All right, three, two, one.

Welcome back to Hot Breath, your weekly comedy tune up with comedians Yoshi so and Joel Byers.

Thank you all so much for hanging out.

We've been off the air for a few weeks.

There was Memorial Day weekend, and then last week I posted my interview with the winner of the May clean comedy contest, Mr.

Daniel Quintero, which you can check out on the podcast or on the YouTube live.

And if you haven't heard that episode, he had a lot of good insights into how he was able to write a killer set in two weeks.

And probably my favorite feedback about the contest has been that even if people aren't in the finals or winning, they're still writing a lot of new material that is stage ready.

So if you've been struggling with accountability or motivation to write new jokes, this contest is definitely created for you.

So you can go to clean comedycontest.com linked in the show notes to join the June contest, which the deadline is today.

So if you're listening on the day of the release of this episode on Mondays, which we greatly appreciate you loyal hot breathers that do that is one of the perks is you get access to this contest, so.

So you can go save your spot and compete to win the hundred bucks and an interview on Hot Breath.

Yay.

There it is.

Just trying to get that applause sound effect going.

Okay, so we in here.

I actually tried to start this podcast early because Yoshi was late and then Yoshi joined and was like, your audio sounds terrible.

We had to restart anyway because we record this at nine in the morning for people that don't know on Mondays.

So we, we are out here getting this in.

So I'll post that on the Patreon if people want to check it out.

I did say some expletives.

I can't even say expletives.

Expletives.

I sinned at the end of the video when I realized that the it doesn't threaten to quit the podcast for the 50th time.

Oh, of course.

It's 50,000th time.

Really?

Podcast.

Unless you threaten to leave doing the podcast.

But then you meet people from the Hot Breath Averse and it makes it all worth it.

I met a Florida comic named Leroy Aaron and we met at the Laughing Skull a week or so ago.

And he was so hyped on the podcast and was like, yo, you're.

I love the show, man.

And you know that's always rewarding.

And I know you get that as well.

People will see you be like, oh, man, I love the podcast.

So I get a lot of that at festivals, a lot of that at shows.

Yeah.

Especially when I'm new to a show.

People are like, God, your voice sounds familiar.

Where'd I go?

Yeah.

I've had people stare at me, like, at some place and just like, give me like a tilt of the head and then like, I know you have seen you somewhere and then I'm like.

And I'm really good with faces, so I typically know if I've seen someone.

And then like, you and the white guy.

The.

The dude.

The podcast.

The white guy.

You and the white guy.

That's us.

Which actually sounds like a great podcast name.

We should just change that.

You and the white guy.

That's not bad.

We could workshop that.

And you're the white guy.

Oh, but speaking of hot breath verse, I did have a question from a hot breath or in Barcelona.

Barcelona.

Barcelona.

Which is a great comedy scene, by the way.

Yeah, you were out there.

We, we talked about it back when you did some shows over there.

An amazing comedy scene.

The city is just super ripe because it's a.

It's a tourist town.

So there's just like a lot of venues that do English speaking comedy and people are there for it.

So it's a nice little fun little run if you ever get a chance to go to Barcelona.

Just comedians from all over the place.

But it's a good place to test out your material, to know if it's internationally sound.

So all the references that you make to things that are American may not work, but if make it bigger, where it's more universal, then sometimes it does work.

I remember asking on the show not to go down the rabbit hole.

I remember asking.

I was like, so what is it like if you were to think about the first thing that you think about America?

What's like the first thing you think about?

And I.

Oh, my heart just like, was like shot in the heart.

They're like, so school shootings.

I was like, oh, my gosh.

Yeah, yeah, yeah, yeah, yeah.

Yes.

Just out of the gate.

And this was like a hundred people in the crowd.

Oh, my God.

This was like Family Feud.

It would have been like 70.

Ding, ding.

Survey says.

Sad.

Yeah.

I may get out of here.

We may need to.

We may need to get out of here.

Have you thought about leaving just the country?

Yeah.

Regularly?

Yeah.

It's just so much, I guess it's a lot.

You know what I mean?

Like, now we're living in a country where the richest person and the most powerful person are Having it a penis whipping contest.

Like what are we doing?

Yeah, let's not go down that rabbit hole.

Let's not.

Not my president.

You're not gonna talk about my president on this podcast like that.

Politics.

But I don't like people just fighting.

It's ridiculous.

But yes, let's.

Yeah.

Negativity.

Barcelona.

Cor.

Question from a Barcelonian or.

Yes.

And the question is, why do you have so many school shootings?

That's the question.

Do you want to go?

Yes, but yeah, his, his name's Rick Andrews.

Yeah.

And he says during shows it always feels like the first minute never gets a big laugh.

If I do the same joke at five minutes, it gets a good laugh.

But I always feel like I have to build to this.

Is this something you notice or is it just needing stronger openings or quick one liners to get them going?

He says he tends to tell stories.

He doesn't really know what to start with because of this.

You know, I think this could be answered in a couple of different ways.

I think one of the things that I definitely teach and I know that we even talk when we were teaching our class during the pandemic was like first 15, 20 seconds, you got to get a joke.

You gotta get a joke out.

Like the audience must trust that you are funny out of the gate.

And it's just helpful to get something going for them.

And so I always say even in the first minute.

I think the first minute is where you actually have to pack in as many jokes as possible to start off and then you can trail off into other things.

They just have to trust that you are funny.

And so even Jason Rowland from the World Series of Comedy and Comedy Feedback talks about an identifying statement out of the gate.

So if you ever watch any late night TV sets, the first minute is usually something identifying statement about them and it usually has a joke.

It can be sometimes wrapped in I look like or I come from or my background.

Is this just something identifying that has joke structure in it to then for them to then trust.

Oh, you have other things that we know.

Oh, now that we know you're funny, we can trust anything else that you're going to say.

And we're like with you.

So I do think if you have a couple of one liners it's okay to do that just to get funny into it.

Even if you are a storytelling comedian, it's about packing jokes in, in that first minute because that's where the big impression is made.

If you're waiting five minutes to get the laughs.

That's a lot of work for them to do to wait for that laugh for the audience.

Yeah, for sure.

Yeah.

So I do think, yes, one liners or just identifying statements.

I look like jokes that are wrapped not in saying I look like, but in other ways I think are super helpful right out of the gate and just something identifying either about you, how you look.

You always say, always address something that the audience is thinking about you out of the gate.

If you look a certain way, address it.

It's always just helpful.

Like Liam Nelson, who is a seven foot comedian.

What is that?

Sorry, some ad just popped up.

Okay, sorry.

Yeah, I don't even know if y' all can hear that, but that just randomly.

Because I was actually pulling up Jason.

You mentioned Jason Roland, so I was gonna pull up.

He actually has his comedy feedback class starting June 9th actually today.

So you to comedy feedback dot com.

That's a great six week class.

Yeah, I've taken an amazing class.

If you're trying to just do showcase sets and book by bookers.

Yep.

But yeah, I would say one liners, get the one liners out there, identifying statement, have something that, you know, just works out in the first minute or so.

Yeah, for sure.

Yeah.

You want to get a laugh within 15 or 20 seconds.

And you know, that's just a good rule of thumb.

It's a good goal to have for, you know, especially starting out and just trying to get that tight five together.

And maybe part of also Rick's joke not working at the beginning, but at the end is maybe his confidence.

It's like as you get more laughs, you get more confident on stage and then the more confident you are, the more confident the audience is in you.

That's why we do say getting a laughs as quick as possible will help not only the audience get on your side, but you get on your side, you get that confidence going because you're like, oh, I got a laugh there.

Okay.

There's a little adrenaline to build on because a lot of comedy is just confidence.

And that's why the number one advice from all the interviews on this show has been get on stage.

Because that's how you build that confidence is just being on stage a lot.

So that may also play into Rick joke working more towards five minutes than one minute just because he's more confident at that point in his set.

So even if you are more of a storyteller just to get the audience on your side, you could do a couple quick one liners just to get the momentum going.

Just to Get a pop going, you know?

Yeah.

And also, just also realize, know that even if you are a storyteller, it doesn't mean that your jokes can't be funny or they can't have quick laughs in it.

Like, just because you're telling a story does not mean that people have to wait all the way to the end for that joke to be funny.

Storytelling just means you are saying a premise that's going to last a much longer time than something that's quick in and out, like set up, punchline.

And then you're not even talking about that topic.

That's really what it is.

Even if you're telling a story, you can have jokes and funny things in it all the way throughout the story itself.

Yep.

Yeah.

So hope that helps there, Rick.

That's just.

I thought that was a good question that maybe other people have struggled with as well.

Yeah.

But it's all about.

Yeah.

Getting that laugh as quick as possible just to get your confidence going.

Yeah, yeah, yeah.

It'll make you feel so much better.

Like, especially.

Yeah.

As soon as you get it, you're like, oh, okay, now we're in it.

Absolutely.

Oh, man, that just makes me remember those early days of like all you have is maybe five minutes, you know, if everything works, you know, and some comics like, oh, I got 15, and then it'll become three real quick when it doesn't work.

But just like, oh, I had this opener.

Kills every time.

And then it just doesn't.

And then you're like, oh, no.

And then you just slowly start shrinking on stage with every, every joke that misses it.

Just.

Yep.

But that's a.

Yeah, that's a good question there.

But yeah, it's all, all about the stage time, my friends.

At the end of the day.

Yeah.

Continue to develop material.

But that's.

That's stage time, man.

You can't, you can't skip it.

Can't skip it.

Because it's funny.

You and I, we did a show at Atlanta Tech Week last night.

We did a show together.

Yeah.

And so a lot of.

A lot of like nerdy people.

It was for startup or Stand up for startups.

Yes.

Is the company's name, which was a lot of fun.

I know they do a lot of great shows.

It was.

I'd been watching them, so I felt like, oh, good.

I got a.

I got in there.

Thanks to Yoshi.

Yoshi referred me.

Yeah, it was great.

And so we were talking to a guy afterwards who's like a software developer and big in AI and we were Talking about joke writing with AI and also it was like, at the end of the day, it's like, you still have to get on stage.

So it's.

You can't.

Because he was.

He was super interested in comedy and even trying it.

He may do your class, it sounded like.

But yeah, he was very curious about.

He's like, well, comedy is a language, and these AI tools are large language models.

He's like, so there's got to be a bridge there.

But it's also it.

You.

At the end of the day, you.

You can't AI Your way on the stage, basically, you know, unless you're doing the Metaverse or whatever.

But, like, you still have to get on that stage at the end of the day, and that's when you're really gonna know if.

If it hits or not.

For sure.

Yeah.

The human reaction reality of whether a joke is funny or not.

I mean, I'm sure AI can figure it out sometime, but right now, it can't replicate whether something's funny or not.

Yeah.

So you can try it as much as you want, but it cannot replicate whether that joke is going to work.

So.

Yeah, it is a.

It is.

That's.

That's the key.

You got to get on stage and you have to test things out.

And then you just have to be in different environments where you're like, oh, I've never been in this environment.

Let's see what happens with my joke in this environment.

Yeah.

Yep.

Even last night was a different environment.

It was about 400 seats out, and they were not 400 people there.

High ceilings.

It was in, like, it was in Atlanta Tech Park.

So it's like kind of like a tech co.

Working space.

So high ceilings, long room.

It was basically like a cat.

A cavern.

Like, this had to be the size of a football field.

Yeah.

It was huge.

Open, bright lights.

The audience is lit.

You know, the overhead lights are on.

Not, not.

Not a dark.

Yeah, like, tight comedy club environment, which is like, quote unquote, the ideal setup for stand up.

So a lot of variables you gotta just learn to adapt to.

Yes.

Which some comics did better than others.

We could say, you know, we're not.

I'm certainly not saying any names.

I'm just saying experience will help you to, like, kind of take the temperature of a room and how to kind of adapt and connect with that audience at that time in that setting.

For sure.

So, like, I just.

I just opened up with something about like, oh, these are all the people that didn't get to the free pizza Or I said something like that.

That, like, these are the people that were bummed there was no more free pizza.

I basically just addressed something that everyone in the room could connect and resonate with.

Absolutely.

Up top.

Just to kind of start that conversation, you know, like something relatable.

Yeah, yeah.

Yes.

And other comics just went up there and just started with their jokes, not really establishing any sort of connection with the crowd, which.

The connection is key.

Yeah, for sure.

And then another sea of comedy, connection, confidence.

Yeah.

And I just made fun of Joel, and that got a big laugh right out of the gate.

Yeah, yeah, yeah, yeah, yeah.

It was just a fun little cadence of just like, oh, just make fun of the guy.

That was just last year.

But it was connected.

Like, I never wrote that joke before.

It was actually just connected to the conference.

And so it was just something I just thought of.

Up the top.

And it worked, and they all got it.

But it was a quick laugh to then for me to get into my material, which is exactly what I did.

So it was, you know.

Yeah, it was a good set.

Fun set, but definitely not ideal from a comedic standpoint, but also, like, you also feel proud after you did the thing of getting everybody into it.

And I think for sure, that was, like, the highlight.

And, you know, and then people stayed.

That's always, like, the thing at a show like that.

Because I think the audience is also thinking about, should we go or should we stay?

Yeah.

Because people were leaving while people were performing.

And so now you have that pool of should I leave or should I stay for this?

And happy to report, they stayed for the rest of the show.

So that always feels good.

You're like, oh, yeah, all right.

And now the people that are here, the people that are left are getting a show, which I think is the most important part.

Yeah.

Giving a show, no matter what, is super valuable and just a muscle you develop over, I would honestly say, years.

You know, it's.

It's so hard to.

It's like, I did a country club on Saturday, the.

The night before our show together at the Tech Park.

Yeah.

It was actually second time doing this country club, the Rebook.

I think I've said it before, but that's where it's at.

When you can do the Rebook, that's when you start to really get the money going.

So.

And if anyone listening to this has a country club in their area that even if you just have the name, send it our way.

And I'll reach out to them, because I've been really enjoying these country Clubs.

But basically I was talking with comedian Jordan Meadows at the show and he's like a newer comic, but I like him.

Very likable, very funny, has great jokes.

Just a newer comic.

And he was asking me just basically about having.

When did I feel like I had the confidence in terms of.

We were talking about, like, the business of comedy versus the art of it.

Basically, he's like, when did you feel like you had the confidence in your skill set to be like, oh, I feel confident marketing myself as, like a reliable, like, headliner.

And I.

I said like eight or 10 years.

Like, it was.

I felt sometimes telling a younger comic these timelines, it.

But I mean, that's.

That's really the reality of it.

I know with social media you could build an audience faster, but to actually build, for me personally, it took that long, really, eight to 10 years before I'm like, oh, I feel confident, like, marketing myself as someone who can provide a reliable service of comedy.

Just think it from the business end of it, you know, so that's my personal experience.

And I've heard other comics share the same.

Where it really takes around 10 years for you to really feel like you've got your footing in this game.

But I know there's people five years in right now that are like, joel sucks at comedy.

I'm.

I'm on right now.

They don't even know I'm the chosen one.

And there's a set around the corner for you thinking that that is going to make you rethink everything about your decision to even start comedy.

But, yeah, so, yeah, a lot of it takes time.

I don't even know how I got down that rabbit hole.

But some of it is just time and consistency, which I think is why community is so important.

Either here in the hot breath of verse, in our Facebook group, finding that support, or just in your local scene as well, just having people you're on the grind with because it can be a lonely journey out there.

Yeah, yeah.

I mean, I think at the end of the day, because you've got experience, but also I think kind of just knowing what you want, I think is also important.

Right.

Like, you've established yourself truly as a clean comic who does faces that are sort of conducive to clean material.

You booked clean, you don't do dirty.

And it's not that, like, clubs are, like, dirty or clean, but because you've established that, you just get a bit more opportunities, you know what I mean?

If you're a dirty comedian, it's really hard to Go to a country club, you're like, all right, when y' all want some dirty comedy, like out of the gate?

Not that it's not possible, but yes.

Some don't mind it, but, you know, the.

I did a country club the week before as well, and there were actual.

There were children in there, like toys on the front row.

And they didn't.

Nope.

They didn't say.

None of those mentioned.

No, they didn't mention it was going to be like that.

It's just hanging out at your show.

There were several children and not like teenagers.

Like, at the show this weekend, there were some teenagers.

And that was cool.

And I, I played with them, but like in a very comedic way, not an incriminating way.

And it was totally fine.

They were all cool and the parents were cool and everything.

But these are like children.

And one of the comics on the show that the children run was like, I don't have.

Because that comic had kids as well.

And some of the topics they talk about, they didn't even feel comfortable.

Even if they're not, quote, dirty or swearing, just the topic of sex or something.

They were like, well, I wouldn't want to talk about that in front of my kids.

I'm not going to do it here.

So there was some scrambling and editing going on, which is why it's so important even just to be able to be clean.

Like, that's why I always at least challenge comics and why the clean comedy contest exists, to at least help comics write clean jokes.

So if that opportunity does come, you're able to say yes and not have to be like, I don't know if I can take that $500 gig because I don't have 10 minutes of clean material.

You know, it's.

Which the reality is, I mean, you don't have to be clean to write clean.

Essentially, anyone can do it.

So that was an eye opening experience doing that one country club.

And like, oh, there's children here.

And it didn't phase me.

But then when the other comics got there, I could see the nerves spinning, which I.

I didn't even think about.

As soon as I see kids, I get nervous.

I think most comedians, if they're at a venue and there are children appear, it's like, what happened?

Yeah.

Oh, yeah.

It's an immediate, like, what?

Hilarious.

And that's the thing especially, I would say, at least for me, especially as a dad, I recheck all the material in my head and I'm right like, this.

Can I say this?

Can I say this?

And Part of it is I do a lot of prep for the show and I kind of know what I'm going to say.

And so I make sure I then go through it.

And there's some things that I know I can change on the fly.

If, let's say it is a PG13 material and make it PG, right?

Like, and make it like, okay, kids can actually, like, hear the stuff.

Or I shift my material to where, all right, we might just play with the kids for a little bit in a comedic way of just seeing what they think and seeing how they react to stuff.

Fun thing about kids, they love poop jokes, they love noises, and they love impressions.

That's the thing I figured out about kids material whenever I've been surprised kids.

I don't even know if there's a word where you're just surprised with kids at a show, but there should be.

You've been kiddified.

Yeah, they like silly.

They like goofy.

Just silly.

It's like Lois bar comp.

It's like, just uncheck all the cleverness in your joke and keep it almost simple and tight.

That's what kids like.

But yes, they like.

At least for me, that's what I found.

They like noises, bathroom humor and silly stuff.

That's truly it.

And when it comes as we talked about establishing that connection with the audience based on the context of the show, what this comic did that was nervous about their kids being there is they opened up addressing that.

And because I'm sure there were adults there, that we're also thinking, what are.

What are kids doing here?

Like, a lot of these country clubs, the people use it as a way to get away from their kids.

Oh, yeah.

And this is a lesson for me on a producer side to speak.

I've just been on autopilot with these country clubs because it's kind of like a turnkey experience.

We're like, yeah, you bring the people, I bring the laughs.

It's kind of been just.

This is the first time they were like children, like 5 year olds there with toys and stuff.

So it's a lesson for me to be on the same page with the venues I'm working with about, okay, what are the expectations here?

So then I can book accordingly as well.

And we get on the same page there.

So it was just a.

But yeah, that comic addressed it at the beginning and people laughed and it was kind of a part of their set of like, oh, like, can't finish that joke.

Or I had an idea, but I won't go there.

And it was something they could call back to and make it a part of their set.

And it was fun and organic.

Yeah.

So, yeah, there's ways to navigate it.

As long you have some clean material, you need at least some.

But that was just a fun experience.

Yeah.

But it appears my baby is awake.

Awake.

Awake.

Oh, yeah, apparently because we.

We were.

We had the nine to ten hour and it's ten and you wake up.

Like literally at ten.

Like just clockwork right now.

No, sometimes she'll wake up.

That's why I, like, we record at 9 because she'll usually sleep till at least 10, but she'll sleep sometimes 11, 11 30.

She may wake up to eat and then go back to sleep.

Yeah.

She was like, oh, daddy's working on his dreams.

Let's go ahead and just shake things up real quick.

And make sure I wake up exactly at 10.

Apparently.

You know, my.

Well, my wife was sure to let me know that it's literally 10.

00.

She texts me like, hey, by the way, but that's why we do this.

So we will have to land this plane.

Comedy fam.

But we do appreciate you.

I think we covered a lot of good things, though.

Surprise kids.

Surprise kids.

Yeah, yeah.

As we're talking about kids.

Yeah, yeah, yeah, yeah.

I think clean comedy is the most valuable skill a comic can learn in terms of booking more gigs and booking higher paying gigs as well.

Super, super valuable.

So if you'd like to write clean jokes, the June Clean Comedy contest starts today.

So you can go in the show notes cleancomedycontest.com to join the contest.

And of course you can reach out to Yoshi or I on social media if you'd like to book us for events.

Because I know Yoshi isn't always clean, but he can be clean.

We've done corporate events together and stuff, so we'd be happy to.

Even if you just work at a company and y' all do holiday parties and you're like, oh, maybe they'd try comedy.

Just send us the info.

We'll reach out.

You just never know where the connections will lead.

Absolutely.

But we appreciate y' all hanging out.

I'm going to play the theme song.

I'll post this video on the Patreon as well.

For all you loyal patrons that keep the diaper money rolling in and Benadryl money.

We're going to put this baby back to sleep.

Yeah.

But yeah, feel free to reach out any questions like Rick Andrews did, and we'll be happy to answer them.

But I guess we'll be back next Monday.

Right, Yoshi?

Let's do it, man.

Let's go, baby.

Yeah.

We love you all.

Holler at us.

Bye.

Bye.