March 10, 2025 • 44 mins
In this episode we discuss their experiences at the West End Comedy Fest, highlighting the importance of community in comedy. We also dive into Andrew Schultz's latest comedy special, analyzing its structure, humor, and the evolution of comedy specials in the age of social media. The conversation emphasizes the significance of storytelling and the impact of clippification on modern comedy. We also talk about the intricacies of comedy marketing, the evolution of comedy formats, the importance of feedback, and the balance between personal life and a comedy career.
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Takeaways
- The importance of community in comedy.
- Andrew Schultz's special showcases effective storytelling.
- The evolution of comedy specials reflects changing audience preferences.
- Feedback from different sources can vary; trust your instincts.
- Living life outside of comedy is crucial for material.
- Taking breaks is important for mental health and creativity.
- No one is monitoring your comedy journey; prioritize your own path.
Chapters
00:00 Introduction to Hot Breath and Community Engagement
05:25 Reviewing Andrew Schultz's Comedy Special
20:03 The Evolution of Comedy Specials and Clippification
20:49 Marketing Mastery in Comedy Specials
24:03 The Evolution of Comedy Formats
27:14 Navigating Comedy Advice and Feedback
35:08 Balancing Comedy and Life
42:56 Community and Support in Comedy
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
There's the theme song.
I feel like I came in hot again.
But we're gonna start anywaybecause we're doing it.
Welcome back, everyone.
We are limping in to today'sHot Breath, the show where you learn
comedy from the pros.
Your weekly guide to comedy mastery.
Your weekly comedy tune up.
(00:22):
That's what we started calling it.
Your weekly comedy tune Up.
Comedians Joel Byers and Yoshi.
So here to answer your comedyquestions and share our own comedy
journeys we're gonna get into today.
But also, should we just notdo this?
Maybe we should just shouldn'tdo this.
(00:42):
Maybe we shouldn't.
You know, it's.
It's funny.
I was at.
I went to West End Comedy Festthis weekend here in Atlanta, and
I got to meet several hot breathers.
And I forget.
I mean, I don't forget, but Ido forget.
Like, people listen and careand enjoy the show.
And I.
(01:03):
I'm so grateful to hear that,as my wife calls it, my validation
tour, because I was like, Igotta go back to Weston.
We.
I met a lot of hot breathersthere last year.
And then she's like, oh,you're going on your validation tour
is what she called it for meto go into this festival.
But, yeah, I just forget, Iguess when we're doing this every
(01:26):
week that, like, peopleactually enjoy the show and we're
doing something positive thatreally helps people.
So I like on these days wherewe both kind of limped into it on
a Monday morning, that it's.
It's for.
It's for a good cause.
And I'm very grateful that weare able to do this every week still.
Yeah.
And then West End is also runby hot breath veteran.
(01:49):
Yeah.
I mean, Hallie Ballantyne,Holly Ballantyne for show.
Her entire crew of peopledoing some amazing stuff in comedy.
Just Amber and Sarah Michelle.
Brit.
Yeah.
As well.
Yeah.
Yeah.
Great crew.
We talked about them last yearafter that festival too.
Yeah.
And gave them some shout outs.
(02:09):
Embry.
He's a comic based in Floridawho runs like, the right 10 after
dark.
And he's very involved in HotBreath Averse for years now.
I got to see him there, whichwas very cool.
He actually drove up to helpout with the festival.
Oh, that's awesome.
So, yeah, it was very cool.
Got to meet a lot of cool people.
I went to see the.
(02:32):
The day one homie.
Ben Palmer.
Yeah.
Who.
He lives in Nashville now.
But he, like, texted me tocome through.
He wanted me to do some.
He wanted me to be a plant inhis show.
He was.
He was headlining the festival.
He's, like, blown up on social media.
If y'all haven't, you can.
Palmer Trolls is a social media.
But, yeah, incredibly funnyand such a unique kind of a comedy
(02:56):
wave that he found that, like,Bob came out to his show.
Bob, like the Atlanta artist.
Wow.
The big fan.
And he came out and, like,took a photo with him and stuff.
That's awesome, dude.
But he.
He wanted me to, like, yellout that, I love your LinkedIn.
Yeah.
And all this.
He's like, so where'd y'allfind me?
(03:17):
He's like, tick tock.
And people like, woo.
And he's like, instagram, woo.
And he's like, LinkedIn.
He's like, I want you to,like, yell and be like, I love your
LinkedIn.
So then I did, and thenthere's gonna be a callback at the
end, but I guess I didn't doit enthusiastically enough because
we didn't do the callback atthe end.
And then afterwards, he waslike, dude, you're supposed to, like,
scream it and yell it.
(03:38):
And I was like, yo, I didn'twant to steal the show, you know,
I'm sorry, I'm not aprofessional heckler.
And, like, before I did it, Itold Holly.
I was like, holly, I justwant, you know, Ben wants me to yell
out in the middle of a set.
I'm not doing it to be.
She's like, he told me it's fine.
I was like, telling everyonein my immediate area, listen, I'm
about to have to yell and Idon't do this, but it's Ben's idea.
(04:00):
So I probably did limp intothat yelling for sure, but it just
felt weird to yell out in themiddle of a comedy show.
Yeah, yeah, yeah, that's funny.
It's funny because people alsoassume that people do a lot of plants
in comedy, but it actuallydoesn't happen a lot.
(04:21):
No, it's always for a bit,though, too.
Yeah, yeah, yeah.
But when we did do thecallback at the end, I was like,
oh, interesting.
And then, like, the firstthing he said when he saw me, he's
like, dude, you're supposedto, like.
He wanted me to, like, fangirl out about it or, like, I don't
know what he wanted, but Ididn't supply it.
But for the price, I certainlysupplied the free heckle.
(04:45):
I was nervous, though.
I was, like, standing therewith Embry and I was, like, rehearsing
the line.
I was, like, trying to.
Getting.
Trying to get method acting going.
Like, I love your LinkedIn.
I love it.
Yeah, it was a lot of fun andgot to meet a lot of hot breathers
and it was just very, verycool to just see comics building
(05:07):
their own thing and they'vebuilt that festival from the ground
up and yeah, killer headlinerscoming through.
It's grow.
It was sold out.
Like yeah, big, big thingspopping over there at West End Comedy
Fest fish out for show.
But I did, I had a fewquestions coming in from comics over
(05:30):
the week that I do want to getinto because I thought they were
very relevant and questions wehadn't really gotten before as well,
which was always, which wasalways interesting, exciting.
But did you see the AndrewSchultz special?
Have you seen his new special?
I have seen his new special.
It's Schultz.
(05:50):
So nothing really likesurprised me.
There's some things that I waslike, oh, I had had no idea you were
gonna go there kind of thing special.
But for the most part theoverall like theme of the special
was very well done.
Just story wise, the jokes, Imean I did like, like a easy math
(06:13):
level of jokes for I countedhow many jokes were in like the first
like five minutes of when heactually got into it.
Not like the audience applauseor anything versus like the middle
versus like the end when hegot into like just stuff.
I think he was averaging like,you know, I'm, I'm a big technical
LPMS fan.
(06:33):
That boy was averaging about 8to 10 laughs per minute.
And the, the laughs were long.
Like the bad boys were like.
There was just no silencethroughout his special.
He had them engaged, he hadthem on the hook.
And I think this is probablythe first time I've ever seen him
(06:56):
do really like first 10minutes was about like the process
of having a baby and thengetting into the details of the baby.
So like the whole special istruly like the special is called
life.
So it's definitely centeredaround fatherhood and him having
(07:21):
a baby.
But overall I thought it waspretty solid.
What'd you think?
Yeah, I, I was interested, yeah.
To hear your opinion on it.
And Also, yeah, the LPMs.
I was watching it like, oh, Ineed, we need Chris Gron to give
us the numbers here.
Yeah.
Because it was like laugh,laugh, laugh, laugh, laugh.
(07:43):
Boom, boom.
It was boom.
He had.
It was consistent rate of heaters.
He didn't waste any time.
And I'll say one thing aboutwatching him is I feel like Andrew
has figured out how to get alot of laughs in a stadium that a
(08:05):
lot of people don't have thesame kind of cadence and it's almost
like they laugh.
They don't like reset.
It's almost like a rolling laugh.
But he still gets to say whathe wants to say to get the next laugh.
He never lets it die down,that's for sure.
Yeah.
And the.
The sound design, it's likeyou almost felt like you were there.
(08:27):
Like, however they had thesound set up, it was.
It just.
It felt different.
There was a different audioexperience to it.
Yes.
However they.
Whatever they did, it feltvery immersive as well, which I'm.
Which was very intentional, of course.
But the fact they pulled itoff at that scale is.
Yeah.
I was like, oh, wow.
This feels different too, froma production side.
(08:49):
Yeah.
It was very well done.
And he incorporated video andimagery, which I thought was very
cool.
Very different for.
For him.
Not something that he's donein the past, but it's just.
It's a very cool.
I thought it was very personal special.
Right.
He's the only one that couldtruly, like, write this story.
(09:10):
And I love.
I mean, honestly, I just.
Favorite part he had.
You know, I always think thisis like, if you're gonna make a special,
you got to make a special thatyou tell somebody you're gonna do
something in the beginning andthen you hit him with a banger at
the end.
Yeah.
(09:31):
Little callback.
He had a call back that hecalled out in the beginning and then
did it at the end.
That just hit.
It was like, oh, my God.
So it's just overall, justwell done, well rounded.
Special, for sure.
Yeah.
And that's good for retentionwhere he's like, here's something,
but we'll get to that later.
Now then call it back at the end.
(09:52):
That's good for retention, forpeople to hang around and just for
designing a comedy special.
Yeah.
But yeah, to take essentiallya single topic and stretch it out
into an hour.
Yep.
And it's still beyond topic.
(10:13):
Yep.
But just.
Yeah, it even.
Just from like a writingstandpoint, I think comics need to
see it.
Just to see how much juice youcan squeeze out of a topic and how
far you can go.
It.
Yeah.
I loved it, dude.
Like, Yeah.
I think I thought it was incredible.
(10:34):
Also hit you different as well.
Yeah.
Memories for me.
Right.
Like, for me.
Because it's.
It's story about.
It's a story about pregnancyand being a dad for the first time.
Yeah.
And trying to become a dad.
Those struggles as well, andthe struggles of that.
So, like, it just had a lot ofvery relatable things, I would say
(10:56):
that definitely hit Home withme as a dad.
He even called out girl dadsand boy dads.
He had a bit about boy dadsand girl dads.
That was just stellar joke writing.
But being a father of both, Iwas like, he's so right.
Like, he just hit on a lot.
And you're right, he squeezedthe entire experience.
(11:17):
The pregnancy, the struggleswith pregnancy, the going into the
doctors, the delivery, thewhat happening before the testing,
like all the things that youhave to do if you are trying to get
pregnant as a couple.
And so, yeah, that was verycool to see him, like, just walk
everyone through what thatlooks like for a.
(11:38):
Lot of people and it be funnythe whole time.
Like, killer, Killer funny.
Hilarious.
Hilarious.
I mean, I.
I watched it with my wife and,you know, and she, you know, and
she's not like the biggestcomedy fan, but it was like she likes
Schultz and she.
(12:00):
We sat through it and watchedit together and laughed and it was
a very, very fun experienceand something.
We haven't sat down andwatched a comedy special maybe since,
like, Nate.
I think we watched Nate's together.
So this was very differentfrom Nate Special.
And, you know, Schultz goesthere, but it's still funny.
(12:21):
It's not.
He doesn't go there to whereyou're like, oh, like, you know,
some people.
Oh, people can't.
I'm just too edgy.
They can't handle my brand of comic.
Well, it's like, no, you justgot to be funny.
You just gotta be funny.
You gotta be funny.
And younger comics can fallinto that of.
They're just not ready for howedgy I am.
It's like, you're not ready topull off the edgy stuff.
(12:45):
You gotta learn how to befunny first, and then you can apply
how you're funny into theseedgier topics.
But.
But that's just one opinion.
Yeah, I think it's a mustwatch for every comic.
Learning how to get a lot ofjuice out of a topic and really just
find the funny angles and whenyou find a funny angle, just hammering
it over and over and over again.
(13:06):
And it was a great.
It was kind of a greatrefresher for me as a comedian too,
because, I mean, you know, you.
You watch a lot more specials.
I don't really watch that.
Mini specials.
Yeah, it's just, I'm not like,oh, I gotta see this.
I don't know.
It's.
I don't.
I think every comic's different.
I don't really watch that many specials.
(13:26):
It's not like a personal choice.
I think it's just I.
I rarely.
I'm not always like, oh, Igotta be on this next one, or whatever.
But this one was one I wantedto see because I heard it was more
about a singular topic, whichI think specials are moving and are
going to move more and more inthat direction as everyone can release
(13:47):
a special.
So now it's like, okay, out ofall these comics releasing a special,
how can yours stand out?
What is your unique stamp onthe format?
How can you make it your own?
And I think having this kindof autobiographical or singular focus,
it's like, okay, this specialis about him trying to have a kid
and the struggles of that.
(14:09):
And so other specials.
Okay, what is this special about?
It's about X instead of, oh,we got a little bit of this, a little
bit of that.
The more you can kind ofalmost brand your special to kind
of be about a certain thing,the greater your chances are of more
people finding it or beingmore shareable.
(14:29):
Greg Warren is an example withhis special the Salesman.
And it was.
It's basically about him beinga salesman.
And it like, he got a lot ofpress because he goes really deep
on people, peanut butter andhow he was like in charge of selling
peanut butter at these grocery stores.
And he goes really in depth onlike Jif or Skippy and all of this.
(14:52):
And it was just somethingsuper specific and singular that
people could attach to the special.
Then that made the marketingof it explode because he was getting
all these write ups about,have you seen the special with this
guy yelling about peanut butter?
So I think that's somethingfor comics to think about when they
release a special.
Like, what is your peanutbutter moment?
Or, you know, what is.
(15:13):
What is the hook of the special?
And the hey, but.
And it's got to be funny.
This Schultz one was also.
It was also a re.
Kind of a reignition of like,oh, I need to, I need to get it together.
Like, he's throwing heat, bro.
He's laughing at a certain point.
(15:33):
Like, my wife was laughing hard.
And I was like, well, hold on,calm down over there.
What you talking about?
Never heard you laugh thatloud at me.
Like, he's throwing heater.
And I know this is a comic atthe top of his game and people argue
one of the best.
Or some people argue the bestalive right now.
So this is a guy in the top 1of 1% of comedians, but definitely,
(15:58):
I think a special that you canwatch and learn from and get inspiration
from.
Yeah, he is definitelyoperating at a different row right
now.
It is, it is you.
It is, it is so different.
But also you saw this earlyon, right?
Like you saw this when hestarted this podcast, when he started
(16:18):
touring, started showing thevideo, started the clips.
Like, I mean, I mean you couldsay like Schultz is probably like
one of the godfathers of crowd clips.
You know what I mean?
Yeah, for sure.
Putting that stuff out thereand realizing that it was getting
attention and then driving itand doing short term versions of
(16:39):
it and like just.
And.
But a lot of his clips werecomedy clips.
Right.
It was jokes too.
Right.
So he was kind of just puttingthat stuff out there where that wasn't
really like a big thing back then.
Right.
And so it was.
Yeah, it was just.
It's fun to watch theevolution because he's also, you
know, he also got theinterview with Donald Trump.
(17:00):
Like he's doing the flagrant podcast.
He's doing a lot of stuff,like a lot of arenas and.
But it's fun to watch hissuccess ascension but then come back
to like, I don't want to saycall come back, but like almost never
forget what he does, which iscomedy, and be like, yep, here's
(17:23):
comedy.
Here's what I do very, very well.
Even though I'm doing all thisother stuff, here's what I do do
kind of thing.
So it's just, yeah, still gotit type vibe.
And that's why I wasinterested to watch this special
as well.
Because he is responsible foralmost like the Internet ification
(17:46):
like of comedy.
You know, I mean, you know,Dane Cook was probably the started
all with MySpace and all that,but Schultz was kind of the next
iteration who really wasputting clips out there br.
Positioning them in a waylike, oh, heckler.
I.
You know, he.
Well, Steve Hofstadter isanother one who kind of did the heckler
(18:07):
side of the Internet clips.
But Schultz was definitelysomeone of like, oh, branding this
clip to be.
He had so many Indian guyreacts to white comic or things like
that.
He was always very intentional about.
He noticed that if you couldbrand a clip around a specific subset,
(18:29):
a specific culture, thatculture will share it within their
community.
So it's like if he's doingcrowd over the Nigerian person, he'll
brand it as like Nigerianperson reaction and then all Nigerians
will share it with each other.
And he went viral doing thatwith like clips around the world
because he would tap intothese kind of subsets of culture.
(18:51):
Not to.
I'm saying that as a whiteman, but you know what?
I'm.
Can you clean that up for MeYoshi on Ramadan.
Can you clean that up for me?
Assalamu alaikum.
But I think you know what I'm saying.
Joel's been practicing thatfor so long.
He's like, that's right.
I gotta get this right.
(19:13):
I have.
I was rehearsing it beforethis show.
Llama, Llama Red Pajama.
That's a child's book for anyone.
But, yeah.
So, yeah, he started thiswhole clipification of comedy.
So it's good to see him also,like, oh, here's kind of how you
(19:36):
can do a special now.
Because I was talking withsomeone and they were saying his
infamous special, it felt morelike he was doing a comedy special
of clips.
It felt like his special wasmore formatted to like, okay, here's
a clip.
Okay, now here's the next jokethat's going to be a clip.
And it was almost.
(19:56):
It felt more like that and notthis cohesive arc like his newest
special is.
I don't doubt for one secondthat he thought about that and was
like, oh, yeah, y'all.
Y'all just think I'm clippable.
I.
I got jokes, I got stories.
I mean, and if you everwatched, I mean, his other specials,
right, he's done more thanone, and he's released multiple.
(20:19):
He does stories and he has,like, even longer jokes.
But definitely the one that,you know, that, I guess, a network
didn't take, and then hereleased it himself, bought it back
from them, and did all thatwas definitely clippable.
Had a lot of clippable moments.
And that was probably theheight of, like, this clip culture
(20:39):
as well.
That was probably, like, thepeak where this is just this, you
know, this blowout specialthat's huge and big and bombastic.
Yeah, it was marketed that way.
And.
Yeah, that's what I was gonna say.
The marketing of.
Of it also was very, very stellar.
Like, I think I might havetold you this a while back, that
(20:59):
he tapped into what I call theUsher Raymond Confessions of marketing,
which is get a lot ofcontroversy going around your special,
and then people will go watchyour special and just get the buzz
going.
So the fact that he mentionedthe thing about, you know, I can't
(21:20):
tell you what network it is,but I bought it back from a network
because they wanted to takeout this joke.
We still never know what jokehe actually took out.
I think he might havementioned it, actually, but, like,
it was just one of thosethings where he had so much buzz
around the cancel.
Oh, I might get canceled.
So I bought it myself.
Released it on YouTube.
And I think he.
People paid for it before itgot released on YouTube as well.
(21:42):
So I think there's just a lotof, like, I love the fact that Schultz
has thought about all thedifferent levels of ways to market
himself to get his material out.
And it's very different.
Like, one was released on YouTube.
Just there's a.
Here's the release.
One was released before YouTube.
This is released on Netflix.
And then he did the show on Netflix.
(22:03):
Right.
So he's got just a lot of buzzaround his writing and his capabilities.
But, yeah, he's.
He is stellar, man.
Just, yeah, big fan.
Good special.
Like, this is a good special.
It.
I mean, one of my favorites, dude.
It.
Yeah, it was incredible.
And, you know, he's always apart of the next step.
(22:24):
So I am interested to see nowthe next iteration of comedy, the
next.
Where we're headed now thatwe've kind of almost hit max capacity
on clips or, like, crowd workclips at least and things like that.
It's kind of like, all right,well, what's next?
Everyone has a special.
And so now how.
What's kind of the next iteration?
(22:45):
Now everyone can set up atripod and film a set.
Now how can we continue topush the medium forward and continue
to challenge comics to notjust get complacent?
And yeah, I think thissingular focus comedy special and
how he had a little multimediawith it as well.
Not too much, but, you know,we've seen it.
(23:06):
Kevin Hart has obviously donethis as well and made his, like,
Kevin Hart has a special wherehe's literally sitting in front of
a toilet.
He's talking about sitting onthe toilet, and then the backdrop
is a toilet.
And so the medium could beheading more in that interactive
way.
So comics at open mics, atcoffee shops can't just post a crowd
(23:29):
work clip from an Android andpop off.
Yeah, I definitely thinkSingular topic is very interesting.
I did a show with a comedianthis weekend, Nima Williams, who
is an OG comedian.
They did my show in Duluth.
Very funny.
But he's got this bit abouthis son that's just incredibly touching.
(23:53):
But he also mentioned that,like, he hadn't done a lot of it.
So it's the first time heactually did a lot of just this material
and he wants to do more with it.
But I just love the topic ofjust the thought of just putting
out something about one topicand just saying, like, this is the
topic.
I'm gonna just put this out.
And Schultz was birth of my Family.
(24:17):
Like, birth.
I mean, Birth of my kid andeverything sort of, like, attached
to that.
So it's.
Is this something, like,unique about that?
It's almost like now itbecomes, like, chronological, where
we could also watch, like,your life.
So you're like, all right, youknow, this is the first time, this
is the second time.
Like, so you just never know.
(24:37):
I mean, Ali Wong did that withher special and baby cobra.
Right.
The first one that she cameout with, she was pregnant with child
number one, and then childnumber two.
Yeah.
The second one, and then thethird one, I think she was just like,
you know, life is good, blah,blah, blah.
And then the fourth one, shewas divorced.
So it's like, there's achronology of things that happen
(25:00):
with.
With her life as well.
So it's like, I like thatbecause now you're just following.
It's like, yes, comedians noware kind of like, you know, like
we mentioned last time, kindof like the rock stars, and now you're
just watching their life.
Yep, that's a very good point.
(25:20):
Yeah, that's.
Yeah, that's interesting.
I like.
I like the chronological andautobiographical side of it.
That's very interesting.
Yes.
I'll be interested to see kind of.
Yeah.
Where.
Where the special takes comedyor what is next.
So that was.
Yeah, that was veryinteresting, I think.
Yeah.
A must watch for every comic.
(25:41):
Just knock out killer laughs throughout.
And the writing is just, bro,impeccable, bro.
I'm.
I was literally, like, sittingthere at some points, like, oh, dang,
I gotta get it together, bro.
Like, he's hitting, like, dis.
(26:03):
Like this.
Yeah, yeah.
Because there's that part ofme, you know.
You know, ever since I had akid, you know, there's that part
of me that's like, yeah, Idon't, you know, I want to be home.
I don't, you know, I want tobe home.
I want to be here for this.
I don't want to be out on theroad as much and starting to find
ways to build more stabilityfrom home, which I've been able to
(26:25):
do and I'm very happy for.
And then I see a special likethat, and I was like, oh, man, I
gotta get after it.
I gotta leave my familybecause I need 10 laughs per minute.
They'll understand.
My neglected child is like,but dad got 10 laughs per minute,
so everything's okay.
(26:47):
Yeah, he murdered, though.
Yeah.
So, yeah, he straight upkilled it.
Yeah.
So, yeah, go watch life.
And if you have seen it, we'dlove to hear your opinion.
And if you haven't seen it, gowatch it.
And then please like share usyour opinion in the Facebook group
or on social media and tag us because.
Whoa, it's.
(27:09):
It's all killer.
No filler, in my opinion.
Great way to describe it, dude.
Yeah.
So in the.
As we in the last few minuteshere, I do want to get to a couple
questions that I got this week.
Yeah, just about a few about comedy.
And the first one was actuallyfrom a comic named Steve Owen, who,
(27:35):
you know, I'll do set reviewsfor comics and actually did a set
review for him.
And speaking of set reviews,if you're listening to this the day
of its release, the MarchClean Comedy Contest registration
is open.
It closes at 5pm Eastern Time today.
So that's probably a good timeto promote that when it closes in
(27:57):
less than 12 hours.
That's.
That's how you promote stuff,right, Yoshi?
But anyway, yeah, so I'll linkthat in the show notes.
But Steve Owen, I did like aset review for him and then he got
some feedback from like a clubbooker on his set as well.
And it was like kind ofcontradictory to what I said.
So I thought this was aninteresting kind of opportunity to.
(28:22):
For comics to, you know, takeall advice, feel free to listen to
advice, but not necess.
You don't have to applyeverything and you kind of.
That's what I hope this show is.
It's not the bible that youhave to do everything we ever hear
and say.
We give our points of viewbased on our own professional experience.
What works for me may not workfor you and vice versa.
(28:44):
So you kind of hear differentpoints of view, but you apply what
works for you.
It's kind of how comedy works.
There's no right way.
There's your way.
So just kind of focus oncontinuing to what works for you
and following your own instincts.
But you can also absorb otherinsights along the way and see if
it works for you or not.
But basically Steve had thiswhole act out where he's like rolling
(29:07):
around on the floor and he wasacting like a baby giraffe and he
like rolled on the floor and Ithought it was funny.
And I was like encouraging himto do more things like this.
And the booker gave him theadvice to not roll on the floor because
it leaves too much dead spacelike on the stage.
(29:29):
So especially if you're at ashow and you're rolling around on
the floor, I guess most peoplewouldn't be able to see you if you're
in like a comedy club setting.
They're kind.
Then you're like below thechairs and they can't see you for
sure.
So basically I was like, oh,do more of that.
And the booker's like, oh,don't do that.
Yeah.
I mean, and I think it's aboutdifferent perspectives.
Right.
(29:49):
But that's a good, good thingto like, look at and say, is there
a way that I can do both ofthese things right now?
I know comedians that do that, that.
That started rolling on thefloor, and then when they got to
a club that, like, the floorwas not safe or like it was conducive,
(30:11):
they just started rolling onthe chair.
Right.
They just started using thingsto still make it like an act out.
Like, you could just roll onthe wall to make it look like the
floor as well.
Right.
Like, so there's many ways tostill get this done, but it still
takes both points, which is I,as a booker, am not going to be able
to see you, and the crowd maynot be able to see you.
(30:33):
So now you're leaving deadspace and you're saying rolling on
the floor is very physical andit's entertaining for people and
you should do more of that,especially because it's entertaining
and it adds to the joke.
Right.
So I think both things can be true.
Yeah.
And I.
And I was able to, like, re.
Clarify that.
It's more of that part of theset that he sent me.
(30:56):
It felt the most.
It felt like he was having themost fun doing that, and it felt
like he had the most energydoing that.
Yeah.
So it was more.
I clarified of, like, notnecessarily rolling on the floor
is like the punchline of this joke.
It's more of your commitmentto that act out and the absurdity
of it.
So I was like, you could stillact out being a baby giraffe without
having to roll on the floor,and you can still be upright and
(31:18):
silly and kind of wobbling,like Bambi or something.
So, yeah, I.
That kind of helped me with.
Also when I give feedback to,you know, some people will hear feedback
and then be like, exactly that.
That is exactly point A topoint B.
I'm doing everything thatsays, but I need to be more clear
about the intention behind.
Yeah, no, it was just youcommitting is what brought your set
(31:40):
to life.
So look for more moments towhere you can commit.
Not necessarily rolling on thefloor commitment, but just committing
to that act out is where thehumor came from.
So, yeah, I mean, if thebooker of a place you want to get
booked gives you advice to door not do something, you may want
to listen to them if you wantto get booked there.
(32:00):
Yeah, yeah, absolutely.
But also just.
It gives you an opportunity towork on what else you can do with
your material.
Yes, Yep, exactly.
So I just thought that was aninteresting one.
And just to help comics aswell is, like, they're listening
to a comedy advice show to,you know, take our advice, but also
(32:21):
apply it on your own and makeit your own.
There's no.
We're by no means saying,these are the rules of comedy you
must follow.
You just.
Yeah.
You kind of learn what worksfor you over time.
Yeah.
As I say, you ain't got tolisten to anything we say.
No, but we've been in this game.
Joel, you're like, 15 years.
I'm 10.
(32:41):
Like, we've been in this gamefor a hot second now.
So we just.
There's things that we know,and we're offering advice and we're
giving it, and we're sayingthings that we've learned.
You don't have to take any of it.
You could just.
But I'll say this.
I wish I was given this advicebecause I've made so many mistakes,
did so many things, try to doso many things myself.
(33:04):
And I think that's thedifference is, like, I would say
seeing comedy as a communityis a bigger advantage for you.
Like, you don't have to goabout comedy solo.
Yes, it's solo when you're writing.
Yes, it's solo when you'reperforming, but it's not solo to
network.
It's not solo to ask questions.
(33:24):
It's not solo to ask an OG orsomebody who, you know have been
doing it or doing the thingthat you want to do for advice.
I forget who gave the advice,but don't, like, look for advice
from, like, someone who's sofar ahead of you.
Look for advice from someonewho's, like, doing the next thing
(33:44):
that you want to do.
So, like, if you're featuring,go get advice from a headliner.
If you're headlining, go getadvice from somebody who headlines
a lot.
If you're headlining a lot, goget somebody who does, like, theaters.
Right?
Like, it's, like, justdifferent levels.
But, yes, advice from, like,the Jerry Seinfelds and the big dudes
are always great, but they're.
(34:04):
That's so much compactedwithin years of the journey.
If you're trying to getbetter, you want to go to the next
level.
What's the thing that theperson at the next level that you're
trying to get to, like, ifyou're open micing try to get advice
from someone who showcases,how do they showcase, what is it
that they did to start gettingbooked more in the city.
So I think that's alwayshelpful, especially from a community
(34:26):
perspective.
Like look to the communityaround you.
People will.
People are surprisinglywilling to help and just answer your
questions if you ask them.
At least I have that to be true.
Yeah, and there's alwaysexceptions, but overall, yeah, it
seems like there is a verycommunal comedy scene out there.
(34:47):
In most scenes now you canfind friends.
Yeah, this, this last one atthe buzzer, we can squeeze this one
in here.
But I, I told him I was, wewere gonna get to it on the show
and I think it's an important question.
This was from Brandon Whitewho messaged me on Instagram and
he said he thought this wouldbe interesting for the pot, which
(35:10):
I agreed.
But he said I'm four years inand work the clubs in the area.
Feature headline for one offsall around the area.
I run a weekly mic and do fourto five non paid spots a week.
I think I'm afraid of slowing down.
What yalls best take a breakwithout taking a break methods.
Take a break without taking a break.
(35:33):
I will say, I mean I didn'ttake a break maybe until the pandemic
kind of and now I feel likeI'm still taking a break.
But I think my break came, Idon't know, I was pretty intense
(35:57):
for several years.
I'm trying to think mine camewith like balancing family or balancing
even with getting married andbalancing that time and now with
a kid.
Another level.
Taking a break without takinga break mean you could.
(36:18):
If you're doing four to fivespots a week, you could say, all
right, this week I'm onlydoing two or this week I'm only,
I'm not doing any and I'm justgoing to take a break.
And that's fine for you.
You know, it's not.
I think it's so important,it's so important to still just live
(36:38):
life as a comedian.
If you feel like you're justin the clubs and everything that
you do is comedy, you're notreally absorbing life, you know what
I mean?
And you need life to helpwrite comedy.
You need to live right.
Like if you're, if everythingyou do is just comedy centric, then
the only thing you can reallytalk about is comedy.
(36:58):
Well, that's not interestingfor the masses.
You mean we could talk abouthow long it took us to write a joke
and how much we worked on abit, but that's not interesting to
people paying $25 and twodrink minimum to go into a club.
Right.
Like, that doesn't really,like, hit them the same way.
So you still have to live life.
(37:19):
I would say just take likecertain days off.
Right.
Just like take a break withinyour day just because.
And also just know that if yougo from, you know, going from four
mics or five mics to two micsor three mics, it doesn't mean you're
slowing down on comedy.
You're still doing comedy,it's still in your bones, and you're
(37:42):
still like working out the muscle.
You know, I went from, like,you know, probably when I started,
I was doing maybe three tofour mics or three to four nights
a week, but it just was notconducive to my schedule.
So when I went to like twonights a week, I would just pack
in as many mics as possible onthose two nights.
(38:03):
Right.
And then live the rest of thetime and was not worried about it.
So I think there's also a wayjust to optimize your time.
You don't have to do comedyevery single night.
And then you just got to thinkwhat time you're actually spending.
Definitely.
Something I remember fromStephen Dwyer in his master class
that he gave us a while backis if you're spending time going
(38:24):
to the mic, are you doingcomedy on your way there?
If you're spending timeleaving a mic, are you doing comedy
on your way back?
All that stuff is time, right?
Are you hanging out and areyou optimizing that time that you're
hanging out?
Like, what are you doing withall of your time?
We, A lot of people complainthat they don't have a lot of time,
but we actually have enough time.
(38:45):
It's just, how do you optimizethat time?
And you definitely just needto live life because that's what
informs your comedy.
That's how your comedy reallygets good and relatable, is by you
living it and being able toget the jokes out of it to tell people.
Yeah.
So, like, on the way to theshows, are you rehearsing and going
over your set on the way homefrom your show, are you listening
(39:06):
and reviewing your set?
Yeah.
Making the most of that timewhen you're out.
And it you taking a break ornot is a personal choice.
And no one is like, no one cares.
Like, no.
I mean, because, you know,that's something I've had to grapple
with as well.
Say, say it again for thepeople in the back.
(39:26):
Joe and I'M saying this for meas well.
No one cares.
No, no one cares.
I like, you know, and I'vetalked to you about that, of me trying
to prioritize local work morethan being on the road and then in
my head about, well, what are,what are comics gonna say?
Or what are people going tosay if I'm not out there doing it
like that and all that.
(39:46):
And like, yo, she's like,dude, no one cares.
Like, do what's best for youand your life and your family.
No one.
Everyone is worried about themselves.
Yeah.
Yeah.
No one.
No one's like, ah, I wonderwhat Joel's doing.
Yeah, no one cares about that.
No one cares.
Yeah, the people that careabout you are the people that are
close to you and the peoplethat matter and people that matter.
(40:08):
And I think a lot of timespeople think that, like, other comedians
thoughts and ideas is going toaffect them.
Guys, let me just tell you something.
It does not matter what theythink, because they're not living
your life.
They're not in your everydaystruggle, they're not in your everyday
pain.
They don't know what you gothrough the 23 hours out of the 24
(40:28):
that you saw them that theydidn't see you.
I mean, so you need toprioritize what's best for you, and
you need to figure out whatyou need to do to get the best out
of your time and to get thebest out of your career.
So, yeah, no one cares.
The.
Even the thought of, like,slowing down as a concept is just
(40:48):
something that I, I wish us ascomics got away from because it feels
like we're just adding morestruggle to the already, like, hectic
lifestyle of comedy.
There's no such thing asslowing down.
You're just living life.
Like, no one's judging you.
You're the only person that'slike, oh, I need to do more, I need
(41:11):
to do less.
You're the only one.
Yeah.
There's no, like, scale orthere's no place or there's no comedy
book that says if you do notput in 10 hours of comedy a week,
you are not considered a real comedian.
No one says that.
No one gives a crap.
(41:33):
Right.
And no one's monitoring your time.
You're the only one.
Yeah.
And he said that he runs aweekly mic.
I mean, getting a guest hostfor that could be a good start too.
Like, running a weekly mic is horrible.
It's stressful, I would say.
(41:55):
You know what?
I do encourage people to starttheir own shows and everyone should.
They understand the amount ofwork that goes into it.
So.
But finding a guest host,there could be a great way just to
take a step back because it isa lot of work to run a weekly show,
so you could start there.
But I think the big, like, thebig takeaway is like, do what's best
for you.
(42:16):
No one, any voice in your headsaying, what are people going to
say?
Or what are people going to think?
This is something I strugglewith daily on everything.
That's probably my biggesthurdle I'm really working on this
year is that voice of like,well, what are other people gonna
say?
Or how is this gonna come offand how is this gonna look?
(42:37):
That's something I struggle with.
So I'm saying this out loud tomyself as much as anyone else, but
no one cares.
And doing what's best for youand what is healthy for you is most
important.
And you just determine thatbased on what kind of life you want
to lead.
So hope that helps.
(42:57):
Yeah.
Yeah, that was a good one there.
So thanks, Brandon, andthanks, Steve, for those great questions.
You guys can hit us up onsocial media at Joel Byers Comedy
and at Yoshi.
So if you have any questionsor I can ask them in the Facebook
group as well.
But it's really.
(43:18):
I think.
I think we hit it today.
I think we hit it today.
And, Yoshi, your class, yourhelium comedy class.
Graduation is this Wednesday, right?
For anyone in Atlanta.
March 12th in Atlanta.
Come out and hang out with us.
It's going to be a fun show.
I got, like nine students aregoing to be performing.
It's going to be fun.
(43:38):
And then we've already got alineup for the next as well.
So if you want to sign up,holler at your boy.
Go to the healing website tosign up for classes.
Yay.
And if y'all want to join theclean comedy contest this month,
just click the link in theshow notes and we'll hope to see
you there.
But we'll be back next Mondayright here on Hot Breath.
There's the theme song.
I feel like I came in hot again.
But we're gonna start anywaybecause we're doing it.
Welcome back, everyone.
We are limping in to today'sHot Breath, the show where you learn
comedy from the pros.
Your weekly guide to comedy mastery.
Your weekly comedy tune up.
(00:22):
That's what we started calling it.
Your weekly comedy tune Up.
Comedians Joel Byers and Yoshi.
So here to answer your comedyquestions and share our own comedy
journeys we're gonna get into today.
But also, should we just notdo this?
Maybe we should just shouldn'tdo this.
(00:42):
Maybe we shouldn't.
You know, it's.
It's funny.
I was at.
I went to West End Comedy Festthis weekend here in Atlanta, and
I got to meet several hot breathers.
And I forget.
I mean, I don't forget, but Ido forget.
Like, people listen and careand enjoy the show.
And I.
(01:03):
I'm so grateful to hear that,as my wife calls it, my validation
tour, because I was like, Igotta go back to Weston.
We.
I met a lot of hot breathersthere last year.
And then she's like, oh,you're going on your validation tour
is what she called it for meto go into this festival.
But, yeah, I just forget, Iguess when we're doing this every
(01:26):
week that, like, peopleactually enjoy the show and we're
doing something positive thatreally helps people.
So I like on these days wherewe both kind of limped into it on
a Monday morning, that it's.
It's for.
It's for a good cause.
And I'm very grateful that weare able to do this every week still.
Yeah.
And then West End is also runby hot breath veteran.
(01:49):
Yeah.
I mean, Hallie Ballantyne,Holly Ballantyne for show.
Her entire crew of peopledoing some amazing stuff in comedy.
Just Amber and Sarah Michelle.
Brit.
Yeah.
As well.
Yeah.
Yeah.
Great crew.
We talked about them last yearafter that festival too.
Yeah.
And gave them some shout outs.
(02:09):
Embry.
He's a comic based in Floridawho runs like, the right 10 after
dark.
And he's very involved in HotBreath Averse for years now.
I got to see him there, whichwas very cool.
He actually drove up to helpout with the festival.
Oh, that's awesome.
So, yeah, it was very cool.
Got to meet a lot of cool people.
I went to see the.
(02:32):
The day one homie.
Ben Palmer.
Yeah.
Who.
He lives in Nashville now.
But he, like, texted me tocome through.
He wanted me to do some.
He wanted me to be a plant inhis show.
He was.
He was headlining the festival.
He's, like, blown up on social media.
If y'all haven't, you can.
Palmer Trolls is a social media.
But, yeah, incredibly funnyand such a unique kind of a comedy
(02:56):
wave that he found that, like,Bob came out to his show.
Bob, like the Atlanta artist.
Wow.
The big fan.
And he came out and, like,took a photo with him and stuff.
That's awesome, dude.
But he.
He wanted me to, like, yellout that, I love your LinkedIn.
Yeah.
And all this.
He's like, so where'd y'allfind me?
(03:17):
He's like, tick tock.
And people like, woo.
And he's like, instagram, woo.
And he's like, LinkedIn.
He's like, I want you to,like, yell and be like, I love your
LinkedIn.
So then I did, and thenthere's gonna be a callback at the
end, but I guess I didn't doit enthusiastically enough because
we didn't do the callback atthe end.
And then afterwards, he waslike, dude, you're supposed to, like,
scream it and yell it.
(03:38):
And I was like, yo, I didn'twant to steal the show, you know,
I'm sorry, I'm not aprofessional heckler.
And, like, before I did it, Itold Holly.
I was like, holly, I justwant, you know, Ben wants me to yell
out in the middle of a set.
I'm not doing it to be.
She's like, he told me it's fine.
I was like, telling everyonein my immediate area, listen, I'm
about to have to yell and Idon't do this, but it's Ben's idea.
(04:00):
So I probably did limp intothat yelling for sure, but it just
felt weird to yell out in themiddle of a comedy show.
Yeah, yeah, yeah, that's funny.
It's funny because people alsoassume that people do a lot of plants
in comedy, but it actuallydoesn't happen a lot.
(04:21):
No, it's always for a bit,though, too.
Yeah, yeah, yeah.
But when we did do thecallback at the end, I was like,
oh, interesting.
And then, like, the firstthing he said when he saw me, he's
like, dude, you're supposedto, like.
He wanted me to, like, fangirl out about it or, like, I don't
know what he wanted, but Ididn't supply it.
But for the price, I certainlysupplied the free heckle.
(04:45):
I was nervous, though.
I was, like, standing therewith Embry and I was, like, rehearsing
the line.
I was, like, trying to.
Getting.
Trying to get method acting going.
Like, I love your LinkedIn.
I love it.
Yeah, it was a lot of fun andgot to meet a lot of hot breathers
and it was just very, verycool to just see comics building
(05:07):
their own thing and they'vebuilt that festival from the ground
up and yeah, killer headlinerscoming through.
It's grow.
It was sold out.
Like yeah, big, big thingspopping over there at West End Comedy
Fest fish out for show.
But I did, I had a fewquestions coming in from comics over
(05:30):
the week that I do want to getinto because I thought they were
very relevant and questions wehadn't really gotten before as well,
which was always, which wasalways interesting, exciting.
But did you see the AndrewSchultz special?
Have you seen his new special?
I have seen his new special.
It's Schultz.
(05:50):
So nothing really likesurprised me.
There's some things that I waslike, oh, I had had no idea you were
gonna go there kind of thing special.
But for the most part theoverall like theme of the special
was very well done.
Just story wise, the jokes, Imean I did like, like a easy math
(06:13):
level of jokes for I countedhow many jokes were in like the first
like five minutes of when heactually got into it.
Not like the audience applauseor anything versus like the middle
versus like the end when hegot into like just stuff.
I think he was averaging like,you know, I'm, I'm a big technical
LPMS fan.
(06:33):
That boy was averaging about 8to 10 laughs per minute.
And the, the laughs were long.
Like the bad boys were like.
There was just no silencethroughout his special.
He had them engaged, he hadthem on the hook.
And I think this is probablythe first time I've ever seen him
(06:56):
do really like first 10minutes was about like the process
of having a baby and thengetting into the details of the baby.
So like the whole special istruly like the special is called
life.
So it's definitely centeredaround fatherhood and him having
(07:21):
a baby.
But overall I thought it waspretty solid.
What'd you think?
Yeah, I, I was interested, yeah.
To hear your opinion on it.
And Also, yeah, the LPMs.
I was watching it like, oh, Ineed, we need Chris Gron to give
us the numbers here.
Yeah.
Because it was like laugh,laugh, laugh, laugh, laugh.
(07:43):
Boom, boom.
It was boom.
He had.
It was consistent rate of heaters.
He didn't waste any time.
And I'll say one thing aboutwatching him is I feel like Andrew
has figured out how to get alot of laughs in a stadium that a
(08:05):
lot of people don't have thesame kind of cadence and it's almost
like they laugh.
They don't like reset.
It's almost like a rolling laugh.
But he still gets to say whathe wants to say to get the next laugh.
He never lets it die down,that's for sure.
Yeah.
And the.
The sound design, it's likeyou almost felt like you were there.
(08:27):
Like, however they had thesound set up, it was.
It just.
It felt different.
There was a different audioexperience to it.
Yes.
However they.
Whatever they did, it feltvery immersive as well, which I'm.
Which was very intentional, of course.
But the fact they pulled itoff at that scale is.
Yeah.
I was like, oh, wow.
This feels different too, froma production side.
(08:49):
Yeah.
It was very well done.
And he incorporated video andimagery, which I thought was very
cool.
Very different for.
For him.
Not something that he's donein the past, but it's just.
It's a very cool.
I thought it was very personal special.
Right.
He's the only one that couldtruly, like, write this story.
(09:10):
And I love.
I mean, honestly, I just.
Favorite part he had.
You know, I always think thisis like, if you're gonna make a special,
you got to make a special thatyou tell somebody you're gonna do
something in the beginning andthen you hit him with a banger at
the end.
Yeah.
(09:31):
Little callback.
He had a call back that hecalled out in the beginning and then
did it at the end.
That just hit.
It was like, oh, my God.
So it's just overall, justwell done, well rounded.
Special, for sure.
Yeah.
And that's good for retentionwhere he's like, here's something,
but we'll get to that later.
Now then call it back at the end.
(09:52):
That's good for retention, forpeople to hang around and just for
designing a comedy special.
Yeah.
But yeah, to take essentiallya single topic and stretch it out
into an hour.
Yep.
And it's still beyond topic.
(10:13):
Yep.
But just.
Yeah, it even.
Just from like a writingstandpoint, I think comics need to
see it.
Just to see how much juice youcan squeeze out of a topic and how
far you can go.
It.
Yeah.
I loved it, dude.
Like, Yeah.
I think I thought it was incredible.
(10:34):
Also hit you different as well.
Yeah.
Memories for me.
Right.
Like, for me.
Because it's.
It's story about.
It's a story about pregnancyand being a dad for the first time.
Yeah.
And trying to become a dad.
Those struggles as well, andthe struggles of that.
So, like, it just had a lot ofvery relatable things, I would say
(10:56):
that definitely hit Home withme as a dad.
He even called out girl dadsand boy dads.
He had a bit about boy dadsand girl dads.
That was just stellar joke writing.
But being a father of both, Iwas like, he's so right.
Like, he just hit on a lot.
And you're right, he squeezedthe entire experience.
(11:17):
The pregnancy, the struggleswith pregnancy, the going into the
doctors, the delivery, thewhat happening before the testing,
like all the things that youhave to do if you are trying to get
pregnant as a couple.
And so, yeah, that was verycool to see him, like, just walk
everyone through what thatlooks like for a.
(11:38):
Lot of people and it be funnythe whole time.
Like, killer, Killer funny.
Hilarious.
Hilarious.
I mean, I.
I watched it with my wife and,you know, and she, you know, and
she's not like the biggestcomedy fan, but it was like she likes
Schultz and she.
(12:00):
We sat through it and watchedit together and laughed and it was
a very, very fun experienceand something.
We haven't sat down andwatched a comedy special maybe since,
like, Nate.
I think we watched Nate's together.
So this was very differentfrom Nate Special.
And, you know, Schultz goesthere, but it's still funny.
(12:21):
It's not.
He doesn't go there to whereyou're like, oh, like, you know,
some people.
Oh, people can't.
I'm just too edgy.
They can't handle my brand of comic.
Well, it's like, no, you justgot to be funny.
You just gotta be funny.
You gotta be funny.
And younger comics can fallinto that of.
They're just not ready for howedgy I am.
It's like, you're not ready topull off the edgy stuff.
(12:45):
You gotta learn how to befunny first, and then you can apply
how you're funny into theseedgier topics.
But.
But that's just one opinion.
Yeah, I think it's a mustwatch for every comic.
Learning how to get a lot ofjuice out of a topic and really just
find the funny angles and whenyou find a funny angle, just hammering
it over and over and over again.
(13:06):
And it was a great.
It was kind of a greatrefresher for me as a comedian too,
because, I mean, you know, you.
You watch a lot more specials.
I don't really watch that.
Mini specials.
Yeah, it's just, I'm not like,oh, I gotta see this.
I don't know.
It's.
I don't.
I think every comic's different.
I don't really watch that many specials.
(13:26):
It's not like a personal choice.
I think it's just I.
I rarely.
I'm not always like, oh, Igotta be on this next one, or whatever.
But this one was one I wantedto see because I heard it was more
about a singular topic, whichI think specials are moving and are
going to move more and more inthat direction as everyone can release
(13:47):
a special.
So now it's like, okay, out ofall these comics releasing a special,
how can yours stand out?
What is your unique stamp onthe format?
How can you make it your own?
And I think having this kindof autobiographical or singular focus,
it's like, okay, this specialis about him trying to have a kid
and the struggles of that.
(14:09):
And so other specials.
Okay, what is this special about?
It's about X instead of, oh,we got a little bit of this, a little
bit of that.
The more you can kind ofalmost brand your special to kind
of be about a certain thing,the greater your chances are of more
people finding it or beingmore shareable.
(14:29):
Greg Warren is an example withhis special the Salesman.
And it was.
It's basically about him beinga salesman.
And it like, he got a lot ofpress because he goes really deep
on people, peanut butter andhow he was like in charge of selling
peanut butter at these grocery stores.
And he goes really in depth onlike Jif or Skippy and all of this.
(14:52):
And it was just somethingsuper specific and singular that
people could attach to the special.
Then that made the marketingof it explode because he was getting
all these write ups about,have you seen the special with this
guy yelling about peanut butter?
So I think that's somethingfor comics to think about when they
release a special.
Like, what is your peanutbutter moment?
Or, you know, what is.
(15:13):
What is the hook of the special?
And the hey, but.
And it's got to be funny.
This Schultz one was also.
It was also a re.
Kind of a reignition of like,oh, I need to, I need to get it together.
Like, he's throwing heat, bro.
He's laughing at a certain point.
(15:33):
Like, my wife was laughing hard.
And I was like, well, hold on,calm down over there.
What you talking about?
Never heard you laugh thatloud at me.
Like, he's throwing heater.
And I know this is a comic atthe top of his game and people argue
one of the best.
Or some people argue the bestalive right now.
So this is a guy in the top 1of 1% of comedians, but definitely,
(15:58):
I think a special that you canwatch and learn from and get inspiration
from.
Yeah, he is definitelyoperating at a different row right
now.
It is, it is you.
It is, it is so different.
But also you saw this earlyon, right?
Like you saw this when hestarted this podcast, when he started
(16:18):
touring, started showing thevideo, started the clips.
Like, I mean, I mean you couldsay like Schultz is probably like
one of the godfathers of crowd clips.
You know what I mean?
Yeah, for sure.
Putting that stuff out thereand realizing that it was getting
attention and then driving itand doing short term versions of
(16:39):
it and like just.
And.
But a lot of his clips werecomedy clips.
Right.
It was jokes too.
Right.
So he was kind of just puttingthat stuff out there where that wasn't
really like a big thing back then.
Right.
And so it was.
Yeah, it was just.
It's fun to watch theevolution because he's also, you
know, he also got theinterview with Donald Trump.
(17:00):
Like he's doing the flagrant podcast.
He's doing a lot of stuff,like a lot of arenas and.
But it's fun to watch hissuccess ascension but then come back
to like, I don't want to saycall come back, but like almost never
forget what he does, which iscomedy, and be like, yep, here's
(17:23):
comedy.
Here's what I do very, very well.
Even though I'm doing all thisother stuff, here's what I do do
kind of thing.
So it's just, yeah, still gotit type vibe.
And that's why I wasinterested to watch this special
as well.
Because he is responsible foralmost like the Internet ification
(17:46):
like of comedy.
You know, I mean, you know,Dane Cook was probably the started
all with MySpace and all that,but Schultz was kind of the next
iteration who really wasputting clips out there br.
Positioning them in a waylike, oh, heckler.
I.
You know, he.
Well, Steve Hofstadter isanother one who kind of did the heckler
(18:07):
side of the Internet clips.
But Schultz was definitelysomeone of like, oh, branding this
clip to be.
He had so many Indian guyreacts to white comic or things like
that.
He was always very intentional about.
He noticed that if you couldbrand a clip around a specific subset,
(18:29):
a specific culture, thatculture will share it within their
community.
So it's like if he's doingcrowd over the Nigerian person, he'll
brand it as like Nigerianperson reaction and then all Nigerians
will share it with each other.
And he went viral doing thatwith like clips around the world
because he would tap intothese kind of subsets of culture.
(18:51):
Not to.
I'm saying that as a whiteman, but you know what?
I'm.
Can you clean that up for MeYoshi on Ramadan.
Can you clean that up for me?
Assalamu alaikum.
But I think you know what I'm saying.
Joel's been practicing thatfor so long.
He's like, that's right.
I gotta get this right.
(19:13):
I have.
I was rehearsing it beforethis show.
Llama, Llama Red Pajama.
That's a child's book for anyone.
But, yeah.
So, yeah, he started thiswhole clipification of comedy.
So it's good to see him also,like, oh, here's kind of how you
(19:36):
can do a special now.
Because I was talking withsomeone and they were saying his
infamous special, it felt morelike he was doing a comedy special
of clips.
It felt like his special wasmore formatted to like, okay, here's
a clip.
Okay, now here's the next jokethat's going to be a clip.
And it was almost.
(19:56):
It felt more like that and notthis cohesive arc like his newest
special is.
I don't doubt for one secondthat he thought about that and was
like, oh, yeah, y'all.
Y'all just think I'm clippable.
I.
I got jokes, I got stories.
I mean, and if you everwatched, I mean, his other specials,
right, he's done more thanone, and he's released multiple.
(20:19):
He does stories and he has,like, even longer jokes.
But definitely the one that,you know, that, I guess, a network
didn't take, and then hereleased it himself, bought it back
from them, and did all thatwas definitely clippable.
Had a lot of clippable moments.
And that was probably theheight of, like, this clip culture
(20:39):
as well.
That was probably, like, thepeak where this is just this, you
know, this blowout specialthat's huge and big and bombastic.
Yeah, it was marketed that way.
And.
Yeah, that's what I was gonna say.
The marketing of.
Of it also was very, very stellar.
Like, I think I might havetold you this a while back, that
(20:59):
he tapped into what I call theUsher Raymond Confessions of marketing,
which is get a lot ofcontroversy going around your special,
and then people will go watchyour special and just get the buzz
going.
So the fact that he mentionedthe thing about, you know, I can't
(21:20):
tell you what network it is,but I bought it back from a network
because they wanted to takeout this joke.
We still never know what jokehe actually took out.
I think he might havementioned it, actually, but, like,
it was just one of thosethings where he had so much buzz
around the cancel.
Oh, I might get canceled.
So I bought it myself.
Released it on YouTube.
And I think he.
People paid for it before itgot released on YouTube as well.
(21:42):
So I think there's just a lotof, like, I love the fact that Schultz
has thought about all thedifferent levels of ways to market
himself to get his material out.
And it's very different.
Like, one was released on YouTube.
Just there's a.
Here's the release.
One was released before YouTube.
This is released on Netflix.
And then he did the show on Netflix.
(22:03):
Right.
So he's got just a lot of buzzaround his writing and his capabilities.
But, yeah, he's.
He is stellar, man.
Just, yeah, big fan.
Good special.
Like, this is a good special.
It.
I mean, one of my favorites, dude.
It.
Yeah, it was incredible.
And, you know, he's always apart of the next step.
(22:24):
So I am interested to see nowthe next iteration of comedy, the
next.
Where we're headed now thatwe've kind of almost hit max capacity
on clips or, like, crowd workclips at least and things like that.
It's kind of like, all right,well, what's next?
Everyone has a special.
And so now how.
What's kind of the next iteration?
(22:45):
Now everyone can set up atripod and film a set.
Now how can we continue topush the medium forward and continue
to challenge comics to notjust get complacent?
And yeah, I think thissingular focus comedy special and
how he had a little multimediawith it as well.
Not too much, but, you know,we've seen it.
(23:06):
Kevin Hart has obviously donethis as well and made his, like,
Kevin Hart has a special wherehe's literally sitting in front of
a toilet.
He's talking about sitting onthe toilet, and then the backdrop
is a toilet.
And so the medium could beheading more in that interactive
way.
So comics at open mics, atcoffee shops can't just post a crowd
(23:29):
work clip from an Android andpop off.
Yeah, I definitely thinkSingular topic is very interesting.
I did a show with a comedianthis weekend, Nima Williams, who
is an OG comedian.
They did my show in Duluth.
Very funny.
But he's got this bit abouthis son that's just incredibly touching.
(23:53):
But he also mentioned that,like, he hadn't done a lot of it.
So it's the first time heactually did a lot of just this material
and he wants to do more with it.
But I just love the topic ofjust the thought of just putting
out something about one topicand just saying, like, this is the
topic.
I'm gonna just put this out.
And Schultz was birth of my Family.
(24:17):
Like, birth.
I mean, Birth of my kid andeverything sort of, like, attached
to that.
So it's.
Is this something, like,unique about that?
It's almost like now itbecomes, like, chronological, where
we could also watch, like,your life.
So you're like, all right, youknow, this is the first time, this
is the second time.
Like, so you just never know.
(24:37):
I mean, Ali Wong did that withher special and baby cobra.
Right.
The first one that she cameout with, she was pregnant with child
number one, and then childnumber two.
Yeah.
The second one, and then thethird one, I think she was just like,
you know, life is good, blah,blah, blah.
And then the fourth one, shewas divorced.
So it's like, there's achronology of things that happen
(25:00):
with.
With her life as well.
So it's like, I like thatbecause now you're just following.
It's like, yes, comedians noware kind of like, you know, like
we mentioned last time, kindof like the rock stars, and now you're
just watching their life.
Yep, that's a very good point.
(25:20):
Yeah, that's.
Yeah, that's interesting.
I like.
I like the chronological andautobiographical side of it.
That's very interesting.
Yes.
I'll be interested to see kind of.
Yeah.
Where.
Where the special takes comedyor what is next.
So that was.
Yeah, that was veryinteresting, I think.
Yeah.
A must watch for every comic.
(25:41):
Just knock out killer laughs throughout.
And the writing is just, bro,impeccable, bro.
I'm.
I was literally, like, sittingthere at some points, like, oh, dang,
I gotta get it together, bro.
Like, he's hitting, like, dis.
(26:03):
Like this.
Yeah, yeah.
Because there's that part ofme, you know.
You know, ever since I had akid, you know, there's that part
of me that's like, yeah, Idon't, you know, I want to be home.
I don't, you know, I want tobe home.
I want to be here for this.
I don't want to be out on theroad as much and starting to find
ways to build more stabilityfrom home, which I've been able to
(26:25):
do and I'm very happy for.
And then I see a special likethat, and I was like, oh, man, I
gotta get after it.
I gotta leave my familybecause I need 10 laughs per minute.
They'll understand.
My neglected child is like,but dad got 10 laughs per minute,
so everything's okay.
(26:47):
Yeah, he murdered, though.
Yeah.
So, yeah, he straight upkilled it.
Yeah.
So, yeah, go watch life.
And if you have seen it, we'dlove to hear your opinion.
And if you haven't seen it, gowatch it.
And then please like share usyour opinion in the Facebook group
or on social media and tag us because.
Whoa, it's.
(27:09):
It's all killer.
No filler, in my opinion.
Great way to describe it, dude.
Yeah.
So in the.
As we in the last few minuteshere, I do want to get to a couple
questions that I got this week.
Yeah, just about a few about comedy.
And the first one was actuallyfrom a comic named Steve Owen, who,
(27:35):
you know, I'll do set reviewsfor comics and actually did a set
review for him.
And speaking of set reviews,if you're listening to this the day
of its release, the MarchClean Comedy Contest registration
is open.
It closes at 5pm Eastern Time today.
So that's probably a good timeto promote that when it closes in
(27:57):
less than 12 hours.
That's.
That's how you promote stuff,right, Yoshi?
But anyway, yeah, so I'll linkthat in the show notes.
But Steve Owen, I did like aset review for him and then he got
some feedback from like a clubbooker on his set as well.
And it was like kind ofcontradictory to what I said.
So I thought this was aninteresting kind of opportunity to.
(28:22):
For comics to, you know, takeall advice, feel free to listen to
advice, but not necess.
You don't have to applyeverything and you kind of.
That's what I hope this show is.
It's not the bible that youhave to do everything we ever hear
and say.
We give our points of viewbased on our own professional experience.
What works for me may not workfor you and vice versa.
(28:44):
So you kind of hear differentpoints of view, but you apply what
works for you.
It's kind of how comedy works.
There's no right way.
There's your way.
So just kind of focus oncontinuing to what works for you
and following your own instincts.
But you can also absorb otherinsights along the way and see if
it works for you or not.
But basically Steve had thiswhole act out where he's like rolling
(29:07):
around on the floor and he wasacting like a baby giraffe and he
like rolled on the floor and Ithought it was funny.
And I was like encouraging himto do more things like this.
And the booker gave him theadvice to not roll on the floor because
it leaves too much dead spacelike on the stage.
(29:29):
So especially if you're at ashow and you're rolling around on
the floor, I guess most peoplewouldn't be able to see you if you're
in like a comedy club setting.
They're kind.
Then you're like below thechairs and they can't see you for
sure.
So basically I was like, oh,do more of that.
And the booker's like, oh,don't do that.
Yeah.
I mean, and I think it's aboutdifferent perspectives.
Right.
(29:49):
But that's a good, good thingto like, look at and say, is there
a way that I can do both ofthese things right now?
I know comedians that do that, that.
That started rolling on thefloor, and then when they got to
a club that, like, the floorwas not safe or like it was conducive,
(30:11):
they just started rolling onthe chair.
Right.
They just started using thingsto still make it like an act out.
Like, you could just roll onthe wall to make it look like the
floor as well.
Right.
Like, so there's many ways tostill get this done, but it still
takes both points, which is I,as a booker, am not going to be able
to see you, and the crowd maynot be able to see you.
(30:33):
So now you're leaving deadspace and you're saying rolling on
the floor is very physical andit's entertaining for people and
you should do more of that,especially because it's entertaining
and it adds to the joke.
Right.
So I think both things can be true.
Yeah.
And I.
And I was able to, like, re.
Clarify that.
It's more of that part of theset that he sent me.
(30:56):
It felt the most.
It felt like he was having themost fun doing that, and it felt
like he had the most energydoing that.
Yeah.
So it was more.
I clarified of, like, notnecessarily rolling on the floor
is like the punchline of this joke.
It's more of your commitmentto that act out and the absurdity
of it.
So I was like, you could stillact out being a baby giraffe without
having to roll on the floor,and you can still be upright and
(31:18):
silly and kind of wobbling,like Bambi or something.
So, yeah, I.
That kind of helped me with.
Also when I give feedback to,you know, some people will hear feedback
and then be like, exactly that.
That is exactly point A topoint B.
I'm doing everything thatsays, but I need to be more clear
about the intention behind.
Yeah, no, it was just youcommitting is what brought your set
(31:40):
to life.
So look for more moments towhere you can commit.
Not necessarily rolling on thefloor commitment, but just committing
to that act out is where thehumor came from.
So, yeah, I mean, if thebooker of a place you want to get
booked gives you advice to door not do something, you may want
to listen to them if you wantto get booked there.
(32:00):
Yeah, yeah, absolutely.
But also just.
It gives you an opportunity towork on what else you can do with
your material.
Yes, Yep, exactly.
So I just thought that was aninteresting one.
And just to help comics aswell is, like, they're listening
to a comedy advice show to,you know, take our advice, but also
(32:21):
apply it on your own and makeit your own.
There's no.
We're by no means saying,these are the rules of comedy you
must follow.
You just.
Yeah.
You kind of learn what worksfor you over time.
Yeah.
As I say, you ain't got tolisten to anything we say.
No, but we've been in this game.
Joel, you're like, 15 years.
I'm 10.
(32:41):
Like, we've been in this gamefor a hot second now.
So we just.
There's things that we know,and we're offering advice and we're
giving it, and we're sayingthings that we've learned.
You don't have to take any of it.
You could just.
But I'll say this.
I wish I was given this advicebecause I've made so many mistakes,
did so many things, try to doso many things myself.
(33:04):
And I think that's thedifference is, like, I would say
seeing comedy as a communityis a bigger advantage for you.
Like, you don't have to goabout comedy solo.
Yes, it's solo when you're writing.
Yes, it's solo when you'reperforming, but it's not solo to
network.
It's not solo to ask questions.
(33:24):
It's not solo to ask an OG orsomebody who, you know have been
doing it or doing the thingthat you want to do for advice.
I forget who gave the advice,but don't, like, look for advice
from, like, someone who's sofar ahead of you.
Look for advice from someonewho's, like, doing the next thing
(33:44):
that you want to do.
So, like, if you're featuring,go get advice from a headliner.
If you're headlining, go getadvice from somebody who headlines
a lot.
If you're headlining a lot, goget somebody who does, like, theaters.
Right?
Like, it's, like, justdifferent levels.
But, yes, advice from, like,the Jerry Seinfelds and the big dudes
are always great, but they're.
(34:04):
That's so much compactedwithin years of the journey.
If you're trying to getbetter, you want to go to the next
level.
What's the thing that theperson at the next level that you're
trying to get to, like, ifyou're open micing try to get advice
from someone who showcases,how do they showcase, what is it
that they did to start gettingbooked more in the city.
So I think that's alwayshelpful, especially from a community
(34:26):
perspective.
Like look to the communityaround you.
People will.
People are surprisinglywilling to help and just answer your
questions if you ask them.
At least I have that to be true.
Yeah, and there's alwaysexceptions, but overall, yeah, it
seems like there is a verycommunal comedy scene out there.
(34:47):
In most scenes now you canfind friends.
Yeah, this, this last one atthe buzzer, we can squeeze this one
in here.
But I, I told him I was, wewere gonna get to it on the show
and I think it's an important question.
This was from Brandon Whitewho messaged me on Instagram and
he said he thought this wouldbe interesting for the pot, which
(35:10):
I agreed.
But he said I'm four years inand work the clubs in the area.
Feature headline for one offsall around the area.
I run a weekly mic and do fourto five non paid spots a week.
I think I'm afraid of slowing down.
What yalls best take a breakwithout taking a break methods.
Take a break without taking a break.
(35:33):
I will say, I mean I didn'ttake a break maybe until the pandemic
kind of and now I feel likeI'm still taking a break.
But I think my break came, Idon't know, I was pretty intense
(35:57):
for several years.
I'm trying to think mine camewith like balancing family or balancing
even with getting married andbalancing that time and now with
a kid.
Another level.
Taking a break without takinga break mean you could.
(36:18):
If you're doing four to fivespots a week, you could say, all
right, this week I'm onlydoing two or this week I'm only,
I'm not doing any and I'm justgoing to take a break.
And that's fine for you.
You know, it's not.
I think it's so important,it's so important to still just live
(36:38):
life as a comedian.
If you feel like you're justin the clubs and everything that
you do is comedy, you're notreally absorbing life, you know what
I mean?
And you need life to helpwrite comedy.
You need to live right.
Like if you're, if everythingyou do is just comedy centric, then
the only thing you can reallytalk about is comedy.
(36:58):
Well, that's not interestingfor the masses.
You mean we could talk abouthow long it took us to write a joke
and how much we worked on abit, but that's not interesting to
people paying $25 and twodrink minimum to go into a club.
Right.
Like, that doesn't really,like, hit them the same way.
So you still have to live life.
(37:19):
I would say just take likecertain days off.
Right.
Just like take a break withinyour day just because.
And also just know that if yougo from, you know, going from four
mics or five mics to two micsor three mics, it doesn't mean you're
slowing down on comedy.
You're still doing comedy,it's still in your bones, and you're
(37:42):
still like working out the muscle.
You know, I went from, like,you know, probably when I started,
I was doing maybe three tofour mics or three to four nights
a week, but it just was notconducive to my schedule.
So when I went to like twonights a week, I would just pack
in as many mics as possible onthose two nights.
(38:03):
Right.
And then live the rest of thetime and was not worried about it.
So I think there's also a wayjust to optimize your time.
You don't have to do comedyevery single night.
And then you just got to thinkwhat time you're actually spending.
Definitely.
Something I remember fromStephen Dwyer in his master class
that he gave us a while backis if you're spending time going
(38:24):
to the mic, are you doingcomedy on your way there?
If you're spending timeleaving a mic, are you doing comedy
on your way back?
All that stuff is time, right?
Are you hanging out and areyou optimizing that time that you're
hanging out?
Like, what are you doing withall of your time?
We, A lot of people complainthat they don't have a lot of time,
but we actually have enough time.
(38:45):
It's just, how do you optimizethat time?
And you definitely just needto live life because that's what
informs your comedy.
That's how your comedy reallygets good and relatable, is by you
living it and being able toget the jokes out of it to tell people.
Yeah.
So, like, on the way to theshows, are you rehearsing and going
over your set on the way homefrom your show, are you listening
(39:06):
and reviewing your set?
Yeah.
Making the most of that timewhen you're out.
And it you taking a break ornot is a personal choice.
And no one is like, no one cares.
Like, no.
I mean, because, you know,that's something I've had to grapple
with as well.
Say, say it again for thepeople in the back.
(39:26):
Joe and I'M saying this for meas well.
No one cares.
No, no one cares.
I like, you know, and I'vetalked to you about that, of me trying
to prioritize local work morethan being on the road and then in
my head about, well, what are,what are comics gonna say?
Or what are people going tosay if I'm not out there doing it
like that and all that.
(39:46):
And like, yo, she's like,dude, no one cares.
Like, do what's best for youand your life and your family.
No one.
Everyone is worried about themselves.
Yeah.
Yeah.
No one.
No one's like, ah, I wonderwhat Joel's doing.
Yeah, no one cares about that.
No one cares.
Yeah, the people that careabout you are the people that are
close to you and the peoplethat matter and people that matter.
(40:08):
And I think a lot of timespeople think that, like, other comedians
thoughts and ideas is going toaffect them.
Guys, let me just tell you something.
It does not matter what theythink, because they're not living
your life.
They're not in your everydaystruggle, they're not in your everyday
pain.
They don't know what you gothrough the 23 hours out of the 24
(40:28):
that you saw them that theydidn't see you.
I mean, so you need toprioritize what's best for you, and
you need to figure out whatyou need to do to get the best out
of your time and to get thebest out of your career.
So, yeah, no one cares.
The.
Even the thought of, like,slowing down as a concept is just
(40:48):
something that I, I wish us ascomics got away from because it feels
like we're just adding morestruggle to the already, like, hectic
lifestyle of comedy.
There's no such thing asslowing down.
You're just living life.
Like, no one's judging you.
You're the only person that'slike, oh, I need to do more, I need
(41:11):
to do less.
You're the only one.
Yeah.
There's no, like, scale orthere's no place or there's no comedy
book that says if you do notput in 10 hours of comedy a week,
you are not considered a real comedian.
No one says that.
No one gives a crap.
(41:33):
Right.
And no one's monitoring your time.
You're the only one.
Yeah.
And he said that he runs aweekly mic.
I mean, getting a guest hostfor that could be a good start too.
Like, running a weekly mic is horrible.
It's stressful, I would say.
(41:55):
You know what?
I do encourage people to starttheir own shows and everyone should.
They understand the amount ofwork that goes into it.
So.
But finding a guest host,there could be a great way just to
take a step back because it isa lot of work to run a weekly show,
so you could start there.
But I think the big, like, thebig takeaway is like, do what's best
for you.
(42:16):
No one, any voice in your headsaying, what are people going to
say?
Or what are people going to think?
This is something I strugglewith daily on everything.
That's probably my biggesthurdle I'm really working on this
year is that voice of like,well, what are other people gonna
say?
Or how is this gonna come offand how is this gonna look?
(42:37):
That's something I struggle with.
So I'm saying this out loud tomyself as much as anyone else, but
no one cares.
And doing what's best for youand what is healthy for you is most
important.
And you just determine thatbased on what kind of life you want
to lead.
So hope that helps.
(42:57):
Yeah.
Yeah, that was a good one there.
So thanks, Brandon, andthanks, Steve, for those great questions.
You guys can hit us up onsocial media at Joel Byers Comedy
and at Yoshi.
So if you have any questionsor I can ask them in the Facebook
group as well.
But it's really.
(43:18):
I think.
I think we hit it today.
I think we hit it today.
And, Yoshi, your class, yourhelium comedy class.
Graduation is this Wednesday, right?
For anyone in Atlanta.
March 12th in Atlanta.
Come out and hang out with us.
It's going to be a fun show.
I got, like nine students aregoing to be performing.
It's going to be fun.
(43:38):
And then we've already got alineup for the next as well.
So if you want to sign up,holler at your boy.
Go to the healing website tosign up for classes.
Yay.
And if y'all want to join theclean comedy contest this month,
just click the link in theshow notes and we'll hope to see
you there.
But we'll be back next Mondayright here on Hot Breath.
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