97 - Bob Dylan - The Freewheelin' Bob Dylan - Lewis Black

Summary

The 500 with Josh Adam Meyers

Episode 97: Bob Dylan – The Freewheelin' Bob Dylan

Guest: Lewis Black | Released: July 29, 2026

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Episode Overview

In this episode, Josh Adam Meyers is joined by legendary comedian Lewis Black to discuss Bob Dylan’s iconic album, The Freewheelin’ Bob Dylan, ranked #97 on Rolling Stone’s 500 Greatest Albums of All Time. The conversation traces not just Dylan’s impact on music and politics but also draws engaging parallels between the world-changing ambition of a 21-year-old Dylan and Lewis Black’s own evolution as an artist and social critic. The duo explores the enduring timelessness of Dylan’s songs, the frustration and hope captured in his lyrics, and the challenge of creating revolutionary art.

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Key Discussion Points & Insights

1. Personal Roots & Maryland Upbringings

[06:05–14:00]

• Josh and Lewis bond over their shared roots in the Washington D.C./Maryland area, comparing school rivalries and reminiscing about Maryland culture (especially crab cakes).
• Lewis Black: “No, let’s calm the fuck down, okay? I can tell you where the rich schools were, okay? I was born ... in the middle of the middle class.” [06:43]
• Both reflect on the diversity and unique character of the region, and how formative growing up near the seat of American power was to their worldview.

2. Discovering Bob Dylan & Generational Differences

[14:00–22:00]

• Josh admits he wasn’t a Dylan fan growing up, being raised on ‘80s and ‘90s rock and hip-hop, only coming to appreciate Dylan through the Rolling Stone album list project.

• Lewis recalls discovering Freewheelin’ at age 15 in 1963, at a time when Dylan’s music felt like it was speaking directly to American youth caught in turbulent social change.

  “I mean, it was a remarkable time period. It’s a remarkable area. ... I think it was remarkable to be from there.” – Lewis Black [09:30]

3. Dylan’s Early Impact and Folk Scene Context

[19:00–23:59]

• Lewis describes the folk movement of the ‘60s and how Dylan, coming from that tradition, redefined what the singer-songwriter could be—deeply political, poetic, and immediate.

• Both highlight how songs like “Oxford Town” were direct responses to current events, showing the speed and impact with which music could address political issues.

  “He’s singing about it on an album that has come out. ... That beats the phone.” – Lewis Black [26:33]

4. Comparisons to Comedy: ‘Voice of a Generation’

[27:00–32:00]

• Josh draws parallels between Dylan’s early, fully-formed voice at just 22, and comics who seem to arrive on the scene with their style perfected—naming Chappelle, Kathleen Madigan, and others as examples.

• They debate the effect of being labeled “the voice of a generation” on artists, and how it can drive them to evolve or rebel against expectations.

  “He just wanted to get up and be in a small room talking directly to people.” – Lewis Black [20:00]

5. The Power and Evolution of Dylan’s Songwriting

[34:00–45:00]

• The hosts explore how Dylan’s music style changed over time—how he anticipated changing tides and intentionally moved away from “folk Messiah” status, much as Miles Davis and other innovators did in their fields.
• Lewis recounts Dylan’s controversial electric turn, and how vital it was for him to keep exploring creatively, even at the risk of alienating fans.

6. On Performance & Longevity (Dylan & Black’s Careers)

[51:00–56:00]

• Lewis shares his only chance to see Dylan live—being starstruck and discovering the setlist only by sitting by the soundman, since Dylan’s performance style is so unpredictable.

• Discussion about artists (Dylan, Willie Nelson) who seem destined to perform until the very end, adapting their output for their age without losing significance.

  “I feel like he’s going to be one of the performers that performs until he drops dead.” – Josh [42:20]

7. Lyrical Genius, Storytelling, and Timelessness

[57:00–62:00]

• The conversation pivots to Dylan’s lyrical depth, how his songs—especially on Freewheelin’—are closer to poetry than conventional pop, and why lines from his songs last for generations.

  “I’ll let you be in my dream if you’ll let me be in yours.”
  – (Dylan, quoted by Lewis Black, 51:01)

• Black marvels at how so many modern singer-songwriters owe debts to Dylan, and even university courses are taught on his lyrics.

8. Songs on ‘Freewheelin’ and Contemporary Relevance

Key Segments:

• “Blowin’ in the Wind” [57:41–58:20] – The anthem’s simplicity, overexposure, and yet undiminished relevance.
  • “Do you think we’ve answered any of these questions or how have we just invented new, dumber ones?” – Josh [54:26]
  • “No, we don’t even... hear the question.” – Lewis [54:43]
• “Girl from the North Country” [59:16–60:17] – The beauty of Dylan’s love songs and their universality.
• “Masters of War” and “A Hard Rain’s Gonna Fall” [60:45–62:27] – Dylan’s harsh protest energy and how songs written for the ‘60s feel as relevant in today’s world of violence, injustice, and information overload.

9. Satire, Politics, and Comedy’s Evolving Role

[66:49–72:00]

• The hosts discuss the risk-taking and honesty required for true comedic or artistic criticism in a time of manufactured outrage and social media bubbles.

• They debate whether satire can keep up when reality itself becomes almost self-parodic.

  “How do you satirize what's already satiric?” – Lewis Black [73:15]

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Notable Quotes

• On Dylan’s Effect:
  “This is an album which exploded on the scene and changed the Minds of a ton of kids. I mean, it changed my life.” – Lewis Black [93:48]
• On Artistic Frustration:
  “People say, well, you’re such a pessimist. I said, I wouldn’t be this angry if I didn’t think something could change.” – Lewis Black [79:18]
• On Storytelling:
  “He’s a poet who could write music and then had the balls with that voice to sing.” – Lewis Black [50:04]
• On Evolution:
  “That’s so cool that he knew. He was just like, I know this time is over. And it’s like ... adapt.” – Josh Adam Meyers [32:19]
• On the Endurance of Dylan’s Questions:
  “We don’t even hear the question.” – Lewis Black [54:44]
• On Satire and Today’s World:
  “How do you satirize what's already satiric? ... If you read it in a book and that was fiction, you’d be laughing.” – Lewis Black [73:15]

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Notable and Memorable Moments

• Lewis Black’s description of being blown away by meeting (or almost meeting) musical legends:
  “...Paul McCartney who winks at me. ... At that point, not only did I become a Paul McCartney fan, ... I become a Wings fan.” [36:38]
• The “string bean” lyric in “Talking World War III Blues” becomes both an in-joke and a touchpoint for Dylan’s playfulness.
• Lewis’s story about starting to shout on stage at the urging of a fellow comic, discovering his unique comedic voice:
  “He said, I want you to just yell. Yelled. And it was life changing. ... They’re laughing and I’m going, oh, what have I been doing?” [45:41]
• Reflecting on the impossibility of out-joking the absurdity of current culture:
  “Do you want me to fucking write [a] joke? You don’t see the joke?” [76:27]
• Impromptu elevator pitch for Dylan’s album:
  “You don’t listen to this, I’m gonna kill you.” – Lewis Black [92:38]

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Song/Album-Specific Highlights with Timestamps

• “Blowin’ in the Wind”
  [57:41–58:20]: Seen as an overplayed classic, Lewis and Josh agree it’s still simple and powerful, if sometimes in the background.
• “Girl from the North Country”
  [59:16–60:17]: Deep affection for its sense of longing and beauty.
• “Masters of War,” “A Hard Rain’s Gonna Fall”
  [63:25–61:49]: Explored for anger and protest, again with modern relevance.
• “Talking World War III Blues”
  [70:48–72:14]: Celebrated for its wit, surrealism, and the famed “string bean” lyric.
• “Oxford Town”
  [65:31–66:52]: Dylan’s commentary on civil rights events—how rapidly and potently music could reflect reality.

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Final Quick Takes & Lightning Round

[90:46–93:48]

• Lewis’s favorite song: “Bob Dylan’s Dream” – for nostalgia and personal memories.
• Skips: “Corrina, Corrina” – just didn’t stick for him.
• Dylan as sex music: “Tangled up in Blue” might maybe work, but “Not with that voice.”
• Why listen?
  “This guy has stories to tell to you, and you should listen to these stories because they apply ... they're timeless ... This is an album which exploded on the scene and changed the Minds of a ton of kids. I mean, it changed my life.” – Lewis Black [93:48]

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Final Reflections

• Dylan’s Freewheelin’ is credited as not just an album but a world-changer—one that captured the spirit of a revolutionary era but remains eerily relevant now.
• The interview cements Lewis Black as a kindred spirit to Dylan: both are “angry optimists” who hold up uncomfortable truths and trust audiences to think for themselves.

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Promotions & Sign-Off

• Lewis Black’s podcast: Rantcast
• Upcoming tour dates (St. Louis, Easton, Baltimore, more)
• Follow Lewis at @TheLewisBlack and visit lewisblack.com
• Josh: The 500 Podcast Patreon, future guest teasers, upcoming albums (next is Tommy by The Who)

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For new listeners, this episode is a rich, funny, and moving dialogue about music’s power to shake the world—and how that same restless urge is found in comedy. Essential listening for Dylan fans, comedy lovers, and seekers of meaning in art.

Transcript

[Lewis Black]

Next Chapter Podcasts

[Josh Adam Myers]

Hey Fleece army, we need your help to make the 500 even better by telling us a bit more about yourself. Go to www.surveymonkey.com R3TWX8YD for a quick listener survey. It only takes a few minutes and directly supports our team. To show our appreciation, we're giving away two 50 gift cards to lucky participants every single month. So head to www.www.surveymonkey.com R as in Randy, slash 3 the number T as in Tony, W as in Woman, X as in Xerox and 8 as the number Y as in Yellow, D as in Dog. I'm saying this, we're gonna put the link on our website if you can't see that, that was a lot. But this is your chance to win. It helps our show. We really appreciate it. We want to know more about you because you know so much about me. So yeah dude, do it. Www.surveymonkey.com TWX8Y D that's a mouthful, but it's there.

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[Song Performer/Singer]

The 500 the 500. JM been walking us down through that 2012 edition so it ain't nothing to you. Hundreds more to go and in need of a friend the King of peace for angelo Talking the 500 until the end Talking the 500 until the end with my man JL on the 500 Talking the 500 until the end if you're traveling in the north country fire where the winds hit heavy on the borderline Remember me to one who lives

[Lewis Black]

there

[Song Performer/Singer]

she once was a true love of mine.

[Josh Adam Myers]

The song is Girl from the North Country. It is by Bobby Dillon from his 1963 record the Free Wheeling Bobby Dylan. It is also number 97 out of 500 on the 500 with Josh Adam Myers, where each week me and my guests go through Rolling Stone Magazine's list of the 500 greatest albums. From 500 all the way down to one. Watch the podcast on YouTube. YouTube.com backslash the 500 podcast and support our show by going on Patreon. Patreon.com backslash the 500 Podcast. Yeah. 500 podcasts. We need your money, so give it to us. If you want to support me, I am on the road a little bit. I will in August be at the JO World Festival, but I am just churning and burning, making songs in electric Lecaland Studios here in New York City. I love doing it. My follower count's going up. I'm having the time, my life, I'm writing constantly. So support me at Josh Adam Myers on all social media. And let's talk about this record, because we'll talk about it. Well, you know, me and Bob Dylan, we've done it backwards. But what's so cool about now is that I finally feel like I'm getting it. And what's cool is, like, you gotta listen to where they started before. You can listen to the end. And this is Bob Dylan at 21 years old. 21. Most people at 21 are trying to figure out how to separate their laundry because they're finally moved out of their house. He's 21, you know, literally writing one of the most important records of all time. And I mean, this is brilliant. And my guest today, it's the one and only Lewis Black, another man who spent decades yelling uncomfortable truths into a microphone while audiences laugh because the alternative is crying because the world is so crazy. That's why he's the perfect guest for this. You know him from the Daily show, you know him from his comedy specials. He's got an incredible podcast, the Lewis Black Rant Cast. You can catch him right now on the Daily Show. But this is a comedy legend, one of the best. And it's such a dear, dear gift to have him on raid. Review and support the podcast. Subscribe follow me at Josh Adam Myers on social media. Email the [e-mail] follow the Facebook group run by Crazy Evan. And for all things 500, go to the website the500podcast.com y'.

[Song Performer/Singer]

All.

[Josh Adam Myers]

Well, not left to say. But here we go with number 97, Bob Dylan, free Wheel.

[Song Performer/Singer]

About.

[Josh Adam Myers]

Oh, dude, I spent half of in LA because I was. And I mean, dude, I couldn't afford it. And I was just. I can't be here. I never. I've only lived here five years, and in the five years I've never had Seasonal depression. This was the first year that I was like, I'm thinking about going back on opiates. I was like, this would probably be a lot easier.

[Lewis Black]

And I have a dog, so walking the dog becomes like, just take a.

[Josh Adam Myers]

Yeah, but the only good thing about the snow is that she shits in the snow. And then it gets. You're just like. I mean, I can't grab. That's frozen now. It's, like, covered in another snow. So, I mean, I don't know. How do I start doing. Should I start with. Should I start with my intro? Intro? Because I. The thing that I'm most excited to talk to you about is that I. I had no idea and I fucking. When I sat down to do the research, that your high school and my high school were rivals. You are a Silver Spring dude. You're a. You were one of the rich kids from Montgomery County.

[Lewis Black]

No, let's calm the fuck down, okay? I can tell you where the rich schools were, okay? I was born in a. Fucking. Directly in the middle of the middle class. That's where we were. That's where everybody was in Silver Spring. It's not Chevy. Get a fucking grip.

[Josh Adam Myers]

Come on.

[Lewis Black]

It's not Chevy Chase.

[Josh Adam Myers]

Okay, you're right. I'll give you that. I'll give you that.

[Lewis Black]

All right. It's not. It wasn't Walt Whitman esque. It wasn't bcc.

[Josh Adam Myers]

Yeah.

[Lewis Black]

It was Springbrook, which was created by coming out of Northwood or also a middle class.

[Josh Adam Myers]

Okay, all right. Take it back. All right. I was Germantown, Maryland. Seneca Valley, which might not have been there when you were. When you were in school.

[Lewis Black]

No, because.

[Josh Adam Myers]

Very, very.

[Lewis Black]

Because it became one of those bedroom suburbs. So you.

[Josh Adam Myers]

I mean, now it's like. Now it's like. It's crazy. Going back. Do you go back to that area at all ever? Or, like. Yeah, I mean, it's just. It's different. And now it's like, where we used to on Frederick. It's like, oh, at least we're not Frederick. Like. Like, that's grown out. And now, like, Frederick's, like, popping. You drive down.

[Lewis Black]

Well, because they're commuting from Frederick. I know.

[Josh Adam Myers]

I know, man.

[Lewis Black]

I mean, I didn't. Like when I was working for the U.S. government, commuting from Silver Spring on a bus downtown D.C. that was like 45 minutes. Are you kidding me?

[Josh Adam Myers]

Those. In the Metro back then.

[Lewis Black]

No, I was. I was. We had a steam engine was invented. No, the Metro wasn't that. No, Silver Spring was. It was literally like Five buildings.

[Josh Adam Myers]

That's so crazy. You know, I was. I was born in 79. And then, I mean, when I would go out there, like, it was just. It always felt like it was like another world. Compared to what?

[Lewis Black]

German, especially. Yeah, it. I mean, you know, see, I thought you were going to say something like, you know, Prince George's county or something.

[Josh Adam Myers]

Oh, come on, dude.

[Lewis Black]

No, but when you say it, you know, I had no idea. No, you're way out.

[Josh Adam Myers]

But like, I. But. And also, I think you probably might agree, and maybe it was different in like the 90s and the early 2000s when I was there, but it was like, I am so happy that I grew up in the Washington, D.C. area more than anywhere else because it's like I always looked up to New York and the LA kids. I was. Oh, they're so cool. But it's like, I would hate to be here. I'd rather come here as an adult and be like, wow, and like, take this. And you really, like, take it in and feel appreciative of it. But DC was like every race, color, creed. I mean, I knew everything. There was like, you know, there was the richest of the rich and the poorest of the poor. And we were like right in that middle section where it was like we were upper middle class and then became lower middle class and then kind of settled in at bottom, middle class. And it was just. It was just great. It was like. I love everything about that area.

[Lewis Black]

I've talked. I've talked about it a lot. I wrote about a bit of. A bit of it. I mean, I'm probably going to write some more about. I think it was remarkable to be from there. I mean, it was a remarkable time period. It's a remarkable area. And to prove that if. If anybody's even interested, take a look. Who comes on the TV to represent our state is represented by more people on all of the goddamn channels. When it comes to. Let's talk to a congressman, Jamie Raskin. Let's talk to Chris Van Hollen. I mean, this West Moore, who's now the. The governor. I mean, they talk. It's all of them. Yeah, they are all. And even we had like the first. I don't know if, you know, she wasn't. You know, I don't think they. She may not have been, but she sure seemed like Barbara Mikulski. Who? Do you remember her?

[Josh Adam Myers]

Dude? I loved. I've loved every. Who was the guy? Martin o'. Malley. I loved Martin o'. Malley. Yeah, I loved. I'm trying to think of who else we are, really.

[Lewis Black]

This is the world's most obscure podcast. We should cut some Maryland people, but we can cut a section of this. And the people I can send it to in Maryland who would be thrilled, I just.

[Josh Adam Myers]

I love it. And what sucks is that my whole family. My sister finished. Well, my dad died in 2010. My mom moved from Germantown to Harrisburg, Pennsylvania. My sister. My sister went to UMBC. You're a TERP. I know. You're a terp, right?

[Lewis Black]

No, I was. You went to work for a year.

[Josh Adam Myers]

You started. Yeah. It's still your blood. It' in your blood.

[Lewis Black]

Yeah, it is.

[Josh Adam Myers]

You know, and then. And then what had happened was my mom moved to Pennsylvania. My sister was in medical school at University of Maryland, and then she took a job out in Salisbury, which I hate.

[Lewis Black]

Wow.

[Josh Adam Myers]

Oh, dude, that. You know that Anthony Clark joke that was like, you know, I'm from a small town in Alabama, and if you got six months to live, go there, because it'll feel like a eternity. That is like, exactly what. So I hate it. And then my mom. Then my mom got to a fight with some of her relatives, and then she moved out to Salisbury. So now they're all out there. So my only connection to Germantown is if I go to do the D.C. improv and I, like, rent a car, but that's like my favorite thing to be able to go back to that area, go get crab cakes. By the way, are you. Are you picking crabs or are you crab cakes or are you. None. Because you have a seafood allergy, which

[Lewis Black]

would be blasphemous, but my brother had an oyster allergy, but was like a psychotic. My brother could. I couldn't do it as well. I mean, he was a. He could do crabs. You know, he could really. He could get more meat out of crabs than any human I've ever really. I mean, it was insane. It was. Because I'm like, is it got to be another way?

[Josh Adam Myers]

I mean, it's too much. It's. I always say it's a lot of

[Lewis Black]

crab cakes, and I'm G M. Oh, yeah.

[Josh Adam Myers]

Oh, my God.

[Lewis Black]

Really? Remarkable. Okay. And I'm just going to plug the bucks. They're really. If you want to get a crab cake and you say, well, we have really good.

[Song Performer/Singer]

You.

[Lewis Black]

You don't. You get. You go to G M Restaurant, Baltimore, and you. And. And they will send you. You can get. Get two crab cakes. I can guarantee you, you know, you could probably eat one if you're hungry. Yeah. Basically, they're huge. You basically split them, but you get two. And they're worth every penny. And it's 98%. There's no filler.

[Josh Adam Myers]

No filler. I used to work at a place called. In Baltimore called Lin Woods. It was like a high end restaura. You remember that? So, yeah, we always said it was like, you know, because those are the only places that I eat crab. I'll eat crab in Delaware, Maryland, and some parts of Pennsylvania. But like, it has to just like, I'm not doing blue crab anywhere else.

[Lewis Black]

Yeah. And.

[Josh Adam Myers]

And it was. And I used to sell them so perfectly. Because all you'd say is, it's jumbo lump crab meat with just enough egg and mayonnaise to hold it together.

[Lewis Black]

Yeah.

[Josh Adam Myers]

And they. And just Maryland person will take that every time. Yeah. And then I stole a cream of crab soup and they fired me. But, you know. Yeah, but I mean, you know, I was a mess.

[Lewis Black]

Yeah. That really brought them to their knees. Oh, God.

[Josh Adam Myers]

I mean, the fact that they even noticed it was insane.

[Lewis Black]

That's crazy.

[Josh Adam Myers]

I saw my feeling what I was gonna bring it in. It's the only food that fights back crabs. That's what's great about it is that that's why you hold the meat up and show everybody. You're like, look what I got bleeding. You got all bay in your fucking veins.

[Sponsor/Announcer]

Ah.

[Josh Adam Myers]

We could talk crab all the time, but there are guys right now that are.

[Lewis Black]

That.

[Josh Adam Myers]

This is actually. This is a big one for us, this record, Louis.

[Lewis Black]

Yeah, it's huge.

[Josh Adam Myers]

This is a big one for me. I don't know if I want to say it yet or I want to say it later, but today we are talking about the free will in Bob Dylan. The record that proved one guy with an acoustic guitar could scare politicians, inspire generations, accidentally invent modern songwriting, and somehow convince everyone that singing beautifully was completely optional. I. I can't say, like, we did Bob Dylan the right way on this podcast for me, and everybody knows. Has listened to it, that we. Because I was never a huge Bob Dylan fan growing up. It was just a different era. I. When he was.

[Lewis Black]

What is a different era?

[Josh Adam Myers]

Well, I mean, I'm 79, so I'm. I'm, you know, Iron Maiden at first and Guns N Roses, then grunge music and then, like, hip hop and folk

[Lewis Black]

never made its way by 79. You know, you're talking about you born 79, and you're into the 80s.

[Josh Adam Myers]

Yes.

[Lewis Black]

You got. Ronald Reagan is the. Is the president. You know, it's totally. I mean, 63, we're in the beginning of like the, the whole. All these movements were taking place for sure. And like being born and raised in Washington yet again. I'm down when Martin Luther King is there speaking. I'm at the, I'm at the. The algae ridden,

[Josh Adam Myers]

reflecting with God, those damn terrorists and their, their giant razor blades. Like, go yourself, dude. Like, it was fine before, man. It's like just, oh my God, we'll get all, we'll get to all that.

[Lewis Black]

But. But it was. So I was down there and then, you know, and it would be Joe, Joanne, Joan Baez would sing. I, I was down at that there when the first, the first. The bicentennial was, you know, with Carter. And we went down to see the fireworks thinking they'd be the greatest ever. And they literally, you couldn't see them because they could not get the fireworks over the trees. You could just see like the top

[Josh Adam Myers]

a couple of goddamn Carter, man. He's like, got gas prices, goddamn fireworks.

[Lewis Black]

They were ready to rise. It. I mean, I can imagine. Psychotic.

[Josh Adam Myers]

I can imagine what I was. But what I'm getting to though is it's not that I didn't ever respect him. It was because I knew like just all the people that I loved were influenced by him. And so when we started doing this podcast, I had never really listened. I knew like the hits, like I knew Hurricane, I knew Blowing in the Wind, I knew all of that. But I never dug into any record and, and I've talked about this on the podcast, but I feel like it's apt for this. Is that. Is that when I started doing this? The first record we did was Time out of Mind, which is a record that you won album of the year for. But that's like right after 9, 11, and it's older Bob Dylan and I always say this, like most artists on his level, like, I would never give the Somebody, the Beatles like, psychedelic record when they're doing Revolver. I would say, no, you gotta listen to the beginning so you can really see how they grow. Like Miles Davis. You could, you could give them. Because jazz isn't for everybody. You could give them kind of blue, but if they like that and they go, all right, now check this out and start over. You never. You don't give them bitches brew right away. No, you can't, you can't, you can't. I bought it too early and I was like, this sucks. And then, and then I was like, kind of blue rules. And then the Birth of the Cool and so on down the line. But it's like. But. And Radiohead. Same thing. And. And I think with Dylan, by starting with Time out of Mind, it just. I remember every song was 12 minutes long. And it's like the dealer is the Blackjack Taylor and God is the thing. And you're like, Jesus. Like, it's just. You're like, end it, please. And I got it. But I understood why. It's why he. With the. The songwriting. And I understood the. Lyrically, he is a poet. But it was just the worst way I could ever recommend anybody listening to Dylan. And as we slowly chipped down, we've done like. What is it? Love and. Well, love and Theft. Love and love and Theft. We've done his. The bootleg sessions. I wish I could. I'm going to pull this up in a second. We've done like five of his records. John Wesley Harding. Yeah, that was the first one. I was like, like, oh, I like this. I really like this. And when I put this record on, it was like. And it was, you know. And especially Get Ignore the first song, which I know is the big one. The rest of the record, because that's. That's the one. I had heard the rest of the record. I'd hit that second song and I was like, oh, I love this. Like, oh, I. I get this now I understand.

[Lewis Black]

I had never listened to the. His Christian stuff.

[Josh Adam Myers]

Oh, really?

[Lewis Black]

Too. I just said, I can't. I won't do this. I'm not going there.

[Josh Adam Myers]

Yeah.

[Lewis Black]

And I'd gotten a turntable. And as whoever sent it to me, I ended up with a couple of those albums. Somehow I ended up with them. And so I said, I'll put it on it. Fucking spectacular.

[Josh Adam Myers]

Yeah.

[Lewis Black]

They're spectacular.

[Josh Adam Myers]

Yeah.

[Lewis Black]

I mean, it's. I'm like, are you shitting me? And, you know, and how come they didn't get the kind of, you know, you know, as opposed to like, you know, kind of blood? I just. I remember a lot of people just blew it. I blew it off. But a lot of people, you know, I'm not, you know, listened to it and gave it. And I'm going, what planet he won? This is phenomenal.

[Josh Adam Myers]

Yeah.

[Lewis Black]

And. And. And it was really. I mean, for me, he. This going back and listening to this. I was listening to it for the past three or four days. And I went. I should be. I gotta go back and listen to a whole bunch of it again. Because this was. This was life changing. You gotta realize you. You find it the other way. I'm. It's 1963.

[Josh Adam Myers]

How old are you in that? When that's like that?

[Lewis Black]

So I'm 15.

[Josh Adam Myers]

Wow. Okay. So.

[Lewis Black]

Yeah, so you're right. Perfect.

[Josh Adam Myers]

And it's 63, which my dad always used to say, like the early. It was either the early 60s when Kennedy and then Martin Luther King, he was like. It was. We all felt like America could fall at any moment because everything was starting to go. So I can imagine what it was probably like back then.

[Lewis Black]

Oh, it was. It was. It was. And it was in music was. That's in part. You know, the world was falling apart while music was an absolute touchstone. I mean, I just don't know. I realized there's been some great music since then, but in terms of the kind of music that was then, I mean, stop it. This is. This was all like, as if these people were singing directly to us. I mean, it was crazy. Him on levels. That's. And then he, you know, goes, fuck you. I'm not gonna be doing this anymore. You people are crazy. Cause all he wanted to do, like, you know, doing Stand up. You just want to get up. He just wanted to get up and be in a. In a small room talking directly to people. And. And then. And then if you listen to it. And of course, I'm. This is conjecture and people will go nuts. But, you know, if you listen, you're like, how many times he mentions women. Through all of the. Through this album. Through the album that follows. You know, he's constantly focused him. So basically he wanted to play the guitar, which I think was his way of like, I'm gonna get. I'm gonna get laid this way. And so it was a perfect. You know, because. Karina. Karina. I mean, don't think twice. It's all right. There's like four major songs in that.

[Josh Adam Myers]

Yeah.

[Lewis Black]

That are. You know, and I'm not a Karina. Karina fan, but it's a great song.

[Josh Adam Myers]

Yeah. I. I mean, Blowing it. When Blowing Wind came on, I. I immediately was like, oh, man. Like, I just heard it so much. And I understand. I've, you know, just heard it. The Peter, Paul and Mary version. I've heard all. Yeah. My parents dragged me see Peter Paul and mayor. I've seen him live more than anybody.

[Lewis Black]

Once. Once is enough.

[Josh Adam Myers]

Wolf trap, though. Wolf trap.

[Lewis Black]

Oh, yeah. Wolf traps is another camera.

[Josh Adam Myers]

It's another Maryland. Another Virginia. But it's very.

[Lewis Black]

No, but it's. That whole area is.

[Josh Adam Myers]

That's. That's our. That's our amphitheater.

[Lewis Black]

That's our.

[Josh Adam Myers]

That's the adult Amphitheater, you see Fiddler on the Roof, you see Chris Body. But when. When Rocks and Gravel came on, it was. It felt like, you know, they always say, like, it's like. It's like a bowl of matzo ball soup or something. I was like, oh, this just is like comforting. And I really was able to just like fall into it. And I mean, a lot of this is pretty apt with what's going on in the world today.

[Lewis Black]

Well, that's. Yeah, that was the other thing I said. I should listen this again. Yeah, you idiot. You know, because we're in the midst of like chaos and. And every literally talking World War III blues applies now. You know, they all kind of. They all. Especially the, you know, the Blowing in the Wind, all of them apply now. Yeah. You know, in their own special way. And then if you go on to Highway 61, it's like, are you kidding me? That one has got like five songs that can basically save your brain. And it's because he. He sings. He. It's from coming from that folk tradition, which was weird because it was like, right place, right time. He comes along when in doing it. Because there's some guys doing it now who are, you know, good at it and. But nobody's really paying that kind of attention because it's kind of like. It's off the. It's like on the, you know, on the ramp going up to the superhighway. This though, it was still a thing. I mean, Woody Guthrie was still in the consciousness, you know, Pete Seeger, who is, you know, you can have what you feel about him, you know, I'm not going to race to the concert. But he, you know, Joan Baez, they're all kind of doing that, you know. And then Peter, Paul, Mary, take it to that kind of commercial level.

[Josh Adam Myers]

It's. Oh, my God, that was so cheesy, dude. When I started. When I started bringing pot and going, I'm gonna go walk behind the thing over there and just go get a drink. And like, then it was like, ah, this is pretty cool. But, man, that was. Out of all the bands they could have brought me to.

[Lewis Black]

And.

[Josh Adam Myers]

And I also think that one of the reasons I didn't really dig Dylan at first was I had a friend of mine who was friends with the tour manager for the Rack and tour as Jack White' and they were opening for Bob at George Mason. And we went down and I'll never forget this. And this was a moment that it made me realize that. That because I always didn't. I Didn't realize that there were other bands that people followed around like the Grateful Dead. And we were in a cab and there were a bunch of people walking. This younger guy, college kid comes up. He knocks on the window and he goes, hey, can I jump in? He's like, I know you got the car. He's like, I really don't want to miss Bob. And I mean there's. It's just going to. We're still got a long walk. And we let him in and we started talking to him and he's like, yeah, I'm a Harvard student and I just took a break from this semester because Bob's on tour and I wanted to follow him around and I didn't. I thought that was strictly a Dylan thing. But then I also was like, oh, wow, like a Harvard student. And then I. I remember asking him questions and he was like, and the lyrics and the D. And it was just like, oh, wow. Like this is. This isn't where I was at at the time, where it was like the music that I think I needed or, you know, and I think it's something that, you know, people find on their own. But I, but I immediately realized there I was like, oh, this is like this. He is beyond. If he's already reaching these younger guys. Like, this is like, you know, a much more. It's. This is. This is much more special than. Than. Than I really thought it was. I just thought this was a guy of the time because.

[Lewis Black]

And I was.

[Josh Adam Myers]

I was never like blockaded to like the influences of the music of the past. I just, like I said it was. I just never had somebody say, sit me down and say, listen to this. Start here, you know, and, and like you said it was. When I was in that age, it was like, dude, America was. I mean, I wouldn't say it was great, but I mean, we just came off Clinton, you know, we got Bush. Like, we had nine, 11. So the country was kind of together, you know what I mean?

[Lewis Black]

And.

[Josh Adam Myers]

And it just didn't feel like. It didn't feel like it does now or it doesn't feel like it did then. And knowing that like you're getting it at 15 and. And you've, you know. Did you find politics interesting before that or was something like this?

[Lewis Black]

Because I did, because I was in Washington and because they had these marches because we're going to do an anti poverty. We're going to do, you know, this anti poverty march. We're going to. We're going to do this, you know, march that you know, Martin Luther King's going to do this march. We got anti war stuff that's coming in now or just beginning to really. That's a little early for. But what we had in 63 was the beginning really of that civil rights things. Oxford Town is in Maryland. It's where H. Rap Brown got with. And. And that's what that song is about. And. And see, you're sitting there, it's fucking 1963. He just. This just fucking happened.

[Josh Adam Myers]

Yeah.

[Lewis Black]

And he's singing about it on an album that has come out. And you can take this phone from time to time and shove it up your ass because it's like, that beats that. It beats the phone. Oh, and then, you know. And I'm going to. No, that beats it. He sung the song and got it on an album.

[Josh Adam Myers]

Yeah, yeah. Was he. Was this. So the first record comes out. This is his second record, which, by the way, as I'm like, like doing all the research on it, it's like he wrote all this before he was 22 years old.

[Song Performer/Singer]

Yes.

[Josh Adam Myers]

That is a fully formed. I mean, have you ever met a comic that was like that? Like, were you like that? I mean, I've. Did you do you already kind of had your voice when you first like.

[Lewis Black]

No, because I didn't really start. Com. I didn't become a Billy. Go to do comedy full time. I was doing it on and off for fun. I was in theater.

[Josh Adam Myers]

Yeah, yeah, yeah. I saw that.

[Lewis Black]

And then. And it wasn't. I went on the. I started to go on the road and kind of said, I'm going to just be a com. I'm going to do comedy.

[Josh Adam Myers]

Yeah.

[Lewis Black]

When I was 40. So I was at 40.

[Josh Adam Myers]

Sorry, I thought you.

[Lewis Black]

But you.

[Josh Adam Myers]

Wow.

[Lewis Black]

Yeah.

[Josh Adam Myers]

But so then. So starting at 40.

[Lewis Black]

I mean, I was doing it, but I wasn't doing it.

[Josh Adam Myers]

I got it.

[Lewis Black]

But you.

[Josh Adam Myers]

But you started.

[Lewis Black]

I mean, I was. I was. I ran a little bit kind of a theater space up at 42nd between 9th and 10th called the West Bank. We had a theater downstairs. Yeah.

[Josh Adam Myers]

So. So, like to find out that this guy's 22 and already has like his voice. What. Was there a comic that you saw that. That like that young or somebody that you're like, wow. Like.

[Lewis Black]

Well, I mean. I mean, Chappelle was pretty.

[Josh Adam Myers]

Yeah.

[Lewis Black]

Came out of the box. Pretty, pretty. You know, it was pretty. Pretty quick. What's always amazing. But she almost. In order to do that, you know, and I feel like you got to be a natural. And they're not that Many people who are natural. I mean, Chappelle was my friend, Kathleen Madigan, when I first saw her, you know, tremendous, but out of the box. Bam. You know, really instant. Had it, had the chops. A guy that we used to work at Washington. There was a group of us who worked at a place across the river in Anacostia at this place called L. Brookman's. And there. There was a guy who walked in named TP Mulroney, who kind of, you know, kind of ended up in Chicago. Worked here a bit, Worked there, worked in that la. But he was like. Came in fully formed. It was like, are you. I'm killing myself.

[Josh Adam Myers]

Yeah.

[Lewis Black]

I'm doing it for kind of fun. I'm not doing it. I'm doing it to get. Get my writing out there, because I really want. I was much more interested in writing. And so I was. I was doing the stuff, and I was not in the. And when to see somebody who just. What did you. You just did all of that and got all those laughs. And now, you know, so it was extraordinary when someone. And you don't see it and not like. And this. You don't. No, you didn't. But.

[Josh Adam Myers]

But the thing is, you know, and I want to take it. You mentioned Chappelle and. And I'm. And I love Chappelle, and I've been able to really spend time with them, you know, recently. And I'm going to the. The Ohio thing and. Because he met the dog and he, like, fell in love with the dog, and I was like, if I get this, I'll bring this dog anywhere, brother, as long as I can hang. But, you know, and even Bill, like, I open for Bill, and Bill's one of my. Bill Burr is one of my best friends. It's like. Like, it's like. I mean, he was funny at the beginning, but it's like, it takes time to do that. And when somebody comes out, like. Like. I also started with Gerard Carmichael, and I remember when Gerard would go on stage at the open mic at the Comedy Store, they would. They would bridge one of the. The hosts would bring him up as. This is the future of comedy. And I'm assuming that when they. They probably said that to Dylan as well, at this point, where they're like, you're a genius and you're the voice of a generation. Does. Do you think that that. That helps or hurts, like, the performers, like, career and, like, trajectory? Because now it's like the idea of, like, living up to that, but then also it could flip the other way where you go the Chappelle way, which. I'm not putting him down for this because he is one of the goats, but he's just like. You know what I mean? Like, he'll. If you talk to him, it's just like, you know, I'm one of the greatest ever. And it's like, at that point, you can't. You know, it's like, no one's gonna say what you're doing. Ah. That. You know, it's like that story was long. Whatever. It's. It's just. I'm not saying that you should be getting notes on art, but. You know what I mean?

[Lewis Black]

Yeah.

[Josh Adam Myers]

Do you think that. Do you think something like that would, like. Like, really help to kind of can help or hurt like an artist?

[Lewis Black]

I think it. I think it had something to do. What it does to an artist, I think, is send them in. I think it sent him in a different kind of direction in a sense. I mean, he may have. I mean, he's brilliant. So I'm taking. Conjecture is insane. But he. You know. But they. When they started kind of like, you know, you know, giving him the Messiah thing, and you're coming down here and, you know, you're the prophet and you're this. He's going fucking. I'm not. And get off my back. And I. And. Because it became things I want to do, and I don't know if they were. If he was. You know, basically, if he came to that conclusion before they started doing to him, and he was already getting ready to launch into something else. I think, in part, I think it didn't have. I think it didn't. Because I think he kind of did that thing where you write yourself through it. So he does. If you look at that. He's got freewheeling. He's got tangled up in blue. He's got Highway 61, which I still think is. You know, he goes. He. He literally goes. And things really change. You know, he goes. He knows he's gonna go from. I'm out of the folk music. We're not doing folk. I'm not standing here with this.

[Song Performer/Singer]

So cool.

[Josh Adam Myers]

That's so cool that he knew. He was just like, I know this time is over. And it's like. It's either. It's either adapt. It's like Miles. Miles Davis going electric. It was like he started seeing what Sly and the Family Stone was doing. He was like, this jazz thing is cool, but like, this rock and roll. I mean, this is rad.

[Lewis Black]

Did you.

[Josh Adam Myers]

Did you.

[Lewis Black]

You must have the, the one. The.

[Josh Adam Myers]

The complete unknown.

[Lewis Black]

The one where. No, the one where he does the. The where you. His album that he made. When he goes electric and goes to England and does. Does it in place.

[Josh Adam Myers]

Davis.

[Lewis Black]

No.

[Josh Adam Myers]

Bob Dylan.

[Lewis Black]

No. Dylan.

[Josh Adam Myers]

Dylan. No, I, I. Dude, I'm still like

[Lewis Black]

on the listen and folks out there. So he decides he's going to go electric and him. And, and he goes. There's a. I saw it in some. Some documentary where he goes on. You know, where he goes on stage to do electric. It. Or even announces that. I can't remember, at the Newport Folk Festival. The other reason he's accessible at that time, because there was a folk festival.

[Josh Adam Myers]

Yeah, yeah, yeah.

[Lewis Black]

And they don't. That barely exists. You know, they do it in, you know, Gorilla Pines, you know, Montana. They don't. This was a Newport.

[Josh Adam Myers]

Yeah.

[Lewis Black]

You know, so. So he goes. He goes, I'm going to do electric. Then he goes. And I believe the first concert, he goes to England and I mean, it's England, for fuck's sake.

[Josh Adam Myers]

Yeah.

[Lewis Black]

You know, the Beatles, you fucking idiots. They. They're booing him.

[Josh Adam Myers]

Do they really?

[Lewis Black]

You should hear the. Out. They kind of, you know, there. And he just keeps plowing through it. It's a great. I'll send you the. The name of it. It's. Please. It's phenomenal.

[Josh Adam Myers]

Please.

[Lewis Black]

Yeah.

[Josh Adam Myers]

I'm fascinated now about where the. Where the next couple records are going to go. And. Yeah, it's just. This is what, like. Because we're breaking into the final hundred and it's just. I wanted to love Dylan and now it's like, all right. Like, I really. I'm getting. We're getting that earlier stuff. And it's just. Yeah, he's, you know, I haven't watched a Chalamet movie. I'm not gonna watch that.

[Lewis Black]

Maybe I will.

[Josh Adam Myers]

Airplanes on Delta. I'll put up.

[Lewis Black]

I'll tell you.

[Josh Adam Myers]

Is it good?

[Lewis Black]

Shockingly not. It's shockingly okay.

[Josh Adam Myers]

Really.

[Lewis Black]

It's good. I would even say it's good. He's very good. The story it tells is good. It is. At least it's a shot at it. And so it really is. It's much better than I expected. So it kind of. You go, wow. And I'm like, you know. You know, I'm somebody who, you know, deifies the guy.

[Josh Adam Myers]

Yeah. Really? Have you seen him live a bunch.

[Lewis Black]

Well, here's the thing. I never got to see him because I was working all the time and I was. I was in theater, so you might as well how can I afford it? So, but it was here, here's the story. This is a great story. The. So Finally I'm turning 60 and I'm gonna be in Vegas. I have a show. I hear from my, my tour bus. I, When I was, when I toured, I went, literally I was doing 150, 200 dates and I was, had a bus and I went everywhere on the bus.

[Josh Adam Myers]

Okay.

[Lewis Black]

You know, and so I'm coming in. My, my driver knows Dylan's driver and my driver gave them, he gave the drivers of my stuff. And then the driver said, oh no, Dylan knows him. He likes him a lot. And it was like. And even, and even I told my driver, if he's lying, it's. I don't care. Yeah. You know, and, but I was going, I was performing in Vegas and I was supposed to be. And then he was performing the next night. And so I said, you know, Frank, my driver said, you know, I'll get you a ticket. And he got me a ticket for that night. And then they said that he wants to meet you after the show. And so I'm like, you know, it, there's a, you know, it's like you're

[Josh Adam Myers]

getting, do you get nervous or like,

[Lewis Black]

I mean, yeah, you.

[Josh Adam Myers]

I, I, it's the only people I fanboy out on. And I did it recently with this British soul singer named Ray. She was at the Cellar and it's. I, I knew exactly what I wanted to say and it just was like. And you're like, oh my God.

[Lewis Black]

Well, yeah, it happened. I went to, to Ringo Starr's birthday.

[Josh Adam Myers]

Oh, really?

[Lewis Black]

Yeah. And I was, I didn't know what to say. Then I'm walking out and I put this in my act because I really don't like celeb shit talking. But I'm walking out and this is your, you know, it's Ringo's birthday. And on my way out, sitting as I'm walking out of the room is Paul McCartney who winks at me. And I said, I was never a big Paul McCartney fan. And at that point, not only did I become a Paul McCartney fan, I literally my reaction was I become a Wings fan. You're like, I'm in a wing now.

[Josh Adam Myers]

Oh my God.

[Lewis Black]

I was like a 13 year old girl in menstruating. I was blown away. And so I was. And Dylan, I thought I'm. And he. But, but the first thing that happened and I, they kind of, if it was strange and this is, I, I didn't, I was lucky enough that I was sitting next to the sound man. Because he didn't play anything that I knew it was totally different. So, I mean, to the point it was incomprehensible as whatever the song was. And he kind of would grind up the words a little. And I'm like. And then. And I was. I was. God damn it. I. And I'm thinking. And I'm thinking. I don't care about whether he's singing the song the way I'm not. I get that.

[Josh Adam Myers]

Yeah.

[Lewis Black]

You know, it's the same thing as a comic who. You know, who works, you know, like Bill or you or anyone who just. I did it. I did it that way. Now I'm going to try it this way. I'm going to try it that way. Now we're going to settle on this, you know, and he had already settled on it. Now he's just bucking with it on all sorts of levels. But I don't. I just. Tell me what it is. You don't even. He doesn't even announce the song.

[Josh Adam Myers]

I saw with the rack of doors.

[Lewis Black]

He.

[Josh Adam Myers]

He was in the back and, like, not even facing the audience. And it was. Which was crazy. And I mean, these. These. Everybody's there for them for. And. And it's. And I love. And I listen. I also. I love, you know, any performer that changes their set list every night. Because if you have a catalog like, Like Bob or you have like a catalog like Pearl Jam or. Or even there. And I see these artists that I love so much that do the same set, and it's like, dude, I want to go to multiple shows. You're literally this open with this. Go into this. Go into this. And it's such a bummer. So. So I know that he's probably. I mean, he's probably. Every night it's like just something different. If I'm assuming right. It has to be.

[Lewis Black]

Well, it has to be. And then he's standing for him just to keep himself safe playing guitar at this point, he's standing sideways. This. The audience is out to the. Is out there. He's standing this way. So I'm seeing him with a hat on. And so. And I'm so. I'm seeing him at, you know, the 90 degree. And. And he's playing like, you know, an electric piano or, you know, or a Honor or whatever The. And I'm like, God damn it. And. And I don't know. And. But I'm lucky enough to be sitting next to the sound man. Yeah. So I'm. I've got.

[Josh Adam Myers]

Which is the best audio in the house. That's if people don't know that good by the sound guy. That is the best audio. Maybe the shittiest view, but it's the best audio. Unless you're in the booth.

[Lewis Black]

But it was a great view because we're in the booth. We were in the. Not even in the booth on the. Literally, there's something. Yeah, we were right on the. We were like 150. About. Less. Well, 300ft from him. Yeah. Or whatever. And so I'm. I. But I could see the set list. So now once I discover the set list, by the third song, I'm going, wow, he's singing that. I. I can't even. I can't even get the words. But I'm like going, at least I know what he's, you know. You know, music wise, what he's trying to do. And I'm going, wow, that's interesting. And they're just. I know all the songs, so it's like, wow. Holy God. So I'm like, I just can't comprehend this. And so I turn to the people who are sitting on my right and I go, you come here a lot? You come see him a lot? Oh, yeah, yeah. Every time we came. We've seen him about 15 times. And he does this every time. Yeah, that's why we love him. And I was like, okay, now he's made you psychotic. I mean, I get why he's doing it. I truly understand it, but you gotta hear it. And I just. It was. I was like, oh. And. But I didn't care because I had a whole. I thought, okay, you know, I'm gonna

[Josh Adam Myers]

meet the guy maybe. Yeah.

[Lewis Black]

I'm not gonna dwell on this. And I'm not gonna go.

[Josh Adam Myers]

Don't open with this. Don't say anything about it.

[Lewis Black]

I really like you, but now this sucks. My wife's good, you know, and I'm not gonna go, you know, you changed my life and all of that. And how come you stop singing those songs? You know, Because I could have really used the guidance. And he goes, maybe two more folk

[Josh Adam Myers]

albums would have been good for you. I don't know.

[Lewis Black]

But I get word right afterwards that he, you know, he goes off stage and I'm, you know, they told me to wait there. And then he had gotten. He's going back to la. And he got on the bus and went back.

[Josh Adam Myers]

Ah.

[Lewis Black]

And I'm going, you know. But That's a perfect 60th birthday. You're. You've turned the corner. You're going to die soon. And why wouldn't Dylan leave the room? But it was. It was kind of like, I got it because I. You know, I mean, I just finished another show on the road. I mean, I get it. I mean. And he. How he. I mean, talk about love and what he does.

[Josh Adam Myers]

Yeah.

[Lewis Black]

I mean, that's.

[Josh Adam Myers]

He feels. I feel like he's going to be one of the performers that performs until he drops dead. Like, he'll drop dead on stage. I. I got.

[Lewis Black]

Well, him and Willie, I mean, they just. I mean, Willie.

[Josh Adam Myers]

But Willie is an anomaly. Like, I mean, the fact that you could be almost a damn near 100, I think.

[Lewis Black]

And.

[Josh Adam Myers]

And I mean, is he a hundred? I. I feel like the birthday was. It was definitely like either mid to late 90s, but he's still great. I mean, he doesn't have. He's not as. I mean, his voice. Everything. Because everything. You can hear it in Bob's voice for sure. Like, you hear him, he's not singing the same. And luckily for him, he's not like Axl Rose, where it's like he wrote the songs in his 20s and in a way that he can never hit in his 70s, you know. But Dylan, you know, it's. His voice is. It almost has just become a part of the character of what makes him great. But this, though, is. Is so interesting because this is. I mean, I just love that this is his second record. I love that, you know, this is, you know, to give all the. To give the stats of the record. Everybody is recorded in 1962, 63 in New York City, which. Last night I was at the Cellar and I looked over at the Cafe Wa. And I'm friends with all them there. And I was like, I'm about to do Free Will and Bob Dylan. And I was like, this is. This is probably where he was like, oh, yeah. And that's. That's. You know, you see something like inside Lewin Daniels or Lou the Coen Brothers movie about the folk. And. And it just. It really kind of captures what it must have been like there. The way it was like in the Sunset Strip with, like, hair metal in the 80s. I mean, way different outfits, probably, but this is produced.

[Lewis Black]

I mean, it was bleak, you know, it was Bleecker Street. I. He played. It was not only cafe. Why now? I can't think of it.

[Josh Adam Myers]

Bitter End.

[Lewis Black]

Bitter End, yeah. The Cat. I played because it was as close as I could get. It was Kenny's Castaways. And then there was. And I would go down there that's what I would do is, like, before I. That's what I'd get out, I was at drama school and come down from New Haven and go and perform at Kenny's Castaways on Monday at their open mic night and be the only comic who worked because I just.

[Josh Adam Myers]

Were you already. Were you already fucking like. Yeah, you were you already doing that too? Damn it. When did that happen? Like, when did. When the first.

[Lewis Black]

I mean, I may have been doing you up, but I was doing political at points. But it really. Where I was really started going at the audience and felt comfortable was once I made the choice to, like, in my late 30s, I. I just. Because I wasn't doing it enough.

[Josh Adam Myers]

Yeah.

[Lewis Black]

So in order to do it, I was doing. I was running the. I was running the room with two other people. I wanted to really write plays, but I was introing every show. So essentially I was. That was how I got the whole thing of being the. I was the emcee.

[Josh Adam Myers]

Sure.

[Lewis Black]

Because I didn't want to be the emcee at a comedy club. Was never happy. I eventually, at that point I started. Comedy clubs asked me to start coming over. So I. I started going over there. And then I kind of. A friend of mine said, a comic from. From Michigan who was watching me said, what is. You know, I want you to go on stage. You said, you know, you're angry and you're not yelling, and you should go up there. You yell occasionally. Because I was yelling occasionally. And I wouldn't yell directly at him. I'd turn and yell at the wall.

[Josh Adam Myers]

Yeah.

[Lewis Black]

I couldn't. I just didn't think. And then he said, I want you to just yell. Yelled. And it was life changing. It was like. And they're laughing and I'm going, oh,

[Josh Adam Myers]

they must have gone bananas.

[Lewis Black]

I said, me, what have I been doing? And it's. And it's also that thing of when you discover that's when I'm funny.

[Josh Adam Myers]

So it was. It was literally like. It just. You were. You. You knew it immediately, and you were like, oh, this is the way it has to be. And then you tried it again and it worked.

[Lewis Black]

Yeah. Yeah. And it wasn't like that thing of where it was the attitude. So it wasn't like when you write a joke and I'm gonna do. You know, and the joke really works, and I'm gonna do it again. And it bombs. Yeah.

[Sponsor/Announcer]

Yeah.

[Lewis Black]

You have to do it five times until you stop thinking, oh, they're gonna laugh. They're gonna laugh. You just tell the Joke. And this was like, I'm. It was the attitude. And it. The attitude then brought everything else.

[Josh Adam Myers]

Where does that come from?

[Lewis Black]

Then.

[Josh Adam Myers]

Then what does that mean? Like, I mean, obviously, it's like you said, we grew up in D.C. we're interested in politics. You know, it's just kind of a part of the. The world. And also what was going on in the world at that time. But, like, is it like. Is it like. You know, the way Bill yells is. Because you see it in the cartoon with his dad. Like, his dad used to scream. My dad was never a yeller. My dad was. I'm into the arts because of my father, but I'm a completely different person. Was it family? Was it just like, you're Jewish and I mean, we yell a lot. We do yell a lot, you know.

[Lewis Black]

Family. Yeah, it was. And it was my mother. My mother. But also her level of sarcasm was withering.

[Josh Adam Myers]

Yeah.

[Lewis Black]

I mean, and. And she would. She was substitute teach at the school I was at, which is, you know, made my brother crazy.

[Josh Adam Myers]

My mom was. My mom was a principal secretary at my school, too. Oh, God, it's the worst.

[Lewis Black]

It's like she was so. It was. She. The reason it never bothered me. She was devastating. So kids would. Instead of them coming up on your mom, they'd come up and go, I can't believe what your mother just told this kid. Can't believe he tried to go after. What an idiot. And it was always. She was just punching kids out verbally.

[Sponsor/Announcer]

Yeah.

[Lewis Black]

All over the place. The greatest line, one of the great lines ever said the guy, the kid goes, why did I have to learn this? And my mother said, here's why. There's a Sears down the road, okay? And there's a gas station there. And in two years after you graduate, I don't want to stop at that Sears gas station and have you be the guy pumping my gas.

[Josh Adam Myers]

I love it. It's a perfect answer. But you can't say that now. But I mean. But back then was like fucking 60 something. Like, you could say that 100. Get away with so much more back then. I love it.

[Lewis Black]

It was awesome. The other thing about this. This. This album was, is it was me and my friend Ray Larson and. And a couple of others, Cliff and Ed. But we. Ray and I, and would listen to this thing all the. I mean, literally. I mean, it was like he was. He was talking to us. So, I mean, one thing about this album and the others that came the next, the Tangled up and Blue and the other, they're all stories. They're all telling stories. Every one of them is a story that's being told. And that really is another. Which is the folk song kind of a thing. But also. But it took it beyond the level of folk song. You know, it was the step beyond. This land is your land. You know, this. You know, this land. Is.

[Josh Adam Myers]

Is he the best. Is he the best storytelling or poet, songwriter? Because I was like. As I was saying, like, I was like, wow. Like, Bruce Springsteen can always paint a picture. But then I was like, oh, there's no Bruce without Bob. You know what I mean? And they're like, oh, Patti Smith. But there's no Patti Smith without Bob. It's like anybody. Billy Joel, Tom Petty. I just started going through the list. I was like, Neil Young, Joni Mitchell. I mean, countless modern singer songwriters, country artists, everybody. I mean, even, like the Beatles. Lyrical revolution or like, evolution came from the hearing, like Bob Dylan. And it's like, is it. You know, you see that people are teaching courses in. In Dylan's lyrics, You know, is that obviously. Jesus Christ. Is that obviously, like. You know, it's. It's probably. What. Is it attracting people? But I mean, is it. How do I put this? Like, is it like, you know, is he. Is he the. Like, when it comes to the best songwriting, you know, lyrical talent, is he, like the top of the crop?

[Lewis Black]

Well, I think he's the. For me, I like, you know, I think he's a poet.

[Josh Adam Myers]

Yeah.

[Lewis Black]

Who could write music and then had the balls with that voice to sing because everybody thought we were. You know, we would listen to the album and. And plus, you throw lyrics out. You don't hear. Like, my friend Ray would always, every so often, yell, give me a string bean. I'm a hungry man. I mean, it's like, what kind of a fucking lyric. The talking World War III blues, you know, and he. Anybody took out a shotgun in the way I ran. You can't blame him. He didn't know me. It's.

[Josh Adam Myers]

Are you serious? That's what's so funny. It's like every person that's come on and done the Dylan records has always either had the whole album memorized or has, like, at least 20 to 30 lyrics that they can recite. Whether I say this song, like, oh, and it's just. It's incredible.

[Lewis Black]

Yeah. And then I'll. The great. One of the greatest lines ever written for me was because he's talking directly to us, and we're kids, and he goes, I'll let you be in my dream if you let me be in yours or it's. I'll let you. Yeah, it's that one. It's at the end of talking World War III blues. Yeah, I'll let you. I'll let you be in my dream if. If you'll let me be in yours Or I'll let you be in whatever the it is. That's the.

[Josh Adam Myers]

See if I have the lyrics.

[Lewis Black]

Yeah, it should be there. I was just listening to it, you fucking monkey. Louis,

[Josh Adam Myers]

while we look this up here, I'll tell you to see some interesting things for the people out there. I mean, dude, I feel like we've done Dylan so much. I'm not going to do the history of the guy because we don't have enough time. But, you know, before freewheeling, you know, he moves in 61 to New York City. Saw it's sought after Woody Guthrie hanging out in Greenwich Village. That's why I love being in these major cities, man. It's just like. You just can be there and be like, ah, man, I'm in the same place that these guys were. Releases debut in 62. It did not sell well.

[Lewis Black]

Yeah, no, it didn't. It was.

[Josh Adam Myers]

Did not.

[Lewis Black]

It was okay, but you know, it's. I look back at it today because I couldn't. I mean, I remember the COVID but we never really listened to that a lot. There were only two original songs.

[Josh Adam Myers]

Two original. All the rest covers.

[Lewis Black]

Yeah.

[Josh Adam Myers]

Just 11 on this one.

[Lewis Black]

No wonder, you know, it wasn't gonna happen. And he doesn't have the voice. And the one thing I was. One thing. The other thing I was going to say, which was that I thought he, you know, in part he was doing by. By singing with that voice. Was telling pretty much an entire group of kids, hey, you don't need the voice.

[Josh Adam Myers]

Yeah, yeah.

[Lewis Black]

Worry about the words, you idiots. Yeah, I mean, I always felt like, you know, because people go, you know, boy, you know, who can listen to that? Yeah, but I don't give a. What his voice. Listen to what's coming out of his mouth.

[Josh Adam Myers]

Yeah, he's saying shit. But then this record comes out and it changes everything. He becomes an American, the leading songwriter in America, the face of folk music. A political voice, which, you know, besides a few other artists, there weren't many other people, you know, really singing about exactly what was going on in the world. That in popular music, an international celebrity and every artist and young songwriter wanted to emulate him. This album changed popular music forever. This and then from that. I mean, dude, 64 the times they are changing. 65. Bring it all back home 60 again in 65. Highway 61 revisited. And then that same year, as soon as that album comes out, maybe it was before or after, but. But it goes electric at the Newport Folk Festival.

[Lewis Black]

Yep.

[Josh Adam Myers]

And then blonde on blonde, dude.

[Lewis Black]

66 gonna say that's. And that's another one. It's a double album for sake.

[Josh Adam Myers]

I'm a Bill, I'm a. I did

[Lewis Black]

Stuck Inside of Memphis with the. Stuck Inside of Moby with the Memphis Blues Again. Are you shitting me?

[Josh Adam Myers]

Yeah. I'm a Blood on the Tracks. It's the only record I listened to before I listened to. Started doing this podcast because it was going through a breakup, and my buddy was like, listen to this breakup. I'm listening to this. Yeah, listen to Sea Change. We just did Frank Sinatra's breakup record in the wee small hours yesterday, which was amazing. Yeah, I mean, it's. You know, the.

[Song Performer/Singer]

The.

[Josh Adam Myers]

The. The songs ask these huge questions but refuse to give easy answers. And it's like. Like blowing in the wind, right?

[Lewis Black]

Yeah.

[Josh Adam Myers]

And you spent your entire career asking, what the hell are we doing? How many roads must a man walk down 60 years later? Do you think we've answered any of these questions or how we just invented new, dumber ones?

[Lewis Black]

No, we don't even. We don't even hear the question. Obs.

[Song Performer/Singer]

Absurd.

[Lewis Black]

We don't hear it.

[Josh Adam Myers]

We don't hear it at all.

[Lewis Black]

We don't hear it. It doesn't. You know. What, are you kidding me? It's unbelievable. I remember.

[Josh Adam Myers]

I remember studying about, was it the Renaissance or the Age of Enlightenment? And it was like, no, history is progressive. And you're like, no, it's not. We're gonna do it again. We're idiots. We constantly go in a circle, and it's like, we think we learned something. You know, we like, ah, we did so good.

[Lewis Black]

We.

[Sponsor/Announcer]

We.

[Josh Adam Myers]

We fixed this. And then. It's just.

[Lewis Black]

My mother. My mother was constantly brutal. And she would just basically tell us, we're gonna. You think. You know, because now we're walking around where, you know, we're doing these marches. She's doing them too, and she's going, if you think you're gonna change anything, you're out of your mind. It ain't gonna change. It's been like this. It's going to continue to be like this.

[Josh Adam Myers]

I mean, yeah, it's because, like all these.

[Lewis Black]

Yeah, but your mother's supposed to help. She's not supposed to.

[Josh Adam Myers]

Oh, my mom is. Dude, it's. Jesus Christ. My. My mom. The one thing I've been trying to shed for years is my mom always says too much. Like, you could be in an elevator and be like, you know, it's like, ah. It's like, you know, it's a beautiful day. And she's like, I know, and I need it because I have fibromyalgia. You're like, why are you saying that? And it's like, I don't. And I would do that. And I'm like, what am I doing? And I wish my mom was my. That the other way with, like, yours was, where it's like, sharp, witty, and, like, opinionated. But also like. Like you said, like, smart and like, you know, listen, don't be a idiot. Like, if you don't do this, you're gonna. You know. My mom was never like that. She always went for the way darker, you know?

[Lewis Black]

Yeah. But meanwhile, my father is telling me to read. He's reading a book. And I said, and he's laughing. I mean, he's reading a book. We're basically watching tv. He's in the same room with us reading a book, and he's laughing at it. And I said, what's. Is it funny? He goes, yeah, you gotta read it. And I said. And it was catch 22.

[Josh Adam Myers]

Really?

[Lewis Black]

So I read the book at, like, when I was the same year. I basically 15, 16. When I was listening to that. Really? Yeah. Let me see something. I just want to.

[Josh Adam Myers]

Go ahead.

[Sponsor/Announcer]

Go ahead.

[Lewis Black]

I said that it is. I let you be in. It's a great. It's just great. I love that. That. And it's the end of talking World War three blues. It's really. And I had the same. Then the somebody else has the same. I had the same dream but I was the only one still walking around. It's really a remarkable. I mean, he just wrote, there's no fat.

[Josh Adam Myers]

There's no fat whatsoever. Yeah, it's. It's really. He's like a perfect. You know, like. You know, he's like. It's like watching, like, David tell. And it's just like, oh, my God. It's like every word is important. And it just hits so perfectly, you know, let's talk about some of the songs because we mentioned what was going on in the world. And I mean, I feel like with someone like him. And we only have about, like, 20 minutes, but we can skirt through a few of them wheel. What thugs did we go to do? Blow it in the Wind. I mean, that's the one that's I hate to say, but that's the one that I skip over just because I've heard it.

[Lewis Black]

But it's a great song. I mean, you know. I mean, part of it is. Is it's so simple. You hear it and then. But you. And then you have to hear it again because you stop listening. Because it's like. Partly because it's the repetitiveness of it, but partly because you go, oh, none of this is. Oh, we're. And now we're. Again. And now we're. You know, and. And that the. You know, that we don't have the answer. I mean, it's. You know, it's. But it's there. It's. It. I mean, it's just this. I mean, I'm psychotic when it comes to. That really made me crave. It's like taking drugs. Listen to this. Yeah,

[Josh Adam Myers]

I love that it's like. It. Just because I already. It's. You're the perfect guest for this. Like, it was. It's crazy. Like, I had. I had Steve Sharipa from the Sopranos. Oh, yeah, Frankie record. And I was like, oh, my God, this is like, perfect. Just a back to back. And. And I mean, you know, something like blown them. And this usually happens where it's like the one that I've heard the most. But there's just so much like, if. If you just heard that, you know, and you're not a Dylan fan and you're just a younger generation, you'd be like, yeah, it's an okay song. It's. You know, I'm not just saying, like, the way that they would be, but I think the album really came to life for me when I heard Girl from the North Country. That. That was something. And it's not even. I don't have that many facts about it, but it just. It really, like, it says that, like. Harvey noted that Dylan not only took the tune of Scarborough Affair. Because I was like. Just reading that now makes me kind of like, oh, yeah, maybe like, I was like. I felt like I've heard this before in a different form.

[Lewis Black]

Yeah, I'd never heard that. That's great.

[Josh Adam Myers]

Yeah. It says what she learned from Martin Carthy in London. But also adapt the theme of the song Scorpio Fair derives from the. I'm not gonna get all that.

[Lewis Black]

But it's also Minnesota. It could be. He's. It's not only the girl, it is the. You know, it's. He's left there. You know, it's. He's pining for. I mean, it's unbelievable.

[Josh Adam Myers]

Bonnie Beecher, a girlfriend at Dylan's when he was at the University of Minnesota.

[Lewis Black]

Yeah.

[Josh Adam Myers]

They say there's no proof of any of this, but this. But, I mean, so many people have researched. That's the crazy thing about him. More than any artist. There's more online by professors and. And Wikipedia things. And it's not just Wikipedia, but like, specifically Bob Dylan. Pedia things. Yeah. So there's so many people breaking down his songs.

[Lewis Black]

Well, I mean, he wrote that. That's a great love song. I mean, he writes. He's. He writes Blowing in the wind and then he follows it. Yeah. With. With the. With a love song. It's. I mean, it's. It's just. And it works because he's so good.

[Josh Adam Myers]

Yeah.

[Lewis Black]

Because he just goes, I told. We did this. Now I'm gonna do this, then we're gonna do this. Yeah. And. And the. And the Blowing in the wind, which is really what I was gonna say, which is psychotic, is. Is in part. It's. It. That's the spiritual end of it. The answer is there, but it's in. It's in the ether. It's in the. It's. It's in the spirit that's out there. It. That's where the answer is. That's why we don't have the answer. We're not. That's. And we're not looking there. Yeah.

[Josh Adam Myers]

Then Masters of War. How do you connect with that? Because that feels like Dylan's not hiding his anger at all.

[Lewis Black]

No, he's just harshest.

[Josh Adam Myers]

This has one of his harshest protest songs ever written. One of, like, not just his, but. I mean.

[Lewis Black]

Yeah, it was one of the harshest. And then he followed and then each one. But he tops it. He tops it in, you know, the. The what? The. Is it on. Highway 61. A hard rain. A hard rain's gonna fall that. Is that. Is that on that or that's.

[Josh Adam Myers]

On this record? Yeah.

[Song Performer/Singer]

Yeah.

[Josh Adam Myers]

You know, it's probably. It says. Was 21 when he wrote it, one of his most complex songs. Premiered it at the Gaslight Cafe in the Village. And it's so cool. But let me see if I got. My God. I like the Hard Rain's Gonna Come. The song paints a surreal picture of a world overrun by violence, injustice, and fear. Let me ask you, listening to this today, though, does it feel like scrolling through the news.

[Lewis Black]

Yeah.

[Josh Adam Myers]

Is the world's become stranger or has the world become stranger? Or have we just gotten better at broadcasting the insanity?

[Lewis Black]

Oh, no, it's. I Don't think it's got. I think it's as. I think that was a strange time to live through because, I mean, what's it stranger. Only because all the stuff that is being worked on to bring into fruition so we wouldn't have to go back to that time period. They're trying to take us back to that time period. Yeah. And if you want to do that, that's fine, but you know what you have to do? We don't get color TV. We don't get big TVs. We get little TVs. They're black and white. Go yourself.

[Josh Adam Myers]

No more Internet. No more porn's. Porn's on. On a reel to reel.

[Lewis Black]

Exactly.

[Josh Adam Myers]

You better use your goddamn mind. Yep. Food will. Food will be surprisingly cleaner, though. Yeah, the food will get better. But besides that, you know, no more of certain medicines. All guys hair falling out. Who gives a. No more fake tits. I love that. I think that's a great position you should run on that, dude. No, but I also do think that, you know, I mean, dude, the world has been a crazy place then. I mean, like, they used to even like, solicit. I always say that about celebrities. It was like in the 1920s, like, dude, they were crazier than they are now. And there was no. If there was no Internet. There was no cameras everywhere. It took Fatty Arbuckle to have a girl diet as one of his orgies for them to find out about. About that. And it's just now, which is. It's just everything is there to. If we want to find it, it's there. And if we want to find something that's not even real, we can find that too. An opinion. And I. So it's. It's.

[Lewis Black]

I'm also people. I. From the beginning, I've always had. And it's because you owe. Maybe. But it also. My problem is, is that you're. This is. I have to do this because I'm advertising my shit. You're advertising yourself.

[Josh Adam Myers]

Yes.

[Lewis Black]

You fucking. What you got to tell people. And I fucking. When. When Facebook broke. I was like a psychotic standing on stage before it really kind of hit. And I'm going. You know, God damn it. You know, what the fuck is the matter with us? You know, I don't. You got to tell me that you went on these two trips. I didn't do shit this year. And you ate at this restaurant and you got the best bottle of that. You know, you.

[Josh Adam Myers]

Yeah.

[Lewis Black]

What. What? That's like high school on a level. That was the other Thing. It's high school on a level I never imagined.

[Josh Adam Myers]

Oh, thank God we were. I didn't have that in high school. I mean, I would kill myself. It was like. I. I think I didn't have it during my, like, formative. Formative years. Not just as a comic, but in my. In my 20s, because, like, you know, that I would have said things and gotten canceled and like, the pictures of me. Oh, it's been horrible.

[Lewis Black]

Yeah, no, it would have been.

[Josh Adam Myers]

Is it the worst thing that's ever happened to mankind? You think social media and the Internet, like. Or is. Do you see the advantages more than the negatives?

[Lewis Black]

I think down the road there will be advantages, but not. I mean, there's. You know, it's great. It's. It's kind of. I have friends who go, oh, you read. You know, I already saw it because it was on, you know, and I kind of go in. You watched it on a screen this big, you know, and what does that tell you about. Well, you shouldn't be watching on tv. Well, you know what I like about TV is, is that there is somebody who had to. Who's delivering the news, had to get a. Has to have a resume, but it doesn't seem to bother people. You know, they were there, they saw it. Yeah.

[Josh Adam Myers]

Let's see. What's a good one? I mean, I'm trying to think of the ones. There's so many good songs on this record, but any of the ones you want to. Particularly ones you want to talk about, like the Oxford Town.

[Lewis Black]

Well, Oxford Town. I did. I mean, it was really about H. Rap Brown and.

[Josh Adam Myers]

Yeah.

[Lewis Black]

Him going there and he didn't really. I don't think he went there, but it's just that story of like. And it was weird too, was the Eastern Shore, which I always said is changed a lot. But at the time when he's down there, the Eastern Shore, I always thought was. And this is. This is then. So don't. Don't call in, don't write, don't say we have such. Whatever. Fuck it. This is. Back then, it was literally. I always felt like they. It was all of the people who couldn't get in Alabama were then shipped up to the Eastern Shore. Really, that was the way I felt about the Eastern Shore.

[Josh Adam Myers]

Have you seen it? Now it's. It's. Now it's. No, I mean, it's a. It's Ocean City. I mean, yeah, but Salisbury, it's. I. That place. I hate that place, Mom. That's why I don't come visit Because I hate there. You have a shitty bed.

[Lewis Black]

Annapolis, which was kind of like.

[Josh Adam Myers]

Are you calling, you calling Annapolis the Eastern Shore? That's.

[Lewis Black]

No, no.

[Josh Adam Myers]

Okay. That's gorgeous.

[Lewis Black]

No, that is gorgeous. But that's where the then and then the Eastern Shore kind of begins in the. Annapolis with the Navy is what stopped them from getting into.

[Josh Adam Myers]

Yes, okay.

[Lewis Black]

Yeah, yeah, yeah. The state is a whole.

[Josh Adam Myers]

But Bob, you bring up Oxford Town, though, it's like, you know, comedy kind of has always been a way to confront uncomfortable truths. Do you think comedians still have the courage to go where artists like Dylan went? Or are we becoming too afraid of saying the wrong thing?

[Lewis Black]

I mean, no, I don't think we, I think that's, we kind of passed that. But now this is the thing that just irritates me, you know? You know, it's this search to really. I'm gonna say the wrong thing. No, no. Get me the joke. Yeah. Be honest behind the joke. You gotta go seeking out that. I mean, you know, it's. I love Doug Stamhope and he's done some abortion material. That's great. I mean, just great.

[Josh Adam Myers]

So you think you can make anything funny? You can talk about anything as long as funny.

[Lewis Black]

I, I have had a difficult time dealing with abortion. And the only thing I ever did on stage, I mean, because it's, you know, as I said, you know, it's like the abortion material. You can't even sit at a dinner and bring up the word without there being chaos. And I, So I said, I'm going to say a word now, and I want you to watch what happens. And I say abortion. I said, what I'm going to talk about now, what I'm going to talk about now is abortion. And I said, and, and then there's a silence and I just go. And I just heard every anus in this room snapshot. And I said, that's why I don't do it. Yeah, it's not, I'm not the, you know, it just takes me out of my, what my range is of comedy. Not that I, years ago, I, I did stuff, but it was, I didn't have the chops to, to really put it together, you know?

[Josh Adam Myers]

Yeah, I, I, I, I love that you said that. It's like there's some people that are trying to, like, just, they, they can, they're trying to say offensive things, and sometimes that's not even funny. It's just because they know that's the area that they're in and they're in a bubble a lot of comedy has kind of turned into little bubble areas,

[Lewis Black]

and it's crowd and crowd work and I don't understand.

[Josh Adam Myers]

Well, it's because of social media. It's because that's how they're. There's people that are two years in that are selling more tickets than me, and I'm at 18, you know, and that's just because they had a clip go viral in this, and good for them, because if you find your avenues in that and people. People will go and then see them and go, all right, but that wasn't that good, you know, and then they'll. They won't come back, you know, But.

[Lewis Black]

But if you look at. I mean. But the king of crowd work, I mean, because I worked with him so much, was. It was David Tell. Oh, yeah. I mean, he was just. It was not even. It was like five words, dumb. You know, it's. He's beyond. I mean, it's. It was there. There are not that many people who were. It's. It's kind of easy.

[Josh Adam Myers]

It is. I. I remember I just recently watched Paula Poundstone's special Cops, Cats and stuff.

[Lewis Black]

And.

[Josh Adam Myers]

And, I mean, she does crowd work in it. And it's. It's. And she made it so funny. And it. Because she's just got this very interesting character who. Whose mom, like, had her head ripped like hair. I'm not gonna get into it. I'm not gonna. We don't have much time left. But it's just. It was so brilliant. And the fact that she left it in there must have been like. HBO is probably like, what is. What is she doing? Like, what are the jokes? Blah, blah, blah. But she's like, well, she's killing, so she's doing her job.

[Lewis Black]

She is doing.

[Josh Adam Myers]

Yeah.

[Lewis Black]

And I just. Last summer, I curated this comedy festival in Chautauquin, and Paula was there and did. Did it. Did stuff. And she's just. It's also because she's so smart.

[Josh Adam Myers]

She's so.

[Lewis Black]

She's smart. And. And this is it. Smart can hit the back of the room and. And. And is smart. But talking to everybody out there. And that, to me is. Is huge.

[Josh Adam Myers]

Yeah.

[Lewis Black]

I look up the. The album again because I'm. I want to.

[Josh Adam Myers]

Well, see, I love. We brought up talking World War III blues.

[Lewis Black]

Yeah.

[Josh Adam Myers]

Which is about Dylan imagining surviving nuclear war only to discover everyone is still crazy.

[Lewis Black]

Yeah. And then he comes. He finds himself in a. In a sewer below a manhole cover, and there was no light.

[Josh Adam Myers]

I mean, it's just so. It's so interesting When I was like listening to that and I was like, is this what I think it's about? You're like, this is great. If, if civilized. If civilization collapsed tomorrow, how long before somebody tries to, to start a homeowners association? Like, what do you think? Like, like, if we like one. How long do you think you'd survive if the government and everything falls? Like, how long would it take you before you, you're okay with like, you know, drinking your own pee? Like. I think, I think I can go a couple weeks, I think. But

[Lewis Black]

yeah, you know, it's. I, I can't. I. I can't imagine what we're doing now. I mean, I, I'm sorry, I was.

[Josh Adam Myers]

No, you're good.

[Lewis Black]

I missed you there.

[Josh Adam Myers]

No, don't worry, don't worry.

[Lewis Black]

No, I did, but I wasn't a. This thing came to me. It's so good. Said it was a bad dream. I mean. Yeah, it's so simple. Funny to the point.

[Josh Adam Myers]

I just love that. This is a 21 year old kid.

[Lewis Black]

Yeah. I, I mean, and he's got Karina, Karina. And then follows with, honey, just give me one more chance. I mean, it's just smart. Yeah. I shall be free. Which is. This is just I. And I. And I kind of. I went, wow, he's got. I shall be free is he's. You think it's going to be about. Yeah. You think it's gonna be about, you know, civil rights?

[Josh Adam Myers]

It's about me. He's just laughing about celebrities, himself, politics. But I mean, that's what's, that's. That's like, you know, it's. Do you think Satar has any finish line or is this like. Is the joke that human, the humanity, like keeps giving, you know, us new material. Like how. Because everything's just so ridiculous, you know, it's for him to be so self aware. I think that's really mature for a 21 year old kid, you know, to understand that, you know.

[Lewis Black]

Well, he's sitting off there and he's watching it. I mean, it's that thing, you know, whoever is touched by that thing, you know, where you're. Where you see it clearly. The hard thing I find now, even watching and it's not. And for me is the, you know, how do you satirize what's already satiric? That was when I started going, this is already, this is already funny. The joke's been written. You know, you can talk about not liking him and he's this or he's that and yada. Yada. But what he's doing, if you can't top. It's. If you read it in a book and that was fiction, you'd be laughing.

[Josh Adam Myers]

Yeah, yeah.

[Song Performer/Singer]

You can't.

[Lewis Black]

It's tough to beat it. It's. I just did. I did the two last things I did on the Daily show, which really also nailed it from the other side because it's not just what's occurring in the. Politically. Oh, God. So, yeah, so this stuff called maxing, where you're, you know, carb maxing or clavicular. This guy. Clavicular, and all of these types of maxing and yogurt. You know, yogurt is a lifestyle. Somebody is actually.

[Josh Adam Myers]

This is true. Yogurt's a life.

[Lewis Black]

Oh, yeah.

[Josh Adam Myers]

Okay.

[Lewis Black]

Quoted is in the thing. And so I'm doing this thing, and it's like, nuts. So I'm watching this thing that I don't even know exists because, oh, hey, I don't even know it exists. And I go. I don't have to really say anything. We've got jokes that are written afterwards, but this is the joke. And last Tuesday I did. This past Tuesday I did this thing where it was exercise. So, you know, samurai sword yoga. They're doing yoga with samurai swords. Pistols and Pilates. So what. What's the joke? What joke do you want me to fucking write? You don't see the joke? And then I. We wrote some great jokes for it, you know, and. And I got to say some things I really liked, you know, where, you know, it's so silly, but the, you know, that, you know, it's. It's just so antithetical that I. It, you know, I did yoga to, you know, to do. I did yoga to learn how to suck my own dick, you know, and. And not to lop it off. I mean, it's. It's so. It's just, you know, and that's kind of a stupid joke. I mean, I think I've even used that joke. Yeah. You know, there's, you know, the. Sucking my own dick because that's the only reason I take yoga. So. But I mean, again. But that is. It's. It's. It works as a top. It kind of is. It's so obvious. It's just. It's. Compared to what's occurring. And you're watching them.

[Josh Adam Myers]

Yeah.

[Lewis Black]

Do yoga with swords. And then I show up and say what is essentially a knock, knock joke.

[Josh Adam Myers]

Sure.

[Lewis Black]

It's a funny joke because it's in that context.

[Josh Adam Myers]

What do you think if Dylan started today you know, would you think he would be singing about the, you know, the clavicular and, and all, you know, the tick tock and like, well, Larry Ellison's buy in Warner Brothers, you know, you wonder.

[Lewis Black]

I mean, it's that thing of you, you know, we all talk about, you know, I do, we all. Louis, I'm right.

[Josh Adam Myers]

Me too. I know what you're about to say, but we do. I do too.

[Lewis Black]

No, like George Carlin, you know, you'd like to know what George would say about all this or if he would also be like, I can't go on, this is too much, you know that. But I think to Dylan. I'm sorry, you know, Bruce Springsteen does the song for Minneapolis, for Minnesota and good for him. But I wish I'd like to have heard Dylan's song. He's not, you know, he's. He's way. He's gone. He's way by and it's. And it's. I think he's been to do what he's doing and what Willie's done is to be married to your music. I mean, he lives in his music. You don't tour that much unless you're living in. In that music is the thing. And that is what, you know, gives him life.

[Josh Adam Myers]

Do we need a Dylan now then? Do you think that there is there? I mean, I don't know how even I was trying to think of that. Like, who would be the Bob Dylan of this generation? I don't think there is.

[Lewis Black]

There is somebody who occasionally see. But I don't.

[Josh Adam Myers]

Was it that, that, that, that the guitarist, the.

[Lewis Black]

He just plays the guitar and he sings.

[Josh Adam Myers]

Yes, I. What is his name? Oh, hell, you're right. And I, I mean they're kind of funny, but they're like. But they're very succinct with what's going on and they're great songs and it's all about now. Yes.

[Lewis Black]

Yeah.

[Josh Adam Myers]

You know, and I think that's why, probably why people are so attracted to that guy. Yeah, they're like, oh, finally. He's like, yeah, he's not sugar coating.

[Lewis Black]

But it's tough to break it up through what is a morass of.

[Josh Adam Myers]

Yeah, but I mean it's a. But he's using his, using that platform to, you know, call out things and, and not only that, like the songs are catchy. So it's like, you know, you can, you can listen to it and then like, oh, you know, he's giving you a message because after a while you're like, oh yeah, this is about mansado. I mean, the song's mensado. Yeah. But these songs are like, angry, you know, And. But the thing is about Dylan, it's like, even though. And maybe with that guy too. Can you figure his name? I'm just trying to find who that guy is. It's like, I want to know because I want to give him a shout out because he is great. Yeah, but the songs like with. With this are angry, but they're never hopeless, you know, I think that's kind of why I really love this is because it's actually like his anger is like a form of optimism.

[Lewis Black]

Yeah.

[Josh Adam Myers]

It's like, you know, but you don't scream about. You don't scream about things unless you're secretly believe they could be better.

[Lewis Black]

Exactly.

[Josh Adam Myers]

Yeah.

[Lewis Black]

I mean, that's always what I felt. You know, people say, well, you're such a pessimist. I said, I wouldn't be this angry if I didn't think something could change.

[Josh Adam Myers]

Yeah, I know.

[Lewis Black]

You know, and he's really. I mean, he comes at it from. And the other thing is how many angles he comes at it, you know, and that's kind of like. That. You would mention Hurricane, you know, that. That song, you know, like, that's kind of why I wish he would, you know, but he's kind of gone into another realm. He's singing, you know, his sense of ballad. You know, he's singing ballads, but he's

[Josh Adam Myers]

still like, dude, there's that song Time out of mind that it's. What's her. Adele sings it. It's like. It's this incredible. I mean, incredible jest. It's like. It's literally like a Cole Porter song.

[Lewis Black]

Yeah.

[Josh Adam Myers]

If. If I want to. What is he. Hold on. I want to figure that. It's so beautiful. So he's still able to write.

[Lewis Black]

Oh, yeah.

[Josh Adam Myers]

Amazing music.

[Lewis Black]

But I think he's. That's. I don't think what's happening. He. I think he feels like he's going through the same again.

[Josh Adam Myers]

It's kind of like, make you feel my love. That's what it is. Make you feel my love. Wow. That's a great song.

[Lewis Black]

Have you heard.

[Josh Adam Myers]

You've heard it. The Adele cover is amazing of it. His version is. Much like. Bob, you've won a. You've won a Grammy Award. That's pretty rad. Where do you have it?

[Lewis Black]

I have it in. When you. It's in a pile of stuff that's on top of this thing. When you walk in, if you see it, it'd Be. You get a prize.

[Josh Adam Myers]

Do you. You feel like. I always feel like the Grammys. It's like either. Either that you have it displayed everywhere, but the Grammy is the one that most people. Or is it the Emmy? Is the Emmy the one that's pushed away more, or is the Grammy the one that's, like, hidden more?

[Lewis Black]

Well, I just didn't, you know. You don't want to have it? You know, I want to be.

[Josh Adam Myers]

Why not?

[Lewis Black]

Like, what do you want to. It's pretty. Well, I mean, it's kind of around there, you know, I mean, it's. I've got it, so it, you know, and I kind of got it when it was still in. Because that's really the other thing with me. I'm kind of the end of my era. You know, it's the. It's the end of it. And we're into this era. We're into the phone era. We're a different era. And so. So I was kind of glad. I was really, you know, I mean, I'm proud of it. It's great. And yesterday giving myself a shout out, but I was. For years. I've been on The Daily Show 30 years. And so. And every time they get an Emmy, I said, you know, I think I ought to get one. You know, I'm kind of on the show. Yeah. And. And even the last time I went out there with them and they, they. They gave the correspondence, got Emmys and the writers got it and to their credit and all of that. And I said, well, and I go up because I'm there to get to, because I think I'm getting the Emmy. And they go, no, no, you don't get one. And I said, but. All right. And I, I just went, okay, guys. So then they said, well, you know, you're not listed as one. You know, you're not a writer, and you're not. You're not a. You're not sitting at the desk. So, you know, you're not the. The guy. The girl, you know, you're, you know, so you. You. You don't get it.

[Josh Adam Myers]

That's.

[Lewis Black]

Well, I mean, that. But that's the.

[Josh Adam Myers]

That's in my opinion.

[Lewis Black]

Well, I know, but it's the. The guy.

[Josh Adam Myers]

Give you a. Give you a lifetime one. Like, give it a. Like they did for, like, Warren Zon. Just get him in the hall of fame, dude.

[Lewis Black]

Well, it's the. What they did was they. They ended up. And they. They. It's. It's the. The. The. The tv. It's. The Academy won't you know, we've got our rules and Da, da. But, but they, this past a couple of weeks ago or whatever, they basically said, can you give him an Emmy? Good. You know, we think, you know, and they, I think they had to buy the Emmy unbelievably. And they, they gave me an Emmy.

[Josh Adam Myers]

Good.

[Lewis Black]

You know, 2012, it's back order.

[Josh Adam Myers]

We forgot to hand it out.

[Lewis Black]

Yeah. But they've got them around. That's the one they sent me, which is great.

[Josh Adam Myers]

You know what's funny? I, I tried to do this. We have about five minutes. We had the cars picking you up in 10 minutes. And I do final questions. But I did, I did try to do a little research to see if I could compare your career to Bob Dylan's. Neither of you wanted to be a spokesman.

[Lewis Black]

Yeah.

[Josh Adam Myers]

Neither of you. Dylan Hayden being called the voice of a generation, you repeated repeatedly said he isn't trying to tell people what to think. People projected that role onto both men. So I feel like you, you just being yourself and same with him. It's like you didn't because I don't think you ever woke up and realized people expected you to explain America, but you kind of had to, you know, whether. And you were giving it to a lot of us where, you know, we, the Daily show in a hole. We were getting news and we didn't realize we were like, oh my God, like we're learning and finding out about the world.

[Lewis Black]

It did do was give. Give. I thought what it really did was give kids a way to look at the news and to look at the world. That was what was important.

[Josh Adam Myers]

You know, what's the most heartbreaking thing about the news is that I read every day for since I was probably 8, I read the Washington Post. Even when I moved away, I still read the Washington Post, the most respected newspaper in the fucking world. And especially if you want to go into the sports. One of the greatest team of sports writers with coronisers Will Bond, Thomas Boswell, Sony, Jenkins and fucking Bezos just murdered that newspaper. And it's like I had to cancel my subscription and subscribe to the New York Times. And I'm not reading the opinions. I'm reading this like just the facts so I can get the facts. But it's like that breaks my heart on another level.

[Lewis Black]

There's still people hanging around writing, but it's not this.

[Josh Adam Myers]

It's not the same.

[Lewis Black]

No, the paper is all isn't. But I see I, I still get the. I still get it. And because they're like two or three. There's usually one or two articles that are well worth it.

[Song Performer/Singer]

It.

[Josh Adam Myers]

Yeah, I just, I get. You know what I mean? Just from the perspectives like they don't even have somebody writing about the Wizards and the sports teams. You're like. But it was, it was just honestly like, dude, it brought down a presidency. I mean it was a paper that was so important to American history. And just to be like. And for a guy that's got almost a trillion dollars for him just to not give a. Bend the knee to. To the administration. It just breaks my heart.

[Lewis Black]

The. If you. Well, you're absolutely right. Yeah. And. But there's. There's still little things. But if you want to read and anybody out there want to read. One of the great sports writers was Shirley Povich. Oh yeah. Who's Maury's dad. And his book is really. The book of. His stuff is unbelievable.

[Josh Adam Myers]

You are not the Father the Story of Wilt Chamberlain. Are you? All right, I got. I'm going to give a couple more of these. All right, here we go. You both turned anger into art. I did Masters of War. He wrote and you wrote and you yelled about airline kiosks. Both love language. Very similar. You know what I mean? Obsessed with words, both of you. Obsessive words, timing, cadence, rhythm. I mean, I think Bob would have been. Do you think it would have been a good. Stand up Bob Dylan now?

[Lewis Black]

Not with that voice.

[Josh Adam Myers]

You're not wrong. And you. I think you both reinvented the art form, you know, for singer songwriters weren't expected to write literature and political comedy was often built around impressions and punch lines. And you know, I always used to look at it, especially growing up in D.C. they used to do that. Was that like D.C. follies or. It was just like the piano guy that's like, wow, Reagan. Trickle down, trickle down. It's like it's you. You've turned it into a real art form which. Which is much more palpable. Palpable and. And interesting rather than not cheesy. It really feels like.

[Lewis Black]

And another person who. It was an influence on me. It was. Was Mark Russell out of. Did you ever see his stuff? No, I didn't watch it.

[Josh Adam Myers]

Mark Russell, is he. Where is he from?

[Lewis Black]

He were. He's from D.C. oh, interesting. Yeah. I mean not originally, but he ended up at the Shoreham Hotel playing. Playing there in front of all. Everybody in Washington in like the 60s 70s.

[Sponsor/Announcer]

And.

[Lewis Black]

And then he had. But if you go online, he. And he wrote songs about these people and It's. I knew him till he was. I knew until he passed. But I met him late in life and he was still doing shows. And then he retired and then he. But he'd go on stage in fucking. In his early 80s, remember these songs about obscure politicians that had done shitty things. And he'd sing this. Knock this song off in front of us that he had done 25 years ago. It's really. It's well worth. It's a really interesting. Because he was really charming and wearing this crazy bow tie and really goofy kind of presentation while he's eviscerating these people.

[Josh Adam Myers]

Interesting. Oh, what's his name again?

[Lewis Black]

His name is Mark Russell.

[Josh Adam Myers]

Mark Russell, everybody. I'm Google that as soon. On my way home. All right, well, I gotta hear. I'm speed through this because your car is picking you up in six minutes. I mean, it's all the same. You both have loyal audiences because people that love Dylan, people love you. You guys just don't give a. About being cool. That's the Jew in you both. In both of you guys. Because Jews are just. We're just. We have that Semitic coolness. To us.

[Lewis Black]

Yeah.

[Josh Adam Myers]

To everybody else, you're like, yeah, but like. Like, not Jews. We're like. We get it. The both of your careers are basically investigations in the hypocrisy. Humorous survival. Because Bob is extremely funny.

[Lewis Black]

He is funny. And.

[Josh Adam Myers]

And you're both great conversation starters. Yeah, that's. That's all I could get. I really couldn't get a lot, but I tried my best.

[Lewis Black]

That was great. That was very good. That was better than. I was really uncalled for. Thank you.

[Josh Adam Myers]

Well, you're. You're the Dylan of. Of Scream comics, dude. And I. And I love you for it because I love watching you. And I mean, my sister and I have loved you for years. I want you. If you don't mind. She's a doctor, but if you could just scream something at her in a cell phone to tell her to go herself.

[Lewis Black]

Oh, yeah, absolutely.

[Josh Adam Myers]

God bless your soul. All right, let's do the final question. Thank you for coming out this today.

[Lewis Black]

Dude, this was great.

[Josh Adam Myers]

And what were the other records you said that you could have talked about?

[Lewis Black]

You could never get to it. I'll come back.

[Josh Adam Myers]

What do you got?

[Lewis Black]

Exile on Main Street.

[Josh Adam Myers]

That's like. That's in two years. That's in the bottom 10.

[Lewis Black]

That's great. I'll come back. I listened to it after a divorce and in which. Or the. And there was a divorce that was coming and I had found out that my. The. I married this woman and the baby wasn't mine. And. And I basically was. And I was at drama school and came back and lived with my brother and a close friend and his close friend and just sat in the. And basically kind of cleaned house and bought groceries and sat in the basement with headphones on that had like a 30 foot cord and went around on this like, you know, like this type of.

[Josh Adam Myers]

Of like a swivel chair.

[Lewis Black]

Yeah, like a swivel chair. Going back and forth just listening to it over and over and over again. And it sounded it up.

[Josh Adam Myers]

Yeah. It's a great Sweet Virginia is. Is such an underrated song. And I. When I discovered that I think that night I listened to it a thousand times and it's just so great. You can you just hear the. The sound is so fun the way they're recording it. And I know they're doing it in like France and.

[Lewis Black]

Yeah yeah, yeah.

[Josh Adam Myers]

Oh it's just. It's such a great rock. I'm excited to really, really dig in with all the facts. All right, let's get you out of here. Let's do the final questions. We got a couple minutes. Favorite song on this record.

[Lewis Black]

It probably is only because of my friendship and listening to it so much and that. Give me a string bean I'm a hungry man I'll let you be in your. You know it. The. The Bob Dylan's the Dream.

[Josh Adam Myers]

What is a song on the album that you skip over or is this a no skip out song for you or album for you?

[Lewis Black]

I don't listen to Karina Karina much.

[Josh Adam Myers]

Really? I thought that was one you loved. I. I just.

[Lewis Black]

I like the. I mean I like what he did. It's not a song. It's. I. And I was thinking about it on the way over because I was listening to it again and it's just kind of like it's. It's. It's just. Just not what I. What I listened to when I first listened and somehow that stuck in my head. It was literally we'd move on over that one because we wanted to get on to the next one.

[Josh Adam Myers]

I got it. I got it. Can you to this record or have you.

[Lewis Black]

No. I think too.

[Josh Adam Myers]

It's too lyric. Yeah. It's too lyrical.

[Lewis Black]

Yeah. And there's too much thought somebody did

[Josh Adam Myers]

people have to this.

[Lewis Black]

Oh I'm sure. You know whatever it takes. I'm gonna put on some Dylan and we're gonna hunker down.

[Josh Adam Myers]

What would be the most Dylan rapper or do you think?

[Lewis Black]

I think it would be Tangled up in Blue, I think maybe.

[Josh Adam Myers]

Really? So I'm. So if I next. If I do. If a girl lets me have sex with her, that's the thing I should put on to Dylan. It's not. Somebody would normally go to. You know what I mean, Dylan.

[Lewis Black]

No, you would never really. You'd kind of. But Tangled up in Blue if you just played it in the background, just that song. I don't know about the whole album.

[Josh Adam Myers]

All right. I wanted to throw an extra one in, but now I'm just gonna do the final one. No, it's because we got, we gotta get, we got the car coming. What would be your, your elevator pitch to get someone to listen to this that's never listened to it? Like, how would you sum this record up? Which I know is hard to say on a record.

[Lewis Black]

You don't listen to this, I'm gonna kill you.

[Josh Adam Myers]

Listen to the record. I, I, I think, think one that's a great way to get somebody to listen to it. How gestapo of you. No, I, I just, I love that, that, you know, I think, I think this is for me, for me to do my closing arguments about, I guess I'm gonna listen to it is the same way that I discovered. It's like, this is. You have to start, you know, to find out about any great artist. You know, you always want to know where it began. And I think you've just heard if especially someone like Gen Z or, you know, or millennials that may have never just like, it's not my music. It's like, that's, that's the sound of the 60s. It's like. No, it's not. It's. It is, it is. It is not strictly made for that time period. It is made, it's all encompassing of everything that's going on in the world today and probably will keep happening. But it's about finding the, the little, like, seedling of what will sprout into why this guy has become one of the greatest American, if not world artists in the history of recorded music. It's really, it's really impressive, man.

[Lewis Black]

And I think you, what I would really say is this guy has once. This guy has stories to tell to you, and you should listen to these stories because they apply and they will apply for whatever, whatever tomorrow, the day after. They're timeless. You listen to this stuff because at least two thirds of this album is timeless the way that certain Beatles songs are timeless. This is an album which exploded on the scene and changed the Minds of a ton of kids. I mean, it changed my life.

[Josh Adam Myers]

I think most of the music that most people in rock and roll listen to this, it comes back to this album. And I think it's also just like we said before, it's just. This is coming from a 21 year old kid.

[Lewis Black]

Yeah.

[Josh Adam Myers]

And it's like, when I was 21, I was going to raves in downtown D.C. you know, dressing like, you know, like. Like a woman. Like, it was great. I had the best time of my life. But, I mean, he was. He was like, slowly and probably not even thinking about it, like, changing the world just one song at a time, and that's really impressive. Please promote away. We forgot to mention your podcast, but your podcast is incredible. Just please promote everything. We'll promote at the beginning, too, but what do you got?

[Lewis Black]

I got. It's my Rantcast, which I do weekly, which I read rants that other people wrote.

[Josh Adam Myers]

I love that.

[Lewis Black]

Which I thought. I actually thought it would catch on more than it did because I thought, wow. No, you're reading these people. The. The problem was, it was so well written before the pandemic. The stuff that was coming in was unbelievable. Yeah. And so I've got that on mid July 17, I'm in. I'm in St. Louis at the River City Casino. On. And I think the next night is Gaffigan.

[Josh Adam Myers]

Oh, great.

[Lewis Black]

If you're looking for a double weekend. And then September 11th and September 12th, I'm in Easton, and I think it's. I never know if it's east. It's Eastern Pennsylvania and Baltimore, Maryland, at the Hippodrome.

[Josh Adam Myers]

Oh, go get a Chaps Pit beef. Go to Vacaros.

[Lewis Black]

Actually, that's not it. I'm not gonna be there. Hell, I'm gonna be there in October.

[Josh Adam Myers]

All right, well, I'm gonna text you now that I have your number, I'm gonna text you the two places you need to go eat Vaccaro's cookies for these little pignolis.

[Lewis Black]

Yeah.

[Josh Adam Myers]

You go get your crab cakes at G M or gns or Gina. What is it? It's G M. Gn G M. Yeah. And. And then go to Chaps Pit Beef. Have you had that before?

[Lewis Black]

No.

[Josh Adam Myers]

I'm gonna set you up. Okay. And you're coming back again for Exile in Main street, which will be in almost two years.

[Lewis Black]

Yeah.

[Josh Adam Myers]

So don't die.

[Lewis Black]

No.

[Josh Adam Myers]

Okay, okay, okay.

[Lewis Black]

Please.

[Josh Adam Myers]

All right. Dude, thank you so much.

[Lewis Black]

It's been great.

[Josh Adam Myers]

Thank you, buddy.

[Lewis Black]

Thank you.

[Josh Adam Myers]

What did I tell you? What? I tell you the One and only Lewis Black. Follow him on social media at the Lewis Black and go to the website lewisblack.com he is on tour. He's one of the funniest. Man that was such a good episode. For new music we listened to freewheeling Bob Dylan but for new new because I don't know I said it like that. Our new music peak this week and brought to you part by District it is a song called I Dance with Another Love in My Dream by Bridget Calls Me Baby. You can find links to the music on our website the500podcast.com and if you're in a band or we're directly influenced by one of these albums or artists you want your music featured on the 500, send us your song to 500podcast gmail.com and we will play it. We love you guys. Next week is the Tommy by. By who? Wait, the next week is the Tommy and their album who. I'll let you guys figure that out from 1969. You know what it is. See you then.

[Song Performer/Singer]

I don't want to ruin anything. My head and my heart in my back spring what a feel need to hide Where I slipped off to last night if I love this way I swear it was only in my head but it's still hard to reveal Even if it wasn't real it seemed I danced with another love in my dream

[Lewis Black]

all my life

[Song Performer/Singer]

with a face I couldn't see Am I looking to leave or am I just calling between life and a dream I danced with another love the chemicals are getting stronger I thought that it would take so much longer But I feel the need to scream Cuz it's buried underneath if I left this bed I would have been right here instead but it's still hard to to reveal Even if it wasn't real it seems I danced with another love in my dream On a light beam with a face I couldn't see Am I looking to leave? Am I just caught in between life and a dream? Well I danced with the another love Waking up's the hardest part. Sam. I danced with another love in my dream On a light beam with a face I couldn't see Am I looking to leave or am I just calling between life and a dream Where I danced with another love. The 500 keeping it please see

[Josh Adam Myers]

for

[Song Performer/Singer]

the fleece nation on the 500 the 500.

[Lewis Black]

Next Chapter podcast.