Comedy Builds Confidence - MTP478

Co-Host Clifford Myers (https://mountaintoppodcast.com/myers) My first-time guest and new friend Clifford Myers is more than just a comedian. He's a self-proclaimed "comedy practioner". That means he doesn't just tell jokes, he works with individuals and even large companies to help people use comedy to do better in every aspect of their lives. This makes him the perfect guy to talk about how comedy and humor can help skyrocket our confidence and success with women. This far-ranging (and yes, funny) discussion hits the ground running, talking about how most guys try to use humor in a misguided and indeed self-serving way with women, which tends to backfire. After all, that's not very confidence-inspiring, now is it? Then we turn our attention toward how we as men in particular tend to take ourselves too seriously in general, and how that can be disastrous to our chances with women. What's the difference between being funny and having a sense of humor? Since we're talking about comedy here, do we have to put on some sort of stage act every time we're with a woman in order to make her laugh? As a weird thought experiment, what if we were to go into character when making women laugh, like Emo Phillips or Gilbert Gottfried? Obviously that wouldn't work, but why? How important is self-awareness and "reading the room" to all of this? What are the exact kinds of humor that really demonstrate confidence and attract women? And what other kinds of comedy work even better after you've already connected with a woman? How do we as men fall into the "no, but..." trap? And what's the most important element of comedy, especially if you're coming off as a confident man? Overall, a great show replete with TONS of comedy references throughout. Check the latest Masterclass For Men and so much more and the newly-accelerated mountaintoppodcast.com

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Episode Transcript

(00:02):
Alright, gentlemen, how's it going?
This is your main man, Scot McKay coming at you with another episode of the world famousmountain top podcast.
Now, every once in a while, I'll tell you at the beginning of these shows that we're goingto have some fun today.
We darned skippy better have some fun because I have a professional comedian on joining usand we're going to talk about how comedy gives us as men confidence and that may

(00:27):
strike the fear of god within you but I promise we're going to make it as easy on you aswe can and pretty actionable before we go there and before I introduce my guests I want to
remind you that I'm social media pretty much everywhere at Scot McKay, 1 "T" of coursewith the exception of Instagram I wasn't an early adopter there so it's at real Scot McKay

(00:48):
guys join us on the Facebook group at Mountain Top Summit more and more of you guys arestarting to do that finally which is great
So we're glad to have you on board.
Welcome.
Welcome.
If you've already joined, if not, hey what are you waiting for?
Have some fun.
Uh, get on the Facebook group and let's talk.
the mountaintoppodcast.com website is newly, uh, accelerated.

(01:09):
just changed web hosts and man, it loads pretty much as fast as Cisco Systems.
It's pretty awesome.
So, um, if you've ever noticed a little lag on the website, well, you know, we're notslackers anymore.
We got with the program literally.
My guest comes to us from Ontario.
So he's a Canadian.
Sorry to you South Park fans.

(01:30):
And yet his jaw is fully hinged to his skull, unlike on South Park.
And he is here to talk about how comedy builds confidence.
He is from theothercomedy.co up in Canada.
So he's a part of a full fledged, legit comedy team.
As a friend of mine says, he does this for a living.

(01:51):
If you have to remind people of that, you probably are coming off a bit amateurish, but inClifford Myers's case, we're going to give him the benefit of the doubt.
He's a professional comedian and a heck of a guy.
We've known each other for a little while now.
Clifford, welcome to the show, man.
Thank you so much for having me, Scot.
Hello, fellas.
Good to be here.
I like that you put the pressure of mandatory fun.

(02:12):
Let's get that out of the gate.
Let's have a good time with one another.
I'm really happy to be having this conversation today.
Well, unless you're Lewis Black, comedy not being fun doesn't really work.
No, not for me.
I always find that it's a little bit of a dance.
The more you give the audience, the more they give back.
So I kind of have that wiring within me.
And that's probably going to be a good precursor to this conversation today because someof the listeners may be naturally funny and some of them may just be afraid to say words

(02:39):
to the opposite sex or the same sex if that's who they're attracted to.
Yeah.
They're more worried about coming off funny in the wrong way.
Like the Joe Pesci Goodfellas way.
Like you think I'm a funny guy.
What up?
You know, they don't want to come off like that to women, but you make a great point.
And that's that when, when you have this lens of being comedic, okay.

(03:04):
You say, okay, I'm going to be funnier.
It's very true that we want to be funny because it helps us.
You know, it makes us more likable.
makes us more charming.
My goodness.
I'm on record as telling these guys it's like catnip to women, as I'm sure, you know, andthey're like, yeah, yeah, but it's really hard.
Right.
But you touched upon one of the first and most important principles of being effective atcomedy.

(03:30):
You said you just like to make everybody laugh, make everybody happy, make everybodylighten up.
Anytime there's a comedian and you can sense that they're in it for their own personalgain.
In other words, they need your approval.
They're there to bask in the limelight.
People will literally withhold laughter from them.
They'll, they'll, they'll clam up.
There's something psychologically that goes on there that says, don't laugh at this guybecause he's too needy.

(03:54):
So if we go in any situation with women thinking how I'm going to impress her because I'mso darn funny, they're going to look at you like, what?
Like...ick.
can you comment on that a little bit?
Have you seen that psychology at play?
That's nail on the head.
That's the validation trick.
If you're going in there to be validated, that is the first and fastest path to not be,right?

(04:17):
And if you go in there detached, where their validation does not matter, it will justhappen organically.
It will just happen because they don't want to, it's not about whether or not they'regoing to or not going to validate you.
They want to know if you're coming up honest and they can sniff it from a mile away.
And this is honestly like, it's so interesting equating audiences to women because in myexperience, it is very, very similar.

(04:44):
It's actually one of the reasons why I don't like when women flirt with me after showsbecause they're seeing me at my absolute most confident.
I have practiced these lines.
They are seeing what I am at my absolute best presentation.
And it's actually not a good realistic look of what life is like.
Life is much more like an open mic.

(05:04):
You're going to watch me
bomb on a day-to-day basis, more than me at my most confident.
I always say comedians are their most attractive 30 minutes after a show.
Boy, that's that's really insightful.
Now, you're talking about audiences and women being similar and I'm thinking, okay,they're all drunk.

(05:26):
They all want your money.
They're all going to be mean to you.
You know, they all cost a fortune.
Yeah.
They're all heckling you, right?
Um but you know, you're very, very true...uh, fickle.
They're both, they're, you know, the wind can blow with them.
Well, I kind of want to touch on what you were saying about how like, if you go in withlike selfish motives, how that is literally going to be sensed.

(05:48):
Like I very much have noticed when I am performing because I'm happy to be there.
Like I'm just going in with the right mentality.
This is awesome.
I'm glad to be here today.
Oh, the weather is awesome.
Look at these people laughing.
Like they're just here to have a good time.
But if I'm in there because I'm like, oh, there's a person in the audience.
And if I make them laugh, oh, they have a

(06:08):
they have an in at Just For Laughs and maybe that will skyrocket me and I can be on TheTonight Show in front of tens of people.
Oh my gosh, I cannot wait.
You know, like if you're in that mentality, I will say the worst shows I've ever done havebeen industry showcases.
Oh yeah, so like the joke you made off the top when you have to say to people, I do thisfor a living.

(06:31):
Like I'm, I literally consider myself a comedy practitioner.
because I'm not just a comedian.
I have come up as a performer, but I also have the comedy business, The Other ComedyCompany.
I'm the president of the Canadian Association of Stand Up, Sketch and Improv Comedians.
So we do advocacy work.
So I'm literally in the world of comedy from every angle.

(06:54):
And it's constantly telling people that what you do is real.
Like, yeah, yeah, this is a real job.
Yeah, this is a real business.
know, like, cause a lot of people are like, what do you mean?
You just make people laugh for a living.
And it's like, at some point you stop seeking their understanding.
You understand that people are not gonna fully understand your industry, understand whatyou do.

(07:16):
And that is the confidence that's much quieter.
I can yell on stage, I can be crazy, zany, I can rip my clothes off.
I can do all these attention seeking things.
But the quiet confidence of just knowing who you are and what you do, that is thisinvisible
sensible force.

That would be a heck of a marketing tagline (07:36):
Because comedy is serious business.
Yeah.
It's got all the skills.
You learn so much about body language.
There's a big difference if my arms are crossed, right?
If my arms are crossed, you're actually gonna see more audience members mimicking me.
They're gonna mirror my body language.

(07:57):
I have an open stance.
means I'm not open to you.
I'm trying to withhold something from you.
I may even be a little not even comfortable with you.
Fellas, if you're on a date with girl and her feet are pointing towards the door, you knowwhere she wants to go.
The rest of her is too.
Yeah, she's ready.

(08:18):
She's telling you with her body where she wants to go.
The most confident thing you can do in that situation is cut it there.
You know, just accept it.
I'm just gonna say like, accept it for what it is and be like, this is where my audienceis right now.
She's not digging this show and that's okay.
And that's another thing is you're not gonna win every date.

(08:39):
That's why you should most likely be dating with intent and being very open-minded, butjust
don't go in with all these future plans and ideas.
Just go in and enjoy the moment for what it is.
Yeah.
We need to take pressure off of dates, not put pressure on any interaction with women.
Um, yeah.

(09:00):
yeah.
Everybody's so easily offended and looking for reasons to be angry.
And you know, you mentioned, you know, over the course of the past few years and howthings have evolved, you touched on that briefly.
Uh, during COVID comedy was so important because we all needed a laugh so badly.
And comedians really were center stage in culture.

(09:22):
was absolutely serious business.
And I think that is, something that matters nowadays also, as we're going back out thereand people, you know their social muscles are getting a little more tuned up.
I mean, the, the thing everybody was saying myself included about three years ago waseverybody's social muscles have atrophied.

(09:42):
Well, we've been back to the social gym a little bit.
I think everybody's
just wanting, at least in real life, not on social media, not in the political realm.
Everybody in real life just wants to get along and live their best life.
So bringing this back to confidence.
Again, you've touched upon this already, but these guys, I talk about comedy enough thatthey probably heard me mention it before.

(10:06):
But when we're talking about comedy as kind of a catalyst for building confidence, thatvery first idea we touched upon
of trying to impress someone being needy needing needing the spotlight to smile upon youis the absolute antithesis of confidence.

(10:27):
It's I don't have any confidence.
I'm not sure of myself at all I have a need to try to impress you because I don't realizeor even believe you know I don't know if that's a cart or a horse, but I don't I don't
recognize that I'm good enough I don't believe that I'm enough as I am so therefore
I've got to get you to validate me.
That is so contrary to coming off as confident.

(10:50):
So the confident comedian, what does he look like?
I think the confident comedian already knows what he's going to do before he's doing it.
Like in the sense that like, yeah, maybe I came with a notebook, but I'm not looking atit.
I know what I'm going with.
You know, like I have it.
You actually like, here's something interesting.

(11:12):
Someone asked me this question the other day on a dating app and it was one of the mostinteresting questions I've ever gotten.
You get a lot of the same, you know, oh, you know, uh,
Tell me a joke, what have you done?
Blah, blah, blah, blah.
But I've never gotten this joke, this question, sorry, which was, what do you do oneminute before going on stage?

(11:34):
I've never received this question in my life, not from an interviewer, nothing.
And I thought this was such a pointed question because there's actually a ritual that Ihave.
One minute before I go on stage, I talk to someone.
Anyone in the crowd, I just start talking to them.
I'm just like, hey, how's the food?
You doing good?

(11:54):
You having a good time tonight?
You know, I just start talking to someone.
I literally just start being present.
And that is the very first thing I do.
Before I'm on stage, I'm on stage.
You know?
And so like, I find like, if we're trying to tap into like, where does a comedian'sconfidence comes from?
It's really like, you know that you have nerves.

(12:17):
You know that you feel nervous and maybe you feel that way on a date or whatever.
Approaching a woman, physiologically, it's the same thing as excitement.
So your mindset's really gonna tell you the story.
Are you nervous or are you excited?
Right?
Like if you're, whichever story you're telling yourself, you should act towards thatstory.
So when I'm telling myself I'm excited, of course I'm gonna talk to these people in theaudience.

(12:39):
Oh my gosh, you're here for comedy too?
Me too, I'm about to be on stage.
What?
Like this is so fun.
Ahhh!
stretch.
Friday, you know, and so I'll do that on dates.
I'll talk to the barista.
Hey, how's it going?
How's your day going?
You know, talk to other people like it's like, it's really not about the other person asmuch as it is about you.

(13:02):
Are you just, are you comfortable in your own skin?
Are you happy to be there?
And then at that point, you're coming from a place of self-efficacy, right?
You're like, you're making choices for yourself.
You're not trying to be like,
Oh, if I just shape myself into this ball, I'll be exactly who they are.
This is a Ray Romano crowd.
So if I start talking like this, damn, they'll really like me.

(13:26):
That wasn't bad.
You know, so like, know that, you know, like, imagine if I like always came in trying tobe what I thought someone's comedy sensibilities were.
So if you're trying to be in a date with a woman, you're trying to be the man you thinkshe wants, it's not gonna work.

(13:48):
It's either you're gonna be yourself and she likes you or she doesn't.
into politics if you're more like that.
And politicians are rarely funny, so there you go.
There is this rise of entertainers going into politics, which is really interesting seeingthat crossover.
We even heard people saying maybe The Rock will be president one day.
There's a lot of people in that public sphere, but they have charisma.

(14:13):
They have confidence.
They know how to speak, but all of them also just know how to be totally okay in anuncomfortable situation.
Right?
Okay, this might go the wrong way.
I might get hecklers.
I'm fine.
I'm in control.
Right?
They're in control of their own decisions.
They are confident with what they're saying.
They stand by their words.
So a lot of this, I think is completely equatable to what we're talking about when itcomes to approaching women and dating.

(14:40):
It's not just about being funny.
It's about having an understanding and awareness of who you are.
And a sense of humor.
A sense of humor is one of those things that most people would say they have, even if theyreally don't, because I think people really don't understand what it means.
If you're easily offended, if everything sucks, you probably don't have the fine tunedsense of humor you think you have.

(15:06):
Yeah, I almost want to be like, are we calling it sense of humor or is it like, it'salmost like a sliding scale of how serious you take yourself.
And I really feel like we shouldn't, this is a problem we have in culture is we all take,we are all very serious.
Our beliefs are very serious and how we come across is very serious.

(15:28):
The club we're in is very serious.
And I've kind of come to the conclusion, Scot,
that I don't really know a whole lot.
I'm kind of a big dumb animal figuring out what it is to go through this existence onearth.
And maybe I shouldn't take myself so serious because I probably don't really know what I'mdoing.

(15:49):
People have too much caffeine and too little sleep and that combination gets you alljittery and easily rattled.
I've noticed.
Well, you're Canadian.
You're allowed.
one of the things you talked about in terms of confidence being related to comedy is thisidea of going on stage and feeling like you have to put on an act.

(16:12):
I think as soon as you're trying to manufacture an experience that is not authentic toyour
yourself, then you're going to slip into that that mode of taking yourself too seriouslyand worrying about fumbling and dropping the ball and then you're going to get all wadded
up.
And the way I would put it is I think if you're going to treat comedy seriously like wewere talking about or have at least a reasonably urgent and important tone towards being

(16:42):
comedic.
Comedy can't be an act.
It has to be a lifestyle.
This has to be something you train your brain to do.
Look for, you know, irony in everything.
How can I lighten up this group instead of being pesado?
You know, like that's the, Spanish American word for like being Eeyore from Winnie thePooh instead of Tigger, you know, and, nobody likes that person.

(17:05):
That person's a bummer.
You know, bummers don't make people laugh.
Don't make people smile.
But if you adopt this lifestyle of trying to sense humor and say, okay,
what can I add to it?
And we're going to talk about the whole "yes, and..." thing, because I know you and I arehuge fans of it, both of us.
um But am I onto something there with the whole lifestyle of comedy thing?

(17:29):
You absolutely are because, we are going to definitely be diving into comedy craft becausethere's a lot of specifics and like how people get to a laugh and how people build
something up that really applies to this conversation.
But something that I want to say, what did you say it was pesado?
Pesado, like heavy, is the literal translation.

(17:51):
Yeah.
I like that.
That's really interesting.
And like, I think the concept of people don't remember what you say, they remember how youmade them feel really applies here.
And I know when someone makes me feel uh like welcomed into their home, right?
I always think about, my mom is Portuguese.
She's from the Azores.
She's the most hospitable woman you'll ever meet.

(18:14):
She will feed you.
yes, I know.
would have stayed in the Azores, man.
Yeah.
she still goes there twice a year, but she came to Canada and this woman's hospitalitystands out in our culture.
Because when you come to this house, you are going to get fed.
You're gonna leave.
Your shoes will not fit on your feet anymore, okay?

(18:36):
This woman is gonna feed you.
She's gonna make you feel loved and welcomed immediately.
If we could all just tap into a fraction of a Portuguese mother
we would be a lot more socially confident with people.
And there is this idea of hospitality.
What is hospitality?
You welcome them in, you make them feel comfortable, you make them feel safe, right?

(18:58):
a Brazilian mother once, was that close enough?
A little spicier.
A little spicier on the Brazilian side.
But like...
That's so funny.
withholding laughter if I keep trying too hard.
Go ahead.
uh So where I look at it is, before going into the "yes, and..." and the comedy craftstuff, is there is this intrinsic position that you have to be inside out.

(19:24):
So when you're talking about, okay, I care about putting on this act, you're caring aboutthe external, the external appearance, the external validation.
And what's gonna happen is you're going to be faced with the inside no matter what.
I've done this.
I've gone on stage being someone I'm not.
And I've had to face a mirror of I was not being authentic.

(19:44):
I was not being authentic and I know I was not being authentic.
And boy, do I feel like absolute crumbs.
I feel like crumbs.
Yes, of course.
couple specific famous comedians.
Gilbert Gottfried.
Eh!
I gotta stop trying to impressions.

(20:05):
So Emo.
Yes.
Phillips.
The comedy, the writing for both of those guys, especially for Emo, is brilliant.
Brilliant is beyond a suitable expression of how good Emo Phillips's comedy writing is.

(20:25):
But they're not themselves on stage.
You know, well, Gottfried has passed on, uh rest in peace.
But those guys play a character on stage, which I think is okay.
But the most beloved stand-up comedians come off as authentic.
Now I know for a fact, if you see George Lopez without a script, without material, hetends to bomb.

(20:54):
He's not, he's not quick on, on his feet.
I've seen him in interviews and stuff, but with material...
Kind of like a Dave Chappelle or someone who just, you know, you kind of just feel thatthis is who this dude is.
Right?
The fluffy guy Gabriel Iglesias, just, just authentic yet a unique presence about them.

(21:16):
People want to laugh at those people because I feel like I can relate to you.
A guy like Gilbert Gottfried or Emo Phillips is, is putting on a front.
They're putting on an act.
And even though it's kind of gimmicky, it seems like after years and years, we get sick ofthe act and just kind of really wish that the guy would be himself.
Notably, if you remember who Bobcat Goldthwait was back when he used to be BobcatGoldthwait, he had a guy that's wonky thing where he'd talk like this.

(21:45):
I saw a recent standup routine with him where he just talks normally.
He's just decided to get back to the basics and focus on comedy.
Unfortunately, the train kind of left the station with him and it came off really strangeto see him act normally, but people get get sick of the shtick.
I was trying to say sick of the shtick, but it's kind of a tongue twister.

(22:08):
If we're putting on some kind of front, obviously we're not going to hopefully not be asgimmicky as Gottfried or Phillips.
That would be extremely, that would not, that would not end well if we're trying to dosomething like that with a woman.
Although I've seen guys try to come close, you know, they'll put on the suave or put onsomething strange that just doesn't seem, it just doesn't feel like who they are.

(22:32):
But when
We just relax into that comfort, that confidence that who we are is enough.
Hey, I may be a little quirky.
I may be a little different, but if I don't judge myself, it's amazing how other peoplewon't judge me either.
And I focus on them and making them laugh.
It just sort of magically works.
And what I would tag onto that before I let you riff away on it, cause I know you'rechamping at the bit is, is to make women laugh, you really don't have to be a comedian.

(23:00):
You just have to help them feel safe and start having fun.
Then they laugh.
Then everything you say is comedy.
Talking about going from the inside out, that's kind of a different interpretation ofthat.
Well, you brought up a really interesting point and the examples of Emo and Gilbertactually like, I kind of want to examine that for a moment because like, I think in a way

(23:24):
they juxtapose a Bobcat Goldthwait.
So when we're talking about our authentic selves, like on stage, we amplify certain partsof ourself, right?
So Gilbert and Emo are good examples of guys amplifying one specific part of who they are,which is authentic to them.
Right?
So like Gilbert Gottfried, he will tell any joke.

(23:45):
He told the 9-11 joke right after 9-11 at the Shriners.
Emo Phillips really believes in being weird and strange and going against the grain.
This is something ingrained in who they are.
So you know that they're amplifying this one specific part of them.
Not all of them.
You're not getting all of them, but you're getting a part of them.
But with Bobcat, what was that amplifying?

(24:08):
What authentic part was that really communicating?
Cause if you watch his movies, his movies are dark.
His movies are dark.
They go into some really deep areas, like Father Of The Year.
Um, he had one that was literally about American shootings, you know, like he goes intodark places.
He did, um, that Barry Crimmins documentary, which was also a very dark exploration.

(24:33):
And when he had this '90s Police Academy gimmick,
going on, it was a gimmick.
It was Pauly Shore.
It was, there was something happening at that time that was like, I think, illustratingyour point.
There, so there's even a difference of fully putting on an act and only ever showing onepart of who you are, as opposed to a Norm MacDonald where you got all of him.

(24:57):
You did know who Norm was.
You knew where he stood.
He was a devotee servant to jokes.
Right?
And he lived and died by that sword.
And even the fact that he was quiet about his death was the most Norm thing.
You know, you immediately were like, of course you did it that way.
Of course.
Right?
Cause you never not knew who that guy was.

(25:20):
So we're almost looking at three different, like you were showing us two, but I almostfeel like it's three.
There's we show up as ourselves.
We show up with parts of ourselves, or we show up with an idea of what we think they want.
And you know, that isn't necessarily incongruent, is it?
Because, I mean obviously if I'm going someplace where people are going to be not veryattuned to raucous humor, you know, I need to belong in that environment.

(25:51):
uh And that may not necessarily mean that I show every facet of myself to every group, butthat flexibility is kind of a mature social skill that you don't have to just
blurred out everything about who you are with everyone.
I love that.
There's something else you said that I think doesn't get talked about much, but would be amission critical component to this idea of feeling confident with comedy.

(26:23):
And it's kind of like this triune, this trifecta, this three-legged stool of what youtalked about.
Okay.
I am
totally who I am.
I, I'm not going to feel compelled to tell you the whole story right now.
And part of that story may not be even appropriate for this group, but maybe there'ssomething about me that is uniquely charming or that I...

(26:51):
it's just, my personality is conducive to it coming across in an endearing way.
And I milk it for all it's worth.
And I know that sounds a little esoteric, so let me give an example.
My wife and I watch Only Murders In The Building.
And of course, Steve Martin and Martin Short are IRL best buddies, which is strange.

(27:15):
Both of those guys have a very unique and personalized sense of comedy.
Their comedy tends to follow a certain pattern.
Each of them.
It's very complimentary.
And yet if you see
them in real life, who they are is a reflection of that comedy style authentically.

(27:36):
But indeed, one of the beauties of watching Only Murders In The Building is the scene willchange and things will start building within the scene.
And you just start, you go, man, this is about to be the most Steve Martin moment ever.
This is about to be the most Martin Short moment ever in this show right now.

(27:56):
And you're looking forward to it because they're good at it and they're authenticallyfunny in that context.
You know, uh, The Father Of The Bride is just one self-own after another and in the waythat only Steve Martin can.
A great example...
and you'll appreciate this as a Canadian of a movie with, with, uh, two guys juxtaposedwho are authentically showing off and kind of reveling in their particular brand of comedy

(28:22):
that they were so comfortable in their own skin with
is, is Planes, Trains And Automobiles.
Again, Steve Martin and John Candy playing off each other.
Those guys could not have switched roles and pulled off that movie.
Right.
So, I mean, you got to know who you are, what you believe in, what your character is and,and what works for you.

(28:44):
And you can only test and approve that by, you know, well, maybe by getting the honest,uh, input from people you trust, but notwithstanding that.
by testing it out on real life and really coming into your own with it, you know?
I think you're touching on like a lot of nuances that I think we sometimes reallyovercorrect on.

(29:04):
Like this idea of like, you know, of course, we're selling, we're saying the startingpoint is to know who you are.
That's literally, we're saying that right out of the gate.
And then the second part of what you said was know your audience, right?
Know who you're performing for.
So if I'm doing a corporate gig, I'm not coming out being all blue.
And if I'm doing a pub gig, I'm not coming out with squeaky clean material.

(29:26):
You know, like you got to kind of know who you're talking to.
You should know the person in front of you.
Right?
And so like that is...
that flexibility that you spoke on is the the ability to not just be aware of who you are,but aware of who is in front of you.
Right?
So it's environmental awareness.
Right?
Like, I've had dates completely bomb just because of where I was.

(29:48):
Right?
Like it was a very hot day.
I was too sweaty.
I couldn't stop talking about how sweaty I was.
Apparently that's a turn off on a date.
Apparently.
I found that out pretty quick.
Like, literally ended the date with, hey, why don't you wait about a half an hour beforetelling me we're not compatible?

(30:09):
Like that's how I ended the date.
first and get some lemonade.
I put like I knew my audience like you know when you bomb too, you know what I mean?
And so like I was very aware that that did not go the way I wanted it to go and I thinkthere's a few things that go with this that we can actually be very practical about right?
So you already mentioned the concept of "yes, and..." for those that are not familiar withthis this means like you're gonna take something that's offered to you and you're gonna

(30:37):
build upon it, right?
You don't want to put walls in front of people and there's another
um, rule in improv that people very much gloss over.
They always go to the "yes, and..." but they forget that there's no mistakes.
I think sometimes we are so in our head about the mistakes we might make instead of justin real time being like, I didn't mean to say it this way.

(30:59):
You know, I flubbed some words earlier in this podcast.
I just went, that's not what I meant to say.
I meant to say this, you know, and then you just continue going forward.
Like that is more confident if you are able to just
kind of accept what is in front of you instead of being like, oh, I messed up.
I said the wrong thing.
I called her by the wrong name.

(31:20):
No, okay, you called her by the wrong name.
You're gonna have to make a joke about that now.
And now that's gonna be an inside joke between you two.
Maybe that's her name in your phone now.
You know, there are a couple of things there.
First of all, we need to elaborate upon "yes, and..." for sure.
No doubt there.
Okay.
But before we do that, there are other components of humor.
You know, Melvin Helitzer's book, Comedy Writing Secrets does a great job of outliningthem.

(31:46):
The book is way too long.
Yeah.
But if you'd read just that...
Oh no, but that's, that's a brilliant work.
He was, he was great at articulating what's funny, perhaps better than anybody ever.
Very surgical, yeah.
Yes.
And one of them is exaggeration humor, but you can't just say, I did this a million timesand wonder why nobody's laughing.

(32:10):
Exaggeration humor follows a flow and a pattern.
And when you were talking about, Oh God, I messed up, you know, Chris Farley on SaturdayNight Live, he did this whole, whole program where he would interview people and be real
sheepish and he'd say something stupid.
And the person being interviewed would be like, I don't understand.
God, so stupid blah blah blah.
You know, there was one where he was interviewing Paul McCartney and he was like, youremember that time when uh when and you did Let It Be?

(32:36):
He goes, yeah, I remember I was there recording.
Yeah, of course you did.
God...stupid!
You know, but he but he over he exaggerates that, you know, the the motion is is is is isexaggerated which makes it funny because we can all relate to messing up but when we mess
up, we're not that hard on ourselves.
You know what I mean?
Yeah, I am very much, that's my comedic style.

(32:59):
I love going over the top.
I will take something and be like, we are going to multiply this by a hundred.
Cause like I, I love doing that.
For me, it's an energetic thing.
Like I love getting it out and being big.
And like, it's almost like sharing this part that I can't always share.

(33:21):
You know, and you're gonna be in a moment where if you can share something that you can'talways share with someone, that is actually a bid for intimacy.
It's a bid for connection in the moment.
Yes, it is.
And you're and you're you know, "yes, and..." "Yes, and..." when a woman is connectingwith you, that's the time to bring in the exaggeration humor or even if it's like ironic

(33:45):
exaggeration humor.
Like, you're like, oh man, I'm not really hungry right now.
I suppose I could eat.
Then you get a back thing of popcorn and go out with the first two and she'll just startlaughing.
If you both have established you're both goofballs.
Right?
So that comes when you have that connection, then the exaggeration humor, then the,physical humor, the shtick, you know, Ruth Buzzi beating somebody over the head with a

(34:10):
heavy purse, you know, those are the things you can do when you get to know a woman.
But when you're just getting to know her, I would suggest that the comedy strategies thatreally are attractive are first of all, just being what I call warm and light.
call it warm levity.
So many guys are stoic, you know, they're
looking into the camera when they're doing their online dating photos going.

(34:35):
I was like, you know, you're not at your best there, bro.
Why are you doing that?
But somehow, you know, somebody on some website told them to do that, but women are allgoing like, dude, why they're all eye rolling, right?
What you're trying to do is make a woman feel safe and comfortable with you because that'show women get horny.
That is the masculine act.

(34:55):
Okay.
Is to make a woman feel safe and comfortable.
And when women start feeling comfortable, they start laughing.
So anything you can do just to lighten up, just to take the pressure off.
I mean, it's almost like if you knock some coffee over at the beginning of a first date,you don't go into Chris Farley mode.
You go, well, we got that out of the way.
You know, now that the embarrassment has happened, we could just relax now.

(35:17):
And she'll probably think, wow, that is really amazing.
Cause you were confident, like you said brilliantly before...
This kind of went under the bridge, like flowing water.
should have parked on that one a little bit, but
it would have been, you know, hey, a mistake happened.
I'm cool.
I can brush it off.
I'm not so inside my head that I'm taking myself so seriously.
And boy, do guys struggle with that.

(35:39):
Now where it becomes catnip is when you can take a situation, twist it around and createirony.
And the reason why that works so well is because that is wit.
That's being quick on your feet.
And the guy who can be quick on his feet, sub-communicates to a woman...
And I know we're getting into some pretty deep, and
probably unfunny psychology here, but it's all, it's all worth it.

(36:00):
It sub-communicates that you are able to make a decision.
You are able to act.
You can act with confidence and with alacrity and make the right decision because it takesthat kind of skill and that skill stack to be ironically funny, to be witty, you know?
the one add-on I would add there, just when you're talking about that these strategies canmake a woman feel safe and comfortable, I wanna add the point, it should not be falsely

(36:30):
safe.
You want them to be actually safe, right?
Like, no, this can't be an act that you put on.
like, oh, I'm gonna trick them into feeling safe.
You have to actually be a safe person
to be acting this way with them.
And one of the things we call this in comedy is qualifying, right?
You can joke about that because you're qualified to joke about that.

(36:51):
It's a way you make an audience feel safe.
You can only go towards a comfort threshold.
In some audiences, you wonder why some comedians get away with certain jokes, becausetheir audience has a high discomfort threshold with that comedian and they have a
relationship.
That's actually safe.
That is safe because they are safe to joke that way with one another.

(37:13):
And so if an outsider comes into that room, it might be shocking for them because theyhaven't been a part of this relationship before.
Yeah.
If Dave Chappelle or South Park stopped being Dave Chappelle and South Park respectively,we would, we would suddenly be uncomfortable.
Like what happened?
You know?
Yeah.
is how they develop trust with us.
They've developed trust because we know this consistency that we get from them.

(37:37):
We know that it's honest, right?
So that's something I just wanted to make sure I was adding on there that like, don't makethem feel falsely safe, like actually be safe with them.
And that does come from authenticity.
And one of the things, you you're talking about irony and, you know, all these little...
things I've asked people before, you know, we do different workshops at The Other ComedyCompany.

(37:58):
And one of the things that we do is we teach people social and emotional learning skillsthrough comedy games, how to have difficult conversations, how to do active listening, you
know, at least kind of things they don't teach us in school.
And comedy is a good Trojan horse to kind of have these conversations and play gamesaround them.
Right?
So and it interacts with our nervous system.

(38:18):
That's one of the cool things about comedy.
But I ask people.
What do you think is one of the most important components of comedy?
And I never get this answer.
I'm gonna ask you.
I'm gonna see if you give me the answer.
But I never have once...
Is that your answer?
No, I'm joking.
That's a Steve Martin joke.
I'm gonna give you, I get it now.

(38:40):
Yeah, what do you think it is?
Connection?
connecting with people.
It has to be a conversation.
You can't just talk at people hoping for a response.
Now, so I'm asking a little bit more like in the, in the craft sense, but like, my answerto that.
Levity.
Maybe that's not true because you can be dark and be funny.

(39:03):
Are we talking about specifically with women or in general?
We're talking about, I just like when you're on stage performing.
Like what are the, what are the tools?
Yeah.
So, okay.
Yeah.
Yep.
And you're going to be right.
So go ahead and say it.

(39:26):
Silence.
I've actually heard that before.
And that's a component of timing though, isn't it?
But did you notice that even when I first went silent, you did keep talking for a littlebit, right?
We have a natural tendency to feel silence.
Well, it is a radio show-ish.

(39:47):
No, of course, but it's not just a radio show.
Have you not been on a date before where like you are either motor mouthing or silencecomes and you freak out because you don't you think it's a bad thing.
Silence is one of the most...
We're talking about flexibility.
It has it's one of the most elastic tools that you can have as a comedian.

(40:09):
How you choose to pace something, how you choose to get to a punch line, the speed inwhich you get to it.
The space you put between things.
When an audience is silent, they're listening.
That is such a gift.
That is such a privilege to have someone listening and to be in that space and to know howto work it and be okay with it and not let it shake you.

(40:37):
That's confidence.
So you were connecting.
I believe silence is a big part of confidence.
Right?
Like being okay with those spots, it doesn't define you.
I think like, if the whole world just knew how to sit in a quiet room by themselves for alittle bit, we might work some things out.

(41:00):
You know, if you look at the old school comedians, like if you go watch a Dean Martincelebrity roast, they were all masters of what you're talking about.
In other words, the timing was there and they would all, they would also do something thata lot of novice comedians haven't figured out, which is leave room for the laugh.

(41:22):
Like you punctuate a line and just kind of go and let everybody laugh.
And you see the best comedians
are masters at that, you know, Jeff Dunham and all of his puppets have these uncomfortablesilences where he can do the visual stick shtick with him and the puppets just looking at
each other.
And that's built in.

(41:43):
You know, um, the guys who I think of as having this incredible sense of being able todrop a joke and just let it sit for a second are the Freddie Prinzes is and the Buddy
Hacketts.
The old school guys.
Freddie Prinze less old school than of course, Buddy Hackett, but they would just...
They would...
Milton Berle, that was his whole shtick.

(42:04):
Yeah, you know this, and he'd stop and just kind of nod and let everybody finish laughingand then he would continue.
And I think it's fair to say that if you're in front of a woman and you're doing a lot ofthe right things, you know, you're showing up authentically.
She can kind of figure out who you are.
And by the way, as a bit of an aside, not a tangential aside, but as an important one, ifyou're authentically being funny the way you are funny, you know, we mentioned Steve

(42:29):
Martin and Martin Short.
You're going to find your honey.
You're going to find your soulmate.
You're going to find the chick who laughs the way you do.
And, and, oh my God, it'll be like you're best friends.
And that's your "ride or die" chick.
And if you're not authentically representing, then you're not going to get her to respondpowerfully to that.
She could have been very responsive to who you are authentically, but because you'retrying to be...

(42:54):
Back when I was a kid, everybody tried to tell jokes like Steven Wright, but none of uswere Steven Wright.
So
Weirdly, none of the jokes were funny when we retold them to people.
You know, that's a great example there.
But when you're in front of a woman and you're, you're making her feel comfortable andyou're making her feel safe.
Yeah.
Part of that is, is, you know, once you've made the sale, shut up.

(43:16):
Once you've made the joke, shut up, give her room to respond, which I just failed to do.
So continue.
No, like my stepdad, bless his soul, he's no longer with us, but he was with my mother for30 years and he had a very dry sense of humor.
He was an absolute cheese doodle.
I'm telling you, he was a cheese doodle through and through.

(43:39):
His humor got silly, uh borderline dumb sometimes, and my mom scooped it up spoon by spoonand loved this man.
love this cheese doodle because she, he made her laugh.
And my mom is a beautiful woman and she gave me the best advice of my life because I wentthrough a divorce and that was very difficult.

(44:05):
We were together for 15 years and I asked my mom, you know, you were with my father forfour years and with my stepfather for 30.
What was the difference?
How'd you know?
And she said, the laughter died with your father.
And no matter how bad things got with Marvin, we always found a way to laugh.

(44:26):
And it was actually a relationship tool for them.
It was a cohesion.
was a thing that brought them back to base camp.
This is who we are together.
So it's not just like this dating phase, right?
Like being authentic with one another, you are gonna be each other's favorite insidejokes.
You're gonna know it.

(44:47):
think of comedy as being a surface level thing.
There's depth to this.
Oh, yes.
No, you're really speaking to someone's inner world, right?
You're connecting to someone's inner world.
You know, I've actually never had a partner that hasn't made me laugh to tears.
And they are not women that on the surface you would say are funny.
You would actually be like, they're kind of bookish.

(45:08):
They're kind of introverted.
Oh, they have made me laugh so hard.
Well, they're playing "yes, and..." with you.
Absolutely, that's exactly what it is.
Even "yes, and..."ing ...
is naturally funny.
When you're playing "yes, and..." with someone and building on what they just said, itwill naturally become funny without you even trying.

(45:29):
It's like the quickest, easiest road to going, damn, I'm funny, is just to focus on the"yes, and..." But so many guys will get on dates and they'll want to try to, you first of
all, men stereotypically have a hard time respecting women's know-how and intelligence andtheir competence, you know, hence the mansplaining complaints
from Feminists.

(45:49):
When you get on a date with a woman and you stop going, well, you know, that's nothing.
I did this or I don't know, not so much that, or I don't know.
I think you're pretty much wrong about that.
And instead, you know, you, you kind of resist that impulse that I think a lot of us asguys have.
And then you start playing "yes, and..." with her, when she says, you know, I had a reallytough day at work and you know, my, boss yelled at me and you say, well, yes, and that's

(46:17):
why
we're not going to do any yelling here tonight.
We're just going to have fun.
And then she would go, yes, and I'm ready for some fun.
Yes.
So the first fun thing we're going to do is, you know, tell a joke or get the waiter overhere.
Maybe it'd be really funny if I spilled coffee everywhere and she's going to go, yes, andit wouldn't be funny to clean it up.
But see that, that last one feels like a "no, but..." like it wouldn't be funny to cleanit up, but she is actually building on what I said, instead of saying

(46:46):
You know what?
This is a stupid conversation.
Let's talk about, you know, shoe shopping instead.
So the nuances of "yes, and..." naturally create a safe space for you to connect.
And it turns funny sooner than later.
It has to.
But a lot of guys really fall into that "no, but..." trap don't they?
Absolutely, you're trusting the process.

(47:07):
And the big thing is, do you know what is not trusting the process?
What is not "yes, and..."?
Making it an interview.
Going on a date and you're just like suddenly like, so what was your first cat's name andyour favorite color?
You know, like.
uh
you know.
Yeah.

(47:27):
actually have had someone tell me their kill count on the first date and I was like, cool.
I don't know what to do with that.
But like, hey, let's roll with it.
We actually had great chemistry.
We had a great conversation.
But like it's depending on like how comfortable you are, will open up someone's comfortlevel themselves.
And this interview thing that's happening on dates, you're seeing it.

(47:50):
I'm seeing it on Reddit threads.
I'm seeing it on YouTube videos.
People are talking about like, I just want to go on a date that doesn't feel like I'mbeing interrogated.
And mutually complaining about your exes is not "yes, and..." That's mutual "no, but...",I think.
And trauma dumping is not "yes, and..." Like, like this person don't know you.

(48:12):
You just met.
You swiped right because you thought each other were kind of hot.
That's it.
let's bond on this.
Let's make this our foundation.
I would rather, going back to what you said, I don't want to diminish what you said aboutconnection.
I just think we don't fully understand connection or we are afraid

(48:34):
to open up parts of ourselves to really connect on positive things, right?
Connect on goals, connect on values, connect on things that you really deeply care about.
I'm a deeply passionate person.
If you're not gonna be someone that understands an entrepreneurial lifestyle, I'm notgonna be for you.

(48:54):
I'm just not gonna be for you.
on it with the connection answer to your previous question.
Um, I kind of threw a blanket over the question you asked about what's the most importantcomponent of comedy.
Because I think, you know, that's probably something that's deserves to be broken down.
It's a little, you know, kind of out there, but I do think that given that this is a showfor men who want to get better with women, uh, if I feel like I'm aloof or I'm apart, or

(49:20):
I'm on a stage trying to perform or trying to be something I'm not,
being inauthentic and congruent even, um, there is not going to be a connection.
And I really do believe in everything we've talked about on this show, that whole idea of,making a woman feel safe and comfortable and how warm levity does that and taking
ourselves too seriously is poisonous.

(49:41):
It's just toxic to that environment.
Um, when women start interviewing you on first dates, instead of "yes, and..."ing in theinterview, you "yes, end..." the interview.
And, know, say hey, you know what?
What I've always said in those situations is there's not a question you can ask me thatyou're going to get a scary answer to you that turns you off.

(50:01):
I got all the answers for everything you're going to ask.
And if I don't, I'll make a good one up, but my goodness, let's just have fun and enjoythis and see if we get along here for a while.
I, think you look better than your pictures.
I was already having fun before the, you know, the interview questions came out.
Let's just, let's just, let's just relax.
You know, we clocked out, you know, work was earlier today.

(50:21):
That's a comedy trick, right?
When a comedian on stage goes, calls out that they're bombing, all of a sudden you canturn the show at that point, right?
Acknowledge it.
Acknowledge what's going on in the moment.
It's okay.
If you are both conscious of it, just say it.
Right.
Yeah.
I mean, that's just calling it out.

(50:44):
I remember the old movie Punchline, which I'm sure you've worn out a couple of copies of.
I've actually never watched Punchline.
Never.
Yeah, it was one those movies that looked too cringe for me to want to even go down thatroad.
Well, the cringe is built in on purpose because you have these comedians, these wannabecomedians who are trying too hard and Sally Field's is, know, according to the plot...

(51:08):
And this isn't a spoiler.
You guys can watch the movie.
It's good date movie sort of.
Um, she's an accidental comedian.
It's, it's not unlike The Marvelous Mrs.
Maisel.
Okay.
Okay, good.
Her husband was trying to be the the comedian and they got divorced because she wasfunnier.
um It's kind of along the same lines.

(51:31):
As a matter of fact, Mrs.
Maisel is probably a more contemporary example.
I'm funny because I'm trying not to be.
I'm just I'm here.
I'm just myself.
I don't even know what I'm doing, but I'm going to spit this out.
And it's endearing enough that people start laughing.
And then the next thing you know, it's like, oh, I got another one.
And the next thing you know, people have connected with you and they're rooting for you.

(51:51):
Yeah.
And when you bomb and you, you know, you weren't a bad person, you weren't trying toohard.
And you say something like, well, that was funny when I wrote it down on paper.
In real life, eh...
not so much, huh?
You know, then people will agree with you and then guess what you've just done?
You've done a "yes, and..." You know, people are nodding their head.
"Yes, and..." you know, I promise to do better, you know, like a Gillette commercial.

(52:14):
a lot of people, like what I see in the dating world is a lot of people do wantrelationships.
And would not the goal of a relationship be to be two people rooting for each other?
You wanna be the audience that's just the biggest...
I want you to win.
Right.
think the most authentic and endearing measure of personal confidence would be to go on adate, not worrying about the outcome for yourself, but hoping she enjoys this date,

(52:45):
wanting her to be successful on this date.
I love it.
Yes.
Like this is almost like this is an open secret in life.
You give, you give to people in business.
You just give, you know, like that's the more value you give someone, the more time yougive someone, the more uh they feel seen, they feel heard, they feel like they belong,

(53:10):
they feel cared for.
Like, it's just gonna come back.
You don't have to expect it.
It's coming.
end, the amount of love you give is equal, about you get is equal to the amount of loveyou give.
Right.
We've gone into hippie mode here now.
Yeah.
Yeah, man.
I'm such a hippie.

(53:31):
When I got divorced, the first thing I did was get a broken heart tattoo to my ringfinger.
You know, I've always been such a creature of love.
Like, comedy to me is a labor of love.
It is truly a relationship.
For a while, I thought it was a codependent relationship.
I was that guy that was being, uh I needed this validation, you know?

(53:52):
And so when we're comparing this to relationships, it's like, it's so personal for mebecause I've had these relationships with audiences where there is nights where I really
wanted them to just tell me I mattered.
And I didn't feel that because it was just too, it's clear I was being needy.
It was clear I wasn't believing in myself.

(54:14):
And then I've had, I'll say my most authentic show.
I was uh sick with pneumonia.
I was curled up on a stool with a lemon tea and I had to perform for 60 minutes and I hadto do this obligation and I just started saying everything I was possibly afraid of.

(54:41):
I started talking to the crowd about being afraid of being a new father.
I was afraid that I was going to be a bad father.
I started talking about like how people drive too fast and I think they're going to killme.
I just was so sick kind of in a fever, just really authentic raw space that I was gettingsome of the hardest laughs from just improvising.

(55:04):
I improvised the entire time.
I never wrote any of those jokes.
No, it was a dark night for sure.
But like there was a lot of, when we say qualifying, when you see a man curled over,
in physical pain, his body's giving up on him.
What is the material going to be?
And that night for me, it was this place of authenticity where I was just so real aboutwhere I was.

(55:31):
It wasn't even about trauma dumping because it was about like, I think light at the end ofthe tunnel, like how great it is that we together can face our fears together, that I can
talk about this so openly and communicate this with these people.
I really feel connected and I don't feel controlled by these fears.
You know, you can see good comedians sometimes change the tone of a conversation and stillcome off like a comedian.

(55:54):
Chappelle can do that.
And I, yeah.
And, um, if you go on a date with a woman, and I think this is a fitting close to thisparticular episode, cause these guys are going to start feeling like they're drinking from
a fire hose.
It's just been such an amazing amount of really valuable stuff.
Oh, of course you will, man.
This is you're, you're one of the OGs here at this point.

(56:16):
And, um,
You know, when you've made her laugh and when you've made her feel comfortable, there canbe a tonal change and you're to have to read the room because you know, she does feel like
she, she's connected with you enough to be a little vulnerable about something that'spainful to her.
Obviously you're still not going to be in court jester mode.

(56:38):
And, and what I think a lot of guys don't understand is if...
when you change the tonality, you're not somehow being fake.
That's another part of you that's coming out.
That's another facet of the diamond you are coming out and shining.
And I think that's important.
So, you we don't always have to be on stage.
We should never be on stage with a woman.
We should be wanting to make her feel safe and comfortable and, and having the comedy partof what projects confidence and helps build our confidence, like you said.

(57:05):
But yeah, man, when, something happens, that's a little darker and more poignant, youknow, now you've, you've earned her trust.
When a woman shows you that vulnerability, it's almost like when a, when you meet a dog,and it rolls over and says, you know, scratch my tummy.
You know, it's being vulnerable in a good way.
I love it.
I think it's great.
It's time to send these guys to your website, Clifford, which is theothercomedy.co.

(57:29):
And of course, as is my practice, I've also made a link that'smountaintoppodcast.com/myers.
M Y E R S.
Um,
And that will point them to theothercomedy.co.
What will they find when they get there?
Oh, so they're going to see what we're doing at our company.
We're building social/emotional learning games that people can use in small groups.

(57:52):
We use them for schools and organizations.
So we're actually democratizing comedy beyond entertainment and we're using it.
Yeah, we're done with fascist comedy.
oh This is socialist comedy.
This is much more socialist.
uh Just the idea that like comedy can be a learning

(58:12):
tool for us and it is something that increases our discomfort, puts us in situations we'renot normally comfortable to be in.
It's a safe way to be unsafe.
And so what I would tell your audience is everything that we talked about today, be opento just taking a risk to just putting yourself out there and it's okay to look silly.
Don't take yourself so serious.

(58:34):
You're going to be surprised what parts of yourself you meet in this process.
That's amazing.
Yeah.
You know, I love the work you're doing.
You know, if you have uh a safe space to be unsafe, that would borderline on communistcomedy in my mind.
But notwithstanding that I think what you're doing is great.

(58:55):
His name is Clifford Myers and he is from Canada and he is a professional comedian and a,and a, um, a comedy stylist.
If you've ever seen...
and I will just throw out there if they want to check out, if they want to check out mylatest comedy special, it's called Joke Box Hero and it's on YouTube now.
Fantastic.

(59:15):
I'm all in.
Fantastic.
And guys, if you want to be all in, check out our sponsors, Jocko Willink's company,Origin in Maine, The Keyport and Hero Soap.
All of those sponsors, our three long time sponsors, are going to make you look, smell andbe equipped like a man.
And those are all very good things.

(59:35):
And when you use the coupon code "mountain10" you'll get an additional 10% off with any ofthem.
Guys, the websites are faster.
They've been improved.
Um, you're buying experience when you get one of my programs or get a ticket to theMasterclass is greatly improved.
I know I'm probably more proud of that than you are, but you know, every little bit helps.
And we're trying to be excellent around here.

(59:56):
Visit the mountaintoppodcast.com.
Get on my calendar.
Talk to me.
check out the Masterclasses guys.
Good stuff every month.
I pour my heart and soul into a specific topic and nothing gets left on the table and youguys can interact.
It's not just downloading and listening.
That's old school.
Nowadays it's interactive.
You can email me, you can get on the phone and talk to me about what went on in thatMasterclass.

(01:00:18):
So really it's not the kind of thing that AI can replace.
Masterclasses equal good stuff.
All of that is there for you and more at mountaintoppodcast.com.
And until I talk to you again real soon, this is Scot McKay from X & Y Communications inSan Antonio, Texas.
Be good out there.