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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
All right, three, two, one.
Welcome back to Hot Breath,your weekly comedy tune up with comedians
Yoshi so and Joel Byers.
Thank you all so much forhanging out.
We've been off the air for afew weeks.
There was Memorial Dayweekend, and then last week I posted
(00:25):
my interview with the winnerof the May clean comedy contest,
Mr.
Daniel Quintero, which you cancheck out on the podcast or on the
YouTube live.
And if you haven't heard thatepisode, he had a lot of good insights
into how he was able to writea killer set in two weeks.
And probably my favoritefeedback about the contest has been
(00:48):
that even if people aren't inthe finals or winning, they're still
writing a lot of new materialthat is stage ready.
So if you've been strugglingwith accountability or motivation
to write new jokes, thiscontest is definitely created for
you.
So you can go to cleancomedycontest.com linked in the show
notes to join the Junecontest, which the deadline is today.
(01:12):
So if you're listening on theday of the release of this episode
on Mondays, which we greatlyappreciate you loyal hot breathers
that do that is one of theperks is you get access to this contest,
so.
So you can go save your spotand compete to win the hundred bucks
and an interview on Hot Breath.
Yay.
(01:33):
There it is.
Just trying to get thatapplause sound effect going.
Okay, so we in here.
I actually tried to start thispodcast early because Yoshi was late
and then Yoshi joined and waslike, your audio sounds terrible.
(01:54):
We had to restart anywaybecause we record this at nine in
the morning for people thatdon't know on Mondays.
So we, we are out here gettingthis in.
So I'll post that on thePatreon if people want to check it
out.
I did say some expletives.
I can't even say expletives.
Expletives.
(02:16):
I sinned at the end of thevideo when I realized that the it
doesn't threaten to quit thepodcast for the 50th time.
Oh, of course.
It's 50,000th time.
Really?
Podcast.
Unless you threaten to leavedoing the podcast.
But then you meet people fromthe Hot Breath Averse and it makes
it all worth it.
(02:36):
I met a Florida comic namedLeroy Aaron and we met at the Laughing
Skull a week or so ago.
And he was so hyped on thepodcast and was like, yo, you're.
I love the show, man.
And you know that's always rewarding.
And I know you get that as well.
People will see you be like,oh, man, I love the podcast.
(02:58):
So I get a lot of that atfestivals, a lot of that at shows.
Yeah.
Especially when I'm new to a show.
People are like, God, yourvoice sounds familiar.
Where'd I go?
Yeah.
I've had people stare at me,like, at some place and just like,
give me like a tilt of thehead and then like, I know you have
(03:20):
seen you somewhere and thenI'm like.
And I'm really good withfaces, so I typically know if I've
seen someone.
And then like, you and thewhite guy.
The.
The dude.
The podcast.
The white guy.
You and the white guy.
(03:42):
That's us.
Which actually sounds like agreat podcast name.
We should just change that.
You and the white guy.
That's not bad.
We could workshop that.
And you're the white guy.
(04:04):
Oh, but speaking of hot breathverse, I did have a question from
a hot breath or in Barcelona.
Barcelona.
Barcelona.
Which is a great comedy scene,by the way.
Yeah, you were out there.
We, we talked about it backwhen you did some shows over there.
An amazing comedy scene.
(04:25):
The city is just super ripebecause it's a.
It's a tourist town.
So there's just like a lot ofvenues that do English speaking comedy
and people are there for it.
So it's a nice little funlittle run if you ever get a chance
to go to Barcelona.
Just comedians from all overthe place.
(04:46):
But it's a good place to testout your material, to know if it's
internationally sound.
So all the references that youmake to things that are American
may not work, but if make itbigger, where it's more universal,
then sometimes it does work.
I remember asking on the shownot to go down the rabbit hole.
(05:09):
I remember asking.
I was like, so what is it likeif you were to think about the first
thing that you think about America?
What's like the first thingyou think about?
And I.
Oh, my heart just like, waslike shot in the heart.
They're like, so school shootings.
I was like, oh, my gosh.
(05:31):
Yeah, yeah, yeah, yeah, yeah.
Yes.
Just out of the gate.
And this was like a hundredpeople in the crowd.
Oh, my God.
This was like Family Feud.
It would have been like 70.
Ding, ding.
Survey says.
Sad.
(05:52):
Yeah.
I may get out of here.
We may need to.
We may need to get out of here.
Have you thought about leavingjust the country?
Yeah.
Regularly?
Yeah.
It's just so much, I guessit's a lot.
You know what I mean?
Like, now we're living in acountry where the richest person
(06:13):
and the most powerful personare Having it a penis whipping contest.
Like what are we doing?
Yeah, let's not go down thatrabbit hole.
Let's not.
Not my president.
You're not gonna talk about mypresident on this podcast like that.
(06:34):
Politics.
But I don't like people just fighting.
It's ridiculous.
But yes, let's.
Yeah.
Negativity.
Barcelona.
Cor.
Question from a Barcelonian or.
Yes.
And the question is, why doyou have so many school shootings?
That's the question.
(06:57):
Do you want to go?
Yes, but yeah, his, his name'sRick Andrews.
Yeah.
And he says during shows italways feels like the first minute
never gets a big laugh.
If I do the same joke at fiveminutes, it gets a good laugh.
But I always feel like I haveto build to this.
(07:18):
Is this something you noticeor is it just needing stronger openings
or quick one liners to getthem going?
He says he tends to tell stories.
He doesn't really know what tostart with because of this.
You know, I think this couldbe answered in a couple of different
(07:40):
ways.
I think one of the things thatI definitely teach and I know that
we even talk when we wereteaching our class during the pandemic
was like first 15, 20 seconds,you got to get a joke.
You gotta get a joke out.
Like the audience must trustthat you are funny out of the gate.
(08:04):
And it's just helpful to getsomething going for them.
And so I always say even inthe first minute.
I think the first minute iswhere you actually have to pack in
as many jokes as possible tostart off and then you can trail
off into other things.
They just have to trust thatyou are funny.
(08:25):
And so even Jason Rowland fromthe World Series of Comedy and Comedy
Feedback talks about anidentifying statement out of the
gate.
So if you ever watch any latenight TV sets, the first minute is
usually something identifyingstatement about them and it usually
has a joke.
(08:45):
It can be sometimes wrapped inI look like or I come from or my
background.
Is this just somethingidentifying that has joke structure
in it to then for them to then trust.
Oh, you have other things thatwe know.
Oh, now that we know you'refunny, we can trust anything else
(09:05):
that you're going to say.
And we're like with you.
So I do think if you have acouple of one liners it's okay to
do that just to get funny into it.
Even if you are a storytellingcomedian, it's about packing jokes
in, in that first minutebecause that's where the big impression
is made.
(09:26):
If you're waiting five minutesto get the laughs.
That's a lot of work for themto do to wait for that laugh for
the audience.
Yeah, for sure.
Yeah.
So I do think, yes, one linersor just identifying statements.
I look like jokes that arewrapped not in saying I look like,
(09:47):
but in other ways I think aresuper helpful right out of the gate
and just something identifyingeither about you, how you look.
You always say, always addresssomething that the audience is thinking
about you out of the gate.
If you look a certain way,address it.
(10:08):
It's always just helpful.
Like Liam Nelson, who is aseven foot comedian.
What is that?
Sorry, some ad just popped up.
Okay, sorry.
Yeah, I don't even know if y'all can hear that, but that just
randomly.
Because I was actually pullingup Jason.
You mentioned Jason Roland, soI was gonna pull up.
(10:28):
He actually has his comedyfeedback class starting June 9th
actually today.
So you to comedy feedback dot com.
That's a great six week class.
Yeah, I've taken an amazing class.
If you're trying to just doshowcase sets and book by bookers.
(10:50):
Yep.
But yeah, I would say oneliners, get the one liners out there,
identifying statement, havesomething that, you know, just works
out in the first minute or so.
Yeah, for sure.
Yeah.
You want to get a laugh within15 or 20 seconds.
(11:10):
And you know, that's just agood rule of thumb.
It's a good goal to have for,you know, especially starting out
and just trying to get thattight five together.
And maybe part of also Rick'sjoke not working at the beginning,
but at the end is maybe his confidence.
It's like as you get morelaughs, you get more confident on
(11:31):
stage and then the moreconfident you are, the more confident
the audience is in you.
That's why we do say getting alaughs as quick as possible will
help not only the audience geton your side, but you get on your
side, you get that confidencegoing because you're like, oh, I
got a laugh there.
Okay.
There's a little adrenaline tobuild on because a lot of comedy
(11:54):
is just confidence.
And that's why the number oneadvice from all the interviews on
this show has been get on stage.
Because that's how you buildthat confidence is just being on
stage a lot.
So that may also play intoRick joke working more towards five
(12:16):
minutes than one minute justbecause he's more confident at that
point in his set.
So even if you are more of astoryteller just to get the audience
on your side, you could do acouple quick one liners just to get
the momentum going.
Just to Get a pop going, you know?
Yeah.
And also, just also realize,know that even if you are a storyteller,
(12:40):
it doesn't mean that yourjokes can't be funny or they can't
have quick laughs in it.
Like, just because you'retelling a story does not mean that
people have to wait all theway to the end for that joke to be
funny.
Storytelling just means youare saying a premise that's going
to last a much longer timethan something that's quick in and
out, like set up, punchline.
(13:02):
And then you're not eventalking about that topic.
That's really what it is.
Even if you're telling astory, you can have jokes and funny
things in it all the waythroughout the story itself.
Yep.
Yeah.
So hope that helps there, Rick.
That's just.
I thought that was a goodquestion that maybe other people
(13:23):
have struggled with as well.
Yeah.
But it's all about.
Yeah.
Getting that laugh as quick aspossible just to get your confidence
going.
Yeah, yeah, yeah.
It'll make you feel so much better.
Like, especially.
Yeah.
As soon as you get it, you'relike, oh, okay, now we're in it.
(13:45):
Absolutely.
Oh, man, that just makes meremember those early days of like
all you have is maybe fiveminutes, you know, if everything
works, you know, and somecomics like, oh, I got 15, and then
it'll become three real quickwhen it doesn't work.
But just like, oh, I had this opener.
(14:09):
Kills every time.
And then it just doesn't.
And then you're like, oh, no.
And then you just slowly startshrinking on stage with every, every
joke that misses it.
Just.
Yep.
But that's a.
Yeah, that's a good question there.
But yeah, it's all, all aboutthe stage time, my friends.
(14:31):
At the end of the day.
Yeah.
Continue to develop material.
But that's.
That's stage time, man.
You can't, you can't skip it.
Can't skip it.
Because it's funny.
You and I, we did a show atAtlanta Tech Week last night.
We did a show together.
Yeah.
And so a lot of.
A lot of like nerdy people.
(14:54):
It was for startup or Stand upfor startups.
Yes.
Is the company's name, whichwas a lot of fun.
I know they do a lot of great shows.
It was.
I'd been watching them, so Ifelt like, oh, good.
I got a.
I got in there.
Thanks to Yoshi.
Yoshi referred me.
Yeah, it was great.
And so we were talking to aguy afterwards who's like a software
(15:17):
developer and big in AI and wewere Talking about joke writing with
AI and also it was like, atthe end of the day, it's like, you
still have to get on stage.
So it's.
You can't.
Because he was.
He was super interested incomedy and even trying it.
He may do your class, itsounded like.
But yeah, he was very curious about.
(15:40):
He's like, well, comedy is alanguage, and these AI tools are
large language models.
He's like, so there's got tobe a bridge there.
But it's also it.
You.
At the end of the day, you.
You can't AI Your way on thestage, basically, you know, unless
you're doing the Metaverse or whatever.
But, like, you still have toget on that stage at the end of the
(16:03):
day, and that's when you'rereally gonna know if.
If it hits or not.
For sure.
Yeah.
The human reaction reality ofwhether a joke is funny or not.
I mean, I'm sure AI can figureit out sometime, but right now, it
can't replicate whethersomething's funny or not.
(16:25):
Yeah.
So you can try it as much asyou want, but it cannot replicate
whether that joke is going to work.
So.
Yeah, it is a.
It is.
That's.
That's the key.
You got to get on stage andyou have to test things out.
And then you just have to bein different environments where you're
like, oh, I've never been inthis environment.
(16:47):
Let's see what happens with myjoke in this environment.
Yeah.
Yep.
Even last night was adifferent environment.
It was about 400 seats out,and they were not 400 people there.
High ceilings.
(17:08):
It was in, like, it was inAtlanta Tech Park.
So it's like kind of like atech co.
Working space.
So high ceilings, long room.
It was basically like a cat.
A cavern.
Like, this had to be the sizeof a football field.
Yeah.
It was huge.
(17:28):
Open, bright lights.
The audience is lit.
You know, the overhead lightsare on.
Not, not.
Not a dark.
Yeah, like, tight comedy clubenvironment, which is like, quote
unquote, the ideal setup forstand up.
So a lot of variables yougotta just learn to adapt to.
(17:48):
Yes.
Which some comics did betterthan others.
We could say, you know, we're not.
I'm certainly not saying any names.
I'm just saying experiencewill help you to, like, kind of take
the temperature of a room andhow to kind of adapt and connect
(18:09):
with that audience at thattime in that setting.
For sure.
So, like, I just.
I just opened up withsomething about like, oh, these are
all the people that didn't getto the free pizza Or I said something
like that.
That, like, these are thepeople that were bummed there was
no more free pizza.
(18:29):
I basically just addressedsomething that everyone in the room
could connect and resonate with.
Absolutely.
Up top.
Just to kind of start thatconversation, you know, like something
relatable.
Yeah, yeah.
Yes.
And other comics just went upthere and just started with their
(18:50):
jokes, not really establishingany sort of connection with the crowd,
which.
The connection is key.
Yeah, for sure.
And then another sea ofcomedy, connection, confidence.
Yeah.
And I just made fun of Joel,and that got a big laugh right out
of the gate.
Yeah, yeah, yeah, yeah, yeah.
(19:11):
It was just a fun littlecadence of just like, oh, just make
fun of the guy.
That was just last year.
But it was connected.
Like, I never wrote that joke before.
It was actually just connectedto the conference.
And so it was just something Ijust thought of.
Up the top.
And it worked, and they allgot it.
But it was a quick laugh tothen for me to get into my material,
(19:34):
which is exactly what I did.
So it was, you know.
Yeah, it was a good set.
Fun set, but definitely notideal from a comedic standpoint,
but also, like, you also feelproud after you did the thing of
getting everybody into it.
And I think for sure, thatwas, like, the highlight.
(19:58):
And, you know, and then people stayed.
That's always, like, the thingat a show like that.
Because I think the audienceis also thinking about, should we
go or should we stay?
Yeah.
Because people were leavingwhile people were performing.
And so now you have that poolof should I leave or should I stay
(20:20):
for this?
And happy to report, theystayed for the rest of the show.
So that always feels good.
You're like, oh, yeah, all right.
And now the people that arehere, the people that are left are
getting a show, which I thinkis the most important part.
Yeah.
Giving a show, no matter what,is super valuable and just a muscle
(20:45):
you develop over, I wouldhonestly say, years.
You know, it's.
It's so hard to.
It's like, I did a countryclub on Saturday, the.
The night before our showtogether at the Tech Park.
Yeah.
It was actually second timedoing this country club, the Rebook.
I think I've said it before,but that's where it's at.
(21:08):
When you can do the Rebook,that's when you start to really get
the money going.
So.
And if anyone listening tothis has a country club in their
area that even if you justhave the name, send it our way.
And I'll reach out to them,because I've been really enjoying
these country Clubs.
But basically I was talkingwith comedian Jordan Meadows at the
(21:32):
show and he's like a newercomic, but I like him.
Very likable, very funny, hasgreat jokes.
Just a newer comic.
And he was asking me justbasically about having.
When did I feel like I had theconfidence in terms of.
We were talking about, like,the business of comedy versus the
art of it.
Basically, he's like, when didyou feel like you had the confidence
(21:53):
in your skill set to be like,oh, I feel confident marketing myself
as, like a reliable, like, headliner.
And I.
I said like eight or 10 years.
Like, it was.
I felt sometimes telling ayounger comic these timelines, it.
(22:14):
But I mean, that's.
That's really the reality of it.
I know with social media youcould build an audience faster, but
to actually build, for mepersonally, it took that long, really,
eight to 10 years before I'mlike, oh, I feel confident, like,
marketing myself as someonewho can provide a reliable service
(22:36):
of comedy.
Just think it from thebusiness end of it, you know, so
that's my personal experience.
And I've heard other comicsshare the same.
Where it really takes around10 years for you to really feel like
you've got your footing inthis game.
But I know there's people fiveyears in right now that are like,
(22:57):
joel sucks at comedy.
I'm.
I'm on right now.
They don't even know I'm thechosen one.
And there's a set around thecorner for you thinking that that
is going to make you rethinkeverything about your decision to
even start comedy.
(23:21):
But, yeah, so, yeah, a lot ofit takes time.
I don't even know how I gotdown that rabbit hole.
But some of it is just timeand consistency, which I think is
why community is so important.
Either here in the hot breathof verse, in our Facebook group,
finding that support, or justin your local scene as well, just
having people you're on thegrind with because it can be a lonely
(23:46):
journey out there.
Yeah, yeah.
I mean, I think at the end ofthe day, because you've got experience,
but also I think kind of justknowing what you want, I think is
also important.
Right.
Like, you've establishedyourself truly as a clean comic who
(24:07):
does faces that are sort ofconducive to clean material.
You booked clean, you don't do dirty.
And it's not that, like, clubsare, like, dirty or clean, but because
you've established that, youjust get a bit more opportunities,
you know what I mean?
(24:27):
If you're a dirty comedian,it's really hard to Go to a country
club, you're like, all right,when y' all want some dirty comedy,
like out of the gate?
Not that it's not possible,but yes.
Some don't mind it, but, youknow, the.
I did a country club the weekbefore as well, and there were actual.
There were children in there,like toys on the front row.
(24:53):
And they didn't.
Nope.
They didn't say.
None of those mentioned.
No, they didn't mention it wasgoing to be like that.
It's just hanging out at your show.
There were several childrenand not like teenagers.
Like, at the show thisweekend, there were some teenagers.
And that was cool.
And I, I played with them, butlike in a very comedic way, not an
(25:15):
incriminating way.
And it was totally fine.
They were all cool and theparents were cool and everything.
But these are like children.
And one of the comics on theshow that the children run was like,
I don't have.
Because that comic had kids as well.
And some of the topics theytalk about, they didn't even feel
comfortable.
Even if they're not, quote,dirty or swearing, just the topic
(25:38):
of sex or something.
They were like, well, Iwouldn't want to talk about that
in front of my kids.
I'm not going to do it here.
So there was some scramblingand editing going on, which is why
it's so important even just tobe able to be clean.
Like, that's why I always atleast challenge comics and why the
clean comedy contest exists,to at least help comics write clean
(25:58):
jokes.
So if that opportunity doescome, you're able to say yes and
not have to be like, I don'tknow if I can take that $500 gig
because I don't have 10minutes of clean material.
You know, it's.
Which the reality is, I mean,you don't have to be clean to write
clean.
Essentially, anyone can do it.
(26:19):
So that was an eye openingexperience doing that one country
club.
And like, oh, there's children here.
And it didn't phase me.
But then when the other comicsgot there, I could see the nerves
spinning, which I.
I didn't even think about.
As soon as I see kids, I get nervous.
(26:40):
I think most comedians, ifthey're at a venue and there are
children appear, it's like,what happened?
Yeah.
Oh, yeah.
It's an immediate, like, what?
Hilarious.
And that's the thingespecially, I would say, at least
for me, especially as a dad, Irecheck all the material in my head
(27:03):
and I'm right like, this.
Can I say this?
Can I say this?
And Part of it is I do a lotof prep for the show and I kind of
know what I'm going to say.
And so I make sure I then gothrough it.
And there's some things that Iknow I can change on the fly.
If, let's say it is a PG13material and make it PG, right?
Like, and make it like, okay,kids can actually, like, hear the
(27:26):
stuff.
Or I shift my material towhere, all right, we might just play
with the kids for a little bitin a comedic way of just seeing what
they think and seeing how theyreact to stuff.
Fun thing about kids, theylove poop jokes, they love noises,
(27:48):
and they love impressions.
That's the thing I figured outabout kids material whenever I've
been surprised kids.
I don't even know if there's aword where you're just surprised
with kids at a show, but thereshould be.
You've been kiddified.
Yeah, they like silly.
They like goofy.
(28:09):
Just silly.
It's like Lois bar comp.
It's like, just uncheck allthe cleverness in your joke and keep
it almost simple and tight.
That's what kids like.
But yes, they like.
At least for me, that's what I found.
They like noises, bathroomhumor and silly stuff.
(28:30):
That's truly it.
And when it comes as we talkedabout establishing that connection
with the audience based on thecontext of the show, what this comic
did that was nervous abouttheir kids being there is they opened
up addressing that.
And because I'm sure therewere adults there, that we're also
(28:50):
thinking, what are.
What are kids doing here?
Like, a lot of these countryclubs, the people use it as a way
to get away from their kids.
Oh, yeah.
And this is a lesson for me ona producer side to speak.
I've just been on autopilotwith these country clubs because
it's kind of like a turnkey experience.
We're like, yeah, you bringthe people, I bring the laughs.
(29:11):
It's kind of been just.
This is the first time theywere like children, like 5 year olds
there with toys and stuff.
So it's a lesson for me to beon the same page with the venues
I'm working with about, okay,what are the expectations here?
So then I can book accordinglyas well.
And we get on the same page there.
(29:32):
So it was just a.
But yeah, that comic addressedit at the beginning and people laughed
and it was kind of a part oftheir set of like, oh, like, can't
finish that joke.
Or I had an idea, but I won'tgo there.
And it was something theycould call back to and make it a
part of their set.
And it was fun and organic.
Yeah.
So, yeah, there's ways tonavigate it.
(29:53):
As long you have some cleanmaterial, you need at least some.
But that was just a fun experience.
Yeah.
But it appears my baby is awake.
Awake.
(30:13):
Awake.
Oh, yeah, apparently because we.
We were.
We had the nine to ten hourand it's ten and you wake up.
Like literally at ten.
Like just clockwork right now.
No, sometimes she'll wake up.
That's why I, like, we recordat 9 because she'll usually sleep
(30:34):
till at least 10, but she'llsleep sometimes 11, 11 30.
She may wake up to eat andthen go back to sleep.
Yeah.
She was like, oh, daddy'sworking on his dreams.
Let's go ahead and just shakethings up real quick.
And make sure I wake upexactly at 10.
Apparently.
You know, my.
(30:54):
Well, my wife was sure to letme know that it's literally 10.
00.
She texts me like, hey, by theway, but that's why we do this.
So we will have to land this plane.
Comedy fam.
But we do appreciate you.
(31:16):
I think we covered a lot ofgood things, though.
Surprise kids.
Surprise kids.
Yeah, yeah.
As we're talking about kids.
Yeah, yeah, yeah, yeah.
I think clean comedy is themost valuable skill a comic can learn
in terms of booking more gigsand booking higher paying gigs as
(31:38):
well.
Super, super valuable.
So if you'd like to writeclean jokes, the June Clean Comedy
contest starts today.
So you can go in the shownotes cleancomedycontest.com to join
the contest.
And of course you can reachout to Yoshi or I on social media
if you'd like to book us for events.
(32:00):
Because I know Yoshi isn'talways clean, but he can be clean.
We've done corporate eventstogether and stuff, so we'd be happy
to.
Even if you just work at acompany and y' all do holiday parties
and you're like, oh, maybethey'd try comedy.
Just send us the info.
We'll reach out.
You just never know where theconnections will lead.
(32:21):
Absolutely.
But we appreciate y' allhanging out.
I'm going to play the theme song.
I'll post this video on thePatreon as well.
For all you loyal patrons thatkeep the diaper money rolling in
and Benadryl money.
We're going to put this babyback to sleep.
(32:44):
Yeah.
But yeah, feel free to reachout any questions like Rick Andrews
did, and we'll be happy toanswer them.
But I guess we'll be back next Monday.
Right, Yoshi?
Let's do it, man.
Let's go, baby.
Yeah.
We love you all.
Holler at us.
Bye.
Bye.
All right, three, two, one.
Welcome back to Hot Breath,your weekly comedy tune up with comedians
Yoshi so and Joel Byers.
Thank you all so much forhanging out.
We've been off the air for afew weeks.
There was Memorial Dayweekend, and then last week I posted
(00:25):
my interview with the winnerof the May clean comedy contest,
Mr.
Daniel Quintero, which you cancheck out on the podcast or on the
YouTube live.
And if you haven't heard thatepisode, he had a lot of good insights
into how he was able to writea killer set in two weeks.
And probably my favoritefeedback about the contest has been
(00:48):
that even if people aren't inthe finals or winning, they're still
writing a lot of new materialthat is stage ready.
So if you've been strugglingwith accountability or motivation
to write new jokes, thiscontest is definitely created for
you.
So you can go to cleancomedycontest.com linked in the show
notes to join the Junecontest, which the deadline is today.
(01:12):
So if you're listening on theday of the release of this episode
on Mondays, which we greatlyappreciate you loyal hot breathers
that do that is one of theperks is you get access to this contest,
so.
So you can go save your spotand compete to win the hundred bucks
and an interview on Hot Breath.
Yay.
(01:33):
There it is.
Just trying to get thatapplause sound effect going.
Okay, so we in here.
I actually tried to start thispodcast early because Yoshi was late
and then Yoshi joined and waslike, your audio sounds terrible.
(01:54):
We had to restart anywaybecause we record this at nine in
the morning for people thatdon't know on Mondays.
So we, we are out here gettingthis in.
So I'll post that on thePatreon if people want to check it
out.
I did say some expletives.
I can't even say expletives.
Expletives.
(02:16):
I sinned at the end of thevideo when I realized that the it
doesn't threaten to quit thepodcast for the 50th time.
Oh, of course.
It's 50,000th time.
Really?
Podcast.
Unless you threaten to leavedoing the podcast.
But then you meet people fromthe Hot Breath Averse and it makes
it all worth it.
(02:36):
I met a Florida comic namedLeroy Aaron and we met at the Laughing
Skull a week or so ago.
And he was so hyped on thepodcast and was like, yo, you're.
I love the show, man.
And you know that's always rewarding.
And I know you get that as well.
People will see you be like,oh, man, I love the podcast.
(02:58):
So I get a lot of that atfestivals, a lot of that at shows.
Yeah.
Especially when I'm new to a show.
People are like, God, yourvoice sounds familiar.
Where'd I go?
Yeah.
I've had people stare at me,like, at some place and just like,
give me like a tilt of thehead and then like, I know you have
(03:20):
seen you somewhere and thenI'm like.
And I'm really good withfaces, so I typically know if I've
seen someone.
And then like, you and thewhite guy.
The.
The dude.
The podcast.
The white guy.
You and the white guy.
(03:42):
That's us.
Which actually sounds like agreat podcast name.
We should just change that.
You and the white guy.
That's not bad.
We could workshop that.
And you're the white guy.
(04:04):
Oh, but speaking of hot breathverse, I did have a question from
a hot breath or in Barcelona.
Barcelona.
Barcelona.
Which is a great comedy scene,by the way.
Yeah, you were out there.
We, we talked about it backwhen you did some shows over there.
An amazing comedy scene.
(04:25):
The city is just super ripebecause it's a.
It's a tourist town.
So there's just like a lot ofvenues that do English speaking comedy
and people are there for it.
So it's a nice little funlittle run if you ever get a chance
to go to Barcelona.
Just comedians from all overthe place.
(04:46):
But it's a good place to testout your material, to know if it's
internationally sound.
So all the references that youmake to things that are American
may not work, but if make itbigger, where it's more universal,
then sometimes it does work.
I remember asking on the shownot to go down the rabbit hole.
(05:09):
I remember asking.
I was like, so what is it likeif you were to think about the first
thing that you think about America?
What's like the first thingyou think about?
And I.
Oh, my heart just like, waslike shot in the heart.
They're like, so school shootings.
I was like, oh, my gosh.
(05:31):
Yeah, yeah, yeah, yeah, yeah.
Yes.
Just out of the gate.
And this was like a hundredpeople in the crowd.
Oh, my God.
This was like Family Feud.
It would have been like 70.
Ding, ding.
Survey says.
Sad.
(05:52):
Yeah.
I may get out of here.
We may need to.
We may need to get out of here.
Have you thought about leavingjust the country?
Yeah.
Regularly?
Yeah.
It's just so much, I guessit's a lot.
You know what I mean?
Like, now we're living in acountry where the richest person
(06:13):
and the most powerful personare Having it a penis whipping contest.
Like what are we doing?
Yeah, let's not go down thatrabbit hole.
Let's not.
Not my president.
You're not gonna talk about mypresident on this podcast like that.
(06:34):
Politics.
But I don't like people just fighting.
It's ridiculous.
But yes, let's.
Yeah.
Negativity.
Barcelona.
Cor.
Question from a Barcelonian or.
Yes.
And the question is, why doyou have so many school shootings?
That's the question.
(06:57):
Do you want to go?
Yes, but yeah, his, his name'sRick Andrews.
Yeah.
And he says during shows italways feels like the first minute
never gets a big laugh.
If I do the same joke at fiveminutes, it gets a good laugh.
But I always feel like I haveto build to this.
(07:18):
Is this something you noticeor is it just needing stronger openings
or quick one liners to getthem going?
He says he tends to tell stories.
He doesn't really know what tostart with because of this.
You know, I think this couldbe answered in a couple of different
(07:40):
ways.
I think one of the things thatI definitely teach and I know that
we even talk when we wereteaching our class during the pandemic
was like first 15, 20 seconds,you got to get a joke.
You gotta get a joke out.
Like the audience must trustthat you are funny out of the gate.
(08:04):
And it's just helpful to getsomething going for them.
And so I always say even inthe first minute.
I think the first minute iswhere you actually have to pack in
as many jokes as possible tostart off and then you can trail
off into other things.
They just have to trust thatyou are funny.
(08:25):
And so even Jason Rowland fromthe World Series of Comedy and Comedy
Feedback talks about anidentifying statement out of the
gate.
So if you ever watch any latenight TV sets, the first minute is
usually something identifyingstatement about them and it usually
has a joke.
(08:45):
It can be sometimes wrapped inI look like or I come from or my
background.
Is this just somethingidentifying that has joke structure
in it to then for them to then trust.
Oh, you have other things thatwe know.
Oh, now that we know you'refunny, we can trust anything else
(09:05):
that you're going to say.
And we're like with you.
So I do think if you have acouple of one liners it's okay to
do that just to get funny into it.
Even if you are a storytellingcomedian, it's about packing jokes
in, in that first minutebecause that's where the big impression
is made.
(09:26):
If you're waiting five minutesto get the laughs.
That's a lot of work for themto do to wait for that laugh for
the audience.
Yeah, for sure.
Yeah.
So I do think, yes, one linersor just identifying statements.
I look like jokes that arewrapped not in saying I look like,
(09:47):
but in other ways I think aresuper helpful right out of the gate
and just something identifyingeither about you, how you look.
You always say, always addresssomething that the audience is thinking
about you out of the gate.
If you look a certain way,address it.
(10:08):
It's always just helpful.
Like Liam Nelson, who is aseven foot comedian.
What is that?
Sorry, some ad just popped up.
Okay, sorry.
Yeah, I don't even know if y'all can hear that, but that just
randomly.
Because I was actually pullingup Jason.
You mentioned Jason Roland, soI was gonna pull up.
(10:28):
He actually has his comedyfeedback class starting June 9th
actually today.
So you to comedy feedback dot com.
That's a great six week class.
Yeah, I've taken an amazing class.
If you're trying to just doshowcase sets and book by bookers.
(10:50):
Yep.
But yeah, I would say oneliners, get the one liners out there,
identifying statement, havesomething that, you know, just works
out in the first minute or so.
Yeah, for sure.
Yeah.
You want to get a laugh within15 or 20 seconds.
(11:10):
And you know, that's just agood rule of thumb.
It's a good goal to have for,you know, especially starting out
and just trying to get thattight five together.
And maybe part of also Rick'sjoke not working at the beginning,
but at the end is maybe his confidence.
It's like as you get morelaughs, you get more confident on
(11:31):
stage and then the moreconfident you are, the more confident
the audience is in you.
That's why we do say getting alaughs as quick as possible will
help not only the audience geton your side, but you get on your
side, you get that confidencegoing because you're like, oh, I
got a laugh there.
Okay.
There's a little adrenaline tobuild on because a lot of comedy
(11:54):
is just confidence.
And that's why the number oneadvice from all the interviews on
this show has been get on stage.
Because that's how you buildthat confidence is just being on
stage a lot.
So that may also play intoRick joke working more towards five
(12:16):
minutes than one minute justbecause he's more confident at that
point in his set.
So even if you are more of astoryteller just to get the audience
on your side, you could do acouple quick one liners just to get
the momentum going.
Just to Get a pop going, you know?
Yeah.
And also, just also realize,know that even if you are a storyteller,
(12:40):
it doesn't mean that yourjokes can't be funny or they can't
have quick laughs in it.
Like, just because you'retelling a story does not mean that
people have to wait all theway to the end for that joke to be
funny.
Storytelling just means youare saying a premise that's going
to last a much longer timethan something that's quick in and
out, like set up, punchline.
(13:02):
And then you're not eventalking about that topic.
That's really what it is.
Even if you're telling astory, you can have jokes and funny
things in it all the waythroughout the story itself.
Yep.
Yeah.
So hope that helps there, Rick.
That's just.
I thought that was a goodquestion that maybe other people
(13:23):
have struggled with as well.
Yeah.
But it's all about.
Yeah.
Getting that laugh as quick aspossible just to get your confidence
going.
Yeah, yeah, yeah.
It'll make you feel so much better.
Like, especially.
Yeah.
As soon as you get it, you'relike, oh, okay, now we're in it.
(13:45):
Absolutely.
Oh, man, that just makes meremember those early days of like
all you have is maybe fiveminutes, you know, if everything
works, you know, and somecomics like, oh, I got 15, and then
it'll become three real quickwhen it doesn't work.
But just like, oh, I had this opener.
(14:09):
Kills every time.
And then it just doesn't.
And then you're like, oh, no.
And then you just slowly startshrinking on stage with every, every
joke that misses it.
Just.
Yep.
But that's a.
Yeah, that's a good question there.
But yeah, it's all, all aboutthe stage time, my friends.
(14:31):
At the end of the day.
Yeah.
Continue to develop material.
But that's.
That's stage time, man.
You can't, you can't skip it.
Can't skip it.
Because it's funny.
You and I, we did a show atAtlanta Tech Week last night.
We did a show together.
Yeah.
And so a lot of.
A lot of like nerdy people.
(14:54):
It was for startup or Stand upfor startups.
Yes.
Is the company's name, whichwas a lot of fun.
I know they do a lot of great shows.
It was.
I'd been watching them, so Ifelt like, oh, good.
I got a.
I got in there.
Thanks to Yoshi.
Yoshi referred me.
Yeah, it was great.
And so we were talking to aguy afterwards who's like a software
(15:17):
developer and big in AI and wewere Talking about joke writing with
AI and also it was like, atthe end of the day, it's like, you
still have to get on stage.
So it's.
You can't.
Because he was.
He was super interested incomedy and even trying it.
He may do your class, itsounded like.
But yeah, he was very curious about.
(15:40):
He's like, well, comedy is alanguage, and these AI tools are
large language models.
He's like, so there's got tobe a bridge there.
But it's also it.
You.
At the end of the day, you.
You can't AI Your way on thestage, basically, you know, unless
you're doing the Metaverse or whatever.
But, like, you still have toget on that stage at the end of the
(16:03):
day, and that's when you'rereally gonna know if.
If it hits or not.
For sure.
Yeah.
The human reaction reality ofwhether a joke is funny or not.
I mean, I'm sure AI can figureit out sometime, but right now, it
can't replicate whethersomething's funny or not.
(16:25):
Yeah.
So you can try it as much asyou want, but it cannot replicate
whether that joke is going to work.
So.
Yeah, it is a.
It is.
That's.
That's the key.
You got to get on stage andyou have to test things out.
And then you just have to bein different environments where you're
like, oh, I've never been inthis environment.
(16:47):
Let's see what happens with myjoke in this environment.
Yeah.
Yep.
Even last night was adifferent environment.
It was about 400 seats out,and they were not 400 people there.
High ceilings.
(17:08):
It was in, like, it was inAtlanta Tech Park.
So it's like kind of like atech co.
Working space.
So high ceilings, long room.
It was basically like a cat.
A cavern.
Like, this had to be the sizeof a football field.
Yeah.
It was huge.
(17:28):
Open, bright lights.
The audience is lit.
You know, the overhead lightsare on.
Not, not.
Not a dark.
Yeah, like, tight comedy clubenvironment, which is like, quote
unquote, the ideal setup forstand up.
So a lot of variables yougotta just learn to adapt to.
(17:48):
Yes.
Which some comics did betterthan others.
We could say, you know, we're not.
I'm certainly not saying any names.
I'm just saying experiencewill help you to, like, kind of take
the temperature of a room andhow to kind of adapt and connect
(18:09):
with that audience at thattime in that setting.
For sure.
So, like, I just.
I just opened up withsomething about like, oh, these are
all the people that didn't getto the free pizza Or I said something
like that.
That, like, these are thepeople that were bummed there was
no more free pizza.
(18:29):
I basically just addressedsomething that everyone in the room
could connect and resonate with.
Absolutely.
Up top.
Just to kind of start thatconversation, you know, like something
relatable.
Yeah, yeah.
Yes.
And other comics just went upthere and just started with their
(18:50):
jokes, not really establishingany sort of connection with the crowd,
which.
The connection is key.
Yeah, for sure.
And then another sea ofcomedy, connection, confidence.
Yeah.
And I just made fun of Joel,and that got a big laugh right out
of the gate.
Yeah, yeah, yeah, yeah, yeah.
(19:11):
It was just a fun littlecadence of just like, oh, just make
fun of the guy.
That was just last year.
But it was connected.
Like, I never wrote that joke before.
It was actually just connectedto the conference.
And so it was just something Ijust thought of.
Up the top.
And it worked, and they allgot it.
But it was a quick laugh tothen for me to get into my material,
(19:34):
which is exactly what I did.
So it was, you know.
Yeah, it was a good set.
Fun set, but definitely notideal from a comedic standpoint,
but also, like, you also feelproud after you did the thing of
getting everybody into it.
And I think for sure, thatwas, like, the highlight.
(19:58):
And, you know, and then people stayed.
That's always, like, the thingat a show like that.
Because I think the audienceis also thinking about, should we
go or should we stay?
Yeah.
Because people were leavingwhile people were performing.
And so now you have that poolof should I leave or should I stay
(20:20):
for this?
And happy to report, theystayed for the rest of the show.
So that always feels good.
You're like, oh, yeah, all right.
And now the people that arehere, the people that are left are
getting a show, which I thinkis the most important part.
Yeah.
Giving a show, no matter what,is super valuable and just a muscle
(20:45):
you develop over, I wouldhonestly say, years.
You know, it's.
It's so hard to.
It's like, I did a countryclub on Saturday, the.
The night before our showtogether at the Tech Park.
Yeah.
It was actually second timedoing this country club, the Rebook.
I think I've said it before,but that's where it's at.
(21:08):
When you can do the Rebook,that's when you start to really get
the money going.
So.
And if anyone listening tothis has a country club in their
area that even if you justhave the name, send it our way.
And I'll reach out to them,because I've been really enjoying
these country Clubs.
But basically I was talkingwith comedian Jordan Meadows at the
(21:32):
show and he's like a newercomic, but I like him.
Very likable, very funny, hasgreat jokes.
Just a newer comic.
And he was asking me justbasically about having.
When did I feel like I had theconfidence in terms of.
We were talking about, like,the business of comedy versus the
art of it.
Basically, he's like, when didyou feel like you had the confidence
(21:53):
in your skill set to be like,oh, I feel confident marketing myself
as, like a reliable, like, headliner.
And I.
I said like eight or 10 years.
Like, it was.
I felt sometimes telling ayounger comic these timelines, it.
(22:14):
But I mean, that's.
That's really the reality of it.
I know with social media youcould build an audience faster, but
to actually build, for mepersonally, it took that long, really,
eight to 10 years before I'mlike, oh, I feel confident, like,
marketing myself as someonewho can provide a reliable service
(22:36):
of comedy.
Just think it from thebusiness end of it, you know, so
that's my personal experience.
And I've heard other comicsshare the same.
Where it really takes around10 years for you to really feel like
you've got your footing inthis game.
But I know there's people fiveyears in right now that are like,
(22:57):
joel sucks at comedy.
I'm.
I'm on right now.
They don't even know I'm thechosen one.
And there's a set around thecorner for you thinking that that
is going to make you rethinkeverything about your decision to
even start comedy.
(23:21):
But, yeah, so, yeah, a lot ofit takes time.
I don't even know how I gotdown that rabbit hole.
But some of it is just timeand consistency, which I think is
why community is so important.
Either here in the hot breathof verse, in our Facebook group,
finding that support, or justin your local scene as well, just
having people you're on thegrind with because it can be a lonely
(23:46):
journey out there.
Yeah, yeah.
I mean, I think at the end ofthe day, because you've got experience,
but also I think kind of justknowing what you want, I think is
also important.
Right.
Like, you've establishedyourself truly as a clean comic who
(24:07):
does faces that are sort ofconducive to clean material.
You booked clean, you don't do dirty.
And it's not that, like, clubsare, like, dirty or clean, but because
you've established that, youjust get a bit more opportunities,
you know what I mean?
(24:27):
If you're a dirty comedian,it's really hard to Go to a country
club, you're like, all right,when y' all want some dirty comedy,
like out of the gate?
Not that it's not possible,but yes.
Some don't mind it, but, youknow, the.
I did a country club the weekbefore as well, and there were actual.
There were children in there,like toys on the front row.
(24:53):
And they didn't.
Nope.
They didn't say.
None of those mentioned.
No, they didn't mention it wasgoing to be like that.
It's just hanging out at your show.
There were several childrenand not like teenagers.
Like, at the show thisweekend, there were some teenagers.
And that was cool.
And I, I played with them, butlike in a very comedic way, not an
(25:15):
incriminating way.
And it was totally fine.
They were all cool and theparents were cool and everything.
But these are like children.
And one of the comics on theshow that the children run was like,
I don't have.
Because that comic had kids as well.
And some of the topics theytalk about, they didn't even feel
comfortable.
Even if they're not, quote,dirty or swearing, just the topic
(25:38):
of sex or something.
They were like, well, Iwouldn't want to talk about that
in front of my kids.
I'm not going to do it here.
So there was some scramblingand editing going on, which is why
it's so important even just tobe able to be clean.
Like, that's why I always atleast challenge comics and why the
clean comedy contest exists,to at least help comics write clean
(25:58):
jokes.
So if that opportunity doescome, you're able to say yes and
not have to be like, I don'tknow if I can take that $500 gig
because I don't have 10minutes of clean material.
You know, it's.
Which the reality is, I mean,you don't have to be clean to write
clean.
Essentially, anyone can do it.
(26:19):
So that was an eye openingexperience doing that one country
club.
And like, oh, there's children here.
And it didn't phase me.
But then when the other comicsgot there, I could see the nerves
spinning, which I.
I didn't even think about.
As soon as I see kids, I get nervous.
(26:40):
I think most comedians, ifthey're at a venue and there are
children appear, it's like,what happened?
Yeah.
Oh, yeah.
It's an immediate, like, what?
Hilarious.
And that's the thingespecially, I would say, at least
for me, especially as a dad, Irecheck all the material in my head
(27:03):
and I'm right like, this.
Can I say this?
Can I say this?
And Part of it is I do a lotof prep for the show and I kind of
know what I'm going to say.
And so I make sure I then gothrough it.
And there's some things that Iknow I can change on the fly.
If, let's say it is a PG13material and make it PG, right?
Like, and make it like, okay,kids can actually, like, hear the
(27:26):
stuff.
Or I shift my material towhere, all right, we might just play
with the kids for a little bitin a comedic way of just seeing what
they think and seeing how theyreact to stuff.
Fun thing about kids, theylove poop jokes, they love noises,
(27:48):
and they love impressions.
That's the thing I figured outabout kids material whenever I've
been surprised kids.
I don't even know if there's aword where you're just surprised
with kids at a show, but thereshould be.
You've been kiddified.
Yeah, they like silly.
They like goofy.
(28:09):
Just silly.
It's like Lois bar comp.
It's like, just uncheck allthe cleverness in your joke and keep
it almost simple and tight.
That's what kids like.
But yes, they like.
At least for me, that's what I found.
They like noises, bathroomhumor and silly stuff.
(28:30):
That's truly it.
And when it comes as we talkedabout establishing that connection
with the audience based on thecontext of the show, what this comic
did that was nervous abouttheir kids being there is they opened
up addressing that.
And because I'm sure therewere adults there, that we're also
(28:50):
thinking, what are.
What are kids doing here?
Like, a lot of these countryclubs, the people use it as a way
to get away from their kids.
Oh, yeah.
And this is a lesson for me ona producer side to speak.
I've just been on autopilotwith these country clubs because
it's kind of like a turnkey experience.
We're like, yeah, you bringthe people, I bring the laughs.
(29:11):
It's kind of been just.
This is the first time theywere like children, like 5 year olds
there with toys and stuff.
So it's a lesson for me to beon the same page with the venues
I'm working with about, okay,what are the expectations here?
So then I can book accordinglyas well.
And we get on the same page there.
(29:32):
So it was just a.
But yeah, that comic addressedit at the beginning and people laughed
and it was kind of a part oftheir set of like, oh, like, can't
finish that joke.
Or I had an idea, but I won'tgo there.
And it was something theycould call back to and make it a
part of their set.
And it was fun and organic.
Yeah.
So, yeah, there's ways tonavigate it.
(29:53):
As long you have some cleanmaterial, you need at least some.
But that was just a fun experience.
Yeah.
But it appears my baby is awake.
Awake.
(30:13):
Awake.
Oh, yeah, apparently because we.
We were.
We had the nine to ten hourand it's ten and you wake up.
Like literally at ten.
Like just clockwork right now.
No, sometimes she'll wake up.
That's why I, like, we recordat 9 because she'll usually sleep
(30:34):
till at least 10, but she'llsleep sometimes 11, 11 30.
She may wake up to eat andthen go back to sleep.
Yeah.
She was like, oh, daddy'sworking on his dreams.
Let's go ahead and just shakethings up real quick.
And make sure I wake upexactly at 10.
Apparently.
You know, my.
(30:54):
Well, my wife was sure to letme know that it's literally 10.
00.
She texts me like, hey, by theway, but that's why we do this.
So we will have to land this plane.
Comedy fam.
But we do appreciate you.
(31:16):
I think we covered a lot ofgood things, though.
Surprise kids.
Surprise kids.
Yeah, yeah.
As we're talking about kids.
Yeah, yeah, yeah, yeah.
I think clean comedy is themost valuable skill a comic can learn
in terms of booking more gigsand booking higher paying gigs as
(31:38):
well.
Super, super valuable.
So if you'd like to writeclean jokes, the June Clean Comedy
contest starts today.
So you can go in the shownotes cleancomedycontest.com to join
the contest.
And of course you can reachout to Yoshi or I on social media
if you'd like to book us for events.
(32:00):
Because I know Yoshi isn'talways clean, but he can be clean.
We've done corporate eventstogether and stuff, so we'd be happy
to.
Even if you just work at acompany and y' all do holiday parties
and you're like, oh, maybethey'd try comedy.
Just send us the info.
We'll reach out.
You just never know where theconnections will lead.
(32:21):
Absolutely.
But we appreciate y' allhanging out.
I'm going to play the theme song.
I'll post this video on thePatreon as well.
For all you loyal patrons thatkeep the diaper money rolling in
and Benadryl money.
We're going to put this babyback to sleep.
(32:44):
Yeah.
But yeah, feel free to reachout any questions like Rick Andrews
did, and we'll be happy toanswer them.
But I guess we'll be back next Monday.
Right, Yoshi?
Let's do it, man.
Let's go, baby.
Yeah.
We love you all.
Holler at us.
Bye.
Bye.
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