Dec. 26, 2020 - The Joe Rogan Experience
02:17:51
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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The Joe Rogan Experience. | |
| Train by day, Joe Rogan podcast by night, all day. | ||
| The Joe Rogan Experience. | ||
| What's up, buddy? | ||
| Dude, you're one of the reasons why I'm here. | ||
| I remember you told me multiple years ago. | ||
| How many years ago did you move here? | ||
| I moved here seven years ago. | ||
| And you were telling me how fucking great it is. | ||
| I remember running into you. | ||
| You're like, dude, it's fucking great. | ||
| I love it. | ||
| I'm like, man. | ||
| You said my wife would never move there. | ||
| That's what you said. | ||
| We were at the Commons at Marmalade. | ||
| Yeah, in Calabasas. | ||
| Yeah, in Calabasas. | ||
| Yeah. | ||
| Well, dude, I've known you for, what, fucking 20 years? | ||
| Yeah. | ||
| I've probably met you in like 2000-ish or something like that? | ||
| Maybe before. | ||
| The day you walked into John Jock's, I was on the mat and we were rolling and you came walking in and And I was a fan of your first show you ever did. | ||
| And I saw you and I go, oh shit, that's Joe Rogan. | ||
| And my friend says, who's that? | ||
| I go, he's on a show. | ||
| He's on news radio. | ||
| And he goes, I don't know who that is. | ||
| And I go, he's the... | ||
| Handyman. | ||
| Handyman. | ||
| He's a mechanic. | ||
| He's always running around with this toolbox. | ||
| He goes, I don't know who he is. | ||
| And I go, okay, well... | ||
| And then that was the first time I ever saw you, and then you came in. | ||
| That's like 98, dude. | ||
| Yeah, that was about... | ||
| Yeah, it was a white belt. | ||
| Yeah. | ||
| John Jock Spot and Tarzana. | ||
| Yeah. | ||
| I saw the... | ||
| I was working at Warner Brothers Tiny Toon Adventures, and I was a... | ||
| I was a PA, production assistant at that time. | ||
| It was the first job I ever had in LA. And that guy says, hey, we're going to have a party tonight. | ||
| We're going to watch these fights. | ||
| They're like cock fights. | ||
| Come on over and let's watch them. | ||
| And I went over to his house and I was literally hypnotized watching Hoist Gracie do what he did. | ||
| I couldn't believe it. | ||
| Everybody else was talking. | ||
| Was this like 93? | ||
| Yeah. | ||
| The first day of the UFC? The first UFC. It was the first one. | ||
| Wow, so you watched the first one live. | ||
| Yeah, I saw it at a party that I was not supposed to be at, and nobody else was paying attention to this. | ||
| It was just on. | ||
| It was like two other guys watching it. | ||
| And I'm watching this going, I gotta do that. | ||
| It was speaking to me in a way I've never... | ||
| Art speaks to me, and I was watching it. | ||
| And the next day... | ||
| I find Torrance, Gracie Academy, because they kept saying Torrance, Gracie, and I knew where Torrance was. | ||
| So I was living in Studio City in the valley. | ||
| I drove. | ||
| I had a Honda Prelude. | ||
| I drove all the way on the 405, the worst freeway in the world, and it took me about three hours to get down there on a Saturday morning. | ||
| And I walked into that place and they were done, but I could smell all that sweat and humidity and nastiness. | ||
| And I was like, oh God, this is great. | ||
| I walked in and they were very nice to me, but there was like these dudes and they looked so intimidating and they were just ripped up and clawed up and dripping wet. | ||
| This wasn't the pretty days where everybody has rash guards and designer geese. | ||
| This was like Krugans geese. | ||
| They were yellowed and nasty smelling and there was no... | ||
| There was chest hair in your mouth. | ||
| I remember Krugans. | ||
| And they came walking out and I was just like, I felt, man, I felt like a little bitch. | ||
| I was just looking at him going like, I want to be you. | ||
| And he goes, where are you from, you know? | ||
| And I go, oh, the valley. | ||
| The valley? | ||
| This is too far, my friend. | ||
| And he goes, my cousin John Jack is in the valley. | ||
| The Machados go there. | ||
| And I was kind of like struck in awe by everything, right? | ||
| So I thought, okay, I'll go to the valley, you know? | ||
| And there was no internet. | ||
| Understand, there's no internet. | ||
| You can't just Google. | ||
| So I got the Thomas Guide out, and I started looking around, and I would ask people. | ||
| And so nobody knew the answer to this, because remember, as you know, in the early days, Brazilian Jiu-Jitsu was like, oh, you do that karate stuff? | ||
| Yeah. | ||
| And so I got on my mountain bike. | ||
| I was a heavy mountain biker then. | ||
| And I got on my bike, and I was in Studio City, and I decided to ride Ventura Boulevard. | ||
| And I'm going to look at every shop on Ventura Boulevard. | ||
| And I was driving, and I got all the way down to Encino. | ||
| And I see this jujitsu, right? | ||
| And I go, oh, that's it. | ||
| I walk in and this little kind of chubby round guy comes walking up and is tucked into his gi. | ||
| And he goes, how can I help you? | ||
| And I go, I'm looking to do that ground fighting stuff. | ||
| And he goes, yeah, we do that here. | ||
| And I go, okay, sign up. | ||
| And so I signed up. | ||
| And I'm there a week. | ||
| And I'm there every day. | ||
| And not once are we on the ground. | ||
| We're doing this stand-up, small circle stuff. | ||
| And I'm looking at my classmates. | ||
| And they're all horribly out of shape. | ||
| And they can barely move. | ||
| And I'm thinking, God, this isn't what I saw. | ||
| What was the place? | ||
| It was like Mushinru Jiu-Jitsu, right? | ||
| But I was so out of my head trying to find it. | ||
| And so I'm there a week. | ||
| And he's like, hey, congratulations, you get a belt. | ||
| And I'm like, I hardly know anything. | ||
| And so he gives me this belt. | ||
| And I'm working out with this one guy and he says, hey, I think what you want is the Machados. | ||
|
unidentified
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And I was like, where am I? He goes, this isn't it, dude. | |
| I'm like in the wrong movie. | ||
| And so I go, okay. | ||
| He goes, that's down the road, dude, like four stores, four shops, four shops short, right? | ||
| So I literally, at class, I'm like currying up and I'm like, I gotta go. | ||
| And I walk down there and I see them. | ||
| And this is on Ventura Boulevard. | ||
| He wasn't at his place in Tarzana yet. | ||
| He was getting ready to move that week. | ||
| And I walk in and it was a place as big as this studio. | ||
| I'm not kidding. | ||
| And he goes, you know, John Jack spoke very poorly English back then. | ||
| And he was like, oh, hello, hello. | ||
| And I'm like, sign. | ||
| I sign up now, you know. | ||
| So I signed up. | ||
| And I started going to him. | ||
| But I had made like two friends. | ||
| In LA, I didn't have any friends because I was there to work and become my goal. | ||
| And so I was still talking to these guys and still going to the other place. | ||
| And the time worked out where he was early and I would leave and go next door to John Jock, right? | ||
| So I was there about another week. | ||
| And we're just doing drills at John Jock. | ||
| We're doing armbar drills over and over again from our back, from open guard drills. | ||
| And I would go home and I would draw it in my book. | ||
| I had a sketchbook of everything. | ||
| So everything we learned, I would draw it and I was an animator for a long time. | ||
| So I could animate the movements and I could see in rolling where we would end up. | ||
| So if we start here and I did this, this, and this, I knew we would end up over here in this position. | ||
| In my mind, it was easy because I had to animate it. | ||
| So I would see rolling like cartoons and they would just kind of roll into it. | ||
| And so... | ||
| It came very... | ||
| I wasn't a wrestler, but it came pretty natural to me, the movements, right? | ||
| And so a week later, the guy at the Mushinryu Jiu-Jitsu place was telling me, oh, you got to do this. | ||
| And I go, but if you did that, you'd get stuck in an armbar. | ||
| Because he's having me choke, reach up. | ||
| And he goes, no, you can't get an armbar from there. | ||
| And I go, I think you can. | ||
| He's like, you're not going to do it. | ||
| And so I go, well, watch. | ||
| And he got in my guard. | ||
| And he like, he did his little chest slap thing, you know, those little like, and he like stuck his arm out. | ||
| What is the little chest slap? | ||
| Yeah, you know how they like get ready to fight and they're like, you know, they do their poses. | ||
| And he did that in my guard. | ||
| And it was weird and everybody's watching, right? | ||
| And they're standing there watching the instructor tell me I didn't know what I was doing. | ||
| And he did that and he stuck his arm out and I grabbed his arm and I pulled it in and I threw my legs over his face and I armbarred him. | ||
| And he got real pissed off. | ||
| And he goes, he got up and he was really perturbed. | ||
| And he goes, that wouldn't work in real time. | ||
| That only worked because I was letting you get there. | ||
| And I was scared. | ||
| And I go, I think it would work, man. | ||
| I think it would work. | ||
| And remember, I had two friends now, right? | ||
| My two guy friends, right? | ||
|
unidentified
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I think it would work. | |
| And they were going, and I hear one of them go, oh no, it worked. | ||
| And I'm looking over at him, and he's getting kind of pissed. | ||
| He's a short guy, but he's really stock. | ||
| And he goes, look, I'm tired of hearing about this Brazilian jiu-jitsu. | ||
| So I tell you what. | ||
| You use your jiu-jitsu, which, by the way, I had had like two weeks of training. | ||
| Now, granted, I was there every day with John Jack doing drills. | ||
| So you know, if you've got one movement that you do a hundred times, you're going to have an inkling of how to do it. | ||
| What year is this? | ||
| Bro, so you're talking about... | ||
| 94? | ||
| Right after the first UFC, maybe like two months after the first UFC. Oh, so 93? | ||
| Yeah, 93. Damn, you're ahead of the curve. | ||
| So I'm sitting there and I go, okay, I think it'll work, dude. | ||
| Now, I don't know anything about standing, right? | ||
| So he gets up and he goes, okay, I'm going to attack you. | ||
| And you attack me. | ||
| And I'm like, I don't know how to attack you. | ||
|
unidentified
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So he goes, ready! | |
| And all of a sudden, I'm in a video game. | ||
| I'm standing there. | ||
| So what do I do? | ||
| I copy what I saw Hoyce Gracie do. | ||
| I stick my arms up like the karate kid, and I stick my foot in front. | ||
| And he fucking starts like... | ||
| Like, coming at me with his elbows and swinging, and he looks like a little machine. | ||
| And I just took my foot and kicked him in the front leg. | ||
| His leg goes down. | ||
| He lands on me. | ||
| We fall under the guard. | ||
| He starts hitting me with his elbow on the top of the head, right? | ||
| Like, I grabbed him. | ||
| I clenched him. | ||
| I squeezed him really tight, mostly so I didn't get punched in the face because I was afraid. | ||
| And I tuck my head in his chest and he's hitting me on the top of the head and I'm like, that heat comes up your back from your butthole to your neck and you go, you motherfucker. | ||
| You're hitting me now? | ||
| And I go, okay, alright, alright, now we're in a new league. | ||
| Now you're not my friend. | ||
| Now you're fighting me. | ||
| And I literally just kind of monkey shimmied up his high guard and I just threw him in an arm bar and I cranked as hard as I could on that arm and he screams, okay! | ||
|
unidentified
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Wow. | |
| And I get up, right? | ||
| And I'm like, you got that blood rush? | ||
| I'm like, hair messed up. | ||
|
unidentified
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I'm like, you motherfucker. | |
| Okay. | ||
| And I grab my bag. | ||
| I grab my bag, my little fucking goofy bag. | ||
| I grab it. | ||
| And I walk out. | ||
| I'm like, I don't know what to do. | ||
| I'm like flustered. | ||
| I walk out. | ||
| And the two dudes come running out after me. | ||
| They're like, bro, bro, I'm coming with you. | ||
| Where are you going? | ||
| Where's that school at? | ||
| And they came and they fucking trained all the way to Purple Belt. | ||
| Both those guys. | ||
| Who were the guys? | ||
| It was Jim Lahan, the wood carpenter guy, and a guy named Seth. | ||
| I don't even remember his last name. | ||
| They both trained all the way through Purple before they kind of faded away. | ||
| Man, you fade away when you're at purple. | ||
| That's such a shame. | ||
| You're so close. | ||
| As an instructor now, it crushes me when I give a blue belt to someone, and then I see them fade. | ||
| And I'm thinking, God, dude, you got past... | ||
| The hardest part. | ||
| You're a color. | ||
| Yeah. | ||
| The greatest belt you can get is blue. | ||
| Yeah. | ||
| I say that to this day, and I'm fourth black. | ||
| Blue, because you're a color. | ||
| You're not the white anymore. | ||
| You're in the club. | ||
| You're in. | ||
| Dude, the day John Jock gave me a blue belt was like one of the greatest days of my life. | ||
| The day John Jock gave me my purple belt, I was like, oh my god, I'm close. | ||
| I'm so close to brown. | ||
| Purple is a danger belt. | ||
| Purple belts. | ||
| Tap people. | ||
| I remember seeing a lot of purple belts that could tap brown belts. | ||
| Purple belts that were dangerous. | ||
| They had one really good move. | ||
| Here's my take on purples. | ||
| They're just crazy enough to try anything. | ||
| And they're not worried about getting got. | ||
| Especially those purple belts that train every day. | ||
| That's obscene. | ||
| Psycho purple belts. | ||
| They're closer to a black belt at that point than they were further from it. | ||
| Yeah, yeah, yeah. | ||
| I trained with this purple belt. | ||
| One of the last times I trained, this guy was a surfer at John Jock School in Malibu. | ||
| And I remember we were just fucking going to war. | ||
| I was like, Jesus, this guy is so good for a purple belt. | ||
| He's like close. | ||
| They're close. | ||
| They're off on a few things. | ||
| They don't know all the escapes. | ||
| They don't know where they're... | ||
| There's just a few things they're off on, but the shit that he was good at, I was like, woo, this feels dangerous. | ||
| Yeah, I know. | ||
| What drives me crazy as an instructor now in owning a school is, you know, there was a long period of time where we could be lazy and rest on what we knew, right? | ||
| And you'd get a guy from another school or someone come in and he's a blue belt or even a purple. | ||
| It was like, oh yeah, let's roll. | ||
| And they run right to you, right? | ||
| Hey, you rolling today? | ||
| Let's roll. | ||
| And I'm like... | ||
| Okay, let's roll. | ||
| And you're like, you go into this, you lull yourself into a mistake where you go, I'm just going to defend and be lazy and I'm going to roll here because I don't feel like rolling. | ||
| And you're rolling with them and all of a sudden in your mind you're like, oh shit, they're a little more than I anticipated. | ||
| Oh shit. | ||
| They're a little, they're amped up and bringing it. | ||
| And you're like, dude, I just ate two donuts. | ||
| And I'm like, thinking about my- You know what would drive me the most crazy? | ||
| When a guy would sit on the sidelines and wait. | ||
| You roll with three or four people. | ||
| And then jump up. | ||
| You go, you want to roll? | ||
| UFC fighters do that. | ||
| And you're like, come on, man. | ||
| Come on, dude. | ||
| Yeah, you've been waiting. | ||
| You're just sitting here waiting for everybody to get tired. | ||
| Uh-huh. | ||
|
unidentified
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Uh-huh. | |
| Dude, I remember when you lost your job at Nickelodeon. | ||
| We were in the parking lot of John Jocks. | ||
| And this is like, what year was that? | ||
| That had been, you know what, it had been 98? | ||
| Yeah. | ||
| 98, because I had a house. | ||
| I just bought a townhome in Valencia. | ||
| Yeah, and we were talking. | ||
| You're like, fuck, I don't know what to do. | ||
| Yeah. | ||
| Like, I'm thinking, you know, but just like, just, you know, working on my art. | ||
|
unidentified
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Yeah. | |
| I remember that conversation, man. | ||
| And then I remember years later, you're balling out of control in your arts and galleries. | ||
| And I had a friend, and I went over his house, and he had one of your fucking paintings above his kitchen table. | ||
| I was like, holy shit, that's Todd White's painting! | ||
| He's like, you know that guy? | ||
| I go, I do jujitsu with him! | ||
| I'm like, wow. | ||
| He goes, yeah, he's really talented. | ||
| He's really good. | ||
| It was like one of those cocktail party paintings. | ||
| I remember thinking, this is nuts, man. | ||
| I'm at someone else's house, and Todd White's painting is above his fucking kitchen table. | ||
| It was wild. | ||
| I love that. | ||
| But I was telling you the other day, or just earlier today, rather, that Shore, the restaurant out here, I go in, had no idea. | ||
| I just go in, me and my wife are on date night. | ||
| We walk in, and I'm like, this fucking Todd White's paintings are everywhere. | ||
| Yeah. | ||
| Thank you. | ||
| Your style is so distinctive. | ||
| Either someone's ripping you off, or it's you. | ||
| So when I walked in there, I'm like, I'm 99% sure this is Todd White or some Todd White copier. | ||
| I had 13 years in animation. | ||
| I came out of high school. | ||
| I got a job at Warner Brothers as a production assistant on the first season of Tiny Toons. | ||
| But what I did is I looked at every super talented artist, every draftsman, and I would ask questions, and I was drawing every day. | ||
| I had no social life, and they would give me such great advice. | ||
| So I looked at it. | ||
| That's my college, because I didn't go to school. | ||
| My mom was a painter, so I grew up in a painting household. | ||
| Her mom was as well. | ||
| And I just looked at it as, I'm going to educate myself through the hard work and the grind. | ||
| And before I knew it, I was just around some of the most talented artists in the industry, and they were showing me techniques and the way to put life into character and a way to give a drawing life, which is the hardest thing, by the way. | ||
| I look at a lot of paintings and I... They may be technically great, but there's no life. | ||
| They're dead-looking. | ||
| The eyes are dead. | ||
| It's a dead-looking painting. | ||
| And so I learned through super talented artists to teach me how to put that kind of personality and life into the drawing and then translate that into the painting. | ||
| And I was always obsessed with the Rat Pack and Sinatra and Dean Martin and Sammy Davis Jr. And I just... | ||
| I had VHS tapes of them at the summit and everything. | ||
| I used to watch them all the time. | ||
| They looked like they were having so much fun. | ||
| God, men were men and women were dames. | ||
| And they had the drinks and the cigarettes. | ||
| And they were blowing smoke in each other's face. | ||
| And they weren't worried about masks. | ||
| It was just an amazing time. | ||
| Women were dames. | ||
| I loved it. | ||
| Dames is such a great word. | ||
| So I just kind of wanted to capture that in painting. | ||
| And I wanted to kind of bring some of that timelessness back. | ||
| And, you know... | ||
| I was really good with marker work, marker color comps in animation, because quickly after that I became a character designer. | ||
| And so I spent the next, you know, 10 years in animation designing characters for shows. | ||
| And I ended on SpongeBob. | ||
| And that was like Steve Hillenburg. | ||
| A lot of my friends from the previous show said, hey, we're going over Nickelodeon. | ||
| They've got this new show they're working on. | ||
| It's a pilot, SpongeBob, and they need a character guy. | ||
| And I met with Steven and he said, he gave me marine biology books. | ||
| He's like, here, make these characters. | ||
| A marine biology book? | ||
| Yeah, he was a marine biologist. | ||
|
unidentified
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Really? | |
| He went to CalArts. | ||
| He wasn't the best draftsman, but he had good ideas. | ||
| And he was a really cool dude and a surfer. | ||
| So why marine biology? | ||
| Because it was all about underwater life. | ||
| I don't know if you've ever seen the show. | ||
| Well, I've seen it a few times with my kids. | ||
| I never really paid attention. | ||
| I didn't know it was underwater. | ||
| It's all fish life. | ||
|
unidentified
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I know. | |
| Bubble Guppies is underwater. | ||
| I don't know what that is. | ||
| I actually can't stand watching. | ||
| You don't watch that with your kids? | ||
| I don't. | ||
| The kids have so many shows going on, and they're all so horrible to watch, so I don't stare at any of them. | ||
| Yeah, Bubble Guppies was my daughter's favorite show for like two years. | ||
| Yeah. | ||
| Your style. | ||
| Go to his website and pull up some of the images. | ||
| Are they all like this? | ||
| Do you do other kinds of styles? | ||
| Or is it most of your work like cocktail, party? | ||
| I view my work as it's all personality and relatable. | ||
| So... | ||
| In my mind, I'm not painting art for your furniture or your living room. | ||
| I'm not painting something you want to put in your living room. | ||
| I'm painting something that you want, that you identify with. | ||
| And I think a lot of people... | ||
| What do you mean by that? | ||
| Like, if it's not for the living room, where is it if you identify with it? | ||
| Yeah, it's put it wherever you identify. | ||
| Put it where you identify. | ||
| See yourself in it. | ||
| You see yourself. | ||
| You see your boys. | ||
| Weekend at Vegas, that time you had the greatest time ever. | ||
| The women had girls night out and they see their new stuff. | ||
| Can you go to Instagram at all? | ||
| That's going to have my newest stuff. | ||
| Cartoonish. | ||
| Oh, okay. | ||
| I hate that word. | ||
| What? | ||
| Cartoonish. | ||
| Cartoonish? | ||
|
unidentified
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Yeah. | |
| Really? | ||
| What's a good word? | ||
| Charactered. | ||
| Charactered. | ||
| But no one's going to know what you're saying. | ||
| I know. | ||
| I know. | ||
| So there you go. | ||
| There's some new stuff right there. | ||
| That's like the foxes and... | ||
| You know, so I always want to represent someone's life. | ||
| I want them to see their life in it. | ||
| I want them to see their personality in there. | ||
| Go back to that picture again. | ||
| Chasing foxes. | ||
| The blonde, like from the left-hand side, the third one, she looks like a bitch. | ||
| Oh, good. | ||
| Good. | ||
| Because in a group of four... | ||
| She looks like the mean one. | ||
| In a group of four, that's what you're going to have. | ||
| Fuck him. | ||
| See, everyone has their own attitude. | ||
| Everyone has their own personality. | ||
| Like, out of those three... | ||
| You know why? | ||
| She gets everything she wants, doesn't she? | ||
| I like the girl on the far left. | ||
| The one in the white, that's my kind of girl. | ||
|
unidentified
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There you go. | |
| She's soft. | ||
| She seems like she's happy. | ||
| She's soft. | ||
| That one, you gotta work for that one that's holding that wine glass too low. | ||
| She's just too much work. | ||
| What do we like? | ||
| We like the thrill of the hunt, not the thrill of the kill. | ||
|
unidentified
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No! | |
| I like nice people. | ||
| I get my thrills in other places. | ||
| I don't want them in relationships. | ||
| A lot of people... | ||
| We look for conflict and relationships. | ||
| I just look for nice people, man. | ||
| I like the white. | ||
| I lucked out. | ||
| Yeah, you got lucky. | ||
| I did too. | ||
| I like the one in the white. | ||
| That's my kind of girl. | ||
| But that one with the low wine glass, I tell my friends, bro, please. | ||
| Please don't bring it over the house. | ||
| Sugar Shack. | ||
| Those three, I have no problem with any of those girls. | ||
| They're fine. | ||
| Those are fun girls. | ||
| But I think the one that Jamie's got the cursor over, she's going to be the most problems. | ||
| She's going to overdose at your house. | ||
| But see, what are we doing? | ||
| We're having conversations about stupid art, right? | ||
| So, you know, art should be a conversation piece. | ||
| The one on the far right, she's going to fuck your friends. | ||
| My friends. | ||
| My clients. | ||
| She's going to text your friend, can you help me move? | ||
| And then she's going to fuck all your friends. | ||
| Yeah, so it should be a conversation piece. | ||
| You should have it in an area where friends come over and they go, what's going on here? | ||
| And it represents you. | ||
| It represents your personality. | ||
| They say, well, this is how, you know, we love our life. | ||
| But I know you got to a point where you were, like, really in demand. | ||
| Like, I remember, I was talking to Eddie about it, and he was like, God, Todd is so busy. | ||
| Like, he's, like, constantly working. | ||
| Does it ever get to a point where it seemed like labor? | ||
| Or like, that's a dope Hendricks shirt, son. | ||
| What you got there? | ||
| Hidden by your gay bandana. | ||
| I'm sorry. | ||
| It's not gay. | ||
| It's more like a rancher's bandana. | ||
| There you go. | ||
| We're in Texas. | ||
| Yeah. | ||
| One of those gay who'd have sequins in it or something. | ||
| I like that. | ||
| That's a dope shirt. | ||
| You can have it. | ||
| Really? | ||
| I'll give it to you. | ||
| One of the coolest shows I ever did. | ||
| I have the greatest fans of any artist, period, living. | ||
| They're awesome people, and they show up in droves. | ||
| We were doing a show one time, and this client in England came up, and he goes, and I said, dude, that's the greatest jacket I've ever seen. | ||
| And he goes, you like it? | ||
| And I go, yeah. | ||
| And he goes, it's yours. | ||
| And I go, I'm not going to take your jacket. | ||
| And in my mind, I go, I'm taking his jacket. | ||
| And he goes, no, man, try it on. | ||
| If it fits you, it's yours. | ||
| And I thought, that's fair. | ||
| Fair. | ||
| I try it on. | ||
| I'm like, oh, buddy. | ||
| Fit perfect? | ||
| He goes, I've had to fix it. | ||
| He goes, it's yours. | ||
| Wow. | ||
| I go, oh, thank you. | ||
| And the cool thing is, about 10 years later, I was in Toronto doing a show, and a kid came up, an artist kid, and he showed me his work briefly, which I I find it a bit hard to look at people's work in the middle of my show. | ||
| And I'm like, oh, that's awesome, dude. | ||
| And he goes, man, that's a great jacket. | ||
| And I go, he was about my size. | ||
| I go, hey, see if this fits you. | ||
| And he fit him. | ||
| And I go, it's yours. | ||
| And he was like over the moon. | ||
| He goes, I can't believe it. | ||
| And then other people were like, dude, I just bought a fucking $60,000 painting. | ||
| You gave him a jacket? | ||
| And he's like, Like, hey, hey, hey, come on, man. | ||
| You just gotta go with the flow. | ||
| Pay it forward, pay it forward. | ||
| Yeah, you gotta go with the flow. | ||
| But did you ever get to a point where, you know, because you were painting so much, I mean, you had requirements, right? | ||
| I mean, was it ever where it felt like work? | ||
| No, it was always... | ||
| I never... | ||
| Unless it was a commission. | ||
| I was being commissioned by someone to do something. | ||
| I painted what I wanted, how I wanted it. | ||
| And every day was exciting to me. | ||
| Because my paintings start as a story. | ||
| I have a story in my mind first. | ||
| And I have... | ||
| I come up with titles and names. | ||
| And sometimes you'll be coming... | ||
| Go back to the Instagram page. | ||
| You'll have a conversation with something and I'll hear something. | ||
| Any one of those pick and it's a different story. | ||
| Alright, what's the story of the lady with the... | ||
| What's the story with the dude jumping up in the air? | ||
| Is that Eddie Van Halen, dude? | ||
| Thank you, sorry. | ||
| Miss you, buddy. | ||
| Wow, that's a great Eddie Van Halen, dude. | ||
| Story of my childhood, right there. | ||
| 1984, riding a school bus to school and people playing jump in the back of it on a cassette boombox. | ||
| Dude. | ||
| That was history, man. | ||
| My high school, too. | ||
| Brought a sad tear to my eye when I heard that. | ||
| I was like, oh. | ||
| I've become friends with David Lee Roth. | ||
| I know. | ||
| And it's one of the weirdest things ever. | ||
| Because when I was in high school, that guy was the shit. | ||
| It was God. | ||
| It was a God. | ||
| And I'm eating dinner with him in Vegas. | ||
| And we're laughing and having a good time. | ||
| And I'm like, this is so strange. | ||
| Dude, you have the best life. | ||
| And I'm friends with David Lee Roth having dinner with him. | ||
| We're cutting up steaks and having a bunch of laughs. | ||
| Oh, good. | ||
| At some point in your mind, just to be Joe for a second, you have to go, you know, you're having the conversations, and you have such great conversations with people, and you're like, God damn, this is awesome. | ||
| It's weird. | ||
| It seems weird. | ||
| It's surreal. | ||
| Oh, beyond. | ||
| Because here you lived, in a way, you've lived two lives. | ||
| You had the first portion of your life, which was a youth, struggle, adult. | ||
| You know, you're trying to get to your goals and make your dreams happen, and it's a work in progress, but all this stuff is going on around you. | ||
| Music's happening, movies happen, and you're paying attention to it lightly, and And now you're at a different part of your life where you're almost the ringleader of things and it's your circus master and these people are coming into you and you're sitting across from like James Hetfield and you're just having conversations and you're like, dude, my God, you got me through high school, dude. | ||
| Ride the lightning got me through, you know, and... | ||
| It's got to be such a personal inside reward to go, God damn, this is awesome. | ||
| Well, I, without a doubt, feel super, super fortunate in the weirdest way. | ||
| Like, what did I do in a past life to deserve this? | ||
| But another way, it's... | ||
| It's alien. | ||
| I feel both fortunate and I also feel like, how is this real? | ||
| How am I, when I'm sitting across from anyone, name the person. | ||
| Steven Tyler. | ||
| Yeah, Steven Tyler. | ||
| The fact that Steven Tyler knows my fucking name is bizarre. | ||
| He came to see me in Vegas. | ||
| So I'm hanging out with him after my show. | ||
| I know. | ||
| I'm like, this is so fucking weird. | ||
| But you got your foot in the door and then you earned the room. | ||
| So it's not like, I mean, you're really good at it. | ||
| So it's not like you're flying by the seat of your pants. | ||
| It's like, it's so easy. | ||
| That's all well and good. | ||
| It's good to listen to. | ||
| It's smooth. | ||
| That's all well and good, but it still feels bizarre. | ||
| It's got to. | ||
| I mean, I don't, I'm not panicking when I'm talking to him. | ||
| No. | ||
| But it is, there's parts of the time where he's talking. | ||
| I'm like, that's Steven Tyler. | ||
|
unidentified
|
I know. | |
| He's right there. | ||
| I can touch him. | ||
| I can touch him. | ||
| I can grab Iron Man and throw him to the ground right now. | ||
|
unidentified
|
Robert Downey Jr. Where's your Iron Man now, bitch? | |
| He's actually a martial artist. | ||
| He's really into Wing Chun. | ||
| Yeah, yeah, I like that. | ||
| I'm sure I'll get fucking hate mail on that. | ||
| It's so true. | ||
|
unidentified
|
Those Kung Fu dudes, they never let it go. | |
| You got a lot of the Day of the Dead type gals. | ||
| Well, you're just catching September through November 2nd. | ||
| That's my little shtick. | ||
| I do September 1st through November 2nd. | ||
| I do nothing but Day of the Dead. | ||
| The best part is when I was over in England touring, they said, what is this Halloween stuff? | ||
| Why do you got a butt? | ||
| Why not? | ||
| That was a commission. | ||
| Somebody wanted you to make a butt. | ||
| That's my collector. | ||
| Hired me to paint his wife like that. | ||
| Oh, wow. | ||
| Wow. | ||
| Did he give you a picture? | ||
| Or did she stand there? | ||
| No, no. | ||
| He sent totos. | ||
| So I won't paint nudes of people's wives. | ||
| Like, don't send me nudes, I always say. | ||
| But there's Meg. | ||
| So I said, hey... | ||
| My wife says, hey, you got a commission to do. | ||
| It's a guy that owns a pretty big strip club chain. | ||
|
unidentified
|
And I go, yeah? | |
| He goes, yeah. | ||
| He wants you to paint his wife. | ||
| And he gave me a story. | ||
| He met her when he was 18, yanked her right off stage and married her. | ||
| And she's part of the empire now. | ||
| And so he sent me a bunch of photos. | ||
| And she's 40 now. | ||
| And she was unbelievable, right? | ||
| Like, god damn. | ||
| And so I did the painting of her, you know, in a bustier. | ||
| And I sent it back to him. | ||
| And my wife says, hey, you got a letter back from them. | ||
| I got good news and bad news. | ||
| I thought, oh shit, bad news. | ||
| I don't like hearing that. | ||
| And she goes, I go, what's the good news first? | ||
| And she goes, oh, the good news is they love the painting. | ||
| It's hanging in their bedroom. | ||
| They say it's the centerpiece. | ||
| They just think it's the greatest thing ever. | ||
| I go, well, what's the bad news? | ||
| He said, if you're ever in New Orleans, New York, or San Francisco again, contact them. | ||
| You're going to have the greatest night of your life. | ||
| And I said, that's the bad news? | ||
| She goes, yeah, you're never going there by yourself again. | ||
| Oh yeah, fair enough, fair enough. | ||
| Who's the girl in the lower corner with the glasses? | ||
| That's just a... | ||
| Just a gal? | ||
| Dirty little floozy. | ||
| My brand new pistol. | ||
| Dirty little floozy. | ||
| Just a little scallywag. | ||
| Is she a dame? | ||
| No. | ||
| Is that a dame? | ||
| What is a dame versus a floozy? | ||
| Dude, a dame is a girl who holds her own in a court of men. | ||
| She can just hold it, right? | ||
| You watch those old classic movies and they give it back to you, you know? | ||
| I like that. | ||
| So my paintings of women, they may be sexual looking, but they have their own thing going. | ||
| They have their own agenda. | ||
| They're strong. | ||
| They're not just pinups. | ||
| Yeah, they seem aggressive. | ||
| They have a game plan. | ||
| And that comes from the cesspool of L.A. and wallowing in that mire and being around that so much that You couldn't meet a nice, innocent girl because they all had a game plan. | ||
| They were after something. | ||
| Whether it was status, whether it was money, or whether it was to get on a show. | ||
| I'll never fault people for going to a place to try to achieve a dream, but at some point, that's not happening. | ||
| You know what's the most depressing thing in LA when you're meeting people is the people that you think are pretty cool, but then you realize along the way that what they're really doing is being friendly so that they can sort of network. | ||
| Of course. | ||
| Yeah, it's a town of that. | ||
| It's hard to filter. | ||
| I mean, I've been friends with people for 15 years. | ||
| I had dudes that I thought were my bros. | ||
| We were in foxholes together. | ||
| And, you know, my wife, she's got to be a bit psychic because she says, that guy's going to stab me in the back. | ||
| And I'm like, get out of here! | ||
| That's never going to happen. | ||
| And then the right opportunity comes along and they jump ship and they're just like, bang! | ||
| And you're like, god damn, she was right. | ||
| Stab me in the back, how so? | ||
| You know, like what you said, riding coattails, you have a career going, you're doing your thing, and all of a sudden they're like, hey, I want to get in on that. | ||
| And it's like, yeah, but you sold insurance and now you're an art guy. | ||
| And it's like, what? | ||
| And they just fucking jump on you. | ||
| It is the weirdest thing when someone wants to be a part of your business. | ||
| Hey, let me pitch you something. | ||
| You're like, oh no. | ||
| Because then you realize they're looking at you as an opportunity for income. | ||
| You're an object. | ||
| What's more discouraging for me is people who think, well, you're doing that. | ||
| I can do that. | ||
| And I'm like, what do you mean by that? | ||
| That's hilarious. | ||
| And they go, well, you know, I can do that. | ||
| I can paint that way. | ||
| And it's like, well, then do it, you know, and see how far it gets you, you know, because it's not only one thing. | ||
| It's everything. | ||
| It's the work, the labor, the drive you have. | ||
| And I'll take drive any day over talent because the harder you drive something, you can get to that talent level. | ||
| I completely agree with that. | ||
| I always tell people... | ||
| Stand-up is a perfect example because a lot of people are funny. | ||
| A lot of guys are funny hanging out. | ||
| And they're hanging out with you. | ||
| And I'm not particularly funny when I'm hanging out. | ||
| I can just hang out. | ||
| I'll be funny occasionally if some shit happens or if I have a move. | ||
| But I'm not a needy comedian. | ||
| I don't have to be the guy who's on all the time. | ||
| So sometimes guys will go... | ||
| I could fucking do comedy. | ||
| Like, I'm fucking funnier than you. | ||
| I could do comedy. | ||
| I'm like, yeah, you could do comedy. | ||
| You could do comedy. | ||
| You definitely could do it. | ||
| I tell everybody, you could do it. | ||
| But good luck. | ||
| Do it over and over again. | ||
| Be fresh. | ||
| But good luck understanding what that is. | ||
| It seems like you're just talking. | ||
| Because everybody talks. | ||
| I talk. | ||
| I can be funny. | ||
| I say funny things sometimes. | ||
| My wife laughs at me. | ||
| Like, I think I can do it. | ||
| And then go get an idea across in front of people. | ||
| And it seems like you're doing hypnosis is what you're doing. | ||
| You're doing some weird sort of artistic hypnosis with built-in ideas that spark lights in people's head. | ||
| And you either can do that or you can't. | ||
| Even if you can make your friends laugh, doing that on stage in front of people, that shit's going to take forever. | ||
| You know, people get very accustomed to saying stuff with their boys or their friends and they get these laughs and they think they're really good. | ||
| But then if you got up on stage and you said something and it dropped dead silent, that's going to hit you. | ||
| And you're going to be like, uh... | ||
| It's going to throw you like a gut check kick. | ||
| And all of a sudden you're like, uh, my next thing is... | ||
| Well, you know, Eddie really got into comedy again. | ||
| I forced Eddie on stage in the early 2000s. | ||
| I forced him on the stage. | ||
| I'm like, dude, you're funny. | ||
| You make me laugh all the time. | ||
| Go do it. | ||
| And he did it like eight or nine times, but the bombing was too much. | ||
| He couldn't do it. | ||
| But then when he started running Tenth Planet, when he started teaching, he got way more comfortable talking to people, and he would make the crowd laugh in the gym when he was teaching classes. | ||
| And then he eventually was doing seminars. | ||
| And during seminars, he would have funny stories. | ||
| And he would be killing. | ||
| He's like, dude, I was killing at my seminar. | ||
| I'm thinking about doing stand-up again. | ||
| I'm like, do it! | ||
| Fucking do it! | ||
| And that turned into him actually doing stand-up. | ||
| And he was touring with Sam Tripoli for a while. | ||
| He was doing really well. | ||
| Yeah, I saw the tinfoil hat. | ||
| Yeah, Tinfoil Hat Conspiracy Theory Podcast. | ||
| Occasionally talk. | ||
| Dude, he's funny. | ||
| Eddie makes me laugh. | ||
| Like, he really could. | ||
| I knew he could do it. | ||
| But it's the pain of doing it. | ||
| But he was like, listen, I'm trying to run a school. | ||
| I'm trying to compete in jiu-jitsu. | ||
| You can't spend too many plates. | ||
| Me and my wife are spending so many plates now. | ||
| It's like we got the jiu-jitsu school, which is basically a side project that I enjoy doing and a hobby that I've got some awesome instructors helping me with. | ||
| And then... | ||
| Then we have our art business, our art publishing business, because I'm self-published. | ||
| I don't just turn my work over to a company to produce my work. | ||
| I produce it all. | ||
| When you say produce? | ||
| J'clays, high-end reproductions. | ||
| When I do a release, it's a limited edition of 135. And this is for prints? | ||
| Yeah, the prints, the high-end reproductions on canvas. | ||
| How does that happen? | ||
| Say if you make a painting, like one of these paintings, and then you want to turn that into a print. | ||
| What's the process? | ||
| So you get it scanned. | ||
| From there, you take it on your computer and you run it through a big Epson 11880 printer the size of this table and it prints it out on a canvas and you've got to color correct everything because the photograph versus the computer talking to the inks and it's different. | ||
| It comes out. | ||
| You get that right. | ||
| And then you start doing your run. | ||
| For me, when I do a limited edition, that's it. | ||
| It's limited. | ||
| I don't do more. | ||
| I don't make a smaller version. | ||
| This is where artists get in trouble. | ||
| Because the publicist will say, hey, we did 50 of that image. | ||
| We sold out in a day. | ||
| Let's do 50 more in a smaller size. | ||
| And let's do 20 more in a smaller size. | ||
| So now, if you're the collector, who I value the highest in my profession, They look at it and they go, dude, I bought that. | ||
| And then I'm walking down this gallery and I see a tiny version of it. | ||
| It's losing value. | ||
| It's losing its luster. | ||
| It's like you don't have something so special. | ||
| And so when I do an edition of 135 in the world, that's it. | ||
| So the UK will buy half out the front. | ||
| Then the Canada will pick up 20. And then what's left over is for the US. Why is that? | ||
| Why is the UK the premier market? | ||
| De Montfort Fine Art handles me over there, and they are a distributor. | ||
| So they have their network of galleries. | ||
| They already did. | ||
| Here, I'm dealing with the galleries. | ||
| My wife deals with them. | ||
| I don't. | ||
| And she's the business end of it. | ||
| And she's talking to the galleries and dealing. | ||
| We only have like five or six in the United States. | ||
| And, you know, from Ohio to then Northern California. | ||
| So how does that work? | ||
| Let's say you have an idea for a painting. | ||
| You make a painting. | ||
| How do you decide who gets the original? | ||
| Who buys it? | ||
| But how do you even put that out there? | ||
| So I put it out there on Instagram. | ||
| Instagram is... | ||
| It's a strange day and time right now because... | ||
| Of COVID and shutting down galleries. | ||
| Some galleries are not coming back. | ||
| We're losing mom and pop galleries. | ||
| They're closing down. | ||
| They go, enough. | ||
| We're out. | ||
| California was such an awesome, thriving market and now it's just dead in the water. | ||
| All these galleries are leaving. | ||
| Artists are going, what the hell am I going to do? | ||
| I've lost several galleries. | ||
| Instagram is becoming this new Amazon for artists. | ||
| It's like artists are now looking at Instagram as, I'm just going to put my work up there and push myself, and they can contact us. | ||
| So that's what happens. | ||
| I'll post an image, and my clients will see it anywhere around the world, and they'll contact their gallery. | ||
| So if they're in England, they'll contact the White Wall Gallery. | ||
| And they'll inquire. | ||
| Because my wife will wake up and in the morning she'll have four or five emails from around the world of, hey, how much is that? | ||
| So is this on your Instagram page? | ||
| Like if someone sees one of your paintings, is there a contact information number or email number? | ||
| So if they're local or if they're in the U.S. or whatever, they usually contact us directly from there, from the Instagram. | ||
| They'll send a DM or they'll send it to my website, my wife's. | ||
| You know, page. | ||
| And they'll send it to us. | ||
| If they are a collector who's accustomed to a gallery, they'll contact that gallery. | ||
| If I've always bought from Kevin in Ohio, they'll buy it from him directly. | ||
| You know, they'll call him, hey, Kevin, I saw his new piece. | ||
| And that's what we want. | ||
| The problem is these galleries are closing down more and more. | ||
| Because of COVID. Yeah. | ||
| And so some of them, they're like, well, my guy's gone. | ||
| So we're just like, just contact us direct. | ||
| It's fine. | ||
| In the UK, I send them... | ||
| Anybody from the UK, we send them right over to White Wall Galleries. | ||
| Anyone in Canada, we send them to List Gallery. | ||
| What's getting hit the worst? | ||
| Is it the United States? | ||
| The UK. The UK. Now they have some new strain. | ||
| They're shut down again. | ||
| Yeah, some new strain that's 70% more contagious? | ||
| I just... | ||
| It's just... | ||
| You know, I got tested by you before I came in here. | ||
| That was the first time I'd been tested. | ||
| I... I see no point in getting, for me personally, doing, I'm very fit. | ||
| I train at least one day a week now, embarrassing to say. | ||
| I know my body very well. | ||
| And I know when I wake up and something's off. | ||
| And if something's off, I'll get checked immediately. | ||
| But to say, you know, I've heard stories from guys who've rolled, friends of mine in California, super athletes. | ||
| And they're like, yeah, dude, I was doing something. | ||
| They said I had COVID. And I'm like, and how did you feel? | ||
| And they're like, I feel great. | ||
| I feel fine. | ||
| I'm like, nothing is wrong with me. | ||
| I didn't know it. | ||
| I don't have headaches. | ||
| I don't have anything. | ||
| There are false negatives. | ||
| Yeah, and I go, dude, if this is the end-all disease and you feel great, you're not bleeding out your eyeballs, then what? | ||
| It really depends on the person. | ||
| It depends on your vulnerabilities. | ||
| It depends on your age. | ||
| You know, I had Alex Berenson. | ||
| He's a former journalist for the New York Times, and he wrote a book on COVID. He wrote a series of three booklets about all the things that we're doing wrong, particularly the lockdowns. | ||
| He's like, these are the worst things you could do because it's also... | ||
| The worst environment for COVID to spread is when people are stuck indoors. | ||
| You're actually seeing upticks in the virus during the places with the most lockdowns, like Los Angeles, which has the worst lockdowns and the biggest fucking spread of COVID. It's crazy. | ||
| But he's adamant about it. | ||
| It's age-dependent and it's comorbidity-dependent. | ||
| The people that are dying, they have an average of 2.6 comorbidities, the people that are dying from COVID. Only 6% of the people who died from COVID actually died from COVID. Most of them are dying from COVID. The way he put it is dying with COVID. It doesn't mean it's not dangerous, but it's not dangerous to you. | ||
| And it's not dangerous to Jamie. | ||
| Jamie kicked it in a day. | ||
| Tony Hinchcliffe, who fucking barely works out, I called him today. | ||
| He said he feels 100%. | ||
| He had COVID two days ago. | ||
| He tested positive. | ||
| He said it felt like shit. | ||
| Yesterday he didn't feel too good. | ||
| Today he feels 100%. | ||
| So he basically had a day and a half of feeling shitty. | ||
| And the whole country shut down for that. | ||
| But the people that are vulnerable are really vulnerable. | ||
| Older people. | ||
| Sick people. | ||
| But what it is is... | ||
| Andrew Schultz said it best that this disease has exposed a vulnerability in our health and a vulnerability economically. | ||
| That people can't be out of work for a few months. | ||
| They can't shut down for a few months. | ||
| Even big companies need that money coming in constantly to maintain the business model. | ||
| And with people's health, There's a lot of people that, like yourself or like Jamie or Tony, that they get it and it's nothing. | ||
| But there's a lot of people that are very vulnerable because they're just not healthy. | ||
| They're not taking care of themselves. | ||
| They're not exercising. | ||
| They're not watching their nutrition. | ||
| They're not taking supplements. | ||
| And when they get hit, they get hit hard. | ||
| That's probably half the nation, though. | ||
| It's a big chunk. | ||
| So wouldn't it make more sense that they stay inside? | ||
| Yes. | ||
| They walk down. | ||
| They stay away. | ||
| Hey, wouldn't it make more sense if Hey, healthy people work and we're all going to pay this extra tax. | ||
| I hate that word. | ||
| We're going to pay an extra tax to support them while they're doing it and as opposed to shut everything down and kill a million to save a thousand. | ||
| They didn't know, man. | ||
| When this all started out, I just think no one knew what the fuck it was. | ||
| They thought it was going to be way worse than it was and they haven't course corrected. | ||
| Right. | ||
| And do you think there's any relation at all, since you love to go down rabbit holes, do you think there's any relation at all to the fact that all these huge companies like Amazon and Google are making billions of dollars right now, as long as mom and pop are closed? | ||
| People can't get what they want from their store, so they go right to online. | ||
| I don't think so. | ||
| I think they're profiting from it. | ||
| I think they're taking advantage of a vulnerability and an availability. | ||
| I don't think they have anything to do with it happening in the first place. | ||
| Oh, no, no. | ||
| They didn't have anything to do with it in the first place. | ||
| But as you said, as we're learning and going down the road. | ||
| No, I think it's politicians. | ||
| I think they're just cowards. | ||
| Who are they lobbied by? | ||
| Yeah, there's a little of that, but I just think that would be such a fucking scandal. | ||
| Like, if they were saying, like, let's keep these businesses shut so that Amazon can thrive. | ||
| Luckily, you're raising your eyebrows. | ||
| I don't know what you're talking about. | ||
|
unidentified
|
Don't quote me, boy. | |
| I ain't said shit. | ||
|
unidentified
|
Yeah. | |
| It's interesting to think about it that way, and a lot of people are conspiratorially minded and they look at it that way. | ||
| Eddie thinks China's taking over. | ||
| I don't think he thinks China released the virus on purpose, but if you were really conspiratorially minded, that's what you would think. | ||
| You would think that China did it on purpose to crash the economy, and then they start buying up all these corporations, which they are doing. | ||
| Yeah. | ||
| And then I'm hearing... | ||
| I have no idea about this, but I'm hearing... | ||
| I'm getting texts from people like, dude, they're set up in Toronto. | ||
| They're set up in Canada. | ||
| Oh, as long as you're getting texts. | ||
| They're set up in Mexico. | ||
| We're surrounded. | ||
| By who? | ||
| China? | ||
| Yeah. | ||
| And Jocko's just like... | ||
| Bring it. | ||
|
unidentified
|
I'm ready. | |
| Bring it. | ||
| Yeah, all caps. | ||
| I'm ready. | ||
| Yeah. | ||
| He's my go-to. | ||
| Whenever I get panicked, I call Dad. | ||
| Choco, what's going on here? | ||
| What are we looking at? | ||
| Don't worry about it. | ||
| We got it. | ||
| Yeah, he got COVID, and I said, how are you feeling? | ||
| He goes, not a factor. | ||
|
unidentified
|
Yeah. | |
| That was all caps. | ||
| Not a factor. | ||
| I was working at the jiu-jitsu school one day, and I'm under the counter trying to screw some lights in, and I hear, God, what? | ||
| And I'm like, I got scared. | ||
| And I looked up, and he's standing there, and I'm like, oh, Jaco. | ||
| Well, he's a guy who's been real smart with his business, too, because he opened up Origin, which they sell geese, they sell really cool stretchy pants, and they sell homemade boots. | ||
| I got a pair of his homemade boots. | ||
| They're fucking excellent. | ||
| American-made, factory in Maine, all stitched together by hand, all done by hand. | ||
| When I put them on, I feel like I bought something that a guy made. | ||
| It feels legit. | ||
| I'm not getting it from Nike or someone. | ||
| I'm getting it from a person. | ||
| Your kids are much older right now, but I read the kids books. | ||
|
unidentified
|
Oh, no. | |
| My daughter loves his book. | ||
| Yeah. | ||
| My youngest are 10 and 12. Yeah. | ||
| Okay. | ||
| All right. | ||
| So you can still read to him. | ||
| Yeah. | ||
| I read to my boys and girls. | ||
| If I try to read to my 24-year-old, she's not going to love him. | ||
| Every night I read to him, and they love hearing about Uncle Jake. | ||
| But he did a book that didn't get a lot. | ||
| It's been kind of quiet with the Mikey and the Dragon book, okay? | ||
| Yeah. | ||
| Mikey Slays the Dragon, I think. | ||
| I don't want to miscoat it. | ||
| He'll punch me in the face, but... | ||
| I read it, and I'm not kidding you as a father with your kids, and you have that moment where you're reading to them. | ||
| There's a heavy moment in there where the dad had died, and then Mikey's reading his letter to him. | ||
| And it's like, I well up. | ||
| I have to stop for a second and read it. | ||
| But it's so good, and it's such a great story. | ||
| And it's like, for a guy who is in leadership, a warrior, and went through that organization, he's very creative in his endeavors of writing and working. | ||
| His thinking on that. | ||
| It almost doesn't make sense. | ||
| Well, it does, because he gets good at everything he does. | ||
| Yeah, I guess so. | ||
| You implement the jujitsu mindset, right? | ||
| Where you're going to focus, you're going to train at it, you're going to train hard, and you're going to have that kind of horse blinders on and just go for that. | ||
| Yeah, he's smart with everything he does. | ||
| And to have a blind spot where your creativity is unbalanced or your creativity sucks, he would never allow that. | ||
| That would be a weakness. | ||
| He told me a story he wants me to draw him for his studio. | ||
| This marine coming out of this foxhole with knives and hatchets covered, clothes ripped off. | ||
| And it was a true story about a guy. | ||
| And so I've almost been intimidated to dive into that because I'm like, it would never be good enough in his mind. | ||
| Well, it's how do you do if you haven't experienced that? | ||
| That's one of those things. | ||
| You could easily paint someone in a jujitsu match, but you haven't been to war. | ||
| Right. | ||
| So how do you do that without making it embarrassing or making it foolish? | ||
| You know what I'm saying? | ||
| I know exactly what you're saying. | ||
| When I was in my animation days... | ||
| I would get directors call me in and say, hey, we're going to have Ranger Smith fight with Yogi Bear, but they need to look like they're really fighting. | ||
| And they would ask me, they're like, well, how do you do this? | ||
| And I'm like, well, I'm not a fighter. | ||
| I just do jujitsu. | ||
| And I know that really well. | ||
| And they say, well, we're going to have them put them in the guard and they're going to roll around. | ||
| And I'm like, okay, do it like this. | ||
| And he loved it. | ||
| And John Kay, who did Ren and Stimpy, he was... | ||
| Obsessed with jujitsu and UFC really as he would have huge parties at his house every UFC and Tank Abbott was his favorite guy and and he would want to integrate those Fighting moves into his cartoons and they would always get blowback from networks and such and and So, I mean, there's a great documentary, the Ren and Stimpy Happy Happy Joy Joy, that I sent it to you. | ||
| Yeah. | ||
| And I don't know if you can see it. | ||
| I think it's on Apple. | ||
| It's everywhere. | ||
| Yeah. | ||
| But I had a small hand in that with some fucking chemo, and they're awesome dudes. | ||
| And they did a beautiful documentary on the whole history of that show and the failure of it. | ||
| And it has a lot to do with just that mental inner genius going over the edge. | ||
| Yeah. | ||
| And I see that a lot. | ||
| You have to see it a lot. | ||
| Somebody's on path and they're doing something so great and then all of a sudden it just starts twisting and going in a different direction. | ||
| But in their mind, it's still great. | ||
| I mean, how do you contend with your own writing abilities? | ||
| For me, I feel like I have this kind of black hole that everything I'm doing I'm trying to fill in. | ||
| And I know I've heard only stories of comedians who are like, well, we're all kind of like... | ||
| That we're using this comedy to put band-aids on. | ||
| And I don't know if that's a thing with you at all. | ||
| Because you have outlets like working out and fighting and you're healthy. | ||
| That keeps me sane. | ||
| It does. | ||
| It keeps me too. | ||
| It keeps my approach to comedy reasonably healthy too. | ||
| The way I describe it is I... Make my own bullshit. | ||
| I don't like to have real struggle in my life, so I make brutal workouts, and I put myself through a horrific struggle. | ||
| So the regular life, like the other struggles, is easy. | ||
| I'll tell people, come work out with me. | ||
| You want to feel like shit? | ||
| You want to feel like shit? | ||
| You want to feel like it never ends? | ||
| You want to feel like you can't do this? | ||
| Come do that. | ||
| And then once you do do it, then other things feel easier. | ||
| It's like Jocko. | ||
| Jocko, you look at his Instagram. | ||
| Every fucking morning, the aftermath, and he'll show you a puddle of sweat on the ground, some fucking sweaty kettlebells, jump ropes, dip rings, whatever the fuck it is he did that day. | ||
| Beat yourself up in that way, and then you're not mind-fucking yourself the way you do if you have all this unchecked, unbridled energy and angst, and you don't have a handle on it. | ||
| And I don't think it affects your creativity. | ||
| I think in any way, there it is, always. | ||
| Yeah, it's just... | ||
| The aftermath. | ||
| Kettlebells had a bad attitude this morning. | ||
| But to do that, in my mind, is the best way to deal with the things that we all deal with. | ||
| Everybody's got some sort of internal struggle. | ||
| Everybody's got some demons. | ||
| Dark passenger. | ||
| Yeah, there's always something. | ||
| It's very hard to keep the mind on track. | ||
| Very hard. | ||
| I woke up the other night to take a piss. | ||
| And just a normal thing. | ||
| I drank too much water before I went to bed. | ||
| I woke up at like 3 o'clock in the morning to take a piss. | ||
| I went back to bed and my fucking brain started racing. | ||
| All the time happens. | ||
| Thinking about everything. | ||
| And I never got to sleep again. | ||
| My alarm clock went off at 8 and I was like, fuck. | ||
| I sat in my fucking bed for hours and hours trying to think about my breathing and just slowly put myself into a trance. | ||
| Nope. | ||
| Never went there. | ||
| All I was doing was just thinking about this and thinking about that and my mind got away from me. | ||
| And it happens still to this day. | ||
| Most of the time it doesn't. | ||
| Like last night I was real calm about it. | ||
| I'm like, it's not going to happen again, you motherfucker. | ||
| I am going to get a full night's sleep and I'm not going to get crazy. | ||
| I talk to myself the same way. | ||
| I'm like, you son of a bitch. | ||
| Just one idea in my head that I'm thinking about. | ||
| Things that I need to do or things that I need to correct or things that I need to work on and then I'll get lost. | ||
| And I'm like, fuck! | ||
| I hate when I think about minutia, like something I said a week ago to someone and I wish I wouldn't have said that. | ||
| I wish I would have said it differently or a business deal that I felt I could have done better at. | ||
| And I start thinking of that and I'm like, that is gone. | ||
| Why are you wasting your time? | ||
| So sometimes as an artist, I try to think of a blank piece of paper and I picture a hand and a pencil just touching that paper. | ||
| Like I try to go to sleep to that, just like, Don't draw anything. | ||
| Don't do anything. | ||
| Just stare at that white paper and try to fade. | ||
| And I can't. | ||
| I mean, sometimes I feel like it works, but a lot of times it doesn't. | ||
| Or I have an angst. | ||
| I probably said something to the wife that I regret and I'm just laying there and my stomach's on fire and I'm just burning and I'm like... | ||
| But that's also because you want to be a better person. | ||
| Definitely. | ||
| I'm trying. | ||
| I think moving here for me was the best thing I could have done to get out of LA. As we said earlier, you're around so many people that are all trying to make it. | ||
| They're all trying in this... | ||
| I call it crabs in a bucket. | ||
| The minute you start to get to the top, the other fingers come up and pull the crab back down and And you're in this environment. | ||
| And it's like a wolf pack of wolves. | ||
| And when one shows weakness or is bleeding, all of them jump on that wolf and just like bark and bite. | ||
| But then you go home. | ||
| And you bring that to the table at home. | ||
| At least I did. | ||
| I do. | ||
| And it's so hard on our spouses. | ||
| And they have to deal with that. | ||
| And how strong are they to stay with us this long and to deal with that? | ||
| Well, that's where training comes in, don't you think? | ||
| Training just pushes all that out of your system. | ||
| For me. | ||
| Yes, but it doesn't push it out of the system. | ||
| You created the mess, the hornet's nest at home. | ||
| Does your wife train with you at all ever? | ||
| No. | ||
| She works out a lot, though. | ||
| She'll work out, but not on the level of a ton. | ||
| And I want to get her into jiu-jitsu because I feel like the movement, right? | ||
| Even like, you know, she'll say, I don't want sweaty people crushing me. | ||
| I go, okay, fine. | ||
| Just work with me and let's just move and get that movement down. | ||
| Right. | ||
| And just sweat. | ||
| And you'll be amazed at how much you'll just break sweat and be tired and your legs will be sore the next day from just do 50 armbar drills. | ||
| You know, just get that movement in. | ||
| And, you know, I use jujitsu every day of my life in work and just the dealings and talking. | ||
| Yeah, but jiu-jitsu also, it calms the monkey mind. | ||
| That fucking aggressive part of a man's mind where you're combative and aggressive. | ||
| Jiu-jitsu calms all that down because the kind of aggression that you get in jiu-jitsu, like really dealing with someone actually trying to strangle you, like in defending and then trying to strangle them and trying to get the tap. | ||
| That kind of aggression is so extreme in comparison to the average person's everyday life that when you get through that, I think everything else just seems much more calm. | ||
| It's the greatest feeling driving home after a hard workout and you've got the windows down and it's a little chilly outside and you've got that inner core fire going and you're exhausted. | ||
| You're depleted. | ||
| You're just like... | ||
| And you can sleep good. | ||
| Yeah, I always sleep good after training. | ||
| I always sleep good after a hard day, you know? | ||
| A difficult, long, tough day is good for you, you know? | ||
| It just, like, calms the mind down. | ||
| When I don't do anything, that's when I'm at my worst. | ||
| Like, if I take a couple days off and just lay around and fuck off, that's when my mind starts racing. | ||
| I start thinking about all kinds of shit, and just, I'm not, I have too much energy. | ||
| Do you ever feel you deserve a little day off, or is that when you go hunting and you're like, I'm on hunting now? | ||
| Well, Hunting feels like... | ||
| Because that's work. | ||
| Yeah, but it is a day off. | ||
| It's a day off of my regular life. | ||
| Like, I enjoy it, but it's hard. | ||
| Like, the kind of hunting I do, too, is mountain bow hunting. | ||
| Right. | ||
| You're walking and hiking for a long ways. | ||
| Yeah. | ||
| Carrying rucksacks. | ||
| And it's just... | ||
| It's also... | ||
| You've got to get to a spot while the wind is blowing correctly. | ||
| You've got to hustle, and then you've got to keep your shit together when you're trying to center your pin on an elk's vitals and... | ||
| It's not easy. | ||
| And it's hard to execute a shot. | ||
| It's hard. | ||
| Bow hunting is fucking difficult. | ||
| It's not easy. | ||
| Would you ever have thought you were going to be a hunter? | ||
|
unidentified
|
No! | |
| 10 years ago? | ||
| 10 years ago, yeah. | ||
| 10 years ago, I was obsessed with it, before I ever did it. | ||
| I started hunting 8 years ago. | ||
| And around 11, 12 years ago, I started really thinking about it. | ||
| I started watching Ted Nugent's Spirit of the Wild on TV. Wow, man. | ||
| And I started paying attention to websites that talked about hunting and talked about, you know, just different aspects of what it feels like to acquire your own meat in the wild. | ||
| And then I started paying attention to PETA videos, man. | ||
| That's one of the reasons that I got into it. | ||
| I had decided that I was either going to become a vegetarian or I was going to hunt because I was watching these factory farming videos and Fuck, man. | ||
| They freaked me out. | ||
| You know, watching just abusive animals and chickens stuffed into these little tiny pens and what kind of life was that? | ||
| And I was like, am I contributing to this? | ||
| Like, what kind of fucking hellish karma am I bringing on with this, you know, being a part of the system? | ||
| And so I was trying to figure it out. | ||
| I was like, well, maybe I'll just become a vegetarian or maybe I'll become a hunter. | ||
| And so the first hunting I ever did ever was on a television show. | ||
| I hunted on Steve Rinella's Meat Eater. | ||
| Oh, that's awesome. | ||
| I shot a buck, and we ate the liver over a fire. | ||
| And that night, I was like, I am going to be a hunter. | ||
| I know what I want to do. | ||
| It's so much more than that, though. | ||
| It's the camaraderie. | ||
| Oh, yeah. | ||
| The fire. | ||
| You're cooking. | ||
| You become friends with exceptional people, like jujitsu, right? | ||
| It's very similar. | ||
| A person to get good at jujitsu like yourself, a person who gets to the black belt level, you have to be an exceptional person. | ||
| It's very difficult to do. | ||
| It's hard. | ||
| It's hard to endure and to get through the struggle. | ||
| You're battling all these demons and all this shit to get to that point. | ||
| It's the same thing with hunting. | ||
| The people that get really good at hunting, especially bow hunting, those are exceptional people. | ||
| It is not easy to do. | ||
| The guys that excel at it, the guys like Cam Haynes and John Dudley and all these guys, Remy Warren, guys that I know, these are exceptional human beings. | ||
| They have... | ||
| Exceptional character, exceptional mental strength and fortitude, exceptional discipline. | ||
| They're not normal humans. | ||
| It's awesome being around that energy, too. | ||
| You feed off of it and you're like, I get it. | ||
| And also, for me, I was really fortunate to find a place like John Jock's, right? | ||
| So I'm learning from a real master, right? | ||
| It's been the same thing with bow hunting. | ||
| I was really fortunate to learn... | ||
| From guys like Cam Haynes and John Dudley. | ||
| Learning from like real masters who've been studying this craft that's also the way they acquire their food. | ||
| I mean, it's not just hunting. | ||
| It's also this insane discipline that's a lifestyle. | ||
| And then when you're eating your food, like I'm going to give you some elk today. | ||
| When you're eating this food, no, I put an arrow. | ||
| I ran an arrow through that elk. | ||
| That's how that elk is on this table. | ||
| I remember the hunt. | ||
| I remember everything about it. | ||
| I remember all of it. | ||
| That's awesome. | ||
| Yeah, it's the best way to acquire meat, in my mind. | ||
| I grew up in a hunting family, hunting household from grandparents to dads and all. | ||
| My papa used to pick me up at- Your papa? | ||
| I grew up in San Antonio, Texas, about 120 miles down the road. | ||
| I'd be in high school at John Marshall, and I'd get a call at noon, please send Todd White to the office, please. | ||
| I'm like, oh no, my papa's here. | ||
| And I would get there and he'd be like, let's go get your gun. | ||
| We're going hunting. | ||
| Because he was a cantankerous little guy and he didn't have a lot of friends. | ||
| So he could just pull you out of school and take you home? | ||
| He would yank me out of school to go hunting with him because he didn't want to go up to the hunting lease alone and he needed someone to do a lot of the work. | ||
| That's hilarious. | ||
| So, you know, if he shot something, I'm going to have to skin it and gut it and kill it. | ||
| Well, he already killed it. | ||
| But, you know, or we go bird hunting a lot. | ||
| I love quail hunting. | ||
| And we'd shoot all ton of bob whites and blues. | ||
| How many times have you cracked your teeth biting into a pellet? | ||
| You know what? | ||
| I never cracked a tooth because I was cautious. | ||
| You know, I grew up hearing like, bird's been shot, don't go chewing your food, you know, bite into it lightly. | ||
| Yeah, isn't that funny though? | ||
| And I would, you spit some out, spitting, spit them out. | ||
| That's so crazy. | ||
| And he used to get so angry at me when I would sneak up on a cubby of quail and they would fly up and they'd only be like 10 feet away and I'd be like... | ||
| and it would just disintegrate and he gets so mad he'd be like let the bird get away from you you pussy you know what are you shooting at that close for so you have to let it get away from you yeah because he would he would feel it gave the bird a chance and it felt like you had to shoot it while it was further going away and supposed to right in front of you and was it because it doesn't destroy the meat yeah you destroy it and he was like you don't destroy them you're eating what you kill yeah and we're not here just to shoot things you're here to I've only been bird hunting a couple times. | ||
| I went turkey hunting once with Rinella on the same show, Meat Eater. | ||
| I shot a turkey. | ||
| And then I went pheasant hunting with Anthony Bourdain. | ||
| That was fun. | ||
| Yeah. | ||
| And he shot one. | ||
| I shot out. | ||
| I nicked one. | ||
| Didn't quite get it. | ||
| I hit the bottom of his feather. | ||
| I sent a little bit of feather flying. | ||
| Where did you go pheasant hunting at? | ||
| Montana. | ||
|
unidentified
|
Ah. | |
| Yeah. | ||
| Outside of Billings. | ||
| That is one man I really wish I would have met. | ||
| Oh, I love that dude. | ||
| God, I wish I would have met. | ||
| I was such a fan of his show. | ||
| Yeah. | ||
| And it was so sad. | ||
| My wife came in the morning and she goes, you're going to be so sad. | ||
| And I was like, oh no, what? | ||
| I found out from Maynard, from Tool. | ||
| You know, Maynard does jiu-jitsu. | ||
|
unidentified
|
Yeah. | |
| Or Dane was obsessed with jiu-jitsu. | ||
| Did they ever roll together? | ||
| No. | ||
| So this is the thing. | ||
| Maynard sends me a text message. | ||
| I'm in Chicago. | ||
| I'm doing stand-up. | ||
| And I wake up in the morning, I got a text message from Maynard. | ||
| It says, well, I guess that Bourdain versus Maynard jujitsu match is never going to happen. | ||
| So I looked at the text, I'm like, what does that mean? | ||
| So I think of calling him, and I think I googled it. | ||
| I think I googled Anthony Bourdain. | ||
| I think that's what happened. | ||
| But all I remember is the moment I found out. | ||
| I honestly... | ||
| I know I got the inkling from him, but I don't remember what I read. | ||
| But I remember just... | ||
| Just this sinking feeling, like, fuck. | ||
| And the feeling you always have when someone you know kills himself, which is like, what could I have done? | ||
| What could I have done? | ||
| If I was there, and I felt like if I was there, that wouldn't have happened. | ||
| If I was there, I would have talked him down off the ledge. | ||
| I would have been there. | ||
| He's had a horrible relationship with this woman. | ||
| And she was a mess, and he was a mess with her, and then he had a horrible relationship with alcohol, too. | ||
| He was a junkie for a long time. | ||
| Like when we were partying in Montana when we shot the quail or shot the pheasant and we were eating, you know, we camped out, eating over the fire. | ||
| Bro, that guy got fucked up. | ||
| I mean, he got fucked up at a level like, you know, I don't get that fucked up. | ||
| Like, he kept going. | ||
| Like, he kept going. | ||
| We were stoned. | ||
| We were drunk. | ||
| He's like, what else you got? | ||
| You got more pot? | ||
| You got more booze? | ||
| Open that bottle. | ||
| I'm like, Jesus Christ. | ||
| I'm sitting here barely hanging on to this log, trying to sit in front of the fire. | ||
| And he just got blasted. | ||
| He was escaping. | ||
| Yeah, hiding. | ||
| Burying the pain. | ||
| Yeah, he was escaping something. | ||
| But he was obsessed with jiu-jitsu, man. | ||
| He really loved it. | ||
| He had a competition he did. | ||
| He entered into competition. | ||
| He was training all the time. | ||
| He developed a six-pack. | ||
| He went from being a guy with a little punch, little fat belly, to being a guy who was pretty ripped. | ||
| He was doing a lot of exercises and training basically every day. | ||
| He was training every day on the road. | ||
| Look at him there, man. | ||
| Cut the fuck up. | ||
| That was a guy who was... | ||
| I don't think he even got on a mat until he was 59 or something like that. | ||
| His ex-wife, Otavia, she's really into jiu-jitsu. | ||
| Yeah. | ||
| I think she's... | ||
| She might be a black belt now. | ||
| Wait a minute. | ||
| Is that on the right-hand corner? | ||
| Scroll back to the left side, Jamie, right there. | ||
| Is that Joe? | ||
| No, it's not. | ||
| No. | ||
| No, I never trained with him. | ||
| We did some... | ||
| When we were in Montana, I showed him some stuff. | ||
| We were just rolling around a little bit. | ||
| Not even rolling around a little bit. | ||
| He was asking me questions. | ||
| And I was like, what do you like to do? | ||
| Talking about darts chokes. | ||
| I said, do you know what a Japanese necktie is? | ||
| And he said, no. | ||
| And I showed him that. | ||
| I'm like, if you can't get the darts, you can do the Japanese necktie. | ||
| So we're demonstrating some stuff. | ||
|
unidentified
|
So we're rolling around together on the fucking dirt. | |
| That's awesome, though, right? | ||
| Because that's something you can share. | ||
| There's not a lot of people that you can... | ||
| Yeah, jiu-jitsu people are like, get on your back, get on your back. | ||
| And they'll get on top of you. | ||
|
unidentified
|
Other people are like, what the fuck are you doing, man? | |
| Yeah. | ||
| He had another guy that he worked with that was really into jiu-jitsu, too, that was a friend of his. | ||
| It was just this fucking sinking, shitty feeling where you just feel like you could have done better, but you don't know what you could have done. | ||
| And then you're probably lying to yourself. | ||
| Unless I was in France with him when it happened, I'm not going to stop it. | ||
| And it's also, I recognize from the night hanging out with him partying. | ||
| I had drank with him before. | ||
| I'd gone to dinner with him a bunch of times before. | ||
| But camping is a different animal. | ||
| Camping's awesome. | ||
| Camping, you really get down to the meat and potatoes of brohood, and you just get to hang with dudes, and y'all share intimate stories about things and passions and addictions. | ||
| Also the stars. | ||
| It's just your outside. | ||
| It's so primal. | ||
| It's the way it was. | ||
| I believe we all have... | ||
| People who are at this level, we all have addictions in one way or another, and how we guide that addiction and where it goes. | ||
| Well, what leads you to get really good at things is an obsession. | ||
| An obsession and addiction are next-door neighbors. | ||
| They're really close to each other. | ||
| They're very close. | ||
| It's all dependent upon which one is healthy and which one is negative and degrades your life. | ||
| And the addictions degrade your life and the obsessions enhance your success. | ||
| But they're real close to each other sometimes. | ||
| I've been Obsessed with things that proved to be beneficial financially and career-wise, but part of me has got to go, man, I don't know how healthy it is that I'm so obsessed with this. | ||
| Like stand-up comedy early on in my career was a little bit unhealthy. | ||
| I was so obsessed with it. | ||
| I was just so driven. | ||
| And jujitsu and martial arts, for sure when I was fighting, I was very obsessed with that. | ||
| And it led to good consequences, but... | ||
| That is so close to a gambling addiction. | ||
| It just has to be switched a little. | ||
| It's like a lot of guys when they end up fighting, they stop fighting, they wind up being coke addicts. | ||
| Well, they're going into another avenue. | ||
| But obviously there's good ones and bad ones. | ||
| You're on several good paths. | ||
| You can use it to your benefit. | ||
| But I think the same thing that leads you to be obsessed with things and get really good at that You've got to be real careful because that same sort of mental focus can also lead you to get addicted to things. | ||
| Yeah, I mean, I've never tried any drugs all the way through like the age of 32. I never got high. | ||
| I never touched weed until 32. I never got drunk until I was 32. Really? | ||
| Ever. | ||
| What happened 32? | ||
| Just fuck heroin, coke, let's party! | ||
| I've never done that. | ||
| Now I'm partying! | ||
| Now it's on. | ||
| It's all just shove it in me. | ||
| End over. | ||
| Here's my ass. | ||
| Take it off. | ||
| Woo! | ||
| No, my whole family, in one way or another, have addictive personalities. | ||
| And I knew I did. | ||
| For me, early on, it was baseball. | ||
| I was super addicted. | ||
| And then when that wasn't going to pan out, it became art. | ||
| And I'd always done art, so it was easy to shift right into it. | ||
| And I knew if I did something that would distract from my goal of art, that I would go down that path and I would start doing stuff. | ||
| And if it felt good and I loved it, I would dive into it full of holly. | ||
| That's why, thank God, at the time I found jiu-jitsu. | ||
| Because for my life, it just became jujitsu and art, jujitsu and art. | ||
| That's the case with so many people. | ||
| Jujitsu literally saves their life. | ||
| Yeah, it was, man, I was a, you know, my dad always came up, the world's out to get them. | ||
| Everybody's out to get you. | ||
| You know, they're going to stab you in the back and very untrusting with everything. | ||
| And so I kind of came with that anger and he was an angry dude and I had a lot of anger in me early on. | ||
| I'm telling you, man, getting into that school, and particularly that school, I think, because I've heard stories at other places that were run a little different, and John Jack was such a Jesus character, if you will. | ||
| He had this compassion and this patience, and he would show you stuff and talk to you, and his demeanor wasn't aggro. | ||
| He didn't think he was a UFC fighter. | ||
| He was just like, no, you want to move like this and move like that and shift your body and And, and following his, that and the patients and focusing with that, it made me a lot more calm. | ||
| Having another man choke the life out of you makes you calm, you know, like, keeps you calm under that stress, that duress, you know, like, He'll be standing over you and someone's trying to wrap you up and he's like, protect your neck, protect your neck, you know, get your back to the floor, turn into him, you know. | ||
| And so you have that slowness to look and pay attention at the same time you're defending and fighting and looking and sweats going everywhere and people are spitting on each other and you're turning into it. | ||
| And it was, I mean, I take that to this day, you know, when things get, you know, someone's in my face barking about something or, you know, you get in the art world, you get these people that are really big pants, but they would cower if you stood up. | ||
| What do you mean in the art world? | ||
| You know, you get publishers, you get gallery owners that are just going to bark at you and tell you the way it is. | ||
| You're going to do this. | ||
| Do they really? | ||
| Oh, yeah. | ||
| Oh, yeah. | ||
| Really? | ||
|
unidentified
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In the art world? | |
| Oh, I'm telling you, man. | ||
| Tell me. | ||
| I've dealt with gallery owners who are super bullies, who are like, you're going to do this, I need this now, and you're going to get it today, tomorrow. | ||
| And they talk to you like that? | ||
| All the time. | ||
| And you go... | ||
| I'm probably not going to do any of that. | ||
| And the thing is, I like to be super calm. | ||
| And it's almost like mind jujitsu, where I go, all that huffing and puffing you're doing doesn't affect me one bit. | ||
| If you want to go to sleep, I can accommodate that. | ||
| But we're not going to go down that road. | ||
| That's interesting. | ||
| I would never have bothered the art world. | ||
| It can be a dirty world. | ||
| I've had galleries that knocked me off. | ||
| My own galleries start ripping me off and producing work of mine out the back door and signing my name. | ||
| Like making prints of your shit? | ||
|
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That's right. | |
| That's right. | ||
|
unidentified
|
Wow. | |
| And fake signing your name? | ||
|
unidentified
|
Yep. | |
| Yep. | ||
| Caught them. | ||
| Caught them. | ||
| And then they said, oh, no, we got that from China and we're suing you. | ||
| And they come after me. | ||
| They got it from China? | ||
| Yeah, they would make up shit. | ||
| It was all made up, right? | ||
| We caught them. | ||
| Where was this gallery? | ||
| It was in Huntington Beach. | ||
| Really? | ||
| And we caught them and we shut it down hard and then they flipped the script. | ||
| And that's when it was interesting because we were getting calls from a lot of media and press and they were asking me like, oh, you've been referred to as you and your band of thugs went down and took all your art, right? | ||
| So what I did is I flipped it. | ||
| I said, I like that title. | ||
| I'm going to do a painting called Band of Thugs. | ||
| And I did this, like, old mobster 30s painting of all these dudes and thugs, a band of thugs, and I'm gonna make money off that. | ||
| And, you know, it was... | ||
| So did you have to go down there and get your art for that? | ||
|
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Oh, yeah! | |
| I went and took everything. | ||
| I got my art back. | ||
| I'm taking all of it out of here. | ||
| You're no longer a Todd White gallery. | ||
| You're done. | ||
| And soon withered and died after that. | ||
| It drug out illegal problems and legal cases. | ||
| How long did it last? | ||
| About a year and a half. | ||
| Is that the band of thugs? | ||
| There it is! | ||
| Look at that! | ||
|
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That's it! | |
| Look at the guy missing an eye. | ||
| Oh, wow. | ||
| Just a band of thugs, right? | ||
| You want a band of thugs? | ||
| There it is. | ||
| That's great. | ||
| That's like some... | ||
| What's that fucking guy? | ||
| The Butcher? | ||
| Oh yeah, Bill the Butcher? | ||
| Bill the Butcher from Gangs of New York. | ||
| Gangs of New York. | ||
| Gangs of New York. | ||
| Go to that picture again. | ||
| Bill the Butcher. | ||
| I mean, that is kind of how they're painted like old-timey bad people. | ||
| Yeah. | ||
| Yeah, it was funny because this Vanity Fair did an article on it and... | ||
| And they totally... | ||
| It's funny because... | ||
| Vanity Fair did an article on what? | ||
| The whole scam and the whole bullshit. | ||
| Yeah, because it made a lot of... | ||
| You know, she sold a couple hundred thousand dollars in fake art out there. | ||
| She sold it across international... | ||
| As a woman? | ||
| Yeah, as a woman. | ||
| And international lines and... | ||
| So she ripped you off to the tune of a couple hundred thousand bucks? | ||
| Oh yeah. | ||
| Wow. | ||
| And it was funny because when it all came out and it was all court cases and stuff, I had galleries calling me because I got scared like, oh no. | ||
| I had galleries calling me and they're like, hey, we want to carry you. | ||
| This is 2012. Hey, we want to carry you. | ||
| And I thought, what's this weird? | ||
| Like all this bad stuff's happening, but why? | ||
| So the guy calls me back, an art publisher calls me and he goes, Let me get this right. | ||
| But, you know, look, truth prevailed, and it worked out, and they're gone, and I'm still thriving. | ||
| It is a bummer, though, that you'd have to think like that. | ||
| You would imagine that... | ||
| See, this is where I'm fucked up, because obviously I don't have any experience in the professional world of art, but... | ||
| You're thinking that you're dealing with other artists and the people that aren't profit-minded. | ||
| When I think of artists, I think of creative people that just want to make cool shit and do things. | ||
| That's awesome to think. | ||
| That's the problem with marrying your mistress, right? | ||
| That's the problem with making a business out of something that you really find just to be a passion. | ||
| It's tough, you know, especially... | ||
| You have to get in there. | ||
| Yeah. | ||
|
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|
Yeah. | |
| Get in there and wallow in that mire. | ||
|
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|
Ugh. | |
| And sometimes there's some ugly sides to it. | ||
| Did you get eye-to-eye with this lady after she had sold your shit? | ||
| You know, she ratted herself out accidentally. | ||
| She was a drunk. | ||
| And she appeared and needed me to sign an image that sometimes, once in a blue moon, when you're that close to me in L.A., They come up and grab stuff and something got signed by me. | ||
| So she gives me the signature. | ||
| She gives me this image. | ||
| She's like, here, I need you to sign this. | ||
| And I look at it. | ||
| Instantly, I know. | ||
| I'm like, this ain't mine. | ||
| This is a bad copy. | ||
| You know how Xerox of a Xerox of a Xerox looks tattered and old? | ||
| It was all out of focus. | ||
| It was shorter. | ||
| It was shorter. | ||
| And I'm like, I look at her. | ||
| I go, where'd you get this? | ||
| And I saw right there in her face. | ||
| I'm like, she's like, From you! | ||
| And I was like, I'm going to take this. | ||
| Now we produce our own everything. | ||
| I produce everything. | ||
| So I know the canvas I use. | ||
| I know the inks I use. | ||
| I know the color. | ||
| I know the embellishing gel I use. | ||
| So I took it. | ||
| I go, I'm going to keep this. | ||
| And she's like, okay. | ||
| And she left. | ||
| And I call my wife and I go, I think she's ripping us off. | ||
| And my wife's like, no, no, she wouldn't do that. | ||
| And I go, I think she is. | ||
| So I get home and we tear it apart. | ||
| We break open the canvas. | ||
| We look at it. | ||
| We dissect this thing. | ||
| And sure enough, it was total, total knockoff, total nothing of ours. | ||
| And so we called that gallery and there was the kid working there. | ||
| And we're like, hey, we made a mistake. | ||
| We need some information on some stuff. | ||
| Like, oh yeah, I have all the files here, here. | ||
| I'll send them over. | ||
| And he sends over this stuff, and these numbers don't add up. | ||
| Because, like I said, it's limited numbers, right? | ||
| Like money, they have a number on them. | ||
| So these numbers aren't at all what they had. | ||
| So they're making up numbers. | ||
| So we catch that. | ||
| Then we just start building a case, and I got the LAPD involved. | ||
| How crazy is this? | ||
| Through John Jock's school, there was a woman who dealt an art fraud department for the Los Angeles Police Department, right? | ||
| There's an art fraud department? | ||
| Who knew? | ||
| They don't have a looting department. | ||
| Who knew? | ||
| They have an art fraud department? | ||
| They did, until that woman got yanked in for murdering the fiancé of another man's woman so she could marry that dude. | ||
|
unidentified
|
Oh! | |
| That was a big news, big deal. | ||
| Right in the middle of handling my shit. | ||
| So you can imagine that went to nothing, like that disappeared. | ||
|
unidentified
|
Whoa. | |
| Yeah. | ||
| She murdered a woman so she could marry the dude? | ||
| That's right. | ||
| Jesus, that's a vicious bitch. | ||
| 15 years later, they caught her. | ||
| Oh my god, she got away with it? | ||
| DNA evidence. | ||
| Bite mark. | ||
| Bite mark? | ||
| Wait a minute, that's interesting because I had some guys on from the Innocence Project. | ||
| I know. | ||
| Josh Dubin and Jason Fong. | ||
| And Josh Dubin says that bite mark shit is all nonsense. | ||
| He says that that is all junk science. | ||
| He says there is no way you can tell from a person biting someone that it's absolutely them. | ||
| They might have got the wrong person. | ||
| Legitimately. | ||
| He said that it's a total junk science. | ||
| And he explained it in detail on the show. | ||
| And he has his own podcast. | ||
| His podcast is called Junk Science. | ||
| What is Josh's junk science and... | ||
| I forget the full title of it, but he's dealt with bite marks, with people that think that they can tell where a fire started. | ||
| He's like a giant percentage of that is horseshit. | ||
| They bring in these experts. | ||
| The experts convince the jury and the prosecuting attorneys that they can do this, and they can't. | ||
| Wrongful conviction, junk science, bite mark evidence. | ||
| This is Josh... | ||
| Dude, that lady might have got railroaded. | ||
| There might be an innocent lady in jail right now going... | ||
| I just wanted to catch art thieves! | ||
| I don't know. | ||
| I don't know how that panned out, but it didn't bode well. | ||
| The way he says it, man, it's not real. | ||
| He says it's not real. | ||
| That's crazy. | ||
| Yeah. | ||
| He says they can't. | ||
| This is a retired L.A. detective sentenced to 27 years to life for 1986 murder. | ||
| Wow, 15 years later. | ||
| Look at her though. | ||
| She's guilty. | ||
| I don't know. | ||
| I'm just kidding. | ||
| I never saw her. | ||
| I never saw her. | ||
| It was a phone conversation. | ||
|
unidentified
|
Wow. | |
| That's nuts. | ||
| Did she confess? | ||
| I guess so. | ||
| I guess so. | ||
| Because her husband, she was married to a cop. | ||
| And so her husband trained. | ||
| Oh my god. | ||
| So the guy she married, she killed his ex. | ||
| Oh my god. | ||
| Girlfriend. | ||
| Girlfriend. | ||
| Yeah. | ||
| How'd she kill him? | ||
| I have no idea. | ||
| Kill her, brother. | ||
| I have no idea. | ||
| I didn't pry too deep. | ||
| That is dark shit. | ||
| Sometimes the people we know, you don't ask too many questions. | ||
|
unidentified
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I know. | |
| You're like, oh, it happened. | ||
| Okay. | ||
| I believe you. | ||
| Yeah. | ||
| And it goes down that path. | ||
| That's the problem with jiu-jitsu. | ||
| There's a lot of people that are fucking basically assassins. | ||
| They're training with you. | ||
| Well, none of that. | ||
| You get a ton of special forces. | ||
| We're here in Dripping Springs and we have six retired Navy SEALs that train with us. | ||
| There's a lot of them out here. | ||
| They love the food and the music and the scene. | ||
| Yeah, just Texas in general. | ||
| And the gun laws are great for now. | ||
| Yeah. | ||
| You got your kind of carry yet? | ||
| I actually just went through the whole course this past weekend. | ||
| Yeah. | ||
| Good for you. | ||
| Good. | ||
| I was carrying mine. | ||
| Yeah. | ||
| That's good. | ||
| It's a different world out here. | ||
| It's a great world. | ||
| Yeah. | ||
| Let's keep it great. | ||
| Yes. | ||
| Yeah. | ||
| Well, that's the worry about people moving here, right? | ||
| You know how many people are like, fucking Joe Rogan moved here. | ||
| Now every goddamn fucking whiny... | ||
| I hear it a lot. | ||
|
unidentified
|
I hear it a lot. | |
| What are they saying? | ||
| They're like, well, first of all, you have such a cachet that there are land developers that are buying up chunks of properties all based off Joe Rogan move there. | ||
| Oh, Jesus. | ||
| That comes from the mouth of the land developer. | ||
| Really? | ||
| Yeah, because they're clients of mine and they'll tell me like, oh yeah, he's there. | ||
| He knows that we're buying up properties like crazy. | ||
| Because I moved here. | ||
| Because you moved here. | ||
| Because you are the... | ||
| You brought Egan... | ||
| Not Egan, Sheila. | ||
| Hilarious. | ||
| You brought Elon Musk. | ||
| Elon was thinking about moving here already. | ||
| Because he was already starting up the Tesla factory. | ||
| Yeah, factory. | ||
| Yeah. | ||
| But I'm bringing in a lot of fucking comedians, I'll tell you that. | ||
| They're coming in. | ||
| You better get their mind right. | ||
| Well, we'll get their mind right. | ||
| I'm bringing them to the range. | ||
| Good. | ||
| Good. | ||
| The idea is to turn Austin into a comedy hub. | ||
| Because right now, comedy's fucked. | ||
| What happened? | ||
| I didn't. | ||
| Bite mark thing. | ||
| I want to dig through it real quick before we get too far. | ||
| It's saliva they had left on it. | ||
| It tested to find out it was a woman, not two men. | ||
| They thought she had staged a fake burglary. | ||
| She staged a fake burglary? | ||
| Dude, you know, if this whole thing ever collapsed, you could definitely go work for like... | ||
| Science research centers for detectives. | ||
| He's the greatest Googler on earth. | ||
| Oh my god, dude. | ||
| That's way more definitive. | ||
| She's guilty as fuck. | ||
| She just went from could be innocent to guilty as fuck goodbye. | ||
| That bite mark shit, I used to think it was legit. | ||
| Like, oh, you could tell by the pattern of the teeth. | ||
| And Josh was like, no fucking way. | ||
| You can't tell at all. | ||
| He's like, it's bullshit. | ||
| He goes, you could make a mark with a chisel and it looks like teeth patterns. | ||
| Don't they find sharks who bite surfboards? | ||
| Yeah, but that's a shark. | ||
| You know a bite, but you don't know the person who bit you. | ||
| He was saying that they've had things with people missing teeth, and they said it had to be him because he's missing teeth. | ||
| Yeah, there's a spot here. | ||
| No, no. | ||
| You can't reproduce this. | ||
| You could make these marks with all kinds of different things. | ||
| He goes, it doesn't necessarily even have to be a bite. | ||
| And if it is a bite, you could definitely do it with a bunch of different mouths and have the exact same marking given the same, you know, different circumstances. | ||
| They got her in a pretty interesting way, too, because she was already in LAPD. She was already there. | ||
| So they had to, like, fake a different interview that they needed her special expertise on. | ||
| Staged a one-hour interrogation where they were then, like, saying, oh, by the way, this is the evidence on you. | ||
| And she was like, am I on candid camera? | ||
| What's going on? | ||
| This is crazy. | ||
| And then try to leave. | ||
|
unidentified
|
And they're like, click, click. | |
| So the other side of that, they got her in that room because you have to take all your weapons out and leave your weapons. | ||
| So she didn't have a gun on her. | ||
| Wow. | ||
| Yeah, I heard that too. | ||
| That's heavy. | ||
| The tangled webs we weave. | ||
| I wonder what the questions were. | ||
| Who knows? | ||
| So, if someone bit someone, let's just get crazy. | ||
| Let's just get crazy. | ||
| Let's get crazy. | ||
| Say you're fucking this guy, and he had a fiancé, and you thought that he was going to stay with the fiancé. | ||
| Bro, some people are... | ||
| And you know what? | ||
| They probably would never kill normally. | ||
| Like, there are people that would never kill normally and maybe never kill again. | ||
| But you just get them to that fucking edge. | ||
|
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|
Love. | |
| Just get... | ||
| A lot of times it's love. | ||
|
unidentified
|
Love. | |
| Might not even... | ||
| Might not even really be love. | ||
| It might be desire and lust and possession and ego. | ||
| And some women just... | ||
| They get mad at other women, man. | ||
| There's a different kind of anger. | ||
| You know, women anger at other women is a fierce anger, man. | ||
| You want to do something fun next time you're out with whatever your wife at a restaurant or bar or whatever and you have a bar nearby. | ||
| I do this for a living. | ||
| I watch people. | ||
| I watch groups. | ||
| I watch them interact, okay? | ||
| And you watch groups of girls interact, whether they're young or older, there is a difference. | ||
| And older ones, they'll do a lot of still moving, hand gesturing, fidgeting, back and forth talking, a lot of facial expressions with girls. | ||
| Young girls will get into movement. | ||
| Young girls will move their bodies around. | ||
| They'll say stuff and they'll laugh and they'll act out things, right? | ||
| But you watch dudes, just a group of dudes talking, for the most part, not drunk talking, just at bars talking. | ||
| They got their drink by their chest. | ||
| They lean. | ||
| They lean in. | ||
| They make a face like, no way. | ||
| What? | ||
| That's the dudes talking. | ||
| So I take all that because I stare. | ||
| I watch people. | ||
| Everything I do, I stare. | ||
| And I can uncomfortably stare. | ||
| I've had dudes approach me in restaurants and they're like, hey, bro, is there something you need to say? | ||
| And I'm like, I'm sorry, dude. | ||
| I was just watching. | ||
| I'm an artist. | ||
| I'm just watching, dude. | ||
| I'm sorry. | ||
| Here's some of my work. | ||
|
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|
You're checking my wife out, dude? | |
| You've been looking at us uncomfortably. | ||
| I'm like, uh... | ||
| So now I try to have my wife with me. | ||
| I'm like, no, no, no. | ||
| Just looking. | ||
| Just looking. | ||
| But I look at the way clothes hang on people. | ||
| I look at the way dudes wear pants. | ||
| I look at the way women have dresses. | ||
| I look at the shoes they're wearing. | ||
| I'm soaking it in, right? | ||
| That's my reference. | ||
| I'm pulling reference on everybody. | ||
| And you use that for your art? | ||
| Oh, all the time. | ||
| That's all I refer to. | ||
| The one small thing I miss about not being in LA is I miss some of the artists that I was around and the conversations you can have. | ||
| Probably the same reason you're creating more of a hub here and bringing comedians here because you miss that camaraderie of that feedback. | ||
| Right? | ||
| Well, it's also, we need a place to work. | ||
| You know, comics need a bunch of other comics around just like... | ||
| To bounce off? | ||
| Well, yeah. | ||
| It's almost like, you know, you can't train with all white belts. | ||
| Right. | ||
| You won't advance. | ||
| Right. | ||
| That's a great analogy. | ||
| Same thing with... | ||
| With comedy, you need to be around other killers. | ||
| You need to feel the vibe. | ||
| You need to see their timing. | ||
| You need to feel what it feels like to laugh at somebody else's stuff and be like, ah, it's inspiring. | ||
| It energizes you. | ||
| It energizes you. | ||
| You go, okay, I love that. | ||
| I'm going to take that now. | ||
| I got to reach that level, too. | ||
| It was the best thing about the Comedy Store. | ||
| It's that we were surrounded by other killers. | ||
| It's like you would go there on any given night, there would be 10 elite comedians there. | ||
| And you'd get to see their writing, you'd get to see their performing, and you'd go, wow, it's very, very inspiring. | ||
| Comedy doesn't exist in a vacuum. | ||
| We really feed off of each other. | ||
| We help each other a lot. | ||
| Same thing in the art world. | ||
| There's artists, you hang around, my boy Rick, we share ideas, we talk, and it gets you motivated and energized. | ||
| He's in a totally different genre of jewelry, sculpting, and rings, and I'm like in painting, and we have the same mindset, the same thinking, the same ideas, and it's great to just mill those through and talk them through, and sometimes he'll call you on shit and be like, oh, that's a horrible idea, but I thought it was so great! | ||
| I think that's the case with people, period. | ||
| And I bet it's in all walks of life, is that you feed off of other excellent people around you. | ||
| The more excellent people around you that are doing things and working hard towards things, the more you feel good about it. | ||
| Like, when I go to Jocko's Instagram, right, and I just see his workouts, or I go to David Goggins or Cam Haynes, I get fucking excited. | ||
| I get fired up. | ||
| I want... | ||
| I get, like, that extra gear kicks in. | ||
| I'm like, time to go to work. | ||
| Like, I feel that. | ||
| Like, people are fuel. | ||
| You know, they're fuel for you. | ||
| And they're not just fuel. | ||
| They're also, like... | ||
| They add layers to your understanding. | ||
| They're an education. | ||
| You know, you get an education from other people's creativity. | ||
| Absolutely. | ||
| Absolutely. | ||
| You can grow from them and learn from them. | ||
| Yeah. | ||
| And... | ||
| The same on my end is around people, you know. | ||
| Luckily, you know, around a good wife and a good life and surround yourself. | ||
| That God, man, that's everything. | ||
| If you don't have a good person in your life, you know, Jesus Christ, I have friends that have terrible girlfriends. | ||
| And it's like you just, you look, like you're always at war. | ||
| You're always in battle. | ||
| Like a certain percentage of your mind is... | ||
| He's always dealing with the conflict of your relationship all the time. | ||
| Whether you have a girl who's always questioning you or bitter or starting fights or needs too much attention or shits on your work or whatever the fuck it is, man. | ||
| I have friends that I see this conflict, and sometimes you see them, they escape, and then it's like a weight is lifted off their shoulder. | ||
| They're like a different person. | ||
| They're like, dude, now it's you. | ||
| You're back to being you again. | ||
| You were trapped, and now you're free. | ||
| And usually they find someone real similar to that girl and fall right back into the trap. | ||
| I'm totally lucky on that end. | ||
| In fact, if anything, I'm the devil in that relationship where I need to work on myself. | ||
| And get myself better, my attitude better, my mind right. | ||
| And, you know, come to grips with my own fears and insecurities and stuff. | ||
| And she's just been a rocket next to me. | ||
| That's awesome, man. | ||
| I can say the same about my wife. | ||
| I would not be who I am. | ||
| She's my favorite person to talk to, too. | ||
| It's easy to talk to someone who knows you that well. | ||
| And just... | ||
| There's no conflict like that. | ||
| It works seamlessly. | ||
| It works. | ||
| You always have to work at it, but it works. | ||
| And if you don't have that kind of relationship in your life, it's very difficult to get things done. | ||
| It's hard to get things done if you have a conflict-filled relationship. | ||
| If you have five good days and five bad days, which is a lot of people, it's balanced out. | ||
| You need nine good days. | ||
| Or 20 good days and one bad day. | ||
| You don't need five and five. | ||
| Those five and five relationships are too much fucking work. | ||
| They rob you of your resources. | ||
| Yeah. | ||
| It's extremely tough because we work together and we're dealing with five kids together and then we're doing the business together and then we're doing the jiu-jitsu school together and everything's tied in. | ||
| And you're through the pandemic now. | ||
| Yeah. | ||
| And that's, you know, I heard a lot of the divorce went through the roof and the pandemic. | ||
| Yeah. | ||
| If any, it's brought us closer. | ||
| It's one or the other. | ||
| It is, because it made me reevaluate myself. | ||
| I had to look in the mirror for a long time and be like, there's a lot of things you're doing that aren't beneficial here, especially relationship-wise. | ||
| I really focus heavily on the kids, and we want them to have the best opportunities to do whatever they achieve for. | ||
| I would fight with certain things, and it was just in my own head and my own problem. | ||
| And it was good to talk to people and get things out and try to wrangle. | ||
| Well, I always feel like anytime someone's really ambitious or someone's really working hard at something, it's like you have an engine, right? | ||
| And the bigger the engine, the more horsepower you have, but also the more difficult it is to keep the traction, right? | ||
| It's more difficult to keep the tires on the road because you've got this fucking... | ||
| And the car's going sideways. | ||
| But if you can get that motherfucker to straighten out, it can go fast. | ||
| You can go further. | ||
| You can get more shit done. | ||
| But it's sometimes hard to handle. | ||
| Just like a muscle car. | ||
| It's hard to handle. | ||
| And I think of my brain often like an engine. | ||
| Like, I gotta keep that fucker tuned. | ||
| I gotta keep it tuned, and I gotta keep the traction control on. | ||
| I gotta keep those fucking tires on the road. | ||
| Because if I just let it go wild, like... | ||
| If I don't exercise it, if I don't, you know, fucking keep everything in balance, it could go bad. | ||
| And it's not for everybody. | ||
| Like, there's a lot of people that I think, like... | ||
| I look at the way they live their life. | ||
| I'm like, thank God you don't have my brain. | ||
| Because if you had my brain, you'd be fucking crazy. | ||
| You'd never be able to handle it. | ||
| You'd be off to the races every day. | ||
| You'd be out of your mind. | ||
| Oh, yeah. | ||
| Especially your lifestyle. | ||
| Yes. | ||
| I've used that analogy a million times where I'm the motor, but she's the driver. | ||
| And it's like together we have to make that not break loose on the ground and just drive straight. | ||
| You got a pit boss. | ||
| Yeah, I got a pit boss. | ||
| She's the pit boss for sure. | ||
| Changing the wheels out and keeping the family in order. | ||
| Yes, keeping those fucking tires on the road is hard for a lot of folks with a lot of horsepower. | ||
| You know, there's a lot of people that I know that are really talented, but they wind up ultimately being very self-destructive. | ||
| And I think that is, a lot of times that's what happens when talent and ambition don't have discipline. | ||
| So you have talent, you have ambition, but you have these demons that you give into those demons instead of having a real strict regimen of discipline that you adhere to. | ||
| I've been very lucky that I don't deal with the galleries and I won't talk to them because she knows me very well and she's the filter and she's the buffer and she's that wall that stops me from dealing with them and she turns and deals with them on a much kinder hand but she deals with my brunt of my dickiness and me pitching little bitch tantrums and being like, what do you mean that doesn't look like her? | ||
| It fucking looks exactly like her. | ||
| Does she not know what she fucking looks like? | ||
| And she's like, yes, I know. | ||
| But... | ||
| She really wants to look sexier. | ||
| And I go, okay, fine. | ||
| And then I'll calm down. | ||
| She'll calm me down and go, listen, just give it one more shot. | ||
| Come on. | ||
| One more pass. | ||
| One more pass. | ||
| And I go, okay. | ||
| She just calms the savage beast. | ||
| Is that the only time that you've ever had to deal with a fucked up gallery? | ||
| Is that one lady who was stealing from you? | ||
| Yeah, I mean, you're always suspect, right? | ||
| You listen to this. | ||
| Is that because you've gone through that? | ||
| So... | ||
| Every gallery is struggling and fighting. | ||
| And not just in this COVID time. | ||
| This is worse. | ||
| But they're always pining for like, what's the niche that they have that the other guy doesn't have? | ||
| Some of the high end, like my New Orleans gallery when I was in there, they would say, we need something that no one else has to say. | ||
| So when I did a show there, in my early days, kids would come into the shows. | ||
| And they would know me from my past life, which was Spongebob. | ||
| And they'd say, hey, will you do me a Spongebob? | ||
| And I'd be like, Absolutely. | ||
| If a kid's there, I'll draw him up a little sponge up in his book or on a piece of paper. | ||
| I'll use Sharpie and I'll give it to him. | ||
| Sign it, TW. To Billy. | ||
| Love, TW. Well, years later, we get a client that was in LA at the time, and they said, hey, my son broke. | ||
| We framed up the SpongeBob you did for him, and he broke it. | ||
| Can you reframe it for us? | ||
| And I have a frame shop. | ||
| And I'm like, yeah, bring it on in, and we'll fix it up. | ||
| And they brought it in, and the minute I saw it, I go, oh, that's not my writing up top. | ||
| That's my drawing, and that's my signature. | ||
| And I look at it. | ||
| Now, I came from the world of using Xerox. | ||
| So they were Xeroxed. | ||
| They taped off some kid's name and they Xeroxed a bunch of Spongebobs. | ||
| And they would say to the client, hey, if you buy this, I can get you a Spongebob from him for your kid. | ||
| Now, we all do. | ||
| We all want to do for our kids. | ||
| We all want to be the superstar. | ||
| So they would sell it and then they would write, what's your kid's name? | ||
| Oh, Joshua. | ||
| Here you go, Joshua. | ||
| Blah, blah, blah. | ||
| And so I got it. | ||
| And the top name was written in a marker. | ||
| But the image and the signature was a Xerox. | ||
| And the Xerox has that shine to it. | ||
| And it's flat and even. | ||
| And it's dead level. | ||
| And I'm like, oh, those motherfuckers. | ||
| Now, are they really... | ||
| Are they really scamming? | ||
| They're giving it away. | ||
| They're not selling it. | ||
| It's a... | ||
| So it's this weird line, right? | ||
| It's their angle. | ||
| They're pining for something. | ||
| So I basically called them up on it and said, don't do that. | ||
| You know, I'm not making a big stink about this. | ||
| Just don't do that because that's not 100% genuine. | ||
| They're like, well, you are the guy. | ||
| And I go, I know, I know. | ||
| It's all legit, but it's not legit, you know? | ||
| Yeah. | ||
| So that was a tough part. | ||
| Well, you are the guy. | ||
| What does that mean? | ||
| Well, you're the guy that did SpongeBob, so it's not like we're saying, you know, here's this character that you didn't have anything to do with. | ||
| Right. | ||
| But you didn't write it. | ||
| Right. | ||
| And I didn't write it. | ||
| I didn't draw that for that person's name. | ||
| And so they were just Xeroxing it and then signing them off and pushing them out there. | ||
| But again, that's just a small example of like the hustle, you know? | ||
| Nowadays, nowadays, it's almost impossible to do scammy shit because you have. | ||
| The internet. | ||
| You have such access to everyone, right? | ||
| Like, you can imagine if someone did something and sent you an email or to someone in your crew and was like, hey, this is happening. | ||
| Is this you or you? | ||
| And you're like, nope, within an hour. | ||
| Nope, not me. | ||
| Oh, I've seen that before. | ||
| I've seen signed photos that are not my signature. | ||
| Yeah. | ||
| And I'm like, that's not my signature. | ||
| Yeah. | ||
| Yeah. | ||
| And in our day and age of the internet, instant access, it's funny too because a lot of the older people don't understand how easy the access is, how super easy it is to find out if something's fake or real. | ||
| My dad, he'll try to tell me stuff. | ||
| And I'm like, Dad, that's not true. | ||
| And he's like, oh, it is. | ||
| My friend at the bar told me. | ||
| And I'm like, here it is, Dad. | ||
| While we're on the phone, here it is. | ||
| That's Jamie. | ||
|
unidentified
|
Yeah, that's Jamie. | |
| That's Jamie. | ||
| You're never going to get some bullshit through, you know? | ||
| Yeah, well, the old days, man, people could lie about anything. | ||
| You had all those people with the fake warriors, fake saying they were seals. | ||
| Oh, yeah. | ||
| Stolen valor. | ||
| Stolen valor. | ||
|
unidentified
|
Oh, my God. | |
| When they catch guys on video at the airport, it's the most embarrassing thing when guys are flying and another soldier runs into them and they look at their suit and they look at them and they just smell something wrong and they start asking questions. | ||
| Where are you from? | ||
| Where did you deploy? | ||
| What unit? | ||
| Yeah, and those numbers don't add up. | ||
|
unidentified
|
You didn't even do enough homework to look at some fake units. | |
| It's just so sad. | ||
| It's such a sad thing. | ||
| It's like fake black belts. | ||
| There's a lot of those, too. | ||
| That's one of the saddest things when you see a guy get called out on being a fake black belt. | ||
| I never encountered any of that. | ||
| Don't you remember Eddie found that guy, caught that dude who turned out to be a murderer? | ||
| Oh! | ||
| You don't remember that story? | ||
| I don't. | ||
| I'm out of that loop. | ||
| His name, he had a different name, but he came up with a name. | ||
| His name was Raphael Torrey, and he wrote for Abu Dhabi Combat Club. | ||
| Remember the website? | ||
| Yeah. | ||
| Well, Eddie knew him, and he was a black belt, but he said he was a black belt in Japanese jiu-jitsu. | ||
| It was like one of them weird things and so Eddie rolled with him one day and Eddie was like I remember him telling me like it's really confusing he's like dude he didn't know anything it's so strange and I go really and I go so do you think he's a black belt he goes I just can't believe he's a black belt it doesn't make any sense and so he was starting to question whether or not this guy was legit or not it was very strange so Time goes on, | ||
| and the guy says that he's going off to go compete in this tournament in Thailand. | ||
| So he goes and competes in this tournament in Thailand, and he tells Eddie, he goes, hey, I got this guy on a twister. | ||
| And then we're like, okay. | ||
| We start thinking, because if you don't know, for folks who don't know, a twister is a complicated submission. | ||
| It's difficult to set up, and it's hard to get someone in, unless they just know nothing. | ||
| It's hard. | ||
| And you've got to drill it over and over and over again. | ||
| And generally speaking, it's hard to get in training. | ||
| But to get it in a competition, in an MMA fight, wow, really hard. | ||
| And especially if the guy's shown no real... | ||
| There's a lot of finer points to the twister. | ||
| There's finer points to the setup. | ||
| There's finer points to the closing of it. | ||
| So Eddie's like, this guy's full of shit, man. | ||
| This guy's full of shit. | ||
| I'm not believing this. | ||
| I'm not believing this at all. | ||
| So, time goes on. | ||
| Eddie winds up calling him out, right? | ||
| He has a conversation with him on the phone. | ||
| I'm in the car. | ||
| We're driving. | ||
| And Eddie's on the phone with him. | ||
| And he's saying, he goes, listen, man. | ||
| He goes, you're not a fucking black belt. | ||
| He goes, I know you're not a fucking black belt. | ||
| And he goes, I don't want to hear any of your bullshit. | ||
| And he goes, you're a fucking liar. | ||
| You're not a black... | ||
| I know you're not a black belt. | ||
| And it's like this really intense conversation. | ||
| Long story short... | ||
| This guy winds up murdering this woman's husband. | ||
| He's banging this girl. | ||
| He winds up murdering her husband and then driving around in her car. | ||
| Okay? | ||
| It all gets crazier. | ||
| It gets crazier. | ||
| One of his students, who was also one of Eddie's students, and I am sort of like casual friends with this guy, he tells us that this guy... | ||
| Asked him to kill the guy and even brought him a gun to kill the guy and offered him money. | ||
| And then he winds up killing the guy on his own. | ||
| Like this is some crazy shit. | ||
| So he tells this to us on the phone. | ||
| Then I get a phone call from the cops who were listening in on the phone call when he tells us that this guy had offered him money to kill the girl's husband. | ||
| I'm like, this is fucking bananas. | ||
| So then the cops are on the phone with me. | ||
| I'm in the green room of Fear Factor. | ||
| I'm in my trailer, actually, getting ready to go out for Fear Factor. | ||
| And I get this phone call from the cops. | ||
| And they said, well, we want to talk to you about this conversation you were having. | ||
| And I just laid it out to them. | ||
| I go, well, this is what I know. | ||
| First of all, I don't know if the guy had really killed anybody because the guy's a liar. | ||
| And so I explained the whole thing. | ||
| I'm like, the guy made up a bunch of shit. | ||
| Here's another thing the guy made up. | ||
| He had a friend, this is hilarious, had a friend take him to the woods. | ||
| And he had a bag, a big duffel bag, like a big-ass bag, a four-foot-long duffel bag, filled with stuff. | ||
| And he says, I'm going to compete in a Kumite tournament. | ||
| It's a no-rules, no-holds-barred Kumite tournament. | ||
| I'll be back tomorrow. | ||
| So the guy drops him off, and then he says, come meet me at this spot again tomorrow, or whatever time. | ||
| So they set a time. | ||
| So at the time, the next day, now he doesn't have the bag anymore, but he has a trophy that's the same size as the bag. | ||
| Bro, it's so dumb. | ||
| It's so dumb. | ||
| So he says he went into the woods and won this fucking Kumite tournament, comes out with this trophy, and was telling this guy that he's like this fucking... | ||
| So the guy's just a full-on pathological liar. | ||
| Lied about being a black belt, lied about having this fight in Thailand. | ||
| Did he actually kill someone? | ||
| But actually killed somebody. | ||
| Yeah, he actually did kill this guy, and now he's in jail for it. | ||
| Yeah, he's in jail for it right now. | ||
| He choked this guy to death. | ||
| I don't know if he choked him with a thing or with his arms. | ||
| I don't know what he did. | ||
| But wound up killing this guy. | ||
| So I'm explaining to these cops. | ||
| I go, I don't know what he actually did because the guy's a liar. | ||
| He's so dumb, he might have said he killed the guy when he didn't. | ||
| Or using it as a... | ||
| But it turned out he actually did it. | ||
| Full on liar. | ||
| So I just tell him, I tell the cop the whole story. | ||
| I go, this is what I know. | ||
| And they were listening on the call. | ||
| They were listening. | ||
| They were listening on the conversation. | ||
| You remember our boy Lou Salceda, Lou the cop? | ||
| Yes. | ||
| So he used to tell us, he used to tell me, we would turn on people, the gang members, we would turn on their cell phones and listen to their conversations. | ||
| We'd listen to everything they were doing. | ||
| While their phone's just sitting around. | ||
| In their pocket, whatever. | ||
| He goes, yeah, we turn them on and listen. | ||
| And a couple of, you know, we're building out a new jiu-jitsu school over in Dripping Springs. | ||
| And I got a couple of exiles that are helping me. | ||
| And I'm giddy. | ||
| I want to ask questions, you know, because I'm curious. | ||
| I'm not a fucking elite warrior. | ||
| I've never run through Afghanistan with machine guns. | ||
| And I'm like, hey, what was it like, dude? | ||
| Did you ever smoke some people? | ||
| And they're like, don't know what you're talking about. | ||
| And they'll just hold their phone up and wave it like this. | ||
| They'll go, look at me and shake their head no. | ||
| Like, I'm not saying a thing. | ||
| And I'm like, do you have Siri? | ||
| Do you have Siri? | ||
| In your house? | ||
| Yeah. | ||
| The little cube? | ||
| Apple? | ||
|
unidentified
|
Apple? | |
| No. | ||
| So I have the little music thing. | ||
| That motherfucker's listening. | ||
| Oh! | ||
| Oh, every morning I wake up. | ||
| I go. | ||
| Sometimes I go. | ||
| Hey, bitch. | ||
| Hey, Siri, what time is it? | ||
| Right? | ||
| I always want to know what time it is. | ||
| Even when I wake up to pee, it's 5.42. | ||
| So sometimes I go real soft. | ||
| The time now is... | ||
| And it scares me. | ||
| I'm like, God, she fucking heard that. | ||
| She hears everything. | ||
| Like, how good is that microphone in there? | ||
|
unidentified
|
It's good. | |
| And at some point, you just accept. | ||
| Like, I'm not doing anything at legal. | ||
| I'm not a criminal. | ||
| So I kind of go, I'm not doing anything. | ||
| Oh, do I care? | ||
| But what if I found myself in a situation or someone was telling me something and I'm like, no, you did that. | ||
| Here's what you got to do, bro. | ||
| Right, you can't do that. | ||
| And then next thing you know, my phone rings and the cops go... | ||
| Yeah, when you were just talking about hide that body in a pig farm and feeding them to pigs, I'm like, I saw it in a movie once! | ||
| I don't know anything about it! | ||
| I have a friend who told me even... | ||
| What is this, Jamie? | ||
| The inmate shown is serving a sentence of life without the possibility of parole and is therefore not eligible for parole consideration at this time. | ||
| Oh, that's Rafael Torre? | ||
| Yep, that's him. | ||
| Oh my God. | ||
| That's the dude. | ||
| Yeah. | ||
| And apparently that's not even his real name. | ||
| He changed his name. | ||
| But that's what he's in under. | ||
| He made his name to sound out Brazilian. | ||
| Of course. | ||
| Story of a fake black belt. | ||
| That's it right there. | ||
| It's all over the place. | ||
| Fake black belt and convicted murderer. | ||
| But I remember Eddie being on the phone with him. | ||
| Going, dude, you are not a black belt. | ||
| I don't know why you're fucking lying, but you're fucking lying. | ||
| And then the guy turns out to be a murderer. | ||
| That's scary as fuck. | ||
| He wrote for Abu Dhabi Combat Club. | ||
| He would give these weird interviews where he'd ask guys, how many girls are you fucked in the ass? | ||
| Crazy questions. | ||
| He was calling it gonzo journalism, but it was just nonsense. | ||
| He was just trying to be crazy, but scammed his way into a position where he was writing for... | ||
| Well, obviously, like, if you're writing for MMA, uh, MMA journalism back then, this is, uh, I was on Fear Factor, so we're talking about, like, 2001, probably-ish, 2002-ish, when it was all happening. | ||
| That is, uh, you know, the early days of the internet, and, like, people... | ||
| Internet journalism was not taken seriously. | ||
| Internet websites were just like an afterthought. | ||
| It wasn't like they hired... | ||
| Today, if you write for MMA Junkie or MMA Weekly or any of the top-tier MMA websites, you get really good writers. | ||
| You have a reputation, too, behind you. | ||
| Yeah, they're good writers. | ||
| It's like you get a career as a writer, you know? | ||
| These guys were not like that. | ||
| It was just random. | ||
| So this dude, who's a fake martial artist, tricked people into hiring him to write. | ||
| And they, you know, he sent him to these events. | ||
| This is back, you know, I remember when Abu Dhabi first came along, when... | ||
| John Jock was really one of the pioneers of Abu Dhabi because he was a guy who showed everybody that there was guys who were gi guys who also excelled in no gi. | ||
| And he was the best. | ||
| Remember, he tapped Sakurai. | ||
| All those guys ran through those dudes. | ||
| We would have to get on this website to see what the scores were. | ||
| And Eddie would come in every day with the score sheets and be like, look what's happening. | ||
| Here's what's happening now. | ||
| Those videos... | ||
| Pull up John Jock Machado vs. | ||
| Hayato Sakurai. | ||
| So, for people that don't know, Sakurai, at the time, was a legend in MMA in Japan. | ||
| And, you know, for the guys like me, they're the hardcore guys that were really interested in fights from Japan, from Shuto and K1 and, you know, Rings and all these different organizations that were happening in Japan. | ||
| Like, he was a legend. | ||
| And to see him... | ||
| You know, competing against John Jack, and to see John Jack just fucking run through him, we were like, YES! It was a big deal. | ||
| Because he was showing control with Nogi that a lot of the Brazilian Jiu-Jitsu black belts that were used to grabbing collars and sleeves didn't have. | ||
| But see, John Jack, for people that don't know, was born with only a thumb on his left hand. | ||
| He only has a thumb. | ||
| So all of his fingers are missing except his thumb. | ||
| So Jean-Jacques' game involved more overhooks and underhooks than it did lapel grabs and pinching. | ||
| So he had a lot of stuff that was immediately transferable to no-gi MMA, unlike a lot of other fighters. | ||
| You see it anywhere? | ||
| I'm typing it in. | ||
| It's not coming up that way. | ||
| It might be in a different video or something. | ||
| What's that right there? | ||
| That's like a Highlights or something. | ||
| Well, he went up against Yuki Nakai, too. | ||
| You can pull that up. | ||
| That was another Jiu-Jitsu match. | ||
| Yuki Nakai is another guy who's a fucking legend. | ||
|
unidentified
|
Look at that. | |
| Look at young Janjak. | ||
| Oh, that's Janjak with a gi. | ||
| Yuki Nakai? | ||
| Yuki Nakai fought in Valley Tudo, Japan. | ||
| Guy's fucking eye gouged out. | ||
| He fought that... | ||
| What is that guy that fought in the UFC as well? | ||
| The karate guy. | ||
| That poked his eyes out. | ||
| He poked one of his fucking eye out. | ||
| And he still competed and made it all the way to the finals. | ||
| In the old days, was it the tournament? | ||
| Yeah, it was Japan Valley Tudo. | ||
| That was the one where Hicks and Gracie won it. | ||
| He won it a couple years in a row. | ||
| That was, like, Gerard Gardo. | ||
| Oh, Gerard. | ||
| Yeah, yeah. | ||
| Remember that guy? | ||
| Yeah, yeah. | ||
| Big dude. | ||
| That guy, he poked Yuki Nikai's eye out. | ||
| Like, Yuki Nikai lost his eye in that match. | ||
| Like, he's blind in one eye to this day. | ||
| Yeah. | ||
| Oh, my God. | ||
| But he was a really highly respected jiu-jitsu guy, and John Jock basically just ran over. | ||
| I know every feeling right there. | ||
| I know that feeling. | ||
| I know that guard pass. | ||
| I know the guard pass. | ||
| I know the struggle you're having with that motherfucker. | ||
| You know what's interesting about John Jock, too, that he's still capable of rolling with no problems at all. | ||
| He doesn't have any major injuries. | ||
| He had a little bit of a meniscus tear, he was telling me, and he got a cortisone shot in it, but he still rolls. | ||
| I love that man. | ||
| He's done so much for me. | ||
| And me as well. | ||
| Mentally and just set me on good paths. | ||
| Yeah. | ||
| I had good talks. | ||
| We've had... | ||
| I mean, we've had hour-long talks. | ||
| Yeah. | ||
| Just, you know... | ||
| You know, that was a period of time, you know, like you said, when we met and I'd lost the... | ||
| I didn't lose the Nickelodeon job. | ||
| We went on hiatus. | ||
| And I was out of work. | ||
| And I was just like, what am I going to do? | ||
| And I would just have talks with him. | ||
| He was very generous to me. | ||
| And he would say, look, come teach here. | ||
| I was a purple at the time. | ||
| Come teach here. | ||
| And you don't have to pay your fees. | ||
| And then he took me in, man. | ||
| He really treated me well. | ||
| Oh, he's a great person. | ||
| He's a great person. | ||
| He gave me good guidance. | ||
| And sometimes when I'm getting... | ||
| Out of my head with thoughts or whatever. | ||
| I just try to think like, what would Jon Jock do? | ||
| Didn't he tap Cal Uno as well? | ||
|
unidentified
|
Yeah, he did. | |
| From the back. | ||
| On his back and curled him up. | ||
| Yeah. | ||
| See if he can fight that. | ||
| But the Abu Dhabi stuff should be around. | ||
| Jon Jock versus Sakurai. | ||
| Machado versus Sakurai. | ||
| That should be out there. | ||
| The Sakurai one was really interesting to me because Sakurai was, at the time, he was a fucking straight up killer. | ||
| I remember when he fought Frank Trigg in that fight. | ||
| He had that giant cut. | ||
| Yeah, Eddie. | ||
| We were in the back and we were in the locker rooms and Eddie kept telling him, what are you going to do if you can't take him down? | ||
| What are you going to do? | ||
| And he was like, I'll get him down. | ||
| I'll get him down. | ||
| He goes, man, that's a class wrestler. | ||
| Here it is. | ||
| This is Kyle Uno. | ||
| And Uno is another guy who was, at the time, was a legit MMA superstar. | ||
| Just hunting him down. | ||
| There's the overhook. | ||
| There it is. | ||
| Yep. | ||
| Good luck, bud. | ||
| Getting out of that overhook. | ||
| Yeah, all that overhook on that left side in particular. | ||
| That's the left side where he had no fingers. | ||
|
unidentified
|
Got a hook in. | |
| Oh, my God. | ||
| He's going to, I believe, in this he takes his back. | ||
| I don't remember what he did. | ||
| But I remember he tapped him. | ||
| He tapped everybody. | ||
| There it is. | ||
| There it is. | ||
|
unidentified
|
See? | |
| He's on his back. | ||
| Curls him back. | ||
| Oh, he's like, he's got that surgical tool. | ||
| How did he get to his back? | ||
| Well, he's on his back now. | ||
| Yeah, but how did he get there? | ||
| Jamie, did you fast forward? | ||
| Just curling around. | ||
| Oh, okay. | ||
| Yeah, and he gets that arm. | ||
|
unidentified
|
Look at that. | |
| The other thing is that where there's no hand, the hand that has no fingers, that one always goes under the chin. | ||
| Yeah, that's a surgical tool. | ||
| Yeah. | ||
| A surgical. | ||
|
unidentified
|
It slides like a bone right underneath your neck. | |
| At the time, this was so impressive because these guys were giving a lot of people fits. | ||
| A lot of these guys were considered elite grapplers when it came to MMA. Just to see them basically fighting for survival against a guy like Jean-Jacques, it opened up a lot of people's eyes. | ||
| It also opened up a lot of people's eyes. | ||
| It's like, what is the most effective way to participate in no-gi jiu-jitsu with the, you know, standard jiu-jitsu skills? | ||
| Here we go. | ||
| He's going to curl him up, watch, and he's going to, oh, back over. | ||
| Well, we've still got time. | ||
| He's going to lay him on his belly. | ||
| He's going to arc him and just wrench, and he's going to tap. | ||
| Yeah, go for it ahead so we can see the tap. | ||
| A little bit more, right there. | ||
| Oh, nope, you already had him. | ||
| Right there. | ||
| You know, one day we were on the side, we were talking on the mats, and he actually, he's like... | ||
| There it is. | ||
| Look at that. | ||
| Oh, okay, this isn't, he didn't have one on his back. | ||
| It must have been another one. | ||
| Look at him lay there. | ||
| I love it. | ||
| I love that I came out from under him. | ||
| I love that it's one. | ||
| That's my only instructor. | ||
| I didn't have five different schools and travel around or be in the unfortunate, like I was in the military and I trained here and I trained there and I trained here. | ||
| It's like, that's the school I walked into, and I didn't leave until I walked out of Blackburn. | ||
| I actually came to his place third. | ||
| The first place I went to was Hickson's, but Hickson's was all the way down on Pico, and that was a long haul for me. | ||
| I was living in North Hollywood. | ||
| It was a long drive. | ||
| Brutal. | ||
| But I knew the last name Gracie. | ||
| I didn't know jack shit. | ||
| But then Carlson Gracie opened up on Hawthorne in Hollywood, right down the street from the Comedy Store. | ||
| And that was when Extreme Fighting was going on. | ||
| You remember Extreme Fighting? | ||
| Yeah. | ||
| And that was when Mario Sperry was there. | ||
| And there was so many guys that were coming out. | ||
| Marilo Bustamante, he was out of there. | ||
| It was an amazing gym. | ||
| Carlos Barreto, remember Carlos Barreto? | ||
| I don't know. | ||
| He was out of there. | ||
| Yeah, early pioneers of Brazilian Jiu-Jitsu from Carlson Gracie and also Vitor. | ||
| That was when Vitor was 19 years old and he fought John Hess in Hawaii and fucked him up and just lit him up with punches. | ||
| And I remember thinking like, Jesus Christ, he was 19 and he was built like a fucking pit bull and the lightning fast hands. | ||
| And then I was training over there. | ||
| I was still a white belt. | ||
| I was a white belt over there. | ||
| I didn't get my blue belt until I came to John Jocks. | ||
| And then Vitor went to fight in the UFC. So when he went to fight in the UFC, we were calling him Victor. | ||
| His name was Victor. | ||
| I called him Victor a couple times in the UFC broadcast. | ||
| We called him Victor Gracie. | ||
| That's what we called him. | ||
| That was the name he was going under. | ||
| I remember I think I fucked it up a few times because they had changed it to Vitor. | ||
| I was baffled because we'd always called him Victor. | ||
| I didn't understand what was going on. | ||
| When he made his UFC debut, I was training at Carlson Gracie's. | ||
| But then Carlson's went under. | ||
| And when Carlson's went under, I needed another place to train, and then I found John Jox. | ||
| I found John Jox, and that was 98. So I started at 96 at Hickson's, and then I trained at Carlson Gracie's there during 96. And then I think 97-ish is when he went under, and then I waited until 98, and then I started training at John Jox. | ||
| No, it might have been 97 I went to John Jox. | ||
| It was like right around that time. | ||
| Like, it just wasn't too much time off. | ||
| But then I got lucky and I found John Jocks. | ||
| I'm horrible with the timelines of things. | ||
| I might be off by a little bit. | ||
| I'm always off on everything. | ||
| I might be off by a little bit, but I'm pretty sure 96 was when I first started training at Carlson Graces because it was 97 when I made my UFC debut as a commentator, as a post-fight interviewer. | ||
| That was... | ||
| UFC 12 in Dothan, Alabama. | ||
| That was 97. Jesus, dude. | ||
| I can't believe you remember that. | ||
| Yeah. | ||
| Well, I remember that because I was supposed to be in Buffalo, New York. | ||
| But New York put the kibosh on cage fighting. | ||
| And so then we had to go to Dothan. | ||
| And I remember it was the debut of Vitor. | ||
| Trey Telligman was on that card. | ||
| Scott Ferozo. | ||
| Dude, you got memory, man. | ||
| Yeah, I have to. | ||
|
unidentified
|
Dude. | |
| Man, I wish. | ||
| I wish. | ||
| I wish I was smarter, you know? | ||
| Sometimes, you know, I just kind of put things together. | ||
| Get in there. | ||
| Well, I take a lot of supplements, too. | ||
| I took some AlphaBrain before this. | ||
| I'm like, I gotta be on point with Joe. | ||
| That's the thing that I take from memory. | ||
| That and just some NeuroGum I like, too. | ||
| You know, I was talking with John Jock one time, and he was telling me how the art career was kind of taking off, and I was doing well, and I had just done the Grammys, and he said, you know, you also need to think about giving back and doing something, something, I didn't know what to do with that. | ||
| And he said something. | ||
| And about a month or two later, my mom, who was an art school teacher in a middle school, public middle school teacher, and her whole life, 35 years, public middle school teacher, art. | ||
| And she said, I was talking on the phone. | ||
| My mom was visiting. | ||
| And I was doing this drawing sketch, and I was talking with the phone, and then I flipped the phone, I took a picture of it, and I sent it to the gallery. | ||
| And he's like, okay, we sold it. | ||
| It's gone. | ||
| And I think I sold it to the gallery. | ||
| It was like 300 bucks or something. | ||
| And my mom goes, did you just sell that drawing you did on the phone for 300 bucks? | ||
| And I go, yeah. | ||
| And she goes, you know, that's more than my art budget for the entire school, for 30 kids in a class, six classes a day. | ||
| That's more than I get for them. | ||
| And I'm like, yeah, I was like, really? | ||
| That's all you get? | ||
| She's like, yeah, art's getting wiped out in public schools around the nation. | ||
| And I thought, oh, fuck. | ||
| And then I thought of John Chuck's thing, and I'm like, that's a calling, right? | ||
| So I started, my wife and I started the Todd White Art Project, 5013C. We take art supplies that we get from all these companies, these big companies, even Blick steps up, and I say, look, I'm buying it from you. | ||
| I'm not asking for free. | ||
| But sell me the student grade quality and sell me a lot of it. | ||
| And I use it. | ||
| We buy it when we have extra funds or we got an extra kick in on something. | ||
| We buy up school supplies and we donate it. | ||
| We put packages together for public schools only around the United States. | ||
| These poor, underfunded schools. | ||
| And all we said is, you know, school teachers send out a letter to us saying why you want the supplies for your students. | ||
| Yeah. | ||
| Generally, most of them are amazing. | ||
| They say, you know, I use my own money to buy supplies. | ||
| We don't have any. | ||
| And dude, you wouldn't believe it. | ||
| In this country, we visited schools that had dirt floors. | ||
| Dirt on the floors. | ||
|
unidentified
|
Where? | |
| Schools. | ||
| Dude, Leander was one out here. | ||
| In Texas? | ||
| Yes. | ||
| It was a public school, small population. | ||
|
unidentified
|
Dirt floors? | |
| It was horrible, horrible conditions. | ||
| We don't obviously roll in with iPads. | ||
| We roll in with the watercolor sets, Big Chief tablets, but a thousand, a thousand paints, a thousand brushes, a thousand stuff for the kids. | ||
| Because the one thing that's getting snuffed out heavily is the creative process, the creative exploring in schools. | ||
| They're just getting rid of it. | ||
| It's just getting gone. | ||
| Isn't it crazy that that's thought to be not important? | ||
| Well, everything in your life from that watch to your iPhone was created by an artist. | ||
| A designer designed that. | ||
| These microphones. | ||
| It wasn't a suit that designed it. | ||
| It was an artist, a creative thinker, someone who put together and made it organically beautiful and solid and working. | ||
| And that's being snuffed out. | ||
| And so we've done 10 schools throughout the past six years, seven years of the program where we get great letters and we've traveled to Virginia, we've traveled to Ohio, we've done Northern California, Southern California. | ||
| It was easy when I lived there. | ||
| I just load up a U-Haul van, drive it down. | ||
| They'd bring all the kids into the classroom. | ||
| I'd do a 30-minute, 45-minute speech to all the kids. | ||
| Tell them, let them know. | ||
| Let them know about the two rules of life. | ||
| You can achieve anything you put your mind to. | ||
| You know, all these young kids. | ||
| It doesn't matter. | ||
| I don't care what color you are. | ||
| I don't care about anything. | ||
| Don't buy into it. | ||
| You can achieve what you put your mind to. | ||
| And the second thing is you have to have the desire to achieve that. | ||
| You can't just want it and not put the work in behind it. | ||
| You have to want it more than anything. | ||
| I say the two wants. | ||
| You have to want to do that, and you have to want to achieve that. | ||
| And I believe you can achieve anything you want if you put your mind to it. | ||
| For sure. | ||
| That's a weird thing that isn't taught in school, isn't it? | ||
| No. | ||
| It's one of the most important things to getting ahead. | ||
| Like you were saying earlier, that I'll take drive over talent. | ||
| Because if you have the drive, you can get to talent. | ||
| My high school art teacher sent me to a counselor to let the counselor know that I should be an auto mechanic. | ||
| My high school art teacher told me, maybe you should fix cars. | ||
| Because obviously I wasn't a good student. | ||
| I was terrible in math and I was terrible in English. | ||
| Maybe you should fix cars. | ||
| You should concentrate on being a mechanic or an electrical or something with your hands of trade. | ||
| But art isn't going to get you where you want to go. | ||
| Have you ever seen any of my art? | ||
| I have not. | ||
| Yeah, I used to draw. | ||
| You should come over and hang. | ||
| I used to want to be a comic book illustrator. | ||
| Do it. | ||
| And I have some stuff, but I had... | ||
| I'll try to find you something. | ||
| But I had a shitty fucking art teacher, like a real asshole. | ||
| And what's really interesting is... | ||
| Oh, here's some of my stuff. | ||
| Oh, not terrible! | ||
| Yeah, that is from... | ||
| Isn't that... | ||
| Where's the full version of that? | ||
| If you click on it... | ||
| Yeah. | ||
| That is from 19... | ||
| What does it say down there? | ||
| It says on the corner. | ||
| Grandma ain't home. | ||
| Yeah, but it should say in the image. | ||
| In the actual image. | ||
| Look, you had your signature, too. | ||
| Yeah, it would say... | ||
| Yeah, that's me, too. | ||
| Listen, dude. | ||
| So, anyway, I had a terrible art teacher. | ||
| He was a fucking asshole. | ||
| That's me, too. | ||
| That's Bruce Lee and Drew. | ||
| And, you know, the thing is, the more you're working, the better you get. | ||
| Yeah. | ||
| Just by pencil time. | ||
| I've got a bunch of other ones that I have at home. | ||
| I have a really cool one that I found recently. | ||
| There's a Marvin Hagler drawing that I did when I was in high school. | ||
| It's like 1983 or something like that. | ||
| But my high school art teacher was a fucking asshole. | ||
| He was just a bitter, shitty man. | ||
| Common. | ||
| And I was not the most talented guy in the class. | ||
| The most talented guy in the class is a guy named John DeVore who I'm actually friends with. | ||
| We got in touch with each other recently because I think I brought him up on the podcast and he reached out and sent me an email. | ||
| And so he told me he was the most talented guy in the class. | ||
| He told me this fucking asshole said the same thing to him. | ||
| That asshole made him stop being an artist too. | ||
| He told me that the guy failed him. | ||
| He failed him like a senior year. | ||
| I'm like, that is insane because he was so good. | ||
| He was so talented. | ||
| You see how good I was? | ||
| He was better than me. | ||
| It was really good. | ||
| And just a dickhead failure of a person who found himself, like, treating kids like shit. | ||
| Like, doesn't understand psychology. | ||
| Didn't care. | ||
| Like, didn't like his life. | ||
| Was a failure. | ||
| Like, I remember him saying, like, he was asking me why I was drawing what I was drawing. | ||
| I go, that's what I like to draw. | ||
| Yeah, you like to draw it. | ||
| And he was like, well, you're going to have to draw things you don't like to draw. | ||
| Like, maybe you're going to have to get a job and do ads for diapers. | ||
| I remember that's what he said, like... | ||
| I'd draw a diaper. | ||
| That was when I was wrestling. | ||
| There you go, dude. | ||
| Look at that. | ||
| Look how young we look, 11 years ago. | ||
| Look at Brian. | ||
| He's like a little baby. | ||
| That was the high school for Newton South High School. | ||
| You can make those into shirts, dude. | ||
| I drew that for the logo. | ||
| The logo of the school, the mascot, was a lion. | ||
| So I drew the yearbook. | ||
| Like the cover of one of the yearbooks. | ||
| You know, you have such a name and recognition that if you ever had a charity or whatever, or organization you wanted to donate to, dude, do a drawing. | ||
| We make a jaclay of it. | ||
| You sign a numbered edition, and you sell them, and it's yours. | ||
| I'm busy, bro. | ||
| I know. | ||
| But I do all the work. | ||
| You do all the work. | ||
| I'm not doing it. | ||
| You just have to draw. | ||
| I'm not drawing shit. | ||
| I'm busy. | ||
| I can kind of draw now, but not like that. | ||
| I can probably get back there if I started practicing. | ||
| All you do is be inspired. | ||
| You come to my studio, you'll be drawing. | ||
|
unidentified
|
Okay. | |
| Well, I definitely want to come to your studio. | ||
| I want to check it out. | ||
|
unidentified
|
You got to see it. | |
| I love that area, man. | ||
| I love Dripping Springs. | ||
| It's awesome. | ||
| It's pretty dope. | ||
| It's great. | ||
| It's got a lot of hill country. | ||
| People don't understand there's a lot of rivers. | ||
| And listen, on the backside of it, there's a whole water wet creek. | ||
| I can't believe you told me there's elk out there. | ||
| Oh, yeah. | ||
| Wandering around. | ||
| Free-range elk. | ||
| I'm going to send you photos. | ||
| That's crazy. | ||
| Marcus, send the photos. | ||
| There's an axis deer in my neighborhood. | ||
| Oh, yeah. | ||
| Oh, they're everywhere. | ||
| My wife said that there's this deer. | ||
| She goes, it's a big deer, but it has the white dots like a young deer. | ||
| I go, oh, that's an axis deer. | ||
| Yep. | ||
| Yeah. | ||
| Well, first of all, there's a lot of exotic game preserves around, and those things get out every once in a while. | ||
| And then they breed, and they're out there. | ||
| Yeah, a buddy of mine was telling him he saw a zebra. | ||
| He goes, he was driving down the street, he saw a fucking zebra. | ||
| Yeah, there's camels. | ||
| There's camels. | ||
| Have you seen camels? | ||
| No, I drive down the road and show you two camels sitting there. | ||
| There's a lot of llamas, a lot of, what are the llamas? | ||
| And what's the other one that's like a llama, smaller version? | ||
| Alpaca. | ||
| Alpaca. | ||
|
unidentified
|
Yeah. | |
| A lot of those. | ||
| Wife wants one of those. | ||
|
unidentified
|
Yeah. | |
| What is she going to do with an alpaca? | ||
| We got a farm, sort of. | ||
| We got like 50 chickens. | ||
| We got quail. | ||
| Yeah, 50 chickens? | ||
| Yeah, we got quail. | ||
| How many coyotes do you have coming to try to eat your chickens? | ||
| Zero. | ||
| Really? | ||
| Zero. | ||
| So, I have two neighbors who are both like shooters in the military. | ||
| And they have sniped every coyote. | ||
| Forget it. | ||
| They're not around. | ||
| We do have foxes. | ||
| And they don't actually like to kill the foxes because they look like cute kittens. | ||
| And we know where their hub is. | ||
| It's in a bunch of iron pipes off in this field. | ||
| And they play around. | ||
| And they run around. | ||
| But we've never had a chicken gone from a fox. | ||
| But they go in the coop at night and it gets locked up. | ||
| So the foxes don't come around. | ||
| And I have these two massive German shepherds that are on the property. | ||
| And they piss and they smell that everywhere. | ||
| I don't have deer problems in my area. | ||
| There's about five, ten point bucks on my property that a couple of my jiu-jitsu guys are like, you know I can take care of that for you. | ||
| I'm like, you're not getting rid of my bucks. | ||
| I'm leaving them. | ||
| Don't shoot them. | ||
| You like having them around, don't you? | ||
| I do. | ||
| I like having the animals. | ||
| Plus, they're tame. | ||
| Look, if the apocalypse comes, every deer in my neighborhood is fucked. | ||
| But if it doesn't come, I like having them. | ||
| They're pets. | ||
| Yeah, I drive around. | ||
| I can get 10 feet from a 10-point buck driving my truck. | ||
| I'm like, look at you. | ||
| I take pictures of them. | ||
| Sometimes they jump and spook. | ||
| There's a fucking elk wandering around Texas. | ||
| That's crazy. | ||
| No, they're everywhere, dude. | ||
| Look at that. | ||
| That's him right there on the right. | ||
| That's wild. | ||
| That big ass. | ||
| That's crazy. | ||
|
unidentified
|
Yeah. | |
| Yeah, there you go. | ||
| Dripping Springs. | ||
| Yeah, that's crazy. | ||
|
unidentified
|
They're out there. | |
| Just wandering around. | ||
| Elk are weird out here because they used to be indigenous, right? | ||
| This used to be an animal that was native to basically most of the country. | ||
| But they were wiped out around the early 1900s. | ||
| Probably actually into the late 1800s. | ||
| But... | ||
| Because they were reintroduced, they're thought of as exotic, even though they're native to the area. | ||
| So there's no hunting season on elk. | ||
| This is one of the only places in the country where there's no hunting season on elk. | ||
| So you could hunt elk the same way you would hunt a neil guy. | ||
| A neil guy is an animal from Asia? | ||
| I think Neil guys are from Asia. | ||
| It's a big ass antelope thing that's the size of an elk. | ||
| They're real freaky looking. | ||
| But they hunt them around here 24-7 all year round. | ||
| Like Russian boars. | ||
| Yeah, you could hunt it because they're considered a non-native species. | ||
| My buddy John. | ||
| Yeah, Asian antelope. | ||
| Look at the size of that fucker. | ||
| Look at how weird that thing looks. | ||
| I've never seen that. | ||
| Yeah, on Steve Rinella's show Meat Eater, they hunt it. | ||
| Look at that fucking thing. | ||
| That's kind of cool looking, dude. | ||
| Look at the body of that thing. | ||
| It's so weird. | ||
| It looks like Batman. | ||
| They're really hard to kill, though. | ||
| Like, if you hit them incorrectly, their vitals, a lot of these Asian animals and many of the African animals, their vitals are tucked in real close to their arms. | ||
| As opposed to like an elk, their lungs go pretty far back. | ||
| Because a lot of elk, I guess, I wonder why they have big lungs. | ||
| Maybe because they get in the mountains all the time or stuff like that. | ||
| They're out there running around. | ||
| See, that's the area. | ||
| This is a very small, vital area. | ||
| So if you go back from that, you're fucked. | ||
| You've got a wounded animal and you're not going to catch them. | ||
| See, that's a good picture. | ||
| Make that a little larger. | ||
| That's good enough. | ||
| See, that's where his lungs are and that's where his heart is. | ||
| Everything is real tucked up, real tight. | ||
| Whereas with an elk, the lungs really go back as far as the ribcage does. | ||
| Elks have much larger lungs. | ||
| So, Neil Guy, you have to be very accurate or you can wound them. | ||
| You ever go on any of those... | ||
| See, look how far the lungs go back from an elk. | ||
| Way back. | ||
| That'll get you excited. | ||
| Not right now. | ||
| I got a lot of meat. | ||
| I'm good for a couple months. | ||
| I love it. | ||
| I love that you're getting the meat for the family. | ||
| I give it away to a lot of people, too. | ||
| You do. | ||
| I hear it. | ||
| But it's such a... | ||
| A man thing to realize that like I provide. | ||
| You know, I'm providing. | ||
| I'm getting that. | ||
| If everything collapsed, I don't need a phone. | ||
| I got my bow and I can hunt and bring food to the table. | ||
| Well, if shit hits the fan, I'm going to use a rifle. | ||
| Tell you that right now. | ||
| You're stuck up. | ||
| Because rifles are guaranteed, especially if you're a good hunter. | ||
| If you get good at bow hunting, you could really feed your family fairly easily if there's a good supply of game with a rifle. | ||
| With a bow, it's a different animal because you've got to get inside 100 yards. | ||
| When you're at 100 yards, it's just begun. | ||
| You really want to get inside 50. But with a rifle at 100 yards, that's a done deal. | ||
| That's a close shot. | ||
| You ever go on any of those big game hunts, exotic, faraway places? | ||
| Like Africa or something? | ||
| No. | ||
| Never been, no. | ||
| You're not trophy. | ||
| You're about eating meat. | ||
| Yeah, meat. | ||
| I mean, I keep the antlers as a trophy. | ||
| Yeah, of course. | ||
| You saw antlers out there. | ||
| I got a great taxidermist here. | ||
| He'll dress them up, put some fabric on it. | ||
| I don't like that shit. | ||
| You don't like the fabric? | ||
| No, the fake... | ||
| No, no, no, not the head. | ||
| He does that too. | ||
| What does he do? | ||
| I think they call it a French mount where it's just a little fabric over the skull and they put the little thing around the horns. | ||
| I'm not interested in that either. | ||
| And it mounts up there. | ||
| I like the skull with the antlers attached. | ||
| You like seeing it all? | ||
| It's called the European mount. | ||
| Right. | ||
| Yeah, I like that. | ||
| I like the skull. | ||
| I like to see the actual skull from the animal. | ||
| My grandparents, I was always hundreds of those little European mounts all in their garage and stuff. | ||
| Yeah. | ||
| And I got one to this day that my grandma shot from her sleeping bag, and I hang it above my little kitchen area, and it's my grandma, you know? | ||
| Yeah. | ||
| Granny. | ||
| Yeah. | ||
| Yeah, those hunting ranches in Texas are the strangest places on Earth because there are thousands and thousands of acres, and a lot of them have these exotic animals that are on the verge of extinction in other places, but they're abundant here, like oryx. | ||
| You know what an oryx is? | ||
| Crazy looking animal. | ||
| Scimitar oryx. | ||
| It's like a whitish animal with these big, long, black horns. | ||
| Really cool looking. | ||
| Are they curly? | ||
| They curl? | ||
| No, they don't curl, but it's like twisty. | ||
| Yeah. | ||
| Like, that's an Oryx. | ||
| Oh yeah, I see those all the time. | ||
| Yeah, those fuckers are really difficult to find anywhere else other than Texas. | ||
| Like, an Oryx in, I think they're from Africa. | ||
| I might be wrong. | ||
| Where's the Oryx from? | ||
| You know, there's a great road if you're going out to Salt Lake. | ||
| That might be from India. | ||
| If you drive 12 going towards Salt Lake, there's about five ranches you'll pass, and you'll see those. | ||
| You'll see all kinds of things. | ||
|
unidentified
|
Okay, it is from Africa. | |
| From Tunisia, Chad, and Niger. | ||
| So those animals in their native habitat are very close to extinction. | ||
| They're very... | ||
| Yeah, here it goes. | ||
| Hundreds of thousands of desert-adapted antelopes roam the Sahara and regions of Sahel. | ||
| How do you say that? | ||
| Sahel, regions of northern Africa, a vast desert. | ||
| Due to human disturbance, overhunting, drought, and loss of food because of excessive livestock graving, Grazing the scimitar horned ornix is now extinct in the wild. | ||
| Those surveys show that Niger and Chad may have appropriate habitat for reintroduction, and some reintroduction have begun in Tunisia. | ||
| So the wild ones, the original ones that were there, are now gone. | ||
| But there's a fuckload of them here in Texas. | ||
|
unidentified
|
Yeah. | |
| Well, you got the land. | ||
| You can do it. | ||
| I mean, that's what, you know, I was talking with you about your new idea of looking for property. | ||
| I'm going to get a big spot. | ||
| You should. | ||
| Out here. | ||
| You should. | ||
| Well, I want to get a big spot for the podcast, too, where I can take people and do crazy shit. | ||
| Well, when you come to my facility and see, like, you'll be like, how much for this? | ||
| Like, it's got everything. | ||
| You know, we got a full pistol range, rifle range set up out there. | ||
|
unidentified
|
Do you? | |
| I'll let you shoot all kinds of stuff. | ||
|
unidentified
|
Oh, that's right. | |
| You were telling me. | ||
|
unidentified
|
Yeah. | |
| Do you have a well, too? | ||
|
unidentified
|
Yeah. | |
| We don't, because the water's shit. | ||
| Is it? | ||
| It's a horrible, hard, hard water. | ||
| So we're on rain water, but we fill up 60,000 gallon tanks. | ||
| What is hard water? | ||
| Like, full of minerals. | ||
| Minerals. | ||
| But isn't that good for you? | ||
| I doubt it, because it'll turn all your dishes white. | ||
| Right. | ||
| But isn't the water, like, drinking that water, isn't it good for you? | ||
| I can't imagine. | ||
| I think it'd make fucking calcium to pop it all in your guts and, like, piss crystals. | ||
|
unidentified
|
Piss crystals. | |
| I don't think it's good, dude. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| But I tell you what, the rainwater we catch off of our two massive roofs, we'll fill up 60,000 gallons with just a small rain. | ||
| Really? | ||
| Yeah, we never run out of water. | ||
| And if you do, you can buy more. | ||
| It's cheap. | ||
| Right. | ||
| They'll come and fill it, put 2,000 gallons in. | ||
| Jamie, finding out if hard water... | ||
| It says it's not a health hazard, but I'm trying to see what the badness is. | ||
| I don't want crystals in my dick, bro. | ||
| You might want to check the arsenic level, it says. | ||
| Yeah, dude. | ||
| You've got to drill 1,000 feet to get good water out there. | ||
|
unidentified
|
Really? | |
| 1,000 feet is so far. | ||
| Normal well is about 700. Really? | ||
| Yeah. | ||
| 1,000 feet down. | ||
| A thousand feet? | ||
| That's like fucking three and a half football fields, isn't it? | ||
| So what you have out there, you have the infinity, no, the trinity, I'm sorry, the trinity wells, trinity spring, that's what you're going to. | ||
| So you have a lot of signs out there that say, trinity's not infinity, you know, and they don't like all the new development happening and tapping into those. | ||
| Oh, people are tapping into the water. | ||
| Tapping in, yeah. | ||
| And wells go dry. | ||
| People are like, yeah, well, that went dry like four years ago because, you know, the water dropped and the hole's down here. | ||
| Right. | ||
| They gotta push it down deeper to strong. | ||
| Right. | ||
| Wells always remind me of people. | ||
| No, you know what it reminds me of? | ||
| Borat. | ||
|
unidentified
|
Throw the Jew down the well so my country can be free. | |
| There is some of our favorite epidemiological studies that show potential correlations between hard water and lower cardiovascular disease mortality. | ||
| Because of all the, like, calcium and magnesium you'd be getting through that. | ||
| Son, I'm getting healthy. | ||
| But. | ||
| But. | ||
| It might be, it's just, you know, it's epidemiological. | ||
| Might be bullshit. | ||
| Right. | ||
| Never know. | ||
| Could be just healthy people wind up living in that rural landscape and have lower cardiovascular health or better. | ||
| Yeah, there you go. | ||
| Well, Todd, let's wrap this fucking bitch up and bring it home. | ||
| Tell people, is artofwhite.com, is that your website? | ||
| Artofwhite.com is my website. | ||
| Um, Art of White is my Instagram. | ||
| Jump on there. | ||
| I could use some followers. | ||
| I am horrible. | ||
| I'm horrible about social media. | ||
| I'm horrible about posting. | ||
| That's probably good. | ||
| People yell at me all the time. | ||
| They're like, you don't fucking post enough. | ||
| You don't do this. | ||
| You don't do that. | ||
| And I'm like, you know, for me... | ||
| It's better to be that than to be too active. | ||
| For me, I'm always like, I only want to post if I have something fun or cool or art to share. | ||
| I don't need to post... | ||
| Look at this car wash. | ||
| Isn't it clean? | ||
| I don't want to be that dude. | ||
| And I've unfollowed people. | ||
| I followed a couple of people that I would like, musicians that I love. | ||
| And I'm like, I follow them. | ||
| And every other post is like, oh, today my cat is, look at him. | ||
| And I'm like, done. | ||
|
unidentified
|
I'm out. | |
| I'm out. | ||
| I don't want to see your cat. | ||
| I don't want to see your pussy. | ||
| I don't want to see none of it. | ||
| I'm out. | ||
| Wow. | ||
| Well, everybody's different. | ||
| Some people want to see everything. | ||
| I know. | ||
| I don't like it. | ||
| What kind of vitamins are you taking? | ||
| Show me your daily stack. | ||
| Yeah. | ||
| Pocket dump. | ||
| Show us your pocket dump. | ||
| Oh, yeah. | ||
| What's your daily carry? | ||
| I'm not going to show you. | ||
| All right. | ||
| Well, listen, brother. | ||
| I'm happy you initially inspired me to come out here. | ||
| You were the first person to plant the seed. | ||
| Thank you, man. | ||
| I'm glad I planted a seed in you. | ||
| Yeah, for sure. | ||
| Legitimately. | ||
| We weren't even wrestling. | ||
| Yeah. | ||
| Crazy. | ||
| It just happens. | ||
| So we're going to get you out to the school. | ||
| We've got our school in Dripping Springs. | ||
| Sounds good, dude. | ||
| It's going to be kicked up and opened on January 4th. | ||
| That's when it's going to be fully? | ||
| Brand new school, yeah. | ||
| That's the place you built. | ||
| I watched that on your Instagram. | ||
| I watched that all built. | ||
| You built the steel structure, the whole thing. | ||
| That's the compound. | ||
| That's only for elite friends and people. | ||
| That's the private training facility. | ||
| Two different training facilities. | ||
| So that's where you and the SEALs will come over and Jocko will be. | ||
| Jocko's already came over there. | ||
| Nice. | ||
| We're going to start a little run-shoot-fight class. | ||
| Where we roll around, we do a mile, maybe two-mile run on my property. | ||
| I have it all on that beautiful DG, decomposed granite path trails. | ||
| Terrain, up, down, up, down. | ||
| And you run right to your station, you pick up your weapon, and you do a shooting course. | ||
| And it's almost like scored like a CrossFit, right? | ||
| So every week, you get to do it again, and it may change. | ||
| We'll come up with silly names. | ||
| And it's run, it's head up by all ex-seals. | ||
| That's a great idea. | ||
| And so it's really great because let me tell you, fight for 30 minutes, no break. | ||
| Okay, get a partner equal. | ||
| Look, we got great people we train with. | ||
| There's no douchebags where they're like, I'm going to rip your head off for 30 minutes. | ||
| It's like you're rolling, they'll give, they'll take, they'll give, they'll take. | ||
| You're sweating, you're working, your forms are at a pump. | ||
| Bell goes off. | ||
| Drop your gi top. | ||
| Keep your gi pants on. | ||
| Run two miles. | ||
| Slide your shoes on right there. | ||
| Put your shoes on. | ||
| Run two mile loop. | ||
| It's a hard two miles. | ||
| It's not an easy. | ||
| It's up terrain, downhill, uphill. | ||
| Run it. | ||
| Run right to your station at the shooting range. | ||
| Guy's sitting there with a timer. | ||
|
unidentified
|
Go. | |
| Boom. | ||
| Shoot your plates. | ||
| And then you get scored. | ||
| And you get scored. | ||
| What's your misses? | ||
| What's your time on the shoot? | ||
| And then put your weapon down, and there's your score. | ||
| And it goes on a log board. | ||
| And so we do that. | ||
| And I'm no experts in firearms, but I am a student, and we have guys that come out, and they train with us, and they teach us up-close shooting. | ||
| They teach us push-off shooting, falling down on your back shooting. | ||
| Don't shoot your feet. | ||
| Don't shoot your knees. | ||
| And it's really awesome to get that training from those guys. | ||
| And why? | ||
| All because we're on our own property in Texas. | ||
| And it's private land. | ||
| We don't have to worry about shit. | ||
| And you get awesome people. | ||
| You attract that person. | ||
| We were starting to get a little too big with some of those classes. | ||
| So for a regular jujitsu, we opened up a new school in Dripping right off 290. And it's going to be up and running. | ||
| I mean, I'm leaving here and going there to work. | ||
| And it's a mimic of that school. | ||
| Huge mats and great people. | ||
| Beautiful. | ||
| And we want you there. | ||
| All right. | ||
| It's in. | ||
| It's on. | ||
| Todd White, ladies and gentlemen. | ||
| Thank you, Joe Rogan. | ||
| My pleasure. | ||
| Goodbye, everybody. |
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