July 9, 2019 - The Joe Rogan Experience
02:24:03
| 
| Speaker | Time | Text |
|---|---|---|
| Oh yeah, that's all he is. | ||
| Boom, and we're live. | ||
| That's it. | ||
| Hi. | ||
|
unidentified
|
Hello, Reggie. | |
| Yeah, the stuffed purple venom. | ||
| That's what he calls it? | ||
| That's what his friend calls it. | ||
| And yeah, his friend's like, you know, pretty skeptical about other people's stuff. | ||
| Did you have a coke nail? | ||
| Was that a coke nail? | ||
| No. | ||
| The left one? | ||
| No, I know. | ||
| They're super long. | ||
| People think that their coke nails do not. | ||
| Are they fake? | ||
| No. | ||
| They're real. | ||
| But you don't do Coke? | ||
| I don't do Coke. | ||
| Ever? | ||
| Have you ever done Coke? | ||
| I mean, I do Coke zero. | ||
| I have done... | ||
| It's like Coke light. | ||
| It looks like Coke. | ||
| You can snort it. | ||
| It feels like Coke, but it doesn't give you high. | ||
| No, I have. | ||
| I've tried it, I would say, honestly, maybe four times. | ||
| And I've never... | ||
| It's always... | ||
| It just felt like I just took three shots of espresso. | ||
| And it's not really... | ||
| It doesn't do anything for me that I'm like, I better invest in that. | ||
| I need to try it one day because I need to know what's going on. | ||
| I'm 51 years old. | ||
| I don't know what Coke is. | ||
| I think it's worth, if you don't have a predisposition for being a hyper-addictive personality type. | ||
| Oh, I definitely do, but I'm also for it. | ||
| Wise enough to know I can quit things. | ||
| You've got experience. | ||
| You can control yourself. | ||
| Allegedly. | ||
| I guess I've just never been someone who's like, oh shit, gotta have that forever. | ||
| I've never been that way. | ||
| The only thing that I'm reduced to now is just... | ||
|
unidentified
|
Weed. | |
| That's it. | ||
| Well, me too. | ||
| But I also think that it's one of those things, if your life is healthy, if you have a good balance and you're enjoying your time and you're being creative and you have good friends and you have fun, you're not looking for something to fuck your life up. | ||
| I think many of the times when you're dealing with people that have severe debilitating addictions that are really just taking over their life, there's something else going on. | ||
| Almost always. | ||
| It's like problems. | ||
| You know, relationship problems, work problems, life problems. | ||
| They're not happy. | ||
| There's an emptiness. | ||
| There's an emptiness that wants to be fed. | ||
| Or maybe you have a lot of success and you're freaking out about the success. | ||
| I think that happens with some celebrities. | ||
| Yes, I think so. | ||
| Yeah, overstimulation. | ||
|
unidentified
|
Spark that bitch. | |
| Let's do this. | ||
| Oh yeah, let's do it. | ||
| Here it is. | ||
| I used an automated machine. | ||
| The Auto, have you heard of it? | ||
| No. | ||
| So cool. | ||
| It's a grinder and it fits on a tube that you put an empty rolling thing in there. | ||
| So you put that in there. | ||
| Oh, you got it. | ||
| And then it's like a clear tube. | ||
| You put in the pre-rolled, empty, whatever, joint thing. | ||
| And then you put this machine that just goes over, attaches magnetically, and then you put in your weed, and you just press a button. | ||
| And it's like coffee maker. | ||
| It's like... | ||
| And it fills it up perfectly, and then you just pack it by shaking it and twisting it, and you're done. | ||
| These goddamn stoners today. | ||
| They're getting too crazy. | ||
| I know. | ||
| I rarely smoke. | ||
| I always make exceptions for stuff like this. | ||
| Oh, look at it. | ||
| Wow. | ||
| That's actually pretty sleek looking. | ||
| Yeah, it's by Banana Brothers, I think. | ||
| You know, I smoke pretty regularly, but I got high with B-Real. | ||
| I did this smoke box show. | ||
| Who's B-Real? | ||
| Cypress Hill. | ||
| Oh, Cypress Hill. | ||
| How dare you? | ||
| I apologize. | ||
| Who's B-Real? | ||
| Just so you know, I know nothing about hip-hop. | ||
| Goddamn, Reggie. | ||
| How do you not know anything about Cypress Hill? | ||
| I know. | ||
| I know. | ||
| People are always like, you gotta know about hip-hop. | ||
| I'm like, I know shit. | ||
|
unidentified
|
I know Run DMC. You really don't know any hip-hop? | |
| Now, I kind of stopped after the Bohemian phase. | ||
| You know, like after Tribe Called Quest and De La Soul. | ||
| It just kind of lost me because then it turned into... | ||
| I liked Gangster in the beginning, you know, because it was something new and you're like, what the fuck is this? | ||
| Oh, that's so cool, you know. | ||
| But then it kind of morphed into Club Hop, where it just was all about bitches and cars and all that shit. | ||
| And it was really the lyrics, the beats I loved. | ||
| I thought it was cool, but I just got tired of it. | ||
| I mean, because I left in 95. Wow, really? | ||
| I left hip-hop in 95, 96. And then I know there's plenty of hip-hop heads that'll be like, dude, you gotta check out Sony, you gotta check out Sony. | ||
| I know there's shitloads of shit. | ||
| For sure. | ||
| And maybe I'll go back into that phase, but mostly I just like the beats and the production. | ||
| The lyrics, I'm not really. | ||
| I'm not a lyrics guy, anyways. | ||
| Yeah. | ||
| I am a lyrics guy, and Nas is definitely my favorite lyricist, because his stuff is so creative. | ||
| Like, what was that one where he did everything backwards, did the whole song backwards? | ||
| Like, he started at the end, and then... | ||
| What the fuck was that called? | ||
| James, can I go... | ||
| Rewind? | ||
| Yeah. | ||
| I mean, super creative. | ||
| I mean, Major Look got me. | ||
| Yeah. | ||
| It made you look like, I saw that and I was like, that was actually a moment where I was like, oh, am I going to start getting back into this shit? | ||
| Because it was intelligent. | ||
| You know what I mean? | ||
| My thing is, if you're going to be boastful and all that shit, it should be like Muhammad Ali. | ||
| Right, right, right. | ||
| Super clever. | ||
| You have clever flair. | ||
| Also, you can just be right in someone's face, but I like that. | ||
| But then when people are kind of going off about how much money they have and all that shit, I'm like, I don't really care about that. | ||
| Well, I've analyzed this many times while under the influence. | ||
| The culture, it comes from not having something, and then once you have something, brag about it, right? | ||
| That's like Jay-Z. That's 99 Problems. | ||
| He talks about that in 99 Problems. | ||
| Yeah, I mean, I get it. | ||
| I get it. | ||
| But at the same time, if it just sounds like basically the three things that everyone talks about, which is women, cars of some sort, and money, or the things you can buy with money, after a while, it just all bleeds together. | ||
| It's the same song. | ||
| And I mean, it's so dope that you can come from nothing, and you can work your way up, and you can hustle, and you can get stuff going in. | ||
| But once you get to that place, why not take advantage of that platform? | ||
| What about Run the Jewels? | ||
| I've heard good things about it. | ||
|
unidentified
|
How dare you? | |
| Chance the Rapper, I've heard good things about it. | ||
| God damn. | ||
| I know. | ||
| I don't know shit, man. | ||
| I'm more of like a... | ||
| Run the Jewels is so creative. | ||
| I'm an electronic guy. | ||
| I like music. | ||
| Let me turn you on to some Run the Jewels. | ||
|
unidentified
|
Please. | |
| I wish we could play it on the podcast, but then we can't do that anymore. | ||
|
unidentified
|
Back in the day. | |
| You run your jewels, man. | ||
| Yeah, they will run your jewels right out of town. | ||
| But back in the day when you had, like, the internet was, no one knew what a podcast was. | ||
| You could do all kinds of shit. | ||
| You could just play things. | ||
| I mean, you still can. | ||
| I mean, if it was livestream, you could. | ||
| You get taken down. | ||
| You get demonetized. | ||
| You get a strike against your channel. | ||
| If you get three strikes, they take your channel down permanently. | ||
| It's all super sketchy. | ||
| Oh, are you using YouTube? | ||
| Yes. | ||
| Okay. | ||
| That's the real problem. | ||
| YouTube's the real problem. | ||
| I'm bypassing all that very soon. | ||
| What are you doing? | ||
| I'm just doing my own livestreaming. | ||
| That's smart. | ||
| Yeah, because that way I just don't have to worry about all that bullshit. | ||
| Yeah, ultimately that's where it's probably going to have to go. | ||
| Yes. | ||
| But at the same time, everybody's at YouTube. | ||
| So the secret is, or the question is, how can you... | ||
| Well, you can do both. | ||
| Yeah, exactly. | ||
| I think that's the way to go. | ||
| You want a zero alcohol Heineken? | ||
| Are you serious? | ||
| Yeah, I'll try a zero. | ||
| Yeah, because my problem with alcohol is alcohol. | ||
| Yeah. | ||
| So, yeah. | ||
| These are actually very good. | ||
| Thanks, man. | ||
| They taste like a regular Heineken. | ||
|
unidentified
|
Mmm. | |
| Check what I thought. | ||
| Do you see these? | ||
| What is that? | ||
| It's a Microtech... | ||
| California legal switchblade. | ||
| What? | ||
| Yeah. | ||
| What are you, stabbing people with a tiny knife? | ||
| What are you doing, Reggie? | ||
| What the fuck's been going on since I saw you last? | ||
| I like it. | ||
| Well, I like having a knife. | ||
| I'm from Montana. | ||
| You always have a knife. | ||
| It's like the greatest tool. | ||
| But it makes sense. | ||
| How's the button go? | ||
| Okay, so hold it the opposite way. | ||
| Turn it around, flip it around. | ||
| Yeah, and then the button on the top side. | ||
| See, there's like a lever. | ||
| That button? | ||
| No. | ||
| This thing here? | ||
| Yeah, that. | ||
| So this is on the back. | ||
| This is a glass breaker. | ||
| Okay. | ||
| A glass breaker? | ||
| Yeah, for like if you're in your car, you know, or whatever, and you need to break the window. | ||
| Jesus. | ||
| But here's the switch. | ||
| Is that really what that's for? | ||
| Yes. | ||
| Let me see that. | ||
| Isn't that crazy? | ||
| So this would break your window? | ||
| Yeah. | ||
| Hmm. | ||
| Dude, but how many people do you think could break a window with this? | ||
| I bet if you got a lot of people. | ||
| I just saw a video. | ||
| There's a thing. | ||
| Get some old car windows and, like, line them up and just fucking... | ||
| Yeah, because... | ||
| It seems like... | ||
| That's, like, kind of a weird, like, standardized tip for glass breakers. | ||
|
unidentified
|
Really? | |
| Isn't that crazy? | ||
| So would you get it... | ||
| See, but it seems like it's sliding in your hand. | ||
| It doesn't... | ||
| It's too small. | ||
| I think if you, you know, if you wedge it in, if you held it tight in your fist, you know, with your thumb over it, I think if you hit at... | ||
| It's more about velocity, I think, rather than strength. | ||
|
unidentified
|
Yeah, I guess you could do it. | |
| Just whack it. | ||
| Yeah, because the way it's designed is to just be like super precise strike. | ||
| What do you want? | ||
| It's carrying a glass breaker with them, man. | ||
| Yeah. | ||
| You're not playing any games. | ||
| You're ready. | ||
| Do you have water? | ||
| You have like bottled water in your car at all times? | ||
| In my car, I have bottled water. | ||
| I have a jumper. | ||
| You can jump yourself. | ||
| You know, if you have bottled water in your car in LA, you're basically drinking. | ||
| What is that shit that comes that leaks from your plastic? | ||
| BPA? Oh, I'm not using it. | ||
| I have glass. | ||
|
unidentified
|
Ah. | |
| It's all glass. | ||
| You have glass. | ||
|
unidentified
|
How dare me? | |
| No, fuck that. | ||
| I mean, people are going to be bitching because I talk about plastic bottles all the time. | ||
| Oh, because we have one on here? | ||
| It's here. | ||
| Yeah, we need a better solution for that. | ||
| We should probably get glass and get a water jug. | ||
| Yeah, you just get a municipal filter. | ||
| And that's it. | ||
| And you get alkalized water, room temperature, whatever. | ||
| And you can just have clean water and you just have tons and tons of vessels. | ||
| I'm sure someone with BKR would sponsor you or something like that. | ||
| What's BKR? They're like a canteen company or water carrying jug company. | ||
| We could have people drink out of mason jars. | ||
| That would be dope. | ||
| Pretend they're like old folks. | ||
| Hell yeah. | ||
| Hell yeah. | ||
| Old timey. | ||
| Are you kidding? | ||
| Yeah, it'll be like grandma's kitchen cupboard. | ||
| Yeah, why do people like drinking out of mason jars? | ||
| I think it started with grandma's. | ||
| What was that band? | ||
| What was that one band? | ||
| No. | ||
| It was that one sort of bluesy, rocky band. | ||
| How long ago? | ||
| Pretty recently. | ||
| Mumford& Sons? | ||
| Bam. | ||
| Jamie's a goddamn wizard. | ||
| Jamie's a goddamn wizard. | ||
| How he do it? | ||
| How he do it? | ||
| He knows what I'm going to ask before he Googles it. | ||
| He's a wizard. | ||
| He's got something. | ||
| He's got something. | ||
| Some special talent. | ||
| But yeah, those guys, they dressed like they were from another era, right? | ||
| They wore like weird clothes from like the pioneer days. | ||
|
unidentified
|
Oh, yeah, yeah. | |
| They look like time travelers, like from a steampunk era. | ||
| I mean, kind of. | ||
| I mean, I know what you're saying. | ||
| Like in the beginning. | ||
| You know Fortune Femster? | ||
| Oh, yeah, yeah. | ||
| She's great. | ||
| Really funny. | ||
| I wish I remember her joke, but she had a funny joke about Mumford& Sons and mason jars. | ||
| Really? | ||
| Oh, sweet! | ||
| Yeah. | ||
| Oh, that's good. | ||
| Mumford& Sons and mason jars. | ||
| I think it was like something to the tune of, you know, she used mason jars for real. | ||
| Not like this bullshit. | ||
| Oh, yeah, yeah. | ||
| She actually grew up poor. | ||
| I think that was it. | ||
| I apologize if I'm wrong. | ||
| She's very funny, though. | ||
| I mean, she's so rad. | ||
| I saw her in Australia. | ||
| Sydney. | ||
| She's doing a podcast with Tom Papa. | ||
|
unidentified
|
Oh. | |
| Yeah. | ||
| Who's Tom Papa? | ||
| Sorry. | ||
| How dare you again? | ||
| Sorry, guys. | ||
| Tom Papa is a brilliant stand-up comedian. | ||
| Really, really funny guy. | ||
| Super, super nice guy, too. | ||
| And he's the master of bread. | ||
| Bread? | ||
| Oh, shit. | ||
| He makes his own sourdough bread, and it is sensational. | ||
| Oh, that's too much for one person to be able to do that. | ||
| He comes over here, and he brings a loaf of bread and grass-fed butter. | ||
| Oh, no. | ||
| Bro, you cannot resist. | ||
| You cannot resist this bread. | ||
| This bread is so good. | ||
| Fuck your keto diet. | ||
| If it doesn't include Tom Papa's bread, fuck your keto diet. | ||
| Does he sell it at a bakery? | ||
|
unidentified
|
No, no, no, no. | |
| He just makes it himself. | ||
| There he is. | ||
| And he has a television show he's doing on a food network where he's visiting bakers. | ||
| He's a brilliant guy. | ||
| And a super nice guy. | ||
| Couldn't be a nicer guy. | ||
| And he just loves making bread. | ||
| He's so silly. | ||
| That's me eating his bread. | ||
| It's so good. | ||
| And it's like, I really believe this. | ||
| That if you get food from someone who's really cool... | ||
| It feels different. | ||
| It tastes different. | ||
| And Tom is just such a nice guy. | ||
| He's so funny and he's so smart. | ||
| When you're eating his bread, you feel like, I'm eating a cool guy's bread. | ||
| Yeah, yeah, yeah. | ||
| You know? | ||
| It's like someone who you love cooks you something. | ||
| If your mom cooks you something, it's like, wow. | ||
| It's not just good, it's good and it comes from love. | ||
| Yeah, yeah, yeah, yeah, because the other person who made it is just standing right there while you're having it. | ||
| Yeah. | ||
| It's a pretty unique experience, especially for bread. | ||
| Yeah. | ||
| I think that's the big thing with food, too, with cooking. | ||
| You know, I never really thought of food as an art form until I started watching No Reservations, which was Anthony Bourdain's original show. | ||
| Oh, yeah. | ||
| Back when he was on the Travel Channel. | ||
| Okay. | ||
| And then I was like, oh! | ||
| Like, duh! | ||
| In my head, they were just cooks. | ||
| They were just cooking food. | ||
| Because I cooked food before. | ||
| I used to work at Newport Creamery. | ||
| I made burgers. | ||
| I made grilled cheese. | ||
| Yeah, sure. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| That's cooking. | ||
| So it's like, I knew how to put the fucking fries in. | ||
|
unidentified
|
Yeah. | |
| But watching these chefs create these really elaborate, creative dishes, you start going, oh. | ||
| Oh, this is an art form. | ||
| It's just like a... | ||
| Weird one, like where it's temporary. | ||
| It only exists for a short window in time. | ||
| But now that we have film of it, and now that we have photographs of it, like things on Instagram, now you start to appreciate that, oh, it looks amazing, too. | ||
| That's part of the thing. | ||
| If you could have the most incredible steak, but it came to you and it looked like the shittiest looking lentil soup. | ||
| Like split pea soup. | ||
| Just the peas, though. | ||
| Just a bowl of green. | ||
| But it was the most incredible taste. | ||
| Yes, right, right, right. | ||
| But yeah, but they're like, they're making things like, yeah, they're addressing as many senses as possible now. | ||
| Yeah, like Tom's bread looks good. | ||
| Yeah, looks like something you want to eat. | ||
| He's got like a perfect crust on the outside with those little slices on the top of the circle of the bread. | ||
| Like, look at this. | ||
| See how he gets that? | ||
| Yeah, I know. | ||
| Come on, man! | ||
| And you're like, oh, this has to, we have to take care of this. | ||
| Yes, it's art. | ||
| It's art, too. | ||
| It's a temporary art form. | ||
| We just think of art as something like that Buddhist statue or something that just lasts forever. | ||
| Yeah. | ||
| But there's some art, like a sandcastle. | ||
| It's just temporary. | ||
| Well, you know, in a weird way, music is kind of like that. | ||
| If it's not recorded, right? | ||
| Yeah, well, no. | ||
| I mean, if it is recorded. | ||
| Because you only experience it temporarily, but it exists as an idea in your head. | ||
| You know, like a ghost image of it. | ||
| But then when you listen, listen to it. | ||
| When you press play and you listen to it, it's happening in real time. | ||
| As soon as you stop it, it no longer exists. | ||
| So you're still just like in the kind of shadow memory of it. | ||
|
unidentified
|
Right. | |
| If you're not interacting with it, it doesn't exist. | ||
|
unidentified
|
Yeah. | |
| Wow. | ||
| Yeah. | ||
| Imagine if there was something like that you could do with smells, right? | ||
| Because smells are the one sense that doesn't get any love. | ||
| Like your eyes, people make all these beautiful things, right? | ||
| Your ears, people make beautiful music. | ||
| But you got like perfume, cologne, and some fucking flowers. | ||
| That's all you got. | ||
| And weird shit, like patchouli, where they're like, settle down. | ||
| Settle down. | ||
| Settle down with your wooden beads. | ||
| Settle down. | ||
| Settle down with your instinct. | ||
| Yeah. | ||
| Those incense sticks. | ||
| Amber sticks. | ||
| Amber smells. | ||
| By the way, Miss Pat, after she was on, she sent me incense. | ||
| Did she send it to you, too? | ||
| Black pussy incense. | ||
| What? | ||
| Because she was talking about it on the podcast. | ||
| Did she make one? | ||
| No, she was just talking about crazy incense flavors that she's aware of. | ||
| Oh, wow. | ||
| And then she was saying she uses them, or people use them. | ||
| I mean, the thing is, you know that there's a niche market where people are making custom incense with names like that. | ||
| Like, they legitimately are naming them that way because it's a hip thing. | ||
| Yeah, that's a very specific kind of person, right? | ||
| If you're an incense person, you have some kind of rug on the floor, like some kind of Persian-type rug, it's Miss Pat. | ||
| That's just it. | ||
| Yeah. | ||
| So what is it? | ||
| Oh, butt naked. | ||
| Hey, Jeff Rogan could have sent you some of these. | ||
| One says butt naked. | ||
| What is the other ones? | ||
|
unidentified
|
Oh, yeah. | |
| Black love. | ||
| Yeah, there you go. | ||
| Black butter. | ||
| Yeah. | ||
| Pussy. | ||
| Do you know Miss Pat? | ||
| No. | ||
| Oh, my God. | ||
| You got to meet her. | ||
| She's one of the funniest human beings on earth, for sure. | ||
| Damn. | ||
|
unidentified
|
Damn. | |
| One of the funniest people I've ever met. | ||
| Like right up there with Joey Diaz. | ||
| Shit. | ||
| She's so funny. | ||
| She's ridiculous. | ||
| Like you leave a podcast with her and your fucking face hurts. | ||
| Someone said that if you get John Witherspoon, Joey Diaz, and Miss Pat on a podcast together, we would like break the space-time continuum. | ||
| Are you going to do it? | ||
| Fuck yeah. | ||
| I would love to do that. | ||
| But I would shut my mouth. | ||
| I wouldn't say a word. | ||
| I would just want them to have fun. | ||
| Do you know John Witherspoon? | ||
| I don't know. | ||
| Dude, he came out with his son. | ||
| His son, JD, is a comic as well. | ||
| Yeah. | ||
| I met JD at the comedy store and we were talking about his dad. | ||
| I'm like, your dad is... | ||
| He's like an epic human being. | ||
| He's so fucking funny. | ||
| And he's like, let me get my dad to come in and do the podcast. | ||
| I'm like, yeah, let's do it. | ||
| I would love to have you guys on. | ||
| Come on. | ||
| So it might actually be my idea. | ||
| I don't remember how it came out. | ||
| But anyway, he comes in here and it's like the son is completely normal. | ||
| JD's intelligent. | ||
| He's funny. | ||
| He's very... | ||
| You know, you're not shocked by him. | ||
| He's a funny, smart guy. | ||
| Yeah. | ||
| But his dad is from another planet. | ||
| Everything he says is funny. | ||
| The way he says it is funny, he does not give a fuck. | ||
| Oh, I know that cat. | ||
| Yeah, dude, he's been in everything. | ||
|
unidentified
|
Yeah, I know that cat. | |
| He's on, like, his own groove. | ||
| He's on this, uh, I don't give a fuck times a million groove. | ||
| And he's been doing it a long time. | ||
| Even his son's laughing. | ||
| He's like, see? | ||
| This is what I grew up with. | ||
| That is crazy. | ||
| He's so funny. | ||
| That guy, you can make him funny in a movie. | ||
| You give him a good movie part, he'll do great in it. | ||
| But he will never be able to compare to him just being him in the moment. | ||
| Because you lose that in the moment thing. | ||
| Well, you know, he doesn't have anything planned out. | ||
| He's not reading a fucking script. | ||
| The guy just for three hours is just hilarious about anything. | ||
| About shoes. | ||
| He's hilarious about money. | ||
| He's hilarious about his drink. | ||
| He wants to put his money in his pocket and rub it. | ||
| Yeah, he can hit any angle. | ||
| Anything is fair game. | ||
| He's doing a kind of art, the art of being him. | ||
| This is what me and his son were talking about, and this is why it relates. | ||
| He's doing an art form, but it seems like he's just being himself. | ||
| And he is! | ||
| But he's figured out how to be himself that is the most hilarious to the most people. | ||
| And it's a matter of whether or not you can plug that into a movie successfully. | ||
| Maybe. | ||
| The best thing about him, just let him talk. | ||
| Just let him talk. | ||
| Fuck your scripts. | ||
| This guy's got a thing. | ||
| He's got a thing. | ||
| It's an art. | ||
| It's just like cooking. | ||
| It's just like music. | ||
| There's an art to being a person, even. | ||
| Yeah, for sure. | ||
| Why are some girls sexier? | ||
| Is it just biology? | ||
| Or is there an art to the way they communicate with you? | ||
| Like, when people are being flirtatious and they're talking to each other, there's an art to that. | ||
| There's like a little bit of a dance going on there. | ||
| Yes, absolutely. | ||
| Some people are better at it. | ||
| Yeah. | ||
| I mean, yeah. | ||
| I mean, it's, you know, what gets your attention? | ||
| I mean, there's so many factors. | ||
| Right. | ||
| It's, like, also, like, what you tend to view, what's the first cue that generally will set you off, whatever that is. | ||
| Experience as you were a kid or, you know, someone, your aunt or whatever was really cool and your cousin wasn't really sexy and those two, a combination of those two elements are, like, something that you hit. | ||
| But I will say, like, yeah. | ||
| I think it's just someone who's, when they're comfortable with themselves, they just have a... | ||
| It also depends on what you're looking for, too. | ||
| Yep, yep. | ||
| But, because there's a co-resonance. | ||
| There has to be a... | ||
| Just like art. | ||
| Just like music, like we were talking about. | ||
| Do you like it or not? | ||
|
unidentified
|
Right. | |
| Music, to you, it might be the greatest song of all time. | ||
| To Jamie, he's like, eh, I can take it or leave it. | ||
| Yeah, yeah. | ||
|
unidentified
|
It's weird. | |
| And then you can have an argument about it, which is really sweet. | ||
| But no one's ever right. | ||
| The bottom line about that stuff is, if you love Motley Crue, you love Motley Crue. | ||
| It's not that there's anything wrong with Motley Crue. | ||
| I'm glad you used that example. | ||
| But if you're fucking at home by yourself going, girls, girls, girls. | ||
|
unidentified
|
If you're loving it, that's art. | |
| Why are we so judgy? | ||
| I do that with Whitesnake all the fucking time, man. | ||
| I've told this story before, but a dude sent me in a Whitesnake cassette. | ||
| It's in the office. | ||
| Because I had a girlfriend that made me throw it away after I got in a car accident. | ||
| I had a Whitesnake cassette in my car. | ||
| Oh, what? | ||
| Why'd she make it? | ||
| Because she thought it was bad juju? | ||
| She was really into telling me what to do. | ||
| She was older than me. | ||
| Okay. | ||
| And she's packing up all my stuff because my car was broken. | ||
| I got T-boned. | ||
| And as I'm grabbing all my stuff, she's like, leave that. | ||
| I go, leave what? | ||
| She's like, leave the Whitesnake. | ||
| You gotta get over that music. | ||
| And I was like, really? | ||
| She's like, yeah, it's terrible music. | ||
| She was in, like, the Pixies, that kind of shit. | ||
| I don't even know if the Pixies existed back then. | ||
| I loved them, too, but I also loved Whitesnake. | ||
| There's a thing that people do, though, where they only like things that make them appear smart or interesting. | ||
| And it's like a hustle. | ||
| Like, you tell people you're really into Indian food. | ||
| You might really be, but there's also a thing you're doing. | ||
| Like, you're that person that's only into the cool stuff. | ||
| But, like, that fucking Whitesnake song is badass. | ||
| That Here I Go Again. | ||
| Yeah, it's awesome. | ||
| They only had a few that were, like, really good. | ||
| But that song is fucking banging to this day. | ||
| Is This Love? | ||
| That's a sexy video. | ||
|
unidentified
|
Oh, that's right. | |
| That was good. | ||
| The video is, like, one of my favorite videos. | ||
| It's, like, the coolest, even though it was 80s and it was, like, hyper 80s, it's one of the few videos, to me, in my mind, that... | ||
| That had a style that kind of approaches timeless. | ||
| Really? | ||
| Yeah, in a way. | ||
| How good is this weed? | ||
| The sincerity of it. | ||
| I mean, that video is sexy with Tawny Katane and her moving around the bed or whatever. | ||
| It was classy. | ||
| It was sexy. | ||
| It was very adult kind of feeling. | ||
| Let's watch it. | ||
| Shit. | ||
| But she looks amazing. | ||
| And I love him just leaning on the wall like that. | ||
| I mean, it's like... | ||
|
unidentified
|
Come on, man. | |
| This is... | ||
| It's a brick wall. | ||
| Look, he's like Mr. Cool Guy. | ||
| Yeah, it's totally cool! | ||
| It's done in such a sincere way, but it's just on the right side of me still thinking that it's fucking great. | ||
| It's great art direction. | ||
| It's promoting ridiculous interactions. | ||
| Yeah. | ||
| Promoting a ridiculous relationship. | ||
| Just fucking talk. | ||
| What is all this drama? | ||
| I mean, that shit, look at those shots. | ||
| His hair, it's amazing. | ||
| His hair is wonderful. | ||
| I mean, he's very serious about what he's singing. | ||
| He's like a better looking Luke from General Hospital. | ||
| Remember Luke and Laura? | ||
| Yes. | ||
| That guy is like a better looking Luke. | ||
| That's so hilarious. | ||
| His hair is preposterous. | ||
| I know. | ||
| Everybody's hair is just like off the charts. | ||
| Imagine if you had a friend that just had hair like that. | ||
| Like, hey, let's go hit the gym. | ||
| He's like, hey man, you want to go get a gallon of hairspray in that shit? | ||
| It's primped out. | ||
|
unidentified
|
That's just, I mean, back then... | |
| That's just crazy to me. | ||
| You know what it is? | ||
| That's white hair, bro. | ||
| Yeah. | ||
| You have the solution to that. | ||
| Yeah, yeah. | ||
| Your hair, you just, it's fantastic. | ||
| You don't have to do anything. | ||
| Yeah, exactly. | ||
|
unidentified
|
Yeah, yeah. | |
| It's a totally lazy... | ||
| It's chaos, though. | ||
| It's lazy. | ||
| Yeah, it's chaos, but at the same time, like, ah, you know. | ||
| Right, but there's no work involved in that chaos. | ||
| It's a beautiful chaos. | ||
| Oh, I see what you're saying. | ||
|
unidentified
|
You know what I'm saying? | |
| As opposed to like, you know, you got one of them picks and you're spraying picks and spraying. | ||
|
unidentified
|
Oh, yeah. | |
| To get his hair that big. | ||
| Oh, I know. | ||
| There's a lot of work involved there. | ||
| That's a shit ton of hairspray. | ||
| There's a lady off set. | ||
| It's just to keep putting. | ||
| Yeah. | ||
| Constantly checking symmetry. | ||
|
unidentified
|
Here, Michael. | |
| Look at you. | ||
| I mean, the guitar, the band, White Snake, the band, it was the supergroup of hard rock. | ||
| Or metal, I guess. | ||
| It kind of bleeds into that, like classic metal. | ||
| There's been a few of those supergroups. | ||
| This one freaked me out, man. | ||
| I'm like, get off the car! | ||
| What are you doing to the She's a car lady! | ||
| It's like, she just doesn't care, man. | ||
| She's rude! | ||
| She's doing cartwheels on the car. | ||
|
unidentified
|
She's wild. | |
| Look how serious. | ||
| That's what I mean, man. | ||
| He's really serious about what he's singing about. | ||
| Yeah, look. | ||
| And he's got three synth players in a row, by the way. | ||
| Yeah. | ||
| Look at that. | ||
| Yeah, what is that? | ||
| I mean, that's kind of hardcore. | ||
| I wish we could play this, because it's so wonderful. | ||
| I do love the idea, I mean, the hair color combination in the car, I mean, it's good. | ||
| You know what this is? | ||
| This is what happened when the war on drugs had a brief victory. | ||
| This is what happened. | ||
| Oh, I thought you were talking about the band for a second. | ||
| Yes, I am. | ||
| You are talking about the band? | ||
| The times. | ||
| Really? | ||
| The times. | ||
| What happened here, the difference between Jimi Hendrix and this, is the absence of drugs. | ||
|
unidentified
|
Oh. | |
| This is music created on the match. | ||
|
unidentified
|
Well, this is coke. | |
| Yeah, probably. | ||
| Probably, yeah. | ||
| This is definitely... | ||
| Maybe a little Coke every now and then, but it's not created by Coke. | ||
| Yeah, but it's like high-end party vibe. | ||
| These guys are living the high-end party shit. | ||
| Sure, I guess. | ||
| I guess that's where they're coming from. | ||
| But to me, that's why someone described the NS10s, the classic studio monitors, like when you're switching between different types of speakers. | ||
|
unidentified
|
I don't know what that is. | |
| Can you show me what that looks like? | ||
| Yeah, yeah, yeah. | ||
| See, right now you and Jamie are on the same frequency. | ||
| He's an audio guy. | ||
| Oh, yeah. | ||
| Yeah, well, they're like this classic mixing, like Auratone, and they're just like speaker systems that have kind of become standards to a certain degree. | ||
| Yeah. | ||
| And the weird thing about NS10s, it's like in the 80s when they were using them, I believe that's the right name for it, but in the 80s when they were using them, It was really... | ||
| It had so much harsh high-end. | ||
| It was so crispy sounding. | ||
| And they said it was because of... | ||
| Yeah. | ||
| It's because of Coke usage. | ||
| What? | ||
| And Coke usage creates... | ||
| Basically, brains tend to favor different sound frequencies under the influence of different drugs. | ||
| And with Coke, they like that high-end, crispy sizzle that was hitting all the time. | ||
| And that was all amplified. | ||
| So then, when you hear 80s music, it tends to be... | ||
| It's mixed, not all of it, but a great deal of it is mixed with a lot of upper-mid trouble-ness to crispiness. | ||
| That totally makes sense. | ||
| Sometimes albums need to be remastered because of that. | ||
| Wow! | ||
| But that speaker is responsible. | ||
| This is what I heard. | ||
| This is second-hand information, but it makes sense. | ||
|
unidentified
|
Yeah, but you're a musician. | |
| That makes sense to you, right? | ||
| It does totally make sense to me. | ||
| I mean, it's one of those subtleties that you may never think about, but then when you hear about it and you learn about it, it blows open a whole new way of thinking about things. | ||
| Well, I don't know this, but that's what everybody's always said about the dead and LSD. Exactly. | ||
| Yeah, that if you, like the people that don't get the dead, and I'm guilty of being one of those people. | ||
| Yeah, I'm not a huge fan, but I respect them. | ||
| It's because you haven't listened on LSD. Apparently, according to people that I know, you listen to the dead on LSD and you're like, oh my god, I get it. | ||
| Oh, I see. | ||
| I see. | ||
| Interesting. | ||
| It's LSD music. | ||
| Yeah, totally. | ||
| My cousin used to follow them around. | ||
| Really? | ||
| She followed them around for, god, I want to say a couple years. | ||
| Where she was on tour, they would sell bacon and eggs out of the car. | ||
| She was a total hippie. | ||
| That's sick. | ||
| Like a real, super legit hippie. | ||
| That's kind of sick. | ||
| That's rare. | ||
| So I got to talk to her about the culture. | ||
| Everyone's on acid. | ||
| So many of them are doing acid. | ||
| Mushrooms, acid. | ||
| I want to say every one of them, but it's probably half, which is crazy for a concert. | ||
| Imagine going to a concert and half the people are doing mushrooms. | ||
| I know. | ||
| 100% of the time, half the people. | ||
| I don't know if I'm... | ||
| Those are some pros, man. | ||
|
unidentified
|
I will say that. | |
| If you're yelling at me right now, going, it's not half! | ||
|
unidentified
|
You don't know the number! | |
| I'm sorry. | ||
| I'm just guessing. | ||
| I think it's psychedelic-inspired music that once you're under that psychedelic, apparently it makes sense. | ||
| And this is not me talking from personal experience. | ||
| Yeah, yeah, yeah. | ||
| I mean, it could be one of those things where... | ||
| There's a photo that's slightly out of focus. | ||
| And then if you bring in another... | ||
| Or better yet, a code. | ||
| It's like you get a picture of something and you're like, I can't tell what it is. | ||
| It's abstract. | ||
| And then you put this other layer on it and it completes it. | ||
| And you're like, oh, that's what it is. | ||
| In a way, I can imagine that being true. | ||
| But I can also say... | ||
| Once you've experienced music that really ignites your imagination, if you hear music that sounds amazing on LSD, it should also sound amazing to you, personally. | ||
| Not on it. | ||
| How you can tell that it would be even more amazing if you were on LSD, but it already sounds great. | ||
| It's like... | ||
| To me, quality is like it exists in all states. | ||
| So like it's just – anyways, that's kind of how I look at it. | ||
| It's an interesting perspective, but you would think – Definitely the people see things differently when they're under the influence of certain things. | ||
|
unidentified
|
Sure. | |
| Absolutely. | ||
| You don't think there could be a tipping point? | ||
| Oh, I think you're right. | ||
| And to your point, yes. | ||
| I do think that there is music where you're like, I don't know, man. | ||
| And then you listen to it on mushrooms or whatever. | ||
| And you're like, oh, fuck. | ||
| This is dope. | ||
| I remember the first time I listened to Whole Lotta Love when I was high. | ||
| Yeah. | ||
| And you know that period? | ||
| There's a period in the middle of the song where it's all just thimbles and fuck music. | ||
| It's like, ah, ah, ah! | ||
| Oh, yeah, yeah, yeah, yeah, yeah, yeah. | ||
| And then it comes... | ||
|
unidentified
|
Yes. | |
| Goddamn, I love that song. | ||
| But when you listen to that song high, you're like, these guys were wild. | ||
| Oh, yeah. | ||
| I mean, this is the 1970s, right? | ||
|
unidentified
|
Yeah. | |
| And these guys made a song where it started off great, and then for a minute and a half, it was just moans and fuck sounds. | ||
|
unidentified
|
Chish, chish, chish. | |
| Shake for me, baby. | ||
| I want to be your backdoor, man. | ||
| Hey! | ||
| Ho! | ||
| What? | ||
| I was looking up this LSD, Grateful Dead thing. | ||
| So their sound engineer, who went under the name Bear, which if you know anything about the Grateful Dead, they use the Bears. | ||
| He was one of the only scientists when LSD was outlawed that could still make it. | ||
| Wow. | ||
| That was the sound guy? | ||
|
unidentified
|
Yeah. | |
| Oh, Jesus Christ. | ||
| He made over 5 million doses between 65 and 67, it says. | ||
|
unidentified
|
Whoa. | |
| Jesus Christ. | ||
| So they had their own personal guy, and he was the one that was making the sound. | ||
| If that guy's still alive, man, they would put him in jail for the rest of it. | ||
| Yeah, so they were strictly formatted for LSD. Right here says he died in a car accident. | ||
| Oh, in Australia. | ||
| That's probably on the wrong side of the road, because he was on acid. | ||
| That's quite possible. | ||
| Don't get mad. | ||
|
unidentified
|
What the fuck? | |
| He's my hero! | ||
| I just cracked a joke. | ||
| But that's amazing. | ||
| So they had their own built-in chemist. | ||
| God, that must have been a good time. | ||
| That's so cool. | ||
| I love that because that's responsible. | ||
| I think that that's the responsible thing to do. | ||
| To just know your own chemist. | ||
| That way you're not buying any nonsense. | ||
| You're getting it from a guy who's a chemist. | ||
|
unidentified
|
Yeah. | |
| This is your person that personally makes this stuff for you. | ||
| You know where it comes from. | ||
| How many people got busted at those concerts? | ||
| Did Feds or the DEA ever crack down on those concerts? | ||
| You said you worked security at Amphitheater. | ||
| I did two for a summer, and one of the concerts we did was for Phil Leschies, the bass player of the Grateful Dead. | ||
| My job for that day was to walk around the parking lot, and they would just yell, me and my buddy were 19 years old, six up, six up. | ||
| They thought we were going to arrest everyone. | ||
| And they would try to give us the goo balls, which have a bunch of drugs in them already, to sort of dose us so that we'd leave everybody alone. | ||
| What's a goo ball? | ||
| It's like a popcorn ball, but from what I was told, I've never had one. | ||
| A bunch of psychedelics and all sorts of shit. | ||
| Oh, there's psychedelics in it? | ||
| Yeah, it's just like a thing you would eat. | ||
| Oh, Jesus. | ||
| Oh, I've never heard of that. | ||
| You didn't know what you were eating? | ||
| Yeah. | ||
| You just took a chance? | ||
| Oh, my God. | ||
| This gets you high. | ||
| Imagine the first guy. | ||
| Oh, high? | ||
| The first guy to stumble on mushrooms. | ||
| I was like, what the fuck? | ||
| Mushrooms had to have been relearned at some point in time. | ||
| There had to be some people that lived in an environment where there was no mushrooms, where people didn't get them, and then someone found them somewhere, but they didn't have any personal knowledge of what it was and tried it and ate it and tripped. | ||
| That had to have happened. | ||
| Yeah. | ||
| I mean, I think, you know, it could also be like, hey, I'm foraging for blah, blah, blahs. | ||
| And because, you know, arguably they would say mushrooms are around like way, way, way. | ||
| Some people, you know, not so scientific, perhaps, I don't know, or maybe scientific, have surmised that maybe consciousness or self-awareness came from our species running into some kind of a psychedelic event. | ||
| Yeah. | ||
| Hyper self-awareness loop or whatever. | ||
| You know why that one deserves a lot of attention? | ||
| Because people are so resistant to it. | ||
| Like really rational, intelligent people are so resistant to it. | ||
| And it's almost... | ||
| To resistant to what? | ||
| To that concept. | ||
| Oh, yes. | ||
| The concept that maybe our consciousness was somehow influenced by a psychedelic. | ||
| But to a man, almost to a man, all the... | ||
| I shouldn't say that even. | ||
| I'm overgeneralizing, but many of those people have not had psychedelic experiences that dismiss them so readily. | ||
| That's true. | ||
| The people that have had psychedelic experiences that tend to be skeptical or more rational, they're not going to have a definitive position on it. | ||
| They're going to go, well, hmm... | ||
| Yeah, right. | ||
| That's something to consider. | ||
| It's more measured. | ||
| Yeah. | ||
| But then there's the hardliners. | ||
| You know, there's the hardliners on both sides. | ||
| The hardliners who definitely believe that happened and the hardliners who believe that they don't have any positive effects whatsoever. | ||
| Yeah. | ||
| Yeah, totally. | ||
| They're both almost equally foolish. | ||
| Exactly. | ||
| Yeah. | ||
| Yeah, I mean, that's what we're experiencing right now. | ||
| But at least the people that have experienced it, they know what they're talking about. | ||
| The people that haven't experienced it and don't think it's worth trying, like, all right. | ||
| Right. | ||
| Like, how do you know? | ||
| Yeah, I know. | ||
| If all these people are saying that it's amazing, and that it might be literally the source of religion itself, and so many people, when they've had it, they have these complete life changes, where they just rethink things and want to be kinder to people and nicer to people and want to just have more of a sense of community. | ||
|
unidentified
|
Yeah. | |
| And then people dismiss that. | ||
| But yet they'll take... | ||
| Yoga seriously and meditation seriously. | ||
| And they'll go to a therapist all the time. | ||
| And maybe they'll even get on antidepressants. | ||
| Maybe they'll get on a little bit of Xanax. | ||
| I'm having a little anxiety issues, Reggie Watson. | ||
| And then they're scared of mushrooms. | ||
| It's weird. | ||
| Very interesting. | ||
|
unidentified
|
Yeah. | |
| I mean, I get it. | ||
| I get it. | ||
| I don't know. | ||
| Oh, I get it, but it's a flaw. | ||
| Yeah, it is a flaw. | ||
| I mean, I guess if your job is to take in as many angles as possible to a problem or a situation or a concern or whatever, weigh all of the things about all of it and then come up with a solution based off of that. | ||
| And this isn't even encouraging anyone to do it, but this is just saying to dismiss it as being not important when you've never done it is nonsense. | ||
| Yeah. | ||
| That's all I'm saying. | ||
| That's all I'm saying. | ||
| It's like, I'm not saying you should do it. | ||
| I don't think... | ||
| I know a lot of people that birth to grave have done no psychedelics, and they're great, and they're wonderful people, and they have a great life, and they had a wonderful experience. | ||
| It's not a prerequisite. | ||
| It's not a necessary thing. | ||
| No. | ||
| I don't agree with that. | ||
|
unidentified
|
But if you haven't had it, you might want to shut the fuck up. | |
| Yeah. | ||
|
unidentified
|
If you're speaking on the issue of it, yeah, of course. | |
| Are you kidding? | ||
| You might want to shut the fuck up. | ||
| And I was like, well, the research shows... | ||
| Oh, you're going to let the research show you what the experience is? | ||
| Let me tell you about the research... | ||
| Five dried grams in silent darkness, as Terrence McCrenum would describe and prescribe. | ||
| Yeah, do that. | ||
| Oh my gosh. | ||
| Do that, and then we'll talk. | ||
|
unidentified
|
Yeah. | |
| You know? | ||
| Just have one quick DMT trip, and then we'll talk. | ||
| Because there's no way—I think it would be difficult. | ||
| I'm sure there's someone who has done psychedelics and still says no. | ||
| Sure. | ||
| Yeah, yeah, yeah. | ||
| But I would say that most people, they would understand at least—maybe they didn't have a great time, but they would at least understand— The power of that experience. | ||
| I think some people have the burden of intelligence. | ||
| And what I mean by that is that they're really smart and they see a lot of people around them that are silly. | ||
| And they experience that so often that they get weary and they get rigid in their belief that their opinions are correct because they dismiss most of the people that are around them. | ||
| Because you're around a bunch of dummies if you're a really smart guy or a smart girl. | ||
| It's hard. | ||
| It's hard to maintain a good perception of what things are and what things aren't when you're the smartest person in the room. | ||
| You kind of never want to be the smartest person in the room. | ||
| Yeah. | ||
| And also, yes, and also believing that you are, in a way, excludes you from including other people who are also smarter than everybody in the room. | ||
| Well, maybe not even smarter. | ||
| But I know what you're saying. | ||
| They're not limited by an ideology. | ||
| Their perspective isn't dimmed. | ||
| Right. | ||
| Yes. | ||
| They see things clearly, which is, I think, one of the most underrated forms of intelligence. | ||
| Like, there's all this intelligence in solving mathematical problems and social intelligence, but there's a bunch of different kinds of intelligence. | ||
| Absolutely. | ||
| Being able to see through the bullshit is an intelligence, and some people just don't have it. | ||
| Yeah, no, absolutely. | ||
| And I think that, you know, at the same time, wanting to help someone see that angle is also an important thing. | ||
| So if you're someone who's like, oh shit, let's say it's this, maybe you're trained in tactical awareness and you just have a different way of being in a room where you sit, what you think about, all that stuff. | ||
| And a situation arises where you're like, And potentially something dangerous could happen or whatever. | ||
| Then being able to explain that idea and that type of awareness so that someone can see that is also possible. | ||
| Like sharing it, they may not get it to the extent that you do, but they at least you've included it in their viewpoint. | ||
| Yeah. | ||
| Yeah, maybe. | ||
| Well, people that are soldiers, they do have a weird way of entering the room. | ||
| My friend Andy Stumpf, he's always sneaking up on me. | ||
| He says, you got no situational awareness. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| I'm like, we're in a crowd. | ||
| What am I supposed to do? | ||
| Just constantly on 360 looking for danger? | ||
|
unidentified
|
That's so crazy. | |
| I mean, yeah, that's what he's saying. | ||
| Yeah, that is what he's saying. | ||
| That is what he's saying. | ||
| But that's because he's a seal. | ||
| Yeah. | ||
| That's how they look at things a whole lot different. | ||
| That's how you stay alive. | ||
| Exactly. | ||
| Yeah. | ||
| I think one of the things that's super important for people to recognize and helps them open their mind up to other opinions is that even if they favor themselves very highly, that competitive thing of comparing your intellect and your reason to other people, it's very limiting. | ||
| Instead of worrying about yourself, if you're smart, just be smart. | ||
| But just appreciate other intelligences. | ||
| Just get into talking to them. | ||
| That's my thoughts on it. | ||
| Instead of being competitive with them, get into trying to find out how they work. | ||
| Because there's a lot of different humans on this planet. | ||
| And we have this egocentric position, almost everybody does, that they're at least better at one thing than other people are. | ||
| Or they know some more about one thing than other people do. | ||
| And it's a weird competitive thing that people get involved in. | ||
| It's stupid. | ||
| You should recognize that it's awesome to have cool people around you that are really smart and interested in weird shit and intelligent and inspiring. | ||
| You almost envy their creativity. | ||
| Those are massively important people to have in your life. | ||
| But when people get – they feel weird about comparing themselves to the other person because they come up unfavorably. | ||
| That's insane. | ||
| Exactly. | ||
| You see that with a lot of guys. | ||
| Guys puff up chests and start comparing how much their houses cost. | ||
| Like literally doing stuff that you're like, oh, we're still doing this? | ||
| To my mind, I'm like, oh shit, you guys aren't aware of it like a way that I... But anyways, yeah. | ||
| That kind of thing. | ||
| You guys are doing some 1990s shit here. | ||
| Yeah, because it's like... | ||
| I know, because either they're doing an act, which I'm always hoping... | ||
| I'm always hoping. | ||
| That's why there's disbelief when it really is what it is. | ||
| I'm like, oh shit. | ||
| Oh, that's for real. | ||
| That's actually the thing. | ||
| It's weird, right? | ||
| Yeah, it's a little weird. | ||
| Some people have a lack of cool people around them, too. | ||
| That's a real problem. | ||
| You get stuck in a shit. | ||
| It's like a good tomato plant is not going to grow in the fucking Sonora Desert. | ||
| There's no nutrients there. | ||
| It's too bright. | ||
| The sun's too hot. | ||
| It's not the right climate. | ||
| Yeah. | ||
| Right? | ||
| If you're stuck in some fucking shithole city and it's just your whole neighborhood's filled with dummies and there's no prospects and there's fucking lead in the water, you got Flint, Michigan water you're drinking, they still haven't fixed that. | ||
| No. | ||
| People have to drink bottled water in Flint, Michigan. | ||
|
unidentified
|
Yeah. | |
| In 2019. Yep. | ||
| How did they let that ever get to that point? | ||
| Like, out of all the things you need. | ||
| Well, what do we need to stay alive? | ||
| Number one, water. | ||
| Okay, let's ignore that. | ||
| Let's ignore that and work on the cracks in the streets. | ||
| Let's ignore that and have new traffic lights that have cameras on them to bust you so we can get more revenue. | ||
| Let's make sure we hire parking tenants. | ||
| What about the water? | ||
| We can get to that. | ||
| We'll get to that water. | ||
| Yeah. | ||
| Well, it's my new phrase for our situation, because capitalism. | ||
| Because the current version of capitalism. | ||
| Is it capitalism? | ||
| I don't even know enough about economics. | ||
| I mean, it's more just like a philosophical idea. | ||
| Right, but can you have capitalism with regulation so that you make sure that there's no pollution? | ||
| You make sure that people don't get away with environmental disasters? | ||
| Yes, of course. | ||
| And aren't we also going on the fucking momentum of decisions that were made a long time ago? | ||
| Like a lot of this stuff, like a lot of these mines that pollute everywhere, pollute environments, wherever they are, they kind of made those when environmental laws were different, right? | ||
| Yeah, for sure. | ||
| I mean, environmentalism wasn't really a thing until the mid-1900s, I guess. | ||
| Roosevelt was a huge environmental groovy dude. | ||
| But the idea of preserving swaths of land and considering the environment when growing an economy simultaneously, that just stopped. | ||
| Like there's like some national parks stuff and maybe some things pass with like ozone, some lead stuff, some mercury stuff, you know, kind of common sense, really hardcore shit that should definitely – like no brainers. | ||
| Those have been done. | ||
| But anything else, making sure that that balance is there as the economy grows just doesn't exist. | ||
| It's just the way capitalism is right now. | ||
| It's like it doesn't – that's not considered a value. | ||
| Yeah. | ||
| In fact, the more scarce it becomes, the higher in value it is. | ||
| So it's in its own best interest to continue to grow and grow and grow until it can't grow anymore. | ||
|
unidentified
|
Jesus. | |
| You freak me out, man. | ||
| So that's why decisions like that are made, in my mind. | ||
| Well, decisions that impact the wilderness and impact the environment. | ||
| Like, did you ever see that movie Gasland? | ||
| No. | ||
| Great documentary on fracking. | ||
|
unidentified
|
Oh, wow. | |
| It's really crazy. | ||
| What is the director's name? | ||
| Josh Fox? | ||
| Brolin. | ||
| No. | ||
| Are you sure? | ||
| It's a different guy, bro. | ||
| No, there's no way. | ||
| No, it's a different guy. | ||
| There's no way. | ||
| But it's an amazing documentary. | ||
| Josh Fox. | ||
| Josh Fox. | ||
| I got it. | ||
| Josh Fox. | ||
| It's a really good documentary. | ||
| Who is Josh Fox? | ||
| He's a guy who made the film. | ||
| Yeah. | ||
| He was inspired by a personal experience with, wasn't it? | ||
| Do you remember the actual story, Jamie? | ||
| It's like personal experience with some pollutants or something like that in the river. | ||
| But got into it anyway, made this amazing documentary. | ||
| And watching people dismiss some of the stuff in the documentary was so surreal. | ||
| Oh, yeah. | ||
| They were lighting their tap water on fire. | ||
| And I don't know if you saw that. | ||
| I did see that, yeah. | ||
| That's crazy. | ||
| People literally were saying, you could do that before the fracking. | ||
| It's not because of the fracking. | ||
| Wow. | ||
| People were saying that. | ||
| Like, okay, let's assume that's true. | ||
| Let's just get crazy and assume that's true. | ||
| Their fucking water is on fire! | ||
| That's the last shit that should be on fire, is the shit they use to put out fire. | ||
| If your goddamn water's on fire, do you know how much shit has to be in your water for it to be on fire? | ||
| Okay, what's going on here? | ||
| And why are you so sure that this didn't come from fracking? | ||
| And that you could always light your water on fire, and now you're telling us? | ||
| Like, you didn't make videos about this before? | ||
| Before there was a fracking thing? | ||
| Yeah, show me a video that has that. | ||
| Let me see. | ||
| Are you sure? | ||
| That would be interesting. | ||
| Are you really sure that there's... | ||
| Have you tested the water? | ||
| Are you a fucking scientist? | ||
| Are you sitting over there with a lab coat and a fucking check sheet? | ||
|
unidentified
|
Yeah. | |
| Making sure that the toxin levels are exactly the same before and after fracking? | ||
| No, you're not. | ||
| But why are you so interested? | ||
| There's a thing that people do where they're like really interested in the interests of big business. | ||
| And they want to like... | ||
| Yes. | ||
| And regular people. | ||
| Who don't even have a financial stake in that business will make up excuses for the business. | ||
| I know. | ||
| It's crazy. | ||
| What is that? | ||
| It's fear. | ||
| Just fear of losing jobs. | ||
| People losing jobs or losing the thing that keeps their bills paid. | ||
| It's also like that no-nonsense right-wing mindset. | ||
| There's like a no-nonsense right-wing mindset. | ||
| Oh, these fucking tree-hungers. | ||
| Goddamn tree-huggers. | ||
| Oh, yeah. | ||
| Trying to stop us from making a good living. | ||
| You want those people to be poor? | ||
| You ever see the look on a poor coal miner's face? | ||
| Yeah, yeah. | ||
| You know what I mean? | ||
| There's that thing that they do. | ||
| Yes. | ||
| That no-nonsense. | ||
| So they want to go with anything that's good for the economy, but bad for the environment. | ||
|
unidentified
|
Exactly. | |
| Which is crazy. | ||
| It's totally crazy. | ||
| You have to factor in the additional cost. | ||
| How much can it cost to fix what you did? | ||
| And if you ever can fix what you did, and if you can't fix what you did to the environment, how much should that cost? | ||
| Because if you decide, like, hey, I'm going to pull copper out of this fucking hole in the ground, but it might kill a million salmon. | ||
| Like, can you imagine how much a million salmon would be worth? | ||
| You're going to kill a whole population of salmon? | ||
| How much is that worth? | ||
| Like, you ruin fishing for all the people that want to come to this one salmon river. | ||
| You kill a million fish. | ||
| Like, how much is that worth? | ||
| That should be worth a billion dollars. | ||
| You should get fined a billion dollars, if not more. | ||
| You can't even fix that. | ||
| That's what I'm saying. | ||
| That value, it has no value. | ||
| Well, the thing is, also, it's ours. | ||
| I know. | ||
| Poisoning is our stuff. | ||
| I know. | ||
| That's what I mean. | ||
| It's the earth. | ||
| It's just the worst because it's not a part of the equation for growing the economy. | ||
| And I know there's going to be people listening that just know about this shit. | ||
| Hardcore. | ||
| I'm just approaching it from an over-philosophical, energetic viewpoint. | ||
| Right, right. | ||
| We're being hippies. | ||
| Yeah, we're being weirdo, hippie-ish. | ||
| We're stoned. | ||
| We don't even know what the fuck we're saying. | ||
| We're stonzers. | ||
| Have you ever seen some of the image of the mining that they do, the images of the mining they do in northern Canada, like northern Alberta? | ||
| No. | ||
| Dude. | ||
| It's like some hellscape shit. | ||
| It's crazy. | ||
| There's a giant industry of oil mining up there, and there's all kinds of mining in northern Canada. | ||
| A lot of folks that go up there and they do shifts, but I mean, you're talking unbelievably, brutally, ruthlessly cold. | ||
| occasionally people get jacked by bears like really they're living with monsters just outside the gates on some fucking night's watch type deal where they're trying to suck oil out of the ground and I mean there's so much of it up there and it's such a big part of the economy that you have these giant like aerial views of these places that are just fucksville oh Wow, man. | ||
| There's one of them. | ||
| The one that I saw was much more horrific because it involved a lake. | ||
| So what does it say? | ||
| Photos. | ||
| Fame photographer Alex McLean's new photo of Canada's oil sands are shocking. | ||
| Yeah. | ||
| I mean, it's creepy. | ||
| I mean, but there was nothing there anyway. | ||
| The idea is like, hey, if it's just flat like that or it's ugly because we have holes in it and oils coming out of the holes, who gives a shit? | ||
| No one's up here. | ||
| Right. | ||
| I get it. | ||
| I get that mindset. | ||
| We got jobs. | ||
| Everyone has jobs. | ||
| And it's true. | ||
| It's a great job to have. | ||
| They make a lot of money. | ||
| You meet those dudes that come to a lot of shows when you do in Canada. | ||
| They have a name for them. | ||
| Like, really rich oil worker fellows. | ||
| Yeah, it's real rich oil worker fellows. | ||
| That is the nickname. | ||
| That's one that I saw. | ||
| When you see the water all fucked up, it's all filled with oil and shit. | ||
| Oh my lords. | ||
| Yeah. | ||
| That's the water, man. | ||
| Look at that. | ||
| The water's fucked. | ||
| Wow. | ||
| Yeah, it's funny. | ||
| All of the issues, all of the imbalances are completely solvable. | ||
| There is no deficit. | ||
| We don't have a deficit in what it would take to just make good decisions that make life really nice for most people on the planet. | ||
| Yeah. | ||
| I think a lot of managing has to be done because there's a lot of stuff that has unintended consequences and moving pieces affect all the moving pieces around them. | ||
| Of course. | ||
| I think that's one of the things that people are really bad at predicting. | ||
| That's why I was saying, like, you know, how much is it worth to be able to get copper out of a hole in the ground if it's going to poison a river and kill a bunch of fish? | ||
| How much is that worth? | ||
| Yeah. | ||
| You know, it's like these people have this sense that Like, you make one decision and it only affects that thing. | ||
| But it doesn't. | ||
| It affects a lot of things that are connected to that thing. | ||
| It also affects the way people feel. | ||
| If you do something shitty like kill a million fish, people get bummed out. | ||
| Like, that's real. | ||
| It affects the way they interact with other people. | ||
| You know, when you read something really fucked up on the news, you're like, God damn it. | ||
| And so you leave your house like that. | ||
| You leave your house like, God damn it. | ||
| Yeah. | ||
| Two people that have that God damn it, and then they get upset at each other for something they wouldn't before. | ||
| Yeah. | ||
| Because they're just thinking there's a bunch of pedophiles out there, and a bunch of monsters, and a bunch of murderers, and a bunch of people pouring oil into the ocean. | ||
| Yeah. | ||
| I know. | ||
| It's a bummer. | ||
| It changes... | ||
| When people do fucked up things, it changes how we feel about people. | ||
| 100%. | ||
| And I don't know. | ||
| I get... | ||
| I don't know. | ||
| I try not to get overwhelmed by those things, but it's like really the best thing, at least in my life, that I try to do is make friends with as many technologists and designers and people of that ilk to be able to at least be a part of the conversation. | ||
| Because they're like at the head of the wave. | ||
| There's nothing really in front of them. | ||
| They're just on that bleeding edge or whatever. | ||
| But it's just like the place where... | ||
| Chaos is being ordered and the decisions are being made which ways we're going to do that. | ||
| And if you can have good conversations with people like that, you can kind of, I believe, you can kind of help steer things, at least technologically, to allocate funds to different portions of technology that should be more prioritized than they are. | ||
| Yeah. | ||
| Just figuring out things like accumulating water out of the air. | ||
| More of that should be used. | ||
| Reducing carbon emissions. | ||
| All the various things you can do for that. | ||
| Try to close that gap between the ultra, ultra, ultra, ultra rich and the poor. | ||
| Everyone can still be super happy. | ||
| If everyone had access to be able to level up To a point that's ridiculous, that can still happen, but not at the levels that they are. | ||
| Well, isn't that interesting that instinct that people have to resist that idea that poor people shouldn't be somehow or another, we should engineer a way to have less poor people. | ||
| That we should consider it as a problem. | ||
| But people get really resistant to that, right? | ||
| You start thinking, oh, no, no. | ||
| What do you want to do? | ||
| You want to take my fucking money and give it to someone else? | ||
| No! | ||
| Taking my money! | ||
|
unidentified
|
Fucking socialists! | |
| Taking my money! | ||
| Yeah, it's like, well, he didn't work for it, so he didn't find the right way to work inside of the system, so he's a failure. | ||
| I'm sorry. | ||
| I don't think they're right. | ||
| I don't think they're wrong about the whole concept of not giving people money doesn't solve a problem. | ||
| No. | ||
| It doesn't solve a problem. | ||
| But recognizing that it's a problem and engineering it so that we have a better society where more people are doing good, that's great for everybody. | ||
|
unidentified
|
Totally. | |
| It's great for the economy. | ||
| It's a weird caste system thing where people who are really poor, you almost want them to stay really poor. | ||
| Yeah. | ||
| I don't get it. | ||
| It's a weird thing. | ||
| I don't get it. | ||
| Because I feel uncomfortable. | ||
| If I'm in a room of people and I feel like someone's being kind of just looked over consistently, that's the person I'm going to engage with the most. | ||
| Well, you're a great guy. | ||
| That's awesome. | ||
| But you are. | ||
| I mean, that's a good way of looking at it. | ||
| I mean, because it's – and also it's just like, well, thanks, but it's also just a practical thing, right? | ||
| I mean, if you're sensitive to this, if that's part of your value system, is to feel like, you know, not everybody should be doing this or this or that or that, but everybody's entitled to be recognized and respected for that. | ||
| And so that's kind of a cool place to operate from. | ||
| But I guess what I'm relating to economically is Yeah, if more people are doing well, then you have a very productive society. | ||
| So there are no drags on it. | ||
| There's a lot dragging this economy. | ||
| Sure. | ||
| It's just like... | ||
| Yeah, crime and poverty. | ||
|
unidentified
|
It's just getting gummed up. | |
| Drug addicts. | ||
| Yeah. | ||
| And a lot of drug addicts come from abuse. | ||
|
unidentified
|
Yes. | |
| A lot of abuse comes from poverty. | ||
| There's a lot of those factors that play in there that make us a weaker country. | ||
| That's why I tell people, if you're really patriotic, you'd want to fix all of the impoverished neighborhoods. | ||
| Yes. | ||
| If we're a team, the team is stronger when there's less losers, right? | ||
|
unidentified
|
Totally. | |
| When people are not losing in life. | ||
| Well, people are losing because they're stuck in a spot where they can almost never get out, and by the time they're 18, they've already been in jail twice, and they're kind of programmed by their environment to be hostile because the world around you is harsh and nasty and doesn't give a fuck about you. | ||
| Well, you have to adapt to survive. | ||
| I mean, that's how people are able to kill people in war. | ||
| People have a remarkable ability to adapt. | ||
| Yes. | ||
| But the idea that they should be able to figure that out When you didn't have... | ||
| That's crazy! | ||
| That's crazy! | ||
| It's such a bad hand! | ||
| They have the worst hand of cards ever! | ||
| Yeah. | ||
| And they're us. | ||
| We're all on a team. | ||
| Like, if you really say you're American, I'm American, man. | ||
| I don't fucking support this country. | ||
| This country's everybody, man. | ||
| Yeah. | ||
| Everybody. | ||
| I agree. | ||
| Everybody. | ||
| Forget it. | ||
| Let's leave just for convenience sake. | ||
| Let's leave out illegals. | ||
|
unidentified
|
Yep. | |
| And only say the poor people that were born here that are registered United States citizens. | ||
| We got work to do. | ||
| Oh, yeah. | ||
| We got work to do. | ||
| It's just insane to me. | ||
| I mean, I see it and I'm like, oh, fuck, man. | ||
| That shouldn't be a thing. | ||
| No. | ||
| But I see... | ||
| Why? | ||
| You know, it's like you're talking about. | ||
| There's this weird biological human instinct to create a tiered system of society because that's the way you control society. | ||
| It's like creating a transmission. | ||
| It's like a social transmission. | ||
| And, like, that is... | ||
| That's an interesting way of looking at it. | ||
| Yeah, because it's like that way you can manipulate. | ||
| You can like switch gears and you can play them off of one another. | ||
| And, you know, and I think like... | ||
| That's some conspiracy thinking shit right there, bro. | ||
| You just went deep. | ||
| Playing them off against each other. | ||
| I'm like, well, is he right? | ||
| Is he right or is it convenient? | ||
| Is it just convenient that people want to keep – it's crabs in a bucket, you know, that expression. | ||
| Crabs never get out of the bucket because the other crabs grab them and drag them down. | ||
| Yeah, yeah, it's true. | ||
| I mean, it's predicting human behavior, you know, to a certain extent. | ||
| It's a lot of that leftover monkey stuff. | ||
| Yeah, man. | ||
| It's the... | ||
| It's not... | ||
| It's just... | ||
| It's still here. | ||
| It's still here. | ||
| And it's fucking shit up. | ||
| Well, we also needed it just a hundred years ago. | ||
| Totally. | ||
| Yeah. | ||
| People were doing duels when they were... | ||
| The president was doing duels just a couple hundred years ago. | ||
| Yeah, you're right. | ||
| That shit is so recent. | ||
| You're right. | ||
| Yeah. | ||
| Barbaric shit, man. | ||
| Shooting each other with little mini muskets in the fucking street in front of everybody. | ||
| And you were the president. | ||
| Is that true? | ||
| Was there a president that got in a duel? | ||
| That is true, right? | ||
| I think you're right. | ||
| We looked it up. | ||
| It was Andrew Jackson got in like over 100 duels, I think, but the duels weren't like that duel type thing. | ||
| It was really just like a challenge to see if you would show up, really, and then like... | ||
| Oh, they talked about it? | ||
| It wasn't really like always like someone died at every single one. | ||
| Did he shoot anybody? | ||
| He did, but I think only like one person. | ||
| Oh. | ||
| Oh, because usually they didn't... | ||
| They have a crazy story about it. | ||
| They don't aim at each other. | ||
| That's why I heard that there was like, you kind of like aim near them. | ||
| Really? | ||
| Something like that. | ||
| Yeah, and that was a way to concede. | ||
| In one duel, he got shot, I think, in the chest, but he was such a badass, he stayed. | ||
| He put his hand over it and held it, because his gun jammed when he was supposed to fire, so the other guy got him, and then he fixed his gun, shot the guy in the head, and that guy ended up dying. | ||
| I'm pretty sure that's how the one guy he killed. | ||
| You have a real motivation to kill a guy when he shoots you in the chest. | ||
| That shit became real. | ||
| Yeah, you're like, eliminate threat now. | ||
| This becomes real. | ||
| And the guy just has to stand there. | ||
| He can't even run away. | ||
| How goofy is that? | ||
| You have to stand there and let a dude shoot you. | ||
| That's part of the deal, right? | ||
|
unidentified
|
I don't think you can turn around and go, oh my god, help! | |
| You can't be like, I went, bitch, and just run. | ||
| I'm out of here! | ||
| You have to kind of stand there. | ||
| There's a guy named Charles Dickinson, not the writer, but a horse, a rival horse breeder. | ||
| And here's the account of their goal. | ||
| Oh my god. | ||
| Okay, here it goes. | ||
| On May 30, 1806, Jackson and Dickinson met at Harrison's Mills on the Red River in Logan, Kentucky. | ||
| At the first signal from their seconds, Dickinson fired. | ||
| Jackson received Dickinson's first bullet in the chest next to his heart. | ||
| Jackson put his hand over the wound to staunch the flow of blood and stayed standing long enough to fire his gun. | ||
| Dickinson's seconds claimed that Jackson's first shot misfired, which would have meant that the war was over. | ||
| But in a breach of etiquette, Jackson re-cocked the gun and shot again. | ||
| This time killing his opponent. | ||
| Although Jackson recovered, he suffered chronic pain from the wound for the remainder of his life. | ||
|
unidentified
|
Ugh. | |
| Damn. | ||
| Jackson was not prosecuted for murder, and the duel had very little effect on his successful campaign for the presidency in 1829. Many American men in the early 1800s, particularly in the South, viewed dueling as a time-honored tradition. | ||
|
unidentified
|
Ha ha! | |
| Wow. | ||
| Dude, that was just a couple hundred years ago. | ||
| We were barbarians. | ||
| They're like, well, sometimes you just gotta do it. | ||
| That is a time-honored tradition. | ||
| 200 years ago, people were so goddamn crazy that you could shoot someone in the fucking face in a duel, a street fight, and then run for president and win. | ||
| Yeah, it's consensual. | ||
| I mean, there are versions of that now. | ||
| That's amazing. | ||
| But yeah. | ||
| His divorce raised more of a scandal than him killing that guy. | ||
| Wow. | ||
| How is that possible? | ||
| Wow. | ||
| I mean, again, priorities. | ||
| Different societies. | ||
| Yeah, what was gossip like back then? | ||
| Gossip magazines didn't have hand-printed newspaper with gossip in it that they would hand out? | ||
| Yeah. | ||
| Why would his divorce become a big deal? | ||
| They had the printing press back then, right? | ||
| Oh yeah, for sure. | ||
| The United States got theirs in 1856. Like everyone had to buy into it. | ||
| People were so goofy. | ||
| Just a couple hundred years ago, they were so goofy. | ||
| I mean, that's one of the best examples of a difference and a shift in culture. | ||
| Imagine hearing that today. | ||
| Imagine hearing that we had slid so far down that Trump and Putin were engaging in a duel, and they were going to go back to back, and Trump cheated and shot him. | ||
| Yeah, I wonder who would cheat who. | ||
| Well, if that happened, if Trump took a bullet, but his gun misfired, and then he re-cocked it and fired again. | ||
| Oh, that would be a Trump thing to do. | ||
| But that's what he did. | ||
| That's what Jackson did. | ||
| Oh my gosh. | ||
| Was it Jackson? | ||
|
unidentified
|
Yeah. | |
| Yes. | ||
| Okay, so he married Rachel Jackson, who, this is part of the duel because the guy who killed Dickinson had publicly called her a bigamist because she married Jackson not knowing her first husband had not finalized the divorce or something like that, so that was a bigger scandal that he was married to some already married woman. | ||
|
unidentified
|
Oh! | |
| And that got outed, so he's like, fuck you, I'm gonna kill you. | ||
| Oh my goodness. | ||
| Wow. | ||
| So he challenged him to a duel because of that. | ||
| Jackson challenged him to a duel? | ||
| Yeah. | ||
| And a reneged horse bet, he said. | ||
| Oh my god. | ||
| A horse bet. | ||
| Oh, you can't cheat on horse betting. | ||
| Those are two big things, man. | ||
| Don't say a man's wife is a bigamist. | ||
| That's what they're shooting people over. | ||
| Fucking horse bets and shit. | ||
| Yeah, those are barbarian people. | ||
| And that's our ancestors, just 200 years ago. | ||
| It's like very civil. | ||
| Civil barbarianism. | ||
| Civil barbarianism. | ||
| It's like, well, we're barbarians, but there are rules. | ||
| Well, that's one of the more hilarious stories of the Revolutionary War, right? | ||
| The way the British soldiers dressed was so silly. | ||
| They literally put a target on their fucking chest. | ||
| They made their vitals lighter. | ||
| You shoot guns. | ||
| If you can see things clearly, it makes a much more viable target. | ||
| Period. | ||
| And you're talking about people that didn't have any sights on their guns. | ||
| In terms of optics, obviously. | ||
| They had little machined sights, little metal sights. | ||
| But the way these guys walk towards them, especially the ones with the X's on the chest, that shit is so ridiculous. | ||
| They're walking bullseyes. | ||
| It's the dumbest thing. | ||
| Wow. | ||
| And the only thing that makes sense to me is that they had just had it easy for too long. | ||
| Not even easy, but they were in control for too long. | ||
| They got a little silly. | ||
| They forgot how barbaric people can be. | ||
| Well, they're thinking about fashion. | ||
| Well, that's the weirdest fashion, right? | ||
| That was what they used for wartime? | ||
| That's like they're professionals. | ||
| You know what I mean? | ||
| Soldiers looked a little bit more like, hey guys, we're professional soldiers and we're... | ||
| It doesn't look like good clothes for fucking people up in. | ||
| No, it looks cool. | ||
| Yeah. | ||
| But what a weird outfit, right? | ||
| That military... | ||
| It's really weird. | ||
| How much hand-to-hand combat were they doing? | ||
| Because there wasn't a lot of swords. | ||
| They were just jerking each other off. | ||
| That's all they did. | ||
| They just got in the woods and... | ||
| Because if they knew any jiu-jitsu, someone could choke everyone out with that. | ||
| With those outfits? | ||
| Yeah. | ||
| I bet that clothing doesn't move good, too. | ||
| I mean, I'm just guessing, but I think their fucking cloth was probably dog shit back then. | ||
|
unidentified
|
Yeah. | |
| Probably real stiff, hard to move around in. | ||
| It's just a weird outfit. | ||
| It's not like... | ||
| If you were to run through the woods and fire a gun, you want to wear it like soldiers wear today. | ||
| And you want to be able to blend in. | ||
| But it's just so strange that that wasn't even a concern back then. | ||
| They had knee-high leggings. | ||
| They had weird shoes. | ||
| Wars were more like chess. | ||
| Like the soldiers and all the different rank and file, they were all like... | ||
| Pieces on a chess board. | ||
| So it's all about strategy. | ||
| It's like, we'll line our men up this way and we'll do this and blah, blah, blah, blah. | ||
| It's more like that's how battles are being organized is like chess games. | ||
| You want to know how goofy? | ||
| Before it got gorilla. | ||
| Right, right, right. | ||
| Well, it was gorilla at first, and then it became... | ||
| No, that's true. | ||
| Because it was like Mongol days. | ||
| They were lighting people on fire and using them as catapults. | ||
| Yeah, by any means necessary war. | ||
| Those shoes did not have tread. | ||
| They hadn't invented tread on shoes yet. | ||
| That's how goofy people are. | ||
| Yes. | ||
| They had leather shoes. | ||
| So the soles were leather. | ||
| So they were scuffed up. | ||
| But there was no tread. | ||
| I bet you some soldiers like figured out how they wrapped, you know, like took leather and wrapped layers, you know, around the foot so it created at least traction. | ||
| Because if you think like you take like a trail running shoe... | ||
| And do you ever wear like a Solomon Speed Cross trail? | ||
| Oh, I love those. | ||
| Yeah, they're great. | ||
| They have these big divots in the bottom. | ||
| You can really dig into the dirt with those things. | ||
| Yeah. | ||
| If you had to compare yourself running up a hill in cowboy boots that have the flat, leather, smooth, slippery surface versus... | ||
| You would fall on your fucking face. | ||
| Yeah, there's no way you'd have any confidence going up that hill. | ||
| Yeah, nothing. | ||
| But those Solomons, you just dig in and go. | ||
| It gives you a totally false perception of reality. | ||
| Like, I have... | ||
| Those Vibram five-finger running shoes. | ||
| Oh, yeah, yeah. | ||
| And I run in the trail ones, which have a good amount of tread in it. | ||
| But one day I tried to run in the ones that aren't trail ones. | ||
| They're basically just for the gym. | ||
| They're super thin. | ||
| There was no tread at all. | ||
| I was falling on my fucking face. | ||
| My legs would just go, whoops! | ||
| Just kick out from going uphill. | ||
| Your legs just go, whoopsies! | ||
| There's no tread. | ||
| No tread at all. | ||
| It's just slippery. | ||
| I couldn't imagine that. | ||
| If you're running up a stiff hill, you need divots. | ||
| You need something that's going to help you. | ||
| They didn't even have that back then. | ||
| They just had leather. | ||
| Did you find tread? | ||
| I sort of found a shoe. | ||
| I think it says it was from the Revolutionary War, but it doesn't show the tread. | ||
| It's just a fucking old piece of leather that's wrapped around his foot. | ||
| See, don't tread on me. | ||
| That was their shoes back then. | ||
| Bullshit-ass shoes. | ||
| But the bottom was just fucking leather. | ||
| I mean, I wonder when they figured out like Vibram leather soles, you know? | ||
| I mean, rubber soles, where they figured out how to get those like thick, deep treads in. | ||
| There's some slave shoes from the Civil War time. | ||
| Yeah, those are clogs. | ||
| Wow. | ||
| Basically, they just borrowed that Dutch technology. | ||
| Yeah, wooden shoes. | ||
| Fuck that. | ||
| Look at those things. | ||
| Wow. | ||
| Dude, this is a couple hundred years ago. | ||
| People would just take animal skin off and chop it up and put it on their body. | ||
|
unidentified
|
I love it. | |
| That's how people stayed alive. | ||
| I like how they figured out wood and leather. | ||
| I wonder who the first fucking monkey was to figure out how to skin an animal and wear its skin. | ||
| You know, it had to be like in the monkey days, right? | ||
| No, it feels like it'd be a couple generations away from the monkey days. | ||
| Don't you think? | ||
| Maybe. | ||
| I just can't imagine a monkey doing that. | ||
| One mean motherfucking chimp, and they were going north, and there's one dude who always annoyed him. | ||
| So he kills him with a rock, and then uses the rock to take his fucking skin off and wears it to freak everybody else out. | ||
| But then he realizes it makes him warm. | ||
| Oh, yeah. | ||
| And he can go a little further north. | ||
| Uh-huh. | ||
| It's like a movie. | ||
|
unidentified
|
Okay. | |
| I like it. | ||
| Can you see that scene? | ||
| I can see that. | ||
| That's what the entire movie leads up to. | ||
| I wonder when the first monkey figured out he could kill an animal with a tool. | ||
| Like Australopithecus or one of those primitive humans. | ||
| When the first one was that stabbed something, like stabbed a rat or a rabbit with a stick and went, holy shit. | ||
| Right. | ||
| I can just use this tool. | ||
| Yeah. | ||
| What other tools can I make? | ||
| I'm going to start eating. | ||
| Yeah. | ||
| I'm going to eat good. | ||
| Because if you didn't have a weapon, how hard is it for a person to kill something with your hands? | ||
| What are you even going to get? | ||
| What are you going to catch? | ||
|
unidentified
|
Yeah. | |
| What the fuck can you catch with your hands? | ||
| You can't catch a squirrel. | ||
| Just your hands, no tools. | ||
| You'd be hunting and gathering mostly. | ||
| I mean gathering, I would say. | ||
| Yeah, you'd be eating shit that you found on the ground. | ||
| Yeah, that's primarily what you would eat. | ||
| And then once in a while you'd get something, an animal. | ||
| But yeah, you're right. | ||
| They obviously had to figure out different ways of getting animals. | ||
| Well, it's one of the shifts that they think took place that allowed the human brain size to double over a period of two million years. | ||
| Oh, really? | ||
| Human brain size, apparently, I was listening to a Terence McKenna lecture on this once, and he was talking about all the human brain size doubled over the period of two million years. | ||
| It's one of the biggest mysteries in the fossil record. | ||
| And his idea was that they discovered mushrooms. | ||
| In that the chimps, over this period of time, or the monkey people, whatever the fuck they were, ancient hominids, had discovered mushrooms after the climate had shifted. | ||
| And he backs it up. | ||
| He did back it up. | ||
| I believe he's dead now. | ||
| He backed it up with some climate data that we know from core samples and stuff like that. | ||
| He thinks that they... | ||
| We experienced climate change where the rainforest had receded in the grasslands and that this gave birth to the rise of undulates like cows and deer and things like that. | ||
| And they would shit and these mushrooms would grow on their shit. | ||
| And then they've observed a lot of these monkeys in the wild picking up cow patties and looking for grubs and beetles underneath it. | ||
| Oh, I see. | ||
| And they think they might have experimented with the mushrooms. | ||
| And that if they experimented with psilocybin mushrooms, a lot of things could take place once they realized that it was not just a viable food source, but also provided them with a bunch of different benefits. | ||
| One being their vision. | ||
| It increases visual acuity. | ||
| I know. | ||
| It's so weird. | ||
| Especially in low doses. | ||
| So it would make them see things better. | ||
| Two, it makes them hornier. | ||
| It makes them more communal. | ||
| And it makes them more creative. | ||
| And all those things possibly could have given birth to language and to a lot of other things. | ||
| They also think it's possible that that creativity could have enabled them to start hunting. | ||
| They started using tools and thinking and trying to figure out ways around stuff and trying to figure out how to make an effective weapon to kill something at a distance. | ||
| The more they're thinking and becoming creative, the more that stuff's enhancing them. | ||
| And this period of two million years is like a pretty profound jump for the human brain size. | ||
| They think some of that also came to do with our desire to kill things with weapons. | ||
| That once we started hunting and eating meat, we got way more protein, more bioavailable protein. | ||
| It was healthier for the animal, for the human animal. | ||
| And then we also started to try to figure out other better ways to kill these animals, which made us even more creative and competitive. | ||
| Yeah, yeah. | ||
| And they think that all these factors might have taken place that turned us into a person. | ||
| That's pretty amazing. | ||
| Two million years. | ||
| Yeah, it's just like a deviation. | ||
| Well, you know what's even crazier? | ||
| 65 million years ago, we were like a mole. | ||
| Oh, yeah. | ||
| People were like a little shrew. | ||
| That's our ancestor. | ||
|
unidentified
|
That's right. | |
| I remember that. | ||
| What's the name of that thing? | ||
| I don't know, man. | ||
| I think it's the Fnorf-Crispyspys. | ||
| What is this? | ||
| Snorf-Crispyspys. | ||
| I think you're right. | ||
| Say it again. | ||
| One more time, please. | ||
| I'm going to write this down. | ||
| The Snorf-Crispyspys. | ||
| It was like a weird little mole thing. | ||
| Crisp-Crispyspys. | ||
| That's what it is. | ||
| Yeah. | ||
| It's a little tiny rodent. | ||
| Yeah, because I did a podcast. | ||
| No, I toured with... | ||
| What is it, Jamie? | ||
| Oh, there it is. | ||
| I don't know. | ||
| The alias of, what is that word? | ||
| Utherian mammals was a small rat-like creature depicted in this illustration that lived 145 million years ago in the shadow of the dinosaurs. | ||
| So that rat-like creature apparently survived the asteroid impact. | ||
| I don't think that's the thing, though. | ||
| There's a formal name for it. | ||
| I know because I was on a podcast and one of the segments of it, they talked about this thing. | ||
| But the only reason why I'm skeptical is because it says 145 million years ago, but I guess maybe they survived the impact. | ||
| Scroll back up to the top where the title says. | ||
| These rodent-like creatures are the earliest known ancestors of humans, whales, and truce. | ||
| Oh, okay. | ||
| That's what's even more crazy. | ||
| We used to be a whale. | ||
| Or our ancestors, we shared a common ancestor, I should say. | ||
| Yeah, we like went into the sea and then stayed on land. | ||
| That thing, that fucking rat became a whale. | ||
| What? | ||
| Maybe that's it. | ||
| Utheria, there it is. | ||
| Okay. | ||
| That turned into a person, folks. | ||
| Think about that when you're setting your rat traps. | ||
|
unidentified
|
I know. | |
| A hundred million years from now, rats might be some super superior human form. | ||
| I think that's very possible. | ||
| I mean, I get why Christians are skeptical now. | ||
| I'm like, what do you – show me your work. | ||
| God made this. | ||
| God didn't – I was not a rat. | ||
| I was not a rat, sir. | ||
| Yeah, I just appeared. | ||
| But in essence, here's a way to kind of maybe justify that argument. | ||
| It's like, let's say the mushroom thing is true, right? | ||
| So in essence, humans became humans with the intervention, if you will, of a natural psychedelic substance, which then expanded the mind and enabled the growth of that mind, the acceleration of intelligence, self-awareness, which then expanded the mind and enabled the growth of that mind, the And so in essence, like God created man or whatever, like that idea. | ||
| It's like, well, in essence, it is the unit. | ||
| If you think of God as the universe or whatever, that's one way of thinking of it. | ||
| God, collective consciousness, whatever you want to call it. | ||
| Like, that intervention or the ability to see or sense that expansiveness of that collective intelligence could be attributed to God. | ||
| So therefore, you could say, well, I was never a blah, blah. | ||
| It's like, well, yeah, you are from that, but what created you was something more cosmic. | ||
| If that's even true. | ||
|
unidentified
|
Yeah. | |
| Well, I was reading a quote today that someone was mocking from Piers Morgan. | ||
| We were talking about atheists and not knowing what happened before the Big Bang. | ||
| No one has any answer for what happened before the Big Bang and about how this made sense to him. | ||
| That... | ||
| I think the way he was saying it was somehow or another, it was evidence, or at least in his eyes, of something more superior. | ||
| Oh, here it is. | ||
| Atheists can never say what was there before the Big Bang. | ||
| They just say nothing, and they can't explain what nothing actually is. | ||
| No human brain can, which is why I believe in something that has superior powers to the human brain. | ||
| Well, that makes sense. | ||
| Oh, Brian Cox went after his ass. | ||
| What did Brian Cox say? | ||
| If you mean the hot Big Bang, then there may be a period of rapid expansion known as inflation. | ||
| This theory is able to account for the observed features of the universe, including the CMB power spectrum and the flatness and horizon problems. | ||
| I love it. | ||
| Brian Cox just came at him with the science. | ||
| I love it. | ||
| I know what he's trying to say. | ||
| That's how you do it. | ||
| I know what he's trying to say, what Pierce Morgan's trying to say, and he's right. | ||
| No one has an answer as to why this thing became, why the Big Bang happened. | ||
| There's an interesting quote by this guy we were talking about. | ||
| I forget who it was. | ||
| I wish I could remember. | ||
| But he was talking about how people have, it might have been McKenna, have so much faith in science. | ||
| And so little faith in mystical things, but yet science revolves on one initial theory where magic took place, where everything came out of nothing, that it was smaller than the head of a pin. | ||
| So everything you see in the observable universe, including planes, trains, and automobiles, all of it had to have had an origin in the most spectacular sorcery the world has ever known. | ||
| Like, it is all dependent upon magic. | ||
| So he wasn't... | ||
| He wasn't saying that, you know, ridiculous ideological ideas of the start and birth and death of the universe are fact. | ||
| But he was saying that, look, look, the fact, according to scientists, is that all evidence points to this whole thing coming out of nothing. | ||
| This whole thing, this whole thing existing out of nowhere. | ||
| And what Piers Morgan, I think, is saying is that that gives birth, that it gives proof that something superior to the human brain, which for sure it does. | ||
| This is Terence McKenna. | ||
| We are asked by science to believe that the entire universe sprang from nothingness at a single point and for no discernible reason. | ||
| This notion is the limit case for credulity. | ||
| In other words, if you can believe this, you can believe anything. | ||
| Well, I think I said it in a paraphrasical way. | ||
| That's basically the same thing. | ||
| He's, you know, just saying, like, it's all nuts, man. | ||
| Yeah, I mean, my thing is, like, I think, I like to think of it as in simulation terms, in the sense that if thinking of, like, reality and the way it's perceived and the way that we move through it is kind of a designed game of sorts. | ||
| And so if I think of it in that way, Like, nothing and something. | ||
| Nothing and something. | ||
| That's just kind of... | ||
| That's the core of our reality, right? | ||
| We live in a binary reality. | ||
| Everything is a complex assortment of binaries that add up into a really complex system. | ||
| Right. | ||
| In a way. | ||
| So... | ||
| What do you think it's moving towards? | ||
| Do you ever think about that? | ||
| Well, that's the thing. | ||
| I think that part of the rules or what makes it hard to rationalize, like, nothingness or something very, very fantastic... | ||
| It's just because it's binary, we are binary in our thought process. | ||
| So it's hard for us to not think of things in a binary way. | ||
| So we think, oh, there was a beginning. | ||
| No, there was an ending. | ||
| There was a beginning, there was an ending. | ||
| But really, it's infinite. | ||
| It's paradox, right? | ||
| It's everything and nothing simultaneously. | ||
| And the absence of which. | ||
| But I guess what I'm saying is that the idea that things are infinite, that reality is infinite, It's kind of a good way, but kind of can be scary, but a good way to think of it because it doesn't make any sense why it wouldn't be. | ||
| It seems like we have a limited way of viewing what reality is, and I think we're limited by our binary thought processes. | ||
| I guess. | ||
| Well, it's also interesting that we want to put any sort of limitations on the universe and that its immense size isn't crazy enough for us. | ||
| You know what I mean? | ||
| I know. | ||
| Or that, like, we could look at what we know, right? | ||
| That's funny. | ||
| If we know that the universe has hundreds of billions of galaxies, like, there's a bunch of competing theories as to what happens, you know, with black holes and whether or not there's multiverses. | ||
| There's a bunch of competing theories, right? | ||
| Yes, right. | ||
| But one of the most profound ones that it was ever explained to me is that there's a supermassive black hole in the center of every galaxy. | ||
| And it's exactly, I think, one half of 1% of the mass of the entire galaxy. | ||
| Oh, really? | ||
| It works out like that? | ||
| Yeah, so the bigger galaxies have bigger supermassive black holes. | ||
|
unidentified
|
Sick. | |
| And the concept is that it's... | ||
| There's a real possibility that going through that black hole you would encounter an entirely different universe with hundreds of billions of galaxies. | ||
| Each galaxy have a black hole in the center of it. | ||
| Go through that black hole an entirely different universe. | ||
| So each one Each universe, where you have hundreds of billions of galaxies, there's hundreds of billions of universes through those black holes, and each one of those galaxies, or each one of those universes, has also hundreds of billions of galaxies, and each one of those has a black hole, you go through that, hundreds of billions of galaxies, that the whole thing... | ||
| It's a fractal. | ||
| Exactly. | ||
| It just keeps happening. | ||
| There's a resistance. | ||
|
unidentified
|
No, come on! | |
| Yeah. | ||
| There's a thing, like an instant reaction to resist that notion, as if the universe itself isn't already the most incredible thing of magic. | ||
| Right, I know. | ||
| What do you care if it's infinite? | ||
| Why would you even resist that? | ||
| Well, because that's the part of the binary thinking. | ||
| It's like you want something to have an end. | ||
| It's a way for us to survive, but it's like, oh, there's an end to that. | ||
| That creates a... | ||
| A need to survive. | ||
| But when you think of things in an abstract way, like, well, if something is just infinite, infinite, infinite, what does that mean about us? | ||
| It's like, that's the question. | ||
| That's the thing to explore. | ||
| Because then you have to renegotiate your relationship to reality. | ||
| Yeah. | ||
| Which is pretty sick. | ||
| We have at least, we'd like to take comfort in the idea that the universe has at least, there's a certain parameter to it. | ||
| No, no. | ||
| It's 14 billion light years and that's it. | ||
|
unidentified
|
That's it. | |
| No more. | ||
| No more. | ||
| As if you can even understand what 14 billion light years is. | ||
| There's no way it could be that number. | ||
| It seems more like 19. But whatever that number is, the way Cox explained it to me. | ||
| Yeah. | ||
| And I believe Sean Carroll explained it this way as well. | ||
| There's a real lack of understanding about what goes beyond that because it takes a certain amount of time for light to even get to us. | ||
| And that time that the light doesn't move fast enough to reach us from further events. | ||
| So if you had something from like 200 billion light years ago, maybe the light wouldn't even get to us yet. | ||
|
unidentified
|
Yeah. | |
| Yeah, there's things that, yeah. | ||
| I mean, we're living in a time machine. | ||
| Yeah, I mean, that's the other mindfuck. | ||
| When you're looking in the sky and you're seeing a galaxy or any sort of star, like in the deep, deep, deep distance of space. | ||
| Yeah. | ||
| The fucking light coming from that thing left a million years ago. | ||
| Yeah, I know. | ||
| Or way more! | ||
| You're literally just looking at the past. | ||
| If you had to imagine, what is the closest star to our star in the seeable universe? | ||
| When you look up into the night sky. | ||
| Is it the dog star? | ||
| Is that a star? | ||
| Sometimes things are called stars, but they're planets. | ||
| From old school times. | ||
| And I could be wrong. | ||
| If you had to guess, what's the closest? | ||
| How many light years? | ||
| Alpha Centauri? | ||
| I don't know. | ||
| Yeah, that sounds great. | ||
| Alpha Centauri, is it? | ||
| How far away is that? | ||
| 4.3 light years from Earth. | ||
| Wow, that's not too bad. | ||
| That's a hop, skip, and a jump, kids. | ||
| If you could go to the speed of light, it'd take you four years. | ||
| I bet that's like the Hawaii of outer space. | ||
| They go there and there's a pit stop there before they come to Earth and the aliens come and they want to chill. | ||
| I... I hope so. | ||
| Alright, so, hold on, this is a... | ||
| Oh, shit. | ||
| Some breaking news. | ||
| No, not really, no. | ||
| Alpha Centauri is a... | ||
| It's a binary pair, so I imagine that means that they move around each other a little bit. | ||
| Yeah, they orbit around each other. | ||
| There's technically a third star, Proxima Centauri, which is... | ||
| Because it says those are an average of 4.3, this one's 4.22, so it's technically closer. | ||
| Nice. | ||
| So two are closer than the one. | ||
| On one day. | ||
| Now, do they know if there's planets around those stars? | ||
| So they didn't even know there were other planets, for sure, other than our solar system. | ||
|
unidentified
|
I know. | |
| Isn't that crazy? | ||
| Until just a couple decades ago. | ||
| It's so amazing. | ||
| To me, it's like shining a flashlight in the ocean. | ||
|
unidentified
|
Yeah. | |
| You know, like, that's what space is like. | ||
| Right. | ||
| It's like you're moving a beam, but, like, things are constantly changing at different distances. | ||
| Yeah. | ||
| You can see better under certain circumstances and you can see at different times. | ||
| So it's kind of like a big existential party. | ||
| You're like, I think I'm making sense of this. | ||
| And then there's all these theories and then someone catches another angle. | ||
| They're like, no, no, no. | ||
| I mean, yes, a little bit of what you guys were thinking, but also this. | ||
| And they're like, fuck! | ||
| And they just keep adding to it. | ||
| But I don't know if we're going to find necessarily anything. | ||
| Well, when you talk to physicists about the subject and they try to explain to you how they even reach these conclusions... | ||
| And how they know that there's black holes out there in the first place and these theories... | ||
| Fucking, like, these theories of multiverses and... | ||
| Yeah, that's my favorite. | ||
| ...and brains, the membranes, that there's, like... | ||
| Yeah, M-theory. | ||
| ...like, lines of universes, and we collide with each other occasionally. | ||
| Yeah, yeah. | ||
| What the fuck? | ||
| That's what I think ghosts are, by the way. | ||
|
unidentified
|
Ooh. | |
| Which was, like, in Interstellar... | ||
| Was it Interstellar? | ||
|
unidentified
|
Mm-hmm. | |
| Yeah, with Matthew Modine. | ||
| Is that the star? | ||
| McConaughey. | ||
| How dare you? | ||
| I know. | ||
| I'm pretty sure it was Modine, guys. | ||
| Vision Quest. | ||
| Vision Quest. | ||
| Oh my god. | ||
| Remember that? | ||
| Remember the Russian training with the log? | ||
| Yeah. | ||
| Up the stairs? | ||
| Yes. | ||
| No, he wasn't Russian. | ||
| Wasn't he? | ||
| No, no, no, no. | ||
| He was the chute. | ||
| Oh, yeah. | ||
| He was the ultra guy, right? | ||
| Yeah. | ||
| But there was like a guy training. | ||
| Or was he training or was the opponent training? | ||
| Well, Matthew Modine was training crazy, but he was trying to drop weight to go down to wrestle this guy that everybody was terrified of. | ||
| Yeah, that's right. | ||
| That's what it was. | ||
| But was Shoot the one that was walking with the log? | ||
| Yeah. | ||
| He was carrying a log up stadium stairs. | ||
| That's right. | ||
| That was so sick. | ||
| And he was super hardcore. | ||
| He's like, you think you're going to make the weight? | ||
| He goes, I hope so. | ||
| He goes, I hope so too. | ||
| And just kept walking with the log. | ||
| That's so good. | ||
| See if you can find that scene. | ||
| That's so good. | ||
| I mean, it's a great movie, man. | ||
| It's a great thing because that interaction right there is so genius because it tells you everything you need to know about both of those characters. | ||
| Yeah, exactly. | ||
| So they go, there he is. | ||
| There's a dude, this badass beast wrestler. | ||
| Of course he's by himself. | ||
| And his friend's got a fucking cool headband. | ||
| Well, his friend was a fake Indian. | ||
| Oh. | ||
| His friend lied about being a Native American. | ||
| Oh, so he could get into college? | ||
| No, he just thought it made him look cool. | ||
| Do I know you? | ||
| Do I know you? | ||
| Loud and sway, Thompson High. | ||
| Loud and sway, Thompson High. | ||
| Can you play this over the air? | ||
| No, no, don't. | ||
| We'll get pulled. | ||
| Yeah. | ||
| Think you're going to make the wait? | ||
| I hope so. | ||
| He's like, I hope so, too. | ||
| Just walking around with his log. | ||
|
unidentified
|
Boom. | |
| And everyone's scared. | ||
|
unidentified
|
Fuck. | |
| That dude's pretty big for 80s. | ||
| Yeah. | ||
| Well, he looked like a real wrestler. | ||
|
unidentified
|
Yeah, he looked real. | |
| Guys like Mark Schultz when he was competing in the Olympics, he was fucking jacked, man. | ||
| Yeah. | ||
| There were some jacked wrestlers back then. | ||
| Still is, obviously. | ||
| Yeah. | ||
| It's one of the more physically intensive things you can do. | ||
| You've got to add that protection. | ||
| That muscle protects you. | ||
| Yeah, it's also, I mean, just wrestling all the time, you're going to get strong. | ||
| Oh, yeah. | ||
| That too. | ||
| You get a certain kind of strength too. | ||
| You get that weird grip strength. | ||
| Oh, man. | ||
| I'm telling you, that shit is like, it's like immediate, like violent amounts of strength. | ||
| Like for grips and stuff like that. | ||
| Because I just remember my friend, he was a wrestler, and I was like, yeah, I don't know. | ||
| Wrestling, it seems pretty hard or whatever. | ||
| So here, let me show you a move. | ||
| And I was standing, I was looking at him. | ||
| And I just blinked and I was just out of breath on the ground, on my back. | ||
| Just like... | ||
| They're experts at throwing bodies around. | ||
| Just like... | ||
| I mean, it's like strength, grip, and being able to torque shit and make shit happen. | ||
| I mean, it's insane. | ||
| Well, if you think about things you do to get fit, right? | ||
| Like with sandbags and stuff. | ||
| People do a lot of extreme things, right? | ||
| They flip tires, throw sandbags. | ||
| Hammers. | ||
| Yep. | ||
| They take heavy bags, too. | ||
| They throw them over their shoulder. | ||
| Oh, yeah. | ||
| When you're wrestling, you're doing all that plus. | ||
| And plus, it's resisting. | ||
| Plus, another thing is trying to get you. | ||
| Right. | ||
| Yeah, it's super active. | ||
| It's like active strength is going to be a deeper form of strength. | ||
| Yes, yes, yes. | ||
| A range of motion strength. | ||
| Yeah. | ||
| That's why the worst kind of strength is like Nautilus machine strength. | ||
| Yeah, yeah, weight-assisted machines. | ||
| Not the worst kind of strength. | ||
| I shouldn't say that. | ||
| Those things all have their purpose. | ||
| They're really good for specific types of workouts and specific types of exercises where you're just trying to fatigue the muscles. | ||
| A lot of strength and conditioning athletes like to use those to bang out reps because they feel like there's less factors going on in terms of whether or not you could drop the weight when you're losing coordination because you're super exhausted. | ||
| It's safer. | ||
| It's safer. | ||
| think it's ideal for just right for sports specific for just overall strength because you're you're not getting balanced with it like if you if you go to heavyweights like free weights most people think that free weights are superior to a machine and Because you've got to balance that thing. | ||
| Push it up and you develop stability. | ||
| You're actually holding the weight instead of just pushing against, like using your force against something that's lined up on tracks. | ||
| Yeah, you're controlling it. | ||
| You have to control it the whole way. | ||
|
unidentified
|
Yeah. | |
| Yeah, so that's what wrestling is, but it's fighting back. | ||
| It's even harder. | ||
| Yeah, it's like on top of that. | ||
| So you've got a 180-pound dude who's also fighting back, and it's fuck. | ||
| Like, you're trying to pick him up and move him around, and he's also trying to get you at the same time. | ||
| Yeah, and it's all strategic. | ||
|
unidentified
|
Yeah. | |
| So you're, like, on a strategic, instinctual level. | ||
| Yeah. | ||
| I hope you're training and your reflexes and your intuition. | ||
| It's really interesting to watch really skillful technical wrestlers because they go from one technique to another and they just chain wrestle. | ||
| Watching a lot of those, particularly Russians, there's a lot of Russian, a lot of Soviet bloc athletes From years back even, we're really, really technical with their wrestling. | ||
| Really beautiful to watch them chain these techniques together and do these different moves to try to achieve dominance. | ||
| It's a crazy sport. | ||
| Yeah. | ||
| Whenever I watch it, it's like when I watch dance, I'm kind of moving with it. | ||
| I mean, it happens with all sports, I suppose. | ||
| But wrestling, it's just like the energy when I'm watching it, which has been very rare. | ||
| But in high school, I used to see wrestling matches. | ||
| My friend was a wrestler. | ||
| And I'd just be like, oh, man. | ||
| It's fucking exciting. | ||
| Yeah. | ||
| It's cool because it slows down. | ||
| It's fast. | ||
| It's slow. | ||
| It's fast. | ||
| They're exhausted. | ||
| Take a break. | ||
| They go in. | ||
| And then like nothing for a while. | ||
| Like really just like slow moves. | ||
| And then suddenly someone just does like this really weird. | ||
| And it just flips. | ||
| And it's like, I love that energy, man. | ||
| It's a different thing than any other sport. | ||
| Yeah, it's different than any other sport that's in the Olympics, too. | ||
| Like, the Olympics, you have boxing and wrestling, and then you have sports. | ||
| Judo? | ||
| Yeah, judo. | ||
| Even taekwondo. | ||
| They have taekwondo in the Olympics, too, now. | ||
| But the thing is that it's a different kind of sport, man. | ||
| It's a sport where people get fucked up. | ||
| Like, those are different. | ||
| They're just different. | ||
| It's a different feeling when you're watching it. | ||
| It's a different consequence when you fail. | ||
|
unidentified
|
Yeah. | |
| Yeah, yeah, yeah. | ||
| I mean, it's as close as you can get. | ||
| It's the closest thing to fighting. | ||
| Oh, yeah. | ||
| I mean, because fighting is mostly grappling. | ||
| It's a lot of it. | ||
|
unidentified
|
A lot of it. | |
| It's not everything. | ||
| Yeah. | ||
| But, like, at least, what, two-thirds? | ||
| Maybe? | ||
|
unidentified
|
Yeah. | |
| Well, no, I don't think so. | ||
|
unidentified
|
Okay, real fights. | |
| It's really like a street fight or an MMA fight? | ||
| Street fights go down pretty quick, right? | ||
| Sometimes they do. | ||
| But sometimes people get knocked out. | ||
| Sometimes people just get flatlined because they don't know how to strike and someone does and they punch them in the face. | ||
| That happens a lot, man. | ||
|
unidentified
|
Oh my god. | |
| There's a lot of videos. | ||
| I think I've seen some of those. | ||
| Yeah, I mean, it definitely does happen that a lot of fights go to the ground. | ||
| And I think jujitsu is a great thing to learn, and wrestling is a great thing to learn because of that. | ||
| Like, the ability to manipulate someone's body is really important. | ||
| But you also should understand what someone's doing if they're trying to punch you. | ||
| Some people just don't have any idea what's happening. | ||
|
unidentified
|
Yes. | |
| And they just get bong. | ||
| They're a fucking bell crack because they don't see a guy pulling his hand back. | ||
| They don't see the shift in weight. | ||
| Right. | ||
| They don't see someone about to punch them. | ||
| They don't see where the punch is going to come from, what direction that they have to avoid. | ||
| They don't see those things because they've never experienced it because they don't have a training. | ||
| They don't have any training in striking. | ||
| That's fucking dangerous, man. | ||
| Because if you lose to a wrestler or you lose to a jiu-jitsu guy, a lot of times a wrestler might beat you up on the ground. | ||
| He might ground and pound you. | ||
| But a jiu-jitsu guy is probably just going to choke you. | ||
| But a kickboxer is going to slam his fucking chin into your face. | ||
| You do not want that, man. | ||
| You do not want that. | ||
| Holy shit. | ||
| It's the worst way to lose. | ||
| The worst way to lose is to a striker. | ||
| Oh. | ||
| Did you see the UFC this past weekend? | ||
| No. | ||
| This is the fastest ever knockout in UFC history. | ||
| This guy, Jorge Masvidal, knocked out this two-time Olympic wrestler, Ben Askren, who's a beast of a wrestler. | ||
| They knocked him out in five seconds. | ||
| Because Askren went to shoot to try to get a hold of his legs, and Masvidal ran at him with a flying knee and hit him right in the face while he was trying to bend forward. | ||
| That's legal? | ||
| Yeah, oh, fuck yeah, it's legal. | ||
| That's it right there. | ||
| Boom. | ||
| Oh, fuck. | ||
| It's all over the internet. | ||
| You want to see it? | ||
| Yeah. | ||
| It takes five seconds. | ||
| It was one of those things where we watched it and we went, holy shit. | ||
| Like, as it happened, okay, is that us talking about it? | ||
| That one down there. | ||
| But that one down there. | ||
| Oh, don't mind us. | ||
| But you just turned away from it. | ||
| That wasn't the video. | ||
| But the one below it. | ||
| That wasn't it. | ||
| It wasn't it? | ||
| No. | ||
| It wasn't it. | ||
| Oh, it's other people talking about the reaction? | ||
| Yeah, yeah. | ||
| I see. | ||
| It's definitely on Instagram, but apparently it's getting pulled left and right. | ||
| Yeah, of course they're going to try to do that. | ||
| Which is like, that's for everybody. | ||
| I don't understand why they wouldn't. | ||
| Let everybody have that. | ||
| It's like, no, we need that. | ||
| We need to own that commodity. | ||
| But it's good for everybody. | ||
| It's not how the internet works either. | ||
| You don't win fans. | ||
| Here we go. | ||
| So this is the beginning of the fight. | ||
| Ready? | ||
| This is round one? | ||
| Yep. | ||
| Al Cold. | ||
| Five seconds. | ||
| Good call by the ref, though. | ||
| Yeah. | ||
| It wasn't even really five seconds. | ||
| He was out cold at three seconds. | ||
| Someone did a time from here, boom, out cold. | ||
| Three seconds. | ||
| And as the referee's running over to him. | ||
| Yeah. | ||
| And why is he yelling at him? | ||
| They hated each other. | ||
| Really? | ||
| Yeah, they hated each other. | ||
| Jorge Masvidal said that guy was taunting him for like ten years, talking shit to him. | ||
| So he couldn't wait to do that to him. | ||
| Yeah. | ||
| Now what? | ||
| Well, Ben dusts himself off. | ||
| He took it like a man. | ||
| I mean, he really did. | ||
| He went on a talk show and talked about it afterwards. | ||
| Good. | ||
| Yeah. | ||
| That's how you fucking douche it. | ||
| Yeah. | ||
| Yeah, he's like, look, it sucks. | ||
| I don't like losing that guy. | ||
| He's a douche. | ||
| Yeah, right. | ||
| But they're probably going to end up being somewhat friendly later on down the line. | ||
|
unidentified
|
No. | |
| You don't think so? | ||
| No, Masvidal said that if he saw him at Whole Foods, it's not over. | ||
| He'd still smack him in the face. | ||
| Even Whole Foods couldn't hold him back. | ||
| Whole Foods can't hold him back. | ||
| Right in front of the kombucha. | ||
| The real GT's kombucha, the kind that you need to show your ID to get. | ||
| No, Whole Foods, man, that's like Hallow Grand. | ||
| You can't start a fight there. | ||
| No, he's willing to break the rules. | ||
| I saw a fight at Disneyland on Instagram the other day. | ||
| The dudes were going out on Disneyland. | ||
| Some guy punched a chick, too. | ||
| What? | ||
| People were filming it, too. | ||
| People were filming it, and these people were throwing down in front of their kids at Disneyland. | ||
| Terrible technique, too. | ||
| Everybody's terrible. | ||
| Terrible. | ||
| I love the equally disappointing aspect of it. | ||
| It's a terrible technique. | ||
| It's the most disappointing. | ||
| It's like, guys, if you're going to fight... | ||
| It's just... | ||
| Learn some technique. | ||
| Yeah, I mean, it's like someone stealing the stage and playing bad guitar. | ||
| You'd be angry, wouldn't you? | ||
|
unidentified
|
Yeah, sure. | |
| Of course. | ||
| See what I'm saying? | ||
| Yeah, I get it. | ||
| No, I'm in complete agreement. | ||
| I think that that is kind of equally important because, hey man, if people are filming, you look like a consensual fight. | ||
| You look like you're trying to pretend you know how to fight. | ||
| Yeah. | ||
| And the worst is the pulling off of the shirt. | ||
| I don't even know how that even becomes like an instinct. | ||
| It's actually a good move. | ||
| Well, it's to keep you slippery, right? | ||
| So you can like... | ||
| Well, yeah, you don't want anybody choking you to death with your own jacket. | ||
| Oh, that's true. | ||
| Yeah. | ||
| That's true. | ||
| Well, okay. | ||
| But I mean, I guess in the videos that I've seen, it's been mostly about like, hey, check out how jacked I am. | ||
| Come on, bro. | ||
| Did you see the end here? | ||
| I kind of looked like this dude got choked out, but I couldn't quite tell what was going on here. | ||
| Because he went down quick. | ||
| Is that security? | ||
| And he might have even been out for a second. | ||
| So he's pulling that girl's hair. | ||
| See? | ||
|
unidentified
|
Oh, yeah. | |
| He's out cold. | ||
| He's out cold. | ||
| Oh, he dropped him. | ||
| His head banged off the ground, too. | ||
| That bald dude choked the shit out of him. | ||
| He's like, oh, I just killed that guy. | ||
| I better get out of here. | ||
| Whoever choked him. | ||
| No charges were pressed because no one wanted to say what the fight was about. | ||
| Hilarious. | ||
|
unidentified
|
Yeah. | |
| So it was a guy that was holding a girl's hair at the end? | ||
| He said he got spit on, and then he went crazy. | ||
| Wow. | ||
| I don't know if that was the whole thing. | ||
| Isn't that funny? | ||
| That's all it takes. | ||
| A little bit of water. | ||
| A little bit of... | ||
| Yeah. | ||
| It's funny. | ||
| I got all the things that make people go crazy. | ||
| Spit in someone's face. | ||
| It's like, wow. | ||
| We're ready to go to war here. | ||
| Yeah. | ||
| I mean, it is pretty crude. | ||
| Couldn't that have been like a biological weapon back in the day if you had some smallpox or some shit? | ||
| Yeah, like, how dare you potentially infect me? | ||
| Do you ever hear Damon Wayans' joke about when Magic Johnson came back to the NBA? Magic Johnson, after he had HIV and then came back to the NBA, he said, Damon Wayans, who's, in my opinion, one of the most underrated comedians of all time, still one of my all-time favorites, but in one of his HBO specials, he goes, everybody was avoiding Magic. | ||
| Nobody wanted to play defense. | ||
| He goes, except Dennis Rodman. | ||
| He goes, Dennis Rodman's like, listen, I'll spit in your mouth and accelerate your symptoms. | ||
| Oh, my God. | ||
| Oh my God. | ||
| I'll spit in your mouth and accelerate your symptoms. | ||
| This is dead. | ||
| It's one of my all-time favorite lines. | ||
| I hear that line and I'm like, God damn, that's a great, that is a crafted, brilliant thing to think. | ||
| It's like 180. It hurts. | ||
| That one hurts. | ||
| I'll spit in your mouth and accelerate your symptoms. | ||
| No, he says, I'm sorry, I fucked Madonna. | ||
| That's what he said. | ||
| I'll spit in your mouth and accelerate your symptoms. | ||
| It was even more potent. | ||
| That's like some shit-talking shit. | ||
| That's the type of shit that wins the whole thing. | ||
| Yeah, you gotta walk away. | ||
| Keep talking after that. | ||
| No, that's it. | ||
| You're not taking your loss like a man. | ||
| Take your loss like a man. | ||
| Yeah, maybe that's why spitting. | ||
| And it's also, it's gross. | ||
| It's just gross and so rude. | ||
| It's so fucking rude. | ||
| I mean, when someone purposefully spits at you, you're like, I want to destroy you. | ||
| I would kind of understand that reaction. | ||
| Do you think people are licking food at grocery stores and some girl is going to get arrested or she's facing 20 years or something? | ||
| I don't know why. | ||
| So they thought it was funny to lick food and then know that people are going to buy it? | ||
| Yeah, yeah. | ||
| Well, people think it's funny to spit in people's food when they're serving it too. | ||
| Yeah, it's weird. | ||
| People are kind of gross sometimes. | ||
| Yeah, you know, they'll get it any way they can, man. | ||
| Yeah. | ||
| They'll get back. | ||
| They'll get back at the world. | ||
| Yeah. | ||
| Do you take this? | ||
| My shit position in life. | ||
| It's like, no, I don't agree. | ||
| Here's your salad. | ||
| I'm sorry. | ||
| Yeah. | ||
| I know. | ||
| Mix it up. | ||
| So you gotta be nice to everybody. | ||
| But we like swap and spit with people. | ||
| Isn't that weird? | ||
| That is really weird. | ||
| Well, because that's consensual, right? | ||
| Yeah, well, not just that it's consensual. | ||
| It's like, it's pleasurable. | ||
| It's like, even if it's consensual, you don't want anybody spitting in your mouth. | ||
| No, because that's super fucking gross. | ||
| But kissing someone's okay. | ||
| If you open your mouth and they're like, that would be weird. | ||
| Like, you just spit in my fucking mouth. | ||
| This is gross. | ||
| God damn it. | ||
| But if someone's kissing you and there are tongues in your mouth and you're swapping, literally swapping spit, it's sexy. | ||
| It's hot. | ||
| We like it. | ||
| Yeah. | ||
| Yeah. | ||
| I'm glad. | ||
| I'm glad that I like that part. | ||
| Yeah. | ||
| Because the other part, I'm just like... | ||
| The other part's weird. | ||
| You can't. | ||
| What's wrong with you? | ||
| Why are you doing this? | ||
| What the fuck are you doing? | ||
| Why are you spitting in each other's mouths? | ||
| You don't need to do that. | ||
| You could just choose not to. | ||
| It's like the delivery method is what we have a real problem with. | ||
| Yeah, exactly. | ||
| Apart from the program, these two fucking football players do it. | ||
| It's a giant movie in each other's mouth. | ||
| That's a movie? | ||
| Yeah. | ||
| So they really did do it for the scene? | ||
| I'm pretty sure, yeah. | ||
| Oh, they had to. | ||
| They spit in each other's mouths. | ||
| Well, I guess when you're playing football, you just want to be as savage as possible, and you don't give a fuck. | ||
| You'll make out with a dude, you'll fuck a couple of guys, and then you go play football. | ||
| Yeah, because then you feel like... | ||
| You don't care! | ||
| You have the entire force of the universe behind you. | ||
| Yeah. | ||
| People do things to let people know they don't give a fuck. | ||
| Yeah, that's true. | ||
| That is true. | ||
| They do things like that. | ||
| Have you seen Euphoria? | ||
| What is that? | ||
| The HBO show? | ||
| No. | ||
|
unidentified
|
It's fucking fantastic. | |
| Is it new? | ||
| Yeah. | ||
| I think it's out now. | ||
| You know what it is, Jamie? | ||
| I've heard of it. | ||
| I've heard it's good. | ||
| I have not watched it yet. | ||
| What's it about? | ||
| It's ridiculous. | ||
| It's basically about... | ||
| It centers around a drug-addicted high schooler. | ||
| Played by Zendaya. | ||
| And it's just about the modern, kind of modern generation high school experience through her drug addiction or trying to overcome drug addiction or kind of realizing what is going on with her at that stage in her life. | ||
| And it's just the culture of all the things that kids deal with these days. | ||
| But it's done in a really, really... | ||
| Hyper beautiful stylized way. | ||
| It's so crazy intelligent. | ||
| It's amazing. | ||
| It really blew me away. | ||
| I just went to the opening and was like, I don't know. | ||
| I don't know what this is. | ||
| And then the guy got up and talked about it because the writer experienced addiction and has been clean for 15 years. | ||
| But that was his life back then as a teenager. | ||
| And so they adapted it. | ||
| And it's great. | ||
| But the reason why I bring that up is, what were we talking about a second ago? | ||
| What were we talking about before that? | ||
| Spitting. | ||
| Spitting each other's mouths? | ||
|
unidentified
|
Yeah. | |
| Yeah, we went from that to people want to pretend they don't give a fuck or they want to let you know they don't give a fuck. | ||
| Oh yeah, that's exactly right. | ||
| Yeah, so there's like a great scene in the first, in the pilot. | ||
| It doesn't really give away anything, but one of the characters, she's in a kitchen and there's like a big bully dude, popular guy, that's like getting in her face and being really threatening. | ||
| And then she takes a knife and she just slices her arm and she's like, stay away from me, motherfucker. | ||
| or something like that there's something more eloquent that she says but that happens and then and then she introduces herself and leaves she goes oh by the way i'm and she walks out but it's such an intense scene it goes from the darkest of the darkest to like a practical this this person is really smart the the girl who cut her arm is incredibly smart that's a crazy thing to do to someone Cut yourself in front of them. | ||
| Yeah, cut yourself in front of them. | ||
| It just shows you, it's like, I don't give a fuck. | ||
| Like, that's like the ultimate. | ||
| What do you think I'll do to you? | ||
| Yeah, exactly. | ||
| And the guy was, everyone was just frozen. | ||
| They were like, I don't know what to fuck. | ||
| There's a bunch of high school kids in a kitchen. | ||
| Pretty cool, pretty cool, like, character detail that just kind of, like, shows you everything about that character in a split second. | ||
| Yeah. | ||
|
unidentified
|
Jesus. | |
| Amazing. | ||
| I love that shit. | ||
| That's intense. | ||
| Yeah. | ||
| I love when you don't know something's good. | ||
| You don't know anything about it and then it turns out to be awesome. | ||
| It's the best feeling. | ||
| Previews are one of my favorite parts of going to the movies. | ||
| I love previews. | ||
| But yet, they ruin movies. | ||
| Exactly. | ||
| I know. | ||
| I'm the same way. | ||
| I'm the same way. | ||
| It's like peeking into a Christmas present. | ||
| Like when you're a little kid, you're like, I'm gonna just unwrap this bitch and re-wrap it. | ||
| Ah, it's a fucking TIE fighter. | ||
| Oh my god, I know why it's Darth Vader's. | ||
| Yeah, a little fucking sneak. | ||
| Unwrap the shit and re-wrap it. | ||
| Oh my god, I didn't even think she was coming. | ||
|
unidentified
|
Fuck! | |
| And your parents are like, let me look at that wrapping again. | ||
|
unidentified
|
Yeah. | |
| You little fuck. | ||
| I have been caught. | ||
| But that's almost like what previews are. | ||
| You get to see a little bit about what the movie's about. | ||
|
unidentified
|
Yeah. | |
| Wouldn't it be better if you had no fucking idea? | ||
| Yeah. | ||
| I don't want to even know a synopsis. | ||
| I don't know what King Kong is. | ||
| Imagine if you didn't know what King Kong was. | ||
|
unidentified
|
Yeah. | |
| Like the newer King Kong. | ||
| Yeah, you thought it was about a king. | ||
| Yeah. | ||
| In a land. | ||
| You have no idea. | ||
| And you sit down. | ||
| You have no idea how the story's going to come out. | ||
| And the moment you see the gorilla, you're probably like, holy shit! | ||
| You know, when he's fighting dinosaurs and stuff? | ||
| You'd be like, holy shit! | ||
| Yep. | ||
| It would be so much better than if you watch all those previews. | ||
|
unidentified
|
I heard the special effects were amazing on the new Godzilla. | |
| But you go to see it and it's like, I've already seen it. | ||
| I know he's going to breathe fire out of his mouth. | ||
| I know what it looks like. | ||
| You've shown me. | ||
| Yeah, my favorite trailers are the ones that just kind of give you a feeling of the world and that's it. | ||
| Like the new Joker trailer is sick. | ||
| Yes. | ||
| Perfect example. | ||
| It's great. | ||
| It's a piece of art unto itself, but it's not giving away a lot. | ||
| I mean, there's a lot of time. | ||
| You see a lot of shit, and you kind of get an idea, but not really. | ||
| It's a very artful trailer. | ||
|
unidentified
|
Yeah. | |
| But you gotta have something, otherwise people aren't gonna go to your movies. | ||
| I know, that's the problem. | ||
| But remember Cloverfield? | ||
| Yeah. | ||
| When that came out, and like that weird, the ads that they would show would just be like, and that's all you heard. | ||
|
unidentified
|
Yeah. | |
| Cloverfield. | ||
| And you're like, what the fuck is this? | ||
| Those are weird movies, right? | ||
| Like those movies, like this movie sucks because it was just filmed by people who were there. | ||
| The quality's terrible. | ||
| The camera's going to be shaky. | ||
| People are going to scream and drop the camera. | ||
| It's going to bounce, and you're going to see a shadow. | ||
| But that was kind of new back then-ish. | ||
| I mean, Blair Witch was kind of the starter of that. | ||
| Bro, Blair Witch freaked me out the first time I went to see it. | ||
| I went to see it with Chris McGuire, comedian Chris McGuire, and a couple folks that worked at the movie theater across the street. | ||
| And they came to see us. | ||
| We were performing at the Houston Laugh Stop. | ||
| Okay. | ||
| And so we were talking to them before the show, and they're like, hey, we work at the movie theater. | ||
| And I was like, oh, we're going to probably go there this weekend and see that Blair Witch movie. | ||
| And the dude was like, hey, I have the keys. | ||
| If you want, we can open it up tonight after the show. | ||
| I was like, what? | ||
| I was like, fuck yeah! | ||
| So it was right across the street. | ||
| So me and McGuire, and I think there was like three of them that worked there, we all hung out and watched The Blair Witch together in a fucking empty movie theater. | ||
| They made popcorn and everything. | ||
| What? | ||
| Dude, it was dope. | ||
| They had the key to the place. | ||
| I mean, if their boss found out, there would be fucksville. | ||
| Yeah, so don't share this. | ||
| Yeah, we're not telling anybody, but this is like 17, 18 years ago. | ||
| I mean, when did that movie come out? | ||
| When was that movie? | ||
| That movie's a long-ass time ago. | ||
| 1999? | ||
| 1999. So, yeah, 20 fucking years ago. | ||
| And we were at the Houston Laugh Stop. | ||
| It was awesome. | ||
| It was so cool. | ||
| What a great, like, flow of an event. | ||
|
unidentified
|
Yeah. | |
| You have a dope-ass gig, and then you're like, oh, fuck, check this out. | ||
| Yeah, it was fun. | ||
| But that movie was... | ||
| It's effective. | ||
| It scared the shit out of you. | ||
| Yeah. | ||
| It took me a while to get into it. | ||
| Because I remember Dogma. | ||
| Do you remember that crew? | ||
|
unidentified
|
Yes. | |
| So I remember the celebration that had come out. | ||
| That was the first movie that I saw that was made all on, you know, because they had those rules. | ||
| Like, we only use natural light. | ||
| We only use DV cams, blah, blah, blah, blah, blah. | ||
| Yeah. | ||
| And it was great. | ||
| It was interesting and weird. | ||
| And oh my god, that's kind of crazy. | ||
| And then Blair Witch came out and had that kind of vibe, but a little bit more curated narrative. | ||
| But I was like, I thought it was eerie, but I really didn't get scared until the very, very end. | ||
| When it's going down the stairs. | ||
| And then the flashlight is searching around and then sees that girl facing the corner. | ||
| Yeah. | ||
| That fucked me up. | ||
| Yes. | ||
| That one moment. | ||
| So the whole thing, I was like, ah, it's pretty, you know, it's cool. | ||
| It's creepy. | ||
| Okay. | ||
| And then it just, that thing, I was like, fuck you. | ||
| It was a strong closer. | ||
| It was a real strong closer. | ||
| I mean, that's the way you go out. | ||
| Yeah. | ||
| That's the way you go out. | ||
| Isn't it interesting that we like movies that are on film? | ||
| We like that look. | ||
| Yeah, we do. | ||
| We like the things that are in the forefront and focus, but everything in the back is just blurry and fuzzy. | ||
| That's true. | ||
| It's got this quality thing to it. | ||
| Even though now we see videos that are very literal from phones all the time, we see that kind of imagery, we still don't necessarily see... | ||
| You wouldn't see that in a movie theater necessarily. | ||
| Right. | ||
| You're too distracted by all the outside images. | ||
| So if you're talking to a person, like you and I are talking, I'm focusing on you. | ||
| I know there's some stuff over the left and some stuff over the right, but I'm not seeing it the same way I'm seeing you. | ||
| That's one of the reasons why when you visually interpret video, it's a very weird distortion, even though it's the most accurate representation. | ||
| Because you can't look at everything at the same time. | ||
| So if you look at a photograph and everything is in focus, what are you using? | ||
| What are you using to see things with? | ||
| Because my eyes don't work like that. | ||
| My eyes are looking at you and everything around you. | ||
| I know there's a clock right here, but dude, I can't even read what time it is. | ||
| It's right there. | ||
| I can't read it, but now I can read it. | ||
| The stuff that's just a few inches to your left or right, and I literally can't see them. | ||
| Yeah, it's just a tiny, tiny point that you're actually focusing on. | ||
| Just focus on right in front of these things. | ||
| Right in front of the face. | ||
| So that makes sense. | ||
| Like, for focus, it kind of replicates the way that... | ||
| And it's also a storytelling mechanism, right? | ||
| Focus on this part, you know? | ||
| Yes, it definitely is that, yeah. | ||
| But also, it's like, it looks cooler. | ||
| It just looks... | ||
| Yeah, it looks dope. | ||
| It looks pro. | ||
| You know, it's high-res. | ||
| Yeah, like a video camera, like a regular standard consumer-grade video camera almost takes clearer pictures. | ||
| Oh, for sure. | ||
| It's like if you ever put your phone in time-lapse mode. | ||
|
unidentified
|
Yes. | |
| It looks like the way it tracks when you're moving it over objects, it's got a higher frame rate or something like that. | ||
| But it makes it look like that pan and scan shit, you know, when you're watching sports events or whatever. | ||
| And it just looks wrong. | ||
| Do you know what I mean? | ||
| Like it's too literal or something too... | ||
| The way everything moves just feels slightly off. | ||
| Do you think that we're just accustomed to the way film looks? | ||
| And then if we were accustomed to the way video looks... | ||
| Then a film would be a little clunky to us. | ||
| Like if everything started off as video and then they said, you know what? | ||
| It's not really good to have everything in focus. | ||
| It's only good to have some things in focus and then back away some things are blurry and then they come into focus and it actually enhances the filmmaking. | ||
| Yes. | ||
| Right? | ||
| Yes. | ||
| Like in a horror movie? | ||
| Yes. | ||
| When something's blurry and then they zoom in on it and you see it's like a fucking monster hiding under the bed. | ||
| You're like, oh no! | ||
| I didn't want that to happen. | ||
| You've now just revealed exactly what I didn't want to see. | ||
| Yeah. | ||
| Yeah. | ||
| No, I agree. | ||
| Yeah. | ||
| I don't know. | ||
| I mean, I don't know. | ||
| But I know that people like film. | ||
| I think it just looks... | ||
| It's the texture of it. | ||
|
unidentified
|
But now people like DV. Well, it's like people like vinyl, right? | |
| There's people that are just diehard vinyl fans. | ||
| They like that sound. | ||
| Yeah. | ||
| I mean, I like anything. | ||
| But I like to make sure that it's the... | ||
| the most natural use case for it. | ||
| You know, it's like when people used to mix, when people started listening more to music in their car, that they could like put a thing that they bought in their car with an eight track or whatever, or they used to have record players for cars too. | ||
| But, you know, the way that music sounded, they were kind of, they also had to consider the mix of car speakers. | ||
| What does it sound like on car speakers? | ||
| So going back to the Aura Tones and the NS10s and then the standardized car speakers that people test audio in. | ||
| Right, and it's a different parameter, right? | ||
| Because you're stuck in this little contained metal box. | ||
| Yeah, so you've got to figure out how to mix the music. | ||
| But generally, it's the sound system that has to be adjusted. | ||
| The sound systems have to, but you mix. | ||
| They kind of meet each other in the middle, but great hi-fi systems. | ||
| Actually, it's a quick anecdote, but when I was in Seattle, I knew that I liked hi-fi systems, but I didn't know why they were so expensive. | ||
| And so I went into this place, this guy named Leland, who was working there. | ||
| I was kind of friends with him because I'd come in and I'd just scope gear all the time, just look at it like, oh, I love audio gear. | ||
| It's just really sweet. | ||
| And then one day, it was towards the end when they were closing, and he turns to me and says, hey man, do you want to get your brain fried? | ||
| And I was like, what? | ||
| What do you mean? | ||
| And he's like, stick around. | ||
| I'm like, okay. | ||
| And he closed shop. | ||
| A couple of his friends came and closed the shop. | ||
| It was like maybe five of us. | ||
| Went into the back room, smoked some marijuana, went into the showroom, the main room where they have all the speakers and all the different types of units. | ||
| And he says, then he just kind of turns to us. | ||
| We all sit down on the couch and he says, okay, you're going to listen to a, this is a system in total. | ||
| It costs about $150,000. | ||
|
unidentified
|
Whoa. | |
| And then he just goes, proceeds and goes through and explains all of the stages that, you know, that the current is going through and what the music is going through and what's being played on, all the cables that are being used, all this stuff. | ||
| And then I heard all of that, crazy speakers, like, okay, cool. | ||
| He lowers the lights and he puts on a Bill Evans trio record. | ||
| I can't remember which one. | ||
| And he just presses play and we sit down and like within probably 30 seconds, people were crying. | ||
|
unidentified
|
Wow. | |
| Because it felt holographic. | ||
| It felt like you were in the room with those musicians that were playing right there for you. | ||
| And then I had the realization, it's not about the money. | ||
| It's about what does it take to engineer a machine that becomes invisible to the experience? | ||
|
unidentified
|
Wow. | |
| And that kind of blew my mind. | ||
| So whenever you're designing anything, it's like you're designing the experience. | ||
| The engineering should get the fuck out of the way. | ||
| What was the medium? | ||
| Was it vinyl? | ||
| Vinyl, yeah. | ||
| What do you think, like in your description, what is different about vinyl? | ||
| Well, I mean, supposedly, if you have a really nice quality piece of vinyl and it's cut really well, you get as close to the original mastered recording experience, like coming out of the studio, if you're talking about older tape. | ||
| So whatever that final mix is, when someone plays it and they're like, it's been mastered, here's the stereo two-track, we're playing the stereo two-track, it's been mastered. | ||
| Excuse me, I'm a little wheezy. | ||
| And... | ||
| That's what you hear. | ||
| You hear it in the best possible context on the speakers that it was mixed on. | ||
| Everything's optimal. | ||
| So essentially, when a record is pressed, if it can mimic the stereo two track, the master, which it does... | ||
| Then you have something that for at least the first, I don't know, vinyl people will say how many times, but a record starts to wear down. | ||
| But if you have a fresh press, you can run it a bunch of times before it starts to degrade. | ||
| But in that state, you're hearing it like analog, super analog. | ||
| It's like as analog as you can. | ||
| How many times do you think you play it before it starts to degrade? | ||
| I don't know. | ||
| I guess it depends on the ears of the audiophile, but there's probably an average. | ||
| I don't know what it would be. | ||
| Maybe 60, 30, 40, 50 times. | ||
| Now, is there a digital format that at least comes close to? | ||
| Oh, yeah, yeah, yeah. | ||
| FLAC files. | ||
| What is that? | ||
| It's a file format. | ||
| FLAC files are good. | ||
| Usually 128, 96 kilohertz. | ||
| There's kind of a digital mastering standard. | ||
| And that standard is basically what that is, what a record is. | ||
| So that's why you have sites like HD tracks that I really dig. | ||
| You can get all your favorite—well, not all. | ||
| It's not as big of a selection, but you can get full resolution from like stereo two-track master from the studio level quality in a digital format that you can buy and then put into a high-res player. | ||
| So I have a high-res player, a hi-fi player, and it has really nice circuitry and all that stuff and then you use a really great pair of headphones, and you've got the closest thing to a record that's repeatable infinite times. | ||
| And is the headphones the way to go? | ||
| Or one of those crazy tower speaker jammies the way to go? | ||
| Well, it depends on your use case. | ||
| If you're in a house and you want a cool living room system or whatever, I would always opt for speakers. | ||
| And not Sonos and not that kind of stuff. | ||
| People, they dig it. | ||
| But true records are meant to be played off of two speakers. | ||
| It's a 2.1 system. | ||
| Unless it's specifically engineered, which is very rare for Atmos or whatever the fuck. | ||
| But usually it's two speakers and a subwoofer. | ||
| So why would I not want to hear the music the way it's supposed to sound? | ||
|
unidentified
|
Right. | |
| However, I understand the convenience of those speakers, so I'm not totally knocking it. | ||
| But for me, if you're going to get a system for your living room, if I can get a 2.1 system. | ||
| Yeah, you want it played out the way, you want the sound to come at you the way it was recorded. | ||
|
unidentified
|
Yeah. | |
| Otherwise it changes the experience. | ||
| Yeah, completely. | ||
| The Sonos and those types of things, they fake stereo. | ||
| Henry Rollins was on the podcast and he has this most preposterous setup in his house. | ||
| He is a gigantic audiophile. | ||
| Oh shit. | ||
| A massive lover of music. | ||
| Oh my god. | ||
| And he collects all these albums and he even runs a radio show. | ||
| Oh, I love his radio show. | ||
| It's dope. | ||
| It's on KCRW. Fanatic. | ||
| These are the crazy fucking speakers he has in his house. | ||
| What the fuck? | ||
| What are those? | ||
| They're $200,000 is what they are. | ||
| Oh, I forget. | ||
| I have seen those. | ||
| I've seen pictures of that. | ||
| Who makes this? | ||
| Alexandria XLF is what they're called. | ||
|
unidentified
|
Okay. | |
| Wilson Alexandria. | ||
| How dope they look. | ||
| I mean, it's disgusting. | ||
| Look at those things. | ||
| You have to have their weapons. | ||
| You know, like, you have to have... | ||
| Scroll back, pull back so we can see what the full size of those things. | ||
| Like, look, what a weird-looking piece of equipment. | ||
| I mean, it looks like... | ||
| Like a future robot. | ||
| It looks like an ATM machine, right? | ||
| Yeah, totally. | ||
| Or like a display screen robot. | ||
| Yeah. | ||
| Today, we have... | ||
| Swipe here for you. | ||
| Thank you for your business. | ||
| Goodbye. | ||
|
unidentified
|
Goodbye. | |
| So is the one that we're looking at on the right-hand side, is that the back? | ||
| The back, yeah. | ||
| Wow, look at all that shit in there. | ||
| It shows the inputs. | ||
| I don't even know what the fuck all that stuff is. | ||
| They have discrete inputs for each of the frequency spectrums, the different speakers. | ||
| Ooh! | ||
| Damn, some people go deep. | ||
| It's like everything, right? | ||
| Look at it. | ||
| That's what it looks like. | ||
| That's another one. | ||
| Look at that goddamn monsters thing. | ||
| I mean, it's beautiful. | ||
| I mean, audio is... | ||
| $200,000! | ||
| For fucking speakers. | ||
| Look at that guy. | ||
| He's like, I have it all! | ||
|
unidentified
|
No one will vanquish my spirit! | |
| Look at the fringe on my curtains! | ||
| I am Heinrich Orwins. | ||
| That's crazy, man. | ||
| Yeah, well, there you go. | ||
| Henry Rollins. | ||
| Good sound system in a car is amazing, too, man, because, you know, you get like a Mark Levinson, like I have a Lexus that has a Mark Levinson system in it. | ||
| Yeah. | ||
| And it's just like the whole thing is engineered for the shape of the inside of the car. | ||
| Yes. | ||
| So it just rings out in all these perfect places. | ||
|
unidentified
|
It's... | |
| It's tight. | ||
| One of my favorite places to listen to music is a car. | ||
| And I was stoked to get my Audi because I got the B&O system in there. | ||
| And I've never heard better audio. | ||
| I mean, I've heard some dope ass. | ||
| I think the Tesla uses Levinson stuff. | ||
| I'm not totally sure. | ||
| People haven't been able to figure it out, but they should have by now. | ||
| But I remember like five years ago trying to figure out what is the premium audio system? | ||
| What is it besides a premium audio? | ||
| And I couldn't get an answer. | ||
| Someone figured out what the amp was, but they couldn't figure out the speakers or something. | ||
| That's interesting. | ||
| But the Audi, man, Bang& Olufsen, and I have some 18s at home. | ||
| It's a 2.1 system. | ||
| And it just finally started. | ||
| It kicked in, and now it sounds amazing. | ||
| I was really kind of disappointed for a while. | ||
| Yeah, it's weird. | ||
|
unidentified
|
Changed? | |
| Yeah, there's like a burn-in. | ||
| What? | ||
| I think there's a burn-in. | ||
| I'm not sure. | ||
| Maybe it's totally psychological. | ||
| Maybe you got better weed. | ||
| Maybe I did get better weed. | ||
| I mean, what did you think of this weed, by the way? | ||
| Fantastic. | ||
| It's pretty groovy, right? | ||
| Really good. | ||
| Yeah, it's not weighing you down. | ||
| No, it's just a nice, friendly, like, you're fucking hot, but like, yeah, I feel good. | ||
| It's good stuff. | ||
| It's not like... | ||
| Yeah, you're not freaking out. | ||
| I like it a lot. | ||
| What's it called again? | ||
| Purple what? | ||
| Purple Tundra. | ||
| No. | ||
|
unidentified
|
Purple... | |
| Rain? | ||
|
unidentified
|
Venom. | |
| Venom. | ||
| Thank you. | ||
| Geez. | ||
| Why does he know more than that? | ||
| Jamie's got a great mind. | ||
| I know. | ||
| The great brain. | ||
| That's awesome. | ||
| Purple Venom. | ||
| Purple Venom. | ||
| That's legit. | ||
|
unidentified
|
Are these speakers you got? | |
| Yeah. | ||
| Dope. | ||
| They have the browns, yeah. | ||
| And then there's like a subwoofer that looks like an egg. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| And they're great because I have my house kind of mid-century mod. | ||
| What's that mean? | ||
| Mid-century modern. | ||
| Oh. | ||
| That's me trying to... | ||
| Why is it so funny? | ||
| I think it's hilarious. | ||
| It's the first time I think I've said it out loud. | ||
| So you sounded it yourself? | ||
| Yeah. | ||
| It's just like mid-century mod. | ||
| That's funny. | ||
| You're going to love this. | ||
| The curtains are provided for. | ||
|
unidentified
|
You'll notice that the overall layout is mid-sinch mod. | |
| The only people I don't trust is when I go over to the house and they have a minimalist set up where they have plastic chairs that don't look like they have any cushion and a flat table with nothing on it and everything's small and there's nothing there. | ||
| I'm like, what are you doing? | ||
| Did you show me your clean brain? | ||
| Are you a fucking psychopath? | ||
| What's happening here? | ||
| Where's the soft surfaces? | ||
| Where's the place to chill? | ||
| You know, I like... | ||
| What I dig is that mid-cinch mod furniture. | ||
| I don't even know what that is. | ||
| You know, like... | ||
| Was it Jules... | ||
| No, Jules... | ||
| I think he's a Swedish or Danish architect or furniture designer. | ||
| Finn Jewel. | ||
| That's it, I think. | ||
| And he makes these, like, you've seen these chairs before, but the originals are just, it's such a great work of art. | ||
| It's, like, sturdy, comfy, but light enough that there's, like, a bar in the back that's just made to grab and you can just throw it around. | ||
| But when it's set up in a room, it looks substantial and it looks comfortable, but super lightweight. | ||
| So their idea was, like, to be super modular and Really easy to move for company. | ||
| Is this it right here? | ||
| That's not quite it. | ||
| I just typed in furniture. | ||
| Oh, yeah. | ||
| What was his name? | ||
| Finn Jewel. | ||
| Spell that out. | ||
| F-I-N-N, yeah. | ||
| Jewel. | ||
| Maybe J-U-H-L. Yeah, like that orange one. | ||
| Right there? | ||
| Yeah. | ||
| That's like one design. | ||
| But that one has that extra thing. | ||
| That's not how mine are. | ||
| Mine are just like... | ||
| It's just a back... | ||
| No arms, but the same shape. | ||
| And you sit in them and they're just great. | ||
| They're like firm, but comfortable. | ||
| Like you feel active, like you could get out of it if you needed to. | ||
| Is that right there? | ||
|
unidentified
|
No. | |
| What does it say at the top? | ||
| That's just it. | ||
|
unidentified
|
F-I-N-J-U-H-L. Maybe try classic or something like that. | |
| It's cool looking stuff though. | ||
| Yeah, it's... | ||
| Look at the grasshopper chair. | ||
| It's so weird when you have a chair that's that low to the ground. | ||
| That's too low. | ||
| Mine are not like that. | ||
| The good thing is you can keep your feet in front of you. | ||
| Yeah, like the... | ||
| Stretch your legs out. | ||
| Like that 109 chair, like that kind of stuff. | ||
| So it's like normal chair height, but it's beautifully designed, but it's minimal. | ||
| And for my living room, like I like the idea that I could just like move my furniture and if people want to dance or whatever, you can just do that. | ||
| And you don't have to be, oh, fuck, you know. | ||
| Hey, we don't need help. | ||
| Like one person could literally grab both chairs and move them. | ||
| Right. | ||
| And you don't have some bullshit sitting there that could break... | ||
| Yeah, yeah. | ||
| Careful. | ||
| Yeah, totally. | ||
| Hey, guys. | ||
| Don't go near the end table. | ||
| Guys, I'm really sorry about that. | ||
|
unidentified
|
Hey. | |
| Easy. | ||
| easy with the end hey hey hey hey hey hey Eric rock and roll music has got everybody crazy Jesus, Eric. | ||
| All these fancy speakers. | ||
| I told you, Ibiza chill-out mixes only. | ||
| Yeah, you need a chill-out mix for late night. | ||
| Or, like, really groovy Jobim stuff, you know, those, like, Brazilian Bossa Nova. | ||
| What are your thoughts on, like, streaming services? | ||
|
unidentified
|
Yeah. | |
| Like music? | ||
|
unidentified
|
Yeah. | |
| Like Tidal and stuff like that? | ||
| Well, things like Spotify and Pandora, Apple Music, these streaming services. | ||
| I think they're convenient, but I don't quite trust the quality yet. | ||
| And I have a lot invested in iTunes, but I started using Tidal only because it seems to be the least popular of all the streaming services. | ||
| But it's Jay-Z's company. | ||
| Mm-hmm. | ||
| And not that I'm like a Jay-Z fan. | ||
| I just like that it's owned by an artist. | ||
| And that they focus on super high-end codecs for their streaming. | ||
| So it's like the highest quality possible for streaming. | ||
| Since then, Spotify claims to have it. | ||
| I don't think Apple does it yet. | ||
| Anyways, but I like the title. | ||
| So, I mean, I guess the idea being as long as it's fair for the artist, you know, the deal for streaming and how streaming is calculated and how that turns into revenue on the revenue side of things, that's really important. | ||
| That's the biggest concern is the revenue side of things. | ||
| It seems like this whole thing was like the Wild Wild West when it got started and the way the parameters were established, it's not in favor of the artist. | ||
|
unidentified
|
Right. | |
| It's in favor of the people that run the streaming companies. | ||
| They're the ones who make the substantial profits. | ||
| Yes, absolutely. | ||
| Yeah, the companies do. | ||
| But all they have is the work of artists. | ||
| I know. | ||
| Which is why it's so crazy that they make most of the money because they provide a platform. | ||
|
unidentified
|
Yes. | |
| All they have... | ||
| You don't sell shit without artists. | ||
| If every artist is like, nah, fuck you, then you don't have anything. | ||
| Yeah, you have nothing. | ||
| You don't sell anything. | ||
| You're selling tomatoes and you don't even grow them. | ||
| And you want most of the money. | ||
| If you were a tomato store and you got your tomatoes from a farmer and the farmer would do all this fucking work to make the tomatoes and they sold them at your store but you got almost all the money. | ||
| Yeah. | ||
| That would be crazy. | ||
| I know. | ||
| It's totally crazy. | ||
| It doesn't make any sense. | ||
| And then you couldn't grow tomatoes with any other farmer for the next 10 years afterwards. | ||
|
unidentified
|
Oh, yeah. | |
| That's right. | ||
| Yeah, because they tie you up. | ||
| Yeah. | ||
| You have to make commercials about these tomatoes, but you have to pay for them. | ||
| No. | ||
| It all comes out of your profit, not ours. | ||
| Yeah, fuck that. | ||
|
unidentified
|
It's crazy. | |
| It's all about direct economy. | ||
| You know what I mean? | ||
| Like, that's the way. | ||
| That's where we are now, I think. | ||
| Yeah, I think that's where we are, where we're headed. | ||
| I think that's definitely... | ||
| I don't, you know, I can barely... | ||
| That's why I want to kind of do my own streaming stuff like that. | ||
| I don't want to be tied up with another company that utilizes behavioral statistical data to increase their algorithms for targeted advertising. | ||
| Like, that's not really interesting to me. | ||
| Yeah, I think with a guy like you too, just build it and they will come. | ||
| And then advertisers who resonate with your sort of mindset, they'll find you. | ||
| There's plenty of cool CBD brands and fill in the blank of cool companies that'd be more than happy to advertise on something that you'd have a guaranteed audience of a certain kind of people. | ||
| Yes, totally, totally. | ||
| I think it's great and I think also... | ||
| Just having a direct store, too. | ||
| I love the idea of whatever I make, it's just sold to the store. | ||
| You're just paying me, and I'm getting it, and you're getting the thing, and that's it. | ||
| Yeah, I mean, you've worked for a bunch of different companies before, done things. | ||
| It's like, it can be great. | ||
| You can work with a bunch of wonderful people, or it can be a disaster. | ||
| You got some time suck in the middle of the fucking mix, and they just demand too much attention, there's too much conflict and nonsense, and interpersonal drama, and sometimes people start... | ||
| Oh, yes. | ||
| People that work together start fucking, and then you have to hear the opinions of both of them while you pretend that you don't know that they're fucking, that this is weighing heavily on the way they're communicating with everybody else. | ||
| Like, ugh. | ||
| Yeah, that's... | ||
| Supporting each other, and you're supposed to support them, too. | ||
| Now their relationship has become center stage in your office. | ||
| That's one of the reasons why people don't want office romances. | ||
| Not even just because women don't want to be harassed by men that are trying to fuck them all the time, so just say no one can do it. | ||
| But also because once a relationship does happen, one of two things, either it'll go great... | ||
| Yeah, either it'll go great and everyone's going to be a part of it, so your relationship becomes a part of the whole ecosystem of the office. | ||
| Or it'll go terrible and people have to pick sides and or one of you has to leave. | ||
| Bad juju. | ||
| Or if you're amongst the most miraculous people, you have an amicable split and you become really good friends afterwards, you still work together with no problems, you even like each other's spouses. | ||
| Yeah, right. | ||
|
unidentified
|
That's possible. | |
| It is possible. | ||
| It is possible. | ||
| It's happened. | ||
| I'm sure it's happened. | ||
| Yes, but much, much more rare. | ||
|
unidentified
|
Much more rare. | |
| If I was running a company, I'd be like, listen, you guys can't bang each other. | ||
| I know it sounds gross. | ||
| I know that you're here all day, but the problem is like, what if you met the girl of your dreams on a job that was your dream job? | ||
| You're like, shit, what do you do? | ||
| You have to make the decision. | ||
| This is like a fucking Jennifer Lopez movie. | ||
|
unidentified
|
Right? | |
| Yeah, totally. | ||
| It's called Too Successful. | ||
| I don't give a fuck about this job, Jennifer. | ||
| I want to be with you. | ||
| Play the music. | ||
| It's like, no, you don't have to quit. | ||
| I'll quit. | ||
| Yeah, fuck this. | ||
| But I've got to quit. | ||
| No, you can't. | ||
| And then they decide to start their own firm. | ||
| Yeah, if it was a real chick movie, the girl would have the smaller paycheck, too. | ||
| And the guy would lose the bigger paycheck. | ||
| She would come home from work, and he would be wearing an apron, and he would be mopping. | ||
| Yes. | ||
| That'd be great. | ||
| Well, I guess I should get used to it. | ||
| Like, that's how it is. | ||
| It's my life now. | ||
| I fell in love with the perfect job. | ||
| I gave up my perfect job for the perfect woman. | ||
| Yeah. | ||
| Yeah, that would suck. | ||
| If you had the dream job, but you met a girl there, she was single and she was into you, and you're both into each other, and you're like, God damn it. | ||
| What do you do? | ||
| You start banging and don't tell anybody. | ||
| That's what you do, right? | ||
| Probably. | ||
| Or if you're like super pro and super committed, you just figure out a way not to and just kind of... | ||
| Maybe come up with an agreement or something. | ||
| I don't know. | ||
| Plot your exit. | ||
| Yes. | ||
| You gotta plot your exit. | ||
| Always know your exits. | ||
| While you're lying about banging each other. | ||
| Yes. | ||
| Yeah, you gotta lie. | ||
| Gotta lie and say, yeah, I'm going to the movies tonight with my friend Melissa. | ||
|
unidentified
|
Meanwhile, you're going to Todd's house for some dick. | |
| That sucks. | ||
| That's such a terrible way to live, guys. | ||
| Don't do it. | ||
| It's not worth it. | ||
| Well, the most terrible is probably living in the closet. | ||
| That's probably the most terrible. | ||
| It's a super unnecessary one, I think. | ||
| Yeah. | ||
| Well, in some cases, not at all. | ||
| Yeah. | ||
| Well, it's also like, it's symbolic of, you know, we all have things in a closet. | ||
| I mean, that's like a pretty big level that's noticeable by many, many people. | ||
| But in a way, it is a metaphor for, like, there are a lot of things that we don't allow ourselves to. | ||
| Sure. | ||
| Like, let people know about and... | ||
| Well, especially in the corporate world, right? | ||
| You're forced to present a, air quotes, professional image, and this enhances your ability to earn a living. | ||
| It enhances your ability to be successful inside that corporate structure. | ||
| So you literally have to play a role all the time, which is why if you talk to women who are dominatrixes, one of the things that they say is that the guys who really like to get kicked in the balls and shit on are the guys who run businesses. | ||
| The guys who are like... | ||
| Yeah, they need to feel it. | ||
| That's funny. | ||
| They need to feel alive! | ||
| They need a kick in the balls. | ||
| They need someone pissing in their mouth. | ||
| They need to get smacked. | ||
| They want to get crazy because they're so buttoned down all day long. | ||
| They can barely take it. | ||
| You're so lucky, Reggie. | ||
| You're so lucky you're an artist. | ||
| You're so lucky, son of a bitch. | ||
| I love it. | ||
| Someone's in a cubicle right now mad at you. | ||
| Fuck him! | ||
| No, man. | ||
| You guys can live your dreams. | ||
| I mean, I don't know. | ||
| You're harassing people about credit card loans. | ||
| Yeah, I know. | ||
| Well, you know, more of us could be more creative, but we're not really designing a society to support that. | ||
| Yeah, you and I can't fix the streets. | ||
| We can't fix the streets. | ||
| No, but we can inspire people to... | ||
| To fix the streets? | ||
| Yeah, of course. | ||
| I mean, you know, sometimes it just takes a little kick in the yarbles. | ||
| I was having a conversation with my friend the other day. | ||
| He was saying, you know, you kind of really need all kinds of people because there's all kinds of jobs that you don't want to do. | ||
| And I was like, yeah, we're having a problem with our exterminator. | ||
| And I'm like, but could you imagine a dude who's really cool, who's into killing rats? | ||
| Like, that's what he does for a living. | ||
| He just fucks rats up. | ||
| That's his whole deal. | ||
| He kills rats. | ||
| I know. | ||
| I know. | ||
| There are people that just sort certain types of screws on an assembly line. | ||
| All day long. | ||
| That's what they do. | ||
| Somebody needs to do that. | ||
| Otherwise, it's not going to get done. | ||
| Well, you know, I mean, theoretically, you know, robotics is when people fear, like, robotics taking over jobs and things like that. | ||
|
unidentified
|
Yeah. | |
| Theoretically, the positive side of that is if societies organize themselves in a way that ensures that people remain productive aside from these automations because it's taking away the menial tasks, the repetitive tasks, then we're able to allocate more brainpower to the economy, if that's the way it's viewed. | ||
| It's rad. | ||
| I think it's a welcome thing. | ||
| And I think, yeah, there's fear of the unknown and things like that. | ||
| But if the government helps or there's a transition that's at least considered, it could be really, really beneficial. | ||
| Well, how do you feel about things like universal basic income? | ||
| How do you feel about that? | ||
|
unidentified
|
I mean, that's... | |
| Because that's what people are going to need if we get to a point where millions of jobs vanish overnight because of automation, which could happen. | ||
| You're looking at a, I mean, I don't know what I'm talking about, but if I did, I would say you'd look at a nationwide version of what happened in Detroit when the auto industry backed out. | ||
| Well, yeah, I mean, I don't know. | ||
| I mean, I don't know, like, the universal... | ||
| I mean, it kind of makes sense, but I also don't know about the successful models and the non-successful implementations because, obviously, with societies, it becomes a lot more complicated because it's people and people are complicated. | ||
| And so when you say, there's universal income for... | ||
| There's a base amount that everybody will have. | ||
| You don't have to worry about certain things, right? | ||
|
unidentified
|
Yeah. | |
| Well, transitioning out of the current state, the mind state that we're in, some people are just going to try to blow it, you know, all. | ||
| And then they'll go into debt. | ||
| And then, you know, maybe. | ||
| Or maybe you design the system to be really foolproof. | ||
| And it's just commodities-based. | ||
| So people can only get the value that they're guaranteed as – You know, rent being paid, actual food, you know, actual things, so they don't have access to the money. | ||
| I don't know. | ||
| The problem is, if you don't give them access to the money, you don't give them adequate choices in terms of where they can get their food. | ||
| Like, I'm not in favor of that, because if you had, like, a government place where they had groceries, you can go get your groceries for free, that place is going to be disgusting. | ||
| It's not going to be whole food, because there's no competition, you know what I'm saying? | ||
| Yeah. | ||
| Well, maybe- There's no incentive for excellence. | ||
| Well, maybe if it was like a, you know, some kind of a card or something associated, like an Apple Pay type thing. | ||
| So you just, you go to whatever store you want to. | ||
| Similar to like a welfare card or a food stamp card. | ||
| Yeah, like food stamps. | ||
|
unidentified
|
Yeah. | |
| Exactly. | ||
| But a little bit more framed differently. | ||
| Right. | ||
| Like you'd have an account with the government where every month you'd get like $1,000 cash and $500 in food. | ||
| Yeah. | ||
| Like maybe something like that. | ||
| Yeah. | ||
| And then there are rewards for like... | ||
| You know, moving out of that, like phasing out of that. | ||
| Right. | ||
| I think the way Andrew Yang has it structured, everyone would get it. | ||
| You could opt out of it. | ||
| Like, say, if you were doing well, like yourself, you could opt out of it. | ||
| Oh, that's cool. | ||
| Yeah, I like that idea. | ||
| I do like the everything thing, because as soon as you make something specifically for a certain population, especially when you're talking about that type of thing... | ||
| It doesn't work. | ||
| I mean, conceptually, it's just better when everyone knows like, oh, you have it. | ||
| I have it. | ||
| There's something that binds all of us that we're all in common. | ||
| Obviously, this billionaire doesn't need it. | ||
| But there's just a precedent for people that make a certain amount of money. | ||
| They're suggested to offset that, like put it back into the system so there's more money for people that need it, whatever. | ||
| But I think saying it's for everybody is kind of a smart thing to do. | ||
| I like that everything. | ||
| Yeah, the idea is that you have equity in the corporation that is the United States of America. | ||
| Oh, that's interesting. | ||
| Yeah. | ||
| That's weird. | ||
| Particularly if you're thinking about natural resources. | ||
| When you imagine the enormous profits that someone gets from natural resources, like the idea that you own the oil that's under the ground, who's decided that? | ||
| Why have we decided that you can go a mile off the ocean, stick a fucking tube in the ground, suck out all the oil and make a trillion dollars? | ||
| Who said that? | ||
| Who said you could do that? | ||
| That's not even your ground. | ||
| So what the government is giving a license to BP, and BP drills holes a mile offshore, and then they suck all the oil out and they make billions. | ||
| Who's getting that money? | ||
| And how much does the government get? | ||
| And how much is a BP paying for that contract? | ||
| And why doesn't that money go to the people that live in the country? | ||
| Because if the people live in the country, the country is a corporation. | ||
| The corporation is the one that owns this water. | ||
| They're the ones. | ||
| Us. | ||
| So the idea would be that we would all profit from it, and they would make substantially less than they make now. | ||
| And then instead of these people making billions and billions of dollars for something that's not even theirs, that profit would be split evenly around the country in terms of infrastructure and replenishing impoverished communities and community centers and trying to figure out a way to engineer out all the horrific neighborhoods. | ||
| Use the natural resources. | ||
|
unidentified
|
Yes. | |
| Yes. | ||
| I mean, that would be wonderful. | ||
| They've had to pay some people for fracking. | ||
| They've had to pay some people off because they just ruined their neighborhood. | ||
| There's people that live in a place that's fully toxic now. | ||
| Yes. | ||
| What do you got, Jamie? | ||
| I saw this the other day. | ||
| This is from the original spill in 2004. It's been going on consistently. | ||
| Oh yeah, it's still leaking. | ||
| They said the 14-year-old Gulf oil spill is leaking up to 4,500 gallons a day. | ||
| They found that it was many, many times more oil was leaking out than they thought it was. | ||
| So that's still going into the ocean right now from that stupid oil pipeline. | ||
| The quicker that someone figures out alternative energy... | ||
| That's kind of what I'm saying. | ||
| It needs to happen. | ||
| This is ridiculous. | ||
| Everyone's doing the easy thing right now. | ||
| And it's just feeding the, again, the capitalist machine. | ||
| It's just like, no, that's okay. | ||
| That's acceptable. | ||
| But you and I have righteous virtue because we drive electric vehicles occasionally. | ||
| Yeah. | ||
| That's true. | ||
| I do feel a little bit better. | ||
| I feel better than people when I drive my Tesla. | ||
| Hmm, you assholes. | ||
| They're poisoning the world. | ||
| You know, I only feel better driving my Tesla only in that it's just faster. | ||
| It's just faster than almost everything on the road. | ||
| Yeah, it's a time machine. | ||
| That's exactly what I call it. | ||
| I always say, like, if there's a location that I want to go to, I appear there. | ||
| Yeah. | ||
| You just go, zoom, you're over there. | ||
| And you have the P100D, which is the one I have, which is the two-engine one. | ||
|
unidentified
|
It's crazy. | |
| And meanwhile, that fucking new thing that they're coming out with, the Roadster, is going to be a half a second faster, zero to 60. Yeah. | ||
| Yeah, it's... | ||
|
unidentified
|
How? | |
| Well, 1.9... | ||
| 1.8, theoretically. | ||
| 1.8 seconds here to 60. I think he's changed his take on that. | ||
| I think he recently said it's 2.1. | ||
| Oh, are you serious? | ||
| Yes. | ||
| Okay. | ||
| People were very disappointed. | ||
| I'm very disappointed, because you've got to break the two barrier, man. | ||
| What kind of nonsense is this? | ||
| I know. | ||
| Where's my point? | ||
| Where's my tenth of a second? | ||
| It ain't going to matter, kids. | ||
| The fucking thing's ridiculous. | ||
| Are you kidding? | ||
| It's just a fucking weapon. | ||
| Yeah. | ||
| It's insane. | ||
|
unidentified
|
Yeah. | |
| Oh, it also has 600 mile range. | ||
| Yes, that's what I heard, which is just insane to me. | ||
| I just love that it's a tinier car. | ||
| It's like the fastest thing ever. | ||
| There's only going to be maybe three other road legal cars that you could buy that would get to that level. | ||
| Supercars are going to look obsolete compared to that. | ||
| Oh, yeah. | ||
| I mean, well, the thing I'm excited about is the Penn and Farina electric car. | ||
| Ooh, what is that? | ||
| It's all designed completely in-house, and I don't know when it comes out, but I don't know if you can find a picture of it. | ||
| It is the nastiest piece of tech. | ||
| Don't let the Italians make the engine, though. | ||
| Trust me. | ||
| Yeah, I don't think so. | ||
| I think they're leveraging. | ||
| Do not let my people design things. | ||
| You let them design the way it looks, but all the wires, they're barely paying attention. | ||
| They're staring at girls' asses, eating spaghetti. | ||
| I guarantee you. | ||
| That's so funny. | ||
| That's so true. | ||
| Germans and Japanese make reliable cars. | ||
| Yes. | ||
| They make their engineers. | ||
| Oh, there it is. | ||
| Look at that. | ||
|
unidentified
|
Woo! | |
| Damn! | ||
| That is a goddamn Batmobile. | ||
| Yeah, she'd be nasty. | ||
| Oh, that's a real car? | ||
| Oh, yeah. | ||
| When's that coming out? | ||
| I think orders are happening. | ||
| There you go. | ||
| That's it. | ||
| 2.5 million. | ||
| Jesus Christ. | ||
| Where's all this money coming from? | ||
| Active Arrows. | ||
| How many shakes are there? | ||
| I mean, come on. | ||
| Look at that thing. | ||
| Look at that fucking thing. | ||
| And it borrows a little bit of like Ferrari. | ||
| La Ferrari has a little bit of Japanese styling. | ||
| It has a... | ||
| It's the perfect blend of all the good things about tech-looking cars. | ||
| You know what it's like? | ||
| It's like a Ferrari 488. Yes. | ||
| But one that fucked a Lexus LFA. Oh, yeah, yeah, yeah, yeah. | ||
| 1900 horsepower. | ||
| How many Newton pounds of torque? | ||
| I don't know what I have to say. | ||
| Whenever they say that, Newton meters. | ||
| I don't get it. | ||
| Those European ones, I'm like, what are you saying? | ||
| I don't feel it. | ||
| All I know is what is high, and then I base it off of that. | ||
| It's funny, too, that we still use horses. | ||
| I know. | ||
| How stupid is that? | ||
| Look at that, see? | ||
| We use people power. | ||
| Less than two seconds. | ||
| But it's an electric vehicle, and I'm sure Byton has one coming out that looks really cool. | ||
| It goes 180 miles an hour, 186 miles an hour in 12 seconds, it's said. | ||
| Jesus Christ. | ||
| So 12 seconds later, you're going 186 miles an hour. | ||
|
unidentified
|
Is that real? | |
| Look at that control cockpit. | ||
| That's what I like about cars like that. | ||
| It better look amazing. | ||
| It's a fucking house in the hills. | ||
| You know what? | ||
| It's a house in the hills. | ||
| I'd get it. | ||
|
unidentified
|
Wow. | |
| If I could, I'd get it. | ||
|
unidentified
|
Would you? | |
| Oh, yeah. | ||
| Easily. | ||
| I definitely want to get the Roadster. | ||
| I'm thinking about the Roadster. | ||
| I'm getting that, bitch. | ||
| You got to, man. | ||
| Come on. | ||
| Got to. | ||
| I mean, it's not that... | ||
| I mean, for $250,000, you're getting a car that, like, that's a... | ||
| What was that again? | ||
| What do you keep showing us, Jamie? | ||
| You're just flipping through... | ||
| You don't even pay attention now. | ||
| Jamie's on a rabbit hole. | ||
| He went down to YouTube rabbit hole. | ||
| I want to see what Lotus was doing. | ||
| It was right there. | ||
| What was the other one? | ||
| Pull the Tesla Robster. | ||
| Oh, yeah. | ||
| That thing's badass. | ||
| What is the other one? | ||
| Rimac Concept 2. Oh, I don't know what that one is. | ||
| I think they're a stone handle for the roadster. | ||
| Oh, yeah, yeah. | ||
| You slide your finger down. | ||
| What? | ||
| It pops. | ||
| I mean, who knows? | ||
| Oh, that's going to leave you stranded in the parking lot. | ||
| And it's not using that steering wheel. | ||
| I don't know why they do that. | ||
| They do that for concept cars. | ||
| No side view mirrors, which now is actually becoming legal, which is great. | ||
| Why would they have no side view mirrors? | ||
| Because it looks sexier. | ||
| But so what? | ||
| It looks more sleek. | ||
| Does it really bother you? | ||
| That's like if you're a dude and a girl's really hot but she has a chipped tooth. | ||
| No, no, no. | ||
| That makes it better. | ||
| That's character, man. | ||
| That's beautiful. | ||
| So why don't you want side mirrors? | ||
| Well, see, it just creates a cleaner line. | ||
| Fuck a clean line. | ||
| I want to see what's going on. | ||
| I want to die. | ||
| I want to see what's behind me, man. | ||
| Well, the new Honda all-electric car that's basically kind of like a Golf, kind of an e-Golf, but it's a fully new car. | ||
| It's got the camera system with the side-view mirrors. | ||
| They're just right on the edge of the dash, right where the mirrors kind of would be. | ||
| And the guy... | ||
| The guy who was doing a review of it, one of the few guys who's gotten to drive it, said that it just blows you away. | ||
| You're like, why have a car's been like this forever? | ||
| Because it gives you an accurate, full-time view of what's going on. | ||
| And the rearview mirror is also a screen. | ||
| Maybe that's what Tesla's doing. | ||
| So you get no pillars. | ||
| No pillars. | ||
|
unidentified
|
What? | |
| What are you laughing at? | ||
| You're going to make fun of this car. | ||
| Why am I making fun of? | ||
| I don't know, have you seen it? | ||
| No, go back to the Tesla. | ||
| Look at this. | ||
| There's only some Honda E. Go back to the Tesla. | ||
| It's also got the most ridiculous turning radius. | ||
| It turns tighter than a London cab. | ||
| Yeah, because it's got a stick in the ground. | ||
|
unidentified
|
Yeah, it just plants a pole in the ground and then it just rotates. | |
| Yeah, the Roadster is evil. | ||
| I don't think it's really going to come out in 2020. I don't think so either. | ||
| I think it's going to get pushed back. | ||
| But it's just such a gorgeous... | ||
| It does have some active aero, I think, in the spoilers active. | ||
| It's just cool looking. | ||
| It looks like what a car is supposed to look like in 2020. Exactly. | ||
| Yes. | ||
| Reggie Watts, let's wrap this bad boy up. | ||
| Let's do it. | ||
| People want to follow you on social media. | ||
| Is that possible? | ||
| Only if they want to. | ||
| And it's at ReggieWatts at Twitter. | ||
| And Instagram, it's ReggieWatts. | ||
| And sometimes ReggieWatts.com. | ||
| That's about it. | ||
| Dude, we've got to do this more often. | ||
| For real. | ||
| Let's do it. | ||
| Yeah, it's so much fun. | ||
| It's such a cool journey, man. | ||
| Really fun. | ||
| Really fun. | ||
| And thanks for the awesome weed, the purple venom. | ||
| Of course. | ||
| It's on point. | ||
| Young Jamie, salute. | ||
| Goodbye, everybody. |
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