#2177 - Chris Robinson

Joe Rogan (0:00)

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The Joe Rogan Experience.

Chris Robinson (0:43)

Especially the first season is like 1972 or three, I think.

Joe Rogan (0:50)

Colombo. I almost forgot about that show.

They used to tell him not to smoke?

Chris Robinson (0:54)

Well, no, like the character, I could tell they're probably just building up. You notice that he has a cigar in his hands the whole series or every episode.

But it's funny that in 1972, people are like, please don't smoke in here or Lieutenant Colombo. He's always being reprimanded for it.

Joe Rogan (1:12)

Interesting. I forgot about that.

Chris Robinson (1:14)

He's always really, Peter Fox character, he's always like, oh, sorry, and he puts it out. He's never upset or anything.

Joe Rogan (1:22)

Yeah. That was an interesting character because he was like this bumbling guy who was actually not. He was setting you up the whole time, letting you underestimate him, acting like, pardon me, but another thing.

Chris Robinson (1:35)

He's always about to leave and he's like, oh, yeah, and he comes back and he's annoying people and they're like, oh. Incredible though, aesthetic. The other day I'm watching this episode that Jonathan Demme directed, Steven Spielberg, all of these famous directors start to cut their teeth in TV and on episodic things like that, but there's a real tone to it and stuff that's cool and the way everyone looked. But one other funny thing about it that I've noticed in Colombo is there always starts with a murder and then usually a lot of times in the arc of the story someone shows up to the crime scene.

Usually, whoever did it or whatever, but they're never upset. There's never someone who runs it, what happened here? Your uncle's been murdered.

I didn't do it.

It's like how it starts instead of some dramatic, like, oh my God, how could this have happened? No one's even, they're just like, okay, well, you're bothering me now. In cop shows, you can always tell police, even SVU, they're always like, I've had enough. Can you guys leave? And they leave. I'm like, is that how it goes? I don't know.

Joe Rogan (2:48)

No.

It's weird how many of those shows there are, where they catch the bad guy. It's like something that I guess people with anxiety need to let them feel like if someone is a bad person, and they do commit a murder, they're going to get caught.

Chris Robinson (3:07)

Are the interests in those dark scenarios, you're only interested in them when there's justice at the end? Is that what you're saying? Oh yeah.

Because anything nebulous or whatever is too real, maybe.

Joe Rogan (3:21)

Yeah. There's those shows and then there's medical shows. Remember when there was a time where every other fucking show on TV was about a hospital?

Chris Robinson (3:28)

Yeah. The only one that I really remember is Quincy. So Jack Klugman yelling at everyone, he's yelling about the sandwich, he's yelling about the blood sample. When we were kids, we were hardcore, we were in that initial phase of American hardcore punk stuff, because we had just missed out the like 77, 78, 79 Then there was an episode about the LA scene and Quincy goes to the punk club, don't you see what you kids are doing to yourselves with the loud music and the anger and the pills or whatever.

There was a thing when we were kids and there was this song, I forget which band did it. But you were fake if you were a Quincy punk, because they took the way people looked on Quincy or whatever and that instantly became.

Joe Rogan (4:24)

A fake punk?

Chris Robinson (4:26)

Yeah, yeah, you're bullshit.

Joe Rogan (4:27)

When you started out, what was the inspirations for your band? What were you guys into?

Chris Robinson (4:34)

I mean, it's hard to untangle because my dad was a singer. So our dad was a singer and he was very well. My dad is kind of a strange guy in general, a lovely guy, but dynamic to say the least. But he had had like a hit in the late 50s called Booma Dip Dip, like a top 40 kind of record and a couple of subsequent sort of rock and roll singles.