#1960 - Andrew Schulz
2023-03-24 02:51:46
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What's happening, big dog? What's up my man? Hey? First archery shot ever.
Oh, that was cool.
40 yards with an 80-pound compound bow. You got it right in the fucking vitals.
That was cool.
That's an amazing thing you should probably quit now.
First of all, the bow's not even set up for you. The way the bow is set up is for me. I have shorter arms than you. You would have a longer draw length, so you have to kind of move your body a little and you'd sense it. That peep sight, bro. That's a long shot for a first shot ever in a bow, 40 yards in an indoor range, and you got it right in the vitals.
Yeah.
Now, what were you thinking when I struggled to pull it back?
Uh, normal, it's weird.
Oh, that is a common thing that happens.
Yeah, oh, you didn't have any excuses. At least Brian Callan had a fucking....
Wait, what did he say? I'm reading a scroll of excuses now.
Probably technique. No, it's a strength thing. I mean, it is technique, but it's just 80 pounds is 80 pounds, it's a lot of weight.
I have a new respect for bow-and-arrow folks. It's hard.
It's very hard, but it's really satisfying.
Like, it puts in perspective, like the people who can do it on horseback. You know, you see it in the movies and shit like that. I don't know why. I didn't think it was that hard, but....
Yeah, that's a next-level thing. The horseback thing is crazy. The Mongols would time their shot when the horse was in the air. Yeah, so when the horse was in the air, then they would release it.
Oh, mid-gallop.
Yes, so there would be less disturbance, less jolt on their body.
So was that.
We always talk about, like Genghis Khan, and how he was able to take over the world. Was the competitive advantage horseback weaponry?
They had a lot of things going for them, they had strategy, first of all, they had devious, wild strategies. Like they would set people up, they would send a small party out, and those people would go after the small party and chase them down.
They would lead them into, like a canyon filled with mongols, and just slaughter everybody and block the exit.
Yeah.
They would hold a siege, they would attack a city, and they would bring so much food and so many supplies. They'd just camp outside the city until everybody starved out. And then they would start killing people and lighting them on fire, and putting them on catapults and launching them over the walls. And light their own houses on fire with the dead bodies of people they killed.
That's motivational.
Those motherfuckers killed 10 of the population.
That's the crazy thing I always wonder about these times. What was the Roman empire's advantage? Some people chalk it up to roads. Why was Genghis Khan so effective?
But at a certain point in time, it has to be technology, right? There was a lot going on.
There was the knowledge of the recurve bow, they were really good at recurve bows, they had catapults. And they just had Genghis Khan, just had this unquenchable desire to take over the world.
It's really crazy that no one's scared of the Mongols now. But then when one of those dudes fights in the UFC, you're like, Jesus.
Who's Mongolian in the UFC?
Let's see who do we have? The Mongolian murderer? That's one dude, but there's people from that Caucasus region of the world.
There's a lot of people from Kazakhstan and Dagestan. All the stans are remnants of the Mongolian empire, those guys that look a little Asian.
Rachmanov.
Shavkat Rachmanov.
That motherfucker's so good, but they're just so tough over there. It's just crazy that they took over the whole world at one point in time and then it all went away. That's a lesson for America to learn, because Americans have this idea that we are the centerpiece of the military of the world.
This is it. This is the baddest fucking army that's ever existed, bro. No one's gonna stop us. But the reality is, every single civilization that has been in control has gone under.
Now did those civilizations have nukes?
No, that's the problem.
That's the tricky thing.
Yeah, the problem is, if we go out, we go out ugly. But unless China is clever and they slowly dismantle our power grid and slowly pollute our country with, like bombing chemical factories. And do it slow over a long period of time. Like if you were a real conspiracy theorist, like one of them Reddit Tinfoil Hat.
Let's go deep, my boy.
You would think that China would not do a big thing, but a constant series of small things that people get accustomed to. You know, cyber warfare, they would start, you know, hacking into Google servers, Amazon servers, crash everything, financial disruption.
Crash power grids, do it slow, do it over decades, you've got plenty of time.
As long as you don't nuke United States first, they're not going to nuke you. We already did that once, we're not going to do that. If anybody is going to be a first bomber, it's not going to be us.
There's no way that's a problem, that's a strategic problem, because we're all worried about Putin. What if Putin gets back to the corner?
What if Ukraine starts winning? what if this, what if that? what if Putin really does have cancer? what if he decides to go out with a bang?
We're worried about that, no one's worried. What if Biden just nukes China? What if Biden's like, TikTok, you don't want to talk?
You don't want to tell us about the code. How about this boom? Never, never?
We would never think that the Biden administration would go and nuke someone.
Never, and they know that, and because they know that they're comfortable.
Yeah, so you could do sneaky things. I would do sneaky things if I was China, or if I was Russia, or if I was Iran. If I was some country that didn't like us, I would do sneaky things.
So is that the concern with TikTok?
Oh yeah, there was some fascinating conversations today.
Because it looks like they're going to ban it.
For sure, they're not telling the truth. The way this CEO was talking to this senator today is like, Oh my God, they just want to say whatever they have to say to get out of there. He doesn't answer the questions, he dances around.
And the senator keeps trying to say, That's a yes or no question, that's a yes or no question. These dudes have been sending data to China from day one, and they're doing something with that data. They're finding out how coordinated our kids are.
They've got facial recognition on all of them.
That's what the dances are about. They're just trying to find out how coordinated. Wow. Every TikTok trend is just a little information about our youth.
Also, how easily led they are, you could get them to that app. It's clout, but they have so many things going for them. First of all, it's very easy to get a big following there, it's very easy to get shared.
You can blow up so that gets people excited about it and they use it. And it's genuinely a really good portal for creativity. Some people do some interesting shit on there.
It's amazing, I almost think it's our fault, it's successful because we didn't think of it. We need some responsibility here. Why is another country coming up with the best form of social media?
That's on us, we dominated.
Social. That's Adam Curry's theory. What did he say? Adam Curry doesn't believe. It's any different in the way it gathers data.
It's just a better distributor of that data.
He just thinks that, No, this is just China kicking our ass. And we want to stop them from doing that. That we're not doing things that are that much different than what they're doing. I don't know if that's true. Adam is very smart, though.
I think that there's something to that. You want to win the culture war, and we've done that so well. We had all these movies, these TV shows that shared our culture around the world, and that culture was romantic. It's sexy, you go watch Top Gun.
You go watch Maverick and you're just like, Oh my god, how amazing is it to be American? How about when?
Rocky wins with American Shorts on American Flag shorts on the best.
Away game, too, over there, running in the snow.
If we could change, you could change.
We all change 30 years later, same.
Fucking problem, same fucking problem. I remember when that problem went away, I remember when the wall came down, we were so relaxed.
It was amazing.
When I was in high school.
In the 1980s, I was a freshman in 1981. And back then, we were terrified of war with Russia. It was a terrifying fear of a nuclear war with the Soviet Union.
Break this down to me, you're watching the news and is there fear-mongering? Do you believe it? 100? There was fear-mongering?
Look, it's always been. If it bleeds, it leads. In the news. We talk about how bad the news is today, but the reality is 5 o'clock news when you get home from work. It was always the worst shit that happened. Double homicide in Brooklyn. It's always the worst shit of the day, and also out of perspective, because it's the worst shit out of millions and millions of people.
But the big one was always Russia. And you would see the Soviet Union, and you would see their leaders, and you would see their army, and it was terrifying. They were the last great Communist empire before China, before China really blew up militarily. Back then, we weren't worried about China, everybody was worried about the Soviet Union.
And you felt fear 100. I talked to my wife and she's younger than me.
And she felt the same thing. And some of my other friends? I asked them. They grew up in different parts of the country, and they were like, Oh yeah. Everyone was scared, scared of the fucking Russians, man. Like there was all those movies like Red Dawn, where the Russians invade, we kick their fucking ass, send them back home.
You know, that was what everybody was afraid of. And then the wall fell, and so when the wall fell and the Soviet Union collapsed, we have to realize that was a monumental change in the world. People relaxed, we relaxed.
I was like, Thank God, there's no more war anymore.
So what year is this?
What year was the collapse of the wall? what year did they blow? I want to say, I want to say 89??
90.
So then the 90s comes on and then....
What year was it, Jamie, 89? So the 90s come along and no one's worried about war anymore.
Is there a cultural apathy?
Because the 90s.
Bad things were made in the 90s. Some of the worst American cars that have ever existed were made during the 90s. We got real sloppy in the 90s.
One of the things I look about with America, like how in tune America is, what's their cars like?
So Space Race produces some of the most beautiful cars.
Space race and psychedelic drugs.
So space race is what?
There's a direct correlation.
So you have all the cars that are coming out 50s, 60s.
63 was when Kennedy said We want to put the first man on the moon.
So they're using all that crazy space influence, or like spaceship influence, on the cars, and there's no restrictions.
Not much, not much space influence, really.
Some of these big what is it? the big Cadillacs and stuff like that, they look like a fucking spaceship.
They do, yeah, the old ones.
And there was no restrictions, right? You didn't have to go. Okay, it has to have this much gas mileage, right? None of that.
You could just make whatever the fuck you wanted to make.
And then, okay, so that goes away, and then psychedelics are 70s, Well, psychedelics are.
60s Oh yes. And then the in 1970, they passed this sweeping schedule. 1 psychedelic act that makes all those drugs schedule 1 forbidden drugs. All the drugs that are non-toxic, like psilocybin, like things that your body makes, like dimethyltryptamine, all those things become that's DMT.
Yeah, all those things become schedule 1, and then automobile design drops off a fucking cliff, I mean, drops off a cliff. It's not totally.
I mean, there's a correlation. It's maybe not totally the cause because it coincides with the gas crisis, so there's a gas crisis. Now. You have to.
Consider gas mileage in a car. Exactly, that's interesting, that's right, so 70s is....
What happens? When do we remove the gold standard from the dollar?
That's a good question.
73 or something like that. This is good tequila dude, this is yours, not bad. Yeah, yeah, yeah.
What's it called? Los Sundaes? It's good, right? The repo is crazy.
Yeah, it's very tasty. I was prepared for some fucking antifreeze. No, no, no, that's good, that's legit.
But yeah, and then we get.
What is it? There's a whole, like, petrodollar thing that comes on after that. Where they have to, I'm not aware.
Of all that stuff, I'm not good at that stuff.
I think this is just where we make the deal, where it's like oil has to be sold in U.S dollars, and now we have a backing for the dollar. When for a while we didn't right when we removed that gold standard, who was it?
Nixon to remove the gold Standard 71 71. And now we're in that situation right now, where most oil is sold in U.s dollars, and then those countries that decide not to....
If we're going to get conspiratorial, those people who have decided, maybe they won't sell it in U.
S dollars. They have difficulty staying in power.
Yeah.
That's always been the game plan, right?
Hmm.
Hmm, yeah.
What does that mean then? We should have a real economist work through this. We'll fuck this up, but also.
We could just talk shit, and it doesn't matter because we're not experts, so we're just.
Spitting nonsense, exactly. It's so funny that people get upset by that. Like, Listen, this is a conversation that I would have. Whether or not cameras are on or not, so you just gotta be able to....
Don't take us seriously. Yeah, you gotta be able to deal with that.
That's it. Don't take anything we say seriously.
Bro, especially us, we're literal, professional clowns.
I was messaging you, I think about after we had Ben Ben van Kirkwyk on the pod and Uncharted X, the guy who does the pyramid. Yes, yes, he's great, he's great, and everybody was like, Dude, he's so awesome. Shane Gillis dad showed up to the pod and I was like, What?
And I guess they think that he looks like Shane, an older version of Shane. But what I loved about the pyramid conspiracy is that the stakes are so low, right? There's no pedophilia, nothing, nobody's dying.
Nothing, it's like, Did it happen? did it not happen?
It's just how old is this civilization?
Is it 4,000?
Is it 10,000??
But you know that, even with that, because Graham Hancock has a whole series.
They call you racist, they call him racist. I'm not saying that Black people didn't still do it, it's just older Black people.
100 was Black people, it was 100 people in Africa, the pyramids were 100 built by people who lived in Africa. That's it all. Graham Hancock is saying is that. It's very likely that the entire world experienced a cataclysmic disaster around 11,000, 800, 12,000 years ago, somewhere in that range. And it knocked us back into the Stone Age.
But those people who were around before that were probably more sophisticated than we are. We just have a hard time imagining that because we don't have any evidence of it.
And we just don't think that the execution matches up with the technology. If we found some tech that would make sense, I think that we could go okay. Maybe this did happen 4,000 years ago, whatever it is. But so far, the idea of like a chisel and a stone carving all these blocks and then people just dragging them in the sand. I think it seems a little bit.
Unreasonable. There's some real problems with that, there's some real problems with the actual physical limitations of the size of these obelisks. Where they're cutting them in the mountains and they have to move them hundreds of miles, how are you getting them out of the mountains? What are you doing?
This is like, 2,000 tons. What the fuck are you saying?
Yeah, you said it. I think I was listening to the pod with you guys and you were like, if I was Elon Musk, I'd just build one. And I get that to a certain extent. I don't know if you could.
I really don't know if you could, I think we could do, you know? If you cut and place 10 stones a day, it would take you 664 years to make the pyramid. That might be wrong.
But there's 2,300,000 stones in the Great Pyramid.
You need to go, man, I know I do, you need to go. It was the craziest thing that I've seen that humans have made like, awe-inspiring.
Talking to Ben, talking to Randall Carlson, talking to Graham Hancock. I more and more think that we just have to use our imagination. Yeah, because we're thinking of technology only as technology that we've implemented. Yeah, like these microphones and cell phones and shit.
But it's possible there was a completely different branch of technology and they had figured out something that allowed them to manipulate enormous stones. Yeah, we just haven't figured it out yet.
I mean, just think about it like this. Imagine there was this cataclysm, right?
Within a hundred years, this idea of Wi-Fi is non-existent to people. It's a story that you tell, so wait, what do you mean, the internet? Yeah, exactly.
It's just absurd, it doesn't exist, you can't hold onto it, right? So right now we're looking for all these tools that you can hold onto and can build things with.
And that makes sense to us, but we can't conceive of this technology that existed just in the air. Yeah, how would you describe Wi-Fi to some dude that you met in an Amazonian tribe? You wouldn't?
You couldn't, you couldn't. It's the.
Same way that, like, Do you fuck with the chat GBT thing at all? Yeah, okay. I don't even know what to ask it because I'm not familiar enough with what AI can do. So I would still ask it, like Google questions, because that's what I'm fluent in, yeah.
Does that make sense?
I think you can talk to chat GBT4 as if it's a God.
So I would just.
Oh, I got some questions.
Right, am I close? Sure, maybe chat GBT5??
Can we chat GBT now? If you tell it it's a God, it'll definitely start talking to you. Wait, can we talk to it now? Yeah, you can talk to it.
Hey, you know who invented wi-fi? Who Hedy Lamarr? Who's that the actress?
That's true, right? It's not Bluetooth, right? It was Wi-fi. She invented. Is that correct? Hedy Lamarr, who was this gorgeous actress, was a brilliant woman who had quite a few inventions.
Technically, both, yeah. Stunning. LaMarr was inducted into the National Inventors Hall of Fame for the development of her frequency hopping technology in 2014. She did it way before 2014, though.
Such achievement has led LaMarr to be dubbed the mother of wi-Fi and other wireless communications, like GPS and Bluetooth. And why?
Did she invent this for playback or something like that?
No, I think she was a scientist before she was an actress, she was just hot and no one gave a fuck.
I mean, she's stunning.
She was so hot. Yeah, she was so hot.
Is that a function of our age?
Do you know Leah Lamarr, the stand-up?
Yeah, yeah, that's her relative.
That's her relative. Yes, wow, because I had this bit about Hedy Lamarr.
In my act, and Leah had to talk to you about it.
And Leah came up to me and she goes, That's my grandma. I think it's either a grandmother or her great-aunt or something like that. It's one of those. But yeah, that's why, you know, and Leah's beautiful, too.
But Hedy LaMarr was a smoke show back when they were dragging women around by their hair back then really dark ages. Yeah, that's like slapping women in the movies was standard. Yeah, there was.
Early Bond films, Oh God, were wild man.
You ever see Steve McQueen smacked the shit out of Allie, who was the woman he did that movie with?
Allie Sheedy Is that who it was? I forget who it was the actress.
There's a scene where he's.
Beating her fucking ass. It's horrible because he's actually hitting her and you could tell she probably didn't know it was coming. And she's got to be in the moment.
Allie McGraw It's horrible to watch, dude, but this was like how men behaved.
Oh, this is the woman, this is the actress. Did you watch the What is That? show about the making of the Godfather?
No, I didn't see that.
It was brilliant.
Why is the perspective all fucked up? The perspective everyone's all narrow, Everyone has narrow heads and shit, it's too bad.
She was a beautiful woman. Give me some volume.
Oh, okay, it's okay, you don't have to give me. This is horrible, man, he's actually hitting her.
Watch this. He's actually hitting her and he's threatening to punch her in the face, and she starts crying, and he hits her again.
How common?
This was normal back then.
I'm wondering, how common, when you were a kid, was it, to see a man hit a woman?
I think it was normal, I think, for all of human history, it was normal until people started watching it and going, what the fuck, until media came along.
And you could see.
I think people hit their kids, I think people hit their wives, I think people hit each other.
What was the transition, though?
Media because people got to see it.
And you just got to see it. You didn't see what the kid did to get hit. You just see the kid getting hit. You're like, How could you?
You don't have to hit kids.
You would never discipline.
Never, you don't have to do that. They want you to love them, they make mistakes, you've got to communicate with them.
I have a question about that. What about when they are? How do you communicate with a child before he understands verbal commands? and how do you communicate right from wrong?
Well, before they understand verbal commands, you're talking about babies, right? They can't even walk yet. My daughter started talking when she was 9 months old. Is that early, yeah?
She's walking then, too, She was walking and talking very early, one of my daughters, but the other one was like, a year.
But what I'm saying is when their verbal commands are just learning things. They're babies, they can't do anything, they can't even run away from you, they're little, tiny babies.
So at that age, you're not even teaching right from wrong.
You are, but you're talking to them, you talk to them with sweetness, but you always talk. I always try to talk to my children like they are an adult that I respect.
You're very sweet with the youth.
I think it's important.
But it's a side of you that I don't know a lot of people see. Like, you had your niece at the club the other night and you were so sweet with her. It was a cool side to see. The club is just fantastic.
The club's wild, right? It was so cool.
It's a dream, dude, it's a dream that I didn't even have. I didn't even have that dream. I didn't want to own a club.
No comic goes into it going. I want to own a club and then you do it. But it was an interesting thing. I had this weird sensation. I'm proud of you, but I don't mean that in a patronizing way. I'm genuinely proud of you. But there's a specific thing and I was thinking about this last night when I went back about the club.
And you kept talking about this way of funneling and nurturing talent. You're like, yeah, these are the comics that are going to come up and we're going to invest in these local Texas comics. And then they're going to go do these shows around the world or around the country, and we're going to send, what is it? This is the mothership, the mothership presents, and it's in all these comedy clubs around.
And I thought of the club and I did both of the rooms, and the rooms do separate things. For comedic growth, it's really important that little room teaches intimacy and connection. You can't just go up there and say words.
You have to connect with them, sometimes in big rooms, you can just say words and you don't have to connect because the connection is a little bit off. There's a little bit of a filter so you can perform, which is another thing you have to learn. But the small rooms, which is a lot of times the New York guys that we get really good at, those laughs die quick, so you better tag up that joke.
You better punch it up hard, you better make sure you're cooking. There's like a pace that you can kind of build. So the small room. They get to learn how to really fucking put your foot on somebody.
You know, another thing that comes out of these rooms on the East Coast is the cold weather. Cold weather makes people impatient, they don't want to hear your bullshit. It's freezing outside.
Go, go, go, go go, Jesus fucking Christ. They get inside, they don't want to be.
You'd be lollygagging. Mark was saying that same shit. He's like, if you even think about like, like music and like rap, like rap in New York, bark, bark.
Bark, bark, bark, yes.
And in the South, it's melodic and easy, and chill and beautiful for both reasons. But I thought about this more. And then I did the big room first, and I'm not going to lie, I was concerned about the big room.
You were concerned because you said.
To me, something about the big room murdered you were like, now it was fun, but you said to me you were like, it's the most honest room.
But you're honestly hilarious, so there's no issues.
But that word honest is usually used when, like, let's have an honest conversation, it's never like.
You're beautiful.
Babe, can I be honest with you?
You're beautiful, you're gorgeous.
You're amazing, that's never.
Right, so I was like, that's an interesting.
Adjective to use to describe the room. And then I went up and it was awesome and there was an energy and there was an excitement and the room was great. And it also offered this other side of stand-up that. I think a lot of people that come up in the small rooms don't necessarily develop the skill set until they're on the road, which is filling space. And it was like, you can learn to step on them, and that's how I came up in New York. Boom, boom, boom, boom, boom.
And then you go do 3,000 seats, how are you going to fill that? how are you going to absorb that? And I was watching Ron White go up there and that's a perfect example of, just like kinetic energy, you're just watching him fuck.
He's like the Black Panther suit, you know what I mean, just like absorbing everything, absorbing everything, and then push back.
That dude hits and holds punchlines better than anybody alive, he hits them and he has a big-ass fucking smile on his face.
And like Tony Woods, you ever watch Tony Woods? Those guys are masters. They just absorb, absorb, absorb and then like, I don't know.
I just feel like, if that goal is which? What you said yesterday is like, really nurturing this talent. And like creating comedians that can be great comedians, you've built a space that can do that.
Yeah, we built it specifically for that. So instead of like, making it so that there's big-name headliners and you charge a lot of money for every ticket. Instead of making money that way, what we decided to do is just don't think about that, just think about what's the best place to develop comedy, and how do we develop comedy properly. Well, one, you have to have open mics two nights a week, so we have open mics Sunday and Monday.
And then we also have experimental shows where, like crowd suggestions, they write them down on a piece of paper.
Brian Simpson's show and then you get bits from it, like the beauty of those shows is, I think there's a Jeremiah. Has one, the stand-up on the spot, too. And it's like, you get bits from that. Because you're liberated, like the audience knows that you're just getting this idea.
And that you're rolling with it.
They used to have one out here called the Riff, that was good, too. It's a wheel, you spin a wheel and it would roll, and you'd like pick a card, and it'd like land on a card. That was a good move, too.
The whole idea is to be able to you just. It's like a premise factory, it's just like pumping out premises and you never fucking know, man. I've had some bits that became like real good bits that I got out of doing those kind of shows.
Yeah, I don't want to say the one we were talking about yesterday so you could develop, but that's going to be one. Like, yeah, there's those feelings sometimes where you say a line and you're like, Oh, yeah, this is going to be something.
I really want to tell everybody it's a good fucking line. Do you want to give it away? No, no, no, I gotta keep that. But it was just, man, it was just cool, man.
There's an energy, there's an energy.
Well, everybody is working towards the right thing.
Can you talk about? I think you're going to fuck the game up with the pay, too. Can we talk about that?
Let's not talk about that, we don't need to talk about that, people don't need to know what people are getting paid.
You are a good man and you care about comedians. I'll say that you won't say it, but I will say it for you and you're going to fuck some people up with this shit.
Well, the whole idea is just to make the best possible place for stand-ups to perform.
What Joe is trying to say is the whole idea is for him to make no money, it's for comedians to make all the god damn money.
Well, my idea is to make it so that, look, my only goal is the club break. Even. I don't care if it makes money, I make a lot of money, do you? I'm not worried about money.
I don't worry about money.
I shot a bow and arrow inside today, forty yards.
So that's not what I'm interested in, what I'm interested in is what would be the best case scenario. I always talk about when we were kids. If someone said, If you had all this money, what would you do? I'd make the best fucking comedy club and I'd set it up just for comedians. So I'm like, why don't you just do that?
So I just did it.
That was it.
It's awesome and the staff is awesome, we've got the best people from the comedy store.
I already told you I was going to come down when you opened, but I will say after that week. The energy that I saw from it, I was like, Oh wow, yeah, something's going on over here, yeah, something's going on. Listen, I was also one of these people who were like, Austin can't sustain a comedy club, there's not enough people.
I think I told you that I was like, I didn't know if it was possible now. Granted, you have a pretty good batting average with the things you care about. So far, I think you're batting 1,000 on the things that you want to do.
Well, if you really like something and you do it, it's infectious. if you really love what you do, it's infectious.
But I think with Austin specifically, one of the things I didn't realize is that comedy is the professional sport here. You don't have a basketball team, you don't have a football team, you have a college football team.
You've got a soccer team.
But for people who are not gay?
There's.
There's....
There's.
There's, oh, no, you don't run around kicking balls all day. But comedy, I feel like, is the professional sport here.
And the people who are in that ecosystem have become the professional athletes.
Well, for people who are comedy fans, imagine that this happens. imagine if you're a comedy fan and the whole world shuts down. But Texas doesn't, and then people are looking at Texas, like, how are they partying over there? And then some people come and visit, and then, you know, maybe some people know people who got sick and got better real quick.
And maybe some people start getting skeptical, and maybe some people start saying, Well, I haven't been sick in ten fucking years. Am I the same as some fat guy who smokes cigarettes? Like, What the fuck is going on here? And you get a little upset?
And then the government continues to keep you shut down. You go, you know what, I'm gonna go? Look at Texas and then you fly out here and you convince 12 world-class comedians to move here too. Now, if I was a comedy fan and I was living around here, I'd be like, Holy shit, what is happening? That's true.
Because that's never happened before. All the scenes in our lifetime and in our predecessors lifetimes were isolated. There was the Boston scene, which is like a scene that guys would get really good at. But the good ones would leave, the Burrs and the Nick Dipaolos and the Mees and the Dane Cooks, and everybody would leave.
You know, Louis C.
K.
Patrice.
You know, they would all Stephen Wright, they'd all leave, but it was an amazing breeding ground. And then there was the New York scene, which is like a scene, and L..A. scene, which is like a like New York, was generally better quality of comics.
Because there was no other opportunity for anything else.
But l.
A Had. The occasional Dom Irero would stop in, but there was only those scenes. San Francisco was always a little shaky, it never really had like a rock-solid, big booming scene.
But Austin does now like it does, and it didn't before. It was a small scene before.
It was a good scene, you know? Like some good comics came out of here, Brendan Walsh came out of here. Like Hicks Kinnison, they were at Houston and here, but that was a long time ago.
That was the 80s.
What do you think it is like? All my favorite comics are from Boston, and I've been trying to understand why that is.
Because we grew up in a place where it's cold and no one gives a fuck and the women are very mean.
Dude.
No, no, there's something to that, like when the women also have a sense of humor.
Your mediocre sense of humor.
Isn't good enough.
You can't get laid with just regular jokes. The girls are already funny. Scotland's like this.
Yeah, I bet Ireland too.
It's like they're ball busters. I had to learn comedy as a defense mechanism because my aunts were ruthless, ruthless, just roasting my brother, me. And we're just sitting there, like, Okay, I gotta find a way to handle this shit.
That's funny.
But yeah, I've always wondered that with Boston. And I asked a dude once, and I was like, Why do you think it is? And he said the same thing. But he also said, like, there's an arrogance to Boston, too. Like, this is where the nation began.
Like, there's a.
What is that? They're like the aristocrats, they're like the original aristocrats. Like a guy who's roofing in Boston still is like, Yeah, but I'm from Boston.
And I wonder if you need that arrogance to also say the things that you want to say. Sometimes you can be crippled by working class environments where you're like, I'm not any better than anybody in this town, I'm not any better than just my friends. I shouldn't go on stage and say that, like, who do I think I am to go talk in front of these people?
You need a little bit of bravado to even go after it.
There's so many variables and so many factors, but one of the factors is you need. Like, a group of guys that are dedicated to comedy and are really getting after it. And they set the bar for everybody else. That was what was happening in Boston. It was Barry Crimmins. I remember Barry Crimmins became my friend, but I was fucking terrified of that dude because he was the standard bearer.
He would not let any hacks in, He would be angry at you if you were a hack. He was very well-versed politically. You couldn't have some bullshit, argument conversation with Barry Crimmins. He would destroy you.
He was ruthless and he was really fucking funny, and he was just like he had great political material, great social material. He was a working-class guy and he set the standard.
He was the fucking man in Boston, bro. I was scared of him. I wanted to avoid him, like Rah, I'd fucking go around him.
Because I thought I was an open-miker, I sucked. And then when Barry Crimmins became my friend and told me he thought I was really funny, I was like, Oh.
Thank God.
Because he was the guy, he was smarter than everybody else, that's Barry, he was smarter than everybody else.
And he had the highest standard of comedy.
He had the highest standard of comedy and he was the mentor for the rest of the group.
So you see guys that pop up like that in comedy. Keith Robinson is another one. Do you know? Keith? Yeah, he's ruthless, ruthless.
He is ruthless, he has the highest standard of comedy, he's absolutely hilarious, and he genuinely loves helping and putting people on 100%.
And it's rare that you get that concoction.
He's beautiful.
I don't know if people even know the stories of him. Driving Kev up from Philly and driving a bunch of guys up from Philly. And being like, Hey, you need to come up here, you need to be in New York because people are going to find out about you.
And you're fucking great, that's beautiful.
And dude, he's had two strokes, I know, and he's funnier, I heard.
He's hilarious because he's just like going for it, because it's like he's dying.
I wish I could say some of this shit.
I know it was in the Mitzis the other day, everybody was quoting, Shit, I was holding my sides.
Wild, and you can't refute it because he's not just saying wild, shit to be wild. He's coming from this place where it's like, I had these strokes, yeah.
Dude and killing.
I told him it was funny, I told him I think they stroked you up. I think it's like, it's a benefit in a way.
Isn't it funny that it's almost like you need something like that to be truly free sometimes?
I did a theater in Miami once, and Wanda, Wanda, Sykes and Keith were on before me, and they both left me notes. I was waving to them on the way in, they were waving, What's up, what's up? They both left me notes.
Wanda was the sweetest, nicest note. It was great to see you. I hope you have a great set. much love, Keith Robbins says. I hope you have the worst set of your fucking life.
I hope you bomb in front of your stupid fans.
Dude, I saved that I have that napkin. I still have that napkin.
It's interesting you're making me think about comedy scenes and what makes it good. You need a standard.
Bearer It helps, yeah.
Multiple standard bearers would be ideal. You definitely need at least one person, you need someone who people will listen to.
That they respect, but maybe isn't in the stratosphere, maybe they're not fucking superstar, megastar, movie star, but just is purely respected because of their standard.
That helps that way there's less jealousy. Here's the other thing about it is, though, that, in Barry's time, comedy was new. We really have to understand our art form in a historical perspective.
In a historical perspective, because our art form really didn't even branch off into what you and I do. Into Lenny Bruce, What is Lenny Bruce's era? It's like late 50s, early 60s, and into. When did Lenny die? when he died? the end of Lenny's career? ....
By the way, I'm a giant Lenny Bruce fan. If you go walk into my club, one of the first things you see is a big-ass picture of Lenny Bruce. He died in 1966. You have to understand, the last couple years of his life were completely entangled in legal battles. The Lenny Bruce that we're talking about....
Late 50s This guy literally invents an art form because it just didn't really exist that way. Mark Twain did some spoken word stuff where he read some of his books, and he was apparently very funny. People talk about. Maybe Mark Twain was the first stand-up, the first guy to do stand-up. But then there was guys who just did jokes and they would tell, like two Jews walking to a bar.
Like the Borscht Belt comedians, they would all steal from each other. It was like house jokes.
Yeah, a lot of house jokes, a lot of really dumb shit, but, you know, funny good times, you know, whatever.
And there was guys who could deliver in an amazing way.
Buddy Hackett, there were some of those guys that were killers. they were killers. very funny guys, but it's just like, what were they working with?
They were working with stone tools. Okay, and so then along comes Lenny Bruce, and Lenny Bruce starts looking at society, so he's looking at culture and sex and racism and drugs.
The race stuff.
That he has holds up today, there are jokes that he's told, there's a joke. Because I think he would go on a road with a Black dude who was like a jazz musician that I think would open for him. And he would talk about the French. And he'd talk about white people trying to ingratiate themselves to his Black friend, and like the awkwardness that white people have.
And like the examples he's using, like, maybe today we'd be like, we're kind of hacky. But like, for the first person to ever say it, to, like, see white people trying to win over a black person. So, uh, we have some watermelon at the party, Would you like some watermelon? That's a line that he has in it and he's just like. But he's observing whites at a time where whites are probably integrating with Blacks way more often. And then not really knowing how to do it.
And that awkwardness. And then you got this guy, Lenny Bruce, who just fucking likes this guy, not that he's Black. He just likes this guy, he enjoys the music.
He enjoys who he is and he's observing other people. That just are the only thing they can see him as is a Black dude. They can't see past that, so the only way that they can relate is what they know about Black people. And now you see that same joke.
You see the white people awkward around black people. That starts there.
Yeah, well, Richard took that. Like Pryor did that. After Lenny did that. Pryor was like the better version of Lenny. What Pryor was was like what Lenny had started. Pryor was like, I got this.
I'm gonna take this to a new place, I'm gonna take this to a new place. I'm gonna make it way funnier. And what Pryor did, it was like self-deprecating. it was way funnier.
Lenny was very funny, but we have to take it in the context of the times if we were back in the Lenny Bruce days, if you and I were us right now. And we were sitting at our ages right now, and we were just like regular guys. And we were sitting in the back of the room. In 1957 and we see Lenny go up and break down culture and society. We'd be like, What the fuck man, we'd be dying, laughing. He had this joke about gays, it's such a great joke.
This is the 60s, 50s, probably.
He died in 63. Is that what it was? 66? What was it?
66.
So maybe early 60s. So he has this joke and he goes, They make homosexuality illegal, so what do they do? They arrest you and they put you in jail with a bunch of men who want to have sex with you.
They're testing you.
He broke that shit down.
In like 58.
And, bro, it would murder people, would be like, Oh my God, what is happening? And then people thinking about, like, everybody always knows a dude's got fucked in jail genius. So it's like back then saying that, though, on stage. When everybody else was like two Jews walking to a bar. And Lenny was breaking things down. Talking about language and the culture, and music, and life, and the romance.
That's interesting, you say, Twain. And yeah, you do see it. With the writers that have like a comedic twist and their ability to kind of like, analyze culture, but not turning it into stand-up.
They could, though, it's like a lot of them really could. It's just that they would have to just learn how to deliver it. Which is not the hardest part, because the writing is like, some of the hardest part.
Yeah, but sometimes I've noticed this with writers that they're so prolific on the page. But when they try to communicate it, it's a different art form. Almost it's like the ideas are there. They just don't understand how to hold attention the same way.
Well, you know what it is, they're out of shape. It's like, when I think it's a thing. The more stand-up I do, the looser I get on stage, the looser I get on stage. The more fun I have on stage, the more fun I have on stage, the more I'm inventing new stuff.
The more sets you do, the better you get. It's just real numbers. And if you're a guy who's like this awkward fellow who sits in front of a think pad all day.
And he's just like.
Writing on Microsoft Word, writing very funny things.
No, there's 300 people.
Occasionally you talk to your wife, like, Oh, what do you want to do for dinner? You know? Like you're awkward, you're very brilliant, but you're alone in front of your computer. And then all of a sudden you have to go in front of people and deliver these ideas. You have to learn how, the delivery thing, you have to put in the reps.
It's a lot of reps, it seems way more simple than it is, it seems. When a person's up there, like I was watching you last night, it's like he's just talking, like, why is it so funny? That's how people look at it.
Like, why is this guy so funny? He's just talking, I talk too, I could do that, I know how to talk.
But they don't understand, you're just doing this magic show for them and they think.
It's just talking, isn't that wild? That, like, it doesn't start as just talking. And ideally, we can break it down to the point where that's what it feels like, like it starts in our head. There's like a premise and there's a line.
Or there's a statement, or there's like, now I'm thinking of that joke that we won't say that you have, and it's just like, that's just a statement. That's a feeling, you know?
I was talking to my boy, Mark, and I was just like, let's just riff. But don't tell me a single joke. Tell me what you feel, tell me what is causing anxiety or anger. Don't try to make me laugh, just tell me what you feel.
And every time that is the joke, the punchlines will come and they'll insert themselves, but you're not going. How can I make this situation funny? That is how you fucking feel, and that's why we laughed at it.
That's why you'll say it in front of a group of comics and we all laugh. Not because you're trying to misdirect us, not because you're trying to trick us. That's how you feel, and we're all going. Yeah, Joe kind of does feel like that.
I might feel like that a little bit.
Depends on the lady.
Now.
You're giving it away, but yeah, that's, I don't know, that's to me like, that's. The beauty of a great joke or a great premise is the one where it's like you almost stumble into it, you're like emotionally engaging it so much, you're not even trying, you almost.
Have to think of it like musical notes, like there's all kinds of musical notes, they're all good, but they just serve different purposes. And to make a great song, you gotta put them all together where it flows. And that's like part of what we're doing, too.
It's like you're gonna have those jokes, it's like that's how you feel. And then you're gonna have some jokes where you take people down a left turn, like, whoops, and what about that? And they're like, Ah.
You know, like that's a part of it too. It's like, there's a lot of stuff going on when you're doing.
Comedy. I almost, Yeah, I almost think I memorize like, people go, how do you memorize all the words? and it's like, I don't think I memorize the words, I think I memorize the song.
Yeah, how it sounds, yeah, and like, how.
It feels and the rhythm of it, and I think that's why, like, sometimes when you like, adjust to different room sizes, like your rhythm can get off. And you go. Oh, I forgot that section. Yeah, because the song is different, the song is slower, the song is faster.
But I memorize the song in this, was it pace or syncopation, or whatever it is, this rhythm now it's a different rhythm. I need to memorize it in this different rhythm.
Yeah, arena timing.
That's a perfect example. Well, I've never done arenas, but like, Well, I want you to.
Yeah, so we'll do them together, let's go, let's fucking go.
I mean, what a crazy, that would be crazy.
Let's fucking go, come on, man, can I laugh?
So what happens is it slowed?
There's so many people.
Like some punchlines you have to hang on to for a little bit. But also, like, facial expressions are bigger, and then there's giant screens everywhere where your face is, where people can see it. And we're all together, and when you're in the round, the round is the shit.
Are you actively turning? Yeah.
So you're going okay? I face this way a lot, let me give energy to.
No, no, no, just go, it just flows, just go. No thinking like that, but it's just like you're in the round.
So it's actually intimate, it's like as intimate as you can get like 16,000 people stuffed in together. Because they're all looking at the people that are on the other side and we're all together. It's not like a wall and a stage, it's way more intimate.
Yeah, it's like double intimate because you're surrounded, it feels good, it's fun. It's my favorite way to do shows.
Really, yes, my favorite way. Yeah, it's my favorite way.
I mean, you can't do 16,000 people all the time. It's not good for your comedy. What happens is you're not gonna invent new lines, you're going to stick to your script, you're going to stick to the bits.
There's too many people, it's too big. It's a show, it's a show, it's a different thing.
When you're doing Little Boy, that little tiny room that we have, that's where we play.
That's where we find something.
These are your friends. We're fucking around, we're having a couple of drinks, we're talking some shit you can touch.
Everybody in there, they want you.
To talk some shit, they want you to explore, be naughty. The real comedy fans know, because of these kind of conversations, that that's how we come up with bits. That's where premises emerge.
The creativity is this fucking. You can't grab it, you don't know what it is, you don't know how it comes or how it doesn't come. You got to respect it.
That's why that War of Art book is so good. Steven Pressfield's book, Steven Pressfield. He's been on the podcast a couple of times. He wrote this book called The War of Art.
It's all about resistance, and how resistance keeps you from achieving your best possible self. It's like your ego and your fears, and it's all combined, and it creates procrastination. He gives you the tools in this book to try to be a professional, to realize a professional shows up and a professional works. This is what we do.
If you put yourself on that schedule, the muse will come to you and those ideas will enter into your mind.
It's just putting in the work every single day.
You have to respect it, you can't just think it's a gift you get whenever you want to go and access it.
Bro.
That's a lesson I learned with this trying to write new stuff. Since I put out the last special, I was telling you this, it's really hard, it's really hard for me.
I hadn't experienced that before in stand-up.
I just didn't want to do a different version of jokes I'd already done. I feel like sometimes that happens, it's not necessarily bad, but I've done it for sure. But I just really wanted the comedy to reflect what I'd gone through in life and how I'd changed in life. That was fucking hard, man, to sit there, think, develop new ways to attack these things that I haven't experienced before.
Your stand-up is basically like a snapshot of who you are at that year. If I look at a special that I did from 2009, I'm a very different person. If I look at a special I did from 2016, I'm a very different person. It's just a snapshot. And then you have to figure out who you are now, and all your new material has to be Who are you now?
If you're honest, you acknowledge who you are now. I think some people, or some comics, they don't. And then they get into that world where they almost look like they're doing an impression of themselves and the audience can.
Tell 100%.
Maybe they don't know consciously what's happening, but they can feel it. They don't feel like you're connecting with them. Yeah, they don't feel because they're like, Oh, you're doing this version. I always valued Patrice, was always kind of like my North Star, and I always valued the authenticity. What is the thing?
How do I fucking feel?
There was so much transition. I did so many bits early on about chicks being annoying. And then I'm like, I got an amazing wife that I love and I'm like, Ain't that annoying? You know what? I mean? Coffee in the morning, there's always snacks in the pantry.
It's not that annoying, right? I have to be pure about what I'm going through and that was tricky, man. It really feels good to be at a point where now I've got some stuff that I'm excited about, that I want to talk about. And I feel hungry. But for a while, it was hard, man.
What is your writing process like?
Now I've become way more diligent.
Before I would just go up and riff on stage and now it's harder for me to get up. I make sure I do about. I go three nights a week and I got to do at least four spots each of those nights. So I can get to about 12, which I think is a good amount of time to kind of let go. And then off nights, I have to also work, so I just have to talk.
I either talk to myself, I'll call up one of my buddies and I'll be like, Hey, what are you working on? Hey, let's go just tell me what your things are. Then I'll tell ideas that I have and try to flesh out how I feel about it. Because I can't write the bit until I feel know how I feel, sometimes it takes me a little bit to feel.
So your process?
Is just a lot of thinking about ideas and talking, talking to people.
About stuff we have to just talk. I think that's why I enjoy podcasting. It's like it's getting to how I feel about a thing. And you say a bunch of things to you that are funny and absurd and crazy and salacious on the way.
But what is my core feeling about this issue? Once I'm at that core, then everything emanates from the core. But if I can't get to the core, I just have some misdirection that I don't even believe in. Once I get to the meat and potatoes, it flows everything.
Just kind of like.
Yeah, you find that zone, you find that area where you're supposed to exist in. Yes, yeah, I can.
Write from it much easier, I can riff from it much easier. Because I feel like I'm being honest with the audience. Every line is honest. It might not be funny yet.
But, you know, I'm being honest, you know, that I'm telling you how I feel about this thing. And I think that they'll attach themselves to that. And then if I can catch you or I stumble across something, it can hit, but I need to know what I feel about it.
And I can't write about things that I don't care, like the idea of being like a. And God bless them. But like the late night writers, where you just like, they throw you some shit and you gotta write a joke about it. My brain doesn't work like that.
That's like living off oatmeal for the rest of your life.
That's like, you can stay alive, but you're gonna eat plain oatmeal. There's some guys fucking listening right now. plain oatmeal for the rest of your life. Yeah, that's what that is.
Yeah.
Yeah, yeah, I gotta care, Dale.
I gotta really fucking care. That's cause you care about what you do, and that's why you're so funny. It's, uh, we all have to care about what we do, and you have to....
I think everybody does it in different ways, you know, yeah, I'm always interested in the writing process.
Yeah, why? What is yours? You just go right, like you'll just sit in front of the laptop and just write stream of conscious, right?
I think that's.
Important? I don't think it's necessary, cause some of the greats don't do it. But if I really, if I was gonna teach a class on creating stand-up, I mean, look, it's not like I'm the best stand-up in the world. So I'm not like I'm the best qualified to do this. But if I was given this task to do that, I would say you should do all those things.
Like, there's nothing that keeps you from writing, like, why don't you write? Yeah, and you like to think about things and talk about things, but what about sitting and talking to yourself about a thing, okay?
And writing it. And there's a very specific mindset that takes place for me when I'm in front of the keyboard and I'm writing an essay on something. I can type so I don't have to look at the keys, which is nice. I don't type great, but I type okay enough, yeah.
I type enough and so I can just zone in on the page. And I'm thinking about every word much longer than it takes to type that word, or rather, it takes. Like, it's like, if I had to write something out. If you're writing out a word, it's so much more time to write it out than it is.
Just think about that word, so now you're chewing on it while you're.
Writing it out, yeah. So as you're writing each individual word, you're pausing in time, and you're like, you're in a time lapse. And you get to consider each and every possible way you would say something from that word while you're writing that word. And there's a physical task of doing that with your keys and your fingers. That makes you concentrate because it fires up your synapses and makes you think that you're doing this with your fingers.
It's kind of exciting, especially if you have a tactile keyboard, see like I use.
A keyboard that has a lot of key stroke, it's like a god of room. That's why I work with a think pad, because they clickety, clickety, click so you feel it in your fingers, so it's this tactile thing. And then the words are up there and I'm thinking about the words, and then other things come to me.
Do you find that you?
Speak differently when you write yes than when you talk to a person.
Right, definitely, it's not natural when you write, it's not clean. But what you do is you take these bullet points from these various things that you wrote out and just say them how you would say them.
Say them how you would say them when you're right there. So it's like you can't rely on writing to create great jokes, but the ideas.
Can come from that.
It's a farm for ideas.
I need to have that moment for me, it's not sitting down, but it's like, okay, there's a weird meditative state that I can get to if I'm running. And I have a song that I know well enough, where I can tap into my subconscious, but not too well, where the song bores me. And I get into a weird state. And sometimes when I'm just running, like, I hate it and it's awful or whatever.
And then sometimes I get into this state where I can lock in and create these other scenarios, and I kind of exist in these scenarios. And I imagine this is what, like the Super Elite runners probably can access this for 26 miles or something like that. I can't do that and I can't tap in every time, but when I can tap into that state, I can create these worlds that I exist in.
And sometimes these lines come up, these ideas come up, this curiosity comes up. There's like a part of my brain that now can flourish because other parts of my brain are accessed.
So it like hits when you're breathing, heavy when you start sweating.
It's like my brain is occupied by, like, maintaining this pace, which is probably pretty fast, but not so fast where I can't concentrate. But that's occupied there, and then another part of my brain is occupied by the music, and sometimes I'll just replay the same song over and over again. But there's a state.
Right, something happens and it's like, I don't know what the fuck it is. And I wish I could, like, lock in on it, you know, like, and just exist in that for three hours a day or something. But when I can, thoughts become really clear and ideas become really clear. And sometimes they're fucking shit, and then sometimes they're like, really interesting.
And I can replay these scenarios and think of like an interesting comeback, or like this really self-deprecating thing that happened. And it's just like I'll literally hop off the treadmill, sweaty as fuck, dripping all over my phone, write the idea and then get back on. But I don't know if that's a good strategy for doing it. But these are the different scenarios to access that part of the brain that I almost feel like is always working like, I don't know.
I always feel like comedy exists and then you just kind of find it. I don't think I've created any comedy. I think it's there and I just kind of like, this is stupid. But like, you know, like, what is it? The constellations?
It's like the stars are there, but somebody looked at them and they're like, Ooh, that kind of looks like a belt, ooh, that kind of looks like a dipper.
You know what I mean?
That's kind of what I think with a lot of these ideas. It's like all the things are there and you're just kind of like connecting these little dots, well, I think.
The more you look at it like that, the more it becomes available to you, too. Because I think one of the traps of the human mind is that when you get good at something, your ego inflates. And you think it's about you. And you're just a special thing and you're better than everybody. And there's a way that you could do it that nobody can fuck with, and, you know? And there's a thing that's like a normal thing that people do, and I think that that invades your creative process.
You create an expectation for yourself. I'll be honest, that's why I took some time away. It was like I just wanted to create, like I don't let any friends come see me.
I don't let anybody come see me, like when I'm in creation mode, it's so weird because obviously the people will come out. But like, I just, I want some time for me, you know, and I just, I don't want to be there. Thinking, like, God, is my wife going to be upset that I say this thing? Because that can? That stops the tag. That might be too far, might be too wild, or might be perfect. Or like, Okay, I can find I want to create and not have a fucking care in the world, you know, I don't know.
You said something to me yesterday that was like, you don't want to be any more famous? And I was like, like, it's a wild thing to say. But I get it because it's like, the more that comes with it, maybe the more restriction you feel.
Well, you're more susceptible to criticism, you're more susceptible to people being upset with you. You're more susceptible to people thinking that it's not fair because it's not fair, there's no fair. That's what's weird about life.
So the weirdest things like it doesn't necessarily make sense. What becomes successful and what's not, and who's making money and who's not. It's not about how much effort you're putting in, it's not about that. Like, it's a weird game we're all playing and the more successful you get. And they're like, would you want to be the richest guy in the world?
Like, what the fuck is that? Is he living any better than number 39? They leave 39 alone.
39 is probably worth 5 billion. That dude's chilling, What do they say about that? They don't say, Jack shit about that guy, That guy's eating filet mignon and drinking Dom Perignon.
Same jets, same hotels.
Having a great ass time, same Instagram models, exactly the same shit. Like, with no scrutiny, nothing's different. Same pure cocaine straight out of Colombia.
They're flaking it off with razor blades, like the purest fucking brick cocaine, the shit that fucking Peter Frampton used to snort in the 70's.
Peter, I don't know if you did, Coke. I'm sorry. I should have said somebody else. It would be a good reference, he might have, it would be a good reference.
He definitely snorted Coke in the 70's.
Fucking John Travolta.
Oh, yeah, he must have.
Off of some guy's back.
Laughing.
It was a massage, it was a massage.
Snorting, coke and getting.
Massages I tried coke once.
Yeah.
And it lives up to the hype.
Does it, bro?
Have you ever done Coke? No, I have not.
The singer songwriter's career of intense highs and devastating deceptions is explored in a revealing new memoir. Peter Frampton I was kept high if I needed cocaine, he made sure I had it. Hey bitch, that's your fault. I don't like that.
I don't like that kind of talk. I was kept high. No, no, no. Unless they were holding you down and making you snort it off that stripper's tits. Then there's no fucking way that you could say that they did that to you, sir. Yeah, right.
Yeah, I wonder if they got to look back and like, they don't want to take responsibility for what they did.
Well, it must be awful to, like, have had everything ripped away from you because you became a cocaine addict, or because you got into heroin. Imagine just like you have a functional existence. Everything's great, you're doing a thing, whether it's rock and roll, music or whatever it is, and then all of a sudden things start going well, you're doing shows.
And you just like to get high.
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