Nothing But Anarchy
"Nothing But Anarchy" hosted by Chad Sanders explores and subverts sports, media, Hollywood, and culture. Chad's vulnerable and raw commentary creates a fresh podcast experience you don't want to miss. Tune in Tuesdays and Thursdays at 12PM ET on Youtube Live.
Subscribe to the "Nothing But Anarchy" Youtube channel for full interviews and more anarchy!
Game analysis, social commentary, and music.
Instagram: @chadsand
Executive Producer: Chad Sanders
Producer: Morgan Williams
Music: Marcus Williams
Nothing But Anarchy
EPS #49 Exploring Workplace Likability, Travis Kelce & Taylor Swift’s Power Couple Branding, Name Drops and Knowing When Something Is Good
Navigating likability, the pop culture nuclear bomb that is Travis Kelsey and Taylor Swift's rumored romance, and knowing when a project is good.
2:25 Nothing But Anarchy Launch Party
3:51 Likability in the workplace at Google
7:26 Likable Characters in TV Shows
13:50 Analysis of The Morning Show likability
18:18 Travis Kelsey and Taylor Swift Partnership
24:38 Social Media Fame's Impact on Relationships
33:25 WGA strike ending
44:40 Usher performing at the Super Bowl
53:46 Name drop story about Michael B Jordan
56:35 Trust Your Own Timing
Tune in Tuesdays and Thursdays at 12PM ET to watch the show live on Youtube. Follow @chadsand on Instagram and subscribe to the Nothing But Anarchy Youtube channel for full interviews and more anarchy!
Executive Produced by: Chad Sanders
Produced by: Morgan Williams
This is Nothing but Anarchy. This is the show that explores chaos around the world, around culture, around sports, around media and some other stuff. I think that'll do just nicely for an intro. Okay, it's Nothing but Anarchy, right on time. So it is late September, it is officially fall in New York City and it looks like it, it feels like it. It's dark outside. It's been drizzly and rainy for the last few days. It's been drizzly and rainy for the last few days, and, writers, I think you all know what we do when it gets dark and drizzly and rainy and disgust outside. This is a perfect time to be in your little cave working on your masterpiece. So I hope you're doing it, because that's what time it is.
Speaker 1:The strike, the writer strike, is allegedly coming to an end. I see y'all writers and producers out there using this moment as content, as a way to try to be interesting on the internet. Good luck. More on that later. And my sister Shannon is going to join us on the show at about 115 today. Her first book will be published on October 3rd, that is, next week. My sister has been a writer her entire life. She has been a fiction writer for, I would say, the last two and a half decades. She is a mother of three, she is a lawyer, she is a career woman. She is a wife and a friend and a sister and all the things, and also she is soon to be. She's also an entrepreneur, soon to be published author, which is just an amazing joy for me as someone who has watched her, admired her, tried to be like her, learn to write from her, learn to have a point of view from her, acquired her artistic tastes and creative tastes over the last 35 years. It's just a really incredible moment. So I'm excited about it.
Speaker 1:We do this every Tuesday and Thursday at 12 o'clock Eastern time, live from Brooklyn, from Brooklyn podcasting studio. We have a live show. I don't want to call it a live show, but there will be a live component of it. But we have a launch party on Thursday at Pony Boy in Brooklyn, greenpoint. You can RSVP at the link in my bio on my Instagram, at chat sand, or you can send us an email nothing but anarchy pod at gmailcom to get an invite. So this is nothing but anarchy. We talk about chaos. We try to subvert industries Hollywood, music, sports, entertainment, media. We try to talk about the thing that's actually the thing inside of something. At this point, all podcasts basically say that they are the same thing. If you're here, it's really because probably because you have an appreciation for my specific voice and point of view that's what podcasts are, right, their personality shows at this for the most part, except for like docu series or whatever, but that's what our show is.
Speaker 1:Today's episode is called white lady rage white lady rage and we're going to talk about because, for search engine optimization reasons and because this is what everybody is talking about and because it'll be a nice keyword to slap onto our reels and onto this episode title. We're going to talk about Travis Kelsey and Taylor Swift. Taylor Swift and Travis Kelsey Does this couple have a nickname yet? Y'all? No, does not yet have a nickname. Okay, submit, we're taking submissions.
Speaker 1:So I used to work at a company called Google you may be familiar and when I got my job at that company, there was a criteria in the interview process that each interviewer would be asked to score the interview on called Googling this, and I worked in HR at Google. So I am very strongly familiar with this criteria. I am familiar with the ways that we tried to quantify what Googling this meant, the ways that we tried to explain it, the ways that we tried to like, dial it into something that someone could actually measure another human being on. But more or less, what Googling this represented was just like do you want to work with this person, do you like them? And that was a criteria weighted just as much, just as heavily as the other.
Speaker 1:I want to say there were four other criteria. They were like there was one that was mental aptitude, which just basically just like do you think they're smart? There's another one that was like job proficiency Do you think they can do the job? There was another that was something that had to do with passion and interest about the job. Do they actually care about this thing? And then there was this looming, thudding one called Googling this, which was more or less do you fuck with them? Do you want to see this person in the hallway every day? Do you like their vibe? Whatever and I don't want to discount vibe as something that is important to a workplace, getting to a point where I am trying to only work with people whose vibe I appreciate, who I think I have a vibration with right. That doesn't mean we're the same, it just means that we're congruent, like how I like to move, the songs that I like to sing mesh well with the songs that they like to sing we can harmonize.
Speaker 1:But at a company like Google, this created a complexity. This created a complication. This created something bad, because when people were grading other people on Googliness on whether or not they liked them they were basically just looking for people who mirrored themselves. They were looking for other white boys with cargo shorts on or women who reminded them of the sorority girls at the colleges that they went to, who made them feel like they could drop their shit anywhere that they wanted to and that someone else would pick it up. That's what they were looking for. That's what Googliness is.
Speaker 1:Do you remind me of the other dickhead frat kids and sorority girls that I went to college with, at Yale and Harvard and Stanford, et cetera, et cetera, et cetera? And so those are my colleagues and I learned a lot about what it means to be quote unquote, likable from those people. I learned the intonations, I learned how to dress a certain way, I learned how to laugh at certain stupid, ass weak jokes. I learned how to drink IPA beers. I learned how to go to hockey games. Like I learned a lot of fuck shit from these people about how to be quote, unquote likable, and I adapted to it quickly and, frankly, I became likable. I am likable Now. When I got to Hollywood, there was a different framing, there was a different application of likability, but from the same nasty place, which is more or less do other milk, toast, white people want to spend time with you, and where I found it this time, less it was it is.
Speaker 1:It is very easy for me to charm a gatekeeper. It's very easy for me to make an agent feel comfortable that I can make something happen, make a lawyer feel like I got away about me, make a producer feel like I have a vision, et cetera. That's very easy for me now. And I don't even I don't have to like be fake about it now, because now I have some, I got some points on the board. I don't, I don't have to do anything, I just have to be like hey, I made this, I made that, I made this. I know this person, this person, this person, I'm Chad. Here, I am, let's go, come on, and that's enough for somebody to try to work with me and, you know, get a lot of like punch a lottery ticket on me. You know what I mean. It costs them very little.
Speaker 1:But in the beginning I was represented by my work.
Speaker 1:I was represented by.
Speaker 1:I had no writer's credits, I had no. I had no connections, I had no. I couldn't say that I, you know, had written on this show or worked with this person or whatever. Like, I just was showing up with a script and in that script, that script needed to be enough. That TV pilot, my first show, archer. It needed to be enough to get a gatekeeper, a producer, an agent, a PR agent, whoever, somebody who was going to read like four pages of it, to be like, okay, there's something here. This is enough to usher this kid along to the next person who might be able to help them, to my boss, to my colleague, to my friend who's an agent. In my case it was a PR agent named Stephanie Jones, who called her husband, jason Hodes, who's a big time agent, who's the rock agent at WME, put me on speakerphone and said in her thick Arkansas Southern, draw, shout out, stephanie. She was like Jason, I think you should talk to this kid and you know, I pitched myself to him basically over the phone that day. That's a bad example of Stephanie's accent, but Stephanie's accent really works. It's great. So what I'm saying is I needed people to read my, read my pilot and think it was good enough to move me on to the next phase.
Speaker 1:Now, something that you will hear this is a buzzword very similar to Googliness in writing. In creative works, especially when it has to do with scripted television series, the main character has to be likable. That's what they tell you. The main character quote unquote has to be relatable. Now I wrote in Archer. I wrote Archer was my first TV pilot, which obviously I still ripped the name straight from the TV series, the animated TV series, because I thought, one, this is a cool name and two, I think this is a way to actually get people to stop when they come across my script in a stack of scripts and be like, wait, what the fuck? I thought that was already a show and it kind of worked.
Speaker 1:So in my series I wrote the main character as a reflection of myself, of how I saw myself, which is to say at that point in time I was 27-ish. I'm still a version of this, but maybe a little bit, hopefully a little bit nicer, sweeter. I was plucky, I was sarcastic, I was biting, I was scrappy, I was insecure, I was my ego was in thinking that I was smarter than what people gave me credit for. And so I wrote a character that reflected exactly that. And right, and this is a young black dude and he works in technology and so, on top of whatever chip on his shoulder he already has that he's carrying, he also is surrounded by tech bros, and so it makes it more. It just makes you made me more clawed. It made me a little bit more knifing.
Speaker 1:Now I gave this pilot, I shared it with people, I did table reads Spike Lee read it and to a person for the most part black folks in my community, in my network, they understood that character. They said, yes, he's a little bit of an asshole at times, but I understand why he's like that. It's because on all sides he is surrounded by people who are undermining him, who are treating him like he is less than, who are overlooking him because he looks a certain way, because he's black. And on top of that, black people in the workplace are infantilized, and so that character he's also being treated as though he's 20 when he's 27, 28. And I still see that shit happen to this day.
Speaker 1:I still work with producers black producers who are in their 40s, who are treated by colleagues like they're in their early 30s and late 20s, like they're at the beginning of their career and not like they're in the peak of their careers. So once it got to the stage for that particular project to get in front of studio executives white people, right Right, jesus, I'm gonna stop saying it right now, I'm done. No more rights. The feedback that I got over and over and over again Netflix, hbo, amazon, hulu, all of them, amazon, all the ones y'all watch shows on right now, and so do I got the same feedback over and over, and over and over again Very cool world, very interesting. Seems like you know this world and all the characters in it.
Speaker 1:The main character is not likable, the main character. I just can't get to rooting for this particular person with this set of issues and I'm reminded of this because I am watching a show right now. My show eventually, surprise, surprise was bought by BET, a company where the studio executives could relate to and root for the main character. The person who ushered it in was Spike Lee, who has been known to be a little plucky himself, and it never got made, it happens. The point of what I'm saying is likability, googliness, rootability is a subjective term. These are subjective terms and generally what they speak to is who do we want to give permission to be a protagonist, which is to say to be imperfect, to be a fighter, to be vicious and nasty when they need to be, to get through circumstances who reflects quote, unquote us? I'm watching a show called the Morning Show. Okay, I've talked about it before. K is my new right, that's what I'm gonna go to. K.
Speaker 1:So this show is basically about white people, powerful, rich white people fighting over power, money, influence and who is going to have to take the fall for terrible things that they are all complicit in. That's the show like. I defy somebody to give me a better explanation of what the show is. Inside of that, there are two main characters who are sneering white women. There's no other way to describe them. They are sneering.
Speaker 1:Every image, every frame of Jennifer Aniston's face in this show is either her sneering, yelling, crying, one of those three things to get her way, to get somebody to do what she wants them to do, and what she wants them to do, generally speaking, is to bend over. That's the whole fucking show. Y'all trying to tell you something. Reese Witherspoon she plays the young upstart, so Jennifer Aniston plays this older sort of war horse, like she's been a card carrying company woman and lead anchor, co-lead anchor, with Steve Carell's character who, you know me, toos himself, has to fall off the face of the earth, et cetera. And Jennifer Aniston is like how can I keep my power while this man who I have been complicit in his viciousness, while he falls off the face of the earth, how can I make sure that I am safe, even while people around me are taking falls?
Speaker 1:And I think unironically, the show has written in I'm gonna give you all some spoilers like unironically and also unmeaningfully, I don't think the show is even meaning to make this point there are black women who work at this same workplace and one of them there's two of them, two main black lady characters who are in the realm of power and influence at this particular network and in the first season one of them is so ensnared in this like what do you call one of these in this scandal with Steve Carell's character, that the company sends a white woman with blonde hair? I think she had blonde hair, unless I'm just projecting that into an HR room with her to try to trap her into saying something that exposes that she's the leaky faucet on the scandal getting out so that they can do whatever terrible thing they're gonna do to her. And that's the lesser of the two bad things that happen to the black women in this show. The other one is raped and has an overdose suicide. That's the other black woman in this show.
Speaker 1:Meanwhile, jennifer Aniston and Reese Witherspoon, who are the lead characters aka quote unquote likeable are sneering and snarling and yelling and crying and doing everything they can to twist up each other and everybody else into their power vacuum, like that is the fucking show. So I was watching football this week. Sunday I'm sitting in Tim's basement and we're watching the chiefs. Who the fuck did the chiefs even play? I can't even remember.
Speaker 2:They played the Bears and they're pretty forgettable, so it's understandable.
Speaker 1:They are forgettable. But it's chiefs bears, the chiefs y'all. I want to tell you guys something the chiefs have, in my opinion, one of the best three football players I have ever seen play football Ever in my whole life. His name is Patrick Mahomes. He's black. Then they have a tight end named Travis Kelsey, and Travis Kelsey is here's what he actually is he is a milk toast white guy with a milk toast white guy brother from Ohio who do a podcast together. His brother's the center for the Philadelphia Eagles. Very good, they're both excellent. They're both excellent at football. They're great at what they do, all-timers and what they do. But Travis Kelsey a few years ago, probably like seven years ago, people started paying attention to the chiefs and they had this tight end Travis Kelsey who had a fade in his hair and he could dougie and do the dances when he scored a touchdown. And we did black folks, I'm talking to y'all now we did the thing that we always do, which is when a white guy is 40% less cool than the rest of us, we say they're cool. And that's where Travis Kelsey sits. He's like 40% less cool than the average black person and so we call him cool. And I know this guy because I Went to high school with a lot of these guys and in fact I went to college with one of them, one.
Speaker 1:I went to Morehouse. In high school, 40% black, high school, 50% white. There were a lot of, not a lot. There were a few white guys Hughes families were poor, who had fades, who wore Jordans, who talked like us or I shouldn't even say like us, because I didn't even talk like us who, ah, here and there might slide in an in bomb, and guys and guys not I put guys, would let it slide. I will not call them out by name, but like these are the guys who would jump in the car with the black kids, travel around to the parties, wear the Jordans, kind of like do the daps, do the dances, know the culture, etc. Etc. Etc. And Some of my closest friends to this day would sort of ride for them as like no, no, no, no, no, no, no. Like he's like us, he's with us, no, no, no, no. It's not that I know the other guys, but like this one, he's with us. And that's what people do for Travis Kelsey. That's what people were doing for Travis Kelsey until, and now here's the switch and now here's the flip that's always available to those dudes. Travis Kelsey has decided recently that he is white and, as such, the apple of his eye is one Taylor Swift.
Speaker 1:And so Taylor Swift on Sunday was on Tim's TV screen that I was watching for I would say 35% of a football game. That was a terrible, fucking football game. It was a horrible blowout and there were players pointing up at the skybox at her and she was overreacting to touchdowns and the announcers were talking about her and that and a Taylor Swift explosion happened because Taylor Swift and Travis Kelsey Maybe are dating. It's not even clear, hasn't been confirmed. They know each other. Taylor Swift was in the box with Travis Kelsey's mom. That's all we know. They left and they left together, not holding hands, not touching each other, literally just walking side by side out the tunnel Travis Kelsey and Taylor Swift.
Speaker 1:And there's a Taylor Swift bomb that goes off in culture everywhere. Every single sports podcast that I listen to has led with this exact same segment. Every single everywhere that I look, there's tweets about it. Morgan informs me that Travis Kelsey gained 400,000 followers overnight. His merchandise sales went up. There are people tweet.
Speaker 1:I saw a tweet that said I'm paraphrasing we're so happy for Taylor. She found an American guy who loves his mom, so and so, and it's like. It's like the the thing. The two things that white people love the most have come together to create a nuclear bomb, which is Taylor Swift and football, and inside of that a milk toast white guy who can do the dances like boom. And now we live in. For the time being, we live in the Travis Kelsey Taylor Swift Overse and Tim brought this up while we were sitting there watching it, but it's something that, if you know it as a part of the history of Taylor Swift, you cannot unsee it and you can't. You cannot do the math on how much it's responsible for the Taylor Swift Overse, which is Kanye West Walking up onto the stage in Taylor Swift's first really major Sort of seismic moment when she won her Grammy was an MTV of musical war, I think it was it.
Speaker 1:Whatever it was, kanye West goes on the stage, takes it out of her hand the MAs and says again I'm paraphrasing in so many words, like Taylor, I'm gonna let you finish, but Beyonce had the best music video of on time of all time and the response to that moment, which continues to reverberate into today, was like white America Coming and laying itself down on top of us, at the feet of Taylor Swift, so that she could walk on our backs into, like, into the moment that she's in today, which is that she is like. There are people, to this very moment, who will tell me that Taylor Swift is a more important star than Beyonce and that she is in the, she is in the class of Michael Jackson and Prince and you know, I Don't know Madonna like these, these all-time iconic greats. And like I sat here and told y'all I can bob my head to some Taylor Swift music like, without a doubt, dude, but like I'm not stupid, I I still have taste. I still know the difference between Prince and Taylor Swift when I see it. Come on, man.
Speaker 1:So I'm what I'm left with sitting here are a few Observations that I take away from this moment. One is that and I I have already noted this, but like, if you are in the 60 percentile of Talent and abilities and you are white, you have a great chance at an amazing life. Travis Kelsey is at the 99 percentile of football abilities, but he's at the 60 percentile level of podcasting abilities and His podcast is humongous because of what he has going on in his personal life right now. Taylor Swift likewise, probably in like the 65 percentile of musical abilities, maybe in like the 90 percentile of writing abilities, but like she is thin, she is white, she like really white. She has, you know, rosie red lips and she looks like a little girl, and white people love that, and so the two of them now combined are creating something that I, I Don't like. When you watch it, it doesn't look like love, it doesn't look like an electric connection, it looks like business partners, and I think that's exactly what it is. And that leads me to like a to another observation that I have been paying attention to, probably for the last seven years, as I have watched, separate from Taylor Swift and Travis Kelsey.
Speaker 1:I have watched my Famous and non-famous friends, but who who aspire to be famous on the internet. Couple based on Marketability, as a couple basically based on like how do we look in our posts? How many comments can we generate? How many? How much do people share these photos of us with each other and talk about us one way or another? And I watch people who have 3,000 followers do it, and I've watched people who has 700,000 followers do it for the for the sake of like I Don't know what Buzz, something to do. I have watched people couple, I watched a couple, one person who was becoming a big star a few years ago and her partner, who was mostly talentless in his own, in his own pursuit Sort of like ride that person's coattails to some level of like, clickability, like search ability, like you know X amount of followers and people knowing who this person was, and then get there and Still not a not be able to get anything off with his, with his quote-unquote talent, you know what I mean like still not be able to Generate anything in the way of money or a following or buzz or whatever for the thing that he actually came to do.
Speaker 1:And this is, I think, more than like white stuff, I think more than NFL meets music superstardom. I think this particular thing represents what we love the most, which is the idea, or not even the idea, but the action, of Sacrificing what is most sacred to us, which is like our intimacy, our love life, our connection to another person, for the sake of just More followers, more clicks, more buzz, more merch sales. You know, I mean whatever the fuck it is like, we will give it all To the algorithm, we will feed it all these people. When you look like people have commented on this and some people think this is out of bounds, but I think it's totally within bounds because they're forcing it down our threat throats.
Speaker 1:When you look at the two of them Beside each other, you can see. When we watch movies we're like these two actors have chemistry or they don't. We say that that's a part of a movie. When you look at these two people, it doesn't look like their little vibrations are doing any connecting, like they don't even look, like they notice each other there. It looks like the algorithm made it and that's how more and more couples look in real life and it's like they look. You can see them posing for the photo. They know when someone's camera is out taking a photo of them from across the room at the party or at dinner or wherever. They know. Like we're too aware of what we look like right now and it's actually now in our Shit, it's actually now in Travis Kelsey's love life. Morgan, do you wish that you brought your things so you could hold it up and say wrap this up?
Speaker 3:No, I was gonna say, as a devil's advocate, I'm gonna jump in and say that I think it's real, because he was pursuing her for a while and apparently they have been seeing each other in secret and this was the first public outing.
Speaker 1:Let's talk about the first part of that. So, about the first part of that, because you, you had a, you had a list item for me that we punted on we'll come back to later which was about dating apps. Oh, oh, and you, let me tell you, when you don't really need a dating app, when you pass, when you get a blue check and you pass a certain threshold of followers on a social network, the social network becomes a dating app. Which is to say, travis Kelsey pursuing Taylor Swift, which I know was likely to be direct messages you know what I mean. You made her a Frenchman bracelet.
Speaker 1:Yeah, and a Frenchman bracelet. No doubt the way that you can I've been told this the way that you can shoot off a hundred billion, you know copy pasted like okay, I'm gonna be super real. I used to have there's this photo of Kevin Bacon leaning into a room like this okay, you could Google it right now. This right, just Google Kevin Bacon leaning into a room.
Speaker 3:Of course you did this.
Speaker 1:Do you know this photo? I used to just copy paste this exact same Kevin Bacon leaning photo into a DM. And you just, I mean, cause, like all your, it's the same as the Instagram or the Facebook poke. All you're trying to do is just say like, hey, what up? Yes or no? Do you like me? Yes, or it's like a. The checkbox is like do you like me, yes or no? That's it. And Travis Kelsey, quote unquote. Pursuing Taylor Swift just means like Travis Kelsey won a couple of Super Bowls, went on some reality shows. He thought he had elevated his star to a point where he could shoot off his DMs to Taylor and maybe, or maybe not, she would. She would respond and it costs him nothing. It costs him nothing, all right, that's enough on that. White Lady, rage Beware.
Speaker 1:I also liked the morning show. I'm I'm three episodes into season two. I think that the writing is pretty good. I think the acting is so on the nose that it's a little bit tough to watch sometimes. I think that the show looks wrong. It's too sparkly, it's too sanitized, it looks too Apple. I know that's what they're going for, but it's like you overdid it. The music is mediocre, but the character building is good. It makes them, I think, nuanced and smart points about misogyny, workplace culture, power hierarchy, gender. I think it accidentally lands on some good points about race that it doesn't even know it's doing Like the first time you see Jennifer Aniston in the show talk to a black person. She's basically like growling down her black lady agent and I don't even think the show knows, like it doesn't even. It's the first time that you also see her bare teeth. I don't even think the show knows that it's doing the thing. Listen, man, I have been subject to White Lady Rage. I know about it, y'all know about it. I'm not about to come up here and fucking lie to y'all about it, as it's not being a thing. It is a thing and we just talked about it. So great, all right, let's play music and then when we come back, we're going to talk about. What are we going to talk about? Oh the strike, oh the strike. All right, we're back. Josh also just mentioned. He just reaffirmed how bad the music is on the morning show and that he knew without looking that the music supervisor was a white person.
Speaker 1:I would take you, I would say that and I would, and I would add that the theme song, which I have to fast forward through every single time, the first I mean not the first time, but like. I finally got to Googling who is the artist that made this, because I had in my mind I was like I know this is a bare faced black man who looks a way that white people project soul onto him and struggle and hardship. And in fact, he might even be British and I Googled he was exactly that. It was crazy, it was incredible. I was like this is crazy. This is like um, they, they, no, let me not stop. They love some shit Like they love Y'all that listen. There was a blog called stuff white people like. So it is within bounds for me to add to the list of things that motherfucker came to go Google and did a talk at Google about stuff white people like and he was so fucking smug. I would just like to add love, a bare faced, struggle, looking black person singing about the struggle.
Speaker 1:Um, especially one from another country, and I don't know if Michael Keohanuka is that, I don't know how pronounce the name, I don't know if he's that or not, but like man, they love him on a theme song. I like his music too, but something about it. All right. Moving on, I'm going to go to the writer's guild. Um, if you know anybody who works within even a half a degree outside of the entertainment industry, you have no doubt seen endless tweets and Instagram photos of press releases about the writers coming to an agreement with the studios. Uh, I bet those people have not read the articles that they have tweeted at you or that they have photographed for their Instagrams. I bet you they do not know what is in that agreement. Um, all they know is that, ostensibly, they will be. No, let me take my time here.
Speaker 1:So, most of the people who are being the loudest about celebrating this moment many of them I shouldn't say most, cause I can't quantify, I can't actually prove that, but in my own observation, many of them barely work in the industry. That's one no shade. Um, they're using this moment as content, as something, to show some sort of solidarity with a group of people that they are very much on the fringes of, who, who, when the thing turns on them, will not do the same work, to sort of like help them and respect them, and what I'm speaking? I'm speaking specifically to like the people, the writers specifically, who are atop the industry, like when this thing turns and it becomes you against them in a in a negotiation, when it becomes you being grandfathered by them into a deal and now the deal has this many dollars to spend and they got to split it between you and them. Like they're going to crush you the same way the studio did bartenders. They're gonna crush you the same way the studio did moon lighters.
Speaker 1:Like People with one writing credit. You know I'm saying like Great congrats. I mean, like I hate to. Even I was talking my sister about this yesterday. I know what I sound like right now. It's I said it before to fuck the studios all day, every single day.
Speaker 1:Guess, guess what I'm about? To go walk into those studios for numerous projects and try to sell them things. Like right now, like tomorrow, yesterday. The producers are already. I don't know if I'm supposed to say this, but the producers are already texting us. They're like, hey, man, we're back in business, let's go. How you family, how you kids, how's everything going? Ba, ba, ba ba, trying to make up for like three months of not having talked to us at all and then like let's go, it's time to go sell shit. And I'm with you like. Thank you for not hitting me over the last three months. Let's go sell shit if we can sell it. So I'm about to go try to do business with these studios right now.
Speaker 1:That's me just being real. All I'm saying is, like there's the studios, there are the well situated, well compensated people who were gonna be good, with or without this deal happening, as regards to the creatives, the writers, producers, otherwise, and then there's everybody else and Everybody's celebrating the same, everybody's dapping up the same. Like this is like like all of a sudden, you know, shit is sweet again. Remember that this industry sucked before the strike. Remember that. Remember you were broke before. Am I being an asshole? A Little bit am I, but do you feel me or no?
Speaker 3:I mean, I see where you're going with it.
Speaker 1:Yeah, morgan, go held up two fingers in a very like an inch apart, like you're being a little, I'm just, I'm just trying to be real because, like I Just got out of this boat two seconds ago, like I just was drinking the Kool-Aid of like, yeah, like we're all this together and I'm just I'm the remember. Now you're about to go pitch stuff that is, if it gets bought, you're going to get the smallest, shortest straw of the stack. Remember that, remember that who was just your ally two seconds ago is now you're up. Like that's a fact. I promise you that's a fact. Can y'all believe me? Like I'm dead ass, remember, like I'm already. Already Somebody's trying to squish me in a deal that we haven't even got done yet, because they know the floodgates are about to open and we're about to go walk our shit back in and it's like, damn, don't.
Speaker 1:We ain't even put ink to paper yet and y'all already trying to crush me again. So, no instagrams by me, no tweets by me. No, no, no, no, no. I'm not gonna be fake. I'm, I'm fake. This is bothering me.
Speaker 1:Over these last 24 hours, a she'll sent me something on. She'll sent me a text of An instagram post that he saw yesterday and it and all of the congratulations over something that is just not something to be happy about and it really poked at me. I'm really damn, we really be, we really be just be lying, like we really just be being fake, like damn, I Got a few texts like congratulating me for the, for the, for the writers skills. I hope not to regret all these things I'm saying into this mic one day. But like I don't care is how I feel. This today, this is how I felt if I change our field and it is what it is. But like I got texts congratulating and excited and all this other stuff and I'm I Don't know man, I'm not, I am not moved. I think that's plenty. I'll be back. I'll be an asshole, morgan. Actually, before I leave, morgan flower, here is your mic on yes, yeah cuz I forgot to say what I.
Speaker 1:You need an answer for something that you said to me outside of this building on the other day. Do you remember what you said? So we're walking out. We're walking out and Morgan's like where do you get your clothes from? And I'm like I don't know, like here, this way, that way is whatever. And then she's like I just can't, I just can't imagine you shopping. I was like what. And then she's like she's like I just can't imagine you like walking into a store and like holding something up and being like hmm, morgan, a answer for yourself. What does that even? What does that mean?
Speaker 3:I like I can't Visualize like you walking into a store and like because you've talked about this before how, like you've never really like. You've always had, like, your own unique style. And so, like you were like, oh, I got a new shirt. No, I was like, oh, that's great, I just can't. I can't why?
Speaker 1:What do you think that means about me? That you can't visualize me going and shopping?
Speaker 3:I don't know, I don't think it means anything.
Speaker 1:It must know, morgan, I'm gonna give you time to think about it.
Speaker 1:I'm gonna play music and we come back. I want you to answer because it has to mean something. These thoughts will just come from nowhere. All right, we'll be back. Think about it, morgan, all right? Morgan divulged while play, while I was playing the music, that she can only imagine me in certain settings. She only sees me with double middle fingers up, and it's it's leading me to feel as though she has an incomplete, an incomplete understanding of who I am as a person. In fact, I do not enjoy going and holding up clothes and like Examining whether or not I want to buy them. I Do love having new clothes, though, like it makes me happy. I just don't like the process of what it takes, what it requires to get them Okay. So is that your answer for why you couldn't picture me doing it? Yeah, I only see me doing certain activities.
Speaker 3:I only I said, like I only see you as double middle finger. Chad, you storm, you've stomping here, you, you, I don't I don't stop on, you like and then, and then you leave.
Speaker 1:You think I'm stomping? No, no, you said it, morgan. Staying on your claims.
Speaker 3:No, you don't stomp in here. You actually come in here in a fairly good mood most days.
Speaker 1:I'm in a good mood the whole time for the most part, like that's, and that's the thing that I think is. That is what I think is fucked up about this idea of likeability. Like Not, this is not a forced connection. I really believe this.
Speaker 1:I think the thing that makes a person most likable is clarity like transparent, like is is, is being raw, like being a real outline of who they are, and Not to make it as a racy, but I'm sorry, like we don't get a chance to be transparent, like we don't get a chance to be clear in office settings like Google, because the job is like Reflect us, don't be yourself, reflect back on us, what we want to see, what we think we look like. But the most, the best version Anyway, I'm yelling the best version of a person to me is the most clear version of them. Like I like to think correct me if I'm wrong that even while being honest and a little bit Synical about some things going on right now, I like to think that that's a more likable version than me being like raw, raw shish moob, I bought the right of strike like. You know what I'm saying. Do you agree or disagree anybody?
Speaker 2:No, I would agree. Sorry, I took my out of my mic, oh.
Speaker 1:I mean, if y'all look, if y'all this is what this is the conversation I have with my sister Am I happy that I'm gonna make more money? Of course, of course I am like. Am I happy that I'm gonna get to sell a project and like, get a you know me, get like a nice giant, like Deposit in my account? Of course I am like, but am I? Am I happy that I have to have meetings with more Hollywood people? How could I possibly truthfully answer that yes to that question? How could I possibly do, like, how could anybody, how can anybody like, how could anyone possibly answer yes to the question of are you happy to go back to work? Not, like not. Are you happy about getting to do creative work again and think about certain things and challenge yourself and grow in your Crafts, make money, etc. But, like, are you happy to go back, talk to producers, do the job of making something that you think, putting something on a page that is raw and creative and reflective of your human experience and that you think says something and means something and comes from like your, your spirit and what you're walking around with and all that stuff. Are you excited about doing that and then meeting with somebody who says, yeah, but I think Apple wants. I think Apple wants more bodegas in their shit. So, just like, put some bodegas around there. Like no, who could be happy about that? Happy about the money, though, can't I I'm so happy about? I actually was sitting around yesterday just like feeling happy about money. I was like, yeah, money, all right, thank you.
Speaker 1:Morgan just called Chad to pop, basically to pop likeable, extremely right, yes, no, okay, thank you. The next thing I'm gonna say is not going to be likeable. I'm white. People had their fill today, so I'm shifting gaze a little bit. Um, y'all are gonna hate this, but this is. This is honesty. So it is what it is. Usher is performing at the Super Bowl. Now I See y'all celebrating that. I see it Quickly and honestly. Are y'all mics on? Yes, well, first of all, are you guys excited about us? You're performing at the Super Bowl? Yes, why I move on? Yeah, but I I have mixed feelings.
Speaker 1:Okay, like I have mixed feelings about everything, Okay so, morgan, only, and if you're listening, I want you to do this exercise by yourself in your head, on the count of three. I want you to tell me what Usher song you're so excited to see him perform in a stadium at the Super Bowl. One, two, three, excellent, excellent job by you.
Speaker 3:No, I have a bunch of songs swirling. I'm just trying to think of what I'm excited about.
Speaker 1:Okay, so this is okay. You're making the point for me, which is Usher is a great. He's a phenomenal. First of all, I got to get this out of the way. On the Usher scale, I'm not high. I'm a three out of 10. If we're talking about Usher fandom, I'm a two or three out of 10.
Speaker 3:Confessions is a formative album from my life Confessions. There we go. You want to hear confessions at the Super?
Speaker 1:Bowl I did his T-Slo. This is what I'm saying. Usher is a great-. Oh, my boo. You want to hear my boo at the Super Bowl? Okay, I mean, the Super Bowl is a football game. So this is what I'm saying and I'm yelling. But I'm sorry so I can't read the chat right now because y'all keep going in the chat, but I can't read what you're saying because you're going to throw me off.
Speaker 1:My point is this Usher formative artist, to my teenage experience, 1000%. But we're going too far with the Usher shit man. I know he's having a renaissance right now. It's dope, it's cool, it's reminding us of songs that we used to love. He hasn't made one of those songs in 15 years probably, but in the moment when it was his moment, it was extremely important.
Speaker 1:It was not a Beyonce level, it was not a Jay even a Jay-Z level. It was not a Prince level, it was not a Michael Jackson level, it was not like it was not one of those, but it was like it mattered, it rivaled, like where Aliyah probably sat in our zeitgeist for a little while and you know, her train ended extremely prematurely. But like, what Usher song do y'all want to hear at the Super Bowl. The only one I can come up with is Caught Up, but that's not like one of the top 20 favorite Usher songs. So like he's not going to do that song, like what song is going to go crazy at the Super Bowl and people are going to be dancing or holding their lighters up, or what do you have, josh?
Speaker 2:So I think that song and I really hope they do this it's got to be. Yeah, like. I feel like if they do the little John feature, I feel like that's the song that obviously comes to mind. I don't even remember if that's his song or if that's if he's the feature, or I don't even remember who. I think he is.
Speaker 1:I think it's his song. I think it's his song. I just think he don't have no response is going to be a little melodramatic, it's going to be a little underwhelming. I think people are going to be happy that Usher's there, but I'll be honest with you, I don't even think it's going to compare to seeing all those hip hop legends walk out in Inglewood. Was that last year? Yes, that shit was crazy to me. Oh yeah, sorry. Two years ago.
Speaker 1:It was two years ago, like seeing Snoop and Dre and 50 and Eminem and I don't even think Jay-Z didn't perform, but he was there. Like that had a different energy. Like what kind of energy is Usher going to give? The weekend tried to do the Super Bowl and it didn't hit. Like it didn't hit because it's like these are songs too.
Speaker 1:I've been listening to House of Balloons this week because it's been rainy and dark and I'm just like it's fall. It's like this is time to listen to House of Balloons and phenomenal, incredible, like such a great, such great melodies and weird darkness to have in your head. If you want to just do that for a little while, I always have to like offset it with something light and poppy afterward, but it doesn't. It's a Super Bowl, y'all. It's supposed to be turnt up, it's supposed to be a party and you can go. You can certainly like go into your purple rain and like you can go into your. You know, your like heal the world, you know, hold hands like lighters up kind of bag. Of course that's a part of it, but it has to have like an energy about it and I just don't, I can't think of like what Usher joins gonna, I don't know man OMG.
Speaker 1:What.
Speaker 3:Oh my God, how's that? Oh my God, oh.
Speaker 1:That was so good, good job. Could you do that one more time? Like what I just sometimes. Okay, do y'all ever have these moments where you're just like is it me or is it y'all Like? And Usher is one of those things that gives me that where I'm like you all are telling me that this is supposed to be something I'm supposed to revere at an all time great status. What is it that is different about me and what's going on in my chemical makeup that's not making me have this like fizzily response to Usher that you like, that you all are having as a chemical reaction to it Like, why does it and I'm going to say this to sometimes it's about like there's a certain type of like R&B guy who, as a character in, as a, as a make, and he's the archetype of it in a lot of ways as a character, it is the smooth, baby faced, shape up, having waves you know, skincare routine like wavy.
Speaker 1:I don't trust those niggas. Don't trust them. Don't trust them in real life. I know some niggas like that. Don't trust them, don't. I don't relate. We don't vibrate, we don't like we're not, we're not. Those niggas like to hold up a shirt and be like. I don't like that. So maybe some of it is like a personal preference. Am I being an ass home working? Do the fingers know a little bit? I'm just being real, like that's not my favorite kind of person, so maybe that's why I don't completely vibe with the music, but I don't know. I'm being shady today.
Speaker 1:Let me talk about something I like. What do I like? What do I like? Chocochip cookies, gucci man, rihanna. We're having a party on Thursday. I think that's going to be fun. How many RSVPs do we have for the party? Okay, let's talk about the party. So we have a party on Thursday, pony boy in Greenpoint. It will be our first time meeting the audience, I would say in real life, or just. You know people in our community and I think we're going to hopefully do more of it if it goes well. Yesterday we had a Morgan and I had a conversation about capacity, the bar that it's going to be at whole. How many people is it supposed to hold that bar?
Speaker 3:150.
Speaker 1:Supposed to hold 150 when it's fully functioning and we only have how much of the space? Half of it.
Speaker 3:We have two thirds of it.
Speaker 1:Two thirds of it, so that's 100. And we have now 82 RSVPs. You said we have 82 RSVPs. My prediction is that, however many people do not show who RSVP will be replaced by people who didn't RSVP basically. So I am expecting somewhere between 80 and 100 people If we stopped promoting it right now. So Morgan and I had a conversation yesterday where Morgan expressed some nervousness about not having enough space for everybody. Is that fair to say? If we keep, she said, should we cap it? And I think these things are all connected.
Speaker 1:I think this is connected to me not wanting to hold a shirt up also, and she and I was like, basically I was like let's kick the can on that, like let's just, let's just keep promoting and see what happens. You know, like I would rather be standing in a room that's too packed for our event than to be standing in a room that's too empty. And I do think it's related to the thing about the shirt. I do think sometimes I want things to just happen, like I just I'm like, I want like magic, I want, I want shit to. I mean, I've been told this in a way that is not playful, I've been told this in a way that is serious. Like sometimes you just want shit to just happen, like sometimes you're just like you're, just like you just want it to just be done and everything can't go like that all the time. But in this case I want that for our party. I want I want to just like snap our fingers and be standing in the perfect amount of people to be in that room and for everything to go perfectly. And I think it's going to go well. Like it seems like there's a good energy about it. So I'm going to tell a name jobby story. So this is, this is what I have been feeling and swirling on lately, probably five years ago thereabouts Again, back when I when I told you all like Terrence J was showing me around Hollywood basically black Hollywood and I was there one time for a meeting for a project that I was working on with Michael B Jordan's company, outlier Society.
Speaker 1:It was a project about, it was a feature film that I had co-written about a young black violinist no, no, no, a young black conductor, who she was living in DC. She was from DC and maybe one day it'll get made, so nobody steal it. But they picked it up and the head of his company was a woman named Alana Mayo Shout out if she's out there somewhere and Alana at the time was. She was in a relationship with Lena Waithe. I think they were engaged back then. I don't they're not together anymore, but I remember I had a conversation with her one day.
Speaker 1:She's probably like mid, late thirties or might even still be in her late thirties and she was just. She was someone who felt familiar and understanding and like a good listener to me, as in a pretty impatient and in some ways angsty late twenties. I guess I was at that point or maybe I was 30 on the dot. I just wanted my. I just like wanted my shit to go. I just like I felt like I was in this holding pattern of like, ooh, like you have this cosine and this cosine and you know you got this opportunity in front of you and this thing and everything just felt so tied up in these like contingencies, like if this happens, then that happens and this happens and that happens and everything felt like waiting for somebody to give me a green light. And she told me she suggested a book to me that I never read, that her dad gave to her, called what to Do when it's your Turn and her message to me was basically stay ready, because at some point one of those green lights is going to go and you're going to. You know you're going to have an opportunity to do your thing, whatever your thing is, and I expect that the book probably lays out, like how to execute when it's your turn.
Speaker 1:And I do this all the time. Like I told you, spike Lee gave me a, he gave me, he literally took the time to give me a list of movies to watch and I didn't watch them. And I do that shit. All the time. People, people always, are pointing me in the direction of something that they believe in, something that they think is good. And many and most of the time and maybe we all do this, like most of the time I don't partake Like I don't because I'm like I'm busy, like I'm doing what I'm doing, like I'm looking at the stuff I see, like I'm picking up the stones that look interesting and shiny to me. But in this case I rejected the premise because it started with. It seemed like where it started was like you get a turn. You don't know when your turn comes, but when it comes, be ready.
Speaker 1:And I don't believe in that I cannot live waiting for somebody. Honestly, I'm waiting right now and I'm waiting for a studio to say, a podcasting studio to say like hey, okay, now here's the release date for your show. And I'm waiting for a production company to say, okay, now it's time for us to take our project out to the market. And I can't live like that. I refuse. Part of it is you know, my audience grows every time I have one of these shows or like a book come out or something else, but it's always on somebody else's time. It's always when it's advantageous to the publisher, to the studio, to the producer, whatever. I don't want that. I want my turn to be, when I think it's my turn, like I trust the clock of the universe, of God's clock, and then after that one, if it's ever left up to me beyond that one, I don't want to wait for anybody else's clock, and so that's why I move like this. That's why some of my friends in Hollywood will get further in Hollywood than I will, because they are willing to wait. And some of them will get nowhere because they are willing to wait. But it's a crapshoot. You don't know who it's going to be, you don't know which one it's going to be. I don't know how to make a connection here, but one of, well, I do While I was working on that project, outlier Society and this is the thing about working on projects at the companies that are owned by these big name people, whoever think about it the Rock, kevin Hart, morgan Freeman I just threw that one in there because I worked with that person but, like, think of a person who you would want to work with Donald Glover, issa Rae In the case of many of these companies, most of them those names are their vanity tags, those are names at the top of the masthead to get doors open and make things happen.
Speaker 1:And of course, those people own, they have ownership and they have creative ownership in those companies and what they produce. But like they're not there, like they're not around, I thought, because I was working on an Outlier Society project, that that meant that I would get to meet Michael B Jordan and we would work together on the project. And in fact, where I met Michael B Jordan and we never even once spoke about the project I don't even know if he ever knew about the project was at Terrence Jay's house. It was me, him, maybe three other guys and we're like they're a click. Those guys hang out all the time. They go out all the time. They're a click. And I remember we're like standing in front of Terrence's house and let's just add 10 more people and say that some of them were passing around a J.
Speaker 1:And I remember standing there like literally talking to Michael B Jordan about anything and everything except for that project, and wondering, like, if I even bring this shit up, will he even know what the fuck I'm talking about? Like, will it be advantageous to me or will this set me back somehow? If I talk about this project and he's like huh, am I going to look like an idiot in front of all these people if I bring up some shit that I think we're working on together and he don't even know about it? And that's no shade to Michael B Jordan. In fact and this is where I'm going to be super real I am trying to build this thing like and I don't just mean like direct deposit, I don't just mean nothing but anarchy, I mean like my whole spaceship, such that I only have to talk to people that I want to talk to. Like that's sort of the point.
Speaker 1:I love talking to Morgan and learning about all these interesting conversations she's had with other people and never having to even see those people one time. I love it so nice, so fun to be like okay, morgan, then what did they say? Then what did you say? But not to have to actually have that conversation with another person. Morgan, do you actually like having these conversations? Do you like talking to people? I think you do.
Speaker 3:Yeah, I like talking to people.
Speaker 1:Yes, you do, you love it. You seem to love it, at least I don't know. But the point of the whole thing besides this, to give another name drop for Morgan to add to. She's making a supercut of all my name drops and I think in that supercut you should include, like the include enough of the name drop so that they know I'm not just like. These are not stories about other people, these are like stories that I was a part of in some regard, even if it's a very loose part, because I think that adds something interesting to the show that people want to tune into. But, like, the point for me is just like I don't have. I do have some level of patience, in fact I think I have like over a long arc, I think I have a really high amount of patience, but I don't have the thing. I'm out, I've run out of the thing. That's like pick me, pick me, pick me, and you know what? Here's additional proof to that.
Speaker 1:I think a lot of people. I think what people respond to sometimes in what I do is that I will say somebody's name and what they did, like I will say Bill Simmons, even though maybe one day I want to do work with Bill Simmons, but because that maybe one day is. That is bullshit, like it doesn't exist, like the maybe one day thing, like, ooh, I don't want to upset this person because then maybe I'll have to blah, blah, blah and like, oh, I don't want to, I don't want to say too much about this thing and that thing because, like, how long are we going to hold our breath? If you're like most of you all who are listening to this, like guys, we're like, we're like in our mid, late 30s, like, when are you going to? You're going to be 50 still trying to like, like, not step on the crack. Come on man, this is bullshit. I'm sorry I went back into that tone. I didn't mean to, but it happened. All right, music and then my sister's going to be here to talk about her book and her life and other things. So here we go. All right, they said Curtis low was the finest picker to ever play the blues.
Speaker 1:I think that that was a rewrite. Um, all right, shannon is going to be here opening the phone line right now. Shannon is my sister, my IRL sister, shannon, here, she is. All right. Hello, shannon. All right, goodbye, I'm going to go back to my book. Go buy my sister's book. We're going to go to quick. I'll do one Q and a Morgan's thing. Morgan, could you please read me your question, morgan? There were several questions from Instagram, but Morgan Morgan wrote one of them and I want to talk about it. I think it.
Speaker 3:I feel like it's related to part of her job here at my question was how do you know when something is good and in hand with that, like how do you know when to stop editing or trying to fix something, like when it's when you're like it's finished now.
Speaker 1:Yes, so I? I read that as two questions that are related and separate. The first is how do you know when something's good? The second is how do you know when it's done? And I think the answers to both is that you can feel it, um. But then that points to a deeper question which is like how do you know what you're feeling? And also like, why can you feel it so, like, how do you know if something's good?
Speaker 1:I, it's my point of view that, as it regards to well, with regards to writing music, in some ways, uh, like visual performance, tv movies, many different types of like, entertainment, even sports, in some ways, um, I think that uh make it personal. I think I, or one knows, something's good, because I was exposed to a lot of stuff that was good early on in my life and throughout my life I was exposed to me. I went to art school, I was. I went to Montesquieu school and preschool I was. It was encouraged for me to participate in the arts and I was on a kid's TV show when I was 12. Um, I went to the Kennedy center and saw theater and the nutcracker, and my parents took us to all different forms of like, uh, concerts, you know performance arts. I did plays. I did satyr plays Like I was some. I was submerged in artistic experiences from inflight, from infancy, basically like I was in piano lessons for 12 years of my life, like I played every sport I I had. I had to absorb, absorb like what is a quote, unquote good version of something and what is a bad version of something, to the point where I had to unlearn in some regards uh, what is good enough in this industry? Because my version of what's good enough is way further than what's actually good enough to get where you're trying to go in this thing. Like you can get by at a C minus level as a screenwriter, you can get by at a C minus level as an author, and trying to get to an A plus level can sometimes be at odds with just like getting your foot in the door, like getting out, getting out the door with your shit, um.
Speaker 1:But I think that, like taste, which is to say knowing what's good, I think it's acquired by osmosis, by experiences, and I also think like it's diluted by experiencing too many things that are shit. I think it's diluted by watching too much crappy TV watching. It's diluted by watching every movie that comes out and every Netflix show that comes out, like that's crappy, I think it. I think it at a certain point, like it dulls the senses to what is dope and what's whack, like what's meager. You know, I think that I think people you know watch too much winning time, Like you go and forget what a good show looks like. Um, now, how to know when something's done. I also think that's a feeling. There's a feeling of completion that comes with every experience. Um, there's a feeling of completion.
Speaker 1:You start, uh, you start knowing that you have to go pee when you turn onto your street you know what I mean. Like you start thinking about the next thing you're going to do. When the walk, when your dog walk is almost over, uh, you make a free throw and you do a certain like backward jog, back down the floor in a sport. Like there's a, there's a rhythm, there's like a heartbeat and a rhythm to things, where it's like beginning, middle and end, that's a whole story. Like a beginning, middle and end is a whole story. You know, you start here, you go up and then you go down and then you're done Like that's a roller coaster. Everything kind of follows that exact same pattern, like you're born, you live and then you die, and any anything that you edit for the show, a real, a movie, um, a song, like, whatever it is, it has to have, though, even if it's just you, if it's me promoting face to camera, like the party for Thursday, it's like start off, I say hello, I tell you about the party, penny does something in the backseat, I say something to her, like it has to have, each moment has to be a moment, and then it's over. And this is my point of view. And um, you know when it's done, when it's when you feel like you've gotten that full experience.
Speaker 1:My old show runner used to say don't different ties, like, don't different ties things. When something's done, let it be done. Don't just keep changing it just to like, just to do something, like, give it to the universe and see what the universe tells you about it. Um, Stefan Bristol, he's more house dude, he uh, directed the movie see, yesterday, that spike executive produced years ago and he, he was the first person to tell me about, like, visual editing.
Speaker 1:Um, don't try to get it perfect, like, don't try to get it. You know, don't saw, don't? He didn't say like this, but like don't sand off the weirdness about it, like Chris Spencer said. Like don't wash the stink off of it. Like let it. You know, kid, when kids go to too much, um, they go to too much private school and too much, you know, manor school. And like they get all politically, you know, I'm not that thing, but just like, when you try to make a person too perfect, you ruin them and they're not interesting anymore. Like, so you can't do that to the thing either. You can't, like keep messing with it after it's done.
Speaker 1:Uh, when it's done, it's just done. Did it have a beginning, middle and ending? Did it say something? Do you walk away knowing what it like, what it? Do you walk away processing and knowing what it was? If you don't, then it's probably not done. Those are my points of view. Um, I'm going to stop right there. We want to see y'all at pony boy on Thursday. Rsvp link is in the bio in my Instagram, at chat sand, or you can email us nothing but anarchy pod at gmailcom. Thanks for being here. We will do. We're going to do a 30 minute show on Thursday at 12 o'clock. Same time Thursday. Goodbye, this is nothing but anarchy. Go buy my sister's book, see ya.
