 But if you're coming out at the right way, it's more complex than it is Rich Bitch. Alright, it is another flashback episode of Let It Be Talk. It is number five of the flashback series. Make sure you subscribe and leave some comments on the YouTube channel, my friends, and welcome here today. Thank you. Part two of my John Mayer interview that happened way back in 2019, like I said before, I absolutely love this episode and it was an honor to have him on and I hope that you enjoy part two. It is just, I had to split it up back when I recorded it. I had no idea when he came over that he was going to sit down for like two, three, four hours. So I split it up when I originally recorded it. You know, people got crazy ADD, so they're into something for like 20 minutes and then they, uh-oh, what's that over there and then they forget what they're doing. So I thought, well, I'll split it up and let people take it in on their own leisure time. Anyway, I'm off to St. Louis tomorrow, St. Louis two shows at the fabulous Fox with Bill Burr and then I will be in Springfield, Missouri with Bill Burr and then New York City Sunday, Monday, Tuesday at the stand and the Comedy Cellar. So hope to see you guys out there. Also ACME has been rescheduled July 24th through the 27th, I believe. So ACME is back and I'm looking forward to going back to Minneapolis again. Also Comedy Cellar in Las Vegas at the Rio, July 8th through the, I don't know, 14 or 17 or something a whole week there. gndelray.com is where you get all of your ticket info. Looking forward to seeing you guys out there. Lots of tour dates up July 8th, the Greek Theater in Berkeley. That's going to be insane. Belco Arena is happening in Denver in June. All right. Let's get into it. The great John Mayer, part two of one of my favorite episodes of all time on Let It Be Talk. Thank you guys. Don't forget to subscribe. Candles are lit. Hey, what's up, everybody? Thanks for tuning into another episode of Let It Be Talk. Today is Monday, November 11th. Welcome, welcome aboard. Welcome back. Welcome newcomers, whoever you are out there, hello and thank you for tuning in. The guest today is part two, of course, of the great John Mayer episode number 502. And I got to first say right away, thank you to everyone that has emailed me and Instagrammed me, slid into my DMs, as the kids would say, or hit me on Twitter or Facebook, wherever the fuck you hit me up. I want to say thank you. This episode has really seemed to taken on a life of its own. It's really crossed over. I knew it would. To all different people, we got the Dellraisers, the original Let It Be Talk fans. We have Dead Heads coming on board. We have Guitar Freaks coming on. And then we have the great John Mayer fans. All here, it's a cross-pollination, a super storm. And as cheesy as that sounds, that's what has happened. I don't even know why I said as cheesy as that sounds because there's nothing cheesy about it. It touched me. It definitely, I got to be honest. As I did the episode and sat there, I was like, maybe this is it. Maybe I've ran the course of the podcast. It's like, I recorded a record years ago, a music record. And I knew, I was like, this is a great record for me. I felt good about it. I still feel good about it. That's why I haven't done a comedy record yet. I want it to be great. And to do something great is all anybody I think really wants to do. Or yeah, I don't know what the fuck I'm saying. But what I'm saying is I recognized the importance of this podcast episode to me. As I was doing it, I was like, this is really it. I had worked on it for eight years and look where it's at right now. How could it get better than this? And you have to, as an artist, I think, sit and think back. Do you just walk away and go, OK, I hit the high water mark? Or I'm not sitting here tooting my horn. I'm just saying for me, I was like, wow, this is this is fucking cool. Do you walk away and go, yeah, there it was. I did 502 episodes. It was great ride. Eight years, maybe try something else. Or do you accept, hey, man, this is my my born to run, my exile. And I keep working. That sounds like all a bunch of bullshit. Calling the podcast. This is my exile. But you know what the fuck I'm saying? It's just you sit back and you think, wow, everybody's going to be. It doesn't matter what I drop next week. They'll be like, oh, all right. You know, but anyway, I don't know. Those are the mixed up things that go on in your head as you you keep going. There's all these these these big these big fucking landmines you got to watch out for these things that try to get you to quit. You know what I'm saying? Just doubts in your mind. Do I keep doing the podcast? Do I just do comedy? Do I try to find? I don't know. I just wake up each day, enjoy life and say, fuck it, man. It's way better than it was eight years ago. Let's keep going. And that's what that's what we're here doing today with the great John Mayer part two. I hope you guys enjoy this as much as you did part one. It was a perfect spot to cut off right there at the Bruce Springsteen round. And today we pick up right there where we left off. And I just want to thank you guys again. Do not forget to subscribe to the podcast and leave a review on iTunes. That very, very much helps the the flow of the show. People find in it, all that stuff. I don't know. I don't even know what I'm saying right now, because I just tried to do this intro, stepping off a plane from Omaha and Detroit. I was out there with the great Joe ideas. We did Detroit on Thursday. We did Omaha Friday, Saturday. Never been to Omaha. I've been all around America. I've rode my motorcycle everywhere. I burned through Kansas and all that area. And I'm sure I might have been to Omaha and just don't remember it. I barely remember what I did last year. But fantastic run of shows. And thank you, everybody that came out. And thank you, Joe Ideas, for having me on. And we ran into the great Andy Kindler on our 5 AM flight this morning. And it was awesome to see him. There's nothing better than when a couple comics run into another comic at the airport or on your flight. It's so fucking, I can't even describe the family feel that it is. It's like, there's another soldier. There is another soldier in the comedy battle. And Andy Kindler will be here in a couple weeks. If I keep doing the podcast, anyway, it was great to see Andy. And it was great to see all of you guys. I want to do a quick shout out right now to the brand new Patreons. If you want to hear bonus episodes of Let There Be Talk, they're on patreon.com slash Dean Delray, brand new Patreons. Brian Spink, Scott Curvell, Russell Milder, and Adam. Just straight Adam. That's fucking, that's balls out, dude. You go by one name like Prince or Bono. Or who else goes by one name? Anyway, thank you guys for your new Patreon support. Upcoming shows. I am going to be next week at the Terrapin Crossroads in Marin County, the first comedy show ever at Phil Lesh's club. I'm doing it. Terrapin, November 21st. Marin County, San Francisco, Sonoma County. Get in your cars and get to this gig. Let's have some fun. Let's pack it out, show them that comedy will work in Terrapin. November 21st. Tickets available on my website, deandelray.com. December 12th, we're doing a little toys for Todd's Run at the La Jolla Comedy Store. Come to that. I'll be headlining that. December 21st, I'm in Vegas with the great Bill Burr at the Cosmopolitan. 27th to 28th, Caluso in Sacramento and Palace of Fine Arts with Joey Diaz in January 4th. I'm headlining in Fresno. And then back to the Las Vegas Comedy Cellar January 13th through the 19th. Those are the shows. You know what to do. Get tickets, come out, support live comedy. And by the way, I'm still, I think I'm on the 15th day of listening to John Mayer's record, Born and Raised. Like a fucking lunatic, I listen to it every day, all day. Here we go, here he is, John Mayer, part two. Thank you guys, keep the candles lit. But you know the person who's kicking my ass the most right now is Springsteen. Oh, not now. Now you're gonna talk. Let's get into this a little bit because here's what's going on with me. I grew up, I hated Pink Floyd, Grateful Dead, and Springsteen. Couldn't stand him. Bruce, you know, I first saw him on The Dumb Records, Lucky Town, and the other one, I was like, ah, I'm out, it was terrible. And then I saw Ghost of Tom Jode Tour and that was it for me. Good for you. And I've been hooked so hard. And then the play on Broadway. I was bawling. I was crying. I was almost convulsing crying so hard. And I was with my tour manager and we were sitting, watching the show, and Bruce begins to talk about the road, you know, in this beautiful way, you know, and the line divides the road and you know, and I start kind of getting choked up. And I hear my tour manager's getting choked up. And I'm like, oh, this is cause we do this thing. We happen to be getting upset at this. Then I start realizing, oh, everybody's crying here. You start hearing the sound of people who swear they're not crying. Oh yeah, that ain't me. That ain't me. Something in my eye is this old theater's dusty. And then when I realized that this was what was going to happen and it was expected, I felt slightly violated because I was not prepared. I did not bring my armor for this. And he spent the next two hours destroying me, basically taking all 206 bones out of your body, stacking them up in front of you, inventorying them and then putting them back in and go and have a nice night. I've never seen a guy like this. Never seen anything like it. It was a metaphysical, I don't even think a Netflix special can, I don't think you can show anybody the Netflix special. I didn't think, I wish he never filmed that. It's impossible to film it. They're trying to take a picture of the moon on your iPhone. Yeah, they just like, what are you gonna do with this? People are like, did you watch that? And I go, no, I refuse to watch it because to see it live was so moving and insane that I don't wanna fuck with that memory ever. Are you, where are you from? Are you from the East Coast? San Francisco. Oh, okay. And it still fucked you up. See, if you're from the East Coast anywhere in the last 50 years, you smell the sky he's talking about. Oh, I know. Even if, and I didn't grow up in New Jersey, I grew up in Fairfield, Connecticut. Same Drake's Cakes, same Entomans, same New York Mets 1986 World Series, the same papers, same things, you know? And same crispy autumn air, same relationship with the seasons, same relationship with the world. And he basically was like, Pirates of the Caribbean ride at Disney and you get in the boat and he takes you through your life. He takes you through. It's crazy. I've never seen anything like it. And then I went back and met him, which I didn't want to do because I was so upset and I knew that he was gonna get a part of me that wasn't so careful with making sure I didn't bother somebody or how great they were. I normally like to kind of contain myself. No, no, no, come on, Matt. Come on down, come on down. And I realized something that night, took me a long time to realize, longer than most people. Bruce Springsteen knows how good he is and doesn't need John Mayer to formulate an interesting abstract way to say it so he could go, oh, shit, really? Yeah, yeah, right? And that what I had tried to do was what every other person whom he's touched has tried to do, which is try to get the man that good to know how good he is, which is like pissing in the wind. Absolutely. It's just like, but I had to try. I mean, you know, when you hear like meeting across the river, it's just like, what? Look, maybe life has to happen in a certain order and music has to happen to you in a certain order. I believe that. Because I'll send young artists, I shall be released and they don't get it. And I can't understand how a writer, any writer of any age couldn't understand I shall be released. That's what I love about music, though. I love it. It slowly keeps unraveling through my life. If it didn't do that, can you imagine being at 53 and being like, oh, I'm done with music. I did that. Every year, theoretically, it gets better to be a young person discovering music because there's more to catch up to. And only the good stuff is going to come out. For me, Bruce, it took a minute, but I had to go through Bob Dylan and Neil Young, to understand the flavor of that stuff. Well, I was always a Neil Young guy, but I wasn't a Bruce guy, which was weird. But for me, my point of entry, and I started hearing things I really liked, I loved my city of ruins. I loved that. Oh my God. There's a tear on your pillow, darling, where you slept, and you took my heart when you left. And it's sung. And you took my heart when you left. It's unbelievable. How about when it just came out? There's a blood red circle. It's unbelievable. It's a cold blood skirt. Chills going up the back of my head. Oh, I saw him play that on that band, if it was the telethon thing. Yeah, the 9-11 telethon. Yeah, and then they're watching it. He's doing Rise Up. You're like, what is this song? It's unbelievable. It's crazy. It's unbelievable. Then I discover, well for me, what really knocked me out was Tunnel of Love. Oh, yeah. Because whenever a record sounds like records I know, I find it very helpful. Like I turn people on to Grateful Dead Spring 77, because they're the Betty Boards, and they sound like records people know. Right, right, right. If you can overcome that chasm, then people have a better chance of living. You can't just give people like April 69 and go have fun. 69, you know what I mean? You know what I mean? That's a show off. That's a show off for the dead head trying to turn on another guy. Yeah, yeah, yeah, yeah. No, no, no, no, no, man. Here, you know, dive into this. Yeah, yeah, here. I always play it safe. I go like, you know, mid-70s, or even 72. Right, just take the Europe 72 stuff, which is, I think it's tinkered with, right? Yeah, I think so. It's tinkered with. I think so. It's like the way they did in the 70s. They bring it back in, and they tinkered with it. Right, I think so. But so I started discovering stuff, and then it was like Tunnel of Love, and then I heard, like, on that record, there's Brilliant Disguise, there's Tougher Than the Rest, there's all these great songs on there. You played Bruce on this last tour. I just played Tougher Than the Rest on my birthday, just as a birthday present to myself. So great. And then I heard Nebraska, and that messed me up. That just messed me up. And then like, one of my favorite things I've ever heard is Growing Up. Have you heard the acoustic demo of Growing Up? Oh my God. I realize it's a two-word chorus, and it'll knock you across the room. It's so great. How about when he plays it in the play? It's, that's what we saw. Oh, same. Have you ever heard someone sing a word, or a phrase, in a way, that embodied the very experience of that phrase? He sings Growing Up with all of the bitter sweetness of Growing Up. I absolutely, I'm upset. I got all the bootlegs. There's a bootleg called Trust Your Car with the Man with the Star, and it's at the bottom line. And it was something I played for probably a year. Then I got the Fillmore 78, I think, or seven, and then the Roxy on the board. Oh, you go deep. I hope to go that deep. Oh yeah, when you get into, it's really crazy when you get into that mid-70s, Bruce, the muscle they had, but it didn't sound like, you know, it wasn't like metal or anything, but you're like, how is this so, so strong? Yeah. And then, you know, of course, I love like Youngstown, and Stefan goes to Tom Jode. I think that's like my third favorite record. So you have to listen to it. Oh! Part of me being a curious dude is not acting like I know everything. And I have to go listen to that. That's great though. I have to check it out. Because I'm on that Lindrum, sit at home, write music with your, with your like Yamaha DX7 and a Lindrum thing, which just breaks my heart that I can't. I mean, I like having my heart broken by people who are just 10 times better than me and make me feel like nothing. I love, that makes me rare. I like feeling like nothing in that way. I like hearing a song and going, I am a giant piece of garbage. You're not being able to do that. I'm like that with comedy. Oh yeah, yeah, yeah. I just watch comics. You know, I tour with Burr. Yeah. I've opened for Chappelle. Yeah. I'm not over here too in my horn, but it immediately just lets you know right away. I was like, oh yeah. I'm just. But do you like that feeling? I do. I really like it. I don't like it, but I do like it because it makes me want to work. Exactly. And I think that if it came easy, I would have been bored and tapped out. Yep. Oh, I wish I could someday sit down and write a thing that feels so good is tougher than the rest. Oh. I mean, these are, I think about it on a songwriting level. A lot of Bruce songs are verse refrains, which means for those listening, I know, you know, like it's not like here's a verse and now here's a chorus. It's a verse that takes you around and around and drops you on the last line of the verse. Oh, that's right. And that's a lot of his way of writing. Do you know how good you have to be for the last line to take all of the power that was assembling, that was crescendoing and drop it on your head and have it work? Yeah. It is so hard to write. The eight lines and have the last line go, oh my God, every one of those lines was worth it. And he multiplied the power of each line by a hundred and he came down. He's the best. Tougher than the rest. That's how he resolves it. That's very hard stuff to, it's easier to be abstract. And you see that a lot now, like he's so good that I ignore his guitar tone. I understand. And I would never say anything bad about Bruce, but I've never understood his guitar tone. It's the only thing I don't understand about. The Takamini thing. Yeah, yeah, yeah. But even then you could say his loyalty to Takamini is so strong that he won't play another guitar. Cause you gotta imagine that Springy scene playing an old D28. Oh shit, can you imagine? Knock you on your ass. It's almost like he went like, no, that's Neil's thing. I'm not playing it. Maybe. I'm not playing it. But knowing Bruce, he likes a guy at Takamini who's been there the whole time. His blue color. And he goes, I just call Gary. Yeah, yeah, yeah, right? I can't disappoint. And then you'd be like, oh, that's why that guitar sounds good to me. Cause it's about, cause he would never let Gary down, you know? I wanted one of your stagecoach guitars big time. That guitar was actually inspired by a scene of Dylan playing at a protest. Maybe he was playing Medgar Evers blues or something. I'm so into the Joan Baez one. And then Martin in the 90s put out like 50 of them. Do you know there was a sticker under that guitar that was put under the top? It's on the reissue also. Yeah. I tried to buy one of the Joan Baez ones right when they came out, sold out in a minute. Still have never been able to get one. There's only like 50. But isn't it fun to Google? To look every, like every Sunday night, I'll be like, what's on my to look list? I have a, I have a look list that is a mile long. What's on it? Give me some. A certain brand of vintage glasses on eBay. What are you looking for? I'm looking for basically, I don't want to, I can't give anybody my search term. Yeah. Right. I get it. Vintage sunglasses. And they come up every once in a while. I'm like, oh, these are great. Sometimes I look at eBay to see what the market's doing with watches. Who would do this? Oh yeah. You go, where are 5270s at? Oh yeah. How's that doing? I always do that with GMTs. Yeah, yeah, yeah. How are modern Patek Perpetuals doing? Like, and I'll tell myself the story. Now there's Chrono 24. Right. Which is like the reverb.com or the eBay of watches. You know, Sue, you go like, you kind of average out what the ask is. Yeah. I'm always looking for stuff. I'm trying to think of like, what's the thing I can say I've been looking for? Now I can't say it because then people will go and try to find it. Right, I get it. But they're these little things, there's a hundred made and they're from the 90. They're not super hard to get. And then I always have one thing that I get into that's not expensive and that's not hard to find. I think it's healthy. And I'm right now super into Casio G-Shox. I know, I saw you wearing one. I wear them at home all the time. I think they're super fun. They're like a little chemistry set on your wrist. Yeah. Intimidir, compass. You know, I just like, I just like to remind myself that this is not a stock market for me. What was that white watch you wore on the last run? That was an Audemars Piguet Concept Turbion GMT. No, it wasn't a GMT. Sorry. Turbion Chrono Self-Winding Turbion. Self-Winding. The rotor goes around the dial. It's nutty. And the thing about APs, when you get a really complicated AP, they never get old. Yeah. And there's something about them. You just, you know, you put a watch on it. It might burn you out. Yeah. GMT never burned me out. And the crazy AP concept, that watch is always cool to me because of how much technology's gone into it. You said something interesting to me when I first met you about the new Daytona, the ceramic white face. You go, that watch is too good. It just feels like a ghost on my hand. As soon as you put it on, you go, what now? Yeah. Have you ever, do you ever see one? Do you ever have one? Do you put it on? Yeah, yeah, yeah. You go, this is the most balanced thing in the world. It disappears. I can't read it, though. That's my problem with it. I can't read it. Against the white? Yeah. Or just any of the Daytonas, I could never read them. Because of the sticks? Because of the hands? Yeah, the sticks. Interesting. I have a problem reading metal hands on a black dial. I think it's, you can't see it. Yeah. You really can't see it. Let's get into that stagecoach, though. Yeah, the stagecoach. So I'm watching No Direction Home and I'm just blown away. Just everything in me is different. And I look at Dylan playing this slotted headstock, 12-fret, tiny body country guitar. And he's singing, is it called Medgar Evers Blues? I think that's what it's called. And he's at this protest or something. I'm looking at the guitar and he's playing, it sounded like a million dollars. And I'm like, that guitar is gorgeous. So I start looking up double zero guitars. Yeah. Which are, by the way, the worst the fucking string slotted headstock nightmare. It's a nylon string headstock. Yeah. And then I was watching Pawn Stars a lot. And I remember someone came in with a poker set for Pawn Stars and the thing was Mother of Pearl out. It was for a stagecoach. I know that. Someone was like, yeah, this is a poker set from a stagecoach or like this is a gun case for a stagecoach. And I remember hearing a story about rich stagecoach people going across, like steel magnates or something. That's amazing, right? Going across with their Mother of Pearl inlaid chest set or something. So I took the two things, which is, you get into a double O body Martin guitar with the connection to the 12th fret. Maybe this one connects to the 14th, I don't know. But there's nothing you can do on this guitar but play a song. That's it. Can't solo. Nope. Can't play up past the ninth fret. Really? The neck gets too thick. The strings won't budge. You can go like this. Don't, don't, don't, don't, don't, don't, don't. That's it. Don't, don't, don't. You can play Marty Robbins songs. But it brings something out in you for playing it. And that's a great guitar is it brings something out. And I'll take that guitar out, tune it up and just play El Paso or play some old, you know, some old country's Western song or Devil Woman on it. You know? Oh, Devil Woman, Devil Woman, let go of me. Devil Woman, let me be. You play these songs that don't have any tricks. No, it's a no frills guitar with more frills in late in it than you can find on any other guitar. And I love the juxtaposition of those two things. This thing is an abacus. And it's, it's like, I was thought about, could I have a dental floss? You know, dental floss dispensers are just the worst. Could I get a platinum dental floss dispenser that you would just take out the floss when you got a new one and put it in your platinum dental floss dispenser. That's a baller. Which, but it would be like the simplest thing done the best. I love this idea. This is what we call the rig. Anything that is simple in its system, but perfect in its execution is to me the most beloved thing. Yeah, like a platinum plunger. Yes. When you, I, someone had a Porsche at my house one time and I'm no Porsche feasting out. I'm a feasting out of, I'm no expert. And it was like an 86 Targa. Yeah. And it was parked in my, and the sun was going down. Like a car commercial. And I went, that's a rig. No, it does one thing. Not as well as the new ones, but perfectly for what it's supposed to do. Perfect. And you go, there, that's a rig. I love that they never changed the body either. No. It's like, it's like guitars. That's discipline. Pretty much there's like four, four shapes. That's discipline. I always think that's such discipline for a company not to go like, and I mean, you see how watch companies slowly move year after just, I mean, look at a Royal Oak. Yeah. The same watch or an oilist. They're pretty much the same things. They're so disciplined. Yeah. Gerald Jenton nailed it. The Europeans are disciplined designers. Oh. I think other designers tend to go like, this time five wheels. And this time, but to be that stoic and staid, it pays off over time. Cause you look at it and you go, this is as cool as it ever was. So I like rigs. We've got a 1940, 0045. Oh. Were they, I mean, it's unbelievable. Unbelievable. Museum quality. I got it. It didn't play. The frets were gone. The bridge was rising up. I was like, well, I got, I want to play it. Thing was not cheap, you know. Yo, no, Brazilian, right? Yeah. What do we do? Oh God, there's one owner. The guy had passed away. It was from Aberdeen, Washington. Pictures of the guy. I mean, this was, this is. With the green felt in the case. The catalogs are in the case. Oh. It was $185 for them. Oh man. You know. I go, how do I fix this thing without desecrating it? And I think to myself, send it back to Martin. Oh yeah. Send it back to the company that made it. And I send it back to Martin. They crack the thing like a lobster. And you know, put the neck back on the way it needed to be. I think they refra... Or they at least redressed the frets. Right. They had to take the bridge off, put the bridge back on the row. And now the thing plays like a guitar. And sometimes I go, I wish this was my only guitar. Cause I'd play the rest of my life on this guitar. Yeah, yeah. Sometimes I don't like switching. Sometimes I don't like how many jackets I have. I wish I had one jacket. And by the end of my life, this thing was the softest thing you ever saw. When you walked in, we were talking about, as we get older, getting rid of stuff and becoming one something, one, one, one. And also that gets into my, I'm a weird dude where I love patina, but I don't want my shit to get patina. I think it's cause mostly I'm scared I gotta sell it. So you and I are the same way. And I'm lately trying to be like, dude, it's yours. Do what you want with it. Isn't that crazy though? Like I look at somebody's, even back when I bought sneakers as a kid, I would clean them every day after school. I took my Jordan's home. I got a paper bowl and I would fill it with some water and some dove dish soap and a toothbrush. And I would, I remember the little tiny pores on the leather, not really the leather, the synthetic material of the Jordan's have these little tiny pores like skin. And I would go, of course people, I'd have to take off people's foot marks because they'd see my clean shoes and stomp on them. Yeah, stomp them. They stepped on my Jordan's. That's right. Just to do it. Right, right, right, right. Yeah, I love that. The Fairfield. Who told you to buy a brownstone in my neighborhood? It's the Fairfield Connecticut equivalent of that. Yeah. But I think it's actually harder to put digs on a thing that's already been around a while. It's easy to put digs on a new thing. Yeah. You have no, I'll tell you what, like if you get something in your hands that stayed a certain condition for 50 years, it's now entrusted to you. Yeah. You're the dummy who puts a scratch on a thing that hasn't had a scratch for 50 years. I had a 1962 see-through blonde Strat. The thing was in such good condition. Like Mary Kay or something? Almost. Yeah, it's almost Mary Kay, but with a little more blonde. Right. Gorgeous guitar. I had it on my couch and I was doing a, I had an automatic screwdriver, like a power screwdriver, a quarter screwdriver, to raise the pickups on a different guitar and I threw the screwdriver. Oh. And in the middle of the year, I went, oh, I know what's on the couch. Oh, no. And when you look at that dig, you go, that's not any dig. That's a gash that happened to something that's 60 years old and it never had that on it. And then some idiot 40 years later grabbed it. Yeah. And he's the guy who did that to it. Yeah. That's tough. A brand new guitar, a brand new watch. Yeah. Have fun, unless it's a minute repeater. Right. And it's all bezel. But that's why I feel like service is more important than free stuff. As long as you know the guy, I feel like I have a good enough relationship. Like, for instance, I'll tell you this. So I got, this is where you and I are so similar. So the watch I wore all summer, it's a stupid amount of money, right? Yeah. So it's entrusted to me, oh my God, I wanna be able to, we never really own these things. They should say, they never really own a protective leap. You're just holding onto it till you can sell it and get out of it and not think you're, not feel like a moron. Oh, wow. You know what I mean? Like you're just trying to hold on to it because I'm not trying to make more money. No. We're the original collectors who were like, I only care about the value so no one will think I'm an idiot if and when I sell it. That's right. We go, no, they hold value. And parachutes to me. That parachutes to me, they're like, if I can get out where I had my phone, I don't care about, I didn't do this for profit. I don't care about it. So, but when I'm looking at this watch and I'm going, I really wanna wear this all summer. I really wanna wear this all summer. Yeah. Here's how my brain works. I write the CEO of AP, Francois and I write him, and this is me. This is quintessentially me. Dear Francois, I really wanna wear this, this tourbillon concept on stage, but I just, I wanna know that if I bang it up, it's gonna be okay. If I wear this all summer and I bang this up, can I send it back to you to just make new again no matter what? And if you say yes, I'll wear it all summer and you go back yes and I went, I can wear the watch all summer. This is me. Like I'm the same way. I go, if you can roll back the odometer on this watch. Yep. I'll buy the watch. That happened to me once I met Bo Gore at LA Watchworks. I saw a Rolex that fell off and a guy ran it over in his lawnmower. And he, this guy, I've never seen a guy restore Rolexes like this or any watches. As soon as I saw what he did, I go, I can wear anything for the rest of my life. The technicians at these companies are so good. They have laser filling now. They can use a laser to put more metal on something. And then, and then just resurface it. So the guys at Patek Philippe are so good at polishing. I have seen them do it. Like they'll take a clasp like I'm wearing, which is a butterfly enclosure. And they get scratched just from looking at them. And it has the Calatrava Cross indented on it. Like I read that. And it scratches the second you own it. You know what they do? They take nail polish, they paint the whole thing with nail polish and then they start buffing the whole thing. And the nail polish fills in with the engraving so you don't buff the engraving out. They're so perfect with it. And then they take the nail polish off. So they didn't buff down into the engraving so it softens it. They put a little nail polish inside of everything. Then they buff the rest of it. And all it will do is take the nail polish off but not go into the engraving. I dropped a watch one time, 5971, Diamond Baguette Bezel Perpetual Calendar. One of my favorite pieces. I dropped it on my bathroom floor, tile floor. Now remember 5971 has a tang buckle. It does not have a deployant. Right. If you have a watch with a tang buckle on it, you will drop it one every hundred times. Right? Cause you're holding your wrist against your... Yeah, yeah. And you're trying to fasten it. You do it over a bed. Do it over a bed. Always do it over a bed. This thing fell and the side of it had a gash on it. Like just... Oh! I got in a cab. Yeah. And I went, I drove to the Henry Stern agency in Rockefeller with the Patek Philippe service center offices. I walked it in like an injured friend. Yeah, yeah. Help! I sat right... A man down. My Vietnam. A man down. I sat in front of Larry Patinelli where the time was the president. And I go, what can we do here? He goes, let me send it down. The technicians come up, they look at it. They bring it down. Larry and I shoot the shit for an hour and they bring it back up with all the little readouts of it's they've tested it. You look at the side of it, it was perfect. What? They went back in time. It's like, it's like a do-over. Oh! From that moment on. Yeah. Every complicated Patek slash Patek, I was thinking, I kind of interchanged the way I say it. Every complicated Patek Philippe I have, if it has a buckle on it. Yeah. I buy an extra deployant clasp for it so that if you put a deployant clasp on the wrong way, it just falls down your wrist. Right. Right. You put a buckle on the wrong way. It falls on the ground. It falls to the ground. Yeah. So I buy extra deployant clasp. Oh shit. And I put it on there because I couldn't take it. But when I saw how they fixed it, to your point I went, oh, yeah. So for me, my relationship with these brands, like I don't get free watches. Yeah. But I like to get an email that says, wear it, have fun with it. Yeah. If something happens to it, we'll put a new one on it. Especially because they're new. That's the fun of a new watch. I know. They have the parts, Dean. They'll throw a new part on. I keep thinking if I can get an AP-15202, it would be the one watch for me and I'd just wear it the rest of my life. Yep. And I wouldn't even polish her in. I would just look at it. Yeah. And they go, look at this 15202. Because I've seen some 5402s, vintage ones. And they just look great. You know what? One scratch looks bad and a million looks great. Yeah. That's a great lyric. Right. That's a great lyric. It's true. When something's scratched a million times, it's actually smooth again. Yeah, yeah, yeah, yeah. That's what you're looking at. Just never polish it and you'll be fine. It's the polishing that killed watches. I don't know anything about the Richard Rashard meal. Yeah, Rashard meal. Never got into it. Yeah. It's a different neighborhood. Yeah, I don't know anything about it. I didn't even know how to say it. See, but all of a sudden, I just started seeing them in the last two years all over Instagram. What is that? Is it like the new Frank Mueller? I think, oh, that's an interesting way to look at it. What do I think it's like? I think it's like Lamborghini. Yeah. I think they are the Lamborghini of watches. You're right. You're right. Some people are Lamborghini people and the rest are Ferrari and Porsche. And that's a dynamic, hyper-styled, hyper-designed watch, which isn't, look at it like this. If I was just starting collecting, I'd own one. Yeah. I'm so far down the line. Like a long ensign, I don't have one because I've never had one. And at this point in my career, I don't want to work for the rest of my life to start collecting a line of watches. What are you still looking for? You got stuff that you want? No. At this point, to be honest, I'm only interested in things that are one-of-a-kind. And one-of-a-kinds. Things that are made for me. Did you? And that's one a year, one every couple of years. Yeah, yeah. And I'm happy with that. Like I'm hardly ever buying new stuff anymore. Let's get into the Dumble stuff real quick. And then we'll all ask you some other stuff here. But I was always fascinated with Dumble. I actually thought the guy died years ago. That was always the thought that he died years ago. But no, he's in Santa Cruz or whatever right now, still with like a waiting list. Let's get into the history of the Dumble. You got Santanas, right? That one is one of Carlos's. Yeah, the one that I used on the last tour, the summer tour. How many Dumbles do you got? Several. My answer is always just several. Several, yeah. I actually don't even know. And it would be designed to just make people go, yeah. But look at it like this. I'm the kind of guy who wants to buy three of a thing to find the best one. I'm the same way. I am the same way. And then when you get the best one? Yeah, you sell the other two. Yeah, it's that. But then it just so happened that selling them seemed silly because they're so in demand. And I just went, I don't have the, I don't want to sell. I don't like selling things. There's very, very, very few things out there that I have sold. No shit. They have very few things, very few things. But I knew Stevie Ray Vaughn had played one. And God knows I was looking for that sound. I knew that too. So he's what made it famous. He's what made it famous. Now, before Stevie, you've got Jackson Brown. You've got guys from Little Feet. You've got guys in Jackson Brown's band. I think Jackson Brown was probably the biggest Avon lady for Dumble because anyone who played in his band got one. Danny Kortzmar had one. David Linley had several of them. So it's from this era of California music. Kind of post, you know, sort of early 70s, kind of Southern California Eagles kind of thing. Yeah, that Troubadour. That Troubadour thing, exactly. I was looking for it, you found it. And so that world had him. And then because Steve Ray Vaughn recorded Texas Flood at Jackson Brown's studio, he discovered this Dumble. And it was a Dumble Land special, big 150 watt thing, I think. And God, super loud. Super loud. I will tear your head off, but the right way. Right, right. You ever had your ears torn up the right way? Oh yeah, the speakers right here in my house. You put them on, you're just like, this is insane. There is a way to go deaf in style. Yeah. I mean, it's just, I heard ACDC play the Rock and Roll Hall of Fame. And I've never heard something that loud that good. There's nothing better than that. When I heard Angus Young's guitars, I said two things. I'm going deaf and this is the greatest thing I ever heard. It was the right kind of loud. So I'm making my second record and somebody brings a Dumble around, some rental place. Oh, I gotta try the Dumble. We got one, we got one, we got one, we got one. I tried it out. I don't remember how I felt about it. And then I found a guy who had an overdrive special from the early 90s and I bought it. In LA? No, this guy was from Kansas. He was a dealer and I bought one. Oh wow. And I used one on Chuck Berry's giant Shoman cab on my second record. I kept renting it because they needed to keep it in case Chuck Berry came. That's Chuck Berry's. If he, when he comes through in gigs, we need to have it for him. So I just kept renting this Shoman cab. That's amazing. Six 10s in there or something. Six 10s. I don't know, it was like a big giant cab. Yeah. And I remember the sound of that amp. I don't think I liked it more for being a Dumble and for being a great amp, but it did kind of what I wanted it to do. And then I would kind of like want to buy a backup because I'm a backup guy. I am too. Everything needs a backup. I'm so weird. Found the ultimate boot. Now I need a second pair. This is the, look, that closet right there, the ultimate leather jacket. I need the second one. We're like, I just bought another jacket today of one I realized I liked. It's nuts though. What is that? It's a well-maintained sickness. It really is. And the possession is not the jacket. The possession is knowing you filled the hole in your head that said it. Totally. It's about reconciling shapes. As soon as you realize you had one that's good, well, when that's gone, it's gone. So to have a backup, what you now have is also this. To know there's another one means you won't be destroying it if you destroy this one. I'm in your same way. I have it. And also this too, like, well, they're gonna go out of business or stop making this. So I might as well just get it now. I have that with t-shirts. I know they keep changing t-shirts. And when you find t-shirts that work for you, buy them all. Because that will be your t-shirt for the rest of your life. Yeah, yeah, yeah. Yep, I'm a big t-shirt guy. Big on laundry, big on textiles. Natural dye t-shirts. I wash them myself because I know each time you wash and hang dry them, they look different. Some of the color comes out. It's more faded. This shirt did not always look this way. And it's the washes that just keeps taking the color out. Yeah, I'm the same way. Like this t-shirt here from Japan. They're short, so it's not super long. I don't look short. And how many do you have of them? And I got eight of them over there. And I'll get more. Yeah, it's perfect. And by the time you get more, the tag number will be different. And they'll say, we went longer in this. We used a different color. Oh, God, I talk to my buddy about it all the time. I'm like, I gotta get them all now because they're gonna change this. What do you think it is? It's fucking a sickness, John. It's a sickness. We're sick. Sick. I should be wearing this the whole time, like Malcolm Young until it's just disintegrated. And people go, yeah, he's been wearing that t-shirt for 15 years. This is a control issue. Yeah. It must be. I think so. It's a control issue. I have a two then. I don't know. We're just nuts. Gotta have a backup. Gotta have a backup. Gotta have a backup. Meaning the one you now wear is a freebie. Yep. It's almost like a video game where you get a free life. Yeah. You wanna know. Extra ship. Yes, that the ship you're playing is not gonna end the game. You've got another little ship down at the bottom right and that feeling of security is what's always made me wanna go out into the world. This is the last one like it, better save every moment of it. I go, oh, I'll never wear it enough to break it down. I know, exactly same with me. All my shit is mint. So now I'm like, let it be mint or wear it into the ground. But what I won't do anymore is wear a watch for a week and put two scratches on it or wear boots for two days and put dirt on it. If you're gonna break them out from their kind of, if you're gonna deflower them, wear them till they break down. No shit. So you just ride it till the wheels fall. Don't have 16 boots that you've worn once. Yeah, no patina. There's no patina. And they suck for a while while you're beating them up. But then once you have them, there's nothing like them. I'm about to get a pair of resold. It was the day night sold that I showed you. Oh, I love it. I'm about to actually get to know my cobbler. So you got the second dumbbell and then when do you start chasing and realize I've got the great dumbbell? Is that the Santana one? No, that's the steel string singer. No shit, because that's a weird one. They didn't even make that many. That's the rare, if you wanna talk about the rarest thing that I've ever come across, it's the steel string singer. What'd they make, like five of those? Yeah, five maybe. That's crazy. And I had number five. How long were you chasing that? Forever, because that's what Stevie had. All I wanted was a steel string singer. And I finally found one and I had it delivered to me when I was making, it came in a Jackson Brown road case when I was making Continuum. This would have been 2005 or 2000, really early 2006. I took it out and we started playing it. And someone had sent me this Japanese Steve Revon Bible. And in there is a photograph of that amp and it said, this is the amp that Steve Revon played Texas Flood through and I flipped out. No way. I went, look at every little scratch on this amp. That's it? Renee, this is the amp. Renee Martinez, who was Stevie's tech. Renee, this is the amp, this is the amp. This is the amp. He went, that's it, buddy, that's the amp, you know? And he wasn't saying it like he remembered seeing it but he went, that's the amp in that photo. That's insane. And we thought the Japanese were never wrong about this stuff. Right. I thought I had it. Right. And then I called Jackson Brown's Gear Guy. Will you run this? Will you check this with the serial number? Will you see if, was this really? And he goes, nope, that wasn't it. Stevie's was a Dumbaland special, blah, blah, blah. And that wasn't it. But that's the amp I took around forever. Right. I took that amp around. And that's the one? Still on stage. Yeah. And then I found another one a couple years ago and that's the backup. Oh, shit. And that one sounds cool. It was the one in the blue. If you ever saw the blue suede steel string singer, that's the one I know. And that was Henry Keiser's. It was originally in a big combo. And then he had it taken out and put in different. So the speaker for that combo, for that head is the former combo. So it's missing, the top is blacked out. Oh, yeah. It's got a panel in the front, which is a weird little part of history. That tone is insane. These things are so, okay, so the thing about a Dumbal, and I don't know that many people outside of guitar players will know this or understand this, is that they're really fast. Their response time is so fast and unwavering and they don't sag. Sag is like this thing in an amp where you hit a note and it kind of takes a second. It goes through the tubes. Kind of has this natural compression. The transformer has to figure out what to do with it. Right. And then, and that's what people like about a lot of things. Because it kind of is apologetic to your playing. I got a Tweet DeLux, I got crazy. It's kind of a compressor. You can play and it goes whoosh, whoosh, whoosh, whoosh, and it's really fun. Dumbals go hop, yep, yep, yep, yep, yep, yep. So you start doing that Stevie Ray Vaughn stuff. You realize, oh, he liked this stuff because it was so fast. Do-ba-do-ba-do-ba-do-ba-do-ba-do-ba-do-ba-do-ba-do-ba-do. And it's like right there and it doesn't, you can't move it. It's immovable and it's lightning fast and I love that. I love an amp that doesn't back down. It just stays there. And so that's the steel string singer thing to me. And I also have this other one is another Dumbaland that's the fastest sounding amp I've ever heard. You just play it and it's like you heard it before it's done making it. Wow, what are the tubes on though? So are they always the same? No, and I'm not a tube guy outside of a 12AX7. Right. Another thing I collected before it got nuts. Tubes. I have more 12AX7s. Vacuum tubes from Germany. Every brand. Phil Co made a good one. A lot of these were made by the same manufacturer but you get a Telefunken and there's an RCA12AX7 which is my favorite. And I used to buy these things on eBay for 10 bucks a pop. Oh, I'd get them all day long. Now they're like 50, 60, 70 bucks. And if you get a Telefunken, it's 150 bucks for one of those. Mullards, Fishers, Amperex, it was the Amperex Bugle Boys. And you get an amp and you go, oh, I like it, but I don't love it. And you take out your best RCA, you take out the first, and you go, oh, it's a ruby tube or what? Yeah, ruby tube. Right? And you put in an RCA and the thing comes to life. Oh, you kill me. Right? That's fucking ruby tube. Every tube made today is. Yeah, king of the shrill. No, they're horrible. They'll blow out in a number of hours. The tubes from the 50s and 60s and some of them probably from the 40s, these were made to be military spec. Oh, yeah? So they were made to 100,000 hours. That shit is like insane. They never die. They never blow out. So you get a RCA 12AX7 that you like, you can have it the rest of your life. You get groove tubes put in a new amp, solve techs, they're gone. Yeah. They're gone. No, the amps are funny, man. I feel bad for people who don't have techs. Oh my God. Amps are a pain in the ass. You put an amp away and take it out a week later, the reverb's gone. What happened to the reverb? I don't know, the reverb's just gone. Oh, it's fucking crazy, right? Do you see how Dom and Acutonix, or Acutronix reverb tray ever taken a reverb tray out of an amplifier and opened it up and looked at it? It's just two springs across it. It's the world's worst made design ever. It's hilarious. It's like screaming down on those tubes with kids. It looks like some guy made it in his garage. They're holding on by the smallest gauge wire into these little holes and they're soldered together. And if you knock, and by the way, you see where it's situated at the bottom of an amplifier where the ground hits it? Yeah. We carry drawers full of Acutonix reverb trays because they're gone in days. I feel bad for people of the update upkeep. How close was the Two Rock to it? Good question. It had everything but the chestiness. And I think that comes from the transformers. I think Dumbled just had these giant transformers. Oh yeah, those are stupid, right? Giant, giant transformers. The Two Rock, I really liked the custom reverb and I really liked the signature amp that I made with them. Was really, really, I still use it. I still use it up. I saw that, yeah. I still use it up on it. And you know, they just got goofy with me. That's all. They like, I don't, you know, it's hard to like, I don't like telling tales. I don't, it wouldn't be telling tales out of school but I don't like stories about shit that went south but shit goes south. Yeah, yeah. And you know, it's whenever someone sees me as fast cash. Oh, the worst. If you see me as fast cash, I will, my stuff will be gone the next morning. If you see it as a long-term thing where, yeah, that's cool, we sold out 25 of them. Really cool. Let's do another thing down the line. It's hard to see me come through and go, let's make 25 and see how quickly they sell and not want to make more than 25. Yeah, yeah, oh yeah. Right? If you have the keys to the machine. Oh yeah, you're gonna fire it back up. The discipline involved in not firing the machine back up. The greed comes in, man. Instead of something cool, it becomes, you know. There's more than 25 out there. I was always a matchless guy, Mark Sampson. Love Mark Sampson. Oh, come on dude. Then he worked for Bad Cat, right? Yeah, Bad Cat. And Mark Sampson said something to me I'll never forget. Mark Sampson, is he alive still? Yeah, I think so. I haven't seen him in like years but. We play a game called Is or Was. Yeah. Based on Wikipedia. Would it say is or was? Yeah. Someone up on Wikipedia just to see is or was. Oh yeah, I do that all the time. Oh, I just. I'm like, that guy's gone, right? Are we is or what? And it'll tell you right in the first sentence. Yeah. Dean Delray is. Oh, thank God. Yeah, yeah. Mark Sampson, matchless. I mean. I said to him one time, he came in the studio. I said, I don't think I could ever really understand an amplifier. I don't understand them. I got all the books, I don't get it. He said, if you were on a desert island and all the pieces to build a radio to get you off the desert island or there on the island, you'd build a radio. Yeah, that's true. I went, that's genius. Yeah. That's genius. If you needed to build a radio and you had all the parts, you'd figure it out. And then I went, oh, I guess I just don't want to. I think my favorite thing about you is when I'm following you on Instagram and then you whip something up and I go, oh, I love the same shit. One was the Louis Vuitton, Kim Jones, you know, the eclipse, like all the. Oh, I got all the monogram eclipse stuff. Yeah. Kim Jones to me was Louis Vuitton to me. I thought he was. That's a golden era. That era is incredible. That's a golden era. I also, the last thing he ever designed. Yeah. I have a couple of. So the collector part of me, you're not collecting unless you're doing what other people think is absolutely insane. Yeah. Like it's taking chances. It's getting things when no one else cared. Right. Right. They made a run of titanium briefcases. Oh, yeah. The Biston, which is like they're 55, 50, 55. No, it's hard sided, very square. Oh, hard side. Those suitcases. Oh, yeah, yeah. The ones that they stack up in movies. Oh, I love those. And they're really more for ships and stuff. Yeah, right, right. They're very uncompromising. I feel trunks and all that. Yeah, yeah, yeah. Very uncompromising, square, heavy, you know. But they made a version in titanium and I had ordered a backpack they made. It's a steel frame camping backpack. With a titanium suitcase on the back. And I ordered it. Two years, it finally comes in. They go, so you lucked out because the titanium was too hard to source. We had to basically cut the production in half. It took forever to figure out. Wow. No one made any money. Yeah. And we have to just kind of satisfy the orders that came through. So here you go. The thing was so heavy, I had to give it back. I went, this is so heavy, I'll never use it. And it was super expensive. So then I'm like, will you keep your eyes open for any of the actual suitcases? And they were all sold out. And I managed to get two from people who had just sort of given up and didn't want them anymore because it took so long to get them. Oh yeah, yeah. Their name comes. They go like, I don't want this titanium suitcase anymore. That was last year. Yeah, exactly. Exactly. There's a lot of stuff you can get when people are over it. Of course. And they don't pay till the end. And I had to get one. And then I had to get another one. Oh yeah, your backup. I had to get another. Because I know that these will be valuable someday. It is a titanium monogram laser etched thing. And what we're talking about putting damage on it, it won't look good till it's banged up. It will not look good until it's destroyed. I keep thinking we got to do two podcasts because we need a backup. We need a... I think you almost have two back. I know, yeah, I know. Yeah, so like, if I'm not continually buying things to collect that make other people go, what the fuck are you doing? I'm not collecting the right way. Because if you buy a 5711 Nautilus, how big a chance are you taking? That's dumb. Yeah. I mean, good for you. I knew that watch though. You got one? Yeah, I have one. You got one. Yeah, I have one. You looked down and you're like, yeah, I got one. Yeah, I got one. Yeah. When you asked me to do the podcast, I had just been thinking to myself about how very little long form expression there is anymore. That years are going by and people don't know what I think about things. And I'm confusing, whether we all confuse getting into trouble, the fear of getting into trouble with the right to express how you feel or how you see the world. And we're not finding out how we see the world. We used to read interviews with people and go, what a fucking interesting guy. Even if he was in a screw up, he read quotes. We used to live in a world of great interesting quotes. Yeah, James Dean. Nile Gallagher, right? Liam Gallagher. Yeah, Liam Gallagher, man. All that stuff. I mean, I wanted to talk. So I can't thank you enough because I had Paul Stanley on and that was my whole gateway into music. Was it really? Yeah, a kiss when I was a kid. That was it. You know, I got rock and roll over and it was like, whoa. I had that cover and my mom bought it for me or maybe I picked it out because I liked the cover at a garage sale. And I just stared at the cover. I'll see a rug sometimes and it'll look like rock and roll over. I'll see an oriental rug or something and go like, that looks like rock and roll over. Anytime you see a pattern like that with the four things sort of like a wheel. But now as in my later part of my life now I can't even tell you all I do is comedy and podcasts. Alls I do is that. But every once in a while I go, dad and co is playing. I'm gonna go out. I'm gonna see John and those guys play. It's gonna take me away like music used to take me away and do another fucking place. And I just feel good. And I also love that you're so into the stuff I'm into that I'm like, that guy gets it. There are people out there who get it and no one person is patient zero for this stuff. Everyone gets it from someone else. A lot of what I'm into claptons into. But he kind of turned me on to it. Right. He either just seeing him interact with it or him saying, this is the best thing you can get. I go, I gotta get it. But Eric got all that from, a lot of it came from Hiroshi Fujiwara. Right, right. And Hiroshi Fujiwara got it from someone else. There's no patient zero for a true kind of character. It's all picked up from other people you admire. So for me, I know that Eric was the first guy I ever saw drive a Porsche GT2. Yeah. You know, he said, this is the car of the world. Oh, that car is insane in the world. So, you know, the first time I ever visited with Clapton, it was in London for a week or so. And I came home and I bought a 911 Turbo S. I bought the car from his living room. I called Manhattan motor cars. Yeah. Hey, do you have a 911 Turbo? He's like, we have a Turbo S. I go, is that any good? Yeah. Because it sounded like it could have been the lower end? Yeah, yeah. Doesn't it sound like a Turbo S? Like, well, I got the S. Yeah. It just doesn't have as much speed as the Turbo. The S always is to me. Well, in cars, I guess it is. Yeah, right, right. Well, we have the Turbo S. He's like, that's better. I go, I'll take it. Yeah. Because we look up to people in a certain way in which they interact with this. I want to interact with this, you know? So I'll copy in somebody. What I like about, there's a group of people, when I look at you, I don't go, fuck this guy and his watch and his collection. I never understood, and I still don't to this day, I understand people that shit on other people because they buy expensive things or stuff they like. So here's the thing. The audience that I have for music does overlap with the audience that understands watch collecting, but not by enough to ever post anything on my site about it. Right. What I have is hodinky. So I'll post from the hodinky page. And the idea is, I remember you're like walking into Woolworths when I was a kid. And on the way in, being worried that like somebody would see me walking into Woolworths. But then I realized- As like poor? Yeah. Right. But then I realized once you're in Woolworths, everyone there is in Woolworths. Yeah. That's it. That's it. When me growing up, it was Kmart. Right? Yeah. As soon as you get into Kmart, everyone in Kmart's cool with you being at Kmart. Yeah. And I feel the same way about being at hodinky. It's like if you decided to come to this watch website, to watch a video of me talking about watches, then you have obviously opted in to hearing about a person who collects several watches. Yeah. So it's a very fine line. It's not something that I kind of push in any other place than kind of, segmented kind of little channels of people who are passionate about something. And I also don't talk about the money of something like I do in my personal life. I'm sort of into like paid this, now it's that. But that's gross. Yep. And I've never and never will photograph more than two watches together at a time. When I see a photograph of 11 or 12 watches on a steering wheel, that to me is disgusting. Well, that's just dumb. That's disgusting. That's dumb. If you own multiples of something, fantastic. God bless you. But why would you ever take a picture of 12 watches on a steering wheel? Yeah. Or you put a watch on a Dom Perignon bottle. See ya later. You are undoing the work that I'm trying to do. Of making it just to cool. To separate watch ownership from luxury lifestyle. Right, right, right. They're complicated. Open a champagne bottle with your watch. No. These are complicated watches. Yeah. And these complicated movements cost a lot of money because they take months to make with precious materials. It's not necessarily the same thing as a leather bag. No. It's just different. Yep. And I don't think in my life they pair together. You know what pairs together really well in my life? Is a hoodie and a perpetual calendar. Well I always said the ultimate is a dirt bag with a crushing watch. Like to me that is the look. T-shirt, jeans, some beat up boots and a dope watch. And that's what your watch is in a watch. The strap is rubber. So that's the jeans. The material is steel. That's the T-shirt. And the movement inside which is a complication. It's a world time monthly calendar. That's the watch. Yeah. And same thing with me. I'm wearing an aquanaut. It's rubber. You bang it around. This isn't even a complication. But it's complicated in the sense that it's green and it doesn't exist anywhere else. I love that watch. But I don't, I don't, and I think I've been successful in recontextualizing timepieces in this, taking it away from Lamborghini, Dom Perignon, private jets. It's not about that. Nope. It never was about that. Nope. And I see now, I think the greatest test of whatever influence I have in terms of me writing stuff for Haudenki and doing talking watches and stuff, is that Silicon Valley, always known for this sort of super dialed down approach to things, will still take mass transit. Yep. Have a Tesla, three hoodies, four oxfords, and they'll have a Patek Philippe now. Yeah, they will. Because it's not a part of luxury lifestyle. It is a luxury item. But if you're coming out at the right way, it's more complex than it is rich bitch. It's more about handmade and man hours and knowledge. When you really go to the AP factory and you see that a technician is working on a minute repeater, perpetual calendar chronograph Royal Oak, which if you've ever seen one is phenomenal. Yeah. And that he's been working on it for the last three months and he's got another three months to go. Insane. One guy comes into the factory. I met the guy. Yeah. Comes into the factory, sits on that little stool, puts the loop on and keeps working on one watch. One watch. For six months. Fucking without going crazy. Do you know why the watch is $600,000 now? Yes. I know. Well, that's what I love to have people on my show, handmade people. Because when they go $1,000 boots, I bought these Doc Martens for a hundred. It's like, yeah, they're in China. This guy over here made these boots by hand and he learned to craft and he's, and they fit your foot. And that's right. And that is why if you own a complicated watch, it is your responsibility to learn everything about it or else parts of it go to waste. Yeah. And I get a 52.70, which is to me the centerpiece of watch collecting. Forget that it's brand new. It's paddocks, centerpiece, perpetual calendar chronograph. It is it. Forget about vintage, it's it. Yeah. If I don't understand the movement and what's gone into that movement, when they went and stopped the Lamania base plate movement and started making their own movements in-house, I'm not getting my money's worth and I'm not doing them the honor of understanding what they've made if I don't know everything about the way the cam drops down, the second hand cam drops down and it works off the same, the chronograph hand, the second hand drops down into the cam of the movement and now drives off of the same spring as the second hand in the lower sub dial. So you can run a chronograph hand all day and it doesn't fatigue the watch because it drops down and becomes a part of the second hand. Or that paddock completely redesigned the shape of their gears because triangular teeth were wearing one another out. Wow. And they drew a new shape of gear that makes very little contact with one another and it won't wear out. That's the stuff I wanna know about. I love that. So that when I wear it, it all, you ever see that movie, The Powers of 10? That 70s movie called Powers of 10? Now what's that? It's where it's real 70s science film strip but it's very cool. It starts out with a person with two people laying on a picnic blanket in Chicago by the water and it zooms out and it zooms out at an exponent of 10 every second, every 10 seconds until you're outside of the galaxy, until you're outside of that universe, until you're outside of that universe. You gotta watch Powers of 10. And then it goes back in and then it goes through the people and does the exact opposite and goes down into their cells and atoms. It's super trippy. I gotta see that. But it's like Powers of 10 where once you learn about the vertical chronograph, how the cam works, then you can zoom out and look at the whole watch when you're sitting on the toilet. No. You know when you're sitting down, taking a dump and you look at your watch? Look at that thing. And you go, look at that thing. And you're sort of transposing the weird, one of a kind joy of pooping with the materialism of looking at your watch. And you just sit there and look at your watch dial and you watch seconds go by and you go, those are seconds, huh? Boom, boom, boom. Wow, you realize you're done? You've been sitting there for four minutes? Yeah, yeah. Wow, boom, boom, boom. Those are seconds, huh? If you know every little piece or as close as you can come, it makes every time you look at your watch go like, oh yeah. Thanks for doing the show. It's my pleasure, man. I knew we had to talk. Oh, it's great. And I'm looking forward to hanging with you some more. Yeah, I'll see you at the store. Yeah, and also I'll be at the San Francisco shows. Brilliant. Oh, great. Because I'm doing comedy at the Palace of Fine Arts two nights before. Oh, great. So I'm just gonna stay and I'm gonna go 30, 31. They're gonna be great shows. Yeah. Can't wait for my first day of school. I'm shipping out tomorrow. Wednesday, yeah. Oh, yeah, you leave Wednesday. All right, so thank you for doing the show. I can't tell you how much it means to me. Me too, man, fast friends. Awesome, and anything you want to say before we go, what do you got? Oh, I'm going away. Yeah? I'm gonna disappear next year in terms of my stuff. I'm gonna let a rotation of the earth go around and see what's up. But I'll still be making music, but I'd like to, I need to stay home for it. The travel has, I've traveled a lot this year. Yeah, you did. So I'm gonna sit on the bench and the dugout for a year. Yeah, just chill? I can never just chill. Right. But I'd like to regroup my efforts. I think we started to go in music with these sort of single serve efforts. Yeah. Make a song, release a song. Oh yeah. Make a song, release a song. And I'd like to go back to the patients involved in making a song, banking a song. Making a song, banking a song. Right. And then putting a record out. I'm not sure that the song at a time strategy is doing anyone any favors. I just don't. Yeah, I don't believe that either. Everything's getting so particleized, I'm just gonna wait until, just wait till the rules change in your favor and then put a record out. Anyway, if people have heard enough about me, I can take a break. Thank you, man. Thank you. Thank you so much for doing the show. Thank you. And I can't tell you how much you're playing everything. Blows me away. I'm trying. It's inspired me and I love talking to you today. You too, man. Great. You too. Great. Thanks everybody for tuning in and make sure you go see Dead and Co or check out any of John's records there. You know where they're at out there streaming and thank you so much for, you know, being here. See you guys.