Speaker 1: Have you ever drawn a cartoon so funny that you
Speaker 1: had to take a break just because you couldn't stop laughing?
Speaker 2: Oh yeah, all the time.
Speaker 1: Pasha, Pasha shut show. Hey, how's everybody out there doing today?
Speaker 1: It's me Daniel tosh by some funky Holdown music. Let
Speaker 1: me sing along hit Daniel. You guys remember when Sir
Speaker 1: mix a Lot used to do like some funny like
Speaker 1: hodown music. Yeah, buttermilk biscuit, butternup biscuit. He do them all.
Speaker 1: He was way before Beyonce did a country album.
Speaker 3: He did.
Speaker 1: Yes, you gotta give props to Sir mix a Lot.
Speaker 1: Not a lot of people talk about how great Sir
Speaker 1: mix a Lot was Seattle's finest as far as I'm concerned.
Speaker 1: Sure you you know you talk about the big butt songs,
Speaker 1: but passe on Broadway. There's no chance that I don't
Speaker 1: turn that song up, tell my kids to shut the
Speaker 1: fuck up, and we just enjoy the queen? Was he?
Speaker 1: I love Sir mix a Lot? Man, what's he up to?
Speaker 2: I'm checking, I'm checking.
Speaker 1: Let's get that guy on the podcast. Speaking of shouting
Speaker 1: people out that want no business with me, Let's do
Speaker 1: another Hello from Toss Show, all right, got David in Anaheim. Eh,
Speaker 1: this is a stone's throwaway. He used a car broker
Speaker 1: because of my interview with my car guy, Marty, and
Speaker 1: he said it was life changing. His car guy's name
Speaker 1: is Rudy. That's because they all said they sound reliable. Rudy,
Speaker 1: Marty all good people. Well, hello David, thanks for listening.
Speaker 1: Also want to send a hello from Toss Show to Sarah.
Speaker 1: She's listening in Washington, d our Nation's capital. She's a lawyer. Now,
Speaker 1: if you would have told me that when I started
Speaker 1: a podcast a lawyer in Washington, d C. Would be listening,
Speaker 1: I would have said, sure, you can listen anywhere. I
Speaker 1: think anywhere in the world you can listen to this podcast,
Speaker 1: except for North Korea and Iran. That's it because of
Speaker 1: podcast sanctions over there. They don't let Toss Show. You
Speaker 1: can't stream it or listen to it in North Korea
Speaker 1: and Iran. That's a shame. Those people are missing out
Speaker 1: because I guarantee we got fans there. You ever been
Speaker 1: to North koreaity.
Speaker 2: Nope, seen it, looked at it from South Korea.
Speaker 1: You went to South Korea, went to the DMZ. Oh
Speaker 1: you were right there.
Speaker 2: Yep.
Speaker 1: Do you get a golf ball out and take a hack?
Speaker 3: No?
Speaker 1: I did not. I tell you what I'd like. I'd
Speaker 1: like to find out if my reps could get us
Speaker 1: on in North Korea. I'd also like to know if
Speaker 1: my reps would actually take my phone call. It's always
Speaker 1: it's always a big saying, Oh, they're they're currently in
Speaker 1: a meeting. Oh they're they're unavailable. Oh can I have
Speaker 1: her call you right back? Not call call my manager?
Speaker 1: See my manager answers the phone. You think she will?
Speaker 1: I do? I gotta say my name. Hey, this is
Speaker 1: Daniel Tosh. Can I talk to Christy for a second.
Speaker 1: It's an emergency.
Speaker 2: Yeah, I don't have her at the exact moments, so
Speaker 2: let me get her, let me get her off, give
Speaker 2: me one second.
Speaker 1: Okay. They always say, oh, I don't I don't have her.
Speaker 1: I can't get her right now. It's like she's right
Speaker 1: next to him, just going this.
Speaker 4: Going, Daniel, I can't get a hold of her.
Speaker 2: But she is traveling, so if you want to try herself,
Speaker 2: she should be able to pick up there.
Speaker 1: Okay, thank you very much.
Speaker 2: You're welcome.
Speaker 1: Let me try yourself. Yeah, you know you're gonna answer,
Speaker 1: all right, that's what an emergency gets you.
Speaker 4: It's crazy.
Speaker 1: Yeah, you mercer, I'll see if I get my agent
Speaker 1: on the phone, I'll try to Hey, it's Daniel Tosh returning.
Speaker 3: Hey, Stacey's in a meeting right now.
Speaker 2: But give me one second. Could you hold for a second.
Speaker 1: Okay, you see that, you say returning. That's better. That's
Speaker 1: better than an emergency. You think she would jump out
Speaker 1: of whatever meeting she was in. Hi, Hey, I just
Speaker 1: want to see if I can get you on the phone.
Speaker 4: Oh you never called through my office. Crazy, No, But
Speaker 4: I just want to.
Speaker 3: Actually on a zoom call you I pick up.
Speaker 1: Oh, you're the best representation in the world.
Speaker 4: I always pick your call up.
Speaker 1: That's nice. That's nice. Not Christy could never get her
Speaker 1: on a call. But you, Stacy, you run things all right. Hey,
Speaker 1: how are your conference? Hey? Yeah, get my ticket? Counts
Speaker 1: all right?
Speaker 2: Bye?
Speaker 1: Look at that William Morrison, Davor Stacy Mark just always hustling.
Speaker 1: Christy Smith Rise Management. I forgot I actually had a
Speaker 1: reason to call them, and I completely forgot. I was
Speaker 1: going to ask him who their favorite political cartoonist is.
Speaker 1: But I'm not going to call him back because Lord knows.
Speaker 1: I'm gonna get sixteen phone calls the rest of the day.
Speaker 1: Everybody's in a panic. I heard you had an emergency.
Speaker 1: What's going on? Ah, that's christy, look at that. That's
Speaker 1: so silly.
Speaker 4: What's happening?
Speaker 1: I was just seeing if I can get you on
Speaker 1: the phone.
Speaker 4: You can always get me on the phone.
Speaker 1: Ah, that's pretty good. But I couldn't. I couldn't. I
Speaker 1: couldn't get out. Hey, I was going.
Speaker 5: Through security at an airport. In fairness, I had to.
Speaker 5: I didn't have my phone with me. As soon as
Speaker 5: I did, I was bad.
Speaker 1: You don't. You're not like ushered through. You don't have
Speaker 1: some v P line. You don't doing that new thing
Speaker 1: underneath there yet?
Speaker 2: Well I do.
Speaker 4: No, I don't do that. I don't. I Also, I'm
Speaker 4: flying back from Houston.
Speaker 2: I don't think they have you're in Houston.
Speaker 4: I had it.
Speaker 5: Yeah, I had to go to memorial service this morning,
Speaker 5: and I will come to back.
Speaker 2: Haha.
Speaker 4: How can I help you?
Speaker 1: Who's your who's your hey? Who's your favorite political cartoonist?
Speaker 4: Are they about to be on your on your podcast?
Speaker 1: Yeah? Just just say Ivan.
Speaker 5: Iran, everything knows Ivan, he's just freaking mass they see
Speaker 5: the one that was working in construction and then became
Speaker 5: the political cartoonist.
Speaker 1: Don't ruin the interview. Enjoy Pasha. You might recognize today's
Speaker 1: guest from his doodles in Mad Magazine or The New Yorker,
Speaker 1: but not both, because there's no way that those two
Speaker 1: publications have any crossover. Please welcome writer, illustrator and humorist
Speaker 1: Ivan Ellers. Thank you for being here, sir, Hey, thank you.
Speaker 1: What do you tell people is your profession?
Speaker 2: The most interesting thing I think is cartoonists. If you
Speaker 2: say humorists, you sound like a jerk.
Speaker 1: I love calling you a humorist sounds more sophisticated.
Speaker 2: It sounds absolutely sophisticated. But you know, it's hard to
Speaker 2: find something that doesn't sound super pretentious, you know, And
Speaker 2: I do a whole lot of things, but the thing
Speaker 2: I'm most well known for would be cartooning. Say cartooning, Yeah,
Speaker 2: I don't.
Speaker 1: Know if I like that either. What about when you're
Speaker 1: going through customs and they ask what do you do?
Speaker 2: Yeah? Usually artists sometimes writer. If you say artists that
Speaker 2: like it's an automatic drug check. You know they're gonna
Speaker 2: wipe you down. Do all this stuff. So anything that
Speaker 2: sounds like not like I'm a love drugs.
Speaker 1: I despise aying comedian. Yeah, it's so embarrassing.
Speaker 2: Well, you're even worse because if you say I'm a comedian,
Speaker 2: you get all these people that are like, oh, tell
Speaker 2: me a joke, you know, they try to put you
Speaker 2: on the spot and oh, say something funny.
Speaker 1: And then I try to say writer because I always
Speaker 1: think that sounds really cool, but I'm like I can
Speaker 1: barely you know, they.
Speaker 2: Say, write me something.
Speaker 1: You grew up in San Pedro, which I always thought
Speaker 1: was just a made up city from grand theft?
Speaker 2: Is that in grands grand theft? It just sounds like
Speaker 2: grand theft. I mean it acts like grand theft. Auto
Speaker 2: where is it exactly? So we're La proper, you know.
Speaker 2: So there's like the LA city like downtown and all this.
Speaker 2: Then LA continues down the freeway and then it's this
Speaker 2: little pocket at the end where the port is. So
Speaker 2: that's why we remain l a city, so LA can
Speaker 2: get all the tax dollars from the port.
Speaker 1: Okay, it's a little bit crooked. I would say, how'd
Speaker 1: you stum blendo your world?
Speaker 2: So this was as Trump was leading up, like as
Speaker 2: he started to make Noise to become a fourteen Yeah,
Speaker 2: twenty fifteen, and I was drawing a lot of cartoons.
Speaker 2: I was working in construction and just like on the side,
Speaker 2: just drawing stuff. And my now wife was like, what
Speaker 2: are you going to do with these? I said, I
Speaker 2: don't know, booking nothing like these would be perfect for
Speaker 2: Mad magazine. But I've always heard that they were a
Speaker 2: closed shop and didn't bring in too many people.
Speaker 1: Well, you probably didn't do any real research.
Speaker 2: You just heard that, like yeah, yeah, stuff that I
Speaker 2: heard when I was like thirteen, closed off, like that,
Speaker 2: it must be this way forever. And so she's like,
Speaker 2: just send them in. I was like, that's not how
Speaker 2: life works. But I printed out ten of them, sent
Speaker 2: them in and they bought one, and they're like, yeah, cool,
Speaker 2: send us anymore you have. Hey, this is great. So
Speaker 2: then I just started doing like a batch of cartoons,
Speaker 2: and I was like, for Mad, I would do like
Speaker 2: longer articles and a lot of they called the parody songs.
Speaker 2: You know love those?
Speaker 1: Are you still doing fresh ones?
Speaker 2: No? Nobody bought them, so I was like I did.
Speaker 2: I was like, I'm gonna do them forever.
Speaker 1: I don't care.
Speaker 2: I still love it. And once you get to a
Speaker 2: certain point of doing like cartoon work or comedy, I'm
Speaker 2: sure if like people don't pay you, it's like not
Speaker 2: gonna do it.
Speaker 1: I mean, you know, it's always funny is I used
Speaker 1: to think like, oh, you have to make money at
Speaker 1: this for it to uh, you know, I don't know,
Speaker 1: referred to mean anything. But then I realized pretty soon
Speaker 1: on that so many people do this as their pastime.
Speaker 1: It's much like a pro golfer makes a living golfing.
Speaker 1: Billions of other people just golf for the enjoyment. Like
Speaker 1: I knew people that just would perform comedy open mics
Speaker 1: just because that was there, much like doing karaoke it
Speaker 1: was something fun. Yeah, And I mean I never wrapped
Speaker 1: my head around that because it seemed like torture.
Speaker 2: Yeah, the karaoke part seems like more fun. But the
Speaker 2: people that just keep doing it, keep doing it, keep
Speaker 2: doing it, like never break through. It's like, oh, it
Speaker 2: bumps me out.
Speaker 1: It bumps me out.
Speaker 2: So many people doing cartoons because they love it so much,
Speaker 2: like this is the greatest thing in the world, Like, oh,
Speaker 2: what are you doing? Man? It's like it's miserable, Like
Speaker 2: they just never get better and like, look at they're
Speaker 2: still doing like weird like funny little puns.
Speaker 1: Huh.
Speaker 2: They would work like in the fifties, they're like, oh man,
Speaker 2: you gotta like you know, you could tell like people
Speaker 2: that love comedy. Yeah, it's like it's a lot, no,
Speaker 2: I hear it.
Speaker 1: Do you post everything like on your own sites and
Speaker 1: stuff like?
Speaker 2: No, no, you know a lot of people do so Okay.
Speaker 2: In the past, you would try. You would take everything
Speaker 2: to the New Yorker first, which is like the best,
Speaker 2: the most prestigious place.
Speaker 1: And that, and you work with them a lot.
Speaker 2: Yeah, sold the cartoon this morning, Oh congratulations, thank you.
Speaker 2: We're still doing that. I only do it when I sell,
Speaker 2: which is less and less these days. But yeah, you
Speaker 2: would take it there first, and then if they would
Speaker 2: pass on it, then I would take it to Mad Magazine.
Speaker 2: If they would pass on it, then I would take
Speaker 2: it to like five or six others, and then by
Speaker 2: the end you would do like a batch of ten
Speaker 2: cartoons per week, and then I was selling like sixty
Speaker 2: percent over the course of going down like five or
Speaker 2: six places, and whatever it was left I would hold
Speaker 2: on to and recaption it and put a different joke
Speaker 2: on it. But a lot of people if they don't,
Speaker 2: if they send in a batch and they don't sell,
Speaker 2: they just turn around and post it on Instagram, okay
Speaker 2: for free. And I said, what are you doing?
Speaker 3: Man?
Speaker 2: Oh, gotta wait till you get paid for that. I'll
Speaker 2: hold on to I sold a cartoon that was like
Speaker 2: five years old that I just kept changing the captionh.
Speaker 1: Is there a world where you don't even change the
Speaker 1: caption and you just resubmit it and somebody like, yeah,
Speaker 1: I'll take it now, and maybe they didn't take it
Speaker 1: six months ago.
Speaker 2: Oh yeah, uh absolutely. And most of the cartoons that
Speaker 2: I sell, like for the New York they have the
Speaker 2: cartoons that they sell for print, and then they have
Speaker 2: daily cartoons, which are like something happened this morning or
Speaker 2: something happened last night, and you do it about something
Speaker 2: like that. So those ones you kind of have to
Speaker 2: draw that day and make it fresh and current. But
Speaker 2: the other ones I'll resubmit like every three weeks sometimes yea, once.
Speaker 1: They're already published. Then do you promote the old worker.
Speaker 3: No.
Speaker 2: Usually when this is a great deal, like the New Yorker,
Speaker 2: when they buy it, they usually buy first rights. You
Speaker 2: know so, and sometimes they'll hold on to it for
Speaker 2: a while. I had a cartoon come out recently. They
Speaker 2: bought like five years ago. So I was just sitting
Speaker 2: there going, oh, they hated it. They regretted ever buying it,
Speaker 2: Like they hate me, why don't they do this? Then
Speaker 2: it comes out and the drawing style is completely different
Speaker 2: and the joke doesn't seem that funny anymore.
Speaker 1: And they just sat on it for that long.
Speaker 2: They have I mean they buy cartoon, They buy about
Speaker 2: fifteen a week.
Speaker 1: Who's their gate keeper?
Speaker 2: Well, they have The main cartoon editor is Emma Allen,
Speaker 2: a very intelligent, very cool young lady. I don't envy
Speaker 2: her job. She has to get like fifteen hundred cartoons
Speaker 2: a week and whittle it down to, like, oh my goodness,
Speaker 2: the top hundred, and then she takes the top one
Speaker 2: hundred or so to David Remnick, who's the editor of
Speaker 2: The New Yorker, and then he picks the final fifteen
Speaker 2: or so that they buy per week.
Speaker 1: And I get it, But are you just thrown into
Speaker 1: the big pile with fifteen hundred where they're yeah.
Speaker 2: Yeah, But other track people that have been there longer,
Speaker 2: that have sold a whole lot. They get a higher rate,
Speaker 2: and I think they buy more from them.
Speaker 1: But if somebody were to come in and this they
Speaker 1: were just off the street and they submit one that
Speaker 1: they liked, what kind of money could they expect to
Speaker 1: make off of one publication?
Speaker 2: So if you sell for print, it's like seven hundred
Speaker 2: and fifty dollars, and then once it goes out, then
Speaker 2: it gets licensed to a bunch of other stuff, so
Speaker 2: you could I mean, some cartoons can make like thousands.
Speaker 2: I always heard a story back in like the sixties
Speaker 2: and seventies this guy bought a house with one cartoon
Speaker 2: just because it got licensed house though I mean it
Speaker 2: was a summer house in like a small area, but still,
Speaker 2: but that's crazy, Like those days are gone. Like if
Speaker 2: I get like, I'll get weeks where you'll get like
Speaker 2: these little licensing checks and it's like fifty six cents,
Speaker 2: five dollars and five cents, and then sometimes you'll get
Speaker 2: several hundred And.
Speaker 1: Do you have a union.
Speaker 2: No, they've talked about it. It's been approached, But I
Speaker 2: think the magazine industry is in kind of sad shape.
Speaker 1: Because what I like, what our unions will do is
Speaker 1: all those dumb residual checks that are ten cents fifteen.
Speaker 1: You can put a thing in your profile that's like,
Speaker 1: we're not going to send you a check until it
Speaker 1: totals one thousand dollars or some version of that, so
Speaker 1: you don't have to get nine thousand checks for eighteen cents.
Speaker 2: You know, when I first sold to The New Yorker,
Speaker 2: they're like, do you want to do a direct deposit
Speaker 2: or do you want to check?
Speaker 1: And I was like, oh, send me a check.
Speaker 2: Was so stoked to get a check that says like
Speaker 2: the New Yorker on it, and it was just like
Speaker 2: some very tame the thing that said like advanced Publishing
Speaker 2: LLC this and that. It's like, ah, it's not fun.
Speaker 2: Can't frame that.
Speaker 1: Are you allowed to put things in that they still
Speaker 1: have the rights to or no?
Speaker 2: So the New Yorker they buy it first rights, so
Speaker 2: once it comes out, I think it's something like sixty
Speaker 2: to ninety days, then all rights revert back to me,
Speaker 2: so I could do anything, but like Mad Magazine buys
Speaker 2: it outright, so I couldn't put anything that they bought.
Speaker 1: You're never allowed to use it again, never allowed.
Speaker 2: But see that's part of the reason why Mad Magazine Now,
Speaker 2: it's uh, they're not doing too much new material. It's
Speaker 2: uh front cover at back cover and or not a
Speaker 2: back cover, but like the folding cover. They're doing new
Speaker 2: ones of those, and they're kind of colorizing old things
Speaker 2: because they still have the rights for it. They don't
Speaker 2: have to pay anything else for it. Every now and
Speaker 2: then they'll do it one or two pieces every six months,
Speaker 2: but they have full rights.
Speaker 1: So do they call you and say, hey, let's let's
Speaker 1: churn out some new stuff or no?
Speaker 2: Sometimes Yeah, Susie Hutchinson is a lady that's in charge
Speaker 2: that she's doing like the job of ten people to
Speaker 2: keep Mad Magazine going.
Speaker 1: And so do you have to figure out all this
Speaker 1: shit on your own or did you?
Speaker 2: Oh?
Speaker 1: Yeah, like when you have no background into it all,
Speaker 1: you're just like all right, I was figure out how
Speaker 1: to yeah, get into this world. Well, especially Earl, like
Speaker 1: just your wife that figured it out.
Speaker 2: Yeah, is with those things that I do. Yeah, But
Speaker 2: you know, like I'm very envious, Like she went to
Speaker 2: art school and like learned all the business aspects of
Speaker 2: it and like how to do all these things, and
Speaker 2: mine was just kind of like sending emails out and
Speaker 2: once I got into it, a lot of other cartoonists
Speaker 2: are really helpful and do kind of like give you
Speaker 2: pointers and stuff like that, but everybody goes through pretty differently.
Speaker 1: Somebody describe some of your stuff or read back. Is
Speaker 1: that cringe worthy to you, because there's no way they
Speaker 1: can they butcher it so badly.
Speaker 2: Absolutely?
Speaker 1: Yeah, that's tough. I was trying to think of I
Speaker 1: won't quote, but the ones that we were talking about
Speaker 1: the concert and the ticket prices. Oh, yeah, that one's great.
Speaker 1: I'm not going what was the original quote of the
Speaker 1: cost of the ticket? A dollar fifty cents? Right, that's
Speaker 1: way better than a dollar.
Speaker 2: But man, have you ordered any tickets lately?
Speaker 1: Yeah?
Speaker 2: No, the fees you you don't have someone do it
Speaker 2: for you.
Speaker 1: No, I yeah, well I'll buy tickets secondhand and just
Speaker 1: pay through the nose, MiG whatever.
Speaker 2: It really is crazy. It's like, oh, people get that
Speaker 2: shows twelve dollars. You check us like seventy seven dollars.
Speaker 2: How the hell did that happen?
Speaker 1: I Mean, I have people tell me all the time
Speaker 1: that they won't come to my shows because it's done
Speaker 1: by Live Nation, and I'm like, well, it's it's just
Speaker 1: that they're really nice to me. What's your process? Just
Speaker 1: do text yourself? I text myself. I text myself a lot.
Speaker 1: It's like the notepad. I don't new function, I just
Speaker 1: you just text it text myself. Then it goes to
Speaker 1: an actual hard little notebook that I have. Then I
Speaker 1: write in there, and I'm supposed to flush those out
Speaker 1: only two per page. That's my I give myself some
Speaker 1: room to add to it.
Speaker 2: So you write two jokes per page, so you can
Speaker 2: leave room to I embellish it.
Speaker 1: Right, well, actually flush it out at some point. But
Speaker 1: if I take it a stage before I flush it
Speaker 1: out and make progress live on stage, then I fucking
Speaker 1: bypass that.
Speaker 2: Can you do that these days? Can you work stuff
Speaker 2: out on stage? Now?
Speaker 1: I have to?
Speaker 2: Yeah, I mean it seems like you'd have to. It
Speaker 2: seems like to be way better. But with like people
Speaker 2: filming stuff and yeah, no, I mean like it like
Speaker 2: it kills it's it's not helpful. Yeah.
Speaker 1: I had a joke on a previous joking it it
Speaker 1: was so problematic in the beginning. It was you know,
Speaker 1: it was about slavery and how I was kind of
Speaker 1: impressed by it. But in its infant stages, it was like,
Speaker 1: oh you on nights things like that don't work. It's
Speaker 1: it's bad. Yes, please don't film this is this profitable?
Speaker 1: You can make a full living just off of the
Speaker 1: cartoons or do you have to do some other things?
Speaker 2: I have to do other things. Yeah, I'd say at
Speaker 2: this point about half of my living probably comes from
Speaker 2: cartoons and like humor, humor writing, I would say, and
Speaker 2: then the other half I do like graphic design, copywriting, illustration.
Speaker 1: Does New Yorker pay the best, Yeah, that's good.
Speaker 2: Yeah for a while, Uh, Playboy paid better, but ri
Speaker 2: ip Yeah, because you know, Hugh Hefner really like loved cartoons.
Speaker 1: He cared very much.
Speaker 2: Yeah, he really did cartoons and boobs not bad combination.
Speaker 2: But yeah, it's it's harder and harder. You know, every
Speaker 2: day more and more people try to get into cartoons.
Speaker 2: There's a lot of people that would have in the
Speaker 2: past just been hobbyists. And oh I could do that, sure,
Speaker 2: let's do it. Like computers make it a whole lot easier,
Speaker 2: and AI art is making it easier, and like you
Speaker 2: could always spot it from ten miles away, you can
Speaker 2: if someone did oh yeah, I mean on the most part,
Speaker 2: maybe someone gets really slick with it and can can
Speaker 2: fool me Already, I lost like forty percent of my
Speaker 2: illustration work to AI already, Oh, which is ridiculous. But
Speaker 2: you see, like, like the drawings are really bad that
Speaker 2: they put out, and I know they're going to be better.
Speaker 2: But the fact of the matter is a lot of
Speaker 2: these people don't care. Like the producers that are buying
Speaker 2: it don't care. They can't tell the difference. Like only
Speaker 2: other artists look at it and go, oh, look shit.
Speaker 2: But like a lot of people other people look at
Speaker 2: it and go, huh.
Speaker 1: What do you care more about? For you on your work,
Speaker 1: the joke or the art.
Speaker 2: I would say the joke is more important. I like
Speaker 2: that to be better. But I feel miserable if the
Speaker 2: drawing is not good.
Speaker 1: Do you secretly want Trump to win?
Speaker 3: No?
Speaker 2: If you know, here's the thing. If I whenever I
Speaker 2: have to do cartoons about him, I have to stare
Speaker 2: at his face for like an hour at a time
Speaker 2: while I'm doing this damn drawing, and it's just like
Speaker 2: staring into the to the face of hell for all
Speaker 2: these little crummy details.
Speaker 1: I mean, but it was he good for business for you?
Speaker 3: Oh?
Speaker 2: He was great? For business. Yeah, it's fantastic.
Speaker 1: Yeah, I mean, say what you want about Trump. I
Speaker 1: mean one of the greatest political minds we've ever had.
Speaker 2: Yeah, I mean he figured it out. He figured out
Speaker 2: what you can get away with, and just like kept.
Speaker 1: Going me, you can get away with anything?
Speaker 3: Is that?
Speaker 1: Yeah, that's what he figured out.
Speaker 2: Everyone else is like, oh, you can't do that. He's like,
Speaker 2: the fuck you can't watch this?
Speaker 1: Eh?
Speaker 2: Yeah.
Speaker 1: Now I don't have any problem with Trump, none whatsoever.
Speaker 1: Just anyone that believes a thing he says. I just
Speaker 1: find just utterly fucking annoying.
Speaker 2: Yeah.
Speaker 1: You think Donald Trump ever seen any of your cartoons?
Speaker 3: Oh?
Speaker 2: I know that he's seen my cartoons. Yeah, I know,
Speaker 2: probably the only thing he reads. So I know because
Speaker 2: a friend of a friend worked in the White House,
Speaker 2: and part of the duties of like when the president
Speaker 2: is a sitting president, they have people print out everything
Speaker 2: on the day that is concerning them that has their
Speaker 2: name in it, has image or anything. But for like
Speaker 2: bigger venues like Mad magazine or New Yorker, they would
Speaker 2: have to print it out and show it to him
Speaker 2: and be like, here's this, this came out today, This
Speaker 2: came out today, and he would just sit there going
Speaker 2: So that filled me with a little thrill.
Speaker 1: Yeah, that's great. Do you have anything in chamber for
Speaker 1: the re election?
Speaker 2: Yeah? I have a bunch of stuff that didn't sell
Speaker 2: last time around.
Speaker 1: Do you draw everything by hand?
Speaker 2: I used to. I was really like anti technology for
Speaker 2: a while. Then I got into it and it's so
Speaker 2: much easier and so much faster. So usually, like, if
Speaker 2: I do a batch, I'll do it all digitally and
Speaker 2: then if someone buys it, then I'll do it by hand.
Speaker 3: Ah.
Speaker 2: So that way you have an original to sell.
Speaker 1: Do all of yours visually? Have a style that's like
Speaker 1: it's recognizable that this is your work, Like, are do
Speaker 1: you ever? Are? Are you handcuffed by that? Or can
Speaker 1: you brand you out and big? No, I'm going to
Speaker 1: make this one look completely different.
Speaker 2: That is a wonderful question and it's something I've been
Speaker 2: struggling with for a long time. I think that I
Speaker 2: have no style.
Speaker 1: A lot of people like it doesn't sound good.
Speaker 2: Yeah, well I would say that I don't have a
Speaker 2: distinct style. Okay, and uh I was an illustrator for
Speaker 2: a while. I would take a lot of illustration gigs
Speaker 2: and a lot of people would say like I want
Speaker 2: this to be done in this style. I want this
Speaker 2: to be done in that style. So I've always been
Speaker 2: able to kind of draw in most styles, and uh
Speaker 2: so I feel like for a long time I would
Speaker 2: do that with cartoons, like whatever the joke needed most,
Speaker 2: Like this has to be a very simple drawing for
Speaker 2: this joke, or this one needs to be a complex
Speaker 2: drawing with like great perspective and all that, So I
Speaker 2: would switch it up for the as as the need demanded.
Speaker 1: As everything, you're like, oh, I've got I've written one
Speaker 1: for that. They do associate everything with your comics at
Speaker 1: this point.
Speaker 2: Yeah, there there is a lot of stuff like if
Speaker 2: anything happens, I'll sit down, write down a little note,
Speaker 2: and like that'll be perfect. We have a few cartoonists
Speaker 2: who we all talk to each other and like share
Speaker 2: batches and things and it'll always be back. Oh I
Speaker 2: did that one. Yeah I did that one, A very
Speaker 2: similar one. You saw mine? I did that.
Speaker 1: How quick are you to pounce on people like I
Speaker 1: find comedy police so annoying?
Speaker 2: Yeah, so I'm like, okay, yeah, never. I mean there's
Speaker 2: there's some stuff that if like clearly they saw it
Speaker 2: and remembered it, but don't know that they did it.
Speaker 2: It's like, oh man, I can't do that like exact joke.
Speaker 2: But most of the time, you know, there's subtle differences.
Speaker 1: Is there is there people in the in your biz
Speaker 1: that you're like they're just known for being blatant?
Speaker 2: Oh yeah, I shall name no name. No, Sure, they're
Speaker 2: out there.
Speaker 1: A lot of these, uh cartoonists have been passed on
Speaker 1: for like generations. They they've they've owned their whatever, their
Speaker 1: their their their strip is. Yeah, when somebody does something
Speaker 1: problem mataker says something horrible and you know they're going
Speaker 1: to be ousted, do you like immediately like contact them
Speaker 1: and like try to get their space.
Speaker 2: Is that well you're talking about like newspaper comics. Yes,
Speaker 2: so usually not like that, Like that's typically owned by
Speaker 2: like syndicates, and if there's no breaking into that world,
Speaker 2: it's very difficult. I mean that goes hand in hand
Speaker 2: with newspapers. So the more that the newspapers are going away,
Speaker 2: the less viable it is to make a living. Because before,
Speaker 2: if you do like a comic strip, that would be
Speaker 2: syndicated and you wouldn't do it for one newspaper. You
Speaker 2: would try to get it into three hundred newspapers or
Speaker 2: five hundred newspapers. Okay, so that's where you make money.
Speaker 2: And nowadays it's if.
Speaker 1: A newspaper cost a dollar, how much trickle down money
Speaker 1: can there be?
Speaker 2: Well that's the point. Is like an a if you
Speaker 2: bought a newspaper lately, huh, very expensive?
Speaker 1: What are they called?
Speaker 2: I thought? I wrote a very humorous article on the
Speaker 2: Wall Street Journal.
Speaker 1: No idea what a newspaper cost?
Speaker 2: You're gonna say, you have no idea what a newspaper is? Closed?
Speaker 2: So I had a piece in the Wall Street Journal,
Speaker 2: and so I went to go buy it. It was
Speaker 2: six dollars. Oh no, in the La Times is four dollars.
Speaker 1: I would have never guessed six dollars for the Wall
Speaker 1: Street Journal, but four.
Speaker 2: Dollars, Like I remember it was a quarter for the
Speaker 2: longest time. I remember opening up the taking seven of them. Well, no,
Speaker 2: I would just like go behind the person trying to
Speaker 2: do a quick crab. The reach around, Oh.
Speaker 1: The famous reach around. Is there women in your business?
Speaker 2: Oh? Yeah, is there women?
Speaker 1: That was the question?
Speaker 2: Yeah, yeah, I think cartoon is that I don't. I don't.
Speaker 1: I'm yeah. It's usually tell me half of the Mare,
Speaker 1: But I don't know that.
Speaker 2: You know, on the on the newspaper side, I don't
Speaker 2: think there's that many, But on the New Yorker cartoons
Speaker 2: there's more and more. So I think I would say
Speaker 2: maybe like forty percent.
Speaker 1: Okay, is I just guessed ladies a nerdy guy thing?
Speaker 1: At first?
Speaker 2: Historically it was.
Speaker 1: Have you drawn forever? Have you? Or your kid that
Speaker 1: just was an artist?
Speaker 2: Yeah, it was a real problem. I think a lot
Speaker 2: of times growing up, I'll just draw on everything, like
Speaker 2: the house. Not the house so much, but like schoolwork
Speaker 2: and everything like that. I wouldn't stop drying, like we're
Speaker 2: supposed to take notes and everything. All your folders, everything
Speaker 2: was covered. Yeah, you're that kid. Yeah.
Speaker 1: I don't let my kids do a lot of art
Speaker 1: projects in my house. And I think that's I know
Speaker 1: that that's a bad parenting thing, but I just art.
Speaker 1: I never enjoyed doing it, So I'm like, oh, maybe
Speaker 1: maybe you maybe I can force that on you to
Speaker 1: not enjoy it.
Speaker 2: Well, you don't like him doing it because you don't
Speaker 2: want them to like thrash up your house.
Speaker 1: Yes, yeah, and well or I don't if he says, oh,
Speaker 1: let's get the clay out. I'm like, yeah, fuck, no
Speaker 1: kinetic sand. I don't even know what the fuck that is?
Speaker 2: Like sand and like uh, slime, yes, it's like they
Speaker 2: fall in the same that. It's like slime with glitter.
Speaker 1: So many arkers, so many dry erase boards, none of
Speaker 1: none of it works.
Speaker 2: Very rarely good art comes out of it to you
Speaker 2: like a bunch of garbage, isn't it?
Speaker 1: Agreed?
Speaker 2: So did you never have a good as a kid,
Speaker 2: Like you couldn't figure it out or you just had
Speaker 2: no interest or both both?
Speaker 1: Yeah, no interests, Like as soon as I pick up
Speaker 1: a pen, it's bad, I don't know how to draw.
Speaker 2: Well, at least you didn't like it. It would be miserable
Speaker 2: if you loved it and you couldn't draw at all.
Speaker 2: Because I've seen a lot of people like this. Where'd
Speaker 2: you go to school? You went to school to become
Speaker 2: would you stay pre law? I went as a pre
Speaker 2: law majri. I went to Loyal and Marymount University and
Speaker 2: lost some money, costs a lot of money. And at
Speaker 2: the time of the second you get out of here,
Speaker 2: you're gonna be making so much money. I was like,
Speaker 2: you're right, I am, aren't I fucking wealthy as hell.
Speaker 2: But yeah, I went. Both my brothers, my older brother
Speaker 2: and my younger brother. They both work in real estate
Speaker 2: and like law adjacent stuff, like kind of advisory. I
Speaker 2: was like, I'll do that, easy enough. Then I decided
Speaker 2: I didn't want to pay for any more school ever.
Speaker 1: Again, did you get into law school? Where'd you get?
Speaker 1: Where'd you end?
Speaker 2: Yeah? I took the l SAT and all this and
Speaker 2: that and got into Loyal Law School, and I was
Speaker 2: like sixteen grand a year. No, thank you.
Speaker 1: I was like when people quit. But I also I
Speaker 1: appreciate people that were, like, you know what, I wasn't
Speaker 1: smart enough to do it, but yeah, I wasn't.
Speaker 2: I think I find law very interesting. I would always
Speaker 2: like hearing my brother talk to clients and stuff like that,
Speaker 2: and over hearing like the little nuances and things. But
Speaker 2: I don't think that I would have enjoyed it very much.
Speaker 1: Is sixteen grand a year back then? I'm gonna say,
Speaker 1: you're forty two?
Speaker 2: Did you know that? No?
Speaker 3: Oh?
Speaker 1: Man? Am I right?
Speaker 2: Yeah? That's some great that's some great maths. Yeah, well done.
Speaker 2: You're like a close up magician.
Speaker 1: Where do you stand on magic? Do you ever watch
Speaker 1: a close up magic might be the most impressive thing
Speaker 1: you know in the world.
Speaker 2: I used to hate magic, so annoying to me. And
Speaker 2: I was a pizza place in Lomita. This one guy
Speaker 2: that walked in just saw a crowd and was like,
Speaker 2: it's my cue and started doing close up magical. This
Speaker 2: this asshole. What the hell you're doing? Man? But he
Speaker 2: was doing no shame, no shame at all. He's like
Speaker 2: six people. That's the crowd. That's me.
Speaker 1: If you started doing these things and I was like,
Speaker 1: so impressive, I couldn't agree with you more. It's so
Speaker 1: dumb and it's so mind blowing. Eddie, what's the name
Speaker 1: of that close up magician that used to be Johnny
Speaker 1: Carson's favorite that I like, I just baffled by what
Speaker 1: he can do.
Speaker 2: I'm seeing Brian Gillis is like the one that.
Speaker 1: I think is Brian Gillis.
Speaker 2: It's so good. He got'ta be like such an asshole
Speaker 2: to get good at it. Yeah, but man, like, shit
Speaker 2: on it all up. When you see it, you go.
Speaker 1: No, like like, he'll do this thing where you just
Speaker 1: ask me six questions and then yeah, by the way,
Speaker 1: your dog when you were six years old that died
Speaker 1: was named Yes, Cindy, and you're just like, what the
Speaker 1: fuck did you just do?
Speaker 2: Yeah? I don't know.
Speaker 1: Man makes me uncomfortable if there's a dry spell and
Speaker 1: you're like, oh, I'm sold any thing in a bit?
Speaker 1: Are you like I should have paid more attention in
Speaker 1: law school?
Speaker 2: Oh yeah, like twice a day, I think, you know,
Speaker 2: for for a long time, for a few years after
Speaker 2: I quit the tire job, Like my main point of
Speaker 2: working there for so long was until I could pay
Speaker 2: off my student loans, so that took me fifteen years
Speaker 2: to do. And then I kind of went all in
Speaker 2: on art.
Speaker 1: What's your wife do? Is she an artist now too?
Speaker 2: Yeah? I met her when she was going to art school.
Speaker 2: She's a similar multi hyphen it. She's she's a model
Speaker 2: for a long time. Oh yeah, you know the cartoonists
Speaker 2: always get the models, pand model, But no, she's a
Speaker 2: model for a long time. She's a photographer and a painter.
Speaker 2: That's what she did for the longest time was a
Speaker 2: photograph and paint But now she's doing a costume design
Speaker 2: and styling.
Speaker 1: And does she take photos of you? Oh no, Okay,
Speaker 1: there's nothing worse than getting a photographic I hate once,
Speaker 1: like I don't.
Speaker 2: How do you feel about being styled? Do you like
Speaker 2: like ring closed clothes?
Speaker 1: I don't care. I just I have a relationship with
Speaker 1: my stylist that's very aggressive. I scream at her and
Speaker 1: say I hate everything, and she's like, just wear it.
Speaker 1: I'm like, fine, yeah, but.
Speaker 2: That's where I'm like three outfits that look okay on
Speaker 2: me and everything else I have, like a dope.
Speaker 1: Do you skate?
Speaker 2: I used to poorly.
Speaker 1: You have taken a fall as an adult?
Speaker 2: I recently I tore my achilles tendon playing soccer, and
Speaker 2: that style made any efforts to like look at a
Speaker 2: skateboard or do anything.
Speaker 1: How did it feel when it happened like a gunshot?
Speaker 2: Did it sound Yeah, when it first happened, it didn't
Speaker 2: tear all the way, and it just felt like my
Speaker 2: foot sunk into the ground and it just it was
Speaker 2: a little like a dull thud, And it really felt
Speaker 2: like my like someone kicked me and my foot was
Speaker 2: dipping and I turned around with my fist clench and
Speaker 2: I was like, what the did that? And there's nobody
Speaker 2: there and I was like what They're like, what are
Speaker 2: you doing? Like I don't know when I took a
Speaker 2: step from my just foot started going like that and
Speaker 2: all your body's falled apart. I went home and that's
Speaker 2: where I tore it. I thought it was just a cramp,
Speaker 2: so I was pulling out.
Speaker 1: Was misdiagnosed.
Speaker 2: Oh god, I was pulling it, pulling it, pulling it,
Speaker 2: and then it snapped and that was like, it sounded
Speaker 2: like black and worst pain I've ever felt. Yeah, and
Speaker 2: then it was fine, and I was like, Okay, this
Speaker 2: is cool. Walked on it for a month, just like
Speaker 2: really no, I looked like a zombie. Everybody I knew
Speaker 2: was like, what the hell is wrong with you? Go
Speaker 2: to the doctor. I was like, it's fine, it doesn't hurt. Yeah.
Speaker 2: Then when I eventually.
Speaker 1: What happens if you just never treat it, would that
Speaker 1: you just have a gap and basically it doesn't connect,
Speaker 1: so you can't you can't do a lot.
Speaker 2: With your foot, so you just have to like walk
Speaker 2: look like a pimp kind of. But eventually I got
Speaker 2: it fixed. I needed a nine centimeter cadaver tendon put
Speaker 2: in there.
Speaker 1: You're you're half ghost? Do you believe in ghost? Ivan?
Speaker 2: Ghost agnostic? I'd like to you sure, we'd all like
Speaker 2: to be pretty cool. It'd be amazing. The best day ever.
Speaker 1: The day I see a ghost is the day like
Speaker 1: I changed my life completely, all right.
Speaker 2: Because you're like, well against them, right, you like you
Speaker 2: think it's foolish.
Speaker 1: To no, I don't. I feel like that's that's true.
Speaker 1: I'm fine with other people believe in him. I don't
Speaker 1: believe him because it's like, yeah, it's not real.
Speaker 2: Yeah.
Speaker 1: Have you ever drawn a cartoon so funny that you
Speaker 1: had to take a break just because you couldn't stop laughing?
Speaker 2: Oh yeah all the time. Wait till you see what
Speaker 2: I brought you.
Speaker 1: Let me see what you brought me.
Speaker 2: So this is a special gift. I get to reveal
Speaker 2: bespoke this.
Speaker 1: Look at this, God damn it. Do you believe in ghosts?
Speaker 1: How pretty is that?
Speaker 2: And he's a ghost? You see? In fairness?
Speaker 1: I find people explaining comedy to be very funny. I
Speaker 1: always have It's really good, by the way, I love it.
Speaker 2: You're a difficult guy to draw. You're a good looking fellow.
Speaker 2: You have no like major noll formations on your face.
Speaker 2: You don't have a big bushy mustache, like easy as
Speaker 2: hell to draw Trump. But you're more difficult.
Speaker 1: Now, what are some of your favorite comics growing up?
Speaker 2: I was like the Far Side, you a read that.
Speaker 2: Calvin and Hobbs peanuts.
Speaker 1: Why did Calvin and Hobbs transition into just peen on
Speaker 1: different truck emblems?
Speaker 2: Pissing on forward, wasn't it.
Speaker 1: I've always said I'd rather push a forward than drive
Speaker 1: a check.
Speaker 2: Yeah. I do have the answer for that question. What
Speaker 2: is it is? He always refused to let his stuff
Speaker 2: be licensed for like stickers or plush dolls or anything
Speaker 2: like that, and so because he didn't do it, they
Speaker 2: filled in that void, you know. So people started making
Speaker 2: their own stickers, and then they started making like Calvin
Speaker 2: praying stickers, and then you know, the next natural step
Speaker 2: is Calvin pissing on things. So they started doing that
Speaker 2: and they tried to fight it, but it's just dudes
Speaker 2: like printing it.
Speaker 1: So they've never profited off of these things.
Speaker 2: Yeah, No, it's all just other people that figured out
Speaker 2: people wanted Calvin stuff under any circumstances.
Speaker 1: I give everybody a gift on the show, just something
Speaker 1: from my house and I'm getting rid of. But this
Speaker 1: is what I thought my old shredder, Hey, thank you,
Speaker 1: will you do you shred stuff. Do you have problematic
Speaker 1: stuff that could be laying around your house? If things,
Speaker 1: if people.
Speaker 2: Found that's a recipe to ask people to break into
Speaker 2: my house.
Speaker 1: No, don't do that.
Speaker 2: Well, thank you very much.
Speaker 1: I think look at dirty there's still stuff in there.
Speaker 1: You piece that together. I guarantee there's jokes that I've
Speaker 1: written a few bad words on.
Speaker 2: A friend of mine used to live with Jack Handy,
Speaker 2: and they said that after he moved out that they
Speaker 2: would find little note cards all over the house of
Speaker 2: all the jokes that he had like started to write
Speaker 2: and leave them around, is like hundreds of them.
Speaker 1: I'm so embarrassed of exactly what you're saying. There's nothing
Speaker 1: nothing would upset me more than knowing somebody went through
Speaker 1: my journals of jokes. This is fucking garbage delivery. You
Speaker 1: have to understand, I was going to deliver it different.
Speaker 1: Talk shit about some of a newspaper comic strips.
Speaker 2: You know, there's some absolute trash comic strips. So like
Speaker 2: in the morning, I read the newspaper and I read
Speaker 2: it on my computer, and my wife is sitting like
Speaker 2: twenty feet over over there in the living room, and
Speaker 2: she just hears me going, oh, why is this funny? Ah,
Speaker 2: this is a joke? What the hell is this? And
Speaker 2: like just talk trash about eighty five percent of the
Speaker 2: ones in the newspaper.
Speaker 1: What do you hate most of the newspaper.
Speaker 2: I don't know the names of these ones, Like there's
Speaker 2: a few like I read Jumpstart. That's a good one
Speaker 2: about Heathcliff, Like Heathcliff. Heathcliff is fantastic. Have you been
Speaker 2: reading that recently?
Speaker 1: No, of course I haven't like that.
Speaker 2: So I don't know the exact story, but it seems
Speaker 2: like the guy who did Heathcliff originally died or stopped
Speaker 2: doing it, and it seems like his nephew or someone
Speaker 2: like that is doing it. I don't know if he's
Speaker 2: trying to trash the trash the project, or if he's
Speaker 2: just trying to be like avant garde, or if he's
Speaker 2: just really weird. But every joke is like ha ha
Speaker 2: I love meat, and he will be wearing like a
Speaker 2: helmet that says meat, and then so it'll be like, hey,
Speaker 2: that dude loves meat, Like that's the joke. But it's like,
Speaker 2: but he'll do like a variation on that for like
Speaker 2: three weeks in a row where it's like, oh man,
Speaker 2: that dude loves meat and like what's he doing he's
Speaker 2: thinking about meat? Like is he lazy? Is he avant garde?
Speaker 2: Is he just like fucking with everybody?
Speaker 1: And it is funny with these families like take over
Speaker 1: the previous generations work and then they're like wha, they
Speaker 1: would never sell this to television. And now somebody's what
Speaker 1: was the show? Like, was it Archie?
Speaker 2: Yeah? Yeah, that became Jughead. Yeah they made like whatever
Speaker 2: that city is that they live in.
Speaker 1: Yeah, what's that show called?
Speaker 2: Right?
Speaker 1: Like they the new owners were like, you know what,
Speaker 1: we're gonna make this young and hip? Fuck it.
Speaker 2: Yeah. Well, when you're pitching shows, if you have like
Speaker 2: a known ip, even if it's something like archie're like
Speaker 2: we're looking at it's grim and gritty. Yeah, dark, everybody
Speaker 2: knows Archie, but not like this, you know, by the way,
Speaker 2: like Wednesday did it is?
Speaker 1: How is Andy cap I can't still beating his wife?
Speaker 2: I think he is, Like it's still he's still like
Speaker 2: a drunk guy that like screams that hes like ah,
Speaker 2: shut up and she hits him with like a bedpan.
Speaker 2: It's crazy that it's like, you know, it seems like
Speaker 2: that would have died out twenty four, but they're like, ah,
Speaker 2: he still got it.
Speaker 1: Was still the Dilbert guy.
Speaker 2: Everybody hates him, you know, even before he started doing
Speaker 2: like this stuff. I know a lot of comic people
Speaker 2: that that do uh newspaper stuff, like on the same syndicate,
Speaker 2: and everyone said, he's just like the biggest dickhead on
Speaker 2: the planet. Maybe not the biggest dick.
Speaker 1: Sure whatever, but he's still but he's still getting print
Speaker 1: work or no.
Speaker 2: Probably in some like weird hard right conservative newspapers ever
Speaker 2: known for being funny.
Speaker 1: Yeah, how did you end up working with Childish Cambino?
Speaker 2: That was a buddy of mine from dodgeball that I
Speaker 2: used to play in a dodgeball league with the real
Speaker 2: dodgeball league. Yeah, it was. It was a lot of fun.
Speaker 2: There was a dodgeball league in like West Hollywood, and
Speaker 2: it was a whole bunch of artists and writers and.
Speaker 1: Just like like straight traditional rules, Yeah, grab a ball
Speaker 1: and try to hit each other.
Speaker 2: Yeah, And like I think everybody was pretty drunk through
Speaker 2: most of the game.
Speaker 1: Are you dodgeball?
Speaker 2: I was pretty good.
Speaker 1: Could you dodge a wrench?
Speaker 2: Yeah? I could. Fifteen years later he hit me up
Speaker 2: and he was like, hey, do you know anyone that
Speaker 2: does cartoons for The New Yorker? And I was like, yeah, dude,
Speaker 2: I do, And.
Speaker 1: He's like, do you really?
Speaker 2: Donald Glover was looking for he wanted to do something
Speaker 2: with like a character, like do something in a New
Speaker 2: Yorker style. They were putting together a poster. We ended
Speaker 2: up doing something where whenever they would have tour a
Speaker 2: concert tour, they would do like a little pop up
Speaker 2: shop and make it look like it was a bootleg
Speaker 2: shirt being sold at the venue, and it was it
Speaker 2: was through him, so they would like put it together
Speaker 2: and make it up, but it would look cleaning up. Yeah,
Speaker 2: oh yeah, definitely. People always but they were cool. They're
Speaker 2: like so expensive, they're going for like three or four
Speaker 2: hundred dollars, like they were selling him for like twenty
Speaker 2: and people were turning around because it was because he
Speaker 2: could only get it at that concert.
Speaker 1: Uh huh. And I've been told to do stuff like
Speaker 1: this in my past. I'm always like, no, no, that
Speaker 1: sounds horrible. I can make you a cool shirt, a
Speaker 1: god damn it. How'd you meet Al Franken? Dude hates
Speaker 1: Ted Cruz, Yeah he does.
Speaker 2: I sent him a letter and I was like, hey, man,
Speaker 2: I think L. Frankin is so smart and so funny,
Speaker 2: like I love him, Like he's one of the few
Speaker 2: people that I'd be like, oh, man, like you go
Speaker 2: be president, Like I mean, you should never. We didn't
Speaker 2: talk about that, but I think he regrets his decision absolutely.
Speaker 1: He really should know that's what held his brown and
Speaker 1: be like what I know there was the world fuck
Speaker 1: You's coming up.
Speaker 2: People would have forgotten about it in eight minutes. And yeah.
Speaker 2: I sent him a letter and said basically like I
Speaker 2: can help with some posters anything you want, and did
Speaker 2: a zoom, and he mostly wants to talk about cartoons,
Speaker 2: and he's like, I got some great ideas for some
Speaker 2: cartoons for the New Yorker. So I was like, yeah,
Speaker 2: let's talk about like some politics stuff, like you want
Speaker 2: to do this. He's like, no, I don't want to
Speaker 2: talk about that at all. But he didn't have many
Speaker 2: funny stories about Ted Cruz.
Speaker 1: I've never was. I was never a big SNL fan,
Speaker 1: but got it. I always respected the fact about myself.
Speaker 1: I was like that, I just loved Al Franken. Yeah,
Speaker 1: I was like This guy's the funniest person ever. He's
Speaker 1: so sharp. God, he's funny and a very good artist.
Speaker 1: He draws Ted Cruise very well, he really does.
Speaker 2: I think he sells cups with a dry and he
Speaker 2: did of Ted Cruz when they were sitting in the chambers.
Speaker 3: Uh huh.
Speaker 2: And he's just sitting there like fucking asshole, like drawing
Speaker 2: so stupid.
Speaker 1: Have you ever done caricatures that are like a bar mitzvah?
Speaker 4: Oh?
Speaker 1: Yeah you have.
Speaker 2: Yeah that was a joke, question, was you know? I
Speaker 2: mean not at a bar mitzvah. But I used to.
Speaker 2: I used to do like indie comics, like to get
Speaker 2: people to come around. I would leave the cover blank
Speaker 2: and if you would be talking about I'm like, hey,
Speaker 2: let me let me draw you. Let me draw you,
Speaker 2: and I just I could spit them out pretty fast.
Speaker 2: I'm out of practice now, but I used to be
Speaker 2: pretty good. Get a lot of upset people.
Speaker 1: You never worked at, like not Sperry Farms or anything.
Speaker 5: No.
Speaker 2: My my biggest fallback. I always figured if everything failed,
Speaker 2: I would get into cartooning. Uh huh, and uh, just
Speaker 2: how I got into cartooning. But if everything the best fallback,
Speaker 2: But if everything including cartooning fails. Then it's like Venice Beach,
Speaker 2: just like drawing caricatures.
Speaker 1: Oh but Venice Beach today versus Vantage Beach like even
Speaker 1: ten years ago. It's just way more scary and fun. Now,
Speaker 1: is it all?
Speaker 2: That's good? I haven't been speech. It's sad into president.
Speaker 2: I avoid Venice Beach in Hollywood and most places.
Speaker 1: Ivan, thank you for being here. I appreciate it, and
Speaker 1: I look forward to laughing and reading all of your
Speaker 1: future work.
Speaker 2: Thank you so much, Thank you. It was a real pleasure. Pasha.
Speaker 1: I want to thank Ivan for being on the show.
Speaker 1: I appreciate the cartoon that he made for us. We're
Speaker 1: gonna hang that up here in the studio. Speak of cartoons.
Speaker 1: I even didn't bring up the fact that I, you know,
Speaker 1: one of the original executive producers of the hit TV
Speaker 1: show Brickleberry. You guys remember that three seasons three and
Speaker 1: a half, back when Comedy Central was a force, not
Speaker 1: the pathetic shambles that it currently lays in. What's going
Speaker 1: on over there? I thought when they brought back John Stewart,
Speaker 1: I thought, sure enough, there's gonna be a phone call
Speaker 1: in the next day or two. Hey, we want to
Speaker 1: apologize to you, and we really want to bring Brickleberry back.
Speaker 1: We got some new dates to plug. We're gonna be
Speaker 1: at the Shuemash Casino. That'll be fun. We're gonna be
Speaker 1: be in Las Vegas the Cosmopolitan. Got two shows there
Speaker 1: coming up. We're gonna be in New Orleans and we're
Speaker 1: gonna be in Hawaii. Oh, we love to go to Hawaii.
Speaker 1: Another episode of the Goat drops Gaeter down. We got
Speaker 1: Boyswearpink dot com Gater down. You know that. I originally
Speaker 1: came up with get Her Done right. Yeah. I was
Speaker 1: hanging out with Dan Whitney back in West Palm Beach
Speaker 1: and I was like he was He was saying something
Speaker 1: funny about Tom Ryan, and I said, I said, geter down.
Speaker 1: He goes, Oh, I'm gonna use that. I said, don't
Speaker 1: you dare? That'd be funny if that was true. If
Speaker 1: I was the original get Her Done, I should just
Speaker 1: start doing that. Yeah. You know, comics always get so
Speaker 1: if you ever steal material, oh my goodness, people love
Speaker 1: to talk about it in comics, love to talk about it.
Speaker 1: But it'd be funny if I just started stealing that
Speaker 1: and Dan's like, hey, what are you doing man. You
Speaker 1: know Dan Whitney's Larry the cable guy. He calls me.
Speaker 1: They you can't just start saying get her done. I'm like,
Speaker 1: I'm doing it. I'm gonna do it. I'm gonna do
Speaker 1: it constantly.
Speaker 2: You stop me, Yeah, you can't.
Speaker 1: You can't stop me from saying get her done. I
Speaker 1: bet you he doesn't even have that website locked up.
Speaker 1: What do you think, Carl? You like my new catchphrase?
Speaker 1: Say up.
Speaker 2: All of them, take them all.
Speaker 1: I'm gonna take them all. Here's your sign. That's just
Speaker 1: all those guys. That's funny. That'd be funny if there
Speaker 1: was like new comics coming up that are like, you know,
Speaker 1: you got to come up with a catchphrase, have a catchphrase,
Speaker 1: doesn't matter. Get her done. Finally, my son one of
Speaker 1: his wonderful bedtime stories, see you next week.
Speaker 3: When time in the sasal I said, drafted clean, dam
Speaker 3: you and they talk. They the pilot all the pilly one.
Speaker 3: What the pilot wanted to do was say up all night,
Speaker 3: but he triuldn't put. The team noticed that he might
Speaker 3: get tired, so he would. Then he made up a
Speaker 3: little bed in the wodden room so him falla made
Speaker 3: yourself told you, and maybe he would maybe just needs
Speaker 3: a riddle, more pillows. So what he needed to do?
Speaker 3: It it's samuid bed to the Martldia, but chance it.
Speaker 3: He waited and waited and then she didn't know. But
Speaker 3: to this it would then be he would the hundry
Speaker 3: so cham so what he had to do and make
Speaker 3: it out at a table and he would weigh on
Speaker 3: a table, and then she was too tired and he
Speaker 3: wouldn't need any more.
Speaker 2: Sorta the end.
Speaker 1: But you can't say the end and then say but
Speaker 1: this is a two parter. Yeah, the end, Okay, The
Speaker 1: second part is just real short m