Speaker 1 (00:00):

<silence>

Moby (00:04):

Hi, I am Moby and welcome to another episode of Moby Pod. And hi Lindsay. And hi Bagel.

Lindsay (00:11):

Hi, I'm Lindsay and welcome to another episode of Moby Pod <laugh>. Hi Moby.

Moby (00:16):

Hi <laugh>. Okay, so we have a lot that we want to talk about this week. Uh, there's so much stuff. One, and this is in no order of importance is storm stories. And I know maybe people are like, what? How could that be interesting? But we both have some really strange dynamic borderline apocalyptic level storm stories that might or might not involve Robert Downey Jr.

Lindsay (00:41):

And my Aunt Judy.

Moby (00:42):

And your Aunt Judy. So Robert Downey Jr. <laugh>, your Aunt Judy involving the apocalypse and storm stories and also the Midwest and Wizard of Oz sort of a little bit.

Lindsay (00:54):

Yeah, sure.

Moby (00:55):

Like Indiana's kind of like Kansas, isn't it? I guess people right now from Indiana are like boycotting our show because we just compared it to Kansas. But in any case, storm stories. Mm-hmm. <affirmative> with Robert Downey Jr. And the Apocalypse. We also are going to do a multi-track breakdown of the song Should Sleep with JP Bimini. Mm-hmm. <affirmative>, where I'm gonna open up the session and play each individual instrument and then show you how it all sort of came together as a song.

Lindsay (01:20):

Prepare to dance a little

Moby (01:22):

<laugh>. And we do, we wanna do, one of my favorite things is when we do finish the lyric, 'cause it proves to me that I know nothing about modern music and that I'm really old.

Lindsay (01:33):

And it proves to me that I grew up not listening to music. So everything that happened before, like, I'm gonna say 1998, I just, it's almost as if it didn't happen

Moby (01:43):

That it's a blank slate <laugh>. Um, I mean there are a lot of bizarre dictatorial regimes where that was their goal. Not to make light of it, but like pole pot in Cambodia. Like they had the idea of a year zero. They were gonna get rid of every person and every memory that happened before he came to power. Wow. So we're gonna do the same thing, but in pop music lyric form, I'm

Lindsay (02:04):

Tired of being dictator's, dream person, <laugh>.

Moby (02:08):

So we've got all those things we want to get through. So why don't we start right now?

Lindsay (02:11):

Let's do it.

Moby (02:20):

So, Lindsay Moby, on occasion since we started the podcast, we have done a little segment that we affectionately refer to as Finish the Lyric. And you sometimes use it as an opportunity to draw attention to the fact that I don't know anything about popular music because I'm an old guy who lives in the woods and just scowls at young people. Yes.

Lindsay (02:43):

But you also sometimes use it as an opportunity to test me on songs from a more

Moby (02:50):

Obscure <laugh> from the bygone age. Yeah, no, no.

Lindsay (02:52):

From a more obscure place in the kind of musical musical band diaspora. Okay, great. So, you know,

Moby (02:58):

So I, to that end, I have found a lyric that I'd love to hear you complete. Okay.

Lindsay (03:05):

Well let's try it. Okay.

Moby (03:06):

So here you go. Tell me what comes next. Okay. Okay. It's an interesting world to be in, in the forbidden city or on the roof of the world, or at the receiving end of the nine o'clock news. Next two lines, two

Lindsay (03:20):

Whole lines.

Moby (03:21):

It's an interesting world to be in, in the forbidden city or on the roof of the world, or at the receiving end of the nine o'clock news.

Lindsay (03:30):

Okay. Um, an interesting place or,

Moby (03:34):

Or just what, there are two lines that follow it, but you could just, it, you know, this is, this is your moment to interpret it however you want. You could just, okay.

Lindsay (03:42):

Let's see how, let's see how close I get.

Moby (03:43):

You could make a sound. You could make a, oh god. Okay. Just one word. You could do two lines or whatever, whatever you want. Okay.

Lindsay (03:51):

Or, or in the treetops regurgitating muffins for baby eagles.

Moby (03:57):

<laugh>. So yours is great. Um, so let me read the whole thing. Okay. And also there's one line before it. Oh,

Lindsay (04:04):

Okay.

Moby (04:05):

So a frightening world is an interesting world to be in, in the forbidden city or on the roof of the world, or at the receiving end of the nine o'clock news. However you put your mind to it, you can find fear where you choose.

Lindsay (04:18):

Oh yeah. I never would've thought of that. I was just thinking of more interesting places in the world,

Moby (04:22):

Uh, which regurgitated muffins for Baby Eagles. Yeah. <laugh>. Um, it's from the song because you're frightened by the band magazine. Oh. And they're one of my favorite bands of all time. Uh, they somehow, you know, like a lot of old bands, you know, sort of have like a lot of hipster support and a lot of, you know, like people continue to love the Clash, for example. Mm-hmm. <affirmative>, understandably, the Clash were great. Uh, or Joy Vission or New Order. Like, there are a lot of bands from the same period as magazine who have tons of hipster and modern support magazine sort of fell through the cracks. The singer Howard Devoto is one of the more interesting people in pop music culture. He'd been the singer in the Buzzcocks, a punk rock band, and he sort of left the Buzzcocks to start this band magazine. And they're very like intellectual and poetic and experimental. But they also wrote really great post-punk pop songs. And that's why I thought I would draw attention to these weird lyrics and also maybe hoping that someone will make the effort to go listen to magazine. Also, they had an album called Play. Whoa. And my album play was a little bit inspired by their album play.

Lindsay (05:39):

That's fascinating. They also have

Moby (05:41):

A great song inspired by Kafka Metamorphosis, the famous cockroach story. Wow. Which has arguably the best opening line of any song I could ever think of. The opening line is, I'm angry, I am Ill and I'm as ugl as sin. Oh God.

Lindsay (05:56):

Yeah. It's dark

Moby (05:57):

When you're 15 years old and you hear that on college radio, your entire world suddenly makes sense. I

Lindsay (06:02):

Love that. I love that somebody was out there contextualizing your world for you when you were in high school. So, I

Moby (06:07):

Mean, when I was in high school, lots of people, whether it was Joy Division or Theater of Hate or Killing Joke or echoing the Bunnymen or magazine, like I had lots of musical friends I'd never actually met. I only

Lindsay (06:18):

Had one. And it was Alanis Morissette. She was my everything. She was my son, my moon, my stars, <laugh>

Moby (06:24):

<laugh>. And you saw her a couple years ago at the Hollywood Bowl.

Lindsay (06:27):

I did. And I sang and I cried for the entire two hours. It was pretty great.

Moby (06:31):

I was gonna start singing some Alanis Morissette. I don't know if we've had this conversation about her song. Ironic

Lindsay (06:36):

That n none of it is really actually, uh, an example of irony that is all just things that suck.

Moby (06:41):

That is the wonderful meta irony of the song. Ironic is there's nothing ironic in it. Yeah. So it's a song written about irony that has no irony in it.

Lindsay (06:50):

I mean, honestly, it's just the genius of Alanis. It's

Moby (06:53):

A song called Bummer. Like it's all a bummer, but nothing's actually ironic.

Lindsay (06:57):

I was too young to really know what, understand the nuance of irony when I was a kid. So I was just like, yeah, that makes sense. I fell down. That's so ironic. You know? Is

Moby (07:06):

That one of the lines? No,

Lindsay (07:07):

It's just I, my life I would use it. Like, I fell down, I scraped my knee. It's so ironic because I just thought the irony was things that sucked because Lanis is the queen and everything. She said,

Moby (07:15):

Oh, there's a Simpson's line. He was alive. Now he's dead. How ironic. Yeah.

Lindsay (07:19):

<laugh>. Um, okay, I have one for you that also has some really thrilling backstory. Okay. You ready? The lyric is blood sucker.

Moby (07:29):

Oh boy.

Lindsay (07:29):

Fame

Moby (07:31):

Low

Lindsay (07:32):

Bleeding me dry like a

Moby (07:35):

Mark Zuckerberg <laugh>. I don't. So fame blood zucker fame thingy. That that dirty word. Word.

Lindsay (07:43):

I love that you won't say the word. It's

Moby (07:44):

A bad word. I don't wanna say that word. Um, let's

Lindsay (07:48):

Bleeding me dry

Moby (07:49):

Like a, like

Lindsay (07:50):

A blank.

Moby (07:52):

Um, I'm, I'm just going through er words. Uh, there aren't that many er words.

Lindsay (07:58):

There aren't, it doesn't necessarily rhyme

Moby (08:01):

Bleeding me dry. Like, I mean, the obvious one, and I hope it's not, this is vampire. Like, I mean that's so that's, that's like if you're gonna bleed me dry, like a vampire is almost like a simile that's not, it's just like, it's like, it's saying like, making me wet, like rain. It's like, yeah, it's water. It makes you wet. Like it's not really poetic. So is the line vampire? It's

Lindsay (08:22):

God vampire. Yes. Um, and it's a song. What's the song? It's called Vampire. Um, but also I always thought that like, vampires were kind of like cool and sexy to, so to call someone a vampire is kind of like borderline a compliment. I feel like calling them something like a mosquito or a tick would be a little bit more offensive. I

Moby (08:41):

Mean, bleeding me dry like a tick, like, or bleeding me like a tick. Like that's way, you're right. That's way,

Lindsay (08:48):

It's way meaner.

Moby (08:49):

Like bleeding me like a vampire. It's like, I'll be honest. Like I, if, if a vampire showed up and said, Hey, hey, I'm thinking of sucking your blood and turning you into vampire, they'd be like, of course, please.

Lindsay (08:59):

I mean, yeah, it would be really fun because then you can like glamor people and make them believe your stuff. And then, you know, for, for your purposes, you get to stay in small dark places. Oh, <laugh>. Um, this is a song by Olivia Rodrigo. And do you know who that is?

Moby (09:16):

I'm I, yes, but for the weirdest reason Why, uh, I believe that she went, she took a picture with Joe Biden. I think I saw a picture of her with Joe Biden. Yeah,

Lindsay (09:25):

She did go to the White House. Yeah. Um, because she's like the biggest young, biggest youngest pop.

Moby (09:30):

And she kind of sounds, doesn't she have some sort of new wave sounding songs that maybe sound like the bad Hole? Yes.

Lindsay (09:36):

Yes. She really does. She's actually great. But she was famous because she was a Disney Star. She was on a show. Do you remember High School Musical

Moby (09:43):

With Zac Efron?

Lindsay (09:44):

Yes. Well, she was on a show, the series version that came out many years later called High School Musical, the musical, the series. Okay. She was on that. Um, and then she dated a guy that was on it, but then he broke up with her and started dating another girl from the show. And then she wrote this whole album about it and it was so drama. And then the girl wrote a whole album about it and then he wrote a bunch of songs about it, but then he came out as gay after the whole thing.

Moby (10:09):

So you're saying that the drama around all their relationships might have been inauthentic and just manufactured to draw attention to their careers and to sell records?

Lindsay (10:22):

Well, you know, I think that Joshua Bassett, the boy was a little bit confused and he thought he wanted, um, beautiful women and he was wrong.

Moby (10:30):

It's also possible that some sort of Disney contract specified at some point in your tenure on high school musical, the musical to show the series, the <laugh>, et cetera, the nail charms that, I mean, the disappointing thing that people might not be aware of is most, a lot of celebrity drama like that is actually generated by pr pr You wanna hear? I can't name names 'cause I don't want to get in that much trouble. Come

Lindsay (10:56):

On.

Moby (10:57):

I can tell you privately. Okay. And I can tell people are listening privately. 'cause it's a really good story. A friend of mine used to be an editor Us Weekly, and they were approached by the manager and PR person of a very successful movie star at the time. And they said, okay, well so and so our client has a big movie coming out. You know, we wanna do a profile and us weekly like a cover story. And my friend, the editor said, look, I'm really sorry, we only cover celebrity couples. And said like, you know, if, if you think about celebrity gossip, it's all celebrity couples. Like no one, no individuals get attention. And so the manager and the PR person came back three weeks later and said, okay, we have your celebrity couple now. So basically, so

Lindsay (11:39):

They went out and found somebody

Moby (11:40):

An incredibly well-known celebrity couple was completely generated so that this act, the two actors in the celebrity relationship could get attention. Wow. Do you wanna hear another funny, I I mean, we're going a lot of tangents here, but here

Lindsay (11:55):

A lot of

Moby (11:55):

Tangent. Here's, here's a good celebrity PR story that people are surprisingly not that aware of. What, so a very dear friend of mine used to be a writer, a gossip writer for page six, the New York Post gossip column. Mm-hmm. <affirmative>, this is quite a long time ago. Every day, at least twice, sometimes three times a day, Donald Trump called her up to tell her exactly what he was doing. He would call her first thing in the morning, he would call her in the middle of the day, and he would call her at the end of the night simply to tell her what he was up to. So that page six would write about him. But here's where it gets extra special. And there are recordings of this. He would sometimes call her as a fake PR person named John Baron. Do you know about John Baron? Oh

Lindsay (12:40):

My god, I've heard of this. Yes.

Moby (12:41):

It's actually, you can, you can hear There was a journalist who recorded Trump calling the journalist as John Baron. And the journalist is like, come on Donald, I know it's you. And he was like, no, this is John Baron. I'm Mr. Trump's publicist. And you can hear it's, it's Trump pretending to be someone else.

Lindsay (12:58):

That's amazing.

Moby (13:00):

So he would sometimes call my friend at page six as John Baron. So when he called his Trump, he would say, you know, like, well, I'm going here, I'm having lunch here, and tonight I'm gonna be going out with this starlet. So like, if you go to such and such club, I'll be there with such and such model, or whomever. Whoa. But then sometimes John Baron would call up and like, if Trump is a narcissistic self-promoter as Donald Trump, imagine how narcissistic and self-promote. Like how much of a promoter he would be as John Baron. You know, he'd call her up and be like, Mr. Trump is going to be here and you know, he is really the most famous person in New York right now, and you really need to send someone to cover and take pictures because he'll be with this starlet and it's gonna be a really big deal.

Moby (13:44):

Oh my God. Do you wanna hear another funny Donald Trump story? Yeah, yeah. Okay. A friend of mine who is an interior designer in Palm Beach, Trump asked her to meet with him to possibly design his home in Palm Beach. And he gave her a tour of the house and she said all he did for about 75 minutes was walk through the house and point at things and talk about how much they cost. Oof. It was the only con, like they didn't have a conversation, nothing else that was just walking. He walked her through the house, pointed at everything, art, toilets, couches, everything, just pointed and told how much it cost. That

Lindsay (14:21):

Is so, I mean, I can't imagine anyone doing that ever. Like, what do you do? And so do you just say like, Hey, I, I think it's great. You don't have to tell me how much everything.

Moby (14:29):

I mean, at first she tried to make conversation with him, like thinking like, okay, great, but where'd you get it? Why do you like it ignored or completely just kept pointing at things compulsively telling her how much they cost. Do

Lindsay (14:40):

You think Donald Trump is on the spectrum?

Moby (14:42):

I honestly, for what it's worth, think that he, there's something so neurodivergent with him. Mm-hmm. <affirmative>, like he's, he has a disorder that isn't in the d s m, the diagnostic statistic manual. Like he has some, it's, it's narcissism, but it's sociopathy, but it's also borderline. But it's also like, who knows? He's just such a psychologically, I was gonna say broken, but just a barren person. Like no empathy comp. But it's, it's so mind boggling. Like, I think his, his, he only exists to be on the receiving end of attention. That's it. That's all he cares about. Yeah. So, okay. So somehow we went from Olivia Ric Rics Drigo lyrics to Donald Trump calling my friend at page six, three times a day telling her exactly where he'd be, and then being his fake publicist. John Baron. I think

Lindsay (15:35):

It's a good place to end up. Okay. Um, so Moby Yesi, I <laugh> I've been thinking about something which is a little song called Should Sleep, which gel's like, Should Sleep. I Am Sleeping <laugh>. Um, <laugh>, um, Always Centered at Night is your label. And also an album that's going to come out soon, which is

Moby (16:03):

At some point with

Lindsay (16:04):

The song Should Sleep on it and Should Sleep's Gonna come out soon. And I don't know what it is, but I heard there's an interesting backstory to Should Sleep and I would love to know what it is.

Moby (16:13):

Okay. So Always Centered at Night. I wouldn't even know what to call it. I guess it's a label, but it's also like a, a project where I get to work with great singers and a lot of the people I work with are relatively unknown, which to me is really exciting. Mm-hmm. <affirmative> like find, I mean, some people are a little better known, like Serpent With Feet. Yeah. Um, and like Aynzli, who's written for Doja Cat, but a lot of the singers I've worked with are kind of unknown, which I, I love like finding the voices, like you've recommended some people. Mm-hmm. <affirmative>, everyone we work with, friends of ours have recommended people. And one singer, I can't remember who recommended him, is JP Bimini. And JP is, I think he's around my age, maybe a little younger, maybe not quite as ancient as I am <laugh>.

Moby (17:01):

And I believe he's African. And I heard his voice. Someone sent me a link to his music and I was like, oh, there's something really special here. So I sent him as I often do, sent him some instrumentals and out of the blue he just sent back these vocals. And I remember it so clearly. I think I even texted you. He sent me his vocals and I put them into the, the music. And it was a Friday night and I was taken aback at how much I loved this song. Mm. You know, and if I'm being honest, at the risk of being embarrassing. So I'm Friday night in my studio by myself dancing around listening to this song. And it reminded me so much of this amazing period in New York musical history. It's basically this, this period when disco had kind of died off mm-hmm.

Moby (17:47):

<affirmative>, but house music hadn't been invented yet. So we'll call it like the 83 to 87 period, maybe even like 82 to 87, like disco had been killed off aggressively. You know, in the seventies, disco was the dominant musical form of the United States. And then almost overnight in the late seventies it got killed. You know, radio stopped playing it, disco artists stopped being signed. But because disco had come from the gay black Latin underground, it went back to that in New York. And so you had DJs like Larry Lavan who helped start the Paradise Garage. But one of the most inspiring DJs was a man named David Mancuso. And David Mancuso started this gay party called The Loft, I think in early seventies, maybe like late sixties, early seventies. And he was one of the people who helped invent disco, but he also was the most eclectic dj.

Moby (18:40):

Like, he just played music that he loved and he built his own sound systems and just really legendary and iconic. And when I started going to nightclubs in the eighties in New York, I would go in to see punk rock bands. But somehow, 'cause I was so obsessed with New York nightlife, I went to all these other clubs like The Saint and you know, I even went to The Loft and then years later I was able to DJ there. Mm. And it felt kind of like the equivalent of being a priest being asked to like pray in the Vatican. Mm. Like it was so, I was like, I couldn't believe I was DJing with David Mancuso in David Mancuso's space with David Mancuso's equipment. Like I was so reverential 'cause they moved the loft multiple times. And uh, that period of dance music was so interesting 'cause it didn't have rules and it was completely underground.

Moby (19:36):

It wasn't commercially successful. You know, the records that Larry Levan was playing and that David Mancuso were playing, like these were huge hits in the gay, black Latino underground in New York. Outside of that, no one knew them. Mm. And that's what this song is inspired by. Like, this sort of mid tempo, walking into the loft, hearing David Mancuso playing in the mid eighties, and just the celebration of gay, straight, black, white, Asian, Latino, just people dancing. Like this was the, the age of people would go out at 10 o'clock and come home at noon the next day and they, all they would do is dance. Just getting sweaty and dancing and dancing and dancing. And it was so joyful and celebratory. Um, it was also like, when I was introduced to the scene, it was right before H I V and AIDS started decimating New York.

Moby (20:28):

So it was very celebratory. But then after AIDS and H I V started decimating New York, these nightclubs became refuges. You know, before they had just been like celebratory, but then they became necessary places of refuge and people were dying. Left and, and right. People were getting shot because of the crack epidemic. People were dying of AIDS 'cause no one knew what it was. And you know, the aids was killing people, but also the medicine was killing people. Mm-hmm. <affirmative>, whether it was a z t or interferon, like people were just dying. But still the music kept going. And it was so as a straight white guy who came from the suburbs and was drawn to New York because of punk rock, the fact that I was able to be invited into this world and welcomed into this world and experience this world, really something I'm just so grateful for. And that's what inspired this song

Lindsay (21:23):

That makes me so excited. I'm, I'm always so sad that I missed that time of New York where you could afford artists could afford to live there. And it was so vibrant and beautiful and I mean, obviously there was so much tragedy, but I feel like there was also so much art and beauty and excitement and

Moby (21:40):

Oh, and so much opportunity. Mm-hmm. <affirmative>, I mean, that's something, and you and I have talked about this before, like now where do people go? Like no one can afford to live

Lindsay (21:48):

In LA or New York, or even Austin or even San Francisco or

Moby (21:52):

Like, or Mexico. No one can afford to live anywhere. Yeah. And back then everything was cheap. Like, you know, I think I probably mentioned my first apartment in New York, $120 a month. That's

Lindsay (22:01):

So insane.

Moby (22:02):

And nightlife, because it was also before the internet. Mm-hmm. <affirmative>. So people didn't stay home. Everyone went out. Yeah. So there were bars and clubs and just no one was staying home watching tv. Sometimes you'd go to the movies, but after the movies you'd go out. And so when you went out, especially in the mid eighties, that phenomenal cultural eclecticism of, you'd be dancing next to Prince, you'd be dancing next to Jagger, you'd be dancing next to Fab Five, Freddie, and then there's Debbie Harry across the room. It was so egalitarian. And I don't think that's existed since then.

Lindsay (22:35):

No. It's kind of like, I remember we talked about this with Lisa, how our world now doesn't require it. Yeah. It doesn't require you to leave your house. And I, it's

Moby (22:43):

So sad as a shut-in, I sort of appreciate that, but I wonder like, I hate it. The 19 year olds, like when I was 19, you went out every night, you just kept going out. The only time you stayed home was when the weather was bad. Or if there was nothing to do. Yeah. But like, everybody dressed up, everybody celebrated. And also everybody made things like, I remember the ethos changing in New York in the nineties when it became suddenly about spectators as opposed to creators. Mm-hmm. <affirmative> because up until like the mid to late nineties in New York, it was just artists, it was writers, it was musicians, it was theater directors, it was actors. It was just, you know, play everybody going out, talking about what they were making. And now I, now I'm feel like I'm lamenting a bygone era, but it was really,

Lindsay (23:30):

I'm lamenting a bygone era. I'm lamenting that I never got to experience it because it sounds incredible, but now it makes me wanna listen to the song. Can we listen to the song?

Moby (23:36):

Yeah. You know, I, I started the song with a simple little bass line that I played on my simple little bass <laugh>. So

Speaker 1 (23:53):

There's,

Lindsay (23:53):

Okay. I like that.

Moby (23:53):

One other thing is a lot, one thing that, that scene that that early scene of, we'll call it like post disco, pre house music, dance music was, it was borrowing from like funk traditions and African traditions and disco traditions. And sometimes it was really repetitive like this. Like you would just have like the same bass line over and over again. And, 'cause I grew up with this idea that music needed to be like, you know, needed to have lots of changes like the Beatles and I love The Beatles, but sometimes like with James Brown or other, you know, early funk, you can just have the same thing over and over again with slight changes. And it's really satisfying.

Lindsay (24:41):

I think that that sounds really true. 'cause you know, stuff about music. Okay.

Moby (24:46):

<laugh> and then I added some tambourine. Ooh. So we got some tambourine and a little bass guitar. Then how about percussion?

Lindsay (25:05):

Oh,

Moby (25:07):

Because, um,

Lindsay (25:08):

What is that?

Moby (25:09):

That's a bunch of, it's like some percussion loops. It's me playing some congas because a lot of this scene, a lot of dance music come, it's, it's, it comes from black music, but it also comes from Latino music. And a lot of these instruments like, and obviously a lot of like Latino culture was informed by African culture. Like it's just this huge intermix of musical elements. So there's some bells in there and some congas and some bongos. Um, and then I added this little, this synth line from an old oberheim synth that I really love. Can I play it for you? Yeah,

Lindsay (25:56):

Yeah.

Moby (26:04):

I just love that synth line.

Lindsay (26:06):

It's really fun.

Moby (26:08):

Um, so there was one of my heroes musically, uh, was a guy named Wally Badarou. And musically like with Always Centered at Night, I'm really inspired by Grace Jones and Sly and Robbie and those late seventies records that they made. And he was the keyboard player. I believe I could be wrong now I'm embarrassed 'cause I don't know <laugh>, but I think he was the keyboard player in a lot of those super iconic Grace Jones records. And then there's some other, or should I, okay, here's a little electric piano. How do we feel so far? Really

Lindsay (26:51):

Good.

Speaker 1 (26:52):

<laugh>,

Moby (26:55):

Do you wanna hear more synths or drums? Drums. Okay. Here you go. Drums.

Lindsay (27:04):

It is amazing what drums do to the human body.

Moby (27:08):

Well, especially just imagine it's 1984 and you are me and you're stumbling around lower Manhattan and you've been to see the Bad Brains, or you've been to a punk rock show, but it's late and you want to keep going out. So you end up in a place like the Loft or the Paradise Garage and you just all of a sudden realize like, oh, this is remarkable. So, and it would sound like this. I mean, I'm just unapologetically borrowing from those traditions.

Speaker 1 (27:46):

Here's,

Moby (27:49):

I don't know what this is, what is Okay. Oh, some guitars.

Speaker 1 (27:57):

Oh,

Moby (28:00):

Maybe I'll take the synth out for a second so we can just see what the guitar is. Ready? Yeah. Little drums out. Maybe bring in some vocals. Ready?

Lindsay (28:15):

Yeah.

Speaker 4 (28:15):

We time we,

Moby (28:27):

I'm gonna take some other elements out. Oliver

Speaker 4 (28:31):

Game Sam Time. We

Moby (28:42):

Nice. Right?

Lindsay (28:44):

I really like his voice.

Moby (28:46):

What do you wanna hear now? Percussion Oliver.

Lindsay (28:51):

Oh no, I just wanted to hear him go through it again. Yeah, I wanna hear percussion.

Moby (28:57):

Obviously the song has a lot more lyrics. I just made this simple little loop for us. I like

Speaker 1 (29:02):

It.

Moby (29:06):

Okay. Maybe bring in the drums. Yeah. What do you think? Yeah,

Speaker 4 (29:11):

See

Moby (29:25):

Now bring it everything.

Lindsay (29:30):

Wow.

Moby (29:32):

Yay.

Lindsay (29:33):

It feels so good to hear everything all together working together.

Speaker 1 (29:36):

<laugh>,

Lindsay (29:37):

It's so gratifying to beat drop

Speaker 1 (29:53):

Because

Moby (29:53):

I also added this little string part here,

Speaker 1 (29:58):

Which

Lindsay (29:58):

May, I like the string,

Moby (29:59):

Which may on its own could be interesting.

Lindsay (30:03):

It's a little other worldly. And I like that.

Moby (30:17):

So there we have our other worldly string. So am I insane? This is fun, right? It's

Lindsay (30:23):

So fun. Okay. I love this song.

Moby (30:26):

So what do you wanna hear? Tell me. And I'll, I'll we'll bring what? Drums, keyboards, vocals. Um, I would

Lindsay (30:32):

Like just to hear the guitar little dink thing. Think.

Speaker 1 (30:37):

Oh,

Moby (30:41):

Okay. Now name something to bring it in. I've got it all. I'm like the Wizard of Oz, except, yeah, I guess I'm a little and old just like him. Um, so what would, what should I bring in now? Um,

Lindsay (30:55):

Um, Ooh, mor.

Moby (31:04):

Oh, like the percussions? Yeah.

Speaker 1 (31:14):

Percussion

Lindsay (31:15):

Come, but like drums come last.

Moby (31:17):

Okay.

Lindsay (31:18):

And then vocals? No, no, no vocals and then drums.

Moby (31:24):

Okay. We're still missing the bass part.

Lindsay (31:25):

Okay. From in bass coming bass.

Speaker 1 (31:30):

Ooh.

Lindsay (31:31):

Okay. What else do we have left?

Moby (31:35):

Um, the fun little synthesizer line. Okay.

Lindsay (31:38):

Bring in Cynthia.

Moby (31:43):

Another synthesizer line. Gonna

Lindsay (31:45):

Need that. Whoa.

Moby (31:49):

So what we're missing now is just drums and vocals.

Lindsay (31:52):

Okay. So bring in vocals.

Moby (31:54):

Okay.

Lindsay (32:00):

And then drums in a minute, in a second.

Moby (32:06):

Can you tell me when? After

Lindsay (32:07):

The next, after the next, um, phrase. Okay.

Moby (32:11):

Like one, two, yeah. Three, four.

Speaker 1 (32:16):

Oh

Lindsay (32:16):

<laugh>.

Speaker 1 (32:23):

Maybe

Moby (32:23):

We'll take out the string.

Speaker 1 (32:26):

Oh

Lindsay (32:27):

Yeah.

Moby (32:28):

What about just drums and percussion.

Lindsay (32:31):

Love it. This sounds like a song you'd play on the way to go pick up some candies from the candy store.

Speaker 1 (32:48):

<laugh>.

Moby (32:50):

So this is all sorts of, like this, another nice thing about this type of like post disco, pre house music is they would have these long percussion breaks and the DJs would just sort of keep this sort of thing going for a long time. And audiences would just, like, you just have hundreds and hundreds of sweaty people screaming and screaming just simply for the drums. Um, just for fun, do you wanna hear everything all together? Yes, please. Okay. It's gonna end in just a second. Gonna end abruptly. Join these final moments. Here we go. Sorry, that was so abrupt. I

Lindsay (34:00):

Love that. I loved it so much. It's so fun,

Speaker 1 (34:03):

<laugh>.

Lindsay (34:04):

But I also really love having the context of what you were trying to evoke in that world. And it kind of like sets the scene in this way that makes it feel so much more exciting. I'm so glad that you said

Moby (34:14):

That. Yeah. I mean, like, when I listen to it, I just imagine there's little old me, 18 years old or 17 years old, even walking into these clubs and just being amazed at the culture, the joy, the, the sweaty celebration and just people dancing so unapologetically, like when I was growing up, dancing was always something to be sort of ashamed of and frightened of. And it was weird. And this was not, this was just that joyful, remarkable celebration. To be honest. I always felt sort of guilty about being a cisgendered white guy in that culture. I mean, the fact that I was welcomed by so many people, so enthusiastically and I probably spent a lot of time apologizing to them for the fact that I was a cisgendered straight white guy. As

Lindsay (35:01):

You

Moby (35:01):

Should. Yeah. As I as <laugh>. Yeah. As I continue to do. And deservedly so <laugh>,

Lindsay (35:10):

That was so fun. I loved that. I'm so excited to also dance around to this song at my home.

Moby (35:16):

Well, thank you. Okay, I'm gonna hit stop on the record now. Okay. Okay. So Lynn, I just found out this next segment we want to do, we have to hurry a little bit why I'm having new solar panels installed on my roof. And today is the day that they're actually, I was gonna say gluing what, however they affect them. Like

Lindsay (35:41):

Connecting, I assume there's some sort of like switchover of of power source or something.

Moby (35:45):

So they're, they're putting them on the roof and then at some point I guess they have to do what you just described, is to switch over. They have to throw a switch, which suddenly takes me off of the grid and puts me back on just good old solar power. But in order to do that, they have to turn all the power off for about an hour or more mm-hmm. <affirmative>. And that's gonna happen in like 20 minutes. Oh God. So we gotta rush through this a little bit. Well

Lindsay (36:11):

Not rush, but maybe, you know, brevity is the

Moby (36:15):

Soul of wit apparently. Yeah. Which is meaning why I'm not funny <laugh>. 'cause I'm incapable of brevity.

Lindsay (36:20):

<laugh>, I couldn't think of it. I was like, brevity is the key to charm <laugh>. Like, I couldn't think of it. <laugh>, will you tell us why you're gonna get solar?

Moby (36:31):

Okay, well, so the obvious reason is to do anything and everything to support sustainable industries and do whatever we can to move the needle towards a sustainable future that, you know, doesn't involve meat and dairy production, but that also doesn't involve fossil fuels. Mm-hmm. <affirmative>. And the truth is, I rarely, I almost never use the air conditioning. I rarely turn on the heat because we live in Los Angeles. Like, it, it doesn't really get that hot for most of the year and it doesn't really get that cold. So that's the main reason. But the other reason is storms are getting so much more intense mm-hmm. <affirmative> and intense

Lindsay (37:11):

And frequent,

Moby (37:12):

Frequent and p and mean the power in some of these storms. Like last winter we had that crazy storm that dumped something ridiculous, like 10 feet of snow in the mountains in the course of 24 hours mm-hmm. Mm-hmm. <affirmative>. And we just, we just had our first hurricane. Yeah. And the storm last winter was intense. Mm. I mean, it was so powerful and my power went out and I remember waking up at like three in the morning and my power was out and it was cold. Like, I mean, even by normal people's standards, it was cold. It was like in the high thirties and I had no idea when the power was gonna go, gonna come back on. And I was like, how am I, how, how, what if it's off for a few days? Mm-hmm. <affirmative> like how do you eat? How do you stay warm? How do you function? How do you charge your phone? And someone recommended that I get a generator and I thought, oh, like, you know, are

Lindsay (38:05):

Those gas powered?

Moby (38:06):

They're propane, they can be gas powered, they're propane powered, they can be kerosene powered. But I was like, do I really want to buy a fossil fuel machine that will sit in my backyard? And then I thought, you know what, maybe it's time to update and get batteries and get new solar panels. Mm-hmm. <affirmative>. So that's what I'm doing because the storms have gotten so much more intense and uh, but someone listening might think, well, your solar panels in the middle of a storm at night aren't gonna do much good. But that's why I got the battery backup.

Lindsay (38:40):

Yep. It's a very, very smart thing to do. And I know so many more people that are doing it. And it just makes so much sense to do. I mean, you are getting your power from the sun. It's sustainable. If you have an electric car, then your car is running off the solar. Like it's, it's an amazing, it's an amazing and like very freeing thing. I would always have so much guilt every time I ran the ac. Uh, not so much the heat because that's coming from gas, but even that like, it's, it's uh, it's a very freeing thing to think about. Not having to use, not having to use power from the grid.

Moby (39:12):

Yeah. So I remember when I was over at your house when you got your solar panels and you took me around to that little spinny thing, the meter. Yeah. The spinny meter, which I think is the technical term mm-hmm. <affirmative> what's called, and you pointed to the spinny meter and you said, look, it's going backwards

Lindsay (39:29):

Fast. It was going backwards fast.

Moby (39:31):

And maybe we talked about this already, but like, it was such a paradigm shift, like seeing that you were sending energy back to the grid mm-hmm. <affirmative> and your solar panels had been installed that day. Mm-hmm. <affirmative> like it was already, I just begged the question like, why in the world doesn't everyone who can have solar panels, like why aren't governments just subsidizing solar panels or even buying solar panels for people? Because the other thing I'll say is the future involves electric cars. It involves possibly electric planes, it involves electric boats, it involves electric, everything. And the current, even apart from the fact that the current power system is destroying the planet, it also can't provide power for all of these electric cars and things. So the only solution is for everybody who can to have solar panels. It

Lindsay (40:21):

Really matters. I get so upset and maybe this is silly because whatever other people will do, what other people are gonna do. But I get so upset when I see someone with a hundred thousand dollars car that's gas powered. It

Moby (40:32):

Does seem weird. Yeah.

Lindsay (40:33):

You know, it's like if you have that kind of money, why aren't you thoughtful enough to know that your purchases matter and you could get a really fancy electric car for the same price, especially

Moby (40:42):

Now. So bizarre to me's that the electric car goes faster than the gas powered car. Yeah. I I, yeah, I, same thing I'll see like, especially in Los Angeles, like some dude driving down the street in his a hundred, $150,000 mm-hmm. <affirmative>, fancy yellow, whatever those are. Yeah. <laugh>. And you just wonder like, are you advertising the world to the world that you either don't know about climate change, you don't believe in climate change, or you don't care about climate change? Maybe all three. None

Lindsay (41:09):

Of which are good. Yeah. And I'm saying like, that's for people that have money. Obviously there are a lot of people that cannot afford a new car. And I'm not trying to shame you for not getting an electric car, but I am saying if you have the means, why not make the choice that's more sustainable? Why not get the solar, why not get the electric car? Like, it just doesn't, it just confuses me so much.

Moby (41:29):

Yep. Yeah. Exactly. If you, if if it's, if you have the means to do so, not doing so is kind of baffling. Yeah. And potentially quite unethical.

Lindsay (41:37):

I could not agree more <laugh>.

Moby (41:38):

Okay. So speaking of storms, so we just had our very ever first hurricane mm-hmm. <affirmative> in Los Angeles. Mm-hmm. <affirmative>. And it wasn't that bad. Like it rained like crazy, which is great. Wasn't that windy, but it made me think about storms. Mm-hmm. <affirmative>. Um, and I was wondering, 'cause you've grown up in some weird places and I've grown up in some weird places. Do you wanna trade storm stories?

Lindsay (42:03):

I only have one really good one that comes to mind. Okay. How many do you have?

Moby (42:06):

I mean, I'm an old person. Countless, I mean, like, I, boy, it depends like what my idea, my criteria for a good storm story might be very different than a non old person's idea of a good storm story. Like, I'm, I'm, I feel like I'm, I can't imagine I'm inch way from like a buttoned up flannel shirt sitting on the front porch of a general store talking about rain <laugh>,

Lindsay (42:29):

You do love to not only be aware of the weather at all times, but anytime I'm going somewhere, you always look at the weather where I'm going. You just really are very interested in the weather. And I, I like that about you <laugh>. Now

Moby (42:40):

I'm ashamed. I feel like, I mean, I, I aware of the fact that I'm an old person, but what you just described, it's one thing. It's like when you, when I self-identify as weird, that's one thing. But when you realize that objectively you are weird <laugh> and that other people see you as weird, you're like, oh, I like it better when I'm the only person who thinks I'm weird the same way. I'm perfectly happy to throw myself under the bus as being an old person. But when you tell true stories, like the fact that I am a little bit weather obsessed <laugh>, I feel like it's not me making fun of myself for being old. It's just simply the fact that I'm an old guy who pays attention to the weather.

Lindsay (43:18):

Everyone's gotta have a hobby. And weather is your hobby. It's

Moby (43:21):

Just getting more the dressing. Like, I, I think you're trying to be nice. And I'm like, it just seems sadder and more depressing. You're like, and there's a chill in the air. Like Yeah. You might wanna put on an extra sweater. And have you considered making another cup of chamomile tea and complaining about young people? Yeah. Okay. So storms. Yeah,

Lindsay (43:39):

Storms. Okay. So, uh, when I was younger, I must have been oh seven, maybe eight. And I, we were living in La Porte Indiana, which is northern Indiana, which I all respect, but I, I wouldn't say I enjoyed my time in La Porte, Indiana. Very harsh winters and very unpredictable weather, intense weather. And one time it was a summer day and my aunt was visiting and my dad was away. So it was just me and my little brother Jake, and my mom and my aunt Judy. And we went to the zoo. My mom was like, Ooh, I'm gonna use this opportunity to go shopping and Judy can take Lindsay and Jake to the zoo, the local zoo, which, you know, I would never go to a zoo. Now just to put that out there. I think that while some are engaged in very wonderful conservation, I think for the most part zoos are really, really sad.

Lindsay (44:32):

And no animal deserves to be caged unless they're being rehabilitated. But even then, they don't deserve to be caged anyway. They do deserve to get better. Anyway, we were at the zoo and it was a sunny summer's day and my mom was gone shopping and she had taken us in her van, I think it was a trans sport, with an automatic sliding door. And it was about the fanciest thing I'd ever seen at the time. This was in mid nineties. And we're in the zoo, we're walking around getting snacks, probably some sort of like, you know, cotton candy. And the cloud starts to get a little gray, and then it starts to get a little green, and then it starts to get a little bit, oh, I think something bad is happening. And then the tornado sirens start going off. And we are just in the zoo and we don't have a car. And so everyone in the zoo is asked to leave over the loudspeakers, the employees of the zoo all leave. And so we are the only ones left inside of the zoo. And so we're standing under this awning, the rain starts coming, we're holding all of our little things. We'd gotten through the day, T-shirts, toys, candy, whatever.

Moby (45:34):

And, and dumb question were so the animals, I assume had shelter. Like they,

Lindsay (45:38):

I can't remember. I don't remember if the animals had shelter. I, I have to assume that they had some little place that they could go. But my aunt, because she can be a little bit, uh, worrisome, I wouldn't, I may be paranoid is the word. Mm-hmm. <affirmative> and my brother, I was seven and my brother must have been four. She goes, okay, we are right next to the lions and tigers. We are right next to the big cats. They were right by the entrance, which is where we were waiting, hoping that my mom would show up in the car. We also didn't have cell phones at the time, so we had no way to alert her that we were in the middle of a zoo tornado. So we just were waiting there hoping that she would show up, not knowing what was going to happen.

Lindsay (46:15):

We had no place to get shelter. And we're right next to the lions and the tigers. And my aunt goes, okay, if the tornado comes through, the wind gets too intense and it breaks one of the cages. Just drop all of your stuff and run. And me and my brother just immediately dropped everything, like ready to run <laugh> thinking that, that at some point the gates were gonna blow open from the intense wind and that we were gonna get eaten by the lions and tigers. I was terrified. I was like, this is how I die. I'm too young to die. And eventually my mom did show up the tigers and the lions didn't get out of their cages, but it was an early brush with death,

Moby (46:52):

<laugh>

Lindsay (46:53):

<laugh>. And I don't think that tornado ever actually touched down, but there was a tornado nearby. I just didn't touch the ground.

Moby (46:59):

One time I was in Nebraska and I saw that pre tornado sky that like gray that turns green. Oh

Lindsay (47:06):

My god. Intense. It's so scary. Intense. Yeah. And the sound, it sounds like a train. It's so, it's the most intense sound. It's terrifying. And

Moby (47:12):

I kept thinking about Wizard of Oz. Mm-hmm. Because it starts with the tornado. But isn't there like a lions and tigers part of,

Lindsay (47:21):

What do you mean? Isn't there, have you never seen Wizard of Oz?

Moby (47:23):

Not since I was like four

Lindsay (47:25):

Part. Well there's the Cowardly Lion. Cowardly

Moby (47:27):

Lion,

Lindsay (47:28):

Okay. But then also they're walking through the scary forests and they're lions and tigers and bears. Oh my. And they are scared of lions and tigers and bears in the dark forest.

Moby (47:36):

So that was you and Jake. Mm-hmm. <affirmative> at the sad Indiana Zoo. Mm-hmm. <affirmative> during the apocalypse. Mm-hmm. <affirmative>. Yep. While you were talking, you reminded me of one of the weirdest weather stories I have. And it also involves some solid name dropping. Ooh.

Lindsay (47:52):

Okay. Exciting. I'm ready. I'm ex I'm thrilled.

Moby (47:54):

Okay. This is so long ago. Uh, 1973. Whoa. Yeah, I know. That was 50 years ago. Yikes. Yikes. I'm very old fellow. So 1973 I was living in Darien, Connecticut. My mom and I were living in a garage apartment and it was depressing. It was cold. We were very poor. We were on food stamps and welfare, but it wasn't that bad. We had a TV with a black and white screen and a coat hanger for the antenna. And we got three channels. So things were pretty good <laugh>. And one morning in the winter I woke up to the weird, a sound I'd never heard before. And it was the sound of someone breaking glasses, like crystal glasses. Like it sounded like someone who was taken had taken like a hundred thousand champagne glasses and was just smashing them one

Lindsay (48:48):

By one was

Moby (48:49):

Just, just sound like, like this crazy sound. And I left my little cold bedroom and walked out. And overnight there had been the craziest ice storm and everything was shut down. Like the power was out, the entire world was coated in like an inch of ice. And as a result, like one of the sound I heard was tree branches falling. 'cause they'd all been coated in ice.

Lindsay (49:12):

When it's an ice storm, does that mean hail or what does that mean?

Moby (49:15):

I think this is incredibly cold rain that freezes the moment it hits things. Oh

Lindsay (49:22):

Man. And so, so it's coating all of the leaves of every tree and making them too heavy to be held up and they're all falling

Moby (49:27):

Down. So every branch, everything was just like falling and falling and falling 'cause of the weight of the ice. And that was so, it sounded like crystal champagne glasses, just like a a million crystal champagne glasses being broken. Everything was falling. Power was out because all the power lines got coated with ice and they fell. Whoa. So my best friend at the time was Robert Downey Jr. Crazy. And my mom and his mom were very good friends because they were like the only sort of hippies in dairy and Connecticut. And they used to smoke pot, togeth smoke. I guess no one has said the word pot since like 19. Well

Lindsay (50:01):

That, back then you probably would've

Moby (50:02):

Called it pot. Okay. So they had, they had, they smoked cannabis together, <laugh> and Robert and I were best friends. And so like Robert and his mom and his sister would come over to our little garage apartment and Robert's mom and my mom would smoke marijuana and Robert and I would play and the sister would do her own thing. I could, well, I don't know why she didn't have a friend there, but in any case, so I, we learned the power was out, but the phone still worked 'cause I guess phone lines were buried or something. So my mom started calling the few people she knew in town and called Robert Downey Jr's house and talked to his mom and turned out they had power. This story gets weirder and weirder and weirder. So Robert Downey Jr's mom rationally said, oh, you don't have power.

Moby (50:46):

It's freezing cold. Like, just come over here. We have power so you couldn't drive 'cause the roads were coated in ice. Oh my God. So even walking was treacherous. And so my mom and I left to walk the three miles in the ice storm to Robert Downey Jr's house. 'cause they had power on Mansfield Road and Robert Downey Jr. And his mom and sister came to meet us. They were like, we'll meet you halfway. I don't know why that made sense. So we got to the halfway point and it was one of the scariest things I'd ever seen. A live power line had fallen and it was flailing around like it was sparking. And similar to your near death experience during the tornado, I was like, oh, this could kill us. It quite literally, it could

Lindsay (51:29):

Just like whip around and shock you.

Moby (51:31):

So we went back to Robert Downey Jr's house and it was either this day or some other time we made our first movie, which clearly does not exist anymore. His, his father, who was a film director had left a super eight camera at home. And so Robert Downey Jr. And his sister and I made a three minute detective movie, which is funny 'cause now he's producing Perry Mason. Wow. Okay. So that's the story. Crazy Ice Storm end up at Robert Downey Jr's house, warm and cozy. His mom and my mom smoked marijuana and Robert and I watched television 'cause they had power. So fast forward years and years and years and years and years, I was talking to a friend of mine, the writer Rick Moody. Mm-hmm. <affirmative>, Rick Moody, grew up in New Canaan, which is one town over, and they also had the ice storm. He wrote a book called The Ice Storm, which is the movie The Ice Storm was based on this day. So do you know the movie The Ice Storm with like, no. Christina Ricci and Elijah Wood. Oh. So the movie and the book, the Ice storm was based on this day with the crazy ice storm. So the ice storm in that movie actually happened. That's

Lindsay (52:37):

Really cool. Now I wanna watch it. I love Christina Ricci and Elijah Wood together. You know, they're like a little team on Yellow Jackets, the show Yellow Jackets.

Moby (52:45):

Oh, I haven't seen season two. I didn't know. It's really good.

Lindsay (52:48):

Okay. Um, but anyway, I gotta watch that now because you experienced that day. Yep.

Moby (52:52):

So Rick Moody in New Canaan Connecticut Living Through the Ice Storm, same as me and Robert Downey Jr. Wrote the book and then the movie, the Ice Storm, I think Ang Lee directed movie.

Lindsay (53:02):

Wow. So it's beautiful. I'm sure.

Moby (53:04):

Yeah. I don't think I ever saw it, but

Lindsay (53:06):

Oh wow. That's a really good story. And the name drop, I mean, my God,

Moby (53:10):

It's got some pretty solid name dropping and the fact that we almost died because of that. I mean, I can see it so clearly. It was on Middlesex Road, that power cable, it's like a black power cable sparking. And it was the scariest thing I'd ever seen. Because when in the, the suburbs, do you ever see death, like right up like, like actual sea? Like you're confronted with that level of menace and malice?

Lindsay (53:35):

Yeah. I mean, I can't Ima I, I feel like I've seen video of that happening and it always looks like the most terrifying thing.

Moby (53:41):

So that's my story. Perfect timing. They're about to turn the power off at my house 'cause they're gonna switch over to solar. So I'll be protected from future storms. At least I'll pretend to myself that I'm gonna be protected from future storms.

Lindsay (53:54):

Yeah.

Moby (53:59):

So that was hopefully fun, fun-filled jam packed episode of Moby Pod. I

Lindsay (54:05):

Don't know what a poo poo platter is, but I imagine this episode was that think

Moby (54:09):

A poo poo platter? I don't know what I, you know, I I have no idea either. I

Lindsay (54:13):

Believe, I think it's like a, a mishmash of a bunch of different types of things. Is

Moby (54:16):

That what Dimm Sum also is? I think

Lindsay (54:18):

Dimm Sum is like a kind of, it's a, it's a genre of food, a whole genre.

Moby (54:23):

And also, are we in any way guilty of cultural appropriation by talking about other cultures foods? You know what, let's just say no <laugh>. I mean it's,

Lindsay (54:32):

I love Dimm sum. Yeah.

Moby (54:34):

I've never had a poo poo platter, but I'm sure if it's vegan I would love that as well. Dimm sum, I think when I used to drink and do drugs, one of my favorite things was to go into Chinatown in New York when I was really hungover and, 'cause there were so many vegan Buddhist, Chinese restaurants. Mm-hmm. And getting like Sunday morning vegan, greasy dimm sum. God, that's good. When you're hungover. And it was the only time I allowed myself to drink Coca-Cola because when I was hung over having like a plate of greasy food, vegan food with a Coca-Cola, oh, it was really good.

Lindsay (55:04):

That does sound delicious. And now I want that right now, even though I'm not hungover, it just sounds really good to me. <laugh>.

Moby (55:09):

So the next episode of Moby Pod, our special space alien episode, we

Lindsay (55:15):

Are preparing right now to do a live podcast, um, that we are calling a call to aliens, where basically we're going to figure out what people know and think about aliens and essentially spend some time begging the aliens not to blow us up because we're kind, we're we're not doing a good job.

Moby (55:31):

And we're also gonna talk to some actual experts on the space alien phenomenon. Mm-hmm. <affirmative>. And we are going to endeavor to write a song about space aliens specifically asking them to not blow us up. Mm-hmm. <affirmative>. But then again, looking at the stuff that humans are doing, like, hmm.

Lindsay (55:49):

You know, we're programmed to survive. So I think we just have to try to survive.

Moby (55:53):

So that's, that's gonna be the next episode. Do you wanna say special thanks to anybody?

Lindsay (55:59):

Uh, there are some people I'd like to address. Uh, first of all, I'd like to thank my Aunt Judy for really putting her life on the line for us in that LaPorte Indiana Zoo.

Moby (56:07):

I'd like, I'd like to thank Robert Downey Jr. And his family for saving me In the middle of the ice storm <laugh>. I'd like to thank Bagel for being a feisty couch, alligator, feisty,

Lindsay (56:17):

Crazy person. Um, couch alligator. Um, I also wanna thank Jonathan Nesvadba for editing these episodes. He does such a good job. There are so many times that Moby and I are saying ums and uhs and things that should not be heard by the Gen Pop, and Jonathan really helps us out with that. So, Jonathan, you're a real one, uh, and I wanna thank Human Content for getting this podcast out into your sweet little, tiny ear holes.

Moby (56:41):

And so we'll talk to you again in a couple of weeks with all sorts of information about space aliens and begging them not to destroy us.