| Time | Text |
|---|---|
|
Protecting Valuables Underground
00:15:03
|
|
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| Central Park. | |
| Oh yeah, baby. | |
| Let me turn this around. | |
| You don't want to see me. | |
| This is a good one. | |
| Buy the buy. | |
| I gotta stop seeing buy the buy. | |
| Check out this monstrosity. | |
| Can you see this? | |
| Absolute hideousness. | |
| this is right here at the corner of 50 8th | |
| This is Columbus Circle. | |
| This is where, in 1971, Joe Columbo was shot three times. | |
| And that famous Joey Gallo was involved in it. | |
| They had this black shooter they recruited who was shot within a millisecond. | |
| This is the Museum of Art and Design. | |
| Very funky place. | |
| Couldn't tell you exactly what it is, but I've been in there a number of times. | |
| And it's very nice, various events. | |
| But this is if you've got absolutely nothing better to do. | |
| First, this is what makes New York, I still say, the carts and the dirty water dogs. | |
| And I hope you're having a good time. | |
| Why? Look at that. | |
| A view of this. | |
| Stay. you | |
| Boycotting Joe Columbo. | |
| Boy, this is risky. | |
| This is... | |
| They plan on boycotting Columbus. | |
| I admit this. | |
| I'm spinning around like a dervish. | |
| I'm not even sure what that dervish is. | |
| But... | |
| Is this merchants? | |
| First you will see people holding bike rentals. | |
| We have a lot of time. | |
| Look at that. | |
| This is what used to be called Time Warner. | |
| There it is. | |
| Columbia Circle, right there. | |
| And you'll always know it there by that gold globe, or the silver globe. | |
| See this? | |
| The last thing sold by foreign, hardworking foreigners. | |
| The last thing sold by foreign, hardworking foreigners. | |
| Any reaction? | |
| Let me see this. | |
| Can I get a five by five or something? | |
| I want to make sure I'm not wasting my time with this. | |
| Oh, there we go. | |
| There we go. | |
| Hi, Lionel. | |
| Very good. | |
| That's good. | |
| I know how he feels. | |
| Believe me. | |
| Let's go into the park. | |
| Do I see anybody? | |
| Yes, yes. | |
| Give me a 5x5. | |
| Let's do a roll call. | |
| Where is everybody from? | |
| This is a park ranger. | |
| Thank you. | |
| Thank you for your service. | |
| See that? | |
| I always say that. | |
| Very safe. | |
| Families galore. | |
| Look at this thingy. | |
| Remember I told you this the other day? | |
| There are the indiscriminate... | |
| I shouldn't say indiscriminate. | |
| Kind of a generic. | |
| Either South American... | |
| I always wonder if it's labor trafficking. | |
| But they sell churros and... | |
| They always have children with them. | |
| Very sad. | |
| Back to back, they sell churros and cut up fruit. | |
| Wow, this is beautiful. | |
| Oh, yeah. | |
| This is gorgeous stuff here. | |
| I'm going to take you to... | |
| If we go down here to the left, which, that way, Tavern in the Green. | |
| Eh. | |
| But I want to take you to the place where I'm sure you've seen if you've watched movies like Kramer vs. | |
| Kramer. | |
| I cannot put into words how beautiful this is today. | |
| I cannot explicate limb, expatiate how beautiful it is. | |
| Look at this. | |
| We can show you everything in one hour. | |
| You know how expensive these things are? | |
| Don't ever. | |
| The horses? | |
| Eh. | |
| Okay. | |
| See, the beautiful thing about the horse is you sit behind the horse and you smell just fumes of horse shit. | |
| Because there's a bag. | |
| Uh-oh, here comes the heat. | |
| There comes the heat. | |
| There's a bag that collects the horse dung, the manure, and it's right in front of you. | |
| So, consequently, when you are sitting in it, Oh, let me stop right now. | |
| And please, let me just say this right after that. | |
| Let me make sure you see this. | |
| I'm sorry I'm rambling. | |
| I realize that. | |
| I can't help it. | |
| Okay, enough of that. | |
| This is the famous Essex house. | |
| You might have seen this. | |
| Remember that famous photo? | |
| Isn't this gorgeous? | |
| Oh, God. | |
| This is beautiful. | |
| The famous photos... | |
| Of these workers high up on beams eating their lunch. | |
| It was right at the Essex house. | |
| This is Central Park South. | |
| What you're facing right now. | |
| Tony Bennett lived there. | |
| I can't tell you how expensive this is. | |
| Words. | |
| There is not an amount of money that can explain. | |
| Look at these people lounging about. | |
| Beautiful. | |
| Beautiful. | |
| Birds chirping. | |
| As long as you hear birds, that's a good sign. | |
| Check my power. | |
| Checking your words and comments. | |
| Central Park is too elitist. | |
| That's a decent troll, but you can do better than that. | |
| Let me ask you something. | |
| I know you don't mean what you say. | |
| That's okay. | |
| I'll work with you. | |
| Does this look elitist to you? | |
| Of course not. | |
| People are motivated by a variety of different things, and I understand it. | |
| Jealousy. | |
| And the desire to be funny. | |
| It really motivates people. | |
| And I'm here to help. | |
| Anything I can do to sharpen your comedy chops, I'm here to help. | |
| So you just feel free. | |
| Just be cordial. | |
| That's all. | |
| You can say whatever you want about me. | |
| I don't care. | |
| But just be nice to each other. | |
| Ah, the smell of horse shit. | |
| It's beautiful. | |
| Let's go in here. | |
| Shall we? | |
| What do you see? | |
| I don't really read the... | |
| Should we tip the stripper? | |
| Love in the comments. | |
| Some good stuff. | |
| A lot of rambunctious riposte and rebarbative comebacks. | |
| That's good. | |
| That's good. | |
| I don't know what this is. | |
| But, uh, okay. | |
| I think that was a dress. | |
| Nothing wrong with that? | |
| Or be it for me to look up. | |
| There we go. | |
| When people walk with their heads down, I want to scream. | |
| Seriously. | |
| Oh, by the by, Sean Atwood later today, about 3 p.m., 3 p.m. or so, Eastern Time. | |
| We're going to be talking about this, quote, Jouffre Note. | |
| Now, do you see this right here? | |
| $15 caricature for kids. | |
| Isn't that nice? | |
| Only one problem. | |
| The person who is drawing did not do that. | |
| Somebody else did? | |
| Which is okay. | |
| Elitist, huh? | |
| Just beautiful, beauteous. | |
| Robbery odds, 50-50. | |
| Again, this is, what is this, cold, hard Toronto. | |
| Toronto, I can't believe what a pussy you are. | |
| If this scares you, dude, I, uh, we've got to toughen you up. | |
| People love to be, this is nothing. | |
| Where I have felt really serious fear, Philly. | |
| Not here, ever. | |
| Ever. | |
| My God. | |
| The verdure. | |
| The green. | |
| Let's see what else is. | |
| Alright, listen. | |
| Let me explain something. | |
| I want you to dig what I'm saying. | |
| I love when people come out and say stuff. | |
| And I mean that. | |
| It doesn't have to be good or accurate. | |
| I don't care about disinformation or data information. | |
| I really don't care. | |
| It doesn't matter to me. | |
| As long as you are cordial to each other. | |
| Say what you want about me. | |
| I don't care. | |
| Somebody before asked me, out of nowhere, talking about Virginia Dufresne, are you Jewish? | |
| What does this have to do with anything? | |
| And depending upon who asked me, I changed the subject. | |
| Of course, as I've told you a million times, I'm a retired Catholic. | |
| And have many, many Jewish friends, but no, I am not. | |
| I'm not Jewish. | |
| This is... | |
| I want to show you some good stuff here. | |
| I hope you're having fun. | |
| You don't have to watch this, by the way. | |
| Nobody is compelling. | |
| I'm sorry that I'm not reading the notes. | |
| It's too hard. | |
| I'm going to walk into something. | |
| Always the people looking at their phone. | |
| What the hell am I doing? | |
| Japanese? | |
| Okay, here we go. | |
| Here we go. | |
| I'm going to try my best. | |
| There's something about the smell of trees and breeze and... | |
| What am I trying to say? | |
| Just... | |
| I've got these great Fresnel lenses. | |
| And this is what, by the way, this is what Hillary Clinton wore. | |
| Not them. | |
| Look at these poor people. | |
| They suck. | |
| One thing, by the way. | |
| That picture, if ever she robs a bank, she better hope they circulate that picture. | |
| They'll never find her. | |
| It looks nothing like her. | |
| Don't ever get a picture. | |
| No matter the inclination. | |
| Because another thing, you sit there forever waiting for this slowpoke to get through with this. | |
| What was I saying? | |
| I'm sure it was brilliant. | |
| I'm just digging this. | |
| You know, you've actually motivated me to get out. | |
| I was going to do a Jouffre video and I thought, you know, I'm really getting kind of tired. | |
| I feel so sorry for her. | |
| I don't know if they killed her. | |
| I have no reason to believe it because there's no evidence of it. | |
| But I'm not buying... | |
| Oh, did you read this? | |
| We'll talk about that later with Sean. | |
| They said, she left a note. | |
| She left a note, not a suicide note. | |
| She just left a note. | |
| She left a note. | |
| Now dig this. | |
| For people who were fighting and trying to gain courage, she left a note of encouragement which I think militates against the notion of her having committed suicide. | |
|
Garrett's Warholian People
00:15:39
|
|
| All of the extraneous collateral evidence point to her not killing herself. | |
| Elitist, huh? | |
| Check this guy out. | |
| Is that an elite? | |
| You think? | |
| See all these people? | |
| Older folks? | |
| Do they look frightened? | |
| Imagine just being one of them. | |
| Come on. | |
| Leaving your home. | |
| Leaving your apartment. | |
| Just pulling up a piece of grass. | |
| Or is that chewing on a piece of grass? | |
| Ventura Highway. | |
| See this new building, this new construction? | |
| I don't know who. | |
| That's the Upper West Side. | |
| That's not too far from where Regis lived. | |
| What a guy. | |
| You would have loved him. | |
| I mean, I'm not name-dropping. | |
| I love that guy. | |
| We had so much fun meeting for lunch. | |
| Coming up here is the carousel, the famous carousel. | |
| Have you heard about that? | |
| Can you see it? | |
| Let's see if we can get near it. | |
| It's great to see kids run and play and just enjoy being a kid. | |
| I can't say that enough. | |
| Now look at this thing. | |
| I want to see Joe Rogan do a special on where'd that rock come from? | |
| Where'd that boulder? | |
| You know that big dude he has with a white beard? | |
| They give you three hours. | |
| Along with Dave Smith talking about Zionism. | |
| Do you want to put me to sleep? | |
| Listen, between you and me, I know it's critical, but I just cannot hear any more about genocide. | |
| I can't. | |
| I swear to you. | |
| Because I've heard the argument, thank you. | |
| I understand what you're saying, thank you. | |
| Anti-Semitism, got it. | |
| Got it. | |
| Genocide, ICC, ICJ, got it. | |
| Christian Zionism. | |
| Got it. | |
| I understand it. | |
| Got it. | |
| But please, enough. | |
| Douglas Murray. | |
| Dear God, no. | |
| This is the carousel. | |
| Let's get close, shall we? | |
| Imagine, what do you do? | |
| I run security at the carousel. | |
| Let's see if we get this. | |
| These horses are so... | |
| Oh. | |
| Here we go. | |
| Watch this. | |
| Thank you, Teresa Skinner. | |
| Thank you. | |
| Look at this little girl. | |
| Look at this. | |
| cute | |
| You do a good job. | |
| You do a good job. | |
| Charge of security. | |
| How long have you been doing this? | |
| Oh, it's beautiful. | |
| Look how happy they are. | |
| Now tell me. | |
| Don't you dig this? | |
| I know, say something smart. | |
| Come on, say something smart. | |
| Come on, all you funny guys out there. | |
| But you were a kid. | |
| All of these painted wooden horses. | |
| I'm getting dizzy already. | |
| Dizzy, I had to spin it. | |
| Like a whirlpool. | |
| Tommy Rowe, ladies and gentlemen. | |
| Alrighty. | |
| I always think of those great... | |
| Enough of that. | |
| I'm winded. | |
| I love the classic horror films where they speed up the horses and they lose control. | |
| Every kid is the same. | |
| I don't care what country. | |
| I don't care where they're from. | |
| Kids are kids. | |
| And they're beautiful. | |
| And they're precious. | |
| And anybody who puts a hand on a kid... | |
| I have an appointment with you. | |
| With my soldering iron. | |
| Do the math. | |
| Okay, let me see. | |
| Beautiful ladies and gentlemen I | |
| You know what he's saying? | |
| He's saying, don't let those bastards in the chat bother you. | |
| No, no, that's what he said, seriously. | |
| Don't let the bastards in the chat bother you. | |
| I always think labor, labor trafficking. | |
| That's terrible, I shouldn't say that. | |
| How do you know? | |
| I mean, how do you know? | |
| You know what I mean? | |
| Talk amongst yourselves. | |
| Don't stop. | |
| It said that I'm not like I'm different because I can do the | |
| Look at this, elitist. | |
| More elitist. | |
| Are you catching the stairs? | |
| Visit me or what? | |
| Not that I care. | |
| But you get this look of... | |
| Is he taking a picture? | |
| Expectation of privacy, baby. | |
| Open view. | |
| Open air. | |
| Here we go more of these people. | |
| See? | |
| Central Park. | |
| Checking it out. | |
| Making sure everything's groovy. | |
| This is, I think, I can't be part of the zoo, is it? | |
| No. | |
| Central Park Zoo, I don't care. | |
| Central Park Zoo, I do not like. | |
| I hate zoos. | |
| Hate them. | |
| Hate them. | |
| This is what I wanted to show you. | |
| Are you hearing the lamp? | |
| I don't know if you can hear this. | |
| Can you hear? | |
| I've got earbud. | |
| Never the Wi-Fi, just the cord. | |
| But you hear every... | |
| Language, or you think. | |
| Look at that guy called him an asshole. | |
| Hope you saw that collision. | |
| I'm rambling. | |
| I'm a rambling man. | |
| Greg, Greg Allman's at it, guys. | |
| Phones like this. | |
| Seriously, gave the ambulatory schizophrenic a way of fitting in. | |
| I told you my thought about giving out old broken earpieces to the insane. | |
| Now this Remember the movie Kramer vs. | |
| Kramer, where he taught his son how to ride a bike? | |
| Oh, let's dig this. | |
| Wow! | |
| With gloves. | |
| This is Pianist Angelo. | |
| What's with the clubs? | |
| Feeling nervous? | |
| Feeling anxious? | |
| Let Angelo pick up the pace of your anxiety. | |
| Missing that deadline? | |
| Your spouse is about to walk out? | |
| Let Angelo play a few songs for you. | |
| You'll be climbing a bell tower before you know it. | |
| This is it, my friends. | |
| This is the Hall of Poets. | |
| There's Billy Shakespeare. | |
| Can you see Shakespeare there? | |
| I think that's Shakespeare. | |
| I'm not going over there. | |
| Again, remember New York? | |
| No writing. | |
| This is called The Mall. | |
| When you read this, it says, The Mall Literary Walk. | |
| The restoration of this landscape was made possible through the generosity of Ann Burnett and Charlestown. | |
| This is the Literary Walk. | |
| This is great, my friends. | |
| You can endow a tree. | |
| I know what you're thinking. | |
| And well-endowed trees are even better. | |
| Honor someone with a living tribute by endowing a tree. | |
| Okay. | |
| Robert Burns. | |
| Ladies and gentlemen. | |
| Walter Scott. | |
| You might have heard about him. | |
| He's been in all the papers. | |
| Sir Walter Scott to you. | |
| Thank you. | |
| This is where, at one scene, where he was learning to ride the bike. | |
| This is, I really dig this. | |
| I know, say something smart. | |
| Come on. | |
| Come on. | |
| Look at this. | |
| Here we go. | |
| Oh, you're going to love this one. | |
| Israeli Defense Comics. | |
| Watch it. | |
| Watch it. | |
| Smashing through, Bibi came face to face with the Ayatollah. | |
| Okay. | |
| All right. | |
| Fair enough. | |
| Fair enough. | |
| I know what you're going to say. | |
| I know. | |
| I don't know what the hell this is. | |
| I like things where you're not sure exactly what it is. | |
| Before you even ask how much, you say, what the hell is this? | |
| What is this? | |
| Oh, a little woolen... | |
| That's very nice. | |
| Not really. | |
| Polaroid portraits, ladies and gentlemen. | |
| Why am I saying ladies and gentlemen? | |
| I should take a picture of this guy. | |
| Women's rights pioneers, Sojourner Truth, Susan Bianchi, and Elizabeth Cady Stanton. | |
| Are you digging this? | |
| I just realized one thing. | |
| You're not going to believe what I'm saying. | |
| I haven't even been looking at the screen. | |
| So for all you know... | |
| I could have been taking pictures of the ground. | |
| Because remember, this is about me, not you. | |
| This is Fitzgreen Halleck. | |
| One of my favorites. | |
| Because when you think literary great, Fitzgreen Halleck comes to mind. | |
| This started off as a good idea. | |
| Kind of a Warholian type of thing. | |
| Take something you know. | |
| And just futz it up with paint. | |
| Are we having fun? | |
| Let me see some numbers. | |
| Give me a one. | |
| Are we having fun? | |
| I'm doing this for my sister, by the way. | |
| Bless her heart. | |
| She's a shutter. | |
| She tells me she likes to watch this. | |
| I'm doing this for her. | |
| It's not about you. | |
| But keep those cards and letters coming, ladies and gentlemen. | |
| I don't know what this is. | |
| Oh, holograms. | |
| There's Kobe and there's Michael. | |
| Can you see that? | |
| Wait a minute. | |
| Okay. | |
| I'm not going to make fun of any kind of neuromuscular anomalies. | |
| This is it, my friends, right here. | |
| Can you see the sign that applies to me? | |
| I'm going to move up carefully. | |
| Move up slowly. | |
| Tell me. | |
| Tell me. | |
| Tell me if you see the sign. | |
| That's it, my friends, right there. | |
| Fart zone. | |
| Let me read what you're saying. | |
| Okay. | |
| Can you hear birds? | |
| I'm gonna stop for a second. | |
| Read what you're saying. | |
| read what you're commenting on. | |
| Let's say. | |
| Okay, what do you think? | |
| Are you having fun? | |
| Should I continue? | |
| Be honest with me. | |
| Be honest. | |
| I know what you're thinking. | |
| You're thinking, I've got, what, about 107 people here. | |
| I know what you're thinking. | |
| You're thinking, what am I doing? | |
| Should I continue? | |
| If it's a problem, let me know. | |
| I mean, I could just listen to music. | |
| Do you like this? | |
| I wish I could show you some of the people. | |
| It's neat. | |
| I like that. | |
| It's great. | |
| All right. | |
| That's all I need. | |
| Come on. | |
| Any good trollers? | |
| You can do better than that. | |
| Come on. | |
| Let's go. | |
| I'm looking. | |
| Queeps. | |
| Listen. | |
| You've got to understand something. | |
| I love really filthy stuff. | |
| Trolling. | |
| That's how I got into radio. | |
| We used to call it being a chronic. | |
| But this stuff is really lame. | |
| I got to work with you on it. | |
| What time is it? | |
| 12:54? | |
| Oh, yes. | |
| I'm going to show you another spot that you may have seen. | |
| By the way, here's Meet the Author. | |
| This is Garrett Rule Robinson. | |
| You can meet him. | |
| I don't know what this is. | |
| This is Goth meets Roaring Twenties. | |
| Like the look. | |
| Remember Goth? | |
| I always liked them. | |
| What do they want? | |
| Didn't bother anybody? | |
| When I was in LA, I remember. | |
| Did you hear this? | |
| When I was in LA, I can't remember. | |
| Kardashian-esque. | |
| Anyway, the goth I used to really like. | |
| They had black makeup, black clothes, black everything. | |
| Black, white face, black. | |
| I mean, they were dour. | |
| They look morose, moribund, funereal, adorned in black. | |
| But, you know, I kind of dug it. | |
| What are you protesting? | |
| What are you rebelling against? | |
| What do you got? | |
| Okay. | |
| Watch it. | |
|
Shut Up, Murray
00:01:41
|
|
| Watch what you're saying, my friend. | |
| Watch what you're saying. | |
| I know what you're thinking. | |
| Oh, yeah. | |
| Here is, of course. | |
| And they say this with all due respect. | |
| You can get a half-assed saxophone player. | |
| Okay? | |
| Take somebody who is exactly the same degree of half-assedness, have them be black, different story. | |
| It's like blues people. | |
| See what I'm saying? | |
| I'm sure he's fine. | |
| I used to also get annoyed. | |
| By white people, all of a sudden pretending they were black bluesmen, wearing the pork pie hat, saying things like, all right, I dig it, the cat. | |
| Shut up. | |
| Murray, why are you talking like that? | |
| I don't know. | |
| Okay, I digs it. | |
| Stop it. | |
| Scatman Crothers channeling. | |
| This is also a very, this is the band show. | |
| This is very famous, I guess, to some folks. | |
| See this man? | |
| You gave up. | |
| You may or may not have seen this. | |
| Maybe it's me. | |
| Maybe I've seen it. | |
| Keep it alive. | |
| Keep the music alive. | |
| Keep the music alive, sir. | |
|
Let's Explore the Boathouse
00:05:04
|
|
| I don't know what that means. | |
| See, I'm doing the same thing. | |
| I make these gratuitous comments, keeping it real, keeping it alive. | |
| It's the style of my study. | |
| I'm doing the same thing. | |
| I wouldn't talk like that. | |
| I wouldn't walk up to a cellist and say, keep it alive. | |
| What's the matter with me? | |
| Okay, here we go. | |
| I'm going to take you... | |
| Let me take you... | |
| This is one of the more... | |
| You probably don't know this, but to me... | |
| ...famous thing. | |
| Let me see this. | |
| That was an important call, but you know what? | |
| I can't take it now. | |
| Let me do this. | |
| Let me take you here first. | |
| This is good. | |
| This is good. | |
| I just want to take a picture of nothing. | |
| Okay. | |
| Watch those steps. | |
| I have this fear of falling. | |
| And you can just absolutely find yourself end over end. | |
| Okay, here we go. | |
| Let me get out of her way. | |
| I don't want to photobomb. | |
| Here we go. | |
| Look at this. | |
| You see this? | |
| This is right underneath the entrance to this fountain whose name keeping it real Notice I didn't give him the keeping it real. | |
| And now we have this. | |
| For no particular reason. | |
| The princess. | |
| Grab it, girl. | |
| Your highness, all the best. | |
| This is the famous fountain. | |
| Whose name escapes you? | |
| Ah, yes. | |
| The Navy Terrace, named in honor of the men and women of New York City who served their country during the World Wars. | |
| Now, right now, you don't know this, but I'm being sprayed by mists of this stuff. | |
| This is really well-known. | |
| And the name of this guy being found, I couldn't give you right now if you're Peyton. | |
| But I'm sure you've seen it. | |
| I'm not here. | |
| I'm going to show you the boatyard, or the boathouse, not the boatyard, the boathouse. | |
| This was closed for a long time. | |
| little restaurant over here | |
| This you might have seen in various movie presentations and the like. | |
| Isn't it beautiful? | |
| Don't you dig this? | |
| This is beauteous. | |
| I don't know what this silt is. | |
| I don't know what these things are. | |
| They look like mung beans. | |
| No, they look like dried, black-eyed peas before they are prepared. | |
| There's a famous boathouse. | |
| And these people are in a boat. | |
| Does this not look boring as hell? | |
| What is the purpose of this? | |
| Well, there's a woman who just sits there, and this poor guy says, I've never done this in my life. | |
| My God! | |
| Now I understand the rowers. | |
| These people are winded. | |
| Believe it or not, there have been people who have gotten stranded, meaning they've lost their ability to locomotive and propel. | |
| Tell me that's not beautiful. | |
| Tell me, dear friend. | |
| Well, let me just do this. | |
| I think I've had enough of you. | |
| Tell me how much you loved it. | |
| Be honest with me. | |
| Tell me how much you loved it. | |
|
Today's Un describable Beauty
00:00:50
|
|
| Let me give you a little update. | |
| A little update, my friends. | |
| Today I'm going to be with Sean Atwood about 3... | |
| 3 o 'clock? | |
| Yeah, about 3. 3 or 3.30. | |
| I don't know. | |
| Something along those lines. | |
| I'm going to be with him. | |
| Please follow me at Lionel Nation. | |
| That's the name of this thing. | |
| Thank you for this. | |
| I appreciate it. | |
| We're going to be doing more. | |
| I've received more attention from you regarding what I've been doing than anything I've said before. | |
| Why? | |
| I have no idea. | |
| Alright? | |
| And thank you. | |
| Thank you for your courtesy. | |
| Thank you for your love. | |
| Thank you for letting me share you. | |
| My New York will do more of this stuff. | |
| Have a great day. | |
| And by the way, visit us. | |
| Today, I'm telling you, words cannot describe how beautiful it is. | |
| And words cannot describe how beautiful you are. | |
| Have a great day. | |
| And don't forget, my friends, the monkey's dead. | |
| The show's over. | |
| Sue ya. | |
| Da-da. | |