April 6, 2023 - The Joe Rogan Experience
02:40:59
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| Speaker | Time | Text |
|---|---|---|
| Joe Rogan Podcast, check it out! | ||
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unidentified
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The Joe Rogan Experience. | |
| Train by day, Joe Rogan Podcast by night, all day. | ||
| We're up. | ||
| What's up? | ||
| How are you, man? | ||
| Pleasure to meet you. | ||
| Thanks for having me on, Joe. | ||
| It's a pleasure to meet you. | ||
| Hey, my pleasure. | ||
| You're a funny motherfucker, man. | ||
| I enjoy your shit. | ||
| Thank you, man. | ||
| How long have you been doing it? | ||
| 23. Nice. | ||
| Started in October of 2000, did about three and a half years in Philly with DeRosa, Big J, those guys, and then moved to New York at the end of 2003. Nice. | ||
| Yeah, I was a teacher. | ||
| I got a master's in special education. | ||
| I was working with kids who had behavioral problems for about eight years. | ||
| You seem like a guy who would work with kids with behavioral problems. | ||
| You're very calm. | ||
| Yeah. | ||
| Very calming. | ||
| Very calming. | ||
| But it was very, very challenging. | ||
| Very challenging because kids would flip, you know, a lot. | ||
| Every day at work was something different, you know? | ||
| Oh, man. | ||
| I worked in a behavioral school for a while and then went back at night and got my master's because I figured if I'm going to do this, I might as well teach and then taught in a classroom in three different public school systems. | ||
| When did you decide to leave to go comedy full-time? | ||
| I started going to open mics. | ||
| I was in a relationship, and I thought we were going to get married, and it broke up. | ||
| I think a lot of comics have this story, you know, where it's like a heartbreak situation, and then I was just on my own, kind of out there, finishing up my master's. | ||
| So I started just going to open mics at the Laugh House, which is not there anymore. | ||
| It's a comedy club on South Street. | ||
| And I just started going every Wednesday. | ||
| And then I started going on Thursdays and a little bit more. | ||
| And then I wasn't funny at first. | ||
| You know, at Bomb, I would do okay, Bomb, do okay, Bomb. | ||
| But I was like, you know, I'm probably not going to be able to do this, but it's going to help me public speaking wise. | ||
| It's going to help me somewhere down the line. | ||
| You know, I got a good vibe for it. | ||
| So I was like, let me just keep doing it. | ||
| And at that point, you know, I was, you know, alone and I was going through a tough time. | ||
| So I was like, I kind of don't care if I fail. | ||
| I kind of just don't care. | ||
| I'm going to just fail and just figure it out and just keep coming at it. | ||
| And because I'm a sensitive guy, so it's like, you know, failure has been tough to take. | ||
| So I just just kept doing it. | ||
| I just kind of it kind of dropped off because I was going through a tough time. | ||
| I didn't care about failure. | ||
| So I just kept doing it and doing it and doing it. | ||
| And then at the end of 2003, I was working a job I didn't want to do anymore. | ||
| And I just decided to move to New York. | ||
| And that's when it really... | ||
| I don't know how much time you spent in New York. | ||
| I know you're a Boston guy. | ||
| But I'm a product of the New York City comedy clubs, really, is what I like to say. | ||
| Just hopping. | ||
| Going from club to club. | ||
| Just hopping. | ||
| I mean, it's not so much like that anymore, but it used to be, I don't know how much time you spent there, but it was like you would just run from club to club to club to club to make money. | ||
| Yeah. | ||
| And that's how I would do it, you know? | ||
| And the big club was a comedy cellar. | ||
| Still is. | ||
|
unidentified
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Sure. | |
| But it's like the Boston Comedy Club. | ||
| I started in New York the last days of the Boston Comedy Club. | ||
| Oh, okay. | ||
| With Nate and Dustin Schaaf and a lot of these guys. | ||
| So I started there, and then what we'd do is I'd go to an open mic first to make sure you got stage time. | ||
| And then I would go to the Boston, and the Boston, different comics would run the weeknights. | ||
| So you would go and hang out and see if you could get on. | ||
| So then I would do that. | ||
| And then at the end of the night, you would go to the cellar and just hang out. | ||
| And just hanging out was a big thing back then because you just get your face around, get people to know who you are. | ||
| And every club had their different, every city has their different scene. | ||
| And in New York, we'd end up at the cellar with Patrice, Keith Robinson, Jim Norton, those guys. | ||
| And you'd hang out and they would just break balls at the table. | ||
| Different time. | ||
| You know, everybody would break balls, and then people would get to know you slowly. | ||
| Isn't it crazy you say 2003 is a different time? | ||
| Different time. | ||
| You're talking about the 20s. | ||
| Yeah, but it was a very different landscape back then, and that's what you had to do. | ||
| You had to hang and get your face around so people would, oh, you know, maybe Mike would be good to open, or maybe so-and-so would be good to open for you on the road, you know, and that's how you would get work. | ||
| Yeah, I moved to New York in 91, I think, 91 or 92, somewhere around there. | ||
| And I did the clubs. | ||
| I did Boston. | ||
| But mostly I did the road because, like, I lived in New Rochelle. | ||
| I couldn't afford to live in Manhattan because I couldn't afford a parking spot. | ||
| And I did road gigs so much. | ||
| I had a car. | ||
| And my thought was, I could do these little clubs, but I don't make any money. | ||
| Or I could do Long Island and Connecticut and Jersey, and I could make 150 bucks, 200 bucks for a show, and I'd have money. | ||
| And I'd be able to do long sets. | ||
| And I was always a big fan of Hicks, and I knew that Hicks, he did mostly the road. | ||
| And he did these real shitholes. | ||
| As good as he was, I always thought that shitholes made shitty comics. | ||
| But Hicks kind of changed my mind about that. | ||
| Like, you could do great comedy in front of shitty rooms. | ||
| Right. | ||
| And win them over. | ||
| Yeah. | ||
| Yeah, that's really something. | ||
| That's really what it is. | ||
| Because if you let the room change you, you can become a shitty comic that way. | ||
| But if you go, no, I'm going to flip them, but on my terms. | ||
| Yeah. | ||
| That's a lost art also, because if you're big, you know, you have your own fans and stuff, that doesn't come into play. | ||
| But if you're good and you're on the road, you don't have your own fans. | ||
| It's like you have to, like, keep just working them, working them, working them. | ||
| I was at the Atlanta Punchline when this happened, where it was a... | ||
| The crowd, you know, they didn't know me. | ||
| And there was a drunk woman. | ||
| It's my birthday! | ||
| It's my birthday! | ||
| Like, making it about her. | ||
| And, like, younger in comedy, I would have just bailed and just tried to score off of her and win and just, you know, do a penalty kill. | ||
| You know, just play the set out that way and walk away with the victory. | ||
| But I decided, you know, you know what? | ||
| Let me neutralize her. | ||
| I don't want to make it about her. | ||
| She's being selfish. | ||
| You know stay in the pocket cuz and I hadn't won the other people over yet. | ||
| They were still on the fence about this guy. | ||
| So it's like just keep just keep coming just keep coming and then working them and bringing them to you and bringing them to you and Neutralize her because she's a distraction and just keep bringing them bringing them bringing them and at the end like It was good. | ||
| It was a good set, but I got off stage. | ||
| I was like, oh my god, that was so much work, and nobody's gonna know about it. | ||
| No one's gonna know what happened here. | ||
| And I walked to the bar, and there's a couple of comics at the bar, and one guy looks at me and goes, I saw what happened. | ||
| He goes, I saw what you did. | ||
| That was great. | ||
| That was masterful. | ||
| I go, thank you. | ||
| At least one witness. | ||
| I got one witness who saw what it was. | ||
| Who knows what it is and how hard it is to do. | ||
| It's my birthday! | ||
| Oh, God. | ||
| There's so many of them out there. | ||
| It's really something. | ||
| You just go to karaoke. | ||
| What are you doing? | ||
| Just go to karaoke. | ||
| Some lady was fucking up Ron Whiteset the other night in our club. | ||
| She yelled at... | ||
| Can I get a picture with you? | ||
| She kept saying that in the middle of his fucking bits. | ||
| Like he'd be in the middle of the setup. | ||
|
unidentified
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You hear, can I get a picture with you? | |
| Ugh, it's the worst. | ||
| And it's really something, because if the crowd's not on your side and you come too hard at her, you know what I mean? | ||
| Then they're gonna be like, whoa, what is this guy? | ||
| This guy's angry now? | ||
| It's like, they kind of don't get the dynamic of what's happening, but if you just stay and be like, miss, I love you, I don't want you to get kicked out, you know? | ||
| And eventually she just went to the bathroom anyway, and just, whatever. | ||
| Did coke. | ||
| Something. | ||
| I think she was on it before. | ||
| Maybe did more coke. | ||
| Yeah. | ||
| It's funny how you remember those sets like that like one set that you feel like that was a breakthrough moment, right? | ||
| Yeah, but it's like the fact that it's like oh I know it I know it and I doubt anybody else is gonna know it but whatever I know it Do you ever stop and think like what if you didn't break up with that girl? | ||
| Like what if you were still in that relationship and you'd never pursued comedy? | ||
|
unidentified
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Yeah all the time All the time. | |
| But you know what? | ||
| I would have been married. | ||
| I would have had kids, you know, whatever. | ||
| And I just would have lived that life. | ||
| It was a fork in the road. | ||
| You know what I mean? | ||
| It was really sad. | ||
| Because I was teaching at times, working at a behavioral school, and I was with her. | ||
| And I was like, oh, this is probably how this is going to play out. | ||
| I don't have the thing in me to go out and get spots. | ||
| Because going out and getting spots is like... | ||
| You have to go out and you have to hustle. | ||
| I was already working hard in my job and trying to get my masters. | ||
| I was on a different path. | ||
| So I didn't have that extra in me to go and try to get spots at clubs and stuff. | ||
| So when you say that, at that moment, you kind of were You weren't in a good place, right? | ||
| She broke up with me. | ||
| I was really really we were we dated in college and then we She's from Philadelphia. | ||
| So I didn't any no ties to Philadelphia. | ||
| So I moved to Philadelphia to try to find a job be with her she was in law school and So yeah, that's that's what it was. | ||
| I hope she watches YouTube now I mean, I think she's got a good life. | ||
| She was a good person. | ||
| She had her head on her shoulders. | ||
| It's okay. | ||
|
unidentified
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Yeah, yeah, yeah. | |
| It hurt, though, man. | ||
| It hurt. | ||
| And it's heartbreak like that that causes you to go, oh, yeah, I gotta... | ||
| It makes you raw. | ||
| You know, it makes you raw. | ||
| It makes you go, like, I'm gonna go out and take some chances and... | ||
| Do what I really want to do. | ||
| Figure my life out. | ||
| You know what I mean? | ||
| Now, if it would have been a thing where I would have been successful right away, then it would have been, oh my god, yeah, it's different. | ||
| But it's been 20, I've had wins along the way. | ||
| This is a big win, by the way. | ||
| But it's like wins along the way. | ||
| It's like that gradual, I thought I'd moved to New York and it's like, I'll be a star or I'll just get a job. | ||
| I didn't realize that it was going to be this incremental thing where it's like, get a Tonight Show. | ||
| That's good. | ||
| Last Comic Standing. | ||
| That's good. | ||
| NBC time, you know? | ||
| It's like, this happens. | ||
| Montreal Comedy Festival. | ||
| It's like gradual throughout the years. | ||
| Yeah. | ||
| So that becomes your life. | ||
| You know what I mean? | ||
| I describe it to people like making a mountain one layer of paint at a time. | ||
| Yeah. | ||
| That's what it's like. | ||
| Yeah. | ||
| Yeah. | ||
| That really is. | ||
| Build it, build it, build it out. | ||
| Yeah. | ||
| It's so slow. | ||
| But you don't think that. | ||
| I didn't think that at the beginning. | ||
| I thought, oh, I'll just go and I'll win or I'll fail. | ||
| Either way, it's like, even if I fail, I'm in New York, I'll figure it out in New York, you know? | ||
| But, yeah, I didn't see this. | ||
| I didn't see that incremental, the incremental steps that it takes. | ||
| And, you know, as a comic after that, like, any girl I'd have so protective of. | ||
| So protective, and I think a lot of comics are that way over my career. | ||
| Yeah. | ||
| Like, nothing comes in the way of this. | ||
| Nothing comes in the way! | ||
| It's like, you know, I'm not going to sacrifice any of my time for anything else. | ||
| I'm in this. | ||
| Well, because it's so fun when it works. | ||
|
unidentified
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Yeah. | |
| And the idea of making a living off of doing that is so exciting. | ||
| Yes. | ||
| That you think, like, I can't let anything get in the way of this. | ||
| And relationships would get in the way of this. | ||
| Like, the early days I dated girls were like, you don't have to go up tonight. | ||
| I was like, oh, I don't? | ||
| Yeah. | ||
| Like, yes I do. | ||
| Like, you don't know what you're talking about. | ||
| Like, if you could kill, you would know this. | ||
| If you know what it feels like to go up there and hit a punchline and have the whole room fall out. | ||
| Right, right. | ||
| That's a wild feeling. | ||
| Yeah, it really is. | ||
| And not a lot of people ever get to experience that. | ||
| And it is an art. | ||
| It's an art form. | ||
| It's an art form to be able to do that, especially over an hour. | ||
| Yeah, it's a real art form. | ||
| It's an art form that sounds like you're just talking. | ||
| So it's kind of underappreciated because everybody can just talk. | ||
| Right. | ||
| And most people are funny sometimes. | ||
|
unidentified
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Yeah. | |
| So you see somebody up there and you're like, I can kind of do that. | ||
| Right. | ||
| And so you don't really respect it unless someone's just fucking murdering you. | ||
| Right. | ||
| It's a funny thing to do with your life. | ||
| Right. | ||
| Man, it tests the shit out of you in the beginning, because in the beginning, it just doesn't... | ||
| There was many times where I was like, this is never gonna happen. | ||
| Like, I'd bomb, and I'd go back home fucking massively depressed in whatever shitty apartment I was in, going, what the fuck am I doing? | ||
| Todd Lynn, who was a comic back in the day, passed away since, but he used to say, it's like dating a really hot girl with really bad breath. | ||
| That's what I'm like, God, he really described it perfectly. | ||
| Sort of, but you can brush our teeth. | ||
| I love you to death. | ||
| Your fucking breath is whack. | ||
| You know, there's something you can do about that. | ||
| But comedy, it's just like, it's the whims. | ||
| It's the crowd. | ||
| It's who's on before you. | ||
| It's where you're at in your life. | ||
| Right. | ||
| Right. | ||
| That's all true. | ||
| And it's a process. | ||
| I learned that from wrestling, too. | ||
| Like, wrestling, like, I was good for my area. | ||
| Like, I learned to wrestle in Ohio. | ||
| And then which is a great state we had a great program and then I moved to Florida and I finished high school in Florida so I wrestled down there and it's like I was so focused I don't know how you were as a competitor but I was so focused on the win I wanted to get the win I wanted to get it's like yeah yeah yeah it's not and I would psych myself out before matches a lot of times by overthinking it you know and it's like no no no no it's about The process. | ||
| Yeah, it's about the process train hard and then but when it's time to compete then I wish I would have had this back then It's like you have to just get yourself up and go out there and just Do the things that you train to do. | ||
| Yeah, and I was too focused on the I want to win I want to feel that I want to feel the victory It's like I want to win. | ||
| It's like no. | ||
| No, it's the process stick to the process, but I wish I would have had that and Before I went out and competed like go out there and just cut through this guy. | ||
| I didn't have that attitude I was tired from cutting weight and you know when you go to these tournaments when you wrestle you weigh in you weigh in and then you would go have breakfast and then there's a time where you digest and lay around on the mat a little bit and then start slowly drilling and getting ready for the match and during that time is when you should be getting your mind right to go out there and like take it to him and And the guys who were successful did that. | ||
| And I couldn't see it back then, but looking back and having perspective on it, it's like, I wish I was that. | ||
| So now I keep that in mind in stand-up, you know, because a lot of stand-up is that, you know, being mentally prepared to go up. | ||
| Yes. | ||
| You know? | ||
| Yeah, I always tell comics, don't just go cold. | ||
| Warm your mind up. | ||
| I pace around. | ||
| I breathe deep. | ||
| I stretch out. | ||
| I go over my notes. | ||
| Maybe you don't need to do that, but you should. | ||
| It's just good for the head. | ||
| Just get your mind right. | ||
| What do you think about before you go up? | ||
| I mean, you're working these arenas now, these gigantic venues, so what do you think about before you go up? | ||
| Well, arenas, one of the things that I do is I have index cards, so I write out, I'll get there early, and I'll write out, like, just Bullet points of all the sets or all the bits, and I'll put them on cards. | ||
| Right. | ||
| Like, this is on this subject, this is on that subject, and I'll lay them out on a coffee table. | ||
| And writing that out just, like, cements it all in my head, solidifies it all in my head. | ||
| And then it's just about getting fired up. | ||
| By the time I'm getting to an arena, though, my set is rock solid. | ||
|
unidentified
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Yeah. | |
| That means I've done the clubs, I developed the hour, and then I went to theaters, and I started feeling it. | ||
| Oh, that's a great way to do it. | ||
| You can't just go up in front of 16,000 people not knowing whether or not it's going to go well. | ||
| You have to be tuned in and ready to go. | ||
| You've got to go out there with a lot of energy. | ||
| These people, they've got fucking babysitters. | ||
| They bought the tickets a long time in advance. | ||
| It's a big deal for them. | ||
| You've got to treat it like it's very important. | ||
| Right. | ||
| Yeah. | ||
| Right. | ||
| And just opening for Nate Bargatze, my friend who put my special on. | ||
| Yeah, theater is a different, especially than the New York City clubs, because it's intimate in New York. | ||
| Right. | ||
| And on the road, even. | ||
| But it's like those theaters, it can be overwhelming. | ||
| And there's a lot of space to fill, it feels like. | ||
| Yeah, it's a different timing. | ||
| With the low ceilings, it's a different vibe. | ||
|
unidentified
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Yeah. | |
| Yeah, it's a different vibe with more people. | ||
| It's a different vibe with the bigger area, like you said, with the high ceilings. | ||
| And it's just, it's also, you're not connected to them. | ||
| It's a show. | ||
| You're up there. | ||
| You know? | ||
| One of the things that I really like is the round. | ||
| When you do arenas in the round, because believe it or not, it's kind of intimate. | ||
| Because even though there's like 16,000 people, there's people all around you. | ||
| And you're looking at them, and they're looking at the other people on the other side, too. | ||
| So it's this big circle of people. | ||
| It's oddly intimate. | ||
| As weird as that sounds. | ||
| That's really something. | ||
| That's really something. | ||
| I know when I go, I was very connected to my jokes. | ||
| I'm like, this is all about these jokes. | ||
| It's all about these jokes. | ||
| I fine-tune them and everything. | ||
| But then I started to realize it is, the preparation is about your jokes, but it's also about two things. | ||
| One, going up and having a good time. | ||
| You know what I mean? | ||
| Like, have fun with it. | ||
| You did all the preparation. | ||
| Now go up and be playful with them. | ||
| Go up and be playful and be loose. | ||
| I have to tell myself that because I'm connected to that guy. | ||
| I'm just like, let's go to the jokes. | ||
| And the other thing I started doing before I would go up is, uh, What you said. | ||
| Love the crowd. | ||
| Love them. | ||
| Like, love them. | ||
| Because they have hard lives. | ||
| They're going through divorce, bankruptcy, all kinds of, like, problems. | ||
| And they came out to get a break from that. | ||
| And, like, in my joke writing, I would forget that. | ||
| I was like, this is about the joke. | ||
| It's about me. | ||
| It's like, no, no, no, no. | ||
| Connect with them because they maybe need a break in their life, you know? | ||
| And be playful and, you know, love them before you go up. | ||
| That always helps. | ||
| Even if the set goes bad and you have that mindset going up, it's much easier. | ||
| It's much easier to deal with. | ||
| Isn't it interesting that stand-up is such a big thing in terms of like how many people go to see it? | ||
| And how many people love it? | ||
| And how many shows there are on the country at any given time? | ||
| It's a huge art form in terms of how many people pay for it. | ||
| But very few people share how they do it. | ||
| And no one teaches it. | ||
| Right. | ||
| No one can teach you how to do your way, because your way is different than Nate's way. | ||
| Nate's way is different than Ari Shafir's way. | ||
| Everybody's got their own style and their own thing, and you kind of got to teach yourself. | ||
| And all these things you're saying, like knowing how to just go out and love those people, have a good time, be playful. | ||
| You gotta learn that on your own. | ||
| But that's my thing, because I'm connected to the jokes. | ||
| Like, if you're a guy with a ton of charisma and no act, like, you have a different set of struggles. | ||
| You know what I mean? | ||
| So it's like, yeah, my thing is, like, don't be too connected. | ||
| Be loose with the jokes. | ||
| And as I've had more experience, it's easier. | ||
| You know, obviously, get your stage presence down. | ||
| It's a long, brutal process. | ||
| And it's funny that the mindset of a competitor, like your mindset of... | ||
| That can kind of get in the way sometimes. | ||
| You think? | ||
| Because you get so focused on, you know, like you're saying, like the jokes, the jokes. | ||
| And you got to realize, like, no, this is a fun thing that you're doing. | ||
| Like, you can't get too intense about it. | ||
| Right. | ||
| That's absolutely true. | ||
| But the guys I've seen, the top-level wrestlers that I've seen, the discipline I came from... | ||
| The guys who are super, super good, Kale Sanderson, that guy, it's like, when he wrestles, I just watched, I went down a rabbit hole and was watching his NCAA finals matches, he just looks fluid. | ||
| You know what I mean? | ||
| So it's like, I'm thinking that intense, intense, intense, but when a guy at that level goes out and wrestles, it just, he just looks like he's flowing. | ||
| You know what I mean? | ||
| There doesn't seem to be any tension in his body whatsoever. | ||
| And the guys who are really good, I've found Do that yeah, they're just they just flow they're efficient They're efficient in there and he was like and the guys who are really good offensive machines Like they'll set something up set something up and then and then just go to another thing Mm-hmm, | ||
| you know, I mean fluid like water, you know Yeah, I feel like wrestling is one of those things that is one of the most difficult sports to compete in and yet one of the most underappreciated in terms of like public perception There's no real professional avenue other than MMA or pro wrestling, which is like entertainment. | ||
| But it's so hard to do. | ||
| It's kind of interesting how many sports become really popular. | ||
| In terms of like being something that people pay to see but wrestling never did that right never connected We know I could see that I could see why though I could see it just because if you don't if you to the untrained eye it just looks like two guys just and Especially if the two guys are at the high at a high high level. | ||
| It's very like I kind of do, but I kind of feel like it could have been. | ||
| It feels like... | ||
| I mean, how's baseball popular? | ||
| I do not. | ||
| I'm not a baseball guy at all. | ||
| I don't get it. | ||
| Neither do I. I appreciate it if people play it. | ||
| I appreciate it if you love it. | ||
| But for me, I just do not understand why that's entertaining. | ||
| Yeah. | ||
| And yet, it's the big American pastime. | ||
| Right. | ||
| It's a funny thing. | ||
| Like, wrestling is way more exciting than that. | ||
| Well, I root for all the wrestlers in the MMA. Oh, yeah. | ||
| The UFC. It's like... | ||
| Because it's like entertainment, I root for all the stand-ups. | ||
| If a stand-up guy is going against an improv guy for a job... | ||
| I'm rooting stand-up. | ||
| Oh, yeah. | ||
| You've got to root for the discipline that you came from. | ||
| Oh, for sure. | ||
| Yeah. | ||
| And wrestling is the most important discipline for MMA, I think. | ||
| You think? | ||
| Yeah, I think it's the foundation. | ||
| Because the wrestler can dictate where the fight takes place. | ||
| You know, if the wrestler chooses to stand, he can stand. | ||
| If the wrestler wants to get back up, he can get back up. | ||
| And the wrestler knows how to take the guy down. | ||
| Whereas, like... | ||
| Even though every fight starts standing up, and it's a big advantage for the striker while they're standing up, but the wrestler, if the wrestler knows how to strike, the striker has to think about two different things simultaneously. | ||
| Has to think, maybe this guy's gonna shoot, and what if this guy punches me? | ||
| What if this guy kicks me? | ||
| So there's so many more options that the wrestler has, and there's that threat of the takedown that looms large, that paralyzes guys with anticipation. | ||
| It's the most important foundation. | ||
| It's everything in MMA. If you can't wrestle, Good luck. | ||
| Because unless you can land a wild shot like Jorge Masvidal and Ben Askren, unless you get that wild shot off right away and knock the guy out, it's a long night against one of the best wrestlers. | ||
| Right. | ||
| And that wild shot, are you going to be able to do that every time? | ||
| Most likely, no. | ||
| Yeah, if you look at overall success rate, wrestlers have a huge percentage of wins in MMA. And the really good guys, like Bo Nickel, right away you see him dominating guys with all this experience. | ||
| Because his skill set, that one skill that he has wrestling, he's so much better than everybody else. | ||
| That it's just a massive, massive advantage. | ||
| And the training like I took taekwondo when I was young and it's like forms and you know punches and kicks and forms but When I started wrestling in eighth grade Eighth grade wrestling practice was so intense that I thought that the coach was punishing The football players on that I thought are we being punished for like two months? | ||
| I had to check it on my friends like no no no this is just what it is. | ||
| Yeah, and it's so I wrestled one year in high school and I couldn't believe how hard it was. | ||
| I would remember going home and my legs were so sore after running stadium stairs that I could barely walk. | ||
| And I was like, this is fucking horrible. | ||
| And I didn't want to go to class. | ||
| And I was so tired from wrestling that I was like, Jesus Christ, how does anybody do this? | ||
| It was nuts. | ||
| And then the cutting weight also, which I'm sure you had to make weight for competition. | ||
| And we didn't know anything back then. | ||
| It's just like, go eat pasta and just eat less. | ||
| There was no science behind any of it. | ||
| And you weighed in the day of the match, too, which is terrible. | ||
| Terrible. | ||
| One of the best things about the UFC is that they cut weight the day before. | ||
| I hate cutting weight, period. | ||
| My opinion on cutting weight for fighting is that it's sanctioned cheating. | ||
| You're not really 170 pounds. | ||
| You're 200 pounds. | ||
|
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Yeah. | |
| But you dry yourself out the week of, and then 24 hours in, you're losing 12, 13 pounds. | ||
| And then you rehydrate like crazy. | ||
| Like, what is this stupid thing that they're doing 24 hours before a cage fight, you're literally almost dying. | ||
| Well, some guys are just naturally close to their weight. | ||
| I wrestle with guys like that, who are just like 3 or 4 pounds above the weight. | ||
| They have very low body fat. | ||
| I wasn't like that. | ||
| I was like a bulky guy and husky. | ||
| And it's like, that means, yeah, you gotta cut a lot of weight to get that muscle mass that the other guys might have naturally. | ||
| Yeah, to make the optimal weight, you know, body weight for competing. | ||
| Right, because if you wrestle at a high, people just go, wrestle at a higher weight. | ||
| It's like, then you're wrestling guys who've cut down from a higher weight, and they're gonna just be stronger. | ||
| Yeah, it's a big advantage if you could do it right. | ||
| Like, this weekend is Israel Adesanya versus Alex Pajeda, and Pajeda, who beat Adesanya in the last fight, is fucking huge for 185. Like, I stand next to him like, how the fuck is this guy 15 pounds lighter than me? | ||
| That doesn't even make any sense. | ||
| He's fucking huge. | ||
| But when he gets into the cage on fight day, he's 225. It's in boxing too. | ||
| I'm a huge boxing fan. | ||
| Me too. | ||
| And I live by the garden. | ||
| I go see Lomachenko anytime he's at the garden. | ||
| I go see him fight. | ||
| He's unreal. | ||
| But it's like he's gonna fight Devin Haney. | ||
| That's a great fight. | ||
| But he's like, it's a great fight. | ||
| I'm so happy it's happening at 135. But Haney I think cuts down from 150, 160, something like that. | ||
| He's walking around. | ||
| Loma's tiny. | ||
| Loma's a smaller guy. | ||
| Yeah, he's much smaller than those guys. | ||
| You saw that in the Teofimo Lopez fight. | ||
| Lopez is big and scary. | ||
| It's just that power is such a big advantage for a big guy who cuts a lot of weight to get to 35. Right. | ||
| But Lomo won't go down. | ||
| He won't go down to 130. He's like, nah, I want the challenge. | ||
| I think he wants the challenge. | ||
| A lot of these Ukraine, these Eastern Bloc guys, like, they want the smoke, man. | ||
| They want the challenge. | ||
| They do, but I was a little disappointed in his perceptions of the Lopez fight after he lost. | ||
| Like, he thought he won that fight. | ||
| I was like, that's crazy. | ||
| I mean, you could see halfway through the fight, his corner must have been telling him, you're in trouble. | ||
| Yeah. | ||
| Because he picked up the pace halfway through that fight. | ||
| It was too late, obviously. | ||
| He made adjustments, and he had a big 11th round. | ||
| Yeah. | ||
| I remember in the 11th, he was really putting it on him. | ||
| I was like, oh man, maybe Loma's going to take this. | ||
| Yeah. | ||
| And then the 12th, Lopez came out strong. | ||
| Right, right, right. | ||
| That kid had such a hard jab, too. | ||
| It's such a dangerous jab to get through. | ||
| He came out at the beginning of the fight and established it. | ||
| You know what I mean? | ||
| I remember that. | ||
| And it's like, wow. | ||
| And Lomo takes him two, three rounds to download what the guy's doing. | ||
| He's a slower starter because he just kind of like is measuring him. | ||
| Almost to the point, you're like, what's happening? | ||
| You know what I mean? | ||
| If you're like unskilled, like I'm just a fan, but it's like he does that for two or three rounds and then he's just like, oh, I figured it out and then picks it up and picks the guy apart. | ||
| It's too bad that he's so small because if he was larger in like a natural 135 or a natural 140 or something like that, there's so many big fights for him and it would be really exciting to see. | ||
|
unidentified
|
Yeah. | |
| But to see a guy like that, we really should be fighting 130. Yes. | ||
| Going up against these guys that are cutting down from 150, 155. It's just a big advantage. | ||
| But there's a lot of guys at 135 who are very, very tough. | ||
| You know, the Tank-Ryan fight. | ||
| Oh yeah, that's a big fight. | ||
| Can't wait to see that. | ||
| I'm so happy that got made. | ||
| Yeah, me too. | ||
| I'm really interested. | ||
| I'm a giant Gervonta fan. | ||
| I think that guy is so unusual. | ||
| His style is so unusual and his patience. | ||
| Yes. | ||
| The Leo-Santa Cruz fight was really something for me because Leo-Santa Cruz is a technician. | ||
| He's great, Mexican style, but he's also a technician. | ||
| And the fight was very close before Tank stopped him. | ||
| But he has that power that can end it. | ||
| But he finds these openings and he sees them, but he doesn't go after them right away. | ||
| He waits for the right time. | ||
| He's so patient. | ||
| Right. | ||
| Like when you watch the early rounds of his fights, he's like at a world champions that are competing today at the highest level. | ||
| He probably has the lowest punch count in the early rounds. | ||
| Yeah. | ||
| But he also knows he's got that nuclear option that if he can fucking crack you, most likely he's going to take you out. | ||
| He's got massive confidence in that. | ||
| But the thing is, can you rely on that? | ||
| You know what I mean? | ||
| Because at the end, you know, that Pitbull Crews fight, it's like, that was very close. | ||
| Pitbull Crews is a tough guy, Mexican, just staying in the pocket with him. | ||
| You know what I mean? | ||
| So it's like a Deontay Wilder thing, where it's like, you're just waiting on that one punch, but it's like, you can't lose every round up to that either. | ||
| You know what I mean? | ||
| Yeah, it's interesting, right? | ||
| Like, you don't know whether someone's ever going to be able to figure that out or whether or not he's just going to keep cracking people. | ||
| Yeah. | ||
| You know, so it's part of the fun of watching it. | ||
| I've talked to a lot of, like, real boxing purists. | ||
| It's like, you can't rely on that style. | ||
|
unidentified
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Right. | |
| He's got to be busier. | ||
| When he gets to the best guys, it's not going to work out. | ||
| Like, well, we'll see. | ||
| Yeah. | ||
| We'll see, because there's so many good guys. | ||
| Shakur Stevenson. | ||
| Shakur Stevenson was at 130. I'd like to see him and Lomachenko. | ||
|
unidentified
|
Yes. | |
| Even the guy that Lomachenko just beat, Ortiz, which was a sparring partner years ago. | ||
| Yeah. | ||
| He looked great. | ||
| I was at that fight. | ||
| Yeah. | ||
| He looked unreal. | ||
| Yeah, he looked unreal. | ||
| But for Lomachenko, that was a great adjustment after the Lopez fight, too, right? | ||
|
unidentified
|
Yeah. | |
| I mean, he really looked like he's coming. | ||
| He apparently had some shoulder surgery, too. | ||
| Yes, he was hurt. | ||
| I think he got hurt halfway through the Teofimo fight, to be honest. | ||
| I think he hurt a hand or a shoulder. | ||
| He wasn't himself. | ||
| Not that Tiafemo fought unbelievably. | ||
| And then you see what Kambosis did to Tiafemo. | ||
| And then you see what Devin Haney did to Kambosis. | ||
| Two fights in a row. | ||
| Jesus Christ, there's levels. | ||
| He went to Australia. | ||
| I mean, I think that's a lot. | ||
| You deserve a lot of credit for that. | ||
| Fuck yeah. | ||
| Oh, he's so good. | ||
| He's so good. | ||
| Him and Lomachenko is going to be very interesting. | ||
| It's a great fight. | ||
| Very, very interesting. | ||
| Very technical fight. | ||
| Yeah. | ||
| There's so many good fighters now. | ||
| It's a really good time for boxing. | ||
| And finally, they're making the Terrence Crawford-Errol Spence fight. | ||
| For June 17th, right? | ||
| But I'm following that like crazy. | ||
| But it's like they tried to do that before, so I don't get too excited. | ||
| I don't know why. | ||
| Until they actually make it. | ||
| What's going on with that? | ||
| That was weird. | ||
| When Terrence decided to fight that other dude for his last fight, and everybody was like, what the fuck? | ||
| I thought you were going to fight Errol Spence. | ||
| Now it's all falling apart. | ||
|
unidentified
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Yeah. | |
| You know, luckily they made it though. | ||
| So if it's signed and ready to go for June... | ||
| But it's not signed yet, is it? | ||
|
unidentified
|
I don't know. | |
| I mean, they're announcing it. | ||
| They're talking about it. | ||
| They're announcing it. | ||
| They're announcing they have plans for it. | ||
| They do weird shit with boxing like that. | ||
| Like Usyk and Tyson Fury. | ||
| I thought it was a done deal. | ||
| Like, look, it's happening. | ||
| And now, you know, it gets to this point where Tyson Fury is like, I want 70%. | ||
| I'm the fucking Gypsy King. | ||
| I want 70%. | ||
| And Usyk's like, okay, 70%. | ||
| And it still fell apart. | ||
| He offered him 70-30. | ||
| Yeah, and he took it. | ||
| I didn't think that Usyk... | ||
| No one thought Usyk was going to take that. | ||
| He goes, nah, I'll take it. | ||
| Yeah. | ||
| He wants a win. | ||
| He wants the fight. | ||
| He wants the legacy. | ||
| Unreal. | ||
| I mean, yeah, Tyson is more of a draw. | ||
| Yeah. | ||
| So I understand that. | ||
| But Usyk has three belts. | ||
| Yeah, but Tyson's more of a draw. | ||
| Like, if you can do 70-30 and you'll still make a shit ton of money, I mean, that's a fucking big fight. | ||
| I mean, that's a worldwide, gigantic, you know, $200 million fight. | ||
| So he'll make 30% of that. | ||
| Fine. | ||
| Yeah, but I think the sticking point was the rematch clause. | ||
| Tyson wanted 50-50 on the rematch clause. | ||
| So you lose the fight and then the rematch clause is 50-50? | ||
| You don't have any belts. | ||
| I would take it. | ||
| I think it's still worth it because the name... | ||
| It's like, what brings asses in seats, right? | ||
| It's the name. | ||
| If they have the rematch and Usyk instead decides to fight... | ||
| Whether it's Wilder or whoever, it's not going to be as big a fight, Anthony Joshua. | ||
| It's not going to be as big a fight. | ||
| The big fight is Tyson Fury. | ||
| I think that's reasonable. | ||
| 70-30, if you could beat me, 50-50. | ||
| I think it's reasonable. | ||
| Yeah, but after the 70-30, you're going, alright, you're pushing me. | ||
| But he's the Gypsy King! | ||
| Yeah. | ||
| No, I know he's a huge draw. | ||
| I know he's a huge draw. | ||
| He's the biggest fucking draw in heavyweight boxing. | ||
| And he might be the best heavyweight ever. | ||
| He's a fucking freak of nature. | ||
| Yeah. | ||
| I mean, he really is. | ||
| And he's such a personality. | ||
| Yeah, he sings that song after the... | ||
| He sings after... | ||
| I'm like, this is pretty good! | ||
| The song is pretty good! | ||
| It's unbelievable! | ||
| Yeah, he's like an entertainer. | ||
| That's a Pacquiao. | ||
| Pacquiao used to fight. | ||
| He used to go out and do karaoke after the fights. | ||
| It's like, that's bananas. | ||
| You know, Manny Pacquiao is like a professional level pool player. | ||
| Is he really? | ||
| Yeah, like really good. | ||
| Like if he decided to stop fighting and never box again, he can compete as a professional pool player. | ||
| That's nuts. | ||
| Yeah, he's really good, man. | ||
| I've watched him play. | ||
| I'd watch him and Mayweather do like one-on-one basketball. | ||
| Right. | ||
| They both like play basketball, you know, like in the spare time. | ||
|
unidentified
|
So competitive. | |
| So competitive. | ||
| Yeah. | ||
| Mayweather's unbelievable. | ||
| I mean, watching him fight and some people don't get it. | ||
| They just like, I had a friend and he was like, he's boring. | ||
| No knockouts. | ||
| I go, but he's a top level guy. | ||
| Multiple-time world champion, and he's dismantling other multiple-time world champions. | ||
| And not getting hit. | ||
| Yeah, is there anything there? | ||
| Yeah, I don't know. | ||
| I go, it's just, he's boring. | ||
| I don't like him. | ||
| I go, okay. | ||
| Maybe, is it possible that you don't know what you're watching? | ||
| Yeah. | ||
| Maybe. | ||
| Could it be that? | ||
| I don't know. | ||
| I like knockouts. | ||
| I go, then you should watch Butterbean. | ||
| And he goes, yeah, I like Butterbean. | ||
| I go, good. | ||
| Watch Butterbean. | ||
| It ends up being like a five-year-old argument. | ||
| Good. | ||
| I will. | ||
| I go, you should. | ||
| I will. | ||
|
unidentified
|
Good. | |
| Good. | ||
| It ends up being that. | ||
| You know what I mean? | ||
| But for him to just have that run is dismantling guys. | ||
| You're always going to have casuals like that. | ||
| Yeah. | ||
| In every sport. | ||
| In MMA, that's a big thing. | ||
| People only like knockouts. | ||
| They boo when fights go to the ground. | ||
|
unidentified
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Right. | |
| Okay. | ||
| But is there a thing in MMA where it's like, are they calling stalemates faster? | ||
| You mean getting people back up? | ||
| Yeah, like if the guy's on top and he's not making progress or the guy on bottom isn't getting a wrist or working towards submission, will they stop them and stand them up faster? | ||
| I think that's better for the sport. | ||
| In wrestling, they'll hit guys with stalling quick to keep the action moving. | ||
| I know that's not a thing in MMA, but it does help the optics of it. | ||
| It used to be in pride, they would give them a yellow card and it would take 10% of your purse. | ||
| So if you got a yellow card in Pride, that meant you weren't trying to win or you were stalling. | ||
| And if the referee pulled that yellow card out, people were fucking freaking out. | ||
| Like, you know, if you're getting paid a million dollars, $100,000 is now gone for that yellow card. | ||
| You're like, fuck. | ||
| And that's a big deal. | ||
| Is it a warning first? | ||
| They give a warning before they put their yellow card? | ||
| I think it was up to the referee's discretion and pride. | ||
| I don't remember exactly how they did it, but when they did it, it was a big fucking deal, and the crowd would cheer, and then the guy would adjust accordingly. | ||
| Because if you got two yellow cards, you're fucked. | ||
| Yeah. | ||
| I mean, I don't even know if they gave two yellow cards. | ||
| I don't remember that ever happening. | ||
| I'm sure it did, but I don't remember it ever happening in a fight. | ||
| But in MMA, the controversy is about whether or not you should stand someone up, because you have five minutes. | ||
| And if someone takes someone down and they're on top of them, it's up to the person who's on the bottom to get back up. | ||
| That's your job. | ||
| And the guy on top, it's up to him to hold you down. | ||
| I don't believe in stand-ups. | ||
| It might be more entertaining for the audience, but I'm a purist in terms of like, I think you should control your own destiny in there. | ||
| And if a guy can hold you down and just punch you in the face while you're on the, even if it's boring, He's doing what he wants to do, and you can't do anything about that. | ||
| That means he's winning, and I think that any interference of that is against the purity of the sport. | ||
| That's interesting. | ||
| Yeah, I do understand that it could be boring if a guy can hold a guy down and control him. | ||
| Not so much boring, but is the guy on top... | ||
| Initiating action. | ||
| I think that's the key. | ||
| Is he initiating action? | ||
| Is he trying to win the fight? | ||
| Is he advancing his position? | ||
| In wrestling it's advancing your position. | ||
| Yes, it is in MMA too. | ||
| But punching in the face is advancing. | ||
| It's a way of advancing your position in terms of winning the fight. | ||
| Yeah, but it's open to interpretation. | ||
| Like, say if he's in side control and he's only occasionally hammer fisting the guy. | ||
| The guy's in no danger of being stopped. | ||
| There's an argument that that's stalling. | ||
| But I don't buy that argument because it's only a five minute round. | ||
| And for a grappler, it's really hard to take someone down. | ||
| Like you're dealing with kicks and knees and punches and you're trying to find the opening and then you level change, you get the shot, maybe you switch from a double to a single, you know, you run the pipe, you get the guy on the ground, all that took a minute and a half. | ||
| And if you're holding the guy down and then the referee comes like, keep moving, action, you know, like advance your position. | ||
| And then they stand it back up, but what the fuck is that? | ||
| That guy couldn't get up. | ||
| If it was no one here to stop that, if this was just a fight out in a field somewhere, that guy on top controls the fight. | ||
| He does what the fuck he wants to do, and if that guy gets tired, eventually he'll move to mount and just start beating the fuck out of him. | ||
| But it's important that his skill set is expressed. | ||
| His skill set is his ability to control the guy. | ||
| And if you're on the bottom and you can't get back up, I don't care if it's boring. | ||
| Tough shit. | ||
| Your job is to get back up, and if you can't get back up, that guy wins. | ||
| Even if he wins a boring-ass fight where he just takes you down and gives you noogies for five rounds, tough shit. | ||
| You gotta figure out how to not get taken down, or get back up, or submit them off your back, or find some kind of scramble where you can get on top. | ||
| And if you can't do that, then you lose, because that's what the fight's all about. | ||
| And, of course, In terms of the people that go to pay, they are going to pay more to see the exciting people. | ||
| The Conor McGregors, the Jon Joneses, the people that stop people and finish people. | ||
| And they're the big draws. | ||
| But if you can Ben Askren your way to a career, and Ben did it for a long time, we just took guys down and fucking noogied them into a coma. | ||
| Tough shit. | ||
| That's my feeling. | ||
| I don't like stand-ups. | ||
| I'd hate them. | ||
| Especially, sometimes they'll stand someone up from a dominant position. | ||
| Someone will get to side control and the referee will stand them up, and I'm just going, What the fuck are you doing? | ||
| It's so hard to get there, and you're only giving a guy five minutes to work, and you gotta think it probably took a minute or so to get the guy down. | ||
| Not just a minute or so, but it is a lot of energy. | ||
| A lot of energy. | ||
| You're a lot of energy to take a guy down. | ||
| And then, if you get taken out of that and stood back up again, now you're tired, and this guy, his striking is probably a strong trait, and now you're in his realm, and you expended all this energy, and it's taken away from you by a bad referee. | ||
| I fucking hate it. | ||
| I think it's dumb. | ||
| I think it should be eliminated. | ||
| I really do. | ||
| I don't like it at all. | ||
| I don't think there's ever a time that they should stand people up. | ||
| I don't think there's ever a time they should separate someone if they got someone pressed up against the cage and they're kneeing them in the body and elbowing them. | ||
| Sometimes referees will decide there's not enough action and they separate them. | ||
| I hate that too. | ||
| I don't believe in any of it. | ||
| I don't think you should do anything to make it more exciting for the casuals. | ||
| Nothing. | ||
| Zero. | ||
| Yeah, because the best guys are always gonna be exciting. | ||
| Yeah. | ||
| It's just you're gonna have, it's just like everybody's like, I want blood all the time, blood. | ||
| You don't always get blood. | ||
| Action movies aren't always action. | ||
| Sometimes the hero and the woman kiss. | ||
| Yeah, that's right. | ||
| That's why Dana stacks the cards, in case you have a fight that's not as exciting. | ||
| Well, they're very, I mean, it's obviously they're different than me because they're promoters and they're selling a product. | ||
| I'm a martial artist, and so what I want to see is someone compete to the full ability, the full extent of their abilities. | ||
| And something that gets in the way of that is stand-ups. | ||
| I don't like it. | ||
| But I'm not, it's not like a universal opinion. | ||
| Most people don't agree with me. | ||
| A lot of people don't agree with me. | ||
| Right, because they're casuals. | ||
| Not even casuals. | ||
| They're not understanding the technical... | ||
| Even fans. | ||
| ...the technical aspect of what you just said. | ||
| Yeah, but even... | ||
| I understand that, yeah. | ||
| Even hardcore, there's a lot of hardcore fans that don't agree with me. | ||
| They say, no, no, no, you can't just hold the guy down. | ||
| You got an advanced position. | ||
| Right. | ||
| Okay, why? | ||
| Tell me why. | ||
| Because the guy wants to win, and if he could just win by taking guys down, and if the audience boos and he doesn't get popular because of it, okay, so what? | ||
| Willy Pep won fights without throwing a punch. | ||
| He won a whole round once without throwing a punch. | ||
| Just moving and dancing. | ||
| It was so masterful that people had to agree. | ||
| It's like, what do you want him to do? | ||
| Just Arturo Gatti and fucking just stand right in front of him and just throw bombs like Mickey Ward? | ||
| Yes. | ||
| Sometimes it's fun. | ||
| It's unreal. | ||
| Then you saw what happened when Arturo Gatti fought Floyd Mayweather. | ||
| That shit didn't work against a master. | ||
| Not at all. | ||
| Yeah. | ||
| Not at all. | ||
| It was great. | ||
| Diego Corrales versus Julio Luiz Castillo. | ||
| Oh my god. | ||
| That fight was crazy. | ||
| I mean, I love the Gotti Ward fights, but that fight for me is the greatest fight in history that I've seen in the modern era. | ||
| Because he came back? | ||
| The first ten rounds, you expected Diego, because of his reach, to keep him on the outside, and he didn't. | ||
| He just stood in a phone booth with them, and they just traded, and it was... | ||
| You're like, oh my god, can this continue? | ||
| They're just in a phone booth, and... | ||
| Just at a high, high skill level working on the inside. | ||
| Both of them. | ||
| And just trading brutal shots and nobody taking a step backwards. | ||
| Yeah. | ||
| And it was unreal. | ||
| And then the 10th round where he gets knocked down and he spits the mouthpiece out. | ||
| Goosen puts it back in. | ||
| And then he stops. | ||
| I mean, it was just... | ||
|
unidentified
|
Insane. | |
| I think they play that... | ||
| I'm sorry. | ||
| I think they play that at corporate retreats. | ||
| They play round 10 of that. | ||
| They should play the whole fight. | ||
| But they play round 10 of that fight in corporate retreats to be like, just never give up. | ||
| You never give up. | ||
| Sometimes you should give up. | ||
| That round 10, I mean, it's almost like watching a Rocky movie. | ||
|
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Yeah, there it is. | |
| It's emotional to watch. | ||
| Oh my god. | ||
| It was an incredible fight. | ||
| It was an incredible fight. | ||
| And he was in real trouble multiple times in that fight. | ||
| And when he got dropped, I mean, there was several times where it looked like the end. | ||
| Look at that left hook. | ||
| Oh my god. | ||
| Did you see the Caleb Plant-Benavidez fight last weekend? | ||
| Yes. | ||
| Fucking... | ||
| Hey, man. | ||
| And you know what? | ||
| And that's a good stoppage. | ||
| That's a good stoppage, too. | ||
| He looked like he was out on his feet. | ||
| But you could make an argument that Corrales could have got stopped earlier than that. | ||
| Yeah. | ||
| I mean, it's one of those things. | ||
| It's very subjective. | ||
| Yeah. | ||
| Referees have stopped fights for way less before. | ||
| Well, the Fury-Deontay Wilder fight, where he's down and, you know, he opens his eyes. | ||
| You know, the famous, he opens his eyes and gets back up. | ||
| Jack Reese is the ref, I think. | ||
| And Deontay's camp was complaining that he wasn't counting, whatever. | ||
| But it's like... | ||
| Jack Reese is great. | ||
| He's a great ref. | ||
| He always gives the guy the opportunity. | ||
| He's like, I'm going to count the 10. He gives the opportunity for the guy to get up. | ||
| Just you never thought Fury was getting up. | ||
| No way. | ||
| His eyes were closed on the ground. | ||
| He's laying on his back with his arms above his head like he's just flatlined. | ||
| It's unbelievable. | ||
| And then he rises and wins the rest of the round, which is crazy. | ||
| And that win for the rest of the round made the blueprint for the second fight. | ||
| Because you realize, like, Wilder has a hard time when people put him on his heels. | ||
|
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Right. | |
| People back him up and so then he came out the second fight just backing him up and stopped him. | ||
| Look at that. | ||
| I mean look at this. | ||
| His arms are flailed to the side. | ||
| His eyes are rolled back. | ||
| He looks like he's done. | ||
| Yeah, he really does. | ||
| And he looks at the referee, the referee's counting, he goes, okay, back to work. | ||
| Right. | ||
| And I was watching at home, I remember screaming, oh my god! | ||
|
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Yeah. | |
| I was by myself, screaming, oh my god! | ||
| And then he got back up, I was like, wait, no way. | ||
| No way. | ||
| And he's like, I'm fine. | ||
| Let's go. | ||
| And the referee says, okay. | ||
| Walk to here. | ||
| That's great. | ||
| Look at this fucking shot, too. | ||
| Jesus. | ||
| My God. | ||
| And the right hand before it, too. | ||
| So he cracks him with the right hand. | ||
| Boom! | ||
| And nobody punches harder than Deontay Wilder. | ||
| He's unreal. | ||
| He's got the touch of God. | ||
| I mean, those two punches are unbelievable. | ||
| And look, Wilder's 100% convinced as he walks off that it's over. | ||
| And he makes the throat cut thing. | ||
| He does a little dance. | ||
| And then you see the look in his eyes when Tyson gets up. | ||
| He's like, oh shit. | ||
| How? | ||
| Look at this. | ||
| He does the throw cut thing. | ||
| I mean, nobody on earth other than Tyson Fury is getting up there. | ||
| Which is so crazy. | ||
| Deontay Wilder is the greatest knockout artist in the history of the heavyweight division. | ||
| There's no one that's had one-punch knockouts like that guy. | ||
| The Luis Ortiz fight just catches him on the forehead with flat lines. | ||
| Was losing every round. | ||
| Yes. | ||
| Yeah. | ||
| I mean, and then you see Deontay's like, I can't believe this motherfucker is still up. | ||
| And then there's also like an emotional thing that happened. | ||
| Look at the wildest of Deontay. | ||
| To be able to survive that. | ||
| First of all, I mean, I have a huge respect for mental toughness. | ||
| And the mental toughness it takes to get up. | ||
| And then you know the guy who just did that to you is waiting on the other side of the ring to come and do it again. | ||
| And then he moves forward. | ||
| He survives the initial barrage, and then he starts moving forward. | ||
| Then he dings Deontay. | ||
| And you see Deontay got rocked at one point, and he starts pushing him back. | ||
| I'm like, oh my god, he won the rest of the round. | ||
| Like, he literally made it like a 9-9 round. | ||
| Yes. | ||
| Which is crazy. | ||
| I love that. | ||
| But I love the fortitude that it takes in that moment. | ||
| The composure. | ||
| First of all, the mental toughness to get up. | ||
| And then the fortitude. | ||
| All of these intangibles. | ||
| Like, I'm a boxing guy, but it's all of these underlying things which makes me love the sport. | ||
| You know? | ||
| The composure that it takes. | ||
| You know? | ||
| It's really unbelievable. | ||
| That's why I love the sport so much. | ||
| Well, you're not a casual. | ||
| Look at him. | ||
| He's dancing. | ||
| He thought it was... | ||
| Now, walk through and look at his face when he sees Tyson get up. | ||
| Like, they start counting, and he's like, this fight is fucking over! | ||
| I don't know if they're gonna show it here, but there's a look where you see Deontay's face right there. | ||
| He's like, aw, shit. | ||
| I don't believe this. | ||
| Let me start breathing differently. | ||
| Let me start breathing differently, because I gotta go finish the job here. | ||
| Yeah. | ||
| And then he gets up, and, you know, Deontay, I'm sure, thought he was going to put him away. | ||
| He puts everybody away. | ||
| But they're talking now about Deontay versus, I think they're talking about Andy Ruiz. | ||
| That's a great one, too. | ||
| That's a great one. | ||
| But they might be also talking about Deontay and Usyk, because I think Usyk is open now. | ||
| I just hope they put that fight together. | ||
| Just figure it out, boys. | ||
| That's the fight. | ||
| The fight's Tyson Fury and Usyk. | ||
| It's the undisputed World Heavyweight Championship. | ||
| Deontay Wilder training as promoter cancels another Vegas date. | ||
| Okay. | ||
| So Andy Ruiz Jr. potentially is now canceled. | ||
| See, that's the thing that boxing does. | ||
| It drives me nuts. | ||
| They set these fights up. | ||
| They get your dick hard. | ||
| Right. | ||
| And then they pull them away from you like fucking Lucy with this football. | ||
| Yeah. | ||
| Yeah. | ||
|
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That's right. | |
| That's right. | ||
| But I think the thing is, like the Crawford Spence date, it's like we're floating the date of June 17th. | ||
| It's like... | ||
| Alright. | ||
| Because that gets everybody's hopes up for it. | ||
| And then they go, well, now we've got to negotiate. | ||
| We've got to come to the table. | ||
| And it's like, yeah, how's that going to go? | ||
| It didn't go well last time. | ||
| And as a result, Terrence, I think, just got frustrated with the negotiations. | ||
| He's like, I'm just going to fight somebody. | ||
| You don't think I'm... | ||
| I'll walk away. | ||
| I'll go fight somebody else. | ||
| You're saying it's April Fool's because they reported on April 1st? | ||
| Is that what they're saying? | ||
|
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I was trying to figure it out, too. | |
| This is the best I could get. | ||
| The last he said is, it's April Fool's. | ||
| Yeah, what does that mean? | ||
| So they announced April 22nd during Javante Davis. | ||
| Oh, so it will be announced. | ||
| So they're hoping it will be announced. | ||
| If Crawford isn't playing around, it will disappoint many fans who want to see him fight Spence. | ||
| Yeah, that's the big fight at welterweight. | ||
| That's a big fight. | ||
| Right. | ||
| But I think if they don't make the fight, then they have to fight the number one contender then. | ||
| There's Virgil Ortiz at 147. There's Boots Ennis, who's a guy out of Philly who's unreal. | ||
| Boots Ennis is amazing. | ||
| Okay, so you've got to fight that... | ||
| Yeah. | ||
| Why are the mandatories not being forced, is my question. | ||
| I think it's just money. | ||
| They're just trying to make the biggest fights possible. | ||
| Well, the problem is that you have these individual promoters, and you have these, there's too many IBF, WBC, these sanctioning organizations, and it's like, you have to force, you have to force these fights. | ||
| Yeah. | ||
| You can't, I understand that ticket sales and all that stuff is important, but if you want to maintain your integrity as a sport, You have to force these fights. | ||
| Boots Ennis should not be sitting there as the number one contender for five years. | ||
| Right, exactly. | ||
| Good point. | ||
| And also, the world needs to know how good Boots Ennis is. | ||
| Yes! | ||
| When you watch that guy fight, switch stances, and ooh, he's such an artist in there. | ||
| He's so exciting. | ||
| Yeah. | ||
| And hopefully people catch on, but you do run the risk of a guy like that not being recognized because he's in this sort of Weird situation where other people are getting shots and he doesn't. | ||
| Right. | ||
| But it's a weird situation because I think Teddy Atlas has said this on multiple occasions. | ||
| It's structured badly. | ||
| The sport is structured badly. | ||
| Whereas like in UFC, it's Dana making the decisions. | ||
| Yeah. | ||
| And you need that. | ||
| You need a guy at the top going, now this is going to happen. | ||
| And if you don't want it to happen, or if a guy's having personal problems, like Jon Jones or whatever that was, like, okay, I mean, you're still a legend, and you will get the shot when you're ready to come back, but the show goes on. | ||
| Tom Brady, you know, gets hurt, rips his knee, football doesn't stop. | ||
| Right. | ||
| You know? | ||
| Yeah. | ||
| There's a great advantage that the UFC has in being the promoter. | ||
| And so it's the organization, it's the sanctioning body, and it's also the promoter. | ||
| Right. | ||
| But it does take away leverage from the fighters. | ||
| Like, you can't say, I want 70-30. | ||
| You can't say... | ||
|
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Right. | |
| There's too many promoters and there's too many world titles. | ||
| But the opposite is the UFC where it's like there's really only one title that means something. | ||
| There's Bellator titles and One FC titles, but what everybody wants to be is the UFC champion of the world. | ||
| That's what everybody wants to be. | ||
| Everybody. | ||
| Nobody says, I'd rather be the Bellator champion. | ||
| No disrespect to Bellator. | ||
| Yeah. | ||
| But the reality is, that's not the same. | ||
| Right. | ||
| And the real reality is, there's fighters in Bellator that are world championship UFC caliber fighters. | ||
| And they might not ever get their due. | ||
|
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Right. | |
| And they might lose their competitive prime competing against other people in an organization where less people are going to watch, and maybe even more importantly, less people are going to respect. | ||
| Right. | ||
| But in boxing, you know, you can't fight once a year. | ||
|
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No. | |
| You can't fight once every 18 months and expect me to still be interested in what you're doing. | ||
|
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Right. | |
| Like, you have to fight more. | ||
| You have to fight, like, three, to Canelo's credit, three, four times a year. | ||
| Yeah. | ||
| I understand these camps are like 12 weeks now, and that's brutal. | ||
| It's brutal, the preparation, but... | ||
| You know, three, four times a year. | ||
| I mean, if you're fighting every two years, it's like it holds up the division. | ||
| Yep. | ||
| And it's, you know, it's less competition. | ||
| It does. | ||
| And there's so many big fights. | ||
| The Canelo thing is very interesting, right? | ||
| Because he loses to Bival and then he comes back and beats Triple G and looks pretty good. | ||
| But then he had to get wrist surgery. | ||
|
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Right. | |
| And, you know, then you see what Benavidez did to Plant. | ||
| Like, Benavidez beat the fuck out of Caleb Plant. | ||
|
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Yes, he did. | |
| Yeah. | ||
| And how tough is Caleb Plant? | ||
| Caleb Plant is so tough and he's a very, very skilled guy. | ||
| Damn, he's tough. | ||
| So skilled guy. | ||
| He was an Olympian. | ||
| He was an Olympian. | ||
| So very skilled guy. | ||
| And for David to do that, it was really impressive. | ||
| He's a murderous puncher, man. | ||
| But Caleb has a fucking chin on him, man. | ||
| Holy shit. | ||
| He stayed in it and refused to get knocked out and really tried to win the fight. | ||
| Battered. | ||
| I mean, he got fucking battered. | ||
| I'm super impressed with Benavidez. | ||
| Like, that was a big test for him, and Caleb in the beginning was very slick. | ||
| But Benavidez just kept pressing and putting it on him, and then towards the latter half of the fight, that's traditionally been a problem with Caleb, that he starts to fade in the later rounds. | ||
| It's so much energy to keep a guy like that off you, I think. | ||
| You gotta have power to keep a guy like that off you. | ||
| Because that guy, Benavidez, and many guys like to have a suffocating style. | ||
| You can hit him. | ||
| And that does something to you mentally, I think. | ||
| Where you hit a guy twice, you hit him with your best stuff, and he just walks. | ||
| He's walking through it. | ||
| Walking forward, walking you down. | ||
| It's like... | ||
| Alright, I guess this is gonna be, I'm gonna have to move. | ||
| It's a tremendous amount of energy. | ||
| I feel like, I wonder if Caleb could do something about his strength and conditioning that takes it to another level. | ||
| Because I feel like if he could maintain the kind of pace that he has in the early rounds of the Canelo fight, the early rounds of the Benavidez fight, if he can do that, like, man, it's gonna be really hard for people to fuck with him. | ||
| Yeah. | ||
| But he has a mark, there's a noticeable slowing down that happens. | ||
|
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Right. | |
| I wonder if that's psychological. | ||
| I don't know how you would mimic that pressure, like I've never been in a fight camp before, so I don't know how you would mimic that pressure in sparring. | ||
| I think it would have to be in strength and conditioning. | ||
| I think you would have to all out dedicate yourself to taking your VO2 max to a completely new level. | ||
| Yeah. | ||
| And you would have to, like, really dedicate yourself in that regard to just absolutely annihilating your boundaries and pushing your strength and conditioning to the point where you can get... | ||
| Like, there was this guy, B.J. Penn, who's one of the greatest MMA fighters of all time. | ||
| And there was one point in time where B.J. Penn, he started training with Marv Marinovich. | ||
| And Marv Marinovich was a fucking... | ||
| The Marinovichs, like... | ||
| They had a style of training where they believed that you already have the skill, and what's more important than anything is cardio. | ||
| And so they would do just ruthless plyometrics. | ||
| That was the entire camp for whatever amount of weeks that you're doing it. | ||
| Most of your time was dedicated to strength and conditioning. | ||
| And it was very systematic, and it was very scientific. | ||
| Checking your resting heart rate, your heart rate variability, monitoring your recovery, and making sure you're getting the right nutrients and rest and rehydration and all that stuff. | ||
| But the most important thing was the gas tank. | ||
| Because you already know how to fight. | ||
| And what happens in fights, you still know how to fight, but your gas tank starts to fail. | ||
| And so when BJ Penn was at his prime... | ||
| In like the, if you look at, there's a bunch of different fights like Diego Sanchez, Sean Shirk, where he was just destroying these guys. | ||
| He had a limitless gas tank. | ||
| And he had this incredible skill set that he already had. | ||
| And there's a good argument for that, that like at a certain level, what's most important is cardio. | ||
| So there's like several schools of thought when it comes to that. | ||
| Right, but even with the plyometric and strength, you have to mimic that. | ||
| In sparring. | ||
|
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Yes. | |
| You have to mimic that in training so that you can utilize it. | ||
| Well, they did all that, too. | ||
| I mean, it wasn't like you only did strength and conditioning, but strength and conditioning was primary. | ||
| But what's that look like? | ||
| Is that like a shark bait type situation? | ||
| We call it in wrestling, shark bait, where one guy in the middle, and they just keep sending you fresh guys. | ||
| Yeah. | ||
| They certainly did that. | ||
| But honestly, most of it was work like plyos, box jumps, all these different things where you just had your ability to work. | ||
| It was all about your cardio, all about your ability to constantly work. | ||
| Right. | ||
| And you already had efficiency in your striking and your grappling, all these different things. | ||
| And so you would do drills for those things. | ||
| So you keep all your weapons sharp. | ||
| But the primary focus was strength and conditioning. | ||
| And I'm always intrigued by that because it's the most brutal way to do it. | ||
| It's so hard to stay motivated because sparring is fun. | ||
| If you're in there sparring, you know, there's something exciting about it. | ||
| There is nothing fun about box jumps. | ||
|
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No, there isn't. | |
| There's nothing fun about running hills. | ||
| Box jumps and running hills till fail. | ||
| Till fail is the key there. | ||
| Because everybody thinks, no, no, no, no. | ||
| It's like the goal is to throw up. | ||
| Yeah. | ||
| The goal is to break your body. | ||
| Yes. | ||
| And then have it right there where it's broken and then recover. | ||
|
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Right. | |
| And then get yourself right back there again and recover. | ||
| And now all of a sudden your threshold bumps up a little more. | ||
|
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Right. | |
| And so now you can go an extra round. | ||
| Now you can go an extra minute. | ||
| Now you can go an extra minute 30. Now you're really pushing it, and now you're seeing these things that used to kill you. | ||
| Now you can get through them, and at the end you're recovering quicker. | ||
| And that's the idea. | ||
| And I wonder if a guy like Caleb Plant, if you could get him to an insane level of cardio, where he could compete at that pace that he does in the early fight, because in the early part of the fight, that guy's slipping. | ||
| Yes, very skilled guy. | ||
| He's moving nice, but then he starts standing in front of Benavidez, and then Benavidez, he's so accurate, and he gets his punches around your guard, and up the front, and uppercuts, and jabs. | ||
| I'm just, I love his style. | ||
| He throws punches and bunches, too. | ||
| He's not throwing one punch. | ||
| No, he smothers you. | ||
| Yeah. | ||
| Stays on you. | ||
| And he's a brutal puncher, too. | ||
| And at the end of the fight, he didn't even have a scratch on him. | ||
| No, he didn't. | ||
| It's crazy. | ||
| Caleb looked like he'd been through a meat grinder. | ||
| Yeah, it's really something. | ||
| So I think that's the fight at 168. Yeah, I think so, too. | ||
| Is Benavidez Canelo. | ||
| But everybody's calling for that Bivol Canelo rematch, and I just don't see it. | ||
| I don't, I think we saw it. | ||
| Yeah. | ||
| You know, with some of these fights, it's like, I think we saw it. | ||
| We don't need a trilogy. | ||
| Yeah. | ||
| And I think we saw it. | ||
| Maybe. | ||
| You know, but when you've got a champion like Canelo, he thinks he can do it better. | ||
| And he thinks he's like, okay, I understand what he did, and maybe he knew coming into that fight, because he did have a wrist problem that he had in the Triple G fight, too. | ||
| So he probably had that problem already. | ||
| Right. | ||
| Who knows? | ||
| But I think for Bival, the big fight is better be-if. | ||
| Archer Betterbeef is a fucking monster. | ||
| I saw him fight at the Garden, Joe Smith. | ||
| Oh, yeah. | ||
| It was a pro Joe Smith. | ||
| I was rooting for Joe Smith, you know, New York guy, Long Island, Union, all the Union guys out. | ||
| Yeah, but the atmosphere is just like, Joe, yeah, let's go, Joe, and then Betterbeef comes in the ring, and the fight starts, and it's just, no disrespect to Joe Smith, he's unbelievable, but it looked like just a man fighting a small child. | ||
| Yeah. | ||
| It was just... | ||
| Brutal, man. | ||
| Better be of his. | ||
| And he gets no headlines. | ||
| He gets no headlines. | ||
| I know. | ||
| And what is he, like 19-0 at 19 knockouts? | ||
| He's the only, I think it's 19, he's the only boxer at a world championship level that stopped every single one of his opponents in every fight he's ever been in. | ||
| And he's super skillful, but he fights like a fucking destroyer. | ||
| Just moves straight towards you. | ||
| That Russian style. | ||
| 19-0 with 19 knockouts. | ||
| Fucking crazy! | ||
| The Anthony Yard fight, like, holy fuck, man. | ||
| I think Anthony Yard was happy just to go that far into the fight. | ||
| Like, he considers that a win. | ||
| That's crazy. | ||
| Probably. | ||
| Because Betterbeev is so tough. | ||
| Nobody knows who he is. | ||
| If it wasn't for people talking about him in YouTube clips, he gets zero press. | ||
| He gets zero press, and they ask him about, have you seen this guy fight? | ||
| What about this guy? | ||
| He's like, I'm not really a boxing fan. | ||
| That's what he said. | ||
| That's what he said. | ||
| He goes, I'm not really a boxing fan. | ||
| I just like to focus on my family. | ||
| That's crazy. | ||
| And that accent is like, bro, you're like, nah, I'm just kind of focused on my family. | ||
| Boxing is my job. | ||
| It's funny when you hear him talk. | ||
| A lot of those guys have that mentality where it's like, boxing is my job. | ||
| And I guess he kind of, that's how it keeps him sane because his work rate is fucking preposterous. | ||
| I mean, you ever see that guy train? | ||
| Holy shit, man. | ||
| He's a monster. | ||
| He's a monster. | ||
| And then when you hear him talk, he's so, like, respectful and low-key. | ||
| It's weird watching that demon come out when he gets inside the ring. | ||
| Yeah. | ||
| It just looks like he doesn't, and a lot of these Russians have that, where it looks like it's just workmanlike. | ||
| They don't have, like, the emotion that we do here in the West. | ||
| It looks like they're just in there, and regardless of what you throw at them, it's just workmanlike what they're gonna do. | ||
| It's pretty crazy. | ||
| Well, it's, you know, they're coming from a hard world. | ||
| He's from Chechnya. | ||
| Yeah. | ||
| That is a fucking hard world. | ||
| There's something about those European or Eastern Bloc, like from Soviet Union, former Soviet Union guys, and from Russia and Dagestan. | ||
| They're so tough. | ||
| So tough. | ||
| There's something to be said. | ||
| It's just like kids from the ghetto in the United States. | ||
| Those are the best fighters. | ||
| People who just came from the heart, like Mike Tyson coming from Brownsville. | ||
| Those are the people. | ||
| From Bedford Stuy, those are the people that are just the fucking monsters in there. | ||
| And then with the training, with the training also, it hones that. | ||
| You know, I think there should be something that would help boxing. | ||
| You watch Showtime has all access now. | ||
| HBO used to have 24-7, the documentary series. | ||
| I think that should be for every fight. | ||
| It would make boxing far more popular because these guys have such impressive stories. | ||
| And to tell that story, it's like there's documentaries about everything now, about nonsense. | ||
| It's like... | ||
| They should have a documentary for each fight because you want to see their journey, like where they came from. | ||
| It's really something to see a kid who has nothing, born into extreme poverty, become a world champion. | ||
| Like Javante Davis. | ||
| Coming from poverty, his story to being a world champion. | ||
| It's an inspiring story. | ||
| It is and it's great for everyone because it gives you fuel. | ||
| Like for a person who's coming up in life, even if you're not a fighter, you see what someone's gone through and you see the success of that hard work has created and it can be a roadmap for your own life. | ||
| It really can be. | ||
| It translates. | ||
| Oh man, for sure. | ||
| And that's what Goggins Goggins is my favorite. | ||
| He's my favorite guy, man. | ||
| I watch all this stuff I put on there's this thing on now YouTube called Goggins motivation So I'll be stretching and it's just him talking. | ||
| Yeah, it's just he's unreal man No, he's unreal and that's that guy you want to talk about mental toughness that guy's destroyed knees Yeah, and he runs thousands of miles. | ||
| It's just like every day He's running 15 20 right every day right destroyed knees But he's taken his life where he came from, which is a terrible, terrible situation, and transformed himself. | ||
| That's what I love about him. | ||
| And he's able to articulate it. | ||
| And he does it very well. | ||
| And he also talks about mental toughness in a way that I've never heard anybody talk about mental toughness. | ||
| You know, when I was growing up, maybe it's the same for you. | ||
| It's like, you gotta be mentally tough. | ||
| You gotta be mentally tough. | ||
| You gotta suck it up. | ||
| Suck it up. | ||
| And it's like, you're processing that, but he breaks down what does that actually mean in the suck, which is what he called it. | ||
| You know what I mean? | ||
| Like, it's that conversation that you're having with yourself that we all have with ourselves when we're suffering. | ||
| Well, what Dave does is he does it in silence. | ||
| Like, there's no one around. | ||
| He's doing it. | ||
| No one's forced him to do it. | ||
| And he does it because he wants to learn about himself. | ||
| Right. | ||
| And the way I've had conversations with him about it where he goes, I'm getting that deep knowledge. | ||
|
unidentified
|
When I'm suffering, when I'm out there running those miles, I get that deep knowledge. | |
| I'm downloading information. | ||
| I'm like... | ||
| The way he's thinking about it, like, his fucking heart is pounding, his knees are aching. | ||
| Yeah. | ||
| He doesn't want to keep going, but he's, like, finding his own threshold, finding his own limitations, and then knowing that he can push through that because he's done it before. | ||
| I mean, he's almost died, like, multiple times. | ||
| Yeah. | ||
| Rhabdo and doing those 200-mile races and pissing fucking Diet Coke out of his dick. | ||
| Right. | ||
| So that's what it looks like. | ||
| Your body's breaking down. | ||
| Your kidneys are breaking down. | ||
| And, you know, the guy goes to the hospital. | ||
| He ran, I think it was the Moab 240. They had to take him out of the race because he got rhabdo. | ||
| So he goes to the hospital, recovers, goes back to the spot where they had to pull him, and finishes the race. | ||
| God, I love that. | ||
| He's like, you're not beating me. | ||
| That's so great. | ||
| He's like, I'm going to complete this fucking race, even if it's two weeks later. | ||
| Yeah. | ||
| Yeah, drop me off at the spot where I stopped. | ||
| That's amazing. | ||
| Yeah. | ||
| It's inspiring. | ||
| It's very, very inspiring. | ||
| It's also him talking about shutting out the noise. | ||
| Because that's the society we live in now. | ||
| There's a lot of noise around. | ||
| There's a lot of things that can addict you. | ||
| I think you have to be more disciplined now than ever. | ||
| For the kids coming up too, all this stuff wasn't around when we were coming up. | ||
| It's like social media and all this other stuff that's just not good for you. | ||
| He talks about going silent and just quieting your mind and focusing. | ||
| On the other hand, for fighters, the good aspect of the digital world that we live in now is you have access to like Marvin Hagler versus Tommy Hearns. | ||
| You know, you could watch Vito Anafermo fight. | ||
| You can watch all these people from bygone days where you could see their technique and their movement and what they did. | ||
| And you can get inspiration from that instantaneously off your phone. | ||
| Yes. | ||
| I do love that. | ||
| Fuck, it's incredible. | ||
| And that's why people are so good today. | ||
| In everything. | ||
| Right. | ||
| In everything. | ||
| In comedy. | ||
| You're seeing these comedians. | ||
| I'm watching these fucking door guys that we have hired at the mothership. | ||
| And these fucking guys are like three years in. | ||
| And they're like, I just watch comedy on YouTube. | ||
| I'm constantly watching comedy. | ||
| And you're watching them on stage like... | ||
| These guys are kind of advanced. | ||
| For three years in, I was fucking terrible. | ||
| I was terrible three years in. | ||
| And these guys are doing really well. | ||
| They have good structure. | ||
| Their jokes are written well. | ||
| Good stage presence. | ||
| They have an understanding of it that's a next level because they've seen the Rodney Dangerfields, the Eddie Murphy, the Chris Rock. | ||
| They've seen all these people and they get a sense of what it's all about. | ||
| Whereas those guys had to get it from being in the clubs. | ||
| Only from being in the clubs. | ||
| These guys, before they even step into a club, have, like, an education in stand-up comedy. | ||
| Right. | ||
| And that's the beautiful thing about the digital world. | ||
| Yeah. | ||
| It's just, this thing requires discipline. | ||
| Yes, it does. | ||
| It requires a lot of fucking discipline. | ||
| And if you don't have that, you're gonna get sucked in. | ||
| Right. | ||
| You know, and I see it. | ||
| I see it with my own kids. | ||
| We have to take their phones away when we eat dinner. | ||
| Like, come on, put the phone over here. | ||
| That's great. | ||
| On the counter, we're all going to sit down and have a meal together. | ||
| We take it away from them on Sundays. | ||
| No phones. | ||
| We're all hanging out. | ||
| Let's just do it this way. | ||
| But if you leave them a phone, they'll, I'm just going to put it on my chair. | ||
| Okay. | ||
| And then you see them checking TikTok. | ||
| Get out of there! | ||
| Get out of there, you little fuck. | ||
| Stop looking at that. | ||
| You'd be surprised how many families don't have those rules. | ||
| Yeah, you got to have those rules. | ||
| You got to have the rules. | ||
| And they have to see it with you. | ||
| That's what's important. | ||
| They have to see the parents can leave it alone. | ||
| If the parents are hanging out with them and they're not paying attention, that's a problem. | ||
| It's easy to do. | ||
| With me, I would make excuses like, I gotta work, I gotta answer these emails, I gotta do this. | ||
| Which is true, but still not. | ||
| Don't do it. | ||
| We all have problems. | ||
| These are the most addictive things in terms of attention that anybody's ever experienced in history. | ||
| Yeah. | ||
| Absolutely. | ||
| Because, you know, you're doing your job, whatever. | ||
| It's a little vacation, you know, to go and scroll and take your mind off everything. | ||
| But it just, you're right. | ||
| What you said, you nailed it. | ||
| It's like it sucks you in. | ||
| It sucks you in. | ||
| But there's so much good information out there. | ||
| That's really true. | ||
| On how to improve your life. | ||
| Yeah. | ||
| Like it's right there. | ||
|
unidentified
|
Oh, yeah. | |
| And then references on books you can read and all kinds of other stuff where you can like, oh, no, let me get focused here. | ||
| And there's also plenty of people talking about the dangers of addiction to social media. | ||
| Yeah. | ||
| Where you really can get an understanding of. | ||
| It's not like it's just sneaking up on you. | ||
| Everybody kind of knows what's happening while it's happening. | ||
| And then it's up to you. | ||
| Either you set up a screen time thing where you only have an hour on this app and after a while it just shuts you out. | ||
| Or you just decide, like, I'm going to get things done, you know, and if I'm gonna look at social media for 10 minutes or whatever the fuck it is, that's my little reward. | ||
| Just don't get sucked in. | ||
| I do it in the morning. | ||
| It's a real problem in the morning for me. | ||
| Because I take a shit when I wake up, right? | ||
| So I take a shit, I got that phone, and next thing you know, I'm like, it doesn't take 20 minutes to take a shit, stupid. | ||
| Like, what are you doing in here? | ||
| You're just pretending to be going to the bathroom while you're scrolling through social media. | ||
| Isn't that something that you have to have that truthful conversation with yourself? | ||
| Still to this day. | ||
| Yeah. | ||
| And it's good that you can call yourself out on that. | ||
| I was like lying to myself in there. | ||
| I was lying to myself. | ||
| Yeah. | ||
| I lie to myself every morning. | ||
| I'm like, I'm just going to check it real quick. | ||
| Don't you do a cold plunge? | ||
| Yeah. | ||
| Yeah, man, do that thing first. | ||
| That cold plunge, you're not thinking about anything else. | ||
| Yeah, I do the cold plunge, but I usually have to go to the bathroom first. | ||
| That's the problem. | ||
| I don't go to the bathroom without my phone. | ||
| So sometimes I'll wake up at 8 o'clock and it's 8.40 before I get in the water. | ||
| Like, why did it take so long? | ||
| Well, because I had to say hi to the dog. | ||
|
unidentified
|
Yeah, yeah. | |
| I had to get up. | ||
| But plus you're not rushing to get to that water either. | ||
|
unidentified
|
No. | |
| No. | ||
| I do it every day, but I don't want to do it every day. | ||
| So every day, like, as I'm walking towards, there's all this self-talk where my brain's like, come on, man. | ||
| You don't have to do this. | ||
| And then there's the other part of me is going, shut the fuck up. | ||
| Just get in there. | ||
| And I always do it. | ||
| But that talk, it's never like I'm looking forward to it. | ||
| It's a smooth walk there. | ||
| There's no mental hiccups. | ||
| That's happened zero fucking times. | ||
|
unidentified
|
I love that. | |
| Every fucking time I've gone, walk toward that thing, pick up the lid, I'm like, oh my god, are you really doing this? | ||
| I set the timer on and my foot hits the water. | ||
| I'm like, okay, we're in. | ||
| But once I'm in, it's fine. | ||
| Once I'm in, it's fine. | ||
| But there's always that moment, like 30 seconds in, where your body's like, let's get the fuck out of here. | ||
| And you're like, hey, shut up, pussy. | ||
| We're in here for three minutes, no matter what happens. | ||
| So just fuck And then when I get out, I'm always happier. | ||
|
unidentified
|
Yes. | |
| But it's just that fucking talk that you have to have in your brain while you get up there. | ||
| Like, I know I'm not gonna listen. | ||
| I know that inner bitch is not going to win. | ||
| That's power though, man. | ||
| But that motherfucker is so persistent. | ||
| I love it though. | ||
| Every day he's like, come on. | ||
|
unidentified
|
We don't have to do this. | |
| That's the power, man. | ||
| Overcoming it. | ||
|
unidentified
|
It never goes away. | |
| Not listening to it. | ||
| Like, nah, we're going to do this. | ||
| Yeah. | ||
| We're going to do this. | ||
| And I think that lends you power to other parts of your life. | ||
| Oh, it definitely does. | ||
| It's really great. | ||
| I do cold showers. | ||
| You know, I don't have a plunge, but I do cold showers and it's never pleasant. | ||
| Cold showers in the East Coast are rough. | ||
| I do the steam and then I'll just, no matter what, I'll put it on and just do the Wim Hof, do the breathing in the cold. | ||
| The problem with Texas is the water never really gets cold enough. | ||
| No. | ||
| It does in the winter. | ||
| It gets pretty cold. | ||
| I've taken some cold showers in the winter. | ||
| I'm like, ooh, it's pretty cold. | ||
| But it's not enough. | ||
| It's just... | ||
| The cold shower here is mildly unpleasant. | ||
| I want brutal. | ||
| I know. | ||
| I want brutal. | ||
| And it's like... | ||
| Getting through that, at the beginning of the day, first of all, it raises up your dopamine, like Andrew Huberman and Susanna Soberg have put out all these scientific papers and podcasts and have all these discussions about the benefits for your dopamine increases 200%, it lasts for hours, norepinephrine, all these real tangible benefits. | ||
| The resilience, like having the ability to say to that inner bitch, fuck you. | ||
| If you watched me, you would think, oh my god, this guy's so stoic. | ||
| He's a soldier. | ||
| He just walks in that thing every day. | ||
| But you don't know what's going on in my head. | ||
| In my head, I'm like, come on, pussy. | ||
|
unidentified
|
I love that. | |
| Let's go have a coffee first. | ||
|
unidentified
|
That's so great. | |
| That's like Gog is looking at his shoes for four hours. | ||
|
unidentified
|
Exactly. | |
| Looking at his shoes for four hours. | ||
|
unidentified
|
Sometimes I stare at those motherfuckers for a half hour before I put them on. | |
| But he just lets you know. | ||
| You're never going to win that battle. | ||
| You always win, but you're never going to not have that inner conversation where the comfort... | ||
| Everybody wants that comfort. | ||
| It's just being the boss. | ||
| My friend John Joseph always says, when it's time to tell, your mind tells your body who the fuck's the boss. | ||
| And that's really what it is. | ||
| It's a philosophy. | ||
| It's a mental philosophy that you have to have and you have to implement. | ||
| Yeah. | ||
| Yeah, but if you have the philosophy, that's the first, that's it. | ||
| As long as you adhere to it. | ||
| As long as you adhere to it. | ||
| But boy, it's so easy to not do it. | ||
| Like, today I got some stem cells shot in my knee, and I can't do the cold plunge for 72 hours. | ||
| So for 72 hours, I get to be a bitch. | ||
| But the problem is, in my head, I know, three days from now, that fucking cold plunge is like, hey pussy, remember me? | ||
| It's even colder now. | ||
| That's That's great. | ||
| I'm feeling that too when I'm in a warm climate like this and then go back to New York and hit those cold showers there. | ||
| I'm gonna feel it. | ||
| Yeah, it's gonna be a wake-up. | ||
|
unidentified
|
Yeah. | |
| If you get to a point where you got a yard and you can get a cold plunge, I can't recommend it enough. | ||
| It's so... | ||
| And a sauna. | ||
| If you have the two of them. | ||
|
unidentified
|
Yeah. | |
| Because they both test you in a different way. | ||
|
unidentified
|
Right. | |
| A sauna's 20 minutes, you know, and at 189 degrees, which is what I... That's my sweet spot. | ||
| When I get to like 15 minutes and I check my watch, I'm like, fuck. | ||
| Those last five minutes are rough. | ||
| They're rough. | ||
| But I think it does elevate your mood and it really does fight depression. | ||
|
unidentified
|
100%. | |
| It really does fight depression. | ||
| It's crazy. | ||
| It's kind of crazy that struggle fights depression. | ||
| But it really does. | ||
| If you don't have any physical struggle in your life and you're just dealing with the anxiety of existence, that's what I find when I get hurt. | ||
| When I get injured and I have to take a few days off, I'm like, boy, do I rely on that for my mood. | ||
| Yeah. | ||
| Overcome adversity and deal with all the bullshit of pressure of life, right? | ||
| But adversity is necessary and that thing that's the things been kind of overrun today in society the society that we live in now people don't recognize that I don't think All of my friends who don't do anything physical, they're the ones who struggle the most mentally. | ||
| Right. | ||
| I have so many friends that have so many weird mental problems, anxiety problems, especially comics, that don't do anything physically. | ||
| But the ones that do something physically, they have such an advantage. | ||
| Right. | ||
| Because you're calmer. | ||
| It's like you're taking a drug that allows you to deal with the bullshit. | ||
| Right. | ||
| Mind-body connection's huge. | ||
| Yeah. | ||
| It is real. | ||
| Yeah. | ||
| And unfortunately, a lot of smart people don't recognize that because they're so concentrated on the mind. | ||
| They think of the body and concentrating on the body being frivolous. | ||
| But it's not. | ||
| It's actually the mind that you're strengthening by concentrating on the body. | ||
| Because it's your will, which is a part of your mind. | ||
| Everyone thinks your mind is just calculus and learning how to write and learning language. | ||
| No, no, no, no. | ||
| The mind is also will. | ||
| It's also dedication. | ||
| It's also discipline. | ||
| And that is your mind. | ||
| And the mental strength you get from physical activities applies to mental pursuits and to intellectual pursuits. | ||
| Yeah. | ||
| Absolutely. | ||
| I could feel it. | ||
| I could feel my mood change when I do those right things, you know? | ||
|
unidentified
|
Oh, yeah. | |
| Definitely. | ||
| Green juice in the morning, that's another big thing. | ||
| Nutribullet. | ||
|
unidentified
|
Oh, yeah. | |
| Okay. | ||
| Spinach, celery, cucumber, lemon, ginger. | ||
| You gotta be careful with that stuff, though. | ||
| One of the things that I've found that I didn't know when I used to drink a lot of kale shakes is you get a high level of oxalates from that stuff, from non-cooked vegetables. | ||
| And some people, not everyone, but some people develop kidney stones and things along those lines. | ||
| Yeah, oxalates can be a problem. | ||
| When you're grinding up kale and spinach and eating it raw, you're taking an exorbitant amount of oxalates. | ||
| I just love those raw vegetables and that lemon just like kicks you too, man. | ||
| It just sets the tone to eat better for the rest of the day too. | ||
| Sure. | ||
| I generally just take athletic greens and most of my diet is just meat. | ||
| It's like the majority of my diet is meat and fruit. | ||
| I would say like Occasionally, I'll have a piece of bread. | ||
| Occasionally, I'll have a dessert. | ||
| Occasionally, I allow myself little treats, but the vast bulk, probably like 90% of what I eat is just wild game meat, ribeye steaks, and fruit. | ||
| That's it. | ||
| What about olive oil? | ||
| I love all of it. | ||
| Yeah, it's great too. | ||
| I made that mistake on a keto diet too, not satiating myself with enough fats. | ||
| You know what I mean? | ||
| So, you make that mistake and then you stray off it and people go, well, if you start eating about the keto diet, you start eating carbs again, you gain the weight right back. | ||
| It's like, go figure. | ||
| Well, the keto diet is a weird one because it seems very culty to me. | ||
| Yeah. | ||
| All the people that are in the keto, it's like there's something about it. | ||
| It just becomes, there's great benefits to it. | ||
| There's great benefits to elevating your ketones for mental clarity, for your energy levels through the day. | ||
| And, you know, I've had Dom D'Agostino on the podcast, who's a scientist out of Florida, who's a very interesting guy because he's super fit, like really like very strong, very athletic. | ||
| And adheres to a keto diet, which is unusual for a scientist to be that jacked and that dedicated to working out, but also very, very educated in the pros and benefits and the studies that show that there's real benefits to just living off of fats, and that's probably what most of our ancestors did back in the day before agriculture and grains and things like that. | ||
| But cutting sugars is huge. | ||
| It is. | ||
| It really is. | ||
| It slows you down. | ||
| And I used to get ferociously hungry. | ||
| And I was like, is it because I'm lifting too much? | ||
| It's like, no, no, no, no. | ||
| It's your sugars. | ||
| Your sugars are too high. | ||
| We gotta cut. | ||
| We're all addicted to sugar. | ||
| I'm sure you've seen those pictures of people from the 1960s. | ||
| On the beach versus like 2020 on the beach. | ||
| And it's like, what the fuck happened? | ||
| Sugar happened. | ||
| Corn syrup happened. | ||
| Processed carbohydrates. | ||
|
unidentified
|
That's what happened. | |
| The high fructose corn syrup is the worst, man. | ||
| Kills you. | ||
| It's in everything. | ||
| It's so nuts how many things have corn in it. | ||
| Have you ever seen that documentary, King Corn? | ||
| No. | ||
| Great fucking documentary. | ||
| But the documentary goes over, like, all the different things that have corn in them. | ||
| Yeah. | ||
| And that it's because corn is subsidized, because corn is a cheap substitute for things, and you can add it to stuff for corn sweetener and, you know... | ||
| It's just in everything. | ||
| And your body doesn't do anything with it. | ||
| Your body's like, what is this? | ||
| That's why you shit out corn. | ||
| When you look at corn in the toilet, that's because your body's like, what the fuck is this? | ||
| You don't find watermelon in there. | ||
| Watermelon just gets absorbed by your body. | ||
| Your body knows what to do with it. | ||
| It's normal. | ||
| Your body with corn is like, what the fuck is this thing? | ||
| Feeling good every day is the goal. | ||
| Feel good every day and you'll be able to do great things. | ||
| You gotta feel good every day. | ||
| Yeah, you just gotta take care of your body. | ||
| That's something that, unfortunately, with comics... | ||
| You want some coffee? | ||
| Yeah, I'll take some. | ||
| The thing about comics is a lot of us are fucking impulsive. | ||
| You're spending the night at the clubs drinking and partying and hanging out with a bunch of other assholes and everybody's having fun and it's easy to just... | ||
| And also you're a creative. | ||
| You know, you're a creative type and creative types, you know, tend to be by nature less disciplined. | ||
| And more indulgent. | ||
| Yeah. | ||
| So if you could just keep the discipline. | ||
| Yeah. | ||
| Yeah, they're not mutually exclusive. | ||
| People want to think that creativity and discipline like they fight against each other. | ||
| They don't. | ||
| It's just impulsive people, they tend to fuck things off and not do them. | ||
| It's also like why you got into comedy in the first place, because you didn't want a job. | ||
| You didn't want to grind. | ||
| And so you figured out, like, well, I'm not being a garbage man. | ||
| That sucks. | ||
| I'm going to go to open mic night. | ||
| And you figure out how to make- I'm a star! | ||
| Yeah! | ||
| I'm special! | ||
| I'm special! | ||
| Yeah, that's the weirdest thing, right? | ||
| And then there's the other thing. | ||
| That's the thing that happens when you get famous. | ||
| Like, you have to fight that demon now. | ||
| I'm sure. | ||
| I'm sure that's a whole other... | ||
| It's a whole other thing. | ||
| And a lot of people crack. | ||
| There's a lot of Chris Tuckers out there in the world that got really famous and then just like, ah! | ||
| Martin Lawrence cracked. | ||
| A lot of people crack. | ||
| And some of them, it's like legit mental health issues. | ||
| And some of them, it's just the overwhelming pressure of fame. | ||
| And, you know, and maintaining... | ||
| Focus and discipline. | ||
| And also you got everybody around you that's kissing your ass. | ||
| That's a big thing. | ||
| Yeah, you start believing it. | ||
| Yeah, yeah. | ||
| That's another big thing. | ||
| You have a lot of people not telling you the truth. | ||
| Yeah. | ||
| And calling yourself out on stuff. | ||
| Are you ready for that? | ||
| I think so. | ||
|
unidentified
|
Now. | |
| I mean, I'm older now. | ||
| I'm 50. Yeah, that helps. | ||
| That definitely helps. | ||
| Back in the day, maybe not. | ||
| I was always pretty disciplined, but yeah. | ||
| Yeah, I would not want to get famous at like 18, 19 years old like some of these kids are. | ||
| Depends how you're raised, too, you know what I mean? | ||
| If you're raised with that discipline. | ||
| Like, my father never let me get too out of control. | ||
| Well, that's good. | ||
| It was very much like, you think this is all free? | ||
| Where do we live here? | ||
| We're living here for free. | ||
| What do you think this is? | ||
| You know what I mean? | ||
| A hotel? | ||
| Do you think your mother just cooks and does your laundry and it's all for free? | ||
| I love that. | ||
| It's like that Italian, you know what I mean? | ||
| They push it and make sure that you appreciate where you're coming from. | ||
| Immigrant mentality. | ||
| Yeah, I had a lot of that growing up. | ||
| Yeah, that's good for you. | ||
| That is good for you. | ||
| But still, some people succumb to that fucking demon. | ||
| That demon of fame. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| Look at Elvis. | ||
| Look at everybody. | ||
| Everybody cracks. | ||
| Yeah. | ||
| It's really interesting. | ||
| When you think about people like Elvis or Michael Jackson, when they got famous like that, there had been no roadmap. | ||
| Right. | ||
| There was no one that famous before them. | ||
| Right. | ||
| So it's like all of a sudden you're Elvis Presley. | ||
| Did you see the movie? | ||
| I didn't see it. | ||
| It's fucking good. | ||
| I didn't see it. | ||
| It's really good. | ||
| It's like television, because there was no television. | ||
| So television changed the game and made these guys international stars. | ||
| And they weren't used to that. | ||
| Yeah. | ||
| I mean, they're doing... | ||
| All these late night talk shows and they're performing in front of millions of people. | ||
| Before Elvis came along, no one had ever been really that famous. | ||
| I don't think there was anybody like that before him. | ||
| And then this guy's got to figure it out and he's got people handing him pills and he's banging all these broads. | ||
|
unidentified
|
Right. | |
| Good luck. | ||
| Yeah. | ||
| Good luck sorting that out. | ||
| My favorite Elvis is Elvis on pills doing karate. | ||
| Those are my favorite Elvis's. | ||
| I fucking love those videos. | ||
| Have you seen those videos? | ||
| No. | ||
| I've seen him do karate, like to a montage, songs, but I've never seen him actually, just a long stretch of it. | ||
| I've seen him in a karate outfit doing it. | ||
| Well, he would wear a karate outfit with One of those big collared shirts on under the gi. | ||
|
unidentified
|
That's great. | |
| In case you had to perform? | ||
| I don't even know why he was doing it. | ||
| He didn't want to be anywhere without his collared shirt. | ||
| And so, you know, he's clearly high as fuck. | ||
| And he's doing, like, kind of fake karate. | ||
| Look at him. | ||
| He's all pilled up, sweating like a pig. | ||
| And this was like, look, sunglasses on. | ||
| Elvis, why do you have sunglasses on? | ||
| Like, what the fuck is going on? | ||
| And he was training under a legitimate karate guy in Ed Parker. | ||
| Like, Ed Parker was the fucking man. | ||
| I mean, he was like the absolute, legit karate guy. | ||
| And that's who Elvis got his black belt from. | ||
| Was it a real black belt? | ||
| I don't know. | ||
| You see these demonstrations. | ||
| Look at this. | ||
| Watch this. | ||
| Back that up a little bit. | ||
| This is what I'm going to do, man. | ||
| I'm going to put a gun on my back. | ||
| I'm going to turn them on like this. | ||
|
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|
Look at this. | |
| I'm going to turn on them real quick. | ||
| I mean, it's the dumbest shit of all time. | ||
| And then I'm going to... | ||
| Get him right in the face because he's not even going to notice it coming down my elbow and I'm going to trip him here. | ||
| Like, this is so bad. | ||
| This is so dumb. | ||
| By the way, that guy shot you five times already. | ||
| Your liver has four holes in it. | ||
| You're dead. | ||
| It's so dumb. | ||
| Grab him by the face. | ||
| What you going to do? | ||
| I mean, and if you listen to him talk back then, he's like clearly intoxicated. | ||
| He's just fucked up on downers, just doing karate, feeling like a champ. | ||
| Now the other side of it is Gary Coleman. | ||
| Gary Coleman who, that's great. | ||
| Gary Coleman loses everything and becomes a security guard. | ||
| Yeah. | ||
| And then like he's working as a security guard protecting like on a set where Pamela Anderson and a bunch of TMZ guys come in and Gary Coleman launches on, there's video of it, where he launches onto the car and is like, yeah, you're not going anywhere. | ||
| I actually love that. | ||
| I love like, A person, especially a famous person who's now doing a menial job, but is doing it to the best of their ability. | ||
| I love that. | ||
| There's not a lot of people that become famous and then do a regular job. | ||
| Yeah. | ||
| People do get really interested in those people when they do do that. | ||
| Like, look, he's like one of us again. | ||
| Yeah. | ||
| Look. | ||
| Yeah. | ||
| But everybody loves to shame that guy. | ||
| Yeah. | ||
| Everybody loves to shame him, but I actually, I love that. | ||
| Isn't that fucked? | ||
| Isn't that fucked? | ||
| Because if you just saw a security guy, you'd be like, hey man, what's up? | ||
| How you doing? | ||
| I'm going building four. | ||
| All right, take it easy. | ||
| It's normal. | ||
| But if you're like, hey, you're that fucking guy, you fucking loser. | ||
| Look at you now. | ||
| Nobody thinks that about a regular security guy. | ||
| See, a regular security guy is just a guy. | ||
| But a regular security guy who's on like Falcon Crest, like, oh, look at you, loser. | ||
| It's weird. | ||
| Yeah. | ||
| That's the problem with fame. | ||
| You don't want to be a has-been. | ||
| A has-been is worse than it never was. | ||
| Which is very strange. | ||
| At least the guy fucking made it for a little while. | ||
| He's got pictures. | ||
| And I love the mental focus of the fact that you're doing this job now to the best of your ability. | ||
| I actually love that a lot. | ||
| Any menial job, anybody doing any quote-unquote menial job, there's not much money, there's no reason really to excel, but I love there's people who go above and beyond in those jobs, and I actually love that. | ||
| Yeah, well, there's a stoic discipline to that that's very admirable, to someone who just does the job to the best of their ability and says, how you do one thing is how you do everything. | ||
| Right. | ||
| And if you could instill that in a kid, that's a tremendous benefit to have that. | ||
| Bro, I gotta piss. | ||
| We'll be right back, folks. | ||
| You don't get a mugshot because he's the president? | ||
| Is that what it is? | ||
| He was the president? | ||
|
unidentified
|
I think there's just too much going on. | |
| Secret service people, everything, looking at him. | ||
| Yeah, there's some pictures that I think they're AI-generated of him standing in the street, walking down the street with a giant crowd of people behind him with American flags. | ||
| I'm like, that's gotta be fake. | ||
| Is that fake? | ||
| There was only him, like, he was barely seen walking in and out of a building, I think, like, officially, so I don't know what the AI picture you saw was. | ||
| It was like him on the street in public, and there's a throng of fans behind him. | ||
| He's walking on the center of the street. | ||
| I'm like, that looks fake. | ||
| You can't tell anymore. | ||
| No. | ||
| Well, you saw the fake images of Trump being arrested. | ||
| Did you see those? | ||
|
unidentified
|
Mm-mm. | |
| There's, like, all these fake images of them, like, grabbing him. | ||
| He's screaming, and it's like... | ||
| They can, there's fake images of him in the orange jumpsuit. | ||
| Wow. | ||
| AI can do such insane things now. | ||
| It can do our jokes. | ||
|
unidentified
|
Yeah. | |
| See that? | ||
|
unidentified
|
Yeah. | |
| Where it's like you could just put in a comic. | ||
| Yeah. | ||
| And then it just can spit out jokes. | ||
| Write a joke in Nate Bargatze style talking about going to a baseball game. | ||
| Yeah. | ||
| And it'll do it. | ||
| Yeah. | ||
| I mean, that's eventually going to get better. | ||
| It'll get so good that shitty comics can have ChatGPT write their premises and write their material, which is... | ||
| I guess... | ||
| I mean... | ||
| I mean, am I against that? | ||
| I don't know if I'm against that. | ||
| I kind of am, because I don't think you get... | ||
| Like a really unique creative style, like a Jim Gaffigan, a weird, like very specific style. | ||
| Unless you learn how to do that in front of crowds over and over and over again for years. | ||
| You know, and that guy, like, you know, he's writing, he's performing, he's trying it, he's fucking around, he's doing all these different things. | ||
| Like Dave Attell. | ||
| Every morning that motherfucker gets up with a pack of cigarettes and... | ||
| And a fucking newspaper and a cup of coffee and he's just like writing things down, going over stuff and fucking with it in his head. | ||
| The idea that ChatGPT could do that for him, I don't like it. | ||
| I don't like it either, at all. | ||
| Where does that leave us? | ||
| But, if I was an open-miker... | ||
| And I needed some premises, which are, that's the one thing that drives me fucking crazy when people steal premises. | ||
| It is so hard to come up with a premise. | ||
| It is fruit that you've like climbed to the top of a tree and risked your life to grab that apple. | ||
| Right. | ||
| And someone goes, oh, I'll take that apple. | ||
| And then I'll write my own thing on that apple. | ||
| Okay, you motherfucker. | ||
| You saw that guy grab that apple. | ||
| That's his apple. | ||
| And people go, well, I could write a joke on the subject, too. | ||
| Yeah, yeah, sort of, but your joke is completely derivative of his. | ||
| That's the great thing about Attell. | ||
| You'll get a text from him at 3 in the morning. | ||
| He's like, give a joke about a clown on a tricycle who's on meth. | ||
| It's like, Dave, not only do I not have that, I've never... | ||
| Well, he thinks when things come to him too easy. | ||
| Because I've had that happen to me, too. | ||
| I'm like, God, have I heard this before? | ||
| Because my memory is really good and also really bad. | ||
| Like, it's really good, but sometimes it sucks. | ||
| It's so inconsistent sometimes. | ||
| Right. | ||
| Because if something's important to me, I can remember everything about it. | ||
| But if it's something like, I kind of remember this. | ||
| Am I remembering that wrong? | ||
| Right. | ||
| We did it yesterday. | ||
| There's this video that I had that I was like, oh, that's that Bob Seska video. | ||
| And then I'm watching. | ||
| I'm like, no, it's not. | ||
| No, no, no, no, no, no, no. | ||
| That was different. | ||
| And then we corrected it. | ||
| I'm like, oh, no, no, no. | ||
| His was different. | ||
| I can't even find the... | ||
| Have you found that Bob Seska video? | ||
|
unidentified
|
I found a few. | |
| I mean, there's become a lot of videos on that topic. | ||
| On that topic, yeah. | ||
| Well, McKenna made it so... | ||
| It's the stoned ape theory. | ||
| It's a theory that when chimpanzees ate mushrooms or lower primates ate mushrooms, it advanced their intelligence and that's how they became human. | ||
| It's a very interesting theory, because it's scientific. | ||
| It really is, believe it or not. | ||
| Like, there's actual scientists that believe, like this guy Dennis McKenna, who believes that that is probably how human beings evolved. | ||
| That's really funny. | ||
| That's really crazy. | ||
| That's really something. | ||
| Yeah. | ||
| There was a video about it, and I couldn't remember. | ||
| I saw the video, and I had conflated them in my head, and I had this other video that Bob Seska did a long time ago about aliens fucking with monkeys and turning them into people, and I had fucked them up, and I realized while I was watching, like, no, no, no, this is not it. | ||
| So, like, my memory is really good and also sucks. | ||
|
unidentified
|
Right, right. | |
| So when I come up with a bit too easy, it comes to me, I'm like, God damn it, have I heard that before? | ||
| And then you've got to Google it or figure it out. | ||
| But Google's nice, though, because you can Google that joke on something and then it's like, oh, look, Mitch Hedberg had a joke on that. | ||
| Like, oh, okay, that's where it came from. | ||
| Yeah, well, with TikTok now, it's kind of crazy because it just seems like everything is just fair game. | ||
| I'm not even on TikTok, but I'm on TikTok. | ||
| Yeah. | ||
| I don't have TikTok. | ||
| You know, my thought was that's Chinese spyware. | ||
| I don't want to get my fucking passwords and all of a sudden my email gets compromised. | ||
| And there's a balloon over your house. | ||
|
unidentified
|
Yeah. | |
| Just for the weather. | ||
| What was the deal with those fucking balloons? | ||
| Did they ever figure out whose balloons those were? | ||
| That had to have been them timing our response. | ||
|
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|
I thought of something yesterday. | |
| That's a response time thing. | ||
| That's not actually a weather balloon thing. | ||
| Maybe, but I had heard also that those balloons were flying around when Trump was president and they didn't tell him about it. | ||
| Because they didn't want Trump going crazy and like shooting nukes at the fucking They nuked the balloon. | ||
| Yeah, I mean, it's great. | ||
|
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|
Fucking wild, man. | |
| With the TikTok being from China, which it is, the last, I don't know how many, I was thinking back how many iPhones I bought, they come directly from China. | ||
| They're shipped from China. | ||
| Oh, yeah. | ||
| Yeah. | ||
| TikTok's already on them? | ||
|
unidentified
|
No, no, no. | |
| But the phone itself is shipped right from there, so how do we know that they're not intercepting? | ||
| Well, this is one you have to think of. | ||
| According to Gavin DeBecker, who's a security expert, like a legitimate genius, he told me that there was an original Pegasus application that was invented by the Israelis, and it was a spy program, and it required you to click a link. | ||
| And this is how MBS got Jeff Bezos. | ||
| Remember when Jeff Bezos had some dick pics get leaked? | ||
| I don't remember that, huh? | ||
| Well, what happened was, allegedly, someone sent him a link on WhatsApp. | ||
| He clicked on that WhatsApp link, and then it downloaded this spyware onto his phone that he wasn't aware of. | ||
| But apparently now, with Pegasus 2, all they need is your phone number. | ||
| So all these security companies, I'm sure the NSA, anybody else, they just need your... | ||
| I got a conversation with a friend of mine about this last night. | ||
| He's like, how do you handle that? | ||
| I go, I assume that the government or someone is listening to everything I say, every email, so I just don't say anything that stupid. | ||
| I mean, if you go through... | ||
| That's good to live by, just in general. | ||
| If they wanted to go through my meme collection, you know, the things that I see, like, you know, I have a chat with Shane Gillis, Mark Norman, and Ari Shaffir, like, Protect Our Parks, we have a group chat, and it's the most fucking ridiculous shit, it's constant chaos, it's like, you can take any one of those things, it looks horrible, you pull it out, but it's not for you! | ||
| It's for us, it's four comics talking shit to each other, having fun. | ||
| That's great. | ||
| That's just part of the program. | ||
| Luckily, I have the ability to explain that. | ||
| Like I've said, did you do a thing with Greta Thunberg getting fucked in a gangbang? | ||
| I didn't make it. | ||
| Somebody said it to me, and I thought it was funny. | ||
| I'm sorry if I think inappropriate things are funny, but... | ||
| But you have to make that assumption. | ||
| Kids don't understand that. | ||
| And I'm so glad there was no phones around when I was 15. There'd be a thousand pictures of my dick. | ||
| I'd be sending them to everybody. | ||
| I think everybody would have back in the day. | ||
| Chinese weather balloon that flew over U.S. gathered intelligence from military sites. | ||
|
unidentified
|
I found this recorded two days ago. | |
| This is an Irish site, independent Ireland, and another site called The Times. | ||
|
unidentified
|
I don't know where it was from. | |
| Interesting. | ||
| Adblock, but there is reporting that, and I don't know Mmm. | ||
| Yeah. | ||
| And they just basically explained it by saying it was a weather balloon. | ||
| I mean, that's... | ||
| Do we really need weather balloons anymore? | ||
| That's a pretty bad lie. | ||
| Don't we have satellites? | ||
| Why do you have a balloon? | ||
| It's a weather balloon. | ||
| It just is what it is. | ||
| Yeah. | ||
| I mean, I think it's also probably a fuck you. | ||
| Just fly a balloon over the fucking country. | ||
| What are you going to do, Mitch? | ||
| I think so, too. | ||
| Yeah. | ||
| It was a push. | ||
| It was a push to see our response time on it, I think. | ||
| I guess. | ||
| To see what we would do. | ||
|
unidentified
|
It's a weird world. | |
| Chinese spy balloon captured sensitive military info after all. | ||
| U.S. officials say Beijing obtained U.S. military intelligence from a spy balloon that was shot down in early February. | ||
| I've had Mike Baker on multiple times as a friend of mine. | ||
| The Fox guy, yeah. | ||
| Yeah, he's a former CIA operative. | ||
| And he essentially said that one of the things that China's been doing, the way they gather intelligence, is they sell cell phone towers at a very low rate. | ||
| And they install them all around these sensitive areas. | ||
| So if you go to where these military sites are, what is it, Wyoming? | ||
| Is that where it was, what he was explaining to us? | ||
|
unidentified
|
Idaho, like in the... | |
| Yeah. | ||
| And all these areas where this sensitive intelligence is going on, it's like China has all these cell phone towers set up there, and it's their equipment that they put in. | ||
| And we already know that that's the reason why they banned Huawei from the United States, and Mike talked about that as well, that Huawei was using, whether it's routers or all their different types of equipment that they were selling, Had third-party access, so they could steal data, and they could steal intellectual property. | ||
| That's one of the things China does. | ||
| Anytime the United States has an idea, they just copy it and make it better. | ||
| And they constantly do that. | ||
| And Huawei was genius at it. | ||
| Huawei, before they banned them, had the fucking best phones that you could get. | ||
| And I was about to buy a Huawei phone right before they got rid of them, because they had these crazy cameras. | ||
| And that's a Chinese company? | ||
| Yeah. | ||
| They just push stuff to the edge, make the best shit available, and then steal all the data. | ||
| You know? | ||
| Yeah. | ||
| I mean, I don't understand technology at all. | ||
| I'm barely able to function on my phone. | ||
| Probably better that way. | ||
| Yeah. | ||
| I mean, it's a rabbit hole that if you go down to... | ||
| I got my Instagram jacked, and it's like I fell into a phishing scam or whatever, and I got it taken from me. | ||
| How'd they get you? | ||
| They said, do we have intellectual property something? | ||
| You're using something, clips or something that, you know, it's my clip, but it was from, like, TV. And it's like this intellectual property issue. | ||
| And it's like, click here to figure it out or to clean it up. | ||
| And I clicked on it and the guy was like, he texted me, he's like, we got you. | ||
| Yeah, he's like, we got you. | ||
| So what did he say to you? | ||
| Send me $5,000 and I'll give you your account back. | ||
| Wow, so did you? | ||
| No, I said, um, but your sister says she's having a good time with me. | ||
| I just didn't respond because I didn't know, you know, whatever. | ||
| But I was like in a panic then because I was like, do they have other, I don't know, I don't know stuff. | ||
| So it's like, Do they have my account, all my information? | ||
| I don't know if it's just Instagram. | ||
| I don't know what's connected to what. | ||
| Credit card, Facebook. | ||
| I start panicking. | ||
| I start flipping out. | ||
| You know what I mean? | ||
| So I call my friend who's a tech guy, Ben Rosenfeld. | ||
| Shout out to Ben. | ||
| And he's also a comic. | ||
| And he helped me try to figure it out. | ||
| But there is no recourse. | ||
| There's no recourse for it. | ||
| It's like you can file a complaint, but it's just basically gone. | ||
| You can start a new account. | ||
| Oh, wow. | ||
| So your account's gone? | ||
| No, I didn't have to do that. | ||
| I had another friend help me to get it back. | ||
| He has an account with a company, and the company helped me get it back, fortunately. | ||
| But, I mean, as an individual, as a private citizen trying to get that back, it's like, deaf ears, man. | ||
| They don't care. | ||
| Well, there's just too many of them, I think. | ||
| I think it's happening at scale. | ||
| It's like you're dealing with someone, a company like, say, Instagram. | ||
| How many people do they, let's guess, how many people are on Instagram? | ||
| What do you think? | ||
| Well, there's 350 million people in the country, right? | ||
| But in the world. | ||
| Oh, yeah. | ||
| Instagram is worldwide. | ||
| Yeah, billions. | ||
| How many people do you think? | ||
| Billions. | ||
| 2 billion? | ||
| What do you think? | ||
| 3 billion. | ||
| I'll say 2. What do you think? | ||
| How many people do you think are on it? | ||
| It's probably about 1. 1 billion? | ||
| But daily active users would be less too. | ||
| Let's find out how many accounts are on Instagram. | ||
| Let's Google that. | ||
| How many individual accounts are on Instagram? | ||
| I'm saying 2 billion. | ||
| What do you think, Jamie? | ||
| You say one, you say like two, three? | ||
| Yeah, three. | ||
| Facebook's the most, and it's not over two billion yet. | ||
| Oh, it isn't? | ||
|
unidentified
|
I'm pretty sure. | |
| I thought it was. | ||
| Facebook's worldwide. | ||
| Facebook changes elections in places. | ||
| Like, that's crazy. | ||
| Right. | ||
| I had Zuckerberg on, and you could tell, having a conversation with that guy. | ||
|
unidentified
|
Dang, I'm off. | |
| Instagram is 2.35 billion active users. | ||
| Wow, that's you. | ||
|
unidentified
|
Wow, that's you. | |
| Wow, that's crazy. | ||
| Yeah, I guess it would be hard for them to field complaints or whatever. | ||
| Meanwhile, that's fourth amongst the biggest social media networks globally, so that's number one. | ||
| Facebook's number one, 2.9 billion. | ||
| YouTube is 2.2 billion. | ||
| I don't really consider YouTube social media, not that much. | ||
| Right. | ||
| Because maybe it is. | ||
| I guess it is. | ||
| But I don't use it that way. | ||
| I use it for entertainment. | ||
| Yeah. | ||
| If I'm watching YouTube, I'm watching stuff like fights or... | ||
| Clips, yeah. | ||
| WhatsApp is 2 billion. | ||
| Well, WhatsApp is a communication app. | ||
| I don't think that's social media. | ||
| Instagram, 2.35. | ||
| TikTok. | ||
| TikTok's only 1 billion? | ||
| That's interesting. | ||
| I would have thought it was way more. | ||
|
unidentified
|
I think it is. | |
| I think it's on the rise, though. | ||
| Isn't TikTok like a thing? | ||
| And then Instagram Reels is competing with it, right? | ||
| Where's Twitter? | ||
|
unidentified
|
Where's Twitter in that? | |
| Twitter's never been in the top 10. Really? | ||
| But it's not even in the top. | ||
| Oh, it's way down there. | ||
| 397 million. | ||
|
unidentified
|
Wow. | |
| Look at all these ones that are fucking way more. | ||
| Like Pinterest? | ||
| Pinterest is 475 million? | ||
| Reddit! | ||
| Look at Reddit. | ||
| 430 million. | ||
|
unidentified
|
Woo! | |
| I'm not on Reddit at all. | ||
| Reddit's chaos. | ||
| Jesus Christ. | ||
| I know guys who go on Reddit and they read about themselves and they go down a dark. | ||
| They get their feelings hurt bad. | ||
| Oh, there's a bunch of intelligent vipers on Reddit. | ||
| Facebook runs three of the top five, which is a little strange because they've split them all up and there could just be one app. | ||
| Facebook Messenger could just be Facebook. | ||
| Wasn't that one of the things that they asked ChatGPT? | ||
| Like, do you think that Facebook is a monopoly and should it be broken up? | ||
| I mean, absolutely. | ||
| They said yes. | ||
| What did Zuckerberg say? | ||
| Well, I didn't ask him about that. | ||
| No. | ||
| But for him, it was interesting because he's a very nice guy. | ||
| Yeah. | ||
| And, you know, people think of him as, like, a robot. | ||
| And I think he's not that at all. | ||
| He's a guy who created this thing a long-ass time ago with no anticipation of what it was going to become. | ||
| And then it became this fucking worldwide monster. | ||
|
unidentified
|
Right. | |
| This thing that's just, it's so big. | ||
| Yeah. | ||
| And, you know, he's a pretty interesting guy. | ||
| And very forthcoming he was explaining like about how the FBI contacted him about the Hunter Biden laptop Yeah, and explained it it explained that on the podcast that it created a firestorm. | ||
| I'm sure I'm sure he was just kind of casually explaining well The FBI told us that there was going to be some disinformation coming out of Russia And I know we were told that this and that and so we limited its reach and and And then it just was fucking giant news. | ||
| I mean, this guy just created a fucking dating site for college kids, you know, X amount of years ago. | ||
| But he was instrumental in growing it, though, too, you know what I mean? | ||
| And with that comes, like, bad stuff, obviously, you know, not just the good parts of it. | ||
| And also, I mean, most recently, he took a big blunder with that whole meta thing where they thought that everybody was going to put on headsets and delve into the metaverse. | ||
| Oh, yeah. | ||
| And that shit didn't work at all. | ||
| No, why? | ||
| It's too weird. | ||
| I love VR. I mean, that's close to, I mean, that will mess. | ||
| I mean, you want to talk about social media fucking with your mind. | ||
| Like that meta stuff, like in an alternate reality. | ||
| We all just live in... | ||
| You're basically getting closer to just being in a pod. | ||
| You know what I mean? | ||
| And having that on. | ||
| Yes. | ||
| You know, as your reality. | ||
| It's going to happen. | ||
| Yeah. | ||
| It's going to happen. | ||
| It's just like, look, when I was a kid in the 1980s and 90s, there was... | ||
| God, good times. | ||
| Good times. | ||
| But there was times back then where people thought virtual reality was going to be the future. | ||
| But the technology wasn't available. | ||
| It didn't really work. | ||
| But it was always this thought, you know, that one day we're going to live in virtual reality. | ||
| And that was the Matrix. | ||
| That was like all these different things. | ||
| But it was like science fiction-y enough that it was so far ahead. | ||
| And then the technology was kind of clunky, so it never really took off. | ||
| But then when Oculus came around and what were the other ones? | ||
| There was another big one other than Oculus. | ||
| Vive, that's right, the HTC Vive. | ||
| They were so good, you're like, ooh, maybe we're close. | ||
| And there's some fun fucking games you can play on that. | ||
| Apparently there's an alien, like Alien 1, the movie game, that is fucking terrifying. | ||
| And you play it, and you're on the Nostromo, that spaceship, and the fucking alien's in the spaceship, and you're going down dark corridors, and rain's dripping, and the thing just jumps out at you. | ||
| It's fucking terrifying, apparently. | ||
| But that, for whatever reason, they thought that was just going to just sweep the whole country and everyone was going to... | ||
| And it was a virtual reality mask that you put on? | ||
| The Oculus is. | ||
| Over your eyes. | ||
| Yeah, the Oculus. | ||
| It's very light. | ||
| The new one is very light. | ||
| Like the old ones, we had the HTC Vive at the studio and it had to be attached to a backpack and there was like a cable that came above you and we had the cable suspended from the ceiling so we had like a sectioned off area where you could play in it. | ||
| And then it got better and John Carmack got involved and they made even better versions of it. | ||
| And then it became something you just sit on your head. | ||
| And then when that happened, I was like, oh boy, we're getting close now. | ||
| Because now it just sits in your head and you have these two controllers in your hand. | ||
| But it's still just people are not that interested in it, which is interesting. | ||
| That's good, I think. | ||
| I think it's a good thing not to be on it. | ||
| I think it's going to be the future. | ||
| It's going to be something that's so wonderful and so exciting that you can't get out of it. | ||
| It's going to be weird how it morphs with your mind. | ||
| It's going to eventually morph with your mind, right? | ||
| So it'll be like part of you, kind of. | ||
| That's where we kind of morph into the robot world, I guess. | ||
| That's happening. | ||
| It's going to happen. | ||
| It's just a matter of like, what is it, 10 years? | ||
| Is it 20 years? | ||
| Whatever it is. | ||
| But technology is going to reach a point where it's so... | ||
| Look, no one ever would have thought that you would have a thing in your pocket where you couldn't stop looking at it. | ||
| Right. | ||
| I'm still amazed by it. | ||
| Like, I'm in New York, you know, and I'm watching people. | ||
| And I'm watching people just walk down the street with it. | ||
| And they're not conscious of anything else that is going on. | ||
| And they're just walking down the street. | ||
|
unidentified
|
New York's fucking dangerous. | |
| It's dangerous. | ||
| There's cars that could hit you. | ||
| It's like all the... | ||
| They're just walking down the street just immersed in it. | ||
| Actually, if you're on the subway and you're not on it, if you're just staring forward, you're the weird one. | ||
| You're the weird one. | ||
| Everybody else is like, what's this guy doing? | ||
| If you get on the subway with a book, who the fuck is this guy? | ||
| Throwback! | ||
| You're reading a book? | ||
| A real book? | ||
| It's not even a Kindle? | ||
| Yeah, it's unreal. | ||
| It's unreal. | ||
| I have the books on my phone now, so I'm reading it on my phone. | ||
| That's amazing to me, I think, to have all that information. | ||
| Just a library. | ||
| With a library app, you can just download books from the library on your phone and read them and return them. | ||
| That's fantastic. | ||
| Well, I have most of the books that I consume. | ||
| I consume audiobooks on the way to work, coming home from work, in the sauna. | ||
| That's where I do most of my listening to books. | ||
| And I probably have 200, 300 books on this little tiny phone. | ||
| It's unreal. | ||
| And they're all hours long. | ||
| It's a terabyte of data on that phone. | ||
| So there's so much room. | ||
| And also, it just stores it in the cloud anyway. | ||
| So if there's no room, it's in the cloud. | ||
| Then you download it. | ||
| There's never been a time that you could have more access to information. | ||
| But there's also never been a time where you're more distracted. | ||
| Yeah. | ||
| That's the rub. | ||
| That's the rub. | ||
| But if you're focused on the information, it's college. | ||
| It's basically a college in your pocket. | ||
| It's unbelievable. | ||
| And people listening might be like, because people grew up with this, but we didn't. | ||
| I knew a time where this didn't exist at all. | ||
| Me and my brother had a room together. | ||
| It was both of us. | ||
| No TV allowed in the room. | ||
| Dinner together at a certain time. | ||
| Unless you're working or you... | ||
| Or you're at a sports practice, you're having dinner. | ||
| My father's playing music while we have dinner. | ||
| We're talking about our day. | ||
| And when we go to sleep, it's like a room, no television. | ||
| Because he didn't want us in our room watching television on our own. | ||
| You want to watch television, you're out with the family. | ||
| You know, it's that kind of thing. | ||
| So, I guess... | ||
| You know, it's a different world. | ||
| Yes. | ||
| And it's been a gradual thing, but it's still very, very different. | ||
| Like, I don't have kids, so I don't know how that would be. | ||
| But I guess, I mean, like, what you do, what you implement with your children... | ||
|
unidentified
|
It's difficult. | |
| ...sounds like the right thing. | ||
| They get mad at you. | ||
| Yeah. | ||
| Put your phone down. | ||
| Yeah. | ||
| They get mad because that little dopamine rush, and it's not even a big rush. | ||
| That's what's weird. | ||
| It's like this little drip of dopamine. | ||
| But you go like, there's this pull. | ||
| I see some people on the podcast. | ||
| They can't help it. | ||
| They reach for their phone. | ||
| Yeah, that's the thing. | ||
| They just check their text messages. | ||
| And this is your podcast. | ||
| And it's giant. | ||
| There's millions of people watching. | ||
| Someone just look at their phone. | ||
| It's nuts. | ||
| But they can't help it. | ||
| They just get so sucked in. | ||
| I've done it to the point where it's like when I first get up, I make sure I don't look at it and do other things first. | ||
| And then I set time aside and I mentally prepare myself. | ||
| I go, okay, now I'm going to look at it. | ||
| I'm going to look at it. | ||
| I'm going to do as much as I want for 15 minutes. | ||
| Check everything. | ||
| Make sure everything's up. | ||
| Check the comments. | ||
| And now that the special is out, respond to people as much as I can. | ||
| And then after that window is over... | ||
| Not again. | ||
| Yeah, that's good. | ||
| Now the trick is YouTube, because I like to watch stuff on YouTube, but it's like, I don't want to get addicted to scrolling on YouTube either. | ||
|
unidentified
|
Right. | |
| So that's the difference there. | ||
| I'm definitely addicted to watching stuff on YouTube. | ||
| Yeah. | ||
| Yeah, when I have breakfast, I fucking, I got this little, it's pretty cool, this little kickstand thing that sticks up to your phone. | ||
| Oh, that's great. | ||
| I think this is called a coup case or something like that. | ||
| I forget what it's called. | ||
| But it's like, bam! | ||
| So I just sit there and watch stuff while I'm eating. | ||
| And I think I'm not addicted that way. | ||
| But that's YouTube. | ||
| You're watching substance there instead of mindlessly scrolling, which is what I was doing. | ||
| And that creates so many bad emotions and stuff. | ||
| It's like, I don't want to feel that way. | ||
| Isn't that weird that mindlessly scrolling creates bad emotions? | ||
| Like, what is that? | ||
| Why does it do that? | ||
| Is it just you feel like you're wasting time? | ||
| You're wasting time, you're seeing a bunch of different things, like, you know, the energy coming from the thing, I'm a big energy guy too, it's like the energy coming from it is, it hits, even when you're looking at your, I tried that for a while, looking at my own, I'll just look at my own stuff, I won't look at everybody's stuff, but then you start getting like, how many likes does this have? | ||
| That's not true. | ||
| Yeah, you end up swimming in your own narcissism. | ||
| So it's like, no, stop that now. | ||
| Yes, absolutely. | ||
| But my point is, I'm navigating this at 50, when my mind has already been developed. | ||
| What chance do kids have developing through this time period? | ||
| It's a different world, but I think they're going to be fine. | ||
| I really do. | ||
| I think there's going to be a transitionary period where we lose a lot of kids. | ||
| They don't know what the fuck they're doing, and they get lost in it. | ||
| But there's going to be enough kids that recognize, like, okay, this is just the new reality of life, and if you want to be successful, just like you when you were young, when you had focus and dedication, you realize there's a lot of people out there that don't do that, and, you know, I can learn from them what not to do. | ||
| There's kids that are doing that now, too. | ||
| And, like, I have friends that very much limit their kids' access to social media. | ||
| They don't allow them on things. | ||
| They don't allow them to have a phone. | ||
| I don't think that's the way to do it, because this is a reality, and I think that if you give the kids the tools and the understanding to handle that, this is a new level of adversity that they have to deal with that we didn't have to deal with. | ||
| But the way I look at it, it's like cold weather. | ||
| If you grew up in a place with cold weather, you developed an understanding of what the fuck that means. | ||
| You gotta shovel snow, you gotta deal with it. | ||
| I think they have a new level of adversity because of the pressures of social media and because of the shit-talking, especially with girls. | ||
| Girls are fucking mean to each other. | ||
| They reputation destruct in the comments and shit on each other and group chats. | ||
| It gets real nasty. | ||
| And you developed a level of resilience from being able to handle that. | ||
| And after a while, you get okay with it. | ||
| And you have to understand what that is. | ||
| Yeah, you have to understand what that is. | ||
| And you're right. | ||
| Going in with that mindset is the important thing. | ||
| But if you're just caught off guard with it, then it can crush you. | ||
| And it has. | ||
| It's driven people to suicide. | ||
| It definitely has done that. | ||
| And there's also a thing, the FOMO aspect, and the comparison. | ||
| And this is apparently very bad with girls as well, because there's a lot of people that are using filters, and they're changing their body. | ||
| And these girls see these people, and they look perfect, and then they see themselves in the mirror, and they have zits, and they look like shit, and maybe they're a little overweight, and they get massively depressed. | ||
| And then they think, well, the only way, for me, I have to be like that person, so I have to do what they're doing, and be completely focused on my looks. | ||
| And some people just unfortunately, through a genetic roll of the dice, they don't have good features. | ||
| They don't look good. | ||
| They don't have a good body. | ||
| And then they just feel fucking depressed because they're comparing themselves to this thing. | ||
| See, like, if you are a comic and you want to be a great comic and you're kind of funny and you're figuring out, you can see, like, Chris Rock and you go, maybe I could get to that spot. | ||
| Maybe I can get there. | ||
| But if you're a girl, and you're born with an unfortunate appearance, and you compare yourself to some bombshell who's doing squats with her giant ass in front, you're like, I can't be that person. | ||
| It's not attainable. | ||
| That's very, very depressing. | ||
| Very difficult. | ||
| Very hard. | ||
| Very difficult to deal with. | ||
| Because the pressures of that, it's like that is one of the most important things on social media is to be attractive. | ||
| It's a currency in and of itself. | ||
| There's people that I see on Instagram that are like, they have 45 million fucking followers. | ||
| All they're doing is squats and looking pretty. | ||
| And there's also a thing with placing undue value on that. | ||
| Like 45 million, I'm a winner. | ||
| You have less, you're not. | ||
| You know what I mean? | ||
| That kind of thing. | ||
| And there's also something to be said for just being bored. | ||
| Just let yourself be bored. | ||
| Yeah. | ||
| Let yourself be uncomfortable. | ||
| Let yourself, you know, just sit in a void once in a while and not be bored. | ||
| Be unhappy. | ||
| It's okay to be unhappy. | ||
| It's okay to be uncomfortable. | ||
| And I think that gets lost a lot because of this instant gratification. | ||
| I think for comics being bored is very important because that's where some of the ideas come from. | ||
| Yeah. | ||
| You know and the people that don't like Goggins when he runs. | ||
| Yeah, he don't listen to shit. | ||
| That's that's that's crazy. | ||
| Yeah He listens to his uh breath. | ||
| Maybe he listens his inner demons. | ||
| Yeah his conversations with The fucking room in hell that he has in the back of his head And he tells those demons who the fuck the boss is. | ||
|
unidentified
|
Yeah. | |
| Yeah, that's uh, you know I mean, I don't but the guy who wrote Game of Thrones is uh, you know that guy's from Staten Island So it's like, you know The level of imagination, the detail that he must have had in imagining this world, if he would have had a phone, maybe that doesn't happen. | ||
| Sure, maybe. | ||
| Yeah, maybe. | ||
| It's possible, but I mean, it's also possible. | ||
| Or if he was a hot guy. | ||
|
unidentified
|
You know what I mean? | |
| Like, if he was a hot guy and had an option of all these women and going to the beach and lifting and all that stuff, like, maybe he doesn't write that, but, you know. | ||
| Yeah, yeah. | ||
| I mean... | ||
| I'm not reading Mario Lopez's book. | ||
| You know what I'm saying? | ||
| He's too hot! | ||
| Good looking guy, fucking great body, looking fancy. | ||
| Yeah, just a winner all the way through in his life. | ||
| Yeah, what is that guy? | ||
| And supposed to be a pretty good boxer. | ||
| Yeah, he's a very good boxer. | ||
| Yeah, he's done jujitsu now too. | ||
| Competed in tournaments. | ||
| He's a good blue belt in jujitsu. | ||
| Really? | ||
| Yes! | ||
| And Abs, when he was on Saved by the Bell, he was like a wrestler on Saved by the Bell. | ||
| Saved by the Bell fan, by the way. | ||
| And he just was shredded then. | ||
| Yeah. | ||
| You know what I mean? | ||
| And shredded all the way, always. | ||
| I'm sure he works hard. | ||
| Oh, yeah. | ||
| But physically gifted. | ||
| Right, but he's not going to write a Game of Thrones. | ||
| Right. | ||
| Maybe it will. | ||
| What the fuck do I know? | ||
| But the odds are that that's not going to happen. | ||
| One of my favorite authors is the guy who wrote Conan, Robert E. Howard. | ||
| And Robert E. Howard was a recluse, a shut-in, lived with his mother, committed suicide in his early 30s. | ||
| But the fucking books that he wrote, like those fantasy novels of Conan, they were fucking amazing when I was a kid. | ||
| And this is a guy who was kind of a shut-in and kind of very depressed. | ||
| Right. | ||
| And he wrote about this conqueror. | ||
| It was like this perfect man who just destroyed things and fought off dragons and demons. | ||
| And it was amazing work. | ||
| But if he was some beautiful, hot man, probably that wouldn't have gotten written. | ||
| Right. | ||
| Yeah. | ||
| Right. | ||
| That's the thing about creativity. | ||
| It's like, it's this very strange sort of force that you have to figure out how to tune into. | ||
| And if you're tuned into other stuff, you're not going to give it the time that it deserves. | ||
| Yeah, but the fact that he couldn't be that hot, popular guy, it forced his mind. | ||
| Mine is just so powerful. | ||
| And it forced you to go to another place. | ||
| Yeah, well, the ability to write fiction is so fascinating and it's so engaging when someone writes a good book and you're into this character and these fucking scenarios and it's like all fake. | ||
| All invented in this person's mind. | ||
| Your fucking heart is pounding. | ||
|
unidentified
|
Your hands are clamming. | |
| And it's not like a movie because there's no filter on it. | ||
| It's just their thoughts. | ||
| It's them constructing it. | ||
| So there's not these other people putting their hands into it. | ||
| That's why it's raw. | ||
| Yeah, that's a big one, right? | ||
| There's not a bunch of... | ||
| Jackoffs. | ||
| Fuck them with the stew. | ||
| Yeah. | ||
| Adding their own ingredients. | ||
| Because they want to be part of it. | ||
| Have you ever worked on a television show where that... | ||
| No, I was fortunate enough for Attell, like, to bring me into his, like, Days Old Porn. | ||
| Oh, you were there with that? | ||
| I consulted with all that, Days Old Porn, yeah. | ||
| I fucking never did an episode. | ||
| And Comedy Underground with Dave Attell. | ||
| Did I do an episode of that? | ||
| Wait a minute. | ||
| Wait a minute. | ||
| I think I did. | ||
| I think I did. | ||
| Maybe when he was out, yeah. | ||
| That's how many fucking things I've done. | ||
| I don't even remember what I've done. | ||
| That's pretty great. | ||
|
unidentified
|
That's bizarre. | |
| I did do it. | ||
|
unidentified
|
Ginger Lynn. | |
| Isn't that hilarious? | ||
| Like, I was about to say, I don't know, fucking, I wish I did that. | ||
|
unidentified
|
I thought you did. | |
| Meanwhile, I did do it, yeah. | ||
| But Dave, like, that was a fun thing for him, because he's kind of a pervert. | ||
| So for him to watch porn with the old porn stars and sit there and joke around. | ||
| Yeah, the classic porn. | ||
| There's something about those watching things, like Mystery Science Theater, like that kind of thing, watching and mocking things. | ||
| Yeah, there it is. | ||
| Ah, that's great. | ||
| Ah, hilarious. | ||
| If you don't remember doing it, you probably won't remember if that was in New York or L.A. I believe it was in L.A. Yeah, I'm pretty sure it was in L.A. Because I was on set when he was shooting the ones in New York. | ||
| Oh, okay. | ||
| I think me and Kurt Metzger worked with Dave. | ||
| Metzger's the best. | ||
| I love that dude. | ||
| He's great. | ||
| He's so funny. | ||
| Yeah, he's great on Jimmy Dore's show. | ||
| I don't know if you've ever seen him on the Jimmy Dore show. | ||
| Jimmy Dore has a YouTube channel, like a political thing, and Kurt is like his sidekick. | ||
| Oh, really? | ||
| And so Kurt is always like chiming in about things, but what's interesting is like, you know, I've been friends with Kurt for a long time, and now, like whenever I talk to Kurt, he's always fucking scaring the shit out of me. | ||
| Because he's so well-read about what's going on in the world. | ||
| You know, Kurt Metzger was the first person that contacted me about this restrict bill, which is like what they're using to say they need to stop things like TikTok. | ||
| And then you go into what the restrict bill is. | ||
| You're like, oh my god, this has nothing to do with TikTok. | ||
| They want the ability to lock down anything that's on social media and stop people from spreading information that's dangerous to whatever narrative they're trying to push. | ||
| And we went over it in depth yesterday. | ||
| It's fucking terrifying. | ||
| The ambiguity, the way that they're able to frame what they're able to target. | ||
| It'll come down to keywords, I'm sure. | ||
| Metzger is so involved in that world now because he's on Jimmy's show that he's always looking at corruption and this and that and what's happening in Ukraine. | ||
| It's a comedy, right? | ||
| Well, it's a political social show where Jimmy Dore is a comic and Metzger is a great comic and the two of them together, they just talk shit and laugh about how fucking crazy modern day politics and influence and insider trading and all the shit that's going on and Sam Bank from Fried and FDX and where the money was coming from and how they were all doing it and how they got away with it. | ||
| He scares the shit out of me every time I talk to him. | ||
| When I get a text from Kurt, I'm like, oh, Jesus Christ, am I gonna go fucking panic now? | ||
| And I just start reading his stuff. | ||
| Have you heard about this? | ||
| Have you seen this? | ||
| I'm like, no, don't do this to me. | ||
| I know, Kurt on coffee is the best. | ||
| But no, it was really a good time because we'd sit and watch these and think of jokes, you know, all the jokes about this old porn, and it was great. | ||
| So I was very fortunate to be brought into that. | ||
| That was early on. | ||
| That was a long time ago. | ||
| It was a long time ago now. | ||
| Because I would do spots late at the Comedy Cellar, and that's when Dave would be there. | ||
| And so I would, you know, do my set, and then watch his set, and then we would hang out, talk jokes and stuff afterwards. | ||
| So I was very fortunate in that way because he's an all-time great. | ||
| He's one of my favorite comics of all time. | ||
| He's one of my favorite people, too. | ||
| He really is. | ||
| I don't see him that much anymore because I don't put him late at the cellar, but just really great times, man. | ||
| Really great times. | ||
| He's a wonderful guy. | ||
| Yeah. | ||
| And he's so sweet to everybody. | ||
| Like when he does clubs, he brings candy for the waitresses and stuff. | ||
| He's just so nice, man. | ||
| Like in that, all that guy cares about is stand-up comedy. | ||
| Yeah. | ||
| It's stand-up comedy. | ||
| He came here and he takes care of his mom in New York. | ||
| And all he cares about is just getting up and doing jokes. | ||
| And his attitude was like, I want to go on early. | ||
| These young guys, let them have their spots. | ||
| I don't want to interrupt. | ||
| I don't want to get in the way. | ||
| I just kind of come in and just work on my new stuff. | ||
| So he'll get up at 1 o'clock in the morning. | ||
|
unidentified
|
Yeah. | |
| So it's like 1 o'clock in the morning in the cellar, there's 14 people there, and it's Dave Attell's on stage. | ||
|
unidentified
|
Right. | |
| One of the best comics that's ever lived. | ||
| It's unreal. | ||
| And he's there because that's when he wants to go up. | ||
|
unidentified
|
Right. | |
| Like, he can go up at 9 p.m. | ||
| He can do whatever he wants. | ||
| Hot crowd. | ||
|
unidentified
|
Yes. | |
| And just murder every night with old material. | ||
| Yeah. | ||
| He does not. | ||
| Nope. | ||
| No, he's a fucking real pro. | ||
| He likes to go on late, and it's just, it's unbelievable. | ||
| Yeah, and it's really a great example for up-and-coming comics. | ||
| Yeah. | ||
| You get to see how that guy does it. | ||
| Yeah. | ||
| Because you just like, when you think you're pretty good, you know he's going up to a tired crowd. | ||
| I was opening for him at the Wilbur in Boston, and for some reason they didn't have a liquor license or something. | ||
| Really? | ||
| The Wilbur did it? | ||
| Yeah, yeah, it didn't, for some reason when we were there. | ||
| Oh, okay. | ||
| So it was a two-man show. | ||
| I was going up, and then I was bringing him up, and there's no liquor, so I was like, oh, this is probably going to be pretty tough. | ||
| So I go up and do 20, and I'm murdering and killing really hard, and I bring him up. | ||
| And then I'm sitting on the side of the stage, kind of feeling good about myself. | ||
| I go, you know what? | ||
| Time is coming. | ||
| I got it. | ||
| I'm doing pretty good for myself. | ||
| The way that I slayed that cold crowd was pretty awesome. | ||
| I think I'm on my way. | ||
| And then I started just listening to him and the laughs he was getting. | ||
| And I was getting laughs, but he was just getting, you know, the depth. | ||
| Of the laughter and with every joke was hitting harder and harder and his setups were hitting and then the punchlines obviously hitting and then two tags on the end hitting it's like the guy does comedy the way that Pacquiao used to fight he would like hit you and then turn two more times turn you and then two or three more times and then get out and you're like the guy's just like on the ground by that point so he's doing that and he I'm just listening and it's like I'm at the cellar late, | ||
| so I know the material, but he's doing material I haven't heard before, and he's murdering at a level that's just crazy. | ||
| And at the end of it, it's like none of those people in that crowd even remembered who I was. | ||
| It's like, that's how good he is. | ||
| Yeah, they leave the show going, oh my god, David Teller's the best. | ||
| That first guy was okay. | ||
| First guy's pretty funny. | ||
| I don't even think they remember there was a first guy. | ||
| It's like, that's how hard he hits. | ||
| Yeah, he went up at the improv one night, and it was the improv in Hollywood. | ||
| And it was a pretty late show, and I had gone on earlier in the night, and then I saw Dave at the bar. | ||
| I'm like, what's up? | ||
| What's going on? | ||
| When are you going up? | ||
| And the crowd was kind of tired, and a couple people went up. | ||
| When you have a late show, like a 10 p.m. | ||
| show, when it gets like 11, 30, 12 o'clock, People are checking their watch. | ||
| They've got to be up at 7. And they start thinking about leaving. | ||
| And then I was like, wow, this crowd's getting... | ||
| It's kind of done. | ||
| Night's done. | ||
| And Attell went up and it was like he plugged the audience back into the electricity. | ||
|
unidentified
|
Yeah. | |
| And just fucking murdered. | ||
| Effortless murdering. | ||
| And just tag after tag. | ||
| And I remember sitting in the back going, my God, this guy's a treasure. | ||
| A treasure is the right word for him. | ||
| National treasure. | ||
| And I don't think enough people understand it. | ||
| Like, he should be in arenas. | ||
| Yeah. | ||
| Dave Attell should be selling out Madison Square Garden anytime he wants to, instantly. | ||
| And he's doing clubs. | ||
| And he loves it. | ||
| And he's happy. | ||
| He's like a real club comic. | ||
| He likes doing all the sets. | ||
| He likes doing four shows on a weekend. | ||
| He likes it. | ||
| And he's not a fame guy either. | ||
| He's not a fame guy. | ||
| He'll talk to me. | ||
| He's not a fame guy at all. | ||
| We were at the cellar. | ||
| It's like, uh, Chris Rock will come there. | ||
| Like, he's not there all the time, but it's not, you know, if you see Chris Rock there, you know, it's not crazy. | ||
| It's not uncommon. | ||
| Chappelle, the same way. | ||
| If you see him there, it's not crazy. | ||
| Uh, Seinfeld, once in a while. | ||
| But, um, Adam Sandler was there one time, and it's like, they sit at the back table, and you could just feel the energy when there's somebody like a Chappelle or a Chris Rock back. | ||
| The energy kind of changed. | ||
| It's like, People perk up that the people who are there eating everybody notices the comics start their antennas go up and I understand you know the energy so Adam Sandler happens to be back there and He's never there and Dave walks in with his you know goes to the bar to get his coffee or whatever hood up and Adam Sandler goes Dave Dave Dave Dave! | ||
| And Dave's just in his own world. | ||
| Atel! | ||
| Atel! | ||
| And finally he comes up to him and he goes, Hey Dave! | ||
| He goes, Hey what's up Adam? | ||
| And then he goes, How you doing man? | ||
| Doing pretty good. | ||
| How are you? | ||
| Good. | ||
| And then he goes outside and smokes. | ||
| He just cuts out and goes outside. | ||
| Everybody's like angling to see if they can talk to Adam Sandler. | ||
| And Adam Sandler's like screaming Dave's name until he gets his attention. | ||
| How are you? | ||
| Pretty good. | ||
| Good, man. | ||
| Okay. | ||
| And then he goes out and smokes on the porch. | ||
| Isn't it great? | ||
| It's classic, man. | ||
| He's a real comics comic. | ||
| Yeah. | ||
| Like the best version of a comics comic. | ||
| Like a master of his craft who doesn't get the appreciation that he deserves and who is universally respected by his peers. | ||
| Yeah. | ||
| That's Dave. | ||
| Yeah, absolutely. | ||
| He is. | ||
| He's one of the greats of all time in my mind. | ||
| Me too. | ||
| It's so important to have guys like that around. | ||
| The guys in New York are so fortunate. | ||
| And unfortunately, also, he has a lot of babies, like what Patrice would call babies. | ||
| It's like someone who copies your stuff. | ||
| You'll hear guys talking like this. | ||
| They have a setup and a punch on it. | ||
| It sounds like day. | ||
| You gotta stop listening to him. | ||
| I did that for a while, too. | ||
| It's like, you gotta stop listening to him. | ||
| You gotta stop after a while. | ||
| And it's hard, because you want to go... | ||
| Because he'll turn you, if you're watching him, it's like he'll turn you... | ||
| When you're watching another comic, you'll go, what's his angle on this? | ||
| What's his angle on this? | ||
| I'm curious to see what his angle is on... | ||
| Even Chris Rock, some of the greats, you know? | ||
| But with Attell, if you go down with that mindset, like, I wonder what his angle is on this... | ||
| After three jokes, you just become a fan because you're gut laughing. | ||
| You're gut laughing like the rest of the people in the crowd. | ||
| You know what I mean? | ||
| So it's that. | ||
| He turns you into a comedy fan. | ||
| And then the problem is you go on thinking about his act and then you compare your own material. | ||
| You're like, oh my god, I hate my jokes. | ||
| Oh my God, that's the biggest thing. | ||
| It's like his throwaway stuff is better than your main stuff. | ||
| Well, that's one of the best things about those showcase style clubs is that you do work with these killers and you have to sort of reevaluate your material. | ||
| If you know you're going to go on after Shane Gillis, like Shane was in town this week and Shane right now, In my mind, for my money, he's got 15 minutes that could fuck with anybody's 15 minutes that's ever lived. | ||
| He's a goddamn assassin. | ||
| He was going on stage as a mothership, and I watched some of these comics that had to follow him going, oh, fuck. | ||
| Because he's just throwing heaters. | ||
| It's like 99 mile an hour fastball after 99 mile an hour fastball. | ||
| And he's so likable. | ||
| Yeah, yeah, yeah. | ||
| And he's such a good guy and he's so funny. | ||
|
unidentified
|
Yeah, he really is. | |
| And his facial expressions are so great. | ||
| Yeah. | ||
| And he's just, he's got his, like, when he got canceled, that whole SNL thing. | ||
|
unidentified
|
Right. | |
| And he got kicked off of SNL, devastated. | ||
| But he emerged like a fucking phoenix from the ashes. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| He's way better than he was back then. | ||
|
unidentified
|
Right. | |
| He's like one of the best top 10 comics on planet Earth without doubt right now. | ||
| He's fantastic. | ||
| And he came out of that pressure. | ||
| Yeah. | ||
| And now he's the one who like freaks people out. | ||
| Yeah. | ||
| When they know that Shane's going up, he's going to do that Trump impression. | ||
| When he does Trump at the debates, like the fucking show is over. | ||
| And it's not just that. | ||
| It's very punched up all the way through. | ||
| It's like that New York style. | ||
| And he came out of Philly. | ||
| Yeah. | ||
| And it's great. | ||
| It's great to see his success. | ||
| It's punched up and it's also like, it's so smart. | ||
|
unidentified
|
Yeah. | |
| Like, he's got a bit about George Washington. | ||
| Because Shane has a deep knowledge of history. | ||
| He really reads a lot about history. | ||
| He knows a lot about history. | ||
| So he can incorporate that and there's like layers to his comedy because of his understanding of things. | ||
| So he's setting things up and he's doing it in a fun way where even the setups are funny. | ||
| That's a big thing. | ||
| That's a discipline in and of itself to get a laugh on the way to the punchline. | ||
| And to structure it that way and to re-evaluate and go, okay, there's probably a funnier way to get into this. | ||
| Let me figure out the right way. | ||
| It's nice to see the funniest guys win. | ||
| It really is. | ||
| Well, don't you think that in stand-up, there is a meritocracy in stand-up that's undeniable? | ||
| There's guys who get more popular than maybe the Attell guys, and so you go, well, maybe there's not a meritocracy, but for us it is. | ||
| The best guys are always the best guys. | ||
| If you're sitting around with a group of comics and you just watch the show, you're like, oh my god, this guy fucking killed. | ||
| Like, holy shit, that was good. | ||
| That meritocracy, that exists in stand-up. | ||
| If you're not funny, if it doesn't work, nobody cares about you. | ||
| And that's just how it is. | ||
| There's no cult of personality that can carry you over. | ||
| You can't dress in a way that's going to get people to like you more. | ||
| You know, like, boy, did you see his outfit? | ||
| Nobody gives a fuck about your outfit. | ||
| Attell wears the same goddamn outfit every night. | ||
| He probably has, like, three versions of that black button-up shirt, three versions of that baseball hat, the same goddamn jeans. | ||
| It doesn't matter. | ||
| He's so nondescript. | ||
| It's almost like he wants to blend in. | ||
| He wants to blend in and wants to just be the vehicle for the material. | ||
| Right. | ||
| But to your point, there's a skill set at play. | ||
| And we all know the skill set. | ||
| And other hardcore comedy fans know the skill set. | ||
|
unidentified
|
Yes. | |
| And the waitresses. | ||
|
unidentified
|
Yes. | |
| Because they see it every night. | ||
| Oh, yeah. | ||
| Yeah, so they know smoke and mirrors. | ||
|
unidentified
|
Yes. | |
| And they know what's real. | ||
| Do you know Eleanor Kerrigan? | ||
| Yes. | ||
| So Eleanor was a waitress at the Comedy Store for like, I don't know, like maybe 10 years before she ever did stand-up. | ||
| And we were always, I would go to Eleanor when someone would say, oh, this guy's really funny. | ||
| And I'd go to, have you seen him? | ||
| And she'd go, he's a fucking hack. | ||
| I go, really? | ||
| And she goes, yeah, it's all tricks and bullshit and smoke and mirrors. | ||
| I'm like, whoa. | ||
| She'd have like a fucking tray of drinks. | ||
| I'm like, he sucks. | ||
| They know. | ||
| And then you would watch them and go, oh my god, she's right. | ||
| So she was a comedy fan from being there and then eventually, we all knew she was hilarious. | ||
| It just took time for her to have the courage to go on stage. | ||
| Now she's a headliner, killing all over the country. | ||
| It's amazing. | ||
| But knowing her as an open-miker and knowing her as a waitress before she was an open-miker, she was one of the people that I would go to if I would ask her, like, hey, how did this person do? | ||
| How was this person? | ||
| And she would tell you in a way that, like, she wasn't jealous because she wasn't a comic, but she was, like, deeply embedded in the comedy world. | ||
| Because you can kill without a skill set. | ||
| Yes. | ||
| You can kill without a skill set. | ||
| Personality. | ||
| Right, right, right. | ||
| And goofiness. | ||
|
unidentified
|
Yes. | |
| Yeah, you can. | ||
| And some people are great at it. | ||
| Right. | ||
| And that's their whole career. | ||
| Right. | ||
| You know, but there's something about the well-crafted act. | ||
| Yeah. | ||
| To me, it's like I will watch that every time. | ||
| Me too. | ||
| Yeah. | ||
| I like that a lot. | ||
| If I'm leaving and then I find out someone really good is going on stage, I'm like, I'm gonna stick around. | ||
| Yeah. | ||
| I need to see that. | ||
| And that's the real education that a guy gets if you're in New York. | ||
| Like if you are, you know, you're on these shows with Greer Barnes, you're on these shows with Dave Attell, you're on these shows where you get to watch all these fucking killers over Over and over and over again. | ||
| And as a comic, you know it's real. | ||
| And you're like, God, I'm blown away by this. | ||
| Greer Barnes is another one. | ||
| I've known Greer forever. | ||
| I did shows with him in the 90s. | ||
| So great. | ||
| And such a pleasant guy to see. | ||
| Every time I see him, it's like a hug. | ||
| He's just a fantastic guy. | ||
| And he's in the back. | ||
| If he's listening, he'll just laugh. | ||
| You'll hear him laughing in the back. | ||
| He's such a supportive guy. | ||
| Yeah. | ||
| Colin Quinn is another guy. | ||
| Okay, now that I'm not doing at the cellar late anymore, I'm more early, so I'll see Colin Quinn more. | ||
| He's just, I mean, he's another guy. | ||
| He's brilliant, man. | ||
| I remember I did Tough Crowd, and when I did Tough Crowd, Colin would do stand-up in front of the audience. | ||
|
unidentified
|
I love that. | |
| He fucking murdered so hard, and then the show would go on, and I wanted to say, you know, this show is great, but it's not as good as a stand-up. | ||
| It's almost like people don't know. | ||
| He's just the host of the stand-up, and he's kind of the ringleader, and so he's wrangling all these cats and getting all these comics to stay on topic of all the different things they're talking about on Tough Crowd, but I'm like, my God, the best thing is the warm-up. | ||
| And Colin's famous. | ||
| He's famous. | ||
| He's just, you know what I mean? | ||
| But I don't think that people appreciate him at the level that they need to appreciate him. | ||
| It's like a tell. | ||
| It's like, yeah. | ||
| Yeah, it's the same kind of thing. | ||
| Like, we appreciate him. | ||
| Like, if we know that Colin's going on stage, everyone's going to watch him. | ||
| But I think for the average person, but it's also, that's why they're so good, because they don't have this desire for fame. | ||
| They just have desire to do great work. | ||
| And they're not thinking about promoting. | ||
| Is Colin even on social media? | ||
| I don't think I've ever seen a post of his. | ||
| I think he's on Twitter. | ||
| I don't know if he's on Instagram. | ||
| I don't think I've ever even saw a thing that he put up. | ||
| But he's universally respected amongst comedians. | ||
| It's just like he's a purist. | ||
| He does those one-man shows like Red State, Blue State. | ||
| Brilliant stuff. | ||
| Super prolific. | ||
| Always working in writing. | ||
|
unidentified
|
Yeah. | |
| That's one of the real beautiful things about these communities, like a community. | ||
| And that's what I'm trying to establish here in Austin. | ||
| That's why I put together that club. | ||
| And that's why I set it up so there's open mic night, two nights a week, every Sunday, every Monday. | ||
| That's really great. | ||
| And it's like all the people that work there, like the doorman and all the... | ||
| Those are all comics. | ||
| And they auditioned as comics to get that job. | ||
| That's great. | ||
| So they had to do sets in front of Adam Egan. | ||
| They do these sets. | ||
| People evaluate their sets, and then you have the ability to do these door guy showcases where you're going in front of fucking packed houses, and it's amazing. | ||
| It's good that there's a ladder in place, you know? | ||
| Because I went through that in the city as far as, like, in 2008 I did Live at Gotham. | ||
| You know, me and Nate did it the same year, Live at Gotham. | ||
| Then 2010 I did a Comedy Central half hour. | ||
| I don't know if they even still have... | ||
| That anymore. | ||
| But a Gotham set is 8 minutes. | ||
| Half hour is 22 minutes. | ||
| Then you work your way up to an hour. | ||
| You know what I mean? | ||
| It's like there's a ladder to climb with your skill set. | ||
| Unfortunately, it doesn't really exist anymore. | ||
| Well, one of the things we want to establish here is we want to have a real clear path to becoming a professional. | ||
| And that if you put together like a real set and then you start doing guest sets on the big shows in the big room, and then maybe a guy like David Lucas or a guy like Bryan Simpson will take you on the road and say, hey, you want to open for me in Seattle? | ||
| And then you go with him. | ||
| It flies you out, and then you get to see what it's like to be in a new state and a new crowd. | ||
| And then you'll have a clear path to being a professional. | ||
| And the more professionals there are, the better it is for everybody. | ||
| The more guys make it, the more girls make it, the more it is... | ||
| It's just better for comedy. | ||
| Yeah. | ||
| All around. | ||
| And it's better that it's nice that you're doing it according to the skill set. | ||
| Because some guys develop, like I think Shane developed fast. | ||
| He developed very quickly. | ||
| Not that he didn't even put in the work, but some guys are like that. | ||
| Some guys run a 4-2-40. | ||
| You know what I mean? | ||
| Right, right, right. | ||
| So it's like if you're developing fast, like Tommy John again was a guy like that. | ||
| I think he did a Comedy Central half hour, like three years into comedy. | ||
| But he just, he had it. | ||
| He was very good. | ||
| I don't know him. | ||
| Yeah, he's a writer now. | ||
| He's not doing stand-up anymore? | ||
| I think he's kind of dabbling, but he was writing on network shows. | ||
| That's a trap. | ||
| Supremely talented person. | ||
| That's a trap. | ||
| Writing on a network show? | ||
| Yeah, there's a lot of guys who are a really funny guy. | ||
| Do you know Owen Smith? | ||
| Yes. | ||
| Owen Smith's one of the best comics a lot. | ||
| Yeah. | ||
| And I would see Owen at the store and I'd be like, Jesus Christ, how is this guy not world famous? | ||
| Right. | ||
| I didn't understand. | ||
| He has the personality, the charisma, the timing, the material, the writing, everything. | ||
| Everything. | ||
| But... | ||
| He works in Hollywood, and he's always writing. | ||
| And so he's always writing on these sitcoms, and he exists in that world, and it's a steady paycheck. | ||
| He's got a family, and you get trapped. | ||
| And I've seen guys get sucked into that, and they don't get the career that they deserve. | ||
| It wouldn't be a trap for a less talented person. | ||
|
unidentified
|
Right. | |
| But for him, it's like, he should be like... | ||
| Right, there's some guys that are really good writers, but they're just not comfortable performing, and they don't like it, and it gives them anxiety, and they would rather just write. | ||
| They're more introverted. | ||
| But they're really talented. | ||
| For them, that's great. | ||
| But there's guys that are talented performers that get that gig, and then they get that steady paycheck every week, and then you get in that system. | ||
| Where, oh, there's a new show. | ||
| We want you to be a co-executive, this or that. | ||
| Right, right, right. | ||
| And then, you know, you go, well, the wife wants a pool. | ||
| That's right. | ||
| The next thing you know, you're trapped. | ||
| That's right. | ||
| And then you see these other guys that started even after you, and they're doing arenas. | ||
| And you're like, oh, my God, if I had stayed on the path, I would be doing arenas. | ||
|
unidentified
|
Right. | |
| Like, in my mind, Owen Smith should be doing arenas. | ||
| Like, 100%. | ||
| When I see him at the store, I'm like, Jesus, that guy's good. | ||
| Yeah. | ||
| But he's on that network path. | ||
| He's on that sitcom. | ||
| I think he's a showrunner now, which is great. | ||
| That's great. | ||
| I mean, that's really good money. | ||
| But it's that stability thing. | ||
| As a comic, I want the world to know. | ||
| I want the world to know how good that guy is. | ||
|
unidentified
|
Right. | |
| But it's the stability versus the, you know, rolling the dice. | ||
| It's a trap. | ||
| Just because you're that good doesn't mean you're going to get that kind of exposure. | ||
| Maybe eventually it'll happen. | ||
| It's way more likely. | ||
| But you might have to walk through fire. | ||
| You're gonna walk through fire. | ||
| Yeah. | ||
| No matter what. | ||
| If you don't have a draw, but you do have the skill set, you're walking through fire. | ||
| I don't give a fuck, because you're gonna do a half-filled show in Columbus, Ohio, where they have to paper the room, because no one knows who you are yet. | ||
|
unidentified
|
Right. | |
| And even if you're a fucking killer, it takes years and years, which is the problem, right? | ||
| It's like it kind of takes like 10 years of that grind on the road before the word gets out, or a few years at least. | ||
| And that's hard to do when you're used to those steady checks, and it's really hard to do if you have people relying on you. | ||
| That's the hard one. | ||
| Yeah, because then you have to explain it to them. | ||
| You're not going to. | ||
| Yeah, you're just gonna take that job and you're gonna hope that something magic happens and it allows you to like leapfrog everything and then just go straight into big theaters and arenas, but it doesn't happen. | ||
| It really doesn't. | ||
| Yeah. | ||
| Because you're just not focused on it. | ||
| I get it. | ||
| Yeah. | ||
| And that's one of the things that I tell these young comics today. | ||
| I'm like, the best thing that you could do is concentrate on yourself. | ||
|
unidentified
|
Right. | |
| Meaning that work on your act and instead of like hoping to get hired to do something, create your own thing. | ||
| Create a podcast. | ||
|
unidentified
|
Right. | |
| And that's the most freedom you're ever going to have. | ||
|
unidentified
|
Yeah. | |
| And it's the best vehicle. | ||
| And you can make it whatever you want. | ||
|
unidentified
|
Yeah. | |
| You know? | ||
| It doesn't have to be, you know? | ||
| And then it's a lot of trial and error. | ||
| For sure. | ||
| You know? | ||
| And it grows. | ||
| It grows over time. | ||
| But even that, I know comics that want to start a podcast now, and then they're like, oh, only 2,000 people are downloading my shit. | ||
| Like, yeah, next week it'll be 2,100. | ||
| Right. | ||
| And that's how it goes. | ||
| Or sometimes you need to end the podcast and shift to something else, like another idea. | ||
| Maybe. | ||
| I think. | ||
| But I think with podcasts, the most important thing is consistency. | ||
| Consistency, yeah. | ||
| And a lot of guys, they start out, and they do it for a little while, and then they lose focus, and then they stop doing it, and they, oh, I'm going to restart my podcast. | ||
| When people say that, that's the feeling that I used to get when people stopped fighting and then they would take like three years off and then come back to the gym again. | ||
| Now I'm thinking about taking some fights. | ||
| I'm like, okay. | ||
| Okay. | ||
| Right. | ||
| Yeah, you're lost. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| You gotta stay on the path. | ||
|
unidentified
|
Right. | |
| Because, like we were talking about, you're building a mountain out of layers of pain. | ||
| Right. | ||
| And if you take a few years off or whatever you're taking off, those layers don't stay at the level they were at before. | ||
| They deteriorate. | ||
| Now you have to rebuild. | ||
| And that's a daunting process. | ||
| I think, but that's probably the case with anything that's hard to do. | ||
|
unidentified
|
Right. | |
| I think that's true. | ||
| I think that's true, but I think it's wonderful that you're creating an environment where people can work hard, raise their level, and then they get to another level, and they're working their way up. | ||
| That's very important as far as motivation goes. | ||
| Also, they're getting to see killers. | ||
| They're getting to see these people, like Big Jay Oakerson was there last night. | ||
| One of the funniest people. | ||
| Oh, he was amazing. | ||
| Ari Shaffir was there last night. | ||
| So they're getting to see these people that they've seen on television, they've seen on YouTube, and it's exciting to see them in real life and know. | ||
| And if that person comes up to them and goes, hey man, I love that bit. | ||
| When you're a young person coming up and someone tells you that your thing is good, it's so exciting. | ||
| But it's a very unselfish thing for you to do because you could be doing whatever you wanted now. | ||
| And to put your focus back on that by pulling other people up. | ||
| It's also selfish. | ||
| It's also selfish because it helps me. | ||
| I wouldn't say it's selfish, but it's not like I don't benefit from it. | ||
| I benefit from it by having that environment where I can work out. | ||
| And I know that if you put together a gym filled with killers, you could say like, oh, well, that's great that you did that for those guys. | ||
| Yeah, but it's for me, too. | ||
| Right. | ||
| Because that's what you need. | ||
| I always tell comics, you can't be the funniest guy in Poughkeepsie, New York. | ||
| Right. | ||
| Because there's no one else there. | ||
| And so it's hard to develop a real act. | ||
| If you want to learn jujitsu and you're only training with white belts, you're only going to get so good. | ||
| Yeah, yeah, yeah. | ||
| You've got to be around killers. | ||
| Right, you gotta be around killers. | ||
| And that's the thing with comedy and I think it's probably the thing with music and it's probably with everything else. | ||
| You get inspired by the excellence of other people around you and it raises your own personal expectations. | ||
| That's absolutely true. | ||
| Yeah. | ||
| I know that just from wrestling. | ||
| You're wrestling in a tough, tough... | ||
| Sure! | ||
| You become much, much tougher. | ||
| Yeah, I mean, you came out of Ohio. | ||
| How many fucking animals come out of Ohio? | ||
|
unidentified
|
Yeah. | |
| Jesus Christ, there's a long history of killer wrestlers that come out of Ohio. | ||
| But you are as tough as you're... | ||
| And especially for a guy like me, athletically, I wasn't the most athletic guy. | ||
| So it really depended on the program in the room. | ||
| If I was in a good program, I was tough. | ||
| But when the program fell off, I wasn't as good, wasn't as effective. | ||
| Of course, because... | ||
| It's hard to push yourself. | ||
| It's hard to push yourself to the level that a great room will push you by yourself. | ||
| Almost impossible. | ||
| Yeah. | ||
| That level of competition. | ||
| And it's the same in stand-up. | ||
| You know, guys coming out of New York, you know, like, it's like, guys are good. | ||
| Mark Norman, Shane, you know, these guys, Sam Morrell, these guys, Chris D. Yeah, yeah. | ||
| These guys have all been on the show. | ||
| It's like, these guys came up through that club system. | ||
| It's also the Coder. | ||
| Dan Soder is my roommate. | ||
| Oh, that's great. | ||
| For 10 years. | ||
| I love Dan. | ||
| Love him. | ||
| But it's also the camaraderie. | ||
| No one understands comics like comics do. | ||
| So that's a place where you can be yourself. | ||
| No matter what, you're around these people. | ||
| When I'm around comics, it's not like, oh, there's that Joe Rogan guy, the podcast guy. | ||
| It's like, no, these are my friends. | ||
| It's normal. | ||
| I know you guys. | ||
| I've known everybody for 20 years. | ||
| You can hang out. | ||
| It's more comfortable. | ||
| It's like they're your peers. | ||
| That's your group. | ||
| That's the other thing people don't realize, like how long we've known each other. | ||
| Yeah. | ||
| A lot of us. | ||
| Like I've known guys in New York, like I've known them for like 20, since I've been there, 20 years. | ||
| And it's like somebody new comes into this situation and it's all good. | ||
| But I don't know if they realize how long we've been in that scene together. | ||
| In a long time. | ||
| Right. | ||
| It's a long way to the top if you want to rock and roll. | ||
| It's a fucking long way. | ||
| It's not something that's going to happen quickly. | ||
| Everybody in this world wants things to happen quickly. | ||
| They want to be a millionaire by the time they're 25. They want to do this and that. | ||
| I have all these expectations and aspirations, which is great. | ||
| It's great to be ambitious. | ||
| If you want to do that with comedy, if you want to write material and you want your act to develop, that is a fucking grind. | ||
| You are running through rose bushes naked for years. | ||
| Yeah. | ||
| And there's nothing other than that that's going to get you there. | ||
| That's right. | ||
| And it's a process. | ||
| Yeah. | ||
| And it's like, that's the thing. | ||
| You got to fall in love with the process. | ||
| Yeah. | ||
| But that's also what helps being around fun people. | ||
| Because even if it's like a brutal, bloody process, you can still hang out with the guys and talk shit and laugh. | ||
| And all kinds of personal shit happens along the way too. | ||
| And it's like you rely on these people for support or your friends or your peers and like picking you up and trying to turn it into a bit or trying to turn it into something, you know, fantastic. | ||
| Yeah. | ||
| It's a fun gig, man. | ||
| It's a fun way to make a living, and it's a fun way to get through life. | ||
| We were talking about it last night where we just did a show, and afterwards we're all sitting around relaxing and having fun, smoking pot, and I was like, could you imagine living your whole life and never killing? | ||
| Yeah. | ||
| Because we went through that with the pandemic where comedy was stopped, and I was like, I guess maybe I'll never do comedy again. | ||
| Right. | ||
| I've told this story, it's a crazy story, where Ron White had kind of resigned himself to retirement. | ||
| He's like, I think I'm done. | ||
| I fucking did it all. | ||
| You know, Blue Collar Tour. | ||
| I got a jet. | ||
| I'm gonna fucking sell my boat. | ||
| He's like, I'm just gonna fucking relax. | ||
| I got money in the bank. | ||
| I'm gonna play golf. | ||
| And then we did a show in November of 2020 at the Vulcan Gas Company down the street on 6th Street. | ||
| And Tony Hinchcliffe had the show. | ||
| He put it up. | ||
| And he put Ron White up. | ||
| And I was already talking about putting together a comedy club. | ||
| I was trying to find a spot. | ||
| And then I was actually telling everybody I think I found the spot and I wound up not using that place and getting another place, but Ron goes on stage and he hadn't been on stage in like a long time, like eight months or something like that. | ||
| Went on stage and fucking murdered. | ||
|
unidentified
|
Wow. | |
| Murdered. | ||
| And then he comes off stage and he grabs me by the shoulders. | ||
| He goes, whatever the fuck we have to do to keep doing that, we're gonna do it. | ||
| That's great. | ||
| He goes, get your fucking club open. | ||
| Let's go. | ||
| And I was like, God damn it. | ||
| Damn! | ||
| That's great. | ||
| It was like he had electricity coming off. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| That just goes to show it doesn't matter how much money you have. | ||
| It doesn't matter. | ||
| Like that feeling, that feeling is what's important to us. | ||
| Yeah. | ||
| There's nothing like it. | ||
| It's also, you understand more than anybody how hard it is to put all that stuff together and to figure out a way to say it in a way that's going to get the laughs and resonate. | ||
|
unidentified
|
That's it. | |
| That's really it. | ||
| There's nothing like when you're sitting there and you're turning the bit, however you're doing it, writing it out, I do notes on my phone, but you're like kind of saying it in your head, and then you're like, that moment where you're like, I think I got something here. | ||
| I think I really got something here. | ||
| And then the satisfaction of taking that and trying it on stage, and then getting the, you're like, Okay, I got it. | ||
| I got a punchline. | ||
| And it's like, now I'm gonna keep coming. | ||
| I don't know what your process is. | ||
| Mine's like, just keep coming at it. | ||
| Just keep coming. | ||
| Keep coming. | ||
| Every morning, jokes. | ||
| Keep throwing jokes at it. | ||
| Keep asking questions about it. | ||
| And then when you have it, it's just, there's no feeling like it. | ||
| Even fame, whatever. | ||
| It's like money. | ||
| It's like there's no feeling like it. | ||
| Having that bit and just having it murder like all the way through from beginning to end. | ||
| Having a new tagline? | ||
| Yeah. | ||
| Yeah, just something that simple. | ||
| It's the best! | ||
| I really love it, man. | ||
| It's the best! | ||
| I really love it. | ||
| Do you write in front of a computer? | ||
| Do you write on a notebook? | ||
| Do you just write on your phone? | ||
| How do you do it? | ||
| I used to do journaling. | ||
| You know, I was like, you know, because coming up with premises, it's like there's so many funny things that happen to us every day or potentially funny things. | ||
| It's like just journaling makes you conscious of it, because there's so many things that slip by. | ||
| Like on the way here, I had brass knuckles, but they're wood. | ||
| I worked Hilarities in Cleveland, and the owner, Nick Costas, he gives me a gift every time I do it. | ||
| I don't know if he does it for everybody, but the time before, he gave me a baseball bat, and this time it was wooden brass knuckles. | ||
| He's a great guy. | ||
| It's a fantastic club. | ||
| So we can see these wooden brass knuckles, and I'm going through security at Fort Lauderdale Airport to come here, and they flag my bag, and they bring it over, and the guy goes, what's this? | ||
| I immediately go, Nick Costas, hilarity, I immediately give up his name, and snitch. | ||
| I'll wear a wire. | ||
| I'll wear a wire. | ||
| I am a snitch. | ||
| Wooden brass knuckles are illegal? | ||
| They're not even brass though. | ||
| No, they're not brass. | ||
| They're wooden. | ||
| And I don't know how I would hijack a plane. | ||
| It's like, take this to Yemen or this guy gets a splinter. | ||
| You know? | ||
| So it's like, but they were like, and I was rushed. | ||
| So he's like, do you want to check your bag or do you want, you could just give it up. | ||
| I'm like, I'll just give it, you know, I'll just give it up. | ||
| But it's like a brass, like, for them to take that, and I think they're wooden, he gave them to me, wooden, so they would get through security. | ||
| That's funny. | ||
| But for them to do it. | ||
| But, like, my point is that journaling, like, I never would have thought twice about that, but it's like journaling brings that out, so sometimes I'll do that if I feel like nothing is happening. | ||
| But then I'll take bits on my phone, and I'll just, like, I went to jury duty. | ||
| And I'll just... | ||
| I'm like, there's so many funny things here about jury duty. | ||
| Trying to get out of it. | ||
| The way they threaten you. | ||
| In New York anyway. | ||
| They go, you have to serve or you're going to go to jail for a year. | ||
| It's like... | ||
|
unidentified
|
Really? | |
| Well, they're going to have to pick a jury for my trial. | ||
| Is it really the case? | ||
| You go to jail for a year? | ||
| They say it's a year or a $60,000 fine or something like that. | ||
| It's like... | ||
| I don't know, maybe $60,000 was too high, but it's like a year in prison and a fine or both. | ||
| The point is they threaten you hard to make sure that you go to jury duty. | ||
| Oh my God. | ||
| And it's like, I don't know if this is how much faith I have in the justice system with your threatening me, a private citizen, for a year to come to jury duty. | ||
| Anyway, so you end up going and it's like... | ||
| As comics, we're in this conundrum because it's like, it could be a three-week trial. | ||
| It's like, yeah, I cannot serve for three weeks. | ||
| I have road dates. | ||
| Money is at stake. | ||
| Flights are booked. | ||
| Like, all of this stuff matters to me. | ||
| Like, I need this money. | ||
| So, you know... | ||
| But they just don't care. | ||
| There's nobody to call. | ||
| There's nobody to complain to. | ||
| So it's like you come and you check in and you just hope that you're not called into the thing. | ||
| So we're sitting there and we're just waiting. | ||
| But that's like, there's so many funny with emotions and feelings that come through there. | ||
| And like, how do I get out of this? | ||
| It's like a felony. | ||
| A felony. | ||
| If you have a felony, you can't serve. | ||
| It's like, I could sucker punch the bailiff. | ||
| You know what I mean? | ||
| It's like, that's a felony. | ||
| He's a cop. | ||
| And then you start punching that up and crafting it and then going in there. | ||
| And what really happened is I went in there and they go, you know, we have a jury pool outside. | ||
| We need to take them first. | ||
| So instead of holding here, we'll see you guys tomorrow. | ||
| Meanwhile, I have to fly out the next day. | ||
| So I go to the bailiff. | ||
| I go, hey, I can't come back tomorrow. | ||
| I'm sorry. | ||
| I have to fly out. | ||
| I cannot come back tomorrow. | ||
| He goes, wait here. | ||
| He goes, he gets a piece of paper and he goes, give this to holding downstairs. | ||
| They might reissue you another date. | ||
| They might cut you. | ||
| So I go, alright. | ||
| So I go down there. | ||
| I give it to her. | ||
| She's like, give me a minute. | ||
| Just sitting there waiting. | ||
| And she comes back. | ||
| She's like, see you in four years. | ||
| You're cut. | ||
| I was like, oh, thank God. | ||
| But that whole thing, like the tension of that, like that's, I'll put that on my phone and I'll just keep coming, keep coming at it. | ||
|
unidentified
|
Mmm. | |
| Yeah, that's good. | ||
| That's a good way to do it. | ||
| Everybody has their own way, you know? | ||
| Right. | ||
| What's your way? | ||
| I write in front of a computer. | ||
| I sit down and I write. | ||
| I write about subjects, and it's a lot of wasted time. | ||
| There's a lot of it that's fucking useless, but I have to find out where the jokes are. | ||
|
unidentified
|
Right. | |
| So I'll write on a subject, and I'll just start expanding on that subject, and then I'll come up with one funny thing and then I'll take that and I'll copy it and paste it into a new file and then I'll write with that thing that like one paragraph that I think is funny and then I'll expand upon it and then I'll come back to it the next day and I'll smoke some weed and drink a cup of coffee and stare at it some more and then I'll write I write like basically an essay and then in that essay I'll find the funny | ||
| stuff and extract it. | ||
| It's not an efficient process because it doesn't come out looking like stand-up. | ||
| It's like basically I'm farming premises and I'm doing it through just time and like Forcing myself to sit in front of it and so I do it a lot of it at night which is kind of hard because I'm tired It's like sometimes I'll like literally see myself like nodding out in front of the computer while I'm writing But if it's just one fucking line like I have one line in one of my new jokes that came from that and it fucking murders just one line That's like a new bit and | ||
| this one line like defines that bit and it came out of the middle of the night It was like two o'clock in the morning and I'm just sitting there writing like oh Yeah, yeah, yeah. | ||
| Like, oh, there it is. | ||
| There it is. | ||
| That's what I was looking for. | ||
| I'm panning for gold. | ||
| I love that. | ||
| And then I'll find that, and I'll copy and paste it, and then I put them all on my phone. | ||
| So then if you look at my phone, I go into, like, I have a material folder, and it's all, like, stuff that I've written over the last few months. | ||
| That's great. | ||
| And it's like I go over those bits and then I know which ones are in the act right now. | ||
| And then the ones that aren't in the act, when I'm trying to add new stuff, then I'll take that, okay, let's talk about this. | ||
|
unidentified
|
Boom. | |
| And then I'll put that up on the computer and then I'll start writing. | ||
| And then when I want something to be really memorized, like the little post-it notes or the little... | ||
| Index cards, that's when I write down physically with my hand, because that's what really commits it to memory. | ||
| Writing something down commits things to memory far better than any other way. | ||
| I think that's true. | ||
| So do you take a note card up with the new material on it, or you're just developing, you know the beats in the bit? | ||
| Yeah, I don't bring notes on stage. | ||
| I lay out those notes on the coffee table if I'm doing an arena or even a theater sometimes I'll do it. | ||
| If I do it at a comedy club, I just have the notes on my phone because it's more casual. | ||
| But when I do actual physical writing, we're trying to come up with new ideas. | ||
| I can type way faster than I can write. | ||
| And I don't have to look at my fingers. | ||
| So I can just look at the screen and in the process of writing, like if I'm sitting there, I get into like a trance where I'm only thinking about the ideas. | ||
| But it's hard because you get distracted. | ||
| You want to surf the web. | ||
| You want to look at YouTube videos. | ||
| You just gotta like make... | ||
| I'll like say, okay, you're not doing jack shit until you have 900 words. | ||
| After you have 900 words, then you can fuck off and do whatever you want. | ||
| Or not, depending on if you're hot, if you got something. | ||
| Yeah, yeah. | ||
| You want to keep that. | ||
| I mean, I might get something one out of ten times. | ||
| So it's like nine times. | ||
| It's a trudge. | ||
| But I know that if I do that ten times, then I'll have a bit that I didn't have before. | ||
| But if I don't do it, that bit doesn't exist. | ||
| That's like the Steven Pressfield, the guy who wrote The War of Art. | ||
| He talks about that, like summoning the muse. | ||
| And then if you are a professional and you sit down and you just do the work, those ideas will come to you. | ||
| But if you don't, if you don't sit there and summon that muse, they're not coming. | ||
| And I know it's a weird, painful, goofy, uncomfortable process to just sit there and not have anything to say. | ||
| It's messy. | ||
| Yeah. | ||
| The whole thing is messy. | ||
| But... | ||
| Yeah. | ||
| That's the way to do it, for me. | ||
| I also take notes, like if something hits me during the day that I think is funny, even if it's not a joke, just something peculiar, I'll write it down to just general notes. | ||
| But then I'll have topics like jury duty, working on this thing on the electric chair now, and it's just like, use that as a topic. | ||
| It's like, I got a couple of jokes that are working there. | ||
| It's like, why not keep coming at it, keep coming at it until it's a solid bit. | ||
| Well, it's the thing that we were talking about before. | ||
| It's like the process of getting good as a comic. | ||
| It's a long process. | ||
| And the more you can do, like listening to sets, watching sets, you know, watching other people perform, writing, the more you put in this overall time and hours, that's going to manifest itself in better performances and better material and better sets. | ||
| There's no other way to do it. | ||
| When I talk to Shane about his act, I'm like, dude, your fucking material is so good right now. | ||
| It's so exciting. | ||
| He goes, it's all I care about. | ||
| It's really great. | ||
| Yeah, but that's why it's so good. | ||
| He cares so much. | ||
| It's all he cares about, which is why it's so hot. | ||
| That's the fucking thing, man. | ||
| It's just how much attention and energy are you putting into it? | ||
| Even if you're not going to sit down and write the way that you do, and you don't feel like it, maybe you traveled that day, maybe something else happened, it's like, just check in on them. | ||
| Just check in on the jokes. | ||
| Just see how they are. | ||
| It's like, maybe you have a cup of coffee and you're burned out, you did it, whatever. | ||
| It's like, maybe just have a cup of coffee and check in. | ||
| Just commit it to memory. | ||
| Commit it to thought. | ||
| Get those ideas bouncing around in your head. | ||
| It's a fucking process, man. | ||
| And that's what I wonder. | ||
| I wonder if ChatGPT is going to bypass that process. | ||
| People are not going to need that anymore. | ||
| I mean, hopefully I'm gone by that time. | ||
| I hope to be out. | ||
| I don't know, man. | ||
| I hope to be out by then. | ||
| I don't know if we will be. | ||
| I don't know if we will be. | ||
| But I'm excited to have you at the show tonight. | ||
| We're going to have a good time. | ||
| There's two shows tonight, and then there's also two shows in the Little Room, too. | ||
| We run four shows a night. | ||
| I can't wait to see it, man. | ||
| It's exciting, my friend. | ||
| So tell everybody about your special. | ||
| How can they get it? | ||
| There it is. | ||
| It's called Mike Vacchione, The Attractives. | ||
| And it was produced by Nate Bargatze, my friend, who gave me the opportunity to put it on his platform. | ||
| That's awesome. | ||
| The Nate Land platform. | ||
| Where did you film it? | ||
| Nashville. | ||
| Oh, were you at Zanies? | ||
| Nashville Zanies, yeah. | ||
| Oh, that's great. | ||
| They turned it in. | ||
| It looks like a theater. | ||
| Zanies people are just fantastic. | ||
| Oh, that's fucking great. | ||
| And 800-pound gorilla. | ||
| These guys did a great job on it. | ||
| That's fucking awesome. | ||
| Really looks good. | ||
| Zanies is a great club. | ||
| It's a really good club. | ||
| That place is... | ||
| Laughter soaked into the walls at that place. | ||
| Yeah. | ||
| It's unbelievable. | ||
| So you can find it on YouTube, Mike Vecchione, The Attractives. | ||
| Can I plug my social media? | ||
| Yeah, yeah, yeah. | ||
| At ComicMikeV on all social media platforms, at ComicMikeV. | ||
|
unidentified
|
All right. | |
| Well, thanks, brother. | ||
| Thank you so much for having me, man. | ||
|
unidentified
|
My pleasure. | |
| My pleasure. | ||
| I really appreciate what you're doing. | ||
| Very, very funny guy. | ||
| Thank you, buddy. | ||
| It's fun to see. | ||
| And we're going to have fun tonight. | ||
| All right. | ||
|
unidentified
|
Thanks, buddy. | |
| All right. |
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