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Welcome to the Daily Source Code.

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Something different today.

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New format.

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Yo, there's a word again.

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Works in software.

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Works in all kinds of ware.

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Works in program ware.

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Podcast ware.

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And in this case.

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We're going to do something different today on the Daily Source Code.

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And the number of reasons for that.

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I'm going to talk about that.

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What I want to do is take a walk with y'all.

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It's just to go out for a walk.

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What I've done here is, let me tell you a little bit about the setup.

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I have taken my eye river.

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I've set it to, I don't know what I set it to.

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I set it to something.

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At any rate, I set it to a reasonably high record rate.

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I've plugged in my wireless lovelier microphone with the transmitter in my back pocket.

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The receiver in the front pocket.

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I don't really have a straight in microphone.

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And what's great about this.

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I just figured out.

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And I'll tell you about that in a second.

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Is that I can plug in my headphones.

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And I can hear that it's recording.

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So I can hear the throughput.

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I can hear that the microphone's working.

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I put my sunglasses on over my regular glasses.

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You're not a good idea.

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And one additional feature is that whoops.

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Because I have headphones on now.

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It kind of looks like I'm on a cell phone.

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So people don't think I'm a total fricking idiot walking around.

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Yappin in the space.

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And of course, here comes the big story.

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I already did a walk.

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I actually did record some stuff.

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However, it didn't work.

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Which bites.

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What happened is, even though I plugged everything in,

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it was still recording on the internal microphone.

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And my test when I was just testing it here in the room.

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And I had it all hooked up.

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It sounded great.

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But of course, it was basically receiving me through the mic

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and this device in my hand.

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And then I put it into my pocket.

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When I went to my walk,

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it was basically when he stopped being able to hear anything.

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So what I did get on my walk is a nice fresh coconut.

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Which the guy who sold it to me on the street just chopped the hole

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and it stuck a straw in it for two bucks.

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Bingo.

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I got some fresh coconut juice.

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Let's make sure we're safe here on the recording.

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That's always my fear is that I'll be walking around.

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Well, basically what happened is that you come back

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and you haven't recorded anything.

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I was half expecting it.

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So I was already kind of not too worried if

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if it wouldn't record.

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I knew that it would be a good exercise for the stuff I wanted to say

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and it would be able to go back and do it again

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and maybe a little more concise.

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Mmm.

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God, that's good.

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That coconut milk.

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It's heavy though.

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It's not exactly the easiest container.

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I'll talk a little bit about sound today.

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And the reason for that is, well, first of all, as I said,

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we need to do something new.

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I need to do something new with a daily source code.

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I could not create another show for you coming to you

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from the confines of my hotel room, from my bed.

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I couldn't go through the whole format again.

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I just wanted to do something completely different.

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And actually, if you're a broadcaster and I'm, you know,

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we know the broadcasting podcast thing.

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It's two sides of the same coin.

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It's just what distribution mechanism we're using.

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And of course, what confines do you get when you're broadcasting?

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Hold on a second.

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Just want to hear this.

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So this is the hotel, but my hotel room.

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And I've got to blow my nose, but I walk into the bathroom

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and I have to turn on the light.

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Now listen.

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That's the most irritating fan.

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Shoot me.

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Most irritating fan I've ever heard.

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Can't even keep it on.

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You can't do anything.

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You can't even be on the phone when you're in the bathroom.

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You can't do anything.

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It makes such a racket.

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So we're going to be talking about sound today.

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Ladies and gentlemen, about sound.

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But first, some of the background to the change for today's format.

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I've just said broadcasters.

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I'm walking out my door now.

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And I'm going to turn the corner on the ground floor.

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So I'm walking right past the front desk.

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And on my way outside.

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There we go.

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As a broadcaster, whenever you get responses,

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basically what I learned in radio and television.

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If the day after you did a program and that airs,

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and people are still talking about your program,

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then you've been successful.

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Whether it was positive or negative.

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More likely than not, it's probably negative because people say,

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oh, I can't believe you said this.

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But the fact is, and this is something that was pointed out to me,

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it breakfast this morning.

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If art, or the definition of art,

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is basically that it elicits a response.

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So I guess my creative gene feels really,

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or gets pleasureed when someone or many people respond

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to something that I've done.

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In the case of yesterday's podcast with Madge Weinstein,

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there was quite a lot of response.

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Some very hostile, some negative comments.

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A lot of stuff that I'm kind of used to,

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caught me a little bit off guard because I got attacked

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for some things that I thought are a little unfair.

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If Madge Weinstein makes a joke about cancer,

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and maybe it wasn't a joke,

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and it was that to determine.

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That's a nice one.

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A powerful shit.

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It's a liberator in Yankee, baseball team,

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custom tank job.

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Anyway, so if I then don't respond to that,

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or just keep the conversation going,

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I should be ridiculed, you know?

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Don't tell me how I should respond to that,

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and don't tell me how bad this illness is with that illness.

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There's a lot of illnesses.

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I don't know.

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That was a little disappointing the way I got attacked for that.

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I didn't think that was very fair.

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Maybe people didn't listen very well to the conversation.

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Quite honestly, Madge and I also didn't completely connect.

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I didn't sound very much like Adam,

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maybe as you used to on the source code,

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and maybe Madge didn't sound like Madge.

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But it was also, it was phone call.

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It was the first time we spoke.

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We didn't have any setup or preamble or pre-interview.

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And that's why it was flawed,

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which is also probably the beauty of a lot of these things,

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which is maybe like,

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got such an incredible response.

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If we had already set up,

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if we had talked up front and said,

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okay, here's what I'm gonna ask you,

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you're just gonna talk about,

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and of course there would have been genius,

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would have been brilliant,

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but it would maybe not would have been real.

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So, maybe that's where we got the response.

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It was real.

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Maybe it was real art,

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and people liked it for that reason.

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But back to the listening part.

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Because I also believe a lot of people who responded,

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may not have actually listened to a Madge Weinstein

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used radio podcast.

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So then you're not gonna get it.

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You don't have enough data to pass judgment

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or make a judgment or make a decision

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and whether you like it or not

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or whatever your feelings are.

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And,

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there's another piece to this is that,

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this is something I've been learning from Dave,

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a lot of the time we're spending here together

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is learning,

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well, I'm learning a tremendous amount.

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I mean, I didn't go to college.

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Yeah, I went to college,

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like a semester,

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really only because they'd let

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freshman on the college radio station,

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Salem College, Salem West Virginia,

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every moment.

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And after I was like running the station

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after a couple months,

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there was nothing left for me to do.

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I didn't like it.

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I was also far away from home.

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I think I got home sick,

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didn't dig it.

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It wasn't for me.

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College was not for me.

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Not college life, certainly.

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Last thing I needed to come in from Amsterdam

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was to drink a lot,

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smoke a lot of dope and drive,

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you know,

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didn't have done that.

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That one was 15,

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and then we get it over with real quick.

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It's no big deal.

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And then that alone.

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So anyway, the aggression.

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So what I've learned is that

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if you have a feature that's in a product,

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you can't take the feature out ever,

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because people will go nuts on your ass and they'll complain.

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So I've kind of slipped into a broadcast

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rut almost.

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I feel on the daily source code,

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where I've created this format,

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and of course it feeds upon itself

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because I've got so many wonderful

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comments and creative audio bits and pieces

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that you get used to it, you know?

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And so now it's gotten to the point where

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if I don't play the drum cadence of the day,

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people start to freak out.

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Of course, on the other hand,

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there's that.

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There's so many...

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damn, this isn't alarm.

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Let's just see what this is.

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I can't really locate the sound.

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Oh, gone, okay.

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So on the other hand,

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there are people who say,

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I'm not going to listen to this source code,

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if you keep playing that cadence shit,

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which of course is beyond me,

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because isn't the entire point of this

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or one of the major benefits

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that you can skip past it?

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Yeah, so I think that's probably an idle threat.

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And I know, by the way,

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that consistency is what it's all about.

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If I have an off day, if I have an off week,

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if I have an off month,

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as long as I'm there consistently,

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every single day, every single week day,

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usually you'll come back.

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Listeners will come back,

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because they hope it'll be better tomorrow,

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and it's not always, you know,

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it's the things that's great,

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the other person they think sucks.

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So that's why you need consistency.

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That's my motto.

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It doesn't have to be every day,

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but if you say it's every Friday,

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it's got to be every Friday.

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So it's every day,

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it's got to be every day.

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And then if you slip out once,

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you know, of course,

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your listeners will let you slide.

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So yesterday was obviously a break in format,

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because I basically played a song.

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I did play a little bit of cadence,

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couldn't help it.

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I love them.

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And then I went into the Madge Weinstein interview.

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So it was a big departure,

270
00:10:50,000 --> 00:10:51,000
but although it really wasn't,

271
00:10:51,000 --> 00:10:54,000
because that's what we used to do in the beginning of the daily source code.

272
00:10:54,000 --> 00:10:56,000
We're doing our kinds of stuff,

273
00:10:56,000 --> 00:10:58,000
and I, you know,

274
00:10:58,000 --> 00:11:01,000
I guess when I get accused,

275
00:11:01,000 --> 00:11:03,000
and I don't take it as an accusation,

276
00:11:03,000 --> 00:11:05,000
because I know how this works,

277
00:11:05,000 --> 00:11:07,000
but when someone says,

278
00:11:07,000 --> 00:11:08,000
oh, you know,

279
00:11:08,000 --> 00:11:09,000
you only get on the source code,

280
00:11:09,000 --> 00:11:11,000
if you mention Adam in your own podcast,

281
00:11:11,000 --> 00:11:12,000
and like,

282
00:11:12,000 --> 00:11:13,000
all right, fuck you.

283
00:11:14,000 --> 00:11:15,000
That's the first of all,

284
00:11:15,000 --> 00:11:16,000
it's not true.

285
00:11:16,000 --> 00:11:17,000
You know,

286
00:11:17,000 --> 00:11:18,000
second of all,

287
00:11:18,000 --> 00:11:19,000
time for me to change

288
00:11:19,000 --> 00:11:20,000
and morph a little bit.

289
00:11:20,000 --> 00:11:22,000
So I want to talk about sound.

290
00:11:26,000 --> 00:11:29,000
All the people that we're here with in South Beach,

291
00:11:29,000 --> 00:11:31,000
all have something to do with sound

292
00:11:31,000 --> 00:11:34,000
in one way or another in a professional manner.

293
00:11:34,000 --> 00:11:37,000
Dave used to mix rock bands.

294
00:11:37,000 --> 00:11:40,000
He did some radio as well.

295
00:11:40,000 --> 00:11:44,000
So he knows what,

296
00:11:44,000 --> 00:11:46,000
what can be done with sound.

297
00:11:46,000 --> 00:11:48,000
I'm from radio.

298
00:11:48,000 --> 00:11:50,000
Ron is a musician,

299
00:11:50,000 --> 00:11:52,000
and he's done so much sound.

300
00:11:52,000 --> 00:11:53,000
By the way,

301
00:11:53,000 --> 00:11:55,000
I met the corner of fifth and columns,

302
00:11:55,000 --> 00:11:57,000
if you know where that is.

303
00:11:57,000 --> 00:11:58,000
So I'm going to hang right.

304
00:11:58,000 --> 00:12:00,000
I'm going to go up to ocean,

305
00:12:00,000 --> 00:12:01,000
and we'll walk on the ocean together.

306
00:12:01,000 --> 00:12:03,000
And here there's a little bit of wind today.

307
00:12:03,000 --> 00:12:04,000
It's not too bad.

308
00:12:04,000 --> 00:12:06,000
I'd guess about 15 knots,

309
00:12:06,000 --> 00:12:09,000
which is not too bad.

310
00:12:09,000 --> 00:12:11,000
It's a very beautiful flying weather.

311
00:12:11,000 --> 00:12:13,000
We want wind by the way when we're flying.

312
00:12:13,000 --> 00:12:15,000
Construction site here.

313
00:12:15,000 --> 00:12:17,000
So you can tell them about to walk past.

314
00:12:19,000 --> 00:12:21,000
So,

315
00:12:21,000 --> 00:12:24,000
I think we've forgotten about sound

316
00:12:24,000 --> 00:12:26,000
and podcasting is bringing a lot of it back.

317
00:12:26,000 --> 00:12:27,000
It is for me,

318
00:12:27,000 --> 00:12:29,000
and that's why I want to take you on this walk

319
00:12:29,000 --> 00:12:32,000
because although I may be on your walk,

320
00:12:32,000 --> 00:12:33,000
often,

321
00:12:33,000 --> 00:12:35,000
and we're not really walking together.

322
00:12:35,000 --> 00:12:36,000
When people walk together,

323
00:12:36,000 --> 00:12:37,000
they talk,

324
00:12:37,000 --> 00:12:38,000
and there's all kinds of sounds,

325
00:12:38,000 --> 00:12:40,000
and you have to stop for a second,

326
00:12:40,000 --> 00:12:42,000
because there's too much construction noise,

327
00:12:42,000 --> 00:12:44,000
or whatever it is, right?

328
00:12:46,000 --> 00:12:48,000
But also,

329
00:12:48,000 --> 00:12:50,000
well,

330
00:12:50,000 --> 00:12:52,000
I know that we barely listen to each other anyway,

331
00:12:52,000 --> 00:12:54,000
and when it comes to just humans interacting,

332
00:12:54,000 --> 00:12:57,000
it becomes such poor listeners.

333
00:12:57,000 --> 00:13:00,000
Let me see if I can cross over here.

334
00:13:00,000 --> 00:13:01,000
Well,

335
00:13:01,000 --> 00:13:03,000
some major wind coming through.

336
00:13:03,000 --> 00:13:04,000
Hope I can,

337
00:13:04,000 --> 00:13:05,000
there you go.

338
00:13:08,000 --> 00:13:11,000
But if you listen to radio,

339
00:13:11,000 --> 00:13:13,000
same thing.

340
00:13:13,000 --> 00:13:15,000
We no longer have,

341
00:13:15,000 --> 00:13:17,000
and we're not really making sound.

342
00:13:17,000 --> 00:13:19,000
We're just pumping bits out.

343
00:13:19,000 --> 00:13:20,000
You know,

344
00:13:20,000 --> 00:13:21,000
we're pumping songs out.

345
00:13:21,000 --> 00:13:23,000
And in the radio business,

346
00:13:23,000 --> 00:13:24,000
there's this concept of dead air.

347
00:13:24,000 --> 00:13:26,000
You don't want to ever have dead air.

348
00:13:26,000 --> 00:13:28,000
Dead air means,

349
00:13:28,000 --> 00:13:29,000
essentially,

350
00:13:29,000 --> 00:13:30,000
that there was nothing playing.

351
00:13:30,000 --> 00:13:31,000
Of course,

352
00:13:31,000 --> 00:13:32,000
dead air is not really dead air.

353
00:13:32,000 --> 00:13:34,000
If you've ever heard a station that had no signal,

354
00:13:34,000 --> 00:13:36,000
you're going to hear all kinds of stuff.

355
00:13:36,000 --> 00:13:39,000
You'll hear crackling of your radio,

356
00:13:39,000 --> 00:13:41,000
because it's not always a clean reception.

357
00:13:41,000 --> 00:13:42,000
Rarely is actually.

358
00:13:42,000 --> 00:13:44,000
You just don't hear it when there's something playing.

359
00:13:44,000 --> 00:13:47,000
You may even hear a slight tone.

360
00:13:47,000 --> 00:13:49,000
I think it's 19 kilohertz.

361
00:13:49,000 --> 00:13:50,000
That's a,

362
00:13:50,000 --> 00:13:51,000
we call that a pilot tone.

363
00:13:51,000 --> 00:13:53,000
Some people can hear it very well.

364
00:13:53,000 --> 00:13:54,000
Sometimes it's misconfigured.

365
00:13:54,000 --> 00:13:55,000
You can hear it good.

366
00:13:55,000 --> 00:13:56,000
But if the station is on,

367
00:13:56,000 --> 00:13:57,000
and it has no signal,

368
00:13:57,000 --> 00:14:00,000
you can often hear very faint high pitch tone.

369
00:14:00,000 --> 00:14:01,000
At the pilot tone,

370
00:14:01,000 --> 00:14:03,000
essentially tells you a radio,

371
00:14:03,000 --> 00:14:04,000
that this is a stereo signal,

372
00:14:04,000 --> 00:14:05,000
it needs to split it up.

373
00:14:05,000 --> 00:14:07,000
So there's no such thing as real dead air.

374
00:14:07,000 --> 00:14:08,000
But of course,

375
00:14:08,000 --> 00:14:09,000
what they're referring to,

376
00:14:09,000 --> 00:14:11,000
you can hear I'm walking towards the beach now.

377
00:14:11,000 --> 00:14:13,000
I'm going to shield the blanket a little bit.

378
00:14:13,000 --> 00:14:14,000
What they're referring to,

379
00:14:14,000 --> 00:14:15,000
of course,

380
00:14:15,000 --> 00:14:16,000
is,

381
00:14:16,000 --> 00:14:19,000
we're not making any money on that airtime.

382
00:14:19,000 --> 00:14:20,000
Because, you know,

383
00:14:20,000 --> 00:14:22,000
we have to feed in four commercial breaks in each hour,

384
00:14:22,000 --> 00:14:24,000
and which is also the whole reason.

385
00:14:24,000 --> 00:14:25,000
Or a big part of the reason

386
00:14:25,000 --> 00:14:27,000
for the continuation of the fake voices

387
00:14:27,000 --> 00:14:30,000
that we've discussed so many times.

388
00:14:30,000 --> 00:14:31,000
Number one.

389
00:14:31,000 --> 00:14:33,000
Because they've got to compress.

390
00:14:33,000 --> 00:14:35,000
They've got to get the information out and short burst,

391
00:14:35,000 --> 00:14:36,000
because time is money.

392
00:14:36,000 --> 00:14:38,000
Every single second on the radio is money.

393
00:14:38,000 --> 00:14:40,000
So the more you're yapping about,

394
00:14:40,000 --> 00:14:41,000
your personal shit,

395
00:14:41,000 --> 00:14:43,000
the less time there is to make money essentially.

396
00:14:43,000 --> 00:14:44,000
So we forget,

397
00:14:44,000 --> 00:14:45,000
we don't have time to listen.

398
00:14:45,000 --> 00:14:47,000
One thing I learned from Scott Shannon,

399
00:14:47,000 --> 00:14:48,000
who was brilliant.

400
00:14:48,000 --> 00:14:49,000
Morning.

401
00:14:49,000 --> 00:14:51,000
This jockey in the 80s.

402
00:14:51,000 --> 00:14:54,000
I was fortunate to work with him

403
00:14:54,000 --> 00:14:56,000
when, you know,

404
00:14:56,000 --> 00:14:58,000
before essentially his format became old and tired.

405
00:14:58,000 --> 00:15:00,000
And he didn't really grow and morph.

406
00:15:00,000 --> 00:15:01,000
Nor should he have to.

407
00:15:02,000 --> 00:15:05,000
He would say,

408
00:15:05,000 --> 00:15:07,000
hey, let the room breathe.

409
00:15:07,000 --> 00:15:09,000
And that was a big part of the success.

410
00:15:09,000 --> 00:15:11,000
You know, you don't always have to jump

411
00:15:11,000 --> 00:15:13,000
on top of the joke with another joke.

412
00:15:13,000 --> 00:15:14,000
And, you know,

413
00:15:14,000 --> 00:15:16,000
it doesn't all have to be gafog or funny.

414
00:15:16,000 --> 00:15:17,000
First of all, it's not funny.

415
00:15:17,000 --> 00:15:18,000
Don't laugh.

416
00:15:18,000 --> 00:15:20,000
And don't pile jump.

417
00:15:20,000 --> 00:15:22,000
And let the room breathe.

418
00:15:22,000 --> 00:15:23,000
You know, sometimes just let the room breathe.

419
00:15:23,000 --> 00:15:25,000
And the silence will actually

420
00:15:25,000 --> 00:15:26,000
can be the punchline,

421
00:15:26,000 --> 00:15:28,000
or it can be a total thing of beauty.

422
00:15:28,000 --> 00:15:29,000
I never really forgot that.

423
00:15:30,000 --> 00:15:32,000
Of course, I am related him totally.

424
00:15:32,000 --> 00:15:35,000
In the 80s, in my radio ventures.

425
00:15:35,000 --> 00:15:38,000
Certainly in the Netherlands.

426
00:15:38,000 --> 00:15:40,000
And there's so much.

427
00:15:40,000 --> 00:15:43,000
If you ever have a chance to listen to some BBC stuff,

428
00:15:43,000 --> 00:15:46,000
they still do radio dramas, documentaries,

429
00:15:46,000 --> 00:15:48,000
where you do hear sound.

430
00:15:48,000 --> 00:15:49,000
I love it when people,

431
00:15:49,000 --> 00:15:52,000
I love listening to journalism,

432
00:15:52,000 --> 00:15:54,000
where people go out.

433
00:15:54,000 --> 00:15:55,000
And not just get soundbites,

434
00:15:55,000 --> 00:15:57,000
but, you know, actually walk with people.

435
00:15:58,000 --> 00:16:00,000
And, you know, of course,

436
00:16:00,000 --> 00:16:02,000
there's always editing involved.

437
00:16:02,000 --> 00:16:05,000
I'm looking at a huge swing,

438
00:16:05,000 --> 00:16:07,000
but walking right in front of me.

439
00:16:07,000 --> 00:16:09,000
Let me just tell you where I am.

440
00:16:09,000 --> 00:16:12,000
If you've ever seen South Beach Miami.

441
00:16:12,000 --> 00:16:13,000
You know, the place where everyone's

442
00:16:13,000 --> 00:16:14,000
rollerblading.

443
00:16:14,000 --> 00:16:16,000
That's where I'm walking right now.

444
00:16:16,000 --> 00:16:18,000
There's some beautiful people here.

445
00:16:18,000 --> 00:16:20,000
And the weather is phenomenal.

446
00:16:20,000 --> 00:16:21,000
It's about 75,

447
00:16:21,000 --> 00:16:23,000
maybe 80 degrees.

448
00:16:23,000 --> 00:16:26,000
And I'm dressed poorly for this.

449
00:16:26,000 --> 00:16:29,000
I have my Gucci loafers on.

450
00:16:29,000 --> 00:16:32,000
I'm such a honky from Europe.

451
00:16:32,000 --> 00:16:34,000
I'm such a white boy.

452
00:16:34,000 --> 00:16:37,000
I did, however, put on a sleeveless t-shirt,

453
00:16:37,000 --> 00:16:41,000
which, of course, shows off my incredible physique.

454
00:16:41,000 --> 00:16:44,000
Let's listen to what's happening here.

455
00:16:44,000 --> 00:16:47,000
It's just a bunch of people sitting around.

456
00:16:47,000 --> 00:16:49,000
This is my man.

457
00:16:49,000 --> 00:16:51,000
He's got his headphones on.

458
00:16:51,000 --> 00:16:53,000
He's talking to...

459
00:16:53,000 --> 00:16:55,000
He's talking to everyone who walks by.

460
00:16:55,000 --> 00:16:57,000
I know what, I know what.

461
00:16:57,000 --> 00:16:58,000
I know what.

462
00:16:58,000 --> 00:17:00,000
How are you doing, buddy?

463
00:17:00,000 --> 00:17:05,000
And he's got his buddies. He's a happy man.

464
00:17:05,000 --> 00:17:09,000
So, part of what I think I was missing

465
00:17:09,000 --> 00:17:16,000
on the source code or in my own creative process is sound.

466
00:17:16,000 --> 00:17:18,000
I haven't been able to do enough with sound.

467
00:17:18,000 --> 00:17:23,000
And basically, I've now fallen into this spot on the source code

468
00:17:23,000 --> 00:17:28,000
where people actually send me inflammatory emails

469
00:17:28,000 --> 00:17:31,000
if they send me an audio comment and I don't play it.

470
00:17:31,000 --> 00:17:34,000
Or I don't respond.

471
00:17:34,000 --> 00:17:36,000
And that's unfortunate, but that's...

472
00:17:36,000 --> 00:17:39,000
I basically have created all these features that people are getting used to.

473
00:17:39,000 --> 00:17:42,000
So, I might as well break the pattern now

474
00:17:42,000 --> 00:17:46,000
so that we can remain flexible because I don't want this to be set in stone.

475
00:17:46,000 --> 00:17:47,000
How we do this.

476
00:17:47,000 --> 00:17:48,000
There's so much more to explore.

477
00:17:48,000 --> 00:17:51,000
And for me, actually, so much more to rediscover.

478
00:17:52,000 --> 00:17:56,000
Because I used to be a much better listener

479
00:17:56,000 --> 00:18:01,000
when I wasn't programmed to just listen to the hits.

480
00:18:01,000 --> 00:18:04,000
And boy, was I ever programmed to listen to the hits,

481
00:18:04,000 --> 00:18:05,000
even worse than that.

482
00:18:05,000 --> 00:18:07,000
I was only programmed to listen to the intro and the outro of the hits

483
00:18:07,000 --> 00:18:10,000
because when the hits were playing, I was doing something else

484
00:18:10,000 --> 00:18:13,000
like prepping the next commercial break.

485
00:18:13,000 --> 00:18:16,000
So, let me have grown up in the 80s with 80s music,

486
00:18:16,000 --> 00:18:19,000
but I don't think I got to enjoy it as much as...

487
00:18:19,000 --> 00:18:22,000
Well, that's why I'm so happy to enjoy it again, I guess.

488
00:18:22,000 --> 00:18:27,000
That's the revival of the 80s exactly what I was looking for.

489
00:18:27,000 --> 00:18:31,000
But sound, you know, when Dave's doing his morning coffee notes in this car

490
00:18:31,000 --> 00:18:34,000
and he says, hold on a second, I've got to pass this guy

491
00:18:34,000 --> 00:18:38,000
and then he whoops it up as he's accelerating from 70 to 85 miles an hour

492
00:18:38,000 --> 00:18:40,000
and you can hear the engine kick in.

493
00:18:40,000 --> 00:18:42,000
That's exciting stuff.

494
00:18:42,000 --> 00:18:43,000
It really is.

495
00:18:43,000 --> 00:18:44,000
I love listening to that.

496
00:18:44,000 --> 00:18:46,000
It's something about it that...

497
00:18:47,000 --> 00:18:49,000
You just don't hear it anymore, that maybe that's it

498
00:18:49,000 --> 00:18:51,000
and it's real life and you know it's real life,

499
00:18:51,000 --> 00:18:53,000
you know it's something going on there.

500
00:18:53,000 --> 00:18:55,000
Or these guys with guns.

501
00:18:55,000 --> 00:18:58,000
Why do people around here with guns in Miami?

502
00:18:59,000 --> 00:19:02,000
I've seen marshals, I've seen coast guard,

503
00:19:02,000 --> 00:19:04,000
and it...

504
00:19:04,000 --> 00:19:06,000
well, people with guns.

505
00:19:06,000 --> 00:19:07,000
Tell you what, where am I now?

506
00:19:07,000 --> 00:19:12,000
I'm at Ocean and I can't quite see what the cross street is

507
00:19:12,000 --> 00:19:15,000
and they see a little bit further up and probably around 10th.

508
00:19:15,000 --> 00:19:17,000
What we'll do is we'll walk up a little further.

509
00:19:17,000 --> 00:19:21,000
And then we're going to do some sound seeing together.

510
00:19:21,000 --> 00:19:23,000
Which essentially is already started.

511
00:19:23,000 --> 00:19:25,000
We're already doing a bit of the sound seeing

512
00:19:25,000 --> 00:19:28,000
by walking up the beach side,

513
00:19:28,000 --> 00:19:31,000
but now we're going to turn back and we're going to walk down

514
00:19:31,000 --> 00:19:36,000
the cruising side of Ocean Drive, South Beach, Florida,

515
00:19:36,000 --> 00:19:38,000
which is where all the beautiful people are.

516
00:19:38,000 --> 00:19:41,000
Let me try and explain if you've never seen this.

517
00:19:41,000 --> 00:19:44,000
It is so on the opposite side of the street,

518
00:19:44,000 --> 00:19:46,000
so not on the ocean side of the opposite side.

519
00:19:46,000 --> 00:19:48,000
It's basically all these deco art deco buildings

520
00:19:48,000 --> 00:19:51,000
and their restaurants and clubs and cafes.

521
00:19:51,000 --> 00:19:53,000
And you walk on the sidewalk,

522
00:19:53,000 --> 00:19:57,000
and you can eat on the inside or you can eat on the sidewalk side.

523
00:19:57,000 --> 00:19:59,000
Oh man, there's the cutting down.

524
00:19:59,000 --> 00:20:01,000
There.

525
00:20:03,000 --> 00:20:05,000
What?

526
00:20:07,000 --> 00:20:09,000
Well, I'm on a sec.

527
00:20:09,000 --> 00:20:11,000
I couldn't hear you. What's that?

528
00:20:11,000 --> 00:20:13,000
I'm already talking about South Beach.

529
00:20:13,000 --> 00:20:15,000
And you can also get ripped off by Israeli scumbags.

530
00:20:15,000 --> 00:20:17,000
Oh, really? Did you get ripped off by Israeli scumbags?

531
00:20:17,000 --> 00:20:18,000
What happened?

532
00:20:18,000 --> 00:20:20,000
Well, he told me he was Israeli,

533
00:20:20,000 --> 00:20:23,000
then he told me he's really Iraqi because he looked very similar.

534
00:20:23,000 --> 00:20:24,000
Yeah.

535
00:20:24,000 --> 00:20:26,000
And then it doesn't really mean to me.

536
00:20:26,000 --> 00:20:27,000
What do you do?

537
00:20:27,000 --> 00:20:30,000
His cousin was killed by an American Iraq.

538
00:20:30,000 --> 00:20:31,000
And why did he say that?

539
00:20:31,000 --> 00:20:33,000
To listen to response?

540
00:20:33,000 --> 00:20:34,000
Let's fucked up.

541
00:20:34,000 --> 00:20:35,000
Isn't it?

542
00:20:35,000 --> 00:20:36,000
He said, you know what?

543
00:20:36,000 --> 00:20:37,000
He's really going to rock.

544
00:20:37,000 --> 00:20:38,000
He looked very similar.

545
00:20:38,000 --> 00:20:40,000
Well, this is the same desert.

546
00:20:40,000 --> 00:20:41,000
Yeah.

547
00:20:41,000 --> 00:20:42,000
You okay, don't you?

548
00:20:42,000 --> 00:20:43,000
No, he really scared me.

549
00:20:43,000 --> 00:20:45,000
And then he said, why don't you go?

550
00:20:45,000 --> 00:20:47,000
I'm linking road.

551
00:20:47,000 --> 00:20:48,000
Yeah.

552
00:20:48,000 --> 00:20:49,000
And opened up under the bushes,

553
00:20:49,000 --> 00:20:52,000
which fills the crowd of about a year old already.

554
00:20:52,000 --> 00:20:53,000
Yeah.

555
00:20:53,000 --> 00:20:56,000
And take some of that stuff off before someone puts a bomb under the bed.

556
00:20:56,000 --> 00:20:57,000
Well, how do you feel it?

557
00:20:57,000 --> 00:20:58,000
Well, how do you feel it?

558
00:20:58,000 --> 00:21:01,000
Well, how do you feel about what's happening over there?

559
00:21:01,000 --> 00:21:03,000
I don't give a shit.

560
00:21:03,000 --> 00:21:04,000
I don't live there anymore.

561
00:21:05,000 --> 00:21:09,000
Here, I still worry about my condominium.

562
00:21:09,000 --> 00:21:10,000
Mm-hmm.

563
00:21:10,000 --> 00:21:11,000
And my business.

564
00:21:11,000 --> 00:21:12,000
What kind of business do you have?

565
00:21:12,000 --> 00:21:13,000
catering.

566
00:21:13,000 --> 00:21:14,000
Okay.

567
00:21:14,000 --> 00:21:16,000
But do you pay taxes then, right?

568
00:21:16,000 --> 00:21:17,000
What?

569
00:21:17,000 --> 00:21:19,000
You know where some of those taxes are going?

570
00:21:19,000 --> 00:21:20,000
I don't give a shit.

571
00:21:20,000 --> 00:21:21,000
I live here.

572
00:21:21,000 --> 00:21:22,000
I take care of my business.

573
00:21:22,000 --> 00:21:23,000
Okay.

574
00:21:23,000 --> 00:21:26,000
I still wait for a swimming pool to come here with tax money.

575
00:21:26,000 --> 00:21:27,000
Okay.

576
00:21:27,000 --> 00:21:29,000
Like to have a new jury.

577
00:21:29,000 --> 00:21:32,000
And New Jersey doesn't have swimming pools from tax money?

578
00:21:33,000 --> 00:21:34,000
Wow.

579
00:21:34,000 --> 00:21:36,000
I live, I didn't live in the wild.

580
00:21:36,000 --> 00:21:37,000
I didn't see it.

581
00:21:37,000 --> 00:21:38,000
Okay.

582
00:21:38,000 --> 00:21:39,000
What are you doing here, Florida?

583
00:21:39,000 --> 00:21:40,000
It's not like you're giving it to me.

584
00:21:40,000 --> 00:21:41,000
I am.

585
00:21:41,000 --> 00:21:42,000
I'm doing some sound seeing.

586
00:21:42,000 --> 00:21:43,000
Okay.

587
00:21:43,000 --> 00:21:47,000
I'm taking my friends on a sound seeing tour of a bush.

588
00:21:47,000 --> 00:21:48,000
Drive.

589
00:21:48,000 --> 00:21:50,000
Have you tried Lincoln Road yet?

590
00:21:50,000 --> 00:21:51,000
No.

591
00:21:51,000 --> 00:21:52,000
What's on Lincoln?

592
00:21:52,000 --> 00:21:53,000
I think something.

593
00:21:53,000 --> 00:21:55,000
I know a lot of people like to watch CNN.

594
00:21:55,000 --> 00:21:56,000
Mm-hmm.

595
00:21:56,000 --> 00:21:57,000
To the news.

596
00:21:57,000 --> 00:21:58,000
Yeah.

597
00:21:58,000 --> 00:21:59,000
I'll tell you what to hear.

598
00:21:59,000 --> 00:22:02,000
I'm a friendly location to people already.

599
00:22:02,000 --> 00:22:03,000
He did it.

600
00:22:03,000 --> 00:22:04,000
She did it.

601
00:22:04,000 --> 00:22:07,000
Corporate office was because everywhere.

602
00:22:07,000 --> 00:22:10,000
Corporate office used everywhere where he did it.

603
00:22:10,000 --> 00:22:11,000
She did it.

604
00:22:11,000 --> 00:22:14,000
At the cross state line from California to Florida.

605
00:22:14,000 --> 00:22:15,000
And then no one does their job.

606
00:22:15,000 --> 00:22:17,000
There's garbage.

607
00:22:17,000 --> 00:22:18,000
Under.

608
00:22:18,000 --> 00:22:19,000
The bushes.

609
00:22:19,000 --> 00:22:21,000
The garbage.

610
00:22:21,000 --> 00:22:23,000
Inside the planners.

611
00:22:23,000 --> 00:22:25,000
So what you're saying is it's all the hidden from sight.

612
00:22:25,000 --> 00:22:26,000
It's being hidden.

613
00:22:26,000 --> 00:22:28,000
And they're so upset already.

614
00:22:28,000 --> 00:22:29,000
Who's going to clean it?

615
00:22:29,000 --> 00:22:31,000
That's all I can put a bomb and do it.

616
00:22:31,000 --> 00:22:34,000
And the reason why I say that somebody is really.

617
00:22:34,000 --> 00:22:36,000
Are you from the West Bank in JavaScript?

618
00:22:36,000 --> 00:22:37,000
Are you Israeli?

619
00:22:37,000 --> 00:22:38,000
I'm American.

620
00:22:38,000 --> 00:22:39,000
Are you Jewish?

621
00:22:39,000 --> 00:22:40,000
No.

622
00:22:40,000 --> 00:22:41,000
No.

623
00:22:41,000 --> 00:22:42,000
I converted to Rome with the file for it.

624
00:22:42,000 --> 00:22:43,000
I used to be Jewish.

625
00:22:43,000 --> 00:22:45,000
I made an even exchange.

626
00:22:45,000 --> 00:22:47,000
Okay.

627
00:22:47,000 --> 00:22:48,000
I made an even exchange.

628
00:22:48,000 --> 00:22:50,000
Are you better off with your deal?

629
00:22:50,000 --> 00:22:51,000
Yes.

630
00:22:51,000 --> 00:22:52,000
You know why?

631
00:22:52,000 --> 00:22:54,000
Because they told me you don't have David who

632
00:22:54,000 --> 00:22:57,000
Jesus Christ comes from the house of David.

633
00:22:57,000 --> 00:23:00,000
You don't have to get married to a woman.

634
00:23:00,000 --> 00:23:05,000
They'll just take his firm and give it to the girl.

635
00:23:05,000 --> 00:23:08,000
And see what happens.

636
00:23:08,000 --> 00:23:09,000
And if you know what?

637
00:23:09,000 --> 00:23:11,000
I haven't heard that from Jewish.

638
00:23:11,000 --> 00:23:12,000
I'll take that first.

639
00:23:12,000 --> 00:23:13,000
What's your name?

640
00:23:13,000 --> 00:23:14,000
David.

641
00:23:14,000 --> 00:23:15,000
I'm Adam.

642
00:23:15,000 --> 00:23:16,000
Nice to meet you, David.

643
00:23:16,000 --> 00:23:18,000
So that's what I'm upset about.

644
00:23:18,000 --> 00:23:19,000
All right.

645
00:23:19,000 --> 00:23:20,000
I'm upset about it.

646
00:23:20,000 --> 00:23:21,000
I'm about to trash.

647
00:23:21,000 --> 00:23:22,000
I'm about to trash.

648
00:23:22,000 --> 00:23:23,000
Because it's literally hit me.

649
00:23:23,000 --> 00:23:24,000
It's not a trash.

650
00:23:24,000 --> 00:23:25,000
Yeah.

651
00:23:25,000 --> 00:23:26,000
You know what?

652
00:23:26,000 --> 00:23:29,000
This isn't as very park.

653
00:23:29,000 --> 00:23:30,000
Right.

654
00:23:30,000 --> 00:23:31,000
I mean.

655
00:23:31,000 --> 00:23:33,000
You know.

656
00:23:33,000 --> 00:23:35,000
A coin island left.

657
00:23:35,000 --> 00:23:37,000
A coin island of 20 years ago.

658
00:23:37,000 --> 00:23:38,000
Lincoln Road.

659
00:23:38,000 --> 00:23:39,000
People hold their whole life.

660
00:23:39,000 --> 00:23:40,000
Work hard.

661
00:23:40,000 --> 00:23:41,000
Yeah.

662
00:23:41,000 --> 00:23:43,000
To make money, to buy an apartment.

663
00:23:43,000 --> 00:23:44,000
To open a business.

664
00:23:44,000 --> 00:23:47,000
And then they have some staggy from Club Monica saying,

665
00:23:47,000 --> 00:23:51,000
No, I can't leave my friends gay to see the bombs in the garbage.

666
00:23:51,000 --> 00:23:52,000
Under the garbage under here.

667
00:23:52,000 --> 00:23:53,000
Because California.

668
00:23:53,000 --> 00:23:55,000
State line rule.

669
00:23:55,000 --> 00:23:57,000
Say I can do whatever I want in Florida.

670
00:23:57,000 --> 00:23:58,000
What the fuck is wrong with them?

671
00:23:58,000 --> 00:23:59,000
I don't know.

672
00:23:59,000 --> 00:24:01,000
And that's excuse.

673
00:24:01,000 --> 00:24:02,000
Corporate.

674
00:24:02,000 --> 00:24:06,000
Tell them, you know, Governor Jeb Bush is a redneck dick.

675
00:24:06,000 --> 00:24:07,000
Okay.

676
00:24:07,000 --> 00:24:14,000
And he doesn't go for this California state line bullshit with the state of Florida.

677
00:24:14,000 --> 00:24:15,000
His state.

678
00:24:15,000 --> 00:24:17,000
Don't tell him not.

679
00:24:17,000 --> 00:24:20,000
Stop putting the blame on the German.

680
00:24:20,000 --> 00:24:23,000
Stop putting the blame on the Jew.

681
00:24:23,000 --> 00:24:26,000
You're deep, man.

682
00:24:26,000 --> 00:24:28,000
I'm going to keep walking David.

683
00:24:28,000 --> 00:24:29,000
Nice talking to you.

684
00:24:29,000 --> 00:24:30,000
Nice talking to you.

685
00:24:30,000 --> 00:24:31,000
All right.

686
00:24:31,000 --> 00:24:32,000
Listen, friends down the street.

687
00:24:32,000 --> 00:24:33,000
I guess.

688
00:24:33,000 --> 00:24:34,000
You find good places today.

689
00:24:34,000 --> 00:24:36,000
You find good places.

690
00:24:36,000 --> 00:24:37,000
It's all right.

691
00:24:37,000 --> 00:24:39,000
There's one thing that's missing from South Beach.

692
00:24:39,000 --> 00:24:44,000
And if you know business people that are interested, it's a Walmart.

693
00:24:44,000 --> 00:24:45,000
A Walmart.

694
00:24:45,000 --> 00:24:46,000
A Walmart.

695
00:24:46,000 --> 00:24:47,000
You know why?

696
00:24:47,000 --> 00:24:48,000
The wing.

697
00:24:48,000 --> 00:24:49,000
The sort of called wing.

698
00:24:49,000 --> 00:24:52,000
Which tries to do the Walmart job.

699
00:24:52,000 --> 00:24:53,000
But it's doing it.

700
00:24:53,000 --> 00:24:54,000
At one point you did do it.

701
00:24:54,000 --> 00:24:57,000
Which is a car, 20, 30 people.

702
00:24:57,000 --> 00:24:58,000
Have everything.

703
00:24:58,000 --> 00:24:59,000
We need a Walmart.

704
00:24:59,000 --> 00:25:02,000
We need to get rid of wings of a Walmart.

705
00:25:02,000 --> 00:25:05,000
You know, and hire the people that used to work at wing.

706
00:25:05,000 --> 00:25:07,000
I'm going to pass that on.

707
00:25:07,000 --> 00:25:08,000
Take it easy.

708
00:25:08,000 --> 00:25:09,000
Okay.

709
00:25:09,000 --> 00:25:11,000
Wow.

710
00:25:11,000 --> 00:25:13,000
There you go.

711
00:25:13,000 --> 00:25:16,000
Uh.

712
00:25:16,000 --> 00:25:20,000
I think the most important message I got from our friend David was that there's an opportunity

713
00:25:20,000 --> 00:25:21,000
for Walmart down here.

714
00:25:21,000 --> 00:25:24,000
Otherwise, I'm not quite sure what we just learned.

715
00:25:24,000 --> 00:25:26,000
I'm going to leave it all in here, though.

716
00:25:26,000 --> 00:25:28,000
Because that's what it is.

717
00:25:28,000 --> 00:25:29,000
That's what happens in real life.

718
00:25:29,000 --> 00:25:32,000
People stop you on the street and start talking to you.

719
00:25:32,000 --> 00:25:34,000
And sometimes you have no idea what they're talking about.

720
00:25:34,000 --> 00:25:36,000
And sometimes you want to walk away from them.

721
00:25:36,000 --> 00:25:37,000
Sometimes you keep walking.

722
00:25:37,000 --> 00:25:40,000
And hey, that's what happens in real life.

723
00:25:40,000 --> 00:25:43,000
That by the way, doesn't happen on radio shows.

724
00:25:43,000 --> 00:25:45,000
If, uh.

725
00:25:45,000 --> 00:25:47,000
If any.

726
00:25:47,000 --> 00:25:51,000
Let's say broadcast radio program.

727
00:25:51,000 --> 00:25:54,000
Run into that on their sound seeing tour of South Beach.

728
00:25:54,000 --> 00:25:56,000
They would cut it out.

729
00:25:56,000 --> 00:25:58,000
Because it was too politically loaded.

730
00:25:58,000 --> 00:25:59,000
And whatever.

731
00:25:59,000 --> 00:26:00,000
I'm leaving that shit in.

732
00:26:00,000 --> 00:26:01,000
Okay.

733
00:26:01,000 --> 00:26:05,000
We're here at the corner of ninth and ocean.

734
00:26:05,000 --> 00:26:07,000
And we're going to walk down.

735
00:26:07,000 --> 00:26:09,000
And we're going to listen to all the sounds.

736
00:26:09,000 --> 00:26:11,000
I'm going to narrow it a little bit of it.

737
00:26:11,000 --> 00:26:13,000
And we're going to listen to what people say.

738
00:26:13,000 --> 00:26:14,000
And what people offer me.

739
00:26:14,000 --> 00:26:15,000
Because you know what?

740
00:26:15,000 --> 00:26:16,000
Let's go up to 10.

741
00:26:16,000 --> 00:26:18,000
Because I want to get the full blown.

742
00:26:18,000 --> 00:26:20,000
I want to go as much as possible.

743
00:26:20,000 --> 00:26:22,000
And also between ninth and ten.

744
00:26:22,000 --> 00:26:24,000
There's the tropical cafe.

745
00:26:24,000 --> 00:26:27,000
Where the girls try to hustle you to come in.

746
00:26:27,000 --> 00:26:32,000
And they look really cute.

747
00:26:32,000 --> 00:26:35,000
And we're actually, I'm across the street from the top.

748
00:26:35,000 --> 00:26:37,000
I'm walking up.

749
00:26:37,000 --> 00:26:39,000
And I'm still on the ocean side.

750
00:26:39,000 --> 00:26:42,000
And I'm going to cross over at 10th street.

751
00:26:42,000 --> 00:26:43,000
And then we're going to walk down.

752
00:26:43,000 --> 00:26:45,000
See, what are we at?

753
00:26:45,000 --> 00:26:47,000
Yeah, it should be just about perfect.

754
00:26:47,000 --> 00:26:50,000
So we'll probably be another 15 minutes.

755
00:26:50,000 --> 00:26:58,000
We spent a little bit of time with our friend David there.

756
00:26:58,000 --> 00:27:03,000
So with all this, with the sound stuff, the sound trip that I'm on today,

757
00:27:03,000 --> 00:27:07,000
is the theater of the mine, which I was spoken about before.

758
00:27:07,000 --> 00:27:10,000
If you've never been to South Beach, you're hearing all these sounds.

759
00:27:10,000 --> 00:27:13,000
I know that you're hearing it because I have the head set on.

760
00:27:13,000 --> 00:27:16,000
And I know that the microphone is great.

761
00:27:16,000 --> 00:27:18,000
I'm really picking up all these sounds.

762
00:27:18,000 --> 00:27:20,000
So this is good.

763
00:27:20,000 --> 00:27:22,000
And you're going to just listen with me.

764
00:27:22,000 --> 00:27:25,000
And in your mind, you're going to draw all these pictures.

765
00:27:25,000 --> 00:27:27,000
And these pictures will be your pictures.

766
00:27:27,000 --> 00:27:28,000
And they won't be anyone else.

767
00:27:28,000 --> 00:27:29,000
There'll be unique to you.

768
00:27:29,000 --> 00:27:30,000
But you know what?

769
00:27:30,000 --> 00:27:32,000
It's your brain doing some fun work.

770
00:27:32,000 --> 00:27:33,000
It's your imagination.

771
00:27:33,000 --> 00:27:35,000
It's your creative juices flowing.

772
00:27:35,000 --> 00:27:38,000
Completely the opposite of television, by the way.

773
00:27:38,000 --> 00:27:46,000
I pointed again to the zen of the zen TV experiment on my weblog curry.com.

774
00:27:46,000 --> 00:27:48,000
Please check it out.

775
00:27:48,000 --> 00:27:52,000
If you haven't read it, do this because it will not disappoint you.

776
00:27:52,000 --> 00:27:55,000
In fact, you're going to learn a lot about yourself.

777
00:27:55,000 --> 00:27:58,000
And that you're not relaxed when you're in front of television.

778
00:27:58,000 --> 00:28:01,000
You are actually working with someone else's pictures in imagination.

779
00:28:01,000 --> 00:28:03,000
And it's very tiring.

780
00:28:04,000 --> 00:28:07,000
And it's actually the equivalent of sucking on the cock.

781
00:28:07,000 --> 00:28:09,000
A big brother is my friend Don would say.

782
00:28:09,000 --> 00:28:12,000
This doesn't sound as we now cross over.

783
00:28:12,000 --> 00:28:15,000
We're going down the other direction on ocean.

784
00:28:15,000 --> 00:28:19,000
So on the left, I have tables.

785
00:28:19,000 --> 00:28:24,000
And on the right, I have tables on the right.

786
00:28:24,000 --> 00:28:27,000
Other people are going to try and hustle me to look at their menu.

787
00:28:27,000 --> 00:28:30,000
And to try and give me free drinks.

788
00:28:31,000 --> 00:28:33,000
Let's see if we score anything.

789
00:28:37,000 --> 00:28:39,000
Okay, we're now at Cafe Med.

790
00:28:44,000 --> 00:28:46,000
No tunes here.

791
00:28:50,000 --> 00:28:51,000
Okay.

792
00:28:52,000 --> 00:28:54,000
Well, here's the song, what I plan.

793
00:28:56,000 --> 00:28:59,000
I'll pretend I'm looking at the food while I listen to the song with you.

794
00:28:59,000 --> 00:29:01,000
Oops, must go on that.

795
00:29:03,000 --> 00:29:05,000
Yeah, fuck it, can't hear it.

796
00:29:08,000 --> 00:29:09,000
Let's walk out of the further.

797
00:29:09,000 --> 00:29:11,000
Ooh, I want to get us to guard.

798
00:29:11,000 --> 00:29:12,000
Hi.

799
00:29:12,000 --> 00:29:14,000
You have a small cojuva.

800
00:29:14,000 --> 00:29:15,000
Yeah.

801
00:29:15,000 --> 00:29:16,000
That's good.

802
00:29:16,000 --> 00:29:17,000
Yeah, how much is that?

803
00:29:17,000 --> 00:29:18,000
$8.

804
00:29:18,000 --> 00:29:20,000
What a bargain.

805
00:29:20,000 --> 00:29:21,000
What a bargain.

806
00:29:21,000 --> 00:29:23,000
Yes, please.

807
00:29:23,000 --> 00:29:24,000
With love.

808
00:29:24,000 --> 00:29:25,000
I don't know why I don't do that way.

809
00:29:25,000 --> 00:29:26,000
Let me take it up.

810
00:29:26,000 --> 00:29:27,000
Let me take it up.

811
00:29:27,000 --> 00:29:28,000
$1.20.

812
00:29:28,000 --> 00:29:29,000
Let me change.

813
00:29:29,000 --> 00:29:30,000
But.

814
00:29:30,000 --> 00:29:31,000
No.

815
00:29:31,000 --> 00:29:32,000
No more.

816
00:29:32,000 --> 00:29:33,000
Let me take it up.

817
00:29:33,000 --> 00:29:35,000
Don't just cut it through the plastic.

818
00:29:35,000 --> 00:29:36,000
No more.

819
00:29:36,000 --> 00:29:37,000
Okay.

820
00:29:37,000 --> 00:29:38,000
Okay.

821
00:29:38,000 --> 00:29:40,000
Not for any dollars cigar.

822
00:29:44,000 --> 00:29:45,000
Okay.

823
00:29:45,000 --> 00:29:46,000
Thank you.

824
00:29:50,000 --> 00:29:51,000
Yeah.

825
00:29:51,000 --> 00:29:53,000
Thank you.

826
00:29:53,000 --> 00:29:54,000
Thank you very much.

827
00:29:54,000 --> 00:29:55,000
Okay.

828
00:29:55,000 --> 00:29:56,000
Bye.

829
00:29:56,000 --> 00:29:56,500
Bye.

830
00:29:56,500 --> 00:30:08,500
So basically it's not a real Cuban cigar. It's probably from Honduras or let me throw the plastic wrap around

831
00:30:08,500 --> 00:30:19,500
There's something about and of course I'm not going to inhale this and it's not made by big brother

832
00:30:20,500 --> 00:30:24,500
So it's not as cock I'm chucking on. It's not a very big cock either.

833
00:30:31,500 --> 00:30:35,500
Where am I here? Where are the locus? No one's sitting at the locus.

834
00:30:36,500 --> 00:30:37,500
Okay.

835
00:30:39,500 --> 00:30:45,500
So we got a cigar and we're still cruising down. What is this? This is the...

836
00:30:46,500 --> 00:30:53,500
Oh man. This is... Oh there it is. This is the tropical cafe. Oh it's so cute.

837
00:31:00,500 --> 00:31:05,500
They're wearing all those nothing and what is what they are wearing is very tight.

838
00:31:06,500 --> 00:31:08,500
And well we're passing out.

839
00:31:09,500 --> 00:31:15,500
Ninestreet. Okay crossing. Ninestreet. I don't think we won't actually go down Lincoln that our friend David suggested.

840
00:31:16,500 --> 00:31:21,500
We'll just walk down. This is the prime time, which is the next place we're passing here.

841
00:31:26,500 --> 00:31:32,500
I think that I have the little jazz music for. I think that I have the head set on. People aren't going to bother me too much.

842
00:31:32,500 --> 00:31:37,500
I think I'm preoccupied listening to a fricking podcast. But we're here. This is cafe Milano.

843
00:31:50,500 --> 00:31:55,500
You're hearing some of the cars driving by people. They drive really slow here.

844
00:31:56,500 --> 00:32:01,500
In fact, you walk faster than most of the cars because inevitably there's a car that's driving very slow

845
00:32:01,500 --> 00:32:14,500
to show off the sound system and not just the sound system, but probably also the cool chrome rims.

846
00:32:23,500 --> 00:32:26,500
It's too much sun. I can't really tell what this is.

847
00:32:27,500 --> 00:32:36,500
It is a cultural melting pot if you listen to all the voices. So you are totally getting your own imaginary walk.

848
00:32:37,500 --> 00:32:45,500
If I said walking by a sidewalk cafe right now, you're going to say, I was a woman looking at the menu.

849
00:32:45,500 --> 00:32:51,500
It's a couple of talking. There's a waiter with a bad tie. Someone just dropped her silverware.

850
00:32:52,500 --> 00:32:59,500
You're imagining all this stuff in your own little movie, right? Your own picture is essentially what you're seeing.

851
00:33:00,500 --> 00:33:07,500
Even though it's more than likely completely not what is actually happening or what it looks like.

852
00:33:07,500 --> 00:33:21,500
It's not the news cafe now. The news cafe is pretty much the place to have lunch. It's on the corner of eight and an ocean or deco, I guess. Deco drive, ever.

853
00:33:22,500 --> 00:33:25,500
And they've night eight here the other day.

854
00:33:26,500 --> 00:33:30,500
Now that we're such hipsters that we can always get a table, but we were just early for lunch.

855
00:33:31,500 --> 00:33:39,500
Okay, don't kill me. Thank you. It's gross. Here we are now. This is what is this? This is wet willys.

856
00:33:42,500 --> 00:33:44,500
What are you looking at?

857
00:33:46,500 --> 00:33:55,500
It's like cops of a door wet willys to checking ID. Let's be something really wet willys in there. Got to check your ID.

858
00:33:55,500 --> 00:33:57,500
Start light hotel.

859
00:34:00,500 --> 00:34:03,500
Okay, and now we're just sea cafe.

860
00:34:06,500 --> 00:34:08,500
Hi, thank you.

861
00:34:09,500 --> 00:34:17,500
So that's the trick if you don't want to get hassled. Just put your head phones on and people won't talk to you or barely. She only said hi because it smiled at her.

862
00:34:19,500 --> 00:34:20,500
Hi.

863
00:34:20,500 --> 00:34:30,500
Where are we now? Oh, this is the Johnny Rockets. They're always playing good to them. They've put it playing right out.

864
00:34:32,500 --> 00:34:41,500
Oh, chasing the sunshine man. Get down the night. Get down the night. Get down the night. Get down. He lives in Florida.

865
00:34:41,500 --> 00:34:44,500
I'll hang out with Casey.

866
00:34:45,500 --> 00:34:51,500
Pretty cool guy actually. He's reinvented himself several times. He's putting all his money up his nose.

867
00:34:56,500 --> 00:35:09,500
Okay, we're now at building is called Avalon. Has a Chevy. I want to say it's a billaire. Is it a billaire? It has a classic car park that front.

868
00:35:09,500 --> 00:35:22,500
Let's see, I think it's a billaire. It's definitely a Chevy. Well, yeah, I'm going to say that's a, it's a 57 maybe. I don't know my car is too well.

869
00:35:23,500 --> 00:35:28,500
Man, the one thing though, there are women here that have legs that are so long.

870
00:35:28,500 --> 00:35:47,500
Okay, we just crossed the next street. So we're at the majestic the Avalon Hotel 660 on Ocean and the next little sidewalk cafe we have here is Casablanca.

871
00:35:47,500 --> 00:36:01,500
So we're lost a guy, walk a by trying to sell a CD or some CD.

872
00:36:02,500 --> 00:36:06,500
I don't know what the office is. What is this? This is Park Central Hotel.

873
00:36:06,500 --> 00:36:16,500
Park Central Hotel. You will recognize in pictures. There's a real old-time car parked out front.

874
00:36:17,500 --> 00:36:27,500
What kind of car would this be? It's a Buick. Don't know what the model is. It's kind of like the gangster model.

875
00:36:27,500 --> 00:36:42,500
We have a dummy in there, which is dressed up to look like Humphrey Bogart. And that's what people basically stand next to and take pictures. It's a very Disneylandish type of thing.

876
00:36:42,500 --> 00:37:03,500
Right. So we've pretty much walked all the way past the sidewalk cafes. And I guess that would be it for the sound seeing Miami walking up on the guy here. He's also selling CDs.

877
00:37:03,500 --> 00:37:08,500
What's your guy brother? It's that music from New York. And I think it's called the world.

878
00:37:09,500 --> 00:37:12,500
What's your car? Do all live. Do all live as in two.

879
00:37:13,500 --> 00:37:16,500
That's another guy walking there. That's your partner. That's my boys.

880
00:37:17,500 --> 00:37:19,500
And it's not in no store, so that's why we are here for more in ourselves.

881
00:37:20,500 --> 00:37:22,500
But you should have a boombox or something to play it.

882
00:37:23,500 --> 00:37:24,500
I've got the headphones. I've got the headphones.

883
00:37:25,500 --> 00:37:27,500
I can't put blasted off our headphones.

884
00:37:28,500 --> 00:37:34,500
So you know, we've got anti stone on an album. We're on tour with her. She had a house of blows.

885
00:37:35,500 --> 00:37:37,500
Really? He's opened up for 13 states throughout the US.

886
00:37:38,500 --> 00:37:42,500
We've worked at ACON and got him on an album, hoody, Alicia Key, was dead fresh.

887
00:37:43,500 --> 00:37:44,500
Really? Yeah, Jay would have damaged her.

888
00:37:45,500 --> 00:37:46,500
But you don't have a record deal.

889
00:37:47,500 --> 00:37:48,500
No, we're doing it independently.

890
00:37:49,500 --> 00:37:52,500
By choice or you actually shopped it anywhere. You're trying to get it everywhere.

891
00:37:52,500 --> 00:37:55,500
You're having a pass. You're having a pass. You know what? It's fucking blows.

892
00:37:56,500 --> 00:37:58,500
You know what? You've got a website where you sell this as well.

893
00:37:59,500 --> 00:38:02,500
Not yet. You've got to sell on the website. That's what you got to do.

894
00:38:03,500 --> 00:38:06,500
So if I told someone I would really like this CD.

895
00:38:08,500 --> 00:38:12,500
If I told someone I really like this and I wanted them to go buy it, where would I send them?

896
00:38:16,500 --> 00:38:17,500
To Miami. Now.

897
00:38:18,500 --> 00:38:20,500
How much is the CD? How much is the CD?

898
00:38:22,500 --> 00:38:24,500
A couple weeks. Really? You know?

899
00:38:25,500 --> 00:38:26,500
Do you know what the website will be called?

900
00:38:27,500 --> 00:38:28,500
Yeah, it's right here. You're a Dimash Music Group.com.

901
00:38:29,500 --> 00:38:30,500
So what's that's not up now?

902
00:38:31,500 --> 00:38:34,500
No, it's an construction like we work because this is a new project so we don't update it now.

903
00:38:35,500 --> 00:38:36,500
What's your favorite song of the album?

904
00:38:37,500 --> 00:38:38,500
Do you play on this? You sing on this? You play on this?

905
00:38:39,500 --> 00:38:40,500
Easy, breezy.

906
00:38:41,500 --> 00:38:44,500
There's one with Andrew Stone. Andrew Stone is fucking normal by the way.

907
00:38:45,500 --> 00:38:46,500
So which one do you like?

908
00:38:47,500 --> 00:38:48,500
I'm checking it out.

909
00:38:49,500 --> 00:38:50,500
Some music from New York.

910
00:38:51,500 --> 00:38:53,500
Yeah, from Brooklyn. East New York.

911
00:38:54,500 --> 00:38:55,500
On the East Coast.

912
00:38:56,500 --> 00:38:57,500
Tell me.

913
00:38:58,500 --> 00:38:59,500
13, yeah.

914
00:38:59,500 --> 00:39:00,500
Eight, half dead.

915
00:39:01,500 --> 00:39:02,500
Number seven. Well, I'm from.

916
00:39:03,500 --> 00:39:04,500
You tell me which one?

917
00:39:05,500 --> 00:39:06,500
Which one?

918
00:39:07,500 --> 00:39:08,500
13.

919
00:39:08,500 --> 00:39:09,500
Just one.

920
00:39:10,500 --> 00:39:11,500
That's a heat.

921
00:39:12,500 --> 00:39:13,500
Easy breezy.

922
00:39:14,500 --> 00:39:15,500
Adam.

923
00:39:16,500 --> 00:39:18,500
Definitely. I'm going to play it for my friends too.

924
00:39:20,500 --> 00:39:23,500
Okay, do our live, right? Do our live even better.

925
00:39:24,500 --> 00:39:25,500
Okay.

926
00:39:26,500 --> 00:39:27,500
Cool.

927
00:39:28,500 --> 00:39:29,500
All right.

928
00:39:30,500 --> 00:39:31,500
Well, shoot.

929
00:39:32,500 --> 00:39:33,500
Tell you what?

930
00:39:34,500 --> 00:39:35,500
On a mix of scene right now.

931
00:39:36,500 --> 00:39:37,500
See how much time do we have?

932
00:39:38,500 --> 00:39:39,500
Oh, perfect. Let's play this song right now.

933
00:39:40,500 --> 00:39:41,500
And that'll take us out.

934
00:39:42,500 --> 00:39:48,500
You're going to listen to do our live from Brooklyn, New York from their brand new CD.

935
00:39:48,500 --> 00:39:51,500
The official free lunch mix CD.

936
00:39:52,500 --> 00:39:57,500
When the website is out, you can find it at www.redemptionmusicgroup.com.

937
00:39:58,500 --> 00:40:00,500
Yeah, I'll put a link to that in the show notes.

938
00:40:01,500 --> 00:40:02,500
Here's easy breezy.

939
00:40:03,500 --> 00:40:05,500
Have a great weekend, everybody. Bye-bye.

940
00:40:13,750 --> 00:42:38,750
[ Music ]

941
00:42:39,500 --> 00:42:42,500
I'm casting, it's Adam Curry

942
00:42:42,500 --> 00:42:43,500
Adam Curry

943
00:42:43,500 --> 00:42:44,500
In the kitchen

944
00:42:44,500 --> 00:42:45,500
In the kitchen

945
00:42:45,500 --> 00:42:46,500
All taking a bath

946
00:42:46,500 --> 00:42:47,500
In the kitchen

947
00:42:47,500 --> 00:42:48,500
Onions are easy, listen

948
00:42:48,500 --> 00:42:49,500
In the kitchen

949
00:42:49,500 --> 00:42:50,500
All making me laugh

950
00:42:50,500 --> 00:42:51,500
In the kitchen

951
00:42:51,500 --> 00:42:53,500
Morning, good night

952
00:42:53,500 --> 00:42:54,500
Good night, in the night

953
00:42:54,500 --> 00:42:55,500
Good night, in the night

954
00:42:55,500 --> 00:42:56,500
In the kitchen

955
00:42:56,500 --> 00:42:57,500
In the kitchen

956
00:42:57,500 --> 00:42:58,500
In the kitchen

957
00:42:58,500 --> 00:42:59,500
In the kitchen