Latest / INSPIRE STORY / #0106 _STORY INSPIRE: Decisions that transforman with Skylar Grey

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#0106 _STORY INSPIRE: Decisions that transforman with Skylar Grey · INSPIRE STORY

• 0:04
  Speaker 1: The Joe Rogan Experience.
• 0:06
  Speaker 2: Train by day, Joe Rogan podcast by night, all day.
• 0:09
  Great to see you. Great to see you. What's happening?
• 0:15
  Speaker 1: Putting out an album.
• 0:17
  Speaker 2: This is the power of music. I told my wife
• 0:21
  that you were coming on, and she said, I don't
• 0:23
  want to get a mom. She said if I die
• 0:28
  on my funeral, I want her song, I'm Coming Home.
• 0:33
  Speaker 1: Really?
• 0:34
  Speaker 2: Yeah, I was like, ooh. I was like, that's a
• 0:37
  heavy thought. And then I listened to it in the gym,
• 0:40
  and I was like, god damn. I listened to the
• 0:42
  version where you were on the piano. It was like
• 0:45
  a solo concert. And I was like, god. That's such a.
• 0:52
  It's such a great song, but it's such a crazy thought. Yeah.
• 0:57
  That someone would want.
• 0:58
  Speaker 1: Wow.
• 0:59
  Speaker 2: A very specific song. Man. Yeah.
• 1:03
  Speaker 1: Heavy way to start the podcast.
• 1:08
  Speaker 2: I know, but that's the emotion of real music. It's
• 1:13
  like you sent me a text message about AI because
• 1:17
  you sent me one of your songs and you're like,
• 1:19
  AI is never going to recreate this.
• 1:23
  Speaker 3: I said something like, I don't think it's capable of
• 1:26
  writing stuff with this much emotion yet.
• 1:28
  Speaker 2: Well, it's not real. It sounds cool. That's what AI does.
• 1:33
  There's cool songs that come from AI. But there's always
• 1:38
  going to be, and I completely agree with you, there's
• 1:40
  always going to be a thing. We know a person
• 1:44
  wrote it, that they sat down and they wrote it,
• 1:47
  and there's this connection with their spirit and their creativity
• 1:53
  that comes out. And that's what people love about music,
• 1:56
  other than stuff that sounds. I like AI music because
• 2:00
  it sounds cool, but I know what it is. I
• 2:02
  know it's just a robot.
• 2:04
  Speaker 3: I mean, I think it's, you know, sometimes it's good
• 2:07
  for certain things. But the type of music that I
• 2:10
  make personally, it's like very therapeutic for me to write.
• 2:14
  I always am writing from like a true emotion.
• 2:17
  Speaker 1: So, yeah.
• 2:22
  Speaker 2: Marshall's giving you true emotion right now.
• 2:24
  Speaker 1: Yeah. It all has its place, though. I think AI is.
• 2:29
  Speaker 3: An interesting, it's just like another tool, I feel like. That,
• 2:32
  you know, when Auto-Tune first came out, people were bitching
• 2:36
  about that. And even, like, my first albums I recorded
• 2:40
  with my mom when I was a little kid, we
• 2:43
  did it on 2-inch tape. You know, so there was
• 2:45
  no computer involved. So then computers got introduced and people
• 2:50
  were bitching about that.
• 2:51
  Speaker 1: Like, this isn't real music.
• 2:52
  Speaker 2: Yeah.
• 2:53
  Speaker 3: You know, it's just like all these technological advances. To me,
• 2:57
  I see them as just tools that creatives can use
• 3:00
  to get their vision across.
• 3:02
  Speaker 2: What was Peter Frampton using back in the day? It
• 3:05
  was like a tube or something, right?
• 3:07
  Speaker 1: I have no idea.
• 3:09
  Speaker 2: Do you remember, like, you know what that stuff is, Jamie, right?
• 3:14
  It's a talk box. It's like a tube you put
• 3:17
  in your mouth or something? Yeah, so it's like a straw, and, like,
• 3:19
  the microphone picks up the sound. So the sound would
• 3:23
  go through the tube into your mouth, and then the
• 3:25
  microphone picks that up, and you're using your mouth. Because
• 3:27
  I remember people hating that. Like, way back in the day,
• 3:30
  people were hating that. Like, that's not his real voice. Like,
• 3:32
  what is he doing? Why does he put it through
• 3:34
  that thing?
• 3:35
  Speaker 1: You know? I don't know.
• 3:38
  Speaker 2: But there's always, I mean, look, there's always going to
• 3:40
  be tools that people use to enhance creativity. Right. The
• 3:44
  thing that's weird now is that they're making entire songs.
• 3:47
  They can make a total Skylar Grey category.
• 3:51
  Speaker 1: And they sound pretty good.
• 3:52
  Speaker 2: They sound really good. You know, that's what's crazy.
• 3:55
  Speaker 1: It's shocking, yeah.
• 3:55
  Speaker 2: It's your voice. It's your actual voice.
• 3:57
  Speaker 1: And it's only going to get better, you know, because
• 3:58
  it's so new.
• 3:59
  Speaker 2: Yeah. So. There was an entire podcast with me that
• 4:03
  I never did.
• 4:04
  Speaker 1: Really?
• 4:05
  Speaker 2: Yeah. There's a whole conversation with me and Steve Jobs.
• 4:07
  I never met Steve Jobs. It was just me and
• 4:10
  Steve Jobs talking about stuff.
• 4:11
  Speaker 1: Is it the visual too?
• 4:13
  Speaker 2: No, it's not the visual. This one's just an audio one,
• 4:15
  but eventually I'm sure there'll be a visual one. Yeah.
• 4:19
  I mean, there's definitely ones of me talking to people
• 4:21
  I've never talked to. Yeah. Because, like, people pretend they've
• 4:23
  been on the show, you know, for fun.
• 4:25
  Speaker 1: Yeah, yeah, yeah.
• 4:26
  Speaker 2: And have a little conversation with me. It's very, very strange,
• 4:30
  you know.
• 4:30
  Speaker 1: Very strange.
• 4:32
  Speaker 2: Yeah, we're living in a weird, blurry time. Yeah. Like,
• 4:35
  the lines between real and not real are getting very blurry. Like,
• 4:40
  it's an introduction to The Matrix. Like, we're getting, like,
• 4:43
  the first... whispers of the fog of the matrix as
• 4:47
  it envelops us yeah getting just these little clouds like
• 4:50
  oh this is weird then eventually just gonna be we're
• 4:54
  gonna just be in the full cloud of the matrix.
• 4:57
  Speaker 3: But i see people questioning everything now they're like is
• 4:59
  this real everybody's sussy about everything now.
• 5:02
  Speaker 2: You should yeah i mean there's people like prominent news
• 5:05
  people who've reposted stories with videos in it that were
• 5:09
  like straight out of a video game yeah It's a very,
• 5:12
  very weird time we're in.
• 5:14
  Speaker 1: Very. You know? But I think it's also exciting.
• 5:18
  Speaker 2: Oh, it's definitely exciting.
• 5:19
  Speaker 1: You know, it's fun.
• 5:20
  Speaker 2: Yeah, well, it's weird. Anytime things are weird, anything, things
• 5:23
  are like, ugh.
• 5:24
  Speaker 1: Yeah.
• 5:24
  Speaker 2: But that, I think it makes you really appreciate actual things,
• 5:28
  like real physical things.
• 5:30
  Speaker 1: Yeah, I agree with that.
• 5:32
  Speaker 2: Real connection with people, real art. You know, I think
• 5:35
  that's what's going to happen a lot with AI, like
• 5:38
  people's actual artwork, like getting something like, Like this chimp sculpt.
• 5:43
  This is made with thimbles. Symbols. With zilgens.
• 5:47
  Speaker 1: Oh, yeah.
• 5:47
  Speaker 2: I see that. This guy, Shane Against the Machine. That's dope. Yeah,
• 5:52
  he's an artist. He makes cool stuff. But, like, I
• 5:54
  know a guy made that. Yeah. You know, like, when
• 5:56
  I'm fucking around with this, like, this guy made it. Yeah.
• 5:59
  Speaker 3: I think it'll make us value real human-made art more.
• 6:05
  And value, like, nuance and mistakes and... Things not being.
• 6:10
  Speaker 1: Perfect, you know?
• 6:12
  Speaker 2: Yeah. I mean, that's part of what's relatable about art.
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  And it's part of what makes us appreciate that it
• 6:20
  did come from a person. You know, like when you
• 6:23
  look at a really cool painting, like that painting, like
• 6:25
  that doesn't, that's not perfect.
• 6:27
  Speaker 1: Yeah.
• 6:27
  Speaker 2: It's not supposed to be perfect. I love that. It's
• 6:30
  just supposed to be an expression. You know, it's like
• 6:33
  a person's work. It's like they're. Whatever they are, their thing,
• 6:37
  their essence is in that canvas. Mm-hmm.
• 6:40
  Speaker 1: You know?
• 6:42
  Speaker 2: Yep. How'd you get started doing music? How old were you?
• 6:45
  You said you recorded with your mom when you were little?
• 6:47
  Speaker 1: Yeah.
• 6:48
  Speaker 2: How old were you?
• 6:49
  Speaker 1: I was six when I did my first show.
• 6:52
  Speaker 2: Whoa. Yeah.
• 6:54
  Speaker 3: So she was in, like, folk bands and stuff, and
• 6:57
  she also plays Celtic harp. And my dad was in
• 7:00
  a barbershop quartet. My great-grandma was an opera singer. So
• 7:04
  I just was like born into an extremely musical family.
• 7:06
  And when I was like two, we were singing happy
• 7:12
  birthday to one of my aunts and I started singing
• 7:14
  a harmony. And my mom was like, what is going on?
• 7:18
  How's a two-year-old singing harmony? I wasn't even able to
• 7:21
  like say all the words, but the notes I was
• 7:23
  singing were like the harmony part. And then with all
• 7:27
  her bands that she was playing with all the time,
• 7:29
  I would be at the rehearsals and chiming in and
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  Then they would, like, bring me up on stage to
• 7:35
  do little guest appearances. And it was just very clear
• 7:40
  that that's what I wanted to do.
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  Speaker 2: Wow.
• 7:43
  Speaker 3: And so when I was six, we put together our first, like,
• 7:47
  hour-long set. And I played at a library, me and
• 7:51
  my mom together.
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  Speaker 2: Whoa.
• 7:53
  Speaker 1: And it was a Mother's Day show, Madison, Wisconsin.
• 7:56
  Speaker 2: Oh.
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  Speaker 3: So I'm from Mazomanie. It's, like, a 1,500-person, really small village, basically,
• 8:02
  in Wisconsin. And so then I just loved it. And
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  so we started touring around the Midwest and played a
• 8:10
  lot of really random venues like elementary schools, libraries, women's
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  health conventions. I think one of the biggest shows I
• 8:25
  ever did was actually a Boy Scouts thing. And it
• 8:28
  was like 1,500 Boy Scouts.
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  Speaker 2: How old were you?
• 8:33
  Speaker 3: Um, I, so I did this from the time I
• 8:34
  was six till I went solo, I think when I
• 8:38
  was 12 or.
• 8:43
  Speaker 2: That's crazy. That's an interesting life though, to have your
• 8:47
  path carved out or at least the direction.
• 8:50
  Speaker 1: Yeah.
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  Speaker 2: At a very young age.
• 8:52
  Speaker 1: Yeah.
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  Speaker 3: And it wasn't like I was like a Disney star
• 8:54
  or something. So it wasn't like on a big scale.
• 8:56
  Speaker 2: It was. It was organic.
• 8:57
  Speaker 1: It was small and, but I made decent money and, um.
• 9:02
  I mean, for a kid. And I saved it up.
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  Speaker 3: And then when I was 12, I bought my first
• 9:06
  grand piano with the money I'd saved up.
• 9:09
  Speaker 2: Oh, wow.
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  Speaker 1: Yeah.
• 9:11
  Speaker 3: And so then I started writing songs at the piano,
• 9:14
  like pop songs and stuff, solo. And it wasn't cool
• 9:18
  at that time to be singing with my mom anymore. Like,
• 9:21
  you know, kids get really mean in middle school. And
• 9:25
  they would, like, make fun of me.
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  Speaker 1: Because we were singing the silliest, like, we are the
• 9:29
  colors of the rainbow. And.
• 9:31
  Speaker 3: Never Smoked Tobacco, and My Grandma Slid Down the Mountain.
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  These are some of the song titles. So it was
• 9:37
  very silly, and I got made fun of. And so
• 9:40
  I wanted to sing pop songs. And I went solo,
• 9:43
  and my mom was not stoked about that. Because, like,
• 9:46
  it had become her career, singing with me. Like, I
• 9:50
  would miss, like, I would miss so much school. Sometimes
• 9:54
  I had six shows a week.
• 9:56
  Speaker 1: So it was, like, a lot. Hey, lady.
• 10:00
  Speaker 2: Buddy. But you're helping him. Perfect. Let me kiss you.
• 10:04
  Lie down. Come here. Come here, buddy. Give me a kiss.
• 10:06
  Let everybody see you. Oh, look at that. Um, um,
• 10:17
  So when you say your mom wasn't stoked about that,
• 10:19
  was that like real friction between you guys? No.
• 10:22
  Speaker 3: I mean, she was really supportive, but like I said,
• 10:26
  it had become her career singing for me.
• 10:28
  Speaker 1: So it was like she had to adjust her whole
• 10:32
  lifestyle and everything for that.
• 10:34
  Speaker 2: Wow. You know? That had to be a hard decision
• 10:37
  for you then, knowing that that's going to bum your
• 10:39
  mom out.
• 10:41
  Speaker 1: Yes and no. I just like, I was so driven.
• 10:45
  At 12?
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  Speaker 2: Oh, yeah.
• 10:49
  Speaker 1: Yeah.
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  Speaker 2: Well, what was the feeling? Like when you say you're
• 10:52
  so driven, like what was it inside you that made
• 10:54
  you want to?
• 10:56
  Speaker 3: I just loved making music and performing and writing. And, um,
• 11:01
  I knew I just, there was no like option of
• 11:05
  anything else I would do with my life. And I
• 11:07
  knew I wasn't going to sing with my mom my
• 11:08
  whole life, you know?
• 11:12
  Speaker 1: So I had to cut it loose.
• 11:13
  Speaker 2: Yeah. At 12? Yeah. That's so crazy. God, that's so wild.
• 11:20
  Speaker 3: And I hated school so much. And I begged to
• 11:24
  be homeschooled. And we couldn't figure that out. So I
• 11:28
  ended up dropping out when I was 16.
• 11:31
  Speaker 2: Why did you hate it so much?
• 11:37
  Speaker 3: Because I was so focused on music. I felt like
• 11:39
  I was wasting my time in school.
• 11:41
  Speaker 2: Wow. Yeah.
• 11:44
  Speaker 1: Yeah.
• 11:45
  Speaker 3: There was this teacher that, my algebra teacher, she said
• 11:51
  something to me that kind of lit a fire under
• 11:53
  my ass in a good way. She told me music
• 11:57
  isn't a career. And I was like, I'll show you, bitch.
• 12:05
  And so I dropped out and I never went back
• 12:07
  after she said that.
• 12:08
  Speaker 2: There's so many teachers that have influence over children that
• 12:13
  say things like that. And it's such a crazy, irresponsible
• 12:17
  thing to say.
• 12:18
  Speaker 1: Yeah.
• 12:19
  Speaker 3: Cause I had, I had missed, um, or I hadn't
• 12:21
  done my homework because I had a show the night
• 12:25
  before this. And then we had a test and I
• 12:29
  aced the test.
• 12:30
  Speaker 1: I was a good student.
• 12:31
  Speaker 3: I had like a 3.9. Um, but I aced the
• 12:34
  test and, but she was like, but you got to
• 12:36
  do your homework just like everybody else in this class.
• 12:38
  And I was like, I had a show. I couldn't,
• 12:40
  I didn't have time. And she was like, well, music's
• 12:42
  not a career.
• 12:43
  Speaker 2: That's such a crazy thing to say because it's clearly
• 12:46
  a career. Why do you listen to music? Who's making it?
• 12:49
  I know. When you go to a concert, people are paying.
• 12:51
  Is there someone on stage? Is that a career? What
• 12:55
  the fuck does that mean? It's not a career.
• 12:57
  Speaker 1: Small town Midwest, it's like, I mean, I guess everywhere.
• 13:00
  Speaker 2: It's everywhere.
• 13:00
  Speaker 3: People push the go to school, get a good job.
• 13:06
  And I just wasn't on that path ever.
• 13:10
  Speaker 2: It's pretty wild to be that focused at such an
• 13:13
  early age, but it is, there's, it's something fun about
• 13:17
  those kind of like, I'll show you bitch stories. Yeah.
• 13:21
  Speaker 3: Like I could have taken that and been like, I
• 13:24
  could have gone the other direction with that comment, you know?
• 13:26
  Speaker 2: Right. You could have said, Oh my God, I don't
• 13:27
  want to be a loser. I don't want to be homeless.
• 13:30
  Speaker 1: Yeah.
• 13:30
  Speaker 2: Like, okay, she's right. And she's an adult, so she
• 13:33
  must know. Right. But yeah.
• 13:34
  Speaker 1: I did the opposite.
• 13:35
  Speaker 2: You get older.
• 13:36
  Speaker 1: It gave me a fire.
• 13:37
  Speaker 2: But you get older and you realize like, there's a
• 13:38
  lot of people that are teaching that like, They're just
• 13:41
  teaching because they need a teacher. It's not because we
• 13:43
  found this magical person who's really good at educating children,
• 13:47
  really good at shaping their minds and their futures. Yeah.
• 13:52
  Speaker 1: There's some good teachers. A lot.
• 13:53
  Speaker 2: There's a lot of them.
• 13:54
  Speaker 1: I had some really good teachers, but she was not
• 13:56
  one of them.
• 13:57
  Speaker 2: It's hard to find someone that's really good at a
• 13:59
  job that doesn't pay very well. It is. That's part
• 14:02
  of the problem.
• 14:02
  Speaker 1: That is part of the problem.
• 14:03
  Speaker 2: It's almost like you would think that if the future
• 14:07
  of– humanity is very important one of the most important
• 14:11
  things would be education so one of the most important
• 14:14
  things would be finding the best teachers and how would
• 14:18
  you do that you would pay them yeah really well
• 14:20
  yeah like if we really cared about the future of
• 14:23
  earth we would spend a ton of money uh making
• 14:28
  sure that these teachers are really well educated and that
• 14:31
  they really understand psychology they really understand how to motivate children.
• 14:36
  Speaker 1: Yeah you would think Yeah. That would make a lot
• 14:39
  of sense.
• 14:39
  Speaker 2: Right. It's so odd how intelligent and capable and innovative
• 14:44
  we are and yet so fucking foolish at the same time.
• 14:48
  That we just allow that generation after generation. Shitty teachers
• 14:53
  not getting paid. Good teachers not getting rewarded.
• 14:56
  Speaker 1: Mm-hmm.
• 14:57
  Speaker 2: And then they retire and they're like, what was that
• 14:59
  all for?
• 15:00
  Speaker 1: Yeah.
• 15:01
  Speaker 2: Nobody cared. Nobody appreciated what I was doing. You have
• 15:06
  to fight for your pension. Ugh.
• 15:08
  Speaker 1: The whole system is so messed up.
• 15:11
  Speaker 2: But the education system is so crazy.
• 15:14
  Speaker 1: Yeah.
• 15:14
  Speaker 2: Because, I mean, essentially, I mean, when you go down
• 15:17
  the tinfoil hat road, it was essentially designed to make
• 15:22
  factory workers. I mean, you know, there wasn't really formal
• 15:26
  schooling like we have now where children go at an
• 15:30
  early age and show up and, you know, and leave
• 15:33
  their parents all day. That's a fairly recent thing in
• 15:37
  human history. And the reason why they got people really
• 15:40
  early is because that's how you can brainwash them. Right.
• 15:43
  You get kids when they're 14, 15 years old, they
• 15:46
  kind of already have their own view of the world.
• 15:49
  It's hard to shape them. But you get those little five-year-olds, six-year-olds.
• 15:54
  And then if you get preschool, you know, because a
• 15:56
  lot of people have to work, you know, parents, both
• 15:58
  parents work. So then you can get the kids real early.
• 16:02
  And then you can make little workers out of them.
• 16:05
  Speaker 3: Walk in a single file line and– Yeah. It's like
• 16:09
  control everything.
• 16:10
  Speaker 2: Sit in class. Sit straight ahead. Don't talk. Pledge allegiance. Yeah.
• 16:15
  Raise your hand. And if you can't pay attention, you
• 16:17
  must have a disease. So we're going to give you
• 16:19
  some medication. Exactly. Yeah. And then you're like.
• 16:25
  Speaker 1: I probably should have had some of that medication, to
• 16:27
  be honest.
• 16:27
  Speaker 2: Probably not. No.
• 16:30
  Speaker 1: No. I definitely think I'm an undiagnosed ADHD case. But
• 16:34
  I feel like almost everybody is.
• 16:36
  Speaker 2: Well, anybody that's any good at anything. We had this
• 16:39
  conversation yesterday with my friend Eric. I was like, I
• 16:41
  think it's a fucking superpower.
• 16:43
  Speaker 1: Yeah.
• 16:43
  Speaker 2: I really do. I don't think it's negative at all.
• 16:47
  There's a lot of shit I can't pay attention to
• 16:49
  if it's boring. Right. If it's boring, I check in
• 16:52
  and check out.
• 16:53
  Speaker 1: But then do you have like super hyper focus on
• 16:54
  things that you're.
• 16:55
  Speaker 2: Obsessed with, right? Oh, yeah. Like I don't need to sleep.
• 16:58
  Speaker 1: Yeah.
• 16:58
  Speaker 2: Like I could stay up for days if something is
• 17:01
  really interesting, if I get focused. Which is why I
• 17:04
  have to stay away from video games and stuff like that.
• 17:06
  Speaker 1: Oh, yeah.
• 17:07
  Speaker 2: You just get.
• 17:08
  Speaker 1: Sucked in for hours.
• 17:09
  Speaker 2: Yeah. It's a problem. Yeah. But it's not just video games.
• 17:11
  It's like anything that I really love. But things that
• 17:14
  I'm not interested in, it's like I can't absorb it.
• 17:17
  It just goes in. And that's what high school was
• 17:19
  like for me. It was like I'd be in class.
• 17:21
  I'd be like, this is torture. But then I'd find
• 17:25
  something I really loved and I'd be like fully locked in.
• 17:29
  But it took a while for me to– because I
• 17:31
  just thought I was going to be a loser. I'm
• 17:33
  like clearly I can never hold a job. I'm not–
• 17:36
  I can't take direction. I'm not– I can't pay attention.
• 17:39
  Like there's something wrong with me. Like I'm not– I'm
• 17:41
  just going to be one of those people that's just
• 17:43
  kind of a fringe person that's never– never fits in anywhere.
• 17:47
  I'm like, OK. This is who I am. I'll just
• 17:50
  get some weird odd jobs to feed myself with. Like
• 17:53
  this is literally how I was thinking about my future.
• 17:55
  Speaker 1: I'm looking at you now.
• 17:56
  Speaker 2: Well, I got lucky. I found some things that are unconventional.
• 18:01
  But there's so many children out there that are told like, hey,
• 18:05
  music isn't a career. You know, hey, you know, whatever, acting,
• 18:09
  writing books, whatever it is, comedy. Somebody is there telling
• 18:14
  you because they didn't do it that you can't do it. Yeah.
• 18:19
  Speaker 1: Yep.
• 18:19
  Speaker 2: It's a bummer. Like I was an artist when I
• 18:22
  was young. I wanted to be a comic book illustrator
• 18:24
  when I was really young. And I had one shitty
• 18:28
  high school art teacher who was just such a twat.
• 18:31
  He was so bad. And I just quit art my
• 18:36
  senior year. I was like, I don't want to go
• 18:37
  to this guy's fucking class because it wasn't a big
• 18:39
  high school and he was the only art teacher. So
• 18:42
  I quit.
• 18:42
  Speaker 1: What did he do?
• 18:44
  Speaker 2: He was just negative. He was like, because I just
• 18:48
  wanted to draw what I wanted to draw. And I
• 18:50
  was into comic book stuff like Conan the Barbarian and
• 18:53
  superheroes and stuff like that. And he was like, you're
• 18:56
  not going to make a living doing that. You're most
• 18:58
  likely going to have to do like advertisements for like diapers,
• 19:01
  like diaper ads. And I was like, fucking diaper ads?
• 19:04
  Like that's his explanation that he used, diaper ads. And
• 19:08
  I would look at him and he just looked like,
• 19:09
  he looked depressed. He was like this skinny guy with
• 19:13
  a pot belly.
• 19:14
  Speaker 3: Well, he's probably an artist that didn't make it as
• 19:16
  an artist and he had to become an art teacher instead.
• 19:18
  Speaker 2: Exactly.
• 19:19
  Speaker 1: So he's like bitter. Yeah.
• 19:21
  Speaker 2: Well, we realized that too when we looked at his
• 19:23
  actual art. We're like, huh, that doesn't sound very good.
• 19:27
  Not so inspired. There's not a lot of fire in
• 19:30
  that belly. You know, he's just a boring dude who's
• 19:33
  just like depressed and sad. He probably drank a lot.
• 19:36
  We see a skinny person with a big belly. Usually
• 19:38
  that's like booze.
• 19:39
  Speaker 1: Yeah.
• 19:41
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• 20:20
  Speaker 1: I mean, there's a lot of people like that, even
• 20:22
  in the music industry.
• 20:23
  Speaker 3: I feel like a lot of the experts in the
• 20:27
  game are just people who were artists and didn't make it,
• 20:29
  and now they're bitter, and then they try to tell
• 20:32
  you how everything should go or how you should do everything.
• 20:36
  Speaker 2: Oh, yeah.
• 20:38
  Speaker 1: That got me for a while when I was really young.
• 20:41
  Speaker 2: I feel like those people are like weights that you
• 20:45
  have to carry to build up resistance. Yeah. You build
• 20:48
  up strength from dealing with those bullshit people because they're
• 20:52
  stupid ideas. They actually get in your head and you
• 20:55
  have to wrestle with them.
• 20:56
  Speaker 1: For sure.
• 20:56
  Speaker 3: Especially when you're super young. Like I was, when I
• 20:59
  first moved to LA, I was 17.
• 21:01
  Speaker 2: Whoa. By yourself?
• 21:02
  Speaker 1: Yeah.
• 21:03
  Speaker 2: Whoa. Yeah. That's crazy.
• 21:05
  Speaker 1: And I was like very green, small town, Midwest girl.
• 21:09
  Speaker 2: Whoa.
• 21:09
  Speaker 1: Just dropped in LA and like.
• 21:11
  Speaker 2: And really pretty. That's a terrible combination.
• 21:14
  Speaker 1: Oh, it was weird.
• 21:15
  Speaker 2: Really pretty, 17.
• 21:17
  Speaker 1: It was weird as fuck.
• 21:18
  Speaker 2: Midwest. Oh, God.
• 21:20
  Speaker 1: Yeah.
• 21:21
  Speaker 2: Look at you now, shaved head, tattoo on it. Yep. Yeah,
• 21:28
  you came out on the other end good, though. But
• 21:30
  isn't it true, though, that, like, those kind of experiences, like, experiencing, like,
• 21:36
  oddity and uncertainty and just, like, the weirdness of, like,
• 21:40
  moving to a place like L.A. when you're 17, like,
• 21:45
  When you get through it on the other end, you're
• 21:46
  a different person. You're a stronger person. For sure.
• 21:49
  Speaker 3: I mean, every experience makes you stronger, right? So, yeah,
• 21:54
  I just threw myself into this crazy mix in L.A.
• 22:00
  And it was culture shock.
• 22:03
  Speaker 2: So what year was this when you moved to.
• 22:04
  Speaker 1: L.A.? So I was 17.
• 22:07
  Speaker 3: And I was in the graduate– I should have been
• 22:11
  in the graduating class of 2004.
• 22:12
  Speaker 2: So– So somewhere around that time. 2003, 2004.
• 22:18
  Speaker 1: Yeah.
• 22:19
  Speaker 2: Yeah. Yeah.
• 22:20
  Speaker 3: And I lived with the guitar player from Culture Club.
• 22:25
  Speaker 2: Really?
• 22:25
  Speaker 1: Roy Hay.
• 22:26
  Speaker 2: Wow.
• 22:27
  Speaker 1: Yeah. He had a house in Venice and I crashed
• 22:30
  on his couch and it was wild.
• 22:35
  Speaker 2: Wild. Boy George? Mm-hmm. Did you hang out with Boy George? No. Never?
• 22:40
  Speaker 1: No, he wasn't there.
• 22:41
  Speaker 2: You ever meet him?
• 22:41
  Speaker 1: He was just a guitar player on the phone.
• 22:43
  Speaker 2: Oh.
• 22:43
  Speaker 1: Yeah. Yeah.
• 22:47
  Speaker 2: It was wild.
• 22:48
  Speaker 1: There was a murder next door the first month I
• 22:51
  moved in. Yeah.
• 22:55
  Speaker 3: There's like a bloody mattress in the little alleyway between
• 22:58
  the houses and they taped, they caution taped off all
• 23:00
  the houses and they had to question us about like,
• 23:04
  did we hear screaming? And so I was just like
• 23:08
  sitting there on the steps, not allowed to leave while
• 23:12
  they were taking the body out and then the coroner,
• 23:17
  after he put the body in the truck, he came
• 23:19
  and sat next to me on the steps and started
• 23:21
  like hitting on me.
• 23:22
  Speaker 1: He was like, he was like, you're a very beautiful girl.
• 23:27
  I'm like, you were just touching a dead body. This
• 23:29
  is so weird. Where am I?
• 23:32
  Speaker 2: Oh God. That's crazy.
• 23:34
  Speaker 1: Yeah. Welcome to LA. Yeah.
• 23:36
  Speaker 2: He got over that dead body real quick. Yeah. Hey,
• 23:40
  where are you from?
• 23:41
  Speaker 1: Yeah.
• 23:42
  Speaker 2: Fucking blood in his fingernails.
• 23:43
  Speaker 1: Yeah. Ugh. Gross.
• 23:48
  Speaker 2: Wow. That's a movie. Mm-hmm.
• 23:52
  Speaker 1: Wow.
• 23:53
  Speaker 2: L.A. in 2003 was still okay.
• 23:57
  Speaker 1: Yeah.
• 23:57
  Speaker 2: It was, like, not bad, you know? There was still
• 24:01
  traffic and everything, but it hadn't gone completely sideways like
• 24:05
  it is now. It's so weird when I go back,
• 24:07
  I'm like, This is unrecognizable. It doesn't seem like the
• 24:11
  same place. Every sign has a, every building has a
• 24:14
  for lease sign on it. It's like, this is nuts. Like,
• 24:17
  it's hard to believe that this is, that you're, like,
• 24:21
  when you see things like Detroit, did you ever see
• 24:23
  that movie Roger and Me? It's a great movie. It's
• 24:26
  Michael Moore and it's all about the collapse of the
• 24:29
  Detroit automotive industry and how they moved all the plants
• 24:34
  to Mexico and when they did that The entire economy
• 24:40
  of Detroit and Flint, Michigan and all these areas just collapsed.
• 24:45
  Like tens of– hundreds of thousands of people out of
• 24:49
  work instantaneously with no prospects. The industry was gone and
• 24:53
  it's a horrific depiction of what can happen when greedy
• 25:01
  people decide that they'll completely sabotage an entire city so
• 25:06
  they can make– you know, X amount more dollars and
• 25:10
  move all the factories to places where you can pay
• 25:12
  people a dollar a day or whatever the fuck they
• 25:14
  pay them. And, um, you know, I had seen that,
• 25:19
  but I was like, Oh, that was, you know, 1980s
• 25:23
  or 1960s, whenever, when the, when, when the, the place
• 25:27
  was booming, like Detroit was at one point in time,
• 25:29
  I think the third richest city in the world. Well, yeah.
• 25:33
  Let's see if that's true. I appreciate that's true. But,
• 25:38
  it was all just because of the automobile manufacturing. I mean,
• 25:41
  everything was made there. Ford, Chevy, Chrysler, all of our
• 25:46
  big cars. And it just, gone.
• 25:49
  Speaker 1: Like a ghost town.
• 25:50
  Speaker 2: Like a ghost town. And when I visited Detroit to work,
• 25:55
  I'd be like, wow, this is crazy. You see trees
• 25:57
  growing through the middle of houses. The houses are collapsed.
• 26:01
  And literally, nobody took care of the house. It was abandoned. So,
• 26:05
  Trees grow through the roofs, and they're reclaiming these homes.
• 26:08
  You see, you go by these gigantic buildings, like industrial buildings,
• 26:15
  and all the windows are broken.
• 26:17
  Speaker 1: Yeah.
• 26:17
  Speaker 2: Everything. No reliable historical source shows Detroit as the third
• 26:21
  richest city in the world. The common claim is actually
• 26:25
  that Detroit was the richest city in the world, or
• 26:27
  at least the U.S. was one of the highest living
• 26:29
  standards around 1950s, not third. Oh, so it was the richest? Whoa. Yeah,
• 26:34
  it's not. That's the common claim of what it actually was.
• 26:39
  Very high medium household income, around 20% above U.S. average,
• 26:42
  and it's all because of the automotive industry. One of
• 26:45
  the highest homeownership rates in the country. Because of this,
• 26:48
  many commentators and locals' histories describe Detroit as the wealthiest
• 26:53
  city in the U.S. and by some accounts having the
• 26:55
  highest standard of living in the world in that era.
• 26:59
  Articles and tours about Detroit repeatedly refer to it as
• 27:02
  the wealthiest city in the world. in the 1950s, not
• 27:06
  as the third wealthiest. So is that true, then, that
• 27:10
  it was the wealthiest city in the world? Tour is
• 27:14
  about Detroit's history. The third richest city in the world
• 27:19
  line seems to come from its memes, social posts. Okay,
• 27:21
  these posts are often mixed or exaggeration of real facts.
• 27:24
  Detroit truly was exceptionally rich by U.S. standards, but rankings
• 27:29
  like third in the world are not backed by clearly
• 27:32
  documented global per capita income comparisons from that period.
• 27:37
  Speaker 1: Well, so it was rich.
• 27:39
  Speaker 2: It was very wealthy, very wealthy either way. And when
• 27:42
  you think about the rest of the world, you know, like,
• 27:46
  you know, people love to use that term, the 1%,
• 27:48
  like the top 1%. Do you know what that is?
• 27:50
  Like for the world? No, no.
• 27:53
  Speaker 1: What is it?
• 27:53
  Speaker 2: $ 34, 000. No way. Yeah. $ 34, 000 is the top 1% of earth.
• 27:54
  Speaker 1: That's crazy.
• 28:05
  Speaker 2: That's crazy.
• 28:05
  Speaker 1: What is it for the U.S.? 1%.
• 28:09
  Speaker 2: If I had to guess, let's guess. I bet it's
• 28:17
  like $ 500, 000 a year. Do you think? What do you
• 28:22
  think it is? $ 250, 000.
• 28:23
  Speaker 1: $ 250, 000?
• 28:23
  Speaker 2: What do you think it is, Jamie?
• 28:27
  Speaker 1: That's my guess. I don't know, though.
• 28:28
  Speaker 2: $ 150, 000. $ 150, 000? Yeah. Top 1%?
• 28:28
  Speaker 3: Yeah.
• 28:28
  Speaker 2: Wow.
• 28:28
  Speaker 1: Wow.
• 28:33
  Speaker 2: All right, let's throw that in perplexity. I was guessing.
• 28:37
  I didn't want to look. Throw that sucker in perplexity.
• 28:39
  What did I say, half a million? Top 1% of
• 28:42
  the U.S., 700,000. Dang. You're the closest. 700,000 to 800,000
• 28:48
  or more, depending on the data source and year. That's
• 28:51
  pretty crazy. So for the United States, $ 730, 000 to $ 790, 000
• 28:55
  per year, most analysis. And then for the rest of
• 28:57
  the world, $ 34, 000. Wow. Crazy.
• 29:08
  Speaker 1: That's wild.
• 29:08
  Speaker 2: That's wild. Yeah. That's capitalism.
• 29:12
  Speaker 1: Yeah.
• 29:13
  Speaker 2: But I bet there's probably some truth to in order
• 29:20
  for the United States to have such a high income.
• 29:22
  These other countries have to get fucked over. Globally, you
• 29:26
  only need an annual income on the order of $ 60, 000
• 29:28
  to $ 70, 000 to be in the top 1%.
• 29:29
  Speaker 1: Oh.
• 29:32
  Speaker 2: It used to be 34,000. I mean, I'm sure it fluctuates.
• 29:37
  One widely cited analysis found in 2012, annual income of 50,000
• 29:42
  was enough to be in the global 1%. So where
• 29:44
  does that 34,000 come from? It was a meme that
• 29:46
  was going around, too. Oh, fucking memes. It might have
• 29:48
  been kind of true, but again, yeah, memes. I saw
• 29:51
  it repeated by someone very intelligent.
• 29:54
  Speaker 1: I've looked it up before, but I think it was
• 29:55
  a meme.
• 29:56
  Speaker 2: Okay.
• 29:56
  Speaker 1: I'll look it up again and.
• 29:56
  Speaker 3: See what it says.
• 29:58
  Speaker 2: Either way.
• 29:59
  Speaker 1: I get those memes get me all the time.
• 30:02
  Speaker 2: I'm like, babe, look at this.
• 30:04
  Speaker 1: And then you go to the comments and it's like
• 30:06
  all fake.
• 30:07
  Speaker 2: Yeah, there's a lot of that. But, you know, that's
• 30:10
  the dirty thing about what they did with Detroit. Like
• 30:14
  they decided that they'll take advantage of these people that
• 30:17
  are ultra poor, that are willing to work with. And
• 30:20
  it's not just that they get paid a dollar a
• 30:23
  day or whatever they get paid. It's there's no health care.
• 30:26
  There's no benefits. There's no retirement. There's no dental. There's
• 30:30
  no nothing. You just get that money and then figure
• 30:34
  it out on your own. And then, you know, you
• 30:37
  buy a Ford car and you think it's made in America.
• 30:41
  Commonly repeated claim, the annual income about $ 34, 000 U.S. puts
• 30:45
  you in the top 1% of the world. But this
• 30:47
  comes from rough, older viral estimates. It's not based on
• 30:51
  current rigorous global data. More careful tools and data sets
• 30:55
  now suggest that $ 34, 000 places you well above the global
• 31:00
  median but likely closer to roughly the top 5% to
• 31:04
  10% worldwide rather than the top 1%. Okay. So it
• 31:10
  appears in social posts. Yeah.
• 31:13
  Speaker 1: 60 is still.
• 31:13
  Speaker 2: Like– Right. You're barely getting by. Yeah. If you make $ 50, 000
• 31:17
  in America, like you're fucking struggling. Yeah. Unless you're super young.
• 31:21
  You don't have any responsibilities.
• 31:22
  Speaker 1: And where they pay t-shirts?
• 31:24
  Speaker 2: That's a good question. What's the average public school teacher
• 31:28
  salary in America? Let's guess. You think it's like $ 60, 000?
• 31:32
  I think it's about that. I bet it's about that.
• 31:36
  I had to guess.
• 31:38
  Speaker 1: Might be less, actually.
• 31:41
  Speaker 2: What is it?
• 31:41
  Speaker 1: $ 74, 000.
• 31:44
  Speaker 2: Public school teachers now average $ 74, 000 to $ 75, 000 per year
• 31:53
  So that's like, you know, you're okay.
• 31:57
  Speaker 1: Depends on where you live.
• 31:59
  Speaker 2: Well, if you live in New York, you're fucked. Yeah.
• 32:01
  If you live in New York, you live in a box.
• 32:03
  Speaker 1: Yeah.
• 32:04
  Speaker 2: Yeah.
• 32:04
  Speaker 1: That's pretty good for Wisconsin.
• 32:07
  Speaker 2: Okay. State averages. Lowest paying states to above $ 90, 000 and
• 32:13
  the highest paying ones like California and New York. So
• 32:16
  California and New York, $ 90, 000. It's way lower. Oh, starting
• 32:21
  teacher pay significantly lower than the overall average. National estimate
• 32:25
  of the average starting teacher salary about $ 48, 000. Wow. Meaning
• 32:30
  it takes years of experience and often advanced degrees to
• 32:33
  reach or exceed that $ 74, 000 average. So if you get
• 32:37
  like really intelligent people, even if they love children, they're like,
• 32:41
  I can't do this. I can't live like this.
• 32:43
  Speaker 1: Yeah.
• 32:44
  Speaker 2: You start off at $ 48, 000 a year. That's fucking bonkers.
• 32:49
  That's not even $ 1, 000 a week and then you have
• 32:51
  taxes and then you have an apartment and then you
• 32:54
  have food and then you have a car.
• 32:56
  Speaker 1: Kids. Yeah. How do people do it?
• 33:00
  Speaker 2: Well, it's just weird that we put our priorities in
• 33:07
  strange places. Like the amount of money that goes through
• 33:12
  various corporations and NGOs and the amount of loans and
• 33:16
  all this different– fucking shit that where our tax dollars
• 33:19
  go and you look at that and you're like that
• 33:22
  it seems so short-sighted very yeah no politician runs on
• 33:29
  that no politicians like we need to really find the
• 33:32
  best teachers and pay them the most amount of money
• 33:35
  that we can afford to make sure that we get
• 33:37
  the best and the brightest everybody's like fuck you it's
• 33:43
  weird yeah it is people.
• 33:45
  Speaker 1: Are strange yeah I wish you could like check boxes
• 33:50
  of where you want your tax dollars to go. Oh, 100%.
• 33:53
  Speaker 2: Yeah.
• 33:54
  Speaker 1: I want it to go to education or whatever.
• 33:56
  Speaker 2: Yeah. Imagine if that was an option. If when you voted,
• 33:59
  you could actually vote on where your taxes went. Yeah.
• 34:02
  Speaker 1: Yeah.
• 34:03
  Speaker 2: Like not even voted. It should be actually individually. He
• 34:06
  might have to pee. He's acting. Yeah. Let him out.
• 34:14
  Because generally he would be chilling by now. And when
• 34:18
  he huffs like that, he's usually trying to let you
• 34:20
  know something. Tell you something. Yeah, like that's what he
• 34:22
  does when he has to eat. He huffs. He comes around.
• 34:25
  He's like, I get it. Chill out, bro.
• 34:30
  Speaker 3: My dog does that when she senses something outside, like
• 34:34
  a coyote or something.
• 34:35
  Speaker 1: She starts huffing.
• 34:36
  Speaker 2: Well, you guys were saying you have one of them
• 34:38
  giant Caucasian shepherds.
• 34:41
  Speaker 1: Yeah.
• 34:41
  Speaker 2: Is that what it is?
• 34:42
  Speaker 1: It's a Central Asian shepherd. We have an alibi.
• 34:45
  Speaker 3: I guess there's a lot of different, like, breeds under
• 34:48
  the Central Asian Shepherd.
• 34:50
  Speaker 2: They're all herding dogs, right?
• 34:52
  Speaker 1: It's a protection.
• 34:53
  Speaker 2: Yeah, for wolves. Pull up the image of an alibi dog.
• 34:59
  Speaker 1: Just Google wolf crusher.
• 35:01
  Speaker 2: Is that what they call them?
• 35:03
  Speaker 1: Yeah.
• 35:05
  Speaker 2: How much does it weigh?
• 35:07
  Speaker 3: She's actually on the smaller side. She's like 105 pounds
• 35:10
  or something.
• 35:10
  Speaker 2: Oh, that is smaller.
• 35:12
  Speaker 1: But her head is so massive. They get They get
• 35:17
  really big. That one can't be real. But they are massive.
• 35:25
  Speaker 2: Oh, so that's what she looks like.
• 35:26
  Speaker 1: Yeah, pretty much. She's all white.
• 35:32
  Speaker 2: But those dogs are great for just keeping track of
• 35:35
  the property. Yeah. Look at that image. This is a
• 35:37
  wolf crutcher in the bottom. The bottom right there. Go
• 35:41
  to the left. Left of the wolf grinder thing. Yeah,
• 35:44
  that one right there.
• 35:45
  Speaker 3: So that I think is like a Turkish Kangol, um,
• 35:49
  which is, I think the next dog we're going to
• 35:51
  get cause we need another one.
• 35:54
  Speaker 1: Um, our, our.
• 35:57
  Speaker 3: Alibi Nala, she, I'm just like such an animal lover.
• 36:01
  So she really should be outside living on the ranch,
• 36:05
  but she sleeps in bed. So I need an outside
• 36:09
  dog that's actually watching the livestock. Cause this past couple
• 36:12
  of weeks we lost, um.
• 36:13
  Speaker 1: 12 chickens and four sheep.
• 36:19
  Speaker 2: To what?
• 36:20
  Speaker 1: Coyotes.
• 36:21
  Speaker 2: Wow. Where do you live?
• 36:23
  Speaker 1: Napa, Napa Valley.
• 36:25
  Speaker 2: Wow. You have that many coyotes out there?
• 36:27
  Speaker 3: Oh, they are invading our property right now. It's been,
• 36:31
  the last few weeks have been really rough.
• 36:33
  Speaker 2: Once they know that there's food there.
• 36:36
  Speaker 3: Yeah.
• 36:36
  Speaker 1: Once they taste the blood, they come back every night.
• 36:39
  Speaker 2: Yeah. I lost all my chickens in California.
• 36:42
  Speaker 1: Yeah.
• 36:43
  Speaker 2: We lost a couple of them every now and then.
• 36:45
  I had a dog. His name is Johnny Cash. And
• 36:49
  he was a mastiff. And he was a sweetheart of
• 36:52
  a dog. But he was huge. He was like 140 pounds,
• 36:56
  solid muscle. And these coyotes made friends with him. And
• 37:01
  so they would come by the fence and hang out
• 37:03
  with him. And then eventually he got like accustomed to them.
• 37:07
  And then one day the pool guy accidentally left the
• 37:10
  gate open. And so he went into the area where
• 37:14
  the chicken coop is. And the chicken coop was like
• 37:16
  completely protected. But we had one of our chickens was brooding.
• 37:19
  Speaker 1: Do you know what brooding is? Yeah, yeah. Okay.
• 37:21
  Speaker 2: Of course you do. So when you take chickens, when
• 37:24
  they're brooding, you have to take them away from the
• 37:27
  other chickens and you put them in a smaller coop
• 37:29
  and they have to perch. So if they perch, then
• 37:32
  they don't think that they're sitting on an egg and
• 37:34
  then they get over it after a while. Yeah. And
• 37:36
  the coyote tricked Johnny into smashing– that little chicken coop
• 37:42
  so that he can get the chicken. What do you mean?
• 37:45
  I don't know how this motherfucker did it, but it
• 37:49
  couldn't break down the chicken coop because it was only
• 37:51
  like 30 pounds. And so it was over there with Johnny.
• 37:56
  And all of a sudden, me and my wife and
• 37:59
  our kids were playing some sort of like Monopoly or
• 38:02
  something in the living room. And someone yells coyote. And
• 38:07
  one of my kids yelled coyote. And we see the
• 38:09
  coyote running. running across the backyard with the chicken in
• 38:12
  its mouth and then leaps onto the top of the
• 38:16
  fence i thought we had like this fence it was
• 38:19
  probably like six feet tall or something like that like
• 38:21
  wrought iron fence i'm like i don't keep the coyotes
• 38:23
  out no it leapt like a ballerina oh my god
• 38:27
  like a gymnast toes to the top of the fence
• 38:30
  and then off with the chicken in its mouth and
• 38:33
  Part of me was like so impressed that it did that.
• 38:35
  I wasn't even mad. But I was like, what the fuck?
• 38:38
  I was like, how did he get that? So we
• 38:39
  go outside and there's Johnny standing there in front of
• 38:43
  this destroyed chicken coop, which clearly he did.
• 38:47
  Speaker 1: Yeah, because the coyote couldn't have done that.
• 38:49
  Speaker 2: And so then he realized that chickens are to be killed. Oh, no.
• 38:54
  So someone left the gate open again and he decided
• 38:58
  to just go right through the big chicken coop. And
• 39:02
  he killed nine of them before one of my daughters
• 39:05
  was screaming, Johnny's in the chicken coop. No. Yeah, he
• 39:10
  made a mess out of it.
• 39:11
  Speaker 1: That's awful.
• 39:12
  Speaker 2: Well, he didn't know.
• 39:13
  Speaker 3: I know, but my chickens are like my pets. I
• 39:17
  like snuggle with them and stuff.
• 39:19
  Speaker 2: We lost one to a bobcat last week.
• 39:21
  Speaker 1: Yeah, we had some bobcats take some of ours.
• 39:23
  Speaker 2: Too, yeah. And we lost one to a fox. We
• 39:26
  lost one to a fox like a couple weeks ago.
• 39:29
  Speaker 1: Do you free range? your chickens yeah let them out
• 39:31
  of the coop.
• 39:31
  Speaker 2: Every day yeah they get out of the coop and
• 39:33
  then we bring them in at night but the you
• 39:35
  know fucking animals they figure it out.
• 39:38
  Speaker 3: Yeah so like last week because um we let the
• 39:42
  chickens out every morning it was 6 30 in the
• 39:44
  morning and this coyote came and killed 12 like back
• 39:47
  to back One coyote? Well, on the cameras, we only
• 39:53
  saw one.
• 39:54
  Speaker 2: Wow. Yeah. So it was like surplus killing.
• 39:57
  Speaker 1: Yeah, thrill killing.
• 39:59
  Speaker 2: Well, they kill and then they leave them there and
• 40:02
  then they go back and get them later. You know,
• 40:04
  they do that with cats, you know.
• 40:06
  Speaker 3: I mean, mountain lions do that for sure. But, yeah,
• 40:11
  it was weird. He just killed them all and then
• 40:15
  took like a few of them with him, left some
• 40:17
  of them.
• 40:19
  Speaker 2: Mm. Motherfuckers.
• 40:21
  Speaker 1: It was awful.
• 40:22
  Speaker 3: I was broken because it took my favorite chicken. And
• 40:26
  her name was Big Cheeks. She was the sweetest. She would, like,
• 40:30
  come like a dog. You could, like, call her name
• 40:32
  and she would come to you.
• 40:33
  Speaker 2: Do you eat chicken? Yeah.
• 40:36
  Speaker 1: But not my chickens.
• 40:37
  Speaker 2: I don't eat my chickens either. But it's always weird
• 40:39
  because my wife treats the chickens like they're little babies. Like, hey, girls. Hey, girls.
• 40:44
  She takes care of them and all that stuff. And
• 40:46
  then we'll be eating chicken. Yeah.
• 40:51
  Speaker 1: Odd yeah it's i mean we have cows too and
• 40:54
  i eat i eat beef do you eat your cows
• 40:58
  well they're not technically our cows so we have like
• 41:00
  an arrangement with um my cattle guy and he just
• 41:03
  uses our property to graze them okay because we need
• 41:06
  the cows because we have a biodynamic vineyard and so
• 41:10
  we use the cows in the vineyard um like for
• 41:15
  a few months out of the year just because It
• 41:18
  creates like a great ecosystem and also like their footprints
• 41:21
  make little puddles and the water gathers because we're also
• 41:24
  dry farmed. And so.
• 41:26
  Speaker 2: What's that mean?
• 41:27
  Speaker 1: We don't water our grapes.
• 41:29
  Speaker 2: Really? Yeah. So. Why is that?
• 41:34
  Speaker 3: I'm not the wine expert, but I think it's because
• 41:39
  you get like a better flavor profile if you like.
• 41:42
  It's more concentrated if you don't like overload them with water.
• 41:48
  And also it makes the vines struggle in a good way.
• 41:51
  So it makes them reach deeper, like the roots reach
• 41:54
  deeper into the ground.
• 41:56
  Speaker 1: And so you get more like flavor, I guess.
• 42:00
  Speaker 2: And so this is your own wine?
• 42:03
  Speaker 3: So we don't make the wine. We sell the grapes to,
• 42:06
  I think we have five different winemakers now. They're all
• 42:10
  doing single estate wines from our property. So they're not
• 42:15
  blending it with anything. So you can, drink the wine
• 42:18
  from our property, but it's not our label because I
• 42:21
  don't want to go out there and sell wine and
• 42:23
  make people taste my wine. And I don't want to
• 42:25
  go down that whole marketing. It's like I have a
• 42:28
  whole other job. I don't need that one. We just
• 42:31
  handle the farming.
• 42:33
  Speaker 2: That's cool, though. If somebody wanted to buy wine from
• 42:36
  your property, like what are the wines?
• 42:38
  Speaker 3: Well, our property is called Glass Rock. And so Pilcrow
• 42:43
  Glass Rock, Tansy Glass Rock.
• 42:47
  Speaker 2: Oh, so they all say Glass Rock is on the farm?
• 42:50
  Speaker 3: They have their brand name or whatever, and then underneath it,
• 42:54
  it'll say the vineyard site. So if you get it
• 42:57
  from a Glass Rock.
• 42:58
  Speaker 2: I'm going to buy some wine from your farm.
• 43:00
  Speaker 1: Oh, I'll send you some. Do you like wine?
• 43:02
  Speaker 2: I do. Oh. I do. I like wine. Okay.
• 43:05
  Speaker 3: I'm going to just mail you a package of all
• 43:07
  of the wines from our property.
• 43:09
  Speaker 2: Okay. Cool.
• 43:11
  Speaker 3: It's all Cabernet, but we're taking an old world approach
• 43:14
  to it because... Napa cabs are like super powerful, tons
• 43:18
  of alcohol. And that's not really my style.
• 43:21
  Speaker 1: I like like French and Italian wines usually.
• 43:25
  Speaker 3: And so all the winemakers we're working with are taking
• 43:28
  that approach. And so we're picking a little bit earlier,
• 43:30
  lower sugars, lower alcohol. It's really delicious, delicate, beautiful wine.
• 43:36
  Speaker 2: How did you get involved in this?
• 43:40
  Speaker 1: Well, I got really into wine like in my 20s.
• 43:46
  Speaker 2: And then.
• 43:48
  Speaker 3: I took a trip to Napa for a birthday, and
• 43:52
  it's so beautiful there.
• 43:53
  Speaker 1: Have you been to Napa?
• 43:54
  Speaker 2: Oh, yeah. It's gorgeous.
• 43:55
  Speaker 3: So I just, like, fell in love with the area.
• 43:57
  And then I met the love of my life at
• 44:00
  the grocery store there. I was buying a watermelon, and
• 44:05
  he asked if he could carry my melon for me.
• 44:08
  And that was his pickup line.
• 44:09
  Speaker 2: That's much better than a coroner.
• 44:13
  Speaker 1: I turned him down, though. I said no. Yeah.
• 44:17
  Speaker 3: Um, but we, um, Carlo Mondavi is his best friend.
• 44:22
  Speaker 1: Uh, do you know Mondavi?
• 44:24
  Speaker 2: Mondavi Wines?
• 44:25
  Speaker 1: Yeah.
• 44:25
  Speaker 2: Yeah.
• 44:26
  Speaker 3: So he's grandson of Robert Mondavi. Um, and so they're
• 44:31
  like best friends and Carlo, I was living in Park City,
• 44:35
  Utah at the time and Carlo had a house in
• 44:38
  my neighborhood. So that was like our mutual connection friend. Um,
• 44:45
  And so I would just come to Napa to visit
• 44:48
  Carlo and he would teach me about all the wine stuff.
• 44:51
  And that's how I met Elliot when we were at
• 44:55
  the grocery store. And then a year later, we.
• 45:02
  Speaker 1: Got together officially. We just kind of like kept in touch.
• 45:05
  Speaker 3: I was married at the time. He was in a relationship.
• 45:08
  So it was very dramatic. But long story short, it
• 45:13
  was very dramatic.
• 45:14
  Speaker 1: Turned into a crazy divorce, five-year lawsuit, all this crazy shit.
• 45:19
  But anyway.
• 45:19
  Speaker 2: Those are fun.
• 45:20
  Speaker 1: Yeah, it was fantastic. So then I moved to Napa
• 45:24
  and moved in with Elliot a year after we met.
• 45:30
  Speaker 3: But we lived in St. Helena, which is like a
• 45:32
  town up the valley from Napa proper. And it was
• 45:36
  like a 400-acre ranch out in the middle of nowhere. Yeah.
• 45:41
  And we had like a 400 square foot house, like
• 45:43
  a little tiny cabin basically that we lived in. And
• 45:46
  after a while, like getting cats and stuff, I was like,
• 45:49
  this is really small. And I have like, I have
• 45:52
  to make music.
• 45:53
  Speaker 1: I have to record.
• 45:54
  Speaker 3: And like having a studio in a 400 square foot house,
• 45:57
  it was.
• 45:57
  Speaker 1: Just, you know.
• 45:58
  Speaker 3: So then we ended up buying this house down in Napa.
• 46:03
  And we bought it for the house, but there was
• 46:05
  a vineyard there. And so we were like, we got
• 46:07
  to figure out what to do with the vineyard. And
• 46:08
  it was conventionally farmed up to that point.
• 46:11
  Speaker 2: But we're– Conventionally meaning irrigated.
• 46:14
  Speaker 1: Like irrigated. They use pesticides. Like pretty much most of
• 46:20
  the vineyards. Yeah. But we're very all about– Organic and everything.
• 46:28
  Speaker 2: That's great too because one of the things that we
• 46:30
  were reading the other day was about glyphosate in California wines.
• 46:35
  They tested a bunch of California wines and all of
• 46:38
  them had glyphosate in it.
• 46:39
  Speaker 1: Yeah. So we don't use any of that.
• 46:41
  Speaker 2: That's awesome. Yeah.
• 46:42
  Speaker 3: We're very anti. So we transformed the vineyard into this
• 46:47
  biodynamic organically farmed.
• 46:50
  Speaker 2: Did you know how to do that before that or
• 46:51
  did you read books? How did you find out how
• 46:53
  to do it?
• 46:53
  Speaker 1: No, we hired a farmer for a while. Okay.
• 46:56
  Speaker 3: From France that that was his like forte basically. Um,
• 47:03
  so we transformed the vineyard and then now Elliot's out
• 47:06
  there doing a lot of the farming.
• 47:07
  Speaker 1: Obviously we have help.
• 47:09
  Speaker 3: Um, it's cause we have like something like nine acres
• 47:14
  planted a vineyard. Um, and so we have help, but, um,
• 47:18
  he's out there running the tractors and stuff.
• 47:21
  Speaker 2: Wow.
• 47:22
  Speaker 1: Yeah.
• 47:22
  Speaker 3: He's, he's always done. He's always done a lot of
• 47:26
  tractor work, but not ever in a vineyard. So it's
• 47:31
  all new to us, but it's fun.
• 47:33
  Speaker 2: That life of being on a piece of land and
• 47:37
  growing something there and living with animals, that is like
• 47:41
  the romantic life that everybody thinks about.
• 47:45
  Speaker 1: It really is.
• 47:45
  Speaker 2: Is it that cool? Yeah, it's awesome.
• 47:48
  Speaker 1: You've got to come. I think you'll love it.
• 47:50
  Speaker 2: That sounds amazing. I want to do that. I've thought
• 47:52
  about doing that many times, like buying a ranch, living
• 47:54
  on a ranch. It's just like I get terrified of
• 47:58
  like adding one more thing to my life that will
• 48:02
  probably push out some things or eat up time. I
• 48:07
  just don't know where I'm getting that time from. That's
• 48:09
  the only hesitation that I have.
• 48:11
  Speaker 1: Don't you just hire help?
• 48:13
  Speaker 2: Yeah, but then you have to talk to them and
• 48:14
  you have to deal with that.
• 48:15
  Speaker 1: Yeah, you have to manage it all.
• 48:16
  Speaker 2: You have to deal with, like, interpersonal drama between the help. Like,
• 48:19
  Mike's a piece of shit. Let me tell you. Like, oh, fuck.
• 48:21
  Speaker 1: You know what I mean?
• 48:22
  Speaker 2: Yeah.
• 48:23
  Speaker 1: It's worth it, though. Honestly, it really is.
• 48:25
  Speaker 2: I bet it is.
• 48:26
  Speaker 1: It's so peaceful.
• 48:27
  Speaker 3: Like, especially being in the industry and going out and, like,
• 48:31
  touring and just being in big cities and then coming
• 48:35
  home to this, like, peaceful, serene ranch life.
• 48:37
  Speaker 2: A real balance.
• 48:39
  Speaker 1: Yeah, it's the perfect balance.
• 48:40
  Speaker 2: Yeah, yeah. Well, that is probably the key to staying
• 48:45
  sane as a performer, like having a balance.
• 48:49
  Speaker 1: I think so.
• 48:50
  Speaker 2: Because so many of them just fucking stay on the road,
• 48:54
  and you kind of lose your roots. You lose your grounding.
• 49:01
  You're always performing.
• 49:02
  Speaker 3: Well, and for me, living in L.A. really ruined my creativity.
• 49:07
  Speaker 2: How so?
• 49:07
  Speaker 1: I think a lot of it was like.
• 49:12
  Speaker 3: I'm... I have a tendency to like give everybody too
• 49:16
  much power. So like all these so-called experts like listening
• 49:19
  to their opinions about what I was doing just got
• 49:23
  in my head.
• 49:24
  Speaker 1: And so.
• 49:27
  Speaker 3: Removing myself, being able to remove myself from those characters
• 49:30
  and personalities telling me what they thought I should be
• 49:33
  doing like writing about, singing about, dressing, whatever.
• 49:37
  Speaker 2: I just....
• 49:40
  Speaker 3: I need to like have open spaces to really hear
• 49:43
  my own inner voice and like my gut, you know? Um,
• 49:47
  so I left LA when I was 23 and I
• 49:53
  moved up to Oregon for a while, lived in a cabin.
• 49:56
  Speaker 2: By yourself?
• 49:58
  Speaker 1: Yeah.
• 49:58
  Speaker 2: Really? How'd you find it?
• 50:01
  Speaker 3: Um, well I had, I had been on tour and, um,
• 50:07
  I was playing keyboards and singing backups for somebody else.
• 50:11
  So I can back up a little bit. So I
• 50:13
  got my first record deal when I was 18 or
• 50:16
  something and put out an album that was with Warner Brothers.
• 50:22
  Linkin Park signed me. And I was going by the
• 50:26
  name Hollybrook at the time. That's my first and middle name.
• 50:29
  And so I put out an album through that and
• 50:33
  it completely flopped.
• 50:35
  Speaker 1: And I went broke. And, you know, L.A. is so expensive.
• 50:39
  Speaker 3: And I had spent all my college savings to move
• 50:41
  out to L.A. and make demos and everything. So I
• 50:44
  had nothing left. And so then I had taken, for
• 50:50
  the first time in my life, I had to get
• 50:51
  some jobs. Like, not just performing. So I worked in
• 50:56
  Barnes & Noble. I taught gymnastics. And I edited porn.
• 51:05
  Speaker 2: You edited porn?
• 51:06
  Speaker 1: Mm-hmm.
• 51:07
  Speaker 2: Whoa.
• 51:07
  Speaker 1: That was a great experience.
• 51:12
  Speaker 2: That's got to be weird. It was weird. How did
• 51:14
  you take that job? First of all, how did you
• 51:16
  even find out about that job?
• 51:18
  Speaker 3: Well, it was a Craigslist ad. And it was just like,
• 51:24
  we need video editors. And I was like, oh, I
• 51:26
  can figure that out because I edit in Pro Tools
• 51:29
  and stuff, music. So it can't be that hard. And
• 51:32
  they said they would train. So I showed up to
• 51:35
  the interview in a suit and they were like, so,
• 51:41
  you know, this is adult content because it didn't say
• 51:43
  that in the ad.
• 51:44
  Speaker 2: That's how they brought it up. You know, this is
• 51:47
  adult content.
• 51:47
  Speaker 1: Yeah.
• 51:48
  Speaker 2: How the fuck would you know?
• 51:49
  Speaker 3: And they're like, are you cool with that? I was like,
• 51:52
  I guess so. Cause I need the job. And so
• 51:55
  I just took it and it was a nine to five,
• 51:58
  literally just looking at like the most disgusting shit you
• 52:02
  can imagine.
• 52:04
  Speaker 1: Like, Two girls, one cup has got nothing on what
• 52:07
  I saw.
• 52:07
  Speaker 3: Really? Yeah.
• 52:09
  Speaker 2: So it was like hardcore.
• 52:11
  Speaker 1: Hardcore porn.
• 52:12
  Speaker 3: And it was like, it wasn't editing feature films. It
• 52:16
  was taking like a feature film and then cutting out
• 52:18
  all the highlights so that I could make like basically
• 52:21
  reels or like, you know, it wasn't Instagram, but basically
• 52:27
  like these little clips that people would search and find
• 52:30
  like a comm shot or like a cream pie or
• 52:32
  whatever search term. they would use to find this specific
• 52:36
  little clip. And so I would put together these little
• 52:38
  clips and then tag it with all the search terms
• 52:41
  somebody would use to find it.
• 52:43
  Speaker 1: That was the job.
• 52:45
  Speaker 3: And so it was all just like watch the whole
• 52:47
  film and pick out all the most disgusting moments you
• 52:51
  can find and turn that into a clip.
• 52:57
  Speaker 1: And then I started getting this thing called the Tetris effect.
• 53:00
  Have you heard of that? No.
• 53:01
  Speaker 3: So, like, if you play Tetris for too long, you
• 53:03
  start seeing, like, the shapes falling. You hallucinate, basically. So
• 53:07
  you'll just, like, be making dinner or whatever, and you're just, like, hallucinating, like,
• 53:10
  the Tetris shapes. But I was hallucinating, like, gaping buttholes.
• 53:21
  Speaker 2: Oh, my God. How long did you do that job for?
• 53:25
  Speaker 1: I only lasted two weeks. But it was the best-paying job.
• 53:29
  Speaker 3: Out of all of them that I had, cause I
• 53:31
  got paid by how many clips I got done in
• 53:35
  a certain amount of time. And so I was making
• 53:36
  like 30 bucks an hour, which is great for a
• 53:39
  high school dropout, you know? Um, and so it was
• 53:42
  good money, but I, um, with the Tetris effect thing
• 53:48
  happening to me, um, there was like a, a light
• 53:53
  socket over my bed that I had taken the light
• 53:56
  bulb out of cause it was too bright. And every
• 53:58
  night when I fell asleep, I would like stare at
• 54:01
  that and see a gaping butthole.
• 54:02
  Speaker 1: I was just like, this is not healthy. Like this is,
• 54:10
  can't be good for me to continue doing, you know?
• 54:13
  Speaker 2: No.
• 54:13
  Speaker 1: And then I also simultaneously got offered to be a
• 54:16
  keyboardist for this other singer, Duncan Sheik. He's like a nineties.
• 54:21
  He had a song called barely breathing in the nineties. Um,
• 54:26
  and I was a fan.
• 54:26
  Speaker 3: And so I was like, well, that sounds like a
• 54:28
  better job, you know, and that's music at least. So
• 54:33
  I went on tour with him for a while. Um,
• 54:35
  I don't know if it was like a year or two,
• 54:39
  but the whole time I was just like, I wish
• 54:42
  I was making my own music and singing my own music.
• 54:45
  You know, it started really eating at me being like
• 54:48
  the backup musician. And so, um, I was like journaling
• 54:53
  a lot on tour and I wrote, I just want
• 54:55
  a cabin in the woods where I can set up
• 54:56
  my studio and be away from all these people. And
• 55:01
  basically I manifested the cabin because like six months after
• 55:06
  I wrote that in my journal, my mom called me
• 55:07
  and she was like, my friend has this property in
• 55:10
  Oregon and she has a cabin and she's willing to
• 55:12
  let you live there for free. You just have to
• 55:16
  work in her art gallery selling art like twice a week.
• 55:20
  Speaker 1: And I was like, that sounds perfect.
• 55:22
  Speaker 2: Wow.
• 55:23
  Speaker 1: So that's what I did.
• 55:24
  Speaker 2: That's how you wound up in Oregon.
• 55:26
  Speaker 1: So that's how I wound up in Oregon.
• 55:27
  Speaker 2: What part of Oregon?
• 55:28
  Speaker 1: It's the southern coast.
• 55:30
  Speaker 3: It was in the middle of nowhere, but it's basically
• 55:32
  near Bandon. Do you know Bandon Dunes Golf Courses?
• 55:35
  Speaker 2: No.
• 55:35
  Speaker 1: Have you heard of that?
• 55:36
  Speaker 2: No.
• 55:37
  Speaker 3: It's a really famous golf course, but it was kind
• 55:40
  of near there. And I lived there for like six months.
• 55:48
  Set up my studio there. Kind of like had to
• 55:50
  rediscover my love for music and fall back in love
• 55:52
  with it because I had like writer's block and was
• 55:55
  really depressed. I had also just before that broke up
• 56:00
  with my boyfriend at the time and my heart was
• 56:03
  broken and it was just like I was I was
• 56:06
  a mess.
• 56:08
  Speaker 1: But my cabin was this really small one room cabin
• 56:15
  with one light bulb and there was no bathroom there.
• 56:19
  In it.
• 56:20
  Speaker 3: There was a bathroom outside. And so I had to
• 56:23
  like walk in the middle of the night if I
• 56:25
  had to pee. I had to walk to the bathroom
• 56:26
  and I was like terrified.
• 56:27
  Speaker 2: Where was the bathroom? Was it an outhouse?
• 56:29
  Speaker 1: No, it had a flushing toilet and a shower.
• 56:32
  Speaker 2: But it was like a standalone?
• 56:33
  Speaker 1: But it was separate from the cabin and like down
• 56:36
  a path.
• 56:37
  Speaker 2: By itself? Yeah. Just a bathroom?
• 56:39
  Speaker 1: Yeah.
• 56:41
  Speaker 2: I don't know. Why would anybody?
• 56:41
  Speaker 3: Well, because the cabin was like an old fire lookout
• 56:45
  that they turned into a cabin.
• 56:47
  Speaker 1: So it didn't have like plumbing or something.
• 56:49
  Speaker 3: So they like add, I don't know, but it was
• 56:53
  really beautiful. And it was also at the top of
• 56:56
  a sand dune. So I couldn't drive up to it.
• 56:57
  So I had to park down the hill and hike
• 57:00
  to it.
• 57:01
  Speaker 2: How far was the hike?
• 57:03
  Speaker 1: Like a quarter mile.
• 57:05
  Speaker 2: Every day? Yeah.
• 57:07
  Speaker 3: Yeah.
• 57:08
  Speaker 1: And so, and I didn't have like internet or anything
• 57:10
  up there. Wow. But it was great. But I was
• 57:15
  terrified of mountain lions. The whole time.
• 57:18
  Speaker 3: And so I would like, you know, walking up that
• 57:21
  hill at night, if I came home from whatever, I
• 57:24
  had my flashlight and was like looking all directions. And
• 57:28
  I actually made a mask to wear on the back
• 57:30
  of my head because apparently like eye contact with a
• 57:33
  mountain lion, like they won't attack. And so because they
• 57:38
  attack you from behind. So like wear a mask on
• 57:41
  the back of my head.
• 57:42
  Speaker 2: Whoa. Who told you how to do that?
• 57:47
  Speaker 1: I don't know.
• 57:47
  Speaker 2: Google? I don't know if it's real, but I did it.
• 57:52
  It's real for tigers. There's a group of people that
• 57:56
  work for the government in the Sundarbans. So the Sundarbans
• 58:00
  is this area in India that's notorious for tigers eating people.
• 58:07
  And apparently over the– let's just Google this number because
• 58:11
  I'll fuck this up too. I think over the last
• 58:14
  200 years– Something insane, like 300,000 people have been killed
• 58:20
  by tigers. What? In this area. Yeah.
• 58:23
  Speaker 1: That's insane. Yeah.
• 58:24
  Speaker 2: Well, there's a lot of villages there and then there's
• 58:27
  also typhoons. And apparently when these storms happen, sometimes people
• 58:31
  die and they wind up in the river and, you know,
• 58:34
  they get washed away. And then tigers apparently developed a
• 58:38
  taste for human. And then there's also this thought about...
• 58:46
  The water. The water is not fresh. It's brackish. So
• 58:51
  the water has a high salt content in it, but
• 58:53
  they still drink it because it's the only salt water.
• 58:55
  So they're probably constantly irritated. The Sundarbans, usually prone to attacking,
• 59:02
  sometimes eating humans, causing dozens of deaths every year. But
• 59:06
  not every tiger there is a man-eater. Aw, sweet. It's delicious.
• 59:10
  reports suggest Sundarban tigers regularly killed 50 to 60 people
• 59:14
  per year, with some estimates over 100, especially including unreported cases.
• 59:21
  Most recent expert estimates... put the average about 22 to
• 59:26
  23 human deaths per year in the Sundarbans far lower
• 59:29
  than the popular perception. Well, there's like clusters of attack. Oh, yeah,
• 59:33
  here it is. Local news reported clusters of attacks, multiple
• 59:36
  fishermen and crab catchers killed within a month, showing that
• 59:39
  risk can spike in certain areas or seasons. I had
• 59:42
  a bit in my 2009 comedy special about this attack
• 59:47
  that happened in the Sundarbans where there was four guys
• 59:50
  in a boat and this tiger swam out to the
• 59:54
  boat Killed a guy. Dragged him to shore. Dropped his
• 59:58
  body off. Jumped back in the water. Swam to the boat.
• 1:00:02
  Killed another guy. Jumped back in the water. Did it
• 1:00:05
  with three guys before he got tired. And the last
• 1:00:07
  guy is just fucking shitting his pants on the boat
• 1:00:10
  by himself. One guy lived. So these are the people
• 1:00:12
  that would walk around with these masks on the back
• 1:00:14
  of their heads.
• 1:00:15
  Speaker 1: Oh, wow.
• 1:00:16
  Speaker 2: Yeah.
• 1:00:16
  Speaker 1: So I did the right thing.
• 1:00:18
  Speaker 2: Yeah, you did the right thing. Well, at least for tigers.
• 1:00:21
  But there's, isn't that crazy? Look at these people all
• 1:00:25
  living around there. These are honey collectors in the Sundarbans
• 1:00:29
  to prevent tiger attacks. Like, you got to know there's
• 1:00:32
  a lot of tiger attacks when you're wearing a fucking
• 1:00:34
  mask around your head when you're going to work. Woo.
• 1:00:38
  Speaker 1: Yeah, that's creepy.
• 1:00:41
  Speaker 2: Yeah. Fucking scary. It's a crazy way to die, too.
• 1:00:45
  You know, especially a tiger. It's probably pretty quick, though.
• 1:00:50
  I guess once they get a hold of you, it's
• 1:00:51
  just mush. They get the back of your neck.
• 1:00:54
  Speaker 1: Yeah. I mean, it probably happens fast. Ah.
• 1:00:57
  Speaker 2: Yeah. Mountain lion would probably take a little longer. I
• 1:01:00
  don't know.
• 1:01:01
  Speaker 1: Yeah.
• 1:01:01
  Speaker 2: Probably 20 minutes. 15, depending on how much you scream. Yeah. Yeah.
• 1:01:09
  Speaker 1: We've had to deal with those, too.
• 1:01:11
  Speaker 2: Did you have a gun or anything when you were
• 1:01:12
  up there? No. No? Did you think about getting one?
• 1:01:17
  Speaker 1: No, I didn't, actually. I had an axe.
• 1:01:22
  Speaker 2: It's better than nothing.
• 1:01:23
  Speaker 1: I was just chopping wood because I had a little
• 1:01:26
  wood stove.
• 1:01:26
  Speaker 2: But if you were really afraid of mountain lions, how
• 1:01:27
  come you didn't get a gun? I don't know.
• 1:01:31
  Speaker 1: I didn't even think about it. I don't know why.
• 1:01:34
  Speaker 2: Wow. That would be the first thing I thought of.
• 1:01:36
  There's not a fucking chance in hell I'm walking around
• 1:01:40
  there without a gun.
• 1:01:42
  Speaker 1: Yeah. I don't think at that point I was into
• 1:01:44
  guns yet.
• 1:01:48
  Speaker 2: Are you into them now?
• 1:01:49
  Speaker 3: Yeah.
• 1:01:50
  Speaker 2: Yeah?
• 1:01:50
  Speaker 1: We have a gun range at our house.
• 1:01:52
  Speaker 2: Oh, that's cool. Yeah.
• 1:01:54
  Speaker 1: Elliot's very into them. I have a carry permit.
• 1:01:59
  Speaker 2: Good for you. Yeah. Good. Have you ever seen a
• 1:02:05
  big cat in the wild?
• 1:02:06
  Speaker 1: Oh, yeah. A mountain lion.
• 1:02:08
  Speaker 3: Yeah.
• 1:02:08
  Speaker 2: What was the biggest one you saw? Like a real
• 1:02:10
  big one?
• 1:02:14
  Speaker 3: I don't think the ones I saw were huge. They
• 1:02:17
  were like a hundred... Maybe 150.
• 1:02:20
  Speaker 2: The first one I ever saw was just in Colorado.
• 1:02:24
  It actually wound up getting one of my dogs. And
• 1:02:26
  this was.
• 1:02:27
  Speaker 1: It got your dog?
• 1:02:28
  Speaker 2: Mm-hmm. No. Yeah. Yeah. I lived in a place called
• 1:02:34
  Gold Hill. It's like north of Boulder. So it's like 3,000
• 1:02:39
  feet above Boulder. It was fucking beautiful. Gorgeous. I would
• 1:02:42
  have stayed there. But... It's very high altitude. It's like 8,500
• 1:02:48
  feet above sea level. And my wife got pregnant. And
• 1:02:51
  when you are– if you're pregnant at very high altitude
• 1:02:56
  and you're not accustomed to that, it's like you have
• 1:02:58
  the flu every day. It's horrible. And we wound up
• 1:03:01
  going back to L.A. But– so that was the first
• 1:03:05
  one that I saw. And then I saw one in
• 1:03:07
  Santa Barbara. I saw one in– and actually in Montecito.
• 1:03:10
  We were driving and I saw this thing running across
• 1:03:13
  the road. I was like, oh, is that a coyote?
• 1:03:15
  And then I saw the tail.
• 1:03:17
  Speaker 1: Yeah, the tail's the giveaway.
• 1:03:18
  Speaker 2: And I was like, oh, it's a fucking mountain lion. Like,
• 1:03:20
  that's wild. But that one wasn't even that big. That
• 1:03:22
  was like 70 pounds. And then a couple of years ago,
• 1:03:27
  I was in Utah with my friend Colton. And we
• 1:03:29
  were driving around this corner. And he goes, dude, look
• 1:03:34
  under that tree. Look at that cat. And we see
• 1:03:36
  the glowing eyes of this cat because it was like
• 1:03:39
  just starting to get dark out. And I was probably
• 1:03:42
  30 yards from this thing in the truck. With the
• 1:03:45
  binoculars just looking at its head. Its fucking head was massive.
• 1:03:51
  Like a pumpkin. Like the muscles, the mandible muscles were
• 1:03:55
  like these things around its head. Just a crushing machine.
• 1:04:00
  And these huge forearms. That's what I remember about it
• 1:04:03
  the most. His forearms were massive. And he was just
• 1:04:06
  sitting there under that tree staring at us. And I
• 1:04:09
  was in the truck. I wasn't, you know, we were armed.
• 1:04:13
  And we were in a truck and I was still
• 1:04:14
  shitting my pants. Like that thing is so big. How
• 1:04:17
  much do you think it weighed? At least 180 pounds,
• 1:04:20
  maybe 200. It was a big tomcat. Like that one
• 1:04:23
  that we have out front, like that, like that size.
• 1:04:26
  Speaker 3: Wow.
• 1:04:27
  Speaker 2: Yeah. It was like that one was one my friend
• 1:04:29
  Adam Greentree killed. And he killed that in Colorado. And
• 1:04:34
  that one, they had a depredation permit because it was
• 1:04:38
  targeting this rancher's cows. And they had tracked it. And
• 1:04:44
  that day, as they were tracking it, it had killed
• 1:04:47
  one of these cows and just– it was still alive.
• 1:04:50
  It just gutted it. It basically took it down and
• 1:04:53
  just started eating its organs while it was still alive.
• 1:04:56
  Speaker 1: Yeah, that's what they do.
• 1:04:57
  Speaker 2: Yeah. It was pretty rough. Yeah. They're monsters.
• 1:05:00
  Speaker 3: We had that– we had an issue with mountain lions
• 1:05:03
  up at our other property in Napa. We had sheep
• 1:05:06
  and I was actually on tour– with Eminem and, um,
• 1:05:15
  got a text from my neighbor that our sheep had
• 1:05:16
  had babies on Valentine's day. And so I was like,
• 1:05:22
  so excited to get home and take care of these lambs. And, um,
• 1:05:27
  I guess one of the, the lambs was rejected by
• 1:05:29
  the mother. And so we had to bottle feed it. So,
• 1:05:35
  which is the best thing ever.
• 1:05:36
  Speaker 1: I love that. You know, some people think it's like a.
• 1:05:39
  Speaker 3: Unnecessary chore to take care of bottle babies but i
• 1:05:42
  love it so like three times a day feeding this
• 1:05:44
  thing and she became like a dog like she would
• 1:05:47
  follow me everywhere she slept on my front porch um
• 1:05:51
  her name was valentine i got a tattoo of her
• 1:05:53
  actually right here and um but so like a few
• 1:06:00
  months later we had had like maybe 10 lambs at
• 1:06:06
  that point little babies they're so cute Um, and like
• 1:06:11
  one morning, oh, well, so our, the property was like
• 1:06:16
  400 acres. And so, and our house was so small,
• 1:06:20
  but we had like other little buildings on the property.
• 1:06:22
  So I'd set my studio up in one of the
• 1:06:24
  other buildings. And so I would drive up there. It's
• 1:06:28
  like a half mile up the driveway. And, um, I
• 1:06:33
  was driving one day up to the studio and I
• 1:06:36
  saw this mountain lion like crossing our field. And I
• 1:06:41
  rushed to get my phone out to take a video
• 1:06:42
  of it. Of course, it didn't get a very good
• 1:06:44
  shot by the time I got the video. And I
• 1:06:48
  turned around and went back to the house. I was like, babe,
• 1:06:50
  there's a.
• 1:06:50
  Speaker 1: Mountain lion on the property. And I showed him the
• 1:06:53
  video and it was kind of blurry. You couldn't really tell.
• 1:06:57
  Speaker 3: And we called our neighbor and I think the sheriff
• 1:07:03
  and showed them the video and everybody was just like, well,
• 1:07:06
  nine times out of 10, when people see it, say
• 1:07:08
  they see a mountain lion, it's just a bobcat or
• 1:07:10
  like whatever. And I was like, no, I know this
• 1:07:12
  is a mountain lion. Like I know what I'm looking at.
• 1:07:16
  You know, I saw the long tail, the whole thing. And, um,
• 1:07:19
  they didn't know, like nobody believed me.
• 1:07:22
  Speaker 2: Like it's Bigfoot or something. Yeah.
• 1:07:23
  Speaker 3: Like, I'm like, no, I swear it's a, it's a
• 1:07:26
  mountain lion. And Elliot believes me. Um, so we went
• 1:07:31
  up and, took a little hike up the ravine where I'd,
• 1:07:35
  I'd seen it walk off to.
• 1:07:38
  Speaker 1: And I swear that like the lion.
• 1:07:43
  Speaker 3: Must've been tracking us back to the house because it,
• 1:07:49
  that night we were, um, cause we didn't see it.
• 1:07:52
  We went up the ravine and we didn't see the
• 1:07:53
  lion anywhere, but we went back home. And then that
• 1:07:57
  night we were like, uh, watching TV and scrolling through
• 1:08:01
  Instagram or whatever. And he showed me this, you know
• 1:08:04
  how the Russians, they like become friends with all these
• 1:08:07
  crazy animals like bears and whatever. So there's like this
• 1:08:11
  video of this like Russian guy like in bed with
• 1:08:13
  his mountain lion, like cuddling with it.
• 1:08:16
  Speaker 1: It's always Russians. I know, right? They're psycho.
• 1:08:21
  Speaker 2: They are not regular white people.
• 1:08:23
  Speaker 1: No.
• 1:08:24
  Speaker 3: And so he was like, he showed me this video
• 1:08:27
  and he's like, oh, I could never kill one of these.
• 1:08:31
  Speaker 1: Unless they fucked with my family.
• 1:08:34
  Speaker 3: That next morning, I take my coffee out onto the
• 1:08:37
  front porch like I always did, look down at the
• 1:08:39
  sheep pen, and I see this mom sheep laying with
• 1:08:42
  her baby that's not moving.
• 1:08:44
  Speaker 1: And I was like, something's not right.
• 1:08:48
  Speaker 3: And I go down there, and sure enough, there's like
• 1:08:50
  the fang marks, you know, the deep fang marks in
• 1:08:53
  its throat.
• 1:08:54
  Speaker 1: And it's like stomach eaten out. And the mom would
• 1:08:59
  not listen. its side.
• 1:09:02
  Speaker 3: And so I go back to the house and I'm like, babe,
• 1:09:05
  we lost it. A lamb to the mountain lion. Nobody
• 1:09:09
  believed that I saw. And so we called Fish and Wildlife.
• 1:09:15
  And they came out and confirmed that it was a
• 1:09:17
  mountain lion kill. And so they set up, they were,
• 1:09:20
  they put traps in our sheet pen. And, you know,
• 1:09:25
  to see if we could like trap it and relocate it.
• 1:09:28
  And so they stayed on property that night. And I
• 1:09:34
  can't even remember all the details. But basically, in the
• 1:09:38
  middle of the night, we heard this big bang. And
• 1:09:40
  we thought, oh, the trap closed. And we opened the
• 1:09:43
  door and it wasn't that. It was like one of
• 1:09:46
  our sheep had busted through the fence. trying to escape
• 1:09:49
  the lion. It was standing in our driveway, like right
• 1:09:51
  in front of the house. I was like, oh, fuck.
• 1:09:54
  So then Elliot goes down to the sheet pen and
• 1:09:56
  he sees the lion. And it's like, just like those
• 1:09:59
  glowing eyes, you know? And then it darts off into
• 1:10:03
  the woods. And it had killed another lamb. And the
• 1:10:09
  trap didn't go off. And so then the guys, the truckers,
• 1:10:16
  they came down and They were like, okay, let's hunt
• 1:10:20
  this thing.
• 1:10:21
  Speaker 1: Take the dogs. So they had six dogs.
• 1:10:24
  Speaker 3: And basically for the next week, tried to get this
• 1:10:30
  lion and couldn't. The dogs were getting all mixed up.
• 1:10:35
  They were wandering off one direction and then going another direction.
• 1:10:38
  And the trackers were like, this has never happened. They
• 1:10:43
  usually get it. What the hell is going on? The
• 1:10:46
  dogs were just getting all confused. And we basically, oh,
• 1:10:52
  and then another night Elliot was out there thinking that
• 1:10:55
  he heard the guys whistling, but I guess it was
• 1:10:58
  the cats whistling. So mountain lions whistle.
• 1:11:01
  Speaker 1: Do you know about that? Yeah. It's a crazy sound.
• 1:11:05
  You can probably look it up.
• 1:11:07
  Speaker 2: Mountain lion whistle. I need to hear that.
• 1:11:08
  Speaker 1: Yeah.
• 1:11:11
  Speaker 3: But he heard whistling and he thought it was the
• 1:11:13
  trackers like saying like, we're here. And he like was
• 1:11:16
  just standing out there and then 20 minutes go by
• 1:11:19
  and the guys aren't there. And so then they finally
• 1:11:23
  pull up and they're like, or he was like, were
• 1:11:26
  you guys whistling at me?
• 1:11:27
  Speaker 1: And they were like, no.
• 1:11:29
  Speaker 3: Like, did it sound like this? And he was like, yes.
• 1:11:33
  And they said, that's the lions. They whistle to communicate
• 1:11:35
  with each other.
• 1:11:36
  Speaker 2: Put the headphones on so you can hear this. Oh. Whoa.
• 1:11:55
  Speaker 1: Yeah.
• 1:12:12
  Speaker 2: Oh, that's in, that's Tohon Ranch. Yeah, man. I go
• 1:12:16
  to that place. That's in California. That's outside of Bakersfield.
• 1:12:20
  I've elk hunted there before. That place, Tohono Ranch, they
• 1:12:24
  had one pond where they set up a camera trap.
• 1:12:28
  They set up trail cameras. They found 18 different cats
• 1:12:33
  on one pond.
• 1:12:34
  Speaker 1: That's crazy. That's not normal.
• 1:12:36
  Speaker 2: Oh, they have a lot of cats over there. Well,
• 1:12:38
  California doesn't do anything about them.
• 1:12:39
  Speaker 1: I know.
• 1:12:40
  Speaker 2: They're kind of nuts. Texas has the complete opposite approach. Yeah.
• 1:12:44
  You just shoot them.
• 1:12:45
  Speaker 1: Yeah.
• 1:12:46
  Speaker 2: Yeah. You don't have to have a permit.
• 1:12:48
  Speaker 1: Well, we got permits.
• 1:12:49
  Speaker 3: We got permits because they came back and killed every
• 1:12:53
  night and then they took my Valentine and.
• 1:12:56
  Speaker 1: I was like so heartbroken.
• 1:12:58
  Speaker 2: Um, there was nothing you could do to like lock
• 1:13:02
  them up.
• 1:13:03
  Speaker 3: Well, I tried to bring Valentine into the house and
• 1:13:06
  put her in a kennel in the kitchen, but try
• 1:13:08
  sleeping with a screaming lamb. It was like not a thing.
• 1:13:14
  We put her back out and she was fine that night.
• 1:13:18
  But the trappers just kept saying, no, we got to
• 1:13:22
  just leave everything as is and we'll get them. But
• 1:13:25
  then like after a week of hunting them and nothing,
• 1:13:29
  it was like, what are we doing? Like we should
• 1:13:32
  move these sheep. Like I was fighting for that, but
• 1:13:34
  they were just like, no, we got to keep everything
• 1:13:36
  as is because if you move them and change the
• 1:13:41
  What's going on? It'll like the cat will just like
• 1:13:43
  maybe not come back for a while, but then it'll
• 1:13:46
  come back, you know. And so they're like, if we're
• 1:13:50
  going to get this thing, we got to leave everything
• 1:13:52
  as is. But anyway, so they finally got the cat
• 1:14:01
  one night. I actually had to leave town and do
• 1:14:03
  a show. And Elliot called me and he actually he
• 1:14:08
  actually was the one.
• 1:14:09
  Speaker 1: That shot it.
• 1:14:11
  Speaker 3: Um, but they got the cat and I felt like
• 1:14:15
  this huge sense of relief. And, um, I came home
• 1:14:19
  and I thought everything was fine and we weren't going
• 1:14:22
  to lose any more lambs. And then like a few
• 1:14:24
  days later, I woke up and took my coffee outside
• 1:14:27
  and there was a mom sheep dead now and she
• 1:14:30
  was dragged under the fence. And I was like, what
• 1:14:34
  the absolute fuck? So turns out there was two cats
• 1:14:39
  hunting together. And that's why the dogs were getting confused
• 1:14:42
  and couldn't follow the trail. And I guess like in
• 1:14:47
  the spring, a lot of times the moms will like
• 1:14:50
  teach their children how to hunt. And so they weren't
• 1:14:54
  even like eating the lambs. They were just killing them.
• 1:15:01
  And so it was like basically them learning how to hunt,
• 1:15:03
  I guess.
• 1:15:04
  Speaker 2: I don't know. I don't know.
• 1:15:06
  Speaker 3: But we got another permit and we got the second lion.
• 1:15:09
  And then everything was peaceful, but we went down from, like,
• 1:15:13
  20 to 3 sheep.
• 1:15:14
  Speaker 2: Oh, God.
• 1:15:15
  Speaker 1: Yeah, it was awful.
• 1:15:16
  Speaker 2: Killed 17 sheep? Holy shit, that must be terrifying.
• 1:15:20
  Speaker 1: Yeah, and, I mean, I'm, like, out there. I'm scared
• 1:15:23
  for myself, even.
• 1:15:24
  Speaker 2: Yeah, that's what I'm saying.
• 1:15:25
  Speaker 3: Living out there and, like, going into my studio and stuff. Like,
• 1:15:29
  it was really scary and really heartbreaking.
• 1:15:31
  Speaker 2: Awful. Yeah, I can imagine. 17 is crazy.
• 1:15:35
  Speaker 3: Yeah.
• 1:15:35
  Speaker 1: Whew. It was really bad.
• 1:15:39
  Speaker 2: When you shoot the cat, do you have to bring
• 1:15:41
  it somewhere and then they have to, like, register it?
• 1:15:44
  Speaker 3: Well, they took them. The Fish and Wildlife took the bodies.
• 1:15:49
  Speaker 1: But, yeah, the dogs, you know, treat them.
• 1:15:52
  Speaker 2: Because people eat them. Like, they taste good.
• 1:15:58
  Speaker 1: Really?
• 1:15:58
  Speaker 2: Yeah. Yeah, I had some.
• 1:16:00
  Speaker 1: Wouldn't it be kind of, like, tough because they're, like,
• 1:16:02
  so muscly?
• 1:16:03
  Speaker 2: Eat the loin. Like, people eat the roasts. It's like pork. Yeah,
• 1:16:10
  my friend Steve described it as a superior pork. Yeah,
• 1:16:14
  a lot of people eat mountain lion. Interesting. I know,
• 1:16:16
  it sounds crazy. I'd try it. Have you ever had bear?
• 1:16:20
  I've never had bear. Bear's good.
• 1:16:22
  Speaker 1: Really?
• 1:16:23
  Speaker 2: Yeah, believe it or not. It depends on what the
• 1:16:26
  bear's eating. Like if you eat a bear that's eating
• 1:16:29
  a lot of fish, it's going to be kind of funky.
• 1:16:31
  Or if you catch a bear that's been like eating
• 1:16:33
  a dead deer for like a couple weeks, that's not good,
• 1:16:37
  you know. yeah moose like a dead moose that's does.
• 1:16:40
  Speaker 1: It taste kind of rotten or something.
• 1:16:42
  Speaker 2: Yeah it'll smell rotten but if you catch one that's
• 1:16:46
  been eating blueberries it's like some of the most delicious
• 1:16:49
  meat yeah yeah my friend steve uh ranella he has
• 1:16:53
  a show called meat eater and he was uh hunting
• 1:16:55
  black bears in alaska over this blueberry patch so he
• 1:16:59
  shot this blackberry and he's cooking it and as he's
• 1:17:02
  He's butchering it. He did it all on camera as
• 1:17:04
  he's butchering it. Like the fat from the bear is purple.
• 1:17:08
  It's like blueberry. And so like the flavor of blueberries
• 1:17:13
  was in the meat itself.
• 1:17:15
  Speaker 1: That's interesting.
• 1:17:15
  Speaker 2: He's like, it's the most insane meat. It's delicious. I'd
• 1:17:18
  try that. Yeah, it's good.
• 1:17:21
  Speaker 1: I like Elko. Elko's my favorite.
• 1:17:24
  Speaker 2: Where do you guys live? You live in Napa? When
• 1:17:25
  are you guys going back?
• 1:17:27
  Speaker 1: Tomorrow. No, tonight.
• 1:17:28
  Speaker 2: I've got some. I'll give you some. Really? Yeah, I
• 1:17:30
  got a freezer bag. I have a commercial freezer out here.
• 1:17:33
  Speaker 1: Oh, sick.
• 1:17:33
  Speaker 2: I'll hook you up. Let's go.
• 1:17:36
  Speaker 1: Let's go. That's by far my favorite.
• 1:17:38
  Speaker 2: Yeah. Oh, it's delicious. It's the best. It's the best
• 1:17:40
  for you too. Like you feel different when you eat it.
• 1:17:42
  You're like, Oh, it's like, it's got so much nutrients
• 1:17:46
  in it.
• 1:17:46
  Speaker 3: You've done the axis deer hunting in Hawaii. We want
• 1:17:49
  to do that so bad.
• 1:17:51
  Speaker 2: Oh, it's, it's first of all, if you use a rifle,
• 1:17:54
  it's a hundred percent guaranteed. Really? Like you can't not
• 1:17:57
  get a deer. There's so many of them and you
• 1:17:59
  have to kill them. There's, On Lanai in particular, there's 30,000
• 1:18:04
  deer and 3,000 people.
• 1:18:07
  Speaker 1: Holy shit. Yeah.
• 1:18:08
  Speaker 2: And so in Lanai, you can actually stay at the
• 1:18:10
  Four Seasons. So you stay at this like amazing resort
• 1:18:14
  and then you go hunt.
• 1:18:15
  Speaker 1: That's awesome.
• 1:18:16
  Speaker 2: Yeah. So I went with, well, we've gone a few years,
• 1:18:20
  but I went with a whole group of friends one time.
• 1:18:22
  It was like seven of us. We went there and
• 1:18:25
  we had the best time. We hunted and then we ate.
• 1:18:30
  Axis deer and it's like you're overlooking the oceans, this
• 1:18:35
  gorgeous paradise.
• 1:18:36
  Speaker 1: Yeah, that sounds like a great vacation.
• 1:18:38
  Speaker 2: In your bow hunting deer. But that's a deer that
• 1:18:42
  evolved around tigers and they are so fast, like unbelievably fast.
• 1:18:47
  Like if you shoot at one. that's 30 yards away
• 1:18:51
  and it hears the bow go off, it will be
• 1:18:55
  out of the way before the arrow gets to it.
• 1:18:57
  It's called jumping the string. They just duck down and
• 1:19:01
  take off. It's not like they know an arrow is
• 1:19:04
  coming at them. They just know to run. And the
• 1:19:06
  way they run is they load up their muscles by
• 1:19:09
  getting low. And then springing forward. But they do it
• 1:19:12
  so fast that, okay, 30, 40, let's say 40 yards.
• 1:19:17
  So 40 yards, you've got an arrow that's going 290
• 1:19:21
  feet a second. And from the sound of the bow
• 1:19:25
  going off, the pop of the bow going off, they're gone.
• 1:19:28
  Speaker 1: Yeah.
• 1:19:28
  Speaker 2: Which is insane.
• 1:19:29
  Speaker 1: But can you hunt with rifle out there?
• 1:19:31
  Speaker 2: Oh, yeah.
• 1:19:31
  Speaker 1: Okay.
• 1:19:32
  Speaker 2: Oh, yeah. That's how they do most of the hunting
• 1:19:33
  out there.
• 1:19:33
  Speaker 1: Okay.
• 1:19:34
  Speaker 2: We went and I went with a bunch of like
• 1:19:37
  very experienced bow hunters. Yeah. top of the food chain,
• 1:19:40
  bow hunters. And we all got access deer. But it
• 1:19:43
  was a struggle. It's like a lot of them jumped
• 1:19:46
  the string. We wound up realizing that the best time
• 1:19:49
  to go was at night. Not at night, but in
• 1:19:53
  the afternoon. Because in the afternoon it's much windier and
• 1:19:56
  so it hides your sound. Because they're just on edge.
• 1:20:00
  Because they get hunted 365 days a year. There's no
• 1:20:03
  off season. And they have to hunt them because there's
• 1:20:05
  so many of them. You'll like driving at night You'll
• 1:20:09
  stop and turn the headlights to a field and you
• 1:20:11
  just see thousands of eyes. Like they're infested. Infested with
• 1:20:17
  delicious animals. And there's no predators. There's zero predators other
• 1:20:21
  than people. So they bring in snipers and people with
• 1:20:25
  night vision and they shoot them at night and they
• 1:20:28
  use headshots. And when you go to like the restaurants
• 1:20:31
  in the Four Seasons, they serve axis deer. Oh, that's cool. Oh,
• 1:20:34
  it's delicious. It's so good. What is that place? Malibu
• 1:20:37
  Farms I think it is. They have insane venison sliders
• 1:20:42
  from axis. Deers are so good. I mean it's one
• 1:20:45
  of the most delicious game animals. But when we went,
• 1:20:49
  we did a podcast from there and we called it
• 1:20:52
  Podcast from Paradise. We're all having a good time. And
• 1:20:56
  because– after that, 150 different people went the next year
• 1:21:01
  and only one of them was successful with a bow. Oh, wow.
• 1:21:05
  Every other one was like, fuck this. I'm getting a rifle.
• 1:21:08
  This is ridiculous. These things are so fast. But it's
• 1:21:11
  an animal that evolved, like I said, around tigers.
• 1:21:14
  Speaker 1: Yeah.
• 1:21:15
  Speaker 2: King Kamehameha in Hawaii was given axis deer as a
• 1:21:20
  gift from the leader of India in like the 1800s.
• 1:21:23
  That's how they got there.
• 1:21:25
  Speaker 1: And then they just took over.
• 1:21:27
  Speaker 2: Oh, yeah. They took over. They're everywhere. Yeah. Maui has
• 1:21:29
  a lot of them too. But they also have this
• 1:21:32
  company called Maui Nui. So like if you love game meat,
• 1:21:36
  you can actually buy game meat. So wild game meat
• 1:21:40
  in America, you can't sell. So if you buy– like
• 1:21:43
  say if you buy elk, like you go to a
• 1:21:45
  restaurant and you buy elk.
• 1:21:46
  Speaker 1: It's farmed.
• 1:21:47
  Speaker 2: You're getting it from New Zealand. Oh, wow. Most likely. Yeah.
• 1:21:52
  I think most of the elk that they serve in
• 1:21:54
  restaurants in America is coming from New Zealand because New
• 1:21:58
  Zealand is a similar situation, no predators. And they brought
• 1:22:01
  in all these animals and then they're just infested. And
• 1:22:04
  most of it's probably not even really elk. It's probably stag,
• 1:22:07
  which is super similar anyway. But when you get, like,
• 1:22:11
  farm-raised elk, you're probably getting it from somewhere else. I mean,
• 1:22:15
  they probably have some places that are allowed to sell
• 1:22:19
  farm-raised elk in America. I don't know which one that
• 1:22:23
  would be. But wild game, like, that you hunt, you
• 1:22:27
  cannot sell because that's how they almost went extinct in
• 1:22:32
  this country. Oh. In the turn of the century. Makes sense.
• 1:22:36
  In the beginning of the, I guess, like the 1800s,
• 1:22:38
  the beginning of the 1900s, they brought elk to the
• 1:22:42
  point of extinction almost. And the same with white-tailed deer.
• 1:22:46
  Because they were market hunting. So because no one had refrigerators,
• 1:22:50
  you'd have to get meat all the time. And so
• 1:22:52
  they were just shooting all of them.
• 1:22:54
  Speaker 3: Wow.
• 1:22:54
  Speaker 2: Yeah.
• 1:22:55
  Speaker 1: I didn't know that.
• 1:22:56
  Speaker 2: Yeah. But. In Maui, you have so many of them
• 1:23:01
  and then they set up a company called Maui Nui.
• 1:23:04
  In Maui Nui, you can buy bone broth, venison bone broth.
• 1:23:07
  They have like meat sticks and you could buy actual
• 1:23:10
  venison and they'll freeze it and then ship it to you.
• 1:23:14
  So if you want wild game, it's like one of
• 1:23:16
  the best places. And one of the most delicious wild
• 1:23:18
  game too.
• 1:23:19
  Speaker 3: Yeah.
• 1:23:20
  Speaker 2: Yeah. Axis Deer is delicious. Yeah.
• 1:23:22
  Speaker 1: We want to do that hunt for sure.
• 1:23:23
  Speaker 2: Oh, it's a great hunt. Yeah. Because you can't– first
• 1:23:26
  of all, you're in paradise and you're going to see them.
• 1:23:29
  It's not like– if you go on an elk hunt,
• 1:23:31
  like you could be in the mountains for days before
• 1:23:33
  you find any elk because you got to find out
• 1:23:37
  where they are. You got to listen for bugles. You
• 1:23:40
  got to glass a lot. You got to look around.
• 1:23:42
  You might not be successful. If you bring a rifle
• 1:23:45
  to Lanai, you 100 percent are going to be successful
• 1:23:48
  and you can kill a bunch of them. You could– And.
• 1:23:51
  Speaker 1: They like package it for you and ship it home
• 1:23:53
  to you or whatever?
• 1:23:53
  Speaker 2: Yeah, there's– There's a guy named Bob the Butcher. Shout
• 1:23:56
  out to Bob. He'll butcher them for you and package
• 1:23:59
  it for you and all that jazz. And if you
• 1:24:02
  give them enough time, they'll freeze it. And we actually
• 1:24:06
  brought it back to the Four Seasons, and they put
• 1:24:08
  it in their commercial freezer. They froze it for us,
• 1:24:11
  and then we put it in these big Yeti coolers
• 1:24:15
  and brought it back on the plane.
• 1:24:16
  Speaker 1: Nice.
• 1:24:17
  Speaker 2: Yeah, and you could literally get a year's supply of
• 1:24:21
  your meat. In, like, a few days if you wanted
• 1:24:24
  to do that and just eat venison for the rest
• 1:24:25
  of the year.
• 1:24:26
  Speaker 1: Yeah.
• 1:24:27
  Speaker 2: It's pretty cool. Yeah.
• 1:24:28
  Speaker 1: We usually try to get a deer every year up
• 1:24:31
  in Napa, too. Mm-hmm.
• 1:24:32
  Speaker 2: Do you guys go deer hunting?
• 1:24:35
  Speaker 1: Well, I don't.
• 1:24:37
  Speaker 2: Elliot does?
• 1:24:38
  Speaker 1: Elliot does. I help him clean it, though. I've been
• 1:24:42
  doing that since I was a little girl. Oh, really?
• 1:24:44
  Speaker 3: My dad taught me when I was a kid, and
• 1:24:46
  I would, like, he hunted a lot, and I would just,
• 1:24:49
  he would send me on these, like, Routes to kick
• 1:24:52
  the deer out to them, you know?
• 1:24:53
  Speaker 2: Oh, okay.
• 1:24:53
  Speaker 1: So I would like do the hiking and kick them out.
• 1:24:55
  Speaker 2: Push, yeah.
• 1:24:56
  Speaker 1: And then we would all gather. It was usually around Thanksgiving.
• 1:25:01
  Speaker 3: We'd all gather in the basement and like cut the
• 1:25:05
  meat up and skin it and all that.
• 1:25:07
  Speaker 2: Wow.
• 1:25:08
  Speaker 1: So I like doing that part.
• 1:25:09
  Speaker 2: Well, that's cool. It's a great way to be connected
• 1:25:12
  to what you're eating.
• 1:25:14
  Speaker 1: Yeah, exactly.
• 1:25:14
  Speaker 2: It's a completely different experience.
• 1:25:16
  Speaker 3: You have a different appreciation for it.
• 1:25:18
  Speaker 2: Oh, yeah.
• 1:25:18
  Speaker 3: You know, then something you just like buy at the
• 1:25:21
  store or in a restaurant, like it's totally different appreciation.
• 1:25:28
  Speaker 2: Oh, a hundred percent. And also it's like, you know,
• 1:25:29
  it's organic. It's an actual wild animal and it's the
• 1:25:33
  best life that this animal is ever going to live.
• 1:25:36
  And including the best death, because especially if you, if
• 1:25:40
  you're good with a rifle, if you're, you're accurate and
• 1:25:42
  you practice like it's, it's dead like that. And it's
• 1:25:46
  not like getting, it's, guts eaten out by a mountain
• 1:25:50
  lion you know or right anything else that's gonna eat
• 1:25:53
  it or old age or winter all the horrible ways
• 1:25:56
  that animals die yeah you know their teeth grind down
• 1:26:00
  to nothing and they essentially starve to death or oh
• 1:26:03
  yeah it is rough it's a hard life yeah so
• 1:26:09
  how'd you wind up leaving oregon Um, so you walk
• 1:26:14
  in a quarter mile every day by yourself with a
• 1:26:16
  flashlight trying to avoid being eaten. Yep.
• 1:26:19
  Speaker 1: How'd you get out of there?
• 1:26:21
  Speaker 3: Well, I, I figured out that I needed to, I
• 1:26:25
  needed to find a way to make a living in music.
• 1:26:29
  And so I reached out to the only person I
• 1:26:30
  had left in my corner musically. Cause like at that
• 1:26:34
  point I had lost my record deal. My lawyer dropped me,
• 1:26:38
  my manager dropped me. Um, But I was still technically
• 1:26:42
  signed to UMPG Publishing. And so I reached out to
• 1:26:49
  my point person there who I hadn't spoken to in years.
• 1:26:52
  And I said, help me figure out how to make
• 1:26:54
  a living in music. I've got to figure this out.
• 1:26:57
  Because that's the only thing I really know how to do.
• 1:26:59
  And I'm a dropout, so I can't really get a
• 1:27:01
  good job.
• 1:27:02
  Speaker 2: Other than editing porn.
• 1:27:03
  Speaker 1: Yeah. And I don't want to do that. And so I....
• 1:27:10
  Speaker 3: Met with her in New York. I flew to New
• 1:27:12
  York and we just sat down and had like this
• 1:27:14
  long conversation. And I had like, ever since I was
• 1:27:20
  like 13, when I first heard, uh, Stan by Eminem,
• 1:27:25
  I'd always been like, I love that combination of like
• 1:27:30
  a pretty, you know, female vocal with hip hop. And
• 1:27:36
  so I'd always wanted to do something like that. Um,
• 1:27:40
  And so I said, I think I could write hooks
• 1:27:42
  for hip-hop songs. That was kind of what I told
• 1:27:47
  her I wanted to do. And she was like, well,
• 1:27:51
  we just signed this producer named Alex the Kid, and
• 1:27:55
  that's kind of like his wheelhouse, so you guys should meet.
• 1:27:59
  And so I flew back to Oregon, and she connected
• 1:28:05
  us on email. And I would go down to the
• 1:28:08
  little cafe to get internet. And so I would just,
• 1:28:12
  I emailed him and he emailed me back some.
• 1:28:15
  Speaker 1: Beats that he had just made. And I would just sit.
• 1:28:20
  Speaker 3: There with my headphones in the cafe and like hum
• 1:28:24
  little melodies into my computer and send them back. But
• 1:28:28
  the first one I did was called Love the Way
• 1:28:30
  You Lie. And a month after I sent Alex that hook,
• 1:28:38
  it was a number one song. Wow.
• 1:28:42
  Speaker 2: What was that like?
• 1:28:43
  Speaker 1: It was crazy.
• 1:28:44
  Speaker 3: Going from like broke and living in the woods in
• 1:28:47
  this cabin and then writing a song that literally took
• 1:28:51
  over the world. Yeah, so that's kind of what took
• 1:28:55
  me out of Oregon. Because after that I started getting
• 1:29:00
  phone calls from everybody wanting songs from me. Em had
• 1:29:07
  me and Alex come out to work on Detox for Dr.
• 1:29:10
  Speaker 1: Dre.
• 1:29:10
  Speaker 3: And Puff Daddy wanted a song.
• 1:29:15
  Speaker 1: That's where Coming Home came into play. Yeah, it was
• 1:29:20
  just crazy.
• 1:29:22
  Speaker 3: Suddenly I went from nobody caring to everybody trying to
• 1:29:27
  get a song.
• 1:29:28
  Speaker 2: That's got to be such a... insane experience to be like,
• 1:29:33
  what am I doing? I'm out in a cabin. I
• 1:29:36
  got to go outside to pee. I got to walk
• 1:29:38
  a quarter mile to the house. You're like completely isolated.
• 1:29:41
  Did you have any friends out there at all?
• 1:29:43
  Speaker 1: Yeah, I had a couple of friends. I made a
• 1:29:46
  couple of friends when I was out there.
• 1:29:49
  Speaker 2: And then.
• 1:29:51
  Speaker 1: All of a sudden, all of a sudden I was, yeah.
• 1:29:53
  Speaker 2: Off to the races.
• 1:29:54
  Speaker 1: It was crazy.
• 1:29:56
  Speaker 2: How did you adjust to that? I had to be
• 1:29:59
  very strange.
• 1:30:00
  Speaker 3: It was. And I also felt so much pressure.
• 1:30:02
  Speaker 1: Cause like, I.
• 1:30:06
  Speaker 3: Definitely had a little imposter syndrome when I wrote that song.
• 1:30:09
  Cause I was just like, that was too easy. Like
• 1:30:11
  it took me 15 minutes to write the hook and
• 1:30:13
  I sent it off and suddenly everybody wanted to get
• 1:30:17
  a song for me. And I was like, that must've
• 1:30:19
  been a fluke. Like this is never going to happen again.
• 1:30:22
  I'm never going to write another one like this or whatever.
• 1:30:24
  And so, so many people were just, wanting songs and
• 1:30:29
  I felt so much pressure to deliver a hit song
• 1:30:32
  every time, you know? And I was always so hard
• 1:30:36
  on myself that it, that became even worse. Um, just,
• 1:30:42
  I would just put way too much pressure on myself. I,
• 1:30:44
  I got invited to do so many songwriting sessions, but I,
• 1:30:46
  at that point, like I had pretty much only ever
• 1:30:48
  written by myself. And so being like thrown in rooms
• 1:30:52
  with songwriters and producers and.
• 1:30:54
  Speaker 1: Stuff, I was so shy.
• 1:30:55
  Speaker 3: Um, I just felt It was always so hard for
• 1:30:58
  me to open up creatively in front of strangers. So
• 1:31:02
  I would just walk out of sessions crying and just
• 1:31:05
  be like.
• 1:31:05
  Speaker 1: I suck. I can't do this.
• 1:31:09
  Speaker 2: It was hard.
• 1:31:11
  Speaker 1: That was the hardest part for me.
• 1:31:14
  Speaker 2: Just performing in front of a bunch of people in
• 1:31:17
  your studio?
• 1:31:18
  Speaker 3: Yeah, just trying to create hit songs every time I
• 1:31:22
  go into a writing session. I just felt like there
• 1:31:23
  were such high expectations there. on what I would deliver
• 1:31:28
  and I can't force creativity. It's like, it just happens
• 1:31:32
  or it doesn't, you know, but I felt like I
• 1:31:35
  had to deliver a hit song every time.
• 1:31:38
  Speaker 1: And because I put that.
• 1:31:40
  Speaker 3: Pressure on myself, it kind of shut down my creativity
• 1:31:43
  and it made it really hard for me to do that.
• 1:31:47
  So then I ended up like just leaving a lot
• 1:31:49
  of sessions and feeling like a, like I didn't deserve
• 1:31:54
  to be where I was and, Not good enough.
• 1:31:59
  Speaker 2: How'd you get over that?
• 1:32:03
  Speaker 1: I didn't really. Yeah. I don't think I ever got
• 1:32:14
  over that.
• 1:32:15
  Speaker 3: I did a lot of these sessions for a while
• 1:32:18
  because I felt like I had to. And then I
• 1:32:20
  just kind of stopped taking them. I stopped agreeing to
• 1:32:23
  do them because it was just too much. It was
• 1:32:25
  too hard on me.
• 1:32:26
  Speaker 2: So... Explain these kind of sessions. So you go to
• 1:32:31
  a studio with producers and like and they essentially say, OK,
• 1:32:36
  let's try to create something. Ready, go. And then you're
• 1:32:40
  in there and your creative process is you by yourself,
• 1:32:44
  like trying to connect with emotions and thoughts and ideas.
• 1:32:48
  And all of a sudden you're around people. And also
• 1:32:51
  you're a little weirded out because you've been living in
• 1:32:53
  a fucking cabin.
• 1:32:54
  Speaker 1: Yeah.
• 1:32:55
  Speaker 2: By yourself. You know.
• 1:32:56
  Speaker 1: That and.
• 1:32:57
  Speaker 2: And you're editing porn for two weeks and it's like.
• 1:33:00
  Speaker 1: That and I just had this like hit song that
• 1:33:02
  was huge. It was massive. And I just felt like
• 1:33:06
  there was such high expectations on me.
• 1:33:09
  Speaker 2: You know. Right.
• 1:33:12
  Speaker 1: So it was very hard.
• 1:33:15
  Speaker 2: Everybody that I've ever met who's really good has imposter syndrome. Yeah.
• 1:33:21
  I think it's a part of being genuinely creative because
• 1:33:28
  I think like genuinely creative people don't have that kind
• 1:33:33
  of weird ego. We're like, yeah, finally I'm getting mine
• 1:33:37
  because some people do have that where they feel like
• 1:33:39
  they deserve this. But I feel like at least most
• 1:33:43
  genuinely creative people that I've talked to when something big
• 1:33:47
  happens to them, they're like, this is fucking crazy. Like,
• 1:33:51
  All of my comedian friends, when they start to hit,
• 1:33:53
  like when something happens, when they get like a viral
• 1:33:56
  clip and then they do a Netflix special or something
• 1:33:59
  like that in the beginning, they're like, bro, I'm kind
• 1:34:01
  of freaking out. I'm like, we all are. It's OK. Like,
• 1:34:05
  this is the thing. Like, yeah, you're going to feel
• 1:34:07
  fucking weird. Yeah. That that thing, whatever it is, that
• 1:34:12
  imposter syndrome, I think is a good thing. I think
• 1:34:15
  it's a sign that you have a healthy mind or
• 1:34:18
  at least. Maybe not healthy. Maybe that's the right word.
• 1:34:21
  You have a creative mind, you know, and that you're–
• 1:34:25
  and also everything completely changes. You have a hit song
• 1:34:28
  all of a sudden out of nowhere. Number one, like
• 1:34:30
  what the fuck? Like that kind of shift in paradigm,
• 1:34:33
  like that is not normal to get adjusted to. You
• 1:34:36
  have to be a complete psycho to go– to be like,
• 1:34:38
  all right, this is perfect. This is what I've been
• 1:34:40
  waiting for, you know? Yeah. Because everybody like sees people–
• 1:34:46
  either on television or, you know.
• 1:34:49
  Speaker 1: In.
• 1:34:51
  Speaker 2: You see him in the media and you think that's
• 1:34:54
  a different kind of thing than me. I'm not I'm
• 1:34:57
  not a famous person. I'm not popular. I'm not successful.
• 1:35:01
  I'm just me. Like and then all of a sudden
• 1:35:04
  people know who you are and love you. And you're like, oh,
• 1:35:08
  my God, I'm a fraud.
• 1:35:09
  Speaker 1: Yeah.
• 1:35:10
  Speaker 2: They don't know about the shitty songs I've written.
• 1:35:11
  Speaker 1: Exactly. They don't know that like 99% of the songs
• 1:35:15
  that I write suck.
• 1:35:16
  Speaker 2: Oh, of course.
• 1:35:17
  Speaker 1: And then the one, you know.
• 1:35:19
  Speaker 2: I think that's the case with everything though. You know,
• 1:35:23
  I talk to all my friends that are comics all
• 1:35:26
  say the same thing. Like out of the jokes that
• 1:35:29
  they write, like 10 of them suck and then one
• 1:35:32
  pops through. But the thing is like you just got
• 1:35:34
  to keep cranking. Just keep cranking. Keep trying to find
• 1:35:38
  whatever it is.
• 1:35:39
  Speaker 3: That was the hard part for me was to keep
• 1:35:41
  going and keep trying.
• 1:35:42
  Speaker 2: How would you do it? What is your creative process?
• 1:35:48
  Speaker 1: My creative process, well, now a big part of it
• 1:35:52
  is not living in L.A. I have to be out
• 1:35:55
  in the middle of nowhere. And I like to be
• 1:36:00
  alone in the room.
• 1:36:01
  Speaker 3: Even if I'm writing to somebody else's beat or something
• 1:36:03
  like that, I just like to sit with myself and
• 1:36:06
  do it. And I just try to focus on how
• 1:36:11
  it makes me feel. You know, I spent some time
• 1:36:16
  trying to write what I thought other people wanted to hear.
• 1:36:18
  And I feel like those songs always sucked. And so
• 1:36:22
  just like letting it flow, almost like I'm not writing it,
• 1:36:28
  like I'm channeling it or something.
• 1:36:30
  Speaker 1: Um, that's better.
• 1:36:31
  Speaker 3: The songs that like take less effort tend to be
• 1:36:36
  the better songs. And the songs that I slave over
• 1:36:38
  to try to get them perfect and overthink, they end.
• 1:36:41
  Speaker 1: Up doing nothing.
• 1:36:43
  Speaker 2: John Mellencamp told me he wrote, I need a lover
• 1:36:45
  that won't drive me crazy in the shower. Yeah. Like
• 1:36:48
  that done. He was just saying it. I need a
• 1:36:50
  lover that won't drive me crazy.
• 1:36:53
  Speaker 3: No, it makes total sense. I write stuff in the shower.
• 1:36:55
  I write stuff when I'm cooking dinner. Um, It's not
• 1:36:59
  like go into a studio from this hour to this
• 1:37:01
  hour and write a song. It never works for me
• 1:37:04
  to do that. So it'll just be random. This new
• 1:37:08
  album I'm putting out, there's a song called Motivation. I
• 1:37:12
  remember it came to me when I was standing outside
• 1:37:14
  the vet's office when my dog was getting surgery on
• 1:37:17
  her ACL or whatever they call it in dog world.
• 1:37:22
  I was just pacing outside during her surgery and this
• 1:37:24
  song started coming to me.
• 1:37:26
  Speaker 2: Did she have to do that thing where they cut
• 1:37:28
  the bone?
• 1:37:29
  Speaker 1: Yeah.
• 1:37:29
  Speaker 2: Yeah. I had a dog. She had to have both
• 1:37:32
  her back legs done that way. She blew out both
• 1:37:35
  of them.
• 1:37:35
  Speaker 1: It was brutal. The recovery was brutal.
• 1:37:37
  Speaker 2: It's horrible. Yeah.
• 1:37:38
  Speaker 3: She was also a puppy, so she had puppy energy.
• 1:37:41
  And we had to sedate her, and it was awful.
• 1:37:47
  Speaker 1: Oof. Yeah.
• 1:37:49
  Speaker 2: And so- Do you take specific time to just like
• 1:37:53
  sit and try to write or do you just like
• 1:37:55
  let ideas come to you?
• 1:37:59
  Speaker 3: I usually just let ideas come to me. I like
• 1:38:01
  take a lot of voice notes in my phone or
• 1:38:05
  I'll write down lyric ideas that come to me. And
• 1:38:08
  then I need to be better about making time for
• 1:38:12
  it because when I do make time to like go
• 1:38:14
  in and be creative, it usually does work.
• 1:38:19
  Speaker 1: There's a balance.
• 1:38:19
  Speaker 3: It's like I can't force it, but I also can't
• 1:38:22
  be lazy and like just avoid it completely.
• 1:38:25
  Speaker 1: Right. You know? So I try to balance that.
• 1:38:28
  Speaker 2: Out. Have you ever read The War of Art?
• 1:38:32
  Speaker 1: I started it. I started it.
• 1:38:35
  Speaker 2: I have copies out there. I'll give you a copy
• 1:38:36
  if you don't have one.
• 1:38:38
  Speaker 1: I think I started the book on tape version. I
• 1:38:40
  have copies of the book.
• 1:38:41
  Speaker 2: It's a very small book. It's very easy, but it's
• 1:38:45
  all about that. And Pressfield was– kind of like an
• 1:38:49
  underachiever until he was like 40. And then somewhere along
• 1:38:53
  the line, he realized that what he really has to
• 1:38:56
  do is be a professional. And so he developed this
• 1:39:00
  methodology of like channeling the muse. And instead of thinking
• 1:39:06
  of the muse as being, you know, instead of thinking
• 1:39:08
  of creativity as being this sort of abstract thing, he
• 1:39:12
  thought of it as a thing that you summon. Like
• 1:39:16
  legitimately show up every day at the same time in
• 1:39:20
  front of your computer or your notebook or whatever, however
• 1:39:22
  you do it, and literally say, I am here to
• 1:39:27
  summon the muse. Like I'm here respectfully to call upon
• 1:39:31
  you for your gifts. And if you just show up
• 1:39:35
  every day and treat it like that, it will work,
• 1:39:40
  which is a really crazy thought.
• 1:39:41
  Speaker 1: It makes sense.
• 1:39:43
  Speaker 2: Yeah.
• 1:39:43
  Speaker 1: Yeah. Do you do that?
• 1:39:45
  Speaker 2: I do it. Yeah. I don't do it every day.
• 1:39:46
  Speaker 1: Does it work?
• 1:39:47
  Speaker 2: But when I do it, yeah, I just sit there
• 1:39:51
  and I don't say I'm summoning the muse. I think
• 1:39:54
  he does.
• 1:39:55
  Speaker 1: Yeah.
• 1:39:56
  Speaker 2: What I do is I go, here we go. I
• 1:40:00
  just say, here we go. I say, here we go.
• 1:40:02
  And then I start typing. And a lot of times
• 1:40:06
  it's like almost like working out. Like in the beginning,
• 1:40:09
  you're like, you know, you got to warm up. going
• 1:40:14
  you know you get on the bike a little bit
• 1:40:16
  crack a sweat start stretching you know I'm typing in
• 1:40:20
  the beginning it's just like whoa I fucking suck this
• 1:40:22
  is these thoughts are useless this is not.
• 1:40:26
  Speaker 1: Oh yeah and I got something yeah.
• 1:40:28
  Speaker 2: And I figured out a way to do it with
• 1:40:30
  it is more organic for me because I used to
• 1:40:33
  just try to write things that were funny and now
• 1:40:37
  what I do is just write I write on a
• 1:40:39
  subject like a thing and then I'll let it like
• 1:40:42
  If I'm writing about whatever, fucking global change, global warming,
• 1:40:47
  fucking earthquakes, whatever I'm writing about, I'll let it shift
• 1:40:51
  to what– I don't try to stay on subject. Yeah,
• 1:40:53
  you let it just– Yeah, it might completely change to
• 1:40:56
  something totally different, a completely different subject. And I just
• 1:40:59
  let it. And then I just try to get out
• 1:41:02
  of my own way and write as much as possible.
• 1:41:05
  And then I go over it and try to extract
• 1:41:08
  things from that. And I take those and I copy
• 1:41:10
  and paste them into something else. And then I'll expand
• 1:41:13
  on that idea. Like I'll start fresh with this idea.
• 1:41:16
  And it's just a numbers game. It's just a numbers
• 1:41:20
  and time game. The amount of numbers, the amount of
• 1:41:22
  time that you spend thinking about stuff, you get these
• 1:41:25
  little gifts. Yeah. And that's where the concept of the
• 1:41:28
  muse comes from because it's almost like it's like some
• 1:41:30
  sort of a divine entity.
• 1:41:32
  Speaker 1: Yeah, it feels like that.
• 1:41:33
  Speaker 2: It does feel like that. Yeah. Everybody says that, whether
• 1:41:37
  it's authors or musicians or comedians or anybody creative. They
• 1:41:41
  say it feels like it's not even my idea. Like
• 1:41:44
  it just came to me out of nowhere. Right. Which
• 1:41:46
  is the weirdest thing about the creative process. It's not
• 1:41:50
  like a structure you're putting together like a house. You know,
• 1:41:54
  like I know how to do this. I lay down
• 1:41:55
  the foundation. I put up the girders. I do the– uh-uh.
• 1:41:59
  It's like this thing, like this spiritual weird entity that
• 1:42:05
  you're in contact with.
• 1:42:07
  Speaker 1: Yeah, for sure.
• 1:42:09
  Speaker 2: And it's not you because you're like empty when the
• 1:42:12
  ideas come. They just like make their way into your head.
• 1:42:15
  You're like, whoa, where the fuck did that come from?
• 1:42:17
  Speaker 1: But then you're responding to your emotional, like how it
• 1:42:20
  makes you feel.
• 1:42:21
  Speaker 2: Yeah.
• 1:42:21
  Speaker 3: Like reading what you're channeling or listening to it. And
• 1:42:26
  for me, like I focus mostly on that. Like how
• 1:42:28
  is it making me feel? Is it causing some type
• 1:42:31
  of like emotional response?
• 1:42:34
  Speaker 2: You know? Yeah.
• 1:42:35
  Speaker 1: And then those are the magic moments.
• 1:42:37
  Speaker 2: Well, that's why it would have to be so weird
• 1:42:39
  to do it in a studio with a bunch of
• 1:42:42
  people you don't know under pressure.
• 1:42:45
  Speaker 1: Yeah. For me, it doesn't work. I don't know how.
• 1:42:47
  Some people are like thrive in that environment. I don't
• 1:42:51
  know how.
• 1:42:51
  Speaker 2: Yeah, I get it. A lot of rappers.
• 1:42:54
  Speaker 1: I just can't do it.
• 1:42:55
  Speaker 2: They love doing that. But I think they feed off
• 1:42:57
  of each other, you know, and like a lot of rappers,
• 1:43:01
  they tell me that like, like. They're doing it for
• 1:43:04
  their boys. So, like, as they're, like, hitting, like, new
• 1:43:07
  lines and coming up with new rhymes and new raps,
• 1:43:10
  it's like they're fucking around with their friends and, like,
• 1:43:13
  having a good time, like, impressing them with, like, strong
• 1:43:17
  lines and great bars.
• 1:43:19
  Speaker 3: I mean, I've definitely had some moments like that, especially, like,
• 1:43:24
  you can find people you have really.
• 1:43:25
  Speaker 1: Good chemistry with. Then it can work.
• 1:43:28
  Speaker 2: Right.
• 1:43:28
  Speaker 3: But generally speaking, just going into a room with strangers,
• 1:43:32
  it doesn't. It doesn't work for me. But yeah, there
• 1:43:36
  are some people that like I feel super connected to
• 1:43:39
  creatively and I can.
• 1:43:40
  Speaker 1: Do that with them.
• 1:43:42
  Speaker 2: Well, I'd imagine everybody's got their own different little process,
• 1:43:45
  but it's just a matter of like doing something, like
• 1:43:49
  making the time for it. And I would imagine also
• 1:43:52
  it's like as you get really busy and successful and
• 1:43:56
  there's a lot of obligations, it's harder and harder to
• 1:43:59
  find that still time.
• 1:44:02
  Speaker 1: Well, yeah. And there's like cycles.
• 1:44:04
  Speaker 3: Like right now I'm not writing at all because I'm
• 1:44:06
  just in, you know, album promotion mode. And so it's
• 1:44:10
  all about like content and all this other stuff. So
• 1:44:14
  I haven't written a song in a long time.
• 1:44:17
  Speaker 1: So, and it's also kind of like a muscle, like
• 1:44:20
  songwriting for me.
• 1:44:23
  Speaker 3: Once I get into a songwriting zone, it's like coming
• 1:44:27
  like way easier all the time. But I have to, like,
• 1:44:30
  warm up to get into it and get back in
• 1:44:32
  that head space and, you know, warm up that muscle again.
• 1:44:35
  Speaker 2: That makes sense. Like marathon running. Yeah. Yeah, something.
• 1:44:41
  Speaker 1: Yeah.
• 1:44:41
  Speaker 2: I think everything's like that. Yeah. You get into, like, grooves. Mm-hmm.
• 1:44:47
  Speaker 1: Yeah.
• 1:44:48
  Speaker 2: So when you're in the middle of promotion, like, what
• 1:44:52
  is the difference in, like, do you have– ideas that
• 1:44:57
  still come to you and you just sort of jot
• 1:44:58
  them down and go one day i'll go back to that.
• 1:45:00
  Speaker 1: Yeah yeah yeah.
• 1:45:04
  Speaker 2: I just store them does this feel like um when
• 1:45:07
  you're in promotion time does it feel weird like like
• 1:45:12
  you gotta go out and sell it and you gotta.
• 1:45:15
  Speaker 3: I don't know about it i enjoy all the different
• 1:45:18
  aspects of it you know i love the it's all
• 1:45:22
  creative For the most part, like even just like making
• 1:45:25
  content and filming stuff. It's a, it's a art form too.
• 1:45:31
  So I feel like I'm still like getting my creativity out.
• 1:45:34
  It's just not in the songwriting.
• 1:45:37
  Speaker 2: And so is it like one of those things where
• 1:45:39
  in the back of your mind, you're like, eventually this
• 1:45:42
  will come to an end and I'm going to get
• 1:45:44
  back to it. And then it starts to like itch
• 1:45:47
  at you.
• 1:45:47
  Speaker 1: Yeah.
• 1:45:49
  Speaker 2: Yeah.
• 1:45:49
  Speaker 1: I get the itch.
• 1:45:50
  Speaker 2: Yeah. Yeah.
• 1:45:51
  Speaker 1: Time to get back yeah I'm already feeling it are
• 1:45:54
  you I'm ready to write again yeah well I.
• 1:45:56
  Speaker 2: Would imagine that being in a place like Napa where
• 1:45:59
  you're like around like peaceful you know beautiful background and
• 1:46:07
  you know nature and it's probably like way easier to
• 1:46:13
  get in touch with your mind than to be trapped
• 1:46:17
  in Manhattan for sure beep beep fuck you you know yeah.
• 1:46:22
  Speaker 1: That's exactly why I've stayed away from cities.
• 1:46:26
  Speaker 2: Yeah. I guess everybody has to find their own thing
• 1:46:29
  because I have friends who thrive off that shit. I
• 1:46:31
  have friends who live in New York City. They can't
• 1:46:34
  live anywhere else. They love it.
• 1:46:36
  Speaker 1: Yeah. Maybe it's because I grew up in a rural environment.
• 1:46:39
  Speaker 2: Maybe it's because you're not broken. I think my friends
• 1:46:41
  are all broken.
• 1:46:43
  Speaker 3: I think it's a comfort thing because I grew up
• 1:46:46
  in the woods.
• 1:46:47
  Speaker 2: Yeah.
• 1:46:48
  Speaker 3: It feels like home to be out in the middle
• 1:46:50
  of nowhere. But if I grew up in the city,
• 1:46:51
  that might feel more comfortable for me. And I might
• 1:46:55
  be able to hear myself think better there. But, you know,
• 1:47:00
  everybody's different.
• 1:47:02
  Speaker 2: I think everybody who goes to the woods realizes they
• 1:47:06
  need it. I think it's a vitamin. I really do.
• 1:47:12
  I think it's just like how sunlight gives you vitamin D.
• 1:47:15
  I think there's something about being in wilderness where you're
• 1:47:18
  in tune with all those life forms. Because it's not
• 1:47:23
  as simple as, oh, there's a bird, there's a squirrel. No,
• 1:47:26
  the fucking ground's alive. The trees are alive. There's energy
• 1:47:30
  that all these things have that is being distributed somehow
• 1:47:34
  or another in this strange array of information and of
• 1:47:43
  just life. That's all around you. That you feel. Yeah.
• 1:47:47
  You actually feel when you're out there.
• 1:47:49
  Speaker 1: Yeah. You know. It's like forest bathing.
• 1:47:51
  Speaker 2: Yeah.
• 1:47:52
  Speaker 1: That Japanese practice.
• 1:47:53
  Speaker 2: Yeah.
• 1:47:54
  Speaker 1: For sure.
• 1:47:54
  Speaker 2: And it's also. There's no fucking cell phone service. So
• 1:47:57
  I think there's something to that too. Because the earth
• 1:48:01
  feels cleaner. If that makes any sense. Like when I'm
• 1:48:04
  in a place that has no cell phone service. I swear.
• 1:48:07
  There's a subtle difference. In the way the world feels.
• 1:48:10
  Speaker 1: It's like a vortex.
• 1:48:11
  Speaker 2: Yeah. Yeah. Because I think. Like. In this room, we
• 1:48:14
  have Wi-Fi. We both have phones. like i think there's
• 1:48:17
  signals that are just out there that we can't you
• 1:48:21
  know you can't tune it in and go oh that's
• 1:48:24
  a video my friend's sending me you don't do that
• 1:48:26
  but there's something about whatever the fuck that stuff is
• 1:48:30
  that i think your body recognizes as a like they
• 1:48:33
  say it fucks with bees like cell phone signals in
• 1:48:36
  particular really fucks with bees And like, okay, well, fucks
• 1:48:41
  it bees. I bet it fucks with us too.
• 1:48:43
  Speaker 1: Oh, I'm sure.
• 1:48:43
  Speaker 2: Yeah.
• 1:48:44
  Speaker 1: Yeah.
• 1:48:44
  Speaker 2: Cause it feels like when, if you're in a place
• 1:48:46
  with no cell phone service, the world feels different. And
• 1:48:50
  it's not just cause you can't check your phone. It's
• 1:48:53
  the world, the actual, the actual air around you feels different.
• 1:48:59
  Speaker 1: Yeah. I definitely feel that too.
• 1:49:02
  Speaker 3: Yeah.
• 1:49:03
  Speaker 2: Yeah. I think that's how people are supposed to live.
• 1:49:05
  I think we're doing some weird shit to ourselves, you know,
• 1:49:08
  for sure. But the weird shit is cool in a
• 1:49:11
  lot of ways, you know, because it's how we meet
• 1:49:13
  each other, how we talk to each other, you know,
• 1:49:15
  how we find out about new things.
• 1:49:17
  Speaker 1: It's all about good balance of it all, you know.
• 1:49:19
  Speaker 2: Exactly. Yeah. Yeah. Do you have goals? Yeah. What are
• 1:49:26
  your goals? Like, because some people don't. Some people just
• 1:49:29
  enjoy just doing. They don't think about, like, goals.
• 1:49:34
  Speaker 3: Yeah.
• 1:49:34
  Speaker 1: I mean, I have, like, things I want to do
• 1:49:37
  before I die.
• 1:49:38
  Speaker 2: What do you want to do?
• 1:49:40
  Speaker 3: Um, well, I want to be better about putting out
• 1:49:42
  more music because, because I do put so much pressure
• 1:49:46
  on myself. It's taken me like five years between each
• 1:49:49
  album to, to make.
• 1:49:51
  Speaker 1: One and put it out.
• 1:49:52
  Speaker 3: Cause I second, I second guess myself all the time. And,
• 1:49:56
  and I think like I put so much pressure on it.
• 1:49:58
  Like this has to be the, you know, the sound
• 1:50:00
  that the mark I leave on the world. And this
• 1:50:03
  is what I want to be known for.
• 1:50:04
  Speaker 1: I'm like, fuck all that.
• 1:50:06
  Speaker 3: Just capture a moment in time. Like, what am I
• 1:50:09
  feeling right now? What vibe am I into? And capture
• 1:50:13
  that zeitgeist musically and then move on to the next one. Like,
• 1:50:17
  it doesn't all have to be cohesive. I used to
• 1:50:19
  just be like, put so much pressure on it being
• 1:50:23
  cohesive and having like a certain sound or whatever. But
• 1:50:27
  now I'm just like, okay, right now this album, I'm
• 1:50:32
  calling the genre bubble grunge because it's like inspired by
• 1:50:36
  the 90s. pop and grunge kind of like combined together
• 1:50:43
  but then the next album I might totally flip it
• 1:50:46
  and do something totally different and that's okay like it
• 1:50:51
  doesn't all have to be like it can be different
• 1:50:55
  I can change it up and so I'm my goal
• 1:51:01
  in regards to that is to put out an album
• 1:51:04
  every year.
• 1:51:05
  Speaker 1: Instead of every five years That's a big shift.
• 1:51:08
  Speaker 3: It's a big shift, but I don't want to look
• 1:51:11
  back and just wish I would have released more because
• 1:51:14
  I have so much music sitting on hard drives and
• 1:51:17
  on Dropbox folder that's never come out because I would
• 1:51:19
  like make a bunch of music and then second guess
• 1:51:22
  it and start over and start over again.
• 1:51:26
  Speaker 1: It's not good enough. It's not good enough. I'm like,
• 1:51:28
  I should have just put everything out. I should have just.
• 1:51:32
  Speaker 3: Been okay with like, you know, putting out a bad
• 1:51:35
  album or a bad song It's okay.
• 1:51:40
  Speaker 2: But do you think that that's– Just.
• 1:51:41
  Speaker 1: Like keep making it and putting it out.
• 1:51:42
  Speaker 2: Perhaps a part of the creative process is boiling it
• 1:51:45
  down to something.
• 1:51:46
  Speaker 1: That you really– I think so. But I think I
• 1:51:49
  take that way too far.
• 1:51:50
  Speaker 2: Do you think that that is in part because of
• 1:51:53
  the pressure that you experience for your first thing that
• 1:51:56
  hits is number one?
• 1:51:58
  Speaker 1: Maybe.
• 1:51:59
  Speaker 2: Which is a crazy experience.
• 1:52:00
  Speaker 1: Yeah.
• 1:52:01
  Speaker 2: And you were really young.
• 1:52:03
  Speaker 1: Yeah.
• 1:52:03
  Speaker 2: All of a sudden, boom.
• 1:52:05
  Speaker 1: Yeah.
• 1:52:06
  Speaker 3: Maybe that was part of it. just made me like
• 1:52:08
  extra hard on myself. Um, but I want to have
• 1:52:13
  more fun and not take it so seriously.
• 1:52:17
  Speaker 2: So how do you plan on doing that? How do
• 1:52:20
  you plan on having more fun and not taking it
• 1:52:22
  so seriously?
• 1:52:23
  Speaker 1: I'm already doing it.
• 1:52:24
  Speaker 2: Yeah.
• 1:52:25
  Speaker 1: Yeah.
• 1:52:26
  Speaker 3: I think I just turned 40 and I think that
• 1:52:29
  also has something to do with it.
• 1:52:30
  Speaker 1: Cause I'm just like seeing the end. Like, what am
• 1:52:36
  I doing here?
• 1:52:37
  Speaker 3: Just like, torturing myself with all this pressure and not
• 1:52:41
  just like having fun and being creative and throwing it
• 1:52:44
  out there, you know? So I'm already doing that. I'm
• 1:52:50
  already having more fun.
• 1:52:52
  Speaker 2: That's great. But that, that is one of the beautiful
• 1:52:54
  things that comes with age.
• 1:52:55
  Speaker 1: Yeah. Giving less fucks.
• 1:52:57
  Speaker 2: Giving less fucks and just accumulating experiences to the point
• 1:53:01
  where you recognize like the flaws in your past thinking and, Well,
• 1:53:05
  I did this and I'm not happy I did that.
• 1:53:07
  And you gather enough of those experiences where you get
• 1:53:09
  a better map of the territory. Like, oh, I think
• 1:53:13
  I get it now. Yeah. And then you're really established now, too.
• 1:53:17
  So it's like you don't have to be as worried
• 1:53:21
  about whether or not, you know.
• 1:53:25
  Speaker 1: Yeah.
• 1:53:29
  Speaker 2: It's a beautiful thing that comes with age. the not
• 1:53:33
  giving a fuck or not, you know, like one of
• 1:53:35
  the funniest things to see an old person doesn't give
• 1:53:37
  a fuck. Oh yeah. Yeah.
• 1:53:39
  Speaker 1: Old people who don't give a fuck and just say
• 1:53:41
  anything that comes to their mind. It's hilarious.
• 1:53:46
  Speaker 2: They're fun. Well, um, thank you for being here. It's
• 1:53:51
  a lot of fun. Yeah. I enjoyed it. Enjoy talking
• 1:53:53
  to you and I really enjoy your music.
• 1:53:54
  Speaker 1: Oh, thank you. Can I talk a little bit about
• 1:53:57
  the album that I'm putting out?
• 1:53:58
  Speaker 2: Absolutely. Okay.
• 1:54:00
  Speaker 3: It's called Wasted Potential. It's about me wasting my potential.
• 1:54:06
  But it's an album where I'm telling the story of
• 1:54:09
  my upbringing in small town Wisconsin, discovering my sexuality. And
• 1:54:18
  it's like a coming-of-age story. And it's a part of
• 1:54:22
  my story I don't think a lot of people know.
• 1:54:25
  They mostly know me from working with Eminem and all
• 1:54:27
  the things I did after that. But I just felt
• 1:54:31
  like it was time. I think because I turned 40 recently,
• 1:54:33
  I was like thinking about my childhood a lot and
• 1:54:35
  like realizing I didn't appreciate it enough. I had a
• 1:54:39
  great childhood. And so I just wanted to tell that
• 1:54:42
  part of my story kind of for the first time ever.
• 1:54:47
  So I'm excited to get that out. And it's important.
• 1:54:49
  It was important for me to get it off my
• 1:54:52
  chest and out so that I could like finally. I
• 1:54:56
  was depressed about turning 40.
• 1:54:59
  Speaker 1: Oh yeah. So depressed about it.
• 1:55:02
  Speaker 3: But, um, I think it's because I didn't, I didn't
• 1:55:06
  feel like I was like present during my childhood. And
• 1:55:08
  I mean, I was working a lot. And so, um,
• 1:55:14
  it was important for me to get it off my
• 1:55:15
  chest and be at a point now where I feel
• 1:55:17
  like I can accept that I'm 40 and actually enjoy it.
• 1:55:22
  Speaker 1: And so that was the whole gist of the album.
• 1:55:27
  Speaker 2: Do you really think that you have wasted potential? Oh, yeah. Really?
• 1:55:31
  How so?
• 1:55:34
  Speaker 3: Well, when I made music for my mom growing up,
• 1:55:39
  it was a completely different lifestyle to now making music
• 1:55:43
  in L.A. and the big world of music. I didn't
• 1:55:47
  realize how much work it would be. I didn't realize
• 1:55:50
  the grind. And I think when I first got into it,
• 1:55:55
  I was kind of lazy about it. because I was like, Oh,
• 1:55:58
  I honestly, I probably should have been a Gen.
• 1:55:59
  Speaker 1: Z because I was just like, fuck this. I don't
• 1:56:04
  want to do this, you know?
• 1:56:05
  Speaker 3: Um, and so a lot of decisions I made in
• 1:56:09
  my career, um, I feel like, you know, it was
• 1:56:15
  all my fault, basically all the failures that I've had,
• 1:56:18
  I realized were my fault for being, you know, lazy or,
• 1:56:22
  or not, um, putting in the effort and, and the
• 1:56:27
  grind and.
• 1:56:31
  Speaker 2: Yeah.
• 1:56:31
  Speaker 3: So I wasted a lot of potential. I had so
• 1:56:34
  many huge opportunities when I was younger in the music industry.
• 1:56:38
  And then I, I kind of just like, it was like,
• 1:56:40
  this is too much work.
• 1:56:41
  Speaker 2: Is that a part of like a work life balance? Yeah.
• 1:56:50
  Speaker 3: I mean, that's what Gen Z would say, right? They're
• 1:56:55
  all about the work-life balance. But in, I feel like
• 1:56:59
  in my generation, the millennials, it was all about like work, work, work, work, work.
• 1:57:04
  Speaker 2: You know?
• 1:57:08
  Speaker 1: And I wasn't doing that as much.
• 1:57:11
  Speaker 3: So, yeah, I didn't, I didn't feel like, like turning 40,
• 1:57:14
  I was like, I'm not in the place where I
• 1:57:16
  thought I'd be. I didn't do all the things I
• 1:57:19
  wanted to do by this age. And I was feeling
• 1:57:22
  kind of like a failure.
• 1:57:23
  Speaker 2: Yeah. Do you think that that self-critical mindset though is
• 1:57:30
  just one of those things that's just like it's actually
• 1:57:35
  inherent to anybody that's creative and ambitious? Like you're always
• 1:57:38
  going to be self-critical and that's probably one of the
• 1:57:41
  reasons why your music is so good. Like this idea
• 1:57:45
  like it's not good enough. It's not good enough. It's
• 1:57:46
  like obsessing over things where you only release something every
• 1:57:49
  five years. But then look at the quality of the
• 1:57:52
  songs that you do release that you do love. It's
• 1:57:56
  like there's a balance in there, like a little bit
• 1:57:59
  of self-critical, a little bit of like I'm not doing enough.
• 1:58:05
  Let it in there, but don't believe it, you know?
• 1:58:08
  Speaker 1: Yeah.
• 1:58:09
  Speaker 2: Life is life. it's not all you know it's not
• 1:58:13
  all like leave a legacy because in the end really
• 1:58:16
  it doesn't matter I know.
• 1:58:18
  Speaker 1: It's true that's why I'm trying to have more fun that's.
• 1:58:22
  Speaker 2: Great both things both things listen your music's awesome thank
• 1:58:28
  you And it was awesome seeing you with Eminem. It
• 1:58:30
  was great. Oh, yeah.
• 1:58:32
  Speaker 1: You came to the show.
• 1:58:32
  Speaker 2: Yeah. And also, that's how Marshall was named. He was
• 1:58:36
  named after him.
• 1:58:37
  Speaker 1: Yeah, that's awesome.
• 1:58:38
  Speaker 2: Yeah. So cute.
• 1:58:40
  Speaker 1: Thank you.
• 1:58:41
  Speaker 2: Thank you so much. And best of luck with your album,
• 1:58:44
  with everything else in the future. This was really cool.
• 1:58:47
  I enjoyed it. Me too. All right. Thank you. All right.
• 1:58:50
  Speaker 1: Bye, everybody.
• 1:58:50
  Speaker 2: Bye.