Dave Grohl is on a big storytelling kick, which is fair: His new book, The Storyteller: Tales Of Life And Music, is out now. So, he’s been doing some interviews about it, and in a recent one with Waterstones, he discusses a dinner party that got more and more star-studded as the night went on.
The story takes place around the time of the Grammys, during a year when Grohl was asked to present an award (which he was in 2013 and 2015). Grohl wanted to avoid the regular Grammy after-parties, so instead of going to one of those, he and his Foo Fighters bandmates booked a table at a restaurant.
Then, Paul McCartney, who regularly meets up with Grohl when he’s in town, ended up joining them. Shortly after getting that set up, McCartney bumped into AC/DC at a hotel and invited them to join the festivities.
“This was huge to me,” Grohl said, “because I really was a huge AC/DC fan when I was young. The thing about AC/DC is you never see them unless they’re on stage. It’s not like you see them walking the carpet at a movie premiere. […] So to see them in the flesh, off-stage, was wild.”
That would have been enough to make this a fascinating evening, but the story kept going from there, ending with the Preservation Hall Jazz Band performing as they walked down the street and into the restaurant to join the celebrity for dinner.
There’s more to the story and it’s best told by Grohl himself, so watch him recount the tale above and find the full interview below.
Aside from the Ben Simmons trade saga in Philadelphia, nothing has consumed NBA headlines this preseason like the Kyrie Irving situation in Brooklyn.
The All-Star guard is one of the few remaining players who have refused to get the vaccine, and is the only one to do so in a market that has a vaccine mandate for going to work. As such, Irving is ineligible to play in Brooklyn’s home games and, while the city determined he could practice with the team at their “private office” of a practice facility, that meant 42 games (41 home games and one game at Madison Square Garden) where Irving wouldn’t be able to play.
Steve Nash spoke matter of factly about the situation recently, noting that the team was going to have to figure things out like “when, where, and how much” Irving would play. That seemed to indicate they might accommodate him as a part-time player, but on Monday night, Irving didn’t travel with the team to Philadelphia for a preseason game, an indication that no decision had yet been made. There were reports that the Nets top brass would get together along with fellow stars Kevin Durant and James Harden to talk through what this season should look like with Kyrie, and on Tuesday morning, the team came to it’s decision.
Kyrie Irving will not be part of the Nets team until he can be a full participant.
That means the Nets will move forward without Irving until one of two things happen. He either gets the vaccine and can play in home games, or New York lifts its vaccine mandate. It would seem the former is incredibly unlikely, given Irving knew he was going to lose half of his game checks this season and still chose not to get vaccinated. As for the latter, it’s possible that could happen next spring if things improve, but also seems like it isn’t something the Nets or Irving can bank on for certain.
For now, the Nets will move forward with Durant, Harden, and their stacked roster of veteran stars, which is more than capable of holding their place as a championship contender. However, it certainly shrinks the margin for error for the Nets, particularly on the injury front, and could help open the door for other teams to catch up to them.
This week in pop music saw some exciting collaborations and anticipated singles. Jesy Nelson and Nicki Minaj linked up for a fiery track, James Blake tapped SZA for a song off his brand new album, and former Fifth Harmony member Lauren Jauregui kicked off a new era of music.
After leaving the UK girl group Little Mix, Jesy Nelson is officially kicking off her solo career with a major cosign. Nicki Minaj assisted the singer for her debut single “Boyz,” a playful and rhythmic tune that shows a new side of Nelson’s artistry and draws influences from early ’00s R&B.
James Blake — “Coming Back” Feat. SZA
This week, James Blake returned with his anticipated album Friends That Break Your Heart, which includes the tenderhearted SZA collaboration “Coming Back.” The tune opens with a wistful piano and Blake’s gentle lyrical delivery, before reverberating synths and a snapping beat offers an atmospheric backdrop for SZA’s dulcet voice.
Lauren Jauregui — “Colors”
Jesy Nelson wasn’t the only former girl group member to release new music this week. Fifth Harmony disbanded a few years ago and Lauren Jauregui has since dropped a handful of singles. But now that she’s announced her upcoming debut project Prelude, Jauregui offers a preview of her new sound with the moving piano ballad “Colors.” The new track marks a departure from Jauregui’s previous hip-swinging releases, drumming up excitement to see what she has in store next.
Julia Wolf — “Nikes”
After firing off a handful of catchy releases, pop’s latest disrupter Julia Wolf returned to drop her latest EP, Girls In Purgatory. The snappy release gets honest about her toxic traits as she leans on her resonating vocals to sing of how she can often be flighty when it comes to a new relationship.
Gia Woods — “Fame Kills”
Rising LA pop star Gia Woods warns against the dark side of stardom with her track “Fame Kills,” which arrives on her brand new EP Heartbreak County. The maximalist pop tune details a sizzling new romance over a synth-heavy beat.
Magdalena Bay — “Hysterical Us”
LA-based electro pop duo Magdalena Bay released their anticipated debut LP Mercurial World this week, an album filled with disco-twinged beats and reflections on the emotional impacts of being chronically online. Their last single “Hysterical Us” sums up the album’s theme pretty well, as it dissects the band’s “anxieties, paranoias, and existential musings” over a shimmering beat.
Arca — “Born Yesterday” Feat. Sia
Boundary-pushing producer Arca recently dropped the inventive and at time jarring 2020 album Kick I. This week, Arca tapped the infamously wigged singer Sia to add some vocals to the track “Born Yesterday.” The result is a soaring and pulsating tune that officially announces her upcoming LP, Kick II.
Fletcher — “Girls Girls Girls”
Taking inspiration from Katy Perry’s iconic smash hit “I Kissed A Girl,” Fletcher brings the song into the new decade with her fluttering tune “Girls Girls Girls.” Quoting Perry’s chorus in her own, Fletcher leans on her far-reaching vocals to sing about how her empowering sexual expression is not just a phase. “In a lot of ways [‘I Kissed A Girl’] really marked the beginning of a lifelong journey of self-exploration and coming into my queerness and learning how to express my truth in a bold and unapologetic way,” Fletcher said in a statement. “‘Girls Girls Girls’ is the freedom and the celebration I’ve been craving my whole life, and a way for me to share my own perspective and journey while honoring a song that empowered me to embark on it in the first place.
Marc E. Bassy — “Future Love” Feat. Syd
Marc E. Bassy unveiled his new album, Little Men, which featured the lush Syd collaboration “Future Love.” With lavish production and Bassy’s tender lyrical delivery, the song is the perfect late-night anthem.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Does any musical act have a greater disparity between the number of words written about them and the number of people who actually got to see them than The Velvet Underground?
Big Star? Possibly, though Alex Chilton was never as famous as Lou Reed. Robert Johnson? Likely, though the iconic bluesman lived during a pre-historic media age. The Velvet Underground, meanwhile, existed in an era of exploding youth culture typified by legendary 1960s rock bands like The Beatles, The Rolling Stones, The Beach Boys, and The Grateful Dead. In time, the Velvets came to be viewed as one of rock’s most influential and acclaimed bands. But those other luminaries also left behind a wealth of video footage captured during their respective primes that helps us to understand why they’re considered important. For instance, Peter Jackson’s forthcoming three-part Beatles documentary for Disney+, Get Back, is culled from more than 60 hours of unreleased footage. And that’s for the making of an album John Lennon once called the “shittiest load of badly-recorded shit — with a lousy feeling to it — ever.” Even that part of Beatles history is exhaustively documented.
As for the unimpeachable Velvet Underground, precious little live footage is known to exist 50 years after Lou Reed exited the band, which effectively ended their short but illustrious three-year recording career. (Doug Yule’s post-Reed Velvets album from 1973, Squeeze, is an oft-overlooked footnote, and nevertheless feels like something separate.)
In the late ’60s, the Velvets never appeared on television, and they were never the subject of a concert film. Neither Woodstock nor Altamont wanted them. That’s because they never had actual hits, or much of a public profile outside of a few coastal enclaves. We still have the albums, which sound as menacing and powerful as ever. But so much of what we know about The Velvet Underground is based on the first-hand accounts of those who did see them back then. As for the rest of us, there are frustratingly few chances to witness their grimy glamour for ourselves.
I was reminded of this while watching Todd Haynes’ new documentary, The Velvet Underground, which premieres Friday on Apple TV. Haynes takes great care to place the band in the heady context of the mid-’60s downtown Manhattan art scene, showing how they existed at the crossroads of avant-garde composers such as La Monte Young, whose experiments with drone were pivotal to the Velvets’ early sound, along with the poet (and early Lou Reed mentor) Delmore Schwartz, the experimental filmmaker Jonas Mekas, and of course the pranksterish pop artist Andy Warhol, their most crucial patron. Haynes pulls back even further to depict how Reed’s original obsessions with the city’s seedy underbelly extended from a vibrant local queer community that nurtured writers, musicians, painters, and other artists of all stripes. An island of misfit toys that ended up changing the course of culture forever.
What you don’t see much of in The Velvet Underground — and what separates Haynes’ film from a normal rock doc — is the band actually playing together on stage. There is footage of Reed performing with John Cale and Nico in Paris in 1972, and some quick clips of the original lineup rehearsing or jamming at The Factory. But Haynes is forced to mostly rely on photographs set against muddy-sounding bootlegs recorded at scarcely attended gigs in museums and university student unions, as well as the testimony of onlookers like Warhol “superstar” Mary Woronov who tell us how freaky it was when they played “Heroin” for the first time.
Now, for a lesser filmmaker, this might be a crippling disadvantage. Imagine if Peter Jackson only had, say, 15 minutes of video showing The Beatles at work on Let It Be rather than 240 times that amount. But it actually doesn’t hamper Haynes; in fact, it suits his career-spanning thematic obsessions.
In his previous films about musicians — 1987’s Superstar: The Karen Carpenter Story (still only available as a bootleg due to brother Richard Carpenter’s objections), 1998’s Velvet Goldmine, and 2007’s I’m Not There — he was more interested in exploring aesthetics and mythology then doing a dry, journalistic run-through a mundane biography. Each of those movies are really about an “idea” of the subject: Karen Carpenter as a literal children’s doll slowly dying on the inside; David Bowie as an elusive enigma who abandoned his transgressive past for pop glory; Bob Dylan as a constantly shifting facade put on by several different actors. Haynes isn’t trying to tell us who these people “really” are; he’s exploring how we, the audience, perceives them and what this shows about our collective pop-culture illusions and desires.
Unlike those other films, The Velvet Underground is a documentary. But for all of the background details we learn about Reed and John Cale’s upbringings, it’s not really intended to be a full account of the band’s history. The other Velvets are discussed less thoroughly or, in the case of Yule, hardly at all. Once Cale departs three-quarters in, you can feel Haynes’ interest wane. The film ultimately is more invested in what this band signifies: A thriving counterculture that could have only existed at a specific moment in time, and will never be repeated.
For Haynes, The Velvet Underground is like a shooting star whose light didn’t reach the Earth until after it had long since burned out. It’s the ache of loss, and missing out, that the documentary leaves you with. It’s a film about ghosts.
I’m 16 years younger than Haynes, but I suspect we followed similar paths to the Velvet Underground. Growing up as a tween in the ’80s, I first learned about them from R.E.M., who covered several Velvets songs on the 1987 B-side compilation, Dead Letter Office, including “Pale Blue Eyes,” currently their most streamed song on Spotify. Around that time, I went to my local library and read Rolling Stone‘s special “Greatest Albums Of The Last 20 Years” issue, which put The Velvet Underground & Nico at No. 21, between Prince’s Dirty Mind and The Who’s Who’s Next.
What happened next will seem inconceivable to anyone who grew up in a post-internet world: I didn’t hear any Velvet Underground music for another few years. Their albums were not available at the big-box music stores in my town. And none of their songs were played on the radio. I had to imagine what they sounded like based on the R.E.M. covers — which are faithful but nevertheless not Lou Reed — and the Rolling Stone blurb.
Finally, in 1989, Polygram Records issued The Best Of The Velvet Underground: Words And Music By Lou Reed, their first “greatest hits” album in 18 years. This was a time when greatest hits albums could actually be vital historical documents if the original records were out of print or hard to find. The occasion was so momentous it warranted a trend piece in the New York Times trumpeting the band as a bedrock influence on alternative rock. (It was the late ’80s, after all.)
This was also the first VU tape I ever owned. I still remember the off-gray color of the cover, which was emblazoned with a photo that made it look as though Warhol was a member of the band. (For a while, I assumed he played tambourine or something. There was no Google to confirm or disprove this.) It included six songs from the 11-track The Velvet Underground & Nico, and weirdly favored the relative deep cut “Run Run Run” over more obvious choices like the epochal “Venus In Furs” or the luminous “Sunday Morning.” Then again, it’s not as if any of these songs were actual “hits,” so the selections were bound to be arbitrary.
A year or two later, I serendipitously found a copy of their fourth album, 1970’s Loaded, at a used CD store. Loaded includes two of Reed’s most famous songs, “Sweet Jane” and “Rock ‘n’ Roll,” but its status as a full-fledged Velvets album is dubious. Cale was long gone by then, and their utterly singular drummer Maureen Tucker was sidelined during the recording by pregnancy. The journey from The Velvet Underground & Nico to Loaded was still missing some crucial intervening chapters. It wasn’t until the release in 1995 of Peel Slowly And See, a comprehensive box set that includes all four Reed-fronted studio albums, that I was able to even hear 1968’s White Light/White Heat and 1969’s The Velvet Underground, almost a full decade after I first read about them.
All of this is to say, The Velvet Underground for years was a band you had work hard to seek out. The same is true for the downtown New York that The Velvet Underground & Nico vividly mirrors and romanticizes. In the film, we see how small this world was in the ’60s, with numerous movers and shakers living together in small but cheap quarters as they collectively dreamed up a new future. Haynes’ point is that you couldn’t just access this world from the comfort of your phone or laptop. You had to be brave enough, and canny enough, to find it and see it and smell it and touch it.
Haynes has said that the “extinction” of localized scenes in light of the online world’s flattening effect on culture has only intensified his admiration for what existed back then. “You really felt that coexistence and the creative inspiration that was being swapped from medium to medium,” he said in a recent interview. “I crave that today. I don’t know where that is.
In one of the movie’s most eye-raising sequences, an ex-girlfriend of Reed’s talks about how he used to take her to dangerous parts of Harlem when they were in college in order to score drugs. She suggests that these trips had as much to do with scrounging compelling songwriting material as it did with getting high. You can interpret this story as the foolish actions of a deluded wannabe artist. Or you can (as Haynes seems to believe) look at as a testimony to the power and value of in-person experience. Which means, sorry, but if you weren’t there in the flesh at the Exploding Plastic Inevitable, you probably will never see The Velvet Underground. It’s this, after all this time, that still makes them special. Embedded in Haynes’ film is the suggestion that art loses something when it isn’t permitted to be fleeting, and is instead frozen forever in digital amber.
Discovery once was a process that exposed you to a million other tangents along the way. Now, it is an endpoint to which you are delivered — speedily, painlessly, bloodlessly — without anything in the way of effort or sacrifice. It can make even a band as great as The Velvet Underground seem meaningless. Anyone interested in them can easily queue up their albums on any streaming platform and move through the catalog in an afternoon.
This, of course, is a wonderful convenience, and one I would have killed for at the time that I discovered the Velvets. But it also robs this alluringly enigmatic band of their mystery. On Spotify, they really are just another great ’60s rock outfit. Music this exciting and adventurous should require a little more excitement and adventure on the part of the listener to hear it.
Earlier this year, it was announced that Demi Lovato was working on a show called Unidentified With Demi Lovato, in which they — along with their co-hosts, their sister Dallas and friend Matthew Scott Montgomery — investigate UFOs and extraterrestrial life. The show is streaming on Peacock now, and in a recent interview about it, Lovato shared their belief that “aliens” is a “derogatory term for anything,” including extraterrestrial creatures.
Speaking with Pedestrian (as Billboard notes), Lovato said, “I think that we have to stop calling them aliens because ‘aliens’ is a derogatory term for anything. That’s why I like to call them ETs! So yeah, that’s a little tidbit. A little information that I learned.”
That comment came after Lovato speculated that if aliens wanted to harm us here on Earth, they would have by now, saying, “I think that if there were beings that could harm us, we would have been gone a long time ago. I also think that if there are civilizations that are of consciousness in other dimensions, which has given them the technology to be able to travel through space, I think that they are looking for nothing but peaceful encounters and interactions, because like I said, if they wanted us gone, we would have been gone a long time ago!”
Back in December 2019, Kumail Nanjiani blew the internet’s mind when he showed off his new, absolutely ripped body that he finely sculpted after landing a role in Marvel’s Eternals. While he’s still very proud of the work that he put into making sure his character Kingo looks like he belongs right next to any of the Chrises, the pandemic pushed the Eternals back an entire year, and it’s left Nanjiani with time to ruminate over the way the media rewards certain body images.
As the months went on, it became clear that Nanjiani has becoming uneasy with his new bod, and in a new profile for New York Magazine, he opens up about the toll his transformation has taken on him mentally. According to the Silicon Valley star, things really went south after a paparazzi photo of him looking not 100% jacked went viral, and he began to obsess over his body and he believed others perceived him:
“This prison has never been tighter, man,” he says. “Having other people decide how you feel about yourself — none of that goes away. It’s all still there. What you have to do is somehow figure out how to have self-worth from within yourself. I don’t know how to do that, but I’ll let you know once I find the key.”
However, the experience has pushed Nanjiani to seek out a new group of supportive friends who he plays video games online. It’s also taught him that you really should never read internet comments or take them seriously, which he discovered after looking into a troll who was giving him a hard time.
“He also regularly posts on sub-Reddits about drinking your own pee, like tips and stuff,” Nanjiani said. “I was like, Oh my God. I’ve been letting someone who drinks their own pee decide how I feel about myself and what I do. There’s nothing wrong with drinking your own pee! Do whatever. Like, you don’t know what people are going through.”
When it comes to Fox News personalities, Laura Ingraham isn’t quite as out-there as Tucker Carlson when it comes to COVID misinformation. Then again, it’s almost impossible to top Tucker, whose recent lie-fueled episodes have included (false) accusations that vaccine mandates are literally inspired by the Devil to lower men’s testosterone after and (this is a lie as well) claiming that Dr. Fauci “created COVID.” Over on The Ingraham Angle, things haven’t been as hyperbolic, but the host has still been shoveling out the misinformation.
For some time, Laura’s brother, Curtis, has been a vocal critic of his sister’s on-air tactics. He branded her as “pathetic” for her Fauci criticism, and his pre-pandemic call-outs include taking aim at Laura for likening climate activist Greta Thunberg to “Children of the Corn.” Curtis was definitely not here for Laura’s Monday night broadcast.
“My sister is bonkers!” Curtis tweeted in response to an @acyn tweet. “Vaccines are in abundant supply much like the lies and disinformation she feeds to her ignorant anti-vaxer followers. Where is the accountability?! @IngrahamAngle”
My sister is bonkers! Vaccines are in abundant supply much like the lies and disinformation she feeds to her ignorant anti-vaxer followers. Where is the accountability?! @IngrahamAnglehttps://t.co/ShFDfzsSRf
On air, Laura slammed President Biden for the continued nature of the pandemic. Rather than call out people that refused to get the vaccine because of “freedom,” however, she somehow believes that Biden restricted access to the vaccines. That doesn’t wash, since anyone who wants a vaccine can walk into a pharmacy and get one, free of charge. Still, this is what Laura said, via Fox News:
“All Biden had to do was number one, make the vaccine widely available, number two, lift all restrictions on economic activity and number three, let the Trump-era policies and the hard work of the American people take us back to the booming economy we enjoyed before COVID.
“Of course, they did the exact opposite. They canceled Trump’s policies, overreach with vaccine mandates and scare the public into staying at home. And over the last few days, we have seen the toll that Biden’s radical agenda is taking on the economy.
Laura was mainly aiming to blame Biden for “his pathetic handling of the economy,” which she says is even worse than the U.S.-Mexico border situation (she says Biden is “importing a trifecta of disasters from COVID to crime to poverty”). However, it’s worth noting the reality that the economy was in the tank during Trump’s final year in office, and the generous assistance that Republicans sent to businesses at the start of the pandemic only added to the nation’s debt, on top of all of those Trump tax cuts. Biden inherited an economic mess, yet Laura Ingraham wants to blame him for all of it.
Before the pandemic hit, Band Of Horses leader Ben Bridwell had already penned most of the songs that would end up on the band’s sixth album. He was going through changes in his life, his relationships and grappling with how the pick of the pieces that didn’t seem to fit. Naturally, Things Are Great, the band’s first in over five years that’s set to drop on January 15, is incredibly autobiographical.
But Bridwell couldn’t do it all alone. While he co-produced every song on the album, Grandaddy’s Jason Lytle and indie rock stalwart producers Dave Fridmann and Dave Sardy helped produce the album as well. With the album due out early next year, the band has released the lead single, “Crutch,” which stands atop handsome guitars and Bridwell doing his best to smile through tough times.
Bridwell shared a statement on the song, saying:
“I think like a lot of my songs, ‘Crutch’ starts with something from my real life. Obviously ‘Crutch’ means some of the things that I was dependent on. My relationship for one. I think I wanted to say, ‘I’ve got a crush on you,’ and I thought it was funny how relationships also feel like crutches. I feel like everybody has had a time when nothing goes right and you still have to carry on. I think that feeling hits you in this song even if you don’t know what the specifics are.”
Listen to “Crutch” above and below, find the Things Are Great art and tracklist, as well as Band Of Horses’ upcoming tour dates.
BMG
1. “Warning Signs”
2. “Crutch”
3. “Tragedy Of The Commons”
4. “In The Hard Times”
5. “In Need Of Repair”
6. “Aftermath”
7. “Lights”
8. “Ice Night We’re Having”
9. “You Are Nice To Me”
10. “Coalinga”
10/18 — Brooklyn, NY @ Brooklyn Made
10/19 — Brooklyn, NY @ Brooklyn Made
10/20 — Brooklyn, NY @ Brooklyn Made
11/04 — Denver, CO @ Mission Ballroom *
11/07 — Portland, OR @ Roseland Theater *
11/08 — Seattle, WA @ Paramount Theatre *
11/10 — San Francisco, CA @ The Masonic *
11/12 — Los Angeles, CA @ The Palladium
11/13 — San Diego, CA @ SOMA *
11/14 — Anaheim, CA @ House of Blues *
* with Miya Folick
Things Are Great is out 1/15/2022 via BMG. Pre-order it here.
The Lipa-loving octogenarian is the subject of a viral new TikTok video, which has quickly racked up over 3.1 million views as of this post. In the clip from a TikTok user named Kadie Bernstein, her grandfather is given an 80th birthday gift. As he reads the card and realizes he’s been gifted Lipa concert tickets, his jaw drops, his smile spreads, and he repeatedly exclaims, “Are you sh*tting me?!”
It’s a delightful video, and Lipa herself caught wind of it. She re-shared it on her Instagram Story yesterday and wrote, “OMG THIS MELTS MY HEART!!!,” followed by some heart emojis.
@dualipa/Instagram
After that, Bernstein shared a video of her talking with her grandfather on FaceTime, telling him that Lipa posted about him. He was gleeful, saying with a laugh, “Five minutes of fame is the greatest thing to ever happen.” In another follow-up video, he responds to a comment from SiriusXM asking what his favorite Lipa song is. In the video, he says he has to think about it and doesn’t give an answer, but he’s quoted in the caption as saying, “My favorite dance song is ‘That kind of woman’ from Future Nostalgia. Then, I love ‘Boys will be Boys.’”
Donald Trump is the kind of person who only understands absolutes. So, in his mind, getting a “positive” test result for genital warts would likely be reason to celebrate. And when it comes to numbers, bigger is already better. Even if the integer in question is, say, the number of people who came out on your behalf to launch a violent attack on the U.S. Capitol Building.
On Monday night, Jimmy Kimmel shared that yet another Trump tell-all is getting ready to hit bookshelves. Betrayal: The Final Act of the Trump Show is written by Jonathan Karl, ABC News’s chief Washington correspondent, and full of fascinating little tidbits about Trump’s final days as the 45th POTUS. Among the gems it digs up, according to Kimmel?
“Karl says that during the riot on January 6th, Trump was bragging about the size of the crowd that stormed the Capitol. Of course he was! Is there anything he won’t brag about? It’s like bragging about the size of your tumor… It’s not good. Someday he’ll be looking up from the bowels of Hell, elbowing his buddy Jeffrey Epstein, saying, ‘Can you believe how many people are dancing on my grave right now?’
Size matters so much to him. It’s almost as if he’s insecure about something.”
Karl also writes about how it was Trump’s staff who, after hours of pleading with the then-outgoing president, finally got him to agree to make a video telling the Capitol rioters to step down and stop what they were doing. “The book says they had to do multiple takes of the video because he kept forgetting to tell them to stop ransacking the Capitol,” Kimmel explained, adding, “I’d love to see the outtakes of that one.” Wouldn’t we all?
You can watch the full clip above.
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