Sept. 28, 2023 - The Joe Rogan Experience
02:29:48
Participants
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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the joe rogan experience train by day joe rogan podcast by night all day just had a set of these on at band rehearsal on sunday You look like you just had band rehearsal. | |
| That's right. | ||
| I hate to make you feel old, but we've known each other for 20 years. | ||
|
unidentified
|
Okay. | |
| Dude. | ||
| Thanks. | ||
| How wild is that? | ||
| Does time fly or what? | ||
| We've been friends for 20 years. | ||
| Really? | ||
| 20 years. | ||
| You know what I did? | ||
| I also experienced the odd time continuum to brief myself for this. | ||
| I'm like, I should probably look back when I did this, this, and this, and this, that, and the other thing. | ||
| I'm going, holy crap, I forgot. | ||
| That was like 2004? | ||
| Are you kidding me? | ||
| 2004 seems so long ago. | ||
| Yeah. | ||
| That was the fear factor days. | ||
| Yeah. | ||
| That's like round around when I met you, when I brought the Barracuda to you. | ||
| Fish. | ||
| Yeah. | ||
| Yeah. | ||
| Like, because you... | ||
| Yeah, because it was... | ||
| Well, I have my handy cheat sheet here. | ||
| You actually made a cheat sheet to prepare for this? | ||
| Dude, I got paid... | ||
| Dude, by the way, the shirt, it's exquisite. | ||
| I got it. | ||
| I know, but... | ||
| Can I officially gift you in front of the camera? | ||
|
unidentified
|
Sure, please. | |
| Please do. | ||
| Okay, so... | ||
| So this is a shirt with the Nova that Steve built for me. | ||
| Steve built the greatest Nova the world has ever seen. | ||
| A 1969 Nova with... | ||
| Camaro. | ||
| Yeah, you have to see it. | ||
| We could talk about it all day, but people have to actually see it online. | ||
| Lots of fun. | ||
| I wanted to do the kind of... | ||
| That's a dope fucking shirt. | ||
| So there's a mixture of stuff. | ||
| Like those clouds and stuff are taken from those crazy Chrysler ads in the 70s. | ||
| Like the Roadrunner stuff with the smoke building up behind it. | ||
| We copied that. | ||
| And then the sun thing was just in like every other 70s artwork I could find, you know? | ||
| And then of course the prerequisite small UFO. And I wasn't going to take your Joe Rogan experience, and being that my other life was in rock and roll, of course, I leaned towards the Hendrix of R.U. experience. | ||
| So it came out pretty cool. | ||
| There it is. | ||
| There's the car. | ||
| The t-shirt's very cool. | ||
| Yeah, there it is. | ||
| There's the car. | ||
| The coolest Nova of all time. | ||
| I love that thing, man. | ||
| Thank you. | ||
| It drives so well. | ||
| It does. | ||
| I mean, it's not just so cool looking, like it drives so well. | ||
| The independent suspension, the way you set it up, was it Art Morrison? | ||
| Yeah, Morrison stuff. | ||
| I went a little softer on the spring in the front and believe it or not, a little stiffer on the rear and played with it quite a few times before I delivered it to you. | ||
| It's magnificent. | ||
| Yeah, I was very, because I set it up, I didn't set it up for track attack because that's not what you're going to Right. | ||
| No, I'm just going to cruise around. | ||
|
unidentified
|
Right. | |
| So I set it up so when you go over those little joints in the road going onto a bridge, it doesn't... | ||
| Leave that up in the background, Jamie. | ||
| Just leave that there. | ||
| That was the amazing photography of Wes Allison. | ||
| Wes Allison, you're the shit. | ||
| He is the shit. | ||
| That's a great picture. | ||
| I think I need to get a steel version of the picture and put it up in our... | ||
| Yeah, let's do that. | ||
|
unidentified
|
How big do you want it? | |
| I don't know. | ||
| Pretty big. | ||
| We need a big one, right? | ||
| It came out real nice and the funny thing is, or the... | ||
| I don't know about funny, but the point of it was is there's so much done and none of it looks like anything was done. | ||
| Yeah, it really does look like just a really cool 1969 car. | ||
| If you don't know the manipulation that you guys did to the sheet metal. | ||
| Not only that, the grille has changed. | ||
| The little headlight doors on the side, those are changed. | ||
| I used to, I would joke with different Nova people and go, give you a hundred bucks if you can tell me what I changed in the front. | ||
| Oh, wow. | ||
| And they're like, uh, uh, we added bars. | ||
| The grill is actually taller. | ||
| Those bars- What does it look like in real life? | ||
| Do they just have black spaces? | ||
| What they had was a piece of plastic that came from underneath the bumper and it went underneath that headlight and then came up. | ||
| So you see on the very outer edge how there's like, I can't count from here. | ||
| One, two, three, four, five, six, seven, eight. | ||
| Yeah, those bars right there. | ||
| The bottom three are added. | ||
| Oh, wow. | ||
| Jamie, can you pull up a 1969 Nova grill? | ||
| Or a Nova front end. | ||
| But there's lots of little changes. | ||
| Let's see what it looks like. | ||
| Yeah, well, yeah. | ||
| There you go. | ||
| You can see how there's just a piece of plastic under it and it comes up. | ||
| The silver plastic comes up so those ribs aren't... | ||
| That's not the greatest photograph. | ||
| That's a better photo. | ||
| That looks custom. | ||
| No, he's got the plastic coming up. | ||
| Yeah, he's got something else. | ||
| You can see that piece of plastic come up. | ||
| That's a beautiful Nova, too. | ||
| So we extended the grille and extended those outer things to just fill up the space. | ||
| It just looks better. | ||
| It's just a unique looking car. | ||
| Yeah, there it is. | ||
| That car is just so unique. | ||
| And I think it's one of those muscle cars that really never got its due because it kind of started out as more of an economy kind of a car. | ||
|
unidentified
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Oh, yeah. | |
| Mm-hmm. | ||
| Yeah. | ||
| And Nova wasn't like, you know, if you had a Barracuda, you were the fucking man. | ||
| If you had a Nova, it's like, oh, you couldn't afford a Barracuda. | ||
| Unless you had the Nova SS with the 396. But those were few and far between. | ||
| There weren't a lot of people that ordered that. | ||
| When I was a kid, this kid in our high school had a Duster. | ||
| What was the other one? | ||
| There was a Duster, there was a Dodge. | ||
| Dart. | ||
| A Dart. | ||
| Yeah, he had a Duster. | ||
| Or Valiant. | ||
| Yeah, and nobody gave it any respect. | ||
| I was like, that's a cool car! | ||
| Like, what's wrong with you people? | ||
| But there was like this thing where like some of those older cars were less desirable. | ||
| So I'm in high school and so I graduated in 85. So we're talking about, I think, I think my friend had this car in like 84. So, you know, it really was only 14 years old, which is kind of crazy. | ||
| Yes, it is. | ||
| That's super crazy. | ||
| Like, 86 when we were driving around, a 68 was only, what, 18 years old. | ||
| Right. | ||
| Wasn't an old car. | ||
| Not super old. | ||
| Yeah, 18 years old ain't shit. | ||
| That's like 2005? | ||
| You and I are about to do math. | ||
| That's bonkers. | ||
| That's a 2005. Which is like kind of a new car. | ||
| Like if you have a 2005 car, you can't differentiate them at all from a 2020, unless you're like a car connoisseur. | ||
| Yeah, sure. | ||
| You know, if you have a 2005 Camry, it looks like a 2020 Camry, right? | ||
| It's interesting how time marches on, how perception of length of time, like you were saying when we sat down with our friendship, let alone everything else, it's like, how is that 20 minutes? | ||
| Oh, it's going very fast. | ||
| That's the one thing our older generation, when we were growing up, told us that was the one truth. | ||
| It goes so fast. | ||
| Yeah. | ||
| Enjoy it, because... | ||
| It's also because when you were a child, one year was literally like one-tenth of your life. | ||
| It was so long. | ||
| It was an eternity. | ||
| Because you had so few points of reference. | ||
| But then as you get older and you have more points of reference and more experience and more life... | ||
| Then you realize, like, oh my god, time is full. | ||
| I don't have much time at all. | ||
| No one does. | ||
| It's amazing how the boost kicks in and all of a sudden, 40, 50, 60, what the hell just happened? | ||
| And you're just like, let's hang in there as long as I can. | ||
| I got some stem cells today. | ||
| I did? | ||
| Yeah, I was reading this thing. | ||
| I'll send it to you, Jamie. | ||
| But they believe now that through stem cell technology, they're going to be able to extend lifespan far greater. | ||
| And the article said something about having people work until they're 120, which is not a good selling point. | ||
| Yeah. | ||
| Here, I'll send it to you, Jamie. | ||
| Hey, you can suffer longer. | ||
| Yeah. | ||
| Hey, you can hate what you do longer. | ||
| You got it already? | ||
| Oh, there it is. | ||
| We'll be living and working to 120, and it will start within a decade, says Doctor to the Star. | ||
| So they're not necessarily saying you'll be working until you're 120, but living and working. | ||
| So this guy is using stem cells. | ||
| I believe we can create prolongation of life. | ||
| Von Schwartz cells. | ||
| That sounds like the beginning of every horror movie. | ||
|
unidentified
|
We believe we can have prolonging of life. | |
| We can do it. | ||
| Dun, dun, dun. | ||
| Oh, goody. | ||
| Probably within a couple years, people can live to be 120, 150 years old, if not longer than that. | ||
| It's not just bed-bound, non-communicating individuals, but really active individuals who participate in social life, professional life, and have a quality of life, because that's the goal. | ||
| Yeah. | ||
| I'm in. | ||
| Let's go. | ||
| I'm enjoying life. | ||
| You know, I'm enjoying doing stuff. | ||
| And my friends that are older, that are having, like, health problems, it really makes me realize, like, man, you've got to stay on top of everything. | ||
| Because if you don't, if it slides off and then you have to try to bring it back up, it's way harder than maintaining. | ||
| Yeah, yeah, yeah. | ||
| You know, the stem cell thing, if he could, if Von Doom there could get on... | ||
| On the eyeball stuff. | ||
| Fixing the eyeball. | ||
| I'd be very appreciative of that. | ||
| Let's tell everybody what happened to you because this is a crazy thing. | ||
| Oh. | ||
| It's a real bummer, right? | ||
| You just out of nowhere started seeing dark spots, right? | ||
| No. | ||
| What happened was... | ||
| Well, a little background. | ||
| I had already... | ||
| Stage one was going into your local doctor eye guy because you have metal in your eye. | ||
|
unidentified
|
Oh, wow. | |
| Because that's some of the fun that happens even when you're wearing safety glasses. | ||
| All the haters calm down. | ||
| We wear safety glasses. | ||
| How does it get in? | ||
| Oh, it just bounces around. | ||
| You know, you're working with a carbide bit spinning that, you know... | ||
| 15,000 RPM. Stuff bounces around. | ||
| But since then, I've been using... | ||
| I found this place in France that makes these antique motorcycle World War I aircraft goggles that seal... | ||
|
unidentified
|
Like the Nazis used to use for duels? | |
| I don't know that one. | ||
| You don't know that one? | ||
| But it seals to your eyes, and it's got little vents in it so they don't fog up. | ||
| But anyway, I got metal in my eye, which is, for those of you who haven't done it, it's lots of fun. | ||
| You hold still. | ||
| You're wide awake. | ||
| And they come at you with a Dremel drill bit, and they drill it out. | ||
| Oh, Jesus. | ||
| And the instructions are, hold still. | ||
| Don't move. | ||
| Right. | ||
| Oh, my God. | ||
| I mean, they put a numbing drop in. | ||
| So what? | ||
| You still see the drill bit coming. | ||
| Oh, my God. | ||
| Easy, easy. | ||
| You can handle it. | ||
|
unidentified
|
Oh, my God. | |
| The stuff you've been through, I'm sure you could handle it. | ||
| Yeah, that's wild. | ||
| So I've been drilled a couple of times. | ||
| That sounds wrong. | ||
| And if they came up with a photo of my eye, it'd look like a golf ball. | ||
| Little dimples when the drill comes in. | ||
| So anyway, that guy is like, you know, when they're in there, if they're experienced cats, they just happen to look around. | ||
| And he goes, hey... | ||
| I think you should come back and talk to our other doctor so-and-so and have him do some tests because I saw some stuff, don't know, but I think it'd be wise if you blah, blah, blah. | ||
| So I go in, we do the test, and the guy goes, and this is, wow, this is a while ago. | ||
| 14, 15 years ago. | ||
| Here we are again with that time portal. | ||
| Right. | ||
| He goes, you have advanced glaucoma. | ||
|
unidentified
|
Then I go, what the hell is that? | |
| And he goes, it's like creeping death. | ||
| It slowly takes your peripheral. | ||
| And most adults don't know that they're going blind until they're 80. And it moves so slow that That you don't notice the change, right? | ||
| Well, mine's trucking along. | ||
| And so we start with medication that lowers in your eye. | ||
| You basically got a faucet and a drain. | ||
| And if the drain's plugged up or if the faucet's on overload, it's acting not like a water balloon, but pressure builds. | ||
| That pressure is, think of your optic nerve, right? | ||
| Your brain is the cable TV company. | ||
| Your eye is the expensive flat screen TV and the cable connecting the two of them, right? | ||
| That pressure building up is like somebody with a heel of his boot digging on that cable. | ||
| And sooner or later, psst! | ||
| Nothing, right? | ||
| So you take medicine to reduce the pressure so it doesn't eat away at the optic nerve. | ||
| Okay, great. | ||
| We got that under control. | ||
| We're killer. | ||
| So then probably eight, nine years ago, I have cataract surgery in my right eye and put the cataract lens in and it's like, Oh my gosh! | ||
| It's crystal clear and beautiful and incredible. | ||
| Stoked on it. | ||
| About a year passes and I'm at PRI, which is the race, real serious race version of SEMA. It's in Indianapolis, so there's no fuzzy dice there. | ||
| It's all race car parts and stuff like that. | ||
| And I'm walking around, and I just, I don't know how to describe it, but it actually moved in stages, like a curtain coming down, just gray. | ||
| And then you just saw gray. | ||
| And it was my retina falling off, detaching. | ||
| So I'm in Indy, and I fly back and get together with the doctors, and they're like, you gotta put that shit up. | ||
| And instead of doing the long version, I'll give you the short version. | ||
| Seven surgeries later... | ||
| And every time you have the surgery, there's stitches in my eye. | ||
| And that's fun. | ||
| That's way more fun than the drilling. | ||
| And you're laying face down for a week. | ||
|
unidentified
|
Oh boy. | |
| Can't move. | ||
| And it just kept falling off. | ||
| They couldn't go up, so I went to another surgeon. | ||
| I also have a buckle permanently sewn into my eye. | ||
| They try to change the shape of the eye to promote the retina staying up better. | ||
|
unidentified
|
Oh boy. | |
| So anyway, got to new doctor, great guy, Dr. Asmali, back home in Cali. | ||
| And he's like, I got this, man. | ||
| These other guys, they were losers. | ||
| We're going to get it up there and we're going to stick it up. | ||
| That was surgery six, and it didn't hold, and I think he was more depressed than I was. | ||
| And so we scheduled seven, and he sat down with me, I remember, before we went into the operating room. | ||
| He goes, look, I don't think I can... | ||
| I'm going to go try to save your eye. | ||
| I'm not gonna save your sight because and he did it this way, which I thought was cool. | ||
| He went and did a little research to speak in my language and he goes when you're trying to weld metal If both the pieces are kind of rusty and beat up or whatever, it won't weld very good, right? | ||
| I'm going to go, true. | ||
| He goes, so you've got to have clean metal to clean metal to weld. | ||
| I go, yes, that's true. | ||
| He goes, well, all the attempts have just frayed the living shit out of the retina, so I'm going to cut away the yucky stuff. | ||
| And I'm going to have a new edge to... | ||
| They use a laser. | ||
| They basically... | ||
| The only thing they know how to do is tack weld it up. | ||
| That's what they do. | ||
| Right? | ||
| So he goes, I'm going to make new clean edges. | ||
| I'm going to weld it up. | ||
| You're going to lose some sight at least because I'm taking away part of the retina. | ||
| But I'm going to save your eye. | ||
| Because if we can't get something going on in there, then your body will kill off your eye. | ||
| It shrinks back. | ||
| It's painful. | ||
| Pop it out. | ||
| Put a glass eye in. | ||
| And I go, yeah, let's not. | ||
| So he did that. | ||
| And he goes, I cut away about a third of the retina. | ||
| And I had a visual, like a vertical rectangle of sight. | ||
| Right? | ||
| Not all the way over to here to here. | ||
| Here to here. | ||
| But fast-forwarding, scar tissue moved over and pretty much just eliminated. | ||
| And they're like, we can go in and... | ||
| I'm like, no, no. | ||
|
unidentified
|
Oh, Jesus. | |
| We're not going to go in and do anything. | ||
| Oh, Jesus. | ||
| So this one's basically gone. | ||
| You know, that's that. | ||
| For now. | ||
| We'll see if science checks in. | ||
| Do you know who Michael Bisping is? | ||
| No, sir. | ||
| Michael Bisping's one of the toughest human beings that's ever walked the face of the earth. | ||
| Fair enough. | ||
| This is what I said. | ||
| And not just because he was a UFC middleweight champion... | ||
| But because Michael Bisping fought the last ten fights of his UFC career, including winning the title blind in one eye. | ||
| And he didn't tell them. | ||
| He hid it. | ||
| Oh, I heard about that. | ||
| Yeah, he hid it. | ||
| He didn't tell anybody. | ||
| Do you know, gangster, you have to want to be fighting the best fighters in the world. | ||
| Dan Henderson. | ||
| And not being able to see over here. | ||
| Anderson Silva. | ||
| And you can't see out of one eye. | ||
| Like, his one eye is gone, man. | ||
| Yeah, I understand. | ||
| Which is... | ||
| Fighting world-class fighters. | ||
| You can see his right eye is completely missing. | ||
| It's just foggy. | ||
| He wears a little thing that goes over it like a lens so it looks normal. | ||
| But he's a fucking stud. | ||
| That guy fought 10 fights with one eye. | ||
| Just think of a fight with two eyes is fucking terrifying. | ||
| And fighting against the best guys in the world. | ||
| And he wins the title. | ||
| Knocks out Luke Rockhold with one eye. | ||
| Yeah, well, it took a lot. | ||
| I would sit there and practice like basketball into garbage cans just to try to retain the depth perception. | ||
| That's the real issue, right? | ||
| Yeah, it's difficult. | ||
| And then also, it's frustrating when you're... | ||
| Anyway, I'll interrupt myself to continue with the fun. | ||
| So now I'm where I'm at, right? | ||
| And they're like, your other eye is going to need cataract surgery. | ||
| And I'm like, so I did ask when the retina fell off. | ||
| Hey, did the cataract surgery have anything to do with that? | ||
| Possibly. | ||
| And every doctor and every specialist and everybody I talked to all said the same thing. | ||
| I'm paraphrasing. | ||
| Well, any procedure on your eye may, could, might, possibly have the possibility of... | ||
| Like one of them commercials for a pharmaceutical drug. | ||
|
unidentified
|
Oh, hell. | |
| So it's like, did the operation on your eye cause the retina to fall off? | ||
| Anything could... | ||
| Maybe. | ||
| Anything could maybe. | ||
| So, anyway, so now I've got to have cataract surgery on this one. | ||
| I got a great guy who's one of the best in the West Coast, etc., etc. | ||
| We do the surgery, and there is a mistake in... | ||
| Because they account for my pressures. | ||
| They try to keep the pressures low because of my glaucoma. | ||
| Well, they... | ||
| Went a little too far. | ||
| My pressures were down. | ||
| Your normal eyes run, like your eyes probably run at like 20, 22, you know, maybe even a little bit higher, but right around there for pressure inside. | ||
| We'll call it air pressure, you know. | ||
| It's not the right term, but... | ||
| So mine, with medication, we keep it down at like 13 and 12, right? | ||
| Okay. | ||
| So when, after the second cataract surgery, the one on the one working eye, They had dropped the pressure so low, I coughed, and it blew out blood vessels inside my eye. | ||
| Which, when you wake up and you look, it looks like it's snowing inside your... | ||
| It looks like it's snowing. | ||
| And I'm like, what the hell's going on? | ||
| And at the same time, we did a special little surgery to, like, drill out the drain tube. | ||
| Because in my eyes, the faucet's wide open and the drain tube's plugged. | ||
| Oh, boy. | ||
| That builds the pressure. | ||
| So the medicine turns the faucet down and clears away the drain tube, right? | ||
|
unidentified
|
Yeah. | |
| So we drill out the drain tube. | ||
| I'm over... | ||
| I'm making this... | ||
| I'm sure there's eye guys listening. | ||
| That's not technically... | ||
| Look, they drilled the damn... | ||
| Like me describing MechaniQuark. | ||
| Right. | ||
| They drilled the damn tube open, so all the blood goes down and plugs that. | ||
| So that ruined that. | ||
| Yay. | ||
| And so they rush me, and they basically take a needle and insert fluid into my eye. | ||
| I'm wide awake. | ||
| Mind you. | ||
| Just two little... | ||
| You ever been with the two handles under the table? | ||
| Oh, yeah. | ||
| You grip on them? | ||
| Yeah. | ||
|
unidentified
|
Oh, my God. | |
| Motherfucker. | ||
| Does he have your head secured or anything? | ||
| No, he just put it in the little foamy breeze. | ||
| Oh, boy. | ||
| So they do that, and that was miscalculated, and the pressures went to like 62. And I was... | ||
| What's the word? | ||
| Terrified. | ||
|
unidentified
|
Terrified. | |
| No, I was throwing up. | ||
| I couldn't stand up. | ||
| I was so disoriented because it was, I mean, it was screwing with the deal. | ||
| And so the doc, who, again, great guy. | ||
| I'm still, I'm not slamming him. | ||
| And he actually met me at his office at like, I don't even know when it was, three in the morning or whatever. | ||
| And I'm throwing up in his bushes out front, right? | ||
| And he did this three times, head in the thing, hands on the handle, took a blade, lifted my eye and let the pressure out, let the fluid out. | ||
| So I'm like, taking that, right? | ||
| So now we get the pressures under control, right? | ||
| And so that was two to three years ago. | ||
| And believe me, every day when I wake up and I can see, I'm like, is this the day this retina falls off? | ||
| Am I going to have a repeat of the last one? | ||
| Oh, I've got to have clammy hands. | ||
| I really do. | ||
| I'm the one living through it. | ||
| You don't have to worry about it. | ||
| You're good. | ||
| Yeah, but still, it's for you. | ||
| Yeah, it's, you know, but it's like anything else. | ||
| When someone has something, when something is always over your shoulder, you can either focus on it and worry about it, or just go to the shop and build some cool cars, you know? | ||
| Well, I'm glad you chose the latter. | ||
| I guess that's the only choice to make. | ||
| Yeah, you know, I can't. | ||
| So I do go like every four to six weeks. | ||
| I have a lady I love, Dr. Tor. | ||
| I go into her office. | ||
| Luckily, it's like a mile and a half from my house. | ||
| So I go down and we check my pressures. | ||
| I don't have to. | ||
| She's like, you're fine. | ||
| Come in six months. | ||
| I'm like, no, no, no, no. | ||
| I'm coming in once a week. | ||
| But I come in four to six weeks. | ||
| We check the pressures. | ||
| We look at the retinas. | ||
| Have you looked into stem cells? | ||
| Is there anything with stem cells? | ||
| There's nothing as of now. | ||
| I have a meeting with the Dr. Asmali. | ||
| I'm getting together with him next month. | ||
| And he's down at, I think it's UCLA. He's real hip. | ||
| That stuff. | ||
| They're still hip? | ||
| People are still hip? | ||
|
unidentified
|
Yeah, he's hip. | |
| Yeah. | ||
| The t-shirt you're wearing. | ||
| With your fucking band hair. | ||
| Still hip, man. | ||
| So he's hip to all the... | ||
| Yeah, I'm going to grill him again. | ||
| And I'm interested. | ||
| I'm going to talk with him because I don't know. | ||
| When they were saying, we'll go in and clean the scar tissue, I'm like, absolutely. | ||
| Let me connect you to my friend Brigham. | ||
| He owns Ways to Well, which is a stem cell clinic in Austin. | ||
| And he was one of the most amazing guests I ever had on the podcast, who explained how these things work. | ||
| But one of the things that he does is he's always up on the latest research in terms of like, he's the one who sent me that thing. | ||
|
unidentified
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This latest article about people living to be 120 years old. | |
| The beginning of the horror movie. | ||
| At least he'll make you forever soldiers. | ||
|
unidentified
|
Forever. | |
| You will be connected to the big machine. | ||
| Oh, terrific. | ||
| I'm in. | ||
| But let me connect you to him. | ||
| He'll know what's going on in terms of if there's anything going on with eyeballs. | ||
| There's a lot of really good stuff with neurodegenerative issues. | ||
| People that have all sorts of neurological issues have gone down. | ||
| I know Dr. Reardon from Panama was talking about that. | ||
| He's the first guy I ever had come on and talk about stem cells. | ||
| He's the guy that came out with Mel Gibson. | ||
| I don't know if you ever saw that one. | ||
| Oh, yeah. | ||
| Oh, that guy. | ||
| Okay. | ||
| How it was described to me was, again, at least he was being honest. | ||
| He was like, the retina is like brain tissue. | ||
| We know what it is. | ||
| And that's about it. | ||
| We can't reproduce it. | ||
| We can't copy it. | ||
| We can't make it. | ||
| We can't... | ||
| Again, all they do is tack weld it up with lasers. | ||
| My hope is they're going to be able to make new ones. | ||
| Because one of the things they've been able to do with stem cells, they've actually made a woman's bladder, I believe. | ||
| I believe they reconstructed an actual bladder with stem cells, with her tissue, and then put it in her body. | ||
| Find out if that's true. | ||
| I think that's true. | ||
| Which is, obviously, it seems like that would be a less complicated thing than, you know, than an eyeball that has to like... | ||
| Yeah, and I've heard of them trying to, or somebody doing an eyeball. | ||
| Really? | ||
| Because it's easier to make the whole thing than try to replicate. | ||
| Right. | ||
| That's what I was thinking. | ||
| But I'm like, how are you going to connect it to all those optic nerves? | ||
| Yeah, what are you going to do there? | ||
| And what does that do? | ||
| What does that go south? | ||
| And all of a sudden you forget your childhood? | ||
| You know what I mean? | ||
| What's connected back there? | ||
| Yeah, I don't know. | ||
| I don't know how they're going to do it. | ||
| Weird dreams about hanging out with your brother that are going to be just gone forever. | ||
|
unidentified
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You know what I mean? | |
| Yeah, I don't know. | ||
| I'll be interested to talk with Asmali again when I'm back in and just see if there's any new... | ||
| Because I'm down for it. | ||
| Jamie, did you find anything about them making eyeballs? | ||
| Yeah, you were looking up the bladder. | ||
| Did you find that? | ||
| Is that real? | ||
| Is that real? | ||
| I think it's real. | ||
| But I never know. | ||
| I mean, I say things sometimes and I go, okay, let me check. | ||
| Fair enough. | ||
| I don't expect to be talking about people making bladders. | ||
| This wasn't part of the plan today. | ||
| Yeah. | ||
| It's just how it goes. | ||
| Oh, I'm the benefit. | ||
| No, we all have the benefit. | ||
| It's just a real conversation. | ||
| Yeah, the quick search shows that there's definitely studies on bladder regeneration, but there's a difference between them getting a functional urinary tract, kind of like functional bladder. | ||
| I see. | ||
| So I think it does, from what I've looked at it. | ||
| I partially see. | ||
| In an animal, in a small animal, I think is what it said. | ||
| They didn't do it to a woman? | ||
| That's what I was just looking into, and then you kind of cut me off. | ||
| Okay, go ahead. | ||
| Try to find it for a woman, because I'm pretty sure I read that. | ||
| I was very impressed. | ||
| They could've got me, though. | ||
| They could've got me some clickbait bullshit. | ||
| They get me. | ||
| So many times they get me these motherfuckers. | ||
| Ooh, look at that. | ||
| Woman's bladder. | ||
| But hey, that's their job. | ||
| You got me. | ||
| It's fair and square. | ||
| That's the job. | ||
| Their job is to fucking make some shit that you're gonna click on. | ||
|
unidentified
|
Right. | |
| So if they can make the most outrageous version of what is kinda true... | ||
|
unidentified
|
Right. | |
| Kinda true. | ||
| It's iffy at best. | ||
| It's a little iffy, but it's kinda true. | ||
| A new bladder made for my cells, gave my life back, bioprinting human tissue, especially, that's the same thing. | ||
| Is that it? | ||
| No, this is from 2018. It's not the same thing. | ||
| Yeah, that's it. | ||
| This was a little kid, though. | ||
| Is it a girl? | ||
| Luke Macella. | ||
| Does he identify as a girl? | ||
| Way to push... | ||
| Sorry, Luke. | ||
| Push that to the edge. | ||
| Trying to push gender ideology on Luke. | ||
| Does he identify as a girl? | ||
| Sure, why not? | ||
| I'm just trying to be right. | ||
| Maybe on Wednesday. | ||
| I'm just trying to be right, Jack. | ||
| I mean, there are stories that are shown. | ||
| I don't know if I... I might have to find something specific to find the one you're talking about, but... | ||
| How about that? | ||
| Find the eyeball. | ||
| Yeah, let's find the eyeball. | ||
| The eyeball's more important to Steve. | ||
| Yeah. | ||
| To all of us. | ||
| Yeah, a little closer for me there. | ||
| So anyway, I'm going to revisit and ask them if we have to go in like they did before to scrape off the scar tissue because I did have a vertical slot of sight because this eye has a new cataract lens, which is still in there. | ||
| Right. | ||
|
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|
And I remember when I... But the scar tissue's covered over it. | |
| Yeah, when I could walk around again and I was walking outside, you know, I'd cover this eye and there would be a... | ||
| Instead of this, it'd be like that. | ||
| A vertical, full height, but just not as wide, but clear site. | ||
| And I'm like, well, you know, it's been a while now. | ||
| If they can clear that off and I can get that, that'd be awesome. | ||
| Yeah, that'd be amazing. | ||
| I mean, yes. | ||
| So they think they can do that? | ||
| He suggested it back then. | ||
| So I was not ready to do it. | ||
| I was sick and tired of being on the table. | ||
| I literally knew how to put the IV. I prepped myself up. | ||
| You gave yourself an IV? No, I'm just saying I could. | ||
| When you go in the surgery center and they go, hi, Mr. Stroop, they recognize you. | ||
| Giving yourself an IV is next level, right? | ||
| It's like giving yourself a tattoo. | ||
| Yeah, I'm not doing that. | ||
| Guys who tattoo the inside of their own thighs are like, whoa. | ||
| Who the hell is doing that? | ||
| A lot of folks. | ||
| Okay. | ||
| Guys practice on themselves. | ||
| Hmm. | ||
| Yeah. | ||
| I'm gonna say no for that one. | ||
| Well, tattooists do it to themselves all the time. | ||
| If they want something and they maybe want to draw it, they're very skilled. | ||
| You know, maybe they want like a specific kind of flower somewhere. | ||
| Fair enough. | ||
| And they can reach it. | ||
| Okay. | ||
| Stem cells from one eye show promise in healing injuries in the other. | ||
| Interesting. | ||
| There's another story, too, where a kid had a very specific eye injury that was called a stem cell. | ||
| See, my problem, it's not my problem, well, it is my problem, but my situation is there's stuff they do on the outside, like cadaver stuff, but the inside, like the retina, what I've been told is like no man's land. | ||
| It's like, well, good luck, you know? | ||
| Mm. | ||
| It's like, oh, you can get that from a dead body. | ||
| No, you can't. | ||
| They can't replace a retina. | ||
| And if I'm wrong, great. | ||
| Bring it on. | ||
| Maybe they just can't do it now. | ||
| But then it's also someone else's organs, so you're going to have to take all these drugs to keep your body from rejecting it. | ||
| Yeah, I'm sure there's no... | ||
| My friend C.T. Fletcher had a heart transplant a few years back. | ||
| He's an amazing person. | ||
| He's a super, super inspirational person. | ||
| And had a heart transplant. | ||
| And now he has someone else's heart inside of him. | ||
| Now he has to take medication. | ||
| It's so trippy. | ||
| It's crazy. | ||
| So your body, when you have someone else's organ in your body, your body knows it's not yours. | ||
| So your body tries to reject it. | ||
| So I imagine that does... | ||
| Wreck havoc with your immune system, but it's keeping him alive, and it's amazing, man. | ||
| This guy's so full of love. | ||
| He was like this crazy, wild power lifter dude who was real motivational and aggressive, and now he's like this real peaceful, interesting, wise person who's enjoying his last moments alive. | ||
| But it's heavy. | ||
| It's heavy. | ||
| I mean, the heart is obviously the big one, right? | ||
| Yeah. | ||
| That's the big one. | ||
| Probably really important. | ||
| We're fucking 10 years, 20 years away, max, from them being able to suck your brain out of your head and put it in a robot. | ||
| Oh, good. | ||
| That'd be great. | ||
| They're going to give you a Steve Strope robot. | ||
| That'll be terrific. | ||
| You're going to look like Ken from the Barbie movie. | ||
| I hope not. | ||
| Yeah, and the first ones won't be able to feel real pleasure, and so you have to sign off on that, but then the next ones, the better ones will. | ||
| That's where this is going. | ||
| So you have to decide whether or not you're going to get another surgery. | ||
| They've never removed a brain from one robot and put it in another robot. | ||
| You know that, right? | ||
| Yeah, but they know how to do it. | ||
| They're pretty good at it. | ||
| Who's they? | ||
| These new people in the future, the robot brain scientists. | ||
| Oh, good, yeah. | ||
| Would you opt in for that, or would you rather just say, let's see what's next? | ||
|
unidentified
|
Let's let the lights go dim and see what's next. | |
| Hey, good question. | ||
| It's a good question. | ||
| I don't know. | ||
| I don't know. | ||
| It's hard to say. | ||
| Because everybody's scared to die, but no one's scared to sleep. | ||
| Hmm. | ||
| That's a good statement. | ||
| Yeah, it's weird. | ||
| Because you're expecting. | ||
| The odds are you're waking up. | ||
|
unidentified
|
You should be expecting the other one, too. | |
| You know? | ||
| True. | ||
| It comes for all of us. | ||
| Yeah, that's a great equalizer, is it not? | ||
| I wonder if that's like, you know, if Satan was real, that would be the ultimate temptation, to trick you into transferring your consciousness into something immortal so that you can never experience heaven. | ||
| Wouldn't that be wild? | ||
| If that's what's going on? | ||
| Because everybody wants to think that even people that believe in God, they don't necessarily talk too much about Satan. | ||
| It's very rare. | ||
| I have a very... | ||
| Your good old standard issue religious background with my parents. | ||
| What did you start off with? | ||
| Well, I'm from a... | ||
| We're going to get into Appalachian in a little while. | ||
| Appalachian? | ||
| Appalachian? | ||
| Appalachian. | ||
| What's that? | ||
| Appalachian mountains, the yeehaw stuff down south. | ||
| What kind of stuff did you guys do? | ||
|
unidentified
|
What kind of stuff did you guys do? | |
| Yeehaw stuff. | ||
| What did you guys do? | ||
| Appalachian, New York is a very small farm town in upstate New York. | ||
| Still has a red light at the end of it where it meets 434. Okay. | ||
| Has a post office and a fire station. | ||
| Okay. | ||
| And known for a very important large mafia bus in 1957. A mafia bus? | ||
| There's actually a paperback and a movie about Appalachian. | ||
| What's the movie or paperback? | ||
| Appalachian. | ||
| It's just called Appalachian? | ||
| Yes. | ||
| Yes, sir. | ||
| And it's all about the mob? | ||
| It's a huge bust. | ||
| Look at it. | ||
| On this day in 1957, the FBI finally had to admit that the mafia existed. | ||
| They were all gathered in a farmhouse. | ||
| The leaders of the main... | ||
| Mob families. | ||
| And they were basically working out jurisdictions, properties. | ||
| I think I was researching some stuff one time and I stumbled across this meeting happened after a failed meeting in Cleveland because the Cleveland family fucked up the meeting and they got mad. | ||
| It's like, fuck it, we're doing it in New York. | ||
| Yep, they did it. | ||
| And so the two sheriffs just saw these black Cadillacs and Lincolns going up to this farmhouse. | ||
| And I think, if memory serves me right, they kind of fucked up and all panicked and ran into the woods. | ||
| In fact, that guy, no, they did do that. | ||
| But if they just would have said, hey, we're just hanging out, what are you going to prove? | ||
| But they all bailed. | ||
| And they ran into it, if I remember right, they're coming out of the woods near where my grandma's house was. | ||
| That was a dirt road back then. | ||
| And I could take you there. | ||
| The house is on top of a little hill behind the area where we have our fireman's field days every year. | ||
| State troopers noticed all the fancy cars parked in Barbara's driveway. | ||
| And started taking down license plate numbers. | ||
| Some have suggested that one of the Genovese rivals tip the cops in hopes of spoiling Genovese's crown ceremony. | ||
| Oh, God. | ||
| The assembled mafioso noticed this and began to panic. | ||
| Some fled into the woods, some hidden in the basement. | ||
| Others ran to their cars and tried to drive away. | ||
| The troopers caught about 60 of them. | ||
| When questioned, many insisted they were there for a barbecue. | ||
| Yes. | ||
| They had just come to visit their good friend, Joe Barbara. | ||
| Who was recovering from a heart attack. | ||
| When all was said and done, the troopers had apprehended mafia leaders from New York, New Jersey, Tampa, Los Angeles, Cleveland, Dallas, Pittsburgh, and other locations. | ||
| But isn't that funny? | ||
| Like, what did they bust them for? | ||
| Just being there? | ||
| What they all wanted already? | ||
| They just... | ||
| Well, I think the paperwork laying on the inside was showing dividing up territories. | ||
|
unidentified
|
Oh, boy. | |
| And it was one of the first times that the FBI had proof. | ||
|
unidentified
|
Hold up. | |
| Hold up. | ||
| Look at this. | ||
| The whole thing made national news and finally forced the FBI to acknowledge that organized crime was a matter worthy of notice. | ||
| Some believe that J. Edgar Hoover's reluctance to acknowledge the mob's existence can be ascribed to the mafia somehow acquiring photographs of Hoover in drag. | ||
|
unidentified
|
Oh! | |
| Using those to blackmail him into leaving the Mafia alone. | ||
| There is no evidence to suggest that this is true. | ||
| That was always the rumor that he drew. | ||
| But that would be the rumor if there was a guy that ran the FBI, like what dark secrets does he have? | ||
| You know, if he's like holding the secrets of everyone. | ||
| What's his secret? | ||
| What's his secret? | ||
| Probably you'd have to have secrets. | ||
| You'd probably go crazy if you didn't. | ||
| You know, like you're the one who keeps the secrets. | ||
| You'd probably do the weirdest shit. | ||
|
unidentified
|
Possible. | |
| So almost automatically you would think that he would wear drag. | ||
| Yeah, that's where my brain goes. | ||
| That's where my brain would go. | ||
| Like, he's doing some freak shit. | ||
| He's doing some, quote, freak shit. | ||
| Freak shit. | ||
|
unidentified
|
Freak shit. | |
| You know, if you are more, you know, dark-minded, you would think even horrible things. | ||
| They're doing horrible things. | ||
| That's always the worry that people have about, like, the elites. | ||
| Like, what are they doing? | ||
| Like, the skull and bones and, like, what kind of fucking rituals? | ||
| What kind of freak-ass shit are they doing? | ||
| What freak shit are you doing? | ||
| You know? | ||
| And getting away with. | ||
| Yeah, when you're on a $500 million yacht every weekend. | ||
| And you're just fucking balling all over the world, hanging out with your other balling all over the world buddies, doing freak shit. | ||
| Yep. | ||
| Staying in the club together. | ||
| Mm-hmm. | ||
| Hunting people. | ||
|
unidentified
|
Freaky. | |
| You know what I'm saying? | ||
| Yeah. | ||
| Freaky. | ||
| Yeah. | ||
| So anyway, background. | ||
| Small South Appalachian Baptist Church. | ||
| My dad's a deacon at the church. | ||
| My sister is married to somebody who's a pastor, and she moved to France, Mont-Plair, and she's a missionary there. | ||
| So all the basic Christian education, I got it. | ||
| But no one you know has had conversations with the devil, right? | ||
| No, not really. | ||
| But people, I bet you've talked to people that said God has talked to them. | ||
| I don't know. | ||
| My dad would never say God talked with me directly. | ||
| He reads the Bible. | ||
| It's not an uncommon thing, though, right? | ||
|
unidentified
|
No. | |
| But my background or the church I grew up in and my mom and dad are pretty strict. | ||
| Like, Pastor Walter growing up, that guy was a logger. | ||
| You know, this was a small little town. | ||
| That's a cool story. | ||
| And he had, I'm not kidding, he had a scar from here down through his jaw to here, a chainsaw, jumped back and went, cut him right through the face. | ||
| That's a manly man right there. | ||
| It's like a Teddy Atlas scar. | ||
| Took himself to the hospital with a towel on the side or a shirt on the side of his face. | ||
| Of course he did. | ||
| Yes, he did. | ||
| Probably would have fucking stapled it shut if he had a stapler in the car. | ||
| And he was the nicest, pleasant, like, Hi, good afternoon. | ||
| Yeah, I've seen some shit. | ||
| Oh my goodness. | ||
| He doesn't have to convince you. | ||
| So everything, it was real simple. | ||
| Here's a good book. | ||
| Read it. | ||
| If it says yes, do it. | ||
| If it says no, don't. | ||
| That's all. | ||
| There's no pomp and circumstance. | ||
| There's no robes. | ||
| Real simple. | ||
| Real straightforward. | ||
| But my dad would be interested, and he'll be listening to this. | ||
| So he would be interested in your thing if the end times doesn't come, and Satan can say, hey, guess what I can do? | ||
| But here's the thought. | ||
| Would somebody take that? | ||
| If Satan really was clever. | ||
| Oh, if he's real? | ||
| If he's real. | ||
| He is the prince and power of the air. | ||
| He is the great deceiver. | ||
| He's very clever. | ||
| Right. | ||
| But if Satan is a real thing, what a genius thing to make it ridiculous to believe in him. | ||
| What a genius thing to make it so that even saying you've communicated with Satan or saying... | ||
| You sound like a loon. | ||
| You sound like a loon. | ||
| Because if you negate him... | ||
| We were just talking about this the other night. | ||
| I said that if the president said, God is with our troops, we would say, awesome. | ||
| But if the president said, we've located the devil, he's in Afghanistan, and we're beginning bombing, He'd be like, what the fuck did you just say? | ||
| And you're right about genius because if you're ridiculed or look like a loon for believing in Satan, then by default you're a loon for believing in God. | ||
| So he's done his job by negating everything. | ||
| Well, sort of. | ||
| Well, to a point. | ||
| Because a lot of people that believe in God... | ||
| They're both in the same book. | ||
| They believe in Satan as a concept, I think. | ||
| I think it's like a... | ||
| There's like a graph of people that... | ||
| Like if you had a pie chart of all the people that believe in God, right? | ||
| Sure. | ||
| Or the entity of God. | ||
| The ones that think that Satan's a real thing is probably like a quarter of the pie. | ||
| And if they read, again, not some weird crazy, but just the plain Jane Bible... | ||
| Right. | ||
| Satan was the number one angel. | ||
| He was number two in charge. | ||
| He was the big cheese and said, I want to have everything. | ||
| And God was like, not going to happen. | ||
| Yeah. | ||
| But isn't that always like even in the mob? | ||
| Yes. | ||
| That kind of thing happened? | ||
| Number two tries harder, doesn't he? | ||
| Number two tries to kill number one. | ||
| Yeah. | ||
| When they killed Paul Castellano in front of Sparks Steakhouse in New York City. | ||
| Is that the shot you have right there in the hall? | ||
| No. | ||
|
unidentified
|
What do we have in the hall? | |
| What shot is that? | ||
| Oh, that's Jack Ruby shooting Lee Harvey Oswald. | ||
| That's right. | ||
| That's it. | ||
| Yeah. | ||
| That's a different one. | ||
| Yeah. | ||
| So in my area around me, there's a lot of Italian, growing up lots of Italian. | ||
| Lots of Italian. | ||
| Right. | ||
| So I got good food. | ||
| There you go. | ||
| Really good food. | ||
| They know how to eat. | ||
| I'll tell you that. | ||
| If you want to eat for pleasure, the Italians got it nailed. | ||
| Yeah, they do. | ||
| They do. | ||
| What's crazy is the difference between their food here and their food in Italy. | ||
| It's gone on its own shoot. | ||
| Yeah, but that's not what I mean. | ||
| I mean in terms of like what it does to your body. | ||
| I would really like some fucking science to be done on it. | ||
| Like what is happening? | ||
| You go to Italy, you eat their pasta, you don't feel bad at all. | ||
| You come to America, you feel like you ate a bowl of glue. | ||
| I'm like, oh my god, I can't move. | ||
| A bowl of glue, sir. | ||
| I can't move. | ||
| There's something about their bread. | ||
| It's different. | ||
| Apparently they have heirloom wheat. | ||
| They have different wheat before we start fucking with it. | ||
| We should unfuck the wheat, kids. | ||
| Because I know it's like higher yield. | ||
| Joe Rogan's new unfuck the wheat program. | ||
| This is what I think. | ||
| But there's also some people that believe that one of the things that we're experiencing when people have gluten intolerance is an intolerance to wheat is actually... | ||
| You might be getting glyphosate from it. | ||
| This is a highly speculative theory, but they've tested people and they found that, what was it, Jamie, like 94% of people? | ||
| 94% of people have glyphosate in their body, and glyphosate is toxic. | ||
| It's an herbicide? | ||
| Yeah, it's an herbicide. | ||
| Is it because what we do to plant and grow wheat? | ||
| Yes. | ||
| Well, we grow corn. | ||
| Monsanto created it, and they created a corn that is immune to it. | ||
| So you eat like this Monsanto corn and they can spray glyphosate on it and it kills everything else. | ||
| It kills all the bad weeds and you just get the nice corn. | ||
| Okay. | ||
| The problem is that stuff gets in everyone's body in some small amount. | ||
| And the question is, like, is your body able to filter out the amount that it has in it? | ||
| Like, what's the toxic level? | ||
| Are we below the fear? | ||
| Is it fear-mongering? | ||
| Because, like, there's a certain amount of metals that you're going to get just from eating sushi. | ||
| If you get some salmon or some tuna, rather, from the Pacific Ocean There's real high possibility that you could get mercury in it. | ||
| Some amount, right? | ||
| What's the prevalence of toxic metals in tuna? | ||
| Let's just guess. | ||
| I have a friend. | ||
| I don't want to mention his name, but he's brilliant. | ||
| And he won't eat fish from the Pacific anymore. | ||
| And I said, why? | ||
| And he said, Fukushima. | ||
| He said they're literally dumping this nuclear water into the ocean, and we don't know what's going to happen. | ||
| We don't know what effect this is going to have. | ||
| We don't know if the ocean's just going to easily absorb it or whether it's going to kill fish. | ||
| We don't know if it's going to contaminate them, if they're going to have levels of radiation. | ||
| He was freaking me out. | ||
| And he's a lot smarter than me. | ||
| So, you're an honest man. | ||
| And he doesn't fucking eat fish from the Pacific anymore. | ||
| I'm like, whoa, is that valid? | ||
| So what's the, first of all, first one is tuna. | ||
| Are there levels, high levels of mercury in tuna? | ||
| Yeah, so you could get mercury poisoning from one serving. | ||
| Sorry, let me rephrase that. | ||
| The amount of mercury you're allowed to have in a week, you could get in one serving of tuna. | ||
| Jesus. | ||
| So if you're eating sushi every day, Because I've heard of people actually getting sick from eating sushi every day. | ||
| Like they literally get mercury poisoning. | ||
| Yeah. | ||
|
unidentified
|
Oh. | |
| Not good. | ||
| No. | ||
| What is that shit that I had? | ||
| Arsenic? | ||
| Yes. | ||
| I was eating sardines like every day. | ||
| I love sardines. | ||
|
unidentified
|
Okay. | |
| I love them. | ||
| So I'd eat like three cans of sardines a day. | ||
| And I go to my doctor. | ||
| I get my blood work done. | ||
| He goes, um... | ||
| He goes, you have arsenic in your body. | ||
| Arsenic? | ||
| Arsenic. | ||
| Yeah. | ||
| Trace levels of arsenic. | ||
| And I said, how much? | ||
| Like someone's trying to poison me? | ||
| He goes, I don't think so. | ||
| He goes, are you eating a lot of seafood? | ||
| I go, eat three cans of sardines a day. | ||
| He goes, don't do that. | ||
| Don't do that. | ||
| And he explains to me that these are bottom feeders and that they live a lot of times in areas that are polluted by humans. | ||
| So we fucking polluted the ocean to the point where if you eat too much fish, you get sick. | ||
| You know, all these people that are worried about the weather warming up and climate change. | ||
|
unidentified
|
What are we doing to the ocean? | |
| What are we doing? | ||
| I mean, what's the number in terms of depopulation? | ||
| How much fish are missing from the ocean than 50 years ago? | ||
| I think a large amount. | ||
| Let's ask, the fish population in the ocean now versus 50 years ago. | ||
| Let's find that out. | ||
| Let's guess. | ||
| Let's guess. | ||
| Before you give me the answer, let's guess. | ||
| How much of the ocean's fish has been depleted in the last 50 years? | ||
| I'm gonna say 50%. | ||
| No, I'm gonna say 70%. | ||
| Really? | ||
| Yeah, I'm gonna say 70%. | ||
| I was at like 45, maybe 50. That's probably reasonable. | ||
| I might be fear-mongering. | ||
| Let's find out. | ||
| Fear-mongering? | ||
| Yeah, I've done that before. | ||
| Oh, good. | ||
| Okay. | ||
| You know, I'm not a lot. | ||
| You're not massively mongering. | ||
| You know, like you play cornhole at the beach. | ||
| I'm not like a cornhole player, right? | ||
| I've played a few times at the beach with my kids. | ||
| It's on ESPN now. | ||
| I guess it's a legit sport. | ||
| Oh, dear. | ||
| So, Jamie, what was your guess? | ||
| Help us all. | ||
| I didn't, I was trying, there's too many questions I have before I could give you a good guess because it's already a strange, like how are they going to measure that in 1950 and even now how would you know how many fucking fish there are? | ||
| Very good question. | ||
| Very good question. | ||
| More than six. | ||
| Yeah, especially when you, there's more than six fish. | ||
| Yes. | ||
| Especially when you account for the fact that we haven't really explored most of the oceans. | ||
| So how they measure it is based off of how much they're pulling out. | ||
| Right. | ||
| So they measure how much they've taken in for this year. | ||
| How much they've murdered. | ||
| So what's the estimates in terms of the mass that's down? | ||
| It says in 1950, total catch of fish in the ocean was an estimated 18.5 million metric tons. | ||
| Now, a half century later, it says 73.5 million metric tons, a 400% increase. | ||
| That's an increase. | ||
| But another guy says that 90% of all large fish have been removed from the ocean since 1950. And I don't know, like, how would he know? | ||
| Click on his. | ||
| Put it up there. | ||
| Let's see what it says. | ||
| That sounds interesting, because that sounds crazy. | ||
| 90%? | ||
| Clover populizes the work of fishery scientists such as Daniel Pauly, a marine biologist, University of British Columbia in Vancouver, Canada, who have pieced together a picture of imminent catastrophe in the global ocean. | ||
| Among the first to recognize that fisheries catch rates were in decline worldwide, Pauly discovered in 2001 that the phenomenon had previously gone unnoticed owing to systematic distortions in catch trends that were skewed by incorrect reports from countries of big fisheries. | ||
| In 2003, Boris Worm and Ransom Myers of Dalhoyse University in Halifax, Nova Scotia reported that 90% of all large fish, including tuna, swordfish, and marlin and cod, had been removed from the ocean since 1950. Holy shit! | ||
| Holy shit! | ||
| The end of the line is informative. | ||
| Clover's reporting reveals that bluefin tuna, the endangered species with perhaps the most alarming plight in the ocean, is allegedly being bought and frozen in bulk by major corporations. | ||
| Once ocean supplies run dry, the frozen fish can be sold at sky-high prices. | ||
| So they're freezing tuna in bulk because they anticipate they're going to run dry? | ||
| That's wild. | ||
| They're stockpiling it like they do diamonds. | ||
| Clover's portrayal of the global fisheries problem falls down on two counts. | ||
| Oversimplification and polarization. | ||
| Although current fisheries policy is inadequate, much of it's based on science. | ||
| Clover suggests, for example, that the practice of discarding by which some seven million tons of caught fish are thrown back into the sea each year has arisen because fishermen Simply do not want the species they have caught, but wasteful discarding is more often the consequence of a fisheries policy that is designed to prevent fishermen targeting juveniles and species outside of their allotted quota. | ||
| Well, that makes sense, because they killed fish and then they have to throw some of them back in the water because they killed fish that were too small. | ||
| But that's because it's indiscriminate. | ||
| They're still killing them, if that's what they're saying. | ||
| Clover's quick to point out the culprits of the fisheries crisis, slippery politicians, greedy fishermen, and thoughtless consumers in big businesses while making activists and scientists the stars of this show. | ||
| But in adopting a tone of advocacy with its inherent moralism, Clover isolates viewers and misses an opportunity to place this problem in context. | ||
| Huh. | ||
| It still seems like there's a problem. | ||
| They're just kind of like making it look pretty. | ||
| Overexploitation of fisheries. | ||
| Is one part of the huge dilemma that humans face in an increasingly resource-limited world. | ||
| We can seek sustainability, but we will not be able to diversify our consumption indefinitely, and climate change will decrease marine resources further. | ||
| They always have to bring it back to climate change. | ||
| If you don't, people won't take you seriously. | ||
| Those most affected will be the fisherfolk of developing countries who... | ||
| Fisherfolk? | ||
| Fisherfolk. | ||
| Why do I hate that term? | ||
| Who make up 98% of people who are directly dependent on fisheries for their livelihood. | ||
| Because it's not fishermen. | ||
| Yeah, it's fisherfolk, bro. | ||
| It's fisherfolk. | ||
| How many non-binary fishermen are there out there? | ||
| That's what I want to know. | ||
| That might be the lowest population of non-binary humans in groups on Earth. | ||
| Fishermen. | ||
| No, fisherfolk. | ||
| Fisherfolk. | ||
| They don't want to fucking hear any of that. | ||
| Fisherfolk. | ||
| All those people that are risking their lives to get you crab. | ||
| Doesn't even sound like a real word. | ||
| Sounds like something on a cartoon. | ||
| Fisherfolk. | ||
| It sounds like something they say on The Hobbit. | ||
| Sure. | ||
| Fisherfolk. | ||
| We're going to visit the fisherfolk. | ||
| Oh, good. | ||
| That's what it is. | ||
| Those guys that fucking risked their lives to get you the crabs. | ||
| You ever watch that show? | ||
| Oh, The Deadliest Catch? | ||
| I mean, the crabs are great, but Jesus Christ, boys. | ||
| That's a lot of work. | ||
| Fucking scary job, but it must be thrilling as fuck. | ||
| Yeah, you know, I'm not into getting grabbed by a wave and thrown over the side in Arctic waters. | ||
| My friend Clay Guida did it for a little while. | ||
| I think he did it for the adventure, too. | ||
| But he's crazy. | ||
| He's out of his mind. | ||
| But he's crazy. | ||
| Yeah, he's a wild man. | ||
| But, you know, that's the kind of guy who would, you know... | ||
| Take a ride on one of them boats and go get some crabs. | ||
| They pay you a lot of money, though. | ||
| And they probably should. | ||
| I think they have to, because people die. | ||
| Because it's crazy. | ||
| You fall in that water, you're a fucks, Phil. | ||
| Yep. | ||
| That's not good. | ||
| Yep. | ||
| And that thing's sloshing all over the place. | ||
| I don't think I can handle that. | ||
| You have to sleep in that fucking thing? | ||
| Nope. | ||
| And they go out for a long time. | ||
| It's above my pay grade. | ||
| Yeah. | ||
| I'm not doing it. | ||
| Well, thank God you can fucking turn a wrench, sir. | ||
| So, I was going to springboard... | ||
| Off of Appalachian, because that's from whence I came. | ||
| You gotta stay on track. | ||
| I love it. | ||
| So, how I came to be here with you, backtracking to shop, backtracking from California, starting in New York, in our pre-mentioned Appalachian, By the way, Appalachin, weird, stupid background. | ||
| Appalachin and Appalachin. | ||
| The only difference is the amount of P's in the name. | ||
| Oh, really? | ||
| Yeah. | ||
| Which one has more P's? | ||
| Appalachin. | ||
| Mine is A-P-A-L-A-C-H-I-N. That must be annoying that people confuse those two with you and you have to explain it every goddamn time. | ||
| I try to stay away from it. | ||
| Yeah. | ||
| Just say small town New York. | ||
| Yeah, right. | ||
| It's easier. | ||
| So I'm tinkering on cars in Appalachian. | ||
| I'm spending most of my time on stage playing. | ||
| Cars were my drop-dead hobby. | ||
| Loved it. | ||
| At night, backstage, I'd be reading my new issue of Hot Rod and my little glass of ice water. | ||
| You know, couldn't wait for my new issue, and I'd go to as many car shows as I could go to during the summer. | ||
| And the quick version is a real good friend of mine, Sean Davis from Canada, said, hey, we're going to go to the show up in Rhinebeck, New York, and there's going to be a guy there we're going to meet. | ||
| I met him at a big show in Indy, and he's going to make me a billet steering wheel to match my Boyd wheels. | ||
| This is where all the car guys can pay attention. | ||
| And so we went to the said show, met this guy, Jim, wound up going to dinner with him. | ||
| And the guy's like, you know, I'm a machinist. | ||
| I got a place in Riverside, California. | ||
| I should be back there making parts. | ||
| I need somebody to, like, go around the country and sell this stuff. | ||
| And Sean goes, slaps me on the back, goes, greatest salesman right here. | ||
| And I'm like, aw, what? | ||
| And that turned into a conversation. | ||
| And it turned into me, like, not letting go of it. | ||
| Sold everything I had. | ||
| Moved. | ||
| Got out here to Riverside. | ||
| Got there. | ||
| Guy had already been evicted out of his apartment. | ||
| So I've got nowhere to live. | ||
| I'm now living at one of his employees' houses. | ||
| Oh, boy. | ||
| And we're working along. | ||
| Been there about a month or so. | ||
| And the federal marshals show up. | ||
| They're not in a good mood. | ||
| At all. | ||
| What are they looking for? | ||
| I don't know, but I'm like, here's my driver's license. | ||
| I just got here. | ||
| What kind of questions are they asking you? | ||
| They are not asking me shit. | ||
| They're walking around with clipboards and looking at what I thought, because I stayed away from it, I thought they were checking serial numbers on the CNC machines. | ||
| Oh. | ||
| That's what I thought. | ||
| I have no proof. | ||
| I understand. | ||
| So they thought maybe there was some stolen machinery. | ||
| Something, because federal marshals don't come out for a party. | ||
| So anyway. | ||
| How's that turn out? | ||
|
unidentified
|
Well, I'm like, oh God, no, I'm not going to have any job. | |
| I don't know anybody out here, and this is not a car shop. | ||
| They're just machining billet street ride parts. | ||
| They do have one car there, a 40 Ford, which is owned by one of the guys that owned TCI, total cost involved, street ride place. | ||
| And one of the workers for TCI comes down once a week to check on the car because we're one-off in parts for him, right? | ||
| So I know that guy. | ||
| So we're getting our parts ready. | ||
| We're going to go into the LA Roadster show, Father's Day show, in Pomona, and we're going to sell our stuff. | ||
| So I'm setting up on Thursday, and this guy, the only guy I know, besides the two other machinists, goes, hey man, you going to come to our annual open house tonight? | ||
| And I'm like, well, I got no money. | ||
| I live way down in Riverside, or Oceanside actually. | ||
| But I'd love to go. | ||
| I've read about it every year in Street Rider Magazine. | ||
| So I go to the party and I'm like, hey man, you know anybody hiring? | ||
| And he goes, hmm, kind of hard, man. | ||
| Somebody's got to know you or have some background, some history, something. | ||
| And I'm like, well, I'm just throwing it out there. | ||
| So I drive all the way to Oceanside, get a couple hours sleep, drive all the way back to Pomona. | ||
| And the next morning he goes, hey, come here. | ||
| You know what? | ||
| He was like, 10 minutes after you left last night, a guy named Gary Daigle said he was looking for someone, working his shop. | ||
| He's in Orange County. | ||
| And I go, I actually know the name from our list. | ||
| He sells our stuff. | ||
| And he goes, well, he's two aisles down. | ||
| Take a right, go up there, you'll see a sign Daigle's. | ||
| So I went and talked with Gary Daigle, and he goes, well, you're on Jim's dime right now. | ||
| Lunchtime. | ||
| Meet me outside, and we'll talk. | ||
| So we talked, set up for a job, uh, Talk about having a job on Monday. | ||
| So Sunday night we're back at shows over with. | ||
| I'm putting parts back on the shelf and I still remember because the place had like half the lights working dimly lit. | ||
| I see Jim come around the corner going, you might start looking for some work. | ||
| So now I don't have to ask off for Monday. | ||
| I went and had the meeting with Gary, got hired, and so I timed it. | ||
| I flew home, got my 67 El Camino that I built in my dad's barn in my aunt's garage, and timed it that I stopped at the Hot Rod Magazine Super Nationals in Ohio, and editor Jeff Smith And Rob Canan approached me and said, we'd like to feature your car in Hot Rod Magazine. | ||
| And I went, well, okay. | ||
| But I got to go unload everything because every earthly possession I have is in it. | ||
| So I drove it back to the hotel, unloaded everything, and brought it back to- Do you have a picture of that car? | ||
| Yeah, I actually gave him- I came with a thumb drive of a whole bunch of stuff just in case we talked about it. | ||
| Oh, you prepared. | ||
| I did prepare, sir. | ||
| Let me see the 67. It's a bright orange El Camino. | ||
| So when I got here to California, then Custom Classic Truck and Custom Rider featured it also. | ||
| There it is. | ||
| There it is. | ||
| Yeah, New Street. | ||
| Oh, that's pretty. | ||
| Yeah, so I built that. | ||
| So what year is this we're looking at? | ||
| 1995. Wow, that's a beautiful car, man. | ||
| Built it at home. | ||
| And then you drove it across the country? | ||
| Yeah, I drove it across the country. | ||
| Wow. | ||
| What was in that thing? | ||
| Stroker 355. Stroker small block, but it'd get going just fine. | ||
| It's beautiful, man. | ||
| Thank you. | ||
| I usually don't like El Caminos. | ||
| Yeah, I like them for some... | ||
|
unidentified
|
They're so weird. | |
| They're so weird. | ||
| It's like, why is there this open spot in the back that just catches air? | ||
| Those El Caminos are station wagons with the top pulled off. | ||
| The floor pan, in the bed, at the very front of the bed where it kisses the back of the cab, they have a bolt-in piece of metal. | ||
| When you take that out, that's the floor pan for the rear seat in the station wagon. | ||
| So it's a station wagon with the back taken off. | ||
| It's just like, who was like, I want a car, but I also want a pickup truck. | ||
| I want a trar. | ||
| That kind of stopped happening. | ||
| They gave up on that. | ||
| Yeah, they did. | ||
| If they try to bring back the El Camino today, people are like, what the fuck? | ||
| What the fuck are you doing? | ||
| The GM still had one for a while down in Australia. | ||
| They did? | ||
| Yeah, they call it a Ute. | ||
| You base it off of the Mandara, which was like their GTO, the Chevelle. | ||
| They had it for a while. | ||
| Really? | ||
| Yeah. | ||
| They like different stuff down there, though. | ||
| They do. | ||
| They do. | ||
| Australia has different tastes. | ||
| They like a lot of utilities. | ||
| Yeah, there you go. | ||
| Oh, God. | ||
| That looks really recent. | ||
| I love his reaction. | ||
| Oh, God. | ||
| Well, a lot of those folks, they like to fucking crocodile dundee it up and go out in the backwoods. | ||
| You know? | ||
| They need something to throw a fucking tent. | ||
| Well, those things are built, though. | ||
| The motor and the drivetrain are basically Camaro. | ||
| That's crazy. | ||
| That's crazy. | ||
| Actually, now I'm changing my mind. | ||
| That might have made it in America. | ||
| People would have bought that. | ||
| There were some knuckleheads that would have bought that. | ||
| Some knuckleheads. | ||
| That's nice. | ||
| I'm being honest. | ||
| You'd have to be a knucklehead to choose that. | ||
| Not that that's a bad thing. | ||
| Some of my favorite people are knuckleheads. | ||
| Yeah, but if you're between that or a new Mustang, what the fuck are you doing? | ||
| Well, you can throw stuff in the bag. | ||
| So what? | ||
| Get a U-Haul. | ||
| Get the Mustang. | ||
|
unidentified
|
Shut the fuck up. | |
| I don't know. | ||
| There's no if, ands, or buts. | ||
| We're bringing it back! | ||
| There's no if, ands, or buts. | ||
| Mustang's one of the few cars that kept it together. | ||
| Like, they lost it for a long time, but they got it back, and now they're better than ever. | ||
| Like, these new Mustangs they're putting out today, they're fucking amazing. | ||
| Oh, yeah. | ||
| They're great cars. | ||
| Brutal. | ||
| That new one, the Dark Horse, that's a fucking great car. | ||
|
unidentified
|
Mm-hmm. | |
| Right from the factory, six-speed, 500 horsepower, reasonably priced, looks fucking great. | ||
| Yeah. | ||
| They're making, like, real muscle cars, but, like, modern muscle cars today. | ||
| Oh, heck yeah. | ||
| It's nice that that's still going on. | ||
| Yes, I agree. | ||
| I seem to be a proponent for that. | ||
| Yeah, it's just like people forgot the American muscle car is one of the most fun things to drive ever. | ||
| Sure. | ||
| It might not handle the best. | ||
| It might not be the fastest. | ||
| It might not this. | ||
| It might not that. | ||
| But it's what it does to you. | ||
| Like how it makes you feel when you drive it. | ||
| They're very visceral. | ||
| Yes. | ||
| It's very visceral. | ||
| It's very exciting. | ||
| It's like it stimulates you. | ||
|
unidentified
|
It's warm. | |
| Yeah. | ||
| That's why I like driving them across country. | ||
| Yeah. | ||
| It's fun. | ||
| Window down, arm out. | ||
| Yeah, they're alive. | ||
| You're in a goddamn Matthew McConaughey movie. | ||
| Yeah. | ||
| You're alive! | ||
| So, I get here, and I wind up staying, working for Gary Daigle, and the car gets in a bunch of magazines. | ||
| I wind up moving from the Orange County area up to Studio City, join a new band, start recording an album, and I sell my El Camino to a kid in Japan, and I'm like, I gotta do a cool car. | ||
| So I went down. | ||
| It's still there on the corner of Ventura Boulevard. | ||
| Someone in Japan bought it? | ||
| Yeah. | ||
| That's awesome. | ||
| So now it's over in Tokyo? | ||
| Somewhere. | ||
| Do you ever keep an eye on it? | ||
| No, I don't know where it went. | ||
| That was a while ago. | ||
| Maybe someone will reach out. | ||
| Maybe. | ||
| So on the corner of Laurel Canyon and Ventura Boulevard down in Studio City, right now it's still a FedEx office, but it was at Kinko's. | ||
| The Kinko's was where Pure Vision begat. | ||
| I was there photocopying my magazine features, and I had my friend Matt Willoughby in Ohio draw this idea of the 66 Charger that was called Scully. | ||
| Because that's what the pros do. | ||
| They had artwork first. | ||
| And I went to Hot Rod and said, hey... | ||
| You guys thought I was cool before. | ||
| I built a car that you featured, and I'm gonna build this thing, and I'm gonna show up on your power tour, right? | ||
| And I'm gonna use these parts of all these people that sponsor your power tour. | ||
| Is that you as a young man? | ||
| Is that this voice? | ||
| Yeah, who knows? | ||
| Or an idiot, whatever I am. | ||
| So I go over to all the potential sponsors. | ||
| Alright, I'll sound more official. | ||
| No, just be yourself. | ||
| I go over all the sponsored potential guys and go, hey, I had to mail. | ||
| There was no email. | ||
| So I mailed these packets of color photocopies of my El Camino that's been in the prior magazines proving like, hey, I've done it once. | ||
| And going, hey, my proposal is I'm going to build this car and I'm going to take it on the power tour that you are sponsoring. | ||
| So basically, they sponsored me with some parts and they ran the artwork of my car. | ||
| And I built it in my shared tandem parking garage, underground parking garage at my apartment on Whitsitt Avenue, which is where Whitsitt crashes into Ventura Boulevard. | ||
| Built it there. | ||
| So you built it in a garage that you shared with other people? | ||
| Mm-hmm. | ||
|
unidentified
|
Wow. | |
| Yeah, I would go to the junkyard, get the parts, like, example. | ||
| How big is it? | ||
| This is a two-car garage? | ||
| No, it's an underground parking garage. | ||
| Like, how many people are parked in that garage? | ||
| Well, it's 10 and 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12. And you have just one spot. | ||
|
unidentified
|
Yeah. | |
| And in that one spot, you're building a car. | ||
| Right, pretty much. | ||
| And so there's a car right next to you while you're building this car? | ||
|
unidentified
|
Right. | |
| So you're pulling fenders off and there's a car right there? | ||
|
unidentified
|
Yeah. | |
| A lot of stuff was done in that garage, yes. | ||
| That's crazy. | ||
| I would never park next to you. | ||
| Right. | ||
| Well, I am wonderfully respectful. | ||
| I'm sure. | ||
| But who the fuck is going to park next to the guy who's building a car? | ||
| They don't know. | ||
| They don't know. | ||
| It's covered all day. | ||
| I work at night. | ||
| So I'll give you an example of what I did. | ||
| Went to the junkyard for the front end swap pieces to convert it to disc brakes, right? | ||
| Because I know the swaps and all that stuff. | ||
| So I get all those parts. | ||
| And out the back... | ||
| Of the apartment building. | ||
| There's a concrete slab and that's it. | ||
| There was like a really bad table and a chair. | ||
| Nobody ever sits there. | ||
| So I found the one outside the building electric outlet. | ||
| Bought two extension cords to go because it's all the way on the other side of the building. | ||
| Wrap it around the building. | ||
| And I got a drill and a wire wheel on it and a screwdriver. | ||
| And I scraped all the old muck and then wire wheeled them to bare metal, all the parts. | ||
| And then I went to the... | ||
| Did you have goggles on back then? | ||
|
unidentified
|
Yeah. | |
| So you're in the garage. | ||
| I'm not in the garage. | ||
| I'm out back of the building now, grinding everything clean. | ||
| Right. | ||
| And then wiped everything with acetone. | ||
| And then at night, about two in the morning, I went to the Home Depot. | ||
| And you know those pieces of plastic you can buy there for when you paint a room. | ||
| It's like 12 foot by 15 foot, whatever. | ||
| Covered everybody's cars. | ||
| Oh, Jesus Christ. | ||
| And then I hung all the parts on the water pipes. | ||
| Imagine coming out like you go to your friend's house at 3 in the morning. | ||
| You go downstairs, your car's covered with plastic and this fucking lunatic. | ||
| I covered all the cars so no one would get any paint on it. | ||
| And epoxy painted all the suspension parts. | ||
| I hung them from the water pipes. | ||
| Oh, my God. | ||
| And then I'd assemble the car. | ||
| So when did you get done? | ||
| When did you stop at like 6.30 in the morning? | ||
| Yeah, whenever. | ||
| Did anybody ever come out and see their car covered in plastic? | ||
| No, I always removed all the evidence. | ||
| No one ever knew nothing. | ||
| How many nights a week did you have people's cars covered in plastic? | ||
| All the time. | ||
| That is so wild. | ||
| All the time. | ||
| That's so wild. | ||
| And so I had another friend that I did exchange work. | ||
| He painted it for me and let me use his place for reassembly. | ||
| And I rebuilt the suspension and the engine in his 67 pickup truck for an exchange, right? | ||
| Yeah. | ||
| So I get the car ready, take it to the kickoff party for the power tour. | ||
| We're going to drive from California to Michigan. | ||
| And I haven't even changed the cam braking oil yet. | ||
| This car is fresh. | ||
| Fresh, and I'm going to drive it, which I did, by the way. | ||
| So, kickoff party. | ||
| What begat from that is Hot Rod Magazine featured it, Mopar Muscle featured it, put it on the cover, Daytona Magazine in Japan featured it. | ||
| There it is. | ||
| And at the end of the year, yeah, there's Skelly. | ||
|
unidentified
|
That's beautiful. | |
| It's kind of an odd black and white, but it's a Jaguar color called Topaz. | ||
| Yeah, it's like a blue, right? | ||
| No, no, it's a light silvery gold. | ||
| It's on that thumb drive I gave you. | ||
| Oh, there it is right there. | ||
| Yeah, there it is. | ||
| Oh, I'm thinking of it. | ||
| So that's the car I built in the underground parking garage. | ||
| God, that's beautiful, man. | ||
| Yeah, it came out nice. | ||
| Oh my God, that's gorgeous. | ||
| At the end of the year, it also got top 10 car of the year. | ||
| And you built it in a fucking garage with a bunch of cars covered in plastic. | ||
| You know what? | ||
| Dude, that's beautiful. | ||
| It's when you want to bad enough. | ||
| Yeah. | ||
| Look how beautiful that car is. | ||
| Yep, pretty car. | ||
| God, that's so nice. | ||
| And so that started the ball. | ||
| Well, the El Camino technically did. | ||
| What a beautiful car that is, man. | ||
| You got other pictures of that? | ||
| Yeah, there's some other stuff up over there. | ||
| Click on that link that says Pure Vision Scully right under the big picture. | ||
| Oh, that's the graphic I designed. | ||
| Oh, that stupid skull right there has a story. | ||
| So I designed this pinstripe. | ||
| I wanted bone red bone. | ||
| And then at the very front, obviously, the bone turns into the skull with wraparound glasses. | ||
| With a cigarette in his mouth. | ||
| Every one of those dang stitches are hand-drawn. | ||
| In fact, that side's me. | ||
|
unidentified
|
You did that? | |
| I did the driver's side. | ||
| No, my friend Matt Willoughby, here's the backstone. | ||
| So I told him, I go, here's the idea. | ||
| I gave this really horrible sketch of the skull with the wraparound sunglasses. | ||
| And he did this piece of artwork for me with the car and the skull. | ||
| And when he sent the artwork, I'm like, that's not the skull. | ||
| Well, he faxed it to me, the idea. | ||
| Like, his version of what I was telling him. | ||
| And the fax was like, that was, oh, it's that. | ||
| Stretched and cool as shit, right? | ||
| So anyway... | ||
| So the fax fucked it up better. | ||
| The fax pulled it. | ||
| That's amazing. | ||
| So when he flew out to put it on, I showed him the fax and he went... | ||
|
unidentified
|
My god the fax must have dragged cuz that looks almost like a wolf. | |
| Yeah, kind of it was a mistake Like if that was a dude, I'd be terrified of him, right? | ||
| It was it was a mistake and I said well That's what we're using and he's like oh hell. | ||
| Yeah, we are. | ||
| Hell. | ||
| Yeah, that's awesome So we did that graph show me a photograph of what that looks like in perspective with the rest of the car. | ||
|
unidentified
|
Oh Click on that link where you're at? | |
| Yeah, just the front three-quarter. | ||
| Not that one, just the one right next to it. | ||
| Nope, other. | ||
| To the right. | ||
| To the right. | ||
| You'll see it's up at the very front of the front fender. | ||
| It's right in the front corner. | ||
| It's right there. | ||
| Show me the close-up on it, Jamie, because there's a close-up in one of those other photos. | ||
| That right there. | ||
| Oh, that's so sick. | ||
| So all the way down the car, it's just a bone red bone pinstripe with all those hand stitches. | ||
| So that's Matt's stitches. | ||
| We only had so long. | ||
| We were doing the graphic overnight at a borrowed paint booth. | ||
| That car is so rock and roll. | ||
| Yeah, just carbureted 360 out of a Cordoba with a warmed up cam and stuff. | ||
| It's straightforward. | ||
| That car is like a 1974 ACDC song. | ||
|
unidentified
|
Yeah. | |
| You know what I'm saying? | ||
| Like, look at that thing. | ||
| God damn, that's pretty. | ||
| Look how pretty that is. | ||
| And the interior is four bucket seats and a console that goes all the way from the beginning to the end. | ||
| Go back to the rear end view of it. | ||
| Look at that. | ||
| Yeah, cool car. | ||
| They only made them two years, 66 and 67. God, it's fucking gorgeous. | ||
| Yeah, it's neat. | ||
| It's gorgeous. | ||
| I don't think I've seen one. | ||
| I've definitely not seen one done like this. | ||
| Very few and far between. | ||
| That's why I did it. | ||
| It's a perfect car to do it with because it's so pretty, man. | ||
| Yeah. | ||
| The back end of that is just fucking heavenly. | ||
| Yeah, it's cool. | ||
| They're neat. | ||
| Look at it. | ||
| I enjoy them. | ||
| So that was a lot of fun. | ||
| And then on that power tour, I met a kid named Martin Weinreb who had a black... | ||
| Challenger and I go I got an idea for your car and then we built the car in his driveway and it was called Challenger X and that was that big I was the first guys doing any pro touring Mopars and this Challenger X was the first car to have that I knew of street driven carbon fiber drive shaft it was like the second set of Big 18-inch torque thrusts. | ||
| We worked with a guy named Craig Rails back at BDS for an 8-stack EFI injection on a small-block Chrysler. | ||
| And that'll be on that thumb drive I gave you. | ||
| It's called Challenger X. It's a black Challenger. | ||
| Yeah. | ||
| So that car... | ||
| We took that on a power tour from here to Florida and back, and there it is. | ||
| Yeah, pretty car. | ||
| That's another car, the Challenger. | ||
| Yep, that came out nice. | ||
| That's a 70, right? | ||
| 72. 72, really? | ||
| I did the whole interior in a tan, and we built that in Martin's... | ||
| Driveway. | ||
| So 72 Challengers are still dope. | ||
| Yeah, they're the same as 70. It's just a different bumper. | ||
| But 72 Barracudas got goofy. | ||
| You know? | ||
| Yeah, yeah, yeah. | ||
| But the 72 Challengers still look sick. | ||
| Yeah, I did all the gauges and tan and did this whole thing in here. | ||
| So anyway, this car, we drive it, and it gets features, and it gets top 10 car of the year. | ||
| So I've got two top ten cars of the year and like nine or ten features and I don't even have a shop yet. | ||
| I've been building out of a barn, out of a tandem parking garage in somebody's driveway. | ||
| So my batting average is doing pretty good. | ||
| So you get a place. | ||
| I finally get a place and build a couple of other stuff, and I started on a duster, which we call Dustia, which I kept the duster lettering but made it Dustia. | ||
| Put that on the Power Tour, and that car exploded. | ||
| Let me see that, because we were talking about it earlier. | ||
| I like a duster. | ||
| Yeah, this is a really nice one. | ||
| It's an underappreciated car. | ||
| Yep. | ||
| What year was this duster? | ||
| That was a 72. Yeah, okay, so those are the years that were underappreciated. | ||
| And... | ||
| We built that, and I drove that, again, from California to Michigan. | ||
| Is that in your photo? | ||
| Yeah, no, it's on the thumb drive. | ||
| It's a bright old score. | ||
| There's the duster. | ||
| Yeah, underappreciated car. | ||
| So that thing had a lot of trick stuff that nobody had ever done yet on Mopar suspensions. | ||
| What did you do to it? | ||
| So that's a really lightweight car, right? | ||
| What does that weigh? | ||
| Probably 36 or 34. Wow. | ||
| So it's small. | ||
| Yep. | ||
| Smaller than like a 65 Mustang? | ||
| No, not smaller than a Mustang. | ||
| Nope, but light. | ||
| There's not a lot to them. | ||
| So, that car, like, again, I'm so fortunate. | ||
| Hot Rod, Mopar Muscle, all these books. | ||
| It's cover. | ||
| It's centerfold pullout poster. | ||
| It's a screensaver because that just started. | ||
| It's a die-cast car. | ||
| It's top ten car of the year, so now I've got three. | ||
| It's been amazing and, again, so unbelievably fortunate. | ||
| You're talented, man. | ||
| You keep saying fortunate. | ||
| I mean, it is certainly fortunate, but it's also hard work. | ||
| It is hard work. | ||
| So, at that point, I was living in the shop. | ||
| I didn't have money for an apartment, so my bed was next to my lift, and I had a piece of plastic that I threw over the bed so the rust and oil and everything else wouldn't get on my bed, and then I joined a 24-hour fitness so I had somewhere to shower. | ||
| Wow. | ||
| How many people have done that? | ||
| A lot. | ||
| A lot. | ||
| I don't know if they're as stupid as me, but I did it. | ||
| A lot of people do that when they're living out of their cars. | ||
| A lot of comedians did that. | ||
| Got a membership of 24 Hour Fitness, slept in their car. | ||
| Yeah. | ||
| I was sleeping in the shop. | ||
| So that car really launched stuff. | ||
| And I got a phone call. | ||
| That car, by the way, Reggie Jackson still owns it. | ||
| He bought it off the guy I built it from. | ||
| He still owns it. | ||
| Reggie Jackson might be like the biggest hot rod collector ever. | ||
| Yeah, he lost a lot in a fire about 20 years ago. | ||
| Oh, no. | ||
| Lost buildings worth. | ||
| Oh, no. | ||
| So, anyway, the guy that I built that car for, Romeo Furio, that's his real name, he wanted to do another car. | ||
| And I just came back from showering with 30 strangers at 24 Hour Fitness, and I'm having my bowl of Cheerios, and my phone rings, and it's this gentleman named David Hakeem and a couple of other bigwig gentlemen from Mopar Performance from Chrysler. | ||
| And they're like, we've been watching what you've been doing. | ||
| We want to be synonymous with Pure Vision. | ||
| Here's the catalog. | ||
| Next time you build something, whatever you want, let us know. | ||
| That's awesome. | ||
| And we built a car, or I built a car, I was still basically alone, called GTXR. I had a fantastic painter named Russ Stevenson that put up with me at that time. | ||
| Now I have Mick Jenkins, who is just beyond incredible. | ||
| We'll get to that in a second, but on GTXR... I wanted to use the big body satellite that nobody ever uses and nobody likes. | ||
| Can I see what that looks like? | ||
| And they're very swoopy like Ferraris. | ||
| They go like they're Coke bottled, but the way they sat stock is they look like an elephant on stilts. | ||
| There you go. | ||
| Oh, that's a cool car. | ||
| So this was my first time ever at SEMA. Is that an AMG? Is that what that is? | ||
| No, it's a Plymouth Satellite. | ||
| That's a Plymouth. | ||
| Yeah. | ||
| So I... God, that's a wild looking car. | ||
| Yeah, right? | ||
| You don't see very many of those either. | ||
| No, because no one cared. | ||
| And these things were so curvy. | ||
| I got a great story about that shot, the Mopar, the one with the blue sky behind it. | ||
| With the blue sky, Jamie. | ||
| You're right in the middle, almost. | ||
| The photo with the blue sky? | ||
| No, right there. | ||
| Yeah, that one. | ||
| So I'm getting ready. | ||
| I'm thrashing to get the thing done to go to SEMA. I've never been to SEMA before, and I'm unveiling the car in Chrysler's Berruth on a turntable. | ||
| Look how pretty that is. | ||
| First time there. | ||
| So this is like just cracking 6 in the morning. | ||
| We had already driven from, in the truck and trailer, driven from... | ||
| What year is this? | ||
| When did I do that? | ||
| Hold on, that's why I have my notes. | ||
| Just take a guess. | ||
| Oh God, why? | ||
| I like how you went with the fat tires in the rear. | ||
| 2003. I get really sad when I see a muscle car with skinny rear tires. | ||
| Oh no. | ||
| Oh, big old tire. | ||
| Yeah. | ||
| So this is when you're coming down the grade into Vegas and before there was nothing over to the right. | ||
| Now it's all houses and everything, all the way to Henderson. | ||
| Before, there was nothing there. | ||
| This is when the roads were paved and there wasn't one building put up. | ||
| And the photographer is in a ditch that is like five feet deep for what will be the plumbing and all that stuff. | ||
| And he's sitting there. | ||
| His name was Randy Bulligan. | ||
| I remember him because, again, no digital cameras. | ||
| It was... | ||
| Right? | ||
| Hey, like how I did that? | ||
| It almost sounded like it. | ||
| No, it was horrible? | ||
|
unidentified
|
Okay. | |
| Anyway, I hear him go, cover. | ||
| I'm like, oh, that's cool. | ||
| So that car was the world's first paddle-shifted muscle car. | ||
| I created the paddle shifts in it. | ||
| At that time, there's one shot that I put on the thumb drive. | ||
| Again, I don't know if you have that in, but there's an interior shot of the steering wheel. | ||
| So what kind of transmission? | ||
| At the time, there was the brand new truck 518 four-speed overdrive that was in the brand new pickup trucks for 2002, 2003. Overdrive was becoming a new thing. | ||
| So there you go. | ||
| So I had a really amazing billet guy. | ||
| He did the intakes on that. | ||
| We'll look at the motor in a second. | ||
| And those paddles, I made everything out of wood first, and those worked micro-switches inside the factory column. | ||
| And underneath, see how there's three horn buttons, the little pads? | ||
| Underneath the right one, up at 3 o'clock, there's a micro switch under that now. | ||
| And so I used a company called Deden Bear that made pneumatic shifters for drag racing. | ||
| Okay? | ||
| Okay. | ||
| It goes, it immediately shifts it. | ||
| It's hooked up to a computer. | ||
| So all I did, and it's air. | ||
| You know, like the CO2 guns, that air cartridge? | ||
| Yeah. | ||
| One of those are in the trunk. | ||
|
unidentified
|
Okay. | |
| And it runs this cellenoid that is attached to a B&M ratchet shifter. | ||
| So you can never skip a gear, right? | ||
| Bam, bam, bam. | ||
| And they are hooked up. | ||
| So shift up, pulls back. | ||
| I call Dean Baron and I said, can you make me one that pushes and pulls? | ||
| They're like, sure. | ||
| So upshift, downshift, and then this button under the horn, I use the horn circuit, that turns the overdrive on and off. | ||
| So up highway, second, third, overdrive, or second, down the canyon. | ||
| So where's the horn now? | ||
| There's no horn. | ||
| Fuck the horn. | ||
| You gave up the horn? | ||
| Yeah, nobody cared. | ||
| So I had every executive, because the shifter moves while you're hitting the paddles, because the CO2's working it. | ||
| At the end of the first day, we had to go refill the bottle, which was at that point 75 cents. | ||
| It's good for about 200 shifts. | ||
| But it was fully functioning and working and worked fantastic, and it was actually foolproof because even if you ran out of CO2, you'd just grab a shifter, put it in drive, and drive it around. | ||
| Right. | ||
| So it only applied to when you wanted to use the power shifters. | ||
| Yeah, when you wanted to. | ||
|
unidentified
|
Yeah. | |
| But it worked really good. | ||
| The problem was nobody had a shift kit, so the transmission couldn't shift as fast as... | ||
| Because I'd turn the wick up, turn the pressure up, and it would go bam, bam. | ||
| I mean, it'd shift right frickin' now. | ||
| And then the transmission would be like... | ||
| It just died? | ||
| Well, no, it'd catch up eventually, but then a place like Fairbanks and other companies started making ship kits. | ||
| Yeah, you don't make normal cars. | ||
| You really overcomplicate your life by doing things like that. | ||
| So you move forward from that car, and then I built a car called Hammer. | ||
| And that was a Roadrunner. | ||
| That was the first one I saw. | ||
| Yeah, and Hammer was in my... | ||
| Actually, it was in the same... | ||
| It was a season later on rides. | ||
| They followed me building my car like they followed Sickfish. | ||
| Because you were first season. | ||
| I think so. | ||
| I think it was the first episode of the first season. | ||
| I don't know. | ||
| Because you were fancy. | ||
| No, I don't think I was on the first season. | ||
| I thought you were. | ||
| I don't know. | ||
| I think there was other... | ||
| I don't know if I was in the... | ||
| I definitely don't think I was the first episode. | ||
| So... | ||
| Built Hammer, and that was, you know, I had an interior guy who didn't show up the night before SEMA, and a whole bunch of disaster, and showed up to SEMA a day late, which was also fantastic, because everybody, the rumor was around that this car being filmed was late, and it may or may not show up, and we got there, and... | ||
| So that was my first Rides episode. | ||
| And then about a... | ||
| There she is. | ||
|
unidentified
|
Look at that. | |
| There she is. | ||
| My God, that's beautiful. | ||
| So that thing still holds up. | ||
| That is owned by the gentleman who owns Traxxas, the radio-controlled empire. | ||
| When I went to your shop, that was there the first time I went to your shop. | ||
| It's a lovely car. | ||
| Oh, my God. | ||
| It still looks good. | ||
| Of course it looks good. | ||
| How could it not look good? | ||
| I don't know. | ||
| I'm just saying. | ||
| It still looks like that. | ||
| Yes, it does. | ||
| It does look like it. | ||
| That thing spawned a million copies. | ||
| God, it's so pretty. | ||
| That's even better. | ||
| That's even better than the other one. | ||
| The shape? | ||
| Yeah, the Roadrunner. | ||
| That's actually a sport satellite with borrowed trim pieces from GTX and Roadrunner. | ||
| Really? | ||
| Yeah, like cherry picking. | ||
| So what's a sport satellite? | ||
| Can you click on that link so we can see more pictures of that? | ||
| That thing's fucking pretty, man. | ||
| Oh, look at that. | ||
| Artwork. | ||
| Click on the interior. | ||
| Yeah, I handmade the dash out of metal on that car. | ||
| Wow. | ||
| And Shannon Hudson at Redline Gaugeworks did, I did a drop recess like a BMW and the red lights just washed down. | ||
| Thank God you made that a manual. | ||
| Oh yes. | ||
| And I copied across the back on those cars, they have the individual letters, Plymouth, P-L-Y-M. So I copied the font and had letters made that spelled hammer. | ||
| And then made a new set on the dash. | ||
| No, I saw that. | ||
| Click on that, Jamie, so you can see how it looks. | ||
| It looks amazing in the back. | ||
| Oh, the tail pin? | ||
| Oh, that was when we were... | ||
| There's Vin. | ||
| Did Vin Diesel drive it? | ||
| Well, he was in it. | ||
| The stuntmen did the burnouts. | ||
| And they were in the movie. | ||
| That's the end of Tokyo. | ||
| Well, that's where I was going. | ||
| I got a phone call from... | ||
| Do you know Dennis McCarthy? | ||
| No, I don't. | ||
| Okay, he's the guy that handles all the cars for all the Fast and Furious movies. | ||
| Can we see some more pictures of that? | ||
| So he... | ||
| And so they want to put it in Fast and Furious. | ||
| Well, I got a phone call from him. | ||
| He got my number from one of the editors at Hot Rod. | ||
| And he goes, hey, my name's Dennis McCarthy, and I'm doing Fast and Furious stuff, and we need a car for Vin Diesel. | ||
| We're going to bring his character back in this movie. | ||
| And I hear you have the most badass Mopar in Southern California. | ||
| Is that true? | ||
| And I go... | ||
| Fuck yeah. | ||
| Yeah, it is. | ||
| We have a bad son of a bitch. | ||
| So they rented it, but it's the car in the stunt scenes. | ||
| It's the car doing the burnouts. | ||
| Wow. | ||
| Who owns it now? | ||
| The guy that owns Traxxas, the radio control car company. | ||
| Oh. | ||
| He bought it off of Eric. | ||
| God, I hope he drives it. | ||
| I hope so, too. | ||
| The thing is wonderful. | ||
| So we actually unveiled it twice at SEMA. We brought it back a couple of years later with the new all-aluminum Hemi. | ||
| The color of it with the wheels, with the black wheels, the silver outline. | ||
| God, it's perfect. | ||
| Kinesis wheels, K19s, and the color is BMW sterling grays. | ||
| BMW sterling gray. | ||
| That's a fucking gorgeous color. | ||
| Yes, it is. | ||
| And that photography is from the man himself, Randy Lorenzo, another fantastic photographer. | ||
| Let me see some pictures in higher light, Jamie. | ||
| Yeah, but just go to that one that's outside with the red on the bottom of it, right above your cursor. | ||
| Oh, yeah, at the red carpet. | ||
| Look at that. | ||
| Sharp car. | ||
| God, it's gorgeous. | ||
| So that obviously did... | ||
| Wonders. | ||
| And that was like 2005, 2006. Had a bunch of other really cool stuff. | ||
| And then we built the Anvil Mustang. | ||
| We helped develop all the carbon fiber pieces for a company called Anvil. | ||
| And we unveiled the car at SEMA in 2010. And I knew we had a really good car. | ||
| It's all cantilever, push-ride, inboard suspension like an F1 car. | ||
| And we wide-bodied it, except you can't tell unless it's sitting next to a stock one. | ||
| We actually bowed the quarter panels. | ||
| So at the door and at the taillights, it's stock. | ||
| It actually curves up. | ||
| There it is. | ||
| So lots of work done to that thing. | ||
| The whole nose is all carbon fiber, and it's widened and changed. | ||
| Tail panels changed. | ||
| You can see the pushrod cantilever inboard suspension there. | ||
| The coilovers laid down. | ||
| I must handle like a motherfucker, huh? | ||
| Yeah, yeah. | ||
| It's a lovely car. | ||
| And that's the rear seat area. | ||
| That's the inboard. | ||
| That's a Myers rear. | ||
| And everything's on quick pins, so you can literally snap, take out the coilovers, put in a different set of shocks. | ||
| Do not stick your fingers in there, kids. | ||
| No, bad. | ||
| While the car is driving, do not stick your fingers in there. | ||
| It is fantastic to watch in the rearview mirror. | ||
| Oh, my God. | ||
| It must be amazing. | ||
| You're sitting there watching this stuff work, and you're like, oh, I've got to be driving. | ||
| Sorry. | ||
| Yeah, just don't have a gym bag back there. | ||
| Yeah, bad. | ||
| Oh, my God. | ||
| Look at that interior. | ||
| God, that's gorgeous. | ||
| That's a perfect interior for that car. | ||
| And a lot of the time, see that down bar going down through the roll bar? | ||
| Yes. | ||
| That does not touch you when you're in the passenger seat. | ||
| Really? | ||
| Touches nobody. | ||
| What if you're a big guy? | ||
| There's a lot of room. | ||
| But that comes out, too, that bolts and unbolts. | ||
| So, yeah, little switches and handles and whatnot. | ||
| Fuck yeah. | ||
| Does the guy who has this drive it? | ||
| Yeah, as far as I know. | ||
| He's got to drive this. | ||
| Please, sir. | ||
| Woo, look at that. | ||
| That is so gorgeous, man. | ||
| It won the Ford Design Award car of the show at SEMA, which was a... | ||
| That's a 69, right? | ||
| Yes, you're correct, sir. | ||
| It might be the most gorgeous 69 I've ever seen. | ||
| Yeah, lots done. | ||
| Again, nothing's stocked. | ||
| Nothing's stocked. | ||
| Everything's... | ||
| That fucking suspension setup in the backseat. | ||
| Yeah, that was cool. | ||
| Gives me a childhood boner. | ||
| Okay, good. | ||
| So that... | ||
| All this stuff comes back to when you're kids, right? | ||
| Heck yeah. | ||
| Heck yeah. | ||
| Hot Wheels. | ||
| Yeah, Hot Wheels and what the cool cars were in your neighborhood and your kids. | ||
| There's a miracle for me. | ||
| In 2005 or so, I'm in an airport... | ||
| And before, when I was building Scully, the silver car, 97-ish, I left the job I was working and went working for a gentleman named Bruce Schultz. | ||
| And he did sublet work for Mattel and Action Diecast. | ||
| And we did prototypes. | ||
| It was before there was rapid prototype anything. | ||
| So you'd get a drawing from the Mattel crazy Hot Wheel designer. | ||
| It's like, make this. | ||
| Or we'd get some and go, here we need these 25 stripped and painted a different color and different graphics for Toy Fair. | ||
| So when I worked for Bruce, I met a guy named Kelly Cox. | ||
| Mr. Kelly Cox, who as of right now is going on his 18th or 19th year as an employee for me. | ||
| We became really good friends working together. | ||
| We found out we loved the same music, we had the same sense of humor. | ||
| So I met Kelly working for Bruce, and I was building that. | ||
| When I built that Charger, I drove it over to Bruce's house because I'd met him like a year before and I said, hey, look what I did because he saw the car I started with. | ||
| And he goes, you did that? | ||
| And I'm like, yeah. | ||
| And he goes, can you build model cars? | ||
| I'm like, yeah. | ||
| He's like, want to work here? | ||
| I'm like, where? | ||
| He goes, here in my garage. | ||
| This is what we do. | ||
| And he goes, how much do you make? | ||
| Working for Chrysler. | ||
| I go, X. He goes, I'll promise you X and you can make Y. I'm like, I'm quitting tomorrow. | ||
| So I'm just in this guy's garage building model. | ||
| Basically, I'm oversimplifying, but building super cool one-off model stuff for Mattel and Hot Wheels. | ||
| That's 97, right? | ||
| 98, going into 99. Fast forward 2005. My shop is now up and running. | ||
| I've had a bunch of magazine features. | ||
| I'm at an airport and one of the guys that worked at Mattel was in the airport too. | ||
| I recognize him because I used to be down there all the time bringing in prototypes. | ||
| And I'm joking with him and I'm like, hey man, how many super cool features do I got to have before I can get a Hot Wheels made of one of my cars? | ||
| And he goes, you know what, that's a good idea. | ||
| I'm like, uh... | ||
| Yeah, it's a good idea. | ||
| You know, I was joking with it. | ||
| So they had a new line of your normal Hot Wheels are 164th scale. | ||
| They were going to try this new thing with like 150th scale. | ||
| They're going to call them G machines. | ||
| And they're like, we'll do a 12 car line with you. | ||
| You create the paint scheme and then this and then that. | ||
| But we have X amount of little wheels you can use and X amount of this and that. | ||
| Well, that worked for both of us because I know working with them. | ||
| I understand the cost of extra stripes never cost money. | ||
| So I know how to make a car simple and that one a little more elaborate and then the budget balances out. | ||
| I understood all that already. | ||
| So I went down, had a designer group meeting. | ||
| I got a 12-car line that, in the back window of every car, it's got my Pure Vision logo. | ||
| And on the back of the box it says, Pure Vision, the premier hot rod shop in Southern California. | ||
| These went global. | ||
| And I mean, it's the hugest honor. | ||
| It's an unbelievable opportunity that I still am like, you know, pinching myself that that even happened. | ||
| And so that was an amazing opportunity working at Bruce's. | ||
| It begat me having a toy line later and having, you know, my guy that's been with me forever, Kelly, working for me. | ||
| So I was very fortunate, again, that the stars lined up that way. | ||
| That's great, man. | ||
| It's not fortune, though. | ||
| It's talent. | ||
| You have an eye for cars. | ||
| True, but... | ||
| It's an art form, you know, and you're an artist in other ways. | ||
| You know, you play music. | ||
| Your guy creates things. | ||
| That's what I think is so interesting about your cars is that you don't just, like, make a cool car. | ||
| You make a cool car with all these little Easter eggs in it. | ||
| There's all these little things in it that you have to kind of understand. | ||
| That's really cool that you say that because we've joked about it at car shows. | ||
| Our car is the Easter egg hut. | ||
| You keep coming back and finding, I didn't even see that. | ||
| Well, if you go to the video you did, oh my god, the one on YouTube. | ||
| Well, that narrows it down. | ||
| The one about my car. | ||
| Oh, your car. | ||
| Yeah. | ||
| Uh-huh. | ||
| Why am I fucking blanking on the... | ||
| Autotopia? | ||
| Autotopia. | ||
| Thank you. | ||
|
unidentified
|
Sean at Autotopia. | |
| Sean at Autotopia. | ||
| That which is an amazing video where you go over in detail all the different weird things that you did. | ||
| Little things we changed. | ||
| Yeah. | ||
| Yeah. | ||
| Sean's fun. | ||
| Oh, God. | ||
| Sean's awesome. | ||
| Yeah, really fun. | ||
| He's a good guy. | ||
| He seems like a really good guy. | ||
| And these videos are awesome. | ||
| His videos are all awesome, but this one is particularly cool. | ||
| Yeah, and he loved being in the car. | ||
| And the thing is, is I'm friends with him, too, so off-camera, you know, he'll tell me, good, bad, ugly, you know, and he just loved being in the car. | ||
| Really appreciated all the work. | ||
| Actually, we're gonna... | ||
| What are you doing now? | ||
| What are you working on now? | ||
| Oh, my gosh. | ||
| I got... | ||
| We just finished up a really amazing Chevelle for a guy named Habib that, again, thankful. | ||
| Cover of Hemmings, and it's about to come out in Chevy Hub. | ||
| Is that a 67? | ||
| Yeah, the turquoise aqua one. | ||
| Oh, I've seen that. | ||
| Yeah. | ||
| Three magazines featuring that and a bunch of crap. | ||
| You and I had talked about doing an older Chevelle. | ||
| Yeah, well, I've still got all the notes. | ||
| Because I went hog wild. | ||
| I'm a 68. Your thing you handed me was a 68 Chevelle. | ||
| Is that what it was? | ||
| In that list. | ||
| Yeah. | ||
| I like these seven cars. | ||
| Which one do I do? | ||
| But I'm glad we went with the Nova. | ||
| I really am. | ||
| Well, I took you to Gary, and it's on the thumb drive, the Z28 Nova. | ||
| Yeah. | ||
| Something about that, I had this light bulb. | ||
| And that sounded gnarly. | ||
| That thing always sounds gnarly, too. | ||
| Well, it was really cool. | ||
| You did a Z28 version of a 1969? | ||
| Yeah, if you could have ordered a 69 Nova. | ||
| Yep, there it is. | ||
| And I saw that, and a light bulb went off in my head. | ||
| I was like, that's the car. | ||
| That's the car. | ||
| Yours and his are very, very, very, very, very, very different. | ||
| Yeah, very different, but still fucking super cool. | ||
| I remember thinking, wow, you don't see enough of these. | ||
| No, no, no. | ||
| That guy in Australia made a cool one. | ||
| Cam? | ||
| You know that one guy in Australia? | ||
| I think I know the car you're talking about. | ||
| Something by Cam? | ||
| I'm not super familiar, but I think I know what you're talking about. | ||
| He made this really wild black 68 or 69 Nova. | ||
| And did some really cool stuff to it. | ||
| And it was a few years back. | ||
| Hot Rods by Cam? | ||
| Hot Rods by Cam. | ||
| Yeah. | ||
| See if you can find his Nova. | ||
| No, there's a black one. | ||
| He made a black one. | ||
| That's a Nova also. | ||
| Yeah. | ||
| Let's see if you can see his black Nova. | ||
| Cam, black Nova. | ||
|
unidentified
|
Yeah, that's it. | |
| That's it. | ||
| Look at this fucking thing. | ||
| This thing is sick. | ||
| Give me some volume. | ||
| Yeah, rock and roll. | ||
| Oh dear God. | ||
| Look at that thing. | ||
| Yeah. | ||
| That's what I'm talking about, Steve Stroke. | ||
| I can hear the turbos. | ||
| That's what I'm talking about. | ||
| Hear the waist skates. | ||
| What does that girl have to do with this? | ||
| What is going on here? | ||
| She's in her underwear. | ||
| What's happening here? | ||
| Photo shoot, probably. | ||
| Yeah. | ||
| Why are they showing me that? | ||
| Show me that goddamn car. | ||
| Stop trying to distract me. | ||
| They just want to keep you looking, you know? | ||
| They figure you're only going to look at that car for about 45 seconds, but you're throwing a hot lady in a bikini, and now we got you. | ||
| That'll do. | ||
| She's still on the screen. | ||
| She's still on the screen? | ||
| Where's the fucking car? | ||
| Where's the fucking car? | ||
| That left her. | ||
| There she is again. | ||
| That's it. | ||
| She's a wild one, too. | ||
| Tattooed up. | ||
| Oh, great. | ||
| That's what you want. | ||
| If you want a car like that, you want a lady like that. | ||
| Fair enough. | ||
| That's the dream. | ||
| Cam's selling the dream. | ||
| Oh, is that what he's doing? | ||
| He's selling the dream. | ||
| Okay, the dream. | ||
| Don't you see? | ||
| Yeah, I saw it. | ||
| That car's wild, though, huh? | ||
| Sounds healthy. | ||
| Show me some extra images of that car. | ||
| Yeah, so that car, too, influenced my decision. | ||
| Oh. | ||
| I don't know if that car was during the time we had already decided on a Nova, though, because this guy built that a few years back. | ||
| Yeah. | ||
| I'm unfamiliar with it. | ||
| That's pretty, man. | ||
| That's fucking pretty. | ||
| Look at that. | ||
| It's a little taller rear tire, but that's me. | ||
| Oh, yeah. | ||
| That's an older school. | ||
| A little rubber band. | ||
| I want to say older school. | ||
| Hey, man, everyone does their own thing. | ||
| But early 2000s, they were doing a lot of that. | ||
| Right. | ||
| Look at that thing, though. | ||
| Whoa. | ||
| Lord. | ||
| That's beautiful. | ||
| Big old hood. | ||
| Yeah, beautiful car. | ||
| I think it's a twin turbo, if I remember correctly. | ||
| Yeah, it sounded like I was hearing the wastegates pop when he was doing acceleration. | ||
| Yeah, click on that image of right there where your cursor is. | ||
| Right there. | ||
| Yeah, look at that fucking thing. | ||
|
unidentified
|
Woo! | |
| God, that's gorgeous. | ||
| But it drives me nuts when people don't put side-view mirrors. | ||
| Like, it doesn't make the car look bad, but you should see where the fuck you're going. | ||
| Or where you were. | ||
| Yeah, or what's coming up if you're changing lanes. | ||
| Where the officers are? | ||
| Yeah, put a fucking side-view mirror on, kids. | ||
| It does not make the car look ugly. | ||
| That became a trend for a while where people would have completely shaved mirrors. | ||
| Yeah. | ||
| You know? | ||
| You had asked me what's new, and you know what? | ||
| I'll have to give you, because I have nothing up. | ||
| I'll give you... | ||
| So you guys can get it in post. | ||
| No, I've got three cars that are humdingers. | ||
| I got a Roadrunner coming out called Haraka, which is African for speed. | ||
| And it's quite the piece. | ||
| Is that done? | ||
| No, we're going to unveil it next year at SEMA. What stage is it in now? | ||
| Bare metal and heavy fab. | ||
| You got any images? | ||
| I will supply you images. | ||
| Is that it right there? | ||
| That is like a cell phone from the 60s. | ||
| What the hell is that? | ||
|
unidentified
|
How'd you even get that? | |
| What is that? | ||
| Oh, I know what it is. | ||
| It might have been like an Instagram. | ||
| It's a TikTok video. | ||
| Yeah, or something. | ||
| Oh, that's hilarious. | ||
| Yeah, it's way beyond that stage. | ||
| And it's... | ||
| Roadrunner is another car that's a very cool car. | ||
| Yes. | ||
| This one is going to be something. | ||
| I promise you. | ||
| Someone should redo Blade's 69 Charger from the movie Blade. | ||
| Do you remember that? | ||
| I think it was a 69. It's definitely a late 60s Charger. | ||
| Blade, you know the vampire hunter? | ||
| Yeah! | ||
| He drove around in a Charger when he was killing people. | ||
| It's a 68. 68. Yeah, similar by style. | ||
| There it is right there. | ||
| Look at that car right there. | ||
| Somebody needs to redo that. | ||
| That's not hard. | ||
| Blade had a souped, but I mean a really good one. | ||
| Like a really well done one. | ||
| Blade had a souped up Charger. | ||
| Look at it. | ||
| That's what he drove around in. | ||
| Someone should make like a blade-themed... | ||
| Again, that's just a charger with auto-drags on it or center-lines it. | ||
| Yeah, but it doesn't have to look exactly like that, but a blade-themed 69 charger. | ||
| Like if he had one that went through your shop. | ||
| Like if blade came to your shop and said, I want to kill vampires. | ||
| Oh, good. | ||
| You know what I'm saying? | ||
| What would you build them? | ||
| I'll send you guys the artwork, but that's the Roadrunner right now. | ||
| Why are you trying to change the subject? | ||
| Because. | ||
| We're talking about Blade. | ||
| If Blade came to you right now and wanted to make a 68 Charger. | ||
| Fine, I'll do him with Charger. | ||
| I'll do him with Charger. | ||
| If he's trying to run from vampires. | ||
| How well could you get a 68, 69 Charger to handle? | ||
| There's a lot of front-end sheet metal. | ||
| There's stuff available now. | ||
| Yeah? | ||
| Yeah, there's plenty of stuff. | ||
| What could you do to balance it out? | ||
| In fact, on this... | ||
| Roadrunner, I have a brand new suspension from Heights. | ||
| That's an IFS and IRS from, well, I just said from Heights. | ||
| Let's explain to people that don't know what the fuck we're talking about. | ||
| Independent rear suspension, independent front suspension. | ||
| So it's really trick stuff and it's brand new for them. | ||
| What about like a rear transaxle to balance out the weight? | ||
| You could, even though the Roadrunners weren't super heavy. | ||
| They were about 3,600 pounds. | ||
| Right, but the Charger. | ||
| Oh, the same thing. | ||
| It's a B-body. | ||
| Basically the same body. | ||
| Yeah, it's the same thing. | ||
| So they weren't that heavy? | ||
| They were how heavy? | ||
| About 3,800. | ||
| 3,800? | ||
| That's pretty heavy. | ||
| Or so. | ||
| Yeah. | ||
| What did you think of that one that someone built that they made all carbon? | ||
| Did you ever see that? | ||
| Yes, I'm familiar. | ||
| They've done quite a few of them. | ||
| Yeah. | ||
| Was it Speedcore? | ||
| Is that Speedcore? | ||
|
unidentified
|
Yeah. | |
| Mm-hmm. | ||
| See if you can find that Speedcore carbon charger. | ||
| Yep, cool piece for sure. | ||
| That probably drives great because of the lightweight. | ||
| Oh, and it's on that brand new modern chassis. | ||
| Ooh, look at that thing. | ||
| Yep, billet, probably the grills billet or CN. Ooh, an all carbon fiber exterior. | ||
| Yeah, so the body sits down over the chassis and that's how it sits that low. | ||
| What do you think that thing weighs? | ||
| A lot less. | ||
| But probably not a lot less that you think, because parts still weigh. | ||
| Right, of course. | ||
| So, like, just removing the steel and replacing it with carbon. | ||
| You know what? | ||
| Save 500 pounds? | ||
| Yeah, it might be low three-thousands, like 31, 32, which is... | ||
| That's probably amazing, then. | ||
| Yeah. | ||
| Sure. | ||
| Look at that thing. | ||
| Where are you going to park that? | ||
| Somewhere. | ||
| You'd be terrified. | ||
|
unidentified
|
Somewhere safe. | |
| You'd be terrified of someone dinging your doors. | ||
| Yeah, yeah. | ||
| You got a goddamn carbon fiber car. | ||
| Look at that thing. | ||
| Yeah, you're not pounding the dents out. | ||
| Yeah. | ||
| What do you do if you get in an accident in a carbon fiber car? | ||
| Do they have to refab completely new panels for you? | ||
| Well, you either put a new one on or probably... | ||
| Well, it depends. | ||
| If it's the quarter panel, that might be a problem. | ||
| Like, if you get hit in the rear... | ||
| Fender, you replace the fender. | ||
| If you get hit in the rear, they probably have to redo your whole car. | ||
| Yeah. | ||
| Well, it's kind of like... | ||
| What's that? | ||
| Expensive fiberglass surgery. | ||
| You can buy rear bumpers, at least. | ||
| So you can buy a carbon fiber charger bumper. | ||
| Yeah, but the bumper's not what I'm worried about. | ||
| I'm worried about the quarter panels, the roof. | ||
| Because if somebody rear-ends you or hits you from the side, it's going to fuck up all that stuff. | ||
| Right. | ||
| I guess he can't think about that. | ||
|
unidentified
|
No. | |
| He just has to be cool. | ||
| Yep. | ||
| Driving around. | ||
|
unidentified
|
Yep. | |
| They're doing that with quite a few hot rods now, right? | ||
| Like, I know there's a company that makes classic recreations. | ||
| They do a complete carbon fiber GT500. You've seen that, right? | ||
| Oh, someone doing the GT? Yeah. | ||
| The older one? | ||
| Yeah. | ||
| 67 GT500. Carbon? | ||
| Classic recreations is doing it. | ||
| Ah, cool. | ||
| I know... | ||
| See if you can find that. | ||
| I know there's a guy that's doing the... | ||
| They do the charger. | ||
| That one. | ||
| And there's a 69 Camaro that's all carbon. | ||
| So, see what it looks like. | ||
| Yeah, look at that. | ||
| That's insane. | ||
| Yeah. | ||
| That's probably very light, right? | ||
| Well, again... | ||
| Because that's an even smaller car, right? | ||
| It's going to be lighter, yes. | ||
| Yeah, the Mustang is lighter and smaller. | ||
| That is correct. | ||
| 67, right? | ||
| If you had to guess, what do you think that thing weighs? | ||
| I bet you it's still around 3,000 or so. | ||
| Again, I'm... | ||
| Right, but 3,000 pounds. | ||
| It depends what engine, it depends what suspension, it depends everything. | ||
| It says... | ||
| Scroll up a little bit. | ||
| It's interesting that all the carbon companies that are doing this don't talk about a weight. | ||
| Keep going, Jamie, for the top of the page so I can see what it said. | ||
| It was saying something about the horsepower. | ||
| Oh, do they do a turnkey car? | ||
| I mean, you might have been hovering over the engine part of it. | ||
| Is that what it is? | ||
| Oh, 545 horsepower. | ||
| So it's a 427 crate engine. | ||
| Which is probably all you need if it's that light. | ||
| Oh, it's more than fine for driving around the street. | ||
| That's got to be amazing. | ||
| Oh, you could do a Coyote Gen 3 with a supercharger that's 770 horsepower. | ||
| If you're a fucking psycho. | ||
| Right? | ||
| If you're a fucking psycho, unquote. | ||
| If you're a fucking psycho and you want a carbon fiber car that weighs nothing. | ||
| If you're just greedy, you know. | ||
| With 770 horsepower. | ||
| That'll probably get you to the store on time without much difficulty. | ||
| You ain't going to the store on that. | ||
| Oh, why not? | ||
| Putting groceries in the backseat of that thing. | ||
| Live dangerously. | ||
| Go to Ralph's. | ||
| Yeah. | ||
| I bet some people do with it. | ||
| Yeah. | ||
| You know, I'm sure there's people that take their hot rods around as daily drivers. | ||
| I met a guy once in- I drive mine. | ||
| Do you? | ||
| Every day? | ||
| Not every day. | ||
| I have to use my truck, too. | ||
| What are you driving? | ||
| Well, normally, I use my work truck. | ||
| Yeah, but when you're not driving to work? | ||
| Oh, I've got a really fun little, which again, I- Ooh, did I put on the thumb drive- I have a 64 Olds little Cutlass that I built for cross-country driving. | ||
| So it's got modern air conditioning, like vintage air and dynamite sound deadening. | ||
| And I have these really wonderful seats from a Porsche Panamera, cut seven inches off of it. | ||
| And it's got, they're like 18-way powered. | ||
| Show me pictures. | ||
| Heated and cooled. | ||
| Do I have anything? | ||
| I'm there. | ||
| Nope. | ||
| That's the brand new Fury. | ||
| We just finished that. | ||
| Do you have it on your website? | ||
| Nope. | ||
| That's not up yet either. | ||
| You don't have your own car on your website? | ||
| It was on my TV show. | ||
| Oh, okay. | ||
| How could we see that then? | ||
| I don't know. | ||
| Was it Rides? | ||
| Was it an episode of Rides? | ||
| No, no. | ||
| Your TV show. | ||
| Oh, that TV show. | ||
| Yeah. | ||
| The Hand-Built Hot Rods. | ||
| That's right. | ||
| I was on one of them episodes. | ||
| Yes, that's right. | ||
| Your car. | ||
| Yeah, there it is. | ||
| So, Mercedes quartz blue with basically a Ferrari saddle tan. | ||
| Pretty much your daily driver. | ||
| Yeah, that's the thing I put a round in. | ||
| Fuck yeah. | ||
| Yeah, it's a really nice car. | ||
| It's made to be comfy, driving anywhere. | ||
| It's beautiful. | ||
| And like all the other stuff, probably for the last 15 years or, no, let me see, 10, yeah, 13 years, same great cast of characters. | ||
| I definitely want to shout out because I am, as I've said before in other interviews and other things, no man is an island. | ||
| I am surrounded by talent. | ||
| Jamie's an island. | ||
|
unidentified
|
Okay. | |
| Ask him. | ||
| Jamie's an island. | ||
| All right, well. | ||
| He says it all the time. | ||
| Hi there, Island Jamie. | ||
| I go, what are you doing, Jamie? | ||
| He goes, I'm an island. | ||
| He just walks away. | ||
| Are you a rock? | ||
| Are you a rock? | ||
| Do you know your old songs? | ||
| He's not an island boy. | ||
| You're a rock, you're an island, as Paul Simon would say. | ||
| Oh, yeah, that's right. | ||
| Painter, master, Mick Jenkins at Mick's Paint. | ||
| My interior guys, Gabe. | ||
| These are all the same people on Uranova. | ||
| Unbelievably wonderful family. | ||
| It's dad and the sons working. | ||
| So it's such a cool deal, the interior guys. | ||
| And then my guys, as I've already babbled, Kelly. | ||
| And then there's Troy Bray, who's just a fantastic all-around everything. | ||
| He can just do whatever I ask him. | ||
| And then a new kid named Tommy. | ||
| I do got to throw out all those big deal cars. | ||
| There was the Anvil that you looked at. | ||
| And then we didn't have a year off. | ||
| We had a couple others we finished. | ||
| And then we did a car called the Martini Mustang that we went to SEMA. And that took the Ford Design Award again, car of the show. | ||
| And then the next year we took the Twin Turbo Camaro. | ||
| And that won the GM Design Award, car of the show. | ||
| And then the next year we came with the Fairlane, the Black Ops Fairlane. | ||
| And that won the Ford Design Award, car of the show. | ||
| So we're the only shop I know of. | ||
| And again, I say thankful because I had such amazing employees and people around me putting up. | ||
| That's a heavy schedule to do three out-of-the-parked cars. | ||
| Three years in a row, that's nobody sleeping. | ||
| That's nobody sleeping. | ||
| For sure. | ||
| And don't know of another shop that's done that ever. | ||
| Congratulations. | ||
| So I'm very, again, very thankful to those guys. | ||
| And back then there was a guy who had worked for me for about 18 years named Pete. | ||
| And he just moved back to Washington to be near his folks and all. | ||
| So he's got a place called Muscle Car Beach. | ||
| I follow him on Instagram. | ||
| Yeah, that's Pete Hart School. | ||
| So just really... | ||
| I'm so lucky that I got all these people putting up with me because I literally wake up at 3 in the morning and come up with these ideas and start sketching the ideas and, oh my gosh, we've got to do this! | ||
| And then they're like, mm-hmm, okay! | ||
| And then they put up and do. | ||
| So really, really, really thankful for that. | ||
| And as you know, you've got a great team here with Island over there and Yeah, you need a team. | ||
| You need a team for great things. | ||
| Yeah, I couldn't do this fucking thing without Jamie. | ||
| I'd be lost. | ||
| First of all, you know how slow I Google? | ||
| He Googles faster than me with one hand. | ||
| Do you like it down here? | ||
| Yeah, I love it down here. | ||
| Yeah, I love it. | ||
| Three years ago? | ||
| Mm-hmm. | ||
| It's a different way of life. | ||
| Like, yeah, it gets really hot in the summer, but that doesn't seem to bother me. | ||
| What I really enjoy is how nice people are. | ||
| It's a different kind of nice. | ||
| They're like real regular nice people. | ||
| They're not Hollywood nice. | ||
| I really believe that everywhere in Southern California, just the overall vibration of the area I'm not criticizing the people that are doing it, | ||
| but I'm saying that it does affect... | ||
| The way people communicate with each other. | ||
| Especially because of acting. | ||
| Because acting is like the number one thing that people came to L.A. for back in the day. | ||
| It was the number one thing. | ||
| If you were a kid and you had a dream, you wanted to be a movie star, you came to L.A. And along the way, these people realized, like, the only way to get chosen for roles... | ||
| You have to have this Daniel Day-Lewis, like, super mysterious, ultra-talented person who everybody worships. | ||
| Or you had to play the game. | ||
| So you had to say all the things that the producers wanted you to say. | ||
| You had to support all the political causes. | ||
| You had to check all the boxes. | ||
| You couldn't think outside the box at all. | ||
| And there's a way of communicating that people have in L.A. that it's like signaling that they're a part of this tribe, signaling that they're a part of this very progressive, ultra-left-wing ideology, and everybody has to subscribe to it regardless of the conversation. | ||
| Consequences that it has on the city or the crime or chaos or all the other stuff and It's just I think it's tempered by this desire that people have that lived to fit in Because they want to be cast in things like you think about someone who's an actor you're probably already fucked up You're probably already insecure, | ||
| which is why you want this exorbitant amount of attention You probably had a bad childhood or whatever it was whatever whatever Whatever it was, you were not stable and you go so far that you desire this exorbitant amount of attention. | ||
| Then what you have to do is you have to get in front of casting agents. | ||
| So people get to pick you. | ||
| They have to choose whether or not you're good. | ||
| Choose whether or not you're worthy. | ||
| And your self-esteem is based on whether or not you get picked. | ||
| And so there's these people that are constantly in this cycle of rejection. | ||
| Constantly in this cycle seeking acceptance and rejection. | ||
| And then they see people that make it and they're furious. | ||
| Why isn't it me? | ||
|
unidentified
|
I am. | |
| I had a friend, and he was dating this gal, and she was an actress too, and he got a role on a TV show. | ||
| He was so excited, and he told her about it. | ||
| And she started crying, saying, when is something going to happen for me? | ||
| It was the first thing she said. | ||
| I was like, dude... | ||
| That's not good. | ||
| But that is super, super common. | ||
| And that's a lot of what flavors the consciousness of Los Angeles. | ||
| It has an effect on it. | ||
| And out here, that doesn't exist. | ||
| It's different. | ||
| I agree. | ||
| And for me... | ||
| I was really happy to find, agreeing with you, to find Simi Valley, because I'm from... | ||
| Oh yeah, very different. | ||
| Let's go back at the beginning of the conversation, I'm from Appalachian, you know, that's a handshake is your word, you know, it's real simple, real simple background. | ||
| Mike sells moonshine. | ||
| So, Simi, again, not for a game of name-dropping, but I know, like my friend Ezio that has Bomb Hoagie, my favorite little place to get Philly cheesesteaks, which you can't find for shit out in California, does yummy stuff. | ||
| I know, like, Donish, the manager at my bank. | ||
| I know Neil, who has, well, of course, East Coast Pizza. | ||
| You know, I know their names. | ||
| I know these people, because It's got that small town feel to it. | ||
| It's not just in and out and you have no time to meet anybody or know anybody. | ||
| You know what I mean? | ||
| I've been out there because Terran Tactical, that's out in Simi Valley. | ||
| It's just a normal neighborhood. | ||
| It's a normal community that's sort of divorced from a lot of what ails L.A. And I know you had gone there from past times of just telling me. | ||
| Do you still go back? | ||
| Yeah, when I'm in L.A. Yeah, if I'm in L.A. and I have time, I go back there. | ||
| Shave in another five minutes since I'm around the corner. | ||
| Well, oftentimes I'm there on Sunday. | ||
| Well, let me know. | ||
| Let me know. | ||
| That's cool. | ||
| I didn't know if you went back. | ||
| I know you liked it. | ||
| Yeah, it's good to know. | ||
| I mean, if you have a gun, it's good to know how to really use it. | ||
| Yeah. | ||
| You know? | ||
| And he's the best. | ||
| That guy's awesome. | ||
| He's such a great instructor. | ||
| Does he give you instructions? | ||
| Oh, yeah. | ||
| It's instructions. | ||
| Oh, it's not just, here's a range and go shoot it. | ||
| No, no, no, no. | ||
| You're getting taught by a master. | ||
| I mean, Taron is like a multiple-time world champion in those shooting competitions. | ||
| I did not know it was an instructional thing. | ||
| Yeah, he trained Keanu Reeves there for John Wick. | ||
| Yeah, he trained Michael Jordan, Michael B. Jordan. | ||
| He trained him for a bunch of his movies. | ||
| He's trained just a host of people. | ||
| I was there with Rob Lowe. | ||
| I've been there with multiple comedians. | ||
| I took my friend Shane Gillis there. | ||
| It's like he trains people literally from the very beginning how to correctly hold the pistol, how to brace it correctly, what amount of pressure you put with your left hand versus your right hand, how to line the sights up. | ||
| He teaches you how to do everything correctly. | ||
| That's awesome that Keanu Reeves has that, so when he's filming it, he's looking like he actually is shooting a gun. | ||
| Super legit. | ||
| If you watch John Wick, he looks super legit. | ||
| He absolutely knows what he's doing. | ||
| Because Taren trained him. | ||
| I mean, everything he does is exactly how you would do it. | ||
| How long have you known Taren? | ||
| Taren? | ||
| Taren. | ||
| T-A-R-A-N. Years. | ||
| I don't know. | ||
| Many years. | ||
| I think I first went there... | ||
| I forget who brought me there, honestly. | ||
| Hmm. | ||
| I forget who brought me there. | ||
| But, you know, you go there for like an hour and he coaches you. | ||
| It's great. | ||
| A couple hours maybe. | ||
| And you'll always have new people there. | ||
| Chad Stileski, the guy who produced and directed. | ||
| He actually wrote. | ||
| Did he write John Wick? | ||
| Or did he... | ||
| He directed it and produced it. | ||
| If he didn't write it by himself, he definitely co-wrote it. | ||
| So I met him there. | ||
| I met a bunch of really cool people there. | ||
| The King of Jordan was just there training with him. | ||
| Yeah, it's wild. | ||
| He trains people. | ||
| He's that good. | ||
| He trains people from all over the world. | ||
| Does he do just firearms or does he do bow and arrow? | ||
| Just firearms. | ||
| They do throw hatchets too. | ||
| He shows you how to throw a hatchet. | ||
| Because there's a lot of stuff that people use in movies, in John Wick movies and things like that. | ||
| Skill sets. | ||
| Yeah, yeah, yeah. | ||
| But yeah, Halle Berry trained there. | ||
| There's all these videos of her learning how to shoot a pistol. | ||
| I don't know if I've ever spoke with you about it. | ||
| I always, growing up, I fiddled with archery, bow and arrows. | ||
| It fascinated me. | ||
| And you know Nuge. | ||
| Sure. | ||
| And he's whack master, as his brand is. | ||
| Yeah, you got into that too, right? | ||
| Bowhunting? | ||
| Yeah. | ||
| Weren't you doing that too? | ||
| Yeah, I still do it. | ||
| I just got back. | ||
| I just got back from an elk hunt in Utah. | ||
| Oh. | ||
| Yeah. | ||
| Bowhunting? | ||
| Bowhunting. | ||
| Yeah. | ||
| Yeah. | ||
| Practice every day. | ||
| I was out in my yard today practicing. | ||
| Oh, cool. | ||
| Yeah. | ||
| You have to. | ||
| For me, that's harder. | ||
| Then guns... | ||
| Of course. | ||
| I mean, guns take a skill set, for sure. | ||
| Oh, yeah. | ||
| No, guns aren't easy. | ||
| It's not easy to kill a deer with a rifle. | ||
| I mean, you could get lucky, and one can be close. | ||
| But if you're in the mountains, it's very difficult to get close to them. | ||
| You have to understand the wind and how to sneak up on them. | ||
| It's easier with a rifle, because you could take a 200-yard shot ethically. | ||
| Whereas with a bow, you really want to get inside of 60 yards if you can. | ||
| Right. | ||
| And then have the aim. | ||
| And you have to be really good. | ||
|
unidentified
|
Yeah. | |
| And then the aim. | ||
| And you have to be able to keep your nerves together. | ||
| Yeah. | ||
| Yeah. | ||
| I was always fascinated with it. | ||
| My dad, because my area, again, a lot of hunting, fishing, that kind of stuff. | ||
| So that was promoted. | ||
| It's an amazing way to get food. | ||
| It really is. | ||
| It's a very realistic way to get your food. | ||
| You just have a very different connection with what your food is. | ||
| When I eat an elk steak, it's a very different connection than if I eat a steak that I got from H-E-B. Explain. | ||
| Well, you were there when this... | ||
| The last one I killed was my favorite because it was so old. | ||
| It was an 11-year-old elk and his teeth were all worn out. | ||
| Like when we opened his job, that's about as old as you get in the mountains. | ||
| Like you might live to be 13, but probably not. | ||
| And during the rut, when they're breeding, they don't eat a lot of the time. | ||
| So they lose a ton of weight because they're just running around chasing tail. | ||
| No pun intended. | ||
| Yeah, no pun intended. | ||
| And then during the winter, it's rough. | ||
| It's rough because they have to eat as much as they can after the rut. | ||
| And by that time, it might already be snowing. | ||
| So the grass might be getting covered up, but it's harder to get food. | ||
| If you're not lucky, you could freeze to death in the winter because you don't have enough fat, and it happens to them all the time. | ||
| That's generally how they go out, or a cat gets them. | ||
| One of the two is probably coming. | ||
| Or they can get injured, and a cat catches them limping, and then that's a wrap. | ||
| It's a fucking hard scrabble life. | ||
| So that was my favorite because we got them at the right time, 11 years old. | ||
| That's a really good time. | ||
| It's a real mature, wise old elk that you just caught slipping. | ||
| And so when I'm eating that, I'm eating something that I work really hard to get to. | ||
| I practice really hard. | ||
| I got in really good shape. | ||
| Did all these things to work on my aim, work on my precision with my shooting, and just work on all the things, the cardio, all the things that you have to do to do it. | ||
| So it's just a very different connection than just... | ||
| I'll still eat a steak at a restaurant. | ||
| I still love them. | ||
| They're so great. | ||
| It's just a different experience. | ||
| Right. | ||
| Well, sure. | ||
| It's definitely more personal. | ||
| It's definitely more personal, but it's also more honest. | ||
| It's a much more honest exchange. | ||
| Especially if you're getting some factory-farmed shit. | ||
| There's a lot of weird karma that comes with that. | ||
| It's so easy to get a chicken sandwich. | ||
| It's so easy to pull into a drive-thru and get a chicken sandwich. | ||
| If you had to see the life that chicken lived, you'd probably be pretty fucking horrified. | ||
| You know, there's a lot of the chickens we buy, I'm sure you've seen those chicken trucks that are driving down the street on the highway, and they're just stuffed with chickens, and you're like, yo, that's a fucked up life. | ||
| Did you ever see the one where the pigs... | ||
| There was a car accident, I think, and the pigs jumped out of the fucking truck and they were splattered all over the highway. | ||
| They tried to escape. | ||
| Yeah, not good. | ||
| So like I said, it's a very different thing. | ||
| Oh, sure. | ||
| No, agreed. | ||
| Understood. | ||
| So you're still hunting, obviously. | ||
| You just came back from one. | ||
| Yeah. | ||
| It's also a good reset for me because, you know, I do this weird thing where everybody listens to me talk. | ||
| It's very strange. | ||
| You know, the whole thing's very strange. | ||
| And you could get a very inflated sense of your worth and your perspective and your place on Earth. | ||
| But when you're in the mountains, that's literally impossible. | ||
| Oh, yes. | ||
| You know how tired you get when you go up the hill. | ||
| You know what a bitch you are. | ||
| In comparison to these other animals that are out there hunting these things, you're only an apex predator because you have a bow. | ||
| That's about it. | ||
| That's it. | ||
| In fact, that is it. | ||
| It's the only reason. | ||
| You're also encountering this unforgiving, uncaring, beautiful... | ||
| Landscape. | ||
| It's not just a landscape. | ||
| It's a realm. | ||
| Fair enough. | ||
| When you're there, it's like when you're in the actual wild, it's a realm. | ||
| It's a different realm than the realm we exist in. | ||
| I know you can just walk into it, but once you are in there, you are living inside this ancient system. | ||
| This ancient system of tooth and claw. | ||
| This ancient system of breeding and survival and predators. | ||
| And carnivores and these animals that are just there to pick up the mess. | ||
| The vultures that swoop in and the birds. | ||
| And it's just a fucking wild place to be, man. | ||
| And it just completely resets me. | ||
| Just that alone. | ||
| I understand and agree. | ||
| You have good reverence. | ||
| A long time ago I met a couple of Indians. | ||
| Native American that tried to follow basically their lineage and The discussion was that the same vein of the respect of That you described it. | ||
| Well that realm it is it is like a realm You know they were the real what that's why it's so disappointing when you find garbage It's the saddest thing when you're on some public trail and you see a water bottle that someone just discarded. | ||
| Like, oh no, you're bringing our bullshit into this incredible realm. | ||
| In that realm, there's no garbage. | ||
| It doesn't exist. | ||
| Everything gets eaten. | ||
| Everything that dies gets consumed by the earth. | ||
| It becomes fertilizer for the trees. | ||
| It becomes food for all these creatures that live there. | ||
| It's all a cycle. | ||
| It's an insanely perfect cycle. | ||
| And when you're there, it's just like, okay. | ||
| It just puts it all in perspective. | ||
| It's also fucking thrilling, man. | ||
| Like when you're around these animals, you see an eagle fly overhead. | ||
| It's like, wow. | ||
| Yeah. | ||
| It's thrilling. | ||
| Big bird. | ||
| In California a few years back, I watched a golden eagle grab a rabbit. | ||
| Real big bird. | ||
| Oh man, it was awesome. | ||
| He swooped in and we saw it just, we were driving in a truck and we saw it just at the very end. | ||
| There was like this rabbit that was like right underneath the branches of this tree and this eagle just swooped in and grabbed it. | ||
| And just grabbed it on the ground and started flapping its wings and going up this little hill with it. | ||
|
unidentified
|
And we were like, holy shit. | |
| I, again, from the background where I'm from, a lot of farms. | ||
| A lot of mobsters, too. | ||
| Well, there was that. | ||
| But a lot of farms worked, you know, when I was younger, chucking hay bales. | ||
| And would, because of being around barns, see owls hound. | ||
| Oh, they're amazing. | ||
| They are. | ||
| Everyone's like, ours are so fascinating and cool and neat. | ||
| I'm like, they are a cold-blooded assassin. | ||
| Ruthless night stalkers. | ||
|
unidentified
|
Ruthless and absolutely silent. | |
| Yeah, they're amazing. | ||
| They make no noise. | ||
| They are nature's hitman. | ||
| Have you ever seen the video? | ||
| It's a trail camera video that they set up on this nest of hawks. | ||
| So these hawks in this nest and they're sitting there at night just looking around. | ||
| This owl comes in from the background. | ||
| You see his eyes in the distance and just snatches them. | ||
| Watch this because it's amazing. | ||
| This is what an owl is. | ||
| It's not give a hoot, don't pollute. | ||
| This is the way you get to the library. | ||
| Watch this. | ||
| They are assassins. | ||
| So look in the distance and you'll see the eyes soon. | ||
| There they are. | ||
| Watch this. | ||
| Here they come. | ||
| No, no, no, no, no. | ||
| They'll just appear. | ||
| Well, I'm sure he'll make real quick work of it. | ||
| Here he comes. | ||
|
unidentified
|
Watch this. | |
| Look at the eyes. | ||
| Oh! | ||
| Bam! | ||
| And that other one is like, what? | ||
| Where's my brother? | ||
| What just happened? | ||
| What the fuck? | ||
| Like I said, absolutely silent and unbelievably efficient. | ||
|
unidentified
|
Snatch! | |
| Look at the eyes, man. | ||
| That's a demon. | ||
| Wham! | ||
| I mean, that is a demon. | ||
| It's just a fluffy demon. | ||
| Fluffy demon. | ||
| If that thing was doing that to people and it was covered in, like, lizard scales, we would say, oh, my God, it's a demon. | ||
|
unidentified
|
Yeah. | |
| But because it's got feathers, for some reason, we like to think this thing is this wise, cute thing in the forest. | ||
| Now, I've watched them hunt, and I think the thing that was most fascinating to me is they're absolutely silent. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| There's no noise. | ||
| The prey has no idea that thing's coming. | ||
| Wham! | ||
| When we were just leaving California, we found one that looked like it had been poisoned. | ||
| It's a real bummer, man. | ||
|
unidentified
|
An owl? | |
| Yeah, because what happens is people poison rats. | ||
| If people have rats in their garbage, they'll put rat poison out. | ||
| The rats eat the poison, the owls eat the rats, and the owls die. | ||
| I'm not an expert in owls, but there was something really wrong, because it was sitting in the front door of our house. | ||
| And it was literally the day before we moved to Texas. | ||
| Just sitting there, dying. | ||
| Oh, at the old house back home. | ||
| Yeah, so it was like symbolic. | ||
| To me, it was almost like symbolic of the life I knew here dying. | ||
| That I had to leave it. | ||
| Was it a little guy, big guy? | ||
| Like, about that big? | ||
| A regular-sized owl? | ||
| It wasn't a mature owl. | ||
| It was a mature owl, but it was fucked up, man. | ||
| It was just, like, just fucked up. | ||
| Just trying to move a little and could move its wings. | ||
| It was very, very, very sad. | ||
| And I know where I lived was very hilly. | ||
| There's a lot of rats. | ||
| There's a lot of coyotes. | ||
| There's a lot of wildlife out there. | ||
| So I'm assuming that someone poisoned it. | ||
| Because it was a suburban community and people don't want rats in their garbage. | ||
| They don't understand the food chain. | ||
| But I think that was a real problem that was killing off a lot of owls. | ||
| See if that's documented. | ||
| Because I think that was a real problem in the Hollywood Hills as well. | ||
| That people were poisoning rats and the rat poison was killing owls. | ||
| It's a bummer, man. | ||
| But there's something about those I don't know how they got labeled the way they got labeled. | ||
| Like, I don't know how they got a monocle and a book. | ||
| Like, something happened. | ||
| Yeah, that would be the wise old owl. | ||
| Rat poison from marijuana farms is harming federally threatened northern spotted owls. | ||
| So, yeah, it's a thing. | ||
| I'm sure it's not just the marijuana farms. | ||
| I know people in my neighborhood are using rat poison. | ||
| Oh, sure. | ||
| Because people would ask you, how do you deal with the rats? | ||
| Well, it doesn't sound like it's a far-fetched theory, that's for sure. | ||
| No. | ||
| Do you know how smart rats are? | ||
| That if you leave some poison... | ||
| Yes, I had rats as pets. | ||
| Did you? | ||
| Yes. | ||
| Have you ever seen the Netflix show Rats? | ||
|
unidentified
|
No. | |
| Oh my god. | ||
| There's an amazing documentary on Netflix called Rats. | ||
| And you watch it and you just go, what? | ||
| Like you don't understand the scope of the rat problem in this country. | ||
| Like you don't know that there's more, the same, I think they think it's the exact same biomass. | ||
|
unidentified
|
I know, the one in New York City. | |
| I think in New York City, the biomass of rats surpasses the biomass of humans. | ||
| So if you weighed all the people in New York City, I think the rat biomass is actually either the same or larger. | ||
| That's how many rats there are in New York City. | ||
| Yay! | ||
| See if that's true. | ||
| I know that I've read multiple. | ||
| They don't have an accurate estimation of the rats. | ||
| It's like fish in the ocean, right? | ||
| It's a huge different number. | ||
| It's like 2 million or 50 million. | ||
| If it's 2 million, it's 25% of the human population there. | ||
| And if it's 50 million, it's what? | ||
| And it's way more. | ||
| That's what I mean. | ||
| It depends on how many there really are. | ||
| I bet it's 100 million. | ||
| Fucking rats in New York City. | ||
| It's insane how many they are. | ||
| Oh, I'm very familiar. | ||
| Yeah. | ||
| And this documentary shows how intelligent they are. | ||
| And one of the things they do, if you leave poison in, like, a rat tunnel where the rats go, the rats will get a young, stupid rat to go eat the poison. | ||
| It's like, hey, man, look at that food. | ||
| And they'll sit back and watch. | ||
| The old rats will sit back and watch. | ||
| And the young rat goes over and starts eating the poison. | ||
| And they go, yep, thought so. | ||
| And they take off. | ||
| Like they know. | ||
| There's videos of rats setting rat traps with sticks. | ||
| Have you seen this? | ||
| No. | ||
| Pull that video. | ||
| Totally believable. | ||
| They set up a rat trap and this rat walks over and picks up a stick and drops it on the rat trap so it can get the cheese. | ||
| Like, that's how fucking smart they are. | ||
| Sure. | ||
| Those little creeps. | ||
| Those little creeps. | ||
| Watch this. | ||
| So look at this rat. | ||
| Oh, yeah, that's a rat, right? | ||
| It's not a mouse. | ||
| It says mousetrap, but isn't that a rat? | ||
| Like the tail? | ||
|
unidentified
|
I don't know. | |
| What is that? | ||
| That looks small enough to be a mouse, but it could be a rat. | ||
| Either way, whatever this fucking thing is, watch this. | ||
| Wow. | ||
| Snap. | ||
| With a fucking stick, man. | ||
| Like, it knows how to set that thing off, and it didn't even flinch. | ||
| Can you imagine you don't know that that's going to happen and you drop a stick on something and it explodes? | ||
| Watch that mouse or rat or whatever the fuck it is. | ||
| Oh, you're right. | ||
| It's a rat. | ||
| He didn't freak out because the thing went snap. | ||
| Yeah, world's smartest rat. | ||
| So it is a rat. | ||
| Watch this. | ||
| This motherfucker doesn't even flinch. | ||
| Watch. | ||
| Drops it on there. | ||
| Not a budge. | ||
| Not at all. | ||
| Just like cracking a safe. | ||
| If it's a rat, do you think maybe this kid trained it? | ||
| Yeah, probably. | ||
| It didn't just happen randomly? | ||
| Yeah, it's probably for the cliques. | ||
| I used to teach him to play basketball where I was from. | ||
| Maybe. | ||
| It might be for the cliques, or it might be a legit video of how fucking smart rats were. | ||
| Like he was trying to figure out how are these motherfuckers not dying? | ||
| Maybe he just kept a rat trap in the same spot over and over and over again, and eventually they realized, oh, every time it snaps, then a rat gets killed, but the food's still there. | ||
| Yeah, well, this account, he's got Mouse Trap Monday, so he must have... | ||
| Oh, so he's, like, running experiments. | ||
| See, that's a mouse in the picture. | ||
| That's a mouse. | ||
| If that's his buddy pal. | ||
| Was the other one a mouse or a rat, though? | ||
| Stunt mouse. | ||
| So this is the guy that did that little video? | ||
| Yeah, so I was noticing this account had, like, 2 million followers on it. | ||
| I was like, this might be... | ||
| It says mouse. | ||
| It says Mouse Trap Monday. | ||
| So they look like mice in that little thing that he's holding, right? | ||
| Right. | ||
| So he must have trained mice. | ||
| And he probably incentivizes them to snap the trap. | ||
| Yeah, the theory of what, Pavlov's dog or whatever. | ||
| Yeah. | ||
| Repeat, repeat, learn. | ||
| I wonder how he taught them how to set a trap with a fucking stick. | ||
| I wonder how many died trying to figure it out. | ||
| I know, right? | ||
| He probably sacrificed a lot of his little pets. | ||
| The dark side to Mousetrap Monday. | ||
|
unidentified
|
Yeah. | |
| The very dark side to Mousetrap Monday. | ||
| What are you doing over there, man? | ||
| Yeah. | ||
| I know, right? | ||
| If you're running tests, you've got to have to use mice. | ||
| I bet he would have the video of him teaching it if he did do that, too, because that would get some views, you know? | ||
|
unidentified
|
Yeah. | |
| It's a strange thing. | ||
| I mean, it's obviously that we have a distaste for rats and mice because they carry these bugs, they carry the plague, and they carry diseases, and they document that in the Netflix special, too. | ||
| The Netflix special shows, like, some of them have plague. | ||
| Hooray! | ||
| Yeah, they catch... | ||
| I mean, obviously, not a lot of people are getting bitten by rats, but if you were, you'd be fucked. | ||
| There's a lot of them that are just horrific. | ||
| Well, I have to congratulate you. | ||
| For what? | ||
| On something you may not know. | ||
|
unidentified
|
So... | |
| Are you on the fucking... | ||
| I talk with my hands. | ||
| What do you want? | ||
| You may not know. | ||
| What is it? | ||
| So I got together with a guy named Drew Harden, who's been an editor at Hot Rod and Rod and Custom, a bunch of different books. | ||
| And he's written books, like books. | ||
| He had a book called Hot Rod Magazine, All the Covers, which covered up to, no pun, all the way up to 2009. Hot Rod started in 1947. So all the way up to 2009, every cover ever printed. | ||
| And then he just released a new book, like The History of Hot Rod Magazine, which begat every automotive magazine. | ||
| That was the first. | ||
| And Mr. Peterson, I mean, he had everything. | ||
| He had Hot Rod, he had Field and Stream, Better Homes and Gardens, like every popular science, every book you could think of was him, if I remember right. | ||
| Anyway, so I, because of your latest cover, asked Drew, hey man, how many cars... | ||
| Have ever been on the Hot Rod magazine twice. | ||
| And I have every issue of Hot Rod from 47 to now. | ||
| But it's easier to ask someone who's like written a book about the covers than go through every one of them. | ||
| And we found 14 cars that had been on the cover twice. | ||
| But I said, hey, how many cars have been on the cover? | ||
| Three times. | ||
| And there's five. | ||
| And one of them... | ||
| I mean, it made the criteria. | ||
| It was on the cover three times, but it was Hot Rod Magazine's Crusher Camaro. | ||
| So, I'm like, oh, that's insider trading. | ||
| The editors can put their own car on the cover. | ||
| But, nevertheless. | ||
| But your Nova... | ||
| Was on shared cover with my Buick funny car, Skylark. | ||
| It's clearly in the cover. | ||
| That was part of the criteria. | ||
| Is the vehicle, if there's more than one car on the cover, is it on purpose? | ||
| And yours was on purpose. | ||
| It's on the side. | ||
| It's not even back there. | ||
| It's here. | ||
| And then it was on the cover in bare metal, built, and then brand new, out right now in the newsstands for Hot Rod. | ||
| So you are one of five cars ever in the history of Hot Rod magazine to be on the cover three times. | ||
| That's pretty fucking cool. | ||
| And congratulations, sir. | ||
| Thank you very much. | ||
| What does it look like on the cover? | ||
| Show me the cover of the magazine. | ||
| Oh, I've got it in my briefcase. | ||
| I'll send one back to you. | ||
| I brought one for you. | ||
| Yeah, but you can just look it up right now. | ||
| Yes, you will. | ||
| Brand new issue of Hot Rod magazine. | ||
| I've got it on my phone, but he'll find it. | ||
| I'm sure Jamie will find it. | ||
| Well, he's an island, you know. | ||
| He's an island. | ||
| He'll find it. | ||
| He's a man. | ||
| He's a rock. | ||
| Wow. | ||
| Pretty cool. | ||
| So, but, now no pressure out to our editor on hand. | ||
| Are you trying to get on four times? | ||
| Is that what you're trying to do? | ||
| No. | ||
| No, we're all done with that card. | ||
| Okay, I was going, what's this pressure talk? | ||
| No, no. | ||
| John McGann, who's the curtain editor of Hot Rod Magazine, which we thank for the wonderful cover. | ||
| Did you find it? | ||
|
unidentified
|
Yeah, I thought you did. | |
| I'm putting it out there, putting it out there to the car universe. | ||
| If he gets the opportunity or wishes to feature your... | ||
| There you go. | ||
|
unidentified
|
There it is. | |
| Hot Rod Remixed. | ||
| Pretty dope. | ||
| Your Sickfish 2.0 that the Roadster Shop did a wonderful, beautiful job. | ||
| If they feature it again, and if the gods of Hot Rod deem it so, to put it on the cover, I'm putting it out there if. | ||
| No pressure, John. | ||
| But if that happened, you would be the only human on the planet to own two vehicles. | ||
| One that's been on the cover twice, because Sick Fish was on the cover once in bare metal. | ||
| Right. | ||
| And then the Nova's on the cover three times. | ||
| You would be the only human. | ||
| In history. | ||
| Someone can have that. | ||
| Someone else can have that. | ||
| I don't know. | ||
| I'm just saying. | ||
| It's okay. | ||
| What do I know? | ||
| Hey, I don't know if John's featuring it or if I put it on the cover. | ||
| I know it's a prestigious thing. | ||
| Well, it's a neat thing. | ||
| Yeah, it's cool. | ||
| The car's cool. | ||
| I just like them for what they are. | ||
| You know what? | ||
| And that's really true. | ||
| I've talked with a lot of people because they ask me because obviously you're well-known. | ||
| For this gig, and I think you're just rippingly funny. | ||
| We'll watch you tonight, by the way. | ||
| I'm going to go down and watch you. | ||
| And my car world guys are like, is he really like a gearhead? | ||
| And I'm like, you know what? | ||
| I don't think he's outwrenching on it, but I know he has a very deep, totally digs it, thinks it's wonderful, thinks it's cool. | ||
| Yeah, I don't wrench on him, but I do love him. | ||
| He's not on this to look cool owning one. | ||
| You actually really like them. | ||
| No, I love them. | ||
| Even when I'm not driving them, I go in my garage and I stare at them. | ||
| You know what? | ||
| There's a great thing that's been said, again, within my world. | ||
| You got the wrong car. | ||
| If you don't park it, walk away and turn around to look at it again. | ||
| If you do that, you got the right car for you, man. | ||
| You turn around, you look at it, and you go, that thing's badass, man! | ||
| Sometimes I don't even have to drive it. | ||
| I just sit and look at it. | ||
| It's art. | ||
| It really is. | ||
| These kind of old cars in particular, especially like that Nova that you made, is a piece of art. | ||
| To me, I get a much greater satisfaction out of that kind of art than I do a lot of art. | ||
| I love art. | ||
| Obviously, you see this studio. | ||
| It's filled with art out there. | ||
| I love art. | ||
| I love when people make things. | ||
| I love human expression. | ||
| I like custom-made pool cues. | ||
| I like when people make shoes. | ||
| I like stuff. | ||
| I like people to make knives. | ||
| Yes. | ||
| Cars. | ||
| That's what I like. | ||
| I like when I see a thing, I know that humans made it. | ||
| They worked on it. | ||
| Their mind, their creativity, their skill, their talent. | ||
| I love that. | ||
| And it's interesting because obviously you have a lot of dexterity from hunting, you know, learning and utilizing firearms and, say, bow like we were talking. | ||
| Do you have an outlet that is artistic? | ||
| Do you—woodwork? | ||
| Do you do stuff—anything like that? | ||
| Because you obviously have a high appreciation for it. | ||
| No, no, I don't really make anything. | ||
| No, I just—other than jokes and, you know, podcasts. | ||
|
unidentified
|
No, I— Did you ever want to? | |
| No, it's like—to me, it's like music. | ||
| I don't have any music talent, but I really appreciate music. | ||
| I love that I can't play guitar, but I can go watch Gary Clark Jr. And I'm like, I just don't even know how the fuck is he doing that? | ||
| The sounds is just magic. | ||
| I love it. | ||
| I love that I have no connection to it. | ||
| I love that kind of stuff. | ||
| I love things that I don't have any skill in doing. | ||
| I love watching people execute things. | ||
| But you appreciate it. | ||
| Yeah, I appreciate it. | ||
| I appreciate human expression. | ||
| I think that we all do. | ||
| Yeah. | ||
| Oh, I definitely do. | ||
| There's human expression in a lot of forms. | ||
| And for me... | ||
| When I was a kid growing up, the fucking coolest thing in the world were hot rods. | ||
| When I was 15, 16, when I was getting my learner's permit and about to get a driver's license, all of us in the town that I grew up in, in Newton, Massachusetts, all my friends, everyone was obsessed with cars. | ||
| We were all obsessed with Camaros and Firebirds and everyone was obsessed with cars. | ||
| Mustangs and Chevelles. | ||
| And that is burned in my brain. | ||
| We used to go... | ||
| God, I wish I could remember his name because he was so cool. | ||
| There was an auto shop teacher, this old Irish guy. | ||
| He was fucking great. | ||
| He was hilarious. | ||
| And we always wanted to take auto shop class because he was just a regular guy. | ||
| You could hang out with him. | ||
| And he was only into Mustangs, like old Mustangs. | ||
| And he had these old Mustangs and we'd all work on these Mustangs and fucking bondo them and fix things. | ||
|
unidentified
|
Sure, yeah. | |
| Learn this and that. | ||
| But it was just... | ||
| I developed this appreciation for what those things are and the magic that they instill in some people. | ||
| I mean, it's not everybody. | ||
| Some people see them, they're like, oh, it's noisy, it's loud, it stinks. | ||
| But other people see them, they go, oh. | ||
| Right. | ||
| And that was me. | ||
| And that's still me. | ||
| So to this day. | ||
| So that's why I like those cars. | ||
| Those cars to me are like how someone wants to buy a Van Gogh. | ||
| They want to put this, you know, this fucking Jackson Pollock painting in their wall and they'll sit there and I'll have a glass of wine and they'll stare at that. | ||
| And that's for them. | ||
| And I love painting too. | ||
| I love art too. | ||
| But there's the art that really fucking gets my juices going is functional art like a car. | ||
| Yeah. | ||
| Because that's what it is. | ||
| It's a piece of functional art. | ||
| It is a piece of fun. | ||
| I agree completely. | ||
| And that's what drives me is to create it and build it. | ||
| Yeah. | ||
| And then when I'm done with that, I'm like, really? | ||
| I'd love it. | ||
| And then I can't wait to do the next thing I'm going to create and do and build. | ||
| And that's the excitement for me is the design and then the make it. | ||
| Yeah. | ||
| So that's really what your good fortune is. | ||
| You found this thing that you're really good at. | ||
| Oh, unbelievably fortunate. | ||
|
unidentified
|
And that you love. | |
| And that you love. | ||
| That's the good fortune. | ||
| And then also you've attracted like-minded great people to do these things with you. | ||
| Yes. | ||
| That's the really good fortune. | ||
| Yeah, unbelievably fortunate that I, or as a joke, they put up with me, you know, and help forge this stuff that I... No, they're cool people too. | ||
| It's a good vibe. | ||
| Like every time I've gone to your shop, it's a fun vibe. | ||
| Yeah, they're really, you know what they are, or the term I use is, because plenty of people say, you know, good people. | ||
| I say they're good humans. | ||
| They're just a good human being. | ||
| They're good fisher folk. | ||
| Nice fisher folk. | ||
| That's today's word. | ||
| Fisher folk. | ||
| Frightening word. | ||
| It's not really. | ||
| But yeah, I am really... | ||
| Yeah, that's the thing. | ||
| I'm really thankful for my... | ||
| I call it the shop family because I've got my guys, right? | ||
| The current crop of Troy and Kelly and then our new boy Tommy. | ||
| And then my sublet guys, as I've already said, Mick and Gabes, those guys I consider... | ||
| An arm off of my shop because they become involved with it. | ||
| Sure. | ||
| They treat my stuff like it's something, you know, they put the care into it and their talent into it. | ||
| And so it is a group of like-minded guys that, you know, and they care that their name's on it. | ||
| Yeah. | ||
| They actually want to do a good job. | ||
| That's why your story's cool is because your story, you know, building that first car in the garage like that. | ||
| Or the barn, yeah. | ||
| Yeah, but all that stuff. | ||
| That's what people need to hear. | ||
| There's a path to finding what it is you do. | ||
| And that path is going to be weird, and it's going to take a long time sometimes. | ||
| It's difficult, and it's not going to be easy, and you're going to fucking struggle. | ||
| But you can do it. | ||
| People can do it. | ||
| People have done it. | ||
| And maybe you didn't do it this time, so pick yourself up and try it again. | ||
| And keep doing it. | ||
| And keep trying to find that thing. | ||
| And if you can find that thing, you'll have a happier life. | ||
| Yeah, I am. | ||
| And thank you for recognizing that because I agree with that. | ||
| It's like, you know, you've actually got to work hard at this. | ||
| It's hard. | ||
| Whatever it is. | ||
| It doesn't have to be building a car. | ||
| How long did that Nova take to build? | ||
| That took a long fucking time. | ||
| Way too long. | ||
| Way too long. | ||
| Obviously, a lot of that was your eye issues. | ||
| But it took a long fucking time. | ||
| It takes a long time to make something. | ||
| Right. | ||
| Now, if I had nothing else to do and we just did that, it wouldn't be done much quicker. | ||
| Well, even Hammer, how many years did that take? | ||
| A couple of years. | ||
| Yeah, years. | ||
| Years of everyday working on that thing. | ||
| That's what people need to understand. | ||
| This is not something that gets made quick. | ||
| Oh, no. | ||
| It is a long time. | ||
| I remember going to visit you and seeing the process from the very beginning, the bare frame, and we sat in it to measure my height and make sure the windshield is the perfect size. | ||
| It's all fitted for you. | ||
| It's amazing. | ||
| It's really, really fucking cool. | ||
| It's fun. | ||
| It's great. | ||
| What you do, it's much appreciated. | ||
| And you've done a really cool thing with this, too, because this has evolved and grown and done things. | ||
| It's interesting to me because I watched... | ||
| There was the comedian thing, and then there was this thing, because this isn't funny. | ||
| Yeah. | ||
| You know what I mean? | ||
| Well, that's the thing the comedians are afraid of. | ||
| They're afraid of, like, you have to be funny always. | ||
| Oh. | ||
| Yeah, you've done a fantastic job of separating church and state, almost. | ||
| Well, the real separation is the UFC. That's my real separation, because I'm not even remotely funny on the UFC. True. | ||
| The UFC is just 100%. | ||
| See, and I don't swim in those waters, but I know of you being there, obviously. | ||
| But it's a completely different gig. | ||
| It's a martial arts expert gig. | ||
| That's what I'm doing. | ||
| I'm analyzing choices. | ||
| I'm looking at positions. | ||
| I'm looking at the trends in the fight. | ||
| Yeah, you're analyzing, like you said. | ||
| I'm trying to give justice to what these guys are doing. | ||
| Commentary. | ||
| Not to pretend to interview you, but did you... | ||
| I think it just naturally happened. | ||
| I don't think you on purpose set out to do these three things. | ||
| No. | ||
| The comedy, and then the Joe Rogan experience this show, and then the commentary for the fighting. | ||
| They just... | ||
| Those are just things I like. | ||
| Right. | ||
| Right. | ||
| And they just happened. | ||
| It just happened that things I like I wound up doing professionally. | ||
| Yeah. | ||
| And the UFC was. | ||
| But if you step away from it, it's very curious. | ||
| There are three very different things. | ||
| Yeah. | ||
| Yeah. | ||
| But there are all three things that I have a genuine interest and passion for. | ||
| And I think I learned something from all three of those things. | ||
| And I think all three of those things for in my life, they all feed off of each other and they all help each other. | ||
| They all work symbiotically. | ||
| Like being a person who talks to people all the time about different paths, different walks of life. | ||
| Sure, different stuff. | ||
| You know, that informs you on the way different people think and the way different people express themselves, the way different people, what they like and what they don't like. | ||
| And then, with MMA, it's like, what's possible? | ||
| Like, talking about Michael Bisping, fighting ten fights with one fucking eye and winning the world title. | ||
| As a huge underdog in a last-minute replacement fight, you see the human spirit in this very raw and just unfiltered form that I don't think very many people get to see. | ||
| It's a wild type of human being that participates in that. | ||
| And the risks they take and the rewards that they get, the highs that they get, this is an amazing speech. | ||
| Find Israel Adesanya's speech. | ||
| After he beat Alex Pajeda. | ||
| Israel Adesanya, who's one of my favorite fighters of all time, he loses his title to this guy, Alex Pajeda. | ||
| This guy, Alex Pajeda, has beat him twice in kickboxing. | ||
| One time he knocked him out. | ||
| And then they're fighting in the UFC for Israel Adesanya's world title. | ||
| Israel loses the title to him in a TKO. Then he comes back five months later and knocks him out. | ||
| And back it up. | ||
| And this is the speech that he gets. | ||
| And he said to me, can I have the microphone for a second? | ||
| I said, absolutely. | ||
| So watch this. | ||
|
unidentified
|
So... | |
| Let me just hold the mic real quick. | ||
| Yes, sir. | ||
| Hey, shush, shush. | ||
| Listen up. | ||
| I want to say something. | ||
| People. | ||
| Earth. | ||
| I need to say something. | ||
| Listen to me. | ||
| I hope every one of you behind your screens or in this arena can feel this level of happiness just one time in your life. | ||
| I hope all of you can feel how f***ing happy I am just one time in your life. | ||
| But guess what? | ||
| You will never feel this level of happiness if you don't go for something in your own life when they knock you down, when they try and on you, when they talk about you, and they try and put their foot on your neck. | ||
| If you stay down, you will never ever get that resolve, fortify your mind, and feel this level of happiness as you rise one time in your life. | ||
| But I'm blessed to be able to feel this again and again and again and again and again. | ||
| Beautiful. | ||
| That's the end of the podcast. | ||
| That's life. | ||
| That's life right there, ladies and gentlemen. | ||
| Steve Stroop, I appreciate you, brother. | ||
| Thank you very much for being here. | ||
| Thank you very much for the opportunity. | ||
| It was a lot of fun, man. | ||
| I appreciate your friendship. | ||
| Thank you. | ||
| Same again. | ||
| We'll have to do it again. | ||
| A masterpiece. | ||
| You created a masterpiece. | ||
| You're a fucking awesome guy. | ||
|
unidentified
|
Thank you. | |
| All right. | ||
| Bye, everybody. |
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