In this episode, the boys discuss Interstellar, the movie starring Keanu Reeves and Christian Bladt, and the song "We Are Stardust" by Joni Mitchell. They also talk about drugs, black holes, and other things that sound like they're coming out of a galaxy that's full of stars. It's a jam-packed episode you won't want to miss! This episode is brought to you by Gimlet Media and produced by Riley Bray. Our theme song is Come Alone by The Weakerthans, courtesy of Lotuspool Records. Our ad music is by Build Buildings Records and edited by Ian Dorsch. We are a production of Native Creative Podcasts. New Song / Instrumental: "Message to Love" by The Allman Brothers by Jethro Tull ( ) Cover art by Jeff Perla. Art: Mackenzie Moore Music: Hayden Coplen Editor: Will Witwer ( ) Editor: Matthew Boll ( ) Mixer: Ben Koppel ( ) Audio Engineer: Mike McLendon ( ) Special thanks to Kevin McLeod ( ) Music: John Rocha ( ) and Matt Knott ( ) Additional mixing and mastering: Alex Blanchard ( ) Thank you to our sponsor, Joe Rogan ( ) for producing and mastering this episode's sound effects and editing by Matthew McConaughey ( ) We hope you enjoy this episode. Please rate, review, review and subscribe to our podcast, and tell us what you think of this episode and we'll send us your thoughts on it in the next episode of . , and we're looking out to you in the mailbag and if you have any other recommendations for us, and we'd love to have us send us a review or review it out to our next episode or your thoughts about it on social media! and/or your thoughts/tweet us out on this podcast/tweebay/t/t= , etc. & we'll get back to you know what you're having a good time listening to this episode is a good one like that's good enough, we'll try it again next week, Thank you for your feedback is great, bye, bye! -Joe Rogan and the guys at The Joe Rogans Experience? -Josie and the crew at The Rogan Experience. -Joni Mitchell
00:01:56.000I mean, I haven't read about black holes in a really long time since, I think, a Michio Kaku book that I had, but it was a while, a while ago.
00:02:03.000I mean, it's so fascinating, that weird, like, you know that point, it's like the event horizon?
00:02:08.000It's like, theoretically, it wouldn't work like this, but theoretically, there's just like a membrane, and you're just close, close, you're fine, you're fine, you're fine.
00:02:15.000You just get sucked in and just stretched and broken, just crushed to bits.
00:02:21.000And then, I guess, just reconstituted as pure energy on the other side?
00:02:24.000Because it definitely doesn't get destroyed, it gets redistributed.
00:02:29.000We're just so concerned about the finite life that we live.
00:02:33.000Like we're so concerned of preserving this very fragile existence that the idea of getting reconstituted into pure energy in another dimension is like horrific.
00:05:46.000Independent thinker like she loves sci-fi, but she sent me these I'll see if I can send you a video you can see she did like this I guess a shot that hasn't there she is look at this oh Yeah She's leaning back for people that are not listening.
00:06:02.000She's got her shins down on the ground and leaning back behind them, and she's shooting 30 yards behind her.
00:06:44.000She was going to be on, she trained in the Olympics, on the Olympic team, and And I like her videos because she talks about, I mean, it's called The Joy of Shooting, obviously, but, I mean, it's a play on her name, but she really does mean it.
00:06:58.000She's just talking about, like, hey, this is a cool exercise and kind of like a meditative exercise, like shooting and target practice is meditative.
00:07:06.000And the cool thing about her is she does everything herself.
00:07:09.000Every video that you see is just her with a camera and a tripod and all her editing.
00:07:13.000She's super DIY. That's what I like about her.
00:09:36.000I mean, for me, I always had a good ear.
00:09:38.000So if I heard an accent, if I heard Olivia Newton-John on the radio or whatever, I could mimic her timbre and the texture really, really easily.
00:10:12.000I mean, I love, you know, my parents, you know, we were in Europe for a while because of the military, Air Force, and we moved around, and so I was born in Stuttgart, and then we moved to, I think, like, Italy, ended up in Spain for two years, the final two years, till age four, then we moved to Great Falls,
00:10:29.000But, uh, in that time, you know, I just love, my parents love jazz, Ray Charles, you know, my mom listened to French, a lot of French or European folk music, like Anna Muscari and Edith Piaf and things like that.
00:10:43.000So I was hearing that all the time and I saw Ray Charles and I loved the way he moved and he had the sunglasses and playing piano.
00:10:50.000And so I used to sit at the edge of the table and pretend like I was Ray Charles.
00:10:54.000And they were like, oh, let's get him a toy piano.
00:11:21.000It's not like when you have a stringed instrument where you have a fretless board like a cello or a violin or something like that, right?
00:11:28.000It's like there's no fret, there's no marking, so you have to really know where to put your finger, and you have to know the technique of bowing.
00:11:45.000Does it feel more limited because it's just you're pressing buttons rather than the creativity that's involved in a musical instrument that has chords that you can manipulate?
00:12:08.000And then if you really want to get crazy, like John Cage or whatever, prepared pianos where they're putting screws in the string board, you know, or in the, I forget what it's called, but the board where the strings are.
00:12:19.000So they would put a screw next to a string so that when you hit a note, it would just vibrate against the metal.
00:12:27.000And they would have certain keys prepared, so they call it prepared piano.
00:12:31.000So John Cage wrote a bunch of prepared piano pieces where they'd modify the soundboard of the piano.
00:12:38.000And then he would write music for it and he would play the music and certain notes would have metallic sounds and sometimes notes wouldn't be there.
00:13:16.000I mean, you know, essentially synthesizers, you know, they came from, what, like the 50s or whatever, like oscillators, things that made...
00:13:37.000But then Buchla, back in the day, had his idea of synthesis was just like...
00:13:41.000Like a strip of like random sounds you could manipulate, just move up and down.
00:13:47.000And so there was a kind of this battle between Buchla's philosophy, which was a West Coast philosophy, and Moog's philosophy, which was an East Coast philosophy.
00:13:54.000But Moog was like, we're going to make the interface a really easy to understand one, which is the keyboard, the piano keyboard.
00:14:00.000What I was going to get to is like, did the current piano keyboards, like the current electrical keyboards, have they gotten to the place where they can actually recreate the sound of a great piano?
00:14:19.000It's hard because it depends on the context.
00:14:21.000If you're listening to it just naked, and then you're running through tests like the lowest note, a note in the middle of the keyboard, and then the highest note, I think someone who plays piano, they might be able to tell, but now the sampling is so crazy.
00:14:35.000They'll sample one note so many times, and then they duplicate that all the way down the length of the keyboard, and when you hear You can't really hear the difference, especially in a song.
00:15:09.000Just because it's like – imagine the optimal version of a Rhodes like Mark II or something like that or whatever, like a very popular Rhodes – That's a type of piano?
00:16:45.000Rhodes, Clavinet, Hammond V3. And it was insane to watch him drag this to all the gigs.
00:16:52.000He dragged a full Hammond B3, and we're carrying it like a sarcophagus out of this van, and then into the gig, plus the cabinet, which is the Leslie, the rotating speaker.
00:17:58.000So you have a small Leslie cabinet, a Nord organ simulator, and you've got a Hammond B3. So what these simulators do, are they literally recording the sound of an actual piano?
00:19:07.000And then, like, you know, I remember getting my first synth was a Roland W30, which was technically the first workstation, which was a synthesizer that had a sampler built into it.
00:19:48.000Because if you know that what you're doing is pressing play on this thing and it's recreating the sound of a piano rather than actually that little...
00:19:57.000Felt-covered hammer hitting the string and creating that sound.
00:20:02.000Is that important that that actually takes place?
00:20:04.000Because there's implications to this kind of simulation of stuff that would apply to a lot of other things that make people uncomfortable, like love.
00:21:25.000So that's why you'll see grand pianos at an angle facing, like if you went to a classical performance or went to a theater, you would see the piano and then the lid up.
00:21:36.000It projects the sound outward to the audience.
00:21:38.000And then I guess there's a microphone that's near the piano that picks it up, and you have to figure out where to put the microphone?
00:22:10.000And in musical instruments, that seems like a very, an applicable analogy.
00:22:17.000Like there's a thing that happens all the time now with musical instruments where you can actually, I mean, you can recreate drums without any drums, right?
00:22:28.000Well, I mean, synthesizers were mimicking all kinds of instruments for a long time.
00:22:32.000Not very well, but, you know, early drum machines.
00:22:36.000Basically, it's all the same principle.
00:22:38.000It's a sound wave that's being generated, and then collisions with a secondary oscillator, or sometimes even more, And then you're changing properties of each of those and you can change like how long it plays or if you press it once, does it keep holding if you keep holding it?
00:22:52.000Or do you press it and keep holding it and it stops?
00:22:54.000You know, there's all these parameters like a three-dimensional equation.
00:23:04.000So like early organs, when organs were popular back in the day in the 70s or whatever, and you had your sheet music and your organ, and it had the drum machine that Shuggy Otis used, you know, or Sly and the Family Stone notoriously used the organ module for drum sounds and built an entire track around it.
00:25:07.000But because it's a drum kit sound, and it's sampled so that however I hit it, if I hit it harder, the snare sounds a little bit harder hit.
00:25:17.000Or if it's softer, it resonates a little bit more.
00:26:10.000That whole thing, that whole song, it just starts cycling that melody.
00:26:14.000And then you hear at the very end, it's so tasteful.
00:26:16.000At the very, very end, it was when drum and bass was kind of on the scene for a little while, since 95. And you hear at the end, Questlove starts going...
00:26:30.000He's playing like drum and bass producers making drum and bass beats.
00:26:36.000And then there was like a bunch of cats in my own town on our jam nights that purposefully would set up a kit where it would have two or three snares.
00:27:00.000So it would sound like sliced samples stuck together to make a beat, just like they actually made the beats.
00:27:07.000So you get this call and response that happens.
00:27:10.000So you get like, so there's drum machines, then there's sampled programming, and then you got drummers mimicking sampled programming, and then sampled programmers mixing and hybridizing both of those approaches at the same time.
00:27:24.000So, music is like, there are no limits, and the confines or the constraints or introduction of new technology is more exciting to me as a creator than anything.
00:27:34.000Well, you're a technology enthusiast, though, on top of being a musician, so that also applies.
00:27:39.000But it's like there's a difference in whether or not you're appreciating someone's artistic manipulation of musical instruments or whether you're just appreciating the final sound.
00:27:51.000For some people that don't like myself, I don't know anything about music, but I like sounds.
00:27:58.000And if the sound comes out of an electronic simulator or synthesizer, it's cool, but I think there's something that's really special about the way Gary Clark Jr. plays guitar.
00:28:28.000He plays the bass like he's playing three instruments at once, right?
00:28:33.000He's one of those guys, he's a hybrid guy, so he's taking the idea of multi-track music And he's playing it live on his bass.
00:28:41.000So you hear him essentially, like how a beatboxer will beatbox, and you think you're hearing the whole song, like let's say they're doing a cover or whatever, and it's just them, there's no effects, they're just doing it, and you're like, oh, there's the melody line, there's the hook, oh, and there's that drum beat,
00:30:32.000So they start figuring out ways to sneak in, like, oh, now I'm going to make a sound.
00:30:35.000If I hit the body of the instrument, the pickups, I put in a different pickup.
00:30:39.000So when I hit the body of the instrument, it sounds like a drum sound.
00:30:42.000So now I'm like hitting it, strumming, doing hammer-ons so I don't actually need to be strumming and I'm hitting doing melodies, still playing a melody on the fretboard and then pulling, slapping, you know, it's crazy.
00:30:56.000But yes, but to your point, musicianship, to see it...
00:33:24.000I mean, it's so funny when you talk about artifice and the difference between, let's say, produced music that uses samples and drum machines and things like that, and then performed music, live music.
00:33:38.000It's interesting, the era that we're in now, I would say arguably for the last 10, 15 years, moved away from bands so much.
00:33:47.000I mean, bands still exist in subculture, for sure, and you'll see them on alternative magazines, and there's tons of bands.
00:34:24.000So in a way, it's kind of like corporate music.
00:34:26.000You know, it's like their tracks, like some of them can be like really great sounding, but then you look at the liner notes and 14 songwriters, you know, whether that's true or not.
00:34:36.000Some people just want to be included because they're in the room or whatever.
00:34:38.000But you get like credits of like 14 songwriters, seven songwriters, five songwriters.
00:34:43.000And then the producer is really the one that makes it all shine.
00:34:45.000It's not like Fleetwood Mac sitting down and recording Rumors, which is a whole different thing when you hear that.
00:34:53.000You're like, oh my god, this is so beautiful and constructed and the musicianship and the production, blah, blah, blah, blah, blah.
00:34:59.000Now you get tracks that, you know, they're cool.
00:35:11.000It's got to be so difficult to get a bunch of people that are really creative to agree how music comes together.
00:35:18.000Like, if you get five people that are in a band, and, you know, you got your guitar player, your lead singer, the drummer, everybody's all together, and they have to figure out how to agree.
00:35:29.000That's got to be so difficult because you have egos and different visions and different creativity and I think the drum solo should be longer.
00:35:39.000Well, you know, it depends on the situation, right?
00:35:41.000Because sometimes there's a songwriter, right?
00:35:43.000There's one songwriter in the band or there's two songwriters in the band.
00:35:50.000In a healthy, functioning group of musicians, whether it's collectively created or whether it's steered by one or two people, they all agree that they're in service of what the music wants to be.
00:36:04.000So when you hear something like, oh, that's dope.
00:36:35.000Personally generating the music, you're listening to something that wants to exist in the world, and you're kind of in service of it, is generally how I like to look at it.
00:36:44.000Some people will, yeah, their ego will come into it.
00:36:50.000But their ego will get into it, and they start to confuse where they're getting their ideas from, because they start to claim full responsibility for it.
00:36:58.000Right, let's think about how many great bands fall apart because of personality battles.
00:37:06.000You know, when a band starts and they're like, oh yeah, we were having so much fun and then something happened, we got more fame.
00:37:11.000Somebody brings their girlfriend into the recording sessions.
00:37:14.000Somebody brings their girlfriend into the recording session or a manager, you know, gets involved and starts dividing people and going, hey man, you know, you're the real star.
00:37:27.000That's not why I'm doing what I'm doing.
00:37:29.000It's like, you know, I had this thing with Louis back in the day, Louis C.K. So I did this gig he wanted me to do, or he had me be kind of a music coordinator for Louis, the series.
00:37:42.000And they said, here's the budget, right?
00:37:45.000Can you duplicate all of these songs for my series?
00:37:48.000Because we don't want to pay the licensing fee for the actual track.
00:37:51.000So we want sound-alikes to his tracks that he wanted to be on the thing.
00:40:12.000My point is, if a process becomes too difficult and everyone's being super tedious about it, and you're talking about making something, like a piece of art, I'm like, you know what?
00:40:22.000Let's just simplify it and cut the thing that we're having a problem with, or if it's too much trouble, let's just not do it, because it's not fucking worth it.
00:40:29.000It's like, we're here to have a good time.
00:40:37.000But arguably, just to keep it real, back in the day when I wasn't really making dough, and I was just gig to gig, barely making rent or whatever, If a project was, like, too difficult, I just had to get out of there.
00:40:52.000Like, I would rather just, like, figure out, like, ah, shit, how am I going to borrow money to make rent rather than, like, continue to, like, go to a rehearsal space where it feels shitty.
00:41:13.000But then, if you're doing that and then you got some situation, like you got some executive that stepped in and has decided to put their greasy little fingerprints all over everything and manipulate stuff and tweak things and tell you what you can and can't do and pull their dick out,
00:41:32.000We've gotten mixed up with commerce and nonsense and non-creative people.
00:41:36.000It's the number one problem with television shows.
00:41:39.000When you have the creative people, the artists and the performers, and then they interact with the executives who are almost never creative and counter often to creativity.
00:41:51.000Well, that's why if you have a producer that's willing to fight for the vision of a piece, and you also set the criteria before you get into it.
00:42:05.000But even in that situation, I've been really lucky.
00:42:09.000I've had maybe two Hollywood experiences like the one I described.
00:42:16.000Most of the time it's like if you're a judge of character and it feels good when you sit down at the meeting and they're talking a good game and talk to other people who've worked with them and they're like, they're really great.
00:42:46.000You just, you just like allow the artist to, if you're, if you have a meeting with the artist and they have a very clear vision and they've laid it out and they've got really great team around them, then just let them do the thing.
00:45:34.000And I knew they were like so nervous about it because they didn't have any, you know, there was nothing to verify with what I was going to do.
00:45:40.000And then I did my set and it was totally fine.
00:46:50.000How long did you develop this app for?
00:46:52.000We developed it for my friend Oliver Thomas Klein, who's a genius.
00:46:57.000It probably took maybe a year to build or less.
00:47:02.000It's a conversation, getting an app going.
00:47:05.000I was looking at getting an app going a few years back, and I met with some people, and the numbers they were throwing around, I was like, wait, how much?
00:48:53.000And then she found a producer who then linked me to Thomas Oliver Kline, or Oliver Thomas Kline, and And he gets on the video call with us.
00:49:03.000And I'm like, this is what I want to do.
00:51:26.000And then I'm going to do the first, well, I don't know if it's the first, but volumetric live stream, because I have live streaming on it, too.
00:52:35.000Shot of downtown and I was super into her single and so I wanted to like have the show turn into a music video and just suddenly out of nowhere and it and it totally turns into that the music video and It's it's just a fun idea to do and I wanted a platform that I can do this on and and like you know and so I'm doing this live stream thing I um with this crew called uh fifth planet and they do volumetric capture which is basically a bunch of uh microsoft azure
00:53:05.000connect cameras in a circle around you and in real time you can actually manipulate the camera like while i'm doing a video you can actually manipulate the raw feed and um so it'll look i wish there was a way to show you but uh there's a it looks like a It looks like science fiction,
00:53:22.000like a hologram, but I'm doing a bunch of experiments, and so I'm going to do three of those as a live stream, some comedy or whatever, in a studio, so you can watch on WhatsApp.
00:53:34.000And then later, that will become a full compressed music video with beautiful sound and everything, and that will be put on a looking glass portrait holographic display.
00:54:17.000So it's an incredible technology and I've known those guys way back since 2010 when they just had like a box with a bunch of LEDs inside of it.
00:54:50.000You know, it's still pretty limited, but what's exciting about like the looking glass technology is like a bunch of friends can walk into a room.
00:54:57.000If that was your monitor, they would see it.
00:55:06.000So I'm going to do a scene with actors.
00:55:10.000It's going to be a really dumb scene with actors.
00:55:12.000But because all the camera angles are happening simultaneously, I'm going to take the feed, give it to a traditional editor, and they're going to rotate, push in, create the insert shot of someone setting down a cup, the two-shot, the master shot, the singles,
00:55:34.000Now, the resolution might be kind of crappy when you push in to something that's, even though it's 4K 60 frames, you're like, someone's sitting down a glass.
00:55:42.000It might look artifact-y and stupid, but I don't really care.
00:55:44.000It's about, like, can we create a traditional 2D linear edit with volumetric capture, which is the holy grail of filmmaking in the future.
00:55:53.000That'll be one of the things we'll use.
00:57:42.000Oh, and then there's this company called 3D Live that I just saw an NFT installation on the 59th floor of the U.S. Bank Tower just this last weekend.
00:58:05.000There's like rings that appear from the monitor and they just kind of ring out and the rings are floating in front of you and you can like kind of put your hands in it and it's rotating around.
00:59:16.000Oh, of goods connected for without an individual specimen being specified, able to replace or be replaced by another identical item, mutually interchangeable.
00:59:26.000It is by no means the world's only fungible commodity.
00:59:38.000So, basically, it's like, I've made a little video of me, or, yeah, I've made a video of me, a 30-second video of me, like, running around, you know, a park or something like that.
00:59:49.000If I want to make that non-fungible, then I mint it.
00:59:52.000And by minting, you use a minting service like Foundation or Zora, there's many others.
00:59:59.000You get a crypto wallet, and you get the crypto wallet set up.
01:00:25.000That's the looking glass holographic display.
01:00:28.000And so that device, we made an NFT, me and my friend Panther Modern, his name is Brady Keene, check out his music, it's fucking disgusting.
01:00:39.000So he made the 3D motion graphics and the TVs and designed all of that stuff with the wires.
01:00:45.000We shot a bunch of video of me doing the thing.
01:01:35.000And so he now has the physical unit that has the hologram in it, and you could ostensibly just put it on a shelf and call it good, or you can use the display to upload more holographic stuff if you want to.
01:01:45.000So that was the first holographic NFT. Those other videos that you saw cycling were just standard.
01:03:02.000The auction is in ETH. So Christie's, you know, it was auctioned by Christie's.
01:03:06.000It was like ETH. I think it was in ETH. And then how would you go about being actually rich with this?
01:03:12.000How does Beeple go from this to being a baller?
01:03:15.000Oh, well, I mean, well, you know, they bid, whoever bids, you know, just like a regular auction, and then they bid using crypto, and the crypto's transferred before they transfer the file to the...
01:03:25.000So the $69 million in ETH, he could actually put into his account.
01:03:34.000Yeah, you could get one Ferrari for $69 million.
01:03:36.000The thing with ETH though, with some of these contracts, I don't know specifically which one, as I heard him mention this, it's built into the contract.
01:03:45.000So if the person who bought it for $69 million sells it for $100 million, 10% of that goes back to his wallet.
01:04:30.000Mohammed bin Salman Salman yes okay the MBS the the head of Saudi Arabia bought it for four hundred and fifty million dollars this is it and the crazy thing is someone bought it at one point in time in the past I want to say for $1,500,
01:04:51.000and they didn't realize that it may or may not be, because this is where it gets controversial, may or may not be the work of Leonardo da Vinci.
01:05:01.000So do the history of this, the controversy and the history of it.
01:05:05.000Yeah, there's a crazy history to it, where someone bought it for an extremely low amount, and then a Russian oligarch bought it for over $100 million.
01:05:16.000See, $1,175 at an attic sale in New Orleans for a dirty painting that he hadn't even seen.
01:05:22.000After a painstaking restoration that I think took a decade, some began whispering that it might be by the master himself.
01:05:31.000So an art dealer in 2005 paid $1,175 for it.
01:05:36.000So 16 years ago, someone paid $1,175 for the most expensive painting ever sold.
01:05:44.000So then this guy, go down, scroll down.
01:05:52.000There's a bunch of other articles that are free that you could read about it, but it's it's a crazy story So this this person I believe started working on it in 2005 started the restoration and then by the time I think it was around 2015 they started realizing like holy shit because I guess sometimes in the past someone would take a great painting and they would paint over it and Yes,
01:07:39.000So when they did the scan, there's something about the hands and the way the paint is done on that in relation to the rest of it that it's like, you know, they're talking about like fucking microns.
01:07:53.000They're measuring depth and layers and age and all sorts of different shit.
01:07:59.000Well, you're dealing with $450 million for a fucking painting.
01:09:30.000After all that, after buying it for $450 million, it's currently in controversial dispute as to whether or not it's actually the work of Leonardo da Vinci.
01:11:08.000If you've got the kind of money for a $450 million painting, But it might not be legit.
01:11:14.000And apparently, so I go down a rabbit hole, apparently there is a massive market for illegitimate paintings, and people get robbed all the time.
01:11:23.000And there was, in fact, a guy who was a master.
01:11:26.000I believe there's a documentary about him.
01:11:29.000There's a big one on Netflix about this right now.
01:11:31.000I thought that's what you were getting at.
01:12:38.000My uncle Vinny, who's a really interesting guy, he's a very creative guy, he's an artist.
01:12:42.000He said, it's funny because I used to do the same thing, but eventually I realized I put so much effort into pretending that I brushed my teeth that I could have just brushed my teeth with that same amount of effort and I wouldn't have to pretend.
01:12:55.000And I thought about it, I'm like, God damn, he's smart.
01:13:21.000Kind of related, but I was just thinking about inspirational artists.
01:13:24.000My friend, Victoria, who I had met a while ago, like loosely, she invited me to that NFT gallery thing, and she pulled me aside, it was like late at night, it was like on a Friday, last Friday, and she was like, I went to dinner and I missed the first night of the showing,
01:13:40.000and I felt really bad, and I was like, do you have any videos?
01:14:35.000And so she pulls me aside and she's like, listen, and she was born in Russia, grew up partially in Latvia, and then London until about, I don't know, her mid-teens, and then started working with MIT at the MIT Experimental Lab.
01:14:52.000And so she's had this crazy journey, but she pulls me aside and she goes, listen, I know that you didn't want to come initially, but you come from...
01:15:01.000I don't know how she just kind of distilled this.
01:15:04.000She goes, you come from the underground and it's really important for you to be in contact with counterculture because that's where you come from.
01:15:12.000And even though you've infiltrated into mainstream, you have a mainstream accent, I know it's very important for you to maintain your You have a mainstream accent, she said?
01:16:33.000It's so fascinating, this thing that people do where they create something and then other people get feelings off staring or listening or watching or whatever it is with their creation.
01:18:44.000I agree for sure, but I like the fact that there's a guy like that out there.
01:18:50.000There's something about it that's so strange because he's clearly a brilliant artist when you look at the guy's actual work, but he's also clearly a scumbag.
01:19:20.000There are some of these people that just accumulate massive amounts of money and then they get really into having these prestigious works of art.
01:19:30.000Whether or not they actually understand.
01:20:07.000And there's more than one of these guys, by the way.
01:20:09.000There's more than one of these guys that creates fake art.
01:20:12.000Because if you're newly rich, you're some dude who runs a tech company, and all of a sudden you go to an IPO, and you sell, and you're worth a billion dollars now, and you're like, what?
01:20:24.000And then you're like, I want a fucking cool painting!
01:20:27.000And you don't know jack shit about art, and next thing you know you get connected to some other shady guy that you buy ecstasy from, and he knows a guy who has a Pollock for sale.
01:21:00.000So I thought that was so bizarre that I'm meeting them before you, because I didn't put together that you were the original guy, so I was like, how weird is that?
01:21:08.000I was the Rod Sterling of the DMT movie.
01:22:44.000And so she would masturbate the dolphins so that the dolphins would relax and then they could get some work done and then they would try to communicate with the dolphins.
01:23:04.000It's like we're just so fucked up and puritanical and filled with shame that we think there's something wrong with masturbating a dolphin in order to get it to comply.
01:23:11.000But meanwhile, you know what's really wrong?
01:23:15.000You're forcing this intelligent animal that may or may not be as smart as people into some weird subservient existence where you've got it in a pond.
01:24:23.000When William Hurt, in the beginning, is in the early developmental stages of Lily's tank, which was essentially regular water, and he had a scuba helmet on.
01:24:50.000Lilly wrote a bunch of books on it, like The Center of the Cyclone, The Deep Self, and he even, one of his books, I forget which one, you can actually buy, and there's design Instructions for building your own sensory deprivation tank with like pond liners and waterbed heaters and the whole deal.
01:25:12.000But Lily used to take intramuscular ketamine.
01:25:15.000So he would just blast himself with ketamine and lie down there and fucking...
01:25:54.000It's like anything that you try to cling on to mentally, you think you know what it is, and then it just is not that anymore.
01:26:00.000So your mind has to just surrender completely to this constant fractal onslaught.
01:26:05.000And what was interesting about that is that it felt like To me, in my mind, it's like, oh, this is the source of reality.
01:26:14.000If you're getting close to the source of how reality is generated and perceived, essentially that's as close as you can get to being aware of reality itself, in essence.
01:26:27.000And that feeling, I mean, I didn't know where it was.
01:27:30.000I grew up Catholic, so I've got a lot of things that I'm like, if I reveal that, everyone's going to know that I'm a blah, blah, blah, or whatever.
01:27:38.000And when you're on ketamine, it's like...
01:27:40.000That thing comes up, especially when you're more conscious, like functional level ketamine.
01:27:45.000It comes up and you're like, oh, it's just this.
01:27:48.000And then you tell your friend and they're like, oh, yeah, I wouldn't worry about that.
01:28:43.000I mean, not everything, but definitely there's things that I remember about it.
01:28:48.000And it definitely, I think, helps to cause, I don't know if it's, you know, I'm not a scientist, but it's not like neural pathways, but it definitely alters the way you approach and think about the things that you're having issues with.
01:29:00.000Neil Brennan was the first person that told me he did it therapeutically.
01:29:03.000He went to a doctor, and he was getting IV ketamine, and he was tripping balls.
01:29:09.000And I remember him telling me in the hallway of the Comedy Store, you know Neil.
01:30:51.000It was just like a nice little experimental period over a couple months.
01:30:55.000But I think I learned a lot, and it reminded me a lot of Robitussin, which When we were on, you know, I remember peeking on Robitussin and then my friend going, I have a little bit of weed.
01:31:07.000And then we smoked some weed and we just fucking left.
01:31:11.000I know that it's not supposed to be addictive and it's not supposed to be dangerous, but I've heard of people getting addicted to it and wind up going into rehab and I'm pretty sure I knew a guy who died from it.
01:31:22.000There was a fighter who was really into ketamine and I remember because a friend of mine went to visit him in rehab and he actually wound up dying.
01:31:32.000Well, it does elevate your heart rate.
01:31:34.000So if you have some kind of a heart condition or something like that and you take a lot of it and you're not giving yourself a break or whatever, yeah.
01:31:43.000So if you just keep hammering it all the time.
01:31:45.000If you keep hammering it, you're just going to be spiking your heart rate all the time.
01:32:34.000Because for me, it's like if I'm doing anything, even if I'm doing an edible or if I'm smoking weed or whatever it is, those are the only things I do.
01:33:53.000Where it's just like, it's like, oh, you know, like, we're high on acid and see, like, a bush and it looks like a Muppet, you know, or whatever, and you're just like, look, it's a Muppet!
01:34:01.000And they're like, oh my god, it is a Muppet!
01:34:05.000You know, like, adventure, goofy silliness, like, that to me is, like, such a load off, because you're like, with all these other people, you're being, because silliness, being silly in front of people, And with people is very vulnerable.
01:34:18.000People don't necessarily think of it that way, but it is being very vulnerable.
01:34:34.000It's just a human saying some words that are setting up expectations and subverting the expectation and causing a momentary, zoomed out, joyous, paradoxical laughing state.
01:36:11.000And for me as an improviser, I love that once you find a vein, essentially, you find a vein and you can feel people leaning in and you're like, oh, this is gonna be so stupid.
01:37:07.000So he describes in depth the process of creating this wine and how the soil has to be right and has to be watered a certain amount and there's a certain amount of, you know, like the acidity.
01:37:26.000He does the whole process, smashing the grapes and putting it in the barrels and fermenting it and adding all the stuff to it and the whole deal.
01:38:01.000And we're talking earlier about frauds.
01:38:04.000There's this documentary called Sour Grapes, where this guy got in tight with all these wine people, and at first he starts buying really great wine at auctions, and then selling it to other people.
01:38:19.000He was in possession of some really rare, great wines, and then somewhere along the line he becomes a fraud.
01:38:46.000And they busted him, and the guy had labels and all these bottles of wine and formulas written down of add a one-third this and two-thirds that, and he would add certain things to the wine to get the wine to taste similar to this.
01:39:30.000But he's in some fucking jail in Colorado right now.
01:39:33.000I went to a wine tasting with him because my friend Is a very big wine connoisseur, and he was in with this guy before the guy started selling the fake wine.
01:39:43.000So they were a part of this wine lovers club sort of thing, and they would get together, and it was my friend's birthday, so I go there.
01:40:23.000He had the ability to trick these folks.
01:40:25.000But what's interesting in the documentary is some people weren't tricked.
01:40:29.000He sold some real wine, apparently, but some of it was fake.
01:40:34.000And there's one scene in the movie, spoiler alert, where this guy who was friends with him was like, this is one of the real bottles that Rudy sold me.
01:40:41.000And these guys are tasting it and he's like, oh yeah, this is great, this is great.
01:40:44.000And then one guy gets a hold of it and he goes like, When was this bottle opened?
01:40:49.000And then like two hours ago, he's like, tasted it.
01:41:03.000How subtle is the difference between real and fake that these guys who have fucking wine cellars in their homes where they have thousands of dollars in wines and they're so invested in this hobby they have, they can't tell.
01:44:17.000And then they have this business where they're taking exotic animals and they're making culinary events, like underground secret, made from the rarest animals, endangered species or whatever.
01:44:29.000And everybody's super appalled, but then you find out that they're just faking it.
01:44:33.000Like with like chicken and beef, but like preparing it differently.
01:44:41.000Like in a way it's kind of Robin Hood-y because it's like, well, they're enriching themselves still, but at least they're not actually doing the thing.
01:44:47.000They're not really supposed to eat gorilla.
01:44:49.000Yeah, but then you have people believing that they are eating.
01:44:52.000Like they're stoked to eat endangered animals.
01:45:13.000Well, that is one of the reasons why rhino horn is so valuable.
01:45:19.000Rhino horn is valuable and it's particularly valuable in some circles of elite people in Asia because they know that rhinos are endangered.
01:45:30.000And, you know, although it supposedly has, like, it gives you hard-ons or something like that.
01:46:37.000It's just about something to think about.
01:46:39.000But it reminds me of like that mindset of like, if someone, if a politician is It's essentially just spewing a bunch of fireworks and they begin any sentence with, well, Democrats, well, Republicans, that's how they're starting anything.
01:47:01.000Are you attempting to work with as many people that are right to solve the problem as possible in order to solve problems for as many people as possible?
01:47:31.000Let's aggregate that and let's solve this problem.
01:47:33.000And I know that politics is a whatever in our form, but...
01:47:36.000I'm just not into it, and I'm so fucking tired of it.
01:47:39.000Every time I read an article, there's a video about whatever this, that someone complaining about this, well, the Republicans are trying to, you know, and the right, well, they think that they, well, they think they can solve it.
01:47:52.000It's like, why don't you stop, shut the fuck up and stop complaining about shit, and why don't you, like, solve some shit?
01:50:31.000But it's like, that's the argument of Android versus Apple, right?
01:50:36.000Like, Android will allow you to change and alter so much more.
01:50:41.000You could fidget with things and tweak, whereas Apple comes, it's just kind of like more user-friendly right out of the box and smoother, but not much anymore.
01:52:02.000They make a GT, the Ford GT, but the reality is when it comes to muscle cars, they have a bunch of different versions of the Mustang, but when it comes to muscle cars, Chevy has far more variety.
01:52:45.000I'm not gonna mod my GT3. If I get a new GT3, I'm not really gonna mod it.
01:52:50.000I mean, unless I'm part of a racing crew and we wanted to make an adjustment to the tires or adjust the suspension in some way or something.
01:52:59.000I just kind of look at it as that way.
01:53:01.000I'm oversimplifying and everyone's gonna But in terms of the user interface, like the new Android user interface, like as you get to like Android 11 and like the new...
01:53:09.000I have one of those Galaxy S21 Ultras.
01:53:36.000But with S21 Ultra, the new one, when you take a photo of the moon, there's an actual setting that will adjust the aperture to make use of the amount of light that's coming off of the moon.
01:55:37.000Well, you know, I was using that LiDAR, you know, the LiDAR that's built into the iPhone, and talking to these Fifth Planet guys about volumetric, and I was like, yeah, at some point, you're just going to be able to string a bunch of these together and do your own personal volumetric captures.
01:56:21.000I mean, you could really make a pretty beautiful movie off the weird little tiny lenses that are in the back of a phone that slips into your back pocket with ease.
01:58:56.000There's going to be a time when you go over to your buddy's house, and his wife's going to be in lingerie vacuuming, and you're going to go, is she real?
02:00:20.000I think technology is going to hit some sort of sufficient capability where almost anything is possible.
02:00:26.000And then it's going to get very strange because you're going to be able to have not just a robot, which, you know, like Ex Machina, but a robot.
02:01:07.000Imagine if one day they find one of these Goldilocks planets, and they send a probe there, and they realize that there's plant life, and there's some weird fungus, and a lot of other shit, but there's no actual living beings, per se.
02:01:51.000Whatever those objects are that are on the Pentagon, whatever those things are, I had Chris Mellon on a couple days ago from the Defense Department.
02:02:17.000When he was describing the encounter off the coast of San Diego by the Nimitz, this guy, Commander David Fravor, saw this tic-tac-shaped thing that went from 80,000 feet above sea level to just above sea level in less than a second.
02:02:46.000They don't know how fast it was going, but it had to be thousands of miles an hour and many times faster than anything we've ever created could hold up under the pressure.
02:02:57.000So any ship, any vehicle that we've created, if it moved that fast, it would just disintegrate just from the sheer G-force.
02:03:06.000Yeah, and some of it is transelemental.
02:03:07.000It'll go straight into water at relatively the same speeds.
02:03:11.000And they can be tracked underwater and then in the air, moving at these insane speeds.
02:03:16.000And they have mass because they're readable on radar.
02:03:54.000If they really wanted power, they would make sure that their community was doing well.
02:03:59.000Well, it's almost impossible to do it right.
02:04:01.000Because once you get in, first of all, the money is inexorably intertwined with politics, right?
02:04:11.000The money in campaigns, the money in the special interests that you have to serve once you get into office, you're not getting rid of that.
02:04:19.000Unless you have someone who is a benevolent outsider.
02:04:25.000Not like a Trump guy, but like a real, truly brilliant, philanthropist-style billionaire that actually is a benevolent person, that wants to do this without...
02:04:37.000And then the fucking blowback that they would face would be insane.
02:04:43.000By all these systems that would never want to be compromised, that never want to be removed from the game.
02:04:49.000So they would all band together to attack.
02:05:13.000Well, I know, but if you can somehow get the masses to understand that.
02:05:18.000Do you want to constantly live in poverty right now, and do you want to worry about how your kids are going to get educated right now?
02:05:23.000What if we were to tell you that by giving your kids better opportunity to education, And by kind of supporting that in society, and we have a smarter population that's a healthier population, more functional, more contribution, and then you can project the numbers and you can show,
02:05:43.000I mean, if everyone's all concerned with, like, number one, like, we would easily be number one.
02:05:48.000If we just did these various things, if we redistributed the bottlenecked, tiny, closely guarded hypermass of resources, and we distributed them evenly, Rich people would still stay rich.
02:06:04.000We're not talking about getting rid of status.
02:06:06.000We're just redistributing it so everything kind of, this goes down, this spreads out.
02:06:11.000Now there's more access to more things.
02:06:13.000Population's less stressed out, less stress on the healthcare system.
02:06:51.000My goal, I mean, not my goal, but my hope is when you're talking about aliens, I'm like, I know it's a crazy, fanciful thought, and I don't put a ton, but I definitely leave open the possibility that if there is intelligent life, it's probably us from the future as time travelers anyway.
02:07:13.000It's either us from the future as time travelers or life plays out in a very predictable pattern almost everywhere.
02:07:22.000And that these beings in these other planets that have recognized that we have achieved a certain ability to influence our environment, to change and alter our environment...
02:07:35.000Because that's what it's really all about, right?
02:07:36.000Whether it's nuclear weapons or pickup trucks, you're altering your environment.
02:07:42.000You've put paved surfaces so you can ride over it.
02:07:45.000You've dug holes in the ground so you can extract oil.
02:07:47.000We're doing all these weird things that intelligent creatures do to alter their environment, but then we fight over resources.
02:07:55.000So we have, like, genetic impulses to protect and to covet and to do all these weird things with our bodies and make sure that people desire us.
02:08:05.000And all this stuff is, like, almost unavoidable.
02:08:09.000And then the alien's like, look, we're at, like, DEFCON 4 here.
02:08:13.000Let's start showing ourselves a little bit more.
02:11:08.000Well, let's just say some people decided to invest in infrastructure privately, right?
02:11:13.000And so they're like, well, we need more instruments in school.
02:11:16.000And I know that there are foundations set up to help this, but what if someone was just like, I designed a system with a think tank of people that enables us to just inject a certain amount of money that ends up physically solving some kind of major disparity problem,
02:11:37.000I know I'm speaking way out of my depth, but I'm just saying, if you endeavored to take some of that wealth and distribute it, And make it functional.
02:11:47.000Like, you're investing it into things that actually make people more functional.
02:13:12.000One of the things that I think is happening because of this pandemic that's good is that people are recognizing that you can get educated online.
02:13:21.000Like, it's definitely better to be there in school, particularly for young kids, because of the socialization aspect of school.
02:13:28.000It's very important to be there in person.
02:13:30.000But are physical universities as important as we once thought they were?
02:15:00.000I mean, Mount St. Helens, I think that the eruption, I think maybe there was one day where we didn't go to school, and then everyone just wore masks, and then we just went and got inside the school.
02:15:09.000Once we were in the school, we were doing it.
02:15:10.000Oh, so Mount St. Helens affected you in Montana?
02:15:26.000You mean like from inhalation of ash or just- No, you die in the volcanic eruption.
02:15:32.000Well, I've always thought, my dream is when I die, which will probably never happen, but when I die, I want to get wrapped up like a mummy.
02:15:42.000Put in a helicopter or an eVTOL and just like go over an active volcano and just dropped into the active volcano.
02:15:50.000Have you ever seen pictures of things like when they drop it in lava?
02:19:09.000And they had poured it through a channel, like a ceramic channel, and then above that they put a grate and they were cooking meat as the hot molten shit was going underneath it, it was cooking the food.
02:20:29.000And as long as there's oxygen and fire, good luck putting that shit out.
02:20:34.000Apparently they tried to put it out at certain times.
02:20:37.000They tried to pump water in there to no avail.
02:20:40.000I mean, it's like a chemical reaction.
02:20:42.000You know, it's like a pure chemical reaction.
02:20:43.000This is the best I can find right now.
02:20:45.000It says they're throwing water in a jug, which another video said it was a propane tank, but this says it's water, to try to create obsidian.
02:22:36.000You'd see it, like, hey, you know, at any point in time, this shit could go sideways, and then this hot red fucking tide just comes rolling in, burning everything in its path.
02:24:23.000I know what you're talking about, though.
02:24:26.000He's kind of like the Koenigsegg of California.
02:24:31.000It's a wild looking car though, whatever it is.
02:24:33.000Yeah, I mean it looks capable and apparently they ran it again and I don't know if they busted 300, but they got all the journalists out there, all the YouTube dudes.
02:30:45.000I'd have to live in the countryside to drive that.
02:30:49.000There's some video of them driving this thing because this is still being engineered.
02:30:54.000So I think they've only gotten it to 200 miles an hour now, which is a slightly detuned version of what it's fully capable of, and they have to ramp it up in steps.
02:32:36.000Yeah, it's because they want to slowly bring it up to 300 miles an hour, so there's engineering involved.
02:32:42.000I actually talked to John Hennessy about it, and he's telling me what this crazy task it is to create this thing and how long they've been working on it.
02:32:51.000I mean, between that and then the new Mercedes AMG1. What's that?
02:32:57.000They took a Formula One engine and put it in a production car.
02:36:49.000Yeah, the guy who created the legendary McLaren, I can't remember the model name, but he has his own shop and he just created his own hypercar.
02:40:29.000There are definitely some pretty relatively efficient supercars and hypercars, but...
02:40:34.000They're usually going through like, you know, nine miles per gallon or something like that, 12 miles per gallon in performance mode.
02:40:39.000In essence, that's kind of what's happening with this car.
02:40:42.000It's a performance EV. It still gets 200 and whatever plus miles of range at the top end of the Turbo S. But it's not as efficient necessarily.
02:40:52.000Or the range isn't there because they're not focused on range.
02:40:55.000They're focused on how do you get those electrons to the motors and how is that expressed and how does it feel to interface with it.
02:41:03.000That's all they care about, which I kind of like.
02:42:17.000What that means for folks that are just listening is like when you let your foot off the gas, it could either absorb energy and reuse the braking.
02:42:27.000So you don't actually brake, you just let go and it actually slows you down.
02:42:31.000Yeah, it's the resistance of the motor.
02:42:33.000So when there isn't a charge applied to the motor, essentially it acts as a generator.
02:42:39.000So as long as it's moving, which it still has motion or whatever, momentum from the car.
02:42:57.000Well, it depends on your driving style, you know, but what's interesting about, you know, they call it recuperative, you know, because they're German.
02:43:03.000But what's interesting about their philosophy of the Taycan is they just let it coast.
02:43:09.000Because they believe the energy of the car should be allowed to just continue, right?
02:43:14.000So it coasts like a regular car does, right?
02:43:16.000But you do have a regen switch that you can press that adds a light amount of it, right?
02:43:22.000It's not one-pedal driving, which I was used to in my ass, right?
02:43:25.000But when you go to Sport Plus mode, which lowers the car and makes it more aggressive and turns on the sport sound or whatever, there's a pretty aggressive regen that I've noticed.
02:44:19.000It feels like, because you're low, it's aggressive, the PDCC is activated, everything is like tight, tough, and you're just, I'm going to 155, I don't even notice.
02:44:29.000How much do you like it more than your Tesla?
02:50:20.000So I want to experience it and I want to experience that autopilot because that shit.
02:50:24.000I mean, back in the day, I was using that 70-75% of the time and that was like early Roadster.
02:50:29.000Well, one of the great things about innovation and competition is that when other companies step up and make something even better, it forces the original company to catch up.
02:52:41.000We're going to see a really dangerous, disgusting example of engineering soon from Porsche.
02:52:47.000I think we're going to see the next 918. I think there's going to be...
02:52:53.000It's not priority right now, but you know in the back room they're already designing it because the hybrid technology is going to be insane, plus solid-state battery technology might be available by then.
02:53:02.000So you've got higher energy density, smaller scale, lighter car, plus it's hybrid.
02:54:06.000It's hard to imagine that human beings do this and then they're getting shot at and they're banking and trying to stay conscious while they're having dogfights.
02:56:26.000Well, I love the fact that you have those combining interests, that you're such a technophile, as well as an audiophile, a musician, and a comedian, and all these things kind of piling together.