April 19, 2025 • 31 mins
Johnny Mac interviews comedian Andy Woodhull about his new comedy album 'Beach Brain.' They discuss the intricacies of recording comedy, such as the phenomenon of 'clater' and the authenticity of audience laughter. Andy shares anecdotes about his photo shoot for the album cover, talks about the importance of audio albums in an era dominated by video specials, and touches on his experience with clean comedy. The episode also highlights Andy’s podcast with fellow comedians and reflects on the evolving landscape of comedic material on social media.
Andy also has a fun podcast "Backyard Hang"
:Beach Brain on Youtube
The show concludes with a rundown of upcoming performances and festival highlights, including the final night at the Moontower Comedy Festival.
00:21 Interview with Andy Woodhull
03:02 Challenges of Comedy Production
06:02 The Evolution of Comedy Albums
13:10 Nate Land and the Future of Comedy
15:22 The Art of Working Clean in Comedy
16:33 Podcasting with Friends
17:39 Comedy Festivals and the Love for Standup
19:47 Navigating Social Media and Crowd Work
26:38 The Value of Clean Comedy
28:14 Upcoming Shows and Comedians to Watch
29:40 Moontower Comedy Festival Highlights
Unlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app which says UNITERRUPTED LISTENING. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed! You also get 20+ other shows on the network ad-free!
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https://linktr.ee/dailycomedynews
Contact John at john@thesharkdeck dot com
John’s free substack about the media: Media Thoughts is mcdpod.substack.com
DCN on Threads: https://www.threads.net/@dailycomedynews
You can also support the show at www.buymeacoffee.com/dailycomedynews
Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac--4522158/support.
Andy also has a fun podcast "Backyard Hang"
:Beach Brain on Youtube
The show concludes with a rundown of upcoming performances and festival highlights, including the final night at the Moontower Comedy Festival.
00:21 Interview with Andy Woodhull
03:02 Challenges of Comedy Production
06:02 The Evolution of Comedy Albums
13:10 Nate Land and the Future of Comedy
15:22 The Art of Working Clean in Comedy
16:33 Podcasting with Friends
17:39 Comedy Festivals and the Love for Standup
19:47 Navigating Social Media and Crowd Work
26:38 The Value of Clean Comedy
28:14 Upcoming Shows and Comedians to Watch
29:40 Moontower Comedy Festival Highlights
Unlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app which says UNITERRUPTED LISTENING. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed! You also get 20+ other shows on the network ad-free!
This podcast supports Podcasting 2.0 if you’d like to support the show via value for value and stream some sats!
https://linktr.ee/dailycomedynews
Contact John at john@thesharkdeck dot com
John’s free substack about the media: Media Thoughts is mcdpod.substack.com
DCN on Threads: https://www.threads.net/@dailycomedynews
You can also support the show at www.buymeacoffee.com/dailycomedynews
Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac--4522158/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Callaroga Shark Media. Hey there, I'm Johnny Mack with your
daily comedy news. I'm gonna jump right in today. I've
got a guest in the first half. Then we'll take
the break, and then i'll tell you a couple things
on the comedy front. Andy Woodhole has a new album.
It is called Beach Breen. It is his seventh comedy album.
(00:23):
And here's my conversation with Andy. I was checking out
your podcast and I loved that you went all inside
baseball on the recording of the album. You told a
great story about working in crowd laughter. I'll lead you,
but I'd love for you to tell that story to
my audience because I'm increasingly suspect of what I hear
(00:45):
as laughs in Netflix specials. I've got an ear for it.
Short story on me. I programmed serious XM comedy for
ten years, so I sat at a desk listening to comedy.
Speaker 2 (00:56):
Rou Oh yeah, well, hey, thanks for playing me all
those times.
Speaker 1 (01:00):
I'll come back and we'll talk about that a second.
So for you know, ten years, I'm sitting there all
day listening to the stuff, so I kind of know
how audiences react, and I will hear stuff on some
of these Netflix specials, and I'm like, no, no, no, no,
So could you just tell the anecdote that I'm sharing
from your podcast.
Speaker 2 (01:18):
Well, what I think you're talking about is I did
a recording called Live from Elkhart, which you can find,
and I only had one shot at it. Sometimes you
have multiple shots, so if you don't get a joke right,
you can pull it from the next set, but this
one I had one shot at it, So any mistakes
I did, I would just say, hey, I'm made a mistake.
(01:39):
I have to do that joke over. I hope you
guys don't mind. And then so I flubbed this joke.
You know, I said a wrong word here, a wrong
word there, left something out, and then I did it right,
and the audience clapped like I had just finished playing
Freeberg or something. It was an insane reaction. And then
when we went to the editing, it doesn't mean any
(02:00):
sense that this joke is getting that level of laugh So,
while I will swear never on any of my comedy
albums have I had them ad laughs. That was a
moment where I said, you have to take some of
this laughing and clapping away because it seems fake. It
doesn't make sense.
Speaker 1 (02:18):
Are you running into clapter with audiences? I feel like
that's something that's crept into the last ten years. There
was one I don't want to throw anybody on a bus,
but I was watching one comedian who is fantastic and
he did this whole chunk and the audience clapped, and
I'm like, I don't I don't think that's what you're supposed.
Speaker 2 (02:32):
To do there, folks. No, I don't get a lot
of it because I don't think that I am writing
that type of joke. And if there's anyone that doesn't
know what you mean by clapter, it's when a comedian
will say something that the audience agrees with and they
will clap. It's more right then it's funny, and it's
(02:55):
you know, it engages audiences, and I don't know, I
suppose has its place, but that's not what I attempt
to deal in.
Speaker 1 (03:02):
What made you decide to go within audio album? I
appreciate it, you know, in the year of the Netflix special,
the YouTube special, and I still program comedy radio for
Live one, it is great to have, you know, an
old fashioned album.
Speaker 2 (03:16):
Sure, sure, well it's not that. Let me give the
most smart sounding decision. I guess, rather than everyone is
putting out specials. There's all these specials that look amazing,
they're highly produced, there's million dollar budgets. I am still
(03:38):
basically a one man operation. Even though I did do
this one with a comedy record label called Blonde Medicine,
that are fantastic and they're putting out great comics and
you should check them out and listen to everyone whose
album they produce. But a million dollar production buzz it
wasn't in the cards for me. So I thought to
(03:59):
set my apart. I do something different. I do the
audio album, which is how people have been finding my
comedy for the whole time I've been doing comedy is
through things like Serious and Pandora and Spotify, And as
far as the video, it'll just be on YouTube and
it'll just be a straight shots of camera. It's I
didn't want to go halfway, you know. I could have
(04:21):
spent a lot of my own money and I had
a higher production value, but it wouldn't look as good
as a Netflix special, and so I decided it is
what it is. This is a side of the club,
and if you want to see me doing it, you
can see me doing it on YouTube, but otherwise it's
it's audio.
Speaker 1 (04:40):
It's so interesting to me that you say that as
a comedian, because one of the things where you've been
struggling with in podcasting is this whole Hey, you gotta
be on YouTube, you gotta make a video podcast. And
I've struggled with it. Yeah, because for my audience who
were watching this on YouTube, this is what the show
looks like. This is what me recording the podcast looks like.
It's not very interesting. I'm fifty five years old. I
(05:01):
self describe him somewhere between Troll and George Clooney. You
can pick, but you know, I'm not a sexy, hot
chick in her twenties where everybody's gon be like, oh,
let me just randomly click on this thumbnail. It's a
guy with a dumb backdrop and doing comedy headlines. So
you know, I love that. I don't. I don't love,
but I appreciate that you're going through the same kind
(05:23):
of struggle of I can't keep it with a Netflix budget,
like I explain, and I also teach a college class.
If I'm Andrew Schultz and I have a big time politician,
and I've got a couch set up and a three
camera shoot and proper lighting and a PR team. Yeah,
or videos awesome, but a guy in his basement it's
really hard.
Speaker 2 (05:40):
Sure. Yeah, low production as well. YouTube was supposed to be.
Speaker 1 (05:45):
That's what I think it was for a while.
Speaker 2 (05:47):
What it was supposed to be, and now it's it's
great and those things are great, but now it's no
longer as much do it yourself unless you want to
just watch someone's AI edited video, which I I don't.
Speaker 1 (06:01):
Yeah. Yeah. For the album Beach Breen, I was intrigued
by the cover. I'm a Beach Boys fan, and there's
definitely whoever put it together, and maybe you, hopefully you,
because it'll make a more interesting conversation. Definitely went for
that nineteen sixties album cover Vibe. The fonts are right,
the colors are right. Where the where did the album
(06:22):
cover come from?
Speaker 2 (06:23):
Well, I'll take partial credit for the album cover. A
lot of the credit goes towards the good folks over
there at Blonde Medicine, because this is the seventh time
I've put out an album and I have never had
a photo of myself on the cover because I always
felt like when the guy is on the cover of
the comedy album. You know, he's making a face.
Speaker 1 (06:44):
Like I hate that. Oh my god.
Speaker 2 (06:46):
Yes, I didn't know. You know, I never quite felt
like what my face on a cover. So everyone I've
done up until now has been an illustration, and I
wanted to do an illustration again, and people at Blonde
Medicine kind of pushed back a little bit, and they said,
we think you've never had your face on the cover
of an album. I think it's time to put your
face on the cover of an album, especially because things
(07:09):
I've done in the past that have been really popular.
I look much younger, I don't have a beard. You know,
people have a hard time even recognizing me from my
own self from ten years ago. So they convinced me
to do that. So there was a photo shoot, which
was uncomfortable because it's in public. It's not like you're
in a studio. Because I wanted to do it at
(07:30):
the beach, so people are taking photos and I actually
ran into this guy that I was just like a
guy I casually say hi to walking my dog at
the beach, and he saw the whole photo shoot and
then asked me about it. It was incredibly embarrassing and yeah,
I don't know. I had the idea to set on
the beach. I wore the outfit because it's an outfit
(07:51):
my wife bought for me. I agree that I think
it has a cool like beach boys vibe, But I
can't take credit for the outfit. That's I just could
rested by the woman that loves me at the time
in my life, and I'm great with it. I like
living that life, and so she gets the credit for
the outfit. They get the credit for deciding to do
(08:14):
a photo shoot, and I believe they also have a
graphic designer in house that did the final design. But
the photo on the beach with the beach stuff was
was my idea?
Speaker 1 (08:25):
Is that Santa Monica?
Speaker 2 (08:27):
It is Santa Monica. Yeah, so you just.
Speaker 1 (08:29):
Walk out over there to a photo shooting, go.
Speaker 2 (08:31):
Yeah, that's exactly what it was. I walked from our
apartment to the beach. I did a photo shoot in public,
like I'm an Instagram model, and I was spotted by
an acquaintance and it was incredibly embarrassing. And yeah, anyone
that's had to get their photo taken just knows it's
a little embarrassing to have, you know your photography, giant camera,
(08:55):
they're inches away from your face. They always seem way
closer than they need to be, and it's embarrassing in
a studio. So I did mine publicly.
Speaker 1 (09:04):
The thing that caught my eye, and you can make
fun of me in the schoolyard, and I know you
agree to do this interview so that we could talk
about the cover for twenty minutes. It is the Igloo
cooler and I have one of those in red, but
mine is from nineteen seventy six, and I know that
because there's a bi centennial sticker on it that either
(09:25):
my mom or I put on in seventy six. And
as I was just thinking about this interview, I'm like,
I'm hitting the beach with a forty nine year old cooler.
Speaker 2 (09:34):
But it works. Yeah, it's a great cooler. I think
my wife and I liked it because of that kind
of retro design and Easter egg on the album cover.
That cooler is the first thing we ever bought together
as a couple. We pitched in I think twenty dollars
each and bought that forty dollars cooler. And if you
zoom in tight, there's a sticker of my older specials
(09:58):
on the cooler.
Speaker 1 (10:00):
Oh nice, and you're going to have.
Speaker 2 (10:01):
Century sings there? Yeah, I hope, so, I hope. So.
Speaker 1 (10:05):
So you talked about the royalties from digital play, which
is a nice thing. I'll tell you a story is so,
when I first started It's serious, the initial reaction from
the comedians was you're stealing my material. Da da da da,
And then people realized they were selling tickets off it.
But then I was backstage with Ron White, who found
out what I did for a living, and he was
(10:27):
very happy to meet me because he had gotten a
nice significant check with I think at least five zeros
in it. So that guy rid of a whole like
you're a stealing armt. Well that was because we had
blue collar radios that we were playing every fifteen minutes.
But you know that that money's nice there. I wish
more people would put out audio.
Speaker 2 (10:46):
Uh huh, yeah, well I think do people not always
put out audio as well as video? I would think
that every Netflix special has an audio version? Is that
not correct?
Speaker 1 (10:56):
So then the Netflix thing is one of my pet
peeves that again on the Soapbox, I personally wish Grammys
would go to audio things and not Netflix specials. I
think we oh yeah, Emmys for a Netflix special. So
what Netflix will often do is they'll take something like
Chappelle and they'll put it on vinyl and they'll sell
it in the cool record store in Portland, and there's
one hundred copies of it. But technically it's an album.
(11:18):
But you know something, if you wanted to get you know,
Dave Chappelle's most recent special on a CD to drive
around in your car. That's not a thing anymore.
Speaker 2 (11:25):
I don't know if you can get anyone. I mean
even this one that I made that's audio only. I
don't think you can get a CD anyway.
Speaker 1 (11:31):
Oh he lives along. I don't know. I I don't
have a CD player in the car or the computer.
I've probably got one in the back somewhere.
Speaker 2 (11:38):
But I sold CDs for a little bit longer than
I should have, probably because the reason I stopped selling
it because this is an easy thing to sell. After
the show CD and the amount of people that just
want to tell me they didn't have a CD player
got to an amount where I decided to stop selling that.
Speaker 1 (11:55):
You don't want to embarrass yourself and be like, hey,
I'll scan a QR code and it'll download.
Speaker 2 (12:01):
Yeah, And then I did that for a little while.
I did that. I did do that for a while,
and it wasn't that it was embarrassing. I felt that
I wasn't giving people something. You know, it was like
a paper and then I had like higher quality kind
of plastic ones, but I still felt like, you know,
if someone wants to buy something after a show, they
want something, and the QR code, although it gets you
(12:24):
to the album, and it works, and that's how people
do things because things like Spotify and Pandora and serious
are so popular and those albums are available for free,
especially you know, the streaming services like Spotify and Apple
Music where you can click and listen to it straight
through whenever you want. I think you just weren't getting
(12:45):
something when you did the QR codes, and I was
sad to see the CDs go because now I have
to lug around bags of T shirts to show after shows.
And so.
Speaker 1 (12:55):
You talked about your look changing over the years. Sometimes
when I'm on the back end of stuff, I'll pull
up a Naperghetti album and I'm so used to him
with the salt and pepper hair that when I see
the younger version of him on an album cover. I'm like, oh, yeah,
that's what you look like. I mean, we all get older.
You did one of his Nateland showcases.
Speaker 2 (13:14):
How is he?
Speaker 1 (13:15):
How was that? How's it working with that crew?
Speaker 2 (13:17):
They're really Yeah, they're very cool. I think they're doing
a neat thing in comedy because comedy has transitioned to
this online model, you know. I mean still like Netflix
and Hulu now and other streaming services will be putting
out specials and that's great and people are finding comedy
(13:40):
like that. But comedy used to be on Comedy Central
and on late night TV spots, and that's where you
would find new comedians. And Comedy Central used to always
have a show that would showcase people you haven't heard of.
I think there was Premium Blend, and then the one
I did was called Live at Gotham, and I think
there was one after that, like Adam Devine's House Party
(14:03):
or something like that, and it was this cool place
where you could see a little taste of someone you've
never seen before, and that person didn't have to already
have a million followers to be in that position, and
that has gone away. The TV has gone away from that,
and so I think the coolest thing that Bargatsy is
(14:24):
doing is through his own record label, production company whatever,
he has recreated that show where he's introducing the world
to comedians that are funny and otherwise don't have a
platform other than you know, the platform that we all have,
or we can put things on our own. But I
think it's cool that he kind of picked up that ball,
(14:48):
that premium blend Lavigotham ball and is rolling with it.
And that's what Nyland it is, and of course it's
a Bargatsi products, so everything is squeaky clean over there too,
if that's what you're into.
Speaker 1 (15:00):
And I think that makes a lot of sense. I'm
no prude. I like my share of the swear words.
But I remember the first time I met Foxworthy and
this is we're putting together blue Collar Radio, and he
was explaining to me. He said, I used to you know,
work the same way as everybody else. And he held
his hands like this kind of close together, and he said,
and then I stopped cursing, and I picked up the
kids and the grandmothers and he stretched his arms and
(15:22):
that was his whole mindset. You know. I think the
the art of working clean is if you don't notice it,
you've nailed it.
Speaker 2 (15:32):
I totally agree. I don't. I mean, I have been
clean for several years now as far as my stand up,
and I don't necessarily like advertising the shows as clean
shows because I think that comes with kind of a
stigma of boring. If you tell me, do you want
to watch this clean comedian? I don't, but I will
(15:52):
watch someone like Ryan Hamilton who is clean, and then
you don't. It doesn't even hate you tell somebody brings
it up. Oh yeah, he didn't curse. Oh yeah, And
that's what I hope people are saying after they listen
to this new album or the last couple albums that
I've made.
Speaker 1 (16:11):
And I think there's an effect too if you were
mostly clean and a well placed swear word, that can
really just you know, punch a joke for affect, you know.
Speaker 2 (16:21):
Yeah, yeah, I totally agree with that too. It really
uh yeah, it's fun to have one curse in the set. Yeah,
nobody's mad about one curse. You can curse once and
people won't say that it was filthy.
Speaker 1 (16:34):
I like your podcast. It's nice and easy on the ears.
It appears to be an actual backyard and not a
set because.
Speaker 2 (16:42):
You guys are cold, it is and we are cold.
Sometimes it is. It's Tommy Johnigan's backyard and it's comedians
hanging out. We each bring different topics. We have some
recurring segments and honestly, my favorite thing is those are
two of my best friends, Tommy and Alex Stone, and
(17:05):
doing the podcast gives us a reason that we have
to get together at least once a week, and it's
pretty great.
Speaker 1 (17:11):
Is everybody good about holding to the schedule, because that's
one of the pains of doing a podcast with somebody else,
you know, Oh, I'm not around well.
Speaker 2 (17:18):
You know for sure? Yeah, for sure. There'll be times
when people are busy and we'll have people fill in,
or just two of us will do it when we can.
But I would say for the most part, we're able
to always get together and we usually record on Sunday
or Monday, and we usually don't decide until sometimes Sunday
afternoon when it's gonna.
Speaker 1 (17:38):
Be About two weeks ago, you did that Rhode Island,
that Rhode Island Festival Roady I think it was called.
Speaker 2 (17:44):
Oh yeah, Little Roady Comedy Festival.
Speaker 1 (17:46):
There that looked like it was awesome. How was that?
Speaker 2 (17:49):
It was very cool? You know, they put together such
a cool, very cool festival, and it was great for
the comics. My only regret is that I could go
for the whole thing. I was just kind of in
and out. I was only able to make it on
the day for my show and then I left the
next day. But yeah, they put together amazing an amazing thing,
(18:13):
and it is just so fun to be involved in
something with people that care about comedy and love comedy,
because you know I do. I love I love stand up.
I love doing stand up. I feel so lucky to
get to be doing stand up. And sometimes you do
a show and it's all about how many tickets did
you sell? What was it that? Why? Bye bye? I
(18:34):
don't know who even knows what I'm saying. And these
people just genuinely love stand up and you can tell
that by how they put the shows together and how
they treated the comedians.
Speaker 1 (18:45):
At a festival where we have more time, do you
go see other people's shows or is it more about
hanging with the.
Speaker 2 (18:51):
Yeah, for sure, I are to do yeah, yeah, because somebody,
you know, we've been doing comedy for a long time,
so uh, you know, any given festival, you're gonna know
some people, be friends with some people. There's gonna be
some people that you will become friends with if you
have a chance to hang out with them. And there's
usually hangs after the shows or like events during the day,
(19:11):
and plenty of time for people to get together that
are often on the road, and you know, just ships
passing in the night. I guess you know you'll see
You'll be at a club and you look at the
poster like, oh, this month, they're having three people that
I love. I wish that I could say hi to them,
But you're just not at the same place at the
(19:32):
same time. You know, everybody's got their favorite work friends,
and when you're a comedian, they're usually spread across the
entire country on any given night. So when you have
a chance for people to be in the same place,
it's it is special. It's very fun.
Speaker 1 (19:47):
How are you feeding the beast these days on social
media and up burning material? Are you doing crowd work
or how you handling that nightmare?
Speaker 2 (19:54):
I will do. I mean, I do crowd work in
my act, but it is not set. It is not
like and now I'm getting my crowd work clip. I have.
You know, it's organic. And I don't always take the
sets I wish that I did, because I often will
have a moment where I think, oh my god, that
(20:16):
was the most amazing moment. That would be such a
good clip, but I didn't record it, and then I
have to convince myself that is my integrity of the
art form that leads me to not record everything and
to let some things live in the only place that
they will ever be seen at that show, in that moment.
(20:37):
It's integrity. It's not laziness. That's how I feel about it.
And I don't worry about burning material, not even a
little bit, not even not even a little bit. I
have this new special beach Brain. I'm going to put
a clip of every joke that's on it on the internet,
(20:59):
on real, on TikTok. Every single part of it will
be a clip. At some point. I think I'll probably
repost them. It's a numbers game. I think I'm not
the first person to have this point of view. I
don't think, but I think Louis c. K years and
years ago, invented the I have to throw out this hour.
(21:21):
I'm doing a new hour, and I think it makes
sense if you are that level of famous where when
you put something online, twenty million people see it. But
for me, for a lot of people that are forcing
themselves and making a big deal of not burning material,
I think you can put jokes on the internet. Whoever
(21:44):
sees it is going to see it, and then if
they come to the show and they see you do
the joke, I don't think anyone's going to be furious
and demand their money back. In fact, more often than
people telling me I already heard that joke on the internet,
which has been never will complain that I didn't do
their favorite joke that they saw on the internet.
Speaker 1 (22:05):
Are you running into helpful audience members who want to
be the crowd work?
Speaker 2 (22:12):
And no, I'm not, no more than no more than
before you know. I mean there's always a rowdy audience
member from time to time, and as far as yeah,
I know you're talking about, like some comedians are saying,
these crowd work people are ruining comedy audiences because now
comedy audiences want to be a part of the show
and are trying to be a part of the show.
(22:32):
And that's that's something I haven't found to be drue.
I think people still genuinely do not really want to
be talked to during the show. They want to hear
jokes and laugh. It's the reason why it's hardest to
see the front row at every comedy club because they
don't want to be talked to.
Speaker 1 (22:53):
There was just a big thing in the UK and
a theater a pretty big comedian had to throw out
two people from the same show because they would not
interrupting and he had to full stop and get security.
I mean, it's it's got to be hard to get
the room back after that.
Speaker 2 (23:06):
Yes, yes, that would be.
Speaker 1 (23:08):
I mean.
Speaker 2 (23:09):
The one thing that is good is that in the
situations I've been in where people had to be kicked out,
they were such a disturbance that by the time they
do kick them out. The thing that's not hard about
recovering is people are happy because I'm if any if
someone's getting kicked out of my show, it's not because
(23:31):
they pissed me off and I'm like, get this person
out of here. If someone is kicked out of my show,
they are being such a disruption to the other people
that paid the venue, is like, we need to remove
these people or else. Twenty people are going to complain
so often when someone is escorted out, there will be
(23:52):
a huge round of applause and the comedian will be like, hey,
aren't you glad those jerks are gone? And the show
rolls up on.
Speaker 1 (24:01):
What's coming up for you in the next couple months?
What can we look forward to?
Speaker 2 (24:06):
Well, I am on the road for forever. I got
lots of shows coming up. You can see them all
at andy Woodhall dot com. Please watch the new special
Beach Brand on YouTube or listen to it wherever you want.
The difference between I should say this is the difference
between the YouTube version and the difference between the audio version,
(24:28):
is the audio version is edited because things need to
lead live and make sense as single jokes. If that
If that makes sense. Sure, So when you edit a
special together, I take any crowd work that happened out
for the audio version, I take out mistakes, I take
(24:51):
out this and that little things, and I thought a
fun way to do the YouTube which would maybe hopefully
set this apart from other people posting on YouTube is
I don't take any of that stuff out. So it's
like seven minutes difference in time the audio version and
the YouTube version of mistakes and references and crowd work
(25:15):
and natural, organic moments that only happen when you see
live comedy. That's on the YouTube thing that's not in
the album version, because you know you programmed Serious, there's
not going to be a track of guy drops his glass.
That's a waste, you know, for no one that anyone
that wasn't there. That's not additive to the show.
Speaker 1 (25:37):
So also pro tip for all comedians putting out audio albums,
make your tracks about four and a half to five
minutes long. Those ninety second tracks, we don't schedule those.
Speaker 2 (25:48):
Oh that is great tips that you could be giving
out all those things that I have been told, Yeah,
four to five minutes. What else? I think comedians listening
would love to hear that, because I've been lucky enough
to have gotten these tips from people like you, or
maybe even directly from you through a third person, of
(26:10):
what you need to be thinking about when you're editing
stuff together in hopes of getting play on Serious.
Speaker 1 (26:17):
So, yeah, so you want, as you alluded to, you
want each track to be a complete Chunk's not the
right word, you know, I'm saying a complete thought. So
at a beginning and an ending to the individual track,
Like I said, the ninety second, they're too short. Anything
over seven is too long. Because you want to keep
things moving, having a clean version definitely helps. That was
(26:38):
the thing when I first took over programming, the Clean
Channel was way harder than the Naughty Channel because there
just wasn't the material and the stuff that was there
was you know, lame or God's Squad comedians that it
just didn't have the coolness factor. So we wound up
playing a lot of New Heart and Cosby and you know,
(27:00):
then the Cosby Library became something that you know that
so if you've got a clean version of something, that's
very valuable.
Speaker 2 (27:10):
And somebody told me once when I was recording albums,
because I've always skewed clean, and there will be like
one or two just you know, adult jokes on the album,
maybe one or two curses, especially in my older albums.
And you know, it was somebody in a position like
yours that told me, you know, think about doing it
(27:33):
all clean and you wouldn't have to make a big
difference because we get like ten to one submissions for
the dirty channels versus the clean channels. Was it still
about that ratio or is that totally off?
Speaker 1 (27:50):
I think I wish it were ten to one. I mean,
like if you put out a clean alm or Nate
puts out a clean Apple, Gaffigan puts out something that's clean.
He has kind of at least on his album work.
He cursed a little more on his early work, but
I think the last few have been straight clean. That
is just gold. Like you know, a listers, I can
immediately schedule that's exactly what you want.
Speaker 2 (28:11):
It's interesting.
Speaker 1 (28:12):
Last question for me, who's out there that might be
off the audience's radar, Funny people that we should know about.
Speaker 2 (28:21):
Well, I don't know if they're off people's radar or not,
but I always well list my friends. Pat McGann is
doing great. You can see if you've seen Sebastian Maniscalco
in the last couple of years, you probably saw Pat
McGann opening for him. He's so funny. I have a
friend Mike Cronin who is very funny that's opening for
(28:42):
me this weekend. Check him out. He's doing a YouTube
series right now about making one lash push to become
successful as a comedian, just like one last shot at it,
which I think is pretty compelling and I'm jealous. I
didn't think of it, and I think, hands down the
(29:03):
funniest comedian that I've never seen, not kill that. People
maybe don't know about a guy named Kevin Boseman out
of Chicago, and he just is lights out funny. You
gotta see his live show. He never he always kills.
He always kills, no matter the situation. And yeah, that's
(29:26):
that's the guy I always say. You want me to
name a comedian you should check out that's not famous.
Check out Kevin Boseman.
Speaker 1 (29:33):
Super awesome. Ho'm glad we got to catch up today.
Appreciate you coming on.
Speaker 2 (29:37):
Yeah, thanks for having me, John, and I appreciate it.
Thank you.
Speaker 1 (29:40):
And I don't want to ignore the final night of
the Moontower Comedy Festival. If I counted correctly, they have
thirty nine shows on their website. I won't mention them all.
We'll talk about headliners and some of the catch my eye.
Zarni Gark four o'clock show at the Paramount Theater. That
might even be too early for me. I mean, I
like to go to bed early, but would be done
(30:00):
at five thirty. Big Jay Okerson special screening at the
State Theater, also at four o'clock today. What is this
clicks on link to read. I assume this is a
special screening of his upcoming crowd work special Them They,
because that's what the cover art says, and apparently Them
They is out tomorrow on YouTube. You learn something new
(30:21):
every day. Industry types might like the panel who books
that at five pm. You're invited to join us for
a panel tailor to address the burning questions comedians often Pounder,
We've assembled a dream team of industry experts. It does
not tell us who these industry experts are. John Kablakani's
back at five point fifteen, James Austin Johnson at the
(30:42):
State Theater. At seven, David Nihill listed as a headliner.
Shelf Help Thompson Theater at seven the Moon Tower, all
stars are Saheb Singh, Austin Nassa and Amy Miller. At
seven o'clock at cap City, A friend of the show,
John Marco seven to fifteen, Creak in the Cave, Big
Jay working today. At eight fifteen he's at Vulcan doing
and evening of crowd work. Pete Holmes, He's fantastic. If
(31:05):
you've never seen Pete goc Pete live, there's an opportunity
if you can make it to Austin by nine thirty pm.
He's at the Paramount Theater doing the PG thirteen tour.
Janine Garofolo haven't seen her do comedy in a long time,
stand up comedy. That is nine thirty at the Thompson Theater.
That's pretty cool. And a bunch of other shows to
round out the festival. And now I get to delete
(31:27):
the tab and get back some real estate on my
Safari browser. And that is your comedy news for today.
Hope you enjoyed Andy again. His album is called Beach
Brain and it's streaming and there's an audio version. And
I will see you here tomorrow.
Callaroga Shark Media. Hey there, I'm Johnny Mack with your
daily comedy news. I'm gonna jump right in today. I've
got a guest in the first half. Then we'll take
the break, and then i'll tell you a couple things
on the comedy front. Andy Woodhole has a new album.
It is called Beach Breen. It is his seventh comedy album.
(00:23):
And here's my conversation with Andy. I was checking out
your podcast and I loved that you went all inside
baseball on the recording of the album. You told a
great story about working in crowd laughter. I'll lead you,
but I'd love for you to tell that story to
my audience because I'm increasingly suspect of what I hear
(00:45):
as laughs in Netflix specials. I've got an ear for it.
Short story on me. I programmed serious XM comedy for
ten years, so I sat at a desk listening to comedy.
Speaker 2 (00:56):
Rou Oh yeah, well, hey, thanks for playing me all
those times.
Speaker 1 (01:00):
I'll come back and we'll talk about that a second.
So for you know, ten years, I'm sitting there all
day listening to the stuff, so I kind of know
how audiences react, and I will hear stuff on some
of these Netflix specials, and I'm like, no, no, no, no,
So could you just tell the anecdote that I'm sharing
from your podcast.
Speaker 2 (01:18):
Well, what I think you're talking about is I did
a recording called Live from Elkhart, which you can find,
and I only had one shot at it. Sometimes you
have multiple shots, so if you don't get a joke right,
you can pull it from the next set, but this
one I had one shot at it, So any mistakes
I did, I would just say, hey, I'm made a mistake.
(01:39):
I have to do that joke over. I hope you
guys don't mind. And then so I flubbed this joke.
You know, I said a wrong word here, a wrong
word there, left something out, and then I did it right,
and the audience clapped like I had just finished playing
Freeberg or something. It was an insane reaction. And then
when we went to the editing, it doesn't mean any
(02:00):
sense that this joke is getting that level of laugh So,
while I will swear never on any of my comedy
albums have I had them ad laughs. That was a
moment where I said, you have to take some of
this laughing and clapping away because it seems fake. It
doesn't make sense.
Speaker 1 (02:18):
Are you running into clapter with audiences? I feel like
that's something that's crept into the last ten years. There
was one I don't want to throw anybody on a bus,
but I was watching one comedian who is fantastic and
he did this whole chunk and the audience clapped, and
I'm like, I don't I don't think that's what you're supposed.
Speaker 2 (02:32):
To do there, folks. No, I don't get a lot
of it because I don't think that I am writing
that type of joke. And if there's anyone that doesn't
know what you mean by clapter, it's when a comedian
will say something that the audience agrees with and they
will clap. It's more right then it's funny, and it's
(02:55):
you know, it engages audiences, and I don't know, I
suppose has its place, but that's not what I attempt
to deal in.
Speaker 1 (03:02):
What made you decide to go within audio album? I
appreciate it, you know, in the year of the Netflix special,
the YouTube special, and I still program comedy radio for
Live one, it is great to have, you know, an
old fashioned album.
Speaker 2 (03:16):
Sure, sure, well it's not that. Let me give the
most smart sounding decision. I guess, rather than everyone is
putting out specials. There's all these specials that look amazing,
they're highly produced, there's million dollar budgets. I am still
(03:38):
basically a one man operation. Even though I did do
this one with a comedy record label called Blonde Medicine,
that are fantastic and they're putting out great comics and
you should check them out and listen to everyone whose
album they produce. But a million dollar production buzz it
wasn't in the cards for me. So I thought to
(03:59):
set my apart. I do something different. I do the
audio album, which is how people have been finding my
comedy for the whole time I've been doing comedy is
through things like Serious and Pandora and Spotify, And as
far as the video, it'll just be on YouTube and
it'll just be a straight shots of camera. It's I
didn't want to go halfway, you know. I could have
(04:21):
spent a lot of my own money and I had
a higher production value, but it wouldn't look as good
as a Netflix special, and so I decided it is
what it is. This is a side of the club,
and if you want to see me doing it, you
can see me doing it on YouTube, but otherwise it's
it's audio.
Speaker 1 (04:40):
It's so interesting to me that you say that as
a comedian, because one of the things where you've been
struggling with in podcasting is this whole Hey, you gotta
be on YouTube, you gotta make a video podcast. And
I've struggled with it. Yeah, because for my audience who
were watching this on YouTube, this is what the show
looks like. This is what me recording the podcast looks like.
It's not very interesting. I'm fifty five years old. I
(05:01):
self describe him somewhere between Troll and George Clooney. You
can pick, but you know, I'm not a sexy, hot
chick in her twenties where everybody's gon be like, oh,
let me just randomly click on this thumbnail. It's a
guy with a dumb backdrop and doing comedy headlines. So
you know, I love that. I don't. I don't love,
but I appreciate that you're going through the same kind
(05:23):
of struggle of I can't keep it with a Netflix budget,
like I explain, and I also teach a college class.
If I'm Andrew Schultz and I have a big time politician,
and I've got a couch set up and a three
camera shoot and proper lighting and a PR team. Yeah,
or videos awesome, but a guy in his basement it's
really hard.
Speaker 2 (05:40):
Sure. Yeah, low production as well. YouTube was supposed to be.
Speaker 1 (05:45):
That's what I think it was for a while.
Speaker 2 (05:47):
What it was supposed to be, and now it's it's
great and those things are great, but now it's no
longer as much do it yourself unless you want to
just watch someone's AI edited video, which I I don't.
Speaker 1 (06:01):
Yeah. Yeah. For the album Beach Breen, I was intrigued
by the cover. I'm a Beach Boys fan, and there's
definitely whoever put it together, and maybe you, hopefully you,
because it'll make a more interesting conversation. Definitely went for
that nineteen sixties album cover Vibe. The fonts are right,
the colors are right. Where the where did the album
(06:22):
cover come from?
Speaker 2 (06:23):
Well, I'll take partial credit for the album cover. A
lot of the credit goes towards the good folks over
there at Blonde Medicine, because this is the seventh time
I've put out an album and I have never had
a photo of myself on the cover because I always
felt like when the guy is on the cover of
the comedy album. You know, he's making a face.
Speaker 1 (06:44):
Like I hate that. Oh my god.
Speaker 2 (06:46):
Yes, I didn't know. You know, I never quite felt
like what my face on a cover. So everyone I've
done up until now has been an illustration, and I
wanted to do an illustration again, and people at Blonde
Medicine kind of pushed back a little bit, and they said,
we think you've never had your face on the cover
of an album. I think it's time to put your
face on the cover of an album, especially because things
(07:09):
I've done in the past that have been really popular.
I look much younger, I don't have a beard. You know,
people have a hard time even recognizing me from my
own self from ten years ago. So they convinced me
to do that. So there was a photo shoot, which
was uncomfortable because it's in public. It's not like you're
in a studio. Because I wanted to do it at
(07:30):
the beach, so people are taking photos and I actually
ran into this guy that I was just like a
guy I casually say hi to walking my dog at
the beach, and he saw the whole photo shoot and
then asked me about it. It was incredibly embarrassing and yeah,
I don't know. I had the idea to set on
the beach. I wore the outfit because it's an outfit
(07:51):
my wife bought for me. I agree that I think
it has a cool like beach boys vibe, But I
can't take credit for the outfit. That's I just could
rested by the woman that loves me at the time
in my life, and I'm great with it. I like
living that life, and so she gets the credit for
the outfit. They get the credit for deciding to do
(08:14):
a photo shoot, and I believe they also have a
graphic designer in house that did the final design. But
the photo on the beach with the beach stuff was
was my idea?
Speaker 1 (08:25):
Is that Santa Monica?
Speaker 2 (08:27):
It is Santa Monica. Yeah, so you just.
Speaker 1 (08:29):
Walk out over there to a photo shooting, go.
Speaker 2 (08:31):
Yeah, that's exactly what it was. I walked from our
apartment to the beach. I did a photo shoot in public,
like I'm an Instagram model, and I was spotted by
an acquaintance and it was incredibly embarrassing. And yeah, anyone
that's had to get their photo taken just knows it's
a little embarrassing to have, you know your photography, giant camera,
(08:55):
they're inches away from your face. They always seem way
closer than they need to be, and it's embarrassing in
a studio. So I did mine publicly.
Speaker 1 (09:04):
The thing that caught my eye, and you can make
fun of me in the schoolyard, and I know you
agree to do this interview so that we could talk
about the cover for twenty minutes. It is the Igloo
cooler and I have one of those in red, but
mine is from nineteen seventy six, and I know that
because there's a bi centennial sticker on it that either
(09:25):
my mom or I put on in seventy six. And
as I was just thinking about this interview, I'm like,
I'm hitting the beach with a forty nine year old cooler.
Speaker 2 (09:34):
But it works. Yeah, it's a great cooler. I think
my wife and I liked it because of that kind
of retro design and Easter egg on the album cover.
That cooler is the first thing we ever bought together
as a couple. We pitched in I think twenty dollars
each and bought that forty dollars cooler. And if you
zoom in tight, there's a sticker of my older specials
(09:58):
on the cooler.
Speaker 1 (10:00):
Oh nice, and you're going to have.
Speaker 2 (10:01):
Century sings there? Yeah, I hope, so, I hope. So.
Speaker 1 (10:05):
So you talked about the royalties from digital play, which
is a nice thing. I'll tell you a story is so,
when I first started It's serious, the initial reaction from
the comedians was you're stealing my material. Da da da da,
And then people realized they were selling tickets off it.
But then I was backstage with Ron White, who found
out what I did for a living, and he was
(10:27):
very happy to meet me because he had gotten a
nice significant check with I think at least five zeros
in it. So that guy rid of a whole like
you're a stealing armt. Well that was because we had
blue collar radios that we were playing every fifteen minutes.
But you know that that money's nice there. I wish
more people would put out audio.
Speaker 2 (10:46):
Uh huh, yeah, well I think do people not always
put out audio as well as video? I would think
that every Netflix special has an audio version? Is that
not correct?
Speaker 1 (10:56):
So then the Netflix thing is one of my pet
peeves that again on the Soapbox, I personally wish Grammys
would go to audio things and not Netflix specials. I
think we oh yeah, Emmys for a Netflix special. So
what Netflix will often do is they'll take something like
Chappelle and they'll put it on vinyl and they'll sell
it in the cool record store in Portland, and there's
one hundred copies of it. But technically it's an album.
(11:18):
But you know something, if you wanted to get you know,
Dave Chappelle's most recent special on a CD to drive
around in your car. That's not a thing anymore.
Speaker 2 (11:25):
I don't know if you can get anyone. I mean
even this one that I made that's audio only. I
don't think you can get a CD anyway.
Speaker 1 (11:31):
Oh he lives along. I don't know. I I don't
have a CD player in the car or the computer.
I've probably got one in the back somewhere.
Speaker 2 (11:38):
But I sold CDs for a little bit longer than
I should have, probably because the reason I stopped selling
it because this is an easy thing to sell. After
the show CD and the amount of people that just
want to tell me they didn't have a CD player
got to an amount where I decided to stop selling that.
Speaker 1 (11:55):
You don't want to embarrass yourself and be like, hey,
I'll scan a QR code and it'll download.
Speaker 2 (12:01):
Yeah, And then I did that for a little while.
I did that. I did do that for a while,
and it wasn't that it was embarrassing. I felt that
I wasn't giving people something. You know, it was like
a paper and then I had like higher quality kind
of plastic ones, but I still felt like, you know,
if someone wants to buy something after a show, they
want something, and the QR code, although it gets you
(12:24):
to the album, and it works, and that's how people
do things because things like Spotify and Pandora and serious
are so popular and those albums are available for free,
especially you know, the streaming services like Spotify and Apple
Music where you can click and listen to it straight
through whenever you want. I think you just weren't getting
(12:45):
something when you did the QR codes, and I was
sad to see the CDs go because now I have
to lug around bags of T shirts to show after shows.
And so.
Speaker 1 (12:55):
You talked about your look changing over the years. Sometimes
when I'm on the back end of stuff, I'll pull
up a Naperghetti album and I'm so used to him
with the salt and pepper hair that when I see
the younger version of him on an album cover. I'm like, oh, yeah,
that's what you look like. I mean, we all get older.
You did one of his Nateland showcases.
Speaker 2 (13:14):
How is he?
Speaker 1 (13:15):
How was that? How's it working with that crew?
Speaker 2 (13:17):
They're really Yeah, they're very cool. I think they're doing
a neat thing in comedy because comedy has transitioned to
this online model, you know. I mean still like Netflix
and Hulu now and other streaming services will be putting
out specials and that's great and people are finding comedy
(13:40):
like that. But comedy used to be on Comedy Central
and on late night TV spots, and that's where you
would find new comedians. And Comedy Central used to always
have a show that would showcase people you haven't heard of.
I think there was Premium Blend, and then the one
I did was called Live at Gotham, and I think
there was one after that, like Adam Devine's House Party
(14:03):
or something like that, and it was this cool place
where you could see a little taste of someone you've
never seen before, and that person didn't have to already
have a million followers to be in that position, and
that has gone away. The TV has gone away from that,
and so I think the coolest thing that Bargatsy is
(14:24):
doing is through his own record label, production company whatever,
he has recreated that show where he's introducing the world
to comedians that are funny and otherwise don't have a
platform other than you know, the platform that we all have,
or we can put things on our own. But I
think it's cool that he kind of picked up that ball,
(14:48):
that premium blend Lavigotham ball and is rolling with it.
And that's what Nyland it is, and of course it's
a Bargatsi products, so everything is squeaky clean over there too,
if that's what you're into.
Speaker 1 (15:00):
And I think that makes a lot of sense. I'm
no prude. I like my share of the swear words.
But I remember the first time I met Foxworthy and
this is we're putting together blue Collar Radio, and he
was explaining to me. He said, I used to you know,
work the same way as everybody else. And he held
his hands like this kind of close together, and he said,
and then I stopped cursing, and I picked up the
kids and the grandmothers and he stretched his arms and
(15:22):
that was his whole mindset. You know. I think the
the art of working clean is if you don't notice it,
you've nailed it.
Speaker 2 (15:32):
I totally agree. I don't. I mean, I have been
clean for several years now as far as my stand up,
and I don't necessarily like advertising the shows as clean
shows because I think that comes with kind of a
stigma of boring. If you tell me, do you want
to watch this clean comedian? I don't, but I will
(15:52):
watch someone like Ryan Hamilton who is clean, and then
you don't. It doesn't even hate you tell somebody brings
it up. Oh yeah, he didn't curse. Oh yeah, And
that's what I hope people are saying after they listen
to this new album or the last couple albums that
I've made.
Speaker 1 (16:11):
And I think there's an effect too if you were
mostly clean and a well placed swear word, that can
really just you know, punch a joke for affect, you know.
Speaker 2 (16:21):
Yeah, yeah, I totally agree with that too. It really
uh yeah, it's fun to have one curse in the set. Yeah,
nobody's mad about one curse. You can curse once and
people won't say that it was filthy.
Speaker 1 (16:34):
I like your podcast. It's nice and easy on the ears.
It appears to be an actual backyard and not a
set because.
Speaker 2 (16:42):
You guys are cold, it is and we are cold.
Sometimes it is. It's Tommy Johnigan's backyard and it's comedians
hanging out. We each bring different topics. We have some
recurring segments and honestly, my favorite thing is those are
two of my best friends, Tommy and Alex Stone, and
(17:05):
doing the podcast gives us a reason that we have
to get together at least once a week, and it's
pretty great.
Speaker 1 (17:11):
Is everybody good about holding to the schedule, because that's
one of the pains of doing a podcast with somebody else,
you know, Oh, I'm not around well.
Speaker 2 (17:18):
You know for sure? Yeah, for sure. There'll be times
when people are busy and we'll have people fill in,
or just two of us will do it when we can.
But I would say for the most part, we're able
to always get together and we usually record on Sunday
or Monday, and we usually don't decide until sometimes Sunday
afternoon when it's gonna.
Speaker 1 (17:38):
Be About two weeks ago, you did that Rhode Island,
that Rhode Island Festival Roady I think it was called.
Speaker 2 (17:44):
Oh yeah, Little Roady Comedy Festival.
Speaker 1 (17:46):
There that looked like it was awesome. How was that?
Speaker 2 (17:49):
It was very cool? You know, they put together such
a cool, very cool festival, and it was great for
the comics. My only regret is that I could go
for the whole thing. I was just kind of in
and out. I was only able to make it on
the day for my show and then I left the
next day. But yeah, they put together amazing an amazing thing,
(18:13):
and it is just so fun to be involved in
something with people that care about comedy and love comedy,
because you know I do. I love I love stand up.
I love doing stand up. I feel so lucky to
get to be doing stand up. And sometimes you do
a show and it's all about how many tickets did
you sell? What was it that? Why? Bye bye? I
(18:34):
don't know who even knows what I'm saying. And these
people just genuinely love stand up and you can tell
that by how they put the shows together and how
they treated the comedians.
Speaker 1 (18:45):
At a festival where we have more time, do you
go see other people's shows or is it more about
hanging with the.
Speaker 2 (18:51):
Yeah, for sure, I are to do yeah, yeah, because somebody,
you know, we've been doing comedy for a long time,
so uh, you know, any given festival, you're gonna know
some people, be friends with some people. There's gonna be
some people that you will become friends with if you
have a chance to hang out with them. And there's
usually hangs after the shows or like events during the day,
(19:11):
and plenty of time for people to get together that
are often on the road, and you know, just ships
passing in the night. I guess you know you'll see
You'll be at a club and you look at the
poster like, oh, this month, they're having three people that
I love. I wish that I could say hi to them,
But you're just not at the same place at the
(19:32):
same time. You know, everybody's got their favorite work friends,
and when you're a comedian, they're usually spread across the
entire country on any given night. So when you have
a chance for people to be in the same place,
it's it is special. It's very fun.
Speaker 1 (19:47):
How are you feeding the beast these days on social
media and up burning material? Are you doing crowd work
or how you handling that nightmare?
Speaker 2 (19:54):
I will do. I mean, I do crowd work in
my act, but it is not set. It is not
like and now I'm getting my crowd work clip. I have.
You know, it's organic. And I don't always take the
sets I wish that I did, because I often will
have a moment where I think, oh my god, that
(20:16):
was the most amazing moment. That would be such a
good clip, but I didn't record it, and then I
have to convince myself that is my integrity of the
art form that leads me to not record everything and
to let some things live in the only place that
they will ever be seen at that show, in that moment.
(20:37):
It's integrity. It's not laziness. That's how I feel about it.
And I don't worry about burning material, not even a
little bit, not even not even a little bit. I
have this new special beach Brain. I'm going to put
a clip of every joke that's on it on the internet,
(20:59):
on real, on TikTok. Every single part of it will
be a clip. At some point. I think I'll probably
repost them. It's a numbers game. I think I'm not
the first person to have this point of view. I
don't think, but I think Louis c. K years and
years ago, invented the I have to throw out this hour.
(21:21):
I'm doing a new hour, and I think it makes
sense if you are that level of famous where when
you put something online, twenty million people see it. But
for me, for a lot of people that are forcing
themselves and making a big deal of not burning material,
I think you can put jokes on the internet. Whoever
(21:44):
sees it is going to see it, and then if
they come to the show and they see you do
the joke, I don't think anyone's going to be furious
and demand their money back. In fact, more often than
people telling me I already heard that joke on the internet,
which has been never will complain that I didn't do
their favorite joke that they saw on the internet.
Speaker 1 (22:05):
Are you running into helpful audience members who want to
be the crowd work?
Speaker 2 (22:12):
And no, I'm not, no more than no more than
before you know. I mean there's always a rowdy audience
member from time to time, and as far as yeah,
I know you're talking about, like some comedians are saying,
these crowd work people are ruining comedy audiences because now
comedy audiences want to be a part of the show
and are trying to be a part of the show.
(22:32):
And that's that's something I haven't found to be drue.
I think people still genuinely do not really want to
be talked to during the show. They want to hear
jokes and laugh. It's the reason why it's hardest to
see the front row at every comedy club because they
don't want to be talked to.
Speaker 1 (22:53):
There was just a big thing in the UK and
a theater a pretty big comedian had to throw out
two people from the same show because they would not
interrupting and he had to full stop and get security.
I mean, it's it's got to be hard to get
the room back after that.
Speaker 2 (23:06):
Yes, yes, that would be.
Speaker 1 (23:08):
I mean.
Speaker 2 (23:09):
The one thing that is good is that in the
situations I've been in where people had to be kicked out,
they were such a disturbance that by the time they
do kick them out. The thing that's not hard about
recovering is people are happy because I'm if any if
someone's getting kicked out of my show, it's not because
(23:31):
they pissed me off and I'm like, get this person
out of here. If someone is kicked out of my show,
they are being such a disruption to the other people
that paid the venue, is like, we need to remove
these people or else. Twenty people are going to complain
so often when someone is escorted out, there will be
(23:52):
a huge round of applause and the comedian will be like, hey,
aren't you glad those jerks are gone? And the show
rolls up on.
Speaker 1 (24:01):
What's coming up for you in the next couple months?
What can we look forward to?
Speaker 2 (24:06):
Well, I am on the road for forever. I got
lots of shows coming up. You can see them all
at andy Woodhall dot com. Please watch the new special
Beach Brand on YouTube or listen to it wherever you want.
The difference between I should say this is the difference
between the YouTube version and the difference between the audio version,
(24:28):
is the audio version is edited because things need to
lead live and make sense as single jokes. If that
If that makes sense. Sure, So when you edit a
special together, I take any crowd work that happened out
for the audio version, I take out mistakes, I take
(24:51):
out this and that little things, and I thought a
fun way to do the YouTube which would maybe hopefully
set this apart from other people posting on YouTube is
I don't take any of that stuff out. So it's
like seven minutes difference in time the audio version and
the YouTube version of mistakes and references and crowd work
(25:15):
and natural, organic moments that only happen when you see
live comedy. That's on the YouTube thing that's not in
the album version, because you know you programmed Serious, there's
not going to be a track of guy drops his glass.
That's a waste, you know, for no one that anyone
that wasn't there. That's not additive to the show.
Speaker 1 (25:37):
So also pro tip for all comedians putting out audio albums,
make your tracks about four and a half to five
minutes long. Those ninety second tracks, we don't schedule those.
Speaker 2 (25:48):
Oh that is great tips that you could be giving
out all those things that I have been told, Yeah,
four to five minutes. What else? I think comedians listening
would love to hear that, because I've been lucky enough
to have gotten these tips from people like you, or
maybe even directly from you through a third person, of
(26:10):
what you need to be thinking about when you're editing
stuff together in hopes of getting play on Serious.
Speaker 1 (26:17):
So, yeah, so you want, as you alluded to, you
want each track to be a complete Chunk's not the
right word, you know, I'm saying a complete thought. So
at a beginning and an ending to the individual track,
Like I said, the ninety second, they're too short. Anything
over seven is too long. Because you want to keep
things moving, having a clean version definitely helps. That was
(26:38):
the thing when I first took over programming, the Clean
Channel was way harder than the Naughty Channel because there
just wasn't the material and the stuff that was there
was you know, lame or God's Squad comedians that it
just didn't have the coolness factor. So we wound up
playing a lot of New Heart and Cosby and you know,
(27:00):
then the Cosby Library became something that you know that
so if you've got a clean version of something, that's
very valuable.
Speaker 2 (27:10):
And somebody told me once when I was recording albums,
because I've always skewed clean, and there will be like
one or two just you know, adult jokes on the album,
maybe one or two curses, especially in my older albums.
And you know, it was somebody in a position like
yours that told me, you know, think about doing it
(27:33):
all clean and you wouldn't have to make a big
difference because we get like ten to one submissions for
the dirty channels versus the clean channels. Was it still
about that ratio or is that totally off?
Speaker 1 (27:50):
I think I wish it were ten to one. I mean,
like if you put out a clean alm or Nate
puts out a clean Apple, Gaffigan puts out something that's clean.
He has kind of at least on his album work.
He cursed a little more on his early work, but
I think the last few have been straight clean. That
is just gold. Like you know, a listers, I can
immediately schedule that's exactly what you want.
Speaker 2 (28:11):
It's interesting.
Speaker 1 (28:12):
Last question for me, who's out there that might be
off the audience's radar, Funny people that we should know about.
Speaker 2 (28:21):
Well, I don't know if they're off people's radar or not,
but I always well list my friends. Pat McGann is
doing great. You can see if you've seen Sebastian Maniscalco
in the last couple of years, you probably saw Pat
McGann opening for him. He's so funny. I have a
friend Mike Cronin who is very funny that's opening for
(28:42):
me this weekend. Check him out. He's doing a YouTube
series right now about making one lash push to become
successful as a comedian, just like one last shot at it,
which I think is pretty compelling and I'm jealous. I
didn't think of it, and I think, hands down the
(29:03):
funniest comedian that I've never seen, not kill that. People
maybe don't know about a guy named Kevin Boseman out
of Chicago, and he just is lights out funny. You
gotta see his live show. He never he always kills.
He always kills, no matter the situation. And yeah, that's
(29:26):
that's the guy I always say. You want me to
name a comedian you should check out that's not famous.
Check out Kevin Boseman.
Speaker 1 (29:33):
Super awesome. Ho'm glad we got to catch up today.
Appreciate you coming on.
Speaker 2 (29:37):
Yeah, thanks for having me, John, and I appreciate it.
Thank you.
Speaker 1 (29:40):
And I don't want to ignore the final night of
the Moontower Comedy Festival. If I counted correctly, they have
thirty nine shows on their website. I won't mention them all.
We'll talk about headliners and some of the catch my eye.
Zarni Gark four o'clock show at the Paramount Theater. That
might even be too early for me. I mean, I
like to go to bed early, but would be done
(30:00):
at five thirty. Big Jay Okerson special screening at the
State Theater, also at four o'clock today. What is this
clicks on link to read. I assume this is a
special screening of his upcoming crowd work special Them They,
because that's what the cover art says, and apparently Them
They is out tomorrow on YouTube. You learn something new
(30:21):
every day. Industry types might like the panel who books
that at five pm. You're invited to join us for
a panel tailor to address the burning questions comedians often Pounder,
We've assembled a dream team of industry experts. It does
not tell us who these industry experts are. John Kablakani's
back at five point fifteen, James Austin Johnson at the
(30:42):
State Theater. At seven, David Nihill listed as a headliner.
Shelf Help Thompson Theater at seven the Moon Tower, all
stars are Saheb Singh, Austin Nassa and Amy Miller. At
seven o'clock at cap City, A friend of the show,
John Marco seven to fifteen, Creak in the Cave, Big
Jay working today. At eight fifteen he's at Vulcan doing
and evening of crowd work. Pete Holmes, He's fantastic. If
(31:05):
you've never seen Pete goc Pete live, there's an opportunity
if you can make it to Austin by nine thirty pm.
He's at the Paramount Theater doing the PG thirteen tour.
Janine Garofolo haven't seen her do comedy in a long time,
stand up comedy. That is nine thirty at the Thompson Theater.
That's pretty cool. And a bunch of other shows to
round out the festival. And now I get to delete
(31:27):
the tab and get back some real estate on my
Safari browser. And that is your comedy news for today.
Hope you enjoyed Andy again. His album is called Beach
Brain and it's streaming and there's an audio version. And
I will see you here tomorrow.
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