Aug. 19, 2025 - The Joe Rogan Experience
02:26:34
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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Joe Rogan Podcast, check it out! | |
| The Joe Rogan experience. | ||
| Train by day, Joe Rogan podcast by night, all day! | ||
| Cheers to you. | ||
| Nice to meet you, man. | ||
| Good to meet you. | ||
| I've enjoyed your songs. | ||
|
unidentified
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How did you... | |
| I think most of my life, you know. | ||
| Did you grow up in a musical family or is it just something you picked up on your own? | ||
| No, everyone worked and made art when they weren't working. | ||
| Oh, okay. | ||
| But no music, really. | ||
| But I like music. | ||
| Like, what kind of art did your family do? | ||
| Like, my mom would always paint. | ||
| She put like murals on the walls of the house and stuff. | ||
| And my old man's a mechanic. | ||
| And he would be tinkering around making all sorts of fun stuff, usually with his welder and whatnot. | ||
| So I felt like they were artistic folks, you know, but they didn't. | ||
| They didn't necessarily do music. | ||
| You know, they're smarter than that. | ||
| And so I only know of you from the videos that you put up on Instagram. | ||
| And specifically, I think it was the United Healthcare guy was the first one. | ||
|
unidentified
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Yeah. | |
| Right. | ||
| Which was really good, dude. | ||
| The lyrics, and the timing of it all, you captured the moment. | ||
| And that song to me was like, yeah, that's what the fuck is going on. | ||
| That's what's really going on. | ||
| They don't give a shit about you and they're just trying to make money. | ||
| And that's why when this guy got shot, there was this reaction from people. | ||
| Which is very rare when someone gets assassinated when people celebrate. | ||
| Right. | ||
| When someone's not like a mass murderer or something. | ||
| It was bizarre. | ||
| It was bizarre. | ||
| I mean, it must mean something is up. | ||
| If people are celebrating somebody's death. | ||
| Yes. | ||
| Something is wrong. | ||
| And all kinds across both sides of the aisle. | ||
| It's not a political thing. | ||
| It is a human thing. | ||
| They're like, these people, they take your fucking money, you pay them. | ||
| And then when something comes up, you don't get covered. | ||
| And there doesn't seem to be any repercussions. | ||
| And to fight it, you have to go to court. | ||
| And you usually don't have the money to go to court. | ||
| And they have a lot of fucking money. | ||
| And they, you know, have been doing this for a long time. | ||
| And now they're using AI to make sure that they pay less. | ||
| So they're using AI to prove cases. | ||
| And the numbers are even lower than they were before. | ||
| So United Healthcare always had a lower number than industry standard, right? | ||
| Yeah. | ||
| Now it's even with AI, they're going to be able to chop it down to even lower. | ||
| It's like, at what point in time does this become against the law? | ||
| Like at what point in time is this like it's a con game? | ||
| Like you're paying, you're thinking you're going to get covered and they're like, nah. | ||
| The system would have to be revolution. | ||
| I mean, you can't have health for profit at that point. | ||
| You'd have to socialize the medicine at some point. | ||
| Which I agree with, up until a point. | ||
| The problem is human nature. | ||
| And like if you like, if you hurt your shoulder and you need to get an operation on your shoulder, you want to go to a guy who does the Lakers. | ||
| You know what I mean? | ||
| You want to go to a guy who is like, this motherfucker is the cream of the crop. | ||
| He is dialed in. | ||
| He's been doing this forever. | ||
| He's super focused and motivated. | ||
| And he drives a fucking Mercedes, right? | ||
| And the reason why he drives a Mercedes, he makes a lot of money doing what he's doing. | ||
| You don't want someone to not feel appreciated, not have the motivation to continue to get really great at their craft. | ||
| Like there's a thing with just human beings. | ||
| There's a financial motivation that people have because it's a quantitative thing. | ||
| You could see it on a ledger. | ||
| You know that you're making more money because you're doing this and you're working harder and you're getting this reward, whether or not it makes sense or not. | ||
| As soon as you eliminate that and everybody gets the same amount of money and then you lose all the killers. | ||
|
unidentified
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Right. | |
| You lose all the... | ||
| 100%. | ||
| Well, that's a giant scam. | ||
| But that's a scam that so many folks are stuck in. | ||
| That's only part of the scam. | ||
| The healthcare scam, it goes so deep. | ||
| There's so many different layers to this fucking horrible den of vampires. | ||
| whenever you can make profit off of people and you're involved in a corporation and then the corporation has an interest for its stockholders want more money every year. | ||
| They want more money every quarter. | ||
| So that's what they try to do. | ||
| That's their focus. | ||
| And when you're doing that with people's lives and people's health, like that, that should be illegal. | ||
| That's where it gets fired. | ||
| I suppose that's why folks were. | ||
| You know, it was upsetting to see. | ||
| You know, I felt like I actually had kind of an unpopular opinion about it. | ||
| And that why are we celebrating somebody's death? | ||
| Like, that seems far out. | ||
| Just to celebrate the murder of somebody with a gun. | ||
| Not only that, I believe unrelated to him in his case. | ||
| Like, I mean, how far out is that? | ||
| And so I didn't want, you know, I make these tunes, but that one in particular, I was like, how do I even, how do I address this? | ||
| What do you even say? | ||
| So that I have. | ||
| So how do you approach something like that? | ||
| Do you sit down with a patent pen or do you start writing? | ||
| Like, how do you start saying that? | ||
| Step one is avoid the work. | ||
| So I went for some long jogs. | ||
| I wrote a song about Amazon instead and put up like Amazon and Santa Claus. | ||
| And I kept sitting there and it kept getting, you know, the situation was snowballing with the United Healthcare thing. | ||
| And I was like, okay, you got to write. | ||
| And at that point, it's a research project. | ||
| Let's write 2,000 words so that we can have 300 to sing and boil down the essence of the issue and make it rhyme and put a jolly tune behind it. | ||
| That's really, that's kind of how that goes about. | ||
| That sounds like super similar to stand-up comedy. | ||
| Yeah, I think. | ||
| You can boil it down. | ||
| Yeah. | ||
| Yeah. | ||
| Get everything. | ||
| And you don't. | ||
| It's just punchlines. | ||
| So find the punchline of everything. | ||
| Find the punchline of everything. | ||
| I never had the attention span to tell too much of a story or anything like that. | ||
| So I like just keeping it in punchlines. | ||
| So I always like, you know, Mitch Hedberg and Stephen Wright were so good at, we're so good at that. | ||
| Just come out and lay out a bunch of punchlines immediately. | ||
| If one doesn't land, on to the next one. | ||
| Well, their whole, that was the daunting thing about their act, which is so impressive, is that it's all non-sequiturs. | ||
| So every subject is new. | ||
| Every time they open their mouth, it's a new subject. | ||
|
unidentified
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Right. | |
| Which is kind of crazy. | ||
| It's a crazy way to do comedy. | ||
|
unidentified
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Yeah. | |
| But when you're an absurdist, it's probably the best way because it's an absurd way to think. | ||
| You're just going from one subject to the next in each minute burst. | ||
| Somebody asked me if I want a frozen banana and I said no, but I want a regular banana later. | ||
| So yes. | ||
|
unidentified
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Yeah. | |
| That's like such a ridiculous joke. | ||
| I used to love listening to him in particular when I was in traffic because it would like chill me out. | ||
| Like if I was headed to the airport in LA and it was just fucking cluster fuck on the highway. | ||
| It was just throw on some Mitch Hedberg and just start giggling. | ||
| It was just silly. | ||
| He's one of the coolest. | ||
| He was awesome. | ||
| Let's play that song. | ||
| Jamie, can you find that one? | ||
| The United Healthcare song? | ||
| want to play it so people know what we're talking about so people building at a person in a chair and you paid for it although you may be unaware you paid for the paper you paid for the phone you paid for everything they need to deny you what you're owed there ain't no you in united health there ain't no me in the company there ain't no us in the private trust there's hardly humans in humanity now The procedure that you're needing ain't the cost effective rooting only 2% of people in the Buenana dispute. | ||
| So if you get sick, pray to God for help. | ||
| Cause your doctor's got to pray to United Health way back in 77. | ||
| Mr. Richard T. Burke started buying HMOs, putting federal grants to work, made 50 billion buckaroos. | ||
| Last year, the warm buffet of health, the Jet Bezos of Fear. | ||
| I see yours come and go and want just went. | ||
| The ingredients you got, bake the cake you get. | ||
| But if you get sick, cross your fingers for luck, cause old Richard T. Burke ain't giving a fuck. | ||
| Commoditize health, monopolize fraud. | ||
| Here's the doctors we own and the research we bought. | ||
| They own the pharmacies. | ||
| And a lot of them meds. | ||
| They should start buying graves to sell us when we're all dead. | ||
| There ain't no you in United Health. | ||
| They ain't no me in the company. | ||
| They ain't no us in the private just. | ||
| There's hardly humans in humanity. | ||
| There's hardly humans in humanity. | ||
| Fuck yeah, dude. | ||
| That's a great song. | ||
| That's a great song. | ||
| And it's interesting to me how few people are doing what you're doing. | ||
| I don't know of anyone else. | ||
| I'm sure there probably is a few people out there that I miss, but I don't know of anybody else who takes things that are in the zeitgeist, these big stories that come up and turns them into a catchy tune and does it in a way where you laid out really the problem and the whole thing, like you said, in Punchlines. | ||
|
unidentified
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Yeah. | |
| You know, there's a lot of folks doing it right now and more every day. | ||
| But there was, I mean, there's a precedent for that kind of work. | ||
| Especially as far as Woody Guthrie was really the. | ||
| I was reading a Woody Guthrie biography. | ||
| And my old man was in the hospital. | ||
| He had just had a heart attack and we didn't know what way it was going to go or whatever. | ||
| Anyway, I don't know. | ||
| Just seeing him all hooked up to that stuff and thinking if he were, if he died, I've hardly had any time to even know him. | ||
| He's hardly had any time to know anything. | ||
| We don't get very long down here. | ||
| And I'm reading this Woody Guthrie biography and I was just like, oh, I'm going to, I'm going to, I'm going to do, I'm going to do this. | ||
| You know, I'm going to sing the news. | ||
| Because that's really what Woody was kind of doing in his day. | ||
| Because there's folk music around him, and he'd team up with Pete Seeger. | ||
| And he's on radio programs, and he could have played. | ||
| He had the choice. | ||
| He could have played standards. | ||
| He could have played country western music and stuff like that. | ||
| But he liked making folks laugh and he liked telling it how it was. | ||
| I like both those things. | ||
| I saw Woody Guthrie live when I was a little kid in San Francisco. | ||
| Arlo or Woody? | ||
| I think Woody. | ||
| Which one was alive back then? | ||
| Was it Arlo? | ||
| Yeah, Woody died. | ||
| Okay. | ||
| So it must have been Arlo. | ||
| So it was 19. | ||
| Let me guess the year. | ||
| I was 11. | ||
| Yeah. | ||
| So maybe, yeah. | ||
| 10 or 11. | ||
| Yeah. | ||
| No, it was San Francisco, so it had to be, I lived there until I was 11. | ||
| So it was probably around 9 or 10. | ||
| Now that I think about it. | ||
| But yeah, he performed live. | ||
| God, I wish I could remember more of it. | ||
| I mean, Arlo played, Arlo played this kind of, he went a little more surreal with it, which is super groovy. | ||
| But he carried, you know, he carried on the torch for his old man. | ||
| So Woody died in what year? | ||
|
unidentified
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67. | |
| 67. | ||
| Yeah, 67. | ||
| He got a Huntington's disease and was laid up in a home for quite a while. | ||
| He lost the ability to speak. | ||
| What is Huntington's disease? | ||
| Some rare genetic disorder. | ||
| I don't really know what it does other than, yeah, look, he's pretty young. | ||
| Breakdown of nerve cells in the brain. | ||
| Yeah. | ||
| His mother also suffered from the same illness. | ||
| Yeah. | ||
| So. | ||
|
unidentified
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What causes that? | |
| You know, why do I have a feeling? | ||
| Maybe not. | ||
| Why don't I have a feeling there's some environmental toxin involved? | ||
| Yeah. | ||
| Yeah. | ||
| You know what I'm saying? | ||
| He was sitting next to, he was in East Palestine. | ||
| Pennsylvania? | ||
| No way. | ||
| No, no. | ||
| I'm kidding. | ||
| You're joking. | ||
| But, I mean, obviously, it's a different time, but there's so many parts of the country that have been polluted by industrial waste. | ||
|
unidentified
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Right. | |
| There's so much horrible shit out there. | ||
| I mean, maybe he was riding on trains and boxcars and stuff. | ||
| There's no telling what they were hauling around and that sort of thing. | ||
| But he, you know, he played the political tunes. | ||
| He don't. | ||
| And maybe he's a continuation of a long-standing human tradition of like bards going from town to town and singing the news. | ||
| I don't know. | ||
| Maybe there was some medieval dude going around singing about the king. | ||
| You know, and I don't know, but maybe, maybe, maybe there was just because I don't know if it's a uniquely American tradition, but when I do it, I like to get romantic about it and kind of think of it as a uniquely American tradition because you got the freedom to do it. | ||
|
unidentified
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Right. | |
| And no one's gunning me down in the field there or anything for anything I say, you know? | ||
| So I get to, you know, yeah, that's why I doubt if anybody was ever doing anything the way you do it when they were doing it for about the king. | ||
|
unidentified
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You'll find that dude, the knights, the knights go hunting down or something. | |
| Yeah, maybe a few guys tried, but I bet they killed them. | ||
| Or maybe you hired, you co-opted the bard. | ||
| You turned him into your fool, your jester, or whatever. | ||
| And then he sang songs for you about how fat the neighbor king was. | ||
| I think that's a different guy. | ||
| I think you're dealing with a different guy. | ||
| The guy who is the jester. | ||
| That's the fucking vampire familiar. | ||
| You know? | ||
| Like in Blade, the guys will get close to the vampires because they eventually one day want to be a vampire. | ||
| Who is it? | ||
| They're promised it. | ||
| Who is in Lord of the Rings? | ||
| Who is like Theoden's dude? | ||
| Worm tongue something? | ||
| Anyway. | ||
| I don't remember. | ||
| I don't remember. | ||
| People very close. | ||
| But that's always the Dracula story. | ||
| There's always a familiar. | ||
| There's always a human that does the bidding of the vampire. | ||
| Oh, that guy. | ||
| Yeah, perfect. | ||
| Exactly. | ||
| Yeah. | ||
| Same kind of guy. | ||
| Fucking creep with a questionable hard drive. | ||
| Did he was he in One Flu Over the Cuckoo's Nest? | ||
| Was he? | ||
| God, that's weird. | ||
| Billy Babbitt. | ||
| He would be so old. | ||
| Yeah. | ||
| One flow over the cuckoo's nest. | ||
| Was it 67 or something? | ||
| That was a long time ago. | ||
|
unidentified
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I mean, but was it been in everything? | |
| That's him now? | ||
|
unidentified
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Oh, not now. | |
| That's him now. | ||
| Yeah, that's what I'm saying. | ||
| Yeah. | ||
| Isn't that crazy? | ||
| Time is such a motherfucker. | ||
| Okay. | ||
| He was in One Flu Over the Cuckoo's Nest. | ||
| Far out. | ||
| Oh, wow. | ||
| Yeah. | ||
| 75. | ||
| That's a great fucking movie, too. | ||
| Yeah. | ||
| That's an eye-opening movie about healthcare. | ||
|
unidentified
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Speaking of which. | |
| Well, yeah, in an era of sanatoriums, you know, and stuff where you right. | ||
| And then people glorify that. | ||
| It's like, we need more mental health institutes. | ||
| That's why there's so many homeless people on the street. | ||
| And like, have you ever been? | ||
| We definitely need more mental health. | ||
| 100% those people need care, but do they need the kind of care that they were getting before they were released on the street when they were giving people electroshock therapy and fucking cooking their brains? | ||
| Those, at least, whatever's going on in One Flow Over the Cuckoo's Nest is essentially a prison. | ||
| Yeah. | ||
| Well, they're all with electroshock therapy. | ||
| Oh, yeah. | ||
| Yeah. | ||
| And lobotomies. | ||
| Until like 67. | ||
| Yeah. | ||
| They were just cooking people's brains with a wand, getting in there and scrambling up your brain. | ||
| It's just. | ||
| Dude, they did lobotomies for decades. | ||
| Yeah. | ||
| Decades. | ||
| Until enough people had their loved ones turned into zombies that they were like, hey, maybe we should probably fucking stop that. | ||
| Didn't they lobotomize Kenneth Kennedy? | ||
| Yep. | ||
| Apparently, she was just wild. | ||
| Yeah. | ||
| That's all it was. | ||
| Well, first of all. | ||
| So I would have been lobotomized. | ||
| I don't know if you. | ||
| Yeah, probably. | ||
| Yeah, I mean, first of all, the men were wild. | ||
| She was wild sexually. | ||
| Is that part of the accusation that she was very promiscuous? | ||
| They had a problem with her, and they wanted her to calm down. | ||
| So they fucking scrambled her brains. | ||
| And apparently, she became non-functional. | ||
| Like, they really kind of, they, you know, they dialed it up to 10. | ||
| So. | ||
| And that was it for her. | ||
| 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. | ||
| And AG-1 is exactly the kind of daily, easy routine that can help you feel healthy and help you get the nutrients that your body needs. | ||
| But even if you love a routine, isn't it nice to switch it up a little? | ||
| Well, here we go. | ||
| After 15 years of the original, AG1 has introduced three new flavors, tropical, berry, and citrus. | ||
| It's still daily. | ||
| It's still a routine, but it's no longer one flavor fits all. | ||
| And honestly, the best part is that's the only thing that's changed. | ||
| Besides new flavors, we're talking about the same science, the same 75-plus ingredients, and the same exact benefits. | ||
| I partnered with AG-1 for so long because they're committed to constantly improving. | ||
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| Subscribe today and choose tropical, citrus, berry, or the classic original variety. | ||
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| Just go to drinkag1.com slash Joe Rogan or head to the link in the description to get started with AG1 and try the new flavors yourself. | ||
| That's drinkag1.com slash Joe Rogan. | ||
| When Kennedy was 23, doctors told her father lobotomy would help calm her mood swings and stop her occasional violent outbursts. | ||
| 23. | ||
| So Joe Sr. 23, decided Rosemary should have a lobotomy. | ||
| However, he did not inform his wife, oh my God, until after the procedure was completed. | ||
| The procedure took place November 1941. | ||
| Sins of the Father in the book, 1996 biography. | ||
| James W. Watts, who carried out the procedure with Walter Freeman, both of George Washington University School of Medicine and Health Sciences, described to Kessler as follows. | ||
| After Rosemary was mildly sedated, we went through the top of her head, Dr. Watts recalled. | ||
| I think she was awake. | ||
| She had a mild tranquilizer. | ||
| I made a surgical incision in the brain through the skull. | ||
| It was near the front. | ||
| It was on both sides. | ||
| We just made a small incision, no more than an inch. | ||
| The instruments Dr. Watts used looked like a butter knife. | ||
| He swung it up and down to cut brain tissue. | ||
| We put an instrument inside, he said, as Dr. Watts cut. | ||
| Dr. Freeman asked Rosemary some questions. | ||
| For example, he asked her to recite the Lord's Prayer or sing God Bless America or to count backward. | ||
| We made an estimate on how far to cut based on how she responded. | ||
| When Rosemary began to become incoherent, they stopped. | ||
| What a tragedy. | ||
| Holy cow. | ||
| Yeah. | ||
| Scroll back up. | ||
| Go back up. | ||
| Scroll up so I can hear it. | ||
| How many folks were getting these? | ||
| The nuns of the Covenant thought that Rosemary might become involved with sexual partners and that she could contract a sexually transmitted disease or become pregnant. | ||
| Her occasionally erratic behavior frustrated her parents. | ||
| So she got expelled from summer camp and she was staying, it says, and staying only for a few months at a Philadelphia boarding school. | ||
| Kennedy was sent to a convent school in Washington, D.C. Kennedy began sneaking out of the convent school at night. | ||
| The nuns in the convent thought that she might be involved with sexual partners and that she might get an STD or become pregnant. | ||
| And so then they decided to give her a fucking lobotomy. | ||
| Imagine that. | ||
| You send a young, healthy girl to a convent with a bunch of fucking creepy nuns and she just like breaks out in the middle of the night, like go to hang out with her friends or go meet up with a guy or fucking something. | ||
| And so they go, well, the solution to this is cut her brain and have her talk until she can't talk anymore and then we know when to stop cutting. | ||
| That's insane. | ||
| Meanwhile, Kennedy's got his run in his excavates. | ||
| Oh yeah, they all were. | ||
| The father was. | ||
| Like there's, But of course, who knows how much money is involved in this in the first place, but supposedly Kennedy Sr. was involved in illegal liquor during the time where there was prohibition in this country. | ||
| I thought he was a mobster. | ||
| He definitely knew some people, which was what helped his son win Illinois. | ||
| Right. | ||
| Yeah. | ||
| It's just like, I don't know what's true and what's not true in terms of him being a moonshine runner. | ||
| Right. | ||
| But it tracks. | ||
| You know, and the whole family. | ||
| Seems like an incredibly lucrative business to get into during Prohibition. | ||
| I don't know who wouldn't be running liquor. | ||
| Especially when you can control the police. | ||
| You know, especially when you had money and you were involved and you had your foot dipped in all sorts of organized crime. | ||
| And, you know, then you had souped up NASCAR cars that they were using to drive. | ||
| There were certain NASDAQs. | ||
| Yeah, I guess that's the roots of. | ||
| Yeah. | ||
| So starting from the cops. | ||
| If it weren't for Joe, we wouldn't have hadn't had Dale. | ||
| Right? | ||
| Wouldn't have had the loop. | ||
| Yeah, it's just a crazy practice that they did for a long, long time just to get rid of people that were a problem. | ||
| So what's the modern lobotomy? | ||
| What are we doing right now that we're going to read on wiki or whatever? | ||
| Well, there's probably quite a few of them. | ||
| 15. | ||
| It's probably quite a few. | ||
| Holy cow. | ||
| I'm sure gender transition. | ||
| I'm sure that's going to be on that list. | ||
| Or taking, I don't know, like prescribing benzos and stuff. | ||
| Oh, that's going to be on that list for sure. | ||
| You know, just like a chemical lobotomy. | ||
| Well, benzo doesn't give you a chemical lobotomy, but it does make you 100% hooked on it. | ||
| Yeah. | ||
| Well, it's just the difficult the stress you would undergo getting out of the addiction, you might never come back fully or get your life all the way back after an addiction like that. | ||
| Well, I know several people that have had that problem, and it is a real struggle. | ||
|
unidentified
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Right. | |
| Like Jordan Peterson has publicly talked about it. | ||
| It took him over a year to recover physically just from being addicted. | ||
| And that's actually going to rehabs and stuff like that. | ||
| There's a lot of folks, most folks, they ain't going nowhere. | ||
| You know, they get off it and then drink themselves to death. | ||
| Or do cocaine or do something else? | ||
| Yeah, find something else. | ||
| Or the psychiatrist puts you on some new kind of pills to satisfy whatever the fuck was wrong with you in the first place. | ||
| You can get off one and hop over to the other. | ||
| Uh-huh. | ||
| Yeah. | ||
| Go back and forth. | ||
| It's a real problem. | ||
| And when someone gets on that ride, it's hard to get off. | ||
| It's hard to get off to take this pill to fix it ride. | ||
| Yeah. | ||
| That ride is a very popular ride. | ||
| Yeah. | ||
| I mean, folks like having a doctor tell them it's all right. | ||
| You know, I guess it's like a, an authority figure told them it's all good to take this pill, you know, or whatever. | ||
| Not only that, especially with benzos, especially in the early days. | ||
| Nobody even told them that it was almost impossible to get off of. | ||
| I mean, a patient kind of figure that out pretty quick. | ||
| Well, they don't because they keep taking it, right? | ||
| You keep taking it because you're addicted to it. | ||
| If you forget, forget a dose, you start feeling those withdrawals come in, you know? | ||
| Well, apparently, with find this out, if this is true, apparently, one of the things about benzodiazepine is that it alleviates anxiety, but if you stop taking it, your anxiety maybe even elevates past where it was before you first took it. | ||
| Oh, yeah. | ||
| So there's like a slingshot effect. | ||
| That's what I'm saying. | ||
| When you get off of anything, all sorts of stuff rattles loose in your head, man. | ||
| For sure. | ||
| For sure. | ||
| And everything gets worse for a period of time. | ||
| But what I was going to get at is it's one of the few where you could die if you get off of it. | ||
|
unidentified
|
Right. | |
| It's like that and alcohol. | ||
| Those are like the two things, right? | ||
| So here it is. | ||
| During early withdrawal, an individual may experience a return of anxiety and insomnia symptoms as the brain rebounds without the drugs. | ||
| But it doesn't say a rebound. | ||
| How long does it last? | ||
| Many people stop taking these medications, experience increased anxiety or restlessness, referred to as rebound anxiety, rebound effects from benzo withdrawal, such as anxiety or insomnia, typically last two to three days. | ||
| I don't think that's true. | ||
| I don't think that's true. | ||
| The insomnia itself is enough to cause all sorts of different things. | ||
| Yeah. | ||
| How long does benzo speech? | ||
| Benzo belly. | ||
| What is that? | ||
| Benzobelli can depend. | ||
| Is it like a diarrhea? | ||
| Such as the type of dose of benzo that you what does it mean? | ||
|
unidentified
|
Some people experience what does it say? | |
| What does it say it is? | ||
| Benzobelli. | ||
| Let to know. | ||
| Put that on common side of oh, cramps. | ||
| Yeah, gastrointestinal symptoms. | ||
| Oh, where you're fucking poisoning your inside. | ||
| To the pepto list. | ||
| Your body's like, what are you doing? | ||
| Oh, look at you could get nausea, vomiting, diarrhea, abdominal pain, bloating, indestogen. | ||
| You know how they do that at the end of the commercial? | ||
| Yeah. | ||
| Indigestion, loss of appetite, constipation, weight loss, bloody diarrhea. | ||
| You might want to die. | ||
| That's the craziest ones. | ||
| When the side effects of antidepressants are suicide. | ||
| Yeah. | ||
|
unidentified
|
There ain't no you in United. | |
| They make. | ||
| Folks are making money. | ||
| As long as they keep the money rolling in. | ||
| Yeah, as long as they keep mushrooms illegal. | ||
| There's a lot of things that could be fixed in a very natural way that people have been doing for thousands of years that you can't do. | ||
| At least in Texas, they opened up Ibogaine again. | ||
| So that's new. | ||
| Where they're going to do these, they've done them so far, these trials with soldiers. | ||
| And it's super effective, man, especially for getting off drugs. | ||
| Like really, really, really effective. | ||
| Like 80% for one dose. | ||
| And in the 90s, for two dose, people just quit pills, quit everything, quit drinking. | ||
| Whatever's amazing. | ||
| Whatever's fucking with you. | ||
| There's natural tools out there to figure out, like, people get in patterns, right? | ||
| They get in these terrible behavior patterns and they don't know why. | ||
| They don't know how to get out of them. | ||
| They keep falling into them because they're like tightly grooved into the way you think. | ||
| And unless you can leave for a moment the connection that you have to this existence where you're completely continually trapped by your patterns, unless you can leave and look at those patterns, you're just fighting against so much gravity and so much momentum. | ||
| And then whatever your life that you've chosen, you're around the same people. | ||
| There's so many things that make it very difficult to really change your life outside of escaping briefly and getting a look at it from, you know, some. | ||
| So does like Ibogaine smooth out all the ruts? | ||
| Ibogaine, I've never done it, so I can't really speak to this, but from the people that have done it, what they explain that it does, first of all, it actually stops physical addiction. | ||
| Somehow, they don't totally understand how it's doing this, but it stops physical addiction and sort of rewires the way your brain, and for lack of a better term, looks at addiction. | ||
| It also is, it's not a drug that you could abuse recreationally. | ||
| Apparently, it's not a fun time. | ||
| it's a 24-hour experience and this 24-hour experience Yes. | ||
| And this 24-hour experience is essentially a review of your life and showing you, like, you remember this happened, and these guys beat you up after school, and then that sent you down this road, and then this is why you think about this. | ||
| And it like lays out why you're in all these different fucked up patterns in your life. | ||
| Do you have a spirit guide? | ||
| I don't know. | ||
| I don't know. | ||
| Ibogaine counsel. | ||
| You mean while you're doing it? | ||
| Yeah. | ||
|
unidentified
|
Yes. | |
| Yeah, yeah, yeah. | ||
| They have centers. | ||
| What is the place called in Mexico that former Republican governor Rick Perry is an advocate of this? | ||
| Right. | ||
| And he went to that. | ||
| Is it beyond B-E-O-N-D? | ||
| They have to, for the longest time, they've been doing these things down in Mexico because it's legal there. | ||
| Right. | ||
| Does Ayahuasca do something similar? | ||
| Yes. | ||
| A lot of people go down to Costa Rica and do that. | ||
| Or there's certain churches that have a religious exemption in America. | ||
|
unidentified
|
Right. | |
| Which is wild. | ||
| You can go to church and really meet Jesus. | ||
| Yeah, exactly. | ||
| Like for real, for real. | ||
|
unidentified
|
Like Utah, Wyoming, and like New Mexico. | |
| You know, places like that. | ||
| It's like, you know, somewhere where like, well, how many followers you got? | ||
| You got 1,400? | ||
| All right, well, don't get too big. | ||
| I've been to a church in a couple basements. | ||
| Really? | ||
| Well, you know, the weird thing is if anybody wants to start a new church now, like, good luck. | ||
| They'll crawl up your fucking ass with a microscope. | ||
| Like, if you want to start a new church now, it better be a Christian church. | ||
| Like, you better be following the same religions that people have been following for thousands of thousands of years. | ||
| Because if you try to cook up a new religion today, they will waco you, son. | ||
| They will fucking. | ||
| Well, yeah. | ||
| Yeah. | ||
| Yeah. | ||
|
unidentified
|
I mean, you get a good following. | |
| Religions, they get weirder and weird. | ||
| I don't, like, in America, they get weirder and weirder kind of the more west we went, the more we manifest destiny down. | ||
| Because, like, you have like Puritan pilgrims land and, you know, in New England, and the weirdest of them move a little bit more west, or they just go to the Quakers, just go to like Nantucket, you know, to be on an island and be isolated. | ||
| But, you know, eventually, in about 100 years, you've got Mormons. | ||
| Yep. | ||
| You know? | ||
| And then give it another 100-something years. | ||
| Then you got Scientology out in California. | ||
| Yep. | ||
| Right? | ||
| Have you seen American Primeval? | ||
| No. | ||
| The Netflix series? | ||
| No. | ||
| Really good. | ||
| Really good. | ||
| And it's about the settling of the West, but a big part of it is the Mormons. | ||
| Right. | ||
| How fucking gangster the Mormons. | ||
| We think of Mormons as being like these really sweet people. | ||
|
unidentified
|
No. | |
| Not back then. | ||
| No, no, no, no. | ||
| Nothing was in the West, man. | ||
| Yeah. | ||
| It was death incarnate. | ||
| Like, I don't know. | ||
| I imagine it like Blood Meridian, like McCarthy's, McCarthy's book, where basically, you know, it follows the story of this kid who goes on a scalping mission, you know, where their job is to go down into Guadalajara and then come up in through the States. | ||
| And they just, they scalp pretty much everyone they meet indiscriminately and then take those scalps back for dough. | ||
| It's you know, for a bounty. | ||
| Which is crazy. | ||
| How much is the scalp worth? | ||
| I don't, I don't know. | ||
| Imagine that. | ||
| You just find some dude who's like fucking taking care of a lawn or something like that. | ||
| I take that over Botamy. | ||
| My scalp. | ||
| Some people lived. | ||
| Grow back. | ||
| Yeah, yeah. | ||
| People that lived. | ||
| Yeah, it seems really crazy. | ||
| I've seen that picture. | ||
| Guy had a top hat on over this giant wound over the top of his head, which I wonder how long he lived because he basically had like an open skull facing the earth. | ||
| I guess you play dead while it's got a bunch of people. | ||
| Maybe they just let him live. | ||
| I don't know, man. | ||
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| Chihuahua's bounty program offered fortune seekers 150 to 200 Mexican pesos for each Apache, depending on age and sex. | ||
| Men worth 50 pesos more than women and children and children. | ||
| Yeah. | ||
| Yeah. | ||
| Today that equates to about $8,200 per scalp. | ||
| Yeah. | ||
| Which is far more than most prospectors would ever make in the California goldfields. | ||
| $8,000 per scalp. | ||
| That's crazy. | ||
| Yeah. | ||
| How many people, just innocent people that just happen to have dark hair got scalped? | ||
| And they would, like in McCarthy's book, at least, which it follows the Glanton gang. | ||
| I'm pretty sure at times they kill some of their own gang. | ||
| I'm sure. | ||
| Just because they were dark-haired. | ||
| The most prolific of these operatives was an Irish-American named James Kirker, who led a massacre of more than 150 Apaches in 1846 and ultimately killed at least 320 Indians during his bounty hunting campaigns. | ||
| Scalp trade, $8,200 for scalps. | ||
| You imagine like if you if you have a lawless country, which is essentially what the Wild West was. | ||
| What that was, and then you offer up $8,000 every time you kill a person. | ||
|
unidentified
|
Yeah. | |
| Ooh, you can get rid of people, people quick. | ||
| And you're going to have the wildest of the wild are going to go out there and tame that land, man. | ||
| The craziest to the craziest. | ||
|
unidentified
|
Yeah. | |
| And that's essentially. | ||
| Calls them out. | ||
| And that wasn't that long ago. | ||
| No. | ||
| That's what's so crazy. | ||
| You know, we're talking about 150 years. | ||
| Like, what is it? | ||
| How long ago was it? | ||
| Not that long ago. | ||
| In California, scalp warfare eliminated nearly 90% of some tribal populations. | ||
| Holy fuck. | ||
| Were they doing that into the 1890s? | ||
| That's crazy. | ||
| Yeah. | ||
| That's 135 years ago. | ||
| How crazy is that? | ||
| It's pretty wild. | ||
|
unidentified
|
That's hard to believe. | |
| Direct government support for bounty payouts. | ||
| Whoa. | ||
| Direct government support for bounty payouts with blunt calls for the extermination of tribes and mass murder of men, women, and children provides an important new perspective on the question of genocide across the long arc of Euro-American interaction with Native communities. | ||
| The Apache scalp that FBI agents seized in 2022 is one of thousands, perhaps tens of thousands that were taken, redeemed, displayed, and in rare cases like this one, preserved as a part of a long and gruesome history of scalp warfare. | ||
| So it was in an auction house? | ||
| That's how they found it? | ||
| Whoa! | ||
| FBI investigating Apache scalps seized from Fairfield Auction House. | ||
| The item was seized from the Puline Antiques and Auction House as part of an investigation into the illegal trafficking of human remains. | ||
|
unidentified
|
Whoa. | |
| And like when someone kept that. | ||
| When does the karma come in on this bloodshed that found that founded? | ||
| Well, I'm certain it did for the individuals involved. | ||
| I just, I wonder if it's generational if these things, if the if the universe will continue to sort itself out of this over this time. | ||
| I think this is a very unique time for understanding people. | ||
| You know, I think we have to, you know, when people look at all the conflict and all the drama with human beings right now, you have to realize, like, yes, yes, we could certainly live better lives and we can certainly have a better civilization than we have right now. | ||
| We can do better. | ||
| But we also have to realize what we're coming from. | ||
| Like, to make an adjustment from 1890 to 2025, I mean, this is a big swing of this fucking battleship. | ||
| Unpeople. | ||
| People were horrible all throughout human history. | ||
| And I think that's what we really have to come to grips with. | ||
| It's not just, I mean, we can go back to the Mongol invasions in the 19, what was it, what was the year 1200? | ||
| How long ago was that? | ||
| What year was that? | ||
| With the Mongols. | ||
| I think it was in the 1200s. | ||
| You know, I mean, the Inquisition, we can go to World War I, World War II. | ||
| People were fucking horrible forever. | ||
| And it's just more people are talking about it now than ever before. | ||
| You know, you had universities in America which were the anti-war movement started the 1960s and the hippies and they were starting to get acid and realize like there's more to life. | ||
| Like this is bullshit. | ||
| The way our parents are living is bullshit. | ||
| They're miserable and they're going to die. | ||
| And it takes a long time to turn this big-ass battleship around. | ||
| But I think we have to give ourselves some understanding about the past and realize part of the reason why we're so fucked up today is like look what we come from. | ||
| Right. | ||
| Yeah, look what we come from. | ||
| I know we can do better. | ||
| We definitely can do better. | ||
| We should do better. | ||
| We should have a way better life, way better society. | ||
| But look where we come from. | ||
|
unidentified
|
Right. | |
| We come from madness. | ||
| Yeah. | ||
| Absolute chaos. | ||
| Chaos and bloodshed, my friend. | ||
| It's just the ability that a person has to sign off, a person in the government, say, yeah, okay, give them some money so they go kill some Indians indiscriminately. | ||
| Give them $8,000 per scalp and a little less for the women and children. | ||
| You know, 130 years ago, 140 years ago, 150 years ago, that's nothing, man. | ||
| That's nothing. | ||
| You know, that's your great grandpa. | ||
| He was alive back then. | ||
| Hard to believe. | ||
| It's far out. | ||
| It really is, man. | ||
| I wonder if things are, you know, probably seem a lot cleaner as far as chaos and bloodshed now in the continental U.S. and the Union and stuff. | ||
| But who is sending folks to go do that abroad to protect the homeland, you know, under the auspices of protecting the homeland? | ||
| Who's doing the exact same thing as they were doing then, just in a different way? | ||
| Because I really think we stay this as much as has changed, and we can measure that. | ||
| We totally can. | ||
| But I think also we stay the same, you know. | ||
| Well, until we're forced to change. | ||
| Yeah. | ||
| Until something, or until we recognize the need to change collectively. | ||
| Yeah. | ||
| But there has to be a discussion of it. | ||
| It's not something that just organically happens. | ||
| You know? | ||
| I think of like, do you ever see Hollywood, but Apocalypse Now? | ||
| Sure. | ||
| With Francis Ford Coppola, and he's got like Martin Sheen and Marlon Brando and Dennis Hopper and Robert Duvall and all those cool cats and dope movie. | ||
| But it's written on this premise of a book that was written in like 1899 by Joseph Conrad, like Heart of Darkness. | ||
| Oh, wow, it's that old. | ||
| And Heart of Darkness was talking about a conquest of, I believe, the Dutch, I'm not sure, into the Congo and some atrocities and stuff that were happening there, treating people as subhuman. | ||
| And I don't know if there was, I don't know if there was scalping or anything, but I think that there was slavery and that sort of thing. | ||
| But Coppola was able to adapt that and then put the Vietnam War as the new premise. | ||
| Going into, I think they, I think, Sheen's mission in the movie at least was to go upriver into Cambodia or Laos, I'm not sure which, and take out a rogue U.S. general who had basically enslaved a population of indigenous there. | ||
| All that to say, I wonder if, like in Vietnam, if the folks fighting out there felt like in that moment, in that moment where you're killing somebody, if you realize at that point that nothing has ever changed and that this is there's something prime evil in man with this violence, | ||
| that this violence is innate. | ||
| Or is this violence innate? | ||
| Is this how folks are and there's no helping it? | ||
| And there's nothing that's ever going to change it because you can get kind of cynical that way. | ||
| Or, and I, and I kind of tend on this more idealistic, and at times it seems naive or stupid to have an ideal that folks can could live in harmony and peace without taking one another's lives, you know. | ||
|
unidentified
|
The problem is they've never done it before. | |
| That's mind-boggling. | ||
| Mind-boggling. | ||
| Because it is in all. | ||
| I think it's in a lot of us, deep down. | ||
| I don't. | ||
| Well, it has to be. | ||
| Because that's the only way we survived. | ||
| That's the only way we got to where we are today. | ||
| Right. | ||
| Because we existed before language. | ||
| We existed before empathy, before we understood each other, before we can communicate. | ||
| So any being that you didn't know from somewhere else wanted what you had, and they would try to take it by force. | ||
| So the bigger, stronger ones survived, and that's why the best genetics kept going and going and going. | ||
| I mean, it was survival of the fittest. | ||
| It exists in nature and exists with humans. | ||
| And that's the basis of our DNA, unfortunately. | ||
| Like, that's how we started. | ||
| Right? | ||
| And so that the way it manifests itself today is fucking drone warfare and bombs and dropping bunker busters out of B2s. | ||
| You know, that's what it is. | ||
| Or B-12. | ||
| Is that what it is? | ||
| The B-12? | ||
| What's the big one? | ||
|
unidentified
|
B-2. | |
| B-2? | ||
| Feels like it should be a bigger number. | ||
|
unidentified
|
It's because it looks like a spaceship. | |
| You see how they flew it over Putin? | ||
| Like, look at my dick. | ||
| My flying dick. | ||
| You see, Trump did that when Putin was in Alaska. | ||
| They flew a bomber over his head. | ||
| Like, what are we doing? | ||
| Why are we flying the radar-resistant bomber over Putin's head? | ||
| It sounds like a show of force. | ||
| Look at my dude. | ||
| This is what these games. | ||
| But like, is it, yeah, I just, I wonder, is it within humans to exist in peace without in small groups? | ||
| Right? | ||
| Like, if you, me, and Jamie, I've said this before, but, you know, about other guests, if we were on an island all together, we wouldn't lock each other up. | ||
| We wouldn't, we'd just figure it out. | ||
| Like, okay, I'm going to go fishing today. | ||
| We need firewood. | ||
| You want to get the firewood? | ||
| I'm going to go for a long jog. | ||
| Okay, get that jogger. | ||
| Get your cardio in. | ||
| You know what I'm saying? | ||
| Like, we wouldn't. | ||
| There's only a limited amount of us. | ||
| We wouldn't have a need to go to war. | ||
| And most war today is about resources. | ||
| Most war today is about controlling parts of the world where there's an infinite amount of money in the ground. | ||
| Whether it's oil or now it's rare earth minerals and stuff they need for batteries. | ||
| And that's what a lot of it is. | ||
| I mean, that's what a lot of conflict is in this world. | ||
| And that's gross. | ||
| It's scary. | ||
| It's scary. | ||
| But if you ask the average person, like, what are the odds that there would be no more war in your lifetime? | ||
| And they'll say 0%. | ||
| Yeah. | ||
| Everyone will say 0%. | ||
| It's so far out. | ||
| It's just, like, I think, you know, the folks that go to war, like, if you signed up and went to Iraq and, you know, and like, oh, 03, 06, you know, and you're securing, or maybe not Iraq, but you're going to Afghanistan and you're securing opium fields and stuff. | ||
| And you're out there, you're risking your life. | ||
| You got the gun on. | ||
| You are prepared to take somebody's life. | ||
| But for what? | ||
| And like, we need opium. | ||
| What do you ask? | ||
| But we'll fight. | ||
| We'll fight. | ||
| We'll fight. | ||
| It seems like for the sake of just for the sake of the hunt or something like that. | ||
| If you asked the soldiers when they were signing up, hey, do you want to go to Afghanistan and guard poppy fields? | ||
| They've been like, what? | ||
| No, I want to fight terrorism. | ||
| Right. | ||
| Motherfucker. | ||
| I want to stop the people that did 9-11 from doing it again. | ||
| That's why a lot of people signed up. | ||
| But then the reality kicks in once you're standing around poppy fields with a machine gun and you're like, oh, this is a scam. | ||
| And, you know, I don't know how much internet access they had while they were over there. | ||
| If they did and they ever Googled, what percentage of all heroin comes from Afghanistan? | ||
| The answer they would have got is 94%. | ||
| They would have been like, wait. | ||
| What is this? | ||
| So then it takes a larger. | ||
| It takes essentially a psyop in order to get men to fight for the interests of the people who are performing the psyop. | ||
| Yes. | ||
| You have to create a psyop that puts a narrative out there that makes it noble for us to be doing what we're doing. | ||
| Noble. | ||
| Noble. | ||
| We're such suckers. | ||
| It's a noble cause. | ||
| What's more noble than letting somebody live? | ||
| Yeah. | ||
| We're less suckers now than ever before. | ||
| But yes, a lot of us are suckers for these narratives. | ||
| Well, I'm a sucker for it. | ||
| Oh, I am too. | ||
| Everyone is. | ||
| Did you ever read that War is a Racket? | ||
| Smedley Butler? | ||
| Smedley Butler. | ||
| Did you ever read it? | ||
|
unidentified
|
No. | |
| It's really good. | ||
| It's not long. | ||
| It's really good. | ||
| And it is essentially outlining what we're talking about. | ||
| But it was in 1933. | ||
| And Smedley Butler, who, when he went to all these places and did all these wars, he thought that he was doing good. | ||
| He thought he was protecting people. | ||
| But then at the end of his career, when it all, like, the fog of war had kind of faded, and he recognized the patterns, like, oh, each time. | ||
| Pull it up, Jamie, just so we can get a look at it. | ||
| Was Smedley the one where there was a coup and they had asked him to take it? | ||
| They asked him to overthrow the fucking government. | ||
| A documentary I used to watch by Francis O'Connelly, I think is his name. | ||
| But it's called Everything's a Rich Man's Trick, and he would always talk about Smedley D. Butler. | ||
| Yeah, he was a bad man in a good way. | ||
| But this thing that he wrote, so you get just a if you go to the Wikipedia site, War is a racket. | ||
| I mean, this is before even World War II. | ||
| There it is, right there. | ||
| It contains this summary. | ||
| Make that a little larger, please. | ||
| Eric Scroller. | ||
| Who makes the profits? | ||
| It says, War is a racket. | ||
| It always has been. | ||
| It's possibly the oldest, easily the most profitable, surely the most vicious. | ||
| It's the only one international in scope. | ||
| It is the only one in which profits are reckoned in dollars and the losses in lives. | ||
| A racket is best described, I believe, as something that is not what it seems to be to the majority of people. | ||
| Only a small inside group knows what it's all about. | ||
| It's conducted for the benefit of the very few at the expense of the very many. | ||
| Out of war, a few people make huge fortunes. | ||
| Butler confessed that during his decades of service in the United States Marine Corps, I helped Mexico, especially Tampa Coast, save for American oil interests in 1914. | ||
| I helped make Haiti and Cuba a decent place for the National City Bank boys to collect revenues in. | ||
| I helped in the raping of half a dozen Central American republics for the benefit of Wall Street. | ||
| The record of racketeering is long. | ||
| I helped purify Nicaragua for the International Banking House of Brown Brothers in 1909 to 1912, where I've learned, where have I heard of that name before? | ||
| I don't know. | ||
| I brought light to the Dominican Republic for American sugar interests in 1916. | ||
| China, I helped see to it that standard oil went its way unmolested. | ||
| Looking back on it, I have given Al Capone, I might have given Al Capone a few hints. | ||
| Kind of crazy. | ||
|
unidentified
|
Yeah. | |
| Because they've been doing that forever. | ||
| And if it wasn't for this one Guy writing about it, this one very decorated man who pull up the thing about the coup where they tried to enlist him, which is part of the reason why I'm sure he wrote this. | ||
| It's like he was like, What the fuck is this? | ||
| Right. | ||
| Like, you guys want, you guys want to take over the United States government with force? | ||
| Now, imagine if they were successful. | ||
| Imagine if a military coup really did work in like 1930 or whatever it was. | ||
| How fucked we would be now. | ||
| I don't know. | ||
| Like, it's interesting how history pivots oftentimes on like one or two crucial figures. | ||
| Right. | ||
| And this guy saying no to this, who knows what would have happened if he said yes. | ||
| Is that the premise of Man in the High Castle, Philip K. Dick? | ||
| Is it? | ||
| I don't know. | ||
| I should read more, Joe. | ||
| The business plot? | ||
| Is that what we're talking about? | ||
| Not the coup? | ||
| The coup. | ||
| We're talking about the coup. | ||
| Nothing in his Wikipedia says coup, but business plot comes up at the end. | ||
| What is the business plot? | ||
| That's what I think he was talking about. | ||
| Wow, this is all the military-industrial complex stuff before it started. | ||
| Right, but wasn't there a thing where they tried to enlist him to do something? | ||
| I think, I mean, this was after he was retired. | ||
| He's gone on anti-war lectures. | ||
| It's been his whole career here, and the coup wasn't like a highlighted paragraph. | ||
| Is that just in Wikipedia, though? | ||
| Can you just see if there's anything about it online? | ||
| Because it might not be something that Wikipedia would put in. | ||
| He had a whole bunch of nicknames. | ||
| Did he? | ||
| Did he see that whole list? | ||
| You kill a lot of folks. | ||
| You get a lot of nicknames. | ||
|
unidentified
|
Gee whiz. | |
| It's so weird to see when you think about going. | ||
| The agenda business plot pops up. | ||
| People used to have fun nicknames. | ||
| Business plot. | ||
| Business plot. | ||
| So it was a business plot. | ||
| So it was not necessarily like a military coup. | ||
| Like, what was the actual plot? | ||
| The Wall Street put political conspiracy in 1933, the United States to overthrow. | ||
| Oh, this it is. | ||
| Overthrow the government of the president Franklin D. Roosevelt and install Smedley Butler as dictator. | ||
| Butler, retired Marine Corps, Major General, testified under oath that wealthy businessmen were plotting to create a fascist veterans organization with him as its leader and use it as a coup d'état to overthrow Roosevelt. | ||
| In 1934, Butler testified under oath before the United States House of Representatives Special Committee on Un-American Activities on these revelations. | ||
| Although no one was prosecuted, the Congressional was prosecuted. | ||
| You would think that that might put you in jail. | ||
| You're trying to overthrow the fucking government. | ||
| These folks get away with it. | ||
| But it's kind of crazy. | ||
| No one was prosecuted, although no one was prosecuted. | ||
| The Congressional Committee final report said there's no question these attempts were discussed, were planned, and might have been placed in execution when and if the financial backers deemed it expedient. | ||
| You know, it's funny that no one was prosecuted, but if you did insider trading, you go straight to the pokey, Martha Stewart. | ||
| No one was prosecuted for that. | ||
| They put Martha Stewart in jail for lying to the cops. | ||
| But not there's actual, you know, there's Congress folks that do it all the time. | ||
| They made an example out of that Martha Stewart, I suppose. | ||
| Yeah, exactly. | ||
| Exactly. | ||
| I mean, there's Nancy Pelosi's now estimated to be worth $400 million. | ||
| You know, and that she's just a great job. | ||
| What a great job to have. | ||
| I should have gone into it. | ||
| What makes you wonder when you have $400 million and you're 82 years old? | ||
| Shouldn't you be like going on cruises and just enjoying your time off? | ||
|
unidentified
|
And why are you still working? | |
| What are you doing? | ||
| Lust for power. | ||
| No, I don't really care about that. | ||
| These people are clinging with their dying breath to every ounce of power. | ||
| No, no, no, I care. | ||
| I care about the American people. | ||
| Who really genuinely believes that anybody cares about us? | ||
| Oh, there's some lobotomized, no pun intended, suckers out there. | ||
| No. | ||
| There's some suckers out there. | ||
| And then there's a lot of bots. | ||
| There's a lot of people that aren't real people that are commenting on both sides of the world. | ||
| Like on the internet. | ||
| Yeah. | ||
| On both sides of it. | ||
| Stay out of the comments, kids. | ||
| Stay out of commentary because it's not real. | ||
| If You're interacting with narratives that are propped up. | ||
| Might be propped up by AI, might be propped up by bad state actors. | ||
| There's a lot going on, folks. | ||
| It's not all people talking about things, and that should be illegal. | ||
| Are there bot wars now? | ||
| 100%. | ||
| Yeah. | ||
| Yeah, 100%. | ||
| There's bots fighting against bioters your bots. | ||
| 100%. | ||
| It's probably a giant chunk of the internet. | ||
| Are they actual bots or are they like people in a call center? | ||
| Both things. | ||
| Both things. | ||
| Both things are real. | ||
| There's AI for sure that people are running programs that are saying certain things. | ||
| But there's also people that get hired to do it. | ||
| You know, there's some pro-American sites, you know, and then people have done like an IP trace and they find out these people are in fucking Karachi. | ||
| They're fucking Pakistan. | ||
| They're in India. | ||
| They're in China. | ||
| It's like, who knows who's doing it and why they're doing it? | ||
| But there's a bunch of foreign countries that would have a vested interest in keeping America very unstable. | ||
| You know, it's really good to have us at each other's throats politically. | ||
| That's good for them. | ||
| It's good to crush our faith in democracy and make people consider communism. | ||
| And it gets really weird when you have a bunch of people that are throwing a bunch of opinions into any sort of like real important discussion about civilization. | ||
| And you realize like, oh my God, 80% of the people talking aren't just people. | ||
| Yeah. | ||
| They're either being hired to do this or it's AI or they're bots. | ||
| It seems to be like manufactured chaos in order to take the air out of the room, to suffocate information. | ||
| Also, to make laws so they can clamp down on dissent. | ||
| And the more you can have chaos online, the more it becomes unmanageable, the more you have to manage it. | ||
| Right, right. | ||
| Right. | ||
| And the more people ask you to come in and save them. | ||
| Please save us. | ||
| Save us from this. | ||
| There should be laws. | ||
| I mean, that's hate speech. | ||
| That shouldn't be legal. | ||
| That's kind of the idea behind the false flag and gun guns. | ||
| Exactly. | ||
| I don't know. | ||
| Well, that's what got us into Vietnam. | ||
| I think Vegas. | ||
| Yeah. | ||
| Like the Mandalay Bay thing. | ||
| The Vegas one. | ||
| That's a weird one. | ||
| That's a weird one. | ||
| That one is going to, that's going to bother me forever. | ||
| Because that one actually happened while I was awake and paying attention. | ||
| And it just nothing lines up with it. | ||
| You weren't there, were you? | ||
| Were you in Vegas at the time? | ||
| No. | ||
| No. | ||
| No, I was sitting in Nashville, but I just met. | ||
| I was paying attention. | ||
| Yeah. | ||
| That was a crazy one. | ||
| And there's multiple reports of more than one person shooting. | ||
| And then there was like, how did he get 400 pounds of equipment into his room without anybody noticing it? | ||
| Yeah. | ||
| That seems crazy. | ||
| Like, you've got a rifle case is a very distinctive kind of case. | ||
| Like, I'm assuming he's carrying like, you know, some kind of pelican box. | ||
| So, like, something, some snap-down box. | ||
| Like, that's a pretty big box, man. | ||
| If you've got a bunch of those and you're bringing them in along with boxes of ammunition, like, how much does that weigh? | ||
| How strong are you? | ||
| How, you know, like, if you had to carry 400 pounds of shit into a hotel room, that would take a long time. | ||
| That dude wasn't doing all of it. | ||
| That's what I'm saying. | ||
| And I mean, didn't, like, the security guard witness go on Ellen to explain it? | ||
| Did they? | ||
| Yeah, was that? | ||
| Is his name Jesus? | ||
| Yeah, Campos. | ||
| Jamie's all over this. | ||
| Are you all over this one? | ||
| I've been all over this from the jump. | ||
|
unidentified
|
Okay. | |
| This is one of the ones I know a lot. | ||
| Oh, well, speak to us, young Jamie. | ||
| Speak to us. | ||
| You haven't said anything wrong yet, but there's a really good website someone put together called like the Las Vegas Shooting Map.com. | ||
| And they've got tracked little, it's a Google map, but there's like little dots for YouTube videos, cell phone footage, 911 recordings, photos. | ||
| It's a complete timeline from the time before the concert started to like five days after. | ||
| What is the best theory about why that happened? | ||
| Conspiracy or real? | ||
| What is a conspiracy? | ||
| Give me the juiciest one. | ||
| The conspiracy that you read online, like especially on a place like X.com, would be that there was a let me try to word this right. | ||
| I think they were worried about the Saudi family or whoever's in control in Saudi Arabia was worried about NBS taking over, and there was an event happening that he was in Vegas for, and they tried to use this chaos to take him out. | ||
| Whoa. | ||
| He found out about it, and then this leads to this event happening the next month in November where he got all the families to come to four seasons. | ||
| There was like kidnappings and extortions and all sorts of money. | ||
| He basically was pissed and he found out about it. | ||
| Oh, that happened a month later? | ||
|
unidentified
|
Yeah. | |
| Whoa. | ||
| People have heard about that event happening, but tying it to the Las Vegas shooting, not a lot of people have done. | ||
| I just read about that part recently. | ||
| Holy shit, dude. | ||
| But how, there's not a lot of proof of any of that happening, but that's the conspiracy. | ||
| I thought it was like metal detectors in the casinos. | ||
| I mean, that's part of part of it. | ||
| People thought that they were trying to create an event so people would have to get body scanned in every casino. | ||
| Because there were people in the state government that had stock in these security systems. | ||
| Oh, God. | ||
| I mean, it's diabolical. | ||
| God, I hope that's not true. | ||
| But there was apparently like there's shells that were found in places that were outside of that hotel room. | ||
| Outside of the hotel room? | ||
| Yeah, or away from those windows. | ||
| Some people think that the second window was broken after the fact. | ||
| That one don't make no sense. | ||
| That's just and he died of a self-inflicted gunshot wound, allegedly, right? | ||
| Yeah. | ||
| So is the idea that he's a Patsy? | ||
| I guess. | ||
| I mean, if you're going to follow that conspiracy, I just laid out that 100% you'd have to be. | ||
| But again, there's not a ton of evidence for that one. | ||
| There's some. | ||
| Wow. | ||
|
unidentified
|
Yeah. | |
| Wow. | ||
| Mysteries. | ||
| What's the other theory for? | ||
| Enigmas. | ||
| Sort of what he was getting into where it's like there was this like tie-in to just get body scanners everywhere. | ||
| That one makes sense. | ||
| The funnest one I'll show you a picture of. | ||
| You know how there's like a playing deck of cards that's got like every conspiracy from like the last 20 years in it? | ||
| Have you ever seen that going around? | ||
| No. | ||
| Because like the Twin Towers are in one picture. | ||
| And the one with Vegas, I'll show you. | ||
| I'll show you. | ||
| You ever get into the Oklahoma City bombing? | ||
| I'm familiar. | ||
| That one. | ||
| I'm familiar. | ||
| That one gets real. | ||
| We got Ruby Ridge, Waco, Tim doing hissing, possibly with the team. | ||
| Yeah, those are all big. | ||
| What I'm getting at. | ||
| What is this? | ||
| This is the card, the playing deck card. | ||
| It's the Vegas card. | ||
| It's got this. | ||
| It says that there's. | ||
| Is that a tattoo? | ||
| This is Jason Aldean's tattoo, who was the guy on stage when the shooting started. | ||
|
unidentified
|
What? | |
| It just so happens to be it's a Jack and the Ace. | ||
| Now, that's a coincidence, but that's a crazy coincidence. | ||
| It's like how that could have been planned. | ||
| Don't know. | ||
| Yeah, but that's his fucking name, bro. | ||
| Jason Aldean. | ||
| That's ridiculous. | ||
| That's a crazy connection to make. | ||
| His literal name is Jason L Dean. | ||
| Oh, J-A-D. | ||
| Oh, yeah, yeah. | ||
| Yeah, there's a microphone and a jack and an ace. | ||
| Yeah. | ||
| With a J and an A on it. | ||
| It's wild. | ||
| So that's silly. | ||
| Yeah. | ||
| That's silly. | ||
| That one needs to be shut up. | ||
| That's outrageous. | ||
| Yeah. | ||
| But it's just when you think that someone might have done something like that, someone might do a mass shooting so they could take out one dude. | ||
| Like, blame it on this guy. | ||
| Like, how much planning has to be involved in that? | ||
| And then, like, how do you get the Patsy? | ||
| You get this guy who's just like a degenerate gambler. | ||
| That's what he was, right? | ||
| He was just a poker player, right? | ||
| They made a bunch of money playing video poker, which is like, if you make that much money playing video poker, they're not going to keep playing. | ||
| Really? | ||
| Dana made money playing blackjack, and they're like, you can't play here anymore. | ||
| Like, if you're good and you're making money, they say, we don't want you to do that. | ||
| Yeah, they booted Dana out of the palms back in the day. | ||
| That's what it was with the Palms, I think. | ||
| But like, I don't know. | ||
| Okay, see, was that to destroy information? | ||
| Is that the conspiracy there? | ||
| That, like, in the Oklahoma City bombing, there was info in the building that they wanted to. | ||
| Perhaps. | ||
| Because I know some of Bill Clinton's stuff maybe disappeared. | ||
| I don't know the specifics on that, but what I was getting at was the specifics of the bomb itself, that a fertilizer bomb would not be able to do that kind of destruction. | ||
| And that destruction was the way a bomb generally works. | ||
| Like it goes from this is where the bomb detonates, and then all the energy goes outward, right? | ||
| If you're parked right in front of a building, how does the building blow outward this way? | ||
| And why were there all these reports of the FBI and bomb units pulling additional undetonated bombs from the building? | ||
| Right. | ||
| Like, look at how the building blew out. | ||
| I know. | ||
| It's kind of crazy. | ||
| Absolute devastation. | ||
| I mean, but it really depends entirely on the size of the bomb, right? | ||
| So if you have a bomb, like see where that blue area is, that's where supposedly, I think, where the bomb went off. | ||
| If you have an immense bomb that is right there and it just blows up and that's the force of it all around, like in a sort of conical effect, that kind of makes sense. | ||
| But a lot of people think that the amount of power that you would generate from a fertilizer bomb is not really capable of doing that kind of damage. | ||
| Did they? | ||
| And Alex Jones, who was the first person that I ever heard talk about this, he played all these news reports of them talking about finding additional bombs. | ||
| Right. | ||
| Like it was on the news, so they were talking about the FBI or whoever it was. | ||
| Was the ATF in that building? | ||
| I believe something. | ||
| Maybe they would have had some information. | ||
| Was also they changed some of the laws after that bombing. | ||
| Some explosives could have been in their possession, even or something. | ||
| Oh, it blew up because of the other thing blowing up? | ||
| Perhaps, but they didn't say that. | ||
| And it's pretty odd that the ATF offices would have just bombs laying around. | ||
| Yeah, you're fine. | ||
| That doesn't really make any sense. | ||
| Like, why do you guys have bombs in the break? | ||
| Yeah, we're studying actual live bombs. | ||
| I don't think so. | ||
| That doesn't make any sense. | ||
| They're pretty good about taking care of bombs. | ||
| But see if you can find anything about reports of additional bombs from Oklahoma City. | ||
| They were looking for a second person for a while. | ||
| Yeah, they were looking for a second person, too. | ||
| But I mean, there's also this problem with the fog of eyewitness accounts and everything after a catastrophe. | ||
| Like one thing that happens about events is no one really, like, if you're there and some fucking thing blows up, it's entirely dependent upon your makeup, whether or not you can even objectively recall exactly what happened. | ||
| Depending upon, like, how freaked out you are by this and how used to being freaked out you are. | ||
| Like maybe you're a veteran, maybe you've served overseas, and like you can actually give an accurate account of this because you've been around crazy shit. | ||
| But if you haven't, it's very likely that, you know, people are very confused afterwards. | ||
| I would have been totally shook. | ||
| No credible evidence of additional bombs being found. | ||
| Initial confusion. | ||
| This is AI over you. | ||
| AI. | ||
| In the immediate aftermath of the AI, by the way, that still thinks the COVID vaccine saved millions of lives. | ||
| In the immediate aftermath of the bombing, some news reports and individuals speculated about multiple explosions. | ||
| Okay, news reports. | ||
| Why would they say that if there was no reason to say that? | ||
| Conflicting reports. | ||
| Some theories suggested a second, even third bomb were involved, citing nearby seismograph readings and witness accounts. | ||
| Seismograph. | ||
| So there was multiple seismograph readings. | ||
| Experts, expert disagreement. | ||
| Oh, I love when they call in the experts. | ||
| However, experts, including physicists and engineers that are not named, stated that the second tremor recorded by the seismographs was likely caused by the buildings collapsed. | ||
| Not another bomb. | ||
| Go to sleep, America. | ||
| Conspiracy theories. | ||
| Some conspiracy theorists continued to promote the idea of additional bombs, even though there was news reports, often citing discrepancies in the observed damage or expert opinions. | ||
| Yeah, the observed damage is kind of crazy. | ||
| The damage is kind of crazy. | ||
| It looks like it's blown out. | ||
| You know? | ||
| That's a huge, huge demo job, man. | ||
| Well, it's just weird. | ||
| You know, it's, and it's his, Timothy McVeigh's reason for doing it. | ||
| All of it is weird. | ||
| Right. | ||
| Like. | ||
| It was revenge for the government's intervention with Ruby Ridge and the Waco. | ||
| Right, right. | ||
|
unidentified
|
So he was going to take on the... | |
| Well, didn't they find the folks who were going to kidnap the governor or something? | ||
| It was just like, wasn't it all the gov? | ||
| Yeah, yeah, yeah, yeah. | ||
| It was 12 out of 14 people were government agents. | ||
| And then those two guys went to jail. | ||
| So the two, the two that weren't. | ||
| Yeah, exactly. | ||
| And the two that weren't, it wasn't even their idea. | ||
| They were like dorks that were LARPing. | ||
| Right. | ||
| Yeah, man, we're going to blow up the government. | ||
| They're fucking losers. | ||
| They wanted friends. | ||
| You know, they wanted friends, and they found friends and these extremists. | ||
| And they thought that these guys, you know, they fucking meet up and talk about kidnapping the governor. | ||
| Like, they thought it was all bullshit. | ||
| Those guys literally said they thought we were never going to do this. | ||
| Yeah. | ||
| And then the feds come knocking on their door. | ||
| One of the wildest ones, they radicalized this young guy who was 19 years old. | ||
| I believe he was in Dallas. | ||
| They radicalized him and then they gave him a bomb that was fake and then gave him a cell phone to detonate the bomb. | ||
| And then when he tried to use the cell phone to detonate the bomb, they arrested him. | ||
| Even though it was fake, even though it didn't work, even though they gave it to him, even though they talked him into doing it, they arrested him for terrorism because he was willing to listen to them, which is crazy. | ||
| Why do you do that? | ||
| Well, also, you're doing it to a young guy who probably, like, this is the first time in his life, he felt like he had any purpose. | ||
| Like, you've mind fucked him into believing that he's doing this for a greater good. | ||
| You know, you're mind-fucking him to telling him that, like, you know, he's going to put a dent in the Great Satan by detonating this bomb. | ||
| And you're going to go down in history. | ||
| You're going to be huge. | ||
| And he's just a dumb guy. | ||
| Just a dumb dude who they talk into it and then they arrest him. | ||
| Like, we stop terrorism. | ||
| You fucking made it, bitch. | ||
| You made it. | ||
| You fixed the problem, fix the problem. | ||
| It's kind of like the pharmaceutical industry or something. | ||
| Well, it's a pattern. | ||
| Yeah. | ||
| It's a pattern. | ||
| But it's just a weird one that we tolerate under the rule of law. | ||
| Like, that seems pretty crazy that you guys made a plot to kidnap the governor. | ||
| You got 12 out of 14 of the people who were involved were working with the government. | ||
| And then, you know, it should be like, well, okay, whose idea was it? | ||
| It was Mike's idea. | ||
| He was the first one to say, Mike, you work for the government. | ||
| This is crazy, Mike. | ||
| You can't arrest Tom because it was your idea, Mike. | ||
| You fucking asshole. | ||
| But yeah, yeah, yeah. | ||
| But I was working for the government. | ||
| I mean, I was like, I'm fine, right? | ||
| And then he gets, they all get just disappear. | ||
| Nobody hears them. | ||
| Nobody knows their name. | ||
| Nobody knows who they are. | ||
| They're probably doing it right now. | ||
| Somebody, they go into the private sector. | ||
| I don't know. | ||
| Who knows? | ||
| Who knows? | ||
|
unidentified
|
Over with this thing? | |
| Sure. | ||
| Who knows who was instructing them to do what they were doing in the first place? | ||
| Like, why did you guys decide that you're going to kidnap the governor? | ||
| Is there higher-ups that told you this was a good idea to plot this? | ||
| Like, what are we trying to do? | ||
| I just wonder how much within those within even these buildings, like, what's the communication like in a huge organization like the FBI or something? | ||
| Are there people over on floor two that have no idea what's going on on floor four? | ||
| 100%. | ||
| You know? | ||
| 100%. | ||
| Yeah, 100%. | ||
| Just pockets, pockets of intelligence, little microcosms of people working, you know? | ||
| Well, talking to people that actually work in the government, they'll tell you there are people that are in charge of each individual office, and they're like a czar of this office. | ||
| You got to get through them. | ||
| And they could put the kibosh on anything you're trying to do, and they're hiding information from the rest of the office, hiding information from other agencies. | ||
| Yeah. | ||
| When I was a kid, I dated this Girl who worked for the government, and one of her jobs was this was like really the very beginning of computers. | ||
| So 91, maybe somewhere around then, maybe two, maybe 92. | ||
| And her job was to help distribute information. | ||
| Say if the Navy did a study that the Army would have access to it, you know, so it was all on a database. | ||
| Okay. | ||
| So this was like really, really early on. | ||
|
unidentified
|
Right. | |
| Because they didn't share information with each other. | ||
| But they still don't share information. | ||
| No. | ||
| They're in competition with each other. | ||
|
unidentified
|
Yeah. | |
| Some of them don't like each other. | ||
| Yeah. | ||
| There's agencies that don't let those fucking pussies over at the CIA and those faggots over at the FBI. | ||
| Like there's still like a lot of that stupid shit that goes on. | ||
| There's a lot of that stupid shit that goes on. | ||
| Just like there's people that root for the fucking dolphins and other people root for the raiders. | ||
| People get tribal. | ||
| People get really weird, man. | ||
| They get tribal with every damn thing that they do. | ||
| Every damn thing that they do. | ||
| And then it's us against them. | ||
| Xerox is going to take over the copying world. | ||
| Fuck all those other pussies. | ||
| It's like as it is so below, man, the patterns, the patterns go down forever. | ||
| Well, we have the patterns of territorial apes. | ||
| That's the problem. | ||
| We have the consistent patterns of territorial apes, and those patterns find their way into everything. | ||
| They find their way into fucking poetry slang. | ||
| I mean, it's music. | ||
| Music's like that. | ||
| Oh, for sure, right? | ||
| Yeah, comedies like that. | ||
| It is to some extent. | ||
| Yeah. | ||
| Yeah, and in certain circles it is. | ||
| In certain circles, it's not. | ||
| But it's like that with everything. | ||
| Everyone is fighting for dominance. | ||
| Yeah. | ||
| And there's a really gross, weird way. | ||
| And I think it's just our genetics. | ||
| I think it's the pattern of how we got here for the first place and how the human reward systems are all set up. | ||
| They're set up to try to conquer things. | ||
| And, you know, whether you're conquering video game development or fucking, you're making the best folding phone, it's like, we're going to kick ass over Google. | ||
| You know, everybody has their own little thing, their little realm they're trying to conquer. | ||
|
unidentified
|
Right. | |
| And it feels great. | ||
| No, I don't think it does. | ||
| You don't think it feels great to kick ass at something? | ||
| Well, I mean, you want, like, I think certainly does the pursuit of excellence is like the most joy-rendering thing that there is. | ||
| That aspect of it. | ||
| But the aspect of crushing your enemies. | ||
| I wonder how much fun. | ||
| Well, you don't have to have. | ||
| Like, I don't. | ||
| This is the thing, is like playing guitar or something. | ||
| I don't have an enemy. | ||
| But you're an artist. | ||
| You're not a corporation. | ||
| I just. | ||
| I'm a corporation. | ||
| Are you an LLC yet? | ||
| Did you sign up for the Devil's Deal? | ||
| Limited Liability Corporation? | ||
| A lot of people do. | ||
| I don't have a record deal. | ||
|
unidentified
|
That's what you're saying. | |
| No, no, no, no. | ||
| When you start making money, they tell you to form an LLC. | ||
| What is it going to do? | ||
| You become like a little corporation. | ||
| And that way you pay yourself from the corporation. | ||
| You can lease a car from the corporation. | ||
| That'd be kind of cool. | ||
| You'll probably have to do that someday eventually. | ||
| I'll be in a corporate. | ||
| Maybe after this podcast, you'll have to do that. | ||
| Call it bottomless wells. | ||
|
unidentified
|
I just... | |
| That's the most fun. | ||
| And it does seem like it is what anytime you're in a hard place or anything like that mentally. | ||
| Yeah. | ||
| Like the best way out is like find something to try to get good at or try something, you know, and then try your best at it. | ||
| Yeah. | ||
| And it just seems innate. | ||
| I think so. | ||
| Like, I think no matter what it is. | ||
| Right. | ||
| But the problem is if that thing is making money, then it gets weird, right? | ||
| Like, if you're, if your whole thing you're good at and you try to get better at is just making money, that's when things get squirrely. | ||
| Because the same thing that makes you really good at writing songs could make another person like really good at being a psychopath. | ||
| Because the best way to make money is to be completely feelingless and not give a shit about who this is going to impact. | ||
| Ship all those jobs overseas. | ||
| Look how much money we're going to make. | ||
| Do this to that. | ||
| Fuck all the. | ||
| Listen, if we don't take care of this environmental pollutant and we just let it leak out, we save X amount of money. | ||
| Do that. | ||
| Then that's where things get weird. | ||
| You figure out the best way to make money. | ||
| you're really good at making money and that becomes your creativity. | ||
| You get really creative about moving around the law in order to make money. | ||
| You get really creative about how you establish relationships with people and how you can, you know, make sure that laws are passed, that favor what you're doing. | ||
| That's a strange art. | ||
| Very weird art. | ||
| That's a dark art. | ||
| That is. | ||
| That is the dark arts. | ||
| It's a dark arts. | ||
| Snape never taught about that one, dog. | ||
| Well, it's not a creative art, but it is creative in some ways. | ||
| It taps into that same thing, but in a very negative way. | ||
| You know, maybe positive for that person's bank account, but negative in terms of its impact. | ||
| But do they even care about their bank account at that point? | ||
| Like, what is it to them? | ||
| It's something totally different. | ||
| That's the world they live in, man. | ||
| Like, if you're a fucking prison warden, the world you live in is like, these are the rules in order to stay alive as a prison warden. | ||
| This is what you're going to do. | ||
| If you're a prison guard, if you're on the floor with all these inmates, this is what you do to stay alive. | ||
| This is what you do to maintain order. | ||
| This is what you do to make sure people listen and fall in line. | ||
| Once you're there, you have to do that. | ||
| Right? | ||
| Like, if you're there, if you're a prison guard, this is what you do. | ||
| And I think if you are a guy who is in charge of like you're an economic hitman, like John Perkins, you know that? | ||
| You ever read that book? | ||
| Uh-uh. | ||
| What they do is they would give enormous loans to countries that definitely couldn't fucking pay it off. | ||
| And then, you know, come in and start extracting resources. | ||
| Yeah. | ||
| Yeah. | ||
| I mean, China does that. | ||
| The United States does that. | ||
| Many countries have been involved in that kind of shit. | ||
| And they're creative in that way. | ||
| Are there NGOs doing that? | ||
| I'm sure. | ||
| Like, is that what? | ||
| I'm sure. | ||
| Is that what Billy? | ||
| Billy G is up to? | ||
| Billy G? | ||
| Yeah, Microsoft. | ||
| Oh. | ||
| Well, he's involved in a lot of the. | ||
| Do you give a big loan or give a big favor out and then take and then just take whatever you want from them after that? | ||
| Because everyone's got notes once they. | ||
| Yeah. | ||
| Well, it's called philanthropic, you know, and that being a philanthropist is actually very profitable, which is weird. | ||
| No, like Bill Gates made hundreds of millions of dollars off of the pandemic from just from vaccines. | ||
| Dude, philanthropy. | ||
| It's far out. | ||
| I have a song about philanthropy. | ||
| Do you? | ||
| It's called Philanthropist. | ||
| Let's hear it. | ||
| Put it on there. | ||
| Jamie will find it. | ||
| You know, like real true philanthropy, when you're, you know, you're giving money away because you're just a kind person is wonderful. | ||
| It's beautiful. | ||
| You know? | ||
| I like it when it's done silently. | ||
| That's the only way to properly do it, right? | ||
|
unidentified
|
hearing you When I was just a boy, my mama asked me this. | |
| She said, son, what do you want to be? | ||
| I said, a big philanthropist, potatoes, my oil. | ||
| And illness is my business. | ||
| With guns is my retirement. | ||
| And war as my mistress, I'm going to be an oligarch with a whole bunch of rockets. | ||
| I'd get them two sides fighting. | ||
| And I'd empty both of their pockets. | ||
| And if I got bored, hard money weary. | ||
| I'd try my hand in dabbling in social engineering. | ||
| I'm going to be a billionaire with a big foundation. | ||
| We used to rule in shadows, but I'd come right out and I'd rule the nation. | ||
| I'm going to do my own laundry in a third world nation state. | ||
| Experiment with the locals like some philanthropic saint and I never make a cure. | ||
| Not get you a treatment plan. | ||
| You can die in slow installments and I'll lead you while I can. | ||
| And I travel around the planet. | ||
| Got a big old mystery jet. | ||
| What I did would be my business. | ||
| And what you did, I would collect. | ||
| If I was a philanthropist, just honor a philanthropist. | ||
| Not a whole lot of help just for Myself, but I gotta make it look convincing. | ||
| You nailed it. | ||
| That's philanthropism right there in a song. | ||
| It's far out. | ||
|
unidentified
|
That's a great song. | |
| It shouldn't be. | ||
| It shouldn't be allowed. | ||
| It shouldn't be allowed. | ||
| Well, it shouldn't be that easy to trick people. | ||
| Who believes it? | ||
| That's why I'm just in the hell would think that this is good things happen because of it, but more bad things happen than good a lot of the time. | ||
| And you're holding an entire nation hostage or an entire group of people hostage by lending them money. | ||
| Well, that's not freedom. | ||
| No. | ||
| You're going to be free. | ||
| Yeah, it's real weird. | ||
| Because there's certain people that are like genuine philanthropists, but even them, when you're donating money to specific organizations, then you find out that most of their money goes to overhead. | ||
| Right. | ||
| Most of their money goes to employee salaries, which are ridiculously high. | ||
| And you go, oh, this is a scam. | ||
| This is clearly a scam. | ||
| You aren't kind people trying to fix the world. | ||
| You're profiting off of this idea of being a kind person that wants to fix the world. | ||
| And you're doing a little bit of help. | ||
| You're doing about 10% of help, maybe 20% of help, maybe even 30% for a good organization. | ||
| But the reality is, it's about you. | ||
| Yeah. | ||
| Which is crazy. | ||
| You know, imagine if just you said, hey, man, my friend's sick. | ||
| Do you think you could donate some money to my friend? | ||
| You know, because he doesn't have any health insurance. | ||
| And we were like, yeah, man, what do we got to do? | ||
| And then everybody gives you money, and then you take 70% of it. | ||
| And we go, hey, dude, what the fuck? | ||
| And you're like, hey, man, I worked to get that money for him. | ||
| I had to call you guys. | ||
| I really, I put in the time. | ||
| I need some of that money. | ||
| I need 70% of that money. | ||
| You'd be like, what the fuck are you talking about? | ||
| Your friends would never talk to you again. | ||
| Everybody would hate you. | ||
| But meanwhile, if you do this for an NGO, you get celebrated. | ||
| Right. | ||
| Insane. | ||
| It's real. | ||
| It is insane. | ||
| And it's real. | ||
| The weirdest thing about it is this isn't a conspiracy theory. | ||
| This is real. | ||
| This is really how most of them operate. | ||
| Some of them it's 90%. | ||
| Some of them it's 90-10%. | ||
| Yeah. | ||
| There's good ones out there, though. | ||
| There's really good ones where most of the money goes to the charity. | ||
| And that's awesome. | ||
| There's real people out there that are really kind people that are genuine philanthropists. | ||
| And most of them live very humble lives. | ||
| Right. | ||
| Because that's, you don't make a million dollars a year if you're doing it right. | ||
| Right. | ||
| You just don't. | ||
|
unidentified
|
Right. | |
| You know? | ||
| You just don't. | ||
| And if you are making a million dollars a year, chances are you might be a vampire. | ||
|
unidentified
|
Yeah. | |
| I mean, that guy was all over the flight logs and everything. | ||
|
unidentified
|
Which guy was? | |
| Which guy? | ||
| Gates. | ||
| Oh, yeah. | ||
| Yeah, yeah, yeah. | ||
| All tangled up in all sorts of stuff, man. | ||
| Yeah. | ||
| He was tangled up in all sorts of stuff after that guy went to jail. | ||
| After he went to jail and came out the first time. | ||
| Yeah. | ||
| Gates was hanging with him still. | ||
|
unidentified
|
Yeah. | |
| As were many people. | ||
| It's real weird stuff, man. | ||
|
unidentified
|
It's real weird. | |
| Because it seems that it's like once you develop a network of people that trust a person like that and like, come, come hang out with him. | ||
| He's cool. | ||
| It's a good place to go and get your freak on. | ||
| Because if you're a really rich, like international businessman and everybody knows who you are, like a Bill Gates type character, you can't just go get some head. | ||
| Like, what do you do? | ||
| How do you go get your fuck on? | ||
| You know, is that who Jeff was? | ||
| I don't know. | ||
| Was he the fixer in that? | ||
| I would just be speculating. | ||
| I would just be speculating. | ||
| But a good friend of mine who's very intelligent said this to me. | ||
| He said, there's people that want certain experiences and there's people that provide these powerful people with experiences. | ||
| And that's how they fit into the social structure. | ||
| They're there to help. | ||
| They can keep their mouth shut and they help people get these experiences. | ||
| And then there's probably some sort of a wild rush of being Naughty and doing things you're not supposed to be doing. | ||
| We can get away with it because we're worth $800 billion or whatever the fuck they're worth. | ||
| They're trying very hard to get away with this one. | ||
| I don't know if the people are going to forget. | ||
| People are never going to forget. | ||
| The problem is, do we have any power? | ||
| What do we do? | ||
| You know, what do you do? | ||
| I mean, you definitely can change the way you vote. | ||
| Like, if it comes up again, but the problem is, this is a bipartisan issue. | ||
| It's bipartisan. | ||
| I don't know. | ||
| I heard it as a Democratic hoax. | ||
| Yeah. | ||
| I don't think that's true. | ||
| Well, it's certainly not a hoax if you go to jail. | ||
| Certainly not a hoax if Ghelaine Maxwell's in jail, too. | ||
| So she's in jail for sex trafficking. | ||
| Excuse me. | ||
| She's in jail for sex trafficking. | ||
| But the question is to who? | ||
| Who's she in jail? | ||
| You have to be sex trafficking to someone in order to go to jail, right? | ||
| So who? | ||
| How's that work? | ||
| She's been in jail for years. | ||
| So how's that work? | ||
| Is she looking at a pardon? | ||
| Are they going to. | ||
| I don't know, but they just moved her to another prison. | ||
| They moved her. | ||
| It's supposed to be a nice prison as far as prisons. | ||
| They move her to kill her? | ||
| Could be. | ||
| But why would you waste the money to move someone if you wanted to kill them? | ||
| I'm sure they could kill her pretty easy. | ||
| I don't know. | ||
| But the question is: does she have dead woman switches? | ||
| You know what I mean? | ||
| What's the dead man switches? | ||
| And tripwire? | ||
|
unidentified
|
Yeah. | |
| Like, if I die, I want you to do this for me. | ||
| And then whether it's in Israel, whether it's in Canada, whoever the fuck the person is that you have that you give this information to, you just say, if anything happens to me, let this loose. | ||
| And then you tell them, like, look, I have this, that, this, and that. | ||
| I have all these tapes. | ||
| I have all these videos. | ||
| And if anything happens to me, all this goes online. | ||
| So, leave me alone. | ||
| If that were true. | ||
| That's a real thing that people do. | ||
| It's called a dead man switch. | ||
| Dead man switch. | ||
| Yeah. | ||
| That's how people maintain life. | ||
| If you have information that's really sensitive, they have to trust you. | ||
| If someone trusts you to not tell something that can ruin their empire of hundreds of billions of dollars and put them in jail, possibly, they have to trust you. | ||
| They're not going to trust you. | ||
| They don't trust you. | ||
| But if they know that you know that if you tell, they'll kill you. | ||
| And then they know that if they kill you, you have the dead man switch. | ||
| Okay. | ||
| We got a stalemate. | ||
| Let that motherfucker live. | ||
| This is mutually assured destruction. | ||
| Exactly. | ||
| Some kind of nuclear standoff. | ||
| Yeah, they're pointing missiles at each other. | ||
| Information missiles at each other. | ||
|
unidentified
|
Yeah, it's dark, dude. | |
| But it makes for a good spy novel. | ||
| If just America, the way it actually really works, it'd be a crazy novel. | ||
| You'd be like, this is nuts. | ||
| Like a Tom Wolf is something or another. | ||
| Yeah. | ||
| Just with the, if you actually knew the actual facts, I bet it would be quite fascinating. | ||
| You know? | ||
| Like, we have these narratives that we assume are real about even about history. | ||
| And I bet a lot of them are full of shit, too. | ||
| You know? | ||
| Bill Murray was on the podcast. | ||
| It's really interesting. | ||
| And he read Bob Woodward's story about his good friend John Belushi. | ||
| So he said, I read five pages of it. | ||
| I was like, oh, my God, they framed Nixon. | ||
| Right. | ||
| Isn't that crazy? | ||
| Well, I mean, isn't Bob Woodward? | ||
| He's known to have been hired, or at least worked with CIA. | ||
| He was an intelligence agent. | ||
| Yeah, he's intelligent. | ||
| And his first job builds the narratives. | ||
| It was also his first job as a journalist. | ||
| Yeah. | ||
| Which is how? | ||
| How did the senior journalist not get that job? | ||
| You're literally going to take down a president. | ||
| I didn't see that aspect of it in all the president's men. | ||
| Who is that? | ||
| Dustin Hoffman and Robert Redford? | ||
| Yeah. | ||
| Yeah, you don't get that. | ||
| You don't get that. | ||
| Because that was before the internet. | ||
| They could get away with a movie like that. | ||
| I kind of wonder if they. | ||
| Listen, I'm sure that I'm. | ||
| I actually, I don't know anything about. | ||
| Do you know Tom Hanks? | ||
| Tom Hanks, the actor? | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| I don't know him personally. | ||
|
unidentified
|
Okay. | |
| I just wonder if every once in a while when the government needs to explain something to the public in a way that puts us in the best light, if they commission a movie through hollywood and stick tom hanks in it man he's just explained so much to us over the years with charlie wilson's war it's like here's how the savings how this this goes um | ||
| Um, you know, Forrest Gump is kind of a nostalgia fest about the, you know, Vietnam War. | ||
| It kind of makes light of it. | ||
| Um, you know, the Polar Express. | ||
| I actually don't know about the Polar Express. | ||
| Animated movie. | ||
| Well, my friend Sam was telling me, my friend Sam Tripoli was telling me that, and I had heard this, that during World War I, they had a problem that soldiers were not shooting at the enemy. | ||
| They didn't want to kill them. | ||
| They didn't want to be there. | ||
| And so they were firing their guns, but not even aiming them at the enemy. | ||
| Right. | ||
| So to combat this, they started making movies. | ||
| And then in the movies, these war movies, the soldiers would shoot the enemy and they were like really heroes. | ||
| And so then in World War II, people were much more willing to shoot the enemy. | ||
|
unidentified
|
Gee. | |
| Isn't that crazy? | ||
| Yeah. | ||
| Like, so the intelligence communities have been deeply involved in movie making from the very beginning. | ||
| Because back then movies were the most powerful narrative in all of society. | ||
| Right. | ||
| And there was no counter narrative, not to speak of. | ||
| Nothing that went global or even that was like publicly mass distributed. | ||
| Yeah. | ||
| There was nothing. | ||
| I mean, you might have people in coffee shops saying, hey man, I read this and this and that. | ||
| Right. | ||
| But there were small groups of people. | ||
| Most people were in the dark. | ||
| Even if you had a counter narrative, you'd be like Pete Seeger and get like blacklisted in the 50s. | ||
| You know, a musician. | ||
| You'd be Smedley Butler. | ||
| Right. | ||
| Who was in a... | ||
| The end of his career. | ||
| Yeah. | ||
| It's a wonder he survived his own tell-all there with War is a Racket. | ||
| Yeah. | ||
| And so... | ||
|
unidentified
|
It is. | |
| It didn't seem to do a whole lot. | ||
| Whatever. | ||
| World War II is just, you know, six years after. | ||
| I know. | ||
| Crazy. | ||
| Isn't it crazy though that they made movies about war to encourage people to just shoot the enemy when they see them? | ||
| Because most people, it's probably so abstract to them. | ||
| Like, they're from... | ||
| Like, especially if they had just gotten there from Europe. | ||
| Right? | ||
| So imagine if you're dealing with World War I. Like, a lot of those people probably recently arrived in America. | ||
| Right? | ||
| And then now you're being sent over to France? | ||
| Now you're being sent over to Germany? | ||
| Right. | ||
| Like, you're involved in a fucking war now? | ||
| You're in a trench war? | ||
| Well, I don't... | ||
| America was pretty... | ||
| Was really not wanting to get in with World War I anyway. | ||
| Yeah. | ||
| Was it the Lusitania? | ||
| Some folks think that even might have been a false... | ||
| Do they think that was a false flag? | ||
| Possibly. | ||
| It could have been. | ||
| Well, I mean, that's a long... | ||
| There's a long history of false flags that got us into war. | ||
| I mean, it goes back to Nero burning Rome, you know? | ||
| And what they did with the Gulf of Tonkin incident is... | ||
| What happened with Nero? | ||
| Well, let's go pull that up. | ||
| Nero was so crazy, dude. | ||
| You know one of the things Nero did? | ||
|
unidentified
|
What? | |
| He beat his pregnant wife to death, and then he found a slave that looked like his wife, a boy, castrated him, and said, this is my wife. | ||
| And paraded this person around. | ||
| Sporus was his name. | ||
| French stuff. | ||
| Yeah. | ||
| And just fucked this poor dude with no dick that he had his dick cut off. | ||
| And then passed that guy off to someone else, and that guy eventually wound up committing suicide. | ||
| Yeah. | ||
| Yeah. | ||
| Nero was a complete, total psychopath. | ||
| So there was this one false flag incident. | ||
| See if you can find what Nero did. | ||
| You know, that was also like Hitler. | ||
| Hitler burned the Reichstag. | ||
| That was a false flag, too. | ||
| The Gulf of Tonkin one was a crazy one, because that was, what was that, 67, 68 or something like that? | ||
| So we had already been in Vietnam for years at that point. | ||
| No. | ||
|
unidentified
|
No. | |
| No, that was the, we, they had some limited operations. | ||
| Right. | ||
| But it wasn't like we were full-scale soldiers invading Vietnam. | ||
| is this is this precursor to like tet offensive or something or i don't know but this was the incident that dragged us in uh burning rome burning christians year 64 uh During the Principate of Nero, the night between July 18th and 19th, the fire broke out in Rome, within nine days destroyed or badly damaged a substantial part of the city, leaving many dead or homeless. | ||
| Rumors circulated the fire had been set by Nero, who it was claimed sought to divert blame from himself by holding responsible a new sect of aggressively proselytizing Jews known as Christians. | ||
| Wow. | ||
| Most recent scholarship has rejected the popular view of Nero as an arsonist who fiddled while Rome burned, in quotes. | ||
| Largely ignored, however, has been the question of whether or not the Christians, generally regarded as innocent scapegoats of Nero, might, in fact, play have played some role in the fire. | ||
| There's controversy. | ||
| Yeah, the chapter considers the problematic nature of Christianity and Rome and Roman attitudes towards Christians in the first century CE and suggests, based on this evidence, that Christian involvement is not out of the question. | ||
| Not out of the question, but the narrative has always been that Nero did it to divert attention. | ||
| But the point is, look, they tried to do that with Operation Northwoods. | ||
| It's one of the things that Kennedy vetoed. | ||
| The Joint Chiefs of Staff signed off on an operation to do a false flag event where they were going to blow up a drone jetliner, blame it on Cuba, and they were going to arm Cuban friendlies and attack Guantanamo Bay. | ||
| And they were doing this so that they could drag us into a war with Cuba. | ||
| And Kennedy vetoed it. | ||
| But it was signed by the Joint Chiefs of Staff. | ||
| They're like, sounds good. | ||
| Right. | ||
| They're fucking schmuggled over. | ||
| I mean, is this what the Bay of Pigs is? | ||
| No, the Bay of Pigs is a different thing. | ||
| The Bay of Pigs is after that. | ||
| And the Bay of Pigs, the problem with the Bay of Pigs was that they planned it without Kennedy knowing. | ||
| The men were already there. | ||
| Yeah, and then they had air support, and that was part of their mission. | ||
| And then Kennedy denied air support. | ||
| And then the men on the ground got slaughtered. | ||
| And so my friend Evan, who was a Ranger, he believes it's very possible that some of the people involved in that might have been involved in the assassination of Kennedy because they had a huge grudge and these were hardened assassins. | ||
| Yeah, if that's something that you'd go and mine people out of that operation. | ||
| There was a lot of people that hated Kennedy after that. | ||
| A lot of people. | ||
| We don't think about it now because we think of Kennedy as being loved, but there's people that celebrated when he got murdered. | ||
| Gee. | ||
| Yeah. | ||
| That I can't imagine. | ||
| Yeah. | ||
| Yeah. | ||
| Well, it's like today. | ||
| Like if Trump got murdered, there's people that would celebrate. | ||
| You know? | ||
| Or if Kamala Harris had gotten murdered on the campaign trail, there's people that would celebrate. | ||
| There's gross people on both sides of the aisle. | ||
| It is, I mean, as a scientist, something's not good when we're celebrating just death. | ||
| No. | ||
| I feel, you know, I feel like. | ||
| Well, it's certainly a society that's lost its way. | ||
| If that's the only solution is to kill people. | ||
| You know? | ||
| Or if you don't like how the results turned out, you do everything you can to destroy that person. | ||
| Which I think the most interesting version of that is happening right now in New York City. | ||
| That Mondani guy who's essentially like, at the very least, a socialist, but kind of leans towards the communist direction. | ||
| Both sides are trying to get rid of that guy. | ||
| They're like, we can't allow him to be mayor. | ||
| But the people elected him. | ||
| He won the Democratic primary and he's like 44% ahead of everybody else in the process. | ||
| So there's still... | ||
| So the actual election is not until November, right? | ||
| So they have the primary first. | ||
| Mondani won, and he won over Andrew Cuomo, who used to be the governor of the state. | ||
| And everybody thought he was going to win. | ||
| And then people are like, holy shit, this communist guy is going to be the fucking mayor of New York City. | ||
| And he's promising to jack up taxes, and he's promising to have like city-funded grocery stores and a lot of communist ideas. | ||
| And so both the right and the left are like, we got to get this guy out of here. | ||
| There's no way. | ||
| But it's like, if you believe in the democratic process, like this is what the people wanted. | ||
| Let's find out if it works. | ||
| Let's find out if it sucks, if it makes New York City even worse. | ||
| Well, then in a few years, you get to vote again. | ||
| Yeah, I was going to say, how long is mayorship? | ||
| I think it's four years. | ||
| Four years. | ||
|
unidentified
|
Right? | |
| Is it a four-year term for mayor of New York City? | ||
| It has to be, right? | ||
| Because in two years, you're basically just using the time to campaign for your re-election. | ||
| Because you'd probably, by the time you got in there, it's like 24 months later, you got to do it again. | ||
| You're like, ugh. | ||
| So what are the two sides doing to bring him down? | ||
| Talk about getting him out of the country. | ||
| There's people that are talking about, is there a way to expel him from the country? | ||
| To revoke his citizenship. | ||
| Yeah, there's talk of that. | ||
| Yeah. | ||
| People are trying to figure out any way to get rid of this guy. | ||
| But he is a citizen. | ||
| Of course. | ||
| But he wasn't born in America, which freaks people out. | ||
| He's a Muslim. | ||
| He's from Uganda. | ||
| That's where he's from. | ||
| He's only been in America for a certain amount of years, and he's only been a citizen, I think, for seven or eight years, something like that. | ||
| And he won. | ||
| If you believe in this thing, that's what people voted for, and you've got to do better. | ||
| That's what the folks want. | ||
| That's what the folks want. | ||
| Yeah, well, the thing is, there's a lot of people that live in New York City that live in any city, really, that don't feel like their needs are being met by the government. | ||
| And they don't feel like the government has their best interests. | ||
| And if some guy comes along with some radical ideas that he says are the solution, well, if the people believe him and it's not true, you've done a terrible job. | ||
| You've done a terrible job of both distributing information and taking care of these people because they're looking for any kind of a solution. | ||
| Even a solution that might wind up causing a bunch of corporations to leave the city and a bunch of money to leave the city and a bunch of jobs to leave the city. | ||
| Yeah, that doesn't. | ||
| Things are desperate, right? | ||
| What, the politicians really controlled by like three main things, like special interests, donor class, and multinational corporations. | ||
| So anybody who looks like they're disentangled from any of those things is looking pretty appealing. | ||
| Exactly. | ||
| Exactly. | ||
| That's why he's way ahead. | ||
| He's ahead by 44%. | ||
| Everybody else has like 12%, 20%. | ||
| I think the highest one other than him in the most recent polling was Cuomo, who's still running somehow or another. | ||
| I don't know how he's doing it. | ||
| And it's like, is he an independent? | ||
| Like, how is Cuomo running? | ||
| Is that what it is? | ||
|
unidentified
|
Yeah. | |
| So he's running as an independent because he couldn't win the Democratic primary. | ||
| Yeah. | ||
| But he's still way behind this guy. | ||
|
unidentified
|
Yeah. | |
| According to polls, but the problem with polls is, of course, who the fuck answers polls? | ||
| Not you. | ||
| No, not me. | ||
| Polls are just made so that news people have something to talk about. | ||
| I wouldn't be surprised if they're the ones. | ||
| Well, they probably are. | ||
| They probably go to the poll center and they say, run this poll because I got to have something to talk about on Wednesday. | ||
| Yeah. | ||
| You could rig them. | ||
| Right. | ||
| So you could rig them, like, say, if you went to a specific group of people that you knew leaned right and you started asking them questions on things or a specific group of people, specific part of the city that you knew was more progressive. | ||
| You would go there if you wanted to rig polls. | ||
| And then you push that narrative out. | ||
| This is how the people feel. | ||
| It's like, okay, but who's answering? | ||
| A very small percentage and mostly dopes. | ||
| Mostly dopes are answering polls. | ||
| Sorry, if you answer polls. | ||
| But most of the people have nothing else to do. | ||
| Because if you call me. | ||
| I never met anybody who's answered a poll. | ||
| Bingo. | ||
| I met a lot of folks. | ||
| You met a lot of folks. | ||
| Exactly. | ||
| You ever met anyone who answered a poll? | ||
| No, and the presidential polls are the weird ones because sometimes they're wildly wrong. | ||
| And yet somebody got paid to make those polls. | ||
| I think it's the news. | ||
| I think the news is an incredibly lucrative business. | ||
| It's an entertainment business. | ||
| There's not news every day. | ||
| There's nothing to say. | ||
| And they got to run 24 hours. | ||
| Yeah. | ||
| They're making up new. | ||
| They should call it the old because it's always the same shit happening, man. | ||
| Like, it's not even. | ||
| Yeah. | ||
| It doesn't matter where you're getting it either. | ||
| It's also a lot. | ||
| I mean, CNN tried to separate themselves from that when they realized it was financially kind of devastating to the company to have really bad editorial comments, which is what they did. | ||
| That's why they got rid of all their head newscasters. | ||
| Okay. | ||
| Because everybody was terrible and everybody hated them. | ||
| So they just got rid of most of them. | ||
| Right. | ||
| And they tried to go objective with the news. | ||
| But the problem is like that way people aren't outraged. | ||
| And the only way people are going to pay attention now because you spoiled them. | ||
| You gave them candy and now you can't give them filet mignon. | ||
| Like, this is bullshit. | ||
| I want Cheetos. | ||
| I want snacks. | ||
|
unidentified
|
Right. | |
| Like, you've ruined them. | ||
| And you gave them this for decades. | ||
| And so now, if you want your ratings, you have to give them outrage. | ||
| You have to have a bunch of people yelling at each other on TV so they pay attention. | ||
| I feel like the most colorful people that they would have had on their things have gone indie now. | ||
| You know, like Tucker Carlson has his podcast. | ||
| And like, let's see. | ||
| Candace Owens was with like Daily Wire, and now she's like got she's got her own big thing. | ||
| And there's, and then there's smaller, there's smaller ones. | ||
| You got like breaking points is one. | ||
| You know, the real problem is the left ones never succeed once they're fired. | ||
| The people that leave CNN, they're always like dismissed. | ||
| Well, the talent, I mean, if you're too talented to do to do that, to sit there and look at a camera and just talk for like hours about, you got to be really talented. | ||
| So you got to be really dedicated. | ||
| And you have to understand how people are receiving what you're saying, too. | ||
| And the problem with like a CNN type job is that you're being told what to do. | ||
| You show up. | ||
| You read the news as written by these people. | ||
| You have a teleprompter. | ||
| Right. | ||
| You really can't stray very far from the narrative. | ||
| And, you know, you're allowed to elaborate inside the narrative as long as it fits with what CNN is trying to promote. | ||
| Right. | ||
| And as soon as you deviate from that, you're cooked. | ||
| You're gone. | ||
|
unidentified
|
Yeah. | |
| So then there's really no crew. | ||
| There's not much career for you after that. | ||
| Yeah, because once you leave, everybody knows you're a propagandist. | ||
| Like, no one's ever going to really truly believe you. | ||
| And you weren't coming up with anything yourself. | ||
| It was all fed to you. | ||
| Exactly. | ||
| Exactly. | ||
| And then we also watched as you did elaborate on your own about whatever you thought about the narrative. | ||
| You're a dope. | ||
| You're a dope that's only on television because they put you there. | ||
| You didn't rise through the ranks. | ||
| Like, this is one of the most interesting people I've ever heard talk on television. | ||
| Like, no, this is not that at all. | ||
| You're not sincere. | ||
| What people like is authenticity. | ||
| You know, you want to know that someone is actually telling you what they think. | ||
| And you don't get any of that from them. | ||
| As soon as you don't get that from people, you never want to listen. | ||
| Whether you believe Tucker Carlson or not, he's being authentic. | ||
| Like what he's saying, he believes. | ||
| This is who he is. | ||
| And that's why he works. | ||
| That's why it works outside of Fox News when he left. | ||
| Those folks, all these folks who do. | ||
| I think even Bill O'Reilly, after he got kicked out, you know, from broadcast, he has, he's got his podcast and stuff. | ||
| They really believe their stuff, man. | ||
| Yeah, whether they're right or wrong. | ||
| Yeah. | ||
| Well, it's not about that. | ||
| I feel like the public has to understand that at the end of the day, these guys are, whether they believe it or not, this is entertainment. | ||
| These guys are entertainers. | ||
| They're telling you stuff. | ||
| They're feeding it to you. | ||
| And you've got to take things with a big-ass grain of salt because this stuff is... | ||
| Well, there's definitely that aspect of it. | ||
| And if you're not entertaining, you're going to get removed from your job and you're going to get replaced by someone who's better at your job. | ||
| Yeah. | ||
| Or hotter. | ||
| You know? | ||
| Someone who's got a nice rack and a short skirt and who's really good at talking. | ||
| Like, wow. | ||
| I just want to watch her talk. | ||
| I guess that's for the cable folks or something. | ||
|
unidentified
|
Yeah. | |
| I mean, that's part of the gig, Right? | ||
| Like, how many of those ladies on Fox News just look hot as the sun while they're telling you whatever the fuck they're supposed to be telling you? | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| It's a special kind of hot, too. | ||
| That, like, Ice Queen hot. | ||
| That's a spe that Republican, like, hard-nosed, hot. | ||
| I don't get it. | ||
| It's a special kind of hot. | ||
| I don't get it, man. | ||
| I don't get it. | ||
| That's the cheapest. | ||
| That's the cheapest thing they can pull over on this approach. | ||
| The applications is to have sex appeal. | ||
| Yeah, but they've always got it. | ||
| I mean, that's how they sell cars. | ||
| That's how they sell everything. | ||
| People use that for everything because we're dumb. | ||
| I'm optimistic. | ||
| I think we're going to wake up. | ||
| We're going to say, I don't care. | ||
| I don't care what the hot lady on Fox says. | ||
| They're murdering people. | ||
| I'm optimistic, too, and I think you're right. | ||
| I think we are doing that right now. | ||
| I think, believe it or not, your songs are a part of that. | ||
| You know, whatever percentage you reach, it's not zero. | ||
| There's people that you reach. | ||
| That United Health, how many views did that get, all told? | ||
| I don't know. | ||
| It has to be millions. | ||
| It got a lot of looks. | ||
| Millions and millions and millions. | ||
| I know. | ||
| I sent it to a lot of people. | ||
| The tunes get passed around. | ||
| Some of them get passed around. | ||
| Did I repost that? | ||
| I reposted it, right? | ||
| Yeah. | ||
|
unidentified
|
Okay. | |
| If I reposted it, I could find out how many people just saw the one that I reposted. | ||
| It'll be a lot. | ||
| It resonates, man. | ||
| It's like people are fucking. | ||
| When you shared the list, that one blew up, too. | ||
| Yeah, that was a good one, too. | ||
| How long ago was that? | ||
| The United Health one. | ||
| That was in December. | ||
| What is it, Jim? | ||
| You posted it eight months ago. | ||
| Eight months ago. | ||
| This is going to take a while because I'm a chatty Kathy. | ||
| I posted it. | ||
| It was December 15th, 2024. | ||
| Oh, that's not that long ago. | ||
| Okay, so here's Federman. | ||
| That's around that time. | ||
| Let me find it. | ||
| There ain't no you. | ||
| Come on, cocksucker. | ||
| Where are you? | ||
| There's no shortage of stuff to make tunes on. | ||
| How do you decide what to make tunes on? | ||
| Do you just sit and when something resonates with you and pisses you into the middle? | ||
| Yeah, when something is like, you know, gee, gee, I got something I could say about that. | ||
| Then that's when you do it too. | ||
| I know it's on here. | ||
| How would I search for it? | ||
| I don't think you can. | ||
| Because you're trying to see the views. | ||
| I found it. | ||
| Here we go. | ||
| Sorry. | ||
| Okay, view insights. | ||
|
unidentified
|
I guess I could say that. | |
| 6,742,803 views. | ||
| The watch time is three years, 104 days, 17 hours, 13 minutes, and 8 seconds. | ||
| Folks got too much time on their hands. | ||
| There's a lot of people in the toilet right now, bro. | ||
| They need something to listen to. | ||
| You ever go to the toilet without your phone? | ||
| It's weird. | ||
| You just sit there like, wow, I'm a low uplift. | ||
| Spacewalk without oxygen. | ||
| No one knows how to do it anymore. | ||
| Yeah, it's. | ||
| Read the Dr. Bronner's bottle. | ||
| But the thing is, like, the six million plus people that heard that, like, that, that affects the narrative. | ||
| And then, you know, the list one, that affects the narrative. | ||
| And this one that you did on philanthropy, that affects the narrative. | ||
| Everyone's like throwing their coins into this big pile and trying to figure this out. | ||
| And more so now than I think has ever happened at any time in human history. | ||
| There's more discussion. | ||
| It's just, we're so upset that it's not fixed. | ||
| And it's on its way in the right direction, I think. | ||
| It's just not satisfying the pace in which progress is happening. | ||
| Everybody can get on now, too. | ||
| I mean, like, that's, it's just like I prop up my iPhone and like play a tune. | ||
| Everyone can just like get and phone in front of their face and like get it out there, you know, yeah, yeah, anyone can now, which is great. | ||
| I mean, it allows guys like you to just all of a sudden have a following, you know, all you have to do is have some talent, some talent, some creativity, some hard work. | ||
| Bam, there you go. | ||
| It's kind of cool. | ||
| I mean, that's the beautiful side of social media. | ||
| It's good. | ||
| There's no, there's no rules as far as especially in the music industry and stuff. | ||
| There's no rules anymore. | ||
| Anyone who tells you that they know what to do or that they know what they're doing, they're so full of shit, dog. | ||
| Nobody knows what they're doing. | ||
| Yeah. | ||
| And like, we want people to know because we want to ask, like, what could I do to, you know, to have to be successful or whatever. | ||
| Then nobody knows. | ||
| No. | ||
| Nobody knows. | ||
| And there's no gatekeepers or anything like that. | ||
| All you have to do is want to play music. | ||
| Yeah. | ||
| And then go and do it on your phone and see if anyone likes you. | ||
| And if they like you, you're, you know, that's good. | ||
| Yeah. | ||
| Then everybody will come to you and say, I know how to make this bigger. | ||
| And they don't know what they're talking about either. | ||
| No, they're generally they're vampires. | ||
| And they're trying to take a piece. | ||
| Yeah. | ||
| They're trying to clamp onto you. | ||
| Oh, they come out of the woodwork, don't they? | ||
| Have you had people offer you a bunch of money? | ||
| Not a bunch, but they'll offer you a little for a lot, you know? | ||
| A little for a lot. | ||
| Yeah. | ||
| They want your future, right? | ||
| Yeah. | ||
| They'll go, you know, here's there are all sorts of folks in the early days coming through labels and stuff going, here's, we'll give you 10 grand for like 30 songs or something like that. | ||
| And it's like, this is insulting. | ||
|
unidentified
|
Yeah. | |
| I don't want any of this. | ||
| I don't want any. | ||
| I don't need any of this. | ||
| Oliver Anthony was going through that right after Richman from Richmond. | ||
| Right. | ||
| Richmond North of Richmond. | ||
| That song came out. | ||
| Like they just came after him with all this money. | ||
| Oh, they will. | ||
| All his fucking promises. | ||
| They will. | ||
| All this money. | ||
| They'll give you so much up front, and you don't even, like, if you don't know, it's just a big ass loan that you're never going to recoup. | ||
| And then you're not even, you're not living off your own dough at that point. | ||
| You're just living off of borrowed money like everybody else in the States. | ||
| And you're attached to them forever. | ||
| Yeah. | ||
| You're attached to them forever. | ||
| They own your masters. | ||
| You'll never see it back. | ||
| I mean, I was signed to a label when I was like 22. | ||
| I've been through all that crap. | ||
| How old are you now? | ||
| I'm 47. | ||
| Are you really? | ||
| No. | ||
| No, I'm going to be 33 this year. | ||
| I believed you. | ||
| I was like, man, kids living good. | ||
|
unidentified
|
No. | |
| No, I'm just joshing you. | ||
| But, you know, this is a new time where you really can become hugely successful and get a gigantic following with no one attached to you. | ||
| Yeah. | ||
| Where you don't, you don't have to have all those people put they're not going to help you. | ||
| No, they don't. | ||
| Too many cooks in the kitchen. | ||
| Way too many people wanting to get out of the way. | ||
| And too many people eating at the dinner plate. | ||
| And dude, whenever anybody gives you money, like if the label comes in, let's say Chris took, let's say he took the deal, you know, or whatever. | ||
| If Oliver Anthony took the big deal, then he's got all these people up there in the office with tax write-off MacBooks telling him what to do with his music because they open their wallet and they're going to have to give you notes. | ||
| They're entitled to give you their opinion at that point and you wouldn't be able to just do whatever the hell he wants to do. | ||
| Yeah. | ||
| You know? | ||
| And I think it's so important for artists to be able to do whatever the hell they want to do because that's the only way they can be themselves. | ||
| Exactly. | ||
| And then that's the only way you can be successful is to completely be yourself at all times, 100%. | ||
| Nothing but yourself. | ||
| And you see that one thing that does happen when people do take the money is that part goes away. | ||
| Because even though you think you're kind of sort of being yourself, everybody knows you're not totally. | ||
| You're not totally being yourself anymore. | ||
| And dough will change your life in a way that you might not be ready for something. | ||
| You're going to think, I got this dough. | ||
| Now I can leave this town I don't like or I can get the house that I was wanting. | ||
| When it was really it was being in that town and kind of having things, difficult pressures around you and stuff that was creating these diamonds that was putting you in this situation to Make good art and stuff like that. | ||
| And you take away all your discomfort and then realize you can't make art and you're not happy. | ||
| And then you start getting nostalgic about the good old days when you were broke and shit like that. | ||
| It's just, it's better. | ||
| It's better to just take only what you need. | ||
| Well, then there's also the problem once you become successful of worrying about not being successful anymore, about maintaining it. | ||
| That's terrifying. | ||
| I got to keep this going. | ||
| I can't fall off. | ||
|
unidentified
|
But if you can't be less successful, I can't. | |
| I used to be poor, now I've got money. | ||
| I got to make sure this doesn't go away. | ||
| It's how you chemper your thoughts and you measure. | ||
| You're measured in what you say. | ||
| No, no. | ||
| Your measure of success is like, how much can I be myself and be happy? | ||
| Be happy that way. | ||
| If you can still be 100% yourself all the way to the end of the line, then that's your success. | ||
| Yeah. | ||
| But that's a smart way of looking at things. | ||
| Most people look at things in terms of what is the way that's the most profitable. | ||
| So they'll avoid certain controversies. | ||
| But we know that we know even from talking about people whose business, whose art is money, it creates misery to be chasing the bank account to constantly have the dough. | ||
| You create a wake of, you create bad art. | ||
| Your albums start to suck. | ||
| You might be getting in bigger, bigger places and stuff like that. | ||
| But yeah, it's going to fall off. | ||
| And when it does, you know, then you have some existential problems to deal with at that point. | ||
| Well, there's always the devil's bargain, right? | ||
| That fucking story is as old as time. | ||
| That's the Robert Johnson story, right? | ||
| They thought he sold his soul. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| Van Halen definitely sold his soul to the devil. | ||
| You think so? | ||
| No. | ||
| I don't look like Eddie Van Halen, dude. | ||
|
unidentified
|
What? | |
| You look a little like Eddie Van Halen. | ||
| I fucking love Eddie Van Halen. | ||
| Yeah, he's the man. | ||
| Oh, my God. | ||
| He was the man. | ||
| He's the Robert Johnson of the late 70s. | ||
| Angus Young sold his soul. | ||
| Isn't it funny, though, that that story was like always around? | ||
| The story of selling your soul for success. | ||
| Yeah. | ||
| It's an interesting metaphor. | ||
| But it doesn't make any sense as far as Robert Johnson. | ||
| He's like, he sold his soul, I guess, so he could play and then not be successful in his lifetime and die poor. | ||
| And then we would all find him later. | ||
| I think the thought was that he was so much better than everybody else. | ||
| There's no way he could have gone that far ahead without some help. | ||
| Right. | ||
| He's spooky good. | ||
| Yeah. | ||
| He's spooky good. | ||
| He's working in the future. | ||
| But that's always, there's always guys like that, like Hendrix. | ||
| If anybody sold their soul, it's Hendrix. | ||
| Yeah. | ||
| Not that I think he did, but it's like when that guy came around, everybody was like, what the fuck is going on? | ||
| In every generation, there's a player, man. | ||
| I mean, maybe you could trace the line. | ||
| Johnson, Hendrix, that's skipping a few. | ||
| But to Hendrix, A. Van Halen. | ||
| And then you've got like Steve Vai and Joe Satriani and like these virtuosos. | ||
| Stevie Rayvon, so important to Texas, too, Stevie. | ||
|
unidentified
|
I bought a lot of people. | |
| There's a photo of him on stage at our club. | ||
| Because, you know, I own this place that used to be a theater that he performed at. | ||
| Okay. | ||
| And there's a photo of him on stage in 1983. | ||
| So as you're walking to the stage, there's a photo of Stevie Rayvon on stage. | ||
| And he's back. | ||
| He's so cool. | ||
| I don't know if you've seen him at Austin City Limits, slinging his guitar behind his back. | ||
| Yeah, he was the coolest. | ||
| Playing with his teeth. | ||
| He's got all his scarves and stuff. | ||
| I almost got to drive him once when I was driving limos, but he wouldn't take limos. | ||
| What did he want? | ||
| I drove Jeff Beck. | ||
| He wouldn't take limos. | ||
| He only took cabs. | ||
| I did get him a limo. | ||
| He's like, eh, I'm getting in a cab. | ||
| He'd hop in a cab and talk to the cab driver. | ||
| He didn't want to be Mr. Fancy in a fucking limo. | ||
| Yeah. | ||
| And that's cool. | ||
| Salt of the earth, dude. | ||
| I was pissed, though. | ||
|
unidentified
|
It's like, fuck. | |
| I almost got to drive Steve Rayvon. | ||
| That is one of those talents every generation. | ||
| But it also shows you how dumb limo drivers are. | ||
| Like the companies. | ||
| Like, you let a fucking psycho like me, A 21-year-old maniac drive one of the greatest guitarists of all time. | ||
| Like, I was a bad driver. | ||
| Like, I was a reckless kid. | ||
| Like, all of a sudden, I had this job driving limos because I wore a suit. | ||
| Like, you're going to trust me? | ||
| Well, I. Steve Rayvon? | ||
| I mean, safer than the helicopter pilots and stuff. | ||
| In the end, yes. | ||
| No, I'm just kidding. | ||
| I mean, I was a good driver when I was driving limos. | ||
| It's kind of crazy. | ||
| Thank you. | ||
| But it is kind of crazy that they let a 21-year-old me just at the helm of a car with one of the greatest musicians of all time in the backseat. | ||
| It's always fun to think back on that. | ||
| Like when I was 18, I did a radio program for KDYN Real Country Radio every Saturday morning. | ||
| It was called Dial a Deal, where people call in. | ||
| It was basically like an on-air Craigslist. | ||
| But I was alone at the station after football games. | ||
| Football game would be like Friday night, go to bed, all beat up, wake up at like 5 a.m., go into the station, record the obituaries real quick, because those are going to run on Saturday. | ||
| And then do like a, you know, an on-air Craigslist radio program, and you're just like 17 years old with the entire radio station to yourself. | ||
| Wow. | ||
| I was a total dumbass too. | ||
| I could have been like, anyway, here's Grand Funk Railroad. | ||
| Did you have a specific list of things that you're supposed to play? | ||
| The list was like programmed in, and then you had to record weather. | ||
| So you would pull up the National Weather Service on the screen, and then you would record yourself doing the weather saying, you know, winds are going to be southeast, southeast, northwest, out of 15 miles an hour or whatever. | ||
| You do the obituaries. | ||
| But no, you didn't actually DJ. | ||
| It was just like you would hit the space bar, music would start playing and be like, okay, folks, if you can't tell by the music, I'll go ahead and tell you myself it's time for dial-a-deal. | ||
| Remember, our numbers up here are 667-4567 or toll-free at 888-325-KDYN. | ||
| That's 888-888-325-KDYN. | ||
| Remember, no commercial real estate advertisement. | ||
| Please limit your calls to Once Pro program. | ||
| And keep in mind, I can't always keep track of these numbers up here myself. | ||
| So if you remember them on your end, you're doing me and you a favor. | ||
| Let's get back to the dialing and a dealing. | ||
| And then people would call in and they'd be like, I'm looking for my dog. | ||
| And I'd be like, somebody find that dog. | ||
| And then, you know, list off their number. | ||
| Did you ever play any of your songs? | ||
| No. | ||
| No, it was a classic country radio station. | ||
| So I'm up there listening to like Willie, Whalen, Hank Sr., Hank Jr. | ||
| And then also they were playing like some modern. | ||
| Like I remember Brad Paisley was being played on air and he just shredded. | ||
| But no, I couldn't. | ||
| I couldn't. | ||
| I was in a grunge band at the time. | ||
| I couldn't play. | ||
| Wait, really? | ||
|
unidentified
|
Yeah. | |
| I think that, yeah. | ||
| Once I printed out the track listing for the record that I had made, I would make CD records and sell them at school like five bucks a pop. | ||
| I made more money selling records in high school than I ever did as an adult. | ||
| But I printed out all the song listing. | ||
| Anyway, the album was called Mom, I'm Gay. | ||
| And all the I left a bunch of them at the radio station. | ||
| I remember the guy who was running it, he came to me and he was like, did you print these out? | ||
| Are these yours? | ||
| And it was just kind of awkward after that. | ||
| A small town in Arkansas. | ||
| Not far out. | ||
| That's funny. | ||
| But, you know, folks will let a young person do all kinds of stuff. | ||
| I guess they see an aptitude in you. | ||
| They trust you. | ||
| So they let you drive a limo. | ||
| I think they just needed a job. | ||
| They needed someone to do the job. | ||
| It's that simple. | ||
| And most people would only temporarily keep that job and they would leave. | ||
| Right. | ||
| High turnover. | ||
| Yeah. | ||
| Yeah. | ||
| There's high turnover at the radio station because we weren't making any dough. | ||
| Right. | ||
| You know, the deal. | ||
| What year was this? | ||
| This was in 1927. | ||
| No, 2010. | ||
| I used to do a lot of radio when I was young and doing the road. | ||
| So I'd do like morning radio shows in the middle of nowhere. | ||
| Yeah. | ||
| And it was the only way to promote things. | ||
| Like, say, if you're going to do some gig in Harrisburg, Pennsylvania, like you get on local radio, you tell everybody drive time radio. | ||
| So you're on the air. | ||
| It's like 6.30 in the morning. | ||
| Yeah. | ||
| And let everybody know you're going. | ||
| Radio was a weird thing, man, because it was like a local connection, and all that stuff is kind of gone now. | ||
| You know, local connection used to be fun. | ||
| There was something about listening to the local radio in the morning when you're on your way to work that was kind of cool. | ||
| It was great. | ||
| Yeah, and you knew that most of your friends were listening to. | ||
| They had a program called, I forget what it was, but every morning they would go through the sponsors of the radio station, which were all local businesses, and they would say, here's a cup of coffee for Burns Drug. | ||
| And it was just like a call out to Burns Drug, Burns Pharmacy or whatever. | ||
| And then you'd hear the sound of a coffee cup. | ||
| The obituaries ran. | ||
| You'd listen to them. | ||
| You'd be like, oh, Janine died. | ||
| Damn it. | ||
| We got to go to the memorial. | ||
| They would tell what the Hillbillies, like the mascot was the Hillbillies and like how high school football was doing and stuff like that. | ||
| I wonder if anybody's creating that in podcasts. | ||
| I wonder if there's any good local podcasts that are just about the community that you could like tune into every day. | ||
| Like, here's the news, you know? | ||
| I might have to start one. | ||
| Why not? | ||
| This local. | ||
| Anonymous and local. | ||
| Yeah, just don't even say it's you. | ||
| Make up another name. | ||
| Yeah. | ||
| Yeah. | ||
| This is Bob Butts. | ||
| And people would go, I know who that is. | ||
| No, you don't. | ||
| I heard that dude. | ||
| I'm not who you. | ||
| You're going to do a different voice. | ||
| I know you, but you don't know me. | ||
| Are you going to change your voice? | ||
| You should do that. | ||
| No, I can't. | ||
| Do the local news. | ||
| I have one of those things like an FBI informant. | ||
|
unidentified
|
We went into the house at 4:30 in the morning. | |
| You know? | ||
| You know what I mean? | ||
| Those are sports. | ||
| Do you have those people on TV with their face blacked out? | ||
| Those vice. | ||
| Are you sure that the government was involved? | ||
| 100%. | ||
| They had to know. | ||
| The information came down from the top. | ||
| Show their face. | ||
| Show their face. | ||
| They get to get them killed. | ||
| Oh, man. | ||
| How many. | ||
| Do you do a lot of live gigs? | ||
| Yeah. | ||
| How many live gigs do you do? | ||
| Do you do like in a week? | ||
| Do you do a bunch? | ||
| Like, how do you do it? | ||
| No, it's just scheduled tours. | ||
| So, like, tomorrow I'll announce a tour. | ||
| And I think it's like 20-something dates. | ||
| And then I'll go out for two months and play, you know? | ||
| You just play solo? | ||
| Do you bring something? | ||
| No, I bring a band. | ||
| Oh, that's cool. | ||
| I got a whole band. | ||
| And then right now I've just been in festival season, so I just played the Newport Folk Fest. | ||
| Shout out Newport. | ||
| Do you do any of these songs like United Health? | ||
| Oh, yeah. | ||
| You do all of them? | ||
| Yeah. | ||
| Nice. | ||
| Because I'm just always putting out albums. | ||
| Like, yeah, like on Friday, I'll put out another record, too. | ||
| How many albums do you have so far? | ||
| Like five or six. | ||
| You know, I wrote like a hundred songs in 24 and just like put them all out. | ||
| And that's what's great about being indie is like you can just you just put out music as soon as you make it. | ||
| Right. | ||
| So so there's, but there's a lot of tunes to choose from, right? | ||
| Usually, you know, on the set I'll play a lot of these a lot of these topical ones and then bring the band up and then we'll play the other records that I got. | ||
| But no, I was just at new new Newport and then we did Edmonton Folk Fest. | ||
| And here in a little bit I'll do Farmaid and Healing Appalachia. | ||
| FarmAid was like last year around this time, John Cougar Mellencamp sent me an email and was like, Jesse, I would like you to play at FarmAid. | ||
| But it was from a weird email address and I didn't believe it was him. | ||
| But it was totally him just like emailing through his like girlfriend's email or something. | ||
| That's hilarious. | ||
| And so I showed it to one of my friends. | ||
| He has managed. | ||
| And he was like, I'll vet this out. | ||
| We'll see if this is legit. | ||
| And sure enough, it was anyway. | ||
| Go down to FarmAid, and that's like one of the first gigs that I play as this iteration of myself. | ||
| But I got to meet a lot of cool people and get to be friends with a lot of them, too. | ||
| Lucas Nelson was very cool to meet him last year, and now I think we'll be doing a tune together here before too long. | ||
| Nice. | ||
| Him, I got to meet Charlie over there at FarmAid. | ||
| Charlie Crockett. | ||
| Oh, Charlie's awesome. | ||
| He's super. | ||
| I really enjoyed talking to him. | ||
| Yeah, he's great. | ||
| He was a great guest. | ||
| What a wild life that guy's lived. | ||
|
unidentified
|
Yeah. | |
| That's like, that comes out in his music. | ||
| There's something about like hard living, like living an authentically difficult life that like you hear it in the way they sing. | ||
|
unidentified
|
Yeah. | |
| You hear it. | ||
| It's real. | ||
| Yeah. | ||
| You know, like there's like an intangible element to certain songs. | ||
| You know? | ||
| That's how it be. | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| Well, AI is not going to fix that. | ||
| They're not going to, you know what I mean? | ||
| Like AI is not going to overcome that. | ||
| No, I don't know. | ||
| That's maybe the only thing that AI is not going to overcome. | ||
| I would be worried. | ||
| I don't understand why musicians are... | ||
| You know, they're making... | ||
| I don't know if you've seen this, where they made a female indie, like, emo, whatever it would be, band lady. | ||
| And it's really fucking good. | ||
| Yeah. | ||
| Like, you listen to it and you're like, holy shit. | ||
| I sent it to Patrick from the Black Keys, Patrick Carney. | ||
| Patrick Carney. | ||
| And he was. | ||
| His answer was like, pop music is AI, has been for a while. | ||
| Good thing I suck at drums and make it human. | ||
|
unidentified
|
Yeah. | |
| I'm going to send this to you, Jamie, because you hear it and you're like, oh my God, this could be a fucking giant hit. | ||
| And the crazy thing is that AI makes this in seconds. | ||
| Right. | ||
| I mean, in literal seconds. | ||
| Like, you watch this guy put in the prompts, you watch it make this song, and then you listen to the song and you're like, oh, my God. | ||
| And it's better than most of these songs. | ||
| Like, listen to this. | ||
|
unidentified
|
Create a square avatar of a fictitious female alternative/slash indie singer and a name for her. | |
| Wow. | ||
| Sadie Winners. | ||
|
unidentified
|
Sadie Winners. | |
| Okay. | ||
| Song is about walking away from someone who never really saw her worth. | ||
| She was going to create the song lyrics. | ||
| Look at that. | ||
|
unidentified
|
Wait, how many seconds was that? | |
| That was like about four seconds. | ||
| Look at that. | ||
| That's got a bridge. | ||
|
unidentified
|
Did you even read any of these? | |
| You don't care. | ||
| I don't care. | ||
| Put my lyrics in. | ||
| The lyrics that happen in four seconds. | ||
|
unidentified
|
Yes. | |
| And then hit create. | ||
| Let's listen. | ||
| This is the world premiere. | ||
| I was paying. | ||
|
unidentified
|
You were scissors. | |
| Cut me out. | ||
| She's a good singer. | ||
| good singer. | ||
| I'm still there. | ||
| I'm stuck. | ||
| You were stuck. | ||
| Ooh, that's nice. | ||
| Pretty good. | ||
| Where are we, Rick? | ||
| Where have we found ourselves? | ||
| How crazy is it? | ||
| I mean, look at that. | ||
| Jewel even says, Julio's, wow, it's a great melody. | ||
|
unidentified
|
Yeah. | |
| Listen. | ||
| Everything that can be replaced will be replaced. | ||
| Okay. | ||
| And pop music was already AI. | ||
| Patrick has a great point. | ||
|
unidentified
|
Yeah. | |
| I don't think artists, what you're making, I don't think you got nothing to worry about. | ||
| Well, it's not a worry. | ||
| I mean, for some people, I'm sort of worry, but it also is just a concern that there's a new element of society. | ||
| That there's creativity is being replaced in at least a form right in front of our eyes. | ||
| Regardless of what you think about pop music, there are some people that are making pop music as a creative endeavor. | ||
| And that just did it way better than they do and did it like that. | ||
| They'll have to find something else to do. | ||
| They'll have to find something else to do. | ||
| I'll have to listen to something else in JCPenney. | ||
| Talk. | ||
| Who still goes to Jay-Z Penny? | ||
| Are they still around? | ||
| Is there JCPenney? | ||
| Yeah. | ||
| At where you are? | ||
| I go with JCPenney. | ||
| I'm not knocking it. | ||
| I'd go if I needed something. | ||
|
unidentified
|
I'm just saying I haven't seen one in a long time. | |
| I see targets everywhere. | ||
| I don't see JCPenney anymore. | ||
| The music like that always. | ||
| Yeah, I feel like I'm in a, yeah, I feel like I'm in an academy or you're buying sneakers somewhere. | ||
| You just need something to go in the background, some non-confrontational music to carry you through. | ||
| But what you said, I think, is right, that if you can be replaced, you will be replaced. | ||
| Yeah. | ||
| All things that can be replaced will be replaced. | ||
| It's how it has always been as long as man has been around. | ||
| Everything that can be replaced will be replaced. | ||
| But there are things that are irreplaceable. | ||
| Right. | ||
| Yeah. | ||
| I mean, that's kind of in every new iteration of technology, we're seeing things get replaced, right? | ||
| Right. | ||
| Like when I was a kid, VHS was the newest technology. | ||
| Like, oh my God, you could watch a movie at home. | ||
| Yeah. | ||
| No one ever thought Blockbuster was ever going to go away. | ||
| Of course, there's always going to be a blockbuster. | ||
| Every Friday night, everybody goes to Blockbuster to find a movie to watch. | ||
| Gone. | ||
| Yeah. | ||
| Doesn't exist anymore. | ||
| Gone like that. | ||
| Like real quick. | ||
| Streaming, internet speeds pick up. | ||
| It's over. | ||
| Yeah. | ||
| Yeah. | ||
| I mean, remember record sales? | ||
| Oh, my goodness. | ||
| They would make millions and millions and millions just from selling records. | ||
| Now it all went away. | ||
| Napster came along, and some people freaked out. | ||
| And, you know, some people lost a lot of fans because they freaked out too, like, to try to stop the tide of inevitability. | ||
| I mean, didn't. | ||
| Hetfield and I mean, Metallica was eventually kind of right about what they said about Napster, right? | ||
| Oh, they knew. | ||
| Yeah. | ||
| They knew what was. | ||
| Well, they knew it was going away. | ||
| Yeah. | ||
| It was all going away. | ||
| I mean, everybody kind of understood that this is. | ||
| If you're logical and objective, I mean, you could pretend, like, oh, don't worry, we're going to be fine. | ||
| But if you're logical and objective, you go, oh, this is just the first bullet that landed in this never-ending war with digital information. | ||
| Like, you're not going to be able to prevent this from happening. | ||
| Yeah. | ||
| I think the record companies have figured out how to make money off of streaming and to make sure that the artist probably doesn't get all that much of it. | ||
| Well, this is the beautiful thing about being independent. | ||
| If you're independent, you can make money off of streaming. | ||
| And if you're independent, you had all of your touring revenue, which is really where it's at. | ||
| You had all of it. | ||
| Just make enough to pay for another tour. | ||
| Well, it depends on how successful you are. | ||
| But this is what's really crazy about some of the deals that some of these artists are signing where the label gets a giant percentage of their touring money, which didn't used to be the case. | ||
| It used to be like an artist. | ||
| They want to find a way to pull it in somehow if they're not selling the records. | ||
| Exactly. | ||
| They get a piece of merch. | ||
| They get a piece of this. | ||
| They get a piece of everything. | ||
| They just own you. | ||
| And what value do they provide other than you getting the security of saying, I'm on Warner Brothers? | ||
| Just standing in the way every time you try to put out an album, they go, I don't hear a hit here. | ||
| It's like, well, because there are none. | ||
| Okay. | ||
| Wait for the next record. | ||
| It's out in two months. | ||
| But they want to make as much as they possibly can off of one record and the one record. | ||
| It puts an immense amount of pressure on an artist without developing the artist at all. | ||
| It's what's Hunter's. | ||
| The music industry is a shallow money trench where good men die like dogs. | ||
| It's a racket. | ||
| But don't you think that now less of it? | ||
| Because there are people like you out there. | ||
| There's quote, you know, Tyler the Creator, didn't he make most of his everything was just created by himself online, right? | ||
| I don't know. | ||
| Isn't that the case? | ||
| I don't know. | ||
| You don't know? | ||
|
unidentified
|
I don't know. | |
| You don't know? | ||
| But you can. | ||
| That's too hard. | ||
| I don't know. | ||
| Who knows? | ||
| Well, is it a weird one? | ||
| Him specifically, I don't know, but I would say that's the story that's being told. | ||
| Okay. | ||
| But some people have done it, right? | ||
| Oliver Anthony for sure did it. | ||
| Yeah, yeah. | ||
| And it's, you know, it's a new pathway. | ||
| If you have something that really resonates, like your United Health song or any of your songs, like, that's all you need, you know? | ||
| And then that one thing could change everything, and then people listen. | ||
| Totally. | ||
| Yeah. | ||
| And the fact that you're able to do it completely independently, you're able to have like a truly authentic voice. | ||
| Like, it's like when you sing about who's the guy that created it that doesn't give a fuck, what's his name? | ||
| Richard T. Burke. | ||
| Yeah, Richard T. Burke. | ||
| You can sing about Richard T. Burke, doesn't give a fuck. | ||
| Like, it's no one's in your ear. | ||
| Nobody's telling you to be careful. | ||
| Yeah. | ||
| No one's. | ||
| So, like, I'm hearing, I'm like, yeah. | ||
| You know, people know. | ||
| They know when something is authentic. | ||
| It's real weird. | ||
| They're fucking. | ||
| The way people tune into a song, it's there's something going on with songs. | ||
| You know, it's not just like a bunch of music and a bunch of lyrics. | ||
| Like, it changes the way you feel. | ||
| Yeah. | ||
| It's a drug. | ||
| Yeah. | ||
| It's a weird, like, a good song is like a good drug. | ||
| Yeah, dude. | ||
| Have you heard Freebird? | ||
| Oh, fuck yeah. | ||
|
unidentified
|
Dude. | |
| I've heard that song about a thousand, more than a thousand times. | ||
| Yeah. | ||
| A hundred thousand times, maybe even. | ||
| Yeah, if you don't think music's a joke. | ||
| Listen to Freebird. | ||
| Listen to that fucking guitar solo. | ||
| Looking with the devil. | ||
| Oh, yeah. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| A whole lot of love. | ||
|
unidentified
|
Don't, don't, don't, don't. | |
| Yeah. | ||
| Yeah. | ||
| It's fired up. | ||
| There's songs that change the way you feel that if that was a drug, that would be a very valuable drug. | ||
| Yeah. | ||
| You know? | ||
| They're little mood capsules, man. | ||
| Yeah. | ||
| I want to feel melancholy. | ||
| Here's Yesterday by the Beatles. | ||
| Right. | ||
|
unidentified
|
Right. | |
| Yesterday. | ||
| Yeah, there's a bunch of songs like that. | ||
| Captain Jack. | ||
| You know? | ||
| Captain Jack. | ||
| Captain Jack will get you high tonight. | ||
| Oh, I was thinking of Elton John. | ||
| Captain Jack is one of Billy Joel's greatest songs. | ||
| It's a great fucking song. | ||
| It's a guy living on Long Island. | ||
| It's great. | ||
| It's a great song. | ||
| It's like you listen to it. | ||
| You're like, god damn, he nailed it. | ||
| He fucking nailed it. | ||
| He's one of the greats, man. | ||
| Dude, I really appreciate you coming in, and I really love what you're doing. | ||
| Thanks for having me. | ||
| I just wanted to have you in here, shoot the shit with you, see what your process was and how you think about things. | ||
| And I really enjoyed it. | ||
| Thanks for having me, Joe. | ||
| My pleasure. | ||
| Tell everybody what's the best place to find you and find your stuff. | ||
| I'm online. | ||
| So go, you know, get online. | ||
| Do you have a, what is your Instagram? | ||
| Wells Music. | ||
| Wells Music. | ||
| There it is. | ||
| W-E-L-L-E-S. | ||
| Yeah. | ||
| So it's wellsmusic.com. | ||
| Tour dates are all there. | ||
|
unidentified
|
Yeah. | |
| Go out and see them. | ||
| Support. | ||
| Dude, continued success and best of luck to you. | ||
| I really enjoy what you're doing. | ||
| Thanks for having me. | ||
| My pleasure, bro. | ||
|
unidentified
|
All right. |
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