Calories in 1 McNugget = 47. Approximate caloric needs of a 200-lb sedentary man = 2700. 57 nugs per day = breaking even. If reducing calories by 3500 per week means losing 1 pound, then 50 nugs per day = lose 0.7 pounds per week. Like tears... in rain...
Bley?… Is that you? -RJ
WHO CAN JUST STOP EATING MCNUGGETS AT #57?! - Bley
The boys welcome comedian Nick Mundy to answer the question “when is it gloating to post pics of your hot girlfriend on social media”? Plus, Bley reveals the first time he tried to impress a lady with his cooking. GUESS HOW IT TURNED OUT?
That Feeling, You Can Only Say What It Is In French
The first part of this tale begins like few others do: There was a bus.
A few summers ago, I spent 3 and a half months away from Los Angeles sleeping on a bus, as part of a Summer tour. After the tour was over, the first morning that I woke up in my own bed I had no idea where I was. It took me a good minute to figure out what was going on; I woke up and looked around and thought to myself “Okay, I’m not on the bus. I’m also not in a hotel room. I’m in someone’s house… I’m in my house.” I went into the bathroom and missed the light switch. I couldn’t remember exactly how the shower worked. I was in a familiar place, but it was if I had never been there before.
The French have a phrase for this strange feeling: Jamais vu.
Jamais vu literally translates to “Never seen”; it’s the idea that you are seeing or experiencing something familiar as if for the first time. It’s quite literally the exact opposite of that other weird feeling we can’t quite describe but have all had: Deja vu. But unlike its opposite, there is a simple way to make yourself experience Jamais vu: Repeat the same word aloud over and over until it becomes nothing more than a strange sound leaving your mouth. Say the word “Lovely” 30 times out loud. See? A familiar thing being experienced as if for the first time. Jamais vu.
The second part of this tale begins like many others do:
Norm reveals his answers to James Lipton’s “Inside the Actor’s Studio” questionnaire.
Norm is one of my favorite comedians of all time - and it was a real honor not only to talk to him, but to actually get serious and talk about things that matter. Thanks, Norm. You are not only fucking hilarious, but a delightful human being.
On Thursday last week, I saw something on Tumblr: This post by Laughing Squid that advertised an “Interactive Puzzle Game” in NYC called Escape The Room. Now, I’ve always loved videogames, and things like Indiana Jones, The Crystal Maze, and LOST - so I was intrigued, to say the least. Plus, I happened to be flying to New York the next day, and this all made a certain sort of cosmic sense, so I reserved a time and booked a ticket.
I flew to New York and - after sprinting a couple of blocks so that I made it in time - showed up a minute before it began. The only issue: They were supposed to put me in a group with a bunch of strangers (they always fill all the rooms), and the strangers weren’t there. There were three different puzzle rooms; The Office, The Spy Agency, and The Victorian Room. I had booked the Victorian Room, and since the other five people didn’t show, they were going to put me in the Agency Room so that I could play with a group… But I didn’t really want to play with anybody else. And since I was super into it (real quote from my Cluemaster, Ken: “Wow. You seem… super into this.”), and I didn’t care if I didn’t solve it (only 22% of people ever do, and they told me repeatedly it’d be impossible to solve alone), they let me do it by myself.
It was amazing.
I’m not going to spoil anything by talking about specifics, but I’ll say this: I’ve always wanted to do something like this, but every time I’ve tried other puzzle adventure things, they’re always too easy and boring. This was intense, deep, frustrating, and super SUPER awesome. There were a lot of moments where I literally yelled “HOLY SHIT THIS IS AWESOME” and was blown away at the amount of effort put into the whole thing. The general idea of Escape The Room is that you are locked in a room and have 60 minutes to figure out how to escape, using clues and the environment. I was the first and only person to do it solo… AND THE FIRST AND ONLY PERSON TO WIN IT SOLO YEAH BABYYYYYYY!!!
As you can see, I made it juuuust under the buzzer - but a win is a win! Since I was by myself, I would read everything out loud to myself and try to talk through the clues out loud - and apparently, all the employees where listening outside the door and thought I was totally crazy, which is hilarious. And I got a bunch of high fives and “Holy shit!”s when I escaped, which was fucking sweet. Everyone who worked there was really cool and nice.
Again, I don’t want to spoil ANY of it for anyone, but Escape the Room was incredible. Here’s an article about it in the NY Daily News. If you live in NYC or are planning on visiting, I cannot recommend this highly enough. It was super fun. Thanks to my Cluemaster, Ken, the inventor of the whole thing, Victor, and everyone else for making something that I’ve been waiting to do since I was 12.
Next 12 year old dream to accomplish: Having sex with a woman.
The boys talk to their friend Ray about getting back into the dating life, and RJ drops the bomb about the time he traded sexy photos with a lady.The boys talk to their friend Ray about getting back into the dating life, and RJ drops the bomb about the time he traded sexy photos with a lady.
I've recently studied your story circle and by extension Joseph Campbell's Monomyth. I found it interesting that your story circle seems to incorporate Campbell's steps perfectly until you hit steps 6 (Take) and 7 (Return). Based on your Channel 101 tutorials, you state that step 7 includes both Campbell's "Rescue from Without" and "the Magic Flight" and occur after the return threshold. This seems out of sync with Campbell's stages, which occur before the return threshold. Thoughts?
By my interpretation, which could be flawed, I didn’t think Campbell was implying that every story includes a “magic flight” and a “rescue from without” followed by a crossing of the return threshold. I think he was suggesting that stories, in general, follow a path of descent and return, and that along that circular path, which [when complete] includes a return, the phenomena we see recurring from culture to culture include heroes being chased, being whisked away, etc. I assume he described those phenomena before describing the return threshold in depth because the return threshold is the more fundamental concept. As if to say, “be it by magic flight, which we see in these examples, or rescue from without, which we see in these examples, one way or another, the hero tends to return, so let’s discuss the examples and significance of returning.” I’m sure I was only trying to make the same point in my tutorials and if I confused you at all I’m sorry.
Campbell talked often about the futility of what he characterized as opacity in mythology. To brutally paraphrase him, a functioning religion (or story) is a window to something invisible, something all around us that we fail to “see” before a crafted frame says “look here.” It’s one thing to stain a window’s glass, to help us experience light, but when we paint the glass solid, by standing too much on ceremony, or by interpreting myth too literally, our story or religion will separate us from the unknown and each other rather than connecting us.
The ironic thing, or I guess the least ironic thing ever, is that Campbell’s wisdom makes a pretty great window, and his step-by-step analysis of mythology has come to be used as a “how to write” handbook or a “what all stories have to be” doctrine. But he never intended that, and he certainly wouldn’t have wanted some fat drunk college dropout boiling his monomyth down to a paint by numbers kit on the internet. The people that created and passed down our timeless stories didn’t do that. They followed their instincts, their fears and desires. They opened their flawed souls and let their gods shine through them. In the modern world, where writing is a recourse to revenue, we are pressured to short-cut the shamanism, like an aspirin company synthesizing tree bark. We attempt to bottle and sell simulated stories and religions, myths that may or may not be connections to the unknown but first and foremost make their deadlines and get our readers or viewers through the day. This is not a bad thing, I’d rather live in a world where a story can make me a provider for my family than a world where I’m just the slowest dishwasher.
But in these moments when we’re blocked, or in the moments we are staring at a board full of diagrams, moving characters and motivations around like chess pieces, trying to “solve” a story as if it were math homework, paralyzed by the academia, it helps to remember that any act of creation, whether folding a paper airplane, baking a cake or writing an episode of SVU, is, by definition, a religious act and a subversive one. We reach out with ape-like hands and filthy minds and we mock and challenge all that came before us by making something be there that was not there. We change the history of the world, we change who we are and we change everything that touches what we make, so we may as well also always change the rules by which we make them.
by now you’ve probably realized I’m not really just answering your question but am using it to deal with insomnia. But to try to bring this around to you, now that you’ve studied Campbell, you’ve got what’s important about it. Heroes go Somewhere Else and Heroes Come Back Different. Everything else is yours to interpret.
I clearly have no clue who edits those Jeopardy bits on Conan, but I'm watching Jeopardy right now and one of the answers (or questions I guess) ended up being "Who is Conan O'Brien" -- the question was something like "He hosted the Tonight Show for less than a year" haha anyway I'm sure they would be able to do something with that clip!
The mad genius behind the Jeopardy bits is none other than the incredible and super talented Nick DenBoer. Drop him a line! - Bley