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April 4, 2006

A Transcript of the Most Incredible Conversation Ever from the Ricky Gervais Podcast

by Joshua Minton

Ricky asked that someone transcribe the following conversation from his Season 2: Episode 6 podcast with Karl Pilkington and Steven Merchant:
(S)teve: The Journey of a Thousand Miles Begins with One Step. Maybe this is why people are at the start line, spectating at the Common Wealth Games?

(K)arl: I've never understood why in Olympics and stuff like that--if you're gonna watch, don't stand at the start line. Go to the end so you see the winner. But because of that saying, it actually makes sense, dunnit? It's like, every step starts with a step or whatever.

(R)icky: Say again (disbelieving)?

K: Every race. You know, you've got to start with a step.

R: Yeah?

K: So, uhm. Uh.

R: Who am I talking to now, you or your brain?

K: Well, I was thinking of that a bit, so I think I was in a bit more control.

R: And what have you come up with?

K: Just, if you want to stay at the start line--do.

R: What does that mean?

K: I'm just saying, I wouldn't watch a race, right?

R: Is this you or your brain I'm talking now?

K: This is me.

R: Okay. Are you going to bring the brain into it?

K: I don't know. Let's just see what happens.

R: Okay.

K: All I'm saying is--if I was to watch a race, I wouldn't hang about the start line.

R: But you just said you would.

K: What? Did I?

R: Yeah, you said that's the place to stand because every race starts with a step.

K: No, but I wouldn't normally.

R: Right.

S: The brain definitely hasn't been used yet.

R: Is this you or your brain talking right now?

K: I'm just saying about me. If I was on holiday and Suzanne said there was a race going on down the road. I'd go, well let's keep going down the road and stand at the finish line. But according to Lao Tzu, I'd say, Well hang on a minute. Every race starts with a single step; how many people are at the start line. Is there more room there? She goes, yeah let's go there then because it's less busy.

R: And what would you see there then?

K: I'd see people starting the race but I wouldn't be that impressed with them because I'd go well I don't know if any of these are any good.

R: So, would you start at the start or the end then?

K: If it was down to me, I'd just probably stay at the finish line.

R: Okay, so you wouldn't want to see the first step then. So what do you think of Lao Tzu now then?

K: Uh, it's…I wrote down three of his [sayings]. That one isn't me favorite. It's the third. I preferred the leading people from behind.

R: Okay, what would you do to lead someone now then?

K: Uh, well if you're behind, you don't have to take responsibility, do you? You can go, well I didn't send you--you went there.

R: That's not really leading them, is it?

K: Yeah, because I've made 'em think. They go, "Oh, I've just walked into a big hole." I go oh you should've been looking where you were going. I haven't led them in that hole. But they've learned a lesson--they won't go in the hole again.

R: [Uproarious laughter that drowns out all other sound and high pitch voice] That was one of the greatest conversations I've ever been part of. That was incredible. Never mind Aristotle and Socrates. That was incredible that. Um, if someone's out there, could they make a transcript of that because I think that in a thousand year's time that will be amazing. That was incredible Karl.

S: And not once was the brain used.

R: [Uproarious laughter again]
Thanks to Ricky for creating one of the funniest things that has ever come out of my iPod. I will be a lifetime fan of everything he does...and I'll probably even buy the stupid book coming out about the World of Karl Pilkington.

Free love on the free love freeway, baby!

LINKS:
Ricky Gervais Dot Com

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March 24, 2006

BWP Blogcast #107: Jason and Josh Discuss the Nexus of Cosmology, Psychology, and Art

by Joshua Minton



JM: The other day, we were talking and you mentioned something you had read about Chris Cornell in an interview where he said, “I used to create fiction around me and then write about that.” And then, you go from there because I can’t remember what else you said.

JP: Well, the point of it was—and actually, it was an interview from 1998 or something like that, right when he had broken away from Soundgarden and was getting back into the scene, that kind of stuff. And his whole thing was, “Yeah, you know, I use to write images shrouded in images and now I just kind of write where I’m at in the moment…” Which I agree with that stuff and I understand the dynamic of that and why that would be beneficial to someone. My problem is when people use an art forum to do that. It almost sounded like, and this may just be what I was projecting, but it sounded like he was saying that it was more appropriate to do this. You know, “Now, I’m not full of sh** like I used to be.” Well, fine but the art forum, like we used talk about all the time—a pure image is a pure image. And you can’t replace that with something that you can only identify with. I mean that, on the whole, you can’t just sort of float through the imagery and leave with your own interpretation.

JM: Right. It makes sense. And it’s funny you say that, because it leads us right into proper and improper art which we’ve talked about a time or two but I think we can take a couple of minutes to explain a little bit about. And of course this comes from James Joyce in his A Portrait of the Artist as a Young Man and was filtered to me through Joseph Campbell. And then you and I have discussed it at various times; your head had already been there and I kind of put the references to it so you had a reference point.

But basically he talks about two different types of art: proper and improper. And I remember having a discussion with these two moops down the hallway about pornography and whether pornography was art. And, of course, it was at a keg party we were all just drunk off our ass, but you know how those conversations go. I mean, these guys were burnouts, so it wasn’t too intellectually in-depth. But it basically came down to the point of one of them saying, “I think pornos are art because they make me want to get up and act.” But that’s a good point because most people think that is what art is.

He described it perfectly because improper art moves you. It moves you to go somewhere. It either moves you to move toward it or move away from it. Whereas proper art is, just like you said, a pure image. You can see right through it; you don’t get caught on the image.

JP: Right. It’s almost a hologram of sorts. It does exist, but you have to look at it from the corner of your eye.

JM: I gotcha. It’s like the Pink Floyd song where he said, “…out of the corner of my eye.”

JP: Exactly.

JP: I don’t know if I’m saying this correctly, but A.H. Almaas. Well, basically what I took away from him, is that he’s saying that to have a sense of self and to try to identify with anything, you’re sort of frozen in time if you do that so you’re not a self. A self moves forward, experiences new things, does the self-exploration and isn’t afraid to try new things and new relationships. Whereas the person that needs to identify with one aspect of themselves, they sort of get trapped and blocked and pigeon-holed into that. And when you do that with art, it’s the same thing with the images that you can’t see through them. You will be stopped and will be directed.

JM: But wouldn’t you say that’s 99% of art today? Well, what’s marketed in pop culture is that. The experience of moving someone is what most people consider to be art and I believe that it is detrimental to the soul.

JP: See, my take on that (and this is probably semantics), but when they say “move,” I sort of think of—that’s the goal. But the goal is not to move someone in any given direction; it’s just to move and cause a shift, period. It doesn’t have to be, like you said, you’re not moving them to “hate Bush”—so, “Love Bush.” So, it’s just, “Here it is. What do you think?”

JM: I was always enamored with the concept when Joseph Campbell talked about proper art and when it really holds you still in place in the moment. That’s not really standing still, it’s really moving in all directions at the same time, both inward and outward.

JP: Exactly.

JM: I mean, it is standing still, but it’s essentially cutting through time.

JP: You’re traversing through the experience instead of moving through it. There’s a difference.

JM: That is very true. If you look at Cosmology and Astronomy, you see that The Big Bang wasn’t an explosion of matter into space; it was actually an explosion of space itself. So you can’t think of as something exploding inside of a self-contained item; it was actually an explosion of space and time itself. And that is, in effect what happens when a human being, individually, sees a piece of proper art.

JP: Internally, they do that.

JM: Yeah, they lose themselves psychologically. They die. If only for a few minutes, for a few seconds even. They’re gone and something new comes into being. And Krishnamurti always called that “The Awakening of Intelligence.”

JP: Right.

JM: When that new universe explodes inside someone’s mind, when they step outside of the moment. And you don’t even need art for that. I mean, art’s just a tool to get there, just like religion is.

JP: It’s supposed to create that process.

JM: Exactly. But meditation, in Krishnamurti’s mind, was getting to that still point. So, I made an analogy between a birth of space and not a birth of the universe into space, but an actual birth of space itself that the universe exists within.

JP: It’s an expansion.

JM: And that expansion happens to the individual who has seen a piece of proper art or who has touched the source within themselves and has experience that kind of an explosion, in all directions at once both internally and externally. So you have the macro universe with the planets and the galaxies and such and you have the internal universe with the neurons and the quarks and all that shit.

JP: That’s very true, it’s a similar structure. They’re basically constellations.

JM: It’s a brain. The universe is a brain. Let’s just come out and say it.

JP: A.H. Almaas was talking about personality disorders and narcissism and all that type of stuff. He was basically saying that you’re not caught up with yourself until you can allow who you were in 1984 because you’re in there still, you’re still wired, you’re just a collection of your experiences.

JM: Right.

JP: And depending upon how integrated they are, sort of all melted together and you’re moving forward with this sort of “snow globe of self” instead of fragmented shards. I really think that, and this sounds like insanity and I don’t mean it to come out this way. But I really have been thinking about how I think there is a physical relationship between consciousness and what we perceive as external reality.

I think there is a lag time in thought. What I mean is, I think that what we see as reality is sort of a by-product of spent thought. So, whatever you’re viewing, no matter what it is, no matter how recent, it’s no more.

JM: Yes.

JP: So, I think if you could interrupt whatever we’re doing to perceive that; you could, in theory, alter it without tampering with it on the outside.

JM: That is an absolutely perfect segway back into Krishnamurti who says that every single image is composed of the past. It can never be in the present because the mind is of the past, it’s structure is of the past, and it can never know the present and from that it has projected the uknown future. And inside that projection of the future, all fears lie.

JP: And it doesn’t have anything to do with the real reality.

JM: That’s right. It’s actually a rejection of reality.

JP: Yeah it is.

JM: And by rejecting that reality, you’re embracing the fear present in the projection of the future.

JP: Keeping it alive.

JM: The loss. The loss of self. Death because ultimately that’s what it all comes down to. It’s the fear of death.

JP: Of annihilation.

JM: Total self-annihilation, but that’s exactly what has to happen in order for true freedom to be in place. And you can’t drag freedom from one moment to the next, right?

JP: Exactly. It’s like trying to bring an ice sculpture into a heated house to observe it. You have to be in the cold.

JM: That’s a great metaphor. Frosty the Snowman.

JP: Exactly. That’s a good analogy. Real quick, just with that, the space and time and consciousness—I think that, very similarly, we have a black hole of consciousness too. I think that trauma—oh, okay, it’s too much to contain.

Note:This audio on this part was bad but Jason made the analogy that psychological wounds are actually ruptures in the ego and Josh made the connection that black holes in space were punctures in the space-time continuum


JM: So a hole was poked in but it just went it, it wasn’t a shining hole; it was a dark black hole.

JP: Exactly. It’s a wound almost.

JM: Whereas, like a religious awakening or through artistic vision, there’s a light that comes on but it’s still a puncture.

JP: A black hole sun, yes.

JM: It’s like the brightest star that you could have whereas a black hole is the absence of that completely. But both make a puncture in the ego, right?

JP: Yes, they interrupt the flow. And what happens is, the brain, you know, the information comes in, the ones and zeroes—you’re three years old and you see your Dad hit your Mom or whatever people go through. And the brain goes, “Hmm. I know 101 and this is trigonometry and I’m not going to do this right now.”

JM: Think of that man, you know a planet warps space and time. So if you think of it as a sheet being held tight and you put a big ball in the middle, the sheet warps down to hold the planet [or ball]. What if those puncture wounds that you were talking about, those emotional puncture wounds act like, you know, super gravity modules…

JP: …and they do. They annihilate…

JM: And they suck all of your fears into them and that’s where your consciousness goes, that’s where your mental energy goes.

JP: And by the way, I think that’s the original archetype of Satan.

JM: Oh yeah, I could see that.

JP: No matter how cunning he sounds, no matter what, sort of the myth is that he can always get around what you think is reality and trauma does that because you can’t control how your brain is wired. And no matter what thoughts you have, until your brain shifts, it doesn’t matter because they black hole is going to suck it up and spit it out.

JM: Right. That’s brilliant, Dude, I love the merging of cosmology and psychology.

JP: I think they’re related. I really do.

JM: They’re the same thing.

JP: And I think humans have relationships that we don’t understand and I think that the whole one mind—I’ve been thinking about higher powers and higher selves and what that means. And I really that its’ like a bean stalk of mind and if you went to the very top, it’s one mind and we’re all tentacles of that one force. To get a healthy human being, you integrate the brain and move forward. I think that the idea maybe is the trauma and what we perceive as external reality is really internal reality projected outward. So, outer space is in our brain.

JM: There you go, bro. There you go.

JP: And that’s why we can’t explain what’s out there—because there is nothing. We haven’t done it yet.

JM: I actually wrote a paper, a year or so ago, called “Living Between the Points.” And my whole argument was, okay the black hole or the Big Bang quantum singularity is a point in outer space where time and physics and the laws of the universe as we know it break down completely. We don’t know what happens after that. Whereas, when we’re born, there’s a before that doesn’t mean anything to us because we have no frame of reference. And the same thing for after we die. It’s a big blank spot. That too, is a place where time breaks down and the laws of the universe. And I will argue that they are actually the same point. You know, while we’re living between the points in space and time, the two points are actually the same point and when you step out of it, either through a religious experience or proper art…

JP: …they come back together! A schism shift.

JM: Oh, that’s great, it’s a schism shift! That’s perfect! The Tool album Lateralus.

JP: I went through a personal experience like this. I’ve been seeing a therapist for like five and a half years now, once a week. And the shifts; it’s bizarre because when I walk in there, it hurts for no reason. And it’s because, oh, here you go! It’s because he doesn’t take an opinion of me either way and it’s a perfect image. No matter what I do, he’s the same. And so I am forced to change by definition.

JM: So, he’s like a mirror that you’re looking at your own psyche in?

JP: Yes, exactly. He basically just plays whatever role I project onto him but says what that part of me should say.

JM: Wow! Wow! What a novel view of, I guess that’s what psychology is all about.

JP: Yeah, it is. It’s a way of putting a Rubik’s cube back together from the outside without seeing inside.

JM: And think how complicated these egg heads have made it. And that’s with everything. These egg heads get a hold of it and they take a simple idea and they stretch it out into endless calculations and complications that nobody even gives a shit about anymore by the time they’re done with it, you know? They spend eight pages filled with all kinds of nomenclature about something that it really takes a sentence to write out, if they were thinking correctly.

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March 21, 2006

The Revenge of Ricky Gervais

by Joshua Minton

That bastard has sucked another ten bucks out of me.

Mark my words, people--he's going for another twenty before the year runs out.

Ricky Gervais is one of the funniest men on this planet right now and he doesn't even try. You can say that Chris Rock and Dave Chappelle are funny--but they have to work at it; they have to prepare material or even arrange circumstance.

Ricky Gervais, on the other hand, is an organic comedian and he turns mundanity into pure brilliance.

Of course, he doesn't do it alone because Stephen Merchant is his cohort in comedic crime and is a comic genius in his own right.

And don't get me started on Karl Pilkington.

For those that don't know who Ricky Gervais is--he and Steven Merchant created The Office and scored a triple touchdown and made comedy legend in only fourteen episodes of some of the most brilliant work ever put on television (and this was long before the American version of The Office hit NBC).

I checked out the first season of The Office from the library, thinking I'd watch a couple episodes and send it back. But something happened--Ricky Gervais stuck his farging claws in my brain and hasn't let go since.

I ended up buying the entire series on DVD. And now he's back with his own podcast. I have always refused to pay for a podcast--until now. That bastard gave 12 free episodes away and got me hooked. I've listened to each of them at least three times and highly recommend you checking them out as well.

This man is a genius and it pisses me off because it's costing me money.

LINKS:
Ricky Gervais Dot Com

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February 27, 2006

On Posting and Being a Virtual Veteran of D-Day

by Joshua Minton

It was called Operation Overlord and it was meticulously planned and ultimately victorious. But it was a cluster fuck in terms of execution. It was sheer will that won the day, not superior military tactics.

For the past five days, I have stormed the cliff at Omaha beach seized fields and farmhouses. Been sniped out, machine gunned, and gaffled up by pudgy Nazi troops yelling, "AMERICANA!" Finally, I had to massacre about 100 Nazis from a 150-foot cilo as they set up mortar bases in teams of two a mile around me in a total sphere.

But I finally did it.

And my son finally went number two in the potty...and he flushed and washed his hands.

It's the little victories that turn the berries of life blacker and make their taste that much sweeter.

And I didn't post a damn thing this weekend because I've made a new pact with you, dear reader. I'm not going to post something on this blog unless it means something, unless it has weight.

I'm not going to tell you what I think about the mundanities of life. Frankly, I don't give a shit about Dick Cheney shooting a 78-year old lawyer in the face because the truth is that I wish the accidental shooting of lawyers took place more often in this country. But you can't say that and have it come off as funny as when you speak it.

And I'm still holding onto a podcast that could change the world. In less than 25 minutes, Jason and I connected quantum physics, cultural cosmology, artistic aesthetics, and personal psychology into a spiritual silver sabre that will pierce the dragon's heart and rescue the princess from the tower. But I'm savoring the sheen of the blade in the moonlight before sneaking up and plunging the blade into the atrium of the great beast. I want to see its eyes when the blade hits its mark and the bell tolls again in America and around the world.

We storm these beaches every day.

And with little victories come tick mark celebrations that we ingest among solitary cave walls with blood scratched bisons and thoughts of sympathetic magic through spear and rebirth.

David Gilmour, the master guitarist of Pink Floyd legend is coming out with a new album and it makes me want to point my rifle to the sky and shoot bullets at Apollo.

It makes me want to fight through the foliage and wash my dragon weapon in the sea once again.

LINKS:
David Gilmour

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February 21, 2006

BWP Blogcast #106: On Corporations and Ol' Man River

by Joshua Minton




JM: All right, so let’s go with corporations. I like this. Ron and I were just talking about it and he brought up a good point that it’s a lot different when you work from home for a big corporation than if you were to be in the office. And you and I were talking about this the other night, so I thought it would be a funny and good starting point for us.

JP: Yeah.

JM: I mean how long have you been working from home now?

JP: Let’s see. A year and half, actually.

JM: That’s a pretty long time. So, you’re in the routine now. What was the difference like, in terms of the level of office politics, when you went from working in the office every day to working at home? How did the dynamic change?

JP: I would see the managers and the big wigs as sort of necessary but sort of irrelevant all at the same time. Then when I got home, I realized that they’re not even necessary.

JM: Why do you say that, though? That they’re not necessary? Because some management out there is necessary.

JP: I think, yes and no. Management is necessary with people that [Cut this part out] can’t rally and pull it together. In food service, you kind of need them, I think of it more like a coach.

JM: So, there’s some motivation involved in it then?

JP: Yes, exactly. But our managers just catch our mistakes; that’s what they do. And that does nothing but make us go, “Well, then I don’t care about anything” and then we make more mistakes and then eventually they quit.

JM: Well, here’s the problem with that dynamic as I see it. As we get more and more technologically evolved and people are becoming sharper with their analytical skills in what they’re doing—because there’s fewer of them there and the best ones are the ones that are staying, right?

JP: Right.

JM: Look at the auto industry, at how much they just got downsized in the last month. Okay, that’s because automation has allowed the company to be able to do that same amount of work for what the market will bear for less money. It’s the people who create value in themselves by being able to analyze their job a little bit closer, who can get these automatic reports every day of what they’re doing, and they know where they’re [delete expletive] screwing up, you know what I mean? They know exactly what they’re doing and can manage themselves. So, is that pretty much where you’re at?

JP: What I’m saying is, first off; my manager doesn’t even know what I do. So, c’mon…

JM: When you say that, do you mean that they can’t do the job that you do or that they’re aren’t aware of what you’re doing?

JP: Well no, I don’t mean they’re not aware of what I’m doing; I mean, they have no idea of the operation. They don’t know what goes into it, what you have to do.

JM: Well, that’s a big problem.

JP: That’s what I’m saying. We’re self-managed and we’ve proven that or we wouldn’t be at home in the first place.

JM: And you’re producing more than the average office worker?

JP: Exactly. There’s like this formality that’s in place and I look at formality like it’s a cancer because all it does is it eats and erodes away the passion, basically. Because I know, no matter what I do, no matter how hard I try, there’s going to be someone that has a job specifically to tell me what’s wrong. And I understand, criticism’s one thing but it’s not constructive because, first off, they don’t even know what I’m doing. So the criticism is criticism for criticism’s sake and to me that’s different than criticism for the product’s sake.

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November 3, 2005

The Boys Wear Pants Blog Cast #105

by Joshua Minton

This episode is Josh's second conversation with Jason Patterson and beings with a discussion on why you must have good friends looking out for you.

There is also a short translation into song of a brilliant short essay in Seth Godin's latest work The Big Moo titled They Say I'm Extreme.





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October 18, 2005

Boys Wear Pants Blog Cast #104

by Joshua Minton




Part two of Josh's conversation with Michael Glardon

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October 5, 2005

#103 Boys Wear Pants Blog Cast

by Joshua Minton




Part One of Josh's Conversation with his good friend Mike Glardon.

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