1 00:00:02,240 --> 00:00:03,360 Speaker 1: Comedy Saved Me. 2 00:00:03,560 --> 00:00:05,640 Speaker 2: Well, I like marriage. You know my wife and I. 3 00:00:06,120 --> 00:00:08,560 Speaker 2: You know how you judge success in marriage? You stay 4 00:00:08,600 --> 00:00:10,639 Speaker 2: mad at each other in a shorter period of time. 5 00:00:10,760 --> 00:00:13,239 Speaker 2: That's it. That's how you judged success. What we're gonna yet, 6 00:00:13,240 --> 00:00:15,040 Speaker 2: we're gonna scream? What's gonna be you? Now? It's over 7 00:00:15,080 --> 00:00:17,560 Speaker 2: in a sentence. I'm leaving now you're not. You want eggs. 8 00:00:17,680 --> 00:00:19,000 Speaker 2: That's it. That's the whole thing. 9 00:00:19,079 --> 00:00:23,319 Speaker 3: I'm Lynn Hoffman and welcome to the Comedy Saved Me podcast. Now, 10 00:00:23,360 --> 00:00:25,680 Speaker 3: if you like this podcast, I want to recommend another 11 00:00:25,760 --> 00:00:29,240 Speaker 3: podcast I host called Music Saved Me. It's a podcast 12 00:00:29,280 --> 00:00:32,960 Speaker 3: that explores the healing power of music. Now, in Comedy 13 00:00:33,000 --> 00:00:35,320 Speaker 3: Saved Me, we delve into the lives of comedians and 14 00:00:35,400 --> 00:00:42,120 Speaker 3: explore how laughter has transformed their journeys. Adam Ferrara, that's 15 00:00:42,080 --> 00:00:43,479 Speaker 3: the correct way of pronouncing. 16 00:00:43,080 --> 00:00:45,559 Speaker 2: It, lovely. I would like you to say, you know, 17 00:00:45,720 --> 00:00:47,800 Speaker 2: Emperor Adam Ferrara, but that would be a lot. 18 00:00:48,400 --> 00:00:54,240 Speaker 3: King Adam Ferrara has performed on Comedy Central and Tonight's Show, 19 00:00:54,680 --> 00:00:57,480 Speaker 3: and he's nationally known touring comic. He's also got a 20 00:00:57,480 --> 00:01:01,000 Speaker 3: new podcast called thirty Minutes You'll Never Get Back welcome 21 00:01:01,080 --> 00:01:03,920 Speaker 3: Adam Ferrara to Comedy Save Me. By the way, I 22 00:01:03,920 --> 00:01:08,520 Speaker 3: love the open to your podcast because it's Alexa. 23 00:01:08,800 --> 00:01:09,600 Speaker 2: Yeah, it's Alexa. Y. 24 00:01:10,040 --> 00:01:13,520 Speaker 1: It's awesome. That's a way to save money on imaging. 25 00:01:13,800 --> 00:01:16,520 Speaker 2: Yeah, sure, it's easy. All right, let's do this. 26 00:01:17,240 --> 00:01:21,240 Speaker 3: Thanks for coming on the show. Sure, what comedians, let's 27 00:01:21,240 --> 00:01:24,080 Speaker 3: start here. What comedians inspired you to start your career 28 00:01:24,760 --> 00:01:27,399 Speaker 3: in stand up and how did their influence shape your 29 00:01:27,600 --> 00:01:28,400 Speaker 3: style of com well. 30 00:01:28,480 --> 00:01:30,600 Speaker 2: Yas old was going to a party with my parents. 31 00:01:30,800 --> 00:01:33,679 Speaker 2: My father did kitchens and bathroom, so we would go 32 00:01:33,760 --> 00:01:35,920 Speaker 2: to people that had a lot more money than us 33 00:01:36,880 --> 00:01:39,600 Speaker 2: because my father would you fix their houses. Oh, police 34 00:01:39,600 --> 00:01:41,080 Speaker 2: come and then they would always have a party when 35 00:01:41,080 --> 00:01:42,760 Speaker 2: everything was done and they would come and this was 36 00:01:42,959 --> 00:01:45,280 Speaker 2: you know, they had pools and stuff. So it was 37 00:01:45,319 --> 00:01:47,760 Speaker 2: like the party would be like a Sunday afternoon kind 38 00:01:47,760 --> 00:01:49,840 Speaker 2: of thing with all the kids and all the families 39 00:01:49,840 --> 00:01:51,960 Speaker 2: and the neighbors. And that's how my father actually got 40 00:01:51,960 --> 00:01:55,080 Speaker 2: a lot of business. People saw what a good craftsman 41 00:01:55,120 --> 00:01:57,440 Speaker 2: he was. So it was one of those parties. I 42 00:01:57,440 --> 00:01:59,120 Speaker 2: was about twelve years old, and it's one of those 43 00:01:59,160 --> 00:02:00,880 Speaker 2: parties where you pull up you get the warning from 44 00:02:00,880 --> 00:02:03,200 Speaker 2: your mother in the car, like now, your father does 45 00:02:03,200 --> 00:02:06,000 Speaker 2: business with these people, but maybe yourself. Don't don't clog 46 00:02:06,000 --> 00:02:11,359 Speaker 2: the toilet, don't eat everything, don't hit your brother, right, basically, 47 00:02:11,560 --> 00:02:13,520 Speaker 2: don't be how you are at home. So that was 48 00:02:13,520 --> 00:02:16,840 Speaker 2: the warning we would get. So all the adults were 49 00:02:16,840 --> 00:02:20,240 Speaker 2: in the basement watching Richard Pryor uh the Santa Monica concert, 50 00:02:20,240 --> 00:02:22,680 Speaker 2: and the kids are outside playing running off. We couldn't 51 00:02:22,680 --> 00:02:24,959 Speaker 2: see because of the language, so they went upstairs for coffee. 52 00:02:25,000 --> 00:02:27,840 Speaker 2: I snuck into the basement. Uh. And it was a 53 00:02:27,919 --> 00:02:31,960 Speaker 2: VCR and I rewound the tape and Lynn I stood there. 54 00:02:32,000 --> 00:02:36,760 Speaker 2: I just stood standing up watching this. I remember saying 55 00:02:36,800 --> 00:02:38,480 Speaker 2: out loud to nobody, I'm all alone in the basement, 56 00:02:38,560 --> 00:02:41,680 Speaker 2: went look what this man can do. Look what this man. 57 00:02:41,720 --> 00:02:43,800 Speaker 2: He didn't even have an intro. He just walked up 58 00:02:43,880 --> 00:02:46,760 Speaker 2: and grabbed the mic and started talking. Yeah. And I 59 00:02:46,760 --> 00:02:48,800 Speaker 2: didn't know I wanted to be a comedian, but I 60 00:02:48,880 --> 00:02:52,360 Speaker 2: just in my in my little brain, this met this registered. 61 00:02:52,480 --> 00:02:54,360 Speaker 2: I don't know what this is, but this is important. 62 00:02:55,240 --> 00:02:58,240 Speaker 2: This is important. And I stood there watching it, and uh, 63 00:02:58,480 --> 00:03:00,400 Speaker 2: just the I didn't know what I was watching with 64 00:03:00,440 --> 00:03:02,560 Speaker 2: the pathos at that time, just the way the way 65 00:03:02,560 --> 00:03:06,600 Speaker 2: he would bring you in. And so then I I 66 00:03:06,720 --> 00:03:08,200 Speaker 2: the Columbia Record and Tape Club. 67 00:03:09,280 --> 00:03:11,800 Speaker 1: Oh how can you forget that? And ktel at all? 68 00:03:11,880 --> 00:03:16,560 Speaker 2: Yeah, the worst business model ever in American business history. 69 00:03:16,639 --> 00:03:20,240 Speaker 2: You get ten ten, ten albums for a dollar, a penny, 70 00:03:20,360 --> 00:03:22,400 Speaker 2: a penny, and you're like, but then you got to 71 00:03:22,480 --> 00:03:24,080 Speaker 2: join the club, and no one never joined the club. 72 00:03:24,240 --> 00:03:26,640 Speaker 2: So we just kept getting albums and sending pennies in. 73 00:03:26,680 --> 00:03:29,280 Speaker 2: And then when they stopped sending us sending us stuff 74 00:03:29,280 --> 00:03:31,080 Speaker 2: because we've exhausted them, we would send it to our 75 00:03:31,120 --> 00:03:33,360 Speaker 2: neighbor's house and then run to get there before they 76 00:03:33,360 --> 00:03:35,120 Speaker 2: came home from work and steal the albums from our 77 00:03:35,120 --> 00:03:36,760 Speaker 2: neighbor's house. And then we go to the Tri County 78 00:03:36,760 --> 00:03:39,600 Speaker 2: Fleemonker and Long Island and sell them. Hey, so all 79 00:03:39,640 --> 00:03:41,480 Speaker 2: the guys, I remember My first albums I got was 80 00:03:41,520 --> 00:03:46,080 Speaker 2: the Who Who's Next? Neil Young Live, Rust Billy Joel 81 00:03:46,120 --> 00:03:50,120 Speaker 2: the Stranger, and then George Calling and Richard Pryor. 82 00:03:49,840 --> 00:03:53,200 Speaker 1: Album Wow, And what more do you need than that? Really? 83 00:03:53,280 --> 00:03:53,920 Speaker 1: Even today? 84 00:03:54,120 --> 00:03:56,400 Speaker 2: Yeah, those are my prize possessions. So I would listen 85 00:03:56,440 --> 00:04:00,280 Speaker 2: to those albums and just the just the rhythm of 86 00:04:00,320 --> 00:04:03,960 Speaker 2: what of how the rhythm of how the guys were speaking. 87 00:04:04,000 --> 00:04:07,560 Speaker 2: And then between that and music, there was a subconsciously 88 00:04:07,560 --> 00:04:09,400 Speaker 2: I was getting a rhythm of things in my head. 89 00:04:09,560 --> 00:04:12,360 Speaker 2: And then I was doing the material carl It and 90 00:04:12,360 --> 00:04:14,320 Speaker 2: Pryor on the school bus on my way to school 91 00:04:14,440 --> 00:04:17,440 Speaker 2: to keep from getting beaten up. So it was it 92 00:04:17,520 --> 00:04:19,440 Speaker 2: was a survival. It was a survival technique. 93 00:04:19,560 --> 00:04:20,599 Speaker 1: So that's great. 94 00:04:20,920 --> 00:04:22,279 Speaker 2: So I would do it on the school bus, and 95 00:04:22,440 --> 00:04:25,800 Speaker 2: so I was actually doing it and and the kids 96 00:04:25,800 --> 00:04:29,960 Speaker 2: were laughing. And that's how I got, I guess, seduced 97 00:04:30,000 --> 00:04:32,839 Speaker 2: into what this world was, because you really didn't know. 98 00:04:32,880 --> 00:04:34,840 Speaker 2: It wasn't a job. It was just something that that 99 00:04:34,839 --> 00:04:38,200 Speaker 2: that that when you're a kid, grabs your attention. Okay, 100 00:04:38,640 --> 00:04:40,520 Speaker 2: So then cut to I go to college. I'm the 101 00:04:40,560 --> 00:04:42,800 Speaker 2: first one to go to college in my family, my 102 00:04:42,800 --> 00:04:46,080 Speaker 2: my tire since they came over from Italy. I'm the 103 00:04:46,080 --> 00:04:48,800 Speaker 2: first one ever. And I didn't want to go. I 104 00:04:48,800 --> 00:04:50,400 Speaker 2: told my my father goes, you're going to go to college. 105 00:04:50,480 --> 00:04:51,800 Speaker 2: I go, Why do I got to go to college? 106 00:04:51,960 --> 00:04:52,480 Speaker 2: Because you can? 107 00:04:53,520 --> 00:04:54,600 Speaker 1: I said that it's a big deal. 108 00:04:55,000 --> 00:04:58,800 Speaker 2: Big deal, okay, so you know, I said, all right, Well, 109 00:04:59,120 --> 00:05:03,080 Speaker 2: nobody else went to he goes, yeah, it's stupid. So 110 00:05:03,600 --> 00:05:05,880 Speaker 2: I just I went yeah, and I went to college. 111 00:05:05,960 --> 00:05:07,560 Speaker 2: I got out, and then I told my family, well, 112 00:05:07,600 --> 00:05:09,200 Speaker 2: we've done one of your things. Now I'm going to 113 00:05:09,240 --> 00:05:10,960 Speaker 2: try one of mine. And I never knew I was 114 00:05:10,960 --> 00:05:12,200 Speaker 2: going to do this as a profession. I went to 115 00:05:12,240 --> 00:05:15,400 Speaker 2: an open mic on Long Island July thirteenth, nineteen eighty eight, 116 00:05:15,440 --> 00:05:18,560 Speaker 2: Wednesday night, and I made the mistake of telling my mother. Now, 117 00:05:18,600 --> 00:05:22,640 Speaker 2: my mother was the original Twitter. She would tell everybody. 118 00:05:22,920 --> 00:05:25,080 Speaker 2: So the entire neighborhood came out. So they sold out 119 00:05:25,080 --> 00:05:26,960 Speaker 2: this little club, the east Side Comedy Club, on a 120 00:05:26,960 --> 00:05:30,479 Speaker 2: Wednesday night, on an open mic with all my family 121 00:05:30,520 --> 00:05:33,520 Speaker 2: and friends in my neighborhood. Because everyone thought I was funny. 122 00:05:33,560 --> 00:05:35,760 Speaker 2: I didn't. I didn't have any awareness at all. I 123 00:05:35,800 --> 00:05:38,839 Speaker 2: was just surviving as a kid, you know, surviving school 124 00:05:38,839 --> 00:05:42,119 Speaker 2: as a kid, and then going to UH. I always worked. 125 00:05:42,480 --> 00:05:44,240 Speaker 2: I worked at a fence company, so I was working 126 00:05:44,240 --> 00:05:46,400 Speaker 2: on my hands because I come from blue collar people. 127 00:05:46,960 --> 00:05:48,320 Speaker 2: And then I came home. I just wanted to try 128 00:05:48,360 --> 00:05:51,440 Speaker 2: this thing. And the first time I got the laugh 129 00:05:51,520 --> 00:05:55,880 Speaker 2: on stage, I got that rush oh yeah, cherry high, 130 00:05:55,920 --> 00:05:59,880 Speaker 2: and I went ooh, and I didn't it was wasn't 131 00:06:00,040 --> 00:06:01,840 Speaker 2: I wasn't cognizant enough to know that it was the 132 00:06:01,880 --> 00:06:04,120 Speaker 2: same feeling of what I was seeing prior. But it 133 00:06:04,160 --> 00:06:07,360 Speaker 2: was like I remember going, well, this is important. I 134 00:06:07,400 --> 00:06:08,960 Speaker 2: didn't know how long I was going to last, but 135 00:06:09,040 --> 00:06:12,359 Speaker 2: I wanted to chase this feeling. So it was the 136 00:06:12,360 --> 00:06:14,320 Speaker 2: first time. You know, when you hit a golf ball, right, 137 00:06:14,520 --> 00:06:15,279 Speaker 2: you get that pain. 138 00:06:15,320 --> 00:06:18,680 Speaker 1: I've done it once, yeah, and then make you come back. 139 00:06:19,640 --> 00:06:22,159 Speaker 2: It's like the first ones for free kids, you know, 140 00:06:22,240 --> 00:06:24,040 Speaker 2: and then you keep changing it so. 141 00:06:23,920 --> 00:06:25,000 Speaker 1: It's like a drug dealer. 142 00:06:25,200 --> 00:06:28,760 Speaker 2: Yeah, but it was the first time I ever felt 143 00:06:29,200 --> 00:06:30,840 Speaker 2: I'm going to use the word complete because I don't 144 00:06:30,839 --> 00:06:33,920 Speaker 2: have a better word, but I belong here is also 145 00:06:34,080 --> 00:06:36,680 Speaker 2: a statement that kind of registers in that because I 146 00:06:36,680 --> 00:06:38,719 Speaker 2: grew up with guys that work with their hands. My 147 00:06:38,800 --> 00:06:43,200 Speaker 2: father could build anything, could fix anything. And I love cars, 148 00:06:43,200 --> 00:06:44,680 Speaker 2: but I can't fix them and I never had the 149 00:06:44,720 --> 00:06:46,920 Speaker 2: if then go to statement where I was comfortable doing stuff. 150 00:06:46,920 --> 00:06:48,920 Speaker 2: I mean, I could change the oil, I can gap 151 00:06:48,960 --> 00:06:51,120 Speaker 2: a spot plug, and I could smack the sealinoid to 152 00:06:51,160 --> 00:06:53,000 Speaker 2: get the start of the crank, but I can't pull ahead. 153 00:06:53,040 --> 00:06:54,560 Speaker 2: You know, I don't know how to do all that stuff. 154 00:06:54,839 --> 00:06:56,640 Speaker 2: Even on the construction site, I don't know how to do. 155 00:06:56,720 --> 00:06:58,080 Speaker 2: I couldn't be a lead guy on the job. So 156 00:06:58,080 --> 00:07:00,280 Speaker 2: I always felt less than in my family. Ason as 157 00:07:00,320 --> 00:07:05,560 Speaker 2: I made everybody laugh boom, that feeling went away. So 158 00:07:05,640 --> 00:07:09,240 Speaker 2: that's when I started. I told my parents, well, we've 159 00:07:09,279 --> 00:07:10,920 Speaker 2: done one of your things, now we're going to try 160 00:07:10,920 --> 00:07:13,520 Speaker 2: one of mine. And I was on Long Island and 161 00:07:13,640 --> 00:07:15,440 Speaker 2: I had a car. The biggest reason I worked though 162 00:07:15,440 --> 00:07:17,440 Speaker 2: a lot, is because I had a car. I was funny. 163 00:07:17,440 --> 00:07:18,920 Speaker 2: I had a car, and I had a good work ethic. 164 00:07:19,480 --> 00:07:23,080 Speaker 2: So because my father was you know, small business, own it. 165 00:07:23,520 --> 00:07:26,960 Speaker 2: You just work, you work, that's it. You're like the 166 00:07:27,000 --> 00:07:31,040 Speaker 2: ox and animal farm. I'll work harder and you have 167 00:07:31,120 --> 00:07:33,880 Speaker 2: situational awareness on the job. Don't say anything when they're talking, 168 00:07:34,000 --> 00:07:35,640 Speaker 2: don't you know, keep your mouth shut when you know, 169 00:07:35,680 --> 00:07:38,480 Speaker 2: you just you just kind of know. So I knew. 170 00:07:38,640 --> 00:07:42,080 Speaker 2: I knew to look at the terrain. The art of 171 00:07:42,080 --> 00:07:44,360 Speaker 2: war sun souit. The first thing you do is evaluate 172 00:07:44,360 --> 00:07:46,960 Speaker 2: the terrain. What what's the ground you're traveling on. So 173 00:07:47,040 --> 00:07:49,360 Speaker 2: I knew what was important by just listening, what was 174 00:07:49,400 --> 00:07:54,520 Speaker 2: important to booking agents, what that had these little bars 175 00:07:54,520 --> 00:07:56,280 Speaker 2: and this little stuff because this was eighty eight, so 176 00:07:56,320 --> 00:07:59,880 Speaker 2: it was just went right before. You're a VH one, right, Yeah, 177 00:08:00,080 --> 00:08:02,800 Speaker 2: everyone was getting their TV show because producers figured out 178 00:08:02,840 --> 00:08:03,640 Speaker 2: comedy was cheap. 179 00:08:04,360 --> 00:08:06,240 Speaker 1: Did you ask me if I remember VH one. 180 00:08:06,440 --> 00:08:07,280 Speaker 2: You were on VH one. 181 00:08:07,560 --> 00:08:11,000 Speaker 1: Oh, I'm like, I'm not bat old? Yes what I 182 00:08:11,120 --> 00:08:12,000 Speaker 1: was on v one. 183 00:08:12,080 --> 00:08:14,800 Speaker 2: When Marconi came out with the radio? No, yes, yes. 184 00:08:15,480 --> 00:08:17,120 Speaker 1: Do you remember when Edison made the light bulb? 185 00:08:17,240 --> 00:08:21,240 Speaker 2: Yeah? Yeah, you are VAH one correct, Yes, I was, Yes. 186 00:08:21,360 --> 00:08:23,119 Speaker 2: So when you guys had you know, I think Rosie 187 00:08:23,160 --> 00:08:25,560 Speaker 2: was hosting if Bobby Collins started and then Rosie o'donnald 188 00:08:25,560 --> 00:08:27,920 Speaker 2: was hosting their comedy out, so we got to do 189 00:08:27,960 --> 00:08:29,800 Speaker 2: all that stuff. I was on TV way before I 190 00:08:29,840 --> 00:08:32,280 Speaker 2: should have been in because we had the access to 191 00:08:32,320 --> 00:08:33,880 Speaker 2: it because they were they were producing it, so they 192 00:08:33,920 --> 00:08:37,600 Speaker 2: needed product. So I was funny. I knew enough to 193 00:08:37,679 --> 00:08:40,040 Speaker 2: be on time. What happened was I was on Long 194 00:08:40,040 --> 00:08:41,679 Speaker 2: Island and a lot of the headliners that would work 195 00:08:41,679 --> 00:08:43,760 Speaker 2: these little clubs in the peripheral of Connecticut and New 196 00:08:43,800 --> 00:08:48,960 Speaker 2: Jersey lived in Manhattan. So the deal was you drive in, 197 00:08:49,120 --> 00:08:50,600 Speaker 2: you pick them up at the improv. I think it 198 00:08:50,600 --> 00:08:52,400 Speaker 2: was on forty four. Pick them up at the improv, 199 00:08:53,120 --> 00:08:55,120 Speaker 2: you drive him to the gig, you drive him back, 200 00:08:55,240 --> 00:08:57,160 Speaker 2: you drop them off of the improv. Well, I was 201 00:08:57,160 --> 00:08:59,280 Speaker 2: always on time picking them up at the improv. Call 202 00:08:59,440 --> 00:09:01,920 Speaker 2: was clean. I was uber before uber. I went there, 203 00:09:01,920 --> 00:09:05,080 Speaker 2: I got, I got, I was on time. I got 204 00:09:05,120 --> 00:09:07,199 Speaker 2: everybody to the gig on time. I knew enough. As 205 00:09:07,200 --> 00:09:09,840 Speaker 2: an opening act, don't be dirty, don't wreck the room, 206 00:09:10,040 --> 00:09:12,680 Speaker 2: stick to your time, bring them up. So okay, brought 207 00:09:12,720 --> 00:09:14,360 Speaker 2: them up. Then I would drive them home. Then we're 208 00:09:14,360 --> 00:09:16,200 Speaker 2: outside the improbably ready to get out and go. Listen, 209 00:09:16,200 --> 00:09:18,080 Speaker 2: you're going to get a mic car, to get a cab, 210 00:09:18,120 --> 00:09:20,080 Speaker 2: to get into another car to take you home. Save 211 00:09:20,120 --> 00:09:22,040 Speaker 2: the cab there, I'll take your own ways home. And 212 00:09:22,040 --> 00:09:26,760 Speaker 2: I would drop more. So, especially the female comics. They 213 00:09:26,800 --> 00:09:29,800 Speaker 2: felt comfortable with me, so they requested me a lot 214 00:09:29,800 --> 00:09:31,320 Speaker 2: because I knew, I knew how to, I knew what 215 00:09:31,400 --> 00:09:32,520 Speaker 2: the job entailed. 216 00:09:33,000 --> 00:09:34,560 Speaker 1: I probably a gentleman too. 217 00:09:35,040 --> 00:09:37,520 Speaker 2: I try to be. I try. I'm trying here with you. 218 00:09:37,559 --> 00:09:39,080 Speaker 2: I don't think you're buying it, but I try here 219 00:09:39,120 --> 00:09:40,000 Speaker 2: with you. How am I good? 220 00:09:40,040 --> 00:09:43,840 Speaker 3: I'm playing sitting on your front steps? 221 00:09:43,840 --> 00:09:44,480 Speaker 1: How could I not? 222 00:09:44,840 --> 00:09:47,800 Speaker 2: I'm playing with you. I know, I know anyway, So 223 00:09:48,720 --> 00:09:50,720 Speaker 2: that's why I worked so much as a kid, and 224 00:09:50,760 --> 00:09:53,360 Speaker 2: that's why the long answer to your question was, I 225 00:09:53,400 --> 00:09:56,200 Speaker 2: would say Richard Prior, George Carlin, and then all the 226 00:09:56,240 --> 00:09:58,240 Speaker 2: guys that I got to work with, and all the 227 00:09:58,240 --> 00:09:59,880 Speaker 2: guys I saw how they were doing it at the 228 00:10:00,080 --> 00:10:01,360 Speaker 2: level I wanted to be at. 229 00:10:02,880 --> 00:10:06,160 Speaker 1: Isn't that when you say that sort of similar to like. 230 00:10:08,440 --> 00:10:10,880 Speaker 3: When you know people who are wanted to be music 231 00:10:10,920 --> 00:10:12,960 Speaker 3: stars saw the Beatles for the first time, it would 232 00:10:13,000 --> 00:10:14,880 Speaker 3: be when you saw Richard Props. 233 00:10:14,600 --> 00:10:16,360 Speaker 2: The first Yeah. 234 00:10:16,400 --> 00:10:19,480 Speaker 3: And then you've mentioned something about music too, which is 235 00:10:19,520 --> 00:10:22,640 Speaker 3: interesting because I obviously I host another podcast about music 236 00:10:22,679 --> 00:10:25,880 Speaker 3: and how that can be healing, and it's interesting. I've 237 00:10:25,880 --> 00:10:28,040 Speaker 3: had a few people on now mention the fact that 238 00:10:28,080 --> 00:10:31,000 Speaker 3: it's not just the comedy. It's like a combination of 239 00:10:31,080 --> 00:10:34,360 Speaker 3: comedy and music that's like even more of a secret 240 00:10:34,400 --> 00:10:36,360 Speaker 3: sauce for making you feel good. 241 00:10:36,840 --> 00:10:40,000 Speaker 2: I think what I think was I think when when 242 00:10:40,040 --> 00:10:43,600 Speaker 2: when an artist can ah, I'll use the word articulate, 243 00:10:43,640 --> 00:10:46,200 Speaker 2: But even if you can paint something that that can 244 00:10:46,360 --> 00:10:49,800 Speaker 2: express a feeling you can't put into words or you 245 00:10:49,840 --> 00:10:53,080 Speaker 2: can't express yourself. Those are the things that make you go. 246 00:10:53,520 --> 00:10:55,720 Speaker 2: You know, when you hear a song, you know that. 247 00:10:55,720 --> 00:10:58,280 Speaker 2: I've been thinking about that for months, you know, when 248 00:10:58,280 --> 00:10:59,520 Speaker 2: you hear a song like that, like I want to 249 00:10:59,559 --> 00:11:01,520 Speaker 2: be sedate it. I've been thinking that for years. Thank 250 00:11:01,559 --> 00:11:06,240 Speaker 2: you now you just now, I just but yeah, I 251 00:11:06,600 --> 00:11:08,720 Speaker 2: think that's what the healing power of any kind of 252 00:11:08,800 --> 00:11:11,080 Speaker 2: art form is is if when you say, touches you 253 00:11:11,080 --> 00:11:12,599 Speaker 2: and reaches you and speaks to you, is it it? 254 00:11:12,760 --> 00:11:16,120 Speaker 2: It allows you to express something you don't know how 255 00:11:16,160 --> 00:11:18,400 Speaker 2: to express, and then and there's a released for that. 256 00:11:18,440 --> 00:11:19,120 Speaker 2: Does that make sense? 257 00:11:19,840 --> 00:11:20,160 Speaker 1: Yes? 258 00:11:20,240 --> 00:11:22,960 Speaker 3: Absolutely? And there's so and there's so many things to 259 00:11:22,960 --> 00:11:25,600 Speaker 3: to touch on. It's almost like you can get into 260 00:11:25,640 --> 00:11:31,000 Speaker 3: the scientific aspect of it and the actual breathing and 261 00:11:31,080 --> 00:11:33,600 Speaker 3: the vibrations and all of that connected. 262 00:11:33,760 --> 00:11:36,240 Speaker 2: I'm trying to stop doing that. Land, I'm stop overthinking. 263 00:11:36,440 --> 00:11:38,319 Speaker 2: I mean this, this is what this is where I'm at. 264 00:11:38,760 --> 00:11:40,720 Speaker 2: I want to stop overthinking. I've had it with me 265 00:11:41,080 --> 00:11:42,959 Speaker 2: is as soon as you break shit down to go now, 266 00:11:43,000 --> 00:11:46,480 Speaker 2: I can do it this way. You feel good? Yeah, 267 00:11:46,559 --> 00:11:48,319 Speaker 2: shut up, feel good, it's going to go away. 268 00:11:49,120 --> 00:11:51,960 Speaker 1: I like that. I like that. How is shut up 269 00:11:52,000 --> 00:11:54,199 Speaker 1: and feel good? Don't try to figure out why just 270 00:11:54,200 --> 00:11:56,680 Speaker 1: just shut up? Yeah and laugh. 271 00:11:57,520 --> 00:12:00,960 Speaker 3: You've you've hosted some television shows and have acted in 272 00:12:01,040 --> 00:12:05,920 Speaker 3: some pretty awesome comedies like, for example, Top Gear USA, 273 00:12:06,559 --> 00:12:10,120 Speaker 3: and you were also in Rescue Me, which huge on FX, 274 00:12:10,160 --> 00:12:11,840 Speaker 3: so you don't miss an episode. 275 00:12:12,520 --> 00:12:14,360 Speaker 1: How has comedy helped you be. 276 00:12:14,360 --> 00:12:18,400 Speaker 3: Able to transition between roles because a lot of comedians 277 00:12:18,400 --> 00:12:21,560 Speaker 3: go into acting, and I'm not quite sure why it 278 00:12:21,640 --> 00:12:24,400 Speaker 3: makes sense because you're playing a part but one. 279 00:12:24,400 --> 00:12:28,760 Speaker 2: There two very different disciplines. There are two, especially drama. 280 00:12:29,280 --> 00:12:32,120 Speaker 2: It's you have to well, why did I go into it? 281 00:12:33,040 --> 00:12:34,960 Speaker 2: I was offered the parts and I took it. Why 282 00:12:35,040 --> 00:12:37,760 Speaker 2: I have a mortgage, Glenn? This is why? How much 283 00:12:37,840 --> 00:12:38,880 Speaker 2: I'll do the gig. 284 00:12:40,520 --> 00:12:41,160 Speaker 1: You want me to do? What? 285 00:12:41,440 --> 00:12:46,160 Speaker 2: Alright? I could do that. I was very fortunate to 286 00:12:46,360 --> 00:12:50,720 Speaker 2: get roles that cultivated both comedy and drama. One of 287 00:12:50,840 --> 00:12:53,120 Speaker 2: the first major role I got, well, I did a 288 00:12:53,160 --> 00:12:56,680 Speaker 2: couple of multi camera sit contacts, the ones with the audience. Yeah, 289 00:12:56,720 --> 00:13:00,600 Speaker 2: that's so, that's so much fun. And that's really fun 290 00:13:00,600 --> 00:13:03,240 Speaker 2: because it's it's almost like a tiny little theater piece 291 00:13:03,240 --> 00:13:05,959 Speaker 2: every week because you start with nothing at a table 292 00:13:06,000 --> 00:13:08,559 Speaker 2: and then you're bumping into furnitures all week and then 293 00:13:08,600 --> 00:13:11,000 Speaker 2: you actually have a performance in front of an audience, 294 00:13:11,040 --> 00:13:12,920 Speaker 2: you know, And the best, the best was when you 295 00:13:12,920 --> 00:13:15,080 Speaker 2: were on a Tuesday schedule. Because I've been on both. 296 00:13:15,080 --> 00:13:17,480 Speaker 2: I've been on a Friday shoot and a Tuesday shoot. 297 00:13:17,480 --> 00:13:20,000 Speaker 2: I prefer the Tuesday shoot because you get the weekend, 298 00:13:20,080 --> 00:13:24,319 Speaker 2: the process, every all the rehearsal you've done during the week. Friday, 299 00:13:24,360 --> 00:13:27,240 Speaker 2: you start, you start cold Monday Friday, and you go 300 00:13:27,360 --> 00:13:31,360 Speaker 2: home and you sleep through Saturday. That was That was 301 00:13:31,400 --> 00:13:33,319 Speaker 2: one discipline that was different because you actually have to 302 00:13:33,400 --> 00:13:35,760 Speaker 2: let somebody in when I For me, my experience when 303 00:13:35,760 --> 00:13:37,920 Speaker 2: I'm on stage is the audience is this big ball 304 00:13:38,000 --> 00:13:41,200 Speaker 2: of energy that you're interacting with and then between me 305 00:13:41,240 --> 00:13:43,480 Speaker 2: and them, we're going some other place. You know. It's 306 00:13:43,559 --> 00:13:46,320 Speaker 2: it's all that stuff's coming through me and coming through 307 00:13:46,360 --> 00:13:48,560 Speaker 2: something higher than me. And that that's the way I 308 00:13:48,559 --> 00:13:51,360 Speaker 2: see it in my head. When you're on a sitcom 309 00:13:51,400 --> 00:13:53,559 Speaker 2: of the live audience, you're still too your work and 310 00:13:53,640 --> 00:13:55,640 Speaker 2: to get the laugh. So it's the space between the 311 00:13:55,679 --> 00:13:58,360 Speaker 2: two actors. It's the space between the actors that's where 312 00:13:58,600 --> 00:14:00,920 Speaker 2: the energy on the current flowing. So you have to 313 00:14:00,920 --> 00:14:02,880 Speaker 2: play your part to be that part of the whole 314 00:14:03,160 --> 00:14:05,240 Speaker 2: to make that reach the audience and come back and 315 00:14:05,280 --> 00:14:08,920 Speaker 2: you get a buzz that way too. Single camera acting 316 00:14:09,040 --> 00:14:11,320 Speaker 2: is the same thing, but there's no big reinforcement. You know, 317 00:14:11,320 --> 00:14:13,200 Speaker 2: as soon as you do something funny, there's nobody laughing, 318 00:14:13,360 --> 00:14:13,960 Speaker 2: so you're like. 319 00:14:14,280 --> 00:14:16,599 Speaker 1: Yeah, that must be interesting. That must be challenging for 320 00:14:16,679 --> 00:14:18,000 Speaker 1: someone who feeds off the body. 321 00:14:18,120 --> 00:14:21,080 Speaker 2: I need some reinforce. Somebody better love me now, sh 322 00:14:21,120 --> 00:14:25,800 Speaker 2: it's gonna get broken, So we need a fluffer. What's 323 00:14:25,840 --> 00:14:28,800 Speaker 2: the brother got to get some reassurance up in this? 324 00:14:29,120 --> 00:14:32,080 Speaker 1: So can someone fluff the comedian lease? 325 00:14:33,000 --> 00:14:37,000 Speaker 2: And then after that is drama where you really have 326 00:14:37,080 --> 00:14:40,360 Speaker 2: to be in this space. Oh and and there is, 327 00:14:40,560 --> 00:14:44,080 Speaker 2: believe it or not, there is a connection to you're 328 00:14:44,520 --> 00:14:48,160 Speaker 2: for me. There is a connection to to to you, 329 00:14:48,280 --> 00:14:50,840 Speaker 2: to your fellow player, your other actor in a different 330 00:14:51,120 --> 00:14:54,160 Speaker 2: in a different place, especially when it's a highly charged 331 00:14:54,200 --> 00:14:56,880 Speaker 2: emotional place. I had I had a cry on camera 332 00:14:56,880 --> 00:14:58,520 Speaker 2: a couple of times, which is just annoying. 333 00:14:58,840 --> 00:15:00,560 Speaker 1: How do you do it? What's the secret? 334 00:15:00,800 --> 00:15:03,760 Speaker 2: I look at the credit card statement, I am. 335 00:15:05,120 --> 00:15:06,960 Speaker 1: I thought you're going to say onions. 336 00:15:07,040 --> 00:15:10,960 Speaker 2: Now there's well, there's a breath. I mean getting into 337 00:15:10,960 --> 00:15:13,160 Speaker 2: the plumbing of how stuff works. There's breath patterns that 338 00:15:13,200 --> 00:15:15,720 Speaker 2: you know when you when you cry, your your body 339 00:15:15,720 --> 00:15:17,640 Speaker 2: doesn't know the difference between what's real and what's not. 340 00:15:18,680 --> 00:15:21,240 Speaker 2: Your body just responds then put So there's the breath 341 00:15:21,280 --> 00:15:26,320 Speaker 2: pattern of crying. Is is staccato inhale, any emotional on 342 00:15:26,360 --> 00:15:28,560 Speaker 2: the outthill. So you just start start cranking up the 343 00:15:28,560 --> 00:15:30,400 Speaker 2: machine that way, and then you can go back to 344 00:15:30,440 --> 00:15:32,240 Speaker 2: any kind of sense memory, stuff you got to get. 345 00:15:32,800 --> 00:15:34,640 Speaker 1: You don't even have to think of anything. It's breath. 346 00:15:34,760 --> 00:15:36,720 Speaker 2: You start the breast, so the body's already in that 347 00:15:36,800 --> 00:15:39,960 Speaker 2: emotional state. It's like, oh, we're going here now, and 348 00:15:40,000 --> 00:15:43,080 Speaker 2: then turbo charges you throw something in there. Since my 349 00:15:43,120 --> 00:15:45,920 Speaker 2: father died, I can cry like that. Like that, I 350 00:15:45,960 --> 00:15:49,000 Speaker 2: can cry so and I had to do it a 351 00:15:49,000 --> 00:15:50,520 Speaker 2: couple And when you're a guest star, you're only going 352 00:15:50,560 --> 00:15:52,480 Speaker 2: to get two takes, and if you're first up, they're 353 00:15:52,480 --> 00:15:54,920 Speaker 2: going to shoot you first because because the regulars like 354 00:15:54,920 --> 00:15:56,520 Speaker 2: I'm not up here able to do the master later, 355 00:15:56,800 --> 00:16:00,480 Speaker 2: so you're only going to get two. That's just the 356 00:16:00,480 --> 00:16:02,520 Speaker 2: way it works. So I had to cry a couple 357 00:16:02,560 --> 00:16:05,000 Speaker 2: of times. The funniest one was when I was on 358 00:16:05,080 --> 00:16:07,080 Speaker 2: Law and Order, and when Jesse Martin was on Lawn Order, 359 00:16:07,120 --> 00:16:09,320 Speaker 2: I was a kid, and we went through it. We 360 00:16:09,360 --> 00:16:12,320 Speaker 2: went through the rehearsal and we shot at Chelsea Piers 361 00:16:12,320 --> 00:16:14,640 Speaker 2: in New York Stuio. So crew has to set. 362 00:16:14,720 --> 00:16:15,440 Speaker 1: How cool is that? 363 00:16:15,520 --> 00:16:17,440 Speaker 2: Yeah, after you do that, the crew has to set. 364 00:16:17,520 --> 00:16:19,280 Speaker 2: So we're up on the roof, Jesse and I and 365 00:16:19,280 --> 00:16:21,440 Speaker 2: we're having a cigarette. I was smoking that. So Jesse 366 00:16:21,520 --> 00:16:23,080 Speaker 2: gives me a cigarette, he lights, he looks at me. 367 00:16:23,080 --> 00:16:25,120 Speaker 2: He goes, man, I don't envy you having to do 368 00:16:25,200 --> 00:16:27,560 Speaker 2: acting shit. At eight thirty in the morning, I said, thanks, 369 00:16:27,600 --> 00:16:32,000 Speaker 2: You're not helping, Jesse. You're not helping at all. Then 370 00:16:32,040 --> 00:16:34,400 Speaker 2: I had to cry again on Criminal Minds again, eight 371 00:16:34,560 --> 00:16:37,520 Speaker 2: thirty in the morning. First shot up sound guy's eating 372 00:16:37,640 --> 00:16:40,560 Speaker 2: an egg burrito, which I can smell as I'm trying 373 00:16:40,560 --> 00:16:44,120 Speaker 2: to get emotionally to get to in the FBI office 374 00:16:44,120 --> 00:16:46,120 Speaker 2: because my daughter was abducted, and I got to break 375 00:16:46,160 --> 00:16:50,280 Speaker 2: down and the diers okay, so I got to get there. 376 00:16:50,400 --> 00:16:51,960 Speaker 2: You know, I got to think they're shooting me first 377 00:16:52,400 --> 00:16:55,440 Speaker 2: so I can get there. What I discovered on that shoot, 378 00:16:55,560 --> 00:16:57,280 Speaker 2: it's not the The issue is for me is not 379 00:16:57,320 --> 00:16:59,960 Speaker 2: getting it. The issue for me is getting back because 380 00:17:00,080 --> 00:17:03,200 Speaker 2: once I open that door, bloodgates. You know. Now my 381 00:17:03,240 --> 00:17:07,120 Speaker 2: nervous system is like Chas commentary in Bronxdale nine years 382 00:17:07,200 --> 00:17:11,439 Speaker 2: can't leave. Okay, you know only shit you've been showing 383 00:17:11,480 --> 00:17:12,600 Speaker 2: that now that's coming out. 384 00:17:17,119 --> 00:17:18,800 Speaker 1: Hi, that is so hard. 385 00:17:19,240 --> 00:17:22,359 Speaker 3: So that must work the opposite way for you too 386 00:17:23,359 --> 00:17:27,760 Speaker 3: in comedy because once you got that role going, it 387 00:17:27,960 --> 00:17:30,919 Speaker 3: just flows from there too, So you could go in 388 00:17:30,960 --> 00:17:31,440 Speaker 3: either direction. 389 00:17:31,640 --> 00:17:33,600 Speaker 2: Once you get that role going and it flows, the 390 00:17:33,680 --> 00:17:36,440 Speaker 2: discipline there is to stay out of the way. Once 391 00:17:36,480 --> 00:17:37,920 Speaker 2: you're out of the way, you got to stay out 392 00:17:37,920 --> 00:17:39,520 Speaker 2: of the way. Don't help it, don't try and make 393 00:17:39,560 --> 00:17:42,800 Speaker 2: it better, ride it. You got to ride it. And 394 00:17:42,800 --> 00:17:45,399 Speaker 2: that's pretty much to be an observer. I mean, I 395 00:17:45,400 --> 00:17:48,200 Speaker 2: don't know. I don't like to use the word god 396 00:17:48,240 --> 00:17:51,920 Speaker 2: because that's how war starts. But if you find that 397 00:17:51,960 --> 00:17:54,800 Speaker 2: place where you're sitting and you're observing yourself, that that 398 00:17:54,920 --> 00:17:57,960 Speaker 2: state of grace, whatever that grace is for you. My 399 00:17:58,119 --> 00:18:00,760 Speaker 2: discipline now is just to remain there, to dwell there, 400 00:18:01,000 --> 00:18:02,960 Speaker 2: just to be able and not try and make it better, 401 00:18:03,080 --> 00:18:05,400 Speaker 2: not try and fix it, not try to input any 402 00:18:05,480 --> 00:18:08,200 Speaker 2: kind of will on it. Just sit there, and then 403 00:18:08,359 --> 00:18:11,320 Speaker 2: success is judged by how long I can do that. 404 00:18:11,800 --> 00:18:15,680 Speaker 2: And then when it's ended, it's supposed to end there 405 00:18:15,840 --> 00:18:17,879 Speaker 2: and not have any judgment about why it ended and 406 00:18:17,880 --> 00:18:20,480 Speaker 2: why it doesn't continue. It's not like marriage. You know, 407 00:18:20,560 --> 00:18:22,959 Speaker 2: my wife and I. You know how you judge success 408 00:18:22,960 --> 00:18:25,720 Speaker 2: in marriage. But you stay mad at each other in 409 00:18:25,760 --> 00:18:27,199 Speaker 2: a shorter period of time. That's it. 410 00:18:27,240 --> 00:18:28,560 Speaker 1: I like that. That's awesome. 411 00:18:28,640 --> 00:18:31,160 Speaker 2: That's it. That's how you judge success. We're gonna yell, 412 00:18:31,160 --> 00:18:32,960 Speaker 2: We're gonna scream, it's gonna be you now. It's over 413 00:18:33,000 --> 00:18:35,480 Speaker 2: in a sentence. I'm leaving. No, you're not. You want eggs. 414 00:18:35,560 --> 00:18:36,880 Speaker 2: That's it. That's the whole thing. 415 00:18:36,960 --> 00:18:38,000 Speaker 1: Oh my god, that's so. 416 00:18:38,600 --> 00:18:40,080 Speaker 2: I told my wife the other day. We had to 417 00:18:40,080 --> 00:18:42,560 Speaker 2: fight the other day in the bed. In the bedroom 418 00:18:42,600 --> 00:18:44,560 Speaker 2: because I'm not the enemies. I don't think of the enemy. 419 00:18:44,600 --> 00:18:46,480 Speaker 2: But right now you're killing me. I'm gonna walk out 420 00:18:46,480 --> 00:18:48,120 Speaker 2: of this room. In fifteen minutes, I'm gonna come back, 421 00:18:48,160 --> 00:18:49,399 Speaker 2: kiss you on the head and tell you I love you. 422 00:18:49,440 --> 00:18:51,800 Speaker 2: But right now I'm leaving. Came back in ten I 423 00:18:51,840 --> 00:18:52,200 Speaker 2: love you. 424 00:18:52,800 --> 00:18:54,760 Speaker 1: What's the best way to fight? That is the best 425 00:18:54,800 --> 00:18:55,280 Speaker 1: way to fight. 426 00:18:55,320 --> 00:18:57,280 Speaker 3: But that takes time to get to know someone to 427 00:18:57,280 --> 00:18:59,720 Speaker 3: be able to get there. Right, how long have you 428 00:18:59,760 --> 00:19:04,120 Speaker 3: been met? Well, now you're thinking about it a long time. 429 00:19:04,359 --> 00:19:08,440 Speaker 2: Yeah, Jesus performing ceremony. But here's the thing. I looked 430 00:19:08,480 --> 00:19:11,160 Speaker 2: at my wife, who went, she's pretty. Then everything went black. 431 00:19:11,200 --> 00:19:12,920 Speaker 2: I woke up and I had a mortgage. So that's 432 00:19:12,960 --> 00:19:14,760 Speaker 2: all I was shanghaied. 433 00:19:15,560 --> 00:19:18,199 Speaker 3: Obviously, when you know someone that long, that that is 434 00:19:19,160 --> 00:19:21,120 Speaker 3: that is the best way to fight fair, and it's 435 00:19:21,160 --> 00:19:22,400 Speaker 3: the best way to know that you're going. 436 00:19:22,400 --> 00:19:25,359 Speaker 1: To be married forever. That's so awesome. I love to 437 00:19:25,440 --> 00:19:25,760 Speaker 1: hear that. 438 00:19:26,240 --> 00:19:28,880 Speaker 2: I'm going, No, my wife is stunning. She could walk out, 439 00:19:29,680 --> 00:19:31,760 Speaker 2: she could start again in a half a block of 440 00:19:31,800 --> 00:19:32,240 Speaker 2: my wife. 441 00:19:32,240 --> 00:19:34,320 Speaker 3: Oh you know, it's that's so funny. You and my 442 00:19:34,400 --> 00:19:36,880 Speaker 3: husband would get along. Well, he's like, hey, you got 443 00:19:36,880 --> 00:19:39,639 Speaker 3: all these guys lined up. Whatever, if someone something happens 444 00:19:39,640 --> 00:19:40,480 Speaker 3: to me, he'll be funny. 445 00:19:40,560 --> 00:19:42,480 Speaker 2: My wife turns the corner. It's like, all right, here's 446 00:19:42,520 --> 00:19:45,480 Speaker 2: the new life. Hello, Lionel. Who's Lionel? I don't know. 447 00:19:47,560 --> 00:19:50,359 Speaker 2: You'll be right back with more of the Comedy Saved 448 00:19:50,359 --> 00:19:59,280 Speaker 2: Me Podcast. Welcome back to the Comedy Saved Me Podcast. 449 00:20:00,960 --> 00:20:02,960 Speaker 3: How do you think your stand up routinees have evolved 450 00:20:02,960 --> 00:20:06,800 Speaker 3: over the years, and what does personal experience for you 451 00:20:06,880 --> 00:20:09,440 Speaker 3: have to do with you know, when you craft some 452 00:20:09,520 --> 00:20:12,000 Speaker 3: new material for for your shows. 453 00:20:12,400 --> 00:20:16,000 Speaker 2: The evolution of it now is I'm writing more stuff 454 00:20:16,119 --> 00:20:21,200 Speaker 2: for me. I've never been an observational comic. I've always 455 00:20:21,200 --> 00:20:24,880 Speaker 2: been a student in the human condition. And I got 456 00:20:25,560 --> 00:20:29,040 Speaker 2: to the point where my first hour I did for 457 00:20:30,119 --> 00:20:32,920 Speaker 2: Comedy Central, I did a couple of half hours and 458 00:20:32,960 --> 00:20:35,800 Speaker 2: then I did an hour and my dad got diagnosed 459 00:20:35,800 --> 00:20:39,080 Speaker 2: with cancer and I did a bit about me bringing 460 00:20:39,160 --> 00:20:42,719 Speaker 2: him to chemo, and I wrote the bit, uh, and 461 00:20:42,760 --> 00:20:44,560 Speaker 2: I wanted to see and I was I was shooting 462 00:20:44,600 --> 00:20:46,879 Speaker 2: rescue Me at the time, so I was, uh, I 463 00:20:46,920 --> 00:20:49,600 Speaker 2: was playing with what I could do. You know, what 464 00:20:49,600 --> 00:20:52,000 Speaker 2: what can I do on stage? So I want to 465 00:20:52,080 --> 00:20:56,600 Speaker 2: emotionally take the audience way down to a point where 466 00:20:56,600 --> 00:20:58,800 Speaker 2: it's like I sit in the silence for a minute, 467 00:20:58,800 --> 00:21:00,480 Speaker 2: and then the punchline is like all right, cross that 468 00:21:00,560 --> 00:21:02,040 Speaker 2: brings them back, and then you go to a jib 469 00:21:02,080 --> 00:21:04,800 Speaker 2: shot and there's the applause break, and then you go 470 00:21:04,800 --> 00:21:06,719 Speaker 2: into commercial. Because I built the thing because we had 471 00:21:06,720 --> 00:21:10,560 Speaker 2: commercials at that time, so that's cool. It was a 472 00:21:10,560 --> 00:21:13,359 Speaker 2: different format. So I figured out I got from the network, 473 00:21:13,359 --> 00:21:16,159 Speaker 2: where's the commercial breaks? How much time? Because what I 474 00:21:16,160 --> 00:21:18,160 Speaker 2: didn't want is I didn't want people cutting my act 475 00:21:18,160 --> 00:21:19,840 Speaker 2: in the middle of a joke and coming back after 476 00:21:19,880 --> 00:21:21,560 Speaker 2: an Abisco commercial to finish the joke. 477 00:21:21,680 --> 00:21:23,639 Speaker 3: So that's so cool that they gave you that that 478 00:21:23,680 --> 00:21:25,760 Speaker 3: heads up so you could build the show around the commercial. 479 00:21:25,800 --> 00:21:26,920 Speaker 2: Is that? And I gave it to me. I asked 480 00:21:26,960 --> 00:21:30,159 Speaker 2: them and demanded it. That's what I is, what I 481 00:21:30,200 --> 00:21:33,880 Speaker 2: need because I gotta, I gotta. I have to idiot 482 00:21:33,880 --> 00:21:36,000 Speaker 2: proof the best I can. I worked too hard, so 483 00:21:36,000 --> 00:21:39,040 Speaker 2: I have to have someone else cut it. So I 484 00:21:39,119 --> 00:21:40,960 Speaker 2: gave them the way I wanted the special to be, 485 00:21:41,080 --> 00:21:43,240 Speaker 2: with the times that I knew they had to work in, 486 00:21:43,640 --> 00:21:45,800 Speaker 2: and then they always want extra time so they could 487 00:21:45,880 --> 00:21:47,960 Speaker 2: they could craft it. So what I did with extra time, 488 00:21:48,000 --> 00:21:49,880 Speaker 2: I just I just cursed up a storm and sang 489 00:21:49,920 --> 00:21:51,439 Speaker 2: a beetle song because I knew they were never going 490 00:21:51,480 --> 00:21:53,280 Speaker 2: to get the rights to it, and I knew the 491 00:21:53,280 --> 00:21:54,960 Speaker 2: wouldn't put the filthy stuff on this, so they had 492 00:21:55,000 --> 00:21:56,240 Speaker 2: to use what I wanted to give them. 493 00:21:56,640 --> 00:21:57,639 Speaker 1: So that's great. 494 00:21:58,040 --> 00:22:01,879 Speaker 2: Yeah. So but in that bit, and again that's the 495 00:22:01,960 --> 00:22:04,560 Speaker 2: terrain of the terrain you're cutting in. There was a 496 00:22:04,560 --> 00:22:08,440 Speaker 2: bit I wrote about my dad going through chemo, and 497 00:22:08,520 --> 00:22:11,360 Speaker 2: it's it. It did what I needed it to do 498 00:22:11,520 --> 00:22:14,160 Speaker 2: in that moment. It ended that section in an applause break, 499 00:22:14,480 --> 00:22:16,239 Speaker 2: and I got the experiment a little bit like what 500 00:22:16,320 --> 00:22:18,560 Speaker 2: I can do as an actor, and so okay, it's good. 501 00:22:19,400 --> 00:22:21,480 Speaker 2: And then after it aired, I got a call. My 502 00:22:21,520 --> 00:22:24,520 Speaker 2: manager called me and said, uh, how much do we want? 503 00:22:24,800 --> 00:22:27,480 Speaker 2: Someone wants to license that bit as a teaching tool 504 00:22:27,520 --> 00:22:32,360 Speaker 2: at YEL Drama and n YU professor Eddie Freefeldt, by 505 00:22:32,400 --> 00:22:36,200 Speaker 2: the way, big comedy fan, we become friends, and he wrote, 506 00:22:37,119 --> 00:22:38,800 Speaker 2: I think he did the mel Brooks book, and I 507 00:22:38,840 --> 00:22:40,880 Speaker 2: know he did the James Burrows book of the sid 508 00:22:40,880 --> 00:22:43,639 Speaker 2: Caesar book. Oh my god, he did mel Brooks. I 509 00:22:43,720 --> 00:22:45,760 Speaker 2: might have misspoken. I know he did Burrows and Sidsey 510 00:22:47,160 --> 00:22:50,280 Speaker 2: and he teaches at NYU and you know, and they 511 00:22:50,320 --> 00:22:54,280 Speaker 2: want to they want to license that bid because because 512 00:22:54,280 --> 00:22:58,120 Speaker 2: the emotional changes you do in thirty secons, I said, really, 513 00:22:58,640 --> 00:23:00,920 Speaker 2: how much you want to go? Free? It's free, take it, 514 00:23:01,720 --> 00:23:04,120 Speaker 2: go show it to the children in the village. Maybe 515 00:23:04,119 --> 00:23:06,760 Speaker 2: someone can benefit from this because you know, we write 516 00:23:06,760 --> 00:23:09,199 Speaker 2: these things we me and you like we're sitting there 517 00:23:09,200 --> 00:23:11,199 Speaker 2: writing in an opera. But when you make any kind 518 00:23:11,240 --> 00:23:13,600 Speaker 2: of creative thing, there's a point where you have to 519 00:23:13,680 --> 00:23:16,480 Speaker 2: let it go and it takes on its own life. 520 00:23:17,920 --> 00:23:20,440 Speaker 2: Let it live in all its many bearings. Is Stephen. 521 00:23:20,520 --> 00:23:22,800 Speaker 2: I think it's a Xenophon prayer for it was in 522 00:23:22,800 --> 00:23:24,720 Speaker 2: the Book of the War of Art from Stephen Pressfield. 523 00:23:25,000 --> 00:23:27,040 Speaker 2: When you let go of something, you lose control of 524 00:23:27,080 --> 00:23:28,960 Speaker 2: it, it becomes what it wants to becoming. When I wrote 525 00:23:28,960 --> 00:23:31,439 Speaker 2: that thing, I'm like, all right, I did it for 526 00:23:31,480 --> 00:23:34,240 Speaker 2: this reason, but now it's serving that purpose. And that's 527 00:23:34,280 --> 00:23:36,840 Speaker 2: when I knew something was bigger than me coming through' 528 00:23:37,000 --> 00:23:37,600 Speaker 2: that's huge. 529 00:23:37,640 --> 00:23:40,080 Speaker 3: And also when you were talking about it's like birthing 530 00:23:40,080 --> 00:23:42,119 Speaker 3: a child. You know it's your thing, you crafted and 531 00:23:42,200 --> 00:23:43,600 Speaker 3: made it, and now you're just let it go to 532 00:23:43,640 --> 00:23:46,159 Speaker 3: the world. But the hardest part is being judged on that, 533 00:23:46,200 --> 00:23:48,800 Speaker 3: which I'm assuming is what stops so many people like 534 00:23:48,800 --> 00:23:51,760 Speaker 3: they self sabotage because they're too scared of what people 535 00:23:51,800 --> 00:23:52,360 Speaker 3: will think. 536 00:23:52,200 --> 00:23:52,800 Speaker 1: Of what they do. 537 00:23:53,200 --> 00:23:55,080 Speaker 3: And then you've got a college calling you telling you 538 00:23:55,119 --> 00:23:56,360 Speaker 3: we would like to have you. 539 00:23:56,960 --> 00:23:58,719 Speaker 2: Well, yeah, and when you have a kid, you have 540 00:23:58,720 --> 00:24:00,399 Speaker 2: no control over what kind of person's going to be. 541 00:24:00,680 --> 00:24:03,000 Speaker 2: And you know, after all I've done for that little 542 00:24:03,000 --> 00:24:04,800 Speaker 2: best that you can't take care of me when I'm home. 543 00:24:05,640 --> 00:24:06,760 Speaker 1: Can you send them over here? 544 00:24:07,640 --> 00:24:09,520 Speaker 2: Yeah? Please? I need somebody to wash me. 545 00:24:12,040 --> 00:24:14,879 Speaker 1: Oh my god. It's so refreshing to talk to you. 546 00:24:15,040 --> 00:24:18,400 Speaker 3: And I know that you're a busy guy, and you're 547 00:24:18,680 --> 00:24:24,240 Speaker 3: a guy who's in demand. Nah, And it's really just 548 00:24:24,240 --> 00:24:26,399 Speaker 3: so refreshing to hear from someone who's been doing it 549 00:24:26,200 --> 00:24:28,440 Speaker 3: for as long as you have. You've worked on both 550 00:24:28,440 --> 00:24:30,679 Speaker 3: comedy and drama, as we've talked about. Is there a 551 00:24:30,760 --> 00:24:34,000 Speaker 3: moment that you were using your comedic skills to sort 552 00:24:34,000 --> 00:24:38,439 Speaker 3: of enhance a dramatic performance or vice versa? You know, 553 00:24:38,520 --> 00:24:42,160 Speaker 3: going back and did comedy ever play a role in 554 00:24:42,359 --> 00:24:45,240 Speaker 3: any of the work that you've done elsewhere? 555 00:24:46,000 --> 00:24:46,720 Speaker 1: And how did you not? 556 00:24:47,760 --> 00:24:50,440 Speaker 3: How do you stay focused because you know, you get 557 00:24:50,440 --> 00:24:53,640 Speaker 3: people cracking up and then everything takes a turn. 558 00:24:53,760 --> 00:24:55,919 Speaker 2: Well, it also depends on the environment of working with 559 00:24:56,000 --> 00:24:57,760 Speaker 2: like Rescue me And there was another show called The 560 00:24:57,880 --> 00:25:01,720 Speaker 2: Job with a cop show kind of seeing creative team, 561 00:25:02,000 --> 00:25:04,399 Speaker 2: and that's the environment you work in. So it's you know, 562 00:25:04,400 --> 00:25:06,879 Speaker 2: know the terrain, know your situational awareness. You're allowed to 563 00:25:06,920 --> 00:25:10,080 Speaker 2: do that. Then when you go on another set, you know, 564 00:25:10,160 --> 00:25:13,040 Speaker 2: and they're not used to that. You know whoa you 565 00:25:13,040 --> 00:25:16,159 Speaker 2: know you you see the yelling and Rescue Me was loud. 566 00:25:16,400 --> 00:25:19,080 Speaker 2: It was loud. You know. It was loud and raucous. 567 00:25:19,160 --> 00:25:21,399 Speaker 2: It was very much a guy show. And Dennis's trailer 568 00:25:21,480 --> 00:25:24,800 Speaker 2: was the barracks. We all hung out there. ESPN's on. 569 00:25:24,840 --> 00:25:27,480 Speaker 2: We're all yelling and smoking. The smoke coming out of 570 00:25:27,480 --> 00:25:29,840 Speaker 2: the trailer it looked like someone elected a pope. Just 571 00:25:29,920 --> 00:25:31,199 Speaker 2: smoke coming out of the trailer. 572 00:25:31,440 --> 00:25:32,720 Speaker 1: Are they going to come out for the shoot? 573 00:25:33,680 --> 00:25:35,720 Speaker 2: Yeah? It wasn't a healthy set by any means. And 574 00:25:35,720 --> 00:25:37,760 Speaker 2: then I started doing Nurse Jackie and that was more 575 00:25:37,800 --> 00:25:40,399 Speaker 2: of a feminine energy. Yeah, and it was more of 576 00:25:40,440 --> 00:25:42,159 Speaker 2: a healthy set. We had a juicer and we had 577 00:25:42,200 --> 00:25:44,520 Speaker 2: ashtrays on Rescue Me. You have a juicer on the set. 578 00:25:44,680 --> 00:25:46,800 Speaker 2: They wanted to be healthy, Yeah, and they're not used 579 00:25:46,840 --> 00:25:48,639 Speaker 2: to They're not used to some guy just messing around 580 00:25:48,680 --> 00:25:51,680 Speaker 2: like me. And so that was a very happy house 581 00:25:51,720 --> 00:25:54,120 Speaker 2: too because I got to bring that energy was accepted 582 00:25:54,119 --> 00:25:56,880 Speaker 2: and sometimes you know, when you're the guest star, Yeah, 583 00:25:56,880 --> 00:25:59,800 Speaker 2: you're there for two Todays your company, you know, when 584 00:25:59,840 --> 00:26:02,120 Speaker 2: they asked me to join the cast with the Jackie, 585 00:26:02,119 --> 00:26:04,920 Speaker 2: then you become family. It's a big deal what you got. 586 00:26:04,960 --> 00:26:07,680 Speaker 2: You also have to know and answer your question when 587 00:26:07,720 --> 00:26:09,600 Speaker 2: comedy clicks, and it's also when you work with someone. 588 00:26:09,880 --> 00:26:17,159 Speaker 2: I just did Elsbeth on CBO and I was I 589 00:26:17,160 --> 00:26:20,880 Speaker 2: played a restaurant and Alyssa Milano played my wife. And 590 00:26:21,480 --> 00:26:24,520 Speaker 2: we had done a movie together, a movie called Little Italy. 591 00:26:24,640 --> 00:26:26,199 Speaker 2: We were husband and wife, so we were together for 592 00:26:26,240 --> 00:26:28,200 Speaker 2: six weeks. We were improvd and we were having fun. 593 00:26:28,240 --> 00:26:30,240 Speaker 2: So we had a shorthand between us. And when you 594 00:26:30,280 --> 00:26:33,520 Speaker 2: ask about comedy coming into the drama, there was a beat. 595 00:26:33,520 --> 00:26:35,800 Speaker 2: We got into an argument and the beat it didn't 596 00:26:35,960 --> 00:26:38,760 Speaker 2: end clean, you know, it just ended. It didn't end clean. 597 00:26:39,040 --> 00:26:44,600 Speaker 2: It needed something. So I guess because of our rapport 598 00:26:44,600 --> 00:26:47,320 Speaker 2: and our chemistry, Milano, I said something. She came right 599 00:26:47,359 --> 00:26:48,840 Speaker 2: back and they used it in the show. 600 00:26:48,880 --> 00:26:51,000 Speaker 1: Did she know that you were doing that or was 601 00:26:51,000 --> 00:26:52,160 Speaker 1: it you were just evoking? 602 00:26:52,359 --> 00:26:55,199 Speaker 2: Well, I improved it once in rehearsal. She laughed and 603 00:26:55,240 --> 00:26:56,840 Speaker 2: then she goes, oh, I can do this, and then 604 00:26:56,840 --> 00:26:58,960 Speaker 2: we shaped it. We shaped it, but we improved it 605 00:26:58,960 --> 00:27:01,679 Speaker 2: in commercial and rehearsal, and she came right back and 606 00:27:01,680 --> 00:27:03,800 Speaker 2: then we just shaped it so and answer to your question, 607 00:27:03,840 --> 00:27:06,760 Speaker 2: she didn't know, but once she once she saw it, 608 00:27:07,160 --> 00:27:09,359 Speaker 2: oh great, let's do that's and you know, and we 609 00:27:09,400 --> 00:27:11,320 Speaker 2: did it, and then then it's out of your hands. 610 00:27:11,840 --> 00:27:13,480 Speaker 2: Then it's out of your hand. Then it's the editors 611 00:27:13,480 --> 00:27:14,320 Speaker 2: and director's choice. 612 00:27:14,400 --> 00:27:16,520 Speaker 1: Yes. Yes, And that's a whole. 613 00:27:16,480 --> 00:27:18,760 Speaker 2: Anytime you're a guest, the descript supervisor is coming over, 614 00:27:19,119 --> 00:27:20,879 Speaker 2: I have to deliver the words that are on the page. 615 00:27:20,920 --> 00:27:21,600 Speaker 2: Can you just do that? 616 00:27:21,880 --> 00:27:22,960 Speaker 1: Can you stop living? 617 00:27:23,400 --> 00:27:26,359 Speaker 2: Yeah? We have that. Now put the other one in. 618 00:27:26,440 --> 00:27:27,439 Speaker 2: This is my job. 619 00:27:27,760 --> 00:27:30,280 Speaker 3: No, but it's it's really cool that you've been able 620 00:27:30,320 --> 00:27:32,479 Speaker 3: to carve out this career for yourself as well as 621 00:27:32,840 --> 00:27:34,960 Speaker 3: the comedy too, because you've been on so many really 622 00:27:35,000 --> 00:27:37,720 Speaker 3: cool and influential shows during my life. 623 00:27:37,760 --> 00:27:40,200 Speaker 2: I'm very grateful. You think there'd be more money, I'm 624 00:27:40,200 --> 00:27:40,719 Speaker 2: telling you right. 625 00:27:40,880 --> 00:27:43,320 Speaker 3: Shocking, isn't it what people think when you say that 626 00:27:43,359 --> 00:27:45,760 Speaker 3: you do these things in television and they're like, oh. 627 00:27:45,680 --> 00:27:50,480 Speaker 1: You must be rich? Yeah, okay, yeah right. 628 00:27:51,560 --> 00:27:54,359 Speaker 3: Your podcast, By the way, I mentioned up front, the 629 00:27:54,400 --> 00:27:56,479 Speaker 3: open is ALEXA. I don't know if I should be 630 00:27:57,119 --> 00:27:58,960 Speaker 3: a little annoyed at this because I do that for 631 00:27:59,040 --> 00:28:02,080 Speaker 3: my bread and butter voices for television and radio. 632 00:28:02,200 --> 00:28:05,840 Speaker 2: Well, here's what it is. Cheap, not cheap. I made 633 00:28:05,880 --> 00:28:07,600 Speaker 2: it up. That's just the voice that was on the 634 00:28:07,600 --> 00:28:08,760 Speaker 2: computer and I typed it. 635 00:28:08,880 --> 00:28:11,720 Speaker 1: Oh, you made it sound just like Alexa. That was awesome. 636 00:28:11,800 --> 00:28:14,000 Speaker 2: I made it up. I made it up. 637 00:28:14,040 --> 00:28:14,680 Speaker 1: That's so cool. 638 00:28:15,240 --> 00:28:18,080 Speaker 3: Well, the podcast is you have guests from all kinds 639 00:28:18,119 --> 00:28:21,560 Speaker 3: of backgrounds, which I think is really cool. What insights 640 00:28:21,640 --> 00:28:24,480 Speaker 3: have you gained about the power of humor through the 641 00:28:24,480 --> 00:28:27,560 Speaker 3: conversations that you have been having on your podcast? 642 00:28:27,840 --> 00:28:32,919 Speaker 2: I will too. It's again, it's I will. I was 643 00:28:32,920 --> 00:28:35,560 Speaker 2: talking about before he passed away. Louis Anderson was a friend, 644 00:28:35,840 --> 00:28:38,680 Speaker 2: so sweet, and you know we met years ago and 645 00:28:38,840 --> 00:28:40,560 Speaker 2: you know, you say hi and then life takes you. 646 00:28:41,280 --> 00:28:45,400 Speaker 2: And before Louis died, I didn't realize how ill Louis was. 647 00:28:45,760 --> 00:28:48,040 Speaker 2: He called my mother because my mother watches him on 648 00:28:48,080 --> 00:28:50,880 Speaker 2: the U In the afternoon, he was on a game show, 649 00:28:51,000 --> 00:28:54,960 Speaker 2: so he actually called my mother for Mother's Day. And 650 00:28:55,160 --> 00:28:57,440 Speaker 2: he told me, like, we had a conversation off there 651 00:28:57,480 --> 00:29:00,560 Speaker 2: because I could see that this wasn't I thought it was. 652 00:29:00,680 --> 00:29:03,360 Speaker 1: You hadn't seen him up until that point, I knew he. 653 00:29:03,360 --> 00:29:06,400 Speaker 2: Was ill and we you know, happy Thanksgiving, merry Christmas 654 00:29:06,480 --> 00:29:07,960 Speaker 2: kin thing. And then when he said he did it, 655 00:29:08,000 --> 00:29:09,520 Speaker 2: we kept putting it off and I said, okay, look 656 00:29:09,560 --> 00:29:12,520 Speaker 2: whenever you can. So we did it, and I'm lucky. 657 00:29:12,560 --> 00:29:14,239 Speaker 2: I was so grateful I had that moment with him 658 00:29:14,240 --> 00:29:19,080 Speaker 2: because he said he didn't acknowledge what was happening. I 659 00:29:19,120 --> 00:29:21,800 Speaker 2: think it went on said, he goes, I can't believe 660 00:29:22,120 --> 00:29:26,160 Speaker 2: that we get to make other people so happy, and 661 00:29:26,200 --> 00:29:27,720 Speaker 2: I can't believe it took me just this is longing 662 00:29:27,760 --> 00:29:32,560 Speaker 2: to see it, you know. So he's he I think 663 00:29:32,560 --> 00:29:36,760 Speaker 2: it registered how much he could make other people happy. Sorry, 664 00:29:37,080 --> 00:29:39,520 Speaker 2: it's my mother. You're talking about love to you? 665 00:29:39,560 --> 00:29:41,440 Speaker 1: Just you talked about her and poof there she is. 666 00:29:41,480 --> 00:29:44,080 Speaker 2: Oh that happens all the time, my mother. Yeah. Please, 667 00:29:44,080 --> 00:29:46,840 Speaker 2: that's a whole the story. So I think an answer 668 00:29:46,840 --> 00:29:49,840 Speaker 2: to you, love you, an answer to your question. I 669 00:29:50,120 --> 00:29:52,760 Speaker 2: think it's a gift for you, for you when you 670 00:29:52,800 --> 00:29:56,160 Speaker 2: could recognize it's a gift for other people first, and 671 00:29:56,200 --> 00:29:58,960 Speaker 2: then you try to survive on that, I think, or 672 00:29:58,960 --> 00:30:01,560 Speaker 2: that's your job. So you you try to get and 673 00:30:01,600 --> 00:30:04,040 Speaker 2: as you get older, there's the there's there's the expansion 674 00:30:04,040 --> 00:30:07,280 Speaker 2: and contraction to a life cycle. You go out and 675 00:30:07,320 --> 00:30:09,680 Speaker 2: you get and then when you get older, you got 676 00:30:09,680 --> 00:30:12,160 Speaker 2: to get back, you know. And then you get back, 677 00:30:12,200 --> 00:30:14,040 Speaker 2: you're like, there's a moment like what about me? And 678 00:30:14,120 --> 00:30:17,440 Speaker 2: you realize, Putts, it's been here all long, Putts, this 679 00:30:17,600 --> 00:30:19,840 Speaker 2: is the gift. I don't know why God speaks the 680 00:30:19,840 --> 00:30:21,280 Speaker 2: addition to me, but he does, Putts. 681 00:30:21,520 --> 00:30:23,959 Speaker 1: I love it. I love it. I'll take it, so 682 00:30:24,440 --> 00:30:25,040 Speaker 1: I think. 683 00:30:25,520 --> 00:30:27,880 Speaker 2: And again, I don't know, but I think that that's 684 00:30:28,080 --> 00:30:31,320 Speaker 2: if you can see that, or you can you can 685 00:30:31,360 --> 00:30:34,440 Speaker 2: have a felt sense of that. That's uh that that's 686 00:30:34,440 --> 00:30:36,640 Speaker 2: how the gift of humor affects everybody. 687 00:30:37,040 --> 00:30:39,440 Speaker 1: Well, that's a beautiful story. And I'm glad that you 688 00:30:39,520 --> 00:30:41,000 Speaker 1: got to have him on that one last time. 689 00:30:41,080 --> 00:30:46,280 Speaker 2: And and uh now now's the Italian disclaim Alin, But 690 00:30:46,360 --> 00:30:47,360 Speaker 2: what the fuck do I know? 691 00:30:47,480 --> 00:30:50,560 Speaker 3: Hey, Adam, thank you so much for coming on the 692 00:30:50,600 --> 00:30:54,080 Speaker 3: podcast and and for your gift and power of laughter. 693 00:30:54,240 --> 00:30:56,520 Speaker 2: Oh good to see you. Thanks for having me. 694 00:30:56,800 --> 00:31:00,240 Speaker 3: Yeah you too, And and what where can we find 695 00:31:00,320 --> 00:31:01,280 Speaker 3: you online? 696 00:31:01,360 --> 00:31:02,280 Speaker 1: First of all, at. 697 00:31:02,120 --> 00:31:04,400 Speaker 2: Adam for R on All Socials f R R A 698 00:31:04,640 --> 00:31:07,880 Speaker 2: R A hell so at Adam Fraro. I will make 699 00:31:07,880 --> 00:31:09,800 Speaker 2: you laugh. Check out my podcast. It's free, it will 700 00:31:09,800 --> 00:31:11,480 Speaker 2: make you laugh. It's called The Adam for our podcast 701 00:31:11,520 --> 00:31:14,600 Speaker 2: thirty minutes you'll never get back. Listen to Lynn. Watch Lynn. 702 00:31:14,760 --> 00:31:16,560 Speaker 2: She's pretty, she's smart, and it's a good way to 703 00:31:16,560 --> 00:31:17,240 Speaker 2: spend some time. 704 00:31:17,440 --> 00:31:19,600 Speaker 3: Oh my goodness, well, thank you so much. On that note, 705 00:31:19,640 --> 00:31:21,840 Speaker 3: I'll see you soon and take good care of yourself 706 00:31:21,880 --> 00:31:22,800 Speaker 3: and I'll see you on TV 707 00:31:23,160 --> 00:31:24,200 Speaker 2: Hope, so it'll be welcome.