Boston bombing, burger talk, Michael Chiklis interview

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Three people were killed and over a hundred injured when two bombs were detonated at the Boston Marathon on Monday. There you go, yeah. I mean, you know, not for nothing, Peter Griffin is hilarious. That's one of my, that's my negro right there. But whoever did that, that was in seriously bad taste. Just not right. Not right. Not right. Yeah. Well, I mean, stuff like this happens, I mean, you know, bombings like this happen all over the world. You know, the question is how we're going to respond. And I think the scary thing is that more rights being taken away, you know, more security measures, more, you know, more inability to go. More places, more police up in your face. Well, the conspiracy theorists will definitely have a field day with this because, I mean, one can, if you're on that team, can argue that, you know, authorities could easily make something like this happen to further infringe on your civil liberties. But, I mean. I'm not being a dick or anything, but, you know, I think, well, maybe I am, I don't know, but. It's all right if you're a dick. That's my name, right? Yeah. So, no, but there's some asshole somewhere that's going to propose. Yeah. The banning of pressure cookers or BBs or whatever the hell they put in there. You know what I mean? Well, they use everything in there. They use a pressure cooker filled with some sort of a time-delayed chemical. Yeah, they're going to ban. Explosive with BB guns. That's the problem is that when people start doing that, you know, then they've already won whoever it is, whether it's another country or it's people. And, you know, I'm not like an expert at all of this. I don't remember all the, you know, but there was that bombing at the, what's it called? The Olympics. The Olympics. That was a white dude, right? Or did he get cleared? In Germany, you're talking about? No, in Atlanta. Oh, in Atlanta. Yeah. You know, I mean, there were a lot of, a lot of these things are just crazy, dumb white people. Yeah, but a lot of those are political. Those are political reasons. A lot of times. I mean, what the fuck is, I mean, what political reason would you have to do some stupid shit like that and hurt people at, you know what I'm saying? At a harmless community event? Well, I think you have a lot of people in this country that are feeling disenfranchised, you know? Well. We're supposed to be this country where everyone can go out and, you know, make money. And I think that you have this, you know, like the, when I was living in New York, we had the riots, the protest of we are the 99%. I mean, you have a mass segment. You have, you have the cities versus the country, which is a really big thing going on right now. The wake up Wall Street fucking. Yeah. Well, what I'm saying is you have a lot of people in this country that are becoming disenfranchised with this concept of the American dream. Right. And you also have. We're in the 50s and 60s was a lot easier for a family of two to go out, you know, raise kids, support themselves, pay for a mortgage, have the things that are advertised to them on television. Right. And as the, as that, as Americans feel less and less able to go and take part in the American dream, you're going to see violence on the rise. Right. I'm not making any predictions, but I'm just saying, you know, as empires crumble. There's a lot of stuff going on. I agree. I mean, you, you have these schools, you know, with kids going into schools, blowing people up. Sandy Hook. You didn't you just tell me that you saw something about MIT students going buck wild with weapons. Right now there's a shooting at MIT. How are you going to shoot the nerds, man? Like 51, 51 minutes ago. Isn't that what you just told me? Right now online. There are shootings going on on the campus at MIT. You know, hold on to your glasses, kids, your pocket protectors, because there's some shooting going on. We don't know what it is. We don't want to sit there. And say, oh, it's this or that. We'll wait for all the news to come out. But this is on the news right now. And apparently on Thursday or yesterday, there was some sort of explosion at a fertilizer manufacturing plant in Texas. And they don't know if it was. The shit blew up, bro. Well, they don't know if it was if it was a foul play or if it was just a combustion of. Something stinks. Yeah. Something. Yeah. When you, you know, when cow shit starts blowing up. What's next? I mean, they use that in the vans to. Hello. Do we have a caller? Oh, my goodness. What? Okay. Okay. Caller, you have a couple of minutes. Go ahead. Hi. Yeah. I think that it's really unfortunate that we're always instilling fear around every event that happens and focusing on that. I thought it was interesting that Obama was talking about the terrorists and that our response to an act of terror, that we responded as Americans with acts of kindness. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. online as well as people doing good for each other. And I think, you know, NPR had people calling in from around the country that were in Boston and witnessing, you know, acts of kindness, like the guy who owned a taco restaurant who Big up, big up, taco man! Big up, big up, Obama! Big up, big up, NPR! Go ahead, continue. No, it's okay. I think it's interesting that we, instead of feeding into the notoriety of the violence and whatever people are putting out there that want to get notoriety by saying, yeah, we focus on the acts of kindness and things like that. Absolutely. Absolutely. Point well taken. I mean, there are two sides to every story. And for any, like, one disastrous event like this, just like 9-11, everyone came out of the woodwork to be there for each other and help each other out. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. So there's always a greater sense of community a lot of times when things like that happen in America. Unfortunately, it usually takes something stupid like this for those things to come out in abundance. Well, I think the question we have to ask ourselves, too, is how do we not become reactionary? How do we not, you know, like, things happen and then we make the policy. You know, some guy tries to put a bomb in his shoe in the airplanes. Now we all have to take off our shoes. How do we, you know, why does it take a tragedy for us to come back? Or why don't, like. After a year of people taking off their shoes and planes becoming stinky from fucking people's feet, why don't we just go back to the way things used to be and let us put our damn shoes on? You know what I mean? And why do we need a tragedy for people to start helping each other out? Right, that's what I was saying. If people started helping each other out more, before the tragedy, we'd have less tragedies. That's what I was saying. That's what I was saying. Absolutely. It's just insanity. Anyway, so big up, big up. Thank you for calling. So listen, on a lighter note, we wanted to discuss burgers, man. We love cheeseburgers. We love hamburgers. We all just went to the counter. We slobbed back and snacked back on some medium rare burgers with all the fixings and shit. Oh, yeah. But this was prompted last week. Rich and I were looking for something to eat down here in downtown, and we came across this little individual family style looking like a 1950s dino. Without the doo-wop. A burger joint called D-Town Burgers, and they fucking served up. Oh, man. It was delicious. I mean, it was juicy. It tasted like a real burger. They didn't try to do something fancy with the bun and give you some kind of pretzelized and crusted with like, you know, dingleberries. I mean, it was just a straight up burger, and it was juicy and good. It was a burger without all the bullshit. It was straight up good. Lettuce, tomato, onions, mayonnaise, some ketchup. No fucking hope. That's the shit. That's the shit. I love that spot. D-Town? Yeah. Oh, yeah. Yo, D-Town is the motherfucking shit. Oh, man. Big up. Big up, D-Town. Big up, D-Town. Big up. Big up. Big up. Big up. Big up, Nick. Big up, Nick Adimas in the control booth. Big up. Yeah, so it reminded me, it reminded us of the time that back in the day in the 70s and the 80s when there were basically just like two or three different burger joints. You had Stewart's. Remember Stewart's root beer joints? Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. You had A&W root beer joints, right? Yeah, I remember A&W. Back on the East Coast. I got a couple of their mugs. Right. You had Burger King, of course, and McDonald's. Yeah. So, I mean, but then there were these small hole-in-the-wall places like an old diner or like a remnant or White Castle. Yeah. You know what I mean? And now it seems that there's like 50 million, 50 million burger joints. Mm-hmm. You know what I mean? And there's a lot of them, though, that try to go back to that old home style, you know, way. Yeah. Yeah. I guess In-N-Out, I mean, obviously. But then there's the Five Guys. Five Guys. In New York, in New York, you have Shake Shack. Right. And in Times Square, you have 50 million idiots. I swear to God. You think you're in fucking Disneyland waiting to get on a 20,000 Leagues Under the Sea ride just to get a burger, bro. And there's a line whipping around Times Square. You think they're waiting in line to go see Cats on Broadway. Right. It's like- They're waiting in line to get a fucking shake and a semi- They're waiting that long to get food. Yeah. Dude, dude, dude. Get a fucking salad. Like, I love burgers and all of that, but get a salad or something. Shit. Yo, yo, yo. Go to- It's a half-assed burger. You know, stay home and cook. But here's another shitty thing. Here's another shitty thing about that. And I don't know. Maybe it's the umami burger and all that. Oh, out here? Yeah, man. Seriously. I could give a shit about the big tall chairs I'm sitting in. Right. And they stamp a U on the top of their bun. And they can take that and it's just the people sitting in there. Oh, yeah. At the door. How many, please? How many? How many? How many? How many? Bitch, let me tell you something. I want a burger. I'm not trying to get into Studio 54. They don't let you change it. They don't let you change it. It's like, I want bacon on your mushroom burger. No, we don't do that here. The chef prepared this specifically to taste the flavors. It's just a fucking meat and fucking bread. How about that other place? Mash it down. You're going to eat it. You're out of there. Father's office in Culver City. Right. Right. Another fucking place. You go in there. They got three burgers. You have to have it the way they give it to you. Oh, fuck that. Blue cheese. I'll order all three of them. And I'll take the ingredients off each one. And I'll make my fucking burger if I have to do that. Blue cheese. Cheeseburger. Cheeseburger. And I'll throw the other two back at the chef. That's in the airport. Cheeseburger. They try to do that. That's a Saturday Night Live skit. No, no, no. He's trying to order something else. He's like, no, cheeseburger, cheeseburger, cheeseburger, cheeseburger. But there's a chain in the airport here in Burbank Airport that's called cheeseburger, cheeseburger, cheeseburger. 800-893-9562. 800-893-9562. We're going to take a couple of calls as they come in because we're going to keep it moving. We're going to keep it moving. And. And we got to do Michael Chiklis' interview. So. Yeah. So. But then there's. Then there's burgers with a message. I mean, In-N-Out. In-N-Out. In-N-Out. It's like. It's my favorite. It's my favorite burger. Yeah, yeah. You know. Big. In-N-Out is like. He's got his finger on the big up button. Big up. Big up In-N-Out. Big up. Big up In-N-Out. And In-N-Out has a secret menu you can get animal style with fucking. Oh, yeah. There's a lot of secrets over there. At the In-N-Out Nest. Yeah. What other secrets do they got over there? They got grizzled, vomited, vomitized onions, all kinds of shit. But the craziest secret of the whole thing is that underneath the wrappers, underneath the cups, underneath the fry bowls, there's these encrypted, you know, Christian references. It's like Amadeus 4-3. No, it's not Amadeus. No, for instance. For instance, under the fry bowls. Yeah. They have. Fry bowls? Fry bowls. Yeah, I know. Proverbs 24-16. And we looked it up. It says, for though the righteous fall seven times, they rise again. But the wicked stumble when calamity strikes. Hold on, caller. Burger wrappers. Under the burger wrappers, Proverbs 3-5. This is what it says. Trust the Lord with all your heart and lean not on your own understanding. It should say, trust the Lord with your cholesterol. Because when you eat all this shit, you're going to have a heart attack. And the last one is underneath the cups. Nahum 1, line 7. The Lord is good, a stronghold in the day of trouble. And he knoweth them that trust in him. Caller. Thank you for calling. Where are you calling from? Yo, what's up, baby? This is Hector. I'm calling from Eagle Rock. Hey, how you doing, Holmes? What's up, Holmes? Hey, listen. I just want to say, man, a lot of people, especially my friends that come from the East Coast, I meet them because I work at the video distribution. And a lot of my homies that come from the East Coast, they make a big deal about eating a burger. But I'm telling you, man, Carl's Jr., man, Carl's Jr. is the fucking shit, eh? Yeah, I understand, eh, Holmes? The reason most Mexican-Americans love the Carl's Jr.'s is because it facilitates, it facilitates in the wet farts, man, you know? It facilitates. Hey, man, I could tell that you were going to say wetbacks. I fucking could. I could tell you were going to say that, Holmes. You know, you know, eh, Holmes? Eh, Holmes? You know, you got me right. I was going to say the wetbacks, man. But that's because I could, you know, because I'm Latino, too, babe, you know? Hey, Hector, what do you think about your burger rappers giving you a biblical message? Yeah, what do you think about that? What do you think about that? I don't even fucking read that shit, Holmes. I just eat. I eat a fucking burger and leave, eh? Well, let me ask you a question, Hector. Can you read? Yeah, I can read, fool. And you know what? I think, because I know that you're a fucking Puerto de Genio. Yeah, baby, you know that. That's why, yeah, you guys make a big deal about fucking in and out. You know what, eh? Fuck in and out, eh? Oh, cool, you know what? You know what? You know what? Seriously, I love a wetback that fucking stands for what he believes in. You know what I'm saying? Big up, big up. Big up, wetback. Big up. Anyway, thanks. Carl Jr. Carl Jr. Forever, Holmes. Yo, you got it, man. La raza que vive la raza, eh? Hey, yo, thanks for calling. Thanks for calling, Hector. You know, seriously, mad love. Mad love for my Mexican people. Mad love. This is Michael Chiklis, and you're listening to Nestorius Public Radio. That's right, you are. Anyway, but my favorite, my favorite biblical verse is, is, is, is, is, is like a mish, a mishmash of Ezekiel, Ezekiel 2517. Caller, give me five minutes, okay? Give me five minutes, caller. Give me five minutes. The path of the righteous man is beset on all sides. This is my favorite passage of the... By the inequities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill... shepherds the weak through the valley of darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger... those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee. If thou longest see me see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see thee see There you go. There you go. I'm trying to find the fucking quit button. Caller, you still there? Caller, you still there? Yeah, I'm still here. Okay, yeah, what's up? You got nothing better to talk about than fucking hamburgers? Who gives a shit about a hamburger? Yo, listen, gangster bitch. Slow the fuck down, okay? Slow your roll. Slow your fucking roll. Don't make me go over there and smack you, bitch. Slow your roll. Slow your fucking roll, because this is a... What do you got against hamburgers? What, you like hot dogs and shit? We're talking about hamburgers with a message. Where would Jesus be without hamburgers with a message? Yeah. They're just telling you that you should pray before you eat that shit. That's right. That's right. That's right. That's right. Slow your roll, gangster bitch. You calling that a nut and that story is public radio with a big attitude? You know what I'm saying? This is California. We fucking lean back, all right? Oh, yeah, yeah, yeah. You sound like you're leaning back all right. We're leaning back. We're leaning back. It's all about the McDonald's, all right? That's it. It's McDonald's? What is it? Yeah, McDonald's. I said it. How stretched out is your colon? I'm the world's same burger. I started working. It's not anything else. He's not just listening to himself. He's not just listening to himself. We're trying to understand what you're saying, but you got a lot of anger in your voice. Slow the fuck down. Meditate. Take a deep breath. Read the wrapper. Do you not want to have anger in my voice because I'm not listening? Yeah. Take the Big Mac out your mouth. Shut up. Get out. Okay, caller. Okay, caller. Boom. All right. All right. Little Kim just called us. Got all crazy with us. Good. She got all. She got all. fucking rambunctious. She got all fucking rambunctious on us. Anyway, what we're going to do is we're going to play the Michael Chiklis interview and then maybe take some more callers afterwards. Enjoy. We're on the set of Vegas in Michael Chiklis' trailer. Yeah? This fucking thing is big. It's bigger than my apartment in New York. It's about the size of mine, yeah. So what's going on? How are you? I'm great, man. I'm great. How are you? It's amazing. I'm great. I'm happy. I'm happy to be here. I'm happy to meet you. I'm a big fan of the show. Tell me about the show. Tell me about Vegas. Vegas is a period piece that takes place in 1960. Well, actually, at this point in the show, we're in early 1961, and it's based on a lot of the life stories, the real life stories of Ralph Lamb, who was the sheriff of Vegas from 1960 all the way to 1981, I believe. Mm-hmm. He retired. He retired. And he's a real life cowboy. He was a rancher who basically you see in the pilot episode how he happened to become the sheriff of Vegas. And when you think of Vegas at that time period, it wasn't the beginning, the origin of Vegas, but it was the beginning of the growth period of Vegas. So Vegas went from a town of, I don't know, somewhere around 25,000 people. And in 1981, when he left, it was nearly 3 million people. So, I mean, that's more than just a boom town. That's an explosion of growth and millions, billions of dollars. And wherever there's that kind of growth, some shit's going to happen. The early stages of Vegas, the pilot, you have Sheriff Lamb, who's a rancher, and there's planes flying. And he's pissed off because the noise of the planes, the planes coming and going, fuck up his cattle. Well, I guess, you know, one of the things that he says is that one of the reasons he wanted to become sheriff is to change that, that they wouldn't have the planes fly over his goddamn ranch, you know, and drive him crazy and make his cattle scatter. Right, right. You know, so he didn't have any great ambition. Right. And then the job just took over his life. And it became, you know, much more than just, you know, a facilitator for, you know, getting the planes to not go over his cows. Yeah, it becomes a project. It becomes a huge project. Well, you know, he starts to get into it and, you know, and it's really a culture clash. This show really is about my character, Vincent Savino, and his character sort of wrestling and grappling over the heart and soul of Vegas. Because it really is the only time in history and certainly in American history, and it's a real true American success story, Vegas is. But it's the only time I can think of where you have this juxtaposition of cowboys and gangsters, you know, these real city gangsters and these real country cowboys clashing in the way that they did, but also having to cooperate in the way that they did for the for the project that is Vegas. Yeah. Yeah. Yeah. To have survived. For the prosperity of Vegas to happen. Yeah. They had to find common ground and work together to a certain degree for it to work. Otherwise, it just would have been a bloodbath. Right. You know, so it really is fascinating. All the stories that Ralph tells are, you know, really extraordinary and sort of like, wow, you know, how did that work? We're constantly, you know, when he talks to us, we're constantly going, well, how did you make that work? And how did that happen? You know, because it's. It really is like no other backdrop for a story that I've ever seen. I mean, we've all seen things about Vegas and mobsters and mobsters and cowboys, but never quite like this. Right. And the fact that it's based in truth makes it really exciting because we have this deep well to keep tapping into. Right. Right. Right. I, you know, that's that's a very, very good way of putting it, that the cowboys and the mobsters had to negotiate. Yeah. In order for otherwise the whole place would have been blown up. People would have died and nothing would happen. Everyone would have left. Yeah. There's a reason that there is a place that they refer to as the boneyard. You know, I mean. A real place in Vegas. Well, yeah. The out in the desert that they call they refer to as the boneyard. Yeah. Yeah. Yeah. I mean, this. Yeah. You might call it collateral damage because, you know, again, where there's an influx of that many millions of dollars in that sort of struggle for power and position. Remember, this was. You know, people were vying for ground level position in this explosive town. Right. Like, you know, how can I get a casino? You know, it was like Nick Pelleggi calls it the U.N. of mobsters because, you know, when you go to New York or Chicago, this, you know, two, three, four families per city. You know, New York has, you know, what, five families. Crime families. Crime families. Crime families. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. You know, I think you were talking about Puerto Rican families. I was going to say, you got the wrong fucking town. I was going to say, I think you're mistaken, Mike. No, no, no. Talking crime families. That's funny. No, Puerto Rican. No. That would have been like several hundred thousand. Fucking, we have about 80 zip codes of Puerto Ricans. Yeah, right. And Greek. Yeah. Hey, listen, we filled the place up, too. You know, in the cities back in Boston and New York. Yeah. Yeah. Yeah. We're all over the jungle. Yeah. Yeah. Yeah. I'm going to go all over the place. Like Rosemary was telling me, you love to tell stories and you have a lot to say. I want to get to your character, Vincent Savino. I love Vincent Savino. I believe in the pilot, there's a guy roughing, one of your guys is roughing, the guy who was running the hotel, the Savoy, is roughing a guy up. And you're thinking, oh, shit, it's going to be one of these mobster, you know, I'm going to beat the fuck out of this guy, Tommy, who did it. I feel very proud of that scene because that wasn't like that in the pilot. In the pilot that I read. He comes in and he just continues doing what the guys were doing to him and gets the same information they were looking for out of him and then they end up killing him. Right. And I said, look, you know. That's been done already. Well, plus, no, if I'm going to be interested in playing this character, there has to be something that separates him that makes him not just some common thug. Right. So I said, this is the way I think it should play out. This guy is a wily coyote. He's crafty. He would come in and he would prop the guy up, give him a handkerchief, you know, ask him how he is, turn and beat the shit out of his guy that was hitting him. Right, right. And tune him up. Right. And give the guy a couple hundred dollars and send him on his way, you know, get the information from him first. Right. And then send him on his way and tell him to come look him up, you know. And in this way, you know, the guys that really have power in these situations. In this way, he's tuned his own guys up. Right. And he's made a loyal man out of this dealer for the rest of his life. So he gets everything he wants, plus the information. Right. And it separates him from just some common thug. Right. You said a precedent of Vincent Savino not being your atypical mobster. No, no, no. He is atypical. He is atypical. Excuse me. Not your typical. Not your typical mobster. He is atypical. Correct. That's what I love about Vincent Savino. He's very charismatic. He's the type of guy that, you know, I know he's dangerous, but if I had to talk to him about something, like if I had a problem or if I had to confide something in him. He's a reasonable man. Yeah. And I think Vincent would say, all right, sit down. You know, not like the godfather. I don't know that I would go to the godfather. You know what I'm saying? Right. Well, exactly. You know, right. Right. Because, well, plus you got your. They got your hooks and you for the rest of your life. And, you know, you're definitely, you know, this is a guy who he attracts more bees with honey than with vinegar. You know, he's smart. He'll go to the wall if he needs to. Right. But the whole point for him is he sees the big picture. He sees. And this is the thing about these guys. And this is how they negotiated their way into. Legitimacy. Because this guy. Think about it. You come up in New York or in Chicago, one of the cities really hard fighting and scraping for every inch. And really at the bottom, at the end of the day, really what you want to do is provide for you and your family. Right. You just don't have the education. You don't have the know how. The know how. The society is just not backing you anyway. Especially in that period. Sure. So what do you do? You know, he he they had an opportunity there in Vegas where gambling and prostitution was legal. They had an opportunity to get in at the ground level to build this thing, to carve out their little nook and let it grow. And and, you know, it's really I say this and it's true. If if Vic, the character of Vic Mackey in The Shield was a guy who started out as an idealist, who spiraled into corruption. Mm hmm. Vincent Savino is the opposite. He's a guy who started in corruption and is trying to ascend. Brilliant. Now, ascension is very, very difficult when you're slogging hip deep in mud. It's really hard to pull yourself out of the mud. Right. Because, you know, everybody else is trying to keep you in the mud. Right. Sure. You know, and it does harken that line from from the the worst of the Godfather series. Right. Right. They pulled me back. Right. But that's the that was the one resonant line from that from that third episode of that movie franchise, because that's the problem is that, first of all, you're you have this you're identified as a criminal by by the establishment. Right. And the criminal element that you come from is like, what are you? You're you're above us now. Right. Right. Right. You know, right. You know, right. You know right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right The law looked at them with disdain. You know, the people in the neighborhood, some people respected them, but some people just kept their distance because they just felt like they were, you know, scum. Yeah, yeah. Or dangerous. Or dangerous. Well, right. So a lot of these guys really, at the end of the day, were seeking legitimacy, not just for themselves, but for their children. They wanted to make a better life. They wanted to be able to build this thing and then hand it off legitimately. And here we are, what, three generations later, and the grandchildren of these men are Harvard and Yale educated children who are running these studios. Casinos. Casinos now. And they are completely corporatized and completely legitimate. Which goes back to the foresight of a character like Vincent Savino. How about that? I love it. Crazy, right? And you sort of look at it and you go, wow, you know, I mean, again, I'm not. I'm not in any way condoning the actions of some of these men and the way they got there. But it does make for fascinating storytelling. And, you know, and you can see the perspective. You can see, especially when you're a guy like Vincent Savino, you're looking at the guy, you know, Ralph Lamb, who's a rancher, who's now, he's been put in a place where he's the law and he's got a tin badge on his hip. Right. So that gives him a license to kill his, his people. Right. So from his point of view, he's like, what's that? That piece of tin on your hip make, it doesn't separate you from me. Right, right, right. You know, so. But you, you, you guys see something in each other. Yeah. That's why they find this common ground a lot of times with it. There's, there's contempt and hate and all of these feelings, but there's also mutual respect. And identification on some level, whether you understand it or not. Absolutely. Yeah. Okay. Why should, why should those of us that have not yet? Seen Vegas? Why should we tune into Vegas? I don't know. Compelling, great stories, really strong scripts, really great performances, terrific actors, beautiful production value. Wow. You know, the show looks beautiful. Yeah. Great music. There's just a ton of reasons to see this. Yeah. Yeah. Some of the best production values I've seen on a show in a long time. I mean, old Fremont Street, the cars. Yeah. I mean, it's, there's, there's not only the nostalgia thing for, for, you know, for the older crew. This isn't your mother's drama, your mother's favorite drama. I mean, it might be, but, but, you know, young people are starting to realize that this is a hip show. This is a smart show. And there's a lot of young people in this show. Yeah. Also, you know, I don't know about you, but when I'm watching something, I can't help but imagine myself in that particular era. Right. Absolutely. What's that like? Well, you know, listen, it was, one could argue that there were, people had a lot more freedom back then because there wasn't this whole big brother aspect to everything. Let's face it. You do anything now. If you did something on Fremont Street, you know, you'll be on half of everybody's Twitter and Facebook page. Now. Right. Right away. Back then, if you weren't there, you didn't see it. No, you didn't see it. Right. You know, and then it was he said, she said, if you did see it. Right. You know what I mean? Right. Right. So people got away with murder. Right. Literally and figuratively. Exactly. So, I mean, it was just a different time. And I'm not, again, I'm not saying it was any better. It was just different. And it was just a fascinating period in history. And I just think that the shows are very, very compelling. They're beautifully produced. There's a lot of great performances. That's a lot of reasons to watch something. Absolutely. And the show has romance. It has drama. Like you talked earlier, cowboys and mobsters. It has a lot of elements. It has a lot of dancing girls. Dancing girls. I mean, you talk about the production value. You're talking about like, does one of the episodes have a character that's supposed to be like a Frank Sinatra type character? Sure, sure. So it's got that element of the. Right. It's sexy. It's a sexy period. Sexy. But it's also, you know, there's this also the struggle between morality and immorality. Right. As well. It's, you know, there's a bit of Sodom and Gomorrah in there as well. Right. You know, where. You know, you have Ralph Lamb, who's a who's a Mormon rancher, and he's trying to protect. Well, just like we spoke earlier about Vincent Savino trying to do this for his family. For the future. Legacy. He's trying to protect. His land. His land. And the way it was. Right. Preserve it the way it was. Preserve it. Or, you know, he can see he's not stupid. He can see that there's no way he's going to stop this train. But maybe. Maybe he can control it to the degree that he can. He can bring some sort of order. Yes, exactly. So that it just doesn't become this lawless. Crazy. Yeah. Right. So, yeah. The closest thing to this, it would be casino. But it's not casino either. That's slightly different period. It's a little later. You know, and it's a different. It's a different vibe. Yeah. Different vibe. You know, it's the story is totally different. They're fighting for a different thing. Right. You know, this is this is very, very unique. Totally. Totally. So I feel like, you know, if you want to see something fresh and brand new, I think part of the problem with some of the period pieces, too, that you've seen on network is that they've looked great, but there's been no substance. Right. You know, like Pan Am. Yes. Yes. A lot of playboy club. Those looked great. They were really well produced shows. Right. But they weren't about anything. You know what I mean? They. They. They lost their thread in what was compelling about. Right. And this show is definitely about something. Yeah. You know, there's the really, really compelling stories. And again, it's a sexy period. And you do. And you do a phenomenal. You do. Everyone does a great job. But your character is. I love your character. And you do a fucking phenomenal job at at at playing a character that you've seen a million times. Which is what we were talking about before. But you haven't seen this guy a million times. You know what I'm saying? And so you do such a finesse. It's very finessed and very charismatic. Thank you. You know, and I think that, you know, that's what makes the show sexy, compelling and interesting. Because you've got, you know, the good side and you have the bad side. But really, what's the good side and what's the bad side? You know what I'm saying? Yeah. Well, Vincent Savino to me is is more sophisticated. Totally. Than some of the other mobsters that we've seen. Yeah. Yeah. I mean, I think he's more sophisticated than I've seen in the. Oh, totally. Oh, totally. And he is more subtle. And he's definitely, I think, definitely more intelligent. Absolutely. Absolutely. Wiley Coyote. Which is which which I wanted to go back to the pilot when one of the guys who's the guy who's running the Savoy at the time is beating the shit out of the guy. I believe what you say is, is this how we treat our people? Right. Is what you say. It's like we don't do this here. Yeah. But the irony of that scene to me is that I viciously beat the shit out of the guy. I viciously beat this guy down. And then I say this the way you treat people. Right. The guy who works. Yeah. Yeah. Yeah. Yeah. Russo's got the red. Right. Like animals. But I've just been an animal. Right. You know. Right. And that's one of the dichotomies about this guy, that he does have that ribbon of violence. Right. Right. And street in him. Right. But he he is doing everything that he can to ascend from that. Right. Right. You know, but there's come out of the muck. Yeah. You see right there right there right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right right and think they do. Because you get some people going, oh God, that's where shows go to die. The television landscape has changed entirely now. Just in the way people take in their television. Like you say, people buy whole seasons at a time and watch them in two and three days. I've done that with several seasons, most recently with Downton Abbey. I bought all three seasons and watched them with my family in three days. All three seasons. There are other people who DVR. There's other people who watch live if they can and if they happen to miss it, it's being recorded on DVR and they catch up with it later or they watch on Hulu. There's a lot of different ways. But the people who want to see the show live, the vast majority, I believe, of people who want to see this show live are our biggest demographic. It's interesting to me, even the way they break up demographics, there's the 18 to 49 so-called key demographic. But then, you know, you know what the next demographic set is? 60 to dying? No, no. It's 25 to 55. And how do you discern between 18 to 49 and 25 to 55? There's a huge crossover in those two demographics, right? Yeah, totally. It's very, very weird the way they deal with this. This whole model is going to change. I'm going to go off about something. Go, go, go. Go off, go off. Please. This is something, it's a bugaboo with me. I've been in television for 25 years and I know a little bit about it. And this is something that really bothers me. The Nielsen rating system is completely antiquated. Bullshit. No, it's, I'm not going to use that word. I will, I will. Yeah. I think it's ridiculous. Yeah. You know, it's antiquated and it's absolutely, at this point, it's sort of like... Not accurate, not real. It's sort of like comparing the newest Mac computer to... To the, you know, to the original one that came out in the 80s. Yeah. It's ridiculous. Totally. It's absurd. Totally. So here's what we need to do. We need a new model. You know, aside from being completely antiquated, this whole notion of the key demographic, that was something that was based on, I think, an MIT study about brand recognition and brand loyalty in like 1990. And the whole advertising, the whole marketing community latched onto it. And that became the model for all of television. Intelligently, about 10 years ago or so, even more, Les Moonves said, you know what? That's bull. You know, let's, we're going to be the network that brings eyeballs to our network. Right. The eye network. We want the most sets of eyeballs because everybody matters. Right. I don't care if you're 18 or 80, everybody should come to the dance. And I think that's what we need. And as a result, they have brought the most sets of eyeballs and they beat all the Nets in key demographic as well. Because it's just volume. There's so many people. And it's such a false equivalency, what some of these stations are doing. They're saying that, you know, for some station to say, to proclaim victory over our show, because we, like, we did a 1-7 in the key and they did a 2. Right. Which is 200,000 people, essentially, more. Yeah. 250,000 people more. But they did a total number of 4 million people and we had 12 and a half million. Right. And they're proclaiming victory. Ludicrous. It's ludicrous. It's a false equivalency. It's a way of them going, you know, trying to survive, basically. Yeah. You know, this is what we did and we're better than them. Right. If we see the best part of the best part, You heard about an 18-year-old buying a car. I should count. Yeah. I should count. I agree. I agree. The parents buy the cars for the 18-year-olds. That's correct. Not the 18-year-olds. I agree. And not to say that I'm dissing 18-year-olds because, you know, listen, I want everybody to watch my show. But what are 18-year-olds buying? I want my 18-year-olds to watch the show, and I want their uncles and their parents and their cousins. I want everybody watching the show. I want everyone is equal to me. Everybody matters equally to me. Right, right, right. I don't want to look at an audience and say, oh, I only care about the people who are 18 to 30 in this audience. Right, right. That's upsetting to me. Right. It is upsetting. You know? And unfortunately, that's how the models of television and the success of television shows are. Well, they have been for 20-plus years now. Which is ridiculous. And it's absurd. Yeah. And I'm over it. Yeah. I'm with you. You know, I call it. You know, it's almost like that. No, I don't want to get into that. Yeah. Okay, look. Real quick. Real quick. Three things. John Belushi. Yes. You played John Belushi in Wired. I did. That's fucking amazing. And that's. You know what I mean? I mean, I'm looking back on the whole thing. That's amazing. Well, that's a three-hour discussion. That's a three-hour discussion. The thing. Fantastic Four. Thank you. A million fucking. A gazillion fans. A lot of fun. That was great. And you directed an episode this season of this show. I did. I did. How was that? Awesome? It was awesome. And I'm very proud of it. Episode 16 of, you know, the one you haven't seen. No, I have it. I have it on DVD. I'm going to watch that tonight. Oh, you have the rough of it. I do. Yeah. Oh, cool. All right. All right. I'm going to watch it. I'm going to watch it. Yeah. I'm very proud of it. It doesn't have VFX on it yet. It doesn't matter. It doesn't matter. We got to wrap up because you're being called to set. But we're definitely going to look for the show Friday. I believe. Nine o'clock. Nine o'clock. Yeah. Fridays, nine o'clock. CBS, nine to ten. Vegas. So moving right along, we're going to wrap this show up. It's been a great show. Great having you guys here at Nestorius Public Radio. Support for NPR comes from DK Burgers, providing burgers for those who need them. That's right. So apparently. How'd you get that guy, man? You know, NPR. You got everybody. NPR, dude. Nestorius Public Radio. We got you on lock. Anyway, some shit happened. Modelo Brewery, the Modelo Beer Factory in Mexico City. Apparently, some vapors killed seven of their workers a couple of Sundays ago. They were in the cistern. They all farted at the same time. Oh, the accident. The accident happened in a tank that was undergoing maintenance and cleaning. A spokeswoman for the company said in a statement, no details were provided. Alcoholism. Maybe alcoholism. The vat was apparently full when they tried to clean it. Read that. It was dirty of beer. Read that shit, Rich. Fucking alcoholism. There was too much beer in there. So this was said. Plant manager Francisco Lopez Bravo told local media the workers were trapped inside the cistern while doing maintenance work. Lopez Bravo said there were no other risks at the brewery and that it continued to operate on Sunday. Yeah, just alcohol dependency. That's the only other risk that's involved in there. I mean, seriously. You got to take the beer out before you clean that shit. Oh, hello. Anyway, related to that Budweiser. Budweiser dresses up its can with a bow tie. Can you believe this shit? I can't believe it. Unbelievable. This is worse than fucking Coke Classic. Remember when Coca-Cola? Coca-Cola did that fiasco. It's like, leave the shit alone. Right? Budweiser is turning to modern technology. Get this. To emphasize a piece of its past, the company is unveiling a bow tie shaped can that will mirror the brand's longtime bow tie logo. Like anybody recognizes the fucking logo when they drink Budweiser. What the fuck is the alcoholics? They're drunk. Right? The can will be available in eight packs nationwide beginning May 6th. And it's. The result of several years of technological advancements and investments at the breweries can making facilities in Newburgh, New York. Skinny the center of the can. Go fuck yourself. Technological advancements. Fucking retards. Yeah, like frost brewed liners. Hold on. We explored various shapes that would be distinguishable in the marketplace, but also viable from an engineering standpoint. You want to fucking make this viable? Turn them into trailer fucking trash houses. Yeah. Make them look like the motherfuckers. Make them square. Yeah, make them square. Put wheels on them. Yeah, make them look like the people who are fucking drinking it. Bow ties. People who drink this shit don't even know what a bow tie looks like. Fucking morons. Anyway. That's gonna. She's making a bolo tie. Yeah. And then they can hang themselves with it. Yeah, that's fucking. That's fucking ridiculous. Seriously. That is unbelievable. I'm so sick of all these things. Like, oh, if your beer turns blue, it's cold enough. Or your frost brewed liner. Or your. Yeah. Man, they're paying way too much money for this. Unbelievable. I don't understand. They don't need to do. They don't need gimmicks to get people to buy beer. They just don't. It's just a waste of money. They will drink the beer. Yeah. Yeah. Yeah. So. So. So. So. Big up. Two beer. Big up. Big up. Big up. Big up. Big up. Big up. My big up is fucking dead. My big up fucking horn. Hey, do we. You broke your big up horn. No, we got to wrap this up. We got to wrap this up. Hey, I'm your host. I'm your host, Nestor Rodriguez, a.k.a. Nestor. We got my man, Rich Corbin. Yeah. And we got my man, Simon Kaufman. Making it happen and happening. Yeah. Yeah. Slip slapping, sling danging. Where can we find you? Where can we find you, Simon? Yo, you can find me in North Hollywood hanging out behind the building. Yeah. Facebook. Facebook. Twitter at the Judah Monk. Judah. Judah Monk. Yeah. The Judah Monk. Yep. You can find me on your FM dial. You can find me on Facebook. Facebook. Nestorius, I believe, is the forward slash after that. Nestorius. I don't even know what the fucking call name is. Nestorius. And you can find Rich Corbin at richcorbin.com. Or Twitter my Facebook, motherfuckers. Thank you so much, everybody. That's our show. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word.. It's me It's me I ain't doing nothing but talking shit Y'all gotta like you know encourage me the whole way long Ow I ain't doing nothing but talking shit Y'all gotta like you know encourage me the whole way long Ow