Aug. 18, 2020 - The Joe Rogan Experience
02:21:40
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| Speaker | Time | Text |
|---|---|---|
| This is a great collection. | ||
| Yeah, these are all from PlastiCell. | ||
| Look, even the sunglasses come off on Biggie. | ||
| Wow. | ||
| Yeah. | ||
| It's pretty dope. | ||
| Yeah, it's awesome. | ||
|
unidentified
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We got John Wick. | |
| John Wick and his Pitbull. | ||
| Richard Pryor. | ||
| This is awesome. | ||
| Yeah. | ||
| I got Kanye, Bruce Lee. | ||
| But the glasses on Biggie is amazing. | ||
| I know. | ||
| Well, this guy's amazing. | ||
| Shout out to Fong from PlastiCell. | ||
| He makes some dope shit. | ||
| Yeah, he's amazing. | ||
| Not as amazing as that shit you did in the green room, man. | ||
| David just did some card wizardry. | ||
| It's one thing that when you see that shit on TV, you're like, eh, if I was there, I'd see some shit. | ||
| I'd know what's going on. | ||
| But when you see it in real life, you're like... | ||
| What is happening here? | ||
| It's way better in person than always. | ||
| Oh, yeah. | ||
| Well, at the end, I don't want to give anything away, but at the end, literally, a man is holding one of his wrists, and another guy's holding the other wrist, and he still does the car trick, and we still can't figure out what happened. | ||
| When did you get started? | ||
| How old were you? | ||
| I was about five years old when I started playing with cards, but I didn't know what they were for really. | ||
| So I just had a deck of cards that I carried everywhere. | ||
| But I liked the way it felt, you know, just like it felt like something cool. | ||
| So eventually a librarian was like, oh, we got this like magic card. | ||
| Self-working card trick book in. | ||
| Do you want to learn something? | ||
| And I was like, yeah, of course. | ||
| And she shows me that silly self-working mathematical trick that's a long process to do, but it's still a cool outcome. | ||
| Like, oh, I found your card, right? | ||
| Right. | ||
| And my mother, I used to wait for her at the library. | ||
| And she'd come get me when she was done. | ||
| And when she came, I said, can I show you this trick? | ||
| And the librarian was excited for me to do it to her. | ||
| Which is what I do to my friend's kids. | ||
| And I teach them a trick and make them really good at it. | ||
| And then I'm so excited to see them do it, you know? | ||
| Right. | ||
| Okay. | ||
| So my mother comes and I do the trick. | ||
| And my mom goes crazy. | ||
| Like it was a bill. | ||
| It was the best thing ever. | ||
| But that began the love of wanting to learn new tricks because I wanted to keep making her happy. | ||
| So that was basically the fundamental start of it. | ||
| She would take me to Coney Island all the time. | ||
| And on the boardwalk there, there's those weird freak show performers. | ||
| So I'd watch those guys. | ||
| And to me, it was all magical. | ||
| So that was kind of the beginning of it. | ||
| So isn't it funny how one positive experience when you're young can ignite this chain of events? | ||
| Yeah, that changes your whole life. | ||
| By the way, and also, so then the librarian, when I would come, she would give me books, and I would start looking at that little magic section that was between, like, games and puzzles. | ||
| I always wished magic would be, like, not there. | ||
| Like, it should be, like, an art or something, you know? | ||
| It was always, like, when you want a magic book, it's always, like, that silly, like, kid's jokey thing. | ||
| But there's, like... | ||
| So in that section... | ||
| I pulled out a book and I was like six years old and I see a guy chained to the side of a building staring out looking like death is upon him and that was Houdini and I didn't know anything about what that all meant I looked through the pictures and he was hanging upside down and stuff like that but when I went to sleep I would have these dreams of this guy chained to the side of a building and that began my curiosity and love of Houdini and then that began my curiosity of like Not just | ||
| like the magic trick stuff, but like this stuff. | ||
| To me, it's more like real. | ||
| Yeah, how do those two worlds collide? | ||
| Because some of the things you're doing, they're just insane endurance and mental exercises. | ||
| And then other things you're doing are what you would consider magic. | ||
| Right. | ||
| So I love both separately, like independently. | ||
| Like I always love, like I had a karate teacher at the YMCA that used to make us all run barefoot in the snow in the winter in Brooklyn. | ||
| And all the kids, you know, we're young. | ||
| We're like six, seven. | ||
| And all the kids like, ah, you know, and afraid they were going to cut their feet on glass or whatever. | ||
| And I would run in it and I felt like I could do this because I wasn't good at other things physically. | ||
| Like I was born with my feet turned in and stuff like that. | ||
| So I felt like I could do these things. | ||
| So then I learned how to hold my breath. | ||
| And the reason I learned how to hold my breath was simply because I was on the swim team at the Y also. | ||
| And the other kids would swim back and forth and they'd destroy me because my feet didn't function perfectly well. | ||
| And what I learned is that if I didn't breathe, if I just swam, it would save me time because I didn't have to move my head, dip it out, you know, right? | ||
| So I would just swim. | ||
| And the coach would yell at me. | ||
| But suddenly I was no longer in last place. | ||
| I was like now second and sometimes first. | ||
| And that began my like, oh, God, you can actually do what the coach doesn't think is possible. | ||
| You could swim there and back without breathing. | ||
| And then the older kids would come to see me do that. | ||
| And I would like challenge them. | ||
| I'd be like... | ||
| Let's see, you could stay under the longest and you can go up and down five times. | ||
| I didn't understand the physiology of it, that like going up and down doesn't help. | ||
| It's more effective to just sit through the pain and just kind of chill. | ||
| But I would just sit there and they'd go up and come back down, which makes it worse that they'd be out. | ||
| Why does it make it worse? | ||
| Because the breath-holding thing is all about like a CO2 buildup in your bloodstream, and it's about a tolerance level to it. | ||
| So if you relax and efficiently keep your oxygen and not make this CO2 buildup more extreme, you can actually hold more efficiently. | ||
| So when you have that feeling, everybody has that feeling where you need to breathe, like... | ||
| It's not an O2 deprivation. | ||
| It's a trigger from a CO2 buildup, which is giving you an alert that, for example, in 20 minutes from now, you will not recover. | ||
| And I didn't believe that either. | ||
| A magician friend of mine who's amazing and one of my heroes in life, he told me a story as I was doing Buried Alive. | ||
| He said, you know... | ||
| You know, the Navy SEALs, you know, they black them out underwater so they're not afraid of drowning. | ||
| And I'm like, that can't, no way. | ||
| Like, because it seems so abstract to me, you know? | ||
| So, but it stuck in my brain. | ||
| And then when I wanted to do the water tank stunt and I started learning about freediving and stuff like that, I suddenly realized blacking out is pretty straightforward. | ||
| Like, you black out and then you get your head above the water and if you're supervised, you're fine. | ||
| So when I went to San Diego with the SEALs, I watched what they do and I actually did it, but I didn't black out. | ||
| I went back and forth a few times in the pool. | ||
| But they have that viewing pool and they rope the SEALs up to some 45-pound weights and they have to walk across the bottom of the pool and the instructors are swimming above them. | ||
| And when the seals black out, they cut the rope, bring them up to the top, and they're fine. | ||
| But what that teaches you is that you do not need to worry about being underwater. | ||
| Because if you're with a team, and by the way, nobody should try this. | ||
| There is extreme dangers to shallow water blackouts, which lead to death. | ||
| But if you are... | ||
| In somebody that's training and you have a team and you want to push it, as soon as you black out, it's like getting knocked out. | ||
| But it feels better. | ||
| It's not like getting knocked out with a punch. | ||
| It's like you get knocked out. | ||
| It's euphoric. | ||
| Choked out is euphoric. | ||
| Right. | ||
| Exactly. | ||
| Except this one's even better. | ||
| And then you have all these dreams. | ||
| You make it sound exciting. | ||
| That part of it, whenever I wake up from a blackout, I'm like, whoa! | ||
| That's how people wake up when they get choked out. | ||
| Really? | ||
| The same? | ||
| Yeah. | ||
| When people get choked out, they wake up almost like they were dreaming. | ||
| Like sometimes they think they're at a disco. | ||
| Yeah. | ||
| It's amazing. | ||
| They're like, what? | ||
|
unidentified
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Oh, wow. | |
| And it's not the best thing in the world for you, but it's way better for you than getting knocked unconscious. | ||
| Yeah? | ||
| Yeah, choked out is just a, it just shuts off the blood to the brain, and the brain shuts off. | ||
| And then it comes back online. | ||
| But there's no trauma. | ||
| Right. | ||
| Yeah, but it's not. | ||
| Yeah, so it's like a blacking out underwater. | ||
| But the blacking out underwater thing, probably not a good idea to do too many times though, right? | ||
| No, you could do it. | ||
| I mean, I've blacked out underwater a lot. | ||
| How many? | ||
| By the way, so... | ||
| How many times? | ||
| I don't know, like between 20 to 30. Oh, wow. | ||
| By the way, you guys were talking about me on the thing, about the breath hold thing. | ||
| Yeah, yeah. | ||
| One time I went 20 minutes and 2 seconds. | ||
| I almost did what you were talking about, the length of a show. | ||
| But I did 20 minutes and 2 seconds, and I had telemetry there, and I had pulmonary experts and everything like that. | ||
| And my heart rate dropped to 8 beats per minute. | ||
| Holy shit. | ||
| And they pulled me up because they were freaked out. | ||
| They thought you were dying. | ||
| Yeah, but... | ||
| Back to what I was saying is the reason besides the Navy SEAL story that I knew that it made sense was because you hear about the kids in the news like in 1984 or whatever it was, a kid was under an icy river for 45 minutes with nothing. | ||
| Blacked out, unconscious, underwater for 45 minutes. | ||
| They rescue him out, pull him back, recover him, and full recovery. | ||
| So there's something that the body does that we don't understand. | ||
| But if you actualize, so because he blacked out and because it was so cold, the blood shunting occurred. | ||
| We're all like the same as when you get cold. | ||
| The blood rushes away from the extremities and protects the vital organs. | ||
| And because he didn't inhale the water because he was completely out of it, when they recovered him, they didn't even have to get water out of his lungs and he was perfectly fine. | ||
| Wow. | ||
| But that just shows you that there's like certain levels of what the body can tolerate that we have no idea. | ||
| So you, in learning how to swim and learning how to go all the way back and forth and holding your breath, this started this idea of holding your breath for an extreme long period of time. | ||
| Like what had been the record before you had, like 20 minutes and how many seconds? | ||
| Two seconds? | ||
| Yeah. | ||
| That's what you did? | ||
| Yeah, but that's not the record. | ||
| What had you done before that? | ||
| What had been your record? | ||
| Okay, so when I was a kid, I heard, as I start reading about Houdini, his, like, proud record of his lifetime, and he's the underwater escape king for 100 years ago, and he had, he was around the best swimmers, and he had access to, and he got up to three and a half minutes. | ||
| So by the time I was, like, uh... | ||
| Teenage, early teenager. | ||
| I got to three and a half minutes. | ||
| And did you think that that was a barrier that couldn't be crossed? | ||
| Well, I blacked out as I came out, but I didn't know what that all meant, right? | ||
| So I blacked out. | ||
| So I was like, okay, that 3.30 seems like the edge. | ||
| But then when I started working on the actual concept of like how long can you hold your breath for, then I started looking into it and I'm like, oh wow, there's like people that can do five minutes, six minutes, seven minutes. | ||
| And then there was a hypothetical record of a hypothetical... | ||
| 13 minute record, but no evidence of it. | ||
| And that was on Pure O2. So it was a hypothetical Pure O2 record of 13. When you say on Pure O2, what's the process? | ||
| That flushes everything out and oxygenates your body. | ||
| So you start Pure O2, you hold on to Pure O2, and then you go under? | ||
| I purge really hard on Pure O2. So... | ||
| Which gets rid of the CO2 and gives you more room for oxygen. | ||
| And by the way, I just went up to 25,000 feet in an airplane, ascending at 500 feet per minute, doors open and everything, no oxygen. | ||
| And I was with Luke Aikens who jumped from 25,000 feet with no parachute and landed in that. | ||
| He was with me and two other, the pilot and two other guys. | ||
| We just right under 25, it was a 24-7, whatever. | ||
| I said, let's see who goes hypoxic first, right? | ||
| No, no, no, but you have to take the O2 monitors, you have to be on them, right? | ||
| And I was already in a hypobaric chamber with the FAA at Oklahoma City, and I started purging just to see what it would do, and my oxygen level shot up, which nobody believes is possible. | ||
| So I get into the airplane, and we put the monitors on, and everybody's around the same. | ||
| I was actually lower than Luke. | ||
| Like at 90, whatever, 5, 96. He was at like 97. He's like, oh, I'm winning right. | ||
| You're joking with me. | ||
| And as soon as we crossed 15,000 feet, his slowly is starting to come down and I start doing the breathing technique. | ||
| Purging out, like I said, right? | ||
| My oxygen levels, and we filmed all this, shot up to 98 and then 99%. | ||
| Is I went up to 23 plus thousand feet. | ||
| Now these guys think I'm a magician. | ||
| So they're like, yeah, uh-huh. | ||
| Like fake news. | ||
| That's what he wrote on the paper next to the levels because he was recording it. | ||
| So I took his monitor off of his finger and he took mine. | ||
| I put his monitor on my finger, put mine on his, bang! | ||
| His was dropping around 70 and mine was 98, 99. Then I switched with everybody on the plane and the oxygen levels with the breathing all the way up to that altitude. | ||
| And I'm not recommending this because I haven't tested enough, but they did stay up at 98, 99. And so my evidence for that was You hear about all the Sherpas that go up to the top of Everest, up to 29,000 feet, and they're not bringing oxygen. | ||
| I get it. | ||
| They're acclimating, but they're still at 29,000 plus feet. | ||
| So they're doing something that's allowing them to rewire their ability to not go hypoxic. | ||
| So this breathing technique, you're essentially exhaling more than you're breathing in. | ||
| So you're breathing a small amount in. | ||
| Then I fill up everything for full, but I mean full like top to bottom, hold for a second, and then exhale slowly. | ||
| Like for example, when we're done here, if you have 20 minutes, I'll get you up to a four and a half minute breath hold in 20 minutes. | ||
| And this is just through these breathing techniques. | ||
|
unidentified
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Yeah. | |
| When we're done with this, I'll show you how to do it. | ||
| And you will get up to four plus minutes for sure. | ||
| And how did you... | ||
| So you've learned that you could go three and a half minutes or three minutes plus, right? | ||
| Yeah. | ||
| And black out. | ||
| And then how did you have it in your head... | ||
| That you were going to eventually get to 20 minutes. | ||
| Okay, so you really want to hear all that? | ||
| Yeah, yeah, yeah. | ||
| It's a long... | ||
| Okay, let's go. | ||
| Okay, and I forget where I'm going sometimes. | ||
| Okay, it's okay. | ||
| Don't worry about it. | ||
| Okay, so you might have to remind me where we're going. | ||
| Yeah. | ||
| Okay. | ||
| I just want to know the process because you're a magician by trade, right? | ||
| Well, but first of all, I like Houdini. | ||
| So I love magic, but I like Houdini. | ||
| And Houdini was like king of cards as well, but he's a guy that's doing real things. | ||
| And then I like guys that are like, as I go to the Museum of Broadcasting because there was no YouTube or whatever. | ||
| So I'd look at like these magic, you search magic, and I'd find like guys that would like drink a gallon of water, drink a liter of kerosene. | ||
| He would float all the kerosene on top of the water, and then he would spit out kerosene out of his mouth, look like a human dragon, and then put the fire out with a gallon of water. | ||
| So it is magic, but it's art. | ||
| It's mind-blowing. | ||
| It's a performance piece. | ||
| Now look, there's guys that are card guys that are like that also. | ||
| Lots of people I love, they do the cards in a way that's like... | ||
| But that act to me was what pressed a button. | ||
| It was like, whoa. | ||
| Like, how is he converting his body to do a trick? | ||
| And there's a guy today performing called Stevie Starr, who's called the human regurgitator, but he swallows crazy things. | ||
| Like, so he combines magic with his abilities. | ||
| So he went on Jay Leno, I think it was Leno or Carson. | ||
| He takes, you know, the little film canisters that you used to drink? | ||
| So he puts a film canister empty, closes it for the, you know, you get the 35, and then he goes, and then he swallows it. | ||
| So it's in, it's, yeah, it's gone. | ||
| He goes like that, it's gone. | ||
| Then he would take a bunch of water, drink that. | ||
| And then there'd be a cup with a goldfish in it. | ||
| Drinks the cup and the goldfish. | ||
| And then he'd have Jay Leno sign the cap, the lid thing to the thing, with a piece of tape and sign it, right? | ||
| Then he'd take that and go, pfft. | ||
| Now everything is gone. | ||
| Then he does these weird sounds and movements, which is part of his show, right? | ||
| And then he brings it up, spits it out, and... | ||
| The film canister is sealed, and in it is the water and the fish, and it's sealed with the signature. | ||
| So to me, that's like the coolest magic. | ||
| Because when you see a trick, you know, like, oh, that's cool, but it's a trick. | ||
| So it's like you're being removed from being able to, like, absorb. | ||
| But when you see somewhere, somebody's doing something crazy, and it seems like a trick, but it's also like, wait, this is real because he's really doing this. | ||
| It's just way more exciting, you know? | ||
| I understand. | ||
| Do you know how he did that one? | ||
| Yeah, I talk to him all the time. | ||
| I love Stevie Starr. | ||
| You know how it was done, but you can't reveal that, right? | ||
| Okay, there's another guy, Tom Mullica, who passed away, and he was this guy. | ||
| He's the first magician I ever saw. | ||
| He did a simple card trick, and I was crying. | ||
| I was like in tears. | ||
| I was like, oh my god. | ||
| And he passed away and I filmed that. | ||
| And I'm going to do a really amazing piece about him because he is incredible. | ||
| But he also was on like Johnny Carson shows. | ||
| What he would do Is he would take a pack of cigarettes, throw them into his mouth one at a time, light them on fire, bring them back out, and then throw them into his mouth one at a time, eat all the cigarettes. | ||
| Yes! | ||
| There he is. | ||
| And watch, he eats the cigarettes. | ||
| Wow, that's great how fast they pulled that up. | ||
| It's not they, it's young Jamie. | ||
| Oh, it's you? | ||
| He's a wizard. | ||
| Yeah. | ||
| He's a wizard of his own right. | ||
| By the way, the sack killed him, so that's how dedicated to his craft he is. | ||
| Did it really? | ||
|
unidentified
|
Yeah. | |
| Yeah, look, he was eating a pack of cigarettes every night on stage. | ||
|
unidentified
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So he swallows them and then he likes more. | |
| Yeah, but wait, he also throws them into his mouth. | ||
| Oh my god. | ||
| So now he's chewing them. | ||
| What is he chewing? | ||
| He's just amazing. | ||
| I get to where he's throwing them into his mouth too. | ||
|
unidentified
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Oh, boy. | |
| Yes, he throws them into his mouth one at a time. | ||
| They're lit. | ||
| He chews them up, swallows them. | ||
| His mouth is empty. | ||
| Look at the lady. | ||
| She's like, what the fuck am I doing here? | ||
| Oh, my God. | ||
| Look at that stack in his mouth. | ||
| And then, look, the whole thing goes in. | ||
| By the way, he also throws them one at a time, does all that, puts the paper in. | ||
| Oh, Jesus Christ. | ||
| And swallows it all. | ||
|
unidentified
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That's it. | |
| Oh my god. | ||
| Yep. | ||
| He's so amazing. | ||
| So how did this kill him? | ||
| Every single night. | ||
| Just cancer? | ||
| 20 shows a night at a bar doing cigarettes in your mouth on fire, eating them, swallowing them. | ||
|
unidentified
|
Right. | |
| But what did he die from? | ||
| Cancer? | ||
| Yeah. | ||
| Yeah. | ||
| Boy. | ||
| Yeah. | ||
| But wait, so... | ||
| So he spits them out eventually or he just swallows them? | ||
| I'm not gonna give away his genius. | ||
| Right, but in the video, do they ever come out? | ||
| No, no, no, they're gone. | ||
| See, that's the thing. | ||
| This is a guy that died for his art. | ||
|
unidentified
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Legitimately. | |
| Yeah. | ||
| Wow. | ||
| So another, the guy I was telling you about, that's like my favorite card, the guy that showed me the Navy Seal, but just an amazing magician. | ||
| He has a library. | ||
| He's like this genius that if he came here, which he never would because he would never show anybody anything, but if he did, And he showed you a couple of moves. | ||
| Like the first move he showed me was actually a card move called Ascension where he makes the card float right through the deck. | ||
| And like the greatest magician of all time, the card magician said it was one of the greatest tricks ever done. | ||
| You won't be able to find it anywhere because it's not a video. | ||
| But he only does it to a couple of magicians. | ||
| So he performs for like, you know, a handful of his friends. | ||
| He shows a move and it's mind-blowing. | ||
| And luckily he showed me stuff when I was young. | ||
| But... | ||
| He'll never, ever perform. | ||
| He's like, does a painter paint so he can show people? | ||
| Or does a painter paint to paint? | ||
| But whenever you're on the phone with him, you just hear cards. | ||
| He's like... | ||
| No, he's doing it. | ||
| He's doing, I'm telling you, like 13 hours a day, he's doing card moves alone. | ||
| And I said, I was like, Bill, what do you do? | ||
| Do you like do the trick to yourself? | ||
| I'm like, ah, how did I do that? | ||
| You know what I mean? | ||
| But he doesn't believe that it's not to him, it's not a performance. | ||
| To him, it's just about the technical love and feel of that. | ||
| Well, there's a Japanese phrase for that, about doing something... | ||
| Over and over and over and over the exact same thing over and over again to achieve a level of perfection that is almost physically unattainable to mere mortals. | ||
| You bypass what a person thinks the body would be capable of doing. | ||
| Yep. | ||
| That's it. | ||
| That's what he's doing. | ||
| That is the thing. | ||
| You know who James Nestor is? | ||
| Yeah, of course. | ||
| He wrote the book Deep. | ||
| Yeah, Deep is amazing. | ||
| I don't know Deep, but I've read Breath. | ||
| That's a book he wrote, Deep. | ||
| Yeah. | ||
| Breath is the one that I read, and I had him on the podcast to talk about it. | ||
| He's amazing. | ||
| I was talking about this monk that was literally meditating and doing breathing exercises all day long for 30 years. | ||
| insane things with his body, like vary the temperature from one hand to another, change the blood flow, change it literally from one finger to the other. | ||
|
unidentified
|
For sure. | |
| And that the only way you could get to that place is you have to be that guy who sits in a cave and does breath work all day long for 30 years, and most people just aren't But if you do do that, there are some levels that you can reach that are just unattainable to a normal person. | ||
| And even if you would talk to scientists and doctors, it is attainable. | ||
| When somebody gets paralyzed or something, right? | ||
| I've seen people that the doctors say, you're done, you have no shot. | ||
| And they spend all day of every single waking moment trying to get like a little moment, just like a tiny bit of movement in their little toe. | ||
| And eventually, if they do what you're saying. | ||
| So it is that. | ||
| Yeah, it is that. | ||
| But most people are not willing to get to that place. | ||
| Most people are not going to sit there shuffling cards 13 hours a day like your friend. | ||
| Yeah. | ||
| But there's people that can do that. | ||
| Like when I was watching you move the cards around, it's interesting, like, you ever watch a movie where a guy's smoking a cigarette, you know, that guy doesn't really smoke. | ||
| You can kind of tell. | ||
| By the way, he's holding the cigarette. | ||
| It just feels odd. | ||
| That's good. | ||
| You're moving these cards around like your edge detection, like your understanding of where the edge... | ||
| It's very interesting to watch your fingers move because they're so educated. | ||
| You know, because of all the commentary that I do with martial arts and my years in martial arts, I'm fascinated by how different people move and they do the same thing. | ||
| It looks different when other people do it. | ||
| There's certain people that will throw a punch and you just walk at it and you go, Jesus! | ||
| There's something about the fluidity of the motion that's stunning even to this day. | ||
| And when I was watching you move your fingers and watching you move the cards, I was like, this motherfucker has shuffled a lot of cards. | ||
| There's a weirdness to the movement of your hands. | ||
| I think it's what you're saying. | ||
| It's like the punch thing. | ||
| Yes. | ||
| Yeah, but it is... | ||
| The mind forces the body into moving over and over and over again. | ||
| You do it to... | ||
| This level of perfection that for a person like me who doesn't know anything about cards. | ||
| I don't know anything about card tricks. | ||
| I don't know how they work. | ||
| I can't shuffle. | ||
| If you watch me shuffle, you'd fucking laugh at me. | ||
| But I watch your hand movements. | ||
| I'm like, oh, this is amazing. | ||
| It's amazing. | ||
| But now there's guys that I'm around that I wouldn't even pull a deck of cards out of my pocket if they're near me. | ||
| Because they're that guy that does it 13 hours a day. | ||
| Yeah, like the guy I just told you about. | ||
| Isn't that fascinating, though? | ||
| Yeah, but there's also different aspects to it. | ||
| There's also guys... | ||
| I'm not going to go into details. | ||
|
unidentified
|
Okay. | |
| But I met... | ||
| I feel like I shouldn't even say this, but it's fine. | ||
| Because it's fine. | ||
| So I met a kid once who moved to Las Vegas when he was... | ||
| This is a crazy story to tell. | ||
| Damn. | ||
| But it's a good story. | ||
| Okay? | ||
| I won't go into details. | ||
| So he moved to Las Vegas when he was 12. He moved there because he wanted to meet a specific person who was considered... | ||
| The best card sheet ever. | ||
| Meaning, this is the guy that the reason that Vegas has those, instead of the dealer peeking the down card, they have to put it into a machine and push a button. | ||
| He's the guy that the movie Casino was built around with the computer in the shoe. | ||
| He was the best card Card sheet ever. | ||
| But among magicians, he's like a phenomenon. | ||
| Because he's working on moves not to entertain anybody. | ||
| He's working on moves so he doesn't get his hands smashed up against a wall at Binion's. | ||
| So he's working on moves so he's not going to get killed. | ||
| Survival. | ||
| Yes. | ||
| So this kid at the age of 12 knows about him, moves to Las Vegas, and buys a craps table. | ||
| He puts the craps table. | ||
| It's him and his mom, right? | ||
| The single mother and him. | ||
| They live in this small apartment very close to the man I was telling you about. | ||
| And this kid throws dice 15 hours a day on this craps table. | ||
| By the way, their little bed is like under the table. | ||
| You know what I mean? | ||
| It's a small space and it's a real craps table, like a nice one. | ||
| The only thing he does is repetitiously throw this and he can helicopter spin the dice. | ||
| So you can't see them doing this. | ||
| They have such force going around this way that when they hit the wall, one die won't break the number. | ||
| And he can throw it exactly to this part of the table, missing this from across the table so that one die locks in every time he can guarantee that number. | ||
| He did that every day for almost a decade until he could throw dice better than any other human being in the world. | ||
| Then he went and got a job at one of the casinos that techs for car cheats and worked in the craps tables. | ||
| It's all he did. | ||
| And as soon as he turned 21, he went out, travels the world, and wins the exact amount of money that he should win playing craps where you're not detected, but you can- What is the exact amount? | ||
| I mean, under, you know- Under a million? | ||
| Yeah, probably a few million a year or so. | ||
| I'm saying it's not like he's going in and getting greedy. | ||
| It's very smart and structured. | ||
| Yeah, and going to different places. | ||
| And he can throw dice like I've never seen anybody throw dice. | ||
| It's crazy. | ||
| I know that they take people that are really good at cards. | ||
| Like my friend Dana White has been barred from casinos because he wins at blackjack. | ||
| He's probably just counting. | ||
| I don't know what he's doing. | ||
| Yeah, he's counting. | ||
| But they've kicked him out of casinos because he's won a lot of money, but he's also lost a lot of money, which is bizarre to me that you can go to a place and do really well, and they're like, you're doing too well, you've got to get out of here. | ||
| Well, they also, it says by and every day, we have the right to refuse anybody, which is important. | ||
| But do they do that with dice, is the question. | ||
| I get how they would do that with cards. | ||
| Okay, so do you want to hear a dice story? | ||
| But this isn't me doing magic. | ||
| This is luck. | ||
| Okay. | ||
| Okay. | ||
| I don't believe you. | ||
| It is. | ||
| I don't like the way you paused. | ||
| But I'm serious. | ||
| It's luck. | ||
| I know, but I'm saying that because I'm trying to be convincing. | ||
| Okay. | ||
| Okay. | ||
| Because I'm telling the truth. | ||
| But anyway, I go to the Palms. | ||
| Yeah. | ||
| Okay. | ||
| And they had a bet on the craps table called the fire bet. | ||
| And it was like a game where you have to hit all the numbers open and close without butt crapping out. | ||
| So when I walk up to the table, right away, the pit boss and everybody, they make a big deal. | ||
| Like, you can't touch the dice. | ||
| And I said, you can call up. | ||
| I can touch the dice. | ||
| Because, you know, they invited me. | ||
| So I said, I can touch the dice. | ||
| And... | ||
| Because I wanted to throw. | ||
| I don't want to just gamble on a rant. | ||
| Because even though I'm not cheating, I still feel like maybe I have a little bit of an ability that's given. | ||
| You know what I mean? | ||
| Not a cheating ability, but maybe I'm a little better than a random person. | ||
| I don't know. | ||
| Right? | ||
|
unidentified
|
Got it. | |
| The pit-ball, they make a joke, and then the woman pit-ball comes out, she says, well, if you take your shirt off, we'll let you throw the dice. | ||
| Joking, right? | ||
| So anyway, what I do is I bet for everybody at the table. | ||
| I go to the low-stakes table always. | ||
| So the high-stakes table is that Super Bowl team right over there, and they're like, ah! | ||
| They're all crazy, right? | ||
| Like all excited with these big bets. | ||
| I'm here with this table. | ||
| We all have little bets, right? | ||
| That I say, let's put a fire bet down for everybody. | ||
| So I put the fire bet down for every single person at the table, including the dealers, I mean the pit bull, you know, with the dice. | ||
| And I'm throwing the dice, throwing the dice. | ||
| This goes on for two and a half hours. | ||
| I keep throwing the dice. | ||
| I didn't crap out. | ||
| I hit sevens in between each number. | ||
| I don't know how craps work. | ||
| So you have to roll like a five, let's say. | ||
| And then I'm like, oh no, I need to roll another five, which is statistically much more difficult than a seven because seven is the most common number to come up. | ||
| So if you roll a 5, you're like, uh-oh, that's hard because you can only get a 2-3 or a 3-2 on both dice or a 1-4 or a 4-1. | ||
| So you have a 4 out of 36, so it's a 1 and 9. So you're probably going to crap out before you get the number. | ||
| That's why the game is to their favor. | ||
| So I'm throwing the dice and it's two and a half hours later. | ||
| And they stop everything. | ||
| And they're like, your fire bet just hit. | ||
| And the table goes, what does that mean? | ||
| They go, well, you all just won like 10 grand each. | ||
| And they all go, ah! | ||
| Everybody's going, they gave me the taste. | ||
| Everybody's going nuts. | ||
| And we hit the fire bet, which they've now removed from the palms, by the way. | ||
| But it was a pretty unheard of, like the odds of hitting that bet is pretty rare. | ||
| But it's just luck. | ||
| Nobody should hit that bet. | ||
| I mean, statistically, it's unlikely and I wasn't cheating. | ||
| So, yeah. | ||
| So, do they... | ||
| The question is... | ||
| For some reason, I'm lucky with dice. | ||
| But I can tell you I would be... | ||
| If I was great with dice, I'd tell you I was great with dice. | ||
| By the way, I actually have a die on me. | ||
| I didn't even hear the story for this reason, but I do have a die on me. | ||
| Have you practiced with dice? | ||
| No, yes, but I'm terrible at it. | ||
| But it does make sense that if you look at what that is, that that's a physical thing, and then if you develop a touch, you develop a feel, you do something over and over and over again. | ||
| Well, this is different, but here, look, take the die, and can you like... | ||
| Put it between your hand or whatever. | ||
| And can you mix it like that? | ||
| And then squeeze it when you're done. | ||
| Keep it hidden, but put it on the table. | ||
| But make sure you can't see it and I can't see it. | ||
| You agree like no one could see that, right? | ||
| No one could see it. | ||
| Are you sure? | ||
| 100%. | ||
| Do you want to do it again? | ||
| Try it again. | ||
| No. | ||
| No, because it could be weighted. | ||
| Or you're done. | ||
| You're good? | ||
| Yeah. | ||
| You're good? | ||
| Yeah. | ||
| Okay. | ||
| Say a number between one and six. | ||
| Pick a number up to six. | ||
| Okay, that five is what I said on the craps table, right? | ||
| But I already know that it's a four. | ||
| And the five is here, basically. | ||
| How do you know that? | ||
| That's uncomfortable. | ||
| Can you do that again? | ||
| Probably not. | ||
| You know what we'll do? | ||
| Let's stop whenever you want. | ||
| Yeah, because it could be like a weighted die. | ||
| By the way, that's how people cheat with dices. | ||
| They also take the die and they flip it and they want it to be, you know, so it's like you throw the numbers. | ||
| So you said you wanted a five, right? | ||
| Yeah. | ||
| Go ahead. | ||
| It's five. | ||
| Get that voodoo away from me, man. | ||
| The fuck is that? | ||
|
unidentified
|
Yeah. | |
| That's so weird. | ||
| That must be a rush for you though, just to blow people's minds like that all the time. | ||
| But see, so it's not, you know, I don't think of it... | ||
| So what happens is the digital fixation part of like the love of just like learning something new and exciting. | ||
| That's like really the stimulus is like that fixation almost. | ||
| It's like the meditative thing that you're talking about. | ||
| But as a magician that is performing and trying to make TV shows, it's really difficult because you have to like keep coming up with new things, which is... | ||
| That's hard to do. | ||
| How did you first get on television? | ||
| How did you convince someone to let you try this on television? | ||
| Well, so back in those days, the only magic that you could see, and like I said, it was pre, you couldn't go watch it or get it or anything. | ||
| So there's no way to see magic. | ||
| And if you were me with a single mother in Brooklyn or whatever, how are you going to go? | ||
| There's no magic show. | ||
| I never went to a magic show. | ||
| So what happened was all those World's Greatest TV specials were playing and they were called World's Greatest Men and I would watch them and they were like the opposite of that. | ||
| They were like hard to watch. | ||
| It was like glossy, big, dynamic and illusionist. | ||
| It's so far away from the whole thing. | ||
| So I'm like, there's nothing magical about all this. | ||
| So okay, I think about it and I'm like, But I'm doing magic everywhere all the time. | ||
| So one of the ways I'm making money is I'm going into those fancy restaurants in New York City, like those upper park avenues, and I do magic to the manager, to this. | ||
| And I'm like, if... | ||
| Can I do magic to the table? | ||
| And it's like what I did to you there. | ||
| Like, do the magic. | ||
| Like, oh, that's great. | ||
| I was like, can I do magic to the people eating? | ||
| And I won't ask them for anything. | ||
| I bought like a nice suit at Century 21, like a $100 jacket. | ||
| You know, but anyway, so I go up to these tables. | ||
| And that's a hard situation. | ||
| Because it's very difficult to approach people that do not want you near them and try to figure out how to win with magic. | ||
| And it's like, even on the street, wherever you do it, it's like a complicated scenario. | ||
| Once a camera comes up, it changes it. | ||
| Because now they're like, oh, he has a camera. | ||
| It's fine, right? | ||
| But you'd have to walk up to a table of a bunch like us. | ||
| We're sitting there and some like, you know, sketchy magician kid comes up to us like, hey, can I show you a card trick? | ||
| And you and I are going to be like nice to him probably, but not really want him around. | ||
| Right. | ||
| What I had to learn quickly was like little things that are so important, like distance, like how close should you be to the table or how far? | ||
| And then you start to really understand the psychology of the magic is way more important than the tricks, right? | ||
| So if you're too close, you're like... | ||
| over, they don't want you near them. | ||
| So you're like, they're like, no, thank you. | ||
| If you're too far away, it's easy for them to say no, thank you. | ||
| Right. | ||
| So there's like a balancing point just on where you stand and then who you do the first trick to, and then what the first trick is. | ||
| And so by doing all of this, I started to really figure out how to get reactions from anybody really fast. | ||
| So I could walk up to anybody, anywhere, and just do magic. | ||
| Like one time I was in central booking because I jumped the subway thing and they were sweeping everybody up. | ||
| There was four guys sitting in the middle playing spades. | ||
| The only other kid that looked like me that was in there got the shit kicked out of him, right? | ||
| And I'm like, I'm going to get my ass kicked, right? | ||
| Because I was with a button-up shirt. | ||
| Anyway, so the guys are sitting in the middle that were playing spades. | ||
| I go, let me show you guys something. | ||
| Come on. | ||
| I grab the deck of cards, and I start doing magic to the four toughest-looking guys in the cell, right? | ||
| Within two minutes, they're erupting. | ||
| And once they're erupting, the whole – everybody, because Central Book is removed here, everybody's standing around going nuts. | ||
| And then all of a sudden, the guards are there. | ||
| And now everybody's watching together. | ||
| And I'm like, this is what the magic show needs to be. | ||
| Whether you're like here or this, whether you're this, that, whether you're young, old, rich, poor, black, white, whatever. | ||
| Everybody wants to see it. | ||
| No, no. | ||
| Everybody's got a good side. | ||
| I want to show that people are all the same, you know? | ||
| Sure, there's some that are horrific and do horrible, but at the core of everybody, there's like an innocent kid somewhere, maybe got really far lost, and magic just pulls that out of people. | ||
| You know? | ||
| Yeah. | ||
| And that's why – and people say, oh, well, how could you do magic? | ||
| I do magic to anybody because whether it's like visiting underage kids in prison that like you don't know what happens to them and you see them come walking up with their eyes down. | ||
| They don't want to look at you because they don't like anybody there that's authority, right? | ||
| That's what ruined their lives. | ||
| And then as soon as you do these tricks, suddenly they're like little happy sweet kids. | ||
| You get the O out of them. | ||
| And that's what Magic did originally to my mom. | ||
| I would do it to her, and she'd be reacting. | ||
| And even if she had a terrible day, she was working three jobs. | ||
| This made her happy. | ||
|
unidentified
|
Wow. | |
| That's a cool origin story. | ||
| And it makes sense, that feeling that you get when you show someone, like the card trick you did in the other room, and everybody's like, oh! | ||
| That O, the O that you get out of people, that rush, that is, because at that moment, no one's thinking of anything else. | ||
| At that moment, they're like, what the fuck? | ||
| How did you what? | ||
|
unidentified
|
Oh, man. | |
| And by the way, I've walked many times when people were fighting, about to erupt into big fights. | ||
| I walked into the middle of those fights, started doing magic, and those fights, no, I know, and then the fights were done. | ||
|
unidentified
|
Oh! | |
| Done. | ||
| Everybody's like, what? | ||
| Do you want to hear the funniest, non-magical magic story? | ||
|
unidentified
|
Sure, sure. | |
| Okay, so after the TV show comes out, stuff like that, I get more known. | ||
| By the way, it's the World's Greatest City, but then I was like, okay, let me do the opposite of that, so I called it Street Magic, because I was trying to come up with the lowest name. | ||
| Like, I was trying to come up with set the expectations as low as possible, right? | ||
| Because World's Greatest, and you see, like... | ||
| So I come out. | ||
| I'm doing like card tricks, right? | ||
| But anyway, so I'm like driving with my friend in one of those smart cars in New York, and it's like the coldest day in New York. | ||
| It's like freezing, like a February, like 12 degrees out type situation. | ||
| We're stuck at a red light, and there's a car with these four people outside of it, and you could see they're struggling. | ||
| They couldn't get the door open, so they realized they lost their keys. | ||
| They couldn't figure it out. | ||
| They couldn't get into their car, right? | ||
| But I know that that's not what's going on. | ||
| It's freezing, so I understand the situation. | ||
| So I go, Doug, stop one second, and I... Walk up next to this group, walk up to the car, pull the door open, but I like, it made it look like I'm just pulling it, but I was giving it for, the door opens up and it looks like I did nothing. | ||
| And then I get back in the car and leave and I hear, they go, Dad, Steve! | ||
| And they go, ah! | ||
| And it was like the best trick I ever did, but it was just opening up a door on a frozen night because I knew that it was just frozen. | ||
| But that's the same as what magic is. | ||
| So there's a book called Magic and Showmanship, which is all about what makes magic effective. | ||
| And it's called The Ham Sandwich. | ||
| He says, if you just said, reach in your pocket, now there's a ham sandwich, that's a good trick. | ||
| But if you were like, man, I'm hungry, I would love a ham sandwich, and I'd already put it there, and I'm like, reach in your pocket, and then there's... | ||
| Real magic. | ||
| So it's just context. | ||
| That's where it's so baffling. | ||
| Because then people walk away, how the fuck did he know I was going to say ham sandwich? | ||
| Like the folded car that you somehow or another shoved into Jeff's wrist. | ||
| Below his watch. | ||
| We're all like, okay, what? | ||
| I mean, I know there's something to it. | ||
| I don't know what you're doing, but that O, the result, the O, is pretty phenomenal. | ||
| But in that moment, no one's thinking of anything else. | ||
| Yeah, but it's short. | ||
| No, but there's also a lot of people that are trying to figure it out. | ||
| Yeah, but they're still going, oh! | ||
| Even if they're trying to figure it out, they're not thinking of anything other than that trick. | ||
| That moment. | ||
| They might be trying to figure it out, but they're still, they're not thinking about, oh, I've got to feed the dog. | ||
| They're thinking about that moment. | ||
| Unless they're like good friends of mine. | ||
| They're doing magic and they're like, oh, okay. | ||
| But that's different. | ||
| Yeah, we can all get too accustomed to things. | ||
| So, you first get on television, you first do these things, and then your magic evolves, and your magic goes from being just magic to some of the more insane things you've done, like standing in a block of ice. | ||
| For how long did you do it for? | ||
| 70? | ||
| It's like 63 hours. | ||
|
unidentified
|
63 hours. | |
| I'm always late, so I showed up late. | ||
| So I missed the length of time I was supposed to do, so that's all. | ||
| But I'm always late. | ||
| I made it here on time, though, didn't I? You were early. | ||
| Yeah. | ||
| Perfect. | ||
| I rode the motorcycle here and was flying because I wanted to be on time, so I flew. | ||
| You were on time. | ||
| Yeah. | ||
| The ice thing. | ||
| What made you decide to stand in a block of ice for 60 plus hours? | ||
| Well, so I'll tell you that. | ||
| So you were saying how do you go from the magic tricks to these extreme physical endurance and mind things. | ||
| So studying Houdini and all that stuff. | ||
| And then there's a poster of Houdini that I loved where he was buried alive, but he never did the stunt. | ||
| He died before he got to do it, but he was going to be buried alive underground in a coffin. | ||
| So I stare at... | ||
| I love that poster since I was a kid. | ||
| It's like in the magic books, you see that poster. | ||
| And anyway, so Bill, again, the guy I told you about, Bill Kalush, comes up to me and he's like, what about this? | ||
| And he shows me an image of an Indian fakir that was buried alive for a month. | ||
| He's like, what if you pretend to be buried alive in Central Park? | ||
| We'll sneak you out and you'll come back a month later. | ||
| And I was like... | ||
| I always wanted to do, like, Houdini-like things, but I never wanted to copy. | ||
| But that one he never did, so I was kind of like, well, that's interesting, but what if instead of doing it the way he did it, what if I did it and everybody could see that I was buried alive? | ||
| So what if I was really just buried alive? | ||
| Like, it can't be that hard. | ||
| He's like, yeah, you can't do that. | ||
| And I was staying at his place, so we got a coffin from Queens, where actually Houdini was buried. | ||
| I bought a coffin. | ||
| We brought it back to his house. | ||
| And then I would just practice sleeping in the coffin. | ||
| I know, but then suddenly I realized you don't eat food. | ||
| And then if you have a little thing to go to the bathroom, I did four days like nothing. | ||
| So I'm like, okay, I can do a week. | ||
| And that was it. | ||
| And then I pushed the idea of doing the Buried Alive and convinced people to let me do it publicly. | ||
| Like, firemen and stuff, like, would come to the stunt in the middle of the night, and they would shine, like, holograms at me and their lights and stuff. | ||
| Oh, that's the ice. | ||
| And then they would assume that I wasn't actually in there. | ||
| Okay, so here. | ||
| So back to this one. | ||
| Well, let's not jump around. | ||
| So the buried alive thing. | ||
| Where did you do it physically? | ||
| That was in New York City on the west side. | ||
| Trump had like this bunch of properties that he was developing. | ||
| And I was like, I want to be buried alive on one of your properties. | ||
| Is that possible? | ||
| He's like, sure. | ||
| He just sent me his driver and I went around and... | ||
| That's where I did my first stunt. | ||
| How could they see you, though? | ||
| I'm not aware of this one. | ||
| Yeah, so it was see-through. | ||
| And then we put six tons of water on top of it. | ||
| So that's basically it. | ||
| And how are you getting oxygen? | ||
| See those two big holes? | ||
| See the holes above my head right there? | ||
| So the air was being blown in and out. | ||
| But it's pretty straightforward. | ||
| That one's, to me, not that impressive. | ||
| You just laid there for a week. | ||
| Yeah. | ||
| You know what the hard part of it is? | ||
| You would never anticipate this being the hard part, but if you're not used to peeing while standing in front of lots of people staring at you... | ||
| It's actually really hard. | ||
| So I'd be buried alive and I had the trucker's tube on and all that stuff, which is like a con with a cath or whatever. | ||
| And people are there the whole time. | ||
| It suddenly became like an event. | ||
| And they were like, oh, we'll cover it so no one can see. | ||
| I'm like, no, then people are going to think I'm sneaking in and out. | ||
| So I had to learn. | ||
| So I would close my eyes, like when you were a kid, sleeping, and you'd have those dreams. | ||
| And it would take me hours, and I'd finally be able to pee, right? | ||
| And by the way, I didn't eat for a few weeks before, so I had no food, so the other wasn't an issue. | ||
| But what happened by midway through the stunt, I'd be waving and smiling and peeing, and it was like nothing, you know? | ||
| But these are things that you don't consider when you're practicing in your coffin in your house. | ||
| So you didn't eat for how long? | ||
| Two weeks beforehand? | ||
| Yeah, but I was always into fasting. | ||
| I read Siddhartha as a kid, and I had done like a week with just water and knew the body's really good with that. | ||
| So you were comfortable with the fact that you were able to fast and that wouldn't be an issue. | ||
| Yeah. | ||
| And you were comfortable with the fact that you were getting air. | ||
|
unidentified
|
Yeah. | |
| And where are you drinking water from? | ||
| How are you getting water? | ||
| Oh, I had like a little bit of water in there that I could suck through a thing like that. | ||
| And that was fine. | ||
| It was like, it was enough. | ||
| How much water do you think you drank over the week that you were in there? | ||
| I don't know. | ||
| They always say it was like just a little bit, but it was a good amount. | ||
| It was like, I don't know, probably... | ||
| Probably three liters a day or something. | ||
| Oh, okay. | ||
| So it's real water. | ||
| They say he did tablespoons of water, but no, it was like a normal amount. | ||
| And then, by the way, I did 44 days with nothing but water. | ||
| And I did nothing but pure H2O. So it's not even like it had minerals in it. | ||
| And body was full recovery. | ||
| And my starvation expert, who's like one of the top guys in the world in London, my doctor at the end thought that I was cheating. | ||
| So they put me on an IV. So you were using distilled water? | ||
| It was a company called H2O and their thing is, it's just pure... | ||
| Yeah, exactly. | ||
| Distilled. | ||
|
unidentified
|
Right. | |
| No minerals. | ||
| Right. | ||
| Which is irrelevant, by the way. | ||
| So I had nothing but pure H2O for 44 days, lost 60 pounds, bone mass index dropped 33%. | ||
| Yeah, that's what I was going to say. | ||
| Yeah, no, no, it was bad. | ||
| No, it wasn't good. | ||
| Yeah, it wasn't good. | ||
| But... | ||
| Doctor thought I was cheating because he's a magician. | ||
| By the way, my friends that were with me that are magicians and the guy building, they're like, you need to take these vitamins. | ||
| And they hand me a handful of sugary vitamins. | ||
| And I'm like, no. | ||
| It's just because if I'm going to do it, I want to actually do it, right? | ||
| And if I would have taken those vitamins, I feel like my metabolism wouldn't have gone into starvation mode and I might have had irreversible damage. | ||
| So the fact that I actually did it, I went into starvation mode and the body protects itself. | ||
| But what I was saying is the starvation expert that now I have a paper published in the New England Journal of Medicine with him, which I'm pretty proud about, but he didn't believe me. | ||
| So he put me on an IV and right away the phosphate levels reacted and I almost went into shock. | ||
| So I almost actually did die when they fed me. | ||
| So his paper is called the Refeeding Syndrome. | ||
| They say like after World War II when they rescued the – from the camps, the Jews and everybody was starving in the camps and a lot of soldiers gave them like candy bars and stuff and all of a sudden their systems went into shock and they died from not being refed the right way. | ||
| So what is the correct way to refeed someone if they haven't eaten? | ||
| You have to slowly bring them back so that you don't have what happened to me, which is phosphate levels go all crazy. | ||
| So very small amounts of food. | ||
| Yeah, but then two days later, somebody sent me a trunk from Harrods full of food in London like a friend. | ||
| And I was giving it to all the nurses and doctors because I knew I shouldn't eat it and I was trying to do it right. | ||
| Then like in the middle of the night, I woke up and had like a bag of potato chips and then a bagel with cream cheese and I was wrecked. | ||
| It was like the most pain. | ||
| So I also didn't go to the bathroom for a month and a half. | ||
| What? | ||
| Think about that. | ||
| So how long does it take you to recover from one of these things? | ||
| That one I feel like I never fully recovered from. | ||
|
unidentified
|
How so? | |
| I don't know. | ||
| I wouldn't recommend anybody does that. | ||
| It goes super, super long with no food. | ||
| When you say you don't think you ever recovered, what do you mean by that? | ||
| My body always goes like this now. | ||
| It's always confused when I train. | ||
| I go up, down really quick, really easy. | ||
| And it was since that. | ||
| Because your body freaked out because it went into starvation mode. | ||
| Yeah, I feel like that. | ||
| But there's no way to prove that. | ||
| That's a common thing, though, with people who cut weight for fights. | ||
| Really? | ||
| Yeah. | ||
| They get to a certain point when they have kidney failure. | ||
| Yeah. | ||
| Yeah. | ||
| And then their body... | ||
| Exactly. | ||
| That's what happened to me. | ||
| And I keep having problems with my kidneys. | ||
| Yes. | ||
| Yeah. | ||
| Yeah. | ||
| And I have a spot on my kidney right now. | ||
| Yeah. | ||
| Yeah. | ||
| That's funny. | ||
| That's a real common one with guys. | ||
| Daniel Cormier actually had to drop out of the Olympics because of that. | ||
| I didn't know that. | ||
| His kidneys failed. | ||
| Yeah, kidney failure is a big one with fighters. | ||
| Kidney stones, too, for a lot of guys who cut weight. | ||
| So that was probably, in your opinion, the one that damaged you the most? | ||
| Or left the most residual damage? | ||
| So the most difficult one was the ice, by far. | ||
| The ice was a monster. | ||
| And the reason why was because... | ||
| And now there's also something great about it. | ||
| So it was a warm November, so the air coming through was like, you know, it happened to be a 68-degree three-day spread, which led to the ice keep dripping the cold on me and it's radiating this way. | ||
| But I'm also standing up in one spot completely still and you can't sleep because if you fall asleep and you're present to ice, you get frostbite. | ||
| You have to cut your skin off, right? | ||
| So I'm staying completely awake the entire time. | ||
| And it's a difficult situation. | ||
| On hour 55, exactly, I look back at all of it and my friends knew, my eyes just go out and I'm now hallucinating like you could never ever, no hallucinogenic drug will ever give you those kind of hallucinations. | ||
| Like what was it? | ||
| First of all, it's amazing, but it's also when it goes into that nightmare part, it's scary. | ||
| But there's also that amazing part of it. | ||
| And if you have people after that stunt, now whenever I hallucinate on stunts, I have friends there that I say I'm going to start hallucinating. | ||
| Just talk me through it. | ||
| But so here's when I started realizing that I was hallucinating because you don't know when you are, right? | ||
| Yeah. | ||
| And by the way, the one stunt I never did was sleep deprivation. | ||
| If you remind me, I'll explain that whole thing, but I'll forget. | ||
| So what happens is when I started realizing it is I need to know what time it is because I'm done at 10 p.m. | ||
| because it was live on ABC. So I'm like, I need to know how much longer I got to go through this because it's getting tough. | ||
| By the way, my doorman would come and News or whatever, Fox News, said David Blaine is not really in the ice. | ||
| They did a special on it, an hour-long special on Fox saying that I was never in the ice and I had a double of me that was in the ice. | ||
| I was switching up and down with him while eating burgers and reading the news. | ||
| Fox News did that? | ||
|
unidentified
|
No, Fox. | |
| Fox, the TV station. | ||
| But they did a one-hour special that I was never in there. | ||
| So my doorman... | ||
| How did they get away with doing that? | ||
| I don't know. | ||
| I don't care. | ||
| But listen, so my doorman who comes to... | ||
| This is the funny part though. | ||
| So my doorman that comes to see me, he knows me so well. | ||
| He was buried alive and he's so nice, right? | ||
| So he comes to visit me in New York and he walks up to the ice. | ||
| And he sees me and he's looking at me all weird. | ||
| I wasn't hallucinating. | ||
| He's looking at me all weird. | ||
| Then he leaves. | ||
| But I go back. | ||
| I was like, what's up? | ||
| He's like, are you sure that that was you and I? Could that have been you? | ||
| I was like, what do you mean, Eddie? | ||
| He's like, okay, well, it's, you know, so we go on. | ||
| That's special airs. | ||
| Now he's convinced that it wasn't me. | ||
| The special airs while you're still in the ice? | ||
|
unidentified
|
No, no, no. | |
| That's after. | ||
| But he already thinks because he doesn't believe it. | ||
| My friends, my best friends when I was buried alive, they didn't think I was really doing it. | ||
| They thought it was a trick. | ||
| So he asked me, was that really you? | ||
| Because they said that you were a double of yourself and you were switching. | ||
| And I was like, Eddie, but you looked at me. | ||
| If I have a twin brother, where is that identical twin brother? | ||
| Why would I switch up? | ||
| So back to when I get to 55 hours. | ||
| So I'm looking around and I need the time. | ||
| So I go like this. | ||
| What time is it? | ||
| And the guy goes... | ||
| 4.02? | ||
| Yeah, so he shows me 4.02. | ||
| So I'm like, okay, that means we have another six hours or whatever it is, right? | ||
| By the way, my time estimation is... | ||
| So I'm like, okay, wait. | ||
| It might have been 2.02. | ||
| Wait, wait, wait. | ||
| And I wait, and it's hard. | ||
| I'm like, things are moving. | ||
| Everything's weird. | ||
| Spiders are walking up. | ||
| People are like sitting in the ice. | ||
| I'm waiting, waiting. | ||
| Voices are talking to me that I'm talking back to, right? | ||
| But I'm waiting, and I'm waiting. | ||
| And I wait for like a few hours before I ask anybody the time again. | ||
| And I see somebody, and I'm like... | ||
| And the guy goes... | ||
| 4-0-3. | ||
| Oh, no. | ||
| And that's when it all crashed out. | ||
| It was like when that connection and then the hallucinations were just rampant and my eyes were all crazy when the chainsaw was coming through. | ||
| I tried to grab it. | ||
| Yeah, see? | ||
| Look at that. | ||
| Oh, you're gone. | ||
| But now that I've learned that, sleep deprivation is one of the most amazing ways, if it's controlled, to go to another place. | ||
| I've heard that, but I want to get to that. | ||
| Before we get to that, while you're in there, what are you doing to occupy your mind? | ||
| Did you have... | ||
| Were you using meditation? | ||
| Were you just thinking? | ||
| Were you just winging it? | ||
| Okay, so for some of them, what I do a big... | ||
| First of all, yeah, a lot of things you get to... | ||
| You have free time to think. | ||
| Like there's no phones, no distractions aside from the physical... | ||
| But the one thing that I use with everything is kind of like a breakdown of numbers. | ||
| I'm like, okay, I have this much. | ||
| I have to get to this point. | ||
| Then when I get to this point, even when I run on a treadmill, I'm like, okay, I have to get to this point, which means let me get to the halfway point and I'll consider that... | ||
| When I'm holding my breath, I do the same thing. | ||
| Like, okay, I need to get to 15 minutes, so let me get to 7, and I'll start at 7. Then at 7, I'm like, okay, I'm at 7 left. | ||
| I have to get to another 3.5, then 3.5. | ||
| And then what I always do is whenever I'm training, I always go past it, so it's the same thing. | ||
| So, like, when I'm running a treadmill, I'm like, if I have to do, let's say, like, you know... | ||
| 3.1, whatever it is, I set that as my target, but then I always go another half a mile past it. | ||
| You can't quit before because then you'll be in the mindset that, okay, I can stop before. | ||
| So anything that I do, I use numbers to get there. | ||
| I get halfway, and then I push the goal further every single time, no matter what. | ||
| So it's a mathematical system, ironically. | ||
| So you don't necessarily have any sort of meditative techniques. | ||
| You're just concentrating on the numbers. | ||
| Meditation for breath-holding all the time. | ||
|
unidentified
|
Right. | |
| Every time I do a breath-holding, it's all meditation. | ||
| No, the ice was kind of... | ||
| There was like a breathing thing, and I didn't really know much about it back then, but I was more like fighting it. | ||
| What is it like on your ankles or your knees and your back? | ||
| Everything swells up like edema really bad and all that stuff, and the pain is excruciating and unbearable. | ||
| But yeah, I mean, you're waiting. | ||
| And you didn't have any residual effects of that? | ||
| Just my ankles and legs were really swollen. | ||
| Just for a few days or so? | ||
| Longer than that, but yeah. | ||
| Yeah. | ||
| Now, has anybody ever tried to break that? | ||
| I don't know. | ||
| I hope not. | ||
| Not because I don't care about how long. | ||
| I just don't want anybody to hurt themselves. | ||
| But I would imagine someone does something so high profile like you did that, that people would be like, hmm, I'm going to try that. | ||
| I mean, I think it's too weird. | ||
| So people aren't really like, oh, I want to do that. | ||
| But there's billions of people. | ||
| I would imagine that someone would step in and try to... | ||
| Emulate that. | ||
| I pray not, and that's why I pray my daughter never becomes a magician, even though she's so amazing at it. | ||
| Because if she started doing these things, if she's going to bump her knee, I'm like, I have a heart attack. | ||
| That's the problem with being a parent, right? | ||
| Yeah. | ||
| The things that make you amazing are your ability to overcome adversity, and then you shelter your children from adversity. | ||
| It's all my favorite people. | ||
| They all came from a very tumultuous childhood. | ||
| They all came from turmoil, and no one wants that for their child. | ||
| You want to protect your children. | ||
| It's weird. | ||
| It's very weird. | ||
| So what other ones have you done where like While you were doing it you were thinking what the fuck have I done? | ||
| Because you committed There was one. | ||
| Don't pull this one up. | ||
| Don't pull this one up. | ||
| It was called The Dive of Death. | ||
| And I started to get cocky. | ||
| I'd done like the thing in London. | ||
| I'd done like the water tank. | ||
| So I started to get too cocky, right? | ||
| I didn't have time and ABC wanted to show really quick. | ||
| I was like, okay, I'm going to go upside down for 60 hours, three days, whatever, right? | ||
| I was going to be upside down. | ||
| And then some guy was in a parachute upside down on a tree in Italy, and he was in the hospital because he was three days upside down in the tree. | ||
| And I was trying to speak to him, but he was like not... | ||
| Didn't want to talk at all, and then they were like, his situation's really bad. | ||
| So it kind of like set the tone before I did the thing. | ||
| The situation's really bad. | ||
| From being upside down for that long. | ||
| What happened to him? | ||
| I think the blood... | ||
| I think it does... | ||
| I don't know, because I didn't get to ask. | ||
| They wouldn't tell me. | ||
| But he wouldn't also engage in a... | ||
| It was bad. | ||
| That I know. | ||
| In the news, it was bad. | ||
| I don't know what the permanent repercussion is. | ||
| But so when I did this thing upside down in New York, I didn't practice it. | ||
| I thought I could just wing it. | ||
| My stunt guy who taught me to jump off the pole, he's like, you can never ever just go wing something and not dial it in and rehearse and figure it out. | ||
| You can't just go do it. | ||
| You can't hope for luck. | ||
| And that was the first one ever and last one that I was like, okay, let me just hope that I can do this. | ||
| As soon as I went upside down, remember I said you could never prepare for certain things? | ||
| Yeah. | ||
| I had that catheter hooked up, and the first time I peed, it just went upside down all over me, so this way. | ||
| And I was like, I'm done. | ||
| So the whole stunt went down over there. | ||
| That was a great learning lesson, because I learned you never just dial it in. | ||
| Did you make it through that one? | ||
| Yes, but it was terrible. | ||
| It was a garbage stunt. | ||
| But you were asking me, like, what things? | ||
| So that was one that was like, ugh. | ||
| But all of the others, they were amazing. | ||
| The team, working with the best people, all of it. | ||
| And this one is the most amazing. | ||
| Like, I have a team that's... | ||
| The one you're doing right now? | ||
| I have the most amazing... | ||
| I've never been able to have a team like this. | ||
| This is the balloon one. | ||
| Yes. | ||
| Okay, explain this. | ||
| Okay, so I went to YouTube with Crazy Idea, who, by the way, this is YouTube, and they've been a blessing beyond, beyond. | ||
| So I'm like, okay, here's what I want to do. | ||
| Like, I want to grab a bunch of balloons and go floating up into the sky and disappear. | ||
| Like, okay, great. | ||
| Okay, sure. | ||
| So now I needed to ascend. | ||
| This is all hypothetical. | ||
| I'm not like a skydiver that has 10,000 or 20,000 jumps. | ||
| I'm not a balloon pilot. | ||
| I have no experience in any of this stuff. | ||
| I just know that I want to do this and I've wanted to do it forever. | ||
| But I had drawings of it made 15 years ago. | ||
| Now you have to get for real. | ||
| So there is a guy that flies balloons and there's a guy like Longchair Larry that went up on balloons with like a lawn chair and a bunch of beer. | ||
| That was his ballast and he like popped balloons with a gun. | ||
| So there are examples. | ||
| So it's not like a complete hypothetical. | ||
| This one has like, okay, so what if I could take the balloons, that idea, and just have the innocent image of a kid like we all dream of just holding the balloons and drifting up and into the sky? | ||
|
unidentified
|
Here, I'll show you a picture of it. | |
| What's that one from? | ||
|
unidentified
|
From their website. | |
| From whose website is that, Jamie? | ||
|
unidentified
|
The balloon company. | |
| Right, so that's my balloons. | ||
| Is that you up there? | ||
| Yeah, we did short flights, not big in public. | ||
| We kept it small. | ||
| Can I show these to Jamie? | ||
| No? | ||
| I don't know. | ||
| Yeah, to him. | ||
| I can show one. | ||
| Can you show it to the people? | ||
|
unidentified
|
I'm not sure. | |
| All right, then don't. | ||
| Wait, that's my balloons. | ||
| Yeah. | ||
| Oh, well, that's on, but that's the end of it. | ||
|
unidentified
|
It's not him doing it yet. | |
| It's just a picture of the balloons. | ||
| Right. | ||
| So this is... | ||
| But I think maybe, maybe not. | ||
|
unidentified
|
But anyway, so... | |
| Okay, so it starts with just the idea of that. | ||
| But now, I have to go get a hot air balloon pilot license. | ||
| So I go meet with the best hot air balloon pilot instructor and also flyer. | ||
| But isn't that the different situation than a hot air balloon because you don't have the ability to control... | ||
| You have to first get your hot air balloon pilot license. | ||
| So you have to learn how to fly and land a balloon, which is amazing, right? | ||
| And then you have to take that written test. | ||
| And I don't have time because I'm trying to do so much. | ||
| So I had to cram study the whole written test in eight hours with a guy helping me. | ||
| I studied the whole thing, went to the airport, took the test, got that. | ||
| Then you need to go get your gas restriction lifted, which means because – and very few people even ever bothered to do this because who's flying hydrogen or helium nowadays? | ||
| So I went and met this guy, Bert Padelt, who's the best gas balloonist in the world. | ||
| He's the one that built around the world in 80 days. | ||
| He's built every balloon that's done the longest flights and you fly. | ||
| Now, a hot air balloon, you're like – right? | ||
| You have to control it and it's – helium and hydrogen, you're just part of the wind. | ||
| You're literally just floating away and it'll keep going up to 84,000 feet until they pop there. | ||
| Like, you are just floating. | ||
| I can't explain that feeling of floating. | ||
| Anyway, so I had to go learn how to fly and land hydrogen balloons and use hydrogen because helium is more expensive and stuff like that. | ||
| Now, we have to go test the whole rig. | ||
| So now, And at the same time, I have to also try to get as close to 500 jumps out of an airplane because I need to be really comfortable in the air. | ||
| If I have to jump out and land, I need to land safely. | ||
|
unidentified
|
Right. | |
| And when you're up at 25 plus thousand feet, you don't know where you are. | ||
| Right. | ||
| By the way, did you see the video I made for you? | ||
| You didn't see it? | ||
|
unidentified
|
No. | |
| You made a video for me? | ||
| Yeah, because when you did the thing with Post, and Post was like, he's not real, and you were defending me, I was like, um... | ||
| Hold on, I made a video. | ||
| I sent it to Matt. | ||
| I texted it to him. | ||
| I didn't get a video. | ||
| He didn't show it to you? | ||
| Did you get a video? | ||
| No. | ||
| Hold on. | ||
| I may do this video. | ||
| So this is me yelling from the plane. | ||
| And by the way, this is after the wingsuit guys jump out of the airplane. | ||
| So remember, I'm also crushing lots of jumps really fast. | ||
| This is when I ran into a fence and almost killed myself. | ||
| And Luke, who's the best in the world that has 25,000 more jumps, jumped from 25,000 feet without a parachute and landed in a net. | ||
| I saw that. | ||
| Yeah. | ||
| So he's the guy coaching me. | ||
| So he's the one filming this. | ||
| And he landed at the state troopers patrol thing because we were so far lost. | ||
| And I ended up trying to make it back, almost hitting the trees really, really close, and then crashing into a fence. | ||
| My legs were all bloodied up, ripped through the thing, flipped over, landed. | ||
| I was fine. | ||
| That was recent. | ||
| And the reason why is because I was making you this video. | ||
| A complete truth. | ||
| But I'm going to explain it to you. | ||
| To make the video, I had to wait until the wingsuits were out of the plane because they're last, right? | ||
| But that means – and by the way, the conditions, you'll see what they were like in a second. | ||
| So the plane is moving really, really far away, right? | ||
| Because it's still going. | ||
| That means the drop zone is way over there. | ||
|
unidentified
|
Right. | |
| And I made the video and it was longer than I said it was going to be. | ||
| And then when we jump, we're like lost in the clouds. | ||
| And I see the only hole. | ||
| So I fly through the hole. | ||
| And now because I flew through that hole, we're so far away from everything. | ||
| And I should have followed Luke and went to the state patrol thing. | ||
| But I was like, no, I'm going to make it just back. | ||
| But so here's the video I made you, though. | ||
| Can we play it for other people? | ||
| Why don't you airdrop it to Jamie? | ||
| Oh, yeah. | ||
| Okay. | ||
| Hold on. | ||
|
unidentified
|
So let me airdrop. | |
| Isn't that funny though? | ||
| It's pretty wild. | ||
| I'm just bummed out that I didn't get this before. | ||
| Oh, well, yeah. | ||
| So I was going to like post it or something and I asked him if I should. | ||
| And he's like, well, wait, because maybe he'll just do the show. | ||
| So I think that's why he didn't maybe or something. | ||
| Like, I don't know. | ||
| Hold on. | ||
| Maybe it got lost in the email or something. | ||
| It might have gotten to one of those. | ||
| The email dumps get pretty big sometimes. | ||
| The point where I can't keep up. | ||
| Is it Young James? | ||
| Young Jamie. | ||
| Young James. | ||
| Okay, so that's that one. | ||
| But then I'm going to show you the rest of the shot, but you might have to scroll through it to get to it. | ||
| But by the way, it's the most amazing. | ||
| So I'll show you the rest of that shot, and then you'll see where he landed and where I landed. | ||
| So I'm going to send you first the pretty version of it. | ||
| You guys can cut through or whatever, right? | ||
| Sure. | ||
| So I'm going to edit. | ||
| I'm going to just send you the full, and then you'll look through. | ||
| So here's another one. | ||
| When is this one supposed to be? | ||
| In two weeks. | ||
| In two weeks. | ||
|
unidentified
|
Yeah. | |
| And do you have to take into consideration the wind, like, with the current temperature? | ||
| Oh, yeah. | ||
| And that's why we can't, like, confirm a location because winds determine everything. | ||
| So even though now I'm at, like, you know, almost 400 jumps, the winds still decide where you go. | ||
| Oh, here. | ||
| All right, here we go. | ||
| Did you get that other? | ||
| I've only got one. | ||
| Okay. | ||
|
unidentified
|
Just want to make sure. | |
| Is this the one you want me to play? | ||
| Well, that's the first one. | ||
| So I can do this airdrop comeback? | ||
| Sure. | ||
| Okay. | ||
| Okay, check this out. | ||
|
unidentified
|
Joe Rogan, the breath-holding is for real. | |
| And if you want to see a little bit about it, watch my last YouTube video. | ||
| But Joe, I hope to come show you in person because that might actually save my life. | ||
| Oh, Jesus Christ. | ||
| Okay, but so you see the clouds. | ||
| Now, hold on. | ||
| This one's going to come. | ||
| So you're hanging on to a plane. | ||
| How high are you there? | ||
| No, that was just, I don't know, like 13,000 or something. | ||
| Oh, nothing. | ||
| No, but I went to 25,000. | ||
|
unidentified
|
I know. | |
| I remember you telling me. | ||
| Yeah. | ||
| Yeah, but still. | ||
| You're still 13,000 feet off the air hanging on to a plane and you jump off. | ||
| Maybe it's another one. | ||
| Maybe it's this one. | ||
| It's hilarious that you're like, oh, it's only 13,000 feet hanging on to the wing of a plane that I let go on video. | ||
| I know, but you need to see. | ||
| I can't play it here, though, right? | ||
| And show you like this. | ||
| We have to airdrop because it's going slow. | ||
| Airdrop is better because it's going slow. | ||
| Well, I just want to send this one that shows how spectacular, but I could just send this one that's not as big, which explains what's going on. | ||
| So hold on. | ||
| Which one? | ||
| Because there's three Young James. | ||
|
unidentified
|
The MacBook Pro. | |
| Young Jamie. | ||
| But there's three Mbp. | ||
|
unidentified
|
It doesn't matter. | |
| Just click one. | ||
| It should work. | ||
| Now when you decide to do something like this, do you get an inspiration and then you consult people to see if it's feasible? | ||
| So that's what I was like. | ||
| So what I was saying is I come up with the idea and then I find a guy. | ||
| His name is Jonathan Trapp. | ||
| He's the one that tried to cross the Atlantic with helium-filled balloons. | ||
| But I mean, it's like a full system. | ||
| He has a basket. | ||
| So it's like a hot air balloon system. | ||
| So nobody's ever done it where they just float where their bodies are the basket. | ||
| You know what I mean? | ||
| So he had the whole system and then he came and tested it out and I was like, could I go try it like this? | ||
| And he's like, no, we're not ready. | ||
| You'll kill yourself or whatever. | ||
| And you're hanging on to the rope? | ||
| Yeah, but I'm going to make sure that... | ||
| I'm not going to have a parachute on, and I'll have a system so I'm completely secure, so I'm not going to fall off. | ||
| But I'm not going to wear the parachute because I don't want to be... | ||
| I want it to look like a kid just holding on to balloons. | ||
| So that visual is the important part. | ||
| So the parachute's up in the balloons. | ||
| But once I get above like a... | ||
| A thousand feet or so. | ||
| I'm going to put the parachute on in the air. | ||
|
unidentified
|
Oh, Jesus. | |
| So you're going to put the parachute on while you're up there. | ||
| Yeah, and then I want to see how high I can go. | ||
| See? | ||
|
unidentified
|
How do you think you can go? | |
| Well, so the highest thing on Earth is Mount Everest. | ||
| Right. | ||
| So that's kind of my goal, but I have to be careful because if you don't come back down, you're dead. | ||
| So if you can't get down from there, that zone is like the death zone. | ||
| So from like 25,000 to 30,000 is very, very dangerous. | ||
| You can black out like this. | ||
| So I'm going to do a couple more hypoxic tests and see if I'm right. | ||
| I'll have emergency stuff up there like oxygen if I need it, but I don't want to use it up there in the balloons. | ||
| Do your loved ones panic when you start plotting things like this? | ||
| My daughter asks questions. | ||
| How old is she? | ||
| Nine. | ||
| And she asks great questions. | ||
| And the tail number of the plate is for me and her. | ||
| So it's N for number, but nine for her age, 47 for my age, and then DB for me and her. | ||
| We're both Dessa and David Blaine. | ||
| Which is the balloon that has... | ||
| This has to be a registered aircraft. | ||
| So we had to get it registered. | ||
| We had to fly it up. | ||
| We had to prove that it's completely safe. | ||
| We had to land it with nobody on it so the body... | ||
| One time that I went wasn't me. | ||
| It was sand that weighed exactly what I weighed. | ||
| We had to remote dump the sand. | ||
| We had to use squibs to remote pop the balloons, fly it over. | ||
| And this is at 22,000 feet. | ||
| And squibs, what is controlling it? | ||
| But is it radio? | ||
| Yeah, exactly. | ||
| I have the whole team helping me that did like Alan Eustace when he jumped and Felix Baumgartner when he jumped from the edge of space. | ||
| So we have Don Day, the best meteorologist. | ||
| Do they have to weigh you before you get on? | ||
| Oh yeah, it's precision. | ||
| It's precision. | ||
| And then, so we had to fly it all the way up to 22,000 feet as proof that this aircraft is actually completely doable. | ||
| And then remote land it exactly where Don Day predicted we were going to land it. | ||
| And we've done that multiple times. | ||
| We've flown it. | ||
| We've deployed the imitation. | ||
|
unidentified
|
I've flown it. | |
| There's a massive amount of time involved in constructing one of these things and orchestrating it. | ||
| Time and team. | ||
| And team is everything. | ||
| So it'd be like you when you have like the best trainers. | ||
| If you had like your... | ||
| Five best in the world, like, tweaking you for fights like that. | ||
| So when you plan on doing something like this, did you bring this up to these folks? | ||
| These are the people that you're doing it with. | ||
| These are the people that you brought it up to the first time. | ||
|
unidentified
|
Yeah. | |
| Nobody said, get the fuck out of here with this? | ||
| Nope. | ||
| Went straight to YouTube, and I was like, I have this idea. | ||
| So you went to these guys, and did they hesitate at all? | ||
| No. | ||
| They're amazing. | ||
| Or crazy. | ||
| That's one of the... | ||
| Right. | ||
| It is also crazy because it is just a hypothetical idea that's insane. | ||
| That's true. | ||
| And they did let me like – but there were stages. | ||
| I had to prove each step. | ||
| So I had to prove that number one, the balloon is doable. | ||
| Number two, I'm not going to hopefully kill myself. | ||
| Number three, I can actually get the – oh, and then for the skydives, by the way, because I had to get 500 jumps really quick. | ||
| And this is all during the last year, right? | ||
| Mm-hmm. | ||
| So insurance wouldn't cover that. | ||
| I mean, they would cover it, but it's not affordable. | ||
| So I had to do almost 500, 400 jumps or so with no insurance. | ||
| You know what I mean? | ||
| And so that's a whole separate thing that's not related. | ||
| So I had to go do them for my own as fun and do everything through my own. | ||
| You see what I mean? | ||
| So it's crazy. | ||
| It's all nuts. | ||
| And because you think of Sky, you think like, oh, you have the best coach. | ||
| It's fine. | ||
| But there's still, like, when you're trying to do 15 jumps a day, it's like you can... | ||
| Do what I did, which is try to avoid hitting an airplane in a hangar and turn too low and come whacking down. | ||
| And when did you come up with this idea? | ||
| I mean, I think it was like inspired when I was a kid. | ||
| I think like the idea of like the little boy drifting in a balloon. | ||
| So I think it was like, but I never really thought of it as a reality. | ||
| But then 15 years ago or so I had drawings made of it. | ||
| So I started having, I'll show you the drawings. | ||
| I can't open it on there or whatever. | ||
| So when did you put it into motion? | ||
| It was never even possible until YouTube said, okay, we'll back this. | ||
| Because the idea is like all of my other stunts, there's like the budget's pretty very, you know, you couldn't afford to do something like this. | ||
| This is to build, test the flight, build an actual aircraft, fly it, land it, get all the jumps, learn how to do everything, get all the skill set. | ||
| But that's the first drawing. | ||
|
unidentified
|
Oh, wow. | |
| Yeah. | ||
| So you drew this when you were... | ||
| I didn't draw it. | ||
| Oh, someone else did. | ||
| Yeah, Mark Stutzman, who's an amazing artist that did my poster for this thing, which I'll show you. | ||
| Can I send this to Jamie? | ||
| Yeah, it's not working, but you can try. | ||
|
unidentified
|
Airdrop's not working? | |
| I noticed something weird was happening when he was trying to do it. | ||
| But maybe the picture will go. | ||
| If not, I can restart the phone and maybe it'll work. | ||
| Was it showing up for you, Jamie? | ||
| No, right? | ||
| Let me restart the phone. | ||
| There's a lot of... | ||
| Okay, now it says it's waiting. | ||
| There's like so many MacBook Pros. | ||
| You got it? | ||
| Yeah, there's three. | ||
| Oh, it went? | ||
| Yeah, that one went through. | ||
| Okay, then I'll also send... | ||
| Oh, but wait, so should I also show you the poster that I had made? | ||
|
unidentified
|
Sure. | |
| Okay. | ||
| So, you come to YouTube. | ||
| Powerful YouTube. | ||
| They come up with this idea. | ||
| They're just amazing. | ||
| That's the original, but this is the latest one. | ||
| Did you send that one to him too? | ||
| I'll send it to you, Jeremy. | ||
| It's coming through right now, supposedly. | ||
| It's like I have to accept them for some reason. | ||
|
unidentified
|
It doesn't just go. | |
| Is it showing up for you? | ||
| No? | ||
| I think I should restart the phone because those videos, too, I want to send. | ||
|
unidentified
|
There it goes. | |
| Okay. | ||
| How did you get it to go, though? | ||
| Which one did you press? | ||
| I don't know. | ||
| There's so many of them. | ||
| It doesn't make any sense. | ||
| Your phone is being monitored by the government. | ||
| They're cloning all the text messages. | ||
| Hold on. | ||
|
unidentified
|
Hold on. | |
| I want to try to send this video so I can explain making your video, if that's possible. | ||
| But did when you... | ||
| Oh, now it's preparing it. | ||
|
unidentified
|
Okay, beautiful. | |
| Now it's going through? | ||
| You have it coming right now? | ||
| Because it says it's converting, so it might be coming. | ||
| We're waiting for an accept on this, so... | ||
|
unidentified
|
Okay. | |
| As soon as I get that. | ||
| So, you bring this to YouTube. | ||
| How long ago was it? | ||
| Uh... | ||
| Like a year and a half ago or something like that? | ||
| They say, yay, let's do it. | ||
| We're fucking crazy. | ||
| Yeah. | ||
| And also, it's probably going to have 100 million people watch it, so it seems like a good idea. | ||
|
unidentified
|
I don't know. | |
| I don't know about that. | ||
| Oh, I do. | ||
| I don't know. | ||
| You're going to float around in a fucking balloon hanging on? | ||
| A lot of people are going to watch it, man. | ||
| I don't know if that's true. | ||
| I'll bet on it. | ||
| But this one, by far, is my favorite that I've ever done. | ||
| It's the most visual, the most colorful. | ||
| It's the first one that I've ever done where my friends are like, I want to do that. | ||
| They're not like, why do you do that? | ||
| You know what I mean? | ||
| You're holding on. | ||
| But you know, all the other stunts I do, people are like, it's great that you're doing it, but that's crazy. | ||
| Or why are you doing it? | ||
| This one, they're like, I want to ride the balloons. | ||
|
unidentified
|
Yeah. | |
| Because it's such a childhood sort of... | ||
| So it'll be like that. | ||
| Wow, that's pretty cool. | ||
| So it'll look just like that. | ||
| How is it? | ||
| Are you harnessed? | ||
| Yeah, it'll be like a little thing that connects at my wrist, which like the way the aerialists have a connection. | ||
| And then it's connected to your body, your torso somehow? | ||
| Yeah, it'll be connected somewhat. | ||
| Through your crotch? | ||
|
unidentified
|
Yeah. | |
| Yeah, hopefully. | ||
| It's a nightmare. | ||
| Something. | ||
| Yeah, because when you get up to like minus, you know, 20 degrees or whatever, you'll be non-functional up there. | ||
| So you can't just rely. | ||
| Well, you can't really rely on your hand anyway after a certain point. | ||
| No, no, no. | ||
| If I had to do this up to like, you know, 2,000 to 3,000 feet, I could. | ||
| Holding on. | ||
| Yeah, you can ascend. | ||
| You can also do what You know, just put something around your foot, like the wires could come down. | ||
| Okay, so something around your foot would be just to take some of the weight off of it. | ||
| Just to help. | ||
| Yeah, so it's doable. | ||
| But how long can you actually hang, though? | ||
| It's really hard to hang for more than a couple of minutes. | ||
| It's hard to hang for more than a minute. | ||
| I think the record is like two minutes. | ||
| What? | ||
| With one hand, you mean? | ||
| Yeah, with one hand. | ||
| Oh, okay. | ||
| But this has to look like the one-handed image of a person floating. | ||
| It has to be exact. | ||
|
unidentified
|
Right. | |
| You'd have to have some freaky forearms, Popeye. | ||
| Yeah. | ||
| So I'll have assistants built, so I won't have a parachute or any of that stuff. | ||
| That'll be above me, so it'll look really clean, but I'll be supported. | ||
| Now, if there's a balloon failure or something like that, obviously I'm in trouble. | ||
| Obviously. | ||
| But once I get the parachute on, once I get to 5,000 feet, then we know, okay, he's not going to die. | ||
| He has a parachute on. | ||
| I can get away. | ||
| And now the big challenge is how high can you go? | ||
| So, how are you going to know? | ||
| Do you have an altimeter on the... | ||
| I'll have an altimeter, but I'm also going to have a communication. | ||
| I have full everything. | ||
| So I'm going to have cameras with me. | ||
| Are you using a watch for the altimeter? | ||
| Or what are you using to... | ||
| Well, I'm using this one called Dakunu right now, but it's big. | ||
| No, but I've been jumping with Suunto's and things just to check... | ||
| How accurate they are. | ||
| And they're not bad. | ||
| They're like off by like 200 feet or something like that. | ||
| But on the landing, you don't want to be off. | ||
| Especially if you're like me, you only have 400 jumps, not even, right? | ||
| And you're landing in dicey areas because you don't know where you are, right? | ||
| A gust of wind can throw you here or there. | ||
| Yeah, anything. | ||
| But you also have to, like, not hit a power line or a building or an obstacle or anything, wherever you are, right? | ||
| If you come down into a mountain, you're going to whack into that. | ||
| It looks flat from here, but if you didn't adjust, you're going to come in hard and that's it. | ||
| You'll eat it, right? | ||
| If you hit a power line, you're dead. | ||
| So, yeah, those types of things we have to, like... | ||
| And which is why, when I'm controlling the balloons and going up and up and up and up and up... | ||
|
unidentified
|
I'm going to hopefully be five. | |
| Hopefully. | ||
| You're scaring the shit out of me already. | ||
| So at 5,000 feet, how do you get the parachute? | ||
| It's up there in the balloons and I'm going to pull it down. | ||
| It's on like a fishing wire thing. | ||
| I pull it down and then I put it on. | ||
| That's the only like really difficult thing. | ||
| Have you done this already? | ||
| You've practiced that aspect of it? | ||
| I've practiced it and that's like really scary to everybody around. | ||
| Oh, yeah. | ||
| They're asking me, why won't I just wear the thing? | ||
| Like, everybody. | ||
| Yeah. | ||
| They're like, you have to wear it. | ||
| And you don't want to wear it. | ||
| And my brother's really obsessed with it. | ||
| My daughter's new question is, how come you're not wearing the parachute? | ||
| But I'm telling her, it's fine. | ||
| But have you done this transition yet, where you go from floating to putting the parachute on? | ||
| No, that'll be done live the first time. | ||
| Oh, Jesus. | ||
| This whole thing will be done the first time live, and I've never done it in completion. | ||
| I've done all the elements of it. | ||
| So I've done the jumps, I've done the balloon flights, I've flown the rig, but I've never put it all together. | ||
| That's all going to happen for the first time live on YouTube. | ||
| Oh, my God. | ||
| And so once you get the vest on, once you get the parachute on, then the goal is to see how high you can get up. | ||
| Yeah, that's the part that I'm obsessed with. | ||
| When you get to the area of 30,000 plus feet... | ||
| No, no, you can't cross there. | ||
| I mean, I just want to get... | ||
| The goal is if I get up to like... | ||
| 25,000 feet, I'm excited. | ||
| Okay. | ||
| Because that's where the eyes... | ||
| I want to disappear. | ||
| Like, I actually want the visual to be that I disappear into the sky. | ||
| Okay. | ||
| So you get up to 25,000 feet. | ||
| But I'm not going to kill myself doing it. | ||
| I hope not. | ||
| I won't. | ||
| Okay. | ||
| I believe you. | ||
| But this one is different than the ice. | ||
| I'm going to have the O2 things. | ||
| By the way, you can't send the O2 pulse oximeter signals down, so they won't know if I'm hypoxic. | ||
| But I'm going to have the O2 monitors in my pocket. | ||
| I'm going to put them on. | ||
| I'm going to show them to the camera. | ||
| They can still communicate with you? | ||
| Yeah. | ||
| Now, if they can't, that's a big issue. | ||
| So if communication fails, then this is, for me... | ||
| Communication is done through what? | ||
| R.F., this incredible guy that builds all of the communication for every skydiving stunt. | ||
| The same way that a plane can communicate with the ground? | ||
| Yeah. | ||
| And I have a transponder up here. | ||
| I have everything. | ||
| So the plane's visible. | ||
| Everybody knows where I am. | ||
| Clearing everything with the FAA, the ATC, so everything is going to be completely organized as it needs to be. | ||
| We have a wind path in every location that we're going to possibly do this in. | ||
| Of course, New York is a dream, and there's some other dreams that we have. | ||
| We have a couple of key points that we're dreaming about doing this, and depending on wind and weather, that's where we'll do it. | ||
| And how do you descend? | ||
| Just let go of some... | ||
| You're just going to completely drop off? | ||
| Yeah, just release myself, yeah. | ||
| So you're going to skydive at 25,000 feet? | ||
| Yeah. | ||
| By the way, when I did the... | ||
| I told you when I did that test, when I went up to almost 24-7 or whatever, I had the helmet on. | ||
| The first breath I took, the entire thing was ice right away. | ||
| And I was flying down looking through like a little hole in the helmet. | ||
| I couldn't see. | ||
| Jesus Christ. | ||
| And so when you land, you have to land... | ||
| I mean, from 25,000 feet, you have to make sure that you're conscious. | ||
| You have to make sure that you can see. | ||
| That's right. | ||
| But usually, by the way, even if you are hypoxic and you're dropping... | ||
| You clear up at like 10,000 feet. | ||
| So Luke Akins, who you watch, he did a jump once where he was jumping with Felix Baumgartner, who he trained, and he was hypoxic. | ||
| He was blacked out. | ||
| But when he got to about 9,000 feet or so, he woke up. | ||
| Yeah, but from 9,000 feet down, you have 40 seconds to figure out where you are and what you're doing. | ||
|
unidentified
|
Okay. | |
| Okay. | ||
| It still seems fucking terrifying. | ||
| And so then you're floating down and you have to find a good spot to land. | ||
| And when are you going to do this? | ||
| Like, what's the official launch date? | ||
| Is it August 31? | ||
| 100%. | ||
| Depending on winds. | ||
| Depending on winds. | ||
| So if the winds are fucked on August 31st, you push it a little bit. | ||
| Yeah, exactly. | ||
| And that's the other thing YouTube's been amazing on. | ||
| There it is. | ||
| David Blaine, Ascension, YouTube Originals, August 31st. | ||
| Yeah, that's basically what it's like. | ||
| I love that YouTube stepped up to do this. | ||
| Yeah, it is amazing. | ||
| It is amazing. | ||
| Look at you floating above the cloud in that image. | ||
| And that's literally what you're going to be doing. | ||
| That's so fucked. | ||
| But also, the thing about this one, aside from the technical part of it, is like... | ||
| The visual on it, so far, is my favorite one. | ||
| Yeah. | ||
| It's like Up, like when they did it with the animated movie. | ||
| But when I look at the balloons, I become giddy. | ||
| And all these adults are working, and we're all laughing, because we're like kids playing with balloons, you know? | ||
| It's iconic. | ||
| It's something that every kid has kind of thought of. | ||
| Yeah. | ||
| Yeah. | ||
| Grabbing a balloon and flying. | ||
| And floating away. | ||
| Mary Poppins. | ||
| Yeah. | ||
| Wow, man. | ||
| And that was my daughter's nickname when she was growing up. | ||
| We called Mary, the real Mary Poppins. | ||
| She was a real Mary Poppins. | ||
| We'd put a balloon up and we'd always watch it and dream and talk about where it goes and stuff like that. | ||
| What is it like for her when you discuss these things with her? | ||
| She's so amazing. | ||
| I run ideas by her. | ||
| Really? | ||
| Yeah. | ||
| She's amazing. | ||
| By the way, the reason there's pink balloons in this one is because I was showing her all the balloons and she went, is there going to be pink? | ||
| And I was like, of course there's going to be pink. | ||
| And now there's pink. | ||
| That's hilarious. | ||
| Wow. | ||
| Now, have you been doing live shows this whole time? | ||
| Or are you able to with COVID? Not during COVID, no. | ||
| But right up to COVID, I was doing live. | ||
| I haven't been promoting or anything, but it's like my favorite thing. | ||
| Because I've been working on the live show for... | ||
| 20-some years, and I've never done one until, like, the last few years. | ||
| Like, started, like, three years ago is the first time I did that, which is crazy, right? | ||
| Yeah. | ||
| But I finally felt like I had the right material to make a good show. | ||
| And the show is so—it's like I open it with the mouth sewing. | ||
| So the first thing is, like—but I bring people up, so it's also comical. | ||
| It's, like, funny, right? | ||
| Like, joking around and stuff, and you see people like, ah, reacting. | ||
| Now when you say mouth sewing, you actually sew your mouth shut? | ||
| Yeah. | ||
| And you do that how many nights a week? | ||
| One? | ||
| No. | ||
| So I would do two days on, one day off. | ||
| But every day of a show means you can't eat for 36 hours before the show because I also have to put a gallon of water in my stomach. | ||
| I have to put a cup of kerosene. | ||
| But now I don't swallow the kerosene. | ||
| I put it in my mouth now and spit it. | ||
| So I don't swallow. | ||
| But on Jimmy Kimmel, I drank this stuff. | ||
| And it's like really, really, that's how the guy died, Haji Ali, that I told you. | ||
| So now I just put it in the mouth, spit it. | ||
| But see, and then I do the frogs in the stomach. | ||
| I put the hanger all the way down the throat to fetch somebody's ring. | ||
| I do the breath hold every single night. | ||
| And then I have them push an ice pick through my arm every night, which is like you don't want to hit a brachial, you know, anything. | ||
| A nerve. | ||
| Yeah, or an artery or anything. | ||
| Of course. | ||
| And I let them choose a spot. | ||
| By the way, I also brought the ice pick if you do want to see, because I know that you know it's real, but I should... | ||
| Oh, I believe it's real. | ||
| But I still want to see it. | ||
| I haven't done it since my tour. | ||
| Really? | ||
|
unidentified
|
Yeah. | |
| Are you itching to do it? | ||
| Is that what's going on here? | ||
| I mean, I'd like you to do it. | ||
| I'd like you to do it just to see that it is pretty straightforward. | ||
| Oh, I believe it's straightforward. | ||
| But I brought one with me and I got the alcohol from the... | ||
| So here is... | ||
| Look at that girl. | ||
| Poor girl. | ||
| So you're stitching your mouth shut. | ||
| Exactly. | ||
| So what I was able to do with the stage show is I bring people up on stage and I have the cameras with the big screen so you see people reacting to this stuff. | ||
| So it's the magic plus the reaction. | ||
| So you get that whole... | ||
| And this girl's really into it. | ||
| Look at her. | ||
| So you do this all the time, the stitching the mouth shut? | ||
| I would imagine you would accumulate some scar tissue. | ||
| No, that one's easy, but this one's legit. | ||
| This one I used to do through the hand. | ||
| This is the ice wave. | ||
| This one I used to do through the hand, and I developed so much scar tissue that when I move my fingers a certain way, I get a shooting pain. | ||
| So I stop doing the hands and I switch to here. | ||
| Mmm, that makes sense. | ||
| Yeah, I would imagine that would really fuck your hands up. | ||
|
unidentified
|
Alcohol pads from your COVID test. | |
| So wait, so I might have to sit next to you or something, I feel like. | ||
| Do you want me to do this to you? | ||
| Is this what's going on here? | ||
| Yeah. | ||
| I can come over to your side. | ||
| Okay. | ||
| Is that okay? | ||
| Okay. | ||
| Alright. | ||
| But wait, don't you need the... | ||
| Or you can put those on? | ||
| I'll just come walk over. | ||
| Should I take the thing off? | ||
| You can if you like. | ||
| We'll both be basically talking into the same microphone. | ||
| No, but we can do it sitting. | ||
| Yeah. | ||
| But can you put those ones on? | ||
| Yeah, sure. | ||
| Jamie, does this mic work? | ||
|
unidentified
|
One second. | |
| Okay, Jamie will turn this mic on and I'll crank this thing over to here. | ||
| Okay, so you choose the arm. | ||
| Do you want the left or the right? | ||
| Let's do the right since it's right next to me. | ||
| Okay. | ||
| Do you want them to come in and see it as well? | ||
| No. | ||
| Good enough. | ||
| Okay. | ||
| So now, this is not a new ice pick, and usually I do it with new ones, which means this isn't as sharp as it needs to be, so it means the push is going to be a little more difficult, I guess. | ||
| Why do you like to do this? | ||
| Are these pure alcohol? | ||
| Yes. | ||
| Yes? | ||
| I believe so. | ||
| I mean, they're just the standard ones that you get. | ||
| That's fine, I'm sure. | ||
| Yeah, yeah, yeah. | ||
| Oh, you want to make sure there's no scent in it or anything? | ||
| No, no, I want to make sure that there's no bacteria in it. | ||
| Right, but I mean on the alcohol strip. | ||
| Oh, yeah, exactly. | ||
| Why do you enjoy this? | ||
| You're excited about this. | ||
|
unidentified
|
No, no, no. | |
| Well, first of all, it's amazing that you can actually do something like this, like it's nothing. | ||
| So there's a guy named Mirandayo. | ||
| Can you pull up Mirandayo, you think? | ||
| So Mirandayo, it's this guy, and nobody believed he was doing it for real. | ||
| And he would take... | ||
| Rapiers, and he would have them push right through the middle of his body, through his lungs and everything. | ||
| He would show on all sides, and then they would pull him out, and he'd be perfectly fine. | ||
| And every doctor would say, oh, you can't do that. | ||
| So remember when Steve Irwin died? | ||
| Do you know why he died? | ||
| No. | ||
| Because he pulled the stingray thing out of his heart. | ||
| The stingray stabbed him and he pulled it out, right? | ||
| Crocodile. | ||
| So if he kept it in there, he would have lived? | ||
| Right after that, a 70-year-old man was on his boat and a stingray jumped up out of the water, stung him in the heart, and then the stingray was gone. | ||
| Oh, I didn't even, yeah. | ||
| Oh my god! | ||
| Yeah, look at that. | ||
| Isn't that crazy? | ||
| But the fact that you can actually do this is what's crazy. | ||
| Like, the body can, with your mind, you can override it. | ||
| And then the thing is, he got so cocky, though, that he thought he could do anything, and then he ate one of these things, he swallowed it, and it killed him. | ||
| He bled internally and died. | ||
| But see, he got really cocky because he was like, I can do anything. | ||
| That is fucking insane. | ||
| Is he going through his liver? | ||
| He can go through anything. | ||
| And that's what I'm saying. | ||
| So the 70-year-old guy that got the stingray, it stabbed him in the heart. | ||
| Instead of pulling it out, which is like a corkstrew, he waited with doctors until it beat out the other side. | ||
| And he was fine. | ||
| You see? | ||
| Wow. | ||
| So, instead of pulling it out, he waited until what happened? | ||
| And the doctors waited, and with the heart, they let it beat out the other side, and they slowly let it come out. | ||
| It went through his whole body? | ||
| If they would have pulled it, it's like a corkscrew. | ||
| It would rip him apart. | ||
| He would die. | ||
| How long did it take for it to beat through his body? | ||
| I don't know, but I know that the doctors, what they did is they let it go through. | ||
| This fucking guy! | ||
| How many times did this guy get stabbed like this? | ||
| I've done that one, by the way, right there. | ||
| That's a safe place. | ||
| That's like not an issue. | ||
| But when you go through the lungs and stuff, it's crazy. | ||
| Look, it's crazy. | ||
| But this is too much. | ||
| I wouldn't show it. | ||
| That's a thick fucking sword, man. | ||
| He whipped that one? | ||
| Listen, he's... | ||
| So what happened was he started to get too cocky. | ||
| He started to think he was fine. | ||
| Oh, Jesus Christ! | ||
| But you have to listen to the origin of this trick, though. | ||
| That's not a trick. | ||
| I know, but listen. | ||
| The origin of this is, as a kid, there's that trick where they do needle through arm, right? | ||
| And it's like the rubber stuff and it sticks your skin together. | ||
| It looks perfect. | ||
| It looks like it's really through your arm. | ||
| And then they like squeeze blood out of the thing. | ||
| Right. | ||
| So I saw that and then I was like, but maybe that's like actually doable. | ||
| Like maybe that trick could really be done. | ||
| Like the same exact trick, but for real. | ||
| Right. | ||
| So that's this. | ||
| Okay. | ||
| Okay, so you take that. | ||
| Okay. | ||
| Like I said, it's going to be a little tricky to push through just because it's usually sharp and this time it's not as sharp. | ||
| How do you know where to do it through? | ||
| We're going to pick. | ||
| There's no particular spot? | ||
| You just don't want to hit an artery. | ||
| How do I know I'm not going to hit an artery then? | ||
| I don't know. | ||
|
unidentified
|
You're smart. | |
| I can't kill you, bro. | ||
| What if you die? | ||
| So you want me to just right here? | ||
| Anywhere? | ||
| Sure. | ||
| Where do you prefer? | ||
| Wherever you want. | ||
| Like right there? | ||
|
unidentified
|
Sure. | |
| Wow, sure. | ||
|
unidentified
|
No? | |
| Yeah, do it there, where you want. | ||
| Do it where you want. | ||
| When you say, well, sure. | ||
| Like, where do you like it to go through? | ||
| The bottom? | ||
| No, I liked where you were going. | ||
| Right here. | ||
| I mean, that's fine. | ||
| But you're going to have to go, like, through. | ||
| Well, what do you want me to do? | ||
| Yeah, you're going to push through. | ||
|
unidentified
|
Okay. | |
| Should I hold on to you here? | ||
| Yeah, keep, like, a straight path. | ||
| Okay, like that? | ||
| No, I'd go straight. | ||
| Like that? | ||
| Yeah, I'd go straight through, yeah. | ||
| Okay, ready? | ||
| Slowly. | ||
|
unidentified
|
and go slow. | |
| See that? | ||
| Yep. | ||
| See? | ||
| So, it's hard to believe that it's real. | ||
| We keep pushing. | ||
| Keep going. | ||
| Keep going. | ||
| Wait. | ||
| Uh-oh. | ||
|
unidentified
|
Hold on. | |
| Woo! | ||
| What happened? | ||
| I hit a nerve. | ||
| Oh, Jesus. | ||
| You gotta do it in another spot. | ||
| No, no, no. | ||
| Come on, man. | ||
| You gotta do it in another spot. | ||
|
unidentified
|
You were hitting a nerve. | |
| Yeah, but what if I fuck your arm up, man? | ||
| And then you can't hang from the balloon. | ||
| And then YouTube's mad at me. | ||
| Okay, again. | ||
| Jesus, bro. | ||
| Okay. | ||
| So, by the way, honest to God, I never go in this direction. | ||
| Which way do you go? | ||
| I always go this direction. | ||
|
unidentified
|
Why? | |
| From inside to out. | ||
| I'm just saying, of all the times I did it, I've always gone this direction. | ||
| Do you want me to go that direction? | ||
| I'm just telling you, I've never done it. | ||
| Is that better? | ||
|
unidentified
|
No. | |
| So, what's the difference? | ||
| I'm just saying, I've never done it this way. | ||
| Oh, okay. | ||
| So, it's groundbreaking. | ||
| No, I'm saying it's nuts. | ||
| Well, it's definitely nuts. | ||
| Okay. | ||
| No, but from the bottom. | ||
|
unidentified
|
Like this? | |
| Like that. | ||
| Yeah, and then I'd go again. | ||
| And I would try to go like a straight path through. | ||
| Like right there? | ||
| No, I would go like lower and in. | ||
| Like there? | ||
| Ready? | ||
| Yeah. | ||
| Okay. | ||
| Yeah, I'd go like that. | ||
| Hold on. | ||
| Wait, wait. | ||
|
unidentified
|
Push. | |
| Yeah, like that. | ||
| Like that. | ||
| That's good. | ||
| Yep, we're on a clean path. | ||
| We hit something, but it's fine. | ||
| Now, what I do is this. | ||
| I use the skin here and I push so you can see it come through. | ||
| Push. | ||
| That's it. | ||
| See? | ||
| Alrighty. | ||
| Super unnecessary. | ||
| But it does seem like a magic trick. | ||
| It definitely doesn't seem like a magic trick to me. | ||
| But hold on. | ||
| There's blood vessels in everything. | ||
| How come there's no blood? | ||
| Well, it's a very small hole in comparison to... | ||
| No, it's a good size. | ||
| And there is blood on the other hole. | ||
| Oh, okay. | ||
| Yeah. | ||
| Well, that's because you hit something. | ||
| Uh-huh. | ||
| And your body's healthy, so it's clotting out pretty quickly. | ||
| Okay, then... | ||
| Should I put it out? | ||
|
unidentified
|
Yeah. | |
| Okay. | ||
| Let it slowly. | ||
| Go ahead. | ||
|
unidentified
|
Pull. | |
| Pull. | ||
| And that's it. | ||
| Okay. | ||
| So here, this is for you to keep. | ||
| I can't say I enjoyed that. | ||
| That was very uncomfortable. | ||
| But what's weird to me more than anything is that you seem to enjoy it. | ||
| You enjoyed the freak out part of it. | ||
| No, I like what I said. | ||
| I like that you can override your body with your brain to do things that seem like they're not real. | ||
| Yeah, like that. | ||
| You know it's real because of what you do to your body. | ||
| But most people see all of the things they do and think it's a magic trick. | ||
| Right. | ||
| They think it's a trick. | ||
| Like, okay, it's a trick. | ||
| Like, he's not holding his breath. | ||
| And you've done that thing with a sword where you've gone through your body? | ||
| Yeah, but it was not very thick and it was through right here. | ||
| I didn't go through the lung. | ||
| Okay, so you didn't go through the organs like this guy did? | ||
| No. | ||
| But I think you can. | ||
| Oh, well, obviously he did it. | ||
| Right. | ||
| And swallowing this is what killed him? | ||
| So he got really, he thought he could do anything. | ||
| So he's like, I'm going to swallow this type of thing and then I'm going to bring it up. | ||
| He swallowed it and he couldn't bring it up. | ||
| And then he fell asleep and it ruptured his heart. | ||
|
unidentified
|
He died. | |
| He woke up, they found him cold. | ||
| Oh boy. | ||
| Internal bleeding. | ||
|
unidentified
|
Jesus Christ. | |
| That is the thing about these extreme feats, right? | ||
| Is that you possibly might be pushing the boundaries of what's physically possible, which means you could die like Houdini. | ||
| Like Houdini died from getting punched, right? | ||
| Yeah, in the stomach. | ||
| Yeah. | ||
| How does a punch to the stomach kill you? | ||
| Well, so normally, like I had Kimbo slice punch me in the stomach. | ||
| Did you really? | ||
| Yeah. | ||
| Ouch. | ||
| Yeah. | ||
| And then I had him do it again. | ||
| And then I felt bad. | ||
| I didn't want to make him keep doing it because it wasn't, you know. | ||
| Right. | ||
| Because as you know, you can train to take a punch. | ||
| Yes. | ||
| Obviously. | ||
| So I basically had my trainer, Rich Barretta, throw... | ||
| Heavy balls, kick me in the stomach, do everything. | ||
| And I trained for a long, like a year, just to take a punch from anybody. | ||
| Oh yeah. | ||
| Here comes Kimbo. | ||
| Boom. | ||
| And then I said to him, do it again. | ||
| And by the way, I'm not even in top physical. | ||
| So I said, do it again. | ||
| But I obviously could have kept going. | ||
| And I did that based on Houdini, right? | ||
| But here's the thing. | ||
| So Houdini would do this on stage every night. | ||
| And it's a great thing in the show. | ||
| It's like, look, any 10 strongest people in audience, come punch him. | ||
| And... | ||
| And these kids think he's invisible, invincible, right? | ||
| Like, this is Houdini, Man of Steel, whatever, right? | ||
| So he's sleeping in his dressing room, these two college kids. | ||
| One kid's like, watch how strong it is. | ||
| And they punch Houdini in the stomach really hard. | ||
| While he's asleep? | ||
| Yes. | ||
| And as you know, that's dangerous because you don't have a wall up. | ||
| So he ruptured something, but he's a workaholic. | ||
| So the guy is in a lot of pain. | ||
| Maybe it wasn't related. | ||
| Maybe it's something different. | ||
| Maybe he had appendices. | ||
| Who knows, right? | ||
| He's in a lot of pain, but he wouldn't let the audience down, so he wouldn't quit his show. | ||
| So he did his show, and at the end of the show, he's upside down in the water tank, everything else when he shouldn't have been. | ||
| He should have been in the hospital, but instead, he did the show that night, collapsed on the stage, was not from the water tank, but right after the water tank, was rushed to a hospital and then died in the hospital. | ||
| And what was the diagnosis? | ||
| What did he die from? | ||
| Well, it was 1926. Voodoo. | ||
|
unidentified
|
He died from voodoo. | |
| Yeah. | ||
| Wow. | ||
| So, I mean, that's the thing about someone who does something that pushes it to the edge like that. | ||
| I mean, when someone sees you hold your breath for 20 minutes, what's fascinating about it is not just that it's hard to do, but that you might die. | ||
| Yeah. | ||
| Right? | ||
| Yeah. | ||
| Or some people say, oh, how's he doing it? | ||
| What's the trigger? | ||
| So there's all different interpretations. | ||
| But the worry, the thing that thrills people. | ||
| Yeah, it's like the idea that something could go wrong. | ||
| That's why everybody watched Evel Knievel, because he might wipe out on it. | ||
| And he often did wipe out on his bike. | ||
|
unidentified
|
Yeah. | |
| This thrill of getting to that edge is very dangerous, right? | ||
| Because you keep pushing... | ||
| There's a danger, but I feel like if you rehearse and practice and put the best team and don't just do crazy things without a plan, then I feel like the danger is like, sure, the danger's there, but I also rode my motorcycle here, which is also extraordinary. | ||
| I've lost a lot of friends on bikes, right? | ||
| So, sure, I get what you're saying, and I understand all that. | ||
| You seem to like thrills. | ||
| Well, I mean, I like adventures. | ||
| Like riding a motorcycle, too. | ||
| Yeah, it was an adventure. | ||
| That is an adventure. | ||
| I mean, I look at people that do it every day and I go, that's a braver person than I am. | ||
| And in California, you're allowed to weave, dude. | ||
| So that's kind of amazing. | ||
| In California, they're like, go ahead. | ||
| Give it a shot. | ||
| Fuck it, you're here. | ||
| Do you have a grand vision of your life in terms of these stunts that you do? | ||
| Do you have some ultimate threshold that you'd like to get to? | ||
| We have to take a break. | ||
| I want to make sure that I'm okay. | ||
| Okay. | ||
| Are you bleeding? | ||
| Yeah, yeah, yeah. | ||
| We'll take a break. | ||
| We'll be right back. | ||
| So we had to clean up your wound and it was fine. | ||
| You seem to enjoy it. | ||
| You really do. | ||
| You were laughing while they were cleaning it up and checking it and like, it's good, we're good. | ||
| It was just, what was it? | ||
| The blood? | ||
| What was it that was bothering you? | ||
| He's drinking all the water to prepare for swallowing a frog. | ||
| I just felt, you know, too much of the magic becoming real. | ||
| The magic. | ||
| How much water do you have to drink to do what you want to do? | ||
| Oh, we'll see. | ||
| What's up? | ||
|
unidentified
|
Do you have to drink it at a certain speed? | |
| Because I've seen people that can chug these. | ||
| They just shove the whole thing down their face. | ||
|
unidentified
|
It's almost like a magic trick in itself. | |
| They can drink it. | ||
| Yeah, those guys that just... | ||
| I had like the guy that was the fastest work on it with me. | ||
| How many do you have to drink? | ||
| You've drank three so far? | ||
| Yeah, plus the two out there, but yeah. | ||
| So five, you have to drink eight total? | ||
| Do you need a bucket or anything to throw the frog up in? | ||
| Do we have a bucket? | ||
| Ice bucket? | ||
| That doesn't seem like enough fluid, though. | ||
| This is an American flag bucket in the back, that big one. | ||
|
unidentified
|
Oh, perfect. | |
| Oh, look at that. | ||
| How convenient. | ||
| This poor frog has no idea. | ||
| He's a magical frog. | ||
| How do you know he's real? | ||
| He's real. | ||
| Well, you don't know. | ||
| That could be a magic trick. | ||
| Well, if it is, it's amazing you should sell these to people that don't want biological frogs. | ||
| That's a fucking live frog. | ||
| I mean, he's looking at me, he's moving around, he's bobbing his head. | ||
| He's trying to get the fuck out. | ||
| He's making the thing with the throat. | ||
| Look at him, he's trying to get out. | ||
| That's a real frog, kids. | ||
| No doubt. | ||
| When did you start doing this? | ||
| The frog thing. | ||
| Is that enough? | ||
| What if it overflows? | ||
| There's a guy called... | ||
| There's a guy called the Human Aquarium. | ||
| So, the thing about most of the acts that I'm doing, by the way, like night after night, usually the people that did them, it was like their one acts. | ||
| There was one guy called the Human Aquarium, and he was the guy that could swallow frogs and bring them up. | ||
| But he would do it, you'd see him swallow them, and then you'd see him bring them up. | ||
| So it wasn't magical, it was like a skill set. | ||
| I would, usually what I would do is I'd put them in my stomach, keep them in there for like two hours, and then bring them up and freak you out, right? | ||
| You see? | ||
| And I'd have a gallon of water in my stomach, so I have an aquarium. | ||
| That baking soda gets rid of the acid, no food, 36 hours. | ||
| And then once I drink this, we're at a gallon. | ||
| We're at four liters, so just under a gallon. | ||
| So did you not eat for 36 hours in preparation for this? | ||
| Yes. | ||
| That's a lot of not eating for this poor frog's worst moment of his life. | ||
| This poor little dude, Jamie. | ||
| Just in case you don't think he's real. | ||
| He's real. | ||
| Oh, there's more than one in there. | ||
| No, that's just him. | ||
| It's just an illusion. | ||
| I thought there was a little one in there. | ||
| That's a decent sized frog too, by the way. | ||
| You wouldn't want to swallow a frog that large. | ||
| Mark Twain has a quote. | ||
| He says, eat a live frog first thing in the morning and nothing worse could happen for the rest of your day. | ||
| By the way, back to the James Nestor book, the one I was saying, Deep. | ||
| There's something he talks about that's really amazing, which is one of my favorite parts. | ||
| And there he talks about how choral communicates. | ||
| Can I read this thing? | ||
| Sure. | ||
| Yeah, sure. | ||
| So he talks about, it's one of my favorite things. | ||
| That he talks about. | ||
| It's so amazing. | ||
| So let's see. | ||
|
unidentified
|
We're deep. | |
| Okay, so... | ||
| I have like a bunch of notes... | ||
| What app are you using to read from? | ||
| iBooks, just because you can keep all the books there. | ||
| And you highlight things with iBooks? | ||
| Yeah, of course. | ||
| I didn't know you could highlight things. | ||
| Oh, yeah, yeah, yeah. | ||
| And then you keep all of your books here. | ||
|
unidentified
|
Right. | |
| Oh, no, I do that on my phone, but I didn't know you could highlight. | ||
| I rarely read on the phone, too. | ||
| I usually use a Kindle. | ||
| Yeah, I only use... | ||
| This is the thing I live by, so it's ruined my life, but also helped it somehow, I guess, some way. | ||
| Let's see. | ||
| Hold on, it'll take me a second to pull it up. | ||
| I just like the Kindle because it looks like paper. | ||
| You know the paper white ones? | ||
| Yeah, and they're easier on the eyes. | ||
| Yeah, that's what I'm saying. | ||
| It's tricky on the eyes as well. | ||
| Okay, so can I just read it? | ||
|
unidentified
|
Sure. | |
| Yeah, yeah. | ||
| Okay, so it's part of what the Aquanauts and Aquarius are trying to find out. | ||
| They're also trying to crack the more mystical marine riddles, like the secret behind coral's telepathic communication. | ||
| This is so crazy what he writes about. | ||
| Every year, on the same day, at the same hour, usually within the same minute, corals of the same species, although separated by thousands of miles, will suddenly spawn in perfect synchronicity. | ||
| The dates and times vary from year to year for reasons only the coral knows. | ||
| Stranger still, while one species of coral spawns during one hour, another species right next to it waits for a different hour or a different day or a different week before spawning in synchronicity with its own species. | ||
| Distant seems to have no effect. | ||
| If you broke off a chunk of coral and placed it in a bucket beneath a sink in London, that chunk would, in most cases, spawn at the same time as other coral of the same species around the world. | ||
| Which is crazy. | ||
| Like, you could take a piece of coral, break it off, put it in London, and another coral of the same species will in synchronicity spawn at the exact same time. | ||
| They have no idea why. | ||
| The synchronous spawn is essential for coral survival. | ||
| Coral colonies must continuously expand outward to thrive, expand outward to thrive. | ||
| To remain healthy and strong, they must breed outside of their gene pool with neighboring colonies. | ||
| Once released to the surface, the coral sperm and eggs have only about 30 minutes to fuse. | ||
| Any longer, any longer, and the coral eggs and sperm will either dissipate or die off. | ||
| Researchers have found that if the spawning is just 15 minutes out of sync, coral colonies' chances of survival are greatly reduced. | ||
| Coral is the largest biological structure on the planet and covers 175,000 square miles of the seafloor, and it can communicate in a way far more sophisticated than anyone ever thought. | ||
| And yet, coral is one of the most primitive animals on Earth. | ||
| Coral has no eyes, no ears, and no brain. | ||
| Crazy. | ||
| That's insane. | ||
| Yeah, that's what I thought it was. | ||
| Well, it's fascinating too that they just have no idea why or how. | ||
| I mean, what's the mechanism for their communication? | ||
| The fact that if something's under a sink in London, it syncs up with coral of the same species on another side of the planet. | ||
| Like, what is happening? | ||
| I think, like, one of the most futuristic minds of our lives is Jim Cameron. | ||
| I think, like, Avatar and Terminator 2 and, like, the machines taking over. | ||
| Yeah, it's true. | ||
| I think we're going to look back and be like, wow, he really predicted a lie. | ||
| He knew some shit. | ||
| The trees all communicating with each other. | ||
| Yeah. | ||
| Well, have you read about the mycelium and the fungus underneath the soil that actually the trees utilize it through their root structures and they communicate through that? | ||
| Yeah, there's some sort of a mycorrhizal relationship that fungus has with these trees. | ||
| And they actually somehow or another communicate through each other as well. | ||
| They're like using the soil. | ||
| That's crazy. | ||
| We think of soil as being dirt, right? | ||
| But there's life in there. | ||
| Yeah. | ||
| All sorts of biological life living in that soil. | ||
| Yes. | ||
| And these trees and different plants actually through their root structure communicate. | ||
| And use the fungi that live in the soil. | ||
| Paul Stamets, who's a wizard when it comes to mycology and talking about fungus, and he's got some amazing work that he's done just his whole life studying mushrooms. | ||
| And it's like so advanced. | ||
| When he talks to you about it, you just really get this feeling like there's something going on that we don't totally understand. | ||
| Like the largest animal. | ||
| But fungus is kind of an animal. | ||
| It breathes oxygen. | ||
| And it breathes out carbon dioxide. | ||
| That's crazy. | ||
| I didn't even know that. | ||
| So the relationship that fungus, that mushrooms have with the earth is in some ways more similar to us than it is to plants. | ||
| Because plants are breathing in carbon dioxide, obviously, and breathing out oxygen. | ||
| So we're closer to fungi. | ||
| Yeah, and they're living with these things. | ||
| And there's a group of fungi, I guess, in the Pacific Northwest. | ||
| It's the largest living creature, other than, I guess, like biological organism, you'd say was a coral reef. | ||
| But there's something in the Pacific Northwest that's fucking enormous. | ||
| And it's just one interconnected mushroom structure. | ||
| Wow. | ||
| It's very heavy. | ||
| And obviously, the right ones can bring you to God. | ||
| The right ones can connect you to alien life and the future and tell you what you're doing wrong with the planet. | ||
| So there's something going on with these things. | ||
| That touches into a different part of your consciousness. | ||
| Well, we're just very egocentric and arrogant in our ideas about what the human race means to the rest of the planet. | ||
| Because we have this ability to manipulate things and send texts and emails. | ||
| Which is just about our proportions, basically. | ||
| Just because of our fingers and our ability to like, yeah. | ||
| But we think that's so important because it's so important to us. | ||
| Because it's so significant. | ||
| The ability to watch a television show or not be able to. | ||
| The ability to fly in a plane or not. | ||
| Those things are so significant that we think of them as being the most significant things in the world. | ||
| But meanwhile, there's some animals. | ||
| Like when you see a flock of birds fly in synchronicity in some sort of strange dance, and you're like, how the fuck are they doing that? | ||
| And no one knows. | ||
| They really don't know. | ||
| They're amazing. | ||
| There's all this guesswork. | ||
| They're not really sure exactly what's going on. | ||
| How do they know how to travel thousands of miles every season and go back to the place where they spawned? | ||
| They don't know. | ||
| They don't know. | ||
| How does salmon? | ||
| Salmon figure out a way to get all the way back to where they were born. | ||
| They make their way all the way through the river to the ocean, and then when it's time to rock and roll, they get all the way back. | ||
| And they have to get back to that one spot. | ||
| They can't get Just any old river. | ||
| They won't make it. | ||
| They won't survive. | ||
| They won't spawn. | ||
| They won't do it. | ||
| They have to get back to the place where they belong. | ||
| And something in their little salmon brains, or in their salmon biological system, lets them know. | ||
| And we don't know what it is. | ||
| We don't know what it is, but we fuck up and we damn these river structures, and then they die. | ||
| And they die off. | ||
| The Pacific Northwest, they had a huge problem with that. | ||
| And they didn't understand it. | ||
| When they first put these dams in place, these salmon would just pool up and they try to redistribute them to other places and then they're like, nope, I need to go back to where I'm from. | ||
| It's weird, man. | ||
| Biological life is weird. | ||
| It is amazing. | ||
| And it's funny, right? | ||
| We think we're so... | ||
| Because we can do things that other ones can't do, but they can do things we can't do. | ||
| We just don't put a high priority on what they can do for whatever egocentric reason. | ||
| I was swimming in a Tonga. | ||
| In the Pacific Northwest. | ||
| And I was with humpback whales. | ||
| And I was with my daughter and we looked at the mother and the calf. | ||
| I mean, you know, swimming, we were watching them. | ||
| And it's the most beautiful, overwhelming moment. | ||
| I'll show you after some footage. | ||
| But then I was alone. | ||
| And I was like holding my breath and kind of free diving next to them. | ||
| And, you know, when you're not on scuba, it's not. | ||
| They're happy to be around you. | ||
| And I'm free diving and swimming with the mother and the baby. | ||
| And I'm looking at the mother, and I'm certain, certain that she's just looking at me, but in the nicest way. | ||
| Like, in the most peaceful... | ||
| It's not like a shark eye that's like, whoa, this thing is like... | ||
| So, I'm certain that she's like... | ||
| Trying to communicate or something like that. | ||
| So I'm still on the same breath while I'm communicating. | ||
| And I go like this. | ||
| I open my arms up and turn to the mother like this. | ||
| I go like that. | ||
| And the mother mimics, the humpback mimics me and turns right towards me and goes like this, right? | ||
| So now we're swimming together and I'm like this, like kicking at fins on. | ||
| And the humpback is doing, the mother is doing that to me and I'm swimming in synchronicity with the mother and the baby's following her. | ||
| And then as soon as I'm like done from here and I go back down, she goes back down. | ||
| And it was like I wanted to cry underwater. | ||
| But yeah, it's like you think. | ||
| But also their brains are so much bigger than our, of course they're so... | ||
| I still have all this water in my stomach, so if I'm gonna do this, I might need to do it. | ||
|
unidentified
|
Let's do it. | |
| You need another one of those? | ||
| What is the reason why you need so much water to do this? | ||
| Is it so that the frog has a place to be? | ||
| So the frog is safe, you know? | ||
| You know, I've never injured a frog or anything. | ||
| I'm sure he feels very comfortable knowing that. | ||
| Here he goes. | ||
|
unidentified
|
Oh, Jesus. | |
| Did he hop right out? | ||
|
unidentified
|
Yeah. | |
| He's like, I know what the fuck is happening here. | ||
| Oh, hey, buddy. | ||
| Hold on, let me just... | ||
| Okay, so hold on. | ||
| Okay. | ||
| I just usually like to give him a little... | ||
| Give him a little bath? | ||
| Oh, yeah. | ||
| Very good. | ||
|
unidentified
|
Okay. | |
| So this is basically the technique, and I've put up to ten frogs inside. | ||
| Look, so I can come. | ||
|
unidentified
|
Need more? | |
| And now we can hang and talk for, you know, as long as we can. | ||
| So how long does he stay in there? | ||
| What's the longest you've kept him in there and they live? | ||
| Like three hours or so. | ||
| And none of them have ever died? | ||
| Nope. | ||
| Wow. | ||
| That's pretty mean. | ||
| How bad do you have to pee right now on a 1 to 10? | ||
| Anytime anybody complains about needing to pee, I'm going to show them this video. | ||
|
unidentified
|
10th. | |
| Tenth water. | ||
| And what are they? | ||
| Eight ounces? | ||
|
unidentified
|
Sixteen. | |
| Sixteen? | ||
| It's my water, bro. | ||
| It's more than a gallon of water. | ||
| Yeah. | ||
|
unidentified
|
Now, here's the magical part. | |
| It's my mouth empty. | ||
| Then I have to, like, get him to swim up to the... | ||
| How do you do that? | ||
| I don't know. | ||
| I just like did it and had fluoroscopies and looked where they were and then saw that and then figured out how to... | ||
|
unidentified
|
I did sword swamp to like... | |
| Do you feel I'm moving around inside you? | ||
| When there's a lot. | ||
| When there's ten? | ||
| Jamie, your face. | ||
| Here he comes. | ||
| No, I gotta... | ||
| No? | ||
| First, I like to get a little bit of... | ||
| You forcing them out now? | ||
| Can't talk. | ||
| I'll just get some more water. | ||
| When was the first time you did this one? | ||
|
unidentified
|
I worked on it. | |
| I started like... | ||
| Three or four years ago. | ||
|
unidentified
|
The first time you put the frog in your mouth and swallowed. | |
| I got salmonella. | ||
| No, I didn't swallow the first time. | ||
| I just wanted to get comfortable with the frog. | ||
| You got salmonella? | ||
| Yeah. | ||
| And then I got it again after I tried it the second time. | ||
| And then I built up a resistance to salmonella. | ||
| Oh, jeez. | ||
| That's good if you like sushi. | ||
| Mouth empty. | ||
|
unidentified
|
Right? | |
| Here he comes. | ||
| *Sigh* *Sigh* *Sigh* *Sigh* This is so bizarre. | ||
| Here it comes. | ||
| It's because I drank so much, so it's like I have to locate a bag. | ||
| You have to locate him. | ||
| Kind of. | ||
|
unidentified
|
The sounds. | |
| What would you call this, Jamie? | ||
|
unidentified
|
ASMR? This is so strange. | |
| So for people that are just listening, I highly recommend you go to the video. | ||
| You're going to have to condense. | ||
| No, no, no, no, no, no. | ||
| We're going to keep this up exactly the way it is. | ||
| People need to see. | ||
| Oh. | ||
|
unidentified
|
Take out like a liter of water. | |
| Oh. | ||
| Oh my god! | ||
| That's so strange. | ||
| Oh, you spit on Biggie. | ||
| That's called the water spout. | ||
| That's how you usually put out the fire. | ||
|
unidentified
|
Oh my god. | |
| The frog is probably like, what the fuck did I do deserve this? | ||
| I bet that frog was just like an asshole person in another life. | ||
|
unidentified
|
That's a lot of water. | |
| Like a gallon of water. | ||
| Do we need another bucket? | ||
| Maybe. | ||
| Go get that plastic buck in the back. | ||
| I don't know if that's good enough, but for now, we'll just use that for now. | ||
| It is quite preposterous to watch the amount of water that's coming out of you. | ||
| Oh, it's just good. | ||
| A little better. | ||
|
unidentified
|
Where is he out right now? | |
| *Bell rings* Boy. | ||
| You got him in there? | ||
| Put him in my hands? | ||
|
unidentified
|
Okay. | |
| There he is. | ||
| Oh boy. | ||
| Little fella. | ||
|
unidentified
|
Little fella, you've had a rough life. | |
| You've had a road. | ||
| You've had a road, buddy. | ||
| So that's the frog trick. | ||
| He's alive. | ||
| And perfect. | ||
| Yeah, he seems fine. | ||
| Oh, don't lose him. | ||
| I don't want to lose him. | ||
| Hey, you want to put him back in the jar? | ||
| Let me give him a big little... | ||
| Hold on. | ||
|
unidentified
|
Let's get some water fresh. | |
| Okay. | ||
| I think I'm going to need more than paper towels, Jamie. | ||
| Yeah, I'm going to wash my hands eventually. | ||
| Oh, there is handcuffs here. | ||
| Oh, you have a pair? | ||
| Yeah, Jamie. | ||
| Real ones? | ||
|
unidentified
|
I don't know. | |
| But is that just coincidental? | ||
| No, no, no. | ||
| There's a guy, Ed Calderon. | ||
| He's a guy who used to work with the Mexican police at the border. | ||
| Let me take a few paper towels, too. | ||
| And he brought us some handcuffs to teach us how to get out of them, right? | ||
| Just noticed that they were there. | ||
| Random. | ||
| That seems planned. | ||
| But that's really, they were just here? | ||
| He gave them to me and he gave me like a little tool to show me how to... | ||
| How to what? | ||
| How to open them. | ||
| What's this plastic thing on? | ||
| I have no idea. | ||
| But he gave you tools to show you how to open them, like how? | ||
| I don't remember. | ||
| I'd have to go back and watch the video. | ||
| If you ever get caught. | ||
| Yeah, if you ever get handcuffed. | ||
|
unidentified
|
Yeah. | |
| How to get the fuck out. | ||
| Oh, like how to pick them, you mean? | ||
| How to shove it through the thing to kind of like go past the teeth of the lock to make it open up. | ||
| So how to pick them. | ||
| Yes, exactly. | ||
| Is it not going to work? | ||
| I don't know. | ||
| What are you trying to do there? | ||
| So let's see, like... | ||
| What are you physically trying to do? | ||
| Oh, I just want to see if I can actually break them. | ||
| Break them? | ||
| Yeah, like break the metal. | ||
| So like, really break them for real. | ||
| How do you usually do that? | ||
| I don't know. | ||
| You don't know? | ||
|
unidentified
|
No, it's like really hard to break them. | |
| Was it usually easy to break them? | ||
| No, it's always very difficult to break handcuffs because you're breaking the handcuffs. | ||
| Right, but you're trying. | ||
|
unidentified
|
Yeah. | |
| Because there's some sort of technique to it or something? | ||
| Using leverage? | ||
| That's what I'm hoping, but I don't know. | ||
| How many days of your life do you think you've spent fucking with handcuffs? | ||
| If you could just boil it all down to time. | ||
| um 50? | ||
| Yeah, but this is probably boring for like anybody that's a big... | ||
| So you're just trying to use the way the attachment as a leverage point... | ||
| Yeah, just that yellow thing. | ||
|
unidentified
|
That thing might be weird, that yellow thing. | |
| Yeah, I'm trying to use like a... | ||
| What is the yellow thing? | ||
| I don't know. | ||
|
unidentified
|
I don't know. | |
| This is just how Ed brought them to us. | ||
|
unidentified
|
Yeah, I don't know if I can get these things broken. | |
| We can keep talking. | ||
| Now I'm going to be stuck on this thing. | ||
| Yeah, but you'll be so preoccupied. | ||
| Yeah. | ||
| That frog's like, what the fuck just happened? | ||
|
unidentified
|
Look at him. | |
| He's just sitting there breathing. | ||
| He's chilling. | ||
| Yeah. | ||
| Imagine him being a frog. | ||
| You're like, well, this is it. | ||
| I knew it was coming one day. | ||
| That's why I'm so scared of bass. | ||
| By the way, yeah, the ones I get are like, normally they would be used for bait. | ||
| So I asked the guy, I was like, could you give me some here? | ||
| And they became my daughter's pets. | ||
| I've never, never ever injured or hurt a frog. | ||
| But how'd you know that that was gonna be the case when you first swallowed one? | ||
| The first one you swallowed, you probably had to be like... | ||
| No, I didn't start the frog. | ||
| It started with like bingo balls and things like that. | ||
|
unidentified
|
I started playing around. | |
| So it started with like, you know, how much water could I put in, then how could I spout the water out to use it to put out the fire, then could the kerosene float on top, then I went to lamp oil. | ||
| That's gotta be so bad for you. | ||
| Bad for you. | ||
| What is kerosene like inside your body? | ||
| Do you feel it burning? | ||
| No, but like the problem is all that stuff has a residue. | ||
| What is this guy doing, Jamie? | ||
| It's oil-based. | ||
|
unidentified
|
This is the kerosene. | |
| It's a water spout thing. | ||
| Haji Ali, Egyptian fire-eater in human fountain. | ||
| Do you know of this guy? | ||
| Yeah, that's the guy I'm talking about. | ||
| Oh, there he is. | ||
| There it is. | ||
| Yeah, he's amazing. | ||
| Oh, boy. | ||
| There's a really funny clip. | ||
| See, he's spitting the kerosene and then he puts it out with the water, which is underneath because it floats on top. | ||
| That is so bizarre. | ||
| Look how much control he has. | ||
| I saw that act and wanted to figure that out. | ||
| What year is this? | ||
| Almost a hundred. | ||
|
unidentified
|
1925. Almost a hundred years ago. | |
| I mean, that guy. | ||
| Haji Ali. | ||
| Yeah, he was called the human fire hydrant. | ||
| That had to be a rough way to go. | ||
| However, he died. | ||
| Because he probably did that every day, right? | ||
| This stuff took a toll, yeah. | ||
| Oh, yeah. | ||
| Forget those. | ||
| Do these after, yeah. | ||
| We don't need to do that. | ||
| They're very slippery. | ||
| So let me get back to the question that I had before you ran off because you were worried about your arm. | ||
| You've done so many insane stunts and so many really of these bizarre things that require so much of you. | ||
| Do you like have a thing in your mind that you have to keep ramping it up and that do you have a place that you would ultimately like to get to with these things? | ||
| No, I just constantly like kind of try to figure out like what things have been done in the past historically and then I try to figure out how to make them interesting and then I figure out how to make them kind of modern. | ||
| So it's not like a... | ||
| You know, it's like, it's a small step-by-step process, and I think about each thing, and then I try to put them all together. | ||
| But do you feel like you have to keep pushing the envelope? | ||
| Well, I have like a few things that I've been trying to work on to get to that place. | ||
| So there is like a... | ||
| It's not a push the envelope, it's just I have a bunch of things I've been trying to figure out. | ||
| How many do you have on the back burner, in the back of your head? | ||
| I have two more crazy ones that I'm trying to figure out. | ||
| Can you share them? | ||
| The thing I will tell you is that if you put them all together, the letters all equal out my name. | ||
|
unidentified
|
So that... | |
| That's all you can say? | ||
| Yeah, I don't want to go too into it. | ||
| What do you enjoy most? | ||
| I feel like if you talk about something too much, then you talk it away. | ||
| I understand. | ||
| Yeah. | ||
| You take away the magic of, like, he's going to do what? | ||
| Yeah. | ||
| Like, when it gets announced. | ||
| Yeah. | ||
| Yeah. | ||
| Do you enjoy doing these big things, or do you enjoy the live shows, or do you enjoy freaking people out, just random people out with magic? | ||
| It's like all of it. | ||
| So it's not like one specific thing. | ||
| I kind of love doing card tricks. | ||
| I love doing magic. | ||
| I love doing things from history. | ||
| I love looking. | ||
| Like the human aquarium guy, you know, the frogs and goldfish and some of that came from Houdini writing a miracle monger. | ||
| It's all about his acts. | ||
| So it's like you look into the history of things that have been done, like Haji Ali, the human fire hydrant, and you find these. | ||
| There's a great book that Ricky Jay wrote, who's an amazing magician, where he discusses and explains everything. | ||
| You learn all these things, put them together, and then What I do that Ricky thought was amazing and insane is like actually take these ideas that seem impossible but magical and that's what the amazing part is taking them from a hypothetical image and then learning how to do them. | ||
| So that's like what's amazing about the whole process to me. | ||
| In Ricky's book called Learn the Pigs and Fire Pigs, there's so many bizarre but amazing acts that exist in there, so it's like you look at them and you're like, no, that can't be real, but it was real, if you believe it was real. | ||
| How many of you are there out there? | ||
| I always think of stand-up comedians as being a very small group of people that kind of only understand each other. | ||
| There's a good amount of amazing magicians. | ||
| How many? | ||
| A thousand? | ||
| On the planet? | ||
| No, there's a lot of guys that are on me. | ||
| Yeah. | ||
| And there's different categories. | ||
| But the stuff that you're doing is not just magic. | ||
| What I'm saying is like... | ||
| Oh, like the crazy, bizarre, like mixing it all? | ||
| You're transcending magic. | ||
| You're going to this weird realm of what the fuck is he doing? | ||
| Well, the thing is I like to use the body as the prop. | ||
| So I like to figure out how to do things where like your body is magic. | ||
| And I think that comes from like I didn't have like... | ||
| You know a lot of many resources to like oh go get which is lucky because then I was like, okay, so what can I do with like what's around? | ||
| Okay an ice pick or a bunch of water or force you to be industrious. | ||
| Yeah, yeah, yeah, but like you have to figure it out. | ||
| But you also have do you balance it out with like I mean you obviously develop some problems from not eating at one time and you know you've you've got these stunts where they have this possibility of physically injuring you permanently Yeah. | ||
| So you have to balance out the risks and the rewards. | ||
| There's not that many of those people out there. | ||
| I hope not. | ||
| No, that's what I'm saying. | ||
| I would worry about them. | ||
| But you don't worry about yourself. | ||
| Well, I think I'm careful. | ||
| I'm still like... | ||
| So we did 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. So it's five liters, basically. | ||
| So that's like a... | ||
| I think that's, in one shot, I think that's a record. | ||
| I don't think I've actually ever done that many. | ||
| You never drank that much water before? | ||
| I don't think so. | ||
| I usually cap it a gallon. | ||
| Well, it's dangerous, right? | ||
| You can die from drinking too much water. | ||
| The water intoxication means? | ||
| Yeah, but I think that's if you flush it out too much. | ||
| But... | ||
| When you combine that with other things, then it's dangerous. | ||
| Well, kids have done, like in fraternity, when they have to do those hazing rituals, they've died from drinking too much water. | ||
| There was a woman in San Jose? | ||
| Yeah, it is possible, of course. | ||
| It was San Jose, where she was on the radio, and there was a thing, like, how much water can you drink? | ||
| And she wanted to win an Xbox for a kid, and she died. | ||
| Yeah. | ||
| I think that's when your electrolyte levels get messed up. | ||
| Is that what it does? | ||
| Yeah. | ||
| So your water becomes, there's too much water in your system and your body doesn't know what to do with it. | ||
| Yeah. | ||
| That makes sense. | ||
|
unidentified
|
Yeah. | |
| And it flushes out and puts the imbalance off on your electrolytes. | ||
| So when you do something like this, do you make sure that you consume a lot of electrolytes beforehand? | ||
| No, because I couldn't eat or do anything if you're going to do the frog. | ||
| And why is it important? | ||
| My friend told me, do not do the frog out here. | ||
| He said, it sounds gross. | ||
| I don't want you to have to do that because I'm going to have to listen to it. | ||
| It definitely does sound gross. | ||
| But you feel okay after drinking all that water that quickly? | ||
| Yeah, but I spouted it out. | ||
| That's true. | ||
| Most of it, right? | ||
| There's got to be a lot still in you. | ||
| Yeah, which is on purpose. | ||
| Yeah. | ||
|
unidentified
|
Jesus. | |
| You're a weird man, David Blaine. | ||
| You really are. | ||
| That's what I was getting at when I'm saying there's not a lot of people like you out there. | ||
| I'm glad you're there. | ||
| I really am. | ||
| I'm glad you're out there, first of all, because I think you're very entertaining, but also because I love when there's a new type of person that I meet. | ||
| I've met a lot of people, but you're in this new, like, oh, and then there's this guy. | ||
| This is like a totally new frequency of human. | ||
| Or just freak. | ||
| Take out the Quincy. | ||
| Both. | ||
| But, I mean, it's a very strange path that you're on. | ||
| I mean, ultimately, it's like, at the end of the day, it's trying to just figure out how to make things seem as close to magic as possible. | ||
| And the process is really difficult and tricky and difficult. | ||
| But you seem like a very joyful person because of all this. | ||
| You clearly love what you do. | ||
| Yeah, yeah. | ||
|
unidentified
|
Yeah, that's why I do it. | |
| No, you love it. | ||
| Yeah, that's what's interesting. | ||
| It's like such a strange thing to love to do. | ||
| No, but what you do is crazy. | ||
|
unidentified
|
I haven't done that in a long time. | |
| But I'm saying that's crazy. | ||
| It is, maybe, but... | ||
| That's the same. | ||
| It's the same. | ||
| You're pushing your body to do things that most people... | ||
| Basically, you're living in a place where you have to override discomfort and you have to override what your body's trying to tell you not to do, and you push yourself. | ||
| And then... | ||
| And it's that whole journey of pushing yourself to do things that you physically don't think you can do or to set a goal that that's the best part. | ||
| I'm fascinated by people that are really far down on a path. | ||
| Have we ever brought up that woman Stephanie Millinger on the podcast before? | ||
| I follow her on Instagram and I know I've posted some of her stuff on Instagram, but she's like a contortionist and she has like incredible balance and core strength. | ||
| And she's this very small woman who does insane things with her body. | ||
| Like she did this one, she's on a handstand and she bends her back so that her butt touches her head. | ||
| Like her spine is so flexible that you look at some of the things that she does and they don't seem to be, like watch this, look at this. | ||
| Yeah. | ||
|
unidentified
|
That's crazy. | |
| Watch how she does this. | ||
| And also she's bouncing on these posts, right? | ||
| So look what she does with her back. | ||
|
unidentified
|
Wow. | |
| Look at that. | ||
| That is amazing. | ||
| Amazing. | ||
|
unidentified
|
Yeah. | |
| And then she stands with one hand. | ||
| And by the way, she does this like off the side of cliffs and she's incredible. | ||
| Like look at the way her body is contorting. | ||
| Yeah, that's incredible. | ||
| She's pressing her butt. | ||
| Against the top of her head in the craziest way like it doesn't seem like a person should be able to do that and the amount of physical strength that it takes to move your body like this and Balance while you're doing it. | ||
| It's just It's the the years and the amount of time. | ||
| Yeah This is what I'm saying like she's so far down the path See if you can find the one where she bounces on the plates that one in the middle where you see the plate watch this So she takes a, this is like a standard Olympic weightlifting plate, right? | ||
| So she puts it down, so it's on its edge, and then she stands it on top of a bar, right? | ||
| So you've got this bar that's like a small chin-up bar. | ||
| So it's a round thing bouncing on another round thing. | ||
| That is amazing. | ||
| And then she lifts her whole body all the way up and over and does a handstand on this fucking thing. | ||
| I mean, she's amazing. | ||
| It's unbelievable. | ||
| And again, always smiling, always like joyful, loves this. | ||
| But the physical strength that it takes to do something like that and the kind of balance, that's what I'm talking about. | ||
| Like someone who's on this crazy path where if you asked someone, could someone do that? | ||
| You'd be like, no, your body doesn't work like that. | ||
| That's not how a body works. | ||
| But it does. | ||
| You just have to take these little baby steps for years. | ||
| And then you look back and you're in a different place. | ||
| And then also you find a version of it and then you figure out how to make it your own. | ||
| Yes. | ||
| It's like taking something and then made it like a whole new art, poetic thing. | ||
| Or like Cirque du Soleil. | ||
| I've seen most of the Cirque du Soleil shows. | ||
| Every time I go, I'm like, how the fuck? | ||
| How is that possible? | ||
| What are they? | ||
| They're aliens. | ||
| But they're on a path. | ||
| They're just really far down on this path of extreme dedication. | ||
| Extreme focus. | ||
| And that's what you're doing. | ||
| You're just doing it with bizarre physical feats and magic. | ||
| It's very interesting. | ||
| It's very interesting. | ||
| I'm really happy that you're around. | ||
| I really am. | ||
| I enjoy the fact that a person like you exists. | ||
| Oh, thank you, Jeff. | ||
| Thank you for being here, too, man. | ||
| I really enjoyed the fuck out of it. | ||
| It's very cool. | ||
| Very cool to talk to you, too. | ||
| I've been wanting to meet you for a long time. | ||
| My pleasure. | ||
| My honor. | ||
| Thank you very much. | ||
| Thank you. | ||
| So, one more time. | ||
| This will most likely be taking place August 31st. | ||
| We will let everybody know. | ||
| We'll put it on Instagram. | ||
| We'll put it on Twitter. | ||
| If there's any sort of a change, let me know and we'll let everybody know. | ||
|
unidentified
|
Great. | |
| Thank you, brother. | ||
| Appreciate it, man. | ||
| Thank you, man. |
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