In this episode of The Joe Rogan Experience, the comedian, actor, writer, and podcaster joins us to talk about his love of the TV cop drama, Columbo, and his love for punk rock. We also talk about what it was like growing up in the late 60s and early 70s in New York City, and what it's like to grow up in a punk rock band in the 80s and 90s. We also discuss our favorite punk bands and bands we grew up listening to, and how we got into punk rock and punk rock in general. And of course, we talk about our favorite movies and TV shows and how they influenced our music growing up. This episode was brought to you by La Croix Records. Logo by Courtney DeKorte. Theme by Mavus White. Music by PSOVOD and tyops. The 500 is a production of Native Creative Podcasts. All rights reserved. Used by permission. If you enjoyed this episode, please leave us a review and/or a rating and review on Apple Podcasts or wherever else you re listening to this podcast. Thank you for supporting the show. We do not claim any rights to any music used in this episode. All credit given to any other music used is given to third-party artists, producers, record labels, labels, etc. or any other creators, etc., etc. etc. We are not affiliated with any other person s use of their music or production company. Please do not own any such thing. except as they choose to do so they re not compensated for any such credit, other such thing, other than their own marketing or promotion or promotion, etc.. except where credit is given in any other such credit given in the show or such such thing is provided by the public service or such as public service, such as a third party or such thing . Thanks for any other credit given, we are not required to provide their fair use of such a thing or such other compensation is not required in this podcast is not being compensated for this podcast or such a credit given by any other third party access unless otherwise indicated , etc., we are being compensated in any such compensation is stated or otherwise etc., such credit is being compensated, such etc., if they are doing so in any way, such thing being given, etc.) .
00:01:10.000And the other day I'm watching this episode that Jonathan Demme directed, Steven Spielberg.
00:01:15.000I mean, all of these famous directors start to cut their teeth in TV and on episodic things like that.
00:01:22.000But there's a real tone to it and stuff that's cool in the way everyone looked.
00:01:27.000But one other funny thing about it that I've noticed in Columbo is that it always starts with a murder and then usually a lot of times in the arc of the story someone shows up to the crime scene.
00:01:41.000Usually whoever did it or whatever, right?
00:02:17.000It's weird how many of those shows there are where they catch the bad guy.
00:02:23.000It's like something that I guess people with anxiety need to let them feel like if someone is a bad person and they do commit a murder, they're going to get caught.
00:02:32.000Like, are the interest in those kind of dark scenarios, you're only interested in them when there's justice at the end?
00:03:36.000And there was a thing when we were kids, and there was this song, I forget which band did it, but you were fake if you were a Quincy punk, because they took the way people looked on Quincy or whatever, and that instantly became...
00:05:52.000Records started doing that to me very early.
00:05:55.000And that kind of is where, so it's kind of, we think it's normal.
00:05:59.000Other kids' dads aren't playing old folk songs at the house that I know, you know.
00:06:03.000But by the time Rich and I, you know, we're kind of like angst-ridden suburban youth, you know.
00:06:10.000For some reason my parents decided to move to the suburbs, financial reasons, general apathy, you know, ready to, you know, begin the mound of resentment and regret.
00:07:26.000Being a kid in the suburbs in Georgia where, you know, it's still pretty much like that band, all the people that's in that band, Alabama, you know, they wear like trucker hats and flannels and like want to beat you up because you have a Ramones record or something.
00:08:23.000But they definitely made amazing, beautiful, cool outsider art.
00:08:28.000And, you know, I think something that we have a hard time understanding in this day and age is art that's made because of the visceral interaction with you and other people that has nothing to do with, I'm going to be a big star.
00:08:48.000I mean, fuck, I'm like one of the last...
00:08:50.000I mean, the Black Crows, we have to be one of the last bands of the time where we kind of felt it was our duty to never truly give in to the other side, you know what I mean?
00:09:05.000And kind of understand this us versus them You know what I mean?
00:09:21.000Again, that's like why the algorithm maybe isn't as perfect or it never will overtake everything because there's always going to be the one person who's like, I'm going this way.
00:09:55.000Bluegrass records, Lester Flatt and Earl Scruggs records, or Moe's Allison records, Jimmy Reed records, Johnny Guitar Watson, and then they had Buffalo Springfield records.
00:11:11.000Which is a lot of what's going on today with Dead Kennedys t-shirts.
00:11:14.000But, I mean, I think inevitably anything like that, I mean...
00:11:19.000Edgar Allan Poe was that in a literary way in the, you know, the tail end of the Victorian age, but now he's just like a thing hanging in some goth kid's car, like an air freshener or something.
00:11:43.000There's always going to be adherence to what most people are interested in and what's popular, and then people that are trying to mimic what's popular so that they can become popular.
00:11:54.000And then there's always legitimate counterculture where people are just like, I don't vibe with any of this.
00:12:51.000The cool thing about the first Sex Pistols record, the Clash record is a little different, but even the Dead Boys or bands like that, a lot of those early punk records and a lot of the post-punk records Those bands,
00:13:07.000they're not making records trying to sound...
00:13:10.000Oh, I can make a record sound like I Don't Give a Fuck or something on my GarageBand.
00:13:15.000You can do anything now with a button and people...
00:13:21.000And I like lo-fi shit, too, of course.
00:13:23.000But back then, these bands, they're not making lo-fi records.
00:14:40.000I don't even know if ZZ Top, where they were in their career, if they knew anything that was going on about these guys that were the opening band.
00:14:48.000Except for the fact that in the music business at that time, when you're still selling records, and you're selling 250,000 records every week or whatever for a couple years, it starts to be kooky when it was a thing.
00:15:02.000But they were sponsored by Miller Lite.
00:15:52.000And as we've gotten older, and especially since we've put the band back together these last few years and have been in a really positive place and a really good place, I realize...
00:16:06.000Part of that that we were involved in, we believed in what we feel is really the true essence of rock and roll.
00:16:15.000It's like, I describe it as like the movie Quest for Fire, you know, when they have to keep the fire burning in that little thing and they're going across the swamp and they don't want the Neanderthals to get it or whatever.
00:16:28.000That's kind of how we felt in a weird way about everything that was out.
00:16:33.000You know, one minute you're in control.
00:17:36.000Well, you know, the other thing is, you know, you remember, rock and roll was, culturally and socially, its place and its importance and its reverence was a lot different than today.
00:18:12.000But when I hear new things that I like, and I'm like, okay, so they're singing about drugs, they're singing about sex, and, you know, they're singing about, you know...
00:18:22.000Maybe I can't really identify with the violence of poverty and stuff.
00:20:40.000And there's a lot of looking at that, there's a lot of reminiscing from people my age and your age that were around when these things were the way you consumed music.
00:20:50.000I've been buying records since I was 12 years old, you know what I mean?
00:20:54.000And it was weird, maybe that's because my mom and dad had a lot of records.
00:20:59.000But, you know, my wife and I, we just moved just around the block in L.A. And we've been together seven years, but we kept our records separate.
00:21:56.000But the record store was really important to me as a young person and a musician because before you could go on your phone or before the algorithm, whatever, there's another person that looks cool.
00:23:20.000But then in the early 2000s, a friend of mine that worked at the great record store Other Music in New York, my friend Michael, We started doing these nights and playing like a lot of weird psych folk as a kind of genre and we both loved those records and we called that,
00:23:44.000When I wasn't doing the Black Crows I had this band called the CRB. We were like a little psychedelic folk rock little group that toured around and made a bunch of records.
00:23:59.000But we played two sets a night, so it was kind of like Grateful Dead model, like very heady, trippy.
00:24:05.000But the CRB, especially in California, we always had friends DJ. The doors opened until after the show and in between sets, playing records.
00:25:06.000But, you know, I know when I'm in Denver, I'm going to this certain bookstore and I know that they have really curated things in there that I'm looking for.
00:25:18.000I can wander into, you know, you never know who you're going to meet.
00:25:21.000You never know what you're going to eat.
00:26:27.000Whether it's the Rolling Stones or whether we go see a band at a little club in LA. And I'm always looking for new, you know, things to people that are interesting.
00:26:38.000If I could help them out in their careers.
00:26:40.000A lot of it is with really young artists.
00:27:54.000But part of the other part of adventure and the other part of being interesting in, like, New Wave Theater, my mom's like, they all look like mental patients, just like you!
00:28:52.000Gregory Corso or Allen Ginsberg, all these poets and people are writing about all these experiences that don't seem to be happening in, like, a neighborhood where they call the houses a five, four, and a door.
00:29:19.000I mean, I haven't been to downtown LA to see music in quite a while, but the last time I went there, I saw Gary Clark Jr. in Honey Honey at this very small place...
00:29:30.000With, you know, maybe there was like 200 people in there.
00:29:34.000I took my daughter and it was like a late show on a Monday night, like 1130. And here we're seeing Gary Clark Jr. in Honey Honey play a cover of Midnight Rider.
00:29:45.000And it just felt so special because there was no one there.
00:32:25.000Well, it's just you only have a certain amount of time on this Do you think that any of that has to do with embracing a certain...
00:32:44.000A middle-classness or even lower middle, you know what I mean?
00:32:49.000Like the working, you know what I mean?
00:32:51.000Even in a blue-collar way, I think, you know what I'm saying?
00:32:53.000Whereas here, it seems that's been stripped away from something to be proud of, unless it's kind of, in a way, distortedly proud, you know?
00:33:20.000That life is, you have money for food, you have money for your house.
00:33:24.000Like, you're not wealthy, but you're okay.
00:33:26.000Well, if you look at, like, media, like, sitcoms from the 70s, whether it's Archie Bunker or whatever, like, they're just people with jobs and...
00:33:34.000Even Taxi or Barney Miller or whatever.
00:33:56.000It's just like, look, man, this doesn't make the man, right?
00:34:01.000My material things don't make me who I am.
00:34:04.000It's who I am, how I feel, what I've learned.
00:34:09.000That's the big problem is what we're sold in Western culture, that the goal is to acquire things and to achieve a certain financial status.
00:37:09.000He was on a podcast about Saturday Night Live or something and said we were the worst people he ever dealt with in his entire career there.
00:37:21.000Because you just didn't listen to him?
00:37:22.000Yeah, yeah, we didn't do what he wanted.
00:37:24.000That's not what you're supposed to do with artists.
00:37:26.000Especially when you're young and you're still like, the fire is so intense.
00:37:31.000That's always the problem with executive mindsets versus artistic mindsets, right?
00:37:35.000A producer character who just wants everything to go according to this very specific plan they have laid out.
00:37:42.000And you're trying to take an artist, and first of all, just trying to take an artist and making them sing one song is kind of crazy, right?
00:37:49.000Yeah, I mean, I think we see that now.
00:37:53.000You know, we see people who are like, I'll do it, I'll do it!
00:38:13.000And that was part of the reason that we were drawn to these characters and these people and these other outsiders and these other whatever kind of spectrum we're on or whatever that's different.
00:41:50.000I remember every fucking person that we knew in Atlanta that Saturday night that The Replacements came on in TV on Saturday Night Live, we all were at parties and watching it and getting completely shit-faced.
00:42:03.000They shaved their eyebrows off and shit and were rolling around and changed clothes.
00:46:10.000But if you're spending your time arguing with people on Twitter all day, like, nothing is more depressing to me than seeing old rock stars argue about politics on Twitter.
00:46:19.000It is so goddamn depressing watching rock stars virtue signal and attacking people personally for having differing political beliefs, like, and then looking at their timeline and realizing these poor fucks are addicted to this shit and they're doing this five,
00:47:26.000Friends in Amsterdam, friends in Paris, friends in London, friends in Madrid, friends in this, you know, Germany, whatever.
00:47:31.000But we're constantly out doing, you know what I mean?
00:47:35.000There's no way we're not heading the town in any town and finding what it has that makes maybe it unique or special, whether that's tastes or touch or whatever.
00:49:22.000One bad moment, and the rest we're all happy with.
00:49:25.000Yeah, and then the rest, everyone's eating it.
00:49:28.000Yeah, that's one of the things I loved about Anthony Bourdain's show, you know, that he would go and really immerse himself in these cultures and eat their food and hang out with their chefs and hang out with the people and get toured.
00:49:40.000You know, someone would take him on a tour around the town.
00:51:14.000They haven't had something like that since 2007, and this was worse.
00:51:18.000I saw live footage of it, some live cell phone footage of it.
00:51:21.000Unless you've experienced that live, when you're around the sky, and the sky becomes an angry monster, and everywhere around you is dangerous, and the winds are 120 miles an hour, it's so humbling.
00:51:33.000I was in a tornado in Atlanta in the early 70s, and that was...
00:51:40.000I mean, I was probably too young to be, like, traumatized, but I remember feeling my parents' trauma about this thing going over our house or whatever.
00:53:16.000I mean, when hurricanes hit places and devastate them, it takes decades for them to recover, especially without aid.
00:53:23.000And then sometimes it's like the people that are there, they just don't want to do it anymore.
00:53:26.000It's like when you realize you're in a place that this happens and there's other places where this doesn't happen, you just get the fuck out.
00:53:33.000But there's a humbling of being attached to nature in that way that I think.
00:53:37.000I grew up in Boston, and there's something to the people that live up there that understand that every winter it's going to get so cold that you could die outside.
00:53:47.000That's a reality that no one in L.A. experiences.
00:54:47.000Well, when it goes bad, it goes real bad.
00:54:50.000I was filming Fear Factor once, and it was about an hour and a half away from L.A., and the fires get so bad, we had to stop shooting and drive home.
00:55:02.000And on the way home, we were off the 5 freeway, and on the way home, the entire right side of the highway for an hour was in flames.
00:55:12.000Like completely in flames like a Lord of the Rings movie.
00:55:15.000Like you're waiting for demons to ride horses over the top of the mountains.
00:55:20.000There's something about those kind of scenes that puts you back in check.
00:55:26.000That's like, hey man, maybe the things you're concentrating on aren't all that important for real.
00:55:36.000In our animalistic DNA of like still being that person, you know, these people, again, it's a quest for fire, being these people who are really not just completely immersed in their environment as well for survival and sustenance and everything.
00:55:55.000That it's still like in the way I guess, you know, there's an instinctive thing in those moments that has to be the exact same chemical reaction in every human being in any expanse of time that we've been like this.
00:57:21.000I did that as a kid, and it's still one of the coolest.
00:57:25.000But I was like, you know, it's funny when I look back, you know, they have like up the streets, they'll have like the fountain at the end of the street or where the water would come, and you could see like where people lean their hand.
00:57:38.000There's like an indention for the centuries of people leaning in to get a sip of water.
01:00:07.000Versace party in London, and there were a bunch of famous people there, but everyone sat down at a table and, you know, different things, and I was just like, Oh, and he was with Richard E. Grant.
01:00:25.000Richard E. Grant, also, I was impressed to see and meet because of the film Withnail and I is one of my favorite movies of all time, and there's Withnail, you know, like, there he is.
01:00:37.000But there's Bob Altman who is, you know, lord of my imagination and, you know, one of the best films, my favorite film, some of my favorite films of all time.
01:00:47.000And so after when the dinner kind of like is less whatever, people are up talking to other people, I just go over to him.
01:05:47.000I transfer all my notes to phones because occasionally I'll write something on the phone.
01:05:52.000The best thing about the phone, honestly, is like sometimes I have an idea.
01:05:55.000Maybe I've had a couple of cocktails, too, which is like, you know, Memory is slippery.
01:06:00.000When you're drinking with friends and you're having a good time, but you have an idea, I'll just run into a bathroom stall and I'll hit the voice recorder and just say it.
01:07:23.000Because there's people who can write, there's people who can play, there's people who can produce and record, and there's people who can dance and sing and perform.
01:07:33.000That guy did it all at its ultimate level.
01:09:14.000He was doing a residency once at House of Blues in Vegas, but it was like really late at night, and I had to do something in the morning, and I passed on going.
01:09:38.000You know, it's funny, the other person I met that put me very much at ease when I first said hello that I was totally freaked out was George Jones.
01:13:27.000I mean, at least if you look at, like, when I look at my age people, we were just, we were close enough to the Beatles and close enough to the Sex Pistols and close, you know what I mean?
01:14:32.000Because I think, well, we were called Mr. Crow's Garden, and it's a book.
01:14:39.000It's like a children's book from the 20s called Mr. Crow's Garden.
01:14:45.000With an E, so it's a name, you know, he was Mr. Crow.
01:14:49.000And we were kind of, you know, into like psychedelic, you know, like it was our, that was the name of our band.
01:14:56.000So when we made Shake Your Money Maker, a few years had gone by since we first were Mr. Crow's Garden, and now we don't sound like that.
01:15:05.000And George Triculius, our producer and our A&R guy and our lifeline to the music business, to the world, who signed us and stuff, he was like, we need, you know, we've got to change the name.
01:15:19.000So there was a little bit of time where before we said we'll be the Black Crows.
01:15:25.000And that's when Rick interjected that that's what he...
01:16:52.000You probably would have achieved the exact same success as the Black Crows.
01:16:56.000I don't know, because the poet in me and the armchair occultist would believe that...
01:17:03.000The only way we achieved what we achieved, became what we became, is because of the way, some reason, also leaving the E in it, that was the one thing that I said we would do.
01:17:18.000And by the way, leaving the E in it was also great, and it's still great to this day when someone requests something or wants something from you and they misspell the name of the band, we're like, no.
01:19:00.000Just because I'm Southern and I'm a musician doesn't mean that, you know, talking down to me like I'm stupid or something, or I'm like, whoa, whoa, you don't know.
01:19:08.000Well, they sound like it must be tough in what way?
01:22:17.000It was the thing that they held over all of our heads is that if you develop an act that could be converted into a sitcom, all of a sudden you're Tim Allen and you have $50 million in the bank.
01:22:28.000Or your Jerry Seinfeld or your Brett Butler or your Roseanne Barr.
01:23:38.000But it's just the problem is you're never gonna make everybody happy and now way more people have an opinion they can express like because of social media.
01:23:45.000Like everyone can express their opinion.
01:23:47.000It's not as simple as you hope to get the favor of a reviewer.
01:23:52.000Like someone who's cool, really likes bands, comes to see, oh, Bob's here.
01:25:04.000The pursuit of other people who you don't even know, their love and attention, and you'll morph and change and adapt whatever you're trying to produce in order to gain their favor, that's a fucking folly.
01:25:16.000That's such a foolish way of interacting with human beings.
01:25:20.000And whatever you create is not going to resonate.
01:25:41.000You need experiences from people where when they resonate, when they put out these works, whether it's a book or music or anything, This thing represents their soul and their perspective and their actual...
01:26:30.000And it's like, I mean, in a way, in a counterculture way, whether it's a poet, a musician, a jazz musician, anyone, you know, Robert Mitchum.
01:26:39.000You know Robert Mitchum's cooler than Kurt Douglas?
01:26:43.000Because he got busted for smoking pot, okay?
01:26:45.000So Robert Mitchum's cooler than you, Kurt Douglas.
01:27:10.000Again, showbiz and corporate things, you know, can manipulate these kind of archetypes and put them in the genre-specific things that they want because they know.
01:27:34.000But I think they sort of make you really appreciate people that are true artists.
01:27:39.000It really is just their expression, what they're trying to create that they hope people enjoy.
01:27:43.000I mean, it's funny because that's, you know, more than ever, not just for the fact that I really had to go through certain things to come full circle with my career and my brother and what the Black Crows mean.
01:28:27.000We were talking about that stupid flame idea, this purity, but I know when we go out on tour and we write songs, make records, play concerts, it's something that is raw still in there.
01:30:23.000And I think, historically, and because of science and things...
01:30:30.000You know, it's like that idea of, well, this was the Bronze Age.
01:30:32.000It started on Thursday, but then they find a corpse in the ice in the Italian Alps, and the guy has a bronze sword, and he's 2,000 years before they thought.
01:31:22.000Like, Well, now in archaeology, they can do almost just as much with sonic.
01:31:29.000They can plan out what's going on and not disrupt the thing.
01:31:32.000Well, that's how they know there's many, many of these structures around that same area.
01:31:37.000But these things are 11,000 years old.
01:31:39.000The last show of our tour, we were in Merida, Spain, playing in a Roman theater.
01:31:47.000That they had only done the excavations in the 50s, because I guess at a certain point, they just filled...
01:31:54.000There's an amphitheater next to it where they would have gladiatorial games and things, and then a theater for theatrical and religious purposes.
01:32:03.000Pink Floyd gets Pompeii, we get Merida.
01:32:07.000It's still cool, you know what I mean?
01:34:37.000No, these people are like rethinking society the same way they put a stop to it in the 1960s.
01:34:44.000When the government made all psychedelic drugs schedule one, when they were doing that so they can go after the anti-war protesters and the Black Panthers and they changed the counterculture movement.
01:35:07.000You're like, we used to be like, you know, people think they killed Bob Marley because of shit like that, but now it's just like, it's my medicine.
01:35:33.000Like, how the fuck is it 2024 with all that we know about all the drugs and that this one?
01:35:39.00024 states, three territories in Washington, D.C. have legalized recreational cannabis use.
01:35:44.000Seven states have decriminalized its use.
01:35:46.000Commercial distribution is legal in all jurisdictions where possession is legal except for Virginia and Washington, D.C. Personal cultivation for recreational use is allowed in all jurisdictions except for Delaware, Illinois, New Jersey.
01:36:10.000I think it's just a dumb thing for us to be hanging on to, the fact that they're still allowing grown adults to tell other grown adults what they can do with their consciousness.
01:36:19.000With all the data that we know about things that are very harmful, that are not just legal but prescribed by doctors, How about just everything is harmful that they allow in the world?
01:36:29.000You know, they don't give a fuck about the sea being a plastic desert, but don't smoke pot.
01:36:35.000I mean, I find that's always been the case with authority, isn't it?
01:37:40.000It is crazy when you go to the Coliseum and you realize the extent of the construction of it and how elaborate it was and how many different things they had going on.
01:39:21.000Artistically, I mean, that's also something I think about when I go to Italy.
01:39:25.000Like, there is something about their life and their lifestyle that contributes to this incredible body of work when it comes to art, when it comes to music, when it comes to sculptures and paintings.
01:39:48.000A friend of mine gave it to me a couple years ago.
01:39:52.000It's a British Secret Service officer, comes to Naples in 1944, directly in the, you know, push of the Allies pushing the Germans and then fascists up the peninsula.
01:40:07.000From Sicily and then landing in Italy.
01:40:10.000And it's an unbelievable book that this guy writes.
01:40:25.000The aftermath of war is something that people rarely can wrap their heads around or are interested in.
01:40:32.000Maybe because it's even, you know, you take away the drama of the battle and stuff, it's bleak.
01:40:36.000But there's something about, and this guy is not Italian, English guy.
01:40:41.000But he captures the spirit, the humanity within, like, this transitional period in Naples, but unimaginable stories.
01:40:52.000Depravity, but also great exalted human things as well.
01:40:57.000And then just some things that are incredible, like, you know, Italians in their clothes.
01:41:01.000And even the rich, the aristocratic class in Naples to the person that could, when they didn't have any fabric...
01:41:10.000Around this time after that, they're walking around Naples in beautifully tailored suits made of old army blankets that they would use black paint on to make them look chic.
01:41:30.000There's another American guy who was there at the same time and wrote another book about it, which is also very interesting because this guy was one of the only books of that time that talks about the gay scene with the soldiers in Naples and stuff,
01:42:08.000Well, it's always interesting, too, when you're thinking about things thriving and existing against resistance in a dark time or a different time, a time of much more difficulty.
01:42:22.000Sort of feel what they felt when they were doing what they were doing.
01:42:25.000I mean, I think culturally, historically, I mean, I think one of the great reasons Europeans have a much different attitude, you're talking about, you know, Sicilians, Italians, everyone, French, Spanish.
01:42:39.000Spanish people know how to have a good time, too.
01:42:44.000To have two events, like the World War I and World War II, yeah, we have very little...
01:42:55.000It's hard for us to understand what those two events must have felt like through communities, cities, families.
01:43:03.000I just read another amazing book called Wine and War, and it's a history of the wine business during the Nazi occupation during World War II. Unimaginable, wild shit going on.
01:43:15.000But the French people, you know, because the Germans...
01:43:37.000These guys had a lot on their plate for five years.
01:43:40.000And leading up to the inevitable Nazi occupation.
01:43:43.000Well, even in World War I. In World War I, France lost 25% of its men.
01:43:50.000And then in World War II, they lost another 25%.
01:43:54.000In the book, I mean, and also just history, I think that's one of the reasons I think Germany, I mean, a lot of French people just didn't want to do it again.
01:44:13.000History repeats itself all the time, and we know this.
01:44:16.000There was a lot of infighting and political things within the French government at that time, whether that's through the military or whatever, that made them really a soft spot.
01:44:27.000There was no cohesiveness of the way they would think about fighting or defending or whatever.
01:48:50.000There was a really good professor that was kind of explaining things to us.
01:48:55.000And he was talking about the different psychedelics that they believed that they would use and the way they had structured all their buildings to align with constellations and the way they had sort of worshipped this whole...
01:49:09.000It's an integration of the sky into all of their architecture.
01:49:12.000I mean, it's an integration into a universal consciousness.
01:51:39.000Like why, you know, there's When I first went to New York City there were bars and bookstores and weird junk stores and all sorts of things that weren't corporate.
01:51:53.000And I think, I don't really go to the gym, but I imagine you could get an ATM in the gym next door to the bank with the ATM. I'm sure you could.
01:53:17.000All you have to do is make something that resonates with people and avoid anybody else's input.
01:53:22.000I've had a lot of bad input come my way that I've ignored.
01:53:25.000You know, and especially in the early days when things started to kind of take off, everybody has an opinion about how you can grow this thing to the next level, which is what I want to talk about.
01:53:33.000You know how to take the show to the next level.
01:53:34.000You know, thought about having more celebrities and more this and that.
01:53:38.000Everyone has advice, but maybe just avoid these kind of topics or maybe this and that.
01:53:42.000As long as you don't have any input from other people, then whether people like it or don't like it, At least it's you.
01:53:50.000It's you and the people you're talking to and it's a real thing.
01:55:45.000He was already so huge that when he would stop by in comedy clubs, this is like after the Pimp Chronicles, he would only go to a bunch of different clubs, and if you weren't there when Cat was there, you missed him.
01:55:57.000So he only came to the comedy store like a handful of times.
01:56:00.000And the Comedy Store, that was my haunt.
01:56:02.000And that's where I went with all my friends and all the best comics in LA and Europe.
01:56:06.000We all collaborated at the Comedy Store.
01:58:36.000I mean, his energy and stuff's incredible, but his singing, I mean, they did Wild Horses that night, and I looked over, and my 14-year-old was, like, crying, and I was like, I'm so proud of you.
02:01:46.000I'm not a—you know, I'm not—I have no—I'm English—we are pretty much, in our DNA, English and then, like, a big scoop of Polish Jew on top, you know?
02:04:28.000He's a school teacher in Naples or whatever, or in Italy, and this girl whose wife or lover or whatever, some big gangster in Sicily, he's in hiding because he ratted on someone.
02:04:57.000Do you remember there was an Italian singer who created a very popular song where it was fake American lyrics?
02:05:07.000God, I'm trying to remember his name, but it was a song where he's singing fake words that sound like he's singing like the Rolling Stones or the Beatles or something like that, but he's doing it with fake words.
02:05:22.000It's like what he thinks American songs sound like, but it's gibberish.
02:05:38.000This song is very cool, but there's a couple of different versions of it.
02:05:40.000This is like a live performance of it, but there's another one that's like a music video of it, and it's really fucking interesting what that guy did.
02:07:42.000But George Duculius, who's produced our first records, first two records, and signed the band, after the show, he was like, if I had known you'd still be singing them 30-whatever years later, we could have put the keys down for you, you know?
02:07:55.000I was like, that wasn't how it worked back then.
02:07:59.000Because, you know, in rock and roll, you have the verse, and then you get to the chorus, and you want to get it exciting.
02:11:25.000You can do a lot of stuff, but one thing about the songs we've written, and I meet people...
02:11:33.000And people play the songs we've written at weddings and at funerals, you know what I mean?
02:11:38.000Not just parties and not just things, but like, you know, my brother, I wrote, you know, when we wrote She Talks to Angels, I always have time and I'm always humbled by people's experiences with that song and addiction and things in their lives,
02:11:57.000whether it's them, a family member, loss, Or people that have overcome things, you know what I mean?
02:12:05.000And that we, you know, just wrote that song one day when we were kids, and that means so much to people.
02:12:10.000I mean, there's a lot of songs like that in our repertoire that people come up to.
02:12:13.000I mean, really funny things sometimes.
02:14:14.000Like, no matter how rich you are, no matter how successful you are, no matter who you are, you still have to deal with the ups and downs of it.
02:16:17.000What is real and what isn't real between there, that's for everyone to figure out, for people.
02:16:22.000But the fact that that can be captured in a song, and like you said, sort of carry you through these bad moments, we realize other people are experiencing grief, hardship, depression, darkness, terrible thoughts of loss.
02:16:37.000And that's the reason why those songs are so popular.
02:18:04.000And there's cool people and not cool people, but they're not, you know what I mean?
02:18:08.000And I think, like, now we live in a time, and you see it a lot, you see people making comments about it in our industry, about how you're just following.
02:18:19.000Whereas before, yeah, you had things that were popular, but someone, you know, someone said, fuck, sign the Stooges.
02:18:28.000You know, Danny Fields did that, but he had great taste, but he was still a record company guy, the business side of it.
02:18:36.000Someone, you know what I mean, someone said, sign Susie and the Banshees or whatever.
02:18:40.000Someone said, dude, I mean, Bob Dylan, you didn't know when they made first Bob Dylan record that he'd be 83 years old, Bob Dylan, you know what I mean?
02:19:00.000I'm looking for still that maverick spirit or somebody who does have the wherewithal and or vision to see that maybe something is a little bit outside the box still could have not just it would have importance and it can be popular as well.