The Daily Show: Ears Edition - TDS Time Machine | Rock Stars - Pt. 2

Episode Date: November 9, 2025

Rock & Roll will never die. At least, not before part two of our look back at rock star guests on The Daily Show. Jon Stewart interviews legendary figures Neil Young, Dave Grohl, and Willy Nelson and talks porn stars with Moby. Trevor Noah deep dives with TDS favorite Bruce Springsteen. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Get no frills, delivered. Shop the same in-store prices online and enjoy unlimited delivery with PC Express Pass. Get your first year for $2.50 a month. Learn more at pceexpress.ca. You're listening to Comedy Central. Please welcome Neil Young. Neil. Neil!

So great to see you. Thank you so much for coming on the program. Thank you. Thank you so much for coming on the program. The film Heart of Gold is wonderful. You know, you've done different concert films. Is this one your favorite? Well, you know, I have a lot of different kinds of music I play,

so this is my favorite one that I've done. Really, I think it's more than, it's like a personal moment between me and the audience, like I used to be able to have when nobody knew who I was, when I was playing for 15 people, and where I had to explain everything to them, every song, and kind of introduce myself. So in that respect, it's really great, and I love the whole thing.

But there are a lot of, or at least a few people who like my other side of my music, and this film has totally turned them against me. There's maybe about 400 of them in the United States and hate me because of this film. Really? It's just too nice. They want the crazy horse, Bob.

They want the- Worse than that. They want way, they want the minus. Yeah, right. Yeah. Yeah. Why Jonathan Demi? Why not Bernard Shaky to direct this film?

Well, you know, first of all, Jonathan, he's just a master. I didn't have to worry about anything. I had to worry about zero except playing my songs and trying to sing them. And there were so many new songs in the film. The first ten or something are new. So it was easier for me to focus on playing these songs for the first time for people that had never heard of me before. The record wasn't out. And making the film was, you know, he wanted to do it.

He called me up and he said, I really want to do something. And I said, well, I got these songs and I sent him a list of the lyrics and everything. And he really liked him. So I said, let's try this. And over the period of a couple of months, we figured out how to do it. Can you imagine if you send him the songs

and he calls you back and goes, nah, I don't really want to do it. No, he ought to try to get Bernard Shaky to do that one. Bernard Shaky? Yeah. The famed pseudonym? Yeah. Did you enjoy directing? Your own separate directing?

I feel like the pressure of it was you couldn't focus on what you wanted to focus on. Well, you know, I really like directing things that I'm not in. Really? Yeah, because it's easier for me to direct other people. It's hard to be objective. I mean, congratulations on your Oscar, by the way. Oh, thank you. Thank you very much.

I appreciate that. You know what I'm going to do next time? Next time I'm going to direct that show and not be in it. It'll help me focus a little bit. That'll do it. You talked about it's, you like the intimacy, and you miss the intimacy of that. You know, and it's been a lot of years since you've been in unknown. Is there a way to recapture that in any way?

Oh, gee, I don't think so. I wish there was. Do you find, though, that even amongst larger audiences, the affection for you is so great that that brings in intimacy? Like, does that compensate for it? Except it's a celebration. It's not like they don't know who I am. That moment where people don't know who you are and you're playing for them for the first time,

that's just like the first time in anything, you know, it's good. It's wonderful. And do you feel like there are times you want to earn it again, or it's that? I do like to do that. That's why playing all the songs that they'd never heard before was so important to me to a crowd that had never heard the songs, and a record had never even been out. So playing nine songs or ten songs in a row that they'd never heard, that's a real challenge. And to me, that's reaffirming that I still have something to do.

If I'd gone out and just done 20 old songs, I would not be really happy with myself. Do you write in the same way? Do you still feel the same sort of inspiration, the same sort of drive, or are there times where it's like, yeah, let me just write a song right there? Here's one now. No, no, it's not the same, but I really like to get to a place where I'm totally out of touch, which isn't too hard for me. It starts falling off along.

And when you do that, that's when the best stuff starts to... That's right. That's right. When I'm not thinking about it, if I want to write a song, if somebody's going, Neil, you haven't written a song in a year or whatever, you've got to write a song. I can't do that. But when they come, they come really fast, and I enjoy that. I'm like a vehicle, and it comes to me, and it goes through me, and I get it out there.

You know what I love is the dog king. Oh, yeah. Yeah, yeah. That's one of my favorites. You still, how old was King when King went? King was about nine. What kind of dog? It was a blue-tick hound, the Tennessee Blue Tick.

Tennessee Blue Tick. And truly the best dog you ever had? Great dog. We have some dogs now. I could... Carl, if you're watching. This is... That's the show.

You feel Carl would be upset if you talk too highly about King? Maybe, yeah. But he might be confused because King's real name was Elvis. So I tried to soften the blow. I think that was wise. Yeah, yeah. So when you get home, you think Carl just might be sitting there in the yard like this? Could be.

Fetch this. Yeah, right. That sort of thing. Well, Hart of Gold is in the theaters now. It is truly just, it is, like you say, it's an intimate experience with your music and it's a wonderful piece to watch and I really enjoyed it.

And it's lovely you to come on the show. Thank you for having me. My pleasure. Neil Young, everybody. Welcome about my guest tonight. The Frontman of Food Fighters, his HBO series which he created and direct is called Food Fighters Sonic Highways. I looked at my interview with Steve

like the message of this entire project. We're all connected by something. Maybe it's a river that runs underground. Maybe it's Woody Guthrie. Maybe it's Chuck D. Whatever. That conversation became my goal. I want to talk about these people. I want to talk about music. But I want to get to this. Nice. Please welcome back to the program. Dave Gold! How are you? I mean help you down. Good?

All right. Thanks. I know it's hard. I know it's hard. It's hard. What's happening? How are you? I'm good.

I love this. This series is, it's just wonderful. Thanks. It's wonderful. Thank you. And it's old school. old school, but in the best possible way, without that patina of kind of goofy nostalgia, but of what made the music in the cities you went to so vital. I don't know how you avoided that

trap, but you did. Well, you know, part of the, um, part of the idea or the intention was to inspire the next generation of musicians to fall in love with music just as much as we did. So as much as I was, as much as I was digging into the history of American music, I was trying to, to make something that would inspire kids today to want to continue and do the same thing. By showing these stories that are totally human, you know, like if you look at any of, what, all of these people have one thing in common

is that at some point in their life, they were inspired to follow their dreams and make something of it. And whether it's Buddy Guy or Rick Nielsen or Chuck D. or Ian Mackay, whatever, it is. At some point in their life, they caught that spark and they're like, okay, this is what I, this is me and this is what I want to do for the rest of my life. What I thought was so good about what you capture is in each of those interactions, in each of those cities, there is a moment

where you're with them, where you feel that spark. Not only is it about exploring it, but you feel that electricity. There's that moment, and maybe it is for musicians, that feeling of when you're, you've connected on that artistic level, and suddenly it starts to crackle. Yeah. Well, A lot of the, also, like, I interviewed about a hundred people. Yeah. And when I would sit down to interview people, I didn't, I didn't have questions. What? I didn't hold questions in my hand.

You think I did that? Yeah. What is that thing for right there? I'm like you, man, I'm fucking rock and roll. I know you are. I know, I know. But they became, there were conversations that then turned into lessons because there were things that I just didn't know.

And so when I would talk to someone about the blues or jazz or cruncher or Nashville. There were just things I didn't know. And I would sort of imagine myself as the viewer, because they'd say something that would totally blow me away. And I just think, okay, I got to use that because people need to know that that's how it works, you know? Turning that into the creative process, what's so unusual here as well is in terms of songwriting. So I'm sure you have ideas in your head and there are fragments of ideas and melodies and things, but you're saving the lyrics in these cities for when you're right before you're about to record. So basically what we did is we went to each city for six days. First day we'd load in all the equipment, the next day we'd

get the microphones up and we'd start recording. By the end of that day, we'd have a drum track and some guitar stuff. And then at night I'd go interview someone. Then the next day, do some more guitar stuff, percussion. Then I go interview people. I did that for four days. And then on the fifth day, I'd take all of those transcripts home, and then I'd sit down and I'd pick out words and sentences and phrases, and I'd put them on this side of my journal. And on this side of the journal, I had an outline of the song. And I would just sort of cut and paste because the idea is that the finale of each episode

is a performance of the song that you've seen us putting together. Right. And we perform the song and you see the lyrics on screen and you recognize all of these lyrics from references that you've just heard in the episode. No, it's a remarkable.

I didn't realize the process was six days. I'm just going to, on the seventh day, I'm going to assume you rested. And the respect and love, you know, it made me yearn for that type of camaraderie. Comedians have a camaraderie, and you go in, but I don't know that they necessarily have those types of regional flavors or the types of within music that sharing of influences. You don't often see like, yeah, I sat down with a prop guy, you know, I'm a Carlin guy, and I all we, and we came up with something beautiful. Like, that ability to collaborate seems so inviting. Well, communities are really important.

It's different now because everything's so interconnected. It used to be that these places were isolated somewhat, that you would have regional sounds. You know, there were reasons why jazz comes from New Orleans and why the blues made its way to Chicago and why Nashville became a country capital and why all of the music from Seattle so depressing. Yeah, your map's all.

I think that was New Zealand, frankly. It's Alaska. That was Alaska. So, but now everything's so interconnected that all of these communities have become sort of one big community. And one thing that I think it's important for people to understand is one of the most rewarding things about playing music is doing it with other people. And communities support each other.

Like the punk rock community, when we were young, it's like it was you and your buddies. And you never really imagined that it would leave your city or your local club. It was just like your pals and you did it and you had your band play with you and you would go play at your friend's club. And I think that some people might imagine

these days that you don't need that, that you can just do it on your own. But it's really important, I think, to work with other people because you get inspired by them, they push you to do other things and the sense of community is really important. And I think that, boy, that comes through ACEs in the whole program.

It's great. And the nice part is It's eight cities now. Yeah. And there's more than that. So I assume there's a season two that will go. There might be a season two. I think I'd like that very much. Finalea Sonic Highways premiere at Friday, 11 p.m. on HBO.

The album, Sonic Highways, on sale now. Dave, always nice to see you. Dave, Borg. My guest tonight, legendary singer-songwriter. His new book is called The Tau of Willie, a guide to the happiness in your heart. Please welcome to the show. Willie Nelson.

Nice to see you. Thank you. Thank you for joining us. I'm glad to be here. Just a real honor and a privilege. The book is called The Tao of Willie. uh... you know what i also can be pronounced the dow

you know i got it make a first started with the toe the to really that's the what what's the actual pronunciation dow and not tau not tau not can i tell you something no i'm an un i well and willie did i get willie right yeah because that honestly uh... i've been wrong before you did it really i thought they'd misspelled toe

right off you know this is what i'm thinking Oftentimes, country is obviously so enmeshed with Eastern philosophy. How did you, the idea to do this, because where did that come from in you? Is this something you've studied? Well, no, someone asked me to write this book, and I said, you know, what's, what's Tau? So, I said, what's the, you know. So if I may, let me, is your philosophy something like, hey, if they put food in front of you,

it. I like that. I like that a lot. Yeah, that's good. Could I be in the next edition of the book? You were the most agreeable man I've ever met in my life. Well, you've been in all my movies, you know. I have been in all your movies, haven't I?

I was your co-star as I was the enhancement smoker in the classic half-bait. That's right. A bit of an audience favorite. You can tell. Yeah. You, here's the amazing thing about, about you in my mind. Your cred cuts across all lines, all musical genres, acting. Nobody doesn't like and respect Willie Nelson.

Is that part, is that your, your, how do you pull that off? Well, I'm not sure I've completely done that. There's not, I have to say, there's a, oftentimes we have a guest on it, people will be like, oh, that'll be five minutes. But with you, people were, like, have a genuine affection for you in a way that is very unusual in this business. You think it's, I mean, I see you as an iconoclass,

as someone who literally just feels what he feels inside, and that's what motivates you, and there's really no, you don't feel any other outside motivations. That's true. that's how it's there are no secrets right well that could be a very short book then yeah you have to put some secrets not very heavy no is this the kind of thing now for you uh when you're on the road do you contemplate it or you just sort of trying to feel and experience everything as it comes to you well uh keeping breathing is a big part of this thing if you can manage to do that

Then you've got the first T.A. of the DA. So you like people to start and focus on the fundamentals. Because without breathing. Let's start there. Start with your breath. Did you see David Blaine in the bubble, the water bubble? Yes, I did. Was you ever worried?

Well, he failed Willie Nelson's fundamental rule. Which is keep breathing. breathing he was in water bad move very risky very risky move i was nervous for him uh... i know him he's a very sweet man and i was worried that he would drown and he really thought he could do that i guess after eight days i mean

i understand okay i'm gonna try to hold my breath and break the world record but why once you spend eight days in water and then at the end of it you're gonna go oh right the world record I don't think that way, you know. Here's what I do. I break the world record, and then I bathe for eight days.

And I relax. Yeah, and you hold your breath a little at a time. That's what I'm talking about, Willie. What's the next? You're going to play now. You've got some concerts upstate New York. You've got some other stuff coming? We're going to Binghamton for the 20th.

Nothing better than Binghamton in the spring. True story. We just come out of Canada. Out of Canada? Nothing better than Canada this time of year. It's lovely up there. Great weather up there. Great.

We play golf courses the first, first day of the season. And I've never been open that early. Really? Yeah. Now, is it surprising to you that up in Canada it's so warm this early? Yeah. It was surprising to a lot of the Canadians. When the bears start coming down.

Well, it's an absolute delight to meet you. We're truly honored. The book is The Dow of Willie. It's all the book shows now. Willie Nelson, everybody. Earlier today, I spoke with the legendary musician Bruce Springsteen. We talked about his new album and documentary, the upcoming election, and so much more. The East Street band makes me dream, think, and write big.

When I'm amongst my friends, I allow a certain part of my mind that seems to be reserved for only them to be set free. And I dwell in a house of a thousand dreams. Bruce Springsteen, welcome to the Daily Social Distancing Show. Thank you very much. It is truly an honor to have you here because you are not just an artist. You are not just a successful artist, but in many ways, people would say that you write the story of America in your music. You've been extremely successful doing it. I mean, 20 Grammys, two Golden Globes, a Tony Award and Oscar.

At this stage of your life, what do you think Bruce? Springsteen is still trying to tell people through his music. I'm just trying to keep going at 71. I'm just trying to make it to the next record and the next show, you know. But I don't know. I guess if someone was interested in sort of a little bit of cataloging the history of the United States since, say, 1970, and it's post-industrial period in music, looking for music that dealt with some of the issues that have occurred over the past 40 or 50 years.

You know, they could do worse than go and dig into some of my stuff, I suppose, you know. So if I've been good for anything, maybe I've been good for that a little bit. and then the rest of the time I'm just trying to entertain you and help you do your wash and your laundry and vacuum your floor and dance a little bit in the kitchen and, you know, we're here to soothe your soul through troubled times a little bit if we can and that's how I look at my job.

One thing that makes your job so interesting or rather the execution of your job is that it feels like you're talking about everybody's lives, everybody's society, what you see going on. I mean, you've written music about police brutality many, many years ago that if someone played that song today, they'd go like, oh, you wrote it about now. But when you look at those themes, I've always wanted to know, like, what do you think you're trying to get across to the listener? What do you think the music is trying to achieve? Is it just to shine a light

on the subject? Or is it to also infuse a little bit of your politics and what you, what you experience in and around the world? I suppose it's a little bit of both. You know, it's the way you see things and how you're experiencing them. And I, there's a part of me that says, if you were interested in knowing what it was like to be a citizen of the United States between 1970 and 2020, like I said, you know, that may be in my work a little bit. A lot of the times, you're just written, you just write what moves you. what and then but also it you write what you are able to write about because very often

I don't I don't operate from the conceptual from a conceptual place first I operate sort of internally first and then and then it becomes outward so a song say like American skin that I wrote in 1998 about the Amadou Diallo shooting is can feel current today you know but it was just something at the time I remember I was thinking we were coming to New York I wanted to have a new piece of music and that was that had recently occurred and and I was just able to write about it so so I did you know I didn't I didn't think it was going to be particularly controversial at the time it ended up

being a little more so than I thought. But that's kind of how I approach. The political aspect in my music is more, is through implication. I try to write good, I try to write good three-dimensional character studies where I bring lives to life, you know, and create breathing, living human beings

that you will recognize. in my music. And then I kind of let the politics speak for itself, you know. Of course, some of your own comes through. But I really, I don't consider myself a topical songwriter. I don't consider myself a political songwriter. If anything, at this late age, I would say I'm a little more, I've been saying I've been a little bit more of a spiritual songwriter

in that that's what's sort of been driving my, some of my most recent work. So that's basically the way I look at my job and what I do. I think that's one of the more fascinating things about you is that you always refer to it as a job. You know, even in the documentary, I loved how you've reunited the East Street band. Here you are, you know, 50 years from the inception of this idea.

And you guys are jamming and you play for, a very long time. And I love that you say to the guys, you're like, guys, this is our job. We have a job to do. And everyone's talking about a job and it's work. And you guys are having a great time, but it's like you're working. It's like we're working. We're getting the chords. We're doing the thing. Why do you think you work so hard? It may seem like an obvious question, but why do you think you work so hard and play for so long to make the songs what they are? I just like to do it. You know, it's the way that I've, the way that I've enjoyed doing my job since I was very, very young man, you know, when I was 18 or 19, I was used to playing five hours a night

in a bar. So I was very used to that kind of playing very early in my work life. And I also felt I was desperate to communicate. And I just as starting from when I was young, I felt there was a lot I wanted to talk to you about right now. And I don't know what tomorrow brings, but I know that this evening we're all here and we're in this room. So I'm interested in making the most of my opportunity to speak to you tonight. And that drove me more than anything else. It's something I've just always enjoyed. I've enjoyed doing. When I come off stage, I feel a release and a catharsis that occurs through that kind of work and I don't think

and that's just what's driven me you know and so it's really it's really what drives you and how you approach your job and I always approached it as as this very sort of I would say joyous work you know I've gotten a tremendous amount of joy out of it

we're serious when we get on when we get on the stage or when we come in the studio So there's not exactly what I would call a party atmosphere, I suppose, you know, but it's a work atmosphere where there's an enormous amount of happiness and joy and simply what we're accomplishing. For a long time, your music has been the catharsis. You have seen people who have felt unseen.

You have spoken about towns that are forgotten in time. You've spoken about industries and places and people that seem to have been completely forgotten. And yet at the same time, you have as bigger following on the coast. You cross, you know, all walks of life. I wonder if you ever sit and ask yourself why you think you do so well with such a broad swath of people. Well, I would say, first and foremost, I'm a good storyteller, you know, and people like stories. And they like stories that connect to their geography, your inner geography may or may not have to do with anything you've experienced or not experienced. It's simply the geography of your emotional life. And I believe I've done well at speaking

to that, you know, and our largest audience is in Europe. We have two-thirds of our audience exists in Europe now, much, much, much bigger than the United States. And so why is that? I think I'm a good storyteller, you know, and I think in Europe, people are very interested in America, an American myth, and what's going on over here. And those are the stories I've told since I was a young man. And but really, I believe what's at the heart of it is, is people like your music, They like the way it sounds, they like the way you sing, and they like the stories you tell. You tell stories that some people cannot tell for themselves.

You know, I always loved listening to your music because I felt like it took me on a journey through what people referred to as the heartland of America. What I've also been intrigued by in your music is how people oftentimes miss the meaning of your music, misconstrue your music, or have a completely different understanding of what the music is.

So, for instance, a great example is, like, born in the USA, you know, like, people play it in a way that the, when you listen to the lyrics, you're like, well, this doesn't seem like how people are dancing. Like, people are like, yeah, this is a song about, let's take over the world, I'm born in the USA! And your song seems to be more like, it's like, it's like you're questioning this, this whole idea of what America's doing in the Vietnam War, and, and again, it can translate to what's happening today. Do you, how do you feel about that? when people are playing your song for like the opposite reason that you wrote the song for. Well, in this particular case, this is my cross to bear, so I try to bear it with a smile. But I think what the issue is, is that the key to some of my music is you need to be able to hold two contradictory ideas in your mind at the same time, which is sort of the measure, a bit of the measure of adulthood.

So you need to be able to deal with the fact that a song can be both prideful and critical. And that idea is very central to a lot of my music because that's how I feel. I'm proud of my country. I've had an amazing life. and gotten the best out of it through living here. But there's a lot to continue to be critical about. So both of those things are going into my music. It's a bit up to the listener to listen well

if you want to get the whole picture. But to do so, you've really got to be able to hold the idea. Pride and criticalness can go hand in hand. Let's talk about being critical then. You came out in an interview recently and said, if Trump wins a second term, you'll move to Australia. I don't think that's true, right? It just didn't feel like that's something you would do.

Well, I don't think I'm going to go there, but I'm not sure yet. So we'll see. But, you know, I'll be glad to see him go. I think he's going to lose. And I'll be glad to see that happen. We've got a new album from Bruce Springsteen. We've got a documentary. We've got so many pieces of material that we can enjoy of yours right now.

You've got new music that's just come out. You've got a few tracks that you've previously unreleased tracks from decades and decades ago that you've remade for today. It feels like you've always been sure about yourself. It feels like you're prolific because you know that you have something to say. But I wonder, when you create, do you still have doubts sometimes? Well, any good artist wrestles. with their insecurities.

It's your insecurities that move you forward. If you were simply comfortable with, completely comfortable with who you are and what you're doing and where you've done, I don't know if you would have the fire in you to move forward. It's your doubts and your questions and you are searching for new and different answers that move you forward in your work. So I would describe myself, do I have more artistic security than I had when I was 23, in some ways? But I don't believe that that necessarily had anything to do with the quality of the music that I was writing. I can look back and say when I was 25, I made this record born to run, and as good as any record I've ever made.

I wrote it when I was 24 years old. I've got songs on this album that I wrote when I was 22 years old before I made any record. before we recorded any music. And there was three of them that ended up on this record. So those things, I don't necessarily influence the quality of your artistic output. But I do believe that your doubts and questions and insecurities do move your work forward. Do keep you questioning. Do keep you searching.

And that's at the key of artistic progression. My final question to you is, as someone who is born to run, someone who's always been on the road, someone who has performed thousands of concerts all around the globe. What have you been doing during the pandemic? I am born to sit still at the moment. So I'm doing what everybody else is doing, you know. I mean, we stay inside a lot. You know, we have a few friends that we're careful.

We see. We're social distancing. And luckily enough, I have a studio at my home, which I'm in right now. and I've had a variety of projects to keep me busy. I had the film. I had the album, which we started pre-pandemic. And I have a radio show that I do biweekly, basically, which I've enjoyed doing, and has allowed me to continue the conversation with my audience during this strange and during these strange times.

But, you know, I've been lucky that, like I say, that I can work at home, that, of course, extremely fortunate that I don't have some of the worries that other folks have and that as far as getting through tomorrow or the next day or next year, you know. But our circumstances have sort of been, you know, my family, I'm lucky enough I have my family here. So, and it's, we've just been holding on like everybody else. Well, I appreciate you. It's been a wonderful journey for me going through your body of music, getting ready for this interview. So you've got a brand new fan.

I appreciate your time. Thank you so much for joining us on the show. Thanks, Trevor. Welcome back to my guest tonight. His last CD play was a huge smash hit. He's back now with a new release called 18. Please welcome Moby. What's up, man?

How you doing? How are you? I'm fine, thank you. What are you guys? A prop. You got a prop? Yeah. You go into it?

You want me to go to it right away, or you want to wait? Do you want to wait? Let's wait. Okay. But it's the best photo shoot I ever did. Now you're tantalizing me. But you can't, the only thing is you can't show it on the television. Oh, sure you can.

Cable. Oh, sure, yeah. Really? It's the most enjoyable photo shoot I've ever done. Holy smacks. Isn't that remarkable? They're all naked? They're all naked.

Holy smacks. Is this like a, is this a foreign magazine? It's a British magazine. I consider that foreign. But my question is, like imagine. Yeah. Imagine if you're like the graphics editor of a magazine, and you have a choice between that on the cover.

Oh. Or that? Ooh. Which is your choice? Am I allowed to show? Sure. So we have that. So that's choice one.

That's choice two. Choice one. I'll give it to the people in the audience. You guys want to pass it around. Why do you think he picked him? That's shorts. Do you know the fellas from a woman? I've met them a few times. Now, they seem very mean to me.

Strangely enough, the singer, Liam, I met him in an airport, and I think he'd been drinking straight for about 96 hours. And he was sort of catatonic, but benign. Do you think that was hour 96? Because I imagine him in like hour 32 through 47 of a drinking binge is just a complete maniac. I've never seen him at hour 32. You should see him at hour 32. It's really quite something. And his brother is sort of the, he writes the music, I guess. I think so. And then Liam comes in, I guess, after the binge, sings.

And leaves. And leaves. It's a good gig. That's all I'm saying. How about your thing? How's you got Eminem dissed you in a song? Isn't amazing? It's pretty neat.

I thought that was so cool. Has anyone heard that song? Yeah, I don't know the name of it, but it's, what's the diss? Do you know? Because I have trouble hearing the lyrics. Is there something like nobody listens to techno? Yeah. It's a little bit ironic, because the last techno record I made

was about nine years ago. Maybe that's when he dissed you. Maybe he's got a backlog of material that you don't realize. But the thing that hurts is some of my friends, my sort of like aging hipster friends and I, are troubled by the fact that we're getting older. And Eminem disses me for being too old. Really?

Wait, what does he say about how old you? He says, I'm too old. There's no, no, like... So he just goes for it head on. No metaphor, no allegory, no poetic imagery. he says, you're too old. Boy, I'd hate to think what he said about me then because I'm, I mean, I'm older than you.

How old are you? I'm 80. No, I'm 39. I'm 36. You're punk. You're young. You're nothing. You're wet behind the ears. Do you want to ask me any questions about life? About life?

Let me think. I got a good three years on you. Do you, what, it's the rascal. That's the little. 10 and 2. That's how you do it. 10 and 2. You understand I'm saying? Always keep ten and two.

And then when you're turning, overhand. Overhand. Overhand. You'll get that hang of it. And does, it depends just for urine? All right. That is true. Now this CD, the first song off at Star, right? Okay, is it my imagination or has Corey Feldman in this?

In the video. Yes. Yeah. Everybody's in the video. Okay, but Cato, Kail, and the whole business. Cato Caelin, Gary Coleman, Corey Feldman, J.C. from NSYNC. Tommy. It's the weirdest. Ron Jeremy, the porn star. Who did you, like, when you sold Ron Jeremy on being in it, did you go, come on, Gary Coleman's in it?

Like, how do you sell that guy on that? I don't know. There's a casting agent who got all the extras in it. I don't know how he did it. I do. He asked them. But standing next to Ron, have you ever, you've met porn stars before? I've met Ron Jeremy. Yeah, but the whole time you're talking to him, you're having a nice civil conversation, and you keep thinking, wow, I've seen you naked.

I've seen, I, like, you're looking, you're talking about the weather or sports, and you're thinking yourself, I know what your penis looks like. You know what's weird is that's the only thing I'll talk to him about. His penis? I'll just, I won't even do the other small talk,

I'll just go, I know what your penis looks like, and I'm frightened. Well, 18 is in the, record source tomorrow. I'm sorry that we don't have much more time to talk. It's good to see again. I haven't seen in about a year, for God's sakes. Last time I saw you, we had dinner. Six months ago at somebody's house. Yeah. And you beat me up. I remember that. The album is called 18-mobie, everybody. Let him hear it. Explore more shows from the Daily Show podcast universe by searching The Daily Show,

wherever you get your podcasts. Watch the Daily Show weeknights at 11, 10 Central on Comedy Central, and stream full episodes anytime on Paramount Plus. This has been a Comedy Central podcast.