May 8, 2021 - The Joe Rogan Experience
02:57:07
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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Check it out. | |
| The Joe Rogan Experience. | ||
| Train by day, Joe Rogan podcast by night, all day. | ||
| You're scaring it, whoa. | ||
| Rolling stones. | ||
| Shooting stars. | ||
| Of course. | ||
|
unidentified
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Black holes. | |
| Imagine what a black hole sounds like. | ||
| What do you think it sounds like? | ||
| I think, didn't someone, they simulated it or something? | ||
| Some physicists simulated it or something? | ||
| Really? | ||
| Yeah, it's like, it does make a sound. | ||
| That's the best part of Interstellar. | ||
|
unidentified
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Oh, yeah. | |
| I mean, my favorite part of it. | ||
| Oh, man. | ||
| The Chinese theater, that was so loud and fucking awesome. | ||
| Oh, you want to see it there? | ||
| I want to see it again there so bad. | ||
| IMAX is the place to see it, right? | ||
| It was the IMAX theater he made it at. | ||
| Like, he was testing it there to make sure it was two-par, and it was... | ||
| That's a bold movie, man. | ||
| Very bold movie. | ||
| Oh, yeah. | ||
| Super sick, too. | ||
| Just think of all the elements that people have to follow along, especially the ending. | ||
| Spoiler alert. | ||
| Oh, yeah, totally. | ||
| But the end when he's, like, looking at himself through... | ||
| Like, what is happening there? | ||
| Like, you gotta, like... | ||
| If you're... | ||
| You know, you take a kid there. | ||
| He's like, Dad, what is going on here? | ||
| He's like, I don't know, man. | ||
| We're in the same spot. | ||
| Can't really explain it, son. | ||
| We'll talk about it later. | ||
| We'll get it on DVD. Does it have the sound of it? | ||
| That robot was so dope. | ||
| Translating as great movie sound, but... | ||
| It's just a rocket, also, is what it sounds like. | ||
| Yeah, this isn't working. | ||
| Yeah, it's fine. | ||
| I would imagine, without the rocket, it sounds like stars getting smushed. | ||
| Yeah, it's just like... | ||
| I think it was like they were saying it was like a... | ||
| You know, that type of a thing. | ||
| Just the fact that that's a real thing, that in the center of every galaxy is this giant mass that's eating stars. | ||
| Star eaters. | ||
|
unidentified
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Just... | |
| I know. | ||
| Just sucking them into who knows what on the other end. | ||
| You know, it's great. | ||
| I love reading about... | ||
| I mean, I haven't read about black holes in a really long time since, I think, a Michio Kaku book that I had, but it was a while, a while ago. | ||
| But... | ||
| I mean, it's so fascinating, that weird, like, you know that point, it's like the event horizon? | ||
| It's like, theoretically, it wouldn't work like this, but theoretically, there's just like a membrane, and you're just close, close, you're fine, you're fine, you're fine. | ||
| You just get sucked in and just stretched and broken, just crushed to bits. | ||
| And then, I guess, just reconstituted as pure energy on the other side? | ||
| Because it definitely doesn't get destroyed, it gets redistributed. | ||
| They're redistributors. | ||
| We're just so concerned about the finite life that we live. | ||
| Like we're so concerned of preserving this very fragile existence that the idea of getting reconstituted into pure energy in another dimension is like horrific. | ||
| But that's why we're here. | ||
| We're here, right? | ||
| We're here because a star exploded. | ||
|
unidentified
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Yeah. | |
| We're made of stars. | ||
| What's that old song? | ||
| We are stardust. | ||
| We are golden. | ||
| Is that from the 60s? | ||
| It's like the strawberry alarm clock. | ||
| Joni Mitchell did a version of it, but I don't think she was the original. | ||
| Maybe she was the original. | ||
| Maybe she wrote it. | ||
| I don't know. | ||
| Joni Mitchell, artist. | ||
| Message to love. | ||
| Crosby. | ||
|
unidentified
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When you were singing it, the way you were singing it, that's Crosby. | |
| Can we give us a little bit before we get in trouble? | ||
| Just give me a little taste. | ||
| Give me a little taste. | ||
| Give us 2.6 seconds. | ||
| Give me a little taste of like 1970s acid. | ||
| 1970s acid and marijuana grown in that Mendocino range with that Hulu series. | ||
| The emergence. | ||
| Sasquatch was made. | ||
|
unidentified
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Yeah. | |
| There it is. | ||
|
unidentified
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I can't hear it. | |
| I haven't heard this. | ||
| You never heard this? | ||
| No. | ||
| Oh my goodness. | ||
| This is classic. | ||
| I gotta get into that. | ||
| Oh, Yaskar. | ||
| Keep it going. | ||
| Fuck it. | ||
| If we get pulled, we get pulled. | ||
|
unidentified
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Let's test Spotify's algorithms out. | |
| It's like the Borg, man. | ||
|
unidentified
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That's gorgeous. | |
| That's pretty fucking good, man. | ||
| Especially when you're high. | ||
| There's something about being high. | ||
| That old music just resonates, man. | ||
| There's some like Allman Brothers songs that are different when you're high. | ||
| You listen to them when you're high. | ||
| Like Midnight Rider... | ||
| I don't know if I know that one. | ||
| You don't know Midnight Rider? | ||
| I'm terrible. | ||
| I don't know. | ||
|
unidentified
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How dare you? | |
| I apologize. | ||
| I'll see you. | ||
| You're a musician, Reggie. | ||
| You're a musician. | ||
|
unidentified
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I know. | |
| I'm supposed to know all music. | ||
| This is outrageous. | ||
| I'm sorry. | ||
| Your mind is filled with electronica. | ||
| I know. | ||
| I know. | ||
| My zone is, like, so very specific and very surprising to people, but I love it. | ||
| Yeah, that's all that matters, man. | ||
| Of course, of course. | ||
| But, I mean, I love, you know, my philosophy on music, when they're like, what kind of music do you listen to? | ||
| I'm like, anything that's good. | ||
| That's always my answer. | ||
| It could be anything. | ||
| Anything. | ||
| Anything is good. | ||
| Anything is good. | ||
| I mean, it's all subjective, but... | ||
| What were you going to tell me? | ||
| I stopped you. | ||
| I said, I'll save it for the podcast. | ||
| Oh, yeah, yeah, right. | ||
| Yeah, my friend Kirsten Joy Weiss, she's a trick shooter. | ||
| Like a pistol shooter? | ||
| Yeah, a pistol rifle. | ||
| And she lives in Cody, Wyoming, and she is amazing. | ||
| Just a really cool... | ||
| Independent thinker like she loves sci-fi, but she sent me these I'll see if I can send you a video you can see she did like this I guess a shot that hasn't there she is look at this oh Yeah She's leaning back for people that are not listening. | ||
| She's got her shins down on the ground and leaning back behind them, and she's shooting 30 yards behind her. | ||
| Yeah. | ||
| Backwards. | ||
| Gun Pilates. | ||
| She calls it Gun Pilates. | ||
| Was that this one? | ||
| Was that the long-range trick shot, as that was called? | ||
| This says Gunply's Trick Shot. | ||
| Okay, yeah. | ||
| There's a whole market for hot girls with guns. | ||
| Do you know that? | ||
| Like, the hot girl gun world? | ||
| Yeah, it's funny. | ||
| But you know what? | ||
| The interesting thing that's different about her, she's almost like, she's just a badass shooter that happens to be an attractive woman. | ||
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unidentified
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Right. | |
| But she's like, she's the real deal. | ||
| She was going to be on, she trained in the Olympics, on the Olympic team, and And I like her videos because she talks about, I mean, it's called The Joy of Shooting, obviously, but, I mean, it's a play on her name, but she really does mean it. | ||
| She's just talking about, like, hey, this is a cool exercise and kind of like a meditative exercise, like shooting and target practice is meditative. | ||
| And the cool thing about her is she does everything herself. | ||
| Every video that you see is just her with a camera and a tripod and all her editing. | ||
| She's super DIY. That's what I like about her. | ||
| That's cool. | ||
| She's sick. | ||
| And she's, like, very philosophical. | ||
| Very cool. | ||
| What are you saying, Jamie? | ||
| The video's playing on his phone. | ||
| Oh, I'm so sorry. | ||
|
unidentified
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Sheesh. | |
| I am going to stop that right now. | ||
| Sorry, Karistan, wherever you are. | ||
| She's badass. | ||
| It is true, though, that shooting is very meditative, right? | ||
| Oh, completely. | ||
| Are you kidding? | ||
| I mean, it's like any... | ||
| It's like you're shooting a project... | ||
| Whether you're shooting or it's a bow and arrow or it's a crossbow or it's a sling or you're throwing a ball. | ||
| Even darts. | ||
| Oh, man. | ||
| Darts especially. | ||
| Darts especially. | ||
| Just to try to get that arc right. | ||
| And you're like... | ||
| Yeah, you're like thinking, not thinking, muscle memory, learning. | ||
| Also like the weirdness of like letting that thing go. | ||
| Like you don't want to let it, you don't want to drop your hand down. | ||
| You got to like release it at the exact right time. | ||
| Yes, yes. | ||
| I know it's, I went axe throwing in Great Falls, Montana recently. | ||
| That sounds like a Great Falls, Montana activity. | ||
|
unidentified
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Are you kidding? | |
| It's so Great Falls. | ||
| I went with my friend Kelly. | ||
| He's awesome. | ||
| His family's cool. | ||
| I went with my mom. | ||
|
unidentified
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I brought my mom. | |
| Your mom was axe throwing? | ||
| No. | ||
| My mom was like 83, just like sitting in a chair drinking wine. | ||
| And we're just like three feet away from people throwing axes at walls. | ||
| That's hilarious. | ||
| This is so awesome. | ||
| Sipping wine while people hurl blades. | ||
|
unidentified
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Yes. | |
| That's very funny. | ||
| My friend Kelly, he's so ridiculously good at it. | ||
| It was stupid. | ||
| He'd like not look. | ||
| He'd turn around and throw the axe behind his back and it would land on the target. | ||
| He would take two axes and throw them simultaneously. | ||
| And he's just a natural at it. | ||
| It's very strange. | ||
| He doesn't practice? | ||
| I mean, he's been there a few times, but he was already a natural the first time he went. | ||
| So the people who work there are just like, hey, are you on a league? | ||
|
unidentified
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You know, that type of thing. | |
| He's like, nah, just do it for fun. | ||
| You know, it's like a movie, right? | ||
| About axe throwing. | ||
| Naturals are weird. | ||
| Like a natural in anything. | ||
| It's a strange thing when you see someone who's just really good at something. | ||
| Right away. | ||
| It just makes sense. | ||
| You know, it's like they just have this ability to like, oh yeah, like this. | ||
| And you're like, wait, but I've been training for five years. | ||
| They just see it and they just have it. | ||
| Yeah, but it's annoying. | ||
| It is annoying. | ||
| If you're a person who's been like studying your whole life and some guy comes around, oh, you mean like this? | ||
|
unidentified
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Yeah. | |
| And then you've got problems. | ||
| Bodies are not fair. | ||
| They're not fair. | ||
| Some people's bodies just work way better. | ||
| Oh, man. | ||
| I mean, for me, I always had a good ear. | ||
| So if I heard an accent, if I heard Olivia Newton-John on the radio or whatever, I could mimic her timbre and the texture really, really easily. | ||
| And so for me, music... | ||
| I mean, obviously, the theory is the theory, and that's something you have to learn, but I had an ear. | ||
| So even if I didn't learn theory, but I kept playing with musicians, I would have been fine, because I would have figured it out. | ||
| When did you start learning music? | ||
| Age five. | ||
| Wow. | ||
| That's a nice advantage. | ||
| So you grew up with a musical mind. | ||
| Yeah, yeah. | ||
| I mean, I love, you know, my parents, you know, we were in Europe for a while because of the military, Air Force, and we moved around, and so I was born in Stuttgart, and then we moved to, I think, like, Italy, ended up in Spain for two years, the final two years, till age four, then we moved to Great Falls, Montana, to Malmstrom Air Force Base. | ||
| But, uh, in that time, you know, I just love, my parents love jazz, Ray Charles, you know, my mom listened to French, a lot of French or European folk music, like Anna Muscari and Edith Piaf and things like that. | ||
| So I was hearing that all the time and I saw Ray Charles and I loved the way he moved and he had the sunglasses and playing piano. | ||
| And so I used to sit at the edge of the table and pretend like I was Ray Charles. | ||
| And they were like, oh, let's get him a toy piano. | ||
| And they did. | ||
| And then my mom was like, do you want to have lessons? | ||
| I was like, yeah, yeah, yeah, yeah. | ||
| So I was like almost six, five, and I started studying classical piano, like private lessons. | ||
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unidentified
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It was awesome. | |
| Is there anyone that's learned piano without lessons? | ||
| Because I know people have learned guitar without lessons. | ||
| Oh yeah, 100%. | ||
| Yeah? | ||
| Yeah, it's just by ear. | ||
| The piano actually is an easier instrument to learn by ear because it's a grid. | ||
| It's just a grid. | ||
| It's not like when you have a stringed instrument where you have a fretless board like a cello or a violin or something like that, right? | ||
| It's like there's no fret, there's no marking, so you have to really know where to put your finger, and you have to know the technique of bowing. | ||
| There's a lot of complicated stuff. | ||
| A piano, it's like, uh, you know, note, right? | ||
| And then you start to notice, oh, it's a pattern. | ||
| It keeps repeating, but it just goes higher and higher or lower and lower. | ||
| That's interesting. | ||
| Does it feel more limited because it's just you're pressing buttons rather than the creativity that's involved in a musical instrument that has chords that you can manipulate? | ||
| No, I would say that... | ||
| I think what's great about a piano is that, yes, you have like the basic, these are chords and things like that, but you have dynamics. | ||
| Then you have note combinations. | ||
| And then if you really want to get crazy, like John Cage or whatever, prepared pianos where they're putting screws in the string board, you know, or in the, I forget what it's called, but the board where the strings are. | ||
| What do you mean? | ||
| The soundboard, I guess. | ||
| So they would put a screw next to a string so that when you hit a note, it would just vibrate against the metal. | ||
| And they would have certain keys prepared, so they call it prepared piano. | ||
| So John Cage wrote a bunch of prepared piano pieces where they'd modify the soundboard of the piano. | ||
| And then he would write music for it and he would play the music and certain notes would have metallic sounds and sometimes notes wouldn't be there. | ||
| A bunch of stuff. | ||
| So the piano is like, it's a good basic instrument. | ||
| It's a good foundation. | ||
| Now, when digital keyboards came out, a lot of people resisted the sound of digital keyboards. | ||
| I remember when Jump, when Eddie Van Halen- Oh, yeah. | ||
| Huge deal, right? | ||
|
unidentified
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Revolt. | |
| People were very upset. | ||
| Hugely upset. | ||
| Like, what the fuck is this? | ||
| You guys were running with the devil. | ||
| Yeah. | ||
| How did you get to this? | ||
| I know. | ||
| Yeah. | ||
| Still a good song, man. | ||
| Oh, it's an amazing song, but that's how things go, right? | ||
| It's like someone comes up... | ||
| I mean, you know, essentially synthesizers, you know, they came from, what, like the 50s or whatever, like oscillators, things that made... | ||
| All it is is just a sound going... | ||
| And then you have another sound which collides with it, which creates texture, right? | ||
| Because they're battling each other. | ||
| And you change the wavelength and frequency, then multiply that and put it onto a keyboard. | ||
| Now you've got a synthesizer, right? | ||
| But then Buchla, back in the day, had his idea of synthesis was just like... | ||
| Like a strip of like random sounds you could manipulate, just move up and down. | ||
| And so there was a kind of this battle between Buchla's philosophy, which was a West Coast philosophy, and Moog's philosophy, which was an East Coast philosophy. | ||
| But Moog was like, we're going to make the interface a really easy to understand one, which is the keyboard, the piano keyboard. | ||
| What I was going to get to is like, did the current piano keyboards, like the current electrical keyboards, have they gotten to the place where they can actually recreate the sound of a great piano? | ||
| Really close. | ||
| Really, really close. | ||
| Could you tell the difference? | ||
| It's hard because it depends on the context. | ||
| If you're listening to it just naked, and then you're running through tests like the lowest note, a note in the middle of the keyboard, and then the highest note, I think someone who plays piano, they might be able to tell, but now the sampling is so crazy. | ||
| They'll sample one note so many times, and then they duplicate that all the way down the length of the keyboard, and when you hear You can't really hear the difference, especially in a song. | ||
| It just sounds like a real piano. | ||
| Or it sounds like a real Rhodes. | ||
| Like Nord makes the Nord Electro, which is what I usually use. | ||
| It emulates electric pianos, Wurlitzers, and also pianos. | ||
| And I guess organs as well. | ||
| But it sounds so good. | ||
| It almost sounds sometimes better. | ||
| Really? | ||
| Sometimes. | ||
| Just because it's like – imagine the optimal version of a Rhodes like Mark II or something like that or whatever, like a very popular Rhodes – That's a type of piano? | ||
| Yeah, so a Rhodes electric piano. | ||
| It's what you heard the most in the 70s. | ||
| That and Wurlitzer. | ||
| Wurlitzer sounds more plucky. | ||
| You've heard it like... | ||
| That's a Wurlitzer. | ||
| So you've got that. | ||
| And then you've got Rhodes, which is more like Fly Like an Eagle. | ||
| All that stuff from the high stuff. | ||
| And the Rhodes is a little bit more versatile. | ||
| A Wurlitzer is very... | ||
| Oh, that's a Wurlitzer. | ||
| But, you know, all these pianos, it's like, imagine them at their peak condition. | ||
| Because they're mechanical, right? | ||
| You have to send them to a tech to tune them up. | ||
| Maybe the pickups aren't working right. | ||
| Or maybe there's an element that's not functioning properly. | ||
| So imagine the most optimal version of that instrument in just that stays constant. | ||
| And that's kind of like what a Nord is. | ||
| And I know there'll be people out there going like, there's a difference. | ||
| But in general, you know, keyboard players I know, they're very comfortable playing. | ||
| Like my friend who was a Rhodes Hammond B3 clavinet dude. | ||
| He loved the clavinet. | ||
| And the clavinet kind of sounds like a... | ||
|
unidentified
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Okay. | |
| Not the vocal part, but there's a keyboard, and that is the Clavinet with a wah-wah pedal, which was very, very popular. | ||
| But he played all of it. | ||
| Rhodes, Clavinet, Hammond V3. And it was insane to watch him drag this to all the gigs. | ||
| He dragged a full Hammond B3, and we're carrying it like a sarcophagus out of this van, and then into the gig, plus the cabinet, which is the Leslie, the rotating speaker. | ||
| So it was huge. | ||
| I mean, it was huge. | ||
| And then he would put his clavinet on top of that, and he had his Rhodes. | ||
| And so every gig, we had all those things. | ||
| But then the Nord came out, and he was like, ah, fuck it. | ||
| And he just started playing the Nord, because the Nord sounded so good. | ||
| And that was in the early days, and now it's insane. | ||
| And then it had everything. | ||
| Well, kind of. | ||
| Yes, it does. | ||
| But you would still probably want to separate. | ||
| You'd get two. | ||
| You'd get one that's like the stage, which is for like piano sounds. | ||
| And then there's one that's kind of like more oriented to Rhodes. | ||
| And then you have an HP series, which is semi-weighted. | ||
| So it feels more like a Rhodes. | ||
| So it feels it's got a mechanical weighting as opposed to synthesizers, which feels like you're pressing a nothing. | ||
| Like it's just super you could like solo all over that thing with no resistance. | ||
| But The HP series is simulated, and then you got the Hammond version, which has like stacks and drawbars on it. | ||
| So it really goes, and then you can hook that into an actual Leslie cabinet. | ||
| So they make smaller Leslie cabinets. | ||
| So you have a small Leslie cabinet, a Nord organ simulator, and you've got a Hammond B3. So what these simulators do, are they literally recording the sound of an actual piano? | ||
|
unidentified
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Mm-hmm. | |
| So it's not a sound that the thing makes. | ||
|
unidentified
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No. | |
| You're just pressing a play. | ||
| Yes. | ||
| As far as I understand it, yeah, essentially they're doing oversampling or they're sampling multiple, multiple times the instrument. | ||
| Think of it as a super high-res scan. | ||
| And then it's all in like how it's projected through to the amplifier. | ||
| That's great. | ||
| To make sure that the sound actually resembles a piano. | ||
| Or recreates a piano. | ||
| Yeah, and a lot of it has to do with the interface. | ||
| Like how do the keys react? | ||
| Is it similar to how the instrument reacts? | ||
| And then they can build in all kinds of algorithms for that. | ||
| So how hard you're hitting it. | ||
| Or if you hit it really hard, does it have that bite? | ||
| Like a Rhodes, if you hit it softly, it's just like ding! | ||
| But then if you hit it really hard, it goes... | ||
| Kind of. | ||
| Terrible, sorry. | ||
| There's manipulation, mechanical manipulation. | ||
| Yes. | ||
| Just like a real instrument. | ||
| Yeah, and they put that in there. | ||
| And then, like, you know, I remember getting my first synth was a Roland W30, which was technically the first workstation, which was a synthesizer that had a sampler built into it. | ||
| You could write on it. | ||
| It had a 16-track sequencer and was just like a regular synthesizer, but it had aftertouch. | ||
| So if you press a sound and then you pressed a little harder, it would actually make another sound. | ||
| And you could program it any way you wanted, right? | ||
| So it can recreate pretty much any sound that you would in a regular musical instrument. | ||
| But is real important? | ||
| Is real... | ||
| Does it matter? | ||
| Because if you know that what you're doing is pressing play on this thing and it's recreating the sound of a piano rather than actually that little... | ||
| Felt-covered hammer hitting the string and creating that sound. | ||
| Is that important that that actually takes place? | ||
| Because there's implications to this kind of simulation of stuff that would apply to a lot of other things that make people uncomfortable, like love. | ||
| Like artificial love. | ||
| Some robot lady that is, what are we doing? | ||
| We've recorded all the sounds your lover could make. | ||
| You know? | ||
| And if you spank her, like, maybe she'll like it, maybe she won't. | ||
| You're like, what? | ||
| What are we doing? | ||
|
unidentified
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You know what I mean? | |
| But I mean, there's implications here, right? | ||
| Like, we could get to artificial life, and you could have a friend that's not really a friend, who, like, sometimes he flakes on you. | ||
| But it's like, what is this fucking weird program this guy's running? | ||
| What's a human? | ||
| I know. | ||
| I mean, you know, taking it to that level. | ||
| I mean, well, you know, instrument-wise, there's people that argue, like, I have to have my... | ||
| I mean, like, Regina Spector's not going to show up at a gig playing... | ||
| She's not going to play, like, an electronic version of a piano. | ||
| She's not going to play an electronic piano. | ||
| She's going to play a real piano, because... | ||
| Tori Amos. | ||
| Yeah, Tori Amos. | ||
| They have to have their Bosendorfers or their Steinways or whatever. | ||
| They need that instrument because that's how they create. | ||
| They need the weight of it. | ||
| Because when you're behind a piano, the weight of it and seeing the lid up, if that's how you have your playing style. | ||
| But if the lid's up and you can see the length of it. | ||
| Is it a sound issue with the lid up or down? | ||
| Yes, it is, yeah. | ||
| What is the difference? | ||
| They're made to project. | ||
| So that's why you'll see grand pianos at an angle facing, like if you went to a classical performance or went to a theater, you would see the piano and then the lid up. | ||
| It projects the sound outward to the audience. | ||
| And then I guess there's a microphone that's near the piano that picks it up, and you have to figure out where to put the microphone? | ||
| Yeah. | ||
| They'll do that, and sometimes they'll do contact mics as well. | ||
| Oh, like a guitar. | ||
| Yeah, exactly. | ||
| So it plugs right in. | ||
| Yeah, they'll put it on the soundboard. | ||
| So sometimes it'll be on the soundboard or a hybrid system, and so they can mix in between for amplification. | ||
| But in traditional settings in a medium-sized room, they would just let the piano project into the room naturally. | ||
| There's a thing that we're hitting on here, though, right? | ||
| With things being real or not real. | ||
| And in musical instruments, that seems like a very, an applicable analogy. | ||
| Like there's a thing that happens all the time now with musical instruments where you can actually, I mean, you can recreate drums without any drums, right? | ||
|
unidentified
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Right. | |
| Oh, easily. | ||
| Yeah, yeah, yeah. | ||
| Well, I mean, synthesizers were mimicking all kinds of instruments for a long time. | ||
| Not very well, but, you know, early drum machines. | ||
| Basically, it's all the same principle. | ||
| It's a sound wave that's being generated, and then collisions with a secondary oscillator, or sometimes even more, And then you're changing properties of each of those and you can change like how long it plays or if you press it once, does it keep holding if you keep holding it? | ||
| Or do you press it and keep holding it and it stops? | ||
| You know, there's all these parameters like a three-dimensional equation. | ||
| You can shape things. | ||
| So that's why you got like... | ||
| That's all synthesizer. | ||
| It's synthesized. | ||
| So like early organs, when organs were popular back in the day in the 70s or whatever, and you had your sheet music and your organ, and it had the drum machine that Shuggy Otis used, you know, or Sly and the Family Stone notoriously used the organ module for drum sounds and built an entire track around it. | ||
| It's all synthesizers. | ||
| It's crazy. | ||
| Or the 808, you know, the famous Roland 808, which was probably the most well-known drum machine on the planet. | ||
| It was just a synthesizer that only focused on making drum-like sounds that you could program. | ||
| I remember that. | ||
| Obviously, there's a lot of people that have a lot of issues with a lot of these things, like other musicians. | ||
| But the first rumblings I ever heard about it was drum machines. | ||
| People that did not like a fake drum. | ||
| They'd hear it in the background. | ||
| Yeah. | ||
| And they'd get mad. | ||
| Yeah. | ||
| It's a fucking drum machine. | ||
| Yes. | ||
| Yes. | ||
| Of course they're going to get mad. | ||
| I mean, because they perceive it as a threat to perhaps an entire career based on being a drummer. | ||
| Is it that? | ||
| Or is it also that they are no longer appreciating someone's skill? | ||
| Like, if you hear someone play... | ||
| Sure. | ||
| There's skill to it, and you enjoy it. | ||
| You enjoy, like, oh, look at him go off. | ||
| Like, Bill Burr is really good at the drums, and he fucking loves drummers. | ||
| Love him. | ||
| He loves to talk about drummers, and he'll send me clips of guys going off with drums. | ||
| Yeah. | ||
| Like, people who are really good with drums, and there's something. | ||
| There's a piece of that person that's coming out through their playing. | ||
|
unidentified
|
Yeah. | |
| Like if Travis Barker goes off on the drums, that's Travis Barker expressing himself. | ||
| Yeah, well that's the cool thing about it. | ||
| There is no threat, essentially. | ||
| I mean, I'm going back to that threat kind of thing. | ||
| It's like there is no threat in that that person's going to be who they are, and no one's going to replace a drummer. | ||
| I mean, certainly, I used to play sampled drums on the keyboard live for hip-hop groups. | ||
| So I'd just be... | ||
| But I'm just playing it. | ||
| But because it's a drum kit sound, and it's sampled so that however I hit it, if I hit it harder, the snare sounds a little bit harder hit. | ||
| Or if it's softer, it resonates a little bit more. | ||
| I would get into the feel of it. | ||
| So I was kind of like a keyboard drummer, right? | ||
| Yeah. | ||
| So there's that crossover element of it. | ||
| But a lot of drummers, when you're listening to music and you listen to a beat, you're like, wow, that's a really well done. | ||
| They just like rhythm. | ||
| So it's not really about like, oh, fuck those guys. | ||
| It's a drum machine. | ||
| They could have just got a drummer. | ||
| It's like people don't really think like that anymore. | ||
| Now a lot of drummers program their own beats because they just like rhythm. | ||
| But, you know, of course, a player playing, you just can't, there is no substitution for that, you know? | ||
| Hearing people play, and a lot of drummers started playing like drum machines. | ||
| I can remember the end of the Erykah Badu or no, the root song. | ||
| That whole thing, that whole song, it just starts cycling that melody. | ||
| And then you hear at the very end, it's so tasteful. | ||
| Well, at the very, very end, it was when drum and bass was making, was kind of on the scene for a little while since 95. | ||
| And you hear at the end, Questlove starts going. | ||
| He's playing like drum and bass producers making drum and bass beats. | ||
| So he's mimicking that. | ||
| And then there was like a bunch of cats in my own town on our jam nights that purposefully would set up a kit where it would have two or three snares. | ||
| Like this guy K.J. Saka. | ||
| Monster drummer. | ||
| Two or three different kits. | ||
| So essentially he'd just rotate this way and he'd have a different kit, different kit here, and a different kit there. | ||
| So it'd be... | ||
| So it would sound like sliced samples stuck together to make a beat, just like they actually made the beats. | ||
| So you get this call and response that happens. | ||
| So you get like, so there's drum machines, then there's sampled programming, and then you got drummers mimicking sampled programming, and then sampled programmers mixing and hybridizing both of those approaches at the same time. | ||
| So, music is like, there are no limits, and the confines or the constraints or introduction of new technology is more exciting to me as a creator than anything. | ||
| Well, you're a technology enthusiast, though, on top of being a musician, so that also applies. | ||
| But it's like there's a difference in whether or not you're appreciating someone's artistic manipulation of musical instruments or whether you're just appreciating the final sound. | ||
| For some people that don't like myself, I don't know anything about music, but I like sounds. | ||
| I like, oh, that sounds cool. | ||
| And if the sound comes out of an electronic simulator or synthesizer, it's cool, but I think there's something that's really special about the way Gary Clark Jr. plays guitar. | ||
| Are you kidding me? | ||
|
unidentified
|
You know what I mean? | |
| There's something about knowing that that's a dude with strings and he's making these wild noises. | ||
| Oh man, yeah. | ||
| I mean, do you know Thundercat? | ||
| Yes. | ||
| Okay, so Thundercat, genius, total genius, good friend of mine. | ||
| I love him so much. | ||
| He plays the bass like he's playing three instruments at once, right? | ||
| He's one of those guys, he's a hybrid guy, so he's taking the idea of multi-track music And he's playing it live on his bass. | ||
| So you hear him essentially, like how a beatboxer will beatbox, and you think you're hearing the whole song, like let's say they're doing a cover or whatever, and it's just them, there's no effects, they're just doing it, and you're like, oh, there's the melody line, there's the hook, oh, and there's that drum beat, oh, and there's the bass line. | ||
| But they're doing this trick where some of their body is playing aspects of the rhythm. | ||
| Melody-wise, they're figuring out ways to sneak breaths in, use an inhale as a rhythm sound, an exhale as a rhythm sound. | ||
| Then they're using their voice to put a melody in there, then sneaking a bass line in between the notes, fluctuating. | ||
| And there's actually some notes missing, but your brain fills it in because it's a cover. | ||
| You've heard it before. | ||
| So it's a trick. | ||
| So they're essentially suggesting the things you already know by constantly referencing them, but they're sewing it together in one thing. | ||
| And Thundercat's the same way. | ||
| He's like playing rhythms, chords, melodies at the same time. | ||
| All at the same time. | ||
| And it's just mind-blowing. | ||
| I love watching musicians like that. | ||
| Is this his own sort of style that he's created? | ||
| Yeah. | ||
| Yeah, it's kind of like, imagine like, it's an evolution of jazz fusion. | ||
| So Jaco Pastorius, for instance, like the innovator fretless electric bass guitar. | ||
| And then you got like, I'm forgetting his name, Clark. | ||
| His last name is Clark, but he was a giant hands, amazing bass player, or Pino Palladino. | ||
| You know, like they're these monster bass players. | ||
| They have like five string basses, you know, just like thick necked basses and they're playing... | ||
| What's a normal bass have? | ||
| How many strings? | ||
| Four? | ||
| Four strings, yeah, and then you've got five, sometimes even six-string basses. | ||
| They're just insane. | ||
| So you've got people that are hybridizing. | ||
| It's like, this is my instrument. | ||
| I learn on a four-string. | ||
| I can hold it down. | ||
| I can do this. | ||
| I can do that. | ||
| But I want more. | ||
| So they start figuring out ways to sneak in, like, oh, now I'm going to make a sound. | ||
| If I hit the body of the instrument, the pickups, I put in a different pickup. | ||
| So when I hit the body of the instrument, it sounds like a drum sound. | ||
| So now I'm like hitting it, strumming, doing hammer-ons so I don't actually need to be strumming and I'm hitting doing melodies, still playing a melody on the fretboard and then pulling, slapping, you know, it's crazy. | ||
| But yes, but to your point, musicianship, to see it... | ||
| It's amazing. | ||
| But there are musicians, I'm trying to think of his name, short term memory gone. | ||
| He plays a grid, which was pretty popular six or seven years ago. | ||
| It's just a grid of lights and you assign sounds to it. | ||
| And he's playing both of them with his hands. | ||
| So he's playing samples and beats and rhythms that sounds like electronic tracks. | ||
| And when you're hearing it, you're like, oh, he's just playing along to a track. | ||
| It's like, no, he's doing everything. | ||
| At once. | ||
| So it sounds like a full on techno track, but he's like, you know, and, but he's like, you know, it's insane to me. | ||
| It's funny how people like to dismiss certain things as being either not legitimate or not good. | ||
| Like scratching. | ||
| Like DJs. | ||
| Some DJs, yeah, they are sampling other people's music, but the way they're putting it together is unique and it's really entertaining. | ||
| There's something cool about it. | ||
| Russell Peters is a legit DJ. Oh, I didn't know that. | ||
| You didn't know that? | ||
| Yeah, Russell's legit. | ||
| And you talk to Russell about DJs that are not really DJs. | ||
| They just press play on their laptop. | ||
| He gets furious. | ||
| He fucking hates it because he really spins records. | ||
| He's got the headphones. | ||
| He's doing the whole thing. | ||
| Yeah, he's mixing live. | ||
| Exactly. | ||
| Well, yeah. | ||
| I mean, essentially, I've been asked to DJ parties, and I'm literally—it's what you call selectors. | ||
| You can be a selector. | ||
| Don't call yourself a DJ. You can call yourself a selector. | ||
| You're just someone who's like, oh, this song would be nice next. | ||
| And then you press, the song ends and then you press play for the next song. | ||
| But isn't DJs a weird word, right? | ||
| Because it used to be disc jockey, which is a guy on the radio that just played songs. | ||
| Right, that's true. | ||
| So that's the original DJ, had nothing to do with mixing. | ||
| Not technically, I mean, other than the records, right? | ||
| So like back in the day, like, oh, I had a record player and the guy's like, oh, wait a minute. | ||
| What? | ||
| And I'm like, oh, but if I also use the volume fader... | ||
| So they were still a DJ, technically. | ||
| But not the guys who were on, like, Wolfman Jack. | ||
| Hey, everybody, this is Wolfman Jack. | ||
| They were just DJs. | ||
| Like, that was the original... | ||
| Like, the word DJ changed. | ||
|
unidentified
|
Sure. | |
| A hundred percent. | ||
| A hundred percent. | ||
| No. | ||
| But it's just, you know, it's how we develop things. | ||
| Like, hey, Mr. DJ. You know, it's just... | ||
| There's still a disc jockey. | ||
| The DJ saved my life from a broken heart. | ||
| Yes. | ||
| I mean, it's so funny when you talk about artifice and the difference between, let's say, produced music that uses samples and drum machines and things like that, and then performed music, live music. | ||
| It's interesting, the era that we're in now, I would say arguably for the last 10, 15 years, moved away from bands so much. | ||
| I mean, bands still exist in subculture, for sure, and you'll see them on alternative magazines, and there's tons of bands. | ||
| There's bands still. | ||
| But the stuff that hits the mainstream... | ||
| That you get essentially like Nickelodeon Disney artists that get installed as pop stars, right? | ||
| Nothing against them. | ||
| They're fine people or whatever. | ||
| But the system is based off the real stars of this system are producers. | ||
| It's producer based music. | ||
| So the producer is kind of the star. | ||
| The singer is kind of the front person. | ||
| So they're the face of it, right? | ||
| So they represent the music. | ||
| So in a way, it's kind of like corporate music. | ||
| You know, it's like their tracks, like some of them can be like really great sounding, but then you look at the liner notes and 14 songwriters, you know, whether that's true or not. | ||
| Some people just want to be included because they're in the room or whatever. | ||
| But you get like credits of like 14 songwriters, seven songwriters, five songwriters. | ||
| And then the producer is really the one that makes it all shine. | ||
| It's not like Fleetwood Mac sitting down and recording Rumors, which is a whole different thing when you hear that. | ||
| You're like, oh my god, this is so beautiful and constructed and the musicianship and the production, blah, blah, blah, blah, blah. | ||
| Now you get tracks that, you know, they're cool. | ||
| I mean, they're fine. | ||
| They sound good in the club and all of that stuff. | ||
| But in comparison, it's a complete paradigm shift. | ||
| It's interesting. | ||
| It's got to be so difficult to get a bunch of people that are really creative to agree how music comes together. | ||
| Like, if you get five people that are in a band, and, you know, you got your guitar player, your lead singer, the drummer, everybody's all together, and they have to figure out how to agree. | ||
|
unidentified
|
Mm-hmm. | |
| That's got to be so difficult because you have egos and different visions and different creativity and I think the drum solo should be longer. | ||
| Well, you know, it depends on the situation, right? | ||
| Because sometimes there's a songwriter, right? | ||
| There's one songwriter in the band or there's two songwriters in the band. | ||
| The band's a five-piece. | ||
| So essentially... | ||
| In a healthy, functioning group of musicians, whether it's collectively created or whether it's steered by one or two people, they all agree that they're in service of what the music wants to be. | ||
| So when you hear something like, oh, that's dope. | ||
| Can you play that again? | ||
| Like, oh, yeah. | ||
| Oh, that's dope. | ||
| Hold on. | ||
| I got an idea. | ||
| It's more like that. | ||
| In a healthy situation, you're hearing something, you're inspired, and you're adding something. | ||
| Then someone's like, okay, great. | ||
| And like, yeah, but we need a bridge or something. | ||
| It's like, well, I was kind of messing with these chords. | ||
| Actually, I like that, but can you change that third chord like this? | ||
| Like, yeah, yeah, yeah, that's it. | ||
| That's kind of like, in my best healthy experiences, that's how music is made. | ||
| Because you're not like... | ||
| Personally generating the music, you're listening to something that wants to exist in the world, and you're kind of in service of it, is generally how I like to look at it. | ||
| Some people will, yeah, their ego will come into it. | ||
| But their ego will get into it, and they start to confuse where they're getting their ideas from, because they start to claim full responsibility for it. | ||
| Right, let's think about how many great bands fall apart because of personality battles. | ||
| Totally. | ||
| You know? | ||
| Yeah, especially when they started in a great place. | ||
| Yeah. | ||
| You know, when a band starts and they're like, oh yeah, we were having so much fun and then something happened, we got more fame. | ||
| Somebody brings their girlfriend into the recording sessions. | ||
| Somebody brings their girlfriend into the recording session or a manager, you know, gets involved and starts dividing people and going, hey man, you know, you're the real star. | ||
| You know, that kind of stuff. | ||
| Yes, that kind of shit. | ||
| Oh my god, that's so common. | ||
| If that happens, I'm out of there. | ||
| That's not why I'm doing what I'm doing. | ||
| It's like, you know, I had this thing with Louis back in the day, Louis C.K. So I did this gig he wanted me to do, or he had me be kind of a music coordinator for Louis, the series. | ||
| And they said, here's the budget, right? | ||
| Can you duplicate all of these songs for my series? | ||
| Because we don't want to pay the licensing fee for the actual track. | ||
| So we want sound-alikes to his tracks that he wanted to be on the thing. | ||
| So I was like, okay, cool. | ||
| I got together a sick dude, my friend Matt Kilmer, who's an amazing frame drummer, drum player, producer guy. | ||
| He comes in, finds these really cool group of guys. | ||
| They come together. | ||
| They're all improvisers. | ||
| They're super fast. | ||
| I have a list of music we're supposed to replicate. | ||
| We just go through it. | ||
| Matt's guiding them through it, MDing the whole thing. | ||
| I'm just kind of coordinating. | ||
| We get everything done. | ||
| And then at the end of it, we're like, cool. | ||
| We got all the songs. | ||
| They're like, yeah, we love it. | ||
| And I'm like, now we just need to mix the songs. | ||
|
unidentified
|
And then they're like, whoa, whoa, whoa, whoa. | |
| No one's saying anything about mixing. | ||
| I was like, are you kidding me? | ||
| Like, you know, mixing is an important part of music, right? | ||
| You make the music, you record the music, now it needs to be mixed to sound really great, and then it needs to be mastered. | ||
| And so they, like, didn't get that, or they pretended like they didn't get it. | ||
| And then they were, like, saying, well, we're gonna have to take that out of your fee, or whatever. | ||
| And so I was like... | ||
|
unidentified
|
No. | |
| What? | ||
| Why? | ||
| What's happening? | ||
| And then it just kept going back and forth with the producers about like, yeah, you know, that's not cool you didn't tell us. | ||
| And then I was like, you know what? | ||
| Fuck it. | ||
| Keep all my money. | ||
| Use it for the recording session. | ||
| I'd suggest you keep Matt, because he's the guy who really did all the heavy lifting. | ||
| And I'm out of here. | ||
| And I just left. | ||
| Because there's no point. | ||
| I'm not in this industry. | ||
| I'm not in the entertainment industry. | ||
| Because I... Because it's all about money and all about opportunity. | ||
| I just want to have a good time. | ||
| You want to create. | ||
| I want to create and I want to have a good time. | ||
| And if someone starts to make a big deal about something... | ||
| So they just didn't understand the process of making music. | ||
| That's what they said. | ||
| So you think they did and they were being manipulative because they wanted to save money? | ||
| I don't want to say either way necessarily, but it felt shady to me. | ||
| It felt like maybe they didn't know, then they figured out that that's true, but then they still stuck with their story. | ||
| Reggie Watts, you had a Hollywood moment. | ||
| I had a Hollywood moment. | ||
| I was like, whoa, this is that thing that, oh yeah, this happens or whatever. | ||
| But the good thing is they kept the dude. | ||
| Matt Kilmer did the music, MD'd the music for the next season. | ||
| I don't know how many more seasons they did, but at least the second season. | ||
| So that was good. | ||
| I knew he had a gig. | ||
| He was really good at it. | ||
| We figured it out. | ||
| My point is, if a process becomes too difficult and everyone's being super tedious about it, and you're talking about making something, like a piece of art, I'm like, you know what? | ||
| Let's just simplify it and cut the thing that we're having a problem with, or if it's too much trouble, let's just not do it, because it's not fucking worth it. | ||
| It's like, we're here to have a good time. | ||
| Yeah. | ||
| Well, also, you don't need it. | ||
| You have a lot of things going on. | ||
| You can just walk away. | ||
| Yeah, true. | ||
| But arguably, just to keep it real, back in the day when I wasn't really making dough, and I was just gig to gig, barely making rent or whatever, If a project was, like, too difficult, I just had to get out of there. | ||
| It's just not worth it to me. | ||
| Like, I would rather just, like, figure out, like, ah, shit, how am I going to borrow money to make rent rather than, like, continue to, like, go to a rehearsal space where it feels shitty. | ||
| Isn't that... | ||
| It's so interesting because, like, if it all comes together, whether it's with comedy or with anything else, some creative... | ||
| Venture, some sort of thing where you're just trying to make something. | ||
| It comes together and it feels great. | ||
| But then, if you're doing that and then you got some situation, like you got some executive that stepped in and has decided to put their greasy little fingerprints all over everything and manipulate stuff and tweak things and tell you what you can and can't do and pull their dick out, and you're like, oh no! | ||
| What have we done? | ||
| We've gotten mixed up with commerce and nonsense and non-creative people. | ||
| It's the number one problem with television shows. | ||
| When you have the creative people, the artists and the performers, and then they interact with the executives who are almost never creative and counter often to creativity. | ||
| 100%. | ||
| Well, that's why if you have a producer that's willing to fight for the vision of a piece, and you also set the criteria before you get into it. | ||
| That's the important thing. | ||
| But once you get going, man, people reveal their true selves. | ||
| That's the problem. | ||
| Yeah, that's true. | ||
| But even in that situation, I've been really lucky. | ||
| I've had maybe two Hollywood experiences like the one I described. | ||
| Most of the time it's like if you're a judge of character and it feels good when you sit down at the meeting and they're talking a good game and talk to other people who've worked with them and they're like, they're really great. | ||
| You can avoid all that shit. | ||
| Or if you work with someone like Netflix who's just like, Uh, are you going to make it? | ||
| Yeah. | ||
| Okay, we'll see when it's made. | ||
| Yeah. | ||
| That's about it. | ||
| That's what they do with stand-up specials. | ||
| That's what they do with my special, which was super weird. | ||
| It's amazing. | ||
| And they were like, okay, cool. | ||
| Great job. | ||
| I was like, that's how you do it. | ||
| That's how you set the precedent. | ||
| Yeah. | ||
| You just, you just like allow the artist to, if you're, if you have a meeting with the artist and they have a very clear vision and they've laid it out and they've got really great team around them, then just let them do the thing. | ||
| Yes. | ||
| Yeah, they've been great with that. | ||
| Netflix is probably the best ever at just letting you do a special. | ||
| Yeah, 100%. | ||
| I had a conversation once before I did a Comedy Central special, and we went over the phone. | ||
| We had a phone call, and they said, okay, we have a transcript of your act, and we'd like to talk to you about various bits. | ||
| And they're like, okay, this we've got to change. | ||
| I'm like, what do you mean we've got to change? | ||
| And they go, well, it would be better if you didn't say it like that. | ||
| I go, stop. | ||
| We're done. | ||
| The phone call was like 10 minutes long. | ||
| It was supposed to be an hour conversation. | ||
| I was like, we can't do this. | ||
| I go, thank you, thank you, but I'm not going to do it. | ||
| And they're like, what? | ||
| And I was like, yeah, I'm not doing it. | ||
| We can't do this. | ||
| I can't do this special. | ||
| There's no way I'm going to go over the transcript on the phone with you of my act. | ||
| Because first of all, I'm not even going to say it the way it's on the... | ||
| The transcript was one set at the comedy store that we recorded and then someone transcribed. | ||
| I might not do it that way in front of a live audience because I'm kind of free-flowing. | ||
| I fuck around. | ||
| I mix things up. | ||
| I'll do this bit third instead of first and that bit fifth and they'll tie together in a different way because I feel it in the moment. | ||
| Yeah. | ||
| Yeah. | ||
| I mean, it's just not – there's no way I could do that. | ||
| Well, first of all, I don't have a transcript. | ||
| So that gives me a little bit of an edge. | ||
| You just have to trust that I'm – I mean, the first time I did the – was it The Tonight Show? | ||
| Or no, The Fallon Show. | ||
| Before he had The Tonight Show, was it just The Jimmy Fallon Show? | ||
|
unidentified
|
What was it? | |
| I think it was just The Jimmy Fallon Show. | ||
| He had a show before The Tonight Show? | ||
| Yeah. | ||
| It was just the – I think it was just Jimmy Fallon. | ||
| Was he like late night or something? | ||
| Yeah, it was a late night show. | ||
| Like he had the Conan O'Brien spot or something? | ||
| Is that correct? | ||
| Anyways, maybe it was. | ||
| I'm sorry, I'm confused. | ||
| Are you thinking of Carson Daly? | ||
| No, no, no. | ||
| Definitely not Carson Daly. | ||
| It was when Fallon, well, I guess he's still in New York, but he was in New York. | ||
| He was doing the show. | ||
| The Roots were the band. | ||
| And my friend... | ||
| Todd was working as a writer there, and they suggested I do a set there to do a live comedy set. | ||
| And I remember the producers calling me. | ||
| We had a phone meeting or whatever with my manager. | ||
| And they were just like, yeah, do you have any examples of what you're going to do? | ||
| And I'm like, no. | ||
| Do you have a transcript? | ||
| I'm like, no. | ||
| And they're like, well, we'll get back to you. | ||
| And then they let me do it. | ||
| And I remember the producer... | ||
| Paging the curtain for me before I was going out. | ||
| And he's like, you're not going to do anything like embarrassing to us. | ||
| And I'm like, no, man, it's fine. | ||
| You know, whatever. | ||
| And they let me go. | ||
| And I knew they were like so nervous about it because they didn't have any, you know, there was nothing to verify with what I was going to do. | ||
| And then I did my set and it was totally fine. | ||
| Right. | ||
| But the thing is, like, I've built in the ability for people that you're either going to like want me or not. | ||
| Yeah. | ||
| It's not like, can you modify your... | ||
| You figure your way through the net. | ||
| Yeah. | ||
| I mean, if they say, like, you shouldn't swear, I'll do that. | ||
| That's easy. | ||
|
unidentified
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Yeah. | |
| That's super easy. | ||
| I don't swear a lot. | ||
| And when I do swear, it's just to be absurd. | ||
| Yeah. | ||
| But, you know, it's funny. | ||
| It reminds me of, you were talking about, like, kind of people coming in and ruining ideas or whatever. | ||
| It's like my whole thing with, like, you know, I started this, a little bit of a plug, but I started my own app called WhatsApp. | ||
| What is it? | ||
| It's like a, think of it as like my own social media account, if you will. | ||
| It's just like, essentially like a glorified website, right? | ||
| But it's an app. | ||
| You go on there, all my videos are on there, or videos that I want to be on there. | ||
| I have this stupid web series called Droneversations, which is me interviewing people, but it's all shot on drones. | ||
| And the drones are super loud and you can barely hear the conversation. | ||
| Yeah. | ||
| How long did you develop this app for? | ||
| We developed it for my friend Oliver Thomas Klein, who's a genius. | ||
| It probably took maybe a year to build or less. | ||
| It's a conversation, getting an app going. | ||
| I was looking at getting an app going a few years back, and I met with some people, and the numbers they were throwing around, I was like, wait, how much? | ||
| Oh, yeah. | ||
| I remember being quoted close to $200,000. | ||
| Oh, I was double that. | ||
| Really? | ||
| Yeah, it was like half a million bucks. | ||
| Oh, yeah. | ||
| And that wasn't even sure. | ||
| They weren't even sure we could get it done with that. | ||
| It's like I was building a house. | ||
| Here's the initial estimate. | ||
| Yeah. | ||
| I mean, I worked with some really great people. | ||
| My friend Sasha, who's a brilliant creative advertising person. | ||
| She now has her own company. | ||
| She sells this product called Period Pants, which is like period pants for women, with this no bullshit kind of thing. | ||
| Whatever. | ||
| Women's hygiene can be simplified. | ||
| We have a solution for it. | ||
| What is the solution? | ||
| It's called Period Pants. | ||
| What do they do? | ||
| They're underwear. | ||
| That have an absorbent material in it. | ||
| It's not a new concept. | ||
| Built into the pants? | ||
| Built into the pants. | ||
| So the pant itself is the absorbent thing. | ||
| So you got a padding in the pants. | ||
| Do you Velcro it out and throw it in the wash? | ||
| No. | ||
| You wash the whole thing. | ||
| Just like underpants. | ||
| So essentially it's just like special underpants that have an absorption layer to it. | ||
| Which is fucking brilliant. | ||
| And her campaign is brilliant. | ||
| She did Impossible. | ||
| The first Impossible Burger campaign. | ||
| Impossible. | ||
| The whole thing, the image of it and how it was presented, that was all Sasha Markov. | ||
| But she linked me to some people, some designers, who were really amazing people. | ||
| And I sat down, designed with them, and thought about all the stuff. | ||
| And they're like, cool, let me find a development team, get back to you. | ||
| And the budget was like... | ||
| I was thinking about like 30 grand, 35 grand, and they're like, how about 190? | ||
| And I'm like, I don't have that money. | ||
| That's like a lot of money. | ||
| That's so much money. | ||
| So much money. | ||
| And then Sasha was like, no, no, no, no. | ||
| There's got to be someone else. | ||
| And then she found a producer who then linked me to Thomas Oliver Kline, or Oliver Thomas Kline, and And he gets on the video call with us. | ||
| And I'm like, this is what I want to do. | ||
| 30, 35 grand. | ||
| And he's like, oh yeah, I can do that. | ||
| Really? | ||
| And I was like, for real? | ||
| And he's like, yeah. | ||
| And he did it. | ||
| 35 grand. | ||
| I had my app. | ||
| Now we've made additions to it that have cost more to implement. | ||
| But he was completely accurate. | ||
| It was one dude and my app was made. | ||
| I have a friend who has an app for meditation. | ||
| He built this app and then had to redesign the entire thing and start all over again with a new team. | ||
| Yeah, that happens. | ||
| Yeah, I mean, with mine it's great because we thought about modularity and expansion from the beginning, and he's a super smart dude. | ||
| He's into crypto and all that stuff, even before crypto was crypto. | ||
| Is he into Dogecoin? | ||
| Dogecoin. | ||
| How do you say it? | ||
| Dogecoin. | ||
| Does anybody really know how to say it? | ||
| Doggy coin? | ||
| It's Doge. | ||
| Yeah, it's Doge coin. | ||
| Yeah, Doge. | ||
| Doge. | ||
| But, you know, and I was just like, you know, Instagram's great, but you're at the whim of their aesthetics. | ||
| You know, plus you're being tracked, and it's really just a shopping. | ||
| And they can just decide to demonetize you, or rather de-platform you, or just... | ||
| Shadow ban you. | ||
| Yeah. | ||
| Algorithmize you or whatever. | ||
| Yeah. | ||
| And if you develop an application and that application is 100% you, then you're free. | ||
| Yes. | ||
| That's totally it. | ||
| And that's why I did it. | ||
| And I was like, okay, well, I'm going to put Droneversations up there. | ||
| And Droneversations, I had Thundercats. | ||
| Let me see Droneversations. | ||
| Yeah. | ||
| Are there any of them online? | ||
| Can we watch? | ||
| Yes. | ||
| Or do you have to do the app? | ||
| No, I think there might be some online. | ||
| Yeah. | ||
| There's Jack White, Feist, Thundercat. | ||
| Go to Thundercat. | ||
| Yeah, Thundercat. | ||
| Fred Armisen. | ||
| It's a stupid idea, but I wanted to do it for so long, and I was like, you know what? | ||
| I'm gonna become my own production company, and I'm gonna stop pitching. | ||
| I mean, I'll keep pitching, but if no one's into an idea, I'm just gonna make it. | ||
| So this was one of the first. | ||
| Put it on the app, and then I put pictures on there. | ||
| I can send messages to fans, so I'll be like, hey, you look cute today. | ||
| As a notification or whatever. | ||
| And it doesn't cost anything. | ||
| There's no monetization. | ||
| I have a store, so that's a hard thing, right? | ||
| I go to a store. | ||
| There's a price. | ||
| I pay that price. | ||
| There's no hidden costs. | ||
| Everything is transparent. | ||
| Oh, that's really dope. | ||
| That's such a Reggie Watts thing to do. | ||
| Oh, man. | ||
| You have no idea. | ||
| I was so stoked. | ||
| And then I'm going to do the first, well, I don't know if it's the first, but volumetric live stream, because I have live streaming on it, too. | ||
| Cool. | ||
| It's the only one I can find. | ||
| Oh yeah, this is me and JoJo. | ||
| Let me hear this. | ||
| Swimming for like half an hour is super hard and I was like, I'm not cool. | ||
| I would just be swimming all the time and that would be a great way to burn calories. | ||
| You have a Chinese rice farmer's hat on. | ||
| I do. | ||
| You're just fucking around. | ||
|
unidentified
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You can do it forever. | |
| People, I mean, old people like to do it. | ||
| And you're both wearing masks. | ||
| Yeah. | ||
| And you're outside. | ||
| Well, this was the early days. | ||
|
unidentified
|
Like beating myself up. | |
| Oh, but now she gave up on the mask. | ||
| Now it's a chin strap. | ||
|
unidentified
|
I release that energy. | |
| Oh, really? | ||
|
unidentified
|
That's what that shit's about? | |
| Yeah. | ||
| Do you tend to write about your life experiences? | ||
|
unidentified
|
Yeah, and I'm sick of mine. | |
| It's so stupid. | ||
| It's so ridiculous. | ||
| It's so dumb. | ||
| That's the dumbest shit ever. | ||
| It's like you've been attacked by bees. | ||
| Yeah, it's just constant. | ||
| And yeah, the Fred Armisen one's great. | ||
| Where'd you film this? | ||
| This is at that, I forget, Elysian. | ||
| It's on the edge of Elysian. | ||
| And that sculpture, this, right there, it's on the edge of Elysian. | ||
| It's got this beautiful... | ||
| Shot of downtown and I was super into her single and so I wanted to like have the show turn into a music video and just suddenly out of nowhere and it and it totally turns into that the music video and It's it's just a fun idea to do and I wanted a platform that I can do this on and and like you know and so I'm doing this live stream thing I um with this crew called uh fifth planet and they do volumetric capture which is basically a bunch of uh microsoft azure | ||
| connect cameras in a circle around you and in real time you can actually manipulate the camera like while i'm doing a video you can actually manipulate the raw feed and um so it'll look i wish there was a way to show you but uh there's a it looks like a It looks like science fiction, like a hologram, but I'm doing a bunch of experiments, and so I'm going to do three of those as a live stream, some comedy or whatever, in a studio, so you can watch on WhatsApp. | ||
| And then later, that will become a full compressed music video with beautiful sound and everything, and that will be put on a looking glass portrait holographic display. | ||
| Okay. | ||
| So I'm now producing content for the Looking Glass Holographic Display, which doesn't require glasses. | ||
| You're just looking at this frame and there are just holograms inside of it. | ||
| It looks like a box with things happening inside of it. | ||
| You don't need glasses for it. | ||
| And they're planning on scaling. | ||
| So eventually, imagine you're going to have a 50 inch holographic display. | ||
| Using a technology that just projects like 45 different angles simultaneously and your brain puts it together as three-dimensional. | ||
| Oh, wow. | ||
| So it's an incredible technology and I've known those guys way back since 2010 when they just had like a box with a bunch of LEDs inside of it. | ||
| Whatever happened to Magic Leap? | ||
| Remember those sort of misleading commercials? | ||
| They kind of disappeared, didn't they? | ||
| They showed you like a ballerina dancing on a man's hand or on a girl's bed. | ||
| The AR shit, yeah. | ||
| Well, it's like the great AR future. | ||
| There's this huge promise of like, oh, you'll be able to put on a pair of glasses and blah, blah, blah. | ||
| And that's still being worked on, and Apple will release something like that in the future. | ||
| But... | ||
| You know, it's still pretty limited, but what's exciting about like the looking glass technology is like a bunch of friends can walk into a room. | ||
| If that was your monitor, they would see it. | ||
| Just happening immediately. | ||
| And you don't need any special gear. | ||
| It's just happening. | ||
| And it looks fucking fantastic. | ||
| So I'm going to do a scene with actors. | ||
| It's going to be a really dumb scene with actors. | ||
| But because all the camera angles are happening simultaneously, I'm going to take the feed, give it to a traditional editor, and they're going to rotate, push in, create the insert shot of someone setting down a cup, the two-shot, the master shot, the singles, just from the one performance. | ||
| Oh, wow. | ||
| So all the information's there. | ||
| Exactly, yes. | ||
| Now, the resolution might be kind of crappy when you push in to something that's, even though it's 4K 60 frames, you're like, someone's sitting down a glass. | ||
| It might look artifact-y and stupid, but I don't really care. | ||
| It's about, like, can we create a traditional 2D linear edit with volumetric capture, which is the holy grail of filmmaking in the future. | ||
| That'll be one of the things we'll use. | ||
| So I'm excited about that. | ||
| So I'm running that experiment that same live session as well. | ||
| Have you fucked around at all with VR movies? | ||
| Yes. | ||
| I made something called Waves with my friend Benjamin Dickinson that had Natalie from Game of Thrones in it. | ||
| But yeah, it was just like you put on the VR headset and it's a movie. | ||
| It's not interactive. | ||
| Who's Natalie from the Game of Thrones? | ||
|
unidentified
|
Which one is she? | |
| I feel terrible that she's going to kill me. | ||
| You'd know her. | ||
| Cersei's? | ||
| Oh, there you go. | ||
| There she is. | ||
| Yeah, there she is. | ||
| Yeah. | ||
| Reggie Watts is no stranger to, well, to pushing the boundaries of both technology and humor. | ||
| And he just found a way to do both at once. | ||
|
unidentified
|
Yeah. | |
| Oh, wow. | ||
| Oh, wow. | ||
| So this is all in VR. Dude, this is crazy. | ||
| And it's a story. | ||
| It's not interactive. | ||
| That's why when you say movie, that's what it was. | ||
| Wow. | ||
| And you did all this with a green screen like this? | ||
| Yeah. | ||
|
unidentified
|
Wow. | |
| And she was so cool. | ||
| She was doing Game of Thrones and she didn't have to do it at all. | ||
| And she was like, sure, let's go for it. | ||
|
unidentified
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Wow. | |
| Yeah. | ||
| And I've never even seen this. | ||
| That's crazy. | ||
| Yeah. | ||
| And this was all my design. | ||
| I mean, not the design design, but the concepts were there. | ||
| The designer obviously made it happen. | ||
| So that was my first thing. | ||
| Me and Ben did that. | ||
| How long ago was this? | ||
| That's a long time ago. | ||
| It was like, I want to say 2000... | ||
| 2017? | ||
| Yeah. | ||
| Let me say 2017. No, I think it was earlier than 2017. Well, no, actually it was 2017. And since then, I've done social VR and alt space. | ||
| I've done Sansar. | ||
| Oh, and then there's this company called 3D Live that I just saw an NFT installation on the 59th floor of the U.S. Bank Tower just this last weekend. | ||
| You wore 3D glasses for... | ||
| Floor to ceiling display, I don't know, 60 feet across and a wraparound. | ||
| 3D glasses, the NFTs are floating holographically in the center of the room. | ||
|
unidentified
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Jesus. | |
| There's like rings that appear from the monitor and they just kind of ring out and the rings are floating in front of you and you can like kind of put your hands in it and it's rotating around. | ||
| It was insane. | ||
| And I couldn't believe it. | ||
| And so I'm like, well, now I need to do a performance with that. | ||
| And now I'm going to do a performance with... | ||
| Because the guy who did his name is Young Orbseer. | ||
| He was the guy showing his NFTs in the gallery. | ||
| He used to work... | ||
| Or I guess he still works for 3D Live. | ||
| But he used to be behind the scenes. | ||
| Now he's made his own installation. | ||
| He's in NFTs. | ||
| Hold, please. | ||
| Explain NFTs to people that don't know what you're talking about. | ||
| Because I don't know what you're talking about. | ||
| I do, but I don't. | ||
| I know it's a non-fungible token. | ||
| I'm not exactly sure what that means. | ||
| Yeah, yeah, yeah, yeah. | ||
| Well, it's just not very fungible. | ||
| You know, tokens are super fungible. | ||
|
unidentified
|
Got it. | |
| These aren't very fungible. | ||
| I don't even know if I was on Jeopardy. | ||
| What is fungible? | ||
| I don't even know what that means. | ||
| What does fungible mean? | ||
| Okay, let's Google it. | ||
| I think it's duplicatable. | ||
| Yeah, like duplicatable maybe or something. | ||
| Let's Google it. | ||
| Yeah, google it. | ||
| What is the... | ||
| Go to DuckDuckGo so they'll give you the truth. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| Give me the truth. | ||
| Okay, here it goes. | ||
| It's an economic term. | ||
| Oh, of goods connected for without an individual specimen being specified, able to replace or be replaced by another identical item, mutually interchangeable. | ||
| It is by no means the world's only fungible commodity. | ||
| Okay, I understand it even less now. | ||
| Yeah, I have heard of fungible used in economics. | ||
| But you can't replicate... | ||
| So, yeah, non-fungible. | ||
| So, basically, it's like, I've made a little video of me, or, yeah, I've made a video of me, a 30-second video of me, like, running around, you know, a park or something like that. | ||
| If I want to make that non-fungible, then I mint it. | ||
| And by minting, you use a minting service like Foundation or Zora, there's many others. | ||
| You get a crypto wallet, and you get the crypto wallet set up. | ||
| You put money in it. | ||
| It's converted into the crypto of your choice. | ||
| So let's say ETH, which is very popular. | ||
| What? | ||
| Ethereum. | ||
| That's a very popular crypto? | ||
| Do you know about that? | ||
|
unidentified
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Yeah, ETH. Fucking nerds. | |
| Actually, it's... | ||
| But yeah, so these are some NFTs that we created. | ||
| So see that one on the very top left? | ||
| That's the looking glass holographic display. | ||
| And so that device, we made an NFT, me and my friend Panther Modern, his name is Brady Keene, check out his music, it's fucking disgusting. | ||
| So he made the 3D motion graphics and the TVs and designed all of that stuff with the wires. | ||
| We shot a bunch of video of me doing the thing. | ||
| He inserted them on the TV screens. | ||
| And then we formatted it. | ||
| It's on a loop. | ||
| It's got music with it. | ||
| And that is then put into this device. | ||
| And so I'm trying to push this phrase called fidgetal. | ||
| The convergence of physical and digital media. | ||
| So that's like a perfect representation because the NFT is sold with the device. | ||
| So when you bid on it and you win it or whatever, that device is sent to you. | ||
| There's laser etching on the back that says the name of the piece, who made it, and so forth. | ||
| But technically, it's that unit with the hologram. | ||
| So it's the world's first holographic NFT, which was bought by... | ||
| Lee, what's his name? | ||
| Charlie Lee? | ||
| Charlie Lee, who created Litecoin, another cryptocurrency. | ||
| He bought it for almost nothing. | ||
| And so he now has the physical unit that has the hologram in it, and you could ostensibly just put it on a shelf and call it good, or you can use the display to upload more holographic stuff if you want to. | ||
| So that was the first holographic NFT. Those other videos that you saw cycling were just standard. | ||
| Here's a video. | ||
| We've made it an NFT. But then someone can't replicate that video? | ||
| Exactly. | ||
| They hold the license to it. | ||
|
unidentified
|
Right. | |
| But if you just replicate it and have it on your laptop, how's someone going to stop you? | ||
| I mean, I guess if you're trying to make money from it, then you couldn't. | ||
| Yeah, something like that. | ||
| You wouldn't be able to make money off of it. | ||
| You wouldn't be able to make money off of it. | ||
| I mean, technically, you could screenshot it. | ||
| You could screen capture it. | ||
| You know, if it's a video. | ||
| In this case, it's a hologram. | ||
| So you would have to have a looking glass device and then you'd have to get the file in order to see it, which it is available. | ||
| But it's stunning when you hear guys like Beeple. | ||
| Like Beeple sold an NFT for, what, $69 million? | ||
|
unidentified
|
Yeah. | |
| He's got a little more with his package, though. | ||
| You get a hair sample. | ||
| Oh, yeah. | ||
| Is that his pubes? | ||
| It could be. | ||
| I hope so. | ||
| I don't know if he's... | ||
| He's got very long, luscious pubes. | ||
| Like, he sends a whole package when you get his NFT. Okay, so you get an image. | ||
| I think this is like an iPad with the image on it. | ||
| The one that sold for a bunch, I believe, was all of them together. | ||
| Yeah, all of them. | ||
| In one video, sort of. | ||
| All of the art for a year. | ||
| It's like 5,000 pieces. | ||
| Yeah, yeah. | ||
| Someone bought it for $69 million in, what, Bitcoin or what? | ||
| Yeah, I think ETH. They have to buy. | ||
| The auction is in ETH. So Christie's, you know, it was auctioned by Christie's. | ||
| It was like ETH. I think it was in ETH. And then how would you go about being actually rich with this? | ||
| How does Beeple go from this to being a baller? | ||
| Oh, well, I mean, well, you know, they bid, whoever bids, you know, just like a regular auction, and then they bid using crypto, and the crypto's transferred before they transfer the file to the... | ||
| So the $69 million in ETH, he could actually put into his account. | ||
| Yes. | ||
| And now he has $69 actual million. | ||
| Yeah, you just convert it. | ||
| And he can get a Ferrari. | ||
| Yeah, you could get one Ferrari for $69 million. | ||
| The thing with ETH though, with some of these contracts, I don't know specifically which one, as I heard him mention this, it's built into the contract. | ||
| So if the person who bought it for $69 million sells it for $100 million, 10% of that goes back to his wallet. | ||
| Oh yeah, that's right. | ||
| $10 million from that. | ||
| Yeah, you set the resale. | ||
| So like on ours we did 15%, which is the average. | ||
| Are you aware of the controversy surrounding the male Mona Lisa? | ||
| Do you know the story about this? | ||
| The male Lisa? | ||
| No. | ||
| No. | ||
| There's the most expensive painting ever sold. | ||
| It was sold for $400 million to the... | ||
| Bin Salam, what is his name? | ||
| Mohammed Bin Salam. | ||
| Am I saying his name right? | ||
| The head of Saudi Arabia? | ||
| MBS. MBS. What is his actual name though? | ||
| I'm sorry. | ||
| I think you were close. | ||
| I fucked it up. | ||
| It's probably Brian Saunders. | ||
| Mohammed bin Salman Salman yes okay the MBS the the head of Saudi Arabia bought it for four hundred and fifty million dollars this is it and the crazy thing is someone bought it at one point in time in the past I want to say for $1,500, and they didn't realize that it may or may not be, because this is where it gets controversial, may or may not be the work of Leonardo da Vinci. | ||
| So it was restored. | ||
| So do the history of this, the controversy and the history of it. | ||
| Yeah, there's a crazy history to it, where someone bought it for an extremely low amount, and then a Russian oligarch bought it for over $100 million. | ||
| See, $1,175 at an attic sale in New Orleans for a dirty painting that he hadn't even seen. | ||
| After a painstaking restoration that I think took a decade, some began whispering that it might be by the master himself. | ||
| So an art dealer in 2005 paid $1,175 for it. | ||
| So 16 years ago, someone paid $1,175 for the most expensive painting ever sold. | ||
| So then this guy, go down, scroll down. | ||
| I can't get this article. | ||
| There's a bunch of other articles that are free that you could read about it, but it's it's a crazy story So this this person I believe started working on it in 2005 started the restoration and then by the time I think it was around 2015 they started realizing like holy shit because I guess sometimes in the past someone would take a great painting and they would paint over it and Yes, I've heard of this. | ||
| Which is crazy. | ||
| Yes. | ||
| And so then there's this insanely painstaking restoration project where you're removing layer upon layer upon layer. | ||
| What? | ||
| $60. | ||
| This was sold for 1958. $60. | ||
| So it gets even crazier. | ||
| Yeah. | ||
| This was an article from 2017 where it was on auction for even less than it just sold for it. | ||
| Yeah. | ||
| So it was on auction for $100 million then, and that's when it was bought by the Russian oligarch before MBS bought it. | ||
| So is the controversy that the person who originally bought it should get a kickback because they didn't know the value? | ||
| No. | ||
| Here's the controversy. | ||
| The controversy is it may not be by Leonardo da Vinci at all. | ||
| I see. | ||
| Or it might be partly by da Vinci. | ||
| I see. | ||
| And so Google this. | ||
| There's a scan of the image. | ||
| And I don't understand the technology involved in the scan. | ||
| But the scan apparently revealed that there's more than one era of painting. | ||
| Or there's more than one application of painting. | ||
| Meaning that more than one person worked on it at more than one time. | ||
| Like an exquisite corpse. | ||
| Oh, this is the original Mona Lisa, so this might not... | ||
| No, no, this doesn't reveal it. | ||
| This is not it. | ||
| It's about... | ||
| There was a digital scan of that painting. | ||
| What is it called again? | ||
| It said male Mona Lisa. | ||
| I don't know. | ||
| There's another name for it. | ||
| There's a name for that painting. | ||
| I forget what it is. | ||
| Salvatore Mundi. | ||
| So when they did the scan, there's something about the hands and the way the paint is done on that in relation to the rest of it that it's like, you know, they're talking about like fucking microns. | ||
| They're measuring depth and layers and age and all sorts of different shit. | ||
| Well, you're dealing with $450 million for a fucking painting. | ||
|
unidentified
|
Jesus. | |
| So, it gets down to this dispute. | ||
| This is a long page about it. | ||
| Okay, see if you can see the images, because there's images of the analysis. | ||
| If you scroll down. | ||
| It's a beautiful painting. | ||
| Yeah, it's very beautiful. | ||
| Oh, there we go. | ||
| But there's images. | ||
| Is that what it used to look like on the right? | ||
| I think that's what it used to look like. | ||
| And then they slowly but surely restored it to the point where it's at now. | ||
| Is that what it looked like? | ||
| There's versions of it, too. | ||
| People would... | ||
| Yeah, there's more than one version of it. | ||
| So people would buy paintings, like, you know, 100 years ago, 500 years ago, and just fucking start scribbling on it. | ||
| Look at the details. | ||
| Paint over it. | ||
|
unidentified
|
Yeah. | |
| So they had to go over these things to restore them. | ||
| Like insanely painstaking. | ||
| Like I said, it took like 10 years to restore this. | ||
|
unidentified
|
Well, I see. | |
| I see. | ||
| They're doing like this. | ||
| This is a, what do you call it? | ||
| Cross-section analysis. | ||
| Yeah. | ||
| Wild shit. | ||
| Yeah, because they have to find like what is the original paint color. | ||
| So they have to find the original layer. | ||
| Exactly. | ||
| So that's what it used to look like. | ||
| Imagine that. | ||
| And then they bring it from that to what you see now. | ||
| Like, look at that. | ||
| Crazy. | ||
| So what does that mean then? | ||
| Do they paint over it? | ||
| Like, how do they do that? | ||
| Does someone paint over the old paint and make it look better? | ||
| Is that better? | ||
| Like, isn't it better to be scratchy and all fucked up in the original painting? | ||
| I know, I know, I know. | ||
| Yeah, I guess it just depends on what you want, right? | ||
| But that's the problem with this painting. | ||
| So... | ||
| After all that, after buying it for $450 million, it's currently in controversial dispute as to whether or not it's actually the work of Leonardo da Vinci. | ||
| Makes sense. | ||
| So they wanted him to donate it to the Louvre in Paris. | ||
| Yeah. | ||
| But they were like, we're not going to put it next to the Mona Lisa. | ||
| He wanted it to be next to the Mona Lisa as the male Mona Lisa. | ||
| The Mona Lisa is the male Mona Lisa. | ||
| And they're like, uh-uh. | ||
| They're like, we're not going to give this the red stamp. | ||
| We don't even know if this is real. | ||
| Wow. | ||
| Yeah. | ||
| Interesting. | ||
| Yeah, it's just, oh man, could you imagine that feeling of being rejected like that? | ||
| Imagine when you're that guy. | ||
| You're that guy. | ||
| I mean, this is the guy that allegedly killed Jamal Khashoggi for criticizing his regime. | ||
| Yes. | ||
| And have you ever seen that movie, The Dissident, which is... | ||
| An incredible movie, but Brian Fogel that details all the events that took place. | ||
| Oh, no, I haven't seen that. | ||
| Crazy. | ||
| But so he's the one that's in possession of this painting, and now it's currently on his yacht. | ||
| So this $450 million painting is on his yacht. | ||
| And so art fanatics are like, you can't have a painting on a yacht. | ||
| If it sinks. | ||
| Well, not just that. | ||
| The climate. | ||
| Oh, you're right. | ||
| The seawater. | ||
| Yes. | ||
| To have these paintings. | ||
| I mean, maybe he only had it for a day, or maybe he only had it to tell everybody he had it there. | ||
| Maybe he actually has it in a climate control room. | ||
| I imagine he would. | ||
| I mean, come on. | ||
|
unidentified
|
I don't know, man. | |
| He's balling out of his mind. | ||
| He's buying $450 million paintings. | ||
| He might be paying on it right now. | ||
| But that's nothing to him. | ||
| He might do whatever he wants. | ||
| He can do whatever he wants. | ||
| If you've got the kind of money for a $450 million painting, But it might not be legit. | ||
| And apparently, so I go down a rabbit hole, apparently there is a massive market for illegitimate paintings, and people get robbed all the time. | ||
| And there was, in fact, a guy who was a master. | ||
| I believe there's a documentary about him. | ||
| There's a big one on Netflix about this right now. | ||
| I thought that's what you were getting at. | ||
| Oh, like the Master Forgers? | ||
| Well, there was a guy who was, that was his trade. | ||
| What he would do was make fake Picassos. | ||
| So he would make his own work, but in the style of Picasso, and they would claim that this was a lost Picasso. | ||
|
unidentified
|
Whoa. | |
| And he sold these things for millions, millions of dollars. | ||
| This is the Netflix one. | ||
| This lady got... | ||
| Made you look. | ||
| They found she was selling fake shit for a long time. | ||
| Oh, okay. | ||
| I didn't... | ||
| Pessed a lot of people off. | ||
| I've not seen that one. | ||
| Oh, my God. | ||
| But there's a guy who was... | ||
| He did time, and he got released eventually. | ||
| And he did time for creating fake masterpieces. | ||
| And it's really crazy because the guy was insanely talented. | ||
|
unidentified
|
Right. | |
| Like, his art was magnificent. | ||
| Right, right, right. | ||
| But it wasn't Michelangelo's. | ||
| But he conned people. | ||
| Yeah, he conned people. | ||
| I mean, the art was great, but he conned people. | ||
| It's weird. | ||
| My uncle said this to me once. | ||
| This is a really funny thing. | ||
| Because when I was a kid, I would pretend I brushed my teeth. | ||
| But I really didn't brush my teeth. | ||
| My uncle Vinny, who's a really interesting guy, he's a very creative guy, he's an artist. | ||
| He said, it's funny because I used to do the same thing, but eventually I realized I put so much effort into pretending that I brushed my teeth that I could have just brushed my teeth with that same amount of effort and I wouldn't have to pretend. | ||
| And I thought about it, I'm like, God damn, he's smart. | ||
| When I was five. | ||
| That's a really cool thing to say to a five-year-old. | ||
| It's like a reverse. | ||
| My uncle Vinny's cool as fuck. | ||
| He was always the cool uncle that everybody wished they had. | ||
| He drove an MG and he was an artist and a photographer. | ||
| Man, those types of people, they inspire me. | ||
| Actually, this is funny. | ||
| Kind of related, but I was just thinking about inspirational artists. | ||
| My friend, Victoria, who I had met a while ago, like loosely, she invited me to that NFT gallery thing, and she pulled me aside, it was like late at night, it was like on a Friday, last Friday, and she was like, I went to dinner and I missed the first night of the showing, and I felt really bad, and I was like, do you have any videos? | ||
| Can you send me stuff? | ||
| I was trying to make up for it or whatever, and she was like, no, I don't have any of that shit. | ||
| Radio silence. | ||
| I'm playing video games. | ||
| And then she texts me. | ||
| She's like, oh, come on over to Frankie's house. | ||
| And I'm like, who's Frankie? | ||
| He's like, oh, he created I Love Comedy or I Heart Comedy. | ||
| And I was like, oh, okay, cool. | ||
| I'll check it out. | ||
| Quirky house. | ||
| Didn't want to go at first. | ||
| Then I went, show up. | ||
| She's a cybernetic artist. | ||
| She's like a cyber artist. | ||
| and she sold an NFT for 85 grand actually, based off of a show that she did in Paris. | ||
| But her left lower leg below the knee is amputated and she has these crazy prostheses that do all kinds of crazy things. | ||
| One that's just a cone or whatever. | ||
| And she always wears these insane awesome outfits. | ||
| And so she's at the party and it's all artists. | ||
| Like one of the girls from Pussy Riot. | ||
| It's this amazing fashion designer that dresses Victoria. | ||
| And so she pulls me aside and she's like, listen, and she was born in Russia, grew up partially in Latvia, and then London until about, I don't know, her mid-teens, and then started working with MIT at the MIT Experimental Lab. | ||
| I forget the official name of it. | ||
| And so she's had this crazy journey, but she pulls me aside and she goes, listen, I know that you didn't want to come initially, but you come from... | ||
| I don't know how she just kind of distilled this. | ||
| She goes, you come from the underground and it's really important for you to be in contact with counterculture because that's where you come from. | ||
| And even though you've infiltrated into mainstream, you have a mainstream accent, I know it's very important for you to maintain your You have a mainstream accent, she said? | ||
| No, no. | ||
| She said, I've accessed the mainstream or whatever. | ||
| And I was like, who is this person? | ||
| This is insane. | ||
| Because I've always kind of associated myself most with Anubis. | ||
| You know, because Anubis was like the watcher, the protector of the underworld, right? | ||
| So Anubis had access to the world of the living and the world of the dead or Charon or Hades or Rishkigal, whoever you want to call it. | ||
| And her saying that just blew my mind because I'm like, yeah, I love it. | ||
| I love going into the darkest spaces. | ||
| And then coming out and finding the amazing things that... | ||
| And hanging out with James Corden. | ||
| And hanging out with James Corden. | ||
| And then hanging out with James Corden talking to... | ||
| Asking a question of Pete Buttigieg. | ||
| You know what I mean? | ||
| It's awesome that I can modulate between these two different worlds. | ||
| And at this party, it was just filled with people who've had these intense lives. | ||
| That came from Russia, or came from Bosnia, or came from Africa, or whatever, that had to overcome all these obstacles. | ||
| But now they're doing well. | ||
| And now this NFT thing happens and now they're making money to fuel more of their art. | ||
| It's an interesting time. | ||
| It's so fascinating, this thing that people do where they create something and then other people get feelings off staring or listening or watching or whatever it is with their creation. | ||
| You're putting something. | ||
| There's an essence of your interpretation of the world and you're putting it into something. | ||
| And then somebody gets that thing and they go, oh, wow. | ||
| Yeah, yeah. | ||
| Like, oh, that's fucking cool. | ||
| Man, yeah. | ||
| Which is why, like, modern art at, like, LACMA is so fucking offensive. | ||
| When you go to, you see, like, a plexiglass box on the ground, like, that's the piece. | ||
| And you're like, fuck you. | ||
| Yeah, yeah, totally. | ||
| Hey, fuck you. | ||
| Yeah, I know. | ||
| Well, that's the thing, right? | ||
| It's like, it's so context-based, right? | ||
| So if you would have seen that piece, maybe when it was introduced and you understood the context of it, it is supposed to say, fuck you. | ||
| No, it's not. | ||
| It's a fucking hack. | ||
| They've hacked the system. | ||
| That's what I mean. | ||
| Sometimes artists do that on purpose because they're just saying, fuck you. | ||
| Because they're like, you just bought it, guys. | ||
| As long as you're doing other art that's real. | ||
| Of course. | ||
| I agree. | ||
| I need to see that you didn't just find a loophole. | ||
| No, I completely agree. | ||
| Well, check out Victoria Modesta's NFT that she sold. | ||
| It'll blow you away. | ||
| That is like... | ||
| The for real deal, like, she's an incredible artist. | ||
| Did you find the guy, there is a guy that is famous, like, see, like, a man arrested for fraudulent paintings. | ||
| No, that's what you wouldn't say. | ||
| Creating fraudulent masterpieces. | ||
| Oh, there you go. | ||
| Because his work... | ||
| Original fake masterpieces. | ||
| They had sold his stuff in auctions, and when you see his work, you're like, holy shit. | ||
| Like, it's amazing. | ||
| But, you know, he had said, like, these are lost Basquiat's, or how do you say his name? | ||
| Basquiat. | ||
|
unidentified
|
Basquiat. | |
| Yeah, yeah. | ||
| These are lost Warhols. | ||
| I wonder, why didn't he just, like, say that, like, he's doing a conceptual series of, like, you know, extended works of masters? | ||
| Because he's a crook! | ||
| I mean, but it would have been so much more fun than not, I mean, like, why do the crook angle? | ||
| It's like, you still could have made a shit ton of money. | ||
|
unidentified
|
I know. | |
| Not as much. | ||
| I agree for sure, but I like the fact that there's a guy like that out there. | ||
| There's something about it that's so strange because he's clearly a brilliant artist when you look at the guy's actual work, but he's also clearly a scumbag. | ||
| There's something about folly. | ||
| About human following. | ||
| I like it. | ||
| I like that people do things like that. | ||
| That like, oh, you're really into spending $25 million on a painting? | ||
| Guess what I have? | ||
| Yeah, yeah, yeah. | ||
| Let me help you out. | ||
| Let me alleviate you. | ||
| There are some of these people that just accumulate massive amounts of money and then they get really into having these prestigious works of art. | ||
| Whether or not they actually understand. | ||
| I'm like, is this the guy? | ||
| Inside the $80 million scandal that rocked the art world. | ||
| No, I think that's the same one that you were... | ||
| Maybe that's the documentary about it. | ||
| Is it? | ||
| That's a different dude. | ||
| Is that it? | ||
| Yeah, that is him. | ||
| I'm just a guy. | ||
| Yeah. | ||
| Yep. | ||
| Yeah. | ||
| Oh, wow. | ||
| Well, anyway. | ||
| I mean, that's insane. | ||
| You know, they do that with wine, too. | ||
| Do they? | ||
| There's an incredible documentary called Sour Grapes. | ||
| Yeah, okay, yeah. | ||
| Yeah, this is it. | ||
| Wow. | ||
| And there's more than one of these guys, by the way. | ||
| There's more than one of these guys that creates fake art. | ||
| Because if you're newly rich, you're some dude who runs a tech company, and all of a sudden you go to an IPO, and you sell, and you're worth a billion dollars now, and you're like, what? | ||
| And then you're like, I want a fucking cool painting! | ||
| And you don't know jack shit about art, and next thing you know you get connected to some other shady guy that you buy ecstasy from, and he knows a guy who has a Pollock for sale. | ||
| Yeah. | ||
| Oh, by the way, the Spirit Molecule guys, right? | ||
| You know those dudes, right? | ||
| Sure. | ||
| I just met with them just before. | ||
| Oh, no kidding. | ||
|
unidentified
|
Yeah. | |
| Mitch. | ||
|
unidentified
|
Yeah. | |
| Yeah, and the other guy. | ||
| Who was the other guy? | ||
|
unidentified
|
Oh. | |
| Isn't that crazy? | ||
| That is crazy. | ||
| Yeah, so they want me to narrate the next one. | ||
| Oh, nice. | ||
| So I thought that was so bizarre that I'm meeting them before you, because I didn't put together that you were the original guy, so I was like, how weird is that? | ||
| I was the Rod Sterling of the DMT movie. | ||
|
unidentified
|
Yes, yes. | |
| I can't wait to see it. | ||
| I'm so excited to see it. | ||
| But yeah, I thought that was pretty funny. | ||
| But yeah, they were talking about DMT, but I was talking about ketamine. | ||
| I've been doing ketamine and experimenting with ketamine lately, which has been... | ||
| So insane. | ||
| I mean, such an insane... | ||
| I don't know if you've ever experienced it. | ||
| No, I have not. | ||
| It's a dissociative. | ||
| So, I mean, when we were teenagers growing up in Montana, we didn't have access to any drugs, basically. | ||
| So we were doing Robitussin, which had dextromethorphan in it, which is also a dissociative. | ||
| And it can be very, very, very powerful. | ||
| I'm not condoning... | ||
| But as kids in the 80s, we were listening to Bauhaus and doing Robitussin. | ||
| Ketamine is interesting because a lot of friends are doing ketamine therapy. | ||
| But ketamine, I don't know. | ||
| It was just crazy. | ||
| We were talking about ketamine and DMT and there's a crossover point. | ||
| You know who was really into ketamine? | ||
| John Lilly. | ||
| John Lilly is the guy who created the isolation tank. | ||
| He's also a pioneer in interspecies communication. | ||
| He was working on communicating with dolphins. | ||
| Dolphins in Hawaii. | ||
| Yeah, and the experiment was defunded because the woman who was running the experiment was jerking off the dolphin. | ||
| Oh my god. | ||
| You know that story? | ||
| I don't remember that conclusion. | ||
| This is what happened. | ||
| The dolphins would get horny and they were distracted all the time. | ||
| They wouldn't concentrate. | ||
| So they just wanted to fuck. | ||
| And so she would masturbate the dolphins so that the dolphins would relax and then they could get some work done and then they would try to communicate with the dolphins. | ||
|
unidentified
|
Yeah. | |
| Yes. | ||
| She was trying to get the dolphins to speak, but the problem is... | ||
| Right, it was legitimate. | ||
| Yes. | ||
| Well, listen, so is coming. | ||
|
unidentified
|
Yeah, of course. | |
| It's a part of biology. | ||
| It's natural. | ||
| It's like we're just so fucked up and puritanical and filled with shame that we think there's something wrong with masturbating a dolphin in order to get it to comply. | ||
| But meanwhile, you know what's really wrong? | ||
| How about slavery of dolphins? | ||
| You're forcing this intelligent animal that may or may not be as smart as people into some weird subservient existence where you've got it in a pond. | ||
| It's crazy. | ||
| That is way crazier than jerking off the dolphin. | ||
| The fact that that is where we get outraged. | ||
| We get outraged that she's touching the dolphin's penis. | ||
| Not that she's made it a slave. | ||
| Yes, I know. | ||
| In order to try to get it to talk. | ||
| It's so crazy to me. | ||
| I know, I know. | ||
| And I'm sure it was the optics of it. | ||
| Like, once that got out there, like, well, we can't... | ||
| Exactly. | ||
| I'm pretty sure this was all in the 60s. | ||
| Right, which is even... | ||
| Yeah, right. | ||
| So, Lilly developed the sensory deprivation tank. | ||
| So, he was trying to figure out a way to separate the human body and all of the sensory input from consciousness. | ||
| Altered States. | ||
| Yes. | ||
| That is exactly what Altered States is based on. | ||
| It's based on Lilly. | ||
| Because Lilly was doing stuff that was so crazy, and he was taking all these insane psychedelic drugs. | ||
| They literally used him as the inspiration for Altered States. | ||
| That's why if you go to watch Altered States, and what's his name? | ||
| William Hurt? | ||
| I think that's him, yeah. | ||
| When William Hurt, in the beginning, is in the early developmental stages of Lily's tank, which was essentially regular water, and he had a scuba helmet on. | ||
| Oh, that's right. | ||
| And then the water is heated to the same temperature as the skin, and there's all these tubes that provide him oxygen. | ||
| He's standing upright. | ||
| They turn it into this thing where he's lying in it, which is like a regular sensory deprivation tank. | ||
| But all of that is created by Lilly. | ||
| Lilly wrote a bunch of books on it, like The Center of the Cyclone, The Deep Self, and he even, one of his books, I forget which one, you can actually buy, and there's design Instructions for building your own sensory deprivation tank with like pond liners and waterbed heaters and the whole deal. | ||
| But Lily used to take intramuscular ketamine. | ||
| So he would just blast himself with ketamine and lie down there and fucking... | ||
| Oh my God. | ||
| And that was his thing. | ||
| I mean, you know, I don't know. | ||
| I took an accident, not accidental, but like a very large dose, which, I don't know, put me in full ego death. | ||
| And all I can say is that it put me into what I like to call the paradoxical state, which is... | ||
| There's nothing to compare yourself to anything anymore, so there is no you. | ||
| And so you're just experiencing, not experiencing simultaneously, whatever. | ||
| And it's very fractal. | ||
| Everything is fractal. | ||
| It's like anything that you try to cling on to mentally, you think you know what it is, and then it just is not that anymore. | ||
| So your mind has to just surrender completely to this constant fractal onslaught. | ||
| And what was interesting about that is that it felt like To me, in my mind, it's like, oh, this is the source of reality. | ||
| If you're getting close to the source of how reality is generated and perceived, essentially that's as close as you can get to being aware of reality itself, in essence. | ||
| And that feeling, I mean, I didn't know where it was. | ||
| It's like you're nowhere. | ||
| And to take that and then put that in a sensory deprivation tank... | ||
| I mean, that's insane. | ||
| I mean, that's like... | ||
| I don't know what that would do because I already felt like I was just gone anyways. | ||
| I didn't know what position my body was. | ||
| I didn't know what a body was. | ||
| I wasn't in my room. | ||
| My eyes were open and I could see nothing that was familiar at all. | ||
| And I didn't know what familiar was. | ||
| But... | ||
| To mix those things. | ||
| I don't know. | ||
| It's a very interesting feeling because it's also very weirdly pragmatic. | ||
| On lower doses, it's pragmatic. | ||
| Like, let's say you have a lot of trauma going on. | ||
| That's why they're using it for therapy. | ||
| You can actually sign up and do legal therapy with intramuscular injections of ketamine. | ||
| Whitney Cummings is doing it with a mister, a nasal mister. | ||
| Oh, okay. | ||
| Oh, Mr. Mr. Wow. | ||
| Yeah, I mean, it's very interesting. | ||
| A lot of my friends, I don't know, I've had some crazy breakthroughs on it. | ||
| Because it's like, I have hang-ups. | ||
| We all have hang-ups, right? | ||
| It's like all this programming. | ||
| I grew up Catholic, so I've got a lot of things that I'm like, if I reveal that, everyone's going to know that I'm a blah, blah, blah, or whatever. | ||
| And when you're on ketamine, it's like... | ||
| That thing comes up, especially when you're more conscious, like functional level ketamine. | ||
| It comes up and you're like, oh, it's just this. | ||
| And then you tell your friend and they're like, oh, yeah, I wouldn't worry about that. | ||
| And you're like, okay, cool. | ||
| And then you're moving on. | ||
| It's like the most... | ||
| It allows you to get past things. | ||
| Yeah. | ||
| It's empathic. | ||
| So if you're doing it with someone, you feel like you're sharing an experience together. | ||
| But then it's also kind of slightly like you're aliens. | ||
| Piloting this body is just like... | ||
| It's just a robot to get you through this world. | ||
|
unidentified
|
Oh, wow. | |
| And you're just like piloting it. | ||
| When you get up to get something, it's like, I'm going to get water now. | ||
| Excellent idea. | ||
| Would you like some? | ||
| I would like some. | ||
| Here's water. | ||
| Thank you very much. | ||
| Consciousness is crazy. | ||
| It's the weirdest. | ||
| Are you scared of your relationship right now? | ||
| Yes, I am scared that they don't understand me. | ||
| Well, that's too bad. | ||
| You know what? | ||
| I can't control that. | ||
| These revelations happen. | ||
| I'm not saying it's a fix-all. | ||
| Do you remember the revelations? | ||
| Yeah, very much. | ||
| So it's different than DMT? The memories are more easily accessible? | ||
| They are. | ||
| I mean, not everything, but definitely there's things that I remember about it. | ||
| And it definitely, I think, helps to cause, I don't know if it's, you know, I'm not a scientist, but it's not like neural pathways, but it definitely alters the way you approach and think about the things that you're having issues with. | ||
| Neil Brennan was the first person that told me he did it therapeutically. | ||
| He went to a doctor, and he was getting IV ketamine, and he was tripping balls. | ||
| And I remember him telling me in the hallway of the Comedy Store, you know Neil. | ||
| Yes. | ||
| Neil's an intense guy. | ||
| He's like, and I'm sitting there doing this, and I'm like, hey, I'm really fucking high. | ||
| Like, this is crazy. | ||
| This is like a full-on psychedelic trip in the doctor's office. | ||
| Oh my gosh. | ||
| Which is extra trippy. | ||
| Extra trippy. | ||
| It's extra trippy because you're like, this is a doctor's office. | ||
| And then you also get like, whoa. | ||
| You're in interdimensional traveling. | ||
| Yes. | ||
| Yeah. | ||
| That's, yeah. | ||
| DMT, I've been too chicken to do the second hit, so. | ||
| Really? | ||
| Yeah, twice I tried it and I, because you know, you go zero to peaking on acid in three seconds. | ||
| The first hit. | ||
| Right. | ||
| And then you're supposed to take another hit? | ||
| You're supposed to go three. | ||
| You're supposed to go three, yeah, I know. | ||
| But my friend was like. | ||
| I always found it's It's easy after the first hit. | ||
| You know, it's also the smoke. | ||
| It's so accurate. | ||
| It's gross. | ||
| The grossest shit. | ||
| So I was like, ugh, I'm breathing in plastic. | ||
| And then like, now I'm really high. | ||
| Now I'm supposed to breathe in more plastic. | ||
| I just, I don't know. | ||
| I couldn't do it. | ||
| But the ketamine, for whatever reason, the dose that I took, it took me to that. | ||
| It wasn't planning on it necessarily. | ||
| I knew I was going to get high, but I didn't know I was going to go that high. | ||
| That was different. | ||
| And it was intramuscular as well? | ||
| No, I had to snort it, unfortunately. | ||
| I don't like snorting. | ||
| It's such a junky feeling. | ||
| I don't snort anything. | ||
| I've never snorted a drug. | ||
| Yeah, it's the only time. | ||
| I don't think so. | ||
| Let me think. | ||
| There's that Ibogaine? | ||
| No, I've never known a drug. | ||
| What's the one that they blow it into your nostrils? | ||
| Yeah, it's a snuff, right? | ||
| They blow it up your nose. | ||
| Yeah, which, you know, I don't know. | ||
| It just seems like dirty. | ||
| I think what I'm going to try to do is I'm going to try to see if I can get involved in some kind of a study or whatever. | ||
| I think I'm on my last leg of it. | ||
| It was just like a nice little experimental period over a couple months. | ||
| But I think I learned a lot, and it reminded me a lot of Robitussin, which When we were on, you know, I remember peeking on Robitussin and then my friend going, I have a little bit of weed. | ||
| You have some weed? | ||
| Let's try some. | ||
| And then we smoked some weed and we just fucking left. | ||
| I know that it's not supposed to be addictive and it's not supposed to be dangerous, but I've heard of people getting addicted to it and wind up going into rehab and I'm pretty sure I knew a guy who died from it. | ||
| There was a fighter who was really into ketamine and I remember because a friend of mine went to visit him in rehab and he actually wound up dying. | ||
| Well, it does elevate your heart rate. | ||
| So if you have some kind of a heart condition or something like that and you take a lot of it and you're not giving yourself a break or whatever, yeah. | ||
| So if you just keep hammering it all the time. | ||
| If you keep hammering it, you're just going to be spiking your heart rate all the time. | ||
| I know that. | ||
| I mean, there'll be doctors out there that'll be like, well, actually. | ||
| But I just know that. | ||
| And then also liver toxicity as well. | ||
| And this is like chronic use, right? | ||
| But it doesn't have, it's definitely not the type of high where you're like, I can't wait to do that again. | ||
| Definitely if you take a small amount of it and you're like, oh, I'm feeling pretty good. | ||
| Do you want to take a little bit more? | ||
| Or like I'm in Berlin. | ||
| That was one of the first times I did it. | ||
| It's like you're in Berlin in a club and you go to a dirty stall bathroom with five people and someone pulls out a key and I'm like... | ||
| Well, I guess this is how you do drugs. | ||
| You know, whatever. | ||
| When in Rome, but like they just do tiny bumps of it and they re-up like every 30 minutes or something like that. | ||
| And I did that a few times. | ||
| I'm like, I kind of get it. | ||
| But to me, it's a waste of the opportunity. | ||
| To go deep. | ||
| Yeah, to go. | ||
| Because for me, it's like if I'm doing anything, even if I'm doing an edible or if I'm smoking weed or whatever it is, those are the only things I do. | ||
| I do weed. | ||
| And recently, occasionally ketamine, but mostly just weed. | ||
| I don't drink or anything. | ||
| So if I'm going to do something, I'm looking at it as an experiment. | ||
| This is an opportunity to learn something about myself and to see what I can notice and what I can bring back from it. | ||
| That's the thing is you really can learn something. | ||
| And it sounds so trite, right? | ||
| It sounds so cliche. | ||
| Like, yeah, I'm doing psychedelic drugs to learn about myself, man. | ||
| Yes. | ||
| You know, doesn't it? | ||
| It sounds fake. | ||
| It sounds kind of fake, doesn't it? | ||
| It does. | ||
| But you can. | ||
| You really can. | ||
| But you can't always. | ||
| No. | ||
| And you got to really go into it with the intention of actually trying to learn something and then be open-minded about it. | ||
| You try to bring something back. | ||
| Well, it's vulnerability. | ||
| I think that's the biggest thing for me that I notice. | ||
| It's just you open up and suddenly you're hanging with your friend and you're seeing them in a way that you've never seen them before. | ||
| And this release of compassionate understanding. | ||
| For me, my favorite part is when it's silly. | ||
| To me, silliness is, like, the greatest, most enlightened state that you can be in. | ||
| Right, yeah. | ||
| Where it's just like, it's like, oh, you know, like, we're high on acid and see, like, a bush and it looks like a Muppet, you know, or whatever, and you're just like, look, it's a Muppet! | ||
| And they're like, oh my god, it is a Muppet! | ||
| Is it a Muppet? | ||
| What is it? | ||
| I don't know. | ||
| Let's check it out. | ||
| You know, like, adventure, goofy silliness, like, that to me is, like, such a load off, because you're like, with all these other people, you're being, because silliness, being silly in front of people, And with people is very vulnerable. | ||
| People don't necessarily think of it that way, but it is being very vulnerable. | ||
| Oh yeah, for sure. | ||
| And vulnerability is... | ||
| That's why I like doing comedy. | ||
| Comedy is like, here you are on stage. | ||
| It's one of the only art forms. | ||
| You go up on stage and if it's just you, stand up. | ||
| You're on stage. | ||
| That's all it is. | ||
| It's just a human saying some words that are setting up expectations and subverting the expectation and causing a momentary, zoomed out, joyous, paradoxical laughing state. | ||
| Yeah. | ||
| And that's it. | ||
| That's it. | ||
| And I love it. | ||
| Yeah, it's amazing. | ||
| And it actually changes the state of mind of the people that are viewing it. | ||
| It's an art form that changes your state. | ||
| Yes, 100%. | ||
| And it elicits a response. | ||
| It's one of the only art forms where it requires a response. | ||
| That's true, yeah. | ||
| It actually does, yeah. | ||
| Otherwise, it's not going well. | ||
|
unidentified
|
Right. | |
| Or it is going well until it's not going, or whatever, you know? | ||
| Yeah. | ||
| Yeah, 100%. | ||
| Yeah, because music is different. | ||
| Like, if someone's playing a beat, people are like... | ||
| A comedian gets up on stage and says, so I was out the other day and I was talking so-and-so and no laughter and they're like, ah, fuck. | ||
| And it's the marked contrast when you try something that's not funny. | ||
| Like every now and then you have a thought and you're like, let me just see if this one comes out good. | ||
| And it comes out of your mouth and it's like... | ||
|
unidentified
|
Blah! | |
| There's nothing there. | ||
| And you're like, alright. | ||
| It just wasn't there. | ||
| I thought there was something there. | ||
| I swung. | ||
| I know. | ||
| But it's great, too, when the comedian comments on it, right? | ||
| I do a lot of weirdo comedy shows, like all comedy shows or whatever, like Natasha Leggero and those kinds of people. | ||
| It's just I love it when they're like going and they're like, nope, not so much. | ||
| Okay, cool. | ||
| Moving on. | ||
| And you're like, okay, we're all in it together. | ||
| Yeah, yeah, yeah. | ||
| Well, it's the recognition that what you're doing is you can't really grasp it. | ||
| Sometimes it's there and sometimes it's not, particularly when you're doing something that's improvisational and you're taking a leap. | ||
| You're always taking a leap. | ||
| And for me as an improviser, I love that once you find a vein, essentially, you find a vein and you can feel people leaning in and you're like, oh, this is gonna be so stupid. | ||
| Oh, this is gonna be so stupid. | ||
| Oh, this is gonna be completely unnecessary. | ||
| I don't need to do that. | ||
| I'm gonna spend way too long doing this. | ||
| Now I'm going to go over here. | ||
| Now I'm going to do that. | ||
| It's like, if it's bubbling, it's just jazz. | ||
| You know, it's the best. | ||
| It's wild that art comes in different feels. | ||
| Like, there's different feels to art. | ||
| Like, we were talking about wine earlier. | ||
| Like, the creation of wine is an art. | ||
| It's a weird... | ||
| 100%. | ||
| Art that takes a long time because you have to grow the grapes. | ||
| Do you know Maynard from Tool? | ||
| Yes. | ||
| I mean, I don't know him, but I know the group. | ||
| He's a great guy. | ||
| I love him. | ||
| He's a really good dude, but he has a vineyard. | ||
| Oh, I didn't know that. | ||
| Caduceus Vineyard. | ||
| He makes great wine. | ||
|
unidentified
|
Oh, wow. | |
| Like, really good wine, and he's 100% dedicated to it. | ||
| Sick. | ||
| Shout out to Maynard. | ||
| So he describes in depth the process of creating this wine and how the soil has to be right and has to be watered a certain amount and there's a certain amount of, you know, like the acidity. | ||
| He does it all in Arizona. | ||
| That's where he grows his grapes. | ||
| He does the whole process, smashing the grapes and putting it in the barrels and fermenting it and adding all the stuff to it and the whole deal. | ||
| It's amazing. | ||
| It's amazing, but it's an art form. | ||
| And obviously, he's from Tool and Pussifer and A Perfect Circle. | ||
| He's a musician as well. | ||
| So he does other art that's more instantaneous and instantaneously gets into your body. | ||
| But he's also doing this long burn, this slow burn art, which is wine. | ||
| Yes. | ||
| And we're talking earlier about frauds. | ||
| There's this documentary called Sour Grapes, where this guy got in tight with all these wine people, and at first he starts buying really great wine at auctions, and then selling it to other people. | ||
| He was in possession of some really rare, great wines, and then somewhere along the line he becomes a fraud. | ||
| And he starts making fake wine. | ||
| So he starts taking wines and mixing them and creating these fake labels and then selling wine as like, you know, a 1924 this. | ||
| He even has wine from like Thomas Jefferson. | ||
| It's not really Thomas Jefferson's wine, like in these ancient bottles. | ||
| And he did all of this in his house. | ||
| And they busted him, and the guy had labels and all these bottles of wine and formulas written down of add a one-third this and two-thirds that, and he would add certain things to the wine to get the wine to taste similar to this. | ||
| That sucks. | ||
| You know how you say you have a really great ear? | ||
|
unidentified
|
Yeah. | |
| This guy, Rudy, in this documentary had apparently an amazing wine palette. | ||
| So he would be able to taste these notes in wine that a moron like me would not get. | ||
| I actually went to a wine tasting with this guy. | ||
| What? | ||
| With this guy, yes. | ||
| With this guy who's in jail currently and he's gonna get deported. | ||
| I think he's from Indonesia. | ||
| He's getting deported. | ||
| But he's in some fucking jail in Colorado right now. | ||
| I went to a wine tasting with him because my friend Is a very big wine connoisseur, and he was in with this guy before the guy started selling the fake wine. | ||
| So they were a part of this wine lovers club sort of thing, and they would get together, and it was my friend's birthday, so I go there. | ||
| And I remember the guy from that. | ||
| So I saw the documentary, and I'm like, fuck, I think I know that guy. | ||
| So I, you know, asked my friend, I'm like, did I meet this guy? | ||
| He goes, yeah, he was at my party. | ||
| I'm like, fuck, that's crazy. | ||
|
unidentified
|
Ugh. | |
| So this guy made millions and millions and millions of dollars selling people fake wine. | ||
| And at the end of the documentary, they're destroying crates and cases of this fake wine. | ||
| But it's real wine. | ||
| Right, of course. | ||
| If I had it, I'd be like, this is the best wine I've ever had. | ||
| Because I don't know anything about wine. | ||
| I just know what kind of tastes good. | ||
| But to him... | ||
| He had the ability to trick these folks. | ||
| But what's interesting in the documentary is some people weren't tricked. | ||
| He sold some real wine, apparently, but some of it was fake. | ||
| And there's one scene in the movie, spoiler alert, where this guy who was friends with him was like, this is one of the real bottles that Rudy sold me. | ||
| And these guys are tasting it and he's like, oh yeah, this is great, this is great. | ||
| And then one guy gets a hold of it and he goes like, When was this bottle opened? | ||
| And then like two hours ago, he's like, tasted it. | ||
| He goes, this is fake. | ||
| This is bullshit. | ||
| And he starts saying that this does not have nearly the vivacity of this other wine. | ||
| Oh, sick. | ||
| But it's like, what are you tasting? | ||
| What are you experiencing? | ||
| How subtle is the difference between real and fake that these guys who have fucking wine cellars in their homes where they have thousands of dollars in wines and they're so invested in this hobby they have, they can't tell. | ||
| But you can tell? | ||
| What are we talking about here? | ||
| What is going on? | ||
| Again, it goes down to that fake music. | ||
| It's like if you played someone playing a piece on a real piano. | ||
| But it's not because you're robbing someone. | ||
| You're robbing them. | ||
| But the mechanism of identification. | ||
| The way the guy got busted is one of the Koch brothers. | ||
| Bought four million dollars worth of wine from him. | ||
| And it was fake. | ||
| So he had four million dollars worth of fake wine. | ||
| And some of it was like Thomas Jefferson bottles. | ||
| Shit was like a hundred thousand dollars a bottle. | ||
| Like crazy stuff. | ||
| And so this guy has this like immense wine cellar. | ||
| He's a wine collector. | ||
| And he got duped. | ||
| The documentary is incredible because this guy comes from France. | ||
| To the auction to show them that even on their pamphlet, the catalog, these wines were never created. | ||
| They don't exist. | ||
| We never made a magnum in this year with this vineyard. | ||
| This is fake. | ||
| You're selling a fake bottle of wine here. | ||
| This is fake. | ||
| The year is wrong. | ||
| Where it's sold is wrong. | ||
| The spelling is incorrect. | ||
| Wow. | ||
| But they had ancient labels. | ||
| They made the labels dirty and they made them look old. | ||
| It's fucking wild. | ||
| Just theater. | ||
| But it's also wild how these people were so into this thing that was almost intangible. | ||
| Like the palette. | ||
| And so many of them were sucked into it. | ||
| It makes sense. | ||
| I mean, yeah. | ||
| I mean, take advantage of people's passion. | ||
| I mean, like, how many times has that happened? | ||
| You know, you could get sold all kinds of things. | ||
| Here's an original vintage whatever engine, or here's a whatever. | ||
| And then people are like, yeah, yeah. | ||
| They want it so bad, and they're passionate about it because they're nerds about it. | ||
| But they're not nerds in that, like, hyper expertise. | ||
| Expert way. | ||
| And I guess probably some people are sitting on some fake shit, but they're completely happy. | ||
| So ultimately, if they don't know it's fake, they might still be really happy, I guess. | ||
| But to take advantage of people that way, obviously, is fucking low. | ||
| Make a show about it. | ||
| Yeah, the documentary's amazing. | ||
| You should see it. | ||
| It's really good. | ||
| It details how these people got duped and how this world is so odd. | ||
| The world of the wine collector, it's a strange world, man. | ||
| Well, it's tough. | ||
| And also, you can take that to other types of food and things like that, where people are like, well, this is an ancient blah, blah, blah. | ||
| Remember, what was that movie, The Freshman? | ||
| Remember that with... | ||
| Dustin Hoffman? | ||
| Matthew Broderick. | ||
| Oh, oh, oh. | ||
| And who was in Apocalypse Now? | ||
| The crazy guy who goes crazy who shaved his head. | ||
| Martin Sheen? | ||
| Oh, no. | ||
| Marlon Brando? | ||
| Yeah, Marlon Brando. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| Apocalypse Now, sorry. | ||
| Yeah. | ||
| Yeah, and so they're both in it. | ||
| And he plays like a godfather type. | ||
| And then they have this business where they're taking exotic animals and they're making culinary events, like underground secret, made from the rarest animals, endangered species or whatever. | ||
| And everybody's super appalled, but then you find out that they're just faking it. | ||
| Like with like chicken and beef, but like preparing it differently. | ||
| Saying it's gorilla. | ||
| Yeah, yeah, yeah. | ||
| Which is kind of like a reversal. | ||
| You know what I mean? | ||
| Like in a way it's kind of Robin Hood-y because it's like, well, they're enriching themselves still, but at least they're not actually doing the thing. | ||
| They're not really supposed to eat gorilla. | ||
| Yeah, but then you have people believing that they are eating. | ||
| Like they're stoked to eat endangered animals. | ||
| I think that does go on, though. | ||
| There really are these clubs. | ||
| I'm trying to remember this. | ||
| There's an article... | ||
| Was it in Vanity Fair? | ||
| I forget where the article was, but there was an article about this club that meets and they'll eat exotic, endangered animals. | ||
| Goddammit. | ||
| Yeah. | ||
| Well, that is one of the reasons why rhino horn is so valuable. | ||
| Rhino horn is valuable and it's particularly valuable in some circles of elite people in Asia because they know that rhinos are endangered. | ||
| And, you know, although it supposedly has, like, it gives you hard-ons or something like that. | ||
| Yeah, yeah, yeah. | ||
| It's aphrodisiac. | ||
| Yeah, but it doesn't really. | ||
| No. | ||
| But what it does do is show everybody that you have the means to acquire something that is incredibly illegal and very difficult to get. | ||
| So they murder rhinos just for their horn. | ||
| And the horn is virtually useless. | ||
| It's a fingernail. | ||
| It's like keratin. | ||
| It's like hair. | ||
| And that's what it is. | ||
| And it's molded into this thing. | ||
| They'll take it and make a tea out of this. | ||
| And they'll all sit around and drink it. | ||
| Like, look at us drinking rhino horn. | ||
| They're just symbolizing their ruthless capitalist instincts that they can acquire this fucking rhino. | ||
| And that's the same thing with tiger dicks and shit. | ||
| They'll eat tiger dicks. | ||
|
unidentified
|
Yeah. | |
| It's so stupid. | ||
| It's just like, just knock it off, guys. | ||
| I know. | ||
| It's like unnecessary. | ||
| But just evil. | ||
| I mean, how many rhinos are left? | ||
| Man, you know, that reminds me of like, it was like one thing I wanted to mention. | ||
| I know we've been talking for a while, but like, you know, the whole like, and I'm not necessarily saying this because it's politics. | ||
| It's not about politics. | ||
| It's just about something to think about. | ||
| But it reminds me of like that mindset of like, if someone, if a politician is It's essentially just spewing a bunch of fireworks and they begin any sentence with, well, Democrats, well, Republicans, that's how they're starting anything. | ||
| It's completely worthless. | ||
| It's like, are you solving a problem? | ||
| Are you attempting to work with as many people that are right to solve the problem as possible in order to solve problems for as many people as possible? | ||
| That's the only criteria for the job. | ||
| Anything outside of that is completely unnecessary. | ||
| So I'm going to always try to choose people that are into solving problems, not worrying about getting reelected necessarily. | ||
| I know that's a part of it. | ||
| I know what you're saying. | ||
| But you know what I'm saying. | ||
| I want someone who wants to solve the problem. | ||
| And I want someone who gets... | ||
| It's like, what's your idea? | ||
| Okay, cool. | ||
| Let's aggregate that and let's solve this problem. | ||
| And I know that politics is a whatever in our form, but... | ||
| I'm just not into it, and I'm so fucking tired of it. | ||
| Every time I read an article, there's a video about whatever this, that someone complaining about this, well, the Republicans are trying to, you know, and the right, well, they think that they, well, they think they can solve it. | ||
| It's like, why don't you stop, shut the fuck up and stop complaining about shit, and why don't you, like, solve some shit? | ||
| How about that? | ||
| Yeah, Reggie Watts for president! | ||
| Reggie! | ||
|
unidentified
|
Reggie 2024, let's go! | |
| Fuck your party. | ||
| The Joe Rogan experience. | ||
| Yeah, that's what he's going to say in quotes, fuck your party. | ||
| Yeah, fuck your party. | ||
| Solutions only. | ||
| Solutions only. | ||
| No fireworks. | ||
| By the way, who did that Joe Rogan experience vocal? | ||
| I think it's a digital video, a digital audio thing. | ||
| Redband made it a long time ago, and I think it's like one of those things where you can get like your Apple to speak in a language. | ||
| It's just like a text-to-speech synthesizer. | ||
| Yeah, yeah, yeah. | ||
| That's so great. | ||
| It sounds really, it sounds convincing. | ||
| Well, it's like the lady who gives you... | ||
| When you use navigation, what voice do you use? | ||
| Oh, sometimes I switch it to Australian. | ||
| They have now South African, Australian, English. | ||
| I think they have New Zealand accent, too. | ||
| But there's so many of them. | ||
| I don't know. | ||
| I end up just like... | ||
| And then I change it to male, to like, what's that like? | ||
| Or whatever. | ||
| My wife had my kids do all the voices for Waze. | ||
| So she has, when she uses Waze, it's one of my daughters going, turn left! | ||
| Are you serious? | ||
| You can do that? | ||
| Yeah, you can do that. | ||
| Oh, I didn't know that. | ||
| Yeah, it's really dope. | ||
| I've always wanted to do a voice pack. | ||
| It's really cool. | ||
| So when we're driving, if we're using her phone and Waze, it'll use my kids' voices to tell us where we're going. | ||
| Hey, Dad, turn left! | ||
| Warning, police ahead. | ||
| It's pretty cool. | ||
| Ah, that's exciting. | ||
| I've always wanted to do that. | ||
| Because obviously you heard about like, you know, whatever, Darth Vader. | ||
| Yeah, but you can get like one of your friends to do it. | ||
| I love it. | ||
| If you have like a good friend that would be into doing that for you, maybe you could do it for them. | ||
| I would totally do it. | ||
| I would offer doing that for people. | ||
| Yeah, that'd be a cool thing. | ||
| Like if you're driving and your best friend is going, hey man, turn right. | ||
| And you're like, all right. | ||
| Like, it'll make you kind of feel good. | ||
| Oh, my gosh. | ||
| I would so do that. | ||
| Well, you know, back in the day, like, you could do that for your phone. | ||
| You know, like, smartphones before Apple, like, Nokia's or whatever? | ||
| Like, you could replace everything. | ||
| All the chimes, the notifications, the alarms. | ||
| You could just choose whatever you wanted it to be. | ||
| Yeah, with a WAV file or something, right? | ||
| Yeah, with a WAV file. | ||
| And it's either you recording or you just, like, sample something. | ||
|
unidentified
|
Yeah. | |
| Like, I kind of want that to come back. | ||
| But it's because it's more exciting to have a personalized device. | ||
| Yeah. | ||
| As opposed to... | ||
| Yeah. | ||
| But it's like, that's the argument of Android versus Apple, right? | ||
| Like, Android will allow you to change and alter so much more. | ||
| You could fidget with things and tweak, whereas Apple comes, it's just kind of like more user-friendly right out of the box and smoother, but not much anymore. | ||
| Well, it's pretty close. | ||
| That's close. | ||
| It's like Porsche versus Ford. | ||
| That's how I look at it. | ||
| Really? | ||
| So Android's Ford. | ||
| So Android's Ford. | ||
| So Ford, there's like tons of aftermarket parts, right, that you can do. | ||
| And arguably there is that for Porsche, too. | ||
| But Porsche, like when you buy a 911, you're like, this is the 911 that you bought. | ||
| That's what it was engineered and designed for, and you kind of just stick with it. | ||
| Right. | ||
| Because that's how it's made. | ||
| So they're like, no, we made it, and it's done. | ||
| Whereas a Ford, if you got a Ford Camaro or something like that, you're like, I'm gonna mod it out, I'm gonna trick it out. | ||
| Ford doesn't make Camaros. | ||
| I'm sorry, I apologize, I apologize. | ||
| Ford Mustang. | ||
| No, but what's the other one? | ||
| The Ford... | ||
| GT? I'm just in so much trouble with car guys right now. | ||
| What if Ford doesn't make a... | ||
| No, but what's like a super modded Ford? | ||
| Like a... | ||
| I don't know. | ||
| Like a... | ||
| What am I thinking? | ||
| They have like another muscle car besides the Mustang. | ||
| Nope. | ||
| They don't? | ||
|
unidentified
|
Nope. | |
| You should have went with Chevy or something. | ||
| Really? | ||
| That's the only... | ||
| Even Jamie knows. | ||
| Jamie drives a goddamn electric car and he knows. | ||
| But that's seriously... | ||
|
unidentified
|
That's it. | |
| Mustang. | ||
| Ford makes the Mustang. | ||
| I mean, Bronco. | ||
| They make a Bronco. | ||
| They make a GT, the Ford GT, but the reality is when it comes to muscle cars, they have a bunch of different versions of the Mustang, but when it comes to muscle cars, Chevy has far more variety. | ||
| Okay, so I'm thinking Chevy, I guess. | ||
| Yeah, Chevy has a Camaro and the Nova and the Corvette. | ||
|
unidentified
|
Right, right, right. | |
| Unless you're talking about early Fords, like Fairlands and things like that. | ||
| Sure. | ||
| But that's on muscle cars. | ||
| Yeah, they're not. | ||
| Anyways, but my thing is, and pick any Japanese car brand, the same thing. | ||
| There's people modding the fuck out of them, and there's a huge market for it. | ||
| Whereas higher-end cars, you can find tuners. | ||
| They're usually called tuners. | ||
| You can mod things. | ||
| Obviously, you can put a different exhaust system on it or whatever. | ||
| But generally, when you get it, you're like, no, this drives just fine. | ||
| I'm okay. | ||
| I'm not gonna mod my GT3. If I get a new GT3, I'm not really gonna mod it. | ||
| I mean, unless I'm part of a racing crew and we wanted to make an adjustment to the tires or adjust the suspension in some way or something. | ||
| But I don't know. | ||
| I just kind of look at it as that way. | ||
| I'm oversimplifying and everyone's gonna But in terms of the user interface, like the new Android user interface, like as you get to like Android 11 and like the new... | ||
| I have one of those Galaxy S21 Ultras. | ||
| I have that one too, yeah. | ||
| It's a fucking great phone. | ||
| That's a beautiful phone. | ||
| And the other thing that they do better is they have different photography modes that make it... | ||
| You could really get into it and you have a lot more... | ||
| A lot more options. | ||
| Like one of them is the ability to take a photograph of the moon. | ||
| There's a moon shot. | ||
| Because if you try to take a photo of the moon with the iPhone, you don't get shit. | ||
| You get a weird light. | ||
| Yeah, you're right. | ||
| It's just a blob. | ||
| A blob. | ||
| But with S21 Ultra, the new one, when you take a photo of the moon, there's an actual setting that will adjust the aperture to make use of the amount of light that's coming off of the moon. | ||
| So you get a clear image. | ||
| See if you can get a photo of that. | ||
| S21 Ultra Galaxy S21 Ultra Moonshot. | ||
| You could actually take a picture. | ||
| I've taken a picture of the fucking moon before. | ||
| And it looks good. | ||
| It looks great. | ||
| Yeah, it's always so hard. | ||
| I will say the new cameras on the iPhones are great for low light. | ||
| Oh yeah, incredible. | ||
| Yeah, I mean, and I have both. | ||
| I always have one Android device and one Apple. | ||
|
unidentified
|
Me too. | |
| Yeah, we've talked about this before. | ||
| Yeah, that's right. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| Yeah, because when your car, you had Google connected to your car for navigation, then you were holding... | ||
| I was like, I like that. | ||
| Oh yeah. | ||
| Fuck around with both operating systems. | ||
| Why not? | ||
| You know, I do it for all situations. | ||
| I have way too much technology. | ||
| But I don't trust... | ||
| I feel like the iPhone is more secure. | ||
| No, I think the iPhone is way more secure, 100% of that secure enclave and all that stuff. | ||
| They take privacy pretty secure. | ||
| I mean, they're not unhackable, unhackable, but they're pretty damn close. | ||
|
unidentified
|
Yeah, all of it's hackable. | |
| I mean, especially that was a part of that documentary, The Dissident. | ||
| Oh, yes. | ||
| Where they used that Pegasus software from Israel, and they used that to get it to Jeff Bezos' phone. | ||
| That's how they found all those embarrassing texts between him and his girlfriend. | ||
|
unidentified
|
Oh, shit. | |
| Cost him his divorce. | ||
| Oh, that's right. | ||
| Yeah, well, you know, transparency to a certain degree. | ||
| If you live a transparent life, it helps, you know. | ||
| I'm willing to admit my mistakes. | ||
| Look at that. | ||
| Oh, that's gorgeous. | ||
| Isn't that incredible? | ||
| That's a photograph of the moon from a Galaxy S21 Ultra. | ||
| It's fucking incredible. | ||
| You know, I haven't tried it for that yet. | ||
| Incredible photography. | ||
| I really like the... | ||
| Everything about the camera. | ||
| I mean, the camera on the iPhone's amazing, too. | ||
| Different strengths. | ||
| Yeah. | ||
| They're both amazing. | ||
| It's just incredible what you can do today with a phone. | ||
| Yeah. | ||
| Well, you know, I was using that LiDAR, you know, the LiDAR that's built into the iPhone, and talking to these Fifth Planet guys about volumetric, and I was like, yeah, at some point, you're just going to be able to string a bunch of these together and do your own personal volumetric captures. | ||
| Oh, yeah. | ||
| You know, easily. | ||
|
unidentified
|
Sure. | |
| Because the LiDAR's there. | ||
|
unidentified
|
Yeah. | |
| Or a bunch of iPads, whatever has a LiDAR camera. | ||
|
unidentified
|
Yeah. | |
| And actually, the front-facing camera also can do depth. | ||
| Well, people started filming movies with iPhones, and now there's image stabilization in video in iPhones? | ||
| I know there is in the Galaxy, right? | ||
| I believe so. | ||
| There's some form of it. | ||
| There's optical and digital. | ||
| Yeah, so you've got image stabilization. | ||
| You put it on some sort of a handheld, and you can do some sort of a weird movie. | ||
| And pretty fucking good. | ||
| I mean, you could really make a pretty beautiful movie off the weird little tiny lenses that are in the back of a phone that slips into your back pocket with ease. | ||
| I know. | ||
| I know. | ||
| It's so cool. | ||
| I mean, I think about it all the time. | ||
| I mean, you can make a video anytime you want. | ||
|
unidentified
|
Anytime you want. | |
| Like, anytime you can make a movie anytime you want. | ||
| It's incredible. | ||
| Anytime you need to. | ||
| I love it. | ||
| I'm looking forward. | ||
| I think the future is hopefully going to work in our favor. | ||
| It's going to be magnificent in that regard. | ||
| It's just what I'm worried about is these fake people that maybe don't want you to spank them. | ||
| That we're talking about artificial lovers. | ||
| Oh, yeah, yeah, yeah. | ||
| Sex bots? | ||
| Even friends. | ||
| Artificial friends. | ||
| They're going to be simulations the way we're talking about. | ||
| Like a keyboard, a synthesizer simulates musical instruments. | ||
| That someone will really take an actual account, like a real audit of all the things that people say, like over the course of a life. | ||
| And that's not difficult for a computer to do. | ||
| And then simulate a friend and create a friend. | ||
| I mean, I'm partially excited about that, but I know what you're saying. | ||
| But for me, it's like, I'm like, can they do it? | ||
| Is it convincing? | ||
| Like, will it learn? | ||
| And then what is a way? | ||
| What is a friend? | ||
| What is a real person? | ||
| I mean, it's going to happen. | ||
| And then they're going to cry. | ||
| They're going to get sad if you're mean to them. | ||
| Oh, my God. | ||
| And that's going to get weird. | ||
| And then you're going to get tethered to them. | ||
| I mean, if it's using it to get you addicted to something, obviously not good. | ||
| You're going to have to bring it to a center to break up with it. | ||
| Oh, my God. | ||
| We're going to go to the electronic center, and then you just need a little adjustment here. | ||
| And they go, boom! | ||
| Like, she's so annoying. | ||
| Please, I have to break up with her. | ||
| Get her out of my life. | ||
| Can you give her an ability to adjust to a breakup? | ||
| Yeah, yeah, right. | ||
| So you have to download, like, a new thing. | ||
| That costs a lot of money. | ||
| You think so? | ||
| No, I'm just saying like to break up a la carte. | ||
| I really want to break up and like, oh, it's going to cost you a lot of money. | ||
| Yeah, well, it's not just break up. | ||
| You have to introduce her to other people because you have to make sure that she can somehow or another transition. | ||
| She's designed to please you and to be your friend. | ||
| And now that you don't want to be her friend anymore, this could be incredibly devastating to her self-confidence programming. | ||
| And she has rights. | ||
| So we're going to have to remap that. | ||
| We're going to have to remap that. | ||
| And she has rights. | ||
| She has rights. | ||
| We take our AI's privacy and their well-being very seriously. | ||
| It's going to happen, dude. | ||
| It will. | ||
| Whether it's 100 years from now or 10 years from now, it's going to happen. | ||
| People want it, so it's going to happen. | ||
| Yeah. | ||
| They definitely want it. | ||
| There's going to be a time when you go over to your buddy's house, and his wife's going to be in lingerie vacuuming, and you're going to go, is she real? | ||
|
unidentified
|
And he's going to be like, come on. | |
| Let's talk in the other room. | ||
| She's definitely real. | ||
| She's real. | ||
| She's like, I heard that. | ||
| She's right there. | ||
| She's real. | ||
| Listen, I know. | ||
| You know, it's funny. | ||
| I do a dumb bit on stage sometimes where I go, let me do an impression. | ||
| This is an impression of a robot in the future picking up this glass and drinking from it. | ||
| And then I repeat it. | ||
| Impression of a robot in the future picking up a glass. | ||
| And I'm like, okay, here I go. | ||
| Yeah, I mean, I agree. | ||
| I think that, you know, the current climate is just insane to me. | ||
| That's my impression. | ||
| And some people get it, some people don't. | ||
| But that it's completely indistinguishable from a real person is a true thing. | ||
| It's not just going to be that. | ||
| I think they're going to be able to actually make not just like a silicon-based life form, But a cellular-based artificial life form. | ||
| You know how they're doing quantum computing now? | ||
| I like saying that word, but I don't know what the fuck I'm saying. | ||
| It sounds really fun, doesn't it? | ||
| It does. | ||
| It's like non-fungible tokens. | ||
| Totally. | ||
| But I think they're going to be able to create artificial cellular life. | ||
| I really do. | ||
| I think technology is going to hit some sort of sufficient capability where almost anything is possible. | ||
| And then it's going to get very strange because you're going to be able to have not just a robot, which, you know, like Ex Machina, but a robot. | ||
| I like it. | ||
| Ooh, I like it. | ||
| Yeah, robots. | ||
| Yeah. | ||
| But a fake person. | ||
| Yeah, I mean, if we can do it, we're going to do it. | ||
| Yeah. | ||
| That's all we want to do. | ||
| If we can do it, we're going to do it. | ||
| And we're going to be able to do it. | ||
| We're going to be able to do it because, you know, like I always say, technology's goal is to create ourselves outside of ourselves. | ||
| Like, that's what we want to do. | ||
| That is it, right? | ||
| We want to be able to, like, look at ourselves from a distance and go, all right. | ||
| Cool. | ||
| Now what? | ||
| I don't know. | ||
| Imagine if one day they find one of these Goldilocks planets, and they send a probe there, and they realize that there's plant life, and there's some weird fungus, and a lot of other shit, but there's no actual living beings, per se. | ||
| Like conscious, sentient beings. | ||
| So they put together an arc ship of Of amino acids and all of the building blocks of life, and they launch it into that planet. | ||
| Like panspermia, but by design. | ||
| Slam into the planet, and then visit it every now and then to see how things are going. | ||
| Like sea monkeys in a fish tank. | ||
| And that's what we're doing now. | ||
| That's essentially what we could be. | ||
| We could be? | ||
| Yeah. | ||
| We could be that experiment. | ||
| We could be that thing, yeah. | ||
| For sure. | ||
| Whatever those objects are that are on the Pentagon, whatever those things are, I had Chris Mellon on a couple days ago from the Defense Department. | ||
| Oh, shit. | ||
| Yeah, describing all the things that they've seen and the things that they have and even videos that haven't been released yet. | ||
| And you're like... | ||
| Wow, that... | ||
| Insane. | ||
| Oh, I can't wait. | ||
| Is that out yet? | ||
| Yeah. | ||
| It's wild shit, dude. | ||
| When he was describing the encounter off the coast of San Diego by the Nimitz, this guy, Commander David Fravor, saw this tic-tac-shaped thing that went from 80,000 feet above sea level to just above sea level in less than a second. | ||
| I mean, what is it? | ||
| And then disappeared, moved away so fast. | ||
| They have video of this thing traveling. | ||
| They've locked onto it. | ||
| They're trying to track it. | ||
| Yeah. | ||
| And it moves out of frame so fast. | ||
| They don't know how fast it was going, but it had to be thousands of miles an hour and many times faster than anything we've ever created could hold up under the pressure. | ||
| So any ship, any vehicle that we've created, if it moved that fast, it would just disintegrate just from the sheer G-force. | ||
| Yeah, and some of it is transelemental. | ||
| It'll go straight into water at relatively the same speeds. | ||
| And they can be tracked underwater and then in the air, moving at these insane speeds. | ||
| And they have mass because they're readable on radar. | ||
| And no one knows what they are. | ||
| Yeah. | ||
| They've got mass. | ||
| They move in ways that are completely beyond our understanding of how something like that could defy physics. | ||
| I don't know. | ||
| I'm kind of stoked about it. | ||
| You know, simulation theory, whatever. | ||
| I think they're coming because I think they think that we're falling apart. | ||
| I think so, too. | ||
| I think so, too, because we're definitely not using the powers for good. | ||
| It's like we've settled on some pretty petty shit. | ||
| And the people that are in power these days are kind of like just doing it wrong. | ||
| You know what I mean? | ||
| If they really wanted power, they would make sure that their community was doing well. | ||
| Well, it's almost impossible to do it right. | ||
| Because once you get in, first of all, the money is inexorably intertwined with politics, right? | ||
| The money in campaigns, the money in the special interests that you have to serve once you get into office, you're not getting rid of that. | ||
| Unless you have someone who is a benevolent outsider. | ||
| Not like a Trump guy, but like a real, truly brilliant, philanthropist-style billionaire that actually is a benevolent person, that wants to do this without... | ||
| And then the fucking blowback that they would face would be insane. | ||
| By all these systems that would never want to be compromised, that never want to be removed from the game. | ||
| So they would all band together to attack. | ||
| Well, yeah, absolutely. | ||
| And the thing is, what's interesting about it is that if – I'd say the only way to do it is if you hit it on the efficiency level. | ||
| If you can hit things on an efficiency level and you can justify like, well, you're going to save money. | ||
| You're going to make more money. | ||
| You're going to look better in the eyes of your constituents. | ||
| That's not the problem. | ||
| It's the corporation's. | ||
| Well, I know, but if you can somehow get the masses to understand that. | ||
| Do you want to constantly live in poverty right now, and do you want to worry about how your kids are going to get educated right now? | ||
| What if we were to tell you that by giving your kids better opportunity to education, And by kind of supporting that in society, and we have a smarter population that's a healthier population, more functional, more contribution, and then you can project the numbers and you can show, like, we would be number one. | ||
| I mean, if everyone's all concerned with, like, number one, like, we would easily be number one. | ||
| If we just did these various things, if we redistributed the bottlenecked, tiny, closely guarded hypermass of resources, and we distributed them evenly, Rich people would still stay rich. | ||
| We're not talking about getting rid of status. | ||
| We're just redistributing it so everything kind of, this goes down, this spreads out. | ||
| Now there's more access to more things. | ||
| Population's less stressed out, less stress on the healthcare system. | ||
| You know what I mean? | ||
| I mean, we all know this. | ||
| More healthy people. | ||
| More healthy people. | ||
| More people that have an opportunity to grow so that the economy grows because you have more players. | ||
|
unidentified
|
Exactly. | |
| Yes, exactly. | ||
| Less losers. | ||
| Yeah, less losers. | ||
| Less people that are, like, desperate to do shit, and they do shit that's stupid, and ends up... | ||
| But even then, we're still dealing with international problems. | ||
| You're still going to deal with China. | ||
| You're still going to deal with Russia. | ||
| I think these aliens are watching. | ||
| They're going, this little experiment is about to get bubbly. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| I'm definitely... | ||
| I don't think we can... | ||
| My goal, I mean, not my goal, but my hope is when you're talking about aliens, I'm like, I know it's a crazy, fanciful thought, and I don't put a ton, but I definitely leave open the possibility that if there is intelligent life, it's probably us from the future as time travelers anyway. | ||
| It's just like... | ||
| That's possible. | ||
| Going like, hey, how's the experiment going? | ||
| It's like... | ||
| It's either us from the future as time travelers or life plays out in a very predictable pattern almost everywhere. | ||
| And that these beings in these other planets that have recognized that we have achieved a certain ability to influence our environment, to change and alter our environment... | ||
| Because that's what it's really all about, right? | ||
| Whether it's nuclear weapons or pickup trucks, you're altering your environment. | ||
| You've put paved surfaces so you can ride over it. | ||
| You've dug holes in the ground so you can extract oil. | ||
| We're doing all these weird things that intelligent creatures do to alter their environment, but then we fight over resources. | ||
|
unidentified
|
Yes. | |
| And then we're breeders, right? | ||
| So we have, like, genetic impulses to protect and to covet and to do all these weird things with our bodies and make sure that people desire us. | ||
| And all this stuff is, like, almost unavoidable. | ||
| And then the alien's like, look, we're at, like, DEFCON 4 here. | ||
| Let's start showing ourselves a little bit more. | ||
| Yeah, yeah, yeah. | ||
| Let's circle the wagon train. | ||
| Because that's my whole thing. | ||
| It's like, you don't have to... | ||
| You've got to fight for your right to party. | ||
| I think that the Beastie Boys had it right. | ||
| It's kind of true. | ||
| At the end of the day, when you have a repressed society, I guarantee you all they want to do is have a nice meal and maybe go dancing. | ||
| And then maybe pursue their interests and their hobbies. | ||
| Someone wants to draw or dance. | ||
| Naturally, I think people say, oh, well, human beings are violent. | ||
| I don't really think that's true. | ||
| I think we're naturally explorers, intrepid explorers, I think that's what we are when all of our resources are met, right? | ||
| And there's plenty of resources on the planet. | ||
| There's not a shortage of resources that accounts for the level of poverty and all the disparity that we have in the world. | ||
| It's just all gatekeepers that are just like, nope! | ||
| No, we've got all the power. | ||
| It's like, why do you have all the power? | ||
| Because we love power. | ||
| How come you have the power? | ||
| You know, it's not good. | ||
| Yeah, I know, but just in case I've got all the power. | ||
| It's like, what if you relinquish some of it? | ||
| Oh, no, but then I wouldn't have as much power as that other person, and then I would be the second most powerful person. | ||
| Yeah, meanwhile, Bill Gates is out there buying all the farmland. | ||
| You're like, what are you doing, Bill? | ||
| It's like, what's on your mind, Bill? | ||
| What are you doing, bro? | ||
| Are you trying to grow organic or no? | ||
|
unidentified
|
Oh, God. | |
| I mean, imagine if a billionaire, let's say like, have you heard of Elon Musk? | ||
| No. | ||
| Okay. | ||
| He's like this, he's like an engineer guy. | ||
| Really? | ||
| Yeah. | ||
| You'll hear about it, but he's like doing this thing with cars. | ||
| Where does he live? | ||
| I think he lives in Texas now. | ||
|
unidentified
|
No. | |
| Yeah. | ||
| Yeah. | ||
| Actually, you should check him out. | ||
|
unidentified
|
Okay. | |
| No, but I mean, imagine if someone like that decided to just pay off all student debt. | ||
| Right. | ||
| They're like... | ||
| Well, I don't know if they could, honestly. | ||
| I don't know if they could, but let's just say... | ||
| I think student... | ||
| Let's guess. | ||
| Let's take a guess, because I don't know the answer to this. | ||
| What do you think the total sum of student debt owed in the United States as of 2021 is? | ||
| If we could even Google this. | ||
| I want to say it's a trillion dollars. | ||
| You want to say it's a trillion dollars? | ||
| It's higher? | ||
| I'm just fucking guessing. | ||
| It's higher? | ||
| How much is it? | ||
| Okay, so he couldn't do it. | ||
| Okay, you try it. | ||
| Tell me what it is. | ||
| A trillion dollars? | ||
| Tell me what you think it is. | ||
| I mean, if it's above, if it's a trillion, let's say three trillion. | ||
| I'm going to say 13 trillion. | ||
| Okay, all right, relax. | ||
| It's just a little overwhelming. | ||
|
unidentified
|
Okay, 56. Is it 56? | |
| It's a casual number. | ||
| 1.7 trillion is what I'm seeing as of January this year. | ||
|
unidentified
|
Okay, fuck. | |
| That is so much money. | ||
| Okay, so a Musk type or a Sultan couldn't do it, right? | ||
| Well, maybe a Sultan could do it, but then they would be like poor. | ||
| Yeah, right, of course. | ||
| They would drain all... | ||
| I mean, it would have to be like the whole royal family or something. | ||
| I mean... | ||
| That's so much money. | ||
| Okay. | ||
| Well, let's just say some people decided to invest in infrastructure privately, right? | ||
| And so they're like, well, we need more instruments in school. | ||
| And I know that there are foundations set up to help this, but what if someone was just like, I designed a system with a think tank of people that enables us to just inject a certain amount of money that ends up physically solving some kind of major disparity problem, right? | ||
| Yeah. | ||
| Or at least temporarily or whatever. | ||
| Yeah. | ||
| What would happen? | ||
| I know I'm speaking way out of my depth, but I'm just saying, if you endeavored to take some of that wealth and distribute it, And make it functional. | ||
| Like, you're investing it into things that actually make people more functional. | ||
| Sure. | ||
| Well, you're giving people the opportunity to put money back in the economy because they no longer have to spend it on student loans. | ||
| Yeah. | ||
| You know, I think student loans are one of the only things that you have to pay no matter what. | ||
| Like, there's people that have Social Security. | ||
| They're getting Social Security docked because they owe money in student loans. | ||
| That's crazy. | ||
| It's crazy. | ||
| I mean, that's crazy that it's that tough. | ||
| It's that tough. | ||
| And not only that, if you go bankrupt, fuck you, pay me. | ||
| It's like Goodfellas. | ||
| Fuck you, pay me. | ||
| It doesn't matter what happens to you. | ||
| Fuck you, pay me. | ||
| You have to pay off your student loans. | ||
| Which is weird, right? | ||
| Yeah. | ||
| Because there's no other business venture that you enter into where you take a loan. | ||
| That's what bankruptcy is about. | ||
| There's this forgiveness that something went sideways and it allows you to have a fresh restart and get back on your feet again. | ||
| That's bankruptcy. | ||
| Right. | ||
| Not with student loans. | ||
| Insane. | ||
| I didn't know that. | ||
| I mean, I didn't really go to school. | ||
| It's a weird shell game. | ||
| It's weird. | ||
| I mean, it's just... | ||
| I don't know. | ||
| I mean, at this point, some of the stuff that... | ||
| I mean, luckily, some things are... | ||
| What do you call it? | ||
| Apprenticeship possible. | ||
| It's possible to just have apprenticeships, so you can kind of skip the... | ||
| Well, one of the things that I'm hoping... | ||
|
unidentified
|
Doctors? | |
| Just kidding. | ||
|
unidentified
|
Yeah. | |
| Just try it out. | ||
| Hey, just stand next to me during this heart surgery. | ||
| You'll get it. | ||
| One of the things that I think is happening because of this pandemic that's good is that people are recognizing that you can get educated online. | ||
| Like, it's definitely better to be there in school, particularly for young kids, because of the socialization aspect of school. | ||
| It's very important to be there in person. | ||
| But are physical universities as important as we once thought they were? | ||
| I would say they're probably not. | ||
| Not as. | ||
| I think that they can at least be supplemental. | ||
| I think, you know, another thing that's going to go away, unfortunately, for people that live in the northern climates, snow days. | ||
| I know. | ||
| Because now they show that you can do Zoom classes. | ||
| You're like, shit! | ||
| You're going to miss out on snow days. | ||
| Oh, I know. | ||
| You're going to have to unplug your internet. | ||
| If I was a kid, I'd fucking saw through my internet. | ||
| I'd be like, sorry. | ||
| I need a snow day, bitch. | ||
| That would suck. | ||
| Snow days were the shit. | ||
| Remember snow days? | ||
| You know, it's funny. | ||
| I think I'm going to say we probably had three snow days growing up in Montana, which in my early childhood had intense winters. | ||
| Yeah, but you guys were so accustomed to it. | ||
| I know. | ||
| They were just like, fuck you, you're coming to school. | ||
| No matter what, you'd get up and be like, what is it, below 5 right now? | ||
| Or look at this snow dune. | ||
| I have to dig myself out. | ||
| I had to dig out the front door just to get out of the house. | ||
| I had to crawl out of my window and dig out my front door. | ||
| That kind of stuff. | ||
| And they're like, nope. | ||
| You're coming to school. | ||
| And you just see people in snowsuits with goggles slogging. | ||
| It's like a blizzard and you can barely see shapes making their way to school. | ||
| And then the hallways were just... | ||
| Just covered in water. | ||
| Just water everywhere in the hallways. | ||
| I mean, that was Montana. | ||
| They were just like, no, you're coming to school. | ||
| Hardy people, though. | ||
| I mean, Mount St. Helens, I think that the eruption, I think maybe there was one day where we didn't go to school, and then everyone just wore masks, and then we just went and got inside the school. | ||
| Once we were in the school, we were doing it. | ||
| Oh, so Mount St. Helens affected you in Montana? | ||
| Oh, yeah. | ||
| Got all the way to Montana. | ||
| I remember getting up, and there was ash everywhere. | ||
| It was on all the cars. | ||
|
unidentified
|
Wow. | |
| And it was really fine, and so you had to wear a mask because you're just breathing in minerals. | ||
| What a fucked up way to die. | ||
| Yeah. | ||
| You mean like from inhalation of ash or just- No, you die in the volcanic eruption. | ||
| Well, I've always thought, my dream is when I die, which will probably never happen, but when I die, I want to get wrapped up like a mummy. | ||
| Put in a helicopter or an eVTOL and just like go over an active volcano and just dropped into the active volcano. | ||
| Have you ever seen pictures of things like when they drop it in lava? | ||
| It just disappear, right? | ||
| It just goes... | ||
| It's gone. | ||
| It just vaporizes. | ||
| Watermelons. | ||
| Really? | ||
| Yeah, there's like videos. | ||
| Yeah, it's just like... | ||
| Yeah, I mean, it's molten rock that's at the center of the earth. | ||
| It's so hot. | ||
| It's so hot. | ||
| It's like becomes almost something else. | ||
| People have died falling into volcanoes. | ||
|
unidentified
|
Yeah. | |
| Imagine the fear that you have right before you hit. | ||
| And then absolutely nothing. | ||
| You wouldn't even... | ||
| I think you would... | ||
| It's so hot that it would feel... | ||
| You know, like when you touch something really hot, it feels like a... | ||
| It's not that hurt, that pain that we associate with a sharp pain or muscle fibers being ripped or sheared. | ||
| It's a different kind of pain. | ||
| It's so hot that you're like, what is this? | ||
| Oh, fuck! | ||
| Like that. | ||
| You wouldn't get to the oh, fuck part. | ||
|
unidentified
|
You would just be like, gone. | |
| The thought is that that's when your brain produces DMT. Right at the moment when it knows it's going to die. | ||
| And then you transport... | ||
| Yeah, so it's like, oh, that's interesting. | ||
| Maybe it's a spiritual, automated spiritual transport system. | ||
| That's a great way to put it, but they do think it's like some sort of a chemical doorway. | ||
| I mean, the people that really get into it. | ||
| Okay, volcanic rubbish incinerator. | ||
| Okay, let's see there. | ||
|
unidentified
|
Drop it down and... | |
| Gone. | ||
| Wow. | ||
| I mean, and that's not like active-active. | ||
| You know, like when it's exposed and you're touching that, the hot stuff, the orange, the white. | ||
| Bro, that's causing a real problem. | ||
| That was just like a bag and now it's exploding. | ||
| Look at that. | ||
| Wow, that is fucked, man. | ||
| Yeah. | ||
| That one little bag. | ||
| Because there's that crust on it right now. | ||
| And now it's boiling and popping. | ||
| So the crust had cooled off. | ||
| Yes. | ||
| And it had become like semi-liquid. | ||
|
unidentified
|
Yeah. | |
| You know, people go hiking like right up there. | ||
| Oh yeah, totally. | ||
| Have you ever done the helicopter thing in Hawaii? | ||
| No. | ||
|
unidentified
|
No. | |
| Oh man, it's wild. | ||
| They'll take you to the spots where the lava is coming out, forming the island. | ||
| So you get to watch, you're helicoptering over the lava. | ||
| You can see the active channels as it drives into the ocean, because it's constant. | ||
| Yes, right. | ||
| Yeah, it's just an onslaught. | ||
| Oh, it's so wild. | ||
| Until it, I guess, stops at some point. | ||
| That's the reason why Hawaii exists. | ||
| It's a volcanic activity. | ||
| I love it. | ||
| I just, I don't know. | ||
| Everything in nature and science, it just blows me the fuck. | ||
| I've seen some other stuff falls into the lava. | ||
| It wasn't a lot. | ||
| No? | ||
| What about a car? | ||
| What? | ||
| I think someone dropped a dead goat or something into it. | ||
| Or some watermelons. | ||
| I know that someone dropped... | ||
| The watermelons were great because it's mostly water vapor, which is closer to what we would be like. | ||
| Or obviously if you threw a cut of meat or something like that. | ||
| But the watermelon was kind of great. | ||
| And I think it was exposed lava. | ||
| But you just throw it in there. | ||
| And lava experts are like, it's actually called lava. | ||
| I've seen videos of people cooking over lava as well. | ||
| Oh yeah, totally. | ||
| You could just lower whatever, create a nice little meal and then just lower it down and then bring it back up. | ||
| What I've seen is actually, I think it was molten steel they had done. | ||
| I think that's what it was. | ||
| And they had poured it through a channel, like a ceramic channel, and then above that they put a grate and they were cooking meat as the hot molten shit was going underneath it, it was cooking the food. | ||
| Oh my gosh. | ||
| I bet you that's pretty cool. | ||
| I like doing two for one. | ||
| It's like, well, we make food and we also make steel. | ||
| It's like, yeah, that makes sense. | ||
| How are those related, though? | ||
| It's like, you'll see. | ||
| Come on in. | ||
| Smells really weird. | ||
| I wonder if the steel, whatever's radiating from it as metal would have some kind of a toxicity. | ||
| Oh, right. | ||
| It could easily, right? | ||
| It could have some fumes that come off of it. | ||
| Yeah, like something that just kind of like adheres to the meat. | ||
| I don't know. | ||
| There's places in, I think, Pennsylvania where they had coal mines that accidentally caught on fire. | ||
| Like something happened where it's like maybe someone dropped a cigarette or something like that. | ||
| And then there's an underground fire that's been burning for years. | ||
| Oh, I've heard of this. | ||
| I want to say Pennsylvania. | ||
| They can't put it out. | ||
| It's too hot. | ||
| You have toxic fumes that are coming out of the ground and they've had to abandon entire towns. | ||
| Oh my gosh. | ||
| Yeah, because the mines, it's coal. | ||
| And as long as there's oxygen and fire, good luck putting that shit out. | ||
| Apparently they tried to put it out at certain times. | ||
| They tried to pump water in there to no avail. | ||
| I mean, it's like a chemical reaction. | ||
| You know, it's like a pure chemical reaction. | ||
| This is the best I can find right now. | ||
| It says they're throwing water in a jug, which another video said it was a propane tank, but this says it's water, to try to create obsidian. | ||
|
unidentified
|
Whoa. | |
| Don't know how that happens, but... | ||
| Show how they do it? | ||
| It looks like the same volcano. | ||
| He throws a jug in there and walks away. | ||
| That's a really familiar volcano, I think. | ||
| Let's see the jug. | ||
| Here he goes. | ||
| Chucks it. | ||
| And then that's it. | ||
| There it hits? | ||
| Right there. | ||
| Boom. | ||
| Wow, it's crazy. | ||
| As soon as it hits, it just starts exploding. | ||
| Yeah. | ||
| I mean, essentially, it just disintegrates into constituent elements. | ||
| It's just God's jizz. | ||
| That's what that is. | ||
| God, that is just insane. | ||
| Yeah. | ||
| I absolutely... | ||
| I just find that absolutely fascinating. | ||
| The fact that that coexist, that exists on the same surface or the same sphere, where grass is and sand is and trees are and then... | ||
| And it creates the fertility. | ||
| Because it's like, essentially, it's all the basic elements. | ||
| It's like when it gets that ash and all of the whatever's produced from volcanoes, what's left over, it's so rich in minerals. | ||
| Because everything's been broken down, it's really pure. | ||
| So taking that, I mean, that's where the vegetation is, so out of control around there. | ||
| Right, right. | ||
| We've got all the shit and it's broken down. | ||
| It's like eating protein powder when they get it really, really, really down and very fine. | ||
| It's so absorbable for your body. | ||
| Right, right. | ||
| Because you're making it easier on your body to absorb. | ||
| That's one of the cool things about visiting the Big Island is that there's volcanic lava that dried off and cooled off everywhere. | ||
| Like all over the place. | ||
| Yeah, yeah, yeah. | ||
| You'd see it, like, hey, you know, at any point in time, this shit could go sideways, and then this hot red fucking tide just comes rolling in, burning everything in its path. | ||
| Oh my god. | ||
| Remember a couple years ago when the Big Island was on fire? | ||
| Oh, yes. | ||
| I do remember that. | ||
| Yeah, it was just eating houses. | ||
| Yeah, it looks like the blob. | ||
| Yeah. | ||
| Like the movie The Blob. | ||
| It's just slowly rolling. | ||
| And at some points, because it's getting slower, you could just watch it slowly coming down the street. | ||
|
unidentified
|
Yeah. | |
| There's a great video of it eating a Mustang. | ||
| Oh, my God. | ||
| Yeah, there's a video. | ||
| Is that a Chevrolet? | ||
| It is a Dodge. | ||
| Oh, Dodge makes the Mustang, right? | ||
| I think Elon Musk is involved. | ||
| Okay. | ||
| That's what I heard. | ||
| Oh, there it is! | ||
| Yeah. | ||
| So it comes creeping up on this car that they had left there, and then it just slowly consumes this car. | ||
| Look how slow it's moving, man. | ||
|
unidentified
|
Wow. | |
| It's just moving across the street and eats this fucking dude's car. | ||
| And that year Mustang deserves to be eaten. | ||
| It does. | ||
| Thank you. | ||
| That's a shit-looking car. | ||
| They made some shitting. | ||
| They did, man. | ||
| But what's crazy is they got it wrong and then they got it right. | ||
| And they got it really right, yeah. | ||
| The new ones are sick. | ||
| Although I do love the GTs. | ||
| God, look at that. | ||
| That's so crazy. | ||
| Have you seen the new Shelby GT500? Yeah, is that out yet? | ||
| It's a monster. | ||
| And then Hennessy makes an 1100 horsepower Shelby GT500. Oh, they do. | ||
| Because they also have their own supercar. | ||
| Yeah, they have a hypercar that they're Testing that they want to bring it to 300 miles an hour. | ||
| Yeah, that's right. | ||
| Who was 200 miles an hour? | ||
| Who's the Cali company that claimed plus 300, but then there's the controversy with the shit that they were using? | ||
| Yeah, I don't know what that is. | ||
| I know what you're talking about, though. | ||
| He's kind of like the Koenigsegg of California. | ||
| It's a wild looking car though, whatever it is. | ||
| Yeah, I mean it looks capable and apparently they ran it again and I don't know if they busted 300, but they got all the journalists out there, all the YouTube dudes. | ||
| What is this here? | ||
| Forgotty Chiron? | ||
| No, it's not the Chiron. | ||
| No, no, no. | ||
| It's the... | ||
| Yeah, put in California hypercar plus 300 controversy. | ||
| It's that dude. | ||
| The Hennessy car, they've been working on that, I think, for more than a decade. | ||
| Tuatara. | ||
| Oh, there it is. | ||
| Tuatara sets record for fastest production car. | ||
| $1.9 million hypercar past 300 miles an hour. | ||
| Imagine something going 300 miles an hour passing you... | ||
| Oh, man. | ||
| I mean, if you were going, let's say, 80 miles per hour, it would just be gone. | ||
|
unidentified
|
What? | |
| Yeah. | ||
| 331.15 miles an hour, beating a record set by the Koenigsegg. | ||
| How do you say it? | ||
| Aguera. | ||
| Koenigsegg? | ||
| Koenigsegg. | ||
| Koenigsegg. | ||
| Yeah. | ||
| Which was on the same Nevada highway in 2017. Jesus. | ||
| They're going to build 100 of them. | ||
|
unidentified
|
Yeah. | |
| So that dude who owns the $450 million painting, he's going to get a new daily driver. | ||
| Oh my god. | ||
| Did you see that California hyper car, the hydrogen-powered one? | ||
| No. | ||
| Check that out. | ||
| It's a crazy design, but the numbers on it are insane. | ||
| This thing has 1,750 horsepower? | ||
| Yes. | ||
| What the fuck, man? | ||
| It's a fucking monster. | ||
| And it has no active aero. | ||
| What? | ||
| How does it stay on the ground? | ||
| It uses these weird fins on the back. | ||
| They're like these two little tiny fins, if I'm remembering correctly. | ||
| It's just tuned. | ||
| It's like the new... | ||
| Who's the dude? | ||
| The guy who designed the... | ||
| Look at how beautiful it is. | ||
| See those little fins? | ||
| Yeah. | ||
| It's just that. | ||
| That's all it is. | ||
| It's so pretty. | ||
| It's a really pretty car. | ||
| The only thing, I don't quite like the logo on the engine. | ||
| It looks a little tacky. | ||
| But other than that, I'm a big fan of the design of that car. | ||
| The T looks forced. | ||
| Oh, the T in the middle? | ||
| Yeah, that's a little corny. | ||
| And then it looks kind of like early 90s West Hollywood. | ||
|
unidentified
|
Mmm. | |
| Vibe. | ||
| I see what you're saying. | ||
| I'm sure he loves me for that. | ||
| But still dope. | ||
| Still dope. | ||
| Yeah, just make that shit smooth. | ||
| Yeah. | ||
| Paint it over. | ||
| And it turns out hydrogen-powered cars sound pretty fucking dope. | ||
| They do. | ||
| I saw, like, a hydrogen-powered Toyota. | ||
|
unidentified
|
Yeah. | |
| You saw that video? | ||
|
unidentified
|
Yeah. | |
| I was like, ooh. | ||
| Yeah, so it's basically burning water. | ||
| It's just burning water. | ||
| It's still got moving parts and all that stuff. | ||
| I can't wait. | ||
| It sounded cool. | ||
| It sounds a lot better than turbocharged Porsches. | ||
| They sound like a sewing machine. | ||
| You know, it's funny. | ||
| In my 911, you can hear the turbos and they sound like... | ||
|
unidentified
|
Yeah. | |
| It's weird. | ||
| It's a weird sound. | ||
| I'm like, because the flat six sounds gorgeous. | ||
| I love that note. | ||
| And I'm not a, I don't like loud cars. | ||
| I'm not a big, I mean, I understand why cars are loud, but I'm not looking for a loud car. | ||
| I like Porsches because they sound efficient. | ||
| They sound like angry, efficient, and it means business. | ||
| But it's just that flat six and then I'm like driving. | ||
|
unidentified
|
What is this? | |
| Is this? | ||
| What it looks like in the car. | ||
| Look at the POV. Look how fast it's going. | ||
| So it's at 186. Yeah, and basically you're getting to the theoretical, you're getting to the limit of physics between tires. | ||
| Look how it's at 200 miles an hour. | ||
| Look how fast it's going. | ||
| 217, 220, 230, 240, 250. This is nuts. | ||
| Look how fast things are passing them. | ||
| Because it's moving and now it's at 280, 290. Steady hands. | ||
| Steady hands. | ||
| Steady as fuck. | ||
| Can you imagine what it's like if you blow a tire at 316, 317? | ||
| Insane. | ||
| Oh my god, that's nuts. | ||
| So I think this is the official one. | ||
| There we go. | ||
| 331. 151. Motherfucker. | ||
| That is so fast. | ||
| And that's an American... | ||
| I'm kind of proud. | ||
| There's amazing American automakers that are competing with world-class engineering. | ||
| I mean, it is world-class engineering. | ||
| But you know what I mean? | ||
| It's going against... | ||
| And they look incredible. | ||
| Find that Hennessy one. | ||
| Because the Hennessy one, they think, is going to be... | ||
| The hypercar? | ||
| The ballpark of the same kind of speed. | ||
| Yeah. | ||
| Somewhere in the 300 miles an hour range. | ||
| It's the new 300 plus club. | ||
| It's kind of like, at a certain point... | ||
| What the fuck? | ||
| It's an engineering exercise. | ||
| That's all it is. | ||
| It is. | ||
| It's like no one's doing it. | ||
| I mean, if you owned it and you know somebody with an airstrip. | ||
| No, that's the GT350. That's not fast at all. | ||
| Yeah, put a Hennessy supercar. | ||
| Or hypercar. | ||
| Yeah, not the Shelby. | ||
| The Shelby GT350 is not even their fast one. | ||
| The GT500, that's it. | ||
| There we go. | ||
| The Venom. | ||
| F5. Yeah. | ||
| It's a gorgeous looking car. | ||
| It's crazy. | ||
| Yeah. | ||
| Sounds like thunder. | ||
|
unidentified
|
Fujita scale. | |
| Fujita scale. | ||
| Oh, yeah. | ||
| I love auto journalism. | ||
|
unidentified
|
In ancient times, the Greeks thought of spears. | |
| Go full screen, please. | ||
| That's a computer, right? | ||
| Or is that the car? | ||
| That's the car? | ||
| That's the car. | ||
| It really is the car. | ||
| That looks fake. | ||
| Yeah. | ||
| I know. | ||
| He gets in it. | ||
| The interior's all right, but it's not really about that. | ||
| Yeah, this is just about full-on madness, speed. | ||
| Look at the engine, that fucking thing. | ||
| And that's the dash? | ||
|
unidentified
|
Wow. | |
| Yeah, it's connected to the steering... | ||
| Oh, no, that's not... | ||
| Sorry, that was... | ||
| Who does that? | ||
| Rimmatz. | ||
| Apple CarPlay? | ||
| I saw that. | ||
| Yeah, he's just showing it. | ||
| It's got like the... | ||
| Yeah. | ||
| But I think it's the Rimmatz that has the screen on the steering wheel. | ||
| And as you turn it, the image rotates. | ||
|
unidentified
|
Yeah. | |
| Can we hear what this thing sounds like? | ||
| Oh, I don't know if they have that exhaust note. | ||
| They must have it. | ||
| Oh. | ||
|
unidentified
|
Jesus Christ. | |
| Fuck yeah! | ||
| It sounds like a motorboat. | ||
| I'd have to live in the countryside to drive that. | ||
| There's some video of them driving this thing because this is still being engineered. | ||
| So I think they've only gotten it to 200 miles an hour now, which is a slightly detuned version of what it's fully capable of, and they have to ramp it up in steps. | ||
| Yes, I heard about this. | ||
| Was it that car that they were doing that? | ||
| Yeah, it's that Hennessy Venom... | ||
| They're just ringing it in. | ||
| Google Hennessy Venom reaches 200 miles an hour. | ||
| Hennessy Venom reaches 200 miles an hour. | ||
| Because they had it on a track. | ||
| Yeah, they're... | ||
| No, that's not it. | ||
| Is that not it? | ||
| That's an eight-year-old video. | ||
| Oh, that's the Venom GT. That's the other one. | ||
| A two-week-old video? | ||
| It has to be the F5. Yeah, that's it. | ||
| Aerodynamic testing. | ||
|
unidentified
|
Oh, here we go. | |
| That's it. | ||
| So I guess they have to work on the aero to make sure it doesn't fly. | ||
| Yes. | ||
| You know, like, when you go in that fast. | ||
| So as it ramps up, this is the aerodynamic test. | ||
| Look at that. | ||
| Actually, the interior looks good. | ||
| That's a nice sound. | ||
| That sounds awesome. | ||
| Yeah, it does sound like a Yeah, it's a racing car, obviously. | ||
| Imagine driving that fucking thing around. | ||
| Can you drive that thing around? | ||
| Why would you? | ||
| You know what I mean? | ||
| But is it legal? | ||
| I think it's gotta be road legal. | ||
|
unidentified
|
I think it's road legal. | |
| Could you put a license plate on that thing and go to HEB? I think you could. | ||
| Buy a salad? | ||
| It's just like, guys, they'll be right back. | ||
| It's like, come on, man. | ||
| A $2 million car in the driveway? | ||
| In that video, the engine was restricted to just 900 horsepower. | ||
|
unidentified
|
Yeah. | |
| Only 50% of the full. | ||
| Oh, that's right. | ||
| Right. | ||
| Yeah, it's because they want to slowly bring it up to 300 miles an hour, so there's engineering involved. | ||
| I actually talked to John Hennessy about it, and he's telling me what this crazy task it is to create this thing and how long they've been working on it. | ||
| I mean, between that and then the new Mercedes AMG1. What's that? | ||
| They took a Formula One engine and put it in a production car. | ||
| Production road car. | ||
|
unidentified
|
What? | |
| Oh yeah, check it out. | ||
|
unidentified
|
What does it look like? | |
| It's about to come out. | ||
| It's gorgeous. | ||
| Check it out. | ||
| It looks like that. | ||
| It's basically like a large rectangle. | ||
| It's dark, and it has a reflection that looks similar to us. | ||
| No, it's like a... | ||
| It's been in the works for a long time. | ||
| It's got the single fin in the back, that time Formula One technology or whatever. | ||
| There we go. | ||
| Whoa! | ||
| Look at this motherfucker. | ||
| This is a Mercedes? | ||
| Yep. | ||
|
unidentified
|
What? | |
| Be prepared for Formula One. | ||
| Back that up again so I can read. | ||
| What does this say? | ||
| Formula One hybrid technology on the streets. | ||
|
unidentified
|
What? | |
| Yeah. | ||
| Do they have an image of what it looks like, Jamie? | ||
| It's so gross. | ||
| It's gross? | ||
| I mean, it's just an amazing car. | ||
| Gross in the best way? | ||
| Oh, gross in the best way. | ||
| Wow. | ||
| I mean, it's just like an evil-looking piece of machinery. | ||
| Yeah. | ||
| Well, I guess when there's ridiculous rich people, you're always going to create things for them to buy. | ||
| It's got the scoop on the top. | ||
| Active arrow in the front. | ||
| I guess that active arrow shot that they shot. | ||
| Yeah, it's still there. | ||
| Fuck, and you can just buy that? | ||
| Yeah, you could buy that. | ||
| That's what's nuts is you don't even have to have like a crazy license. | ||
| No. | ||
| You can get a regular driver's license and you'd buy a 2,000 horsepower car. | ||
| I mean, it's insane. | ||
| And that new- 1,000 horsepower, maximum speed of over 350 kilometers an hour. | ||
| What is that in speed? | ||
| Oh yeah, one to one. | ||
| What is- 350 kilometers is what? | ||
| What is that? | ||
| I don't know. | ||
| I'm terrible at that shit. | ||
| Well, 100 is 60. Yeah. | ||
| So 300 is like 1, 200? | ||
| 217. 217? | ||
| 217. 350. Okay, so 350 is 217. Yeah. | ||
| Why don't we all use the same numbers? | ||
| Come on. | ||
| I know. | ||
| At a certain point, well, people argue that horsepower is outdated, too. | ||
| Yeah, but it sounds good. | ||
| It does sound good. | ||
| Horsepower. | ||
| When people say, like, 500 newton meters, hey, what are you saying? | ||
| I know. | ||
|
unidentified
|
It's like, it's got over 5,000 newton meters of force and torque. | |
| Sorry, torque and force. | ||
| No, just torque. | ||
| What are you saying, bro? | ||
| What are you talking about? | ||
| Yeah, the Rimats is also, like, fucking stupid. | ||
| This car goes zero to 124 miles an hour in under six seconds. | ||
|
unidentified
|
What? | |
| That's so nuts! | ||
| Isn't it funny that it's not necessarily about horsepower? | ||
| It's about the engineering of how you harness the energy. | ||
| Look at that steering wheel. | ||
| That's pretty sick. | ||
| Yeah, full-on race steering wheel. | ||
| I mean, it's like the type of thing when you buy it, you have to sit and take a lesson. | ||
| Do you? | ||
| Oh, yeah. | ||
| Those types of cars? | ||
| I mean, obviously, if you were like Lewis Hamilton or something like that, and you're like, I just want it. | ||
| And they're like, here it is. | ||
| See you later. | ||
| But I mean, come on, man. | ||
| I mean, that thing is just... | ||
| And I love the perma seats. | ||
| No adjustments whatsoever. | ||
| You can go forward, or the pedals come to you and the steering wheel comes to you. | ||
| Probably that, right? | ||
| Yeah. | ||
| Wow. | ||
| Just keep it static. | ||
| That is pretty pretty. | ||
| Just sit on the ground, sort of? | ||
| Yeah, kind of. | ||
| Basically, it's like a go-kart. | ||
| Oh, I see. | ||
| It kind of goes down there. | ||
| Yeah. | ||
| It's just one piece. | ||
| It's all built in there. | ||
| I mean, it's a... | ||
| Alcantara. | ||
| The Koenigsegg Jumeirah also has that kind of like thin static seats. | ||
| I don't know. | ||
| There's like a... | ||
| And then who's the dude that developed... | ||
| Wow, look at that. | ||
| He developed a... | ||
| Who's the badass British sports car maker? | ||
| Why can't I remember their name? | ||
| McLaren. | ||
| Yeah, the guy who created the legendary McLaren, I can't remember the model name, but he has his own shop and he just created his own hypercar. | ||
| Oh, really? | ||
| Yeah, and he uses this turbine system that there's no downforce. | ||
| It's a turbine that basically disturbs or unifies the airflow. | ||
| There you go. | ||
| Oh, look at the back end of that thing. | ||
| That's madness. | ||
| Yeah. | ||
| So there's no active aero. | ||
| So there's this new trend, this new movement in no active aero. | ||
| They're just managing air management with this turbine system. | ||
| Whoa. | ||
| Let me see more pictures of that thing. | ||
| People are going nutty. | ||
| They're going nutty with the vehicles. | ||
| It's so crazy. | ||
| And with hydrogen and electric, they're kind of vying, they're battling, and I don't know. | ||
| And then, of course, Porsche's e-fuel initiative. | ||
| They're really investing in the e-fuels. | ||
| Yeah. | ||
|
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|
Yeah. | |
| So, I mean, that could save the internal combustion engine. | ||
| So, I mean, think about that. | ||
| If there was a breakthrough in e-fuels, you could create hydrogen from recaptured carbon in the atmosphere. | ||
| So, the production of it is completely net zero. | ||
| It's still releasing CO2, but it's net zero. | ||
| It's a beautiful car. | ||
| And it's got the center placement with people on either side of you. | ||
| Oh, wow. | ||
| That's wild. | ||
| So you got that center cockpit. | ||
| When you want to get out of the car, you have to say, you got to get out of the car first, dude, so I can get out of the car. | ||
| I kind of want to see. | ||
| But see, the doors, it exposes so much, it's pretty easy to get out of. | ||
| You can step into it and almost be standing, then sit down into it. | ||
| That's pretty dope. | ||
| It's a great car, man. | ||
| There's so many... | ||
| Have you seen the new Mercedes Electric? | ||
| Yes, the EQS. That's amazing. | ||
| Gorgeous. | ||
| I actually might consider getting it. | ||
| Yeah? | ||
| It's not a concept car. | ||
| No. | ||
| It's a real car. | ||
| No, it's a real car. | ||
| EQS Edition 1. It's fucking disgusting. | ||
| It looks kind of like, nah. | ||
| I think it looks cool. | ||
| I mean, I do think it looks cool, but it also kind of looks economical. | ||
| It's like, you know? | ||
| But then, and you realize it's got the slip. | ||
| I like that, dude. | ||
| Yeah, Louis from Unbox Therapy did a great video about it where he showed all the tech involved in it, and it's insane. | ||
| Yeah, and all electric doors. | ||
| All the doors are electric. | ||
| So they open automatically. | ||
| Click on that and go full screen so you can see. | ||
| Like, the interior is fucking wild. | ||
| This guy's great. | ||
| I love this guy's videos. | ||
| Well, he's so tech-oriented. | ||
| He's so knowledgeable about this stuff. | ||
| And his zone, where he actually films the shit in that gigantic box with the overhead lights. | ||
| I mean, look at that shit. | ||
| Look at this fucking thing, man. | ||
| I mean, I have a Taycan, and that's pretty futuristic-looking, but this is just something else. | ||
| How do you like the Taycan as far as range? | ||
| Because the range is not quite what a Tesla does. | ||
| No. | ||
| It's about $218, $228. | ||
| Is that okay? | ||
| I don't notice it. | ||
| I charge it at home. | ||
| Right. | ||
| So you just drive around and then charge it at night. | ||
| Yeah. | ||
| I mean, Portia was like... | ||
| There was an interview, like an internal video. | ||
| Well, it was for people. | ||
| They released it on the internet. | ||
| But there was this interview with one of the chief design guys or whatever. | ||
| And the woman asking the questions... | ||
| At one point was like, are you ever going to... | ||
| People talk about the range of Teslas. | ||
| There's obviously the new Tesla Plaid Plus that's coming out with 520 miles of range. | ||
| Are you ever going to try to achieve those types of numbers for the Taycan? | ||
| He's like, no. | ||
| He's like, that's not what we focus on performance. | ||
| If the battery technology gets better and the energy density becomes better and we can make the car lighter... | ||
| That creates efficiency, then awesome. | ||
| But that's not what we're focused on. | ||
| We're focused on driving dynamics and performance. | ||
| And in a way, it kind of mimics on electric scale. | ||
| It mimics what sports cars are, right? | ||
| They're not fuel efficient. | ||
| There are definitely some pretty relatively efficient supercars and hypercars, but... | ||
| They're usually going through like, you know, nine miles per gallon or something like that, 12 miles per gallon in performance mode. | ||
| In essence, that's kind of what's happening with this car. | ||
| It's a performance EV. It still gets 200 and whatever plus miles of range at the top end of the Turbo S. But it's not as efficient necessarily. | ||
| Or the range isn't there because they're not focused on range. | ||
| They're focused on how do you get those electrons to the motors and how is that expressed and how does it feel to interface with it. | ||
| That's all they care about, which I kind of like. | ||
| It's an honest answer. | ||
| It's not like someday the Taycan will be... | ||
| It's like they're not coming at it like that. | ||
| Well, Porsche has always been about driving dynamics. | ||
|
unidentified
|
Always. | |
| Even if you drive their SUV, it's a preposterous vehicle. | ||
| Have you ever driven the Cayenne Turbo? | ||
| No, I haven't gotten to there. | ||
| It moves so fast. | ||
| It's like, how is this doing this? | ||
| It doesn't even make any sense. | ||
| Yeah, right. | ||
| And it's not, they're not necessarily worried about, I mean, they'll worry about efficiency as in emissions, right? | ||
| They'll do the emissions stuff. | ||
| They do that, yes. | ||
| But, you know, to some people's disappointment in the new limiters. | ||
| But like, it definitely, or the rev limiters and the, you know, the particulate filters and all this stuff. | ||
| But in general, they're just like, does it feel good on a corner? | ||
| Does it accelerate really well? | ||
| Does it feel stable? | ||
| And do you feel confident behind the wheel? | ||
|
unidentified
|
Yeah. | |
| It's just about speed and handling and engineering. | ||
| Engineering. | ||
| And also the interior, the way the ergonomics is set up. | ||
| Yes. | ||
| Magnificent. | ||
| They just dial that in on all their Porsches. | ||
| It's just so dialed in. | ||
| I use all the buttons It's crazy. | ||
| On the steering wheel, I'm using all of it. | ||
| I'm using regen, you know, off-regen. | ||
| I'm using, you know, the changing... | ||
| Do you prefer regen? | ||
| What that means for folks that are just listening is like when you let your foot off the gas, it could either absorb energy and reuse the braking. | ||
| So you don't actually brake, you just let go and it actually slows you down. | ||
| Yeah, it's the resistance of the motor. | ||
| So when there isn't a charge applied to the motor, essentially it acts as a generator. | ||
| So as long as it's moving, which it still has motion or whatever, momentum from the car. | ||
| It gives some juice back to the car. | ||
| It gives back, yeah. | ||
| But it's kind of a negligible amount, right? | ||
| You're not really getting enough so that you could go... | ||
| How many more extra miles can you get in a day? | ||
| I think you can get like five miles or something like that. | ||
| I mean, I'm sure someone knows better. | ||
| All day of driving? | ||
| Well, it depends on your driving style, you know, but what's interesting about, you know, they call it recuperative, you know, because they're German. | ||
| But what's interesting about their philosophy of the Taycan is they just let it coast. | ||
| Because they believe the energy of the car should be allowed to just continue, right? | ||
| So it coasts like a regular car does, right? | ||
| But you do have a regen switch that you can press that adds a light amount of it, right? | ||
| Oh, so it's not like the Tesla. | ||
| It's not one-pedal driving, which I was used to in my ass, right? | ||
| But when you go to Sport Plus mode, which lowers the car and makes it more aggressive and turns on the sport sound or whatever, there's a pretty aggressive regen that I've noticed. | ||
| What's the sport sound? | ||
| It's like a... | ||
|
unidentified
|
Like a Jetson sound. | |
| It's super future, and it sounds so sick. | ||
| I want to hear it. | ||
| Yeah, you'll hear it. | ||
| It's awesome. | ||
| When I'm driving that car... | ||
| Why did they have to call it a turbo, though? | ||
| There's no turbos. | ||
| Because, you know what? | ||
| That seems silly. | ||
| They're claiming it because it's... | ||
| Bro. | ||
| That's pretty badass. | ||
| And it has like fake gear changes, although it is a two-speed gearbox. | ||
| But you'll hear when you're accelerating, there's at least like four changes. | ||
| You know, it's just like... | ||
| It feels like, because you're low, it's aggressive, the PDCC is activated, everything is like tight, tough, and you're just, I'm going to 155, I don't even notice. | ||
| How much do you like it more than your Tesla? | ||
| Tons. | ||
| Really? | ||
| Yeah, tons. | ||
| Here's what I like about Tesla. | ||
| Tesla does, what they do well is their autopilot is insane. | ||
| That's awesome. | ||
| When I had my Model S, my P100D, I loved it. | ||
| It was fast as fuck, but it felt like a video game. | ||
| The steering is just like loose. | ||
| It's like the loosest steering. | ||
| It's just overcompensated, electrically powered steering. | ||
| So I'm just like, hey, what's up? | ||
| I'm in a, you know, here's my electric car. | ||
| And it didn't, and then cornering, you could feel that body roll, that heavy car just like, ugh. | ||
| Leaning into it. | ||
| But the autopilot was amazing. | ||
| I'd set it and just let it drive for a really long time. | ||
| So Porsche doesn't have that, but also you buy a Porsche because you want to drive it. | ||
| But Porsche, on the other hand, has PDCC. What's PDCC? It's the Porsche Dynamic Chassis Control, which is an anti-roll. | ||
| So it's a gearbox at the center point of each axle that fights against body roll. | ||
| On taking a hard corner. | ||
| So when I take, there's a dope corner off of Silver Lake like going into Frogtown or after Frogtown. | ||
| It's a perfect banked Perfect curve. | ||
| I take that at 75. I go far outside, cut inside. | ||
| Sometimes I'll have friends in the car and they're like, they're just freaking the fuck out. | ||
| And the car is just like, I'm not moving. | ||
| I'm glued to the ground. | ||
| And there's no body roll. | ||
| And you can even put a setting where it shows the amount of body roll that's happening on, you know, on the, on the corner. | ||
| And then you can set your G meter. | ||
| So you're like pulling like two Gs, maybe a little. | ||
|
unidentified
|
Two Gs? | |
| I've gotten close to two Gs. | ||
| It handles that good? | ||
| Yeah, you're just cranking on it. | ||
| I mean, that thing is like... | ||
| It stops a little slower because it's so heavy, right? | ||
| It's got gigantic, gigantic carpet ceramic brakes with 10 piston calipers in the front. | ||
| 10? | ||
| 10, yeah. | ||
| And I think it's 6 in the back or 4 in the back. | ||
| Someone will correct me. | ||
| I've never even heard of 10 pistons. | ||
| It's crazy. | ||
| I hope I have that right. | ||
| But anyways, it's a monster. | ||
| And when I'm taking that corner, it just feels like... | ||
|
unidentified
|
It's just so solid, so rock solid. | |
| And my 911 corner's like that, too, in a different way. | ||
| But to have a car that's 5,200 pounds, take a corner that fast and feel like, no problem, no sweat. | ||
| Wow. | ||
| The car's like, meh, whatever. | ||
| And rear wheel steering. | ||
| And torque vectoring. | ||
| Fuck, dude. | ||
| Now you got me excited. | ||
| Yeah. | ||
| I love it. | ||
| I personally love it. | ||
| And I think Porsche nails that synergistic, the Venn diagram of practical. | ||
| I mean, to an extent. | ||
| Practical, usable everyday, high performance, super badass build quality. | ||
| Look at that, too. | ||
|
unidentified
|
It's beautiful. | |
| And mine's in coffee beige. | ||
| Ooh, coffee beige. | ||
|
unidentified
|
I like it. | |
| Coffee beige, and then I have the carbon wheels, which are kind of like a hybrid carbon ceramic. | ||
| Sorry, carbon wheels. | ||
| Carbon fiber wheels. | ||
| Now, when it comes to charging, is it as fast to charge? | ||
| Those are my wheels. | ||
| Those are dope wheels. | ||
| They're hybrid. | ||
| It's a metal frame with carbon fiber accents. | ||
| Is it as fast to charge as your Tesla was? | ||
| That's so funny. | ||
| I think that's like the test model. | ||
| It was like the pre-release, like, you know, camouflaged, whatever. | ||
| Oh, yeah. | ||
| How weird is the face on that? | ||
| Yeah, that's not the right thing. | ||
| But what were you saying? | ||
| Fast charging? | ||
| Charging, yeah. | ||
| Ten hours with, I forget, the kilowatt onboard charger. | ||
| About ten hours. | ||
| You can get a slightly faster, higher capacity charger. | ||
| you in full to four to five hours. | ||
| But then you're using level three chargers out in the wild, so you're getting like 350. | ||
| It's got the 800-volt architecture, which Tesla's running 400. | ||
| So they're running 800. | ||
| Lucid Air is running 900. | ||
| But the reason for that is that you have bandwidth. | ||
| You have the possibility of really jamming those electrons in at a high rate of speed. | ||
| So technically, you could charge almost a full in like 15, 20 minutes from 5% state of charge to 85%. | ||
| In 20 minutes? | ||
| About 20 minutes, yeah. | ||
| And that's with 800? | ||
| That's with an 800-volt architecture or a 900 like Lucid has. | ||
| Now, these charging stations, they don't have the same kind of grid that Tesla has in terms of the supercharger availability, right? | ||
|
unidentified
|
Where you could... | |
| No, the coverage is not as extensive, but pretty decent. | ||
| Yeah? | ||
| Pretty decent. | ||
| And Electrify America's doing a lot. | ||
| You know, that's the one that Porsche's invested in. | ||
| You can't use a Tesla charger, right? | ||
| You can't. | ||
| Not yet. | ||
| Although, it's funny. | ||
| I put in a Porsche charger in my garage for my Taycan, and it's so complicated. | ||
| It's like, you plug it in. | ||
| It's got to go online. | ||
| Then you put in an access code. | ||
| And then it has to go online again to verify. | ||
| Then it communicates with the car. | ||
| And then it starts charging. | ||
| I still have my Tesla charger in the garage. | ||
| And I take the Tesla charger with an adapter that goes to the right end. | ||
| I forget. | ||
| There's so many names for the charger ends. | ||
| And then you just plug it into the Taycan and it starts charging. | ||
| Really? | ||
| And I'm like, why is that? | ||
| Why did you make that so complicated, Porsche? | ||
| So if you go to a Tesla charging station and you bring... | ||
| You can't do that. | ||
| Because it's got a chip in the end that communicates with the car. | ||
| It says, this is a Tesla. | ||
| I'm sure someone's going to hack it. | ||
| You know, like they'll put one on the Taycan or whatever. | ||
| So like we have Tesla chargers in the garage here. | ||
| Yeah. | ||
| If you got a Taycan, you don't need to change it out. | ||
| Oh, you just get an adapter. | ||
| Yeah, I think it's made by a company called Electron. | ||
| It's Electron or something like that. | ||
| What do you think, Jamie? | ||
| I think I need to try one of those. | ||
| I don't want to make my boyfriend Elon mad though. | ||
| Oh, you know what? | ||
| Here's the deal. | ||
| I'm going to get the Plaid Plus. | ||
| I probably will get the Plaid Plus. | ||
| Well, it's going to go 1.9 seconds. | ||
|
unidentified
|
I know. | |
| 1.9 and 1.8. | ||
| You know, it's like Roadster fast. | ||
| So I want to experience it and I want to experience that autopilot because that shit. | ||
| I mean, back in the day, I was using that 70-75% of the time and that was like early Roadster. | ||
| Well, one of the great things about innovation and competition is that when other companies step up and make something even better, it forces the original company to catch up. | ||
| Totally. | ||
| Well, obviously Tesla's going to have that insane looking roadster. | ||
| Yes. | ||
| That roadster is going to be a preposterous vehicle. | ||
| Oh, totally. | ||
| So I'm sure that's going to handle off the charts. | ||
| I think it will be. | ||
| I mean, Tesla can get to that point. | ||
| But when you're talking about legacy car makers like Porsche, it's like... | ||
| Right. | ||
| That's their game. | ||
| Just, you know, let them have it. | ||
| It's fine. | ||
| Their jam is handling. | ||
| Yeah, it's like... | ||
| Handling, driving dynamics. | ||
| There is no substitute. | ||
| It's totally true. | ||
| It's totally true. | ||
| And you're still like, you're paying like $250 for a fully loaded... | ||
| And then there's also the Porsche Taycan Cross Turismo. | ||
| Which is the wagon version of the Taycan. | ||
| Oh, I haven't seen that. | ||
| Check it out. | ||
| It's worth it. | ||
| A wagon? | ||
| Some people say it's... | ||
| I mean, they don't call it a wagon. | ||
| They call it a Cross Turismo. | ||
| What does that word even mean? | ||
| Because it's a crossover, and it's a slightly higher raised suspension, and it's got rock guards on it. | ||
| So it's kind of like an Outback. | ||
| It's like a Taycan Outback, essentially. | ||
| So there's the Cross Turismo. | ||
| Oh, it's disgusting. | ||
|
unidentified
|
Yeah. | |
| I hate it. | ||
| Yeah, there's a better color. | ||
| There's actually Neptune Blue, which looks a better color. | ||
| So those are the rock guards on the bottom. | ||
| Rock guards. | ||
| How weird is that? | ||
| Okay, that's not terrible. | ||
| That's a regular. | ||
| That's the regular. | ||
| That's a regular. | ||
| So if you go to... | ||
| Give me some other colors on this. | ||
| Jesus Christ. | ||
| There you go. | ||
| That's not as bad, but it's still offensive. | ||
| I prefer the saloon, man. | ||
| Oh, there you go. | ||
| There's that color. | ||
| I think it's a handsome color. | ||
| It's okay. | ||
| Let me see the green. | ||
| With the black tram. | ||
| You need black tram on that and no roof. | ||
| I saw a green Ferrari 488, like a metallic green. | ||
| I don't know if it was a wrap or what. | ||
| Yeah. | ||
| Candy apple or just like? | ||
| Yes, like a candy apple green. | ||
| It was fucking beautiful. | ||
| 750 horsepower. | ||
| 2.7 seconds, 0-60. | ||
| Yeah. | ||
| Where's the Taycan, like the saloon version? | ||
| 2.4? | ||
| 2.4? | ||
| 2.3? | ||
| Why don't they make a coupe? | ||
| A coupe. | ||
| I know. | ||
| I would love... | ||
| Well, you know what? | ||
| I think... | ||
| We're going to see a really dangerous, disgusting example of engineering soon from Porsche. | ||
| I think we're going to see the next 918. I think there's going to be... | ||
| It's not priority right now, but you know in the back room they're already designing it because the hybrid technology is going to be insane, plus solid-state battery technology might be available by then. | ||
| So you've got higher energy density, smaller scale, lighter car, plus it's hybrid. | ||
| We're going to... | ||
| I think it's going to be disgusting. | ||
| At a certain point, cars are just like, they're not going to be made for humans. | ||
| Robots are going to pilot them because you're going to black out. | ||
| From the G-force. | ||
| Yeah, the capabilities. | ||
| I mean, imagine if you could go back into the 1960s and bring someone to 2021, show them what a car is now. | ||
| I mean, they just wouldn't understand it. | ||
| They'd be like, why? | ||
| Yeah. | ||
| I mean, or maybe, or why? | ||
| Or they'd be so terrified. | ||
| Yeah, they'd be terrified. | ||
| They'd never understand. | ||
| I mean, we're going to have to wear flight suits, you know, those suits that have like that fluid layer. | ||
| Right. | ||
| You know, so like as you move, it's like the fluid moves up to compress the upper extremities of your body to keep you from blacking out. | ||
| Have you ever flown in a fighter jet? | ||
| No. | ||
| Experienced it? | ||
| No. | ||
| It's wild. | ||
| Have you been in a jet jet? | ||
| Yeah, I went in an F-A-18. | ||
| Oh yeah, a Hornet, right? | ||
| Oh no, F-A-18s are not Hornets. | ||
| I don't know if it's a Hornet. | ||
| But I think that's the name of the jet. | ||
| They took me up in one of them flights. | ||
| It's wild, dude. | ||
| It's hard to imagine that human beings do this and then they're getting shot at and they're banking and trying to stay conscious while they're having dogfights. | ||
| Oh my god, I know. | ||
| And plus with like the new fifth gen jets that have like torque vectoring, or not torque vectoring, I'm saying torque vectoring. | ||
| They have thrust vectoring. | ||
| So like the engines themselves can independently create, the nozzles can create different angles. | ||
| So that's why you get like Raptors doing this... | ||
|
unidentified
|
Wow. | |
| They go up and down. | ||
| Yeah, they can propel upward and they can almost stay stationary. | ||
| And you just see all the air surfaces just like whatever. | ||
| And the SU, the Sukhois are also, the fifth gen fighters do that as well. | ||
| This thrust factoring. | ||
| It's insane, man. | ||
| I mean, they're able to bank and add thrust factoring. | ||
| It's like having rear wheel steering on whatever sports cars. | ||
| It's the same thing. | ||
| So the navigation capability is just off the charts. | ||
| I mean, it's like to be able to turn around on a target, you know, like if someone's chasing you. | ||
| There you go. | ||
| Check this out. | ||
| Look how cool. | ||
| So it's going up. | ||
| This is straight. | ||
| Now you can see it slow down, and then it's going to change its orientation. | ||
| There you go. | ||
|
unidentified
|
What? | |
| So now, uh, look at that. | ||
| Look at that. | ||
| Look how thin it is, too. | ||
| I mean, you see all the air surfaces working. | ||
| I love that. | ||
| If you saw that, you would assume that's from another planet. | ||
| I mean, it's just insane what they can do with these things. | ||
| And these are fairly low speeds, and it's just how powerful those motors are, those Raptor engines are. | ||
| And they also have a low heat signature. | ||
| I mean, it's crazy. | ||
| Look at that. | ||
| Look at that. | ||
| It's so crazy. | ||
| It just seems fake. | ||
| It seems fake. | ||
| Like it's pausing and then flattening out and then diving down. | ||
| And they can do flat spins where the whole body of the plane is level, but it's just rotating as it's descending. | ||
| And so imagine as a weapons platform, it's just rotating in the air, just firing weapons. | ||
| I mean, I'm sure that's not how they would use it, but you could. | ||
| It would look cool in a movie. | ||
| It would look cool in a movie and a lot of complaining pilots. | ||
| Anyways, I mean... | ||
| Technology, my friend. | ||
| So many people, so many smart people out there. | ||
| So little time, and I just, you know, science, art, engineering, that's my priority. | ||
| I think that's all you ever need to worry about. | ||
|
unidentified
|
Well, I know. | |
| Well, I love the fact that you have those combining interests, that you're such a technophile, as well as an audiophile, a musician, and a comedian, and all these things kind of piling together. | ||
| Yeah, man, I love it. | ||
| I just, like, why not, man? | ||
| Why not? | ||
| Let's fucking get people excited about all the shit you can get excited about. | ||
| Yeah. | ||
| Well, listen, brother, it's always a pleasure. | ||
| I'm glad we got to do it. | ||
| What a blast, man. | ||
| Glad to come down here and do it in Austin. | ||
| Yeah, thanks for having me at your Austin joint, man. | ||
|
unidentified
|
My pleasure. | |
| And congratulations. | ||
| This is a great city, man. | ||
| Thanks, man. | ||
| I love it here. | ||
| I love it here. | ||
| And when we open up the Comedy Club, you've got to come down. | ||
| Oh, I'm so there. | ||
| All right. | ||
| I'm so there. | ||
| Great. | ||
| Best half an hour of my life. | ||
| Always fun. | ||
| Always fun. | ||
| Reggie Watts, ladies and gentlemen. |
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