Scotto Answers Your Questions! Q&A Special

Hey, what's up everybody? This is Very Vehicular and as always, I am your host, Brian Scotto. Today, we got a slightly different episode. You know what you're getting? You're getting a lot of meat. That's right. You guys ask questions and we are answering them today. So strap in and enjoy. This episode is dedicated to all of you who say the host talks too much because guess what? You're getting just me today. Here's how we're going to do this one. We picked 10 great questions. We put them in an order that we think tells a good story. Nick's going to read off the questions and I'm going to kind of go through them in a somewhat rapid fire response. I say somewhat because we all know there's no real brevity in the way I talk. But we're going to try to get through 10 good questions that we think actually do a really nice job of carving up a pretty good episode. So without further ado, let's get into it. So Nick, hit us with the first question. Okay, so our first question today is from Abraham Ali D8K and he asks if you can consolidate your entire collection for one dream car, what would that one car be? Okay, I want to start off by saying the idea of consolidating all 25 to 27, I remember of my cars to only be one. That is my nightmare car. Like I like having lots of cars that I don't have a single dream car that serves the mall. I know it'd be simple if someone would say, oh, sell them all and buy an F40. One, I don't think I could sell all my cars on a Ford F40. That's the first. The second, the practicality of only owning an F40 just doesn't make sense for my lifestyle. But I did put a little bit of thought into this. So this is a world of dreaming, we should say, or if possible, how could I manage this? So the first thing I thought about was that this is my only car. This is the only vehicle I have. So it has to check a lot of boxes. And those boxes for me are like one, it has to service my family, right? So like it needs to have four doors. It needs to service being fun. So that means it has to sound good. And it also needs to be fun to drive and like still have a rawness to it. So that pretty much cuts out anything that's probably too new. It needs to be able to do work on some level, meaning I have to be able to go to Home Depot and pick up a sheet of plywood or supplies or do something like that or possibly maybe even tow a trailer. Trying to fit all of it. But it has to really enjoy driving. So that kind of cuts out the pickup trucks because for a while I thought maybe just like a really well sorted, like lowered pickup truck would service me well. I was like, I just don't think I would enjoy driving that every day. I've done the having a pickup truck as a daily and while it is really functional, the minute you get back into a car, you're like, oh, right, this is why I enjoy cars. And no knock to pickup truck drivers. Like I've had a ton of fun off road in different types of pre runners, Raptors, TRX is whatever, a lot of fun. But for just I gravitate more to windy roads. That's what I really enjoy. Like if I only got to do one fun thing in cars for the rest of my life, it would be driving windy roads. So here's what I've kind of put together. I think to no one's shock, it's an Audi. I was thinking about the different Audi's and actually I was thinking maybe my RS2 could serve this, but I realized that the RS2 is just a tad too old for sort of every day life with other people. I don't mind it all the time, but I think having a car that feels slightly newer and there was a huge jump between the B4 chassis and the B5 chassis. So I think to start the chassis itself would be a B5 RS4 Avant because you got to have a wagon. Like if you're only going to have one car and it needs to be sporty, but you also need able to fit stuff in it, the Avant's the way to go. You could put a roof rack on it and you could store stuff up top. I know I would definitely get mean by being the guy putting plywood on the roof of my car at Home Depot. Shout out to Lumberjetta meme from those who remember way back in the day. But then from there, I was thinking like, look, I'm not going to knock the V6 in it. Cosworth developed really, really cool. It just doesn't float it for me. So it would either be an i5 turbo swap. So think like an AN or ADU motor or something like that, or a VR6 turbo swap. One of those two. And when I say, because it's a dream car, it's the perfect swap. Like it runs perfect. It starts every time because if we can have a dream car, the second part of it would be developing some sort of suspension that actually could raise up. So in the winter months, I could have a lot more travel to be able to set up with snow tires. Not that I live in a winter climate, but I want to be able to go there, right? Because again, this is my one vehicle. I'd also want to be able to drive it off road. So I think like a little bit of rally armor underneath. Again, that adjustable suspension, I'm sure KW could figure out an HLS system for me that would sort of operate full time would be kind of the model for that. And back to the engine, I think the sweet spot is about 550 horsepower, somewhere between 500 and 600 horsepower. Like that's like it's still rowdy, but it's not absolutely ridiculous. And you can probably still have a tune that gets somewhat decent gas mileage for kind of getting around. Yeah. And then interior has got to be, you know, really fresh Alcantara. Oh, I think I said Imola, but it needs to be Imola yellow because if you're going to have only one car, it should be pretty shocking. Oh, and last but not least, the vehicle absolutely needs to have a tow hitch. I do actually have a tow hitch on my RS2, but yeah, nice little, you know, one of those hideaway European style tow hitches that sort of look like a dildo. That those ones, one of those so that I can tow, you know, just a small trailer or do whatever because again, this is my one car and it's got to do the job of all. I do realize that for a lot of people sitting here listening to this or probably like, why not just pick a brand new RS6? And I'll tell you why. I just enjoy the lighter weight drivability of the B5 chassis than how sort of large and crazy the RS6 is. The RS6 is absolutely fantastic. It's really cool, but I'd rather build up the B5. I just enjoy how the steering feels and all of that a little bit more than the newer cars. I also like that those cars just feel a little bit more analog, but yeah, the RS6 is, if it had to be, I had to go buy it from the dealership and that was the only car. I guess it's the RS6, but yeah, but for me, I'd rather build a Frankenstein RS4 that is part rally car, part everything else and can tow stuff. All right, next question, Nick. Our next question is from J.M. Boucher 1 who has asked, go through different eras of cars, i.e. hot rod, 50s, muscle cars, etc., and where you think their popularity will be in the future? You know, I actually think about this a lot because I like a really, really wide range of cars, right? I mean, we joke about me loving a rail car. A rail car is a 1950s style of modifying pre-war cars to just be fast, which is basically just removing the body from them and making them into a rail car dragsters. I really love a previous air carton. Just over the weekend, as I was scrolling marketplace as I do, I found an old 50s Ford and like a shoebox Ford and it just looked really cool. And I got to say that era has always escaped me. Like the late 40s into early 50s is sort of a window that like, I don't know, I respect them, but it's never been something that I've outwardly looked to go say, oh, I want one of those. And I looked at this thing and it was just speaking to me. I'm like, man, I don't know, do I kind of want one of those my life? And then I started thinking, who does want one of those anymore? So when I saw this question, I was like, you know what, this is already sort of top of mind to me. I, you know, I bought my first car in the 90s, right? So like, and it was a current car at the time. And I liked cars that were made pretty much back into the 80s. It didn't stretch further when I first got into cars. I sort of liked cars that were really only a decade or two old. As I got more into cars, I started to appreciate, you know, different stuff. I appreciate older and older things. But I grew up with a grandfather who really molded me into the person I am today of like someone who loves cars and loves a really wide range of stuff. I'll tell his story another time, but, you know, he was a rags to riches story. He kind of grew up with very little, raised his family with very little, and then his wife actually started a business that made a lot of money. And unfortunately, he died when I was eight, but up until that point, he spent a lot of that money that on cars, and he had a really crazy wide range of stuff. But a lot of it was cars from like the 30s and 40s. Like they were, he had a lot of interest on those things. I mean, he was around in that era. So he looked at things like Auburns and Duzenbergs and Packards, right? And I think about it now, it's like, to me, those feel like museum cars. And I think that that's where we may find a lot of cars that to us felt at one point to be enthusiast cars start to fall out because who here cares about a Duzenberg? I'm sure there's a couple of people, but the reality is it's a much and much smaller group because as that audience dies off, right? So like that's what the greatest generation, like those are people who fought in World War II, like my grandfather did, like they're most of them, unfortunately, are gone. So it's like their love for those cars are now gone. And that means that those cars either end up as art, meaning people own them because they're worth something, or they end up in certain collector hands like a Jay Leno, or they end up in museum collections. And that really changes where the future is. So this is something we've already seen happen. I think what we're going to see happen next is like how that may affect hot rotting in muscle cars. And I do think that hot rotting in muscle cars may be served up a little bit differently. And the reason I think that is because like hot rotting started it all, right? I mean, the reason you're listening to this podcast is because of hot rotting. Because hot rotting is what really started everything. Like if you like JDM tuners or you like, you know, Euro cars or anything, if you like pre-runners, like modifying cars to make them go faster, and literally the term souped up came from that era, souping up cars is something out of hot rotter culture, which began in the 50s. So it's weird because I think that that actually feels like more of an anchor to modern day car culture to me than like the early cars, which is the anchor of like original, the original automobile, right? And caring about like, ooh, this is steam powered or whatever. Like I said, we got the Jay Leno's who care about that. I don't really care as much. It's not what floats my boat. I like the world of performance cars and when that started, like if I reach back as far as I can and I start thinking about cars I'd really want to own, probably like the earliest car is a Model T or a Model A in a hot rod format. Like I don't care to own a stock Model A. Like that doesn't excite me. So for me, it's the world of modification that moves forward. And I think that's true for a lot of enthusiasts. You know, hot rods are a weird one because I think they come in and out of fashion. Obviously, you know, they were super, super cool in the 50s and 60s. There was sort of a revival of that in the 80s and 90s with like street rotters. And then we saw it just 10 years ago with traditional hot rods. Like traditional hot rods got super cool again. The Race to Gentlemen is a good example of that. But we started to see people go back and building 50s era cars. So, but right now that feels like it's at a lull again. Not super lull, but it doesn't seem as big as it did, you know, 10 years back. So I think we may see a return to that. Muscle cars feel really soft to me. And again, I think it's the standard math, which is look at the cars that a generation that has just come upon disposable income. Look at the cars that they loved during high school. And those are going to be the cars that all of a sudden is what's exciting, what's moving across the auction. You know, think about what you see on Bring a Trailer compared to what we saw on Barrett Jackson, you know, 10 and 15, 20 years ago, right? The 69th era, which was like peak Barrett Jackson era. Like they still command some money, but they're not going at those kind of crazy prices, where now we're seeing, you know, you see the 9-11 market, but BMW market, Mercedes market, obviously the JDM market, you look at what GTRs go for and all of that. You know, that's because right now the audience that is in their 30s to 50s that has a good job, maybe has some disposable income and wants to go buy the car they wanted in high school, like they're doing that right now. So I think that as we continue to move forward, where does that go? This is actually a thing that came up with Nads and I, because is there going to be an audience of kids who are lusting after, you know, first generation Teslas? I don't know. I don't know. Maybe, maybe we do end up going backwards because we see the end of ice cars and because we see the end of that modifications and all that changes, or maybe there's a whole new world that goes forward with the EV. I'm telling you, when muscle car guys and hot rodders were looking at Volkswagen, you know, rabbits and old Hondas being, you know, being brought to the US, I don't think they thought that there was going to be an entire generation of enthusiasts around that. So to answer your question, I think that certain pieces of that culture will stay through, mostly early, early hot rodding and some of the really important, I think, kind of muscle cars, think Chevalp and Camaro, you know, think that kind of era because they're like the archetype for what we do with everything else. But I don't know. I think unfortunately a lot of it's going to get forgotten. Like we don't know, we don't care too much about, you know, cars of yesteryear, like a LaSalle, although I do own a LaSalle engine. Anyway, next question, Nick. All right. Question three from NoBoostTM. If you could rebuild your first car again, how would you do it differently? Well, first off, my first car. My first car was a 1995 Volkswagen Golf Mark III, and I bought it in 1997. So it was pretty new. Good news is, is those things just depreciated pretty quickly back then. I think I bought it for like 10 grand. And I did all the classic Volkswagen, you know, Volkswagen boy stuff to it. I did dual rounds. I slammed it. I bought it as a two liter. It was a four door. I converted it to be a VR6. I then painted it, although I painted it the same color. It was black and I painted it black magic metallic, which is basically just a metallic version. But I then kind of went down a slippery slope. This was sort of during the height of really like building show cars in like early 2000s. You know, H2O, water fast, hot, important nights were all sort of booming. And I think there was this big strive to do something different. And I worked at a body shop. So I built, you know, I did like shave trunk, which was pretty standard. But I built a M3 front bumper weirdly as a guy who, you know, was a big fan of the doesn't really like BMWs. I did really like some of the aesthetic pieces of the 36 M3, which was the front bumper, the mirrors. So I grafted those onto the car, did like D stock mirrors. Anyway, a lot of that's what I wouldn't do again. But I'm actually in the process of doing this. Like I am out of the age right now where I'm rebuilding my first car like that. I'm embracing that that when you get to an age where like I want to nostalgia build a car, I have a 911 and a Ferrari parked behind me. And I seem to be more excited about building a grocery gather from the 90s because it connects me back to being a teenager. But okay, so here's what I'm building right now. And I'm building the car I would have bought if I had access to European market cars in the 90s. And I had the funds to buy it, which is a 1995 Volkswagen Golf Syncro 2.9 VR6. That is an all wheel drive car with a slightly bigger displacement. We got the 2.8 here in the US. And there's some things that I'm carrying over from the first car. First off, this one also is a four door. It is also black. And eventually I will make the dumbest decision to spend a ton of money to do black magic metallic. Because I, you know, might as well repeat your mistakes in life. But what I won't do is any crazy body kits or any of that. I'm just going to keep the Euro bumpers on it. I kind of like how all of that looks. I've got a couple small parts on it that really kind of nod back to that, which is the dual round headlights. I have went and found the exact same ones I had, which were the Carrillo style. It's probably a little nerdy for anyone who doesn't know that stuff. But you know, that stuff I like. Single wiper mod. But otherwise, like, you know, obviously slam it, put it on opt A9s actually. Yeah, put on opt A9s, which I think is probably one of the best fitting wheels for a Mark III. My friend Jason Whipple has almost perfect two door Mark III VR. And it looks perfect on the ops. Camigrel, you know, a couple of things like that. And those are all just nods to the first car I ever built. But I'm doing it. I'm actually at that age where I am rebuilding my original car. Feel bad for me. Nick, next question. All right. This is question four from RR3 Euro. There are talks about Audi Germany changing tactics on how to attract more buyers and going back to appeal to Audi enthusiasts again. How would you do this if you were the head of marketing? Oh boy. First off, I'm not going to give them too much because who knows. A few people from Audi might listen to this podcast and like, I'd rather just be head of marketing than not get paid to be head of marketing for Audi. But okay, a couple of things here. One, I just want to put out that I actually have insider knowledge of the future of Audi, some of which lives behind a non-disclosure agreement. So I know a lot of the cars that they're making all the way through 2030 because I got to work directly with Audi, with Ken Block when we did electrocana. So I got to go through the design facility. I know what's coming up, which is one of the hardest secrets I've ever kept because I would love to share with you guys all of the really cool stuff that's coming up. Like that's really cool and I wish I could tell you more about it, but I can't. But what I can say is that I think very much like a lot of the other automakers Volkswagen included, but also US automakers, a lot of the other Europeans, some of the Japanese automakers very much invested in the idea that electric was the future. I'm not saying it's not, I'm not looking for Johnny Lieberman to fight me on this one, but I do think that the growth at which we thought it was going to happen and how fast we thought that was going to happen is not happening. There has definitely been a slowdown to people's want for EVs. Myself included, I was an early adopter for electric vehicles and it just didn't work for me. I tried to make it work. I wanted to make it work and I actually one point got so annoyed at owning an electric vehicle that I almost left it at the charging station and called an Uber and just was going to just leave it there. I was so done with it. So I think that everyone moved into this idea that EV was the future and you heard Audi saying, we're no longer going to race ice or no we're going to stay just in the EV space. That's why we had to make electrocana. But at the same time, that company released the RS6 and they have the RS3 on the market. And I think that they should look and study what the RS6 did for that brand because I think it woke it up a little bit. I would say that the best era of Audi in the United States, I feel different in Europe, but in the United States is sort of that 2000 to 2010 era. You've got, one, we're coming out of the B5, which was a great car, the B5 S4. It had its issues, but a great car. We've got the introduction of the TT. We've got the R8. Later on, the RS4 comes here. We have an RS6 that's available here in the US, the sedan. There's just a bunch of great offerings kind of all through. They bring in the A3, which is kind of like a fun smaller car. There's just a great collection of stuff that we can get here, not to mention S6, S8, all these other things. But they're also doing really well in motor sports. And I know Audi is headed into Formula 1. I think that's a slightly different audience, but Audi was just crushing Le Mans, right? I mean, the diesel era and all that and the R10s and Le Mans. There is just this massive push at that point. And I think that that was a time in the US market where all of a sudden Audi was seen as a stable mate to BMW and Mercedes. We're in the 90s. That was not true, right? I mean, there was a group of people in the US who really appreciated Audi's, but they were a small seller because of unintended acceleration, which is a whole other thing. You can look it up. They almost had to leave the country in the 90s. So this was really Audi emerging as a brand, setting themselves up. And I think they did it by making one really good cars that were entertaining and enjoyable to drive. They still leaned very heavily into, I think they're German engineering and motor sports side, like, you know, Worsprung, like all those things were that they've moved away from that. And I don't know how much of that is an Audi Germany thing versus an Audi of America issue. AOA seems to operate very different in the US than Audi Germany does. So Audi AG being Audi Germany, you know, Audi Germany still seems very much interested in their history in motor sports. Audi tradition is a good example of that and still care about all of that, where the US seems to be less than interested in that. And they see themselves more as a luxury brand. I think that this is a massive problem because Audi US is so big, even if you live in Europe, you need to worry about what AOA does because the cars that AOA sells to a consumer or the consumer they create for that car really adjusts how Germany's doing things because of how big the market is here in the US. And I think that Audi has really moved more into the luxury car market and is less of a fun performance car, which I think is what sort of built their name in the mid 2000s because they had fun performance car offerings. I mean, they built an RS4 convertible in 2008. I mean, there was some really good stuff there that was really fun. And I go back to it, I don't talk about it much, but like the R8, for example, was a fantastic, they entered into the supercar market into a vehicle that could be daily driven. And I think they've lost some of that excitement. Like that, I think right now it's like look at models, the RS6 I think is the first car that actually brought excitement to Audi, where people who weren't Audi files were talking about Audi in over 15 years. So that I think is part of the problem. How to fix it? Yeah, I mean, it's an interesting, look, build more exciting cars, the RS3 is fantastic, the RS6 is super great. But build and support those cars, support the enthusiast market more, don't forget that there's an audience of people who grew up on your cars and now are cross shopping other stuff because they're no longer getting a fun driver's car. I think that's one of the things that always made Audi fun. And for me, I think Audi just needs to embrace an entirely different marketing strategy, especially here in the US, like I can't even think of an Audi ad or promotion outside of something I've been involved in in the past five years. I can't even remember one. That's probably a problem, Audi. Anyway, you know how to contact me, head of marketing, Audi Germany, I'll come on over. Anyway, Nick, pack your bags. Oh, no, next question. Tufta Motorsport asks, inspiration of the Jim Carna films outside of the automotive world, which films, subcultures and vibes inspired them in different ways? That's a really good question. The first one was probably inspired by something inside of automotive mostly, but its format and its structure was 100% inspired by skateboarding. The concept of the Jim Carna video to begin with was inspired by what we called the video part. And for those who didn't grow up in skateboarding, culturally, it was really important for a skater to have a sick video part. That is most of where, especially before things like X Games, and obviously way before social media, where you got to pick your favorite skater. It was like, oh, this crazy part that he did. I mean, as a kid, I love Danny Way. He had this really fun part when he was like nine or 10 years old. I don't even remember what video it was in. He later on obviously did the Mega Ramp, which was probably one of the craziest parts of all time. And that was this idea that really kind of grew from skateboarding, which was like, build this thing. It's maybe three to five minutes long. It's your style. It's got your music. And then it's you doing something that probably no one else has done before if it's going to be good. So that in itself, that format, that structure is what the whole Jim Carna series was built off of. But the first actual one was basically a highlight clip of different amazing rally moments that Ken wanted to see happen in tarmac, in urban environments, or non-rally environments. And there's this one crazy slide that Gigi Gali did. And I remember watching it over and over and over, where he basically does a backwards entry into a corner. It's like he's doing this dooring competition. And it was like, man, take that and be able to just really enjoy that moment. And that is what inspired the Subaru in the first video, Sliding Around the Cone. So a lot of that was taken from automotive, but it was taking it from a competition world and applying it to something that felt more like fun entertainment that we were grabbing from the skateboarding world. For me personally, and I've said this a thousand times before, but the movie Ronin was a massive driver for me. If you go back and watch it now, I don't know if it holds up to, actually it doesn't. It doesn't hold up to modern day sort of stunt work that you've seen. But what I loved about it was it felt very real and it felt very practical because it was. And that I think is what stayed true to me, is that they actually drove the cars and a lot of those scenes, you can feel the cars being driven, the way the cars are reacting. Yeah, just the energy of that. I've always tried to recreate that. I don't know if I ever told this, but I actually went and scouted all the original Ronin locations in Nice while I was in Monte Carlo while we were working on a video that we were going to potentially do in Monaco that we did and do. But I ended up working with someone who was on the original Ronin project and she brought me to all the original locations. And I was considering trying to do something fun with Ken where we went and redid the Ronin moments, unfortunately. That never happened. To live in Dian LA was a massive influence on the aesthetic of Jim Connys 7, the Hunicorn, just the seedier and gritty side of Los Angeles, South of Adams, like that kind of look and feel really drove that for us. Bullet was obviously a big driver for Jim Connys 5. In terms of just sort of vibes, there was an early YouTube vibe. I can't explain it. If you weren't there, it's hard to explain. The vibe wasn't a particular style. It was that there was no style, was that you could make something and if it's good, people are going to watch it. And I look back at it now and it's like early YouTube felt so exciting and so refreshing. It was so different from television. The things that were working were all over the place. If you looked at the top 10 videos in 2008, none of them had a commonality between them. They were all completely different stuff. There were things that were educational. There was obviously the Jim Connys film, but there was just this wide range of things and it felt like a no man's land where you could just make whatever you want. The algorithm wasn't even a word that I knew at the time. It was just like make something cool and people are going to go watch it. And that, I think, gave us this... It was definitely the impetus for us to say, hey, we could try whatever. We could just go make something. We could just go do it and it might work. And that vibe is probably one of the most inspiring things that ever happened in Jim Connys. Because if you think about it, Jim Connys 1 was sort of this like skate park. Jim Connys 2 was a mega-mercial. Ken's idea was like, let's make a commercial for DC Shoes and put it out there. And then it went on to do tens of millions of views. That was unheard of before that. The idea of making a commercial that people watched on purpose and not just because they were still awake at two o'clock in the morning and that's what Cable switched over to. So that, I think, was just a really, really, really big driver of it. Yeah, I don't know. That's it. And like I said, a couple movies, really older action movies, the 70s and early 80s stuff. Because after that, everything kind of got fake. So that didn't... Fast and Furious wasn't influencing us at all. Ken never even watched that sort of Fast and Furious because all the driving was mostly faked or very far from practical. Definitely not in the way we were trying to approach it. So yeah, if I had to pick one thing or two things, skateboarding and just the magic that was early YouTube, biggest inspirations on Jim Connys. Nick, next question. Okay, question six is from Mike FPE. And he asks, I'm always in awe of what you have achieved and the work that you have produced over the years. Thanks, Mike. But is there anything that you would have done differently with hindsight in mind, loving the podcast, by the way, you're very welcome. First, Mike built some really cool cars, throw them up, throw out people to see. But I don't know. I mean, I guess the glaring one was maybe not sell Hoonigan. But I have to... I can't just say that because Hoonigan would have fallen apart if we didn't change things. So it's not just ooh, don't sell it. The reality is, is if we hadn't sold Hoonigan, it would have been out of business in a year. Because probably the structure of how things were changing and we were unaware of how it was changing. And look, the same thing happened to Motor Trend and a bunch of other brands. The large multi character universe on YouTube hasn't done well. If you look across the entire climate that is not really succeeding anymore. The individual creator or one or two creators as a team, that's sort of the model forward. If I could, knowing what I know now, and I had a gut feeling it was going this direction early on, but we were already too much in a direction to shift it, I think what would have made sense was after about the first two years of us making content together would have been to build out individual channels for different characters. Hurt has his own space, Vinny has his, Zack has his. Maybe I would share one with someone else because I wasn't making as much content as those guys were. And the reason is that as the algorithm got more and more fine tuned during that period. So we're talking 2017 to 2024, 2023 actually really is when I left. That would be the moment where you're looking at it and saying that algorithm delivers when every day the same person shows up on the channel. One of the biggest problems for Hoonigan was every day you could get someone different. You could see Hurt drifting Ark sevens one day and then the next day, chop Lord himself, Zack is trying to stick a NASCAR motor in a truck or something, right? And this difference meant that our audience was always sort of, you know, not, they didn't know what they were going to get. And yes, there was an audience that loved all of it. But I think that instead of breaking the, the, the company into different channels, which we did, which I still don't, I know a lot of people didn't like that, but we, we sort of, it was a necessity because we were making so much content that we were starting to cannibalize our own content on one channel. But instead of breaking it into like project cars and, and burnouts and then the main channel, I think if we would have done that instead and said, hey, the main channel is for when all the guys do things together. And that's just like the special content. And that's like the bigger, the bigger shows, or it's the shows where everyone shows up to, and then built out this individual thing that each of those guys had a bit more ownership over. Because I think that in the modern day world, you know, everyone's biggest sort of carrot to stay or attraction to leave is the idea that they can build their own kingdom, right? So it's like, if, you know, think imagine how different it would have been if Vinny had started, you know, the Ventura channel in 2020, one, you know, and also had the funding and the support and the shared services of all things, Hoonigan. And because that's the business side of it that like, if you talk to any creator, they're going to tell you it's really hard to run a company with, you know, which is a YouTube channel with only one or two people. It's hard for, it's hard to run this podcast like that. There's just a bunch of other things that you don't see that's beyond not just the filming, you know, the, and the editing, but like the invoicing of partners and the figuring this out and having money to, in capital to front new projects or to buy equipment. That would have been this great way to kind of reimagined how we did Hoonigan. I think it would have made for a different, a different way forward for all of the guys who were involved. I think it would have allowed the brand to go sort of in different ways individually, where we were always sort of pulling different directions because so many of us were different. And then keep, you know, keep that on the main channel, right? There was, there was a chemistry of everybody together that certainly worked, but there was also the want for everyone to go and chase their own dreams. And I think the one thing everyone has learned about YouTube is that if the people on camera are not doing something they want to do, it doesn't, it doesn't turn out well, right? And I think that the audience can see that none of us are actors. So if the audience sees that you're maybe not fully enjoying what you're doing, that's just not as good a content. So if you gave everyone the opportunity to go chase their things, do the stuff that they wanted to do that was very core to them, kind of build out their own channels and really their own companies inside of each of that and have them have ownership on that. And then the team comes back together to do some of the bigger projects, whether, you know, those were the road trips, I hate to say it, but things like this versus that worked well as a group. Even if you didn't like that show, we all liked making it as a group. It was, it was fun to kind of do those pieces. Obviously early down, daily transmission fell into that world as well. But yeah, that's probably the one change I would have made. Other than that, though, like, I don't know, man, I don't really have that many hindsight changes. I mean, we did what we did and a lot of it worked really well. And I'm really fortunate to say that. But yeah, I think if we could have moved to and again, to more of a hive network, you know, earlier on, I think, think that would have been would have worked. But I don't know, maybe one enough. Who knows? Oh, you know what? One last thing before we move forward. In hindsight, personally, I wish I enjoyed it more. I didn't really enjoy it. It was work. And I was always scared that it wasn't going to work. I was always afraid it was going to fall apart. And I was always concerned how we were going to pay everybody. And that was a constant stress. And now that I'm through it, and we got through it, and I was, you know, I mean, yeah, there's, there's ups and downs of it. But overall, it was an amazing experience that I would do again and do it the same way I did it again, just because it was an amazing experience. I didn't stop enough to smell the roses along the way. So me personally, I would have tried to enjoy it more. All right, next question. PlainJaneCars asks, not sure this will fit the script, but it's an honest question. How did you find your creative voice and maintain it despite all the constant changes to social media platforms? Oh boy. That's like a whole podcast. And that's like a podcast. I think it's a great conversation for other people. Maybe one day we need to do a business podcast, because that's like, anyway. I don't know. That's a difficult one. I think I was sort of lucky in that my creative voice, right? So just the way I see things was pretty forged through my time in zero to 60. And I think one of the great things about zero to 60 era was it was pre social media. So there wasn't all this other input. I was living a bit more in my own vacuum. I was taking inspiration that I had to go physically find that inspiration to inspire me versus letting an algorithm feed me inspiration. And this, while there's maybe a little bit off topic, I highly recommend this. If you haven't listened to the John Chase episode, we talk a lot about that in that app, like going and searching for inspiration versus letting inspiration come to you is super important. Because when I say come to you, I mean, like letting the algorithm feed you inspiration, because trust me, it is feeding the same inspiration to thousands and thousands, if not millions of other people. And therefore it is not unique. So going and, you know, finding books, especially finding books on like an old bookstore, just finding signs and whatever it might be that inspires you, whatever you do, if it's design, whatever it might be, watching old movies. But like doing the work in like putting the work in and finding that stuff is super important. I was lucky because because I'm an uncle and I'm old now. I got to do all this before there was social media. And when the internet was actually not a place that we trusted. I mean, there's a reality that, you know, when I was a journalist, like you were not allowed to use the internet as like a real source of fact checking. And if you did, it was only certain places that you could use because the internet was just not the source it is today. And there's good and bad out of that. But the good of it was that, you know, I really was finding inspiration by looking for it and developing that. And that inspiration helped me create my voice and decided like, you know, what I wanted to tell. Another part of that, though, is can help me with my voice. And I in that, I think Ken really fortified that. And Ken also came, you know, Ken was more than 10 years old than me. So he also came from sort of that same era of, you know, I remember me and him would be traveling and we would find like some cool store. And we would just walk through it just to get inspired or find like a bookstore to sit in there and just like flip through stuff. And, you know, and you'd find something that was completely in a different space. It wasn't from automotive, even from like pop culture, it was just some random thing. And you're like, damn, that's really cool. How can how can we make that into something that that fits our needs. But you know, he was one of those people who had a more mathematical approach to creativity. One data driven, like, hey, I did this. And then I did this. And because of this, it proved that it works. So I'm going to do it again. Right. I always say like, I'm not an artist, I'm a creative. And the difference is is creatives know creatives know how to make money because they have to because that's their job. So it's like, for me, it's like, I make a product, it's something that needs to be sold. That product could be a physical product like a t shirt. Or it could be a product like the Jim Connell series where you want to go watch it, right, or a movie like you, it's a product, like people have to pay for it. There's a transactional element to that, which whatever you want to say about that. But like, it makes you think differently, and it makes you read how people respond to things. All right. Now how that all relates to the social media piece. That gets a lot more difficult because I think it's very easy to lose your voice here. And one of the reasons is, is that the algorithm decides. I mean, think about how different it is to tell a story where the most important part of your story is hooking people in the first two seconds. Think of all the great movies you've seen. And think of like, you know, no country for old men. Do you remember how it opens? It's not with a massive hook. And it's like, at least I don't remember being one. But like, it's one of those things where we in tradition have build up, right? Like there's this build up to a moment to a crescendo. And it's like, that is something that doesn't really exist in social media. The reality is, is because of viewer fall off, the first second is the most important thing. And then the next 10 seconds. And then after that, it's like, you continually lose an audience. Building a voice for that is difficult. So I think one of the things you have to do is you either have to decide that you don't care about going viral and about being successful on the algorithm. And you make two and a half hour long podcasts for YouTube. And you decide like, hey, that's just going to be my model. And that's what I'm going to do. I don't know if I would be a, I don't know if that would be my move if I was just starting out though, because like, I have luck because I was able to, or I would say I have privilege because I was able to build this to this point. I had already done this, I chased the algorithm, I did all of that stuff with with Hoonigan, I did a bit of it with with Jim Conna. But you know, I'm now in a place where it's a little bit more like somewhat algorithm be damned, not entirely. There's still a lot of stuff I certainly pay attention to because I'm going to put the work in, I want people to watch it. But it is really difficult to do that and and keep your voice, especially I think when you're younger, because you're still finding your voice, right? I'm older. I have a voice that I developed, you know, started developing 20 years ago, and I still have it now. So it's like, it's a question now it's like, do I continue with that? Or, you know, do I do I change? And it's like, I don't know, you never listen to rappers all of a sudden start rap like rappers from the 90s trying to rap like mumble kids, like it doesn't work. I think you find something that works for you, you modify a little bit as time goes on. But it's important to sort of stay true and then just realize that like you will have that audience that goes with you. It's probably more important to be authentic to what you are what you want to make, then what the trends run because you could run a trend be really successful for six months, and then lose that connection entirely with your audience. Connection is probably the most important thing in creativity. And it doesn't matter whatever type of it is, if you write books, if you make Instagram content or YouTube content, if you're an artist, if you create a parallel connecting deeply with an audience, so that they really like what you make, and then staying true to what you think they should they want, based on, you know, what you want to make for them is probably the best way forward. I hope that answers that. Nick, what do we got next? Okay, question eight is from SirStrombomb. I'm not sure you're really a sir. I don't know how we feel about that. But that's fine. When you think of starting a brand or creating a product, where do you look to see if this is something that the market needs or is missing? Have you used your intuition, research, word of mouth or any other tools? I have an idea for a line of automotive related products that I feel are missing in the market, but I don't know if people actually want them. Thanks for any advice and words of wisdom. That's a good question. And I think there's probably my answer might not be the best answer, because I've always been very lucky because I am very much my own audience. I very much have always made content that I enjoy, like I am my own litmus test. So when I look at things, I sit there and I say, you know, would I watch this? Do I like this? Right? Like zero to 60 was a magazine that I wanted to read. I mean, it was just I made a magazine that I wanted to read because I absolutely ate up British car mags in the era, but was always bummed that they didn't have like an American sensibility to them and like didn't have American jokes and all that. I mean, I ended up developing a, it's funny, because still to this day I use words like proper or mental because I picked them up from reading British mags when I was younger. But you know, I always put myself as the first customer and audience and I'm also very, I'm a very discerning customer. So I can, I would very quick to look at something and say, Hey, I don't think that's going to work. But that being said, that has worked for me in content for product. It's a little bit different because the kind of stuff that I would build for myself, no one would buy because I like cars that no one buys, right? The amount of the audience that cares about, you know, quantum synchros is pretty small. So investing into building a motor swap kit for a 1.8 turbo into a quantum synchro, which would also serve as an Audi 4,000 may not have the largest audience for it. So in those situations, I think you start looking at like, you know, what is the size of the audience and what are you going to build, right? And can you build it and get enough return back from it? But I think, you know, the first litmus is always yourself. And then after that, doing the research into the audience size. So if you want to build a product for a car, and it's a particular car, look at how many were sold in the United States, and then question how many of those are actually owned by enthusiasts, and how many of those enthusiasts might need the part, and then probably subtract that or divide that by five of how many may actually, you know, be your audience to buy it. And you'll see, you know, what that that looks like, right, like what that pool of customers are. And that should help feed whether or not you're going to make it. Now, if you're making something that's for all vehicles, I think one, make sure that no one else makes that product and it hasn't already been served. And then talk to people, like I, there's something I learned about. This is actually something I learned from the movie world. I read a book and it said, like, tell everyone you can about your script. Tell everyone you can about your script, because, like, they're not going to steal the idea faster than you'll probably get your done yours done. And they're going to tell it differently anyway. But just keep trying it out on people and use their response to help modify and make your script better. And I think the same thing can go with any idea. Some of the best ideas that we had at Hoonigan, or just any of the best ideas I've had in my life are ideas that I had thought about for three or four years before we made them happen. And it's not because I waited four years to make them happen. It's because sometimes it just takes that long for an idea to come to fruition. So during that time, you know, I would constantly pitch it and repitch it and repitch it until it was really fortified. I have this project that I'm working on right now in the background that kind of goes hot and cold because there's moments where I pitch it, and it feels really good. And then three or four days later, it doesn't feel as good to me anymore. And I go pitch it to someone else and I get a lukewarm response. And I think, okay, how can I make it make it better? How do I continue to fortify it? We the term we used for that inside of Hoonigan was bulletproofing, right? I'm going to give you an idea and I want you to shoot holes through it. Because if this isn't bulletproof, it's not worth going to market to. Right. And we did that from all the way from creative ideas, like content, shows, right? Scumbag Labs is a show that got bulletproofed, right? We even did a test version of it and kind of went out there with a test before we did sort of the main show. But also in product, you know, I mean, maybe not so much in t-shirts because we were making enough of those at the time. But, you know, there was a bit of, you know, would I wear that? Not always. A lot of stuff I sold for Hoonigan I would absolutely not wear. But there was other ideas of things that we took a little bit more investment in, like the luggage thing, you know, jackets, right? Like those were things that we had to bulletproof and really kind of test them and, you know, and put the work in. So, yeah. I think it's a mixture just to try to sum that up. I think it's a mixture of would you buy it yourself? Are you the customer? If you're not the customer for the product, I wouldn't make it. Because I don't think you know it well enough. Unless it's just this brilliant idea that's missing in the marketplace and it's going to make you a ton of money. But if you're not the customer, then you're not going to be passionate about it. And passion, I think, drives the most successful things. And then second, just do some simple research. And some of that research is focus grouping. And that could be your group of friends, people you run into at part stores, people on the internet. Just get it out there and keep tweaking it. You know, maybe you don't give the idea away to someone who was, you know, is going to steal it, but word it in a way where you can get that good information back from people. Anyway, hope that helps. Nick, what's next? From AJ Gilchrist, not expecting you to produce a Scottos Farm series, but how's farm life? Are you heavily involved or is most of the work contracted out? Um, okay. So first off, why we bought the farm? I think I may have told this before. I think I may have told this on Faris podcast, but, uh, I am what you would refer to as an accidental farmer. I was looking for land. I was not looking for a farm. Uh, very short. I knew that my time at Hoonigan was coming to an end. And I realized that I owned a lot of cars as well as a lot of stuff. So I started looking into commercial real estate in Long Beach and realized that for the price of what I could rent a building in Long Beach for, um, I could buy a farm in like, you know, in an area nearby, uh, build some storage facilities there and keep it all there for the same price that the mortgage would be. And that just made a lot more sense financially, uh, to do that. Plus I got a cool space out of it. And I, as a kid who grew up in New York City, I had, I've always wanted land. I think I mentioned before, um, Ken's love for his ranch is one of the things that really kind of pushed me over the edge to say, yeah, I want to own and live on land. Um, but we bought the farm so quickly because, uh, long story short, uh, it was sort of priced under market. There was kind of a thrash to get in there and they, one of the agreements was that they wanted to do a three-day escrow. So I looked at the property on, um, Saturday and I owned it on the following Saturday, which is absolutely wild to have moved into that so quickly. Um, but in doing so, uh, it was right after harvest. So there was not that much fruit on the property. They did mention that there's some fruit trees, but if you live in Southern California, fruit trees are pretty normal. Most people have lemon trees and things like that. I've got passion fruit in the backyard here in Lombich. Um, it's not abnormal to see that. So I didn't really think much about it. And it wasn't until a guy approached me on the farm and told me that he had worked on the farm. And at that time, I wasn't calling it a farm. I was just calling it property. Uh, a guy approached me on my property and said, you know, are you going to hire me back? I've worked on this farm for 25 years. And at that moment, uh, queue up the montage of all of the trees and all of the irrigation I saw on the property. And I thought to myself, oh, I wonder what that would all look like with fruit. And I realized that almost all of the things growing on the property outside of a couple palm trees and a few oak trees and, you know, and some birds of paradise were all fruit producing or nut producing, uh, trees and that all of those things were a potential business. Um, I will be honest, I think if I knew it was a farm, I might not have bought it. Um, cause I definitely bought myself a job. It is not something that I currently make money from, uh, the cost of water, uh, in North San Diego County, uh, sort of outweighs what I make on selling stuff. I've also realized in the past two years that, um, I no longer, uh, I'm no longer really an avocado farm. Um, even though we call it avoscato farms, because the price of avocados has been sort of decimated in the U.S. The Mexican avocado is sort of through the roof now. And that's kind of where it's all gone. And the price of water in California is so high and avocados are a water rich fruit. So yeah, that's just not really the business that I thought it was going to be. Um, I'm actually moving more into, uh, cum quats right now. I actually spent the past couple of days, mapping out new cum quat trees. Um, cum quats is something I have 30 cum quat trees already on the property and they have yielded to be yielded more money and more fruit than anything else on the property, uh, per investment. So without getting too detailed on that, like that is my cash crop. Um, I'm thinking, but at the same time, I don't think we're going to rename the, uh, the property to, uh, maybe scum, quato. I don't know if that, if that, uh, that works as well. But anyway, uh, yeah, uh, that is where we're at right now. And, uh, I've got someone who helps me on the property. Um, he helps me pick, uh, maintain the property and stuff like that. But we're not, we're far from being like a real farm at the moment. So we, this is harvest season. So it's a good time to ask this question. Cause if you ask me in September, I'm like not even paying attention to it, but most of the farm for me is property management, which means we're moving things that could catch fire, uh, from the property, making it look nice, cutting roads, getting to drive my Kubota tractor, um, just doing a lot of just moving land around, uh, the farm part of it, um, is mostly trimming. Um, I haven't even begun fertilizing. That's something I'm learning about right now. Um, keeping my irrigation system intact cause it always breaks and it always has leaks. And, uh, and then during this season right now, which is harvest, which is harvesting all the fruit and then finding people who will buy it, which no one tells you that that is also a really difficult part of farming. So, uh, yeah, that's the farm. But, uh, if you would ask me two months ago, I would have told you, I don't really care much about it. And I kind of wish I could shut it all down. And now I'm really excited about, uh, the new future endeavor of scum, quaddo, the cumquat farm, uh, at Avoscato farms. Anyway, yeah, I'm a, I'm auditioning that name. All right. Next, next question, Nick. All right. For our last question from Vortex Flyer, I'd love to hear more about how you processed your ADHD and what you've done to cope with it and to use it to your advantage. I was recently diagnosed myself, in fact, so was producer Nick. And hearing you talk about it has really opened up my eyes about how it has affected me. Um, yeah, sure. Uh, look, I want to start by saying, um, I think I struggled with ADHD probably more than other people realize I do. Um, and I think a lot of people have ADHD, they struggle with it and they kind of mask it and they hide it. Um, so I don't want to sit here and just say, it's a superpower. And if it wasn't for ADHD, I wouldn't be able to do all the things I can do. There's a truth to that. But the downside of ADHD are there are also days where I get nothing done. Um, where I spend the entire day looping or doing things that I wasn't supposed to do or just burnt out or I end up, you know, what they call task paralysis for people who are listening to this who either don't have ADHD or do and aren't that familiar with it. Um, task paralysis basically means you have something you need to do and it's really important for you to do it. And for some reason, you just can't get it. You just can't start it. You can't get it moving forward. And, uh, to people who don't have ADHD, I think that you don't understand that, but it's the, the best way I've heard it explained is the equivalent of having an open flame and putting your hand over it. And it's like, it's very hard to convince your body to put yourself in danger. Task paralysis sort of feels the same way. It's really hard to break that moment. And there's a lot of things you can do to get it done, but you just sort of kind of get stuck. And, um, you know, for those who, for those of you who are listening, uh, this is the last question. So if you don't care anything about ADHD, you can, you can jump off or you can clip to the end. But, um, I think the first thing to understand about ADHD, and this is what I've learned in my own journey is that the name ADHD really kind of sucks because it doesn't really speak to what it is for a lot of us. It's not about an attention deficit. It's about attention control. I can put a lot of focus into something. It just, sometimes it's not the thing I should be focusing. So I, that's why I know so much about so many random things, because I can spend hours and hours and hours, um, days upon days, upon days researching how the, you know, valve train on, of Cadillac Flathead engine works. Um, but at the same time, I probably wasn't doing the work I was supposed to be doing that, that week. And that's, that's where the problem is. Um, the hyperactive part of it, I think a lot of people think hyperactive is little boys running around, bouncing off the walls, which is really where the original diagnosis came was, was diagnosing young boys in school who couldn't sit still, but hyperactive can all be in here. So you could be sitting perfectly still, not moving at all, but your brain is moving at 3000 miles an hour. You have four different conversations going on at the same time. They're all blending into each other. Um, that is the hyperactive pieces that you can't turn your brain off. Um, a lot of people with ADHD will either, you know, try to do things like listen to podcasts to fall asleep or do something that, you know, or watch TV to fall asleep or smoke weed to fall asleep. Um, because they need to shut their brain off, um, because it's really hard to, to turn that off. Um, and I explain this for those who are listening who, who haven't, who haven't dealt with it. I, those pieces are all really, really difficult, um, to manage. And, uh, it's kind of like an everyday thing. Um, I currently am not medicated. I don't have anything against medication. I just wanted to kind of make a run at it without first to see how it works. Um, the, uh, for me, the past two years has been learning, basically taking that hyper focus and putting that hyper focus into understanding ADHD more and more. And here's how I understand it and how I understand it helps me deal with it. Um, forget the name ADHD. What I have is I have a dopamine, uh, deficiency. So on average, I don't make as much dopamine as other people, which means I'm not as happy as other people on a regular day. Um, so I need to create that dopamine. How can I create that dopamine? I can do something I really enjoy doing like searching marketplace that creates dopamine, but sometimes brings me the wrong direction. I can eat certain foods I really like that makes me happy and that creates dopamine. A lot of times that's sugar or like a cream cheese bagel with bacon. Um, those also obviously have bad side effects to them because you could eat too much and you can also then once the sugar drops, uh, you no longer can, can ride that. Um, obviously that's what a lot of the drugs do is they keep your dopamine levels high for me. As long as I'm doing something that I really enjoy doing, I don't have a problem with ADHD. ADHD becomes a superpower. So if I'm on set, there is no, my ADHD is great. I can handle all these things at once. So six different conversations happening in my head becomes this thing called multitasking. Um, it all sort of works. The hardest days for me are the days where I don't have a plan or a routine. I wake up, there's a bunch of things I've got to get done, but I don't really have like a method for getting them done. Um, working remote is absolutely miserable for me. Um, I don't enjoy it. It's good one day a week, not every day a week. Um, I think I miss having the office space that was Hoonigan. Even if I spent half my day doing other people's jobs instead of my own, you do that a lot with ADHD. It at least left me leaving every day feeling like I was productive and got something done. Um, yeah, I don't know. I guess, I think maybe you were hoping I would give you the answer for this and say, oh, I figured it all out. I haven't figured it out. Like I'm, I'm so far from figuring it out. There are days where I'm like, or I feel like, yeah, I've really got this, I've really got this sorted. It's like a project car. Right? Like you drive it one day and you're like, this, oh, it's great. Everything's fine. And then the next morning you go to start it and the car doesn't start. You're like, what the fuck? That's ADHD for me. Right? It's like one day, everything works fine. It's like an intermittent, uh, wiring issue in my head. Um, you know, it's like, oh, I don't get it. The car worked fine today and now it's misfiring. Um, you know, yesterday the car ran great. And today, for some reason, when I turn this wiper on, uh, you know, the car stalls or it makes the AC turn on. Um, it's that there's a bit of this, there's a bit of miss wiring and I don't always know what I'm going to get. Um, some of the things that I try to do, and I'll leave you guys with this one. Um, getting your day sorted and planned to what you're going to do. Uh, it's not always easy to do, but getting up in the morning, meditating, clearing your brain, and then writing down what you need to do and being very honest with yourself and giving yourself enough grace to realize that if you write 37 things down on that list, you're not going to get 37 things done. So make a list that's like really manageable. One thing that I was once told was if you do something else that's not on your list, uh, add it to your list just so you can get the dopamine hit of crossing it off, which oddly works even though it sounds dumb, um, uh, making yourself accountable to other people. So, uh, I think they, if there's a name for this, they call it body doubling. So working with somebody else and telling that other person like what you're trying to get done by just telling them what you're trying to get done, there's an accountability that you will get that done. Um, and, and trying to get through it. Uh, but the biggest one for me that has been working now, and I realize this doesn't work for everyone because depending on the business you're in and what you do is being able to pivot and move to something different. So if I'm trying to just do this thing and it's just not getting done, go do something else, something that maybe I can do for like a half an hour that I can feel, that I can get accomplished, I can check it off, gives me a little dopamine hit because for me, I don't know this is for everybody, but for me being productive is a dopamine hit. Like I feel like, okay, boom, I got that done. I get the next thing done, right? I can move through the next thing. And then the other one is sometimes, and I don't, you know, I'm not a therapist. So like, don't listen to me, but, um, I'm just a guy trying to figure this out who kind of was raw dogging life, uh, for, you know, I don't know, 25 years creatively before I'm started to figure this out. And I guess in some ways I'm still raw dogging it because I'm not, I'm not using medication, but I have been trying a bunch of different stuff, um, just to try to keep myself more focused food, the what you eat and all of that does change things. I use caffeine because it keeps me going through the day and hey, whatever, it works for a lot of people. Um, but one of the other pieces I was going to, I was going to get to, I fucking got off track, classic ADHD, um, is, you know, giving yourself, um, that grace to go and just try to get something else done that is going to make you like check the box and say, oh cool, like that got done. I feel good about myself. I'm willing to go try something else now, um, and eventually get back to it. The last one, and I know you've heard, if you've read anything or you have, if you have like Instagram feeding you ADHD tips or any of that, which I think is good and bad, um, forcing yourself to start something and tell yourself, I'm going to do this for five minutes. And if after five minutes, I don't want to do it anymore, I will stop doing it. Um, that has been really helpful for me. I sat down once, I'm working on a script right now and, um, I sat down, I hadn't started the script yet. I had had all these notes and I told myself it was like a random, like Wednesday night. I said, I'm going to sit down and set the timer for 10 minutes and I'm going to just get going three and a half hours later. I was like 25 pages into the script. Um, and it was, you know, the middle of the night, it was time to go to bed. Um, sometimes the hardest thing in task paralysis is just getting started and playing games with yourself and gamifying it makes it oddly interesting. There's all these great tips. Um, there's this book that I, anyone ever asked me, I recommend it. It's called, uh, extra focus. We'll put the name in it. We'll put the link in the description. Um, it's like a two and a half hour read on, or a two and a half hour listen on audible. So it's low, it's less than the normal episode of very vehicular. If you have ADHD, listen to it. If you love someone who has ADHD, or you have the unfortunate task of working with someone who has it, maybe you should also give it a listen because understanding that their brain works differently is, I think one of the biggest issues. Uh, 3% of the population last time I checked is diagnosed with ADHD. Yet somehow 70% of my friend base seems to have it. Um, and I think that's because I work in creative and I work in entertainment, uh, people with ADHD do well and survive well in those spaces. Um, I don't know how people with ADHD work in like, you know, like the finance space or, or more mortgages or, or insurance. I don't know. And maybe I don't think those areas are as popular. I think when you go there, that's where you see you may only be part of the 3%. Um, I don't know. Hopefully that helps. Um, again, I'm not a therapist. I think the best thing I can tell anyone is do as much research as you can. Read good books. Don't follow everything you listen to or see on Instagram. Some of those are good kernels, but it's better to understand something deeper, not just 60 seconds of it, or not just the 10 or 11 minutes that I just spoke about it. Like you need to understand it so that you know how to diagnose the problem. And then you, it's, it's a constant thing. Like I said, it's a, it's a project car. It's living with Bosch CIS. Like you're always dealing with it. And you just figure out, you know, they're good days. They're bad days. And the most important thing is, is once you, and I'll leave on this, once you know that you are diagnosed and you have this and then you're dealing with it, I keep saying that word grace, like give yourself grace, but also like stop beating yourself up. I think the most painful part of having ADHD is sort of the shame that comes with it. And this idea that like you're broken, you just start to realize that this is who you are. Stop the self loathing, just deal with it. You only get one life. And this is what you, these are the cards you were dealt with. There will be days that you will be the smartest person in the room. I'm sorry, neurotypicals, you are not as smart as neurodivergence. Unfortunately, there's a lot of other days that you can't get the most basic of things done, like your laundry. So you don't fit into society the same way. And that part's really difficult. But yeah, we're out of questions, right, Nick? Yep. All right, guys, thank you very much for another episode. I do want to touch on something that was asked in a lot of questions. And I'm not going to answer it as a question, but a lot of people keep asking, what about everything else? What about the 26 project cards? What about doing content about the farm? What about, you know, all of these things, right? I had my AE86, VR6 swap. Yes, I still have it. Yes, I'm still going to try to get it done. Are you going to make content on that is what everyone is asking. I plan to. The first thing coming up that I promised everybody is basically a listing of all the cars, everything I have and the breakdown of what I'm going to do with it. I really thought I was going to have that out a month or two ago. Life's gotten busy. Other things have come up. But I am going to try to have that by start of summer, right? So what's that? June-ish? I'm going to try to get that out. Yeah, so another series that I'm working on is Van Van Chronicles, which is basically a story of my love affair with Vans being both my Vanagon and my 4x4 E350. I've done a lot of work to that since you guys probably last saw it on Hoonigan. There's a new JNK engine in it that makes a ton of power. I'm about to do a pop-top system for it. And this is like sort of my perfect vehicle. Like if I had to cut down my cars to only three, that would be one of them. So I'm going to do a series on that as well. Yeah, there's just a lot. I want to make more, but right now that's just not where my focus is at. But that stuff will be coming out, but it won't be a weekly thing. It'll probably be like a once a month I drop a special on one of those cars or one of those projects. And as for doing a farm video, I don't know, man. I've said this multiple times before. Like I'm not Jeremy Clarkson. I don't think I can make as good of a show as he can on doing the farm stuff. His show is fantastic. But yeah, enough people have asked about it. That I'll do it. But part of what I love about the farm is when I'm there. I can't see my neighbors and cameras can't see me. And I get to just live my life privately. So I won't make much of it. I'll say that. All right, well, that's it. I hope you guys enjoyed this little special bonus. This kind of became a bit of a monologue. Thanks again to producer Nick to lending his voice for the questions. Otherwise, you would have heard nothing but me grating at you for this entire time. Although apparently some of you enjoy that we all have our kinks and I will not judge you. But what I will do is thank all of the partners for this bonus episode. So big thanks out Heatwave, FCP Euro, Wearer Tools, KW Suspension, and of course our title partner Viper Industrial. I've been sitting on this chair for a few hours now and it is always comfortable. Again, we'll see you guys next week. Thanks again.