Name: Joe Rogan Experience #2177 - Chris Robinson
Uploaded: 2024-07-18T17:00:08.000Z
Description: Watch the stand-up comedy video 'Joe Rogan Experience #2177 - Chris Robinson' from PowerfulJRE on Comedy Buff. Published 2024-07-18. Transcript available.

Watch the stand-up comedy video 'Joe Rogan Experience #2177 - Chris Robinson' from PowerfulJRE on Comedy Buff. Published 2024-07-18. Transcript available.

Joe Rogan Experience #2177 - Chris Robinson

Joe Rogan Podcast, check it out.
The Joe Rogan Experience.
Train by day, Joe Rogan Podcast by night, all day.
Okay, especially the first season, like 1972 or three, I think.
Columbo, I almost forgot about that show.
They used to tell him not to smoke?
Well, no, like the character, I can tell they're probably just building up.
Like you notice that he has a cigar in his hands, the whole series or every
episode.
But it's funny that in 1972 people are like, please don't smoke in here.
Or Lieutenant Columbo, he's always being reprimanded for it.
Interesting. I forgot about that.
And he's always really, you know, Peter Fox, he's always like, oh, sorry.
And he puts it out on us. He's never like upset or anything.
Yeah, that was an interesting character, right?
Because he was like this bumbling guy who was actually not.
He was kind of setting you up the whole time.
Letting you underestimate him.
Pardon me, but another thing.
He's always about to leave, but he's like, oh, yeah.
And he comes back.
And he's annoying people, and they're like, oh.
Incredible, though, aesthetic.
And like the other day I'm watching this episode that Jonathan Demme directed,
Steven Spielberg.
I mean, like all of these famous directors start to cut their teeth in TV
and on episodic things like that.
But there's a real tone to it and stuff that's cool in the way everyone looked.
But one other funny thing about it that I've noticed in Columbo is there always
starts with a murder.
And then usually a lot of times in the arc of the story, someone shows up to
the crime scene.
Usually whoever did it or whatever, right?
And so, but they're never upset.
You know, there's never someone that runs and says, what happened here?
Your uncle's been murdered.
Oh, I didn't do it.
You know, it's kind of like how it starts instead of some dramatic, you know,
like, oh, my God.
You know, how could this have, you know, no one's even, they're just like, okay,
well, you're bothering me now.
In cop shows, you can always tell police, even SVU, they're always like, I've
had enough.
Can you guys leave?
And they leave.
I'm like, is that how it goes?
I don't know.
No.
It's weird how many of those shows there are where they catch the bad guy.
Like, that is, it's like something that I guess people with anxiety need to let
them feel like if someone is a bad person and they do commit a murder, they're
going to get caught.
Like, are the interest in those kind of dark scenarios, you're only interested
in them when there's justice at the end?
Is that what you're saying?
Oh, yeah.
For sure.
Because anything nebulous or whatever is like too real, maybe.
Yeah, there's those shows and then there's medical shows.
Remember when there was a time where like every other fucking show on TV was
about a hospital?
Yeah, yeah.
Yeah.
And the only one that I really remember is Quincy.
So Jack Klugman yelling at everyone, all the, you know, he's yelling about the
sandwich.
He's yelling about the blood sample.
When we were kids, we were hardcore.
We were in, you know, that initial phase of American kind of hardcore punk
stuff because we had just missed out the like 77, 78, 79.
And then there was an episode about the L.A. scene and Quincy goes to the punk
club.
Don't you see what you kids are doing to yourselves with the loud music and the
anger and the pills or whatever?
You know, he like, and there was a thing when we were kids and there was this
song.
I forget which band did it.
But if you were, you were fake, if you were a Quincy punk, you know, because
they took like the way people looked on Quincy or whatever.
And that instantly became.
A fake punk.
Yeah, yeah.
You're bullshit.
When you started out, like what, what was the inspirations for your band?
Like what were you guys into?
I mean, it's, it's hard to untangle because my dad was a singer.
So our dad was a singer and he was very, well, my dad's a kind of a strange guy
in general, a lovely guy, but dynamic to say the least.
But he'd had like a hit in the late 50s called Booma Dip Dip, like a top 40
kind of record and, and a couple of subsequent sort of, you know, rock and roll
singles.
And he was living in New York and stuff.
And then when he, that kind of pales out and then he moves back to Atlanta and
he immerses himself in like the folk music scene.
And he was signed to a label called ABC Paramount.
So by the time I come along in 66, it's kind of, he's not doing it anymore.
What was he doing?
He was a schmata guy.
He was in a middle, he was like Willie Loman, you know, he was in the garment
business.
My, his, my grandfather, Ike Robinson, they were in children's wear.
My dad was in women's wear and then ended later back in children's wear.
But the one thing around the house that I remember earliest memories are him pilling
out this, his guitar and singing folk songs.
And just, I don't know.
I'm dyslexic person.
And so my, you know what I mean?
So there was, I don't know if that has anything to do with it, but there was
something about always singing these songs.
It would like open up stuff for me, almost like being high or in a, in a, in a,
and not in a psychedelic way, but in a way that it changed the space.
You know what I mean?
And records started doing that to me very early and that kind of is where, so
it's kind of, we think it's normal.
Other kids' dads aren't playing old folk songs at the house that I know, you
know, but by the time Rich and I, you know, we're kind of like angst ridden
suburban youth.
You know, for some reason, my parents decided to move to the suburbs, financial
reasons, general apathy, you know, ready to, you know, begin the mound of
resentment and regret.
I don't know.
All the things the suburbs represent me, you know what I mean?
I would say for me, there was a television show in the, do you remember Night
Flight on USA Network back in the early days?
I remember the name.
I don't even remember what it was about.
Yeah, it would be like, it would come on at midnight and it would be concerts
and like films, like cool, like probably the first time I saw Eraserhead or Rude
Boy, the movie about the clash and, you know, decline in Western civilization,
punk things and new wave things.
And I always had an interest in stranger things, you know, and things that
weren't normal or, you know, you know, Mr. Roper on Three's Company or whatever,
you know what I mean?
And this show, they had a show that came on at two in the morning and it was
from Los Angeles called New Wave Theater.
And that was like huge, huge, being a kid in the suburbs in Georgia where, you
know, it's still pretty much like that band, all the people that's that band,
Alabama, you know, they wear like trucker hats and flannels and like want to
beat you up because you have a Ramones record or something.
And that's how it was, you know?
Wow.
So this show was like a real beacon of, you know, my mom was like, oh yeah,
Peter Ivers.
A very interesting character, Peter Ivers.
Wealth of material they've serviced in many incarnations tonight.
They're here as 45 Graves, piece of wax.
45, yeah, so this is what I'm really into.
Don Bowles is the drummer in 45 Graves who was in the Germs.
Not a happy childhood amongst them.
No, but, well, I don't know.
But they definitely made amazing, beautiful, cool outsider art.
And, you know, I think something that we have a hard time understanding in this
day and age is art that's made because of the visceral interaction with you and
other people that has nothing to do with, I'm going to be a big star.
And some of the things I think, I mean, fuck, I'm like the one of the last, I
mean, the Black Crows, we have to be one of the last bands of the time where we
kind of felt it was our duty to never truly give in to the other side.
You know what I mean?
And kind of understand this us versus them idea, you know what I mean?
I mean, I mean, you know, the inner vibe is something that's inspiring and
something that is like, you know, I was always interested in counterculture,
you know?
And anyone, again, that's like why the algorithm maybe isn't as perfect or it
never will overtake everything because there's always going to be the one
person who's like, I'm going this way.
Like, that's not enough for me, you know, the deep dive people and the, and so
we kind of found ourselves in the crosshairs of this kind of stuff, the cramps,
we were in the cramps, the gun club.
So, and then R.E.M. comes around, their first record, Chronic Town, and so my
dad, my mom and dad had a lot of records, maybe 250 records, 300 records, you
know, which was a lot of records back then.
Bluegrass records, you know, Lester Flatt and Earl Scruggs records or Moe's
Allison records, Jimmy Reed records, Johnny Guitar Watson, and then they had,
you know, Buffalo Springfield records and Bob Dylan records.
I mean, that's a big, I mean, for millions of people, but something as a kid
that I knew no other kids would go, you guys want to come over and listen to
records?
I'm going to put on, you know, the times they are a changing.
I mean, like, again, that would be a reason to get beat up, you know?
But that kind of stuff catapults us into, then punk rock comes along and it's
like, oh, it's anyone can do this.
You don't have to be, we'll figure it out later what talent or whatever, you
know what I mean?
Like, we just want to plug in and start going and singing horrible things and
trying to be offensive, you know what I mean?
Because think about, now you go to the, you know, now people walk around in
Dead Kennedys T-shirts and it's like, oh, cool.
But back then, Dead Kennedys made people, like, the name of that band, the
Circle Jerks, like, the names of these bands made people upset.
Right.
Legitimate rebellion.
Yeah.
Instead of, you know, posturing, which is a lot of what's going on today with
Dead Kennedys T-shirts.
But, I mean, I think inevitably anything like that, I mean, Edgar Allan Poe was
that in a literary way in the, you know, the tail end of the Victorian age.
But now he's just like a thing hanging in some goth kid's car, like an air freshener
or something.
You know what I mean?
Yeah.
So things get swallowed up culturally.
Right.
And regurgitated as just this, you know, and it just so happens that Dead Kennedys
have one of the greatest logos of all time.
Yeah.
Well, so there's always going to be adherence to, you know, what most people
are interested in and what's popular.
And then people that are trying to mimic what's popular so that they can become
popular.
And then there's always legitimate counterculture where people are just like, I
don't vibe with any of this.
Yeah.
I'm looking for something else.
Yeah.
I'm looking for something that's real, something that's raw.
And I think that's going to accelerate with AI music and, you know, all this
electronic music.
And, again, as you were saying before, stuff that's sort of created to feed the
algorithm.
Yeah.
You know, there's strategies to become successful rather than just expression
that resonates with people.
Let the people, yeah, yeah, in a way, I mean, someone took a chance, you know,
a band like Alan Vega and, you know, like Suicide, like someone, you know, the
no wave music in New York in the late 70s.
Someone took a chance and said, yeah, I always think about how weird was that,
you know, like bringing that into a studio where who was just in here, fucking
38 Special or some shit, you know what I mean?
And then there's like this or whatever, you know what I mean?
Yeah.
I mean, it's a cool thing about early, you know, like the first Sex Pistols
record, the Clash record's a little different, but even the Dead Boys or bands
like that, like a lot of those early punk records and a lot of the post-punk
records, those bands, they're not making records trying to sound, you know, oh,
I can make a record sound like I don't give a fuck or something on my GarageBand.
You know, you can do anything now with like a button and people, and I like lo-fi
shit too, of course, but back the