What's goody?

Hot breath averse.

Welcome back to Hot Breath Live.

This is our weekly livestream where me, comedian Joel Byers and my co host, comedian Yoshi so answer your comedy questions.

And today we are bringing on the Comedy Godfather.

This is the gentleman who has helped so many comedians throughout his career and is now getting his well deserved shine with a brand new comedy special on Netflix streaming now.

Ladies and gentlemen of the Hot Breath verse, please welcome the one and only Keith Robinson to the show.

I've had two hands.

I would clap.

Well, Keith, I know your time is very valuable.

What time you have left.

So we're gonna jump in to this online.

Wow, he's trying to kill you already, Keith.

Yeah, I know you don't have much time or whatever you got left.

We want to do the final video.

I'm just trying to make you feel at home.

I know that.

I know you like the jabs, so I'm just trying to loosen you up a little bit.

As we jump in here.

We know.

Your clock is ticking, so let's get this, brother.

No, but we already have people.

People in the live chat are already asking questions.

So we're going to get into some good comedy questions.

But to jump into it, you know, we want to make sure people go and watch your special.

So if you could, Keith, even just tell us a little bit about the special and how you're feeling about it.

The Netflix special, you know, this is.

This is kind of like the Mount Everest for comedians.

Yeah, man, it's great.

I feel great, man.

And then Netflix special is called Different Strokes.

Mm.

Meaning I had two that great.

So I had to get a better one.

You know me, I need one and knock my voice right out of the box.

This stroke was.

This joke was a catch.

Meow.

Well, the special was too, man.

It was killer from beginning to end.

Just laugh, laugh, laugh, laugh, laugh, laugh, laugh.

It was all killer.

No filler.

So we appreciate you as an OG showing these younger comics.

You know, if you're gonna drop a special, make sure that it's bringing the heat.

Yes.

I mean, on this one, I just told the truth, the whole truth, and nothing but the truth.

Yeah, it was great.

How'd you prepare for this special versus your other?

You've done well.

What is special?

I had a stroke, first of all, and then that was part of my prep.

Yeah.

And now I just start, you know, start working it out.

When I thought I was running, you know, when I felt I was running, I went on stage and started working on it because I Didn't know if I can talk or not, you know, now sometimes I can talk better than other times when I was.

I was nervous that my voice wouldn't come up for sure.

You know, I was in the hospital.

I tell a story and the true story.

And the speech pathologist said, London, B words and the F words.

Bah, Right.

You know, fa, fa, fa, ba, ba.

And learn to repeat those words, you know, whatever the words are.

And I said to my speech pathologist, I think I got it.

Let me call someone, you know, And I call my friend, my good friend Robert Kelly, and I'm like, bob's a fat ass, Bob.

And miraculously, my voice started coming back.

That's the best thing ever.

That's great.

That is a real story.

Now Bob's like, what are you doing?

Get my voice back.

Shut up and let me.

That is hilarious.

And something you're able to do that I've heard you talk about for young comics is telling your life in your comedy and making it to where it can appeal for everyone.

I know Kevin Hart has said something that you helped him with a lot, and something I heard you say in an interview was that comedians start as themselves, and then they get a lot of different advice and information, and then they start to go away from that.

And then, like, seven to 10 years later, they get back to that original self.

How do comics tap into that original self and stick with it and not get veered off?

It's hard because the owners of clubs and all that don't care about your growth.

What?

They don't know.

They don't care.

All they care is about how we selling tickets.

And if you're taking your time and walking through things.

And then they get mad like, oh, wait, man, we gotta have 30 seconds of laughter apart.

Every 30 seconds, we want to hear laughter.

We don't have time for you to, you know, work on stuff.

Yeah.

So a lot of times it's hard, but eventually you find yourself again because everybody got advice for you.

Do this, comics.

Yeah.

Open the mouth.

Well, find yourself, find your voice.

Always saying, you don't have nothing.

Start with the truth and work away from there.

The truth will never let you down.

So if I'm talking about having a stroke, it may not be funny when I first talk about it, but I'm gonna make him funny.

Yeah.

What is interesting first, I just had a stroke.

You go and set up a listen now.

When I'm gonna do with that stroke, I'm gonna find the beats.

Yeah.

You know, so whatever your situation, Is find something truthful about it.

Find something a lot of people like.

I mean, I think every comic should be well read and look at news or whatever.

Cause the more, you know, the more you can talk them out.

And that's what people look for, to do information in a funny slant away.

Yep.

And nothing worse than a dumb comic and don't know nothing.

You know what's going on, man?

Well, you know.

Oh, man, Obama.

Obama was president a while back.

What are some common mistakes you're seeing young comics make nowadays?

Nowadays, I think we call the Internet is actually made a lot of comics lazier.

I think they've gotten lazy to just find that quick laugh and getting likes and clicks.

That's our drug now on drug is likes and clicks.

So we don't vet and joke out as much.

You know, before you had to go, all right, I'm on stage.

Now they have crowd work extra.

I'm a crowd work expert.

Shut up.

You don't have no material.

Stop lying.

There are people who are absolutely great at crowd work, But I think it has to come naturally and not force.

I'm not going, hey, how y'all doing?

I'd rather keep thinking of.

Cause you have a crowd work face.

Yeah, that is.

That is the trend now is.

Yeah.

Chasing the crowd work clips more.

They're trying to develop material and stuff.

So it's a weird balance.

I always think about crowd work is gonna come naturally.

We're working in jokes is hard.

So I believe, like I'm in New York, Main New York.

That's a gym.

And in the gym, you walk out, you know, you stay in the gym working out.

I don't work out.

Crowd work comes.

I want to work out on a new angle on a joke.

And that's so much to talk about.

Where you from?

What really.

It's like, hey, so what kind of work do you do?

Yuck.

Work those damn jokes out.

You'll have that for the rest of your life.

That muscle.

Work that muscle.

That's what I absolutely believe.

So when.

When a comic starts with the truth, how do they then start to work it out to being funny?

Add on to it just.

Just keep experimenting with different ideas and lines.

Yeah, I mean, like I said, I started out when they're stroke.

Well, when I'm doing this stroke stuff brand new and being handicapped.

So when the joke came when I laughed at other handicapped people, so I forgot that I was handicapped.

So the evolution of boom, boom, boom, that's the first thing I noticed, you know, like, man.

And I'M one.

Somebody walked past me like, ah.

They got like, wait a minute.

Look at you.

Look at you.

You don't walk much better than me.

I'm like, oh, yeah, I really forgot.

But I put that in.

That was absolutely the truth.

You know, a girl smiling at me, asking me, and I'm thinking, we got something going on.

But I know she felt sorry for me.

She wanted to give me a sandwich.

I'm like, am I dressed that bad?

You know, I don't need your damn sandwich.

So.

And then you start to build from there.

You start to see things happening, and you go from there.

And that's building of something that's going on in life.

And you notice them and then bringing out like, okay, this is different.

I'm officially handicapped.

You know, my grandson came in, he was 4.

He said, Pop, pop.

You sound like Squidward.

That's another piece.

But then I had on my grandson in a relationship, you know, I'm coming.

I'm going to come off.

It's kind of.

I'm a come off the bench granddad.

I'm not a starting granddad.

His favorite granddad, he's a star.

Nobody, you know, I can't off the bench.

You know what I mean?

He's real down.

So you got something there.

What's real is what really hurts a little bit.

But then, you know, then you start to add on and add on to the whole life experience, and then you have something, and that's way better than shitty crowd work.

Moral of the story?

Yeah, moral of the story.

That's great.

Well, I know, I know we have just a few more minutes here, so I do want to get into some of the questions from the live chat here, because I know we have comics watching live with us or listening to this afterwards, which, if people are listening to the podcast, please go watch Keith's new special out on Netflix now.

And if you enjoy this episode, reach out to Keith on social media, tag him promoting his special.

We're.

We're all about comics helping comics here.

And Keith was taking time out of his day.

Yes, thank you.

I don't.

I'm gonna.

I don't mean to pander, you know, so the.

The first question we have here is from Kathy Pinkard, who asks, how do you remember your jokes on stage?

Do you have a topic, enroll with it, or perform it so much that it's in your memory?

No, sometimes I think about it and then I try it on stage.

And when I go on stage, because I'm closer to the truth, I have Ideal when I want to talk about.

And I as I'm talking about on stage, you know, in what, what I just said about coming off the bench and the granddad, I just thought about that one today.

Just come out because that's what I'm doing.

I'm not as.

It's kind of funny to me when I'm not a starting granddad, I'm a second, I'm a second, a second string granddad, you know, and that, that's real, that well.

And I don't care who like that or not, but I know being second string kid, second string, whatever, and just fun enemy and that can't go wrong.

People can't boo you off the truth.

They might not like it, but they gotta hear it.

Well, that's a real sentiment and how I feel.

So I love it.

I really don't care if somebody else don't like it.

That's an actual sentiment.

That's real stuff.

So I put it out there for you, you know, I'm putting out there how I feel.

It's still interesting.

And you can ask me, well, why would you feel like that?

And I can go deeper into it, you know.

And that makes it easier to remember on stage as well.

If you're talking from a truthful place, then it's, it's not almost reciting it, but you're almost just speaking naturally as well.

Mm, very nice.

Yeah, good question there, Kathy.

Another question we have here from Juan demarco.

Do you like the new up and coming comics?

No.

He should get you canceled, Keith.

Especially Juan DeMarco.

Of course, of course, of course I like them.

And bringing in new life to anything is always good.

Whether we like it or not is a good process.

And seeing a new firing hot comics come in.

Yeah, you gotta make space for them and hopefully help, give them help, you know, and there's nothing better than seeing new, good new comics come in.

And there are a lot of hot ranked comics out there, you know, and I love all of them.

I like the Joe, listen, the Mark Norman, all those guys are funny.

Little Reggie Conquest, Monroe, Martin, Derrick Gaines, that's my Philly crew, Zaynab Johnson all.

I love them all.

All the new ones that's coming up making noise.

You got Andrew Schultz's door, Arenas.

Yeah, that makes me angry.

That makes me very angry.

But it's good.

Comedy is still growing.

Yeah.

And doesn't stop.

And they're taking it to different levels.

Shane Gillis and all those guys, you gotta love them, you gotta go.

Yeah.

All right.

I never been a kind that was jealous.

I never got bitter.

I got better.

And that's the main thing to all these topics.

Young and all don't get better.

Get better.

Bars.

And that's real, you know, because I know I was getting.

I'm better than him.

Who's the common thing.

Why he got that?

I.

I'm better.

No getting better.

Getting better.

I love that and have that because it's like your turn is coming up.

Everybody's gonna get that shot.

Is what you do with it when you get it.

People like, I want to do that.

When I do this, I'm a show.

And then when they go on, it's a big dud and nothing happens.

But don't even let that get in your way.

Shake it off and keep going.

For sure.

Yeah.

Next question we have here is Daphne Steinberg asking if you can be more specific.

What aren't young comics doing that they.

Should be the work, I think re investigating.

Writing.

Writing jokes.

Go on.

Stop looking for that instant high, that quick high on the Internet.

Do your research.

Research and joke.

Random joke.

Find more.

Enjoy and then joke.

That's what I believe.

I believe you can still do the Internet.

That's fine.

But the main reason I came in here is to tell jokes, make people laugh.

So don't forget that.

Do not forget the process.

Get on the stainless.

And I mean, I know it's hard not to worry about likes and clicks.

Yeah.

But at comic thing better than me.

Don't worry about the construction of a joke.

You know how to put them together for the man.

I don't put my jokes together for a dumb algorithm.

Oh, look at the algorithm.

I fooly.

I put it together because I like it.

You know, my algorithm.

I really believe in the jokes.

People are writing for algorithm.

I can't even say it right.

You know, my stroke is not on an algorithm algorithm.

Need to go back to the speech therapist for that one.

This ties into the next question from Bobby Sutton asking, what do you think today's audiences prefer observational comedy or personal stories.

Either one is good.

Either one is good.

If that was you do and you do it well.

Everybody's not going to have personal stuff because they don't like it.

But if you have observational or you know what topical, well, do it to the message you endure.

That's why, you know, comedy is comedy no matter when you how you deliver it is how you deliver it.

I prefer talk.

Start with the truth and then going from there.

But you may move far prefer observational.

Whatever Your strengths are you'll find them and maybe, just maybe, you'll do both and personal, so it don't matter, but as long as you keep writing.

Beautiful.

And I can kind of combine these next two questions from Bobby Kramer and Frank Herrera, who asked, Bobby asks, how long did it take you to build the hour for Netflix?

And how long did you spend refining it?

And also Frank asked if Netflix filters any of your material.

No, nothing.

Nice.

Not one, thank God.

But it took me.

When I got back and started to build was almost a year and a half, two years.

Yeah.

I was performing at a comedy seller, the Fat Black Pussycat, every Monday or Tuesday for hour and building and building and building.

And as life happened, the special happened more and more and more.

You know, what I thought and what I came across or what I remember going through in the hospital.

Now I had to learn how to make it funny.

So I was working on that right away when I noticed I'm on stage.

People look at me like I was in the Special Olympics and they felt sorry for me.

Yeah.

Instead of laughing, so I tell some mean jokes and they go, wait a minute, this guy's an.

You know, you notice everything, man.

And if you don't, you can always address it.

Yeah, yeah.

And I did a one show and it was a lot of handicapped people on the show, but even they looked at me like, oh, man, come on, he's not a real handicap guy.

Cuz I wasn't born handicapped.

Yeah.

You know, they're like looking at me like, oh, he was asking for it by the way he ate and all.

But I noticed that.

And looking at me like, nah, nah, you're not a part of our crew.

You know, we're the boy with crew.

You hoa or pop, whatever you pop, caffeine your way into this.

We're the real one.

We're handicapped OGs.

Yeah.

And that's real, though.

And I, you know, I'm like, okay, I get it.

Well, that discrimination everywhere.

Yo.

You know what I mean?

Even in the handicap community.

They look, who is this guy?

Like, wow.

So we're, we're about to land the plane here.

Just two more quick questions.

One from Mike Jump, asking some do's and don'ts when meeting a successful comic in the green room.

Oh, don't go in there eating all in their food.

Don't do that.

Hilarious.

Don't tell them you got jokes you've written now for them.

You know what?

I know this because I want thought one comic kicked me and my trees O'Neill out of his ring room.

Take those both out.

When I.

Wait a minute.

We're sitting there tying up the chicken lamb, like, get out doors out.

We're like, all right, so give colleagues that space, whatever space we may need, and ask the owner or whatever in the club or wherever, always ask, is it all right?

Well, we were just eating feet up in the air.

Hilarious, man.

But trees.

Get out of there.

Both of you in there eating.

He probably ate everything.

Yeah, big guy.

Anyway.

Well, the.

The final question here we have for you, Keith, is do you have any closing advice for the next generation of comics out there?

Anything you've Learned from your 30 plus years in the comedy game that you could bestow upon this next generation?

Watching tempers.

Watch how you treat people.

And even the owners are bulkheart.

You know, I.

My main thing was not knowing how to deal with industry.

Like one woman said to me at NBC saying, keith, you got a deal.

I'm like, all right, you're not happy.

Like, what do you want me to do?

You know what I mean?

I could have been handled that situation better.

When people want to give you something, you know, don't bring whatever baggage you had in it.

For sure, sure.

And the one thing that I'm still annoying at myself for doing missour at Comedy Store 1990, she passed me.

I'm like, yeah, but then I won like a dummy, man.

I wanted to clarify something.

So what do I do next?

She said, get the hell out of my face.

That's what you do next.

And I got so mad, I cursed that and all that when I should have just had.

Yeah, you're right.

Thank you so much.

Yeah.

And it still bothers me to the day that I didn't give her the respect that she deserved.

All because, you know, you know, I'm a hood dude.

You don't talk to me that kind of way.

But I didn't.

I was so dumb.

They're not, you know, being gracious enough to know this woman has an icon.

Yeah.

At a time of a dumb comic.

So watching Temple, you know, you don't have to take a lot of everybody's.

Well, you gotta take some.

And, you know, and it gets you farther, faster than that ego.

The ego will get you in trouble.

So set that ego at the door.

Cause it always levels to this thing.

And, you know, I had to learn the hard way, you know, and that's one thing that always messed with me thinking about it for Missy Shore is a legend.

Some snot nose comic trying to get, you know, I should have Knew, like, hey, remember.

Sorry, man, whatever.

That's what I should have.

Did I let my ego, my temperate, my background, whatever.

No, don't take shit from nobody.

This is a take from people and industry enemy.

All right, so that was my thing.

Mind your temper and how you talk to folks.

Anybody.

Well, we appreciate you talking with us today, Keith, and taking time out of your schedule.

So people listening.

Go watch Keith's special on Netflix right now.

It's called Different Strokes.

It's available now.

This guy is a comedy vet who is all killer, no filler in this special.

Just like you learned a lot listening to him today.

You're going to learn a lot just watching the special and seeing comedy done at a very high level.

So, Keith, we appreciate you as always helping the next generation of comics.

And is there anything else you want to promote or people to connect with you or anything like that as we get out of here?

I'll be on tonight's show.

I'm coming out the 10th, the 11th.

I'm taping a breakfast club.

And on the same day I.

I take the reference club, I'll be doing the View, and there'll be a lot of angry women.

Yeah.

Thank you.

Yeah, thank you, Keith.

Absolutely appreciate you.

Have a great day out there, buddy.

And we'll be sure to keep spreading the word on your special.

Thanks so much, man.

I appreciate it.

He dropped some.

Yeah, he dropped some bars.

Yeah, bars, bars.

He dropped some bars.

I think a few that stood out to me.

Starting with the truth was interesting.

Hearing he said the phrase find joy in your jokes was an interesting approach to comedy writing.

And also, as he said, start with the truth.

And then how to find the funny for him seemed very organic in that it was okay.

I have this premise around me being a handicapped person now, and that's basically the truth.

So then basically, he said as he lived more life, the joke started to reveal itself to him.

So he.

I know we can really emphasize sitting down and joke structure and writing, writing, writing.

But Keith, 30 years in the game is now at a point of, oh, I have a premise.

And now throughout my life, I'm going to start looking for things that reaffirm that premise.

Almost like, oh, I want to buy a new car.

I want to buy a new Honda.

And then everywhere you go, you see, like, that Honda car everywhere.

So he's observing, like, constantly observing everything with the premise in mind.

Like the handicap.

I'm handicapped.

What other.

What's interesting about this?

People walking past me, people not thinking I'm part of the Handicapped community, all those different elements and then going deeper inside of that.

So, yeah, it's.

It's pretty solid.

Yeah, I love that approach and something.

I'm actually doing a joke writing workshop when I'm in Florida this weekend, and I feel like that's something to incorporate as I do want to.

I do want to help comics not be as formulaic because I feel like if you're too formulaic, then you sound formulaic when you deliver it.

So I am trying to find that happy medium of structure, but also helping to be organic and authentic as well.

Yeah.

So I think that that's a good approach to that as well.

Yeah, I mean, he was talking about either the hour every Monday and Tuesday for weeks.

You know what I mean?

Reps.

I think that's an important factor of just getting the reps in, especially as you're working on the hour, is.

I can imagine how often it kept changing, how often it kept refining how often he found more and more stuff and even like finding like the handicapped people that were, I guess, at the show and finding comedy in that scenario as well.

So he's.

While he's working on the special, he's also observing what other things are different about my condition, even while I'm on stage.

So that was just a, like.

It's like that constant observation, I think is so important and just like basically saying, don't ever be a dumb comedian.

I'm such a fan of that.

I love that.

Be well read.

Well, you gotta know things.

Like, you're gonna know the more you can talk about.

He said, yeah, if you're going to.

If you're going to have an interesting take on something like, about it, like, know the thing, like research, do your homework on the topic so you're just not saying it just for the sake of saying it.

You actually know about it.

So I like that a lot.

Yeah.

That really resonates with me on this new material I'm doing about sugar and it being poison and processed food being owned by tobacco companies and all these things that I've just been reading about on my own that I'm now starting to try to incorporate into my comedy.

It's kind of interesting timing of thinking, oh, yeah, talk about the things, you know, talk about the things that you're naturally interested in that are truthful to you, and then start to find the funny within these things you're already well versed in.

So that's it just.

It's an interesting time to be hearing that.

Is that kind of the direction I'M taking my material of things I'm more interested or educated about.

That really resonated with me, and I hope it did other people as well.

Yeah, Yeah, I like that.

I mean, I think I like that as I'm, you know, I don't know about you, but after I take the special, I've only been thinking about the next hour.

Right.

Or the next 30 minutes.

Right.

And so I'm, like, trying to build that material, just like you're trying to build your material on the sugar thing, which I think is super dope.

And I've heard it and you've expanded on it even from before, like, because I think you've had the sugar thing for a little bit, but the way you've crafted it now, it's like, layered, right?

It's like, what are the layers to this?

You could.

I could tell you've done the research on sugar.

I feel like you've just been Netflix binging on, like, documentaries or something, which is.

Which I think is super important to make the jokes work, right?

To make, to.

To be the most, like, I don't know what the word is, but, like, I think about who does the Hot Pockets joke.

What's that guy's name?

Jim Gaffigan.

Jim Gaff.

Again, no one will ever do another Hot Pockets joke, right?

It's.

It's been done.

He's literally done everything around it.

So it's like whatever your material is, you want to be able to cover all the bases around this material, around this thing that no one else can really take away from you because you're the one that experienced it.

But you do all the research, you hit all the tags, you hit it from multiple angles.

And I think to your.

To his point, that's what makes a well rounded comedian.

Somebody that knows a lot about the topic, but makes it funny for the audience.

And I love sort of just getting back to that, like, the jokes, like, over and over again.

Get to the jokes.

We are joke writers, right?

It's like, don't practice crowd work.

How do you practice crowd work?

Just write jokes.

Yeah.

And he said something like, the jokes are going to last a lifetime, as opposed to crowd work is kind of in the moment, a poof of magic, and then it's kind of gone forever.

You can't really redo that crowd work.

But a joke, you find a good joke.

You do that for years and years and years and years and years.

And also, I think we also have to, like, I know we're pooping on crowd work, but the People who do crowd work really well use the crowd work to capture clips, to get people to come to their shows and watch their material, because that's material that they've worked on and crafted.

So it's like it's done for a reason.

It's done for the attention span of most people, which is like the eight seconds.

But they're doing that so they can hook you to come to the show.

And obviously that's got some ramifications because now people think they're part of the show, and we don't want that.

Yeah, some comics do, but then some don't.

You know, it is a.

It's an interesting time to see where all that is.

And I'm not trying to be an old, grumpy old man like these kids and their crowd work.

I just think there is a balance to be had.

That.

Honestly, it's.

It's tough for me to even, I don't know, connect with as much because I can't imagine trying to figure out how to ride a type 5 and trying to figure out how to do crowd work and edit and post these clips.

You know, when.

When I started, it was just stand up, stand up, stand up over and over and over again.

There was nothing.

All these extra variables at play to where, oh, my gosh, if I go viral, I may start selling tickets and can go full time as a comedian.

So it's.

In a lot of ways, it's tough for me to connect with that New balance comics have to find, and I think they just have to find what fits best for them and what they want their career to be.

But there is, I think, a big value in knowing how to write jokes, because the ROI on a good joke is much longer.

You can do it for the rest of your career if you want.

I'll do marriage tattoos for the rest of my life.

You know, that one liner still, you know, Burt Price, you're doing the Machine.

I mean, he's.

He still does that, so.

Absolutely.

Yeah, yeah, yeah, yeah.

You got to do what works.

And the joke.

If the joke is that good, then it will literally be enough to last you your career.

Yeah, for sure.

Oh, and Kathy said she missed.

We did ask your question, Kathy, at the very beginning of this, so thank you for asking that question.

Keith had to get off early, but we were here just kind of reflecting on several of the big takeaways that we thought from Keith's interview, which was great.

So good.

Such a.

Such an og, like, three decades, man.

That's.

That's wild, man.

He's been through so much, but you gotta think he has injected his knowledge into so many people.

I mean, he was driving Kevin Hart and Okerson to New York for weekends for years.

Isn't that wild?

Just be like, no, no, just come.

Just come roll with me and just do the circuit and do these clubs in New York.

This is how you' get good.

And you look at those two right now and they're crushing it.

Two completely different styles, but yet they got their own thing in comedy and they're doing great.

Yeah.

And speaking of crowd work, I mean, Big J Oerson, one of the best crowd work comics ever.

So it's masterful.

Masterful.

Unreal.

So it's, as we say, you know, relax on crowd.

We're going to learn jokes.

Big J is legitimately one of the best crowd work comics ever and can do it whenever and to whoever he wants.

And it's going to be lights out.

So, yeah, it's kind of, what kind of comic do you want to be in, finding that balance?

I think for comics, it's kind of a personal choice of, I don't want to make it all or nothing or you're doing it wrong.

It's just what you want your comedy to be, I think.

Yeah, yeah.

I mean, but I mean, even if you look at Jay Okerson's last couple of specials, this last one that I know he did on Netflix maybe like a year or two ago, it's all jokes, man.

And the jokes were phenomenal.

Like, they were so good.

Like he's.

Because he's just.

They were personal.

They had layers where you learn more about him and they just had jokes like it was just legit with jokes.

He's a phenomenal storyteller and, yeah, it was pretty fantastic.

Yeah, agreed.

So, yeah, I think my big takeaways are starting with the truth and finding the funny around the truth.

And I mean, the other quotes.

Find joy in your jokes.

I think that's gold because sometimes when you're doing an open mic in front of 30 comics in their notebooks and that's.

And there's a barista grinding beans for the homeless person waiting outside for free coffee, you know, TV on in the background.

TV on.

Finding joy in your jokes will help you to perform in those settings joyously with a lot more enthusiasm than otherwise of, oh, we're here again.

So finding joy in your jokes and the more, you know, the more you can talk about.

I mean.

Yeah, yeah, those are gold.

Yeah, I love that.

I love the observe and keep observing to Add to your jokes.

Like, just.

It's almost like your joke isn't over yet.

You're just observing life on how this feels.

When you start with the personal, then you get more out of it because it's your personal experience.

So, yeah, it's.

That was stellar.

That was really good.

Sometimes you almost need that refresher.

I feel like you just gave, like, a master, a quick master class on comedy.

You know me, the art of it is.

Oh.

And then he ends it with, hey, what's the biggest advice?

Be nice.

Yep.

Check your ego.

Yeah.

To people.

Watch your temper.

I mean, that's.

That's our whole philosophy.

Like, don't be an a hole.

Be good to people and work on your comedy.

Get on stage.

It's like, yeah, that still universally rings true.

Be nice, be funny.

That.

That old mantra.

It's the old.

The oldie but a goodie.

It's very true.

Be nice, be funny, do the work.

It's.

There's no way around it.

And I do.

As he was saying, comics start off as themselves and then get a lot of different feedback and start to veer from that.

Yeah.

I do want to be mindful of.

We do give comics a lot of advice, and it's coming from a place of.

Not of.

We know better than you, but this is what we learned from our professional experience.

But you figure, like, you apply what applies to you, but that is something to be very mindful of.

Even the feedback we give to make sure it is still coming from a place of take with this and apply to.

Make it your own and not apply.

Take this as law to follow this or else you're doing it wrong type deal.

Yeah.

I mean, but here's the thing.

Like, when we've done feedback Mike stuff, then we're very conscious of that versus we're just giving advice.

Like, here's the thing.

The be nice and be funny.

There's no.

There's no like.

Right.

Sugarcoating that.

There's no like.

No.

That you shouldn't do.

No, no, no.

You should for sure be nice.

And you should sure work on be funny.

And then you should for sure do the work.

Like, those things are universally true.

You mean what I think about a sugar joke versus what Joel thinks about your sugar joke.

Now, that's an opinion based on how we both write, based on how we perceive things.

That kind of stuff you can take with, like, a grain of salt on how you do it.

But we've also have seen stuff, so I think it's also important to know that we are coming from a place where we do want to help you out and get better at this comedy game because the more, the merrier.

The more we see comics doing well, the better that this game works out for everybody.

And to your point, said before, comedy is making a huge comeback.

I don't know, a city, a town, we're in Atlanta, I don't know, a brewery that doesn't have a comedy show.

It's like, I don't know, a restaurant that hasn't thought about it.

Like, there's just so many people that enjoy comedy at this moment.

It's making a huge boom.

It's like it's a resurrection and I think it's good for comedians overall.

Amen.

Yeah, yeah, amen.

And that's what we want to do is help comics make the most of their comedy careers and create their own success.

That's what we're all about here, helping that next generation of self made comics.

So, you know, speaking of self made, I think we're both in Florida this weekend.

We are.

You're on a different side of Florida.

Yeah, I'm, I'm in Pensacola Thursday, then Sandestin Friday and Fort Walton Beach Saturday.

Oh, wow, you got trifecta.

We got, we got a little run going and that Saturday I am doing a workshop in the Panama City area.

So if you are in that area, hit me up on social media at joelbyers Comedy and I can share more details.

And where are you?

I'm in Fort Lauderdale on Friday is my show, but I get in town on Thursday so I'm gonna try to see if I can go up sometime on Thursday and then so I'll be in Fort Lauderdale Friday and then I'm in Islamorad on Saturday, so.

Which is like a little bit north.

It's like four hours away, but yeah.

Whoa.

Three shows out there this weekend, so looking forward to it.

Very nice.

Saturday night.

One show Friday night.

Yeah, we crushing it out here.

We're trying to put in this work, baby.

So anyone in those areas, holla at your boys.

Pull up.

Absolutely.

Yoshi.

So on IG Yoshi with two E's, hit me up if you're going to be in town, holla at me.

And we appreciate everyone that watches these live streams that we do every Tuesday and we'll be back next Tuesday.

Thank you, everyone.

We love you all.

We'll see you all next week.

Bye, y'all.

Hot breath.