The Beardos of Crobot Welcome the World to Fat City

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The Beardos of Crobot Welcome the World to Fat City

Just around two-years ago, a spur of the moment decision to cover a small rock show in New York City immediately became my one of my all-time favorite experiences as a music writer. In the sweaty barrels of the legendary Webster Hall, this Pennsylvania act known as Crobot turned the Big Apple into Robert Johnson’s crossroads and reignited my sense of optimism for the future of rock n’ roll.

In transcendent fashion, these four young musicians embodied the riff-rattling chord progressions of early ‘70s Aerosmith, the soul-bearing funk of Stevie Wonder, and the ’90s heaviness of Rage Against The Machine. I’m fortunate enough to cover a plethora of live shows but Crobot’s ability to merge the exhilarating thrills of vintage and modern rock demonstrates something genuine and euphoric that is severely missing in music nowadays.

The beauty of Crobot’s magic – whether they perform in front of 20 or 2,000 concert attendees – they jam away as if the apocalypse were bound to occur tomorrow and aggressively stampede at levels reminiscent of Black Sabbath circa Master of Reality era. In today’s digital age, modern rock is plagued by this superficial corporate stigma that also contaminates other popular genres. Meanwhile, Crobot embodies an organic innocence that eloquently merges the finest characteristics of funk and heavy metal like a match made in heaven. Whether you’re a fan of Queens of the Stone Age, Alice In Chains, or Led Zeppelin, Crobot’s charisma pours through the speakers as their music possesses life, hunger and most importantly, soul.


Popular bands across the industry took notice of their blue-collar work ethic and the band has since toured with legends such as Motörhead, Volbeat, and Anthrax. Even the almighty Lemmy Kilmister expressed his fondness for their music and there is no greater stamp of approval in rock n’ roll.

In 2014, Crobot released their highly acclaimed debut LP Something Supernatural. As it pertains to sophomore releases, some group’s collapse from the pressure of writing a successful follow-up and the great one’s maximize the opportunity to reach new heights by enhancing their own sound. Crobot most certainly falls into the latter category – new heavy hitters such as “Not For Sale,” “Plague of the Mammoths,” and “Moment of Truth” resurrects a rock n’ roll blueprint that was established in the 70s, revived in the early ’90s, and recently enhanced to cure the world’s lack of musical authenticity.

Only two-years after Something Supernatural, Crobot is set to release their second full-length LP Welcome To Fat City on September 23 through Wind-Up Records. Once again, the band collaborated with renowned producer ‘Machine’ and recorded their latest album outside of Austin, Texas. To Machine’s credit, he pushed the Pennsylvania act to explore the heaviest and darkest side of their sound without sacrificing their quintessential funk and infectious grooves. Beardos (Crobot listeners) have every reason to rejoice – Welcome To Fat City should be considered the “Rock Record of the Year.”

In an exclusive interview with Pop-Break, I caught up with the members of Crobot to discuss the recording process for Welcome To Fat City. Better yet, this conversation fully showcases the Beards’ wicked sense of humor as we cover everything from songwriting to insane stories on the road. Believe me, this interview cannot be missed!


Something Supernatural was so highly received by critics and listeners across the world. Could you describe the transition of coming off the road after touring for two years and being able to hone that positive energy into Welcome To Fat City?

Brandon Yeagley: Playing so much really helped out with the process of working on the newest record. Writing the songs and even testing them out live, being able to do that helped. I think we definitely wrote better songs just by playing together for longer.

The title track “Welcome To Fat City” has been played live for over a year now. Did premiering that song in front of audiences so far in advance help you determine where to go artistically once you commenced writing for this album?

Brandon: Definitely, I think “Welcome To Fat City” was the first song that we wrote for the latest batch of material. It is cool to test the waters because we are a live band. We definitely give weight to the opinions of the fans.

Which songwriting elements, musical tones, and styles from Something Supernatural did you want to build upon? Also, what new musical avenues were you interested in pursuing as you wrote material for Welcome To Fat City?


Chris Bishop: I think guitar wise, we did a lot layering on the last record to make the music sound big. For this album, we recorded everything in one performance. We would maybe use a fuzz track here or there if there was a solo or we needed texture in a certain spot. For the most part, it was one performance with a two-amp set up. It’s a different feel guitar wise and I think it sounds even bigger that way rather than trying to make it sound huge sonically with a million different guitar tracks.

Jake Figueroa: I just started building fuzzes into my bass because I suck at using pedals and I really suck with my feet (Laughs). I put a little more focus on some bass tones on this album compared to the first album. On the first record, I pretty much relied on old shitty gear that sounded old and shitty (Laughs).

Paul, if I remember correctly, did you record your drums for Something Supernatural without a click track and did you utilize that same approach for this record?

Paul Figueroa: We did something similar for this record where we tempo mapped some of the songs. We would play the songs live in the studio and build a click track off a live tape. It wouldn’t be a steady tempo and the tempo would shift throughout the song. And there were other songs where Machine was like, “No, we are not playing to a click track on this song.” He would stand in the room and be like the conductor and we would feed off each other’s energy to get the right feel for those songs. We would start some songs with a click and it would disappear after a few bars. I think there are actually two songs where we actually had a click go through the entire song. For whatever reason, we decided the click would work for the feel of those songs. The focus was on being able to capture a live representation of our sound and that was really our main goal.

When you have a live drum performance being played through your in-ear monitor rather than a standardized metronome or click track, does that help create the aura of performing live as you record your guitar, bass, and vocals?

Jake: I like to think that I have a childish imagination. If I close my eyes, I could pretty much picture anything that could be going on. That is usually is what I try to do – I close my eyes and pretend that all stuff in front of me is different. Whether it’s recording or live, I close my eyes a lot because it also helps keep the sweat out of them (Laughs). But playing live though, I definitely try to get into the zone. Even if I’m only playing with Paul or even if I’m only playing with one of the dudes, I close my eyes and everyone else is there now.

I know there is quite the story behind “Welcome To Fat City,” since the title track was influenced by the work of Hunter S. Thompson. For both the title track and album itself, could you delve into Welcome To Fat City’s overall tone and concept?

Brandon: Oh, for sure. Everything is sort of a portrait of how moments in life usually end with time. I was really into reading Hunter S. Thompson’s work, reading as much I could, and trying to retain it all. The one thing that stuck out to me the most – it was his campaign for sheriff of Aspen in 1969 or ‘70. He wanted to run for sheriff and the one thing that he wanted to propose; he wanted to change the name of Aspen to Fat City because he thought it would keep all the cigar smoking law breakers out of Aspen. I thought that was a clever concept and I created this whole planet where the scum of the universe could go and be grimy without any consequence or repercussion. It’s definitely a scummy planet. There is a lot of greed and dirty stuff going on in there.

It’s cool to hear about Fat City when we’re in New York City (Laughs).

Jake: There are sirens in the background and those scumbags are here (Laughs)! They got us (Laughs).

“Not For Sale” was the album’s first single. Whether it’s the longtime Crobot listener or someone who just saw you perform for the first time, what kind of message did you want to send by releasing “Not For Sale” as your first glimpse of Welcome To Fat City?

Chris: I think it’s definitely a more upbeat song and that was one of the big selling points for us. We didn’t know what the first single would be when we were writing songs for this record. We were just writing songs and “Not For Sale” happened to be one of the rippers on this album. Everyone on our team – both our management and label – thought it would be a great opener. We let them lead sometimes and we like some songs better than others but we don’t dislike anything.

Jake: I think that song in particular is a pretty good transition of the old album into the new album. Whereas, it’s not on the farther end of the spectrum of things we did on this record. Yeah, it’s still different and feels new. I think for someone to have an impression of the first album- transitioning with this song is not as abrupt, maybe compared to other songs like “Hold on for Dear Life” or “Moment of Truth.”

I was really impressed by the lyrics, “Who paid your debt to be here?/ No one/ My soul is not for sale.” Correct me if I’m wrong but it sounds like a statement about this band’s authenticity; like no matter how fast the world is moving for you guys – Crobot is 100% about the music.

Brandon: Oh yeah, there is definitely a little more weight to the lyrics in that song. I try to keep things as vague as possible because it could mean something completely different to somebody else. And that is totally cool. Focus on doing what you do best and don’t let anybody else tell you that they paved the way for you.

“Plague of the Mammoths,” certainly lives up to the term “mammoth.” It’s massive sounding. What kind of mindset were you in creatively as this song came together?

Paul:Weed says it all man (Laughs).

Jake: We were slaying fucking lives and wanted to stamp our mother fucking feet on the ground – the old ground (Laughs).

It sounds like a song that pushed the band to another level in the studio.

Chris: That was one of the last songs we wrote for the record. It was a different song and we sort of rearranged it during pre-production.

Jake: We took two different parts from two different songs that we thought wouldn’t make it onto the record. I think it was “Wasteland Messiah.”

Chris: I think we took that one riff from “Wasteland Messiah” and we were like, “Let’s just play it the whole time (Laughs).” We changed it up dynamically but there is basically one riff throughout the entire song, which is pretty cool because we don’t have a lot of those types of songs.

Jake: I mean; it’s only about one animal so there should only be one riff (Laughs).

Brandon: There could only be one plague man! (Laughs)

Could you describe the energy in the room when you first jammed on that intro riff?

Jake: I was high as fuck (Laughs).

Everyone: (Laughter)

Did the cannabis kick up the heaviness? (Laughs)


Jake: That definitely helped me not get bored when were playing that riff for hours over and over again in the studio (Laughs).

The transitional riff at the 1:45 mark sounds like a fun yet challenging section because of the synchronized riffs, bass lines, and drum fills. Was that bridge borrowed from another song?

Chris: I think that was the bridge we always had for the tune (Hums up the entire riff). Yeah, that is our metal riff and that is the most metal that we have ever gotten. It is a lot of fun to play because it’s fast.

Jake: Yeah, I love that riff. It makes you feel like a powerful man – a fattus powerful man (Laughs).

Brandon: Fattus Maximus (Laughs).

Going into the studio once again with Machine, which components of his production style did he continue to build upon from Something Supernatural and what were his expectations for the band since this relationship has already been established?


Chris: We talked about different tones and how we would approach the guitars going into the studio. We spoke about things that we liked and didn’t like about the first album. That was the biggest thing guitar wise. He kept calling it the “New Heavy” the whole time. He was pretty excited about it. He thought it was a lot heavier than the first album but it had just as much funk. That was pretty cool.

Since Machine dedicates the time and concentrates on capturing your best individual live performance, what was the best piece of advice that he gave each of you during this recording process?

Jake: Bring weed (Laughs). No, that is just my advice for anybody going anywhere (Laughs).

Brandon: The process of recording vocals with Machine is by far my favorite way that I’ve ever done it. He is right next to you as you are laying down vocal tracks. It’s not sterile. It’s not like being in a fish bowl where everybody looks in at you and you see the mouths moving but have no idea what is going on. He works through every word and puts everything under the microscope right there next to you. It is really easy to find your zone and get into the zone.

Paul: He is very passionate about what he does and he is there for every step of the process. He is the best supporter of good ideas and he is just as quick to shoot down the not so good ideas. Having someone like that in the studio definitely helps, he is not afraid to express his opinion.

Brandon, we had spoken over a year ago about recording vocals for Something Supernatural. Did you still have the some monitor mix for this record? You had said that Machine’s setup was the best that you ever heard your voice.

Brandon: Oh yeah, it was the same setup but even a little bit better! Machine was really excited to reveal how it had progressed. It is just incredible. I wish I could have that in my ears every night. I could hear the saliva slapping in my mouth; it was that clear.

Chris: Oh yeah (Laughs)? Oh baby!

Jake: I’m like damn; I didn’t know that was the tone that he had been working on. Whoa!

Brandon: Might as well start early! (Laughs)

Jake: I guess I just learned, bring more weed baby! (Laughs)

Song titles like “Right Between the Eyes” and “Blood on the Snow” immediately caught my eye when I first looked at the tracklist. Could you talk about the conception of those two songs?

Brandon: I think “Right Between The Eyes” is the most macho that I’ve ever gone with lyrics. I definitely tried to pull my mind to the other side. “Blood on the Snow” just came to my head and I was like man, “That is so visual.” The idea of blood on the snow; I just find it captivating. It also doesn’t have anything to do with Game of Thrones but it should! (Laughs)

Paul: Every time I see that on the setlist, my mind goes to Game of Thrones (Laughs).

Chris: We should do a Game of Thrones reference during the set. We should get the crowd to chant, “You know nothing Jon Snow!” That would great but it’s sort of stupid (Laughs).

Photo Credit: Leann Mueller
Photo Credit: Leann Mueller

Jake: I think it would be cooler if you made a brother fucker reference or brother sister fucker reference.

Brandon: Just grab your sister and fuck her (Laughs). I want you to turn to the dude next to you and lick his asshole! (Laughs)

Paul: That was the cue! (Laughs)

Everyone: Laughter

Chris: That was a true story. That happened one time. We were supposed to start playing a different part of a song and the cue was supposed to be, “Lick his asshole” and we were supposed to go right in. Brandon was like, “I want you to take your hand”…whatever the fuck it was…“and now lick his asshole!”

Jake: And the people were just standing there (Laughs)! It was the longest and most awkward pause!

Brandon: That made it so much better though! (Laughs)

Jake: Was that in Milwaukee?

Brandon: Oh, I can’t remember!

Jake: Yeah, I think it was Milwaukee.

Brandon: It was a light crowd and there wasn’t many people in the room, which made it only that much more awkward.

Jake: Hey man, that only means less assholes to lick (Laughs).

What was the look like across the audience right after you said that?

Chris: Disbelief! (Laughs)

Brandon: The same look that they give us right after we play any song…what is this shit? (Laughs)

Jake: And there was literally a meat auction going on in the back of the room. This place was like, “wow!”

Chris: It was a great place. We love it and we will see you next tour! (Laughs)

Jake: Did you know that they closed?

Paul: They did close? Meat auctions weren’t pulling in enough so…

Jake: Neither was their wheel of roulette. It was basically a dial with numbers on it and you bet on it. It was underground gambling I guess (Laughs).

Chris: It seemed very illegal but it was quite the place!

Was that the grimiest venue you ever played?

Paul: After the show, a lot of people got maced. The wind carried that mace smell over towards the buses and people were hurling.

Jake: The security guards were fighting some people and this one security guard just started macing everybody and he accidentally maced his security guard friend.

Paul: That was the Wilson show.

Jake: The one security guard almost fought the other security guard for spraying him with the mace but he couldn’t see him (Laughs).

Brandon: And it had nothing to do with the licking of the assholes (Laughs).

Jake: I just wanted to check out that meat auction (Laughs). That fight started inside and went outside and came back inside and than went back outside and that’s when the mace happened.


What are some of the craziest scenarios that you have come across on tour?

Jake: Do you remember when we saw that naked guy at the bar?

Chris: Yeah, it was pretty cool (Laughs). In Flint, Michigan, they get everybody out of the bar by having this really big guy take all of his clothes off.

Brandon: I’m pretty sure “But Crack” is the guy’s name. He comes on the PA and he’s like, “In five-minutes, I’m telling you now that I’m getting buck ass naked in this place and I ain’t kidding.” And sure enough, he got buck ass naked in five-minutes at the bar (Laughs).

Did people actually listen to the guy and leave the bar (Laughs)?

Brandon: Some people actually stuck around.

Jake: To take it all in (Laughs).

Brandon: One time in Florida outside one of our shows, somebody got sprayed in the face with tit milk. That was pretty interesting.

Chris: Yeah, that was in Tampa.

Paul: Oh yeah! He was really upset and distraught about that. That’s definitely one of the weirdest things.

Chris: I didn’t believe it (Laughs). It was a drive-by milking (Laughs).

Jake: I think I would be upset for a minute but sort of pumped up after that.

Brandon: That’s your nutrients for the day! (Laughs)

Jake: I mean; they chose you over their kid!

Chris: We saw a belt fight in Germany. These two dudes just started fighting and whipping each other with belts. It was 3 or 4 in the morning.

Jake: Crack, crack, crack.

Paul: That had to be Frankfurt right?

Chris: Yeah. We also saw a wall full of dicks in Kansas City. There was a venue and the porta potties were full so all these people were just lining up along the fence and we just happened to be driving by (Laughs). We were like “Whoa, there’s like 30 dicks right there.”

Jake: Paul and me got robbed in Camden and than we robbed a guy back. That was pretty cool. It was awesome. I never had an awesome experience like that where I felt real tough. It was only for ten bucks or something (Laughs) and it was some guy at a market. After that, we were like, “Man, we totally almost had to fuck this guy up so bad!” And the guys were like, “What happened?!?” And we were like, “Oh, he gave us our money back.” (Laughs)

Was this Camden in the UK or Camden, New Jersey?

Paul: No, we would have died. (Laughs)

Jake: I wouldn’t argue; I would just walk away in shame.

Paul: I would have just taken off all of my clothes and been like, have it and I would just walk away.

Jake: That’s not being robbed. That is buying your freedom and protection (Laughs).

Chris: This happened the other day and it was pretty cool – Charlie, our tour manager and merch guy came in and he was really distraught. He started getting really worked up. And we were like, “Hey, what is going on with Charlie?” He started making these painful noises and he starts taking his clothes off and he immediately got down to his underwear for no reason (Laughs).

Brandon: He was blowing off steam, man!

Chris: It was one of the funniest things that I have ever seen in my life.

Do you have some of your best friends from home on the road with you?

Chris: Carlito has been on the road with us for a long time and he’s the man. Carlito Loco and he’s loco alright. He’s probably loco because of us (Laughs).

Jake: I’m pretty sure he would use knife and or fire to get us anything we needed.

That is true loyalty.

Jake: (Laughs) He’s a pitbull.

Does having a best friend on the road keep you guys from getting homesick?

Paul: I don’t get homesick. I actually get sick of home (Laughs).

Jake: I miss my dog every now and then but I get to see him enough. We’re home a lot and he was in the studio with us. That’s not homesickness that is puppy sickness.

Chris: Yeah, I get a little homesick. I have a girl and dog at home. It’s cool.

Jake: Girlfriend, not a daughter.

Chris: Yeah, I have a girl…she kisses me (Laughs). She comes out on the road and gets to see some cool places and that place is pretty cool.

When Metallica says, “Anywhere I roam/Where I lay my head is home,” does that metaphor apply to you guys?

Chris: You know; you have a home just about everywhere. It is like living two different lives almost. It’s pretty crazy.

Jake: Yeah, it’s like we have girlfriends or something and we totally lie to them about our lives on the road (Laughs). We don’t really even play music (Laughs).

Photo Credit: MSOPR
Photo Credit: MSOPR

Chris: We have all kinds of money.

Jake: We just do this on the weekends (Laughs).

Keeping up with the comedy, the music video for “Not For Sale” pokes fun at the main chorus. How do you turn an inside joke like “Who paid your dad to be here?” into a full-fledged music video?

Chris: It’s a stupid idea and we don’t even know if people got it (Laughs).

Jake: It seems like we always do that whenever we have too much time and we’re in an enclosed space. It starts off with dick and fart jokes. We’ll usually make fun of everything and everyone around us, including ourselves and that’s how it spurts off. Thankfully we don’t get annoyed at our own jokes for far too long (Laughs)

Chris: Unless it’s a “Your Mom” joke that Jake says to Paul and Paul doesn’t like that…because they have the same mom (Laughs).

Jake: In all fairness, that had probably had been going on for three years before we got into an argument (Laughs).

Paul: Three years?

Jake: That I remember.

Paul: More like twelve (Laughs)!

Jake: Nine, one of those years I was very drunk (Laughs).

Paul: Three years it started to annoy me (Laughs).

Jake: You see, we never argued.

How is the brother dynamic on the road? Brandon and Chris, do you have to step in the middle sometimes (Laughs)?

Chris: No, we just shut up and let them duke it out (Laughs).

Jake: We usually have enough weed that soon enough we’ll be smoking. After that, it’s all stuff that we don’t give a shit about. It’s like, “Whatever, fuck that. Just pass that shit.” Weed is good for all that stuff.

You guys turned a school bus into a full-fledged tour bus. How did that idea come about?

Photo Credit: MSOPR/Wind-Up Records
Photo Credit: MSOPR/Wind-Up Records

Jake: I picked up that school bus with a buddy of mine from New Jersey – it was a guy who knows a guy type of deal. I had to grind out all of the bolts that held all of the seats together. I tore all of them out. I chopped some of the frames to fabricate the bottom bunks so they could still be bolted into the vehicle. I pretty much had a section in three areas – one for the gear area, bunk area, and a kitchen type of area that really consists of a counter top right now. Our front lounges are the old bus seats turned around here or there. I blacked out the windows and left the bus yellow incognito mosquito. There’s not really a book on, “Hey, here is how you buy a school bus and put bunks in it so that your buddies don’t fly out and die when you hit the brakes (Laughs).”

Safety first.

Jake: Exactly. It was a lot of experimenting and trying to figure out, “How could I actually take this and bolt it to this frame so my buddies stay alive?” It’s still a work in progress and I’m trying to figure it out as we go. We’re getting there. We’ll have electrical; I’m hoping we’ll have our updated electrical system within the next week or so.

You also lived in a trailer in Texas as you recorded Welcome To Fat City. Was that a fun experience?

Jake: I don’t really think we spent too much time in the trailer because it was pretty warm in Texas. Machine called it “Texas Hill Country.” I personally only went into the trailer to go to sleep. Otherwise, I would sit outside with Boots, my dog while Bishop cooked up some corn.

Chris: We were living on corn. I love me some corn (Laughs).

Jake: My mom is calling. I do have to take this. You could write that down (Laughs).

Before we wrap things up, “Moment of Truth” really explores the darker and bluesier side of your sound. Was that a conscientious decision to unleash the heavier side of Crobot?

Chris: That was one of the last songs we wrote before we went to Texas. I was listening to a lot of Philippe Saisse and Black Sabbath. A lot of traditional blues-rock stuff and threes. Slow blues-rock and threes are my favorite things to play. We came up with a three-structure little jam and it turned into that song. It was definitely the most traditional sounding thing that we’ve ever done. It’s one of my favorites because of that. I get to play real guitar on it and not just make noises. That’s why it’s one of my favorites.

Brandon, I know you have been working on the Legend of the Spaceborne Killer comic book. What’s the status of your first issue? Does that storyline have a sequel in Welcome To Fat City?

Brandon: Definitely, I will eventually catch up with the script. We’re hoping the first issue will come out shortly before or after the New Year. It’s exciting to see my scribbles and nonsense be turned into the comic book medium. I’m a huge comic book nerd and it’s going to be interesting to see how it progresses. There will most certainly be a parallel to the Fat City stories.

What are some of your favorite comics and writers?

Brandon: Alan Moore, I’m a huge Alan Moore fan and anything he does is usually epically awesome. Warren Ellis is another good one. Rick Remender does Black Science and Deadly Class. Brian Vaughan is another good writer who did Saga. And Brian Michael Bendis does some of the Marvel stuff and other stories in the superhero realm. Ironically, I’m really not into the superhero comics because I’m more of a sci-fi comics and independent comics kind of guy, but I have been getting more into the Marvel/DC universe.

Last question, having toured with Motörhead, Volbeat, and Anthrax over the last two years; or just touring in general, what has been the most surreal experience in the last year or so?


Chris: Probably watching that Corey Feldman video (Laughs). I remember we were all together watching it and I’ll never forget that (Laughs).

Brandon: I was driving and I had no idea what was going on back there. I kept hearing Corey Feldman and Michael Jackson together in the same sentence and I’m like, “The fuck is going on back there?” But than I watched it…(Laughs) and I understood.

Chris: It changed our lives.

Jake: I didn’t see that video. However, one night during the Motörhead tour, we were in Vegas I believe, right?

Chris: Yes, we were definitely in Vegas.

Jake: And Lemmy touched my shoulder and said, “Great set.” I won $150 that night. I was like, “BOOM!” It was a true story and I freaked out and went fucking nuts. I didn’t shower for days (Laughs).

Like they say in Airheads, “Lemmy is god.”

Jake: I was touched by the hand of god! You know somebody on the Internet is going to get pissed off at me for saying that and I am cool with it. I guess I should watch that Corey Feldman video.

Chris: You have too! It’s pretty awesome. Good for him, man. He went for it.

Paul: He goes all out.

Chris: He goes hard.

Jake: I don’t even know what this is about. Is this a performance act?

Chris: He sings and dances like Michael Jackson.

Jake: That’s cool. It’s that good though?

Chris: It’s life changing.

Paul: You will be clearly inspired.

Jake: I’m going to watch that.

Chris: The choreography is killer.

Brandon: There you go, choreography, that’s a new shtick right there.

Paul: That should be the next album!

Brandon: Choreography! (Laughs)


Jake: We should get Corey Feldman masks.

Brandon: We’re going to turn your whole career around Corey Feldman!

Are you guys going to start dancing like Michael Jackson on stage (Laughs)?

Chris: What do you mean start (Laughs)? We’ve been doing this for years!

Paul: We’re going to make a series of how we dance like Michael Jackson!

Jake: We’re going to be talking about Corey Feldman for the next six months. And then we’re going to have the questions, “So for “Plague of the Mammoths,” why are you all wearing Corey Feldman masks?”

In the next video, you should all do the “Billie Jean” or “Beat It” dance (reenacts Michael Jackson).

Everyone: Laughter.

Jake: That would be awesome!