"Lars Ulrich"

27:17but people like themselves with real-world problems and anxieties and issues just like ourselves. And so slowly over the 80s, as more and more kids understood that there were music out there for them, like the type of stuff that we were doing, they started moving further and further left. They started moving the mainstream further and further out to where bands like ourselves were hovering. and there was that seismic shift then towards the late 80s when all of a sudden the mainstream realized that there were other options that they had been fed over the years. Right, and you guys were, like you said lyrically, Sean, and I don't know, Lars, if you heard me before you came on, I quoted your song, One, and I said, you know, take my breath as I pray for death, or God, please take me.

28:05I did, yes. Yeah, and like that... I didn't write that one down as a potential, but I have the other ones. Well, you already have that song. That song already exists as a hit. It's still hard to beat bread balls. But that song is like a, I mean, you think about it, you guys, that song specifically is about a guy who's basically in a coma, right? He's kind of paralyzed. What's the deal with that? Nobody was writing songs about that. We spent a lot of time sort of wondering what different mental states. And so at one point we were talking about what would it be like if you couldn't speak, see, or hear, and you had no arms or legs, but you were just a living conscious?

28:47What would that feel like? What would go on inside you if you were just a living conscious? And then we found out about Dalton Trumbo's story of Johnny Got His Gun, and then we wrote a song around that and then realized that there was actually a movie with Jason Robards that came out, I think what late 60s early 70s and that became our first video and that was a four albums in and at that time we had never made any videos for MTV and we were sort of the anti-MTV band but we finally felt that we had an idea that was worthy of making a video and do you guys remember something called dial MTV back in the day and so the first day that that video premiered and was eligible for for Dial MTV it premiered at number one and it stayed at number one for like the next couple of months and that was a significant I think a wake up call to a lot of the industry them realizing that there was something else out there than I don't want to mention names but that was out there at that time that was generating a lot of the attention something more than Frankie Goes to Hollywood with the lasers way to go JB dancing all around it do you miss videos at all?

30:05We still make videos. We made for our new album. Now it's actually the opposite. For the last two records we put out, we've made videos for every song on them because if you... Now, you know, so many people hear albums on YouTube, so you want to have a video that you've made yourself for every song on your album rather than having somebody else make them. So we've made videos for every song on the last album that just came out a few months ago. I love that. I remember a long, long time ago, I don't remember the year, but... Just guess. Is this when your dad left? This is when your dad... This is the year your dad left?

30:40When my dad left. Yeah, it was 1975. No. Do you have a question for my dad, Lars? I'm going to drive and just light up the rear, pause the traction, and go. No, I have a question. You know, just like Metallica may turn professional one day, you guys should do this for me. We will try. We will try. Oh, my God. No, I remember hearing about you doing a concert in Antarctica, right? That's right. And you were the only band who's played on all seven continents, which is wild. And it was sort of by chance. It was not something that we set out to do. Well, I don't think one would, but yeah. No, but it's not like you sit there and go, hey, what should we do this year?

31:26Let's play all seven continents. We were playing in Latin America. We were playing in Europe. We were playing in North America. We had shows in Africa and Asia, and all of a sudden it was like, whoa, there's a thing happening here. And we got an offer from I believe it was Coca-Cola. It was a soft drink in Brazil who said that they were putting together a competition. And the prize was to travel to Antarctica and hang out. and they wanted to know if we would come down and play for this group of soft drinkers. Was it cold? Well, it was, so it was December, which is their June, which is their high summer.

32:11And it wasn't as cold and it wasn't as frigid and it wasn't as sort of otherworldly as you would expect it to be. Yeah, because I was going to say, how do your hands work? But we were down there for a couple, four or five days. We stayed on an icebreaker and we stayed with all the contest winners and all our crew were all on this icebreaker together, which was super fun. And then we played on a Chilean research base and we played in a tent. And do you guys know what silent disco is? No. Where do you know what it was? So, yeah, exactly. Everybody had headphones on. So I think there were like maybe 300 people there in total.

32:50Everybody had headphones on so they could hear the music and so it didn't disturb the environment. It didn't disturb the penguins. It didn't disturb the other. endangered species of animals that were there. And so we left no, there was not even noise pollution. It's weird. Last summer I was in New York and I saw these kids late night and they're all on the steps of this church at like midnight on a Friday night. And everybody's moving and nobody's saying a word. And I realized they've all got headphones on. They're all jamming and they're all dancing to the song, but you can't hear it. It's fucking weird.

33:21So the only thing you can hear in the room are the lead vocals and the drums. Other than that, all the amplified instruments are going through the headphones. So it was definitely a mindfuck to be down there, a lot of fun. And to answer your question, it wasn't as crazy cold or as fucked up as you would imagine it to be. But it was cool. I want to go back to James just for one second, just talk about collaboration and sort of sharing power and creativity. and, you know, not just with him, but with the rest of the bandmates. I mean, you guys have been together and so successful and so harmonious, no pun intended, for so long.

34:04Is there a secret sauce to that? You know, I'm sure there's some good leadership involved. Yeah, I would say probably the word compromise. Sure. You've got to learn to compromise. You've got to learn to know when to lead, and you've got to learn when to step back. James and I have been obviously in the band since the beginning, and we steer most of the creative conversations, and we take turns steering. And I think compromise is the key thing. And, you know, if you want to be in a band in your 50s and 60s and really want to be in a band, you've got to learn to sort of work with the environment of sort of how to deal with everybody's personal needs.

35:02The reason that there is millions of bands of people in their teens and 20s and fewer bands of people in their 50s and 60s is, you know, when people get older, they just don't want to deal with other people's shit. And you don't want to compromise and you don't want to, hey, I've got, you know, my son's graduation is the week of Lollapalooza. Oh, well, I guess we can't play Lollapalooza or whatever. So there's a lot of those types of conversations that take place. And we have a thing in our band where everybody gets a chance to, you know, black dates out and put, you know, X's in a calendar and that can't be challenged.

35:40We're very supportive of each other's personal space. And we, you know, we put more resources and time into sort of the whole thing functioning as a band than we ever have before. and I'm not going to bullshit you. I mean, that doesn't get any easier as you get older. Now, most of the kids are grown up and, you know, off to college or in their 20s. So there's less concerns about getting home. But we, you know, we, I mean, 10 years ago, we would tour in two-week increments. We would go on the road for two weeks, go home for two weeks, you know, go on the road for two weeks, go home for two weeks.

36:23so we wouldn't miss being with our kids and all that stuff. I was going to ask you about that, about family. I mean, you guys must have had some very supportive and flexible families throughout all of this. Yeah, but we've also steered it in the direction of trying to keep all that as together as possible. I'm sure it's the same with you guys, But, you know, in our world, it takes a few years before you realize that you actually have a say in some of this. And so when you start out, you just get handed a schedule. Here's like when you're 22 years old, hey, I just want to play as many gigs as possible and travel as much and be as drunk as possible and get into all kinds of crazy shenanigans.

37:14But then you realize later, hang on a second, I can actually say I only want to be on the road for three months and then I want to spend three months at home. or, you know, so, you know, as you go along and become more successful, you realize that you have a say in this stuff. Well, we're lucky because we started doing, certainly we started doing this thing in our 50s. And as we've done, and we've talked about maybe, you know, we went on and we did a short tour a couple of years ago and we're talking about doing another one. But everything that we do, we always do with the understanding that like everybody's got stuff.

37:45And if somebody's got stuff, we never challenge it in that same way either because we know what life's like and it's kids and it's thing and Sean's been doing his play for six months and like that's important. So we've got to honor that and that's a thing you've got to do. I forgot to ask because I've always wanted to know this. Favorite color? Who came up with... No, I was going to... Has he ever forgot a line on stage? I know that Sean was lighting up. Favorite appetizer on the chin-chin menu. No, no, no. What was... What's your favorite... Dipping sauce for the... Who came up with Metallica?

38:16No, Metallica. Where'd that come from? Blake Dipping Sauce. The name? Yeah, man. Ron Quintana. Ron Quintana was a friend of mine in San Francisco. Up in San Francisco, there was a little bit of a different music scene than in L.A. where we started. And we started playing up in San Francisco early. And we had some friends up there and so on. But one of the guys up there, Ron Quintana, he back then, pre-internet, pre, you know, all this stuff, you know, if you wanted information about your favorite bands, you had to, you know, write to pen pals or, you know, and everybody that was really into music at the time made their own fan scenes, as they were called.

39:01So it was eight pages stapled together down at Kinko's about whatever their favorite French heavy metal band that five people had heard of was into. And so Ron Quintana wanted to start a little fan magazine, and he asked me one day whether he should call it Metal Mania or whether he should call it Metallica. And I told him to call it Metal Mania. Because we're taking Metallica. I'll hang on to the Metallica for you. And so I've been forgiven that thankfully a long time ago, and Ron is still a good friend. Let's go. It's a fucking, it's a rad name. Metallica. Feels good on my tongue. So, Lars, this is the standard, Sean.

39:49Hey, Sean. Sorry to subject you to my dumb question here, but these are my favorite answers. God, again, Lars, we're so... Hey, man, city to play in. Isn't it cold playing without your top on? No, I want to know. Briefs and boxers. Why is your hat always backwards? What's going on? You don't want to see what lives under here, trust me. Or what doesn't live under there. I want to know the craziest tour story. Like, fan weirdness. Something that went wrong on stage or during a set. Or, like, you got to have something that just was like, oh, God, the worst one of all was blank. Well, we're very lucky.

40:27I'll answer both. We're very lucky in that we have an incredible group of people that follow us pretty much wherever we go. We actually started selling tickets to them on the last tour. We have something called the Black Ticket. So you can buy now a ticket that gets you into all the shows on a tour. And so there's hundreds if not thousands of people, you know, will go out and play for, you know, six, eight weeks in Europe or whatever. and it's, you know, we see all the same faces down front. No way. So passionate. They come from all over, from Latin America, from Asia, from Europe. So we have the black tickets.

41:05What's that black ticket running, Lars? Yeah. The black ticket. Well, I know people, if you're interested, Jason, and you want to come out, it runs, what is it, 800 bucks? There's got to be some kind of a break on it, right? 800, that's what? Oh, there's a big break. Yeah, there's a big break on it. That's nothing. For all those shows? We try to be as fan friendly as possible. It's like a ski pass. How much did he say? 800 bucks. You can see all the shows and the entire tour. No fucking way. Now, they don't get to jump on the plane. They don't get to jump on the plane, no, but... I'm going to buy it for all of us.

41:36Fuck, Lars, I'm going to get you one too. Yeah. You know what, though? I wish I'd had that. You know, I saw you guys. So, Lars, I saw you in Guns N' Roses in September of 1992 at Canadian National Exhibition Stadium in Toronto. It was one of the fucking great concerts I've ever been to, man. It was un-fucking-real. I was 22. Sure. And you guys rocked it out. And I have such a vivid memory of you guys. God, I don't even know what. It was basically every song you guys played. And everybody in unison rocking out. I've never seen anything like it before or since in the way the dedication and the sort of the rhythmic unison.

42:14It's very, very passionate. It's religious. The stuff that your eyeballs have seen from your position, you get to see the whole band in front of you. and then all of the people in the crowd. Dude, I'm telling you, it's bizarre. It was fucking intense. Images you have in your head must be incredible. But also now I'll tell you, I'll circle back to the question that Shani was asking earlier and I'll give you a variation on what you just said about seeing all the people in front of me. So there was, you talk about malfunctions. The first one that always comes to mind because it left a deep, deep scar.

42:47You were talking about the Black Album, Will. And so we were touring on the Black Album, which was our most successful record up till then. And we had been in America for maybe a year, year and a half. We'd done the Guns N' Roses tour and we were starting in Europe a few months later. And we were playing in London. And at that time, and obviously still, you know, London is just press and business and peers and, you know, publicity and all the, you know, people from all the record companies and all the publicists and everybody from all of Europe are there. It's London. And at that time, it's all, you know, music magazines and weeklies like the NME and Kerrang!

43:35and blah, blah, blah. and um so we're playing in the round which we still do uh and uh i have a drum kit on either side of the stage and halfway through the set i uh supposed to run over and then um you know the other drum kit i'm supposed to sit on the other drum kit as it lifts out of the stage and then i play the other half of the show over on the other side we could probably guess what happened so it It was the first big show of this European tour. Everybody in our universe is there. And so the drum kit is under the stage. I'm on the drum kit and it won't fucking lift up out of the stage. So my view is not 20 ,000 crazy people in Wembley Arena or wherever it was.

44:22It's all the nuts and bolts and the steel and the 12 roadies that are down under the stage with crowbars. and fucking screwdrivers and hammers or whatever they're trying to do or whatever they're doing to try to get this thing to lift up out of the stage. I ended up playing like a song and a half. Underground. Under the stage, submerged, just sitting there. And as Metallica was supposed to, you know, have all these articles written about the triumphant return back to Europe after three years after being the biggest rock band in America. Like Spinal Tap. The whole story was just about Lars's fucking drums that didn't want to lift out of the stage.

45:01So welcome back to Europe. Thank you very much. That's great. I love that. That is so great. And so what did you finish the rest on the other drum set? The rest of the show on the other? Eventually, with enough crowbars and determination, the drums ended up on stage where they belonged. Oh, that's good. We'll be right back. And back to the show. Are you excited by anybody right now that you're comfortable saying that has sort of the same kind of early ambition that you guys had to sort of be a little left or a little right of what is being embraced, you know, that's sort of real mainstream? You guys are really courageous by kind of pushing the envelope.

45:45Is there somebody in music right now that you're excited about their courage? I mean there's a lot of great people in garages and in bedrooms all over obviously making records on their computers now that don't need to go into studios and do the whole spiel that everybody had to do 20, 30 years ago. They don't have to rely on record companies. I think an artist like Billie Eilish, you know, what her and her brother did a couple of years ago with those first records that were made at home on the computers is crazy cool. And it's so it sort of epitomizes, you know, the shift of you need a record contract and you need half a million bucks to go into a proper studio and make a record now.

46:33And, you know, they made those first couple of records just at home on their computers. And that, to me, sort of is indicative of the possibilities now that the technology, you know, the four of us could make a record for the rest of the afternoon and put it out tomorrow. Let's do it. Jesus, why are we not doing this already? Why are we not doing this already? Why are we not doing this right fucking now, Lars? Do we want to break the internet or not? What are we doing? Well, speak a little bit more about that, about the record industry and stuff. Not to get sort of in the weeds about all that.

47:10But, you know, obviously there's been a big change in the record industry. Streaming, et cetera. Yeah, and you're not really selling albums as much. It's more of kind of a la carte kind of songs that are downloaded on stream. And then the bands really make their money, correct me if I'm wrong, from touring now. And so I'm assuming that the bands, if they want to make money, they've got to be on the road more. are you guys on the road more? You guys don't need to make money, but how are you feeling about the way the business is sort of balanced right now as far as being out versus selling albums, staying home and the ratio of that?

47:47Well, obviously it's changed quite a bit. And in your guys' industry, some of the same things that we were dealing with 20 years ago are happening. Yeah. you know I mean big picture and I know this may sound like a little bit of a cop out I'm just happy that fucking anybody cares about what we're doing and shows up to see us play and still stream or buy or steal our records or whatever it the engagement itself I think is the triumph and the victory obviously it's way way harder for a lot of the younger bands nowadays because they don't They don't get the support of the record companies for basic things, just like, you know, gear and tour support.

48:37So there is a very much of a different thing. It's I just, you know, talent, good songwriting eventually will find a home with a larger group of people. And whether you do it from your bedroom or through a record company or whatever. you know, I believe that everybody will be heard eventually if they're talented. But it is tough. It's tough for a lot of the younger bands out there and for a lot of the bands that, you know, 20 years ago could make a living playing clubs or theaters or having a harder time now because they don't sell as many records. And you really have to be out there and pushing it.

49:24Do you feel like when you go and you make a record, like your new record 72 seasons that you guys made this that came out this year and that you're touring i think you're touring this year on right this is what the on the new record yep when you make that new record when you guys have conversations about it coming out like are you guys like or i don't know the record company or whoever it's such a different approach because you're not going to the record stores it's not sending out vinyl or it's not sending out cds or it's not sending out It's like load up the streamer? Does that play at all into it?

49:56I mean, the key thing as an artist, I think when you write songs, and it's the same with you guys, you want to start a conversation. You want people to engage. You want people to hear your music. How they hear it, I guess, eventually becomes second tier. and you understand that it's a changed model than it was 25 years ago, 50 years ago, whatever. I think that, you know, in our band, we just love writing songs and we love making records. We love the creative process. And there are a lot of bands that have been around as long as we have that simply don't want to make records anymore because it either doesn't work for them or the business model of it doesn't work for them.

50:46And I can't speak for everybody else. We love writing songs. Being creative is a significant part of who we are. And it gives us a chance to, you know, what makes us stay functioning is that we go from writing to recording to playing gigs to writing to home. We're always changing up what we're doing so we never get stuck in the sameness over and over. And so we're not always on the road. We're not always in the studio. We're not always taking our kids to school or whatever. We're not always doing the same thing. So you have to kind of keep just breaking it up and changing what you're doing. And so obviously I understand that we're exceptionally fortunate, but our success gives us the opportunity to sort of do all that.

51:42But we would be, if somebody said you can't write or make records anymore, we would probably stop what we're doing because it's such an essential part of just our existence as people. Sure, sure. And I love, by the way, I love that you didn't say exceptionally lucky. You said fortunate because you're not lucky. It wasn't luck that you guys got here. You guys are talented, but you do recognize the force. He also has not, we're at minute 1590. He hasn't said storyteller at all. I know, it's true, it's true. He has not said storyteller. Wait, wait, Lars. I have a list of words here not to say on podcast.

52:13That's number seven. Lars, if we got a hold of your personal music device, whatever it is that you use when you're like working out on, when you're cycling or doing whatever, what's on there? What do you listen, what gets you going? What do you like to listen to currently? I don't mean of all time necessarily. It's very varied, obviously. I'll still circle those Deep Purple records from 50 years ago that I... Is there a genre you're not a fan of? No, I mean, I listen to everything from rock music to jazz music to reggae to pop to hip-hop, R &B. I mean, I think the easiest way to answer is, and forgive me again if this sounds like a cop-out, but there really are only two kinds of music.

53:03There's great music and less great music. And so in hard rock, there's great music and less great music just like in pop or in reggae. You know, a couple days ago, driving back from rehearsals out at MetLife Stadium, we were listening to Bronski Beat. Remember that? Yes. Run away, turn away, run away, turn away. Yeah, we were listening to, I was pumping some Bronsky beat and some. It's wild. Jimmy Somerville. Yeah, Jimmy Somerville. Love him. Beat Boy, Beat Boy, hit that perfect Beat Boy. No way. We were listening to the Happy Mondays. We were listening to Stone Roses. Tristan, my melon, man, you know you speak so.

53:47Oh, Stone Roses, fools go. I love Stone Roses. I listen to that. So it's a lot of varied stuff all the time. Lars, we're in the same. What about listening to a full album? Yeah, does anybody do that anymore? Yeah, people don't really buy albums as much as they used to. They're sort of pulling down kind of a single song here, a la carte there. Whereas Pink Floyd, The Wall comes to mind where there's a whole through line, a thread, a continuity, a thematic that goes throughout the whole album because bands knew that people would potentially buy an entire album instead of a single and listen to it.

54:26You're saying that they're telling a story? Are you saying that they're telling a story? I'm all around it, but I'm not going to say it. You were so close to it, dude. But, like, do you think that that will ever kind of happen again where there's like a rock opera that's kind of... Ooh, like Tommy? Yeah. Probably not in the classic sense that you're saying it. I mean, there's a great band who we've had play with us the last couple of years called Greta Van Fleet. Oh, I love that. Those guys are great. And they still write longer songs. They, you know, appeal to a very young audience. And they still do like crazy long guitar solos.

55:04They're really, really great songwriters. They're very dramatic. They're very theatrical, those kids, man. Yes. They're cool. Super cool. We've had them with us playing a special guest for the last couple of years to a lot of shows. but I don't think that yeah but let me tell you something Jason's idea is good because here's the thing, Hamilton the musical Hamilton, it's rapping, everybody raps it's like, what? a musical that raps people would be floored if you guys used your music or created new music with your sound, it's never been done a hard rock musical, what about a musical Lars? that's what I'm saying, come on let's make some news right now I love the reaction on his face no I can see his face, that's a yes Guys, we've got it.

55:47There it is. Metallica is starting a musical. Lars, let me ask you this before. Is that what we're looking for here on Exclusive? Is that what we're doing? No, we're not getting into musicals. Sean, for once, just one guest, just leave him out of musicals. Yeah, stop getting everyone on the board. Nobody likes musicals. Lars doesn't like cats. I know. Listen, I saw Hamilton. I saw O.G. Hamilton. OG OG and was as blown away as everybody else and subsequently saw it, what, four times? Yeah. And think that Lin is one of the most talented people on this planet, hands down. I went back later that night and just like Googled and YouTubed as much as I could.

56:32That clip where he's in the White House, like five, six years earlier, did you guys see that clip? So Hamilton came out in, what, 16? this is what 09 he was in the White House and was telling Obama and the rest of the gathered there that he was working on a musical about Alexander Hamilton and everybody was just laughing and then he did like he did the first five minutes of it afterwards he got like a standing ovation yeah he's a genius have you never seen that clip Jason no I'm gonna check that out it's just a piano and him rapping No way. That's great. Or something like that. Really fucking crazy guy.

57:11Yeah, he's a mega talent. He's a mega talent. And guess what? I'll tell you what. Let's meet. I'll meet you halfway. Okay. I'll meet you halfway. My sense is it's going well. So when Metallica has some musical news, you guys can break it. Yes. Lovely. I love this. I love this recorded. If you'll have me back, even just for five minutes, then we can make it an exclusive. You're the fourth host. You're the fourth Beatle right now. Lars, I want you, when we go on tour, if we go on tour, we're talking about going overseas, if we go on tour again, have you... We'd love for Metallica to open for us.

57:44To open with us, simultaneously. You can be our lead, isn't it? Wow. It was going great till then. We can get into... I read about William Friedkin also this morning or yesterday. R.I.P. I understand the no mentioning of the great films that he made and et cetera, et cetera, et cetera. And I did read about the... So people know it's because of the strike. We can't mention them. Just so Tracy knows. Yeah. No, I'm right there with you. Lars, listen, he was another genius too. And again, I don't want to embarrass you, but you're a genius, man. You've made so much great music for so long. Yeah. Such a fan.

58:19And you're a nice guy. You're such a great dude. That's the big deal. You don't have to be and you are. You have such a great vibe. Awesome. And you're such a great dude. And it was such a pleasure meeting you all those years ago and having you on here. Well, right back at you. And talking to you, man. Yeah, I feel like I've known you. Continued success, dude. Well, thank you. Thanks for having me. Get back out of here. We'll go hang out with Coop. Let's do it. He's going to cover himself back. The thing is I'm sitting up in my publicist's office here down in Tribeca, and I walked in and was handed this piece of paper.

58:50I go, wow, this is high tech. Here we go. No limits here. We are top of the heap over here at Smartless. Thank you for saying yes to this, buddy. Thanks for having me. Thanks for being your pick, Will. I enjoyed the time a couple years ago in France, and it's great to see you guys. Sean, nice to meet you. Nice to meet you, too. Good luck on the rest of the tour. When we have musical news, we'll break it with you guys. I love it. You're the first. Thank you, Lars. Thanks, Lars. Much love. See you soon. Bye. Bye-bye. Wow. That was a great cat, Willie. Yeah. You know what's interesting about him is, you know, I wasn't one to run out and buy Metallica.

59:31Obviously, I like their songs and know a lot of them and was a fan of them growing up too. But it's rare that the drummer is as famous as the band. It's true. Who else? Phil Collins? Phil Collins. But he was also... Yeah, but Lars and James started the band, right? So they formed it together. So you had guitarist and drummer forming the band. Yeah. I guess, boy, where should we ask him that? That's the first connection there. Yeah. So, so. Which one would Andrew Ridgely be? I guess. He would be Lars. Huh. Okay. Let's get Lars back on the lower. And by the way, let's get James on here real quick, too.

1:00:13You know what I mean? James, that makes you George. So. I guess. No, he was very, very cool. He's so cool. He's such a cool dude. And he does have such a great vibe. And he's so, I don't know. I just love the way you can really access everything. When you ask him a question and he can really access it and he's so sort of concise and he's so quick. Yes, I like that he's open to sharing anything. Yeah, yeah. I love that. That's the key to keeping a little group together is just don't be a dick. Yeah. Okay? 100%. You see me looking at you, Sean and Will? No, he's looking in the mirror. You're looking in the mirror.

1:00:51I'm not looking at my square. I'm looking at your square. Just look at me, dicks. Let's go see. I can't believe we missed them at Giant or MetLife, whatever. I think it's a great idea if they open for us. But we should wait until they come a little closer. Maybe you asked Metallica to open for us. It's so great. No, he was offering. I'm pretty sure he was offering to open for us. Yeah, let's wait until they get a little closer to Los Angeles. I know, but they are because they're on tour for their record 72 seasons. It would be great to go. We should definitely go see them in Los Angeles. That would be so fun.

1:01:24That would be fun. I would love to see him. I'm going to go see Tay-Tay tomorrow night. Are you? I think that's what, isn't that what kids are calling her? Tay-Tay Swifty? Yeah. Are you going to Tay-Tay tomorrow? Yeah, yeah, yeah. You are? Yeah, yeah. Are you taking Franny and MAPE? No, no, just solo. Wow. Just a one. It's going to be in the parking lot with a little sign. Single. Single. Single. Anyone got a single? Yeah. No, it will be a full family. Thanks. You should do a video of yourself. Amanda, too. Alone. yeah she's part of the family and we're all gonna go self drive or Uber no it'll be self driving I don't drink anymore but I know how where's it SoFi and apparently you gotta pick an album to sort of dress as name one of her albums I couldn't I'm gonna go ahead and see what I'm wearing right now that's what it'll be tomorrow night you know what I refer to that is the fuck it Yeah.

1:02:23Yeah, fuck it. You got a lot of fuckits. Wasn't George Costanza that said if you wear sweats, you're telling the world you've given up? I mean... It's a declaration. I guess so. There it is. Sean has given up. Oh, look at Sean. Look, I have something to say. If Metallica can't open for us at every single leg of our tour, if we tour again, they should just at least at one of them or two of them just do a fly. Bye!

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