November 12, 2024 • 45 mins
Comic and writer Fahim Anwar and I talk about failed TV shows, Afghan and Ukrainian treats, performing at Largo, comedy today, working for Boeing, disappointing your parents by being a comic, the power of Margo Robbie, YouTube vs Netflix, crowd work, not playing sax for The Roots, having a great bit you can’t put online, hecklers, comedy persona, dancing in clubs, and convincing your parents you have value by wearing a tie.
Bio:Fahim Anwar is a Los Angeles-based standup comedian, actor and writer. Fahim is touring on the heels of his third stand up special, “House Money.” His previous special "Hat Trick" filmed at the World Famous Comedy Store was named one of the best specials of the year by the LA Times. The New York Times has listed Fahim as a "Most Promising Future Star." He's appeared on CONAN, LATE NIGHT WITH SETH MEYERS and performed at the prestigious Just for Laughs Festival in Montreal. His recent FILM/TV credits include WHISKEY TANGO FOXTROT opposite Tina Fey, NEIGHBORS, DRUNK HISTORY to name a few. Fahim served as head writer and starred on a sketch show special for Comedy Central with his comedy group (GOATFACE) which includes Hasan Minhaj from THE DAILY SHOW, Aristotle Athari of SNL and Asif Ali of WANDAVISION. Off the success of the sketch show special, Fahim was named by Variety Magazine as one of 2019 Comics to Watch, and has been a guest on the Joe Rogan Experience Podcast as well as WTF with Marc Maron.
Bio:Fahim Anwar is a Los Angeles-based standup comedian, actor and writer. Fahim is touring on the heels of his third stand up special, “House Money.” His previous special "Hat Trick" filmed at the World Famous Comedy Store was named one of the best specials of the year by the LA Times. The New York Times has listed Fahim as a "Most Promising Future Star." He's appeared on CONAN, LATE NIGHT WITH SETH MEYERS and performed at the prestigious Just for Laughs Festival in Montreal. His recent FILM/TV credits include WHISKEY TANGO FOXTROT opposite Tina Fey, NEIGHBORS, DRUNK HISTORY to name a few. Fahim served as head writer and starred on a sketch show special for Comedy Central with his comedy group (GOATFACE) which includes Hasan Minhaj from THE DAILY SHOW, Aristotle Athari of SNL and Asif Ali of WANDAVISION. Off the success of the sketch show special, Fahim was named by Variety Magazine as one of 2019 Comics to Watch, and has been a guest on the Joe Rogan Experience Podcast as well as WTF with Marc Maron.
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Episode Transcript
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Speaker 1 (00:01):
Straw Hut Media.
Speaker 2 (00:04):
Hey, guys, Fahiman or here and I'm on Don't be
Alone with j Cogan. This is actually the first time
we've ever met in person, So will sparks lie don't.
Speaker 3 (00:13):
Be Alone with j J Cogan.
Speaker 1 (00:20):
Hi there, welcome to Don't Be Alone with Jake Cogan.
I'm your cordial host, Jake Cogan. I'm very happy that
you're here. It's going to be a great show this week.
We have a very funny comedian named Fahim a War
and he is something I just came upon very recently
at Comedy Club Largo here in LA and he's on
(00:40):
with some great people and he was the standout of
the night for me and my son and we were
just laughing hysterically at him and couldn't wait to see him.
And I got a chance actually to see some of
his work online because he has two amazing specials. One
is called Hat Trick and the other one is called
House Money. You should see both of them. I saw
Hat Trick the other day, is fantastic. Got to see
(01:03):
House Money tonight. It's going to be great. You're going
to really enjoy it, and we're going to talk about
comedy and what it means to be a comedian, and
how hard it is to be a comedian, and how
interesting it is to be a comedian. I wanted to
say that. Recently, a friend and a hero of mine,
Bob Newhart, just passed, And Bob Newhart was incredibly a
(01:23):
wonderful comedian, obviously one of the great comedians of all time.
But the thing that made him special was that he
was also just a really good person. I was an
actor on his show when I was ten years old,
on The Bob Newhart Show, and I got to see
that you didn't have to be a diva asshole to
be a star of a show. You could just do
your work, be super nice, make a genial atmosphere. And
(01:44):
that taught me so much about show business that I've
kept with me my entire life. And him, Bob and
his wife ginny A were two wonderful, wonderful people, and
I owe them a lot in my life. So I'm
sad they're gone, but I'm happy that they we're here,
and I'm certainly happy that the comedy that Bob made is
still here for us to watch. And that's gonna be great,
(02:06):
and we're gonna talk about comedy with Fahim and Ar
right after this, stay tuned, don't be alone. Thank you
for being here. This is the quickest a guest has
ever been solicited and then placed on the show ever
(02:28):
in the history. I think I called you yesterday or
the day before, saying hey, would you ever consider doing
the show, and then a few hours later said hey,
can you do the show?
Speaker 2 (02:36):
It went from what you considered I need to hear tomorrow.
Speaker 1 (02:39):
Right, So I'm sorry about that being pushy.
Speaker 2 (02:42):
Come on filling a day.
Speaker 1 (02:43):
I love it. Now you come to us by way
of Andy Gordon. Yes, Now, how do you know Andy Gordon?
Speaker 2 (02:49):
So we I was writing on a show with him.
I met him in the writer's room for United States
of Al. Was on CBS for a little bit. Okay,
but yeah, love it. And and then you know, he's
been writing for so many shows that I love. Growing up,
I had no idea he's been in the game forever. Right,
He's just shoot me news radio, which I love.
Speaker 1 (03:09):
Yeah, he's the oldest human being on the face of
the earth. I think that's what we're both saying.
Speaker 2 (03:14):
Well, that's what I learned, because like not about the
oldest person, like just writers having steady work. Yeah, because
I've always auditioned for stuff I do stand up. It's
always been like front of camera type thing, performer. And
then there's just all these funny writers in a room
and they've just been working forever. Yes, So it's a
steady ship and even money, right, And I'm like, oh,
this is kind of where it's at. This is like
(03:34):
a best kept secret.
Speaker 1 (03:35):
The good news is that ended. So about two years ago.
That end.
Speaker 2 (03:39):
So I can't I can't get in.
Speaker 1 (03:40):
No, No, it's the business is reconfiguring itself, right, and
so writing rooms have gotten smaller, staff's get smaller, less episodes.
Speaker 2 (03:50):
So yeah, it's the streamer. We're doing two episodes, Yeah,
that's gonna be.
Speaker 1 (03:54):
It's we're doing piloting the same time they're filming the
same time.
Speaker 2 (03:58):
Can you write twelve minutes of pre content?
Speaker 1 (04:01):
What we need really is more tweets, if you can
just tweet about the show and not be on it.
Whatever happened to that show?
Speaker 3 (04:07):
Did?
Speaker 1 (04:07):
Why did it die so bad?
Speaker 2 (04:09):
It was like two seasons? That's not bad?
Speaker 1 (04:11):
Oh that's terrible.
Speaker 2 (04:12):
Really, I don't know, I know, cho show, what kind
of Chuck cloy show got?
Speaker 1 (04:16):
Only gets two seasons.
Speaker 2 (04:17):
That's a good point.
Speaker 1 (04:17):
You must have really sucked it up.
Speaker 2 (04:19):
Yeah, it was my fault. Okay, now take the blame.
Speaker 1 (04:22):
United State's vale. It's aw I don't know.
Speaker 2 (04:24):
America wasn't ready for an Afghan interpreter living with a
family in the Midwest. Okay, we were ahead of its time.
Speaker 1 (04:32):
Your family background is Afghan I go.
Speaker 2 (04:35):
This is over this interview. So you told me you
were going to bring up my ethnic background. How dare you?
I'm Cambodia on stage.
Speaker 1 (04:42):
You grew up in Washington though.
Speaker 2 (04:43):
Yes, Seattle. So I grew up in Seattle. Parents born
in Afghanistan. Yeah, my brother born here.
Speaker 1 (04:48):
Is the Afghanian culture in the home?
Speaker 2 (04:51):
Did you grow up with a little bit Yeah, yeah,
but like very American upbringing. But then you know Afghan
food and culturally I know some Afghani.
Speaker 1 (04:59):
Than treat that I should be eating that I don't treat.
Speaker 2 (05:02):
I don't know about, Like can.
Speaker 1 (05:04):
Jewish food, Like I grew up with Ukrainian. You know
my ancestors Ukrainian. There is no Ukrainian treat. There is
dirt like it's really is just like a pile of
dirt is dirt. This is like dirt dirt and like
the big Christmas time you get it beat. That's the treat.
So there's nothing great.
Speaker 2 (05:22):
Well, there's a dish I like, it's called sherwah. That's
like my favorite Afghan dish. I guess it's sort of
like a stew. It's really not even that elevated. It's
kind of like peasant food. I suppose you. Yeah, so
you like tear up pewa bread and then it's this
broth and then there's meat and then like beef and
the potato and beat carbonzo beans. This is really warm and.
Speaker 1 (05:44):
Irish dish that is like basically the same thing as
Irish stew.
Speaker 2 (05:48):
I would love that.
Speaker 1 (05:49):
Then I saw your act. I didn't see your act.
I did. I consequently saw your act on the on
the YouTube's of the YouTube, but I also saw you
in person at Largo. Yeah you're really really really funny.
Speaker 2 (06:02):
That's so nice, you know. Yeah. Yeah, Well, that's the
weird thing about stand up is you just gigging around town.
You know, sometime I bounce to the comedy store, I'm
at Largo and there's a show to do, and then
you don't know who's in the crowd because I've seen
your pod. I actually enjoy it, you know.
Speaker 3 (06:16):
Yeah.
Speaker 2 (06:16):
Yeah, So it was kind of really cool that there's
a connective thread of Andy. He's like, hey, my buddy
Jay saw you at the show. I'm like, oh he
was at that.
Speaker 4 (06:23):
Yeah. No.
Speaker 1 (06:24):
I I fancy myself since I was eight years old
as somebody who is a connoisseur of comedians, that's all.
I've been going to the Comedy Store and the improhps
since I was ten. Wow, I've been going seeing people,
and you know, over the course of time, I've lost
track of some people and I don't see as many
(06:44):
people as they used to do. So when they see
a great comedian, I go, I'm fantastic. That's great.
Speaker 2 (06:48):
Also, Largo is an interesting because I'm new to it.
It was always I've been doing stand up a long time,
like twenty two years, you know, and it's just been
this cool kid venue. It's hard to get into, you know,
on the you have an in special clubs, and I
was just been like a club rat doing the Store
and like the Improv and the Factory, and I just
never had an end to Largo. But it's always this
(07:08):
like story plays, like, oh I love to play it
some day.
Speaker 1 (07:10):
And the audiences is cool.
Speaker 2 (07:12):
It's the cooler.
Speaker 1 (07:14):
They're receptive.
Speaker 2 (07:14):
They're receptive.
Speaker 1 (07:15):
You can you can, you can offer them morsels and
they'll they'll eat them, as opposed to you know, people
in clubs having drinks.
Speaker 2 (07:23):
Wait, it's very warm. The beats are a little different
at at Largo as opposed to like the comedy Store.
Speaker 1 (07:30):
This show, as you know, because you're a great fan
of the show, is about me talking to really interesting
people about my problems. So my problem is that I
fancy myself. I started out as being a stand up comic.
Speaker 2 (07:41):
A lot of writers that's their path.
Speaker 1 (07:43):
Huh, they end up trying it again. And my, my, my,
my friend Larry Wilmore said you got to, you got to,
and uh, you didn't say.
Speaker 2 (07:51):
It like that, like but for brevity, that's the way
he said, you said you got to. I'm paraphrasing, but
you got to.
Speaker 1 (07:58):
I realized when I said you got to. And it's
where he's black at It almost sounds like I'm doing
an invitation of black Man. I'm not. It was supposed
to be authentic, enthusiastic.
Speaker 2 (08:07):
Yes, he said specifically, Hey Jay, you got to.
Speaker 1 (08:12):
No, he didn't say that, Hey you ja.
Speaker 2 (08:15):
You know you got to get into stand exactly.
Speaker 1 (08:18):
Yeah, but uh, I go back and I have I
have on my phone the little.
Speaker 2 (08:23):
Yeah jokes away.
Speaker 1 (08:24):
You're always thinking of anything of jokes that could be
jokes in areas that could be areas, and all that
kind of stuff. So but then I was saying, like,
I don't know the territory anymore. I don't know what
it is.
Speaker 2 (08:33):
It's tough when you've been out of it for a
while because there's a progression within stand up in the scene.
Speaker 1 (08:38):
I stopped doing it at sixteen, so I've been out
of it for a while.
Speaker 2 (08:41):
You go to the same open mic. Yeah, Oh, it's
not a pizza place anymore. It's a furniture store, right,
Do they still do a mic at the furniture store.
Speaker 1 (08:47):
I would. I've done stand up in a deli.
Speaker 2 (08:50):
I've done stand up everywhere. Yeah, especially being in LA
for a long time. I'll just be driving around town
and it'll be like a dog washing place. I'll be like, oh,
I did this when this is an ice in parlor. Oh,
this tower records. I used to blah blah blah.
Speaker 1 (09:03):
And you started I read your bio. You started out
as a as an engineer, Yeah, and for Boeing.
Speaker 2 (09:09):
For Boeing when things we needed to you needed to
stay they. I mean, I like the joke that the
reason the planes are falling under the sky and all
that is because I went to pursue comedy and I go, look,
this is my dream. So you can't make normal without
cracking some eggs.
Speaker 1 (09:26):
Decided to save lives with your commedy.
Speaker 2 (09:28):
My comment, but let other people die with your planes.
Speaker 1 (09:31):
Engineer.
Speaker 2 (09:31):
Yeah, yeah, No, I mean the romantic version, because people
here that I worked at Boeing and then do stand up.
Speaker 1 (09:38):
By the way, working at Boeing does not sound all
that romantic, but okay.
Speaker 2 (09:41):
Well no, no, no, that doesn't sound romantic, But the pivot
into stand up sounds romantic because I think a lot
of people work a job they don't enjoy, and then
to see someone like doing the arts after something as
day jobby as that is romantic. But that's not the
way it actually happened. It wasn't like I was working
at Boeing and I snapped my pencil and I'm like
(10:01):
fuck this, I'm a star baby, and I just drove
and I just drive to the comedy door and I
just take the mic from whoever's on stage, and I'm like,
you guys, ever noticed this? And then it was that's
not it.
Speaker 1 (10:11):
Wouldn't be great to go back and then snap the
pencil and say, fuck this, I'm a star baby.
Speaker 2 (10:15):
I mean that's actually getting my job back.
Speaker 1 (10:17):
Yes, just to.
Speaker 2 (10:18):
Do it about the fantasy, Yeah, that'd be pretty'd be
pretty fun. But I mean it was just really a
premeditated version of doing stand up. So, like I knew
I wanted to do it very young. I think I
graduated high school and I knew I wanted to do it.
So that summer I started going to the comedy clubs
in downtown Seattle. And then I had to go to
college because my parents were going to pay for it, right,
and and I could only do certain degrees that they
(10:40):
would pay for because I wanted to do theater. And
my dad's very old school, and he's like, what does
he do? He's an engineer at all?
Speaker 1 (10:46):
Right? Yeah, and what's your mom?
Speaker 2 (10:48):
She's a nit nouvous kidding she was a nurse for
a long time and then now she does hair. Okay, yeah,
all right.
Speaker 1 (10:53):
So he had a firm idea that an engineer at
Bowie or just there was.
Speaker 2 (10:58):
He wanted me to be a doctor, the whole trope
and everything like doctor lawyer, right, engineer was the lowest
that I could do and have them still pay for college.
Speaker 1 (11:06):
Right.
Speaker 2 (11:07):
So I'm like, I guess I'll do that, and I'll
just do stand up while I do mechanical engineering at
you dub right, So it was all. And then I
knew that once I got a degree, I would just
apply to jobs to get as close to Hollywood as
I could. And then finally I graduated, and I applied
to a bunch of jobs, and then I got a
job at Boeing, and then I would drive up and
do stand up at night. So I would work by
(11:28):
day in my cubicle, punch out and then drive up
forty five minutes to the comedy store.
Speaker 1 (11:34):
You should work by day. You were writing bits at
your desk at Boeing. Come on, let's be honest, Like.
Speaker 2 (11:38):
I didn't work on a plane at all four years.
We've got some stuff done, got a plane material. Like
you notice these rivets they don't hold the stress that
they show.
Speaker 1 (11:47):
So how disappointed is your father that your comedy?
Speaker 2 (11:52):
Pretty disappointed? But he's coming around. I mean, I think
my family kind of.
Speaker 1 (11:57):
But your mother's very supportive, but your father's.
Speaker 2 (12:00):
They all turned at different times. My brother has always
been on board. He's loved it from the jump, and
then my mom was. And it's from a place of
love because they just don't want their kids to eat
out of a dumb shore, you know, so I understand it.
Speaker 1 (12:12):
My dad told me not to be a writer. Really,
and he's a writer.
Speaker 2 (12:15):
Huh yeah, okay, yeah.
Speaker 1 (12:18):
Maybe because I'm terrible writer. I don't know.
Speaker 2 (12:20):
He's like, I've seen your stuff.
Speaker 1 (12:21):
Yeah exactly. He did a script and they said, I
want to be a writer, said, you know, he.
Speaker 2 (12:27):
Gives you the same scrutiny a for you like a
show runner with today It's like, okay, it's wonky an act.
Speaker 1 (12:32):
Too, right, I got it. He didn't like it.
Speaker 2 (12:34):
Your characters aren't fleshed out. So my mom, she came
around when I took her to a premiere. I was
in this Tina fe movie, a little bit like Whiskey
Tango Foxtrot. I have a small role in that, right,
So I got to go to the premiere in New
York and I brought my mom and then it became
very real to my mom, which is on the red
carpet and she's meeting Tina Fey and Margot Robbie and
(12:56):
and then and she's staying at a nice hotel. So
that experience that turned her because it became tangible, it
became real. It wasn't this the sky pie in the sky.
Things don't happen, sure. And then my dad he can't
be enchanted by that stuff. He just understands money, right, things, security, stability.
(13:17):
So he actually didn't come around until I got that
CBS writing job, okay, because that had shades of like legitimate,
sure work people. I would drive to a place, right,
you know, I drive to a place. I have a
parking spot, there's a break room, I sit in a
computer chair, I have an office.
Speaker 1 (13:34):
There's a product at the end.
Speaker 2 (13:35):
There's a product at the end, Like you go into
a building for eight to ten hours and you leave.
And my dad can he can wrap his head around that.
Going to chuckle huts and flying to you know, Indianapolis
or whatever like that.
Speaker 1 (13:49):
That's I would say, Margot Robbie's pretty impressive. If you
can introduce your dad to Margot Robbie.
Speaker 2 (13:53):
Yeah, it's I don't know if he even knows my
dad tunes into certain he's like, I love Lady Gaga.
I wouldn't her peged my dad for being a huge
like monster is that he was.
Speaker 1 (14:03):
Born this way he was born. That's just how he is.
He loves it.
Speaker 2 (14:07):
Sometimes your parents surprised you. Like my mom, I remember
growing up as a kid, she loved Martin. We would
watch that show. I was a little kid, and my
mom she just loved Martin Martin Lawrence Assistant Love.
Speaker 1 (14:18):
She just loved him because she recognized early his psychosis
and wanted to watch him slowly and surely falls apart
in front of your guys.
Speaker 2 (14:25):
Yeah, I understand that show, Yes, but I wouldn't think
my mom, my Afghan mom would like resonate so much
with Martin Lawrence. Yeah, yeah, or my dad, Lady Gaga.
Speaker 3 (14:46):
Don't be alone with.
Speaker 1 (14:53):
What's going on now in stand up that is great.
This is a bit of a renaissance. Yeah, and going
on a stand up and what's really shitty?
Speaker 2 (15:04):
What's great? And what's shitty? H Okay, what I what
I think is great can be deemed as shitty to
some comedian, right because there's been a huge shift. Back
in the day, there was a blueprint for ascending and
stand up comedy. You just did your act. You didn't
even need to write that much. You kind of had
a great act. And if it was on commed if
(15:25):
it was presented the right way, you were on. You
were on your way. You know, you had a half hour,
you had an hour, you put it on Comedy Central.
Speaker 1 (15:30):
You're on and on your way means you'll get booked
for other things, kind of your own sitcom.
Speaker 2 (15:35):
Just attention was kind of focused on these specific platforms.
You only had Comedy Central, you had Netflix. It's pretty
much it so and then there was a lot of
eyeballs on it. And then once that kind of hit
you were just on track to keep on ascending as
a stand up Everything is so fractured now, attention is
like no one really watches straight up Comedy Central. Nobody
(15:56):
really wants. Like even Netflix is getting a little diluted
with their specials. If you got in early, it was
great for your career, like an Eliza or a Thompson
Gurra or people who got on the ground floor. So
now everything is just so fractured in the stand up
comedy space, and we're kind of in a clip economy now,
so it's counterintuitive where you're tiktoking, less is more, so
(16:19):
you're you're reaching people thirty seconds at a time, a
minute at a time. Clips. Clips are the name of
the game. So unless you are logging a bunch of
set and your sets and you're throwing captions on your
stuff and putting it on TikTok, putting it on instant
ig reels or YouTube shorts, that's the If you're not
doing that, it's kind of like you don't have a
(16:40):
special or you don't that's how you're reaching people.
Speaker 1 (16:42):
Nowadays, that branding then shows up in terms of people
seeing you at a show.
Speaker 2 (16:49):
Well, that moves tickets now especially if you aren't the
person Netflix picks or the or HBO. It's twofold, Like.
Speaker 1 (16:59):
If you aren't the.
Speaker 2 (17:00):
Person they're picking, then you need to reach people. Well,
it also means less too, you know what I mean.
So not everybody gets picked. And then also if you
do get picked, it doesn't have the impact that it
once did maybe five years ago.
Speaker 1 (17:13):
Being picked saying by a network by.
Speaker 2 (17:16):
One of the guys that they that the guys are
girls they want on the platform and give a special
two and like give the Billboard treatment and kind of
push the special.
Speaker 1 (17:24):
People, the Jewish media runners.
Speaker 2 (17:25):
You know, you said I was being pretty good about.
Speaker 1 (17:30):
Super clear.
Speaker 2 (17:31):
No whoever is in charge the.
Speaker 1 (17:33):
Jewish media runner. So I get it.
Speaker 5 (17:35):
You're trying to get into You're saying, fine, it's fine.
Speaker 2 (17:40):
It's just hard to get picked number one. And then
also if you do get picked, it it means less
than it did years ago, okay, because it was the
only place to be seen. So there's been this shift
to just embrace digital direct to consumer with clips and
stuff and and YouTube specials, and so you you just
have to you have to produce more of your own content.
(18:02):
Whereas before you would just show up till place and
they would take the lens caps off and then you're
leaving at a coffee. So much was done for you.
Now you kind of you have to wear a lot
of hats as a stand up if you want to
break through. If you have a guy, I have a
lot of hats, yeah, somebody. Well, the thing is, it's
pretty easy to do on your own. Even I do
(18:22):
it on my own a lot too. When I go
on tour, I just have a camera that I that
I take with me. I put it on sticks in
the back I tap into the soundboard to get my audience.
I know there's a lot of laymen who watch are
familiar with Hollywood, like they've never written on a CBS show,
like me or you.
Speaker 1 (18:42):
I believe I used to have a bipod and that.
Speaker 2 (18:46):
About a monopol my first mistake. I had a monopod
and then I just left it and it tipped over terrible.
It needed more legs more. Some people go with a
quad pod. I think not, but I think it's extra.
You don't need that extra leg You're an engineer. No,
this is cree bowing. So I didn't know these things.
Speaker 1 (19:05):
So so you record yourself myself in the frame? How
do you know?
Speaker 2 (19:09):
You set it up wide, you know, and you say, you, uh.
Speaker 1 (19:12):
Don't want to see that. Don't you want to see
the interaction to the crowd work?
Speaker 2 (19:15):
Well that's okay, that's next level of oh man, we
have somebody to talk about, stand up dude. Oh man.
So okay, so I set up I'm.
Speaker 1 (19:21):
Just I like, it just sounds was so lazy as
a writer. I'm thinking of just crowd work. I'm just
gonna do crowd work.
Speaker 2 (19:27):
You know, it's interesting, it's it might benefit right now
we're in a crowd work renaissance. Uh, you don't burn material,
you post crowd work. And also people love it. It's
it's they do. You're talking like a comedy nerd and
I'm the same way too. It is it's kind of
an easy party trick if you've been doing stand up.
(19:47):
But crowds love it because it feels in the moment,
not rehearsed. This is just for us, This is ethereal.
It's a bespoke comedy, you know, And and it's exciting
because I think when a part of the appeal of
stand up is people are like, oh, that's terrifying. I
could never do that, right, And that's with a guy
with an act, right, So take away the act. This
(20:08):
is like free soloing, you know, like, holy shit, it's
even more exciting. Sure, but if you ask enough questions
to an audience, something that funny is gonna happen. And
with editing. But it's a party trick. But the algorithm
loves it, and the algorithm is people.
Speaker 1 (20:22):
But then you're like Matt Rife, you're that guy.
Speaker 2 (20:24):
You're huge though, but like I'll be Rent Rife. He's like,
but then you're going to be selling out fucking giant
forty thousand seed arenas and being in movies and stuff
you don't want. That isn't he just being chiseled? I don't.
Speaker 1 (20:37):
You don't have to say he's bad. I can say
he's bad. He's not very good. I saw his special.
I saw the thing like me.
Speaker 2 (20:42):
That's a good kid, you know, like I remember him
coming up through the scene, and he's been at it
for a while. I think his crowd work is at
this moment surpasses his written material currently. I think he
shines with his crowd work, and I think that's how
he got really popular. And that's what its fans love
the most about this.
Speaker 1 (21:00):
That's like going to a concert and having like the
guy his patter. I love this. I love the rock
stars patter. Oh my god. Hated the songs, but between
the songs, his patter was so great.
Speaker 2 (21:11):
I would love to be like on a lineup or something,
and all I do is patterns. I never play. I
come out, I have a guitar and everything, and then
I just do patter for like twenty minutes exactly like
all right, that's not time. But the patter was fucking great.
Speaker 1 (21:24):
You haven't a good time tonight. Whoo is that just that?
Speaker 2 (21:26):
Yeah, yeah, yeah, yeah yeah, I have that thought too,
because like I'm friends with the Roots. Yeah, it's just
a little name out there. I do band drops all.
Speaker 1 (21:34):
There's gotta be one guy in the roots three three.
Speaker 2 (21:37):
I like everybody but one guy, and like, you know
who you are, one of the dudes that there is
who you are? I just like, you know. They're all great, okay,
But I was watching their concerts, such a great show.
There's a tuba player and everything. There's just so many
people on stage, and they're all talented musicians. I haven't
asked them this, but it's my guilty pleasure dream. I
would love to be able to do a gig with
them where I have sung lesses and I have a
saxophone and I just never play it for the whole
(21:59):
cong and just see if anybody keys in on it, right,
because everyone else is playing stud But if I'm just
like vibing warming in like two hours, right, cleaning out
the spin value, not even I'm just like vibing, but
there's I never hop on the read.
Speaker 1 (22:11):
I would want to see you clean out, clean out
the saxophone. I'm just doing the whole show all the time.
The whole time.
Speaker 2 (22:19):
I have like a jeweler and I'm looking at the
read and.
Speaker 1 (22:21):
How they're warming up. They put their mouth hunt and
they playing. They're not playing, They're just you know, testing
it out. Just be that guy.
Speaker 2 (22:28):
Yeah, maybe'll float up by questlove.
Speaker 1 (22:30):
So yeah, crowd work seems like that seems like such
a cheat to me. Like the hard part about being
a comic is really great material, and then the sad
part about it is it only lasts until everybody's seen it,
and then you have to come up with new great material.
Speaker 2 (22:46):
Yeah, but I like how bulletproof material is. When you
have a great bit, it feels like money in the
bank or a bullet in the clip or whatever it is.
Speaker 1 (22:55):
It's tangenty, do you Afghan? He's always going to the
we love war.
Speaker 2 (22:59):
We love it, must ask the us man. I know
we don't want to be this good. You guys keep
on popping in. But it's just a tangible thing, you know,
Like I can take these jokes and do them in
different cities and get the same results.
Speaker 1 (23:12):
Right.
Speaker 2 (23:13):
Crowd work is fun. It's in the moment, but it's
not always good. It's not it's not transferable.
Speaker 1 (23:19):
Right.
Speaker 2 (23:20):
And also this thing has happened too where people who
are posting a lot of crowd work. A lot of
young comedians see that as sort of a quick route
because it gets populated. You can grow very quickly on
social with crowd work because there's a bit of a
boom happening. When they do their live shows on the road.
People are just shouting shit out because that's what they think.
Speaker 1 (23:41):
It is the invitation to be the show.
Speaker 2 (23:43):
That's what's been advertised. So you've trained them to kind
of think this is what it is, so why wouldn't
they sure? So you can't do your bit. They're trying
to do their bits. But people are like, my girlfriend
talk about her shirt.
Speaker 1 (23:55):
What's your best crowd stopper, what's your best Heckler's?
Speaker 2 (23:58):
Well, I don't, I don't stop. It depends. I always
can tell their intention and their heart. If they mean well,
I can judo them and have a good time and
something fun will happen. But if they're malicious, that's a
different thing.
Speaker 1 (24:10):
If you are playing with them, does that encourage more
more people to interrupt you?
Speaker 3 (24:15):
Ah?
Speaker 2 (24:15):
No, because there's a way of kind of having fun
in the moment and then slipping back into your material
and then that it's not perceived as an invitation to
keep on like jumping in. You know, it's weird. People
always say what is your influences? Like how did you?
Who inspired you would stand up and stand up? And
didn't come till much later. But I grew up on
The Simpsons, which.
Speaker 1 (24:37):
You know, something to do with it.
Speaker 2 (24:38):
Yes, the Simpsons, SNL and Late Night Conan after Tonight Show, right,
those three things. I'm not who I am without those things,
Like comedically, I grew up with that, and those were
my teachers.
Speaker 1 (24:53):
I get that absolutely what.
Speaker 2 (24:54):
Great teachers, you know what I mean? The Simpsons in
those formative years.
Speaker 1 (24:58):
You know, we're joke machines.
Speaker 2 (24:59):
You have joke high level, you know what I mean.
Like you're indirectly getting this master class of comedy through
this television show. So I'm so grateful that I was
able to grow up with that show.
Speaker 1 (25:12):
I'm glad you did that. We that that was a great, interesting,
crazy thing that the Simpsons created, and we leaned heavily
into what we learned from Mad Magazine and from Louie
Tunes and from a million other things. But but that's
that's before you're tough. Sure, sure, that's before you.
Speaker 2 (25:29):
Whatever you guys gleaned from that. My generation got to
get it from you.
Speaker 1 (25:32):
But we had George Carlin, and we had you know, uh,
Steve Martin and Bob Newhart and Robin Williams and Robert
Klein and all those you know. Michael Keaton was a
funny stand up and and the like there's a million
day Letterman.
Speaker 2 (25:46):
Was great to have this neon in the o R
because in the original room at the Comedy Store, there's
really cool neons all over the wall, like famous comedians,
and Michael Keaton has one.
Speaker 1 (25:56):
He's my dream guest. If he was here right now,
I kick your ass out immediately.
Speaker 5 (26:01):
You're like, I wish Michael kea was Oh what I
wouldn't do a lot of my Afghan questions would not
work with Michael Keaton, though.
Speaker 2 (26:10):
You can't ask this batman.
Speaker 1 (26:15):
He was great. I met I knew him a little bit.
I met him. He was great, but there's many many
years ago, and I was just a kid who just
bugged him. It was one of those kids who you
must have loved it. Though I don't know what would
you say, You're we probably don't have this down. But
what your comedy persona.
Speaker 2 (26:29):
Is I guess just silly, like absurd, smart silly. I
would say that's why I love Conan so much too,
I mean love. I put it past that I love
Conan so much.
Speaker 1 (26:40):
Like that's one of the things that I have to
figure out too, is a comedy persona, Like I don't
know what. People want you to be authentic. They want
you to know that you're a real person there, but
they also kind of want to know your m O,
your style. There's something about that they can latch onto. Say,
if I'm going to go see Jake Cogan, I'm gonna
(27:01):
get this kind of shit.
Speaker 3 (27:02):
This.
Speaker 2 (27:03):
Yeah, that is something I've observed just doing stand up
for a while, Like the proclivity of audiences. We love
like characters. We love conveying a lot of information quickly.
So if someone has a weird voice and has a
weird look, or just have a definitive look, I think
people just like knowing what it is quickly and then
(27:25):
they can laugh. They're still if they're trying to feel
you out for the first minute or two, it's just
more work you have to do as a stand.
Speaker 1 (27:32):
Up, right, So how do you break the ice with
an audience.
Speaker 2 (27:35):
Well, it's tough, you know, Like I think my character
or my persona is like my brain and my material
in my writing. So that's a little it's not as
immediate as like if I'm the guy who wears a
fedora and is like, you're like, all right, I know
this guy, right, I hate that guy. Hey, guys, I
know that guy. Like already you're like, okay, this is interesting.
(27:59):
I can already I can put the box like that, right.
And then if you if you have a character and
a well defined character like that and you have good jokes,
it's just gasoline on a fire. But if you talk
kind of regular, it takes a while for the ideas
to seep into the audience and then them warm over.
Speaker 5 (28:16):
So I should put on a funny hat and a
voice twenty two years of experience and stand up is
get a weird hat and talk weird.
Speaker 1 (28:27):
And maybe maybe driving.
Speaker 2 (28:31):
Right, you're colletwn and they ring the bell.
Speaker 1 (28:35):
If I was like both Bobcat and Emo Filips. But
to combine all the voice of the voice.
Speaker 2 (28:44):
It's interesting because when I was coming up, there was
like the alt scene and stuff and being very genuine
and authentic, and then everyone thought like, oh, can you
believe all the stuff they did in the eighties, everyone
wore weird blazers and just but then it's not an
era thing, it's a human thing, because you are noticing
that with even some comedians of like some of my peers,
(29:06):
they'll like wear the same thing, they will have just
a certain look.
Speaker 1 (29:11):
I did that. I decided brand myself. So originally I
was a very thin, handsome guy.
Speaker 5 (29:16):
I got and I gained one hundred pounds and I
dyed my hair gray.
Speaker 1 (29:21):
Now on this, now, on this, but people knows the
eating us light.
Speaker 2 (29:25):
You're like, I'm preparing for exactly a set, right, preparing
for a role.
Speaker 1 (29:29):
So that's my brand. My brand is sort of out
of shape, fat.
Speaker 4 (29:32):
Old guy, don't be alone with all?
Speaker 1 (29:52):
Right, So should I not knowing anything really about me,
should I pursue this this dream of standard? Is it
worth it? Well, I, at the end of the day say,
I've because stand ups are controlled completely of their own thing.
It's like novel writers are people who write everything they
don't You're just.
Speaker 2 (30:11):
You don't need permission, you know, just kind of liberating,
especially on your side of it. And I've I've tasted
it doing generals and like pitching shows, there are so
many things outside of your control. There's so much work
for maybe mm hmm. That doesn't exist with stand up,
which is why I gravitate towards it, why I love it.
If I think of something, I get to do it,
I get the job. It's on its feet. So what
(30:34):
you're saying, should should I pursue this?
Speaker 1 (30:37):
Or is it? Is it full? Is it? Is there
a glut?
Speaker 2 (30:41):
It depends, though. Here's the thing, what what what do
you want out of it? What is your goal?
Speaker 1 (30:46):
What is Kevin Hart? What I want to be Kevin Hart?
Is that? Okay?
Speaker 2 (30:49):
Then let me shut this down not happening Like this
is how I realize how delusional you are. Like you've
hit it pretty well the whole pod, right, and you go,
I want to be like beyond Kevin Hark, Like, yeah,
you keep writing hit the mics.
Speaker 1 (31:05):
Did you see Celindi on the.
Speaker 2 (31:07):
I almost cried?
Speaker 1 (31:08):
Yeah, I want to be that. That's what I'm hoping
my up comedy. I want to bring people, to bring
people to tears at the top of the Eiffel Tower.
Can I do that? Uh? Maybe I don't know. All right.
I don't know how that was being being politic.
Speaker 2 (31:21):
You don't have being political. I want to be VP
for which one which you think I'll take? I'll go.
You think I have morals? I don't give a ship.
Speaker 1 (31:30):
All right, Well now it's time for uh question time.
Speaker 2 (31:33):
Okay, question.
Speaker 4 (31:41):
Uh?
Speaker 1 (31:41):
They said, who were who were your heroes?
Speaker 2 (31:43):
I thought it was gonna be who are you?
Speaker 1 (31:45):
No, who are you? They've seen the clips, You've inundated
them with. Oh my god, Uh heroes. So not just
comedy hero as I guess, but because I already asked that.
Speaker 2 (31:54):
But okay, Uh, Michael Jackson is a big one, okay,
because he was like the first how.
Speaker 1 (32:02):
He dealt with children? They yeah, right.
Speaker 2 (32:06):
Uh, you know more about the singing and day. Yeah.
I kind of was more honed in on that.
Speaker 1 (32:12):
You know that I knew Michael Jackson.
Speaker 5 (32:14):
No, yeah, for real, honest to god, honest.
Speaker 1 (32:18):
So as you know, we're both in Sino kids. Michael
Jackson lived on Havenhurst, which is the street where Gelson's
is Ventura and Gelson's okay, and and and he used
to live there, so we were about the same age.
She's a little older than me, but I used to
see him all the time at Gelson's and Mike's Pizza
and and there was a little pizza place that we
(32:38):
used to hang on. And at one point, my father,
who was a writer producer, produced the Jackson's summer show
Whoa And so they came over to our house to visit,
and the whole family and my grandmother and Nana Chicky
used to hang out with talk with Tito a lot,
and uh and I used to talk with Michael sometimes,
but more like more more Randy, honestly.
Speaker 2 (32:58):
Than than Michael, more Randy guy.
Speaker 1 (33:01):
Randy and I were closer in age, and Michael was
painfully shy, painfully shy. But but and then when he
came to do The Simpsons, I was there and helped
direct him.
Speaker 2 (33:13):
And it's so crazy that you are a part of
these monumental things in my life. These are just like
anecdotal stories that you have that's is part of my life?
Is this I'm insane.
Speaker 1 (33:22):
I have a thing on Twitter I do, which is
Jacogan Celebrity Roundup where I asked people on Twitter just
to name a celebrity and I'll see if I've somehow
interacted them with them in my life. And it turns out.
I've interacted with a lot of celebrities, shockingly, a shocking number.
If you have to name a person who is alive
from nineteen sixty five until.
Speaker 2 (33:43):
Now, Cisco.
Speaker 1 (33:46):
The Thong song that Cisco. Yeah, he's my brother in law. No,
I'm joking, I have no I have no interactions.
Speaker 2 (33:54):
What do you do?
Speaker 1 (33:56):
What NOSC?
Speaker 2 (33:59):
Come on?
Speaker 1 (34:01):
All right?
Speaker 5 (34:02):
So?
Speaker 2 (34:03):
Oh yeah, Michael Jackson was just performance wise, I guess
because I liked dance before comedy. That was my first
foray into performing. I would I would dance like Michael
Jackson at talent shows and stuff. I loved his music videos.
Speaker 1 (34:17):
He's an artist.
Speaker 2 (34:17):
He's an artist, and he was the biggest. There will
never be anything like that because again, like everything is
so fractured now, but things are so limited. I'll wait
for the Kawasaki an ambulance. Now, Kawasaki is I can't
work like this? Yeah, but no, he was.
Speaker 1 (34:34):
He was amazing.
Speaker 2 (34:35):
He was amazing.
Speaker 1 (34:36):
I mean he was a weird ass.
Speaker 2 (34:37):
Dude, yes, weird, weird, weird, weird dude, but on stage,
nothing like it. Yeah, that level of dancing, that level
of singing, And so I would just rewind the tape.
I would slow motion. I would try to learn how
to dance. So my first talent is dancing, and then
comedy came later. And I think that's maybe why I'm physical,
(34:58):
because I'm like comfortable in my body and I don't
feel silly.
Speaker 1 (35:01):
You and I are exactly the same, exactly. You know,
dance is like my second language.
Speaker 2 (35:08):
You're a vessel. You don't think about what you're doing.
You're doing it.
Speaker 1 (35:12):
Are you a kind of guy who spent time in
the club.
Speaker 2 (35:15):
That's the weird thing is I love music and I
love dancing so much, but it was always this private thing.
I would never go to a night club. I actually
hated nightclub dance. I'm a private dancer. I would just
dance in my room. I would look at my shadow
and dance. I would dance in a mirror.
Speaker 1 (35:30):
I could dance. I hated go to the clubs because
I couldn't speak, and that was my only superpower was
talking and make it. And then but if I could dance,
I could detract girls by dancing.
Speaker 2 (35:41):
I think, I guess, but I've always had this thought
where people have this misconception that, oh, you can dance,
you must pick up so many chicks. But to execute
that are all weird scenarios, right, I go to the
club with my buddy and I just start, Me and
him start dancing. That's weird. That's right in La, in
a weird in La. But you know elsewhere in a
(36:04):
different city, it's kind of like, Okay, me and my
buddy is going hard. That's not super attract right, and
then do I break off and I'm just by myself
dancing really hard? That's attractive alone? Dancing alone is weird.
Speaker 3 (36:13):
I know.
Speaker 1 (36:14):
I think some girls like it.
Speaker 2 (36:15):
Some girls is like Ted Bundy, who can move right?
Speaker 1 (36:19):
All right?
Speaker 2 (36:20):
Maybe so, so those are the only two options, the
only way it works, I think. And this is like
a bank heightst it's too gross to be this premeditated,
but it is to get a girl friend like a pal. Right,
you go together, right, and you dance, and then you
kind of break on, like, oh, that's just my friend.
Speaker 1 (36:38):
What's wrong with that? Seems like a great plan. I guess,
too premeditated.
Speaker 2 (36:43):
I'm in now, I'm hiring a girl to pretend to
be my girlfriend for the first ten minutes before she
breaks off with a booster.
Speaker 1 (36:48):
Rocket dance prostitutes that just come out that Yeah, where
are they Yeah, I don't think they're in the Yeah.
I guess it's like need a dance exactly? Does back
pages exist? Then they shut that thing down? They should.
Speaker 2 (36:59):
I'm a purest. I don't go to Craiglist. I need
to see it on a page. I don't trust it.
If it's a hyperlink paper, I need a number and
a paper cut.
Speaker 1 (37:07):
Your old school. I'm old school, all right, This is
now time for listener mail.
Speaker 3 (37:11):
Now it's time for listener man.
Speaker 1 (37:18):
Dear J and guest, that's you, that's me.
Speaker 2 (37:20):
I'm guessed.
Speaker 1 (37:21):
What are your biggest hopes and darkest fears for the future.
How are you working to make it the best future
you can be? Signed Lannie.
Speaker 2 (37:30):
Biggest hopes, Yeah, and darkest fears.
Speaker 1 (37:33):
That's a big questions.
Speaker 2 (37:36):
Biggest hopes is to keep on ascending as a stand up,
just to maybe become more of a recognizable stand up
and brand. I don't need to be Kevin Hart or anything,
but just to maybe get a special on a streamer
or s people because I'm doing YouTube specials the last
two I've done. Just to kind of be on the
pace of like a like a Hannibal or or or
(38:01):
a Pete Holmes or like a Burr eventually, I mean burs,
so I put them put them up there. But to
be a well known s like a normand or Sam,
some of these guys, my contemporaries, you know that I
would love to kind of get to a place like that.
That's the hopes, right, And I think the darkest fears
is as you live life, looking back and being like,
(38:22):
did I not maximize? Did I not do everything I
could have? When it's too late, you know, so I
try to do it in the moment, but I mean
you've never done as a fear that, like, uh say,
when I'm like sixty or fifty, I'm like, I could
have done this, I could have done more.
Speaker 1 (38:37):
Right, But I mean that's inevitable. You can't do everything.
You'll not be able to live.
Speaker 2 (38:43):
I'm trying my bad everything.
Speaker 1 (38:44):
What you can do is live in this moment and
then be as proactive as you can be and see
where it takes.
Speaker 2 (38:50):
Make as many clips as you can.
Speaker 1 (38:52):
Oh, you got to clip it out. You got a clip, clip, clip,
clip clip, You can make clips from this. We'll send
you this.
Speaker 2 (38:58):
We're going to send you no season to this.
Speaker 1 (39:00):
No, no, We're gonna make we're gonna force you to
make four hundred claps.
Speaker 2 (39:03):
Ah, that's so many, that's a little two seconds long.
Speaker 1 (39:05):
Yes, okay, so that's career. That's your totally career oriented.
Speaker 2 (39:08):
I know what's happened for a long what's going on?
Speaker 1 (39:10):
What about life? What about life? I guess what about
the world? Are you making the world a better place?
I'm not, but I'm asking you you should.
Speaker 2 (39:21):
You're like, not for me personally, not for me for me,
but you I love changing the world on you. No.
Speaker 1 (39:25):
I mean it's great to be directed. I mean, I
think it's great that you have a focus and all
that kind of stuff, But you shouldn't leave. That might
be the regret I see coming down the pike, is
how is my personal life? What's going on in my world?
Speaker 2 (39:37):
I think we have more of a balance now. Yeah,
I'm allowed to have more of a balance. Sure, it
was okay to do what I was doing to kind
of set myself up for where I'm at now.
Speaker 1 (39:46):
But uh, and by balance, I need more road pussy.
That's the main thing.
Speaker 2 (39:50):
At a certain certain cities in the US is so
big and it can get so remote that you just
say I live in La It's like your Brad Pitt.
Yeah you living in a city like golly, he lives
in l A. And you've done nothing. You've just said
a city.
Speaker 1 (40:06):
I want to do a stand up set in saguine,
Texas where they have never seen the stand up comedians
like and be the King.
Speaker 2 (40:12):
Oh my god, I just picture people in Cowboy has
and just like looking at looking at you like that.
That's all they.
Speaker 1 (40:19):
And I want the nod. I want that You're not
gonna get. No, just the look going a spit from
the chewing tobacco.
Speaker 2 (40:27):
Yeah maybe they got a Zen. Yeah, maybe those are
in now.
Speaker 1 (40:29):
I didn't know that.
Speaker 2 (40:30):
Zin's Yeah yeah, their little pouches.
Speaker 1 (40:32):
Okay, Okay, still get cancer.
Speaker 2 (40:34):
Though, right, I believe. So that's that's the Zen promise.
The same great tobacco, the same great cancer, less of
the mess, Zin, that's.
Speaker 1 (40:44):
A little improvement.
Speaker 2 (40:46):
Same hole in your job, same rush, same robo box. Zin,
step into a zin.
Speaker 1 (41:00):
Ah fantastic. Oh okay, so we have the moment of joy.
Speaker 2 (41:07):
I've already had it. This has been fantastic.
Speaker 3 (41:09):
A moment of joy.
Speaker 2 (41:15):
It's very simple and very basic. There's really nothing I
love more than going to a diner and sitting in
a booth having breakfast and coffee and just chilling in
that booth and listening to Spotify and reading the news
on the internet, and just I treat it like a
we work. There's nothing I love more than melting in
(41:36):
a booth at a diner, unlimited refels of coffee and
just letting my mind kind of zip around, get caught
up on the day, start my day that way.
Speaker 1 (41:45):
How long do you allow yourself to sit.
Speaker 2 (41:47):
There to the point where I'm nervous, Like I feel
I can feel this energy of like this guy's been
here for a while. But I'll tip handsomely if I've
been there, I'll tip like rent prices. Okay, if I've
been there for like four hours or something.
Speaker 1 (42:00):
You talk to the waitress and say, I know I'm
taking your table, but I'll I.
Speaker 2 (42:03):
Won't verbally say I know, I know, sorry, But maybe
it's just in my head that I feel like I've
been there a long time.
Speaker 1 (42:10):
Keep ordering the most expensive, like.
Speaker 2 (42:14):
Right, love this guy, yes.
Speaker 1 (42:17):
So that they get something that's good, that's a that's
a lovely thing, that that's on a on a Sunday
or a Monday.
Speaker 2 (42:23):
Or any damn free you know it's not every day
because that feels gluttonous, but maybe like three times a week.
I just have my AirPods in and I just love
scouring Spotify for new music. I love that too. I
just get served up these songs. The algorithm is pretty
good with Spotify, So every Monday and Friday, they just
kind of know your tastes and then I sift through
(42:44):
this playlist that's curated for you.
Speaker 1 (42:46):
New music Friday. I know what's Monday.
Speaker 2 (42:49):
Yeah, Monday is Discover Weekly. Okay, alright, so add that
to your look and then I'll cherry pick songs from
those playlists and add it to my playlist.
Speaker 1 (42:56):
What's like, what kind of music are you listening to?
Speaker 2 (42:59):
It's like Nancy, I like Dancy and up upbeat, like
indie dance, and like new disco and house like CHROMEO.
It could be an entry point to kind of like
the genre that I like.
Speaker 1 (43:12):
It's not going to be an entry point for me.
I don't know CHROMEO. No, No, that's great.
Speaker 2 (43:17):
Check out CHROMEA CHROMEO.
Speaker 1 (43:18):
Okay, I gotta go. I'll check it out.
Speaker 2 (43:20):
Please.
Speaker 1 (43:21):
After we do this, throw on some CHROMEA alright, and
then dance alone in my room.
Speaker 2 (43:24):
Alone in your room and send me a video. I'll
give you a samp.
Speaker 1 (43:28):
All right, all right, I would like to uh, I
will check out Chromeo. Yeah. I listened to a lot
of music. I don't generally speaking, it lays more in
sort of pop pop music.
Speaker 2 (43:39):
And we're in a pop renaissance. I had this idea
that this thought the other day that like, when it
comes to pop female divas, we are in a gold rush,
and I think we're too close to it to recognize
that the arrow we're in. We have Ariana Grande, we
have Sabrina Carpenter, Taylor Swift, you can throw her in there.
Charlie XCX is what it is. The Gaga Gaga, come on,
(44:01):
Legacy Gaga's there. Yeah, it's really exciting time and it's good.
Speaker 1 (44:08):
Beyonce fantastic.
Speaker 2 (44:10):
I'm not some elitist guide. This is like revolutionary pop
or no.
Speaker 1 (44:13):
No, I think it's a good time to be. It's well,
it's a shitty time to be in the music industry,
but it's a good time to be.
Speaker 2 (44:20):
If you're a giant star. Fantastic.
Speaker 1 (44:23):
It's the same things as in comedy or anything else.
If you're a giant star, it's fantastic.
Speaker 2 (44:27):
Yeah, you're immune to everything, and if.
Speaker 1 (44:29):
You're not, you're sort of carving out your life and
figuring out how to make it work. Yeah, thank you
for being here.
Speaker 2 (44:34):
Thank you.
Speaker 1 (44:34):
This was the greatest uh Monday I could ever possibly
same here.
Speaker 2 (44:39):
I'm glad. It's a quick turnaround time. We got to
do it.
Speaker 1 (44:41):
And because I had given If I had time to
think about it, I would have said.
Speaker 5 (44:44):
No, oh, what did I do?
Speaker 1 (44:48):
This terrible mistake. But now I'm totally like.
Speaker 2 (44:50):
He's already on his way. He came all day from Tarzana.
Speaker 1 (44:53):
Fahim and Noir. You're awesome and I'm so I'm so
glad that I got to see you at Largo, and
so I added you to the retinue of great comedians
that I love. Uh So, it's it's basically.
Speaker 2 (45:04):
I love your work and everything you've been a part of.
Speaker 1 (45:06):
So you and the dice Man, that's it. That's the
only thing I care care about. No, not the Diceman,
but uh this is this is fantastic, And thank you
for being here, and thank you the audience. Thank you
for being here, Thanks for being it. Don't be alone
with Jakoga. Please write me at dB a w j
k at gmail dot com. If you have any questions
for me or for my guests, you know I can.
I can forward stuff to this guy.
Speaker 3 (45:28):
Yeah.
Speaker 1 (45:28):
And uh. And you don't be alone. Spend some time
with somebody in person. Spend have a conversation, get to
know someone. It's fun to meet new friends. It's great. Anyway,
We'll see you next time. Bye.
Speaker 3 (45:38):
Don't be alone with j
Straw Hut Media.
Speaker 2 (00:04):
Hey, guys, Fahiman or here and I'm on Don't be
Alone with j Cogan. This is actually the first time
we've ever met in person, So will sparks lie don't.
Speaker 3 (00:13):
Be Alone with j J Cogan.
Speaker 1 (00:20):
Hi there, welcome to Don't Be Alone with Jake Cogan.
I'm your cordial host, Jake Cogan. I'm very happy that
you're here. It's going to be a great show this week.
We have a very funny comedian named Fahim a War
and he is something I just came upon very recently
at Comedy Club Largo here in LA and he's on
(00:40):
with some great people and he was the standout of
the night for me and my son and we were
just laughing hysterically at him and couldn't wait to see him.
And I got a chance actually to see some of
his work online because he has two amazing specials. One
is called Hat Trick and the other one is called
House Money. You should see both of them. I saw
Hat Trick the other day, is fantastic. Got to see
(01:03):
House Money tonight. It's going to be great. You're going
to really enjoy it, and we're going to talk about
comedy and what it means to be a comedian, and
how hard it is to be a comedian, and how
interesting it is to be a comedian. I wanted to
say that. Recently, a friend and a hero of mine,
Bob Newhart, just passed, And Bob Newhart was incredibly a
(01:23):
wonderful comedian, obviously one of the great comedians of all time.
But the thing that made him special was that he
was also just a really good person. I was an
actor on his show when I was ten years old,
on The Bob Newhart Show, and I got to see
that you didn't have to be a diva asshole to
be a star of a show. You could just do
your work, be super nice, make a genial atmosphere. And
(01:44):
that taught me so much about show business that I've
kept with me my entire life. And him, Bob and
his wife ginny A were two wonderful, wonderful people, and
I owe them a lot in my life. So I'm
sad they're gone, but I'm happy that they we're here,
and I'm certainly happy that the comedy that Bob made is
still here for us to watch. And that's gonna be great,
(02:06):
and we're gonna talk about comedy with Fahim and Ar
right after this, stay tuned, don't be alone. Thank you
for being here. This is the quickest a guest has
ever been solicited and then placed on the show ever
(02:28):
in the history. I think I called you yesterday or
the day before, saying hey, would you ever consider doing
the show, and then a few hours later said hey,
can you do the show?
Speaker 2 (02:36):
It went from what you considered I need to hear tomorrow.
Speaker 1 (02:39):
Right, So I'm sorry about that being pushy.
Speaker 2 (02:42):
Come on filling a day.
Speaker 1 (02:43):
I love it. Now you come to us by way
of Andy Gordon. Yes, Now, how do you know Andy Gordon?
Speaker 2 (02:49):
So we I was writing on a show with him.
I met him in the writer's room for United States
of Al. Was on CBS for a little bit. Okay,
but yeah, love it. And and then you know, he's
been writing for so many shows that I love. Growing up,
I had no idea he's been in the game forever. Right,
He's just shoot me news radio, which I love.
Speaker 1 (03:09):
Yeah, he's the oldest human being on the face of
the earth. I think that's what we're both saying.
Speaker 2 (03:14):
Well, that's what I learned, because like not about the
oldest person, like just writers having steady work. Yeah, because
I've always auditioned for stuff I do stand up. It's
always been like front of camera type thing, performer. And
then there's just all these funny writers in a room
and they've just been working forever. Yes, So it's a
steady ship and even money, right, And I'm like, oh,
this is kind of where it's at. This is like
(03:34):
a best kept secret.
Speaker 1 (03:35):
The good news is that ended. So about two years ago.
That end.
Speaker 2 (03:39):
So I can't I can't get in.
Speaker 1 (03:40):
No, No, it's the business is reconfiguring itself, right, and
so writing rooms have gotten smaller, staff's get smaller, less episodes.
Speaker 2 (03:50):
So yeah, it's the streamer. We're doing two episodes, Yeah,
that's gonna be.
Speaker 1 (03:54):
It's we're doing piloting the same time they're filming the
same time.
Speaker 2 (03:58):
Can you write twelve minutes of pre content?
Speaker 1 (04:01):
What we need really is more tweets, if you can
just tweet about the show and not be on it.
Whatever happened to that show?
Speaker 3 (04:07):
Did?
Speaker 1 (04:07):
Why did it die so bad?
Speaker 2 (04:09):
It was like two seasons? That's not bad?
Speaker 1 (04:11):
Oh that's terrible.
Speaker 2 (04:12):
Really, I don't know, I know, cho show, what kind
of Chuck cloy show got?
Speaker 1 (04:16):
Only gets two seasons.
Speaker 2 (04:17):
That's a good point.
Speaker 1 (04:17):
You must have really sucked it up.
Speaker 2 (04:19):
Yeah, it was my fault. Okay, now take the blame.
Speaker 1 (04:22):
United State's vale. It's aw I don't know.
Speaker 2 (04:24):
America wasn't ready for an Afghan interpreter living with a
family in the Midwest. Okay, we were ahead of its time.
Speaker 1 (04:32):
Your family background is Afghan I go.
Speaker 2 (04:35):
This is over this interview. So you told me you
were going to bring up my ethnic background. How dare you?
I'm Cambodia on stage.
Speaker 1 (04:42):
You grew up in Washington though.
Speaker 2 (04:43):
Yes, Seattle. So I grew up in Seattle. Parents born
in Afghanistan. Yeah, my brother born here.
Speaker 1 (04:48):
Is the Afghanian culture in the home?
Speaker 2 (04:51):
Did you grow up with a little bit Yeah, yeah,
but like very American upbringing. But then you know Afghan
food and culturally I know some Afghani.
Speaker 1 (04:59):
Than treat that I should be eating that I don't treat.
Speaker 2 (05:02):
I don't know about, Like can.
Speaker 1 (05:04):
Jewish food, Like I grew up with Ukrainian. You know
my ancestors Ukrainian. There is no Ukrainian treat. There is
dirt like it's really is just like a pile of
dirt is dirt. This is like dirt dirt and like
the big Christmas time you get it beat. That's the treat.
So there's nothing great.
Speaker 2 (05:22):
Well, there's a dish I like, it's called sherwah. That's
like my favorite Afghan dish. I guess it's sort of
like a stew. It's really not even that elevated. It's
kind of like peasant food. I suppose you. Yeah, so
you like tear up pewa bread and then it's this
broth and then there's meat and then like beef and
the potato and beat carbonzo beans. This is really warm and.
Speaker 1 (05:44):
Irish dish that is like basically the same thing as
Irish stew.
Speaker 2 (05:48):
I would love that.
Speaker 1 (05:49):
Then I saw your act. I didn't see your act.
I did. I consequently saw your act on the on
the YouTube's of the YouTube, but I also saw you
in person at Largo. Yeah you're really really really funny.
Speaker 2 (06:02):
That's so nice, you know. Yeah. Yeah, Well, that's the
weird thing about stand up is you just gigging around town.
You know, sometime I bounce to the comedy store, I'm
at Largo and there's a show to do, and then
you don't know who's in the crowd because I've seen
your pod. I actually enjoy it, you know.
Speaker 3 (06:16):
Yeah.
Speaker 2 (06:16):
Yeah, So it was kind of really cool that there's
a connective thread of Andy. He's like, hey, my buddy
Jay saw you at the show. I'm like, oh he
was at that.
Speaker 4 (06:23):
Yeah. No.
Speaker 1 (06:24):
I I fancy myself since I was eight years old
as somebody who is a connoisseur of comedians, that's all.
I've been going to the Comedy Store and the improhps
since I was ten. Wow, I've been going seeing people,
and you know, over the course of time, I've lost
track of some people and I don't see as many
(06:44):
people as they used to do. So when they see
a great comedian, I go, I'm fantastic. That's great.
Speaker 2 (06:48):
Also, Largo is an interesting because I'm new to it.
It was always I've been doing stand up a long time,
like twenty two years, you know, and it's just been
this cool kid venue. It's hard to get into, you know,
on the you have an in special clubs, and I
was just been like a club rat doing the Store
and like the Improv and the Factory, and I just
never had an end to Largo. But it's always this
(07:08):
like story plays, like, oh I love to play it
some day.
Speaker 1 (07:10):
And the audiences is cool.
Speaker 2 (07:12):
It's the cooler.
Speaker 1 (07:14):
They're receptive.
Speaker 2 (07:14):
They're receptive.
Speaker 1 (07:15):
You can you can, you can offer them morsels and
they'll they'll eat them, as opposed to you know, people
in clubs having drinks.
Speaker 2 (07:23):
Wait, it's very warm. The beats are a little different
at at Largo as opposed to like the comedy Store.
Speaker 1 (07:30):
This show, as you know, because you're a great fan
of the show, is about me talking to really interesting
people about my problems. So my problem is that I
fancy myself. I started out as being a stand up comic.
Speaker 2 (07:41):
A lot of writers that's their path.
Speaker 1 (07:43):
Huh, they end up trying it again. And my, my, my,
my friend Larry Wilmore said you got to, you got to,
and uh, you didn't say.
Speaker 2 (07:51):
It like that, like but for brevity, that's the way
he said, you said you got to. I'm paraphrasing, but
you got to.
Speaker 1 (07:58):
I realized when I said you got to. And it's
where he's black at It almost sounds like I'm doing
an invitation of black Man. I'm not. It was supposed
to be authentic, enthusiastic.
Speaker 2 (08:07):
Yes, he said specifically, Hey Jay, you got to.
Speaker 1 (08:12):
No, he didn't say that, Hey you ja.
Speaker 2 (08:15):
You know you got to get into stand exactly.
Speaker 1 (08:18):
Yeah, but uh, I go back and I have I
have on my phone the little.
Speaker 2 (08:23):
Yeah jokes away.
Speaker 1 (08:24):
You're always thinking of anything of jokes that could be
jokes in areas that could be areas, and all that
kind of stuff. So but then I was saying, like,
I don't know the territory anymore. I don't know what
it is.
Speaker 2 (08:33):
It's tough when you've been out of it for a
while because there's a progression within stand up in the scene.
Speaker 1 (08:38):
I stopped doing it at sixteen, so I've been out
of it for a while.
Speaker 2 (08:41):
You go to the same open mic. Yeah, Oh, it's
not a pizza place anymore. It's a furniture store, right,
Do they still do a mic at the furniture store.
Speaker 1 (08:47):
I would. I've done stand up in a deli.
Speaker 2 (08:50):
I've done stand up everywhere. Yeah, especially being in LA
for a long time. I'll just be driving around town
and it'll be like a dog washing place. I'll be like, oh,
I did this when this is an ice in parlor. Oh,
this tower records. I used to blah blah blah.
Speaker 1 (09:03):
And you started I read your bio. You started out
as a as an engineer, Yeah, and for Boeing.
Speaker 2 (09:09):
For Boeing when things we needed to you needed to
stay they. I mean, I like the joke that the
reason the planes are falling under the sky and all
that is because I went to pursue comedy and I go, look,
this is my dream. So you can't make normal without
cracking some eggs.
Speaker 1 (09:26):
Decided to save lives with your commedy.
Speaker 2 (09:28):
My comment, but let other people die with your planes.
Speaker 1 (09:31):
Engineer.
Speaker 2 (09:31):
Yeah, yeah, No, I mean the romantic version, because people
here that I worked at Boeing and then do stand up.
Speaker 1 (09:38):
By the way, working at Boeing does not sound all
that romantic, but okay.
Speaker 2 (09:41):
Well no, no, no, that doesn't sound romantic, But the pivot
into stand up sounds romantic because I think a lot
of people work a job they don't enjoy, and then
to see someone like doing the arts after something as
day jobby as that is romantic. But that's not the
way it actually happened. It wasn't like I was working
at Boeing and I snapped my pencil and I'm like
(10:01):
fuck this, I'm a star baby, and I just drove
and I just drive to the comedy door and I
just take the mic from whoever's on stage, and I'm like,
you guys, ever noticed this? And then it was that's
not it.
Speaker 1 (10:11):
Wouldn't be great to go back and then snap the
pencil and say, fuck this, I'm a star baby.
Speaker 2 (10:15):
I mean that's actually getting my job back.
Speaker 1 (10:17):
Yes, just to.
Speaker 2 (10:18):
Do it about the fantasy, Yeah, that'd be pretty'd be
pretty fun. But I mean it was just really a
premeditated version of doing stand up. So, like I knew
I wanted to do it very young. I think I
graduated high school and I knew I wanted to do it.
So that summer I started going to the comedy clubs
in downtown Seattle. And then I had to go to
college because my parents were going to pay for it, right,
and and I could only do certain degrees that they
(10:40):
would pay for because I wanted to do theater. And
my dad's very old school, and he's like, what does
he do? He's an engineer at all?
Speaker 1 (10:46):
Right? Yeah, and what's your mom?
Speaker 2 (10:48):
She's a nit nouvous kidding she was a nurse for
a long time and then now she does hair. Okay, yeah,
all right.
Speaker 1 (10:53):
So he had a firm idea that an engineer at
Bowie or just there was.
Speaker 2 (10:58):
He wanted me to be a doctor, the whole trope
and everything like doctor lawyer, right, engineer was the lowest
that I could do and have them still pay for college.
Speaker 1 (11:06):
Right.
Speaker 2 (11:07):
So I'm like, I guess I'll do that, and I'll
just do stand up while I do mechanical engineering at
you dub right, So it was all. And then I
knew that once I got a degree, I would just
apply to jobs to get as close to Hollywood as
I could. And then finally I graduated, and I applied
to a bunch of jobs, and then I got a
job at Boeing, and then I would drive up and
do stand up at night. So I would work by
(11:28):
day in my cubicle, punch out and then drive up
forty five minutes to the comedy store.
Speaker 1 (11:34):
You should work by day. You were writing bits at
your desk at Boeing. Come on, let's be honest, Like.
Speaker 2 (11:38):
I didn't work on a plane at all four years.
We've got some stuff done, got a plane material. Like
you notice these rivets they don't hold the stress that
they show.
Speaker 1 (11:47):
So how disappointed is your father that your comedy?
Speaker 2 (11:52):
Pretty disappointed? But he's coming around. I mean, I think
my family kind of.
Speaker 1 (11:57):
But your mother's very supportive, but your father's.
Speaker 2 (12:00):
They all turned at different times. My brother has always
been on board. He's loved it from the jump, and
then my mom was. And it's from a place of
love because they just don't want their kids to eat
out of a dumb shore, you know, so I understand it.
Speaker 1 (12:12):
My dad told me not to be a writer. Really,
and he's a writer.
Speaker 2 (12:15):
Huh yeah, okay, yeah.
Speaker 1 (12:18):
Maybe because I'm terrible writer. I don't know.
Speaker 2 (12:20):
He's like, I've seen your stuff.
Speaker 1 (12:21):
Yeah exactly. He did a script and they said, I
want to be a writer, said, you know, he.
Speaker 2 (12:27):
Gives you the same scrutiny a for you like a
show runner with today It's like, okay, it's wonky an act.
Speaker 1 (12:32):
Too, right, I got it. He didn't like it.
Speaker 2 (12:34):
Your characters aren't fleshed out. So my mom, she came
around when I took her to a premiere. I was
in this Tina fe movie, a little bit like Whiskey
Tango Foxtrot. I have a small role in that, right,
So I got to go to the premiere in New
York and I brought my mom and then it became
very real to my mom, which is on the red
carpet and she's meeting Tina Fey and Margot Robbie and
(12:56):
and then and she's staying at a nice hotel. So
that experience that turned her because it became tangible, it
became real. It wasn't this the sky pie in the sky.
Things don't happen, sure. And then my dad he can't
be enchanted by that stuff. He just understands money, right, things, security, stability.
(13:17):
So he actually didn't come around until I got that
CBS writing job, okay, because that had shades of like legitimate,
sure work people. I would drive to a place, right,
you know, I drive to a place. I have a
parking spot, there's a break room, I sit in a
computer chair, I have an office.
Speaker 1 (13:34):
There's a product at the end.
Speaker 2 (13:35):
There's a product at the end, Like you go into
a building for eight to ten hours and you leave.
And my dad can he can wrap his head around that.
Going to chuckle huts and flying to you know, Indianapolis
or whatever like that.
Speaker 1 (13:49):
That's I would say, Margot Robbie's pretty impressive. If you
can introduce your dad to Margot Robbie.
Speaker 2 (13:53):
Yeah, it's I don't know if he even knows my
dad tunes into certain he's like, I love Lady Gaga.
I wouldn't her peged my dad for being a huge
like monster is that he was.
Speaker 1 (14:03):
Born this way he was born. That's just how he is.
He loves it.
Speaker 2 (14:07):
Sometimes your parents surprised you. Like my mom, I remember
growing up as a kid, she loved Martin. We would
watch that show. I was a little kid, and my
mom she just loved Martin Martin Lawrence Assistant Love.
Speaker 1 (14:18):
She just loved him because she recognized early his psychosis
and wanted to watch him slowly and surely falls apart
in front of your guys.
Speaker 2 (14:25):
Yeah, I understand that show, Yes, but I wouldn't think
my mom, my Afghan mom would like resonate so much
with Martin Lawrence. Yeah, yeah, or my dad, Lady Gaga.
Speaker 3 (14:46):
Don't be alone with.
Speaker 1 (14:53):
What's going on now in stand up that is great.
This is a bit of a renaissance. Yeah, and going
on a stand up and what's really shitty?
Speaker 2 (15:04):
What's great? And what's shitty? H Okay, what I what
I think is great can be deemed as shitty to
some comedian, right because there's been a huge shift. Back
in the day, there was a blueprint for ascending and
stand up comedy. You just did your act. You didn't
even need to write that much. You kind of had
a great act. And if it was on commed if
(15:25):
it was presented the right way, you were on. You
were on your way. You know, you had a half hour,
you had an hour, you put it on Comedy Central.
Speaker 1 (15:30):
You're on and on your way means you'll get booked
for other things, kind of your own sitcom.
Speaker 2 (15:35):
Just attention was kind of focused on these specific platforms.
You only had Comedy Central, you had Netflix. It's pretty
much it so and then there was a lot of
eyeballs on it. And then once that kind of hit
you were just on track to keep on ascending as
a stand up Everything is so fractured now, attention is
like no one really watches straight up Comedy Central. Nobody
(15:56):
really wants. Like even Netflix is getting a little diluted
with their specials. If you got in early, it was
great for your career, like an Eliza or a Thompson
Gurra or people who got on the ground floor. So
now everything is just so fractured in the stand up
comedy space, and we're kind of in a clip economy now,
so it's counterintuitive where you're tiktoking, less is more, so
(16:19):
you're you're reaching people thirty seconds at a time, a
minute at a time. Clips. Clips are the name of
the game. So unless you are logging a bunch of
set and your sets and you're throwing captions on your
stuff and putting it on TikTok, putting it on instant
ig reels or YouTube shorts, that's the If you're not
doing that, it's kind of like you don't have a
(16:40):
special or you don't that's how you're reaching people.
Speaker 1 (16:42):
Nowadays, that branding then shows up in terms of people
seeing you at a show.
Speaker 2 (16:49):
Well, that moves tickets now especially if you aren't the
person Netflix picks or the or HBO. It's twofold, Like.
Speaker 1 (16:59):
If you aren't the.
Speaker 2 (17:00):
Person they're picking, then you need to reach people. Well,
it also means less too, you know what I mean.
So not everybody gets picked. And then also if you
do get picked, it doesn't have the impact that it
once did maybe five years ago.
Speaker 1 (17:13):
Being picked saying by a network by.
Speaker 2 (17:16):
One of the guys that they that the guys are
girls they want on the platform and give a special
two and like give the Billboard treatment and kind of
push the special.
Speaker 1 (17:24):
People, the Jewish media runners.
Speaker 2 (17:25):
You know, you said I was being pretty good about.
Speaker 1 (17:30):
Super clear.
Speaker 2 (17:31):
No whoever is in charge the.
Speaker 1 (17:33):
Jewish media runner. So I get it.
Speaker 5 (17:35):
You're trying to get into You're saying, fine, it's fine.
Speaker 2 (17:40):
It's just hard to get picked number one. And then
also if you do get picked, it it means less
than it did years ago, okay, because it was the
only place to be seen. So there's been this shift
to just embrace digital direct to consumer with clips and
stuff and and YouTube specials, and so you you just
have to you have to produce more of your own content.
(18:02):
Whereas before you would just show up till place and
they would take the lens caps off and then you're
leaving at a coffee. So much was done for you.
Now you kind of you have to wear a lot
of hats as a stand up if you want to
break through. If you have a guy, I have a
lot of hats, yeah, somebody. Well, the thing is, it's
pretty easy to do on your own. Even I do
(18:22):
it on my own a lot too. When I go
on tour, I just have a camera that I that
I take with me. I put it on sticks in
the back I tap into the soundboard to get my audience.
I know there's a lot of laymen who watch are
familiar with Hollywood, like they've never written on a CBS show,
like me or you.
Speaker 1 (18:42):
I believe I used to have a bipod and that.
Speaker 2 (18:46):
About a monopol my first mistake. I had a monopod
and then I just left it and it tipped over terrible.
It needed more legs more. Some people go with a
quad pod. I think not, but I think it's extra.
You don't need that extra leg You're an engineer. No,
this is cree bowing. So I didn't know these things.
Speaker 1 (19:05):
So so you record yourself myself in the frame? How
do you know?
Speaker 2 (19:09):
You set it up wide, you know, and you say, you, uh.
Speaker 1 (19:12):
Don't want to see that. Don't you want to see
the interaction to the crowd work?
Speaker 2 (19:15):
Well that's okay, that's next level of oh man, we
have somebody to talk about, stand up dude. Oh man.
So okay, so I set up I'm.
Speaker 1 (19:21):
Just I like, it just sounds was so lazy as
a writer. I'm thinking of just crowd work. I'm just
gonna do crowd work.
Speaker 2 (19:27):
You know, it's interesting, it's it might benefit right now
we're in a crowd work renaissance. Uh, you don't burn material,
you post crowd work. And also people love it. It's
it's they do. You're talking like a comedy nerd and
I'm the same way too. It is it's kind of
an easy party trick if you've been doing stand up.
(19:47):
But crowds love it because it feels in the moment,
not rehearsed. This is just for us, This is ethereal.
It's a bespoke comedy, you know, And and it's exciting
because I think when a part of the appeal of
stand up is people are like, oh, that's terrifying. I
could never do that, right, And that's with a guy
with an act, right, So take away the act. This
(20:08):
is like free soloing, you know, like, holy shit, it's
even more exciting. Sure, but if you ask enough questions
to an audience, something that funny is gonna happen. And
with editing. But it's a party trick. But the algorithm
loves it, and the algorithm is people.
Speaker 1 (20:22):
But then you're like Matt Rife, you're that guy.
Speaker 2 (20:24):
You're huge though, but like I'll be Rent Rife. He's like,
but then you're going to be selling out fucking giant
forty thousand seed arenas and being in movies and stuff
you don't want. That isn't he just being chiseled? I don't.
Speaker 1 (20:37):
You don't have to say he's bad. I can say
he's bad. He's not very good. I saw his special.
I saw the thing like me.
Speaker 2 (20:42):
That's a good kid, you know, like I remember him
coming up through the scene, and he's been at it
for a while. I think his crowd work is at
this moment surpasses his written material currently. I think he
shines with his crowd work, and I think that's how
he got really popular. And that's what its fans love
the most about this.
Speaker 1 (21:00):
That's like going to a concert and having like the
guy his patter. I love this. I love the rock
stars patter. Oh my god. Hated the songs, but between
the songs, his patter was so great.
Speaker 2 (21:11):
I would love to be like on a lineup or something,
and all I do is patterns. I never play. I
come out, I have a guitar and everything, and then
I just do patter for like twenty minutes exactly like
all right, that's not time. But the patter was fucking great.
Speaker 1 (21:24):
You haven't a good time tonight. Whoo is that just that?
Speaker 2 (21:26):
Yeah, yeah, yeah, yeah yeah, I have that thought too,
because like I'm friends with the Roots. Yeah, it's just
a little name out there. I do band drops all.
Speaker 1 (21:34):
There's gotta be one guy in the roots three three.
Speaker 2 (21:37):
I like everybody but one guy, and like, you know
who you are, one of the dudes that there is
who you are? I just like, you know. They're all great, okay,
But I was watching their concerts, such a great show.
There's a tuba player and everything. There's just so many
people on stage, and they're all talented musicians. I haven't
asked them this, but it's my guilty pleasure dream. I
would love to be able to do a gig with
them where I have sung lesses and I have a
saxophone and I just never play it for the whole
(21:59):
cong and just see if anybody keys in on it, right,
because everyone else is playing stud But if I'm just
like vibing warming in like two hours, right, cleaning out
the spin value, not even I'm just like vibing, but
there's I never hop on the read.
Speaker 1 (22:11):
I would want to see you clean out, clean out
the saxophone. I'm just doing the whole show all the time.
The whole time.
Speaker 2 (22:19):
I have like a jeweler and I'm looking at the
read and.
Speaker 1 (22:21):
How they're warming up. They put their mouth hunt and
they playing. They're not playing, They're just you know, testing
it out. Just be that guy.
Speaker 2 (22:28):
Yeah, maybe'll float up by questlove.
Speaker 1 (22:30):
So yeah, crowd work seems like that seems like such
a cheat to me. Like the hard part about being
a comic is really great material, and then the sad
part about it is it only lasts until everybody's seen it,
and then you have to come up with new great material.
Speaker 2 (22:46):
Yeah, but I like how bulletproof material is. When you
have a great bit, it feels like money in the
bank or a bullet in the clip or whatever it is.
Speaker 1 (22:55):
It's tangenty, do you Afghan? He's always going to the
we love war.
Speaker 2 (22:59):
We love it, must ask the us man. I know
we don't want to be this good. You guys keep
on popping in. But it's just a tangible thing, you know,
Like I can take these jokes and do them in
different cities and get the same results.
Speaker 1 (23:12):
Right.
Speaker 2 (23:13):
Crowd work is fun. It's in the moment, but it's
not always good. It's not it's not transferable.
Speaker 1 (23:19):
Right.
Speaker 2 (23:20):
And also this thing has happened too where people who
are posting a lot of crowd work. A lot of
young comedians see that as sort of a quick route
because it gets populated. You can grow very quickly on
social with crowd work because there's a bit of a
boom happening. When they do their live shows on the road.
People are just shouting shit out because that's what they think.
Speaker 1 (23:41):
It is the invitation to be the show.
Speaker 2 (23:43):
That's what's been advertised. So you've trained them to kind
of think this is what it is, so why wouldn't
they sure? So you can't do your bit. They're trying
to do their bits. But people are like, my girlfriend
talk about her shirt.
Speaker 1 (23:55):
What's your best crowd stopper, what's your best Heckler's?
Speaker 2 (23:58):
Well, I don't, I don't stop. It depends. I always
can tell their intention and their heart. If they mean well,
I can judo them and have a good time and
something fun will happen. But if they're malicious, that's a
different thing.
Speaker 1 (24:10):
If you are playing with them, does that encourage more
more people to interrupt you?
Speaker 3 (24:15):
Ah?
Speaker 2 (24:15):
No, because there's a way of kind of having fun
in the moment and then slipping back into your material
and then that it's not perceived as an invitation to
keep on like jumping in. You know, it's weird. People
always say what is your influences? Like how did you?
Who inspired you would stand up and stand up? And
didn't come till much later. But I grew up on
The Simpsons, which.
Speaker 1 (24:37):
You know, something to do with it.
Speaker 2 (24:38):
Yes, the Simpsons, SNL and Late Night Conan after Tonight Show, right,
those three things. I'm not who I am without those things,
Like comedically, I grew up with that, and those were
my teachers.
Speaker 1 (24:53):
I get that absolutely what.
Speaker 2 (24:54):
Great teachers, you know what I mean? The Simpsons in
those formative years.
Speaker 1 (24:58):
You know, we're joke machines.
Speaker 2 (24:59):
You have joke high level, you know what I mean.
Like you're indirectly getting this master class of comedy through
this television show. So I'm so grateful that I was
able to grow up with that show.
Speaker 1 (25:12):
I'm glad you did that. We that that was a great, interesting,
crazy thing that the Simpsons created, and we leaned heavily
into what we learned from Mad Magazine and from Louie
Tunes and from a million other things. But but that's
that's before you're tough. Sure, sure, that's before you.
Speaker 2 (25:29):
Whatever you guys gleaned from that. My generation got to
get it from you.
Speaker 1 (25:32):
But we had George Carlin, and we had you know, uh,
Steve Martin and Bob Newhart and Robin Williams and Robert
Klein and all those you know. Michael Keaton was a
funny stand up and and the like there's a million
day Letterman.
Speaker 2 (25:46):
Was great to have this neon in the o R
because in the original room at the Comedy Store, there's
really cool neons all over the wall, like famous comedians,
and Michael Keaton has one.
Speaker 1 (25:56):
He's my dream guest. If he was here right now,
I kick your ass out immediately.
Speaker 5 (26:01):
You're like, I wish Michael kea was Oh what I
wouldn't do a lot of my Afghan questions would not
work with Michael Keaton, though.
Speaker 2 (26:10):
You can't ask this batman.
Speaker 1 (26:15):
He was great. I met I knew him a little bit.
I met him. He was great, but there's many many
years ago, and I was just a kid who just
bugged him. It was one of those kids who you
must have loved it. Though I don't know what would
you say, You're we probably don't have this down. But
what your comedy persona.
Speaker 2 (26:29):
Is I guess just silly, like absurd, smart silly. I
would say that's why I love Conan so much too,
I mean love. I put it past that I love
Conan so much.
Speaker 1 (26:40):
Like that's one of the things that I have to
figure out too, is a comedy persona, Like I don't
know what. People want you to be authentic. They want
you to know that you're a real person there, but
they also kind of want to know your m O,
your style. There's something about that they can latch onto. Say,
if I'm going to go see Jake Cogan, I'm gonna
(27:01):
get this kind of shit.
Speaker 3 (27:02):
This.
Speaker 2 (27:03):
Yeah, that is something I've observed just doing stand up
for a while, Like the proclivity of audiences. We love
like characters. We love conveying a lot of information quickly.
So if someone has a weird voice and has a
weird look, or just have a definitive look, I think
people just like knowing what it is quickly and then
(27:25):
they can laugh. They're still if they're trying to feel
you out for the first minute or two, it's just
more work you have to do as a stand.
Speaker 1 (27:32):
Up, right, So how do you break the ice with
an audience.
Speaker 2 (27:35):
Well, it's tough, you know, Like I think my character
or my persona is like my brain and my material
in my writing. So that's a little it's not as
immediate as like if I'm the guy who wears a
fedora and is like, you're like, all right, I know
this guy, right, I hate that guy. Hey, guys, I
know that guy. Like already you're like, okay, this is interesting.
(27:59):
I can already I can put the box like that, right.
And then if you if you have a character and
a well defined character like that and you have good jokes,
it's just gasoline on a fire. But if you talk
kind of regular, it takes a while for the ideas
to seep into the audience and then them warm over.
Speaker 5 (28:16):
So I should put on a funny hat and a
voice twenty two years of experience and stand up is
get a weird hat and talk weird.
Speaker 1 (28:27):
And maybe maybe driving.
Speaker 2 (28:31):
Right, you're colletwn and they ring the bell.
Speaker 1 (28:35):
If I was like both Bobcat and Emo Filips. But
to combine all the voice of the voice.
Speaker 2 (28:44):
It's interesting because when I was coming up, there was
like the alt scene and stuff and being very genuine
and authentic, and then everyone thought like, oh, can you
believe all the stuff they did in the eighties, everyone
wore weird blazers and just but then it's not an
era thing, it's a human thing, because you are noticing
that with even some comedians of like some of my peers,
(29:06):
they'll like wear the same thing, they will have just
a certain look.
Speaker 1 (29:11):
I did that. I decided brand myself. So originally I
was a very thin, handsome guy.
Speaker 5 (29:16):
I got and I gained one hundred pounds and I
dyed my hair gray.
Speaker 1 (29:21):
Now on this, now, on this, but people knows the
eating us light.
Speaker 2 (29:25):
You're like, I'm preparing for exactly a set, right, preparing
for a role.
Speaker 1 (29:29):
So that's my brand. My brand is sort of out
of shape, fat.
Speaker 4 (29:32):
Old guy, don't be alone with all?
Speaker 1 (29:52):
Right, So should I not knowing anything really about me,
should I pursue this this dream of standard? Is it
worth it? Well, I, at the end of the day say,
I've because stand ups are controlled completely of their own thing.
It's like novel writers are people who write everything they
don't You're just.
Speaker 2 (30:11):
You don't need permission, you know, just kind of liberating,
especially on your side of it. And I've I've tasted
it doing generals and like pitching shows, there are so
many things outside of your control. There's so much work
for maybe mm hmm. That doesn't exist with stand up,
which is why I gravitate towards it, why I love it.
If I think of something, I get to do it,
I get the job. It's on its feet. So what
(30:34):
you're saying, should should I pursue this?
Speaker 1 (30:37):
Or is it? Is it full? Is it? Is there
a glut?
Speaker 2 (30:41):
It depends, though. Here's the thing, what what what do
you want out of it? What is your goal?
Speaker 1 (30:46):
What is Kevin Hart? What I want to be Kevin Hart?
Is that? Okay?
Speaker 2 (30:49):
Then let me shut this down not happening Like this
is how I realize how delusional you are. Like you've
hit it pretty well the whole pod, right, and you go,
I want to be like beyond Kevin Hark, Like, yeah,
you keep writing hit the mics.
Speaker 1 (31:05):
Did you see Celindi on the.
Speaker 2 (31:07):
I almost cried?
Speaker 1 (31:08):
Yeah, I want to be that. That's what I'm hoping
my up comedy. I want to bring people, to bring
people to tears at the top of the Eiffel Tower.
Can I do that? Uh? Maybe I don't know. All right.
I don't know how that was being being politic.
Speaker 2 (31:21):
You don't have being political. I want to be VP
for which one which you think I'll take? I'll go.
You think I have morals? I don't give a ship.
Speaker 1 (31:30):
All right, Well now it's time for uh question time.
Speaker 2 (31:33):
Okay, question.
Speaker 4 (31:41):
Uh?
Speaker 1 (31:41):
They said, who were who were your heroes?
Speaker 2 (31:43):
I thought it was gonna be who are you?
Speaker 1 (31:45):
No, who are you? They've seen the clips, You've inundated
them with. Oh my god, Uh heroes. So not just
comedy hero as I guess, but because I already asked that.
Speaker 2 (31:54):
But okay, Uh, Michael Jackson is a big one, okay,
because he was like the first how.
Speaker 1 (32:02):
He dealt with children? They yeah, right.
Speaker 2 (32:06):
Uh, you know more about the singing and day. Yeah.
I kind of was more honed in on that.
Speaker 1 (32:12):
You know that I knew Michael Jackson.
Speaker 5 (32:14):
No, yeah, for real, honest to god, honest.
Speaker 1 (32:18):
So as you know, we're both in Sino kids. Michael
Jackson lived on Havenhurst, which is the street where Gelson's
is Ventura and Gelson's okay, and and and he used
to live there, so we were about the same age.
She's a little older than me, but I used to
see him all the time at Gelson's and Mike's Pizza
and and there was a little pizza place that we
(32:38):
used to hang on. And at one point, my father,
who was a writer producer, produced the Jackson's summer show
Whoa And so they came over to our house to visit,
and the whole family and my grandmother and Nana Chicky
used to hang out with talk with Tito a lot,
and uh and I used to talk with Michael sometimes,
but more like more more Randy, honestly.
Speaker 2 (32:58):
Than than Michael, more Randy guy.
Speaker 1 (33:01):
Randy and I were closer in age, and Michael was
painfully shy, painfully shy. But but and then when he
came to do The Simpsons, I was there and helped
direct him.
Speaker 2 (33:13):
And it's so crazy that you are a part of
these monumental things in my life. These are just like
anecdotal stories that you have that's is part of my life?
Is this I'm insane.
Speaker 1 (33:22):
I have a thing on Twitter I do, which is
Jacogan Celebrity Roundup where I asked people on Twitter just
to name a celebrity and I'll see if I've somehow
interacted them with them in my life. And it turns out.
I've interacted with a lot of celebrities, shockingly, a shocking number.
If you have to name a person who is alive
from nineteen sixty five until.
Speaker 2 (33:43):
Now, Cisco.
Speaker 1 (33:46):
The Thong song that Cisco. Yeah, he's my brother in law. No,
I'm joking, I have no I have no interactions.
Speaker 2 (33:54):
What do you do?
Speaker 1 (33:56):
What NOSC?
Speaker 2 (33:59):
Come on?
Speaker 1 (34:01):
All right?
Speaker 5 (34:02):
So?
Speaker 2 (34:03):
Oh yeah, Michael Jackson was just performance wise, I guess
because I liked dance before comedy. That was my first
foray into performing. I would I would dance like Michael
Jackson at talent shows and stuff. I loved his music videos.
Speaker 1 (34:17):
He's an artist.
Speaker 2 (34:17):
He's an artist, and he was the biggest. There will
never be anything like that because again, like everything is
so fractured now, but things are so limited. I'll wait
for the Kawasaki an ambulance. Now, Kawasaki is I can't
work like this? Yeah, but no, he was.
Speaker 1 (34:34):
He was amazing.
Speaker 2 (34:35):
He was amazing.
Speaker 1 (34:36):
I mean he was a weird ass.
Speaker 2 (34:37):
Dude, yes, weird, weird, weird, weird dude, but on stage,
nothing like it. Yeah, that level of dancing, that level
of singing, And so I would just rewind the tape.
I would slow motion. I would try to learn how
to dance. So my first talent is dancing, and then
comedy came later. And I think that's maybe why I'm physical,
(34:58):
because I'm like comfortable in my body and I don't
feel silly.
Speaker 1 (35:01):
You and I are exactly the same, exactly. You know,
dance is like my second language.
Speaker 2 (35:08):
You're a vessel. You don't think about what you're doing.
You're doing it.
Speaker 1 (35:12):
Are you a kind of guy who spent time in
the club.
Speaker 2 (35:15):
That's the weird thing is I love music and I
love dancing so much, but it was always this private thing.
I would never go to a night club. I actually
hated nightclub dance. I'm a private dancer. I would just
dance in my room. I would look at my shadow
and dance. I would dance in a mirror.
Speaker 1 (35:30):
I could dance. I hated go to the clubs because
I couldn't speak, and that was my only superpower was
talking and make it. And then but if I could dance,
I could detract girls by dancing.
Speaker 2 (35:41):
I think, I guess, but I've always had this thought
where people have this misconception that, oh, you can dance,
you must pick up so many chicks. But to execute
that are all weird scenarios, right, I go to the
club with my buddy and I just start, Me and
him start dancing. That's weird. That's right in La, in
a weird in La. But you know elsewhere in a
(36:04):
different city, it's kind of like, Okay, me and my
buddy is going hard. That's not super attract right, and
then do I break off and I'm just by myself
dancing really hard? That's attractive alone? Dancing alone is weird.
Speaker 3 (36:13):
I know.
Speaker 1 (36:14):
I think some girls like it.
Speaker 2 (36:15):
Some girls is like Ted Bundy, who can move right?
Speaker 1 (36:19):
All right?
Speaker 2 (36:20):
Maybe so, so those are the only two options, the
only way it works, I think. And this is like
a bank heightst it's too gross to be this premeditated,
but it is to get a girl friend like a pal. Right,
you go together, right, and you dance, and then you
kind of break on, like, oh, that's just my friend.
Speaker 1 (36:38):
What's wrong with that? Seems like a great plan. I guess,
too premeditated.
Speaker 2 (36:43):
I'm in now, I'm hiring a girl to pretend to
be my girlfriend for the first ten minutes before she
breaks off with a booster.
Speaker 1 (36:48):
Rocket dance prostitutes that just come out that Yeah, where
are they Yeah, I don't think they're in the Yeah.
I guess it's like need a dance exactly? Does back
pages exist? Then they shut that thing down? They should.
Speaker 2 (36:59):
I'm a purest. I don't go to Craiglist. I need
to see it on a page. I don't trust it.
If it's a hyperlink paper, I need a number and
a paper cut.
Speaker 1 (37:07):
Your old school. I'm old school, all right, This is
now time for listener mail.
Speaker 3 (37:11):
Now it's time for listener man.
Speaker 1 (37:18):
Dear J and guest, that's you, that's me.
Speaker 2 (37:20):
I'm guessed.
Speaker 1 (37:21):
What are your biggest hopes and darkest fears for the future.
How are you working to make it the best future
you can be? Signed Lannie.
Speaker 2 (37:30):
Biggest hopes, Yeah, and darkest fears.
Speaker 1 (37:33):
That's a big questions.
Speaker 2 (37:36):
Biggest hopes is to keep on ascending as a stand up,
just to maybe become more of a recognizable stand up
and brand. I don't need to be Kevin Hart or anything,
but just to maybe get a special on a streamer
or s people because I'm doing YouTube specials the last
two I've done. Just to kind of be on the
pace of like a like a Hannibal or or or
(38:01):
a Pete Holmes or like a Burr eventually, I mean burs,
so I put them put them up there. But to
be a well known s like a normand or Sam,
some of these guys, my contemporaries, you know that I
would love to kind of get to a place like that.
That's the hopes, right, And I think the darkest fears
is as you live life, looking back and being like,
(38:22):
did I not maximize? Did I not do everything I
could have? When it's too late, you know, so I
try to do it in the moment, but I mean
you've never done as a fear that, like, uh say,
when I'm like sixty or fifty, I'm like, I could
have done this, I could have done more.
Speaker 1 (38:37):
Right, But I mean that's inevitable. You can't do everything.
You'll not be able to live.
Speaker 2 (38:43):
I'm trying my bad everything.
Speaker 1 (38:44):
What you can do is live in this moment and
then be as proactive as you can be and see
where it takes.
Speaker 2 (38:50):
Make as many clips as you can.
Speaker 1 (38:52):
Oh, you got to clip it out. You got a clip, clip, clip,
clip clip, You can make clips from this. We'll send
you this.
Speaker 2 (38:58):
We're going to send you no season to this.
Speaker 1 (39:00):
No, no, We're gonna make we're gonna force you to
make four hundred claps.
Speaker 2 (39:03):
Ah, that's so many, that's a little two seconds long.
Speaker 1 (39:05):
Yes, okay, so that's career. That's your totally career oriented.
Speaker 2 (39:08):
I know what's happened for a long what's going on?
Speaker 1 (39:10):
What about life? What about life? I guess what about
the world? Are you making the world a better place?
I'm not, but I'm asking you you should.
Speaker 2 (39:21):
You're like, not for me personally, not for me for me,
but you I love changing the world on you. No.
Speaker 1 (39:25):
I mean it's great to be directed. I mean, I
think it's great that you have a focus and all
that kind of stuff, But you shouldn't leave. That might
be the regret I see coming down the pike, is
how is my personal life? What's going on in my world?
Speaker 2 (39:37):
I think we have more of a balance now. Yeah,
I'm allowed to have more of a balance. Sure, it
was okay to do what I was doing to kind
of set myself up for where I'm at now.
Speaker 1 (39:46):
But uh, and by balance, I need more road pussy.
That's the main thing.
Speaker 2 (39:50):
At a certain certain cities in the US is so
big and it can get so remote that you just
say I live in La It's like your Brad Pitt.
Yeah you living in a city like golly, he lives
in l A. And you've done nothing. You've just said
a city.
Speaker 1 (40:06):
I want to do a stand up set in saguine,
Texas where they have never seen the stand up comedians
like and be the King.
Speaker 2 (40:12):
Oh my god, I just picture people in Cowboy has
and just like looking at looking at you like that.
That's all they.
Speaker 1 (40:19):
And I want the nod. I want that You're not
gonna get. No, just the look going a spit from
the chewing tobacco.
Speaker 2 (40:27):
Yeah maybe they got a Zen. Yeah, maybe those are
in now.
Speaker 1 (40:29):
I didn't know that.
Speaker 2 (40:30):
Zin's Yeah yeah, their little pouches.
Speaker 1 (40:32):
Okay, Okay, still get cancer.
Speaker 2 (40:34):
Though, right, I believe. So that's that's the Zen promise.
The same great tobacco, the same great cancer, less of
the mess, Zin, that's.
Speaker 1 (40:44):
A little improvement.
Speaker 2 (40:46):
Same hole in your job, same rush, same robo box. Zin,
step into a zin.
Speaker 1 (41:00):
Ah fantastic. Oh okay, so we have the moment of joy.
Speaker 2 (41:07):
I've already had it. This has been fantastic.
Speaker 3 (41:09):
A moment of joy.
Speaker 2 (41:15):
It's very simple and very basic. There's really nothing I
love more than going to a diner and sitting in
a booth having breakfast and coffee and just chilling in
that booth and listening to Spotify and reading the news
on the internet, and just I treat it like a
we work. There's nothing I love more than melting in
(41:36):
a booth at a diner, unlimited refels of coffee and
just letting my mind kind of zip around, get caught
up on the day, start my day that way.
Speaker 1 (41:45):
How long do you allow yourself to sit.
Speaker 2 (41:47):
There to the point where I'm nervous, Like I feel
I can feel this energy of like this guy's been
here for a while. But I'll tip handsomely if I've
been there, I'll tip like rent prices. Okay, if I've
been there for like four hours or something.
Speaker 1 (42:00):
You talk to the waitress and say, I know I'm
taking your table, but I'll I.
Speaker 2 (42:03):
Won't verbally say I know, I know, sorry, But maybe
it's just in my head that I feel like I've
been there a long time.
Speaker 1 (42:10):
Keep ordering the most expensive, like.
Speaker 2 (42:14):
Right, love this guy, yes.
Speaker 1 (42:17):
So that they get something that's good, that's a that's
a lovely thing, that that's on a on a Sunday
or a Monday.
Speaker 2 (42:23):
Or any damn free you know it's not every day
because that feels gluttonous, but maybe like three times a week.
I just have my AirPods in and I just love
scouring Spotify for new music. I love that too. I
just get served up these songs. The algorithm is pretty
good with Spotify, So every Monday and Friday, they just
kind of know your tastes and then I sift through
(42:44):
this playlist that's curated for you.
Speaker 1 (42:46):
New music Friday. I know what's Monday.
Speaker 2 (42:49):
Yeah, Monday is Discover Weekly. Okay, alright, so add that
to your look and then I'll cherry pick songs from
those playlists and add it to my playlist.
Speaker 1 (42:56):
What's like, what kind of music are you listening to?
Speaker 2 (42:59):
It's like Nancy, I like Dancy and up upbeat, like
indie dance, and like new disco and house like CHROMEO.
It could be an entry point to kind of like
the genre that I like.
Speaker 1 (43:12):
It's not going to be an entry point for me.
I don't know CHROMEO. No, No, that's great.
Speaker 2 (43:17):
Check out CHROMEA CHROMEO.
Speaker 1 (43:18):
Okay, I gotta go. I'll check it out.
Speaker 2 (43:20):
Please.
Speaker 1 (43:21):
After we do this, throw on some CHROMEA alright, and
then dance alone in my room.
Speaker 2 (43:24):
Alone in your room and send me a video. I'll
give you a samp.
Speaker 1 (43:28):
All right, all right, I would like to uh, I
will check out Chromeo. Yeah. I listened to a lot
of music. I don't generally speaking, it lays more in
sort of pop pop music.
Speaker 2 (43:39):
And we're in a pop renaissance. I had this idea
that this thought the other day that like, when it
comes to pop female divas, we are in a gold rush,
and I think we're too close to it to recognize
that the arrow we're in. We have Ariana Grande, we
have Sabrina Carpenter, Taylor Swift, you can throw her in there.
Charlie XCX is what it is. The Gaga Gaga, come on,
(44:01):
Legacy Gaga's there. Yeah, it's really exciting time and it's good.
Speaker 1 (44:08):
Beyonce fantastic.
Speaker 2 (44:10):
I'm not some elitist guide. This is like revolutionary pop
or no.
Speaker 1 (44:13):
No, I think it's a good time to be. It's well,
it's a shitty time to be in the music industry,
but it's a good time to be.
Speaker 2 (44:20):
If you're a giant star. Fantastic.
Speaker 1 (44:23):
It's the same things as in comedy or anything else.
If you're a giant star, it's fantastic.
Speaker 2 (44:27):
Yeah, you're immune to everything, and if.
Speaker 1 (44:29):
You're not, you're sort of carving out your life and
figuring out how to make it work. Yeah, thank you
for being here.
Speaker 2 (44:34):
Thank you.
Speaker 1 (44:34):
This was the greatest uh Monday I could ever possibly
same here.
Speaker 2 (44:39):
I'm glad. It's a quick turnaround time. We got to
do it.
Speaker 1 (44:41):
And because I had given If I had time to
think about it, I would have said.
Speaker 5 (44:44):
No, oh, what did I do?
Speaker 1 (44:48):
This terrible mistake. But now I'm totally like.
Speaker 2 (44:50):
He's already on his way. He came all day from Tarzana.
Speaker 1 (44:53):
Fahim and Noir. You're awesome and I'm so I'm so
glad that I got to see you at Largo, and
so I added you to the retinue of great comedians
that I love. Uh So, it's it's basically.
Speaker 2 (45:04):
I love your work and everything you've been a part of.
Speaker 1 (45:06):
So you and the dice Man, that's it. That's the
only thing I care care about. No, not the Diceman,
but uh this is this is fantastic, And thank you
for being here, and thank you the audience. Thank you
for being here, Thanks for being it. Don't be alone
with Jakoga. Please write me at dB a w j
k at gmail dot com. If you have any questions
for me or for my guests, you know I can.
I can forward stuff to this guy.
Speaker 3 (45:28):
Yeah.
Speaker 1 (45:28):
And uh. And you don't be alone. Spend some time
with somebody in person. Spend have a conversation, get to
know someone. It's fun to meet new friends. It's great. Anyway,
We'll see you next time. Bye.
Speaker 3 (45:38):
Don't be alone with j
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