Aug. 8, 2025 - The Joe Rogan Experience
02:42:39
Participants
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| Speaker | Time | Text |
|---|---|---|
|
unidentified
|
The Joe Rogan experience. | |
| Train by day, Joe Rogan podcast by night, all day. | ||
| So let's go. | ||
| What are you doing? | ||
| We playing with magnets? | ||
| Yeah, man. | ||
| I'm checking out all your toys. | ||
| What'd you say? | ||
| This guy's name is Travis? | ||
| That's Travis Walton. | ||
| And he's a guy that got abducted allegedly by some sort of a UFO in the 1970s. | ||
| And the story was so crazy that it became a movie. | ||
| It's called Fire in the Sky. | ||
| And I don't know. | ||
| Like I said, I don't know if he's telling the truth, but it's very compelling. | ||
| He doesn't seem like a liar. | ||
| And he's been telling the exact same story for 40 plus years. | ||
| I think he's telling the truth. | ||
| You think so? | ||
| Yeah. | ||
| Yeah? | ||
|
unidentified
|
Yeah. | |
| I don't know. | ||
| I don't know anybody. | ||
| I mean, personally, I don't know anybody who's kept up a lie for that long. | ||
| There's got to be someone. | ||
| Got to be someone that's like, I think people can make a story up and then only keep that lie. | ||
| Usually, generally, when people lie about stuff, they'll lie about a bunch of stuff, especially something that crazy. | ||
| They took me aboard a UFO and they fixed me. | ||
| So this is the story. | ||
| The story was these guys were all loggers in Arizona. | ||
| And so they're driving down this logging road and they see some crazy light in the sky and it goes into this area. | ||
| They pull off to the side of the road. | ||
| They walk towards it. | ||
| And there's this disc that's like hovering, this glowing disc. | ||
| He walks towards it and he got really close to it and he got hit with a beam of light and he falls back. | ||
| Like that's supposedly what it looked like. | ||
| That's the art, the art depiction of it, what these guys saw. | ||
| He gets hit with this beam of light and they take off. | ||
| They're like, fuck. | ||
| And they did jump back in the truck and take off. | ||
| He's lying on the ground. | ||
| And they get like five minutes away and they're yelling at each other. | ||
| We got to go back. | ||
| We've got to go get him. | ||
| They were scared. | ||
| And so, fuck it, let's go back. | ||
| So they go back to go get their friend and he's gone. | ||
| So five days later, there's, you know, there's a manhunt for him. | ||
| Nobody can find him. | ||
| Five days later, he shows up, walks into town. | ||
| He's fully, it doesn't look like he's starving to death. | ||
| He's not out of water. | ||
| Doesn't look like he's been living in the woods. | ||
| It just looks like he just like a normal day. | ||
| And he tells this crazy story. | ||
| He tells this story that he got abducted. | ||
| They took him aboard this craft and fixed his body because the beam of light that came out of the ship from whatever it was, whatever energy source it was, fucked his body up. | ||
| They repaired it and they communicated with him telepathically while they were on the ship. | ||
| I forget all the details of it, but this is the film of it. | ||
| But this is supposedly what he said the experience was like. | ||
| He said it was terrifying. | ||
| And he described the thing that's crazy is that they all describe the same exact creatures. | ||
| They describe these people that get abducted. | ||
| People that have had UFO experiences, anybody that's had direct contact. | ||
| Do you ever see that movie, Close Encounters of the Third Kind? | ||
| I saw that movie, The Fourth Kind, when I was in middle school. | ||
| What's that one? | ||
| Is that an abduction one? | ||
| They come get you? | ||
| Yeah, it's like, man, I only watched it once. | ||
| It scared the shit out of me. | ||
| I think people go under like hypnosis and they remember what their abduction was like or something like that. | ||
| Yeah. | ||
| Yeah, don't quote me on that. | ||
| Well, the third kind, I think, is contact. | ||
| I think the close encounter is the first kind is like you see it. | ||
| I don't know what the second kind is. | ||
| There's like a list of the kinds. | ||
| The fourth kind derived explanation. | ||
| J. Allen Hynek's classification of close encounters with aliens. | ||
| The fourth kind denotes alien abductions. | ||
| Dun, dun, dun. | ||
| Yeah, that one. | ||
| I like how we talk about aliens, like it's like feeling on a girl, like second base. | ||
| You get to the fourth kind. | ||
| Get the fourth base. | ||
| She takes you home. | ||
| Yeah. | ||
| But his friends, they're like his friends that left him, that left him. | ||
| Yeah. | ||
| I mean, they saw it. | ||
| Yeah. | ||
| They all had the same story. | ||
| That has to be real. | ||
| I don't think he's going to convince these guys. | ||
| Probably not, but maybe you could. | ||
| It's like, it's not impossible. | ||
| It's not like they, it's like breathing underwater. | ||
| That's impossible, right? | ||
| Okay. | ||
| Flapping your wings to the top of a cliff, you fly away. | ||
| That's impossible. | ||
| Keeping a lie is possible. | ||
| It's not likely. | ||
| It doesn't make sense. | ||
| It doesn't make sense. | ||
| One of the reasons why it doesn't make sense is Travis and one of the guys in the truck had gotten into a fistfight that same day. | ||
| Like, they didn't like each other. | ||
| They hate each other. | ||
| They're workers. | ||
| They're just co-workers. | ||
| You know, logging is hard fucking work, man. | ||
| You're cutting trees and carrying trees, and it's back-breaking, brutal labor. | ||
| And you get hard men. | ||
| Loggers are bad motherfuckers, man. | ||
| My friend Evan, his whole family is from Loggers. | ||
| And they're just, he's like, they're the hardest fucking people you've ever met in your life. | ||
| Just hard men. | ||
| Like, doing this shit deep into their 60s and 70s, carrying logs. | ||
| Just a different breed of human being. | ||
| So they fucking didn't get along. | ||
| And they got in a fist fight that day. | ||
| So why lie for him? | ||
| Why would you lie for him? | ||
| Exactly. | ||
| Why would you lie for him? | ||
|
unidentified
|
Yeah. | |
| These are hardworking men, Joe Rogan. | ||
| They don't need a lie. | ||
| They're savages. | ||
| Yeah. | ||
| Hey, did his friends get any money from that movie? | ||
| What friends? | ||
| His friends, that is. | ||
|
unidentified
|
His friends? | |
| Yeah. | ||
| That's a good question. | ||
| It's a good question, right? | ||
| Because then it would be a reason to lie. | ||
| Yeah. | ||
| But the movie was a long time after the actual event. | ||
| What year was the movie, Jamie? | ||
| 93. | ||
| 93. | ||
| And this happened when? | ||
| In the 70s. | ||
| In the 70s? | ||
| Yeah, there's no way. | ||
|
unidentified
|
Like, bro, any day now you're getting paid. | |
| I got D.B. Cooper light. | ||
| Who's the guy that was the actor? | ||
| D.B. Sweeney? | ||
| D.B. Sweeney. | ||
|
unidentified
|
That's right. | |
| D.B. Cooper is the guy that stole the money and jumped off the plane. | ||
| D.B. Cooper? | ||
| You ever heard that story? | ||
| Was he the guy wanted by the FBI? | ||
|
unidentified
|
Yes. | |
| Yeah. | ||
| Like a top 10 wanted or something like that? | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| He stole a bunch of money and then hijacked an airplane and then jumped out of the airplane with the money. | ||
| And he died? | ||
| Like they found the body. | ||
| Was it like a mysterious mysterious thing? | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| Oh, shit. | ||
| You never heard that story? | ||
| Nah. | ||
| It's an interesting story, but the area the guy skydived into was heavily wooded. | ||
| And the problem with that is if you're a skydiver and you're in a parachute and you're going to a heavily wooded place, you're going to land in the trees. | ||
| Yeah. | ||
|
unidentified
|
And then you risk like getting what just cutting yourself loose. | |
| Also, cutting yourself loose out of the trees. | ||
| What if you're 30 feet up? | ||
| How are you getting down? | ||
| Yeah. | ||
| What if you fall getting down? | ||
| People go missing in the woods all the time and no one finds them ever. | ||
| You don't find nothing. | ||
|
unidentified
|
What? | |
| Yeah. | ||
| Why don't we hear about this more often? | ||
| Well, you do if you pay attention, but I don't pay attention. | ||
| You know, there's only so many things you can think about. | ||
| There's a recent update on the Cooper story, but this is just a brief for those who never have heard of it. | ||
| Okay, D.B. Cooper is the moniker given to the skyjacker, a dapper, dark-haired man, apparently in his mid-40s, who called himself Dan Cooper. | ||
| The mystery man passed a flight attendant a note while on a Northwest Orient airlines flight in Portland, Oregon, bound for Seattle November 24th, 1971. | ||
| The note contained, claimed rather that he had a bomb in his briefcase, which he opened to show a large tangle of wires and red sticks. | ||
| When the Boeing aircraft landed in Seattle, the man who became known as D.B. Cooper freed 36 passengers in exchange for a mountain of cash and four parachutes. | ||
| The plane took off with several crew members aboard, bound for Mexico City on his orders. | ||
| Wow, so he just made them fly him somewhere with a briefcase with a bomb in it. | ||
| And they were listening to him. | ||
| So at an altitude of 10,000 feet above Seattle and Reno, he jumped from the back of the jetliner with a parachute and the ransom money vanishing into history. | ||
| The case remains unsolved despite the manhunt, a manhunt, the FBI tenaciously interviewing hundreds of people in a cottage industry of true crime bruffs, buffs pouring through the events. | ||
| Nah, I do got away. | ||
| There's no way that he thought all of this out and then was like, ah, once I get in the air, I'll just wing it. | ||
| Like the man knew he was going to jump over those woods. | ||
| He knew that the minute he landed in Mexico, they'd have some sort of like dog day afternoon. | ||
| Right, but he wasn't in Mexico. | ||
| He jumped outside of Portland, right? | ||
| Yeah. | ||
| It was in the Pacific Northwest that he jumped, right? | ||
| Yeah, like they just took off and like 20 minutes in, he's like, all right, I'm out. | ||
| Yeah. | ||
| That's the biggest curveball to throw them because they're going to, their plan is to go to Mexico. | ||
| Go to Mexico. | ||
|
unidentified
|
Right. | |
| Right? | ||
| He thinks he's going to land safely and then they're going to figure out a way to. | ||
| Yeah, but the thing is, have you ever been in the Pacific Northwest? | ||
| You ever been to the woods up there? | ||
| Not in the woods, but I've been, I've seen them from the highway. | ||
| Tall as trees. | ||
| Okay, yeah, tallest trees and real dense, like this, like a box of q-tips. | ||
| That's how I always describe the trees up there. | ||
| Like, they're really close to each other. | ||
| There's not a lot of open space up there at all. | ||
| It's all just trees. | ||
| So if you're landing into that mess, you're not going to find a spot to land. | ||
| And then here's the other problem. | ||
| If you do find a spot to land, where are you? | ||
| Do you know where you are? | ||
| Do you know how to get out of there? | ||
| I think that dude. | ||
| You could walk for days in any direction and not find shit. | ||
| Nah, I think he planned that part. | ||
| I don't think he did. | ||
| I bet he was on meth. | ||
| For real. | ||
| Probably. | ||
| That sounds more like that. | ||
| I bet he was. | ||
| That's a meth move. | ||
| The whole thing's a meth. | ||
| I'm going to get a fucking bomb. | ||
| I'm going to get a little plane. | ||
| I'm going to tell him. | ||
| I got a fucking bomb. | ||
| I want some money. | ||
| And I want some fucking parachutes. | ||
| And I'm going to get the money. | ||
| And I'm just going to parachute to safety. | ||
| It sounds like a terrible idea. | ||
| You think so? | ||
| I mean, I think for a second there, it can. | ||
| Like, if the guy was sober, I think it's genius. | ||
| I think he's a sober genius. | ||
| You think he's just some method? | ||
| Yeah, I think he's a method. | ||
|
unidentified
|
I think he studied the woods for like months. | |
| No way. | ||
| Because how are you going to know? | ||
| You're going 10,000 feet above the earth. | ||
| You're going 500 miles an hour and you're going to jump. | ||
| So I want you to imagine that. | ||
| So here this you're going 500 miles an hour and then you jump. | ||
| Where are you going to land? | ||
| You're going 500 miles an hour. | ||
| You have to fall 10,000 feet. | ||
| Where the fuck are you going to land? | ||
| You have no idea where you're going to land. | ||
| You should make tests. | ||
| Like, you should be in charge of creating the SATs. | ||
| That's like question number eight. | ||
| Where the fuck are you going to land? | ||
| Well, here's the thing. | ||
| Back then, there was no GPS. | ||
| Okay? | ||
| So back then, all you had is a compass. | ||
| So even if you have a map, like how big is your map? | ||
| People were smarter back then, though. | ||
| No, they weren't. | ||
| Trust me. | ||
| I used to live back then. | ||
| I feel like people had to, like, I feel like the further back you go in time, maybe not too far back, right? | ||
| But I feel like 70s, 60s, 50s, 40s, like people were forced to learn maps, learn their directions, learn how to utilize a compass. | ||
| People were better on their feet. | ||
| You know what I mean? | ||
| That's true. | ||
| They definitely knew more phone numbers. | ||
| They definitely knew how to get around more without any sort of GPS. | ||
| I'm addicted to GPS. | ||
| That shit runs my life. | ||
| If I want to go somewhere, I always put it in my phone. | ||
| Yeah, you do like traffic updates. | ||
| That too. | ||
| Yeah, that's huge. | ||
| Oh, detour. | ||
| Fuck you, people. | ||
| And you feel happy. | ||
| Look, I got to run that traffic. | ||
| Back in the day, you just had to memorize routes, memorize which routes were busy at which times. | ||
| And you had to listen to AM radio for the traffic update. | ||
| The traffic update brought to you by Costco. | ||
| Hey, who's that one guy that comes on? | ||
| I don't know if he still does. | ||
| He like, what's the story with him? | ||
| He got like really rich and he gives people financial advice. | ||
| Is it Ramsey? | ||
|
unidentified
|
Oh, yeah. | |
| Dave Ramsey? | ||
| Dave Ramsey? | ||
| Yeah. | ||
| Do you know him? | ||
| No. | ||
| Oh, I thought you knew him. | ||
| Back to D.V. Cooper. | ||
| I think that dude was on meth. | ||
| I think that's a total meth head plan. | ||
| All right. | ||
| Maybe. | ||
| I got a fucking bomb. | ||
| He's got a bunch of red sticks with wires. | ||
| Blow it up, bitch. | ||
| You don't know how to. | ||
| What is that? | ||
| What's in that bag? | ||
| I think he's a pure meth head. | ||
| That's what I think. | ||
| Crazy, wild dude. | ||
| They say Hitler was on meth, too. | ||
| Yes. | ||
| Yeah, most likely. | ||
| He was definitely on Oxycodone, and the actual Nazis were definitely on meth, for sure. | ||
| They gave Nazis meth. | ||
| Oh, yeah, man. | ||
| There's a great book. | ||
| Is it out there? | ||
| It's in the other room. | ||
| It's in the other room. | ||
| It's called Blitzed by how do you pronounce his name? | ||
|
unidentified
|
Or Norman Orr. | |
| Norman Oler, right? | ||
| Ohler. | ||
| Norman Oler. | ||
| Great guest, too. | ||
| He was amazing. | ||
| But he wrote this book about all the meth they took during World War II. | ||
| It's all about the most meth. | ||
| Wait, so he was a Nazi that wrote a book? | ||
|
unidentified
|
No. | |
| Oh, he's a researcher. | ||
| How dare you? | ||
| I want to read a book by a Nazi. | ||
| Well, you'd have to read like Mein Kampf and you have to read it with a book cover on so people don't think you're a psycho. | ||
| Well, I mean, we got to know what they were thinking. | ||
| You know what I mean? | ||
| People should read it. | ||
| That's the book. | ||
| That book is great. | ||
| Blitzed. | ||
| So they were all on. | ||
| That's Hitler just all fucked up off meth. | ||
| Well, Hitler was definitely on Oxycodone. | ||
| He was on a bunch of other shit, and he had a doctor. | ||
| It's a really good book. | ||
| You should read it. | ||
| It's very interesting because it gives you a totally different insight into why they were behaving the way they behaved. | ||
| Like the kamikazes, for instance. | ||
| You know, they flew their planes right into the ships. | ||
| They were on meth. | ||
| What? | ||
| Yeah. | ||
| That's why they did it. | ||
| But like, what kind of meth? | ||
| Like, crystal meth. | ||
| But, like, okay, but like, how were they taking it in? | ||
| Were they just like smoking the pipe and then hopping in the question? | ||
| You can eat it. | ||
| First of all, there were pills, and there were actually prescription pills that the government would give out in Germany. | ||
| What's it called? | ||
| Previtin? | ||
| Pervitin. | ||
| So this Purvitin stuff was essentially an over-the-counter methamphetamine that you could buy. | ||
| That's how many people were on meth. | ||
| I feel like a lot of the most popular drugs at one point or another are like over-the-counter medication. | ||
| Or like presidential pressure. | ||
| At one point, right? | ||
| Oh, yeah. | ||
| Like hot syrup. | ||
| Like everybody's doing promithazine. | ||
| I mean, they still are, right? | ||
| But then they had to like ban it. | ||
| Yep. | ||
| Yeah, syrup. | ||
| For every war and abused drug. | ||
| What is this, Jeremy? | ||
| It starts off with, I didn't know ISIS uses an ADHD drug. | ||
| ISIS is on Adderall. | ||
| Captagon. | ||
| Captagon sounds like a fake drug. | ||
| That sounds like a drug in a movie. | ||
| The kids want Captagon. | ||
| It sounds like it was made by the guy who made adamantium metal. | ||
| Right, right, right. | ||
| So it was an early ADHD, a failed ADHD drug. | ||
| It was banned almost globally in the 1980s, but a few Middle Eastern nations are still producing it. | ||
| What does it do? | ||
| A stimulant gives some sort of euphoria and a sense of purpose. | ||
| Let's bring that shit back for you. | ||
| Euphoria and sense of purpose. | ||
| How about trying to give me some fucking vaccines that I don't need? | ||
| And how about hooking me up with a little euphoria and sense of purpose? | ||
| A little sense of purpose. | ||
| Little yellow tablets seem to be fueling much of the mayhem in Syria, but illicit drug uses on the battlefield isn't new. | ||
| That's pervitin. | ||
| Yeah, so the methamphetamine pervitin was distributed to soldiers in preparation for the war. | ||
| And what's interesting about that is they had different doses for different people. | ||
| Like the dudes in the tank at the very front, they got the most meth. | ||
| Damn. | ||
| Of course. | ||
| You get an eaty of the crazy job. | ||
| Because they would have to stick their heads out the top of the tank, wouldn't they? | ||
| and then like, so there it is. | ||
| Fucking go, fucking go right now. | ||
|
unidentified
|
Fucking turn around. | |
| They got to, find it, What's back? | ||
| Shut up. | ||
|
unidentified
|
Shut up again. | |
| Boom, boom, boom. | ||
| I mean, you imagine what it sounds like when a fucking tank cannon goes off. | ||
| She says the U.S. military distributed an estimated 200 million amphetamine pills to its soldiers during World War II, and Japanese kamikaze pilots in the Pacific used it in their final fateful missions. | ||
| Whoa, U.S. military. | ||
| Our guys were on meth too? | ||
| Oh, yeah. | ||
|
unidentified
|
Oh, yeah. | |
| World War meth. | ||
| U.S. military distributed an estimated 200 million amphetamine pills to its soldiers during World War II. | ||
| Yeah. | ||
| Well, this is, look, if you have soldiers and they're in combat, you want them to live and succeed. | ||
| You don't give a shit if they're, oh, they're taking steroids. | ||
| Good. | ||
| Give them all the steroids. | ||
| Give them every fucking thing you can give them. | ||
| Give them EPO if it helps their endurance. | ||
| Give them steroids. | ||
| Give them shit that makes them more aggressive. | ||
| Give them things that make them more confident. | ||
| Give them everything. | ||
| Give them beta blockers. | ||
| Give them whatever the fuck works. | ||
| They're in combat. | ||
| Like, that's important. | ||
| So if you got amphetamine, give that shit up, dog. | ||
| Do you think anybody was like, they stayed addicted or anything? | ||
| Oh, for sure. | ||
| Yeah. | ||
| Yeah, for sure. | ||
| Yeah, 100%. | ||
| Would it be cruel if I went up to like a World War II veteran with like a pipe and was like torching it at the point? | ||
| I don't think they'd do it that way. | ||
| I think they were taking the pills. | ||
| You still like to party, old man? | ||
| Just crush some of them pills up, put it on the table. | ||
| Maybe he'll snort it. | ||
| I learned a lot when I'm here. | ||
| I feel like a lot of your guests, like, they have so much to like share with the world, but I just come here to just ingest. | ||
| Well, I'm ingested too, dog. | ||
| Child soldiers in Africa. | ||
| Why couldn't I say that word right? | ||
| Child soldiers in Africa are commonly given a mixture called brown brown, which is cocaine and gunpowder. | ||
| Holy shit. | ||
| Whoa. | ||
| This is ingested by inhaling it into the nostrils, a method that rapidly affects The user and is conducive to addiction. | ||
| What about the gunpowder makes it better? | ||
| Also, here, whereas you were saying that too, back to the Civil War, they were used in alcohol. | ||
| Yeah, American Civil War soldiers were often given alcohol prior to battle as a form of liquid courage and as a means of steadying their nerves. | ||
| Huh. | ||
|
unidentified
|
Wow. | |
| Niall Ferguson concluded that World War I could not have been fought without alcohol. | ||
| During World War II, amphetamines were used. | ||
| Yeah, amphetamines are better. | ||
| Like, if you've got a choice between alcohol and amphetamines, like, bro. | ||
| I was watching this dude. | ||
| Oh, man, I forgot his name. | ||
| He, like, gives these lectures on history. | ||
| David? | ||
| No, I don't know. | ||
| Jan Carlin? | ||
| Nah, that's not it. | ||
| Wait, can I pull out my phone? | ||
| Yeah, sure. | ||
|
unidentified
|
I don't know. | |
| I feel like he's like school. | ||
| What was he doing lectures about? | ||
| I don't know. | ||
| I was only watching them because I was like, I better brief up on something to talk about. | ||
| The last time I was here, you know, I read the comments on the last time I was here, and people were like, ah, this episode, this dude's not so cool. | ||
| He's not interested. | ||
| The last guy was better. | ||
| That was a great episode, The Last Guy. | ||
| So I'm like, all right, well, who is he? | ||
| And that dude was like out here. | ||
| I think he was like a fighter pilot talking about aliens, like spilling. | ||
| And I was like, why? | ||
| Why don't you put me after that fucking guy? | ||
| On the way here, the driver was like, yeah, man, the other day we drove an Irish comedy writer who ended up getting canceled and this and this happened and they took his shows off, but there's all this controversy. | ||
| And I'm like, now I got to go up against this guy. | ||
| Like, that guy. | ||
| You got to think about it that way, man. | ||
| Just hanging out. | ||
| We're having fun. | ||
| People like these shows as much as they like all the other shows sometimes. | ||
| This is part of the show where I talk about AG1, which I've done for years. | ||
| And usually I like to talk about routine. | ||
| And don't get me wrong, because routine is super important. | ||
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| That's drinkag1.com/slash Joe Rogan. | ||
| Look, this guy's name is Dr. Roy Casagranda. | ||
| Okay, and what is his deal? | ||
| So I was watching this video where he explains like what led to World War II. | ||
| Oh, interesting. | ||
| But he spends like 45 minutes talking about the hundreds of years before World War I even and how that kind of came to play. | ||
| So first he like explains how World War I came to play because to understand why World War II happened, you got to understand why what caused World War I, you know? | ||
| And I forgot where I was going with this history of war. | ||
| Oh, yeah, yeah. | ||
| No, so everything I listened to it. | ||
| I had to listen to it like three times because, you know, I just kept getting distracted and stuff. | ||
| But it sounds so like sophisticated and it makes sense. | ||
| If you listen to it all, I'm like, okay, I get why World War I happened now. | ||
| But then finding out that everybody was just like drunk and on meth the whole time just sounds like it sounds like this was such a broy idea to go to war. | ||
| Like it's all the sophistication behind it. | ||
| But then at the end, they were just like, fuck it. | ||
| Let's just get fucked up while we're out there, though. | ||
| But all those old-time English gentlemen, they all wanted to go to war. | ||
| It was like you wanted to prove your courage in battle. | ||
| And it was a, it was a, it was a broy thing. | ||
| It was almost Like a frat boy thing. | ||
| Well, everybody wanted to conquer land back then, right? | ||
| And just rule empires and shit. | ||
| I feel like we should go back to that. | ||
| What are you talking about? | ||
| No, I feel like stuff is too leisurely now. | ||
| It's too comfortable. | ||
| That's true. | ||
| But we need to teach people that leisurely is not good for you. | ||
| You don't need artificial, you know, you don't need the kind of conflict that's going to ruin cities and kill people. | ||
| Don't go back to that. | ||
| That's stupid. | ||
| We just need to understand how to manage the human body. | ||
| What do you mean? | ||
| Manage the body. | ||
| Manage your brain and your body. | ||
| You're saying everybody should work out to just eat healthier? | ||
| That's the most minor interpretation of it. | ||
| But we need to figure out a way to keep people from being aggressive and to keep people from being greedy and keep people from stealing resources. | ||
| And we need to curb some of the worst aspects of human nature. | ||
| And I think the only way to do that is mushrooms. | ||
| Everybody has like mandatory mushrooms. | ||
| Mandatory mushrooms. | ||
| If I become president, mandatory mushrooms. | ||
| Well, mushroom day. | ||
| And afterwards, everybody's just going to hug it out. | ||
| Go, I don't know what I was thinking, man. | ||
| I'm sorry. | ||
| It's like an adult vaccine. | ||
|
unidentified
|
Yeah. | |
| A vaccine for human stupidity. | ||
| But I mean, that's our problem is that we're managing human behavior, right? | ||
| We're managing, we want to steal resources from this country because they got all the natural gas and this country's got all the minerals. | ||
| So we're trying to make some sort of a side deal with the rebels to overthrow the government. | ||
| That's what's most of the problems in the world. | ||
| It's people being cunts. | ||
| Hold on. | ||
| Hold on. | ||
| Before I forget this. | ||
| What do you got? | ||
| I got rappers. | ||
| You said two things. | ||
| Earlier. | ||
| You said that was the most minor interpretation. | ||
| Yes. | ||
| And then right now you said, what you said? | ||
| Cure stupidity? | ||
| Human stupidity. | ||
| The cure for human stupidity. | ||
| Yeah, cure for human stupidity. | ||
| Yeah. | ||
| Minor interpretation. | ||
| The most minor interpretation. | ||
| That should be the title of my next special. | ||
| And Cure for Human Stupidity should be the title for your next special. | ||
| There's no cure, but we need to guide a larger percentage of people in the right direction. | ||
| And that, like, worldwide, would that be the only way we save this experiment of the human race? | ||
| The only other way is AI. | ||
| AI is a way that might save us or make us obsolete. | ||
| Yo, AI, that's some scary shit. | ||
| Because I don't know if it's real. | ||
| I saw this video. | ||
| I don't know when it was shot or how recent or not recent it is. | ||
| I mean, all I'm watching is just Instagram reels, right? | ||
| It's a minute. | ||
| At the longest, it's like a minute long. | ||
| So this could be a minute from some movie from 2002. | ||
| Or it could have been recorded. | ||
| But there's a video supposedly that said the godfather of AI warns people about the dangers of AI. | ||
| But I'm like, why? | ||
| Like, if that's real, if whoever it was like behind AI, whatever team it was, is like, hey, but be careful with this. | ||
| It's like, why'd you make it then? | ||
| Like, I feel like they just did it to jerk themselves off. | ||
| Like a real Oppenheimer thing where he's like, now I become death destroyer of world war. | ||
| It's like, why'd you do it then? | ||
| You know what I mean? | ||
| Well, it's the same kind of thing in that you have to do it because if you don't do it, your enemy's going to do it. | ||
| If your enemy's going to hold of it, the whole world is very different. | ||
| The idea is that if America does it, America, we kind of suck in some ways. | ||
| We suck with some of the things that we do with other countries. | ||
| We suck with some of the ways we spend our taxes, but we're the best out there. | ||
| We're the best option right now. | ||
| It's the best way to run the world. | ||
| It's the best way to behave in terms of like your freedoms, having as much freedom as possible. | ||
| No countries have this combination of freedom speech, First Amendment, Second Amendment. | ||
| There's a lot of rights that we have in this country that are just different than the whole rest of the world. | ||
| I think it's the best way to do it. | ||
| And we like to think of ourselves as being the most benevolent of all the superpowers. | ||
| We're the best ones. | ||
| The other ones are evil. | ||
| They're communist. | ||
| They're run by dictators. | ||
| We're trying, like, that's why everybody's afraid of Trump being a dictator. | ||
| We don't want any dictators in this country. | ||
| So if we develop AI first, we won. | ||
| That's good. | ||
| Just like we developed the nuclear bomb, we dropped a couple of them and said, now back the fuck off. | ||
| We're done here. | ||
| We don't want to do this anymore. | ||
| And then we never did it again. | ||
| So that's good. | ||
| Now, if Germany had developed the atomic bomb first and nuked Britain and nuked America and just went on a nuking spree before we could ever develop one. | ||
| You see that? | ||
| Imagine how different the world would be. | ||
| Yeah. | ||
| You ever watch those videos, the AI videos of like two celebrities making out, it'll be like Elon Musk kissing like Brad Pitt or something or Trump. | ||
| Yeah, I've seen those. | ||
| I feel like we had to make a couple of those and then tell the world like, all right, now back the fuck off. | ||
| We did that. | ||
| Yeah. | ||
| Do you know how many times they blew up atomic bombs for tests, though, after that? | ||
| I'm learning more and more about that recently. | ||
| I'm reading this new book right now by this guy, Richard Dolan. | ||
| He's a UFO researcher. | ||
| And he's talking about one of the things that they were doing was they were doing altitude detonations. | ||
| So they were detonating these nuclear bombs 150 miles above Earth. | ||
| They did a bunch of them. | ||
| They did it like a bunch of times. | ||
| Doesn't it stay in the air? | ||
| They didn't even know. | ||
| They were just experimenting and testing. | ||
| There's a bunch of shit they did that is so wild. | ||
| Do you know like John Wayne did a movie in the Nevada desert near where the test sites were where they blew up like, I don't know how many hundreds of fucking nuclear bombs out there. | ||
| They blew up tons of nuclear bombs. | ||
| And then John Wayne just went out there and the whole cast got cancer. | ||
| The whole cast? | ||
| The whole cast got cancer. | ||
| John Wayne died of cancer. | ||
| Like a giant percentage of the people that worked on the show on that movie got cancer. | ||
| The results of that. | ||
| Imagine being on the team who's like sending the nukes into the air and you just kind of see like the clouds stay in the air. | ||
| Like, I wonder who's the first guy to be like, oh, shit. | ||
| They didn't even understand that. | ||
| No one had been, no one had been subject to large-scale radiation before. | ||
| It was a new thing, especially from a detonation. | ||
| It had never happened before. | ||
| There was no meltdowns yet. | ||
| There was no Three Mile Island or Fukushima yet. | ||
| 1980 article in People Magazine reported that out of the 220 cast and crew members, 91 had contacted cancer, contracted cancer, with 46 deaths. | ||
| Led to the film being dubbed an RKO radioactive picture. | ||
| The controversy surrounding the film location and subsequent health issues has been a point of discussion and debate amongst historians and scientists. | ||
| But yeah, like the amount of bombs that they detonated. | ||
| Was it a good movie at least? | ||
| I don't think it was. | ||
| It might have been that Genghis Khan movie. | ||
| Was it the Genghis Khan movie? | ||
| Oh, it was a piece of shit. | ||
| What is that movie rated to me? | ||
| It has to be a zero. | ||
| It's so bad. | ||
| It's John Wayne playing a Mongolian, which is the craziest thing of all time. | ||
| It was the ultimate whitewashing. | ||
| He's doing Mongolian face. | ||
| And he talks like this. | ||
|
unidentified
|
10% on Rotten Tomatoes. | |
| This is what you got cancer for, John Wayne. | ||
| I know you got cancer for the worst. | ||
| The Conqueror. | ||
| And look how hot she is. | ||
| She's like completely European looking, his girlfriend. | ||
| Like, play some of this because it's so stupid. | ||
|
unidentified
|
Yeah. | |
| Fall off a horse. | ||
| Look how hot she is. | ||
| Woo. | ||
| She's all impressed by him. | ||
| just took her clothes off. | ||
|
unidentified
|
Oh. | |
| Under his heel, the cowering nations. | ||
| Look how bad this is. | ||
|
unidentified
|
Oh, shit. | |
| Bro, I mean, come on. | ||
| This is the dumbest movie ever to gain John Wayne cancer. | ||
| Bro. | ||
| It's so bad. | ||
| Like, how bad is that movie? | ||
| Women always talk about how, like, I was reading this article where they were trying to trash F1 and the movie? | ||
| Yeah. | ||
| And they were like, oh, another movie where the only woman working, because like the girl in the movie, she's like the first, what is she? | ||
| Like the team director or something for an F1 team, like first woman, whatever. | ||
| It's like, and she doesn't, you know, like, she doesn't level up until Brad Pitt unlocks her potential. | ||
| Like, oh, like, we need a man for that. | ||
| But it's like, bro, women have the best roles in movies. | ||
| Not in that movie. | ||
| I mean, yeah, she got it. | ||
| She got hit pretty hard. | ||
| But if you think about it, this is a movie about, like, oh, Genghis Khan conquering so much, but the best thing he conquered was the woman. | ||
| Like, really? | ||
| You know what I mean? | ||
| Like, the woman's always like the main prize of the movie. | ||
| Well, throughout history, that's one of the things that people did go to war for. | ||
| Women? | ||
| Yeah, for sure. | ||
| Nobody went to war for some dude's butt. | ||
| A lot of. | ||
| I feel like a lot of war could have been prevented then if like porn had just came around way sooner. | ||
| No, because porn's out now and there's still plenty of war. | ||
| That's true. | ||
| So what are they going to war for now? | ||
| Resources. | ||
| All it is is like tricking people, tricking people into doing something for you. | ||
| Women and resources, man. | ||
| Women and resources. | ||
| When are we going to learn? | ||
| It's just money, man. | ||
| There's enough women and resources for everybody. | ||
| There's not, though. | ||
| Not? | ||
| There's at least enough women. | ||
| Yeah, but they're not the same. | ||
| Here's the thing. | ||
| For women, I think the number is women are only attracted to 20% of the men. | ||
| So like 100% of the women out there are only attracted to 20% of the men. | ||
| That kind of makes it fun, you know? | ||
| You got to hope you're in the 20%. | ||
| Yeah, but if you're not, you're fucked. | ||
| If you're not, you just go to war. | ||
| And there's more of those dudes that are in the 80% now than ever in history that we know of, right? | ||
| Like, isn't there, like, when they do the studies of the amount of people right now currently that are celibate, that are not having any sex at all, and not by their own decision, not by their choice. | ||
| I think they're higher now than they've been in a long time. | ||
| People are going celibate? | ||
| On accident. | ||
| I just know that they're unfuckable. | ||
| Unintentional. | ||
| Nobody wants to fuck them. | ||
| Celibacy. | ||
| That's real, man. | ||
| That's like a real problem. | ||
| A bunch of people just sitting at home and watching TV all day and ordering DoorDash. | ||
| I think you got to like split your time up. | ||
| You know what I mean? | ||
| I think celibacy could be good for like a week or two and then you got to be like, all right, no more DoorDash. | ||
| Let's get out there. | ||
| Just get out there. | ||
| Stop being a pussy. | ||
| Get married or, you know, get into relationships, have an affair. | ||
| Well, don't be just jerking off all day. | ||
| That's crazy. | ||
| I actually want to write a self-help book, but not like a real one, like maybe like a joke one, yeah? | ||
| Yeah. | ||
| But something that I don't think my stand-up comedy would ever get me canceled, but I think maybe like a book. | ||
| But I want to call it something like, you're not autistic. | ||
| You're just 25 and like an asshole or something like that. | ||
| And then it's a whole book. | ||
| Just tell people, like, get off your ass, man. | ||
| Like, stop making excuses. | ||
| What do you do for actual autistic people that read that book, though? | ||
|
unidentified
|
They're like, hey, he says I'm not autistic. | |
| I'll be like, you're not autistic then. | ||
| Believe what you want. | ||
| How many people do you think are autistic? | ||
| What percentage? | ||
| I don't know. | ||
| I feel like probably a lot, but I think there's like, there's Yeah, I think it's like, I think it's like being like, like, what do you call it? | ||
| Like Apache or whatever? | ||
| Or like Cherokee? | ||
| Where you're just like, oh, yeah, I'm like one-eighth. | ||
| Yeah. | ||
| I'm one eighth autistic. | ||
|
unidentified
|
Yeah. | |
| I'm kind of psychic. | ||
|
unidentified
|
Yeah. | |
| Like, so I think if you come up on the spectrum, it doesn't mean you're like enough. | ||
| Full-blown. | ||
| Yeah. | ||
| Like, you've seen people with like full-blown autism and the struggles they have to go through in life. | ||
| Like, somebody has to be in their life. | ||
| You know what I mean? | ||
| Like, to. | ||
| Yeah, for non-verbal people, yeah. | ||
|
unidentified
|
Yeah. | |
| Or like, just whatever. | ||
| But you can't, like, be a. | ||
| You can't just like wake up, you know, play video games, go do stuff on your own, and then, like, use autism as an excuse for other stuff you don't want to do. | ||
| Like, oh, I didn't want to shake that guy's hand because I'm just like autistic. | ||
| Like, yeah. | ||
| Like, motherfucker, just look at the person in the face. | ||
| Don't look them in the eyes. | ||
| Just look them in the face or something. | ||
| Just don't be rude. | ||
| Like, I feel like a lot. | ||
| I feel like a lot of, and maybe it's because the way I grew up, but like, if I try to use autism as an excuse to get out of doing stuff, I think I just would have got smacked in the back of the head. | ||
| I think they would have smacked the autism out of me. | ||
| You know what I mean? | ||
| The one-eighth at least. | ||
| I don't think I have any autism in me. | ||
| No? | ||
| Unfortunately. | ||
| Why do you say unfortunately? | ||
| Maybe it helped with math. | ||
| Help with numbers. | ||
| Jamie? | ||
| Like, Rainman? | ||
| I think Jamie's autistic. | ||
| How does he, how does he, maybe not autistic, maybe just knows how your brain works. | ||
| How does he know to highlight the exact sentences you should read? | ||
| What's the difference between because he's smart? | ||
| What's the difference between, and he's been doing this forever. | ||
| What's the difference between Asperger's and autism? | ||
| Like the technical difference? | ||
| Because they're kind of interchangeable, right? | ||
| Are they both like communication type? | ||
| A lot of times people say the spectrum. | ||
| They call it the spectrum. | ||
| Like, oh, it's on the spectrum. | ||
| Oh, okay. | ||
| Okay. | ||
| Where? | ||
| Spectrum could be anywhere. | ||
| Like, you could be like, you get a touch, just a touch of the tism, you know? | ||
| Or you could be like full-blown. | ||
| I don't know if this is official, but here's an explanation. | ||
| Key characters. | ||
| All right. | ||
| In autism, significant delays in language, maybe nonverbal or have limited speech. | ||
| Asperger is typically no language delay, advanced vocabulary for age. | ||
| Interesting. | ||
| Autism varies widely from intellectual disability to above average intelligence. | ||
| And then Asperger is usually average to above average intelligence. | ||
| Autism, social interaction difficulties may show less interest in engagement. | ||
| And then Asperger's desires social interaction but struggles with social cues and nonverbal communication. | ||
| So it seems like Asperger's is like the upgraded autism. | ||
| It's like autism is too risky. | ||
| You could, you know, you get a kid who's nonverbal, but go with Asperger's, you might get a genius. | ||
| Everybody wants autism, though. | ||
| Well, I think they really would want Asperger's if you showed it to them. | ||
| It's like Seattle if they knew Niagara. | ||
| Yeah, if they knew. | ||
| Yeah, if they knew. | ||
| I think people will use autism as like a, oh, look, I'm not average. | ||
| I'm actually high-functioning autism. | ||
| Like, I'm actually a genius in this class. | ||
| Right. | ||
| People definitely use, they love to be a victim of something. | ||
| Yeah. | ||
| They love to have some sort of an ailment that you don't know about. | ||
| You know, people love that. | ||
| I'm not like that. | ||
| You know, I'm diabetic. | ||
| I never tell people. | ||
| Are you full-blown diabetics? | ||
| Full-blown. | ||
| Type one? | ||
| Not like with the food stuff? | ||
| Yeah, type one. | ||
| So you're born with it. | ||
| No. | ||
| I got it when I was like six. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| Type one when you're six. | ||
| That's crazy. | ||
| Yeah. | ||
| You know, they just cured type one diabetes in a woman with stem cells. | ||
| What? | ||
| Yeah. | ||
| It was the first of its kind. | ||
| Was it China that did this? | ||
| See if you can find it, Jamie. | ||
| But yeah, you know, they're using stem cells to try to treat all sorts of different things. | ||
| And one of the things that they were really successful was with this lady they cured for the first time ever type one diabetes. | ||
| How do they give you the stem cells? | ||
|
unidentified
|
Good question. | |
| Did you put it in a pipe? | ||
| No. | ||
| I think they inject it into you. | ||
| That's not too bad. | ||
| But if this, I mean, you might not have to take insulin. | ||
| Do you take insulin right now? | ||
| Yeah. | ||
| You might not have to take insulin. | ||
| They might be able to fix you. | ||
| How do I get these stem cells? | ||
| Let's see what it says. | ||
| What is the world's first stem cell therapy reverses diabetes? | ||
| So where was it from? | ||
| Where did it happen? | ||
| Groundbreaking title. | ||
| In Peking University. | ||
| They took cells from three people with type 1 diabetes and reverted them to pluripotent state, meaning they could develop into any type of cell. | ||
| This technique originally developed by Shinya Yamanaka at Kyoto University nearly 20 years ago was modified by Deng's team to use small molecules instead of proteins, allowing for better control. | ||
| They used these chemically reprogrammed stem cells to create 3D clusters of insulin-producing isolates, which were tested for safety in animals. | ||
| In June of 2023, the team transplanted about 1.5 million isolates into a woman's abdominal muscles. | ||
| A new approach, as most isolate transplants are done in the liver, by placing the cells in the abdomen. | ||
| They could monitor them with an MRI and remove them if necessary. | ||
| The operation took less than 30 minutes. | ||
| Two and a half months after her transplant, the woman with type 1 diabetes started producing enough insulin on her own, and she has continued to do so for over a year. | ||
| How about that? | ||
| Her blood sugar levels are stable 98% of the time, eliminating dangerous spikes and drops. | ||
| That's crazy. | ||
| What? | ||
| This was in China? | ||
| I believe so. | ||
| Badass. | ||
| What if I met this doctor? | ||
| He was like, all right, I'll do the operation on you, but you have to say my name correctly the first time. | ||
| Yamanaka Shiny. | ||
| Shamoya? | ||
| Practice it. | ||
| I would say practice it if you want to not have diabetes. | ||
| What kind of question is that? | ||
| They might be able to hook you up. | ||
| All right. | ||
| What do you think? | ||
| I don't know. | ||
| How do I like? | ||
| How do you even start that process? | ||
| You just go to China? | ||
| Yeah, you got to go to China right now. | ||
| Get out of here. | ||
| I get on a plane. | ||
| I got to finish this press tour. | ||
| I'll cure diabetes after. | ||
| I bet it's going to be mainstream within a few years. | ||
| If that worked and that's reproducible. | ||
| Dude, I want to go to China now for real. | ||
| It'll probably be in America too. | ||
| Because what they're saying, the way they're laying it out, it sounds like there's a paper on it. | ||
| And that thing that was that was that a published paper? | ||
| Yeah, it's called VX880. | ||
| I can't say that. | ||
| I guess I should probably wait until they do a few more patients, right? | ||
| It's like PS5s, like you want to let the first round go out first with the ones with the bugs and stuff. | ||
| Nah, fuck it. | ||
| I would go right in there. | ||
| Let's go. | ||
| Let's see. | ||
| Let's see if you can fix me. | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| You don't deal with shooting insulin all the time. | ||
| That's annoying. | ||
| How often do you have to do it? | ||
| Before a meal. | ||
| And I usually eat about three times a day. | ||
| Oh, so you have to give yourself three injections a day. | ||
| That's annoying. | ||
| Yeah. | ||
| And since you were six, you've been doing that? | ||
| Yeah. | ||
|
unidentified
|
Wow. | |
| Yeah. | ||
| I'm a little tired of it. | ||
| Does it, yeah, this might be it, man. | ||
| This might be able to fix you. | ||
| What if I miss the shots, though? | ||
| Like, here's a trial I think they've done in the U.S. with 12 people. | ||
| Oh, they did a trial with 12 people. | ||
| Demonstrated engraftment with glucose-responsive endogenous endogenos and dodge. | ||
| Indigenous. | ||
| Why can't I say endogenous? | ||
| Like, how did I not read that correctly? | ||
| Endogenous C-peptide production, which is durable through one year of follow-up. | ||
| Wow. | ||
| What does that mean? | ||
| That means a year of follow-up, it was still working. | ||
| Had a reduction in exogenous insulin use, meaning reduction in daily insulin use by 92%. | ||
| So they still had to take a little bit of insulin sometimes. | ||
| So I bet this is something that you could probably do more than one time. | ||
| These were all off of a one dose they got. | ||
| One confusion. | ||
| So if a full dose and then you have a complete reduction in insulin reduction. | ||
| So it says 83% of them no longer required insulin at month 12. | ||
| That's nuts. | ||
| 83% of all the people they tested didn't require insulin a year later. | ||
| That's amazing. | ||
| You got to get in on that, dog. | ||
| Yeah, but like, I don't even know who to talk to. | ||
| We'll find out. | ||
| We'll ask afterwards. | ||
| All right. | ||
| For real. | ||
| You should probably find out. | ||
| Like, maybe there's another trial they're doing. | ||
| For real, too? | ||
| Yeah, I would get involved in that trial. | ||
| That seems like totally reasonable. | ||
| Yeah. | ||
| Unless I would, well, I talk to a scientist first. | ||
| I don't know. | ||
| I'd like to talk to some people that are concerned about things. | ||
| Yeah, you always talk to the person who's like against the plan. | ||
| Yeah, there's always some side effect that you don't take into consideration. | ||
| Like, oh. | ||
| Well, if you do that, here's the problem. | ||
| It also does this. | ||
| You're like, oh, no. | ||
| I don't know. | ||
| Yeah. | ||
| I don't know. | ||
| But what if I don't even like, what if I suck after I'm cured? | ||
| What are you talking about, Ralph? | ||
| What if we just change? | ||
| What are you saying? | ||
| What are you saying? | ||
| What if I just don't know how to act afterwards, you know? | ||
| Honestly, living without diabetes, that would go to my head so fast. | ||
| You'd get cocky? | ||
| Yeah. | ||
| I drop people out of my life. | ||
| What the fuck I need you for? | ||
| I'm healthy. | ||
| You'd be fine. | ||
| I heard people say things like that before. | ||
| Like, if I fix this, maybe I won't be funny anymore. | ||
| Or if I fix this, maybe my life won't be good anymore. | ||
| Nah, honestly, I could use something life-changing. | ||
| I got like writers blocked real bad right now. | ||
| Yeah. | ||
| I'm like unmotivated with new stand-ups. | ||
| I was reading that book you got out there. | ||
| I had never. | ||
| War of Art? | ||
| No, no, no, no. | ||
| Oh, the Hunter S. Thompson book? | ||
| Yeah. | ||
| Hunter S. Thompson was a dude or that was a chick. | ||
| You don't know who Hunter S. Thompson is? | ||
| Nah, but I kind of have heard of Thompson's work through. | ||
| I read in the, like, before the book actually starts, it's like other books by Hunter S. Thompson. | ||
|
unidentified
|
Yeah. | |
| And. | ||
| Fear and Loathing in Las Vegas. | ||
|
unidentified
|
Yeah. | |
| And what is it, Rum Diary or something? | ||
| So it's a dude. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| Yeah, that dude's good. | ||
| What did you take before you came here? | ||
| Nothing. | ||
|
unidentified
|
Something happened. | |
| You're on sleeping pills or something? | ||
| What the fuck is going on? | ||
| Nah, man. | ||
| I'm sober. | ||
| I just woke up and came here. | ||
| Yeah, Hunter S. Thompson's a very famous writer. | ||
| From the counterculture movement. | ||
| He wrote this paragraph in that book, man. | ||
| That's Johnny Jepp. | ||
| He played him in that movie. | ||
| Yeah, good old Johnny Depp, man. | ||
| That's a fun fucking movie. | ||
| I don't know if you've ever seen it. | ||
| I've seen clothing in Las Vegas. | ||
| It's fucking great. | ||
| It's a great movie. | ||
| And the book is really great, too. | ||
| He was a fascinating guy, like probably one of my, not probably, one of my favorite authors ever. | ||
| That book that's out there, you said it's a first edition. | ||
| Yeah. | ||
| It's like diaries of his, right? | ||
| Like he just kind of wrote his thoughts and like what he did throughout that day. | ||
| Charles Bukowski has a book like that. | ||
| What is it? | ||
| What is it called? | ||
| Like The Captain is Out to Lunch. | ||
| Something like that, right? | ||
|
unidentified
|
Yeah. | |
| Felipe Esparza put me onto that book. | ||
| I read and I did his podcast. | ||
| He has a couple of Charles Bukowski books in his little library. | ||
| Oh, no shit. | ||
| Yeah. | ||
| Shout out to Felipe. | ||
| I love that dude. | ||
| Yeah, that dude's so talented. | ||
| I've been friends with him forever. | ||
| The captain is out to lunch and the sailors have taken over the ship, Charles Bukowski. | ||
| Yeah, so it's kind of like that Hunter S. Thompson book. | ||
| And both of those, I like both of those books a lot. | ||
| I read like half of that one. | ||
| I'm going to buy that one. | ||
| But I like what Hunter S. Thompson said because he talks about being in this hotel room. | ||
| And he says, living on pills, phone calls unmade, people unseen, pages unwritten, money unmade, pressure piling up all around to make some kind of breakthrough and get moving again. | ||
| Get the gun off the rails, finish something, croak this awful habit of not ever getting to the end of anything. | ||
|
unidentified
|
Yeah. | |
| Dude, that's man. | ||
| I feel like I'm there right now. | ||
| Yeah. | ||
| But I don't know if I care as much as he did because he at least wrote about it. | ||
| And I've just kind of been like, ah, I'll get to it. | ||
| Well, you're a lot younger, first of all. | ||
| And second of all, like, he was already a successful writer that was trying to get the fire stoked. | ||
| You know, that's this thing. | ||
| This is a great book. | ||
| You can keep this. | ||
| Oh, that's not it. | ||
| Sorry. | ||
| I thought that was the war of art. | ||
| We have piles of them. | ||
|
unidentified
|
Oh, yeah. | |
| I saw it out there. | ||
| Stephen Pressfield gave me a whole box of them. | ||
| I'll give you a copy when we leave. | ||
| That's a book that will help you a lot because it's basically just about that. | ||
| That book is just about overcoming this resistance that people have to work. | ||
| It's hard. | ||
| It's hard to make yourself work. | ||
| It is. | ||
| Well, I have this thing where I can't help but to obsess on a subject and lose a lot of interest in another subject or other subjects. | ||
| But like I, yeah, I choose what I like or whatever. | ||
| You know what I mean? | ||
|
unidentified
|
Yeah. | |
| But like to a degree. | ||
| That makes sense. | ||
| So like, it's like chasing butterflies. | ||
| Like sometimes it's like that yellow butterfly. | ||
| Like I just got to keep fucking fucking with this butterfly right here. | ||
| And there's so many other butterflies around. | ||
| But then sometimes it's the blue one. | ||
| So like comedy is like the blue butterfly and then like other shit is like other butterflies. | ||
| I started an automotive YouTube channel with my buddy. | ||
| Oh, okay. | ||
| Yeah. | ||
| It's not super big, but it's so fun. | ||
| And it's just like little challenges that I find in it. | ||
| You know, like learn this, learn how to do that, learn how to do this. | ||
| And the automotive in terms of like repairing stuff? | ||
| Yeah, we put, we got a 1989 240SX. | ||
| It's my buddy's car. | ||
| He bought it for like 600 bucks. | ||
| And he wants to put an LS in it, but before putting the LS in it, he wanted to blow up the original motor. | ||
| So we put Nitrous and Turbo on it without tuning it. | ||
| So there's no computer telling it, like, how to do it safely or, like, efficiently. | ||
| So it's just, like... | ||
| And we didn't blow up the motor. | ||
| We blew up the coupler for the turbo, though. | ||
| And the motor sucks now. | ||
| It won't stay on. | ||
| So this is a Nissan? | ||
| Yeah, an 89 Nissan 240. | ||
| Oh, wow. | ||
| Yeah, it's a horrible thing. | ||
| Why'd you choose that year? | ||
| That's my friend's car. | ||
| He just got laid down? | ||
| Yeah. | ||
| Everything we find is pretty much Facebook Marketplace. | ||
| Oh, okay. | ||
| And so then you're going to drop an LS into that? | ||
| Yeah, yeah. | ||
| Maybe. | ||
| Look, that's the channel. | ||
| Orme Le Bean. | ||
| Oh, nice. | ||
| Yeah. | ||
| We chose that name because, like, I feel like Formula One is like, you know, it's like pinnacle of racing, and they have all these such intelligent engineers working on these cars and they make these great motors and stuff. | ||
| And I feel like this is the exact opposite. | ||
| Oh, dude, you're doing some real cars. | ||
| ULS swapped an R34 GTR. | ||
| That's more like clickbait. | ||
| It's just sitting in the car. | ||
| We didn't hook it up or not. | ||
| We had to take that car to get aligned. | ||
| Click on that. | ||
| Click on that. | ||
| Those skylines are legendary cars. | ||
| Those are legendary. | ||
| Oh, yeah. | ||
| He got that. | ||
| He got a deal on that car. | ||
| They're hard to get, man. | ||
| They couldn't import them into the United States until 25 years after the production, right? | ||
| So people have done shit like that before. | ||
| I went down a rabbit hole the other day of Skyline, like mods and all the different things that people have done to Skylines. | ||
| This is one dude. | ||
| He has this insane metallic, deep purple, like a dark purple. | ||
| Yeah, Midnight Purple 3, probably. | ||
|
unidentified
|
Bro, it is so beautiful. | |
| It's like a big, it's like a Cardinal Syndo to put an LS in a Skyline. | ||
| Oh, right. | ||
| You want to use a Japanese engine. | ||
|
unidentified
|
Yeah, yeah. | |
| The RB, it's the original Skyline motor. | ||
| So that's an R34 GTT. | ||
| So that comes with the RB25. | ||
| The GTR, which is like the super famous and super expensive one, comes with the RB26. | ||
| So you really know your shit, man. | ||
| I'm learning. | ||
| I have an R35. | ||
| I have a Nismo. | ||
| Oh, yeah. | ||
| You told me one time, I think. | ||
|
unidentified
|
Ooh, I love it. | |
| One guy tried to sell me one of those, but I couldn't do it. | ||
| It was too expensive. | ||
| It was out of my price range. | ||
| I have an R35 too, but not an ISMO. | ||
| Well, the thing about R35s is you could turn it into exactly what an ISMO is. | ||
|
unidentified
|
Yeah. | |
| I mean, everything is moddable. | ||
| I mean, these cars have been around for so long in the community of modders for both them and a lot of JDM vehicles like Supras, like the 240, 240 Zs, the old ones. | ||
| There's a whole company now that is in the UK that takes two Nissan Dotson, back when it was Dotson, Dotson 240s, and turns them into these fucking sick streamlined sports cars with like wider tires, much more horsepower, super lightweight. | ||
| Just like to do that. | ||
| Oh, it's so exciting. | ||
| I love Japanese sports cars because you get the best of both worlds. | ||
| You get performance and reliability. | ||
| Like if you get like a GTR, those are like one of the most reliable cars you can buy and it's ridiculously fast. | ||
| That's my shit right there, son. | ||
| That's what I have. | ||
| Do you ever take it to a track? | ||
| I have not taken the GTR to a track. | ||
| You got a Nismo. | ||
| You got to take it to a track. | ||
| I know, but I've only been to a track a few times. | ||
| And the last time I went was a Corvette thing. | ||
| I went with them. | ||
| We're actually going to build a track, rather, a studio on the track. | ||
| That's our next move. | ||
| Yeah. | ||
| We're going to build a studio at Coda. | ||
| So we're going to have two studios. | ||
| We're going to have a regular studio here, and then we're going to have a studio at the Circuit of the Americas. | ||
| Let's fucking. | ||
| So we're going to be able to take people around the track and then do a podcast right afterwards. | ||
| Hey, hire me as a driver. | ||
| Can you drive? | ||
| Are you good? | ||
| I do okay. | ||
| I got the fastest lap time at Speed Vegas. | ||
| You ever been there? | ||
| Did you really? | ||
|
unidentified
|
Yeah. | |
| The fastest? | ||
| Yeah, for like a few hours, and then some dude beat me. | ||
| What were we driving? | ||
| Porsche GT3RS. | ||
| Oh, okay. | ||
| I was competing against my co-host on the channel there, my buddy Luis. | ||
| He's a username underscore AF on Instagram. | ||
| Horrible username. | ||
| But anyway, we both got the same car, the Porsche, to like compare lap times. | ||
| Oh, no. | ||
| But I had them beat by like eight seconds or something like that. | ||
| Well, he probably doesn't know how to drive it. | ||
| Also, those cars get a little scary. | ||
| The rear engine. | ||
| I mean, you have an instructor just telling you what to do. | ||
| But I didn't. | ||
| You hit the gas harder. | ||
| Yeah, I broke a little later. | ||
| Yeah. | ||
| The gas a little harder. | ||
| I almost spun out, but I wanted to find like the limit to the car. | ||
| But yeah, I want my second lap. | ||
| I almost spun the car out, but I was able to keep it. | ||
| Yeah, those cars are just designed entirely for racing. | ||
| That's a crazy car that you can get. | ||
| A race car for the street. | ||
| When we went the last time we went to Coda, we went for Corvette. | ||
| So Corvette has the new ZR1. | ||
| It holds the record, right? | ||
| Yes. | ||
| At what track was it? | ||
| Nürbigram. | ||
| It holds the record in basically every single track that it's ever entered into. | ||
| Holy shit. | ||
| Yeah, it's 1,000 horsepower from the factory. | ||
| And then the record at Nurbigring that they did, which is the record only for American cars, it's for the ZR-1X. | ||
| I believe the time is 6 minutes, 49 seconds, which is insanely fast. | ||
| And it wasn't driven by a professional driver. | ||
| It was driven by the engineer. | ||
|
unidentified
|
Yes. | |
| The engineer broke the American lap time record. | ||
| So everyone else is using Formula One drivers, using the sickest drivers on earth to get the most amount of time. | ||
| So a professional driver that I follow, this guy, I forget his last name, Misha something or another, on YouTube, he analyzed the footage and he said, you could shave 10 seconds off this. | ||
| Yeah. | ||
| Which is crazy. | ||
| Oh, here it goes. | ||
| Pro driver says Corvette 01 could have gone 10 seconds faster at Nurbig Ring. | ||
| Who is it that said that? | ||
| Is it more than one pro driver said that? | ||
| No, Misha. | ||
| This guy. | ||
| This guy's great. | ||
| I follow his. | ||
| Oh, I follow him. | ||
| Yes. | ||
| What is his channel called? | ||
| Let's give him a shout out, young Jamie. | ||
| 10 seconds in the world of racing. | ||
| That's like a lot. | ||
| That's a lot. | ||
| So it's Misha M-I-S-H-A. | ||
| And the last name, I don't know how to pronounce it, is C-H-R-O-U-D-I-N. | ||
| Sharudin. | ||
| How would you say that? | ||
| Sharardin? | ||
| Sharudin. | ||
| Sharudin. | ||
| Anyway, cool guy, great channel. | ||
| It's dope. | ||
| So he analyzed it, and he drives that track all the time. | ||
| Like his whole rides at that track, right? | ||
| And he's a nasty driver. | ||
| He drives wicked. | ||
| It's funny. | ||
| He looks so calm, too. | ||
| Oh, yeah. | ||
| He's just holling ass. | ||
| But he knows that track like the back of his hand. | ||
| He's always at the Nurbig ring. | ||
| He does track days on there all the time. | ||
| So he drives a whole bunch of crazy cars, including GTRs, all kinds of crazy shit, different things that people have put together and modded. | ||
| So it says with someone more comfortable with the car, he's like a sub six minute and 40 second time, which is what they achieved. | ||
| It was relatively easy and possible, he would say. | ||
| He said maybe they've already done a lap with a pro driver and will release later when they find it necessary. | ||
| So what Corvette likes to do, though, they like to do their lap times with the people who built the car because they feel like the people who built the car are like intimately connected. | ||
| Instead of farming it off to some Formula One psychopath, get the actual guys who designed and engineered the car. | ||
| And if these guys are breaking records, they're great drivers. | ||
| Don't get me wrong. | ||
| I drove with one of them when we were at Coda. | ||
| Oh, shit. | ||
| Yeah, and I drove the car. | ||
| I drove that ZR-1. | ||
| It's the best car I've ever driven in my life. | ||
| Yeah. | ||
| I've driven a lot of cars. | ||
| Takes corners badass. | ||
| It's insane. | ||
| It's insane. | ||
| It's got the power like an electric car. | ||
| The acceleration is bananas. | ||
| It's nuts. | ||
| It's zero to 60 in under two seconds. | ||
| It fucking flies. | ||
| It has massive downforce, huge wheels, sticky tires. | ||
| And you're going around these corners like you can't believe the amount of grip it has and the stability of it, the balance of it. | ||
| What kind of tires do they put on those? | ||
| They're cup tires. | ||
| I don't know what the exact, I believe they're, I don't want to say, but I think they're Michelin Cups. | ||
| I wish I knew how to like fabricate my own suspension for cars. | ||
| Really? | ||
| You want to do all that? | ||
| Yeah, I want to learn. | ||
| I don't mean, I don't want to make my own suspension. | ||
| I kind of, I mean, maybe one day, I don't know. | ||
| I do want to learn how to fabricate other parts, easier parts, but I feel like all the cars I buy, that's like the most important thing to me is like handling. | ||
| Oh, yeah. | ||
| I bought a shout out to this dude. | ||
| I'm going to shout out his page. | ||
| He's got some cool stuff on YouTube. | ||
| Krusty, what is it? | ||
| Krusty Classics Garage. | ||
| Let me make sure I'm getting that right. | ||
| He sold me a 1973 Plymouth Barracuda, but it has a front end from a 71 Barracuda. | ||
| Oh, the nice front end. | ||
| Four headlights. | ||
| Yeah. | ||
| That's the front end. | ||
| That was bad. | ||
| That's the one. | ||
| That's the one. | ||
| I have a 70. | ||
| He LS swapped it. | ||
| Look, that's the one. | ||
| That's the one I bought. | ||
| I love that car. | ||
| But that looks like a 70. | ||
| Oh, that's the original front end. | ||
| That's the original front end before they swapped it out. | ||
| No, no, no. | ||
| That's the 73. | ||
| 71 front end. | ||
| It looks like... | ||
| Because it only has one headline on each side. | ||
| Oh, no, no, no, no, you're right. | ||
| I think that's a 73. | ||
| Yeah, they wrecked into him. | ||
| He had to swap it. | ||
| Oh, I see. | ||
| I see. | ||
| Yeah. | ||
| My mom had a 71 when I was a kid. | ||
| What? | ||
| Yeah. | ||
| Dude, your mom was kicking ass. | ||
| Yeah, it was pretty dope. | ||
| Dope car. | ||
| I learned how to drive on it. | ||
| That car, he LS swapped it. | ||
| And the suspension is pretty tight. | ||
| But when I got to it, it has no speedometer. | ||
| So when I got it to like what I assume is somewhere over 100, yeah, the steering wheel became a little scary. | ||
| Oh, there's a little bit of a sensory sound. | ||
| It became a little too sensitive. | ||
| The front end is so light. | ||
| Well, it's also the steering sucks. | ||
| Their steering was so he has like aftermarket on it. | ||
| Like, I just, I don't know what he did to it. | ||
| I got to take a deeper look into it. | ||
| I bought it and then just hauled ass back to Dallas. | ||
| Yeah. | ||
| And once I got on, once I got on the highway closer to my house, a Camry was getting cocky. | ||
| So I was just like, nah, I got to show on that. | ||
| Camry? | ||
| Yeah. | ||
| The Camry was getting cocky. | ||
| Oh, that looks great with that 71 front end. | ||
| That 71 front end is gorgeous. | ||
| Yeah, look, I think that's when we bought it. | ||
| My friend Brigham has a 71. | ||
| It's badass. | ||
| It's so nice. | ||
| This dude has everything LS swapped. | ||
| He has people sending him work from like other states, even. | ||
| Really? | ||
| Yeah. | ||
| This dude does good work. | ||
| The LS swapped into a Barracuda? | ||
|
unidentified
|
Ooh. | |
| Yeah, no, that's like more blasphemy, like the thing we did with the Skyline. | ||
| You want to see the dopest Barracuda you've ever seen? | ||
| Yeah, hell yeah. | ||
| Jamie, pull up mine. | ||
| Oh, shit. | ||
| I had one made by Roadster Shop. | ||
| This is the craziest Barracuda ever. | ||
| Roadster, they make the frames and shit, right? | ||
| They make everything. | ||
| They did everything. | ||
| And they put a racing engine in it, a Mercury racing engine in it. | ||
|
unidentified
|
Bam. | |
| So it's like a 9,000 RPM racing engine. | ||
| Holy shit. | ||
| Oh, it's nasty. | ||
| It's so crazy. | ||
| This is my car. | ||
| This thing is bonkers. | ||
| And it's got a roll cage in it. | ||
| It's all like the interior is gorgeous. | ||
| But it's six-speed, manual transmission, but it sounds like an exotic car. | ||
|
unidentified
|
Oh, yeah. | |
| America. | ||
| Fuck yeah. | ||
| Hey, you got one cup holder? | ||
| Yeah, me too. | ||
| Yeah, fuck everybody else. | ||
| My interior doesn't look as nice as that one, but that's the one thing all in common is the cup holder. | ||
| Yeah, well, that's all the interior is totally different. | ||
| That thing is sick, bro. | ||
| You have that. | ||
| You got an Ismo. | ||
| You have good taste. | ||
| Yeah, I like stuff. | ||
| What's your gayest car? | ||
| The gayest car? | ||
| Yeah. | ||
| What's your car that you use? | ||
| That's my Tesla. | ||
| That one takes the cake. | ||
| I mean, if you want to ask the average person, but I love it. | ||
| I drove that today. | ||
| That thing's awesome. | ||
|
unidentified
|
Yeah. | |
| That's your daily driver? | ||
| You drive it all? | ||
| I drive it all the time. | ||
| It's a Model S plaid, and it's also customized. | ||
| So this company called Unplug Performance, they take a Model S and then they put carbon fiber fenders on it, wider track, wider tires, upgraded suspension, change the interior. | ||
| Hey, do you have tinted windows? | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| Nobody ever recognizes you in traffic. | ||
| They don't recognize me. | ||
| Yeah. | ||
|
unidentified
|
What the fuck? | |
| Usually they say hi. | ||
| Yeah. | ||
| Hey, what's up? | ||
| You don't get weirdos? | ||
| I feel like you'd get the most weirdos out of anybody. | ||
| You get some weirdos, but most people are nice. | ||
|
unidentified
|
Yeah. | |
| Most people, the most people in the world, the reason why you can get on the highway and no one's just slamming into each other, and the reason why you can go to the mall and everyone's not stamping, trampeding, stampeding over people, it's because most people are nice. | ||
| Yeah. | ||
| Most people are cool. | ||
| Most people are cool until they start running out of women and resources. | ||
| Right. | ||
| Incels. | ||
| Incels. | ||
| They get dangerous. | ||
| They get on the meth. | ||
| Incels, they get radicalized online. | ||
|
unidentified
|
Yeah. | |
| Don't do drugs. | ||
| Take care of your bodies. | ||
| What are the tires on the Corvette, Jamie? | ||
| Did we find out what they are? | ||
|
unidentified
|
I didn't know. | |
| They're super sticky. | ||
| You'll drive it. | ||
| You'll go insane. | ||
| It's the greatest car ever. | ||
| Tires make a big difference, man. | ||
| Huge difference. | ||
| But it's also the mid-engine. | ||
| When they switch the Corvette architecture from that front engine design from the C7 to the C8, Michelin, yeah, there is Pilot Sport 4S. | ||
| And I think you could use cup tires too. | ||
| I think. | ||
| I think it's an option. | ||
| Mid-engine cars, they seem to be dominating on tracks, huh? | ||
| Well, the balance is so good. | ||
| When you have that balance of the engine in front of the rear wheels, first of all, you have massive amounts of traction because all that weight is back there. | ||
| There's always a problem with that front engine. | ||
| The only time I think the front engine can beat like a mid-engine thing, I think, is if like the track has different elevations. | ||
| Like, what is it, like, Laguna Secret, I think? | ||
| It has like a huge downhill uphill thing. | ||
| Oh, where it helps you to have the front engine bias? | ||
| Yeah, I think I mean, I'd imagine that's the only place it probably can make a difference because, like, when you're coming, uh, what is it like, man, I think I saw a video on it one time, and I didn't have the volume up because my kid was asleep, but I'm pretty sure that's what they were talking about. | ||
| Like, uh, what are the, you know, on the on the side of the track, they have like the like the stripes, the red and white, and sometimes they go over that, but you know how sometimes, yeah, yeah, so if you're going off of one of those and you're also going downhill, I'd imagine you'd want like a front engine. | ||
| I think you'd get the grip faster as you're coming down. | ||
| Whereas if the motor was in the back, I think you'd have to kind of catch your balance a little more than a front engine. | ||
| What could be wrong, though? | ||
| I don't know. | ||
| The motor's in the middle. | ||
| See, that's the thing. | ||
| The motor in the back with the Porsche, you have to learn how to use that pendulum effect as you're driving. | ||
| But what the guys who are really good at it, though, they use it to their effect. | ||
| Like they steer with the throttle. | ||
| So as they're turning, they're hitting the gas. | ||
| The as end is kicking out and then they're modulating it and then they're going straight. | ||
| So the guys that are really good at driving Porsches, it's pretty beautiful to watch because they just know how to use that rear engine bias. | ||
| But the thing about the Corvette and also the Cayman, the Cayman GT4, which is another amazing mid-engine car, is that engine in front of the rear wheel in the center of the car makes the car perfectly balanced. | ||
| You just feel so confident. | ||
| Even when the tires break, you feel really confident that this car is under control. | ||
| And the Corvette has so much downforce. | ||
| It's so well engineered. | ||
| I mean, these guys gave us, before they let us drive, me and Hinchcliffe went down there. | ||
| And before they let us drive, they gave us like this full tour de force explanation of the engineering involved in this car and what the goal was. | ||
| It's the most ridiculous production car that any American company has ever put out by far. | ||
| The more you get into cars, the more you get into like physics and balance. | ||
| Yeah. | ||
| It starts off as like, oh shit, like 340 horsepower and 400 pound feet of torque. | ||
| And then later on, you're just like, dude, that thing is so balanced. | ||
| Yes. | ||
| Balances everything. | ||
| And really, for thrills, if you really want to enjoy a car, enjoy a car, it's not about how fast you go. | ||
| Like this whole lap time thing, it's cool because if you like going on a track, and I do like going on a track, it's fun. | ||
| And it's fun to have a car that's really good at moving around a track and driving fast. | ||
| But in the real world, what you want is sensory experiences. | ||
| That's what you want out of a car. | ||
| What do you mean, sensory experiences? | ||
| You want to hear the sound. | ||
| You want to feel the gears as you're shifting. | ||
| You want to push the clutch in and pop that sucker in a third and let off the clutch as you hit the gas. | ||
| You want to smell it. | ||
| You want to feel it. | ||
| You want to really, you want a manual transmission and a manual steering. | ||
| You don't even want power-assisted steering. | ||
| So you want a light car, like an early 9-11. | ||
| If you really want to feel like what's the ultimate thrill of driving, it's a really well-sorted out, air-cooled 9-11. | ||
| Air-cooled 9-11. | ||
| Oh, those old Porsches are so light. | ||
| You can get them to like 2,000 pounds and they strip things out of them. | ||
| Oh, those are like stupid expenses now, right? | ||
| Yeah, they are now. | ||
| But it depends on which model. | ||
| You can still get some models like the G-body models. | ||
| They're pretty reasonable until people start realizing that and they start scooping them up too. | ||
| But there's some that don't look quite as good, but fuck what it looks like. | ||
| Get that out of your head. | ||
| What you want to just experience the car? | ||
| Like when you drive, like a, you can get like a 19. | ||
| Let's find out what a, how much does a 1982 911 cost? | ||
| Let's see if we can find one. | ||
| I hate that I just recently started getting into Porsches and I like, I hate that I like them now. | ||
| They're great. | ||
| They are. | ||
| They're really, but they're so expensive. | ||
| They're so expensive. | ||
| They're also good investments. | ||
| Yeah, they're worth more money after you buy them than they are when you buy them. | ||
| It's one of the rare cars that will continue. | ||
| Okay, there's a beautiful one. | ||
| That one's sick. | ||
| That one's $70,000. | ||
| That seems like somebody has put some, they probably put some work into that one. | ||
| What does it say in terms of what's been done to it? | ||
| Oh, my God. | ||
| It only has 100 miles on it? | ||
| That's crazy. | ||
| You know, When I first started making money, I felt like I was buying cars like that that were more like collector type. | ||
| But now my garage is so different because I don't like that. | ||
| Jamie, don't go back to that. | ||
| I like to fucking put miles on them. | ||
| Yeah, no, I hear you, but this is nuts. | ||
| To find an 82 Porsche with that low amount of miles, that's crazy. | ||
| 100 miles? | ||
| I would LS it. | ||
| I'll buy it in LS. | ||
| Hey, look, I got one of those, but not that year. | ||
| Go back up. | ||
| Yeah, Skyline right there. | ||
| Oh, yeah. | ||
| Yeah, I got a different one, though. | ||
| I have the 1971. | ||
| Yeah, it's an original. | ||
| But that car, that's one of those cars that I'm like, I don't know if I should keep it or not because it's so valuable as long as I don't fuck with it too much. | ||
| Oh, it's an investment. | ||
| If I had that car, if I was you, I'd just keep that sucker well maintained. | ||
| Don't drive it anywhere, hold on to it, enjoy it. | ||
| That'll be worth a million dollars someday. | ||
| I don't know. | ||
| I think I'm going to LS it. | ||
| That would have it, but does it have the original engine? | ||
| Yeah, original engine, yep. | ||
| Oh, man. | ||
| I wouldn't fuck with it if I was you. | ||
| It still smells like the Japanese dude who used to drive it to work. | ||
| This is crazy that this car only has 100 miles on it. | ||
| So that car is not going to be fast in comparison to a modern car, but boy, will you enjoy driving it? | ||
| That is an enjoyable car. | ||
| You drive that car, you feel everything. | ||
| It's like you're in a ride. | ||
| I don't know what year they started doing this, but they have 8,000 miles on it. | ||
| 90,000, yeah. | ||
| What? | ||
| 100 miles on the new engine, maybe. | ||
| 8,475, Jamie. | ||
| 84, right? | ||
| 7,580. | ||
| Is that the last one? | ||
| Is that up to the next mile? | ||
| When that goes over to zero, does that make a six? | ||
| Usually it's a different number or a different color or something. | ||
| Most cars tracked up to 100,000, right? | ||
| Yeah, or maybe not. | ||
| Maybe it's 9,000. | ||
| Like, does it go 6, 7, 8, 9, 60? | ||
| Does it do that? | ||
| I don't know. | ||
| I don't know. | ||
| That's still not bad. | ||
| We'll use it. | ||
| 82? | ||
| So either way. | ||
| Yeah, if it's an 82, but that doesn't make any sense. | ||
| Oh, I think they're saying it has 100 miles on a rebuilt engine. | ||
| Let's see what it says. | ||
| Fully restored. | ||
| That's it. | ||
| Okay. | ||
| No miles. | ||
| Original engine, trans, fully restored. | ||
| No miles. | ||
| Okay, so it only has 100 miles on the original or the engine that's been fully restored. | ||
| Okay, that makes more sense. | ||
| So it's got a, they're lying then. | ||
| You can't say it has 100 miles because then all the trans, all the other shit, like the suspension, everything else has got all those miles on it. | ||
| Unless you swapped out every fucking component in the car. | ||
| They have a weird transmission. | ||
| I don't know what year they started doing this. | ||
| Oh, the dog leg when it down to one? | ||
| No, no, no. | ||
| Well, the thing it just feels different. | ||
| Like, I forgot what I forgot what it was. | ||
| My buddy bought one, the guy I run the channel with, Luis. | ||
| So this is like the cheapest Porsche ever, but it looks so good. | ||
| He made a whole YouTube thing about it. | ||
| Like he made videos on it. | ||
| He got this Porsche for like, I think it was like $3,200, $3,600 or something off Facebook. | ||
| The dude was like, yeah, it's 07 Porsche. | ||
| He's like, the motor's kaputz. | ||
| It's no good. | ||
| So my buddy goes to check it out and it has a knocking in it and the paint is just real ugly. | ||
| And he buys it. | ||
| He's like, fuck it. | ||
| I'm going to just take the chance. | ||
| Maybe it's a simple fix. | ||
| And he takes it to our buddy, Brian, back in Fort Worth to get it painted. | ||
| So now the paint is just brand new, but the motor still knocks. | ||
| And my dad pulls up to that same shop that same day to get a truck painted. | ||
| And he's like, oh, what's up, Luis? | ||
| And they decide to race the truck. | ||
| It's an OPS versus the Porsche. | ||
| And Luis floors it. | ||
| And after he floors it, the knocking goes away. | ||
| Just never came back. | ||
| And the motor just runs fine. | ||
| So he just came up on like the cheapest Porsche. | ||
| Do you have a video of this? | ||
| Yeah, bro. | ||
| It's all over. | ||
| Like, can you pull it up on the Formula Bean YouTube again? | ||
| It has to be on there. | ||
| That's crazy. | ||
|
unidentified
|
Yeah. | |
| And the only thing other than that, I think, was like the wheel alignment. | ||
| It was like shaky or whatever. | ||
| But I think what he said what it was was the tires had been sitting for so long that they kind of like scary. | ||
| Yeah, so you just drive on old tires. | ||
| Yeah, we just switched them out. | ||
| It's like fucking no problem. | ||
| Look when your engines make noise. | ||
| And that is race a car. | ||
| Oh, it's a Cayman. | ||
| After the race, it stopped making the noises. | ||
| Let's change the oil and see what we find. | ||
| Well, there's really two things. | ||
| That's after the paint job. | ||
| You got some fresh gasoline in the car and the race. | ||
| I mean, if I was going to replace the engine, why not just race it if it blows up? | ||
| It blows up. | ||
| But ironically, the opposite happened. | ||
| The old owner warned me that the engine needed to be replaced. | ||
| And I think you can get a pretty good idea on the health of the engine by doing an oil change. | ||
| One, it looks disgusting, but let's see if we see any metal shavings in there. | ||
| Taking apart the old filter, I noticed a lot of sludge, but using a magnet, I don't find any metal shavings. | ||
| All right, let's go magnet fishing. | ||
| Next up, let's check the oil. | ||
| This dude's really smart. | ||
| He's he was an engineer for Lockheed Martin. | ||
| And I convinced him to quit his job. | ||
| Really? | ||
| Yeah, so maybe it's not that smart if he let me convince him to quit. | ||
| But this sounds more fun. | ||
| Yeah. | ||
| So, what was that noise? | ||
| Because of the condition of the oil, I'm thinking some sludge got stuck where it wasn't supposed to. | ||
| Maybe it was a lifter tick, and when I finally drove it hard, it blew out the sludge. | ||
| Or maybe it was something in the clutch. | ||
|
unidentified
|
All right, guys, let's see how it runs. | |
| How much did you pay for this? | ||
| Like $3,600. | ||
| Oh, that's insane. | ||
| That's crazy, right? | ||
| What a great deal. | ||
| And that's a great balanced car. | ||
| The Caymans, those are super, super well-balanced. | ||
| It drives really good. | ||
| That's his daily driver now. | ||
| Oh, that's dope. | ||
| That dude only buys cars if they like suck. | ||
| Like, he wouldn't, like, you won't catch him buying something from a dealership. | ||
| He's never bought something from a dealership. | ||
| He has like sex cars on it. | ||
| Yeah, the dude's fucking crazy smart. | ||
| So I met him through our other content creator friend. | ||
| This is a dude named Papika. | ||
| Fucking hilarious dude. | ||
| Even funnier in real life. | ||
| We have the same media manager. | ||
| So anytime Papika wants to come to my shows, you know, my manager will just give him tickets. | ||
| And I'm performing in Dallas one day, and Papyco shows up with our other buddy, Ivan, and with this dude. | ||
| And he's like, hey, these are my buddies. | ||
| They're also content creators. | ||
| You know, they met at a TikTok convention or something. | ||
| I don't know where content creators hang out. | ||
| And first thing he tells me, he's like, hey, man, let's swap your skyline. | ||
| I heard you got a skyline. | ||
| And those are like his favorite cars, my favorite cars. | ||
| I was like, fuck, no, I would never do that. | ||
| He's like, well, if you ever wanted to do anything, just let me know. | ||
| So I told him I had bought an R32 GTR and I wanted to do work to it. | ||
| But I was like, I want to do it. | ||
| I want to learn how to fuck with it. | ||
| You know what I mean? | ||
| I was like, can you teach me what it? | ||
| And I was like, I'll pay you whatever you want to teach me. | ||
| He's like, all right, well, I'll go over on such a day. | ||
| Because it was a coincidence that we both live in DFW. | ||
| So he comes over to the house one day and we start like, I think the first thing we did was maybe change the exhaust on my skyline or maybe it was a suspension of mine, Paul. | ||
| I don't remember one of those things. | ||
| And I was like, well, what are you going to charge me? | ||
| He's like, nah, man, I don't care. | ||
| He's like, it's just fun. | ||
| You know, make some content from it. | ||
| Like, never charged. | ||
| We just kept hanging out. | ||
| And now we've done, I don't know how many fucking projects together. | ||
| And we went ahead and just started the channel together. | ||
| How far in did you get him to quit his job? | ||
| I think like a year into knowing him. | ||
| I tried after like a week of knowing him, though. | ||
| But he's like, I don't know, man. | ||
| He's like, he grew up very like, you know, you get a job, you keep your job security. | ||
| Like, he grew up under that. | ||
| Most people. | ||
| Yeah. | ||
| And so you're a comedian. | ||
| You're like, fuck it. | ||
| Yeah, I'm like, bro, burn it down. | ||
| Chase your fucking dreams. | ||
| Fuck a job. | ||
| There's so many jobs out there. | ||
| Like, they're always going to be there. | ||
| But he said, even before being a content creator, he thought that was like impossible. | ||
| He's like, nah, like, that'll never work. | ||
| And then, you know, just went for it and saw other of his friends. | ||
| I think like Ivan, our barber buddy, go for it. | ||
| And it like just started working. | ||
| I think he made a video. | ||
| I think during COVID is when he started getting a lot of following. | ||
| He made a, I don't know what he made a video of. | ||
| And he's just kept at it. | ||
| But to actually quit his job was like the next step. | ||
| That's great, man. | ||
| Look, those things are super popular and there's a real market for them. | ||
| I know because I watch them all the time. | ||
| I watch shows all the time online. | ||
| Do you know about Stance Elements? | ||
| I don't think so. | ||
|
unidentified
|
Okay. | |
| There's a great channel you should follow called Stance Elements. | ||
| This dude is building a Ferrari F40. | ||
| Building. | ||
| So what he did was he bought all the parts that you could buy online for a Ferrari F40. | ||
| He bought quarter panels. | ||
| He bought roof panels. | ||
| He bought front fenders, hood, all that jazz. | ||
| Yo, Ferrari doesn't like that shit, though. | ||
| I hate it. | ||
| Fuck them. | ||
| He fabricated the entire frame. | ||
| He built the frame. | ||
| He built an interior roll cage. | ||
| He made it dope as fuck, man. | ||
| He made it like, and he's in the middle of this project. | ||
| This project is probably going to. | ||
| That's not an F40. | ||
| That's a 308. | ||
| That's a very cool car, too, though. | ||
| So he got an engine from an even more powerful Ferrari. | ||
| So he got a crate engine that he installed into this thing. | ||
| So you're going to scude. | ||
| This is like, he's just talking about different projects he did. | ||
| That was his original M5, which is another great car. | ||
| So look, fabricated this entire frame. | ||
| They did all this. | ||
| And they, you know, like, he meticulously measured and matched and then TIG welded all this stuff together. | ||
| And this is what he's putting together. | ||
| He's making this car. | ||
| So it's going to be like his version of a Ferrari F40. | ||
| But it's pretty sick. | ||
| It's going to cost him fucking shitloads of money, man. | ||
| That's so sick, though. | ||
| Yeah, like he's pretty far ahead past this now. | ||
| That's what it's going to look like ultimately at the end, which is going to be nuts. | ||
| Gas monkey did that too. | ||
| And I think the story with that was like Ferrari did everything they could to try to stop them from getting parts. | ||
| Oh, yeah. | ||
| I think he got all the parts before they knew what was going on. | ||
| Now, for the next guy who wants to do one of these, Ferrari's going to be like, oh, yeah. | ||
| If anybody's ordering a bunch of parts, like crazy, they're probably going to be like, hold on, this is suspicious. | ||
| If Ferrari catches you repainting your car like a crazy color, you're fucked. | ||
| They'll sue you. | ||
| Yeah. | ||
| Yeah, they go crazy. | ||
| Didn't they go after that designer? | ||
| What is his name? | ||
| Philip Pleen. | ||
| Is that his name? | ||
| He had like a green Ferrari, like a crazy metallic green. | ||
| He must have either put a wrap on it or changed the paint. | ||
| But he was doing all this promo stuff with his Ferrari and they sued him. | ||
| Bro. | ||
| Yeah, that's the car. | ||
| Ferrari wins legal case against designer Philip Pleen use of supercars, but he says it's not over. | ||
| Like, look at the color on that. | ||
| So that means like he bought it from Ferrari and must have signed something, right? | ||
| That's like I agree not to tell you some shit. | ||
| It said he's been ordered to pay Ferrari $352,000 in compensation to the Italian car manufacturer. | ||
| The case relates to a spring 2018 runway show that Pleen held in Milan in June of 2017. | ||
| During this event, Pleen featured a host of exotics, including Ferraris, Lamborghinis, and McLaren's. | ||
| And Ferrari was none too pleased with this. | ||
| They took issue with Pleen's social media posts claiming that by posting photos of his fashion collection with Ferraris, Pleen was unlawfully appropriating the goodwill attached to its trademarks to promote his own brand and products. | ||
| It added that Pleen's post tarnished the reputation of Ferrari. | ||
| Like, what reputation? | ||
| Coked up dudes in Miami? | ||
| What the fuck are you talking about? | ||
| What reputation? | ||
| That's crazy. | ||
| That's a lot of money. | ||
| He has to pay them $352,000 in compensation and reimburse attorneys' fees to the tune of over $29,000. | ||
| He has to pay them the attorney fees? | ||
| Yeah, in order to remove any images from his website and social media platforms that show any Ferrari model. | ||
| Moreover, the court said that if Pleen Pleen refuses to delete a post depicting a Ferrari or shares a new one, he will have to pay a fee of 10,000 pounds. | ||
| Is that pounds or is that Euros? | ||
| What's that? | ||
| Euros? | ||
| For each image or video. | ||
| That's crazy. | ||
| Dude, that sucks. | ||
| Oh, that's a multi-class. | ||
| Shortly after the decision was made, he went to Instagram and promptly shared an image of his bright green 812 Superfast, claiming that he will appeal the ruling. | ||
| That seems crazy. | ||
| That all he did was show his stuff with Ferraris. | ||
| Like, what about rappers? | ||
| Can they not use a Ferrari if they're doing a music video? | ||
| Like, if you're a rapper and you bought a dope car and you want to have your dope car in your music video, does Ferrari fucking sue you? | ||
| Yeah, I'm trying to think back now. | ||
| Have I even seen like, how many Ferraris have I seen in music videos? | ||
| I mean, you always see like cool cars, Lambod's, especially old ones. | ||
| You go back to like old rap videos. | ||
| But like an actual Ferrari? | ||
| That's a good question. | ||
| Deadmouse. | ||
| Oh, he got in trouble too, right? | ||
| Because he had a rap on his. | ||
| They sued him as well, right? | ||
| I got to find me a Ferrari, but not from Ferrari. | ||
| Like, I got to find it on Facebook Marketplace, like my friend with the Porsche. | ||
| See, that's what hit the back of his car. | ||
| Look at that color. | ||
| Isn't that a dope color? | ||
| That is. | ||
| I love that color. | ||
| That is the same color. | ||
| It's a similar color, rather, to what Corvette has. | ||
| Corvette has a new one called Roswell Green for their ZR-1. | ||
| Looks sick. | ||
| He says, Ferrari says he was using the vehicle to add value to his products and elevate his status as a designer. | ||
| Okay. | ||
| On the surface, this seems petty, but a dig a little closer and you'll find you agree with Ferrari. | ||
| No, I won't. | ||
| That's kind of what I agree with, bitch. | ||
| German fashion designer was not only taking pictures with scantily clad women washing the Ferrari, he had also been known to employ the likes of Chris Brown and Takeshi 6-9 in his fashion shows, Two Men with a History of Perpetrating Sexual Assault and Other Unsavory Acts. | ||
| Okay, that's not 100% fair, though, because did Chris Brown commit sexual assault? | ||
| I thought it was just, you know, domestic violence. | ||
| Domestic violence. | ||
| Yeah. | ||
| He didn't rape nobody. | ||
| I don't think so. | ||
| I think they're just. | ||
| I don't know what happened with Takeshi 6ix9ine either. | ||
| I don't know that story at all. | ||
| I know he's a rat. | ||
| So what about the Miami Vice? | ||
| Wasn't it? | ||
| That'd be hilarious if the article was like, yeah, and he associated with a snitch. | ||
| You know what's crazy? | ||
| It's like those are really expensive. | ||
| Oh, look at that. | ||
| The Miami Vice one, a Corvette-based Daytona kit was used. | ||
| Once Ferrari got wind, it took action. | ||
| Oh, interesting. | ||
| But it says Ferrari was so much more fun in the 1980s. | ||
| And instead of just asking the producers of the show to take badges off or stop using the vehicle, they asked for the Daytona to be blown up on screen. | ||
| The moment ended to be one of the most pivotal moments of the series in a great spectacle. | ||
| The brand was even a good sport about the whole thing and offered the show a real Ferrari Testerosa, the brand's flagship at the time to be used for the remainder of the series. | ||
| So yeah, Miami Vice was known for that Testerosa, that white Testerosa that Don Johnson used to drive around in. | ||
| It says Ferrari was cool back then. | ||
| They said, you're a real car, bro. | ||
| I only know about that Ferrari because of the Wolf of Wall Street. | ||
| Was it the intro? | ||
| He's like, no, no, my Ferrari was white, like Don Johnson's on Miami Vice. | ||
| Yeah, I don't like the Testeros. | ||
| I have a friend, my friend Dana White from the UFC. | ||
| He has a Testerosa. | ||
| I think they look like trash. | ||
| The Testerosis? | ||
| Yeah, I just think it's a crappy-looking car. | ||
| It's just not interested in it. | ||
| I mean, I'm sure it's fun to drive, but for some people, that was their car when they were a kid. | ||
| That was the car that they wanted. | ||
| For me, it was always Porsche's. | ||
| Porsche's and muscle cars. | ||
| Those are the cars that I wanted when I was a kid. | ||
| Those Porsche's like the turbo with the fat ass. | ||
| Oh, yeah. | ||
| Like, if you go like, Google 1985 9-11 Turbo. | ||
| This was when I was a senior in high school. | ||
| That was the first thing I liked about the Porsches, the fat asses. | ||
| Because you stare at them, and like I was saying, like, you get into balance. | ||
| When I look at that, I'm like, look at that thing. | ||
| That thing would never flip over. | ||
| But then you can go with the BBL version of it, which is that dude in Japan who makes his white black and white. | ||
| Everybody was flaming him when he was gluing the parts on. | ||
| Look at that. | ||
| Sexy. | ||
| 1985 9-11 turbo. | ||
| Look how sexy that is. | ||
| When I was a kid, that was the car, man. | ||
| I saw that. | ||
| There was a dude at a gas station that I worked at. | ||
| He pulled in with a Porsche. | ||
| It was the first time I ever saw one up close. | ||
| I was like, holy shit, look at this thing. | ||
| It was just like that. | ||
| It was a white one. | ||
| I'd like to have one of those one day. | ||
| Yeah. | ||
| They're cool. | ||
| And again, that car, you'll feel everything. | ||
| You feel everything, man. | ||
| It's like they're so mechanical. | ||
| It's just a sensory overload. | ||
| So it's more fun, even if you're not driving fast. | ||
| Like, my Tesla's fun, but one of the reasons why it's fun because it's preposterous. | ||
| It goes zero to 60 in 1.9 seconds. | ||
| It's just silent. | ||
| It's just gone. | ||
| Like it's silent. | ||
| The light turns green. | ||
| It's gone. | ||
| It's just it just takes off. | ||
| But you have more fun in a light car like that going slower. | ||
| You don't even have to speed. | ||
| Like you just, it's the feeling of driving, running through the gears. | ||
| Ferrari has not sued owners solely for changing the paint color or applying a wrap. | ||
| However, Ferrari has taken legal action against owners who have significantly altered the car's appearance, especially when it involves modifying or replacing the Ferrari logo or when the car is used in ways that damage the brand's reputation. | ||
| So that's what Ferrari was saying. | ||
| I don't know how many times. | ||
| I mean, there's only been a couple times, and I won't say who, because I don't want to get the inventory, but I've seen cars, Ferraris, that have been modified, and the logo is the horse, but with like a giant boner. | ||
| Where have you seen that? | ||
| I can't tell you now. | ||
| Why can't you tell? | ||
| I don't want them to get sued, man. | ||
| All right, don't tell me. | ||
| But yeah. | ||
| It's kind of stupid, though, that a car company could think that it could stop you from altering things. | ||
| Because, like, think about the GTRs that we were talking about. | ||
| Like, a big part of the whole community and the culture is the altering of those cars. | ||
| Yeah. | ||
| The big part is the modifying. | ||
|
unidentified
|
Yeah. | |
| I think that's part of what got them so popular is that they were so easily tunable and easy to modify. | ||
| It's a big part of it. | ||
| And the same thing with Porsches. | ||
| I mean, there's so many outlaw Porsches out there where people take Porsches and change all kinds of things on them. | ||
| And like that gentleman, what is his name again that does the Raw Welt Porsches? | ||
| I don't know his name, but he wears the sandals and he smokes cigarettes all the time. | ||
| Yeah, that guy's fascinating because he does everything by hand. | ||
| Yeah. | ||
| He makes all those wide-body Porsches by hand. | ||
| There's like a wait list, right? | ||
| To get you to fuck with your Porsche. | ||
| Yeah, yeah, yeah. | ||
| He just comes to your shop. | ||
| He'll travel with fucking cartons of cigarettes. | ||
| I think he drinks Coca-Cola, just fucking carves it up. | ||
| And, you know, I like his style. | ||
| They're dope. | ||
| But very like grandma style, just Coca-Cola and cigarettes. | ||
|
unidentified
|
Yeah. | |
| I feel like that's shit that my grandma would send me to the store for. | ||
| Flip-flops. | ||
| He's just out there smoking cigarettes and working on the car. | ||
| But that style of car, that wide body style is like very controversial. | ||
| Some people think it's gross. | ||
| Like, what have you done to a Porsche? | ||
| You've cut up one of the great pieces of engineering and design, and you've turned it into this fat hooker. | ||
| That's something that I like didn't. | ||
| That's one thing that kept me from liking Porsches for so long was that like Porsche owners were very anal about stuff like that. | ||
| Yeah. | ||
| Well, Porsche, less, less Porsche than Ferrari. | ||
| Like for Ferrari, it's like, you know, it's a sacrilege to do that. | ||
| But that does look pretty fucking that looks sick. | ||
| That looks pretty goddamn dope. | ||
| And there's giant ass wheels and tires they have on those things. | ||
| The grip must be sensational. | ||
| I love that thing. | ||
| I wish I would do that. | ||
| If I owned a Porsche, I would call that dude. | ||
| I'd be like, hey, do this stuff, man. | ||
| Look at that. | ||
| Look what he did to a that's a the first or the last of the air-cooled cars, I think. | ||
| Hey, Luis, we got to call this dude working on your Porsche. | ||
| That actually might be a 997. | ||
| I think that is a 997. | ||
| So that's a water-cooled car. | ||
| Look at the wide body on that motherfucker. | ||
| Ooh, that looks good. | ||
| That looks good. | ||
| What is his name again, Jamie? | ||
| Akira Nakai. | ||
| That's right. | ||
| Yeah. | ||
| Akira. | ||
| Like the movie. | ||
| Yeah, so that guy's got a whole cult following. | ||
| And they do a lot of LS swaps in those cars too. | ||
| Rublidge Wood had one of those. | ||
| He had one that was LS swapped. | ||
| They put those motors into like, what is it, the Beatles sometimes too, right? | ||
| The Volkswagens? | ||
|
unidentified
|
Yeah. | |
| The old ones? | ||
| Yeah. | ||
| Those are sick. | ||
| You can put an LS into anything. | ||
| They're bulletproof. | ||
| Such a good engine. | ||
| Oh, and I was talking about the Porsche engines. | ||
| I think they fit in. | ||
| Oh, they definitely do that. | ||
|
unidentified
|
Yeah. | |
| Yeah, yeah. | ||
| A lot of people have done that. | ||
| Yeah. | ||
| They put them in VW buses. | ||
| I wonder if that makes Porsche people mad. | ||
| I think the Porsche people are just a little more chill about that stuff. | ||
| They're not going to sue you. | ||
| The Ferrari thing is weird because I think that's the only company that does that. | ||
| That goes after people for doing stuff to their vehicles. | ||
| That'd be hilarious if like Ford or Chevy started doing that. | ||
| It's like, you can't change your Ford Fiesta like that. | ||
| Bro, you talk about lawsuits. | ||
| How many fucking lawsuits would they have? | ||
| I mean, how many people have altered Mustangs? | ||
| You know, come on. | ||
| I like the Mustangs. | ||
| I feel kind of bad that they got that reputation for always hitting people at car meets and stuff and sliding out of control. | ||
| Do they? | ||
| I think it's a four thing, though. | ||
| What do you mean? | ||
| Like, so like on memes and stuff, the Mustangs are infamous for like when they do little burnouts or when they just do a little fishtail, they end up going out of control and like hitting people on curbs. | ||
| So that's the driver, bro. | ||
| They get made fun of a lot. | ||
| They're like, oh, it's always in a Mustang. | ||
| But I think it's a four thing. | ||
| I think Ford, a lot of their cars have delays. | ||
| No. | ||
| Yeah. | ||
| No, no, no. | ||
| That's not what that's about. | ||
| But I think I don't know how to do it. | ||
| For sure, it's a driver thing, but I think it's partly because they're not used to the delay. | ||
| What delay are you talking about? | ||
| I think, like, and I might be wrong. | ||
| I have a Mustang, I should just say. | ||
| I have a new Mustang. | ||
| But I have a super snake. | ||
| Okay, so I don't know, how new is it? | ||
| Like, brand new? | ||
| Brand new. | ||
| All right, so I don't know about brand new, but maybe still. | ||
| Get in your Mustang and floor it and count how long it takes before it like takes off or try to time. | ||
| It might be like half a second, it might be a second. | ||
| And count how long it takes for the like when you let off the throttle, how long, like try to feel it, how long it takes for it to actually the motor to stop receiving the gas. | ||
| Like it's it's a it's like about a half a second or a second longer than most cars. | ||
| What? | ||
| I swear to God. | ||
| Find out if that's a thing. | ||
| It's a delay. | ||
| I've never heard of that before. | ||
| Yeah. | ||
| Or especially even in a truck. | ||
| I was driving F-150. | ||
| It has a 5-0. | ||
| It's a single cab. | ||
| Those things are fucking sick. | ||
| They're like the best trucks out there right now. | ||
| Delay after flooring. | ||
| This is an F-150, five-liter. | ||
| When I punch it, there seems to be about a two-second or less delay on the initial pickup. | ||
| That's something wrong with this car. | ||
| So I don't know if it's only the truck. | ||
| Let's see about that Mustangs. | ||
| Try it. | ||
| Try it out. | ||
| I'm gathering money. | ||
| The mine has no delay. | ||
| No. | ||
| It has no delay. | ||
| No. | ||
| So I was thinking maybe that's why some people slide out of control, though, is because they're not used to the delay. | ||
| Because again, my truck, I don't have that truck anymore, but I'd have to kind of count for like, all right, I'm going to floor it. | ||
| But also when I take my foot off, like I need to take it off a little earlier than I normally would, depending on what I'm doing. | ||
| I feel like that your car was not tuned in correctly. | ||
| I feel like your car needs to be a lot more. | ||
| You could probably fix it with a tune, but that's how they come out the factory. | ||
| I have not mine, man. | ||
| I have a test. | ||
| I have a Raptor and I also have a Mustang, and neither one of them has any problems like that. | ||
| Their immediate response. | ||
| Try it. | ||
| Compare them to your other cars. | ||
| Pull out the GTR, pull out the Tesla. | ||
| Pull out the PlayStation. | ||
| Tesla is very different than all of them because it's instantaneous. | ||
| It's no gears. | ||
| It's one gear. | ||
| It's fucking preposterously fast. | ||
| But the Mustangs don't have that. | ||
| I think it's a bad driver. | ||
| Yeah. | ||
|
unidentified
|
Yeah, the Mustangs are just, you know, it's like... | |
| It's not expensive. | ||
| Even the GTR has a delay. | ||
| It's turbocharged. | ||
| It's a different thing. | ||
| Okay, the Mustangs are five liters. | ||
| So it's a V8. | ||
| It's the Coyote engine. | ||
| Every car reacts a little different to it, like when you floor it. | ||
| The reaction time is different. | ||
| Maybe Forbes is just the same thing. | ||
| You're just hanging on to this reaction time. | ||
| I don't know, man. | ||
| I don't know. | ||
| Anything in there about delay in the throttle or Mustangs? | ||
| I don't think there's any problem with the Mustang that they personally bought. | ||
| One person. | ||
| Yeah, I'm not saying like a thing. | ||
| I'm collecting data. | ||
| I'm not trying to hit on Mustangs. | ||
| I'm trying to collect that. | ||
| I don't think you're collecting data. | ||
| I think you're talking about anecdotal experiences from cars that weren't tuned in correctly. | ||
| I want you to floor that Mustang, your super snake, and then tell me what the time was. | ||
| I floor that thing all the time. | ||
| But mine's not a normal one. | ||
| It's a Shelby. | ||
| So Shelby North America, they take a regular, I still want the data, Joe. | ||
| I want you to floor it and give me the data. | ||
| Yeah. | ||
| Give me the, get that, what is it? | ||
| What do they call them? | ||
| The Trekkies? | ||
| Where they track everything for you. | ||
| It's like an app. | ||
| Oh, okay. | ||
| And you put this little thing in your cup holder and you floor it. | ||
| 2005 to 9 poll on a thread here. | ||
| Do I have throttle lag? | ||
| And some people do. | ||
| Some lag, you know. | ||
| These are older Mustangs. | ||
| Yeah, older. | ||
| But these are older ones. | ||
| They're probably out of tune. | ||
| They probably have bad fuel injection. | ||
| Something's wrong. | ||
| Big's coming up with like a. | ||
| Yeah. | ||
| I'm just trying to collect data. | ||
|
unidentified
|
All right. | |
| Just like you do if you have all these experts come on. | ||
|
unidentified
|
You keep saying that like you're a scientist. | |
| I'm not a scientist. | ||
| I love that you're doing that car channel, though. | ||
| That's pretty cool. | ||
| I love cars, man. | ||
| I love watching people fix them and work on them and modify them. | ||
| Oh, that's so fun. | ||
| I mean, it might be like 20% of the content that I watch is like car stuff. | ||
| I just love it. | ||
| I love when people are really passionate about something, you know, when they work on things. | ||
| Whenever I get interested in something, I like to really dig into it and learn about it. | ||
| It's just so rare when I find something that I'm genuinely interested in. | ||
| Yeah. | ||
| But that's the problem I was telling you: is that like now I'm just hyper-focused on this and I haven't written a new joke in like, I don't know how long. | ||
| Do you sit down and write or do you try to like let ideas come to you? | ||
| How do you do it? | ||
| I mean, like both. | ||
| I try to let ideas come to me so I don't force something, but once I have the idea, then I try to like write it out. | ||
| And I wrote last night and the night before just because I'm like, bro, I have to write something down just to see if I can like squeeze something out. | ||
| But lately, like the shows I've been doing, and it's and it's worked for the most part. | ||
| Lately, I just kind of go up there with half ideas and then sketch them out on stage. | ||
| So you're trying to work on new material that way. | ||
| Yeah. | ||
| Yeah. | ||
| That's a great way to work on new material because you put yourself under pressure. | ||
| Yeah. | ||
| Yeah. | ||
| And it feels more like a conversation with the crowd sometimes. | ||
| Because sometimes I'll just straight up tell the crowd, like, yo, what do you guys want to talk about? | ||
| Because I'm out of ideas. | ||
| Like, and I might, it might turn into a lot of crowd work, which is also fun too, at least for me. | ||
| I know some people don't like it, but I don't know. | ||
| I'm in a weird place creatively with comedy. | ||
| I feel like anything I try to think of is just not going to be funny. | ||
| Have you been working too much? | ||
| Maybe. | ||
| That might be fun. | ||
| Are you non-stop or do you take weeks off every now and then? | ||
| I've been pretty non-stop up until now. | ||
| I was non-stop for a long time. | ||
| And then one time I decided to take a few weeks off. | ||
| And I think I wound up taking a month off or I didn't do any sets for a month. | ||
| It was weird. | ||
| I'd never done that before. | ||
| The only other time I did that was I had surgery on my knee. | ||
| I took two weeks off. | ||
| Then I went on stage with crutches after that. | ||
| And then during COVID, during COVID, I didn't do stand-up for a long time. | ||
| But I found out that when I took a month off, like I had a chance to actually think about what's interesting to me instead of just doing jokes that I thought worked. | ||
| So I had no pressure to do a show. | ||
| I didn't have any shows scheduled. | ||
| So I said, let me just think about life. | ||
| Let me think about what's interesting to me. | ||
| Let me think about what's bothering me. | ||
| Think about what's exciting to me. | ||
| Think about what's possible. | ||
| Think about things I'm interested in. | ||
| And just start writing down subjects. | ||
| So for a full month, I didn't do any performing. | ||
| I just collected ideas. | ||
| And I didn't think of it in terms of like, I'm under the gun. | ||
| I have to get X amount of ideas. | ||
| I just thought about it like every day I'm going to spend just a certain amount of time either in front of the computer or looking at my phone just working on ideas, just finding shit that's interesting. | ||
| And then I had a folder that I'd put all these ideas in, and then I'd sit down and look at these photos, like, no, no, huh, maybe that. | ||
| And then I'll write something about it, just a little bit. | ||
| Just write down like what's weird about it, what bothers me about it, and then go back to it the next day and expand on it. | ||
| And maybe smile and read and fucking think about it and go, what is what, what would life be like if no one figured out the wheel? | ||
| What would life be? | ||
| You know, what would life be like if no one ever invested any time into figuring out antibiotics? | ||
| You know, like, and then you just go on a rant, go on a rant, write things down, and then write it. | ||
| I write in essay form. | ||
| So I don't try to write like in joke form. | ||
| I write about a subject. | ||
| Like, what is what is about the subject that's interesting to me? | ||
| I look at it a bunch of different angles. | ||
| And then usually when I do that, there's like a thing in there that's funny, one thing. | ||
| I could just pull that thing out and then figure out how do I deliver that one thing. | ||
| Oh, I get you. | ||
|
unidentified
|
Yeah. | |
| So instead of just like always thinking about like, what can I talk about on stage? | ||
| What are the jokes? | ||
| Think about like what interests you. | ||
| And if you feel like you're burnt out, if you do you have shows scheduled non-stop from now on? | ||
| Nah. | ||
| So my next tour starts in September. | ||
| And some people are kind of upset with me because it's like a seven, eight show tour over like four months. | ||
| Why are they upset? | ||
| Because they're like, hey, it's not a tour. | ||
| It's like a pit stop. | ||
| Oh, the thing and you're lazy. | ||
| Yeah. | ||
| And like people are like, why did you come to this city? | ||
| Why is it like these seven cities? | ||
| But I'm like, I don't know. | ||
| It just worked out that way, man. | ||
| I want fucking time off too, you know? | ||
| You got to not listen to people. | ||
| Do what you want to do. | ||
| Don't listen to anybody. | ||
| Especially online. | ||
| I feel like I'm barely getting to that point where I like I can finally. | ||
| Not that I'm like, okay, finally I'm here at this point. | ||
| I feel like it's like one step at a time. | ||
| We're like, all right, I can care a little bit less now about this. | ||
| And like with time, I can care a little bit less about that or whatever. | ||
| But it's still tough. | ||
| I also don't. | ||
| I think one of the toxic things that it could be like a double-edged sword is like how much people let you do and help you do things. | ||
| Like if I told my manager right now that I wanted to write a play, like the man is going to help me write a play. | ||
| I don't know how to write a play. | ||
| Like I shouldn't be writing plays. | ||
| And I feel like that's bad. | ||
| It's how much people let me do things. | ||
| I think sometime this week, maybe next week, as part of the press tour, I'm going on some Spanish shows. | ||
| My Spanish is not that great. | ||
| Like I should not be allowed to be on Spanish TV. | ||
| How bad is it? | ||
| It's like if you're if your first language is Spanish and you hear mine, you're just like, that guy learned this later on. | ||
| Like he learned it as a kid maybe, but it's not great. | ||
| It's like I can have a conversation. | ||
| I can communicate with whoever, but it's not good enough to be on TV. | ||
| Right. | ||
| And I think it's crazy that there's not even like a check. | ||
| Like there's no test. | ||
| Like I thought at some point they'd interview me and just be like, do you know what this means? | ||
| You know how to say this, say that? | ||
| Like, no, they're just like, well, he's trusting you. | ||
| You say you can speak Spanish. | ||
| That's crazy, the trust they put in. | ||
| Because it only backfire. | ||
| I mean, yeah, it could backfire on my agent, my manager, whatever. | ||
| It's going to be like, hey, you vouched for this guy, sure. | ||
| But it's going to backfire on me more than anybody. | ||
| Well, you could always have someone come on that's fluent that could help you. | ||
| That's true. | ||
| Like when I had Yoel Romero on the podcast, Joey Diaz translated for Yoel. | ||
| Yoel's from Cuba. | ||
| Joey's from Cuba. | ||
| So Joey would just, you listen to Yoel and translate. | ||
| And then occasionally Yoel would say things in English because his English is okay. | ||
| Yeah, my game plan is just to like be straightforward with it. | ||
| Yeah. | ||
| And just be like, look, before we go deeper into this, just know I might fuck up here or there. | ||
| Yeah. | ||
| Yeah. | ||
| Just say that. | ||
| Yeah. | ||
| But that does happen in the Mexican community, though, right? | ||
| They get a little mad if you can't speak Spanish. | ||
| Oh, bro, they hate you. | ||
| It's crazy. | ||
| But fuck it. | ||
| I just think that's just the funny kind of double-edged sword about the entertainment industry, though, is like people will give you the tools to try whatever you want to do next. | ||
| But why do you think that's bad? | ||
| Because sometimes I think it's bad because you can set yourself up for failure, humiliation. | ||
| Or success. | ||
| Or success. | ||
| True. | ||
| But that's why it's a double-edged sword. | ||
| Did you ever watch that movie Top 5, Chris Rock's movie, Top 5? | ||
| No. | ||
| I saw that movie in the theaters when I was like 18, maybe. | ||
| 17. | ||
| So he's basically like playing himself. | ||
| It's about a stand-up comedian who I think he's, if I remember correctly, I think he's getting upset because people don't take him seriously as he directed a movie and acted in a movie and people are kind of trashing the movie. | ||
| And he's just like, what the fuck? | ||
| Why don't people see I'm more than just a comedian, you know? | ||
| And I think towards the end of the movie, he ends up getting arrested and he's in like the city jail. | ||
| And across from him is DMX, like as DMX. | ||
| He's doing a cameo. | ||
| And DMX is like, yeah, I know what you mean. | ||
| Like, nobody understands. | ||
| Like, I don't always want to rap. | ||
| I want to sing too. | ||
| And DMX starts singing some song, but it sounds horrible to DMX's voice. | ||
| And so the lesson there is like, kind of like, know your space. | ||
| You know what I mean? | ||
| Like, know your lane. | ||
| Know your lane. | ||
| Yeah. | ||
| So I think that's the dangerous part is sometimes you might lose sight of what your lane is and you can go into, you venture out, which is cool. | ||
| It's fun, you know, creatively. | ||
| But then it's like, hey, you might fucking imagine if somebody gave DMX like a tour where he was just singing fucking country songs or something. | ||
| Like it'd be entertaining, but it wouldn't be great. | ||
| You know what I mean? | ||
| Right, but if you could do it, you got to give him a chance to possibly pull it off. | ||
| That's true. | ||
| A lot of people have done that. | ||
| Like Post Malone's got a whole country tour. | ||
| That's true. | ||
| And I went to see it. | ||
| It was great. | ||
| But that is a very talented man. | ||
| I don't care what anybody says. | ||
| Very talented man. | ||
| So it's like you have to know how seriously to take yourself too. | ||
| Well, sort of, or you have to not think about it. | ||
| he's like a guy, he kind of stays toasty, keeps rolling. | ||
| I don't think he ponders it too much. | ||
| I think he does what he wants to do. | ||
| Yeah. | ||
| But like me, I know myself well enough to know, like, I'm no post malone. | ||
| I'm not starting a car channel out of like, I'm going to be the next fucking top gear. | ||
| Yeah, but you're starting it because you're interested in cars, which is a good reason to start it. | ||
|
unidentified
|
Yeah. | |
| But I also know myself enough to know that, like, yeah, I'm just kind of like, I'm keeping it goofy. | ||
| I'm keeping it light. | ||
| Yeah. | ||
| I'm not, I'm not necessarily like, I don't know how to explain it too well. | ||
| I'm just trying to make sure that I don't end up being DMX in that jail cell. | ||
| You know what I mean? | ||
| Do you worry about that? | ||
| Is that something that you worry about? | ||
| I'm keeping up. | ||
| Sometimes, to a degree, I think I know myself well enough to know, like, I'm trying to act. | ||
| I've been doing auditions and stuff. | ||
| And I think that I have a pretty good gauge of if I landed a role and I heard like the feedback on it, I think I'd know like, all right, that's like when it's valid and when it's not. | ||
| You know what I mean? | ||
| But my biggest fear is that like, what if, what if I did get like such a huge ego that I'm like, oh, these idiots don't know what they're talking about. | ||
| Like, I'm so talented. | ||
| Like, that's, I feel like that's scary. | ||
| That's a scary part of the entertainment industry is like when you believe the wrong stuff. | ||
| Or I feel like you shouldn't believe any of it, right? | ||
| Like they say the good comments and the bad comments are none of them are true. | ||
| Well, none of them are going to help you. | ||
| You should figure out who you are. | ||
| Yeah. | ||
| But the thing about what you're saying that rings really true is that a lot of people grossly overestimate what they're capable of doing or how good they're doing something. | ||
| And a lot of that is if you get famous, then you have a bunch of yes men around you, a bunch of people kissing your ass, and the stuff that you're putting out is not the best. | ||
| It's not what you're capable of. | ||
| You have to know how to tell the line between confidence and just like cockiness. | ||
| Most great people that I know kind of hate what they do. | ||
| Not hate what they do and that they don't love it, but they're very self-critical. | ||
| I think it's one of the ways that allows you to objectively analyze what you're doing. | ||
| And you have to make this battle between you don't want to kill your own confidence, but you don't want to be overconfident. | ||
| And you kind of have to be hyper-critical about your own work because if you don't, you're never going to get it to where it needs to be. | ||
| But then you also have to realize at one point in time, you're too close to it to see it the way other people are going to see it. | ||
| If I'm working on a bit for like three or four months, right? | ||
| And it's like frustrating and I'm twisting it around, I'm adding to it and subtracting and I'm trying to make it right. | ||
| Like sometimes you're so close to it that you don't even know that it's funny anymore. | ||
| And you don't want to lose that enthusiasm for the bit either. | ||
| So there's this balancing act for like paying so much attention to it that you hate it, but then falling in love with the idea again before you do it on stage. | ||
| Treating it as if it was new. | ||
| Yeah. | ||
| Treating it as if it was new. | ||
| That's hard for people. | ||
| That's the dance because the worst thing is seeing a comic on stage that's bored with doing stand-up. | ||
| Yeah. | ||
| Oh my God. | ||
| Or people seeing people complain before they go up. | ||
| Can't believe we have to do a second show tonight. | ||
| Like, what the fuck are you talking about? | ||
| You could be working in a bakery somewhere in front of a fucking hot oven, sweating your dick off. | ||
| You could be a logger. | ||
| Yeah, you could be a logger getting abducted by aliens. | ||
| You could be doing some terrible fucking job that sucks. | ||
| Instead, you have literally the greatest job in the world. | ||
| And you're complaining, you have to do it again. | ||
| Got to reset your brain, reset your approach, and treat it like you love it again. | ||
| For anybody who's been to my shows and has not liked the crowd work, I'm sorry for that, but I'm having fun with it. | ||
| And I think the majority of the audience is having fun with it, especially the ones that I'm fucking with that are like talking to, you know? | ||
| Do people complain that you're doing crowd work? | ||
| Well, I've had a couple messages over the summer where they're just like, hey, man, you did a few jokes and then you just were talking to the crowd the whole time. | ||
| It's like, but the thing is that it's fun. | ||
| And I don't want to complain about my job because it's either that or you watch me open mic it or do rehearsed jokes. | ||
| And it's true. | ||
| You can tell when a comedian is not enjoying their job. | ||
| And you hear comedians talk about it. | ||
| They're like, oh man, I was doing that joke. | ||
| And then one day it just stopped working. | ||
| And it's like, yeah, because people probably can tell where you're just not feeling it anymore. | ||
| You're forcing the joke maybe. | ||
| And I don't want to go up there and force jokes. | ||
| And I don't want to complain about my job because my job is fun. | ||
| Like, I'm beyond blessed to have this fucking job. | ||
| But it's fun if it, like, I feel like comedy works when you're present in the moment. | ||
| Yeah. | ||
| You know what I mean? | ||
| If I go up there and I try to force something and I'm just like, nah, like, I'm the same old ralph from six years ago. | ||
| Let me do the same old jokes. | ||
| You know what I mean? | ||
| Like, people are going to tell. | ||
| You know what I mean? | ||
| So, like, right now I'm having a lot of, not that I'm going to keep just only doing crowd work, but I would do very minimal crowdwork before. | ||
| Like, I'd go on stage and I might do like fucking five minutes tops. | ||
| Whereas now I might do like 20, 30 minutes of it. | ||
| But if it's fun, it's fun. | ||
| Like, it's like with the Porsches and then the dude who was a Japanese dude who's like shaping them up. | ||
| Like people might get mad, but like, if it's cool, it's cool. | ||
| I feel like comedy's like that too. | ||
| Like, people are. | ||
| If you're having fun, that's what's important. | ||
| As long as the audience is laughing. | ||
| If some people aren't enjoying it, well, they won't go to see you again. | ||
| That too. | ||
| And it's not like I'm going up there and like fucking like I'm having fun, but 90% of the audience is like, this is horrible. | ||
| Like, nah, like, I'm pretty sure they're laughing. | ||
| You know what I mean? | ||
| I just do feel a little bit of like, damn. | ||
| Some people don't like crowd work. | ||
| Some people don't. | ||
| Yeah. | ||
| Yeah. | ||
| Some people just want to hear jokes. | ||
| If I have 100 people at my show and like three of them don't like it though, that does fuck with me. | ||
|
unidentified
|
I'm just like, fuck. | |
| Those are the ones that are going to comment too. | ||
| Yeah. | ||
| The ones that don't like it. | ||
| Fucking people, man. | ||
| Are more likely to comment. | ||
| I let them down. | ||
| Well, you can't really listen. | ||
| You got to know, right? | ||
| Everyone has to know. | ||
| And the worst thing is when you don't know, like if you have a bad show and you think it was good. | ||
| We've all known guys like that, especially in the beginning. | ||
| They thought they did well. | ||
| You're like, bro, I'd kill myself if I had that set. | ||
| That's ridiculous. | ||
|
unidentified
|
Yeah. | |
| Like, you think that was good? | ||
| This is terrible. | ||
| People get delusional. | ||
| That's a fact. | ||
| But, you know, you just got to be able to self-assess. | ||
|
unidentified
|
Yeah. | |
| You know, and if you're self-assessing, you can't read the comments because it's just going to get in your head and it's going to distract you from thinking about new things. | ||
| The amount of attention that you spend paying attention to other people's opinions is attention that you could be spending improving what you're doing. | ||
| As long as you're aware of what's good and what's not good. | ||
| But sometimes you do get too close to it. | ||
| Sometimes you need friends to help you out. | ||
| Sometimes you need, that's one of the great things about having a club like the Mothership or the Comedy Store with a bunch of comics around. | ||
| You could say, I got this bit. | ||
| It's fucking, I'm stuck. | ||
| I'm stuck with this. | ||
| And then some will say, do you still do it when you say this? | ||
| And you go, no, I don't do that anymore. | ||
| That was a big part of it, man. | ||
| You got to say that. | ||
| I'm like, you think? | ||
| I thought I could edit that out. | ||
| Like, no, no, no. | ||
| That makes it better because it sets it up for later. | ||
| Like, oh, and then you go out and try it that way. | ||
| And you're like, oh, shit, he was right. | ||
|
unidentified
|
Yeah. | |
| Like, sometimes you need your friends around you to tell you, like, oh, you know, maybe you're doing that bit. | ||
| You're doing it in a different way than you used to do it. | ||
| Or what if you added this? | ||
| Or have you ever thought about it from this perspective? | ||
| Like, imagine the person that's saying that. | ||
| What are they thinking? | ||
| They're saying something crazy. | ||
| What are they thinking? | ||
| Like, oh, yeah, I never thought of that way. | ||
| And then you have a whole new element of the bit. | ||
| I was touring with my buddy Renee Vaca. | ||
| He's very funny. | ||
| He's big into crowd work. | ||
| But I feel like touring with him helped me work out a few bits. | ||
| Oh, yeah? | ||
| Yeah, because I was like, man, I was worried that I'd go out there and like not be able to keep up. | ||
| You know, you want to be as funny as the funniest person on the show. | ||
| So I was like, what if I go out there and like, this fucking crowd hates me? | ||
| They like this, whatever. | ||
| But I was like, I'm going to just do what I do. | ||
| And people like him or like on his team who don't see me perform every weekend are going to talk about the parts of my set that stood out the most. | ||
| Like the best and the worst. | ||
|
unidentified
|
They will. | |
| They'll have to. | ||
| Like you walk off stage, they're going to be like, hey, why'd you say that? | ||
| Like they're going to make fun of me if I fucking bomb. | ||
| But if I kill, they're going to be like, hey, that was funny. | ||
| Like, you know what I mean? | ||
| So I was like, I'm going to just do the fucking set. | ||
| And they'll give me notes without me asking. | ||
| Like, I'm sure they will. | ||
| And I felt like it worked. | ||
| Stuff that I was in my head, like, is this working? | ||
| Is this forced? | ||
| Like, I don't know. | ||
| I'd walk off stage and Renee would be like, why the fuck you say that? | ||
| That was fucking weird. | ||
| And I'd be like, nah, he's right. | ||
| He's right. | ||
| And then it like helped shape the bit over months, you know? | ||
| Yeah, for sure. | ||
| Having people that you bounce ideas off is huge. | ||
| It's huge. | ||
| And having comics that pay attention to your set and give you notes. | ||
| I mean, Chris Rock used to hire guys just to watch his set. | ||
| He'd hire a team of comics to sit in the back, and he would do a set at the comedy store, and then they would meet up and go over the material. | ||
| Yeah. | ||
| Yeah. | ||
| So they would have notes. | ||
| They'd all say, you know, I liked how you did this. | ||
| I liked how you did that. | ||
| I felt like this one was like you were a little less animated this time in the last set. | ||
| You were like a little more aggravated about it. | ||
| I think it made the bit better. | ||
| You ever tried that? | ||
| No. | ||
| No? | ||
| No, I haven't done it. | ||
| I mean, I've gotten definitely gotten notes from friends before, you know, which is great. | ||
| Like when someone will sit back and give you some taglines and shit, that's pretty dope. | ||
| I love when people do that. | ||
| But what Chris did was pretty intelligent, very intelligent. | ||
| But he got a lot of shit for it because people were like, oh, he hires writers. | ||
| I'm like, I don't think that's what he's doing. | ||
| It's not like they're writing his set. | ||
| He's writing his set and then he's bouncing it off some of the best writers in comedy. | ||
| Oh, yeah. | ||
| You know, which I think is a really good way. | ||
| He used to do it with Richard Jenny and some of his best stuff. | ||
| If you go back to like his, what I, what I believe is his best specials. | ||
| His early specials are fucking incredible. | ||
| And, you know, a lot of that was him working with Richard Jenny in that capacity. | ||
| Hey, like, when he did that bit, I think it's like a legendary bit. | ||
| Chris Rock, Bullets. | ||
| Bullets should cost five grand. | ||
| It's like there'll be no more innocent bystanders. | ||
| That's fucking hilarious. | ||
| He's got a lot of great ones. | ||
| You know, you know, a lot of bangers. | ||
| You ever hear one of those bits where you're like, I wish I would have thought of that? | ||
| Oh, yeah. | ||
| One of those bits is some of my favorite all-time jokes. | ||
| You ever hear Louis C.K. when he talks about like he's afraid of new places? | ||
| Like that's that's his biggest fear of hell is that he just won't know how things work down there. | ||
| No, I ever heard of that bit. | ||
| It's like something about like he's like, what if you're walking through hell and then like some demon comes out of a hallway and he's like, he's like makes you suck his dick. | ||
| He's like, oh, suck my dick. | ||
| And then he's like, how do you even know when a demon comes? | ||
| Like, it's like, then he comes, like, fire ants all over you. | ||
| And then he leaves, you know, and then like some other demon comes and he's like, hey, man. | ||
| He's like, you didn't have to suck that guy's dick. | ||
| Like, this is hell. | ||
| He's like, he's just some demon. | ||
| He's like, you better pace yourself. | ||
| You're here for eternity, you know? | ||
| Like, that's a joke. | ||
| I'm like, bro, I wish I would have thought of that. | ||
| Like, it's just right there. | ||
|
unidentified
|
Like, that sounds like a Louis ZK joke. | |
| That's fucking genius. | ||
| That dude, that dude's fucking genius. | ||
| Yeah, he's great. | ||
| The fucking. | ||
| He gave me a bunch of great taglines once at the improv. | ||
| Yeah. | ||
| Sat and watched my set and had a bunch of fun lines. | ||
| That's fun to do. | ||
| Well, Louis did that a lot with Chris as well. | ||
| He did that with Chris Rock. | ||
| They were like in the same clash order? | ||
| You know, they all were doing it together in New York at the same time. | ||
|
unidentified
|
Yeah. | |
| Hey, do you ever act? | ||
| Not anymore. | ||
| No? | ||
| No, I stopped doing that a while ago. | ||
| I don't like doing it. | ||
| I'm too busy. | ||
| I'm too busy and it's not what I mean. | ||
| I didn't mind doing it, but it's not the butterfly you want to chase. | ||
| No. | ||
| You can't chase all the butterflies. | ||
| No, it's like, it's too time-consuming. | ||
| You know, if you're acting, you're on set all day long. | ||
| You might work six days a week, 15 hours a day. | ||
| It's a lot, especially if you're doing a film. | ||
| I didn't think about that. | ||
| I did a commercial for Verizon in Spanish. | ||
| Oh, yeah. | ||
| Big thing. | ||
| Again, they should have checked my Spanish first. | ||
| That's on there. | ||
| But did people complain about your Spanish? | ||
|
unidentified
|
No. | |
| Dude, you have no idea. | ||
| They made me talk to a dialect coach because they didn't have a problem with like it wasn't a, it wasn't an issue of like, oh, he doesn't know how to say this word or that word. | ||
| No, it was like, it was fine. | ||
| It was my accent. | ||
| They said I spoke a northern Spanish, which is, I mean, yeah, my family's from like the northern part of Mexico. | ||
| But apparently, I didn't know. | ||
| Like, I don't know. | ||
| My Spanish isn't well enough to like depict accents from different parts of Mexico. | ||
| Right. | ||
| But I guess it's the Mexican version of like country. | ||
| Oh, so you're like southern. | ||
| Yeah, but over there, it's northern. | ||
| Yeah. | ||
| And they don't like that. | ||
| They said they wanted it to be a more neutral Spanish, that they want me to sound like I'm from a city, like a big Mexico city or some shit. | ||
| So like I had to read. | ||
| We filmed all day, right? | ||
| The commercial, and there's no talking because the dialogue is all like in my mind. | ||
| Oh, I see. | ||
| And so at the end Of the day, they had me like record the lines into a microphone, and I'm just like, All right, easy money. | ||
| So, what was the difference in the way you had to pronounce the words? | ||
| Can you give me an example? | ||
| Yeah, like apparently, the way I talk, I like I had to say the words with no, like, I had to say them like, how do I explain, like, just straighter? | ||
| Like, I don't know, man. | ||
|
unidentified
|
It's like give me an example of the words. | |
| Like, I had, like, I had to, like, I had to say, like, but I, I can't, like, it's like if you took a dude from like the fucking country, like Alabama, and you were like, you have to talk like if you were just from fucking, I don't know, Northern California, like, or where is it? | ||
| What's yeah, Northern California is a good one, right? | ||
| They don't have like a new accent, right? | ||
| It's like a more neutral, yeah, yeah. | ||
| So, it's like, it's kind of tough. | ||
| Well, it's not tough for people in America because you hear all those accents. | ||
| Well, for me, it was tough because, like, I don't live in Mexico, so I'm like, you want me to talk like people I didn't grow up around? | ||
| Like, I'm talking like all the people I grew up around, so it's like it was a little foreign to me, you know what I mean? | ||
| Yeah, I had to re-record my lines back home in Dallas, which wasn't a big deal. | ||
| I just remember talking to the dialect coach, and she's like, no, no, no, say it like this, though. | ||
| And I'm just like, I feel like I had, I know people say I talk very monotone, like very laid back, but I feel like I had to do that more in Spanish. | ||
| Like, instead of just saying, like, hey, ah, que puedes cambiartu tu plan converizen, I have to be like, aura cami tuplan converizen. | ||
| Like, I had to talk like the fucking dude at the end of a commercial who's like, subject may be very detailed. | ||
| Oh, a fast guy. | ||
| Yeah, so I could do it like fast and like no accent. | ||
| So I couldn't, I feel like I feel like I couldn't move my mouth a lot. | ||
| Like I had to just like whisper it out. | ||
| And that's when they finally liked it. | ||
| Which I, I mean, they paid me very well. | ||
| Like, shout out to Verizon. | ||
| I'm not complaining. | ||
| I just think it's funny that they were just like, and they didn't know at first because it's like different types of like Latinos working on that commercial. | ||
| It was like a Puerto Rican dude and Venezuelan dude. | ||
| You know what I mean? | ||
| So it took the Mexicans to recognize the difference in these. | ||
| The girl who was like the costume designer or whatever, she was just like, hey, this dude talks country as hell. | ||
| Everybody's like, what? | ||
| She was like, I better not let him talk like that. | ||
| She was cool as hell. | ||
| I loved her. | ||
| But in my mind, I was like, motherfucker, like, that's funny. | ||
| They probably would have released that and people would have got mad then. | ||
| I don't think so. | ||
| I think I feel like maybe people from my part of Mexico would have been like, hell yeah. | ||
| Right. | ||
| That's us. | ||
| We feel represented. | ||
|
unidentified
|
Right. | |
| Like, if you had something in America and you had someone talking in a Texas accent, no one would care. | ||
| Yeah, you wouldn't. | ||
| Yeah. | ||
| You'd just be like, all right, fuck it. | ||
| Maybe they just know the Mexican market different, though. | ||
| Yeah, I guess because they want to make sure they appeal to like all sorts of Latinos. | ||
| And I don't know, maybe a Puerto Rican dude would hear that and be like, the fuck is this goofy ass dude saying? | ||
| Have you ever thought about doing shows in all Spanish? | ||
| Yeah, I would like to break into that. | ||
| Tom Segura's done a bunch of those. | ||
| Bro, I saw him in Spanish. | ||
| He was hilarious. | ||
| I've never seen Tom perform in English. | ||
| I've only seen his specials or on YouTube. | ||
| But when I saw him in Spanish live, I was like, bro, he's got fluent Spanish. | ||
| And most people don't know that, which is funny because he's had people talk shit in Spanish around him because he looks like a regular white guy. | ||
|
unidentified
|
Yeah. | |
| He's not. | ||
| He spent his summers in Peru or something like that, right? | ||
| Growing up. | ||
| I mean, he's fluent. | ||
| I mean, he could do shows in Spanish. | ||
|
unidentified
|
Yeah, yeah. | |
| He told the story about a German prostitute or something like that. | ||
| I can't remember. | ||
| All I remember was thinking, like, man, this dude's like fucking doing Master Kung Fu up there. | ||
| It is Master Kung Fu if you can kill in two different languages. | ||
| That's pretty wild. | ||
|
unidentified
|
Yeah. | |
| There's not a lot of humans. | ||
| It's like tiger style versus fucking crane or whatever. | ||
| Like, what percentage of comics can kill in two languages? | ||
| It's got to be the smallest percent. | ||
| I mean, it's probably a handful in the whole world. | ||
| I want to film a special like in Japan, but I want to do it like just to fucking troll comics like in the States. | ||
| Where like I don't want people to know that it wasn't a real special. | ||
| Like I want maybe just a promo for a special and it's just me in Japan, but killing it in front of a Japanese audience, but I'm not speaking Japanese at all. | ||
| Like I'm just doing the same English jokes. | ||
| And I want to promote it as if I recorded it over like a Japanese Tour and just everybody wondered, like, what the fuck? | ||
| Like, was it English-speaking Japanese people? | ||
| Well, you just gave it up already, so it's not going to work now. | ||
| I'll still fuck with the people who don't listen to your podcast. | ||
| They'll find this recording. | ||
| They'll go back and find it. | ||
| He was planning on trolling us. | ||
| Why would we go another way? | ||
| Why is that even interesting to you? | ||
| Why do you want to do that? | ||
| I just think it's funnier to fuck with people. | ||
| I just think it would make me laugh to watch a trailer for a special where I'm just like killing in Japan. | ||
| Yeah, like to people who have no idea what I'm saying. | ||
| But like, I want people to wonder, like, did they know? | ||
| Was there a translator or something? | ||
| Well, a lot of people in Japan speak English. | ||
| You probably could do shows over there. | ||
| And there's a lot of expats over there. | ||
| Like, if you wanted to do a show in Japan, you'd probably have a lot of expats and British people. | ||
| Expats, people that left America and live in Japan. | ||
| There's a lot of those. | ||
| It's really cheap to move to Japan. | ||
| They're actually encouraging people to move to Japan. | ||
| Bro, I saw a YouTube video on that. | ||
| This dude, I think he moved from like LA or somewhere in California, and for like 110 grand, he got like an acre and a half or something like that or more, maybe. | ||
| Well, Japan is experiencing population collapse. | ||
| What? | ||
| Yeah. | ||
| They're not having kids at a replacement rate. | ||
| So replacement rate means like if there's two parents, you should have like three or more kids. | ||
| Like if you're trying to replace the people that are here, when you think about how many people are going to die of old age, how many people are going to die, how many people are going to live, how has the population sustained itself over the course of the next X amount of generations? | ||
| Well, you have to have a high replacement rate. | ||
| And right now, Japan has a very low replacement rate. | ||
| Like it's spooky low. | ||
| We're at the point where they're in a panic and they're trying to figure out how to encourage people to move to Japan, how to get people in Japan to have kids. | ||
| Oh, because there's like a lot of insults, though. | ||
| That's what it is. | ||
| No, but I'm saying it's like they're, I mean, that's got to be kind of scary because if they're not replacing people, that means like fucking jobs won't get not just jobs. | ||
| The country's going to go on. | ||
| There won't be any people left. | ||
| What do you mean? | ||
| I mean, there would just be way less people, but it's not like they're going to all disappear. | ||
| Well, they'll all die off. | ||
| And if they don't have kids. | ||
| I'm worried about like who's going to fucking farm and take care of the animals and shit. | ||
| Yeah, well, there's going to be less of that, too. | ||
| But they're probably the people that will have kids is the farmers and the rural people. | ||
| But what is Japan's replacement rate? | ||
| It's very low, right, James? | ||
| Our replacement rate. | ||
| We're all right, right? | ||
| We're knocking like crazy. | ||
| A little weird, too. | ||
| Yeah. | ||
| Yeah, we're in a weird situation, too. | ||
| I feel like. | ||
| I've got their girlfriends already. | ||
| Well, that's good. | ||
| That's nice. | ||
| There's a lot of people here, and there's a lot more people aren't having kids than ever before. | ||
| It's different. | ||
| We're not in danger, but like South Korea is in danger. | ||
| Like South Korea, their replacement rate is really bad. | ||
| Yeah, I think it's something crazy. | ||
| Like how many people that are alive today will have grandchildren, and it's very small. | ||
| Fuck, man. | ||
| Yeah. | ||
| But you don't think about it that way because you just look at all the people that are there right now, right? | ||
| If you're in Japan, you see all this traffic, like, oh, their population's fine. | ||
| If you go to Korea, look at all the people. | ||
| But the reality is these are people that are alive now because the baby boomers, then Generation X, and then people were still having kids, but the amount of people that are having kids right now is lower than it's ever been. | ||
| So how do we fix that? | ||
| It's hard because you're going to have to make people attracted to each other. | ||
| And some people just aren't attractive. | ||
| Some people put no effort into that. | ||
| Some people are social outcasts and they've lived their life that way. | ||
| So Japan's population is shrinking. | ||
| Here's what it means and what some are doing about it. | ||
| So Japan may have the longest national life expectancy, about 85 years, and the world's largest city, Tokyo, but the nation's population has been in decline for 15 years. | ||
| Last year, more than two people died for every baby born, a net loss of almost a million people. | ||
| And now the island nation is on pace to shrink in half by this century's end. | ||
| Diminishing population is Japan's most urgent problem, says Taro Kono, longtime high-ranking minister of Japan's parliament. | ||
| Kono, nearly elected prime minister in 2021, said he intends to seek the highest office again and believes the country should prioritize combating the population Decline. | ||
| It's a giant issue. | ||
| There are less and less number of younger generation. | ||
| All the burdens are on the young generation, and they won't be able to sustain. | ||
| So our society is going to be breaking up. | ||
| Economy is just going to stagnate. | ||
| Pretty nuts, man. | ||
| Japan's military recruited only half the people it needed. | ||
| There's a labor shortage in every industry, including the government. | ||
| Bless you. | ||
|
unidentified
|
Thank you. | |
| Crazy, right? | ||
| It's crazy that the cure to this is just like, don't pull out. | ||
| Well, not just don't pull out, but actually raise your children. | ||
| Yeah, that too, you know. | ||
| And have a bunch. | ||
| Yeah, I have like, that's why Elon has like 19 kids. | ||
| He does? | ||
| He's got a ton of them. | ||
| But I think you're supposed to take care of the kids. | ||
| You're supposed to be around them all the time. | ||
| How are you going to do that if you have 19? | ||
| Yeah, it's like a little village. | ||
| Yeah, that's a lot of people. | ||
| Kondo says he's one of thousands of Japanese in monogamous romantic relationships with fictional characters. | ||
| What? | ||
| That's the guy? | ||
| No, no. | ||
| Who's that? | ||
| Oh, that's this guy. | ||
| That guy. | ||
| That guy's in a. | ||
| Oh, yeah, he looks like he needs to be in a romantic. | ||
| He married an anime character in a formal ceremony in 2018. | ||
| Oh, Christ. | ||
| Animes was fucking it up. | ||
| Look at this dude, man. | ||
| He's in a monogamous relationship with fictional characters. | ||
| Almost half of Japan's millennial signal singles, age 18, 34, self-report as virgins. | ||
| What the fuck? | ||
| Compared to barely 20% in the U.S., that's a lot in the U.S. There's 20% 34-year-old virgins. | ||
| That's crazy. | ||
| Oh, self-reported. | ||
| Right. | ||
| They might be lying. | ||
| Lying host. | ||
| How many of them are ladies? | ||
| How many of them are ladies with body count? | ||
| Bro, but here's the thing: it's like, fuck, man. | ||
| Why? | ||
| This sounds like the plot of a funny movie. | ||
| We got to make these guys get laid, you know? | ||
| But they're out here fucking getting in relationships with anime characters. | ||
| It's like, do we want that guy to have more kids? | ||
| You know what I mean? | ||
| That's a good point. | ||
| That's a good point. | ||
| And what girl's going to want to be burdened down with that guy as your provider? | ||
| And also, you're going to have to have sex with him. | ||
| You're not going to be attracted to that. | ||
| What Japan should do is they should outsource. | ||
| They're doing that too. | ||
| Yeah. | ||
| Yeah, they're bringing in a lot of people from other countries. | ||
| They got to bring in people to train these guys. | ||
| Oh, to train them. | ||
| Yeah. | ||
| I got douchey friends who are like on dating apps and shit, and they're fucking, they're just sleazy. | ||
| You know what I mean? | ||
| They're out here trying to go out and dates like every fucking night with girls. | ||
| Send these guys over there. | ||
| We pay them a handsome price and we get them to make their like hinge profiles for them and just fucking lie. | ||
| What is this, Jeremy? | ||
| What are you showing me? | ||
| A village in Japan that has a bunch of puppets around. | ||
| What? | ||
| Because of population decline? | ||
|
unidentified
|
Yeah. | |
| Oh. | ||
| And it makes you feel like they're surrounded by people. | ||
| I don't know. | ||
| Oh, my God. | ||
| To combat its loneliness, creating color for mannequins resembling their loved ones. | ||
| What? | ||
| That's depressing. | ||
| Mimicking the vibrant life. | ||
| So they have dolls everywhere mimicking the people because they're in such population decline. | ||
| There's fucking people in Japan who hate like tourism. | ||
| Motherfucker, you need me out there. | ||
| Yeah. | ||
| Well, there's people that were the grandchildren, the people that survived the bombs. | ||
| Oh, that wasn't me. | ||
| I was Oppenheimer. | ||
| A bunch of old white dudes, you know? | ||
| Yeah, I wasn't there. | ||
| Yeah. | ||
| Come on. | ||
| My grandpa was in Mexico doing, you know what? | ||
| Creating two families so that we don't have your problems. | ||
| There you go. | ||
| I have an uncle that my mom found on Facebook when I was in high school. | ||
| It's like, you know, one of my grandpa's. | ||
| I know it's like a bad way to put it. | ||
| And I love my uncle, but he's like one of his bastard children. | ||
| You know what I mean? | ||
|
unidentified
|
Yeah. | |
| And I just thought, I don't know. | ||
| It was always hilarious to me that my mom just found this dude and like brought him over. | ||
| And my grandpa was just like, hey, like, how you been? | ||
| Because my grandpa apparently used to go check up on him from time to time. | ||
|
unidentified
|
Wow. | |
| But it's just so funny to me that my grandpa, like, nothing ever happened. | ||
| Like, oh, yeah, I didn't tell you guys. | ||
| Like, those are his vibes. | ||
| You know what I mean? | ||
| We all went to a baseball game together. | ||
| Wow. | ||
| How weird was that? | ||
| I didn't think that. | ||
| Did you feel sad for him? | ||
| Nah. | ||
| I thought it was cool. | ||
| I don't think he Needed my grandpa. | ||
| Like, I think he grew up with a father figure, like a stepdad or something. | ||
| So, I don't think it was like, oh, my dad. | ||
| You know, I think he was kind of, he probably, I mean, I don't know what all his emotions were. | ||
| I imagine that's hell, you know, beneath. | ||
| But, like, on the outside, he was just very nice to me. | ||
| And, like, he's, he's cool with my mom. | ||
| He's cool with my uncle. | ||
| I think, I think for him, he, I will say this: for me, he was the first relative that I, on my mom's side, that I felt like I really related to. | ||
| He's the only one on my mom's side that looks like me, too. | ||
| Wow. | ||
| And my mom, my uncle, my cousins, they're all like tough. | ||
| Like, I've seen them all been questioned by police in handcuffs and they don't break. | ||
| And, like, even my mom, and I'm, I'm sitting there, like, whispering to my mom, like, just snitch, just snitch. | ||
| Like, say something. | ||
| Like, my mom, like, I've seen that, you know, and like then I meet my uncle. | ||
| He has like this kind of like, hey, let's look at the glass half full, like, more sensitive type. | ||
| And I'm like, that's my guy. | ||
| Like, me and this dude, Click. | ||
| He's a teacher. | ||
| He's, yeah, he's such cool people. | ||
| I just thought it was hilarious that my grandpa never like, I don't know if you apologize to him, but like, to my grandpa, it was just like, hey, look, look what ended up happening. | ||
| The whole family's together. | ||
| And it's like, bro, you hit a kid from your other kids for like years. | ||
| Like, these are all grown adults in their 30s now. | ||
| Wow. | ||
| And my grandpa even, I remember my grandpa telling my uncle, he's like, yeah, don't you remember? | ||
| He's like, oh, you were in karate. | ||
| He's like, I used to go down there and stay with you every now and then. | ||
| He's like, and you were showing me what you learned in karate. | ||
| You were like 12 or something. | ||
| And he's just like, no, I don't remember that. | ||
| But like my uncle and my other uncle and my mom are listening to this story. | ||
| And I imagine in their minds, they're just like, what the fuck? | ||
| Like, so that weekend that you were gone for like work, like, that's what you were doing? | ||
| Like, going to see your other kids karate? | ||
| Yeah. | ||
| But my grandpa, like, he never really talked if he did anything wrong, which I thought was hilarious. | ||
| It has to be traumatizing for my, you know, my mom and my uncle and stuff. | ||
| People were different back in those days. | ||
| Yeah. | ||
| For sure. | ||
| When life is harder, people are less sensitive. | ||
| Oh, yeah. | ||
| For sure. | ||
| Yeah, yeah. | ||
| When you go back to your grandpa's days or my grandpa's days, it's a different world. | ||
| Plus, you know, you got to realize those people were dealing with. | ||
| That was like, what year was this? | ||
| What? | ||
| When my grandpa was having these kids? | ||
| It's like 80s. | ||
| Yeah. | ||
| Different world. | ||
| Yeah, for sure. | ||
| He told me stories. | ||
| Like, I think they put my grandpa to work when he was like seven. | ||
| Both my grandparents. | ||
|
unidentified
|
Yeah. | |
| Like on both sides. | ||
| But harder people, man. | ||
| Like loggers. | ||
| Yeah, like loggers. | ||
| Yeah. | ||
| It's all good. | ||
| That's why I think we need to go back to maybe not like, you know, trying to conquer empires and shit, but we need to dial it back a little bit. | ||
| People need more pain. | ||
| Life is getting too leisurely. | ||
| Yeah. | ||
| When life gets too leisure, you start to, I think you start to look for like the next little issue. | ||
| Sure. | ||
| The issues get smaller and smaller. | ||
| Exactly. | ||
| You know what I mean? | ||
| Well, we're finding that in this society, for sure. | ||
| Yeah. | ||
| People concentrate on a lot of things that aren't really important because life's a little easy. | ||
| Yeah. | ||
| Yeah. | ||
| Nothing wakes people up like a nice attack. | ||
| Like after September 11th, let me tell you something, man. | ||
| This country, you were too young to probably remember it, but during September 11th, the country was so united. | ||
| It was so crazy. | ||
| Everybody in LA had American flags on their cars. | ||
| In LA. | ||
| In LA. | ||
| I mean, I'm talking about like 80% of the cars. | ||
| You drive down the street for the first couple of weeks, 80% of the cars had American flags on them. | ||
| It was nuts. | ||
| Everybody was united. | ||
| That's always kind of crazy to me when I hear people talk about like, because I don't go to LA too often, but I hear talk about, I hear people talk about like how LA was. | ||
| Like, like the South Park guys, I think in an interview, they were saying to be to be like punk rock in LA, you had to say you were like Republican. | ||
| Yeah. | ||
| LA trips me out, though. | ||
| I don't know. | ||
| I mean, there's stuff that fascinates me about liberals and like Republicans, maybe, because I'm not too far on either side or whatever. | ||
| But it just trips me out that there's like not that I'm like a huge patriot, but it does trip me out that like people I guess are not happy here or like not proud of it. | ||
| I used to spend my summers in Mexico. | ||
| It's like you'll appreciate a lot of American shit like that. | ||
| You know what I mean? | ||
| Yeah. | ||
| But I'm not going to go too far into this. | ||
| Well, it's what you're talking about before. | ||
| If your life is too easy, you find things to complain about. | ||
| Like, America's the worst. | ||
| Like, no, it's not the worst. | ||
| It's the best. | ||
| It's just people are fucked. | ||
| And people in other parts of the world, you give them more power and you have less control of your own life and you have less freedom, less ability to express yourself. | ||
| It's a lot fucking worse. | ||
| I'm just happy we got all this food, too. | ||
| Like, we got good food. | ||
| You ever hear about a menu like in some European country or like I saw a menu for a restaurant like in fucking Prague or something like that one time? | ||
| I'm not saying that all their food is like that. | ||
| They look fucking horrible. | ||
| They look like bland food. | ||
| And I know our food is bad and it's making us fat, but at least it's good, you know? | ||
| Like at least we have the fucking option to get fat. | ||
| The option. | ||
| The options are good. | ||
| Hell yeah. | ||
| Yeah. | ||
| Yeah, but if you live in a place where people are poor, you're going to eat bland food. | ||
| It's true. | ||
| Unless they have good spices that aren't expensive. | ||
| You eat like Indian food? | ||
| I love Indian food. | ||
| Yeah. | ||
| I can't do it. | ||
| You can't eat spicy? | ||
| I like spicy. | ||
| You like spicy Mexican? | ||
| Yeah, spicy Mexican. | ||
| Yeah. | ||
| What's wrong with spicy Indian? | ||
| What don't you like? | ||
| I mean, it tasted good. | ||
| I've only had it like twice, but both times just gave me the runs. | ||
| My stomach's not built for it. | ||
| Not built for curry? | ||
| Uh-uh. | ||
| I'm not. | ||
| And like, I don't know. | ||
| Then again, maybe it was just the people who made it. | ||
| Both times it was homemade. | ||
|
unidentified
|
Oh. | |
| So I'm not going to say that. | ||
| Yeah, go to a good Indian restaurant. | ||
| See if you agree still. | ||
| I like sushi a lot. | ||
| That's my shit, man. | ||
| Well, you want to get the runs. | ||
| That's a good way to do it, too. | ||
| Sushi? | ||
| Sure. | ||
| Oh, because it's like raw fish and shit. | ||
| Well, you can get parasites and stuff. | ||
| I like sushi too, but there's a reality of eating raw things. | ||
| That's why pregnant women aren't supposed to eat sushi. | ||
| I fucking, I tried, what is it called? | ||
| The snails? | ||
| What do they call it? | ||
| Escargo. | ||
| Bro, I tried that for the first time. | ||
| That shit's delicious. | ||
| It's pretty good, right? | ||
| Yeah. | ||
| Who would imagine the snails taste so good? | ||
| Whoever had the boss to try that first snail, like, they were onto something. | ||
| Bro, they were poor and starving. | ||
| They probably cooked everything they could. | ||
| They probably tried everything. | ||
| That's why people eat crickets. | ||
| People are starving. | ||
| Never tried crickets. | ||
| They're good. | ||
| Yeah. | ||
| Yeah, I've had them. | ||
| I've had them in Mexico. | ||
|
unidentified
|
Yeah? | |
| Yeah. | ||
| The fuck? | ||
| Yeah. | ||
| They fried them up and served it. | ||
| I've heard about that, but. | ||
| They had a bowl of them sitting in the hotel when we got in there. | ||
| I was like, what is this? | ||
| What the fuck? | ||
| What part of Mexico did you go to? | ||
| I think this one was Puerto Rico. | ||
| I think it was Puerto Vallarta. | ||
| I've never been out there. | ||
| I think that's where we were. | ||
| I think we were Punta Mita. | ||
| But there's a lot of people that eat bugs, man. | ||
| A lot of people eat fried bugs. | ||
| It was nuts, bro. | ||
| Dax. | ||
| Black's not bad. | ||
| They're kind of crunchy. | ||
| Yeah. | ||
| Yeah, not bad. | ||
| Cicadas, you know, when those cicadas hatch? | ||
|
unidentified
|
Yeah. | |
| People eat cicadas. | ||
| Got a lot of those in my baked dodge. | ||
| Yeah, yeah. | ||
| I might try it. | ||
|
unidentified
|
Yeah. | |
| Try it up. | ||
| There's a lot in the country. | ||
| There's a recipe online. | ||
| The garage door open. | ||
| They're all crazy and shit. | ||
| Get those fuckers. | ||
| Fry them up. | ||
| I don't know. | ||
| I'm not kidding. | ||
| Like, my friend Ryan, yeah, he was just on the podcast recently. | ||
| He had a big hatch, you know, because every X amount of years, they have a bunch of them emerge, and it's like crazy. | ||
| And they were everywhere. | ||
| And he baked them in the oven, I think, with teriyaki sauce. | ||
| Said they were delicious. | ||
| Do you ever take advantage of the fact? | ||
| I'll tell you that. | ||
| These crickets. | ||
| Oh, no, I couldn't eat those. | ||
| Are those cicadas too? | ||
| Are those cicadas and crickets or just cicadas? | ||
| I think it's just cicadas. | ||
| So they're on a stick. | ||
| They're on a stick like shish kebab. | ||
| Fuck that dude. | ||
| Fuck yeah, bro. | ||
| I changed my mind. | ||
| I'll get in there. | ||
| Do you realize, like, and do you ever take advantage of the fact that you hold so much power over so many people? | ||
| Like, you're Joel Rogan. | ||
| If you told somebody right now, like, if you eat fucking gum off the floor, it's twice as nutritious as, like, a steak. | ||
| Like, people that once will believe you. | ||
| No, they only Believe you if you lie to them once. | ||
| They'll believe you that time. | ||
| And then every time after that, they'll never believe you. | ||
| Have you ever tried to fuck with anybody? | ||
| No? | ||
| No. | ||
|
unidentified
|
With great power comes great responsibility, Ralph Barbosa. | |
| If I was you, I'd be lying to people all the fucking time. | ||
| You probably would. | ||
| Yeah. | ||
| You probably would. | ||
| I'd be like, STDs are a myth. | ||
| People would just stop using condoms. | ||
| And then I'd fix Japan's population problem, you know? | ||
| Well, you just need to send some horny dudes over there. | ||
| Get things going. | ||
| They're going to have to do something, though. | ||
| They're importing humans. | ||
| They're asking people to move there. | ||
| I might move there. | ||
| Very beautiful place. | ||
| Beautiful, safe, peaceful. | ||
| If they say people are real quiet, though, that kind of scares me. | ||
| Because I'm quiet, but I'm afraid to be the loud guy now. | ||
| You will definitely be the loud guy in Japan. | ||
| Yeah. | ||
| They're real quiet. | ||
| And they're super orderly. | ||
| When they walk down the street, they don't bump into each other. | ||
| They move around each other. | ||
| Everyone's really polite. | ||
| Everything's super clean. | ||
| Like, you go through Tokyo, big, beautiful city. | ||
| Everything's clean. | ||
| No garbage on the ground. | ||
| No pollution for sure. | ||
| But I mean, no, just garbage, trash. | ||
| They live pretty compact, don't they? | ||
| In the city, actually. | ||
| In the city. | ||
| Well, they do in New York City, too, you know? | ||
| Yeah, dude. | ||
| I don't know if I stayed in New York for like two, three months. | ||
| It's not my jam. | ||
| I like it, but after that, like two, three, it was like two months maybe. | ||
| I was like, all right, I need to go back to where there's like fucking space. | ||
| Yeah. | ||
| Even when I lived in New York, I didn't live in New York City. | ||
| I couldn't afford it. | ||
| I had to have a car back then because I was doing road gigs. | ||
| So I would have had to get a parking spot at a garage in New York City. | ||
| So you have to pay. | ||
| And they could be hundreds of dollars back then a month, probably now thousands of dollars a month that I just didn't have. | ||
| So in order for me to, and also the apartments in New York were so much more expensive than where I was. | ||
| I lived in New Rochelle, which is, you know, a half hour plus outside of New York City. | ||
| I don't even know that. | ||
| It's just a regular suburban neighborhood, but it was great. | ||
| I had a little driveway. | ||
| I could park my car in my driveway. | ||
| It was golden. | ||
| It was perfect. | ||
| My favorite wings are in New York on the Upper East Side. | ||
| There's a place called International Wing Factory, which I think is a crazy name, International Wing Factory. | ||
| There's only two tables in there. | ||
| You can fit four people in that restaurant. | ||
| But the wings, the Nashville Hot Wings, they're so fucking good. | ||
| Well, New York has an insane number of great restaurants. | ||
| That's one good thing about living in New York City. | ||
| If you're a person who likes to go out to dinner and you live in New York City, you can go to a different place every night of the week for years. | ||
| And you have some of the best restaurants on earth. | ||
| I don't know what the math is on this, but if you have so many good restaurants. | ||
| Yeah, that's the spot. | ||
| Two tables. | ||
| And they play techno a lot. | ||
| Yeah. | ||
| No, it's a great place to eat. | ||
| I just don't think it's good for your brain to be surrounded by that many people all the time. | ||
| One thing they have, though, that's nice is the park. | ||
| Central Park is incredible. | ||
| If you live in the city, you could actually be in nature. | ||
| You say you don't think it's good for there to be a lot of people around you? | ||
| I don't think stacked up like that on top of each other is normal for people. | ||
| I don't think your brain is designed to operate like that. | ||
| Just be constantly surrounded by people you don't even know all the time. | ||
| That's very unusual in human history. | ||
| Like most people knew everyone around them up until X amount of thousands of years ago. | ||
| We're kind of designed to be in tribal environments where we understand what our environment is and who's around us and what's our community. | ||
| You know, I have a friend like my friend Jim Norton who lives in New York City. | ||
| He was telling me, he's like, I live in this giant apartment. | ||
| I don't know anybody in it. | ||
| He goes, I don't know who my neighbor is. | ||
| I don't know anybody. | ||
| He goes, which is kind of crazy because you think about it, you're in a building. | ||
| You share a building with hundreds of people. | ||
| They're in every direction of you. | ||
| All around you. | ||
| You don't know any of them. | ||
| I just think it takes away a sense of community, which is weird because you would think the more people, the more community. | ||
| But it doesn't work like that. | ||
| When you have too many people, I think oftentimes you don't value them because there's too many of them. | ||
| They become a burden. | ||
| Less importance. | ||
| Yeah. | ||
| They don't mean anything to you. | ||
| Hey, that must be why they let people just... | ||
| And everybody just kept walking around them. | ||
| Yeah, they don't give a fuck. | ||
| I was like, well, that guy could be dead. | ||
| Nobody. | ||
| Nope. | ||
| it's just another fucking day to them. | ||
| Right, if it was a small town in the middle of Oklahoma and a guy was laying down like that, it was a regular guy. | ||
| You're like, oh my god, you okay, sir? | ||
| People check in on you, they call the police. | ||
| Yeah, in the subway, that guy could be dead for a day before anybody says anything. | ||
| Also, you have to deal with schizophrenics and fucking psychotic people. | ||
| So, when you're going down to the subway, you can't stand close to the edge because people literally push people in front of trains. | ||
| Hey, well, hold on. | ||
| That brings me up. | ||
| I wanted to ask you something. | ||
| Have you ever in because I saw you have like the books on psilocybin? | ||
| I don't know you've done a lot of research on mushrooms. | ||
| Have you ever read anything about like mushrooms or other kinds of drugs being able to trigger schizophrenia in people? | ||
| Like, if it's in their genetics, they think that's the case with marijuana, especially high-dose pot, maybe, maybe edibles. | ||
| I'm not sure if they think it's more from edibles or more from just smoking it, but yeah, there's a certain amount of people that it seems like it triggers some kind of schizophrenic break. | ||
| Like, maybe they might have a tendency towards schizophrenia and something, you know, like the real crazy paranoia that you can get if you get really high. | ||
| Yeah. | ||
| For some people, that crazy paranoia hits the switch and they don't come back. | ||
| I've had my last few mushroom trips, not with weed though, but I'm trying to think if I was smoking and on shrooms. | ||
| My last few mushroom trips, I started hearing voices, but I also think it might have been like I was exhausted. | ||
| Like, my brain was just like, because I'd be awake all day, and then I'd do the mushrooms like at midnight, and then I'd be awake until like the next day, basically. | ||
| But at some point or another in the trip, usually towards the end of the trip, I'd like hear voices. | ||
| So it scared me off of mushrooms. | ||
| I haven't done them in like, I don't know how long. | ||
| But I was just, I read, I heard them. | ||
| What were the voices saying? | ||
| One of them, I remember arguing with like other versions of myself. | ||
| I was talking like loud. | ||
| Like, on one of them, it was a really bad trip, though. | ||
| I ate like somewhere north of like seven or eight grams. | ||
| And that one was bad. | ||
|
unidentified
|
I kept blacking out. | |
| But on that trip, I argued with like two other voices, which I'm pretty sure were like other versions of myself, which was me. | ||
| Me was me, me, like the balanced one, more balanced one. | ||
| And then I had like this other one that was like a very like angry version of myself, very much like a, like, like, like, shut the fuck up, stop complaining type. | ||
| And then I had like a very like sensitive little bitch version of myself. | ||
| I felt like they were all three arguing, and I was just like arguing back. | ||
| Out loud. | ||
| Was there anybody around you? | ||
| No. | ||
| That's good. | ||
| I was in a hotel room by myself. | ||
| Jeez. | ||
| Yeah. | ||
| I fucked that hotel room. | ||
| You took seven grams in a hotel room? | ||
| Like 90% of my trips have been in hotels. | ||
| Why? | ||
| I don't know. | ||
| I have fun. | ||
| You go out into the nature. | ||
| I've never tried that. | ||
| I've never been field. | ||
|
unidentified
|
I never tried it. | |
| No, it's better. | ||
| It's way better. | ||
| Yeah. | ||
| I don't know. | ||
| I don't want to be like high in public. | ||
| Oh, well, that's a good point. | ||
| I've got to go somewhere in Vegas. | ||
| Go somewhere that's unpopulated. | ||
| Like, go to some national forest place. | ||
| Do it out in the place where Travis Walton got abducted. | ||
| Go down that logging road, take seven grams right at the spot. | ||
| I wonder if you could find the spot where he got abducted. | ||
| I wonder if there's a pin, like a Google pin. | ||
| Yeah. | ||
| I'd go to that, sniff the ground. | ||
| I hope I never get abducted by aliens. | ||
| Why? | ||
| I don't know. | ||
| They always bring you back. | ||
| Everybody seems to come back. | ||
| They don't steal people. | ||
| No one's going to believe me. | ||
| I know a lady whose grandfather was a famous abductee. | ||
| Like, people believe them. | ||
| Oh, yeah. | ||
| I believe him. | ||
| I don't know because he was an abductee in the 1950s. | ||
| I think it was the 50s. | ||
| Betty and Barney Hill. | ||
| I believe it was the 50s. | ||
| So Angela Hill is a UFC fighter. | ||
| And she didn't even tell me this until after the podcast. | ||
| Betty and Barney Hill. | ||
| I think there's a Flintstones. | ||
| No, no, no, that's rubble. | ||
|
unidentified
|
Ugh. | |
| Oh. | ||
| No, this is a very famous case. | ||
| So what year was this, Jamie? | ||
| 1961. | ||
| 61. | ||
| So Betty and Barney Hill were a little bit more. | ||
| Wait, were they an interracial couple? | ||
| Yeah. | ||
| That must have been crazy for the Times, huh? | ||
| Oh, yeah. | ||
| Crazy for the Times. | ||
| And then on top of that, they get abducted by Aliens. | ||
| Can they catch a fucking break? | ||
| So their granddaughter is Angela. | ||
| So Angela, who fights in the UFC. | ||
| Okay. | ||
| And I didn't know about it. | ||
| Well, we did a whole podcast together. | ||
| I just want to talk to her about her career, fighting career. | ||
| At the end of the podcast, she's like, oh, my grandfather, I forgot to tell you, was Barney Hill. | ||
| I was like, what? | ||
| Because I know that case. | ||
| That's crazy coincidence. | ||
| I know that case inside and out. | ||
| It's a crazy case. | ||
| So they both came back. | ||
| They went on a trip and then they saw something in the sky and then they blacked out and lost time. | ||
| And they don't know what happened. | ||
| And they woke up on the side of the road in the car and drove, but they were missing time, like more than an hour, I think it was. | ||
| And then they started having these crazy nightmares. | ||
| So they both go to psychiatrists, and the psychiatrist or the psychologist does a hypnotic regression thing. | ||
| Like, let's try to find out what happened to you. | ||
| And they both independently have this crazy story of being taken aboard a UFO and examined by these beings. | ||
| And this is in 1961, when this was not something that people talked about. | ||
| This is like, now the problem is that whole UFO abduction, close encounters of the fourth kind, that's become a thing that everybody knows about. | ||
| Everybody knows UFOs abduct people. | ||
| But when 1961, when these people told that story, that was a completely novel thing. | ||
| Nobody had ever heard that before. | ||
| And so it was a really crazy story. | ||
| And then other people with similar stories. | ||
| What are the experiments that they conduct on this? | ||
| That's a good question. | ||
| You know, you don't know because hypnotic regression is weird. | ||
| So someone could hypnotize you and put thoughts in your head. | ||
| If they were manipulative, they could put thoughts in your head and memories in your head that didn't exist. | ||
| So someone could hypnotize you. | ||
| And if they were very skilled, they could figure out a way to get you to believe that something happened to you, especially something minor that didn't really happen. | ||
| I could hire a hypnotist. | ||
| Hypnotist to put the memory in my head that I hooked up with Margot Robbie and a fucking threesome with Scarlett Johansson. | ||
| No, that's too outside of science fiction. | ||
| That's too ridiculous. | ||
| Nobody would believe that. | ||
| But you wouldn't even believe that. | ||
| And then you'd be DMing them and then they'd have restraining orders on you. | ||
| Hey, girls, let's do that again. | ||
|
unidentified
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That shit was fire. | |
| No, but like, you know, you could maybe someone could put a memory in your head that you got lost at the park when you were a child and you were terrified and then the police found you and they brought you back to your parents. | ||
| Do you remember that? | ||
| You're like, no, I don't. | ||
| You probably blacked it out. | ||
| Let's try to remember that. | ||
| And they could put a fucking fake memory. | ||
| Well, there's already like a, I don't know, this is like some shit I've saw on another fucking Instagram reel. | ||
| But don't they say like a lot of our memories, like we change them each time we remember them? | ||
| Yes. | ||
| And then your memories become a memory of your recollection of the memory. | ||
| So it's like one thing that happens to your friends when they want to tell some crazy story about high school or something like that. | ||
| Over the years, that fucking story morphs and changes and shit gets added to it. | ||
| And then she's got a fucking frying pan and she's running down the street screaming. | ||
| Her tits are hanging out. | ||
| And your friend's like, what? | ||
| Where tits are hanging out? | ||
| No, no, no. | ||
| You never told it like this before. | ||
| It's like over time, stories change, you know? | ||
| Because the human memory is like, I have a very good memory, but it's also not exact, right? | ||
| Like, I don't see it in my head like I, like a film, you know? | ||
| Like, I could see the most amazing movie. | ||
| I could go see, like, a crazy movie, science fiction movie that I love. | ||
| It's incredible. | ||
| And then afterward, I don't remember everything exactly. | ||
| I can't replay that movie in my head like pressing play. | ||
| So memory is like scattered. | ||
| It's abstract. | ||
| It's a bunch of like weird flashbacks of things. | ||
| Oh, yeah, then there was that thing. | ||
| Oh, yeah, then there was that thing. | ||
| But they've shown that you can introduce memories into people's heads that aren't real. | ||
| So this is the problem. | ||
| With hypnotic regression, you have to wonder the people that are involved in like writing. | ||
| There was a book called Abduction by this guy named John Mack, who is a psychologist at Harvard, I believe. | ||
| And he did a series of these hypnotic regression things with people that have had abductions with aliens. | ||
| But he's also writing a book about that. | ||
| So, it makes you want to go, but did he want to achieve those results? | ||
| Like, how did he talk to these people? | ||
| Like, what were the questions? | ||
| Did he guide them in that way? | ||
| You know, it's like, were there independent people? | ||
| Did they speak to different hypnotic regression therapists that had different results with them? | ||
| Is it dependent upon how the person's talking to you? | ||
| Because someone's talking to you while you're in hypnosis. | ||
| It's not as simple as like you take a pill and then you remember your past. | ||
| No, someone's talking to you. | ||
| They're asking you specific kinds of questions with a specific tone, you know, and it's maybe it's a man's voice that maybe is like you feel like he's judging you, or it's a woman's voice, and it's more comforting. | ||
| Yeah, it's got to be scary, you know, to get hypnotized. | ||
| And then what if they make me talk about a memory that I didn't want to bring up? | ||
|
unidentified
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Right. | |
| Or what if they put something in your head, like a Manchurian candidate thing? | ||
| You know, that concept Manchurian candidate is like you hypnotize someone into you can bring them into action with like a phone call. | ||
| Oh, yeah, yeah, yeah. | ||
| You have been activated. | ||
| Like, click. | ||
| You say like a phrase, and then and then you go, and then you go and assassinate the president or whatever it is. | ||
| Yeah, you know, that's some scary shit. | ||
| That's scary shit because I don't know how much they can actually do. | ||
| I know they've definitely done a bunch of experiments to see how much they could talk people into doing certain things, how much they could hypnotize people into certain behaviors, whether or not they can get someone to be an assassin with a phone call. | ||
| I know this sounds crazy, but I believe-I mean, not that I believe it, but I guess I like play with theories in my head. | ||
| But what if all the music that gets allowed to be on the radios and all the shows that get allowed to be on TV are like certain patterns in the music or like to the words that they say in the shows like that like brainwashes you to like do stuff that we do? | ||
| Like maybe that's what makes us like go to work and do our 40 hours a week and like respect a 30-minute lunch or something. | ||
| Like the Rowdy Roddy Piper movie, like they live with that kind of thing. | ||
| It's like that's a bad idea. | ||
| There's too many variables, like too many people that have to be working in coordination. | ||
| Everybody is in on this except for you. | ||
| All the people making the music are in on this? | ||
| No, but out of all the music that gets made, there's a lot of similarities within music. | ||
| Right. | ||
| Because there's only a certain amount of chords. | ||
| Right. | ||
| And there's a lot of genres and there's repetitive topics that people choose because they're popular. | ||
| So I don't think every hit is a hit. | ||
| Like, sometimes you hear a song on the radio and you're like, how is it going on the radio? | ||
| It sucks ass. | ||
| Right. | ||
| But maybe it hit within those chords that, like, when you hear a certain chord and it makes your mind go into like a different state, like more relaxed or more this, right? | ||
| Well, there's no way that's going to be. | ||
| Maybe they need our minds to stay in a certain state. | ||
| So they only allow certain music with certain chords or patterns to play on the radio to keep our minds going this direction. | ||
| No, Ralph. | ||
| No. | ||
| See, you would have to have a grand mastermind who's in charge of manipulating everybody all the time. | ||
| Maybe it's you. | ||
| Be able to come up with something like that. | ||
| I'm watching you tell. | ||
| I don't know, man. | ||
| I think I'm on to something here. | ||
| I think you're definitely not, and you're going to waste your time pursuing this. | ||
| I know a lot of musicians, none of them are being contracted to make certain frequencies that alter the way you behave. | ||
| You think so, Jamie? | ||
| There's something to what he's saying. | ||
| I'm going to be honest with you because there's a video going around. | ||
| I'll play it for you right now. | ||
| I think it's I might be the next Terrence Howard. | ||
| It's not. | ||
| I mean, it's similar. | ||
| So this is Charlie Pooth. | ||
| He's describing what happens after songs are like, this is in the mixing process. | ||
| Okay. | ||
| I'd emotional. | ||
| It's because the song is pitched up with a tape machine. | ||
| Back in the day, they call this sweetening the audio. | ||
| Here's what it originally sounded like. | ||
| Same thing with this song. | ||
| That is sped up, and this is what it originally sounds like. | ||
|
unidentified
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*music* | |
| You might be thinking to yourself right now, Charlie, why do people do this? | ||
| I will tell you, viewer, when you speed music or tones up and down, it's scientifically proven to make you feel different emotionally. | ||
| This is the tone all music is basically tuned to. | ||
| But when you pitch it higher, it brings you to the love frequency known as 528 hertz. | ||
| So when people pitch their music up, it brings the listener closer to that feeling. | ||
| I think music science is really cool. | ||
| Listen to this song. | ||
| Oh, okay. | ||
| Well, that's interesting, but that's a little bit different. | ||
| That's just like making it. | ||
| That is exactly what I was trying to say. | ||
| Oh, yeah. | ||
| That just makes you feel good. | ||
| Yeah. | ||
| There's definitely that, man. | ||
| Music is like a drug. | ||
| It's a pretty dope drug. | ||
| Look, you're proving my point even now. | ||
| No, but I mean, like it's an inspirational drug. | ||
| Yeah, but it does different things to you. | ||
| You know, that's one of the reasons why I like to mix my drugs when it comes to music. | ||
| Like my Spotify playlist, it's all scattered. | ||
| It's a bunch of different stuff. | ||
| Like you might get like Nas, and then right after Nas is Leonard Skinner. | ||
| I'm the same way. | ||
| But I feel like it's important to listen to different types of music. | ||
| Not only because it's cool to see different people's talent, like from different. | ||
| I think I can appreciate talent from any genre. | ||
| So if you hear a Leonard Skinner song, you're like, holy shit, that guy sang the shit out of that note. | ||
| Maybe I don't relate to what he's saying, but like that was fucking dope. | ||
| But I also think it helps you communicate and like connect with people from like different cultures, different backgrounds. | ||
| Yeah, for sure. | ||
| Because I listen to a lot of like a lot of rap, a lot of Spanish music, but then I listen to a lot of country as well. | ||
| But like old country, new country, I feel sometimes I feel like a lot of what I, what comes up, maybe because I don't dig into it too much, but like a lot of what comes up on my algorithm is very like modern, like pop, like more poppy. | ||
| Right. | ||
| You know what I mean? | ||
| I know what you mean. | ||
| Yeah. | ||
| Manufactured feels like. | ||
|
unidentified
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Yeah. | |
| Yeah. | ||
| But I do like to listen to like different types of shit because it's like, I want to know not that I necessarily want to know, but it helps me know and understand what like somebody from a totally different part of the country might like experience or like enjoy or oh yeah for sure well that's a cool thing about traveling right that's one thing that comics have that really i think helps us get a better understanding of the whole country is you you're on the road a lot so you're traveling to oh one weekend then you're in florida | ||
| Then you're in Michigan. | ||
| And when you do that, you get a better sense like, oh, this country varies a lot. | ||
| There's a lot of different kinds of ways to live out there. | ||
| There's also one thing that was crazy to me when I started traveling is how similar a lot of people also are. | ||
| Yeah. | ||
| Like sometimes you run into people that are like very proud of like the city they're from and like their neighborhood. | ||
| Yeah. | ||
| And, you know, they'll fight for it. | ||
| They'll fucking die for it. | ||
| Oh, yeah. | ||
| And then you go to another city and it's like the same person, just a different title. | ||
| yep yeah people get real tribal they're real tribal for their stupid ass town all right ralph barbosa uh tell everybody where you're gonna be you got a website they can go to to find you with your seven tours seven date tour yes sir catch me in one of the seven seas uh at oh my website is called barbosacomedy.com you can see any shows i got coming up my instagram ralph barbosa03 automotive channel formula bean if you want to see yeah definitely i'm gonna check that out i'm gonna subscribe | ||
| that for sure. | ||
| A couple beans just street racing slow cars. | ||
| How many videos you have up there? | ||
| We got quite a few. | ||
| So it was my buddy's YouTube channel before we converted it to like our channel. | ||
| So it's just like tons of car footage on there. | ||
| As far as since we became a channel it might be like 10, 15 videos. | ||
| Nice. | ||
| What are you doing tonight? | ||
| Taking off to New York. | ||
| What time you leave? | ||
| They're dropping me off at the airport right after this. | ||
| I was going to invite you to come do the show at the mothership. | ||
| There it is. | ||
| barbosa planet bosa yeah hilarious stand-up comedy i like that hulu's doing this hulu did a lot of a lot of specials this year it's great yeah it's great it's awesome i was i was uh i was a little nervous about like switching over because i did my last one with netflix and then this one was People have Hulu. | ||
| I have Hulu. | ||
| Everybody has Hulu. | ||
| I figured, why not try it? | ||
| Why not? | ||
| I'm very happy they're doing that. | ||
| It's just nice. | ||
| It's nice that there's more options for comics. | ||
| And Hulu also, thank you for the money that they gave us. | ||
| They came with the cash. | ||
| Hell yeah. | ||
|
unidentified
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Nice. | |
| Nice. | ||
| All right, Ralph Barboza. | ||
| Appreciate you, brother. | ||
| Thank you for coming in. | ||
| Thanks for having me. | ||
| Always fun to have you. | ||
|
unidentified
|
All right. | |
| Bye, everybody. |
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