are in your act is so reliant upon... | ||
| Having fun. | ||
| Yeah, or a truth to, you know, the presentation has a certain amount of truth to it. | ||
| Right. | ||
| Where you are right now. | ||
| Yeah, where you are. | ||
| What's actually going on in your mind. | ||
| Yeah, which is also a thing I always have to guard for me because it's so... | ||
| I really absorb, absorb, absorb. | ||
| So, like... | ||
| I'm reacting to and by exactly how I feel right now. | ||
| I worked with J.B. Smooth once. | ||
| We were working in a college in New Jersey, and it was real hard to get to. | ||
| And this was back before GPS. We just had directions written down on paper, and he was real late, like a half hour late plus. | ||
| Maybe even more. | ||
| And the show was supposed to start at 8. It was already 8.30. | ||
| And he wasn't there. | ||
| So they said, look, just have a seat in the green room and wait. | ||
| And when he gets here, we'll put him on. | ||
| So I go, okay. | ||
| So I have a seat in the green room and I'm watching this show. | ||
| And it's a documentary on these fires in Malibu that devastated Malibu back then. | ||
| And fucking burnt all these houses down. | ||
| And these people are weeping and crying. | ||
| And they're looking for their dog. | ||
| They're like, Rusty, where are you, Rusty? | ||
| And then this guy, he's a firefighter, and he comes out, and he didn't even lose his house. | ||
| He was just taking care of all these people that did lose their houses, and he built this house, and it was like his life savings, and his neighbor's house is gone, his house was spared, and he's just weeping. | ||
| This guy's just openly weeping. | ||
| And then the director of entertainment, whatever it is for the college, comes in and goes, well, JB's not here yet, so I guess you'll just go on first. | ||
| And when he gets here, you'll go on. | ||
| I'm like, okay. | ||
| So we're going to bring you up now, okay? | ||
| I was like, okay. | ||
| And I just went up and just ate shit. | ||
| I was so depressed. | ||
| I was just thinking about this fire and all these people burning dogs. | ||
| Did you talk about that? | ||
| No! | ||
| I was terrible at the time. | ||
| I didn't know what I was doing. | ||
| Ready for some comedy? | ||
| There's that moment, when you're a young comic, at the time I'd been doing comedy like four years, when I would go down with the ship four years in, there was no coming back. | ||
| Like once I bombed, if I was doing pretty good and then I started bombing, there was no recovery. | ||
| Yeah. | ||
| I never recovered. | ||
| Yeah, this is just like, there's no, I've already given you my best. | ||
| Well, it's also, I just didn't have the, I didn't have the mindset. | ||
| I didn't know how to recover. | ||
| I didn't know how to step back and reassess. | ||
| And you think about these fires, man. | ||
| I was so depressed. | ||
| It's a lot. | ||
| It's a lot. | ||
| You just can't watch something like that before you go on stage. | ||
| Yeah, I mean, and then not, also, you know. | ||
| It's also that learned thing of how to find the best of where you are type of thing. | ||
| But yeah, before having that... | ||
| Stay out of the weeds, man. | ||
| Don't talk to anybody that's depressing. | ||
| Don't do anything depressing. | ||
| Yeah. | ||
| Well, people like to talk... | ||
| More than that, I'm actually more affected by... | ||
| I remember starting out and going on to clubs and people, you know, the booker or whatever, likes to come in and give you the rundown of the room and whatever. | ||
| And I'm really bad at that. | ||
| I'm bad at, like, don't give me the information. | ||
| Again, allow me to react to whatever is out there. | ||
| And whatever's going on. | ||
| You don't need that thing. | ||
| Let it get in my head as I'm in my head. | ||
| You don't want to hear, okay, there's a bachelor party in table two, and they're really rowdy, and we're going to try to talk to them first. | ||
| So just try not to react to them. | ||
| What are you doing? | ||
| They'll tell you this as you're being introduced. | ||
| They'll hold your arm. | ||
| Gerard, just want to let you know. | ||
| We've got it. | ||
| We're going to handle it. | ||
| The bachelor party, we've got it under control. | ||
| They do it on, I mean, if you're doing press for certain things, like most things, they try and do like a pre-interview and it's all just these things that just rings out anything organic. | ||
| Any realness. | ||
| Yeah, yeah. | ||
| Any spontaneity is squeezed out by those pre-interviews. | ||
| And you're doing it with a producer and like, do you have any stories, funny stories? | ||
| I don't know. | ||
| Yeah. | ||
| I'm not sure. | ||
| The worst, you ever gone on one of those radio shows where they want you to do your bits? | ||
| Oh, yeah, yeah. | ||
| Those are deaf. | ||
| I hope somebody recorded. | ||
| There's some great 6 a.m. | ||
| me in Indiana just refusing. | ||
| Bob and Tom show? | ||
| Did you do that? | ||
| I think I did Bob and Tom. | ||
| I'm pretty sure I did Bob and Tom. | ||
| I did that, too, and the fucking producer lady got very angry at me. | ||
| Yeah. | ||
| Yeah. | ||
| It's like, why would I do that? | ||
| Yeah. | ||
| I think it was a lady. | ||
| It might have been a dude. | ||
| But again, it all goes to perception. | ||
| What people make of comedians and what the expectations are. | ||
| When you go out and you do these things, what people's expectations are. | ||
| It's up to you to change it. | ||
| To change that thing. | ||
| It's just like, alright, well look, hey Bob and Tom. | ||
| Nice guys. | ||
| People do their bids. | ||
| It's just not a thing that I do. | ||
| We'll have a conversation. | ||
| Yeah, and you try to pretend that a conversation can't be entertaining. | ||
| Interesting, yeah. | ||
| That's crazy. | ||
| Yeah, and it's like, you know, again, it's not even that they do it. | ||
| It's like it has to be tailored to you. | ||
| You can't do the thing. | ||
| You can't just fill into the mold of comedian. | ||
| Right. | ||
| You know, it's just going to make the exact same thing over and over. | ||
| Well, the art form is just very underappreciated because it seems like we're just talking. | ||
| It seems like anybody can do it. | ||
| I talk, too. | ||
| You talk? | ||
| I talk. | ||
| It's not like we all play guitar, so you see someone go up there and shred. | ||
| That's why your friends from back home think they could do a pretty good guitar. | ||
| Yeah, exactly. | ||
| Because everybody's been funny at one point in time. | ||
| We've all hung around with somebody who said some hilarious shit. | ||
| We're like, ah! | ||
| And that feels good, right? | ||
| It feels good when they do that. | ||
| When they say that and they get that feeling like, damn, I just made everybody laugh. | ||
| We've all felt that. | ||
| And we probably felt that before we ever did comedy. | ||
| So they see you on stage and they see you killing and they say, I could do that shit. | ||
| He's doing that. | ||
| He's doing what I do. | ||
| I could do that. | ||
| And they get it in their head. | ||
| Jamar could do it. | ||
| Why the fuck can't I do it? | ||
| They get it in their head. | ||
| He's just talking. | ||
| He's not doing backflips. | ||
| He's not surfing 80-foot waves. | ||
| But you know what I mean? | ||
|
unidentified
|
They think what you're doing is stuff they do. | |
| I had a cousin, like, you know, I'll bring Jeremy out. | ||
| Cousins out, whatever. | ||
| I bring him out to, like, the club sometimes or whatever. | ||
| I brought him to an open mic one time. | ||
| And, you know, I go up and I say, hey, man, it's an open mic, man. | ||
| If y'all want to go up. | ||
| I was like, you should. | ||
| You know, I just want to see my boys do it or whatever. | ||
| So my cousin Jeremy was like, yeah, I'll do it, whatever. | ||
| And he's like, I can do that shit. | ||
| And he gets up, and he does good. | ||
| He's a funny dude, you know? | ||
| And I was like, alright, now do that shit every day for 10 years. | ||
| And you know, and look, the reality is, some people are good. | ||
| I'm sure, you know, some comedians started just by being like, oh, I can do this shit. | ||
| And then they did it again. | ||
| And then they were great at it. | ||
| And you know, and that can't happen. | ||
| It's just that, uh... | ||
| If you are going to do it, like anything, if it is what you're choosing, it's just make sure that the articulation is yours and interesting. | ||
| You know what I mean? | ||
| I think that's kind of the goal. | ||
| However you get into it or whatever inspired it or whatever, if you are doing it, do it. | ||
| Do it at its highest level if you can. | ||
| Yeah, it's just, I think, stand-up, like you were saying, it just doesn't get the respect that other art forms get. | ||
| Because there's no, like, if you see someone play guitar, play the drums, or something like that, you don't have any illusion that you can go up and do exactly what they do. | ||
| But a lot of people have the illusion in their mind that they can go on stage and be funny. | ||
| Because they're just talking. | ||
| Or even just be interesting. | ||
| To be anything in a room. | ||
| But a lot of it, part of the reason for the perception is the things that we accept. | ||
| It really is that a lot of the things that we accept contribute to... | ||
| We make it. | ||
| We allow ourselves to be presented like court jesters. | ||
| It's one of the rare things that anybody can try. | ||
| You can go up open mic night and try. | ||
| While you're up there, Doing stand-up, somebody who's a professional might drop in. | ||
| Chappelle might show up and do a set. | ||
| Jeff Ross might go up there. | ||
| Dom Herrera might show up. | ||
| People will show up and do sets and share the stage with you. | ||
|
unidentified
|
It's your first day. | |
| Right? | ||
| That's a rare thing. | ||
| That doesn't take place in music or anywhere else. | ||
| Where you get an open mic night and there's 30 people doing three minutes. | ||
| Anybody can be one of them. | ||
| It's weird. | ||
| Homeless people. | ||
| Yeah, a lot of homeless people, right? | ||
| A lot of sketchy fucking weirdos that touch the same mic as you. | ||
| You know? | ||
| That same mic. | ||
| That same mic. | ||
| That doesn't change. | ||
| It doesn't ever get cleaned. | ||
| Nobody cleans that comedy store, Mike. | ||
| You got an intense immune system from working at that school. | ||
| No one's taking a Clorox wipe. | ||
| Who the fuck is cleaning anything at that place? | ||
| They barely clean the tables. | ||
| That place, they just deliver drinks and keep the party rolling. | ||
| That's part of why it's so good. | ||
| It's just a grimy joint. | ||
| Fucking gutter, man. | ||
|
unidentified
|
That's a big layer of humor that's covering everything. | |
| Oh, for sure, man. | ||
| I think when they changed out the improv and they swapped that lab for that back bar and they put that bar in there, it seemed like they removed a body part. | ||
| Yeah, how they got it now. | ||
| Yeah, but I mean, in the way that, like, the energy went away. | ||
| Yeah, it was this kind of Miami infusion. | ||
| So I feel like a nightclub in Miami. | ||
| It was an Encino restaurant bar. | ||
| That's what it was like. | ||
| Yeah, yeah, just with the sofas and the just, like, you know what this room needs? | ||
| A place for people to lounge more. | ||
| Yeah. | ||
| Well, they kind of figured it out now. | ||
| They've got little shows that they do there. | ||
| It's kind of interesting. | ||
| But it used to be cool. | ||
| It used to be like a room, like a separate room that was just comedy. | ||
| And Ari Shaffir's whole storyteller show started out there. | ||
| That's where he would do it. | ||
| He would run it there because it was like a 70, 80-seat room. | ||
| Wait, you're talking about the lab? | ||
| The lab. | ||
|
unidentified
|
Yeah, yeah. | |
| Before it was the bar, it was the lab. | ||
| Because they redid it twice. | ||
| Yeah, I remember the lab. | ||
| We did it a couple times. | ||
| Yeah, I was talking about the redoing of the main room. | ||
| Oh, yeah. | ||
| The lab room, yeah, I remember that. | ||
| That could have a really good energy when it had that really pink curtain that was back there. | ||
| Yeah, I remember... | ||
| I remember doing a Montreal showcase. | ||
| That was my first and only one. | ||
| No, I did it twice. | ||
| I remember doing it later that week. | ||
| Improv is a weird spot. | ||
| That hallway, when you wait and go on, there's nowhere to hide. | ||
| You're stuck in the hallway, people walking by, and they're like, hey man, let me talk to you about something. | ||
| I'm going on stage right now. | ||
| I gotta go. | ||
| Hold on, let me get a selfie. | ||
| They can touch you right before you're going on stage. | ||
| Again, that never happens with Gary Clark. | ||
| He's never about to go on stage. | ||
| There's some dude in the hallway going, yo Gary, let me get a selfie. | ||
| Away from it. | ||
| He can walk out and show himself. | ||
| That's part of the reason why it's interesting, because you're one of them, but it's also part of the reason why it's a fucking weird art form. | ||
| Yeah, no, it is. | ||
| It is. | ||
| And at his best, it's so interesting, and you get a lot of perspective and thoughts. | ||
| Are you doing a lot of sets these days? | ||
| What are you doing? | ||
| I haven't gone up. | ||
| Really haven't gone. | ||
| I mean, I've done maybe two or three sets in the past year and a half. | ||
| Damn! | ||
| That's crazy. | ||
| Maybe, maybe that. | ||
| And the last time I was like, did you do like two minutes and walk off? | ||
| Yeah, yeah. | ||
| I was like, I'm good. | ||
| I don't need this. | ||
|
unidentified
|
Why? | |
| Why? | ||
| No, it's just not where ideas are going now. | ||
| Where's your ideas going now? | ||
| It's a lot of film projects and some television stuff. | ||
| That just feels more normal to you? | ||
| Yeah, it just feels like the way of it. | ||
| I mean, even, you know... | ||
| I had a TV show I would do. | ||
| A lot of thoughts would just go there and I wouldn't do stand-up a lot during that. | ||
| I like to just focus and put the energy where you feel the most creative. | ||
| Something about stand-up. | ||
| Right now, you know, it's simultaneously like, oh man, there's some really amazing things happening. | ||
| And just kind of as a whole, it's just like a certain... | ||
| I think it's going through like this growing phase, like this kind of identity thing, right? | ||
| Because it's like... | ||
| I feel like there needs to be kind of this overhaul and even one in its presentation and two with the expectation of performer audience because it's a lot of like, I don't know, I'll go and I'll see a lot of like, you know, Trump stuff and a lot of things but it's like not like new perspective and it's like, you know, it's a lot of civil rights leaders And it's a lot of, you know, a lot of things. | ||
| And, you know, and not even good civil rights leaders. | ||
| Just, you know, talking points. | ||
| Right. | ||
| And just kind of preaching to... | ||
| It's a lot of preaching to the choirs. | ||
| And it's like, you know, the whole thing is this unique articulation and, like, this unique thing that you're supposed to be bringing. | ||
| It's show and tell. | ||
| Like, it is like, hey, I have this thing. | ||
| I have this thought that I think is unique. | ||
| I have this way of presenting this thought that I think is unique. | ||
| And now... | ||
| And again, it's profitable right now. | ||
| This is the bubble where it is right now, right? | ||
| If you go up and you, you know, speak for your group or you speak in this type of way, you can get rewarded for it and kind of these immediate rewards. | ||
| I understand it. | ||
| But it really does kind of choke the art form. | ||
| It chokes what's interesting about it. | ||
| I think there's just so many people trying to stand out and it's so difficult to do that and they find these paths and one of those paths is to be someone who's like really moral and righteous and you know has something to say. | ||
| But it's also under the illusion of being rebellious and edgy. | ||
| It's under the illusion of these things because it's like When Dick Gregory said the things that he said, there was real danger. | ||
| In a conservative country, there's real danger to a lot of things. | ||
| He says, you get on stage and you're like, fuck Trump in Los Angeles in New York City. | ||
| You're honing your skills and it's just like, oh, well, good for you. | ||
| That unique perspective you bring about how this is the worst of times. | ||
| Oh. | ||
| Yeah, there's definitely a lot of that. | ||
| There's a lot of voices. | ||
| But there's a lot of great stuff, too. | ||
| No, there is. | ||
| There are unique... | ||
| That's the thing. | ||
| It's just anything. | ||
| It's flooded right now. | ||
| Do you plan on going back? | ||
| Do you have aspirations? | ||
| Or do you have a thought in your head? | ||
| Or do you just go with the flow? | ||
| I mean, if I feel it and thoughts come out that fit... | ||
| Or if I find a way to... | ||
| Do it like a thing that maybe doesn't necessarily fit in with that, then maybe I'll do that. | ||
| I'm open to it. | ||
| I just don't know. | ||
| Yeah, I don't really know what that is right now. | ||
| That's beautiful, though, that you have that sensibility. | ||
| This is what I'm thinking about. | ||
| This is what I like to do right now. | ||
| Yeah, and just kind of focus. | ||
| I've been in more music studios in the past two years than I've been in comedy clubs. | ||
| Really? | ||
| Yeah. | ||
| What are you doing with music? | ||
| Just kind of there. | ||
| Just hanging out? | ||
| I like to talk about it and discuss it. | ||
| I've been lucky enough to be around some artists that I admire and just listen to that creation. | ||
| I like the immediacy of that Process, like, a lot. | ||
| I liked it. | ||
| It's what I was saying, what I like about even here, it's like, it's an art space that you have here where you can kind of create, like, in this immediate space and, like, exactly how you see it, it comes out in that way and you can record it and you capture it like that. | ||
| And when your mind is in that space, you know, you need to only do things that it can be good at. | ||
| Yeah. | ||
| Yeah, it's a good – it seems to me as an outsider is that you found like your natural path. | ||
| You found a natural path. | ||
| Like you've made it in. | ||
| You've become successful. | ||
| You're well-known now and you've got freedom and you're just like, let me just find my – what am I into? | ||
| Well, I'm doing what I hope. | ||
| Like, all of us are trying to do. | ||
| Like, the one thing that I've always done is exactly what I want to do in the career. | ||
| And it's not just by nature. | ||
| It's not like, you know... | ||
| And then I told... | ||
| It's just by saying not doing the things. | ||
| If it doesn't match, then not doing it. | ||
| You know, like... | ||
| And trying to have a vision of what the thing is and just making that. | ||
| Right? | ||
| And so, like... | ||
| That's what, like... | ||
| Comedy at its best. | ||
| Again, the medium finds you. | ||
| It comes to you. | ||
| You don't go to the medium. | ||
| The medium is meeting you. | ||
| And so many people are just conforming and it becomes the same thing. | ||
| I don't know. | ||
| It's a weird time. | ||
| Well, that's a good outsider's perspective. | ||
| You're an insider that has almost an outsider's perspective because you're looking at it like you step back a little bit. | ||
| You watch all the fucking hamster wheel. | ||
| Watch all the scrambling. | ||
| Watch all the sliding around. | ||
| There's a lot of that, man. | ||
| There's a lot of fake horse shit going on. | ||
| There's a lot of people grabbing at straws. | ||
| Yeah, it's really noisy. | ||
| Yeah. | ||
| But there's so many opportunities, there's so many venues, and there's so many comedians. | ||
| And it's also comedy so hot right now. | ||
| It's like it's such an exciting time for stand-up that there's so many people doing it. | ||
| So you're automatically going to get... | ||
| Just like when you're trying out jokes, a lot of them suck. | ||
| Well, when you're trying out comedians... | ||
| Oh, yeah. | ||
| Oh, yeah. | ||
| A lot of them ain't gonna make it. | ||
| I mean, this might be, in terms of, like, success to failure ratios, one of the most brutal art forms you could ever attempt to be a professional at. | ||
| Yeah. | ||
| Yeah. | ||
| No, definitely. | ||
| I mean, because you're going out there kind of naked with the thought. | ||
| How many guys from your era, like when you started doing open mic nights, are doing well now? | ||
| Um... | ||
| Guys are, right now, really finding their kind of space, and guys are starting to get TV shows, and they're starting to get... | ||
| Like, guys that I remember seeing at, like, mics are really starting to do... | ||
| Like, in the past couple years, it's really, like, kind of hit. | ||
| I was on this weird... | ||
| Kind of weird path, trajectory type of thing. | ||
| I kind of was just on the side of it, I feel like, in this weird sense, and things kind of happened, and I kind of found an infrastructure that worked for me really quickly. | ||
| You know what I mean? | ||
| But around now is the time, I think, that a lot of things are starting to happen for guys that have been around. | ||
| If you were around... | ||
| 500 dudes when you first started that you knew regularly. | ||
| Maybe three are working now. | ||
| Yeah. | ||
| Yeah. | ||
| Right? | ||
| Yeah. | ||
| Legitimately. | ||
| Like, if you counted all of them up over the first 10 years of your stand-up career, you got maybe three. | ||
| That are doing what they want to do. | ||
| Yeah. | ||
| Maybe two that are doing what they want to do. | ||
| Yeah. | ||
| Maybe. | ||
| It really is that. | ||
| Yeah, it's fucking brutal. | ||
| A lot of comedians operate in this space where it's like they don't know they can do what they want to do. | ||
| Right. | ||
| That's a big wall. | ||
| Yeah. | ||
| It's a big wall. | ||
| I've seen a lot of people stop at that wall. | ||
| People that can that are just like still trying to figure out how to Right, the confidence to act. | ||
| The confidence to act on your actual instincts, too. | ||
| To do what you really want to do. | ||
| Which is so crazy, because comedy, you would think that we'd be the ones that are closest to it, because it's so instinctual. | ||
| And it's such a reaction. | ||
| You know, like, a lot of things you do is such a reaction. | ||
| Like, when you discover you're funny through, like... | ||
| You discover you can sing by preparing to sing. | ||
| Right. | ||
| You know, you go and you prepare this thing, your voice, and you give it a shot. | ||
| You discover you're funny by just like, oh, what? | ||
| That would... | ||
| Right, right, right. | ||
| Yeah, like, you discover you're funny the way, you know... | ||
| People laughing at shit you said you didn't even know was funny. | ||
| Yeah, it was like, okay, or by like a hunch that you have. | ||
| So, like, it's so instinctual that you would think... | ||
| It would be more of that, like, following your instinct, following your gut. | ||
| Yep. | ||
| Forging your own path. | ||
| But there's also, it's so scary in the beginning that once you find shelter, you hold onto that. | ||
|
unidentified
|
Yeah. | |
| That's why those, you know, the saddest comedians are the ones that they do stand-up for five years, they develop a half an hour, and it never changes. | ||
| Yeah, you found it. | ||
| And they cling to that bitch like a fucking life raft. | ||
| Yeah. | ||
| Yeah, people listen, man, you know. | ||
| People don't talk about how comfy glass ceilings are. | ||
| It's actually surprisingly soft up here. | ||
| Yeah. | ||
| Listen, I gotta get the fuck out of here. | ||
| Yeah, let's do it. | ||
| This is great. | ||
| What do you got going on? | ||
| Do you promote anything? | ||
| You got anything happening? | ||
| Oh, Drew's... | ||
| I gotta talk about Drew's special. | ||
| Drew Michael. | ||
| I meant to send that to you. | ||
| Oh, send it to me now. | ||
| I'll send it to you now. | ||
| It comes out this weekend. | ||
| It comes out Saturday. | ||
| It's really fun. | ||
| He's a comedian I love. | ||
| I'm excited for people to see him. | ||
| Directed a special. | ||
| Did it without an audience. | ||
| Without an audience? | ||
| Yeah, yeah, yeah. | ||
|
unidentified
|
Really? | |
| Yeah, yeah, yeah. | ||
| Where'd you do it? | ||
| We shot it on a stage. | ||
| Just like on a stage, we kind of created the environment. | ||
|
unidentified
|
Wow. | |
| And, yeah, I'm really excited. | ||
| Whose idea was it to do without an audience? | ||
| Mine. | ||
| I... I think the thoughts were removed from it, and I'm really excited to capture it like that. | ||
|
unidentified
|
Wow. | |
| Yeah, I don't even really know what you call this thing, but I'm really... | ||
| Because it was like, when I first saw him, I... Is this a trailer? | ||
| Yeah, yeah. | ||
|
unidentified
|
...person I get close to. | |
| Something's got a gift here. | ||
| Because after a while, like, the thoughts get weird. | ||
| I don't want to date someone I don't love. | ||
| I love my mom. | ||
|
unidentified
|
She's single, too. | |
| Not that it matters. | ||
| And people are like, what? | ||
|
unidentified
|
And you're like, oh. | |
| Look at that. | ||
| August 25th on HBO. | ||
| That's interesting. | ||
| You know, those shows, those sitcoms, when they first started doing single-camera sitcoms, and they started doing them without an audience, people were like, what? | ||
| The Larry Sanders show? | ||
| You're like, what the fuck is this? | ||
| There's no audience? | ||
| How weird. | ||
| Still funny, though, and people laughing at home. | ||
| Some of my favorite shows. | ||
| You ever watch Unbreakable Kimmy Schmidt? | ||
| I haven't really watched it. | ||
| It's a fucking hilarious show. | ||
| No audience. | ||
| The thing is that I think the thoughts stand alone. | ||
| They speak for itself. | ||
| Why not? | ||
| It's really exciting to put that into some living rooms and see what people think. | ||
| Beautiful. | ||
| Well, gentlemen, Jamar, good to see you, as always, my brother. | ||
| Yes, sir. | ||
| Thanks for taking me on. | ||
| Good to see both of you. | ||
|
unidentified
|
Thanks for doing this. | |
| Let's do it again, man. | ||
| Let's do it again. | ||
| It's great. | ||
| We're in the neighborhood. | ||
| Take care. | ||
| It was fun, man. |
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