Q&A with Tim โ€” Whatโ€™s Next for Me, Asking Better Questions, Career Reinvention in The Age of AI, Practices for Joy, Getting Unstuck, and More (#778)

Welcome to another episode of The Tim Ferriss Show, where it is usually my job to sit down with world-class performers of all different types to tease out the habits, routines, favorite books, and so on that you can apply and test in your own life. 

This time, we have a slightly different format, and Iโ€™m the guest! 

As some of you know, I tested a โ€œfan-supported modelโ€ in 2019, but I ended up returning to ads by request. Thatโ€™s a long story, and you can read more about it at tim.blog/podcastexperiment. I recently sat down on Zoom with some of the supporters, which is the episode you are about to hear. 

I answer questions on how Iโ€™ve changed my mind around parenthood, whatโ€™s next for me and how I am thinking about next steps, how I find joy, how to live with urgency, my advice for career reinvention in the age of AI, avoiding complacency and ruts, and much, much more.

Please enjoy!

This episode is brought to you by Ramp easy-to-use corporate cards, bill payments, accounting, and more; Helix Sleep premium mattresses; and AG1 all-in-one nutritional supplement.

Listen to the episode on Apple PodcastsSpotifyOvercastPodcast AddictPocket CastsCastboxYouTube MusicAmazon MusicAudible, or on your favorite podcast platform. You can watch the episode on YouTube here.

The transcript of this episode can be found here. Transcripts of all episodes can be found here.

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This episode is brought to you by Ramp!ย Ramp is corporate card- and spend-management software designed to help you save timeย andย put money back in your pocket. Ramp has already saved more than 25,000 customersโ€”including other podcast sponsors like Shopify and Eight Sleepโ€”more than 10 million hours and more than $1 billionย through better financial management of their corporate spending.

With Ramp, youโ€™re able to issue cards to every employee with limits and restrictions and automate expense reporting, allowing you to close your books 8x faster on average. Your employees will no longer need to spend hours submitting expense reports. In less than 15 minutes, you can get started issuing virtual and physical cards and making payments, whether you have 5 employees or 5,000. Businesses that use Ramp save an average of 5% on total card spending and related expenses in the first year. And now, you can get $250 when you join Ramp. Just go to ramp.com/Tim.


This episode is brought to you byย AG1!ย I get asked all the time, โ€œIf you could use only one supplement, what would it be?โ€ My answer is usuallyย AG1, my all-in-one nutritional insurance. I recommended it inย The 4-Hour Bodyย in 2010 and did not get paid to do so. I do my best with nutrient-dense meals, of course, butย AG1ย further covers my bases with vitamins, minerals, and whole-food-sourced micronutrients that support gut health and the immune system.ย 

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This episode is brought to you byย Helix Sleep!ย Helix was selected as the best overall mattress of 2024 byย Forbes, Fortune, and Wired magazines and many others. Withย Helix, thereโ€™s a specific mattress to meet each and every bodyโ€™s unique comfort needs. Just take their quizโ€”only two minutes to completeโ€”that matches your body type and sleep preferences to the perfect mattress for you. They have a 10-year warranty, and you get to try it out for a hundred nights, risk-free. Theyโ€™ll even pick it up from you if you donโ€™t love it.ย And now, Helix is offering 20% off all mattress orders atย HelixSleep.com/Tim.


Want to hear my last Q&A? Have a listen here, where I discuss reinvention, optimization, intriguing investments, modern dating, personal heresies, taking a barbell distribution approach to life, cheap but choice art, making room for the irrational, workout routines for older parents, music I like, and much more.

What was your favorite quote or lesson from this episode? Please let me know in the comments.

Continue reading “Q&A with Tim โ€” Whatโ€™s Next for Me, Asking Better Questions, Career Reinvention in The Age of AI, Practices for Joy, Getting Unstuck, and More (#778)”

The Tim Ferriss Show Transcripts: Derek Sivers, Philosopher-Entrepreneur โ€” The Greatest Year of His Life (#777)

Please enjoy this transcript of my interview with Derek Sivers, an author of philosophy and entrepreneurship, known for his surprising, quotable insights and pithy, succinct writing style. Derekโ€™s books (How to Live,ย Hell Yeah or No,ย Your Music and People,ย Anything You Want) and newest projects are at his website:ย sive.rs.ย His new book isย Useful Not True.

Transcripts may contain a few typos. With many episodes lasting 2+ hours, it can be difficult to catch minor errors. Enjoy!

Listen to the episode on Apple PodcastsSpotifyOvercastPodcast AddictPocket CastsCastboxYouTube MusicAmazon MusicAudible, or on your favorite podcast platform. Watch the interview on YouTube here.

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DUE TO SOME HEADACHES IN THE PAST, PLEASE NOTE LEGAL CONDITIONS:

Tim Ferriss owns the copyright in and to all content in and transcripts of The Tim Ferriss Show podcast, with all rights reserved, as well as his right of publicity.

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WHAT IS NOT ALLOWED: No one is authorized to copy any portion of the podcast content or use Tim Ferrissโ€™ name, image or likeness for any commercial purpose or use, including without limitation inclusion in any books, e-books, book summaries or synopses, or on a commercial website or social media site (e.g., Facebook, Twitter, Instagram, etc.) that offers or promotes your or anotherโ€™s products or services. For the sake of clarity, media outlets are permitted to use photos of Tim Ferriss from the media room on tim.blog or (obviously) license photos of Tim Ferriss from Getty Images, etc.



Tim Ferriss:
For people who don’t know who Derek Sivers is, what is the brief overview of Derek?

Derek Sivers: Oh, I have to do it? Right.

Tim Ferriss: Yeah.

Derek Sivers: I was a musician for many years, and then I started selling my music online in 1997, when there was no PayPal and there was, Amazon was just a bookstore. So I started a little thing called CD Baby just to sell my music. But then, it grew and became the largest seller of independent music online. And I did that for 10 years, till I got sick of it and sold it. And then, I was a TED speaker for a few years and then threw myself into that completely. And then, Seth Godin asked me to write a book. So I wrote a book and then people really liked it. So now I’ve written five. And now I’m a, I don’t know, dad in New Zealand, thinking philosophically and living my life. How about that?

Tim Ferriss: I thought you did a great job. Thank you for that. When I can’t find a virtual assistant to do work for me, I’ll ask my podcast guest to do my jobs. I will also, I’ll also add, number one, people, if you enjoy this conversation, which I’m sure you will, not to apply any pressure to Derek, but I always have so much fun, go back and listen to the other conversations also, because you’ll notice a few things.

Number one, Derek has one of the most eclectic CVs imaginable. He’s worked in traveling circuses, he has played music at pig fairs, he has been an entrepreneur, he has certainly been a philosopher/coder, and many other things. But also I would say, overarchingly crafted a life that is uniquely Derek’s, and frequently tests assumptions. And two, I suppose bucket one of what we’re going to discuss today, changes his mind and โ€” 

Derek Sivers: Yes.

Tim Ferriss: โ€” and finds himself zigging when he might’ve otherwise zagged, or where other people are zagging. And that is part of why I enjoy spending time with Derek, aside from the dashing good looks and wit and charm, of course. So let’s begin. As we were brainstorming what we might chat about, because we were hoping to catch up, I suggested a few things. We batted a number of things around and we landed on things you’ve changed your mind about โ€” 

Derek Sivers: Mm-hmm.

Tim Ferriss: โ€” things you’re fascinated by, people you’re studying, not necessarily in that order. So let’s start with things you’ve changed your mind about or on. Where shall we begin?

Derek Sivers: I’ve got five things for you. I’m starting small and getting big. 

Coffee. I have never liked coffee. Every time I tried coffee, I went, “I don’t understand how you people like this.” And even when I’d be with somebody that knew I didn’t like coffee and we were out somewhere and they would go, “Oh, my God, this is the best coffee I’ve ever had in my life. Here, I know you don’t like coffee, but if you’re ever going to try coffee, this is the one. Try a sip.” And I’d say, “Okay.” I’d try to get myself into this mindset, “I’m going to like this.”

Never liked it. So then, I was in United Arab Emirates and I was the guest of this Emirati man that we will get to later, and he said, “It is Emirati custom, you must have the coffee.” And I went, “Oh, sorry, I don’t drink coffee. I just…” He said, “You must have the coffee.” I said, “No, really, I’ve never liked coffee in my life.” He goes, “My friend, you must have. It’s Emirati custom. You must have the coffee.” I went, “All right.”

I took a sip. I was like, oh, my God. I’m like, “This is really good.” He goes, “That is Emirati coffee.” I went, “No, really, there’s something different about this.” He goes, “Yes, it’s Emirati coffee.” I said, “Is that the one where they make it in the sand?” He said, “No, no, no, that’s Turkish.” He said, “This is Emirati coffee.” So knowing that we were talking today and I was going to mention coffee, I texted him, I said, “Hey, what was that coffee you…”

Because he’d said there were only three places in Dubai that know how to make real Emirati coffee. So he told me one, Bateel, B-A-T-E-E-L. If you’re in Dubai and you want to try real Emirati coffee, apparently, according to this Emirati, try Bateel in Dubai for real Emirati coffee. I’ve changed my mind on coffee. I now like, at least, Emirati coffee. There’s one.

Tim Ferriss: Okay. Just for definition purposes โ€” all right, I’ll hold my follow-ups. There are going to be a couple of follow-ups, including how do you define Emirati? Is that basically a Brahmin in the UAE?

Derek Sivers: Sorry, that’s what we call people from United Arab Emirates.

Tim Ferriss: All right. Everybody.

Derek Sivers: If you are of the lineage, if you were a citizen of United Arab Emirates, you’re referred to as Emirati.

Tim Ferriss: What is the special technique, special ingredient that makes Emirati coffee โ€” 

Derek Sivers: I don’t know.

Tim Ferriss: โ€” so miraculous for you?

Derek Sivers: Hey listeners, if you find out what’s different about Emirati coffee, please let me know. I don’t know. I just, I’ve been there, I went back six months later, same thing. I tried Emirati coffee and I like it. Yeah.

Tim Ferriss: Severe social pressure.

Derek Sivers: Yeah. Oh, yeah, yeah โ€” 

Tim Ferriss: Maybe that’s the โ€” 

Derek Sivers: โ€” that might be the magic ingredient โ€” 

Tim Ferriss: โ€” magic ingredient.

Derek Sivers: โ€” severe social pressure. Ah, It makes anything taste better.

Tim Ferriss: You must have it โ€” yeah. And it will be disastrous if you don’t like it.

Derek Sivers: I don’t know what it is, but it surprised. Okay, Python. So I’m just going to include this because 20-something years, 23 years ago, I learned the Ruby programming language and I became fluent in Ruby. And Ruby and Python are as similar as Portuguese and Spanish. But let’s say Ruby is Portuguese, where Spanish became more and more and more popular. So when I first learned Ruby, it’s like Ruby and Python were side by side. Ruby was a little more popular at the time. But then, over the years, Python just took off and I refused to look at it. I was like, “No. I chose Ruby. I speak Ruby, I don’t want to learn Python. It’s too similar. If I’m going to learn another language, it’s going to be Lisp or Haskell or something really different. I’m not going to learn Python. No.”

And so, for years and years I’ve been refusing, and then just irrationally prejudiced against Python. When I was choosing a new language for a new project, I considered everything but Python. And then, I realized I had left Python out because of my severe prejudice against it for no good reason. So I finally looked at the Python programming language and I went, “My God, it’s beautiful, it’s great. Oh, my God, it’s wonderful.” So now I love Python, and that just felt amazing in my heart to be like, “Wow, this thing that I was prejudiced against for 20 years is actually wonderful. How cool.” So coffee, Python number two.

Tim Ferriss: Mm-hmm.

Derek Sivers: Should I go on?

Tim Ferriss: Number three. Let’s go on.

Derek Sivers: I brought a prop. I want to make this a good show. For the first time ever, appearing are my little pet rats. Okay, if you see on YouTube โ€” 

Tim Ferriss: Oh, look at that.

Derek Sivers: โ€” or whatever โ€” 

Tim Ferriss: All right, we have two โ€” 

Derek Sivers: My little guys.

Tim Ferriss: โ€” on video. They’re sizable.

Derek Sivers: Yeah.

Tim Ferriss: Yeah.

Derek Sivers: Yeah. They’re little โ€” nice.

Tim Ferriss: Those are chunky monkeys.

Derek Sivers: Mwah. They are so cute and they’re so wonderful and they’re so affectionate. You can’t maybe tell, because I’m holding them up like they owe me money right now. But, all right, I’ll put them back. So here’s the deal, years ago, I used to kill rats. I hated rats so badly. I lived in a basement apartment in Boston, that had rats in and around the apartment, that would sometimes be blocking my entrance to my apartment as I would come home and I was tired. So I killed many rats with great vengeance. I hated rats.

And then, just a few months ago, my boy said, “Hey, Dad, can we get a pet rat?” I was like, “Ha, ha, ha!” and I just thought it was, he was kidding. And he said a week later, he said, “That really made me sad that you just shot down my idea of the pet rat.” I said, “Wait, you were serious?” He said, “Yeah.” I went, “Oh. Well, why would you want a nasty, awful rat as a pet?” He said, “No, they’re not nasty and awful. Look.” And he showed me some videos that rats are really sweet and they’re really wonderful. They’re smart, they’re trainable. You can train them to do little tricks and pick things out and go to a wallet and open up and take money and bring it to you. Very useful in a crowd.

Tim Ferriss: Thieves guild.

Derek Sivers: Yeah. Exactly.

Tim Ferriss: Interesting.

Derek Sivers: Sweet little Artful Dodgers. So it’s โ€” the difference between a wild rat and a pet rat, it’s the difference between a wild dog and a poodle. The pet rats are really sweet. So no matter what you think of wild rats, don’t discount or don’t hate on pet rats. They’re actually really wonderful and cuddly. And they’re even clean. They use a litter box. They don’t like to, they can control their bladder. So like a cat, they prefer to go in a litter box, and so they’re really clean and wonderful.

So I love my rat โ€” oh, and wait, the lifespan. Their lifespan is two to three years. Which, as a parent, is really wonderful, because when a kid says, “I want a pet,” you don’t always want a 15-year commitment. The kid’s going to be away at college and you’ve still got the pet that your kid wanted when they were eight. I like the lifespan is two to three years, which is โ€” so rats are good pets.

And so, I love my little rats. We’ve just got these two boys. But as, even more than loving the rats, I love that I am now cuddling what I used to kill, that I now love what I used to hate. It’s so sweet. I cuddle them, but it’s like, “God, I used to hate you.” This is such a good feeling in my heart that I now love what I used to hate. And you’ll see this is the theme of my five things today. Ready for the next?

Tim Ferriss: And what are the names? What are the names โ€” 

Derek Sivers: Oh.

Tim Ferriss: โ€” of the two rats?

Derek Sivers: Cricket and Clover. Yeah, Cuddly Clover and Crazy Cricket Climber. 

Tim Ferriss: Do they eat crickets? What do they eat?

Derek Sivers: Actually, well, they do love clover. But no, they just eat rat food from the store. They eat anything. It’s like when you’re making โ€” 

Tim Ferriss: Opportunists.

Derek Sivers: โ€” food and you’ve got little leftovers, you’ve got little bits and crusts, or little things, you just give it to the rats and they usually love it. It’s great. I keep them in the kitchen.

Tim Ferriss: That’s perfect. That’s what โ€” 

Derek Sivers: Yeah.

Tim Ferriss: โ€” some folks in South America do with guinea pigs.

Derek Sivers: Oh.

Tim Ferriss: Although, the difference is they fatten up the guinea pigs on the table scraps, and then they eat guinea pigs.

Derek Sivers: Right. Well โ€” 

Tim Ferriss: โ€” probably not going to eat Cricket and Clover, I imagine.

Derek Sivers: I won’t be eating Cricket and Clover. But I do like that, hang out near the kitchen and give them the scraps. Okay, number four, China.

Tim Ferriss: Number four. Number four, China.

Derek Sivers: So, in 2010, I went to Guilin, China, and then I went to Taipei, Taiwan. And at the time, China was rough. I was walking over rubble, the air was just choking me with its smoke and the scents of oil, and everything felt very third world, very rough. And I just thought, okay, that’s what China is. China, developing, the economy, it’s just rough. And then, you go to Taipei, Taiwan and it just feels like the most refined, first world, beautiful version. It’s like Japan, but with Chinese culture. And I thought, “Ah, someday I want to live in Taiwan, because that’s the really nice part of China.”

So, here we are, 2024, 14 years later, I go to bring my kid on a school holiday to China for his first time. And I thought, well, we’ll start out rough by going to mainland China and then we’ll move on to the best of the best, with the refined culture of Taiwan and Taipei. And it turned out to be the opposite, that China was wonderful. We went to Shanghai and it was like first world, amazing, refined, silent. Because all the vehicles are electric now. So that was the very first thing I noticed. As soon as โ€” I took the train from the airport, we got off in downtown Shanghai. I’m surrounded by a hundred vehicles and I hear nothing. It’s just โ€” 

Tim Ferriss: That’s so nice.

Derek Sivers: And I was like, “Oh, my God. What?”

Tim Ferriss: That’s sounds incredible.

Derek Sivers: “This is surreal.” 20 motorbikes went in front of my face right there, three meters away, and I heard none of them. It was just the silent movement. I was like, “This is so nice.” And the people were just so polite and cultured, and it was none of this hacking and spitting that I’d associated with it before, the shouting and the spitting.

Tim Ferriss: Yeah, that’s good to hear. I remember the spitting from my visits. A lot of spitting.

Derek Sivers: Yeah. And even just transactionally. You have to get Alipay or WeChat on your phone first before you go, attach it to your credit card. But then once you’re there, all transactions are just beep, everything is so easy. And there are beautiful rental bikes everywhere, laid out in perfect color-coded queues. You can just walk up to one and go, “Beep,” and step on the bike, and then just go where you want to go. And you drop it off, you go, “Beep.” And everything is just so civilized and wonderful. I was so โ€” it completely changed my mind about China.

And then, I don’t want to sound like I’m trashing Taiwan, but it was just interesting that by comparison, then I went to Taipei and I thought, “Whoa, if China’s this nice, imagine how nice Taipei is going to be.” And I got there and it was stinky and trashy, and they don’t take credit cards or they don’t have the apps, and so you have to pay cash everywhere. And I’m like โ€” money and paper and coins. And I was like, “Wow, interesting.”

And so, I met with a Taiwanese woman for lunch, that I’d emailed with before, and she’s an investor that goes to mainland China often. And I mentioned something about this cautiously. I was like, “Yeah, I don’t want to trash your home.” I didn’t say it like that, but I just cautiously said, “Hi, I noticed something.” And she said, “I’m glad you noticed.” She said, “I noticed this too.”

She said, “I go to mainland China cities every six to 12 months,” and she said, “I feel like Taiwan maybe plateaued 12 years ago. We hit first-world status and stayed there,” almost like Japan. It’s like Japan used to feel futuristic, now it feels stuck in the ’90s, fax machines and stuff, which is cute in a way. Again, not to knock it, it just, it feels like it got to a certain point and then it said, “Okay, we’re happy here.”

Tim Ferriss: And it plateaued, yeah.

Derek Sivers: And she said, “Every time I go to China,” she said there’s visible, noticeable improvements every six months. She said, “It blows my mind that they just keep improving and keep pushing.” So I read a book called China’s World View by David Daokui Li that changed my perception of China’s government, too. It’s really impressive. He’s a guy that’s in, but not in, China’s government. And so he is trying to explain the mindset of China’s government to outsiders. And it’s a beautiful book I highly recommend if somebody wants to understand China better. China’s World View.

Tim Ferriss: China’s World View. Just as a sidebar note, your mention of Japan. I love Japan and I’ve spent time also in mainland China and in Taipei. It’s time for me to get back to both of those. I’ve spent much more time in Japan. But when people are going to Japan for the first time and they’re like, “I can’t wait to experience this futuristic view, 30 years ahead.” I typically say, “Look,” especially if they’re going to stay there for a longer period of time, I say, “You’re going to love it. And it is 30 to 40 percent Blade Runner and 60 to 70 percent DMV.” Just like โ€” 

Derek Sivers: Nice.

Tim Ferriss: โ€” filling out paperwork in triplicate and fax machines.

Derek Sivers: Yeah.

Tim Ferriss: It’s going to drive you nuts, if you actually try to live there. On some levels, right? There’s so many beautiful things about it. But yes, it does have the feeling of having frozen in time, in a sense. 

Derek Sivers: Yeah, yeah.

Tim Ferriss: As opposed to continued to inflect the way that it was perhaps some time ago. Need to get back to the East, so to speak. It’s been a long time. All right, I think you have โ€” 

Derek Sivers: Actually, because of this newfound love, I’m actually going to Shenzhen and Chengdu in a few weeks.

Tim Ferriss: Oh, wow.

Derek Sivers: To kind of, I just want to keep experiencing different Chinese cities.

Tim Ferriss: You going to do any factory tours โ€” 

Derek Sivers: No.

Tim Ferriss: โ€” or see manufacturing there?

Derek Sivers: I’m just meeting with people. That’s how I travel these days. I tend to go to a place, and instead of just looking, instead of seeing the sites, I want to meet the people. So I’m meeting with people that I’ve emailed with over the years and just โ€” I chose those two cities because I know a lot of people there.

Tim Ferriss: Great. That โ€” can’t wait to hear the report. So I think, now I’m no mathematician, but maybe you have one more?

Derek Sivers: Smartass. Okay, number five, Dubai. So this is my big one. Because, when I lived in Singapore, Dubai would often come up. People would compare the two and they would tell me things about Dubai, about the shopping malls, and the millionaire pandering and the Instagram hashtaggy, “You look at me” crap. And Dubai was in my top 10 places I never want to go in my life. Fuck that place. It sounds awful. Sounds like everything I hate in one place. You couldn’t pay me to go there.

But then I have to notice that feeling in myself, and this is going to be, we’ll get to the theme when we’re done with this number five. But I had a flight from New Zealand to Europe that โ€” it changed planes in Dubai. And I looked at that and I went, “Ugh, Dubai.” And I was like, “Wait a second, what is this prejudice in me against Dubai?” It’s like saying I hate artichokes, but I’ve never tried artichokes. I hate Dubai, but I’ve never been to Dubai. Maybe I should go to Dubai. So instead of making it a three-hour layover, I made it like a three or four-day layover. I went, “Wow, okay, I’m going to Dubai for a few days.”

So, I read a book called City of Gold, which was about the founding of Dubai and the creation of Dubai. And dude, it was so good. It is such a great book. Anybody listening to this, if you want a great read, read the book City of Gold about the history of Dubai. It is inspiring, the wisdom and the foresight and the boldness it took to make that place happen. It was really just like a vision that saw its way through to the end, against all odds. So super inspiring.

Then somebody said, “Oh, you need to read Arabian Sands” by this man named Thesiger. And that gets into the Arab Bedu culture. It was written in the 1940s or ’50s, like a Lawrence of Arabia guy. From England, but went through the desert and became one with the Bedu people and got to know the culture and wrote about it. So that was really inspiring. And then, the United Arab Emirates itself, as I learned more about โ€” so Dubai is a city in a region inside the United Arab Emirates. It’s one of the seven states, the Emirates, in that country.

And then, so Sheikh Zayed, the guy that was really the father of the nation, was a really great dude. Like when I moved to Singapore and I learned more about Lee Kuan Yew and started to really admire the decisions he made. It became a bit of a role model. Learning about him makes me want to be a better person. I just noticed that it actually subtly influences my actions. And so, when I’m in Singapore, I feel like a little bit infused with the role model. I feel the presence of the role model of Lee Kuan Yew. And when I’m in UAE, I feel little bit inspired by Sheikh Zayed, because he was just such a great, generous dude.

And also, I think it’s interesting that Arab culture gets a really bad rap in the media. Hollywood portrayal is usually some white actor with brown makeup being stupid saying, “Oh, I like this building. I’ll buy 10 of them.” “I think I want a penguin colony in the desert. Make it happen.” And they’re portrayed as fools that are too rich. And so getting to know the culture felt like “This is really interesting. I really had the wrong idea about this culture.”

Okay, so as I read these books, City of Gold, and Arabian Sands, I have a thing on my website where I always show what I’m reading and I take notes from the books and I put the notes on my website. And a friend of mine that lives in Muscat, Oman saw my reading list and he said, “What is your interest in this region? I’ve noticed you’re reading books about the Middle East.” And I told him I’m just really interested in Arab culture.

And he said, “You must meet the man from Tamashee.” I said, “What?” And he goes, “Go to tamashee.com, T-A-M-A-S-H-E-E dot com,” and he said, “You will see a shoe store. His name is Mohammad Kazim. He designs sandals, but underneath the surface, he’s an educator of Arab culture.” So the sandals are just like the storefront.

Tim Ferriss: It’s like the pirate shop in San Francisco.

Derek Sivers: Oh, I haven’t heard this.

Tim Ferriss: There is a place in San Francisco, it’s on Valencia Street, and it is used for, now, educating kids, writing workshops, things like that. But because they couldn’t get it zoned in San Francisco, they couldn’t get permission for what they actually wanted to do. They had to create a storefront and then do the teaching in the back. So they created a pirate attire store, and all of the classrooms were in the back. 

Tim Ferriss: So that was a bit of digression, especially because I can’t even recall the proper name of the writing outlet that is associated with this. But Tamashee, shoe store, sandal store on the front end, but it’s actually education in disguise.

Derek Sivers: Yeah. Well, at first, I thought there was no connection, and then I realized that his sandal designs are actually reflecting Arab traditions and culture through the design of the sandals. But it’s like his true passion are these cultural trips he does. So if you go to tamashee.com and you go in the menu, you can click “Cultural trips,” and then you’ll see. So my friend introduced me to this guy. So I met with him on my trip to Dubai. We meet by the creek, and he tells me that his grandfather built the first building in Dubai. That was his grandfather. That’s how young that city is.

Tim Ferriss: Wow.

Derek Sivers: And he’s just like, “Yeah, basically right over there. That was the very first building in Dubai. My grandfather’s the one that built it.” So I said, “Can you explain to me something about Arab culture?” And he said, “Well, wait. First, you’ve got to understand that the culture of the people of the desert is very different than the people of the sea, like the Arabian coast and which is very different than the people of the hills.” I said, “Okay, well, where’s your family from?” And he said, “Well, from the desert.”

But he said, “But two uncles got in a fight and so half the family moved off to Iraq for a while, and there was a split in the family, but then they reunited in Abu Dhabi.” And he said, “But then Islam came along.” And I said, “Wait, hold on. Islam, that was the year 600.” I said, “Have you been telling me your family history from 2,000 years ago?” And he goes, “Well, 1,800 years ago, yeah.” I said, “Wait, how the fuck do you know your family history back 1,800 years?” He said, “Well, we keep good records.” Went, “Whoa.”

Imagine what that does to how you see your life, if you see yourself in this long lineage of 1,800 years of recorded family history, how that affects your dating and whatever choices on where to live. Okay, so Mohammad Kazim, this guy is a badass. I love this guy. He’s such a wealth of information, and he communicates it so well. It really helps, by the way, that โ€” he’s got a complete American accent.

He went to college in Boston for six years. Got into finance, came back, worked in finance in Abu Dhabi, and then just said, “No, my real passion is teaching the Arab cultural traditions that I think have gotten lost in our modern skyscrapers.” So that’s why he made it his passion project. He could’ve made way more money in finance, but he has this tamashee.com sandal store and he teaches Arab culture, and I admire the hell out of this guy.

Tim Ferriss: That’s a really cool Easter egg. All right, so we’ll link to that in the show notes.

Derek Sivers: Yeah.

Tim Ferriss: And I also pulled up this word that was on the tip of my tongue. McSweeney’s โ€” mcsweeneys.net, people can check it out.

Derek Sivers: Oh, of course.

Tim Ferriss: There’s some hilarious writing. The one that I most recently shared with someone, after it was shared with me, is Cormac McCarthy Writes to the Editor of The Santa Fe New Mexican by John Kennan. It’s only going to be funny for people who have read some of Cormac McCarthy, like The Road or Blood Meridian, but there’s a lot of really good stuff. So that is the outlet.

Also wanted to mention, because you mentioned Iraq, Iraqi music, traditional music, some of the most incredibly intricate music I’ve ever heard, using a dulcimer or hammer dulcimer. There’re different instruments involved. Absolutely spectacular. A lot of that has been destroyed, unfortunately, and culturally, and various teachers and so on, due to all of the goings-on in Iraq over the last while. 

What is the overarching lesson that you take from the five things you have changed your mind on? Are there meta lessons that you take from this?

Derek Sivers: Yeah, you can see the theme, which is, I love my rats. But even more, it’s like, I love that I used to hate them and now I don’t. And I could’ve gone on twice as long about Dubai, by the way. The place is amazing. It is this cultural melting pot that just warms my heart. The โ€” it just โ€” sitting on the second floor of the Dubai Mall and watching the whole world go by, just the Nigerians and the, I don’t know, the Saudis and the Russians, and the Chinese and the British, just all walking in, through, in the same place. And, ah, it’s so amazing. I just, I kind of want to live there. But as happy as it makes me, I get this extra happiness of going, “Wow, I used to hate this place without even knowing it.” And I take a sip of this coffee and it’s like, “Wow, for my whole life, I’m 55, I hated coffee.” The Python programming โ€” 

Tim Ferriss: But the secret has been held back from you. So now you have to go to Dubai to have the coffee that you like.

Derek Sivers: The theme is that if you feel completely averse to something, get to know it better, that whatever you feel yourself leaning away from, try leaning into. If you hate opera, then go learn more about opera. And if you hate sports, well, then go learn more about sports. It’s usually just learning about something gives you an appreciation for this thing that you used to just dismiss.

So now, it’s my โ€” at the end of the year, last year, I just thought, “God, this has been, I think, maybe the greatest year of my life. I think this is the happiest I have ever been in my whole life.” And I think the reason why was because I had five major things in one year that I used to hate that now I love. I think, “God, this is the greatest joy.”

Tim Ferriss: It’s a major thing. So the rats make it into major things. I like this.

Derek Sivers: Sure. I mean, they’re my pets now.

Tim Ferriss: I’m not minimizing rats.

Derek Sivers: Yeah.

Tim Ferriss: I’m not minimizing rats.

Derek Sivers: But it’s โ€” 

Tim Ferriss: Maybe I need some rats.

Derek Sivers: โ€” even the coffee, even the Python, I’m doing something in Python going, “Wow. I can’t believe I hated this for 20 years.”

Tim Ferriss: I suppose they’re major in the sense that to the degree you had a fixed position beforehand. These were โ€” 

Derek Sivers: Yeah.

Tim Ferriss: โ€” strong, fixed positions of dislike. Right?

Derek Sivers: Yeah.

Tim Ferriss: So that turnaround. It’s very interesting. 

Tim Ferriss: Let me ask you this, since, in the case of the rats, that was catalyzed by your son bringing up pet rats. Dubai, you had a layover that then prompted you to extend how long you stayed there. Python, I’m not sure exactly how that about-face came to be, but having experienced the past year, you say to yourself, “This is one of the greatest or maybe the greatest year of my life, high levels of happiness. I think it’s because I had these changes in mind.” Are you farming for opportunities to change your mind proactively?

Derek Sivers: Yeah.

Tim Ferriss: And if so โ€” 

Derek Sivers: Yeah.

Tim Ferriss: โ€” how are you doing that?

Derek Sivers: I don’t have a systematic thing I can share. And not that I’m not sharing it, I just don’t have it. But it just made me notice. Now, I just need to notice in myself when I’m irrationally averse to something. It can’t even be a thought process. Okay. This is actually in my Useful Not True book that just came out. This idea that was actually a little bit sparked by you, where somebody dismisses everything a person says. It dismisses everything a public figure says because they don’t like something about that public figure.

Like, “Oh, I don’t like the way he acts on social media, so fuck him. I’m not going to listen to a word he says.” I think I told you last time that the first time I encountered that was years, and years ago when I saw somebody holding 4-Hour Workweek, and I said, “Oh, wow. Great book.” And he goes, “Yeah, the guy’s full of himself. Here, you want it?” And it’s like he didn’t want to read the book because he saw one thing in there that made him think you were full of yourself.

Tim Ferriss: Yeah.

Derek Sivers: So that’s it. “Fuck this whole thing. Fuck this 400-page book. There’s nothing in it for me because there’s something I don’t like about this guy.” When I think about that, to me, that’s trying to think of people as either true, or not true. Instead of useful, or not useful. That’s judging the box, not judging the contents inside. And so, I think there are many things in my life where I have judged the box. I’m like, “Python? No. China? Rough. Dubai? Fuck that place. Rats. Coffee.” Sorry, I just had to spit all five times.

Tim Ferriss: Yeah.

Derek Sivers: And all of those, I was judging the box, but if you learn a little bit more about it, then you get into the contents. And you go, “Oh, actually, the contents are wonderful. It was just โ€” I was dismissing the package.”

Tim Ferriss: He probably read the first edition where I had that whole chapter on my cock size that ended up being a little over the top, so I took it out for reprints.

Derek Sivers: And then you put it into 4-Hour Body. Sorry.

Tim Ferriss: It was a bit much. Yeah. Then, I ended up putting that as an appendix in The 4-Hour Body, so fair play on his part. I would actually build on that to say that I look to my close relationships, and I pause and question how I’m thinking about friendships if, in every case, there isn’t something substantial I disagree with each of those friends on.

Derek Sivers: Ooh.

Tim Ferriss: Does that make sense?

Derek Sivers: Yes. I love that.

Tim Ferriss: I really want friends where the differences of opinion bring us closer, and make our friendships more valuable. Not the other way around.

Derek Sivers: Yes.

Tim Ferriss: If you and your friends agree on pretty much everything, I view that as symptomatic of a problem.

Derek Sivers: Okay.

Tim Ferriss: Yeah.

Derek Sivers: I’m so glad you brought this up. Sometimes I wonder about your motivation for continuing these podcasts, and how you keep up the enthusiasm for doing this for so long. And then I thought, “God, wait, you must be immersing yourself in so many diverse worldviews,” that it made me think about the comparison to investing. I was in a situation recently. You’ve probably had this many times, and I think it’s maybe part of why you left California. Where you catch yourself in a group of people, and everybody agrees with everybody else.

It’s like this groupthink. Even if they’re all really smart, but dammit, they all basically agree. This sucks. And I thought about the benefits of diversification when it comes to investing. So anybody who learns Investing 101 learns about having a low correlation between your asset allocations. So your US stocks, international stocks, real estate commodities, bonds, gold, cash. Some things risky, some things riskless. And the whole idea is they’re supposed to have a low correlation.

So if one goes down, they won’t all go down. And I thought about that in terms of the thought portfolio in our head. Any given person. So you say it with the friends you have around. But I assume, aren’t you then, by knowing your friends so well when you’re in a certain situation, you’re thinking about what to do. You don’t just have Tim’s thoughts. You also have this friend’s thoughts, and that friend’s thoughts. And it’s like, “How would this friend of mine approach this?” Do you do that actively?

Tim Ferriss: Oh, yeah. I definitely do, and I’ll give a real-world example. And I don’t know if we want to get into the thick of it, but I was reading some of your writing before we hopped on the phone. And I was taking an ice bath, also, right before we got on the phone, which I know I am fonder of than you are. But I was sitting in the tub freezing my balls off, and there were certain statements and positions in the writing that got me all riled up.

And I was sitting there getting riled up, and thinking about my counter positions. And then I thought to myself, “Well, that’s interesting, to observe these feelings coming up. These very strong feelings.” And then I thought to myself, “This is really good.” This is good because the feelings are coming up in a strong way, and you’re not someone to shy away from a conversation about those things. And what a gift to be able to have civil disagreement with friends. What a fucking treasure that is.

Derek Sivers: Yeah.

Tim Ferriss: We don’t have a lot of models for civil disagreement, I would say. At least not in most media, or online. It’s just not what sells. And I very much want friends who are going to call me on my bullshit, or at least take counter positions, and help me think through things. Right?

Derek Sivers: Yeah.

Tim Ferriss: And I think that in your new book, for instance, does a very good job of discussing perspectives, and perspective taking, and how you can read many things differently from different viewpoints. And you want friends who can help you do that, so that you don’t get trapped in your own thought loops. And furthermore, just on a very practical sense, you want to be able to speak truthfully to your friends, and you want them to be able to do the same. And if you do that, and you talk about a really wide breadth of things. If you never have conflict, one or both you is probably being dishonest.

Derek Sivers: Yeah.

Tim Ferriss: And if you’re going to have some friction in the system, which you probably will if you’re really being honest. Then, you’re going to need to be good at conflict resolution, or repair, or talking about hard things. So that’s a very long stream of consciousness that I just let out. But if I look for friends who I can and will disagree with on things.

Then, it becomes my dojo for life overall. With people I really care for, and love. And good God, what an amazing gift, and advantage that is. So yes, I do that deliberately. And I invite people on the podcast who I suspect, or know, I’ll disagree with on a few different levels. And that gives me a chance to interrogate their thinking, but also, interrogate my own thinking.

Derek Sivers: I love it. I’ve noticed within myself that when I’m around people that I know agree with me, my inherent curiosity level drops a bit. And when I’m around people that I know don’t think like me, my curiosity piques. So when I meet somebody that is a scientist that is also Hindu, I’m like, “Ooh. Oh, my God. I have so many questions for you.” I was like, “Can you explain to me how this โ€” okay.”

I’m filled with curiosity to meet somebody that grew up Hindu, and still actively has the Hindu beliefs. I want to understand this better. “I’ve read two books about Hinduism. I don’t get it still. I have so many questions for you.” But if I’m around somebody that’s like me, I’m like, “Meh, how you doing? What’s up? Yeah, me too. Cool. All right.” So I think it’s a deliberate overweighting. If we’re going to kind of use a back to quantitative, and investment metaphor. I have a whole lifetime of thinking my way.

Now, I want to overweight learning other ways of thinking, and to me, it’s just pure curiosity. There’s no debate. There’s no, “Let’s work this out, and get to the right answer.” It’s just “No, please, tell me this other way of looking at things. Tell me this other way of looking at your family history, 1,800 years. Tell me this other way of looking at, I don’t know, spirituality, life after death, etc. Please, I’m so curious.” It reminds me that my way of looking at it is not the only way. I love dislodging my first impression.

I think our first thought is an obstacle, and we have to get past it to realize there are other ways to look at the situation. Once you realize that you can get past your first way of looking at something, then you can do that โ€” what do they call it? Systems two thinking. Thinking, Fast and Slow. You can go, “Oh, right. Okay, hold on. That was my first reaction. What are some other ways I could look at this?” That’s what my whole Useful Not True book is about. Yeah.

Tim Ferriss: Yeah.

Derek Sivers: Yeah.

Tim Ferriss: I think this was on the podcast in one of our earlier conversations, but I asked you who the first person was you thought of when I gave the word successful, and your answer was along the lines of, “Well, I think answer number one isn’t that interesting because I might say Richard Branson โ€” 

Derek Sivers: Oh, good memory.

Tim Ferriss: โ€” or Elon Musk. But if Richard Branson wanted a life of peace, and tranquility, and a slower pace. If that were his goal, then he’s utterly failing. So maybe that isn’t success, but perhaps overarchingly…” I’ve used that twice now as an adverb. That’s pretty funny. I never use that word. “But the question should be, who’s the third person you think of when you hear the word successful?”

Derek Sivers: I’m so impressed that you remember that.

Tim Ferriss: It’s a long time ago. Yeah.

Derek Sivers: Yeah.

Tim Ferriss: And that is an example of what you’re talking about, is getting past the first thought. I think the operative word there is thought. Just to draw a distinction. For me, I think paying attention to feeling, the first feeling, can save you from a lot of pain in the short, and the long term. In other words, along the lines of The Gift of Fear, Gavin de Becker, etc. If your system says no, pay very close attention to that. But if you have an inbuilt story, “I hate Dubai because A, B, and C.” Which is very different from, “I don’t feel safe in this airport, and I don’t know why.” Those are two very different things.

Derek Sivers: Very. Yeah.

Tim Ferriss: Questioning that first story can pay a lot of incredible dividends. 

Derek Sivers: Dude, I love this subject so much. To me, it’s kind of like the key of life. So often, the difference between success and failure is the mindset that leads you to take different actions. But if you just look at a situation, and you say, “That’s it. That’s what the situation is,” I’m not talking about physical things. I mean declaring something to be a dead end, declaring something to suck, these are all things of the mind, and nothing of the mind is necessarily true. Everything that’s just in the mind is just one perspective. Physical things are true. Sure. There are some physical realities. The number of votes cast in an election is a physical reality that an alien or a computer could observe and agree. But all these things of the mind. We’re social creatures, and we treat them like they are realities.

Like, “Hey, that person wronged me, and that’s just a fact.” It’s like, “That’s not just a fact. That’s one way of looking at it. And you might be a lot happier, and a lot more successful if you realize that that’s just one way of looking at it. It’s not true. It’s just a perspective. It’s just a thought, and there’s another way of seeing that. And that other way of seeing it might lead to actions that would be much more effective for you.” Yeah.

Tim Ferriss: Yeah, for sure. And I think your new book pairs well with Byron Katie’s The Work.

Derek Sivers: Very much. Yes.

Tim Ferriss: It focuses on a lot of what we’re discussing. And I was going to say, in addition to what we’ve already covered, that the content is different from the mindset. And what I mean by that is you have crafted a very path of Derek life for yourself, and you’ve made some very unorthodox decisions. Some of which I think are, frankly, sometimes cuckoo bananas. But โ€” 

Derek Sivers: Thank you.

Tim Ferriss: โ€” even if I don’t โ€” you’re welcome. If I don’t agree, even if I wouldn’t replicate the decision. Hearing you explain why you did it, and how you navigated that,the lenses through which you viewed this scenario, has allowed me to learn things that I can apply to totally different circumstances, and that’s really valuable. Right?

Derek Sivers: Yeah.

Tim Ferriss: You might not make the same house as someone else, but learning how to use the carpentry tools that they use to build that house could actually really, really, really aid you in a lot of disparate scenarios. So that’s how I’ve also thought about it.

Derek Sivers: I so often try to get people to devalue the example, but value the theme. The process, like you just said. That too many people focus on the example that you give them, but it’s try to forget the example, and look for the process. So thanks for saying that. I do that with everything.

There’s a person that we could talk about here if you want later. But he’s a computer programmer, but he gets up and gives a talk about computer programming that I see the theme in what he’s talking about. I’m like, “Ooh, okay. Well, forget the code for a second. That’s a brilliant theme.” And it’s fun to be able to do that. 

Tim Ferriss: So let’s pause. This might be a good segue. Is that part of the next bucket of people you’re studying?

Derek Sivers: Yeah. 

Tim Ferriss: โ€” or things you’re fascinated by? Where would you like to go next? This might be a good segue.

Derek Sivers: Yeah. It’s funny. You actually jumped to the last thing I was going to mention. You brought up this diversified portfolio of perspectives. So that was one of the things I wanted to talk about today, and you didn’t even know that.

Tim Ferriss: Oh, amazing. Look at that. I did not.

Derek Sivers: So that was great. Yeah. Okay. You asked me in advance of people I’m studying. So let’s do them in reverse order since we already brought up Rich Hickey. So R-I-C-H H-I-C-K-E-Y. Wait a second. Before we switch to that, have you ever met Brian Eno? The record producer.

Tim Ferriss: I have not met Brian Eno, but I have his Oblique Strategies โ€” 

Derek Sivers: Yes. Wow.

Tim Ferriss: โ€” card set. I was just reading about how he ended up coining the term ambient music in the hospital because he couldn’t get up and change the volume. He ended up listening to very, very low volume music a friend had put on for him. So I’m fascinated by Brian Eno, but I’ve never met him.

Derek Sivers: Brian Eno is one of these guys that his thought process is fascinating. I don’t love his music. I like his music. I don’t love it, but I love his thought process. By the way, if you go to the website musicthoughts.com. That’s my love letter to Brian Eno, and John Cage, and some of these music thinkers. I made that website in 1999, and it’s a collection of inspiring quotes from Brian Eno, John Cage, and a bunch of other musicians.

Tim Ferriss: Musicthoughts.com?

Derek Sivers: Yep, it’s totally non-commercial. I’m not going to make a penny off of anybody looking at it, so I’m not trying to pitch it. But I’m just saying it’s a collection of Brian Eno’s philosophies on music, and thoughts on music. I would read these quotes to inspire me as I was making music, and kind of knock my thinking. Kind of like the Oblique Strategies cards to shift my thinking into something different. And so, even just reading his interviews.

One thing he said is his job as a record producer is to have strong opinions in the studio. So that if he’s in there producing a record by U2, and the guys are fighting about whether to have a guitar solo or not, whether it should be a loud guitar solo or a quiet guitar solo. He said, “Well, my job then would be to say, ‘Well, how about we have no guitar at all in this song?'”

And the band members go, “What? Are you crazy? No, this song needs guitar. No, Brian, we absolutely need guitar.” And he goes, “All right. Happy I could help. By you disagreeing with me, I just helped you solidify your position. So that’s my job here.” So on the other hand, if you would’ve said, “Oh, yeah. Okay. No guitar, that’s a good idea. Great. Glad I could help. I’m not saying my opinions are right. I’m just trying to help you respond.” I love that.

Tim Ferriss: You’re providing a foil.

Derek Sivers: Yeah.

Tim Ferriss: Yeah. Yeah. You’re providing a foil. That’s musicthoughts.com. Quick question on โ€” was it John Cage you mentioned?

Derek Sivers: Yeah. Yeah.

Tim Ferriss: So I was first exposed to John Cage in a documentary a friend of mine named Steve Jang was involved with. Nam June Paik: Moon is the Oldest TV, which is about Nam June Paik. This amazing pioneer, and experimental art, performance art. Many different media, and he was inspired by John Cage. Now, I know very little about John Cage, but I did get to see a segment of a performance that he did, which caused 90 percent of the audience to leave.

It was just the most agonizingly uncomfortable, I would say, noise to listen to. That is my sole exposure to John Cage, but I’ve heard him invoked as this figurehead of great influence. I’m basing my impression of him only on that, what I would just say is the awful performance that I saw part of in this documentary. How would you sell John Cage, or why is he interesting?

Derek Sivers: Ooh. I’m no expert, but let’s just say he questioned things that hadn’t been questioned before. A lot of modern art, the kind where people look at it and go, “What? That’s it? It’s a seesaw over the border between US and Mexico? You call that art? I could do that.” And it’s like, “Yeah, but you didn’t.” Somebody looked at that border between US and Mexico, and said, “I think we could put a seesaw over that.”

And in a way, that’s a beautiful statement. It’s not about the brushstrokes on canvas. It’s about the statement. So I think John Cage was doing that with music. He was questioning the core of, what is this anyway? And so that’s why I think his most famous piece is called “4’33,” which is just four minutes and 33 seconds of silence. The point was, “Hey, listen to the room around you for four minutes and 33 seconds. There are sounds going on here already.” I mean, I think that was his point. Maybe he stayed mute on it. I don’t know, but yeah.

Tim Ferriss: Okay. So is it fair to say that he’s interesting to you for the same reason that Brian, in the producer capacity, is interesting as a provocateur of sorts?

Derek Sivers: Yes. Yeah.

Tim Ferriss: Like an instigator of new thinking? 

Derek Sivers: Yeah. I want to emulate his thought process, even if I don’t love his end results. Well, you said it first. That’s why I love that you beat me to this. You may not want to live my life here with my, whatever, three glasses and two rats. But you like some of my thought processes.

Tim Ferriss: Yeah.

Derek Sivers: People keep emailing me about that. “Hey, I heard your podcast with Tim Ferriss. So three glasses, huh?” Yeah.

Tim Ferriss: So let me explain that for people who don’t have the context. You should get a third rat just so you have the same number of rats that you have glasses. But when I visited you, and I was like, “Hey, do you mind if I have glass of water?” “No, no, no. Knock yourself out.” “Where are the glasses?”

“Oh, they’re in the cabinet.” And I went, and I saw three glasses. All of dramatically different sizes, and I was like, “What happens if you have more than three people over?” And you’re like, “Oh, I’ll just buy some more glasses.” I was like, “Well, actually, that kind of makes a certain elegant sense.” So those are the three glasses โ€” 

Derek Sivers: All right, on that note, do you want to hear?

I am building my dream home right now. You can imagine where this is going. Just 20 minutes north of Wellington, I bought a piece of land, or I’m building my dream home. It is a four-by-eight-meter rectangle with nothing inside. No toilet, no kitchen, no nothing. I thought every house I’ve lived in came with its default shit, and I adapted myself to its default shit.

Like, “Well, that’s just where the bathroom is. That’s just the size of the living room. That’s just what it is,” and I’ve always had to adapt myself. So I’ve never experienced the process of making the place adapt to me through practice, not in theory. So I thought if I just start with a four-by-eight-meter, well-insulated rectangle, then over time, we’ll see what I need. So I’m going to start with just a little โ€” 

Tim Ferriss: Wait. Did you say four-by-eight? Hold on.

Derek Sivers: Yeah, four-by-eight meter.

Tim Ferriss: Four-by-eight meters โ€” 

Derek Sivers: Yeah.

Tim Ferriss: โ€” is the whole house?

Derek Sivers: Oh, sorry, sorry. It’s actually two. So it’s a four-by-12.

Tim Ferriss: Okay, got it.

Derek Sivers: Hold on. Hold on. No, four-by-14-meter rectangle. That’s the two-bedroom place where I’ll sleep with my kid, and then next to it is a four-by-eight where I spend all of my waking hours.

Tim Ferriss: Okay. Got it.

Derek Sivers: So it’s the sleeping house, and the waking house. And my kid actually gets his own four-by-eight-meter cube to experiment with. And the whole idea is to see what you need. So I’m starting with no bathroom, no kitchen. I’m just going to put a little induction hob outside, and an outhouse.

And then I’ll see if that’s okay with me, or if I find through experience that I really want a bathroom inside, okay, well, now I know from experience. Not just because it’s the default setting. So I’m trying to start from scratch, and this is my dream house because of the process that it will allow me to have.

Tim Ferriss: Okay. So this is a very mundane question, but I’m curious. Generally, if you’re going to have a kitchen, or a bathroom, or something. You would have the piping, or the power, and so on put in a certain place. So as it stands, that is not the case. So you might have to do a fair amount of demo, or deconstructing your house to add any of these things internally.

Derek Sivers: Stewart Brand wrote a brilliant book that everyone should read. Anyone who’s smart, that is. Called How Buildings Learn. How Buildings Learn by Stewart Brand. You should try to get the paper book because it’s just laid out in such a way that you kind of need the paper book. He goes through this analytical thing about buildings, and he said, “This is a reason why you should never hide your wires, and pipes. Just keep the infrastructure on the outside, so that it’s easier to change.”

He has a beautiful line in there. It’s almost the opening point. He says, “All buildings are predictions, and all predictions are wrong. So therefore, the less predictive you can make your building, the better.” That’s why I’m just getting this rectangle. All pipes, and wires will just be exposed. Nothing buried, so that I can quickly change them. I can always see where they are. Yeah. I’m very much following Stewart Brand’s philosophy.

Tim Ferriss: Stewart Brand is a smart, fascinating man. Just a quick pitch for Stewart Brand. So I met Stewart through Kevin Kelly. Now, Kevin Kelly, founding editor of Wired magazine. Fascinating, genius, bizarre guy. Has an Amish beard, but he’s a technology futurist. Built his own house by hand. Spends more time in China than probably, anyone I know. He’s just an eclectic combination of all sorts of things. And the title of my podcast with him way back in the day was “The Real World,” “Most Interesting Man in the World,” or something like that.

And in the midst of the conversation with Kevin, or maybe speaking offline. He said, “If you really want the person I consider to be the most interesting man in the world, it’s Stewart Brand.” And so, had Stewart on the podcast a number of years ago, and boy, oh, boy. You want to talk about polymath? He’s something else. All right. So you’ve preserved the optionality with the possibility of putting things on the outside rather than on the inside in terms of support infrastructure. And how do you see yourself using a space with nothing inside โ€” 

Derek Sivers: I don’t know. See, that would be a prediction. I’m trying not to โ€” 

Tim Ferriss: โ€” to begin to determine what you โ€” 

Derek Sivers: I’m trying to not predict. I’m just going to show up. It’ll be ready in a few months. And then I’ll start living there, and we’ll see what happens. That’s all I know.

Tim Ferriss: Okay.

Derek Sivers: Yeah.

Tim Ferriss: Is it going to be totally empty? Are you going to have some desks? A chair? I mean, are you going to have anything at all, or are you just going to sit on the floor, and be like, “What do I require at this moment?”

Derek Sivers: I’m bringing a mattress to start, and then over time, I’ll notice. If I wish I had a desk here, then I’ll get a desk there. So I’ll add things as I feel that I really, really need them. Again, I highly recommend the book How Buildings Learn. He kind of goes into this about, “The best spaces are just rectangles, and the best places are ones that are easy to alter. So that if you suddenly decide…”

He talks about this MIT building where people were just allowed to bash a hole in the wall because it wasn’t some beautifully architecturally designed masterpiece. It was something thrown together quickly in World War II. And people love that building because if they do need to bash a hole in the wall, or run some wires through, they can just do it. It’s a trashy old building, and because of that, it’s such a creative space. The places that are award-winning are often the ones that are the most hated by their residents. They might win the award for the architect โ€” 

Tim Ferriss: That’s true.

Derek Sivers: โ€” but because they’re award-winning, they’re inflexible. They’re sacred. I mean, talk to people who live in a Frank Lloyd Wright home now, and it’s like, “Ugh. I’m living in a masterpiece museum. And I can’t change a single screw, or anything because it’s the way he wanted it.” Anyway โ€” 

Tim Ferriss: It’s a practical recommendation. I would say if you’re going to be sitting on the floor a lot, if you’re not accustomed to doing that, just so you don’t end up with all sorts of orthopedic issues. I would start doing Turkish get-ups, and getting accustomed to sitting on the floor, and getting up a lot. Just to โ€” 

Derek Sivers: I’ll probably get a good chair almost right away.

Tim Ferriss: โ€” see if your body’s ready.

Derek Sivers: But I want to make sure that I really need it.

Tim Ferriss: See if your body is ready for the rectangles. All right. Fascinating. Yet another example. I’ll let you be the first monkey shot into space on this particular type of home design. I can’t wait to learn so many things.

Derek Sivers: You experiment with some things I don’t want to experiment with, and I’ll experiment things that you don’t want to experiment with. I’ll renounce my US citizenship, and let you know how it goes. I’ll build my dream home of a four-by-eight rectangle, and let you know how it goes.

Tim Ferriss: Yeah, you’ve got to divvy it up. I mean, the redundancy and experimentation is kind of, I don’t want to say pointless, but it’s more fun to have people doing different things. Other people you are studying?

Derek Sivers: All right.

Tim Ferriss: Or the things you’re fascinated by. We can hop around. Depends on where you want to go.

Derek Sivers: Okay. Well, I already started Rich Hickey. 

Tim Ferriss: Oh, that’s right. You mentioned him. I wrote him down because that was left dangling and I was like, who is this Rich Hickey?

Derek Sivers: So Rich Hickey is, he’s a programmer. He’s the inventor of a programming language called Clojure, C-L-O-J-U-R-E. He’s actually one of my number-one picks for somebody that I would like to get on your show, like if we did a co-hosting kind of thing and I were to get somebody on, he’s โ€” actually, I already emailed him. He didn’t reply, but maybe, hey, if anybody knows Rich Hickey, and if he’s interested, nudge, nudge, nudge. He did a brilliant talk. If you search YouTube for either “simple versus easy,” or I think the name of the video on YouTube is called “Simplicity Matters.” Here’s his point. And I actually jotted down these notes so I could try to bang out his point quickly and then we’ll talk about it.

And keep in mind everything I’m about to say, he’s just talking about programming. He’s speaking to a room of programmers. He said, “Oh, we mistake simple and easy. We think that simple means easy and easy means simple.” But he said they’re two different things. The word “complex,” if you look at the definition, it comes from the word “Complect,” which is to braid things together. So if something is complected, it means it’s intertwined with other things. And so the adjective complex means that something is bound to other things. Whereas simple comes from simplex, which means it is not bound to other things. It stands alone. Easy, the root of that means that something is near at hand. It’s something you already know how to do. It’s within your realm.

So easy and hard are subjective, but simple and complex are very objective things that we can look at. Something is simple, stands alone. It’s complex, it’s bound to other things. And he said, “Here’s where it gets tricky, is that it can be very easy to make something very complex.” So he says, “You could just type gem install hairball, and with typing three words on a computer, you can install a massive framework, whether it’s Ruby on Rails or WordPress. And if you start using that, well wow, you are now complected with a huge complicated system that you’re intertwined with.” And so now everything I say after this, this is my take on his analysis, but it’s really easy in life to say, “Okay, yeah, let’s get married, or to have unprotected sex and get pregnant and have a baby.”

That’s easy. Adopt a dog. Hiring people, you can have a problem and think, all right, “Well, I’ve got some money and I’m overwhelmed. I’m going to get a consultant to hire 10 people. Okay, great. Now I’ve got 10 employees. Phew, that was easy to take some work off my plate.” But your life is now objectively complex. You are complected with these other people and their needs and their time schedules and their desires. Handing off parts of your business to say, “This is hard. I’m just going to hand off my billing or my something or my this or my scheduling to these apps or these subscription services.” That was easy to just hand it off. But now your business is very complected with these other services. So hence my rant on our last conversation over scotch at my house about tech independence. His point is it can be really hard to make something simple.

It can be much harder to do something that is objectively simple, that stands alone, that isn’t dependent on other things. It can be harder to make that, but it’s ultimately usually a better choice because it’s more maintainable, it’s easier to change, it’s easier to stop and start. It’s simpler even if it’s harder to make. So the point in his thinking is to be aware of the objective measure of complexity or be aware of complexity, which can be objectively measured and aim for doing the simpler thing, even if it’s harder. In my take, I think you can make simple things easier just by learning more, say, about the fundamentals of something. Instead of just adopting somebody else’s high-level solution, you can just spend a little time learning about the core underneath it, about the fundamentals. Then you can forget norms, you could forget what others do, what others think, and you can just get to the real essence of what you need. I’m not just talking programming now. I’m just being, like, in life.

Tim Ferriss: What would be an example of that?

Derek Sivers: Okay, my four-by-eight house, it’s like, really, I just need a shelter where it’s temperature controlled, so it’s really well-insulated. I do need a mattress to sleep on and I do need a place I can work. But to me, those are the โ€” oh, and I do need a little food. To me, these are the core things of a shelter. But even, say, with friendships, do I need to live in the same place with my friends? Well, not necessarily. My dear friends, my best friends are often far, far away. I don’t need to move to a place that has all of my friends, if I can reach them on the phone.

Talk about just the thought process, I very often find myself asking, “Well, what’s the real outcome I’m after? What’s the real point of this?” And once I’ve figured that out, well then what’s the most direct route to that outcome? Never mind what other people do, what the norms are, what do I think is the most direct route to that outcome? And then try to keep it simple along the way and be very wary of dependencies and entangling myself with other things. So that’s my take.

Tim Ferriss: Could you give another example or two of how you implement that in your life?

Derek Sivers: Sure.

Tim Ferriss: How you might, because I know there are more examples.

Derek Sivers: The next two might be less relatable because it’s writing and programming.

Tim Ferriss: Less relatable than the four-by-eight-meter box?

Derek Sivers: I know everybody wants to live in a cube.

Tim Ferriss: With nothing inside.

Derek Sivers: So I mean, well, first, okay, here’s a good question to strip away some things. Ask yourself, “Would I still do this if nobody knew?” There might be a lot of things in our actions that we do because we like the way it would look to others, because it would be impressive to others. That’s the first thing to just strip away when you’re beginning this thought process is like if I were to never tell anybody and nobody were to ever know, would I still do this thing? Okay, well then that might just be the decoration.

Okay, so two examples. Programming-wise, I’m constantly asking this, when I’m building something, it is just I need to get this calendar entry into this database with this time. Do I need a whole bunch of JavaScript? Do I need a bunch of CSS and things flying around? Do I need fading graphics? No, I just need this thing there. What’s the most direct way to get that calendar entry into that database? Okay, so that’s like a programming example.

Writing-wise, my last two books, How to Live and Useful Not True, I’m spending most of my time reducing. My rough draft, I always spew out everything I have to say on the subject, and then I spend 1,000 hours crunching every single word going, “Is that word necessary? Wait a second. Is that whole sentence necessary? Wait, can the point still be communicated without that sentence? If it can, okay, let me try to get rid of that sentence and see if the point still comes across. Actually, does the point come across without this entire chapter? Oh, my God, it still does. Then, therefore, I don’t need this chapter.”

One of the most useful things that happened recently is a few months ago, an organization in Australia paid me to come give a talk. And I said, “What do you want me to talk about?” They said, “Anything.” I said, “How about my next book called Useful Not True?” They said, “Sure.” So it was a room of very successful, very effective people. And I had one hour on stage to communicate the whole idea of my next book. And at the time, the book was still in process, and that was so helpful because I noticed that there were a few things on stage, even though I had it in my notes, I skipped over it and I thought, okay, well actually we don’t need to do that. Okay, let’s get to the next point.

And so later when I was back home, I thought, wow, I just skipped over that whole point on stage. So why do I think it’s worth killing trees to print that point? Apparently it’s not. Cool. So anyway, this is now the shortest book I’ve ever written. I’m very proud of that fact. I compressed this 400 pages down to, I think it’s 102 pages or something. And so those are two examples of where I’m constantly asking what’s the most direct way to just get rid of what I really want, get the outcome, skipping the usual fanfare?

Tim Ferriss: How do you think about first-order simplicity versus complexity versus second-order, third-order, and planning? And the reason I’m asking that is you strike me as someone who prizes freedom, independence, simplicity, all very highly. But I imagine there could be cases where looking at the first-decision and the first-order effects, you might think, well, it’s much simpler for me to do X, to renounce my US citizenship, to build a box, to do everything myself instead of taking on these cloud services for accounting and so on. But there are levels of second, third-order complexities that ultimately make it kind of net, net more complex than doing the slightly more complex thing upfront. Does that make sense?

Derek Sivers: Almost.

Tim Ferriss: I guess I’m wondering how, practically, people might think about simplifying but not over-simplifying and then shooting yourself in the foot in the long term. I’ll give you an example. I know people who have moved to Puerto Rico to trim taxes substantially.

Derek Sivers: Right.

Tim Ferriss: But in the process, have โ€” they viewed that as the most direct route to reducing taxes, therefore, they can do X, Y, and Z over time with more income or preserved capital gain, whatever it might be. However, in the process of doing that, they’ve created all of this lifestyle complexity and applied a lot of constraints to what they can or cannot do. And the tax tail is wagging the dog. And instead of money serving life, now life is serving money. And they’ve kind of put themselves in a topsy-turvy, upside down situation when if you were to look at it from first principles two years later you’re like, wow, that was really bungled.

Derek Sivers: Yeah.

Tim Ferriss: That’s not true for everybody in Puerto Rico. I’m not trying to make it sound like that, but I have seen those types of examples where the thing that seemed simple and straightforward at the outset ended up producing a lot of ripple effects that produced not just complexity, but complexity that was hard to undo.

Derek Sivers: Yeah. Great example.

Tim Ferriss: Think about that kind of risk mitigation.

Derek Sivers: By the way, my two little examples of that, a few years ago, Tony Robbins had a MONEY Master the Game book. I was like, “Oh, wow, Tony hasn’t put out a book in 20 years. I wonder how this is going to be.” And in it, he’s giving these prescriptions for extremely complex insurance things that you could set. I was like, “Oh, wow, that’s objectively complex.”

And another example is in Neil Strauss’ book called Emergency. I’ll never forget this point. He said that he’s off at one of these nomad, sovereign, individual, “I’m beholden to no country” kind of events. And he meets this guy that is bragging to him about his setup. He’s like, “I got my income coming here, but then all expenses go here, but then I’ve got a trust and this, but I’m the non-managing member of the trust, which is held by this and that.” And in the end he’s going to save 30 percent taxes. And Neil said, “Wouldn’t it just be a lot easier or make a lot more sense to just work 30 percent harder or to just make 30 percent more money?” He said, “That’s a ton of work just to save 30 percent.” He said, “It’s not that much harder to just go make 30 percent more.” And dude, when I read that, I love that thought process.

So I know that your podcast and the Titans and all that is often about how do we use the wisdom of others to avoid making these mistakes ourselves. But some of these things maybe you just have to, I don’t know โ€” I think for some of these things, I’m willing to throw myself in and feel the pain to see if I’ve done it wrong. 

Tim Ferriss: Okay, so I know we’re improv-jazzing here, so let’s keep going. This thought just occurred to me because when I hear you talk about code and programming, I mean there’s a poetry to it and there’s an economy to it that seems, I’m not a programmer, but I do write, there seems to be something intrinsically rewarding to you about that presentation of elegance. And I’m wondering, in the case of following Stewart Brand’s principles and building this box or doing certain things that seem to me, optimized for freedom, independence, is there โ€” even if it ends up face planting, is there something that you find beautiful and redeeming just about taking the simple approach even if the outcome is suboptimal? 

Derek Sivers: It’s related. It’s finding out โ€” in fact, instead of just in theory, we can sit at home and wonder what it might be like to do such and such, but at a certain point you’ve just got to throw yourself in and go try it. And if you try moving to Puerto Rico and you hate it, well now you know it was worth a try maybe. And now in fact that that doesn’t work for you. That’s maybe the How Buildings Learn idea is don’t predict that you will want to sink in that spot. Put yourself into that spot first and live without a sink for a while, and eventually you’ll get a good feeling for where the sink needs to be. In fact, not in theory.

And so I think I do this with my life as I’m willing to mess up happily because I will know that then I found out in fact that that doesn’t work for me. And maybe this is coming from the core of the fact that I’m a really happy person, and so I feel that my base level is up here. I can take some big knocks.

Tim Ferriss: You can take a hit.

Derek Sivers: And I think a lot of the crazy shit I’ve done โ€” I did marry somebody that I hardly knew after a few months because fuck it. Let’s see what happens. In fact, you and I have never talked about that directly, but do you know the mindset I was in at the time, I had just sold my company. I had a ton of money and I felt like I need to change my trajectory because my first impulse after selling my company was literally the next day I set up my next company and I thought, I’m going to move to Silicon Valley. I’m going to do this thing. I’m going to stay on the same trajectory. And I did that for a few months, but then I caught myself going, wait, I want a full life. I don’t want to stay on the same trajectory. I want to shake shit up. So I very deliberately did what we might call the George Costanza Principle, which is โ€” 

Tim Ferriss: Do the opposite.

Derek Sivers: Do the opposite of all of my impulses. Every time I felt yes, everything in me said yes, I would say no out loud. And everything in me says no, I say yes out loud as a way of deliberately shaking shit up. And so I was dating this woman for a few months and we had no great connection. And she said, “Oh, well, I can’t travel to California with you unless we get married.” And everything in me says, “Oh, hell no, don’t do that. That’s stupid. I don’t want to marry this person.” So I said, “Yes, let’s do that.” And so we got married and I kept doing that in every way. I deliberately fucked up my life and made a bunch of crazy fucking decisions, and some of them worked out great, and some of them didn’t. And I’m so happy that I did that. In some ways I could say that that’s my biggest regret or biggest mistake, but in other ways it was wonderful. It deliberately sent me on a different trajectory, and I’m glad I did it.

Tim Ferriss: That, it definitely will. So for people who don’t have any of the connective tissue here to figure out how to orient themselves to this, people are going to want to know, cliffhanger. So how did that turn out? Everything in me says no. So I said, yes, let’s get married. Let’s do that.

Derek Sivers: The marriage was awful. No, that was terrible. And we knew it literally days later, like, oops, we made a big mistake. That was instantly a big mistake. And that’s fine because we knew in fact then that it was a big mistake. Not just in theory. I could have walked away from that going, “Oh, God, remember that woman that wanted me to marry her and I said no? God, I wonder what would’ve happened.” Well, now I get to find out. I did it.

Tim Ferriss: Now, hold on a second though. I’m going to push on this a little bit.

Derek Sivers: Great.

Tim Ferriss: We could use this logic to be a reverse George Costanza for every decision we think is bad, we could turn around and say yes to. But as a life strategy, I don’t see you continuing that.

Derek Sivers: No.

Tim Ferriss: So you don’t know for a fact that the awful idea would’ve been awful. But I mean, there has to be a point at which you think about self-preservation and time as a finite currency. So you’re like, well, when would you apply that versus when would you not apply it? Because you could apply it everywhere indefinitely, but certain things are one-way doors, and some are two-way doors. I mean, for instance, getting a pet rat, okay, lower cost, more reversible, let’s just say, than maybe giving up your US citizenship. That is a little harder to control Z.

Derek Sivers: Yeah, I cannot undo that. Yeah.

Tim Ferriss: Moving forward for you, having learned everything that you’ve learned, when do you play the George Costanza strategy versus not? Because there are lots of things we can’t over effect unless we make the right or the wrong or the good or the bad decision, but you can’t make all decisions. So what do you do?

Derek Sivers: Long ago when I said the “Hell yeah or no” thing, and โ€” 

Tim Ferriss: It’s going to be on your gravestone.

Derek Sivers: Yeah, it’s fine. “Hell, yeah,” or, “Here I am. Here he lays.” So some people emailed me after that, after that was on your show, and they said, “Hey man, I like this hell or no thing. I’m using it for everything. I just got out of college. I’m getting a bunch of offers. And I’m like, I’m not feeling hell yeah about any of them. I’m dating. And it’s like, I’m not hell yeah about any of you.” And I go, “Wait, wait, wait, wait. Hold on. Everything does not become a nail because you’re holding this hammer. This is a tool for a specific situation when you’re overwhelmed with options. You have to have the wisdom to know when to use this tool. You don’t use it on everything always.”

It’s the same thing with this going against your instincts. Of course, you don’t use it on everything always, but that was a specific time in my life when I wanted to deliberately change my trajectory. I wanted to go against my normal way of doing things and deliberately introduce some randomness and variety into my life. 

Tim Ferriss: It’s not your default.

Derek Sivers: But let’s look at, I mentioned Dubai earlier. Everything in me said, “Fuck that place.” And then I caught myself feeling that, and I thought, “Okay, wait. Hold on. This is a good time to use this tool. My impulse is saying no. I’m going to try saying yes. I’m going to go get to know this thing. Because that sounds to me like that would be a learning, growing experience to try it.” So that’s a good example of integrating this into your life. But then say if maybe you do hit a situation where it’s like nothing is working out. You’ve been an idiot your whole life. You just got fired. You were just dumped by your romantic partner. It’s skid row. Maybe it’s a really good time to go against all your natural impulses since it’s pretty clear that your defaults were set wrong.

Tim Ferriss: Not working. Not working well.

Derek Sivers: Yeah, I like integrating it. Maybe the question is this going to be a learning growing experience for me? I like leaning into discomfort. Whatever scares you, go do it. Yeah.

Tim Ferriss: All right, so I have quite a few follow up questions. We can take them in many different directions. So we’ve covered Rich Hickey, Clojure. Knock, knock. We’ll see if anyone lets him know he appeared on the show. I also want ask you a question, we can cut from the conversation if we need to, but since Dubai, this has come up repeatedly โ€” 

Derek Sivers: That’s a great lead-in. I love that. This may be too risky for anybody’s ears, but here we go.

Tim Ferriss: Do taxes fit into this at all? Is this people who move to Nashville or Austin and they’re like, “Oh, the barbecue and the music,” and they will dance and dance and dance until you corner them with a broomstick and then they’re like, “Yeah, okay, fine. Yeah, the taxes, also it’s a thing.” Is Dubai one of those or no?

Derek Sivers: Not at all. I mean, I had to ask myself that. That’s one of those things, okay, when you ask yourself, would I still be doing this thing if nobody knew about it? I got an email from Guy once that was just like, “Hey, man, I want to travel the whole world. I’m going to visit every country in the world. Do you have any suggestions for me?” I said, “Yeah, don’t bring a camera and don’t tell anyone that you’re doing this. Is it still appealing to you now? Probably not.” Okay. So anytime, like say Dubai for example, I was like, “Whoa, this place is fascinating. Oh, my God, I think I want to live here.” And I was like, would I still live here if the taxes were like 50 percent? I was like, yeah, that’s moot to me. I mean, look, I’m living in New Zealand where yeah, my income tax right now is 45 percent. I pay a ton of taxes, but it’s worth it to me. I love it here. I don’t care.

So that thing I mentioned in Neil Strauss’s book Emergency, that sentence hit me hard. When I first sold CD Baby, that was 2008. There were some things I was thinking at the time where it’s like, “Oh, wow, I just got mega millions. How can I pay less taxes?” And it was literally the month before or month after I sold CD Baby that I read that book Emergency, and I saw that sentence and I went, “Whoa. That is a great point.”

Tim Ferriss: Good point.

Derek Sivers: Don’t jump through hoops to save taxes, jump through a hoop to go make more money. That’s the growth choice anyway. That’s the thought process that leads you to make growing decisions, not shrinking decisions.

Tim Ferriss: So you’re about to sell or have just sold CD Baby. You form a new company the next day, you’re planning on moving to Silicon Valley and you see yourself moving on that track and you decide to throw a Costanza curveball in and mix things up because why? What was the fear or the hazard you’re trying to avoid by following that path? Was it thoughtlessly in repeating what you’ve done before, that it wasn’t intentional? What was it?

Derek Sivers: It was, I want to live a full life. At the end of my life, I want to look back and go, “Wow, I did a bunch of different things. I tried a bunch of different ways of living. I followed this philosophy for a while. I followed that one, I tried this, I tried that. I lived here. I lived there.” That to me is my definition of a full life. My previous book, called How to Live, was 27 conflicting philosophies and one weird answer and the whole idea was that it’s 27 chapters, each one disagrees with the rest. But each one has a strong opinion of saying, here’s how to live. Now live for the future. Then the next one’s like, here’s how to live, live only for the present. And the next one’s like, here’s how to live, leave a legacy. And these are all valid ways of living.

And my definition of a full life is I want to experience the different approaches to life. I want to have the diversified portfolio of thought and of experiences. So that was it. I just felt like if I was to create a new company the next day and move to Silicon Valley, I’d just be doing more of the same shit I’ve already done.

Tim Ferriss: Yeah, makes sense. Makes perfect sense. Who else do you have on your list of people you’re studying?

Derek Sivers: All right, Tyler Cowen. Just a few days ago in an article on bloomberg.com called “Who Was Bitcoin’s Satoshi?” So we still don’t know who is Satoshi, the inventor of Bitcoin. And there’s this law of headlines that if it ends in a question mark, the answer is usually no. So when I first saw the headline, I thought that the answer was going to be, it doesn’t matter. It doesn’t matter who Satoshi is. Forget it. And oh, my God, Tyler Cowen took it somewhere else. Even if you would’ve asked me, by the way, “Hey, Derek, I’m going to give you an hour alone in a room to think about one question, does it matter who is Satoshi, the inventor of Bitcoin?” Even after an hour, I think my answer would’ve been, “Of course not.” And I would’ve just sat there for an hour just going, “No, no, no.” Tyler Cowen took it the opposite way, and I jotted down his points, but it’s a masterpiece in this if then knock on thinking. So he said, “Okay, if we find out that Satoshi is dead, that the inventor of Bitcoin is dead, then that’s a good thing because it means Bitcoin will be more safe because it won’t be open to future alteration.” The person can’t tarnish the reputation of it. Say like Elon Musk and Twitter, by continuing to be there, can tarnish the reputation of something. Sorry, I shouldn’t have gone there. Satoshi can’t come back and change the rules for the worst. And then he even said, “This is why all religions have dead founders is because the founder can’t stay in and tarnish the reputation of the religion.”

So I went, “Okay, good point. If Satoshi is dead, that is good for Bitcoin, it can stay as is and won’t get tarnished, won’t get changed.” And he said, “So there’s a chance that Satoshi is an older guy from this previous movement around E-Gold that was generally seen as a failed project that a bunch of people were into this idea of E-Gold and it didn’t work out. If Satoshi is somebody from that group, then that means that even projects that look like they’ve failed can create great things. So we should maybe think more highly or be less dismissive of projects that seem to be failing because who knows what they will lead to.” He said, “There’s a chance that Satoshi is this person…” And I forget their name, but he said, “…that would’ve been 21 years old and in grad school at the time of inventing Bitcoin.” He said, “If that’s true, that means we should raise our perception of what young busy people can do, that they can do more than we realize.”

This guy, while in grad school, also invented Bitcoin and then said, “If Satoshi is still alive that means…” Oh, by the way, we should say for your โ€” I assume people know, but maybe not, that whoever is Satoshi has hundreds or โ€” okay, let’s say at least tens of billions of dollars in Bitcoin that all he’d have to do, whoever Satoshi is, would have to just take it. It’s already there in the account, in the public record that we can see. So Satoshi is one of the richest people on Earth, whoever Satoshi is. So he said, “If Satoshi is still living, that means that some people don’t want to be billionaires or just have incredible self-restraint. Maybe, upon realizing what he created, he destroyed the key, destroyed the password so that he could not take those billions of dollars to protect himself from that.”

I said, “Now if there’s a chance that Satoshi is a pseudonym for a group of people, if that’s true, it means a group of people can keep secrets way better than we expected, which means that conspiracy theories are more likely to be true about anything, in general, about UFOs, about JFK, or whatever if this group of people is Satoshi and they could have tens of billions of dollars, but they are choosing not to and they are all keeping the secret, that’s amazing. And we should regard secrecy more higher than we can.” So that’s the end of the bullet points. But I read this one little Bloomberg article and my jaw dropped. I went, “Oh, my God, this is the kind of thinking I aspire to. That is some amazing lateral creative, I don’t know what kind of thinking do you call that, but that’s what I want to do more of.”

Tim Ferriss: Love it. Tyler’s incredible. I highly recommend people check him out. That’s a really good Tyler example. Cowen, C-O-W-E-N. Definitely recommend people check him out. Also past podcast guest.

Derek Sivers: That was a great one. So previously to this, one of my favorite points of his is he said that restaurants are better in places of high income inequality. Why? Because these are places that have both rich customers and low-paid staff. So somebody can afford to run a great restaurant because there are enough people that will pay because there are rich people around, but there are enough low-income people that we can have a good amount of staff. He said that’s why the best restaurants are in places of high income inequality. Whoa, that’s again a brilliant connection.

Tim Ferriss: That’s interesting. I would also add to that that a lot of folks who want to dedicate themselves to a craft or an art are, depending on the industry, but frequently not going to be well paid for that, let’s just call it volitionally poorly paid in some cases. And I’m thinking of, in this particular case, San Francisco and East Bay where a lot of restaurants in San Francisco, a lot of restaurants in different places, but as the price of living went up in San Francisco, a lot of the best restaurateurs, I should say chefs, a lot of the best chefs, a lot of the best line cooks, a lot of the best massage therapists, a lot of these people could no longer afford to be there, had to move to the East Bay. And I would say that led to a decline in the quality of all of the goods I just mentioned โ€” and services. So that would also make sense. If you want access to the artists, they’re not going to be in the most expensive areas typically, unless it’s a Jeff Koons or someone.

Derek Sivers: I haven’t been to Pittsburgh lately, but I heard that that happened with โ€” a lot of the best chefs from New York City went to Pittsburgh and that now Pittsburgh, it’s hotter than you’d expect.

Tim Ferriss: I can see that. I can totally see it. All right, Tyler. Anybody else on the list of people you’re learning from or people you’re studying?

Derek Sivers: Those are my two that, Tyler โ€” 

Tim Ferriss: Perfect.

Derek Sivers: Because there’s specific things..

Tim Ferriss: I love it. All right, so I think we have one more category. We’ll see how many we get to.

Derek Sivers: [Sharp inhale]

Tim Ferriss: I heard a sharp inhale. Where should we go?

Derek Sivers: So inchword, inchword.com, I-N-C-H-W-O-R-D.com. This is actually a bit of a call-out. I don’t usually do this, but I would like to hear from translators that if you’re a translator, contact me, because I’ve got a lot of paying work because I’m really interested in the subject of translations that are always improving. Well, not always. At a certain point maybe you call it a release. But as a writer, the first time you write a sentence is not always the best. You improve it the second or third time, and at any given sentence we see in your books, that might be the fourth time you’ve improved that sentence, maybe over the course of months. There’s always room for improvement. But now when you think, when somebody makes a translation of one of your books, the incentives are a little off now because the translator’s incentive, as long as they’re not translating the Bible or something, their incentive is mostly just get it done good enough, get paid.

The publisher’s incentive, the publisher who publishes a translation, their incentive is hire a translator that will make a good enough translation for a low enough price that we can get this out in the market now and make a profit selling it. But my incentive as the writer that sweated over these words for years and really crafted it almost like song lyrics, I have a different incentive. If I’m going to have a translation of this book out in the world, I want it to be great, really, really great, which means my incentive is to work closely with the translator to make sure that what they’re doing is the best it can be and that it’s communicating what I intended. 

Tim Ferriss: How do you do that in a language you don’t speak?

Derek Sivers: I don’t know, but that’s my question. So this is the, I don’t have the answer, but I’m fascinated with the problem. So, so far, the best idea is what I’m putting at inchword.com is this idea of incremental improvement. 

Tim Ferriss: Oh, so this is your website?

Derek Sivers: Yeah, I made it. It’s my little passion thing.

Tim Ferriss: Okay. All right.

Derek Sivers: So it’s this idea where once I call something done, whether it’s an article or a book, I put every sentence into its own entry in the database and then I pass it to a computer that does the first round of a bad translation. So now we have a starting point. So now, if you’re the first translator to come through and translate the automatic translation into your language, that’s a low bar, that’s low hanging fruit, so let’s say that will pay 50 cents per sentence.

But now, if you’ve done one round of improvements over the computer translation, and now somebody else comes through and says, “Hm, I can improve that further. That sentence, not the whole thing, that sentence, I can improve that one.” Now that’ll pay a dollar per sentence if it’s improved. And now, say two different people have improved it twice and now a third person looks at that and says, “Hm, I know how to improve that better.” Well, now you can make, say, $2 per sentence to improve it better. The stakes are getting higher for improving it. And so there are incentives now to make it as good as can be. 

Tim Ferriss: How do you know if it’s been improved?

Derek Sivers: So then we have reviewers, readers, whatever you want to call them that are paid a little something to just read through and judge, and at any given sentence where an improvement has been made, both sentences are shown in random order and they have to vote for which one they feel is the better sentence in that case. And when the majority votes that that sentence is better, then it’s chosen and that’s when the translator gets paid. So a translator can’t get money just for coming in and spewing crap. They only get paid when the readers believe that that was a better translation. Anyway, I’m not saying this is the final answer, but I think it’s a fascinating problem that I’m willing to โ€” 

Tim Ferriss: It is a fascinating problem.

Derek Sivers: Spend money on it because I’m incentivized to have the best translation of my works out there. That’s it.

Tim Ferriss: If they’re a good translator, how do you incentivize them to go first knowing that someone might come along and make substantially more money by doing the fourth or fifth iteration?

Derek Sivers: Ooh, thank you. See โ€” 

Tim Ferriss: Or is that not a problem?

Derek Sivers: I don’t know. See, you just asked a great question. Thank you.

Tim Ferriss: You’re welcome. You’re welcome.

Derek Sivers: That question is kind of the answer. That’s a really good thing to ask. I don’t know. I know nothing about this. I’m not fluent in any other language, but you’ve probably seen this effect. 

Tim Ferriss: Cool.

Derek Sivers: Whenever you start to learn another language, doesn’t it make you look at your English more closely?

Tim Ferriss: Oh, 100 percent. That’s part of the fun. It makes you look at the whole world differently depending on how divergent the language is from your native language, in this case English for us. Oh, yeah, it’s so, so, so interesting. I was just trying to help somebody with their approach to Japanese yesterday, and my first thought was, if you have three or four weeks, maybe you go to South Korea first and try to pick up Korean because the reading is so much easier. So perhaps you could learn the basics of Korean, which isn’t identical to Japanese, but the grammar is very, very, very, very similar. And then you go back to Japan with your newfound knowledge of the grammar without the handicap that slows you down of having to learn three writing systems โ€” Hiranga, Katakana, and Kanji.

Derek Sivers: Interesting.

Tim Ferriss: And I don’t know if that’s a good approach, but it was the first time it had occurred to me and I was like, “Huh, I wonder if that actually would be helpful?” Or like Python and Ruby, would it just be confusing as fuck because now you’re like learn Portuguese and Spanish at the same time and you just get scrambled? It’s possible that it would be the latter.

Derek Sivers: Do you remember Benny Lewis, Fluent in 3 Months, Benny Lewis?

Tim Ferriss: Sure. Yeah, the Irish polyglot, I think was the nickname? 

Derek Sivers: Yes. Yeah. Benny recommends Esperanto for that same thing that you just said. He said, because objectively Esperanto is the easiest language to learn, that’s why it was invented in 1888 by Zamenhof to be easy to learn, therefore, if you’ve never spoken a second language before, go learn some Esperanto first. Get used to having a conversation that’s not in your native tongue and then go learn your target language.

Tim Ferriss: Interesting.

Derek Sivers: And Iโ€™m happy to โ€” 

Tim Ferriss: I wonder if that’s too much of a lift.

Derek Sivers: Well โ€” 

Tim Ferriss: Have you done it?

Derek Sivers: I will report, I did it. I became fluent in Esperanto about six years ago on Benny’s advice, and I regret it.

Tim Ferriss: It’s less useful than Klingon, at least in communicating with others, right?

Derek Sivers: Actually, I think Esperanto is hippie Klingon. I went to the annual Esperanto conference in Seoul, Korea, and it was a bunch of 60-year-olds in tie-dye singing about world peace, kind of like Woodstock 1969 revisited. And they’re all singing like, “Oh, the world would have perfect harmony if we all just followed the ways of Zamenhof and had the one-world language.” And even though I had spent six months learning this language, I got to the event and I went, “I don’t like you people. I’m sorry.” And I stopped on that day. I was like, “I don’t want to speak this language anymore.” Okay but โ€” 

Tim Ferriss: You’re done.

Derek Sivers: Then, so talk about the Ruby, Python, I never learned any Spanish my whole life, even though I grew up in America, I just thought, “Nope, Spanish is too similar to English. If I’m going to learn another language, I want it to be Chinese or Arabic or something very different.” So I never learned any Spanish, but just two months ago I went to South America for my first time, and so I spent a month learning Pimsleur basic Spanish, and Tim, it was like, “Oh, my God, this is a great language. This is amazing. This is fascinating.”

Tim Ferriss: Yes, it is.

Derek Sivers: And also, it is so easy that I went, “Damn it, Benny, I shouldn’t have learned Esperanto for six months. I should have learned Spanish. It’s just as easy and it would’ve been more useful.” So anyway, I like that you brought up the Korean thing. I think it is proven to be a good technique to do the easier language first to help you disconnect, or like you say, to help you understand the grammar and then do the difficult one. But it does help, I guess, if it’s Korean or a language that people actually use, not Esperanto.

Tim Ferriss: Spanish is a great language. For people who are curious about Korean and just how brilliantly the writing system is designed is a point of national pride, and it is not something that was out of the box. It was something that was developed long after Korea had first adopted Chinese writing, much like the Japanese. There is a cartoon online and it is something like “How to Learn to Read Korean in 15 Minutes” or “How to Read Korean in 15 Minutes.” And it’s a comic book. You can find it and literally, it might not be 15 minutes, but within two or three hours you can learn Korean well enough that you can read anything in Korean. You will not understand a damn thing that you’re reading โ€” 

Derek Sivers: But you can mouth it.

Tim Ferriss: But you’ll be able to sound out phonetically roughly, roughly what it is, which is great fun and well enough that if you’re, as I was a few weeks ago, in an Uber, and you see the Uber app is set to Korean, you could say, “Thank you,” or “Have a nice day,” or “How are you?” in Korean and blow their โ€” and they’ll be like, “How did you know?” And you’d be like, “Well, it’s Korean on the app.” Oh, my God. If you want some cheap applause that’ll make somebody’s day, that’s an easy way to go.

Derek Sivers: It’s funny, it fits right in. Remember your whole like, “Hey, here’s how to learn how to spin a pen with your fingers. Here’s some things you can learn in 15 minutes.”

Tim Ferriss: Oh, yeah.

Derek Sivers: The old Tim Ferriss 1.0 South by Southwest.

Tim Ferriss: Yeah, exactly.

Derek Sivers: Speak Korean in 15 minutes.

Tim Ferriss: Also courtesy of Japan for sure. This is what all the kids used to do in class, and now I have something that will endlessly distract and annoy everyone who sees it if I’m on an airplane or something. Thanks, Japan. All right, Derek, anything else in that top hat? 

Derek Sivers: I’ll just say this quickly, I love this little phrase. I realized, when I was digging into my incentives why I do things, I travel to inhabit philosophies. 

You can hear about life in Brazil or life in Japan, but it’s a different thing to be there in it that I think there’s some philosophies, whether it’s stoicism or hedonism, that we can just do from a chair by just sitting and changing our thought process. But Brazilianism, Japanism, Arabianism, I don’t know, Parisianism, these are kind of like philosophies. The way that people live in places are kind of living philosophies that I want to experience what it’s like because I want to think that way. So I would really like to go there, live as close as I can to being a local, learn the language, live that life according to that way, to inhabit, embody this way of living in order to feel the actual physical results, the actions of living that philosophy. And I thought this is actually the reason I travel. It’s not to look at things or take pictures or post them to impress people. I travel to inhabit philosophies.

Tim Ferriss: I love that. What are you finding of the philosophy? What is the philosophy of the UAE or Dubai, recognizing that the cultures are very different, depending if they’re by the hills or the water or the desert, but how would you try to express that philosophy?

Derek Sivers: Easy, generosity. That’s the thing. When I said that Sheikh Zayed founded it, Bedouin culture underneath it and then say Emirati culture or Arabian Arab culture, generosity is by far the number one. If you read this book Arabian Sands by Thesiger, he has all these stories of when he’d be out in the desert, on the camels with his little crew of six guys and they only have this much food left, nothing, and their tummies are grumbling and they’re starving โ€” it’s funny that I just said tummies. That was cute.

Tim Ferriss: I noted that for myself. “When’s my bedtime story, Dad?”

Derek Sivers: And also, my little rats here, I love kissing their little tummies. Anyway, but then if somebody would approach them like, “Oh, hello my friend.” Whatever. He said, “As soon as somebody approaches, that’s it. We’re not going to eat today.” Because this is the way you give whatever you’ve got. So anybody, a stranger approaches, you say, “Hello, friend, come sit with us here.” “No, have some soup. Don’t worry. We’re not hungry. We’ve eaten enough. This is for you now. Come sit with us.” When I went to Dubai that first time, somebody I had met once from Riyadh, Saudi Arabia, we met briefly in Oxford, he was the only person I knew that lived in the region, so I emailed him saying, “Hey, man, I’m going to Dubai for my first time. Are you going to be around?” And he said, “My friend,” he said, “Cancel your hotel reservation.” He said, “You’re going to stay at my home in the Burj Khalifa, the tallest building in the world. I have an apartment in the Burj Khalifa. Stay at my home. You’re my guest.”

I said, “Wow, that would be great.” I said, “It’ll be so good to see you again.” And he said, “No, no, I won’t be there.” He said, “I live in Riyadh, but my uncle will get you from the airport and just give you the keys. My home is your home. Stay as long as you want.” So I did. I stayed in the Burj Khalifa for a few days. This generosity runs so deep. It’s hospitality, it’s generosity, and you understand why that you’re in the harsh environment of the desert. Everybody’s living a harsh life. When you meet somebody that’s traveling and passing, it’s like, “Oh, come in. Come in. Here, have some โ€” don’t even need to tell us your name or who you are or your tribe or nothing, just come in, my guest, please have whatever you want my food. Take a bed. Stay as long as you want.”

And that’s so deep in the culture that, yes, I would like to inhabit that philosophy. Now that I’ve been on the receiving end of that hospitality, part of me wants to have a home near the Dubai airport and make that my main home base, and for whenever I’m not there and I’m traveling, to just open it up for any of my friends of the world, like, “You’re coming through? Please stay at my home.” I want to return that generosity.

Tim Ferriss: It’s going to be a six-by-eight-foot cube.

Derek Sivers: Touchรฉ. “Come, my home.”

Tim Ferriss: “Everything I have is yours.” “Wait, Derekโ€ฆ” 

Derek Sivers: “There’s nothing here.”

Tim Ferriss: Quick text, “Where’s the bathroom?” “Oh, no, there’s no bathroom.”

Derek Sivers: “Oh, no, my friend. Question whether you truly need it or not. You will find out.”

Tim Ferriss: “Let me know where you think the sink should be.”

Derek Sivers: I’ll be a bad Emirati. I’ll be fired.

Tim Ferriss: How is understanding that Dubai is an international city for a lot of different reasons. You could get by on English, almost certainly. How is your Arabic coming? Have you started tackling that?

Derek Sivers: I haven’t spent more time in Dubai yet. I’m planning on going back very soon and getting to know more people and spending more time there and considering it as a place I really might want to live. Because I’ve just noticed, throughout my life, I grew up in a suburb of Chicago. Then I moved to downtown Boston, then I moved to New York City in the middle of it, and it was like, “Oh, yes, this multiculturalism, this feels more representative of the real world to me.” Then when I went back to my hometown in Hinsdale, Illinois, it’s like, “Ugh, everybody’s white. This is weird.” I like places that are multicultural because it feels like I’m more in the real world.

I’ve also lived in London, I moved to Singapore, I lived in Singapore for years. I thought I had been in the most multicultural places in the world. No. I looked up statistically, New York, London, Singapore, they’re all about 30 to 35 percent foreign-born population. Dubai is 90 plus percent foreign-born population. Everybody is from everywhere. And so when I got there, it was anthropology jackpot. I was like, “This is amazing. Everybody’s from everywhere.” I could get into any taxi drive โ€” anybody, you can just ask anybody you see, “Where are you from?” And you’re going to get a different answer all the time. “I’m from Cameroon.” “What are you doing here?” “I love languages.” I said, “Okay, what does that mean?” He said, “Well, I love languages and I thought, where can I get paid to learn languages? I said, I’ll move to Dubai. I’ll drive a taxi and I can get paid to learn languages.” I said, “Did it work?” He said, “My friend, I can speak eight languages now. I’ve been here 18 months. I can converse with people in eight languages.”

Tim Ferriss: What?

Derek Sivers: He said, “Everybody that gets into my taxi, I just talk with people all day long.” He said, “I speak Urdu, Hindi, Arabic.” Or whatever. I think he grew up with French. He said, “I’m speaking to you in English.” He said, “I couldn’t speak English 18 months ago. Now look at me.” And he said, “I’m getting paid to learn languages.”

Tim Ferriss: That’s wild.

Derek Sivers: “This is amazing.” And I turned to somebody else, I’m like, “Where are you from?” She’s like, “I’m from Nairobi.” She had the most beautiful accent, and we got into a long conversation about Nairobi and I just thought, “This is what I want.” Just by being in Dubai, the whole world comes through there and you meet so many people from all over the place. I thought, “Oh, God, this is โ€” what a beautiful place.” Anyway. Sorry.

Tim Ferriss: Living in the cantina in Star Wars. That’s funny.

Derek Sivers: God, you said it first. That’s what I usually say. Dubai is the bar in Star Wars. It’s the cantina. Everybody comes from all over the world to this spot to do their shady dealings, but oh, my God, if you’re an amateur anthropologist like me, it’s Heaven.

Tim Ferriss: Well, I’m excited that you’re excited, man. It’s fun to see and I hope to break some bread in person in the not-too-distant future. What fun. Always fun to hang, man. Always great fun.

Tim Ferriss: Is there anything that you would like to say? Anything you’d like to point people to, mention? Anything at all before we โ€” 

Derek Sivers: Let’s bring out the little buddies again.

Tim Ferriss: โ€” hop off and land the plane?

Derek Sivers: These guys have been sleeping by my feet the whole time we’ve been talking.

Tim Ferriss: Adorable.

Derek Sivers: They are. They’re really good little pets. If you don’t wash your hands after you cook, then you just let them lick your fingers. Oh, he’s licking me right now. It’s really sweet the way they lick. They never, ever, ever bite. They’re very gentle.

Tim Ferriss: Unlike my hamsters I had when I was a kid, they were biters.

Derek Sivers: Yes, yes, same. I had gerbils. They were nasty. Anyway, I don’t know. Well, you know my usual call out. I really enjoy the people that I’ve met through your podcast, so hey, anybody listen to this all the way through, I’d truly enjoy my email inbox. I spend about 90 minutes a day just answering emails and I really like it, so send me an email, say hello, introduce yourself, especially if you’re a translator or if you live in Dubai or you found anything here fascinating.

Tim Ferriss: All right. Do you want them to do the detective work of finding the email address? Is that the hurdle?

Derek Sivers: Oh, sorry, go to my website. Just go to sive.rs. There’s a big “Contact Me Here” link. Easy detective work.

Tim Ferriss: Okay. Sive.rs

Derek Sivers: Yeah, my name.

Tim Ferriss: That’s a pretty low hurdle, so if they can’t clear that, then they have other problems. All right, man. Well, thanks for taking the time. As always, really appreciate it.

Derek Sivers: Sorry I missed you in England.

Tim Ferriss: Next time. Next time.

Derek Sivers: I guess we’ll have to talk about โ€” 

Tim Ferriss: We’ll both get our knees repaired and then we’ll meet up for another walk and talk.

Derek Sivers: I might ask you some tips on meniscus stuff, though.

Tim Ferriss: Oh, boy. Yeah, we’ll talk about the knee repair. For everybody listening, go to tim.blog/podcast. I’ll link to everything we talked about, all the books, City of Gold, China’s worldview, all these various things, the figures and places, musicians and so on. And until next week.

Derek Sivers: Oh, I should say that โ€” 

Tim Ferriss: Oh, yes.

Derek Sivers: Useful Not True is only through my website. Fuck Amazon, it’s not on Amazon. I put it on my website only. So don’t go to Amazon and look for it and email me and ask why it’s not there. It’s because I don’t like them. So go to Sivers.com. That’s where my books are.

Tim Ferriss: All right, go to sivers.com or sive.rs, those go to the same place and you can find all things about Derek. And until next time, be a bit kinder than is necessary, not just to others, but also to yourself. And thanks for tuning in.

Derek Sivers, Philosopher-Entrepreneur โ€” The Greatest Year of His Life (#777)

โ€œWhatever you feel yourself leaning away from, try leaning into. If you hate opera, then go learn more about opera. And if you hate sports, well, then go learn more about sports. Itโ€™s usually just learning about something gives you an appreciation for this thing that you used to just dismiss.โ€
โ€” Derek Sivers

Derek Sivers is an author of philosophy and entrepreneurship, known for his surprising, quotable insights and pithy, succinct writing style. Derekโ€™s books (How to Live, Hell Yeah or No, Your Music and People, Anything You Want) and newest projects are at his website: sive.rs. His new book is Useful Not True.

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Want to hear the last time Derek was on the show? Listen to our conversation here, in which we discuss the benefits of an unoptimized life, finding and asking mentors for help, the wisdom of quitting when youโ€™re ahead, how to teach an 11-year-old to act like a 16-year-old, the problem with moral relativism and other -isms, securing tech independence, and much more.

What was your favorite quote or lesson from this episode? Please let me know in the comments.

Continue reading “Derek Sivers, Philosopher-Entrepreneur โ€” The Greatest Year of His Life (#777)”

The Tim Ferriss Show Transcripts: Derren Brown โ€” A Master Mentalist on Magic, Mind Reading, Ambition, Stoicism, Religion, and More (#776)

Please enjoy this transcript of my interview with Derren Brown (@derrenbrown), a psychological illusionist who can predict, suggest, and even control human behavior. Starting his TV career with shows such as Mind Control and Trick or Treat for Channel 4 (the UKโ€™s equivalent of PBS), Derren has combined spectacular illusions with insights into how we see the world and those around us, or expect to see them. Rather than guard the mystery behind his illusions and manipulations, he lays bare his techniques and demonstrates how the human mind works.

A prolific creator and performer, Derren has appeared in blockbuster stage and television shows alike, including the sold-out Broadway run of his one-man show Secret, his Olivier Award-winning tour of Svengali, and his Netflix specials The Push, Miracle, and the harrowing Sacrifice, in which he tries to manipulate an ordinary person into taking a bullet for a stranger.

Derren is the author of multiple books, including Happy: Why More or Less Everything Is Absolutely Fine and A Book of Secrets: Finding Comfort in a Complex World. Derrenโ€™s new tour, Only Human, materializes on stages across the UK beginning April of 2025.

Transcripts may contain a few typos. With many episodes lasting 2+ hours, it can be difficult to catch minor errors. Enjoy!

Listen to the episode on Apple PodcastsSpotifyOvercastPodcast AddictPocket CastsCastboxYouTube MusicAmazon MusicAudible, or on your favorite podcast platform. Watch the interview on YouTube here.

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DUE TO SOME HEADACHES IN THE PAST, PLEASE NOTE LEGAL CONDITIONS:

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Tim Ferriss: I’m looking at your website right now, Derrenbrown.co.uk, for people who would like to check it out, and I’m just going to mention two quotes, which are in the โ€œNow streaming on Netflixโ€ section here. And the first is under Sacrifice, and the quote is, “Sacrifice is an utterly bizarre, ethically questionable, totally gripping must-see.” That’s from Paste. And then under The Push, the quote is, “The most nightmarish and provocative piece of pop culture in TV history.” And that’s from the New Zealand Herald. Could you please explain, just in brief, these two specials and the premise of each?

Derren Brown: I started off doing sort of mind reading TV shows back in 2000, and then as, I guess I kind of in the world of being a magician mind reader sort of mentalist, and then over the years as I grew up, I guess, and wanted to do something I found more interesting with it, the shows became largely about people being put unwittingly through these kind of social experiments and slightly Truman Show kind of way, generally to come to a better place in themselves, or generally that was a good reason for them. And you do kind of have license in a way that you couldn’t in a clinical setting to say things that are quite sort of dark.

So in the two you mentioned, so Sacrifice was the last one I did, and the idea was to see whether a guy who was very anti-immigration and a big Trump supporter at the time that was all sort of kicking off, and probably to a lot of people’s ears had kind of fairly racist views, whether he could be brought to a point where he would lay down his life for an illegal, undocumented Mexican immigrant. So the whole show, and this is kind of a format that I’ve used in different ways, is about layering in โ€” sometimes they don’t know, they’re part of a TV show at all. He thought he was part of a documentary. He thought we’d implanted a microchip in the back of his neck and were following โ€” I’ve thought about this for a long time, and we were following his progress with that.

It was actually, that microchip thing was a big placebo and it was a way of getting a sort of, not a hypnotic response from him, but a kind of allowing suggestion to work well with him and getting him to the point where I could layer in these triggers and then set them off at a moment that we staged using lots of actors that you didn’t realize were actors, whereby he would be given this sort of moral choice. And would he do it, would he lay down his life?

Tim Ferriss: Lay down his life, meaning?

Derren Brown: Jump in front of a gun, yeah, take a bullet, take a bullet. And so, that’s Sacrifice. And then The Push, that was another kind of life and death thing. It was to see whether, could you make โ€” I say these out loud and realize how ludicrous they are. Could you have somebody, could you make somebody push someone off a building and kill them purely through social compliance? So it was a show about compliance.

So again, you’ve got someone going through it that doesn’t realize they’re part of a TV show at all. This is completely hidden in terms of the filming, and a whole load of actors, and this really anxiety-ridden, hilarious kind of evening that they go through when they’re a guest at what they think is a big, high-stakes auction party. And one of the guests โ€” I won’t spoil the story in case anybody sees it, but โ€” 

Tim Ferriss: I recommend people watch it. I’ve seen it.

Derren Brown: Thank you. Thank you. Yeah, these things have always interested me, and generally it’s been about, as I said, kind of taking someone that, by all reports, needs to kind of step it up a little bit somewhere in their life and getting them to that point. The biggest one I did was called Apocalypse and it involved ending the world.

A lot of these ideas come from frustrated writing sessions, and we’re going around in circles and then one of us goes, “Oh, can’t we just…” And Apocalypse is, “Can’t we just end the world, and then somebody wakes up and it’s all zombies and they’ve got to find their way home?” So we did that, and part of the process of making the show is trying to stick to these original ideas and stick to the scale. So we had a meteor strike, we had to convince this guy that a meteor was going to land. And so we hacked into his news feeds, his television, his family was in on it, his house is full of hidden cameras, doesn’t know we’re filming in his house for months.

Tim Ferriss: It’s like The Game with Michael Douglas.

Derren Brown: Exactly, exactly. No, that’s a big reference point for us. Yeah, it’s exactly that. So yeah, that’s been fun. It’s been a few years since I’ve done TV, because I was out. I do stage shows as well every year, and I was out doing a shot on Broadway, and then there was COVID, and then I had a lot of theater projects going on, so I’ve taken a bit of a rest. So if I come back it’ll be something different, I think. But yeah, those, that’s the general picture.

Tim Ferriss: You’re good at different. And just to add a little bit of additional connective tissue for The Push, and now, I have not seen The Push in a long time, but am I right that you make reference to, and I’m probably getting the pronunciation wrong here, but Sirhan Sirhan at the beginning of that? Am I inventing that or is that a proper memory?

Derren Brown: No, that’s a different show. That’s a different show which was, another was Assassinations, to whether you could take โ€” so, Sirhan Sirhan, who shot Bobby Kennedy, it was to see whether his claim, how he was set up by the CIA, could actually work, whether you could do those things and set up those triggers. So we just followed basically his story and did it with somebody. We had them assassinated. It was Stephen Fry again who was in on it.

Tim Ferriss: Stephen Fry, just for those, we won’t get into his bio, but The Hitchhiker’s Guide to the Galaxy audiobook, if you want to get a real taste of the brilliance of Stephen Fry, at least as a voice actor. Highly, highly recommended.

Derren Brown: He’s a great man.

Tim Ferriss: Amazing. We’ll come back to some of the ethical questions around these social experiments.

Derren Brown: There are none, there are no ethical questions.

Tim Ferriss: There are none. Well, we will come back to that, but I wanted to rewind. So you mentioned, I guess around 2000 or so, if I’m getting the chronology right, and I believe this is referring to Mind Control, is that the right peg? How did that happen? And is it fair to say that that was the first kind of catalyzing event that set the stage for a lot of what came later? I’m wondering what ingredients went into that happening, whether serendipitous, engineered, or otherwise?

Derren Brown: I studied law and German in Bristol in England, and I lived there for many years afterwards, and I had seen a hypnotist in my first year at university and just was so besotted with it.

So I learned how to do that, and by the time I graduated I was the hypnotist guy at university, and I also started doing close up magic as well. And then I kind of made a living doing those things, and after sort of mid-’90s, I wrote a book for magicians and then that got me, which is kind of, there’s a whole niche world of publishing there. And then, so I got known to that community.

So when a TV company here, who I guess we’re looking for a British answer to Blaine, David Blaine, whose sort of shows were particularly hot and new at the time, they spent a couple of years looking for somebody that could do mind reading, because there really wasn’t very much of it around. And that had become my thing. So I got a phone call and I went to London and met the two guys that ran the production company, one of whom has since become my manager, and the other one is now my โ€” well, we’re all co-producers in our own company, and I showed them a few things and they really liked it, and we put together this first show.

It was a one-hour special in 2000, and I think it was, the repeat of the show actually did well, so Channel Four in the UK commissioned another one, and then it just sort of built from there. And then there’s been a couple of things I did. Three years into it, I did this Russian roulette on TV, like a live thing, and that got a lot of publicity. So it just kind of kept going.

And then along the way, as I’ve sort of grown up, I’ve tried to take it in new directions, but essentially it was a mixture of a lot of background work. I was just doing it a lot. I just loved it. I just loved spending my days dreaming up tricks and going out and performing in the evening. And, as I said, writing the book and just getting known to that world, and then being offered the show.

Tim Ferriss: What was it that grabbed you in the beginning? I don’t know if it was Martin Taylor originally or someone else. But number one, why did you even see hypnotism on campus or while you’re at university? And then secondly, what about it attracted your attention enough? You’re a smart guy, you could do a lot of things. You already do a lot of things. What was it that pulled you in after or during that performance?

Derren Brown: Yeah, so Martin Taylor was the hypnotist that I saw, and I think it’s probably, I don’t know what it’s like in the States, but it’s a fairly popular student staple in terms of entertainment. And it was a really good show. I think sometimes they can be spoiled by people being made to look like idiots, and this wasn’t like that. It was really fascinating. And it was in my first week.

And I was a great kind of attention seeker and just quite insecure, and I didn’t realize it consciously, but I think the idea of hypnotizing people particularly โ€” I mean, often the sort of people that respond to hypnosis as well are the kind of very extrovert kind of jock types, and suddenly you’ve kind of got control over that, which is exactly the people that would have intimidated me so much, and had done through school. And I think something in that just made it so appealing.

And I walked back, I was walking back with a friend of mine from that show and I said, “I’m going to learn. This is what I’m going to do, and I’m going to learn how to do this and do it.” And I remember he said, “Oh, yeah, me too.” And I knew that he didn’t mean it in the same way I did. And it was a real thing, just โ€” 

Tim Ferriss: You mean he was going to be more of a tourist and you were like, “No, no, no, I’m going to medical school for hypnotism.”

Derren Brown: Yeah, exactly. It was real, it really clicked into place. And of course that was, there were no YouTube videos or anything, so I bought and stole books and anything I could find, and I kind of learned it the long way ’round. I think there are probably shortcuts for learning hypnosis, but it helps you to learn it the long way ’round, because you’re going to run into strange situations with this sometimes, which happens, and still does.

Tim Ferriss: What do you mean by strange situations, or run into strange situations?

Derren Brown: Well, actually, the stage shows that I do, don’t really have much overt hypnosis, and I’m using suggestions and subtle stuff with the audience all the time. So I’ve taught every year for 20 years or so, apart from COVID, and it’s a strange feature, I think, of the last show I did, Showman, which will be on Channel Four. So this is post-COVID, and maybe it’s also the first show that the kind of younger, or that kind of Gen Z world was sort of โ€” there’s sort of an age limit, a bottom age limit on the shows. So it was the first time it really started to be populated, maybe as well, by that sort of generation. I don’t know. But there was a little bit of hypnosis in the show, and it was serving, I don’t really do hypnosis overtly, but it was to serve a bigger end.

And yeah, for the first time, I’ve had these really odd reactions, much, much stronger than before. I’m used to sometimes having to go out and speak to someone in the interval or after the show. There was a woman who, I got a message in the interval that there was a woman with her head stuck to the table in the bar, in the theater, which sounded odd, because it’s not like, nothing that I’d said or done to the audience I could think would have made that happen, but nonetheless, people โ€” sometimes you get highly suggestible people, maybe. Maybe she’d pick something up.

Anyway, so I went out and spoke to her, because she looked drunk. She’d sort of largely been ignored, and the rest of the audience had found their way back into the theater by this point, so I could go up and talk to her on her own. And she was sort of furious and angry and โ€” 

Tim Ferriss: And her head’s stuck to the table.

Derren Brown: With her head stuck to the table. And it was a very odd situation, which has ever happened in 20 years. There were lots of sort of things arose like this, where I’m trying to โ€” because your natural instinct is to then, kind of like you, you find rapport with the person and you bring them to where you want them to be. It’s kind of straightforward stuff.

But she was absolutely not having any of it, didn’t want me to help her, was angry, and in the end I had to say, because it was time to carry on with the show. Like, “Look, I’ve got to go carry on with the show.” And she’s like, “Yeah, yeah, you do that.” I’m like, “Great, well, I’ll see you afterwards.” “Yeah, yeah.” And it got slightly argumentative, and then I went back to do the rest of the half of the show, doing this show knowing there’s a woman with her head stuck to the table upstairs, thinking, why did I get slightly chippy with her?

And she was fine at the end, but it was an odd thing in the air that โ€” and I think a lot of the strange reactions that, and certainly it’s taken me 20 years to learn this, that when people do act oddly or seem to get, in quotes, “caught,” stuck in hypnosis, or it’s generally people having panic attacks, that they’ve sort of, hypnotist has said, “Okay, open your eyes,” to a big audience of people and you haven’t been able to open your eyes in the moment, and then you get into a recurring โ€” 

Tim Ferriss: Spiral.

Derren Brown: Yeah, exactly. And once I started saying, “Don’t do this if you are prone to panic attacks, just sit this bit out, or go outside of the theater, go outside of the auditorium for a bit,” it stopped. But yeah, it’s really interesting. Have you had much to do with it? You must have skirted around it, even if you haven’t done it.

Tim Ferriss: I have. Yeah, I have. I’ve had at least one or two people on the show who have practiced hypnosis. I had a clinical hypnotist from Stanford on the show as well, and have a deep interest but very little personal experience.

Would you mind defining mentalism, cold reading, and then describing how you made the hop, if it is a hop, from hypnosis to those things, or how you incorporated them? But what are they?

Derren Brown: Hypnosis, I think, is very difficult to define. There are definitions of it of course, but in terms of what’s actually happening and what’s going on has always been, because there are some people that have always said it’s a special state, and there are others that say no, it’s really just sort of behavior being motivated in a particular way.

So for example, you see somebody on stage being given an onion to eat, and they’re told it’s a delicious apple, and you see them eating an onion and it seems like, well, they must be in some special state to be able to comfortably eat an onion and not find it disgusting. And I was talking about this with my co-creator one year, we were talking about doing these sorts of things as part of the show and he said, “I bet you can just eat an onion anyway.” And he went to my fridge, took out an onion, took out a big bite of it, and he said, “Yeah, look, that’s fine. I can eat the onion. It’s fine.” Because his motivation was such that he was wanting to prove a point. And then lo and behold, it’s actually all right if you’re motivated in the right way. Whereas if you’re eating an onion going, “Oh, this is disgusting,” then it’s going to be very different.

So I veer more towards that sort of, it’s just something in motivation and behavior, rather than a special state. But there are things that we’ve done, like putting people in an ice bath under hypnosis, having them not feel the pain, that you’d find, where they’re not just faking it, because you couldn’t just fake that. It’s not the same as that. There’s something else, some sort of some middle ground going on. So yeah, that’s a tricky one, but also a great source of fascination for me.

Mentalism is, well, it’s a sort of type of performance that, it always has been a little niche, and I suppose you could think of a lot of โ€” a magician that is obviously a magician doing a trick with a sort of mind-reading theme, that’s kind of mentalism. If somebody makes that their living, then they’re a mentalist. But also, you could probably think of a stage medium or a psychic as also being a sort of mentalist. So it kind of covers the performing world of psychological or supernatural-y, just that world, as opposed to the more obvious fodder of conjuring, card tricks and sawing people in half and so on.

And it sort of had its heyday, I think, back in, really, the turn of the 20th century, and a lot of the things I’ve drawn on and really have come from that. It’s more popular nowadays, and the same way that when Blaine was very popular, a lot of magicians โ€” well, Copperfield, David Copperfield, brought in a wave of magicians doing that style of magic. And Blaine did a similar thing with that style of magic. I think I’m probably responsible for the wave of mentalism. There’s more of that around now than there was before.

And it’s sort of going to be defined by whatever people choose to do that, I guess, that call themselves mentalists. Because I started in hypnosis, my skill base is a mix of, sometimes it’s real stuff that looks like tricks, and sometimes it’s tricks that looks like real stuff, and it’s suggestion, and it’s magicians’ techniques as well. So it’s kind of a mix of all of those things.

And then cold reading, which is the other one you mentioned, is โ€” well, distinguished from hot reading, it’s the techniques used by generally fake psychics, but also the sort of thing you’d read in astrology columns in magazines and so on, where you make it sound like you have some clever insight into somebody, and you’re saying things that sound very specific to that person, but actually are things you’re just throwing out, and you know that the person will pick up on the stuff that hits and matches their experience, or sort of ignore all the other stuff that doesn’t. And there are any number of clever ways that people in that world use to make it seem like it really sounds like they’ve said something more specific than they have.

So if you go and see a medium on stage, classically, they’ll say, “I’m getting a name. Jean.” And then you’ve got hands will go up. Now, that, it could be that somebody in the audience is called Jean. It could be, “Well, my sister died and she was called Jean,” or it could be, “I know a Jean.” So that could be anything. But as soon as someone says, “Oh, I know a Jean,” oh, well this is for them. “Wow, how did he know I had a friend called Jean?” Well, he didn’t. You provided that information. And so on. So you are generally saying stuff when it’s a conversation like that, and people provide you some little thing back, which you then take credit for, and this sort of conversation winds its way along. And if you’re not skeptical, it can seem convincing on a good day.

Hot reading is when you’re using information that you’ve gleaned from a person. So very specific information that you’re just feeding, you’re feeding straight back.

A friend of mine was at a recording of a very famous TV medium in the States, a good few years back, and it was when this sort of thing was starting to become popular. He was, I think, probably the first big name doing that sort of thing. And he had a studio audience set up, and this friend of mine was sat in the audience, skeptical like I would be, but just there out of curiosity.

So the guy comes out before they start filming, and he says โ€” 

Tim Ferriss: This is the TV personality, who’s the medium?

Derren Brown: This is the medium. This is the, yeah, the medium comes out to talk to the audience before they start filming and says โ€” and obviously, the audience is full of believers, apart from people like my friend. And says, “Is there anybody here hoping that someone’s going to come through for them?” So lots of hands go up and he just goes around and talks to people and says, “Who have you lost?” “Oh, I’ve lost, I lost a son.” “Okay, and what happened?” “Well, this happened. He drowned.” And, “Okay, can you tell me his name? Do you remember what he was wearing on the day? Just so that if he comes through, I’ll know that it’s him.”

So he gets all this information and then the cameras start rolling, and he just goes out and feeds that straight back to the people. “I’m getting a, this is a guy, and this is a young boy, he was seven, he drowned, he’s wearing a red sweater. Does anybody take this?” And of course the woman in the audience is in tears, because she โ€” so often with this thing, the reason why people don’t want to believe it’s fake is that the lie is so ugly, that anybody would actually do that just to make themselves look good, that it’s easier to believe it must be real. Or at least maybe they believe it themselves, or they’re trying to do good, or that actually it’s just so often just kind of ugly.

So that’s hot reading, whereas cold reading is you have no information, but you’re good at making it sound like you do. Those are my definitions.

Tim Ferriss: If you were to do an online course training people to be more skeptical โ€“

Derren Brown: Yeah โ€“

Tim Ferriss: How might you think about that? Would you have assigned reading of any type? Would you have them watch certain things? I’ve seen more and more, I think in a foreboding burgeoning nihilism with a lot of worries around climate change and so on, people want something to grab onto. The Judeo-Christian religions in many places have faded away, no longer have the hold that they did, therefore not offering the guidance they once perhaps did. At least in Austin, my pet theory is that people are looking for some sense of wonder at work and possibility, and then they start grasping onto QAnon. They start grasping onto whatever the latest and greatest kind of magical thinking might be. How might you train someone in the opposite direction?

Derren Brown: Well, first of all, that’s a very noble human urge. We all want to find meaning in our lives, and so much of happiness and good stuff comes as a byproduct from that. You find meaning in your life by finding something bigger than you and then throwing yourself into that thing. It’s not โ€” that’s okay. The human urge to transcend is important and worth honoring. But yes, of course it can misfire, but also misfires when we attribute it to money and success and fame, if we think those things are going to make our lives transcendent or us happier, and again, they don’t. There’s lots of ways in which it misfires. But yet, we can also attach it to these sorts of structures provided by conspiracy theories and so on.

I have over my years read through quite a lot of books on skepticism, So perhaps I’ve just developed a way of thinking. But to me, the things that have landed and stayed with me, at first, that humane idea of strong claims demand strong evidence. So if somebody is making a positive claim about something that is unusual, that this thing exists, whether it’s something supernatural, but they’re saying โ€” it’s up to them to come up with evidence for it’s, it’s not up to you to try and disprove it because that’s always going to be a losing battle. When people say, “Oh, this is true is what I believe,” and you can’t disbelieve it, well no, you can’t and that’s fine. You don’t have to rise to it. I think a lot of the problem is, once you start rising to it and it gets into a sort of heated thing, you’re arguing about stuff you don’t need to be arguing about.

I’ve had a million people over the years say to me, as someone that’s often doing stuff that appears psychic and saying, “Look, this isn’t psychic,” say, “Well, how’d you explain this? This psychic said this thing to me.” Or a ghost that they saw or these experiences that people have, and particularly when it’s ghosts of loved ones and so on, or these experiences, they’re really meaningful to people. I think there’s probably all sorts of other things going on. I lived in a house for a few years that was damp. And damp’s a funny thing, it creates a real feeling of โ€” when it’s just not quite enough that you can identify it as damp, but it’s enough that it just does something in the air. It took a long time for us to work out it was damp, but it felt just like death. There was just something wrong, that feeling of a room being wrong.

There was vents that air would come in and the dogs would do that thing of barking at nothing, barking midair, turned out it was smells coming up through vents. A friend of mine who works a lot in the parapsychology world, Richard Wiseman, I don’t know if you’ve come across him, but he โ€” 

Tim Ferriss: He’s been on the podcast.

Derren Brown: I’m sure. Yeah, he is a brilliant, hilarious man. But he was talking about that windows open at just the right amount or extractor fans and things. You’ll have air passing into a room at a particular frequency where โ€” and we all know about brown noise and white noise and things that can make parts of us vibrate and it makes us feel a bit sick, or there’s a particular frequency that will just make our eyeballs vibrate a bit. What that means is, we’ll see shapes and we’ll see dark patches in the periphery of our vision. Now you never know that, that’s not somebody being stupid or gullible if they’re seeing things like that. There’s all sorts of stuff that goes on.

But ultimately, for whatever is causing these things, these are powerful experiences for people. I don’t think it’s โ€” there’s something wrong with leaping on them and saying, “That’s wrong, that’s stupid.” Because they really can mean a lot to people, particularly sad if you’ve lost somebody and then feel that you’re having some connection with them afterwards. I think not rising to it and understanding these things as stories and experiences and what meaning that can have for a person. I guess I’m talking more about the supernatural side of things rather than conspiracies as such.

But even I suppose with conspiracy theories, these are things that mean โ€” they’re giving this person something. I think there’s a bit of space around that that could be sat with rather than immediately leaping on them. Otherwise, it’s about the obvious things, check your sources. Is this government that on the one hand you’re saying is totally ineffectual, are they all so clever enough to have created this enormously elaborate thing that you’re saying that they’ve done? It’s always going to be with us. It points to that feeling of wonder and storytelling and how we latch onto a nice, neat story of cause and effect. That’s exactly what I do for a living, I see value in all that stuff, but yeah, it can misfire.

Tim Ferriss: It’s something I think about a lot. I fund a lot of early stage science, and I’ll just give people a couple of recommendations. Actually, this is, I’m pretty sure it’s a fellow Brit, Ben Goldacre wrote a book called Bad Science, which I think is worth โ€” should be required reading for every school child on some level, at least parts of it. 

Derren Brown: Michael Shermer’s written a lot in the area.

Tim Ferriss: All right. I’ll check him out.

Derren Brown: There’s also, the best book I’ve seen on cold reading, and it might be very hard to get now, it’s a book written for magicians. I have a load of old pamphlets and strange old books on these things, but there’s one relatively modern, for me at least, written in the last 20 years, called The Full Facts Book of Cold Reading.

Tim Ferriss: That’s a great title.

Derren Brown: He may have written other books with The Full Facts Book ofโ€ฆ but this is The Full Facts Book of Cold Reading by Ian Rowland, R-O-W-L-A-N-D. I remember when I was learning all this stuff, that was definitely a kind of โ€” that was a really useful up to date โ€” it was certainly up-to-date at the time compared to the very strange old antique things. Because such an old profession, it’s probably the second-oldest profession around. It goes right back to the Oracle of Delphi, giving people information that you seemingly couldn’t know. It’s a very old literature too.

Tim Ferriss: I’m enjoying this conversation on a few levels, including a meta level, which is this conversation is going to be published directly before or directly after a musician who is devoutly religious, so we’re going to have a contrast of styles as it were. Is it true that you were Christian until reading The God Delusion? Is that an accurate statement?

Derren Brown: Not quite, no. I was very much a Christian when I grew up, didn’t really have any Christian friends apart from one or two, but I didn’t have a Christian family or a Christian group, so it was relatively easy to sort of grow out of it really as I got to โ€” 

Tim Ferriss: How did you end up an island of Christianity in the beginning? Meaning you didn’t have Christian friends, you didn’t grow up in a Christian Family โ€” 

Derren Brown: Oh, I see.

Tim Ferriss: โ€” but you yourself were Christian. How did that happen?

Derren Brown: There was a teacher at my primary school, elementary school, who invited me to join her Bible class when I was five. 

I just didn’t know any different, so I was inculcated quite young. By the time I realized, “Oh, it’s not everybody that believes this,” it was too late. Then I came out of it partly because I was doing magic and hypnosis and stuff at university and getting such a strong, angry reaction from fellow Christians that I started to say, “Oh, okay, that’s just sort of fear of something that’s misunderstood.” I had them literally exorcising demons from me during the show at the back of the room, it was extraordinary and it kind of โ€” 

Tim Ferriss: Added a little bit of extra flourish to the show.

Derren Brown: It added to the drama. Then soon after that I had a good friend who was a psychic healer and did tarot readings and so on. I was just looking at her, what to me struck me as a pretty circular belief system around it and thinking, “I’m sure I’m doing the same.” I must be just doing the same with Christianity, but it’s just a bit more โ€” well, it’s less of a fringe thing, so it’s a little harder just to laugh at. I’ve tried to find some sort of intellectual, well, just some base for it other than just what could just be a circular belief system, and never did. Magic gives you a very โ€” it really drives a wedge into that thing of belief and skepticism. Always has been, it’s always been the magicians that are exposing the psychics and the frauds and the strange persons โ€” 

Tim Ferriss: Well, it gives you sort of the implicit, “How could you explain this otherwise?” frame, I would have to imagine. Very similar to good scientists in the sense that you’re as a magician deconstructing phenomena to ask “How did they do it? How could they do it? How might they have done it? How might you explain this?” Which I imagine lay people just don’t do as often, but you’re getting a lot of repetitions.

Derren Brown: There’s a terrific magician with a great name of Tommy Wonder, I don’t think it’s his real name, no longer with us. But he had this nice idea that the story of your trick gives you the highlights of the trick. In between the highlights there will be the shadows, and the shadows is where you put your method. What that means is that, what you learn as a magician, and it’s a very hard thing to decode this if you’re not another magician, is you’re not hiding your methods in secret moves and so on. A lot of what you’re doing, you’re doing very openly in plain sight, but you’re doing it in those little moments of relaxation that are out of the story that people are going to follow later.

It’s a very hard thing, because that’s such a human thing to sort of follow those cues. That doesn’t matter if you’re a scientist or what you are, you’re still going to do that. You need the kind of familiarity with that, you need to instinctively watch and have the kind of emotional distance that allows you not to fall for the same rhythm. It took me a long time to realize this. We were doing a show on Broadway, I think, and it was the first show I’d done that was a compilation of the best bits from previous shows. It meant that when we wrote it, it didn’t have the same heart and through line as the other shows had, because they were always written with that first.

Tim Ferriss: Didn’t have an arc in the same way.

Derren Brown: Yeah, exactly. But it needed one. I was sort of trying to work out what that was in real time doing the show. It struck me, especially because magic is such a childish thing really. It’s the quickest, most fraudulent route to impressing people, isn’t it? It struck me that โ€”

Tim Ferriss: There are a lot of those.

Derren Brown: What happens with a magic trick is that you are seeing something happen that is showing you that your understanding of reality isn’t right, that there’s something you’ve missed. That your story, as you’ve put those highlighted moments together and formed a narrative of what’s happened, cannot be the full picture. Something else has gone on.

It really stayed with me because, in amongst that childish sort of really quite infantile world of magic, there was this thing that’s like, “Well, that’s a really useful thing in life. That’s the nature of storytelling.” We sit around these โ€” when you tell a story, it’s like the image of sitting over a campfire, not over a campfire, it’d be uncomfortable, but across from a campfire from somebody. You’re in a forest and it’s dark and you are lit by this little fire and you’re telling a cozy story. That’s what stories are, they are cozy. Then outside of that is the darkness and the forest, and that’s where all the monsters are and all the things that are being excluded, and this is what Jung would call the shadow.

It’s all the stuff you’re not including in your narrative. All the stuff you push out of your personality, they’re talking about coming out late, the stuff you want to bury or that you might โ€” it works at a societal level as well, the parts of society you don’t want to include in the narrative of who you are. These things will always come back and bite you because they gain a certain power in the shadows. The old fairy tale idea of the godmother, the evil godmother banished from the christening who turns up, she gate crashes the christening and lays a curse on the infant. These ideas resonate because they mean something to us psychologically, the things we banish, or it’ll be the hero that’s banished from the city and comes back at the end of the story with an army and defeats the bad king, these things will come back.

The point being that in amongst all of its nonsense, there was something about magic that does show us that the stories we’re telling we’re not including things that are important and gain a certain power if we don’t include them. It’s meant that over the years, particularly with my, well first of all the TV, but also with the stage shows, I think now in particular as I do more those, that I like to make it about that or something. I like that that’s something that’s important, because how you do tricks isn’t important particularly, and it’s entertaining and it’s a lovely vehicle, but there’s just something in it that I think tickles at a deeper experience.

Tim Ferriss: Let’s talk about, not necessarily a shadow, but something you seemingly pushed away or excised for โ€” compartmentalized, at least for a period of time, you already mentioned it twice, coming out in your 30s. Could you describe if there was, the moment, the conversation, the day, the realization that led you to then come out? Because there was not coming out, not coming out, then you came out, but presumably there was some type of catalyst for that. What happened?

Derren Brown: Well, I think the lingering Christian thing didn’t help. The one Christian friend that I had, had got involved with that sort of gay conversion thing, which doesn’t work terribly well. Although I didn’t get very involved in that, it was in the air because he was experiencing it. I think it just kind of lingered. Although I wasn’t a believer anymore, it just โ€” I don’t know what it’s like now for people, I’m sure it’s very different, but you can sort of think it’s going to pass. There’s a lot of that or you don’t really own it. It just got to the point I thought, “This is just silly,” and I just got into a relationship. I was known in the UK and I thought, “I don’t want this to feel like it’s some secretive thing unnecessarily.” So I just sort of did.

Of course what you realize, whatever you come out about, whatever your thing is, that how little people care. I expected the final scene of Dead Poets Society. I thought that โ€” I walked out of my building the next day thinking I was going to get a round of applause from people on the street, and of course, no one cares, no interest to anybody. I think the reason why it could be so liberating is not because you get to swing around with shopping bags in the street and live this flamboyant life, I think you just realize that these things aren’t important. If that isn’t important, if the big thing you’ve carried around for so long that felt so much shame about isn’t important, then all the other stuff certainly isn’t. I think that’s why it’s always good, when the time is right, to do those things. I told my mum, actually, I came out to my mum and I think the next day she had a stalker of mine, a woman turn up on her doorstep saying that I was her abusive husband, so it was a very confusing week for my mum. It was a lot.

Tim Ferriss: It was a rough week for mom. You mentioned quite a while back finding something bigger than yourself, and there’s a Guardian piece I read, this is just before you turned 50, that, “In the second half of life it’s important to find things that are bigger than yourself,” and finding meaning through losing yourself in those things. I’d like to ask about this because I know a number of, I won’t mention them by name, some would be recognizable, but let’s just call them sort of ultra skeptics. It’s hard to say this is causal, but they aren’t necessarily the happiest people who seem to be the most fulfilled. There are exceptions of course. Now you might say that came first and then they found the skepticism. Who knows? So I’m not saying one causes the other. In any case, without religion, without that type of mooring, not saying it’s necessary, but how have you found meaning? How have you found things bigger than yourself? What does that journey look like for you?

Derren Brown: What a good question. Well, I think I’ve done the thing of looking for other structures. I kind of drifted out of Christianity around university time. I was doing magic and hypnosis, but not really. I didn’t feel very full time. I was kind of a little bit drifting, but I was earning enough to just sort of tick by. I remember thinking, “I don’t have any ambition here. I’m just enjoying this rhythm of life.” I remember quite consciously thinking, “I want to be able to take a cross section of my life at any point and is everything, in this moment, roughly in the right place? Am I doing the things? Am I getting up when I want to and not having to do things I don’t want to?” And the things that felt important to me at 21. And if they’re not, that’d be kind of easy to change.

That became a bit of a guiding principle. I’ve genuinely never had any ambition, didn’t try and get a TV show or anything like that. I’ve always just had that feeling of how are things feeling now. This is long before talk of mindfulness or anything like that. That’s been sort of a guiding principle. Years later though, I wrote this book Happy, which was largely about Stoicism. I realized as I was reading the Stoics, that they were giving language to โ€” or Seneca, I suppose I was reading first. It was giving language to a big part of that experience. Although Stoicism, as you know, it’s not really just about that, but that feeling that I had really resonated. In the way we often find things inspiring because articulating something clearly that we half feel but haven’t really found language for, so I kind of found myself latching onto that.

I wrote Happy. I wrote Happy over three years because I was touring and I like to write while I’m touring, so it split up over three years. Of course it meant at the end of the three years I had a different take on it and then my feelings about Stoicism have changed over the years. But I think often, we look for another structure, don’t we? So I’d left behind the Christian world as a structure and I think it was appealing in the hypnosis, NLP, all of those things, they give a certain kind of structure to experience as well. I think that’s probably a part of it.

As I’ve grown up and got older, I think what I was trying to articulate there was that the first half of life is very much about having this sort of dialogue with the world in terms of, the world is telling you what you need in order to move forward or have a reputation or be liked or whatever. This axis of dialogue is very much with the world. I think there’s a natural shift in the second half that actually is about having that dialogue more internally. I’m 53 now and I think I’m sort of aware of that happening and my feelings of Stoicism have shifted along with that too. But yes, I suppose that’s it. Like we all do, we find a thing because the experience of something bigger than yourself is how we find meaning.

Tim Ferriss: What have you historically struggled with? Is there any particular โ€” anything that pops to mind?

Derren Brown: My mind immediately goes to the horror of dinner parties and high status people. Which of course I come across a lot because I’m known a bit here and sometimes I get invited to things. I’m not very good at that, I guess I’m quite introverted. So unless somebody is really warm, I very quickly get into a thing of really not knowing what to say. I found myself at the Clintons for Thanksgiving one year.

Tim Ferriss: As one does.

Derren Brown: It was incredibly high status. They were wonderful and everything, but that sort of thing I find very difficult. I generally don’t hang around other famous people here. I like the experience of people sometimes being on a bit of a pedestal. It’s different if you then meet them and they’re not, perhaps they’re a bit disappointing. It’s hard to go back to their work and appreciate it in the same way.

Tim Ferriss: A hero with clay feet situation.

Derren Brown: Yeah, totally. I think that when you say where do I struggle, I think that’s what immediately comes to mind is sort of awkward, difficult things with people of high status.

Tim Ferriss: Maybe this is a dead end, but I’ll probe a little bit more. I’m curious also psychologically for yourself, when you are by yourself, does anything come to mind? Maybe this is me misreading, and if so, I’d love to know the origin. That’s one piece, for yourself psychologically, is there anything that you struggle with or have struggled with? Then the follow-up to that would be, why write these books? Happy: Why More or Less Everything is Absolutely Fine, A Book of Secrets: Finding Comfort in a Complex World, or doing the Audible original Boot Camp for Emotion, these types of things. Are those reflective of things that you have found challenging in the past, or is that not the case?

Derren Brown: I think since writing Happy, that book, I have found the world of what it is to flourish really interesting. But I’ve never felt it in the way, in that very, forgive me, with that American optimistic goal setting mode at all. I’m very much not about that. That’s meant that it’s less simple and it’s more interesting to sort of navigate. Because I enjoy writing so much, probably more than anything. I’ve naturally then, that’s been the sort of stuff that I’ve taken into my stage shows and very much wanted to write about as I go along.

So yes, I guess I am a kind of reflective type and I โ€” life’s difficult. Life has this centripetal quality. It brings us to this difficult central point. And when we’re there โ€” it was interesting, the last show I did, Showman was about this. We wrote the show, I don’t want to spoil it for anybody that might see it, but it was certainly, it was pre-COVID and I wanted to write the show with this thing that, at the heart of it, that life brings us to these difficult centers. When we’re there, it feels lonely. We feel like we failed, which is the big problem with the American optimistic goal setting model. That when things don’t go well, you’re supposed to, I guess you have to blame yourself because you didn’t set your goals well enough or believe in yourself well enough or whatever that strange Protestant work ethic apply to life tells us we should feel.

But the reality is, that lonely, difficult, central point is exactly the human experience. We are all brought to those points. It’s what we all share. The thing that makes us feel most isolated is the one thing that actually connects us the most. Interestingly, we have written this show and then lockdown happened and it just played out. The very thing that was physically isolating us, was the one thing we were all sharing. That I think is eternally valuable to me. It’s the thing that โ€” I know is also that the answer to finding dinner parties with high status people difficult, is that they’re the same. They’re probably hating as much of it as I am, that we’re all having these awkward experiences most of the time and you shouldn’t compare your insides to other people’s outsides because they’re very different things.

I find that a helpful thought. One of the issues with Stoicism for me, I suppose, is that it’s another way of life being a bit of a fight. I find it โ€” the thing I love most about it, actually reading Marcus Aurelius, he talks so much about retreating. I love that. I love, there’s this very sort of introverted aspect to reading Marcus that you don’t get so much from the teachers, from Seneca and Epictetus that are very much telling you what to do. All of it. I do love it all, but there is a bit of a constant fight at the heart of it, the images, the metaphors, they’re either military or they are, “You’re a rock with waves lashing against you and you’ve got to be solid in the face of all this, and you are setting yourself up for a world that’s not going to live up your standards.” And I don’t know. I don’t know. Is that the way to live?

There’s a sociologist called Hartmut Rosa who’s got a terrific book. It’s not an easy read, it’s a beast of a thing, called Resonance. Have you come across this? Have you come across Resonance?

Tim Ferriss: I’ve heard the title. I haven’t read it.

Derren Brown: Yeah. It’s a very different look at what might make a successful life and rather than being about virtue and so on, it’s about a mode of relating to the world where it’s a level โ€” I suppose, a type of engagement. It’s not an emotional state. It’s not about feeling anything in particular, but it is just about โ€” he talks about, well, what it isn’t, and how most of us live is we treat the world as a resource. Right?

So, imagine you’ve two artists, and it’s an art competition, they’re told to go out and paint the best picture they can, and one of them goes home and does the best he can do and provides his picture. And the other one thinks, “Okay, all right, well, I want to do the best picture, so I better get a โ€” well, first of all, I need a really good studio space.”

So he finds a great studio space, “And now I need the best possible easel and, okay, a proper good linen canvas.” And he sources that, and now he’s going to go get the best paints and the best brushes, the finest brushes, and so on and so on, and then time’s up.

And this is what we’re doing, generally, we’re treating the world as a resource. But what’s happened is that the resources that are a means to an end, right? So we’re trying to be richer and more attractive and more this and more that, those are only means to an end. They got a bit confused with the goals somewhere along the lines. And he’s suggesting a rather more โ€” he talks about a tuning fork, like you put one tuning fork next to another one and the other one starts to vibrate, and it’s just a different relationship of resonance with the world, as opposed to treating it as a resource. And a number of other things that we do.

And I rather like that, and I don’t think it’s incompatible with Stoicism at all. And the part of Stoicism I like the most, and I think that initially drew me to it, is that life is difficult, and you’ve got โ€” here’s your X-axis and your Y-axis, and on the one axis you’ve got all the things you want to achieve, your aims and your plans, and then the other axis is stuff that life is throwing back at you, what they used to call fortune, and we don’t really talk about that anymore, which is a shame.

And we’re told, if you set your goals and believe in yourself correctly, that you can crank this line of life up, so it’s in line with this X-axis, in line with your goals and your aims. But the reality is we live an X equals Y diagonal, it’s sort of a meandering line and sometimes we’re on top, and sometimes we’re not. We’ll have a great day and then life will throw something horrible our way, and it’s that, so how do you make your peace with this?

And that image of that X equals Y line is something that resonates throughout history. Schopenhauer spoke about it. Freud, he wasn’t trying to make โ€” that first talking therapy was never about making people happy. His goal was to โ€” how did he put it? Restore a natural unhappiness. So your life is basically going to be unhappy a lot of the time, and you don’t want to be overly unhappy, but it’s just how you make your peace with the fact that life’s always going to be a bit dissatisfying. You’re always going to get caught between these poles.

Mihaly Csikszentmihalyi, I’m sure you know, who wrote Flow โ€” 

Tim Ferriss: Sure.

Derren Brown: โ€” again, you’re caught between anxiety and boredom, and the flow state between whether your skills or your challenges are going to win out. The same idea is so helpful, and that’s the stuff I love, because I think that’s, A, it’s a real antidote to the fetishizing of optimism, and so on. I worked a lot with, I’ve been around faith healers a lot, and the thing that really struck me, and by faith healers I mean the Christian evangelical type that are getting people up out of wheelchairs and so on, and I’ve done it. I’ve done this.

Tim Ferriss: I recommend everybody watch Miracle, by the way.

Derren Brown: My stage show, thank you. Yes.

Tim Ferriss: Your stage show.

Derren Brown: That was a fascinating show to do.

Tim Ferriss: I really enjoyed that.

Derren Brown: Thank you. Thank you. It was amazing to do every night just โ€” so, I was doing it, but for a room of non-believers, it quite โ€” didn’t know if it was going to work at all. But watching the people out there doing it, a recurring idea is that you throw your pills away, you don’t need your medicine, and if the disease comes back it’s because you didn’t have enough faith, which is this perfect formula for absolving yourself of any responsibility as the person โ€” 

Tim Ferriss: As the healer.

Derren Brown: โ€” as the healer, and putting all the blame on the person going through it. And there’s any number of horror stories, of course, of people that get caught up in that.

And it’s exactly the same, you read something like The Secret, I suppose, but she’s โ€” is it Rhoda Byrne? Rhonda Byrne is telling us quite specifically you send your wishes out into the universe, and if it doesn’t provide it’s because you didn’t commit to it enough. You didn’t commit enough to that belief. It’s not the fault of the system. It’s your fault for not committing to it, and I think it trickles down into goal setting and all the rest of it.

So, I like this idea of life’s difficult and we all share that experience no matter where we are and what we’re doing, in our own way. And actually how do you sit comfortably and hopefully resonantly with a life that isn’t always going to give you what you want?

Tim Ferriss: All right. So, I would like to come back to this word ambition. If somebody looks at your website, if I look at your Wikipedia page, I may describe you, or be inclined to say, “This is an ambitious man,” given the corpus of work. You have six or seven books, you have the Broadway shows, the theater, the one man shows, the television, the collaborations. It goes on and on and on.

So what I would love to know is how you define ambition? Because maybe we’re โ€” I don’t want to end up arguing about God where we have different definitions of God, for instance. So maybe it’s just in the way that you define or think about ambition, but it strikes me that you are very active. And you mentioned painting a moment ago, people should go to your website just to see your painting, as well. We may come back to that if we have time.

How do you explain your productivity? Because if you were just sitting in your room trying to be receptive to the universe delivering you signals, you may just end up sitting in your room. So there is some proactivity involved, it would seem, in what you’re doing. How do you explain the level of productivity? What contributes to that, if not ambition?

Derren Brown: Certainly isn’t ambition. And by ambition, I mean I’ve never sought out something ahead in the timeline that I think would be good for me, or productive, or expand my reach, or those things really send shivers through me. But I have a manager, and I have co-producers and grown-ups, essentially, who do think about those things.

And as time’s gone on, what I choose to do has become up to me, which is nice, and I won’t be blind to the โ€” if something โ€” like, yes, it’s a good thing to do a show in New York, of course, but really I’m thinking it would be very lovely to live out there for a bit and what an amazing experience that would be. But I wasn’t seeing it as a step to anything else, it just felt like, well, that would be an enjoyable thing to do.

And the projects all take a long time. And so there is a lot that’s come out of it, but they’re all kind of โ€” I’m not running around frantically from one thing to another. They’re things that just take a chunk of time, and then normally I’m just obliged one way or another to get onto the next one, because a year before I said I’d do it, and somewhere people have been making arrangements and teams have been assembled, and I can’t at the last minute go, “I just want to sit at home.”

But I have had a time of sitting at home the last year or so, because I got a bit burnt out with it. And I’m very aware that I am really not my best if I’m not creatively engaged with something. So painting is very helpful for me because I can just do that. That’s like a week or two of just in a studio painting and that’s lovely.

Tim Ferriss: Is that how long it takes you to do one of your pieces, a week or two?

Derren Brown: Yeah, well, sometimes a bit longer, because I don’t get to give it the time I want.

Tim Ferriss: That strikes me as very fast. People need to go to your website. Everybody go to the website. We’ll โ€” 

Derren Brown: Go to the website.

Tim Ferriss: โ€” put some links in the show notes as well. But derrenbrown.co.uk. When you look at the artwork you would โ€” this could be another career for you, it is that โ€” 

Derren Brown: Oh, thank you. Well, it’s โ€” 

Tim Ferriss: โ€” developed. Very, very, very impressed.

Derren Brown: Thank you.

Tim Ferriss: And I grew up in a family of artists and wanted to be a comic book penciler for 15 years myself, so I paid โ€” 

Derren Brown: Oh wow.

Tim Ferriss: โ€” for some of my college expenses being an illustrator. And I cannot even come close to doing 10 percent of what you do with the portraits that you do, there’s no way.

Derren Brown: Oh, very kind. Well, I really, really, I very much enjoy it and it’s a nice way of, yeah, shutting yourself away and just throwing yourself into something for a big chunk of time, which I find helpful. So, I think that’s probably part of it. But I really feel it’s mainly due to the other people I have around me who are more savvy with it.

Tim Ferriss: So what it sounds like, which is I’ve never discussed with someone, is that it’s not that you live in a life devoid of ambition, but you have freed yourself from the need to be ambitious yourself, which is part and parcel of maybe side effects that come with it, by having team members who are ambitious on your behalf, in the sense of thinking about how certain options will create, or open other doors, and so on. Is that a fair description?

Derren Brown: I think that is a fair description. I think if there’s a recipe for success it’s talent plus energy. So, you develop your talent, because if you’ve got no talent โ€” and your energy is how you get it out into the world. And if you’ve got all the energy and self-promotion, but no talent to back it up, it’s not going to be very helpful. And if you’ve got all the talent in the world, but no energy of getting it out there for people to see, that’s also not great.

I’ve certainly never had any energy with it at all. So having a manager and people like that to do that side of it, and very early on I realized I needed that. So, yeah, I’m genuinely not saying it with any overweening, false modesty or anything, just my principle, and even more so now that I’m older, is what would be enjoyable in and of itself.

I forget his name, but there’s a philosopher who talks about the importance of this in life, these atelic activities, things that just bring pleasure in and of themselves and aren’t constantly about the payoff at some point in the future. I think as we get older those things are more important. But I’ve always had that, and maybe I’ve just never really had a proper job and it’s sort of easier to โ€” 

Tim Ferriss: It seems to be working out for you all right.

Derren Brown: I’m touring next year in 2025 with a new show, and like all these things โ€” and we’ve got a title, it’s called Only Human. Tickets are on sale, people are buying, and I have no idea what the show is yet. We haven’t written a word of it.

Tim Ferriss: I love that.

Derren Brown: I’ve kind of got used to this over the years. So, we’re starting to think about that now.

Tim Ferriss: So let me ask this.

Derren Brown: Go on.

Tim Ferriss: If you don’t know what the content is, how did you choose the name?

Derren Brown: Yeah. How do you choose a title, and a poster, and everything? I know. We’ve sort of got used to it now, because this is the 11th show that I’ve done, and as soon as we say, “Okay, let’s do a show next year.” My manager’s saying, “Right, well, the theater brochures, programs will need an image and a title.”

Tim Ferriss: Descriptions.

Derren Brown: Yeah. Exactly.

Tim Ferriss: Or not even a description. They need an image and a name at the very least.

Derren Brown: But it’s a great example of how you give yourself a structure and then think within that. So all the show titles have kind of been a bit generic, and then we found ways of making them work well enough.

Tim Ferriss: “A show of mystery and suspense,” right, you have a lot of room, wiggle room with โ€” 

Derren Brown: It is a bit like that. 

Tim Ferriss: And is it typically this way, that you book it, and then with the positive constraints you figure it out?

Derren Brown: Yeah.

Tim Ferriss: But how did you choose, in this particular case, Only Human? And this was going to be related to my next question is how do you pick the next project? But let’s get specific on the Only Human. How did you pick this? It sounds like you’ve done this more than once, knowing that you will have to figure it out later.

Derren Brown: It’s absolute necessity. In the same way that you’ve booked the theaters, you have to come up with a show. And likewise, if you need a title for the brochures, we have to come up with a title. So Andrew and I just had an email exchange back and forth going, “Okay.” And we send a bunch of things and, “Well, it’s got to be something about being human, and because I just know that’ll be the heart of it somewhere.” And within a few email back and forth, no one found Only Human offensive, or too this, or too that.

Tim Ferriss: You don’t seem to mind offensive. Are you steering away from controversial and offensive now?

Derren Brown: Oh, true. No. Well, yeah. But it’s also about not being too specific, that’s the trouble with an offensive, bold title is that you’re then going to be โ€” 

Tim Ferriss: Gets too specific, that’s the issue, right?

Derren Brown: That’s the issue. And then yeah, in terms of choosing the project, well, really it’s what I would like to do. And โ€” 

Tim Ferriss: Yeah, I want to know how you know that though, right? Because I, for instance, I’ll buy a little time. So my friend Kevin Kelly, he’s founding editor of Wired magazine, he tries to give away all of his ideas, and then if one idea keeps coming back to him and no one will do it, and he can’t seem to get rid of it and it’s floating around its head, then that’s how he chooses a lot of his projects. At least the new, exploratory projects.

In my case, nonfiction books, let’s just say it’s a book I can’t find myself, I want to learn about it, I immerse myself, so it’s sort of a graduate degree for myself. And there’s a bit more that goes into it. I test it with my audience using blog posts and podcasts and things.

But you were saying you want to do, and this might sound like such a silly question, but how do you know that? Because there’s some people who describe a feeling, or maybe they’re kept up at night, but it’s an excitement, it’s not an anxiety. The tenor, the emotional tenor is different. How do you feel your way into it? How do you know that you want to do it?

Because my experience with people who have a lot of options, as you would, you also have a lot of inbound, you have, I’m sure a wide menu, is that it’s not sorting good from bad ideas. You’re going to have lots of good ideas, and then you have to choose the better idea, or the great idea, or the good-for-you idea amongst many good ideas, that you would actually like to do. So, how do you pick?

Derren Brown: I think it really depends on what sort of project it is. For TV and stage, I’m always writing with other people, and I don’t give it any thought until the three of us are on Zoom, or in a room talking. And then we’ve got a whole backlog of experience. There’s templates that are in place that we can dispose of, or use again, or we’ve kind of got a shorthand and it’s โ€” 

Tim Ferriss: For the format, you mean, the template?

Derren Brown: Yes. Yeah, exactly. There’s a lot of pre-existing ways we found that work, which โ€” except we can often very consciously dispose with, but there’s something in place so you don’t feel completely at sea. I suppose it’s most difficult with โ€” so, book writing, like at the moment I’m trying to get my head around writing another book, and that’s just me and that is more difficult. And that simple question of how do you know what you want? What do I really want? It is difficult. And often โ€” so, the last book I wrote was a slightly off-grid book for magicians called Notes from a Fellow Traveler.

And I wrote it on the road while I was touring, because two reasons. Firstly, I felt that a book about touring and how to put a show together and the experience nightly of doing a show for large audiences, and dealing with all the stuff that goes wrong, and blah, blah blah, would be of use to magicians that are just maybe starting out with putting a show together, and all the really important stuff about performing, which just isn’t really written about too much in the magic world.

So, that was one reason. But also, it would be really fun โ€” I need to write during the days on tour, otherwise you’re just kicking around somewhere that there may be nothing to do, and what are you going to do for a week? So, writing’s really important. And that was a big part of it. And sometimes it’s that sort of thing, isn’t it? It’s sometimes โ€” I’ve always been, if I’m driven by anything, it’s thinking I should be doing better than whatever I’m doing. I always think if I can do something and I find it sort of easy, I just presume it’s a bit stupid, and I’m always trying to do the next thing. And I particularly feel that with writing, and I make it more difficult for myself probably than I need to. So, the magic book was actually a really enjoyable, easy, I didn’t need to do loads of research and bring a suitcase of books around with me. It was actually a kind of โ€” it’s a really lovely thing.

So now I’m trying to listen to that, and I’m trying to let something settle into โ€” something that when you’ve got it just feels obvious. Oh, well, of course. Because those tend to be the best things, but there is no easy route. And with the TV shows, as I said, often the idea of, “Oh, can you make someone push someone off a building? Everyone at the party is an actor apart from one person, could youโ€ฆ” Those come sometimes from just a frustration of you just trying too hard, and going down rabbit holes and round in circles trying to find something that is clever, but then just you go, “Blah, can’t we just do this?” And it feels obvious and a bit silly, and I go, “Oh, that’s it. That’s it. That’s exactly what it should be.”

And so I think maybe recognizing that is that you know when you’ve got it, when it โ€” because then it tingles. You know it’s right because it resonates, to use that word, and it has this little buzz of excitement to it, but it’s really hard to force it directly. But if it was, you wouldn’t be doing such good stuff if it was easy to find, I suppose.

Tim Ferriss: I will ask you, because I have a prompt in front of me, using forms of suggestion as self-defense. So, I do want to hear a story about that. But before we get to it, since you mentioned The Push, and I promised at the very beginning I would touch on the ethics piece, so for people who have watched some of these, or do a little homework, one might think as a viewer, knowing that you’re putting people through this process where unbeknownst to them ultimately they’re being groomed and conditioned and set up to do something very extreme, that people would end up with all sorts of complex PTSD, and that the show itself could produce all sorts of capital-T trauma for people involved. How do you respond to people?

Derren Brown: And?

Tim Ferriss: How do you respond to people with this concern?

Derren Brown: What’s your point? Yeah, well, so look, if you take, for example, take Sacrifice then, which was the last one. Well, so that show somebody’s going through a really roller coaster series of things to get to a life and death situation, where they think they’re going to be shot at the end of it, and so on.

So, the first thing is when we write the show, and I’m writing these shows with โ€” we are writing the show with a lot of experience of making similar things. I’ve got very used to making sure this person is going to be just held in a place that they’re okay, and they’re going to be safe in themselves. That’s like the first lay in the actual writing of the show. And at any point, bear in mind, if it’s a big hidden camera thing, I could just step in. If anything bad happened, I could simply step in.

And also everything gets passed by, this is important, an independent psychological team. So we’ll have a psychologist on board who knows the show, knows exactly what’s going to happen, all the things that might potentially be triggering. So if someone’s lost someone dear to them in a car crash, we’re not going to want them witnessing a car crash, for example. But that might not be obvious, might not know that. So everybody that applies, or gets shortlisted, will have this session with a psychologist that they’ll think everybody gets, but it may only be three or four people that get it by this point, but if we don’t want them to know they’ve been shortlisted, then they don’t.

We’re also preserving this fiction for them as to what’s going on, but we’ll have that too. And then during the show itself, again, we’ve got that psychologist. We have other independent people that are with us in the truck watching it play out, any number of measures where if anything is going a bit off track, or they see genuinely some line is being crossed, we can step in.

And if I get the chance, it depends on what the show is, but if I’ve been able to interact with the people before then I can layer in language and triggers which I can give to the actors, particularly if I’m talking to them through earpieces, to use, which I know will have an effect on the person that’s going through it, to calm them or give them some resources. So, I’m kind of using the hypnosis in a way that’s for that benefit, to come back at a later point, rather than me making them do stuff.

So, that’s all things like that are in place. Next, they go through the experience and they’ve always, and I’ve done this so much, always loved it and taken a huge amount from it. No one’s ever actually had a bad time or come out of it however it looks or feels like to the crew making the show. The other actors actually have often a far worse time, because they’re feeling terrible putting somebody through something, whereas the guy or the girl that’s been through it has always loved it.

And then, so going back to Sacrifice, Phil does this whole thing, comes out the other end of the show, but there’s โ€” actually the trickier part then is, well, how do you now deal with this person who’s been through a hopefully life-changing, or at least pivotal big thing in their lives, and it’s now going to be a TV show that’s out there. That’s weird, and that’s a sensitive thing.

So I flew Phil over and he came and he watched the show in my house. We watched it three times. Once because he needs to see it first as a show, with music, underscoring, close-ups, bits that were taken out that didn’t make it to the final cut that might’ve meant a huge amount to him, and now he’s got to get his head, “Okay, that’s not part of the story.” Because that didn’t really serve a purpose at the end of the day.

There’s a bit in the show where he doesn’t do something. There’s a bit that โ€” and it’s a bit like, “Ah, he’s not doing it. Is this going to work?” And he had to then get his head round he’d let us down, or that he’d failed, and that’s a difficult thing. That’s a real thing for him.

We watched it a second time with the other people that had done similar shows that I’d made. So the guy from the Apocalypse one with the zombies and the guy from The Push, and they came. So now he felt like he had a little group of people that had been through a similar thing, and shows, because he was a fan of the show, so these are people that he knew. So that was a really helpful thing for him.

And finally, bizarrely, we watched it โ€” do you know Martin Freeman, the actor, have you come across him?

Tim Ferriss: The name rings a bell, but I can’t conjure a face.

Derren Brown: Okay, famously Watson to Benedict Cumberbatch’s Sherlock and all sorts of things. He’s certainly a big name here, and Phil was a big fan of him, and also big star in the Fargo series.

Tim Ferriss: Oh yeah, of course.

Derren Brown: Anyway.

Tim Ferriss: Of course, I just pulled up his photo. I know who Martin Freeman is.

Derren Brown: You got it. You got him. So we watched the show with Martin, that was the third time, so Phil could hopefully feel proud of it, and by this time, after three viewings, had got used to it as a TV show. But then you’ve got, what about when the show airs? And it’s a controversial subject, so he might have a lot of backlash from people.

And I remember the first show we did that was at all like this, and when this was a bit of a learning curve for us, this guy that’s been through this extraordinary journey that meant so much to be so excited the show’s going out, and this is back in the day when it’s just broadcast and everyone’s going to watch it at the same time, so he’s got Twitter open on his phone, and he’s just reading the nastiest things about himself.

His girlfriend’s too pretty for him. He should get his eyebrows sorted out. Just awful, awful stuff, and it was really miserable for him. So we got somebody out there to be with Phil in the States so they could be around during that time, which would be sensitive and weird that it suddenly goes out in the public domain.

So it’s a long answer, but basically there’s a huge amount that we do that doesn’t really form part of the drama of the show you’re watching, because it’s a whole different story โ€” 

Tim Ferriss: In the background.

Derren Brown: โ€” that has to preserve the fiction. What you’re seeing is absolutely the guy’s experience, but all this other stuff has to happen to make sure that it’s safe and does the job it’s supposed to do. It’s there for one reason, which is to give him a real, proper, hopefully important pivotal moment.

Tim Ferriss: You have a hell of a job, sir. All right, as promised, suggestion as self-defense?

Derren Brown: Oh, that’s right. That came up, yeah.

Tim Ferriss: What does this mean? Yeah.

Derren Brown: So, I had a โ€” 

Tim Ferriss: Do you have a story? You must have a story.

Derren Brown: Well, it was an experience of โ€” it’s worth knowing this actually. I think we should all have this ready in our head. So I had spoken, after doing hypnosis shows, I would sometimes do a Q and A afterwards and people would ask about whether you can hypnotize people without them knowing it, and so on. And it had always occurred to me that if you want to keep the seat next to you free on a train, don’t put your bag there because that’s what everybody does, and it’s just annoying, and then you want to ask the person to move their bag. Instead, pat the seat and nod and smile at people. No one’s going to sit next to you. Right?

So I’d spoken about this kind of stuff and then I found myself in a real life situation, and I was walking from one magic convention to another, this was before the TV or anything. I was mid-20s. I was in a velvet three-piece, purple suit with a fob watch chain and long hair. And if anyone was going to get brutally murdered that night, it was me. And this very drunk, angry guy and his girlfriend are walking towards me, this guy’s just looking for a fight.

And because I’d spoken about these slightly off-kilter ways of dealing with these sorts of situations, the trick is to act in a way that it makes complete sense, but it’s utterly out of context, so the other person thinks they’ve missed something. Because if somebody comes up to you in the street and says, “It’s not 20 minutes past five.” Your reaction wouldn’t be to go, “Yeah, I know it’s whatever.” You’re going to, “What? I’m sorry.” Like you’ve missed something. So, he comes up to me, “What the fuck are you looking at? Do you want to fight?” Or whatever it was he was saying.

And I said to him, “The wall outside my house isn’t four foot high.” And what you get, and I guess there’s a similar thing in martial arts of that adrenaline dump, he asked me to repeat, first of all, what I’d said. So I said, “It’s not four foot high. I lived in Spain for a bit, the walls were much higher, but if you look at them here they’re tiny, they’re nothing.” And he sort of did this, he just essentially, he kind of not exactly collapsed, but he just sat. He went “Ughhh” and he sat down on the pavement. His girlfriend walked off. In my mind what I was going to do was โ€” 

Tim Ferriss: The girlfriend made the right choice. She’s like, “I don’t want to deal with either of these people.”

Derren Brown: My plan was, which I didn’t get to, my plan was you give the person relief from the confusion, and this is where the hypnotic element comes in. I was going to say to him, “It’s okay, it doesn’t matter whether your left or your right foot is released first, but you’ll find within a couple of minutes you can walk and you can move and everything, and it’s fine. It doesn’t matter if it takes a couple of minutes.”

So that was the plan to leave him stuck to the table.

Tim Ferriss: The pavement.

Derren Brown: But I didn’t get to go that far. He collapsed, and I ended up weirdly sitting down with him and saying, “So what happened? What happened tonight?” And his girlfriend she’d got in a fight and she’d bottled somebody, I think, it was something like that.

Tim Ferriss: Jesus. Birds of a feather, yeah.

 Derren Brown: Yeah. So, he went off. I then walked off to this other magic convention, told everybody, I was so excited. No one believed me, because they thought it was just me making stuff up. But if there’s a takeaway there, have a song lyric or just something to โ€” it came out of a conversation with a friend who used to walk home from his art studio late at night, and there was always just intimidating gangs standing around. So he’d always cross over and sometimes they’d shout things, and it was just horrible.

So I said, “Why don’t you cross over to their side and say, ‘Good evening’ as you walk past?” And he did, and he never had any trouble because they just thought he was strange.

So I think I have something like that. If someone’s running at you with a knife, it’s not going to help, but if you are in that situation where people are being intimidating it’s a very, I think, a powerful route. It has to make sense, but just be out of context, and just commit to it.

Tim Ferriss: Could you elaborate on the making sense, right? Because you could be like, “A boogadee boo. Dinosaurs times two.”

Derren Brown: They need to feel they’ve missed something.

Tim Ferriss: Missed something.

Derren Brown: So I had that phrase in my head that the wall outside my house isn’t four foot high, because I’d spoken about this sort of thing with audiences after the show, so I had sort of, without meaning to, kind of rehearsed it. And so it just kind of came out. So I think having something like that, for some reason the negative in it, it really helps. Because it’s like they’ve said something that you’re responding to but they haven’t said, it adds something to it.

Tim Ferriss: I’m just imagining dating you and wondering, “What is he up to? Are you doing that thing?”

Derren Brown: It’s exhausting, isn’t it?

Tim Ferriss: What are some benevolent applications of the techniques that you have acquired? What are some offstage applications? This would be an example. This would be a problem-solving example. Where else can you apply these things?

Derren Brown: I really weirdly don’t use it in real life. That stoic lesson of not trying to control things that are out of your control. It’s so the opposite of what this strange job is that I have. So I actually very much don’t. I mean I think the thing I’m most aware of, which is not a new thing for anybody to hear, but in my mind ties into the same sort of world, is just the importance of being heard and how that, so your partner, spouse, girlfriend, boyfriend comes home and has had a frustrating day and just wants to offload. And particularly, for some reason, if you’re a guy, let alone if you’re sort of vaguely stoically drawn, but our natural thing is of course, to offer solutions and so on.

And you’re just doing the thing again of not letting the person be heard. And it’s so obvious. And I think I really don’t walk around in that Derren Brown mode, but I catch myself consciously just trying to be present and hear and listen and know that it’s, because you know the moment you start offering solutions, they’re dismissed. There’s a million reasons why that isn’t appropriate. So you very quickly get told if you do get it wrong.

But I think that’s a big, and it goes back to this thing of people’s stories of ghosts and psychics that told them amazing things. Just to be present with those things and not feel that it’s your job to step in and kind of morally correct them or in some way put them on a different path or even offer a solution to a puzzle, that sometimes we just need to sit in these things and be heard because what we’re actually saying is something deeper than the specific problem or the thing that’s niggling us.

So I don’t really carry a lot of it around. When I’m in work mode, I’m full of that stuff. I mean it’s the power of presupposition is, you’re doing it, I used to use it all the time in card tricks. You say you’ve got a deck of cards at the beginning, they’re in a special order, so you can’t have the person shuffle them, but maybe there’s a point halfway through the trick where they can shuffle the cards. So at that point, I’d give them the cards to shuffle, that I’d say, “Oh, shuffle them again, but this time do it under the table.” So now they’re taking the cards under the table and somehow in doing that, they’ve accepted the word again and they’re shuffling.

And later, when they describe the trick and they want the trick to sound as amazing as possible because they’ve been fooled by it and don’t want to look stupid, the amount of times they would say, “Well, I shuffled the deck at the beginning,” and they didn’t. And then the trick really is impossible because they couldn’t have shuffled it at the start.

So the power of presupposition is very important and I guess you can apply that to yourself, I guess in your inner language as much as trying to influence others. But I just somehow don’t sit in that world in real life. I think it’s enough in life to try and find a way of gathering yourself afresh and then going out in the world and taking some responsibility amidst your mess. I think that’s enough. I don’t think self-esteem is that important and I certainly don’t think influencing others is that important. I think we’ve got enough to be getting on with.

So it weirdly leaves me, when I first started, I loved all that stuff and now it leaves me a little bit cold. I don’t think it’s about that. I think just how you make peace with life that’s not always going to go your way. That’s the project. That’s a successful life.

Tim Ferriss: So you read a lot, you’ve written a lot. Are there any books in particular, and you can name at least two, so one could be of your own, but are there any books that you have gifted or recommended frequently to other people that come to mind?

Derren Brown: I’m a big fan of Jonathan Haidt, who if you haven’t had on this podcast, you should do. He’s a โ€” 

Tim Ferriss: I have. He’s outstanding.

Derren Brown: Yeah. Wonderful, brilliant, brilliant, brilliant guy. So I found myself, I’ve just finished his book, The Anxious Generation, his last one. I often find myself giving those to people. I like James Hollis as well a lot. I don’t know if you’ve had him on? He’s a Jungian psychotherapist or psychoanalyst I suppose, who writes a lot in that mode. Irvin Yalom. He’s a wonderful writer. And does that thing that Oliver Sacks, I think, started of writing little accounts of interesting cases. But he is a beautiful writer. Of course the moment we finish this, I’ll think of any number of โ€” 

Tim Ferriss: Do you read fiction?

Derren Brown: No, I don’t. And it’s missing. I think I should, and there’s probably a lot more truth to be found in reading fiction than in just the nonfiction that I do. But I’m always drawn to it and because there’s always a book project somewhere in my mind, I always feel like I should be, as I become more aware of that thought, I sort of feel like I can now work against it. And โ€” 

Tim Ferriss: If you were to read fiction, what type of fiction might you start with? Are there any parameters or characteristics?

Derren Brown: Driven by that thing of I should always be doing the thing that isn’t easy, I think it would be the only fiction I read more of that. So Dostoevsky and so on, it would be that it would be the big, heavy classics because that’s where I feel that’s where you should start. I’ve occasionally been given a novel by a friend and I always find them very sort of forgetful. So I like, I think, probably the big European works because that I just feel I was โ€” 

Tim Ferriss: You want to learn how to ski, so get dropped out of a helicopter at the top of K2, that type of approach?

Derren Brown: I loved the Thomas Harris, the Hannibal Lecter series of books. I remember absolutely devouring those and I was a big fan of Stephen King, I don’t know what any of this says about me, when I was younger. So I’ve definitely had that. And if he brought out another one in the Hannibal series, I would certainly read that.

Tim Ferriss: You might go for it. All right, since you like difficult, I’ll just make one recommendation for a book that for nine out of 10 people, it’s a miss because it’s hard, it’s dense, it’s called Little, Big. The alternate title is The Fairies’ Parliament by John Crowley, who is also a poet. And this book, Little, Big, when it works, at least for me and for the one out of 10 that it might work for, has the most profound effect on time perception and time dilation. It feels like you go on a one- to two-week psychedelic experience on the lower end of the mystical scale.

But it is such a mind-altering book in the way that it is written as almost a fever dream with multiple intertwining timelines and magical surrealism. If you’re looking for something hard that is also incredibly beautiful. And it’s this book, I’ve never had an experience like this, you have to charge through the first 150 pages. If you put it down after 20 and pick it up a week later, it won’t make any sense.

But if you get through it, you’ll be like, that was an incredible book, hopefully, I want to recommend it to friends. And then two weeks later, if someone asks you what it was, you will not be able to describe what the book was about. It’s bizarre. So that will be just my recommendation. Little, Big by John Crowley.

Derren Brown: Thank you. I’ve made a note. I recently read a book I really enjoyed called Picnic Comma Lightning, three words, Picnic Comma Lightning by Laurence Scott. And I loved it and I could not tell you what it was about at all. It’s nonfiction, but I just adore it.

Tim Ferriss: Maybe that’s the sign of a good book on some level โ€” being lost in it to the extent that you can’t piece it back together in retrospect. 

If you had to give, and I know you’ve given a great TED Talk and I recommend people check it out, great bow tie also, but I recommend people check that out. If you had to give another TED Talk, but it had to be on something you are not known for. So it can’t be the magic, anything tangential to magic. Also, I’m going to take art off the table, sadly, I’m going to take art off the table. What might you give a TED Talk on?

Derren Brown: I think this idea that we’re all joined up by how lonely it feels and things go wrong. This thing I said of life pulling us towards difficult places. I think that’s, I don’t say that because I’ve had a particularly difficult life, but I just think it is just part of life and it’s part of someone’s life that’s going well. It’s still a common thread. And I think that is not the mode that we’re encouraged to live in.

It was very strange. But I did that TED Talk and I really enjoyed it. But I don’t say this with any disrespect to the TED people at all. They were wonderful. But it was in Vancouver and you step out of that TED building into some of the worst homelessness in the world.

Tim Ferriss: In North America.

Derren Brown: And it is like Disney have staged the apocalypse. I mean there was a bride covered in blood pushing a trolley through fire. There were just things on fire. I mean it was extraordinary. Not quite on its doorstep, but a 10, 15-minutes walk. And it was very odd going out and finding a coffee in the middle of all that. And then going back to the sort of TED Talk topics, it was a strange thing. So maybe partly for that reason. But I think the difficulty of life and how we sit well with that, I think that’s the perennial subject for me.

Tim Ferriss: Maybe we should make that happen. Yeah, Vancouver, I presented a TED any number of years ago, I can’t remember. And some of the worst opiate and opioid addiction in North America, for sure, in terms of density. Gabor Matรฉ has done a lot of work there.

All right. Shifting topics a little bit, completely. It’s going to make a hard left turn. In the last handful of years, five years, I mean somewhat of arbitrary time frame, but what new belief or behavior or habit would you say, it doesn’t have to be the most, has improved your life the most, but are there any new beliefs, behaviors, habits that have meaningfully improved your life? Ways of looking at the world, could be anything?

Derren Brown: I think being confident to go with my instincts on particularly work-related things. Historically, so these are big projects. I have these other people around me that are putting things together behind the scenes in terms of productions and meetings and pitching ideas and so on. And I get caught up with that. And as I said, that productivity that you see isn’t driven by any sort of workaholic tendencies on my part. It’s just what I find myself swept up in. So of late, and it’s an odd thing to be saying, “No, I don’t want to do this.” Or being offered some private gig out somewhere, gosh, I’m not going to enjoy that. That’s quite โ€” 

Tim Ferriss: Unless it’s the Clintons, then you can’t say no.

Derren Brown: Unless it’s the Clintons. So that’s good. I’ve been in my current relationship for sort of 10 years and probably the last five years of that, it’s settled better with me in terms of, we’re very different. So I think I’m naturally disposed of quite a stoic, placid thing. He’s very fiery and I’m quite enjoying the learning from that because it makes me a bit less of a people pleaser, I suppose.

We’ve had lots of work done in the house for a long time and he’s very happy to start arguments with people that are doing that. And I’m just trying to keep everybody happy and making them coffee and trying to iron over any tension. And actually, sometimes a bit of conflict is important because it isn’t really about conflict, is it? It’s about being able to have some faith in what you actually are and want to say and stand for. It’s not about conflict. You think it’s about conflict, so you don’t do it, but it’s not, it’s just about having some faith in yourself. 

What caused that settling? Was it relating to it differently, that dynamic that you just described? So you have 10 years, in the last five, you’ve settled into it in a different way. What has contributed to that?

Derren Brown: I think just time. I think it’s just slowly โ€” 

Tim Ferriss: Fatigue.

Derren Brown: Slow process of raking down, giving up, slow surrender. But my natural predisposition is kind of mental space, I’ve always sort of saw myself as probably being on my own with a dog and even getting a second dog as a couple, having now a second dog. It felt, oh no, no, it’s wrong. I remember saying, “Oh, let’s not get a second one. I like that it’s just me and my dog.” And my partner said, “What do you mean you, it’s us and our, what do you mean, what you talking about?” And I realized that was my, my image of myself was still kind of a bit single. So that’s definitely a new mode for me.

I am trying to work a little less, but I’m also become very aware when I wrote the Happy book, afterwards, I was going out and giving talks on happiness to promote the book a little bit and because I had all this knowledge that I found really interesting and I wanted to do something with it and not just end it because finished writing the book. And I was really unhappy. I was going out thinking I’m actually feeling a bit miserable and I don’t know why and I feel a bit of a hypocrite. And I realized it was because I’d finished writing the book and I didn’t have that engagement, as I said, in a big creative project.

So those are important to me. And I think realizing that as well. I think just best we can hope for is become more conscious of the things that really we do find meaning, the things that we do need and having more of those.

Tim Ferriss: If you could put a message, quote, image, anything non-commercial on a billboard, meaning make it present for millions or billions of people. 

Derren Brown: There’s a line in, or a verse of Rilke, the German romantic poet, which is something like, “Experience everything. The beauty and the terror. No feeling is final. Just keep going.” I always thought that was great.

Tim Ferriss: Maria Rilke. Yeah.

Derren Brown: Love a drop of Rilke. So yeah, maybe that. Or just if you want something snappy, I think, “Gather yourself afresh.” I think first of all, just to find ways of being able to do that, what we need in our life, just to kind of get ourselves back together and step back out into the world. I think having that and knowing what you need. That’s a big tick, isn’t it?

Tim Ferriss: Mm-hm. Well, Derren, I can keep going, but I want to be respectful of your time and this has been a great wide-ranging conversation. 

Derren Brown: Also, my AirPods are starting to run out. You keep dipping out.

Tim Ferriss: So people can find you on social at Derren Brown. We’ll link to everything on Instagram and on X, Derren Brown. D-E-R-R-E-N Brown.co.uk. Is there anything else you’d like to say before we wind to a close, requests of my audience, things you’d like to point them to? Anything at all?

Derren Brown: Just to recommend our hairdresser that we both share.

Tim Ferriss: Yes, we do share the โ€” 

Derren Brown: Give him a shout-out.

Tim Ferriss: โ€” the same stylist and beard trimmer. It’s a good look. It looks good on you.

Derren Brown: Thank you. You too. It was very good to finally make contact. Thank you so much. Thank you for having me.

Tim Ferriss: Oh, my pleasure, my pleasure. And for everybody listening, we’ll link to everything in the show notes, tim.blog/podcast. Until next time, be just a little kinder than is necessary to others and also to yourself. Thanks for tuning in.

Derren Brown โ€” A Master Mentalist on Magic, Mind Reading, Ambition, Stoicism, Religion, and More (#776)

“Gather yourself afresh.”
โ€” Derren Brown

Derren Brown (@derrenbrown) is a psychological illusionist who can predict, suggest, and even control human behavior. Starting his TV career with shows such as Mind Control and Trick or Treat for Channel 4 (the UKโ€™s equivalent of PBS), Derren has combined spectacular illusions with insights into how we see the world and those around us, or expect to see them. Rather than guard the mystery behind his illusions and manipulations, he lays bare his techniques and demonstrates how the human mind works.

A prolific creator and performer, Derren has appeared in blockbuster stage and television shows alike, including the sold-out Broadway run of his one-man show Secret, his Olivier Award-winning tour of Svengali, and his Netflix specials The Push, Miracle, and the harrowing Sacrifice, in which he tries to manipulate an ordinary person into taking a bullet for a stranger.

Derren is the author of multiple books, including Happy: Why More or Less Everything Is Absolutely Fine and A Book of Secrets: Finding Comfort in a Complex World. Derrenโ€™s new tour, Only Human, materializes on stages across the UK beginning April of 2025.

Please enjoy!

This episode is brought to you by Eight Sleepโ€™s Pod 4 Ultra sleeping solution for dynamic cooling and heating, LinkedIn Ads, the go-to tool for B2B marketers and advertisers who want to drive brand awareness and generate leads, and ExpressVPN high-speed, secure, and anonymous VPN service.

Listen to the episode on Apple PodcastsSpotifyOvercastPodcast AddictPocket CastsCastboxYouTube MusicAmazon MusicAudible, or on your favorite podcast platform. Watch the interview on YouTube here.

The transcript of this episodeย can be found here. Transcripts of all episodesย can be found here.

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This episode is brought to you by ExpressVPN. Iโ€™ve been using ExpressVPN to make sure that my data is secure and encrypted without slowing my Internet speed. If you ever use public Wi-Fi at, say, a hotel or a coffee shop, where I often work and as many of my listeners do, youโ€™re often sending data over an open network, meaning no encryption at all.

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This episode is brought to you by Eight Sleep. Temperature is one of the main causes of poor sleep, and heat is my personal nemesis. Iโ€™ve suffered for decades, tossing and turning, throwing blankets off, pulling them back on, and repeating ad nauseam. But a few years ago, I started using the Pod Cover, and it has transformed my sleep. Eight Sleep has launched their newest generation of the Pod: Pod 5 Ultra. It cools, it heats, and now it elevates, automatically. With the best temperature performance to date, Pod 5 Ultra ensures you and your partner stay cool in the heat and cozy warm in the cold. Plus, it automatically tracks your sleep time, snoring, sleep stages, and HRV, all with high precision. For example, their heart rate tracking is at an incredible 99% accuracy.

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Want to hear another episode with someone who delights audiences with feats of magic? Listen to my conversation with Simon Coronel, in which we discuss radical earliness, neurodivergence, categories of stage magic, late (but timely) blooming, mentalism misgivings, jigsaw puzzles, spending time at the Magic Castle in Hollywood, and much more.

What was your favorite quote or lesson from this episode? Please let me know in the comments.

Continue reading “Derren Brown โ€” A Master Mentalist on Magic, Mind Reading, Ambition, Stoicism, Religion, and More (#776)”

No Booze, No Masturbating (NOBNOM) November Challenge

A female festival-goer in a bikini top side-eyes someone offscreen while sticking her tongue out.
Both of these things are very distracting. (Photo: Shawn Perez)

I did this publicly once before in 2014, and someone recently messaged to say that it changed their life, so weโ€™re doing it again!

Your 30 days can start whenever you see this post, so don’t worry about missing the 1st.

You know who you are, you filthy animals.

Secret bookmarks to Pornhub (โ€œDiscount airfareโ€ โ€“ Ha!), secret folders labeled โ€œTax Returns 2019โ€ for when wifi fails, ExpressVPN for when youโ€™re in countries that block your cherished videosโ€ฆ

Oh, wait. Am I projecting again?

Yes, Iโ€™ve admitted it before, and Iโ€™ll admit it again: dudes watch porn on the Internet. Shocker, I know. All those guys on the magazine covers? They do it, too.

Less obvious, perhaps, is how dramatically your life can change if you quit porn and masturbation for a short period.

I did this for 30 days recently, andโ€”oddly enoughโ€”I found it much easier and more impactful to quit booze for the same 30 days.

I highly recommend watching this short clip from The Drive by Peter Attia, MD, in which he interviews Anna Lembke, MD on a cannabis-using patient. Dr. Lembke discusses how to reset the brain’s reward system and joy set point to improve mental health. Often, four weeks of abstinence from compulsive behaviors is enough to dramatically reduce anxiety and depression without medication.

Just a few of the specific benefits I experienced includedโ€ฆ

  • A dramatic surge in free testosterone and sex drive. Dozens of my seemingly healthy male friends, techies in particular, have approached me over the years about chronically low testosterone. There are many potential causes, including late-night blue light and laptop heat on the lap, but removing booze and porn appears to open the flood gates. Research (example, example) shows that alcohol reduces testosterone levels. Soโ€ฆ should you be dating more? Trying a little harder instead of wanking, watching Netflix, and calling it a night? This will help motivate you.
  • Increased ability to focus and cognitive endurance. This goes along with the increased โ€œTโ€ mentioned above.
  • Getting a LOT more done. When you arenโ€™t nursing hangovers, destroying your sleep with booze, or procrastinating with porn (you know who you are)โ€”miracle of miraclesโ€”you get more done! A LOT more done. In my mind, this alone easily justifies a 30-day booze and porn fast. Youโ€™ll clear off that goddamn to-do list faster than the Flash. And remember: sex is still allowed.

Join Me For Another 30 Days

Given how transformative this was for me, Iโ€™m inviting you to join me for the month of November (30 days). I need it, too. After that, you can go back to your hedonistic ways. I enjoy porn, but Iโ€™ve concluded I can level up by taking breaks.

Iโ€™ll refer to our 30-day challenge as NOBNOM (NO Booze, NO Masturbating), as the acronym itself sounds pornographic. We gotta make this sumnabitch memorable.

If you donโ€™t masturbate, or if you otherwise donโ€™t watch enough porn to care about abstaining, hereโ€™s another option: NOBNOC โ€” No Booze, No Complaining. For this version, please first read โ€œReal Mind Control: The 21-Day No-Complaint Experiment.โ€

Suggested resources

Reddit communities 

Quitting porn:

  • r/NoFap โ€” Porn Addiction and Compulsive Sexual Behavior Peer Support Forum
  • r/pornfree โ€” Overcoming porn addiction one day at a time
  • r/NoNutNovember โ€” Support and meme community for those attempting No Nut November, an internet challenge to abstain from sexual activity during the month of November

Quitting alcohol:

  • r/Sober โ€” Getting sober and sober living 
  • r//stopdrinking โ€” A support group in your pocket! This subreddit is a place to motivate each other to control or stop drinking. 

The Tim Ferriss Show โ€” relevant episodes:

Jason Portnoy โ€” Porn Addiction, The Corrosiveness of Secrets, Healing Wounds, Escaping Shame Cycles, and Books to Change Your Life.

The Tim Ferriss Show Transcripts: Jon Batiste โ€” The Quest for Originality, How to Get Unstuck, His Favorite Mantras, and Strategies for Living a Creative Life (#775)

Please enjoy this transcript of my interview with Jon Batiste (@jonbatiste), a five-time Grammy Award-winning and Academy Award-winning singer, songwriter, and composer. His eighth studio album, Beethoven Blues, is set for a November 15th release. This project marks the first installment in his solo piano series, showcasing Batisteโ€™s interpretations of Beethovenโ€™s iconic works, reimagined. Beethoven Blues follows Batisteโ€™s studio album World Music Radio, which received five Grammy nominations, including Album of the Year.

Batiste is featured in Matthew Heinemanโ€™s Netflix documentary, American Symphony. The film follows Batisteโ€™s journey, starting in early 2022, as he receives 11 Grammy nominations for his studio album We Are. Amid this success, he faces the challenge of composing a symphony for Carnegie Hall while supporting his wife, bestselling author and Emmy Award-winning journalist Suleika Jaouad, who learns her cancer has returned. 

As a composer, Batiste scored Jason Reitmanโ€™s Saturday Night, now in theaters. The film depicts the chaotic 90 minutes before Saturday Night Liveโ€™s first broadcast in 1975, underscored by Batisteโ€™s blending of jazz, classical, and contemporary elements. He composed and produced the music live on set, capturing the intensity of the showโ€™s debut. Batiste appears in the film as Billy Preston, the showโ€™s first musical guest. Additionally, Batiste composed and performed music for the Disney/Pixar film Soul, for which he won an Academy Award for Best Original Score alongside Trent Reznor and Atticus Ross.

Transcripts may contain a few typos. With many episodes lasting 2+ hours, it can be difficult to catch minor errors. Enjoy!

Listen to the episode onย Apple Podcasts,ย Spotify,ย Overcast,ย Podcast Addict,ย Pocket Casts,ย Castbox,ย YouTube Music,ย Amazon Music,ย Audible, or on your favorite podcast platform. Watch the interview on YouTube here.

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DUE TO SOME HEADACHES IN THE PAST, PLEASE NOTE LEGAL CONDITIONS:

Tim Ferriss owns the copyright in and to all content in and transcripts of The Tim Ferriss Show podcast, with all rights reserved, as well as his right of publicity.

WHAT YOUโ€™RE WELCOME TO DO: You are welcome to share the below transcript (up to 500 words but not more) in media articles (e.g., The New York Times, LA Times, The Guardian), on your personal website, in a non-commercial article or blog post (e.g., Medium), and/or on a personal social media account for non-commercial purposes, provided that you include attribution to โ€œThe Tim Ferriss Showโ€ and link back to the tim.blog/podcast URL. For the sake of clarity, media outlets with advertising models are permitted to use excerpts from the transcript per the above.

WHAT IS NOT ALLOWED: No one is authorized to copy any portion of the podcast content or use Tim Ferrissโ€™ name, image or likeness for any commercial purpose or use, including without limitation inclusion in any books, e-books, book summaries or synopses, or on a commercial website or social media site (e.g., Facebook, Twitter, Instagram, etc.) that offers or promotes your or anotherโ€™s products or services. For the sake of clarity, media outlets are permitted to use photos of Tim Ferriss from the media room on tim.blog or (obviously) license photos of Tim Ferriss from Getty Images, etc.


Tim Ferriss: The snow monkeys in Japan figured it out. So we’ve been doing it a long time. They just hang out in the hot springs.

Jon Batiste: Did you ever go to a place in Japan? Okinawa?

Tim Ferriss: I’ve spent time there because I lived in Japan.

Jon Batiste: Yeah, I know.

Tim Ferriss: When I was younger, yeah. I’ve been to Okinawa. I have. Culturally super different from the rest of Japan. It’s cool.

Jon Batiste: I can’t wait to go.

Tim Ferriss: Oh, you should check it out.

Jon Batiste: I wanted to ask you if you had been, I’d never been, but I’ve always wanted to just go there and spend a long period of time, like months. I feel like it could change you.

Tim Ferriss: I think it could in part because I asked everybody down there, because the Okinawans have so many, a hundred plus senior citizens. They live a long time, or at least they used to. And I asked every person I met, “What’s the secret?” And they all had a different answer, which was pretty adorable. But the one constant was they were all active.

So I had a driver who was helping us out. He considered himself young. He was 85, and we would drive and he’d point to the retirement homes and he’d say, “That’s where you go to die. That’s when you stop.” He’s like, “As soon as you sit on the couch and start watching TV, it’s over.” And we would go to the farmer’s markets and you’d see people who were 98, 103, walking around shopping, tending garden, active. And they were still engaged.

Jon Batiste: That’s absolutely incredible because all of those things you would think of are mundane and that you are trying to get away from doing.

Tim Ferriss: Yeah, exactly.

Jon Batiste: “That’s what I’m trying to retire from.” Or, “I want to outsource that.” Which, that almost becomes a way of life. It’s like a philosophy.

Tim Ferriss: Yeah, totally. Well, I remember I was reading different books by Kurt Vonnegut, who is one of my favorite writers.

Jon Batiste: Oh, yeah, Kurt. Yeah.

Tim Ferriss: He had this, I think it was an essay. He was like, “If people tell you the purpose of life is not to fart around, don’t believe them.” He’s like, “I go to the post office, I wait in line. Most people don’t want to do that.” He’s like, “But that’s the connective tissue. All those in-between moments, right? If you’re only celebrating the huge this, the huge that, the big events, I mean, you’re missing like 98 percent of your life.”

Jon Batiste: Oh, man. Wow. There’s something about that I think about often. How do you maintain a flow state in waking life throughout the mundane? How do you embrace the mundane and find the muse in the mundane without having to go to some sacred place?

Tim Ferriss: Yeah, exactly. To take a time out.

Jon Batiste: I have to go and plug into something else to connect.

Tim Ferriss: Yeah, totally.

Jon Batiste: Versus just being connected.

Tim Ferriss: I’m going to pause you for one second. I want to make sure โ€” are we going? Okay, cool. I was like, “We’re getting in there. I love it.” Oh, yeah, yeah, yeah, we’re going.

Jon Batiste: Yeah, man.

Tim Ferriss: Speaking of flow, we’re going. We’re off to the races.

Jon Batiste: Is that all right? Should we โ€” 

Tim Ferriss: We’re on the skateboards. Oh, yeah, yeah, totally. No, I’m going to do the intro later and all that stuff, so we don’t have to think about that.

Jon Batiste: Okay. No, I was just โ€” 

Tim Ferriss: No, let’s riff.

Jon Batiste: Let’s wrap it, man.

Tim Ferriss: Yeah, yeah. So, the muse in the mundane, how have you found that or how have you tried to find that?

Jon Batiste: Mistakes.

Tim Ferriss: All right.

Jon Batiste: Mistakes are amazing. Mistakes are brilliant. It’s a gift to go about your day and for something, either a mistake or something that you didn’t plan, an interruption, some seeming calamity happening that allows for you to not only respond, but to create.

And then in that moment, you have the ability to discover something that’s much greater than anything that you could invent or devise. Because there’s something that happens with the synapses and the way that you respond to seeming calamity that brings you to your highest potential.

Tim Ferriss: So I have to ask you about something I read when I was doing research for this, which is always fun because I get to be a creepy stalker online for people I know, which otherwise would be very strange and uncomfortable for everybody. And I was reading this piece from The Guardian, and I want to ask about introspection because you’re very reflective, and I admire that.

I mean, you seem to have cultivated self-awareness in a lot of what you do. In this Guardian piece they said, “Maybe that’s because he didn’t speak until he was 10.” Or something along those lines. Did you not speak for a lot of your, I guess, childhood, given the framing that they put in the article?

Jon Batiste: Man, what’s amazing is those years, I don’t have so many memories of those years either, and I don’t understand why. I’ve just started to excavate that more and more in the last year, just trying to figure out what was going on, what was the context. And for all intents and purposes, my life has truly been blessed.

I’ve had such a great upbringing, but there was something about being born into the world that felt like I needed to observe before I participated. It felt like I needed to watch what was happening and synthesize what was happening. All the different perspectives, all the different personalities growing up around a lot of colorful personalities.

A lot of sounds and rhythms, a lot of life force energy and a lot of danger. So I think the aspect of being in all of that meeting my natural state, my innate makeup caused me to โ€” it was deeper than introspection. Something that I still have yet to put words to or fully understand in my early years, put me in a space where I was observing and gathering, observing and gathering, observing, gathering.

And then eventually it became, “Okay, let me emerge into a new era. Let me try to mold some things.” And it started with music, “Let me try to mold the world around me. Let me try to shift things and create things and influence things, dare I say. Let me try.” In little ways I would start, and then it extended far beyond music. 

Tim Ferriss: What age would you say that was? Hard to pin down, but โ€” 

Jon Batiste: Yeah, exactly. You already peeped it out, Tim. It’s like it’s around 14 or 15. It was music that allowed for me to have an opportunity to present myself. On stage you have to present yourself in a way that is amplifying aspects of what’s inside. And ultimately, you have a decision to make as a performer to decide how far between who you actually are and who you’ve created to project on the stage are you?

Tim Ferriss: How big is the jump, the discrepancy between those two?

Jon Batiste: It’s a choice you make.

Tim Ferriss: How do you think about it? Because I remember chatting with Andrew Zimmern, TV host, does a lot of different things, and he said, “Be very careful about…” And I’m paraphrasing, he was like, “Be very careful about who you are in episode one, season one, because you could paint yourself into a corner where you have to be that guy now forever if it’s popular.” How have you thought about that?

Jon Batiste: I thought about it from, first, the perspective of how do I get to a point where all that’s within me, all these things that I feel, these ideas that I have, this vision becomes a reality? So that took so much stepping outside of my comfort zone, we called it “Throw yourself in the water.” We would do things like, when I was in college, my band and I would go in the subway and we would play for people.

We wouldn’t ask for money. We wouldn’t busk. We would just play concerts for people who weren’t expecting a concert to just get to the point where we were fearless about presenting art and also wanted to change the atmosphere in this community of a train station that has all these people from different walks of life now locked in the train together.

So it’s a certain aspect of winning them over that we worked on. How do we create harmony in this scenario? And then that extended. Now let’s go and strike up conversation with people that we don’t know and talk to them about things that they’re going through. And then let’s share some things that we don’t want to share that we’re going through.

Tim Ferriss: I have a big question for you. I think it’s related to all of this, and I’ve wanted to ask you a lot, and Molly’s getting excited and stretching over here. So I think it’s a good sign. So the question is about how to choose where you go on this quest of originality, because it seems like that was part of your life pretty early, maybe 15, 16, 17. The phrase that keeps coming back is “Quest for originality.” And of course, we’re all original. We’re all one of a kind.

Jon Batiste: Yes, yes, sir.

Tim Ferriss: But in a saturated world, in a busy world, with so many facets of ourselves, you can go in a million different directions. You have a lot of choices. So how have you chosen which pathways to explore? Right? Like interacting with these people on the subway, playing some of the instruments you’ve played that I know were not assigned to you at Juilliard.

Jon Batiste: Yes, yes, yes.

Tim Ferriss: So how do you pick which aspects of yourself or which scent trails to explore?

Jon Batiste: You have to understand what is it that’s yearning to be expressed within you? Even if you’re dreadfully afraid of it, you can have something within that seems so far away from the reality of your current state that it couldn’t possibly be for you in your mind. And every fiber of your being is telling you, “This isn’t what I should be pursuing. This isn’t who I am.” That’s the one right there. That one right there.

Tim Ferriss: The scary one.

Jon Batiste: This isn’t who I am.

Tim Ferriss: It won’t go away.

Jon Batiste: Yeah. But it sticks with you and you start to say, “Oh, it’s not going away.”

Tim Ferriss: Could you give an example? Do any examples come to mind for you personally?

Jon Batiste: Oh, my gosh. Well, performing for me, my first experiences with performing were traumatic at best. I mean, the level of performance anxiety that I still have is unbelievably paralyzing to the point that I’ve developed mantras and different ways of reaching for what’s inside, and also just a greater sense of purpose and philosophy that really is a foundation that lifts me to the point of taking the stage and sharing it because it’s bigger than oneself, right?

Tim Ferriss: And did you feel that yearning to perform? Was it an image? Was it a feeling? Was that the yearning?

Jon Batiste: That was part of it. I remember my first time on a talent show dancing, which is another aspect of it, dancing, something that I was not naturally accustomed to doing besides just at family functions. And it wasn’t something that came natural to me. I was more of someone who was a spiritual mover versus the most precise dancer.

But I went on a talent show with my best friend. We were in elementary school at the time, and he goes on stage. He was a very natural dancer, and he convinced me to join him on the talent show stage in front of the entire school from K-8, the whole school, all the teachers, everybody just gathered in the auditorium.

The music starts playing. It was like some sort of decrepit Michael Jackson beat, like Fisher-Price that you did.

Tim Ferriss: Oh, yeah, Casio SK-1. I remember.

Jon Batiste: It was going, man. And I get up there and I’m going, and at this time what I knew was the Running Man, MC Hammer.

Tim Ferriss: I remember.

Jon Batiste: You know that?

Tim Ferriss: Oh, of course.

Jon Batiste: For the pants, parachute.

Tim Ferriss: Got to be careful. I can’t ride any horses with that. But yeah, you can dance with them on.

Jon Batiste: Ain’t riding a horse with that. What kind of horse you got? No, you got to get away from that. I said, “Man, listen, let me try the Running Man.” That didn’t work. Everything I turned to didn’t work. Okay, “Let me try to do the Moonwalk. Keon just did it too.” That didn’t work. It was the mix of cheers and laughter, both this sort of excitement by what he was doing from the audience and also this sort of, “What is wrong with this child to think that he could be up there?”

I was mortified. And I remember leaving that scenario and thinking I would never โ€” I had so many moments. That’s the thing that I remember most about performance early on. Every moment I tried to perform, I faced rejection and left thinking, “I don’t ever have to do that again. There’s nothing in that for me.”

Now, fast-forward, I’m thinking about that dancing moment because it came back to me again a couple of years ago when we were at the Grammys and we were at rehearsal, and I’m leading this performance with 30 dancers, and there’s a moment where we all run. The tape is probably somewhere out there, but there’s a moment where we all run in place. We break the fourth wall. We jump into the audience.

And we run from the stage in the vision, Jemel McWilliams and I, we were coming up with this vision of, “Let’s just break through the screen. Let’s break through any pretense. Let’s build an energy with our collective here, this group of us that just permeates every soul watching.” I remember even saying at some point on the stage, “Touch the screen, get a blessing.” It was almost like Tony Robbins motivational speech meets โ€” 

Tim Ferriss: Baptist church.

Jon Batiste: Yeah. We got to this point where the energy, it was fierce just like a shaman just moving the energy around. We got to this running move, and that was the launch of it all. And I remembered thinking back to when I was that kid in second grade, and I was almost booed off the stage if it wasn’t for Keon, right?

And I’m doing this move at the Grammys and it’s happening in real time, there’s a collective life force energy that’s coming from it. And that’s the thing that, creating that, moments like that, moments long before that, whether it’s in the subway, just creating that energy was the call. 

Tim Ferriss: That was what you were yearning for, was creating the energy?

Jon Batiste: That type of โ€” 

Tim Ferriss: Electricity?

Jon Batiste: It’s electricity, it’s community, it’s what the world could be. It’s an aspirational vision of us. I thought for a while I was like, “What is the field that I enter into to create this or to cultivate this? What is that space?” And I didn’t have words for it for many years, and it evolves over time, and it requires performance, but it’s so much โ€” I’ve never shared this, but I didn’t think โ€” I mean, we’re already getting deep, so why not?

Tim Ferriss: Yeah, let’s go for it.

Jon Batiste: But this idea has led me to places that in recent times, I don’t know how much longer I will be performing or be a musician.

Tim Ferriss: Why is that?

Jon Batiste: I’ve never said that, but it’s been coming up in the last โ€” I mean, Suleika and I’ve talked about it before, just because we have that type of relationship of exploring and challenging each other. But the form of the vocation is shifting, and the gift of music for me, and its meaning in my life and its application within the vocation is also shifting.

Tim Ferriss: Do you know where it’s shifting to or do you just feel the tectonic plates shifting and you’re like, “All right, let’s pause and pay attention?” How are you experiencing that shift, that shifting?

Jon Batiste: Man, it’s such an intuitive thing. It’s such a trust-based relationship. You don’t force it. You don’t force it. You can’t force it. It just tells you when it’s time.

Tim Ferriss: Is that a sensitivity that you think everybody has, or do you think you have greater sensitivity to feel that and to sit with it, even though it might be uncomfortable to not have a compass pointing you in a certain direction?

Jon Batiste: I think those early years, coupled with now, by my own volition, but when I was in college, there were times when they sent me for psychiatric evaluation. And those early years, there may be some root to your first question about why wasn’t I speaking? There may be some root within the way that my psyche was formed.

And for me, also, the superpower within that that’s allowed for me to develop a relationship with presence and with being that allows for me to trust and have faith, and also just the natural state of an artist is to have complete faith, unwavering faith in the ability for you to make this thing real that no one sees or can experience yet, but you.

And you have to do your best with words which fail to describe it, to communicate to collaborators to potentially join you, join the ranks of building this thing.

Tim Ferriss: I do. I do. Actually. I don’t want to turn this into the confessional on my part, so that may for another time.

Jon Batiste: No, no, go for it, man.

Tim Ferriss: Well, I do โ€” there are experiences on the maybe far end of the spectrum, you have mystical experiences, which, by definition, are ineffable, right? They translate very poorly to words. And then there are these felt senses and these evolved capabilities that also predate language. So it’s very difficult, if not impossible, to apply clean prose to describing them.

And to that extent, I do think I feel what you’re saying, and I’m curious as these things are taking shape in your body and your mind, these things you feel that are not yet externalized, how much of it is waiting and how much of it is tickling the muse for these original concepts or ideas or impulses? Are there ways that you help yourself to generate or be receptive to new directions and new ideas?

Jon Batiste: I was checking out Alfred Hitchcock the other night, suspense. If you think about the device of suspense in cinema that he mastered, and you experience that through the things that he created, at least for me, that was something that brought me back to an understanding of the muse, which is this idea that suspense is created when there are stakes and when you don’t know what’s going to happen on the other side.

So you then have to put everything on the line that you believe in that motivates you, that powers you, you have to put it on the line in order to move toward whatever your desired outcome is in a limited amount of time, and sometimes without enough intel or intellectual processing of the information to even know which direction you want to take it in. You just have the moment.

So for me, I love to create these pockets of suspense, these pockets of pressurized creativity or pressurized experience that leads me to discovery, that it pushes me forward. And I think about things that are not music, like cinema or โ€” there’s so many things that are not connected to the actual craft that I draw from much, much, much more than actually thinking about the inspiration of music and the fruit of the craft itself.

Tim Ferriss: If we take a closer look at the stakes and the unknown, I’m wondering if I’m hearing you correctly, because it was just a week ago. I was having a conversation with a number of friends, having dinner, drinks, and I posed a question, which was, “What do you do when you get stuck or you’re feeling stuck and you want to push yourself in a new direction?”

And there were a lot of different answers, but there was one common thread which was in effect, “I need to book the theater so I write the play.” A feeling of getting in over your head where you commit to something and then you figure out what that thing is going to be.

But now you have something on the schedule, people are involved, and then you’re in the dark, groping around, you figure it out. I’m wondering if you apply some version of that in your own life, if that’s what, in a sense, you mean by stakes and moving into the unknown? Or if it takes other forms.

Jon Batiste: That was the gateway drug. But what happens for me at this point is the zoom out, and the zoom out is this perspective on all things time. The perspective of your lineage, the understanding of your lifespan, all these things that require you to zoom out, to really assess and feel in your marrow to grasp.

And it makes those commitments feel minor to me, even if they’re attached to some monetary outcome or some consequence that is deemed dangerous by the way that our metrics on these things almost become so irrelevant to me that it requires me to have another motivation in order to really reach the thing that is most impactful and most resonant within.

Tim Ferriss: What kind of motivation motivates you these days?

Jon Batiste: So when you have the zoom out, when I come back to the creative process, it almost has to be the opposite of what it used to be, which is, “Let me put myself in a position, throw myself in the water and figure out how I’m going to evolve and do something.” Then it eventually went to, “How do I go into โ€” how do I bridge this into a whole ‘nother craft? How do I create…” That’s why I love the idea of what we call genres, which are just silos that promote ignorance.

But that’s fun for me because that’s not based on a truth. So the zoom out helps you to assess all the truths, the laws, this is what is. And then the motivation has to come in the opposite way of force. It has to come almost like a dream comes to you in the night. You can’t do anything about your dreams, per se, but feed the dream machine.

You can’t generate the opportunity for you to have a certain dream. You can, perhaps, interact with your dream once it arrives, and it’s so ephemeral. Even remembering your dreams oftentimes can be difficult depending on what space you are in your life. So I have to โ€” it makes everything that happens delicate, and it makes everything that I commit to, in some ways, very tenuous when it comes to the mammoth mechanics of our industry.

And I’m getting to a point, which is a part of the realization where perhaps there’s not a context within the industry and the mechanics therein that, as they exist today, that I can find true inspiration from, and that I can connect the dots of my โ€” there’s a constellation of inspiration that crosses so many spectrums of society, and I can’t access it if I play by these rules.

Tim Ferriss: Yeah. If you’re in the silo playing by the “laws” in quotation marks, right?

Jon Batiste: Exactly. And the zoom out gives you such a perspective on that, that it makes you fiercely prepared for when the dream comes, because then you’ll embrace it because it’s your top priority. It’s the chief motivation, but you can’t make it come.

Tim Ferriss: But you’re primed to receive it when it shows up.

Jon Batiste: You’re ready. So when I don’t have inspiration or I have a block, I do nothing. I live. And it’s absolutely because of the deeper inspiration that I’m blessed to feel. I feel it’s been cultivated. I’m connected to it, and I know it’s real, and it doesn’t have to greet me every day. I know it’s there.

Tim Ferriss: It’s like an old friend, not a lot of maintenance required.

Jon Batiste: Yes. It just requires you to be focused and be ready when it’s there.

Tim Ferriss: So let’s say the muse makes an appearance. You’re receptive and you’re not grasping, but your hands are ready to catch, right? And then you go into execution mode on whatever it might be, or you start exploring. I want to come back to something you mentioned, which was the performance anxiety and the mantras and various things you used to ground you. What are the mantras that you have landed on?

Jon Batiste: Well, I haven’t shared all. I share some. Two of them we share at the shows when we perform often. One is one that I thought of for children, and I thought of for the child within me, and it’s, “I feel good, I feel free. I feel fine just being me.” And you go over and over and over and over. “I feel good. I feel free. I feel fine just being me.” Circular melody. “I feel good today. Oh, so good today. I feel good. I feel free. I feel fine, one, two, three. Bum, bum, bum, bum, bum, bum, bum, bum, bum, bum.” So everybody sings along automatically. Everybody’s โ€”

Tim Ferriss: I’ve seen it, because I was in Moody Theater in Austin watching this just extend into the audience.

Jon Batiste: Yes.

Tim Ferriss: Amazing to watch.

Jon Batiste: Oh, man.

Tim Ferriss: Amazing to experience and participate in too.

Jon Batiste: I was so โ€” man, that was such a great feeling seeing you there, just because I understand you get it on so many levels. You really understand. It’s such a spiritual practice. It’s not so much about me showing up and playing instruments or, “Look at how great the band โ€” look at the dance. Look at the…” More and more, more and more, and it always has been. But more and more, how do we continue to refine this spiritual practice, this ritual of community, of sharing, of artistry, all of it.

And what are we pointed at? What do we focus this life force energy at next? So those mantras for me are, if you don’t live it and it’s not a part of you, it’s not going to come out of the instrument. What we play is life. What we create is life. The quality of the human being, the quality of the vessel, even a broken vessel, which is oftentimes the most effective, the most relatable, the most universal.

But there has to be that space in you that you’ve saved. That is the sacred space. It doesn’t have to be โ€” of course, there are great ways to cultivate physical world, sacred places, and practices. So for me, those mantras in my prayers, in that sense of understanding how to always know if that’s there and if it’s not there, it might be time to take six months, a year or whatever I need to take off so that then I can know that it’s there.

But right now, I’m in a period where it’s very strong, so it allows for me to be fearless, which is something that I haven’t felt that this strongly in a while.

Tim Ferriss: Oh, yeah. Got to ride the wave then.

Jon Batiste: You know what I mean?

Tim Ferriss: Yeah. You’ve got to paddle for the wave. 

Jon Batiste: Yeah. 

Tim Ferriss: What other mantras can you share?

Jon Batiste: Oh, man, this is deep. You going in?

Tim Ferriss: I’m going in. I’m going in. Scuba gear intact.

Jon Batiste: Tim. Yeah โ€” 

Tim Ferriss: Because I believe in the power of mantras.

Jon Batiste: Oh, you โ€” 

Tim Ferriss: I do. In meditation, in repetition, the ability to, in a sense, end up with the mind of no mind to cleanse the palate. I mean, there’s so many different ways you can use mantras also, which is why this is as deeply interesting to me. It can be a concentration practice. It can be an erasing practice to regain some equilibrium.

There’s so many different ways to use repetition. It could be drumming too. It doesn’t have to be โ€” could be instrumental. There are so many different ways that you can enter unusual, uncommon states using repetition. So I’m very, very interested in this, which is why I’m asking.

Jon Batiste: Yes, for sure. So two of the ones that I โ€” not for stage, but just more for crisis that I go to is, “Be still and know,” which is from the Bible, “Be still and know that I am God.” It is this idea that I’ll give you a practice, so, “Be still and know that I am God. Be still and know that I am. Be still, and know that I. Be still and know that. Be still, and know. Be still. Be.”

Just this idea, I’ve sat with that, and each phrase has a different meaning, even, “Be still and…” Then breath or room tone. There’s messages in that space. There’s messages in the crevice. So I’ve done that and sat in that, and it’s changed my entire perspective on a crisis or something that I felt perhaps I was wronged or perhaps there’s so many opportunities for us in this life to transmutate darkness into light or even darkness, just into perspective.

Another one is, “Thy will be done.” Which is one of surrender. Now, we believe there’s a divine power. There’s, however you name it, whatever your relationship to it is. We’ve, for the most part, had an experience that’s something beyond explanation. The universe is carrying us in some way, “Thy will be done,” is trusting that there’s a divine logic to it all. When there’s nothing that you can do, “Thy will be done. Thy will be done. Thy will be done.”

Because the belief of this divine logic allows for you to understand that there’s a path and you are accounted for in that path. You are accounted for. There’s so much that is allowed for you to be the culmination of so many things has led to you, and there will never be another you. You’re the only one. That specificity alone is something that comes to me when I’m in that, “Thy will be done.”

It’s a revelation of so many other things, which is also allowing for the right thing to occur and for me to be accepting of it versus for me to control it without knowledge of what the true right thing is. So there’s so much that you have to cleanse yourself of from believing or from holding onto that’s not actually connected to the best outcome. But you can’t always know that, especially in crisis.

Tim Ferriss: It’s very hard to know. Right? Many parables are always like, “This happened, such good news, maybe.”

Jon Batiste: Right.

Tim Ferriss: “Such and such happened. This is terrible, maybe.” It just depends on so many things outside of our sphere of knowledge that, on so many levels, can’t be known. Right? So when would you be inclined to say to yourself that last mantra, when would you apply that in your life?

Jon Batiste: There’s so many things that happened to us with our health. I talk about Suleika a lot. I love her, as you know.

Tim Ferriss: She’s great. Yeah. Had her on the show.

Jon Batiste: Yes. And I also borrow a lot of phrases from her, in particular, this idea of being between two kingdoms, this idea of the kingdom of the well, the kingdom of the sick. And we all exist in this in-between space, and we have a passport for both.

Which is something that she created this understanding of that through the way she lives through it, the way she gracefully moves through this time with such grace, with such power, with such clarity. I think about that.

I think about how there’s a certain surrender that’s required of all of us in times when we deal with health challenges, whether it’s us or a loved one. And you find yourself in moments where there’s literally nothing that you can do to take away pain or to take away the unknown and the anxiety of waiting.

So that’s an opportunity for a great amount of growth. That’s an opportunity for a lesson to be instilled in a way that almost nothing else that I can think of affords you the chance for. Thy will be done.

Tim Ferriss: Thy will be done. Yeah. This coach I worked with for a while, he used to say, “This is your pop quiz from the universe” when something unexpected would pop up, he’d be like, “All right, all that meditation you’ve been doingโ€ฆ”

Jon Batiste: “Let’s see it.”

Tim Ferriss: “Let’s see it.”

Jon Batiste: “Let’s see it, bro. Come on, bro.”

Tim Ferriss: “You’ve been rehearsing. This is game time. Let’s see how it goes.”

Jon Batiste: Yeah, yeah. Oh, Tim, you know what I’m saying?

Tim Ferriss: I do.

Jon Batiste: When you’re in that moment.

Tim Ferriss: I’ve had a lot of sympathy for watching you both go through that journey, and I can only imagine what it’s like. I mean, I have been, of course, and most people listening have been in a position where they feel powerless to help, or they don’t know how to help a loved one.

But had a lot of sympathy for a challenging road, and also really been in awe of how much growth both of you have exhibited through the challenges and pain and so on. In any case, I just wanted to say that.

Jon Batiste: Oh, man, it means a lot to hear that, and it feels โ€” so much of the time, as odd as it may sound, it feels like a privilege to go through it together in the way that we have seen it. It’s shifted into almost the orientation of blessing.

And that’s not to say that the difficulties are any easier. It doesn’t change the nature of hard things. They’re hard, but there’s something about life. There’s a truth. There’s something about going through the fire that is so required and something about suffering that is so essential.

This idea that we are meant to run from pain or run from difficult things and find the most leisurely and completely frictionless existence possible is such a lie. It’s not just a lie because it’s not possible, but if it were possible, that would kill you the most.

Tim Ferriss: Yeah. It would rob you in so many ways, which is of course easy for me to say, sitting in this comfortable chair right now. But in the midst of it’s sometimes hard to see it. At the same time, there was an astrophysicist, Janna Levin, who was on the podcast sometime ago, and I’m going to butcher this quote, but it’s more the concept for me that has really stuck.

She said something along the lines of, “I used to look for the underlying path that would help me navigate around obstacles. And then I realized there is no underlying path. The obstacles are the path through which you discover yourself, through which you learn, through which you grow. That is the path.”

Jon Batiste: That’s the path.

Tim Ferriss: Take those away โ€” 

Jon Batiste: That’s it.

Tim Ferriss: โ€” and then you’re just a free-floating essence of comfort. That’s just not the human experience.

Jon Batiste: Yeah.

Tim Ferriss: And also, you’re talking about blessings. So I could imagine even an earlier version of me would say like, “Oh, come on now. I suppose that’s helpful, but maybe it’s delusional and it’s overly optimistic.” But it’s deeper than that.

And I think that misses the mark because given a longer timeframe, given all the unknowns, it could be a blessing, it could be a curse, but you can’t know which it is over time, and it depends a lot on your perspective. So you might as well choose a blessing, that is the more enabling perspective.

And since you can’t know, it’s a coin flip, choose the side of the coin that is most enabling. It seems to me, at least. In the abstract, it’s easy to say, taxi runs over my foot, we’ll see how I do later today but โ€” 

Jon Batiste: It’s that. And it’s also, you only will know when you are there. You have to go there to know there. You’ll only know what it can be for you when you’re in the fire. Everybody can talk about what they would do when they are there.

We can all say, “Man, if that would’ve happened to me, I would slay the dragon. Or I would…” Whatever you think you would do, most often is not what you would do. And that’s not because you’re not who you think you are, it’s because there’s so many other factors you can’t know.

And for many things in my life that I think about, the things I’ve learned the most from are when I’ve embraced the discomfort and realized what I was made of through it.

Tim Ferriss: Well, let me just sit with that for a second.

Jon Batiste: Yeah.

Tim Ferriss: Do you have any favorite failures? Now, I put “failures” in quotation marks because this is something that at the time seemed crushing or seemed awful, that actually in some way set the stage for much bigger or better things later. Do you have any of those types of slips or rejections or failures that come to mind?

Jon Batiste: Wow, I feel like my life is riddled with them. And I also feel like I move through them fairly quickly. Not cavalier, but there’s a sense of understanding it now that I didn’t have then. 

Tim Ferriss: Yeah. How do you move through them quickly? Why do you think that is?

Jon Batiste: It’s because I know they’re for my own good. Not that they’re all for my own good. I guess the reason is because I don’t actually believe that failure exists. It’s not that it’s necessarily for your own good, but failure doesn’t exist.

There’s opportunity for you to take something from the experience, and even if the experience is reinforcing something that you already know, it’s reinforcing something that you already know. It’s an opportunity for you to see this experience, this thing that you wanted, this thing that maybe you hoped would work out but didn’t work out.

All of that adds to the fabric and the richness of your character and your experience and your knowledge base so that you, as I say, “You go there to know there.” You have been there. I’ve traveled that road. I’ve played those notes. I know that piece. I sung that song. I own that. And there’s always on the other side of everything, the opportunity for transformation.

Tim Ferriss: Can you tell a story of any โ€” I’m not going to use the word “failure” โ€” growth opportunities that you encountered before you turned into Jon Batiste in kind of marquee lights, right? Because you’ve really popped in a huge way. I mean, since I first met you ages ago and probably Utah or wherever we happened to be, it was, I can’t remember initially where it was, but before that, can you tell the story of any incidents where things didn’t go your way and how you metabolized it?

Jon Batiste: Man, I grew up between Kenner, Louisiana, which is a very old school, southern town, old country railroad tracks running through the middle of it with canals. Provincial, southern town, just outside of New Orleans. And New Orleans is another planet.

And I grew up as a kid getting bullied for all types of things, man. When I was in school, I would get bullied, whether it was, “Are you okay? Are you with us? Are you slow?” Your feet, your nose, your hair โ€” all these aspects of self-esteem that were attacked.

So then you go through life in the early years with no real understanding of what you have of value to offer the world, what you have to connect with. So fast-forward, you get to a point where you discover music, but it’s still something that, but amongst my family, I was the youngest and least talented.

When I was growing up I didn’t think that I would ever be a performer because there were 30 other people who had that covered. It wasn’t like โ€” 

Tim Ferriss: That’s just wild to try to paint a picture of that in my mind.

Jon Batiste: People โ€” 

Tim Ferriss: That’s a lot of performers. Yeah.

Jon Batiste: People don’t get that. They think, “Oh, you were born with a tambourine in your hand and you came out singing.” This is not the case. There was a glorious awkwardness. That was a decade or more before I touched the instrument. I started at 11 years old, late bloomer in the context of everybody around me.

Now, there was so many bad gigs, bad performances, and I was known as the kid who would play expressionless. I would be playing, and it would be all well and good, but my face would have no expression, none. It would be like I would shut off. So I get to the point where there’s a long period of hours and hours in the practice room and performances between 14 and 17.

Tim Ferriss: Where were you at the time? Still in โ€” 

Jon Batiste: In New Orleans.

Tim Ferriss: New Orleans.

Jon Batiste: Living in Kenner, going back and forth, New Orleans, performing at night, going to two schools at once. Just this idea that you had the art school that evening. In the mornings, you had an academic school. Still getting bullied, still also becoming somewhat of a young musical phenom, but not the best one. So there’s still not really, like โ€” you don’t really know where you fit or where it’s all going.

Tim Ferriss: And at that point, was piano the key to that phenom perception, or was โ€” 

Jon Batiste: It was the piano, that was the thing. That was something that I’d alternate between playing in clubs at 14, 15 years old that I wasn’t supposed to be in at night after going to school. And then I would also on the weekends be doing classical piano lessons and piano competitions.

So alternating between those two realities and also going and really finding this sort of tribe. My peers starting bands with, first, my cousins, Travis and Jamal, who are older and multi-instrumental and inspired me. Then Troy “Trombone Shorty” Andrews. Maybe at the time we met, 11 or 12, he had been playing for a decade and touring the world.

So we start bands, we’re doing club shows, we’re doing all these things and constantly just presenting things that are experimental and pushing ourselves to do things that we’d never done. I didn’t have a desire or a real push to go into music until I was maybe 17 and I moved to New York on my own. And the first story of failure โ€” 

Tim Ferriss: Can I pause you for one sec?

Jon Batiste: Okay.

Tim Ferriss: That’s a cliffhanger. So first story of failure.

Jon Batiste: Yes.

Tim Ferriss: What did the conversation look like when you’re informing friends and family that you’re going to move to New York? What was the drive behind this? How did that go? And then we’re going to get back to the cliffhanger of โ€” 

Jon Batiste: I felt like there was a great deal of support. My mother is a visionary when it comes to understanding what someone could be. She was the driving force of the piano being the instrument that I focused on at 11 versus several other things that were in the periphery. I could have chosen the drums. 

Tim Ferriss: And just in brief, why did she think that was a clutch move?

Jon Batiste: I don’t understand how she does it, but she does it.

Tim Ferriss: Or she just saw โ€” 

Jon Batiste: That’s the thing. That’s her thing.

Tim Ferriss: โ€” you have a piano player inside of you.

Jon Batiste: Yes, yes. Even if she didn’t see that fully, she saw that the piano is the right direction for you to take in music.

Tim Ferriss: Is it because it’s the option that opens up the most options, or was there more to it?

Jon Batiste: I don’t know if she had a vision. She mentioned sometimes that there’s a sophistication to the piano that she was attracted to that felt like it was the instrument for someone who is going to apply all of their forces and all of their abilities. It’s a conductor’s instrument. It’s the maestro’s instrument. So I know that that was a part of her thinking. It’s the thing that’s going to allow for you to be as highbrow or as lowbrow as you want.

Tim Ferriss: I think it was a smart โ€” this seems maybe self-evident to say, but a very prescient, incredibly powerful, deeply directing, right? Because when I look at what you’re capable of doing, part of the reason it seems to me that you’re able to harness this broad spectrum of options is because you have that highbrow card to pull out. And if people want to nitpick or they want to do this and this, you’re like, “All right, let me just sit down for a second.” And then they’re like, “Okay, I take it back.” Which buys you permission to do a really wide range of things.

Jon Batiste: Yes. Yes. That is her thing. She’s very clairvoyant. It’s also a leadership quality she has. She’s very much, she was an environmentalist before it was the in vogue thing to do for many years. At a different time, not having been born in the South, a Black woman like her would be a CEO of a company.

It’s a different thing that she has that, it’s significant to think about now, in retrospect, all the decisions that she made, which eventually led to me, graduated high school a year early, moving to New York as a minor at 17.

And her supporting that, my dad also supporting that as a musical mentor, my first musical mentor, he was the one who was like, “Okay, New York are what cats really play, bruh, you’re going โ€” in New Orleans, we play. And then there’s a legit thing with the cats in New York they’re a little stiff, but you’ll learn a lot.”

So he supported that too from a different angle. And so I went up there and he’s like, “If you can make it in there, you have a lot to come back with.” The vision was never, “Oh, you’ll go there and stay.”

Tim Ferriss: Stay there.

Jon Batiste: You dig?

Tim Ferriss: I do. So you were saying your first failure, so you get to New York, what happens?

Jon Batiste: It’s a disaster. Man, listen.

Tim Ferriss: Molly’s like, “I’m listening.”

Jon Batiste: You dig? I went to New York and within the first week, I’m in the subway traveling around, and I pass out on the platform.

Tim Ferriss: Pass out on the platform?

Jon Batiste: Yeah, as I’m out. I’m like, “What’s going on? What’s happening here?”

Tim Ferriss: This doesn’t happen a lot. I pay attention to this. Molly’s sitting right next to you.

Jon Batiste: Hello, Molly. Hey.

Tim Ferriss: It’s my external nervous system. So you pass out on the platform?

Jon Batiste: Yes. Yes.

Tim Ferriss: That sounds dangerous.

Jon Batiste: Yeah, very dangerous. Luckily there were some friends there who could catch me and take me to, which at this time was, I think it was Roosevelt, the ER, I went there. The one that’s right next to Lincoln Center, maybe near Fordham. We went there. I’m there. They say, “Oh, you’re exhausted, and maybe you’re having some migraines or something.” They give me Tylenol, tell me to go away.

I’m having night sweats. I’m basically feeling this sharp pain in my lung. And then I start to pass out again. I feel this intensity. Meanwhile, the second day that I was there, before all this happened, I’m in the dorms of Juilliard. I’m unpacking. I’m doing all the things, the bunk is up. I fall off the bunk. And basically, fracture a rib, if not close to it. They do the X-ray. They’re like, “You’ve got a lot happening.”

But, now this is the wildest part. I go back to the ER. They say, “You have walking pneumonia that you’ve had for two weeks. You have to stay here overnight, over a few days, while we give you the IV fluids and the antibiotics and all the things.” I missed the orientation of the school year. I missed all the things that you get acclimated to. And there’s nobody that is in New York. I have a second cousin who lives in Harlem who I get acquainted with, and we become closer during this time.

But I remember thinking, “Am I supposed to be here?” From falling out the bunk? And I’m like, “No, I can’t miss this.” So I go back, I’m just in there. Next thing you know, I’m fainting in the subway, “Oh, man. Oh, I’m just exhausted. I’ve got to cool out.” Next thing you know, I’m in the night, I’m sweating. Something’s happening. That’s my lungs crying out, “You’ve had pneumonia, you’ve been walking around with this.”

Between that being the first year of me being in New York, first time at Juilliard, first time being away from home, it completely felt like a crash and burn scenario, “It’s time for you to get out of here.”

Tim Ferriss: All the signs point to the exit.

Jon Batiste: Everything’s telling me at this time, internally, as I’m sitting in the hospital, I remember those days. It was like three or four days I was there. And I felt this sort of โ€” as a kid, you’re like, “I don’t want to tell my parents, but I also don’t feel like I belong here. I need to get out of here.”

And it’s also this kind of โ€” there was a dichotomy of coming from this very rich cultural heritage and this beautiful expression of excellence and pedagogy, but Juilliard being this European classical legitimizing entity that, especially as a young Black kid, pushing the boundaries of what generationally my family has achieved.

And also musically, eventually wanting to become a disruptor from inside of all of it, and just in the most benevolent way, rip it all down and build it again in a different way. Knowing that that was somewhat of a motivation, and then landing and dead on arrival felt like it was ultimately the type of failure that โ€” it almost not only made me go home, but quit music. Just like, “This isn’t my profession. I can just go home. I had a whole bunch of things I could have done other than this.” To sitting there by yourself thinking about, “Is this a message?”

Tim Ferriss: So what happened? You’re here. So what resurrected the confidence or the direction?

Jon Batiste: Just the inner knowing, man. You’ve got to just know.

Tim Ferriss: All right, hold on, hold on.

Jon Batiste: I don’t have a โ€” 

Tim Ferriss: Now, I believe you. I believe you and I underscore it. And you’re a sensitive guy. When I say sensitive, I mean your instrumentation is sensitive. You’re like a jewelry scale, not some scale at the sports club in New York that’s five pounds off, you’re down to the nanogram.

So you have sensitive instrumentation. You’re thinking to yourself, “Man, I really thought A, B, and C. Here I am. I’ve had this 12-car pileup of disasters. Maybe I should just go home.” What did the little whisper say that started to tilt it back in the other direction towards that inner knowing? What was the feeling? And that’s one question.

If you want to take it a different angle, I would say, let’s say there’s a kid 10 years from now, basically you, very similar, from Kenner, Louisiana, at Juilliard, sends you a letter. All these things have happened, different set of disasters. But he’s like, “I really don’t know if this is for me. I could go back and do, A, B, and C.”

So very similar situation, and he’s like โ€” maybe he has an inner knowing, but you don’t know. What do you say to that kid? Would be another way. You can take it whichever direction makes sense.

Jon Batiste: So youngster, take your time to find the prize. There’s no rush. Pace yourself. What doesn’t kill you makes you stronger, is what they say. But until you experience it, that’s the only way. The texture that added to me immediately, in retrospect, is why I continued, the inner knowing that these experiences, which are just a series of unfortunate things at an unfortunate time, can be exacerbated in your mind and in your psyche, especially if you stew in it.

So I think, and I will tell this to the youngster, that happening to you is the gift of your arrival because it allows for you to figure out upon entry how to process all of the discomfort that’s to come in different forms and different ways. So pace yourself. Take your time. It’s your time. It doesn’t all have to happen right now.

Tim Ferriss: As I’m listening, you describe the gift of these unfortunate events because it’s preparing you for the discomfort to come, it makes me think of psychological and spiritual calluses. It’s like, “Oh, now you can do some real heavy lifting.”

Jon Batiste: Yeah. Yeah, now you get it. Yeah. That’s right.

Tim Ferriss: So the sensitivities, I want to double click on again just for a second because personally, and I’ve seen this in friends, busy, busy, busy. Go, go, go, a hundred miles an hour trying to do everything all at once. And that hasn’t been me forever, but there have been periods of time when I’m like that.

And when I’m in that gear, I wouldn’t say that โ€” if someone were to ask me, “Do you feel a deep sense of inner knowing about where you’re going to be a year or two from now, where you want to be?” I’d say no. However, if I slowed down a bit, if I decluttered my mind a bit, not necessarily watching paint dry, but I create the space, whether it’s through meditating, whether it’s through exercise of a certain type. I just did archery before I came here, which clears my mind really well.

Then the volume of the competing voices in my head has been lowered enough that I can hear things, right? And I’m wondering if you have ways to do that for yourself or if the signal’s just so strong you don’t need to do that. But I mean, you have a lot of projects and commitments, and I’m sure you have a million opportunities presented to you. When things get noisy, how do you help yourself to hear the inner feelings and voice and so on, so that it doesn’t get drowned out?

Jon Batiste: Man, Tim, we have to own what’s been entrusted to us to own. We really have so much that is divinely bestowed upon us. And you wake up every day as a steward of it all. And then you get up and you have a choice. “Do I pick up my phone? Do I give my mainframe away to some other thoughts or ideas or visions or distraction?” If you want to even call it that.

It’s a choice, whatever. I don’t really โ€” how did I set that intention prior to laying down the rest? What am I feeding into my psyche? What am I watching, the eye gate? What am I listening to? That’s why I make music a certain way. I know that for some, that’s going to be a fueling prerequisite for them.

Tim Ferriss: It’s going to be their fertile ground.

Jon Batiste: Yeah, something powerful is going to emerge from that. So for me, it’s like owning a car or you have this thing and it’s on lease. And to me, that’s it. I don’t try to hear, as I was saying before, it’s like a dream if it comes. I don’t rely on that to be the thing. And I have ways, like for you, archery connects you or primes you to be connected.

I’ve strayed away from the desire to have this mystical encounter at every turn in order to prove the existence of, “Be still and know.” This is funny how that’s come. When you evoke these mantras, I’m telling you, man. So that’s not a real need for me to own what I’ve been given.

Now, to own what I’ve been given also, when it comes to how to be primed to hear and to receive the download, it’s found in the mundane things and also the basic things, do you drink enough water? Do you get enough sleep? Do you fill your heart with love when you can, do you fill your mind with good things? Not even just things that are of good report.

Of course it’s great, but also information that will empower you with what you have. For me, I’ve studied music as an empowering force for what I have. I’ve studied many things. Music being chief among them, that’s going to ignite me based on what I’ve been given. What ignites you? How do you surround yourself with all of that?

And then, okay, now we have a sense of that to some degree. We have a lot of experts in that to some level. The flip is how do you cultivate giving it all away all the time? How do you give it? The measure of your greatness is the measure of your generosity. How do you give it?

Tim Ferriss: Okay, how do you think about that?

Jon Batiste: How can you give it?

Tim Ferriss: Now this is sharing the thing that you have on lease, this thing you’ve been endowed with.

Jon Batiste: That’s hard. That’s hard. Because you can cultivate portals of giving, you can donate, you can give your time, which is the highest level of giving. In terms of intentionally giving of your time is the highest level that you can go. But can you give of your time and your resources and your energy in a way that’s not regulated by a portal or something that you set up in advance? Can you live in a posture of giving? Can you create a generous temple within?

And can you walk through the world and live in a space where you’re unfettered and unbothered by the need, but also you’ve preserved, you’ve maintained a vessel so that you don’t completely rid yourself of your life force energy? You don’t want to be drained. There’s many things that can drain you and pull from you. And there’s darkness in the world. So then the discernment comes with this sort of awareness.

And there’s spaces in time when I’m much, much more aligned with that, and it’s so clear and so many moments of the deepest, most lasting impact and inspiration have happened when I’m in that space. But it’s maintenance. It comes back to like, it’s so simple. It’s so simple. And we feel good when we do that because that’s how the machine was made. We have joy when we do that. We feel purpose when we do that. It’s like the machine was made a certain way. If you take care of the machine that you have, it’s going to function a certain way.

Tim Ferriss: Yeah, you’ve got to do the maintenance. It may not be sexy, but the machine needs maintenance.

Jon Batiste: That thing needs โ€” come on, get it together. Come on, doctor.

Tim Ferriss: If you could put something metaphorically speaking on a billboard, so this isn’t an advertisement, it’s to get a message, a feeling, a quote, anything out to the world. Just pretend that hundreds of millions of people would see it. Billions, who knows? It could be anything. What might you put on that billboard?

Jon Batiste: I don’t know if I would take that opportunity.

Tim Ferriss: Tell me why.

Jon Batiste: I don’t feel called to do that. And I also don’t feel like we’re in a time where anything without context can be received purely.

Tim Ferriss: Tell me more about that. This is a thread that I think I’m also pulling on in my own way, so I want to hear more about what you mean by that.

Jon Batiste: Everything is received now based upon the context that we have defined within different cultures and all of our culture of humanity and the stereotypes and the practices, the sociocultural practices, all of the ways we relate to each other and exist. We have decided to go in the direction of believing that I can look at you or I can hear something,  a snippet of you.

Tim Ferriss: A fragment.

Jon Batiste: A fragment of Tim is all I need to understand. And whereas there’s a proliferation of data and we’re more connected now than we’ve ever been, but we’re more susceptible to deception as well. And we would rather express and connect in those ways in lieu of going deeper and a billboard and media and all these expressions, which is why I love this, because it allows for that. But all these other forms that we have propped up as primary separate us from depth.

Tim Ferriss: Yeah, it’s the surface level that doesn’t lead to the deeper levels. It prevents us from getting to the deeper levels in a sense.

Jon Batiste: So you don’t want to traffic in that anymore.

Tim Ferriss: Oh, no. 

Jon Batiste: In any way. 

Tim Ferriss: The reason I started this podcast, 10-plus years ago now, was to be able to get into the deep water, to have the space for that and to hopefully at the time I didn’t know, but attract a listenership who also felt a thirst for the subtleties that you can only touch upon and the holistic edges of a person or a topic that you can only get access to when you have the space, when you have the time. So I resonate a lot with that.

Jon Batiste: Sometimes things take multiple listens, multiple exposure. If you feel something from something, that’s your first signal. The emotional connection. Something, even if you don’t understand why or something relates to something you experienced or something that you heard or you aspire to has been revealed, there’s clues or tips or some vision, right? That’s just the first thing. That’s how you know that there’s many, many, many more layers there for you.

Tim Ferriss: Yeah, totally. I was just thinking, as you were saying that, of this book that I’ve read so many times called Awareness by Anthony de Mello. I think the subtitle is The Promises and Perils of Reality. In any case, really fun book, very short, and I’ve read it on Kindle, but I’ve also read it in paperback over and over again.

And what strikes me is each time I read it, because I have one copy with highlights over time, I highlight different things whenever I go back, because I am a different person in a different situation or a developing person in different circumstances with different feelings about things. And it’s just remarkable how each pass reads like a new book almost.

Jon Batiste: This is the thing that I’ve been thinking about for years, this idea that as people, whether creative or not, but it applies to the creative. Obviously, we only have two, maybe three ideas in life. We have two ideas that we are constantly refining, recreating, presenting. Refining, recreating, presenting. And it’s your life’s idea set.

Then if that’s the case, how much, and I ask you this because I want to know if you made a list of the five books or the five things or five places, because I love your lists. It’s inspired me. What are the five things that you know you could possess in this lifetime, if you had to wipe everything else away, and the only knowledge and the only inspiration, only experience, the only everything that you could draw from were of this five?

Because reaching a point where that’s almost something that I’m willing to live by. Instead of the pursuit of more knowledge, more understanding, more broad vision and connectivity. How do I go as deep as I can within a handful of things that are for me and leave the rest, which is a radical โ€” so for you, if you were to play that game, what are the five things?

Tim Ferriss: Maybe you should have a podcast. Maybe that’s your next thing. I’ll give it a shot, and then I want to ask you the same thing. Because what’s a cool twist on the question is it’s not just books, documentaries, people, but experiences or beliefs that could be in the list. Then it gets really interesting, right?

Jon Batiste: Yes.

Tim Ferriss: Then it gets super interesting because you can’t outsource it.

Jon Batiste: No.

Tim Ferriss: Now you have to own it. So for me, I was thinking as you were talking, and this is rough draft, right?

Jon Batiste: Yeah, of course. I totally get it.

Tim Ferriss: This rough draft.

Jon Batiste: It’s changing every other day.

Tim Ferriss: Might be a lot of red ink at some point. But what comes to mind for me was, number one, everything’s going to be okay. I think from a very young age, I’ve just been hyper vigilant, had a lot of bad things happen to me as a kid. So my system has always been oriented towards things are not okay and they’re not going to be okay. So you have to be constantly scanning your environment, scanning people for threats, etc. So number one would just be, “Everything’s going to be okay.”

Number two would be, “It’s all about relationships.” The relationships are what matter. Friends, family, that’s it. That’s it. And also your relationship with yourself. But honestly, I feel like I best develop myself in relationship. So I pay attention to the question of do I like the version of myself that I am when I’m with this person? So the relationships being everything.

Number three, this one we could dig into it if we want, but I would say “Death isn’t the end, so don’t be afraid of it.” That might require some explanation, but I would say “Don’t spend your whole life afraid of death.” That’d be number three.

Jon Batiste: That one’s got a lot of meat on the bone.

Tim Ferriss: Yeah, there’s a lot of meat on the bone there. And I would say, honestly, those are the top three that immediately come to mind. What I might say is, for me personally, “Don’t be afraid of your sensitivity. It can be hard, but it’s a gift.”

The instrumentation, my sight, my hearing, it’s all very, very, very sensitive. So being in a place like New York City can be completely overwhelming. Being at a dinner party with eight people can be really overwhelming.

So interestingly, so I very rarely go to concerts, but when I attended your event, it resonated differently because it wasn’t unidirectional. It was not the sage on the stage or the performer on the stage, inflicting sound on the audience. It was a collective experiment, and there was a lot of emergent participation and interaction, which changed how my senses metabolized the whole thing, which is very interesting.

Jon Batiste: Wow.

Tim Ferriss: So I didn’t feel any overwhelm at all at that event, but on a pure decibel level, it wasn’t overwhelming. But you’re in a concert, right? And it’s a cozy venue.

Jon Batiste: Right. It’s like, “Whoa.”

Tim Ferriss: Oh, you feel it. So I would probably talk to myself about the sensitivity because I’ve viewed it as a liability for a long time, but I think there are different ways to frame it. That’s what comes to mind for me. What about for you?

Jon Batiste: Man, wow. You mind? I could play my answer.

Tim Ferriss: Yeah, let’s do that.

Jon Batiste: Because it’s in abstract form, but rapidly approaching clarity.

Tim Ferriss: Let’s do it. Yeah, absolutely. 100 percent. Where are we going to do that over here?

Jon Batiste: I mean, is that okay if we โ€” 

Tim Ferriss: Yeah, we’ve got the lav mics on. We can just wander over.

Jon Batiste: Oh, we don’t need, okay.

Tim Ferriss: Yeah, yeah, yeah. Let’s give it a shot. I’m excited about this.

IMPROV SESSION

Jon Batiste: I do these concerts where, I call them streams. It’s like stream of consciousness, completely improvised, spontaneous composition, right? I’ll sit at the piano, and without any sheet music or any preparation, I will play 90 minutes, two hours. 

Tim: Wow.

Jon Batiste: And it really invites the audience to feel this wave. It’s akin to a collective chant. We’re in spaces that we’re discovering together. So when I was saying I want the answer, at the piano, I was just going to stream for a minute.

Tim: Please.

[Music]

Tim Ferriss: Thank you for that.

Jon Batiste: Thank you, Tim. That’s beautiful, man. Beautiful to be with you, share.

Tim Ferriss: Oh, likewise.

Jon Batiste: Yeah.

Tim Ferriss: I like your answer.

Jon Batiste: Yeah.

Tim Ferriss: So what does that feel like to you to do that? What is the felt sense?

Jon Batiste: It feels like you are traveling. You’re moving and your hand is telling you, “This is what I want to play.” And as you play it, you’re seeing all of the colors and you’re hearing the sound. It starts to tell you, “Now I want to go here.” And then sometimes it’s telling you things that you don’t know. You’re not familiar, but it’s going there anyway. And that’s the biggest difference, because it’s telling you something you haven’t practiced. You don’t know if you can actually play. You don’t know if you actually will make it.

Tim Ferriss: Why do you think it takes you there?

Jon Batiste: It’s the truest expression. The moment calls for what it calls for. And you can’t really dictate what the moment calls for based on your preparation.

Tim Ferriss: Yeah, or your preference.

Jon Batiste: Your preference, because it’s your preference, it’s probably not true.

Tim Ferriss: Yeah, that makes sense to me.

Jon Batiste: So it truly is music that is channeled from โ€” it’s channeled to you for everyone in that moment, never to happen again.

Tim Ferriss: Thank you so much.

Jon Batiste: Wow. Yes, sir.

Tim Ferriss: Yes, sir. So glad we did this.

Jon Batiste: This is amazing, man, to have the piano here like this.

Tim Ferriss: That’s beautiful.

Jon Batiste: I didn’t know you were going to have this. Have you done that? I haven’t heard that before with the piano.

Tim Ferriss: The only time we ever had a piano, a guest appearance, very different, it was very different. It was 2000 โ€” let me get this right, ’15, a long time ago. I interviewed Jamie Foxx at his house. He got on the piano for a second. It was very short, but totally different context, because there’s the instrument, then there’s the vessel. Then there’s communication between the two. That’s the one and only time a piano, in my recollection, has made an appearance in 750 episodes. This is a first.

Jon Batiste: Man, that’s amazing.

Tim Ferriss: It’s incredible. So I have to ask you, because number one, I’m excited about it, that we can do it here. I don’t know. I don’t need to sit down, but Beethoven Blues.

Jon Batiste: Oh, yeah, yeah, yeah, yeah, yeah, yeah.

Tim Ferriss: Beethoven Blues.

Jon Batiste: Yeah, the blues.

Tim Ferriss: I am excited about this.

Jon Batiste: Yes, it’s going to be amazing to share.

Tim Ferriss: Especially after our conversation, even more so.

Jon Batiste: Wow, wow.

Tim Ferriss: And after spending a little more time hanging out, it’s been a minute, because now I’m thinking about the music as something that I can ingest, something that I can let feed me, inspire in the sense of breathing in.

Jon Batiste: That’s right. That’s right.

Tim Ferriss: So can you say a bit more about how that came to be?

Jon Batiste: The idea is something that I feel uniquely positioned to do, is hearing Beethoven’s music, and not just playing it as it says on the score, but being in conversation with Beethoven and extending his music. So as we talked about the idea of streams, this sort of spontaneous composition, if you were to take Beethoven’s music and exist within the music as if you were co-composing it with him and adding all these elements that, many of which, all of which, existed after his time on Earth. So you have things like flamenco music or gospel music, soul music.

Tim Ferriss: Flamenco?

Jon Batiste: Jazz music, and blues primarily, which to me is the, not just musical innovation of the 20th century, but an innovation of human expression and spirituality.

Tim Ferriss: Could you say a little bit more about that? Because I listen to blues, but I want to understand why you feel that way about it.

Jon Batiste: Blues.

Tim Ferriss: And it’s not that I disagree, but I want to understand the magnitude of what you’re saying.

Jon Batiste: Yes, yes. Blues is a form of music. It’s also a form. It’s a 12-bar form. It’s a sound. It’s a style. It’s an inflection. You can sound like the blues without playing the blues. If you moan or you cry, the instrument wails. That idea is something that is about our existence in the human condition. And the blues is an allegory for the human condition in sound. It’s a musical allegory that exists within the context of a cultural movement. So that’s something that has not happened and has existed before it had a name. So for you to find things like that in the world that are foundational to our existence and then to figure out, how do I name them and identify them so then they can be shared? And then furthermore, how do you create a whole system that not only becomes its own form of musical engagement, social cultural engagement. There are dances. There are blues rituals, juke joints, stomps, boogie-woogie, all this that we’ve grown accustomed to.

Now I can also implement that into other spaces of music, which becomes this democratic expression of humanity. So what I started to think about with the blues is there are forms of music that express that aspect of the human condition and that pathos, but didn’t have all of the language that we have to acutely express it and also include the range of cultural diasporic reality that has existed since. So now we can take that and inject these other forms of music, these other expressions with something that’s so profound and so deep and so rooted, so human. It’s an opportunity. It’s an amazing opportunity of a lifetime for an artist. And the blues provides that.

Now, the one other thing in the technical realm, the blues is simple and it’s complex. The blues is generally three chords, but you don’t always have to be playing those three chords to be playing the blues. It’s spiritual, but it’s also very much scientific. So if you take these five notes, that’s the pentatonic scale. That’s the sound of the blues. The pentatonic scale though in this form has existed in music since the beginning. Gregorian chants, Indigenous folk music, music of drum circles in West Africa, in Ghana, all the different sounds of Appalachia, Eastern music, you’ve heard this sound. You hear this sound in every culture since the beginning.

Now if you add that note, that’s what we call the blues scale. The blues is in the sound of the pentatonic scale. That in and of itself has a perfect symmetry. The blue note is the expression that our early ancestors in this country created to add the sense of the American experience to this scale. It’s more than the scale. They added this to exemplify the specificity of America and the experience of American life. In all different ways, you can play the blues even without playing the scale. Because the thing about the blues inflection is that if you can capture that blues inflection, you can find melodies that have the blues. You can find voices that have the blues.

You can find rhythms that have the blues, mainly the shuffle rhythm, which is something that came from Africa and is the marriage of six-eight over two, a two beat and a three beat combined at the same time. And that evolved into the American shuffle rhythm. So all of these things are so interconnected and so sophisticated, so intricate. And the blues, after all that, you can sit on a porch or a ballroom or a juke joint and anybody can sing it. And it’s always two verses and an answer. The thrill is gone. The thrill is gone away. The thrill is gone. The thrill is gone away. Finish it for me.

Tim Ferriss: Oh?

Jon Batiste: No, no, no. I’m just saying that’s how simple it was codified.

Tim Ferriss: Yeah, the architecture, the basic undergirding I-beams of the architecture are quite simple. But the way that it can be applied is just beyond counting, right?

Jon Batiste: It’s the thing that existed in the air and the thing that we’ve all felt within. And it took this American experiment for it to emerge into a form.

Tim Ferriss: Yeah, that makes sense. That makes sense, and it’s a combination of discovering fire, this thing that has always been there that we now have a forum for. And it’s also something very elemental that can be wielded in a million different ways. As you have different cultural influences, you have different combinations of people, newer and newer and newer ways of applying it emerge.

Jon Batiste: We’ve heard it in rock and roll bass lines our whole life, the old โ€” just thinking about all of the ways that I’ve heard the blues before even really understanding that is so ubiquitous. You know what I mean? I’m thinking, we’re here in Jimi Hendrix’s studio. That’s the pentatonic scale. There’s just so much that you can โ€” you can listen to so much and understand it. So when I took Beethoven, I was thinking โ€” [Music] If you put that on it, “Beethoven in the Congo.” One two, three, one, two, one, two, three โ€” [Music] So you know what I mean?

Tim Ferriss: I do.

Jon Batiste: And then you find the blues and stuff.

Tim Ferriss: My dad used to play that song on the piano when I was a kid. That specific segment just activated Ratatouille style when Anton Ego flashes back to being a kid. That was wild. It’s incredible what music does. I’m not a musician, but it’s so igniting, to use that word. It’s an incredible key that unlocks.

Jon Batiste: These songs too are so deeply connected to us. Beethoven wrote songs. We’re listening to these compositions, these melodies, themes, all these things we’ve heard for years and years over generations. So it ignites people’s love not just for music, but brings them back to moments in their life, experiences in their life. And that’s what this album, this music is generally about the concept of Beethoven Blues, but also about the humanity, that it will bring people together, bring somebody back to the instrument who stepped away for many years, or kids who are growing up who maybe I don’t see myself in classical music. But now I see something that was always there. The blues can bring it out, but it just hadn’t been presented to me in that way.

Tim Ferriss: And what comes to mind as an image for me also is you have these various tributaries of music that have in some ways separated out. I’m not sure I’m using the right geological term here, but they’ve sort of separated and flowed out in different fingers. What you seem to have done, maybe not starting, but certainly at Juilliard, especially afterwards, you’ve sort of brought these flows back together in a way that they can intermingle, which gives people permission to remix, to make something that is uniquely theirs.

Jon Batiste: To live, baby.

Tim Ferriss: To live.

Jon Batiste: That’s it.

Tim Ferriss: That’s it.

Jon Batiste: It’s not just the music. It’s not about the music. It’s about the music and more. Wow. He played that. I like doing these harmonies. Imagine if you โ€” there’s a version on the album that goes for 20 minutes, and it makes this into a healing trance. It’s like a meditation.

[Music]

Tim Ferriss: I am just going to put this album on repeat and listen to it a thousand times.

Jon Batiste: Oh, man.

Tim Ferriss: 20 minutes of that? That feels like taking the hypotenuse to catharsis.

Jon Batiste: Yes, that’s it. That’s the idea.

Tim Ferriss: Yeah. Wow, I feel very privileged to even watch you do that.

Jon Batiste: Brother, thank you. I’m grateful for you building this space and allowing for folks to come in and share who they are and what they have to offer and then it becoming in this feedback loop of us all growing, of us all learning and growing together. That’s you, man. Thank you for that. 

Tim Ferriss: Yes, thanks.

Jon Batiste: That’s powerful stuff.

Tim Ferriss: Thank you. I love doing it. How did this end up being a job? Crazy.

Jon Batiste: Man, it’s the blessing of life, right?

Tim Ferriss: Jon Batiste, JonBatiste.com, Beethoven Blues. Go get it, everybody.

Jon Batiste โ€” The Quest for Originality, How to Get Unstuck, His Favorite Mantras, and Strategies for Living a Creative Life (#775)

“When I don’t have inspiration or I have a block, I do nothing. I live. And it’s absolutely because of the deeper inspiration that I’m blessed to feel. I feel it’s been cultivated. I’m connected to it, and I know it’s real, and it doesn’t have to greet me every day. I know it’s there.”
โ€”ย Jon Batiste

Jon Batiste (@jonbatiste) is a five-time Grammy Award-winning and Academy Award-winning singer, songwriter, and composer. His eighth studio album, Beethoven Blues, is set for a November 15th release. This project marks the first installment in his solo piano series, showcasing Batisteโ€™s interpretations of Beethovenโ€™s iconic works, reimagined. Beethoven Blues follows Batisteโ€™s studio album World Music Radio, which received five Grammy nominations, including Album of the Year.

Batiste is featured in Matthew Heinemanโ€™s Netflix documentary, American Symphony. The film follows Batisteโ€™s journey, starting in early 2022, as he receives 11 Grammy nominations for his studio album We Are. Amid this success, he faces the challenge of composing a symphony for Carnegie Hall while supporting his wife, bestselling author and Emmy Award-winning journalist Suleika Jaouad, who learns her cancer has returned. 

As a composer, Batiste scored Jason Reitmanโ€™s Saturday Night, now in theaters. The film depicts the chaotic 90 minutes before Saturday Night Liveโ€™s first broadcast in 1975, underscored by Batisteโ€™s blending of jazz, classical, and contemporary elements. He composed and produced the music live on set, capturing the intensity of the showโ€™s debut. Batiste appears in the film as Billy Preston, the showโ€™s first musical guest.

Additionally, Batiste composed and performed music for the Disney/Pixar film Soul, for which he won an Academy Award for Best Original Score alongside Trent Reznor and Atticus Ross.

Please enjoy!

This episode is brought to you by Ramp easy-to-use corporate cards, bill payments, accounting, and more; AG1 all-in-one nutritional supplement; and Eight Sleepโ€™s Pod 4 Ultra sleeping solution for dynamic cooling and heating.

Listen to the episode on Apple PodcastsSpotifyOvercastPodcast AddictPocket CastsCastboxYouTube MusicAmazon MusicAudible, or on your favorite podcast platform. Watch the interview on YouTube here.

The transcript of this episode can be found here. Transcripts of all episodes can be found here.

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This episode is brought to you by Ramp! Ramp is corporate card- and spend-management software designed to help you save time and put money back in your pocket. Ramp has already saved more than 25,000 customersโ€”including other podcast sponsors like Shopify and Eight Sleepโ€”more than 10 million hours and more than $1 billion through better financial management of their corporate spending.

With Ramp, youโ€™re able to issue cards to every employee with limits and restrictions and automate expense reporting, allowing you to close your books 8x faster on average. Your employees will no longer need to spend hours submitting expense reports. In less than 15 minutes, you can get started issuing virtual and physical cards and making payments, whether you have 5 employees or 5,000. Businesses that use Ramp save an average of 5% on total card spending and related expenses in the first year. And now, you can get $250 when you join Ramp. Just go to ramp.com/Tim.


This episode is brought to you by Eight Sleep. Temperature is one of the main causes of poor sleep, and heat is my personal nemesis. Iโ€™ve suffered for decades, tossing and turning, throwing blankets off, pulling them back on, and repeating ad nauseam. But a few years ago, I started using the Pod Cover, and it has transformed my sleep. Eight Sleep has launched their newest generation of the Pod: Pod 5 Ultra. It cools, it heats, and now it elevates, automatically. With the best temperature performance to date, Pod 5 Ultra ensures you and your partner stay cool in the heat and cozy warm in the cold. Plus, it automatically tracks your sleep time, snoring, sleep stages, and HRV, all with high precision. For example, their heart rate tracking is at an incredible 99% accuracy.

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This episode is brought to you byย AG1!ย I get asked all the time, โ€œIf you could use only one supplement, what would it be?โ€ My answer is usuallyย AG1, my all-in-one nutritional insurance. I recommended it inย The 4-Hour Bodyย in 2010 and did not get paid to do so. I do my best with nutrient-dense meals, of course, butย AG1ย further covers my bases with vitamins, minerals, and whole-food-sourced micronutrients that support gut health and the immune system.ย 

I have always admired AG1โ€™s commitment to improving one product over many years, which is why I am excited about their latest upgrade:ย AG1 Next Gen. Itโ€™s the sameโ€”but improvedโ€”single-scoop, once-a-day product to support your mental clarity, immune health, and energy.ย Right now, youโ€™ll get a 1-year supply of Vitamin D free with your first subscription purchaseโ€”a vital nutrient for a strong immune system and strong bones.ย Visitย DrinkAG1.com/Timย to claim this special offer today and receive your 1-year supply of Vitamin D (and 5 free AG1 travel packs) with your first subscription purchase!ย Thatโ€™s up to a one-year supply of Vitamin D as added value when you try their delicious and comprehensive daily, foundational nutrition supplement that supports whole-body health.


Want to hear another episode that includes improvised musical performance? Have a listen to my first conversation with Jamie Foxx here in which we discussed workout routines, origin stories, impersonations, parenting style, networking and staying connected before social media, lessons from Ray Charles, bombing on stage, and much more.

What was your favorite quote or lesson from this episode? Please let me know in the comments.

Continue reading “Jon Batiste โ€” The Quest for Originality, How to Get Unstuck, His Favorite Mantras, and Strategies for Living a Creative Life (#775)”

The Tim Ferriss Show Transcripts: Learnings from 1,000+ Near-Death Experiences โ€” Dr. Bruce Greyson, University of Virginia (#774)

Please enjoy this transcript of my interview with Dr. Bruce Greyson (brucegreyson.com), the Chester F. Carlson Professor Emeritus of Psychiatry & Neurobehavioral Sciences and Director Emeritus of the Division of Perceptual Studies at The University of Virginia. He is also a Distinguished Life Fellow of the American Psychiatric Association and one of the founders of the International Association for Near-Death Studies.

Dr. Greysonโ€™s research for the past half century has focused on the aftereffects and implications of near-death experiences and has resulted in more than 100 presentations to national and international scientific conferences, more than 150 publications in academic medical and psychological journals, 50 book chapters, and numerous research grants.

He is a co-author of Irreducible Mind: Toward a Psychology for the 21st Century; co-editor of The Near-Death Experience: Problems, Prospects, Perspectives and of The Handbook of Near-Death Experiences: Thirty Years of Investigation; and author of After: A Doctor Explores What Near-Death Experiences Reveal about Life and Beyond.

Transcripts may contain a few typos. With many episodes lasting 2+ hours, it can be difficult to catch minor errors. Enjoy!

Listen to the episode on Apple PodcastsSpotifyOvercastPodcast AddictPocket CastsCastboxYouTube MusicAmazon MusicAudible, or on your favorite podcast platform. Watch the interview on YouTube here.

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DUE TO SOME HEADACHES IN THE PAST, PLEASE NOTE LEGAL CONDITIONS:

Tim Ferriss owns the copyright in and to all content in and transcripts of The Tim Ferriss Show podcast, with all rights reserved, as well as his right of publicity.

WHAT YOUโ€™RE WELCOME TO DO: You are welcome to share the below transcript (up to 500 words but not more) in media articles (e.g., The New York Times, LA Times, The Guardian), on your personal website, in a non-commercial article or blog post (e.g., Medium), and/or on a personal social media account for non-commercial purposes, provided that you include attribution to โ€œThe Tim Ferriss Showโ€ and link back to the tim.blog/podcast URL. For the sake of clarity, media outlets with advertising models are permitted to use excerpts from the transcript per the above.

WHAT IS NOT ALLOWED: No one is authorized to copy any portion of the podcast content or use Tim Ferrissโ€™ name, image or likeness for any commercial purpose or use, including without limitation inclusion in any books, e-books, book summaries or synopses, or on a commercial website or social media site (e.g., Facebook, Twitter, Instagram, etc.) that offers or promotes your or anotherโ€™s products or services. For the sake of clarity, media outlets are permitted to use photos of Tim Ferriss from the media room on tim.blog or (obviously) license photos of Tim Ferriss from Getty Images, etc.


Tim Ferriss: Dr. Greyson, thank you for making the time today. It’s very nice to meet you.

Dr. Bruce Greyson: Thank you, Tim. I’m delighted to be here with you today.

Tim Ferriss: So I thought we would start more or less at the beginning in terms of chronology of your life, and we’re not going to do an A, B, C, D linear recap of your whole life, because that would be an epic, multi-day affair. But perhaps you could tell us, as a setting of the table, a bit about your childhood. How were you raised? What did the environment foster in terms of thinking, in you, frameworks for understanding the world, that type of thing?

Dr. Bruce Greyson: Sure, Tim. Well, I was raised in a scientific, non-religious household. My father was a chemist, and as far as he was concerned, what you see is what you get. There’s nothing beyond the physical. So that’s how I was raised. Being a scientist, he stimulated in me a desire to gather information, and I often participated in some of his experiments. He had a lab set up in his basement.

He also taught me, though, that if you study things that we pretty much understand already, you can make little inroads here and there about fine points. If you really want to make some impact, you need to study things we don’t understand at all. And he gave me examples of that. So I grew up with that idea that I wanted to be a scientist and discover new data, and try to figure out what’s going on with it.

Tim Ferriss: Did you have, at that point, an innate fear of death? These seem like some questions that might be important to touch upon before we get into the meat and potatoes of what we’ll dive into shortly. Was that inbuilt or experienced by you?

Dr. Bruce Greyson: No, that’s a fair question, but actually, the answer is no. I didn’t have any fear of death. We certainly had family relatives that died. And as far as I could tell, when you die, that’s the end. What’s to be afraid of there?

Tim Ferriss: Lights out.

Dr. Bruce Greyson: Lights out.

Tim Ferriss: What attracted you to psychiatry? What was your path to psychiatry from the experiments in the basement? What led you there?

Dr. Bruce Greyson: Well, when I went through medical school, I had no idea what I wanted to do. I thought I would be a family doctor. But I found that when I did my psychiatry rotations, there were so many more unanswered questions, so many things that we had no idea how to explain. Much more so with the brain than with the kidneys or the heart or the lungs. I thought, “This is where I need to go, to look at what’s going on in the brain, to have these thoughts and ideas and feelings.” So I went in that direction.

Tim Ferriss: Were there any particular conditions that fascinated you? This is predating the NDE investigations.

Dr. Bruce Greyson: Yes. There was.

Tim Ferriss: Were there any particular conditions?

Dr. Bruce Greyson: I found myself really drawn towards psychoses, people who had hallucinations and delusions, and just didn’t think the way the rest of us do. Most of the things that psychiatrists deal with are common everyday things like anxiety, depression, which everyone has to some extent. But I really was fascinated by the more extreme conditions, schizophrenia and manic depressive illness. People who just had totally different views of the world than I did.

Tim Ferriss: So I suppose this is as good a time as any to segue into some of I think what most would consider stranger terrain, even beyond psychoses, although that’s a Pandora’s box we could certainly get into quite separately.

Dr. Bruce Greyson: Sure.

Tim Ferriss: And I suppose that the stain on the tie on the story surrounding that may make some sense to tell. Would you mind sharing that with the audience?

Dr. Bruce Greyson: I went through college and medical school with this strict materialistic mindset that the physical world is all there is. And in one of my first weeks as a psychiatric intern, I was asked to see a patient who was in the emergency room with an apparent overdose. I was in the cafeteria having my dinner when this call came through. And being a green intern, I was startled by the beeper going off. And I dropped my fork and spilled some spaghetti sauce on my tie. So again, being a new intern, I didn’t want to embarrass myself, so I put on a white lab coat and buttoned it up so nobody could see it. Then I went down to see the patient, and she was totally unconscious. I could not revive her, but there was her roommate who had brought her in, who was in another room about 50 yards down the hall.

So I left the patient. There was a sitter there with her, as happens with all suicidal patients, and I went down to see the roommate. And I spent about 20 minutes talking to the roommate, trying to understand what was going on with the patient, what stresses did she have, what drugs she might’ve taken for an overdose, and so forth. It was a very hot Virginia late summer night, and I was starting to sweat in that room. There’s no air conditioning back in the ’70s, so I unbuttoned my coat so I wouldn’t sweat so much, inadvertently exposing the stain on my tie.

When I finished talking to the roommate, I stood up to leave and I saw that it was open, so I quickly buttoned it up again, said goodbye, and sent her on her way. Then I went back to see the patient, and she was still unconscious. I confirmed with the sitter who was with her that she had not awakened at all during the time I was gone. She was admitted to the intensive care unit, because she did have some cardiac instability because of the overdose.

And when I saw her the next morning when she had awakened, she was just barely awake. And I went into her room and I said, “So-and-So, I’m Dr. Greyson from psychiatry.” And she opened one eye and said, “I know who you are. I remember you from last night.” That just blew me away, because I knew she was asleep at best, and unconscious at worst. So I don’t know how she could have known that.

So I said to her, “Gee, I’m surprised. I thought you were out cold when I saw you last night.”

And then she opened her eye again and said, “Not in my room. I saw you talking to Susan down the hall.” That made no sense to me at all. She was lying there on the gurney. The only way she could have done that is if she had left her body and come down, and that made no sense. You are your body. How can you leave it? So I didn’t know what to do. I thought, “Is she pulling my leg? What’s going on here?”

She saw that I was confused, and then she started telling me about the conversation I had with her roommate: what questions I asked, what Susan’s answers were. And then finally said, “And you had a red stain on your tie.” That just blew me away. I didn’t know what to make of this. I was really getting flustered at this point. I thought, “Were the nurses somehow colluding with her to trick this poor intern?” But no one knew about the stain except the roommate.

So I realized that I was having trouble keeping my composure then, but my job was to deal with her mental status, not mine. So I pushed things into the back and just dealt with her about “What made you take the overdose? What are you thinking about suicide now?” And so forth. And thought, “Well, I’ll think about this other stuff later on.”

So she was admitted to the psychiatric unit, and I was a busy intern. I didn’t have time to think about this stuff. I didn’t dare tell anybody. They’d think I was crazy. So I pushed it on the side, and just didn’t think about it for a while. But it was very, very emotionally upsetting to me to think, “This bizarre thing happened, but it can’t happen. It can’t have happened. There must be some other answer to it.”

 It just sat there in the back of my mind for about five years, until I was now on the faculty at the University of Virginia and we had a young intern join us, Raymond Moody, who wrote a book called Life After Life, in which he gave us the term “near-death experiences,” and described what they were. I had never heard of this type of thing before. And when he described it to me, I realized that’s what this patient was talking about. She was talking about a near-death situation, leaving her body, seeing things accurately from another location.

And I thought, “Well, I need to understand this.” So I started collecting cases. And it wasn’t hard to do. These are very, very common phenomena, but nobody talks about them. But if you start asking patients who have been close to death, they will tell you about them. And here I am, 50 years later, still trying to understand them.

Tim Ferriss: Did you expect it was going to last five decades, or did you think this was going to be a short project of collecting case studies?

Dr. Bruce Greyson: I assumed, Tim, that in a couple of years, I’d have a simple physiological explanation for this. And that would make me satisfied and be the end of it. But the more I learned about them, the harder they seem to understand. So I’ve gotten more comfortable with not knowing all the answers.

Tim Ferriss: So just a clarifying question on the case study of this particular woman who had overdosed, attempted suicide.

Dr. Bruce Greyson: Right.

Tim Ferriss: Was that, I guess, based on all you know now or what people would consider it, a near-death experience, an NDE? Or was it some close cousin? Because presumably, she was not intubated and flatlined at the point that you were talking to her roommate. She was alive, but either comatose or asleep, or otherwise cognitively offline.

Dr. Bruce Greyson: Right.

Tim Ferriss: How do you think about that?

Dr. Bruce Greyson: Well, they were measuring her heart function, her EKG. And her heart had not stopped, but she was having erratic arrhythmias, erratic forms of her heartbeat. So I don’t know how close to death she was. I mean, it’s always hard to tell how close to death someone is. Whether she had a real near-death experience or not, I don’t know, because I didn’t investigate it. At that time, I didn’t know anything about near-death experiences. I didn’t know what questions to ask, so I just wanted to get it out of my life and push out of the way. So looking back on it, it’s certainly not proof of anything, except how unnerving this was to me emotionally to have this happen.

Tim Ferriss: So I suppose that as part of investigating the overall context for thinking about these things, it might be useful to talk about โ€” this is, I’m sure, out of order in terms of the questions you might usually get asked, but โ€” the NDE scale. And the reason I want to ask about the NDE scale that I believe you developed, maybe it was in collaboration with colleagues, is the high internal consistency, and maybe you can just describe these things. Split-half reliability, that one I’m actually not familiar with. And then test-retest reliability, which is seemingly a critical component of this.

And the reason I bring all this up, as the crow flies โ€” it doesn’t really need to fly, hops โ€” about 20 feet away, I have an Encyclopedia Britannica set that was bought by Richard Feynman when he was, I believe, 42. And I’m going to butcher this paraphrase of a quote of his. But in effect, “It is most important not to fool yourself, and you’re the easiest person to fool,” I believe is one of his quotes. Hence, we have the scientific method, the structured way for investigating and testing hypotheses.

So could you speak to the scale? And we’re going to get to other questions around the perhaps common criticisms or forms of skepticism speaking to the biological underpinnings. But let’s talk about the scale first. Because I’m sure a lot of people listening would think to themselves, “Well, number one, there have to be a lot of people who just make up stories. And they want to sell books, and they do this, this, and this.” Not in your case, I’m just saying those who have experienced or claim to have experienced NDEs and seeing X, Y, or Z.

Dr. Bruce Greyson: Right.

Tim Ferriss: And then there are people who would love to misrepresent and become a messiah of this, that, and the other thing. So how do you make sure you’re not fooling yourself or being fooled? Could you just perhaps describe the NDE scale, or speak to that in whatever way makes sense to you?

Dr. Bruce Greyson: Back in the late 1970s, after people had read Raymond Moody’s book, several psychologists and physicians started getting interested in studying this phenomenon. So we assembled a meeting at the University of Virginia with about two dozen of these people, researchers who wanted to study it, and tried to agree on how to do that. And it turned out that everybody had a different idea about what a near-death experience was.

Tim Ferriss: Makes sense.

Dr. Bruce Greyson: Depending on their background, some thought it was an out-of-body experience. Some thought it was a sense of feeling of bliss. Some thought it was a communion with God. All sorts of different interpretations people had, and they didn’t agree on what should be included as part of a near-death experience.

So I surveyed a large number of researchers who had published about this, and asked them to give me a list of the most common features you see in a near-death experience. I had some 80 features, which is ridiculous. So I took that list, and I gave the list to a bunch of near-death experiencers and said, “Which ones of these do you think are really important in defining a near-death experience?” And they whittled it down a bit.

Then I took the whittled-down list and gave it back to the researchers and said, “Which ones of these do you think are the really important ones?” And they whittled it down again. I went back and forth between the researchers and the experiencers until I had a consistent list of 16 features that they all agreed were the important parts of a near-death experience. And they included changes in your thought processes; thinking faster and clearer than ever before; having your past flash before you; strong feelings of emotions, usually joy and bliss; and a sense of being unconditionally loved by a brilliant light. Not always. Sometimes there’s fear, also.

So we developed this scale of these 16 items, and I’ve used that for the standard of deciding which ones of these phenomena are near-death experiences and which ones are not. And it’s been now translated into more than 20 different languages. It has been used in thousands of studies around the world. There have been attempts to refine it, to improve it. There are things we know now that I didn’t know back then. And people have tried to add things to it, but basically, all the additions don’t make much of a difference. You still identify the same experiences as being NDEs with or without them. So that’s where it was. That’s where the scale came from.

Tim Ferriss: Could you speak to some of the elements that might help you separate out, for lack of a better way to phrase it, true experiencers versus people who have false positives or who want to tell a story?

Dr. Bruce Greyson: Yeah. Well, I actually published a paper about false positives where we had people who claimed we had a near-death experience, but did not score very highly on that scale. And we wanted to look at why they think they have near-death experiences. And you are right when you said before that some people are making things up. Do they want the publicity? They want to be held as messiahs? That’s true. But I think they’re a small minority of people who claim to have near-death experiences, and they’re usually very easy to identify by what they do with the experience.

Tim Ferriss: Right.

Dr. Bruce Greyson: If you immediately go on the talk circuit, and talk to Tim Ferriss and other people like that, and want to brag about how enlightened you are now, we say, “Well, let someone else study those. I’m not going to deal with those.” But the majority of people who I think were false positives are people who had some less intense form of mental illness. If people are blatantly psychotic, we don’t include them in the studies. But there are people who have personality disorders who seem on the surface to be perfectly fine, but have exaggerations of our traits that make them function differently in the world. And some do have this incredible need to get confirmation of what’s happening to them. They feel different, and they don’t know why. So they hear about near-death experience of things and think, “Maybe that’s why I’m different. Maybe I had a near-death experience.”

Tim Ferriss: What we’re going to do in this conversation, and I’m just scratching my own itch from a curiosity perspective, but we’re going to bounce all over the place. I like to frame that as a feature, not a bug, but it’s going to be pretty nonlinear. So I want to zoom in and out from the clinical skeptical side to the hopefully, and I think we’ll get to quite a few of these, examples that could be corroborated in some fashion. And those may overlap with those that are described as out-of-body experiences. They might not. And we’ll probably come back to that term as well. But could you tell the story of โ€” tell me if this is enough of a cue โ€” the red MBG?

Dr. Bruce Greyson: Many people in a near-death experience say that they encountered deceased loved ones in the experience, and that can easily be explained as wishful thinking, expectation. You think you’re dying, and you would love to see your grandmother once more, so she comes to you. And there’s no way to prove or disprove that.

However, in some cases, the person having the near-death experience encounters someone who had died, but nobody yet knew they had died. So that can’t be dismissed as expectation and wishful thinking. This is not a new phenomenon. Pliny the Elder wrote about a case like this in the 1st century AD. But we’re hearing about a lot of them now.

About 12 years ago, I wrote a paper that had 30 different cases from recent years. Jack was one of those. He had an experience, actually, he was in South Africa back in the ’70s, and he was a young technician at that time and had very serious pneumonia. And he repeatedly stopped breathing and have to be resuscitated. So he was admitted to the hospital with a severe pneumonia. And he had one nurse who was constantly working with him as his primary nurse, a young pretty girl about his age. He flirted a lot with her when he could.

And one day she told him she’s going to be taking a long weekend off, and there’d be other nurses substituting for her. So he wished her well, and she went off. And over the weekend, while she was gone, he had another respiratory arrest where he couldn’t breathe. He had to be resuscitated. And during that time, he had a near-death experience. And he told me that he was in this beautiful pastoral scene, and there out of the woods came his nurse, Anita, walking towards him. And he was stunned, because he was in this different world. What’s she doing there? So he said, “What are you doing here?”

And she said, “Jack, you can’t stay here with me. I want you to go back, and I want you to find my parents and tell them that I love them very much, and I’m sorry I wrecked the red MGB.” He didn’t know what to make of that, but she turned around and went back into the woods. And then he woke up later in his hospital bed. Now he tells me that back in the ’70s, there were very few MGBs in South Africa, and he had never seen one. When the first nurse came into his room, he started to tell her about his experience and seeing his nurse, Anita. She got very upset and ran out of the room.

It turned out that she had taken the weekend off to celebrate her 21st birthday, and her parents had surprised her with a gift of a red MGB. She got very excited, hopped in the car, and took off for a test drive, and crashed into a telephone pole and died instantly. Just a few hours before his near-death experience. I don’t see any way he could have known or wanted or expected her to have an accident and die, and certainly any way he could have known how she died, and yet he did.

And we’ve got lots of other cases like this. They’re called “Peak in Darien” cases, based on a book that was published in the 1800s with cases like these, where people encounter deceased individuals who were not known to be dead. And I don’t know how to explain those.

Tim Ferriss: Now, just to put my skeptic’s hat on, I could say, “Well, if I were Jack…” Was it Jack? Let’s just say it’s Jack. That would make one hell of story if there wasn’t a third party to independently verify it with.

Dr. Bruce Greyson: Right.

Tim Ferriss: But there are other cases, and for people listening, we’re going to come back to some of the common questions, I would say, forms of discussion around these related to possible biological mechanisms, or lack thereof. We’re going to come back to that in a second. But there are, then, cases that are seemingly characteristically quite different, and perhaps can be, and I’d be curious to know if this has been done or not, but verified with third parties.

And one that comes to mind that I’ve heard you discuss is related to the surgeon flapping like a bird, and I was hoping that you could give a description of that particular case study. Before we get to that, how many near-death experiences have you documented, studied, or otherwise read about, put into the archives yourself? How many instances would you say you have encountered in your โ€” 

Dr. Bruce Greyson: I’ve got slightly more than a thousand in my database at the University of Virginia where we have validated as much as we can that they were, in fact, close to death, and this is what happened to them. I’ve talked to many more people about their near-death experience that I haven’t included, because I wasn’t confident that they really fit the criteria for being in the study. But it’s really much more common than you might think it was, because people don’t talk about these things. You mentioned people wanting the publicity of this. That may be more true now, but back in the ’70s and ’80s, nobody wanted to talk about these things.

Tim Ferriss: Yeah, you see what I’m saying.

Dr. Bruce Greyson: I mean, if you talk about things, you got ridiculed, you got referred to a psychiatrist. You were called crazy. You were shunned by people you knew, both materialist and religious folks. They didn’t want to hear about these things. So people did not talk about these events.

Tim Ferriss: And what of this surgeon flapping like a bird?

Dr. Bruce Greyson: This was a fellow, Al, in his mid-50s, who was a van driver, and he was out on his rounds one day. And he had chest pain. And he knew enough to stop his rounds and drive to the emergency room. And they did some evaluations and found that he had four arteries to his heart that were blocked. And they rushed him to the emergency room for urgent quadruple bypass surgery.

So he’s lying on the table, fully unconscious, the drapes over him, so forth. And he tells me that in the middle of the operation, he rose up out of his body and looked down and saw the surgeons operating on him. And he saw the chief surgeon, who he hadn’t met before, flapping his arms like he was trying to fly. And he demonstrated for me. At that point, I laughed, because I thought, “This is obviously hallucination. Doctors don’t do that.” But he insisted that I check with the doctor. He said, “This really happened. Ask him.”

So he told me lots of other things about his near-death experience, but that’s the one that I was able to verify. So I talked to the surgeon, who actually had been trained in Japan, and he said, “Well, yes, I did do that. I have a habit of letting my assistants start the procedure while I put on my sterile gown and gloves, and wash my hands and so forth. And then I go into the operating room and watch them for a while. And because I don’t want to risk touching anything with my sterile hands now, I point things out to them with my elbows.” And he pointed things out, just the way Al was saying he was trying to fly.

I don’t know any other doctor that’s done that. I’ve been a doctor for more than 50 years now. I’ve never seen anyone do that. So it’s an idiosyncratic thing. Is there any way Al could have seen that while he was totally anesthetized? His heart was open. I don’t think there’s any way he could have seen that, and yet he did.

Tim Ferriss: All right. So many questions. And let’s start with the question of how rational materialist skeptics, and that’s not meant as a criticism of those people at all, might try to explain this. They might say, “It is a lack of oxygen, or a diminishing amount of oxygen. It might be a cascade of neurotransmitters that are released when A, B, or C happens. It might be the introduction of drugs.” I certainly know when I’ve had surgeries, when I’ve had Versed, or God knows what else introduced to my bloodstreams, some very strange things happen, although I haven’t experienced the type of thing you’re describing when I’ve been anesthetized. How do you respond to those, or how do you think about those explanations?

Dr. Bruce Greyson: I’m sympathetic with them. I started out as a materialist skeptic. After 50 years, I’m still skeptical, but I’m no longer a materialist. I think that’s a dead end when it comes to explaining near-death experiences and other phenomena like this. When I started out, I assumed, Okay, weโ€™ll look at things like heart rate, oxygen level, drugs given and so forth, and each thing we tried to study turned out not to explain anything. For example, the most obvious thing was the lack of oxygen, because no matter how you come close to death, that’s the last common denominator, you’re going to lose oxygen to the brain. But when you actually study this, what you find is that people who have near-death experiences actually have a higher oxygen concentration than people in similar situations who don’t have a near-death experience.

Tim Ferriss: Can you say more about that? How is that? How do we know this or how do we surmise that?

Dr. Bruce Greyson: They don’t measure what’s going on in the brain, but they measure in the peripheral blood system how much oxygen is flowing through.

Tim Ferriss: With a pulse oximeter or something like that?

Dr. Bruce Greyson: Yes.

Tim Ferriss: In a hospital setting, okay.

Dr. Bruce Greyson: They also can draw blood and measure it more directly than the pulse ox. But what they find is that when they draw blood from people who were in a near-death situation, those who have a near-death experience have a higher oxygen level than those who don’t. So what that means is that lack of oxygen is not causing the experience, in fact, it seems to be inhibiting it in some way. And what that mean may be that many people have a near-death experience, but if you’re lacking oxygen, you can’t remember it later on. And that only if you have good enough oxygen, do you remember it later on. So it may be related more to their memory of the experience than the experience itself.

Likewise, with people given drugs as they’re approaching death, the more drugs you’re given, the less likely you are to report on near-death experience later. Now, there are some drugs that can mimic parts of a near-death experience, they’re not drugs that are given to dying patients, but things like ketamine, various psychedelic drugs, people using psilocybin now, and they can produce things that mimic in some ways, some features of near-death experiences. They don’t produce the whole phenomenon. They don’t, for example, reliably have the blissful feelings, and they certainly don’t have the accurate out-of-body perceptions that many near-death experiences have.

I shall say that Jan Holden at the University of North Texas studied about a hundred cases of people who claimed to be out of their bodies and seeing things. And what she found when she sought third-party corroboration was that in 92 of the hundred, they were completely accurate. In six cases, they were partly accurate and partly inaccurate, only one or two were completely wrong, so the vast majority were actually corroborated by other people.

Tim Ferriss: What are some other examples of hospital setting? And part of the reason I mentioned that specifically is that you have multiple credible witnesses in some cases, I would imagine?

Dr. Bruce Greyson: Yes.

Tim Ferriss: Which makes it interesting because you could independently, at least in theory, verify, confirm various occurrences while a patient was sedated, was suffering from cardiac arrest or otherwise. What are some examples that come to mind that you think are the most defensible in those environments or otherwise, but where you have the ability to independently confirm or have denied X, Y, or Z that happened?

Dr. Bruce Greyson: The ones that come to mind are the ones where people see deceased individuals who no one knew had died yet, I can give you more examples of that, and they’re often corroborated by other people. And also people who claim to leave their bodies and see things from an out-of-body perspective that they shouldn’t have known about. And we’re not talking about seeing things like, “I saw the doctor in green scrubs,” or “I saw a dust on the lamp.”

Tim Ferriss: Something you would expect.

Dr. Bruce Greyson: We’re talking about really unusual things like, the nurse had mismatched shoelaces, things that you wouldn’t expect, or the doctor flapping his wings. So we have corroboration for a lot of these cases.

Tim Ferriss: And what is the most fertile ground from a pathology perspective for near-death experiences? For instance, cardiac arrest, are cardiologists those most likely to hear reports of NDEs? And then the secondary question is, does the manner of death influence the nature of the NDE reported?

Dr. Bruce Greyson: Let me take the second one first, that’s the easiest one to answer. The matter of death by and large does not affect whether you’re going to have any near-death experience or what kind you’re going to have. Now, there are some exceptions to that, for example, if you are intoxicated at the time, you’re less likely to have an experience, and if you do have one, it’s going to be fuzzier and harder to remember.

Most of the research has been done with cardiac arrest patients, and that’s done because, number one, you’ve got a large population of people who we can document we’re close to death. And number two, many of those people have no or very few complicating physiological problems with them. If you study people who are on dialysis, they’ve got many other problems going on that can complicate what’s going on in the brain. But there are a lot of people who have a sudden cardiac arrest who are otherwise fairly healthy, so they’re a clean population to work with. So for that reason, most of the research has been done with cardiac arrest patients.

But the vast majority of people who spontaneously come to me and say, “Let me tell you about my experience,” did not have cardiac arrests. I’d say maybe 20 or 30 percent have had a cardiac arrest, a heart stop, a lot of them are accidents or injuries or so forth. We have a large collection of people who were injured in combat who have near-death experiences, people who fell from great heights and that sort of thing, people who drowned.

Tim Ferriss: Has the nature of reported NDEs changed over time or does it vary widely across cultures? And the reason I ask is that, for instance, the observation of the placebo effect and how it manifests has changed quite a lot over time. There’s actually a great piece in Wired magazine about this, depending on culture, depending on how widespread readings and reporting about the placebo effect is in terms of strengthening or decreasing the strength of placebo effect. And you see examples of this also in reports of, say, in some cases alien abduction or UFO encounters, et cetera. And there’s a homogenizing of the experience or reporting of it in some cases that one could attribute to mass media coverage discussions on podcasts and so on. So how does that apply or not apply to reports of NDEs?

Dr. Bruce Greyson: Great question, Tim. In terms of knowledge about near-death experience, whether that affects what you’re going to say, we’ve done some research looking at people who reported their near-death experiences to us before Raymond Moody published his book in 1975 when nobody knew what these things were. Working at the University of Virginia, I had access to the files of Ian Stevenson, who’d been there for many, many years collecting unusual phenomena. And he had maybe 50 of these cases, they weren’t called near-death experiences, some were called deathbed visions, some were called out-of-body experiences, some were called apparitions, but when you look at them, they were just like the near-death experiences we call today.

I collected 20 of those that we had enough information about and then matched them on age, sex, religious belief, so forth, with 20 recent cases that I studied. And we compared what phenomena they reported and what things they didn’t, and what we found is that before Moody told us what a near-death experience was like when no one had heard of these things, people reported the same things they report now. So knowing about a near-death experience does not affect whether you’re going to have one or report it.

Now, you also asked about culture, and that’s an interesting point because most near death experiences start by saying, “Well, there aren’t any words to describe it, there aren’t any words in this, I can’t tell you about it.” And I say, “Great, tell me about it,” so they use metaphors. They often will say, “Well, then I saw this God-like figure โ€” I’m saying God because I don’t know what else to call it, but it’s not the God I was taught about in church, it was much different from that, but this all-loving, all-knowing entity, whatever it was.”

And what you hear from people in different cultures is based on what cultural or religious metaphors they have available to them. For example, people in Christian cultures will say that they may have seen God or Jesus. People from Hindu and Buddhist countries don’t use those words, they may say they met a Yamdoot, the messenger from Rama, or they may say, “I just saw this white light.” Also, the tunnel, we have tunnels in the US, so when people say, “I went through this long, dark enclosed space,” they will say, “tunnel.” Well, people in Third-World countries don’t use that word. They may talk about going into a well or into a cave.

I interviewed one fellow who I hear was a truck driver who said, “Then I got sucked into this long tailpipe.” So whatever metaphor comes readily to them is what they use to describe the phenomena. If you look at the actual phenomena they’re reporting, it’s the same all around the world. And in fact, we can find cases from back in Ancient Egypt and Rome and Greece that have the same phenomena we talk about today, but the metaphors they used to describe them are different from culture to culture.

Tim Ferriss: When you’re sitting at, say, dinner or you meet a scientist outside of your field of study who’s well-intentioned, they’re not coming at you in some type of malicious or cynical way, they’re genuinely curious because I think really good scientists are open-minded, but they also ask for proof or they look to demonstrate proof or disprove hypotheses. If you had to steel man against a non-materialist explanation for NDEs, are there any, if you had to pick them, compelling ways to interrogate this experience from a materialist perspective?

Dr. Bruce Greyson: I myself, as a skeptic, tend to doubt everything I think as well as everything else that you think, so I’m not happy with the lack of evidence we have for some of these things. I’m still looking for it, but I went into this thinking there’s going to be a simple physiological explanation, it’s been 50 years and we haven’t found any explanation yet. That doesn’t mean we won’t, so we’re still looking, we have some technologies now that can study the brain in ways we didn’t have before. We have very sophisticated neuroimaging, we have much better computer algorithms for analyzing EEGs. And we have a wider range of psychedelic drugs to use to try to replicate parts of the experience in some ways. So there’s a lot going on in physiological research now that was not available 50 years ago, and we may someday have a physiological answer to explain near-death experiences.

But let me give you two questions, one is that if you find something that has always correlated with a near-death experience, a brainwave activity or a chemical, that doesn’t mean it’s causing the experience. For example, right now, people are listening to us and there’s electrical activity in parts of their brain that process hearing, it always happens when they’re hearing us, this part of the brain always lights up. That doesn’t mean that electrical activity is causing our voices, it’s just a reflection of it. So when you find these physiological concomitants of a near-death experience, you’re finding perhaps the mechanism for it, but not the cause of it.

The second question was that, even though I’m a skeptic and part of me still wishes we could find a physiological explanation, I’m still looking. You need to remember that this is what has been called promissory materialism, we don’t have the answer yet, but we will someday. That’s a perfectly fine philosophical position. It is not a scientific position because it can never be disproven. You can always say, well, we haven’t got it yet, but we’ll get it in 50 years, we’ll get it in a hundred years. So you can never disprove it, so it’s not scientific. So saying that that’s a scientific way of dealing with things, promissory materialism is not the way to go, we need to deal with what we have right now and how we interpret what we have right now.

And I think most people who study near-death experiences, whether they’re spiritualists or materialists or neuropsychologist or philosophers, they agree on the phenomena, they don’t agree on the interpretation of it, of what’s causing it and what its ultimate meaning is. I think that’s fine, that’s not where I am, I’m not a philosopher, I’m not interested in the ultimate cause or the meaning of it. I’m actually a clinician, so what interests me most about near-death experiences is how they affect people’s lives and what people do with the experience. And that’s the same regardless of what’s causing it, whether it’s a hallucination or a spiritual experience, it affects people in the same way, and that’s, I think, what interests me most.

Tim Ferriss: We’ll probably come back to this, but just maybe as a teaser for folks, and please fact check me if I get any of this wrong, but it seems like some of the common after effects for those who experience NDEs are increased altruism, a feeling of connectedness. If they had a profession involving some degree of violence, for instance, not necessarily ill intention, but law enforcement, if they were in the mafia, I know there’s a case of this specifically, they’re no longer capable or willing to perform those jobs. Those who have attempted suicide and have the experience of an NDA counterintuitively are less suicidal after the fact, so I’ll provide those as teasers.

But just to scratch my own itch, I’m going to pick up on a thread from quite a few minutes ago where I was asking about possible differences in reported NDEs. Do children and adults report the same phenomenon, obviously using different metaphors for trying to convey the ineffable perhaps, do they differ in any notable way?

Dr. Bruce Greyson: They don’t really differ. The one difference is that children don’t have the elaborate life review that most adults do, they haven’t had as much of a life โ€” 

Tim Ferriss: It’s a short form.

Dr. Bruce Greyson: They also tend to have as many deceased relatives that they might encounter. They have some, but you’re more likely to hear from children encountering a deceased pet, a dog or a cat. But by and large, people who have studied children’s near-death experiences find the same phenomena, they often have difficultyโ€”even more than adults doโ€”in putting it into words, so they will often ask the children to draw what happened, and they produce artwork to explain the near death experience.

Tim Ferriss: You’re mentioning new tooling, new equipment and technological capabilities that we have, whether that be fMRI or some type of advanced brain imaging, the use of computers, algorithms, certainly AI at some point, if not already, to analyze EEG/ECG data and so on. How might you use something like brain imaging if you could design a study? Because presumably, if someone’s about to flatline, you’re not going to slide them into an fMRI machine because the clinicians would not be able to get to them. So would that mean you would be putting someone into, say, an fMRI and then doing your best to simulate an NDE with exogenous compounds such as psychedelics or otherwise? How might you use the brain imaging?

Dr. Bruce Greyson: People have studied brain imaging with psychedelic drugs. We used to think that psychedelics work by stimulating the brain to hallucinate, and what the studies have shown is that the psychedelic trips that are associated with more elaborate mystical experiences are associated with less brain activity and less coordination among different parts of the brain. It’s as if the brain is getting pushed out of the way by these drugs allowing whatever it is to come in all this mystical experience.

People have tried to look at brain function during a cardiac arrest. It is not easy. Several papers have been published in leading neuroscience journals claiming they’ve done this, but they have not done that. For example, one study was published of people who were comatose and on life support, and they said it was happening in the brain when they stopped the artificial ventilation. And what they found was that there was a change in the brain function when they did that. It was reported as an increase in gamma activity, it was actually not, all the brainwaves were decreased when they stopped the ventilation, but the gamma waves were decreased less than the alpha, beta and delta. So it looked like there was more, relatively speaking, of the gamma, it was actually less than it was before, but these people were not dead.

They also reported heart function during this time, and when they were reporting these changes in brainwaves, the people’s hearts were still beating, they were still having a normal sinus rhythm, normal heartbeat. When the heart did stop, they didn’t continue doing the EEG, so you couldn’t continue to see what’s going on in the brain after they actually died. But they reported it as electromagnetic activity in the brain in dying patients, well, they weren’t dying, the artificial respiration was stopped, but their hearts were still beating.

Similarly, there were other studies like this where they claimed to be reporting on dying patients, and they really were not dying patients, there were people who were approaching death. There was a study done in Michigan where they sacrificed rats and measured what’s going on in the brains when they do that. And they reported a 32nd burst of activity after their heart stopped, that’s what they said they found, it actually wasn’t a burst. If you look at the traces they give you, it was a slight increase, but far less than the brains were showing before, and they sacrificed them. So it was a tiny blip, it wasn’t a surge like they said it was.

Furthermore, if they anesthetized the rats, they didn’t show this at all. And obviously, people have NDE, near-death experiences under deep anesthesia, so that’s not the same phenomena. There were several other things that were untypical of near-death experiences, for example, every single one of the rats they tested had this burst of activity. But if you ask people who come close to death, only about 10 or 20 percent have near-death experiences, and probably most significant, they didn’t bother to interview the rats to see what they were experiencing.

Tim Ferriss: Yeah.

Dr. Bruce Greyson: I will mention one researcher who has actually measured EEG’s brainwaves during cardiac arrest, and this is Sam Parnia at NYU. When you’re resuscitating somebody, you press on the heart, you compress the heart, heart compressions for a while, and then you stop and give them a break to see whether they spontaneously breathe or not, and then you continue it again. Or they’re shocking them with electricity, and then you stop and see what’s happened. And he measured the brainwaves during that period when they stopped thinking, this is going to tell us what’s going on. Well, I’m not sure it is because it’s only for a few seconds that you’re stopping and the body is still suffering from the shock of the electricity or the chest compressions.

Furthermore, he reported some increase in several different wavelengths of brain activity in about half the patients. He also reported that there were some six patients who reported near-death experiences, and he said, “Well, obviously the increased brain activity is causing the near-death experience.” But if you look at this data, the six who had the near-death experiences did not have the increase in brainwaves, and those who had the increase in brainwaves did not report near-death experiences. So I’m not sure if we learned anything from that.

Tim Ferriss: All right. So I’m going to ask you to make some sort of theoretical leaps to answer the next few questions. But first, because I have to ask this, when people see or claim to have seen deceased relatives, and I don’t know if you have this level of granularity in the reports, how old are those deceased relatives? Are they last they saw them? Because presumably, some of these people who died would’ve had a slow decline with neurodegenerative disease and so on, so do they appear much younger? Is there any pattern in the reports whatsoever in terms of the age that these people seem to be when they are observed?

Dr. Bruce Greyson: Yeah, there is a pattern, but again, I need to follow back on the fact that most people say there weren’t any words to describe it. So when you ask them to describe what they saw, you’re describing what the brain interpreted of what they saw. And most people say that they saw the deceased loved one at the prime of their lives when they were young and healthy, not when they were dying. I have had some people say, I didn’t really see a human figure, I just saw my grandmother. Well, how did you know it was your grandmother? I felt her vibrations, I knew it was her, it had her essence. So they may have just seen this blob of light and knew by the way it felt to them, this is grandma. There’s no way of validating this type of thing, it’s just their impression.

Tim Ferriss: Let me ask a tactical, practical question and then we’ll get into the stranger stuff.

Dr. Bruce Greyson: Sure.

Tim Ferriss: Let’s say there’s someone listening and they’re like, “I’m not sure I want my name on it, but as an anonymous donor, I’m willing to give Dr. Greyson some sum of money.” Or maybe some secret agent at the NIH is like, “You know what? I know a way to liberate some funds. What studies would you like to design and see done?” And they don’t need to be specifically related to NDEs, but if they are, I suppose that’d be more germane to the conversation. Any types of studies that you would love to see performed related to this?

Dr. Bruce Greyson: I can answer that from my personal perspective, which is not what I’d like to see the field do.

Tim Ferriss: Sure.

Dr. Bruce Greyson: What I would like to see the field do is what they’re doing right now, looking at all the different possibilities, looking at cross-cultural comparisons, looking at neurophysiological changes, the types of things they’re doing now, looking at other phenomena that seem to mimic parts of the NDE like psychedelic drugs. But that’s not where I am right now, I’m nearing the end of my career and I’m falling back on, “What does it all mean?” And for me, what that means is, how does it affect people’s lives? So I would like to see more research into the practical applications of near-death experiences.

We’ve done some studies now with near-death experiences who say they needed help readjusting to “normal life” after a near-death experience. And we’ve surveyed them about what did they need help with? What was so disturbing about the experience for its after effects? What type of help did you seek? What type of help did you receive? What type of practitioner did you go to? A psychiatrist, a doctor, a spiritual healer, a pastoral counselor? And what types of help were actually helpful and which ones were not helpful? And we’re finding some interesting findings from that. We’re also surveying physicians about their attitudes towards near-death experiences, and we pose them the question, if a patient comes to you and says, I had this experience that I want to tell you about. Would you feel comfortable talking with them about it, and what are the barriers you feel to open up and talking about them? And we had a list of some 25 possible barriers we thought might be things they said, and we were very pleased to find that almost none of them said, “I don’t think it’s worth talking about. It’s not important.” Or, “It’s just a neurological artifact. Doesn’t mean anything.” Or, “It’s just a type of psychosis.”

By far, the most common response doctors gave was, “The barrier is I don’t know enough about the experience to talk to patients about it.” The second most common was, “I don’t have time to talk about this with my patients. I’m just too busy.” Now, those are both things that we can correct. We can certainly give more training to physicians, and we can restructure the schedule so they do have time to talk to patients.

Tim Ferriss: What are the most, if any, reliable ways to simulate an NDE or NDE-like experience? And it makes me think back to a movie. It may not age well, but I enjoyed it at the time. With Kiefer Sutherland, 2000 โ€” no, it was prior to that. 1990 something, called Flatliners, where there are medical students who would take turns putting themselves into a brief period of death, and then they get into this arms race of competing with one another and pushing it further and further and further.

But my understanding based on some of what I’ve read, you do have familiarity with some of the psychedelic-related science, is that these NDEs seem to produce more what had been described as out-of-body experiences, perhaps more, I don’t want to say reliably, but more frequently than psychedelic experiences. We will come back to that point. But are there any ways to simulate it in such a way to make it more studyable, even if it’s not the exact phenomenon? Since I’m sure the IRB would have a tough time accepting temporarily killing patients or subjects that are recruited for a study.

Is there anything that approximates it or any thoughts on how we might do that? Keeping in mind, and this is an imperfect example, but long ago, decades ago, psychedelics were viewed as psychotomimetics, so they can be used as a tool for effectively eliciting a psychotic episode, so it could be better studied. Now, that ends up not being quite right, but how would you think about approximating an NDE?

Dr. Bruce Greyson: Yeah. I don’t think there’s a good way. I think the tool we have that comes closest are certain psychedelic drugs in a very supportive environment. I don’t think people who are just taking drugs on their own can necessarily replicate a near-death experience. But in a supportive environment, in the lab, with low lighting and good music and someone there to help you with it, you can replicate some of the features of a near-death experience. Not all of them. And you tend not to have all the after effects. I think that’s understandable because if you have an experience under drugs, you can say, “Oh, that’s just the drugs. It wasn’t real.” Whereas if it happens spontaneously, it’s harder to dismiss.

Now, one of the issues with the drugs is that we can find out what’s going on in their brain when people are given these drugs, and that’s fine. But then, you make the leap to saying, “Well, this is the same change in the brain that occurs during a near-death experience.” And that’s an assumption. We don’t have the evidence for that yet. It tells us how we might look for places in the brain where we might look and what types of changes. But that work hasn’t been done yet, so it’s all speculative. And certainly, the drug-induced experiences are not identical to near-death experiences.

Many near-death experiences have tried drugs afterwards to try to replicate the experience. And they universally tell me it is not the same thing. One person told me, “When I was on psilocybin, I saw Heaven. When I was in my near-death experience, I was in Heaven.” That was the way he explained it. But they tend not to have the same after effects. And one caution of that, I would say, is that the recent work done at Johns Hopkins with psilocybin has found a marked decrease in fear of death after short experiences with psilocybin. And they’ve done some follow-up in at least a year after the experience. They still have that decreased fear of death, and that’s very encouraging.

Tim Ferriss: Yeah, it’s surprisingly durable, it directly correlated with the strength of the mystical experience, which is measured using an assessment much like your scale for NDEs. What other characteristics seem to be hard to replicate with drugs or are less frequent in occurrence? And perhaps this is an opportunity to speak to what exactly an out-of-body experience is as you would define it. And I think we already gave, perhaps, an example of this with the wings flapping, but could you say more about that?

Dr. Bruce Greyson: It’s tricky to define an out-of-body experience. There’s a large body of evidence looking at people who have their temporal lobe of their brain stimulated electrically. And these would claim they produce out-of-body experiences. They do not. They may produce a sense of not being aware of your body anymore, but they don’t produce a sense of leaving your body and being able to turn around and look at your body and seeing it from an out-of-body perspective.

They often say that with this stimulation, you can see a double of yourself. But you’re seeing it from inside the body, you’re not outside the body. And the double you see is static. It’s not moving around. Whereas people who have real out-of-body experiences talk about moving around the room, going to distant places. People who have out-of-body experiences sometimes can report things accurately that can be corroborated later on. That doesn’t happen with stimulation of the temporal lobe.

So, there are a lot of differences between these artifacts that are produced by temporal lobe stimulation and real out-of-body experiences. When you read some of the papers that have been published about temporal lobe stimulation, they say things like, “Well, my legs were getting shorter, or I felt like I was falling off the gurney.” And they’re called these out-of-body experiences. They’re not. They’re somatic hallucinations, but they’re not out-of-body experiences.

You can get out-of-body experiences with other types of mystical experience and with psychedelic drugs. Whether they’re the same or not is open to question right now. We don’t have examples of people having drug-induced out-of-body experiences having accurate perceptions of what’s going on around them, whereas you do with near-death experiences. Now, that may be because we haven’t looked deep enough yet and we may find them, but at this point we don’t have that.

Tim Ferriss: I’ll share a strange experience and then we’ll get into the, as promised to the listeners, some of the stranger stuff, but not that this is just a plain vanilla walk through the DSM. So I have a fair amount of flight time with different psychedelic compounds, and the one time I would say I consistently experienced what you would describe or might describe as an out-of-body experience was in using, and I highly discourage anyone to use this, a terpenoid called Salvinorin A, which is found in Salvia divinorum, otherwise known as diviner’s sage, used by the Mazatecs in Mexico for centuries, probably millennia.

And part of the reason I don’t recommend it โ€” well, first of all, you could go on YouTube and just search โ€œSalvia freak outโ€ and you’ll get lots of video footage for why you should probably steer clear of it. But it’s, as I recall, a ฮบ-opioid agonist and that is โ€” consuming an agonist of the ฮบ-opioid receptors typically is described as acutely dysphoric. What is dysphoria? Well, it’s the opposite of euphoria. It’s horrible. Terrible, terrifying experience for most people. So I don’t recommend using it.

But these experiences are notable for two reasons. Number one, I had no expectancy. I didn’t know anyone who had consumed a purified Salvinorin A. Secondly, I was observed by clinicians. And in one case, was inside an fMRI machine, so I could not see anything outside of the machine. But in both cases, the experience was effectively a flattened, abstract experience, devoid of time, space, a sense of self. Nonetheless, there was an observer, but an incredibly bizarre experience even compared to, say, a psilocybin or an NDMT or something else.

And in each instance, I had two experiences in, at some point, mid-abstraction, I effectively had the view of a CCTV camera in the upper corner of each room, and I was able to see what all the scientists were doing, all the clinicians, and was able to corroborate those after the fact. Now, in the first instance, I was not in an fMRI machine, so people might say, “Well, you could have had one eye open and you could have been watching.” Now, I would challenge anyone in the depth of this experience to attempt to report anything visual with their eyes open. But the fact that I was literally strapped down inside an fMRI machine would preclude any ability as we currently understand it, to use my eyes to see anything.

And that raises some questions for me because I do have a reasonably broad palette of experience with different molecules, but that was two for two, and I haven’t experienced that in anything else. This is slowly meandering into the stranger territory. So it seems to be the case that certainly, we can occasion very strange experiences with the ingestion or inhalation of different compounds. So the brain has some role as a mediator of experience in the world. But then you seem to document in your experience these phenomena that seem to reflect a mind beyond brain, for lack of a better descriptor. And I don’t want to put words in your mouth.

How do you begin to even think about this? And is the brain, I suppose we could make an argument for this on a whole lot of levels, a reducing valve, as Aldous Huxley might put it, that is filtering for information that is optimized for survival and procreation. And when you do something that I suppose opens the aperture of that reducing valve, then suddenly you have these experiences. Is the brain acting like a receiver of some type?

Now, the argument against that would be, well, if you damage the brain, you can observe all of these effects on perception and cognition and so on. How, at this point, given all of your documentation, discussions with colleagues in and outside of this area of expertise, think about mind versus brain, with the understanding that there’s a lot more we don’t know than what we know? But how do you think about this?

Dr. Bruce Greyson: Well, I was taught in college and medical school that the mind is what the brain does, and all our thoughts and feelings and perceptions are all created by the brain. And I cannot believe that anymore. I’ve seen people whose brains were either offline or severely impaired telling me they had the most elaborate experience they’ve ever had. So I’m inclined to think that the mind is something else and the brain filters it, as you said.

This is not a new idea. 2,000 years ago, Hippocrates said this, that the brain is the messenger of the mind. And this is not surprising because we know that the brain has these filters. There’s the default mode network and the thalamocortical network. If people are listening to us now, they don’t really care what we look like. They want to hear what we’re saying. So, their thalamocortical circuit tamps down the visual input and focuses on the auditory input. And likewise, we’re not hearing the train go by outside or the traffic outside because you’re focusing on this, and that’s your brain doing that. It’s filtering out what stimuli are you going to pay attention to.

And it starts even beyond the brain at our sense organs. You don’t see all the visual light that’s out there. You just see the small portion that is in our visual spectrum. We don’t see infrared and ultraviolet. And likewise, we only hear a small fraction of the frequencies of sound available. We don’t hear the sounds that dogs and bats hear, or elephants and dolphins. So, our brain and the associated sensory systems that we have with that filters out things that are not important to our survival.

Now, we think about the things that happen in near-death experience, seeing deceased loved ones, leaving the body, contacting. That’s not essentially for survival. You can get food and shelter and a mate and avoid predators without all that. So it makes sense that the brain would normally filter that stuff out and not pay attention to it. And if in a near-death experience or similar experiences, the brain is shutting down selectively so that that filtering mechanism is put on hold or being weakened, then you have access to this other consciousness.

Now, that raises the question of what is this other consciousness? Where is it? In a way, that’s a bogus question, because if it’s a non-physical entity, how can it have a where? It can’t be any place. But I’m not a philosopher. I’m an empiricist. And when people say to me, as many do, “If you have this non-physical mind, how does it interact with a physical brain?” And I have no idea. On the other hand, if you take a materialistic perspective and say, “How does the brain, the chemical and electrical changes in the brain, create an abstract thought?” We have no idea about that either.

So, whether you’re an empiricist, a materialist, or not, we can’t explain how thoughts arise and how they get processed to us. What we do know is that all our experiences are filtered to us through the brain. You can have the most elaborate mystical experience in the world, but to tell me about it, you have to be back in your body with words created by your brain and filtered through concepts that your brain puts on it. So obviously, the brain is involved in perceiving and processing and relating the near-death experience. You can’t get around that. But that doesn’t mean it’s creating it.

Tim Ferriss: Also, I just wanted to add that, and I’ve heard you discuss this, just because something is currently unexplainable does not mean it’s fundamentally unexplainable. If we look back at the history of science, and certainly this will continue to be the case, we would laugh at some of the presuppositions of 200 years ago. And there’s no reason to think that 100, 200 years from now, certainly with the rate of technological change, maybe five, 10 years from now, almost with certainty, we will look back at many of the things we took to be true now and laugh at them similarly. And that in science, everything is provisional in a sense. It is until proven otherwise, which it almost inevitably is, is there’s something that’s added to it.

It would seem to me that studying this field, documenting these cases, doing your best to make sense of these things is not without career costs. It would seem to me, and certainly this was the case with psychedelics, say, a few decades ago, to try to scientifically study psychedelics. Putting aside all of the nightmares of logistics with dealing with the FDA and handling Schedule I compounds and so on, to take that path was viewed as career suicide. And I don’t know if that’s a fair label to apply to your field of study with respect to NDEs, but what have the cost been, if any, and why have you persisted despite those costs?

Dr. Bruce Greyson: It’s less of a problem now than it was back in the 1980s when no one knew about these things. Most academic centers assumed this was just a few crazy patients telling us stories and they weren’t worth investigating. And I was told in one university that if I continued to study these things, I would not get tenure. So, I’ve ended up leaving that place and go to a different university before they came up for tenure. I wasn’t willing to risk that, but I did now get tenure at two subsequent universities where it’s become more acceptable to study unusual phenomena as long as you’re doing it in a scientifically respectable way and publishing your material in mainstream medical journals.

So, I think it’s less of an issue now. But you still see a lot of, I wouldn’t say it’s professional suicide, but certainly professional barriers being raised to people who study these things. I think why people do it, partly because they’re intellectually curious about it, there’s a challenge here. I don’t understand it, and I want to. And probably more importantly for me is these experiences have profound effects on the people who have them. And as a psychiatrist, I want to understand that and help them deal with those effects if they need help with it. So, I think it is irresponsible to just ignore it and say it doesn’t exist.

Tim Ferriss: Let’s talk about some of your other interests, research interests, and I have a note here, genomic study of extraordinary twin communication. Could you elaborate on this?

Dr. Bruce Greyson: This actually was not my project originally. An Israeli psychologist, Baruch Fishman, contacted me and said, “I’ve got this great study I’d like to do, and I found a twin genomic database in England where they’ve got 15,000 pairs of twins and the entire genomic platform all laid out. So if we can survey these twins they have, about what they’ve had some type of communication when they’re at distant locations, whether you call it telepathy, you can call it extrasensory, you can call it coincidental, but they have reliable communication with each other when they’re far away from each other. Can we find out from the genomic analysis what genes are associated with this ability?” And I thought, “That sounds interesting. It wouldn’t be something I would pick, but sure, I’m game to try that.”

So, we did apply for a grant, and we got the approval of the group in England. The study hasn’t actually started yet, but it makes me wonder about the genetics that goes into having a near-death experience. We’ve been studying what’s going on in the brain, what’s going on in the heart and lungs. We haven’t scratched the surface of what’s going on in your genes that may make you more likely to have a near-death experience or a certain type of experience. Now, we know that when our hearts stop, between 10 and 20 percent of people will have a near-death experience, and we haven’t found any way of predicting who’s going to have one or not. But maybe the answer is in the genes. So, I think it’s worth doing a genetic study of people who have near-death experiences and those who don’t.

Tim Ferriss: I’ve had a handful of guests on this show who have identical twins, and they have all, maybe off the record, I think in some cases on the record in conversation, shared with me stories that certainly defy any current conventional explanation of communication with their twins. And it’s 100 percent at this point, and I’ve only had a handful of individuals with identical twins. But in several cases, these are scientists, these are people who are otherwise as rational materialists as you could be, but they are not going to refute their own direct experience, continued direct experience with their identical twin.

It does raise a lot of questions. And if we wanted to get really sci-fi, you think about genetic engineering, you think of CRISPR, you think of gene therapies. If we were to, in some capacity, determine which code is responsible, which light switches are responsible, would it be possible to increase someone’s ability to express those capabilities in the same way that we might, say, toy with myostatin inhibition or something like that to catalyze increased muscle growth in the sense we might see in Bully Whippets or in Belgian Blue cattle as an example. So it certainly seems like a study worth doing. Why not? I mean, worst case, you find no correlation.

Dr. Bruce Greyson: There’s a lot of ifs in that question. If we could do this, if we could do that, if you could show this.

Tim Ferriss: Lots of ifs, yeah.

Dr. Bruce Greyson: Frankly, I’m not encouraged by what I’ve seen so far with genetic engineering. Well, we can make tomatoes with a thick skin that can travel better across country, but they don’t have the flavor that a normal tomato does. So you’re always paying a price when you genetically modify something. You may gain something you’re looking for, but you may lose something else. And when you start messing with human genes, you don’t know what you’re going to come up with.

Tim Ferriss: Oh, for sure. How much funding are you seeking for this particular twin communication study, the genomics study?

Dr. Bruce Greyson: That’s a small one. Just $50,000 or so.

Tim Ferriss: Yeah. In the realm of science, that’s very inexpensive. What other studies outside of NDEs would you like to see done? Are there any that are shovel-ready, so to speak, or close to shovel-ready?

Dr. Bruce Greyson: Well, I would like to see โ€” no, we’ve mentioned people who claim to leave their bodies and see things accurately from out-of-body perspective. I would like to get a more controlled version of that, and people have tried that. Sam Parnia at NYU has tried it a couple of times. I tried it once. There have been a total of six published studies of attempts to do this, and none of them have been successful. Usually, you’ll study things for a year or two and find no near death experiences in your sample, or people who have an NDE but didn’t describe seeing things from an antibody perspective. So there really hasn’t been any test of this yet.

Now, a determined skeptic would say, “Well, that shows that it doesn’t really happen, and that people who spontaneously have this experience and tell you about it are misinterpreting what’s happening to them or just making it up.” And I would desperately like to find some objective way of measuring this, but we haven’t had that yet. So, it would be nice to try to hone down that and try to find a good way of studying this in a mess โ€” I mean, the stuff that Sam Parnia’s done, I was participating in one of his studies that had 2,000 patients in it from a variety of hospitals and we found nothing in that group. So you need a huge study to do this.

Tim Ferriss: This was related to out-of-body experiences, specifically?

Dr. Bruce Greyson: Yeah. I think there’s a lot to be learned from the neurophysiological research that’s going on now. There’s a very active group at the University of Liege in Belgium that’s making headway with this. There are other people around the world who are studying it. This group at University College in London. But I think we’re a long way from having an answer yet. We’re just starting this type of research. And it may be certainly not in my lifetime before we find a good answer.

Tim Ferriss: Is there a study design that you think would be a more intelligent way or a better way to approach controlled study or assessment of out-of-body experiences? And part of the reason I ask is that if you look back at, for instance, I could give a famous example, the Amazing Randi, who had this outstanding prize, I think it was a million dollars or a hundred thousand dollars for anyone who could demonstrate PSI abilities or extra sensory perception or fill in the blank under controlled conditions. And to my knowledge, no one ever claimed that prize.

Now, at the same time, if you look at a documentary like for instance, I believe it’s called Project NIM, which looked at the, in retrospect, ill-advised idea to try to raise a chimpanzee as you would a human child. The chimpanzee demonstrated all sorts of learning behaviors and so on that could not be replicated in the lab simply because the chimpanzee would shut down, would not demonstrate those behaviors in a laboratory setting. That doesn’t mean they didn’t exist, but there were challenges in studying it in a controlled environment. What is your best explanation? Again, understanding that for a lot of people, if you can’t verify it under double-blind placebo-controlled conditions or the equivalent in this setting, then it doesn’t exist. Right?

With extreme claims comes the requirement of extreme levels of proof. But how would you, based on everything that you’ve studied, colleagues you’ve spoken with, explain why it is so difficult to produce or replicate or study these things in controlled settings? Why is that?

Dr. Bruce Greyson: It’s essentially a spontaneous experience that does not happen under controlled conditions. When you put someone in a lab, they’re not the same as they were when they’re out on the street. And we’ve learned this with sleep studies. When you bring someone into the lab to measure their brainwaves during sleep, it takes a day or two usually to have them adapt to the situation before you can actually do it and get something that’s at least a bit like what their normal sleep is. So I think you have to take that into account that people have these experiences out in the wild, so to speak, and it’s hard to tame it without clamping down on the controls to their brain that would shut it off maybe.

So I don’t know whether you can do that, whether you can have a really controlled circumstance where you have this experience. Now you can certainly do it with mimics that mimic part of the experience, for example, with drugs or with brain stimulation that can mimic a part of it. And then by implication, develop metaphors of what might be going on in the brain during a near-death experience, but it’s not the experience itself.

Tim Ferriss: What are some of the, for you personally, open questions that you would love to see answered before lights out onto the next adventure after death if there is a next adventure, what are some of the open questions in this field or in other fields that for you, you would most like to see answered? Are there any burning questions that come to mind?

Dr. Bruce Greyson: Well, the big question of course is how the mind and brain interact and that certainly you get some hints of that from a near-death experience. But there are other phenomena that also address the mind and brain seeming to separate. And one of these is the terminal lucidity phenomenon where people who have had dementia for a while and cannot communicate or recognize family suddenly become completely lucid again and carry on coherent conversations and express appropriate emotions. And then they die usually within minutes or hours. And we don’t have any explanation for this.

Tim Ferriss: I have a few friends, not just one. A few friends who’ve directly seen, observed this phenomenon. And I do not have any way to explain that.

Dr. Bruce Greyson: If you believe the brain-as-filter mechanism, that could play a role in this, that when the brain is shutting down in the last hours before death, it releases this filter that allows the consciousness to fully flourish. Now a big problem with that is the person is still able to speak and communicate. So obviously parts of the brain are still functioning just fine. So if you have this experience of heightened lucidity at death, how do you let people know that unless your brain is still functioning? But it is a dilemma because we don’t have a medical explanation for how someone with a debilitating disease that is irreversible like Alzheimer’s disease can suddenly regain function again. Now there are speculative theories about this, but none of them really make a whole lot of sense and none of them have been corroborated by evidence.

Tim Ferriss: Now there are other facets of some of the reported NDEs, past life review as an example. You might also have, as I understand from listening to a number of your presentations, recall or re-experiencing an event through the perspective of someone other than yourself. When you consider all of these reports, how has that affected, if at all, how you think about time? And I ask that it might seem incredibly broad, but I think most of us tend to think of time as this fundamental constant. But if you talk to the Carlo Rovellis of the world, if I’m pronouncing his name correctly, if you start really digging under the hood, it’s difficult to automatically take that as static, known fact. And I’m wondering how you think about time if these reports and your research and experiences have changed that at all.

Dr. Bruce Greyson: Most near-death experiences say there was no time in this other realm, either that time stopped or just time ceased to exist. And when they say that, I reflect on what they’ve told me about the experience, I say, “Well you’re telling me that this happened and then this happened and this happened, but that implies a linear time. So how can there be no time if you’ve got things happening in sequence?” And they just shrug and say, “Well, when I tell you about it now in this body, in this world, it’s a paradox. Over there, it wasn’t. Everything was happening all at once and there wasn’t any linear flow. That’s just the way it is.” I can understand that as an abstract concept. I can’t relate to it in my real life. I don’t know what that means to not have time because so much of our life is controlled by what we think of as the linear passage of time.

Tim Ferriss: Yeah, it’s a slippery one this time thing when you have some of these non-ordinary experiences. Let me ask about another perhaps non-ordinary experience, and this is something I found in the footnotes of a footnote of a footnote. So you may have some ability to explain this. Auditory hallucinations after NDEs, and I only read the very top, abstract in a PDF, so I did not dig into it. But what does this refer to?

Dr. Bruce Greyson: A psychiatrist in Colorado, Mitch Liester and I, did this study. We surveyed a large sample of near-death experiences about what they seem to be, what seemed to be hearing voices long after the near-death experience. And we also looked at schizophrenics who were hearing voices and compared the experience of those two groups and they were quite different. The near-death experiences, who claimed to still be hearing voices almost universally said these were helpful guiding voices. They enjoyed hearing them and they found them making their lives richer. They gave them some guidance and they were reassuring to them. On the other hand, these schizophrenics almost universally said, “These are terrifying hallucinations. I wish I didn’t have them. They make my life much harder. I don’t like them at all. Wish they would just go away.” It’s not experienced in the same way. Is it the same phenomenon? I don’t know.

Tim Ferriss: Among the people who reported the auditory hallucinations, was there any degree of overlap in terms of structural brain damage or otherwise? In the NDE group.

Dr. Bruce Greyson: We don’t have the measures of brain function to answer that.

Tim Ferriss: To know. Yeah. I could keep going for many, many, many hours. Let me ask you this just as a way of branching out a little bit. In terms of researchers who in your mind demonstrate a compelling combination of both open-mindedness but rigorous skepticism, who would you, not to ask you to pick among favorites, but who are a few names that come to mind?

Dr. Bruce Greyson: Sam Parnia at NYU.

Tim Ferriss: How do you spell his last name?

Dr. Bruce Greyson: P-A-R-N-I-A.

Tim Ferriss: Got it.

Dr. Bruce Greyson: There are retired physicians who are still involved in this field. Peter Fenwick in England and Pim van Lommel in the Netherlands. There’s a brilliant psychologist in New Zealand, Natasha Tassell-Matamua, who’s doing a lot of interesting research in this area. She is part Mฤori and she’s doing work with the cross-cultural comparison of Mฤori versus English near-death experiences, but also looking at a lot of the after effects. There’s that large group at Liรจge that I mentioned to you before that’s doing a lot of research into this.

Tim Ferriss: This is Belgium?

Dr. Bruce Greyson: Yeah. Many of them are quite confirmed materialists. That’s fine. They’re still doing good research. The head of that lab though, Steve Laureys, is much more open-minded. He still is a materialist, but he’s more open-minded about what these things might mean. And he is certainly compassionate about how it affects the people who have these, which is probably more important to me than what they think is causing it. So there are a number of people around the world who are doing good research with this area.

Tim Ferriss: You have written a number of books and co-authored, co-edited others. One of them is Irreducible Mind: Toward a Psychology for the 21st Century. What does the irreducible mind refer to?

Dr. Bruce Greyson: That basically means a mind that’s not reducible to chemical processes and electrical processes in the brain. It’s a mind that can be independent of the brain. And that book, without ever mentioning anything paranormal or parapsychological, goes through a series of phenomena in everyday life that point to mind and brain not being the same thing. And it does include near-death experiences and other experiences near-death, and it includes exceptional genius, it includes psychosomatic phenomena, a variety of things that have occurred to perfectly normal people over the centuries and have been well-documented and don’t seem to be compatible with the idea that the brain creates all our thoughts and feelings.

Tim Ferriss: Which of your books, whether solely authored, co-authored, or co-edited, would you suggest people start with if they wanted to?

Dr. Bruce Greyson: I would suggest my most recent book, After, because that’s really geared towards the average person, the layman, and is written in language like we’re talking right now. I tried to minimize jargon, whereas the other books I’ve written have been primarily for academicians, which are much harder to read, much denser. Still excellent books, but not for the average person.

Tim Ferriss: And that is After: A Doctor Explores What Near-Death Experiences Reveal About Life and Beyond.

Dr. Bruce Greyson: Right.

Tim Ferriss: All right, so that’s where people should start. 

Well, Dr. Greyson, this has been a very wide-ranging conversation. Is there anything that you would like to discuss, mention, or a request you’d like to make of my audience, something you’d like to point them to? Anything at all that you’d like to say before we start to wind to a close?

Dr. Bruce Greyson: I think that things I want people to know about near-death experiences are number one, that they’re very common. About five percent of the general population or one to every 20 people has had a near-death experience. And secondly that they are not associated in any way with mental illness. People who are perfectly normal have these NDEs in abnormal situations that can happen to anybody. And third that they lead to sometimes profound, long-lasting after-effects, both positive and negative that never seem to go away over decades.

Tim Ferriss: People can find all things Bruce Greyson, it would seem, at brucegreyson.com, if I’m not mistaken. So Bruce Greyson, G-R-E-Y-S-O-N, dot com. And you have quite a few books to your credit, but the one to start with would be After subtitle, A Doctor Explores What Near-Death Experiences Reveal About Life and Beyond. Is there anything else? 

Dr. Bruce Greyson: That’s it. You covered it pretty well, Tim.

Tim Ferriss: All right, well thank you very much for the time and for everybody listening, we will link to everything that we discussed in the show notes as per usual at tim.blog/podcast, then you just search Bruce, probably, and he’ll pop right up. And as always, until next time, be just a bit kinder than is necessary, not only to others but to yourself. And thank you for tuning in.

Learnings from 1,000+ Near-Death Experiences โ€” Dr. Bruce Greyson, University of Virginia (#774)

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“I was taught in college and medical school that the mind is what the brain does and all our thoughts and feelings and perceptions are all created by the brain. And I cannot believe that anymore. I’ve seen people whose brains were either offline or severely impaired telling me they had the most elaborate experience they’ve ever had. So I’m inclined to think that the mind is something else and the brain filters it.”
โ€” Dr. Bruce Greyson

Bruce Greyson, M.D. (brucegreyson.com), is the Chester F. Carlson Professor Emeritus of Psychiatry & Neurobehavioral Sciences and Director Emeritus of the Division of Perceptual Studies at The University of Virginia. He is also a Distinguished Life Fellow of the American Psychiatric Association and one of the founders of the International Association for Near-Death Studies.

Dr. Greysonโ€™s research for the past half century has focused on the aftereffects and implications of near-death experiences and has resulted in more than 100 presentations to national and international scientific conferences, more than 150 publications in academic medical and psychological journals, 50 book chapters, and numerous research grants.

He is a co-author of Irreducible Mind: Toward a Psychology for the 21st Century; co-editor of The Near-Death Experience: Problems, Prospects, Perspectives and of The Handbook of Near-Death Experiences: Thirty Years of Investigation; and author of After: A Doctor Explores What Near-Death Experiences Reveal about Life and Beyond.

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The transcript of this episode can be found here. Transcripts of all episodes can be found here.

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Want to hear another episode that ponders the nature of consciousness? Have a listen to my conversation with Professor Donald Hoffman here, in which we discuss the science of consciousness, how perception may influence the physical world, the holographic model of the universe, panpsychism (and influential panpsychists), cosmological polytope, the use of hallucinogenic drugs to tap into deeper reality and interact with conscious agents, QBism, the probability of zero that humans evolved to see reality in full, and much more wild stuff.

What was your favorite quote or lesson from this episode? Please let me know in the comments.

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