3L1T3 (00:20)
Welcome back to Divergent States. I'm Elite, your host. Today we've got Reggie Watts, believe it or not. He's improv, music, was on the James Gordon show, know, host. It's just amazing stuff. But right now I've got Valerie Beltran back with me. How are you doing, Valerie?
Valerie (00:36)
It's going great. I'm excited to be here, start to talk to Reggie and looking forward to this.
3L1T3 (00:41)
Dude, it blew my mind. I explained, I'm gonna explain to him and talk to him, we'll probably bring it up that I met him backstage at Psychedelic Science and was just like, holy shit, that's Reggie Watts. Dude, it's amazing.
Valerie (00:53)
Yeah, I'm excited. He seems like such an approachable dude and anytime you can talk to comedian musical genius like this, it's great day.
3L1T3 (01:03)
for sure. Like, yeah, just to pick his brain and to be able to kind of go over his creative process and talk about, you know, how he uses psychedelics to kind of go into that and, you know, pick his brain on some other stuff. we're going to take a break, take a listen to more sandbags. He's got his new EP out now. You guys check that out. We're also today, we're going to be doing quite a bit over on the Patreon. So if you want to hear the whole conversation, go to patreon.com/DivergentStates. Sign up there. You get the full conversation.
So yeah, we're going to sit back, listen to some music, and we'll come back and talk to Reggie.
All welcome back to Divergent States. We're here with Reggie Watts. How you doing, Reggie?
Reggie Watts (02:35)
I feel like I'm doing good.
3L1T3 (02:38)
Nice so I met you at psychedelic science 25 first time and we're supposed to do the interview a little while back But you had to go like do a show in England. How'd that go?
Reggie Watts (02:47)
That's correct. I mean, I did several shows. I did like four five shows. And then some shows in Berlin as well. It was great. It was like super cool. Yeah, really beautiful. Yeah, no complaints. Always adventure, for sure.
3L1T3 (03:03)
That's awesome. Yeah, I think how we kind of met, were talking, I heard you, saw you over at Psychedelic Science 25. I was backstage and I looked over and I was like, holy shit, is that Reggie Watts? So had to come up and kind of introduce myself and say hi. But you were mentioning something. You were talking about saffron, mixing saffron in your mix. Yeah. What was that about?
Reggie Watts (03:27)
that was about, there's just a product called MTE that I'm, going to be working with and they use a saffron. I think it's like, either a derivative or it's like a synthesized version of saffron. I'm not totally sure, but I think it is saffron though, because I remember he was saying that the, you know, that the supply chain is something they're looking at. And so I imagine it would probably be actual saffron. Anyways.
Yeah, it's kind of used for like alertness and kind of energy ish stuff, but it also synergizes really well with psychedelics as well
3L1T3 (04:00)
Nice, yeah, I'd heard something you talk a little bit of like a ketamine mix that you like.
Reggie Watts (04:08)
Yeah, exactly. Yeah, like that. mean, it depends. know, the ketamine, sometimes it amplifies the effects of ketamine in an interesting way. I don't know if it's consistent, but I've had a few instances where that's been true. So I'm trying to figure out how you can kind of create that experience more consistently.
3L1T3 (04:34)
Nice. Did you use psychedelics mainly like do you use it in your creative process?
Reggie Watts (04:40)
yeah, guess so. mean, at times, know, dissociatives are really fun to create on. you know, I definitely have jammed on acid, I've jammed on mushrooms. know, I can jam pretty much in any state. It doesn't really matter. They all yield different results.
I don't know. I don't know if there's a favorite. At this point, I'm definitely drawn more to dissociatives than straight up psychedelics. But yeah, it doesn't really matter. I love dissociatives, but also I've had really great jam sessions on mushrooms and LSD and 2CB. I don't know if I've ever really jammed on MDMA, but I'm sure I always find a way to play in any state. It's more about like, well,
How does the state work with what we're doing? I don't think there's really an advantage. It's just that they're all different.
Valerie (05:34)
Do you feel like there's something about it from more solo versus like with other people?
Reggie Watts (05:40)
⁓ No, not really. think they're all great. ⁓ I think, whether I'm creating by myself or whether I'm creating with other people, it equally bears the same really good results, interesting results. At the very least, interesting. these states put you in a place where you're more forgiving of expectations or like, you know.
judging the quality of what's going on and so forth. So I think all of these substances kind of remove that from the equation and that's kind of one of the inhibitors of, you know, good creative flow.
3L1T3 (06:21)
Nice. Obviously a part of your, you it's well known, you know, the improv is life, you know. Do you see that, like psychedelics helping that part of it? Kind of opening you up to the possibilities and contradictions of the universe?
Reggie Watts (06:36)
Yeah, mean, for sure. Yeah, mean, psychedelics definitely, I mean, if anything, it's kind of like destructures, again, it kind of destructures your expectations. it's...
Yeah, that's kind of the vibe of it. It's more like, let's kind of level the playing field a little bit and let's get the egos out of the way a little bit more. It doesn't totally get rid of ego, but it definitely makes people a little bit more open, usually, ⁓ and that's always helpful.
3L1T3 (07:12)
Yeah, I agree. It's one of those, like you said, it's the great equalizer. It kind of knocks everybody's ego down. Puts you on that same level playing field. So what do you think about the mainstreaming in psychedelics right now?
Reggie Watts (07:25)
⁓ I mean, it's cool. There's more knowledge about it. There's more acceptance of it. You're seeing some pretty recognizable people talking about their experiences with ayahuasca or DMT more openly. ⁓ So I think there's definitely a normalization of self-exploration with psychedelics more than any other time in human history, for sure. I mean, aside from like...
ancient times when there was less of us and we were all kind of fucking around with shit.
3L1T3 (07:58)
Right. if we could go back in time and think about, know, where would you trip What would yours be if you could go back in time and, and trip with other, you know, some ancient person or some culture, do you have a, have any idea what that would be?
Reggie Watts (08:15)
I mean, no, not really. mean, they're all, they would all be pretty trippy. ⁓ I don't know, maybe the Sumerians or something like that, you know, to try go back as early as possible.
3L1T3 (08:29)
Right.
Valerie (08:30)
What about going ahead in time? I feel like we've been talking a lot about the past and everything, but I mean I would love to just zoom forward like Star Trek generations, like feeling when all the aliens, when we're all integrated and living at peace and like what is that world like? I would love that.
3L1T3 (08:46)
feel like.
Reggie Watts (08:47)
Yeah,
mean, yeah, of course. mean, I'm a huge, ⁓ you know, I'm a giant fan of the eventuality of humankind. And I think like, there's definitely something to be said for, you know, imagining that. you know, it's like, essentially, when you are tripping, that's kind of what you're coming into resonance with anyways, you know, you're kind of
Yeah, you're imagining timelessness, essentially just the infinite moment and what that feels like. Yeah, ⁓ anyways, that's how I view it. So yeah, it's automatically included.
Valerie (09:34)
Do you feel like that, like tapping into that infinite moment, like you're describing that you can access in psychedelics, when you're doing other creative things, like being musician, being this creator, do you tap into that naturally? Without psychedelics?
Reggie Watts (09:48)
I'll
say that again.
Valerie (09:50)
Like that kind of, that feeling that you get into on psychedelics, do you tap into that, like that flow state? Does it feel similar? Like I'm not an artist, I'm not like a creator in that way, like I'll write or I'll dance and I can get into a flow state that's kind of similar to what I experienced in psychedelics, but it's still slightly different. And I always wonder people who are like so creative like you, do you access that kind of like psychedelic state when you're sober but creating?
Reggie Watts (10:19)
Yeah, I think so. mean, it's, know, taking psychedelics only exposes what already exists, you know, it's just, and so music and, you know, music and arts, you know, anything that puts you into a flow state that is hyper related ⁓ to do that. I mean, it's, you know, it's ⁓ trance like states, flow states, those are all related to what psychedelics feel like with, you know, in psychedelics, it's like you're
making it easier for the mind to just kind of go into that state because it's you're removing ⁓ elements of ⁓ self-editing and self-observation and so it's more of an outward experiential perception as opposed to you know having some awareness of how you look or how you feel or how you might appear to others and things like that. So music can definitely do that you know depending ⁓ because music can also
be very ego based too, like not necessarily in a bad way at all, but just like it's very self aware of what it's doing, you know, what someone's doing, things like that. But like trance, like music's like, you know, traditional Indian music, Raga music, or having a jam session where you're really just kind of going into something and really listening to rhythm and like communicating with one another, you know, or even playing by yourself. It's like, you can definitely get into that state for sure.
3L1T3 (11:43)
Right, I think that's a very good observation that that flow state, as Valerie was saying, you feel that when you're on the psychedelics and tapping into that creatively, tapping into that. Yeah, it feels similar. It's very similar. I do some art, do glass, and I noticed...
Yeah, that I'll kind of tap into that flow. I love watching flow arts, which helps with psychedelics. ⁓
Reggie Watts (12:11)
Yeah.
3L1T3 (12:14)
so when you let's see. so is there any particular substance you feel most aligned with artistically?
I don't get many people's initiatives.
Reggie Watts (12:26)
Yeah, dissociatives are probably the ones for sure. I think it's they're the most interesting to me. And they tap into this kind of like, like a hyper infinite, you know, collective conscious, diagnostic, computational, you know, vibe. And I think it's super useful. find like, LSD is super great.
for experiential, like pure experiential things. And it's really, kind of, you're kind of more experiencing things in the moment, like you're just kind of really in the moment. Whereas dissociatives, it's like you're you're just associating from your physical body. So it's kind of like a drug induced float tank. You know, it's a little bit more of that feeling where you're in a void where you have a lot of, or infinite space to really think.
about things or experience slash think about things. And so I find that really cool. And then of course there's like there are many types of dissociatives and they all have different feelings, different feels to them so forth. And then even within each dissociative, it's qualitative to the way it's, you know, generated, the way it's synthesized and stuff like that. you know, it's just an interesting thing. And plus dissociatives mixed with psychedelics is really cool. Dissociatives mixed with...
you know, anything the amphetamine camp that can also be really interesting, MDA, MDMA, 2CB, 3CB, you know, or sorry, 2MMC, 3MMC and 4MMC. ⁓ Those types of things like they're, it's cool that it basically mixes with everything. It's ⁓ it's kind of like a really cool because it's like you're experiencing the experience of the drug that isn't
that dissociative and you add a dissociative to it and then have like this, you're removed within that and then sometimes I'll even fuck around with, I'll wear the Apple Vision Pro and I'll put on the Apple Vision Pro while I'm on a dissociative. it's so cool, it's like the weirdest feeling because you you're looking at that pass through, you know, you're looking through the pass through into the real world, but of course it's like narrower, you know, and it's got a video.
out in a look to it. But you're still able to operate really dexterously, you know, like you can reach out and grab things and you're pretty accurate where you're reaching and grabbing for stuff. So you can kind of forget that you're wearing it a little bit. And there are these moments where you kind of forget and then you're like, you're like, I'm to put a graphical overlay over reality, you know, you just like hit a button and then these icons come up. And there's something really hyper futuristic, but also super existential and
So yeah, so I love dissociation. Dissociation is really cool. I think it's to me the most intriguing, the most interesting of the drugs that I've experienced. Aside from 5-Meo DMT, which is the master kind of reset, you know, or the defraggers ⁓ for some people, you other people it goes into like a pretty specific reality that they experience.
But I find that in my experience it felt like it completely just reset all the domains. It just defrag the drive and kind of realigned everything and put all the files back in. Not even like files, but it just felt like it was a reset of so many recursive, fear-based things inside of my head or whatever, or inside of the mind or however you want look at it.
3L1T3 (16:12)
Yeah. We used to, when I used to dabble with dissociatives, was, um, we almost always, was NOS, Hippie crack. Um, and more of a landing gear down from acid. Like, you know, eat a few hits and then just start hitting that Hippie crack towards, you know, as we're coming down and bringing it right up to that peak again. Just kind of, yeah. Yeah. Yeah. Right back to the. Yeah. Yeah. We took a couple of bong hits and you know, or vape a little bit.
Reggie Watts (16:34)
And THC does that too.
3L1T3 (16:40)
Go right along with it. Yeah. Yeah. That's it's a cool combination. It really is. It's. But yeah, you do get those recursive loops and that you really get a view of the infinite within that kind of psychedelic disassociative space. So yeah, I get that.
Reggie Watts (16:57)
Yeah, yeah, it's a wonderful thing to feel because it's feeling is remembering in many ways, you know, so it's just reminding you like that's the base reality. The base state is that everything else is kind of like a, you know, a constructed reality around it. Right.
Valerie (17:16)
Yeah,
my favorite terms I remember I read I think probably I remember where I first came across it was the idea of an amnesis like an amnesis like amnesia An amnesis it's like the opposite of amnesia. So it's forgetting the forgetting It's like we've forgotten like our true being like who we actually are the core the foundation of everything We forget that in daily life and so on a psychedelic
We forget that we've forgotten and we're returned to that core truth.
3L1T3 (17:46)
I like that.
Reggie Watts (17:47)
Yeah,
yeah. And by, you know, and by collective design, I think, because if you want to create a reality that you can simulate within, like if you know, an experiential reality that's in within that reality, because of your Yeah, ⁓ when you're in the reality, but but but you want to make the reality persist and hold together. It's like you need everybody to kind of forget what they are, you need to you need to kind of like believe you're assigned character.
you know, the role that you've like kind of co-create in reality from your, you know, your genetics and being born where you're born and you know, all the nature stuff or whatever. But then there's the one thing that's just like, all like, we're all from the same, we're all the same consciousness, but we're experiencing, you know, different versions of this collective reality together. So it's like, you have to have, if everyone remembered that it wouldn't be no need for this. This would just like.
Valerie (18:43)
Yeah, it's so amazing that you create on psychedelics with other people. I think that the whole process must be fascinating to be able to have all of that drop away, get back to that core of like, we're all just connected, creating that space. But then when you come out of it, egos start coming back online again, how do you look at what you've created and still stay on the same page?
Reggie Watts (19:06)
You mean like after we've?
Valerie (19:09)
Yeah, like if you're like, yeah, like if you're with people on a psychedelic, you create like some track or something, you're writing something, creating, and then your egos start coming back online as you sober up and you're looking at the thing that you've created together. Like, I'm sure there must be disagreement around like, is this even good? What were we talking about here? We don't want to put this out there. How do you deal with that?
Reggie Watts (19:31)
Yeah, I mean, sometimes there's that. Most of the time, you know, in recent years, I have a project called Nazzle that ⁓ is like me and three other friends and we did, all improvised live kind of sound system, like electronic music. So it's like, you know, ⁓ essentially like someone's handling drum machines. So they're essentially like the drummer. then ⁓ another friend is like doing like synthesizer, arpeggiation stuff. So he's kind like the keyboardist slash.
bass player a little bit. And then I'm a vocalist, but I also have some keyboard stuff. And then the other guy is has all of us running through his mixing console, and he's adding effects and mixing live and like doing delays and stuff like that, kind like dub music. And, you know, we recorded, I don't know, probably like, at least like 30 hours of music, you know, just jamming, and then doing live shows and so forth. But every time we listen to stuff like
70 % of it is usable. Like you could just take it as it is, master it, you know, just kind of sweeten up the sound a little bit and like, people would be and ultimately like whatever you release is whatever you release, is nothing that's like this is releasable. This isn't really like that's like whatever who the fuck cares about that there's no, that's not the quality. It's like, what do want to transmit? You know, it's like, what do you what do think people will want to hear? And yeah, and so anyways, point is like,
⁓ a lot of that is usable. it's not really like, like we never, I don't think I've ever listened back to something and have been like, ⁓ that's, ⁓ you know, it's more like, it's something that happens. And it's like, I don't need people to necessarily hear that. Or, or maybe we do keep it in because it's like something kind of real feeling, you know, and you see the evolution of this idea that kind of started shakily and then ends up in this like really cool locked in space, you know, so
Yeah, I guess most of it is just deciding like what to do with it. And a lot of times nothing gets done with it. It just gets archived. You know, we just have like tons and tons and tons and tons of music. And then we, hope someday something will be done with it. you who knows?
3L1T3 (21:41)
Right. Do you think psychedelics help loosen control or sharpen your focus?
Reggie Watts (21:47)
I mean they can do both, know, psychedelics really, it depends on the mindset of the people using it, know, it depends on the intent and the desire of the...
Yeah, just like what you think will be the outcome or even the feeling of it or whatever. It really depends on that. ⁓ yeah, I mean, I think when you're intentionally doing psychedelics together and you're going to do music together, most of the time people are doing it willingly and they're excited about it. So ⁓ it starts there and it's almost always good because everyone has the best intentions, you know? And also like if it's not grooving then like...
it's cool if your level of communication is like, this do we need to like, know, should we take a break or you know, whatever or no, let's just try something completely different. You know, it's like, let's, let's stop what we're doing. And let's do a completely different way of approaching, you know, the way we're doing this creatively. So it's all about the mindset of like, being open that that anything is great. You know, that anything that's produced is great, it's all usable. But it depends on your mind.
your mindset. you might hear a really shitty drum sound and you'll be like, now, you know, some people will be like, don't like that. I'm just gonna take a little bit more time and find a better drum sound. Or it's a shitty drum sound. Like, yeah, it's kind of, it's kind of shitty, but I'll keep playing it. But I'm going to add some effects and I'm going to like EQ this a little bit off and then I'm going to like purposefully kind of lean into it, you know, and then add another thing that blends into that context, you know, so it's more
psychedelics, think, open those possibilities. mean, the only time it wouldn't really work is just if someone's not having a good time on psychedelics. But music, if they're a musician, generally music or even movement, like dancing, whatever it is that you do that is real-time performative, ⁓ it's self-aligning. You're breaking into the number of hours that you've spent working on your craft.
doesn't just disappear. When you go on a psychedelic, it's still there. So you've got that. And if you start there and you're in psychedelic state, even if it was feeling dark, you could shift it very, very quickly, very easily. Especially if you're with other people that also love to jam. You'll equalize, you'll balance each other, your energies will take care of each other.
Valerie (24:18)
one thing I was really interested about it. I'm a therapist, so obviously I'm really curious about like some of those like darker, deeper emotional states that can come up. Knowing psychedelics are really great at bringing up all of that unconscious repressed material. So if you are in the creative space, especially creating with other people, and you do have some of that darkness come up and you're creating from that space, and maybe it's not the same space as other people are creating in, that's what you kind of answered that. But I'm so curious about that experience.
Like how that's held, how you respond to that in the moment if something starts creeping in that maybe feels uncomfortable or scary. Like, do you just let it flow? Do you try to change it? Do you speak to it? Like, what do you do with
Reggie Watts (25:02)
Yeah, you mean when what comes up?
Valerie (25:05)
Like difficult emotional material.
Reggie Watts (25:08)
⁓ well, when you're creating it's that stuff, doesn't, it's not classified as that. think oftentimes, if we're talking about like, talking through an issue, ⁓ is a different way of seeing something than feeling through an issue. feeling through an issue, ⁓ like talking can bring up awareness and, and it's there, but I feel like feeling is really the way where you
resolve because now you're encoding more understanding in the totality of your being rather than a logical ⁓ conceptual ⁓ part. know, it's like, this is a concept and now I'm going to try to apply it in my life and see how it becomes embodied as opposed to an understanding of something that is not that I'm in a loop about and it's causing me distress in whatever way manifestation and ⁓
and then you dance, know, it's like you like talk about it and then you just move inside of an environment of music on perhaps a dissociative or something like that. And you start to develop new understandings and connections to your body. And then when that party, when that, when that concept is in mind or it arises, it then just gets transmuted energetically. So it's it's a rapid way of solving things. It's not like it won't necessarily work that way for everybody because some people's
gravitation to ego and identity is so, strong. It really has a hard time letting go in that way. So, you know, all modalities are important. But I think like for me, I've discovered that movement ⁓ and performance music, know, like feeling music, ⁓ playing music, that kind of stuff, it really healing very rapidly.
Valerie (26:59)
No.
3L1T3 (27:00)
Beautiful. Yeah, for me, it's usually like dance and go to a dead show and just dance and just let it go. Yeah. Channels that energy like, and then yeah, that was kind of one of the questions thinking of, do you see it as channeling or just free flowing for memory? And you kind of already answered that it's, it's a little of both. You're kind of channeling that flow and keeping that muscle memory. And as long as you do that, I think that's important with psychedelic trips too, kind of that, that as you're doing that.
You remember, you've got that muscle memory and keep it going. You can also kind of help, guess, keep you feel stable. Yes. You know what I mean? Yeah. base.
Reggie Watts (27:37)
100%. Yeah. And you're giving yourself permission to be yourself, right? You know, in a, in a public space, you know, which is a type of vulnerability. And you know, that is incredibly empowering, you know, to all of yourself, you know, you're just like, I'm just gonna fucking do this. I'm gonna take advantage of this moment. I'm gonna fucking move inside of this. That's what it's for. That's what this moment is for. So why wouldn't I do that? You know, like giving yourself permission to be who you are, you know, hopefully all of the time is the goal.
⁓ you know ⁓ that's yeah that's that's true like liberation that's that's freedom you know and that's also infectious for other people to see it ⁓ fuck so i love that you're like yeah you love that because you are that
3L1T3 (28:17)
Right.
Yeah. Yeah. No, no, I've had kind of the same experience. And part of that also, like giving your self permission to even just have fun. Like, oh God, yeah, I was, uh, I went to the dead show in Santa Clara back on their 50th. This was like 10 years ago now, but yeah, that somebody had supposedly was Owsley. And I was like, well, then they're like, look, this is the dad's 50th show. You're really not. I was like, no, you're right.
So yeah, just give yourself permission to have fun, to kind of relax and to be yourself. I'd love that.
Reggie Watts (28:56)
Yeah, yeah, even if it leads you to a dark outcome, like the level of appreciation should be equal to like something that's perceived as favorable. Right. mean, it's all.
Valerie (29:06)
being true to what
3L1T3 (29:08)
Yeah, right in the way of wherever it goes.
Reggie Watts (29:12)
Exactly. Yeah, you trusted yourself. It's not like it's too binary to be like, well, if it's this, then I'll reward myself. And if it's this, then I It's like, it makes sense that if something's unfavorable, someone would be like, fuck, that's fucked. Don't do that again. I totally make sense. But after a while, when you realize that's not solving any, it never solves anything, never feels like it adds any value, like that kind of self critical. And then you realize like, no, just me making a decision at all is satisfactory for me. And the bonus is like,
the more I keep practicing, better, generally better things happen.
3L1T3 (29:47)
Right. Exactly. So do you see psychedelics more as tools or collaborators?
Reggie Watts (29:55)
I don't know. mean, I think that again, I think just because a little I'm a big well, I'm a big fan of paradox. You know, I think paradox is the only certainty in reality. ⁓ And, ⁓ and I think that that's all things are paradox because we live in a binary reality. So there's always an antithesis perspective to anything. ⁓ And, but realizing that something is both.
3L1T3 (29:59)
You know
Reggie Watts (30:23)
simultaneously, it just depends on how you want to receive it. How do you or how do you want to perceive it? ⁓ I think is the question. And so that's why like improvisation is great, because you can see someone might see something one way, but you're seeing it their way, but also three or four other ways. And that's, that creates a lot of freedom in the mind. And when people like, this is terrible situation, you're like,
Is it a terrible situation? know, they're like, no, it's a terrible situation. like, oh, I should just like lean into that reality. Okay, cool. I'll put all my chips there. You know, it's like, but like once you, the more you become aware of the silliness and the absurdity of life, it's really hard to just do that anymore. Like it's hard to like really limit your viewpoint based off of fear. Cause it's a definitely a fear based scarcity viewpoint.
mindset, you're like, if we don't do this, or if we don't get this right, that'll be the end of it. It's like, there'll be no hope for, you know, that kind of talk. It's like, it's interesting, but it's like, to me, I'm like, I think it's obviously aside from like an acute danger or something like that, but like, it is humorous.
100%.
3L1T3 (32:00)
Yeah, I agree. Yeah, that's great. So that's where we'll leave it for the public feed. But Reggie, Valerie and I are about to go deep and get weird for another 45 minutes or so on Patreon. If you guys want the rest of the full unfiltered conversation, head over to patreon.com/DivergentStates.
Reggie Watts (32:14)
you
3L1T3 (35:04)
All right, So that was ⁓
There was so much that he just like, yeah, there was just so many broad topics. It was hard to keep up all the time. like, and I tried to keep it kind of more free form. I just had like a little bit of questions that I, you know, and there's a couple of places I kind of forgot, but luckily I had those. yeah, he, I just, it was really, you're right. You know, you mentioned something in the intro. You said, it's just a real approachable guy. seemed like, he was just like hanging out with a good friend. It was really cool.
Yeah, it was awesome. Yeah, thank you guys. You guys want to hear the whole episode? Go ahead over to Patreon, patreon.com/Divergentstates. Give us a follow, whatever you're listening on. Join on YouTube, Spotify, Apple Podcasts. We're on all of them. So you guys, come on, join over there, and we'll talk to you later. Have some fun.
Reggie Watts (36:36)
you
