#1985 - Steven Wright

53:15Like it is a thing growing up there where people work hard. You got to shovel your fucking driveway to go to work. The shoveling the driveway thing is big because there's so much God damps, no. Like you have to get up in the morning. You got to do the work. You got to go to work. So if you're some guy just sitting on the couch, I'm just waiting for it. No, no, no, no. They're doing a fuck you, Steven. Got to work. No, that wasn't growing up. No, no, no, no. I don't think you're going to be as a successful comic. The way he doesn't even, his wand is around his yard. Yeah, but he's talking himself.

53:54You know, get a job. Get it. You're going to get a fucking job. You lazy slob. What are you doing talking to yourself? You convincing yourself you're working hard. The fuck out of here. But that's another thing. There is that. There is that physical, physical, physical. It took me years to realize that thinking is doing something too. Because that's what you just described is so burned into you. It's like, well, wait a minute. I am doing this. It's not, I mean, it'd be one thing if you were not traveling a driveway and not thinking of anything. Right. I mean, it took, because of that ethic that you described, thinking is not like, it's, so it's thinking is almost abstract, even though it is.

54:44And you can't see someone thinking, making you see the guy shoveling the driveway. Yeah. So that guy looks like he's doing something. That guy doesn't look like he's doing anything. But that guy just wrote two pages of something. That's what you're doing around his yard staring at the trees. Yeah. So I can hope so. I think it's only people who do creative stuff kind of appreciate that you really do have to have that time. Just thinking because ideas, they just, they're out there. And if you don't go looking for them, they don't come into your head. So if you spend time just too involved in stuff where you've got to be very aware and paying attention and doing this and doing that, like, you don't have any boredom.

55:25If you don't have any, like, just flat. Yes. Boredom has a negative thing we're at Tantotian to it too, because boredom, that's where the stuff comes. Like, sometimes if I have to, everyone, everyone in there every day, like, I have to go here, I got to buy this, I got to do this, I got to call this guy, I got to do this email, I got to go, then I have to go there because the car needs this guy. And all of that. And then it's like, it's like, I can't wait to just, just sit there without doing these tasks. Because if you do it on these tasks, you can't think of anything other than the tasks. Right.

56:01You're in a car in a loop. And people, you know, I just like to think, but you have to do that stuff. If you didn't do anything, you just pile up and you got the houses on fire. I'll put it out next week. I got to write a joke. I'm thinking about walnuts right now. A lot of guys, like writers, authors in particular, they like to write and then they go for walks. Yeah, yeah, yeah. And so, like, they have all the writing of the day done, like, say, if they commit to a certain amount of pages or a certain amount of letters that they write. So they write all those words and then they go for a walk.

56:38And then you think about what you wrote. And then ideas will come to you as you're walking around just thinking about what you wrote. Like, a lot of guys, either they talk into their phone or they have a little tape recorder and they just talk into it every now and again while they're walking. Or even Einstein, when he couldn't figure something out, he'd play his violin or he'd go for a walk. Yeah. Imagine seeing Einstein walk with the hell get back in the office and then you know, and he figures out this giant thing because he went for a walk. He knew, he knew. Yeah. Yeah. Yeah. It's just we have to separate the difference between lazy and a different effective strategy for engaging your mind.

57:20Because we think of walking and just hanging out and being lazy. But for a creative person, like, one of the things that I think is really important for comics and I guess probably for anybody creative is to do things. Like, you can't just do shows. No, you have to have real experiences. Yes. You have to go out and live life. Go out and go visit museums. Go travel places. Go hang out with friends in other states. Go do stuff. You got to do stuff. Because if you don't do stuff, like your field of references becomes very small. Yeah. You just be doing stuff about clubs and your house. Oh, your material.

57:58Yeah, your travel. Yeah. I have several museum jokes by accident. Well, I mean, I went to the museum. I didn't go to get some jokes. Right. I see the woman's name for the ladies and all of that must be an exhibit. You know, you see that? Or where they have the heads and arms from the statues that are in all the other museums. A museum we had all the heads and arms. That's because I went to a museum. You know, or like, I exercise. I'm a bike rider, like, in our day in the spring and summer. And on a stationary bike in the winter every day, 30 minutes. I'm addicted to that. And that, that, like, it's a weird, that's like a weird drug that makes you more relaxed and energetic at the same time.

58:45Oh, no. And that affects your thinking too somehow. It's like, it's all, I mean, I do it to feel good. But I like how it affects my mind also. Then you add coffee and then you're out of your mind. I love cardio before shows. Oh, you do? Yeah, I do too. If I could do like an hour of cardio before show that night, I'm always so loose. Yeah, you're like, oh, yeah. Yeah, I'm like, hey, everything's fine. Big smile on my face. Yeah. I was out to dinner with my wife once, so I just giant smile on my face. And she's like, what are you, what the fuck are you doing? What's the fun? Am I dead cardio today?

59:24Feel great. Yeah. It's just a, like I rings out all the tension in your body. Yeah. It leaves you free. I have to do it. I love doing it. Some people look at it like as a task. I look forward to doing it. That's good. If you can look forward to it, it's way better. Because when you think of it as a task, then you put off doing it. And you're like, oh, you procrastinate or you dread it. Instead of just saying, this is what I love to do. I'm going to go do this thing I love to do. It's just hard for some people to think of exertion as being something they enjoy. For most people, exertion is work.

1:00:01And I'm tired of working. I want to just relax. You know, because it's mostly they're doing work that don't like to do too. So they have an association in their head. But people who don't like exercising, are people who don't exercise. Because they see it as a move those rocks. Right. But people who do it know how positive it is. Yeah. Well, it's over there. Were you doing it when you first started? No, I started doing it about in the early 90s. I lived in Santa Monica. And I had a bike just for no reason. I had a bike. You know, the bike path along the ocean there. So one day I went down. I lived three blocks from there.

1:00:43I went down and rode my bike on the bike path. It's just to ride like a kid rides. And then I would do it a couple times a week. And then one time I went down and I must have gone longer than before. And I got that rush thing, that endorphin thing. Because I must have spent more time on the bike. And I thought, oh my god, this is what I've been hearing about my whole life. I didn't go to get it. I didn't do it. I was like a kid riding a bike around the neighborhood. But when I got that, I thought, I want to get that again. So then I went on purpose to get it again. And then it's how it's been like since 32 years.

1:01:24It's like a drug, like a strike. Because it was all from that couple first bike rides. Yeah, if you could get runners high and put it in a tablet. You know, I feel it by. Yeah, it's amazing. It's just you feel so good. You feel so relaxed. Just like the world's fine. It's going to be great. Do the suns out. Yay. Then I would do in the hotel. And I would do 30 minutes before I would go on stage. For years I did that. Because of the reason you said you walk out. And it's like, because it's for me. The stage is very intense for me. I mean, I might look like I'm walking around saying this stuff. But it's like a tightrope.

1:02:09And then when you do the exercise, it's different. And then I switch to walks. Now I go for a walk. I'll be walking around in the back of the theater and going all around. People might see me. They're going into the show. They must be so nervous. I'm not nervous, though. I'm trying to like, I'm trying to get that floaty thing. And then you walk out. And it's like, it's not as intense. Do you think it's intense? How do you feel about being out there? It's intense. Yeah. Yeah, it's intense. It's dangerous, don't you think? It certainly is. People pay money. They don't want you to suck. You know what I mean?

1:02:46To me, it's like, you're running across a lake of thin ice. And it takes you 85 minutes to get to the other side. You're trying not to, you hear it cracking behind you. You're trying to get, you're trying to get to the other side. Oh, geez. And if you care about what you do, it's intense. You know, especially that live performance in front of many, many people that come to see you. There's a lot going on there. It's a very complicated issue. And it's a lot of fun. It's a lot of fucking fun. I've done a lot of different things. There's nothing I like I'd love doing stand up. It's one of the most fun things I've ever done.

1:03:24I agree. I'd love doing it in clubs. You know, I do a lot of big shows, too. But what I'm, the fun I'm having at the club. It's like the most fun. We were all talking about it last night. We're all sitting around after the show. Because we've all done, like a lot of the guys that come with me on the road. We've done arenas who've done big theaters. But there's nothing like clubs. It's the most fun thing ever. It's like everyone's just sharing a moment. We're all just having a good time together. I got all these things to talk about. I prepared. I've been doing a lot of sets. So it's going to be smooth.

1:03:57Have a cocktail. Let's have a laugh. And it's fun. It's the most fun thing to do. That's all the shit I do. That's the one thing that I don't think I'd ever stop doing that. It's just too much fun. We're really into this weird thing. Weird and positive. It's like they're your friends. But you don't really know their names. You're hanging out with them. You're hanging out with them. Yeah. You don't know their names. But they know you. And they know you inside and out. Especially because of podcasts. They really know you. They know you know you. They listen to you talk for hours and hours and hours.

1:04:31They know who you are. You can't fake it. You know. And so they're excited about that too. It's a weird like extra connection that people have to comics now because of podcasts. Yeah. And then what they're really thinking on, not on stage because before it was just what the show would be. Yeah. They also like the fact sometimes like we'll bring up stuff in a podcast. And then I'll write it down. And then that'll become a bit. And they like to pop into my head. But ah, remember when you first talked about that and now it's like your closing bed. Is he figured out how to turn it into this five minute chunk, you know.

1:05:08How long have you been doing the podcast?

1:05:1314 years is almost 14 years. 13 years. Yeah. Yeah. Amazing. Crazy. It must be one of the first ones that you have here. The first one was Adam Curry. He was number one. and he's the pot father. And then Corolla had one when he left radio and Mark Marin had one. And there was a couple out there that I had heard about. But it was Kevin Smith. Kevin Smith had one really early on. But it was a fairly, yeah, a fairly small amount of people. And what drew you to it? Just having fun. What drew me to it was like, I used to like to do radio or you used to like to do like opian anthony because it was a bunch of comics hanging out.

1:06:02And you know it was like Jim Norton and Rich Voss. We would just hang out and talk shit and just laugh. And it was so much fun. I would look forward to doing it every time I went to New York. I couldn't wait to do the morning radio. Because I get to hang with these comedians. And just laugh. Jim Norton's the best. I love him. But it's like, it was a camaraderie thing. It was a fun thing. We just would always leave there. Like Arish, if you're not, we'd do it all together all the time. And we would leave. And we'd just be laughing. Like, we were just so much fun. And then the idea came, I'd seen Anthony Kumio from Opian Anthony.

1:06:36He had his own show that he was doing in his basement online. And Tom Green had his own show online. So I was watching a few other people do things. And I was like, why don't I just try something? Just like do, just have a webcam show. Just do it just for the fucking fun of it. Like just, let's see what happens. We started doing that. You were doing it with your friend? Yeah, my friend Brian. And then I would bring in comedians like Tom Siger, Joey Diaz, and Duncan Trussle, and Ari Schaffer. And then it just became all of a sudden I have guests, and all of a sudden I have scientists, and also I have authors and psychologists and physicians.

1:07:13And it was weird. It just like slowly became this thing that it is now. You would start it in Los Angeles? Yeah. Started in my, I just had a spare bedroom. Then it just like set up. Like how did you, I mean you had the comedians and stuff, but then how did it go to like scientists? How, how did that happen? I started, the podcast became fairly popular in podcasts. I mean by fairly popular, I mean, you know, thousands of downloads. Nothing like it is now. But it was enough so that I could convince people, hey, here's this episode. Would you like to do my podcast? Like check it out. This is what we do.

1:07:51And they would do like, oh, you guys are silly. Like what are you doing? You're sitting around smoking pot and talking shit about things like, yeah, do you want to come? Yes. A lot of people said, yeah, like Anthony Bourdain. He was an early one. He said, yes. Oh, yeah. Graham Hancock. And Graham, Graham Hancock was like the first real one. Because Graham Hancock is a journalist. And he specializes in ancient civilizations and the demise of ancient civilizations and that there's evidence that shows that there is likely some sort of a natural catastrophe that took place around 11 ,800 to 12 ,000 years ago that wiped out civilization.

1:08:27And all the civilizations that we think about, like Babylonian, Mesopotamian, those were probably reboots of an old civilization that was destroyed by asteroid impacts. There's like all this physical evidence called the Younger Dryas Impact Theory. There's core samples they do where they find a ridium at around 11 ,800 years, which is like very common in space, very rare on earth. But there's a large layer of it. And microdiamonds which indicate impacts from the asteroid. So we probably went through an asteroid shower and it probably destroyed civilization somewhere around 11 ,800 years ago, ended the ice age.

1:09:07So Graham Hancock, he has ancient catastrophe, which is on Netflix. This whole series on that where you can follow the evidence, the physical evidence and the archaeological evidence of these ancient civilizations, these ancient construction methods that to this day we still don't understand like how they move these enormous stones, how they place them, how they even cut them. We don't know what tools they were using, we don't know anything. How did you get him to come on? I was a giant fan of his. And I would always like sing his praises when I would do radio shows and stuff. I tell people about this book he wrote called Fingerprints of the Gods, an amazing book.

1:09:42It just shows all this evidence of these ancient cultures that just don't exist anymore. Including like some con cities off the coast of Japan that like there wasn't water there. Or there was ground there at one point in time, thousands and thousands of years ago. And they think that that there was actually a city there and now it's covered by the ocean. There's a bunch of those that they find out there in the water. There's a lot of indications that there was like really advanced civilization like 12 ,000, 20 ,000 years ago. So that guy was one of the first guests. And you have Neil and Degress.

1:10:16Yeah, I met him on a multi -scientist school. He's a very nice guy. Yeah, he's a very nice guy. He's a sweetheart. Because that stuff fascinates me. I can only take so much. I mean, I like to watch the shows. And then my mind, like, you know, my Burlington Massachusetts mind. Okay, okay. And then, no, no, no, no, no, but I'll watch. I'll hear the words. Yeah, I'll listen, but okay, but I love it. I love that stuff. Well, we had Michio Kaku on the other day. He's brilliant. And he was talking about quantum computing. He's really interested. He wrote a book on quantum computing. And what a game changer that's going to be.

1:10:58When something can compute not at a level of like 10 times more than we could do now, but like millions and millions of times more. And then it happens simultaneously in different universes. And that they're calculating not just in this universe, but they're calculating simultaneously in multiple universes. And he's telling me this. I'm like, what did you just say to fuck this? That even mean I have to get going. I'm like, what are you saying, Michio? That guy is so goddamn smart. Talking to him, you just realized what an AP war. He was building a particle collider in his garage when he was in high school with miles.

1:11:41And Modi say like 20 miles of copper pipe. So something crazy like that. Is he from the United States? Yeah. What time was he building this? Where was he? Do you remember? I don't know why I want to. Was it New York? I don't know. Yeah. Genius. Genius. But that's like, he was like that as a kid. When I was 17, I was picking my nose. I was an idiot. You're 22 miles to copper wire. It says, why would I pop this up? OK. I think San Jose, California. Oh, that's right. That's right, because he said the heart of Silicon Valley, which is now Silicon Valley. So just to be able to talk to a guy like that.

1:12:18Yeah. I want to pleasure a gift. A pleasure. Just to be in the same room with that guy. I've had the most unexpected education talking to these people. Amazing. Yeah, it's been, it's very, very, I feel super, super fortunate for that aspect of it, because I've learned so much talking to so many different people. And you get all these different perspectives. These heterodox perspectives and alternative perspectives and people that are very rigid and are ideologies and then people that are very open -minded. And they're just trying to find the truth. And they're all mixed in together in this world.

1:12:51And if you can bring them together and have conversations with them, it expands your understanding of how the mind works so much. I was only exposed to a certain kind of people before. I was exposed to us, like comics, and my martial arts friends. And then, you know, other people that I knew from various walks of life, like whoever I ran into. But I never got a chance to, like, how would you, would you get a chance to sit down with a John Carmack? And it's because you took that, let me, let me, web, webcam, podcast. Let me try this. Yeah. I'm trying to, then you cut to Neil DeGrasse, he's standing here and the guy with the, what was the other guy?

1:13:30Me, Chio Cockat, you're in. Yeah. You're saying, let me try this and then, dang. It's like you have just people, the top people who are sitting across from them. Yeah. That doesn't happen in real life. It doesn't happen in real life. And then Elon Musk was a big one. That was a huge one. Cause I'm in here too. Yeah, I got him. I got him to spoke with him. In here? Yeah, cause we were drinking. We were, like, we were having a couple of whiskeys and we're, I wanted to loosen them up cause he's very intense. I mean, his brain is, like, you can tell when you're talking to him. His brain is working on like five different things while he's talking.

1:14:04It's like a different kind of thinking. So we were drinking a little bit, loosening up and then I sparked up a joint and it became a giant issue. Cause he took a hit. Oh, I remember that. And a stock price of Tesla dropped like six percent. It did? Yes. It went back up. I think it went past where it was the next day, but, you know, people panic on those things. When you almost lost it. He went back up when he wasn't high anymore. Exactly. They're like, you're talking to me. You're making decisions. And then, you know, it was, there was also an issue with top secret clearance. Because even though it's legal in California, we was where we're, it's not legal federally.

1:14:42Yeah. So here he's involved in this thing that's illegal and he's also involved in NASA. He's also involved in top secret rocket programs, you know, cause he's got SpaceX and I like, hey, mother fucker. What are you doing over there? Was did he smoke in his private life? Anyway, you know what? I never asked him. You'd say, hey, I just sparked it up. I know, but you don't know what his history was. I didn't ask. Yeah, I didn't ask, but we were, we'd do it all the time. So we're, yeah, if we're having a couple of drinks and I spark up a blunt, I look at Jamie and I hand it over to him and I hand it to Elon and he's like, okay, he takes his head of it.

1:15:25It was, it was funny. But it's like how often do you get a chance to sit across from someone like that for three hours? Yeah. And just talk to him for three hours. He scares the shit out of me. He scares the shit out of me when he talks about AI. He's the one guy, like, all the people that have this like Rosie view of AI, including Michio Kaka, who's brilliant. They have this Rosie view of AI, artificial intelligence and, and Elon does not. He does not. He's like, this is the biggest chance of being the demise of civilization, the demise of humans, the biggest chance. Yeah, because if you can't tell it apart and you won't, you won't know.

1:16:07There's two things. There's one, a bad state getting control of AI before a good state. We try to think of ourselves as good guys. Let's just for the sake of this argument, say we're the good guys. So if we're the good guys, we would like to get that AI before China does. We'd like to get the AI before Russia does, before Iran does. We don't want people that oppose us having the ultimate control over information and computing. Because it'll probably be such a big game changer that there'll be no more, no more encryption. It'll burn through everything. It'll be able to read passwords, be able to duplicate things.

1:16:43It'll be able to, you know, you can do things with artificial intelligence. You can't even imagine it could be possible. And it's going to happen in our lifetime. It's going to happen in 10 years and 20 years. It's going to be an un -breakonizable world. I don't like it. I like this though. It's pretty cool, right? Yeah. Is there a story being made? Oh, it's just, there's an artist. His name is Jack of the Dust. I think it makes a bunch of cool stuff. They're ceramic. Or what is it? resin? They're resin sculptures. But you know, I always love these days. I think the dead skulls are pretty cool.

1:17:17He made me a few. And I said, I think they were all of cool here. I just put them all on the table. Is there a reason there's six? Nope. Just a bunch of colors he has. I just thought they're cool. It is cool. I like to have a bunch of shit laying around. Yes, I see. It makes it comfortable, you know? I love the photographs out there. The Indians out there. Oh, that's Greg Overton. Yeah, Greg Overton is an amazing artist. And he's done a bunch of these incredible Native American art pieces. And this area, in particular, was rich with Native American history. Because it was a very, very fertile area.

1:18:00Because of all the lakes and all the rivers and wildlife. Yeah. So there's arrowheads everywhere out here. All over the place. I have a friend who has a ranch. And he's pulled thousands of arrowheads from his ranch. They do these excavations where they know like the areas where they hunted a lot. You know, where there's a lot of wildlife. And they dig into the ground and they sift through it. And he finds these incredible points. These found clovis points. He's found like, Comanche arrowheads. It's amazing, amazing. Yeah, tremendous. Do you know that photographer? Is he passed away or what? The artist?

1:18:36Oh, there's a guy that took the pictures. Oh, the photographs. The photographs are of Quanta Parker. Quanta Parker is the last Comanche chief. So the Comanche's were the people that were in control of the planes in control of Texas. And they were the most fierce tribe. And they were the most difficult to get passed. And they were the reason why people couldn't settle this area. It wasn't until the Texas Rangers figured out how to combat them on their own terms. They cold -camped. They never used fires. They dressed like normal civilians. And they kind of lived like Indians. And they ran around.

1:19:17And that's Quanta Parker. So Quanta Parker, his mother, Cynthia Ann Parker, was kidnapped by the Comanche when she was really young. She was nine years old. Her family was murdered in front of her. And they took her in. And she eventually became the wife of the chief. And they had a baby. So she was white. And she had a half Native American baby who was Quanta Parker, who was the last Comanche chief. And he was big for a Comanche. And just like very, very fierce guy. That photograph of her sucking, having her kid sucking on her nipple is a very famous photo. Because she would do that in front of people.

1:20:00And they thought that was like so uncivilized. Just they want to disturb them. No, just that's how they did it. Where, you know, in Native American cultures, in the Comanche culture, they would just press feed. So she would do that. And they took a photo of her doing that. Because they thought it was like, this is like the evidence that she's not one of them. Oh, I see. Oh, she's very primitive. She's like one of them. She was kidnapped. She was nine years old. I'm a fan of Red Clouds. And she was like, oh yeah. I read this book in the heart of everything. Yeah, so that's amazing. It's amazing.

1:20:35It's a great book. It's a great book. I'll gather all the Indians together to make it one bigger arm. And I'll fight the white guys. Just like, yeah. Because that's what it was supposed to be. Not the wars, but when they had it, when they had this, that's, you know, no parking meters. No parking. No malls. That was the real version. Well, that's the nostalgia that everybody loves so much about Native American culture, the fact that they lived off the land in the land. And they did it at the same time where Europe had already experienced the enlightenment and the Renaissance. And there was all this stuff and cities and all this culture all over the world that was like sophisticated and art and literature.

1:21:21And they didn't even really have art, the Commandaches. Their art was their arrows. Their art was their clothing. Their art was, you know, what they did to live off the land. You know, they just followed the buffalo and lived off of them. That's all they ate. They ate mostly just buffalo. And then all that's happening in Europe. And this is still here. Stone Age, 2000 years. Yeah. Amazing. And trains. If you go back in time and see what that must have been like, my God, how incredible. To be like one of the Lewis and Clark people to take that trek across the country, just experience what it was like before the white man came and fucking put his greasy little palms over everything and built cities.

1:22:05It would have been too much for me. I would have cried in death. Where is he fell out of the canoe?

1:22:15Hard life. Not good for comics. You know the Lakota's had a comic. They had a permanent like fiction. Really is a comic. Really? I never knew that. Yeah, it's called the Heoka. The Heoka was the sacred clown. Wow. And the sacred clown, the job that they had in society was to mock things because anything that could be mocked must be bullshit. Like you would peel away the layers of ego and distortion because if you could make fun of things. So the Heoka was allowed to make a fun of everybody. Make fun of the chief. Make fun of the women. Make fun of the warriors. He made fun of everybody. I never heard of that.

1:22:55Yeah. It was a very important part of their culture. Did the other tribes have that? I don't know. What was it called in the Heoka? The Heoka. Yeah. It was like kind of a medicine man. It was like there was a spiritual aspect to it. It would be a good name for a child. Yeah. It would be a little bit of cultural appropriation. He would get in trouble for that. Oh. Oh, the Indians. Oh my God. The Indians. I say the Indians in my show. I say the word Indian in my show. They say it. It's one of those weird ones where like some people think Eskimo is a bad term but some Eskimo's prefer that term. Depending upon where they are in the country and where they are in the world.

1:23:35It's like a lot of Native Americans. They actually want you to use the term Indian. American Indian. Well, then I see. I wonder if in Cleveland now little boys are playing cowboys and gradians. What are they playing now? Right. You can't play with cowboys and Indians. Gradians, you know, that's the name of the Cleveland team. Yeah. They changed it. But the Washington Redskins are still the Redskins, right? No. It's done. The commanders. Oh, right. Is anybody a chief? Anymore? There are chiefs. Are there chiefs? Are there chiefs still there? Yeah. And then the Seminole was in Florida State. Like they have a deal with the tribe to save the Seminole.

1:24:14Well, the Seminole Nation is the only nation that was never conquered. They just fucking kept running, shutting Florida. You know, that's why they have all the casinos down there and the hard rock and the Seminole Nation's huge in Florida. I did a book report on those Indians when I was in eighth grade. Oh, yeah? Because we went to Florida on vacation and then I saw the name all around. I didn't remember anything about it, though, of course. Well, there's a great book about Cabesa de Vaca called the Lancel Strange. Have you ever read that book? No. It's a great book. It's about Cabesa de Vaca when they first came to America and how they made their way from Florida across the country and they're like, everybody died.

1:24:56There's like a couple of guys left at the end of the journey. But the stuff that they encountered, the way they had to try to get by and starving to death and facing hostile enemies and just crazy. Crazy. Crazy being there and then doing that there. We're so lucky. Oh, my God. So lucky you just go to Starbucks and get a cup of coffee. Go get a sandwich. Yes. You know, it's like so easy to get by now. Oh, these people almost starved all the time. Even the rain would be different. I mean, experiencing the rain would be a big decision thing. Also, you didn't know what was coming. You didn't know when it was going to end.

1:25:37You had no idea her cane was on the way. You had no idea. It was just like the same guys. But the weather guy, the guy, the weather guy, even now, like, I mean, my brother is really into the weather. I mean, I love snow. I can't wait for it to snow. I love snow in Massachusetts. But he told me about this guy, a weatherman in Brazil years ago. And he predicted these big, giant rains and stuff. The bad weather was supposed to come. And then all these tourists didn't come. And then the weather didn't come and they put him in jail. They put the weatherman in jail. That's crazy. I think that should happen.

1:26:18There's just a row of cells of weathermen from all over the United States. There's actually an even dumber one that's recent. And the dumber one was there was some geologists in Italy, I believe. And they failed to predict an earthquake. So they were tried. And I want to say they were convicted. And then they had a win on appeal. So you can find that story. But it was insane for all the scientists that actually understand seismology. And how those, you can't predict earthquakes. You just, you can't. And so these morons had decided, hey, it's this fucking guy. He showed up told us. And they tried these guys like their criminals.

1:27:01And it was real bad for science. It was real bad for seismology and the study of earthquakes. Because they had given, because of their own ignorance, they had decided these people could figure it out. So they were exonerated. Why Italian earthquake scientists were exonerated? Judge who overturned conviction. Yes, so there was a conviction. Say, hold on. Say experts use the best available science. Yeah, you can't fucking predict earthquakes, Jack Asses. Six scientists convicted of manslaughter in 2012. So only 11 years ago, for advice they gave ahead of the deadly Laquila earthquake, were victims of uncertain and fallacious reasoning.

1:27:42To say the three judges who acquitted the experts and reduced the sentence of a seventh defendant last November in a 389 -page document, deposited in court on Friday, since released to the public, a trio of magistrates attacked the convictions on multiple grounds, and state that no blame can be laid on the scientists for the risk of analysis they carried out. Yeah, there's no way. Other scientists, however, accuse the judges of failing to understand modern seismology. What does that mean? Well, the judges definitely didn't understand it, because they thought that these people could accurately predict one on Earth.

1:28:17The quick is definitely going to come, and that's just not available yet. Imagine telling the guy in the next cell, why are you in here? Well, I always get coofy courts. I know, I did not know that. Oh, real bad. I had a mandanox in here. Well, not that America doesn't. I mean, one of the things that I do here. You had here? Yeah, yeah, yeah. She was great. One of the things that I do on a regular basis is I have a very good friend, Josh Dubin, who is a civil rights attorney. And one of the things that he does, he used to work with the Innocence Project. Now he does stuff on his own. And his main goal in life is to find people that were wrongly convicted and get them out.

1:28:55And he gets a lot of people out. He's constantly doing it. It's like his main life's work. It's his main passion project. And so we highlight those cases, like every three months, he comes on, and we sit down and we talk. And he talks about cases, and he'll bring in people. He's brought in several guys who spent 15 years, 20 years in jail for something they didn't do wrongfully convicted. He brought them in here. Yeah, yeah. A couple different guys. And it's amazing. Josh is, I mean, he's amazing. He's a fucking saint. But you get to realize our court system sucks dick too. But Italy's is even worse.

1:29:31And a mandanox got fucking railroaded. Like railroaded bad. And there's a really good Netflix documentary that shows all the stuff that happened. I mean, there was so much DNA evidence that connected to this one guy who murdered the girl. He 100 % did it. Like handprints, bloody handprints. Yeah. But this fucking, this prosecutor, how did it in his head? From the beginning that she was it. He had a stupid idea that it was definitely her. And he didn't want to look at any other evidence. And he suppressed evidence. He didn't look at it. He knew that this other guy was probably guilty, but he had already said she was.

1:30:08So he wanted a convicted and he did it. And he got it locked up. And then she won on appeal. And she finally got out after years in jail. Yes. And then they tried her again. Well, she was in the United States. Yes. And she was exonerated again. But I mean, this poor lady. Well, she's so interesting. She's so fucking brilliant. So smart. And one of the things that I said to her, I said, do you think you would be the same person if you had not gone through this horrific experience? I would never want you to go through this experience. But because you did, you're this amazing, fascinating person with this like very introspective, very open -minded view of things.

1:30:50Like she's looking at things from all these different angles. Because her mind was tortured. What was her answer? She definitely would not have wanted to do that. But she definitely realizes she's a different person. Absolutely. And she would ask the credible person. Because was the guy, the guy, was he one of the people there? Like was he from the outside? Wasn't there like four people? The guy who they think did it was a guy who knew the woman and he had been with her. And he was at that fucking place that night. Like he was there. And he was also a criminal. And he had been breaking into people's places and stuff.

1:31:27They knew that he had a history of doing some fucked up things. They didn't have a connection previous to this with murder. And he said he didn't do it. He said he got there and someone was already killing her and he ran away. Like a lot of bullshit, ridiculous stories. And he's in there. No, I don't think he convicted him of something else. And I think he went to jail for a certain amount of time. And then he got out. I think I convicted for some other kind of crime. Was it like a break in an entering thing or something like that? But the most of the evidence, at least as it's presented in the Netflix documentary and talking to her seems to point to this one guy that they're pretty sure did it.

1:32:09It was a horrific murder to it. It wasn't like a normal thing that women do. It was like a male thing, like a vicious knife murder. What was she like? What was your vibe? Like a person who's been through hell. Yeah. And because that person been through hell, like her mind is just very unusual. I mean, the amount of time that she had to sit and deal with the fact that she was wrongfully convicted in front of the whole world. And then even when she got back home, how many people really knew the whole story and how many people thought she actually wasn't murder. And somehow another, she got away with it because most people just read headlines.

1:32:49You just read the propaganda. You just read like, oh, I'm an an ox convicted of murder. Oh my God, she's a murderer. You know, so this poor lady who was 20 years old at the time, she's a kid. And she's just over there studying abroad. And the next thing, you know, she's locked up in a jail for something she didn't do. And it's in front of the whole fucking world. And she thinks she's not getting it. She thinks she's not getting it out. Yeah. And also then she gets to be embedded in prison with all these women who have had these horrific lives. Herific stories of abuse and this life of crime and their whole family is filled with crying chaos.

1:33:30And you get to realize that these are just people, just people that just like went down the wrong road. And all of it just didn't line up for them. Just a little tiny fork in the road. Yeah. The wrong fork. And it could happen to anybody. Wrong circumstances, wrong time, wrong place. You're born in the wrong area, wrong family, wrong this, wrong that, wrong friends. Bad decision. You get drunk. You do this. You do that. Next thing you know you're a jail. That's a lot of us. There's so much randomness for the benefit of your life when you're born. Oh yeah. Where you're born. Where you grow up. Who your parents are.

1:34:09It's like growing dice. And if you get a good situation, it's just like growing so many sets of sevens for years in a row, sevens. And once you start doing well, it's easier to roll sevens, which is weird. You know the rich cat richer. The fortunate people become more fortunate. It's very, very, because like a lot of people want to believe in fate. Fate's a beautiful thing to believe in, right? It's all meant to be. It kind of like takes away some pressure. But boy, like mathematically, that doesn't seem likely. It seems likely that there's a lot of just like random. Shit. Yeah. It's not fate that a baby dies in leukemia.

1:34:51Is that like someone that does a plan for the baby to die of leukemia? That doesn't make any sense. Like when people want to say that like you manifest your own reality. Like to you though, because babies get shot and drive buys. It does happen. Do you think they're manifesting that? No, that's random. That's like chaos. That happens too. Like there's probably a lot of factors that are all simultaneously working together. And the question is, how much is fate a part of that? Is fate is your mind a part of that? Like how much of it do you actually manifest out of your own mind? How much of your choices change reality itself?

1:35:29There's just so many ways to, some like process, what's happening? Because if it's all chaotic or maybe some of it isn't, there's just so many versions to look at it. Yeah. You can't be figured out really. It's a mixture. I think it's a big mixture. You try and figure out answers. Like we said before, it's so chaotic. But your brain is trying to have a right way. Yeah. And then there's choices you make, right? Like where have the choices? Like I don't want to live here anymore. Yeah. I want to move to a different place. Now you're all sitting in a new reality. You know, that's an interesting thing to do.

1:36:09You, so you were in Boston and then you lived in California. But now you're back to Boston. Yeah, in Carlyle, out in the woods, trees, near college. When did you go back? I went back about 22 years ago. Wow. I lived in Barrelington and then I went to a middle -sex community college in Bedfruits. Then I went to Emerson College in Boston. Then I started doing stand -up and then I stayed like after I got out of college. I stayed like five years and then I was in Boston and then I went to Hollywood for two years. Emerson's like a performing arts college, right? Yeah, radio, mass communication. What did you go for?

1:36:47I went for radio because I thought that I didn't really, I wanted to be a comedian. I had like my mind divided and half. That was my goal. But I proud of me thought that's not really going to happen. Maybe if it doesn't happen, maybe I can be a guy on the radio. Maybe I can be funny on the radio and then somehow get from the radio to onto the stage. How that would happen, I didn't know. But that's why I went to that school as like my backup plan. I loved that school because not really from what I learned about it because everyone near was slightly odd. It had an automatic screening system that if you decided you wanted to go there, you weren't normal right there.

1:37:34So then you get all these people who decide to go there and they're all a little bit odd. And then you started feeding off them. So you even got more creative because every new man you knew was creative. So what I got out of the school was the people more than what I learned in the actual school. Some of my best friends are still from that time. And then I went on the tonight show, then I went out to Hollywood for two years, the New York City for five years. I thought everyone, when I lived in New York, I thought everyone should have to live in the New York for one year, everyone in the United States.

1:38:12That's what I thought at the time because it was just you know you're like 30 years old and it's oh my god. Then I went back to Santa Monica for 12 years. And then I thought you know what? I want to go back. I want to go home because the United States is like United States. But it's like five countries, environment looking. There's New England and there's Florida. Colorado was completely different. Nevada here. You know Utah, the Northwest California. It's like seven different countries named one thing. But my gut was thought I want to go back now. I want to go back to where the seasons are, where those buildings are.

1:38:59I was just drawn from my gut to go back. When you were in Santa Monica, were you here because you were doing Hollywood stuff? And that's why you felt like you needed to be? Yeah, I was here like doing, I was mainly going on the road. And I'd come back to LA, going on the road with me. And then I'd do some movies, like some parts and movies, some TV. But I was mainly going doing what I'm doing. And I thought, wait a minute, you know I'm in this place that I really don't, I didn't hate it. But I didn't like it. I saw it as like a waiting room. Like you're waiting for something to happen. Waiting for this other thing to happen.

1:39:38And I thought, well, I'm still, I'm going on the road mainly. The audience doesn't care if I came from LAX or Logan. They don't know. Right. And I thought, well, I don't want to be here waiting for something else anymore. This is what I do, mainly what I do. So I'll just go home. And I'll do it based out of there. And I'm happy that I did it. And during that time when I was gone, I started to really like nature. I would go to Rhode Island in the summer. And I really became more and more into nature. So when I went back to Massachusetts, I didn't want to live in a city anymore. I lived in Boston, New York, Los Angeles.

1:40:21Now I wanted to be around the trees. Because my mind was just like, my being was like, I didn't want that madness anymore. Yeah. Just like, oh, you know, and then I could go into the man. I go to Boston or whatever. Then I go on the road into the madness. Then I come back and it's trees. Yeah, that's what I do it. Isn't nature powerful? I mean nature is incredible. It's medicine. It is. I remember when you did it. I remember when you went back to Boston because there was a big deal. A lot of people were talking about it. They even went back to Boston. I was like, whoa, because nobody moves back to Boston.

1:40:55Everybody goes from Boston and they moved to LA or they moved to New York. But it was always this thing that you kind of had to leave Boston. Because unfortunately, like what we talked about with those great comics that were around back then, they never became worldwide. They were just these huge talents that stayed in Boston. And it was kind of a cautionary tale for a lot of us that were the next generation. Like, okay, I think you got to get out. If you really want to do TV, if you really want to do stuff, you got to get out. You got to do the road. You can't just do local jokes to local people.

1:41:31Even though it's amazing and so much fun, you really like you kind of selling yourself short if you don't go out there. So when you went back, I was jealous. I was like, look at me. I didn't even know people were aware that I was still free. I just went back. It was such a gangster move to get to the top of your game, killing it all over the world, doing stand -up. He was like, yeah. I live back in Boston. It was a gut feeling. You know, your mind's only so much involved. But you got makes a lot of decisions. Just like time is so precious. So here I am in a place that I don't really care for. Los Angeles.

1:42:13And meanwhile, the time is going. My life is going. And it's like, well, why don't you be in a place where did I like? Where are you? Did you have friends back there? In Los Angeles? No, Boston. Yeah, I had some friends there, definitely. But I know most of my friends still live in Los Angeles. But I have friends in New York and Massachusetts in Los Angeles. I have a few friends still back home in Boston. It's very interesting. It's good to keep touch with them. It's good to go back. I love going back. It's one of my favorite places. How often do you go back? Well, last time was there. It was probably the most emotional set.

1:42:52I did the TD Garden. And it was like for me going graduation. Thank you. So for me, starting out there, doing open mics. Wow. And then coming back and doing the garden, and this is fucking crazy sold -out show. It was amazing. It was very emotional. It was like, oh my god. Yeah. That's something else. It's pretty wild. But you know, Boston is, it's like, if they know you came from there, there's like, there's a thing the way a town embraces you when you came from there. That's different than any other place. And Boston is a very proud city. Very proud city. Like they love people from Boston. So it was like going back there, it was like, like, look, I did it.

1:43:43You know? Like it worked out. Here I am. I'm back. You know, it's like to start out at a place. And also when you start out at a place, you know, you're always kind of like, in the back of your mind, you remember how bad you sucked. You remember what it was like in the beginning. And to be able to come back and sell it in arena, it was just weird. But you know, Boston has got this like rich history of stand -up comedy that I think is unlike any other city in the country. Because I think it was the only city where you could have these top talents that never left. And so you're dealing with like this incredible high level of comedy.

1:44:24But it's all local. And it's just a bunch of killers. So it was very, very unusual. I think to this day, there's no other place like it. Because everybody in New York was trying to get on TV and trying to do this. And there was no real show business there. The show business was, when's your set? You know? Oh, I got an eight o 'clock at Nix. And you go down the Nix and you see your friends and everyone's doing shows. And there's shows down the street, the connection. And shows over there, a Dictarty comedy vault. And it was like... But there were comedians like Paul Poundstone and Dennis Lairy and Kevin Meeney.

1:45:04But Boston... People there, they love the comedians. Like, you're talking about Boston going back, Bill Burr. He was telling me before he did a Fenway Park with Tony V. Who's one of my favorite comedians? Love Tony V. Well, a prolific Bill Burr, just amazing. And he was telling me when he was walked around the city before that people knew he was going to do Fenway and they were saying, hey, it goes great. And you know, he felt like they were rooting for him. Which is a really cool thing. It's a very cool thing. No one's more Boston than Bill Burr. He's like the most Boston comedian ever. You know?

1:45:45He's mad. He's so much stuff. He's hilarious. He's so funny. He's amazing. And he's the best. Yeah.

1:45:57There's so many guys like that. Patrice, when Patrice was in Boston, and there's so many goddamn killers. That area just produced. It's also... People don't have a lot of attention span in Boston. They don't have a lot of tolerance for stupid shit. Like, come on. Get to the jokes. It's just funny shit. You know, over the years, people have asked me, why so many comedians from there? What is it? I don't... I can't even answer you. Because when you think of all the people... All the way we've been mentioning these just giant list of people from this one area, I do not know why. Well, I think it's what you were talking about how the club was built and then also nobody came to the club.

1:46:39And because there was no real show business, it was really just about doing those shows. Because it was kind of isolated. Yeah, like in Ireland. Yeah. That's how I started thinking back. It was like in Ireland. Also, it's like... When you have guys like Barry Kremens. Oh. Barry Kremens, who was a... He was kind of like the watchdog for everything. He was this brilliant guy who had very high standards. He was a real artist. And it was very politically aware, very socially aware. And you know, his... It was comedy, was fucking brilliant. But it was also very smart. Absolutely. Kind of set the tone.

1:47:14Yeah. A lot of what he talked about, I didn't know what he was talking about. Right, he was talking about obscure political... It's just things. And then he opened the Ding Ho. Comedy. So the connection started for about a year. And then Barry went and opened that in the Inman Square. And that was a whole other thing than the connection. Yeah. And that was more like a clubhouse of insanity. Yeah. And he was a great comedian, brilliant comedian. And he ran the place. Yeah. So that was an odd thing. Yeah. Because he saw the whole thing through the mind of a comedian. He's one of my favorite people I love.

1:47:51I love him the very much. He was amazing. He was amazing guy. And his influence, I think, was a huge part of that scene. Yeah. Before my time, so I didn't get to experience the Ding Ho. But I knew all those guys. And I talked to all them. And they all talked about it. And everyone to a person was talking about Barry. That Barry was like, you know, you didn't want Barry on your bad side. You didn't want Barry on your bad side. You didn't want Barry on your bad side. You didn't like hearing you do something like not that a good, you know, like kind of... To be hacky. And a younger guy, I was really good friends with him.

1:48:23But I heard years later, I heard that younger guys were afraid of him. Out of real. And then I thought, well, why? And then I thought, well, wait a minute, let me look at him as if I didn't know him. Yes. Yeah. Yeah. Yeah. What time he was being heckled at the Ding Ho and the lights on the stage. You know, they were track lighting and he just turned the light around to the guy. And he started hammering him. Like, now the light is on him. That's hilarious. That's hilarious. Yeah, I was terrified of him. You were? Yeah, well, he was smarter than everybody else. He was a great comic and he had super high standards and I sucked.

1:49:04That's like... Fuck, please don't let this guy see my set. And luckily, I got very lucky. He didn't see my set until long later. Well, it was already... Oh. I was already killing. I was already good. And then he saw me and then he said, he told me I was really funny. Oh, yes. Yes. And then I became friends with him. Yeah, so that's kind of a podcast. Oh, really? That's great. And then he just... And then he did that documentary where he explained his abuse and what happened to him when he was younger and what sort of shaped him as a person. I knew him so well and I didn't even know a lot of that stuff.

1:49:48No one. I don't think anyone knew. When he went to Congress and was arguing with them, like that was incredible. Which would explain what he did because in the early days of like AOL chat rooms and things on those lines, there was... There were people who were openly trading in child pornography and he found out about it and he exposed it. And you know, he made it, you know, big part of his life's work. You know, shut that shit down. And this was the very, very, very early days of the internet. Yes. Did you see him that part of the movie where he's in the show, I'm in there in Congress arguing with the guy and then the lawyer beside him for the other side says some lawyer thing and then Barry shreds him with reality.

1:50:35And the guy said another lawyer thing and then Barry just shreds him with the real point of the situation and the guy stopped talking. Yeah. Barry is the wrong guy. It was the wrong guy to argue with. The wrong guy to be on the wrong side of an argument. Funny hanging out too. Just funny. Just like always hilarious. Brilliant. I think... Yes. And that's one of the reasons why the scene emerged. I think it was because of Barry. I think there's like a thing that happens in scenes where you have this top down force. There's one guy that's the gold standard. And then you have this army of assassins that's around this guy, the Kenny Rodgersons, the John Gavitt.

1:51:21The John Gavitt really is. Killers. Just a sea of killers. Every Tony V. Everywhere you go, there's like so many comics. There were just top notch, man. I went into Nick's comic stop one night. One of the things that Nick used to do that was absolutely brutal. And this was when I was a beginning comic. They would take people, like say if Billy Crystal was in town. Billy Crystal wanted to stand up. Billy Crystal celebrated around the world. He's Billy Crystal. He's an amazing comedian. Everybody's going to go see Billy Crystal. Let's go see Billy Crystal. He's at the next comic stop. It would be Billy Crystal.

1:52:02But before Billy Crystal would get on, it would be Kevin Knox. And then it would be Steve Sweeney and Don Gavin and Kenny Rodgerson and Lanny Clark. By the time he got on, that audience was beat to shit. And these guys were fucking killing. They were all killed for like 50 minutes. Everyone of those guys killed. Yeah. Just roars. People fall on other tables. Like they couldn't believe how funny it was. And then they would set these poor guys up. And these guys were used to doing soft shows on the road. They picked the Opening Act. They have a nice soft casino type show. Hey, it's Mr. Saturday night.

1:52:38It's Billy Crystal. Just eating plates of shit. He's running along Shoreman at Dick's Comedy Stop at 9 o 'clock on a Thursday. It was brutal. It was like, that's how he did it. Whenever someone came into town, they set them up. Did they do it on purpose? 100%. 100 ,000%. And every, I didn't know that. And every comedian that went up, they, no one did new stuff. No one took a chance. They were like a set up. A set up. Bury in that guy. They were burying that guy. They would do it to everybody. Did you see it? Oh, I watched it. Yeah. I watched a lot of guys eat dick. Yeah. I watched a lot of guys.

1:53:21Richard Bells are, oh, that's a lot of guys. They just threw them to the wolves. But the only guy I saw come out of that, like a rose, was Dom Eirera. They did that to Dom Eirera. He was headlining. And they had like 15 killers on the front of them. Like everybody's murdering. And Dom Eirera. He started holding it up. Yes, went up there like a fucking pro and rode the wave. And went on stage and immediately was killing. And I was like, that's a fucking pro. Look at him. Yeah. He's a New York hilarious. Oh, yeah. Philly. Oh, Philly. Yeah. I only knew him from New York. Yeah. I became friends with him later in life.

1:53:58But I actually paid to see him before I was ever his friend. So I remember seeing him at Nick's comedy stop and bringing my girlfriend at the time. Because I was just starting to do stand up. And I was just, I just wanted to see all the good ones when they came into town. And I got to see that. See, Dom Eirera, he was prime. It was amazing. But it was the only guy that I ever saw that ran that gauntlet and came out of it in the other end looking like a pro. Did you tell him later when you became friends with him? Yeah. Yeah. And he knew what to do. He knew what they were doing. Yeah. He was like, oh, that's what they did.

1:54:29They sat you up. They just threw every fucking local killer. Whenever a big name guy was in town, all those guys would be there to do sets. It was 100 % on purpose.

1:54:44That's kind of cruel actually. It's fucking terrible. Rich and Lewis was another one. He got it. They gave it to him. I love him. Yeah. It was great comic. It's just like that. His style of comic was his audience. And you want it like his. But if you have a bunch of other stuff on before that, that's murderous. That style is very hard to change gears and get into his... Absolutely. Because they're all like in the 500 cars, different versions, just like in so intense. Yeah. Yeah. Top quality. You can't get better than those guys. You can get better than those guys. I really love how loud. I think ever.

1:55:24I think ever. All of my years of comedy. I mean, it's hard now because you go back and watch it now. You got to realize it's a totally different time in the world. It's not... It's not our culture. It's a different culture. It's the culture of 1980s. Things were more risqué. They're more like when you said things, they were more shocking. And a lot of that stuff's already been said so many times now. If you go back and listen to it, it's like something that doesn't really hold up the same way. But for the time, in those days, those guys were the cream of the crop. And if you had to follow them in Boston, like, good fucking luck.

1:56:04Because I don't think anybody ever killed Hull. I didn't... Those guys... I didn't want to go on after them. I did because I was proud of the lineup. But I knew that the sound from the audience of the laughs, I knew they were gonna... It was gonna be more than me. But I just accepted it. Because it was like wave... You know, in a big wave, hands... Yeah. All of those guys... Yeah. Gavin Sweeney... Donovan. Did you feel any pressure to sort of ever to change your act in the beginning before you made it? Was it like, were you just committed to that kind of style? I was... Well, committed means of decision.

1:56:51There was no decision. I could tell you that's how I wrote it. And it came out like that. It meshed with how I speak. This is how I speak. And for some reason, accidentally, the abstract jokes went good with my voice. But the audience, they weren't thrown off from it. And people asked me, well, they, you know, it was different. But the audience took a while to come around. And they didn't, because right from the first three minutes, they laughed at some of it. And they didn't laugh at other things. So then I knew right then it wasn't how I was saying it on my voice or anything. They don't care about anything.

1:57:29They don't give a shit as long as it's funny. Yeah. So they thought some of it was funny and some of it wasn't. And Mike McDonald helped me a lot, because he saw me the first time. And I was naively disappointed because I didn't laugh at everything, which isn't saying. But that was not being naive. And he said, look, take that material. He never did it before. Take that set and take out the stuff that didn't work and put all this stuff in that works. I mean, to try out. And when I left from him telling me that I thought it was a success because they laughed at some of it. Here I am wanting to, I was 16 wanting to try it.

1:58:08And then they left it a minute and a half. Oh my God. They laughed it. So then he made me leave. When I left, I was like, oh my God. Oh my God. I got to keep changing and changing and changing. But I didn't think of changing my style or anything, because like I was saying, a fingerprint before it was just how it just what it was. It didn't even enter my mind to change it. Yeah. Some of it works. Some of it didn't change it. Trimor. Trimor. Trimor. And I'm glad there wasn't any show business there because someone might have said you can't be mumbling over on the side. Get a sport jacket and talk loud.

1:58:48You know what I mean? There was no one watching from that angle. Like a person. In all of those guys, we were just talking about none of them are like the next guy. Right. And I was like, no, it was like a factory that only made one car and then they made a different car. Yeah. You know, it was like a Mustang. Then this, there was no assembly line. Yeah. Everyone in those guys is completely unique. Everyone. Yeah. It's, one of the interesting things about the documentary when stand -ups stood out was that you were kind of the first guy that got discovered in Boston. And then you took off. And then it became a different thing because then people realized that that was possible.

1:59:32And so then there was in the documentary at least there was this attitude where a lot of guys had like, hey, what about me? Like, where's my, where's my thing? How come it's not happening for me? You know, I'm a headliner. I'm a this, some of that. Like why isn't this, and it became where a lot of guys were trying to make it now. Do you remember that time? I knew later when I heard about it after I had gone. But I mean, but we all wanted to go on the TV. Like, everyone wasn't doing it just to be doing it in Boston. I wanted to someday go on TV. I had no idea how I would get there. And then I got a lucky break because Peter LaSalle came to Boston and he saw me in the club.

2:00:20Because he was an article about the Ding Ho and the freelance writer wrote about it and went into the LA Times. This weird comedy club, Chinese restaurant. And then he read it and then he went back east looking at colleges for his kids were getting on a high school. They did a summer trip to Boston and New York to look at schools. And you remember the article and he called up the club. I'm going to go in and you know, and then he saw me and the night went on there. So I got a very lucky break. But I know you're talking about like, I mean, I was just insanely lucky. But that's a friend's movie.

2:01:04I mean, he never even made a movie before. You never made a movie. I know. And that was a very interesting thing because say we were all rowers. Like a row guy is not going to make a movie. He's not, but a comedian, a creative guy, he's going to make a movie about the time. You don't have a movie of your time in high school or your best time in college. We have a document by one of our own guys of the time. And it's still all of us, one of our favorite times in our whole lives. So it's a precious gift that Fran made the movie to see. To see this thing. Yeah. And for us, for guys from Boston, it's so fascinating because it does really do a fantastic job of capturing how unusual that scene was.

2:01:58How strange it was and how it's really never happened again since. Yes. So there's two things happening. The scene is happening, you know, on its own. And now there's a movie about the scene. Yeah. It's tremendous. It's tremendous. He did an amazing job. He's so smart that guy. Yeah, it's a great piece of history. Like for comics too, like any comic from anywhere in the world. Watch that documentary. It's a great insight into how something like that can happen. And I think something like that can happen in a lot of places. It just doesn't. It takes a lot of things that have to like go right to make something like that.

2:02:40Yeah. Like flux lining up. And I have people like that movie who weren't even in that time or not even from Boston. They like seeing that unique thing that evolved on its own. Yeah. Now it's very special. When you do stand up now, are you doing like the local clubs in Boston to fuck around to work on new stuff? Or do you just take new stuff right to the stage? How do you mix it in with my show? Like I have like spots in my act where I know I'm going to put this stuff in. Put the new stuff in. Yeah, just mix it in. And most of it doesn't work. I don't know about you. For only, for, I don't know, you know I'm bad at averages.

2:03:29But for only one in three or four jokes that I write gets a big enough left to stay in the act. Yeah. So I try it three times. If it gets nothing three times, I know it's never getting anything. But if it works once, I don't even really count on it because it might have been a fluke, you know, about the audience, how I said it, the mood of the audience. But if it works three times, then I can trust it. But if they don't laugh at it three times, then I get rid of it. I don't even remember what it is. I get rid of it. But I don't think that I was wrong. I still think it's funny. If I wrote it down, I think it's funny.

2:04:04Otherwise, I wouldn't write it down. But they don't agree with me. They're in charge. They're the editors. Don't you see the audience is the editors? They don't think they're the editors, but they're going like this. And they're in charge. So I just throw everything out that they don't like. I still cannot predict. I don't know about you. I cannot predict in all these years what they're going to laugh at. I cannot write something down. I think this is going to be on scale of what time it went to 10. This is a seven. Nothing. 500 people of silence to create, can't manufacture silence for other countries.

2:04:45I can't predict. Can you predict when you do it? Now there's some setups become bigger than the bit itself. Sometimes it's a setup and the setup gets a huge laugh. And then you're like, what is it on here? Why is that? You didn't get to the point yet. Yeah, I didn't even think that part was funny. And then, you know, the audit that is one of the interesting things about stand -up is that the audience is part of the editing process and that you really create comedy with other people. You don't really do it in a vacuum. Come up with the ideas in a vacuum. But the way it becomes an actual bit that you could do multiple times.

2:05:18It has to sort of alive. It's alive. That's why I don't put jokes like on Twitter or something. And to me, the joke is an alive thing. It should be set out loud and heard by people. See, it just written. Doesn't do it for me. You had one of the most interesting uses of Twitter ever because you started writing a book on Twitter. Yes. So each tweet, each tweet you would write was a part of this book. That someone could like literally go back to your original Twitter feed and start reading this book a little bit every day. Well, what happened was I wrote an article for Rolling Stone Magazine in 1987.

2:05:59It was a fairy tale about how the beach was invented. It was very interesting. I would read it every five years. I would read it and think, oh, I should write another story sometime. So then the last time I read it, I should write another story. And then right then, Michael O 'Brien got me this Twitter thing. Oh, here, you should do something on here. So then I thought, all right, I'm just going to try to write another story. I'll just write it on here. So I wrote two sentences, then two sentences, then the next day two sentences. Because it didn't, like I said, it didn't end to my mind to write jokes.

2:06:36Yeah. I'll try to write some. And then people were leaving. I did it for like four or five days and people were leaving messages saying, someone has to tell him what this is for. This is really good for his jokes. This is perfect. And other people would be saying, you know, he's writing a novel on Twitter. This is insane. So I did it on and off for a few weeks. And then I stopped writing it for a while. And then I thought, I should just keep writing this, but not on Twitter. And then that's how the book got going. That's interesting. That's what a great way to start a book. Yeah, another fluke.

2:07:16You know, I read the thing in the bout the beach. I think I should write something else. I have no idea what it is. I start writing about this kid in school. And then, oh, oh, this, take it off here. Oh, this should keep going. It wasn't like, oh, I'll write a book. It was, this should keep going. Yeah. Because it's never really big, big planning out. Yeah. At least when I do. And then I just started doing it. And it went further and further. And I really like doing it because like we were saying before, the jokes go from noticing, you know, like the sweep of the radar. You walking on the street, you see something.

2:07:59But with this, I actually, after I started doing it, I started to sit down on purpose like for a couple of hours a day, focusing right on this kid in this class. And that was different than just random things coming into my mind. So I was focusing it. And I couldn't stop doing it. I mean, I would do it for a couple of hours a day. But it just kept going and going. And I was creating this weird world. And I was fascinated what was in my head because of, I was sitting there on purpose because it was like going into your own head with a flashlight, you know, in the caves when this stuff written on.

2:08:43It was like I was going in my own head with a flashlight because I was determined to try to write for two hours. And that determination made me go deep in like, and there was all this shit in there that I had no idea if I hadn't focused. And then what, the stuff that I thought of that had nothing to do with the book, just life things would come back to me. And go, oh, this just can go right in here. You know, for what I do, two couple of sentences, joke, two sentences, then, and then have the audience laugh, hopefully. It's like a narrow window. It's sat, then, and then laughter. But I had stuff in my head that wasn't going to go through that window.

2:09:29It wasn't going to be good for stand -up. I had other stuff. I mean, I'm not complaining about that's how the joke is. That's just how it is. And then when I started writing this thing, I thought, oh, I know what I'm going to do. After it kept going, I thought I'm going to put a funnel on this kid's head. And I'm going to pour everything I think about being alive into his head. And it'll seem like he's thinking it. I mean, he can't really be, it's 70 year old, couldn't be thinking this. But so I got to express a lot of stuff in my mind that wouldn't ever be expressed in the way I do stand -up.

2:10:09So it was a very like, I really liked doing it. I had fun doing it. That's, well, it's awesome that you have that free, your process is so free. Like, your process is just like, go where the whim takes you. And then just follow it and then just be open to it. Yeah, I had no book deal. I had no thing. I was just like, when I said before, creativity is like playing. It's like, it's fun, like, finger paints. I was just having fun discovering what was coming out of me because I was sitting down trying to do it on purpose. Like, it was a whole other thing. And I, it was playing. It's like playing with thoughts.

2:10:54It's like you're hanging out with yourself. Me and you are talking right now, but when you're alone joking, it's like, there's almost, you're joking and you're reacting to what you've joked about. So there's, you know, it's one thing, but it's almost like there's plural. It's like, there's you and your thoughts. And you're reacting, your thought in you can almost be a little bit different. So you, oh, oh, I like what you just did there. Oh, that's not you can't say, oh, what about this? You know, it's like, like, I guess I'm a major loner person, but I'm never lonely, very rarely. So it was like, you're hanging out with yourself, you're your own buddy, even in the book, it says that the kid was his own best friend.

2:11:42I feel like that about me. I'm my own best friend. So, so writing it was like hanging out with myself, chitting around. Like if you would be not in a bar with your friends, but in the sense that you're just having fun. Yeah. That's a great way to think about it. It's not a big, it's very light, like creating should be a fun thing, not like, oh, er, at least for me. I've gone, like, I've done it like that the whole time, but I didn't even decide to do it like that. It was just how it would be.

2:12:23It's, I don't know, it's a playful thing, the whole thing. It's always interesting to me the different creative processes that everyone has the right way. Yeah, definitely. It's always interesting to hear how other people, your process is so different. And also one of the things that's different is like this, the thing that you're doing these shows, and you're just sandwiching these new bits in between your other bits. You're not really performing at clubs. You're not like dropping in and doing a lot of sets at regular places. No, just in these theaters that I'm doing. Do you miss the club environment though?

2:12:58No, I don't. I would be in it like, I don't really. I got so used to where I am now, it's normal to me. It's like very comfortable to be at the stage and there out there. If I ever go in a club for some reason, it's almost jolting to me because they're right on you. Yeah. Oh my God, I'm in the cage. Outside the cage, looking into the cage. So this is just how I've been doing it for years. Right. The theaters. Yeah, that is the difference from the big stage. And the audience is below you. It's like a completely different experience. Open Mike really should be in a nice theater in front of a full audience.

2:13:43That should be the open mic. Well, I'm just as an analogy. Because when you start, you're starting at 11 at night and there's 10 drunk guys, you should start out in a nice theater and work your way to 10 drunk guys. After you've been doing it for four years. Right. And you could handle it. Yeah. So no, you start in the most anyway. Yeah, but that I think is where you really learn how to do it. Yes, you have to the other side. I think you can really ad lib that well in those big ass stages. Different. Like in a arena, I'm always on script. You know, I don't really fuck around. There's not many people.

2:14:26But with a club, there's like so much room for fucking around. I'm always on. I present what I've written. I'm not making anything up there. Always. It's like always. I know exactly. Okay. Okay. What do you do with Hatclerus? I ignore them. Yeah. Because it's the hardest thing to do really. Like if I took a tennis ball right now and threw it right beside your head, you would jolt. And Hatclerus is like trying to make you move. I think it's the hardest thing to do is to have no reaction, no reaction, no reaction. Didn't you make the audience have an every action because they're mad at their car?

2:15:11But eventually, he goes away. If you don't acknowledge it. What do you do? Do you enjoy it? Sometimes. Sometimes it depends on what they're doing. Yeah. It's like if someone interrupts a bit when you're in the middle of it, that sucks. Because you're ruining it forever. Oh yeah. You're ruining the timing. You're making it all about yourself. Yeah. And you know, that's the thing you're going to run into. You ran into a lot in LA. LA more than anywhere ever. Really? Where people will just feel like they need to talk. Yeah. Well, that's the thing that I don't understand with community. So being a comedian, one of the good things I think, well, important things, is to talk to the audience like you really talk.

2:15:51And to one person. Yeah. They don't see themselves as a crowd. I'm just, they're watching the guy. So there's like one person times 400. But it's still one times 400. Yeah. And if you're communicating well, they feel like they're really talking to you. That's why sometimes they talk back. But if they went to a play, they wouldn't say, what the hell are you putting the glass on that table for? Right. Imagine at a play yelling out. And then they just shut the other door. Yeah. It doesn't happen. Or yell at the movies. Yeah. It's one of those things where it seems like you're just talking. And everybody can talk.

2:16:34Everyone can talk. So when someone's on stage just talking, you're like, I do that thing too. Yes. Well, I'll say this guy. Yeah. I'm going to help out. Yes. And they think they're helping. Yeah. Did you like that thing? I said, it's the worst. Just some people are just not good at being audience members. And some people are just very self centered. They don't care if there's 500 other people in the room. They want to yell. They want to say something. Just ego and stupidity. But it's also live. It's part of the fun of live things. You do have to interact with all these strange people. It's live.

2:17:10There's no, it's like action. 80 minutes later. Cut. There's no like, let me try that joke again. No. Do you ever do multiple shows in a night anymore? No, I haven't done that in years and years and years. Because it was just too many one line of jokes. I wouldn't know if I already said it before. One time I was doing that and I started into this joke. I was saying, when I got right that far in, I realized that it was a joke. I already said it 20 minutes earlier and then I said, just checking. And they died off. So then I put that in on purpose every night. I would start the joke. One of the jokes is if I didn't know I was said it and then you can feel getting uncomfortable.

2:18:03Just checking. But that's an example of how mistakes don't you soak up mistakes? Like accidents, like your brain is like a computer. Oh, that worked. Oh, that worked. I need that half a second. I need it. Oh, yes, yes, yes. That's the thing that you said. It's like it's really is like a live. It's a living art form. It's in your feeding it when you go to work. Yeah. And sometimes like something will go bad and that bad thing is the best thing that ever happened in that bit. They're like, oh, this is the way to handle it. They're like, talk about it. And you don't know unless you do it in front of people.

2:18:39Over and over and over and over and over. And the audience is different. They're like one being. I find that they're like one. They have the personality of one person. Like they have their own energy, their own mood almost, their own. And you can sense what they are in about a minute. Yeah. You can know, okay, this is what this is going to be like. How do you get opening acts? Like, who do you choose to take with you on the road? I had them for a long time. But then the show, I do like an 85 minute show and I thought, I'm not going to bring a guy now anymore because the audience would be too tired by the time I got to my 80 minutes.

2:19:23Like if you had a guy that's sitting there for 15 minutes, then the first guy comes on for like 12 minutes. Then there's another break. So all that energy is now going to be felt when I get to 70 minutes. So I thought I don't want them to be tired. So you go on by yourself? Yeah, you start the show. You start the show off and then you walk out there. Yeah. Yeah, for years. Yeah, that's the way to do it. Fun way to do it. Wow, going on by yourself. Like the audience only has so much like a movie. You can only pay attention for so long. I think, yeah, and listening, think, you know, it's tiring to follow someone, they're a little whatever they're saying.

2:20:16Anyway, that's what I learned to do with that way. I do have guys going with me and one of the things I do in town when I do local shows is I have a lot of people going in front of me. Really? Yeah, because it's like running with weights on. By the time I get up, everyone's tired. So I have to be like really focused. Oh, you do that on purpose? Yeah. Because so they're tired? Exactly. Yeah. And I'll do like the Joe Rogan and Friends show. I like five killers on in front of me. Sometimes six. So there's shows an hour and a half old before I even get on stage. No way. Wow. Yeah. You can feel it too.

2:20:58Yeah, that's easy. You feel that I was like, Jesus Christ. Yeah. And you do that to make yourself better. Yeah. Yeah. Put yourself in like a state where you have to be on point. You have to be very energetic. And I don't know how to be before you hit. Sometimes more. One time I did a show with all those guys, it was two hours old before I got on stage. It kidned me. No. No. But it does help. It does help because it really makes you tight in your act up. And then when you're on and someone's only on the front of you for like 20 minutes and you're just getting the crowd warmed up. Oh my God. It's so easy.

2:21:37So different. But if you could take the lessons that you learn from doing the crap like the late night's pot, like when all these people were on before you and the show's really old, you could take those that that energy and bring it to a fresh audience. It's like it really is like running with weights on. Yeah. Yeah. You're training extra. It's also too, I think, I like a show where people get to see a lot of different stuff. One of the things that I'm trying to do with this comedy club is I want a lot of different styles, a lot of different people. I want people to see it. And this guy does a different than she does.

2:22:13She does a different than he does. And everybody's doing their own. It's like it's part of the things to showcase the art form. The club is really amazing. It was really fantastic. Two rooms. Designed specifically, like you said, comedy, Louis CK, who I think is brilliant, giving you some points on how to play. Yeah, amazing. It's just brilliant, man. And everyone was in a good mood there. It's like, you know, that's your own island. You have your own island of that fertile thing you get to happening. Yeah, we're creating a magnet for comedy. Yeah, yes. Yeah. Let's say I did. Congratulations on that.

2:23:00It's just tremendous. It's very exciting. It's almost it feels surreal when you're in a place. You can see that. Yeah, it's like, wow, is this real? Really do it. Because everything is perfect. Everything's perfect. The lighting's perfect. The sound's perfect. The rooms are perfect. The monitors and the green room are perfect. Green room, hail, air, and it's very comfortable. Yeah. We did it all the right way. And it's fun to be able to do something like that. It's very exciting. And now, because of that, and because of the pandemic and all the different things that happened, where things just kind of fell into place, we have this spot.

2:23:31And then there's like world class comedians here. Rosanne lives here. Ron White lives here. Tim Dilland. Tony Hinchcliffe. And so I can Tom Sagerra, Christina Pizzitsky. They all live in the area. They all live here. I didn't know that. Yeah. Like 13 or 14 world class comedians live here. Incredible. And they're all dropping in. All dropping in. Just popping in. And having fun. Anytime of people are in town for the weekend. They'll come in early. Do my show. Do Sunday night shows. Hang out. Do the little boy shows. The little tiny room. Have fun. And it's just got it's an amazing environment. And every week it seems like we have some new crazy gas pops in.

2:24:11It's very exciting. It's like an alright, an alright school, not school. But it's like a creative building. Yeah. And that's the purpose of it, right? The whole purpose of it for all of us to help us develop comedy, to write your shit. And then to also to have a place where people can come and have a good time. That's the beautiful thing. Like watching people leave on the show is over. And they have these giant smiles in their face. And they're leaving. God damn it. It's the best feeling in the world. It's the best feeling in the world. You made people feel good. They came. They got babysitters.

2:24:44They did all the stuff. They got to their club. And then just fucking laugh. And then having fun. It's the best. I love it to death. You should feel good about training that place for all those people. I do. What I did it for me too. It's a little selfish. Yeah, but both, you know. Yeah, both for sure. It's definitely not set up just for me. It's set up for everybody. It's our club. And it's so. And I could tell seeing you last night that you loved being in the year. You loved the whole. You know, me and my friend Dean, we have this term called the tree house. Tree houses are term meaning when something is done created for just for fun, just like when you were a kid and you're 12 and you're building something and oh, oh, oh, oh, oh, has no like outside.

2:25:31And that's what you have. You have a giant tree house for all this funness. Yeah. It's fun. And it's also a great place to talk shop. Yeah. Like guys get off stage and like, do you see my new thing? I'm doing this new thing. And then we'll all talk about it. Like how did you set it up? And like, oh, oh, what do you still do in that part? No, I dropped that part. And now I got this part. And like, oh, that's way better. Oh my God. And when you see people do stuff like that and create right in front of you and you watch the sets and you watch their bits grow, it's all just like it's so much fueled.

2:26:03It's so much fucking gasoline in there. So many matches. It's like, whoa. That's fun. It's very exciting. I love it. I'm so happy we could do it. And this is the perfect place to do it too. Because there wasn't really a scene here. And now there is. That's exciting. So the town loves it. And the people love it. They could just go down there anytime they want to whenever they can get tickets at least and go see some shows. The city is very intuitive. The city embraced it like really early on. They were very excited that we moved here because California sucked. Like, this part of it was like, yeah, California fucking sucks, right?

2:26:41Like, yeah, it sucks. I'm glad of here. And so it was part of the fun of it. And also, like, when has that ever happened before? Where just a bunch of world -class comedians just moved somewhere. Yeah, never. Never set up shop. There's been scenes before, but the scenes kind of already existed. Yes. And this is a different thing. Landing on another planet. Yeah, it's like Boston in the 70s. Yes, it really is. And in a lot of ways where it didn't exist before. Yes. But people moved here. So it's even more extreme. It wasn't just like Boston was pulling from funny guys that were in the area. Yeah, right.

2:27:12Now that there's a club, they can go on stage. This was different because this is like everyone said, hey, let's move there. You know, and they moved here before I even had a club. That was what was crazy. Because the club, I had another place that I had bought. And that deal fell apart because the place was kind of a mess. And the whole story was a mess. But that club, that setback, because I bought this one place, then I had to get out of the deal. And then buy a new place. That was like a whole year plus of wasted time. And that was when everybody was moving here too. And so then we were just doing local clubs, like little rock and roll clubs.

2:27:52It was the place, the Vulcan gas company, which is basically like an EDM club. And we were doing sets there. And then the creek and the cave opened. And so that was nice. That's a nice little club. And we do sets there. So we did clubs in town. But I didn't have the place yet. And this people are still moving here just to do those shows. Because of the scene. Yeah, just because of the scene. You creating. Yeah, because it was already, there was already, So Gero has already moved here, Tim Dillon already moved here, Hinchcliffe had moved here. There was already these comics that were coming. And we were all talking about it.

2:28:24And so then people would come to Austin. They would do my podcast. And they would do these shows with us. They'd be like, God damn you guys are having so much fun. I want to move here. I'm like, fucking move here. Come on, come move here. Excellent. Plenty of spots to go on stage. There's a lot of clubs in the town. Like the music scene in Los Angeles in the 60s. All the people music from all over the Canada and the United States. That whole thing. Yeah. Yeah. So that's what it's exciting about. It's to me that it worked out. You know, it's actually happening. And it's new. I mean, it's really only been two months old.

2:29:04Wow. Yeah, the clubs are not enough. I think of the history that's going to happen. Yeah. The stories that are going to come on. It's exciting. Yeah. It's exciting. And it's also exciting for the development of comedy. Because we're really dedicated to that. We have two nights of open mic nights. All of our door staff. The door staff, all auditions. They're all comics. They audition to get those jobs with their stand up. And then they have spots that they can go up throughout the week. Like they're getting a lot of spots. Like these guys are going on stage constantly. And they're seeing each other get better.

2:29:38So it's kind of a competitive environment too. You see in like, oh, this guy is like a talented. Like this one girl is rising up. And this one guy has got to figure it out. And like you're watching, even over the course of just the last two months. These people learn and grow. And this is like this pressure cooker thing going on there too. Because you know, Shane Gillis will stop by David Tellel. Stop by Rich Voss. Dave Chappelle. And Andrew Schultz. It's like it's crazy in there. It's like every night. There's some more wild shit going on. And so there's this real excitement of a new thing. Like people realize it's very special.

2:30:13Yeah, there's energy that's down there. That's amazing that it's just only two months old for some reason. I thought it was longer than that. It feels like it's been there. When you're in it, it feels like it's been around forever. It feels like the shining. Like the fucking over look hotel. Like it's always been there. It really does. Because that building is a 1927 building. And that building has had Stevie Ray Vaughan on stage in the 1980s. And there was all that like, if you look in the green room, all those posters that are around the top of the walls, those are all concert posters from people that performed at the Ritz.

2:30:51Wow. So it's like the misfits, the butthole surfers, black flag, like all these different bands that performed there. We have all there. So there's like the memories of all of those things that happened in that place. And they're kind of burned into the framework of the building. You feel it in there. I know that sounds like we bullshit. But when you're in that building, there's an added element in the ingredients of whatever the fuck that building is. Because there can't be that much intensity, creativity in that one building without it seeping into the walls. Yeah, I think. I think to the atmosphere.

2:31:29I think there's something to that. I always felt that about the comedy store. I always felt that about like Danger Fields in New York City. There's like clubs you go into and you just go, whoa, this place is alive. Like this place, like I feel this place. Like, woof. You know, and that, I felt that the moment I went into the Alamo. It was almost like it was asking me to do it. Like when I was walking around when it was the Alamo draft house, but when it was the Ritz theater, you know, they had leased it to the Alamo draft house for a lot. But then the Alamo draft house there went under during the pandemic.

2:32:05So when I was walking around, it was just this empty theater. But it was almost like it was telling me to do this. It's like you're walking around like this is what you can do. You can raise the floor up and you can lower the ceiling. And I'm like, that's stage, but a different stage up. You're like, yeah, okay. And I'm walking around. And I was like, come on, we're going to take care of you. You take care of us. We'll take care of you. It feels like the building is happy that we're there. I know that sounds crazy. But that's literally what it feels like when I pull it, like the building's like, thanks for coming back.

2:32:37Because all of a sudden it's alive. Yeah, you feel it. And it's alive with happiness. You can't ignore your feelings. Yeah. Your feelings are real. I mean, maybe I'm making it all up. Maybe it's all my head. Maybe it's convenient. It's the same thing. But it doesn't matter. It doesn't mean it. Yeah, it's the same feeling. You know, I have to, I guess what I have to do. You got to pee? No. You got to leave? No, that's it. I have to pee. I was telling you. We get wrapped up. We're wrapping up. Yeah, I think so. It was fun. Thank you very much. I really appreciate it. Thank you for having me so much.

2:33:11My pleasure. I truly enjoy this. There's your book. It's Harold. Did you do an audio version of it? Nice. Yeah. And so that's available to a pre -order of the book today. When is it available? May 16th. Okay, so real close. Real close. And will the audio be available May 16th as well? Yes. Nice. And you did the audio? Yes. Perfect. That was something else. That would be awesome. You can't have anybody else do that. Thank you. My pleasure, brother. I really appreciate it. It was fun hanging out with you last night. Absolutely. Fun doing this today. Next time I'll go the onion hanging out longer because, you know, I was trying to save my stories.

2:33:49I don't need one to talk about it. I only have three stories. We could talk forever. Yes. I knew that yesterday. I was like, don't worry about it. That was fun. It was great. It's been an amazing experience. Thank you very much. My pleasure. Listen, man, I've always been a giant fan. So it's great to be become friends with you and get to know you. Appreciate you. I think you're an amazing community. I said in the beginning. Thank you. Thank you. Absolutely. Thank you very much. Bye, everybody.