Rick Rubin: Protocols to Access Creative Energy and Process

Welcome to the Huberman Lab podcast where we discuss science and science-based tools for everyday life. I'm Andrew Huberman and I'm a professor of neurobiology and ophthalmology at Stanford School of Medicine. My guest today is Rick Rubin. Rick Rubin is a world-renowned music producer, having worked with an enormous number of incredible artists, producing for instance, Red Hot Chili Peppers, Beastie Boys, Jay-Z, Johnny Cash, Adele, Lady Gaga, Tom Petty, and of course Slayer.

This last year, Rick also authored his first book, which is a truly incredible exploration into the creative process. His book is entitled The Creative Act, A Way of Being. Rick has appeared once before on the Huberman Lab podcast, and during that appearance, he offered to answer listeners and viewers questions. Those questions were put in the comment section on YouTube, and we received thousands of them. So today, Rick answers your questions about the creative process.

I also took note of the feedback that when Rick previously appeared on the Huberman Lab podcast, that perhaps I spoke a bit more than the audience would have preferred. So today, I refrain from speaking too much and try and give as much air time as possible to Rick in order to directly answer your questions. You'll notice that today's discussion gets really into the practical aspects of the creative process.

The most frequent questions that I received for Rick were ones in which people really want to understand what his specific process is each and every day, as well as when he's producing music or other forms of art. And of course, people want to know what they should do specifically from the time they wake up until the time they go to sleep, even whether or not they should take note of their dreams, et cetera, we get into all of that.

So today's discussion is very different from the one I held with Rick previously, and at least to my knowledge from any of the other interviews or discussions that Rick has had publicly. Before we begin, I'd like to emphasize that this podcast is separate from my teaching and research roles at Stanford. It is, however, part of my desire and effort to bring zero cost to consumer information about science and science-related tools to the general public.

In keeping with that theme, I'd like to thank the sponsors of today's podcast. Our first sponsor is Maui Newi Venison. Maui Newi Venison is the most nutrient dense and delicious red meat available. I've spoken before on this podcast, and there's general consensus that most people should strive to consume approximately one gram of protein per pound of body weight.

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To get 20% off your first order, again, that's MauiNewEvenison.com slash Huberman to get 20% off. Today's episode is also brought to us by Eight Sleep. Eight Sleep makes smart mattress covers with cooling heating and sleep tracking capacity. I've spoken many times before in this podcast about the fact that sleep is the foundation of mental health, physical health, and performance.

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I'm a longtime fan of meditation. I started meditating when I was back in my teens, and I started doing a daily 10 or 20 minute meditation. And I kept that up for a number of years, but then it became more sporadic. And then eventually I stopped and then I'd start again and then I'd stop.

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If you'd like to try waking up, you can go to wakingup.com slash Huberman to try a completely free 30 day trial. Again, that's waking up.com slash Huberman to try a free 30 day trial. And now for my discussion about protocols for creativity with Rick Rubin. Rick Rubin, welcome back. Thank you, sir. Happy to be here. We're going to answer or rather you are going to answer the questions of the listeners of our previous podcast episode.

Before we do that, however, when we were out in the lobby, you mentioned that you have a breathing exercise, a coherence breathing exercise that you thought might be useful for us to do now and perhaps for some of the listeners to join in. Yeah, let's do it. And then if you want to talk about it after we can. Sounds good. The reason I started doing this is I have relatively low heart rate variability and you want to have a higher one.

So I looked at all the things that can raise your heart rate variability. And I started doing this breathing technique specifically for heart rate variability. Then it went up. Oh, so it's great. Tested great. Let's do it together here. It'll say take a deep breath. And then when you'll hear the sound of. If you follow me for the first inhale and exhale, you'll know what sound means. And you do this eyes closed typically. I do it as close. Okay, we'll close our eyes. Thank you.

That's five minutes. Like that feels nice, isn't it? Yeah, I notice I. Don't spontaneously breathe at that cadence. I breathe quite a bit faster. So especially on the exhale. So once I got into a rhythm of it, yeah, the mind just goes pseudo random for me. What about for you? Does your mind tend to go one place? Now I count. So the reason I knew it was five minutes is because it's six breaths per minute. And I counted five.

One, one, one, two, one, three, one, four, one, five, one, six, two, one. So I was occupied with a task. How often do you do that? At least once and sometimes twice a day. I aim for 10 minutes a day. But if I get to 20 minutes a day, it's noticeable in my heart rate variability results. Do you do the coherence breathing at a particular times of day or just whenever it occurs to you? I think it depends on where I am and what else is going on in my life.

So there was I had a window of a very specific thing that I was doing. I would do coherent breathing and I would do squats just air squats. And in one location where I didn't have any other equipment. And then I found a way like where I was doing treading water, which you got to experience with me. I would tread water and then after treading water, I would get out of the cool sitting the sun and do the coherent breathing.

Great. You know, we should probably mention what the treading water was about because people wonder very briefly. I went and visited Rick overseas this summer and we spent a fair amount of the daytime. Treading water while listening to podcasts from a speaker on the side of the pool and it was awesome. Time together as friends is awesome. Time in the sun is awesome.

Learning from podcasts and listening and being entertained by podcasts is awesome. And then treading water is awesome. You're much better at treading water than I am. I was fatiguing. And it's just as I said, when we were doing it, it's it's like doing stairs. If you practice doing stairs, it gets easier to do stairs. Nobody's good at doing you know marathon runners can't run up the stairs.

It's a particular thing in treading water. If you just do it. Even in a little bit of time that we were doing it every day by the end of your stay, it was easier for you than when you started. Definitely. You acclimate quickly. Yeah. I was able to adapt. I was impressed at your endurance in treading water early on. By the way, I've continued the treading water practice because I fortunate to have a pool in my new place. Yeah.

I listened to your podcast truly. Wow. Tetra Grammiton. Love it. Love, love, love it. I listened to a few other podcasts and I've started listening to more episodes of the podcast that you introduced me to, which was history of rock music in 500 songs.

It's an English podcast, great podcast, real in-depth information about music. Yeah. That was such a great trip. Thanks for having me over there. Thanks for coming. Love's fun treading water. It was loved the time with you and your family. So I'm going to all invite myself again. You're always welcome.

On the topic of meditation, one of the questions in this list of questions, we'll talk about the list itself in a moment, was about this anecdote that you've told me in. You've mentioned a few other places, apparently, that you've once meditated all the way from, was it San Francisco to New York or Los Angeles to New York flight. It was either L.A. to New York or New York to LA. I can't remember and I may have done it with the ones. The question specifically was, which meditation did you do?

TM. TM was the first meditation I learned transcendental meditation. Learned when I was 14. It's pretty much a default setting for me. Now sometimes it'll evolve from TM into grieving. Like I might start by doing grieving before the TM piece starts and I and the grieving may just take the whole time. Or it may turn from grieving into a gratitude practice or a meta practice, which is a four phrases. May I be filled with loving kindness. May I be well.

May I be peaceful and at ease. May I be happy. And you repeat those phrases over and over and it starts may I and then eventually if you've done it for a year or so, you could start saying may we for your for your immediate family. And then may and then as you build up the charge for your immediate family in another year or so, you can spread it to your community. And eventually after maybe five years, you can do it for the planet. So that's the meta meta, M E T T A. Amazing.

Loving kindness practice. And are there any particular links? Maybe you could pass us later and we could put in the captions. Maybe one that you've used from Jack Cornfield, who's a Buddhist scholar and a brilliant teacher. Terrific. Now, what do you think meditation has allowed you afforded you as well as what it's helped you avoid in terms of a daily practice or maybe in just how doing it once in a while has whipped out into areas of your life.

This is probably a long list of things. But if you were to pick maybe like the top three where you go, yeah, when I'm meditating regularly. Blank happens and blank doesn't happen and when I'm not. Because I've been doing it for such a long time, it's so. Part and parcel of who I am that without I don't know who I would be without it that said I don't always do it. But I don't have at this point, I don't have to always do it to be in this zone where I've been, you know, for almost.

For you know, 45 years has been a big part of my life. So. A great deal of the benefits have are in me now when I practice it can samplified. But as Maharishi described it every time you meditate is like making a deposit in a bank. So it's always there every time you do it, it's your building a base. And the goal of the practice is less about the practice. It's about the practice is to change the way you are in the world.

So it's a practice for life. Do you know what I'm saying? Like the changes that come in the meditation are to help your reactions in the real world. In some ways not to trivialize it, but it's like physical exercise. You know, during a good workout, your blood pressure is really elevated. You're secreting all sorts of inflammatory cytokines. You know, if we were to draw your blood mid workout, you'd say this person is in trouble.

Yeah. But then all these wonderful adaptations occur that allow you to sleep better, better mood, walk upstairs easily and on and on. It's funny about sleeping better this morning. I was walking on the beach and had my headphones on wired headphones. And I was listening to a podcast. I can't remember what I was listening to, but I was listening to a podcast.

And someone flagged me and interrupted me who I didn't know and went over to talk to him. He said, I heard you're talking about Steve Martin on a podcast. And he told me a story about Steve Martin that he got to see him in 1979. I would say this person was probably mid to late 60s. And he was wearing all black. He was wearing shoes on the beach. tennis shoes. He was wearing dark sunglasses and a hat.

And he said, just want to talk about comedy and things that he heard me say on a podcast and we talked about it for a while. And then he said something about it. He loves podcasts and he listens to him at night because he's got terrible insomnia and he can't sleep. And I'm looking at a guy in the sun wearing sunglasses and I say, well, you know, the reason you can't sleep is because you're wearing sunglasses now.

He said, what are you talking about? He said, well, the way the human body works is we react to the sun. The sun is what tells us we're awake. And then at night when it's dark, that's what tells us to go to sleep. So you're mixing the signals to your body by wearing the sunglasses. And he said, well, I'm a dermatologist and you know, I've been a dumb. He said, he was a dermatologist for the last 40 years.

And my whole practice is about getting people to get out of the sun. And I said, we started talking about it. And he was all covered up. I was wearing my my board shorts and nothing else. And I said, well, I'm in the sun. You know, hours every day. And he's like, aren't you worried about cancer? And I said, no, I feel pretty healthy. I feel okay. And then he said, let me see your back.

And I turned around and he looked at my back and he's like, you have perfect skin. You like, they should study you in a in an institute. I said, this is what normal, this is what normal healthy skin looks like if you expose it to the sun. And he said, so you're saying everything I've been teaching in my in my medical practice for the last 40 years was wrong. So yes, everything. It was funny, funny conversation.

Yeah, it's interesting. I mean, we could go down a deep rabbit hole with this, but you know, listeners of this podcast will know that I'm, you know, very much a proponent of getting those sunlight signals to the eyes. At least once a day in the morning, but also in the evening, this is I'll just share with you.

Now I learned from a guest who's episode we haven't aired yet that the what is so special about that morning and evenings on light are the contrast between blues and oranges, blues and reds, blues and pinks that we can't always see if there's cloud cover, but they come through.

It's the mathematical difference in their presence of subtraction of a lot of blue and the next to it a lot of orange or a lot of blue and the next to a lot of pink that triggers the bodies understanding that this is morning and evening and that night is coming in the evening and that time to be awake in the morning and throughout the day.

The day when the sun is out and it's overhead, it looks like white light and white light includes the blues and the oranges and the pinks and the reds, but they subtract to zero because they're all mixed together. That's why it looks just blue and white.

And so while bright light is great throughout the day, it's those morning signals. Now the I think the dermatology community is starting to come online with the idea that low solar angle sunlight early and later in the day sunrise and sun rising and sun setting. And I say that because people always go, Oh, do you have to see it cross the horizon? That would be ideal, but rising and setting.

Do not create the kind of skin damage or eye damage that they've been so concerned about. And I think the next step for the field of dermatology is going to be to start communicating with the neuroscientists and the circadian biologists and really learning that.

And thanks for bridging that gap on the beach this morning. I do think that's how it starts and then it wicks out headphones. So I made the choice a few years ago to stop using the Bluetooth headphones based on my personal experience, which was I kept getting these cysts behind my ears, which I was told were lymph swellings of lymph.

And I would actually drain lymph if they got big enough is there's really gross and kind of troubling I stopped using them. I didn't get them I started using them again I started getting those lymph things and there was some significant heat effects as well.

And I've interviewed a couple people including a neurosurgeon on the podcast about the level of EMS that come from them and they were not concerned others I've spoken to are concerned I'm going to try and balance out the conversation over time, but my feeling was look if there's any concern whatsoever why would I use them.

And I so I use the ones with wires, yes, but use the ones with wires that are even one step further away from Wi-Fi transmitted ones with air tubes that I use depending on what's going on. And those have no electrical. There's no electric near your head. It's just an air tube where the sound is traveling this actual sound is traveling in the tubes to yours.

I definitely sleep better with the phone out of the bedroom. Some people are now turning off their Wi-Fi at night. I think you and I are both really aligned in the sense that we've seen enough things come and go in the health space. Disparaging remarks about lifting weights like that's just for bodybuilders and now everybody knows muscle bound. So men and women elderly and young are encouraged to do resistance training. Yogo used to be cast in this kind of magic carpet realm, breath work.

All this stuff has become over time mainstream, but it's taken a very long time in the road has been choppy and sometimes my opinion really unfair to the practices and their value. These are zero cost practices in many cases that can really help people. And so when I look at something like sunscreen or or Bluetooth headphones or we're talking about some of these things, I wish I had a portal into the future where we look back and go like, of course, of course.

So what are your thoughts on just kind of health and wellness as you've observed it in the last 20, 30 years. I mean, you've been in this for a while. I mean, you've paid attention to mindfulness and mind body stuff. You know, what are your thoughts? I try to live in as natural way as possible. I try to, there's few processed foods as possible. I try to grass fed animals. And I use hardly any products of any kind. You know that that aren't just something that grows or lives on the planet.

There were a couple of questions about this all last now. You lost a tremendous amount of weight. You look great, by the way. Thank you. You look super fit. Every time I see you, you're in better and better shape. And that's in that's your perception. It's not in fact the case for you. You're your. I don't know. When I see each time you, I mean, you're extremely mobile. You're sleeping well. You have a robust life. Like, you know, all the marks of health and vitality.

So, I've heard you mentioned before that you lost a significant amount of weight. How much weight and how did you do it? 135 pounds through a high protein low calorie low carb diet. And that went against the convention at the time? Well, the person who suggested it was someone at UCLA. So it was a mainstream doctor who helped me with my weight loss. I had been a vegan at that time, which was not mainstream then.

And it was very unhealthy. But I did that for 20 some odd years because I believed in the theory of it. But it proved not to be healthy for me. Do you think that different diets likely work for different people? Yes. So that not everyone necessarily should do what you did. No. No. But I think most people would probably benefit from healthy red meat. I'm saying that only because it's so vilified in our culture.

Yeah, I agree. And I think the healthy piece is key there to non factory-formed animals. Which fortunately reasonably cost sources of that are becoming more available. Well, I'm going to start pulling from the list of questions. By the way, folks, there were more than a thousand questions in just the one third printout that I did. Intimidating stack in front of you. The most notes I've ever put in front of me during a guest discussion here on the podcast.

And we are not going to ask you every question. But I've organized them in it in some sense of coherent order. Did you organize them or did AI organize them? I organized them. But that's a great opportunity to ask you one of the questions that came up several times. Which was, what are your thoughts on AI and its ability to shape how music is made, how visual arts are made? Are you one of these scared of AI? Are you embracing new technology? I don't know enough about it yet to talk about it.

What I will say is what I find interesting about art is the point of view of the person making it. And I don't know that AI has a point of view of its own. So I don't know how interesting it would be AI's point of view. But I like people's points of view. And what makes an artist, a great artist to me, is something about their point of view. Does something to me? Childhood. The question for Rick Rubin was, what activities did you find most enjoyable and easy to get lost in as a child?

I love this question. For you in particular. Reading was a big part of my life. Listening to music was a big part of my life. Playing guitar along with music can't really play, but the idea of playing along. So I didn't have to actually be good enough to play along because I didn't have that skill set. But I liked the experience of doing my best to play along with something I was listening to. And also magic.

Learning like shuffling cards in front of a mirror and coin tricks and a slide of hand was just interesting to me. Do you still do magic? I don't. At the time that music took over my life, I had to choose between the two because both of them were full-time life pursuits. I went and saw a mentalist in New York this summer with my sister, Aussie Wind, his name ASI, the first name, last name Wind. Every time I see a mentalist, especially when I see Aussie, I've seen him twice. It blows my mind.

What are your thoughts on mentalists as my favorite form of magic? Really most interesting because it doesn't rely on props. It's pure. It feels like pure magic. If you have a box and you pull something out of the box, it's probably something tricky about the box. But when someone can look at you and tell you what you're thinking, it's just wild. It's really wild. So I love that.

After Aussie did his act when we sued over turn to reality because it really does change the way you look at things after that. For quite a while, maybe forever. I asked him if he was willing to share maybe just one nugget of insight into how he does what he does. Of course I wasn't expecting. He was going to give away the whole thing. He said a lot of it has to do with forming and erasing memories in people quickly, which sounds very dark and mysterious.

Maybe it's possible to erase memories in people that maybe what we thought we saw we really didn't see or hear. I'm going to bring him out here. We should all get together. I want to get him on the podcast. A full 10% of the questions for you were around writers, blocks, sticking points, this kind of thing. Like feeling stuck in the creative process. Now people didn't specify whether or not they were stuck at the beginning, the middle of the end.

But based on my read of all of these questions, I got the sense that people were feeling like there's something in them that they want access to, they want to create. But they don't know how to get past that initial stage. As opposed to somebody who's like 90% done and they just can't finish the last 10%. What are your thoughts about these kinds of blocks and how to overcome them? Any experience you've had with them yourself and perhaps with working with other artists?

The first thought is to go past the idea of the block and think about what is what's the cause of the block? And the block is usually something like it's either a personal, I'm not good enough. It can be a confidence issue. I don't have anything to say. Or it could be a thinking about someone else. Nobody's going to like what I make. Do you know what I'm saying? So it's either a self judgment or a fear of outside judgment.

So if you're making something with a freedom of, this is something I'm making for myself for now. That's all it is. It's a diary entry. Everything I make is a diary entry. The beauty of a diary entry is I can write my diary entry. And you can't tell me my diary entry wasn't good enough or that's not what I experienced. Of course, it's what I experienced. I'm writing a personal diary for myself. No one else can judge it. It is my experience of my life. Everything we make can be that.

Can be a personal reflection of who we are in that moment of time. It doesn't have to be the greatest you could ever do. It doesn't have to have any expectation that it's going to change the world. It doesn't have to be this has to sell a certain number of copies for any reason. It doesn't have any of those things. All it is is I'm making this thing. I'm making this thing for me and I want to do it to the best of my ability to where I feel good about it and where it's honest.

It's honest of where I'm at. And if you're living in this world of just being honest to where you're at, there's nothing blocking that. Do you know what I'm saying? There are no blocks. There's no block. There's no block. It's all based on dealing with a different force or a different perception that is made up. You make up this story and you're living the story. I'm in this block because I just can't do it.

The reason you can't do it is because you're afraid someone else is not going to like it where you're. It's not going to be there to work with because it doesn't, it also doesn't stem from us. So we're, we're vehicles for this information. And it's coming through us all the time. So if you don't have an idea when you're sitting at your desk, if you go for a walk, chances are you'll see something that'll spark something in you as a, as a seed to take off from.

It makes a lot of sense and I had a thought while you were saying that one of the challenges that I have in completing work and getting into a good work groove is that, especially nowadays because of phones and so easy to communicate with other people. It's not that they interrupt me. It's that, and this happened the other day, I set up my new office really nicely. I'm living in a very quiet place now. It's like almost completely silent, unless I'm playing music. It's really interesting.

Or the coyotes sometimes come around and start doing their thing at night, but completely silent. And I realized I was having a hard time getting into a work groove. And I realized that I felt compelled to continue to reach out to people. And then I realized as you just provided your answer to the last question, that, you know, there's probably something in me that has a bit of a fear of. Separation or abandonment from people based on my own experience.

And I feel very well supported by my friends and coworkers these days. Very, very well supported. I'm in a kind of pinch me place around that. But I realized now that what's happening in my mind is it's not a challenge of getting into the work. It's a fear that if I spend a couple hours really in that tight tunnel of creation, that. There might not be anyone there when I exit it, which is a crazy thought. That's a crazy thought. But that's the anxiety. And I only realized that now.

Yeah. So thank you. Great. You know, I trust that you guys will be there when I exit the tunnel. And when there's a deadline, I have no choice but to jump into that tunnel. That's actually what helps. Deadlines really help me. Do deadlines help you? Do you like deadlines? Deadlines don't help me at the beginning of a process. They can help at the end once the code's been cracked. Usually when I start something, I have no idea what it's going to be. So it's a very open process in the beginning.

And if there's any sense of required timing, that would undermine the freedom needed for it to be all that it could be. But once the code's cracked and you know what it is, and it's all there. And you're just, you know, you're dealing with the fine points. Then it can be really helpful to have a deadline. As many of you know, I've been taking AG1 daily since 2012. So I'm delighted that they're sponsoring the podcast.

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I have more focus and energy and I sleep better. And it also happens to taste great for all these reasons. Whenever I'm asked if you could take just one supplement. What would it be? I answer AG1. If you'd like to try AG1, go to drinkag1.com slash huberman to claim a special offer. They'll give you five free travel packs plus a year supply of vitamin D3K2. Again, that's drinkag1.com slash huberman. A number of questions were sort of comments about what people believe your process is.

And one of the repeating themes there, which I thought was interesting was, it seems that Rick Rubin is comfortable with uncertainty and the unknown. Yes. That is true. Yes, and yes, I am comfortable with it because I accept that's the way things are. That said, when I start a new project, I always have anxiety because I'm uncertain of what's going to happen. And I want it to be good. Now, I know it won't be done until I feel good about it. So in that way, there is no real pressure.

But I do still feel the anxiety of, I wonder what's going to happen today. I hope it's good. When you've worked with musical artists, let's say, how important is it to you to know what challenges, maybe even what successes, but certainly what challenges they happen to be going through at that period of time? Put differently. Do you end finding yourself playing therapist and guide and psychological slash emotional mentor to artisty work with during the creative process? Or is that separate?

If they're going through something that's interfering with the work, anything that gets in the way of the work is something worth discussing. Our focus there together is to get the work done. Sometimes it ends up being more therapeutic to allow that to happen. One of the questions that really stood out to me in this vast list of questions, involved a quote from your last discussion on this podcast, our last discussion on this podcast.

So I'm going to read a little bit of it because it's fairly long, but I found this to be a really important question that we should get into in a bit more depth. Somebody, I don't know who said, if you happen to talk to Rick, I'm happy to be talking to you, ask him this for me in his book. In the section on self-doubt, Rick said, quote, one of the reasons so many great artists die of overdoses early in their lives is because they use drugs to numb a very painful existence.

The reason that it is painful is the reason they became an artist in the first place, their incredible sensitivity. If you see tremendous beauty or tremendous pain where other people see little or nothing at all, with big feelings all the time, these emotions can be confusing and overwhelming, and overwhelming, excuse me. So this goes on for some pages.

And then this person says, and I think they're speaking for many people when they said, this resonated with me personally, and I wonder whether or not this is something that maybe you've experienced yourself or that you just noticed about artists in similar situations. And what sort of advice do you give the artists you work with in order to embrace those painful tones within them and transmute them into great work? I've definitely felt them myself. I'm unusually sensitive in the world.

I'm wearing red glasses in here for a reason. I live a very protected monk like life because simulation gets in the way of my ability to be where I want to be. So I tend to stay away from things. And it seems to be the case with many artists a desire for nurturing their internal life. And if the goal is to nurture our internal life, it invariably leads to sacrifices. Did you spend a lot of time alone as a kid? I was the only child and I spent most of my time alone.

When you talk about controlling this amount and type of stimulation in your life to protect that inner landscape, is that pertain to certain personality types, even voice types? I've found it various times in my life. I love people. But there are certain voices that just great on me, and I can't be around them. It brings out, it's like a coffeiny inside. I just feel like I'm being asked to drink something that tastes awful. Does that resonate?

I try to curate the people around me to be people I want to have around me. Whatever that is. You said you protect the inner landscape, but certainly you're not averse to high intensity stimulation. Last night we went to the AEW, and by the way, thank you for taking me. That was such an incredible experience. It was really fun.

It was really fun. It reminded me of early punk rock shows, where I really, some of my first punk rock shows where I went and just was like, oh my gosh, this is exciting and scary, and I love it. And it felt loving too, which is also the community of punk rock that I observed and have been blessed to be a part of. It's like, yeah, there's aggression, but there's also love, and then there's romance, and then there's also betrayal, and there's all the elements.

But there's still a sense of like, everyone wants to be here, and there's a sense of goodness behind it all, even though some of it was bloody and violent. Yes. So for you, what does wrestling allow you to feel in those high intensity environments? Completely relaxes me, because there are no stakes. You know, nobody, everyone's working together in the show to protect each other. No one's trying to hurt anybody, regardless of what the storyline is.

It's like a ballet, where there's a fight in the ballet. There's no actual aggression of people towards each other. It's just the opposite. But you get to experience this wildly dynamic, exciting, surreal, theater piece, where people are doing these gymnastic and acrobatic things that are truly death-defying. And it's fun, and the storylines absorb you in a way where you know, you never know what's true and what's not. We know wrestling's fake, we're told wrestling's fake.

But there's something legitimate about it that seems to me more legitimate than anything else, the most legitimate, because it's the closest to what the world's actually like. People don't always tell you what they really think. And when someone tells you a story, it might not really be the true story. They may even think they may think they're telling you the real story, and that might not be the real story. We don't know. We know so little.

We experience something, and then we make up a story to understand it ourselves. And then forevermore, when we tell that story, it was our version of an experience. But we don't know that's what happened. That was our take on it. And when you're wrestling, it's like, that's what the real world is like. Because when you watch wrestling, you never know what's true. That's what, if you watch the news, like you watch wrestling, and you never know what's true, it would be more accurate.

You'd have a better sense of the world if you took it all in like it was pro wrestling. I think we're in a place in human history where people are starting to feel that way about the media. It's also where wrestling is so popular. It's more popular than it's ever been. Yeah, that's interesting. Things like UFC, gladiator, octagon fights, and wrestling are increasing in popularity despite the fact that supposedly we're evolving.

It's like something both primitive and evolved about the human brain. Primitive in the sense that there's some violence, it's physical. That's down in the hypothalamus, as we'd say. It scratches that niche, but they're actually protecting each other. It scratches that itch of seeing the gladiators, but it's like watching a movie. They're not really hurting each other. They get hurt, but only because the things they're doing are so crazy.

I think in order to be able to thoroughly enjoy wrestling, one has to be able to give up narrative distancing. Just a little bit. Narrative distancing is this sense that this is a story, it's a movie, it's not real. But there were moments like yesterday that the jump off the top rope onto the guy who's played out on the ladder, the ladder breaks. This was right in front of us. It couldn't have felt good. He walked away. He seemed fine.

But that, and then there was a match between two women where a woman put a metal plate into her, into the bottoms of her suit, and then ran and then jumped onto the other woman and hit her with the metal plate. The metal plate slipped out and she was walking around. Everyone knew she had cheated because you're not supposed to use the metal plate. Exciting because she had done it, and then at the same time, exciting and upsetting that the referee saw it, but then didn't call it.

This is like Twitter X. Instagram, this is like politics. This is like this is real life. Seeing people get away with things is so frustrating with the fieldation of. That's all part of it. It's a very accurate representation of the world. I love it. It's weird because I never would have thought I'd be hooked. I'm hooked. It's like archery and professional wrestling now. It's like a moment of you busy guy in 24.

I'm going to come back to this very practical question and ask a different question first. There are a few comments in here that are just priceless, by the way. Someone wanted to point out that you're a Pisces and so was Einstein. A couple of historical questions. I know you're not big on answering historical questions necessarily. Maybe you are, but I can't help. Every time I see you asking a question about the Ramones or asking a question about Joe Strummer.

But I like this question. First of all, it starts off. I love Rick Rubin. He's so fascinating. There are so many questions that start that way. On the podcast that you did with Joe Rogan, you talked about your experience with Johnny Cash and seeing him in a new light after doing interviews for a book about Johnny or something like that.

The question this person asked was from your present view, what was the most impactful moment or moments from being with him and working with him or simply do recall a moment working with Johnny Cash that you particularly enjoyed? I enjoyed any time I got to spend time with him. He was a really soulful, serious, shy, quiet man, incredibly knowledgeable.

You know, a great deal about history and so much about music. You knew every song. He didn't, he may not have known modern songs, but he knew the history of music really well. And there was just a humble honesty about him that came through. I think that the strength of him as an artist was when he said words, even if he didn't write the words. If he told a story in words, you believe that story. So he had a credible gravitas.

And he was great because of who he was. It wasn't his ability as a singer. It wasn't his ability as a songwriter, although he was a great songwriter and he was a great singer. But that's not why he was Johnny Cash. Because of the human being underneath and anything that that guy would have done, we would be interested in because that's how much of a beam of light he was on the planet. It just happened to be music. Just happened to be music.

I love that. One question that came up a lot and I think I can understand why, which is, how does one convince themselves that what they're doing and working on is worth it. And I think here we have to define worth it. And we can find a number of ways. But I think this is a feeling that I hear people express a lot. Like, how do I know if I'm on the right path. And I just want to remind you're earlier answer that you're pretty comfortable with uncertainty.

Yeah, this and the unknown. Yeah. And I think that's a rare trait. The question of worth it is reliant on an outcome. We don't make these things for an outcome. It's it's it's not the mindset to make something great. The outcome happens. You're making the best thing you can make. It's a it's a devotional practice. Whatever happens after that happens. And that part that happens after it is completely out of your control.

And any energy into that part that's out of your control. It's a waste of time. All it is all it does is undermine your work. Your work is to make the best thing you can. So any thought you have about outcome.

And that undermines the whole thing. Let that one sink in. I think that's so important for people to hear. And I'll say it's okay to think about outcome after you finished the thing you're making. Once you've made it, then you can say, hmm, what can I do to turn people on to this. But in the making of it. It's premature. It brings my mind back to that diary entry like approach because when you do a diary entry, if you lie to yourself, you're going to get a lot less out of it.

It's ridiculous idea lying in your diary. It is. Well, it's so interesting because when you learn how to do really good science. And I was fortunate to work with someone who was truly committed to the truth and accuracy. She used to just say, whenever there was a scandal published like someone fabricated data.

She was like, this is so crazy. Like, like, why would you get into science? You be bit. If you want to make the whole purpose, you'd be that very off going to something else. So clearly they weren't those people who make the data were not in science for discovery of truth as best we can understand it. They were into it for something else.

But it's the same way you do it. You formulate a question, then a hypothesis, and then you just go see what is and what isn't. And then afterwards you decide, well, is this a paper that's sent to a top journal or a mediocre journal, but you can't control the outcome. So it's very similar. Exactly the same. And you'll see it in so many different aspects of life beyond art. I think one of the things that was interesting that came up and writing the book is it started being about art.

And I came to realize as I was putting the ideas together that it seems like regardless of what you do in life, if you follow these principles, your life will probably improve. You'll probably be a better husband or a better father or better whatever it is. It's it seems like the the art is an outgrowth of why the subtitle is a way of being. It's like you create yourself in a way in the world where the things that you make are tapped into something deep.

But that comes from you being tapped into something deep. That's how it works. So tapping into self, grounding itself, not thinking about outcome, diary entry, like approach to creating stuff. It seems to be the and I think one thing I'll say that because I say tapping into self, it doesn't come from the self, but you have to tap into yourself because you're the vessel to allow it to come out.

Everything in the vessels coming from somewhere else, it's not it's not your creation. You're the it's like you're the sculptor or the you're the data and analyst where you're taking these things from different places that you've noticed. Some things that you've noticed, some things that you don't know that you've noticed, but you did, you know, that's how we learn, you know, we take in a lot of information that we don't even know we're taking in.

But the way we can take these data points that are inside of us that came from outside of us and create a constellation. That's what that's what the artist job is. But also that's what we all do all the time and to get better at it, it's getting more in tune with yourself and opening yourself to things outside of, I'll say if you have a narrow belief system, you'll have less information to work with less data points.

So being open-minded and allowing surprise to be surprised, holding all of your beliefs very loosely. It's interesting because the way you describe this and from knowing you as well, it seems that this whole process is best served by having really good boundaries, like not getting foggy about what's about you and what's about somebody else or about what other people are doing.

Or about what other people want or the world wants. But also having really good antennae and being able to see what's happening in the world. You can't be cloistered and like this. But part of the creative process feels and looks like you're in a tunnel. But then you have to bring in from the outside. So it seems like making these two separate compartments that you can bridge seems important and healthy. I mean here, as you mentioned, it's a way of being. It's not just about creating things.

That's also a healthy way to be in the world because if you're constantly getting pulled around by everything emotionally and things are upsetting you, that's not good. But if you're just cut off from everything, that's not good either. Do you cultivate that way of being through these practices? Or do you think you've been there's something about the way you're wired that you started off that way.

It feels natural to me. It feels natural to me. And I'll tell you when I was younger, I thought I would live in New York City my whole life. And there was a time when I felt like having that energy and noise around me felt good. Now I feel best in the jungle or the forest. I didn't decide that. I didn't decide what feels good. You know, it just happened. So you're clearly willing to update and adapt. Change your nutrition. Change your city. Change the way you feel.

New information. Update. Love it. Your scientist. I don't know anything. Again, we start with I know nothing. We all know nothing. So if something sounds interesting, we're trying. I'll try it. See, does it work? Does it not work? You know, I thought at one point in time, I thought veganism was a good idea. I was excited about it. And I did it for a long time. I didn't get the results I was hoping for. I did have better health. I had much worse health.

I had, you know, a tremendous amount of weight gain. And I was very ill through that diet. But I didn't buy intentions. We're good. How do you approach resistance? Especially resistance in other artists you work with. You know, presumably people hire you. They want to work with you. They do want to work with you. But I think what the person is asking here is, if somebody you're working with is stuck, like they're stuck, do you ask them to think? Do you ask them to field?

Do you ask them to take a day off? Do you do a Dennis Rodman on them and send them to Vegas to party for a couple of days? Because that's what worked for Dennis. Do you leave them alone? Let them come to you. I think people are very curious about what those sorts of interactions are like. I think it's always a case by case situation. It really depends on the artist. It depends on the situation.

And usually by the time that we're working together, any resistance they had in the past has already been overcome. Usually we, I'm together with someone who, where we make a team with the idea of making the best thing we possibly can, and we'll both do anything we can for that thing to be the best it can be. We're past the resistance. I know as you remain friends with a lot of the people you've worked with, which is a great testament to you and your work and who you are.

I just want to mention that. That's not always the case folks with other producer artists relationships. So it's worth pointing out. A practical question, but I think one that is worth asking is, do you handle the finances around your work with artists? Do you have someone else to like negotiations and all of that kind of? I honestly have no idea how it works. I have no clue. Everything seems to get done, but I have no idea in the inner workings of any of it.

I try to stay out of as much if it's not about making the beautiful thing in the moment. I don't really want to think about it too much. I don't want to be involved in that aspect. It was interesting when I was visiting you this summer. We had a really delightful dinner conversation with one of your other guests. And at one point, probably due to me, frankly, the conversation veered a bit into the business realm.

And I'll never forget you said in a very polite way that didn't feel dismissive at all. You said, let's talk about art instead. Right. Enough about business. Let's talk about art instead. And in that moment, I don't remember that. Well, I gleaned a lot of gems from that visit. I wasn't there to study. I was there to hang out with you. But I gleaned so many gems, treading water in the pool. Some of the other practices we'll talk about. But I remember that. And I think about that in myself a lot.

In the morning, the emails and things coming in. And then I think my purpose in life at this point in my life is to collect, organize, and disseminate. Health and science information. Yes. So that for me is art in the sense. And anything else feels kind of someone else can do that. Right. Right. Right. You have a particular gift in that you can take complicated scientific ideas and explain them in a way that all of us who are not scientists or not.

Medical students can understand. And it's really helpful. And you do it in a kind and loving way where we get the sense that you care that we understand. You explain it in a way that there's a care in it that really speaks to us. So thank you for. Thank you for teaching us. Thank you. Thanks for the words. That means a lot to me. That is indeed what it is for me. I want people to know the information because I think it's so cool and so important.

And they need the information and it's not about me. It's like they have to know. And you did this morning for this guy on the beach. So he'll see the light. Pun intended. I'd like to take a quick break and thank our sponsor inside tracker. Inside tracker is a personalized nutrition platform that analyzes data from your blood and DNA to help you better understand your body and help you reach your health goals.

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If you'd like to try inside tracker, you can go to inside tracker.com slash Huberman to get 20% off any of inside tracker's plans. Again, that's inside tracker.com slash Huberman. Do you prefer the WWE or the AEW, Rick? I love them both. I love pro wrestling. Pro wrestling is great. How often do you abandon an idea or project? Is there a pile of journals with crossed out ideas, some place in Rick Rubin's basement?

I say there are many ideas that have not yet come to fruition, but I wouldn't say I have abandoned any. It seems like the ideas have a time when they want to come to fruition, and regardless of what I think, I don't get to determine the calendar. The ideas come, I can get excited about it, I can work on it, and then hit a wall. Nothing else, and nothing, it's just impenetrable.

And then there'll be another project that's just sailing along easily, and the universe is working to help support that idea. So I tend to work with there are several balls in the air at once, and I don't fight against... If the universe is not helping a project, I'm wary to fight with the universe. How many projects are you working on right now, or typically?

It's impossible for me to even say there are so many ideas, and some of them are in... mid-making stage, and some of them are in the final detail stage, there's always something happening, and I'm always thinking about a lot of stuff. And some of it is stuff that I get to share with the world, but some of it might be remodeling a space, or I'm always thinking about some creative puzzle.

I have to imagine that for you, when the internet came to be, that it must have been really exciting, because like me, you love foraging for information. I used to go to the library and Xerox copypapers, and I loved looking through the stacks, but frankly it was physically exhausting and time consuming, and financially it was hard for me at the time. And then you'd always get those copies where the book creaks, you know, obscured the text closer to the spine of the book, and I love PubMed.

I mean, like the world's at my fingertips. The world of research is at my fingertips. My goodness. How do you feel about smartphones and the internet? I mean, to you, do you feel like a giant gift for your creative process, or is it an inhibitor? It's both. I love all the information that our fingertips, and sometimes having so much information, is... It's hard to sort. I tell you a quick story, which was when the music streaming revolution happened. I was really excited.

The idea that all of music is in my pocket now, and I can listen to any song, any album from any point in my life, where I get to hear about something, and it's all accessible right now in this moment. And I was thinking at that time, I'm just going to DJ. All I'm going to do is DJ, and I'm going to listen to anything I can think of that I'm excited about. I haven't heard the talking heads in a while. It's just how great that freedom is to have everything at your fingertips.

And when I came to learn very quickly is, I don't want to DJ all day. I love that I have the ability to DJ all day. I love that when there's something I want to hear, I can find it. But I don't want to have to do the work of picking everything I'm going to listen to. I like being programmed to. And I like the discovery of somebody else, playing something that I wasn't expecting and getting to enjoy that. So now I do more listening to either somebody's curated playlists or online radio stations.

And I do less picking music to listen to. But I never would have known that before because I was thought, well, if I could listen to anything I want, I want to listen to what I want to listen to. I didn't know that I didn't want to have to pick it. I love the rare live versions and B size and whatever Z sides that one can find on YouTube. Like the other day you sent me just at random, a clip from I think it was a Japanese television show with the Ramones opening up.

And Johnny opens up with, you allow them out, baby, you shut up. And then they dive in the lab. And I, it's the song I could have heard anywhere else. But it was the fact that it was shot from above that it was black and white. And then he adds this little riff at the beginning, you allow them out, baby, you shut up. And then just dives into it. That made it for me as a huge Ramones fan.

And I was like, yeah, like, you know, I think I did that in my kitchen. Yeah, like I was so hyped because when you go and just listen to a song that's recorded as part of an album, you're not going to get those additional pieces. Back in the day. And still now if you went to a live show, you might see that and hear that and never forget that.

But in that sense to me, YouTube and the Internet is like, whoa, like it's this archive of gems that I potentially have been there maybe was 70, I would have been four years old. So, you know, anyway, thanks for sending me that clip. Love it because you know how much I love the Ramones. But things like that, I just think that the Internet is just amazing and so spectacular. And the amount of lectures you could find on YouTube are unbelievable. The greatest thinkers in the world.

I don't want to say are on YouTube because they probably didn't post on YouTube, but their material is on YouTube and it's unbelievable. You know, things from old films from the 50s and 60s. It's all on YouTube. I've been listening to Bible interpretation on YouTube. Wow. And there's just it's interesting to hear different interpretations, different perspectives. I would have never found these people. Most of them are dead. So please.

Yeah, they're so good. I'm trying to work through the old testament, start to finish now as a learning and a practice. Wow. Okay, so the question was, are smartphones the chains that bind us and prevent our creativity? But I think you answered that it's both a rocket ship to creativity and a and chains to the ground. Yeah, and it's like all of the tools, it's like the tools don't make or break your art. It's just it's another tool.

You can use it or miss use it. Someone wanted to know, and I would like to know, whether or not you have any recurring dreams. And what are your thoughts on dreams and dreaming in general? Do you write down your dreams? Do you spend time thinking about them? I've gone through phases of my life where I've written down dreams. I'm not doing it right now.

I think we can learn a lot from from writing our dreams. I tend not to analyze them in the moment, but I've noticed when I've kept a dream journal and looked at it years later. These surreal things that made no sense were all saying the same thing and they were all very clear based on my life experience at that time. So it gives us clues as to what's actually going on. The way our subconscious is experiencing our lives, it's giving us up. I don't know if I would call them pointers.

Reflections would maybe be a better word. Our mutual friend Paul Conti believes that the unconscious or subconscious is both used interchangeably. Is the supercomputer of the human brain that the misconception is that the four brain, which is involved in planning and context and anticipation of outcomes, etc. People think that's the supercomputer, but that the super computer is the unconscious. That's Paul's belief.

He stated that very clearly on this podcast and elsewhere and he believes that in dreams, the unconscious mind is controlling more of the dialogue, which makes a lot of sense. But also that the unconscious mind is constantly trying to teach us things in the way that we learn best. So that my dreams, for instance, are all analogies because that's pretty much if people listen to me talk on the podcast, I often will use analogy.

And I'm very visual, so it will present things to me in visual symbols. So Paul said in terms of dream interpretation that we would all be wise to think about how we learn best and our unconscious mind is trying to toss us things in dreams to explain things in the way that we learn. It makes sense. And I would say also unconscious and our instinct the way we act instinctually is a reflection of our unconscious. And as artists that's a tapping into that.

The instinct and the unconscious is where the great ideas are. And then things that come from our intellectual selves are much less. They have much less of a charge and much smaller ideas. Yeah, I think the conscious mind and the intellectual mind as you're calling it are bound to outcome in a big way. I'm going to inject a question of my own. I'm fascinated by the way you've discussed people's real underlying motivations and how that shapes their creative process, but also their career.

And I would be willing to talk a little bit about the story of Andrew Dice Clay. That's the story that to me captures it best. Andrew Dice Clay was a comedian who told really offensive jokes and his audience loved him for it. But the people who weren't his audience didn't really understand it and they vilified him. And he became a comedian because he wanted people to love him. He didn't become a comedian to hurt anybody. He wanted to entertain people.

And while he was playing to, you know, sold out Madison Square Gardens full of people. Newspapers would write terrible things about him. And it really got him. He decided to change his artistic output to try to make the people who didn't like him like him. And when he did that, it undermined his whole gift. And it just, it seemed like things fell apart. I think he's in a better place now. I haven't seen him in a while.

But I think he's in a better place now and he's back to caring less about the reaction. And in turn, getting a better reaction. Because he's being pure in what he thinks is funny. I liked him very much. In fact, I thought he did a spectacular job as playing. The female artist's father in a star is born. He's got a lay god and Brad Cooper. He's a really good actor. He's a great actor.

Yeah. Well, I really like the story about him because it encapsulates so much that if people can think about why they do what they do, they're going to avoid pitfalls potentially. But how much time do you think people should spend introspecting about what makes them tick and why they want to entertain or make jokes? I don't think it's a one-size-fits-all. I don't know that I can answer that question. Is it true that Ad Rock encouraged you to give L.L. Cool J.A. Chance?

Yes, that is true. Ad Rock heard the demo tape and insisted that I listen to it. Well, that. This is a kind of generic question, but I think it's good to put these in everyone's know-while. What is your advice to a starting comedian? I always think of these like, you know, sophomore and high school kind of question, but that doesn't necessarily mean they're bad. In some sense, that's what makes it such a great question. Like, what would be your advice to be to a starting comedian?

Would be true to yourself and not to listen to anyone. There you go. It would be a great book, except it would be a very short book, but we also make it a very great book. Book could be a blank book. You can just put all the things that you want to put in it. I'm working on a book now and I'll tell you it's hard. By the way, I asked Rick for advice about book writing because I've been trying to write this book for a while and he gave me the following advice. So I'm injecting my own question.

He said, the sooner you can get to a complete draft that you're happy with or happy-ish with, the better the process will go. So I'm working on getting that complete draft. Yeah, I would say don't focus too much on any of the individual details until you have the whole thing down. And then you can focus on all making everything better that you want to make better. Don't get bogged down in that at the expense of getting through the project. Your advice has really been helping me, by the way.

Great. I'm doing it like diary entries. And I've kept a diary for many years so that's somewhat natural. Tell me a little bit about your diary entries. How long this a diary entries? Sure. Yeah. A diary entry is anywhere from like one to eight handwritten pages, single line spacing, going back and forth between. I usually start in all capitals and then switch over to cursive as I speed up. I've been doing that since, gosh, since high school.

I've been able to draw or filled with them dated and everything. And it's usually a process of just trying to get something out of my system that I feel is clogging me. Some frustration with the outside world. But sometimes like this morning, I journaled in the room before you showed up. And I just was like, I think I was riding high off wrestling last night.

I was marveling at how similar the great experiences of my life are now as they work to every other stage of my life in the sense that they give me this feeling of like, okay, like they're these gems. And I'm of people you and others and experiences. And I'm finding them like I'm experiencing them and reminding myself that they're there are long periods in between those moments where things feel kind of like.

Not empty, certainly not empty, but kind of frustrating in the sense that like I'm busy and I'm dealing with a bunch of things and things don't feel smooth. But I've been through enough of these cycles that I just. Been really learning to enjoy the cycles and that was it. And I think the last line in my entry was something like, you know, and I can't wait for more or something.

So this morning is just a very positive entry, but sometimes, you know, I mean, there definitely some tier stained entries and there definitely some entries where I'm just so pissed I can barely get the writing out, but it's a process of like getting that stuff out so that I can lean into the day. Do you ever go back and look at them?

I did the other day because I recorded an episode on a very particular type of journaling that's supported by over 200 peer reviewed studies, which is called expressive writing. I can tell you about it. I agree. It's a process that was developed by James Pennebaker, who is a professor at University of Texas Austin, and he had his students write. As part of an experiment for 15 minutes a day for just four days.

Either consecutive days or a week apart, but about the same thing and the thing that they're supposed to write about is the most challenging upsetting or even traumatizing experience of their life and it shows that the data from over 200 studies show incredible positive shifts in psychology physiology immune system function and ability to combat infections.

I was so struck by the data from this work that I decided to do a whole podcast episode to it. It'll probably be out by time this episode errors, but I haven't done that one yet. I'm going to do it. It's a little bit of a higher bar of entry because it's like, okay, I'm going to hear that the first day, especially is pretty upsetting because you're purposely picking something really hard, but.

Most of the journaling I do is just kind of diary like here's what happened here's what's going on and my biggest fears that somebody would find them, but in preparation for that episode about Pennebaker I went and looked at my journals and it's like, what do I write about and I realize they're pretty autobiographical.

Sometimes about troubling things, but never before had I written four times in a row about the exact same thing. Interesting. Yeah, Pennebaker I think there's a noble prize if you look at the data on this compared to and I'm not disparaging prescription drugs per se but like SSRIs for depression. It's like, at least as good a treatment. It's like zero cost stuff, but it you know, and on and on. You don't want to be careful. I'll start giving the podcast again now.

There were a number of questions about quote unquote entertainment and music industry. None of which unfortunately were particularly complimentary of quote the industry and I think this is something that comes up a lot because people often focus on the marketing, the personalities that may or may not be so pleasant at times I'm sure there are tons of pleasant personalities in the industry too, but the question is this.

How do you deal with the and these are their words soul crushing anti creative aspects of the entertainment industry and hold on to that sense of creativity and love for the work. I'm just focused on the work I don't think of myself as part of the entertainment industrial complex. I just make the things I make and then there are other people who are good at figuring out how to sell them or get them into stores or get them onto services.

Do you have a process of capturing ideas like you write them down and the reason this question came up so many times I think is that a lot of people feel like great ideas right upon waking or while driving or in the shower random times and they were wondering whether or not you have any way of collecting and creating your ideas prior to embarking on quote unquote a project.

I write them I make notes in my phone I do it all the time I don't have a great way of doing it and sometimes I'll make note and then come back to it later and have no idea what it means. Do you make those notes by writing or by like voice memo. Writing that said voice memo might be a something worth trying I've never tried that.

How do you view money in relationship to your work meaning how do you place it in the constellation of things related to a project you mentioned earlier you let other people do the negotiations but. Money is just another form of energy how do you place it in the contour of what you do I don't I try not think that at all and I because I come from a background which was like a do it yourself background.

It was always more about the idea and the execution of the idea with whatever you could use to do it so. If I didn't have enough to go to a professional recording studio then I would find. A friend who had homes recording studio in record or whatever it was or borrowing a drum machine when I before I had a drum machine I would always find ways to make the things I wanted to make and.

I can't remember a time where a financial boundary got in the way of making something and I see it happening a lot around me and it. I think some people look at it as the money is what allows it to happen and I think I just see it as the ideas what allows it to happen and then the ingenuity is figuring out how to do it with you know by any means necessary just got to make it.

Whatever the that version is it may not be the dream version but whatever version you can execute is the one for you to make. I can attest the fact I launched my podcast in my closet and to paying a canyon which felt totally natural because I also come from the skateboarding punk rock thing where like.

I would never occur to me to get a professional studio built like we're now we had this one built for us but at the time like of course you use a closet because you just need a black backdrop and you know I think starting from there makes so much sense and you also realize in the minimalist approach. You know anything added is just something added so you don't really know what you need if you start with a lot of stuff around you it can just be a distraction.

I'm friends with Darren Aronowski who's a great director and his first movie was called pie and he made it for practically no money and it was really well loved and then the next movie he made was also wildly successful and he made it for very little money and then he made this huge hundred million dollar movie and. It wasn't it turned out not to be a success that movie and it was a case of where having more money didn't help him tell a story. It's just one particular case.

And it's no rules to follow but there is something about making the version that you can make with the means that you have that adds something. Real to the project that may be better than the one that has a lot of money thrown at it. And it's just a lot of work to do YouTube but also just pure audio and there's nothing more frustrating than somebody talking about something or somebody that you can't see because you're just listening to it.

And the visuals were really expensive to do right and in the end I think if I firmly believe in the classroom as well as via podcasting. Whereas just having people look at a slide with with a bunch of beautifully illustrations on it that does nothing for retention of material. So I think the minimalist approach I think sometimes is really the best one maybe it's always the best one because it forces the better solution like the.

In any case I do realize I editorialize their folks I entered the answering portion of the not just the question asking portion. Have you ever felt that something was to obscure for mainstream audience appeal to the point where you did not release it never tell tell us more. If I like something someone else maybe they'll like it I don't know how can I judge how can I judge every I've been told.

With every new thing that I've done it's a terrible idea and it won't work every single time really every single time get old boys L.O. cool J B.C. I'm a lawyer a DEL every one of them M and M every one of every time when I went from producing rap records to producing Slayer you can't do that you're your rap producer it's going to be terrible don't do it or then Johnny Cash you can't do that you're a metal rap producer you can't do that's going to be terrible don't do it.

Every single time still to the state. Still to the state. I was so excited when you launch Tetra Grammaton and it's going so well I listen to every episode I love the interviews I've been fortunate to be on there twice I think the second one is still hasn't been released yet but I mentioned Tetra Grammaton because it just feels so you like the ad reads.

Talked about it during my intro but the ad reads are amazing like I listen to the ad reads over and over again because they're so clever and they I don't know they put me in a state I feel like I'm watching. I'm like I'm transport to as if I was like born in the 1940s I'm listening to television for the first time.

There's something there like there's really something there it came out of solving the problem the problem was when I decided to do the podcast I'd even recorded the first several episodes. A friend of mine said well you're going to have to if you want to have ads on the show to support being able to do the show then you're going to have to read the ads and I said I don't really feel comfortable reading as I don't think that's something I can do well.

I said I'm cool with the idea of only advertising products I believe in or that I use because that's if I get to essentially promote something I'll do that with things that I use but I don't feel comfortable reading it. And he's like well you have to it's going to be expected of you and it was just an opportunity it was like a okay I understand is expected of me what can I do that's true to me that adds something you know instead of it being less than how can I make it more than.

And it was just solving this problem of needing a way to have an advertisement that I didn't feel bad about and then it got inspired and had this idea and started making them and now they're my favorite thing in the podcast when it when in many podcasts honestly when the ads come up I forward through them when as a listener on tetragram it when when commercial comes on I always listen to them it's so it's like a it's a highlight and they make me smile.

Which is again and again I didn't set out to do that I just was trying to solve a creative problem. So sometimes the the innovative ideas don't come when you're looking for an innovative idea it's just there's this slot to fill this is the way it's normally done I'm not comfortable doing it the normal way how well can we solve this problem and sometimes it doesn't just solve the problem but it becomes an actual feature.

Yeah there's something about that like solution seeking that is part of or at least is aligned with the creative process right. Yeah the ads are extraordinary we were listening to them in Italy I'm like play that one again I love the way the guy says the word Sheila jeet. He says, shillage it or something like but in it but I can't do the accent folks don't don't take what I just said is as evidence what the other like Australian accent that guy and the chimes in the background says so good.

You don't drink alcohol correct correct. Have you ever had a sip of alcohol. I had I drank alcohol once as part of a class experiment and had to mix all these drinks and taste them and it was a terrible experience but it was it was a requirement in the class I was taking.

Wow school is different back then where that school was different. I think school was different we used to prick our fingers into our own blood tests and science that I would never did it because I was always needle phobic but that was definitely something that was asked of us to do. Yeah you could never get away with that now in the high school classroom.

The reason I ask about alcohol is first of all I'm not the anti alcohol crusader even though I did an episode about alcohol which discourage many people from drinking more of it. But I think for a lot of people the idea of smoking cannabis drinking alcohol for them in their mind is synonymous with the creative process especially music for a lot of reasons that people can imagine.

I think it's remarkable and impressive and worth spending a few moments you sharing with us you know how is it that you were around all of that you're clearly part of the part of the crew meaning you're part of the creative process presumably people offered you alcohol drugs etc but something in you seems like resistant to any kind of peer pressure and as an adult that is impressive but.

I think like when I was 15 16 sure you know what sort of regret it but yeah I drank I had my experiences and then eventually stopped that but most people are not good at not drinking if they don't want to drink ever or just once from a high school class what what was the internal narrative in your mind when that stuff was around.

And what allowed you to just say no I'm going to I belong here but I'm not going to do that it just was never interesting to me and I think maybe had to do with being an only child I never being an only child I think made me less resistant to pure pressure because I felt more.

Confident in who I was whatever that was just from being with my being with myself and not with other siblings I'm guessing I don't know if that's right but that's my first my first inclination as to guess that would be the case. Also I've always known what I like and know what I don't like and know there are things I want to try there are things I don't want to try and I feel very good about not doing something I don't want to do. I feel great about it.

Have you ever been curious about psychedelics given that I'm very curious I've never done it but I'm very curious and I've been curious for a long time they may be time when I experiment.

There are two psychedelics in particular that I find really interesting one is macrodose psilocybin which I've done as part of a clinical trial and my understanding is it reveals in a very intense and experiential way some component of the unconscious mind and it allows for plasticity and rewiring of the brain that's permanent if you come to some understanding through the so called integration it's not without its risks the other one that's really interesting that I've been hearing more about and I have not tried.

And it carries some dangers is I began which is 22 hours long and people experience. The world as normal with their eyes open but when they close their eyes they get a like high resolution movie like version of prior experiences but they have agency within those movies they can reshape their reactions is being used to treat PTSD and veterans.

And to great success. It has some cardiac risk associated with it so and it's not legal in the United States it's not being explored in clinical trials yet but the state of Kentucky recently took I think it's $40 million from the oxy content settlement and it's putting it to I began research. Interesting. Yeah so those are the two that kind of spring to mind you know kind of the classics I could help experience. I've also heard good things about MDMA but I've never done that.

Yeah I have done MDMA as part again as part of a therapeutic trial it's a strong empathogen. The danger with MDMA I think is that if you don't stay in the I mask or if you're listening to music or something you can easily get it. Anchored to some external cue and like see a plant and be like I love plants and spend the whole four to six hours thinking about your love of plants which might be valuable but I think the strong introspective work.

Is best done with a therapist there and you in the I mask and occasionally leaving the I mask and writing things down so you know the reason I put that detail in there is that.

The psychedelic experience is very different with eyes open versus in the I mask with a clinician there versus recreationally and it's not just about dangers versus safety it's also about like it's a big investment and what one stands to get out of it I think depends on how much introspection you're willing to do we won't be doing it this afternoon.

There were at least a thousand questions about attention deficit and neuroticism people who feel like they can't organize themselves and I thought a lot about these questions and tried to distill them into a single question and eventually I did and it's this. For many people they associate the creative process with disorganization I think what's so striking about you is that you embody both the creative process but also a strong sense of organization around it.

Nothing seems hair brained or like random or haphazard about anything that you do and yet for a lot of people who call themselves creatives there they'll say I'm a creative this that you look at the space there and it's like chaos or they are their life is kind of chaos not all of them but.

Is what i'm saying making sense because I think why people orient toward you and one of the reasons for your success with the creative process is that you're extremely organized but not to the point of being rigid. You willing to embellish a little bit on that perception whether or not it's accurate in accurate I would say there's a part in the process early on where it is before it can get organized where it's free and it's playful and it can be chaotic.

It's just not the it's a byproduct of whatever's happening it's not it's good because it's chaotic and it's it just happens to be sometimes chaotic in that in that experiment in the beginning you were. And then you're actually playing with this idea of having fun and creating stimulation and seeing how it makes us feel we try a lot of we could try wacky things to get there. But then when it happens when you get that that feeling of like oh this is interesting haven't seen this before.

And it gets more controlled but it starts in a very free place and I don't know if I would really use the word chaotic but it could be it certainly wouldn't be wrong I would say more free would be the word free like no. And then you know expectation and total immersion in like an improvisation that you're participating in that can go wherever it wants to go and you're cool allowing it to go wherever it wants to go.

When it goes somewhere dangerous that's when it gets interesting so the the I can understand that that danger aspect maybe that's why I like porous I don't know but there's something about when you get to this these edges where this is not for everybody. It can get very interesting.

Speaking of stuff that's not for everybody and that to some people might have been shocking I remember hearing ghetto boys for the first time and like whoa like they're taking certain things pretty far when you're working with an artist and they venture out into that place where things are like maybe even a little shocking.

What is that feeling for you internally like is it how do you distinguish between shock value for its own sake and something that's really opening up a new creative avenue or insight like like how do you do recall the first time you heard like Bushwick and those guys do their thing. Yeah what was your internal narrative I can't believe it I can't believe what they're saying it's really pushing the boundaries of what anyone has said in this music before.

It had switched because the original in originally in rap there was a lot of boasting about themselves bragging and then we got to the message happened and there was some social commentary. Then there was gangster rap and then the ghetto boys took a version of gangster rap and turned it into horror rap which was much more graphic than gangster rap gangster rap was talking about a real life situation was the ghetto boys took it into horror movie territory.

It was more fantasy but it seemed really scary at the time in the way that you're scared of the great horror movie. Do you like horror movies I don't. Do you like monster movies where you know it's not real like it's impossible as opposed to horror movies where you know it's you know people getting killed by another human like stuff that could happen in the world versus. You know monsters and zombies and that kind of thing.

I don't think I really like either of them very much I like things that make me feel good I don't really like adrenaline you know I don't like to be excited for some reason in audio. I like something that makes me excited but in visuals I tend not to like things that make me excited.

And you're able to kind of clean yourself of experiences easily right like it seems like if you listen to something it's really shocking you don't carry that shock to your sleep or to the next day like it doesn't trouble you but a movie can can impact me like there was a movie called melancholia that I saw years ago large on tree movie and I thought it was very beautiful movie.

But I was in a bad mood I would say for three months from the time I watch that movie on it just like did something to my brain that didn't feel good and it couldn't snap out of it. There are a few movies that have done that to me the movie blue Valentine which is done really well.

Which is with a Ryan Gosling and someone else where it's a relationship I want to explain what happens in the arc of the relationship but it just like the movie haunted me there's one scene where he's wearing a misfit shirt and I was like like that and that's a particularly good scene where he's singing to her.

But the rest of the movie just brings about such feelings of like just how hard life can be sometimes and how misguided people can be in relationship and it it's interesting how movies can just kind of embed in us. It's not pleasant I don't want to talk about it anymore.

There were a number of questions asking about how you consume information in the world related to what's happening in the world. Where do you get your news from you know I talk about this a lot how do we know what to trust these days. Should we have ever trusted the news or is it less trustworthy now like where do you get your information about what's happening in the world and stay abreast of like world affairs.

Honestly I don't feel like I know anything about it you know I um I tend to look at it all like wrestling so if the story is good I might be more interested in the story but I still don't hold much belief that that story is true.

Yeah I don't know what to believe anymore. I was asked to comment on a particularly well known person who's not considered very savory by a couple news avenues in the last couple of years and I don't know how people had in mind that I would have knowledge about this person and I gave zero information to these news outlets and nonetheless they they they didn't publish quotes for me but they they publish things that.

I know to be completely false and they know to be completely false so I was just struck by the fact that like in scientific publishing that would get you you lose your job you forever well at one point in time you would have lost your job now I don't know if that's true if you lose your job because we see it happening a lot right yeah it's wild.

Have you ever read anything about you that's not true oh yeah yeah okay so based on that absolutely I mean some of it is playful stuff like on reddit and I'm not sure

that's like on reddit and now they flagged us play they have a little flag that they can put as you know comedic or something but oh sure I mean things not just taking out a context but things like completely wrong like just like that I don't even know where people get this stuff from I keep waiting for the thing that I'm going to see that says that I'm dead yeah that'll be the moment.

So based on that experience why would you believe anything you read about anyone else you you get to see first hand that there are just stories just not true and presumably you've seen things written about you that are not true. Absolutely all right absolutely right and artists I know friends of mine they write things about them I know it's not true wild.

What do you think about the state of play and is the experience of being a parent and having a young child has that allowed you more opportunities for play and to see through the world through child like lenses in greater capacity or is it you know just separate from your creative process. I would say I'm fairly child like all the time I try to stay as open the beauty of childhood is that you don't know you haven't been indoctrinated yet.

So you see things and you have wonder about them and it's a great feeling that feeling of wonder and now when some I'll tell you story this is a true story my friend Owen came over one night in the middle of the night and he had just seen luminescence in the water for the first time and he didn't know what what it was and thought he was having a mystical experience and he was so excited like you won't believe what happened.

The ways were like there was light everywhere was so cool I'd never saw anything like it and I said yeah that's a luminescence and I explained what it was and it destroyed the magic for him. He was really having a child like magical experience and I destroyed it by telling him the science behind it.

I try to live in a world where I can experience what he experiences and I don't let the story ruin what's I allow the possibility to go past what I'm told the story is but that things can be even wilder than the rational explanation. For me learning the reductionist science behind something to me adds depth and beauty but then again I realize I'm I've been indoctrinated into the field of science so matrix they call it the matrix.

This is one I didn't understand but I'm going to assume that you understand because it has to do with people you've worked with if Rick had casually dropped at the Ramones name themselves after the fake last name Paul McCartney used to check into hotels during Bidlemania. I don't know if that's the true story I do know that Paul McCartney used the name Paul Ramon when checking into hotels but I don't know if that's where the Ramones got the name got it.

And here is how rumors turn into quote unquote facts on the internet so we have also maybe the Paul Ramon story is not true either but that story I've heard. That reminds me and I think this is an important case in point that there's a what I consider a very famous photograph of you Johnny Cash Joe strummer and Henry Rollins. You're wearing a dead Kennedy shirt the four of you are facing one another and I love that photograph because of who's in it.

And I remember hearing a rare track from strummer and the mescalero is called on the road to rock and roll. And then for some reason probably because my phone is tapped into my brain I was served up a video on social media of Henry Rollins telling the story of that gathering of the four of you where Rollins is describing the story of Joe strummer leaning into Johnny Cash and saying hey I wrote a song for you it goes on the road to rock.

And I remember coming to you and saying Rick guess what remember that photo you're like I remember the photo I said yeah Rollins has the story of what was happening in that moment and I was so excited and you said.

You said yeah I don't remember that it might be true it might be true but it might be entirely made up also yeah we're not calling Henry a liar but I believe Henry remembers that story and that was his experience that was not my experience or I don't remember it being my experience but who knows. Anything could have been said.

It's true anything could have been said like it had as much to do the fact that I don't remember has as much to do with whatever I was thinking about when that happened and the story that Henry told had as much to do with what was going on in Henry said when it happened. We have no idea.

You know it's we have no idea do you remember somebody shooting the photograph I do not I'll put a link to that photograph on the internet it's a really incredible gathering of I've seen the photo but I don't remember it being shot. I'm looking for a high resolution version of that photo if anyone can find me one I'll be happy to compensate you well.

There were a lot of questions about your daily routine people love this the morning routine the daily routine and while I have to believe that everybody's necessary routine is quite different from the next if you wouldn't mind just giving us a sense of like the first couple hours of your day what that typically looks like when you're.

Like not traveling in your settled into to a place it's different depending on the place that I'm in but typically it involves waking up going out into the sun as naked as possible to start the day. I try to take slowly wake up slowly and probably within an hour of that I'll leave the house and go for a walk. I'll go to the gym instead but some I'll do some activity. I would say about an hour after waking up sometimes it's an hour and a half sometimes it's less depending on the place I'm at.

I also might do stretching before I go on the walk and do just several stretches on yoga mats on the floor or with foam rollers or balls or some different things. I don't start my day until those things are out of the way I try to avoid any work related anything now that's that said if a thought comes up that I'm excited about I'll note it I won't avoid thoughts but I tend not to engage in any.

Work until probably 11 o'clock 11 a.m. would be the soonest and in and some days not until 1 o'clock and then I do focused work until maybe six and then I spend the rest of the night trying to wind down out of work mode.

I'm about to do one p.m. to six p.m. or really the peak probably could work hours could be 11 to like today we started here at 11 and that felt like I felt like I'd be good by 11 and I already did my morning walk I had the argument on the beach I was in the sun I was in the hot tub I had a whole home morning already. And then what is your evening wind down look like in terms of the space that you're in or trying to create and your internal landscape well it's only red light.

I'm usually wearing is from the time Sun says some wearing red glasses I'm in a space with only red light. I'm 99% of the time home with my family and we talk I might watch wrestling or a documentary with red glasses on. I'm going to eat dinner together or we eat dinner in shifts depending on how it's working but we're all we're all together. And I find something to occupy my mind that gets me out of the work day that said sometimes the idea still flow and I'll note them.

I'll avoid any kind of a work phone call or anything that's stimulating or that will get me thinking about it. I aim for sunset and then I'm usually in bed. I'm usually in bed by 10 and and fall asleep within 15 minutes. I'm in a relationship to light is fascinating the sunlight piece makes a lot of sense and will make sense to the listeners this podcast. We haven't done too many episodes but we will do more that covers the trying to avoid bright light exposure in the evening.

You're wearing the red lens glasses now even though it's the middle of the day that's because we've got these bright lights around us correct. And have you found that limiting your bright artificial light exposure in the evening has benefited you and in what way. Absolutely. And once you've done it once you've changed and avoid looking at screens or my you know my phone turns red at night. When I see someone else's phone if someone comes to visit and their phone lights up at night it's blinding.

It's so disturbing and for them that's normal. They're in this heightened blown out place all the time. I'm staying at neutral. I'm staying at the more natural. How the world would be if man didn't create all these these loud things. Yeah. I've switched my phone thanks to your input and we will have released a clip on this. By time this episode airs on the triple click approach to the phone that you can put in very easily.

To allow it to go from regular screen to red screen at night so that you don't have to go into the settings each. I mean just triple click will provide a link to that explanation and Rick taught me that when I was over in Italy. Everyone in his home turned to me and said, wait your phone is so bright you had to do the red light thing I said I don't know how and taught me that so it's a very useful trick. Have you noticed the difference since looking at huge positive difference. I sleep better.

There are great data now because of course I go then find the data that you know for shift workers people that have to be up at night working if they put them under red light. The amount of cortisol at that time is suppressed which is great as compared to when they're under bright artificial lights without red lens glasses or there are red lights it's far far more beneficial less cortisol you want cortisol high early in the day viewing sunlight early in the day.

It increases by at least 50% than you want to taper off. And on and on I heard something recently which is going to make a lot of sense one thing that's happened in the last 30 years which may at least partially explain the obesity crisis is that calories which are depleted of nutrients micro nutrients are very cheap now.

See they're very cheap to get calories but they aren't nutritious calories in addition there's been a change in lighting technology so that blue light photons are very cheap like when I was a kid they my parents say turn off the lights it's costing us all this money now it's very cheap to keep the lights on in a home.

Heat is a different story but with respect so we have a lot of cheap photons so I think of blue light as cheap photons not the good for you photons not nourishing photons that's correct and consuming calories too often or the wrong times of day we know is bad for you consuming photons in the wrong form at the wrong time of day bad for you and I think those two things combined plus all the downstream negative cascades can largely explain the obesity and in some sense mental health crisis.

Yeah so just there I editorialized again I realized that we're trying to shift the ratio to more Rick less Andrew but he can help himself and Rick indulges me so actually there were a number of questions in here that asked me you know what how is Rick helped you and I'm refraining from answering those because this is people want your answers for them but I do all the things that Rick's referring to I'm not wearing red lens glasses now but I have changed a lot of my health practices and or sought out science to test whether or not some of the things that you've been doing.

For a while make sense and indeed in every case they've made sense I'm not just saying that because you're here but you and I do a lot of the same thing we're interested and if it didn't work we'd probably stop doing it eventually right like we're testing right and I do believe that what starts out as crazy like Mike men's or stuff of low volume weight training with heavy weights it works so much better than the high volume all that stuff is being shown to be true in these peer reviewed trials so you know that's the name of the

nature of science it often comes science often follows the practitioners by many decades you know it doesn't get there first because it's a slower more iterative process but some people need to see those clinical trials to feel comfortable doing something I think the creative process is uniquely separated from academic science and academic scholarship in a way that I think has really benefited it I mean can you imagine if the ghetto boys had to get a degree in music theory in order to do it right.

What they do they wouldn't be the ghetto boys right or slayer they would not be slayer yeah or public enemy yes or Adele yes or M&M right it's it's almost by virtue of the fact that there is no degree for that yeah per se that allowed them to do what they did right yeah absolutely

so what are your thoughts on schooling and higher education or just education I mean you were at NYU when you launched your record label you graduated NYU I did what are your thoughts on getting a quote unquote formal education it seems like an obsolete idea I think maybe there was a time where it would have been helpful and maybe depending on if the thing that you want to study

can only be learned in an institution maybe it would make sense but I think the real world getting an internship or finding the right mentor and going into the whatever the thing is that you're interested in learning about learning from people who do it as opposed to the system I think

might be more but better use of your time the creative process doesn't exist in a vacuum and relationships are a huge part of life one thing that I've heard you say and that certainly I've been working to internalize is this idea that whatever relationships one has in their life romantic relationships are not married or not kids are not that the ideal circumstance is where one of the things that I'm going to do is I'm going to do that

the most stressful part of their life yes you tell us more about that yeah the home is the the safe place from which you can go out and be a warrior and do all these great things and these crazy things you know I have I'm fearless when it comes to art I'm not fearless when it comes to life

life is my relationships art is where we can do these crazy things and have fun and try extreme things and see what happens and as I said that's a safe place to do that because it's it's just expression it's not the things we make don't have to represent who we are there just the things we make and that's a point of view is like this is interesting to me in this moment check it out that's all it is

may have a completely different feeling tomorrow was in a relationship it's it's long term hopefully and it's it says long term as it's productive relationship where everybody is getting what they want from that relationship everybody's needs are being met and everybody cares enough to meet each other's needs have always admired how rational you are about relationships and this notion that like if everybody isn't being honest there's no relationship actually

not it's a bad relationship but there's actually no relationship no because if you if you if someone's not telling the truth then each person is experiencing a different understanding of the world you're living in two different worlds so they're not they're never actually together when you're experiencing a different world so unless you can you don't have to agree I'm not saying you have to agree on everything but you have to be truthful in saying this is how I see it and your partner is

clear and yes this is how I see it or no this is how I see it you're on the same you're on the same page even even in disagreement but it's real it's you're being who each of you are being who you are for and with the other but if you're not opening yourself up in that way to your partner

you're in a different world they have an idea of what's happening that's completely different than what you have an idea of what's happening that's not that's not being together no masks no no it's the it's the same as when you said earlier about lying in your diary

you'd only be doing it to service to yourself lying in a relationship would only be doing it to service to yourself like a mess of social distortion as a song called cheating at solitaire which seems like an appropriate title to mention right now lying in the diary cheating at solitaire

yeah it's ridiculous doesn't make any sense no you're not you're not actually playing the game do you know what I mean if you're cheating at it you're not actually playing the game the whole point of the game is the game if you cheat at it you're not playing the game do you have any must read books for people I'll throw one out Rick's book on the creative act a way of being but in addition to that book what are some books that you recommend to people for stimulating thought or for

I don't know health purposes are things that you found particularly beneficial in book form my favorite book about meditation is called wherever you go there you are and I just got sent the 30th anniversary edition which is completely rewritten I have not yet read the rewritten version but I love the original version and I know the rewritten version I'm guessing the rewritten version is just more refined and even better

such a great book that book was given to me when I was about 14 and a half when I was released from a particularly uncomfortable non voluntary state of affairs and one of the things that I remember about that book that helped me through so many years of life and I have to go back to is this mountain visualization meditation being a mountain I don't know why I was so helpful but goodness was it helpful for me beautiful idea it's a beautiful idea

yeah I don't know why I thought of that just now but I'm going to go back and read it do you think that there's genetic epigenetic family lineage stuff unrelated to genetics that leads us to create things that are really about like our ancestors you know the for instance is it possible that let's take let's take Johnny Cash for instance or an artist that you worked with more recently

chili peppers that when they got together to make music that something from Anthony's family line was being transmuted through him into into the songs is that happening do you think that we can work out and include things that are generations far back enough that we don't we don't even really know what happened to them

coming through in our genes I think it's certainly possible but I don't I don't think we can know and I don't think it's necessarily even helpful to know it just is one of those mysterious things I don't think we know why we do many of the things we do and it's just another example of that and that's a possible theory to explain why we do the things we do maybe but there may be another one it may be UFOs are controlling us I don't know do you know what I'm saying it's it could be anything

there are people on the internet that thinks it's UFOs that are controlling I don't I wouldn't I wouldn't disagree with that more and more evidence is coming out that you know that unidentified flying objects might might actually be a documented phenomenon by the US government

I haven't looked into it yet but I wouldn't be surprised when you were on this podcast before and on several other podcasts you mentioned that you don't play music at least not routinely you don't play an instrument that you have limited knowledge of how a soundboard works

so when you're listening to artists are you listening for something or you're staying open for something that you might hear that will trigger a certain state in you that you recognize I'm open to just see what's happening like I feel what's I listen and recognize is this making me lean forward

am I curious to see what's going to happen next is the thing that happens next different than what I thought was going to happen next that could be interesting you know I listen a lot of music when it doesn't do what's expected that's really interesting especially if it sounds good

if it works I'm just open to experiencing what it is and I'll say something funny about it which is this will sound mystical I don't understand it but often you can tell a lot about the piece of music you're going to listen to based on the first sound you hear

like the first moment it's not about what noted is it's not about what instrument it is it's intention in the performance and that performance could even be a machine the way when something starts sometimes is this feeling of oh this is going to be good

just out of the the downbeat can't explain it reminds me of dating and you know within half a nanosecond like this is going to be a fun night to be interesting night this person's interesting or okay this is not a night to continue right I don't know there's something and it's not what said necessarily or even how it said just it's a it's a feeling I know that depending on how I'm feeling I'll avoid listening critically to something if I'm not feeling well

if I'm if I don't feel like I can be completely there and open I'll not listen I know I know I want to really be there for the thing that I'm listening to do you inform people if like hey I'm not here today like I can't sometimes yeah sometimes as somebody who has never been part of the music production process how long does it take like for an album like let's throw out an artist you've worked with like you worked with M&M how long did that you did some songs on that album or the whole album

I did some songs so did he come in with those written and then you guys worked together on those songs how long was that a week a month a day I think we were together for several weeks it's been long enough now that I can't remember the specifics but there is no rule of how that works and sometimes things come together very quickly an album can be made in a weekend and some albums are years in the making when it's years in the making it's rarely every day for years in the making

it's usually more episodic but there is something both versions are very interesting and something that comes out almost fully formed very quickly has particular energy and then something that's made over time can have all of those individual moments all the changes that happen within you

over that period of time those can all be reflected in be the difference between a daily diary journal and reading three months it's different they're two different things can't say one's better than the other they're just two different things so some projects are more like a year's diary and some are more like a weekend and same you know you watch a movie some movies the movie story takes place in 24 hours and sometimes it's a person's lifetime

one's not better than the one's not a better method than the other it's whatever suits the work speaking of your work with them and them but also with J.Z. and with BC boys and others you are featured in a number of the videos you show up in those videos whose decision was that and what are your thoughts on music videos I remember when music videos first came out a whole MTV era and just think like this is so cool I can see the artists see how they're dressed

like the crazy styles and all of that that accompany the music two questions one whose decision was it to be in the videos because producers often are not included in the videos it would always be if the artists asked there'd be the only reason I would be there and to what are your thoughts on music videos and the idea that then it puts a very strong visual to the song whereas were there not to be a video people would just imagine something based on what they're hearing and hearing alone

they're two different they're two different things there's not a better or worse and I'm just where the video makes the song better and there's often the case where the poetry of the words if you close your eyes and listen to what the words are as a listener you get to participate in that

in creating that world in your head so sometimes photographs can tell us too much information it's too leading it limits the story to just this photograph the photograph tells you much more than the words the words can be interpreted in many ways and then we each get to have that experience it's something in the book that I was cognizant of in picking the words was never to be specific to the point of where the reader doesn't get to participate in this act

so it doesn't tell you what to think it's an invitation to think it's an invitation to say where am I in this what's my version of this it's not about anyone else it's about the reader and that was it was from the beginning that was always part of the my understanding of what I thought would be the most helpful the cover certainly embodies that it's not clear exactly what the cover design is quote unquote supposed to be it's open to interpretation

interpreted as you wish and different people see different things let's get current what what are you working on now that you're excited about if you can share let me see what I can can't share could be broad categories of things too I'm working on a couple of documentary projects that I'm excited about and some albums that I've been working on over time are coming out one is a credible singer guitar player named Marcus King his albums about to come out

the gossip is a band that I made an album with 10 years ago and we just made a new album or we made an album maybe 18 months ago and that's coming out now those are the first ones that come to mind is the documentary process fun for you and how how do you approach that

I watch a lot of documentaries to learn what I don't want to do I don't think I've been inspired well maybe some cases where I get inspired by what I'm seeing but more often I see things and I say okay these documentaries all have this format so I don't want it to be this format

some more of a ruling out and it's fun to find new ways that reveal different information than the standard format allows it's interesting to me I will see if anyone else cares you have a unique approach to podcasting first of all what are your criteria for who you invite on as a guest

and second what do you have in mind when you sit down and podcast I have some ideas about how you're going to answer but I think it's important that I'm not inject I think people are interested in this even if they don't want a podcast

because I think it gets to the process of something that you're doing now and how you're doing it now I didn't set out to do what I'm about to tell you I didn't set out to do this but it's something that after I started doing it I came to realize it's an interesting thing

and actually learn this from listening to your podcast it was actually Lex's podcast with you and I was listening to the podcast and I know you know Lex and I know you guys are friends and both of you in addition to you talking to Lex you're talking to the audience and Lex in addition you're talking to you talks to the audience and the audience was a participant in your conversation and I realized that at the Tetragramaton podcast it's different than that

it's more of an intimate personal like the interview with you that hasn't come out yet that was me talking to you with no I certainly didn't have any idea that anybody else was going to hear it other than yes someone else is going to hear it but that's not what this is

this is I was asking you the questions I was interested in and I wanted to learn as much as I could and if you said something you that I didn't understand I'd ask you to explain it or if you told me a story about something that sent me on a tangent that would

I want to know more about this left side of what you said or the right side of what you said I would ask but only following my own interests so it has a an intimacy it's turned into when I if I listen to a Tetragramaton podcast it sounds like I'm overhearing a conversation a personal conversation

and it has turned into parts of certain decisions we made like having there's music at the beginning and then you hear the guest more often than not is in the middle of a story and it's almost as if you've walked into a room and people are in this deep conversation

and you're just sitting on the side quietly and hearing this conversation and it's a real moment that's happening there and it's just different I can't say it's better, I can't say it's worse, I can't say it I don't know what's interesting about it but something about it's interesting to me

and when I listen to it I feel a different kind of an intimacy and again it wasn't premeditated this is after the fact I'm looking back and understanding oh this is what it is this is why this is different yeah the podcast that I did with you on your podcast when I was featured as a second time

I completely forgot that we were podcasting it was also good we'd had a few days together overseas there we're in a very kind of isolated environment that helped me get out of the mode of their listeners yeah there's no there's no sense of performance involved it's it couldn't be more casual

and the reason I chose not to film it is because the nature of lights and cameras make it harder to forget that you're doing it so I aim for it to be as natural an experience so that you can have the conversation that you really would have

if there were no lights and cameras not that we want to reveal anything it's just it's a level of comfort and openness where you're talking to somebody like and it's you're enjoying the conversation and that's so you I just have to share that you know the first time we met in person

you and I had face time the number of times previous to that but the first time we met in person came over your house we ended up doing sauna and cold and I was going through a particularly challenging time in my life I mean it had really just hit me square in the face and I remember saying hey listen I don't know if we can talk about this but I just opened up about all of it and that's the moment when like we would have become friends anyway

but that's where things really took off because I kept apologizing at the end I felt I'm so sorry and you said no no this is actually what we're supposed to do and you know I'm feel very grateful that we've remained close friends ever since

and that catalyzed a lot but I think that one of the things I love about podcasts not just podcasting but podcast is that the really effective podcast like yours like flexes like Rogan like ritual Tim Ferris they really reflect the love and passion that the person has for that kind of conversation

I mean I can certainly say this about my podcast I've been learning organizing and distributing information since I was you know you know six years old so my podcast is just that you like real conversation and real things that are unbarry or by like the idea that maybe someone's going to listen and how will it work out just like we talked about earlier and you answered the questions that way

and I think Lex likes Lex's form of thing and Joe is doing his form of thing and I think that's to me one of the great gifts of podcasting if anyone wants to know how to create a successful podcast quote unquote successful it's have the kind of conversations and talk about the kinds of things you really love like Cameron Haynes has this lift run shoot podcast where you go to his house you do a work out then you go for a run and then he teaches you archery

and the reason it's so effective is that he loves lifting running and shooting and then he's almost teaching people that so at the end of the day you're sitting down talking about a great day that embodies everything that he's about in the person learned

and like I couldn't do that podcast I can go on as a guest and I loved being guest but I think that's the message and it brings us back to what you were talking about earlier and throughout today's discussion just that if you're thinking about how it's going to land how the hell could it ever work

it's just a different thing I had a conversation yesterday for the podcast with Daniel Kaluia who I've never met before incredible actor and beautiful human being and we probably talked for about three hours and it was a deep conversation

and I feel like I might have a new best friend like he's unbelievable the coolest guy if it wasn't doing the podcast I don't know if I would have met him it just worked out it worked out that I got to meet this incredible person well Rick we covered most of the most frequently asked questions

and you've been extremely gracious with your time and thoughtfulness in answering them and I don't know what to say except thank you for taking the time to do yet another podcast to answer the audience's questions they were here in this podcast in the form of this very large stack of questions

and of course your book includes a lot of information that encapsulates this but I think this really flushes out some of the details of like how you go about things and certain things can't be the same for everybody and I think in answering these questions

you provided a great service to people who are perhaps still struggling with getting the creative process going or flowing I'm certain that it's going to change the way that I focus and lean into my day I've got a number of different notes here and maybe I'll be willing to share them with people

but then that would go against the principle of this is for me and everyone's going to work it out their own way so we'll provide links to everything that was mentioned where there's a link that's relevant and I want to just want to say thank you so much for being such an incredible educator and such an incredible friend as well. Thank you it's a funny idea of being an educator I can't imagine that but I appreciate the I appreciate those words.

Well you are indeed an educator we're learning so much from you and if you just step back for a second and think about all the creative works that have stemmed and are going to stem from the learnings that people have achieved from hearing your experience in wisdom it's incalculable. Wow I'll take it thank you sir. Thank you for joining me for today's discussion about protocols for creativity with the one and only Rick Rubin.

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It includes podcast summaries as well as protocols in the form of short PDFs of maybe just one to three pages where I list out the specific protocols for instance for improving dopamine functioning or for improving your sleep or for deliberate cold exposure, deliberate heat exposure or fitness protocols, and on and on. All of which are presented in brief fashion, very direct, just the protocols listed out again completely zero cost.

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