Sept. 19, 2019 - The Joe Rogan Experience
03:13:30
Participants
| 
| Speaker | Time | Text |
|---|---|---|
| Boom! | ||
| And we're moving. | ||
| We're moving, gentlemen. | ||
| All right. | ||
| Good to see you. | ||
| We're moving. | ||
| Thanks for being here. | ||
| Thanks for having us. | ||
| I'm a gigantic fan. | ||
| We're fans of yours. | ||
| You already know that, but now I get to tell you in person. | ||
| I'm a big fan of yours, man. | ||
| Well, thanks. | ||
| You've become my, we were just saying on the way here, you've become my late night television. | ||
| I don't watch, I don't watch like, you know, Jimmy Fallon or anything. | ||
| I put on your podcast on YouTube. | ||
| Just watch it. | ||
| Just blew his fucking mind. | ||
| Look at it. | ||
|
unidentified
|
Thank you. | |
| But you're also like my Oprah. | ||
| And I was thinking, you need a whole cast. | ||
| You need like a Gayle King. | ||
| I do. | ||
| I'm willing to be your Dr. Phil. | ||
|
unidentified
|
Ooh. | |
| Yeah. | ||
| I need a science advisor. | ||
| I definitely need a real on-staff scientist to check things. | ||
| Like Dr. Oz? | ||
| No, he's not real. | ||
| And that's what I'm saying. | ||
| You need the... | ||
| No, I need a real one. | ||
|
unidentified
|
Okay. | |
| Okay. | ||
| Like, Dr. Oz, he got in trouble for selling horse shit, right? | ||
| Didn't he get brought in front of Congress? | ||
| I assumed all these people were kind of unqualified for their... | ||
| Well, Dr. Phil's actually a really good guy. | ||
| He's actually a real good guy. | ||
| I like one of those TV judge bailiff cops that stands in front of the judge just got arrested for murder. | ||
| No! | ||
| Really? | ||
| Yeah. | ||
| Dude, that's my favorite of all the kind of reality shows. | ||
| It's like the Judge Judy bailiff character. | ||
| Like, the guy's like, that's right, judge. | ||
| That's right, judge. | ||
| Do you think he's like a DEA agent that eventually wants to try coke? | ||
| What, the bailiff? | ||
| Yeah, he's probably a real bailiff, right? | ||
| So he's probably around so many goddamn criminals. | ||
| Man, I don't think that they're real bailiffs. | ||
| I haven't got that. | ||
| He's a fake bailiff? | ||
| I just assumed it's Hollywood, man. | ||
| True. | ||
| It looks like the same outfit from Night Court. | ||
| It's not a complicated gig. | ||
| You could just hire an actual cop. | ||
| That way you're doubly protected. | ||
| You have a real cop that's standing there. | ||
| Yeah, really doing it. | ||
| I'm sure they can do that gig. | ||
| Just find a guy who's nice. | ||
| I think that's a much higher paying gig than a cop. | ||
| Give a cop a break. | ||
| With that type of money comes corruption. | ||
| That's true. | ||
| That's right. | ||
| That's where it gets ugly. | ||
| All the other cops get mad at him. | ||
| They set him up. | ||
| Yeah. | ||
| They plant a gun on him. | ||
| Plant some drugs. | ||
| Maybe that's what happened to this dude. | ||
| This guy you're talking about. | ||
| This dude got set up. | ||
| All the cops are like, this motherfucker got $150,000 a year job. | ||
| Put the fucking gun on him. | ||
| Have you guys been paying attention to OJ on Twitter? | ||
| No. | ||
| What's he doing? | ||
| It's one of the strangest things ever. | ||
| He's just talking on Twitter. | ||
| Just talking about football and politics. | ||
| And the comments are just the most ridiculous shit. | ||
| Everything you would expect. | ||
| I'm sure he can't read them. | ||
| The comments are just filled with murder jokes. | ||
| Yeah. | ||
| Really? | ||
| No, not his comments. | ||
| His comments, like under his thing. | ||
| He says his thing, and under all the people that comment on his post, it's all just murder jokes. | ||
| As long as he's not making murder jokes, I guess. | ||
| No. | ||
| My friend has the largest O.J. Simpson t-shirt collection of the free O.J. juices loose in the world. | ||
| And he had an exhibit here in L.A. a year ago at a museum. | ||
| Like 150 shirts. | ||
| Pretty amazing. | ||
| But you know who I like to follow on Twitter? | ||
| We were talking about it earlier, I don't really look at Twitter that much, but I do like Jose Canseco a lot on Twitter. | ||
| Do you? | ||
| Yeah. | ||
| What is he talking about? | ||
| It's just crazy. | ||
| It's just extra crazy. | ||
| He was offering, for $2,000, you could spend the night in a tent with him and look for Bigfoot. | ||
|
unidentified
|
What? | |
| Oh my God. | ||
| Yeah. | ||
| It started with him when he shot his finger off and then it fell off. | ||
| He was tweeting about that. | ||
| That's what piqued my interest. | ||
| When I was 19 years old, I worked at a place called the Boston Athletic Club, and Jose Canseco and some other baseball players walked in. | ||
| It's amazing how big he was. | ||
| He was huge, like a huge person. | ||
| Huge. | ||
| Like a just gigantic man. | ||
| You know, so handsome. | ||
| Looked like a professional wrestler. | ||
| Looked like a fake person. | ||
| Yeah. | ||
| Really didn't even look like a real person. | ||
| Just a giant, handsome super athlete. | ||
| Came into lift weights. | ||
| I'm like, huh. | ||
| How fucking weird. | ||
| He's one of only four people, I think, that has 40 home runs and 40 steals in a season. | ||
| I mean, he was on steroids, I think. | ||
| Oh, he's looking for Bigfoot. | ||
| He really is. | ||
| He said, I am a Bigfoot expert, and the most famous Bigfoot picture or video ever taken was a costume. | ||
| The individual wearing the costume was none other than Andre the Giant. | ||
| Check it out. | ||
| I don't think that's true. | ||
| I think that's pre-Andre the Giant's career, in fact. | ||
| That picture was from the 60s. | ||
| That's the Patterson-Gimlin footage. | ||
| Well, Andre the Giant was alive, though. | ||
| Are you saying Jose Canseco doesn't know what he's talking about? | ||
| I'm going to go out on a limb. | ||
| He's incorrect here. | ||
| Have you seen what Andre the Giant could drink in an average flight? | ||
| Oh, yeah. | ||
| It's incredible. | ||
| Yeah, we had Jake the Snake on. | ||
| Jake the Snake used to drive him, and he had amazing stories about driving Andre the Giant. | ||
| Jake the Snake was your designated driver. | ||
| He would drink literally 24 beers in a half hour. | ||
| His hands were so enormous that the beer didn't even look real. | ||
| They looked like minibar beers. | ||
| His hand just covers everything. | ||
|
unidentified
|
Oh, God. | |
| He was so huge. | ||
| But when I saw a guy like Jose Canseco, I'm like, well, there's no fairness in this world. | ||
| There's no fairness? | ||
| How are me and that guy the same species? | ||
| There's no fairness in this world? | ||
| Well, good. | ||
| Interesting. | ||
| You learned early. | ||
| Yeah, it's a good lesson to learn. | ||
| It's a good lesson. | ||
| Yeah, it's like the first time you really get dunked on pretty hard. | ||
| That can happen to you too, bitch. | ||
| I think it's important to kind of be reminded of your position in society, in the world. | ||
| When I was 10 or 11, I was getting driven home from a Little League game by my dad, who's one of the sweetest guys ever. | ||
| Right? | ||
| And we're listening to the Indians game, and this new shortstop, who at the time was terrible, named Jay Bell, like, dropped the ball. | ||
| And I was like, Dad, I bet you I'm a better shortstop than Jay Bell. | ||
| And my dad stopped the car. | ||
| He was like, Patrick, I love you so much, but you're 11, and there's no possible way you're better. | ||
| There's only, like, 50 professional shortstops, and there's no way. | ||
| And then that's it. | ||
| I just was like, oh, my God. | ||
| But I realized at that moment, I was like... | ||
| Man, my dad's never gonna bullshit me. | ||
| That's kind of cool. | ||
| That's very cool. | ||
| Yeah, you don't need to be bullshitted. | ||
| That's the problem with a lot of kids today. | ||
| They've been bullshitted their whole life. | ||
| They're like, oh yeah, you're the best. | ||
| You're the best, son. | ||
| You are better than him. | ||
| You just need to go and take that job. | ||
| It's yours. | ||
| Well, there's a lot of wacky people, too, that are living through their kids. | ||
| You know, they're like... | ||
| All their expectations of success have now been turned on their progeny. | ||
| Oh, yeah. | ||
| You know, they have this thing. | ||
| They just want their kids to kick ass and go out there and fucking kick ass. | ||
| Oh, my God. | ||
|
unidentified
|
You know? | |
| It's like, ooh, slow down. | ||
|
unidentified
|
Yeah. | |
| It's hard. | ||
| Fine line. | ||
| Yeah. | ||
| How do we get... | ||
| Oh, Jose Canseco's Twitter. | ||
| It's crazy, huh? | ||
| It's crazy. | ||
| It's a wild dude. | ||
| Wild man. | ||
| I mean, it's cool that a guy that... | ||
| I mean, his life story is incredible. | ||
| You haven't had him on, I'm guessing. | ||
| No. | ||
| You should have him on. | ||
| Oh, my God. | ||
| That would be great. | ||
| Bash Brothers. | ||
| Yeah. | ||
| Have him just tell exclusively Bash Brothers stories. | ||
| People are always going to be mad at him forever because of the steroids thing, right? | ||
| Because he told on those other guys that were doing it. | ||
| His other Bash Brother was found out, right? | ||
| Mark McGuire. | ||
| I don't know, man. | ||
| I don't know much about the... | ||
| I mean, I know the difference between doping and steroids or whatever. | ||
| But I kind of feel like if you're... | ||
| I don't know about steroids necessarily, but... | ||
| If you're riding a bike across France and, like... | ||
| I don't know. | ||
| I feel like you should dope a little bit. | ||
| I'm not doing it. | ||
| Someone needs to do it. | ||
| Well, doctors have actually said it's probably physically safer to take the steroids if you're going to do something like Tour de France. | ||
| Because it's so insanely grueling on your body that you want to be able to recover. | ||
|
unidentified
|
Mm-hmm. | |
| But we have this weird thing. | ||
| It's like there's a thing that makes your body work better, but you're not supposed to take it. | ||
| If you take it, we get mad at you. | ||
| But we want you to do good. | ||
| We want you to do your best. | ||
| But we don't want you to take this thing. | ||
| You could drink yourself to death. | ||
| We're never going to stop that. | ||
| But we don't want you taking steroids because then you'd be too big and you'd hit too many balls. | ||
| Like, what? | ||
| How come you can't do whatever the fuck you want? | ||
| It's either everybody or nobody. | ||
| It's the cheating thing. | ||
| The thing is, it affects kids. | ||
| That's where it gets dangerous. | ||
| If you find out, oh my god, these guys just openly do steroids and they tell you what they do... | ||
| Yeah, then middle schoolers will be doing it. | ||
| Yes. | ||
| That's the real fear. | ||
| Because that would happen. | ||
| Because there's middle schoolers that are professionally competitive all over this country. | ||
| Kids in high school do steroids. | ||
| I mean, also, you do a bunch... | ||
| I know somebody that did a bunch of steroids and... | ||
| He was describing to me the process of... | ||
| He literally was doing it. | ||
| He wanted to get big, you know? | ||
| And I was like, so what do you do when you're big? | ||
| He's like, well, you've got to start taking these estrogen blockers and all this stuff. | ||
| I was like, what the fuck? | ||
| He's like, yeah, if you don't take, your body stops making testosterone. | ||
| And I was like, what the fuck? | ||
| I was like, well, that's... | ||
| I mean, this is probably a controversial statement, but I was like... | ||
| Well, Bruce Jenner said that he, like, did stairways for breakfast. | ||
| I mean, do you think that, like, depleted his testosterone? | ||
| I don't think they believe that there's a connection between gender identity and testosterone levels. | ||
| I think they think it's a wiring issue, for lack of a better term. | ||
| But there is always a thing that happens to people. | ||
| If you take steroids, your body has this inability to make its natural hormones, and so you get depressed. | ||
| It's like a depression time, and it can be really funky for a lot of athletes. | ||
| Is that where like Jose Canseco's out there looking for Bigfoot? | ||
| Could be. | ||
| Is it because he just needs to clear his head? | ||
| Could be. | ||
| He also had some MMA fights. | ||
| He might have got his brains knocked loose. | ||
| Like he had one MMA fight against this fucking big giant dude. | ||
| What was his name? | ||
| Yeah, that was early MMA. No, it was after his whole career thing had gone. | ||
| He had a fight. | ||
| Was it Hongman Choi? | ||
| It was Hongman Choi. | ||
| Hongman Choi is huge. | ||
| So him just to accept this fight is crazy. | ||
| Let me see what that is. | ||
| Hong Man Choi is like literally seven feet tall. | ||
| Jose Canseco is an enormous guy. | ||
| I recognize him from movies. | ||
| He's not enormous compared to Hong Man Choi. | ||
| And Hong Man Choi was a professional MMA fighter. | ||
| He fought some really, really tough guys in Japan. | ||
| So it was a total, complete mismatch, but he needed the cheddar, so he stepped in. | ||
| Look at the size of Choi, bro. | ||
| That looks like when you have a real G.I. Joe guy and then the generic G.I. Joe guy. | ||
| It looks like he fucking found Bigfoot. | ||
| And even though Canseco is still a fucking gorilla, I mean, he's a stout man. | ||
| Super powerful, gigantic man. | ||
| But that just shows you how big Hongman Choi is. | ||
| He got pummeled. | ||
| I think he blew his knee out, if I remember correctly. | ||
| I think he threw a kick, and he blew his knee out, and then Hong Man Choi pounded him into oblivion. | ||
| Danny Bonaduce, too? | ||
| Yeah, it was. | ||
| Oh, no, did he really? | ||
| I just saw a picture of him standing together in the ring. | ||
|
unidentified
|
Oh, my God. | |
| He's so much bigger than Danny Bonaduce. | ||
| He's a really huge guy. | ||
| Right there. | ||
| Is that there? | ||
| Oh, my God, he did. | ||
| Danny Bonaduce is crazy. | ||
| Jesus. | ||
| Well, his head looks like it's been Photoshopped on. | ||
| But wait a minute, wasn't that Ken Seiko's brother? | ||
| Wasn't that his brother posing as him? | ||
| He's super tatted up. | ||
| No, no, he's not, though. | ||
| He posed as him? | ||
| Yeah, but I mean, no, he's not even. | ||
| That's one of those shirts that you put on. | ||
| It's like a rash guard, but it's got tattoos on it. | ||
| And it looks like you're tattooed up. | ||
| I wish our brothers would start posing as us. | ||
| I don't think that that was Canseco. | ||
| I think it was Canseco's brother. | ||
| I think it was found out later. | ||
| Is it like how Gallagher has Gallagher's brother? | ||
| We were talking about that Gallagher too. | ||
| Look at that guy. | ||
| That's not Canseco. | ||
| His name isn't mentioned in the article. | ||
| Danny Ayo. | ||
| I mean, he's still a big, giant dude, too. | ||
| The only way the story could get published is with that resolution of photo. | ||
| Like, eight pixels. | ||
| Dude, isn't that crazy? | ||
| I don't know if you look at Facebook or if you have it, but... | ||
| I do have it. | ||
| I keep up with my high school friends and my parents' friends and stuff, and... | ||
| The amount of stuff I see retweeted or reposted from the left and the right is just so crazy, man. | ||
| These weird fake websites with the most outrageous. | ||
| And you can tell, like, you know, most people know it's fake because they're like one like and everyone's just afraid to acknowledge to the person. | ||
| Like your uncle, like, man, that... | ||
| What is that? | ||
| That's not really Jose Canseco, man. | ||
| Well, how about those, you won't believe what she looks like now websites? | ||
| You know, it's on like CNN. You go down the bottom of CNN. Dude, that's my Instagram. | ||
| I scroll back a couple years. | ||
| I'm like, what the fuck happened to me? | ||
| I'm like, I fucking quit smoking. | ||
| I gained like 35 pounds. | ||
| I went gray. | ||
| I'm like, fuck, man. | ||
| How much does smoking affect the way you feel? | ||
| Not smoking is, I feel amazing, but it was a weird addiction I had. | ||
| Heavy addiction. | ||
| How many cigarettes were you smoking a day? | ||
| A lot, man. | ||
| Like, two packs, easy. | ||
| Whoa! | ||
| For like 18, 19 years. | ||
|
unidentified
|
Woo! | |
| That's a lot! | ||
| I know, but I had a baby coming and I just set a date. | ||
| No books, no anything, no pills. | ||
| I set a date and I bought a 12-pack of beer and four packs of cigarettes and went into my studio and just smoked every cigarette and drank every beer and just felt like shit on purpose knowing that I wouldn't want a cigarette and I never smoked a cigarette. | ||
| Wow. | ||
| But I did gain a lot of weight. | ||
| I mean, chicken parmesan tastes a lot better when you're not smoking cigarettes. | ||
| It's like, you know, I don't know, you have kids. | ||
| I had my first kid last year and you end up, you go through that, you know, I think most people go through it and you just realize like, oh shit, like I'm almost, I'm 39, I gotta stick around for this kid and cut the bullshit. | ||
|
unidentified
|
So... | |
| That's what motivated me to do it. | ||
| It really affects your taste buds, huh? | ||
| I think it affects your metabolism a lot. | ||
| It makes you speedy, right? | ||
| It makes you speedy. | ||
|
unidentified
|
It just satiates your appetite. | |
| I eat normal meals now, and I just gain weight. | ||
| But before I realized, I was just barely eating food. | ||
| My friend Tony smokes, and he went down to the Juul, then he quit that totally, Tony Hinchcliffe. | ||
| And he would smoke cigarettes before a show. | ||
| I go, give me one of those things. | ||
| I go, what does that do for you? | ||
| I go, give me one of those things. | ||
| And I lit it, and I hadn't smoked a cigarette in more than a decade. | ||
| And the last time I did it, I did it for like a play. | ||
| I couldn't believe how high I got. | ||
| I'm like, oh my god, this gets you so high. | ||
| Like, it's crazy. | ||
| Well, yeah, but it does the first couple. | ||
| You chase the dragon. | ||
| Once you're back in there, you're not getting that effect. | ||
| But it is amazing. | ||
| Like, on its own, the hit that you get from a cigarette, I'm like, holy shit, I feel great. | ||
| Well, I do. | ||
| I feel like every once in a while, it'll be in a situation where I'm like, oh man, I actually really do... | ||
| Want a cigarette, but instantly I'm like, that will mean for me buying a whole pack, being right back on it. | ||
| Although I was like, well maybe I'll give myself one weekend a year and just torture myself and allow myself to look forward to that one weekend a year, smoke some cigarettes. | ||
| If you can make that kind of a deal with yourself, I think that's possible. | ||
| I think I'm capable of it because I do have pretty good willpower. | ||
| I mean, I was able to quit. | ||
| The people that would be like addiction specialists would tell you that you're fooling yourself. | ||
| You're fooling yourself, buddy. | ||
| If I try to pretend, I'm an addiction specialist. | ||
| Come on. | ||
| You don't need it. | ||
| You've gone without this lung. | ||
| Look how great everything is. | ||
| I know. | ||
| Why do you want to go back to it? | ||
| Why do you want to open up the door? | ||
| But then I would open up the door to this whole thing like, why do you need anything? | ||
| That's a good point. | ||
| I mean, and then it's like, it's because it's fun, and if I could do it for one weekend, it'd be less harmful than every day. | ||
| Yeah. | ||
| I mean, everybody has addictions. | ||
| Everyone's full of addictions. | ||
| Whatever it is, like, I'm addicted to sleep. | ||
| I think that's my biggest addiction. | ||
| I'm like, that was my biggest fear, really, about having a child. | ||
| Like, how am I going to sleep? | ||
| What the fuck? | ||
| You know what I mean? | ||
| Like, freaking out. | ||
| And to this day, I'm like, I get up to take my stepdaughter to school at, like, 7, and then I'm like, I come back in the house, and I just sneak back into bed. | ||
| And I try to avoid having to wake up to take care of the baby. | ||
| LAUGHTER I have excuses ready to go. | ||
| Like, I got so much to do later today. | ||
| Man, I just need a couple more hours. | ||
| That's a good thing for your body, though. | ||
| Not enough people get that. | ||
| So that's a good addiction. | ||
| You get a solid, healthy addiction. | ||
| I think if you don't get enough sleep, it's the worst thing for you. | ||
| I mean, that's when I feel the craziest. | ||
| Me too. | ||
| I feel like everything's barely keeping it together. | ||
| You know, I'm functioning at like 70%. | ||
| I know when I've reached a wall of exhaustion. | ||
| It's like when I go, I need a nap, and then I lay down, and I just have a full-on existential crisis. | ||
| I get really stressed out when I'm tired. | ||
| Yeah. | ||
| But yeah, I mean... | ||
| The cigarette one's so weird, because if you think how many people are doing it right now, listening to this, smoking a cigarette, and all of them know it's bad for them. | ||
| But everyone's just drawn to it. | ||
| It's just so weird, and it kind of represents that you're having fun. | ||
| It represents that you're, you know, you're free, doing whatever the fuck you want, smoking a cigarette, I know it's bad, shut up. | ||
| I don't know. | ||
| It's only like that once when you're like 15. And then it's never like that again. | ||
| And then it's just an addiction. | ||
| Well, I do smoke a cigar once in a while. | ||
| And I think that the thing about similar between the two, aside from nicotine, because you don't get much nicotine from a cigar. | ||
| It's not nearly the same. | ||
| Not comparable. | ||
| Not at all. | ||
| But it is like, okay, it's like, I'm telling myself and everybody around me, like, fuck off for however long I have this time to myself. | ||
| You know what I mean? | ||
| So it is like, there's that aspect to it. | ||
| And I don't know. | ||
| I mean, I think that if you marketed cigarettes right, man, you could get every motherfucker smoking because you could just say, like, it's like the new cacao nib. | ||
| It's like, this is... | ||
| They're like, Native Americans used this shit. | ||
| It's a natural antidepressant. | ||
| Get on the fucking American spirits. | ||
| This doesn't have any chemicals in it. | ||
| No chemicals. | ||
| Is there a difference as a cigarette smoker between the high you get from an American spirit or a hand-rolled cigarette versus a cool? | ||
| When you're smoking cigarettes, you're just into your brand. | ||
| I actually bought a Juul based on a recommendation from a friend years ago. | ||
| So long ago, they follow me on Twitter. | ||
| They must have looked at who was buying this shit, and I was one of the few people that was verified or something. | ||
| It was 2014 or 15. And that's when I knew that I could not be vaping. | ||
| I hate it. | ||
| A, you look like an idiot, but B, it's a temperature thing for me. | ||
| It's too hot. | ||
| It's fucking gross. | ||
| Might as well just not be smoking if you're going to smoke the Juul thing. | ||
| But it's weird because my stepdaughter, all of her friends are fascinated by the Juul specifically. | ||
| It's like an epidemic with these high school kids that want... | ||
| And I was like, that's a funny joke until you all get addicted to cigarettes because that shit's fucking real. | ||
| Well, it's also, some kids are having problems with the oils in their lungs, right? | ||
| I don't know. | ||
| Yeah, there was... | ||
| Yeah, some kids are in hospital. | ||
| I was probably for not moving around. | ||
| That's probably just from looking at their iPad all day. | ||
| I think they were saying that they'd grown some sort of infections in their lungs. | ||
| They'd damaged their lungs. | ||
| I don't know if it's true, though. | ||
| You know, it's like one of those stories that I just looked at the headline and I didn't look into it at all. | ||
| It's Facebook, one like post. | ||
| Jamie, do you know, is that legit? | ||
| Have people really experienced severe lung disease associated with vaping? | ||
| Is that real? | ||
| I think they're trying to link it. | ||
| There has been studies saying that maybe this is from it because there's some sort of chemical that's in it. | ||
| It's probably just the cigarette lobbyists trying to shut that down. | ||
| Well, it's the number that's weird. | ||
| It's like not that many. | ||
| It's like a couple. | ||
| What are they doing? | ||
| I don't know. | ||
| I don't think that the government should be regulating that kind of stuff. | ||
| I mean, they should make sure it's safe, but they shouldn't outlaw it. | ||
| I saw that California or someone... | ||
| Well, it seems easy for kids to get. | ||
| That's where it gets weird. | ||
| It's like the reason why we keep kids from cigarettes. | ||
| I don't know. | ||
| It's not fair to get them hooked on something that's that physically addictive that young when your brain is still forming. | ||
| It's like a sneaky trick. | ||
| If you can keep it away from kids at an early age. | ||
| But it makes them feel cool, man. | ||
| Well, I mean, I feel like... | ||
| I don't know. | ||
| I mean, I feel like weed wasn't that hard to get when we were in high school. | ||
| But now it must be way easier. | ||
| So I don't know. | ||
| Do you think it's easier to get weed or cigarettes if you're in high school? | ||
| In California? | ||
| Probably weed. | ||
| I know people here that when I was smoking, I'm like, oh my god, I can't believe you smoke! | ||
| And then there's smoke in a joint. | ||
| I'm like, man, fuck off. | ||
| Fuck off. | ||
| And they're driving around in their Tesla, and I'm like, that's the coolest fucking car. | ||
| But what happens when you get a 300-pound battery full of heavy metals in a dump 100 years from now? | ||
| I don't know what the fuck happens. | ||
| Who the fuck knows? | ||
| What do they do with the metals from the batteries? | ||
| They recycle them? | ||
| That's what's in the jewel. | ||
| I'm just saying, man, that the thing about the Tesla and all these electric cars is I think that they're really smart and cool, but the idea of having to filter all these rare earth minerals into one place, not much. | ||
| It's the first time that's ever happened. | ||
| It's a good argument. | ||
| It's an interesting argument. | ||
| We had a buddy who had leukemia and bone cancer, actually. | ||
| And his doctor, who wasn't a quack, I think he was at the Cleveland Clinic, was like, this is from having too many heavy metals in your system. | ||
| That's how you got this. | ||
| He's like, your heavy metals are out of control. | ||
| And the doctor said, did you grow up near a mine? | ||
| And the kid asked his parents, he's like, what's this about? | ||
| And they're like, oh yeah, we had you on a commune. | ||
| In Colorado. | ||
| We lived there for your first year of life. | ||
| In a mine? | ||
| Like in an old mine. | ||
| It was like an old mining town. | ||
| Oh, Jesus. | ||
| Yeah, and I said that's probably what it came from. | ||
| I don't know. | ||
| I don't know what I'm talking about, man. | ||
| I'm a drummer. | ||
| No, but that makes sense that you would get that from a mine. | ||
| I mean, if it gets into the air, into the atmosphere. | ||
| Well, because you're filtering the heaviest metals down. | ||
| I don't know if you've ever been to... | ||
| There's a town, what's it called? | ||
| Yeah. | ||
| Jerome, Arizona. | ||
| My wife's from Sedona. | ||
| And near there, there's this little mining town called Jerome. | ||
| It's a really cool touristy spot. | ||
| But there's this giant slag hill. | ||
| I mean, it's massive. | ||
| And it's just like all of the shit that wasn't copper or gold or silver, but was heavier and sinking to the bottom when they're looking for that stuff. | ||
| And then they throw it. | ||
| And that's the kind of shit that's the rarest mineral stuff that they make, you know, cadmium and whatever else, lithium. | ||
| So it's just laying around. | ||
| Well, it's just when you're in these mining towns, which would concentrate it because it was all the stuff they wouldn't use. | ||
| It was waste. | ||
| It was waste. | ||
| It was waste stuff. | ||
| So did they know, has anybody done some sort of an environmental test to find out what effect it's had on the water or the soil? | ||
| I don't know, man. | ||
| The soil? | ||
| I don't know. | ||
| We'll find out. | ||
| I know a dude who had severe bone cancer because he grew up in an area that was irrigated with different pesticides. | ||
| They put pesticides down. | ||
| It got into the groundwater. | ||
| And then quite a few people in his neighborhood got cancer. | ||
| And they made a correlation. | ||
| Who knows if it's 100% what caused it. | ||
| A bunch of people got similar cancer. | ||
| That's how my grandpa died. | ||
| My grandpa was a landscaper, and he had a plastic bucket, and he would take the pesticides, and he'd fill the bucket with water, put the pesticide in, mix it with his hand every day. | ||
|
unidentified
|
Oh, Jesus. | |
| And he died of bone cancer. | ||
| Same thing. | ||
| Oh, fuck, man. | ||
| Well, I've also heard that lung cancer, a lot of it, a lot of it is caused from, actually, the fertilizer used, which is, and when you, it's like a plummonium, the same shit they use to kill the Russian. | ||
|
unidentified
|
Oh, Jesus. | |
| Spy, you know? | ||
| Basically, it's an isotope of lead, I think. | ||
| And if you heat it up, it becomes this isotope. | ||
| And over years of smoking, your body builds up small amounts of plutonium. | ||
| Eventually, you know, and that mixed with the carbon, the radioactive carbon isotopes of smoking. | ||
|
unidentified
|
Phew! | |
| That's why, I mean, I think if you figure that out, I'd still be smoking if you could just get rid of those two things. | ||
| Well, if they just figure out some sort of stem cell spray, you can do it in there every day. | ||
| It heals 100% all the smoking damage. | ||
| How many people would go back to smoking? | ||
| Would it heal the brain damage? | ||
| Does smoking give you brain damage as well? | ||
| I mean, like, Jose Canseco, if he has that. | ||
| That would be cool. | ||
| They're thinking they may be someday able to regenerate tissue in the brain, but they've never been able to prove that they can do it. | ||
| It's just a theory. | ||
| They think they can regenerate disc tissue, too, and I know they're doing studies on that, like the spongy stuff in between your spinal column. | ||
| They think they can regenerate that stuff with stem cells, but there's no proof yet. | ||
| But it's exciting stuff. | ||
| I mean, it's exciting. | ||
| I personally prefer to ignore all medical stuff because it freaks me out. | ||
| I went to the doctor to get a physical for the first time. | ||
| And it was just based on me. | ||
| I quit smoking. | ||
| I've gained some weight. | ||
| Let me just figure out where I'm at. | ||
| And we also needed one for our tour. | ||
| Insurance. | ||
| Yeah, we had to do physical. | ||
| For insurance. | ||
| And I went like, what's up with this? | ||
| How's my heart look? | ||
| And the woman, literally the woman that was beating my heart, like, I can't get this other... | ||
| I think I got it right. | ||
| The EKG thing. | ||
| I was like... | ||
| So, my heart looks good. | ||
| It looks really good. | ||
| And then I did some blood work, and I'm like, yeah, it looks really good. | ||
| There's some high levels of this and that. | ||
| I was like, what's that? | ||
| We don't really know. | ||
| But just, we'll check in in a couple months. | ||
| And I was like, came back. | ||
| I'm like, yeah, I think you've just gained some weight, but we're not really sure. | ||
| Like, basically, I don't know. | ||
| I mean, I've seen medicine save people's lives before. | ||
| And then I've seen also, like, it'd be like, you know, Basically, it feels like they still don't know what the fuck is happening in your body a lot of times. | ||
| Yeah. | ||
| So it's best to probably avoid a lot of that shit. | ||
| Try to avoid getting sick. | ||
| Definitely. | ||
| If you can. | ||
| That's my medical advice. | ||
| That's solid advice. | ||
| Well, I mean, I went and they told me that I had this elevated liver enzyme. | ||
| I was like, is that from drinking beer or something? | ||
| I'm like, no, actually, it's just like, it's not even like, it would be different. | ||
| It would be the opposite. | ||
| I'm like, well, what's it from? | ||
| I'm like, I don't know. | ||
| Don't worry about it. | ||
| I went to this other guy. | ||
| He's like, oh, okay, yeah. | ||
| You've got some fat in your liver. | ||
| And I was like, is it because I gained weight? | ||
| Because that's why I'm here in the first place? | ||
| And they're like, probably that's it. | ||
| I was like, what should I do about it? | ||
| And they're like, just lose some weight if you can. | ||
| He's just like, since he got physical, he's just been laying awake at night. | ||
| I'm just like stressing out now. | ||
| I'm like, I'd be better off not getting this physical because I could have diagnosed myself of being a fat ass myself. | ||
| Like, I don't need this shit. | ||
| You know what you needed? | ||
| You needed someone who's a doctor, but also can take you several steps down the road. | ||
| This is what we're going to do. | ||
| Here's what your plan is. | ||
| Well, it's all about bedside manner, man. | ||
| It's all about that. | ||
| Because, look, I had this person be like, look, if there's something that you really need to be stressing out about, I'll let you know. | ||
| But otherwise, I'll stress out for you. | ||
| I'm like, that's not how I work. | ||
| If I know that there's one thing that... | ||
| And like, you know, someone really close to me had a really severe life-threatening episode earlier this year that was very fucking traumatic for everybody involved, including myself. | ||
| And I ended up gaining like 20 pounds in a month, basically. | ||
| 15 pounds from this. | ||
| And I haven't really been able to shake it. | ||
| And that's what led me to get this physical. | ||
| But watching this thing happen to this person, who's very close to me, was like... | ||
| I was like, what? | ||
| The bedside manner was just like insanity. | ||
| Because it was the first time I'd been in a real, someone that wasn't, didn't have like a long-term illness, just like life, it's life or death. | ||
| And it was like, there was no, there was no comforting. | ||
| It was like, oh yeah, at any minute, this person could die for like five days. | ||
| I was like, is there anything you could do? | ||
| Like, mm-hmm. | ||
| No, not weird. | ||
| We've done everything. | ||
|
unidentified
|
Just, you know, just sit tight. | |
| It was like, fuck! | ||
| Yeah, like, yeah, yeah, yeah. | ||
| Do you think they have PTSD? Do you think, like, emergency room doctors have PTSD? They have to, right? | ||
| Oh, yeah. | ||
| Don't you think? | ||
| Well, the idea that this one person had to sit me down and tell me what was going on and, like, the look in this dude's eyes, it was like... | ||
| He looked freaked out. | ||
| But he wasn't calming me at all. | ||
| You know what I mean? | ||
| Right. | ||
| But he also didn't want to leave. | ||
| You know, he couldn't pretend it was going to be okay. | ||
| Can you imagine having those conversations with someone? | ||
| I can't imagine it. | ||
| Every day, multiple times? | ||
| I can't imagine it. | ||
| Yeah, people get mad at you sometimes? | ||
| No, man. | ||
| I can't imagine it. | ||
| I could never do that job. | ||
| I think we don't think of them as experiencing it traumatically because they're doctors. | ||
| We think they should be able to handle it. | ||
| But, I mean, they're also humans who are seeing dead humans. | ||
| Like, those consequences affect every one of us. | ||
| When you look at that all the time, I don't buy that you don't experience some form of, like, intense stress. | ||
| I mean, I've experienced intense stress from doing the thing I love the most, which is playing concerts. | ||
| You know what I mean? | ||
| I've experienced it firsthand, where it's like... | ||
| And that's way different. | ||
| When does it hit you? | ||
| Obviously, because I'm not telling someone their fucking loved one's about to fucking die. | ||
| Do you still feel... | ||
| Man, for me, it's all about just being in the right headspace. | ||
| Yeah. | ||
| I mean, like, when we first started playing, we would play these indie rock clubs, you know, because we come from that background, like, I guess what they would call now hipster shit or whatever. | ||
| And that was just people who liked, you know, really passionate about certain types of music that wasn't massively appreciated, you know, which is still kind of what we're into. | ||
| But because of that, most of the people that would come into our shows were, like, the high-fidelity type record store clerk. | ||
| You know, you're playing a show, and it's just like... | ||
| Arms crossed. | ||
| Afterwards, pretty good. | ||
| We'd be 22-year-old kids, and the gatekeepers were like 30, 32-year-old. | ||
| Now I would look at them as maybe being like... | ||
| You know, more supportive, but at the time it felt more like judging. | ||
| Do you know what I mean? | ||
| So if I get in the wrong headspace, then I'm out on stage and I'm like, oh man, everyone's here to judge us or something. | ||
| You know what I mean? | ||
| Like if you're looking at this big crowd, but then I ultimately do, I ultimately tell myself, I was like, the worst band of all time has probably played to more, you know, like some terrible menudo has played to more people. | ||
| You know what I mean? | ||
| Like, this isn't that many people. | ||
| Like, tonight we're playing the Wiltern. | ||
| There's like 3,000 people. | ||
| It's like, let's be honest, like, the worst stand-up comedian, like, I don't know. | ||
| I don't know, man. | ||
| Like, the fifth Jonas Brother could sell 5,000 tickets in L.A. probably. | ||
|
unidentified
|
Yeah. | |
| So, it's less stressful. | ||
| Or Gallagher, too, could probably sell 3,000 fucking tickets in Los Angeles. | ||
| Come on. | ||
| That's how I look at it, you know? | ||
| I'm like, oh, we deserve to be here more than that personally. | ||
| We put our time in. | ||
| That's a hilarious way to look at it. | ||
| I'm serious. | ||
| Well, why would you concentrate on things that you think that suck? | ||
| Does that alleviate anxiety? | ||
| Does it actually work? | ||
| No, I read this thing that Captain Beefheart, one of our favorite musicians, said, and it was like, if you think about what you're doing, you've already lost... | ||
| The battle. | ||
| The reality is that I don't need to think about, and I know Dan doesn't, we don't need to think about what we're doing. | ||
| So because we're not thinking about what we're doing, like, the trick is to stay in the moment with the music, but I can play and not think about it, and then I start thinking, like, what's that person fucking thinking about out there? | ||
| You know what I mean? | ||
| It's like, I'm like, I got this other conversation happening here, I'm like... | ||
| This is like an intruder. | ||
| Yeah, it's like, I like, like temporary schizophrenia. | ||
|
unidentified
|
I'm like... | |
| Like, Pat, what if you just stopped playing? | ||
| Like a devil and angel. | ||
| Yeah, there's like... | ||
| I actually remember thinking that on stage at Glastonbury, there's like 200,000 people who are close to that. | ||
| And I'm like, oh, if I just stopped playing, what would happen? | ||
| And so I'm like, maybe don't do that. | ||
| Don't do it. | ||
| Just keep going. | ||
| Yeah, Pat's story almost had a breakdown at Lollapalooza one new year. | ||
| It was intense for both of us, actually. | ||
| Because you know what it was? | ||
| I mean, you should tell a story. | ||
| I mean, I just remember it from my point of view. | ||
| I don't know. | ||
| I don't know what was going on through your head at the moment. | ||
| Five Red Bulls. | ||
| He was getting into this thing where he would be really anxious and drink a lot of Red Bull. | ||
| Oh, no. | ||
| And so we got on stage, and it was like a sea of people. | ||
| And he was on his fifth Red Bull, and his eyes were like saucers, and he was just staring at me. | ||
| And I had to talk him off the ledge, right? | ||
| I had to put my foot up on the riser and kind of lean in and kind of talk in a voice, calm voice. | ||
| Hey, man, how you doing? | ||
| Yeah. | ||
| I mean, I was just exhausted, really. | ||
| I'm like, what do you want to do? | ||
| Whatever you want to do is cool with me. | ||
| You know what? | ||
| Just let me know. | ||
| He had to calm me down. | ||
| How many Red Bulls does it take before it becomes speed? | ||
| I don't drink that shit anymore. | ||
| But, you know, I think we also have been playing these shows and it was exhausting. | ||
| Yeah, most of it had to do with our schedule. | ||
| And it was in the middle of summer. | ||
| It was hot as hell. | ||
| And I would think I was severely dehydrated. | ||
| But, I mean, I was, because we played this one show in Des Moines right around this time. | ||
| This was in 2010, right? | ||
| So this is when this happened, was at Lollapalooza 2010. And this is a festival that we had played like four times before. | ||
| So it wasn't like something new. | ||
| And we weren't even headlining this time. | ||
| It was just like we were on stage doing something. | ||
| I was actually looking forward to the show. | ||
| But this was like a pivotal moment for me. | ||
| It was like... | ||
| I... I just kind of missed a beat of a song, something that no one else even noticed other than probably Dan. | ||
| And then I was like, oh, shit. | ||
| And I got, like, I spun out. | ||
| And then I just kept spinning out. | ||
| You know what I mean? | ||
| Like a panic attack on stage. | ||
| And when you have, like, a panic attack, like, you know, you tend to get a panic attack doing the same thing you did before. | ||
| So I, for a while, was having, like, little mini panic attacks every time I was on stage. | ||
| But I got through the set and everything was fine, but I was like, fuck. | ||
| And part of it was that I looked out and there were like 50,000 people. | ||
| We'd been playing this festival four or five times before to crowds starting at maybe 5,000 people and now here we are. | ||
| Most of the festival was watching us play. | ||
| And it was like, oh shit, what the fuck's happening? | ||
| Finally people were here and I was like, I can't fuck it up now. | ||
| And then they're like, boom! | ||
| But you know, I went to go see... | ||
| I went to go see this dude here in LA, in Santa Monica, named Kerry Gaynor, who, like, he specializes in, like, he's a hypnotist. | ||
| I mean, look, man, I didn't know what to do. | ||
| Wait a second. | ||
| This gets so good, man. | ||
| Keep going, dude. | ||
| Dude, I didn't know what to do, because I didn't, like, a couple friends, and I'm like, man, just get some beta blockers. | ||
| Get some Valium. | ||
| Drink some beer. | ||
| I can't do any of that shit before I go on. | ||
| I can't be relying on that before I play. | ||
| So I was like, I got a recommendation to go see this hypnotist who specializes in quitting smoking and fear of flying and also stage fright. | ||
| There's a lot of actors who are going to do plays for the first time. | ||
| So I went to go see Carrie. | ||
| At his house, and we were playing some shows at the Palladium, and he did this thing, hypnotized me, and the second night, like, I went that first night we played, it was, like, better. | ||
| The second night we played, it was, like, pretty much gone, and then I woke up in the hallway of the Roosevelt Hotel in the stairwell in my underwear at, like, 7 in the morning. | ||
| And I'm literally in the staircase in my underwear at 7 in the morning. | ||
|
unidentified
|
And I'm like, what the fuck? | |
| And I just remembered this number like 708. I think it was like 708. Because I'd only been to the room two times. | ||
| And my girlfriend at the time was in there luckily and I went and knocked on the door. | ||
| She's like, what the fuck? | ||
| Where the fuck were you going? | ||
| I was like, I just don't know. | ||
| Hypnotism. | ||
| It's real. | ||
|
unidentified
|
Jesus. | |
| Have you ever been hypnotized? | ||
| Yes. | ||
| Yes. | ||
| Did it work? | ||
| Yes. | ||
| Yeah, there's a guy who was on yesterday, actually. | ||
| His name's Vinny Shorman. | ||
| He hypnotizes a lot of fighters. | ||
| Okay. | ||
| And he... | ||
| Hypnotizes fighters? | ||
| Yeah, he gets them into this... | ||
| It's really interesting. | ||
| I'd never had it before, and I wanted to try it. | ||
| I was like, okay, I had these thoughts that it was probably bullshit, or it's for people who have weak minds. | ||
| But it's a state that they can talk you into. | ||
| And someone who's really good, like Vinny, can talk you into this state, and then you're totally conscious, but you're definitely in this weird tunnel where you feel safe, like mentally safe. | ||
| It works. | ||
| And you can talk and think about things in a way that's almost free of normal, regular anxiety. | ||
| You can address the anxiety, you can see it, but for the brief amount of time while you're really in that state, you can get rid of all that shit. | ||
|
unidentified
|
Yeah. | |
| Very weird. | ||
| This guy, Carey, I remember a couple things specifically that he said. | ||
| He said, you're afraid of messing up. | ||
| That's the whole point of being in a rock band. | ||
| It's okay to mess up. | ||
| It's not supposed to be perfect. | ||
| Perfection isn't something that anybody even wants. | ||
| If you go to an art gallery and you see a Thomas Kinkade painting, no one wants that shit. | ||
| You know what I mean? | ||
|
unidentified
|
And he's like... | |
| He was telling me all this. | ||
| He was telling me this shit. | ||
| He was basically like, you know, your personality is, you know, everyone's flawed. | ||
| We're human beings. | ||
| It's okay. | ||
| Whatever. | ||
| You're not supposed to be perfect. | ||
| You have no desire to be the, you know, there's no drumming competition you've entered. | ||
| You know what I mean? | ||
| And it was like, I came out of it like, yeah, fuck it. | ||
| Like, I'm supposed to just be here having fun. | ||
| And it worked. | ||
| And then I got really nervous a couple years later when we were supposed to play the Grammys on TV. And I just got really fucking nervous about it. | ||
| And I think I got nervous because it's just, it's like one of those things that's not natural for us. | ||
| It's like we're going to be playing music on stage with all this pop music and stuff that has nothing to do with what we're about. | ||
| But we couldn't say no. | ||
| I think we had to do it because we couldn't just knock it until we tried it. | ||
| But we had sat through the Grammy performance before and it And it was atrocious. | ||
| I mean, it really is so alienating, especially when the big pop stuff comes out. | ||
| It's like, what we do is something different. | ||
| You know what I mean? | ||
| So I went to go see him before we played the Grammys, and he did this whole thing while I was hypnotized. | ||
| And I remember it. | ||
| He's like, when they tell you 30 seconds, you're going to start 30 seconds till you're on, you're gonna start smiling. | ||
| When I get to like 15, it's gonna get bigger. | ||
| When I say four, like you're just not gonna be able to stop smiling. | ||
| And I was like, anyway, the shit, if you watch the video, I'm just like smiling the whole time. | ||
| And the minute the song ends, like I just drop my drumsticks. | ||
| I'm like, get me the fuck out of here. | ||
| I'm never doing that again. | ||
| But it was, I will say, it was like, I think it's the best TV performance. | ||
| Why are you never doing it again? | ||
| Because you'd never perform at the Grammys again or you'd never get hypnotized again? | ||
| Oh, I would get hypnotized again if I needed it. | ||
| I just... | ||
| The stress. | ||
| Just the stress. | ||
| The stress of doing it. | ||
| The stress of doing it. | ||
| I would do the Grammys again. | ||
| Possibly. | ||
| Sure. | ||
| But it was like, at the time, it just seemed like unnecessary stress. | ||
| And then, like, this whole... | ||
| All this, I think... | ||
| I had a couple of issues about the Grammys because the first time we ever went, we won two Grammys. | ||
| This is the weird thing. | ||
| We go and the awards that we're nominated for were given away at the pre-telecast. | ||
| This is the first time we were nominated for Grammys. | ||
| This is on our record Brothers. | ||
| So we're there like February 2011. And my brother Michael was nominated for a Grammy for a record cover of the year for our record. | ||
| So Mike wins a Grammy first, right off the bat, first award of the day, record cover. | ||
| Mike wins. | ||
| It gets down to the rock category. | ||
| We win rock performance of the year or something. | ||
| We go in the Staples Center conference area, wherever we go, collect our award, and we're standing on the side of the stage, and they say, next up are the rock song of the year. | ||
| They list all the nominees, including us. | ||
| So we stay there because we're all nominated for this award. | ||
| And also Neil Young for whatever song. | ||
| So Neil Young wins that. | ||
| And they're like, this is Neil Young's first Grammy Award. | ||
| And at that moment, I was like, what the fuck? | ||
| My brother Michael has had a Grammy longer than Neil Young. | ||
| I'm like, that's so fucking crazy. | ||
| I'm like... | ||
| Us two knuckleheads have too. | ||
| And then we go and we win a Grammy right after him. | ||
| We win Alternative Album of the Year. | ||
| So now we have more Grammys than Neil Young within 10 minutes. | ||
| Jesus. | ||
| And I was like, this is all kind of fucking insane, isn't it? | ||
| Like, none of it makes sense. | ||
| I started looking, none of my favorite bands have fucking Grammys. | ||
| Like, The Clash don't have a fucking Grammy. | ||
| The Clash don't have a Grammy? | ||
| No. | ||
| So I'm like... | ||
| So then, anyway, I'm thinking about this the whole day. | ||
| It's like, this is insane. | ||
| I mean, it's exciting. | ||
| It's cool. | ||
| But it's also like... | ||
| It means a lot less when your favorite bands don't have Grammys that should have them. | ||
| How does a Grammy work? | ||
| Is it... | ||
|
unidentified
|
Well, wait. | |
| I was going to finish this thing real quick. | ||
| Because this is what the apprehension I have about the Grammys is like this day ended with us going back to the hotel we were staying at, which at the time was the Chateau, Marmont. | ||
| And TMZ was there. | ||
| And it popped out. | ||
| Like we tried to like just avoid the – Warner Brothers has a party there. | ||
| We're trying to avoid all of that stuff just to go hang out with our friends. | ||
| And a camera little like bumps out at the liquor locker right there on the corner. | ||
| And the guy asked me, he's like, how do you feel about Justin Bieber not having a Grammy? | ||
| And I was just like, I'm sitting there thinking about the Clash. | ||
| You know what I mean? | ||
| And like Justin Bieber, he's got – I'll like – I'll sell him my Grammys for all the money he has. | ||
| Basically what I'm trying to say is like the motherfucker should be happy just to have a fucking career. | ||
| I said something like that. | ||
| And I wasn't, it was just like, I'm not, you know, it wasn't even like necessarily a knock on Justin Bieber. | ||
| It's just like, that's my response to the question. | ||
| I'm thinking about something else and I'm getting in the car and we leave and then the next morning I wake up to a tweet. | ||
| This is right at the height of the anti-bullying shit too, which is like, you know, Justin Bieber like, don't bully motherfuckers. | ||
| He's like, the drummer from the Black Keys should get slapped. | ||
|
unidentified
|
Yeah. | |
| At the time, I thought it was the funniest fucking thing that's ever happened. | ||
| But I was like, you know what? | ||
| I can't deal with any of that shit. | ||
| I don't want any of that shit. | ||
| And so I realized that was my experience. | ||
| My apprehension about playing the Grammys all came back to that. | ||
| It was like, what is the fucking Grammy? | ||
| What is this shit? | ||
| We're just jerking ourselves off, congratulating ourselves. | ||
| Does anybody watch this shit that really cares about us? | ||
| I don't think so. | ||
| Also, what if there's like 12 great bands? | ||
| Does only one of them win the Grammy of the Year, right? | ||
| Is there second place, third place? | ||
| Is there anything like that? | ||
| The idea of judging art is always weird. | ||
| But to judge one? | ||
| You got one? | ||
| You pick one out of all these that are awesome? | ||
| Ultimately, it's no different than any other election. | ||
| The year that we were nominated for Album of the Year... | ||
| So is Jack White. | ||
| So we split our votes. | ||
| You know what I mean? | ||
| Someone had to either vote for us or Jack or Mumford& Sons. | ||
| It's ultimately complete nonsense. | ||
| It seems like it perverts the love of the thing. | ||
| Because it's like, what you guys do is awesome. | ||
| I love your music. | ||
| But I feel you're... | ||
| I just want you to do it. | ||
| You know? | ||
| Just when there's little... | ||
| Contests. | ||
| And this is number one, and this one wins this, and this is the band of the year, and the album of the year. | ||
| It says who and why is it a contest? | ||
| Can't it just be this is awesome shit? | ||
| Here's some different awesome shit. | ||
| That's why we didn't bundle. | ||
| That was the whole motivation behind this record. | ||
| It was to not partake in the current bullshit in the music industry. | ||
| So check this out. | ||
| Do you mind if I explain it? | ||
| Please do. | ||
| Okay. | ||
| We had a conversation with our manager about this record release. | ||
| It went from everything. | ||
| We have family. | ||
| We don't really want to be on the road for 100 days this year. | ||
| We don't necessarily want to do anything. | ||
| We don't want to do anything we're not excited about. | ||
| So it came down to the promotion and stuff. | ||
| Basically, we want to get in front of people and play our songs and have fun. | ||
| The conversation came up about the actual album. | ||
| Warner Brothers was interested if we wanted to bundle it, which is when you include the record with a ticket. | ||
| And a lot of people have been doing it, whether you buy a t-shirt and you get a record, and it's a digital download link. | ||
| And I was like, well, how does that work? | ||
| And they're like, well, you would get $5 from each ticket back to Warner Brothers, and then you would get a record sale. | ||
| And I was like, that doesn't make any sense to me and to Dan. | ||
| And they're like, yeah, well, it's the only way you're going to get a number one record. | ||
| So if you want a number one record, you've got to do that. | ||
| And I was like, well... | ||
| So it's one to one, like we give five bucks back and then we get a royalty and we get a ticket sale. | ||
| No, you don't get a royalty. | ||
| And you only get an album sale count if they click the link. | ||
| And we have a 50% click through. | ||
| So in other words, we would pay $10 per sale on Nielsen SoundScan. | ||
| By giving the money back that we've sold on tickets to Warner Brothers, to our record label. | ||
| I was like, fuck that. | ||
| Fuck that shit. | ||
| At this point... | ||
| That is a crazy deal. | ||
| Check it out. | ||
| We've sold 250,000 tickets on this tour. | ||
| So we would give back 1.25 million. | ||
| Our record advance for this record was less than that. | ||
| So I was like, if Dan and I were just on our own record label, we could give ourselves $5 per ticket and we just take the money from the right hand to the left hand, give you a link, if you counted it, we get the sale, we keep the money. | ||
| That's basically what the fuck was going on. | ||
| You know what I mean? | ||
| And it's all based on fear, like all of this shit. | ||
| It's like, do you want to be relevant? | ||
| You know, that's basically a conversation that is basically being had. | ||
| Not that direct, but it's like, as an artist, you better try to get good numbers, get that first week up there. | ||
| And Dan and I are basically like, fuck that. | ||
| Fuck it. | ||
| It doesn't even fucking matter. | ||
| People are going to come to the shows or they're not going to come to the shows. | ||
| We're going to make records. | ||
| People are going to buy them or they're not going to buy them. | ||
| And I think that it's detrimental to the music industry. | ||
| To pay too close attention to certain metrics, man, the whole system right now with these majors is signing shit that has the most social media interaction, the most streaming. | ||
| And I was like, you know what? | ||
| When I was nine years old, I bought Vanilla Ice's Ice Ice Baby. | ||
| And I listened to that shit, I'm not joking, like 250 times in a week. | ||
| Like a fucking idiot. | ||
| I think that's who's listening to this shit that's getting a billion streams in a month. | ||
| It's like fucking nine-year-old morons. | ||
| I like to think that our fans have like, you know, they got like... | ||
| 150 albums that they listen to on a sort of rotation, at least. | ||
| And ours may be one of them a month. | ||
| You know what I mean? | ||
| So it's a different fucking audience. | ||
| You know what I mean? | ||
| You look at Instagram and you see these certain people. | ||
| I've never even heard their music. | ||
| And they have like 10 million followers. | ||
| Yeah. | ||
| The weird thing is that there would be any comparison at all. | ||
| Like, why bother comparing... | ||
| Well, that's exactly right. | ||
| But that's the problem, is that there are two different things at play here. | ||
| There's the music industry itself, which is like, certain people who work in the industry, high ups, are like, we need to sell records, we need to We need, like, this pop producer to work with this writer and this artist, and we need streaming numbers. | ||
| And then there's certain people, you know, like the old guard, like the Lenny Warnaker or Seymour Stein or, you know, even lots of younger guys, too. | ||
| But, you know, they're like, actually, what we're doing is curating art that we really like. | ||
| And it's either going to sell or it's not going to sell. | ||
| And a lot of the records that we grew up listening to, most of them, We're records made by these kind of insanely eccentric, weirdo people that never sold records, but have literally changed our lives. | ||
| And Captain Beefheart being one of them. | ||
| Tom Waits has sold some records, but still, it's a much different type of commercial viable thing. | ||
| But these artists are why we make music. | ||
| It has nothing to do with this shit. | ||
| It's like the difference between the Vogue's, you know what I mean? | ||
| And the Fug's. | ||
| There's a lot of these comparisons that you can make about what we do. | ||
| And our place in the music industry is to do what we do. | ||
| And for a while, we were taking part in the mainstream aspects of music. | ||
| We were playing the MTV Movie Awards and having these insane, weird experiences only because we hadn't done it before. | ||
| We felt like we had to do it. | ||
| And I wouldn't change anything, but at this point, I think steering is far away from all that shit is what we want to do right now. | ||
| Yeah, there's no reason to lump you in with anything. | ||
| Like, why would any... | ||
| You know, that's one of the weird things about these award shows, right? | ||
| You're lumping all these different musicians together that don't necessarily have anything to do with each other. | ||
| They just all make music. | ||
| Well, check it out. | ||
| It's like, we played the MTV Movie Awards in 2012. We got offered to do it. | ||
| We watched it when we were kids. | ||
| We were in LA already. | ||
| It was like, whatever. | ||
| Aerosmith came out and introduced us. | ||
| And now I'm thinking, like, why would they agree to be on the MTV Music Awards? | ||
| What are they going to get from that? | ||
| The whole thing was kind of bizarre. | ||
| It's all really bizarre. | ||
| They need to be in the spotlight or something. | ||
| I think we kind of realized how goofy it was while we were there. | ||
| But we got an insane experience because we were hanging out with Johnny Depp And Joe Perry and Steven Tyler. | ||
| And this is crazy. | ||
| After we do this song, we're backstage by the trailers. | ||
| And I see Steven Tyler and Joe Perry and Johnny Depp talking. | ||
| And we walk over because we just want to see what they're talking about. | ||
| And I'm looking at this shit. | ||
| They're all wearing the craziest accessories. | ||
| They're dressed up like... | ||
| Archetypes of rock stars or whatever. | ||
| And they're talking about... | ||
| And Steven Tyler and Joe Perry are talking about how they're going to get their arsenal across state lines. | ||
| And I was like, what? | ||
| Yeah, man. | ||
| We travel with a goddamn arsenal. | ||
| I was like, what? | ||
| Yeah. | ||
| And AR-15s. | ||
| We have fucking grenades. | ||
| I was like, this is insane, man. | ||
| Oh, my God. | ||
| I think it's worth it. | ||
| We're here today just to hear that these guys feel like they need to travel with grenades. | ||
| But then I was thinking about their, have you ever seen their video game? | ||
| No. | ||
| Dude, the Aerosmith video game. | ||
| I didn't know they had one. | ||
| Dude, if you watch their video game, after hearing this conversation Dan and I were privy to, you're like, ah, this makes complete sense. | ||
| It never made sense to me. | ||
| It's like the Terminator arcade game where there's like, you know, back in the early 90s. | ||
| It's that, but it's them. | ||
| It's like fucking insane. | ||
| You should put a clip up of that. | ||
| Here we go. | ||
| This is his game? | ||
| Yeah. | ||
| That's the Heroes. | ||
| Oh my god. | ||
| They're on stage there. | ||
| Yeah, and then it brings up a whole other thing, which is like... | ||
| Oh, how weird. | ||
| After the Botoclon shit, this is a real fucked up game to look at. | ||
| Yeah, seriously. | ||
| Holy shit. | ||
| Oh my god, right? | ||
| Yeah. | ||
| When did this come out, though? | ||
| This has got to be old as fuck. | ||
| 1994. Oh my god, that's hilarious. | ||
| So they're in the background playing, and then in front of them, war. | ||
| Yeah. | ||
| Seems feasible. | ||
| They just stuck Aerosmith into a game. | ||
| It's called Cocaine Psychosis. | ||
| But that's like the worst effort ever. | ||
| They just stuck them, and they don't even move good. | ||
| They kidnap him. | ||
| Oh, no. | ||
| Oh, hilarious. | ||
| That's part of the game? | ||
| They kidnap him? | ||
| Oh, my God. | ||
| Wow, this is terrible. | ||
| It's amazing that back then we were like, this is so radical. | ||
|
unidentified
|
Look how good the graphics are. | |
| You get used to everything. | ||
| That's hilarious. | ||
| Steven Tyler's the nicest fucking guy ever. | ||
| Yeah. | ||
| He's so sweet. | ||
| They were really nice. | ||
| I didn't realize they had to travel with weapons. | ||
| I didn't know they traveled with weapons. | ||
| We never discussed that. | ||
| He's such a nice guy, though. | ||
| Yeah, I met him at the Ryman in Nashville. | ||
| Backstage too. | ||
| What a fucking great place that is. | ||
| That is like one of my all-time favorite places. | ||
| Yeah, so cool. | ||
| You just feel the entertainment in the walls. | ||
| It's like it feels like it's a building that's been entertained. | ||
| You know what I mean? | ||
| I mean, they did the Opry there for how many years? | ||
| I don't know. | ||
| So many people play there. | ||
| It just feels special. | ||
| Every week there's something special going on there. | ||
| It's so cool. | ||
| It is cool. | ||
| You know, it's great that you openly talk about having these panic attacks because there are so many kids that I'm sure who are huge fans of yours who also have panic attacks and they can't fucking believe that you guys, with your level of success, could still have these little battles that we've all had. | ||
| So that's so huge that you're willing to talk about that and say that. | ||
| I'm telling you, that is definitely going to make an impact on people. | ||
| You know, I mean, once you have it, like the first time I ever really had a panic attack. | ||
| I had one, and then I kind of didn't have another one until this moment on Lollapalooza. | ||
| But the first time really was on the way from Amsterdam to London, Dan bought some mushrooms. | ||
| Uh-oh. | ||
| And I guess they're illegal there. | ||
| Dan bought them and brought them. | ||
| We were traveling in a van at the time, and they were giant, fresh mushrooms. | ||
| Not even dried? | ||
| No, man. | ||
| It was like a meal. | ||
|
unidentified
|
Yeah. | |
| And he bought them. | ||
| He's like, you should take some. | ||
| You should take some. | ||
| And I was like, I ate like the stem. | ||
| It was massive. | ||
| I mean, it was like eating a burrito. | ||
| And after like 20 minutes, after 20, 30 minutes, I was like, I don't feel anything. | ||
| And Dan's like, just eat the fucking rest, man. | ||
|
unidentified
|
I don't know. | |
| I eat the rest of this thing, this massive ass thing, and I just instantly start sweating, and it smells like portobello mushrooms seeping from my skin. | ||
| And I yell to the driver, I'm starting to spin out, I'm like, how do you get this to stop? | ||
| He turns around, he only wore black and his shades on, and I really thought at the time he was like Satan, he was like, drink loads of beer! | ||
| We're like, what the fuck? | ||
| And then I'm just like, in the back, just like, fucking like, freaking out for like two hours. | ||
| And finally we stop. | ||
| I'm like, I gotta get the fuck out of this van. | ||
| This is in 2003. This is a long time ago. | ||
| You were white knuckling your girlfriend. | ||
| I was like, hey, hey, hey, hey. | ||
| And then we get out, and I'm like, I just need some fresh air, man. | ||
| I'm like, we stop at this gas station in Belgium, and I walk into the bathroom with Dan, and they're like, this woman's speaking in French, basically saying it costs... | ||
| I was like, what the fuck? | ||
| What's happening? | ||
| Dan's like, it costs money to pee here, bro. | ||
| And I'm like, what? | ||
| He's like, I know, man. | ||
| Is that crazy? | ||
| And I'm like, fucking freaking out. | ||
| And all I had was like 50 euros, and I put it on the tray, and Dan... | ||
| Grabs it and puts it in my pocket and then puts a nickel there. | ||
| Dude, it doesn't cost that much to pee. | ||
| And we both started laughing at that moment. | ||
| And then I turned the edge from that. | ||
| And then it was an amazing experience. | ||
| We started being like... | ||
| Laughing at how clean their dumpster was. | ||
| Even the dumpsters here are clean. | ||
| Bright red. | ||
| You could eat off it. | ||
| Yeah, we could eat. | ||
| You could really, truly dumpster dive here and be like eating a regular meal in America. | ||
| But I got that panicky thing right there at the top, and I swear that shit opened it up for me, man. | ||
| There was no natural light in the back of the van, also. | ||
| All the windows had the really dark, dark tint, black tint. | ||
| Oh. | ||
| So we were just in this panic van. | ||
| Yeah, you need to get outside. | ||
|
unidentified
|
Yeah. | |
| I remember when the sliding door went open, it was like when they went into Willy Wonka's place. | ||
|
unidentified
|
Yeah. | |
| All the light came in, and... | ||
| And then it seemed like it was crazy because when we got back in the van three fucking hours later, our driver was like, dude, we gotta go. | ||
| I was like, we've been here for 20 minutes. | ||
| He's like, it's been three hours of you guys talking about this dumpster. | ||
| And I was like, no way. | ||
| So we get back in and Dan, like out of nowhere, his girlfriend I guess maybe had this at the time, he's like, do you want some bubble gum? | ||
| We've been on tour for a month and I've never seen this bag. | ||
| It was like a trash bag full of gumballs. | ||
| And I was like, oh my god, what the fuck's happening? | ||
| He's like, let's listen to some music, man. | ||
| And so he put on N.W.A. And I was like, we both started laughing. | ||
| I was like, because it sounded like Fisher-Price music. | ||
| Like so plastic and brittle and like... | ||
|
unidentified
|
I was like, this is so bad. | |
| This is so awful. | ||
| And then he put on Captain Beefheart's Safe as Milk and it was like the most incredible sounding record I've ever heard. | ||
| It was fucking insane. | ||
| But it was that experience that first opened up me ever experiencing that like what the fuck's happening? | ||
| Like kind of fight or flight but for no reason. | ||
| Panic attack thing. | ||
| And I think, yeah, I deal with it mostly, but I just, when I'm on stage, I still get them occasionally if I come in too fast or something. | ||
| Are you saying that it was started from that trip? | ||
| It's the first time I ever felt it, man. | ||
| Wow. | ||
| Do you think you broke something in there? | ||
| I just think I took way too much. | ||
| I'm really sensitive to getting high. | ||
| Yeah. | ||
| It's not in my system. | ||
| It's not for me. | ||
| You seem like you could have been a comic. | ||
| Mm-hmm. | ||
| Have you ever thought about being a comic? | ||
| I don't think I could. | ||
| I like bullshitting, though. | ||
| You say funny shit, man. | ||
| You have funny observations. | ||
| Thanks. | ||
| You have a mean streak. | ||
| I'm Dan's personal comic. | ||
| That's basically it. | ||
| Yeah, he is a comic. | ||
| But, yeah, you think that that was the first one, and then from then it maybe has opened up the door, and because you had one, it makes it easier to have another one? | ||
| Is that how it works? | ||
| Well, I was exhausted that day, because we were kids partying, for I was. | ||
| I'd never been to Europe, really. | ||
| We were in Amsterdam. | ||
| I smoked weed the night before, which I don't do, and we were drinking. | ||
| And I barely got any sleep. | ||
| So it's a super shitty feeling. | ||
| So every time I'm like... | ||
| Basically tired. | ||
| I'm more prone to that shit. | ||
| It happens at the airport. | ||
| Early morning flights, it's always kind of like that. | ||
| It's really hectic and everything's fucking moving around and tired. | ||
| Fuck, this is fucking miserable. | ||
| And festivals, sometimes they're so crowded. | ||
| But no, I haven't had a problem with them really, but the hypnotism shit worked. | ||
| Yeah, it's legit. | ||
| If you can get a good one, a good person who can hypnotize you can put you in a state of mind and sort of change your course, just give you a little adjustment, adjustment in your perception, how you look at things. | ||
| It feels like you're in like a little bit of a tunnel. | ||
| It's very strange, right? | ||
|
unidentified
|
It is. | |
| It is strange. | ||
| I think it's like when people go see like a life coach, maybe that's what they're looking for. | ||
| Yeah, hypnotist. | ||
| Some positive reinforcement. | ||
|
unidentified
|
Yeah. | |
| I think it just gets in there better. | ||
| It gets into the operating system better than a guy going, what you need to do, Pat, is prioritize. | ||
| It's like when you're looking at Instagram, someone's like, man, I'm just so happy. | ||
| I don't know. | ||
| There's people that kind of have this cult type of mentality on Instagram. | ||
| There's a whole... | ||
| There's a whole scene there of self-help. | ||
| Man, just got to center. | ||
| Every one of these kids went to a boarding school and disappointed their parents. | ||
| Giving people advice exclusively as a way to live. | ||
| It's just a strange way to go. | ||
| You've got to do things, too. | ||
| Like a lot of things. | ||
| Yeah, and it can't just be have dreadlocks. | ||
| Well, sometimes people think that the message is all that's important. | ||
| That is most of what's important. | ||
| But what's important is like, but how did you start doing this? | ||
| Did you just decide to be a motivational guy? | ||
| And have you done anything else? | ||
| No? | ||
| Right out of school, motivational guy. | ||
| That seems like, are you just repeating shit? | ||
| Do you really know that much about how to get your act together? | ||
| Or are you just kind of... | ||
| There's a lot of repeating shit. | ||
| And I've repeated it myself. | ||
| I've said things myself that are motivational things that I've heard other people say. | ||
| And it's, you know, because they're real. | ||
| It's effective. | ||
| You can help people. | ||
| But if that's all you're doing? | ||
| It's a little suspect. | ||
| Yeah, it's also, when someone has a continuous message, it's always the same, and it's always positive. | ||
| It makes me really suspect. | ||
| I love this self-help guy on the Metallica documentary who was offering the lyrics. | ||
| Yeah, that's the best movie ever made, probably, about music. | ||
| It's like, it beats Spinal Tap. | ||
| It's like, if there was a competition, I have to come down on some kind of monster. | ||
| It made me as a fan appreciate those guys in a weird way. | ||
| Their dysfunction. | ||
| They became characters. | ||
| I'll watch the movie and I'll be like, oh man, Lars is so annoying. | ||
| Then I'll watch it again. | ||
| I'll still think Lars is annoying, but I still think he's right. | ||
| I have a different view every time I watch it. | ||
| But ultimately, I end up liking those guys because of it more. | ||
| He stepped out in a big way with that Napster thing. | ||
| It was an odd moment for everyone. | ||
| Because everyone was trying to figure out, what is this file sharing thing? | ||
| And then the music business, you guys felt it first. | ||
| You guys were the big hit, more than anything. | ||
| It's not the same to watch a movie on your TV. Even if you can download an illegal movie, I'm sure it'll have a little bit of a hit, but people want to go to the fucking movie theater. | ||
| But with your shit, once people start sharing things, you just get a file. | ||
| And everybody kind of just assumed... | ||
| Well, I mean, this is like this new frontier, and it's not really stealing. | ||
| You're just copying. | ||
| It's just you're not giving them money for it, but you're not really stealing. | ||
| Got this weird sort of... | ||
| And Lars was the first guy to say, hey, fuck you, you're stealing. | ||
| But it was a weird fight to have. | ||
| Because it's, you know, hindsight is always 20-20. | ||
| We know what the internet has become since then. | ||
| It's incredibly difficult to try to keep a rap on things and to keep things, to, like, keep someone from downloading things. | ||
| Like, they just get... | ||
| If you have songs, they get out there. | ||
| You know? | ||
| Whereas that Napster thing was the first time this was happening, and he was the guy who was this really, really wealthy guy who was a huge success saying, don't do this. | ||
| Like, this is stealing. | ||
| Right? | ||
| Well, yeah, it's like David versus the Goliath type of thing. | ||
| I mean, clearly people shouldn't steal, but is it Metallica's job to tell people that? | ||
| Maybe, but maybe they should have gone directly to Napster or to their record label. | ||
| But when streaming first started becoming a real thing, we had a talk with a friend of ours who basically encouraged us to look at it and not do it. | ||
| And I went into with our manager when I'm talking to someone at Warner Brothers and said we didn't want to do it. | ||
| And they were like kind of outraged. | ||
| And like you can't not do it. | ||
| You can't not do it. | ||
| I didn't really know at the time, but I found out a couple months later that they... | ||
| I found out a couple months later because I was quoted in Rolling Stone talking shit about like Sean Parker and Spotify. | ||
| And what happened is I ended up getting a phone call or email from Daniel Eck, the owner of Spotify. | ||
| And we had lunch together. | ||
| And he's a fucking cool guy. | ||
| He's a nice guy, very intelligent. | ||
| And I really saw his side of it for the first time. | ||
| And he basically, without explaining it directly, was like, you know, that he's paying our label to get our music. | ||
| What they do with the money, he can't control. | ||
| At that moment, I realized, oh yeah, there's some stock being floated to these companies, which there was billions of dollars of stock. | ||
| And the label has no obligation to give you money out of the streaming? | ||
| They gave us like a couple hundred thousand dollars of it out of the billion because they paid it to us in the way the label does. | ||
| They paid it as an artist royalty and they took all these deductions off of it and it was a made-up number. | ||
| There's a lot of money in the music industry right now. | ||
| And the problem is that it's like not like, okay, so my favorite bands for the most part don't have hit songs. | ||
| They don't get played on K-Rock. | ||
| They don't have like a Macarena type shit that's going to be coming their way. | ||
| You know what I mean? | ||
| And that's what pays money is like because they treat almost every stream the same. | ||
| It's like there's a royalty rate for if you pay for Spotify and there's a royalty rate for if you're listening on a free service. | ||
| But what they need to do, in my opinion, is they need to say, this guy, Joe listens to music. | ||
| He has good taste in music. | ||
| He follows 500 bands, which means that there's no possible way that he's going to be listening to all 500 of those bands in even a six-month period of time. | ||
| But when he does choose to listen to a song, it's worth, like, X... Like, 10x versus this person who's listening to Old Town Road a thousand times a day. | ||
| You know what I mean? | ||
| Because Joe is, like, actually engaging with our thing and not just streaming this song for free. | ||
| And, like, a monkey, like... | ||
| You know, like a Pavlov, you know, whatever. | ||
| Mouth salivating every time they hear the little Old Town Road, whatever. | ||
| I look at my Spotify thing, and I'll go months... | ||
| And I have all... | ||
| I pay for all of them. | ||
| I have, like... | ||
| YouTube, Apple, whatever. | ||
| I don't have title, but that's because they gave ownership to like 12 artists and they're like, fuck you. | ||
| What the fuck is that? | ||
| Just keep the ownership and pay a higher royalty, you fucking cocksuckers. | ||
| You know what I mean? | ||
| Honestly. | ||
| So I'm like, so anyway, I look at my Spotify, I listen to like, I listen to like 100 songs a month. | ||
| It's barely anything. | ||
| And I'm like, the way to really do this that's fair is you take my 10 fucking dollars, right, and listen to 100 songs, that's it, because I've got so many ways to listen to music, that you listen, you take that 10 songs, and you give everybody 10 cents. | ||
| But that's not the way they do it. | ||
| They're like, we pay.000567 cents per stream. | ||
| How could you fucking know what you pay for a stream if you're a distribution service? | ||
| Do you see what I'm saying? | ||
| If I'm giving you $10 and you're going to take 30% off the top, like Apple Music used to do when you would buy a CD, and then you take $7 and throw it towards the artist, that would make sense to me. | ||
| But they don't. | ||
| They're keeping all this fucking cash. | ||
| Or they're keeping it in a pile. | ||
| And then at the end of the day, they're just satiating Rihanna's $100 million check she gets every year. | ||
| You know what I mean? | ||
| But I know a lot of artists who just, they get checks for like $2.50 for a whole year. | ||
| On a record that normally would sell like five or six thousand copies, but there's no need, like you have to basically be an idiot to buy a CD nowadays. | ||
| Because it's a digital file that you ultimately could download from Spotify onto your phone and have it with you forever. | ||
| Unless you don't have the internet. | ||
| If you're in Alaska or North Dakota, maybe you need to have a CD. So few people are printing CDs, then it boils down to how much of an infrastructure do you need as an artist? | ||
| How many people do you need to be representing you? | ||
| How does your stuff get out there? | ||
| Especially with you guys, doesn't it just get out there? | ||
| I just found out about you guys because somebody tweeted it. | ||
| I go, oh, who are these guys? | ||
| I'm not worried about us, man. | ||
| It's like the new bands coming out, new bands trying to break it. | ||
| That's what I'm worried about. | ||
| It's like, we're fine. | ||
| But it bums me out. | ||
| But I mean, for anybody in the business, how much of an infrastructure do you need in this digital time? | ||
| You just need someone to figure out how to get it to people. | ||
| I think in a way, it's like, when we first started, Our first record deal was with a small label not far from where we are here. | ||
| And the deal was this. | ||
| Give us 12 songs. | ||
| Pay for the recording yourself. | ||
| We'll master it, which is the final process of making a record. | ||
| It costs a couple hundred bucks. | ||
| And we'll send you 50 albums and we'll give you like 12% of the money we make. | ||
| That was it. | ||
| Oh, and we're going to have a $500 marketing budget. | ||
| That was the deal. | ||
| You know what I mean? | ||
| So we basically, I mean, we made this record, paid for it ourselves, and we went on tour with this agent named Ralph Carrera, booked us a tour, like kind of a mercenary agent who would like book, he booked, the label I think paid him a couple hundred bucks to book us his tour. | ||
| And it all kind of started steamrolling, you know what I mean? | ||
| But we had no infrastructure, we had no management, we had no agent, we had nothing. | ||
| We just kind of got in the van and started going. | ||
| And I think in a lot of ways nothing has changed except for that when we got to the second level, there was a couple thousand dollars there for us to make a record. | ||
| There was opening slots that touring was a little bit different then. | ||
| But I think we've always kind of done it in a way that was pretty DIY. It's the same way it has to function now. | ||
| The only difference is there's fewer record labels that are going to sit there and give you $15,000 to make a record and maybe give you $10,000 to help you buy a band. | ||
| And that's the hardest step. | ||
| That's the threshold where bands are having a hard time getting through. | ||
| Once you get through there, then you get to where we were for years, which is you're on a bigger label, you're making records, and no one's paying attention to you. | ||
| The only reason why we ended up getting attention paid to us, I think, by Warner Brothers was for our six record brothers. | ||
| It was kind of a heavy time. | ||
| I just turned 30. Dan just turned 30. And you know, when you turn 30, it feels like you've gotten old. | ||
| You know what I mean? | ||
| Especially in the rock and roll business. | ||
| And we had this record that I thought was great, and I went to talk to Lior Cohen with our manager. | ||
| Lior was one of the heads of Warner Brothers, and I was like, we're the most synced band on Warner Brothers, which is when you get a song on a TV show or a movie or a commercial. | ||
| I think there's no other band for the last two years that's had as many syncs as we've had. | ||
| But I don't even know who works the radio department at Warner Brothers. | ||
| And we've been on your label for like four or five years. | ||
| And Lior basically was like, fuck, he prioritized us like that week. | ||
| And for the first time was like, we're going to work on your band. | ||
| And when that happened, that's when the Lollapalooza shit, that's when radio, K-Rock, everything fucking changed. | ||
| You know what I mean? | ||
| It took us six albums and it took us all those syncs, all that shit, all getting called sellouts all the time for a while. | ||
| I'm forgetting our songs. | ||
| Who's calling you sellouts? | ||
| The same dudes that were at our first shows with their arms crossed. | ||
|
unidentified
|
Sellouts a funny one. | |
| You're still doing the same music, stupid. | ||
| It's the same music. | ||
| I mean, it's different, but it's... | ||
| I think that for this type of thing, it comes from that idea that, like, maybe, like, oh, that band, like... | ||
| I liked them better when it was, like, my secret, my friends and my secret. | ||
|
unidentified
|
Right, for sure. | |
| I don't want to share it with this dude. | ||
| That's why, like, it's dangerous to have your song in certain things. | ||
| Like, if your song comes on... | ||
| In Walgreens, you better watch out, man. | ||
| Like, that's a red flag. | ||
| Because we've had opportunities to have our songs sent to, like, top 40 radio. | ||
| And there was this thing where, like, if we won Record of the Year for Lonely Boy, Warner Brothers was going to service that song to top 40. It would have never probably been a hit. | ||
| But if we would have won that Grammy, it could have fucked our whole band up. | ||
| I've seen it happen with lots of bands. | ||
| You become play school level. | ||
| Yeah, but do you really think that you guys would change? | ||
| I think you probably would reject it. | ||
| We would have changed, but the thing is, you start accessing... | ||
| You start acquiring a fan base that's more fickle and maybe more annoying. | ||
|
unidentified
|
You know what I mean? | |
| It's like, okay, I bet you as a Chicago Cubs fan in 2017 was like, fuck this World Series shit. | ||
| Every motherfucker wearing a fucking Cubs hat. | ||
| Do you know what I'm saying? | ||
| Yes. | ||
| And I know exactly what that would feel like. | ||
| It's probably the same thing. | ||
| Someone's going in there to get like... | ||
| Someone's going to get shaving cream, and this band that used to play at the fucking Casbah in San Diego is playing while they're checking out. | ||
| They're probably like, fuck this. | ||
| Fuck this. | ||
| Listen, if you guys put out the same music that you put out in that time period, it wouldn't have mattered. | ||
| Your music is... | ||
| It is... | ||
| It's you guys, you know? | ||
| I mean, it's not... | ||
| Even though you've gone experimental and you've done different styles of songs and some of them feel more bluesy, some of them feel more... | ||
| It's like it's still Black Keys. | ||
| If you guys just did that, it wouldn't matter what you're on. | ||
| Nobody gives a shit. | ||
| If you really do give a shit, fuck them. | ||
| I had a big realization. | ||
| A couple years ago, I did this record with this guy from Cleveland, Ohio. | ||
| Named Glenn Schwartz, this guitar player. | ||
| I used to go see Glenn when I was in high school, when I was 17. He played at this place called Hoople's in Cleveland, Ohio. | ||
| And it was just a tiny little place. | ||
| He was the original guitar player in the James Gang. | ||
| So, like, Joe Walsh says he first saw him in, like, 65 or something, and he was, like, on somebody's shoulders in purple bell-bottoms, no shirt, playing electric guitar solo. | ||
| And he said, Joe Walsh said, that guy made me want to play electric guitar. | ||
| Wow, that's cool. | ||
| And this guy, I used to go see him all the time and he would play these songs, which happened to be religious, which is just like another story, but it sounded like cream, crazy guitar. | ||
| Anyway, two years ago I had him at the studio and... | ||
| All these memories were flooding back of all this heavy electric guitar and seeing Link Wray in Cleveland, Ohio and playing in the basement with Pat. | ||
| And it was all at the same time. | ||
| And all of the sounds from the first Black Keys records were coming out of this... | ||
| He's almost like 80 years old playing this fiery electric guitar. | ||
| And it was just like... | ||
| It's who he was and he helped me become who I am. | ||
| And as soon as I finished that record, I called Pat and we made this new one. | ||
| And it was with that spirit. | ||
| And it was just the two of us. | ||
| And we never even talked about working with it. | ||
| We didn't even talk about it. | ||
| We just put it in the books and we got together. | ||
| Because I knew that we... | ||
| I always know, no matter what happens, Pat and I can make music. | ||
| Because that's just who we are. | ||
| We don't even have to think about it. | ||
| Whatever the fuck you're doing, keep doing it exactly the same way. | ||
| What you've done is, I mean, some of my favorite workout music of all time. | ||
| Favorite driving, playing music. | ||
| Sinners to Kids is one of my favorite right about to get on stage songs. | ||
| That's cool. | ||
| That's one of my favorites, too, actually. | ||
| I fucking love that song. | ||
| That's the funny thing. | ||
| Sometimes I just nerd out. | ||
| When I'm just sitting at home, I look at play counts of songs. | ||
| That one is one of those songs that when we recorded, this is one of our best songs. | ||
| And it was one of the least purchased, least streamed songs. | ||
| But it's funny, because I think it's one of Dan's favorites, too. | ||
| It's a fucking great song. | ||
| Most of the stuff that, you know, that's what's important about music is it's just to do what you are good at, what you feel, what you connect to. | ||
| And I think that, I guess that's ultimately what I'm trying to say is that it's always been this way where it's like there's always been this noise of like, you know, annoying, bad kind of mainstream music. | ||
| And the problem is that because everything is getting streamed on the same platform and there's There's less independent record stores. | ||
| There's no college music journal. | ||
| Everything's kind of compared to it. | ||
| You listen to the new Purple Mountains record, which is a guy who unfortunately passed away this summer, a friend of ours, David Berman. | ||
| I mean, I think it's maybe his greatest work, right? | ||
| And the record has maybe a million streams or something. | ||
| And compared to... | ||
| Whatever Drake is doing, it gets lost. | ||
| It's completely lost. | ||
| I think that there needs to be a better way to highlight this stuff. | ||
| It's still crazy to me that there isn't a website that I can go to as a crazy music fan that I think is curating music that I actually want to hear. | ||
| We both have really open minds when it comes to music, but there isn't one thing that's just highlighting stuff from the underground, from mid-level rock bands. | ||
| Have you ever thought about doing something? | ||
| We've talked about it. | ||
| You know how Rollins does it? | ||
| What does he do every Sunday? | ||
| He's got a weekly show where he picks all the music, all obscure, cool shit, weird old Stooges songs, whatever he wants. | ||
| We both have radio shows on Sirius Radio currently. | ||
| I don't know, man. | ||
| I don't think many people actually even listen to that. | ||
| The thing about the serious thing, you have to listen to it when it comes on. | ||
| You know, if you have it on something where people can just access it at any time. | ||
| It's also hard because I think that they're part of the problem, actually. | ||
| Serious? | ||
| Yeah. | ||
| Like, the way that they've programmed the four or five rock channels. | ||
| Like, there's a channel on there called The Spectrum. | ||
| Dan has a show on there. | ||
| And it's like the AAA channel, which would be like KCRW here, or whatever. | ||
| Like, the morning becomes eclectic. | ||
| I'm trying to think what song it was exactly that I heard, but they started tapping in. | ||
| This should be a format that's highlighting... | ||
| I think music that's current, music that's coming out, you know what I mean? | ||
| And they were playing a couple of U2 songs on there the other day. | ||
| I'm like, this is a band that plays the Rose Bowl. | ||
| Why the fuck are you playing them on the fucking AAA, you fucking asshole? | ||
| You know what I mean? | ||
| I was like, seriously. | ||
| And then I go and I look to the alternative station, and the alternative station is playing pop music. | ||
| You know what I mean? | ||
| Like literally pop music. | ||
| And then you go to the alternative channel and they're playing like five or six artists or the indie channel. | ||
| There's like, there isn't, there's like almost, there's, I don't know. | ||
| There's like underrepresentation of, of, of, uh, I mean, let me put it this way. | ||
| I went to France this summer for a month. | ||
| I always wanted to take this trip. | ||
| My family and I, we went to the south of France, rented a car. | ||
| And I decided, I didn't even hook my phone up to the car for weeks. | ||
| I just, right when I turned it on, I scanned the radio and I heard a song I liked. | ||
| And I was like, what the fuck is that? | ||
| On this channel called Radio Nova, which is a nationwide, not digital, terrestrial station in France. | ||
| I heard this song. | ||
| I was like, what is that, man? | ||
| I was like, oh man, that's like a new song by Damon Albarn from Blur, from a record called Africa Express. | ||
| I never heard. | ||
| It's amazing, this song. | ||
| How is that not playing anywhere in America? | ||
| I listened to this channel every day for the whole trip and every single day I heard maybe two songs in like 21 days that I knew. | ||
| It was all new. | ||
| It was all current. | ||
| Some of it was classic. | ||
| Even the classic stuff. | ||
| It was like a Janis Joplin song I'd never heard. | ||
| It was like true. | ||
| I felt like I entered a different dimension. | ||
| And I came back to the U.S. and I put on my satellite radio. | ||
| I was like, why am I hearing the same fucking bullshit There's so much good shit out there. | ||
| And even when I go to the algorithm, my algorithm on a... | ||
| I was sitting with this guy named John Vanderslice the other day, who's a well-known indie producer. | ||
| We were looking at our algorithms, our predetermined Spotify thing. | ||
| And every single thing was something that I had listened to already, except for one artist. | ||
| And it was something I didn't even care for. | ||
| Like, with all the technology, with all the ways to hear all the millions of songs on Spotify, they still haven't figured out how to satiate someone's desire to hear new music. | ||
| Do you think it's because they try to program those channels strictly to be commercially viable? | ||
| They just want to make money from it, and they feel like if they put U2 or an old Elton John song on it, and you're flipping through the channels, you'll stay on it, even if it doesn't match the format that you're looking for. | ||
| I think... | ||
| I think that they've gotten their ass so far into metrics and statistics that they've stopped any sort of actual curation using taste. | ||
| And the only way you get to something worthwhile is through taste. | ||
| It's really the opposite process that should take place. | ||
| It should be you build the art up and then the business files behind it. | ||
| But instead, it's like you have this giant business that you have to keep feeding. | ||
| Right. | ||
| So you have to sell more and have as many channels that are as commercially viable as possible, whatever our numbers. | ||
| Man, I've had a show with that company for five years. | ||
| I do it for free. | ||
| I don't get paid. | ||
| Five years every month, I had this one artist that I worked with. | ||
| I was like, I really think you should consider this for something that you might want to put on a playlist. | ||
| Really. | ||
| This isn't some payola shit. | ||
| It's been five years. | ||
| I've... | ||
| And they're like, she doesn't have the social media numbers we're looking for. | ||
| I'm like, you know what? | ||
| That means that what you're adding is just some dumbass that's good at social media. | ||
| I mean, if that's what qualifies you to get on the radio, then we're all fucked. | ||
| Well, they should have a better social media, so they don't have to think about that. | ||
| So when they find a new artist that's great, you pump up their social media with your social media, and then you put them on your network and people tune in. | ||
| And if you have a trustworthy list of people, if you continue to recommend really good artists, they go, oh, holy shit! | ||
| He's got good taste. | ||
| I think that the social media thing is, a lot of it... | ||
| I mean, I think it's fake. | ||
| The numbers that the people have? | ||
| I think the numbers are fake. | ||
| I think that it, you know, there's a couple of these kind of like, I don't want to name names because I don't want to talk shit about it, but it's like this form of music that I, it's like pop, rap. | ||
| That it's always like some white dude with tattoos all over his fucking face that just came out of nowhere. | ||
| And it's always like... | ||
| Their social media is always like, man, I've cleaned up my act. | ||
| I'm so glad to be alive. | ||
| I'm bringing new music to you soon. | ||
| But that never had a hit. | ||
| But they have like 500,000 likes on this shit. | ||
| And you go look at who's liking it, it's all like mindless... | ||
| Kids. | ||
| You know what I mean? | ||
| Not to say that that's bad, but I'm saying like, you can't as an adult, like, programming a radio station, look at that and be like, this means something. | ||
| You know what I mean? | ||
| I mean, honestly, if you go back to 1991, right, to when Nirvana's Nevermind came out, The equivalent of social media, they didn't have shit going on. | ||
| They had a fucking song that just knocked everybody across the fucking face. | ||
| And because the programmers are looking at these other dumb metrics, they're not going to get that song across. | ||
| I mean, the Billie Eilish thing is pretty cool, actually. | ||
| But I think there's a Billie Eilish to be found every month. | ||
| You know what I mean? | ||
| It's not that. | ||
| There's so much good music. | ||
| And to have to go to France to hear American music on the radio is insane. | ||
| Well, why don't you curate something like this and put it on the internet? | ||
| It seems like a simple solution. | ||
| You have such... | ||
| Like, strong tastes. | ||
| And you have a love for this kind of music, and you're already doing it on Sirius for zero money. | ||
| That's why we're here, Joe. | ||
| Because we need someone to give us the opportunity. | ||
| Well, young Jamie's gonna... | ||
| He'll help you. | ||
| We'll get it all set up. | ||
| Hey, speaking of young Jamie, we're playing a festival in Vegas on Saturday. | ||
| Oh, shit. | ||
| And Lil Wayne is going on before us. | ||
| Oh, shit. | ||
| Which isn't the first time that's happened. | ||
| That's a good story. | ||
|
unidentified
|
We'll tell you. | |
| Do you like him? | ||
| Is he a nice guy? | ||
| Yeah. | ||
| I've never met him personally, but his music's cool. | ||
| But we've got Big Wayne to come out with us right afterward. | ||
| Oh, okay. | ||
| Wayne Newton. | ||
| Oh, no shit. | ||
| Yeah. | ||
| In Vegas. | ||
| We've got Lil Wayne before us. | ||
| We have to have Big Wayne with us. | ||
| So we booked... | ||
| Wayne Newton... | ||
| Is he going to sing a song? | ||
| He's going to sing Lonely Boy. | ||
| Lonely Boy? | ||
|
unidentified
|
Yeah. | |
| Holy shit. | ||
| Holy shit. | ||
| So you should... | ||
| You should time your psychedelics to be peaking right about then. | ||
| Dude, that sounds amazing. | ||
| 1240 AM. That sounds amazing. | ||
| I know. | ||
| Oh my god. | ||
| We played this festival with Lil Wayne. | ||
| It was called the Virgin Mobile Fest. | ||
| And it was a free fest. | ||
| Yeah, in Baltimore. | ||
| Yeah, tickets were free. | ||
| They paid us. | ||
| They paid bands well and everything. | ||
| The Stooges played. | ||
| We got to hang out with the Stooges, which was amazing because we're backstage and the Ashton brothers are sitting there chain-smoking. | ||
| Arguing about how to change a catalytic converter. | ||
| And I'm like, this is so fucking Detroit, man. | ||
| This is amazing. | ||
| And they're so real. | ||
| I was like, this is fucking so... | ||
| I was like, fuck, man. | ||
| I was in awe of this shit. | ||
| And then a couple hours later, Lil Wayne's supposed to go on the same stage as us. | ||
| Right before us. | ||
| Right before us. | ||
| And the stage manager's like, absolutely no buses near the stage. | ||
| Because it was a horse track. | ||
| It was like a well-manicured horse track. | ||
| You couldn't pull a bus on the track. | ||
| So we had to park our shit way across the field or whatever, and we go over on the golf cart or whatever, and Lil Wayne's supposed to be done. | ||
| He's not even there yet. | ||
| And we're like, what the fuck's happening? | ||
| And then so he shows up. | ||
| The bus rolls up right to the stage, right across the track. | ||
| Giant, giant like dents in the track. | ||
| And him and like, I'm not joking, 30 of his friends get off the bus probably and just immediately go right to the stage. | ||
| Everybody except for Lil Wayne. | ||
| Music starts playing from like a CD player. | ||
| And they play a whole set. | ||
| Like a whole set. | ||
| And we're supposed to be on it this time. | ||
| Yeah. | ||
| So, we're, like, looking at the clock, like, our set's almost done, and they're still playing. | ||
| Like, what the fuck's happening? | ||
| And then it all ends with, like, him getting an electric guitar, and, like, I don't even know what the fuck he was doing, but it wasn't playing it. | ||
| But it was loud, and it was, like, people were... | ||
| I think he thought that, like, he could pretend to be a guitar player at a festival, and people would understand it. | ||
| Like, would just not know that it wasn't... | ||
|
unidentified
|
Good. | |
| And I was just like, this is fucking crazy. | ||
| Half the crowd kind of bought it. | ||
| I'm like... | ||
| Which is also good for my anxiety, which is like, you don't even have to be good anymore at guitar. | ||
| But then we're like, you know, our sets, what do we do now? | ||
| The stage we have is like, well, obviously you're going to get paid. | ||
| And we're like, obviously. | ||
| And we're like, well, you need to play a full set or three songs. | ||
| I'm like, No one paid for a ticket. | ||
| We're playing three songs. | ||
| Motherfuckers, we're out of here. | ||
| So maybe he does that again this time. | ||
| So if he does, you might get there and only see us play Lonely Boy with Wayne Newton. | ||
| Which would be worth the cost of admission. | ||
| Why don't you guys have him go on later? | ||
| Doesn't that make more sense? | ||
| Because we have to headline for our egos. | ||
| I understand. | ||
| I'd probably switch that around. | ||
| I'd take the hit. | ||
| Head to Denver earlier. | ||
| It just seems like you're going to wait. | ||
| You're just going to wait. | ||
| Doing a lot of waiting. | ||
| We should. | ||
| Hey, man, I agree. | ||
| I don't want to go on 11-15. | ||
| I don't want to go on 11-15. | ||
| He woke up at 5 this morning. | ||
| What's he going to do in a couple days? | ||
| He's a huge act, too. | ||
| It's not like he can't headline things. | ||
| He just left the Blink-182 tour, I read, because at the arena shows, obviously, people don't all get there for the support band. | ||
|
unidentified
|
Oh. | |
| So he was playing like half full room and I think left. | ||
| We could give him a full room, man. | ||
| Yeah. | ||
|
unidentified
|
I'll take that. | |
| I'll take that hit because we could go play blackjack for an hour. | ||
| Wayne Newton might not be available though. | ||
| Who set that tour up? | ||
| That festival? | ||
| Yeah. | ||
| Or the Blink-182 thing? | ||
| Yeah. | ||
| Who set it up with you guys? | ||
| What? | ||
| What tour? | ||
| I mean, the thing you're doing, the show you're doing. | ||
| It's a festival, so it's curated by a talent buyer, usually in connection with like AEG or Live Nation. | ||
| It just seems an odd pairing. | ||
| Yeah, festivals now are odd. | ||
| I mean, I think it's cool to have an odd pairing. | ||
| And it's like, like I said, 11 years ago, we had the same pairing with Will Wayne. | ||
| But I do think the festival thing has gotten a little bit. | ||
| Festivals are kind of for younger people. | ||
| Because of that, there's a lot more... | ||
| You know, there's like a lot more pop kind of stuff. | ||
| You know, I think we're one of the few rock bands playing the whole festival, really. | ||
| I mean, one of the few bands with a drum set, that's for sure. | ||
| It's a strange time, man. | ||
| Do you enjoy these festivals? | ||
| I mean, why do you guys do them at this point? | ||
| Do you feel like... | ||
| I don't think we're going to do that many coming up. | ||
| Yeah. | ||
| I think this might be one of the last ones we do for a while. | ||
| Because I would just think at this point, if I was you guys, I'd just want to do my own shit. | ||
| Well, we pulled out a Woodstock... | ||
| For that reason. | ||
| Because we didn't want that to be our first show back in four and a half years. | ||
| It was more money than we'd ever been paid for a show. | ||
| Our agent was like, what the? | ||
| Are you sure you want to? | ||
| Cancel it. | ||
| It took him four days of him checking. | ||
|
unidentified
|
Are you sure? | |
| We're like, cancel it. | ||
| A, it's not going to be cool. | ||
| B, I don't want to play that as our first show back. | ||
| And he's like, well, there's a good chance it's going to get canceled. | ||
| And if you cancel it, you're not going to get paid. | ||
| I was like, why would we want to headline a festival if it gets canceled? | ||
| It makes us look like we can't... | ||
| Is this your agent? | ||
|
unidentified
|
Yes. | |
| That's hilarious. | ||
| They're trying to get you paid for something that might get cancelled. | ||
| I don't feel comfortable taking money like that. | ||
| Pat, we got a guarantee. | ||
| We got a guarantee, Pat. | ||
| That's hilarious. | ||
| Which year was this? | ||
| Which year Woodstock? | ||
| This one. | ||
| This one. | ||
| Okay. | ||
| Be Real showed us footage of the one that he was at, which was how many years ago? | ||
| Quite a few. | ||
| I saw him there. | ||
| Insane. | ||
| I saw that performance. | ||
| I was there with my brother. | ||
| When they stole the sneakers? | ||
| He crowd surfed and they took his shoes? | ||
| Yeah. | ||
| People came to different shows with his shoes and they signed them? | ||
| I saw a third base. | ||
| I saw a third base. | ||
|
unidentified
|
Wow. | |
| I saw... | ||
| It was pretty wild. | ||
|
unidentified
|
It looks like... | |
| And I ended in flames. | ||
| It looks like chaos. | ||
| There's too many people. | ||
| You had a helicopter folks in. | ||
| It's like all the cars are blocking the highway. | ||
| Like, this is a shit show. | ||
| Do they do it the same way? | ||
| I just remember a corn headline one night, and it was just like a sea of fucking people, and it was so dark, and it was ominous. | ||
| You know what I mean? | ||
| It was just fucking wild. | ||
| And they all had that haircut that went on back then, where you'd shave the sides and the back, and then pull the top back. | ||
| You know that? | ||
| A lot of angst. | ||
|
unidentified
|
And the metal ball necklaces. | |
| Metal ball necklaces? | ||
| I missed that one. | ||
| It was like, I don't know, ball bearings. | ||
| Do you know this? | ||
| Oh yeah, sure, ball bearings. | ||
| That was big at Akron, at least. | ||
| I worked at a record store when that Korn record came out in 1999, and that's when I first really got a glimpse at how fucked we are. | ||
| There's like a Modest Mouse record that come out and I sold like two or three copies of it and there's just like droves of morons coming in. | ||
| It's like, I need the new Korn record. | ||
| We had boxes upon boxes. | ||
| Like, fuck, man. | ||
| We're fucked. | ||
| And I went into the bathroom and thinking about this, and the bathroom in that place was just covered in pornography. | ||
| And I was like, this is so fucked up. | ||
| And then the movie Idiocracy came out and I was like, we're fucking living in this shit already. | ||
| And then the last five years have happened and I was like, we're fucking so deep into this shit, man. | ||
| We're so deep. | ||
| Yeah, it's happening at the same time they're cracking the egg that is artificial intelligence. | ||
| Trying to get that fucking thing to hatch. | ||
| Dude, they need it for certain areas. | ||
| I went to this rural county fair outside of Nashville a couple weeks ago because my wife wanted to take our baby to see the little piglets and stuff. | ||
| So we go into that, like the 4-H kind of area, and it's cute and like, you know, real motherfuckers who work their asses off in there. | ||
| But then we go into the actual fair part where, and it is these people I sold corn records to, like 20 years ago, are now there. | ||
| And dude, I bonked. | ||
| Okay, they had lemonade, right? | ||
| Which is basically, like, crunchy lemonade. | ||
| There's so much sugar in this shit. | ||
| Like, everyone's getting, like, diabetes on the spot. | ||
| I ordered three large lemonades. | ||
| They're $6 a piece, right? | ||
| I gave the woman a $20 bill, and she gives me back $15 and starts... | ||
| And starts talking to me. | ||
| And as she's doing this, she's like, talking about fucking, I'm not joking, Wheel of Fortune. | ||
| Just to no one. | ||
| And I'm like, this shit. | ||
| Oh my god. | ||
| I asked Michelle, I was like, Michelle, what do I do? | ||
| She's like, don't correct this shit. | ||
| It's going to be way too complicated. | ||
| Just take it as like, take the money, don't feel guilty. | ||
| You're going to embarrass her. | ||
| She doesn't even know what's happening. | ||
| She's talking about fucking Vanna White. | ||
| And it's like, Fuck. | ||
| And I looked around and I'm like, man, there's a lot of fucking people on pills in this country or something. | ||
| Oh, yeah. | ||
| And then that's where I started going on this rant on the way home. | ||
| My baby's trying to sleep. | ||
| I'm like, how is Bernie Sanders talking about paying back college loans when there's people who don't have a middle school or high school education? | ||
| You know what I mean? | ||
| A lot of this comes down to just fucking education. | ||
| You know what I mean? | ||
| And I was like, that's a really weird way to talk about spending tax dollars is on paying back college loans. | ||
| Well, I think he just wants to free people from debt. | ||
| The problem with college loans is people sign up for them when you're young and dumb and you don't exactly know what you're doing. | ||
| And we're getting to a point in our life where senior citizens... | ||
| We knew that we needed to drop out because we wouldn't get a fucking job from Akron University's... | ||
| Philosophy department. | ||
| Yeah, we started the band with debt. | ||
| We both had debt from school. | ||
| We both had debt. | ||
| Almost everybody does. | ||
| I actually went to this art school for a minute. | ||
| They let recruiters come into the fucking high schools. | ||
| It seems criminal to me. | ||
| It's kind of Weasley. | ||
| They're talking you into something. | ||
| Check it out. | ||
| I went to this school. | ||
| Maybe a good thing for you. | ||
| I went to this school for two quarters called the Art Institute of Pittsburgh, right? | ||
| And I didn't know that it wasn't accredited. | ||
| I didn't know shit. | ||
| They came and they recruited me and I couldn't get into any art school. | ||
| I had horrible grades in math. | ||
| So I tested into like four years of remedial math. | ||
| So I was like, I don't want to fucking do that. | ||
| I like photography or whatever. | ||
| And after two quarters, I had a teacher who just came up to me in the morning after a 10 o'clock or 10.30 class or whatever, like reeked of whiskey. | ||
| And he said, I need to talk to you. | ||
| And he busted out his portfolio, which is all at this point. | ||
| This is like 1998. This shit's from the mid-70s. | ||
| Dusty. | ||
| All the colors are faded. | ||
| Do you want to do this with your life? | ||
| And it's photographs of cupboards, cabinets. | ||
| Photographed cabinets. | ||
| Get the fuck out of here, kid! | ||
| Oh my god! | ||
| This degree is meaningless. | ||
| It's unaccredited. | ||
| You want to fucking be loading cameras the rest of your fucking life. | ||
| He's like, you're the only one in here that gives a fuck. | ||
| And I'm like, are you fucking serious? | ||
| He's like, I'm fucking serious. | ||
| And I went home and I was like, Dad, I think I made a mistake. | ||
| And this school was like $8,000 a quarter. | ||
| It was fucking expensive. | ||
| Whoa. | ||
| Oh, wow. | ||
| And I dropped out. | ||
| So then I drop out and I had this whole other experience. | ||
| But fast forward to 2014. We're on tour. | ||
| We're about to go to Pittsburgh. | ||
| I'm talking to the Pittsburgh Post-Gazette. | ||
| And I'm like, oh yeah, man, I love Pittsburgh. | ||
| From Akron, two hours away. | ||
| I actually used to live there. | ||
| I went to this school. | ||
| Actually, it's one of the biggest scams of all fucking time. | ||
| And they're like, what school? | ||
| Artists in Pittsburgh. | ||
| And it became local news for weeks. | ||
| Like... | ||
| So I just did a pre-tour interview with the same writer a couple weeks ago. | ||
| He's like, hey man, remember that interview we did about, you were talking about talking shit on Art Institute of Pittsburgh? | ||
| I was like, yeah, he's like, they went out of business. | ||
| And like, literally, they kind of hold you accountable for it. | ||
| And I'm like, how does a college go out of business? | ||
| Because they're scamming fucking kids. | ||
| It was a scam. | ||
| A lot of colleges are fucking scam. | ||
| Wow. | ||
| I know I had a relative who was going to... | ||
| I've paid for a lot of fucking liberal arts schools. | ||
| You would be surprised how much I've paid for. | ||
| I never went to a school. | ||
| I help out family members and shit. | ||
| I've paid for a year at Oberlin, which is not fucking cheap. | ||
| I should get a fucking honorary degree from this shit. | ||
| I've paid for this shit. | ||
| I don't have a fucking education. | ||
| I got asked to pay for some of Lewis and Clark, you know, and it's fucking $60,000 a year school in Portland. | ||
| Man, there's a school called Oberlin, Super Liberal Arts School, really cool radio station, a lot of cool people go to the conservatory, you know, man, but very liberal school. | ||
| And Dan and I are pretty liberal motherfuckers, you know, and it's not far from Akron. | ||
| It's close. | ||
| So I would drive to Oberlin. | ||
| They had good shows there. | ||
| Yeah, 60 miles. | ||
| My girlfriend went there at the time, and I would go see concerts and all kinds of shit. | ||
| But every time I would go there, like, all these kids that were, like, from New York City, rich kids from New York or whatever, like, oh, man. | ||
| I would express an opinion about something. | ||
| And they'd be like, man, you're just a townie, dude. | ||
| Like, just a townie. | ||
| I'm like, fuck you, motherfucker. | ||
|
unidentified
|
Like, who the fuck are you? | |
| Your parents have a bigger bank account than mine. | ||
| That's the only difference, you fucking asshole. | ||
| And I don't feel bad that you don't have a job after you have a fucking degree here, you fucking dick. | ||
|
unidentified
|
Like... | |
| Jesus Christ, this is so specific. | ||
| I mean, I'm serious. | ||
| I don't feel bad that you don't have a job after going to college. | ||
|
unidentified
|
I mean, I don't know. | |
| I was fully prepared to, when I dropped out of school, if the Black Keys thing hadn't worked, start a lawn care business. | ||
| I don't know. | ||
| Wash people's fucking windows. | ||
| I don't really know. | ||
| I wasn't going to write papers. | ||
| I wasn't going to write academic papers. | ||
| I knew that much. | ||
| Believe it or not. | ||
| This is a tour, basically. | ||
| This is what tour is. | ||
| This is what you guys do? | ||
| Yeah. | ||
| This is it, man. | ||
| Dude, you get wound up. | ||
| Oh, yeah, dude. | ||
| You get wound up over nothing. | ||
| I don't mean it, dude. | ||
| My stepdaughter has her friends over, right? | ||
| And I'm like... | ||
| And I was like, she had her birthday party. | ||
| She had three of her friends over. | ||
| They're all 14. And they were over for two hours already. | ||
| It was like a beautiful day in the summertime. | ||
| And I go up into their room and there's no sound. | ||
| I'm like, they're all on their devices. | ||
|
unidentified
|
And I'm like, you guys need to give me your fucking devices. | |
| Get out of the room. | ||
| I'm like so jacked up, like Sergeant Slaughter. | ||
| And I'm like, as I'm mad, I'm like, I don't mean to sound this irritated. | ||
| I don't know why I do. | ||
| I just don't mean to sound that irritated. | ||
| I really don't care as much as I sound. | ||
| But I need to show you that there's other stuff to do, and you guys should be hanging out. | ||
| And then, like, it was weird, because I was telling them, like, you know, when I was a kid, we used to watch Troll 2, and, like, we would have sleepover, watch Troll 2, and make fun of it. | ||
| Troll 2 the movie? | ||
| The movie, yeah. | ||
| So I'm like, I go up there, like, late at night, like, one in the morning, they're all watching Troll 2, but the thing is, like, they're deep into the movie. | ||
| I'm like, oh my god, we always turned it off after the first hour. | ||
|
unidentified
|
You guys, I forgot to tell you, you guys are gonna warp your brains watching all of Troll 2. I've never seen Troll 2. I only saw Troll 1. What's the difference? | |
| There is a movie, I think, called Troll, but it's not related. | ||
| They're not related? | ||
|
unidentified
|
No, Troll 2 isn't related. | |
| How is that possible? | ||
| Imagine there's a Troll 1. I'm going to call my movie Troll 2. But hey, Troll's my movie. | ||
| No, no, no. | ||
| It's about trolls. | ||
| I could be wrong, but I really believe... | ||
| I really believe Troll 2 isn't related to Troll 1 at all. | ||
| That is a hilarious thing. | ||
| If that's true, that is a hilarious thing to do to somebody. | ||
| I don't think that Troll 1 even exists, actually. | ||
| Really? | ||
| Yeah. | ||
|
unidentified
|
How is there only Troll 2? | |
| I don't know, but this is a big thing, actually. | ||
| Is that a real screenshot? | ||
|
unidentified
|
Yeah, yeah. | |
| This is a huge thing. | ||
|
unidentified
|
Oh, my God. | |
| Oh, my God. | ||
| That is so goofy looking. | ||
| Well, there's this video store when we were kids. | ||
| Videos were a big deal for us, actually. | ||
| Yeah, Highland Square Video. | ||
| Jamie, find out if there's a Troll 1. Because if there's only a Troll 2, somehow or another it makes it even more magical. | ||
| I don't think there's a Troll 1, man. | ||
| Search Troll 1. Maybe this one, 1986? | ||
| No. | ||
| It's not related, though, man. | ||
| No, but there was a movie about these giant trolls. | ||
| Or was it... | ||
| It's like Leonard Part 6. There's a Leonard Part 5 or 4 or 3 or 2 or 1. But that's hilarious. | ||
| It's called Troll 2. There was one movie. | ||
| I want to say it was a foreign movie that was really ridiculous about these giant trolls a few years back. | ||
| And it was pretty stupid, too. | ||
| I thought this was it, but this is a different one. | ||
| Well, that's back in the time when things were made that were horrible. | ||
| And it was almost like people didn't realize how bad they were. | ||
| Oh, look at this. | ||
| It has no real connection to the original troll. | ||
|
unidentified
|
Yeah. | |
| Which is his troll in 1986. This is not the one that I saw. | ||
| I saw some other one. | ||
| The trolls were giant. | ||
| They were like as big as trees. | ||
| They were like in the distance. | ||
| Yeah, man. | ||
| It's a revelation. | ||
| Something about great, bad movies, though. | ||
| They're fun. | ||
| Well, you know how the secret knowledge of things, like videos getting passed around before YouTube, and it's no different than music was the same way. | ||
| Yeah, absolutely. | ||
| This weird record would come across, like the first Mad Professor dub record, which you would never find in Akron anywhere. | ||
| You'd get a dub copy of that. | ||
| But it was like that with videos, too. | ||
| Jessica White. | ||
| Yeah. | ||
| Jessica White, yeah. | ||
| Jessica White. | ||
| Yeah, Pat. | ||
| Yeah. | ||
| Were you the first one to show me that? | ||
| Yeah. | ||
| Or Steve Bannick was. | ||
| That fucking documentary, The Wild and Wonderful Whites of West Virginia, holy shit. | ||
| Dude, I've never seen it, but while they were making that, we knew someone who was in touch with Jessica. | ||
| Because we were... | ||
| Into Jesco based on that PBS thing from the early 90s. | ||
| We've got four track recordings where we're basically quoting lines from the original documentary. | ||
| We were watching this stuff in like 95, 96. Look at them. | ||
| Yeah, well, check it out. | ||
| We were playing our first show at the Ryman. | ||
| Our very first show at the Mother Church. | ||
| At the Mother Church of Country Music. | ||
| We had Jesco come down from West Virginia and dance. | ||
| And he got so fucking drunk. | ||
| There's video of it. | ||
| He got shit hammered. | ||
| He took his shirt off, started twiddling his nipples, and started faking masturbation. | ||
| And then his sister was dragging him off stage. | ||
| No one since Hank Williams has been... | ||
|
unidentified
|
Look at that. | |
| Oh, I've never seen that. | ||
|
unidentified
|
Wow. | |
| He literally got thrown out the back door with his shoes fell off. | ||
| But they were his grandfather's tap shoes. | ||
| Yeah, and then someone accused us of stealing his shoes. | ||
| I was like, the dude fucking lost his shoes. | ||
| I didn't steal his shoes. | ||
| Did you have interactions with him, or did it just go on? | ||
| No, no. | ||
| I spoke to him a little bit. | ||
| But you guys organized those? | ||
| Yeah. | ||
| Oh, yeah. | ||
| Didn't you want to say hi to him? | ||
| I said hi to him. | ||
| Oh, you did? | ||
| Oh, yeah. | ||
| You didn't, Pat? | ||
| I didn't because by the time he was there, by the time I saw him, he was wasted. | ||
| He was wild-eyed. | ||
|
unidentified
|
Wild-eyed. | |
| Yeah, it was, like, for real. | ||
| Sometimes the joke just gets... | ||
| It's like, oh, that's... | ||
| The joke gets too real. | ||
| Yeah. | ||
| I thought he was coming, like, actually tap and do his shit, but he was just so shit-faced he couldn't do it. | ||
| Well, I recommended that movie to somebody, and they watched it, and he was like, hey, man, why the fuck did you make me watch that? | ||
| Yeah, what's wrong with you? | ||
| That was horrible. | ||
| Those people live in hell. | ||
| I try to show people that, like, oh, yeah, there's people, like... | ||
| You know, some people will be like, why the fuck would you watch a movie like that? | ||
| How could you say that to influence on you? | ||
| I don't know. | ||
| I don't know. | ||
| West Virginia is a strange place, man. | ||
| And those people that are, you know, living in trailers and doing a lot of pills and there's like entire communities have zero hope and insanely poor. | ||
| That's one of my favorite states. | ||
| It's so beautiful there. | ||
| It's gorgeous. | ||
| The New River is beautiful. | ||
| I dated a girl who lived right there in Steubenville, right on the Dean Martin Highway. | ||
| Man, it was so pretty. | ||
| She lived in Ohio and could see Pennsylvania and West Virginia across the river from her front porch. | ||
|
unidentified
|
So pretty. | |
| There's something kind of magical about that state, actually. | ||
| You go in there and you're like, oh yeah, this is fucking cool. | ||
| There's these weird diners. | ||
| There's You know, the thing is, it's like, there's no industry, so people don't have jobs, obviously. | ||
| Then they also, if they own property, the property is completely worthless. | ||
| It's like, a lot of America is like that, you know, and people tend to forget, like, a lot of people. | ||
| We're so used to seeing it. | ||
| I mean, we grew up in Akron. | ||
| We grew up in Akron. | ||
| Where the industry, I mean, we have those big rubber money, like mansions that are just vacant now, you know? | ||
| Yeah, when I'm in like anywhere, including at home in Nashville, I'm like, fuck the $3 million for that fucking house. | ||
| It's like, you could buy the whole fucking city block in Akron, $3 million. | ||
| There's a house for sale in Akron right now that was the co-founder of Goodyear Tires Mansion. | ||
| It's $1.7 million. | ||
| It's like 18,000 square feet. | ||
| It's fucking insane. | ||
| Wow. | ||
| Yeah. | ||
| And there's a three-bedroom apartment around the corner from our hotel in Santa Monica. | ||
| What would you take? | ||
| Same price. | ||
| One of them's 100 acres. | ||
| One of them is made out of all materials you can get at Home Depot. | ||
| One of them's hand-carved woodwork. | ||
| I'm still surprised that more people haven't left the big cities and moved into places, more people working virtually. | ||
| I don't know why they haven't. | ||
| I mean, I never moved to the big city, really. | ||
| Nashville's the biggest city I've ever lived in. | ||
| Nashville's not a big city. | ||
| No. | ||
| But it's got a good size. | ||
| There's plenty of folks. | ||
| Yeah, there's plenty of people. | ||
| It's a cool city. | ||
| It feels like the same size to me as Cleveland or Detroit. | ||
| I know it's slightly bigger population-wise, but footprint-wise, it's smaller, I think. | ||
| You drive through Cleveland, it takes a long time. | ||
| If you're going length-wise, at least. | ||
| Otherwise, it's really short. | ||
| It's two miles wide. | ||
| It's like 30 miles long. | ||
| But growing up in Akron, you guys had to feel like you were on the outside of the music business, right? | ||
| Like the business itself was in Nashville and L.A. and New York. | ||
| Growing up in a town, do you think there's an advantage? | ||
| Well, we did, but oddly, Pat and I had a connection to the real music business, both in our family. | ||
| My cousin was Robert Quine, a guitar player, who played with Lou Reed and Richard Hell and the Voidoids, one of the first punk guitar players, really influential, and then Pat's uncle's Ralph Carney, saxophone player, played on all the Tom Waits records, B-52 records, all kinds of records. | ||
| So it was weird. | ||
| These guys weren't like financially successful, but they were critically lauded kind of individuals. | ||
| They were professional musicians. | ||
| On records, and it was just odd. | ||
| We grew up around the block from each other. | ||
| We looked at that, and the idea of making a record, that's all we wanted to do, was make a record. | ||
| By the time we were selling 150, 200-seat rooms, we were like, we fucking made it. | ||
| This is it. | ||
| This is fucking awesome. | ||
| This is what we wanted. | ||
| And then... | ||
| We would be like, what if we tried to sell out the 400-seat room? | ||
| What if, you know, it just kind of slowly went. | ||
| And then finally, we got to this point where we were like, well, what if we tried to play Madison Square Garden? | ||
| And our manager was like, yeah, you could do it. | ||
| And we're like, well, let's do it. | ||
| And then we did two nights there. | ||
| And that's literally what started from playing. | ||
| Our tour history, like, in Brooklyn, or in New York, was like, we opened for a ska band on a Monday night. | ||
| In Brooklyn, for $50, we drove all the way from Akron to get there. | ||
| Eight hours each way. | ||
| We made $50. | ||
| That was our first show in New York. | ||
|
unidentified
|
Wow. | |
| Yeah, that to the fucking Barclays or whatever. | ||
| But it was all like, honestly, when we got to the point where we were playing Troubadour, I was like, we fucking have done it. | ||
| We fucking got there. | ||
| And they're like, well, there's another venue down the road. | ||
| A little bit bigger. | ||
| Well, it's always your agent. | ||
| Yeah, it's another venue. | ||
| Well, that's why someone who doesn't understand anxiety is never going to understand how a person like you, with all that success, could still get weirded out. | ||
| Do you know? | ||
| I mean, that's what makes it interesting, the managing of the mind. | ||
| You know, I mean, Dan and I are both pretty confident, but we're not like... | ||
| I think you're only as good as your last show, really. | ||
| You're only as good as your last record. | ||
| Yeah. | ||
| You know, you can't just skate by under shit. | ||
| Yeah. | ||
| And we all knew bands growing up that kind of did, right? | ||
| They had a couple good albums and then things kind of went off the rails. | ||
| Dude, it's like my favorite band is growing up with Devo because they're from Akron and they're like this different kind of crazy band, punk band. | ||
| There is something special about Akron, though. | ||
| Yeah, there is. | ||
| Something special about Ohio. | ||
| Yeah. | ||
| But you watch a band like Devo, though, I was going to say get to L.A. and whatever happened there, the change that happened. | ||
| I mean, that's been something that Dan and I have been actively trying to avoid is that kind of thing. | ||
| But yeah, that's like, I go home to Akron, I fully accept and know that I'm going to get made fun of for certain things. | ||
| I mean, I'm going to, like a real individual, get my shit thrown at me by my friends and they're going to make fun of me for whatever. | ||
| And Rightfully so. | ||
| But yeah, Akron, I mean, Ohio and the Midwest, it's an inspiring place because it kind of is a vacuum and the people who are operating there, like 99% of them are operating just because they have no other choice and they love doing what they're doing. | ||
| Music-wise. | ||
| So you go to New York the first time and it's like, you know, the smallest little band has a connection to the biggest producer and it's like that here too, you know? | ||
|
unidentified
|
And that's why, like, it's like- That's true. | |
| People like a little, like a group, anytime there's like four teenagers playing music together here, like, ah, A&R comes out, ah. | ||
| We're going to give you a big deal and get you on MTV. It never fucking works out. | ||
| I mean, think about the amount of fucking bands that have come from Los Angeles. | ||
| How many great rock and roll bands have come from LA? I mean, seriously. | ||
| It's a fucking massive city. | ||
| It's the biggest county in the country. | ||
| The music industry is here. | ||
| Take the last 20 years of great bands from Los Angeles, you wouldn't have a long list. | ||
| Same with New York City. | ||
| If you go the last 40 years, the list doesn't grow that much. | ||
| Do you think it's better, that's what I'm saying, do you think it's better to be on the outside? | ||
| Do you think it's better to be in a city where you're in kind of a small town? | ||
| Here's what I think is best. | ||
| I think if you can really integrate with the music industry peripherally from the outside, it's always best. | ||
| How so? | ||
| What do you mean? | ||
| Like, if you end up signing a major label, like, look, we almost signed, we got some offers early on to sign to major labels. | ||
| Early on. | ||
| And we did not do it. | ||
| Mostly because we kept being strung along. | ||
| The contract would be there in a week. | ||
| A week would pass. | ||
| It wouldn't show up. | ||
| Two weeks would pass. | ||
| We'd call. | ||
| It'll be there next week. | ||
| Finally, we were like, fuck this. | ||
| We realized at the age of 22, we realized if we signed this shit and they can't get a contract to us to even look at in six weeks, if we make a record, we're going to be so fucking logjammed. | ||
| We're never going to be able to do this shit. | ||
| So we took the gamble and we signed with the small indie and just kept fucking going. | ||
| And when we finally went to a major, it was a subsidiary of a major with a really supportive president and we were kind of on the outside still. | ||
| Even though we were inside, we were on the outside. | ||
| And we were able to do our thing. | ||
| We've never had an A&R guy sit around and tell us to speed a song up or whatever. | ||
| But the problem is, if you get in without having some of those boxes ticked, and you get in, you sign a big record deal off the bat, some fucking dumbass who has a communications degree from, like, fucking Pepperdine is going to be sitting down next to you and be like, I think the hi-hat's too loud, bro. | ||
| I mean, K-Rock can't play that. | ||
| This guy doesn't know what he's talking about. | ||
| That right there, when you get those notes coming from some dude that's your A&R guy that doesn't really know what he's doing. | ||
| I mean, there are good A&R guys, but most of them are these types of dudes. | ||
| And they'll be like, yeah, man. | ||
| And it's basically what they are doing right then when they're getting it in your head and be like, You gotta change the hi-hat on the mix, man. | ||
| What they're saying is, when this record fucking fails, and I can't deliver any sort of fandom to you, that I'm gonna say that you turned the hi-hat down too low. | ||
| Or, I turned the hi-hat, you didn't turn it down low enough. | ||
| There's all cop-outs everywhere. | ||
| And the only way to get through that is to... | ||
| We learned how to make records ourselves in a basement. | ||
| We had a tape machine, a $100 tape machine, and Radio Shack microphones, and we recorded our first record like that. | ||
| We did our second record like that, our third record like that, our fourth record like that. | ||
| And finally, we... | ||
| We went into the studio with Danger Mouse, and we knew how to run a mixing desk. | ||
| You know what I mean? | ||
| We knew what we liked. | ||
| So if someone came in that wasn't Danger Mouse, or one of the mixing engineers we've worked with, if someone came in and said the kick drum sounds like shit, we'd be like, fuck off. | ||
| We know what a kick drum can sound like. | ||
| We've been doing this. | ||
| And I think basically, if you can spend the time, get the time. | ||
| That's why back in the day, it's like, A band takes years to develop. | ||
| It took us eight years before we got us on the radio of actively making records and touring. | ||
| And a lot of this stuff is set up with labels where they want a hit on the second record. | ||
| I'm married to a woman who sold millions and millions of albums of songs that she wrote. | ||
| And when she turned in an Americana record, Like, Warner Brothers gave her such the runaround, they shelved the record that cost 800 grand to make. | ||
| Because they said there wasn't any hits on it. | ||
| That's no way to be an artist. | ||
| Do you know what I mean? | ||
| Yeah. | ||
| And so we've just always avoided that. | ||
| So they shelved the record, they just didn't even bother trying to release it to cut their losses? | ||
| No, man. | ||
| And then they charged her for it, and then they drop her. | ||
| I mean, that's why... | ||
| So they shelve it, they never release it? | ||
| Yeah, they've never released it. | ||
| And they just drop her. | ||
| Yeah, dude, that's how they do this shit. | ||
| The archives of these labels are filled up with shit that's been shelved. | ||
| Really? | ||
| Hell yeah, man. | ||
| I don't know the business. | ||
| Well, I learned all this stuff early on because my uncle Ralph, who Dan mentioned, was signed to Warner Brothers in the late 70s. | ||
| He made a record with his band called Tin Huey. | ||
| It sold like 5,000 albums, you know, like failure. | ||
| And then they gave him like 30 grand to fuck off. | ||
| And they made a record in between then and they just fucking showed it. | ||
| It happens all the time. | ||
| How many good records do they have shelved? | ||
| What do they do with them ultimately? | ||
| Like, if people know about it. | ||
| Dude, I think there's a lot of good records, but I also think, I think there's a lot of records that started off really good, and then some Pepperdine dude is like, remix this, you need to remix it, you need to add this, you need to do this, do this. | ||
| Some dude just guessing, you know? | ||
| It's like, it's not hard to just guess. | ||
| It's like, if you're looking at remodeling your kitchen, and you're an idiot, you just be like, Put the stove here. | ||
| Oh, not fucked up. | ||
| Put it over to the left, actually. | ||
| You know what I mean? | ||
| But if you're really a producer or musician that makes records and you turn in a record, it's so frustrating when you get someone that doesn't know what they're doing coming back like, oh, maybe you should do this. | ||
| I actually had that happen to me. | ||
| There's this band called the Sheepdogs, this Canadian band that actually, this record ended up going platinum in Canada. | ||
| And in the U.S., it never even got pushed to radio. | ||
| Not even one song. | ||
| But this guy, Chad Blake, who Dan and I work with all the time, who's mixed our last four records, he mixed this record. | ||
| This guy is like a genius. | ||
| An audio... | ||
| Wizard. | ||
| Yeah, he's a wizard. | ||
| He lives in Wales in a little house. | ||
| His wife works with horses. | ||
| He's got a little side room, just a tiny little room, just like half the size of this. | ||
| And he mixes huge records. | ||
| He's a badass. | ||
| This whole record's budget was like $60,000, including them living off of it and shit. | ||
| So I took the entire budget and it was spent on a little cheap studio. | ||
| Um... | ||
| A friend of mine who's going to engineer it, them to live, and the rest of it went to Chad to mix it. | ||
| So I get the mixes back, and this A&R guy's listening to the mixes, and is like, I think the hi-hat's too loud on this song. | ||
| I'm not joking. | ||
| And I'm on tour with Dan, and I'm like, I called Danger. | ||
| I'm like, what do I do? | ||
| He's like, you know what to do. | ||
| I was like, send him the same mix and label it mix four and tell him it's been lower. | ||
| He's like, that's right. | ||
| But then he's like, you also need to remember, you are fucked now. | ||
| They will never service this song. | ||
| Because that's the cop-out. | ||
| I was like, bullshit. | ||
| He's like, just watch. | ||
| And it is exactly what happened. | ||
| And I called him a year later, and I was like, dude, you're a fucking genius. | ||
| He's like, well, I've been through this shit. | ||
|
unidentified
|
Wow. | |
| Yeah. | ||
| Because check it out. | ||
| If you're an A&R guy, right, you're getting like probably six figures. | ||
| You report to a senior A&R who reports to a vice president who reports to the president. | ||
| And if you stick your neck out and you say, I want to take a million dollars from the fucking machine. | ||
| And I bet it all on this band. | ||
| Or even a quarter million dollars. | ||
| The odds of any band making it are like probably one in a hundred. | ||
| I'm talking about even breaking even. | ||
| So if you're only an idiot would ever really get behind a band that is unproven. | ||
| So your whole job is to deflect blame. | ||
| You know what I mean? | ||
| So that's what the problem is. | ||
| If I was going to sign a band and someone offered me, they said I had a million dollar budget to sign a new band, I also wouldn't give them all the money because there's no way I'd make it back. | ||
| You know what I mean? | ||
|
unidentified
|
Yeah. | |
| But yeah, that's the music industry, dude. | ||
| It's fucked up. | ||
| And then you spend years and years and years. | ||
| And if you're lucky, Dan and I have lucked out, and then you look back and it's like, I don't even know how it happened. | ||
| There's all these other factors that come into it. | ||
| You go try to help a band, something that worked for us would never work for another band, so there's no formula to it. | ||
| It's really random. | ||
| It's similar to this shit. | ||
| This chick I know was talking about Ancestry.com and how she doesn't care about her ancestors. | ||
| I was like, you don't care about ancestors? | ||
| That's interesting because think about the odds of you existing. | ||
| You go back just 20 generations and Then that means that you have like over a million grandparents. | ||
| I think it's like two million grandparents in just 20 generations. | ||
| Think about all the fucking sperm and eggs and the odds of those, each one fucking happening. | ||
| It took two million people fucking and that happening over and over again to get to your ass. | ||
| You don't give a fuck about any of it. | ||
| Like, that's just fucking ignorant. | ||
| Honestly. | ||
| And if you want to buy into the Elon Musk simulation, remember this. | ||
| That means there's some motherfucker sitting at the simulation who made that motherfucker. | ||
| So it's like, you know what I'm saying? | ||
| Like, the simulation had to have been made by some motherfucker. | ||
| Like, there's always something deeper. | ||
| That thing about... | ||
| The thing about any... | ||
| It's unexplainable. | ||
| The fact that Dan and I grew up next to each other, the fact that we were close in age, the fact that we were able to put up with each other's shit and find each other amusing after 30 years of knowing each other, it's all fucking insane. | ||
| But you guys obviously have a very good balance. | ||
| Well, it's been up and down, but that has to do with a lot of factors, like we said. | ||
| Overtouring is pretty much the main thing. | ||
| That's a big one, right? | ||
| That wrecks people. | ||
| Yeah. | ||
| That can pretty much take all the art out of you, suck all the life out of you, fuck up all your relationships. | ||
| Yeah, you just don't want to be out there anymore. | ||
| No, it can sour you to the whole thing. | ||
| You don't really buy into the simulation, do you? | ||
| Me? | ||
| Fuck no. | ||
| Not at all. | ||
| This same person was saying to me that they're an atheist. | ||
| I was like, that's fine. | ||
| You're allowed to believe that. | ||
| But you also have to accept that there's possibly that's not true. | ||
| And they're like, no, that's what I believe. | ||
| But then they went on to say that they believe in demons. | ||
| And I was like, you gotta... | ||
| My rationale about all this stuff is that it's simple. | ||
| I was talking to my stepdaughter, who's so smart and so sweet and really changed my life in a lot of ways. | ||
| We were swimming in the pool. | ||
| Talking about life. | ||
| It's one of these conversations. | ||
| She's like, do you think that there's a God? | ||
| She asked me. | ||
| And I said, well, we don't go to church or anything. | ||
| And I said, I said, I don't know. | ||
| But I was like, this is something interesting to think about. | ||
| I was like, whenever I think about that, I try to think about the end of the universe. | ||
| Like the very end. | ||
| Like the edge. | ||
| And I can't picture it. | ||
| I can't picture it. | ||
| I can't picture infinity. | ||
| I can't grasp that at all. | ||
| And the mere fact that we can't grasp infinity would lead someone like maybe Elon to believe that purposely that was left off in some sort of simulation or whatever. | ||
| But maybe that would be the argument. | ||
| I think that... | ||
| The fact that I can't picture it, maybe I'm just an idiot, but it makes it that I think that there's maybe something more... | ||
| There's definitely something more to it. | ||
| That possibility is way open. | ||
| But I do think... | ||
| What do you think? | ||
| I had this conversation with a guy who was actually an expert on it. | ||
| This guy Nick Bostrom. | ||
| He was trying to explain to me that because of probability, it's more likely... | ||
| Or very likely that we're in a simulation because of the probability of someone eventually creating it and that it's very possible that we're in it right now and more probable than not. | ||
| But then what does that mean? | ||
| I don't know. | ||
| A simulation has to be a simulation that why would it's a simulation of what from what? | ||
| Well, here's something I know for sure, okay? | ||
| This is what I know for sure, by my own experiences, that we are the only people on this planet that have ever gotten to 2019. This is where we are. | ||
| We know there's a history behind us. | ||
| We know that this is the peak. | ||
| You walked in at a freaky time, my man. | ||
| We're at 2019 right now. | ||
| We know we exist. | ||
| We know we have culture. | ||
| We know we have incredible technology. | ||
| We don't have any idea if we're the only ones. | ||
| It's likely that there's other life forms out there. | ||
| It's likely there's other intelligent life out there. | ||
| But there might not be. | ||
| It might be that this is a crazy situation that happens incredibly rarely where you have a planet that's this close to the Sun where these life forms figure out how to fuck with matter in an incredible way and they start flying and sending things through the air that videos that instantly get to your phone. | ||
| This might not ever happen. | ||
| This might only happen here. | ||
| It might happen here and in versions of here, which if you believe in infinity, you have to believe there's infinite versions of this. | ||
| So there's infinite versions of life. | ||
| So it's almost built in mathematically that infinity is so big, there's so many possibilities that everything that you've ever recorded has also been recorded by you in another place with infinite variations of each individual song, infinite variations of each album, that there's infinite versions and that infinite versions of each version And so it's insane, the whole thing's impossible for our little ant brains to wrap around it. | ||
| That's possible, too. | ||
| It's not unlikely that it's a simulation. | ||
| I mean, it's possible it's a simulation. | ||
| But it's also possible that this is as far as anything's ever gotten. | ||
| Because we know this is as far as we've ever gotten. | ||
| Pat and I are starting an intergalactic publishing company. | ||
| Yeah. | ||
| We've signed futures. | ||
| We have future rights to... | ||
| Hasn't Scientology signed you to some universe contract? | ||
| For like a billion years? | ||
| Isn't that like part of the deal? | ||
| I think if you're on the Sea Org, it's like a billion year service. | ||
| Yeah, I think it's a billion years. | ||
| I think it's for the whole universe. | ||
| You can't even work on other planets. | ||
| I think that it's interesting to think about. | ||
| Whenever you talk about something that you don't know the answer to, like the simulation or the mirrored dimensions and stuff... | ||
| I think it's all fascinating and it's all possible, man. | ||
| But I do think when it comes down to it, part of the thing that causes anxiety, part of it is accepting that something is real. | ||
| Because sometimes when you're having a panic attack or something, you're like, is this even fucking happening? | ||
| Is this even fucking real? | ||
| And I think being in the moment, As much as possible. | ||
| When I really, truly feel like I'm living in the present, I really feel like, you can really feel how special life is. | ||
| Yes. | ||
| If I was a billionaire and I married the same chick twice, I would think I was living in a fucking simulation too. | ||
| That's what I think about Elon. | ||
| He's really fucking smart, but he's a billionaire and he married the same chick twice. | ||
| Dude, you can marry anybody you wanted. | ||
| He gave it a chance. | ||
| He wanted to make it better. | ||
| I don't know, dude. | ||
| He gave it one more chance. | ||
| He might be living in a simulation. | ||
| Well, he might be interfacing with a different dimension than us. | ||
| No, he might be. | ||
| Do you think about all the different shit that guy's invented? | ||
| You know, my stepdaughter went to his school for a while. | ||
| Uh-oh. | ||
| At Astra. | ||
| It was a really amazing experience for her. | ||
| I believe, yeah, whatever schools raised that dude. | ||
| What is Ad Astra? | ||
| What is that? | ||
| That's a school he has. | ||
| He has his own school? | ||
| For some of his children and for some of the employees of his companies. | ||
|
unidentified
|
Really? | |
| Uh-huh. | ||
| He's got his own school? | ||
|
unidentified
|
Uh-huh. | |
| Holy shit. | ||
| I just don't understand how that's all possible. | ||
| How can you dig tunnels under LA, make batteries, make solar panels, make electric cars, make rockets, shoot them into space, plan to colonize Mars, like what? | ||
| And then marry the same chick twice. | ||
|
unidentified
|
Yeah. | |
| That's why he did it. | ||
| He didn't have any time to find a new chick. | ||
| I think it might prove that he's a genius, just that. | ||
| Maybe. | ||
| He gave it a shot. | ||
| He gave it a shot. | ||
| What if he married her twice and it worked out amazing? | ||
| Like the second time they appreciate each other more. | ||
| I think it's worked out really amazing in like a thousand different dimensions, both marriages. | ||
|
unidentified
|
Yes. | |
| That's why he did it. | ||
|
unidentified
|
Infinite dimensions. | |
| He did it because he needed it to work out in another dimension. | ||
| Oh, create random possibility. | ||
| Yeah, for no reason. | ||
| Just create random possibilities in each and every direction. | ||
| With every decision you make, the universe expands in infinite different directions, in infinite different versions of you. | ||
| That sounds terrifying, but so does falling asleep. | ||
| You know, falling asleep is weird. | ||
| We're all agreeing every night I'm looking forward to literally not existing. | ||
| I stopped being there for eight hours. | ||
| I don't see anything. | ||
| I have no idea what's going on around me. | ||
| I think about that all the time. | ||
| It's the weirdest fucking thing people do, man. | ||
| We all are afraid to die, but no one's afraid to sleep. | ||
| Everybody's looking forward to sleep. | ||
| I always have a couple reoccurring dreams. | ||
| But I had one last night that was fucking insane. | ||
| A reoccurring one? | ||
| No, it was based on something that sort of is... | ||
| I have this dream where it's reoccurring where I'm in a house that I'm vaguely familiar with, but there's all these additions that I discover, and they're usually either really rickety and dangerous or really beautiful and completely need to be fixed up and covered, like Scooby-Doo house type thing. | ||
| Last night I had this dream where I was in a house I used to own with my wife and... | ||
| There was a home invasion, and I had something that they needed, and they basically told me that if I had it hidden, and I said they were going to come back if I didn't give it to them. | ||
| They were going to kill me. | ||
| And I was trying to figure out how to keep this thing hidden. | ||
| And I still woke up from it like, what the fuck? | ||
| Of course I had to pee like I do right now. | ||
| Go pee, man. | ||
| I want to go. | ||
| No worries. | ||
| We're going to talk about you when you're gone. | ||
| But all good things. | ||
| And he's gone. | ||
| Dude, he gets worked up. | ||
| I would have had no idea. | ||
| Really? | ||
| No, I would have never thought he gets that worked up. | ||
| Oh, yeah. | ||
| He just swings. | ||
| He sits on the bus, and there's like 9, 10, 11, 12 hours between each gig, and he just... | ||
| Dude, he sounds like a comic. | ||
| Yeah. | ||
| He really does. | ||
| He's been our personal comic for 20 years. | ||
| Seriously. | ||
| I mean, he's funny as hell. | ||
| He should definitely do a podcast. | ||
| That would be a huge podcast. | ||
| Him just talking shit about things. | ||
| Him just analyzing what's wrong with the world. | ||
| I've told him that. | ||
| The corn people are coming, though. | ||
| You know that, right? | ||
| They're coming for him. | ||
| You can't do that to them. | ||
| 20 years of insults on Korn people. | ||
| I worked at the same record shop that he did. | ||
| Yeah? | ||
| Kwanzaa Hutt Records. | ||
| I was there when Korn came out. | ||
| They had a midnight sale. | ||
| People were lining up at midnight around the block. | ||
| Kids don't understand that there was something interesting about going to a record store and seeing records that you had no idea what they were. | ||
| You'd pick up the album and you'd look at it. | ||
| You'd look at the artwork and I'm like, what is this? | ||
| And you flip it over to the back and sometimes you got roped in. | ||
| You know, sometimes you got roped in just by a cool album cover. | ||
| It was a beautiful time. | ||
| Beautiful medium. | ||
| Do you remember when there were certain stores that would have those little stations and you'd have a button and you had headphones and you could put the headphones on and listen to an album for a couple seconds? | ||
| I feel like I spent my whole life doing that. | ||
| Pat and I went from city to city, went to all the record shops. | ||
| Did they let you listen to the whole album there? | ||
| Yeah. | ||
| You could just stand and listen. | ||
| It wasn't just like snips of it. | ||
| It was the whole thing. | ||
| Oh, you could listen to the whole thing. | ||
| Yeah, the good record shops were all like that. | ||
| And they always had great recommendations. | ||
| I mean... | ||
| Yeah. | ||
| Yeah, I don't know. | ||
| It's troubling, you know, like Pat says. | ||
| I mean, he's thought about it quite a bit. | ||
| Well, it is, and it's also interesting for new young artists that don't have any distribution. | ||
| They just get viral from SoundCloud or from Twitter. | ||
| That can happen. | ||
| Yeah, but we're just finding out those metrics that just don't quite matter. | ||
| They don't quite matter in what way. | ||
| They don't sell tickets. | ||
| What about guys like, I mean, it's not your genre, but isn't that what Chance the Rapper did? | ||
| Or Tile the Creator? | ||
| Which one is it? | ||
| Chance the Rapper. | ||
| Didn't he do it all from the internet? | ||
| Sure. | ||
| And he's really huge, right? | ||
| Yes, he's known as an independent artist, but... | ||
| He did it. | ||
|
unidentified
|
Yes. | |
| Are you tired of the creator? | ||
| Is it a totally different thing? | ||
| It's a totally different thing, yeah. | ||
|
unidentified
|
Okay. | |
| Sorry, guys. | ||
| Tyler and I are in touch every once in a while. | ||
| Whenever there's a the in between your first and your last name, I get Tyler, the creator, Chance, the rapper. | ||
| Well, Patrick, the drummer. | ||
| Those are like pool hall nicknames. | ||
| Yeah. | ||
| Like Ray the Fireman. | ||
| Yeah, you know, I don't know much about... | ||
| I mean, yeah, I think the chance is a good example of, like, breaking into the industry in a different thing. | ||
| Do you think that... | ||
| But I also think that, like... | ||
| It's just interesting to see how all this stuff shakes out 10 years from now. | ||
| Who's gonna be around? | ||
| What matters? | ||
| Back to my wife, Michelle Branch. | ||
| She sold millions of records. | ||
| She's an insanely talented individual, insanely amazing person. | ||
| Her audience was commercial radio, top 40. And the thing about Top 40 is it's like it's the same type of person that goes to watch whatever's popular on television or Keeping Up with the Kardashians. | ||
| Like someone who watches Keeping Up with the Kardashians is probably not familiar with Gilligan's Island. | ||
| You know what I mean? | ||
| And five years from now, when there's something different than keeping up with... | ||
| Well, probably not. | ||
| That show will probably still be around. | ||
| But you know what I'm saying. | ||
| They just... | ||
| It's like... | ||
| It's whatever's freshest and newest. | ||
| And so you end up... | ||
| If you end up developing a pop... | ||
| This is why we were talking about not wanting to get played on the radio. | ||
| It's because it's a different type of fan. | ||
| It's a less personal type of fan when you get played on Top 40. It's like... | ||
| You know when you go through... | ||
| When I would go through certain friends of mine's parents' records, they'd have all these records. | ||
| And they're like, Oh yeah, I used to listen to that, used to listen to that, used to listen to that. | ||
| And I go through Dan's dad's records or my dad's records, my dad would be still listening to that shit. | ||
| The point is that these people were buying like Billy Ocean records and my dad was buying like Cream records and he was a fan of music and this person was a passive pop fan. | ||
| And I think that what you're experiencing is when you try to compare pop Maybe some of this pop stuff has some sort of credibility because it's independent or whatever, but I think it's a very weird thing trying to figure it out. | ||
| I think booking a festival nowadays is probably fucking really crazy. | ||
| That's why the Woodstock thing, they didn't know what to do. | ||
| When we were told about the festival, it was like we were going to headline Saturday night. | ||
| When the lineup came out, it was like Chance the Rapper... | ||
| Us, and I forget who else was on it, but there were a couple people, there were like three headliners, and we're like, that's insane. | ||
| Like, what are you thinking? | ||
| You're going to sell 150,000 tickets at $700 a pop? | ||
| Fucking idiot. | ||
| Just do this. | ||
| Just do a festival for 30,000 people. | ||
| Do two festivals, two weekends. | ||
| Do a pop festival, do a rap festival, do a rock, do whatever it is. | ||
| But don't get, their obligation per night was like 10 million in guarantees or something. | ||
| You fucking dumbass. | ||
| You're like, I wonder why they fucked up. | ||
| I was like, well that guy fucked up the first Woodstock and 50 years later he hasn't fucking figured it out yet. | ||
| Is that 50 years? | ||
| He's like, well, you'll get it in 50 years, dude. | ||
| Mike, you'll get it. | ||
| 50 years from now, you'll figure it out, buddy. | ||
| You know, it's like that idea of this repeating shit that doesn't make sense is like, we've all done it, but even Elon's done it. | ||
| Do you think that the music business is the way it is because it started out a different thing? | ||
| It was a different thing. | ||
| It was how they made the records. | ||
| It was the actual records. | ||
| They would put them in the stores. | ||
| But all that shit's gone now. | ||
| So it's just mostly downloads. | ||
| The music business is set up the way it is because there are independent people who have made... | ||
| Very successful careers without having to engage the machine, right? | ||
| But traditionally if you wanted to sell out Madison Square Garden, traditionally, there are people like Fish or whoever who have done it based on the backs of whatever things that they've done. | ||
| But traditionally if you want to make a record and you want to get to Madison Square Garden, You need promotion. | ||
| You need radio. | ||
| You need exposure. | ||
| You need publicity. | ||
| Now, almost all of that stuff you can get for free if you have enough bullshit up your sleeve on social media. | ||
| And you can get enough 13-year-olds streaming your shit. | ||
| You get to fuck MSG without a label, without a publicist, without any of that shit. | ||
| A band like us in the situation that we're in now... | ||
| We're in a position to be able to look at the music industry and be like, this is just crazy that we're paying this person this much money to do what they're doing. | ||
| This is fucking insane. | ||
| And we can really talk, have open conversations with people like, we're not giving Warner Brothers $5 a record to bundle this shit. | ||
| Because we're paying you to be on your record label so that we get a fucking number on SoundScan that ultimately you'll brag about. | ||
| Like, fuck all this. | ||
| Fuck it. | ||
| But no, but you can't do that. | ||
| That's a way that PowerStruck is still set up is that if you're on a label, most bands sign these record deals, they gotta give that fucking money back to the label. | ||
| It's a 360 deal. | ||
| They got fucking, not only that, but they get access to your ticket sales, like straight up, like profit. | ||
| That's weird. | ||
| That was always where the musicians made money entirely theirs up until streaming, right? | ||
| Did people cut record labels in on any ticket sales before that? | ||
| No. | ||
| In fact, it used to be set up where a tour was a loss leader to sell a record. | ||
| Yeah. | ||
| That's why you'd see bands like, I don't know, fucking huge bands in the 70s, Bad Company or whoever, they would sell fucking huge ass fucking stadiums for like $3 a ticket, maybe have a bunch of support, sell a couple million records, find out the manager stole all the fucking money, write a memoir about it. | ||
| It's like the tale of the oldest time. | ||
| Yeah. | ||
| You know, it's like, I come from like an indie rock background, and it's always, it was sort of like, and Dan does too, and it's like, you know, when we were coming up, it was like, even kind of having any knowledge of the business, it was like, It was considered uncool. | ||
| Don't you think so? | ||
| A little bit? | ||
| Is it considered uncool to think about finances? | ||
| To kind of really know... | ||
| Like what you know now. | ||
| What you just described. | ||
| The way you broke it all down. | ||
| But we've always been fascinated by it. | ||
| So I've always paid attention to it. | ||
| But it's funny now where I'm just like realizing... | ||
| We took a break off the road for four years. | ||
| And when we came back three years after a break to make a record, it was like we had gleaned a lot of perspective. | ||
| And our conversations when we first started making this record, aside from like Watching the news and talking about that and making each other laugh and shit. | ||
| This band is something really fucking special. | ||
| The fact that we're sitting in this room 18 years after starting this band, And it fucking working out and we're fucking here. | ||
| We need to make sure that this band is always something that's fun and not a burden and not stressful. | ||
| It shouldn't be stressful. | ||
| It should be fun. | ||
| It's rock and roll. | ||
| You know what I mean? | ||
| And I think that we've been spending the last year figuring out how to make every decision that way. | ||
| So like, for instance, this show. | ||
| We were like, do you want to do this TV show? | ||
| This TV show. | ||
| No, we want to do it. | ||
| We both watched Joe Rogan, listened to Joe Rogan. | ||
| I happen to watch it. | ||
| We want to do Joe's You know what I mean? | ||
| That's what we want to do. | ||
| That's what's important to us. | ||
| We don't want to play Woodstock. | ||
| It's not important to us. | ||
| It doesn't speak to us. | ||
| These are the things we want to do. | ||
| And taking that type of position with the band and also looking at the business side of it and be like, this is fucking bullshit. | ||
| This is ridiculous. | ||
| What this band should be giving us is the ability to help other bands, which is what we do all day long when we're not touring. | ||
| I mean, in the last five years... | ||
| Dan's produced probably like 15 albums for other artists. | ||
| I've done a handful myself. | ||
| He has a label, puts out other people's music. | ||
| There's a lot of fucking work. | ||
| When we're not touring, we're still working on other music. | ||
| And the craziest thing is this. | ||
| We've sold millions of records. | ||
| We've made, between the two of us, something like 60 plus albums. | ||
| When I finished a record I'm really proud of and I sent it to Warner Brothers, the last time I did that, they didn't even fucking respond to the email. | ||
| When that shit happens to you, you know what you want to do? | ||
| Tell them to fuck themselves. | ||
| You know what I mean? | ||
| And right now we're in a situation where our record contract's done. | ||
| And I saw what happened to my Uncle Ralph. | ||
| Do you need a contract now? | ||
|
unidentified
|
Fuck no. | |
| Fuck no. | ||
| It doesn't seem like you do. | ||
| But what we need is we need people to work with people who understand that the Black Keys is very important to us, but it's also a vehicle that we can leverage to help our other artists when we're producing shit. | ||
| And it's so fucking infuriating. | ||
| To have been in this business for 20 years and honestly understand the business better than most fucking managers and be treated like dog shit by this person that you've made millions of dollars for. | ||
| Do you know what I mean? | ||
| Well, it doesn't make any sense that you need anything like that. | ||
| All you guys need to do is have studio fees. | ||
| Or if you have your own studio, produce the music. | ||
| And then once people know, your shit is out. | ||
| No, I mean, it's different. | ||
| Because it's different. | ||
| We don't need shit. | ||
| But if you take a new artist from Nashville, say, and you make a record for them. | ||
| Okay. | ||
| Okay. | ||
| They need an agent. | ||
| They need to go on tour. | ||
| Right. | ||
| They need to do all the stuff that we did. | ||
| But we were like malnourished. | ||
|
unidentified
|
Fuck. | |
| Freaks. | ||
| We were... | ||
| Losing money the whole time. | ||
| We were able to lose money because our... | ||
| My rent was $145 we started. | ||
| And we practiced in my basement. | ||
| And Dan lives in his parents' house. | ||
| We didn't have... | ||
| We could make like $200 a month and be in the red. | ||
| Or in the black. | ||
| Wow. | ||
| No one else is like... | ||
| That's not realistic. | ||
| No. | ||
| So if you really want to... | ||
| Well, here's what's realistic. | ||
| If you want to start... | ||
| But if you want to help artists... | ||
| Why isn't it realistic? | ||
| I mean, it's realistic. | ||
| Why is it more realistic to go get in $60,000 worth of debt and not be able to have a fucking job? | ||
| Well, I'm just saying that most bands aren't two pieces. | ||
| Most bands aren't human cockroaches. | ||
| When we first started, Dan was like, I need wonton soup every day. | ||
| That's what I need. | ||
| That's all I need. | ||
| $3.50. | ||
| We go get a wonton soup. | ||
| I need a pack of cigarettes. | ||
|
unidentified
|
Wow. | |
| But yeah, so you do need some financing. | ||
| Listen, you have the answer right in front of you. | ||
| You're a great talker. | ||
| If you just developed a podcast where you played new music and then talked shit the way you do now, it would be gigantic. | ||
| If you just go on the road, just do Pat and Dan, you can call it Pat and Dan on the road, and you guys just do it from your tour bus or wherever, you just wind him up, let him talk shit about things, and then play music, like music that you really enjoy. | ||
| If someone like Spotify wouldn't jump on something like that, they'd be crazy. | ||
| It's a great idea, and you could use it as a platform to help artists avoid the system entirely. | ||
| I'm thinking that might work, but also... | ||
| It would work, man! | ||
| If we just tweeted Mark Zuckerberg that we need $145 million... | ||
| He'd probably do it. | ||
| Probably do it. | ||
| Seems like a good deal. | ||
| If someone wanted to do something like that, it's a great idea, because you can use it to launch, like I've done with comics on this podcast. | ||
| You find people that are funny, let everybody know. | ||
| It's not hard. | ||
| Get a group of people that are really interesting. | ||
| Keep the conversations going. | ||
| Keep more cool people coming in. | ||
| And then you can use that to help other cool people and let everybody know. | ||
| You can do it through your social media. | ||
| You do it through a podcast. | ||
| And, of course, you guys are still going to do the same stuff you're already doing with producing people and helping them out. | ||
| But you definitely could have your own distribution network. | ||
| But be ethical free. | ||
| Ethical quandaries free. | ||
| You don't even have to think about it. | ||
| You just give it to them for free. | ||
| You just do it as a podcast. | ||
| Broadcast them. | ||
| Hey, check out this fucking band. | ||
|
unidentified
|
I love this. | |
| I love this song. | ||
| Play it. | ||
| Bam. | ||
| That would help a lot with exposure to new music. | ||
|
unidentified
|
Yeah. | |
| But I guess what I'm saying is... | ||
| They're going to need an agent to book shows. | ||
| Well, yeah, but I'm saying... | ||
| But I do think it is... | ||
| What I'm saying... | ||
| The music industry... | ||
| What is actually... | ||
| Something that I think that... | ||
| I think we're trying to figure out now is basically how to actually really work, again, truly independently. | ||
| You know what I mean? | ||
| Where it is something that we can figure out a way to actually do the things we're passionate about, which is a lot of it is making records and even to make a record and press it. | ||
| It's at least $10,000. | ||
| You know what I mean? | ||
| So, I guess what I was trying to say was you'd expect that someone would look at your work and respect it enough to kind of step in and help out. | ||
| Because it's not like you're asking for fucking millions of dollars a year to finance some shit. | ||
| You're asking for like a couple hundred grand. | ||
| But that's the problem with the music industry. | ||
| Is that certain labels are willing to give like... | ||
| A SoundCloud rapper, like $15 million. | ||
| But then they look at a band and they can't quantify their metrics, like maybe the Black Keys or whoever, and they don't give a shit. | ||
| Help me out with this, because I don't understand it. | ||
| What do they provide? | ||
| What does a record company provide? | ||
| At this point to us, physical distribution, which is something... | ||
| Physical distribution of, like, LP vinyl. | ||
| That's crazy, though. | ||
| How much is that? | ||
| Yeah, but, I mean... | ||
| Is there a lot of people buying those? | ||
| No, no, no, no. | ||
| I mean, for us, really, it isn't tons. | ||
| There's some marketing, there's some stuff like that. | ||
| But honestly, I mean, we get more from, like... | ||
| Live Nation, probably. | ||
| You know what I mean? | ||
| So, they... | ||
| What does a record company do, then? | ||
| Like, if you're a young artist, they get you distributed... | ||
| Dude, they scare you. | ||
| They scare you into handing over the shit that they need. | ||
| And then they sign you to a long-term contract. | ||
| Is that how it works? | ||
| And then they pray you have a hit. | ||
| They pray you have a hit, and if you do and you want to leave, then you're fucked. | ||
| And then if you don't... | ||
| If they don't think so, and they think that you want to leave, and you got two records left, they shelve that record until you go make another one. | ||
| Yeah, that's what they do. | ||
| It just doesn't seem... | ||
| It's a legacy business, it seems. | ||
| Check this out. | ||
| We had this dude who was president of a label at one point. | ||
| It got back to me that he was taking credit for our success. | ||
| He wasn't even around when we broke. | ||
| You know what I mean? | ||
| And the credit he was taking was the most genius fucking credit. | ||
| This is how smart these fucking people are. | ||
| He said, yeah, man, I think I really take a lot of pride in that band and really help them a lot by just staying out of the way. | ||
| Ooh. | ||
| He didn't even write a check for tour support or no promotion. | ||
| He's taking credit because he was smart enough not to fuck it up. | ||
| You know what I mean? | ||
| It's like I take personal credit like at Bojangles Chicken for them being successful. | ||
| Or the new Popeye's chicken sandwich. | ||
| Wouldn't you prefer that? | ||
| I take a lot of credit though in that chicken sandwich, man. | ||
| Because I didn't buy one. | ||
| I didn't fuck it up. | ||
| I didn't put the wrong post up. | ||
| But that's a way better attitude, at least a working attitude, than the guy from Pepperdine who wants to fuck with the hi-hat. | ||
| Wouldn't you prefer that guy who just gets the fuck out of the way? | ||
| I would say, I'll take that guy all day long. | ||
| If those are the two options, then yeah. | ||
| Yeah, absolutely, all day. | ||
| I mean, is he taking credit for it, or is he just, he's kind of bragging that he works with you? | ||
| He can't be taking credit for it. | ||
| I think there's a little credit, but I think... | ||
| A little bit of credit? | ||
| A little bit of credit. | ||
| A little annoying to you? | ||
| Dude, there's a lot of credit that gets taken for a lot of shit. | ||
| Dude. | ||
| It seems like a fucking frustrating and infuriating business that I'm glad I don't have to participate in. | ||
| As comics, there's no business. | ||
| We're like in the fucking top.001% of this shit and still fucking annoying every single fucking day. | ||
| The trick to the music industry is because if you really love music, like the way that Dan and I do, where it is still the thing that we're most passionate about. | ||
| Love music. | ||
| I only think about music. | ||
| Listen to it all day. | ||
| But yet, you have to find that fine line where you don't... | ||
| When you make a record you're really proud of and no one fucking hears it, and no one that works with you even responds to an email about it, you have to find that space where you don't want to kill everybody. | ||
| You know what I mean? | ||
| And you still want to go make another record. | ||
| Do you need to be connected to someone like this, though? | ||
| Is this a valuable thing in your world? | ||
| What? | ||
| To have this record company... | ||
| No, no, I mean... | ||
| Not, right? | ||
| So you can let all this go, right? | ||
| And don't do it anymore. | ||
| No, the trick is to find out... | ||
| Still, as the industry changes, it's to learn how to pivot and have it make sense. | ||
| So the real problem is young talent that's just getting started that gets signed when they don't really know their worth yet. | ||
| And they don't know how... | ||
| The problem is that no one is investing in fucking real bands. | ||
| They're investing in a songwriter. | ||
| They're investing in an artist that is a puppet that they can go and say, this person's going to listen to this. | ||
| Right. | ||
| Do this shit. | ||
| It's like a pop machine. | ||
| Do you think that you could do it ethically? | ||
| That you could do it your way? | ||
| Look, I think... | ||
| Do you have the time for something like that? | ||
| If I was to run a record label, the main difference would be that I would look at it as, let's try to fucking break even. | ||
| Let's realize that some of the most important records here have never sold a million copies. | ||
| Like the Ramones never sold a million copies of any of their records. | ||
| They're maybe the most influential punk band. | ||
| So let's redefine what success is. | ||
| Success is getting behind art that we really are proud of and not getting trampled and getting the support that it needs. | ||
| This all seems doable. | ||
| What you're describing with you seems doable. | ||
| But then think about this. | ||
| This is the problem. | ||
| This is the crux. | ||
| Then you think about the Ramones and you realize this is a band that toured in a van for 20 fucking years. | ||
| Do you want to subject a band to that? | ||
| No. | ||
| You want to be able to elevate that band to the point where they're actually... | ||
| Doing that comfortably. | ||
| And that's the hard part. | ||
| Can you, though? | ||
| Would they be the same band? | ||
| Not always, right? | ||
| I think that you could, yes. | ||
| It's possible, depending upon the individual. | ||
| Dude, that's why Metallica has these therapists, man. | ||
| They're trying to figure out how to fucking... | ||
| Don't you think that part of what you guys are is your background? | ||
| When you were paying $125 a month for rent, you were living with your parents. | ||
| This is part of why you guys were so good. | ||
| Because you fucking really wanted it. | ||
| You needed it. | ||
| You had to get to a better place. | ||
| We had no other option. | ||
| Yes, but I think there's something to that that flavors the music. | ||
| I think that's what we do when we try to work with people. | ||
| We see that same quality in other people. | ||
| So people have already been down that road. | ||
| Artists that I'm working with now, people like Yola and people like D. White and early James. | ||
| All these people, they're just ornery and they want it. | ||
| This is begging for an organization. | ||
| Your passion for this is so important. | ||
| We're already sort of doing it. | ||
| Dude, you guys should have a radio station or a podcast that just talks about these new albums and what's going on and what you're doing. | ||
| And I'm sure people would fucking love it. | ||
| And just play music. | ||
| Play the music that you guys are producing. | ||
| Play music that you enjoy, that you find out about. | ||
| I mean, it seems like there's a real easy fix for this angst. | ||
| I don't think there is because it's been going on for 40 years. | ||
| You're the black keys, but for you there's a fix. | ||
| At least there's a better path for some people. | ||
| The angst is important because it is... | ||
| It's valid. | ||
| We're also, by the way, not that angsty. | ||
| But when I do talk about the business, I get a little angsty. | ||
| But I'm a pretty chill individual, to be honest, most of the time. | ||
| The comedy business is so much easier. | ||
| Well, you know, I mean... | ||
| We get to use that in our music. | ||
| Yeah, I'm sure. | ||
| The drive is like the thing. | ||
| When I found this photograph that I just hung up on my road case of Dan and I playing one of our first shows, I'm like, oh, this is important. | ||
| I should make sure I have this hung up. | ||
| Because it just reminds me of all the fucking days that we spent like... | ||
| Being fucking miserable in a van because we love music so much we go play a show for fucking nobody and maybe make enough money to get like a Motel 6 room share a bed get up the next day and go to Waffle House and keep fucking doing it for years and years and years and years But it does take that type of motivation and it's frustrating when you do that and then you get to a point where it is the point that we're at and you feel like you've gotten really good at what you | ||
| do and you help another artist and you realize that after all that work, it's like the myth of Sisyphus. | ||
| It's like, oh, after all that work, it doesn't move the fucking clock at all. | ||
| Still, these same motherfuckers aren't fucking helping, you know? | ||
| And then you start realizing what really has made a difference. | ||
| I mean, I've heard people say, take credit for our success, say that it was because we played the Spike TV Video Game Awards. | ||
| Which about eight people watched. | ||
| That's what I thought. | ||
| I thought that made you. | ||
| But dude, that's the kind of thing that you're up against. | ||
| And that's the fear of the music industry. | ||
| That's the fear. | ||
| And we said yes to everything, because we were a band for like eight and a half years, and then finally we started breaking. | ||
| And it was like, for the first time, here's the offer for SNL. Here's the offer to headline Coachella. | ||
| Here's the offer. | ||
| We had to say yes to everything. | ||
| Even the Spike TV video game awards. | ||
| Especially when someone was like, you really should do it. | ||
| You really need to do it. | ||
| In fact, if you don't do it, like... | ||
| And we're standing there with Hulk Hogan. | ||
| Backstage. | ||
| It was worth it. | ||
| It's worth it for that. | ||
|
unidentified
|
Right. | |
| But the point is that what actually moves the needle? | ||
| What actually moves the needle? | ||
| I was like, is it playing Colbert? | ||
| Is it playing these things? | ||
| I was like, I don't fucking know, man, because I watch baseball, and then I put on your podcast, and then I go to bed. | ||
| That's what I do in the evenings. | ||
| I don't know who watches that shit, but I know my stepdaughter doesn't watch that shit. | ||
| I know she doesn't even know how to work the fucking TV remote. | ||
| She watches YouTube all day. | ||
| You know what I mean? | ||
| The times are fucking changing, you know? | ||
| And I think that's the hard part, trying to pivot with it. | ||
| And I think if you're, it's like guys our age who are running these labels, looking at these view counts and this shit, and they're all fucking getting it wrong. | ||
| Well, they're getting it wrong because their business is money. | ||
| Their business is not music. | ||
| They're in the music business to make money. | ||
| You guys are in it to make music. | ||
| That's why I'm saying, dude, you've got to do it. | ||
| You've got to start your own thing. | ||
| It's a fucking no-brainer. | ||
| It's so easy for you to do. | ||
| You're obviously a great talker. | ||
| You're obviously very opinionated, and you have a great love for music. | ||
| Well, we're going to restart the BMG Music Group. | ||
| It'll be called the TBK Music Club. | ||
| What we're going to do is, you send us 38 cents, we'll send you 50 albums. | ||
| And your parents will then write us a letter saying that you entered a contract as a minor and went to void it. | ||
| How do you guys write songs? | ||
| Do you write them? | ||
| Do you come to each other independently? | ||
| Do you collaborate only in studio? | ||
| Do you write them in studio? | ||
| We've, for the most part, always just made them up. | ||
| Just improvised them. | ||
| Like in the moment? | ||
| And then said you liked it, let's try to put that down again. | ||
| We just sort of gravitate towards what we like and then just start building on it. | ||
| And all the stuff that doesn't work, just push it away and just keep going forward. | ||
| Do you have disagreements on what works or doesn't work when you're inventing it? | ||
|
unidentified
|
Not really. | |
| No? | ||
| Not usually. | ||
| It's always been like that, ever since we were 16 and 17. Wow. | ||
| I've never really... | ||
| I don't think... | ||
| The older I get, the more I realize how special that is. | ||
| You know, I always took it for granted. | ||
| I mean, I remember when we were trying to audition bass players, we had this one guy try to come and play with us, and I just remember it just fucked everything up. | ||
| It's like we couldn't even play it. | ||
| It didn't even sound like us. | ||
| Why? | ||
| It just didn't work. | ||
| And then when this other person left, all of a sudden it sounded like a big band again. | ||
| It was weird. | ||
| I mean, we learned to play together. | ||
| I've never played drums with anybody aside from Dan. | ||
| And me even playing drums in the band is because it was kind of an accident. | ||
| I only had a drum set because I wanted to be a guitar player, and I wanted people to come to my house and play the drums. | ||
| Before I had a driver's license, I got a job washing dishes and bought this drum set. | ||
| I bought everything you need for a band. | ||
| My friends would come over and they were all pretty much better at guitar than me. | ||
| But Dan came over and he was like the best guitar player of all my friends. | ||
| And I was like, fuck, what do I do? | ||
| Bass or drums? | ||
| I was like, well, you can't just jam guitar and bass. | ||
| I sat down at the drums and that's what we did in high school. | ||
| So we learned to play together, man. | ||
| So because of that, there's like... | ||
| There is, like, a psychic kind of connection, you know? | ||
| I mean, we play now on stage with a couple other guys, and it's good. | ||
| It's easy. | ||
| It's fun. | ||
| But there is something when the two of us start playing where we can, like, work in between beats, you know? | ||
| It's pretty liquid. | ||
| Our goal has never been, like, to be this tight kind of rigid, like... | ||
| You know what I mean? | ||
| Like, tightness isn't something... | ||
| It's more about, like... | ||
| The energy, the feeling. | ||
| It's hard to describe, but it's like... | ||
| Yeah, we never worried about if we got it perfect. | ||
| It was always, is this the one that feels best? | ||
| Always. | ||
| Most important. | ||
| Do you write the lyrics down? | ||
| Do you write the music down? | ||
| Sometimes I'll write lyrics. | ||
| Sometimes I'll improvise words. | ||
| A lot of the new record was a lot of improvising syllables and words. | ||
| Really? | ||
| Yeah. | ||
| Yeah. | ||
| Yeah, there's just no rules. | ||
| Absolutely no rules. | ||
| But a lot of times I'll be singing a melody while I'm doing chord changes, but I can see Pat. | ||
| You know, that's the thing that we've always done. | ||
| We've always been able to see each other when we play and record. | ||
| So, you know, go with his movements and follow him that way. | ||
| So you guys just know each other so well. | ||
| Well, you know, we hadn't been in the studio together for five and a half years. | ||
| And we didn't do any pre-production or anything in the very first idea that we had made the record. | ||
| Yeah. | ||
| Wow. | ||
| I mean, it's just a thing we've had. | ||
| Crazy connection. | ||
| Yeah, man. | ||
| That's so unusual. | ||
| It really is. | ||
| The older I get, the more I realize that. | ||
| Well, you guys have been together for so long, and the thing with bands is keeping it together. | ||
| This is my first band. | ||
| That's crazy. | ||
| I was never in another. | ||
| Blackie was the first real band I was in. | ||
| Yeah, it's the first real band I've been in. | ||
| That's so crazy. | ||
| So I didn't know any different. | ||
| I thought all bands felt like this. | ||
| Do you know what I mean? | ||
| That's the saddest thing when you see bands and the lead guitar player is mad at the singer. | ||
| It's like, oh guys, come on, really? | ||
| Yeah, it's always over some dumb shit. | ||
| It's usually like someone's wife is fucking mean. | ||
| Yeah, wasn't that what the David Lee Roth? | ||
| Hey, we've been through that shit, man. | ||
| We've been through it, man. | ||
| Woof, woof. | ||
| It's hard. | ||
| If I could go back in time and give our 22-year-old selves one piece of advice, it would be like, don't tour with your girlfriends until you have a kid and they can come out for a couple shows. | ||
| Just avoid that shit. | ||
| And also, probably, don't really have a girlfriend until you're in your late 20s, probably. | ||
| What's the problem with touring with the girlfriend? | ||
| Dude, it's just a codependent motherfucker like me. | ||
| It was just really hard. | ||
| I've grown up a lot, you know what I mean? | ||
| But yeah, it's just hard. | ||
| The hard part is that I'm up for the work, and Dan's up for the work. | ||
| And when we're on tour, I go through periods of time where I get phone calls and be like, what the fuck are you doing, motherfucker? | ||
| You know, or, you know, like, I miss you, like, that guilt, or it's just like, I'm, like, literally in the back of a Ford Econo van, like, with, like, a torn-up copy of TV Guide, reading it for the fifth time, because we don't have any money, no cell phone, or, like, with a Nokia phone, like, getting the guilt trip and stuff. | ||
| It's like too real to even talk about. | ||
| Our first tour, I remember Dan having to stop at the payphone. | ||
| Look at him laughing. | ||
| Dan would be at the payphone every hour. | ||
| I remember my brother Mike was with us. | ||
| I'd be like, oh man, sucks to be Dan. | ||
| And then literally an hour later, he'd be like, I have to get to the payphone myself. | ||
| Dumb asses, man. | ||
| But you have to go through that. | ||
| You have to learn to appreciate a good relationship. | ||
| You gotta go through those. | ||
| Where the fuck are your relationships? | ||
|
unidentified
|
You gotta go through it. | |
| Yeah, but I mean, that's the thing. | ||
| I guess what doesn't kill you makes you stronger. | ||
| Although I read somewhere that that's not actually true. | ||
| Some shit kills you. | ||
| Fucks your body up. | ||
| Some shit just takes the years off your life. | ||
| Maybe it didn't kill you. | ||
| Took a decade off your longevity. | ||
|
unidentified
|
You know. | |
| That's why we're able to get to this spot where here we are in 2019 and I don't think we're insane people. | ||
| We're pretty close to the same people we were when we were in our 20s. | ||
| Still wearing some insane t-shirts. | ||
| I'm not because there's way too small for me to be. | ||
| But yeah, you know, I think that there's a time like maybe 2012 our shit was really blowing up. | ||
| I mean we could do no wrong. | ||
| I bet there's an alternate universe for sure where we turned into complete dickheads. | ||
| An infinite number of... | ||
| Infinite number of dickheads actually out there. | ||
| We died multiple times at the Chateau. | ||
| It's like, yeah. | ||
| In this version of reality, Dan and Patrick don't play the Spike TV video game words. | ||
| They overdose at the Chateau Mormont. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| I mean, you have to appreciate, though, that you guys have gone through quite the gauntlet. | ||
| It's pretty amazing. | ||
| I think that the best thing that ever happened to us is that we didn't experience success until our sixth album. | ||
| It is, because if we would have got that when we were 23, we would have never been able to sit down and realize what the fuck was going on. | ||
| Everything about us has been just sort of... | ||
| Ridiculously synchronistic. | ||
| Yeah, but it's also that kind of luck and timing. | ||
| Right, but that's where the simulation comes in, bro. | ||
| I think that's just where the uniqueness and the crazy thing about life is that certain things are rare. | ||
| It shouldn't be that crazy that a relationship like Dan and I is so rare, but it is. | ||
| There aren't that many of them. | ||
| Right. | ||
| I mean, there are a lot of friends who start off playing music, but most of those stories end in either just failure, giving up, hating each other, or some shit version of that. | ||
| But yeah, simulation. | ||
| The simulation, there has to be a simulator to play the simulation on, and that's the problem. | ||
| It could just be we're confused about what reality is in general. | ||
| It might be the reason why we think it's a simulation is because it exists in so many different planes and it's probably always shifting all around us all the time and some of the way you think does have some effect on the world itself. | ||
| Well, I used to wake up in the morning and Like, drink a cup of coffee, smoke a cigarette, play a video game, jam on my drums, drive around, hang out with my friends. | ||
| Now I wake up and I do so much shit, and none of it is necessarily stuff I want to be doing. | ||
| That I do think that there's no way we're in a simulation, because I would never fucking have simulated that. | ||
| You don't get to choose. | ||
| You go through... | ||
| I need to bounce over. | ||
| There's rules to it. | ||
| But if you just decided that it was a simulation, and you said, well, I don't like this course, I want to shift some things about it, it would probably be easier to do if you knew it was a simulation than it would be to shift them in your own life. | ||
| If you're like, I'm doing too many things, I'm just going to take these, I'm going to phase these out and piss these people off. | ||
| Yeah, no, that's why I think we're not living in a simulation, because every time I do make a decision to change something, it gets better. | ||
| So you're learning and growing in real time. | ||
| Yeah, in real time. | ||
|
unidentified
|
I mean, it might be a lot of different things. | |
| I'm telling you, the biggest argument against the simulation, I'm telling you, is that Elon Musk married the same woman twice. | ||
| Yes. | ||
| Straight up. | ||
| But why not? | ||
| Send it to your quantum physicist. | ||
| Send it to him. | ||
| Just say that my dude has this theory. | ||
| I'm going to send it to Sean Carroll. | ||
| Yeah, send it to him. | ||
| See what he can do with it. | ||
| Tell him to crack the numbers on that shit. | ||
| Yeah. | ||
| There's 3.5 billion women on Earth, and this guy married the same person twice. | ||
| They stayed in the same social circle. | ||
|
unidentified
|
No, no, think about that. | |
| Think about that. | ||
| Dude. | ||
| She's probably a wonderful woman. | ||
| Dude. | ||
| Yeah. | ||
| I'm not saying it. | ||
| I'm just saying it. | ||
| Maybe he missed her. | ||
| You know? | ||
|
unidentified
|
Yeah. | |
| It is kind of crazy. | ||
| But hey, I don't know her. | ||
| Maybe she's amazing. | ||
| That's like when you look at like... | ||
| I mean, I've been married three times like a dickhead, but it's like if you go... | ||
| If you look at my Wikipedia, I always joke, I had to get to wife number three just so I could have that Vince Neil Wikipedia page. | ||
| But it is guys like that, Vince Neil, where you look at, oh, he's married the same woman from 84 to 85, back 88 to 89, back again. | ||
| Who does that shit? | ||
| He's romantic. | ||
| He likes to drink. | ||
| Larry King does that shit. | ||
| Larry King. | ||
| He just got divorced again at 85. I saw him last night. | ||
| Yeah, we saw him last night. | ||
| Is he partying? | ||
| Bunch of chicks? | ||
| He was, actually. | ||
| Drinking champagne? | ||
| He looks very old. | ||
| Like my grandfather. | ||
| He doesn't look that healthy. | ||
| His posture is not that robust. | ||
| It's that thing where you get to that age and you get forced to just drink Slim Fast all the fucking day. | ||
| It's a bummer to think that someone's getting divorced at 85, but then part of me goes, well, is it more of a bummer to be in a terrible relationship when you're 85? | ||
| It's probably a better relief. | ||
| Like, if you're fucking throwing in the towel at 85, you're done. | ||
| I mean, you're like, ugh. | ||
| You're really done. | ||
| I'm so tired, and I can't. | ||
| Dude, it's just... | ||
| I can't even think about it. | ||
| I'm just done. | ||
| At 85 to go through all that shit? | ||
| Think about all the work it takes just to go through a divorce at 85. He goes to the ocean and just chucks his cell phone in. | ||
| Fuck you! | ||
|
unidentified
|
Splash! | |
| Whole new phone, new carrier. | ||
| Fuck you, ghoster. | ||
| What if he marries her again next year? | ||
| I hope he does. | ||
| I hope he marries her again tomorrow. | ||
| No prenup either. | ||
| I could see how he might marry a previous wife if she was going to take care of him in his last couple years and they were close still. | ||
| That would make sense. | ||
| Richard Pryor had that going on. | ||
| Towards the end of his life, he was being taken care of by one of his previous wives. | ||
| I can see that. | ||
| That's sweet. | ||
| That's kind of like a... | ||
| Pretty sure. | ||
| That's like an Oprah bestseller type thing. | ||
| It was definitely one of his wives. | ||
| I might have fucked that story up. | ||
| Definitely one of his wives. | ||
| I'm just going to believe it the way you told it, because I prefer it that way. | ||
| I like it that way. | ||
| In some simulation, it is that way. | ||
| That's a beautiful way of getting away with some sort of facts. | ||
| What if Troll 1 was part of Troll 2? | ||
| I'd be like, oh, shit. | ||
|
unidentified
|
Yeah. | |
| In a different dimension. | ||
| Right. | ||
| Well, Troll 2 is almost evidence of something wrong. | ||
| The simulation has been... | ||
| There's a problem in the record. | ||
| They put out a terrible movie and forgot they didn't put out the prequel. | ||
| Do you know Harmony Corrine? | ||
| He wrote the movie Kids and Spring Breakers. | ||
| He's friends of ours. | ||
| And he was telling me this thing that blew my mind like five years ago. | ||
| He's like, there's this movie called The Peanut Butter Solution. | ||
| Have you ever heard of it? | ||
| No. | ||
| He's like, dude, he's like, everyone who watched this movie as a kid, it was made and aired on TV in Canada. | ||
| He's like, go look at the YouTube comments. | ||
| It's crazy. | ||
| And I went and looked at all the comments and I'm like, oh my god, I watched this as a kid and I forgot the whole thing. | ||
| Just now remembering it. | ||
| Every comment was that way. | ||
| He's like, dude, it was like mass hypnosis, the way it was edited. | ||
| It kind of created everyone to forget that they saw it. | ||
| Maybe there is a troll one. | ||
| Everyone fucking forgot it. | ||
| Oh, you know what it was? | ||
| It was Troll Hunter. | ||
| That's what it was. | ||
| That came out in 2010, though. | ||
| Yes, that's the movie I'm talking about. | ||
| Yeah, that's the schlocky movie. | ||
| Pulled that up. | ||
| That's what I was thinking of. | ||
| It's probably inspired by Troll 2. Troll Hunter was these guys that were trying to find these trolls. | ||
| And it was just like, just at the point in time before drones were effective. | ||
| He kind of bought in that there was no aerial way of finding this thing, that you had to wait for it to pop out of the woods. | ||
| It's like a found footage movie, right? | ||
| Yeah, yeah, yeah. | ||
| Found footage, but with special effects of a giant troll that comes out of the forest as tall as the trees, and it's so stupid. | ||
| It might be better than that other terrible movie, because it's silly. | ||
| Yeah, here's the trailer. | ||
| So these people are like, well, we're going to find it. | ||
| So revealing. | ||
| Get to the troll, bro. | ||
| Where is it? | ||
| Is that it? | ||
| Yeah, there it is. | ||
| See, it was giant. | ||
| Chasing these people. | ||
| Oh no! | ||
| Jesus! | ||
| Look at it. | ||
| There it is. | ||
| Oh shit. | ||
| See, so it's like found footage but with special effects. | ||
| Fun fucking stupid movie. | ||
| You know, like you never really scared that someone is going to die, because none of them are real people in your mind. | ||
| It's not that kind of movie. | ||
| Nice. | ||
| It's like they can do whatever they want to those people. | ||
| So that was what I remembered. | ||
| I just couldn't... | ||
| So maybe that was it. | ||
| Maybe that was Troll 2. But those were little trolls. | ||
| Troll 2, they're like human size. | ||
| Yeah, okay. | ||
| I mean, it's a really incredible film, the first half of it, the rest of it. | ||
| I would not recommend it. | ||
| Actually, Dan's brother, it all takes place in this town called Nilbog, which is even one of the best parts is that it takes place in a town called Nilbog and the little kid sees the sign in the rearview mirror and is like, Nilbog is goblin backwards. | ||
| So it's actually about goblins. | ||
| Troll 2 is about goblins. | ||
| So Dan's brother had the personalized plate, Ohio plate, that said Nilbog. | ||
| Yeah, my brother Jeff in high school. | ||
| That's hilarious. | ||
| That's hilarious. | ||
| But through the rearview mirror, man, it said goblin. | ||
| Pretty genius. | ||
| That is very smart. | ||
| I mean, if you need that in your life, you need to be tricking people with words. | ||
| That's the way to do it. | ||
| If you're all about goblins. | ||
| It's a weird thing to fixate on. | ||
| It's weird. | ||
| My brother's strange character. | ||
| Very strange. | ||
| Do you know they have those new plates? | ||
| They're like digital plates. | ||
| And then if someone steals your car, it just says stolen. | ||
| That's cool. | ||
| It's weird, though. | ||
| They're like a screen that projects the numbers and the letters. | ||
| Weird. | ||
| Yeah. | ||
| Could you hack into that? | ||
| Oh, for sure. | ||
| And also, they could track you. | ||
| Like, for sure, they're tracking you. | ||
| Because if it gets stolen, then they know exactly where it is. | ||
| Dude, that's my favorite thing on Earth, is when someone unfollows you on Instagram, like, oh, shit, my phone was hacked. | ||
|
unidentified
|
Yeah. | |
| The amount of phone hacking that's going on. | ||
| Yeah. | ||
| Well, wasn't that... | ||
| There was a woman who worked for CNBC who said her website was hacked. | ||
| She wrote a bunch of homophobic shit back in the day. | ||
| Remember that? | ||
| Yeah. | ||
| But people say their account was hacked. | ||
| Like, that's all they did. | ||
| They didn't go in there and push Russian websites that, you know, sell sex dolls. | ||
| No, no, no. | ||
| They went in there and just edited a few things to make you look like a piece of shit. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| The Jack, when they hacked his Twitter account. | ||
| Oh, but they did do that to Jack. | ||
| But the Jack was a bunch of racist shit. | ||
| Imagine if Jack was just fucking with people. | ||
| He's like, watch this. | ||
| I'm going to see my account was hacked. | ||
| And I'm just going to get fucking crazy. | ||
| Like, Jack is probably like those cops that want to kill people after a while. | ||
| He's just so fed up with the system and censoring people. | ||
| And just all these people getting deplatformed that he wants to just jump on and drop n-bombs. | ||
| Oh, shit. | ||
| Imagine it was an inside plot. | ||
| Like, he just decides, look, I'm gonna hack myself just so I can say the most ridiculous shit. | ||
| Because no one's been arrested, right? | ||
| I don't think so. | ||
| No, see, if you were gonna hack the CEO of the biggest fucking social media platform in the world, wouldn't you think there'd be a goddamn ruthless investigation? | ||
| They would send the Masada after those kids. | ||
| Like, who did it? | ||
| Who dropped the N-bomb on Jack's Twitter page? | ||
| They would find that person. | ||
| Yeah, it's like... | ||
| It'd be worth a million dollars. | ||
| They'd hunt them down. | ||
| It's a playbook. | ||
| Step number one, just my account was hacked. | ||
| Yeah, it's a move. | ||
| I like it when, like, literally it's like people that, like, I just hang out with at the bar and say that. | ||
| It's like, what the fuck? | ||
| Shit wasn't hacked? | ||
| Yeah. | ||
| Shit wasn't hacked? | ||
| I did get my Gmail account stolen once. | ||
| That did happen. | ||
| I was like, wow. | ||
| Someone can do that. | ||
| They can just steal your Gmail. | ||
| Dude, I got 65,000 emails, unread emails in my account. | ||
| I'd love for someone to hack into that shit. | ||
| Ain't nothing interesting in it. | ||
| All my emails are cool, period. | ||
| Sounds good, period. | ||
| Sitting around writing thoughtful-ass emails. | ||
| That is not me. | ||
| I don't have time for that shit. | ||
| I'll call you on the phone if I need to. | ||
| Oh my god. | ||
| Yeah, my shit was hacked and... | ||
| What did they do with it? | ||
| No, my shit wasn't hacked. | ||
| I know, I know. | ||
| I was playing along with it. | ||
| What did they do? | ||
| They hacked in your... | ||
| Was it your Twitter? | ||
| What was it? | ||
| They hacked in there and... | ||
| They found a direct message to you asking if we could be on the show. | ||
| Did they say some fucked up shit about corn? | ||
|
unidentified
|
Yeah. | |
| Dude, when I got in my last Twitter... | ||
| Well, I've had two Twitter incidents. | ||
| One was with Justin Bieber. | ||
| And one was early on, I tweeted like, In 2010, I tweeted something so stupid, not even funny. | ||
| We were on a tour bus, and we had to drive into a show, and SNL was on. | ||
| I said, oh, Madonna's crushing it on SNL. And it was Lady Gaga. | ||
| That was the fucking joke. | ||
| But a year later, it wasn't even funny. | ||
| And she wasn't that famous or anything. | ||
| I would have laughed. | ||
|
unidentified
|
That's funny. | |
| Well, a year later, some Gaga monster found it. | ||
| And was like, you know, go kill yourself. | ||
|
unidentified
|
Yeah. | |
| And I think I was one of the first people to maybe take this tactic. | ||
| I started just retweeting the most vile shit that was like, you're a fucking asshole. | ||
| Kill yourself. | ||
| And I just retweeted it. | ||
| And it was like, once again, the thing before the Me Too was the bullying thing. | ||
| Don't stop bullying. | ||
| These people were just fucking crushing me on there. | ||
| And I started, that's when I started being like, fuck Twitter, man. | ||
| Like, fuck it. | ||
| Well, people will also say that you're bullying if you retweet it because you're sicking your Twitter mob on them. | ||
| Yeah, but like you can spin anything however you want to do it, but my Twitter mob was like fucking, at the time, was like 3,000 people in Ohio. | ||
| It was more of a militia. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| But then, you know, the Justin Bieber thing happened and it was like, I just, I realized at that point, like, it's a real, like, A, these are all kids. | ||
| A lot of these people are just fucking idiots. | ||
| Like you shouldn't. | ||
| Like you would be if you were 13. Yeah. | ||
| If I was 13 and spout off anything, all these kids are at some point get a job at a corporation. | ||
| Someone's going to go through their shit deep and get called into the office. | ||
| But you see what's happening with Justin Trudeau, the Prime Minister of Canada? | ||
| Yeah. | ||
| They found brownface. | ||
| So he was dressed in a costume. | ||
| How did they find all three of them the same fucking day? | ||
| Well, somebody was searching for some shit. | ||
| But he was in a costume in 1981, and we're upset? | ||
| People have real tweets saying that he should be horrified by this racism. | ||
| Like, is he just in a costume? | ||
| Because it seems like he's just in a costume, pretending he's an Arabian guy. | ||
| Is that really racist? | ||
| It's called Arabian Nights. | ||
| Yeah. | ||
| I mean, maybe it's insensitive now, today, but in 1981, guess what? | ||
| No one cared. | ||
| Dude, in 1981, one of the biggest films, I think, or not biggest, a big film was Silver Streak. | ||
| My brother, Will, older brother, is obsessed with trains. | ||
| In fact, he works for Amtrak now. | ||
| But in that movie, there's a scene where Gene Wilder has to put on blackface. | ||
| Yes. | ||
| And... | ||
| You know, that, of course, would never go on now, and I could see how somebody fight offended, but at the time, when I saw that for the first time when I was six or seven, like, you know, that was a different time. | ||
| Do you remember C. Thomas Howell's Soul Man? | ||
| Do you remember that movie? | ||
|
unidentified
|
Yeah. | |
| It was like in the 90s, he played a guy who pretended to be black to go to a certain school. | ||
| Do you remember that? | ||
| This happened in 2001, though, not in 1981, just to clarify. | ||
| Which one did? | ||
| Justin Trudeau's stuff. | ||
| He was only 10 in 1981. Yeah. | ||
| Oh, it happened in 2000? | ||
| Yeah, yeah. | ||
| It was 18 years ago. | ||
| Oh. | ||
| That's a little different. | ||
| It's a little different. | ||
| Why did I say it was 81? | ||
| Where did I hear it was 81? | ||
| Maybe I just repeated dumb numbers. | ||
| I don't know, man. | ||
| I've never worn a blackface, and I sure as fuck would remember it if I'd ever put it on. | ||
| That's why I was like, I don't remember that. | ||
| Pull up that movie Soul Man. | ||
| What? | ||
| See Thomas Howell. | ||
| Who was it that said they couldn't remember wearing it? | ||
| Someone that got in trouble, the person before. | ||
| Oh, yeah. | ||
| Who was that? | ||
| That was like a senator? | ||
| Somebody from Kentucky. | ||
| I don't know, man. | ||
| I can tell you everything I was for Halloween. | ||
| I was Orville Redenbacher recently. | ||
| This is C. Thomas Howell, and that's when he's the white guy, and I forget what exactly it was. | ||
| He took some tanning pills to get into school. | ||
| Is that what it was? | ||
| He took tanning pills? | ||
| Oh my goodness. | ||
| To get into a school, he took tanning pills? | ||
| It might have been Harvard or some college or something like that. | ||
| Oh, okay. | ||
| So, and then, screwed ahead to when he turns into a black fellow. | ||
| And all of a sudden, bam! | ||
| Like, here it is. | ||
| Did you see what he was talking into? | ||
| What was he talking into? | ||
| A noose. | ||
| Oh, Jesus. | ||
| So he's going to kill himself because he took too many tanning pills? | ||
| Probably because he couldn't get into college. | ||
| Oh, right. | ||
| Poor guy. | ||
| So he took the tanning pills to get in. | ||
| Go to the picture of him. | ||
| I thought he was looking in the mirror. | ||
| But imagine if you decided you were going to make this movie today. | ||
|
unidentified
|
Jesus. | |
| Imagine if you were going to make this movie today. | ||
| Oh my god, they would hang you. | ||
| Is that Julie? | ||
| This was like a harmless movie. | ||
| It was. | ||
| In 1990, whatever it was, when this movie came out, this was an absolutely harmless movie that nobody protested about. | ||
| Nobody cared. | ||
| It was really obvious what was going on. | ||
| It was not a great movie, but nobody cared. | ||
| Imagine if you put that movie out today. | ||
| Dude. | ||
| Oh my god! | ||
| You know what I was thinking about the other day? | ||
| I was thinking about how fucking insane Doogie Howser is. | ||
| I was like, if I was fucking sick and a 12-year-old walked in the fucking office, like... | ||
| Seriously. | ||
| That's right, he was a doctor at 12. Dude, he's a fucking 12-year-old doctor. | ||
| I mean, get the fuck... | ||
| Out of here, motherfucker. | ||
| Yeah. | ||
| Like, seriously. | ||
| What kind of doctor was he? | ||
| Dude, I don't know, but then I realized something. | ||
| I was like, not only was he a doctor, but every night after the day, he would sit down at his computer and do his journal. | ||
| Which is, I know for a fact, I don't know for a fact, but I'm pretty sure that the whole basis of Sex and the City's It's based off of that. | ||
| Doogie Howser. | ||
| I think that they are connected. | ||
| You know how they say that Family Matters is a spin-off of... | ||
| South Park. | ||
| Perfect Strangers. | ||
| Perfect Strangers. | ||
| The elevator doorman or something real strange. | ||
| Why was I just rattling off different cartoons? | ||
| Perfect Strangers is supposed to take place in the same universe as Family Matters, but I do think Sucks in the City takes place in the same universe as Doogie Howser. | ||
| And maybe if you think of... | ||
| What's that guy that she's always trying to date? | ||
| Mr. Big? | ||
| Maybe Mr. Big's Doogie Howser is an adult. | ||
| Never know. | ||
| Never know. | ||
| I never connected those two. | ||
| I don't think I ever watched an episode of Doogie Howsard. | ||
| And I've only reluctantly watched an episode of Sex and the City because a friend was on it. | ||
| A couple years younger than you, so we were subjected to that shit. | ||
| But now kids don't even watch it. | ||
| There were three channels when we were kids. | ||
| Yeah, kids barely watch TV anymore. | ||
| He was a second year resident surgeon. | ||
| Second year! | ||
|
unidentified
|
He'd been cutting into people for a year already. | |
| Oh my god. | ||
| Yeah, kids today are not listening. | ||
| They are rather not watching anything. | ||
| They're watching things on their computer and they're watching things on their phone. | ||
| They think that somewhere around 50% of what you're getting on Netflix these days, kids are watching on their phone. | ||
|
unidentified
|
Wow. | |
| Yeah. | ||
| YouTube's a big one too. | ||
| Didn't you say that this podcast, most of it people watch on the phone? | ||
| 60%. | ||
| 60% on the phone. | ||
| And now that they have phones like the Galaxy Note 10 is just all screen device, you know, you can actually enjoy it. | ||
| You can watch something, it's 6.8 inches. | ||
| It's like a little TV. Yeah. | ||
| I mean, it's weird. | ||
| We all had that. | ||
| They're watching movies on those. | ||
| Being on tour, being on the bus, it's amazing. | ||
| Really, to be honest. | ||
| It is incredible. | ||
| When you guys tour, do you always go bus to bus, city to city? | ||
| Or do you fly city to city? | ||
| Or do you always do the bus thing? | ||
| Here's the thing about touring. | ||
| Let's say Dan walks in. | ||
| It's like, man, I fucking hate the fucking bus. | ||
| What happens is typically a manager says, oh, you don't need to fucking fly private, dude. | ||
| You hub out of Jackson Hole on the West Coast, dude. | ||
| Yeah, it's fucking great. | ||
| The thing is that the manager is still getting the same cut of whatever you're making. | ||
| You're just spending all of your cash. | ||
| The most genius thing you can do in the music business, if you're a manager or business manager, is to get your client to spend all their money because they just have to work more. | ||
| And your shit comes off the top. | ||
| You know what I mean? | ||
| Dude, you're playing three-dimensional music business chess of all times. | ||
| Yeah, dude. | ||
| It's kind of creepy. | ||
| You need a personal chef and a trainer and everything. | ||
| Yeah, buy a mansion. | ||
| Yeah, buy a mansion in the city. | ||
| Get a Ferrari. | ||
| What up? | ||
| They want you to go off. | ||
| Crash a Ferrari on stage every night, Dan. | ||
| It used to be like Ted Nugent. | ||
| Get a buffalo. | ||
| Ride it on stage. | ||
| You need the buffalo. | ||
| Dude, I have a buffalo ahead of my house that Ted Nugent gave you? | ||
| Gave to Michelle. | ||
| Really? | ||
| Wow. | ||
| That's huge. | ||
| 68. He killed it in 68. Really? | ||
| 1968? | ||
| That's what he told Michelle's brother was his drum tech for a while. | ||
| Oh, shit. | ||
| Wow. | ||
| That's a good way to end this podcast. | ||
| Dude, we did like three and a half hours. | ||
|
unidentified
|
Jesus. | |
| It's 3.30. | ||
| Damn! | ||
| I'm telling you! | ||
| I had to piss like three times. | ||
| You need to do this. | ||
| You need to do your own. | ||
| 100%. | ||
| And I think it could serve a great function. | ||
| It's so easy to do, man. | ||
| We'll just come on here again. | ||
| Anytime you want, but it's so easy for you to do your own. | ||
| I mean, you can get one of those little fucking Zoom, this is a Zoom mic, right? | ||
| Sure. | ||
| Is that it? | ||
| Or Shore makes them, like a bunch of different companies. | ||
| They probably already have the equipment. | ||
| Yeah, I'm sure you do. | ||
| And just get on the bus, and with the ambient sound and everything, it would actually be kind of cool to hear that. | ||
| And just talk shit. | ||
| Dude, people would fucking love it. | ||
| And you could have that be like the interstitial in between great songs that you love. | ||
| I'm not opposed to think it's a good idea. | ||
| We've talked about it. | ||
| I think it's an amazing idea. | ||
| Yeah. | ||
| Let's get a photo, boys. | ||
| Cheese. | ||
| Yeah, man. | ||
| All right. | ||
| You're going to do it. | ||
| Thank you for being here. | ||
|
unidentified
|
Thank you. | |
| Love you guys. | ||
| Thank you very much. | ||
| Bye, everybody. | ||
|
unidentified
|
That was awesome. |
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