1 00:00:04,960 --> 00:00:07,280 Speaker 1: Welcome to Money Making Conversations. It's the show that she 2 00:00:07,320 --> 00:00:10,039 Speaker 1: has the secrets of success experience firsthand by marketing and 3 00:00:10,119 --> 00:00:13,039 Speaker 1: Brandon expert Rashan McDonald. I will know he's giving me 4 00:00:13,080 --> 00:00:16,640 Speaker 1: advice to many occasions. In occasion didn't notice, I'm not broke. 5 00:00:17,160 --> 00:00:20,560 Speaker 1: You know. He'll be interviewing celebrity CEOs, entrepreneurs and industry 6 00:00:20,600 --> 00:00:22,959 Speaker 1: decision makers. It's what he likes to do. It's what 7 00:00:23,040 --> 00:00:25,520 Speaker 1: he likes to share. Now it's time to hear from 8 00:00:25,520 --> 00:00:29,520 Speaker 1: my man, Rashan McDonald. Money Making Conversations Here we come. 9 00:00:29,880 --> 00:00:33,000 Speaker 1: Welcome to Money Making Conversations. I'm your host, Rashan McDonald. 10 00:00:33,360 --> 00:00:35,720 Speaker 1: It is important to understand that everybody travels a different 11 00:00:35,760 --> 00:00:37,800 Speaker 1: path to success. I tell people that all the time. 12 00:00:38,159 --> 00:00:40,560 Speaker 1: That's because your brand is different. The challenges you face 13 00:00:40,640 --> 00:00:42,600 Speaker 1: in your life will be different. So you need to 14 00:00:42,640 --> 00:00:46,560 Speaker 1: start reading other people's success stories and really start right, y'all, really, 15 00:00:46,760 --> 00:00:49,200 Speaker 1: because it's your story and that story that you just read, 16 00:00:49,240 --> 00:00:51,080 Speaker 1: it's their story. And so the only way you're gonna 17 00:00:51,080 --> 00:00:52,879 Speaker 1: be successful it is by putting effort into what you 18 00:00:52,880 --> 00:00:54,720 Speaker 1: want to do. I bring people on the show to 19 00:00:54,760 --> 00:00:56,600 Speaker 1: talk about the effort that they're putting the committed that 20 00:00:56,720 --> 00:00:59,040 Speaker 1: for their effort to be successful. My next guest is 21 00:00:59,080 --> 00:01:02,000 Speaker 1: one of those people. Her name is Christina Anthony. You know, 22 00:01:02,680 --> 00:01:05,120 Speaker 1: we already talked a little bit. She's based in Los Angeles. 23 00:01:05,160 --> 00:01:07,679 Speaker 1: She's from Chicago, way of East St. Louis. So we're 24 00:01:07,680 --> 00:01:09,640 Speaker 1: gonna talk about that because I was traveling to stand 25 00:01:09,680 --> 00:01:12,280 Speaker 1: up comedians. So I've been in St. Louis, I've been 26 00:01:12,319 --> 00:01:15,200 Speaker 1: in Chicago, and I've definitely been in Los Angeles. She's 27 00:01:15,200 --> 00:01:20,000 Speaker 1: a most talented actress, writer, vocalist, and comedian. She's originally 28 00:01:20,040 --> 00:01:22,800 Speaker 1: from the Chicago comedy scene and is best known as 29 00:01:22,800 --> 00:01:25,840 Speaker 1: an alarm or the featured Second City, which we all 30 00:01:25,920 --> 00:01:28,679 Speaker 1: know I never went there. It's a talent. I know 31 00:01:28,800 --> 00:01:31,479 Speaker 1: that because I never had an improvisational skill. That's something 32 00:01:31,560 --> 00:01:34,480 Speaker 1: I could not do. I would tell anybody I cannot act, 33 00:01:34,680 --> 00:01:36,720 Speaker 1: but I can tell you a good joke. She's three 34 00:01:36,720 --> 00:01:41,080 Speaker 1: times an award nominated Sketch Revenue ske Sketch performer and 35 00:01:41,160 --> 00:01:44,679 Speaker 1: performed thousands of shows for Chicago autiences. Currently, Christina is 36 00:01:44,680 --> 00:01:48,600 Speaker 1: a series regular on the ABC's Mixes, a Black spin off. 37 00:01:48,720 --> 00:01:54,520 Speaker 1: Christina currently starts at Unt Denise on ABC's series returning 38 00:01:54,560 --> 00:01:57,200 Speaker 1: for a second season on Tuesday, January twenty six. What 39 00:01:57,320 --> 00:02:00,920 Speaker 1: you call regular check, regular check, regular check of this year. 40 00:02:02,120 --> 00:02:04,480 Speaker 1: Please work with the money making conversation. She looks like 41 00:02:04,520 --> 00:02:06,640 Speaker 1: a diva than me, she said. She does stand up, 42 00:02:06,680 --> 00:02:08,919 Speaker 1: but she got that Deeva looked out. Pat y'all, please 43 00:02:08,919 --> 00:02:12,840 Speaker 1: work with Christina Anthony. Hey, Sean, thanks for having me. 44 00:02:14,680 --> 00:02:20,240 Speaker 1: You know you know you say a multi talented actress, writer, vocalists. 45 00:02:20,240 --> 00:02:22,160 Speaker 1: We can stopped right there right now. You look like 46 00:02:22,200 --> 00:02:24,600 Speaker 1: you're about the bus out with a good old I'm 47 00:02:24,720 --> 00:02:29,840 Speaker 1: telling you, you know what. That's really how I got 48 00:02:29,880 --> 00:02:35,120 Speaker 1: my start was doing musicals in uh in Chicago. I 49 00:02:35,160 --> 00:02:37,960 Speaker 1: really got to start there. I wouldn't say I love 50 00:02:38,000 --> 00:02:40,360 Speaker 1: to do musical theater, and I've worked off Broadway in 51 00:02:40,400 --> 00:02:43,840 Speaker 1: New York, But where I really found my groove was 52 00:02:43,919 --> 00:02:48,400 Speaker 1: like that funny part in the musical, and I would remember, 53 00:02:48,440 --> 00:02:50,079 Speaker 1: I would go to auditions or I would be in 54 00:02:50,120 --> 00:02:52,040 Speaker 1: a show and they're like, look, we need to work 55 00:02:52,040 --> 00:02:54,679 Speaker 1: on this. This dancing, for sure, you need to practice. 56 00:02:56,000 --> 00:02:58,720 Speaker 1: But in the singing, everybody can get better at that. 57 00:02:58,760 --> 00:03:02,280 Speaker 1: But the comedy, they're like, you have this down, and 58 00:03:03,440 --> 00:03:06,679 Speaker 1: but the dancing, But the dancing though they said you 59 00:03:06,720 --> 00:03:11,200 Speaker 1: couldn't dance. The dancing a black person couldn't dance. You know, 60 00:03:11,240 --> 00:03:12,639 Speaker 1: we could, we we could, we could do. We could 61 00:03:12,639 --> 00:03:16,079 Speaker 1: talk about that. Now, well it's it's different kinds of dancing. Now, 62 00:03:17,200 --> 00:03:22,200 Speaker 1: you know, you and Chicago. You know were they dance 63 00:03:22,440 --> 00:03:25,600 Speaker 1: in Chicago. We know that. Come on, step, come on, 64 00:03:26,080 --> 00:03:28,079 Speaker 1: come on, come on now, And you're telling me in 65 00:03:28,200 --> 00:03:32,200 Speaker 1: Chicago you couldn't step. I can step. But when you 66 00:03:32,280 --> 00:03:35,000 Speaker 1: go to Broadway for the Lion King, they don't want 67 00:03:35,000 --> 00:03:38,040 Speaker 1: to see you do some old lounge dancing in your 68 00:03:38,080 --> 00:03:42,680 Speaker 1: church shoes. They want to see some real dancing. So yeah, 69 00:03:42,800 --> 00:03:46,000 Speaker 1: not formally chained, but I got it together. So I've 70 00:03:46,040 --> 00:03:50,520 Speaker 1: done some dancing off Broadway. But comedy is my sweet spot. 71 00:03:50,560 --> 00:03:53,480 Speaker 1: I mean, that's what comes naturally. We know, you know 72 00:03:53,960 --> 00:03:57,320 Speaker 1: my history. I left IBM to pursue a career stand 73 00:03:57,400 --> 00:04:01,560 Speaker 1: up comedian. Their def jam BT, all all the comedy shows, 74 00:04:01,680 --> 00:04:04,960 Speaker 1: UH Road on comedy, sitcom So I cut my teeth 75 00:04:04,960 --> 00:04:08,360 Speaker 1: at comedy. Comedy is why the basis of my success, 76 00:04:08,480 --> 00:04:11,760 Speaker 1: you know, so what what? What's that? Natural? Always your people? 77 00:04:11,800 --> 00:04:14,600 Speaker 1: Comedy is like making a sharp left or right turn 78 00:04:14,960 --> 00:04:17,400 Speaker 1: when you're from the Pacific point of view, and that's 79 00:04:17,400 --> 00:04:21,440 Speaker 1: where laugh comes from. So, so are you a comedy 80 00:04:21,640 --> 00:04:25,839 Speaker 1: actress or comedian? You know what I would say, I 81 00:04:25,880 --> 00:04:30,200 Speaker 1: started off as a comedy actress and then eventually, yeah, 82 00:04:30,279 --> 00:04:34,400 Speaker 1: I you know, earned my stripes and have done the 83 00:04:34,480 --> 00:04:37,320 Speaker 1: rounds in the stand up world. So yeah, I consider 84 00:04:37,360 --> 00:04:41,560 Speaker 1: myself a comic now. Um. And then interesting enough, like 85 00:04:41,600 --> 00:04:43,400 Speaker 1: when I was in when I came to l A 86 00:04:43,440 --> 00:04:45,680 Speaker 1: up in l A ten years now, you know, I 87 00:04:45,680 --> 00:04:47,840 Speaker 1: started hitting the stand up scene and people have been 88 00:04:47,880 --> 00:04:52,400 Speaker 1: so warm and so welcoming. I mean, they hates you 89 00:04:52,440 --> 00:04:55,600 Speaker 1: at first, but once you're in, you in, and I 90 00:04:55,640 --> 00:04:58,000 Speaker 1: think there I started to just focus on my stand 91 00:04:58,080 --> 00:05:00,360 Speaker 1: up and it was I was really surprised to end 92 00:05:00,440 --> 00:05:04,240 Speaker 1: up on Mixed Dish as an access um and as 93 00:05:04,240 --> 00:05:06,920 Speaker 1: an improviser. You know, it's just it's just you never know. 94 00:05:07,000 --> 00:05:09,680 Speaker 1: So that's why you just kind of keep just saying 95 00:05:09,760 --> 00:05:12,960 Speaker 1: yes to the next thing and keep honing those skills 96 00:05:13,000 --> 00:05:15,520 Speaker 1: because you don't know where the next opportunity is coming. 97 00:05:15,800 --> 00:05:18,559 Speaker 1: But don't ever, you know, just completely throw something away. 98 00:05:18,600 --> 00:05:21,000 Speaker 1: So acting, you know, now I have to focus on 99 00:05:21,040 --> 00:05:23,680 Speaker 1: that because I'm giving other people's words. It's not my jokes, 100 00:05:23,680 --> 00:05:26,440 Speaker 1: I'm writing someone else's, but you're still have beending into 101 00:05:26,480 --> 00:05:29,960 Speaker 1: your personality because you know, as a sitcom writer, I 102 00:05:30,080 --> 00:05:33,800 Speaker 1: know that what I've written I expected to be funny. 103 00:05:33,880 --> 00:05:36,119 Speaker 1: You know, I expected that right there that I've written 104 00:05:36,160 --> 00:05:38,080 Speaker 1: certain lized that when you get to that point, some 105 00:05:38,200 --> 00:05:40,960 Speaker 1: humors should come out of there. But a talented actress 106 00:05:41,080 --> 00:05:43,960 Speaker 1: or an actor, because sometimes find humor. I didn't see 107 00:05:44,440 --> 00:05:48,080 Speaker 1: a humor. Are humor that wow, that's funny? Are you 108 00:05:48,200 --> 00:05:50,840 Speaker 1: just are natural on your feet? Or just especially those 109 00:05:50,880 --> 00:05:53,640 Speaker 1: table reads, because those table reads are like you know, 110 00:05:53,680 --> 00:05:56,239 Speaker 1: because you walk away saying make an adjustment to the script. 111 00:05:56,279 --> 00:05:58,440 Speaker 1: So a table read can be a nightmare for a 112 00:05:58,480 --> 00:06:00,800 Speaker 1: writer or could be a blessing for a writer based 113 00:06:00,880 --> 00:06:04,200 Speaker 1: upon how it's done and just playing everybody's table. What 114 00:06:04,240 --> 00:06:06,880 Speaker 1: happens is you write the script and then all the 115 00:06:06,880 --> 00:06:09,480 Speaker 1: actors and actresses sit around the table along with this 116 00:06:09,560 --> 00:06:11,680 Speaker 1: that could producer, and they read every line in the 117 00:06:11,680 --> 00:06:13,719 Speaker 1: script to the end of the script. Unless you go 118 00:06:13,800 --> 00:06:16,040 Speaker 1: through that, you know, you make notes where that didn't work, 119 00:06:16,160 --> 00:06:19,279 Speaker 1: or that or that storyline direction is not making any sense, 120 00:06:19,839 --> 00:06:23,200 Speaker 1: or sometimes you might you might increase an actor and 121 00:06:23,279 --> 00:06:27,000 Speaker 1: actress's role based on how that reaction was in the script, 122 00:06:27,000 --> 00:06:28,520 Speaker 1: you go, wow, I didn't see that. We should build 123 00:06:28,560 --> 00:06:31,000 Speaker 1: that up. More So, when you're doing these table reads 124 00:06:31,080 --> 00:06:33,960 Speaker 1: and like you said, you're doing somebody else's words. You're 125 00:06:33,960 --> 00:06:35,760 Speaker 1: not as a stand up, You're just doing the words 126 00:06:35,800 --> 00:06:38,040 Speaker 1: that you created. And you put your bins on that. 127 00:06:38,440 --> 00:06:40,120 Speaker 1: What do you what you take when you first get 128 00:06:40,160 --> 00:06:43,279 Speaker 1: the script or sitcom script in this case, nixious, what 129 00:06:43,320 --> 00:06:46,880 Speaker 1: are you looking for in your scripts? Um? I think 130 00:06:46,960 --> 00:06:49,520 Speaker 1: that that, Um, you bring up a great point. It 131 00:06:49,640 --> 00:06:52,040 Speaker 1: is somebody else's words. So the first thing I'm gonna 132 00:06:52,040 --> 00:06:54,800 Speaker 1: try to do is read the whole thing. And I 133 00:06:54,839 --> 00:06:57,040 Speaker 1: have to say, if we're starting out and acting, no 134 00:06:57,080 --> 00:06:59,760 Speaker 1: matter what it is, if it's you know, plays or 135 00:06:59,760 --> 00:07:03,279 Speaker 1: you're doing on camera, you want to do TV film, 136 00:07:03,560 --> 00:07:06,240 Speaker 1: try to get your hands on the whole piece of 137 00:07:06,279 --> 00:07:08,600 Speaker 1: the script, the whole body of work. You don't ever 138 00:07:08,640 --> 00:07:10,840 Speaker 1: want to just read your part. So that's the first 139 00:07:10,840 --> 00:07:12,360 Speaker 1: thing I do is make sure I read the whole 140 00:07:12,400 --> 00:07:16,000 Speaker 1: thing so understand what everybody is going through in the episode. 141 00:07:16,480 --> 00:07:19,120 Speaker 1: And then I'll go back and circle around to to 142 00:07:19,320 --> 00:07:23,320 Speaker 1: my to my scenes and then those scenes really Um, 143 00:07:23,360 --> 00:07:26,440 Speaker 1: like you said, yes, kind of bending it towards your personality, 144 00:07:26,560 --> 00:07:30,360 Speaker 1: making the words my own. Um, you know, the writers 145 00:07:30,360 --> 00:07:32,800 Speaker 1: are writers are amazing. I'm mixed dish. They come from 146 00:07:32,920 --> 00:07:37,200 Speaker 1: so many different great shows. But um, there is a 147 00:07:37,280 --> 00:07:40,720 Speaker 1: time sometimes I will improvise and maybe throw something in myself, 148 00:07:41,000 --> 00:07:43,040 Speaker 1: but I don't do that during the table read. During 149 00:07:43,040 --> 00:07:44,600 Speaker 1: the table read, like you said, it's the time for 150 00:07:44,720 --> 00:07:48,280 Speaker 1: the network, is there, the producers all, um, the different 151 00:07:48,280 --> 00:07:50,760 Speaker 1: departments that we're listening, So you want to do it 152 00:07:50,840 --> 00:07:54,360 Speaker 1: word for word and then um, yeah, once I've done that, 153 00:07:54,520 --> 00:07:56,600 Speaker 1: I think, you know, try to think about each scene. 154 00:07:56,640 --> 00:07:58,440 Speaker 1: They tell you the next day, here's the scene we're 155 00:07:58,440 --> 00:08:01,160 Speaker 1: gonna be working on, and then you start working on 156 00:08:01,160 --> 00:08:03,360 Speaker 1: that scene and thinking about the things that you want, 157 00:08:03,800 --> 00:08:07,360 Speaker 1: what my character wants to achieve. But really also just 158 00:08:07,560 --> 00:08:10,280 Speaker 1: even though I have the words, they're acting as if 159 00:08:10,320 --> 00:08:12,520 Speaker 1: I'm doing this for the first time, and I think 160 00:08:12,560 --> 00:08:16,240 Speaker 1: for improvisers and stand ups that can come. Hopefully it 161 00:08:16,280 --> 00:08:18,520 Speaker 1: comes naturally to you because you learn how to do 162 00:08:19,000 --> 00:08:20,920 Speaker 1: stand up. The key to stand up is working a 163 00:08:21,000 --> 00:08:24,120 Speaker 1: joke over and over again, sometimes for years on the road, 164 00:08:24,440 --> 00:08:27,080 Speaker 1: but always making it seem fresh to the audience. And 165 00:08:27,120 --> 00:08:29,040 Speaker 1: so that's what I try to do personally. When I 166 00:08:29,080 --> 00:08:32,000 Speaker 1: approached the script is even though I've read this, you know, 167 00:08:32,080 --> 00:08:34,840 Speaker 1: ten twenty times, even though we've done the scene ten 168 00:08:34,880 --> 00:08:37,600 Speaker 1: twenty times, I want to make sure it always sounds fresh, 169 00:08:37,600 --> 00:08:39,360 Speaker 1: because when the audience is that, they don't know that 170 00:08:39,400 --> 00:08:42,400 Speaker 1: I've been doing it over and over, you know, it's 171 00:08:42,400 --> 00:08:45,400 Speaker 1: really funny. I remember when I first went on stage 172 00:08:45,400 --> 00:08:47,360 Speaker 1: as a stand up I remember the first time I 173 00:08:47,400 --> 00:08:49,880 Speaker 1: did stand up. I gotta stand in ovation, you know, 174 00:08:50,480 --> 00:08:52,000 Speaker 1: And it was like one third in the morning. I 175 00:08:52,000 --> 00:08:53,920 Speaker 1: was still working at IBM full time, and so I 176 00:08:54,040 --> 00:08:56,400 Speaker 1: ran off stage. And so the next time I went 177 00:08:56,400 --> 00:08:58,880 Speaker 1: on stage, I had a totally different set. And the 178 00:08:58,960 --> 00:09:00,880 Speaker 1: next time I went on stage had a totally different 179 00:09:00,880 --> 00:09:02,480 Speaker 1: set that I think I wasn't getting. I didn't get 180 00:09:02,480 --> 00:09:05,040 Speaker 1: the response that I gotten the first time. And then 181 00:09:05,080 --> 00:09:06,679 Speaker 1: this comic walks up to me and said, hey, man, 182 00:09:07,360 --> 00:09:10,440 Speaker 1: why do you keep changing material every week? I said, 183 00:09:10,640 --> 00:09:14,040 Speaker 1: don't you supposed to do that? He said no, He said, dude, dude, 184 00:09:14,400 --> 00:09:16,480 Speaker 1: whatever you did the first time, you're supposed to still 185 00:09:16,520 --> 00:09:19,120 Speaker 1: be doing that. And then adding to the funny parts 186 00:09:19,160 --> 00:09:22,120 Speaker 1: of that set. That's how you get to five minutes 187 00:09:22,160 --> 00:09:25,079 Speaker 1: ten minutes fifteen minutes, so he said, I said, but 188 00:09:25,320 --> 00:09:28,199 Speaker 1: he said, dude, it's a different audience every time you 189 00:09:28,280 --> 00:09:33,240 Speaker 1: go on stage. Food. Oh okay, So what she's saying 190 00:09:33,400 --> 00:09:36,040 Speaker 1: is basically, you have to do that. You have to 191 00:09:36,080 --> 00:09:38,120 Speaker 1: be able to get that to get to that forty 192 00:09:38,200 --> 00:09:40,440 Speaker 1: five minutes, unless you do a comedy special, then you 193 00:09:40,480 --> 00:09:43,840 Speaker 1: have to do the material or no old new array 194 00:09:43,880 --> 00:09:48,080 Speaker 1: of jokes. But your goal is to be funny five minutes, 195 00:09:48,200 --> 00:09:50,920 Speaker 1: ten minutes, fifteen minutes, and you may be doing the 196 00:09:50,960 --> 00:09:54,400 Speaker 1: same joke maybe two or three years to get it right. 197 00:09:54,760 --> 00:09:57,120 Speaker 1: That might be your killer ending or your killer opening, 198 00:09:57,520 --> 00:09:59,560 Speaker 1: or you know, you know, you know, you've been on 199 00:09:59,679 --> 00:10:01,520 Speaker 1: you've been out in the comedy clothes because at the 200 00:10:01,600 --> 00:10:03,520 Speaker 1: end of the shows a lot of times they'd be 201 00:10:03,800 --> 00:10:06,800 Speaker 1: paying those tabs, and people be more concerned about paying 202 00:10:06,800 --> 00:10:09,480 Speaker 1: the tabs than listen to your jokes on stage. So 203 00:10:09,559 --> 00:10:11,679 Speaker 1: you really have to have your killer moments to being 204 00:10:11,800 --> 00:10:13,760 Speaker 1: a whole their attention in the end. So, as a 205 00:10:13,880 --> 00:10:16,560 Speaker 1: stand up, what has been the most frustrating part of 206 00:10:16,600 --> 00:10:19,760 Speaker 1: being a stand up and then the blessing of being 207 00:10:19,760 --> 00:10:23,520 Speaker 1: a stand up? Um, well, I will say that was 208 00:10:23,760 --> 00:10:25,960 Speaker 1: that what you talked about is a big lesson I 209 00:10:26,000 --> 00:10:29,000 Speaker 1: had to learn as an improviser. You know, when I 210 00:10:29,040 --> 00:10:31,200 Speaker 1: would work at the Second City, people were paid to 211 00:10:31,240 --> 00:10:34,480 Speaker 1: come see us, get a suggestion from them, and do 212 00:10:34,520 --> 00:10:36,760 Speaker 1: a completely made up scene and make it look as 213 00:10:36,800 --> 00:10:39,560 Speaker 1: if it had been rehearsed. And we could do something 214 00:10:39,559 --> 00:10:43,040 Speaker 1: new every single night, every single set. And then when 215 00:10:43,040 --> 00:10:45,040 Speaker 1: I transition the stand up, I had to learn, like 216 00:10:45,080 --> 00:10:47,360 Speaker 1: you said, how to keep working the same joke over 217 00:10:47,400 --> 00:10:49,720 Speaker 1: and over again and adding to it. And that's a 218 00:10:49,760 --> 00:10:54,600 Speaker 1: lifelong lesson. I will say, though, one time at the 219 00:10:54,640 --> 00:10:57,840 Speaker 1: Second City, I can remember when the check drop, like 220 00:10:57,880 --> 00:11:01,040 Speaker 1: you said, when the tabs come called check job. The 221 00:11:01,160 --> 00:11:04,560 Speaker 1: checks were being dropped, and this group of ladies, you know, 222 00:11:04,600 --> 00:11:07,080 Speaker 1: they were out having a great time and they just 223 00:11:07,360 --> 00:11:09,400 Speaker 1: I guess they wanted to split this bill and it 224 00:11:09,440 --> 00:11:12,440 Speaker 1: was too complicated trying to figure out who had what 225 00:11:13,160 --> 00:11:15,200 Speaker 1: and then how much tip because they were on a 226 00:11:15,240 --> 00:11:17,720 Speaker 1: trip and they didn't know they were in a big city. 227 00:11:18,640 --> 00:11:20,800 Speaker 1: When you come to a big city, they got to 228 00:11:20,880 --> 00:11:27,240 Speaker 1: be so loud. I stopped the show, bent over, went 229 00:11:27,280 --> 00:11:31,280 Speaker 1: to the table, grabbed the check and split up the 230 00:11:31,280 --> 00:11:33,960 Speaker 1: bill for them and said, why don't you a fift 231 00:11:34,800 --> 00:11:37,520 Speaker 1: if each of you putting thirty two dollars. That's a 232 00:11:37,600 --> 00:11:41,520 Speaker 1: nice tip back to what I was saying. The audience laughed, 233 00:11:42,240 --> 00:11:45,360 Speaker 1: but I was so frustrated, right right, right, But you 234 00:11:45,400 --> 00:11:48,080 Speaker 1: had to do that because, like I said, she's absolutely correct. 235 00:11:48,640 --> 00:11:50,560 Speaker 1: The one thing that were destroyed stand ups, and you 236 00:11:50,559 --> 00:11:55,480 Speaker 1: would know this, Miss Anthony, is drunks. And somehow drunk 237 00:11:55,520 --> 00:11:59,520 Speaker 1: women were the worst because somehow when a woman got 238 00:11:59,559 --> 00:12:02,640 Speaker 1: dropping public, that means that everything was off. You know, 239 00:12:02,640 --> 00:12:05,800 Speaker 1: they didn't care about nothing. They would be the worst people. 240 00:12:07,240 --> 00:12:10,320 Speaker 1: That woman at a comedy club was the worst because 241 00:12:10,320 --> 00:12:12,680 Speaker 1: you can't tell them nothing once they do, once they've 242 00:12:12,679 --> 00:12:15,800 Speaker 1: acknowledge that they're drunk in public, you can't shut them down. 243 00:12:16,360 --> 00:12:18,480 Speaker 1: You can't get them out, keep your hands. I don't 244 00:12:18,480 --> 00:12:20,280 Speaker 1: care if you white or black. I'm talking about no map. 245 00:12:20,920 --> 00:12:24,560 Speaker 1: A drunk woman period and a comedy club is a 246 00:12:24,679 --> 00:12:27,959 Speaker 1: natural disaster. To try to gain control of them, either 247 00:12:27,960 --> 00:12:30,600 Speaker 1: gonna kick them out or you're just gonna kick about 248 00:12:30,679 --> 00:12:35,560 Speaker 1: just one option that I would say. Drunk people period 249 00:12:33,559 --> 00:12:38,480 Speaker 1: can be people who talk, Yes, people who talk as 250 00:12:38,480 --> 00:12:41,959 Speaker 1: a struggle, but that that that also as the performer, 251 00:12:42,520 --> 00:12:45,200 Speaker 1: that's an indication to you go back and work on 252 00:12:45,240 --> 00:12:49,360 Speaker 1: this material, tighten up that joke, you know, don't you know? 253 00:12:49,600 --> 00:12:51,240 Speaker 1: Sometimes you can be a girl. I would say I 254 00:12:51,280 --> 00:12:54,520 Speaker 1: only did that one time where I like broke out 255 00:12:54,640 --> 00:12:56,640 Speaker 1: and just was like, let me just talk to y'all 256 00:12:56,720 --> 00:13:00,120 Speaker 1: for a second. Uh. But I will say like that 257 00:13:00,120 --> 00:13:02,440 Speaker 1: that means you need to tighten something up. It's not funny. 258 00:13:02,520 --> 00:13:05,120 Speaker 1: You need to move more quickly and then later go 259 00:13:05,200 --> 00:13:08,240 Speaker 1: back home and work on that. You know, put that down. 260 00:13:08,320 --> 00:13:10,480 Speaker 1: And also if somebody comes to you afterwards and I 261 00:13:10,559 --> 00:13:12,760 Speaker 1: was like, hey, you know, can I can I make 262 00:13:12,800 --> 00:13:15,240 Speaker 1: a suggestion? Can I give you something? You know, be 263 00:13:15,360 --> 00:13:18,320 Speaker 1: open to that too, because other comics are watching you 264 00:13:18,400 --> 00:13:21,760 Speaker 1: and it's so helpful. Um, you can't, you know, you 265 00:13:21,800 --> 00:13:24,240 Speaker 1: can't kind of be outside of yourself because in the 266 00:13:24,320 --> 00:13:26,920 Speaker 1: moment you feel like, oh the crowd was ganging up 267 00:13:26,920 --> 00:13:29,640 Speaker 1: on me. But other comics that they really respect you 268 00:13:29,679 --> 00:13:31,599 Speaker 1: and they like your work. They'll they'll come up to 269 00:13:31,640 --> 00:13:34,720 Speaker 1: you afterwards. And I say, receiving in the spirit is given. 270 00:13:35,720 --> 00:13:39,480 Speaker 1: It's finally here the season of celebration. And no matter 271 00:13:39,520 --> 00:13:42,720 Speaker 1: how you celebrate with family and friends, whether you're preparing 272 00:13:42,840 --> 00:13:46,400 Speaker 1: for rays magos or karamu lighting, the manura are going 273 00:13:46,440 --> 00:13:49,319 Speaker 1: to midnight mass. 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Sign 302 00:15:26,360 --> 00:15:28,760 Speaker 1: up for free at auto dit ai or download the 303 00:15:28,800 --> 00:15:31,200 Speaker 1: app for free auto dot ai. That's O T T 304 00:15:31,440 --> 00:15:34,280 Speaker 1: e r dot ai. You know, the interesting thing about 305 00:15:34,280 --> 00:15:36,840 Speaker 1: your career is, like I said, you could act, I 306 00:15:36,880 --> 00:15:40,120 Speaker 1: can't act, you know. I. I've had acting opportunities and 307 00:15:40,160 --> 00:15:43,640 Speaker 1: perform in the acting capacity. But your ability to be 308 00:15:44,000 --> 00:15:47,080 Speaker 1: uh improvisational comic you know I means that you know, 309 00:15:47,160 --> 00:15:50,440 Speaker 1: you throw horror scene and she just pulls it out. 310 00:15:50,600 --> 00:15:53,560 Speaker 1: You know. I always tell people when you're improving, especially 311 00:15:54,080 --> 00:15:55,600 Speaker 1: acting the artist. I always say, if you can get 312 00:15:55,960 --> 00:15:57,760 Speaker 1: you have to get the three lines. Get the three 313 00:15:57,800 --> 00:16:01,320 Speaker 1: lines of conversation with somebody. The improv, you know, so 314 00:16:01,640 --> 00:16:04,800 Speaker 1: you can deliver funny. We were with what techniques that 315 00:16:04,920 --> 00:16:09,840 Speaker 1: you use Christina when you were doing your improv. Um, 316 00:16:09,880 --> 00:16:11,760 Speaker 1: I would say, and I still use them now because 317 00:16:11,760 --> 00:16:13,560 Speaker 1: I see the writers on Mixed to use it. I 318 00:16:13,600 --> 00:16:15,680 Speaker 1: still use it in my stand up when I'm writing stuff. 319 00:16:15,680 --> 00:16:19,480 Speaker 1: But um, the rule of three is invaluable, you know, 320 00:16:19,760 --> 00:16:23,440 Speaker 1: so learning if you can learn that, um, it's pretty easy. 321 00:16:23,520 --> 00:16:25,840 Speaker 1: So when you're setting up a joke, you know you 322 00:16:25,880 --> 00:16:28,680 Speaker 1: want to if you're listing items, you know the first 323 00:16:28,680 --> 00:16:31,640 Speaker 1: thing fits in the category, the second day fits in 324 00:16:31,640 --> 00:16:34,280 Speaker 1: the category, and then where you make the sharp turn 325 00:16:34,320 --> 00:16:38,520 Speaker 1: and you make the third thing? What what the punches 326 00:16:38,600 --> 00:16:41,640 Speaker 1: are the joke? Um? And then in improv, we have 327 00:16:41,960 --> 00:16:45,520 Speaker 1: a rule of always learning to say yes. And so 328 00:16:45,680 --> 00:16:48,720 Speaker 1: somebody comes to you and says, man, did you see 329 00:16:48,720 --> 00:16:51,360 Speaker 1: that man walking down the street with the blue hat? 330 00:16:51,560 --> 00:16:54,560 Speaker 1: You don't stop the joke to say no, I didn't 331 00:16:54,560 --> 00:16:58,080 Speaker 1: see that. You say yeah, and he was walking to alligator. 332 00:16:58,200 --> 00:17:00,400 Speaker 1: You know, you want to keep adding to the bit 333 00:17:01,480 --> 00:17:03,680 Speaker 1: when you're in and that's when you're telling jokes with 334 00:17:03,760 --> 00:17:06,639 Speaker 1: somebody else an ensemble, and it also works on mixtage. 335 00:17:06,680 --> 00:17:09,160 Speaker 1: We try to do that too. You know, our our 336 00:17:09,200 --> 00:17:14,159 Speaker 1: family is hilarious, you know, uh Kenya Barris and Tracy 337 00:17:14,240 --> 00:17:16,600 Speaker 1: Ellis for ourselves created this world and we're just trying 338 00:17:16,600 --> 00:17:19,720 Speaker 1: to keep it going. It's a prequel and you know, 339 00:17:19,800 --> 00:17:23,920 Speaker 1: take a Sumthing or Paul Gossler, uh Gary Cole. They're 340 00:17:23,920 --> 00:17:27,480 Speaker 1: all like really well known actors and comedians. And so 341 00:17:28,040 --> 00:17:30,760 Speaker 1: even if though the work is scripted, I'm still saying 342 00:17:30,840 --> 00:17:32,840 Speaker 1: yes to the bits, to the jokes that you have, 343 00:17:33,040 --> 00:17:35,840 Speaker 1: and I'm trying to keep them going. You know. Now, 344 00:17:35,920 --> 00:17:38,440 Speaker 1: now when I look at your bio, I see stand 345 00:17:38,520 --> 00:17:41,160 Speaker 1: up but also see serious roles. You know, I'm assuming 346 00:17:41,200 --> 00:17:45,160 Speaker 1: that why women killed that wasn't a comedy moment. Uh 347 00:17:45,400 --> 00:17:48,560 Speaker 1: eer the dilemma? So how will we able? Because but 348 00:17:48,600 --> 00:17:51,240 Speaker 1: then I see multi talented actress. You do put it 349 00:17:51,280 --> 00:17:54,240 Speaker 1: at the very tough front. But Joe says, of comedic 350 00:17:54,600 --> 00:17:58,120 Speaker 1: side on it, how did you translate a serious role 351 00:17:58,160 --> 00:18:00,440 Speaker 1: in a comedic role? Because I wanted my listeners to 352 00:18:00,520 --> 00:18:02,359 Speaker 1: hear that, in my viewers to hear that about a 353 00:18:02,400 --> 00:18:05,280 Speaker 1: person who says talented as you because you're willing to 354 00:18:05,800 --> 00:18:08,239 Speaker 1: not limit yourself, and that's what you say. If an 355 00:18:08,240 --> 00:18:11,200 Speaker 1: opportunity that comes to you, Christina, You're going to present 356 00:18:11,240 --> 00:18:15,720 Speaker 1: yourself for that opportunity, correct, for sure? For sure? Yeah, 357 00:18:15,840 --> 00:18:18,160 Speaker 1: I think you know. Why Woman Kills a good example 358 00:18:18,200 --> 00:18:22,359 Speaker 1: of UM. That's a show about women who murder their husbands. 359 00:18:22,480 --> 00:18:26,240 Speaker 1: Is very funny. If you haven't seen it, check it out. 360 00:18:25,680 --> 00:18:30,640 Speaker 1: Those sister of one of the women that UM. But 361 00:18:31,400 --> 00:18:34,720 Speaker 1: I think even in that role, I still was being 362 00:18:34,760 --> 00:18:37,600 Speaker 1: a comedian. But in a serious moment, like we think back, 363 00:18:38,000 --> 00:18:42,320 Speaker 1: you can think back of like UM in black families, 364 00:18:42,320 --> 00:18:45,280 Speaker 1: like when somebody passes away, even though it is a 365 00:18:45,320 --> 00:18:48,600 Speaker 1: somber occasion and there it is a sad event and 366 00:18:48,600 --> 00:18:52,359 Speaker 1: it's a transition, there's still somebody that you know, Uncle 367 00:18:52,400 --> 00:18:54,879 Speaker 1: Pete always ask somebody, can't you get a ride to 368 00:18:54,920 --> 00:18:57,520 Speaker 1: the refest? Why don't you have a car? You know? 369 00:18:57,760 --> 00:19:00,760 Speaker 1: Or you know unleas it's always gonna your boyfriend to 370 00:19:00,800 --> 00:19:03,600 Speaker 1: a funeral? Why are you doing this? And you realize 371 00:19:03,640 --> 00:19:06,199 Speaker 1: you find you know the funny moments even in the 372 00:19:06,240 --> 00:19:09,840 Speaker 1: tragedy and your family. So I think so Whylo mckill 373 00:19:09,920 --> 00:19:12,360 Speaker 1: is a good example of that. It's about a serious 374 00:19:12,400 --> 00:19:17,679 Speaker 1: topic of domestic abuse and murder, but the sister is 375 00:19:17,720 --> 00:19:20,159 Speaker 1: like I think I played sister this like girl, I 376 00:19:20,240 --> 00:19:23,399 Speaker 1: always knew that wasn't the man for you. You know, 377 00:19:23,560 --> 00:19:25,480 Speaker 1: it's like, why are you guys having at this point 378 00:19:25,520 --> 00:19:27,679 Speaker 1: we're trying to put a murder together, but there's always 379 00:19:27,720 --> 00:19:30,800 Speaker 1: like somebody like that. So I think finding those light moments, 380 00:19:31,800 --> 00:19:34,800 Speaker 1: you know, or people I can remember when my grandmother passed. 381 00:19:34,920 --> 00:19:39,400 Speaker 1: You know, people's problem. You're funny, you know what what I'm saying. 382 00:19:39,480 --> 00:19:42,600 Speaker 1: You're not even You're not even trying. You're just talking 383 00:19:42,720 --> 00:19:45,560 Speaker 1: and I'm just laughing, and you just really just just 384 00:19:45,600 --> 00:19:48,320 Speaker 1: really just having the conversation with me. But it's such 385 00:19:48,320 --> 00:19:52,840 Speaker 1: a relatable conversation. That's your blessing, you know. So yeah, yeah, 386 00:19:53,000 --> 00:19:55,360 Speaker 1: Now you say you started in East St. Louis, How 387 00:19:55,359 --> 00:19:58,840 Speaker 1: did you make it up to Chicago. I grew up 388 00:19:58,840 --> 00:20:01,280 Speaker 1: in East St. Louis and know the famous people from 389 00:20:01,280 --> 00:20:05,440 Speaker 1: me St. Louis are Miles Davis Jack, he joined a Kurtsey, 390 00:20:05,520 --> 00:20:13,320 Speaker 1: the Olympian and and me and you metain wanted from St. Louis, 391 00:20:13,320 --> 00:20:16,000 Speaker 1: such as the entertainers from St. Louis. I think, which 392 00:20:16,080 --> 00:20:18,480 Speaker 1: is the fancy city on the other side of the 393 00:20:19,080 --> 00:20:25,480 Speaker 1: Loverlle Crawford Loverlle Crawford from what I'm St. St. Louis 394 00:20:25,560 --> 00:20:29,600 Speaker 1: is on the other side in Illinois. Yeah, and it's 395 00:20:29,720 --> 00:20:31,840 Speaker 1: you know, it's the cut, it's it's tough over that. 396 00:20:31,960 --> 00:20:35,560 Speaker 1: It's tough over that, I know. Yeah. Yeah. So but 397 00:20:35,640 --> 00:20:38,640 Speaker 1: I went to college and you and I in Champagne, 398 00:20:38,880 --> 00:20:42,160 Speaker 1: which is a little bit outside of Chicago, ninety minutes. 399 00:20:42,480 --> 00:20:45,120 Speaker 1: And so afterwards, all my friends, I think my boyfriend 400 00:20:45,119 --> 00:20:48,360 Speaker 1: at the time, they went back after graduation, they went 401 00:20:48,400 --> 00:20:51,560 Speaker 1: to Chicago. So I just moved there to follow your man. 402 00:20:51,760 --> 00:20:54,680 Speaker 1: You followed your man to Chicago or you just my 403 00:20:54,840 --> 00:20:59,360 Speaker 1: man at the time said there you go. And if 404 00:20:59,359 --> 00:21:01,600 Speaker 1: you go, I'm gonna say, don't follow a man places. 405 00:21:01,640 --> 00:21:05,040 Speaker 1: But if you're gonna follow a man, do it after college, 406 00:21:05,119 --> 00:21:09,960 Speaker 1: I mean, but be on your own right. And so 407 00:21:11,320 --> 00:21:14,439 Speaker 1: I started my art career. So your your college degree 408 00:21:14,520 --> 00:21:18,800 Speaker 1: was what my college degree is actually in psychology. Okay, 409 00:21:19,640 --> 00:21:24,399 Speaker 1: my college degree is mathematics, so neither you know nothing. 410 00:21:24,680 --> 00:21:28,240 Speaker 1: My mind was sociology, but my degree was mathematics. And 411 00:21:28,280 --> 00:21:30,399 Speaker 1: so I went to work for IBM. So when you 412 00:21:30,480 --> 00:21:33,679 Speaker 1: went from Champagne, got your degree, packed your bag, following 413 00:21:33,760 --> 00:21:36,479 Speaker 1: homeboard to Chicago. You got a job. What was your 414 00:21:36,480 --> 00:21:39,480 Speaker 1: first job? My first job. So my degree was in 415 00:21:39,640 --> 00:21:43,040 Speaker 1: social side I think with social psychology, child psychology. I 416 00:21:43,080 --> 00:21:45,800 Speaker 1: can't remember now, but it was a social work basically 417 00:21:45,800 --> 00:21:48,760 Speaker 1: a social work type bachelor's. So I went to work. 418 00:21:48,920 --> 00:21:50,359 Speaker 1: I went I think I went to work for the 419 00:21:50,440 --> 00:21:55,040 Speaker 1: university doing outreach like art programs, so I was still 420 00:21:55,200 --> 00:21:59,560 Speaker 1: art adjacent. And the reason I didn't go to college 421 00:21:59,560 --> 00:22:02,080 Speaker 1: for a thing, which maybe some of your listeners are 422 00:22:02,119 --> 00:22:04,800 Speaker 1: like at that age and they're thinking about doing that, um, 423 00:22:05,119 --> 00:22:07,719 Speaker 1: was because my parents they went to segregated schools. They 424 00:22:07,760 --> 00:22:10,919 Speaker 1: came from Tennessee and they were like, you are you know, 425 00:22:10,960 --> 00:22:13,080 Speaker 1: I was second generation to go to college, but first 426 00:22:13,119 --> 00:22:15,919 Speaker 1: generation out of segregation. And they were like, you know, 427 00:22:15,920 --> 00:22:17,520 Speaker 1: how'll go to school to be an actor. You're gonna 428 00:22:17,560 --> 00:22:21,399 Speaker 1: get a real job. There's just too much on the line. 429 00:22:22,359 --> 00:22:25,000 Speaker 1: But my father said, if you're really good, it's gonna 430 00:22:25,080 --> 00:22:29,280 Speaker 1: find you. And so I went to school for something else. 431 00:22:29,320 --> 00:22:31,639 Speaker 1: But then after that, you know, I kind of became 432 00:22:31,680 --> 00:22:35,000 Speaker 1: a journeyman, right. I had to piece my our education together. 433 00:22:35,400 --> 00:22:38,160 Speaker 1: So I started taking acting classes at night, and then 434 00:22:38,200 --> 00:22:40,920 Speaker 1: I got into a play with other actors that had 435 00:22:40,960 --> 00:22:42,800 Speaker 1: been to acting school. So I would watch them and 436 00:22:42,840 --> 00:22:45,359 Speaker 1: see what they would do, how would they learn their scripts? 437 00:22:45,400 --> 00:22:48,520 Speaker 1: How would they break stuff down? You know even now 438 00:22:48,560 --> 00:22:50,600 Speaker 1: too when I go to comedy you know, not so 439 00:22:50,680 --> 00:22:52,439 Speaker 1: much right now during COVID, but when I would go 440 00:22:52,440 --> 00:22:55,439 Speaker 1: to comedy shows, you know, I'm watching other people to 441 00:22:55,480 --> 00:22:59,080 Speaker 1: see what you do. And so much of um this 442 00:22:59,160 --> 00:23:01,360 Speaker 1: business you can't us. You don't You're not just what 443 00:23:01,400 --> 00:23:03,720 Speaker 1: you want to be. But you need to study to 444 00:23:03,880 --> 00:23:07,000 Speaker 1: become that. But you can study in a variety of ways. 445 00:23:07,040 --> 00:23:10,600 Speaker 1: That's not college. Well many stand ups. No, you don't 446 00:23:10,600 --> 00:23:13,640 Speaker 1: go absolutely. I you know, you learn on the road. 447 00:23:13,680 --> 00:23:16,080 Speaker 1: But you know I look at you and uh, you know, 448 00:23:16,359 --> 00:23:18,359 Speaker 1: I you know, I went through and did my little 449 00:23:18,359 --> 00:23:20,840 Speaker 1: extra work on what they sent over, and you know, 450 00:23:20,880 --> 00:23:24,200 Speaker 1: you have so many different looks. That's on social media. 451 00:23:24,320 --> 00:23:26,480 Speaker 1: You know what I think is a blessing. You know, 452 00:23:26,520 --> 00:23:29,720 Speaker 1: because you you can't be pigeonholed. You know you can 453 00:23:30,040 --> 00:23:34,919 Speaker 1: character you know, fantastic and fantastic character actress. And because 454 00:23:35,080 --> 00:23:37,760 Speaker 1: you know you can look homely, you can look beautiful. 455 00:23:39,400 --> 00:23:42,000 Speaker 1: I saw some homely photos. Now I would just look homely. Yea. 456 00:23:42,400 --> 00:23:44,600 Speaker 1: I put the homely and a beautiful photo together. A's 457 00:23:44,640 --> 00:23:46,920 Speaker 1: just the same person. So I went, that's a that's 458 00:23:46,920 --> 00:23:48,760 Speaker 1: a that's beyond acting, you know, to be able to 459 00:23:48,760 --> 00:23:51,639 Speaker 1: pull that off. But the beauty of you know, you know, 460 00:23:52,720 --> 00:23:55,560 Speaker 1: just mind everybody. I'm talking to. Christina Anthony, I wanted 461 00:23:55,600 --> 00:23:58,800 Speaker 1: the star as a nixus uh on the ABC series 462 00:23:58,800 --> 00:24:01,560 Speaker 1: that follows Blackish. Uh. You know she plays on to 463 00:24:01,720 --> 00:24:05,240 Speaker 1: Denis on the ABC series. Uh, she's out of Chicago. 464 00:24:05,359 --> 00:24:08,680 Speaker 1: You know the Second City, one of the famous Second City. Uh. 465 00:24:08,520 --> 00:24:11,480 Speaker 1: Uh what the John Belushi? Who all came out of 466 00:24:11,520 --> 00:24:13,960 Speaker 1: Second City? It's name some of the famous Saturday Live 467 00:24:14,040 --> 00:24:17,320 Speaker 1: alarms that came out of the Second City. Yeah, Belushi, 468 00:24:17,560 --> 00:24:24,240 Speaker 1: Tina Fey, um, many people. But John Canny came out 469 00:24:24,240 --> 00:24:26,640 Speaker 1: of there. I don't think he was on us another thing, 470 00:24:26,720 --> 00:24:28,879 Speaker 1: but yeah, a lot of people have. And then a 471 00:24:28,920 --> 00:24:30,280 Speaker 1: lot of people they didn't go out to S and 472 00:24:30,359 --> 00:24:34,520 Speaker 1: L like Stephen Colbert came out of there. It's really 473 00:24:34,560 --> 00:24:38,280 Speaker 1: amazing that. Uh. So, before I let you go, because 474 00:24:38,359 --> 00:24:40,920 Speaker 1: I feel that, you know, when I look at your 475 00:24:40,960 --> 00:24:43,600 Speaker 1: career and I look at your resume, I have to 476 00:24:43,600 --> 00:24:46,680 Speaker 1: believe in myself speaking honestly, the star is only gonna 477 00:24:46,720 --> 00:24:50,000 Speaker 1: get brighter for you. I I you know, COVID, the 478 00:24:50,000 --> 00:24:52,840 Speaker 1: COVID sett us all back. But I think in my life, 479 00:24:52,880 --> 00:24:54,879 Speaker 1: I feel that it's only let you catch up with 480 00:24:54,880 --> 00:24:57,200 Speaker 1: your competition. You're coming back in January where the show 481 00:24:57,240 --> 00:25:00,960 Speaker 1: that's on the air, and so it it focuses you 482 00:25:00,920 --> 00:25:03,000 Speaker 1: and tells you what your gifts are. And I think 483 00:25:03,320 --> 00:25:06,359 Speaker 1: your gifts is if I'm looking at you, I'm managing you. 484 00:25:06,440 --> 00:25:10,280 Speaker 1: I say that it's unlimited. First of all, this is 485 00:25:10,320 --> 00:25:12,320 Speaker 1: me just looking at the person I've seen. I've been 486 00:25:12,520 --> 00:25:14,479 Speaker 1: blessed to be working with a lot of star talent, 487 00:25:14,560 --> 00:25:18,439 Speaker 1: and you're attractive. You you you are just naturally funny. 488 00:25:18,440 --> 00:25:21,320 Speaker 1: I mean, you just start talking, Christina, and you're funny, 489 00:25:21,760 --> 00:25:25,159 Speaker 1: and that's very key, you know I And so I 490 00:25:25,240 --> 00:25:27,760 Speaker 1: just know that you can do drama. You you I 491 00:25:27,800 --> 00:25:30,000 Speaker 1: haven't heard you singing, but you know you you bold 492 00:25:30,119 --> 00:25:32,080 Speaker 1: enough tell me that you got the chops because you've 493 00:25:32,119 --> 00:25:35,520 Speaker 1: said Broadway several times during our interview. So obviously somebody 494 00:25:35,600 --> 00:25:38,000 Speaker 1: let you in the room and let you make some 495 00:25:38,080 --> 00:25:40,240 Speaker 1: noise and it made sense and it sounded like singing, 496 00:25:40,240 --> 00:25:43,439 Speaker 1: and everybody said she got the scale, and uh, but 497 00:25:43,480 --> 00:25:46,280 Speaker 1: what does the future hope for you? Besides me being 498 00:25:46,320 --> 00:25:48,520 Speaker 1: so caught off guard by how talented as you are 499 00:25:48,560 --> 00:25:51,040 Speaker 1: because you never know what you interview somebody, because some 500 00:25:51,119 --> 00:25:53,399 Speaker 1: people can be uh, you know, just really good at 501 00:25:53,440 --> 00:25:55,119 Speaker 1: what they do. I think you can be good at 502 00:25:55,160 --> 00:25:58,880 Speaker 1: anything that you do. Yes, well, first of all, thank 503 00:25:58,920 --> 00:26:01,560 Speaker 1: you so much for that. Um. Yeah, I consider myself 504 00:26:01,600 --> 00:26:07,320 Speaker 1: a comedians comedian, so I aspire to to still just 505 00:26:07,400 --> 00:26:10,360 Speaker 1: be really good at what I'm doing, no matter what 506 00:26:10,520 --> 00:26:13,400 Speaker 1: level it's at. So if I'm teaching children after school 507 00:26:13,800 --> 00:26:16,120 Speaker 1: how to write jokes, which is something I love to do, 508 00:26:16,560 --> 00:26:19,800 Speaker 1: or if I'm in a big film, that's great too. Um. 509 00:26:19,840 --> 00:26:23,680 Speaker 1: But as far as what's next, I love my job 510 00:26:23,840 --> 00:26:28,199 Speaker 1: is undanis on ABC's Mixed Dish. Um. But eventually, you know, 511 00:26:28,240 --> 00:26:30,119 Speaker 1: all things come to an end. So I was, I 512 00:26:30,160 --> 00:26:32,480 Speaker 1: can't wait to see, like what the next job is. 513 00:26:32,600 --> 00:26:37,639 Speaker 1: I'm also very interested in getting into um film and 514 00:26:37,960 --> 00:26:43,080 Speaker 1: doing I love. I'm obsessed with action movies, Marvel movies. Um, 515 00:26:43,200 --> 00:26:45,800 Speaker 1: what's your favorite action movie? Because I love action movies 516 00:26:45,920 --> 00:26:49,480 Speaker 1: like you know, I love what What? What? What? What? 517 00:26:49,600 --> 00:26:53,479 Speaker 1: Acution movies this year caught your eye on on Netflix alone? 518 00:26:53,560 --> 00:27:00,520 Speaker 1: Do you watch Netflix? Yes? I do? Come on, come on, 519 00:27:00,840 --> 00:27:05,240 Speaker 1: come on. That was a sleeperhead right when she walked 520 00:27:05,240 --> 00:27:07,520 Speaker 1: out there. We talked March show. Lease walked up to 521 00:27:07,560 --> 00:27:09,879 Speaker 1: I'll be right back. I'll get you a signal, and 522 00:27:09,960 --> 00:27:13,000 Speaker 1: she walked out that door and wipe all those men. 523 00:27:13,080 --> 00:27:15,080 Speaker 1: I said, that's my girl right there, that right there. 524 00:27:15,280 --> 00:27:17,480 Speaker 1: That movie was so unexpected, right, I didn't know what 525 00:27:17,640 --> 00:27:20,840 Speaker 1: to think of it. It was so amazing. Yes, I 526 00:27:20,920 --> 00:27:22,760 Speaker 1: love to try my hand in action. Of course. You know, 527 00:27:22,920 --> 00:27:25,400 Speaker 1: black panther holes such a special place in my heart. 528 00:27:26,960 --> 00:27:29,560 Speaker 1: I love that, so yeah, I would love that. I'm 529 00:27:29,600 --> 00:27:31,879 Speaker 1: also like, I sell in my eyes, I'm doing a 530 00:27:31,960 --> 00:27:36,359 Speaker 1: comedy special, my brand of comedy. Um, and then I 531 00:27:36,400 --> 00:27:39,880 Speaker 1: love to have my own sitcom. You know you kind 532 00:27:39,920 --> 00:27:41,520 Speaker 1: of got up on your chair on that one. I'm 533 00:27:41,520 --> 00:27:45,040 Speaker 1: going through, Okay, you know all. I know you probably 534 00:27:45,040 --> 00:27:47,399 Speaker 1: got super management around your twop of ages around you. 535 00:27:47,440 --> 00:27:49,680 Speaker 1: But you know I always know the call with Shaw, 536 00:27:49,880 --> 00:27:53,000 Speaker 1: you know I did that. You want to get it 537 00:27:53,000 --> 00:27:55,879 Speaker 1: from some people, but of course you're working with Kenya Barrass. 538 00:27:55,920 --> 00:27:57,439 Speaker 1: You know you can't get any better than that. So 539 00:27:57,480 --> 00:27:59,480 Speaker 1: I'm sure you can walk through the next door and 540 00:27:59,480 --> 00:28:02,520 Speaker 1: pitch your ideas to those people over there. But again, 541 00:28:02,960 --> 00:28:05,159 Speaker 1: got an idea, you open your mouth to anybody that 542 00:28:05,240 --> 00:28:08,600 Speaker 1: we listen. I love you for that. Again, I want 543 00:28:08,600 --> 00:28:10,359 Speaker 1: to thank you for coming on my show. You you 544 00:28:10,480 --> 00:28:13,359 Speaker 1: really really all you know. You've been introduced to me 545 00:28:13,400 --> 00:28:15,520 Speaker 1: and I'm a fan. I'm gonna follow you and uh, 546 00:28:15,600 --> 00:28:18,280 Speaker 1: I'm support you have anything that you're doing. I'm gonna 547 00:28:18,600 --> 00:28:21,080 Speaker 1: definitely a post you on my social media. You are 548 00:28:21,119 --> 00:28:24,120 Speaker 1: the star of of Mixes as far as I'm concerned, 549 00:28:24,119 --> 00:28:26,600 Speaker 1: because guess what, I've interviewed job, also interviewed Teaker, but 550 00:28:26,920 --> 00:28:29,880 Speaker 1: I'm interviewing you right now. You are the star Deniece 551 00:28:30,320 --> 00:28:34,480 Speaker 1: that appears. On January twenty six, Tuesday, Mixes returns for 552 00:28:34,520 --> 00:28:37,159 Speaker 1: a second season on ABC. Thank you for coming to 553 00:28:37,200 --> 00:28:39,760 Speaker 1: my show. Oh, thank you so much for having me 554 00:28:39,840 --> 00:28:41,880 Speaker 1: show awesome. If you want to hear more money you 555 00:28:41,920 --> 00:28:44,360 Speaker 1: want to making Conversation interviews, all subscribe to Money Making 556 00:28:44,400 --> 00:28:47,160 Speaker 1: Conversations on YouTube. 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