March 3, 2025 • 62 mins
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
What's goody Hot Breath verse.
Welcome back to Hot Breath.
This is your weekly guide tocomedy mastery.
I don't know.
It was learn the show whereyou learn comedy from the pros and
then your weekly guide tocomedy mastery and then your.
(00:21):
Your weekly comedy tune up.
I don't know, there's been alot of different phrases but we're
back.
Comedians Joel Byers and Yoshi Show.
Yoshi Show.
Yoshi Show.
Sorry.
This is our first episodewe've ever done.
I realize that people do havea hard time saying that.
Not just you.
Yoshi.
I know it's a 40 inch slip,but I don't even know what a freudiant
(00:44):
slip is.
I know it's just a slip, butyeah, it's usually Yoshi Show.
That's how most people itrolls off.
Yoshi Show, Yoshi Show.
I'll get a Joe Biden a lot.
You'll get what?
Joe Biden.
When people say Joel Byerscome into this or they'll call me
Joel Bowers or Joe.
(01:05):
I've gotten a lot of weirdnames over the career.
But a lady thought at a recentshow I did that he said Joe Biden.
Wow.
Actually I think it was the.
I just did a workshop for likea speaker convention, like teaching
them how to add humor to their speeches.
And a lady, actually that iswhere it was.
(01:27):
A lady.
As soon as I walk up theregoes, oh, I thought he said Joe Biden.
That's how the whole workshopstarted because I got announced by
the guy hosting the event.
I thought I said Joe Biden.
So then, you know, it was offthe rails from there.
I was.
Oh for sure.
But it went well.
It was a good, it was a fun workshop.
Definitely want to do more of those.
But Joe Biden, I get a lot forsome reason.
(01:48):
Oh for sure.
I can see that.
I can definitely see that.
But this whole show is to helpcomics level up their own games by
sharing our experience asprofessional comedians and also answering
your questions directly as well.
So it's really good show.
Just to get better at comedy faster.
(02:09):
Yeah.
The Joe Yoshi Show.
Yeah.
Joel Yoshi Show.
Joe Yoshi Show.
We do have a several excitingthings to get into today.
I got to open for Matt Rifeagain this past weekend.
So a couple extra lessonslearned there and from an audience
(02:33):
that was at least twice thesize of the one last week.
I don't, I didn't get an exact number.
It was at least twice the size and.
But we'll get into that.
But I did want to first Shoutout the hot breath Averse.
Yeah.
We are the world's mostsupportive comedy community.
(02:56):
And I saw in our Facebookgroup that Hot Breath, Bobby Sutton,
Joyce Lyles and Phil Ketron,AKA Grampy.
We're at the Keenan ThompsonShowcase here in Atlanta this past
weekend and it was a packed house.
They killed it.
(03:16):
And I just love seeing the HotBreath verse come together, you know,
I love that.
Yeah, the Keenan Thompson show is.
It's really cool.
They've been doing that for acouple years now.
It's a showcase.
They get people out and thenthey get him out to Las Vegas too,
which I think is very, very cool.
(03:36):
Yeah, they've been runningthat bad boy for a couple years now.
Yeah, I did it pre Pandemicand I.
I don't think they do this anymore.
But at that time they weredoing satellite showcases and if
you won that showcase, theywould fly you to New York and they
would put you up in TimesSquare and then you would get to
(03:59):
perform at Caroline's for.
On a showcase hosted by Keenan.
Wow.
Yeah.
And that was.
That was lit.
Yeah, that was.
That was one of those trips.
You're like, oh, we out heredoing it.
It had a stipend and everything.
We're like, oh, like that,like that.
(04:20):
And then I think like the nextyear, whatever, the Pandemic hit
and just kind of, you know,reset the world.
But yeah, it's great to seethem still doing those events and
more than ever.
And I, yeah, I see peopleposting about it all the time.
So anytime the hot breath ofverses out there combining forces,
I love to see that.
(04:41):
Yeah, yeah.
So, yeah, congratulations,boys and girls.
Yeah, that was great.
And also congratulations to, Ido want to say, Helen Anderson, this
month's Clean Comedy Contest winner.
There's a loud clap for everyone.
(05:03):
But, you know, every month Ihost a clean comedy contest where
comics get two weeks to writea brand new 60 second set based on
that month's theme.
And I want to play her setbecause I actually really enjoyed
her set and I do.
We do a live stream finale ofthe top three and I interview the
winner.
(05:23):
So that interview is on thepodcast on the episode before this.
And if you'd like to competein March's contest, I will link that
registration link in the shownotes of this.
But I do want to play her setjust because I thought it was so
funny and just to give comicsan idea of like how the sets go.
(05:44):
It sounds easy.
Oh, a brand new 60 seconds oftwo weeks.
But then you have.
Then you're like oh, that's alot of writing to get a strong 60
second set.
And that's a lot of editingand you have to film it.
Like there's a lot of steps.
But as Helen talked about in her.
(06:04):
In her interview, she is achronic procrastinator and this contest
gave her like a deadline to belike, okay, fine, I am creating new
material because I have thisdeadline to where I have to submit
it.
So it really helped her.
But she's actually an attorneyduring the day and she recorded this
at her office.
(06:24):
So she is kind of.
She's a little soft spokenwhen she submitted the set, but it's
funny, so I wanted to share it.
So here we go.
Helen Anderson, all the wayfrom Utah.
Enjoy, everyone.
My husband and I have beenmarried 10 years and we're a little
older.
(06:45):
But one thing I love is whenhe wears his reading glasses.
I don't know why that turns me on.
Maybe it makes him look smart,like a professor, or maybe it just
makes me feel seen.
But I get excited as soon ashe starts looking for them.
He never knows where they are.
He checks his pockets.
He checks my pockets.
(07:06):
Sometimes he pretends to losethem just to tease me.
For our anniversary, I got himsome sexy specs from the naughty
eyeglasses store in the mall.
Of course, the pair was see through.
Sometimes I text him in themiddle of the day to ask what he's
wearing, knowing full well hehad to put his glasses on to read
(07:27):
it.
That's love after 50.
It's not blind, but it needs a prescription.
Yeah.
That'S pretty good.
I thought that was fun.
A lot of fun wordplay.
The see through one line wasvery funny.
Yeah, I like that.
(07:48):
That was very good.
Solid.
But yeah, the finalists wereScott Shanahan and Sandy Bernstein
and Helen, who ended up winning.
But yeah, all the sets were awesome.
My wife and I watch all thesubmissions together and now with
our.
Our child as well.
So that it's a clean.
It's a clean contest now.
(08:09):
You know, there's a baby watching.
But it's cool to see peoplewho have, like, competing in several
contests and they were alittle dirtier.
It was cool to see them figureout how to make things clean.
And everyone did a great jobwith it.
I was pleasantly surprisedbecause, you know, booking, well,
one.
I mean, booking clean comedyis a pain because so many comics
(08:34):
are like.
It's like a different languageto them.
They're like, what do you mean?
What is.
How do you.
I can't do what.
Yeah, like everyone can doclean, even if they're not clean.
Like, yes, there's ways to forsure make your dirty jokes clean.
It's just being willing to putin that extra effort.
(08:55):
Absolutely.
And there's different levelsof clean.
Right.
Like, I think that's whatpeople sometimes need to understand.
There's like G rated clean,which is like, anyone, anyone.
I mean, anyone from a grandmato a kid can be in the room while
you tell the joke that's likesuper G rated.
Then there's like PG rated,where you can talk about some other
(09:17):
topics, but definitely have tobe like, okay, just, you know, you're
likely not gonna curse.
Right.
And then there's like PG13,which is like, yes, I'll probably
talk about relations and like,some other topics, but I'm not gonna
curse either.
And then there's just, youknow what?
I would consider sort of justthe rest of comedy, which is that
(09:38):
open mic off, free for all.
Everything kind of goes.
But.
But I think it's also helpfulwhenever you're like, getting booked
for a clean gig to ask whatkind of clean it is.
For sure.
I think that's an important factor.
Even I know comedians who arechurch comedians who do churches
(10:01):
and they have to ask what kindof stuff they can do as well.
Because if you go to a churchand you say something about, oh,
I was drinking with myfriends, they may look down on that
because they don't want youadvocating for drinking at that church.
Yeah.
So my favorite example of thatis Andrew Stanley, hilarious comedian,
(10:23):
preacher's kid.
Like, you know, as clean as it gets.
He.
He told me a time he.
He, like, did a church andthey were.
Where they were drinking beerand every, like, and, you know, everything
was fine.
And then he did another churchwhere he said beer on stage, and
they got upset with him.
(10:44):
So it's like both church gigs,completely different environments,
completely different expectations.
So, yeah, you want to get allthat up front and in writing for
your accountability of, like,if you have any questions about jokes,
then, like, ask the bookerahead of time.
Like, when I did that cleancomedy festival last year that you
(11:05):
were a part of.
Yeah, yeah.
I had several of the comics belike, is this okay?
Is that okay?
And then they even walked intothe show like, is this okay?
Is that okay?
Like, it was funny.
Just hear comics squirm aroundclean comedy.
Like, I don't know, buteveryone can do it.
You know, it's just putting alittle extra effort.
(11:25):
I.
I interviewed Caitlin Palufo,which will be out at some point when
it's Edited.
Yeah.
But she's, she's like, can beas dirty as it gets.
And she was talking about sheopens up for Fortune Feemster a lot,
who is cleaner.
So Caitlin has to clean it upfor her audience.
Yeah.
And she also just did theTonight show.
(11:46):
So she just talks about waysthat, you know, she can be as dirty
as anyone out there, but shealso has techniques to clean up her
dirty material when she needsto as well.
Yeah, yeah.
But she murders murderer at adifferent level.
It is fun to watch her on stage.
Yeah, for sure.
(12:08):
Oh, but yeah, so we want alittle bit of a clean comedy diatribe.
But that is a big motivatorfor the monthly clean comedy contest
now is just giving comics likethat accountability to write clean
jokes just in case somethingcomes up where they want to book
you and you have to do 10minutes clean that you're able to
(12:28):
say yes and actually take the gig.
Because I mean, clean comedypays more.
That's, that's just thereality of it.
And you can do more showsbecause you can perform for more
people.
So.
Yep, just keep that in mind, kids.
So if you want to join thatcontest, I'll link it the registration
(12:49):
from March in the show notes.
But I just want to shout Helen out.
I was very excited for that set.
But speaking of clean as well,did a country club show.
As we talk about differentevents having different expectations,
you know, country club showthis past weekend was what, you know,
(13:12):
you could basically say whatever.
And then other country clubsare like, oh, maybe PG 13, maybe
just don't say anything aboutrace or politics or anything.
But I mean, even if a show isclean or not, if I book a show, I,
I tell comics to like avoidpolitics and stuff.
For sure.
(13:32):
I don't want.
It's at the end of the day, ifI'm the producer, it all ultimately
reflects back on me.
So if anything happens, thatcomic's just going to go on to their
next show and be like, oh,well, not my problem anymore.
But you know, as I'm bookingmore and more country clubs, your
reputation and testimonialsare gold.
(13:55):
So, yeah, I'm alwaysintentional about avoiding that advice
of stuff anyway.
But you, you did me a solidthis weekend in filling in the country
club show, so I appreciate that.
Yeah, yeah, I love that.
It's always good to know thatyou can be a stand in when somebody
(14:20):
gets a big opportunity becausethat's also how comedy happens.
Right.
Like, there's just times when,you know, I mean, I won't name any
Clubs.
But there's many clubs aroundthese here parts that call you last
minute and see if you're available.
Yep.
The day of.
Sometimes the hour of.
Sometimes the hour of.
Yeah.
Hey, can you be here in 30 minutes?
(14:44):
And there's nothing wrong withthat, especially if you have the
time to make it happen.
But sometimes you don't havethe time.
And then some people let youknow like a couple days before and
when you mess up a textmessage and said you are available,
I mean, you're not available.
And what you meant was you are available.
Know, and then they rememberthat and they say, oh, since you
(15:06):
are available, we'll need a solid.
I need a, I need a hand.
Yeah, I.
Because I, I'd worked, youknow, I worked with Matt the week
before on several shows andthen, yeah, this other pop up show
randomly, like on a first name basis.
Now I just, I just want Matthew.
(15:26):
Me and Matthew, I use hisbiblical name, but dude, he.
Matthew sold out.
Yes.
Four theaters in the same cityin two weeks.
Like, it is, it's just, it's acompletely different level.
(15:51):
And I don't know why I'm notsurprised, but when you just see
it, it's just like, what?
Like they all sold out withinlike hours or days.
Like, and this past venue thisweekend was the biggest one yet.
And I, when he post or likehe'll even, he'll even post about
these.
Like it just happened.
(16:11):
Like the venue posted about itand then it just like sells out.
And like when I saw theyposted this pop up show one, I was
like, oh man, that's a big space.
I wonder if he'll sell it out.
And then he instantly sold it out.
And I was like, of course.
But I wasn't gonna reach outand like, hey, you know, yeah, I'll
let your boy here, you knowwhat's good?
(16:33):
I was just like, oh, cool,he's doing another pop up show.
Good for him.
You know, I have this countryclub show anyway, so it's all gravy.
And then, you know, he text metwo days before and I was like, oh,
yeah, let me drop everything.
Yeah, what do you need me to do?
Do you want me to quit comedyand just, I don't know what.
(16:54):
Yes, sir.
Yes, Mr.
Matthew.
Yes, yes, Mr.
Matthew.
But it was, of course I waslike, I mean, obviously the instinct
is like, duh, no brainer.
But I actually, like, I calledyou first and was like, I had this
country club in two days as well.
Yeah.
And I got this otheropportunity and I was like, I Was
(17:16):
kind of on the fence aboutjust doing the right thing and making
sure I don't leave thiscountry club out it.
Like, because I had a.
I had an experience a fewyears ago with a comedian, James
Gregory, who.
If people don't know alegendary comedian, especially in
the South, I mean, he wouldjust go around the south selling
(17:36):
out theaters and just.
He was a millionaire.
And I'm gonna model my careerafter that.
I don't want to.
I don't want to go anywhere.
I don't have to drive now.
But I.
I went and met him at one ofhis shows in Chattanooga, and we
talked after.
And then basically he invitedme over to his house and we talked
for several hours.
And then he invited me on theroad with him, and he's like, all
(17:58):
right, I have this date.
Can you do it?
And of course, it was kind oflike a Matt Rife thing of like, oh,
yeah.
I mean, I just said yes.
And then later on, I realizedI had a corporate event that night.
So then instead of justtelling James immediately, and James,
rest in peace, he's actuallypassed now, and this was actually
(18:19):
the last time we spoke, unfortunately.
But instead of telling himimmediately, oh, I have a corporate
event that night, I can't dothat date, but would love to do a
future one.
Einstead was, like, going backand forth with the.
The company of like, hey, Igot this other opportunity.
I don't think I can do it, butI could help find someone or whatever.
(18:40):
And they were.
They were just.
I mean, it was all kind oflast minute, in a sense, and they're
just like, oh, like, I don't know.
It was.
It was a cluster fudge, dude.
And long story short, ended uptelling I couldn't get out of the
corporate gig, which, youknow, in hindsight, I will take the
corporate money, but, yeah.
(19:00):
And just tell James I can doanother one.
But I waited the last minuteto the point where, like, I had to
call James and be like, I hadthis other event.
I can't do it.
And then he was upset.
Yeah.
And because it was, like,super last minute, and he's like,
now I have to find someoneelse after.
Yeah.
He booked it fairly in advance.
This was all on me.
(19:21):
Yep.
And then he got.
He was upset, and he's like,I'm trying to run a business here,
basically.
And it.
Long story short, that's thelast time we talked.
Yeah.
And it all comes down to communication.
And I should have just been upfront, been like, hey, here's the
reality of it.
So I I learned that lessonthere and immediately reached out
to the general manager of thecountry club and was like, hey, here's
(19:44):
what's happening.
Like, I got this opportunity.
And he completely understood.
He's like, oh, yeah, you wantto go perform for.
Yeah, of course.
Yeah, go for it.
And not only that, I had a substitute.
Our lineup.
I had you.
Similar to.
When didn't you fill in for meat a helium event, like Don McMillan.
(20:07):
Yeah, yeah, yeah.
Opening for him.
Like, I had to reach out tothem and say I couldn't do that,
but I think I had to cancel onthem for something.
Yeah, but I had you on deck.
I was on not only like, hey, Ican't do it, but I have this reliable
comic who's going to do it.
Like, doing the job for them.
Absolutely.
Yeah.
But, yeah, it's justcommunicating at all levels.
(20:28):
It was.
I learned that the hard way.
So with this country clubevent, it was just, all right, communicate
up front.
Just be transparent and honestand people will appreciate that.
So I'm hoping that's a lessonother comics don't have to learn
the hard way.
Like I did.
Yeah.
And absolutely.
And then.
And then the show was like a success.
(20:49):
Like, it was a great show.
Yeah, yeah, great show.
I'll be very surprised if youhear anything bad about it.
You let us.
Yeah, he was very happy.
Yeah.
You actually let us know thatit wasn't a clean show, so that's
always good to know.
But there were.
There were children there, soit was definitely one of those things
(21:11):
where you just had to adjust.
But we were fine.
And could I say some peopleadjusted to the children.
Yeah.
And some people say it doesn'tsound like everyone adjusted to the
children, but it wasn't a problem.
It wasn't a problem.
Yeah, yeah, yeah, yeah, yeah,they were.
It was very obvious that thiswas an adult event.
Yes.
(21:31):
So, but yeah, the child thatwas there definitely made appearances
in people's set for sure.
Because it was very, veryobvious that there was a child in
the audience.
Like a 12 year old type vibeswere they sit on the front very close.
(21:51):
I mean, it wasn't.
It was like three rows back,but definitely close to the front.
People trying to get crowdwork clips with a 12 year old.
And here's the thing, like thelights that you had came from like
this left side.
Right.
So light came from the leftside, so you can't see anything back
there.
You could see a child theright side, just clear as day.
(22:20):
Hilarious.
But they were fine.
Like everything.
Yeah, they were yeah, yeah,yeah, yeah.
I mean, the child became,like, the butt of a lot of the jokes,
but also, like, very much,like, into it.
Right.
Made for great, like, crowd work.
(22:40):
Some of the comedians talkedto the mom, like, why you bring this
child out here?
Of course.
Yeah, yeah, yeah, yeah, yeah.
I mean, and even some were just.
Just like, oh, you're tryingto teach her that life isn't fair
and not to do this when shegrows up.
So just like, yeah, yeah,funny stuff to riff on, but just
overall, amazing show.
(23:00):
Great country club and.
Yeah, yeah, they were very,very into it.
They enjoyed every lastcomedian that was on the show.
It was a good, great lineup,good staff.
The food was great.
You know, I mean, the usual.
Yeah, it was awesome.
Yeah, yeah, they're.
And that you saying the.
(23:22):
I set up the lights.
I.
I do want to also say, like,for comics out there, like, I went
early, set up everything, madesure, like, made sure he knew, like,
the general manager knew,okay, everything's gonna run completely
smoothly.
I'm still hands on with this,even though I'm gonna go do this
other event.
So.
So, like, I went early, set upsound, lighting the backdrop, and
(23:46):
basically all you all had todo was just show up and do the show
for sure.
And that made it easier andpeace of mind for everyone.
So I was still.
I still went the extra milejust because, like, your word of
mouth is so important in thisgame, and networking is so important
in this game, and referralsare so important and valuable in
(24:07):
this game.
So that's why it's soimportant to be, like, we say, be
nice, be funny.
And also, you never know who'sin the audience at any given show
that maybe they're scoutingcomics to do, like, a private event
or something like that.
Absolutely.
(24:28):
And so if you just phone it inthat night, you just never know who's
going to be there.
So the same with you getbooked from, like, a booker at a
country club on one show, youcould maybe tap into them as a referral.
Oh, do you know any othercountry clubs who would like to do
this?
And if it's not a great showor they don't have a good experience
with working with you, thenthat's the last time you work with
(24:49):
that.
Them and any referrals, whichare gold in this game.
Absolutely.
But, yeah, man, it was a good show.
Good show all around.
Good lineup.
You know, people actually satwaiting for us to talk afterwards
as well.
You know, I love that.
Right.
So that's like, my jam.
(25:10):
I'm.
I'm a.
I'm a networking fiend.
I love talking.
So after the show we werejust, you know, chit chatting, meeting
people, you know, talking withpeople that we riffed on on stage,
just.
And it was great.
You were getting the childasked for autographs.
Yeah.
(25:31):
The mom came up to us and wasjust very appreciative that we at
least like acknowledged thatthere was a child in the audience.
And also the fact that likeshe was like, oh yeah, she hears
all this all the time.
And I think the last comedianwas a teacher and just had like an
(25:51):
entire bit about kids andschools and it was just like hit
so hard because the child waslike, yep.
And then the parents werelike, yep.
Like they were just.
Everyone was inexperiencedthat kids are terrible and that teachers
have get the short end of the stick.
(26:11):
It was just a good show allaround, but it was great.
Yeah, yeah, yeah.
Was.
Yeah.
Usually in that sit, theparent is probably bringing the kid
there as bait of like hopingthat they'll get made fun of or something
like that.
For sure.
Yeah.
Either as bait or the factthat they couldn't find a babysitter.
But it was a country club.
(26:32):
I'm sure somebody, I'm suresomebody could have babysat for sure.
I'm sure they had a maid orsomebody could have babysat.
It was, it was that kind ofcountry club.
Oh yeah, yeah, yeah.
It was a.
It was a good one for sure.
Yeah.
The kind where they all hadgolf carts and yeah.
Drove to the show and we'redrinking and driving.
(26:54):
Yeah, it was great and it's great.
And this is, this is also alesson for comics that want to produce
their own shows is the venueis the most important part of you
(27:14):
producing a show that's goingto be successful or not.
So not working with just anyvenue, but with a venue that is invested
in your show, that wants tosee us succeed, that's going to help
promote your show, that's likeactively cares about your show being
a success.
Yeah, it.
That is.
(27:34):
You know, you and I haveproduced several shows over the years
and I've interviewed severalshow producers and like the num.
The venue is the make or breakof your show.
You want to make sure you'reworking with the venue.
So this country club, the guy,very hands on, set up the room.
(27:55):
Like when I was there settingup the sound and stuff, he was like
setting the tables up becausethere were some like posts throughout
the room.
So he made sure the tableswere set up around the post.
So nobody's view was like Blocked.
He.
They helped promote.
I mean, they pretty muchpromoted to their members and it,
like, sold out fairly quickly, really.
(28:17):
But they were very hands onfrom beginning to end to make sure
that everything was done asprofessionally as possible to make
this a success.
So whenever you decide toproduce a show, make sure it's with
a venue that cares and that is invested.
Because sometimes a venue willjust be like, oh, yeah, just.
(28:38):
You just set up over there andlike, you're gonna be promoting it
and like, what's, what's,what's all this?
You know, it's.
They.
The venues that make or break.
If you're producing a show,you really want to make sure you're
working with them.
Yep.
Because I know you.
You have that with yourmonthly show.
You do at that theater in Duluth.
(29:01):
Yeah, they're very hands on,very, like, brainstorming ideas on
how can we promote this.
Like, it's a verycollaborative relationship and that's
why it's been going on for so long.
You've been doing that foryears now.
Yeah, yeah.
I mean, yeah.
I mean, the venue and likejust the producer of the place, I
mean, the owner of the place,just like, it's always collaborative.
(29:23):
It's always like, hey, isthere anything we can do different?
I mean, we've played withticket prices, we've played with
promotions, we've donedifferent things.
Ads, all that stuff.
Right.
But also like, willing to trythings, willing to say, okay, can
we try to bring somebody.
Which we did.
We brought somebody, like abig time comedian in town just to
(29:45):
see how that would work.
It was good.
Like, we've played with.
We're just having like acouple of people on the show versus
a lot of people on the show.
And so, yeah, we've playedwith many different things.
And yeah, that show's beenrunning for six plus years now, which
is wild.
But, yeah, it's on show.
I get to do it.
Like, it's.
(30:05):
It's.
I love that show.
Yeah.
It's a theater.
Beautiful theater.
Gorgeous, gorgeous space.
Sounds amazing.
Yeah.
Yep.
Where you filmed your comedyspecial, which is available on the
Hot Breath YouTube channel as well.
Boom.
Let them know.
(30:26):
Yeah, yeah, yeah.
It's a great space.
Yeah.
Weirdly enough, I also have a.
I have a country club thisweekend that I'm doing as well.
Damn.
Yeah, I'm literally doing thetheater and the country club after.
Uh, and the country club alsowas one of those things where I was
like, hey, I'm going to be ata different show, so I'm gonna have
(30:53):
somebody Help me host featureand headline.
So that's exactly what I did.
And the people that I'mworking with, they're like, oh, yeah,
that's great.
We're down for that.
And so that's exactly.
So, yeah.
Oh, man.
I'll be at one show whileproducing another show, which is
exactly what you were doingwith Matt this weekend.
And I love.
Yeah, that's awesome.
Yeah.
(31:17):
Yeah, I could have filled inon that one.
But that's fine.
You don't want to.
That's totally fine.
I.
I see how it is.
You tick for tack.
I see how it is.
It's.
It's totally fine.
Don't worry about it.
I'm.
Don't worry about it.
I'm not bitter.
That's fine.
Don't worry about it.
This is the last podcast we'reever doing, so I hope you all enjoy
(31:39):
it.
I'm so not worried about it.
But, yeah, this.
Yeah, I guess we could talkabout this Matt Rife show compared
to the other ones.
And I do want to thank.
So many people.
Reached out, and we're like, congratulations.
(32:02):
You deserve this.
You've earned this.
Like, it was, like, just yearsand years and years of putting in
consistent work for it, kindof just to pay off in this way.
And, you know, I mean, I'mstill out here, and, you know, I'm
not.
I mean, I.
You know, last Thursday, I wasthe day I found out I was doing Matt
(32:24):
Rife's show.
I was at a distillery in frontof 12 people on a Thursday, rubbing
the wall.
So, you know, it was, like, inan art gallery in this distillery,
and I was just talking to thepaintings, like, oh, maybe y'all
will find this funny.
Instead, like, I.
I closed out the show.
They had been drinking, like,liquor for a few hours.
(32:45):
They were tired.
It was a Thursday.
It was, like, after nine.
Yeah, it was.
It was fine.
The show was fine.
Y.
But it wasn't like, give me,give me.
You know how you were like, Iwant everything to be a 10 every
single time.
And it was just more.
They were just politely.
And it was 12 people.
I don't know what for sure,but I still have to say.
(33:07):
Yeah, so I.
You know, I was doing thatshow as well.
So.
We do it all, dude.
Yeah.
Yeah.
I was on an impromptu.
Impromptu show on Thursday atthe Helium as well.
Just went out, you know,because it's right down the street
from the house and did animpromptu mic.
It was a great show.
Made contacts there.
(33:27):
So, yeah, I mean, the grind is real.
It's Never all country clubs.
Of course we want it to be,but no one is just doing all country
clubs.
Very few people are just doingjust nothing but country.
Yeah, we just getting.
Getting them reps.
Yeah, you got to.
Get the reps in.
However.
However it comes.
Getting dim reps.
(33:49):
So this.
So this show.
I don't even know what to sayabout it.
I don't know what should I say?
So let's start with like, Iguess what was different?
Let's just start with.
I mean, we talked about theother two shows.
What was the difference in theother two shows versus this show?
And like, what are somelessons that you learned on this
(34:12):
show that you didn't pick upfrom the other two?
Well, the venue was literallyat least twice as big.
And maybe.
Yeah, I don't.
Maybe not quite three times.
It was way, way bigger thanthe other two.
(34:32):
So.
And like each one gotprogressively larger.
So like I did the first, theBuckhead theater with him where it
was the guest spot.
And.
And then I did the SandySprings theater with him, which is
what I like was the opener.
It was just me and him on the show.
And then this one was the samesetup of just us two, but just in
(34:53):
front of a much larger crowd.
So it was good to beprogressively, like it get progressively
bigger and not just throwninto the bigger one.
Yeah, probably the.
This has nothing to do withthe show.
But parking was like in.
(35:14):
They had to open thisbackstage gate for parking for.
And that was where the line was.
So people were waiting inline, so they had to like part the
line so I could go back thereand like park like behind this like
blacked out fence.
Yeah.
So they all probably thoughtlike Matt was pulling up and then
(35:35):
I'm just in my Camry hybrid.
I'm in my 2012 Camry Hybrid.
Just like, oh, excuse me,excuse me.
Thank you, thank you.
With my rose.
With my rose club sticker onthe back looking like, like Matt
Rife's chaplain or something.
Just pulling in.
(35:57):
So funny.
Let's pray for a good show.
Yeah, that's.
That's basically what itlooked like.
Oh, and Matt's videographerKyle called me Mormon Matt Rife,
which was maybe the line ofthe week.
I mean, that was.
(36:18):
Oh my God.
Mormon Matt Rice.
Mormon Matt Rife.
That's gonna be Merchant.
There going to be merch.
I'm gonna put that on my website.
Who wants to book the Mormon Matt.
R.
Yeah, dude, that's so funny.
My crowd work is like confessionals.
It's like.
(36:43):
You just have Like a seat onstage, like a divider.
And then you tell everyone, goahead and say your confessions and
I'll let you know.
Say three Hail Marys and then.
My God, go ahead and do two dabs.
Yeah, yeah, yeah.
I did walk out to the dab again.
(37:06):
You best believe, of courseyou did all the shows.
I did.
I walked out to a dab.
I mean, it's like a hugestage, so it's like, what do I.
What do I do with all thiswalking time?
So I'm just dabbing, like.
Yeah, because you can't messthat up.
Because if you danced, youmight have messed that up.
You know what I mean?
Like, yeah, yeah, yeah, yeah,yeah, yeah.
(37:28):
So we just walk out to the dab.
Give them a little dab.
Will do.
Yeah, yeah.
But it was.
Yeah, the venue was much bigger.
Long word for it.
Trying to think of what else I think.
Well, one thing I was veryfocused on, intentional about the
other two.
I almost over prepared and Iwas very robotic and I just didn't
(37:53):
feel in the moment and I feltout of rhythm with the audience.
So this show I was like, I'mjust gonna focus on having fun.
I'm just gonna.
And to the point to where Idid go blank a few times, you know,
I was doing 15 minutes in this set.
I went blank a couple times.
(38:14):
And then, you know, like when.
Once you have enough material,like, you just have stuff in like
your holster that, like.
Sure.
Muscle memory.
So like a few times I kind ofwent blank and then just like pulled
out a muscle memory from likeeight years ago of like, you're doing
some joke that I don't eventhink about anymore.
But in the moment of panic,I'm just like goodwill, like, just
(38:38):
out of nowhere.
But it was in.
I was focused more on havingthe set.
Like, the set went.
The set went great, but it was interesting.
This was the biggest crowd,but it was not the best crowd.
It.
The.
The laughter was just.
It was just different.
The timing.
(38:59):
Was it because it was bigger,you think?
Or do you think it was a crowd?
It.
The crowd had a different ceiling.
You know how every crowd kindof has a ceiling of like their laughter
is going to be nines the wholetime or sometimes it's a six.
Everyone still has fun, butjust the temperature of that room
is not as hot as othersbecause I.
I was in my head about alittle bit.
(39:20):
And then when I was watchingMatt's set, I was just also like,
oh, that's this.
This crowd.
Yeah, that's kind of theCeiling of this audience.
This is.
This is how high they go,basically, and this is how they respond
to things.
Things.
So that made me feel better.
It wasn't, like a bad show,but it was just different.
And I was kind of like, oh,no, did I.
Did I?
Was I too loose?
(39:42):
But no, they.
They had fun.
And, like, it was this, like,watching Matt set helped to realize,
okay, this is just theresponses that they're giving.
But I did have.
I was like, I want to slow down.
Because I remember we talkedabout the last shows on last week's
podcast, and I felt rushed and not.
I wasn't connected with theaudience, so I really wanted to connect
with this audience.
(40:03):
And there was.
And slow down.
That's something.
Yeah, every comic can do.
Every comic needs to slowdown, period.
And it can feel like you'regoing too slow.
Yeah.
But you're not.
It's only in your headenunciating, going slower.
And there was one joke where Iwas just.
(40:23):
I slowed way down.
I let the first line hit, andI let the laughter, like, breathe
and kind of vibrate in the room.
And then I hit it with the tag.
And I was very slow and very intentional.
And it was like, I don'treally play golf much, but, like,
you.
Sometimes when you, like, youswing a golf club and you hit the
(40:45):
sweet spot and it's just like, boom.
And you just feel the rhythmand it all just is super smooth.
Like, yeah, doing that jokejust felt.
It felt like that.
And I was like, oh, I foundthe timing.
And then I went back to kindof, like, rushing a little bit.
And, like, I didn't slow down.
It, like.
But in that moment, I waslike, oh, you get that Every comic
(41:07):
will have this at every levelof, like, even in the middle of,
like, an open mic set, onejoke may just pop and you're like,
oh, I figured it out.
Or you'll have a set whereeverything pops and you're like,
oh, I figured it out.
And then you bomb for three months.
But, like, I felt it in thatjoke, and I was like, oh, okay.
I got a taste of how toconnect in a crowd that size.
(41:33):
Yeah.
So I gotta.
I got just enough of a tasteof it to be like, oh, I want more.
Give me more.
But give me more.
I did.
I had, like, a riff with thespotlight where I did, like, a joke
of an act out where I scurryacross the stage, and I just was
(41:53):
like.
Then I started playing withthe spotlight and him trying to keep
up with me.
So, like, yeah, I Had momentsof fun within this set that I didn't
have in the other ones.
For sure.
I set that intention goinginto it.
That's awesome.
Yeah, I love that.
Yeah.
I don't know what.
I don't know really what to.
(42:14):
Yeah.
To say.
So that was on the performance side.
How was it on the work side?
Because you were also workingthe show.
Yeah.
And.
Yeah, I mean, in this show,Matt did almost two hours, and in
the other shows he did not.
He maybe did 70 to 80, 90 eacheach other's show probably.
(42:41):
Yeah.
And this one, he.
I think he was just.
He was like, we're out here,let's do it.
Like, and he just kept going.
So he basically did his whole.
He's working on a set for aspecial he's filming later this year,
so he's like intentionallyworking on stories.
And he kind of did his showand then he kind of just did crowd
(43:02):
work for basically another hour.
And he brought his dog on stage.
Hammer.
Yeah, he.
Yeah, he kind of just did hisshow and then he did like kind of
a crowd work show back to backfor two hours.
So that was cool to watch.
And there was also a hotbreath of Rob Augusta was in the
(43:24):
audience.
Oh, nice.
So he.
He was there because he hit meup beforehand asking if I was going
to open for him.
And I was like, yeah, man, ifyou could get a picture.
Like, I told Rob to tag me.
And then like, before theshow, they're like, if you take your
camera out, we're gonna murder you.
And basically so.
(43:47):
Oh, that's funny.
Oh.
But I mentioned on last week's.
One of last week's.
Last week's shows that we didtogether, the crowd was a little
rowdy and a little bit more unruly.
And his tour manager was like,hey, before you bring him up, just
like reiterate, like, noyelling out, no cameras and stuff
(44:09):
like that.
So they.
They were more on their gamewith that this time as well.
Like, we're not doing thatagain, like, because I don't think
that kind of show had happened.
They were saying that kind ofshow hadn't happened in a long time.
So it was fun.
It was fun.
Over the.
Was it four shows?
(44:31):
I see four of his shows.
I kind of got a differenttaste of how each show could go.
It was a good kind of crosssection of here's like a perfect
show.
Here's one completely off the rails.
Here's a mixture.
Like, it was good to kind ofsee the variety that could happen
at shows at that stage.
That he did this past two weeks.
(44:52):
Were any of them back to back?
Did he do any like a 7 and a 9or was they just one night, kind
of one show time?
Just one night.
One show.
Okay.
Yeah.
Okay.
Quote, pop up shows.
Yeah, yeah.
So theaters sold out.
Yeah, yeah.
So I guess from an observationperspective, did you observe sort
(45:14):
of like, I guess from acomedic element, how the jokes evolved
between all three shows interms of how.
What he was working on.
He was always trying new tags.
(45:37):
Okay.
So he has.
He has, like, established stories.
Yeah.
And then.
But each show he was almosttrying different things at different,
different stories.
Like, one show, he may try afew new things in this one story,
(45:57):
and then everything else ismostly the.
Same about the same.
And then another show he'slike, all right, let me try to tinker
on this story.
This time he wasn't, because,I mean, that's something.
As we try to develop newmaterial as comics at any level,
sometimes you want to go outthere and be like, oh, I'm going
to try all these new things,and either you forget them because
(46:19):
you're trying too much at onceinstead of just focusing on a little
bit at a time and justincrementally tweaking stuff over
time.
Yeah.
So it.
Yeah, it's more productive ifyou're like, okay, I'm gonna try
this one new tag on this setand see how it goes.
And then whatever else happensis cool.
But as long as I get this onenew tag out, then this set was a
(46:41):
success.
So he definitely had that sameapproach of trying new things, but
not all at once, like, pickinga story for this show.
All right, let me try to tagthis up differently or add a different
point of view or things like that.
Yeah, definitely, definitely trying.
(47:02):
Continuing to try and developthe jokes.
Okay.
They.
They do.
They were different every time.
Like, not one set was like thesame from beginning to end.
Okay.
And seeing.
Sometimes he wasn't married tothe order either.
(47:22):
He had like a roughchronological order to how he would
roll out his jokes.
But sometimes he would kind of.
If something came uporganically, he would kind of throw
in a joke maybe in the firstquarter of a set that I heard him
do at, like, the back quarterof his set another night.
So he was still flexible tokind of weave in stuff as it came
(47:44):
out conversationally, or if hewas doing crowd work, maybe it led
him to a different bit than ithad in a previous night.
So, yeah, overall, the samestructure of the set, but flexible
for sure.
And did he work on it firsttwo shows.
Because you said he did crowdwork on the.
(48:05):
On that last show.
Like, basically an hour ofcrowd work.
Did he do any work in thefirst two shows, or was it just purely
just jokes set, no back and forth?
Or did he spray in, like, backand forth with the audience on the
first two shows?
Yeah, he.
He weaved in crowd work in allof his shows.
Okay, what was crazy, theshow, the Sandy Springs show, he
(48:29):
had this viral clip about thislady made him a shirt from, like,
coming Georgia.
He says, like, I love coming.
Oh, that was from.
That was from the SandySprings show.
Oh, yeah, dude.
They're like.
I mean, yeah, Saturday show.
The clips out Monday, like,oh, wow, they are on it, dude.
On it.
(48:51):
So that clip goes viral atthis show this week.
Someone gave him a coming hat.
People were yelling out, like,coming Georgia.
Like, it was.
It was crazy.
Like, people saw the clip andare like, now live.
It was wild to see.
(49:13):
Okay, so, yeah, he.
He would do crowd work each show.
This last show, he basicallydid his show and then was like, we're
just gonna do crowd work for a while.
And then he kept referencing.
He's like, guys, the show wasover 30 minutes ago.
So, you know, he kept sayingstuff like that.
But his crowd was very organic.
It never felt shoehorned or itnever felt forced.
(49:38):
I've seen so many comics do,like, forced crowd work or even,
like, you know, I've seencrowd work comics at comedy clubs
here, and they'll be like,okay, now's the crowd work portion
of the show.
They almost, like, separate.
Yeah, the two.
(49:58):
His.
There was never.
In any of the shows I saw.
There was never a moment oflike, oh, that felt forced, or, oh,
that was a bit jarring, or,oh, I can see he's mining.
He's mining for a clip here.
Yeah, it was all very organic,very conversational.
(50:18):
None of it felt fabricated.
So when he did do crowd work,it was very conversational.
And almost like, you almost.
I almost, like, wouldn't evennotice him doing it.
In a sense, it all just kindof flowed so well.
And I.
I remember talking to hisvideo guy, Kyle, about, like, yeah,
(50:39):
they.
They never go out there withthe intention of getting a clip.
It's like, if it happens, cool.
If not, cool, cool.
But they never try to forceany moments or any interactions,
which, I mean, you know, Iwent through a little phase where
I was trying to do crowd workclips, and every time I did it, it
(50:59):
felt so forced, and it felt unnatural.
And it's a.
It's a skill and, and listen,there was a moment in the show this
weekend where, like, it didn'treally lead anywhere and he was like.
Yeah, Everyone says in thecomments says crowd work is easy.
He's like, that happens, youknow, where, like, it just kind of
(51:20):
didn't go anywhere and theyjust kind of moved on.
But he's very.
It's like, clearly the moreyou perform in venues that size,
the better you get.
But, like, everything feltvery intimate and very connected.
And whether you're in thebalcony or in the front row, it really
(51:43):
felt like he's talking to you.
And it felt like almost acomedy club energy, even though he's
in front of thousands of people.
Yeah, that is very cool.
Does that answer that?
I remember what the question was.
Yeah, yeah.
No, no.
Yeah, it was just about whatwas different from it.
(52:04):
Yeah, I mean, I don't know.
Like, I guess, you know, ifyou still want to go into more details,
like, what does force crowdwork versus not force, crowd work
look like that we can tellthe, like, comics, like, haven't
seen it from pretty much likethe master of crowd work, I would
probably say, in ourgeneration, like, he's.
(52:24):
I mean, Matt Rife is probablythe richest comedian from crowd work
that we now know.
Right.
Like, in terms of just like,if you look at that list.
Right.
He's probably the only.
Yeah.
That are crowd work, like,heavy in terms of how they got big.
(52:45):
Oh, that top 10 highestgrossing comics last year.
Right.
So just curious, what'sanything that you could glean that
you could advise comics on, onwhat's forced versus what is not
forced crowd work?
I think the questions you asknumber one.
(53:08):
Yeah.
I used.
I used that example when I dida local show here a few weeks ago
where I said the host was upthere clearly just mining for crowd
work clips, clearly just goingfrom table to table and like, asking
questions like, oh, so what'syour deal?
Or, you know, what do you dofor work?
(53:29):
Just asking generic,irrelevant questions.
Like when Matt would do crowdwork, it was related to something
he was talking about or it was conversational.
It wasn't all of a sudden,like an abrupt just, okay, crowd
work time.
And like, pointing.
Pointing at the even.
(53:49):
Just like pointing is a little aggressive.
They're just like on the frontrow, like.
Like, I think asking justgeneric crowd work questions.
What do you do?
Yeah, are y'all together?
I don't know, just more oflike, baseline questions with no
(54:10):
real depth to them that itclearly isn't leading.
And, you know, people askthose questions and they get viral
crowd work clips.
So I'm just telling you frommy point of view.
Absolutely.
And seeing it done at so manydifferent levels that if you can
ask more interestingquestions, because that's what Ian
Bag said on the podcast wasyou're having a conversation.
It's not.
(54:31):
It's not like a monologue.
You're having a dialogue withthis audience.
So ask them interestingquestions that lead somewhere interesting,
and that's where the humorwill come from, instead of you trying
to, like, like, pry a joke outof them.
Yeah.
And when you're doing it, itwill feel forced.
Forced crowd work.
You will feel it yourself.
(54:52):
Because I've done just feels unnatural.
And you feel like you'retrying to get something and you're
not really connecting withthat person feels forced to you.
When you do, it will be a bigindicator of that as well.
I don't know.
What do you think?
I mean, I think from a crowdwork perspective, I think it's about
(55:16):
keeping it in natural conversation.
But I think sometimes I don'tknow if people know what that means.
Right.
So, like, if you're talking about.
I mean, I think even, like, Iknow I have parts of my bit where
I talk about how long I'vebeen married and how, you know, and
in my longer set, I'll just.
I have a bit that says, youknow, I think the secret is not to
(55:39):
be honest 100% of the time.
And I'll ask somebody, hey, what.
What's your secret?
Like, you guys have beentogether for a while.
What's your secret?
And they'll think about it, orsometimes they'll just say, you know,
it's communication.
And then I'll say, oh,communication, that sounds terrible
100% of the time.
And then I go right into.
Back into, like, my bed.
Or I ask the question before Igo into what's the secret kind of
(56:02):
thing?
So it's like, I think there'sa natural way to do it, but I think
the hardest thing is kind oflike learning that skill.
Right.
To your point, getting awayfrom those generic questions, Are
you all together?
Are you.
What do you do for a livingkind of thing?
Because, you know, that's.
Yeah, that's the big one islike, what do you do for a living.
(56:22):
That'S been beaten badly froma crowd work perspective.
So, yeah, I think justbringing it into natural conversation,
where it's a part of your setversus it's like a whole section
of your set, you're like,okay, now I'm just gonna do crowd
Work or I'm just gonna askquestions, and if I don't like the
(56:43):
answer, I just move on to thenext person kind of thing.
That's like.
I've seen some of the New York comedians.
One of my favorite, like,even, like Caitlin Palufa, and I
think Jordan Jensen also doesthis, right?
It's sometimes they talk aboutjust being single, and they'll ask,
like, hey, did y'all meet on adating app?
Or what dating apps?
(57:04):
And then they go into a bitabout that dating app experience.
Like, that's natural.
You know what I mean?
Because you're just sort ofsetting yourself up for that bit.
But, like, when they, youknow, they don't do it.
But, like, I'll see othercomedians, they would just ask, so
how job meet on a dating app?
Which one?
Have you tried this one?
What other dating apps do you use?
(57:26):
Long you been on the dating apps?
I'm like, what is this?
Yeah, yeah.
I.
It's just.
Just don't.
I think is the big.
Just don't do crowd work.
I mean, that's probably.
That's the.
That's, you know, the best wayto avoid force crowd work is just
(57:47):
don't do it.
Just don't work on your act.
Develop your material.
That's so funny.
Just one thing at a time, kids.
Just get a.
Get a good set first, get goodjokes first.
Get good at coming.
(58:08):
And, you know, and that's mebeing the grumpy old man.
Like, you know, just work onyour act.
You can feel it when it's forced.
And crowd work is a skill.
It's a completely.
It's another skill that themore you do it, the better you get
at it and the more natural itwill become.
But it's.
(58:30):
Yeah, it's tough to.
Yeah, it's tough to tell.
Comics don't do crowd work.
And now we're talking aboutMatt Rife, who did crowd work.
And you know what I mean?
So.
But also, like, Matt is also.
Is a, like, establishedcomedian, too.
(58:51):
Like 15.
20, 15 years, I think, beforehe popped.
So there's that too.
Right?
So he had the show to back upthe crowd work for sure.
Like, if his show was thesecond half of this past weekend,
people may not, like, be,okay, cool, we saw it.
(59:12):
But I don't know if they wouldcome back or it'd be a completely
different, like, Matt'saudience, which was the biggest surprise
to me, was, like, it was likehardcore comedy fans.
Like, I assumed it was alljust women that wanted to come gawk
at him, which is how itstarted, but he's curated over time.
(59:35):
These are like hardcore comedy fans.
It was couples.
It was like dads with their daughters.
It was like girls night out.
It was like old retired peoplecoming out.
It was literally everyone.
It was super diverse, allages, races, backgrounds.
He's really developed, like asuper engaged comedy crowd.
(59:59):
But if it was all just crowdwork, like, if that's all the people,
if that's all he provided, allthe shows would probably be like
the one last week where it gota little out of hand, just a little
rambunctious.
That would be the audience.
And I've seen comics at comedyclubs who are known for crowd work
here in Atlanta, and theirshows are a little off the rails.
(01:00:20):
It is like people yelling out,interrupting, trying to make a clip
and make a moment and get ontheir Instagram type deal.
So, yeah, you know, followyour heart, kids.
But I would say develop an actfirst so you have something to back
it up.
If, if you do pop on socialmedia and they come see you live,
(01:00:42):
they're going to want to comesee you again.
That's the big thing, like wesaid earlier, the referral, the retention,
the rebook.
That.
That's.
That's what this game's about.
The re up.
Yep.
Yep.
Be nice, be funny.
Be nice, be funny.
That's the lesson, ladies and gentlemen.
Yeah, I think we did it.
(01:01:04):
Yeah, we done did it.
I agree.
We done did it.
Joe Biden.
You have Joe Biden, Yoshi show.
Yoshi Show.
The Mormon Matt Rife hasstruck again.
Oh, it's so good.
(01:01:25):
Did it.
You done funny.
I'm sure you've got a bicycleoutside that you're going to be riding
and letting people know aboutthe word.
The good word.
The good word.
The good.
The good word.
This was a good word today.
This was a good one.
Yeah.
So thanks for hanging out withus, comedy fam.
If you have any questions,feel free to hit up us on social
(01:01:45):
media.
I'm at Joel Byers Comedy and you're.
I'm Yoshisoh.
Y O S H E E S O Great.
And this month's Clean comedycontest is popping off, so if you
want to join, click the linkin the show notes to go ahead and
register.
(01:02:05):
This month it's going to starton March 10, so go ahead and save
your spot.
I'll be announcing the themenext Monday to all contestants, so
join that and hit us up withany questions.
We're here to help.
That's what we're all about here.
Yeah.
Comics helping comics.
Also, if you're in the AtlantaAlpharetta area, I will also be teaching
comedy classes.
(01:02:26):
The next one starts at the endof March.
And if you want to come to thegraduation show for my first class,
who I'm super excited about,it is going to be March 12th.
March 12th.
It's a Wednesday.
Yeah.
At the Helium Comedy Club isgoing to be a jam.
It's going to be a lot of funpeople out.
(01:02:46):
But, yeah, we're gonna have agood old time.
Absolutely.
And we'll see y'all next week.
Hot breath, verse.
Hot breath.
What's goody Hot Breath verse.
Welcome back to Hot Breath.
This is your weekly guide tocomedy mastery.
I don't know.
It was learn the show whereyou learn comedy from the pros and
then your weekly guide tocomedy mastery and then your.
(00:21):
Your weekly comedy tune up.
I don't know, there's been alot of different phrases but we're
back.
Comedians Joel Byers and Yoshi Show.
Yoshi Show.
Yoshi Show.
Sorry.
This is our first episodewe've ever done.
I realize that people do havea hard time saying that.
Not just you.
Yoshi.
I know it's a 40 inch slip,but I don't even know what a freudiant
(00:44):
slip is.
I know it's just a slip, butyeah, it's usually Yoshi Show.
That's how most people itrolls off.
Yoshi Show, Yoshi Show.
I'll get a Joe Biden a lot.
You'll get what?
Joe Biden.
When people say Joel Byerscome into this or they'll call me
Joel Bowers or Joe.
(01:05):
I've gotten a lot of weirdnames over the career.
But a lady thought at a recentshow I did that he said Joe Biden.
Wow.
Actually I think it was the.
I just did a workshop for likea speaker convention, like teaching
them how to add humor to their speeches.
And a lady, actually that iswhere it was.
(01:27):
A lady.
As soon as I walk up theregoes, oh, I thought he said Joe Biden.
That's how the whole workshopstarted because I got announced by
the guy hosting the event.
I thought I said Joe Biden.
So then, you know, it was offthe rails from there.
I was.
Oh for sure.
But it went well.
It was a good, it was a fun workshop.
Definitely want to do more of those.
But Joe Biden, I get a lot forsome reason.
(01:48):
Oh for sure.
I can see that.
I can definitely see that.
But this whole show is to helpcomics level up their own games by
sharing our experience asprofessional comedians and also answering
your questions directly as well.
So it's really good show.
Just to get better at comedy faster.
(02:09):
Yeah.
The Joe Yoshi Show.
Yeah.
Joel Yoshi Show.
Joe Yoshi Show.
We do have a several excitingthings to get into today.
I got to open for Matt Rifeagain this past weekend.
So a couple extra lessonslearned there and from an audience
(02:33):
that was at least twice thesize of the one last week.
I don't, I didn't get an exact number.
It was at least twice the size and.
But we'll get into that.
But I did want to first Shoutout the hot breath Averse.
Yeah.
We are the world's mostsupportive comedy community.
(02:56):
And I saw in our Facebookgroup that Hot Breath, Bobby Sutton,
Joyce Lyles and Phil Ketron,AKA Grampy.
We're at the Keenan ThompsonShowcase here in Atlanta this past
weekend and it was a packed house.
They killed it.
(03:16):
And I just love seeing the HotBreath verse come together, you know,
I love that.
Yeah, the Keenan Thompson show is.
It's really cool.
They've been doing that for acouple years now.
It's a showcase.
They get people out and thenthey get him out to Las Vegas too,
which I think is very, very cool.
(03:36):
Yeah, they've been runningthat bad boy for a couple years now.
Yeah, I did it pre Pandemicand I.
I don't think they do this anymore.
But at that time they weredoing satellite showcases and if
you won that showcase, theywould fly you to New York and they
would put you up in TimesSquare and then you would get to
(03:59):
perform at Caroline's for.
On a showcase hosted by Keenan.
Wow.
Yeah.
And that was.
That was lit.
Yeah, that was.
That was one of those trips.
You're like, oh, we out heredoing it.
It had a stipend and everything.
We're like, oh, like that,like that.
(04:20):
And then I think like the nextyear, whatever, the Pandemic hit
and just kind of, you know,reset the world.
But yeah, it's great to seethem still doing those events and
more than ever.
And I, yeah, I see peopleposting about it all the time.
So anytime the hot breath ofverses out there combining forces,
I love to see that.
(04:41):
Yeah, yeah.
So, yeah, congratulations,boys and girls.
Yeah, that was great.
And also congratulations to, Ido want to say, Helen Anderson, this
month's Clean Comedy Contest winner.
There's a loud clap for everyone.
(05:03):
But, you know, every month Ihost a clean comedy contest where
comics get two weeks to writea brand new 60 second set based on
that month's theme.
And I want to play her setbecause I actually really enjoyed
her set and I do.
We do a live stream finale ofthe top three and I interview the
winner.
(05:23):
So that interview is on thepodcast on the episode before this.
And if you'd like to competein March's contest, I will link that
registration link in the shownotes of this.
But I do want to play her setjust because I thought it was so
funny and just to give comicsan idea of like how the sets go.
(05:44):
It sounds easy.
Oh, a brand new 60 seconds oftwo weeks.
But then you have.
Then you're like oh, that's alot of writing to get a strong 60
second set.
And that's a lot of editingand you have to film it.
Like there's a lot of steps.
But as Helen talked about in her.
(06:04):
In her interview, she is achronic procrastinator and this contest
gave her like a deadline to belike, okay, fine, I am creating new
material because I have thisdeadline to where I have to submit
it.
So it really helped her.
But she's actually an attorneyduring the day and she recorded this
at her office.
(06:24):
So she is kind of.
She's a little soft spokenwhen she submitted the set, but it's
funny, so I wanted to share it.
So here we go.
Helen Anderson, all the wayfrom Utah.
Enjoy, everyone.
My husband and I have beenmarried 10 years and we're a little
older.
(06:45):
But one thing I love is whenhe wears his reading glasses.
I don't know why that turns me on.
Maybe it makes him look smart,like a professor, or maybe it just
makes me feel seen.
But I get excited as soon ashe starts looking for them.
He never knows where they are.
He checks his pockets.
He checks my pockets.
(07:06):
Sometimes he pretends to losethem just to tease me.
For our anniversary, I got himsome sexy specs from the naughty
eyeglasses store in the mall.
Of course, the pair was see through.
Sometimes I text him in themiddle of the day to ask what he's
wearing, knowing full well hehad to put his glasses on to read
(07:27):
it.
That's love after 50.
It's not blind, but it needs a prescription.
Yeah.
That'S pretty good.
I thought that was fun.
A lot of fun wordplay.
The see through one line wasvery funny.
Yeah, I like that.
(07:48):
That was very good.
Solid.
But yeah, the finalists wereScott Shanahan and Sandy Bernstein
and Helen, who ended up winning.
But yeah, all the sets were awesome.
My wife and I watch all thesubmissions together and now with
our.
Our child as well.
So that it's a clean.
It's a clean contest now.
(08:09):
You know, there's a baby watching.
But it's cool to see peoplewho have, like, competing in several
contests and they were alittle dirtier.
It was cool to see them figureout how to make things clean.
And everyone did a great jobwith it.
I was pleasantly surprisedbecause, you know, booking, well,
one.
I mean, booking clean comedyis a pain because so many comics
(08:34):
are like.
It's like a different languageto them.
They're like, what do you mean?
What is.
How do you.
I can't do what.
Yeah, like everyone can doclean, even if they're not clean.
Like, yes, there's ways to forsure make your dirty jokes clean.
It's just being willing to putin that extra effort.
(08:55):
Absolutely.
And there's different levelsof clean.
Right.
Like, I think that's whatpeople sometimes need to understand.
There's like G rated clean,which is like, anyone, anyone.
I mean, anyone from a grandmato a kid can be in the room while
you tell the joke that's likesuper G rated.
Then there's like PG rated,where you can talk about some other
(09:17):
topics, but definitely have tobe like, okay, just, you know, you're
likely not gonna curse.
Right.
And then there's like PG13,which is like, yes, I'll probably
talk about relations and like,some other topics, but I'm not gonna
curse either.
And then there's just, youknow what?
I would consider sort of justthe rest of comedy, which is that
(09:38):
open mic off, free for all.
Everything kind of goes.
But.
But I think it's also helpfulwhenever you're like, getting booked
for a clean gig to ask whatkind of clean it is.
For sure.
I think that's an important factor.
Even I know comedians who arechurch comedians who do churches
(10:01):
and they have to ask what kindof stuff they can do as well.
Because if you go to a churchand you say something about, oh,
I was drinking with myfriends, they may look down on that
because they don't want youadvocating for drinking at that church.
Yeah.
So my favorite example of thatis Andrew Stanley, hilarious comedian,
(10:23):
preacher's kid.
Like, you know, as clean as it gets.
He.
He told me a time he.
He, like, did a church andthey were.
Where they were drinking beerand every, like, and, you know, everything
was fine.
And then he did another churchwhere he said beer on stage, and
they got upset with him.
(10:44):
So it's like both church gigs,completely different environments,
completely different expectations.
So, yeah, you want to get allthat up front and in writing for
your accountability of, like,if you have any questions about jokes,
then, like, ask the bookerahead of time.
Like, when I did that cleancomedy festival last year that you
(11:05):
were a part of.
Yeah, yeah.
I had several of the comics belike, is this okay?
Is that okay?
And then they even walked intothe show like, is this okay?
Is that okay?
Like, it was funny.
Just hear comics squirm aroundclean comedy.
Like, I don't know, buteveryone can do it.
You know, it's just putting alittle extra effort.
(11:25):
I.
I interviewed Caitlin Palufo,which will be out at some point when
it's Edited.
Yeah.
But she's, she's like, can beas dirty as it gets.
And she was talking about sheopens up for Fortune Feemster a lot,
who is cleaner.
So Caitlin has to clean it upfor her audience.
Yeah.
And she also just did theTonight show.
(11:46):
So she just talks about waysthat, you know, she can be as dirty
as anyone out there, but shealso has techniques to clean up her
dirty material when she needsto as well.
Yeah, yeah.
But she murders murderer at adifferent level.
It is fun to watch her on stage.
Yeah, for sure.
(12:08):
Oh, but yeah, so we want alittle bit of a clean comedy diatribe.
But that is a big motivatorfor the monthly clean comedy contest
now is just giving comics likethat accountability to write clean
jokes just in case somethingcomes up where they want to book
you and you have to do 10minutes clean that you're able to
(12:28):
say yes and actually take the gig.
Because I mean, clean comedypays more.
That's, that's just thereality of it.
And you can do more showsbecause you can perform for more
people.
So.
Yep, just keep that in mind, kids.
So if you want to join thatcontest, I'll link it the registration
(12:49):
from March in the show notes.
But I just want to shout Helen out.
I was very excited for that set.
But speaking of clean as well,did a country club show.
As we talk about differentevents having different expectations,
you know, country club showthis past weekend was what, you know,
(13:12):
you could basically say whatever.
And then other country clubsare like, oh, maybe PG 13, maybe
just don't say anything aboutrace or politics or anything.
But I mean, even if a show isclean or not, if I book a show, I,
I tell comics to like avoidpolitics and stuff.
For sure.
(13:32):
I don't want.
It's at the end of the day, ifI'm the producer, it all ultimately
reflects back on me.
So if anything happens, thatcomic's just going to go on to their
next show and be like, oh,well, not my problem anymore.
But you know, as I'm bookingmore and more country clubs, your
reputation and testimonialsare gold.
(13:55):
So, yeah, I'm alwaysintentional about avoiding that advice
of stuff anyway.
But you, you did me a solidthis weekend in filling in the country
club show, so I appreciate that.
Yeah, yeah, I love that.
It's always good to know thatyou can be a stand in when somebody
(14:20):
gets a big opportunity becausethat's also how comedy happens.
Right.
Like, there's just times when,you know, I mean, I won't name any
Clubs.
But there's many clubs aroundthese here parts that call you last
minute and see if you're available.
Yep.
The day of.
Sometimes the hour of.
Sometimes the hour of.
Yeah.
Hey, can you be here in 30 minutes?
(14:44):
And there's nothing wrong withthat, especially if you have the
time to make it happen.
But sometimes you don't havethe time.
And then some people let youknow like a couple days before and
when you mess up a textmessage and said you are available,
I mean, you're not available.
And what you meant was you are available.
Know, and then they rememberthat and they say, oh, since you
(15:06):
are available, we'll need a solid.
I need a, I need a hand.
Yeah, I.
Because I, I'd worked, youknow, I worked with Matt the week
before on several shows andthen, yeah, this other pop up show
randomly, like on a first name basis.
Now I just, I just want Matthew.
(15:26):
Me and Matthew, I use hisbiblical name, but dude, he.
Matthew sold out.
Yes.
Four theaters in the same cityin two weeks.
Like, it is, it's just, it's acompletely different level.
(15:51):
And I don't know why I'm notsurprised, but when you just see
it, it's just like, what?
Like they all sold out withinlike hours or days.
Like, and this past venue thisweekend was the biggest one yet.
And I, when he post or likehe'll even, he'll even post about
these.
Like it just happened.
(16:11):
Like the venue posted about itand then it just like sells out.
And like when I saw theyposted this pop up show one, I was
like, oh man, that's a big space.
I wonder if he'll sell it out.
And then he instantly sold it out.
And I was like, of course.
But I wasn't gonna reach outand like, hey, you know, yeah, I'll
let your boy here, you knowwhat's good?
(16:33):
I was just like, oh, cool,he's doing another pop up show.
Good for him.
You know, I have this countryclub show anyway, so it's all gravy.
And then, you know, he text metwo days before and I was like, oh,
yeah, let me drop everything.
Yeah, what do you need me to do?
Do you want me to quit comedyand just, I don't know what.
(16:54):
Yes, sir.
Yes, Mr.
Matthew.
Yes, yes, Mr.
Matthew.
But it was, of course I waslike, I mean, obviously the instinct
is like, duh, no brainer.
But I actually, like, I calledyou first and was like, I had this
country club in two days as well.
Yeah.
And I got this otheropportunity and I was like, I Was
(17:16):
kind of on the fence aboutjust doing the right thing and making
sure I don't leave thiscountry club out it.
Like, because I had a.
I had an experience a fewyears ago with a comedian, James
Gregory, who.
If people don't know alegendary comedian, especially in
the South, I mean, he wouldjust go around the south selling
(17:36):
out theaters and just.
He was a millionaire.
And I'm gonna model my careerafter that.
I don't want to.
I don't want to go anywhere.
I don't have to drive now.
But I.
I went and met him at one ofhis shows in Chattanooga, and we
talked after.
And then basically he invitedme over to his house and we talked
for several hours.
And then he invited me on theroad with him, and he's like, all
(17:58):
right, I have this date.
Can you do it?
And of course, it was kind oflike a Matt Rife thing of like, oh,
yeah.
I mean, I just said yes.
And then later on, I realizedI had a corporate event that night.
So then instead of justtelling James immediately, and James,
rest in peace, he's actuallypassed now, and this was actually
(18:19):
the last time we spoke, unfortunately.
But instead of telling himimmediately, oh, I have a corporate
event that night, I can't dothat date, but would love to do a
future one.
Einstead was, like, going backand forth with the.
The company of like, hey, Igot this other opportunity.
I don't think I can do it, butI could help find someone or whatever.
(18:40):
And they were.
They were just.
I mean, it was all kind oflast minute, in a sense, and they're
just like, oh, like, I don't know.
It was.
It was a cluster fudge, dude.
And long story short, ended uptelling I couldn't get out of the
corporate gig, which, youknow, in hindsight, I will take the
corporate money, but, yeah.
(19:00):
And just tell James I can doanother one.
But I waited the last minuteto the point where, like, I had to
call James and be like, I hadthis other event.
I can't do it.
And then he was upset.
Yeah.
And because it was, like,super last minute, and he's like,
now I have to find someoneelse after.
Yeah.
He booked it fairly in advance.
This was all on me.
(19:21):
Yep.
And then he got.
He was upset, and he's like,I'm trying to run a business here,
basically.
And it.
Long story short, that's thelast time we talked.
Yeah.
And it all comes down to communication.
And I should have just been upfront, been like, hey, here's the
reality of it.
So I I learned that lessonthere and immediately reached out
to the general manager of thecountry club and was like, hey, here's
(19:44):
what's happening.
Like, I got this opportunity.
And he completely understood.
He's like, oh, yeah, you wantto go perform for.
Yeah, of course.
Yeah, go for it.
And not only that, I had a substitute.
Our lineup.
I had you.
Similar to.
When didn't you fill in for meat a helium event, like Don McMillan.
(20:07):
Yeah, yeah, yeah.
Opening for him.
Like, I had to reach out tothem and say I couldn't do that,
but I think I had to cancel onthem for something.
Yeah, but I had you on deck.
I was on not only like, hey, Ican't do it, but I have this reliable
comic who's going to do it.
Like, doing the job for them.
Absolutely.
Yeah.
But, yeah, it's justcommunicating at all levels.
(20:28):
It was.
I learned that the hard way.
So with this country clubevent, it was just, all right, communicate
up front.
Just be transparent and honestand people will appreciate that.
So I'm hoping that's a lessonother comics don't have to learn
the hard way.
Like I did.
Yeah.
And absolutely.
And then.
And then the show was like a success.
(20:49):
Like, it was a great show.
Yeah, yeah, great show.
I'll be very surprised if youhear anything bad about it.
You let us.
Yeah, he was very happy.
Yeah.
You actually let us know thatit wasn't a clean show, so that's
always good to know.
But there were.
There were children there, soit was definitely one of those things
(21:11):
where you just had to adjust.
But we were fine.
And could I say some peopleadjusted to the children.
Yeah.
And some people say it doesn'tsound like everyone adjusted to the
children, but it wasn't a problem.
It wasn't a problem.
Yeah, yeah, yeah, yeah, yeah,they were.
It was very obvious that thiswas an adult event.
Yes.
(21:31):
So, but yeah, the child thatwas there definitely made appearances
in people's set for sure.
Because it was very, veryobvious that there was a child in
the audience.
Like a 12 year old type vibeswere they sit on the front very close.
(21:51):
I mean, it wasn't.
It was like three rows back,but definitely close to the front.
People trying to get crowdwork clips with a 12 year old.
And here's the thing, like thelights that you had came from like
this left side.
Right.
So light came from the leftside, so you can't see anything back
there.
You could see a child theright side, just clear as day.
(22:20):
Hilarious.
But they were fine.
Like everything.
Yeah, they were yeah, yeah,yeah, yeah.
I mean, the child became,like, the butt of a lot of the jokes,
but also, like, very much,like, into it.
Right.
Made for great, like, crowd work.
(22:40):
Some of the comedians talkedto the mom, like, why you bring this
child out here?
Of course.
Yeah, yeah, yeah, yeah, yeah.
I mean, and even some were just.
Just like, oh, you're tryingto teach her that life isn't fair
and not to do this when shegrows up.
So just like, yeah, yeah,funny stuff to riff on, but just
overall, amazing show.
(23:00):
Great country club and.
Yeah, yeah, they were very,very into it.
They enjoyed every lastcomedian that was on the show.
It was a good, great lineup,good staff.
The food was great.
You know, I mean, the usual.
Yeah, it was awesome.
Yeah, yeah, they're.
And that you saying the.
(23:22):
I set up the lights.
I.
I do want to also say, like,for comics out there, like, I went
early, set up everything, madesure, like, made sure he knew, like,
the general manager knew,okay, everything's gonna run completely
smoothly.
I'm still hands on with this,even though I'm gonna go do this
other event.
So.
So, like, I went early, set upsound, lighting the backdrop, and
(23:46):
basically all you all had todo was just show up and do the show
for sure.
And that made it easier andpeace of mind for everyone.
So I was still.
I still went the extra milejust because, like, your word of
mouth is so important in thisgame, and networking is so important
in this game, and referralsare so important and valuable in
(24:07):
this game.
So that's why it's soimportant to be, like, we say, be
nice, be funny.
And also, you never know who'sin the audience at any given show
that maybe they're scoutingcomics to do, like, a private event
or something like that.
Absolutely.
(24:28):
And so if you just phone it inthat night, you just never know who's
going to be there.
So the same with you getbooked from, like, a booker at a
country club on one show, youcould maybe tap into them as a referral.
Oh, do you know any othercountry clubs who would like to do
this?
And if it's not a great showor they don't have a good experience
with working with you, thenthat's the last time you work with
(24:49):
that.
Them and any referrals, whichare gold in this game.
Absolutely.
But, yeah, man, it was a good show.
Good show all around.
Good lineup.
You know, people actually satwaiting for us to talk afterwards
as well.
You know, I love that.
Right.
So that's like, my jam.
(25:10):
I'm.
I'm a.
I'm a networking fiend.
I love talking.
So after the show we werejust, you know, chit chatting, meeting
people, you know, talking withpeople that we riffed on on stage,
just.
And it was great.
You were getting the childasked for autographs.
Yeah.
(25:31):
The mom came up to us and wasjust very appreciative that we at
least like acknowledged thatthere was a child in the audience.
And also the fact that likeshe was like, oh yeah, she hears
all this all the time.
And I think the last comedianwas a teacher and just had like an
(25:51):
entire bit about kids andschools and it was just like hit
so hard because the child waslike, yep.
And then the parents werelike, yep.
Like they were just.
Everyone was inexperiencedthat kids are terrible and that teachers
have get the short end of the stick.
(26:11):
It was just a good show allaround, but it was great.
Yeah, yeah, yeah.
Was.
Yeah.
Usually in that sit, theparent is probably bringing the kid
there as bait of like hopingthat they'll get made fun of or something
like that.
For sure.
Yeah.
Either as bait or the factthat they couldn't find a babysitter.
But it was a country club.
(26:32):
I'm sure somebody, I'm suresomebody could have babysat for sure.
I'm sure they had a maid orsomebody could have babysat.
It was, it was that kind ofcountry club.
Oh yeah, yeah, yeah.
It was a.
It was a good one for sure.
Yeah.
The kind where they all hadgolf carts and yeah.
Drove to the show and we'redrinking and driving.
(26:54):
Yeah, it was great and it's great.
And this is, this is also alesson for comics that want to produce
their own shows is the venueis the most important part of you
(27:14):
producing a show that's goingto be successful or not.
So not working with just anyvenue, but with a venue that is invested
in your show, that wants tosee us succeed, that's going to help
promote your show, that's likeactively cares about your show being
a success.
Yeah, it.
That is.
(27:34):
You know, you and I haveproduced several shows over the years
and I've interviewed severalshow producers and like the num.
The venue is the make or breakof your show.
You want to make sure you'reworking with the venue.
So this country club, the guy,very hands on, set up the room.
(27:55):
Like when I was there settingup the sound and stuff, he was like
setting the tables up becausethere were some like posts throughout
the room.
So he made sure the tableswere set up around the post.
So nobody's view was like Blocked.
He.
They helped promote.
I mean, they pretty muchpromoted to their members and it,
like, sold out fairly quickly, really.
(28:17):
But they were very hands onfrom beginning to end to make sure
that everything was done asprofessionally as possible to make
this a success.
So whenever you decide toproduce a show, make sure it's with
a venue that cares and that is invested.
Because sometimes a venue willjust be like, oh, yeah, just.
(28:38):
You just set up over there andlike, you're gonna be promoting it
and like, what's, what's,what's all this?
You know, it's.
They.
The venues that make or break.
If you're producing a show,you really want to make sure you're
working with them.
Yep.
Because I know you.
You have that with yourmonthly show.
You do at that theater in Duluth.
(29:01):
Yeah, they're very hands on,very, like, brainstorming ideas on
how can we promote this.
Like, it's a verycollaborative relationship and that's
why it's been going on for so long.
You've been doing that foryears now.
Yeah, yeah.
I mean, yeah.
I mean, the venue and likejust the producer of the place, I
mean, the owner of the place,just like, it's always collaborative.
(29:23):
It's always like, hey, isthere anything we can do different?
I mean, we've played withticket prices, we've played with
promotions, we've donedifferent things.
Ads, all that stuff.
Right.
But also like, willing to trythings, willing to say, okay, can
we try to bring somebody.
Which we did.
We brought somebody, like abig time comedian in town just to
(29:45):
see how that would work.
It was good.
Like, we've played with.
We're just having like acouple of people on the show versus
a lot of people on the show.
And so, yeah, we've playedwith many different things.
And yeah, that show's beenrunning for six plus years now, which
is wild.
But, yeah, it's on show.
I get to do it.
Like, it's.
(30:05):
It's.
I love that show.
Yeah.
It's a theater.
Beautiful theater.
Gorgeous, gorgeous space.
Sounds amazing.
Yeah.
Yep.
Where you filmed your comedyspecial, which is available on the
Hot Breath YouTube channel as well.
Boom.
Let them know.
(30:26):
Yeah, yeah, yeah.
It's a great space.
Yeah.
Weirdly enough, I also have a.
I have a country club thisweekend that I'm doing as well.
Damn.
Yeah, I'm literally doing thetheater and the country club after.
Uh, and the country club alsowas one of those things where I was
like, hey, I'm going to be ata different show, so I'm gonna have
(30:53):
somebody Help me host featureand headline.
So that's exactly what I did.
And the people that I'mworking with, they're like, oh, yeah,
that's great.
We're down for that.
And so that's exactly.
So, yeah.
Oh, man.
I'll be at one show whileproducing another show, which is
exactly what you were doingwith Matt this weekend.
And I love.
Yeah, that's awesome.
Yeah.
(31:17):
Yeah, I could have filled inon that one.
But that's fine.
You don't want to.
That's totally fine.
I.
I see how it is.
You tick for tack.
I see how it is.
It's.
It's totally fine.
Don't worry about it.
I'm.
Don't worry about it.
I'm not bitter.
That's fine.
Don't worry about it.
This is the last podcast we'reever doing, so I hope you all enjoy
(31:39):
it.
I'm so not worried about it.
But, yeah, this.
Yeah, I guess we could talkabout this Matt Rife show compared
to the other ones.
And I do want to thank.
So many people.
Reached out, and we're like, congratulations.
(32:02):
You deserve this.
You've earned this.
Like, it was, like, just yearsand years and years of putting in
consistent work for it, kindof just to pay off in this way.
And, you know, I mean, I'mstill out here, and, you know, I'm
not.
I mean, I.
You know, last Thursday, I wasthe day I found out I was doing Matt
(32:24):
Rife's show.
I was at a distillery in frontof 12 people on a Thursday, rubbing
the wall.
So, you know, it was, like, inan art gallery in this distillery,
and I was just talking to thepaintings, like, oh, maybe y'all
will find this funny.
Instead, like, I.
I closed out the show.
They had been drinking, like,liquor for a few hours.
(32:45):
They were tired.
It was a Thursday.
It was, like, after nine.
Yeah, it was.
It was fine.
The show was fine.
Y.
But it wasn't like, give me,give me.
You know how you were like, Iwant everything to be a 10 every
single time.
And it was just more.
They were just politely.
And it was 12 people.
I don't know what for sure,but I still have to say.
(33:07):
Yeah, so I.
You know, I was doing thatshow as well.
So.
We do it all, dude.
Yeah.
Yeah.
I was on an impromptu.
Impromptu show on Thursday atthe Helium as well.
Just went out, you know,because it's right down the street
from the house and did animpromptu mic.
It was a great show.
Made contacts there.
(33:27):
So, yeah, I mean, the grind is real.
It's Never all country clubs.
Of course we want it to be,but no one is just doing all country
clubs.
Very few people are just doingjust nothing but country.
Yeah, we just getting.
Getting them reps.
Yeah, you got to.
Get the reps in.
However.
However it comes.
Getting dim reps.
(33:49):
So this.
So this show.
I don't even know what to sayabout it.
I don't know what should I say?
So let's start with like, Iguess what was different?
Let's just start with.
I mean, we talked about theother two shows.
What was the difference in theother two shows versus this show?
And like, what are somelessons that you learned on this
(34:12):
show that you didn't pick upfrom the other two?
Well, the venue was literallyat least twice as big.
And maybe.
Yeah, I don't.
Maybe not quite three times.
It was way, way bigger thanthe other two.
(34:32):
So.
And like each one gotprogressively larger.
So like I did the first, theBuckhead theater with him where it
was the guest spot.
And.
And then I did the SandySprings theater with him, which is
what I like was the opener.
It was just me and him on the show.
And then this one was the samesetup of just us two, but just in
(34:53):
front of a much larger crowd.
So it was good to beprogressively, like it get progressively
bigger and not just throwninto the bigger one.
Yeah, probably the.
This has nothing to do withthe show.
But parking was like in.
(35:14):
They had to open thisbackstage gate for parking for.
And that was where the line was.
So people were waiting inline, so they had to like part the
line so I could go back thereand like park like behind this like
blacked out fence.
Yeah.
So they all probably thoughtlike Matt was pulling up and then
(35:35):
I'm just in my Camry hybrid.
I'm in my 2012 Camry Hybrid.
Just like, oh, excuse me,excuse me.
Thank you, thank you.
With my rose.
With my rose club sticker onthe back looking like, like Matt
Rife's chaplain or something.
Just pulling in.
(35:57):
So funny.
Let's pray for a good show.
Yeah, that's.
That's basically what itlooked like.
Oh, and Matt's videographerKyle called me Mormon Matt Rife,
which was maybe the line ofthe week.
I mean, that was.
(36:18):
Oh my God.
Mormon Matt Rice.
Mormon Matt Rife.
That's gonna be Merchant.
There going to be merch.
I'm gonna put that on my website.
Who wants to book the Mormon Matt.
R.
Yeah, dude, that's so funny.
My crowd work is like confessionals.
It's like.
(36:43):
You just have Like a seat onstage, like a divider.
And then you tell everyone, goahead and say your confessions and
I'll let you know.
Say three Hail Marys and then.
My God, go ahead and do two dabs.
Yeah, yeah, yeah.
I did walk out to the dab again.
(37:06):
You best believe, of courseyou did all the shows.
I did.
I walked out to a dab.
I mean, it's like a hugestage, so it's like, what do I.
What do I do with all thiswalking time?
So I'm just dabbing, like.
Yeah, because you can't messthat up.
Because if you danced, youmight have messed that up.
You know what I mean?
Like, yeah, yeah, yeah, yeah,yeah, yeah.
(37:28):
So we just walk out to the dab.
Give them a little dab.
Will do.
Yeah, yeah.
But it was.
Yeah, the venue was much bigger.
Long word for it.
Trying to think of what else I think.
Well, one thing I was veryfocused on, intentional about the
other two.
I almost over prepared and Iwas very robotic and I just didn't
(37:53):
feel in the moment and I feltout of rhythm with the audience.
So this show I was like, I'mjust gonna focus on having fun.
I'm just gonna.
And to the point to where Idid go blank a few times, you know,
I was doing 15 minutes in this set.
I went blank a couple times.
(38:14):
And then, you know, like when.
Once you have enough material,like, you just have stuff in like
your holster that, like.
Sure.
Muscle memory.
So like a few times I kind ofwent blank and then just like pulled
out a muscle memory from likeeight years ago of like, you're doing
some joke that I don't eventhink about anymore.
But in the moment of panic,I'm just like goodwill, like, just
(38:38):
out of nowhere.
But it was in.
I was focused more on havingthe set.
Like, the set went.
The set went great, but it was interesting.
This was the biggest crowd,but it was not the best crowd.
It.
The.
The laughter was just.
It was just different.
The timing.
(38:59):
Was it because it was bigger,you think?
Or do you think it was a crowd?
It.
The crowd had a different ceiling.
You know how every crowd kindof has a ceiling of like their laughter
is going to be nines the wholetime or sometimes it's a six.
Everyone still has fun, butjust the temperature of that room
is not as hot as othersbecause I.
I was in my head about alittle bit.
(39:20):
And then when I was watchingMatt's set, I was just also like,
oh, that's this.
This crowd.
Yeah, that's kind of theCeiling of this audience.
This is.
This is how high they go,basically, and this is how they respond
to things.
Things.
So that made me feel better.
It wasn't, like a bad show,but it was just different.
And I was kind of like, oh,no, did I.
Did I?
Was I too loose?
(39:42):
But no, they.
They had fun.
And, like, it was this, like,watching Matt set helped to realize,
okay, this is just theresponses that they're giving.
But I did have.
I was like, I want to slow down.
Because I remember we talkedabout the last shows on last week's
podcast, and I felt rushed and not.
I wasn't connected with theaudience, so I really wanted to connect
with this audience.
(40:03):
And there was.
And slow down.
That's something.
Yeah, every comic can do.
Every comic needs to slowdown, period.
And it can feel like you'regoing too slow.
Yeah.
But you're not.
It's only in your headenunciating, going slower.
And there was one joke where Iwas just.
(40:23):
I slowed way down.
I let the first line hit, andI let the laughter, like, breathe
and kind of vibrate in the room.
And then I hit it with the tag.
And I was very slow and very intentional.
And it was like, I don'treally play golf much, but, like,
you.
Sometimes when you, like, youswing a golf club and you hit the
(40:45):
sweet spot and it's just like, boom.
And you just feel the rhythmand it all just is super smooth.
Like, yeah, doing that jokejust felt.
It felt like that.
And I was like, oh, I foundthe timing.
And then I went back to kindof, like, rushing a little bit.
And, like, I didn't slow down.
It, like.
But in that moment, I waslike, oh, you get that Every comic
(41:07):
will have this at every levelof, like, even in the middle of,
like, an open mic set, onejoke may just pop and you're like,
oh, I figured it out.
Or you'll have a set whereeverything pops and you're like,
oh, I figured it out.
And then you bomb for three months.
But, like, I felt it in thatjoke, and I was like, oh, okay.
I got a taste of how toconnect in a crowd that size.
(41:33):
Yeah.
So I gotta.
I got just enough of a tasteof it to be like, oh, I want more.
Give me more.
But give me more.
I did.
I had, like, a riff with thespotlight where I did, like, a joke
of an act out where I scurryacross the stage, and I just was
(41:53):
like.
Then I started playing withthe spotlight and him trying to keep
up with me.
So, like, yeah, I Had momentsof fun within this set that I didn't
have in the other ones.
For sure.
I set that intention goinginto it.
That's awesome.
Yeah, I love that.
Yeah.
I don't know what.
I don't know really what to.
(42:14):
Yeah.
To say.
So that was on the performance side.
How was it on the work side?
Because you were also workingthe show.
Yeah.
And.
Yeah, I mean, in this show,Matt did almost two hours, and in
the other shows he did not.
He maybe did 70 to 80, 90 eacheach other's show probably.
(42:41):
Yeah.
And this one, he.
I think he was just.
He was like, we're out here,let's do it.
Like, and he just kept going.
So he basically did his whole.
He's working on a set for aspecial he's filming later this year,
so he's like intentionallyworking on stories.
And he kind of did his showand then he kind of just did crowd
(43:02):
work for basically another hour.
And he brought his dog on stage.
Hammer.
Yeah, he.
Yeah, he kind of just did hisshow and then he did like kind of
a crowd work show back to backfor two hours.
So that was cool to watch.
And there was also a hotbreath of Rob Augusta was in the
(43:24):
audience.
Oh, nice.
So he.
He was there because he hit meup beforehand asking if I was going
to open for him.
And I was like, yeah, man, ifyou could get a picture.
Like, I told Rob to tag me.
And then like, before theshow, they're like, if you take your
camera out, we're gonna murder you.
And basically so.
(43:47):
Oh, that's funny.
Oh.
But I mentioned on last week's.
One of last week's.
Last week's shows that we didtogether, the crowd was a little
rowdy and a little bit more unruly.
And his tour manager was like,hey, before you bring him up, just
like reiterate, like, noyelling out, no cameras and stuff
(44:09):
like that.
So they.
They were more on their gamewith that this time as well.
Like, we're not doing thatagain, like, because I don't think
that kind of show had happened.
They were saying that kind ofshow hadn't happened in a long time.
So it was fun.
It was fun.
Over the.
Was it four shows?
(44:31):
I see four of his shows.
I kind of got a differenttaste of how each show could go.
It was a good kind of crosssection of here's like a perfect
show.
Here's one completely off the rails.
Here's a mixture.
Like, it was good to kind ofsee the variety that could happen
at shows at that stage.
That he did this past two weeks.
(44:52):
Were any of them back to back?
Did he do any like a 7 and a 9or was they just one night, kind
of one show time?
Just one night.
One show.
Okay.
Yeah.
Okay.
Quote, pop up shows.
Yeah, yeah.
So theaters sold out.
Yeah, yeah.
So I guess from an observationperspective, did you observe sort
(45:14):
of like, I guess from acomedic element, how the jokes evolved
between all three shows interms of how.
What he was working on.
He was always trying new tags.
(45:37):
Okay.
So he has.
He has, like, established stories.
Yeah.
And then.
But each show he was almosttrying different things at different,
different stories.
Like, one show, he may try afew new things in this one story,
(45:57):
and then everything else ismostly the.
Same about the same.
And then another show he'slike, all right, let me try to tinker
on this story.
This time he wasn't, because,I mean, that's something.
As we try to develop newmaterial as comics at any level,
sometimes you want to go outthere and be like, oh, I'm going
to try all these new things,and either you forget them because
(46:19):
you're trying too much at onceinstead of just focusing on a little
bit at a time and justincrementally tweaking stuff over
time.
Yeah.
So it.
Yeah, it's more productive ifyou're like, okay, I'm gonna try
this one new tag on this setand see how it goes.
And then whatever else happensis cool.
But as long as I get this onenew tag out, then this set was a
(46:41):
success.
So he definitely had that sameapproach of trying new things, but
not all at once, like, pickinga story for this show.
All right, let me try to tagthis up differently or add a different
point of view or things like that.
Yeah, definitely, definitely trying.
(47:02):
Continuing to try and developthe jokes.
Okay.
They.
They do.
They were different every time.
Like, not one set was like thesame from beginning to end.
Okay.
And seeing.
Sometimes he wasn't married tothe order either.
(47:22):
He had like a roughchronological order to how he would
roll out his jokes.
But sometimes he would kind of.
If something came uporganically, he would kind of throw
in a joke maybe in the firstquarter of a set that I heard him
do at, like, the back quarterof his set another night.
So he was still flexible tokind of weave in stuff as it came
(47:44):
out conversationally, or if hewas doing crowd work, maybe it led
him to a different bit than ithad in a previous night.
So, yeah, overall, the samestructure of the set, but flexible
for sure.
And did he work on it firsttwo shows.
Because you said he did crowdwork on the.
(48:05):
On that last show.
Like, basically an hour ofcrowd work.
Did he do any work in thefirst two shows, or was it just purely
just jokes set, no back and forth?
Or did he spray in, like, backand forth with the audience on the
first two shows?
Yeah, he.
He weaved in crowd work in allof his shows.
Okay, what was crazy, theshow, the Sandy Springs show, he
(48:29):
had this viral clip about thislady made him a shirt from, like,
coming Georgia.
He says, like, I love coming.
Oh, that was from.
That was from the SandySprings show.
Oh, yeah, dude.
They're like.
I mean, yeah, Saturday show.
The clips out Monday, like,oh, wow, they are on it, dude.
On it.
(48:51):
So that clip goes viral atthis show this week.
Someone gave him a coming hat.
People were yelling out, like,coming Georgia.
Like, it was.
It was crazy.
Like, people saw the clip andare like, now live.
It was wild to see.
(49:13):
Okay, so, yeah, he.
He would do crowd work each show.
This last show, he basicallydid his show and then was like, we're
just gonna do crowd work for a while.
And then he kept referencing.
He's like, guys, the show wasover 30 minutes ago.
So, you know, he kept sayingstuff like that.
But his crowd was very organic.
It never felt shoehorned or itnever felt forced.
(49:38):
I've seen so many comics do,like, forced crowd work or even,
like, you know, I've seencrowd work comics at comedy clubs
here, and they'll be like,okay, now's the crowd work portion
of the show.
They almost, like, separate.
Yeah, the two.
(49:58):
His.
There was never.
In any of the shows I saw.
There was never a moment oflike, oh, that felt forced, or, oh,
that was a bit jarring, or,oh, I can see he's mining.
He's mining for a clip here.
Yeah, it was all very organic,very conversational.
(50:18):
None of it felt fabricated.
So when he did do crowd work,it was very conversational.
And almost like, you almost.
I almost, like, wouldn't evennotice him doing it.
In a sense, it all just kindof flowed so well.
And I.
I remember talking to hisvideo guy, Kyle, about, like, yeah,
(50:39):
they.
They never go out there withthe intention of getting a clip.
It's like, if it happens, cool.
If not, cool, cool.
But they never try to forceany moments or any interactions,
which, I mean, you know, Iwent through a little phase where
I was trying to do crowd workclips, and every time I did it, it
(50:59):
felt so forced, and it felt unnatural.
And it's a.
It's a skill and, and listen,there was a moment in the show this
weekend where, like, it didn'treally lead anywhere and he was like.
Yeah, Everyone says in thecomments says crowd work is easy.
He's like, that happens, youknow, where, like, it just kind of
(51:20):
didn't go anywhere and theyjust kind of moved on.
But he's very.
It's like, clearly the moreyou perform in venues that size,
the better you get.
But, like, everything feltvery intimate and very connected.
And whether you're in thebalcony or in the front row, it really
(51:43):
felt like he's talking to you.
And it felt like almost acomedy club energy, even though he's
in front of thousands of people.
Yeah, that is very cool.
Does that answer that?
I remember what the question was.
Yeah, yeah.
No, no.
Yeah, it was just about whatwas different from it.
(52:04):
Yeah, I mean, I don't know.
Like, I guess, you know, ifyou still want to go into more details,
like, what does force crowdwork versus not force, crowd work
look like that we can tellthe, like, comics, like, haven't
seen it from pretty much likethe master of crowd work, I would
probably say, in ourgeneration, like, he's.
(52:24):
I mean, Matt Rife is probablythe richest comedian from crowd work
that we now know.
Right.
Like, in terms of just like,if you look at that list.
Right.
He's probably the only.
Yeah.
That are crowd work, like,heavy in terms of how they got big.
(52:45):
Oh, that top 10 highestgrossing comics last year.
Right.
So just curious, what'sanything that you could glean that
you could advise comics on, onwhat's forced versus what is not
forced crowd work?
I think the questions you asknumber one.
(53:08):
Yeah.
I used.
I used that example when I dida local show here a few weeks ago
where I said the host was upthere clearly just mining for crowd
work clips, clearly just goingfrom table to table and like, asking
questions like, oh, so what'syour deal?
Or, you know, what do you dofor work?
(53:29):
Just asking generic,irrelevant questions.
Like when Matt would do crowdwork, it was related to something
he was talking about or it was conversational.
It wasn't all of a sudden,like an abrupt just, okay, crowd
work time.
And like, pointing.
Pointing at the even.
(53:49):
Just like pointing is a little aggressive.
They're just like on the frontrow, like.
Like, I think asking justgeneric crowd work questions.
What do you do?
Yeah, are y'all together?
I don't know, just more oflike, baseline questions with no
(54:10):
real depth to them that itclearly isn't leading.
And, you know, people askthose questions and they get viral
crowd work clips.
So I'm just telling you frommy point of view.
Absolutely.
And seeing it done at so manydifferent levels that if you can
ask more interestingquestions, because that's what Ian
Bag said on the podcast wasyou're having a conversation.
It's not.
(54:31):
It's not like a monologue.
You're having a dialogue withthis audience.
So ask them interestingquestions that lead somewhere interesting,
and that's where the humorwill come from, instead of you trying
to, like, like, pry a joke outof them.
Yeah.
And when you're doing it, itwill feel forced.
Forced crowd work.
You will feel it yourself.
(54:52):
Because I've done just feels unnatural.
And you feel like you'retrying to get something and you're
not really connecting withthat person feels forced to you.
When you do, it will be a bigindicator of that as well.
I don't know.
What do you think?
I mean, I think from a crowdwork perspective, I think it's about
(55:16):
keeping it in natural conversation.
But I think sometimes I don'tknow if people know what that means.
Right.
So, like, if you're talking about.
I mean, I think even, like, Iknow I have parts of my bit where
I talk about how long I'vebeen married and how, you know, and
in my longer set, I'll just.
I have a bit that says, youknow, I think the secret is not to
(55:39):
be honest 100% of the time.
And I'll ask somebody, hey, what.
What's your secret?
Like, you guys have beentogether for a while.
What's your secret?
And they'll think about it, orsometimes they'll just say, you know,
it's communication.
And then I'll say, oh,communication, that sounds terrible
100% of the time.
And then I go right into.
Back into, like, my bed.
Or I ask the question before Igo into what's the secret kind of
(56:02):
thing?
So it's like, I think there'sa natural way to do it, but I think
the hardest thing is kind oflike learning that skill.
Right.
To your point, getting awayfrom those generic questions, Are
you all together?
Are you.
What do you do for a livingkind of thing?
Because, you know, that's.
Yeah, that's the big one islike, what do you do for a living.
(56:22):
That'S been beaten badly froma crowd work perspective.
So, yeah, I think justbringing it into natural conversation,
where it's a part of your setversus it's like a whole section
of your set, you're like,okay, now I'm just gonna do crowd
Work or I'm just gonna askquestions, and if I don't like the
(56:43):
answer, I just move on to thenext person kind of thing.
That's like.
I've seen some of the New York comedians.
One of my favorite, like,even, like Caitlin Palufa, and I
think Jordan Jensen also doesthis, right?
It's sometimes they talk aboutjust being single, and they'll ask,
like, hey, did y'all meet on adating app?
Or what dating apps?
(57:04):
And then they go into a bitabout that dating app experience.
Like, that's natural.
You know what I mean?
Because you're just sort ofsetting yourself up for that bit.
But, like, when they, youknow, they don't do it.
But, like, I'll see othercomedians, they would just ask, so
how job meet on a dating app?
Which one?
Have you tried this one?
What other dating apps do you use?
(57:26):
Long you been on the dating apps?
I'm like, what is this?
Yeah, yeah.
I.
It's just.
Just don't.
I think is the big.
Just don't do crowd work.
I mean, that's probably.
That's the.
That's, you know, the best wayto avoid force crowd work is just
(57:47):
don't do it.
Just don't work on your act.
Develop your material.
That's so funny.
Just one thing at a time, kids.
Just get a.
Get a good set first, get goodjokes first.
Get good at coming.
(58:08):
And, you know, and that's mebeing the grumpy old man.
Like, you know, just work onyour act.
You can feel it when it's forced.
And crowd work is a skill.
It's a completely.
It's another skill that themore you do it, the better you get
at it and the more natural itwill become.
But it's.
(58:30):
Yeah, it's tough to.
Yeah, it's tough to tell.
Comics don't do crowd work.
And now we're talking aboutMatt Rife, who did crowd work.
And you know what I mean?
So.
But also, like, Matt is also.
Is a, like, establishedcomedian, too.
(58:51):
Like 15.
20, 15 years, I think, beforehe popped.
So there's that too.
Right?
So he had the show to back upthe crowd work for sure.
Like, if his show was thesecond half of this past weekend,
people may not, like, be,okay, cool, we saw it.
(59:12):
But I don't know if they wouldcome back or it'd be a completely
different, like, Matt'saudience, which was the biggest surprise
to me, was, like, it was likehardcore comedy fans.
Like, I assumed it was alljust women that wanted to come gawk
at him, which is how itstarted, but he's curated over time.
(59:35):
These are like hardcore comedy fans.
It was couples.
It was like dads with their daughters.
It was like girls night out.
It was like old retired peoplecoming out.
It was literally everyone.
It was super diverse, allages, races, backgrounds.
He's really developed, like asuper engaged comedy crowd.
(59:59):
But if it was all just crowdwork, like, if that's all the people,
if that's all he provided, allthe shows would probably be like
the one last week where it gota little out of hand, just a little
rambunctious.
That would be the audience.
And I've seen comics at comedyclubs who are known for crowd work
here in Atlanta, and theirshows are a little off the rails.
(01:00:20):
It is like people yelling out,interrupting, trying to make a clip
and make a moment and get ontheir Instagram type deal.
So, yeah, you know, followyour heart, kids.
But I would say develop an actfirst so you have something to back
it up.
If, if you do pop on socialmedia and they come see you live,
(01:00:42):
they're going to want to comesee you again.
That's the big thing, like wesaid earlier, the referral, the retention,
the rebook.
That.
That's.
That's what this game's about.
The re up.
Yep.
Yep.
Be nice, be funny.
Be nice, be funny.
That's the lesson, ladies and gentlemen.
Yeah, I think we did it.
(01:01:04):
Yeah, we done did it.
I agree.
We done did it.
Joe Biden.
You have Joe Biden, Yoshi show.
Yoshi Show.
The Mormon Matt Rife hasstruck again.
Oh, it's so good.
(01:01:25):
Did it.
You done funny.
I'm sure you've got a bicycleoutside that you're going to be riding
and letting people know aboutthe word.
The good word.
The good word.
The good.
The good word.
This was a good word today.
This was a good one.
Yeah.
So thanks for hanging out withus, comedy fam.
If you have any questions,feel free to hit up us on social
(01:01:45):
media.
I'm at Joel Byers Comedy and you're.
I'm Yoshisoh.
Y O S H E E S O Great.
And this month's Clean comedycontest is popping off, so if you
want to join, click the linkin the show notes to go ahead and
register.
(01:02:05):
This month it's going to starton March 10, so go ahead and save
your spot.
I'll be announcing the themenext Monday to all contestants, so
join that and hit us up withany questions.
We're here to help.
That's what we're all about here.
Yeah.
Comics helping comics.
Also, if you're in the AtlantaAlpharetta area, I will also be teaching
comedy classes.
(01:02:26):
The next one starts at the endof March.
And if you want to come to thegraduation show for my first class,
who I'm super excited about,it is going to be March 12th.
March 12th.
It's a Wednesday.
Yeah.
At the Helium Comedy Club isgoing to be a jam.
It's going to be a lot of funpeople out.
(01:02:46):
But, yeah, we're gonna have agood old time.
Absolutely.
And we'll see y'all next week.
Hot breath, verse.
Hot breath.
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