July 30, 2023 - Rubin Report - Dave Rubin
33:37
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| Speaker | Time | Text |
|---|---|---|
| The people that are really trying to get me are the ones that are auditing, and I use, like, auditing the five. | ||
| So they're actually, like, it's like they're not taking the course, you know? | ||
| They're showing up in the back, hoping that the professor uses the wrong pronoun, and that's, that's, that's what I, I notice that it's more like, so, you know, like, uh, you know. | ||
| I would assume that at least once a week, there is somebody deliberately trying to destroy my career, but I can't let that stop me. | ||
| I have to, I've talked about this in previous books, we all have to share the risk, and I have to always, I'm not blowing smoke up your ass, but I have to say that you helped destroy cancel culture by monetizing the act of being canceled. | ||
| If you get cancelled and there's another way out, you will always rise above. | ||
| I'm Dave Rubin and joining me today is the number one late night show host in all of | ||
| television as well as the author of the brand new book, The King of Late Night, Greg Gutfeld. | ||
| Gregory, how are ya? | ||
| I am fantastic. | ||
| Is it Gregory? | ||
| Is it Gregford? | ||
| What is it, really? | ||
| I like Big G. | ||
| Cause I got a dog named Gus and he's little G and I'm big G. Is Gus with you today? | ||
| Yeah, Gus is with me. | ||
| Would you like to see him? | ||
| I'd like to see Gus because everything you're doing on Instagram is Gus related. | ||
| Give the people what they want. | ||
| Then we'll talk about politics and media and all that nonsense. | ||
|
unidentified
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You look at the little boy. | |
| Oh, look at Gus. | ||
|
unidentified
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Look at Gussy Gus. | |
| He's like, he's looking for food. | ||
| He's looking at my manager. | ||
|
unidentified
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Uh, who's a big pushover, Eric. | |
| All right. | ||
| You know what? | ||
| Gus is welcome to make as many guest appearances. | ||
| You are the king of late night and the walk-on. | ||
| I am. | ||
| The guest appearance is a big thing. | ||
| Before we do anything here at Gutfeld, I want a throwback to me. | ||
| You know, you were on our first show. | ||
| Yes. | ||
| What did you say? | ||
| So I have to call you out for being, because I doubted you. | ||
| What did you say in the first show? | ||
| Well, first off, before I tell you that, I just want to say on the off chance that I say anything offensive here during the Gutfeld exclamation point program, I just want to say I'm doing today's show as a black lesbian. | ||
| That's what I am. | ||
| Identifying as today, but on the first show, the first Gutfeld show, I was sitting in this chair and I said, you would be the number one king in late night within one year. | ||
| And Greg? | ||
|
unidentified
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Thank you. | |
| I said, no, it's not possible. | ||
| Gutfeld, you did it even faster than I said. | ||
| I gotta give you credit, man. | ||
| You were so certain that it was happening, I believe that you willed it to happen. | ||
| Right? | ||
| It's kind of like, you know, when Scott Adams talks about affirmations? | ||
| It was the secret. | ||
| It was the secret. | ||
| You said, it's going to happen, and I think I might have been a little reluctant, and you said, no, no, no, no, no. | ||
| There's no way it can't happen. | ||
| And you looked, basically you looked at the environment, and you were right, that there was this gap, and they were all feeding, aww, now he's back, and they were feeding off one little calf. | ||
| Is that Gus or your wife? | ||
|
unidentified
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What was that? | |
| Oh, that's Gus, that's Gus, okay. | ||
| He felt bad. | ||
| Now there is the dog that I know, but you were right, you were right, you hit it, and then it, I was gonna say it was gonna take like a year, It was six months. | ||
| It was not even six months. | ||
| All right, now he's gonna go. | ||
| You got five seconds of Gus there. | ||
| That's good. | ||
| We got extra Gus. | ||
| Well, you know, the thing is, man, it was obvious to me, because you'd obviously been doing it at the weekly level. | ||
| I'd done it a million times. | ||
| It was and is fun. | ||
| And you, people always ask me about you. | ||
| I get probably asked about you in terms of what he's like off camera more than anyone else, because you're sort of right between corporate press and online media, so everyone wants to know. | ||
| And it's like, to me, it's like they turn on the camera, you are exactly the same. | ||
| You're having fun. | ||
| It's kind of messy. | ||
| And how many people even work for you? | ||
| You know, the other shows have, what, 50, 60, 80 people working for them? | ||
| You got, you got like two guys. | ||
| I mean, over, I mean, if you, if you factor in crew, uh, 12 people, 12. | ||
| And I mean, like, you can look at something like Colbert. | ||
| I think it's like a couple of hundred or, uh, let's just say, let's just say a thousand. | ||
| A thousand. | ||
| No, it's definitely a thousand people. | ||
| But I, so it's roughly 12. | ||
| Of course, we do use the studios that are used for other people, so that's, you know, but we have a small staff. | ||
| And generally, you're right. | ||
| I mean, it's like, there's no reason for me to differentiate between what I am, you know, in the green room or at home, and what I am on the show. | ||
| I'm 58, and I know I don't look it. | ||
| Thank you. | ||
| No, you look 56, honestly. | ||
| Yeah, I look like a little smidge over 56. | ||
| But, um, it's like, what's the point of working that hard? | ||
| Uh, I got here this way, and, and, um, and like, I... I... | ||
| I can't be, I mean, I don't even know, I wouldn't know what else to be. | ||
| So that means if I find that a story sucks in the middle of doing it, I will say it sucks. | ||
| If I lose my train of thought, I will say I lose my train of thought. | ||
| If I say a joke and nobody laughs at it, I'll be like, why aren't you laughing? | ||
| I'm not going to, I'm not going to sit there and be talk show host guy. | ||
| Cause I, I'm not, I mean, I was, I keep saying this to people who say you're a comedian. | ||
| No, I wasn't, I was running editorial meetings for, Most of my career, I think right now, I guess now I have as much on TV as I did in publishing. | ||
| Publishing I quit in 2004. | ||
| So that was like 14 years and now it's like probably like 13 years. | ||
| How did you do that jump? | ||
| I actually, I don't think I know. | ||
| How do you do the jump from publishing? | ||
| You were doing men's fitness, right? | ||
| Was it men's fitness? | ||
| No, men's health. | ||
|
unidentified
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How dare you? | |
| Men's health, sorry. | ||
| How do you make that jump to... That's like comparing Fox News to Newsmax. | ||
| Oh. | ||
|
unidentified
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Ha! | |
| How dare you! | ||
| Sorry, sorry. | ||
| Actually, you know, it's the irony of this, and it's like if you look backwards and try to reverse engineer a career, it's impossible. | ||
| But it had to do with me being editor-in-chief of Maxim in London, and I was interviewed for something called The Black Table by AJ Delorio, who then got famous because of the Gawker lawsuit. | ||
| Right, right, right. | ||
| And it was a really fun interview and Matt Laibash saw it and Matt Laibash had been asked to be an original blogger on the Huffington Post and I think the Weekly Standard wouldn't let him do it because Bill Kristol's an asshole. | ||
| They can fact-check that. | ||
| The fact-checkers can fact-check that. | ||
| It's true. | ||
| It's very easy to check. | ||
| But so, Leib Ash said, dude, you should do it. | ||
| You should do it. | ||
| And I go, I could probably do it, because Maxim doesn't care. | ||
| And so they must have sent that Blacktable interview, and then I get hooked up. | ||
| And that's how I met Breitbart. | ||
| And so that was like the first day that the Huffington Post launched. | ||
| I was like seven, eight hours ahead or whatever and I wrote, I treated the Huffington Post like it was a online bulletin that's done by your aunt. | ||
| So it would be like a lost and found, there's a weird cat in my yard and stuff like that. | ||
| So the first one was a recipe for lemon squares. | ||
| And so when the thing launched, they had like something maybe by John Cusack or some celebrity about politics. | ||
| And then you would get to me and it would be like, you know, here's a great recipe for lemon squares. | ||
| And then an hour later, I would post something like, I found this in my yard. | ||
| It looks like a G string. | ||
| Does this belong to? | ||
| And I would mention the names of the people on the Huffington Post. | ||
| So it was almost like You know what it was? | ||
| It was like a bulletin board at a dormitory. | ||
| So it was all these lost and found things, complaints, get-togethers later. | ||
| Like, Byron York's gonna have a get-together at his place. | ||
| It was to create a fantasy of something that really didn't exist. | ||
| Did you bring that to Fox? | ||
| Are you the guy that brought that? | ||
| Because that is one of the things. | ||
| You do it all the time. | ||
| You make fun of everybody that's on the network. | ||
| They make fun of you. | ||
| And you can see you guys genuinely like each other. | ||
| Where on CNN, when it would be Lemon handing it to Cuomo, it was like, you two despise each other. | ||
| And what did they say? | ||
| I love you. | ||
| I love you, man. | ||
| I love you, man. | ||
| And it was so clear. | ||
| They would sue each other into oblivion, given the chance. | ||
| But it's the secret sauce of, I think, success or chemistry. | ||
| The secret sauce to chemistry is the ability to tease people. | ||
| And I've been doing this all my life. | ||
| I get accused of being mean because of people who don't understand the relationship between me and Kilmeade. | ||
| I love Kilmeade. | ||
| Yeah, it's great. | ||
| is the perfect foil. | ||
| He's just always like, what are you doing? | ||
| And I would make fun of him. | ||
| It's because I love the fact that he's impervious. | ||
| And so we get along. | ||
| A lot of people go that Greg is really mean to Brian Kilmeade. | ||
| He's really mean to Cat. | ||
| And it's like Cat writes the introductions that I use. | ||
| But the thing is, if you see me not teasing somebody, it's because they're not worth it. | ||
| Or they're so thin-skinned, it's not even... Like, I don't want to get a call later saying, like, so-and-so appreciates that you just leave her or him out of it. | ||
| I won't say who these people are, but there was, like, one female who's no longer at Fox, who had her own show, who... I even apologized to her. | ||
| Her name's not... | ||
| Doesn't rhyme with MRETA, MBRAN, LUSTERN, but it could be. | ||
| I think I got it. | ||
| Yeah, but I even apologized to her and she called me an awful human being and blah blah blah, but I realized like there's some people who have been in, I don't know, in this cloistered world so long that they're not used, they're not used to somebody saying a joke about them or, and I think the only thing I said that was mean to her or bad about her was, it was a softball interview with Trump. | ||
| That was it. | ||
| And it was just a silly joke, and she, man, she was pissed! | ||
| So I learned that, like, okay, steer clear of the humorless people. | ||
| I don't want them around me. | ||
| But the people that I really like, I will tease them till the end of time, because to me, that's the only way I can express affection. | ||
| I'm not that, I'm not good at the other ways of doing it. | ||
| So, it's like when I first, the five kicked off quickly, because I made fun of Dana. | ||
| Like, Dana had, Dana was in a world world would nobody made fun of her right and I I we were we | ||
| were seated together for height reasons because we know when | ||
| you're when you're planning a show it's all about the lighting and you can't have a seated next to I don't know | ||
| Jesse because he's tall and I'm sure so she's like this and like | ||
| this. I'm actually more like this and so we were seated together and it was like being next to the serious homeroom | ||
| girl except that you you could tell that she she was fun. | ||
| There was something going on in there, and she was never allowed to, like, go... So I just started... And I don't even know what I was doing. | ||
| I was making fun of her, but in a kid brother sort of way. | ||
| And that was the immediate thing that kind of got picked up. | ||
| And meanwhile, you know, there's Beckle, who's hilarious, ripping on everybody, but anybody who wasn't Amenable to teasing never lasts because they Can't handle it and they think like oh my god. | ||
| You made a joke about me and on camera. | ||
| I need to be outraged It's like no you don't the moment you laugh and come back. | ||
| Everybody loves it. | ||
| They know and and to your credit I'll say something nice about you, man We've done it on your show where you'll make a gay joke about me and then I make a short joke about you. | ||
| And it's like, we're not angry. | ||
| It's so, like these people that are just looking for everybody to be pissed. | ||
| But do you think that, is that in a weird way more than anything, the secret to what, to you becoming the king of late night? | ||
| Like, it seems so weird to me. | ||
| Like Johnny Carson was the king of late night and now it's Greg Gutfeld. | ||
| That just, it's just so insane. | ||
| You're gay? | ||
| After 10 o'clock on weekends. | ||
|
unidentified
|
Yeah. | |
| I mean, I know you're married to a guy named Dave. | ||
| I just thought this was all sham. | ||
|
unidentified
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He's gay. | |
| He's gay. | ||
| I thought this was all just a way to get identity points. | ||
| D-E-I-E-S-G. | ||
| Pretty clever, my straight friend. | ||
| It's a miracle you did it on your own. | ||
| It was a long game. | ||
|
unidentified
|
Yeah, I think so. | |
| It was a long game. | ||
| Yeah, I think so. | ||
| I think that there's a bit of coziness with the celebrities. | ||
| with the celebrities. | ||
| When you bring a celebrity on, they're like in this cage. | ||
| And I don't like to do that. | ||
| Like, we're gonna have this person come out. | ||
| He's got a movie out. | ||
| Don't ask him about the divorce. | ||
| Don't ask him about, you know, his kid being picked up for drugs. | ||
| You have to talk about the movie. | ||
| I can't I can't do that, because that's, like, you know, Jay Leno was, like, think about Jay Leno with, uh, who was the British actor from Love Action? | ||
| Oh, it was that famous one, the great- Hugh Grant! | ||
| Oh, Hugh Grant, thank you, yeah. | ||
| I think around 92, yeah. | ||
| And he said, like, yeah, he said something like, it's funny how you know the exact date, Dave. | ||
| Yeah, I'm a student of late night. | ||
| Do you remember the name? | ||
| It might have been 95. | ||
| Google Hugh Grant on the Tonight Show. | ||
| I think it was 95. | ||
| Do you remember the name of the hooker? | ||
| She had a really cool name. | ||
| She had a cool name like Daisy or something. | ||
| She was beautiful. | ||
| Beautiful black girl. | ||
| We'll get it. | ||
| I don't have 12 staff members, but I've got somebody with a computer in this room right now, and I'm gonna find out. | ||
| What year was Hugh Grant on The Tonight Show with Jay Leno? | ||
|
unidentified
|
95. | |
| 95! | ||
| I did it! | ||
| And what was the hooker's name? | ||
| What was the hooker's name? | ||
| We'll get it. | ||
|
unidentified
|
Daisy? | |
| Dottie? | ||
| Daisy. | ||
| Dottie. | ||
| Doreen? | ||
| Doreen. | ||
| Doreen. | ||
| Doris. | ||
| Doris. | ||
| Delilah. | ||
| Delilah. | ||
| Divine Brown. | ||
|
unidentified
|
Divine. | |
| You see what happens, Greg? | ||
| We're at the age, you're a little older than me, but we're at the age where you basically | ||
| just have to point to people to ask them things. | ||
| What happened that day? | ||
| They weren't even hot. | ||
| But I think that is like the kind of, it is the whole point. | ||
| If you're gonna, the show is no different than having people | ||
| over in your living room. | ||
| Yeah. | ||
| And so the people at home get to know everybody better because they get to know the real you. | ||
| If I'm making fun of you and you're making fun of me, they learn more about us than they would if you had showed up on any other show. | ||
| Now you could argue, and I'm sure someone would make the argument, Greg, if you had Hollywood celebrities on your show, your ratings would be higher. | ||
| I don't buy that at all because we're beating them. | ||
| Yeah. | ||
| And Carson and Letterman, They were different. | ||
| I mean, they would, he, Carson, which is the next step, he had big stars and they would just rip each other. | ||
| Some of them would be drunk. | ||
| Oh, the incredible Dean Martin and Sinatra. | ||
| Oh my God. | ||
| You remember Burt Reynolds? | ||
| Oh yeah, he'd go on with Dom and yeah. | ||
| Yeah, yeah. | ||
| No, it was great. | ||
| And so I think, you know, I feel like the people that I have on my show are stars in their own right. | ||
| Do you think it's kind of, I guess, weird or bizarre that you're on a cable news network where everyone is watching you, waiting to destroy you at any given moment. | ||
| You do a little bit more of a straight thing on The Five, but, you know, you're yourself, but the show is a little, let's say, a little more straight or narrow. | ||
| It's very... | ||
| It's weird because what the irony is, more dangerous on Gutfeld, they leave me alone. | ||
| But the people that are really trying to get me are the ones that are auditing. | ||
| the five. So they're actually like, it's like they're not taking the course, you know, they're | ||
| showing up in the back, right, right, right, the professor uses the wrong pronoun. And that's, | ||
| that's what I noticed that it's more like, so, you know, like, you know, I would assume that at | ||
| least once a week, there is somebody deliberately trying to destroy my career. But I can't let that | ||
| I have to, I've talked about this in previous books, we all have to share the risk, and I have to always, I'm not blowing smoke up your ass, but I have to say that you helped destroy cancel culture by monetizing the act of being canceled. | ||
| If you get cancelled, and there's another way out, you will always rise above. | ||
| The perfect example is Jason Aldean. | ||
| Getting Target, his song goes to number one. | ||
| There are a lot of other things, and then there's the reverse, that if you try to be the opposite of cancelled culture, that is woke, That will have an effect, like the Bud Light thing, where that is actually people, not social media, but people going, you know what? | ||
| I don't like that they're trying to sell me something that's so fake. | ||
| And by the way, the consumer had to be educated on why Bud Light did that. | ||
| Bud Light was trying to supply their brownie points for No, no, no. | ||
| No, you go. | ||
| You're the guest. | ||
| Yeah, it wasn't it had nothing to do with the consumer and so it meant let's make fun of the consumer | ||
| And so the consumers like going like why is this happening? | ||
| They get educated. They're going like well screw them There's a shitload of beer out there. I can drink it doesn't | ||
|
unidentified
|
have to be bug light Yeah, what do you mean? I have like go ahead. No. No, no, | |
| you go. You're the guest continue. I Already forgot but what I was gonna say you were gonna make | ||
| a yeah You were really going to bring home the Bud Light point. | ||
| I think you were going to connect it to Target. | ||
| Here's the thing. | ||
| I don't believe that boycotts are good. | ||
| However, I think that when you see that somebody is trying to pull a fast one on you, That's worthy enough to call it out and to avoid them. | ||
| But, and then when you see somebody who's being unfairly targeted, that is when you share the risk. | ||
| And that is when you go like, okay, I'm gonna go by Greg Gutfeld's book because they accused him of being a bigot or a racist. | ||
| Because I know he isn't, I wanna have the Jason Aldean effect, where it's like, oh, so you said this, you said a song that has no black people in it, that has no lynching narratives is racist. | ||
| Okay, you're trying to destroy this person. | ||
| I'm gonna make this song number one. | ||
| What's your policy on when you're watching the clips of the lunatics of The View or the crazy people at the televised mental institution of MSNBC, when you're prepping your show, because I have no doubt you're going through the same thing I'm going through. | ||
| On one hand, I want these people to be ignored and disappear and whatever. | ||
| On the other hand, they are literally writing our shows for us, and I do think they have to be exposed. | ||
| But I always have this little internal struggle with how much attention What do we do with that, Greg? | ||
| We monetize it, I guess. | ||
| It's like you have to take a tolerance break. | ||
| You know when people smoke, let's say, the herb, and you realize your tolerance level's gotten so high, you need to take a tolerance break from gotcha videos. | ||
| When I look at the view clips, If there's a punchline for me exiting it, then I gotta use it. | ||
| Because everybody loves those clips, and if you have a good zinger, you put that in there, and that's fun. | ||
| A lot of people do it themselves on Twitter, you know, they'll tweet something and go, I can't believe this, or whatever. | ||
| But it's not, if I have that clip of, you know, Joy Reid, like I got bored with Joy Reid, because everything was the same thing, and I realized maybe I'm helping her. | ||
| But if I got a really good comment coming out of that, that I know is a surefire laugh, then you have the evidence there. | ||
| You don't have to set up the joke. | ||
| The joke is there. | ||
| It's free money, as they say. | ||
|
unidentified
|
Yeah. | |
| Since you're on the corporate side of this, so to speak, you work at a corporation, it's a big corporation. | ||
| One of my things lately has been like, when I'm making fun of Joy Reid, it's like, to me, it's like, I don't know if at this point she's a willful idiot or just, or if she's genuinely the racist lunatic I think she is. | ||
| But I keep thinking, isn't this really about not just the producers above her, so like the EP in charge of her, but the exec in charge of that guy? | ||
| And then really all the way up, like, can you just talk a little bit about corporate structure in cable news? | ||
| Because I think people, I think people are wondering about that. | ||
| Like, they know every day they put her on air or they put any of these people. | ||
| How can they do that? | ||
| How can they do that? But then when you're, I'm sure, over in their territory, | ||
| they were saying the same thing about Tucker or about me or Jesse. | ||
| It's weird. MSNBC is weird because, excuse me. | ||
| I'm having three fluids. | ||
| And I put up four. | ||
| MSNBC didn't start this way. | ||
| I mean, they had... MSNBC had Tucker. | ||
| And Tucker's sidekick, I think, was Rachel Maddow, if I remember. | ||
| Is that right? | ||
| Yeah, and I think they had Charles Grodin. | ||
| Oh, they did have Charles Grodin. | ||
| They had Phil Donahue. | ||
| I mean, he was a lefty, but not bananas. | ||
| Yeah. | ||
| Yeah. | ||
| So it was like they were finding their bearings. | ||
| And then this was the beginning of the siloing where I'm going to this side, you're going to this side. | ||
| And they saw a monetary possibility in creating a silo specifically for that. | ||
| And then what happens is and it's a it's a destructive incentive and you have to be careful with it. | ||
| That you will be rewarded the more certain you are, not the more outrageous you are, but the more certain you are about your position. | ||
| I've never been one to be, I don't like the idea of certitude and I think you're the same way. | ||
| It's like, it's like It feels good to be wrong. | ||
| It's like a great feeling. | ||
| Like I've had this, you know, this, you know, come to Russell Brand moment with him where it's like, you know, I was a dick to him and he was a dick to me. | ||
| I was a dick to Glenn Greenwald. | ||
| He was a dick to me. | ||
| But it's like, it feels really good to realize that I screwed up. | ||
| They might've screwed up, but I might've screwed up more. | ||
| But it's like, if you are just that person every single day that comes in and goes, This is the most outrageous story. | ||
| I've never been more outraged in my life. | ||
| It is the worst. | ||
| I don't even know. | ||
| There was one person talking about me that said I had to step away from the TV when I saw. | ||
| Remember the line on Twitter that you always hear? | ||
|
unidentified
|
I'm literally I'm literally shaking. | |
| I'm literally shaking as I tweet this because this man is so disgusting. | ||
| So it's like it's that sort of thing in this incentivized world of outrage that just creates more clicks and makes more money. | ||
| And I think what happens is you might not even notice it. | ||
| It's interesting when you see like people who get fired. | ||
| And they end up somewhere else and they change. | ||
| So maybe Chris Cuomo is now a news nation. | ||
| He's probably not the Chris Cuomo at CNN. | ||
| I know. | ||
| He suddenly sounded a lot more like us. | ||
| Not that anyone's watching, but like, yeah, exactly, exactly. | ||
| And I think you're going to see that with Don Lemon, Stelter, the people that were, that put on the costume. | ||
| Then take it off. | ||
| I don't think I have to take off- Are you saying Stelter was wearing a fat suit? | ||
| Is that what you're telling me? | ||
| Yes, I- Boy, could you imagine if that- I mean, my goodness. | ||
| Could you imagine if he wore a fat suit? | ||
| Yeah, the fat suit people- I don't think that would be- Yeah, that's an expensive fat suit. | ||
| Yeah, Brian Stelter. | ||
| Let me ask you some serious, hardcore questions. | ||
| You ready? | ||
| Yeah. | ||
| You live in New York, you sick freak. | ||
| You live in New York City. | ||
| Blue, blue, blue, blue, blue. | ||
| You were there during COVID. | ||
| I remember you were texting me pictures as all hell was breaking loose, literally outside of your apartment. | ||
| What is going on with New York City now? | ||
| And do you feel like it's ever gonna turn around? | ||
| We're going hardcore now for a few minutes. | ||
| I think there's a sense of giving in, which is the same as giving up. | ||
| I notice on Mondays and Fridays, there's not a lot of people in the city and it has nothing to do with weather or holidays. | ||
| The people that can afford to leave, leave. | ||
| So really, New York for a lot of people is three days and and I come in I go to the I have a cabin about an hour and a half away and I come in Monday and it's amazingly fast and that's like there's nobody on the road there's tons of parking | ||
| And then on Friday, it's like, oh, I'm gonna hit a lot of traffic when I leave work on Friday. | ||
| You don't because everybody left on third. | ||
| Nobody's there. | ||
| So I think what's happened is instead of trying to improve the city, the people just reduce their presence in the city. | ||
| And so you still have, it's strange how the sadness and the depression of a city has moved to Midtown. | ||
| It's not like the Lower East Side. | ||
| Right, right. | ||
| It's actually where people work because there's fewer people there. | ||
| So that when you have less foot traffic, you have more bad things. | ||
| And I know that everybody says, oh, the broken windows theory has been debunked. | ||
| No, not really. | ||
| I mean, when they keep arresting people that do little things and you find out they're wanted for big things, maybe it's there. | ||
| But I think that, like, you have graffiti, you have theft, and it just gets worse. | ||
| And then pretty soon you have... I have this weird... All I see on the streets when I'm driving up on the city from, like, Soho up, I see, if I pick an age group, say the 35-year-old human being, women, they're all in Lululemon going to their yoga or Pilates classes. | ||
| They're just walking. | ||
| The men, strung out. | ||
| Now, I'm eliminating tourists and UPS and FedEx. | ||
| It's strange how the men have become thoroughly, almost emasculated by drugs. | ||
| They're kind of just, they're, They're sad, they're depressing, but they're almost not harmful. | ||
| Except for the ones that will beat the shit out of you or put you in front of a subway train. | ||
| Except for those. | ||
| Except for those. | ||
| A small exception. | ||
| But you see women, and they're going to work because it's almost like, what's this strung-out, fentanyl-laced guy going to do to me? | ||
| And so they take up the bus stops. | ||
| They sleep in there. | ||
| It's all there. | ||
| So you have all these little middle-aged women who are going to do their maid jobs having to stand on the side, but it's almost all drug-induced men. | ||
| Drug-induced men. | ||
| Drug-addled men and women getting to their exercise classes. | ||
| That, to me, describes Sixth Avenue. | ||
| What do you make of that? | ||
| You're a Jordan Peterson guy, and you pay attention to all this stuff, and what do you make about what's happening to young men as a guy that was writing a men's magazine and editing a men's magazine and all that? | ||
| I would say just off the top of my head, men are more inclined to take risks, which is why they're more into drug abuse. | ||
| Women, when they run into problems, tend to look for help, whether it's self-help books or exercise. | ||
| So in this weird time, you see a lot more women exercising and a lot more men abusing substances. | ||
| I think that might be the thing, and because there's so many men that are like they're not the same kind of criminal. | ||
| They're not like in the crack epidemic, violent or dangerous because they're too strung out. | ||
| And there used to be this belief that their drugs were being spiked with fentanyl. | ||
| And it turns out they're looking for it. | ||
| That totally blew my mind when I first heard that. | ||
| Cause I'm going, there's no way, because I've known three people personally | ||
| that are dead from fentanyl and they weren't taking it on purpose. | ||
| Oh wow. | ||
| But when you talk to those in the know with drugs, no, they're like, fentanyl is a desired, it's not, it's like the drug dealers wouldn't put it in there if they weren't making money. | ||
| So there is a desire for that next level high. | ||
| And I think you're seeing that on the streets. | ||
| I think that there is a hole for meaning and I think that people are filling it in the weirdest ways and women are on their own and men have kind of abdicated their role in society. | ||
| I don't know if it has something to do with culture or what but it's I kind of sense that that like, you know, we've retreated into our own camps. | ||
| So when you see that in the city, I mean, you know, I freaking left LA. | ||
| I used to live in New York city. | ||
| So now I'm here in the free state of Florida where it is just booming and flourishing and it's hot, but it's okay. | ||
| It's the price to pay for freedom. | ||
| Like I see all the goodness here. | ||
| Do you, do you see any way out for the city itself? | ||
| The people you're talking about, all that? | ||
| I would, I mean, I think that it's like, oh God, it's like a marriage. | ||
| Okay. | ||
| So it's like, you have a husband and a wife. | ||
| And they're different and they have to each bring their different tool set to the marriage and you're missing the dad. | ||
| So what the woman brings is the compassion and the caring and all that stuff. | ||
| But without the dad, people aren't in jail. | ||
| Prisons are closing. | ||
| You can walk in anywhere and take anything you want. | ||
| I feel like there needs... Do you pay for things at Duane Reade? | ||
| Not anymore. | ||
| You just take whatever you want. | ||
| Yeah, I take whatever I want. | ||
| This laptop I just walked out of. | ||
| These are not even mine. | ||
| I took these from an elderly woman at a bus stop. | ||
| Just ripped them off her head. | ||
| And then I told her to buy my book. | ||
| And she did! | ||
| And she did, wow! | ||
| She ordered it on her laptop before I took her laptop. | ||
| You're covering all the bases. | ||
| The analogy is imperfect, but what I'm trying to say is there needs to be some sort of yin and yang relationship between the carrot and the stick. | ||
| And Republicans were always the stick. | ||
| And Democrats have a hard time being the stick because they're supposed to be the carrot. | ||
| And so they, like the moment you have a Democrat, like, I don't know, Mayor Adams talking about justice | ||
| and or prison time, his whole side turns on him. | ||
| You need a Republican. | ||
| So it's like, you need to have the carrot and the stick, the husband and the wife, you need to have these, | ||
| or the husband and the husband. | ||
| In your case, Dave and Dave, which one of you is the stick? | ||
| And which one of you is the carrot? | ||
| Have you ever thought about that? | ||
| Greg, can we take this off camera? | ||
| Yes, yeah, we'll take it off camera. | ||
| I'm interviewing you. | ||
| I mean, come on. | ||
| Yes, I'm just curious. | ||
| What are you doing here? | ||
| You wait until next time I'm on your show, then you can ask me the questions. | ||
| Let's talk politics. | ||
| You want to talk politics for a little bit? | ||
| Sure. | ||
| I guess, but I do have to go to work. | ||
| I'm supposed to go at what time? | ||
| All right, give me ten. | ||
| Give me ten. | ||
| Ten? | ||
| Ten minutes? | ||
| Five minutes. | ||
| I'm supposed to be at work. | ||
| Five. | ||
| You get five minutes, because I've got to change and I've got to go to work. | ||
| Okay, we'll even do it quicker than that. | ||
| I'm trying to deal with this Trump DeSantis nonsense. | ||
| Everyone's angry. | ||
| Everyone's fighting. | ||
| Obviously I love DeSantis. | ||
| I see what he's done in Florida. | ||
| I voted for Trump. | ||
| I like Trump. | ||
| I like his kids. | ||
| But all hell's breaking loose. | ||
| Everyone's trying to kill each other. | ||
| Your take and how are you dealing with it publicly and all that stuff? | ||
| We know what we're seeing and unfortunately there may be no way out that there is A very little possibility that Trump won't be the nominee, and there's a strong possibility that he will lose. | ||
| So, we kind of know that, and I've raised this question to people that are pro-Trump people. | ||
| And I go, like, how can you reconcile this? | ||
| And they go, well, the polls aren't telling the whole story. | ||
| And I go, well, I don't know, man. | ||
| It's like, Democrats! | ||
|
unidentified
|
Yep. | |
| They say it! | ||
| be the nominee. That's the red flag for me. Because and it's not Trump's fault. It's the | ||
| fact that there is a faction of people that hate him so strongly that they will put in | ||
| the effort. Yep. You know, you got if it's they say it, they say it every day. If it's | ||
| 30% of the population that despise him, they're gonna feel like | ||
| And I know that to say that you're not going to counter that seems like you're giving in, but if you've got other candidates that could win, it's not. | ||
| And that's the thing. | ||
| I think Trump is amazing and hilarious, but I would say, dude, This is gonna, like, I don't see, I see you getting, obviously getting the nomination, but I don't know how you're gonna win because these, it's being set up so that you will lose. | ||
| So that's my, that's my take. | ||
| I think that's all you're gonna get, Dave. | ||
| Do you have anything else you want to say, Greg, before you go to work, whatever that is? | ||
| I don't know what I'm doing. | ||
| I love you, Dave. | ||
| That's what I'm going to say. | ||
| No homo. | ||
| If you haven't bought my book, it's still available somewhere. | ||
| You don't have to buy it, but I would love it if you did. | ||
| You should be on my show very soon, I hope. | ||
| If not, this is over. | ||
| I will come to that craptastic city in September when I'm back on the grid and we will do a show. | ||
| And then, what do you say we go out and get drunk after? | ||
| Yes. | ||
| No sex with monkeys. | ||
| Goodbye, Greg. | ||
| See you later. | ||
| If you're looking for more enlightening and maybe even humorous conversations, check out our comedy playlist. | ||
| And if you want to watch full interviews on a variety of topics, watch our full episode playlist, all right over here. |
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