So this week I sit down with Killtony alum, G Pow. G Pow has been coming around the comedy clubs and making a name for himself here in Austin. Originally from New Jersey, G Pow brings his observational, semi-clean humor to the stage, and he’s undeniably funny! I certainly enjoyed the wonderful and humorous conversation we had, and I know you will too.
We once more get into different things that we both find funny and relate to comedians that we both share a love for! So strap on your suspenders and hang on, 'cause this is going to be a fun episode!
Thanks for doing the show, G Pow!
- Trey
Follow G Pow:
https://www.instagram.com/gpowcomedy/
https://www.instagram.com/cagedcatproductions/
Only Bombs! Links:
00:00:45 --> 00:00:48 G -Pow. How you doing, man? Good, Trey. How you
00:00:48 --> 00:00:51 doing, man? Oh, good. Good. Just chilling, man.
00:00:51 --> 00:00:54 I'm happy to have you on the show. I'm happy
00:00:54 --> 00:00:57 to be here. Thank you. Hell yeah, man. I saw
00:00:57 --> 00:01:01 you at The Creek do your set and shit. And in
00:01:01 --> 00:01:03 doing that, I found out that you were on Kill
00:01:03 --> 00:01:07 Tony and you did really well on Kill Tony. And
00:01:07 --> 00:01:08 I was like, oh, look at that, man. I'm like,
00:01:08 --> 00:01:10 I think this is the first time I haven't seen
00:01:10 --> 00:01:13 somebody on Kill Tony before asking them. You
00:01:13 --> 00:01:16 know what I mean? Yeah. But, uh, I guess kick
00:01:16 --> 00:01:18 it all off, man. I wanted to get like, you know,
00:01:18 --> 00:01:20 get people to know who you are and stuff like
00:01:20 --> 00:01:25 that. And, uh, so origin of G pow. Yeah. I mean,
00:01:25 --> 00:01:29 it's, uh, it's my name. It's actually my name.
00:01:29 --> 00:01:33 Um, well, it's technically G po, but, uh, just
00:01:33 --> 00:01:35 phonetically speaking, how it's spelled, I figured
00:01:35 --> 00:01:37 this is kind of a cool stage name too. You know,
00:01:37 --> 00:01:41 pow punch lines. I feel like it's a, like a good,
00:01:41 --> 00:01:45 like comedic, like sounding. I think so, yeah.
00:01:45 --> 00:01:48 And it fits you, because it's your name. I guess,
00:01:48 --> 00:01:51 yeah. There's no fabrication, only slight, but.
00:01:51 --> 00:01:54 Right, it's exactly who you are. Yeah, exactly.
00:01:55 --> 00:01:57 Where are you from originally? I was born and
00:01:57 --> 00:02:00 raised in New Jersey, North New Jersey. Oh, wow.
00:02:01 --> 00:02:04 And yeah, I moved down to Austin about eight
00:02:04 --> 00:02:07 months ago at this point. Oh, hell yeah, dude.
00:02:07 --> 00:02:10 So you haven't been here very long at all. Nope.
00:02:10 --> 00:02:14 What do you think? Get that question a lot. Yeah,
00:02:14 --> 00:02:16 I bet I'm I'm still figuring it out because I'm
00:02:16 --> 00:02:21 pretty much like Comedy work home. That's my
00:02:21 --> 00:02:24 gist, you know, but uh, I do especially when
00:02:24 --> 00:02:25 my folks come into town I try to venture out
00:02:25 --> 00:02:28 a little bit and like we kind of explore Austin
00:02:28 --> 00:02:33 together and I like it especially it has the
00:02:33 --> 00:02:37 The country feel like it's not so city but with
00:02:37 --> 00:02:40 the city here Yeah compared to New York City
00:02:40 --> 00:02:45 where it's all just like traffic and noise and
00:02:45 --> 00:02:48 just craziness all the time. Okay. Yeah. So you're
00:02:48 --> 00:02:51 really familiar with that major metropolitan
00:02:51 --> 00:02:54 thing. Totally. Totally. Where you're from, are
00:02:54 --> 00:03:00 you from a big city like that or? No. Where I
00:03:00 --> 00:03:04 was in New Jersey, it's suburbs for sure. I grew
00:03:04 --> 00:03:07 up in a city essentially but - I was so young
00:03:07 --> 00:03:09 then I really didn't process it. And then my
00:03:09 --> 00:03:12 family moved to the suburbs when I was like five.
00:03:13 --> 00:03:15 Um, so that's kind of like what I was used to
00:03:15 --> 00:03:18 is more the, uh, like the combination of like
00:03:18 --> 00:03:20 accessibility of the city, but at the same time,
00:03:20 --> 00:03:22 it's like quiet cul -de -sacs and things like
00:03:22 --> 00:03:25 that. So, um, I think naturally like that being
00:03:25 --> 00:03:28 part of my life, I've always been more into like
00:03:28 --> 00:03:30 the rural environment, like what you can't have
00:03:30 --> 00:03:35 type deal. Um, so. There was always in New Jersey
00:03:35 --> 00:03:36 is a funny place. Have you been there before?
00:03:37 --> 00:03:39 No, no No, it's an interesting place because
00:03:39 --> 00:03:41 everyone thinks like Tony soprano, you know,
00:03:41 --> 00:03:44 they think everybody's like it's all mmm like
00:03:44 --> 00:03:49 that, but it's really There's rural areas. There's
00:03:49 --> 00:03:51 suburbs. There's cities and it's like unique
00:03:51 --> 00:03:54 in that sense. You can go anywhere and 40 minutes,
00:03:55 --> 00:03:57 you know, okay. Yeah, because when you said New
00:03:57 --> 00:03:59 Jersey, I was like, man, why aren't you talking
00:03:59 --> 00:04:03 like that? Exactly aren't you all supposed to
00:04:03 --> 00:04:07 talk like that? Yeah, whatever the fuck that
00:04:07 --> 00:04:11 even is Capacola That's how they pronounce it
00:04:11 --> 00:04:13 like the Italian Americans. I mean, I grew up
00:04:13 --> 00:04:17 around a bunch from no doubt, but They have interesting
00:04:17 --> 00:04:20 like moots instead of mozzarella or like they
00:04:20 --> 00:04:23 have their own little Muts. Yeah, fun takes on
00:04:23 --> 00:04:28 words. Muts. Or a gunol instead of a cannoli,
00:04:28 --> 00:04:32 like it's kind of... Oh. Yeah. Dang, are you
00:04:32 --> 00:04:34 like Italian? No. No, you just know all this
00:04:34 --> 00:04:37 stuff because of New Jersey? It's proximity,
00:04:37 --> 00:04:42 you know, it's everything. Proximity. Why Austin,
00:04:42 --> 00:04:47 of all places? Well, it's, you know, I took on
00:04:47 --> 00:04:50 more of a role with my family. I have a girlfriend,
00:04:50 --> 00:04:53 I don't know if you saw the KT moment, but I
00:04:53 --> 00:04:54 do have an older girlfriend, that's actually
00:04:54 --> 00:04:59 real. And she has her family, and we wanted to
00:04:59 --> 00:05:01 kind of integrate us with them a little bit better.
00:05:02 --> 00:05:03 And the thing about New Jersey, what I was paying
00:05:03 --> 00:05:05 for a two -bedroom apartment up there, I'm paying
00:05:05 --> 00:05:08 for a four -bedroom house down here. So that
00:05:08 --> 00:05:11 was a huge part of it, is being able to get part
00:05:11 --> 00:05:14 of her family down there, like down here, and
00:05:14 --> 00:05:16 then also like me still being able to pursue
00:05:16 --> 00:05:20 comedy. It was like... It was like the, it was
00:05:20 --> 00:05:22 a match made in heaven, seriously. That's really
00:05:22 --> 00:05:24 awesome. Yeah. So did you start comedy in Jersey?
00:05:25 --> 00:05:28 Yes, I did. I was in New Jersey for about 10
00:05:28 --> 00:05:31 months doing comedy. Um, you know, and a lot
00:05:31 --> 00:05:33 of it was like, it was a coping mechanism initially
00:05:33 --> 00:05:36 for me being a bigger guy. You know, it's like,
00:05:36 --> 00:05:38 you always have to defend yourself and you kind
00:05:38 --> 00:05:40 of like, I was never a physically like fight
00:05:40 --> 00:05:42 someone kind of guy. So I always try to use my
00:05:42 --> 00:05:45 words. And in all honesty, like in school, I
00:05:45 --> 00:05:47 was not good at like the roasts and stuff like
00:05:47 --> 00:05:50 that. And like, But it developed over time because
00:05:50 --> 00:05:52 I would watch like Chappelle. I'd watch all these
00:05:52 --> 00:05:54 comedy shows. I would watch like Roast Battle.
00:05:54 --> 00:05:57 And you know, you kind of, I kind of developed
00:05:57 --> 00:06:00 like an enjoy, like I enjoyed doing it at that
00:06:00 --> 00:06:03 point. And yeah, I never thought about doing
00:06:03 --> 00:06:08 stand -up per se until I'm trying to think. It
00:06:08 --> 00:06:10 was like a New Year's resolution of mine to put
00:06:10 --> 00:06:13 more into myself. Cause I felt like I wasn't
00:06:13 --> 00:06:16 like, I was always taking care of like, oh, I
00:06:16 --> 00:06:18 got to work or oh, I got to do this for somebody
00:06:18 --> 00:06:20 else, you know? Mm -hmm. So I decided like once
00:06:20 --> 00:06:24 a week, I would like give myself time to like
00:06:24 --> 00:06:26 do something I enjoyed. And it came across as
00:06:26 --> 00:06:28 like, I went to comedy shows for 52 weeks straight.
00:06:29 --> 00:06:32 Wow. Every week. And my girlfriend's like, why
00:06:32 --> 00:06:34 don't you like try doing it? And I'm like, I
00:06:34 --> 00:06:36 don't know if I'm funny enough. She's like, you're
00:06:36 --> 00:06:39 funny enough. So yeah, she's, yeah, she's been
00:06:39 --> 00:06:41 like my biggest supporter, my biggest fan, like.
00:06:42 --> 00:06:45 Yeah, so that's kind of like how my comedy like
00:06:45 --> 00:06:47 manifested is like I always thought of it as
00:06:47 --> 00:06:50 like fun to watch and Then when I started doing
00:06:50 --> 00:06:52 it, it's like wow therapy so much cheaper now,
00:06:52 --> 00:06:55 you know Oh, wow. Yes getting on stage and just
00:06:55 --> 00:06:57 like talking about things that I find funny and
00:06:57 --> 00:06:59 like seeing how other people react to it and
00:06:59 --> 00:07:01 It's like relatable for people that I wouldn't
00:07:01 --> 00:07:04 even think would be relatable, you know. Mmm.
00:07:04 --> 00:07:07 Yeah. Yeah, man That's kind of that's kind of
00:07:07 --> 00:07:09 the reason why I get it and got into it, but
00:07:09 --> 00:07:14 I didn't use the stage as a way to say the personal
00:07:14 --> 00:07:16 things that were going on, I kind of started
00:07:16 --> 00:07:20 off by just saying just jokes. You know what
00:07:20 --> 00:07:23 I mean? Did you hit the stage, since you said
00:07:23 --> 00:07:25 that it was kind of a therapeutic thing, did
00:07:25 --> 00:07:29 you hit that just being completely open or did
00:07:29 --> 00:07:32 you start off just saying whatever jokes for
00:07:32 --> 00:07:35 now? Yeah, I mean, my comedy's definitely evolved
00:07:35 --> 00:07:38 over time because it did start. Like almost entirely
00:07:38 --> 00:07:41 as observational, like what I thought of other
00:07:41 --> 00:07:43 people. Yeah. You know, and being able to say
00:07:43 --> 00:07:44 that and people would like give me the gratification
00:07:44 --> 00:07:47 of like, yeah, I think that's right. You know?
00:07:47 --> 00:07:50 And, um, I mean, it was good for a time and then
00:07:50 --> 00:07:52 I like learned joke structure and I found that,
00:07:52 --> 00:07:55 um, through joke structure and like looking at
00:07:55 --> 00:07:58 my own life and things that were going on. I
00:07:58 --> 00:08:00 found that some of the biggest things that people
00:08:00 --> 00:08:02 liked is like things they could relate to. Yeah.
00:08:03 --> 00:08:05 So I would talk about my family and I would talk
00:08:05 --> 00:08:07 about like work and I would talk about different
00:08:07 --> 00:08:10 things, but make it in a way that's like, it's
00:08:10 --> 00:08:12 relatable, but it's also unique at the same time.
00:08:12 --> 00:08:14 Yeah. Like the age gap is the biggest thing I
00:08:14 --> 00:08:16 always go to is like the age gap relationship.
00:08:16 --> 00:08:18 Everyone's like, you know, I wonder what it would
00:08:18 --> 00:08:20 be like to date an older woman. And then I talk
00:08:20 --> 00:08:23 about it and like explain it's, it's great in
00:08:23 --> 00:08:24 some ways and other ways it's interesting. You
00:08:24 --> 00:08:27 know, it's like the fun balance of it all. Yeah.
00:08:27 --> 00:08:30 And I think. because I'm a super authentic guy.
00:08:30 --> 00:08:33 I love just being myself. I think it comes off
00:08:33 --> 00:08:36 a lot better on stage. Yeah. People tend to like
00:08:36 --> 00:08:39 it more. Yeah, because they get a real sense
00:08:39 --> 00:08:42 of who you are as a person. That's all they really
00:08:42 --> 00:08:47 want. I learned that too when I started actually
00:08:47 --> 00:08:50 opening up a little bit more. I was like, people
00:08:50 --> 00:08:55 seem to laugh more. Excuse me. People tend to
00:08:55 --> 00:08:58 laugh more when they, when they understand and
00:08:58 --> 00:09:02 relate to what you're talking about. So when
00:09:02 --> 00:09:05 you started getting those laughs and things,
00:09:05 --> 00:09:08 especially like on KT, you got like a fuck ton
00:09:08 --> 00:09:11 of laughs. That must have been an exhilarating
00:09:11 --> 00:09:15 thing for you when you're putting your stuff
00:09:15 --> 00:09:19 out there. Did you feel discouraged in the beginning
00:09:19 --> 00:09:23 without any laughter or were you always just
00:09:23 --> 00:09:26 nailing it? Yeah, definitely wasn't nailing it
00:09:26 --> 00:09:31 off. Yeah, a lot of it was Like I would write
00:09:31 --> 00:09:32 during the week and I'd be like, oh this is gonna
00:09:32 --> 00:09:34 murder on the open mic and you go there and it
00:09:34 --> 00:09:39 just Crickets that is the worst Yeah, people
00:09:39 --> 00:09:41 are like, what are you even talking about, you
00:09:41 --> 00:09:44 know and right? New Jersey's an interesting scene
00:09:44 --> 00:09:47 too because it's not it's not like Austin where
00:09:47 --> 00:09:49 like you can you have Accessibility to comedy
00:09:49 --> 00:09:51 like you have to actually go out and find comedy
00:09:51 --> 00:09:54 and there's like maybe one open mic each night
00:09:54 --> 00:09:56 but then to be put on a show, if you haven't
00:09:56 --> 00:09:59 been doing it four or five years, best of luck.
00:10:00 --> 00:10:02 Yeah. It's really tough like that. Yeah. Wow.
00:10:02 --> 00:10:05 Wow. Because there's hubs in New Jersey. One
00:10:05 --> 00:10:09 of them is, excuse me, Jersey City, which is
00:10:09 --> 00:10:14 a city. It's not like a suburb at all, but there's
00:10:14 --> 00:10:17 a core group of guys there that - all run shows
00:10:17 --> 00:10:19 and all kind of like help each other out. And
00:10:19 --> 00:10:21 yeah, they put people on here and there, but
00:10:21 --> 00:10:23 like they have their core group of people that
00:10:23 --> 00:10:26 they put on their shows. And then, um, like Hoboken,
00:10:26 --> 00:10:28 there's like all different areas just have their
00:10:28 --> 00:10:31 one little like not click, but like people that
00:10:31 --> 00:10:32 are comfortable putting on shows that they know
00:10:32 --> 00:10:35 are going to go do well and like draw people.
00:10:35 --> 00:10:38 So, um, I feel like down here, it's like, you
00:10:38 --> 00:10:41 can hit five mics in a night. Yes. You can hit
00:10:41 --> 00:10:44 multiple shows in a night and, uh, like. it's
00:10:44 --> 00:10:47 really beneficial for honing your craft down
00:10:47 --> 00:10:49 here, I feel. Mm -hmm. Yeah, I actually just
00:10:49 --> 00:10:53 put out a clip about that very thing. It was
00:10:53 --> 00:10:56 a conversation I had with Monterey, and she works
00:10:56 --> 00:11:00 at the Mothership, and, you know, I was telling
00:11:00 --> 00:11:03 her about, like, how I've spoken to comics who,
00:11:03 --> 00:11:05 they came out here, and, like, the first stage
00:11:05 --> 00:11:09 that they ever went on was the Mothership. And
00:11:09 --> 00:11:11 that just like, that just blew my damn mind.
00:11:11 --> 00:11:13 It blew my mind too, yeah. Yeah, to think that
00:11:13 --> 00:11:16 it's that accessible and everything. So it must
00:11:16 --> 00:11:18 have been like, you know, you must have been
00:11:18 --> 00:11:20 like freaking out when you got here and you realized
00:11:20 --> 00:11:24 you can just go anywhere. Yeah, I mean, just
00:11:24 --> 00:11:28 the pure volume of it, I think was the one thing
00:11:28 --> 00:11:30 that like really gripped me because yeah, there
00:11:30 --> 00:11:32 was accessibility to the mothership mics, but
00:11:32 --> 00:11:35 like, well, I'm using that one in particular
00:11:35 --> 00:11:38 because I wanted to make sure that I was, like,
00:11:39 --> 00:11:43 on point, like, entirely with my set before I
00:11:43 --> 00:11:45 did the mothership mic. I still haven't been
00:11:45 --> 00:11:47 called on the mothership mic yet after signing
00:11:47 --> 00:11:49 up for a while. And, like, I think Kill Tony
00:11:49 --> 00:11:51 is one of those things where I feel like you
00:11:51 --> 00:11:53 can kind of work it a little bit more because
00:11:53 --> 00:11:55 you have, like, the interview portion to kind
00:11:55 --> 00:11:59 of lean on too. So I was always signing up for
00:11:59 --> 00:12:00 Kill Tony, but the mothership mic, it's been,
00:12:00 --> 00:12:04 like... Probably I'd say a month, a month and
00:12:04 --> 00:12:06 a half that I just started signing up for it.
00:12:06 --> 00:12:10 Um, because like, I don't mind going to another,
00:12:10 --> 00:12:12 another mic and not doing well or like trying
00:12:12 --> 00:12:13 stuff out, but like, I really wanted to bring
00:12:13 --> 00:12:16 my best. Like when I, when I do the mothership
00:12:16 --> 00:12:19 mic. So yeah, yeah, absolutely. I, I used to
00:12:19 --> 00:12:23 go and try to get on that one. And then I, uh,
00:12:23 --> 00:12:27 I started working on Sundays, basically. I work
00:12:27 --> 00:12:32 every day, essentially. What's your approach
00:12:32 --> 00:12:35 to joke writing? Do you just see something and
00:12:35 --> 00:12:37 you're like, oh, wait, that's funny and then
00:12:37 --> 00:12:40 just write it down? Or do you just sit with a
00:12:40 --> 00:12:42 pen and a pad and just say, all right, I got
00:12:42 --> 00:12:47 some ideas, I just want to hash them out? It's
00:12:47 --> 00:12:50 a combination of things because I feel like instances
00:12:50 --> 00:12:53 will Breed more like premises and breed more
00:12:53 --> 00:12:57 like ideas for me And those all like write down
00:12:57 --> 00:12:59 I have my notes app in my phone or like I always
00:12:59 --> 00:13:02 carry a pen and paper on me So like times it'll
00:13:02 --> 00:13:06 be that but there's also times that I know and
00:13:06 --> 00:13:09 I have no inspiration I sit down and I like I
00:13:09 --> 00:13:10 don't want to say force because there's an I
00:13:10 --> 00:13:13 give connotation to it but like I'll make myself
00:13:13 --> 00:13:15 go through and go through the writing process
00:13:15 --> 00:13:19 like I have a I have like a few different like
00:13:19 --> 00:13:21 styles and certain ways that I write jokes that
00:13:21 --> 00:13:24 I feel like if I plug and play things in my life
00:13:24 --> 00:13:27 into it, like things will come out of it. Um,
00:13:28 --> 00:13:30 so that's why I find it beneficial to like, even
00:13:30 --> 00:13:32 when you don't want to write and even when you
00:13:32 --> 00:13:34 feel like you have no inspiration, like sit down
00:13:34 --> 00:13:37 and stare at a topic. Sure. You know, and sometimes
00:13:37 --> 00:13:39 like some of my best jokes have come from that
00:13:39 --> 00:13:41 because you're like, You have to mentally put
00:13:41 --> 00:13:43 yourself in the zone of the joke and you're like,
00:13:43 --> 00:13:45 okay, this is the only thing I have right now
00:13:45 --> 00:13:48 to work with. Okay. We got this that goes on
00:13:48 --> 00:13:50 with it. We can do that with it, you know, and
00:13:50 --> 00:13:52 that's why I find different angles or like, I'll
00:13:52 --> 00:13:55 refer to old jokes, um, or like premises that
00:13:55 --> 00:13:58 I'm like, make no sense to me. Yeah. And like
00:13:58 --> 00:14:01 the challenge of having to like integrate it
00:14:01 --> 00:14:03 into like my onstage persona. Cause that's another
00:14:03 --> 00:14:07 thing I find that makes like. Makes comedy easier
00:14:07 --> 00:14:09 for people is like if you have a genuine like
00:14:09 --> 00:14:13 persona to who you are like almost yeah Like
00:14:13 --> 00:14:15 what other people see you as I feel like it kind
00:14:15 --> 00:14:17 of helps you generate jokes naturally through
00:14:17 --> 00:14:20 that yeah Yeah, do you um do you have somebody
00:14:20 --> 00:14:24 that you kind of? Took after as far as joke writing
00:14:24 --> 00:14:27 goes I did you like for example like I really
00:14:27 --> 00:14:29 liked that kind of sounds like what you're saying
00:14:29 --> 00:14:31 kind of sounds like Jerry Seinfeld's way of doing
00:14:31 --> 00:14:36 it yeah, where he just sort of like puts everything
00:14:36 --> 00:14:40 away, and even his wife, I guess, knows that
00:14:40 --> 00:14:42 he's going and he's writing jokes, and he says
00:14:42 --> 00:14:44 that he just sits in front of a blank piece of
00:14:44 --> 00:14:48 paper essentially. Do you have somebody that
00:14:48 --> 00:14:50 you were just like, oh, that method might actually
00:14:50 --> 00:14:52 work for me, or is it something that you developed
00:14:52 --> 00:14:55 on your own? It's definitely a hybrid. Like,
00:14:55 --> 00:14:57 okay, I'm going to pull this out. I didn't want
00:14:57 --> 00:15:02 to, but I will. Bring it, dude. So I have my
00:15:02 --> 00:15:05 notebook, right? But I literally have just random
00:15:05 --> 00:15:09 receipts of paper with different random premises
00:15:09 --> 00:15:11 that when they come to my mind and I'm like,
00:15:11 --> 00:15:13 let me write it down real quick. This is 100
00:15:13 --> 00:15:16 % Mark Norman. I was just about to say that.
00:15:16 --> 00:15:17 I was just about to say, I'm like, dude, I think
00:15:17 --> 00:15:20 on the Hot Breath podcast, I think Mark Norman
00:15:20 --> 00:15:23 was saying something. That's how he does it.
00:15:23 --> 00:15:26 Yeah. And seeing him do that, and I was like,
00:15:26 --> 00:15:29 that is how the controlled scatter of my brain
00:15:29 --> 00:15:31 works too. Oh, that's fantastic. You know what
00:15:31 --> 00:15:33 I mean? And it's like I can go through that any
00:15:33 --> 00:15:35 time and I'll be like, oh, I can reference to
00:15:35 --> 00:15:38 this joke or like work on different things. So
00:15:38 --> 00:15:40 like that's definitely a big part of it. But
00:15:40 --> 00:15:43 also like as far as style and cadence, I'm like
00:15:43 --> 00:15:46 a big comedy nerd. So I like always look at the
00:15:46 --> 00:15:49 things that people are like so unnecessary, but
00:15:49 --> 00:15:51 I love it anyways, like laughs per minute. I'm
00:15:51 --> 00:15:54 big on that. So like even like Pat O 'Neill,
00:15:54 --> 00:15:57 like more recently, his style of joke writing
00:15:57 --> 00:15:59 really appeased me to where he gets note cards
00:15:59 --> 00:16:02 and he has like all his premises set up and he'll
00:16:02 --> 00:16:04 like go on stage and like just one by one them
00:16:04 --> 00:16:06 and just see what works, see what carries and
00:16:06 --> 00:16:09 see what people adhere to and then kind of build
00:16:09 --> 00:16:11 from there. And then, um, like I've always been
00:16:11 --> 00:16:14 a big fan of David Tell and he just like, he
00:16:14 --> 00:16:17 could jam six laughs into one joke where one
00:16:17 --> 00:16:19 person would get one, you know? Yeah, dude. Oh
00:16:19 --> 00:16:22 my God. Yeah. That, that very thing that you're
00:16:22 --> 00:16:25 talking about is absolutely fucking insane. Like
00:16:25 --> 00:16:27 how he could just like make a joke and he's touching
00:16:27 --> 00:16:29 on like four or five different things at one
00:16:29 --> 00:16:32 fucking time. It's like with one joke, he can
00:16:32 --> 00:16:35 get like four different kinds of people. It's
00:16:35 --> 00:16:37 like. Oh, that was the big inspiration for my
00:16:37 --> 00:16:40 opening line on kill Tony. Yes. Uh, I look like
00:16:40 --> 00:16:42 I carved benches and stress testing with my ass.
00:16:42 --> 00:16:46 Like it's like, it touches on. the blue collar
00:16:46 --> 00:16:49 look, the weight look, the suspenders, the boots,
00:16:50 --> 00:16:52 the style that I come out in, you know, and then
00:16:52 --> 00:16:55 it translates into like, okay, the older woman
00:16:55 --> 00:16:58 in my life and just like, it touches on so many
00:16:58 --> 00:17:01 different things and that's all like a tell where
00:17:01 --> 00:17:04 you can have a setup be a punchline at the same
00:17:04 --> 00:17:08 time. Yeah. It's just. Dude, yeah, it blows your
00:17:08 --> 00:17:10 fucking mind. Yeah, because it really is true,
00:17:10 --> 00:17:13 because that is what I thought when I saw your
00:17:13 --> 00:17:16 set. I was just like, yeah, there's so many different
00:17:16 --> 00:17:19 openings here that you can go with, and you explored
00:17:19 --> 00:17:21 it. It's almost like you could have gone in any
00:17:21 --> 00:17:25 direction, and anybody would have been like,
00:17:25 --> 00:17:28 oh, I saw him going there. It was really good,
00:17:28 --> 00:17:31 so you took a tell from that. Dave, a tell, huh?
00:17:31 --> 00:17:34 Yeah, and I think... What I like a lot about
00:17:34 --> 00:17:38 Attel is he's very, uh, he observes himself.
00:17:38 --> 00:17:42 Yeah. Self observational. And I almost like all
00:17:42 --> 00:17:44 my jokes start with a form of self observation
00:17:44 --> 00:17:47 because I feel like, I feel like you invite the
00:17:47 --> 00:17:49 audience into the laughter with them knowing
00:17:49 --> 00:17:51 you can joke about yourself too. Yes. It's not
00:17:51 --> 00:17:53 like a finger pointing this way all the time.
00:17:53 --> 00:17:56 It's like a little bit of this, you know? Um,
00:17:56 --> 00:17:59 and I feel like that's been really working for
00:17:59 --> 00:18:02 me is really like, saying something about myself,
00:18:03 --> 00:18:05 like, you know, I know I look like I licked nacho
00:18:05 --> 00:18:08 cheese off WrestleMania 3 VHSs, you know? Like,
00:18:10 --> 00:18:12 it plays to a weird, like, because I feel like
00:18:12 --> 00:18:13 I'm very, like, blue -collar Americana, like,
00:18:13 --> 00:18:16 in my approach with things, because that's, like,
00:18:16 --> 00:18:18 nostalgia to me growing up, and I love talking
00:18:18 --> 00:18:21 about that stuff. And I feel like, yeah, it's
00:18:21 --> 00:18:23 like I'll throw something out there like that,
00:18:23 --> 00:18:25 and then you can go about, like, wrestling, you
00:18:25 --> 00:18:27 know, nacho cheese. You can talk about, like,
00:18:27 --> 00:18:30 being weird, you know, and... Feel like it's
00:18:30 --> 00:18:32 fun because it's again. It's like the setup in
00:18:32 --> 00:18:35 the punchline almost simultaneously Yeah, you
00:18:35 --> 00:18:37 know you get that first laugh in the first like
00:18:37 --> 00:18:40 two seconds. Yeah. Yeah Oh, man, and what I love
00:18:40 --> 00:18:42 about it, too Is that it felt like it felt like
00:18:42 --> 00:18:45 just good old -fashioned jokes, man That sort
00:18:45 --> 00:18:47 of felt like this felt like good old -fashioned
00:18:47 --> 00:18:49 jokes like cuz I've been saying it a bunch especially
00:18:49 --> 00:18:52 at the creek I've been saying it like a bunch
00:18:52 --> 00:18:56 of people like the whole Talking about like calm
00:18:56 --> 00:18:58 and talking about like just all that fucking
00:18:58 --> 00:19:01 low -hanging fruit It's like, dude, there's so
00:19:01 --> 00:19:03 many comics who, like, they're not writing jokes.
00:19:03 --> 00:19:05 They're just saying funny shit. And so it was
00:19:05 --> 00:19:07 really refreshing seeing your stuff. And I was
00:19:07 --> 00:19:10 like, these are actually good jokes. Yeah. And
00:19:10 --> 00:19:12 I was like, man, I'm like, that's, and, you know,
00:19:12 --> 00:19:14 it was just kind of a treat that I also saw that
00:19:14 --> 00:19:15 you were on Kill Tony. I was like, oh, look at
00:19:15 --> 00:19:18 that. Well deserved, I think. Thank you. That's
00:19:18 --> 00:19:21 pretty, that's pretty badass, man. It's a, I
00:19:21 --> 00:19:24 like working. As weird and cliche as it sounds,
00:19:24 --> 00:19:27 like I like putting in the work. Yeah. And, you
00:19:27 --> 00:19:28 know, I can't speak for other comics, but I know
00:19:29 --> 00:19:32 The easiest route is sometimes the quickest for
00:19:32 --> 00:19:35 people. I don't adhere by that. I feel like you
00:19:35 --> 00:19:38 should build longevity. You build a nice foundation
00:19:38 --> 00:19:40 and then work from building from there because
00:19:40 --> 00:19:42 then you'll be stable in the moments that like,
00:19:43 --> 00:19:45 okay, you've already said come, you said a racial
00:19:45 --> 00:19:48 joke. So what do you do after that? How do you
00:19:48 --> 00:19:51 do an hour about that subject? It just gets boring
00:19:51 --> 00:19:54 after a while. But it goes with the authenticity
00:19:54 --> 00:19:55 thing that you were talking about. When it comes
00:19:55 --> 00:19:59 from just you, it's like in this material. you
00:19:59 --> 00:20:01 can go forever because it's just you and your
00:20:01 --> 00:20:03 life and things like that. And that's what I
00:20:03 --> 00:20:06 really like, man. You know, I find that some
00:20:06 --> 00:20:09 of the struggles with my joke writing is that
00:20:09 --> 00:20:14 I have to tell myself to not overdo it. You know,
00:20:14 --> 00:20:16 so I kind of like learned the whole, you know,
00:20:16 --> 00:20:19 I know it's a very popular concept that many
00:20:19 --> 00:20:22 comics already are kind of learning, but I had
00:20:22 --> 00:20:24 to learn the whole trim the fat thing. Do you
00:20:24 --> 00:20:27 have any kind of joke writing like things that
00:20:27 --> 00:20:30 you learned that you were like, okay, this is
00:20:30 --> 00:20:35 a really pinnacle lesson for me. I mean, yeah,
00:20:35 --> 00:20:37 trimming fat, I mean, is a big part of it for
00:20:37 --> 00:20:40 sure because I feel like it's almost like when
00:20:40 --> 00:20:41 you write an essay in high school, you write
00:20:41 --> 00:20:43 the long form and then you kind of work back
00:20:43 --> 00:20:46 into like what's the essential. You know, it's
00:20:46 --> 00:20:47 almost like you're purifying the potion type
00:20:47 --> 00:20:49 deal, as nerdy as that sounds, but... No, no,
00:20:49 --> 00:20:52 it's true. It is, yeah. And I'm a big proponent
00:20:52 --> 00:20:54 of, I've been telling a lot of people this lately,
00:20:55 --> 00:20:57 and I always preface it, it's what works for
00:20:57 --> 00:21:01 me, is painting, like, a vivid visual in somebody's
00:21:01 --> 00:21:03 head. You know, and you get them in the scene
00:21:03 --> 00:21:06 like that. You know, and they're already, like,
00:21:06 --> 00:21:08 in that bubble encapsulated, and then you can
00:21:08 --> 00:21:13 work from there. You know? I think that's, it's...
00:21:13 --> 00:21:15 a good trait. And I think if people haven't worked
00:21:15 --> 00:21:17 it out, I think it's a good thing to try to work
00:21:17 --> 00:21:19 out. It's like, not just like, okay, like I was
00:21:19 --> 00:21:22 waiting on the, the corner for the bus, you know,
00:21:22 --> 00:21:24 but like, it's like, wow, I smelled hot peanuts
00:21:24 --> 00:21:25 and had a bird shit on my shoulder waiting for
00:21:25 --> 00:21:28 the bus. Like you're, people feel more invested
00:21:28 --> 00:21:31 then, you know, and I think tied with that and
00:21:31 --> 00:21:35 authenticity, it's, um, it's tough to have people
00:21:35 --> 00:21:38 like not be interested in it. You have people
00:21:38 --> 00:21:41 sit back or people like not pay attention. So
00:21:41 --> 00:21:45 I feel like, um, When I found out that revelation
00:21:45 --> 00:21:47 like it just really started clicking for me and
00:21:47 --> 00:21:49 it really started working and like I try to integrate
00:21:49 --> 00:21:52 that in jokes that don't work and then like kind
00:21:52 --> 00:21:54 of almost brings them back a little bit so yeah,
00:21:55 --> 00:22:00 yeah, I found that um like the So you mentioned
00:22:00 --> 00:22:01 a second ago about like, you know essays and
00:22:01 --> 00:22:04 like high school and stuff like that. I I found
00:22:04 --> 00:22:09 that That that is a really great analogy cuz
00:22:09 --> 00:22:12 I I ended up telling myself something that I
00:22:12 --> 00:22:14 learned. I want to say like either high school
00:22:14 --> 00:22:17 or college about like, uh, about that kind of
00:22:17 --> 00:22:19 proofreading and that kind of like perfecting.
00:22:20 --> 00:22:23 It basically like used two words instead of 10
00:22:23 --> 00:22:27 to describe something. Like try to get it to
00:22:27 --> 00:22:28 where it's like somebody will understand it in
00:22:28 --> 00:22:31 the least amount of words possible. So that's
00:22:31 --> 00:22:35 kind of like the way that I sort of do like my
00:22:35 --> 00:22:37 jokes. I try to, I try to do that. I'm not always
00:22:37 --> 00:22:40 successful. You know, I'm not, I'm not very quick
00:22:40 --> 00:22:42 to the punch line. Yeah. That's the quick to
00:22:42 --> 00:22:45 the punch line. I mean, that's the, uh, I think
00:22:45 --> 00:22:47 that's the essence of it. You know, it's like,
00:22:47 --> 00:22:49 yeah, you leave the line out there too long and
00:22:49 --> 00:22:51 people start thinking about other things. You
00:22:51 --> 00:22:53 know, that's true. I think it's the touch to
00:22:53 --> 00:22:56 attention to detail or attention span for people.
00:22:57 --> 00:22:59 Yeah. You have to guide them. You know, do you,
00:22:59 --> 00:23:01 uh, Okay, this is going to be kind of a weird
00:23:01 --> 00:23:04 question, but I've always wondered this. Do you
00:23:04 --> 00:23:07 find it easy to write jokes and hard to perform,
00:23:07 --> 00:23:10 or it's hard to write jokes and easy to perform?
00:23:15 --> 00:23:18 I'm definitely more a writer. I think the writing
00:23:18 --> 00:23:20 process definitely comes more naturally to me.
00:23:21 --> 00:23:27 I think a lot of the ones that I've met are very
00:23:27 --> 00:23:30 introverted. So the performance aspect of it
00:23:30 --> 00:23:34 is always odd for them, me included. I still
00:23:34 --> 00:23:36 have to get myself into a mental zone before
00:23:36 --> 00:23:39 I get on stage. But the writing part of it is
00:23:39 --> 00:23:42 just like, I can just blurt all day. And then
00:23:42 --> 00:23:45 just working on that refining process is fun
00:23:45 --> 00:23:47 because then you find things you didn't think
00:23:47 --> 00:23:49 about before when you initially wrote it that
00:23:49 --> 00:23:51 you're like, oh, that would be awesome there.
00:23:52 --> 00:23:54 Some people do that on stage and they're able
00:23:54 --> 00:23:57 to do that on stage. I have trouble with doing
00:23:57 --> 00:24:00 that. I'm definitely a write first, perform second
00:24:00 --> 00:24:05 kind of guy. Nice. But performance is, yeah,
00:24:06 --> 00:24:08 it's something I've had to work on, but I feel
00:24:08 --> 00:24:10 like I've been writing more for the performance
00:24:10 --> 00:24:13 now, knowing that it's going to be set on stage.
00:24:14 --> 00:24:16 So that's been definitely a good change that
00:24:16 --> 00:24:19 I've been getting used to. Yeah. You seem very
00:24:19 --> 00:24:21 comfortable on stage. Thank you. Whenever I've
00:24:21 --> 00:24:25 seen you perform, you work. Like whatever, however
00:24:25 --> 00:24:27 you're doing your thing, it works. Like, you
00:24:27 --> 00:24:29 know, especially like on your KT, like, cause
00:24:29 --> 00:24:32 you look just like on there, like you would at
00:24:32 --> 00:24:35 the creek at an open mic, you know, like I was
00:24:35 --> 00:24:37 like, man, I was like, that's really, that's
00:24:37 --> 00:24:39 really cool. You know, me, I'm a spaz like a
00:24:39 --> 00:24:41 motherfucker, dude. Like one, it just depends
00:24:41 --> 00:24:43 on my day. Like one night, like if I'm One night,
00:24:44 --> 00:24:46 I'll be like all over the place. And the next
00:24:46 --> 00:24:47 night, I'll just be like, no, I'm just gonna
00:24:47 --> 00:24:51 work on words today. And then I won't move. I'll
00:24:51 --> 00:24:53 just stand there and just like, all right, cool,
00:24:53 --> 00:24:56 man. A lot of that came from repetition, because
00:24:56 --> 00:25:01 like the jokes I said on KT, I've said them probably
00:25:01 --> 00:25:04 150 times before. Nice. And then doing that,
00:25:05 --> 00:25:07 it was just like, it's a big Kobe Bryantism.
00:25:08 --> 00:25:10 You know, Kobe Bryant is like... I have no problem
00:25:10 --> 00:25:12 taking the final shot at the end of the game
00:25:12 --> 00:25:14 because I know I've taken that shot thousands
00:25:14 --> 00:25:17 of times before. Nice, man. And that's been my
00:25:17 --> 00:25:20 mentality with that is like, um, if something's
00:25:20 --> 00:25:22 working, drill it until it's like, you don't
00:25:22 --> 00:25:24 even have to think about it anymore. It just
00:25:24 --> 00:25:26 comes out. Yeah. You know? And I had a little
00:25:26 --> 00:25:29 bit of, I had a weird moment where like getting
00:25:29 --> 00:25:32 towards the cat and I knew the cat was coming.
00:25:32 --> 00:25:35 Like the meow. Yeah, um, and I said fuck which
00:25:35 --> 00:25:38 I don't normally like Do in the joke, but it's
00:25:38 --> 00:25:40 like I had it so timed out in my head i'm like,
00:25:40 --> 00:25:43 oh man Did I did I speed through that and I like
00:25:43 --> 00:25:45 it just came out and then I said the final line
00:25:45 --> 00:25:49 and it worked so Um, I saw that I saw like tony
00:25:49 --> 00:25:51 like he like almost interrupted you. Mm -hmm
00:25:51 --> 00:25:54 You know, I think he saw me like try to like
00:25:54 --> 00:25:56 I kind of he felt that. Yeah, he's good like
00:25:56 --> 00:25:59 that He's, yeah. Yeah. He could just, he could
00:25:59 --> 00:26:00 just see things. I'm not going to stroke his
00:26:00 --> 00:26:04 back or anything, but yeah, he's, uh, yeah. I've
00:26:04 --> 00:26:06 definitely learned it more after the kill Tony,
00:26:06 --> 00:26:09 how like really a tune he is with like people's
00:26:09 --> 00:26:11 comedy. Yeah. And other people in general. Yeah.
00:26:11 --> 00:26:14 He really is man. Like you can't deny that. Like
00:26:14 --> 00:26:15 he's actually really good. Like, cause I know
00:26:15 --> 00:26:18 people are shitting on his like new special lately
00:26:18 --> 00:26:20 and it's like, yeah, yeah, sure. But like kill
00:26:20 --> 00:26:23 Tony, like he knows what he's doing. So, but,
00:26:23 --> 00:26:25 um, do you have like, Do you have anything that
00:26:25 --> 00:26:28 was like the weirdest reason that you came up
00:26:28 --> 00:26:31 with a joke? Like, do you have like, just like,
00:26:31 --> 00:26:34 man, I have got to put this into a bit or something
00:26:34 --> 00:26:36 like that. That was just like, this is fucking
00:26:36 --> 00:26:39 weird. And that you either visited or didn't,
00:26:39 --> 00:26:42 you know, didn't visit. I don't know if that
00:26:42 --> 00:26:44 makes any sense. I'm the worst fucking interviewer.
00:26:44 --> 00:26:46 No. Well, you're making me think, which I really
00:26:46 --> 00:26:49 appreciate that. Sometimes you get people like
00:26:49 --> 00:26:51 good. It's just but you're actually like it's
00:26:51 --> 00:26:53 thoughtful, you know, I appreciate that That's
00:26:53 --> 00:26:56 what I want. I want you to think yeah, I want
00:26:56 --> 00:27:00 to talk about essays because I like I haven't
00:27:00 --> 00:27:02 thought about this stuff in a long time because
00:27:02 --> 00:27:07 uh, yeah, I Think the one that comes to the top
00:27:07 --> 00:27:10 my head is like I was like pseudo homeless for
00:27:10 --> 00:27:13 a little bit like Um, I was staying at jobs,
00:27:13 --> 00:27:15 like I was sleeping at jobs, like my dad and
00:27:15 --> 00:27:18 I would work, uh, maintenance and we clean this
00:27:18 --> 00:27:19 office building and we would just like stay there
00:27:19 --> 00:27:22 until 5 a .m. and then like, go about the rest
00:27:22 --> 00:27:25 of our day type deal. Um, but like staying in
00:27:25 --> 00:27:28 hotels, like the weird things that no matter
00:27:28 --> 00:27:31 what hotel we ended up staying at, there was
00:27:31 --> 00:27:34 like always a common theme of like, I have to
00:27:34 --> 00:27:36 use all these amenities all at once. Like, I'm
00:27:36 --> 00:27:39 paying for them, you know? So, like, I had to
00:27:39 --> 00:27:41 take cereal with me from the continental breakfast.
00:27:41 --> 00:27:43 I had to use every towel in the room, all 21
00:27:43 --> 00:27:47 of them. Like, weird shit, like, you wouldn't
00:27:47 --> 00:27:50 even put together. I wrote a joke about that
00:27:50 --> 00:27:53 and I used to run it for a long time. That was
00:27:53 --> 00:27:57 really fun. And then another one was, like, I'm
00:27:57 --> 00:27:59 not a political guy at all, but, like, when Trump
00:27:59 --> 00:28:03 got in, everything is, like, more tuned up, you
00:28:03 --> 00:28:07 know? And it was... I read a news article that
00:28:07 --> 00:28:09 said something like, France wanted to take back
00:28:09 --> 00:28:12 the Statue of Liberty because they felt it wasn't
00:28:12 --> 00:28:15 an accurate depiction of America anymore. And
00:28:15 --> 00:28:18 I read that article and, like, a joke just, like,
00:28:18 --> 00:28:20 came out of me. It's like, really? Like, you're
00:28:20 --> 00:28:22 gonna go for our symbol of freedom? Like, that's
00:28:22 --> 00:28:24 what you're gonna go for first? But you're gonna
00:28:24 --> 00:28:27 leave Louisiana to us? You know? Like, just a
00:28:27 --> 00:28:30 weird joke like that. Yeah, those are two that
00:28:30 --> 00:28:32 stick out that I'm just like, I have to write
00:28:32 --> 00:28:33 a joke about this, you know? I wonder how my
00:28:33 --> 00:28:36 Louisiana family would feel about that. Well,
00:28:36 --> 00:28:40 Tom Segura has, like... He hates Louisiana. Yeah.
00:28:41 --> 00:28:44 My Wi -Fi router at home is labeled The Cajuns.
00:28:46 --> 00:28:48 And it's based on the Tom Segura joke where he's
00:28:48 --> 00:28:50 like, we should just build that wall around Louisiana.
00:28:51 --> 00:28:55 It's so funny. So goofy. Yeah, it is. It is goofy.
00:28:55 --> 00:28:58 It is. Nobody ever attacks the Cajuns. I mean,
00:28:58 --> 00:29:00 there's no reason to, but Tom found a reason
00:29:00 --> 00:29:02 to. When he started like hating on us, I was
00:29:02 --> 00:29:06 like. Wait, what the fuck do we do? I'm like,
00:29:06 --> 00:29:08 fucking, all we have is boats and turtles and
00:29:08 --> 00:29:10 shit. And sea bugs, you know? Yeah, it was like,
00:29:10 --> 00:29:13 we got fireflies. God damn it. I'm literally
00:29:13 --> 00:29:15 wearing a Louisiana shirt right now. It's like,
00:29:15 --> 00:29:17 we have something called a Rougarou, and basically
00:29:17 --> 00:29:20 it's like a, like a werewolf kind of thing. Oh,
00:29:20 --> 00:29:22 you had the Jersey Devil. Oh, that's right. You
00:29:22 --> 00:29:26 do have the Jersey Devil. Yeah, which is, it's
00:29:26 --> 00:29:30 weird. You name the hockey team after it. The
00:29:30 --> 00:29:33 New Jersey Devils. No, shit, after Cryptid. Exactly.
00:29:33 --> 00:29:36 Oh, that's crazy. Why did a Nazi... At the same
00:29:36 --> 00:29:40 time, cool fucking name. I'm a Rangers fan, ironically,
00:29:40 --> 00:29:42 but... Rangers, is that... New York Rangers,
00:29:42 --> 00:29:45 yeah. New York Rangers. Okay, so is that hockey?
00:29:45 --> 00:29:48 Hockey, yeah. Okay, cool. I don't know anything
00:29:48 --> 00:29:50 about sports. No? But I'm learning it. Yeah.
00:29:51 --> 00:29:54 I know the Saints. Okay. Yeah, because it's New
00:29:54 --> 00:29:56 Orleans. But people like, you know, they'll try
00:29:56 --> 00:29:58 to talk stass with me and shit, and I'm like...
00:29:58 --> 00:30:00 Dude, I don't know which balls go with which
00:30:00 --> 00:30:02 sports. I'm just letting you fucking know. That's
00:30:02 --> 00:30:05 a fun premise. Yeah. That's fun. I was like...
00:30:05 --> 00:30:07 I saw him kicking a pigskin, you know? I'm like,
00:30:07 --> 00:30:10 oh, is this soccer? Like... Yeah, right? Like,
00:30:10 --> 00:30:14 what the fuck is golf? With the frisbees, is
00:30:14 --> 00:30:16 that what they do? Yeah, I know they change shape
00:30:16 --> 00:30:19 and sizes and stuff. Some of them have laces.
00:30:20 --> 00:30:21 And then you see like a cricket ball and you're
00:30:21 --> 00:30:23 like, what is a cricket ball, you know? Dude,
00:30:24 --> 00:30:26 I wouldn't even fucking know. Racket ball. No,
00:30:26 --> 00:30:28 dude, like whenever I watch sports and they did
00:30:28 --> 00:30:31 like they do anything with the balls. I'm like
00:30:31 --> 00:30:34 Where the fuck is the ball? How do you even know
00:30:34 --> 00:30:36 where the ball is? Yeah, like when they do the
00:30:36 --> 00:30:38 football thing and they do that like the the
00:30:38 --> 00:30:40 hike or whatever It's called and yeah, I'm like,
00:30:41 --> 00:30:43 how do you know where it's at? You can't tell
00:30:43 --> 00:30:46 me that you know where it's at No, I just wait
00:30:46 --> 00:30:48 until someone like when people start chasing
00:30:48 --> 00:30:51 somebody. I'm like, oh, that's where it is I
00:30:51 --> 00:30:53 don't want to say I'm not in the sports. I think
00:30:53 --> 00:30:56 I know So I did them when I was younger, but
00:30:56 --> 00:30:59 I know just enough where I can hold conversation
00:30:59 --> 00:31:01 with people. But once we get into stats, I'm
00:31:01 --> 00:31:04 just like, whatever, I don't know. Right, right.
00:31:04 --> 00:31:06 This is like season two of Gossip Girl, you idiot.
00:31:08 --> 00:31:13 So do you have a worst bombing story or have
00:31:13 --> 00:31:18 you ever panicked on stage? I don't think I've
00:31:18 --> 00:31:21 panicked on stage. I'm a walking cliche, dude.
00:31:22 --> 00:31:26 Seriously. Hell yeah. I think a lot and I'm like,
00:31:26 --> 00:31:28 uh, my dad has always like been a thinker too.
00:31:28 --> 00:31:30 So he's like drilled some of these cliches in
00:31:30 --> 00:31:33 me, but like, I'm a big, like, if you fail to
00:31:33 --> 00:31:36 prepare, you're preparing to fail. So I've always
00:31:36 --> 00:31:40 like gone on stage and knowing my amount of time
00:31:40 --> 00:31:45 and I've, uh, like kind of gone with the program.
00:31:45 --> 00:31:47 Um, I mean, there's been points where, of course
00:31:47 --> 00:31:49 you riff a little or you like. Talk with a crowd
00:31:49 --> 00:31:51 and you kind of like mentally just omit a joke
00:31:51 --> 00:31:54 or something that you like, you're like, eh.
00:31:54 --> 00:31:57 Um, I've definitely done time where it's like,
00:31:57 --> 00:31:59 I've gotten notice from a book or it's like,
00:31:59 --> 00:32:02 Oh, you're going to be doing seven minutes. Right.
00:32:02 --> 00:32:05 And then for some reason it turns into eight
00:32:05 --> 00:32:07 and then they're like, Hey, can you do 10? And
00:32:07 --> 00:32:09 then you're doing 10 and you notice you're on
00:32:09 --> 00:32:11 minute 12 and you're like, okay, well I've done
00:32:11 --> 00:32:14 my 12 minutes of my 12 minute material. Like
00:32:14 --> 00:32:16 let me move on to something new. And then it's
00:32:16 --> 00:32:19 like, you get the light and it's like, I'm in
00:32:19 --> 00:32:21 the middle of a new joke. Yeah, that was a rough
00:32:21 --> 00:32:23 one. There's one time in particular. I remember
00:32:23 --> 00:32:27 that was rough and then I'm not a weed smoker.
00:32:27 --> 00:32:31 It's not my thing And I did a weed show and that
00:32:31 --> 00:32:33 was like very eye -opening for me that like,
00:32:33 --> 00:32:36 okay I can't talk about things that tickle people's
00:32:36 --> 00:32:38 brain with weed smokers, you know It has to be
00:32:38 --> 00:32:41 like dumb goof. It doesn't have to be but they're
00:32:41 --> 00:32:42 like dumb goofy jokes things that you don't really
00:32:42 --> 00:32:45 have to think about much Oh, dude, that's my
00:32:45 --> 00:32:50 crowd. Yeah. My first weed show, I had real trouble
00:32:50 --> 00:32:52 with it. Real trouble because I didn't know what
00:32:52 --> 00:32:57 I was getting into. But yeah, I don't think I
00:32:57 --> 00:32:58 bombed. I just didn't get any laughs, which I
00:32:58 --> 00:33:01 guess that's bombing, right? All in one. Yeah.
00:33:02 --> 00:33:04 Yeah, I think like I guess if you had to like
00:33:04 --> 00:33:07 label bombing, I think it would be that like
00:33:07 --> 00:33:11 like you're doing good, but the crowd just doesn't
00:33:11 --> 00:33:14 like you. You know, I guess that's kind of like
00:33:14 --> 00:33:16 the way that I think about it. Like, cause there's
00:33:16 --> 00:33:18 been times I've been like on point and I'm like,
00:33:18 --> 00:33:20 yeah, this is good, but they just, they just
00:33:20 --> 00:33:23 did not like me. Like for just whatever reason,
00:33:23 --> 00:33:27 you know, it happens all of the time. But that
00:33:27 --> 00:33:28 happened, that happened at the secret show for
00:33:28 --> 00:33:32 me. So like after my kill Tony, I got on the
00:33:32 --> 00:33:36 secret show and I knew I wasn't going to keep
00:33:36 --> 00:33:39 up with the lineup because the lineup is just
00:33:39 --> 00:33:43 killers stacked. Headliners top to bottom. Um,
00:33:44 --> 00:33:46 and I knew I'd go up there and I'm like, I'm
00:33:46 --> 00:33:48 going to try my best stuff because when in Rome
00:33:48 --> 00:33:51 and I went up there and initially got some good
00:33:51 --> 00:33:53 laughs, but I'm, you know, I'm relatively a clean
00:33:53 --> 00:33:55 comic. You know, I really don't like curse that
00:33:55 --> 00:33:57 much in my jokes or like talk about like those
00:33:57 --> 00:34:01 taboo subjects. Yeah. Um, and going up after
00:34:01 --> 00:34:04 like 14 people who that's what they talked about.
00:34:05 --> 00:34:08 It's I had a little bit of trouble. Yeah, at
00:34:08 --> 00:34:11 least yeah, I enjoyed the moment of like being
00:34:11 --> 00:34:14 able to network with all those guys and Being
00:34:14 --> 00:34:16 able to be on the same stage of them. I was like
00:34:16 --> 00:34:20 fanboying a little bit. But um, yeah Yeah, it's
00:34:20 --> 00:34:23 yeah, I didn't I didn't do as normally as well
00:34:23 --> 00:34:25 as I normally do. So yeah Yeah, who are some
00:34:25 --> 00:34:29 of your comedic inspirations? I mean, they're
00:34:29 --> 00:34:31 always changing but I think as far as like a
00:34:31 --> 00:34:36 career idea like back to David Tell Um, my, I
00:34:36 --> 00:34:38 want to be like a club comedian. That's kind
00:34:38 --> 00:34:42 of my goal is like, I don't want to do the Lincoln
00:34:42 --> 00:34:45 arena. I don't want to do Madison Square Garden.
00:34:45 --> 00:34:47 I don't want to like, I don't want to get big
00:34:47 --> 00:34:49 like that. I want to be able to support my family
00:34:49 --> 00:34:52 and continue to just put out funny, funny, funny,
00:34:52 --> 00:34:54 funny, and be able to work on that all the time.
00:34:54 --> 00:34:57 Yeah. And, uh, I feel like in a club comic role,
00:34:57 --> 00:35:00 like that's kind of what. But appeal more to
00:35:00 --> 00:35:03 me, you know, so like David tells a big inspiration
00:35:03 --> 00:35:07 with that You know the way Nate Bargatze doesn't
00:35:07 --> 00:35:10 talk about the crazy tattoo subjects I mean,
00:35:10 --> 00:35:12 yeah ironically the other way and he does arenas
00:35:12 --> 00:35:15 but like in the way that he keeps his subject
00:35:15 --> 00:35:18 matter authentic Tom pop is another one keeps
00:35:18 --> 00:35:21 his subject matter authentic and he doesn't like
00:35:21 --> 00:35:24 Do what the easy joke is or the easy laugh? Yeah,
00:35:24 --> 00:35:26 he talks about his family. He talks about his
00:35:26 --> 00:35:30 life experience and I find that really admirable.
00:35:30 --> 00:35:35 I definitely idolize those guys. There's a lot
00:35:35 --> 00:35:37 of people in the Austin scene that just work
00:35:37 --> 00:35:41 so diligently at their craft. That's also super
00:35:41 --> 00:35:44 inspirational seeing people who work at it, getting
00:35:44 --> 00:35:47 up and getting better and getting good. That's
00:35:47 --> 00:35:50 inspirational to me too. Yeah. I know what you
00:35:50 --> 00:35:54 mean. I've seen that happen with a few open micers
00:35:54 --> 00:35:58 where they just get up there and at first you
00:35:58 --> 00:36:00 don't really know or they're not very memorable
00:36:00 --> 00:36:02 because they're just like everybody else, but
00:36:02 --> 00:36:05 then all of a sudden they're like ahead of the
00:36:05 --> 00:36:07 curve. Yeah. And it's like, what are you doing
00:36:07 --> 00:36:09 differently? But good job, you know, good on
00:36:09 --> 00:36:12 you and stuff like that. So I don't know, man,
00:36:12 --> 00:36:14 like I love, I love seeing that kind of evolution
00:36:14 --> 00:36:17 in this art, you know, I think it's like one
00:36:17 --> 00:36:20 of my favorite things is just, it's just watching
00:36:20 --> 00:36:23 people, like this is very much watching people
00:36:23 --> 00:36:25 get better, you know, and watching people get
00:36:25 --> 00:36:29 worse. True. I think that usually comes when
00:36:29 --> 00:36:34 people try to adhere to what they think the back
00:36:34 --> 00:36:36 of the room would like to hear. You do enough
00:36:36 --> 00:36:39 open mics, you start trying to appeal to comics
00:36:39 --> 00:36:41 rather than appear to, you're going to be in
00:36:41 --> 00:36:43 front of business professionals, you're going
00:36:43 --> 00:36:45 to be in front of mothers and fathers, people
00:36:45 --> 00:36:48 with kids with special needs, people who are
00:36:48 --> 00:36:50 trans. You've got to relate to all these people
00:36:50 --> 00:36:53 at once where people. I think the easy joke is
00:36:53 --> 00:36:55 always to shit on other people and they try to
00:36:55 --> 00:36:58 appeal to the comic and others like I Call it.
00:36:58 --> 00:37:00 Yeah trying to get a laugh from the back of the
00:37:00 --> 00:37:03 room Yeah, you always want like comics to laugh
00:37:03 --> 00:37:07 and then it's like well Your audience isn't gonna
00:37:07 --> 00:37:10 be filled with comics forever. Yeah, especially
00:37:10 --> 00:37:15 on shows Do you have a trope that you just absolutely
00:37:15 --> 00:37:19 despise in joke -telling? Like a trope like what
00:37:19 --> 00:37:21 do you mean by? Like, so I guess we kind of touched
00:37:21 --> 00:37:23 base on it earlier, where, like, it was just
00:37:23 --> 00:37:26 people just talking about, like, you know, calm
00:37:26 --> 00:37:28 and, you know, all that shit where they just
00:37:28 --> 00:37:30 kind of, just that's the only thing that they
00:37:30 --> 00:37:33 will touch base on. You know, do you have, like,
00:37:33 --> 00:37:36 kind of, uh, like, you don't like one -liners
00:37:36 --> 00:37:38 or, you know, you're like, I don't like these
00:37:38 --> 00:37:42 stories with only tags and no punchlines. Like.
00:37:42 --> 00:37:44 I feel like if people work at whatever they're
00:37:44 --> 00:37:47 doing enough, like I can get behind it for sure.
00:37:47 --> 00:37:50 I think they're. are like things that some people
00:37:50 --> 00:37:53 do that I don't find good for comedy, I guess.
00:37:54 --> 00:37:55 Like a big one is like pulling the curtain back
00:37:55 --> 00:37:58 and being like, well, that joke worked great
00:37:58 --> 00:38:01 at the last show. And it's like, you gotta keep
00:38:01 --> 00:38:03 the audience in the mode like, okay, we're not
00:38:03 --> 00:38:06 comedians up here. Oh, like when they say that
00:38:06 --> 00:38:08 out loud. Yeah, yeah, yeah. And it's like, well,
00:38:09 --> 00:38:11 you have to get the people in that it's not a
00:38:11 --> 00:38:14 comedy show. You want them to feel like, okay,
00:38:14 --> 00:38:15 it's just somebody like talking about a life
00:38:15 --> 00:38:18 experience, you know? So that's one thing that
00:38:18 --> 00:38:21 I always have a weird touch with, or like when
00:38:21 --> 00:38:24 people look for the audience to gratify them
00:38:24 --> 00:38:27 and, oh my God, I almost wrote a bit about this,
00:38:27 --> 00:38:28 like when people say, you know what I'm saying?
00:38:29 --> 00:38:30 Like when they go on stage and they like point
00:38:30 --> 00:38:32 to somebody in the audience, they're like, you
00:38:32 --> 00:38:33 know what I'm saying? You know what I mean? Yeah.
00:38:34 --> 00:38:35 You know what I'm saying? It's like, oh, you're
00:38:35 --> 00:38:37 supposed to get them to think that, you know?
00:38:37 --> 00:38:39 Oh, I know exactly what you're talking about,
00:38:40 --> 00:38:41 man. Yeah, I know exactly what you're talking
00:38:41 --> 00:38:43 about. Just little things like that. Man, you
00:38:43 --> 00:38:46 know, it's so funny about that is actually that
00:38:46 --> 00:38:49 very thing is a big reason why, like, me and
00:38:49 --> 00:38:51 my brother, like, we came up with this podcast
00:38:51 --> 00:38:53 in the first place. Because, like, they had this
00:38:53 --> 00:38:56 guy, I don't even think he's a comedian anymore,
00:38:56 --> 00:38:58 but he used to be an open micer, and this is
00:38:58 --> 00:39:03 back in, like, late 23, I think. But he was,
00:39:03 --> 00:39:08 he got up there. and he was so discouraged by
00:39:08 --> 00:39:13 the lack of laughter. He got pissed basically
00:39:13 --> 00:39:16 that nobody was laughing and then he marched
00:39:16 --> 00:39:19 off and then I get up there and I also didn't
00:39:19 --> 00:39:23 get any laughter either. But yeah, man, it was
00:39:23 --> 00:39:26 just like my brother and I, we just cracking
00:39:26 --> 00:39:29 up just for some reason and this dude just got
00:39:29 --> 00:39:32 so pissed and I was just thinking to myself,
00:39:32 --> 00:39:35 I was like, I wonder what his story is. I wonder
00:39:35 --> 00:39:40 what his deal is. Essentially, that's where the
00:39:40 --> 00:39:43 idea of only bombs came from. Watching people
00:39:43 --> 00:39:48 crumble, but also being like, why? What's going
00:39:48 --> 00:39:51 on? That kind of thing. I feel like people don't
00:39:51 --> 00:39:55 take bombing the way they should. It's an opportunity
00:39:55 --> 00:40:00 to see where. Your disconnect is and that now
00:40:00 --> 00:40:02 we can always chalk it up to the audience. That's
00:40:02 --> 00:40:06 the easy thing to do but like if you're trying
00:40:06 --> 00:40:09 to be truly funny you should try to appeal to
00:40:09 --> 00:40:12 as many people as you can or find your true tribe,
00:40:12 --> 00:40:15 you know, I understand that part of it too, but
00:40:15 --> 00:40:19 Like you got to take it as a learning experience
00:40:19 --> 00:40:21 and being able to be like, okay, like this is
00:40:21 --> 00:40:23 where I fell short this is the part of the joke
00:40:23 --> 00:40:25 where people fell off. How can I improve that
00:40:25 --> 00:40:29 part? You got to be a student of the game. Yeah,
00:40:29 --> 00:40:32 exactly. Dude, that's really my mentality owner
00:40:32 --> 00:40:36 because it's the same kind of thing too. When
00:40:36 --> 00:40:38 I get up there, I'm like, the audience has one
00:40:38 --> 00:40:43 job. Their job is just to laugh. It's like, but
00:40:43 --> 00:40:46 you need to. Give them something to laugh at.
00:40:46 --> 00:40:49 That's your job. So it's not their fault if they
00:40:49 --> 00:40:55 don't think you're funny. The way that I've dealt
00:40:55 --> 00:40:58 with bombing was just like, this is just not
00:40:58 --> 00:41:03 my crowd or maybe I need to revisit some of these
00:41:03 --> 00:41:05 jokes or something like that. Have you ever had
00:41:05 --> 00:41:09 a crisis with this whole thing and where you
00:41:09 --> 00:41:11 felt like you were going to quit or you wanted
00:41:11 --> 00:41:15 to quit? I mean, I'm still, I'm only 18 months
00:41:15 --> 00:41:18 in for all intents and purposes. Um, so there's
00:41:18 --> 00:41:20 never been a point where I've been like, I want
00:41:20 --> 00:41:22 to quit because of comedy. I mean, there's always
00:41:22 --> 00:41:24 things that happen outside of comedy. That's
00:41:24 --> 00:41:26 kind of been the only time that I'm like, you
00:41:26 --> 00:41:28 know, like maybe I should get a higher paying
00:41:28 --> 00:41:30 job. So I don't feel like work is crazy hours
00:41:30 --> 00:41:33 or like silly things like that. But, um, it's
00:41:33 --> 00:41:36 just been like super beneficial to me. And I've
00:41:36 --> 00:41:40 met more like really just cool, different people
00:41:40 --> 00:41:45 doing comedy. And yeah, that's why I feel like
00:41:45 --> 00:41:47 I'm in it for the long run, is because I really
00:41:47 --> 00:41:50 enjoy the process of like, okay, you meet different
00:41:50 --> 00:41:52 people, you hear different styles of comedy,
00:41:52 --> 00:41:55 and I can have a completely different comedic
00:41:55 --> 00:42:00 style than you do, but we both can do well. And
00:42:00 --> 00:42:05 why I like it so much is I genuinely feel if
00:42:05 --> 00:42:08 you put in the work, you get better. Part of
00:42:08 --> 00:42:10 the work is you gotta be honest with yourself.
00:42:11 --> 00:42:13 And I feel like some comics don't have that.
00:42:13 --> 00:42:15 And that's like, OK, you're missing out on part
00:42:15 --> 00:42:17 of the work. You know, like recording myself.
00:42:18 --> 00:42:20 I hate recording myself, but I do it because
00:42:20 --> 00:42:23 I know the future self is going to be paying
00:42:23 --> 00:42:26 off from me being uncomfortable now. Yeah. You
00:42:26 --> 00:42:27 know? Yeah, I know exactly what you're talking
00:42:27 --> 00:42:29 about. See what I did there? You know what I'm
00:42:29 --> 00:42:30 saying? You know what I'm saying? You know what
00:42:30 --> 00:42:34 I'm saying, dude? Did my own trope. You know
00:42:34 --> 00:42:36 what I'm saying, dude? Yeah, you start doing
00:42:36 --> 00:42:39 crowd work on me. So where are you from? Whoa,
00:42:40 --> 00:42:41 Trey, where are you from? Which is basically
00:42:41 --> 00:42:46 what I'm doing for you. Do you have a lesson?
00:42:47 --> 00:42:50 Let me rephrase. What is your biggest lesson
00:42:50 --> 00:42:56 thus far that you learned in comedy? Give me
00:42:56 --> 00:43:02 a fanker. I think just tying into the last part
00:43:02 --> 00:43:05 of it, it's... that you can have a different
00:43:05 --> 00:43:07 style than someone else and you both can still
00:43:07 --> 00:43:11 be successful in comedy. Um, I think that's a
00:43:11 --> 00:43:13 big lesson. And then I've always been a worker.
00:43:13 --> 00:43:14 Like that's always been a thing for me. I've
00:43:14 --> 00:43:19 done it since I was like, like 13. And, uh, that's
00:43:19 --> 00:43:21 another thing is like what you put in won't necessarily
00:43:21 --> 00:43:24 be what you get out of it, but like the more
00:43:24 --> 00:43:26 you put in, the higher your probability, you're
00:43:26 --> 00:43:30 going to get better with it. Um, So, like, any
00:43:30 --> 00:43:32 new comic or any comic who's going through a
00:43:32 --> 00:43:36 struggle, it's like, you gotta, you keep putting
00:43:36 --> 00:43:37 in the work, you keep looking at your jokes,
00:43:37 --> 00:43:39 you keep recording it, see what works, see what
00:43:39 --> 00:43:43 doesn't. You know, like, I bark for shows. I
00:43:43 --> 00:43:45 feel like that's a good thing that people should
00:43:45 --> 00:43:48 be doing too. As much as people think they may
00:43:48 --> 00:43:51 be higher than it, it benefits you because I
00:43:51 --> 00:43:54 feel like you are more invested in the show automatically.
00:43:54 --> 00:43:56 Oh, yeah. You know? Because, like, you don't
00:43:56 --> 00:43:58 want to perform to an empty room, you know? Yeah.
00:43:59 --> 00:44:03 Oh, goodness. You know, everybody, I say like
00:44:03 --> 00:44:07 a lot. They could do it subconsciously now because
00:44:07 --> 00:44:10 I talked about it. Yeah. Oh, yeah. You opened
00:44:10 --> 00:44:11 up the floodgate, you know what I mean? Seriously.
00:44:12 --> 00:44:15 You know what I'm saying? Dude, I love barking,
00:44:15 --> 00:44:19 man. I really do because if I go out and I bark
00:44:19 --> 00:44:22 and I'm able to get like most of the crowd in,
00:44:22 --> 00:44:24 well, if I go up on stage, they know who I am.
00:44:24 --> 00:44:26 Because they're already invested in you too.
00:44:26 --> 00:44:27 They're already invested in me. You know, and
00:44:27 --> 00:44:29 then the other thing is I consider barking like
00:44:29 --> 00:44:34 a warmup. You know, just like just saying jokes,
00:44:34 --> 00:44:36 just coming up with things. Just, you know, just
00:44:36 --> 00:44:39 bringing some improv, just trying to like, you
00:44:39 --> 00:44:41 know, just make, make just funny stories, make
00:44:41 --> 00:44:43 funny jokes. It's literally like what I do with
00:44:43 --> 00:44:46 everybody at The Creek. I'm just like, you know,
00:44:46 --> 00:44:48 I'll just try to come up with just something,
00:44:48 --> 00:44:51 some kind of a joke. You know, and it's like
00:44:51 --> 00:44:53 the goal is to just get up on stage and just
00:44:53 --> 00:44:56 do you know, just do your best and everything.
00:44:57 --> 00:45:00 But did you have any idea that your Kill Tony
00:45:00 --> 00:45:02 was gonna go as well as it did? Like, did you
00:45:02 --> 00:45:04 think to yourself, like, all right, these jokes
00:45:04 --> 00:45:06 are solid, I think it'll be all right? Or were
00:45:06 --> 00:45:11 you like, oh, fuck, dude. Like, what was your
00:45:11 --> 00:45:18 perspective on that? I did a lot of prep into
00:45:18 --> 00:45:24 the Kill Tony. So getting up all the time, that
00:45:24 --> 00:45:26 was one thing that I knew would improve my comedy,
00:45:26 --> 00:45:28 but I'm like, okay, it doesn't always translate
00:45:28 --> 00:45:31 in Kill Tony. A lot of great comedians I've seen
00:45:31 --> 00:45:35 go on that I've seen do amazing on shows don't
00:45:35 --> 00:45:39 do well in Kill Tony. So I did a lot of analyzing.
00:45:39 --> 00:45:41 I watch a lot of Kill Tony and I watch a lot
00:45:41 --> 00:45:47 of things that people will maybe look past. So
00:45:47 --> 00:45:51 I worked on developing a framework of joke. Mm
00:45:51 --> 00:45:55 -hmm that would do well on kiltoni because I
00:45:55 --> 00:45:56 knew if I was gonna keep signing up and I wanted
00:45:56 --> 00:45:59 to do well and I wanted to Advance into like
00:45:59 --> 00:46:02 further things in kiltoni and like get more opportunities
00:46:02 --> 00:46:05 I needed to find a formula that works because
00:46:05 --> 00:46:09 a minute is Not everyone's bag and me included
00:46:09 --> 00:46:11 right, you know, I'm not a minute joke writer
00:46:11 --> 00:46:14 but like my kiltoni said I did was a combination
00:46:14 --> 00:46:17 of Three of the biggest pops from three of my
00:46:17 --> 00:46:20 biggest jokes put together in a one And because
00:46:20 --> 00:46:22 I genuinely like try to write in a through lane,
00:46:22 --> 00:46:25 I try to write about one subject top to bottom.
00:46:25 --> 00:46:29 Um, and I have. Like there are all my three jokes
00:46:29 --> 00:46:33 were about control and myself control. And because
00:46:33 --> 00:46:35 I do that, I was able to like, just put them
00:46:35 --> 00:46:37 all together into one joke and it works seamlessly.
00:46:38 --> 00:46:43 Um, so I noticed that for me, the framework I
00:46:43 --> 00:46:46 take would kill Tony. You want to pop between.
00:46:46 --> 00:46:48 Five and seven seconds right off the bat. You
00:46:48 --> 00:46:51 need to grab people. You know, it's almost like
00:46:51 --> 00:46:53 the, uh, when people talk about like, uh, clips
00:46:53 --> 00:46:56 on YouTube and clips on and shorts and reels,
00:46:56 --> 00:46:59 you gotta have something in that first, like
00:46:59 --> 00:47:01 few seconds. If you don't grab people, they're
00:47:01 --> 00:47:04 going to scroll past it. So it's the same thing
00:47:04 --> 00:47:05 with kill Tony. I feel like the minute and kill
00:47:05 --> 00:47:09 Tony translates so much to how reels are because
00:47:09 --> 00:47:11 that's how people's brain thinks now. So you
00:47:11 --> 00:47:13 gotta have something initially that really grabs
00:47:13 --> 00:47:16 them. You get to have an act out to show like
00:47:16 --> 00:47:18 physicality that you're like, like physically
00:47:18 --> 00:47:21 invested in the bit. Um, you have to have like,
00:47:21 --> 00:47:23 that's where the visuals come into play. You
00:47:23 --> 00:47:25 want to incorporate people into it. And then
00:47:25 --> 00:47:28 you got to have a button to wrap it all together.
00:47:28 --> 00:47:32 And I found that like, like, so I don't normally
00:47:32 --> 00:47:35 write like that, but like for my kill Tony minutes,
00:47:35 --> 00:47:37 I try to follow that framework. And, um, you
00:47:37 --> 00:47:40 know, the first one was very successful. Um,
00:47:41 --> 00:47:43 And also the self -deprecation side of it, too.
00:47:43 --> 00:47:45 You're inviting people in to, like, genuinely
00:47:45 --> 00:47:50 laugh at stuff. Mm -hmm. So... Because, like,
00:47:50 --> 00:47:53 okay, so the bit I did on Kill Tony, the, uh...
00:47:53 --> 00:47:57 Um... Like, those three bits are way longer.
00:47:57 --> 00:47:59 If I did the full version of those bits, it would
00:47:59 --> 00:48:02 equate out to about six minutes of material.
00:48:02 --> 00:48:05 Yeah. Yeah. But I condensed it all together and
00:48:05 --> 00:48:08 put it on Kill Tony, and it was a minute, you
00:48:08 --> 00:48:11 know? So it's... It's not that I'm writing jokes
00:48:11 --> 00:48:14 differently. It's just I'm like taking my better
00:48:14 --> 00:48:16 jokes and putting them together almost Yeah,
00:48:16 --> 00:48:18 you know things that I've like tested and know
00:48:18 --> 00:48:20 that work a lot of people would be like I have
00:48:20 --> 00:48:22 a great premise let me go and kill Tony with
00:48:22 --> 00:48:26 it and it's like Your probability is a lot lower
00:48:26 --> 00:48:27 than it's something you've tried out already.
00:48:28 --> 00:48:30 Yeah, so you just you approach it from a very
00:48:30 --> 00:48:34 analytical Viewpoint I guess right. Yeah, and
00:48:34 --> 00:48:36 I try to consider it like like Instagram reels
00:48:36 --> 00:48:38 or any of that. It's like, okay, what is the
00:48:38 --> 00:48:41 formula? What works? Because there's, I find
00:48:41 --> 00:48:45 there's a very, it's not always exactly the formula
00:48:45 --> 00:48:48 that works, but probability is pretty high with
00:48:48 --> 00:48:51 that formula. Um, you know, like Orhan had a
00:48:51 --> 00:48:53 different approach when he got his golden ticket,
00:48:53 --> 00:48:56 he addressed something previously that happened
00:48:56 --> 00:48:58 in the room that did really well because it was
00:48:58 --> 00:49:01 like already on people's minds. And then he went
00:49:01 --> 00:49:02 and did his jokes and then he was great in the
00:49:02 --> 00:49:05 interview. So like, People do great on Kill Tony
00:49:05 --> 00:49:07 for different reasons, but I've noticed, like,
00:49:08 --> 00:49:09 even people who don't get golden tickets who
00:49:09 --> 00:49:12 do really well, like, um, you know, Rinaldo Mercado?
00:49:13 --> 00:49:15 Oh, yeah. He had an awesome Kill Tony minute.
00:49:16 --> 00:49:18 He's one of my favorite comics down here by far.
00:49:18 --> 00:49:20 Me too, man. And Michael Ridley. There's like
00:49:20 --> 00:49:22 a few of them. And I'm just like, you guys are...
00:49:22 --> 00:49:25 I need to ask him to get on here. Because they're
00:49:25 --> 00:49:27 good. They're awesome, both of them. Man, I love
00:49:27 --> 00:49:29 both of them. They're great. So, Ronaldo had
00:49:29 --> 00:49:31 like a killer minute that like I analyzed down
00:49:31 --> 00:49:34 to a T. Shout out, Ronaldo. Oh, yeah. Shout out,
00:49:34 --> 00:49:37 Ronaldo. Love you, buddy. Yeah. His one about
00:49:37 --> 00:49:39 like suicide. Hey, you ever think about killing
00:49:39 --> 00:49:42 yourself? You know, like just a silly start off
00:49:42 --> 00:49:44 the bat and then like how we elaborated further
00:49:44 --> 00:49:47 on that. Like I analyzed that minute. I've a
00:49:47 --> 00:49:49 few hours just looking at it, watching it over
00:49:49 --> 00:49:52 and writing it down. Like just seeing why things
00:49:52 --> 00:49:54 work, you know, and because it's, what works
00:49:54 --> 00:49:57 on Kill Tony isn't always what works on stage
00:49:57 --> 00:49:59 and vice versa. Right. So I was like, okay, what
00:49:59 --> 00:50:02 is the formula that works on Kill Tony? And that's
00:50:02 --> 00:50:04 kind of what I've refined it down to is those
00:50:04 --> 00:50:07 four things. Yeah, that's, I mean, that's badass.
00:50:07 --> 00:50:09 I mean, at least you have a thought. Sometimes
00:50:09 --> 00:50:11 you see people go up there and they didn't think
00:50:11 --> 00:50:13 anything of it. Like they just went up there
00:50:13 --> 00:50:15 just to do whatever, but you could tell the big
00:50:15 --> 00:50:17 difference. You could tell the difference in
00:50:17 --> 00:50:20 people who prepare versus people who don't. Why
00:50:20 --> 00:50:22 did you sign up for Killtoning to begin with?
00:50:22 --> 00:50:29 What was the catalyst for that? I'm pretty confident
00:50:29 --> 00:50:32 in my ability as a comedian. I know I'm always
00:50:32 --> 00:50:33 going to be learning and getting better, but
00:50:33 --> 00:50:36 I feel like when it comes down to it, I can make
00:50:36 --> 00:50:40 people laugh. And I felt like I saw what it did
00:50:40 --> 00:50:44 for other people and how people got out there
00:50:44 --> 00:50:46 more. And I knew I had the ability, but I didn't
00:50:46 --> 00:50:49 have the ability to get out there like that.
00:50:49 --> 00:50:51 Yeah. And that's what I saw it as is like, okay,
00:50:51 --> 00:50:54 if I work hard enough and I like try to put things
00:50:54 --> 00:50:57 together that are good, like funny comedy out
00:50:57 --> 00:50:59 there, like I knew it would pay off in the long
00:50:59 --> 00:51:03 run. And, uh, just the, the ability to be able
00:51:03 --> 00:51:06 to showcase yourself and get concerted feedback.
00:51:06 --> 00:51:08 Like I couldn't have, like, I couldn't have asked
00:51:08 --> 00:51:11 for a better panel, like on my episode. I know
00:51:11 --> 00:51:15 they're so good. Yeah. Yeah. They were both so
00:51:15 --> 00:51:17 super thoughtful in their, in their, uh, feedback
00:51:17 --> 00:51:21 and That was another thing that was alluring
00:51:21 --> 00:51:25 to me is being able to get feedback from people
00:51:25 --> 00:51:28 who are doing it and out there and in positions
00:51:28 --> 00:51:32 where I would love to be and seeing what one
00:51:32 --> 00:51:36 step further in that direction I could advance.
00:51:37 --> 00:51:41 They both had really great feedback. Tom saying
00:51:41 --> 00:51:43 like further elaborate on one subject, you know,
00:51:43 --> 00:51:46 and talking about the, uh, like the clothing
00:51:46 --> 00:51:47 and stuff like that, like not having labels.
00:51:47 --> 00:51:51 And then Cheryl talking, yeah. And I, trust me,
00:51:51 --> 00:51:53 I wrote a lot about like my clothes, not having
00:51:53 --> 00:51:57 labels after that. Um, and then Cheryl talking
00:51:57 --> 00:51:59 about like the rule of three, which is always
00:51:59 --> 00:52:01 something I've had in my head, but trying to
00:52:01 --> 00:52:03 consolidate it into a minute. It's like, I, I
00:52:03 --> 00:52:04 didn't feel like it would be beneficial for me
00:52:04 --> 00:52:07 to tap three times on the same subject where
00:52:07 --> 00:52:10 I can get my point across with one, you know?
00:52:10 --> 00:52:15 So I got to stop doing that. I got to stop beating
00:52:15 --> 00:52:18 myself up for saying it though. It's okay. I
00:52:18 --> 00:52:22 won't judge too hard. Thank you. But yeah, the
00:52:22 --> 00:52:26 feedback, that's also a big part of it. I think
00:52:26 --> 00:52:28 the people who put in the work and the comics
00:52:28 --> 00:52:31 who are out there doing comedy consistently,
00:52:31 --> 00:52:34 I think Tony really can pick up on people who
00:52:34 --> 00:52:37 work at it and they really didn't roast me much.
00:52:38 --> 00:52:41 They were more asking about me and giving me
00:52:41 --> 00:52:45 advice, which I think was gratifying in a different
00:52:45 --> 00:52:48 way because I'm like, they genuinely see me in
00:52:48 --> 00:52:52 this. I felt that too. I think David Lucas kind
00:52:52 --> 00:52:53 of did the same thing on the fishing podcast
00:52:53 --> 00:52:56 is he was talking about CPAs and stuff like that.
00:52:56 --> 00:52:58 I'm like, you're in half in, I'm not thinking
00:52:58 --> 00:53:03 about any of this. It felt good because they're
00:53:03 --> 00:53:06 like. Okay, I can see him going far in this.
00:53:06 --> 00:53:10 Yeah, I can see it too, man, because you have
00:53:10 --> 00:53:15 this good working frame of mind, like working.
00:53:16 --> 00:53:19 I can tell that you want to work towards things.
00:53:19 --> 00:53:21 I can tell that you put the work into your jokes,
00:53:21 --> 00:53:24 you know, and it's evident because your jokes
00:53:24 --> 00:53:27 are jokes, like they're actually jokes. Yeah,
00:53:27 --> 00:53:29 thank you. Yeah, it's not just like, you're not
00:53:29 --> 00:53:33 up there just like... saying shit and I always
00:53:33 --> 00:53:36 think of it as, I equate it as like somebody
00:53:36 --> 00:53:38 just taking a bunch of words that they wrote
00:53:38 --> 00:53:40 down and they think is funny and they throw it
00:53:40 --> 00:53:43 against the wall and just sees what hits. And
00:53:43 --> 00:53:46 it's like, that's kind of what I see all the
00:53:46 --> 00:53:49 time. People take the shock approach. Yeah. And
00:53:49 --> 00:53:53 it's just words. It's not for me, but maybe some
00:53:53 --> 00:53:56 people it works, but that's the short -sighted
00:53:56 --> 00:53:58 look at it. Because what happens when you say
00:53:58 --> 00:54:01 everything you can about these three subjects
00:54:01 --> 00:54:03 and you're moving into hack territory, you know,
00:54:03 --> 00:54:06 which is like a big thing. You want to be unique,
00:54:06 --> 00:54:08 you know? You want to be unique, yeah. And people
00:54:08 --> 00:54:12 want, I feel like people want to see you be unique.
00:54:12 --> 00:54:15 Yeah. I feel like that's what people want to
00:54:15 --> 00:54:18 see, you know? Usually that gets the biggest
00:54:18 --> 00:54:23 laughs, you know? I just saw Shane Gillis recently
00:54:23 --> 00:54:26 and he killed and literally all he did was just
00:54:26 --> 00:54:29 talk about like. Some shit that happened to him.
00:54:30 --> 00:54:35 Just like his special. He slaughtered, man. It
00:54:35 --> 00:54:38 was fucking insane. It's really refreshing seeing
00:54:38 --> 00:54:42 you working on actual jokes. Thank you. What
00:54:42 --> 00:54:45 does your future look like? What are you wanting
00:54:45 --> 00:54:48 to do in comedy? I know you said you don't want
00:54:48 --> 00:54:51 to be an arena comic. You want to be a club comic.
00:54:51 --> 00:54:54 I know that, but do you have a vision for yourself?
00:54:56 --> 00:55:00 I try to break it down differently. I try to
00:55:00 --> 00:55:02 do a one to three year and then a three to five
00:55:02 --> 00:55:04 year and then forever after that. Ultimately,
00:55:04 --> 00:55:07 I want to do this for the rest of time, as long
00:55:07 --> 00:55:10 as I can. As long as I can get on stage and be
00:55:10 --> 00:55:15 able to do this, that's my goal. There are other
00:55:15 --> 00:55:17 little things that I have. I want to move to
00:55:17 --> 00:55:19 Montana, but I want to integrate comedy, so I'd
00:55:19 --> 00:55:23 love to open up a signature comedy club in Montana
00:55:23 --> 00:55:26 because I feel like there's Maybe one in Bozeman,
00:55:26 --> 00:55:29 but other than that, um, I feel like there's
00:55:29 --> 00:55:33 such a untapped, like, well, number one, the
00:55:33 --> 00:55:35 pandemic did a lot of weird things. It moved
00:55:35 --> 00:55:38 a lot of California, California people to California.
00:55:39 --> 00:55:42 California. I was like, were you just going to
00:55:42 --> 00:55:45 walk away from that? Yeah, there's a great tag
00:55:45 --> 00:55:48 there. I'm like, you can't just walk away from
00:55:48 --> 00:55:51 that. You said California. A lot of porn stars
00:55:51 --> 00:55:55 from California. Sorry, I'm such a degenerate.
00:55:55 --> 00:55:57 Anyway, go on. It's so funny though, because
00:55:57 --> 00:55:58 I'm like, oh boy, I have to go back to that.
00:55:59 --> 00:56:02 As soon as you said it, I was like, huh? Yes.
00:56:03 --> 00:56:07 Come to the dark side. There's a lot of California
00:56:07 --> 00:56:10 transplants and they're, California is obviously
00:56:10 --> 00:56:15 the store and even Save Francisco has a big.
00:56:16 --> 00:56:20 Comedy backing and I feel like in Montana. There's
00:56:20 --> 00:56:23 so many like people that I couldn't imagine crave
00:56:23 --> 00:56:27 that comedy and Even more so than that I feel
00:56:27 --> 00:56:30 like it's a perfect integration of like be wanting
00:56:30 --> 00:56:32 to go there and be in a rural area and have more
00:56:32 --> 00:56:34 space But also being able to bring funny and
00:56:34 --> 00:56:37 do what I want to do for the rest of my life
00:56:37 --> 00:56:40 there So that's also like kind of a goal of mine
00:56:42 --> 00:56:44 Nice. You know, I do want to do some touring,
00:56:44 --> 00:56:47 but not like every weekend. You know, I'd love
00:56:47 --> 00:56:51 to do maybe like 15 to 20 weekends of a year.
00:56:51 --> 00:56:54 Um, like just going to different cities and just
00:56:54 --> 00:56:57 like being able to experience other parts of
00:56:57 --> 00:56:58 the country. Cause I've only been, I've only
00:56:58 --> 00:57:03 lived in New Jersey and here. And, um, this is
00:57:03 --> 00:57:06 the furthest West I've been in my life. And I
00:57:06 --> 00:57:09 know there's so much different. Country out that
00:57:09 --> 00:57:12 way and even north of here. It's so much different
00:57:12 --> 00:57:15 country And just like hearing different people
00:57:15 --> 00:57:18 and different experiences. I think will help
00:57:18 --> 00:57:21 Me be more relatable. Yeah and find out like
00:57:21 --> 00:57:24 what's genuinely funny to everybody Because I
00:57:24 --> 00:57:26 can talk about p. Terry's but I can only talk
00:57:26 --> 00:57:28 about it here in Texas I can't go back up to
00:57:28 --> 00:57:30 New Jersey and talk about p. Terry's the way
00:57:30 --> 00:57:33 I do around like down here now on p. Terry's
00:57:34 --> 00:57:38 I love it, man. It's so good. It really is. It's
00:57:38 --> 00:57:40 like, oh, God, I'm trying to like, you know,
00:57:40 --> 00:57:43 you better, I'm like, but fucking P. Terry. Yeah.
00:57:43 --> 00:57:46 And then, so that's like my, you know, my goal,
00:57:46 --> 00:57:48 but not my, yeah, somewhat long -term, but like,
00:57:49 --> 00:57:52 I think more in the short term is, I genuinely,
00:57:52 --> 00:57:54 I'd love to work in the mothership. I'd love
00:57:54 --> 00:57:56 to be able to get a door guy position or like
00:57:56 --> 00:57:59 get a. like a role and being able to perform
00:57:59 --> 00:58:03 there regularly. Then also like Kill Tony, like
00:58:03 --> 00:58:08 if I can see where that horse rides. As much
00:58:08 --> 00:58:11 as I enjoy writing, I think I would love the
00:58:11 --> 00:58:15 challenge to have to put a stage ready minute
00:58:15 --> 00:58:19 out every week. I think that's such a fun challenge
00:58:19 --> 00:58:22 to be able to undertake. As much as it's stress
00:58:22 --> 00:58:24 -worthy, it's got to be so gratifying, whether
00:58:24 --> 00:58:26 it goes well or it doesn't. being able to build
00:58:26 --> 00:58:30 and learn off that. And I think, uh, the person
00:58:30 --> 00:58:31 in the pudding, because all those guys on kill
00:58:31 --> 00:58:34 Tony, they're just like, there's very few of
00:58:34 --> 00:58:37 them who don't have a good, like upward trajectory
00:58:37 --> 00:58:40 after that. Yeah. Yeah. And it's like positive
00:58:40 --> 00:58:43 stress. Yeah. And they're so, they are so good,
00:58:43 --> 00:58:46 man. Like, Oh my gosh. Like, and I know Timmy
00:58:46 --> 00:58:48 no breaks, you know, of course excelled, but
00:58:48 --> 00:58:49 like, but a lot of people don't realize like
00:58:49 --> 00:58:53 how funny Tim Stifler. Stifler? Tim Stifler.
00:58:53 --> 00:58:57 Stifler. Thank you. How funny Tim Stifler actually
00:58:57 --> 00:59:01 is, you know, like he's fucking great just on
00:59:01 --> 00:59:03 his own. Totally. You know, so people, you know,
00:59:04 --> 00:59:05 people like, I feel like, you know, they see
00:59:05 --> 00:59:08 what they want. They see, they see what it is
00:59:08 --> 00:59:10 and they don't realize all the hard work that
00:59:10 --> 00:59:13 goes into it. You know, so that's pretty cool
00:59:13 --> 00:59:16 that, that you have that frame of mind where
00:59:16 --> 00:59:18 you just want to keep working. Yeah, you know
00:59:18 --> 00:59:21 and you have dreams and accomplished there are
00:59:21 --> 00:59:22 things that you want to accomplish You know,
00:59:22 --> 00:59:25 that's really awesome, man. Oh, yeah, but I do
00:59:25 --> 00:59:26 have to ask you'd like I've been wondering this
00:59:26 --> 00:59:29 the whole time But like what's up with the suspenders,
00:59:29 --> 00:59:37 bro? Like why why suspenders? I promise you,
00:59:37 --> 00:59:39 it's truly functional. It's not a gimmick. I
00:59:39 --> 00:59:42 believe you. Totally. I loved all your jokes.
00:59:43 --> 00:59:44 By the way, the toe strap jokes and everything.
00:59:45 --> 00:59:48 I was like, yes. Thank you. Thank you. This is
00:59:48 --> 00:59:51 so good. It took me staring at a picture of myself
00:59:51 --> 00:59:53 wearing suspenders to really get that joke down.
00:59:53 --> 00:59:55 That's a, that's a good one, dude. Like the,
00:59:55 --> 00:59:57 the one about you in the back, like with the
00:59:57 --> 01:00:00 Tacoma and everything, I was like, specificity.
01:00:00 --> 01:00:04 That was great. I was like, bro, yes. Cause I
01:00:04 --> 01:00:06 literally carry toe straps. So when you said
01:00:06 --> 01:00:08 that, I was like, I think they come with the
01:00:08 --> 01:00:11 Tacoma, don't they? Yeah, except for I got an
01:00:11 --> 01:00:15 06 Pontiac vibe. Oh my gosh. Still. I still got
01:00:15 --> 01:00:21 them toe straps. There you go. There's literally
01:00:21 --> 01:00:24 one instance and I remember, uh, my buddy, my
01:00:24 --> 01:00:26 buddy, my buddy, Frank, he's, he's in a band
01:00:26 --> 01:00:32 called guac. Guac? G -U -A -C -K. Guac? Guac.
01:00:33 --> 01:00:36 And that like completely explains him because
01:00:36 --> 01:00:38 he's just, he's such a funny, creative guy. And
01:00:38 --> 01:00:41 I think we really vibed on that. Um, but there
01:00:41 --> 01:00:44 was one day in the back room of Trader Joe's
01:00:44 --> 01:00:48 in Paramus, New Jersey, um, my belt broke. it
01:00:48 --> 01:00:53 snapped and I had to, um, I had to use bailing
01:00:53 --> 01:00:55 wire. So like, have you worked in grocery stores
01:00:55 --> 01:00:58 before? No. So like what we do with all the cardboard
01:00:58 --> 01:01:00 at the end of the day is we compress it all in
01:01:00 --> 01:01:04 this machine and then we take these, um, essentially
01:01:04 --> 01:01:07 wire straps and wrap them around it and pop it
01:01:07 --> 01:01:09 out of the thing and send it off to the warehouse.
01:01:09 --> 01:01:11 Yeah. Like you crimp it down and everything.
01:01:11 --> 01:01:15 I've done that stuff. Oh, okay. Yeah. Um, and
01:01:15 --> 01:01:17 I had to use that bailing wire as a belt for
01:01:17 --> 01:01:20 the rest of the day and it was, it sucked. It
01:01:20 --> 01:01:22 sucked because I didn't have another belt. You
01:01:22 --> 01:01:27 know, belts are not cheap for this. Yeah. They're
01:01:27 --> 01:01:32 like $50 a piece. And, um, I think, oh man, I
01:01:32 --> 01:01:35 don't remember why I had suspenders. I wanted
01:01:35 --> 01:01:38 to say, I want to say it was for Halloween. I
01:01:38 --> 01:01:40 think one year I was a lumberjack for Halloween
01:01:40 --> 01:01:45 and that's all I had. and I threw them on and
01:01:45 --> 01:01:49 I'm like, these work. You know? And, uh, and
01:01:49 --> 01:01:51 something about wearing a belt too. Like I always,
01:01:51 --> 01:01:53 as soon as I loosened the belt, I had to shit
01:01:53 --> 01:01:57 to be quite candid. And, uh, with this, I don't
01:01:57 --> 01:01:59 have to feel that way. I just go when I have
01:01:59 --> 01:02:03 to. It's again, a weird thing, but, um, they
01:02:03 --> 01:02:06 just worked, you know? And I'm just like, Okay.
01:02:07 --> 01:02:09 Yeah. That's pretty cool. And they're a lot cheaper
01:02:09 --> 01:02:11 than belts. And they add a style, a different
01:02:11 --> 01:02:13 style. Yeah. And I have a few different ones.
01:02:13 --> 01:02:15 I mean, I don't, I'm not into the whole like,
01:02:15 --> 01:02:16 oh, red, white, and blue or like pride color
01:02:16 --> 01:02:19 one. That's not my, that's not my game. I just
01:02:19 --> 01:02:22 like the simple black. Like I can wear this with
01:02:22 --> 01:02:24 a dress shirt. I can wear this with a t -shirt,
01:02:24 --> 01:02:27 you know? And that's kind of what I like is.
01:02:27 --> 01:02:29 It works. I'm not gimmicky with it. You know,
01:02:29 --> 01:02:32 it just works. What works for me. Dude. Yeah,
01:02:32 --> 01:02:35 it works. Have you seen anybody else with suspenders?
01:02:35 --> 01:02:38 Uh, there's a guy I work with at Trader Joe's,
01:02:38 --> 01:02:41 um, in Austin who he wears them occasionally,
01:02:41 --> 01:02:44 but nobody who like wears them consistently.
01:02:44 --> 01:02:46 Okay. The reason why I ask you is because I work
01:02:46 --> 01:02:50 with a guy at my, like, uh, um, at my other job.
01:02:50 --> 01:02:54 I work with a dude, Bailey. Hey, Bailey. Anyway,
01:02:54 --> 01:02:57 I work with this guy. He also wears suspenders.
01:02:57 --> 01:03:00 Okay. And so when I saw you wearing the suspenders,
01:03:00 --> 01:03:03 I thought about him and I was like, What the
01:03:03 --> 01:03:05 fuck is everybody wearing goddamn suspenders
01:03:05 --> 01:03:07 lately for? I was like, I feel like, should I
01:03:07 --> 01:03:10 hop on this bandwagon and grab some suspenders?
01:03:10 --> 01:03:13 Super functional, you know? I can see myself
01:03:13 --> 01:03:17 going like, eh. I think when I first started
01:03:17 --> 01:03:22 wearing them, it was, I was thinking about like,
01:03:22 --> 01:03:24 oh, like a fireman calendar where they're wearing
01:03:24 --> 01:03:29 just their hands and they're like, hey. That's
01:03:29 --> 01:03:31 true. Their bunker gear has all, like we got
01:03:31 --> 01:03:32 the big ass suspenders that we used to have.
01:03:32 --> 01:03:34 Oh, that's right. You were a firefighter, right?
01:03:35 --> 01:03:38 E &T too? Yeah. Yeah. That's right. Just these
01:03:38 --> 01:03:40 big ass suspenders and everything. I used to
01:03:40 --> 01:03:44 actually, it was such a thing when you're donning
01:03:44 --> 01:03:48 your gear that I had a specific way, I think
01:03:48 --> 01:03:51 most firefighters do, but I had a specific way
01:03:51 --> 01:03:54 that I would lay out. my suspenders to get into
01:03:54 --> 01:03:57 the pants quick. There's a part of me that's
01:03:57 --> 01:04:01 like, dude, the way it looks basically is the
01:04:01 --> 01:04:03 bunker pants are all the way down and then you
01:04:03 --> 01:04:08 have your boots out. Basically, it's like you
01:04:08 --> 01:04:11 almost have your pants inside out and then your
01:04:11 --> 01:04:13 boots are out and your suspenders are basically
01:04:13 --> 01:04:16 on the ground. Then if we get a tone, you just
01:04:16 --> 01:04:18 go run real quick, put your boots on and then
01:04:18 --> 01:04:19 pick your pants up and then put your suspenders
01:04:19 --> 01:04:21 on. Real quick. Sounds like me every morning.
01:04:21 --> 01:04:23 Yeah, exactly. So I was like, dude, I'm going
01:04:23 --> 01:04:27 to do that. It's so funny you mentioned that
01:04:27 --> 01:04:31 because I think, so with jeans and me, I can't
01:04:31 --> 01:04:34 wash them all the time. I mean, if I get sweaty
01:04:34 --> 01:04:37 or if like, you know, of course, but a lot of
01:04:37 --> 01:04:39 the time I'll just pop the suspenders off, throw
01:04:39 --> 01:04:41 them in the ground and then next morning, step
01:04:41 --> 01:04:43 right into the sucker's throw and back on. Dude,
01:04:43 --> 01:04:47 that is badass, bro. Why not? It's easy. G -pow,
01:04:47 --> 01:04:50 G -pow. Have you gotten a lot of that with the
01:04:50 --> 01:04:52 fucking, what do you call the other guys? Pow!
01:04:53 --> 01:04:55 Pow, pow! No, what do I get? Step brothers, a
01:04:55 --> 01:04:57 lot. Step brothers, that's what it is, it's step
01:04:57 --> 01:04:59 brothers. Yeah. Yeah, that's what I'm talking
01:04:59 --> 01:05:02 about. Pow! Not other guys, whatever. That's
01:05:02 --> 01:05:04 Will Ferrell though, but yeah, Mark Wahlberg,
01:05:04 --> 01:05:05 yeah, that's right. All those white guys look
01:05:05 --> 01:05:10 alike. Oh my God. I had, a few people have definitely
01:05:10 --> 01:05:13 like pow! You know, yeah Kobayashi, you know,
01:05:13 --> 01:05:16 give me the whole spiel. That's so good fucking
01:05:16 --> 01:05:20 Catalina wine Yeah, we could just go down that
01:05:20 --> 01:05:23 horrible thing But anyway, dude, is there anything
01:05:23 --> 01:05:25 that you would like to put out? This is your
01:05:25 --> 01:05:29 camera if you have anything You can you could
01:05:29 --> 01:05:31 find me pretty much every Saturday at San Jack's
01:05:31 --> 01:05:33 saloon on the second floor I work with a company
01:05:33 --> 01:05:37 called cage cat productions and we put out great
01:05:37 --> 01:05:41 showcases with Mothership comics kill Tony comics
01:05:41 --> 01:05:43 a lot of local guys trying to get their shot
01:05:43 --> 01:05:47 So you get a you get a really good best of everything
01:05:47 --> 01:05:50 with the show. So yeah, I mean this week well,
01:05:50 --> 01:05:53 I mean it's too early already, but Yeah, we do
01:05:53 --> 01:05:55 every Saturday. This week, though, we were lucky
01:05:55 --> 01:05:57 enough to do Friday and Saturday, so we got tons
01:05:57 --> 01:06:00 of people out today. But then, yeah, every week
01:06:00 --> 01:06:02 after that, we're Saturday at San Jack Saloon.
01:06:02 --> 01:06:05 San Jack Saloon. Hell yeah, dude. Well, man,
01:06:05 --> 01:06:07 dude, I had a great time, man. It was really
01:06:07 --> 01:06:08 fun. Me too, man. Thank you so much for coming
01:06:08 --> 01:06:10 on, dude. So fun. Thank you, Trey. Appreciate
01:06:10 --> 01:06:12 it. Yeah, absolutely, dude. Thank you. And I
01:06:12 --> 01:06:16 guess that is a wrap. Thank you for tuning in
01:06:16 --> 01:06:19 to Only Bombs. Fuck. That's it, brother. We're
01:06:19 --> 01:06:22 done. Thanks. Thank you. Hell yeah. It was fun,
01:06:23 --> 01:06:23 man.