Nov. 19, 2019 - The Joe Rogan Experience
02:17:39
| 
| Speaker | Time | Text |
|---|---|---|
|
unidentified
|
Boom. | |
| Did you roll in on a motorcycle? | ||
| I did. | ||
| You're a fucking animal. | ||
| In this day and age? | ||
| In LA traffic? | ||
| But there's a bit of a zen thing happening because if you don't pay attention you could die, you know? | ||
| Oh, right. | ||
| And I find myself... | ||
| Trying to have this field of view. | ||
| And plus, you can't be on the phone. | ||
| Right. | ||
| Because I think sometimes when you drive a car, you forget to take the moment to do nothing. | ||
| And just sort of be for a second. | ||
| Right. | ||
| Yeah. | ||
| And you can listen to tunes and it makes all the songs better. | ||
| Like, I don't know if I fully appreciated Judas Priest until I rode a motorcycle and could listen to music. | ||
| Yeah. | ||
| So you listen, like, in your head? | ||
| Like, you have it in your... | ||
| No, that one has a... | ||
| I have the luxury of having a couple of them, but that one's almost like the grandpa bike for going to the movies. | ||
| But is it in speakers or is it in the helmet? | ||
| It's speakers. | ||
| I don't do the helmet because there's so much of that in my life anyways, like point-blank range. | ||
| Right, right, right. | ||
| Yeah. | ||
| And so it's almost like you kind of end up rocking your head like that, and you're like, breaking the law. | ||
| It sort of, like, flips your Beavis switch. | ||
| LAUGHTER And it feels wonderful, like, the wind in your hair. | ||
| Yeah. | ||
| And getting here took, well, I don't know where you came from, but I beat you here, and I left after you did. | ||
| Where'd you drive from? | ||
| I was sort of over by Runyon Canyon. | ||
| Oh, okay. | ||
| Yeah, if you live in, like, Orange County, I get it. | ||
| Because that's really, like, the only way you're going to get here and not lose your fucking mind. | ||
| Well, something that's 21 miles away is 25 minutes away. | ||
| Legitimately. | ||
| Yeah, I mean, there's a little bit of like, should I go stop here? | ||
| And also, you're always going to the front of traffic, which really is the safest place to be at the very front. | ||
| Sure, yes. | ||
| Just with everyone on each butt cheek, sort of, you know. | ||
| The thing that freaks me out, though, is the lane splitting. | ||
| Like, some people are just not paying attention, and some people are just trying to go fast. | ||
| Some people work out their kinky anger on you. | ||
| Oh, on the bike, you mean? | ||
|
unidentified
|
Or the car? | |
| Yeah, like someone's like, no way. | ||
| If I'm stuck in this, you're stuck in this. | ||
| That is fucking weird, man. | ||
| That thing's weird. | ||
| That kind of anger against motorcycles, like that they can get ahead and you can't? | ||
| It's beyond motorcycles, you know? | ||
| It's that angriness of like, they're... | ||
| Their emotional bank accounts are low in that moment, and they're like, how about you? | ||
| Yeah. | ||
| You can have that, too. | ||
| It's like sharing the wrong shit, I think. | ||
|
unidentified
|
Yeah. | |
| I think it's people that don't feel like there's a way out of the life they're in, too. | ||
| There's no light at the end of the tunnel. | ||
| Yeah, the Missouri Loves Company, where it's just like, welcome to the Missouri Loves Company. | ||
| Sit down. | ||
| And it just, like, it's just, I don't know. | ||
| So much has been happening for me lately, and I just... | ||
| You have those things when they click and then you can't unknow them once you've learned something. | ||
| And it's like, I see how that is just really attempting to elevate your own situation by bringing someone down, which is impossible. | ||
| And so in that moment, that's almost them doing the best they can. | ||
| I know they're trying to kill you. | ||
| But they're trying to cope with something that's just maybe the wrong way. | ||
| It's definitely the wrong way. | ||
| That's one of the weird things about being a kid, right? | ||
| Nobody really tells you how to think. | ||
| Nobody really teaches you how to approach situations in life and what's going to help you and what's not going to help you at all. | ||
| No, but you learn some funky stuff instead. | ||
| You know what I mean? | ||
| And even when you're learning the history of someone, it seems like they don't tell you How they've wrestled with that emotion to do the right thing or find a way to just accept something. | ||
| How did they get to accept that this was their decision that they had to make? | ||
| I don't know. | ||
| There's not many guideposts for how to... | ||
| Treat yourself and other people. | ||
| But there's all sorts of math and stuff like that. | ||
| Yeah, but even history, right? | ||
| There's a lot of facts. | ||
| This happened then, that happened, this is the date that this took place. | ||
| But the actual accounts from the human beings, and even if you read it, it's like, I want to see the person say it. | ||
| That's the Ken Burns version of all that. | ||
| There's one guy in the Ken Burns Civil War one who's kind of like... | ||
| Was probably alive then, too. | ||
| Like, just it seems like he's so passionate about it, and he's such a good storyteller. | ||
| And so he's adding the emotions of, like, you know, when Robert E. Lee was – or, I'm sorry, the union guy. | ||
| Ulysses Grant? | ||
| Grant. | ||
| Grant. | ||
| Had a drinking problem, but then was like, ugh. | ||
|
unidentified
|
Yeah. | |
| And you probably have it from PTSD, you know? | ||
| And he's just telling that story with such kind of emotional depth that was cool. | ||
| It's nice to watch that instead of read it sometimes. | ||
| Yeah, I don't think any of us are ever going to be able to truly understand what it was like to live without television, without radio, without cell phones, and war. | ||
| Like, what? | ||
| And then war inside the same continent with other people that are supposed to be just like you, that speak the same language. | ||
| Yeah, that you run the risk of going, hey Gary. | ||
| Yeah. | ||
| Right, especially if you live in like fucking Virginia or somewhere on the border. | ||
| You could know the person who's facing you. | ||
| Sure. | ||
| And be like, best of luck to you, Gary. | ||
| Yeah. | ||
| I hope I do and don't get you. | ||
| I don't know what to think. | ||
| I was reading this article, too, about how many murders took place after the war was settled. | ||
| Where people were like, hey, we're not done, bro. | ||
| You killed my whole fucking family. | ||
| Yeah, they're like, cool, Lincoln, we're good. | ||
| We're not good. | ||
| Let me hang on for a little bit and start assassinating people. | ||
| But after what would seem like a lifetime of that sort of witnessing that and doing that... | ||
| And watching things that you recognize as injustice, the idea of someone getting stuck in the blame and as a vendetta in that, I can see that. | ||
| But you see how that's really... | ||
| It's probably why we're still having problems now. | ||
| There's definitely some part of it, right? | ||
| Yeah, it's like... | ||
| My great, great, great, great told me, you know, when people are sort of like dipped in that Kool-Aid of because my great, great, great, great, great felt this way, I'm supposed to too because we're related, so. | ||
| Dude, I'm almost done with this book. | ||
| I'm listening to this audio book, Empire of the Summer Moon. | ||
| It is fucking insane. | ||
| It's all about the war. | ||
| Who's it by? | ||
| I'll tell you the guy's name. | ||
| Jamie and pull it up. | ||
| Gary. | ||
| Fucking Gary. | ||
| He's fucking Gary. | ||
| Best of luck, Gary. | ||
| S.C. Gwyn. | ||
| G-W-Y-N-N-E. Empire of the Summer Moon. | ||
| It's all about the war with the Plains tribes. | ||
| The Plains Indians versus the settlers. | ||
| It's fucking insane, man. | ||
| It's insane. | ||
| It's like... | ||
| Everyone knows that there was European settlers and they had conflict with Indians and there was a lot of things that happened. | ||
| But until you read like the accounts of all the different battles and all the things that happened and all the slaughters and all the chaos and And the children, and the messages sent by more violent... | ||
| Oh, dude. | ||
| And you think you're sending one message, but you're really giving the wrong one. | ||
| Yeah. | ||
| I can't imagine, and it's so far away for maybe you and I, that reading that is like... | ||
| When you don't think about it, it's sort of like, it's just an app I don't use or something in this day and age. | ||
| See if they have a photo of Cynthia Ann Parker. | ||
| There's a couple photos of this woman who was kidnapped by the Comanches when she was nine. | ||
| Everyone in her family was brutally murdered. | ||
| There was a raid on her town, but they kidnapped her and she became a part of the Comanches. | ||
| Yeah. | ||
| See, that's a famous photo of her, the one that you just had, Jamie, on the left-hand side, because she's breastfeeding, and she has a bare breast, and she's doing this, and they used it for some sort of newspaper story. | ||
| And they never did that with a regular white woman. | ||
| They did it with her because they wanted to show that even though this woman was raised until she was nine years old by white people, she became a savage. | ||
| And that's why they're breastfeeding her half-Indian baby. | ||
| It's so sad, man. | ||
| The story about her is so sad because she didn't want to go back. | ||
| She kept trying to escape. | ||
| Everyone does something with some intention, and I think mostly people think it's a good intention, whether that works out or not. | ||
| But what do you think the thought process was behind being Comanche, slaughtering everyone else and saying we're going to keep this gal and then kind of – Take her into the fold. | ||
| That sounds like a lovingly taken into the fold. | ||
| It was more pragmatic, apparently, according to this book. | ||
| They didn't have a high birth rate because women would miscarry a lot because they were on horses all the time. | ||
| Because they rode horses. | ||
| They were a wild fucking tribe, man. | ||
| It was really amazing reading the accounts of what their life was. | ||
| Just so rough. | ||
| But they didn't have pottery and baskets. | ||
| But they're rough. | ||
| Yeah. | ||
| I mean, they were war, like, big time. | ||
| They were all about war. | ||
| That was their whole thing. | ||
| And war with other tribes. | ||
| Yeah. | ||
| Previous to them. | ||
|
unidentified
|
Oh, yeah. | |
| Before the Europeans came, they were fucking everybody up. | ||
| They fucked everybody up. | ||
| The Comanches were just ruthless, man. | ||
|
unidentified
|
Yeah. | |
| And all they did was kill buffalo and eat buffalo meat. | ||
| They were just eating meat and just riding horses and fucking people up. | ||
| Okay, that part sounded delicious. | ||
| Amazing, right? | ||
| Buffalo meat, open fire. | ||
|
unidentified
|
I mean, there's something incredibly romantic about it. | |
| It's one of the things about Native Americans versus the Western settlers, or the people that settled, is that no one ever Like, Native Americans never wanted to join European civilization. | ||
| It was not their thing. | ||
| But Europeans did join these tribes. | ||
| Not just this Cynthia Ann Parker lady, but a bunch. | ||
| A bunch of people just made friends with the Indians, learned the language, and became a part of their culture. | ||
| And they were like, fuck you and your fucking stores and all your bullshit. | ||
| You want to have tea in the middle of the day here, dressed like that? | ||
| It's sort of like... | ||
| Settlers come in and what they're settling for is that they're going to try to make the rest of the world look like what they are. | ||
| And they won't be able to, so we'll settle for whatever we get. | ||
| And then there's these other people that are just sort of living good downstream. | ||
| It seems like the settlers are fighting upstream always. | ||
| And the Indians are just living downstream. | ||
| They're going with what's there. | ||
| Yeah, they're going with what's there. | ||
| They're becoming part of the land instead of, we should really force this thing to make it sit. | ||
|
unidentified
|
Yeah. | |
| They were so fucking ruthless, though, man. | ||
| So ruthless. | ||
| It's crazy to read all the depictions, all the things that they did. | ||
| But there's something so insanely romantic about their life. | ||
| Like, they were talking about Cynthia Ann Parker's, when they brought her back in her 30s, they brought her back to civilization, how difficult it was for her to sort of reintegrate. | ||
| And that, like, the world of the Comanche was like a world of magic. | ||
| Like in that everything was a god. | ||
| There was wind gods and fire gods and the trees were gods. | ||
| There was like thousands of gods. | ||
| Now all of a sudden she had to believe in one god. | ||
| Or just like where you're deliberately blocking all those gods on purpose at every turn, right? | ||
| Because if you – I mean, who's to say that that like really engaging – With the gods of the wind and all that doesn't open this thing for somebody. | ||
| Because there wasn't tons of people, like you said, trying to be in the white world. | ||
| No. | ||
| But there was a shit ton of people, a metric fuck ton, trying to be Comanche and Paiute and you name it, you know? | ||
| I mean, there must be something really wonderful to it, just maybe lacking the defense to stop... | ||
| Us. | ||
| Well, it didn't work. | ||
| Their magic didn't protect them from the white settlers, but there was something about the belief in that magic. | ||
| Well, only the last group of them. | ||
| Yeah. | ||
| It did everyone else before. | ||
| I mean, all things must come to an end and cycle out. | ||
| Well, what really got them was disease. | ||
| They said that disease killed somewhere in the neighborhood of 90% of the Native Americans, which is just incredible. | ||
| And that's also the Aztecs. | ||
| It's a lot of civilizations that encounter these dirty Europeans. | ||
| Have you ever been to Teotihuacan? | ||
| No, I've never been there. | ||
| I heard it's amazing, though. | ||
| Something really interesting happened to me there. | ||
| Now, not only is this square that we went to and stand on this earth mound, and this guy whose nickname was Gorilla giving us this wonderful tour, just a spot... | ||
| The most romantic tour ever of this place for such a rough place. | ||
| And he goes, wait right here. | ||
| And we're in this giant square. | ||
| And he runs down this dirt mound about, I don't know, say 150 feet away, 200 feet away. | ||
| And he goes, can you hear me? | ||
| And it was like, oh my God. | ||
| I could hear him. | ||
| He goes, this square was built with these mounds here to be able to speak at this voice to 250,000 people. | ||
| And I was like, what? | ||
| And then we walk. | ||
| Is that right there? | ||
| Is that it up there? | ||
| Yes. | ||
| Well, okay, it's that way and then go left. | ||
| You could look this way so you don't have to look backwards. | ||
| So if we were to see that square, if we were to go straight around that pyramid and make a left, that's where those mountains are. | ||
| And the other thing is, in these, that's the same shot from a different angle. | ||
| That's near where these shaman lived. | ||
| The shaman had quarters, like an area of this place. | ||
| And there's these sort of things. | ||
| And I said, what are these? | ||
| And he said, they're reflection ponds. | ||
| I said, oh, like for like reflecting. | ||
| And he goes, no, for reflecting. | ||
| And I'd never considered that you don't look at the stars by going, eh, eh. | ||
| But that really, you look down and you mark. | ||
| So in seven years when it comes around again, you're like, oh, pattern. | ||
| Because I'm always like, how do you look up and learn a pattern of that? | ||
| Right, right, right. | ||
| But by looking down. | ||
| That's crazy. | ||
| So they had ponds just to look at the reflection of the stars and map them out. | ||
| Yeah, the shaman did. | ||
| That was like in their neighborhood. | ||
| And the way you were a shaman is if you had a birthmark on your head when you were born, they immediately were like, two boards, rope, and just put two boards and roped you and began a lifetime of like, so you're a shaman. | ||
| Which if you had a lifetime of that, you'd be like, hi, shaman. | ||
| Hey, shaman. | ||
| So it's like being born a royal. | ||
| Squeeze the shaman. | ||
| Don't squeeze the shaman. | ||
| Even more weird, right? | ||
| Because you don't have a history or a bloodline of it. | ||
|
unidentified
|
It's just they find you. | |
| It's the study of what we are and that that is significant. | ||
| Mm-hmm. | ||
| Because it felt to me immediately like, well, everyone can't do that. | ||
| We need, you know, you don't have a thing on your cell. | ||
| Yeah, if you don't have the birthmark. | ||
| Yeah. | ||
| I mean, that's a really good, like, entry, you know, at the gate. | ||
| You know, that's the case with the Dalai Lama, too. | ||
| I think they found him when he was, I want to say he was nine. | ||
| How old was the Dalai Lama when they found him? | ||
| But they just decided, oh, you're a reincarnated holy man, so you don't have to work ever again. | ||
| I know, but can you imagine being nine and you just have two toys and you're like, huh? | ||
| Yeah, like, what? | ||
| Yeah, this is how it goes. | ||
|
unidentified
|
Mom! | |
| You don't have to work, but no pussy, ever. | ||
|
unidentified
|
Like, what? | |
| What? | ||
| What are you talking about? | ||
| I'd be like, mom! | ||
| You don't know what you're missing yet. | ||
| Yeah, before you know. | ||
| It's just a weird choice. | ||
| And then people look to him like there's something incredibly special about him, right? | ||
| He's the Dalai Lama. | ||
| But it's not like he went through this long sort of apprenticeship period where he meditated and then became the Dalai Lama. | ||
| Or, yeah, out of 20 meditators, you're like, you were the quietest. | ||
| Yeah, you're the best, bro. | ||
| You're the way you focus. | ||
|
unidentified
|
Yeah. | |
| No, he's fucking nine. | ||
| Hey, focus on me for a sec. | ||
| Get out of it. | ||
| How old does it say? | ||
| I think he might have been almost. | ||
| I think he was a little bit older. | ||
| Fifteen. | ||
| Really? | ||
| See, that seems like a rough one. | ||
| Yeah, I'm trying to read on it. | ||
| It says it took him four years before he actually took the power of the Dalai Lama. | ||
| Oh, so he had to have a little... | ||
| Yeah, he was so young, he kept dropping it. | ||
|
unidentified
|
And they're like... | |
| I'm not 100%. | ||
| They're like, Gary, get over here! | ||
| Either way, he was... | ||
| Oh, do you know who else is a reincarnated holy person? | ||
| Steven Seagal. | ||
| Well, duh. | ||
| They've decided one day, oh, you must be some spiritual creature from another life. | ||
| Well, that actually sounds right. | ||
| That's a fairly good description of him. | ||
| You're a creature. | ||
| You're a physical creature from another life. | ||
| Yeah, there it is. | ||
| In 1997, Lamar Penor Rinpoche from Palyul Monastery announced that cigar was a tolku. | ||
| And specifically, the reincarnation of Chung Drag Dorje, a 17th century turton, which is a treasure revealer. | ||
| That sounded like me reading in the fifth grade. | ||
| It seems like it, too. | ||
| Lampor Rinpoche from Pali... | ||
| How many times do you think that got him laid? | ||
| Twice. | ||
| At least three. | ||
| Well, no, he's got one in each hand, right? | ||
| LAUGHTER There's got to be someone that had sex with him because they really thought that he was a reincarnated holy man. | ||
| Maybe like someone from another country that didn't understand him. | ||
| Well, maybe it was Lama Penor Rinpoche from the Pala Monastery. | ||
| That's kind of hilarious. | ||
| The only way to pass this on to you is anal. | ||
| He tricked somebody. | ||
| That's incredible. | ||
| I wonder how many people that works as an expression for versus the amount of people that are like... | ||
| What do you want on your sandwich? | ||
| He's like, well, I'm a magical being. | ||
| And it's like, would you just order your food? | ||
| When you went to the Aztec temple, as a musician, when you're sitting there, did it make sense, the acoustics, the way it's set up, the way the sound works, does it make sense to you, how they constructed it? | ||
| It left a very lasting feeling of that we're supposed to be here and that, you know, it just, it really restored a lot of faith in humanity. | ||
| I didn't focus on the ritualistic murder that was going on there. | ||
| It was just the, that's the one set of people. | ||
| The other set of people built this and they knew. | ||
| And they knew. | ||
| And, you know, much like the great pyramids that are really, you know, in the shape of Orion's belt exactly. | ||
| That same concept of what's going on here matters. | ||
| And if that is your focus, think of how wonderful it can be. | ||
| How did those people know how to make that without the wheel? | ||
| That would be really hard. | ||
| That seems insane. | ||
| The Aztecs didn't have the wheel, right? | ||
| Allegedly? | ||
| Yeah, how the fuck did they do all that? | ||
| Well, at least the way they did it physically, you can kind of... | ||
| We know that they murdered 80,000 slaves in a period of just a few days after the construction of that temple. | ||
| Yeah, so that was like... | ||
| Don't tell me. | ||
| Actually, don't worry about it. | ||
| I'll take care of it. | ||
| I think they knew that they were going to be slaughtered. | ||
| I think it was kind of like part of the gig. | ||
| Maybe I might be wrong about that. | ||
| Well, with that many people, it wouldn't sound surprising that you'd have some cooperation. | ||
| I mean, it's hard to imagine 80,000 people at once going, sorry, what? | ||
| And not being like, well, fuck this, man. | ||
| That sounds like a cooperative event to me somehow. | ||
| Unless they were somehow or another locked up and they brought them out one by one. | ||
| That's an awfully big cage you've got there. | ||
| Yeah, it is. | ||
| Yeah, 80,000. | ||
| That's quite an arena. | ||
| Yeah. | ||
| Like, you'd have to build an extra one of those just to hold them. | ||
| Yeah, that's like a giant football arena filled with people. | ||
| It's that big. | ||
| Yeah. | ||
| It's that big. | ||
| And what struck me, because I play music as I thought... | ||
| Okay, that means these acoustics are so perfect. | ||
| How do you discover that? | ||
| Are you in a canyon? | ||
| And you're like, wow, this sounds... | ||
| Can you hear me over there? | ||
| And then you sort of triangulate and start doing the geometry for how that works. | ||
| And like, quick, someone invent geometry first, though, because I don't know. | ||
| I mean, how does that... | ||
| You know, manifest itself, that understanding. | ||
| Yeah, how many thousands of years did it take before they figured out how to construct something? | ||
| Yeah, where someone on their deathbed is like, wait, one last thing about acoustics. | ||
| Sound kind of bounces off shit. | ||
| It's got to be shaped like this, with the Pythagorean theorem, you know? | ||
| I've never been to any of the Aztec temples, but I went to Chichen Itza and saw some of the Mayan temples. | ||
| And it just... | ||
| Whenever you're at a place like that, that's just magical, that's so fucking old and so amazingly constructed, you just think, what the fuck was it like to live back then? | ||
| Do we have a terrible idea of what they were like? | ||
| Of course. | ||
| Yeah, we don't know. | ||
| Well, but it sort of dawned on me at some point that it was like... | ||
| Oh, you mean the people that wrote our history wrote it from the perspective of, by the way, we're way better. | ||
| Way better. | ||
| But, okay, here's the story of these other people. | ||
| Yeah, right. | ||
| You know what I mean? | ||
| Like, by some kind of dickhead winner. | ||
| Right, right, right. | ||
| A dickhead winner with guns. | ||
| Yeah. | ||
| Like, before we get started, I'm better than the person I'm going to tell you about. | ||
| Yeah. | ||
| But we can't, even though we can't do what they did. | ||
| Because what is the emotion when you're in that space? | ||
| I'm trying to think of the right... | ||
| Right. | ||
| And I guess – It's awe, right? | ||
| Yeah. | ||
| It really is awe. | ||
| Reverence. | ||
| But also there's almost – yeah, reverence. | ||
| And there's almost like some strange gratitude. | ||
| Yeah. | ||
| Like where you're like, thank you for – I'm so thankful to be part of this, even just by living in a time to appreciate this. | ||
| Yeah, yeah. | ||
| It feels like knowledge expanding that I don't have, so I just feel like, oh, if I could understand a piece of that. | ||
| But just standing there is sort of understanding it. | ||
| Right. | ||
| We have such an egotistical perspective when it comes to our personal civilization that like this, with the internet and with cars and with planes and all that, this is the best way to be. | ||
| There's a word for it. | ||
| I can't. | ||
| Can you try to find such a thing? | ||
| Please? | ||
| What is the word? | ||
| There's a word for – the word definition is to believe that the era you're in is the finest of them all up to this point. | ||
| Yeah, I've heard that word. | ||
| I know what you're saying. | ||
| It's some kind of dickhead syndrome. | ||
| Right. | ||
| Exactly! | ||
| It certainly was created by a man. | ||
| Some guy was like, dude, fuck this shit. | ||
| Yeah, I don't think it was a girl. | ||
| If it was, she was like one of them alt-right female chicks. | ||
| But don't you wish that there was like a supportive mother that was like, yeah, sure, honey, you're the best. | ||
| This is the best. | ||
| You're number one. | ||
| Don't worry about the payments. | ||
| Yeah, don't worry about him, guys. | ||
| He's fine. | ||
| You're the best. | ||
| Yeah, it's like the same thing with the Native Americans and the settlers, that the settlers were imposing their lifestyle, but the people that experienced the Native American lifestyle, they wanted to stay living like that. | ||
| For sure. | ||
| Well, I think because it omitted so many of the things that the European culture was bringing. | ||
| Yes. | ||
| And it seems like a distinct possibility that the European perspective – Like when Pizarro and all that, you know, was it 12 of them conquistadors killed like a thousand natives in a matter of hours? | ||
| When, you know, when they land, they're looking for gold everywhere. | ||
| And at first, they have this belief that something big will come across the water and be their god. | ||
| And here comes a ship with a bunch of dirty assholes. | ||
| That literally factually dirty assholes have ridden across a boat. | ||
| And, you know, I think about that perspective where they obviously were like, these people are nice, but I've had enough of this. | ||
| They should have invented ships. | ||
| We're better. | ||
| So let's kill everyone here. | ||
| Yeah, well, Cortez and Montezuma, right? | ||
| That's what I mean, Cortez. | ||
| Yeah, Cortez, that's who it is. | ||
| Yeah. | ||
| Yeah. | ||
| They didn't know what was going on, because I don't think that, previous to that time, they'd ever seen anyone on a horse before. | ||
| No, and come across, you imagine a big boat and then a few horses, where they're like, what the fuck is... | ||
| Yeah. | ||
| Uh, Gary, come over and look at this. | ||
| It's just, it's impossible to fathom. | ||
| Yeah, a man riding a beast. | ||
| They're probably like, what in the fuck is... | ||
| With, like, rusty armor from being on a fucking boat for months. | ||
| Yeah. | ||
| Looking like shit, being desperately... | ||
| I imagine their relief when they come off on these horses with this armor and all this stuff, and they're like, they're cool. | ||
| This is going to be easy. | ||
| At first, they must have thought, maybe we could do this with some goodwill. | ||
| But quickly, it's like... | ||
| You guys are too primitive. | ||
| We're just going to take over here. | ||
| I doubt they even thought they were going to do it with goodwill. | ||
| I don't think there was any goodwill back then. | ||
| I think people were just murdering people. | ||
| You think that there's perhaps... | ||
| That more people took more lives, in a way? | ||
| Like, per capita or something? | ||
| I think that it was a more brutal way of taking lives. | ||
| I'm sure people take more lives today in war, but I think back then it was just, it was hands-on. | ||
| Right, but it seems like more percentage of the people that are alive had an opportunity or the possibility to kill someone than today. | ||
| Two. | ||
| So it's like, if you are with 150 people, all of which have killed at least three people, that's an interesting group. | ||
| And then you land on a boat. | ||
| You've been there for months, and you're like, maybe you are like, we gotta kill somebody and rape something and take something as quick as possible. | ||
| And you have no idea what the fuck they're saying, because you can't speak their language, so it's easy to just... | ||
| And they're being nice. | ||
| So you're like, they're gonna fuck these people up in five, four, three... | ||
| Like that silent count off of them. | ||
| It's bizarre. | ||
| Well, that's the history of mankind is men showing up in boats and killing everybody that they met. | ||
| And then kind of doing their own version of a selfie on the dead body. | ||
|
unidentified
|
Yeah. | |
| Right. | ||
| Getting paintings. | ||
| Yeah. | ||
| Yeah. | ||
| Draw me. | ||
| I would imagine what it would be like if you could be a fly on the wall when Montezuma met Cortez just to be there and see what that was like when these people who had never encountered Spaniards before and these guys show up in these boats with two absolutely different beliefs and perspectives of what's about to go down. | ||
| What's crazy is that is why Mexico speaks Spanish. | ||
| I mean, people don't get that in their head. | ||
| Like, oh, Mexicans speak Spanish. | ||
| It's why all of South America, except for Brazil, Brazil is Portuguese. | ||
| Yeah. | ||
| I mean, we don't get that in our head. | ||
| Like, Mexico speaks Spanish. | ||
| And has horses. | ||
| Yeah, Spain's way the fuck over there. | ||
| How is, what? | ||
| Where they speak Spanish. | ||
| Yeah. | ||
| Like, it makes no fucking sense, but then you realize, like, oh my god, they were conquered by the Spaniards. | ||
| Whoa! | ||
| Yeah, and a long, long time ago. | ||
| Long fucking time ago. | ||
| Because of having my music teacher as a young boy drill the song. | ||
| In 1492, from Spain through wind and storm and gate, the Nina, the Pinta, the Santa. | ||
| 1492. 1492. 1492, which, by my watch, is a long time ago. | ||
| It is, but it's not. | ||
| I had a joke in my act about the United States being founded in 1776. People live to be 100. That's three people ago. | ||
| That's real, though. | ||
| I know, it sounds fucked up when you hear it. | ||
|
unidentified
|
Very funny. | |
| When you hear it, it sounds like, is he right? | ||
| That's not right. | ||
| Well, what's funny is that's totally true. | ||
| Yeah, it is right. | ||
| I mean, that's... | ||
| We just got here. | ||
| Yeah. | ||
| Yeah, that's right. | ||
| The thing is, anything that happens before you were born seems like a million years ago. | ||
| Of course, but also 1776 seems like yesterday to me. | ||
| I wasn't alive, and I'm ready to admit that, but that seems like, oh, that is just very close, I'm sure. | ||
| Fucking super recent. | ||
| Yeah. | ||
| I mean... | ||
| Do you think it's possible that a new nation gets started? | ||
| Is it too late? | ||
| Because the reason why the United States got started is because everybody hated how suppressive European civilization was. | ||
| So they're like, wait till you see how we do it. | ||
| Yeah, we're going to fix this. | ||
| Come over here. | ||
| In some ways we have, right? | ||
| It's better in some ways than it used to be. | ||
| In some ways we did. | ||
| More freedom. | ||
| In some ways we did not. | ||
| In some ways we didn't. | ||
| It's like what humans do. | ||
| No one ever nails anything. | ||
| It's just everything's messy. | ||
| It's always complicated, especially more people. | ||
| Yeah. | ||
| Because anyone that's been to a family reunion has said, oh, fucking Gary, really? | ||
| Yeah. | ||
| You know? | ||
| Well, then also, like, the different environments that people live in sort of dictate their personality. | ||
| Like, you're a desert guy, right? | ||
|
unidentified
|
Yeah. | |
| You're from the desert. | ||
| Yeah. | ||
| What is that? | ||
| Scorpion. | ||
| I'm one of the few people I know that's been bit by one. | ||
| Have you really? | ||
| Yeah, and as I... I was going up to Joshua Tree to this studio that's really just a house. | ||
| Was that the one that you guys showed in the thing you did with Bourdain? | ||
|
unidentified
|
Yeah. | |
| Rancho de la Luna. | ||
| Yeah. | ||
| But it's magic is what's missing. | ||
| And I mean everywhere. | ||
| And all that's left is like, what if you just... | ||
| When the tide receded, it was just the idiosyncratic... | ||
| And the previously thrown away, like all in Reborn, you know, it's just got that sort of feeling to it, right? | ||
| And so I was driving up there, and I know, I'm a desert boy, I know that you're not supposed to, at night times when everything comes out. | ||
| Because in the day, everyone is like, ugh, really? | ||
| I mean, everything that walks or crawls is like, phew. | ||
| And so at night, everyone, everything that walks or crawls goes, all right, let's go. | ||
| Right. | ||
| And so you wear shoes. | ||
| If you do not wear shoes, you have made a mistake, for sure. | ||
| And as soon as we pull up to the rancho in the dirt parking lot, I open up the door, and I'm on the passenger side, and I step out, and I go in to reach for a 12-pack of beer, and something hit me on the foot, and I was like... | ||
| And I lift my foot, and there's this black... | ||
| Dark brownish, like a root-beery brown scorpion hanging from my foot, going, hey, hey, hey, hey, hey! | ||
| And I was like, I think it was like... | ||
| Like a really butch gal who's been terrified for the first time. | ||
| And I slapped it. | ||
| And I slapped it off my foot because that's my knee-jerk reaction. | ||
| And as I did that, that's when I screamed and jumped like a mouse or something in the car. | ||
| And in the door light of this... | ||
| And the door light, this scorpion hit the ground, like, shuffled itself, turned and came right at me. | ||
| Whoa! | ||
| And was sort of like, fuck you, wait till you... | ||
| It scared me to death. | ||
| It came back at you? | ||
| You imagine being that little, wanting to fuck up something as big as you? | ||
| Well, you'd have to, right? | ||
| You'd have... | ||
| It wouldn't be... | ||
| There would be no bravado at all. | ||
| It would be like... | ||
| It would be a true believer that in that moment, I'm like, fuck this thing, and it is 100% sure that it's going to fuck me up. | ||
| And it was right, because what am I going to do? | ||
| I'm going to hit this stinger with my hands. | ||
| What was the pain like? | ||
| Well, at that time, my understanding of scorpions was in our desert, Mojave, there's two types. | ||
| And one which is like, you know, 24 hours of central nervous system shut down, so they can't even give you anything for the pain. | ||
| Because the thing that's, that regulates that gets like, turned, turned off. | ||
| And so you're just like... | ||
| For 24 hours you're in pain. | ||
| That was my knowledge at that time. | ||
| And the other one is akin to a bee sting. | ||
| Which one did you get? | ||
| Well, I had to track back. | ||
| This was before the internet. | ||
| And so I go inside. | ||
| And the remedy at that time, as Fred Drake, who rest in peace, told me was to drink Jack Daniels and put your foot in a bucket of burning hot water. | ||
| Which is a little bit like having a horse on each leg and they take off a different direction. | ||
| Because, like, get the hottest water you can take and continue the pain. | ||
| Like, it's such a wives' tale, it's almost like a divorcee's tale or something. | ||
| Right. | ||
| So I did that and waited because I didn't know which one it was. | ||
| It turns out that the 24 Hours one lives in another desert, more close to Arizona, and that it's not quite as I've described. | ||
| I'm just telling you what I thought at the time. | ||
| And it was much like a bee sting, but by the time I realized that, and it swole up It swole up immediate and looked like it was going to keep going because it got to this golf ball so fast that it was like, when will this stop? | ||
| Right, right. | ||
| But it was like a bee sting, but by the time I discovered that, I was so drunk that bee sting, schmee sting, you know... | ||
| So you're just sitting there with your foot in a bucket of hot water getting hammered. | ||
| No, scalding. | ||
| Scalding water. | ||
| It was like, the hotter it is, the better. | ||
| And I was like, ah! | ||
| Don't dump it! | ||
| Imagine if the fucking real injury was you got third degree burns in your foot from the water and there was nothing wrong with the beat. | ||
| How mad would you be? | ||
| My friend said the real remedy is you grab a shark and you... | ||
| Stick it up your ass. | ||
| And you totally forget about it. | ||
| A buddy of mine was in South America and he got bit by a bullet ant. | ||
| He got hit by a bullet ant on his heel. | ||
| And he said the pain was so bad, but it was so bewildering that after the pain was over, he couldn't figure out which foot got bit. | ||
| Because your brain's going, like, static? | ||
| He said, it's so confusing. | ||
| The pain's so confusing. | ||
| It's for hours. | ||
| Do you think that, because anytime I've seen that online where it's like, you know, I'm Dingo Piles, and I let a bullet ant bite me, where you're like, Jesus, man, don't hang out with this person. | ||
| You see the one where they put it in a glove? | ||
| Yeah, like a handful. | ||
| Yeah, it's like a ritual that young men have to do to reach the coming age. | ||
| Oh, that's right, yeah. | ||
| That's like jumping off on how Bungie was invented with no bunge or no boing. | ||
| No boing. | ||
| It's just rope. | ||
| To be a man, you jump off this thing and it's like... | ||
| I'm starting to identify as a... | ||
| Yeah. | ||
| I wonder what the bullet ant thinks of all this. | ||
| If it's like, well, I can never make any friends. | ||
| Or so, what the fuck? | ||
| I think that just violence in insect form... | ||
| Don't you think that that's... | ||
| If there ever was an alien, that would be... | ||
| It would be easy to assume this little bullet ant in space that's just like... | ||
| And then... | ||
| Pushes so hard that there's two of them. | ||
| What would really be fucked up is if bugs were big and intelligent. | ||
| If bugs behaved the way settlers behaved when they encountered the Native Americans. | ||
| I must say – I'm happy to hear you say that. | ||
| Something I say to my kids and I've said to myself for many, many, many years is – When I'm having a rough morning, I say, thank God praying mantis aren't five feet tall. | ||
| Fuck yeah, dude! | ||
| Because getting to your car would be a nightmare. | ||
| Yeah. | ||
| And you'd never, it'd just be like, you know, that. | ||
| Yeah, I was just watching a video of a praying mantis fucking up a mouse. | ||
| They're so powerful, Matt. | ||
| It's crazy. | ||
| Just to, like, start the morning? | ||
| It was just sitting there. | ||
| It was just sitting there as the mouse got close to him and then he grabs ahold of him and fucks him up. | ||
| Is that a normal way to start the morning? | ||
|
unidentified
|
Me? | |
| Yeah, unfortunately. | ||
| Yeah, there was one with a squirrel, too. | ||
| The praying mantis was eating a squirrel. | ||
| It's like holding on to this little squirrel's head and just slowly pulling it apart. | ||
| Oh, there's another one with a lizard. | ||
| The lizard one was pretty fucked. | ||
| Look at this mouse. | ||
| You would think, well, there's no way. | ||
| Look, that mouse is just like, oh, well, I'm just going over here, just going to look over here. | ||
| Bro, they are so ruthless, these goddamn things. | ||
| And they're so fucking deceptively strong for their size. | ||
| You look at how big they are. | ||
| I mean, look at that, dude. | ||
| If that was five feet tall. | ||
| Oh, we'd be fucked. | ||
| Honestly, I would stay home a lot more. | ||
| I would be armed to the dick all day long. | ||
| Just fucking everywhere I go. | ||
| Multiple guns, Kevlar suits. | ||
| Here he goes. | ||
| Bitch! | ||
| And the way they get some is so fucking fast. | ||
| Well, it is kind of a cool thing that we don't have to die watching something eat us. | ||
| It's crazy, though, that it's not a contest. | ||
| Look at that in the ear, though. | ||
| What I'd like to move is that... | ||
| That's uncalled for. | ||
| It's rude. | ||
| He's eating an ear first. | ||
| If I'm hit by something that's going to eat me, I'm like, don't start at the fucking ear, man. | ||
| They don't give a fuck. | ||
| Well, really, that's what you've got to hear. | ||
| The mouse doesn't even have a chance. | ||
| Could you make it any louder? | ||
| They're chilling. | ||
| Just like... | ||
| We were just like, will you get in deep enough, please? | ||
| You get this over with, you fuck. | ||
| And then you just feel the sound at that point. | ||
| Like boulders underwater. | ||
| It's just crazy when you look at how big the mouse is and how small the insect is for mass of body weight. | ||
| It's not even a contest. | ||
| The praying mantis just gets it 100%. | ||
| It's not like, maybe the mouse can get away. | ||
| No, it's over, bitch. | ||
| It's a bit like that orca eats the great white's liver thing. | ||
| Right, right. | ||
| Where for like a thousand nautical miles in every direction, every single tagged white shark, as soon as that happens, the radius is like a thousand nautical miles. | ||
| Every great white shark was like... | ||
| So anyways, they said, I'm out of here! | ||
| And then takes off. | ||
| Really? | ||
| Yeah. | ||
| So they felt it? | ||
| Like they knew? | ||
| Yeah, something about the smell of their own... | ||
| of that... | ||
| Really? | ||
| Or whatever that, you know, what is it, the Opula of Lorenzini, that sixth sense they have? | ||
| Oh, right, okay. | ||
| Something about that frequency for them is sort of like, call you back, and they just bail. | ||
| Well, that's like the bully getting bullied, right? | ||
| Like, they're the meanest motherfuckers in the ocean, except for the orcas. | ||
| Right. | ||
| I think at this point in my life, I'm like, they don't have hands, so they're like, sorry, I gotta try it. | ||
| What's going on here? | ||
| No hands. | ||
| Gonna use this. | ||
| Sorry. | ||
| Because when you have no predators most of your time like that... | ||
| What's up, Jamie? | ||
| What do you got? | ||
| Did we mention this before where they only go after the liver? | ||
| Oh, yeah. | ||
| Like creepy cereal killers. | ||
| Well, they do some fava beans with it, so that's cool. | ||
| It's probably very nutritious. | ||
| Are you kidding? | ||
| Orcas are the biggest... | ||
| How do you do that with your mouth? | ||
| I think orcas are probably the biggest dick of all. | ||
| Because they're just like, should we go fuck with that guy and grab his liver or what do you want to do? | ||
| Well, they fuck up dolphins too. | ||
| We know dolphins are kind of cute. | ||
| Well, the permanent smile, right? | ||
| That's why dolphins are cute. | ||
| They're just thinking, hey. | ||
| Because they could be like, fuck you. | ||
| Well, even dolphins. | ||
| Dolphins commit infanticide. | ||
| They kill babies. | ||
| They do it on porpoise. | ||
| Yeah. | ||
| Well, they kill their own kinds of babies to try to force the female into estrus. | ||
| And so as a consequence, female dolphins. | ||
| Oh, right. | ||
| To get them back to fertility. | ||
|
unidentified
|
Yes. | |
| Because female dolphins, when they breed, apparently, once they have a baby, they have to raise that baby for like six years, so they won't have sex for like six years. | ||
| So what male dolphins do is they will kill the baby, so they're forced a female to breed again. | ||
| So what females do is they become hoes. | ||
| So they fuck everybody and anybody they can, so that if a dolphin runs into her, they go, maybe that's my kid. | ||
| Oh, right. | ||
| Yeah, so they're not sure if it's their kid. | ||
| Obviously, there's no 23andMe under the ocean. | ||
| Plausible deniability. | ||
|
unidentified
|
Yeah. | |
| So they know that they fucked her. | ||
| What is it, the Seven Great Oceans and me or something? | ||
| Well, they're really intelligent, right? | ||
| I mean, they have a cerebral cortex that's 40% larger than a human being. | ||
| When there was that one shot, and maybe it's Blackfish or something like that, where they put a mirror up, and the dolphins are looking at them. | ||
| They're self-aware. | ||
| That was an amazing moment to watch. | ||
| Like a dolphin go... | ||
|
unidentified
|
Oh, yeah. | |
| Like with a shower, with a hairbrush singing in the mirror, sort of? | ||
| Well, it can. | ||
| It's like the way we looked at other cultures. | ||
| We think we're better. | ||
| But when we look at orcas and dolphins, just because they can't affect their environment the way we can, like they can't build houses and, you know, and create things. | ||
| We assume they're not as intelligent. | ||
| Well, create things that we would determine to have any value. | ||
| Right, right. | ||
| Physical objects. | ||
| That's it. | ||
| But the way they have culture and communication and intelligence. | ||
| Yeah, to have the sonar and all that stuff. | ||
| They're operating with tools that we're like, what? | ||
| Yeah, we don't even understand what you're doing. | ||
| Oh, you mean bing! | ||
| I got that over here. | ||
| Bing! | ||
| Yeah, they're using sonar and finding objects in the water and recognizing fish. | ||
| As a musician... | ||
| At one point, I went through this pirate phase of reading, where you just read about, because all the logs are so accurate, they had to be, to survive. | ||
| So you read pirates' logs? | ||
| Yeah, like, well, the historical version of, why did someone turn into a privateer? | ||
| You know, charged by the King of Spain to take anything English into the English that's a pirate. | ||
| Like, how does that? | ||
| And it was from war slowing down and all these sailors having, like, what do we do? | ||
| You know? | ||
| And the logs are so accurate and in a very fact, like, this is what happened. | ||
| It's marked in the log. | ||
| That is just great, accurate history of the Caribbean. | ||
| Well, that's one of the ways we know about what happened with Columbus, right? | ||
| One of the more fucked up things about Columbus is, I believe it was missionaries that traveled with him that ratted him out about how ruthless they were. | ||
| Yeah. | ||
| They were cutting people's arms off. | ||
| They didn't give him enough gold and dashing baby's heads on the rocks. | ||
| But then you wouldn't be able to get any more gold from that person, certainly, just... | ||
| Yeah, the idea was to scare everybody else. | ||
| But if you didn't bring enough as a practical thing, like, go get me more gold. | ||
| You know, cut his arm off. | ||
| Well, now he can't even bring more anyways. | ||
| I think the idea was nobody wants their arm cut off, so there's plenty of them. | ||
| Yeah. | ||
| Like, just kill this one guy. | ||
| And the people that do only have one arm, they probably have already done that. | ||
| Yeah. | ||
| One of them was fucked up. | ||
| The reason for the logs is they would talk about how whales and dolphins, you could hear them singing. | ||
| Because there's no engines on the ocean. | ||
| So it's just the silence of the planet. | ||
| Right, right. | ||
| They're just using sails. | ||
| Yeah. | ||
| And sometimes there isn't any wind, and it's night where everything comes out to do its thing. | ||
| And you'd hear this communication, this vast whale song that you could hear around the world. | ||
|
unidentified
|
Wow. | |
| Because the whales are so big. | ||
| Wow. | ||
| That there's this communication and they're extrapolating that there's a communication breakdown now because of the noise pollution of it all. | ||
| Oh, sure. | ||
| Noise pollution and regular pollution as well. | ||
| Right, right. | ||
| Yeah. | ||
| The constant drone of success. | ||
| Damn. | ||
| I mean, that's where the real horrific death has occurred, right? | ||
| In the ocean. | ||
| Imagine what the ocean was like in terms of like teeming with life in 1492. Yeah. | ||
| Yeah, because they talk about that trash thing that really was nutrients before. | ||
| That's why the animals came there. | ||
| There's a trash plastic island the size of Texas, but it all gathers there because of the currents. | ||
| And previously it wasn't an island of plastic, but in fact an island of nutrients that brought everything in. | ||
| So it was like hometown buffet for fish things. | ||
| Right. | ||
| And now they're showing up and they're like... | ||
| Right. | ||
| You know what I mean? | ||
| Yeah. | ||
| How's the six-pack ring look on me? | ||
| It's sort of... | ||
|
unidentified
|
Bummer. | |
| It's a fucking bummer. | ||
| Yeah. | ||
| What's up, Jeremy? | ||
| Did you see what Colin O'Brady, who was on the podcast a few months ago now... | ||
| Yeah, he's going to row across to Antarctica. | ||
| Drake's Passage, I guess, is what it's called, in this little teeny rowboat. | ||
| Oh, Jesus. | ||
|
unidentified
|
Yeah. | |
| He's crazy. | ||
| A couple other guys he's going to do it with, but I guess they're going to... | ||
| He walked across Antarctica. | ||
|
unidentified
|
Yeah, of course. | |
| It was such a harrowing story. | ||
| Really, I can't imagine it not being fraught at every other's footstep. | ||
| I bet you do that, though, for however long it takes him. | ||
| A summer, rowing, you come out ripped. | ||
| I bet you develop serious back muscles. | ||
| Yeah. | ||
| Yeah, you know, that is a really positive way to look at it. | ||
| Yeah, it's a great workout. | ||
|
unidentified
|
Do you want bigger back? | |
| You want your back to look beautiful? | ||
| Okay, the crew must work 24 hours a day, rotating around the clock with little to no sleep. | ||
| What? | ||
| Yeah, they're live-streaming this whole thing with Discovery, so if they die, we're going to watch it. | ||
| Bro, look at this. | ||
| Swells can tower up to 50 feet high. | ||
| What the fuck, man? | ||
| It sounds so fucking crazy. | ||
| Well, imagine it's 2.27 in the morning, and everyone's asleep, and you're in charge of rowing over 50-foot swells. | ||
| And how much can you sleep? | ||
| If everybody has to work 24 hours a day, what do you get, like an hour sleep a day? | ||
| Well, you get tons of fake sleep. | ||
| There's the boat. | ||
| Because you're tired of rowing. | ||
| You're in the zone. | ||
| Look at this fucking boat, too. | ||
| It's a shitty little boat. | ||
| Can you imagine being the cameraman? | ||
| That's the most boring thing ever on that. | ||
| Do you see that cameraman in the back? | ||
| Oh, that's ridiculous. | ||
| He's got to row, too, though. | ||
| There's no one who's just a cameraman. | ||
| Six athletes, it says. | ||
| One boat. | ||
| No chance. | ||
| No motor. | ||
| They're fucked. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| No sale. | ||
| Oh, God. | ||
| Why do people have to do things like this? | ||
| No turning back. | ||
| I love talking to them when they come back, but why do they have to do that? | ||
| It just seems so ridiculous. | ||
| Good luck. | ||
| The impossible row. | ||
| Follow the expedition. | ||
| I wonder how you sell that idea to, like, the other rower. | ||
| They have to be assholes, too. | ||
| There you go. | ||
| Bunch of crazy assholes to get together. | ||
| I was thinking about running a thousand miles. | ||
| Well, hey, before you do that, I got a project. | ||
| Yeah, does it start with like, hear me out. | ||
| Just hear me out. | ||
| Let me finish the pitch. | ||
| And then, like, do you have to predecess that like that? | ||
| Or do you just gently try to... | ||
| I think those kind of people find themselves. | ||
| I don't know what you're up to. | ||
| Yeah, certainly they're near the ore store or whatever the fuck. | ||
| There are some people out there that just can't push themselves hard enough, you know? | ||
| No matter what happens. | ||
| Like my friend David Goggins, he ran this Moab 240. It's a 240-mile race through the desert. | ||
| Uh-huh. | ||
| He developed pulmonary edema, which I guess you get at high altitudes when you're exerting yourself. | ||
| Yeah, that Everest, like... | ||
| Crazy shit, right? | ||
| So he goes to the hospital. | ||
| They treat him. | ||
| He gets back and finishes the race. | ||
| So he ran another 80 miles after. | ||
| He ran 180-plus with fucking pulmonary edema. | ||
| Like, what? | ||
| But does that mean that when you get done that you're like, good! | ||
| Whew! | ||
| No, he didn't give a fuck. | ||
| I mean, it's not really in the ending. | ||
| There's no end with that guy. | ||
| There's no destination at all. | ||
| There's no finish line. | ||
| Yeah. | ||
| It's just like break to take a leak, I suppose. | ||
| The thing is, they all know there's other people like them out there. | ||
| Because they're at the same race. | ||
| Not even just that. | ||
| It's just that they're all connected from the internet. | ||
| They're all connected through the circles that they travel in. | ||
| They're connected through just – they follow other people like them online. | ||
| But do you think that a drive like that is more an internal one or do you think that the competition of seeing what someone else did is – what kind of factor do you think that – I think they both play a factor. | ||
| It's other people that are pushing it. | ||
| They make you realize that it's possible. | ||
| And then you also have to have some sort of insane internal furnace. | ||
| Yeah, well, I believe when they did some brain testing on that climber fellow that did the... | ||
| Alex Honnold? | ||
| Yeah, yeah. | ||
| That he just didn't trip out as... | ||
| It took a lot more to freak him out. | ||
| Oh yeah, I'm sure. | ||
| His brainwaves were like, I'm cool. | ||
| Like when you're hanging by one toenail upside down. | ||
| Dude, even talking about him makes me nervous. | ||
| I've had him on twice. | ||
| Those shots? | ||
| Yeah. | ||
| Oh my god. | ||
| I shit in someone else's pants. | ||
| I get so scared. | ||
| Let me borrow your pants real quick. | ||
| Those look great on you. | ||
| Let me try them on. | ||
| And I'm like, here you go. | ||
| Dude, sometimes it's not even straight up and down. | ||
| Sometimes it's an angle back. | ||
| Yeah, like... | ||
| Yeah. | ||
| Like 15 degrees back, the wrong direction. | ||
| Like, what? | ||
| Do you just watch that and get vertigo where your balls are sort of like, all right, this is... | ||
| Look at this. | ||
| Look at this. | ||
| Bro, that's way more than 15 degrees. | ||
| How many degrees is that? | ||
| If you had to guess... | ||
| 45. That's like 45 degrees, right? | ||
| Yeah, that is definitely... | ||
| It's 45 degrees. | ||
| Fucking thousand feet up in the sky. | ||
|
unidentified
|
Oh! | |
| But... | ||
| Do you have to... | ||
| My palms are sweaty. | ||
| Yeah, mine are sweating like crazy. | ||
| Do you have to... | ||
| Feel that, feel that. | ||
| I couldn't tell if that's yours or mine. | ||
| Dude, that's crazy. | ||
| Like instantaneous palm sweat. | ||
| We need to drink Purell now. | ||
|
unidentified
|
That's... | |
| We just light our hands on fire. | ||
| Put our hands in the same bucket of water you use for the scorpion. | ||
| You know, and ride a motorcycle, like, I try to stay focused and be very now. | ||
| Right. | ||
| In the moment. | ||
| Yeah, because it's a requirement. | ||
| Like, when you're sort of like, did I leave the iron on? | ||
| That's whenever I've gotten in, like, a little fender bender. | ||
| Right, right, of course. | ||
| You know. | ||
| But in that... | ||
| Do you have to stay so in it that there is no out? | ||
| I think so. | ||
| Can you let yourself drift in almost like a meditative state and just be like, hands? | ||
| I don't think you can. | ||
| I think if you drift, you're fucked. | ||
| I mean, I think, first of all, the physical requirements. | ||
| Well, then how do you stop things like, you know, guess who's hungry? | ||
| Hands up. | ||
| Oh, shit. | ||
| You know what I mean? | ||
| I think he does it so often that he knows how to get into that state. | ||
| But, you know, there's also, like, look at that little thing. | ||
| State of disbelief. | ||
| Look at that little thing he's holding on with his left hand. | ||
| What's to say that doesn't chip loose? | ||
| What's to say? | ||
| What's to say? | ||
| I mean, some of those rocks... | ||
| But talk about manifesting that you do it. | ||
| Talk about saying, yes, you know, it's already done. | ||
| You'd have to say, it's already done. | ||
| I don't know what. | ||
| I think you just gotta go left foot, right foot, right hand, left hand. | ||
| And then you also have done it many times with ropes. | ||
| But also, when you're on the ground, you want to hang out? | ||
| And he's like, no. | ||
| Bro, that looks like 60 degrees. | ||
| That's insane. | ||
| He's basically hanging upside down, climbing so far above the fucking trees. | ||
| On purpose. | ||
| On purpose. | ||
| Like, it's Tuesday there. | ||
| You know what I mean? | ||
| Most people, you and me included, would be dead. | ||
| We wouldn't be able to do what he's doing. | ||
| I'd be dead of a heart attack from realizing I was going to try. | ||
| And he's such a mellow guy, too. | ||
| That's what's really interesting. | ||
| Yeah, like, look at that smile. | ||
| He also just started recently getting injured. | ||
| Right, I saw that thing. | ||
| Yeah, in the movie. | ||
| I'll tell you what, though. | ||
| I will read or watch anything about Everest or climbing. | ||
| There's something... | ||
| Because I'm always like, well, I'm going to go for that metaphorically. | ||
| Metaphorically? | ||
| Yeah, like, I'm going to take that. | ||
| Metaphorically. | ||
| That energy and put it into the guitar. | ||
| And put it into something else, like, I don't know, pass those chips over here. | ||
| Like, the way I eat. | ||
| Yeah. | ||
| I eat the way those climbers risk their lives. | ||
| See that sundae over there? | ||
| I'm going to climb that thing. | ||
| It's just knowing that someone like that is out there, though, it changes what our expectations are. | ||
| Like, what we think of as the boundaries of human performance and what someone's capable of doing. | ||
| Well, certainly there's a weird... | ||
| Um, epiphany when you're watching someone do that. | ||
| Yeah. | ||
| Because you're sort of like, I'm doing the exact opposite of this person that I'm watching. | ||
| Yeah, you're just sitting there. | ||
| Yeah, you're like... | ||
| Not risking anything. | ||
| Yeah, you're just sort of like, thank you for doing this for my pleasure. | ||
| There's a moment of disconnect for me when I'm like, I'm going on a hike, I can't finish this movie anymore. | ||
| You know... | ||
| I'm not supposed to finish this movie anymore. | ||
| It's interesting because what he's doing is essentially a spectator sport, but there's no audience until after it's done. | ||
| Right, so it ultimately, for the climb, must be singularly about you. | ||
| I mean, it must be. | ||
| I don't know how you include someone else during that thing. | ||
| I think it's just all about the moment. | ||
| I think he's just, like I said, I think he's thinking left foot, right foot, right hand, left hand, and you just keep going and you know the path. | ||
| Well, then that would be akin to some of the greatest meditative minds that have ever existed. | ||
|
unidentified
|
Right. | |
| Yeah. | ||
| Oh, it's gotta be, yeah. | ||
| Because it's one thing to meditate and position and kind of go deeply within and keep going into the depths, which are vast, right? | ||
| But it's different if you said, now will you get up and climb this thing, please? | ||
| There would be a certain amount of... | ||
| No, no, I'm still meditating. | ||
| I'm not going to do that. | ||
| Where you might be like, no, I'm doing this so I don't have to do that. | ||
| Right, to maintain that mindset through action, that's a different kind of meditation because the consequences are so grave. | ||
| Like if you're just sitting there meditating and your brain drifts, nothing happens. | ||
| But if you're up there and you're achieving that state and then your brain drifts and you're like, oh Jesus, what the fuck am I doing? | ||
| Oh my God. | ||
| I've been reading about this. | ||
| I've been watching and reading this woman, Esther Hicks. | ||
|
unidentified
|
Oh, yeah. | |
| Okay, there's that lady that channels. | ||
| Yeah, but putting that aside to not precondition anyone, her discussions on manifestation and her explanation of that, that the physical body, that you have thoughts and thoughts are bigger than... | ||
| Your body is simply a bag that protects your thoughts so they can occur. | ||
| And that when you think something, you begin to bring it into idea, which is on the process to bring it into the world. | ||
| And so, when you say, I can't, you certainly cannot. | ||
| Right. | ||
| And that it's okay when coming from a position of, I can, and it's already happened, and I'm just meeting up with what's already occurred. | ||
| Yeah. | ||
| That there's something beautiful there, especially when it's not really being wrapped in a selfish thing, but manifesting happiness and things you love, and that that attracts other – that's what's contagious, you know? | ||
| And – So I wonder when I see a photo like that about the connection. | ||
| And her point being is that she's like, all day long you're thinking thoughts and acting on them because that mind and body are one. | ||
| They're executing the same process together. | ||
| You know, dependently. | ||
| And, like, that is the embodiment of thought and body and action together and being ultimately in that vortex of being aware. | ||
| Darrell Bock That Esther Hicks lady is very strange. | ||
| I'm very torn on that because I listen to the actual words and the things that she says when she's channeling that – what is it like that? | ||
| Is he like a dead guy or an alien? | ||
| What is he? | ||
| I forget what he is. | ||
| One of them channels an alien. | ||
| Right, but I think there's multiple people. | ||
| But see, the thing is, I've kind of like, was listening, stumbled on that while I was driving and investigating or reconnecting with the law of attraction and how to like, it's like when you get your motorcycle lesson, they tell you to look through the turn because you tend to go where you're looking. | ||
| Right. | ||
| You know, not a lot of people are walking backwards and talking to you as they go forward. | ||
| Right, of course. | ||
| And so, it sort of dawned on me the connection between just looking for something you love and not bonding or focusing on all the shit you don't like as a manner of walking towards what you desire. | ||
| And this kind of... | ||
| Reawakening with that concept is just mere three, four weeks old for me. | ||
| Really? | ||
| Well, returning to that idea, because I had this concept before of like, someone's got to make it. | ||
| Why couldn't it be you? | ||
| Let's go for it and really go for it. | ||
| The only way to make it is to really honestly go. | ||
| So you're talking about your band before you guys made it? | ||
| No, I'm talking about a way of acting regarding anything. | ||
| I love music, and music has always been my way of being the utmost honest I can be. | ||
| And I think because of that, that's what's helped gravitate people that have stayed so long in that. | ||
| However, also, I've realized that I put so much of who I really am in total into the music, that there are times that I should have done that in relationships with friends or people. | ||
| It's like And family. | ||
| And that it's really, it's important to do that in life, too. | ||
| You know, to be engaged. | ||
| And also, show your real self. | ||
| That kind of, where the vulnerability of all that is really powerful instead of weakness. | ||
| It's the opposite of weakness, you know? | ||
| And so I think pursuing music that way is great, but not if it's keeping you from doing that in life. | ||
| And so it's not just that I would think that way so my band would do well. | ||
| It's that I would think that way so that I could do well. | ||
| I could be well, you know? | ||
| Right. | ||
| And so that's why I started listening to her and not seeing any of the opening gambit of her transforming into... | ||
| Abraham. | ||
| Abraham. | ||
| And not caring and not understanding what that means. | ||
| Just going like, I'm just listening to what you're saying while I'm driving. | ||
| Right. | ||
| And hearing that and the way she speaks regarding those things is really fascinating. | ||
| I choose to detach myself from… Judgment? | ||
| Yeah, because I know one thing, nothing. | ||
| Well, it's weird because she's saying very wise things. | ||
| Right, but it would be a shame to get the, just because I don't, that's not the wrapper I would pick, that I don't like the candy inside. | ||
| Right, yeah, the channeling part of it. | ||
| Well, yeah, so it's not, oh, you mean it's not exactly how I would do it? | ||
| Well, fuck this then. | ||
| Well, it's not just that. | ||
| It's like you're listening to wisdom, but are you listening to wisdom from someone who's made up a fairy tale? | ||
| That's where it gets confusing. | ||
| She's channeling? | ||
| Who is she channeling? | ||
| How is she doing that? | ||
| I also think that to be able to learn something, this, again, this awakening in me is so new. | ||
| Like, it's, in all honesty, it's... | ||
| It's like a month and a half old, but it feels really good. | ||
| What happened? | ||
| It's just that I think that engagement in life and also feeling a bit lost and not knowing how to ask for help sometimes, you know what I mean? | ||
| And not really knowing something exists at all. | ||
| You have feelings. | ||
| That's a little too vague. | ||
| But my point being that like all of a sudden engaging in something, engaging in something that you really love, not focusing on the negative part of it, but really chasing after that thing which makes you feel good. | ||
| So you've changed your perspective. | ||
| You've changed the way you focus on it. | ||
| Absolutely. | ||
| And in fact, I've realized it's fine to be afraid of shit. | ||
| It's fine. | ||
| It's not fine to go like, nope, that's not over there. | ||
| Right, right. | ||
| To deny it. | ||
| Yeah. | ||
| How can you get stronger unless you turn and really, really look into it, you know? | ||
| Right. | ||
| You don't want to be paralyzed by fear, but there's nothing wrong with being aware that something scares you. | ||
| Yeah. | ||
| I mean, I really, nine times out of ten, you didn't need to be afraid of it. | ||
| And that one time you do, you know it's true and you know what it is. | ||
| Right. | ||
| And that seems like a successful... | ||
| And in dealing with that, too, you get the chance to say, I can do this. | ||
| Is that lady still alive? | ||
| Is Esther Hicks still alive? | ||
| I have no idea. | ||
| Maybe I could get her in. | ||
| I think it would be interesting because you'd have to separate the things that don't fit, right? | ||
| Right. | ||
| Well, one of the husband has to be there with everything, too. | ||
| Jerry, he died. | ||
| He died? | ||
| See, without having no preconceived notion and just hearing this as I drive, when the next YouTube thing started to play, I was like, who is this? | ||
| Who's Abraham? | ||
| There was no context for me. | ||
| I was just listening to the words. | ||
| And I was like, wow, this is fucking great. | ||
| You know, this is great. | ||
| And kept listening. | ||
| I was driving to the desert and doing this other stuff. | ||
| You know what's interesting about it? | ||
| It's remarkably consistent. | ||
| She doesn't say anything that's really foolish. | ||
| And she never changes her tune about, look, and I started to dig that she was saying we, because until I understood that she was like channeling something, I thought it was just a really beautiful way of saying we. | ||
| We. | ||
| What we want to tell you is like as if you were already there. | ||
| Right. | ||
| And really what she was talking about is already being there anyways. | ||
| Like you will have an idea. | ||
| You will form a habit of one type or another. | ||
| Which one would you like it to be? | ||
| And know this. | ||
| If all you can focus is on what sucks but is yet to be, just wait a sec. | ||
| It's coming. | ||
|
unidentified
|
Yeah. | |
| And where conversely, if you were like, I ain't gonna worry about that because I like as much time without it as possible, let's focus on something I do like until shit gets here. | ||
| That you naturally look through the turn. | ||
| And as long as you're not trying to turn into a wall or a cavalcade of shit, but if you're trying to turn into something you love, you actually will turn into something you love. | ||
| In that case, you should probably embrace challenges, right? | ||
| You should probably welcome them because... | ||
| When they happen, they will test you, and then you can figure out whether or not this philosophy is actually... | ||
| Well, I mean, I have been testing, because I've always dealt with difficulty by shielding it, putting it into the music, or putting it into some dark closet somewhere. | ||
| You know what I mean? | ||
| Right. | ||
| Because you're taught to do that, right? | ||
| Yeah. | ||
| Like, gnash your teeth and grin and bear it. | ||
| Or ignore it. | ||
| Ignore it. | ||
| Yeah, like, that's what the rug is for, sweeping stuff under. | ||
| Right. | ||
| Where you're like, oh, really? | ||
| But that feels like building a dam or something. | ||
| When really you're supposed to let that river of fear or whatever go with it, go downstream with it, stop fighting it. | ||
| Yeah. | ||
| Because you dam all that shit up, put it in the corner, bury it behind, and really one day it just, like... | ||
| It gives you a massive bath of you're fucked, that damn breath. | ||
| That whole law of attraction thing is very strange to me because I feel like everybody's trying to describe something that there's some element of truth to, but that it's really complicated. | ||
| And it's not as simple as think it and manifest it. | ||
| There's a lot of discipline involved in that. | ||
| There's a lot of hard work and concentration and thought and doubts and hopes and dreams. | ||
| And there's a lot of other things. | ||
| And then also fortune. | ||
| There's a lot of people... | ||
| I feel like when those – I would never use that for fortune. | ||
| For me, the fortune would be like that your relationships and emotional connections get deeper. | ||
| Yeah. | ||
| Yeah, I don't mean fortunate. | ||
| I mean being fortunate. | ||
| Fortunate, yeah. | ||
| I mean being lucky. | ||
| Like, we're lucky we're here. | ||
| Well, we're blessed we're here. | ||
|
unidentified
|
Yes, yes. | |
| But it's not really lucky. | ||
| And I think that's one of the main things right there is understanding the difference in thought. | ||
| Because ultimately what you're saying, what one is that hard work that you're talking about, and all those things are sort of getting out of your own way and unlearning how to be so doubtful about it all and just say, I'll take something I like, and I'll just think about that for a bit. | ||
| And let that be the first step. | ||
| And then go, keep going down that river, downstream of that idea. | ||
| Getting closer and closer to something you really love. | ||
| Because saying, you know, saying I don't like this water bottle... | ||
| Sucks, but saying, but at least I don't have to drink it, is one step away from that. | ||
| And if you just keep taking those steps away and going down that river, that's the right direction to be going. | ||
| Because focusing on this is like, how's that going to help you? | ||
| God, it's got this blue binding. | ||
| Well, it's certainly not going to help you to think about how fortunate you are. | ||
| Yeah. | ||
| Is it? | ||
|
unidentified
|
Yeah. | |
| I mean, I guess it kind of is. | ||
| It's blocking you. | ||
| Well, it's blocking you from feeling fortunate, but saying at least I don't have to drink them every day is turning the right direction and heading towards how fortunate you are. | ||
| And if you keep taking those little steps, then soon you get to like, I feel fortunate to be here. | ||
| I feel fortunate I don't have to think about this bottle of water all the time. | ||
| That's quite nice. | ||
| Genuine gratitude. | ||
| Also, it clears your mind if you're thinking about positive things and working towards those things. | ||
| It clears your mind of a lot of the natural traps that we set for each other. | ||
| Yeah, dumb nuts baggage. | ||
| Those hurdles we make are tailor-made because they're made by you for you. | ||
| Right, right. | ||
| How could they not work? | ||
| Yeah, they highlight your actual real insecurities and fears that you know you have. | ||
| Absolutely, and you go... | ||
| This is sure to trap someone because look, and then you're in it because you made it for you. | ||
| It's like, yeah, to me, it's trap me. | ||
| And I think what I like about what I heard her saying is that because it came from no context whatsoever and I just heard the words… It said, can you get out of your own way? | ||
| That's what I would like you to think about first. | ||
| What is that? | ||
| There's an ancient tale, a tale of two wolves, meaning how to live your life. | ||
| Yeah, I know it. | ||
| One wolf is filled with fear. | ||
| How does that go? | ||
| My mother just gave it to my kids. | ||
| Really? | ||
| How's it go? | ||
| Paraphrasing. | ||
| You know, she bought this framed thing, like, you know, there are two wolves, and one is anger, and one is, like, love, and they both exist. | ||
| But ultimately, it's like, which one are you going to feed? | ||
|
unidentified
|
Right. | |
| Yeah. | ||
| It's really the – I think I'm correct in saying the ultimate goal is – Yeah, you're paraphrasing, but it's something like that. | ||
| It's the one that survives and succeeds is the one you feed. | ||
| Well, I think the younger Native American says, well, how do I know which one – how do I not let one take over? | ||
| It's like, well, which one are you going to feed ultimately? | ||
| Right. | ||
| Yeah. | ||
| Yeah. | ||
| Well, the more you concentrate on positive things and the less you concentrate on negative things, for sure you're freeing your mind up and you gain the momentum of positive thought and the momentum of living your life with positive thought. | ||
| It becomes easier to do and more rewarding to do. | ||
| But I think it's also necessary to say, I'm not talking about walking around in colopsia like going... | ||
| It's just... | ||
| Like, smile. | ||
| Yeah. | ||
| You know what I mean? | ||
| Being nice and in action. | ||
| You're talking about this. | ||
| You're not talking about this like in some sort of a random... | ||
| Well, it starts with a thought. | ||
| It works into an idea and then manifests itself into like a smile or just... | ||
| It's nice to do something nice and also understand that I'm not talking about walking around like, hi. | ||
| Yeah. | ||
| You know, like, I'm not talking about being some goof-tits, dumb-nuts motherfucker that's... | ||
| What I'm saying is, do something nice and start that way. | ||
| Yeah. | ||
| And leave it at that. | ||
| And I think there's something to, when your thoughts are filled with this, there's just, frankly, less room for me to think about this water, which I dislike. | ||
| Right. | ||
| There's just, frankly, there's less real estate. | ||
| Right. | ||
| You're using your real estate on positive things. | ||
| Yeah. | ||
| And because of the contagion of enjoying it. | ||
| Because things that are positive are essentially what? | ||
| Things I like. | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| I'm enjoying being here. | ||
| So this water doesn't really... | ||
| I don't have real estate for that. | ||
| I've got too much enjoyment to be here, you know? | ||
| And that'll do. | ||
| Now this Esther Hicks thing, how did you get into this? | ||
| Completely by accident, or not. | ||
| Meaning, you know, I... Sometimes things just slam down on the table and say, you've got to be engaged in this at the moment to do it or not. | ||
| And nothing incites a change like that. | ||
| It's sort of a gift, actually. | ||
| It's saying, it's struggle now. | ||
| But if you struggle through this, it's going to get better. | ||
| You know? | ||
| And I love... | ||
| I'm actually really thankful and appreciative of that sort of moment. | ||
| I don't mind the risk of all that. | ||
| That's what it's all about. | ||
| I just was looking through the law of attraction and finding a way to change my thoughts to things I loved. | ||
| And I listened to a couple. | ||
| I was driving, and it just clicked onto hers. | ||
| It auto-played, and there it was. | ||
| And as I said, without any sort of judgment, and I'm the last person that's kind of a joiner or would be accused of being hippy-dippies or whatever kind of like... | ||
| Someone who's scared would say. | ||
| You know what I mean? | ||
| So it just made sense to me. | ||
| Almost the calculus of it all. | ||
| It's a complex problem. | ||
| But get out of your own way. | ||
| Keep it simple. | ||
| Listen. | ||
| But she goes further than that, right? | ||
| She actually talks about your thoughts manifesting reality. | ||
| And she talks about how what you're doing with your thoughts and the way you think and the way you sort of interface with reality is you're creating reality with your mind. | ||
| Right, right. | ||
| And I'm choosing how I want to take that and have that mean something to me. | ||
| So you're finding an application for that in your life. | ||
| And also, I'm within the spectrum of all the things she's talking about. | ||
| I simply am looking for ways to, in my immediate life, with the people that are close to me, how to be more engaged and how to be more engaging myself. | ||
| Because... | ||
| As I said, I've had a lot of troubled times in the last few years because of just feeling lost and not knowing how to deal with that. | ||
| And you always put that in your music. | ||
| But maybe I should be putting it into more than just that too. | ||
| It doesn't negate wanting your music to be truth. | ||
| That's what it's for. | ||
| But also, it should be inspiring to point that in other directions too. | ||
| Are you bringing this to the band? | ||
| Like if you said, hey guys, listen to this channel here, lady? | ||
| No, no. | ||
| No, because, I mean, I'm surprised I'm sort of revealing it here. | ||
| Because I'm not a disciple of anything. | ||
| Yeah, but I don't think there's anything wrong with it, honestly. | ||
| Because, I mean, I've listened to it, too. | ||
| A buddy of mine was really into it, and he turned me on to it, and I listened to it, and I said, okay, there's a lot of wacky shit going on here. | ||
| I think she's channeling a thousand-year-old person, something like that. | ||
| Yeah, Gary. | ||
| Abraham, right? | ||
| I think she's supposedly channeling some ancient person. | ||
| Absolutely, yeah. | ||
| Forget all that. | ||
| The words she's saying resonate. | ||
| And they're also sort of like consistent across this thing. | ||
| And as I said before, I'm mining in a specific vein of like, okay, the people I care about most... | ||
| How do we all grow right at each other? | ||
| And how do we do that? | ||
| Because that is the goal. | ||
| The goal is to be alone. | ||
| And it's also, whether it's wacky or not, look, there's a lot of wacky shit in religion, but obviously a lot of people find some great meaning in it. | ||
| The world is weird and complicated. | ||
| Yeah, absolutely. | ||
| Sometimes you can get real wisdom from shit that sounds like nonsense. | ||
| Well, if you reserve the right to be surprised by life. | ||
| To have an open mind, you certainly have to unlock the door and open that fucker. | ||
| That's a great way of looking at it. | ||
| Reserve the right to be surprised by life. | ||
| That is my goal in general in life. | ||
| And also now it's my mission because it's a bit like when I used to mess around with illegals, like legal sub things like that. | ||
| Drugs? | ||
| Oh, I suppose those are in there too, yeah. | ||
| What did you mean though? | ||
| You said illegals. | ||
| I meant that wrapped in other stuff so I didn't have to just say that. | ||
| Oh, okay. | ||
| Oh, but then I think I just gave that away. | ||
| Okay. | ||
| Now, those things are sort of like I tried all that for too long, and that didn't really go anywhere. | ||
| So what else is there? | ||
| What else is going on? | ||
| Right. | ||
| So you try drugs, and then you're like, well, there's got to be something else that's going to fill this void, or give me some peace, or... | ||
| Yeah, or like, I certainly can't stand here. | ||
| You're either growing or dying. | ||
|
unidentified
|
Right. | |
| And since I'm less interested in dying, I'm like, what else? | ||
| What else do we got? | ||
|
unidentified
|
Right. | |
| I mean, I think for a while, you know, my next thing is... | ||
| Well, it doesn't matter. | ||
| I think what's important is when you said, are you bringing this to the guys in the band? | ||
| I was just about to say yes until you said, are you telling her about this lady? | ||
| Because to me... | ||
| She's less important. | ||
| Yeah, I'm like, oh my god. | ||
| Because I think I've always looked at music this way where it's like locks. | ||
| They have these concentric circles. | ||
| And at one point, they all line up. | ||
| And you can see through the door to the other side. | ||
| And once you've seen it, you can't unsee that. | ||
| If I have a song and those concentric circles line up, it almost feels painful or criminal not to go to the other side when you know it gets so much better there. | ||
| And I feel like what I've been kind of learning is I also should apply the same understanding to the people I care about. | ||
| If there's a way for us to have something more meaningful, that's all that being meaningful is. | ||
| Like money is green paper. | ||
| You know, these are like it's fun to have collect things, but who cares? | ||
| It's the relationships you have. | ||
| And, you know, when you have kids and stuff, it's like having, enjoying that shit, even when it's rough, that's the thing to get good at. | ||
| You know what I mean? | ||
| You'll have plenty of time to die all alone as you were, you know, later. | ||
| You know what I mean? | ||
| And so I feel like That's what I'm kind of getting from that, from what she's saying. | ||
| And so that works just fine. | ||
| Yeah. | ||
| Well, if it works, if it works, use it, right? | ||
| It's not exclusively that either, you know? | ||
| It's just like... | ||
| It's a tool. | ||
| Yeah, it's one of the tools that I would use in every situation is situational. | ||
| And so I feel like what's great is to have a bunch of tools and not pretend to know. | ||
| I try to ask this to as many musicians as possible, but how do you guys create music? | ||
| Do you write stuff out and then come to the band? | ||
| Do some of the guys bring their own ideas for a beat or for a concept? | ||
| Well, you know, I like the randomness of it all. | ||
| And again, I love collaboration. | ||
| I've never done anything just me all by myself. | ||
| There are times when you make a request of people you play with where you're like, I hear all of this. | ||
| Can we just try that first? | ||
|
unidentified
|
Yeah. | |
| Because, and I like to do that when someone says that in return. | ||
| If they're like, sometimes you hear everything all at once. | ||
| And that is a gift. | ||
| And you kind of don't want to mess with that. | ||
| You want to at least start from that point. | ||
| Because if someone does have an idea, at least they're starting from understanding how this is. | ||
| So their idea, if they have one, is rooted in this instead of being kind of arbitrary. | ||
| You know? | ||
| Does that make sense? | ||
| And then, so... | ||
| But it's great to hear that and also be asked to kind of be a soldier sometimes. | ||
| Sure, I'll play boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom. | ||
| Because I'd love to hear all these puzzle pieces together too. | ||
| Right, right, right. | ||
| So you respect their idea, their vision, whatever it is. | ||
| You're just trying to help them realize it? | ||
| Yeah, sometimes it's like that, and sometimes I'm requesting that, and there's a way to communicate that that sounds exciting. | ||
| And you should, because it's a shame to be misunderstood in that moment, when really what you're saying is, oh my god, I have this idea, can we try it just like this for a start? | ||
| And once you're emerged in this understanding, your ideas… To better it will be based in understanding this. | ||
| You guys are very unique in that you don't sound like anybody else. | ||
| But that's the point. | ||
| Yeah, it is the point. | ||
| In fact, I always looked at that like, well, that's the minimum obligation, right? | ||
| Is to not, you know... | ||
| Not sound like other folks. | ||
| Yeah. | ||
| Men Without Hats 2. You know, it's like, what's the point? | ||
| You already have that. | ||
| You can dance if you want to. | ||
| I love that song. | ||
| It's a great song. | ||
| Yeah, it's great because it's sort of a challenge. | ||
| Yeah. | ||
| You can leave your friends behind. | ||
|
unidentified
|
Yeah. | |
| You're like, what the fuck? | ||
| Why would I... If they don't dance to no friends of mine. | ||
| Yeah, like, sort of like drawing a dance line in the sand, you know? | ||
| It's a great song. | ||
| It is. | ||
| But also, those are the kind of two ends of the spectrum, right? | ||
| Mm-hmm. | ||
| Hearing someone's honestly and explaining yours honestly and asking for help to do that. | ||
| Well, your stuff is not just unique. | ||
| It's unique in itself. | ||
| Like, your songs are different. | ||
| Each song is different than the other songs. | ||
| There's not like a Queens of the Stone Age sound. | ||
| Well, I think there's a band called Ween that I love so much. | ||
| And early on, my first band, Caius, that was trying to sound like itself but singularly. | ||
| Mm-hmm. | ||
| And I was feeling painted in a corner a little bit by the fact that it had to be in this mode. | ||
| And we toured with this band, Ween, who would play anything. | ||
| Do you know who they are? | ||
| They're so brilliant. | ||
| And they'd play, Mr. Would You Please Help My Pony? | ||
| Where you're like, what? | ||
| What the fuck is that about? | ||
| And then they'd play Riders on the Storm for 28 minutes. | ||
| And it was fucking incredible. | ||
| They never soundchecked it. | ||
| You're like, you just know this? | ||
|
unidentified
|
Whoa. | |
| And what they were was free. | ||
| And then they did a country record with all these professional hired gun country. | ||
| And it sounded incredible because they were like, because we can do that. | ||
| Why can't we? | ||
| That manifesting what you love, period. | ||
| And so I just, from being around them and seeing things like that and then starting this Desert Sessions project, which is what I just put out, Recently, where it's just collaboration and it could be anything because it's not all you, you know, but yet it's you. | ||
| And so that's how Queen started, was like, what if you just played anything you thought was good, no matter what it was, and you let every song... | ||
| I had a friend of mine once say to me, you know, not every song can be your best. | ||
| And I just looked at him and I was like, why? | ||
| What is that? | ||
| I don't even know why that has to be a possibility. | ||
| Why not? | ||
| What if you see through those spinning locks through to the other side and a song could go there? | ||
| You should take it there, right? | ||
| I mean, that's what we're supposed to do. | ||
| Yeah. | ||
| It's a weird pessimistic attitude, isn't it? | ||
| Like, not every song can be your best. | ||
| And it was like, oh, I see you're talking about, are you talking about yours? | ||
| Talking about yours. | ||
| Yeah, I see. | ||
| Do you remember how before the internet, there was a lot of bands that would put out a few hits on an album, but then the rest of the album would almost feel like filler. | ||
| Again, that's another thing where it seemed to me at one point, my hope was that, okay, in the spirit of trying to do something different, I call it On Supply, On Demand. | ||
| You know it's out there because it's out there. | ||
| What's not out there that would be interesting to hear? | ||
| Tell me what you don't think we need and let's start there, right? | ||
| For just trying to fill in the gaps and beautifully fill in the gaps of what's not represented. | ||
| And thereby having this limitless ability to play whatever you thought was right in the moment, as long as it was honest, then you'd be fine, you know? | ||
| And so that's always been... | ||
| I just... | ||
| I feel like it would be fun to try that. | ||
| So that's why it so jumps around stylistically. | ||
| But I do think people listen to whatever they think is good, and they don't care about genre. | ||
| Unless you're a teenager, when that's important to you, or that certainly was to me... | ||
| Why is genre important? | ||
| It seems like if you work at a record store, it's important because you're filing these under nose flute and the key of F. Yeah, I don't give a fuck about genre. | ||
| I give a fuck about good. | ||
| I mean, I listen to country, I listen to metal. | ||
| You have a taste vein, and if something runs over it with its truck tire, you go, hey, fuck, I'm in. | ||
| I'd love to lick that again. | ||
| I like a song where you can tell the band made something that they like. | ||
| Yeah. | ||
| You know what I mean? | ||
| Well, this is another thing early on when we left the desert and my first band, Caius, and we were so proud. | ||
| Like, we knew we sounded different. | ||
| We thought, this is cool. | ||
| And so you make records you love and you listen to them all the time because... | ||
| Because it's like, you're supposed to make your favorite music. | ||
| I mean, I was 15 years old. | ||
| What else was I supposed to make? | ||
| I can't wait to make the music I hate the most. | ||
| It doesn't make sense. | ||
|
unidentified
|
Right. | |
| I just want to do weddings. | ||
| So you tour with these bands, and you're like, do you guys listen to your records? | ||
| Because we would be in the car on tour listening to our records and then play our records. | ||
| And they'd be like, I fucking hate that thing. | ||
| And I'd be like... | ||
| No, I said, do you listen to your own music? | ||
| Like, I couldn't understand. | ||
| What's wrong with playing your favorite thing you always wanted to play, but it's not out there, so you create it? | ||
| It seems like that's the job, actually. | ||
| And how can you love my stuff if I don't? | ||
| Right, right, right. | ||
| What are the fucking chances, like, 0.0? | ||
| Well, it would be such a prison. | ||
| Imagine if you created a genre that was super popular and people really loved it, but you fucking hated it. | ||
|
unidentified
|
I did. | |
| My first band, this really wonderful thing happened. | ||
| The fans took over and they own it. | ||
| Because we stopped. | ||
| And so they took it over. | ||
| The fans kept it alive. | ||
| And some people gave it a name, Stoner Rock. | ||
| But to me, Stoner Rock was like Aussie when I was a kid. | ||
| Like the Aussie baseball shirts. | ||
| I wanted to be a punk rocker. | ||
| And it's like, those stoners over there. | ||
| So Stoner Rock, I was like, no, no. | ||
| And plus, I don't want to wear that. | ||
| I can appreciate anything that I like, so we don't need to call it anything, because I'll just like whatever I like. | ||
| Right, right, right. | ||
| You know, you could call it Jazz Rabbit, that's the style of music, and be like... | ||
| Fucking fantastic, but I just like what I like in that anyways. | ||
| Yeah, it's just a noise you're making to define it. | ||
| With your face. | ||
| Yeah. | ||
| It's Charlie Brown's teacher. | ||
| Oh, I love that style, actually. | ||
| It's like, who cares? | ||
| Like, I like what I like. | ||
| And, you know, you get flack for that stuff, for not, like, no, sit here, wear this. | ||
| And I understand, too, because it's good to feel part of something. | ||
| When you say get flack for it, how much do you pay attention to criticism? | ||
| Zero. | ||
| Good for you. | ||
| I haven't read about myself in over a decade. | ||
| That's amazing. | ||
| Way to go. | ||
| Well, the first time I did, I remember when I got a computer and I was like, sometimes I feel like such a dumb nuts. | ||
| I'm like, oh, you can talk to someone? | ||
| I'm like, Who's like into your tunes? | ||
| And I did and you know sometimes people like to bond over what they don't like and like and also they like to pretend it makes them feel better to pretend they have intimate knowledge of you Joe Rogan. | ||
| Well the thing about Joe is you see Yeah, what he does. | ||
| And it's got to be negative. | ||
| Always. | ||
| Oh, because it suggests that we're close enough to, I know his secrets. | ||
| You know, he puts on a good face for you, but I know his fucking Joe's secrets, man. | ||
| So the thing about Joe is, that's kind of an insecurity. | ||
| And so when I went on, I was like, oh, no, no, actually I'm doing this. | ||
| And they said, you're not the real the. | ||
| And I just let it be known, yes, I fucking am. | ||
| And then all of a sudden it was like, hey, Josh, how's it going? | ||
| And I thought, oh, my God, this is – what am I going to do, go door to door and correct people's perception? | ||
| Actually, what happened in 1742? | ||
| It's a waste of my time. | ||
| Well, you can see some people who don't have, like, a wise sort of perspective on the Internet getting wrapped up and doing just that. | ||
| Because they – See them responding to criticism and going after people and – You know what? | ||
| It's because they don't want to be blamed. | ||
| They don't want to be misunderstood. | ||
| I totally understand. | ||
| My wife has been one of my biggest inspirations ever. | ||
| And that thing that I really learned from her is like... | ||
| You can't blame... | ||
| When you blame someone, it's like saying to them... | ||
| When you point the finger, it's like saying, you're guilty! | ||
| Before you even have a chance to talk and say your perspective. | ||
| Nobody likes that. | ||
| You know what I mean? | ||
| Nobody wants to start by being blamed for something. | ||
| It makes you shut off immediately. | ||
| And now you have these disengaged people blaming each other and being mean to each other. | ||
| And again, if we're talking about doing what you like, I don't like that. | ||
| And I also have friends I really love that engage in that quite a bit, and it's a trouble spot for them. | ||
| And so instead of doing it myself, I try to look at that and say, ooh, I don't want that. | ||
| I love my music, and I try to make it as real as I can. | ||
| And I try to make it as different as I can. | ||
| And I accept if you don't like it. | ||
| But if you have a vinyl or if you have a CD still... | ||
| I love it. | ||
| If you don't, it's still a hell of a coaster, right? | ||
| It's not bad. | ||
| You know, I mean, it could be a worse coaster. | ||
| The art looks cool. | ||
| You know, I need to be okay with that and accept that shit. | ||
| Because otherwise, what I'm... | ||
| Please like it! | ||
| You're not looking at that review, right? | ||
| That reviewer is wrong! | ||
| You're dealing with unmanageable numbers, too, right? | ||
| Because you'd be interacting with literally thousands of people every day and trying to correct them, and then once people find out that all they have to do to get your attention is to be negative... | ||
| I've had moments of that before because I really have always cared about fairness and justice. | ||
| But especially in the last bunch of years, it's like I have to be okay with what I did for me. | ||
| And people don't really know what the fuck they're talking about and what really goes on. | ||
| But if my expectation is that I'm going to take everyone to a spot where this is what actually happened... | ||
| Right. | ||
| I'll be sad and disappointed. | ||
| You're also engaging people that don't want you to be a good guy. | ||
| Yeah. | ||
| So they want to go, fuck you, you just want us to think that. | ||
| Of course. | ||
| Yeah. | ||
| Of course. | ||
| And I'm actually kind of investing time and energy into like… No, but yeah, but no. | ||
| Right. | ||
| You're investing time and energy also into your persona or your public perception of you. | ||
| I don't have a persona. | ||
| I've had many times where, because of being, like, feeling... | ||
| Strange about things or angry about things or this. | ||
| I take them out on stage sometimes because I grew up watching bands like Iggy and all this stuff where sometimes you go see a band and it's scary and it's wonderful to be scared by it. | ||
| This music is like, whoa! | ||
| And everything that comes with it, it's so fucking real. | ||
| Look out! | ||
| It can actually drive you backwards. | ||
| That's exhilarating. | ||
| And also on stage, that's the place for that. | ||
| Out in real life, doing that while you're at the ATM, not so much. | ||
| You know what I mean? | ||
| But to cut your tethers loose and go, I don't know what I'm going to do tonight, which I have done many times and walked out there, but I will embody the emotion that I'm feeling right now. | ||
| And you can go ahead and take that shit to the ATM and deposit that because that's what's going to happen. | ||
| The problem is if you're not doing well, then that's how that works. | ||
| Yeah, you're going to feel that when you get out there. | ||
| But it is supposed to... | ||
| Well, I'm willing to do anything up there. | ||
| I don't know why, because I feel like that's the place. | ||
| That's why. | ||
| Because that's the place for it. | ||
| That's the art of it. | ||
| Well, it's also what you said that you enjoy the randomness of it. | ||
| Yeah. | ||
| I mean, I think that you're talking about manifesting. | ||
| If you go up there with that spirit, enjoying the randomness of it, then sometimes the spirit will move you in a direction that you didn't even expect, right? | ||
| Well, yeah, because you feel one with your actions. | ||
| So in the now, you have no choice. | ||
|
unidentified
|
Yeah. | |
| And preparation, it's too late. | ||
| It's already done. | ||
| The preparation is over. | ||
| It's like a fight. | ||
| You're not going to learn anything extra until it's over. | ||
| You have to be in the moment there. | ||
| And I enjoy that because I enjoy that it's too late. | ||
| I love insurmountable odds. | ||
| That's all I need to do something is tell me, like, there's no way you're going to make it. | ||
|
unidentified
|
And be like, That sounds great. | |
| Why do we have to worry? | ||
| We're not going to make it. | ||
| You know what I mean? | ||
| There's something to that. | ||
| But I also realized how... | ||
| I guess the manifestation aspect of this has gotten important to me again because it's what I did in the beginning. | ||
| And as I have these moments of being lost and feeling like I don't understand what's going on and wondering why, when really it's because of me, that the best thing I can do – that's why the records have that the best thing I can do – that's why the records have gotten so dark because that's all I'm seeing and it has So it is real, dark, you know? | ||
| But there's a beauty in that, too. | ||
| But I don't want to make shit my new normal. | ||
| My dad's always like, don't get accustomed to shit. | ||
| You know? | ||
| Because it's like, once you get used to that, you're like, this is normal, right? | ||
| Is everyone cool? | ||
| And people you love end up going, no! | ||
|
unidentified
|
No! | |
| It's not, you know? | ||
| And you go, wait a minute, but I'm so used to it. | ||
| I thought you were going to... | ||
| Hop in this jacuzzi with me. | ||
| The water's great. | ||
|
unidentified
|
It's shit. | |
| Shit water. | ||
| And so I'm really, like, I'm so thankful to have, like, a great group of a family of artists that I get to collaborate with. | ||
| And, like, some great kids. | ||
| I got three of them. | ||
| Every time I go in a room, there's another one of them in there. | ||
| You know, there's so many fucking kids. | ||
| And my wife, who, like... | ||
| Really has the courage to help... | ||
| Has had the courage her whole life to go... | ||
| It's time to go. | ||
| It's time to do this. | ||
| Someone that has really inspired me to have a partnership like that is fucking rad. | ||
| Talking about someone that... | ||
| Has had a really rough beginning. | ||
| But never blamed. | ||
| Doesn't spend pointing the finger and blaming. | ||
| Because shit goes nowhere. | ||
| Some of the most interesting people in the world are the ones who had a rough beginning. | ||
| Yeah, because of the... | ||
| They develop coping mechanisms. | ||
| The pinballing off awful and getting to... | ||
| Yeah, they develop strength. | ||
| Well, and that's the other thing, is the strength. | ||
| The strength to go... | ||
| Right now! | ||
| And that strength is so... | ||
| Inspiring for me, it gives me strength through her. | ||
| Yeah, that's beautiful. | ||
| One of the things that I always like to talk to people that are famous about, just that word, you're famous. | ||
| I don't know if you know, you're famous. | ||
| It's a weird thing, right? | ||
| Being famous is a strange thing. | ||
| No one teaches you how to handle that. | ||
| No one teaches you what to do with that. | ||
| And no advice will help. | ||
| No advice. | ||
| No, because your experience is so... | ||
| Unique. | ||
| Yeah. | ||
| Yeah. | ||
| And it's a very difficult waters. | ||
| Yeah. | ||
| Do you enjoy that notoriety part of it at all? | ||
| It's fucking weird. | ||
| It's weird. | ||
| I find it very difficult. | ||
| It's hard to swim. | ||
| Yeah. | ||
|
unidentified
|
It's hard to stay in the lane. | |
| And, you know, I think of the King of Comedy... | ||
| I was like, you know that movie? | ||
| De Niro, yeah. | ||
| Yeah, where it's like Jerry Lewis is walking in and she says, my son loves you. | ||
| Can I get an autograph? | ||
| And he says, I'm in a hurry. | ||
| And she goes, I hope you get cancer! | ||
| Yeah. | ||
| Like, it's unusual to deal with that twist. | ||
| Yes, yes. | ||
| And also, so much of the way I was raised to be private and things like that are looked at as like a diss now. | ||
| Or like, if someone says something bad about you, if you don't say something back... | ||
| You're a pussy. | ||
| Yeah, well, or that, like, when you don't... | ||
| People... | ||
| By not... | ||
| You're not... | ||
| You don't score any points by not defending yourself to the hilt in front of everybody. | ||
| But I just wasn't raised that way. | ||
| I was raised to be like, that's what you... | ||
| Well, there's also an issue in this day and age. | ||
| If you defend yourself against every single piece of criticism, you'll be lost. | ||
| You will not ever have a life. | ||
| There's numbers. | ||
| Again, when they know that you'll engage, you manifest them to come back for more. | ||
| Yes, sure. | ||
| This is the epitome of what we're talking about here. | ||
| And being able to recognize that, just have that understanding of where it clicks and you go, I can't focus on those things. | ||
| I have a beautiful daughter and two boys. | ||
| I have a strong, lovely wife who's an incredible artist. | ||
| I have this family of people. | ||
| How about them instead? | ||
| You know what I mean? | ||
| And not fucking Gary, who lives in Gary. | ||
| You know what I mean? | ||
| It's just Gary on Gary crime out there. | ||
| You know? | ||
| Yeah. | ||
| It's a weird lesson to learn, too, that in this day and age, this world is very different than it was 20, 30 years ago. | ||
| The access that people have to you. | ||
| Didn't you just grow up riding your bike around and be down at dinner? | ||
| Like, be back when the sun goes down. | ||
| Right. | ||
| Yeah. | ||
| And you're like, oh, you mean in forever? | ||
| It seemed like the days were so long. | ||
| And now these kids are like... | ||
| I know kids that would prefer to play a basketball game than go outside and play a basketball game. | ||
| And I always think... | ||
| I think you fucked up. | ||
| That's fucked up. | ||
| It's supposed to be the other way around. | ||
| The video game is supposed to be not as interesting. | ||
| And then you look at the commercial like, we're bringing people together. | ||
| Synergy. | ||
| And all this shit where you're like, fuck you, Facebook. | ||
| They're trying to sell bringing people together. | ||
| Exactly. | ||
| The entire world in one net. | ||
| I have three kids as well, and it's insanely hard, I think, to be a child today. | ||
| I think to be a young adult today, too. | ||
| I mean, the pressures that people have. | ||
| There's a book Jonathan Haidt wrote called The Coddling of the American Mind that Discusses the issue that kids are having today with cell phones and depression because of social media use and that especially girls. | ||
| So many girls are cutting themselves and self-harm, suicide's way up. | ||
| And there's a direct correlation between the invention of the smartphone and social media and all these things take place. | ||
| Such a dick move to call it a smartphone, too. | ||
| It is a dick move! | ||
| Because it's presupposing if you disagree, you must be some kind of dumb nuts. | ||
|
unidentified
|
That's so true! | |
| I'm sorry, tell me why you don't like a smartphone. | ||
| Right, that's so true. | ||
| Yeah, well I know a lot of smart people that have switched over to smartphones. | ||
| I've noticed you have this shit in here, is it? | ||
| Oh yeah, fuck yeah. | ||
| Is that okay? | ||
| Yeah, because I'm starting to have a little knickfitted. | ||
| No worries, man. | ||
| We got a little filtration system. | ||
| We can kick in a little. | ||
| I went to school with filtration. | ||
| Nice guy. | ||
| Have you tried at all to kick those things? | ||
| I did, but every time I have some type of terrible event, I guess I get my excuse back. | ||
| Right. | ||
| Yeah, it gives you something. | ||
| Come on, I'm always your friend. | ||
| Josh, come get a hug. | ||
| I'm the only thing that will hurt you later. | ||
| Is that a later? | ||
| What is later? | ||
| Is that even real, man? | ||
| It's taking two minutes off your life. | ||
| Those are the end ones. | ||
| Those ones suck. | ||
| Come on, bro. | ||
| Now. | ||
|
unidentified
|
Camel. | |
| Ride the camel. | ||
| Well, and also, it blows my mind that someone goes to work at Philip Morris and has a good parking spot and the birds are singing. | ||
|
unidentified
|
I know. | |
| And they're like, oh, hey, Sheila. | ||
| Hey, Gary. | ||
| And they go in and they're like, I want to talk to you about this high school campaign in Burma for sickies. | ||
| Like, are you fucking... | ||
| It's sort of akin to like... | ||
| One day I had this thought, which many people have had before me and many after, but realizing it myself that there's these brilliant minds that make these machines and craft the whole thing and put a button that a moron can touch. | ||
| Yes! | ||
| Boom! | ||
| A nuclear bomb goes off. | ||
| Who's the moron now? | ||
| Right. | ||
| You made all that shit and then you made it easy for this mouth breather to touch button. | ||
| It should have been complex calculus involved in pressing the button. | ||
| Certainly the Macarena would have to be face activated so that you kind of look like a dick. | ||
| Sure, if you want to blow this thing up, you've got to kind of embarrass yourself. | ||
| You know what I mean? | ||
| That's a great idea, actually. | ||
| You know? | ||
| That's actually a very good idea. | ||
| Well, a friend of mine sold a really killer house recently. | ||
| She's a real estate agent. | ||
| She sold this really killer house to this guy who's in the tobacco industry. | ||
| And we were talking about it. | ||
| I was like, wow, that guy's fucking... | ||
| Murdering people. | ||
| And just like, see you kids later! | ||
| Buying a badass house and slowly taking away people's health. | ||
| But I'm in favor of people being able to do it. | ||
| I mean, on both sides. | ||
| Sell it and buy it. | ||
| That's what's so strange is that somehow there's something inside me that hates rules so much. | ||
| Because before we wrote rules down, there was the sort of organic rules of like... | ||
| You know, living with people. | ||
| Once there's more than a few huts, people are like, alright, no yelling after two in the morning. | ||
| Do we all want that? | ||
| And no one fucks Gary. | ||
| He's eight. | ||
| You know what I mean? | ||
| Don't fuck Gary. | ||
| And then as more people come, those rules organically change and the old ones fade away. | ||
| But for me today, it's like, don't walk on the grass. | ||
| It's like, really the best part of this area? | ||
| What do you think grass is for, Gary? | ||
| You... | ||
| Don't walk in the grass is one of the dumbest things you could say. | ||
| What are you talking about, man? | ||
| I don't get it. | ||
| And also, you don't care. | ||
| So many times you see somebody and they're guarding a doorway no one will ever go in or out of anyways. | ||
| And they're just sitting there. | ||
| And that's when I'm like, do you want a water? | ||
| Do you want a Dr. Pepper? | ||
| That shit is great. | ||
| What do you want? | ||
| Because I think... | ||
| You don't care about this door. | ||
| I don't either. | ||
| Somebody does and it's worth $10 an hour. | ||
| Right, someone does that's never there. | ||
| That's why they care about it, because they don't know shit about that door. | ||
| Sometimes, yeah. | ||
| So I abhor things that make no sense like that. | ||
| I'll tell you an example of many times, you know, you record late into the night. | ||
| And you come to, at three in the morning, in the streets of the valley, you come to a stoplight, and there's nobody coming in any direction. | ||
| And then you're looking at the light red, there's no one. | ||
| I just go after I know it's safe because the function for this thing is now gone. | ||
| Right. | ||
| What am I supposed to listen? | ||
| I'm born to listen to the color reds commands. | ||
| I know, but then there might be like some fucking cop hiding. | ||
| There has been. | ||
| I've been pulled over four times. | ||
| Really? | ||
| Yeah. | ||
| What do you say? | ||
| Well, I said the same thing. | ||
| We're just two guys in the middle of the night who want to go home. | ||
| It was safe to go. | ||
| I shouldn't have went and I won't do it again. | ||
| The cop let you go? | ||
| Every time. | ||
| And plus he had to go through it to even catch up to me. | ||
| Right. | ||
| You know what I mean? | ||
| What are we doing here? | ||
| You know you don't care. | ||
| I don't care. | ||
| I just was trying to go. | ||
| I just want to go home. | ||
| Right. | ||
| And I won't. | ||
| I'm sorry. | ||
| You're a line stepper, Josh. | ||
| You're smoking cigarettes. | ||
| You're a rebel. | ||
| You're gold tooth and you're fucking tattoos and you're knuckles. | ||
| You're a goddamn line stepper. | ||
| You should talk. | ||
| I know. | ||
| It takes one to know one, sir. | ||
| I understand line steppers. | ||
| But I also understand that we can coexist and be really wonderful to each other and omit something that we both agree. | ||
| If we both say it's stupid and we still do it, the line is better. | ||
| Right, exactly. | ||
| Aren't you sort of, in a minimum style, obliged to even consider stepping out? | ||
| Yeah. | ||
| We need less rules. | ||
| What if it wasn't a line at all and it just like a piece of wood was laying there and then someone picked it up and someone was like, is that a line? | ||
| What if you're accidentally in a line that has no business being formed? | ||
| I think you owe it to yourself to at least take the minute and check that out. | ||
| If they came out with cancerless cigarettes that were real similar, that were just like right next to a cell, like almost indistinct, like that meatless burger. | ||
| I haven't had one of those. | ||
| Have you had one of those, Jamie? | ||
| Holy shit, man. | ||
| Have you had one? | ||
| Tacos with it, yeah. | ||
| You haven't had an Impossible? | ||
| No. | ||
| How is it? | ||
| It's probable. | ||
| It's so good. | ||
| Really? | ||
| Oh my fucking god, it's so good. | ||
| So it tastes like a burger. | ||
| Who cares? | ||
| It tastes real good. | ||
| Whatever it is, it's good. | ||
| I always thought the dumbest thing is fake bacon because you have no chance. | ||
| You should just call it Lincoln or something else away from bacon. | ||
| It can just be its own thing. | ||
| You don't have to be like, don't let bacon hear you. | ||
| But we're close. | ||
| Bacon's like, heard that! | ||
| No, you're not! | ||
|
unidentified
|
They haven't figured that out yet, but they have figured out burgers. | |
| Yes. | ||
| That impossible sausage, I just horked that down like it's the... | ||
| What about an impossible cigarette? | ||
| I never even bite it. | ||
| Can they have an impossible cigarette? | ||
| If they did, though, my thought was people would still, like if they were really stressed out, they would want the real thing. | ||
| Because part of what they want is that, fuck you, I'm just gonna fucking smoke a cigarette. | ||
| You know, that's part of it. | ||
| It's kind of like chocolate in its own way. | ||
| It's like a grocer chocolate, I suppose. | ||
| But it's that, the thing you're doing you know is bad, but you're doing it, and part of you're doing it, it's like there's an acceptance. | ||
| Well, I blame Matt Dillon for my case, ultimately. | ||
| Matt Dillon did it? | ||
| Really? | ||
| Yeah, Over the Edge, you know, The Outsiders, Rumblefish. | ||
| Stay gold, Ponyboy. | ||
| It's like Young Tufts. | ||
| Yeah. | ||
| You know, like... | ||
| Whatever happened to that guy, Matt Dillon? | ||
| He still does all kinds of shit. | ||
| I haven't seen him in anything. | ||
| You're not looking. | ||
| I'm not looking. | ||
| There he is. | ||
| Look at him. | ||
| Looks so fucking cool. | ||
| Dude, you don't want to fucking do that shit when you're like, I was like 12 years old, 11 years old. | ||
| Yeah, hanging out of his mouth. | ||
| Looks so cool. | ||
| I'm 11 and I'm like, what's cool? | ||
| Well, that shit is pretty cool. | ||
| Pretty fucking cool. | ||
| Look at him. | ||
| Cigarette, motorcycle jacket, big smile, beautiful face. | ||
|
unidentified
|
Woo! | |
| Oh, you're talking about Matt Taylor or me? | ||
| Both of you. | ||
| But him on the screen, you right here. | ||
| I'm just kidding. | ||
| Cigarettes are a weird one, though, right? | ||
| But I think they should be available. | ||
| 100%. | ||
| Just like I think whiskey should be available. | ||
| Just like I think pot should. | ||
| I put a post on Instagram today because Joe Biden thinks that pot's a gateway drug and he wants to keep it illegal. | ||
| Spoken like someone that doesn't ever smoke pot. | ||
| You know what it's a gateway to? | ||
| It's a gateway to like Doritos dust on your chest. | ||
| Well, there's people that say it's a gateway for them, but if you were a person who does meth, Because you smoke pot. | ||
| You were probably going to do meth anyway. | ||
| You probably needed meth in your life. | ||
| Well, I certainly think that at the end of the day, if they took that money and then put it into less fearful things that work, like talking about what drugs do and what you might be masking by taking them. | ||
| Yes. | ||
| Having an honest dialogue? | ||
| Yeah. | ||
| Everything seems like a dishonest dialogue. | ||
| Like, we're going to have a war on terror. | ||
| We're going to have a war on drugs. | ||
| We're going to have a war on this. | ||
| And it's like, can we start with a talk about it first? | ||
| No, I have to go right to war. | ||
| Have you ever listened to Gabor Mate? | ||
| I think that's how you say his name. | ||
| He's a doctor who speaks about drugs and addiction, and his take on it is that all addiction, almost all of it, the origin of it is trauma. | ||
| For sure. | ||
| Yeah, childhood trauma, abuse, things that have happened to you that were terrible, and that led to you trying to escape through addiction. | ||
| That's what I'm saying, blocking, making a dam, because you think that'll stop whatever, the river of pain, that you should just be walking along as it's a trickle and walking through. | ||
| And this is the current state of the art, you know, or the state of the science and the studies in terms of like psychologists and people that do counseling that understand human beings that have addiction problems. | ||
| So that's one of the more offensive things about someone like Joe Biden running for president saying that. | ||
| It's like, no, you haven't even done the work. | ||
| That's a photo op moment. | ||
| Like, yeah. | ||
| And in fact, because I've had so much experience with various things, I got more knowledge about it than he does. | ||
| Of course. | ||
| Because I've been through it. | ||
| Yeah. | ||
| And I understand why I would do those things. | ||
| And I understand how, essentially, it's just a Band-Aid over an amputee wound. | ||
| And what's really more important is to be vulnerable enough to engage somebody. | ||
| That word vulnerable, I was reading this book, it's called Darren Greatly by Brene Brommer or something. | ||
| It's really wonderful. | ||
| And even when the etymology of vulnerable, the word vulnerable, which is a place that's lacking armor. | ||
| And identifying that is a strength because you know where that spot is. | ||
| And that weakness is identifying that spot and doing nothing. | ||
|
unidentified
|
Right. | |
| And so they're almost each a lens of the same situation, but just going in opposite directions. | ||
| Vulnerability is the opposite of weakness. | ||
| And I think you have to take a chance on people, and you have to take a chance on yourself, and not just be like, they're bad! | ||
| As if they themselves, it's sort of like I blame the devil for the things I do. | ||
| It wasn't me, it was the devil, you know? | ||
| How can you stand over a mushroom on the ground and be like, you're illegal! | ||
| Say you saw me do that alone and point at a mushroom and you were like 40 feet away, like you would go, the fuck is going on over there? | ||
| You're illegal! | ||
| I want these picked and taken to my house immediately. | ||
| Well, what's crazy is Paul Stamets, who was on my podcast last week, he's a mycologist, he's a mushroom specialist, and one of the things that he talked about was this one particular area in the Pacific Northwest where psilocybin mushrooms grow, and cops literally wait there, people go to pick them, and then they search the people and pat them down and take the mushrooms from them and arrest them after they plucked something out of the ground. | ||
| Look at our numbers. | ||
| Yeah. | ||
| Like, what a weird service. | ||
| So fucking stupid. | ||
| Go for mushrooms. | ||
| We'll take you to jail for free. | ||
| What's hilarious is calling yourself an officer of the peace and doing that. | ||
| Peace of what? | ||
| Peace of the action. | ||
| Yeah, but I mean, there's so much peace growing out of the ground there. | ||
| You're actually arresting people for seeking peace. | ||
| I find that I don't want to ever get swept away. | ||
| In order to make my point, I have to run something up the flagpole of extreme. | ||
| The modern word I actually like is spectrum, because it feels like a gas tank. | ||
| there's a blend here right that we're looking for and so on this on the subject of of drugs and things like that everything gets run up the flagpole of extreme and put into the same category everything goes to full yeah yeah you know what bad is it's all of this is bad right right and even down to like be good girls and boys where you're like what the fuck does that mean do whatever you say that's bizarre yeah that's not good Well, and why? | ||
| Because you're older than me? | ||
| Your parents fucked before mine did? | ||
| Yeah, exactly. | ||
| Okay, that's a great methodology for listening to somebody. | ||
| Yeah. | ||
| You know, I'm older. | ||
| And it's like... | ||
| And supposed to know more. | ||
| Well, we're also imprisoned by our language to a certain extent, especially with the word drug. | ||
| You know, because the whole time we've been talking, I'm on a drug. | ||
| I'm drinking this coffee, right? | ||
| So this is caffeine, and, you know, you've got your drug there. | ||
| You're smoking cigarettes. | ||
| That's nicotine. | ||
|
unidentified
|
No, I don't. | |
| It's not even a drug, man. | ||
| Let it go. | ||
| But I mean, the concept of drugs. | ||
| Like, if someone sees you at the Starbucks cup, they don't say, oh my god, look at that drug user. | ||
| But that's clearly a drug. | ||
| I mean, caffeine affects you. | ||
| There's a reason why they sell Venti. | ||
| Because people didn't get jacked up enough on a tall. | ||
| A jolt cola. | ||
| Yeah, remember that shit? | ||
| Oh yeah, it's still here. | ||
| Do you remember Redline? | ||
| Remember that stuff? | ||
| No, that's... | ||
| Redline was a thing that people used to... | ||
| It was like a workout drink. | ||
| But people were dropping dead of it. | ||
| What a great name, though. | ||
| Red line. | ||
| Yeah, well, you were fucking Ridley. | ||
| Get the flat line. | ||
| You're hitting that 8,000 RPM. But it's, I think, is more than one serving, one of those little fucking cans, too. | ||
| And nobody reads that shit. | ||
| Of course not. | ||
| But it says four servings per can. | ||
| You're like, what am I, taking a sip and passing it around to my friends? | ||
| Get the fuck out of here. | ||
| I love that that would be a necessity for a good workout, though. | ||
| Oh, well, it'll help. | ||
| Yeah. | ||
| There was some shit that you used to be able to buy that I don't think you could buy anymore called Ripped Fuel. | ||
| I remember one time I took it and went to jiu-jitsu class and I almost had a fucking heart attack. | ||
| I had to pull over to the side. | ||
| I had to sit on the side of the mat. | ||
| I'm like, dude, my heart is pounded on my fucking chest right now. | ||
| It's funny because... | ||
| Those types of supplements, people keep getting caught with tainted things and you go, really? | ||
| Who's making these? | ||
| Does that mean there's also yak hair in there too on accident? | ||
| Well, what it is, a lot of it is coming out of places like China. | ||
| We had an issue with that with my company, Onnit, where we were We sell this thing called AlphaBrain, which is a cognitive-enhancing nootropic. | ||
| It's a bunch of vitamins and nutrients that enhance the way your memory functions. | ||
| And we got it tested by a third party and found a bunch of stuff that was in there that was not supposed to be in there. | ||
| Like just random lunch meat? | ||
| No, extra vitamins and shit. | ||
| But what it is is these companies that create these vats. | ||
| Say if you have a supplement company. | ||
| So they're all in the same bowl. | ||
| Yeah, exactly. | ||
| They don't clean the bowl out. | ||
| That's really what it is. | ||
| That's where a lot of these athletes get caught with trace amounts of steroids and it's just from a tainted supplement. | ||
| You really got to clean your bowls. | ||
| You got to clean those bowls. | ||
| I mean, I don't know how it works. | ||
| I don't know how they clean them, but it happens. | ||
| Apparently, no. | ||
| Yeah. | ||
| In some countries, in some companies, some shitty companies that sell a lot of, you know, they'll have steroids in it or Viagra in it or a bunch of other stuff. | ||
| Yeah. | ||
| You know, you're buying vitamins, you get bonus. | ||
| How are they cleaning that out? | ||
| It's like, they just have to pay two guys to just blow into the thing? | ||
| Yeah, I don't know. | ||
| When it's empty, it's empty. | ||
| I mean, sometimes maybe they don't clean it at all. | ||
| They just dump it out, dump out what's in there, and then pour the next thing, and they don't give a fuck. | ||
| Well, I think, you know, really this whole conversation is very connected. | ||
| It's about the intention and engaging. | ||
|
unidentified
|
And... | |
| Realizing there are no corners to cut. | ||
| Every mountain has a valley next to it. | ||
| That's the way it was formed. | ||
| That's the way it is. | ||
| Your deficiency, wherever that is, is almost like a flag. | ||
| Your talent is right next to it. | ||
| That's a really good way to put it for kids. | ||
| For a kid that can't pay attention in school. | ||
| I want to be a wonderfully engaged father. | ||
| It's something I love and it's something that as they traverse the ages and you have to keep adapting the stuff that worked when they were five don't work no more when they were seven or six. | ||
| When you've only had like 50 months, two or three months, that's a big chunk of those months. | ||
| And I... I think what I love about my wife, too, is that we're both like, how do we do this? | ||
| Engaged in that. | ||
| You're learning as they're learning. | ||
| And that can be fun, too. | ||
|
unidentified
|
Right. | |
| Because, you know, how many times you catch yourself saying, like, getting upset about the perspective of a three-year-old. | ||
| Right. | ||
| Where you're like, but I'm not three. | ||
|
unidentified
|
Right. | |
| Oh, I see why you're upset. | ||
| Because you're three, and so you think the closet actually has a monster. | ||
| Oh, that's cool. | ||
| Right. | ||
| Because I can get my head around that. | ||
| Yeah. | ||
| Let's talk to it. | ||
| Yeah, it's interesting talking to a three-year-old. | ||
| Like, my kids aren't three anymore, but the youngest ones are nine and eleven. | ||
| And I remember when they were three, you'd have these really weird conversations like, monsters aren't real, right? | ||
| And I'm like, well, monsters aren't real in terms of like, The monsters you think, but there's things that are just as scary as monsters that are, like a crocodile. | ||
| Crocodile's a real thing. | ||
| And then we would go to the internet and show them crocodiles like killing a zebra, which is probably not a smart thing for a fucking adult to show a three-year-old, but I wanted them to see. | ||
| It feels like you can't teach the abstract to someone that's not... | ||
| I love The Apprentice, the guild system so much. | ||
| Not the show, The Apprentice. | ||
| I love the actual, like, Cooper's barrels and stuff. | ||
| Those are things where you start by sweeping the floor, and you start by grabbing those rings over here. | ||
| All you're equipped to do is touch them right now. | ||
| Right, right, right. | ||
| And slowly work your way up to be able to put a barrel together. | ||
| I'm sick of touching them. | ||
| And then you think to yourself, oh, cool, only three more weeks of that and you should be so ready to do something else that you'll pay attention to what I have to say. | ||
| Yeah. | ||
| You start with nothing and you get a little bit until you declare, I'm sick of handling this because I fucking got it. | ||
| And then you go, okay, well, if you're that big for your britches, why don't I add one more thing? | ||
| That's one of the dangers of our instant access, on demand, Google this, instant answers, being able to stream this, press it anytime you want. | ||
| This society is that people don't understand the value of wanting something, pursuing it, and having a long road to accomplishing it. | ||
| The gift of nothing. | ||
| Yeah. | ||
| I feel really blessed to be from the deaths because there wasn't a thing to do. | ||
| And when you tried to do something, the police, the local police, because they had nothing to do, were like, probably going to drive over to a skateboard. | ||
| And you'd be like, why do that? | ||
| Why? | ||
| What the fuck? | ||
| And so you plunge yourself into more esoteric locations and hobbies because of sheer fucking boredom. | ||
| Boredom is good. | ||
| Fucking amazing. | ||
| It's really good. | ||
| It's so important. | ||
| Taking the extra five minutes. | ||
|
unidentified
|
No, no. | |
| That's why I don't play basketball, because I'm playing a basketball game that's already going on. | ||
| It's like, shooting's hard. | ||
| I get all sweaty. | ||
| Well, it's also, it's like you're doing something with your body and your mind, whereas you're sitting there just with a video game, just moving your thumbs around, engaging with something. | ||
| You're not going anywhere. | ||
| You're not getting out. | ||
| Well, there's something about the way those waves are which says you're in high anxiety. | ||
| You're in conflict. | ||
| You're in this. | ||
| You're doing all the things. | ||
| You're alive. | ||
| Your brain is doing everything that is associated with moving and getting in there and competition. | ||
| And your body has got Doritos dust on your chest and inside your belly button. | ||
| Yeah. | ||
| So it's the absence of connection between body and mind. | ||
| Which, when you're at your best, isn't your body and mind one? | ||
| Like the picture of this man who's climbing this giant majiggy, that wall? | ||
| Yeah. | ||
| Like, this is the moment to be engaged. | ||
| And both body and mind, because that feels good. | ||
| I reckon you just get depressed doing that, playing that all the time. | ||
| Some people do. | ||
| And some people love it, and some people become drone pilots. | ||
| Yeah, that's true too. | ||
| And one day it dawns on them what has occurred. | ||
| Well, they say that that's a severe source of PTSD. That a lot of those drone pilots, even though they're not physically there, a lot of them have pretty severe PTSD. Because one day that dam breaks. | ||
| And you feel yourself drowning. | ||
| And they understand the connection between their actions and what's actually occurred. | ||
| And the PTSD is that you are forced to go downstream and realize, like, the old way of me must be gone. | ||
| I must let that drown. | ||
| You know, otherwise you're stuck in the loop of... | ||
| Of that realization that you wasted time building a dam as if that were the coolest thing ever. | ||
| Instead of walking along the river and going downstream and dealing with the trickle as it should be, you know? | ||
| Hey, let me ask you this about cigarettes. | ||
| Have you ever tried vaping? | ||
| I tried for a sec, but it looks stupid. | ||
|
unidentified
|
I mean, you know what I mean? | |
| Would you bring up that picture of Jimi Hendrix when he's vaping? | ||
| It doesn't exist. | ||
| Thank God you can't. | ||
| Could you imagine Jimmy Hedging one of those lunchbox ones? | ||
| Those big old fat ones with the robot dick in the end of it? | ||
| You're like, not Jimmy! | ||
| No, Jimmy! | ||
| Where it looks like a pump for pumping water out of a pool. | ||
| It's just like, harsh! | ||
| Yeah, what is that? | ||
| Why are they getting those big ones? | ||
| What's the benefit of those giant batteries? | ||
| I think it's just going all in and saying, I'm doing this so I'm doing the whole thing. | ||
| I'm doing the most. | ||
|
unidentified
|
Yeah. | |
| You know, it's like what I see those motorcycle cars, which are two wheels up front and one in the back. | ||
| Right. | ||
| And I think, like, it's a bit like the Segway and taking it to the lamest thing you could all the way. | ||
| There's almost something... | ||
| The Segway is such... | ||
| Do those things handle better than a motorcycle? | ||
| I can't handle them. | ||
| No, well, certainly they're more stable because the two wheels are up front, but I'm not riding a motorcycle for stability. | ||
| You're not, but some people are, right? | ||
| Some people are the guys who ride those Hayabusas and shit like that. | ||
| Well, to each his own. | ||
| I don't ever want to stand in the way of my own joy, let alone someone else's. | ||
| But you like cruisers, right? | ||
| What do you got out there? | ||
| Is that a Harley or something? | ||
| That's my grandpa bike to take my gal to the movies or dinner or something and just enjoy her arms around my waist, you know what I mean? | ||
| And to go slow and listen to NPR on 20 or listen to... | ||
| Do you ever just drive with no music? | ||
| Of course. | ||
| Yeah, of course. | ||
| I have a Corvette, a 1965 Corvette. | ||
| It's got no radio in it. | ||
| It's one of the things I love about it. | ||
| When I drive that thing, I just drive. | ||
|
unidentified
|
Yeah. | |
| That's why I like to drive back home to the Des because, you know, me just being me and experiencing what's going on is fine. | ||
| Yeah. | ||
| Sensations. | ||
| To me, it's almost like a form of meditation as well because you have to pay attention, like you're saying. | ||
| I mean, mine doesn't have a roof. | ||
| It's a convertible, so I'm feeling the air. | ||
| I see the stars. | ||
| And you have to look at everything around you. | ||
| Those cars, you really feel the road. | ||
| Oh, yeah. | ||
| So if you run over a P, you definitely get Princess out and are like, I have a 67 Camaro I've had since I was 14. Oh, those are great. | ||
| It's my first car. | ||
| Oh, that's amazing. | ||
| You have your first car? | ||
| Yeah. | ||
|
unidentified
|
Fuck! | |
| Goddamn! | ||
| And there's been times when I haven't done well or something. | ||
| I've had to sleep in it and all these things. | ||
| So we have this long relationship and it never breaks down. | ||
| It's always just wonderful. | ||
| We're wonderful to each other. | ||
| And you feel the road. | ||
| When you hit something, you're like, hey! | ||
| And so you're attached to it. | ||
| And I love riding in a caddy or something like that, too, where it's like you could run over multiple bodies and feel nothing. | ||
| But I enjoy the drive when I'm on the road, sitting on a seat with five wheels, one on my hand and four on the road. | ||
| It's a great experience. | ||
| My old man, for a brief second, had a 65 Corvette Stingray. | ||
| They're amazing cars. | ||
| The way that thing looks, they just nailed it. | ||
| It's very organic. | ||
| Yeah, they nailed it. | ||
| It's definitely taken off of a stingray. | ||
| Someone was like, ooh. | ||
| I don't know. | ||
| It doesn't really look like a stingray to me, but what it looks like is just... | ||
| It's that front. | ||
| There's that bit of that shaping, that inspiration of the shape to me. | ||
| I guess, yeah. | ||
| And I think I'm so always at a loss when it's like, if you could make something and you're going to ask everyone to help you, And we're going to grab all this shit from wherever we're going to grab it from. | ||
| Can we make it look cool or no? | ||
| Like, what is your aversion to... | ||
| Not everything has to look like an egg or a drop of water. | ||
| Right. | ||
| And if it does, can we do that, like, as cool looking as possible? | ||
| You know what I mean? | ||
| Mm-hmm. | ||
| It should look great. | ||
| Don't you feel good in that car? | ||
| Oh, yeah. | ||
| It looks great. | ||
| To me, it's like you're rolling around in a piece of history. | ||
| 1965. That thing was created in the early 60s. | ||
| Someone figured it out and put it together and then... | ||
| Made a production line. | ||
| And did the most important thing ever. | ||
| said, this is where we stop. | ||
| Yep. | ||
| We're good. | ||
| Yeah. | ||
| And they were like, this is what it looks like when it's finished. | ||
| A completed thought. | ||
| And other people were like, fucking good idea, man. | ||
| And I just, I have a 67, you have a 65. That doesn't mean there aren't things made today. | ||
| It just means I'm down with that idea. | ||
| It captures a very specific time in American history where they made these cars that were worthwhile. | ||
| Because when you go to 77, nobody gives a fuck about a 77 anything. | ||
| You know what I mean? | ||
| Who's buying a 77 Mustang? | ||
| Get the fucking thing away from me. | ||
| They all look like shit. | ||
| There's a lot of people selling them. | ||
|
unidentified
|
Maybe. | |
| Well, I also think, too, this guy pulled up on me in a Prius that was quite new, and he rolled down the window and just looked at me and waved his hand over his nose, and he goes, Stinky! | ||
| No way, really? | ||
| Yeah, on Fairfax, kind of by the Whole Foods, there at Santa Monica. | ||
| And I just thought, this is my first car. | ||
| I haven't got another one, so you've probably gotten multiple new cars. | ||
| That's the only car you've had? | ||
| I had a Bronco. | ||
|
unidentified
|
Really? | |
| And we have a family car. | ||
| Your whole life? | ||
| That's it? | ||
| I had a Magnum for a sec, but I never sold this car. | ||
|
unidentified
|
Wow. | |
| The Magnum was great. | ||
| I can't believe you never sold it. | ||
| That is so cool that you never sold your first car and it was a 67 Camaro. | ||
| I've had a lot of experiences in there that were wonderful and some that were challenging and it's incredible to have that. | ||
| It's locked into that car. | ||
| Yeah. | ||
| Yeah, I mean, but it's the shape, too. | ||
| It's like one of the great, all-time, iconic shapes in automotive history. | ||
| That first one was like an attempt to be like, Mustang, schmustang. | ||
| Yeah. | ||
| And they really hit it out of the park. | ||
| 67, 68, and 69. You can almost hear the Mustang going like, well... | ||
|
unidentified
|
Yeah. | |
| You know, because it's beautiful. | ||
| Yeah. | ||
| But I was thinking this guy, like, I see what he was trying to say, but... | ||
| He's probably bought a shit ton of cars, which is way worse for the footprint, plus batteries are made on three continents. | ||
| What does he think he's going to do, fix you by going stinky? | ||
| He's just being a twat. | ||
| He's trying to build himself up again by breaking me down, but like my grandpa always said, he didn't swear very much, but one of the things he was like, I'd have to give a shit for it to matter. | ||
| And I just kind of chuckled because I was like, thank God I ain't riding in the car with him, you know? | ||
| Because certainly he's going up to the next, like, Monte Carlo and is like... | ||
| Stinky! | ||
| Yeah, he's just going to do it all day. | ||
| He's on like a stinky parade. | ||
| He's driving around in a car that gets 50 miles to the gallon, just mocking everything with a V8. Yeah, but also like on a stinky parade, and that's something I don't want to float on. | ||
| It's a lot of negativity pumping out there. | ||
|
unidentified
|
Yeah. | |
| But it's just weird to roll down your window and do that to people. | ||
| Well, certainly that's too much free time in my book, you know. | ||
| What's this? | ||
| Too much self-righteousness. | ||
| Yeah. | ||
|
unidentified
|
Stinky. | |
| Stinky. | ||
| There it is. | ||
| Look at that one done up. | ||
|
unidentified
|
Woo! | |
| Look at that bad boy. | ||
|
unidentified
|
Oh, well. | |
| Goddamn, son. | ||
| If I could turn on my—do you mind if I turn this on? | ||
| I'll show you a picture. | ||
| Is that yours? | ||
| Mine looks— It says it's yours. | ||
| Is it not yours? | ||
| I don't think that's his. | ||
| Isn't yours black? | ||
| Or is yours silver? | ||
| Yeah, it's silver. | ||
| Is it like that? | ||
| It looks a lot like that, except I don't have those. | ||
| Actually, I used to have... | ||
| That's real close, but that's not it. | ||
| Ah, fuck you, internet. | ||
| But it's strikingly close. | ||
| For example, this has no door handles and no mirrors. | ||
| And yours does. | ||
| And mine does. | ||
| It also has a hood scoop from what seems to be a Corvette, actually, which mine does not have. | ||
| And those rims are much like the ones I had on my Magnum, but not what I have on my... | ||
| I think that's the hood from a 69-427. | ||
| I think the SS and the... | ||
| That's it right there. | ||
| There it is. | ||
| That's beautiful, man. | ||
| Yeah, and I'll show you what it looks like right now. | ||
| Because I ended up dropping a crate engine in there, which is... | ||
| A GM? Which one? | ||
| It's a Dyno blueprinted 350 with aluminum heads, so it weighs like 800 pounds left. | ||
| And it sounds like you're stepping on glass like in an endless Mazel Tov parade, too. | ||
| Because it's like... | ||
| Yeah. | ||
| Like, you know, like a glass and a hanky? | ||
| Yeah. | ||
| Glass pack mufflers. | ||
| Well, in truth, I tried to calm that down because as you crest 100 miles an hour, with the mufflers too loud, it's like, what? | ||
| It's a bit like being in a B-52 bomber for no reason. | ||
| Like, you know? | ||
| Yeah. | ||
| And let's see, my rides. | ||
| I'll show it if you don't mind there. | ||
| Because... | ||
| It's pretty, it's lovely. | ||
| When did you put the crate engine into it? | ||
| About five years ago, and what a great idea that was. | ||
| Oh yeah, changed the balance of the car, right? | ||
| Oh yeah, and it's got a new front and rear clip under it, so it's on rails. | ||
| Oh, beautiful. | ||
| You couldn't roll that thing if you lubed up the freeway. | ||
| Here it is. | ||
| And I got these hopster rims on it. | ||
| Ooh! | ||
| God, that looks good. | ||
| You know what's amazing about it is I get in that car and I take the kids to school or something and it's contagious because what happens is you feel really good. | ||
| As you know, you get in your 65 and you feel really good and you pull up with a smile on your face and go, Hey! | ||
| And it's a daily driver, this thing. | ||
| It's my daily driver. | ||
| That's a perfect rock star daily driver, by the way. | ||
| 67 Camaro. | ||
| What it is is something that makes me feel really good, that is not part of a crisis. | ||
| Not midlife, not pre-life, not post-life. | ||
| It's just mine, and I feel like myself in there. | ||
| The kids get in there. | ||
| I have a five-point seatbelt, so you don't need a car seat because I have a seatbelt that makes a car seat look like you're doing okay. | ||
| Right. | ||
| It's a harness. | ||
| It's a harness with springs that like slip. | ||
| Anyway, so they can be in the car as it is. | ||
| Take them to school and kids go like, whoa! | ||
| And they get to get out in that. | ||
| And that's how they start their day. | ||
|
unidentified
|
Right, right, right. | |
| It's like a little adventure. | ||
| That shit is tight. | ||
| Yeah, that is tight, man. | ||
| Like even being in traffic. | ||
| People are really nice to you, too. | ||
| They pull up and they go, yeah, man. | ||
| Most of them. | ||
| Some go stinky. | ||
| Don't forget about that guy. | ||
| You know, behind the ass of something cool is stinky. | ||
| Yeah, that's true, too. | ||
| So it's like, check out my ass as I take off. | ||
| But with a crate engine in it, it's got to do much better in terms of emissions. | ||
| Who cares? | ||
| You know, the fact of the matter is that the responsibility should be on these plastic companies and these oil companies that have negated their responsibility to, like, you shouldn't be allowed to just, like, shit into the air or the environment at a record pace just so you can make dough at the expense of everybody else. | ||
| Well, they had a different thing they just did recently where they did a satellite image of all the methane in Los Angeles. | ||
| And they were thinking, well, we're going to find out where all these toxic greenhouse gases are coming from. | ||
| And an exorbitant number of them were coming from landfills. | ||
| You know, just like steaming piles of stinky. | ||
| Steaming piles of shit is releasing terrible, terrible gas into the air. | ||
|
unidentified
|
We didn't even think about that. | |
| I can't help but think that you couldn't take that, mulch it, and turn it into something that would power something. | ||
| I think they're eventually going to be able to figure that out. | ||
| You know, you're talking about the garbage patch. | ||
| There's a guy named Boyan Slott. | ||
| I love him. | ||
| He's great. | ||
| He's coming back. | ||
| He just emailed me again. | ||
| The Dutchman. | ||
| The young Dutchman. | ||
| Yeah, he's got a new one that he just installed in rivers. | ||
| So he's cleaning up these rivers in these third world countries that are, you know, extremely polluted. | ||
| And they're figuring out technologies to extract all these pollutants, and then you could actually make a commodity out of the stuff that they pull. | ||
| So like the plastic that he's going to pull from the ocean is going to be valuable. | ||
|
unidentified
|
It's going to be worse. | |
| Yeah, it could be reused. | ||
| I think it would be a wonderful thing if we could agree that there's probably enough plastic already. | ||
| And to keep remaking more, new, probably is unnecessary. | ||
| Well, what's really unnecessary is using fossil fuel plastic, because there's biodegradable plastic they can make from hemp. | ||
| This has been, they've known this forever. | ||
| Well, hemp has been the wonder drug for so long. | ||
| Yeah, it really has. | ||
| I mean, the Constitution's written on hemp paper, and you tell someone that, they're like, well... | ||
| Well, I think it's the Declaration of Independence, but yeah. | ||
| It's the Declaration of Codependence. | ||
| One of the drafts of the Declaration of Independence was written on hemp, but also the sails of all the ships. | ||
| Every ship that crossed the ocean. | ||
| Every great work of art is written on canvas that was made with hemp. | ||
| The soap, the clothes, and it doesn't fuck with the soil. | ||
| But I once saw you standing over that plant screaming, illegal! | ||
| Illegal! | ||
|
unidentified
|
Illegal! | |
| Hey, dude, I've got to wrap this up, man, but it's been a pleasure to talk to you. | ||
| I've been a big fan for a long time. | ||
| Well, I'm a big fan of yours as well, and I loved your last special, Between Cats and Dogs. | ||
| It was so true, it was hard for me to watch. | ||
| Well, thank you. | ||
| Thank you. | ||
| And this Desert Sessions, is it available? | ||
| Yeah, it's available. | ||
| It's fine. | ||
| It's fine. | ||
| What is it called? | ||
| It's Desert Sessions 11 and 12. It's a series of music. | ||
| But if you want to, check it out. | ||
| And if you don't, that's fine. | ||
| Go check it out, you fucks. | ||
| Thank you, brother. | ||
| Appreciate it, man. | ||
| Thank you. | ||
| Bye, everybody. | ||
| That was great, man. | ||
| That was fun. | ||
| I really enjoyed that. | ||
| Thank you so much. |
Export Selection