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Speaker 1: Revels as a production of I Heart Radio. Hello everyone,

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Speaker 1: and welcome to Rivals, the show about music beefs and

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Speaker 1: feuds and long simmering resentments between musicians. I'm Steve and

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Speaker 1: I'm Jordan's And you know, it's funny how nostalgia warps

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Speaker 1: your perception and musical taste on things, because I absolutely

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Speaker 1: used to despise the band we're about to talk about today.

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Speaker 1: I thought they were crude and kind of like a

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Speaker 1: joke band, like the audio equivalent of Jackass or something.

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Speaker 1: But now I kind of really love them. I have

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Speaker 1: nothing but warm feelings about them. Yeah, I feel the

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Speaker 1: same way. Uh. And we're talking about Blink one Nity two,

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Speaker 1: and this is another episode about a rivalry within a band.

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Speaker 1: We're gonna be talking about the creative struggles that occurred

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Speaker 1: between Mark Hoppus and Tom DeLong. It's interesting to me

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Speaker 1: because I feel like when this band was really big,

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Speaker 1: you know, roughly from like nine to two thousand three

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Speaker 1: or so, I couldn't stand them. I thought they were obnoxious,

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Speaker 1: and I think they had a lot to do with

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Speaker 1: my age at the time. And we'll get into this

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Speaker 1: in the episode. I mean music changed a lot from

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Speaker 1: like say, the early nineties to the late nineties, and

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Speaker 1: I think Blink really personifies that. But I agree with you.

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Speaker 1: I have come to really enjoy this bands like classic hits.

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Speaker 1: I mean, they just seemed like great pop songs to me. Um,

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Speaker 1: But I think you know the transition that you and

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Speaker 1: I have taken with this band, I feel like the

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Speaker 1: same struggles have occurred within the band. It seems like

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Speaker 1: the core conflict between Mark and Tom was about the

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Speaker 1: very idea of like how to grow old in this

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Speaker 1: very childish band. You know, it seemed like that's something

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Speaker 1: that they couldn't really reconcile, especially Tom Um, and it

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Speaker 1: just created all sorts of problems just really, I mean

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Speaker 1: considering that, Like at least how I got to know

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Speaker 1: the band was what's my age again? It just seems

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Speaker 1: to be the soundtrack to their whole feud. Yes, Biddle

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Speaker 1: age men talking about fucking dogs. That's what this band

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Speaker 1: is basically at this point. But let's talk about how

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Speaker 1: they got to that point. Let's get into this mess. Well,

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Speaker 1: our story begins, like so many classic tales of rock legend,

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Speaker 1: with Tom DeLong getting drunk out of high school basketball game. Ah,

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Speaker 1: he was in high school and uh, for this offense,

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Speaker 1: he was expelled from his high school, I guess suspended

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Speaker 1: for a semester, and so we had to go to

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Speaker 1: a different high school, where he eventually connected with a

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Speaker 1: guy whose sister was dating Mark Hoppus, and that's how

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Speaker 1: he and Mark first met. And I say quick that

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Speaker 1: this sounds like a Blink Winiti two song already You're

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Speaker 1: write their origin story could have been written and put

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Speaker 1: on Enemy of the State. Their whole story sounds like

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Speaker 1: a PG. Thirteen American graffiti to me. It just seems like,

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Speaker 1: you know, eating doughnuts on the beach and like running

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Speaker 1: naked through malls and stuff. You're totally right, But they

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Speaker 1: they Mark and Tom first became close because they haunted

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Speaker 1: over the big love of the descendant's band, and they

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Speaker 1: started jamming in Tom's parents garage with classmate Scott Rainer

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Speaker 1: on drums, and they wrote some early songs in those days.

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Speaker 1: I think the song Carousel came out of those sessions.

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Speaker 1: And these songs were really steeped in sort of the

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Speaker 1: West Coast punk tradition, which you know, as I said earlier,

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Speaker 1: Tom would later say East Coast had kind of like

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Speaker 1: New York was gloomy and dark and cold, and it

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Speaker 1: makes a different kind of music. But and this is

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Speaker 1: his quote, now, the California middle class suburbs have nothing

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Speaker 1: to be that bummed about. Sothern music kind of reflected that. Yeah.

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Speaker 1: And I just want to do a quick shout out

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Speaker 1: to our previous episode on Brian Wilson and Mike Love

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Speaker 1: of the Beach Boys, because in that episode I argued

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Speaker 1: that Mike Love invented the pop punk voice. And I

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Speaker 1: think you can draw a pretty direct line from the

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Speaker 1: early Beach Boys songs to the early Blink Win eighty

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Speaker 1: two songs, and to me, they have a similar vibe

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Speaker 1: to them. As you said, it's sort of like a

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Speaker 1: PG thirteen version of that. But yeah, I just think

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Speaker 1: of that song, Um, I miss you, that song Please

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Speaker 1: Say Spiders like Tom DeLong to please. I'm sorry, you know,

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Speaker 1: just that it's like webs into having like eight syllables

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Speaker 1: in the word webbs. It's crazy. And like you know,

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Speaker 1: his voice, I have to say, was really difficult for me.

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Speaker 1: I think when I first heard this band, and uh,

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Speaker 1: I think I came around to at least tolerating his voice,

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Speaker 1: but it is I think the most abrasive part of

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Speaker 1: this band in a lot of ways, but we'll get

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Speaker 1: into that later. Oh, it seemed intentional. It seemed like,

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Speaker 1: who's the little bastard kid from a Christmas story, like

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Speaker 1: Scott Farcas or something, or you just like taunts the kids.

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Speaker 1: To me, it sounded like that kid singing. I didn't

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Speaker 1: know what they looked like when I first heard their music,

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Speaker 1: and I thought it was just I pictured that redhead

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Speaker 1: kid who look because the bullies singing all these songs.

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Speaker 1: So that maybe is why I had a bad impression

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Speaker 1: of him at first. And just to bring it full circle,

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Speaker 1: I feel like it's fair to say that Mike Love

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Speaker 1: is the Scott Farcas of rockn roll. So you know,

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Speaker 1: I think the farkess comparison is totally apt. Well, I

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Speaker 1: don't think that sentence has ever been said before. I'm

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Speaker 1: glad that we just broke the Farkess Mike Love barrier here.

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Speaker 1: We're making history here. So they called themselves Blink during

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Speaker 1: this early time and they were practicing and writing. They're

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Speaker 1: basically a garage band, and they hit a speed bump

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Speaker 1: early on. Mark Hoppus's girlfriend resented the amount of time

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Speaker 1: that he was spending with the band and gave him

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Speaker 1: that you know, time honored ultimatum girlfriends give their their

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Speaker 1: musician boyfriends, which is me or the music. And Mark

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Speaker 1: quit for a few weeks, but then he couldn't stay away,

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Speaker 1: so he ultimately returned to the music. And that's more

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Speaker 1: important for later. We'll get back to that. So the

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Speaker 1: band started booking shows at like elks, lodges and y

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Speaker 1: m c A centers, And the way they got around

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Speaker 1: this was Tom would call and say like, oh yeah,

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Speaker 1: we're we're this like motivational band with like a really

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Speaker 1: strong anti drug message, and so they would like get

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Speaker 1: to play like high school cafeterias and stuff like that,

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Speaker 1: and of course then they would play future Blank songs

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Speaker 1: and teachers are probably horrifive. Uh. They made some demos

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Speaker 1: before signing your local punk label Cargo Records, and they

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Speaker 1: released their debut album, cheshire Cat. The problem was they

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Speaker 1: were still called Blink then, and cheshire Cat did well

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Speaker 1: enough to attract the attention of another band called Blank

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Speaker 1: and Irish band, so they had to change their name

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Speaker 1: and they just picked one two at random and just

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Speaker 1: kind of attack on the end there. So they're now

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Speaker 1: officially Blink Win eighty two, and they're starting to really

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Speaker 1: gather a full steam of buzz by the time they

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Speaker 1: get on the Warp Tour in and I feel like

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Speaker 1: the Warp Tour to me, it's such a quintessentially nineties festival.

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Speaker 1: I mean, I know it continued on after that and

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Speaker 1: it was a big deal in the odds as well.

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Speaker 1: But did you ever go to the Warp Tour? No?

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Speaker 1: I never did. I mean I just think of blinkin

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Speaker 1: e two as like a defining band of that tour,

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Speaker 1: just this sort of yeah, like they're pop punk band. Yeah,

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Speaker 1: they're singing about things that are very interesting to people

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Speaker 1: between the ages of say like eleven and say event teen. Um,

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Speaker 1: you know a lot of like dick jokes and uh,

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Speaker 1: you know, kids wearing band shoes and all that kind

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Speaker 1: of stuff, And it really catapulted a lot of bands

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Speaker 1: to start them and I think Blink winned two is

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Speaker 1: one of the great early examples of that. Uh, they

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Speaker 1: really become a big band. And this is when I

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Speaker 1: first heard about them, with their album Dude Ranch In,

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Speaker 1: which has a breakout song called damn It, which I

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Speaker 1: think is still like one of the best Blink winn

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Speaker 1: Ey two songs that that's one of my favorites. Where

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Speaker 1: does that fit in the Blink winned two canon for you?

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Speaker 1: I think that's probably my company Jesus moment from Blink

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Speaker 1: Win eighty two was when I was in a band

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Speaker 1: in high school. I was like fifteen and two thousand two,

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Speaker 1: two thousand three, and we, of course none of us

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Speaker 1: had any talent, so we didn't write anything, but so

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Speaker 1: we played Blink Win eighty two songs and Damn It

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Speaker 1: was the one that got the biggest audience response. So yeah,

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Speaker 1: that's kind of when I started developing a real soft

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Speaker 1: spot form. The other thing about damn It two is

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Speaker 1: that that's a song I associate with American Pie. That's

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Speaker 1: another thing. It's like it's like the double shot of

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Speaker 1: Warped Tour and American Pie. I feel like it was

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Speaker 1: huge for Blink Win eighty two and Damn It is

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Speaker 1: like a connective thread maybe between those two things. Um.

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Speaker 1: I feel like the late nineties were just a time

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Speaker 1: for like gratuitous nudity for comedic purposes. You've got the

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Speaker 1: You've Got What's My Age Again? Video, You've got American Pie,

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Speaker 1: You've got jackass. Like I feel like my main memory

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Speaker 1: of the late nineties was people laughing at naked people

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Speaker 1: on TV. Yeah, it's like naked white guys showing their

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Speaker 1: asses for laughs, like that Stones covered Rolling Stone cover

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Speaker 1: with red hot chili peppers too. I forget No, I'm

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Speaker 1: thinking of the Woodstock ninety nine show, right with the sacks. Right, No,

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Speaker 1: that wasn't Yeah that was yeah, that was with the socks. Yeah, yeah,

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Speaker 1: it really was. The glory d is for that, for

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Speaker 1: that kind of entertainment. And you know Blink Win eight two,

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Speaker 1: I mean they really become who they are with the

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Speaker 1: addition of of Travis Barker on drums. Like their original drummer, uh,

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Speaker 1: this dude named Scott Rayner. He was kicked out of

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Speaker 1: the band because he was drinking too much um, which

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Speaker 1: is also the reason why Steven Anther was kicked out

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Speaker 1: of Guns and Roses. Like, drummers can't drink a whole

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Speaker 1: lot because you gotta keep time. I guess that's so

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Speaker 1: you get the boot you can drink too much. So

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Speaker 1: but Travis Barker comes in and they become sort of

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Speaker 1: the classic lineup of Blink E two and they put

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Speaker 1: out enem of the State, and that just has a

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Speaker 1: bunch of hit songs. What's My age again? All the

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Speaker 1: Small Things Adams song that sells like fifteen million records

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Speaker 1: and like that, Blink Win eighty two is like one

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Speaker 1: of the biggest rock bands in the world. Um, And

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Speaker 1: I alluded to this earlier. And I don't know if

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Speaker 1: this is different for you because you're you're younger than me,

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Speaker 1: But I think my problem with blinkin e two at

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Speaker 1: the time, along with the fact that they were like

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Speaker 1: so big, is that they just seemed like the empenththesis

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Speaker 1: of like the alternative rock that I loved from the

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Speaker 1: early nineties. This is like a pretty uh this might

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Speaker 1: not be a fair comparison to make, but like I

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Speaker 1: think about the defining power trio of the early nineties

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Speaker 1: as Nirvana, you know, very serious band, angsty band, a

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Speaker 1: band that you would you know, the apticle, the voice

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Speaker 1: of a generation. And then the defining power trio of

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Speaker 1: the late nineties is Blink Windy two you know who

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Speaker 1: again are doing dick jokes, They're running around naked with

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Speaker 1: porn stars in their videos. It just seemed like the

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Speaker 1: city references, b clity references. It feels like, if you're

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Speaker 1: going to make a reductive comparison to Spotlight, how maybe

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Speaker 1: back at the late nineties were that that was something

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Speaker 1: you would go to. Again, I have over time come

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Speaker 1: to appreciate Link one eighty two, but that is how

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Speaker 1: I felt in the moment when they really became this

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Speaker 1: huge rock band. Uh does that square with how you feel?

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Speaker 1: Or did you? I mean you were playing Blink Win

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Speaker 1: eighty two songs with your band at the time, so

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Speaker 1: did you have a different feeling? And that was that

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Speaker 1: was a little later when I when Mother State came out.

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Speaker 1: I was probably ten or eleven, So that was sort

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Speaker 1: of my first like becoming aware of what was going

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Speaker 1: on musically around me. And I didn't like it. And

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Speaker 1: this says more about me than about them, you know.

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Speaker 1: To me, they just reminded me of those dorks at

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Speaker 1: like the middle school lunch table who stick carrots up

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Speaker 1: their nose and just like make walrus sounds. And it

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Speaker 1: just felt like these kids have been like rewarded with

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Speaker 1: a record label. It's just you're a kid of a

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Speaker 1: certain age. You really want respect from your from adults

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Speaker 1: and elders, or at least I did. And again this

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Speaker 1: is probably not shocking to know that I was a

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Speaker 1: real nark at that age and real, you know, sort

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Speaker 1: of humorless, and you know, you want to be taken seriously,

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Speaker 1: and you think that adults look down on kids because

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Speaker 1: we're all dumbasses. And I really wanted to show that

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Speaker 1: I was responsible and mature and all that kind of stuff,

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Speaker 1: and I felt bands like Blink one eighty two were

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Speaker 1: kind of giving the kids a bad name for you know,

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Speaker 1: just like everything you mentioned, the dick jokes and running

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Speaker 1: around naked and stuff. So I just thought it kind

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Speaker 1: of and I'm embarrassed to admit this now because it

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Speaker 1: shows just how humorless I was at that time. I

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Speaker 1: was just sort of clutching my pearls about the whole

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Speaker 1: thing at the time, when I was like eleven or twelve. Yeah,

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Speaker 1: I think when you look back on them, the humor

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Speaker 1: and the fact that they don't take themselves seriously ages

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Speaker 1: very well. Like I think generally with bands, bands that

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Speaker 1: are very self serious and don't have a sense of humor. Um,

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Speaker 1: those are the bands that, like you tend to look

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Speaker 1: back on and laugh at, you know, because there's just

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Speaker 1: something about people that are pretentious or stuffy it just

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Speaker 1: kind of it depreciates over time, like the serious melts

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Speaker 1: away in the in the in the pretentiousness becomes comic,

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Speaker 1: whereas comedy in a way, maybe it becomes more profound

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Speaker 1: and rock music in some strange way. Um, what's interesting

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Speaker 1: I think about the conflict that we're going to see

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Speaker 1: emerge in this band is that I think that for Tom, specifically,

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Speaker 1: the image of Blink one eighty two, it seems like

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Speaker 1: it started to wear on him fairly quickly, and he

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Speaker 1: tried to figure out ways that he could be more

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Speaker 1: of a serious person even as Blink win eighty two

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Speaker 1: became more popular and going back to just being like

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Speaker 1: a dumbass was much more profitable for him, and he

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Speaker 1: had to sort of figure out a balance for that

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Speaker 1: and maybe wasn't able to do that successfully totally. And

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Speaker 1: that came through for the follow up to enim of

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Speaker 1: the state take Off Your Pants and Jacket, which Yeah,

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Speaker 1: I mean, the tension just drips from the title, doesn't it,

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Speaker 1: Like that's really uh you know. Tom claimed that that

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Speaker 1: the label sort of rushed the band back into the

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Speaker 1: studio to make a quick follow up and basically do

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Speaker 1: the exact same thing again. They were being a label

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Speaker 1: and they wanted more of the same because it was

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Speaker 1: a huge success, and Tom later claimed that he wanted

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Speaker 1: to move the band forward creatively and was bummed out

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Speaker 1: by the label basically saying like, give this to us, now,

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Speaker 1: give this to us quickly and do exactly we did before.

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Speaker 1: And he claimed that that Mark was totally happy to

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Speaker 1: just do it all again, and he was really loved

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Speaker 1: to end in the state turned out, and he just

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Speaker 1: wanted he was completely happy to play the label game,

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Speaker 1: whereas Tom wanted to change it up, maybe go a

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Speaker 1: little more mature, broaden the sonic palette a little bit,

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Speaker 1: and so he he his memories of recording tick if

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Speaker 1: your Pants and Jacket in two thousand, I think late

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Speaker 1: two thousand, early two thousand one are not very pause

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Speaker 1: of And is it fair to say, am I going

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Speaker 1: on a limb here and in saying that, like Tom

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Speaker 1: is the Brian Wilson here, that Mark is the Mike Love,

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Speaker 1: like the formula versus like let's expand I mean, I'm

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Speaker 1: making like a very limited comparison in that regard, but

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Speaker 1: I mean, just hearing you talk about that, it's very

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Speaker 1: Brian Wilson askin away yeah, I mean it seems that way.

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Speaker 1: I mean they definitely their approach to music because when

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Speaker 1: they did their their album after that, the self taught

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Speaker 1: or untitled one I guess is what it is. Uh

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Speaker 1: they're working title for it was our pet Sounds. I

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Speaker 1: mean they're kind of doing that tongue in cheek because

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Speaker 1: they knew it was. You know, that was an impossibly

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Speaker 1: grandiose thing for a band that was making dick jokes

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Speaker 1: all the time to then come out with pet Sounds.

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Speaker 1: But uh, yeah, no, I think it's a it's a

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Speaker 1: good comparison. And I mean, we're gonna see this really

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Speaker 1: come to the flour with Tom once he starts doing

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Speaker 1: his own bands, Like I'm excited to talk about angels

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Speaker 1: and airwaves like we have to. We'll wait for later

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Speaker 1: in the episode about that. But like that band who

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Speaker 1: I actually kind of like band, oh absolutely, but purely

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Speaker 1: for their ridiculous nous. I mean, that is a totally

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Speaker 1: silly band, an example of what I was talking about

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Speaker 1: before in a way of of of someone being really

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Speaker 1: self serious and trying to be profound and it's not

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Speaker 1: really landing the way that he maybe would have wanted

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Speaker 1: it to. It ends up being funnier than when you

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Speaker 1: just commit to the dick job exactly like a dog.

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Speaker 1: Isn't that as funny as like some of those Angels

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Speaker 1: and a Waves albums. Oh My God Love Part one

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Speaker 1: and Part two. We'll get to that later, but I'm

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Speaker 1: so excited to talking about that. But on take Off

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Speaker 1: Your Pants and Jacket? Is it your pants? Are my pats?

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Speaker 1: Take Off Your Pants and Jacket? Both both would have

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Speaker 1: been a good title, by the way, Uh the lyrics,

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Speaker 1: I mean the creative struggle as apparent in the lyrics.

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Speaker 1: It's definitely a darker record when you actually, like listen

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Speaker 1: to all the words. I mean. It opens with Anthem

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Speaker 1: Part two, which is just all about disenchantment and blames

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Speaker 1: adults for teenage problems, which is, you know, not the

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Speaker 1: most original topic in the world, but definitely goes against

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Speaker 1: their whole kind of party band reputation. Staygether for the

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Speaker 1: Kids is devastating. It's pretty much a verbatim true story

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Speaker 1: of Tom's parents divorce. Online songs basically a breakup song

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Speaker 1: story of a lonely guys about getting dumped before prom. Yeah,

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Speaker 1: it's a surprisingly dark album. I know that. The The

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Speaker 1: untitled album kind of gets their reputation as the mature

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Speaker 1: Blink album. But but this one's got some death to

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Speaker 1: it too. I always thought, Yeah, I mean it is

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Speaker 1: interesting because I do feel like when I hear from

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Speaker 1: like the true heads of the Blink Winnity two community

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Speaker 1: that the untitled record is the one that people talk

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Speaker 1: about is like the underappreciated master work, you know, like

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Speaker 1: it's not as famous, it doesn't have as many hits

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Speaker 1: as the previous you know, three records, but like that's

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Speaker 1: the one that people really point to as being like, oh,

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Speaker 1: this is an example of like how Blink Win eighty

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Speaker 1: two was able to go beyond their early sound, that

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Speaker 1: they could maybe find a way to grow up within

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Speaker 1: the confines of of their persona. Um. It's interesting though

340
00:17:01,880 --> 00:17:07,080
Speaker 1: that around that same time, you have uh that time

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Speaker 1: DeLong band box Car Racer come about, which I mean,

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Speaker 1: am I right to say that that was basically his

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Speaker 1: attempt to do Blink Win Needy Tube without Mark Hoppus.

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Speaker 1: You know, there's conflicting stories about how that started. He

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00:17:20,000 --> 00:17:23,160
Speaker 1: says that he had a really bad back problem that

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Speaker 1: flared up during a Blink tour and he was sideline.

347
00:17:26,800 --> 00:17:28,399
Speaker 1: I forget if he had surgery or not. But he

348
00:17:28,440 --> 00:17:30,119
Speaker 1: was like he could only like stand up for like

349
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Speaker 1: five minutes at a time, and it was on all

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Speaker 1: sorts of pain killers and to just kind of like

351
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Speaker 1: kill time while he was going through this physical anguish.

352
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Speaker 1: He just was making was writing acoustic songs, and it

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Speaker 1: wasn't really a serious musical effort according to him, it

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Speaker 1: was just something he did sort of the past the time.

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Speaker 1: And then he started writing all these songs and basically

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Speaker 1: a concept album about all the stuff that he would

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Speaker 1: kind of later associate with him, like conspiracy theories, freemasonry,

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Speaker 1: book of revelations, World War two type stuff. It basically

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Speaker 1: is a concept album at the end of the world

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Speaker 1: and uh, which is him, which is very him? Yeah, exactly.

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Speaker 1: I was gonna say, like, when you've reached the point

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Speaker 1: in your career where you're making concept albums about the

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Speaker 1: end of the world, like you have totally crossed the

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Speaker 1: rubicon into self seriousness, Like you are not in you know,

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Speaker 1: dude ranch territory anymore. Uh. It is interesting though, listening

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Speaker 1: to that record because I revisited it, you know, getting

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Speaker 1: ready for this episode, and like musically it's not that

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Speaker 1: far removed from what Blink one eighty two was doing,

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Speaker 1: especially on the untitled record. Um, I mean, I think

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Speaker 1: it's a little slower, it's a little moodier. It's not

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Speaker 1: as catchy or as poppy. But it's not like a

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Speaker 1: radical reinvention of what they're doing. And yet Tom ended

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Speaker 1: up drafting Travis Barker into that band and they're, you know,

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Speaker 1: making this record that again sounds a lot like Blink two,

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Speaker 1: And it seems like that was the beginning of there

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Speaker 1: being a real split between him and Mark, right. I mean,

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Speaker 1: because it seems like, you know, again, I could understand

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Speaker 1: Mark's perspective that it's like, what the hell, dude, like,

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Speaker 1: you're making Blink win Ay two records without me? What's

380
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Speaker 1: to deal with this? For fans of our as Simon

381
00:19:11,080 --> 00:19:13,639
Speaker 1: and Garfuncle episode, this was the true Tailor moment. This

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00:19:13,720 --> 00:19:17,679
Speaker 1: was like the betrayal. I mean Tom basically said that

383
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Speaker 1: it He didn't mean it too. It was meant to

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Speaker 1: be this thing he did on his own, and it

385
00:19:21,080 --> 00:19:23,040
Speaker 1: kind of snowballed. R c A heard some of the

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00:19:23,040 --> 00:19:24,840
Speaker 1: demos he was doing and liked it and offered to

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Speaker 1: finance it. Uh, he was gonna hire up drummer and thought,

388
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Speaker 1: why don't I just get Travis to do it because

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Speaker 1: he knows what I want and he's you know, I

390
00:19:31,680 --> 00:19:34,399
Speaker 1: guess he wouldn't have to pay for a session drummer. Uh.

391
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Speaker 1: So to hear him tell it wasn't an intentional attempt

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00:19:38,400 --> 00:19:41,560
Speaker 1: to snub Mark, but that's basically what it was. I mean, yeah,

393
00:19:41,600 --> 00:19:45,440
Speaker 1: exactly reformed Blink Whinny Too without me. Uh And Mark,

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Speaker 1: to his credit, he sang on one of the tracks

395
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Speaker 1: I think was Elevator. He sings backing up on it.

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Speaker 1: But but Mark apparently went to him and said, look,

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Speaker 1: I would like to be on this, and Tom said, no,

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Speaker 1: I don't want this to be a Blink one any

399
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Speaker 1: two album. I want this to be something completely separate.

400
00:19:59,080 --> 00:20:02,520
Speaker 1: So yeah, that really sowed the seeds for all the

401
00:20:02,520 --> 00:20:05,760
Speaker 1: discontent that would follow for the next fifteen years, and

402
00:20:06,240 --> 00:20:10,520
Speaker 1: by two thousand four that's when their first hiatus happens.

403
00:20:11,280 --> 00:20:14,840
Speaker 1: And the reason for this hiatus is basically the old

404
00:20:14,880 --> 00:20:18,400
Speaker 1: canard about creative freedom, you know, like, which has been

405
00:20:18,760 --> 00:20:22,320
Speaker 1: the reason for so many bands breaking up over the years.

406
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Speaker 1: And although I think in this case it's not really

407
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Speaker 1: a canard, I mean, I think it was obviously something

408
00:20:27,040 --> 00:20:29,680
Speaker 1: that was that was really coming to the four. And again,

409
00:20:29,720 --> 00:20:33,040
Speaker 1: I mean, is it being oversimplifying to define this split

410
00:20:33,160 --> 00:20:38,360
Speaker 1: as like Mark hoppas wanting to maintain the Blink formula

411
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Speaker 1: and Tom not really feel comfortable with that and doing

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Speaker 1: wanting to do other things. Means that reductively because it

413
00:20:44,200 --> 00:20:47,320
Speaker 1: seems like pretty straightforward in that regard to me. It

414
00:20:47,359 --> 00:20:48,800
Speaker 1: seems the way to me too, I think there might

415
00:20:48,800 --> 00:20:50,879
Speaker 1: even be a touch of the Jeff tweety j fur

416
00:20:50,920 --> 00:20:54,199
Speaker 1: our and that they've just been together so long to

417
00:20:54,560 --> 00:20:56,639
Speaker 1: I mean, since high school and to to keep that

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Speaker 1: kind of thing together. Also, I'm sure that that there

419
00:20:59,040 --> 00:21:02,760
Speaker 1: are elements of just old, little small things that built

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00:21:02,840 --> 00:21:07,240
Speaker 1: up over the last ten fifteen years to uh yeah.

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00:21:07,280 --> 00:21:09,199
Speaker 1: But it definitely seemed to be more of just just

422
00:21:09,400 --> 00:21:12,000
Speaker 1: really wanting very different things, which is interesting because their

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00:21:12,040 --> 00:21:16,120
Speaker 1: solo works aren't that different, I have to say, right.

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Speaker 1: And it's interesting too because like when you look at

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00:21:19,320 --> 00:21:22,800
Speaker 1: like the hiatus announcement that happened, I guess it happened

426
00:21:22,800 --> 00:21:25,439
Speaker 1: in A four, But then there was a formal announcement

427
00:21:25,480 --> 00:21:29,320
Speaker 1: from their label Geffen in February two five about this

428
00:21:29,400 --> 00:21:33,680
Speaker 1: indefinite hiatus isn't it true that, like like Travis Barker

429
00:21:33,680 --> 00:21:35,560
Speaker 1: and Markapas, I mean, they claim that they weren't even

430
00:21:35,560 --> 00:21:37,200
Speaker 1: aware that was going to happen. I mean, it seemed

431
00:21:37,240 --> 00:21:39,040
Speaker 1: like they were under the impression that they were going

432
00:21:39,080 --> 00:21:42,600
Speaker 1: to make another Blink two record, and then this announcement

433
00:21:43,000 --> 00:21:48,280
Speaker 1: comes down that they're no longer a band, and it

434
00:21:48,320 --> 00:21:49,720
Speaker 1: just seems like that's a preview of like what's going

435
00:21:49,760 --> 00:21:52,520
Speaker 1: to happen later on with their other reunions. It seems

436
00:21:52,600 --> 00:21:56,439
Speaker 1: like those two guys expect to get back together and

437
00:21:56,480 --> 00:21:59,320
Speaker 1: then Tom in some way kind of pulls the carpet

438
00:21:59,320 --> 00:22:02,920
Speaker 1: out from under them. My feeling, I mean, I absolutely agree,

439
00:22:02,960 --> 00:22:06,000
Speaker 1: and it totally is a precursor to what happened, I think,

440
00:22:06,040 --> 00:22:08,320
Speaker 1: almost exactly ten years later, when they're about to record

441
00:22:08,320 --> 00:22:11,160
Speaker 1: another album after the reunion and Tom kind of backs away.

442
00:22:11,320 --> 00:22:13,359
Speaker 1: I get the impression that it's not a malicious act

443
00:22:13,359 --> 00:22:15,879
Speaker 1: on Tom's part, but he's just gets He's just a

444
00:22:15,960 --> 00:22:18,119
Speaker 1: yes guy, and he says yes to so many things

445
00:22:18,359 --> 00:22:21,080
Speaker 1: and he just gets bogged down. And then and we'll

446
00:22:21,119 --> 00:22:22,560
Speaker 1: touch more on this later when we talk not only

447
00:22:22,560 --> 00:22:25,800
Speaker 1: about Angels Airwaves, but his We've even mentioned UFOs yet,

448
00:22:25,880 --> 00:22:29,160
Speaker 1: so I know we got missed whole much. That's another

449
00:22:29,200 --> 00:22:31,520
Speaker 1: like podcast series. I mean, I feel like, you know,

450
00:22:31,800 --> 00:22:33,240
Speaker 1: we could do a whole episode on that. We could

451
00:22:33,240 --> 00:22:36,520
Speaker 1: start a new podcast just talking about Tom's exploration about

452
00:22:36,560 --> 00:22:40,159
Speaker 1: her space, which is an incredible offshoot of this all

453
00:22:40,200 --> 00:22:52,080
Speaker 1: right hand, we'll be right back with more rivals. Let's

454
00:22:52,080 --> 00:22:54,479
Speaker 1: talk about Angels and Airwaves because we were both excited

455
00:22:54,480 --> 00:22:58,520
Speaker 1: to talk about this band. This becomes the big Tim

456
00:22:58,560 --> 00:23:01,159
Speaker 1: DeLong side project, or I guess it's not even a

457
00:23:01,160 --> 00:23:04,440
Speaker 1: side project. It was his post Blink Win eighty two project.

458
00:23:05,280 --> 00:23:08,240
Speaker 1: To me, I feel like, you know he you know,

459
00:23:08,280 --> 00:23:10,920
Speaker 1: he's in Blink Win eighty two, the defining pop punk

460
00:23:10,960 --> 00:23:14,520
Speaker 1: pan of of their of their time, and then he decides,

461
00:23:14,840 --> 00:23:17,200
Speaker 1: I'd actually want to form my own version of Muse,

462
00:23:17,840 --> 00:23:21,359
Speaker 1: you know, which is what Angels and air Waves is,

463
00:23:21,480 --> 00:23:24,119
Speaker 1: isn't it. Yeah, I mean it came. It came in

464
00:23:24,240 --> 00:23:27,760
Speaker 1: a really weird time for him because after the hiatus

465
00:23:27,800 --> 00:23:30,280
Speaker 1: for Blink Wind two he had what was probably a

466
00:23:30,320 --> 00:23:32,880
Speaker 1: nervous breakdown. He spent like three weeks on the spiritual

467
00:23:32,960 --> 00:23:36,040
Speaker 1: journey and complete isolation away from his family and everybody,

468
00:23:36,320 --> 00:23:39,080
Speaker 1: just contemplating his life and career and feature and music,

469
00:23:39,480 --> 00:23:41,199
Speaker 1: And as you said, he wanted to kind of get

470
00:23:41,200 --> 00:23:43,159
Speaker 1: away from this low brow prankster image that he had

471
00:23:43,200 --> 00:23:45,560
Speaker 1: the Blink Win eighty two and he apparently and I

472
00:23:45,560 --> 00:23:49,080
Speaker 1: didn't realize this until researching this episode accompanied John Kerry

473
00:23:49,160 --> 00:23:52,080
Speaker 1: on the two thousand and four presidential campaign, which I

474
00:23:52,680 --> 00:23:55,359
Speaker 1: would love I mean, if he wrote like a you know,

475
00:23:55,600 --> 00:23:58,399
Speaker 1: Hunter S. Thompson's style like campaign novel, I would love

476
00:23:58,440 --> 00:24:00,919
Speaker 1: to read that. It's like, how could you uncarry? Have lost?

477
00:24:01,400 --> 00:24:04,359
Speaker 1: How could he have lost? Tom had time DeLong right

478
00:24:04,400 --> 00:24:06,920
Speaker 1: there red shotgun with them, And he would say later

479
00:24:07,000 --> 00:24:10,720
Speaker 1: that like watching these campaigns and these speeches and all

480
00:24:10,720 --> 00:24:13,800
Speaker 1: these rallies and stuff, that kind of reinvigorated that that's

481
00:24:13,840 --> 00:24:16,160
Speaker 1: what he wanted his band to be, like a movement,

482
00:24:16,240 --> 00:24:19,440
Speaker 1: like a revolution, and he wanted his next project to

483
00:24:19,840 --> 00:24:22,679
Speaker 1: basically change the world. And I'd like to stop right

484
00:24:22,720 --> 00:24:24,719
Speaker 1: now and know that at this point he was basically

485
00:24:24,760 --> 00:24:27,399
Speaker 1: eating Viking in like Eminem's this entire period because his

486
00:24:27,480 --> 00:24:30,159
Speaker 1: back was really killing him. So he was given a

487
00:24:30,240 --> 00:24:33,040
Speaker 1: say like this is very walk hard, the whole thing.

488
00:24:33,640 --> 00:24:37,360
Speaker 1: It's very Dewey Cox like in the sixties, hanging out

489
00:24:37,400 --> 00:24:39,679
Speaker 1: with the Beatles and you know, wearing like love beats

490
00:24:39,680 --> 00:24:42,680
Speaker 1: and stuff like. I just keep thinking of Dewey Cox

491
00:24:43,359 --> 00:24:45,600
Speaker 1: as you're talking about this. Well, he gave mean, he

492
00:24:45,600 --> 00:24:47,480
Speaker 1: doesn't really help himself with some of the press that

493
00:24:47,520 --> 00:24:49,600
Speaker 1: he did for angelin their webs and he he said

494
00:24:49,600 --> 00:24:51,320
Speaker 1: he wanted this to be the greatest rock and roll

495
00:24:51,359 --> 00:24:56,560
Speaker 1: revolution for this generation. He wanted their debut in two

496
00:24:56,560 --> 00:24:58,640
Speaker 1: thousand and five, we don't need the whisper to quote

497
00:24:58,680 --> 00:25:01,560
Speaker 1: compete with the greatest records of all time, and it

498
00:25:01,600 --> 00:25:04,240
Speaker 1: would usher in an entire new culture of the youth

499
00:25:04,560 --> 00:25:08,720
Speaker 1: before conquering the globe with his tours. Um, this did

500
00:25:08,760 --> 00:25:12,160
Speaker 1: not come the past. The record was fine. I think

501
00:25:12,160 --> 00:25:15,480
Speaker 1: it did the old the tours did okay. But Tom

502
00:25:15,520 --> 00:25:17,480
Speaker 1: had an answer for this when when he when asked

503
00:25:17,480 --> 00:25:20,160
Speaker 1: why Angels and their Wives didn't usher in a new

504
00:25:20,480 --> 00:25:23,240
Speaker 1: youth revolution, he said that it would take about thirty

505
00:25:23,320 --> 00:25:25,760
Speaker 1: years to fully take effect, and at the time he'd

506
00:25:25,800 --> 00:25:27,680
Speaker 1: only been asked, it's only been one year since the

507
00:25:27,720 --> 00:25:30,320
Speaker 1: album had come out. Now, the irony of this to

508
00:25:30,440 --> 00:25:33,160
Speaker 1: me is that he was already in a band that

509
00:25:33,640 --> 00:25:37,520
Speaker 1: I think again you could say Blanquinity too. I think honestly,

510
00:25:37,800 --> 00:25:41,359
Speaker 1: at late nineties early two thousands era, they're defining band

511
00:25:41,480 --> 00:25:43,280
Speaker 1: of that time. In a way, you could say he

512
00:25:43,320 --> 00:25:45,800
Speaker 1: was already in the band that changed the world. It's

513
00:25:45,840 --> 00:25:48,720
Speaker 1: like he was already in a massively successful band. So

514
00:25:48,960 --> 00:25:51,359
Speaker 1: the idea that he didn't recognize that and felt that

515
00:25:51,400 --> 00:25:54,880
Speaker 1: he had to form this sort of comically grandiose band

516
00:25:55,080 --> 00:25:57,480
Speaker 1: that is very on the nose, you know, in terms

517
00:25:57,520 --> 00:25:59,639
Speaker 1: of like being like wanting to be a sort of

518
00:25:59,680 --> 00:26:04,520
Speaker 1: like a serious revolutionary type group. It just shows again like, yeah,

519
00:26:04,600 --> 00:26:06,400
Speaker 1: maybe don't take so much like it in at once,

520
00:26:06,440 --> 00:26:09,200
Speaker 1: so it can destroy your mind. I mean, like, let's

521
00:26:09,200 --> 00:26:11,919
Speaker 1: see those records. To me, you know, it's like he

522
00:26:12,160 --> 00:26:14,840
Speaker 1: decided to, you know, to stop telling dick jokes and

523
00:26:14,840 --> 00:26:18,080
Speaker 1: start contemplating like the astro plane and ship. You know,

524
00:26:18,080 --> 00:26:20,480
Speaker 1: Like that's what he's doing on those records. Like, and

525
00:26:20,520 --> 00:26:23,280
Speaker 1: that's a big jump from dick jokes to like, you know,

526
00:26:23,680 --> 00:26:26,400
Speaker 1: contemplating the astral plane and doing like YouTube and Pink

527
00:26:26,440 --> 00:26:30,480
Speaker 1: Floyd levels of like you know, tours and stuff. Yeah.

528
00:26:30,520 --> 00:26:34,240
Speaker 1: I mean, like I feel like we could probably both

529
00:26:34,320 --> 00:26:36,720
Speaker 1: name our some of our favorite song titles from that time.

530
00:26:36,760 --> 00:26:38,680
Speaker 1: I mean, I'm a big fan of the Moon atomic

531
00:26:38,960 --> 00:26:41,720
Speaker 1: and then you have an ellipses and then it says

532
00:26:41,840 --> 00:26:46,200
Speaker 1: fragments and fictions, which is an amazing song title. I'd

533
00:26:46,200 --> 00:26:48,359
Speaker 1: like to make a list of my favorite songs that

534
00:26:48,400 --> 00:26:50,720
Speaker 1: have ellipses in the title, that would probably be high

535
00:26:50,760 --> 00:26:53,120
Speaker 1: on it. I'd have to say yeah, I don't think yeah,

536
00:26:53,280 --> 00:26:55,639
Speaker 1: and I think that they're all. I think as soon

537
00:26:55,680 --> 00:26:57,840
Speaker 1: as you put ellipses in a song, you are you're

538
00:26:57,920 --> 00:27:02,720
Speaker 1: drifting into pretentious area. Although wait, does does hit me

539
00:27:02,720 --> 00:27:05,560
Speaker 1: maybe one more time having ellipses in the title right?

540
00:27:05,960 --> 00:27:09,200
Speaker 1: Or is that the album title? I can't remember? All right, Well, Brittany,

541
00:27:09,240 --> 00:27:12,000
Speaker 1: there's a Brittaney exception, I guess with the Britney clause.

542
00:27:12,400 --> 00:27:15,600
Speaker 1: Do you have a favorite of Angels an Airwave song title?

543
00:27:15,880 --> 00:27:18,119
Speaker 1: Minds like the Latin one that I'm probably gonna butcher.

544
00:27:18,160 --> 00:27:23,040
Speaker 1: It's like a deuce it. I don't know what you

545
00:27:23,119 --> 00:27:25,000
Speaker 1: ever saying that right, which makes it so much better

546
00:27:25,040 --> 00:27:28,159
Speaker 1: for me, And that actually means fuck a dog and

547
00:27:29,040 --> 00:27:32,919
Speaker 1: that language. Um yeah, I mean in a way, I

548
00:27:32,960 --> 00:27:35,600
Speaker 1: feel like where Angels and Airwaves eventually goes wrong, like

549
00:27:35,640 --> 00:27:38,200
Speaker 1: some on some of their later records, like the dream Walker,

550
00:27:38,320 --> 00:27:39,960
Speaker 1: which I think I listened to like once or twice

551
00:27:39,960 --> 00:27:44,520
Speaker 1: and then promptly forgot about. But like, he didn't push

552
00:27:44,520 --> 00:27:47,160
Speaker 1: it quite far enough in terms of the grandiose nous,

553
00:27:47,160 --> 00:27:50,280
Speaker 1: like I think with a band like Muse, there is

554
00:27:51,440 --> 00:27:54,960
Speaker 1: a sort of self aware ridiculousness about that band that

555
00:27:55,000 --> 00:27:57,639
Speaker 1: I think their detractors don't totally give them credit for,

556
00:27:58,320 --> 00:28:01,359
Speaker 1: which makes their records I think pretty entertaining. Angels and

557
00:28:01,359 --> 00:28:03,800
Speaker 1: anyways didn't quite go far enough. I kind of wish

558
00:28:03,840 --> 00:28:07,959
Speaker 1: he just would have gone over the cliff with silly ridiculousness,

559
00:28:08,640 --> 00:28:11,800
Speaker 1: but he ended up at this sort of like half measure,

560
00:28:11,960 --> 00:28:17,919
Speaker 1: like you know, second rate killers type sound. It's a

561
00:28:17,960 --> 00:28:21,000
Speaker 1: little better than that. That's brutal. Did you ever get

562
00:28:21,040 --> 00:28:25,119
Speaker 1: into the the Mark Hoppas Travis Barker side project at

563
00:28:25,119 --> 00:28:28,520
Speaker 1: all plus forty four? Yeah, I mean they just seemed

564
00:28:28,520 --> 00:28:30,600
Speaker 1: more of just like an attempt to just recreat Link

565
00:28:30,640 --> 00:28:35,280
Speaker 1: twenty two, right or is that is that being too harsh? Yeah?

566
00:28:35,280 --> 00:28:37,000
Speaker 1: I thought they had like more of like a Synthia

567
00:28:37,000 --> 00:28:40,400
Speaker 1: Electro thing going a little bit. But yeah, it sort

568
00:28:40,400 --> 00:28:45,600
Speaker 1: of seemed like a revenge band if you will. Like

569
00:28:45,680 --> 00:28:49,200
Speaker 1: what was their story? Uh, well, I guess um Mark

570
00:28:49,280 --> 00:28:50,840
Speaker 1: was living in London at the time, and so the

571
00:28:50,880 --> 00:28:53,520
Speaker 1: plus forty four was the was the code the dial

572
00:28:53,600 --> 00:28:56,840
Speaker 1: London and yeah, it almost seemed like box car Racer

573
00:28:56,880 --> 00:28:59,800
Speaker 1: in reverse. It was like, well, I guess, uh, Tom's gone,

574
00:28:59,840 --> 00:29:02,800
Speaker 1: So Travis, you wanna want to go make some music? Um,

575
00:29:02,880 --> 00:29:05,360
Speaker 1: and the albums too. I think they only made one

576
00:29:05,360 --> 00:29:07,760
Speaker 1: album two thousand six is When Your Heart Stops Beating

577
00:29:08,440 --> 00:29:11,760
Speaker 1: kind of expressed all of the negative emotions around Blinks

578
00:29:11,760 --> 00:29:14,800
Speaker 1: demise There's. The main song on it was No It Isn't,

579
00:29:14,880 --> 00:29:18,400
Speaker 1: which is uh, it's it's it's a breakup song, and

580
00:29:18,440 --> 00:29:21,360
Speaker 1: he gave it that title because he was trying to

581
00:29:22,200 --> 00:29:24,800
Speaker 1: kind of curtail questions in the press about whether or

582
00:29:24,800 --> 00:29:27,000
Speaker 1: not it was about the breakup of Blink Wynity Too,

583
00:29:27,040 --> 00:29:29,080
Speaker 1: so he named it no it Isn't even though it

584
00:29:29,280 --> 00:29:35,680
Speaker 1: absolutely is. Um it's kind of yeah it's. Tom apparently

585
00:29:36,120 --> 00:29:38,280
Speaker 1: said that the band started before he even quit, and

586
00:29:38,320 --> 00:29:39,840
Speaker 1: he sided that as a reason why he went on

587
00:29:39,920 --> 00:29:41,960
Speaker 1: hiatus with Blink. He said he found out that they

588
00:29:41,960 --> 00:29:44,120
Speaker 1: were doing a side project and didn't invite him and

589
00:29:44,160 --> 00:29:46,960
Speaker 1: got really hurt by it, which I thought was really

590
00:29:47,000 --> 00:29:49,160
Speaker 1: weird considering he did the exact same thing with box

591
00:29:49,200 --> 00:29:53,240
Speaker 1: car racer. But yeah, in any event, plus forty four

592
00:29:53,640 --> 00:29:56,000
Speaker 1: nowhere near as crazy as Angels and air Waves and

593
00:29:56,040 --> 00:29:59,600
Speaker 1: consequently nowhere near as successful, and of course because of

594
00:29:59,640 --> 00:30:02,560
Speaker 1: these eye projects. And again like Angels and Anyways did

595
00:30:02,560 --> 00:30:06,080
Speaker 1: pretty well, but not even that bend really even approach

596
00:30:06,120 --> 00:30:09,520
Speaker 1: with Blink Wuinnity two was doing. It seemed inevitable that

597
00:30:09,560 --> 00:30:12,080
Speaker 1: these guys were gonna try to get back together, which

598
00:30:12,160 --> 00:30:15,440
Speaker 1: is what happened starting in about two thousand and eight.

599
00:30:15,600 --> 00:30:17,720
Speaker 1: And there were a couple of terrible things that happened

600
00:30:18,120 --> 00:30:21,200
Speaker 1: in the Blink two camp. One was the death of

601
00:30:21,640 --> 00:30:24,960
Speaker 1: their producer, Jerry Finn, who was the guy that they

602
00:30:25,000 --> 00:30:27,640
Speaker 1: made all their huge records with basically back in the

603
00:30:27,720 --> 00:30:30,520
Speaker 1: late nineties and early two thousand's, and he died from

604
00:30:30,520 --> 00:30:34,040
Speaker 1: a cerebral hemorrhage. I think it was just like a sudden,

605
00:30:34,080 --> 00:30:37,480
Speaker 1: out of the blue type tragedy that happened there. And

606
00:30:37,520 --> 00:30:39,360
Speaker 1: then the other thing that happened, and this is insane.

607
00:30:39,400 --> 00:30:41,320
Speaker 1: I don't know if people remember this, but Travis Barker

608
00:30:41,440 --> 00:30:45,560
Speaker 1: was like in a plane crash and was he flying

609
00:30:45,640 --> 00:30:49,280
Speaker 1: the plane himself? Was he flying the plane himself? I don't.

610
00:30:49,360 --> 00:30:51,320
Speaker 1: I don't know if that was part of it or not,

611
00:30:51,360 --> 00:30:53,720
Speaker 1: but I know he was in a plane crash and

612
00:30:53,840 --> 00:30:57,320
Speaker 1: four people died and he had third degree burns and

613
00:30:57,320 --> 00:31:00,000
Speaker 1: he had to have like a forty eight hour blood transfusion,

614
00:31:00,000 --> 00:31:04,280
Speaker 1: and uh, Tom DeLong saw this on television and he

615
00:31:04,360 --> 00:31:08,400
Speaker 1: freaked out, understandably started crying, you know, worried about his

616
00:31:08,400 --> 00:31:12,680
Speaker 1: his friend and former bandmate. And I love this story.

617
00:31:12,720 --> 00:31:15,720
Speaker 1: Apparently he sent him to photos. It was a photo

618
00:31:15,760 --> 00:31:18,000
Speaker 1: of the band, and one was a photo of Tom

619
00:31:18,080 --> 00:31:20,920
Speaker 1: with his family, and he said, yeah, this is who

620
00:31:20,960 --> 00:31:24,600
Speaker 1: we were and this is who I am now. Uh

621
00:31:25,760 --> 00:31:28,800
Speaker 1: and yeah, and you know, Travis Barker saw that and

622
00:31:28,840 --> 00:31:31,080
Speaker 1: apparently was moved by it. And they end up having

623
00:31:31,600 --> 00:31:34,680
Speaker 1: a band meeting, which or they had a couple band meetings.

624
00:31:34,680 --> 00:31:38,040
Speaker 1: And I apparently they were described by Mark Hoppus as

625
00:31:38,080 --> 00:31:41,720
Speaker 1: two gnarly heart to hearts. That's exactly how I would

626
00:31:41,720 --> 00:31:45,840
Speaker 1: expect them to be described by Mark, which I don't

627
00:31:45,840 --> 00:31:49,240
Speaker 1: know what the extent of those conversations were. I imagine

628
00:31:49,280 --> 00:31:51,920
Speaker 1: it was, Hey, we can make a ship ton of

629
00:31:51,960 --> 00:31:54,000
Speaker 1: money if we get back together. Why don't we do it?

630
00:31:54,400 --> 00:31:57,680
Speaker 1: You know, I not to be crass, but I feel

631
00:31:57,680 --> 00:31:59,760
Speaker 1: like it's literally like out a hospital bed when these

632
00:32:00,000 --> 00:32:02,600
Speaker 1: discussions were going. So yeah, maybe okay, maybe it was

633
00:32:02,600 --> 00:32:04,920
Speaker 1: like a more tender version of that, but I feel

634
00:32:04,920 --> 00:32:08,080
Speaker 1: like that had to be the subtext of these conversations.

635
00:32:08,600 --> 00:32:12,520
Speaker 1: And uh, they end up going on tour in two

636
00:32:12,560 --> 00:32:15,640
Speaker 1: thousand nine with Weezer and follow up boys. So now

637
00:32:15,680 --> 00:32:18,160
Speaker 1: Blink Winned Too was officially back, but of course the

638
00:32:18,160 --> 00:32:22,080
Speaker 1: old problems are still in the background and they're about

639
00:32:22,080 --> 00:32:24,719
Speaker 1: to come back to the four. They start recording this

640
00:32:24,760 --> 00:32:28,160
Speaker 1: reunion album called Neighborhoods, and you could barely call it

641
00:32:28,160 --> 00:32:31,360
Speaker 1: a reunion album because it was mostly done through email. Apparently,

642
00:32:31,520 --> 00:32:34,440
Speaker 1: like they were so all busy with like outside projects

643
00:32:34,440 --> 00:32:39,000
Speaker 1: and family commitments that like Tom stayed in San Diego, uh,

644
00:32:39,160 --> 00:32:41,560
Speaker 1: Hoppus and Barker were down in l A. They would

645
00:32:41,560 --> 00:32:44,600
Speaker 1: go months without direct communication. They were only speaking through managers,

646
00:32:44,680 --> 00:32:46,800
Speaker 1: I think, and I don't think it was necessarily in

647
00:32:46,840 --> 00:32:49,880
Speaker 1: a mean way. It's just people were doing other stuff

648
00:32:49,880 --> 00:32:52,080
Speaker 1: and this seemed like it really wasn't given a priority,

649
00:32:52,080 --> 00:32:54,760
Speaker 1: And they didn't even have a single producer. Every all

650
00:32:54,800 --> 00:32:57,040
Speaker 1: three of them have their own like sound guy that

651
00:32:57,120 --> 00:32:59,320
Speaker 1: acted as like a producer for those tracks, and they

652
00:32:59,320 --> 00:33:02,040
Speaker 1: would just yeah, that's not a good sign. I mean

653
00:33:02,040 --> 00:33:04,000
Speaker 1: I feel like that was a mini trend at that time.

654
00:33:04,120 --> 00:33:07,040
Speaker 1: Like The Strokes made a record like that too, called Angles,

655
00:33:07,480 --> 00:33:09,440
Speaker 1: that came out in two thousand eleven, where I think

656
00:33:09,480 --> 00:33:11,680
Speaker 1: like four fits of the band were together, and then

657
00:33:11,760 --> 00:33:16,280
Speaker 1: Julian Casablancas was like in some sequestered bunker somewhere sending

658
00:33:16,360 --> 00:33:20,120
Speaker 1: emails about the record, and I actually happened to love Angles.

659
00:33:20,160 --> 00:33:22,440
Speaker 1: I think that's a really great record. But a lot

660
00:33:22,480 --> 00:33:24,440
Speaker 1: of people didn't like that record and it didn't do

661
00:33:24,640 --> 00:33:28,240
Speaker 1: terribly well. Um, don't make a record over email. I

662
00:33:28,240 --> 00:33:30,040
Speaker 1: I just don't feel like that is usually the best

663
00:33:30,040 --> 00:33:32,320
Speaker 1: way for a band to work, unless you're the Postal Service,

664
00:33:32,400 --> 00:33:34,680
Speaker 1: like just please be in a room at least for

665
00:33:34,760 --> 00:33:37,440
Speaker 1: like half of it, which and there was like, I

666
00:33:37,480 --> 00:33:40,120
Speaker 1: mean the concept of your band is that you are

667
00:33:40,200 --> 00:33:42,760
Speaker 1: sending music through the mail, then I think it works.

668
00:33:42,840 --> 00:33:45,720
Speaker 1: You know at post Service that was their thing. But

669
00:33:45,760 --> 00:33:47,960
Speaker 1: you know, if you're a band that is accustomed to

670
00:33:48,000 --> 00:33:50,320
Speaker 1: being in the same room together, perhaps it's not the

671
00:33:50,320 --> 00:33:52,400
Speaker 1: best way to go. And it just BOMs me out too,

672
00:33:52,400 --> 00:33:55,280
Speaker 1: because you know, you have this incredible like after school

673
00:33:55,320 --> 00:33:57,680
Speaker 1: special style reunion of like oh my god, this guy

674
00:33:57,720 --> 00:33:59,800
Speaker 1: almost died. Let's let's let's put us out all our

675
00:34:00,000 --> 00:34:02,160
Speaker 1: princes and be friends again, like it could have been great.

676
00:34:02,240 --> 00:34:04,320
Speaker 1: I don't really, It's so sad that this was the

677
00:34:04,320 --> 00:34:07,200
Speaker 1: way it went down, with everybody being so isolated making

678
00:34:07,200 --> 00:34:11,160
Speaker 1: this album that really didn't hang together, and they I

679
00:34:11,160 --> 00:34:13,799
Speaker 1: think Tom later said that just there was constant interference

680
00:34:13,800 --> 00:34:16,359
Speaker 1: from there were four separate managers, each one had their

681
00:34:16,360 --> 00:34:19,520
Speaker 1: own manager, and then the band manager, pr people, attorneys

682
00:34:19,600 --> 00:34:23,279
Speaker 1: and what Tom called bureaucratic diarrhea just made them bad,

683
00:34:23,560 --> 00:34:25,920
Speaker 1: just made the vibes even worse. And uh, and of

684
00:34:25,920 --> 00:34:27,840
Speaker 1: course then you had all the old musical differences to

685
00:34:27,960 --> 00:34:30,160
Speaker 1: where you had Tom still wanting to be a little

686
00:34:30,200 --> 00:34:33,720
Speaker 1: more progressive, whereas Travis and Mark thought it was basically

687
00:34:33,719 --> 00:34:36,640
Speaker 1: being pretentious and trying to be thought Tom was trying

688
00:34:36,640 --> 00:34:38,359
Speaker 1: to turn the band into cold Play, and they wanted

689
00:34:38,360 --> 00:34:40,719
Speaker 1: to do stuff like they were known for. So um,

690
00:34:40,840 --> 00:34:44,200
Speaker 1: it got really bad when their production delays on the

691
00:34:44,239 --> 00:34:46,759
Speaker 1: album and then and Travis wanted to cancel a tour

692
00:34:46,840 --> 00:34:48,520
Speaker 1: because he thought, you know, I don't really want to

693
00:34:48,520 --> 00:34:50,279
Speaker 1: go out and tour with just the old songs again.

694
00:34:50,320 --> 00:34:54,120
Speaker 1: We owe new songs. For the fans. And also he

695
00:34:54,280 --> 00:34:57,280
Speaker 1: later described himself in this period as being a bloody

696
00:34:57,360 --> 00:34:59,440
Speaker 1: mess literally not not in the English sense, but like

697
00:34:59,480 --> 00:35:02,600
Speaker 1: a literal bloody mess. He's barely recovered from this horrific

698
00:35:02,680 --> 00:35:05,720
Speaker 1: plane crash that third degree burns over like three quarters

699
00:35:05,760 --> 00:35:07,840
Speaker 1: of his body, so he really wasn't in any shape

700
00:35:07,840 --> 00:35:10,879
Speaker 1: to be doing all this anyway. So uh so, Yeah,

701
00:35:10,920 --> 00:35:14,200
Speaker 1: the vibes are really bad and the lyrics really reflect this.

702
00:35:14,320 --> 00:35:16,640
Speaker 1: Just I feel like I think I've read a review

703
00:35:16,640 --> 00:35:19,839
Speaker 1: where they said the album Neighborhoods was basically an exorcism,

704
00:35:19,960 --> 00:35:22,800
Speaker 1: just was haunted by the specter of death and addiction

705
00:35:22,880 --> 00:35:26,319
Speaker 1: and loss. And yeah, it's not what you want from

706
00:35:26,320 --> 00:35:29,279
Speaker 1: a Blink record. You don't want an exorcism from a

707
00:35:29,280 --> 00:35:31,480
Speaker 1: Blank Winnity two record. I mean again, this is the

708
00:35:31,480 --> 00:35:34,200
Speaker 1: American Pie band you want. You want them to be

709
00:35:34,320 --> 00:35:39,239
Speaker 1: humping pies musically, you know, none of these dark explorations

710
00:35:39,239 --> 00:35:41,279
Speaker 1: of the soul. No, I mean the lead their lead

711
00:35:41,280 --> 00:35:43,239
Speaker 1: single is called up all Night, which you think, you know,

712
00:35:43,320 --> 00:35:45,040
Speaker 1: up all Night this is gonna be like a great

713
00:35:45,080 --> 00:35:47,520
Speaker 1: party anthem, and the chorus is all these demons they

714
00:35:47,600 --> 00:35:50,040
Speaker 1: keep me up at night, And you're like oh man,

715
00:35:50,600 --> 00:35:52,360
Speaker 1: it's like, yeah, it's like going to your high school

716
00:35:52,360 --> 00:35:55,720
Speaker 1: reunion and like the party animal from your high school

717
00:35:55,760 --> 00:36:00,160
Speaker 1: classes now in therapy and addicted to oxycotton or something thing,

718
00:36:00,160 --> 00:36:03,160
Speaker 1: and it's like, oh, this is this is bleak. And

719
00:36:03,320 --> 00:36:04,800
Speaker 1: it seems like things really came to a head to

720
00:36:04,920 --> 00:36:07,240
Speaker 1: on on the tour for that record, like the Travis

721
00:36:07,239 --> 00:36:11,360
Speaker 1: Barker in his memoir he wrote about how he's he

722
00:36:11,400 --> 00:36:14,400
Speaker 1: thought that Tom DeLong like specifically sort of derailed that

723
00:36:14,400 --> 00:36:17,520
Speaker 1: tour just by basically being like a greedy guy. Like

724
00:36:17,560 --> 00:36:20,439
Speaker 1: in his view, he felt that Tom was only there

725
00:36:20,440 --> 00:36:23,480
Speaker 1: for the money and that he didn't really come out

726
00:36:23,480 --> 00:36:25,799
Speaker 1: of the shell until he started seeing like how well

727
00:36:25,800 --> 00:36:28,560
Speaker 1: tickets were selling, and then he would get excited about

728
00:36:28,600 --> 00:36:33,120
Speaker 1: the band and it. And it seems like moving forward

729
00:36:33,239 --> 00:36:37,719
Speaker 1: that that really informs like how Hoppis and Barker come

730
00:36:37,760 --> 00:36:40,200
Speaker 1: to look at DeLong, That they look at him as

731
00:36:40,840 --> 00:36:42,960
Speaker 1: a guy who only regards the band as like a

732
00:36:42,960 --> 00:36:46,760
Speaker 1: piggy bank essentially that he can use to like fund

733
00:36:46,800 --> 00:36:49,480
Speaker 1: his own projects and to like, you know, go searching

734
00:36:49,520 --> 00:36:53,600
Speaker 1: for extraterrestrials in outer space. I mean, isn't that right?

735
00:36:53,640 --> 00:36:55,480
Speaker 1: I Mean it seems like that becomes like the real

736
00:36:55,560 --> 00:37:00,760
Speaker 1: crux of here. This before I think, like in the nineties,

737
00:37:00,920 --> 00:37:04,400
Speaker 1: when it still wasn't totally sure whether or not the

738
00:37:04,440 --> 00:37:06,759
Speaker 1: band was really going to be viable, he had all

739
00:37:06,760 --> 00:37:09,560
Speaker 1: these other side projects going. He was like, he started

740
00:37:09,560 --> 00:37:11,919
Speaker 1: a clothing company I think called Loser Kids, and another

741
00:37:11,960 --> 00:37:14,440
Speaker 1: one called Atticus, and they had Macbeth footwear, and he

742
00:37:14,480 --> 00:37:17,080
Speaker 1: had a technology and design firm and stuff. So he

743
00:37:17,080 --> 00:37:19,960
Speaker 1: had all these side projects going before. So even back

744
00:37:20,440 --> 00:37:23,279
Speaker 1: probably during the height of Blink, it almost seemed like

745
00:37:23,360 --> 00:37:25,359
Speaker 1: he wasn't totally committed to it. He had all these

746
00:37:25,360 --> 00:37:27,880
Speaker 1: other things going just in case, which I mean, you

747
00:37:27,920 --> 00:37:29,760
Speaker 1: know rock and roll. You hear all these horror stories

748
00:37:29,760 --> 00:37:31,759
Speaker 1: about bands being huge one minute in the next minute

749
00:37:31,800 --> 00:37:33,440
Speaker 1: being totally broke. So on my hand, you can't really

750
00:37:33,440 --> 00:37:35,840
Speaker 1: blame him, but yeah, he definitely seemed to be in

751
00:37:35,840 --> 00:37:37,920
Speaker 1: a weird way. I can't believe I'm saying this about him,

752
00:37:37,920 --> 00:37:40,200
Speaker 1: but kind of the more pragmatic and practical from a

753
00:37:40,200 --> 00:37:43,759
Speaker 1: financial sense, because he diversified his interests, which frustrated his

754
00:37:43,800 --> 00:37:47,040
Speaker 1: bandmates who really wanted to make this good. And yet

755
00:37:48,040 --> 00:37:50,239
Speaker 1: he's the one that seems to stop the band. It

756
00:37:50,520 --> 00:37:54,120
Speaker 1: doesn't seem like they are like that Hoppison Barker, kicking

757
00:37:54,200 --> 00:37:57,279
Speaker 1: him out necessarily. It seems like Tom is the one

758
00:37:57,280 --> 00:38:00,360
Speaker 1: who's sort of like dragging his feet and then almost

759
00:38:00,440 --> 00:38:03,160
Speaker 1: making them get rid of him. I mean, it isn't

760
00:38:03,160 --> 00:38:06,239
Speaker 1: that essentially what happens when they started to work on

761
00:38:06,280 --> 00:38:10,160
Speaker 1: another record after Neighborhoods. Oh, it's such a mess. I mean,

762
00:38:10,480 --> 00:38:12,640
Speaker 1: it's such a he said, he said, he said situation.

763
00:38:13,239 --> 00:38:15,120
Speaker 1: The band wanted to record a new album, but they

764
00:38:15,120 --> 00:38:16,640
Speaker 1: didn't have a record deal at the time. I think

765
00:38:16,640 --> 00:38:19,799
Speaker 1: that Neighborhoods was actually self released or I forget how

766
00:38:19,840 --> 00:38:21,320
Speaker 1: they did it, but they didn't have a major label.

767
00:38:21,600 --> 00:38:24,359
Speaker 1: Uh So Tom wanted a deal, so before he'd work

768
00:38:24,400 --> 00:38:26,279
Speaker 1: on the record, he made sure that they would get

769
00:38:26,320 --> 00:38:28,560
Speaker 1: a deal. They eventually get a deal and work really

770
00:38:28,600 --> 00:38:31,239
Speaker 1: hard and get this deal together, and then over Christmas,

771
00:38:31,520 --> 00:38:34,319
Speaker 1: the other members of Blanquentnity to get an email from

772
00:38:34,320 --> 00:38:37,560
Speaker 1: Tom's manager, not even from Tom, saying Tom is out.

773
00:38:37,640 --> 00:38:40,280
Speaker 1: That's the direct quote Tom is out. In their periods

774
00:38:40,280 --> 00:38:43,080
Speaker 1: before each of those words. And this is really troublesome

775
00:38:43,080 --> 00:38:45,000
Speaker 1: to the band because they put all this work into

776
00:38:45,000 --> 00:38:48,600
Speaker 1: getting this this deal about to get in the studio

777
00:38:48,719 --> 00:38:50,760
Speaker 1: and they got a festival on the horizon in March.

778
00:38:50,800 --> 00:38:54,680
Speaker 1: It's December. Uh so really what followed is probably one

779
00:38:54,719 --> 00:38:57,239
Speaker 1: of the most spectacular public dissolutions of a band in

780
00:38:57,320 --> 00:39:00,560
Speaker 1: popular music history. It's just like an incredible train wreck

781
00:39:00,600 --> 00:39:04,239
Speaker 1: of back and forth, contradictory nonsense. Uh. Starts off with

782
00:39:04,280 --> 00:39:08,200
Speaker 1: Mark and Travis in January putting out an announcement that

783
00:39:08,239 --> 00:39:10,440
Speaker 1: Tom had left the band indefinitely. They said, we were

784
00:39:10,440 --> 00:39:12,560
Speaker 1: all set to play this festival and record a new album,

785
00:39:12,560 --> 00:39:15,440
Speaker 1: and Tom kept putting it off without reason. It's pretty

786
00:39:15,480 --> 00:39:17,560
Speaker 1: much the same thing that happened ten years earlier. And

787
00:39:17,600 --> 00:39:20,560
Speaker 1: so to cover for this festival March, they hired Matt

788
00:39:20,680 --> 00:39:24,080
Speaker 1: Scheba from Alkaline Trio, also known as the first act

789
00:39:24,120 --> 00:39:27,560
Speaker 1: I ever saw a non Baby Bloomer concert. Uh. Wow,

790
00:39:27,600 --> 00:39:30,000
Speaker 1: it's a big milestone for you. Yeah, yeah, that was

791
00:39:30,000 --> 00:39:33,200
Speaker 1: a big one. So yeah, so they they put out

792
00:39:33,239 --> 00:39:34,960
Speaker 1: this announcement that DeLong is out of the band. But

793
00:39:35,000 --> 00:39:37,279
Speaker 1: then DeLong goes on social media and he says that

794
00:39:37,320 --> 00:39:39,520
Speaker 1: he never quit the band. And I feel like I

795
00:39:39,560 --> 00:39:41,920
Speaker 1: need to read a social media post verbatim. Here he

796
00:39:41,920 --> 00:39:44,280
Speaker 1: says to all the fans, I never quit the band.

797
00:39:44,360 --> 00:39:46,920
Speaker 1: I actually was on a phone call about Blink Wannity

798
00:39:47,000 --> 00:39:49,319
Speaker 1: two for New York City at the time all these

799
00:39:49,360 --> 00:39:53,240
Speaker 1: weird press releases started coming in. Apparently those releases were sanctioned.

800
00:39:53,440 --> 00:39:56,840
Speaker 1: Quote marks from the band, are we dysfunctional? Yes? But

801
00:39:56,960 --> 00:40:03,920
Speaker 1: christ Then he says, hashtag awkward, hashtag baby back ribs.

802
00:40:07,960 --> 00:40:09,960
Speaker 1: Then he then he posted a photo of a man

803
00:40:10,040 --> 00:40:13,080
Speaker 1: hugging a tiger with the caption me and the band hugging.

804
00:40:14,280 --> 00:40:19,080
Speaker 1: Uh lot, me just glossed over a man hugging a tiger. Yeah, exactly.

805
00:40:19,080 --> 00:40:21,400
Speaker 1: One of the least crazy things about this whole thing

806
00:40:21,480 --> 00:40:23,320
Speaker 1: is as the photos of a man hugging a tiger.

807
00:40:23,600 --> 00:40:25,719
Speaker 1: So that prompts Travis and Mark to do an interview

808
00:40:25,760 --> 00:40:28,200
Speaker 1: with Rolling Stone where they're like basically just throwing time

809
00:40:28,200 --> 00:40:30,480
Speaker 1: out of the bus and they're really airing out all

810
00:40:30,520 --> 00:40:32,920
Speaker 1: the frustrations that they have with someone that they really

811
00:40:32,960 --> 00:40:35,239
Speaker 1: look at is being a diva. And as we've established,

812
00:40:35,239 --> 00:40:40,960
Speaker 1: I mean, there is this history of DeLong derailing whatever

813
00:40:41,040 --> 00:40:43,320
Speaker 1: project Blink Winnity two is going to be doing. It

814
00:40:43,400 --> 00:40:47,760
Speaker 1: seems like it finally reached a boiling port and uh again,

815
00:40:47,800 --> 00:40:50,560
Speaker 1: they kind of go back to this idea that deloon

816
00:40:50,719 --> 00:40:52,920
Speaker 1: just looks at Blink Winnity two as like a piggy

817
00:40:52,960 --> 00:40:55,600
Speaker 1: bank that he's going to draw money from, but he

818
00:40:55,640 --> 00:40:58,479
Speaker 1: doesn't really care about the band, and this has caused

819
00:40:58,560 --> 00:41:02,399
Speaker 1: him to act selfishly. And there's this quote where they say,

820
00:41:02,440 --> 00:41:04,759
Speaker 1: you know, it's hard to cover for someone who's disrespectful

821
00:41:04,800 --> 00:41:07,480
Speaker 1: and ungrateful. Why Blink even got back together in the

822
00:41:07,480 --> 00:41:10,200
Speaker 1: first place is questionable, and then Happa says, it feels

823
00:41:10,280 --> 00:41:11,800
Speaker 1: humiliating to be in the band where you have to

824
00:41:11,840 --> 00:41:14,600
Speaker 1: be apologizing for one person all the time. That's how

825
00:41:14,640 --> 00:41:19,120
Speaker 1: it has felt for a long time. Uh So they're

826
00:41:19,160 --> 00:41:23,000
Speaker 1: clearly trying to make it clear to people, to their

827
00:41:23,040 --> 00:41:24,759
Speaker 1: fan base, like why they had to get rid of

828
00:41:24,760 --> 00:41:30,720
Speaker 1: this guy. Tom doesn't like that. Tom, as you might imagine,

829
00:41:30,719 --> 00:41:32,400
Speaker 1: he doesn't like that. He goes on Facebook and he

830
00:41:32,440 --> 00:41:35,560
Speaker 1: writes an extremely long response to this interview and he

831
00:41:35,600 --> 00:41:37,080
Speaker 1: says that he was the one who really wanted to

832
00:41:37,080 --> 00:41:38,719
Speaker 1: get back into the studio and the other guys were

833
00:41:38,800 --> 00:41:41,759
Speaker 1: dragging their feet, and that their new label contract was

834
00:41:41,800 --> 00:41:45,239
Speaker 1: this like massive sixty page deal that had all these

835
00:41:45,239 --> 00:41:48,000
Speaker 1: stipulations where the album had to be done in six months,

836
00:41:48,040 --> 00:41:50,520
Speaker 1: which he said just wasn't possible. And it prohibited him

837
00:41:50,560 --> 00:41:52,840
Speaker 1: from working on other projects that he was contracted to do,

838
00:41:53,440 --> 00:41:58,239
Speaker 1: which at this point where he claims co writing fifteen novels.

839
00:41:58,440 --> 00:42:02,840
Speaker 1: Fifteen novels, all of them I believe have accompanying soundtrack EPs.

840
00:42:02,880 --> 00:42:08,040
Speaker 1: So that's fifteen EPs, four albums, this is, this is

841
00:42:08,040 --> 00:42:12,760
Speaker 1: for the year, plus two Angels in Airway and two

842
00:42:12,760 --> 00:42:15,959
Speaker 1: solo albums, three of which of these solo albums would

843
00:42:15,960 --> 00:42:20,520
Speaker 1: have a companion novel. Uh so yeah, he's like, sorry,

844
00:42:20,520 --> 00:42:23,600
Speaker 1: I couldn't do this thing in the next six months

845
00:42:23,640 --> 00:42:27,320
Speaker 1: because I'm writing thirty novels and recording ten other albums

846
00:42:27,320 --> 00:42:30,439
Speaker 1: in the next calendar year. Like, dude, come on, I mean,

847
00:42:30,560 --> 00:42:33,440
Speaker 1: if you could have, like if you if you had

848
00:42:33,480 --> 00:42:35,919
Speaker 1: just read that Rolling Stone interview, you could have thought, well,

849
00:42:36,080 --> 00:42:39,360
Speaker 1: maybe they're not giving Tom his fair shake here, Like

850
00:42:39,400 --> 00:42:42,200
Speaker 1: maybe they're just being a little bitter here, and you know,

851
00:42:42,239 --> 00:42:44,560
Speaker 1: we're just hearing their side of the story, so we

852
00:42:44,560 --> 00:42:46,319
Speaker 1: could take their words with a grain of salt. But

853
00:42:46,360 --> 00:42:48,200
Speaker 1: then he writes that Facebook post and it's like, oh, yeah,

854
00:42:48,200 --> 00:42:51,000
Speaker 1: he is insane. He's totally insane, Like he has just

855
00:42:51,080 --> 00:42:55,759
Speaker 1: admitted that I'm a lunatic with this Facebook post. So

856
00:42:55,880 --> 00:42:57,239
Speaker 1: I think that made it clear to a lot of

857
00:42:57,239 --> 00:43:01,560
Speaker 1: people that yeah, maybe these guys are justified in hiring

858
00:43:01,600 --> 00:43:04,759
Speaker 1: a different you know, a different guy to be in

859
00:43:04,800 --> 00:43:07,239
Speaker 1: the band so we could so they could make another record. Well.

860
00:43:07,280 --> 00:43:09,399
Speaker 1: The best part is Mark apparently said that Tom when

861
00:43:09,440 --> 00:43:11,960
Speaker 1: they did get back in touch, which was rare, Mark

862
00:43:12,080 --> 00:43:14,359
Speaker 1: was like, yeah, why did you have your managers say

863
00:43:14,480 --> 00:43:17,399
Speaker 1: you quit? And Tom said I didn't even tell him

864
00:43:17,400 --> 00:43:20,440
Speaker 1: to do that. It's so weird. Just dude, just just

865
00:43:20,480 --> 00:43:21,719
Speaker 1: say you don't want to be in the band. It's

866
00:43:21,760 --> 00:43:24,600
Speaker 1: okay if you want to do all this other stuff. Fine,

867
00:43:25,120 --> 00:43:27,040
Speaker 1: I don't. I don't have to agree with it, but fine,

868
00:43:27,080 --> 00:43:29,520
Speaker 1: but just don't just be like the old kid has

869
00:43:29,560 --> 00:43:31,360
Speaker 1: got cookie crumbs all over his face being like I

870
00:43:31,400 --> 00:43:33,720
Speaker 1: didn't I didn't eat the cookie. Yeah. It just reminds

871
00:43:33,760 --> 00:43:35,920
Speaker 1: me of that, uh that that sketch from I think

872
00:43:35,960 --> 00:43:38,640
Speaker 1: you should leave, Like where the hot dog guy like

873
00:43:38,680 --> 00:43:41,000
Speaker 1: crashed this car. Crash the hot dog car to the

874
00:43:41,000 --> 00:43:43,160
Speaker 1: thing and he's like, who crashed the hot dog car?

875
00:43:44,520 --> 00:43:48,120
Speaker 1: It's like, dude, you're wearing the shattering everywhere time to long.

876
00:43:48,160 --> 00:43:50,520
Speaker 1: You're wearing a hot dog suit. Dude, al right, like

877
00:43:50,600 --> 00:43:53,799
Speaker 1: everyone can see it. Um so Blink Too. They put

878
00:43:53,800 --> 00:43:56,000
Speaker 1: out a record with Met skib Up in two sixteen.

879
00:43:56,000 --> 00:43:58,960
Speaker 1: It's called California, and it's their first number one record

880
00:43:59,120 --> 00:44:01,919
Speaker 1: since Take Off Your Pants and Jacket. And I feel

881
00:44:01,920 --> 00:44:04,840
Speaker 1: like the reception to that record was like fairly positive.

882
00:44:04,880 --> 00:44:07,120
Speaker 1: I don't think it was over the moon, but I

883
00:44:07,120 --> 00:44:12,439
Speaker 1: feel like that record coincided with the revisionism about Blink

884
00:44:12,480 --> 00:44:16,040
Speaker 1: Winnity two, especially among music critics, like really taking hold.

885
00:44:16,520 --> 00:44:20,080
Speaker 1: Like I think by then the generation of of of

886
00:44:20,440 --> 00:44:23,160
Speaker 1: music writers who had grown up listening to Blink two,

887
00:44:23,400 --> 00:44:25,080
Speaker 1: you know, they were not old enough to be writing

888
00:44:25,120 --> 00:44:27,759
Speaker 1: for like big music magazines. And I think some of

889
00:44:27,760 --> 00:44:31,160
Speaker 1: the knee jerk uh dismissals of Blink Winnity Too that

890
00:44:31,160 --> 00:44:34,440
Speaker 1: occurred like when they were first popular, you know, those

891
00:44:34,520 --> 00:44:36,880
Speaker 1: were put to the side and and I think there

892
00:44:36,920 --> 00:44:41,200
Speaker 1: were people willing to take them more seriously. And a

893
00:44:41,200 --> 00:44:44,279
Speaker 1: New York Times profile around that time, right, New York

894
00:44:44,280 --> 00:44:47,440
Speaker 1: Times profile. Yeah, And I feel like, just like in general,

895
00:44:47,480 --> 00:44:49,600
Speaker 1: like in the blog is Sphere, if I could still

896
00:44:49,680 --> 00:44:52,759
Speaker 1: use the term blog is Sphere, I'm a person from

897
00:44:52,760 --> 00:44:56,279
Speaker 1: two thousand ten right now talking. But anyway, I feel

898
00:44:56,320 --> 00:45:00,360
Speaker 1: like there was much more warmth and and uh iteration

899
00:45:00,400 --> 00:45:02,920
Speaker 1: given to Blake as music at this time. And I

900
00:45:03,000 --> 00:45:07,080
Speaker 1: think it really signaled them essentially becoming a classic rock

901
00:45:07,440 --> 00:45:10,760
Speaker 1: act by now, like they had that kind of history

902
00:45:11,520 --> 00:45:16,640
Speaker 1: at this point, and like any classic rock act, it

903
00:45:16,760 --> 00:45:18,440
Speaker 1: really showed that like they were at a point in

904
00:45:18,480 --> 00:45:20,759
Speaker 1: their career like where they could still tour and play

905
00:45:20,920 --> 00:45:25,279
Speaker 1: huge venues, even if like their latest records weren't you know,

906
00:45:26,719 --> 00:45:29,239
Speaker 1: producing tons of hit songs, Like they had enough of

907
00:45:29,320 --> 00:45:33,239
Speaker 1: a legacy now where they could still be really big.

908
00:45:33,320 --> 00:45:36,399
Speaker 1: And it showed that even without DeLong being in the band,

909
00:45:36,800 --> 00:45:39,160
Speaker 1: that they could do that and and and still be

910
00:45:39,239 --> 00:45:41,080
Speaker 1: a pretty big rock band. Yeah. I mean, it's just

911
00:45:41,160 --> 00:45:43,680
Speaker 1: so funny how like just if you endure long enough

912
00:45:43,840 --> 00:45:47,279
Speaker 1: you can reach this point of revisionism. It's it's definitely fascinating.

913
00:45:48,040 --> 00:45:50,520
Speaker 1: But I saw more written about the band than about

914
00:45:50,560 --> 00:45:52,520
Speaker 1: the actual music on that album though, Like I think

915
00:45:52,560 --> 00:45:54,239
Speaker 1: I listened to any once when it came out, and

916
00:45:54,280 --> 00:45:56,200
Speaker 1: I don't remember anything about it. Yeah, I think that

917
00:45:56,280 --> 00:45:59,680
Speaker 1: album was like a peg for think pieces about the band.

918
00:46:00,000 --> 00:46:02,120
Speaker 1: People could you know, could talk about like how they

919
00:46:02,200 --> 00:46:06,920
Speaker 1: love Blink Winnity too a long time ago. Um. But meanwhile,

920
00:46:07,239 --> 00:46:09,320
Speaker 1: while all this is happening, and Blink Winnity two was

921
00:46:09,360 --> 00:46:13,200
Speaker 1: continuing to be successful. Tom is out there and this

922
00:46:13,360 --> 00:46:16,239
Speaker 1: is an incredible thing. And I'm saying this somewhat facetiously,

923
00:46:16,320 --> 00:46:19,000
Speaker 1: but it also seems like it's true that he's like

924
00:46:19,360 --> 00:46:23,279
Speaker 1: proving the existence of UFOs. Oh yeah. I interviewed him

925
00:46:23,360 --> 00:46:25,759
Speaker 1: last year about this and it was probably one of

926
00:46:25,800 --> 00:46:29,360
Speaker 1: the most unforgettable interviews of my life. He is just

927
00:46:30,080 --> 00:46:33,600
Speaker 1: it's he totally has I'm so all for everything that

928
00:46:33,680 --> 00:46:36,279
Speaker 1: he's doing. You know, I just think it's it's such

929
00:46:36,320 --> 00:46:39,960
Speaker 1: a I mean, he's definitely out there, but he's assembled

930
00:46:40,000 --> 00:46:44,160
Speaker 1: this incredible group of uh, really well established names from

931
00:46:44,160 --> 00:46:48,440
Speaker 1: the intelligence community, former members of the Lockheed Martin Skunkworks

932
00:46:48,800 --> 00:46:52,640
Speaker 1: experimental aircraft program. He's got a really fascinating team, and

933
00:46:52,760 --> 00:46:54,520
Speaker 1: you know, people have been laughing at him. I mean

934
00:46:54,520 --> 00:46:56,600
Speaker 1: he's I think he was a nine eleven truther and

935
00:46:56,760 --> 00:46:59,640
Speaker 1: he would on pour buses for Blink Blink tours. He

936
00:46:59,640 --> 00:47:01,680
Speaker 1: would like stare out the window and look for UFOs

937
00:47:01,719 --> 00:47:04,040
Speaker 1: and organized search parties to try to find big Foot

938
00:47:04,080 --> 00:47:06,000
Speaker 1: and stuff. Like he's been there. He's been at this

939
00:47:06,080 --> 00:47:08,080
Speaker 1: for a while, and you know, the whole Aliens exist

940
00:47:08,200 --> 00:47:10,799
Speaker 1: song like you attempted to write it off as a joke,

941
00:47:10,880 --> 00:47:13,400
Speaker 1: but the work that he does is really fascinating. His

942
00:47:13,560 --> 00:47:15,960
Speaker 1: he's founded a UM, I don't even know what you

943
00:47:16,040 --> 00:47:18,320
Speaker 1: call it, an academy of arts and sciences called to

944
00:47:18,440 --> 00:47:23,080
Speaker 1: the Stars and UM and they are I'm still confused

945
00:47:23,080 --> 00:47:27,759
Speaker 1: about what it is. Uh. It's basically a research organization.

946
00:47:28,560 --> 00:47:34,920
Speaker 1: And they published UM videos from taken from Air Force cameras,

947
00:47:34,960 --> 00:47:37,160
Speaker 1: cameras that are mouthed on the front of fighter jets,

948
00:47:37,480 --> 00:47:39,560
Speaker 1: and the most famous one was from the two thousand

949
00:47:39,680 --> 00:47:42,840
Speaker 1: four USS Nimitz incident, which is off the coast of California,

950
00:47:42,920 --> 00:47:46,759
Speaker 1: when a series of fighter pilots recorded on camera and

951
00:47:46,840 --> 00:47:49,960
Speaker 1: saw visually these strange it look like a big floating

952
00:47:50,040 --> 00:47:53,320
Speaker 1: white tic tac that moved it really erratic ways that

953
00:47:53,480 --> 00:47:57,040
Speaker 1: just defy the laws of physics, and there's documented evidence

954
00:47:57,080 --> 00:47:59,960
Speaker 1: of it in the air on radar. I believe it's

955
00:48:00,040 --> 00:48:03,440
Speaker 1: his whole story. Uh. And he released these videos that

956
00:48:03,480 --> 00:48:05,920
Speaker 1: people thought, well, that's weird, is it real? And then

957
00:48:06,080 --> 00:48:09,680
Speaker 1: I think just in May, the Air Force or the government,

958
00:48:09,840 --> 00:48:13,319
Speaker 1: some very major agency confirmed that it was in fact

959
00:48:13,400 --> 00:48:17,160
Speaker 1: legit video and that they are UFOs, and he the

960
00:48:17,239 --> 00:48:20,239
Speaker 1: government had a program as a black budget program called

961
00:48:20,360 --> 00:48:25,920
Speaker 1: a tip UM, which was to study aerial threats that

962
00:48:26,120 --> 00:48:30,960
Speaker 1: were of unknown origin, and uh, the hired his name

963
00:48:31,000 --> 00:48:34,320
Speaker 1: was Luis Alazando to work with him on on studying

964
00:48:34,360 --> 00:48:38,600
Speaker 1: these programs, on studying sending these aircraft that no one

965
00:48:38,680 --> 00:48:41,840
Speaker 1: knows what they are. They're documented, but they're they're literally UFOs.

966
00:48:41,840 --> 00:48:43,840
Speaker 1: They're not saying going as far as saying that they're aliens,

967
00:48:43,880 --> 00:48:45,960
Speaker 1: but yeah, the government doesn't know what they are. And

968
00:48:46,080 --> 00:48:48,080
Speaker 1: I just want to say that, like this just shows

969
00:48:48,120 --> 00:48:50,400
Speaker 1: like how insane our world is right now. That like

970
00:48:51,080 --> 00:48:54,040
Speaker 1: the fact that a member of Blanquinity two has helped

971
00:48:54,080 --> 00:48:56,480
Speaker 1: to confirm the existence of UFOs is like not that

972
00:48:56,560 --> 00:48:58,879
Speaker 1: big of a deal. Like people, there's like so much

973
00:48:58,920 --> 00:49:01,399
Speaker 1: other craziness of the world right now where people are like, oh,

974
00:49:02,000 --> 00:49:04,360
Speaker 1: oh the guy who ran naked in the what's my

975
00:49:04,440 --> 00:49:08,080
Speaker 1: Agian Game? Video? Like, oh, he discovered UFOs. Oh great, okay, great, Yeah,

976
00:49:08,200 --> 00:49:10,160
Speaker 1: what's the next thing? You know, Like we're just so

977
00:49:10,840 --> 00:49:14,760
Speaker 1: we're so uh, you know, desensitized to incredible things happening

978
00:49:14,880 --> 00:49:16,600
Speaker 1: that that's not that big of a deal. I know

979
00:49:16,760 --> 00:49:19,160
Speaker 1: for me, Like the thing that I know most about

980
00:49:19,200 --> 00:49:22,040
Speaker 1: his organization is that they were in debt supposedly for

981
00:49:22,120 --> 00:49:26,680
Speaker 1: thirty seven million dollars, which is like an incredible thing.

982
00:49:26,760 --> 00:49:29,000
Speaker 1: I don't know it was that actually true. I mean,

983
00:49:29,040 --> 00:49:32,120
Speaker 1: I know that DeLong like the denies that she denied

984
00:49:32,160 --> 00:49:34,239
Speaker 1: that it was like straight up debt and said I

985
00:49:34,280 --> 00:49:37,360
Speaker 1: think this quote was it's attributed attributable to stock based

986
00:49:37,440 --> 00:49:40,799
Speaker 1: compensation expense, whatever that means. He basically said it wasn't.

987
00:49:40,840 --> 00:49:42,960
Speaker 1: There wasn't an operating debt. It was that I guess

988
00:49:43,000 --> 00:49:47,560
Speaker 1: he gave UM staff members like stock options in the organization,

989
00:49:47,840 --> 00:49:51,319
Speaker 1: and that's what that debt was. I don't know, but yeah,

990
00:49:51,360 --> 00:49:54,200
Speaker 1: it sounds like they had a really great History Channel

991
00:49:54,200 --> 00:49:56,359
Speaker 1: mini series last year that kind of explored the whole

992
00:49:56,480 --> 00:49:59,440
Speaker 1: U S. S mimics incident and had these high ranking

993
00:49:59,480 --> 00:50:02,600
Speaker 1: military because there's come on camera. You know, they weren't obscure,

994
00:50:02,640 --> 00:50:04,680
Speaker 1: and they had their real names and everything talk about

995
00:50:04,680 --> 00:50:07,000
Speaker 1: what they saw, and they had all the footage and

996
00:50:08,400 --> 00:50:10,239
Speaker 1: and in this time to the New York Times and

997
00:50:10,280 --> 00:50:12,160
Speaker 1: a few other I think the Washington Post had all

998
00:50:12,160 --> 00:50:14,800
Speaker 1: these expose as on this the secret government project to

999
00:50:14,800 --> 00:50:18,960
Speaker 1: study UFOs that has been you know, declassified. So yeah,

1000
00:50:19,080 --> 00:50:20,880
Speaker 1: it's really strange. But I talked to him about this

1001
00:50:20,920 --> 00:50:23,319
Speaker 1: whole project, A part of me wanted to be like, yeah,

1002
00:50:23,880 --> 00:50:26,440
Speaker 1: you know, the biggest liability to this whole project is

1003
00:50:26,520 --> 00:50:29,680
Speaker 1: kind of you. Like you for us CIA members and

1004
00:50:29,760 --> 00:50:32,560
Speaker 1: stuff like this would seem much more believable and legit

1005
00:50:32,880 --> 00:50:36,319
Speaker 1: if it wasn't you as the face of it. We're

1006
00:50:36,360 --> 00:50:38,040
Speaker 1: gonna take a quick break and get a word from

1007
00:50:38,040 --> 00:50:52,400
Speaker 1: our sponsor before we get to more rivals. Well, like

1008
00:50:52,480 --> 00:50:53,879
Speaker 1: I said, I feel like we could do a whole

1009
00:50:54,160 --> 00:50:58,880
Speaker 1: series just on Tom Delong's explorations in the Great White Beyond.

1010
00:50:59,080 --> 00:51:02,360
Speaker 1: But like, let's get to the part of our episode

1011
00:51:02,360 --> 00:51:05,240
Speaker 1: where we make pro cases for each side of the rivalry.

1012
00:51:05,640 --> 00:51:08,239
Speaker 1: Let's start with Mark Hoppiss. I feel like Hoppas he's

1013
00:51:08,320 --> 00:51:12,880
Speaker 1: the obvious one to side with, maybe like in this conflict.

1014
00:51:13,480 --> 00:51:16,040
Speaker 1: You know, he's the same one. He's the one that's

1015
00:51:16,040 --> 00:51:19,799
Speaker 1: like kept the group together. Uh, he's like far less

1016
00:51:19,920 --> 00:51:22,040
Speaker 1: erratic than Tom. It seems like Tom is a very

1017
00:51:22,080 --> 00:51:24,400
Speaker 1: difficult guy to put up with. I guess the way,

1018
00:51:24,400 --> 00:51:26,400
Speaker 1: we should also be grouping Travis Barker in here too.

1019
00:51:26,480 --> 00:51:29,279
Speaker 1: Travis Barker is like a weird, sort of like Switzerland

1020
00:51:29,960 --> 00:51:32,840
Speaker 1: in this conflict. It seems like he goes to both guys,

1021
00:51:32,960 --> 00:51:35,040
Speaker 1: and you know, it seems like he's a pretty laid

1022
00:51:35,080 --> 00:51:39,719
Speaker 1: back dude. Um. But I mean when Mark said in

1023
00:51:39,760 --> 00:51:41,640
Speaker 1: that interview with Rolling Stone that, like, you know, it's

1024
00:51:41,680 --> 00:51:45,120
Speaker 1: hard to be the one who constantly has to apologize

1025
00:51:45,160 --> 00:51:47,320
Speaker 1: for someone in this band, I mean, I I I

1026
00:51:48,880 --> 00:51:52,120
Speaker 1: think that's a legitimate gripe, and I understand where he's

1027
00:51:52,160 --> 00:51:54,839
Speaker 1: coming from with that. So I think just I'm pure,

1028
00:51:54,960 --> 00:51:57,919
Speaker 1: like sort of sanity grounds like that is the case

1029
00:51:58,080 --> 00:52:00,799
Speaker 1: to make for Mark, What do you inc I also

1030
00:52:00,880 --> 00:52:03,680
Speaker 1: feel like, you know, if if Tom's claims that he's

1031
00:52:03,680 --> 00:52:06,719
Speaker 1: going to release fifteen EPs and four albums or whatever

1032
00:52:06,800 --> 00:52:09,040
Speaker 1: in one year, or any indication he's a hard guy,

1033
00:52:09,160 --> 00:52:11,279
Speaker 1: that's he has a hard time focusing on one thing.

1034
00:52:11,360 --> 00:52:13,680
Speaker 1: So I'd probably credit Mark and Travis too for being

1035
00:52:13,719 --> 00:52:17,120
Speaker 1: responsible for Blink being as prolific as they were at

1036
00:52:17,160 --> 00:52:20,160
Speaker 1: the time. Too. I feel like he gave some structure

1037
00:52:20,520 --> 00:52:22,560
Speaker 1: and and and and put some blinders on Tom in

1038
00:52:22,640 --> 00:52:24,600
Speaker 1: a way that Tom probably resented and felt like it

1039
00:52:24,680 --> 00:52:26,319
Speaker 1: limited him, but it probably made it so that they

1040
00:52:26,360 --> 00:52:29,280
Speaker 1: could actually produce the things that he was talking about.

1041
00:52:29,520 --> 00:52:31,960
Speaker 1: Otherwise would just be you know, I just see him

1042
00:52:32,000 --> 00:52:34,120
Speaker 1: like kind of in a studio with one of those

1043
00:52:34,200 --> 00:52:36,560
Speaker 1: old synthesizers with all the patch cords, just trying to

1044
00:52:36,920 --> 00:52:39,439
Speaker 1: figure out how I got one sound for six months

1045
00:52:39,480 --> 00:52:42,120
Speaker 1: of the time, like do wey Cox style exactly Well,

1046
00:52:42,520 --> 00:52:44,479
Speaker 1: Whereas I think on the flip side, if you're gonna

1047
00:52:44,520 --> 00:52:47,880
Speaker 1: talk about the pro side with DeLong, is that he

1048
00:52:48,520 --> 00:52:52,080
Speaker 1: is the one who probably made those records more interesting

1049
00:52:52,120 --> 00:52:54,360
Speaker 1: than they would have been otherwise. Like, there were lots

1050
00:52:54,440 --> 00:52:58,760
Speaker 1: of pop punk bands of that time, and we forgot

1051
00:52:58,800 --> 00:53:00,160
Speaker 1: about most of them. But I think one of the

1052
00:53:00,160 --> 00:53:02,359
Speaker 1: reasons that we remember blinkin E two along with all

1053
00:53:02,400 --> 00:53:05,520
Speaker 1: of their great pop hits that they had was that

1054
00:53:05,640 --> 00:53:10,400
Speaker 1: they did, I think, managed to progress beyond their initial

1055
00:53:10,960 --> 00:53:15,799
Speaker 1: formula and still be Blink Wuinnity two, but be maybe

1056
00:53:15,800 --> 00:53:18,200
Speaker 1: a more interesting version of Blink Winity two as they

1057
00:53:18,200 --> 00:53:20,640
Speaker 1: got a little bit older. And I feel like that's

1058
00:53:21,120 --> 00:53:25,319
Speaker 1: probably mostly attributable to Tom. I think ultimately with Tom,

1059
00:53:25,400 --> 00:53:28,799
Speaker 1: like all the negatives that exists with him are also

1060
00:53:28,920 --> 00:53:32,120
Speaker 1: his positives in a way, like his difficulty and like

1061
00:53:32,640 --> 00:53:36,960
Speaker 1: just his uh, you know, this sort of self destructive

1062
00:53:37,040 --> 00:53:42,080
Speaker 1: urge to constantly push beyond what they were successful at um.

1063
00:53:43,200 --> 00:53:44,640
Speaker 1: I don't know. I mean I feel like in retrospect,

1064
00:53:44,719 --> 00:53:48,600
Speaker 1: I mean it looks pretty good, you know, as maddening

1065
00:53:48,680 --> 00:53:50,880
Speaker 1: as it must have been to deal with it on

1066
00:53:50,960 --> 00:53:53,520
Speaker 1: a one to one level. Yeah, that's the same reason

1067
00:53:53,560 --> 00:53:55,600
Speaker 1: that I love Billy Corgan, even though I know he

1068
00:53:55,680 --> 00:53:58,640
Speaker 1: can be infuriating. It's you know, Tom. Maybe he's manic,

1069
00:53:59,760 --> 00:54:02,320
Speaker 1: he he's brilliant. Maybe he's just easily bored. I'm not

1070
00:54:02,320 --> 00:54:05,680
Speaker 1: going to speculate, but like we always have that one

1071
00:54:05,719 --> 00:54:07,480
Speaker 1: friend who just kind of over commits, and we'll look

1072
00:54:07,520 --> 00:54:09,279
Speaker 1: you dead in the eye and say yes, I will

1073
00:54:09,280 --> 00:54:10,960
Speaker 1: be there, I will be at your party, I will

1074
00:54:11,000 --> 00:54:14,040
Speaker 1: be at your show, and they know that they're not

1075
00:54:14,120 --> 00:54:16,160
Speaker 1: going to make it, they just just wholly over commit.

1076
00:54:16,200 --> 00:54:17,680
Speaker 1: And I feel like that's Tom. He just says this

1077
00:54:17,760 --> 00:54:21,000
Speaker 1: like hyperkinetic personality that keeps him bouncing around from subject

1078
00:54:21,040 --> 00:54:23,960
Speaker 1: to subject to project to project, and that brings a

1079
00:54:24,000 --> 00:54:26,719
Speaker 1: whole lot of great, interesting, weird energy to Blink one

1080
00:54:26,760 --> 00:54:29,560
Speaker 1: eighty two, but also is infuriating and it's really hard,

1081
00:54:29,680 --> 00:54:32,000
Speaker 1: like capturing lightning bugs, it's just like you can't actually

1082
00:54:32,040 --> 00:54:33,640
Speaker 1: get them there. And I feel like that's what Mark did.

1083
00:54:33,680 --> 00:54:36,560
Speaker 1: But by harnessing that, but a lot of the the energy,

1084
00:54:36,640 --> 00:54:38,440
Speaker 1: like you said, that made it different and more unique

1085
00:54:38,480 --> 00:54:40,120
Speaker 1: and separated it from a lot of the other pop

1086
00:54:40,160 --> 00:54:41,800
Speaker 1: punk bands of the era. Or it should be a

1087
00:54:41,800 --> 00:54:44,239
Speaker 1: little tom and Yeah, And I mean I just love

1088
00:54:44,320 --> 00:54:47,240
Speaker 1: anyone that's like, yeah, I'm I don't care how insane

1089
00:54:47,280 --> 00:54:49,000
Speaker 1: I look and how crazy I look. I really believe

1090
00:54:49,040 --> 00:54:51,200
Speaker 1: in this thing and I'm going to commit to it

1091
00:54:51,520 --> 00:54:54,120
Speaker 1: with all my heart and be a super passionate. It's

1092
00:54:54,160 --> 00:54:56,120
Speaker 1: like it's like a little kid with dinosaurs or something.

1093
00:54:56,200 --> 00:54:59,080
Speaker 1: You know. It's like, yeah, like you love your thing

1094
00:54:59,480 --> 00:55:02,080
Speaker 1: and go go for it. Man. I just yeah, I

1095
00:55:02,120 --> 00:55:04,920
Speaker 1: I all respect all of the UFO stuff that he does.

1096
00:55:05,120 --> 00:55:07,239
Speaker 1: I think it's really fascinating. I think he's done good

1097
00:55:07,280 --> 00:55:09,840
Speaker 1: work with that. Um. I know it's probably infuriating the

1098
00:55:09,920 --> 00:55:11,879
Speaker 1: fans of Blink one eighty two, but I I'm really

1099
00:55:11,920 --> 00:55:15,640
Speaker 1: fascinated by him. I think ultimately, like when we talk

1100
00:55:15,680 --> 00:55:18,040
Speaker 1: about these two guys being together, even though even though

1101
00:55:18,040 --> 00:55:21,480
Speaker 1: Blink Winnity two has been able to put out records

1102
00:55:21,520 --> 00:55:25,359
Speaker 1: and into tour without DeLong, I don't think there's any

1103
00:55:25,440 --> 00:55:28,799
Speaker 1: question that like the brand is worth more with him

1104
00:55:28,840 --> 00:55:31,080
Speaker 1: in the band than him being out of the band,

1105
00:55:31,719 --> 00:55:33,759
Speaker 1: and uh, you know, I just go back to that

1106
00:55:34,920 --> 00:55:36,600
Speaker 1: thing we talked about at the beginning of the episode,

1107
00:55:36,640 --> 00:55:41,239
Speaker 1: this tension between what blink when two is identity is,

1108
00:55:41,360 --> 00:55:44,239
Speaker 1: especially in their glory years, and what people want from

1109
00:55:44,280 --> 00:55:46,239
Speaker 1: them when they go see this band now, you know,

1110
00:55:46,320 --> 00:55:47,719
Speaker 1: they want to hear the hits and they want to

1111
00:55:48,080 --> 00:55:50,800
Speaker 1: sort of re experience a version of that band that

1112
00:55:50,840 --> 00:55:54,080
Speaker 1: they live when they were kids. Just at tention that

1113
00:55:54,160 --> 00:55:57,160
Speaker 1: creates when you're no longer in your twenties, that you're

1114
00:55:57,200 --> 00:55:59,839
Speaker 1: now a middle aged man and you have to sing

1115
00:56:00,040 --> 00:56:01,920
Speaker 1: the songs. I mean, it does remind me a lot,

1116
00:56:02,520 --> 00:56:04,480
Speaker 1: like I said before, of the Beach Boys. You know,

1117
00:56:04,520 --> 00:56:06,520
Speaker 1: I think there's a similar tension with with that group,

1118
00:56:06,600 --> 00:56:10,360
Speaker 1: where you know, you have these classic rock bands, and

1119
00:56:10,400 --> 00:56:12,480
Speaker 1: again I think link Winnity two is now a classic

1120
00:56:12,600 --> 00:56:16,480
Speaker 1: rock band built on a foundation of sort of youthful

1121
00:56:17,880 --> 00:56:20,800
Speaker 1: fun and frivolity and you know, just being young and

1122
00:56:20,920 --> 00:56:24,319
Speaker 1: stupid and then having to convey that when you get

1123
00:56:24,360 --> 00:56:27,400
Speaker 1: older and just the burden of that, but also the

1124
00:56:27,480 --> 00:56:30,239
Speaker 1: probability of that because I think again, like this is

1125
00:56:30,239 --> 00:56:34,640
Speaker 1: gonna be a band that I bet Blinky two will

1126
00:56:34,680 --> 00:56:36,719
Speaker 1: be one of those bands that can tour on their

1127
00:56:36,760 --> 00:56:39,040
Speaker 1: back catalog for a really long time. I really think

1128
00:56:39,080 --> 00:56:41,440
Speaker 1: that they had that kind of impact on people who

1129
00:56:41,520 --> 00:56:45,640
Speaker 1: were young when those records were big, And I think

1130
00:56:45,680 --> 00:56:48,560
Speaker 1: it's interesting that, like, I mean, I feel like neither

1131
00:56:48,640 --> 00:56:55,000
Speaker 1: one of those guys totally counts out the possibility of reunion, right,

1132
00:56:55,040 --> 00:56:56,680
Speaker 1: I mean, it seems like they both kind of leave

1133
00:56:56,719 --> 00:56:58,840
Speaker 1: the door open. Oh yeah, Mark, I think said in

1134
00:56:58,880 --> 00:57:00,839
Speaker 1: the interview recently it was like, yeah, never saying never.

1135
00:57:00,920 --> 00:57:03,200
Speaker 1: I think they both have said that. I mean Tom

1136
00:57:03,400 --> 00:57:05,400
Speaker 1: is usually saying I'm busy with all this other stuff,

1137
00:57:05,400 --> 00:57:06,920
Speaker 1: but I love those guys, but Mark has been a

1138
00:57:07,000 --> 00:57:09,600
Speaker 1: bit more forward about like, yeah, sure I do it.

1139
00:57:10,840 --> 00:57:13,239
Speaker 1: And I it's just so weird because I grew up

1140
00:57:13,280 --> 00:57:16,160
Speaker 1: listening to classic rock stuff primarily and didn't really engage

1141
00:57:16,240 --> 00:57:19,720
Speaker 1: with the radio too much, and so music that I

1142
00:57:19,840 --> 00:57:22,280
Speaker 1: loved as a kid always nostalgi just seemed to go

1143
00:57:22,400 --> 00:57:24,360
Speaker 1: hand in hand with music because that was the stuff

1144
00:57:24,360 --> 00:57:26,080
Speaker 1: I love. I listened to Simon and Garfunkle when I

1145
00:57:26,120 --> 00:57:28,800
Speaker 1: was ten, eleven, twelve, and so it's strange now that

1146
00:57:28,880 --> 00:57:33,040
Speaker 1: this music that I felt no real emotion towards when

1147
00:57:33,080 --> 00:57:35,680
Speaker 1: it came out, Uh is now imbued with all of

1148
00:57:35,720 --> 00:57:37,520
Speaker 1: this nostalgia. And I think of, you know, like you

1149
00:57:37,560 --> 00:57:39,160
Speaker 1: said that blank when you two is now going to

1150
00:57:39,200 --> 00:57:41,560
Speaker 1: be like almost like a boomer touring act in a

1151
00:57:41,600 --> 00:57:44,040
Speaker 1: funny way. And I think of my dad always sings

1152
00:57:44,080 --> 00:57:46,440
Speaker 1: the Neil Young song Sugar Mountain. For him, that's like

1153
00:57:46,560 --> 00:57:49,040
Speaker 1: his his his boomers getting older song of choice, and

1154
00:57:49,080 --> 00:57:51,440
Speaker 1: he always changes the line, you can't be twenty on

1155
00:57:51,520 --> 00:57:54,480
Speaker 1: Sugar Mountain to whatever, to whatever decade he's staring down.

1156
00:57:54,600 --> 00:57:56,360
Speaker 1: Now he's at you know, you can't be seventy on

1157
00:57:56,440 --> 00:57:58,840
Speaker 1: Sugar Mountain. And I'm just looking forward to like aging

1158
00:57:58,880 --> 00:58:01,280
Speaker 1: millennial singing no one likes you when you're fifty three.

1159
00:58:03,240 --> 00:58:06,560
Speaker 1: It'll happen sooner than you think. That's what I'm told.

1160
00:58:06,920 --> 00:58:09,760
Speaker 1: I think that's true for everybody. Well, uh, you know,

1161
00:58:10,520 --> 00:58:13,840
Speaker 1: hopefully Mark and Tom can find a way to stay

1162
00:58:13,880 --> 00:58:16,240
Speaker 1: together for the kids. There you go. I was waiting

1163
00:58:16,280 --> 00:58:19,240
Speaker 1: for that. This entire episode was a giant setup for

1164
00:58:19,280 --> 00:58:23,200
Speaker 1: a stay together for the kids joke. And on that note,

1165
00:58:23,240 --> 00:58:25,320
Speaker 1: I think it's time for us to send off. So

1166
00:58:25,520 --> 00:58:28,440
Speaker 1: thank you everybody for listening to this episode of Rivals.

1167
00:58:28,520 --> 00:58:32,280
Speaker 1: We'll be back with more Beefs and Feuds next Week.

1168
00:58:39,680 --> 00:58:42,160
Speaker 1: Rivals is a production of I Heart Radio. The executive

1169
00:58:42,160 --> 00:58:44,880
Speaker 1: producers are Shawn ty Toone and Noel Brown. The supervising

1170
00:58:44,920 --> 00:58:48,080
Speaker 1: producers are Taylor t. Cooin and Tristan McNeil. I'm Jordan's

1171
00:58:48,120 --> 00:58:50,360
Speaker 1: run Talk. I'm Stephen Hyden. If you like what you heard,

1172
00:58:50,440 --> 00:58:52,840
Speaker 1: please subscribe to leave us a review. For more podcast

1173
00:58:52,920 --> 00:58:55,479
Speaker 1: for my heart Radio, visit the I heart Radio app,

1174
00:58:55,600 --> 00:58:58,400
Speaker 1: Apple podcast, or ever you listen to your favorite shows