March 14, 2018 - The Joe Rogan Experience
01:59:51
| 
| Speaker | Time | Text |
|---|---|---|
|
unidentified
|
Anything. | |
| Anything. | ||
| Life. | ||
| Four, three, two, one. | ||
| Live. | ||
| And we're here with the Arnold Schwarzenegger of comedy. | ||
| Mary Lynn Rice Cobb. | ||
| How many people have ever, on one shot, spelled your name right? | ||
| Or pronounced it right? | ||
| Never. | ||
| It's kind of exciting now that you mention it. | ||
| Because they're going to introduce me and it's just... | ||
| It just gives like an instant obstacle. | ||
| Like when you were coming up as a comic, there had to be a big issue. | ||
| Like for the MC to bring you up or the DJ when they bring you up if you were the MC? The DJ or the MC. I don't know. | ||
| I never really looked at it that way. | ||
| Well, somebody had to introduce you, right? | ||
| Someone was introducing me. | ||
| I think I was in such a bubble, I didn't really, and I wasn't on the road hardcore, and I wasn't, I don't know, I wasn't identifying with me as a performer so much. | ||
| What does that mean? | ||
| That means I was doing performance art, and people were laughing, I didn't know why they were laughing. | ||
| Right? | ||
| I moved to LA and I was like, yeah, let's do shows. | ||
| Like, I didn't know, I didn't think about it as like, you're introducing me. | ||
| I'm a performer. | ||
| I would say only in the past couple years have I done the road proper. | ||
| But I came in the back alley for everything, for comedy, for... | ||
| For acting. | ||
| Like, if I had come to L.A. with a stack of headshots, like, hey, I'm ready for acting, it would have never happened. | ||
| I just came with a group of people, like, I want to do some live shows. | ||
| I'm like, no business being in L.A. No business. | ||
| Just doing weird shows, because that's what I was compelled to do. | ||
| Like, I could not have done it had I... Said, all right, you're gonna do acting and performing, especially not comedy. | ||
| Like, I didn't identify with that at all. | ||
| I had to figure out why people were laughing. | ||
| That's fascinating. | ||
| So when you first got into show business, what was the goal? | ||
| It's a weird word, show business. | ||
| Isn't she a special lady? | ||
| I'm audition ready today, by the way. | ||
| You notice I have a good brow and a good... | ||
| I'm such a woman. | ||
| I'm really more of a woman now than I've ever been. | ||
| What's that about? | ||
| Yeah. | ||
| Just growing up, letting it go. | ||
| I look back at my 20s and I'm like, you were a hot bitch. | ||
|
unidentified
|
Like, what was wrong with you? | |
| But I was so incapable of anything. | ||
| Like, so socially. | ||
| I mean, I still am, but I'm much, much better now. | ||
| Awkward, usually? | ||
| Yeah, awkward and just... | ||
| But that's... | ||
| I don't find you awkward. | ||
| So I think it's odd. | ||
| Like, every time I've talked to you, I've had very fun, comfortable conversations. | ||
| I never found you to be awkward. | ||
| I don't find you to be awkward either. | ||
| Maybe we just don't make each other awkward. | ||
|
unidentified
|
Is that weird? | |
| My mind just went to an Instagram app? | ||
| That was creep-tastic in my own mind. | ||
| That one that goes in close and does the little stars. | ||
| We get programmed. | ||
| Sorry. | ||
| It's alright. | ||
| But I honestly don't find you to be awkward. | ||
| Every time I've ever talked to you, it's been very comfortable, very easy. | ||
| I agree. | ||
| But I would also say that's kind of a recent development that you and I are speaking. | ||
| Well, it's when I started coming back to the Comedy Store. | ||
| Yes, which was what, a couple years ago? | ||
| Yeah, three now? | ||
| I guess three, something, 14, November of 14, I think it was. | ||
| Because we've been in each other's orbit since, you know, since news radio. | ||
| Yeah, but we didn't really get a chance to hang out or be friends until the store. | ||
| That's such an interesting little community, right? | ||
| It's like everybody just kind of like... | ||
| You want to talk about a positive community? | ||
| I was just explaining this to someone the other day. | ||
| When I first started going there in 1994, there was a lot of conflict between comedians. | ||
| There was comedians that didn't like comedians. | ||
| Like, oh, this guy doesn't like this guy, and she doesn't like her, and they all fucking duked it out with each other a little bit. | ||
| There's none of that now. | ||
| Yeah, it's amazing. | ||
| Think about how super supportive that place is. | ||
| It's amazing. | ||
| Like, everybody's friendly. | ||
| Yeah, I love it. | ||
| Like, there might be a hundred of us there on a regular basis, like in and out, doing Sunday through Monday, and there's no conflicts. | ||
| It's really fucking cool. | ||
| I'm sure you've talked about this a million times. | ||
| Did you ever stop going there for a chunk of time? | ||
| I stopped for seven years. | ||
|
unidentified
|
Oh, okay. | |
| Yeah. | ||
| I stopped for seven years after I had that dispute with Carlos Mencia. | ||
| Yeah. | ||
| That was when he was way more popular than me. | ||
| Like, especially as a comic. | ||
| And the comedy store took his side. | ||
| And I was like, alright, fuck you guys. | ||
| And I took off. | ||
| It wasn't really the comedy store either. | ||
| It was this one guy who was the manager. | ||
| Because Mitzi actually, I called Mitzi and gave her the whole rundown of what was going on. | ||
| I told her. | ||
| And she's like, why don't you just stay away from him? | ||
| And then she gave me a spot that night. | ||
| And then they called me up two hours later to tell me that I was banned. | ||
| So I said, wait a minute. | ||
| I just talked to Mitzi. | ||
| She gave me a spot. | ||
| She told me when to go up. | ||
| So if she's not running the store, who's deciding I'm banned? | ||
| You are? | ||
| What are you doing? | ||
| Do you guys understand what this is? | ||
| You're having a little battle for whether or not you're going to let people profit off of crime. | ||
| This is really what's happening. | ||
| You have thought crime. | ||
| You have intellectual crime. | ||
| You have plagiarism. | ||
| And you're allowing one person, knowingly allowing them to profit off it. | ||
| And no one's doing anything about it. | ||
| So when one of us does something about it, then you're going to punish that person. | ||
| You're basically highlighting everything that everyone was afraid of. | ||
| That's a good point. | ||
| What was the reason for your being banned? | ||
| Because you were on their end of it. | ||
| Because we had made a video with me and Carlos arguing on stage. | ||
| And then we put it online. | ||
| So they decided that this was somehow or another in violation that should have been kept inside the club. | ||
| And I'm like, you don't get it. | ||
| You weren't protecting us. | ||
| No one was protecting us. | ||
| My fucking agent stumped me. | ||
| Over that? | ||
| Oh, yeah. | ||
| Over that. | ||
| Yeah, I was with Gersh. | ||
| They dropped me. | ||
| Holy shit. | ||
| They had to call me up to tell me. | ||
| They essentially, in this long roundabout way, were trying to say that I either had to apologize or they couldn't work with me anymore. | ||
| That was the gist of it. | ||
| And I had to make them spell it out. | ||
| Okay, let me say this really clear. | ||
| You tell me if this is what you're saying. | ||
| You're saying you want me to apologize or you can't work with me anymore. | ||
| Well, we're done. | ||
| You know, there's no apology, and we're never gonna work together. | ||
| I appreciate everything you've done for me, and I was really nice to the guy who was, it wasn't his idea, my agent. | ||
| He said, you're a great guy. | ||
| If I see you, I'm giving you a hug. | ||
| But you guys have to understand that you're making a choice that's gonna affect the rest of your life. | ||
| This isn't just a small thing. | ||
| You only have a few... | ||
| How many years do you have in this life? | ||
| Well, this year is gonna be highlighted by this decision. | ||
| This is gonna be a big... | ||
| And why did the agent take that stand? | ||
| Did they represent him as well? | ||
|
unidentified
|
Yes. | |
| Oh, okay. | ||
| Alright, so they needed to make nice. | ||
| He made way more money than me. | ||
| So he was way more valuable to them. | ||
| And so I'm like, you gotta make, this is, you sell art. | ||
| That's all you guys do. | ||
| Okay, you're not making anything. | ||
| You're just, if Mary Lynn comes up with a show, if this guy has a tour, if she's doing a this, or he's writing a book, you make money off art. | ||
| That's who you make money off. | ||
| Now here you know a guy stealing other people's art. | ||
| And your answer to that is we've got to stop people that are exposing it. | ||
| Did he ever change? | ||
| I don't know. | ||
| Not that it even matters. | ||
| I hope he did. | ||
| He's got to find Jesus. | ||
| Did he ever acknowledge it that he did it? | ||
| Sort of. | ||
| Yeah, sort of, and then he kind of took it back. | ||
| It's hard to admit. | ||
| Should I try one of these? | ||
| Should I try this? | ||
|
unidentified
|
Are you ready for it? | |
| Is it insane? | ||
| I should only have like one sip, right? | ||
| Do you know my friend Tate? | ||
| Tate Fletcher? | ||
| You've probably seen him around the store before. | ||
| Big giant gorilla. | ||
| It's his company. | ||
| They're very good. | ||
| Don't drink the whole thing, Mary Lynn. | ||
| I like it. | ||
| You can do it. | ||
| Can you drink a grande coffee? | ||
| Yeah. | ||
| That's about a grande. | ||
| Coffee's worth of caffeine. | ||
| But it's strong. | ||
|
unidentified
|
Fuck! | |
| I gotta go! | ||
| I gotta go work out! | ||
| I gotta go in your isolation tank. | ||
| Find yourself. | ||
| I just found myself. | ||
| And I peed a little. | ||
| That's okay. | ||
| So you started out as a performance artist. | ||
| That was your idea. | ||
| What did you want to do? | ||
| That was your big idea. | ||
| I went to art school for painting and I got really frustrated when people started to critique the paintings and I was supposed to be getting more serious in art school and more conceptual and everyone was doing something different and everyone was critiquing it in a different way and none of it made sense to me. | ||
| And then the idea of having to sell that I mean, it makes it sound like I don't like or appreciate art. | ||
| I just, for me, I couldn't grasp what the next thing to do was. | ||
| You know, you're poor, you're in art school, you're making something, and then you have to go sell and market that thing. | ||
| And I also was... | ||
| Frustrated and kind of like boiling inside and needed to express myself. | ||
| So I started doing performance art in school. | ||
| When you say performance art, that's a pretty open-ended description, right? | ||
| Oh, it's so open-ended. | ||
| There were so many like weird performance art things that would happen. | ||
| I mean, we had performance art class. | ||
| There was the guy that like taped his genitals to the side and put on lipstick in a mirror and that was his performance art piece. | ||
| Or the girl that like... | ||
| And we would all sit there and watch it. | ||
| Oh my god, that's so weird. | ||
| Did you see his genitals? | ||
| Did he go naked and pull it aside? | ||
| Or how did he do that? | ||
| That's a really good question. | ||
| I like how your mind just went there. | ||
| You're like, what actually happened? | ||
| I think I blocked it out. | ||
| Because I think you could probably get away with doing that under the guise of it being something you're doing, you know, in a class somewhere. | ||
| Yes. | ||
| Yeah. | ||
| Yes. | ||
| You could get away with that. | ||
| So pervy. | ||
| I think I was focused on his beautiful lips. | ||
| I was trying to be polite and not look down there. | ||
| Another woman was obese and her piece was, she had pre-set up, we weren't aware she was doing the performance, butter pats in like dominoes, like a few thousand of them in a line and she was obese and she crawled on the ground She didn't actually eat them, but it was something... | ||
| It's weird. | ||
| My mind kind of drops off. | ||
| I remember specific parts of it, but I don't remember. | ||
| I think she just was collecting the butter pieces and crawling, and that was her performances. | ||
| Another guy... | ||
| I went to Detroit and then finished in San Francisco, and San Francisco is known for being a real performance art history artist. | ||
| A lot of the, you know, the most famous performance artists, nobody knows. | ||
| That was the scene, it was in San Francisco. | ||
| So it was a two-story, really beautiful campus overlooking, you could see Lombard Street on one side, you could see the water on the other side. | ||
| And another guy's piece was to jump from the second story to a tree, that he may or may not have made the jump, and that was his art piece. | ||
| His art piece is jumping from a window to a tree? | ||
| Yeah. | ||
| What the fuck? | ||
| I know. | ||
| This other guy, the room where we had our class, he had a bread machine. | ||
| This was back, you know, bread machines were new technology. | ||
| Had a bread maker. | ||
| You know those machines you can make a... | ||
| I guess it just does the dough, right? | ||
|
unidentified
|
Right. | |
| Or maybe it bakes it. | ||
| I think it just kneads the dough and then you bake it. | ||
| Or I don't know if you bake it in the machine. | ||
| No, you bake it in the machine. | ||
| It's all coming back to me. | ||
| He bakes it in the machine. | ||
| We come into the classroom as he's baking it. | ||
| There's always like a reveal in these pieces, right? | ||
| So we come in. | ||
| He's taken plaster from the wall and put it in the bread. | ||
| He's fed us the bread. | ||
| Half of us get it. | ||
| Half of us don't. | ||
|
unidentified
|
What? | |
| And there's plaster in the bread. | ||
| Why do you put plaster in his bread? | ||
| It was something about communism. | ||
|
unidentified
|
Ha ha ha! | |
| Some get the bread, some don't. | ||
| But even if you get the bread, there's plaster in it. | ||
| So, in your face. | ||
| What the fuck? | ||
| Oh my god. | ||
| See, there's something about like performance art and slam poetry. | ||
| I did slam poetry too. | ||
| That was one of my... | ||
|
unidentified
|
I bet you did. | |
| You know I did. | ||
| Here's the best part. | ||
| I got zeros. | ||
| You got zeros? | ||
|
unidentified
|
Yeah. | |
| You didn't get any... | ||
| Why? | ||
| I never really wrote any poetry. | ||
| I was just into the performance of it. | ||
| So you didn't have a poem? | ||
| I think I was doing comedy. | ||
| Oh no. | ||
| And I was doing an awkward thing. | ||
| Which was very real for me. | ||
| But I think I just wanted to express... | ||
| I also had an ex-boyfriend who... | ||
| He said that comedy was his life. | ||
| This was when I was, like, 19. And I think I attached to people. | ||
| Like, I thought he was the shit because he would be rude to people. | ||
| Like, that was his version of comedy. | ||
| It was, like, bossing people around. | ||
| Or one of his bits was, like, having a whistle and directing traffic. | ||
| I mean, really adolescent, like... | ||
| But for some reason, I was really attracted to him and... | ||
| I wanted to be him. | ||
| Anybody who was extroverted or something that I wanted, I was attracted to that, right? | ||
| Right. | ||
| So he was like, comedy is my life, and I do this open mic. | ||
| And I was like, I'm going to do that open mic. | ||
| And I had... | ||
| I taped like phrases to my body and phrases from commercials or snippets of conversation that I had heard and I went up and I started reading them and then I would improvise a little bit and I'd be like waxy build up or whatever and just repeating Just letting it all filter through and come out my mouth for five minutes of whatever the open mic was and I started getting laughter but it was like awkward laughter after the fact of that uncomfortable like what it what is she doing | ||
| but my commitment level was so high that the fact that it didn't make any sense Just caused laughter, right? | ||
| Right, right, right. | ||
| Well, that works sometimes with just even with comics. | ||
| Yes, absolutely. | ||
| There's a lot of people that are just really odd, and if you saw them, you would get it, but if you saw what they wrote on paper, or what they said just written down on paper, you would be like, what? | ||
| That doesn't make any sense. | ||
| Yeah. | ||
| Well, I thought you were going to say, which is a similar point, that it comes in the pause and after what they're saying, even if it doesn't make any sense. | ||
| But you're saying sometimes people write things and it makes its own sense when you hear them say it. | ||
| Yeah. | ||
| I mean, but it's also just about being fully committed. | ||
|
unidentified
|
Or the pause. | |
| Yes. | ||
|
unidentified
|
Yeah. | |
| And those pauses, yeah, that gives you, especially if something's really absurd, gives you that opportunity to go, what? | ||
| Yeah. | ||
| You don't want to just hammer them over the head with it. | ||
| So you just started doing that, and how did it lead to actual stand-up stand-up? | ||
| It was a really fun time in San Francisco because the comedy clubs were closing, so a lot of comics were coming to these open mic poetry rooms, and one of my favorite rooms was in this bar. | ||
| And also, I was from the suburbs of Detroit, and so just being in San Francisco, that was a real city, and a friendly city, you know? | ||
| Like it's small enough and it's beautiful and they have a real arts scene. | ||
| And it was the first time that I had seen like a real counterculture and people that would hang out in coffee shops and a lot of young people that looked like I did. | ||
| So I'd go to bars for this open mic and there'd be, you know, like a transvestite who was semi homeless, but was, you know, made up who was like reading her poetry. | ||
| And I was like, I'm in. | ||
| Like, I'm done. | ||
| And I had no money. | ||
| And I would sit and crouch on the floor and drink like a half a beer and be like, oh, this is crazy. | ||
| And I would watch her read from her journal. | ||
| And I did a similar thing where I would just, and it was always, I didn't know my own mind or my own thoughts, really. | ||
| So I would write down random words and I would perform it. | ||
| I mean, and still now, it's, you know, I've progressed a bit, but it's like it informs you how the audience reacts, or it begins to. | ||
| And I just love seeing all these, like, different people and what they thought they were saying versus what they were really saying and what their intended effect was and how people were really seeing them. | ||
| Anyway, so comics started dropping into these rooms, like Patton Oswalt and... | ||
| Jeremy Kramer and Blaine Capatch and, you know, Greg Behrendt, all these Ron Lynch people that were more San Francisco affiliated that were there at that time would start doing these open mic nights. | ||
| But because a comic is so versed in their own voice that... | ||
| Watching them, I was like, oh, they know how to speak, and they're more polished. | ||
| And then that was attractive to me. | ||
| So I kind of gravitated towards, and there were all these alternative rooms that weren't comedy clubs. | ||
| And that was like, I loved that. | ||
| I just loved it. | ||
| Because there was room for mistakes. | ||
| There was room for the in-between. | ||
| It was like the real alt scene of that time. | ||
| Yeah. | ||
| That alt scene is interesting. | ||
| It's always interesting when a little branch of a style of comedy breaks off. | ||
| And some people do it because it feels more true to them. | ||
| Right. | ||
| And then some people do it because it seems like the cool hip thing to do. | ||
| And then some people it's just a combination of both, right? | ||
| The alt scene is an interesting scene, you know, because it also is attached to that one place that doesn't pay anybody, the UCB. Yeah. | ||
| I was always like, wait, what? | ||
| Oh, you mean because they're making money and no one else is making money? | ||
|
unidentified
|
Yeah. | |
| I was always like, what? | ||
| Huh? | ||
| Like, how does that make sense? | ||
| People don't get paid at comedy clubs as well. | ||
| Well, sure they do. | ||
| Comedy store pays you. | ||
| You mean like 25 bucks? | ||
| 25 bucks for regular sets and then you get a lot more than that if you do the main room. | ||
| Right. | ||
| The main room, they pay you real money. | ||
| So you're saying, why doesn't UCB throw $25 to people? | ||
| You have to pay them something. | ||
| People are paying to go there. | ||
| They're paying for gas. | ||
| They're traveling there. | ||
| Right. | ||
| And you're selling tickets to see them do their art. | ||
| Right. | ||
| Yeah, but if you're going to take that line, then everybody should be paid a lot more. | ||
| There should be a genuine percentage. | ||
| It's really only the Comedy Store. | ||
| We're like going back to that argument from the Comedy Store from the 70s. | ||
| It's a legit argument. | ||
| It's not legit that, look, this is where we live and it's a really important place to work out. | ||
| So we need it and we want it to be there. | ||
| And they pay you a little bit, but if they didn't pay you anything, like the Comedy Store went UCB and just didn't pay anybody anything. | ||
| Oh, that's interesting. | ||
| So you're saying even that little amount is an important... | ||
| It's something. | ||
| Yeah. | ||
| Like, especially it was important when the club wasn't making any money. | ||
| So if the club, I mean, the old days of the OR, you know, you got that 25 bucks. | ||
| Like, look, they're giving 25 bucks to 15 people. | ||
| Fine. | ||
| How much money are they really making? | ||
| I get what you're saying. | ||
| Because UCB, you're saying, has that vibe of like, hey, it's a workshop. | ||
|
unidentified
|
Right. | |
| And you're like, you guys are making money off of it. | ||
| They're opening up new places. | ||
| Right. | ||
| I mean, this is a business, right? | ||
| I'm not telling them what to do or telling anybody who performs what to do. | ||
| I've performed there before. | ||
| Right. | ||
| It's just... | ||
| It's kind of weird. | ||
| It's like these festivals. | ||
| I got invited to one of those festivals once. | ||
| They offered to give me a pass, like a gold pass, where I could watch all the other acts. | ||
| That's what they were going to pay me with. | ||
| They weren't going to fly me. | ||
| They weren't going to put up in a hotel. | ||
| They weren't going to give me any money. | ||
| It reminds me of that thing in Steve Martin's book where he made that choice. | ||
| And again, a very different time, very different scene where he's like, I'm only headlining for money. | ||
| He made that conscious choice. | ||
| That would not work now. | ||
| And like you said, I work out in town. | ||
| I don't expect to get paid. | ||
| But it does. | ||
| It makes a difference that the comedy store, that system that is in place really works. | ||
| It's like, I'm a paid regular. | ||
| That was a big deal. | ||
| Because I remember I had been on the road doing... | ||
| Comedy really for the first time in the club proper, even though I had tons of stage time, but connecting it back to that alt scene where it would be a different thing every time, and I didn't quite know what I was saying. | ||
| So in the past four years was when I did the six shows per weekend, and you're like, I'm your entertainment for the night, and I learned how to do that. | ||
| Right, when people came out to see you. | ||
| Yes. | ||
| Don't mumble. | ||
| Tell them what you're talking about. | ||
| Repeat your theme. | ||
| Smile. | ||
| Talk to people. | ||
| I learned how to do that. | ||
| What was my point? | ||
| Do you feel in any way confined by that? | ||
| Because your beginnings were so sort of free and... | ||
| I think it's like a reverse. | ||
| The confinement of that is serving me because I needed to do that. | ||
| It took me... | ||
| I went about it like completely opposite. | ||
| I was so organic that now I'm finally getting some structure... | ||
| I'm like, for the first time, like, oh, that's a joke. | ||
|
unidentified
|
I've heard a joke. | |
| I honestly was like, like I said, I had no idea why people were laughing. | ||
| I knew I liked it, but I wasn't exactly sure where it was going to come. | ||
| And I knew that I had a deep connection to it. | ||
| You know, that's what propelled me to do it. | ||
| I had a need to do it. | ||
| It was the only thing. | ||
| It kind of saved me. | ||
| I needed to, I mean, not to get all overly dramatic. | ||
| Comedy kind of saved you? | ||
| Performing, yeah. | ||
| Because I just was really... | ||
| didn't know how to express myself. | ||
| And it still, to this day, is like an ever kind of deepening thing, you know? | ||
| Yeah, it's a very weird discipline, right? | ||
|
unidentified
|
Yeah. | |
| It's a weird thing to get involved with. | ||
| Chase down these ideas and try to figure out how to flesh them out and give them structure. | ||
| Do you feel like you are always, because I see you as somebody who's so powerful and such a strong point of view and strong belief system, do you feel like you've always kind of been that way? | ||
| No, I don't think so. | ||
| I think comedy, for sure, makes you chase down those ideas. | ||
| Like, what is your real feelings on things? | ||
| Yeah. | ||
| Because you're thinking about things so often. | ||
| And then, as you're saying things, you're thinking about people's reaction to them. | ||
| That's a big one. | ||
| A big one is that comedy has allowed me to really pay attention to other people's reactions more than, like, I think I wanted to. | ||
| Because I think... | ||
| If I had my own way and I had nothing to do with stand-up, I probably would be way more antisocial, way more guarded and protected, and way more insecure because I hadn't answered those questions. | ||
| I didn't pose them of myself because they made me uncomfortable. | ||
| So what stand-up allowed me to do is, like, I wasn't the most outgoing person. | ||
| Really? | ||
| Yeah, yeah. | ||
| I was very insecure. | ||
| And even so, I'd get, like, social anxiety. | ||
| I've talked about this before, but I would, like, talking to a bank teller, I'd know that I'm next to talk to the bank teller, and I'd kind of freak out. | ||
| I wouldn't exactly know how to talk and say things and do it right. | ||
| But it changed from teaching martial arts. | ||
| When I started teaching martial arts, I learned how to project in front of this big room full of people, which is something I never imagined I was going to do. | ||
| Any public speaking before that. | ||
| It was never on the menu. | ||
| I never even thought about it. | ||
| But when I taught classes, I had to teach them. | ||
| And I was teaching in universities. | ||
| I taught at BU, and I taught at some other places, some other gyms and stuff. | ||
| And you have to get these people's attention. | ||
| You have to be clear, and you have to have confidence. | ||
| But I knew what I was doing with martial arts. | ||
| Right, I was just going to ask you that. | ||
| It probably helped a lot. | ||
|
unidentified
|
For sure. | |
| Even if you were nervous, you were like, let the skill kind of take over. | ||
| Yeah. | ||
| We would oftentimes, like, if we opened up a new school somewhere, we'd do a demonstration. | ||
| And then they'd give a speech afterwards, explain what the martial arts were. | ||
| But we'd do a demonstration first. | ||
| Like, people would hold, like... | ||
| Boards and shit and you'd kick them and stuff like that which we never did in real life We only did for demonstrations like we never trained that way But my point was like getting into stand-up. | ||
| I didn't have a particularly clean point of view I think I was 21 years old. | ||
| I was thinking was a moron, you know I didn't have any life experience other than martial arts and girls like that was all I could talk about and I didn't I knew martial arts weren't really funny. | ||
|
unidentified
|
So it's just relationship stuff but um Hey guys, how about when we hit that block and we don't really do that, am I right? | |
| What's up with us kicking those blocks of wood, guys? | ||
| I mean, seriously. | ||
| Yeah, I mean, I had a similar thing of... | ||
| It helps to just even say anything and to be like, oh, I exist. | ||
| I have a voice. | ||
| And I'm just now starting to... | ||
| I mean, I have a lot of material that's true, but I'm just now kind of starting to build that deeper... | ||
| The belief system thing, you know, like I talk about my personal life and there are kernels of things in there, but it's it's scary to kind of Come out. | ||
| Yeah But it's fun because that's what people want, you know, that's what like that's what gets it going and that's what gets everybody excited and that's what It's cool. | ||
| Yeah, you know what comedy has taught me one really important thing as a person You're not done Never. | ||
| There's no like you're a finished product. | ||
| Yeah, I did it. | ||
| No, you're changed depending upon your attitude about how you look at your very existence right now. | ||
| It can shift within an hour. | ||
| It can shift back and forth. | ||
| It can shift in a day or two. | ||
| It's like if you take a few weeks off of stand-up. | ||
| I was just going to ask you that. | ||
| Is it hard for you to get back? | ||
| Yeah, it always feels weird. | ||
| I haven't done it very often, but I did it a couple of times in my career where I got like surgery or something like that and I had to take some time off. | ||
| And then I got burnt out once, maybe like five years ago, and I took three months off. | ||
| That was crazy. | ||
| That was real weird. | ||
| But then when I got back into it, it was before I came back to the store, too. | ||
| So it was a real issue with me, like, going on stage. | ||
| Like, the improv never felt like home. | ||
| It was like a place to fuck around. | ||
| It was a nice club. | ||
| But it never... | ||
| I didn't hang out there. | ||
| It just felt weird. | ||
| Didn't feel the same. | ||
| So I'd just do a set there and then I'd get out of here. | ||
| So I was missing like the camaraderie aspect of it. | ||
| And I just finished a special and I just didn't want to do anything for a while. | ||
| I wanted to chill. | ||
| And so I took like three months off. | ||
| But then when I came back, I came back with like a lot of purpose. | ||
| Like I really was enthusiastic about it. | ||
| I had been thinking about coming back for like a couple of weeks before I actually did it. | ||
| But you're always working at it. | ||
| Always. | ||
| You're always in the process of reaffirming, thinking things through, understanding who you are. | ||
| It varies with your health. | ||
| It varies with how you're eating. | ||
| It varies with who's in your life. | ||
| Your comedy radically varies. | ||
| Like how you interface with an audience radically, how you look at yourself, all that varies so much. | ||
| It's never done. | ||
| Have you ever been on stage and just been, not angry, but like not enjoying, kind of not wanting to be on stage and it shows in your performance or do you always get out of it through performing? | ||
| Or speaking it. | ||
| You can get upset. | ||
| There was a woman who kept heckling me in the front row of the Comedy Store, just interrupting, just stopping bits before I had a chance to explain them. | ||
| And then finally I had to kick her out. | ||
| And it was so annoying. | ||
| The way she did it, it was so entitled. | ||
| She was entitled to voice out her opinion in the middle. | ||
| I was doing this chunk last year on my last special about this guy who broke into the White House. | ||
| That a guy just broke into the White House. | ||
| You would think there would be all these things in place to keep someone from breaking the White House. | ||
| The guy just humped across the lawn, ran across the lawn, got to the front door, and there was only a girl sitting there. | ||
| One unarmed girl by herself. | ||
| He smacked her to the ground and just ran through the fucking White House. | ||
| And I had this whole bit about whose idea it was to just leave a girl by herself. | ||
| I think I've seen you do that. | ||
| And then I said that... | ||
| This is the part like this lady interrupted me. | ||
| I said, a lot of people think that women can do everything men can do, right? | ||
| And I go, well, that doesn't make sense because men can't even do everything men can do. | ||
| So I was in the middle of saying that doesn't even make sense because... | ||
| And the joke is, and I explained to her, I go, the joke is, lady, I've met Shaquille O'Neal and his dick is where my face is. | ||
| And if the White House is experiencing a shack attack, I'm the wrong dude to save the world. | ||
| He's going to run me over. | ||
| But, you know, and that I tried to explain that. | ||
| And like she just wanted to interrupt anything that had to do with men or women. | ||
| So that was annoying. | ||
| And I did not have a good set that night because it was like, Jesus Christ, just get the fuck out of here. | ||
| And she apparently had done that to some guys that were on before. | ||
| And she was so drunk when I was looking at her. | ||
| Their eyes weren't focusing. | ||
| It's just some smart lady that was drunk that thought she could stop what she thought was sexism. | ||
| Probably because she was drunk. | ||
| But there's a difference between like you then overcoming it and being like haha that was awesome and then the feeling of I think what I'm I was tense. | ||
| Yeah, like where you're just in inside your own head going I don't want to be here like that sucked like it's not fun. | ||
| It wasn't that it was just like I shouldn't have allowed myself to get so upset but I came into the stage upset that was part of the problem is that I had a crazy day with a lot of fucked up things happened and I carried that energy onto the stage There was a lot of weird shit that happened in my life that day. | ||
| It was just like enough enough fucking enough And then her. | ||
| Yeah, it's like weird shit with friends and a couple weird business things. | ||
| It was like a compounding day. | ||
| And then this lady was hammered. | ||
| And I gave her the benefit. | ||
| I tried to talk her into just release. | ||
| And I explained to her, this is how the bit would have gone if you didn't erupt. | ||
| I go, okay, get it. | ||
| See, I'm going to say something outrageous. | ||
| Then I'm going to say something more fucked up about myself. | ||
| This is what I do. | ||
| So I did it again. | ||
| And she interrupted again. | ||
| I'm like, get the fuck out. | ||
| Just get out. | ||
| Just get out. | ||
| But I was really upset. | ||
| And you shouldn't really get upset. | ||
| So when you allow yourself to get really upset, it's usually because you came into it Unbalanced. | ||
| And again, it's always, you're never done. | ||
| Like, you might think, well, I understand how to behave now. | ||
| I've got my shit together. | ||
| I get it. | ||
| But you don't. | ||
| You get it right now. | ||
| But if you let it slip, you won't get it tomorrow. | ||
| If you have the wrong attitude or the wrong approach, and the wrong dude cuts you off, you're like, fuck off! | ||
| Like, ah, where'd that come from? | ||
| Shit! | ||
| You know? | ||
| And going back to what we were talking about earlier when you said you're not awkward, two things. | ||
| You're much more of a teddy bear now than you used to be, don't you think? | ||
| I've never thought of myself as a teddy bear. | ||
| Well, when I see you now, you're just like... | ||
| I'm not saying you weren't like this before, but you just are so positive and loving and kind of like you can feel it. | ||
| Whereas... | ||
| And, you know, there's a lot of baggage in the past, and we never, not baggage, but, like, I was like, oh, that guy hates women. | ||
| Oh, that guy hates me. | ||
| But that was also when Duncan was hanging out with you, you know, he and I just broke up, so that was the baggage I was referring to. | ||
| But, like, I just thought, you know, you have such a strong energy that I was like, oh, that guy and I, not that I, it's weird, because I wasn't, like, I just never pictured us talking easily. | ||
| Yeah. | ||
| Not saying that it wouldn't have happened then, because it just didn't, but I was like, whoa, what's up with that dude? | ||
| I get it. | ||
| I've said on stage a bunch of times that I look like a sexist. | ||
| I look like I would be a dick. | ||
| That's what I look like. | ||
| There's not much you can do about it. | ||
| If you lift weights and you have a fat head, you look like a dickhead. | ||
| Right? | ||
| There's no way around it. | ||
| What was that thing I was watching some of your recent podcasts where it was like, What are the shirts, the feminine for... | ||
| Oh, the future is feminine. | ||
| The future is feminine. | ||
| I want to wear the future is masculine and you wear the future is feminine and then we just walk around. | ||
| For whatever that image of yourself, I'm like the equal but opposite. | ||
| Like if I built my compound, it'd be like crystals and lavender and soft. | ||
| You know what the problem with that statement, the future is feminine, is the problem with every single statement. | ||
| You cannot boil down the future to one fucking sentence. | ||
| Of course. | ||
| You just can't. | ||
| That's why it would be funny. | ||
| It's preposterous. | ||
|
unidentified
|
It would be fun. | |
| I would like to just wear the future as masculine and just not acknowledge it. | ||
| What's up? | ||
| Yeah, the future is masculine, guys. | ||
| Get used to it. | ||
|
unidentified
|
You should roll a pack of cigarettes in one of your sleeves. | |
| Like the Fonz. | ||
| Fuck you, man! | ||
| Is that masculine for you? | ||
| Yeah, no, it makes no sense. | ||
| No, it's silly. | ||
| Oh, and then the other thing that, when I was talking about going on the road, which I was going to mention, coming back to the store, because I was there in the 90s too, and it was just like a terrible place and a bad vibe. | ||
| Weird vibe, right? | ||
| Dark and dank. | ||
| What year did you get there? | ||
| I moved to L.A. in 94, and I was in San Francisco for a couple years before that. | ||
|
unidentified
|
94. Did you perform at the clubs in San Francisco as well? | |
| I did bars. | ||
| Did you do the punchline? | ||
| Oh, you did bars? | ||
| I never did the punchline. | ||
| Have you still done it? | ||
| Have you done it since? | ||
| I have, yeah. | ||
| It's great. | ||
| Fucking amazing. | ||
| It's great. | ||
|
unidentified
|
I love it. | |
| That place is amazing. | ||
| I love it, yeah. | ||
| Cobbs was a little strange. | ||
| Big ceiling. | ||
| It's so big. | ||
| And the people are way back there that are in the balcony. | ||
| They're way back. | ||
| Oh my gosh. | ||
|
unidentified
|
Hi. | |
| Hi back there. | ||
| My husband, who like, he used to, before we had a child, he used to come see my one-woman show that I did. | ||
| I think he came like every... | ||
| Anyway, he saw me at Cobbs and he sat back there. | ||
| And it was a great assessment because he goes, you've gotten really good because I had been on the road. | ||
| But he goes... | ||
| That's a really hard room, because these people, especially that late show, like, they've just had dinner, and they're there, and it's so dark, and it's, it's like a room, I don't know, some people love it, but it's a room that's sort of seen its heyday at a different time that it would be packed out. | ||
| I don't know, maybe you... | ||
| Like it? | ||
| If you pack it out and they're there to see you? | ||
| I do like that room, but it's a different room than it used to be. | ||
| I used to do the old Cobbs. | ||
| That's where I met... | ||
| Man, I did... | ||
| That's where I met Al Magical. | ||
| Al Magical started working together in like 1998 or some shit. | ||
| Really? | ||
| Yeah. | ||
| It was a long time ago. | ||
| But the old one was tiny. | ||
| Like just a little bit bigger than the belly room. | ||
| I mean, it was like... | ||
| I like that. | ||
| Like a hundred seats or something like that. | ||
| It was really ridiculously small. | ||
| I think... | ||
| I might be off by a little. | ||
| It might be like 130. But they would stuff everybody in there to get 130. And it was this tiny little club. | ||
| And I used to work it, even though I could make less money there than I could at the Punchline, I liked it better. | ||
| I was like, this place is better. | ||
| It's grimy, it's tiny. | ||
| And then Tom Sawyer, the guy who ran it, was a huge comedy nerd. | ||
| The dude really loved comedy. | ||
| And so I liked that. | ||
| And I'm like, good, he's supporting good comedy. | ||
| Fuck it. | ||
| So I started going there. | ||
| So then when they turned into the new place, I was like, this is the opposite of what you guys were. | ||
| You guys were the most intimate club, and now you're one of the most cavernous. | ||
| That makes sense. | ||
| Yeah, clubs have to be, like, they've got to be right on top of you. | ||
| I was going to say, I came back from going on the road for the first time and doing the six shows, and I was on 24, which I love that we're just full-on comedy shop talking, by the way. | ||
| We do that all the time. | ||
| I do that all the time. | ||
| Does it feel unusual? | ||
| No, no. | ||
| I like it. | ||
| I like it. | ||
| I just got a little self-conscious for a minute. | ||
| I'm like, anyway, the rooms and the ceiling. | ||
|
unidentified
|
It's interesting. | |
| It's just a funny thing. | ||
| I think people enjoy it, too, because they like hearing people who are professionals talk about what makes it good and what makes it bad. | ||
| And then when they're there themselves, they're like, oh, yeah, the room's kind of high in this place. | ||
| Oh, this place is intimate. | ||
| You gave me the confidence to get back in it. | ||
| So I was on 24 when it came back and we filmed in London because it had been done for like two years and they brought it back. | ||
| And it was the end of that airing and it was the first time I was going on the road as a comic. | ||
| So, because my face was on TV and people were super into 24, my show's packed out. | ||
| The first time I had ever gone on the road, right? | ||
| My first 45-50 minute show. | ||
| And I first hit the stage at like Sidesplitters Tampa or whatever. | ||
| You know, it's like, all your shows are sold out. | ||
| And first of all, my opener and my middle are like, this is great, it's sold out. | ||
| But then when they got on the stage, they come off, they're like, your audience is weird. | ||
|
unidentified
|
Yeah. | |
| Because they're 24 fans, and they don't come out to clubs, right? | ||
| Right, right. | ||
| Like, I would sometimes have somebody sitting, like, with a... | ||
| This guy had an article of clothing that I had worn in season three, so I'm, like, trying to do comedy, like, okay, like, you just want me to sign your thing. | ||
| But, you know, my approach was, because I'm in my own head, so I'm like, hi, so my name's Mary Lynn, and doing my, like, I'm uncomfortable, and that's where my comedy comes from. | ||
| And the whole vibe was like, what... | ||
| You know, like, you're a TV star. | ||
| Like, we came to see you. | ||
| And I had to adjust and, like, take that in. | ||
| And then not only take it in, but talk about it, you know? | ||
| And I would just be like Jack Bauer. | ||
| And they'd be like, ha, ha, ha, ha, like, losing their shit. | ||
| And, like, I would just make somebody in the audience, like, you're my Jack Bauer. | ||
| And then I just, you know, had to make it, like, 5, 10, 15 minutes of, like... | ||
| Let's talk about it, because it was such an amazing thing. | ||
| And it was to me, too. | ||
| But that was the only drama I had ever been on. | ||
| And I had this whole other world of comedy that I had been doing, but the intersection of that was just bizarre. | ||
| But then, like you said, you're never done, and you never know what's going to happen, and you adjust to it. | ||
| So I would do the 24 stuff, and then I would go into my... | ||
| That's my stuff about my life and my personal life and my point of view. | ||
| And then that became really gratifying, you know, once I sort of brought them in, did the thing that they needed to hear about, which is also part of my life. | ||
| So, you know. | ||
| How long did it take before they stopped coming to see you because you're from 24 and started coming to see you because you're a funny comic? | ||
| Oh, I'm still waiting for that to happen. | ||
| I'm still hoping for a career in comedy. | ||
| No, seriously. | ||
| Well, then it dropped off, right? | ||
| So I did that same circuit a year and a half later, and there would be some super fans, there would be some comedy fans, and there would be some people that didn't know why the hell they were there. | ||
| So then I would have, yeah, the guy that knows me from always sending in Philadelphia, the lady that knows me from 24 and the guy who's out of his mind on drugs going, you're not funny. | ||
| And I'm like, you know, and this poor person's like, she's a superstar. | ||
| Like, why is she in this shithole? | ||
| And the other guy's like, I don't know who she is. | ||
| And that guy's like, you don't get what I get because she's from Always Sunny in Philadelphia. | ||
| And then I would pit them against each other. | ||
| I'm like, she doesn't get it, but you get it. | ||
| And it's like, oh, the burden of being so versatile, you know? | ||
| It's such a cross to bear. | ||
| It must have been a fun transition, though, once you got through the initial stages, because a lot of people would have bailed. | ||
| Like, a lot of people, okay, fuck doing the road. | ||
| This is just too crazy. | ||
| It's too weird. | ||
| Yeah, I love it. | ||
| I mean, it sucks, but I love it. | ||
| It's awesome. | ||
| But it's sort of changed who you are then, right? | ||
| Like, what you think of yourself. | ||
| You're like a real comic now. | ||
| Yeah. | ||
| Yeah. | ||
| You know, for so many years, I had that little, like, ooh, you haven't done the road. | ||
| Like, you haven't really done it. | ||
| And now I'm like, no, I know how to do this. | ||
| Fuck, there's so many people that don't do the road that I wish would leave. | ||
| You know? | ||
| I'm like, God, you gotta experience it. | ||
| You gotta go out there. | ||
| But they don't want to do, like, the shitty road. | ||
| Well, you have to do the shitty road. | ||
| I also learned something about myself, the shitty road, because I... I would not have a car, and I'd take the hotel that they gave me that would be by the freeway that would be not even near the city and a little bit from the club, and I'd just hole up. | ||
| And then it took me a while to realize, like, oh, you like that. | ||
| Like, I like a certain amount of suffering and, like, it's so shitty here. | ||
| I'm going to go, like, walk along the freeway, and then, you know, someone would be like, why didn't you get a car? | ||
| I'm like, I don't know. | ||
| I just walked over to Chili's for lunch, and... | ||
| Along the grass on the side of the freeway. | ||
| I like it. | ||
| I like it. | ||
| So you actually like the dinginess of weird cities. | ||
| Is that what you're saying? | ||
| Yeah. | ||
| Or I don't know. | ||
| The part of me likes the shittiness of it. | ||
|
unidentified
|
Just a Bukowski-esque? | |
| I don't know why. | ||
| There was one hotel room that had like a dining room table for 10 and like these big plastic flowers with dust all over them and this weird hot plate with foil on it and a walk-in closet. | ||
| But it was the shittiest, most run-down. | ||
| Like, who's partying in here? | ||
| Like, whose fancy hotel suite is this? | ||
| It couldn't have been shittier. | ||
| And it was... | ||
| Yeah, I guess it's just fascinating. | ||
| And I... I like being comfortable, you know? | ||
| I like having my things, but I guess I like that too. | ||
| Yeah. | ||
| I like feeling the pain of that. | ||
| Whatever, I'm just not being comfortable. | ||
| But also because it's in contrast to your life in LA, right? | ||
|
unidentified
|
Yeah. | |
| Fucking TV star. | ||
| Get some cash. | ||
| So much cash all the time. | ||
| I've seen those pictures on your Instagram. | ||
| Diamonds and gold. | ||
| Just throwing it up in the air. | ||
| Your thing is isolation tank. | ||
| Mine is I get in one of those blowers where the money... | ||
| That's what I do in the morning. | ||
| I just get in my little room. | ||
| I'm like, money! | ||
| It's just a cyclone of hundreds. | ||
| Surround me. | ||
| I get a money massage. | ||
| Yeah, it's so great. | ||
| But when you're in the road and you're in like a shitty hotel in Pittsburgh or something, it's in the middle of January, you look out and the sky is like a shitty, dark, smoky gray. | ||
| There's not even a hint of sun. | ||
| It's noon, you look out, nothing. | ||
| Everybody's got this look on their face. | ||
| Everybody's just sourpuss. | ||
| You're just wiping dust off the window, so... | ||
| Like that weird air conditioning or heater that doesn't really work and just blows in one area. | ||
| My favorite is the ones that crank on. | ||
| Yeah, yeah, yeah. | ||
| Loud in the middle of the night. | ||
| You can't control them. | ||
| Like, oh, you fucking asshole. | ||
| I once had a lady in a hotel room. | ||
| How did this go? | ||
| She was the receptionist. | ||
| God, it's all a blur. | ||
| I don't even remember what city it is. | ||
| One of those low-mid hotels. | ||
| She calls me. | ||
| I'm napping. | ||
| It's like after you do the radio or something, I'm napping. | ||
| Oh, hi. | ||
| There's a fan down here with a bottle of wine for you. | ||
| Can I send him up? | ||
| I swear to God. | ||
| I've never felt more unsafe or on the verge of a breakdown. | ||
| First of all, you woke me up. | ||
| Second of all, you're the gateway between... | ||
| But it was such a small town and it was such a foreign concept to her. | ||
| To me, I was like, that's inherent, right? | ||
|
unidentified
|
Like, you're the protection that I have. | |
| Should I send him up a stranger who stopped at the hotel with a bottle of wine? | ||
| He's got a bottle of drugs for you. | ||
| Yeah. | ||
| Should I send him up? | ||
| Seems like a good move. | ||
| And then, you know what I did as I actually took his... | ||
| I could hear him in the background go, no, no, no, that's okay. | ||
| Like, he actually was a nice guy. | ||
| Nice enough of a person that would do that. | ||
| But he wanted to bring a bottle of wine to your room. | ||
| I think that was her idea. | ||
| And so then I started, like, instead of going, what the fuck are you talking about? | ||
| I just went, okay, well... | ||
| I'll come down and get it. | ||
| And then I came down and met him. | ||
| But it was so unsettling. | ||
| And that was her idea. | ||
| It wasn't his idea. | ||
| But instead of saying, don't do that, and setting her straight, I took the middle road. | ||
| How well did you go back to sleep after that? | ||
| Not so good, right? | ||
| Well, I drank that bottle of wine and had the best show of my life. | ||
| I hung over at the show. | ||
| Yeah, that's creepy. | ||
| Ali Wong has a great bit of I'm Not Gonna Do It Justice, and I don't want to paraphrase it either, and I don't want to tell anybody what it's about, but it's essentially the difference between life for a woman comic on the road versus life for a male comic. | ||
| It's a big difference. | ||
| The danger level, that's like guys that get obsessed with you, want to bring you wine and shit. | ||
| That's got to be weird. | ||
| I had another guy. | ||
| It was the guy who held the sweater. | ||
| He's like, it's your sweater from season three. | ||
| So he bought it somehow online? | ||
| He bought it. | ||
| And then after the show, he showed me... | ||
| I don't know what's wrong with me because I'm like, he was a really nice guy. | ||
| Like, this is a terrible situation. | ||
| But I, for whatever reason, I'm like... | ||
| He needs me to listen to him right now. | ||
| And I stood there like, what is wrong with me? | ||
| He had two thick photo books of the thousands of dollars of memorabilia and the pictures of all the items and the itemized of shit from the show. | ||
| And again, I'm there. | ||
| I'm looking around like, anybody seeing this? | ||
| Just me and him? | ||
| Okay, yeah, you guys continue cleaning. | ||
| Because that's the weird thing, too. | ||
| Because I'm a superstar on one end, but on the other end, it's like, not really. | ||
| I don't have the money. | ||
| I'm not bringing anyone with me. | ||
| I'm like a regular headliner on the road. | ||
| Most places do have security, though, right? | ||
| Most places. | ||
| Yeah, sure. | ||
|
unidentified
|
Yeah. | |
| Yeah, they just probably weren't aware that they should be paying attention. | ||
| Yeah, maybe they thought, that's a friend of hers. | ||
| It's also a weird thing, like, when do you step in? | ||
| The guy's got a bunch of books filled with memorabilia. | ||
| Okay. | ||
| Like, when, that seems okay. | ||
| Like, that doesn't, like, it's just a, he's a very, very, very enthusiastic fan. | ||
| Yes. | ||
| But, like, at what point in time does everyone go, hey, hey, hey, hey, what? | ||
| And, you know, ultimately, I'm glad I did it, because I feel like I validated him, even though I wanted to go, like... | ||
| What happened? | ||
|
unidentified
|
You spent $75,000 on all this stuff. | |
| But what can you do? | ||
| So I was like, this is great. | ||
| This is terrific. | ||
| You did a really good job. | ||
| She just reached out with a pair of scissors. | ||
| This is for you. | ||
| And if you're listening, you did do a really good job. | ||
| And you have a lot of really cool stuff that no one else has. | ||
| There you go. | ||
| And I'm happy for you. | ||
| It's always weird when you're a comic, too, or you're Comedienne in nature and you do something that's not comedic, right? | ||
| Yeah. | ||
| Like if you're a comedian and you do a drama show, like 24 was basically like a drama, right? | ||
|
unidentified
|
Yeah, it's one of the most serious shows ever. | |
| Ever. | ||
| Right? | ||
| Super drama. | ||
|
unidentified
|
Yeah. | |
| I think I messed up. | ||
| No. | ||
| I should have just rolled into another drama. | ||
| I had to open my mouth and show everybody how not the computer genius I am. | ||
| Like, what is wrong with me? | ||
| I've set up obstacles. | ||
| You know her from 24. What? | ||
| Welcome the comedy stylings of... | ||
| Do you remember when Richard Belzer got on Law and Order? | ||
| Oh, yeah. | ||
| And everybody was like, what? | ||
| And then stopped being funny. | ||
| Like, he doesn't do any comedy anymore, I don't think. | ||
| I gotta clean up my act. | ||
| Should I only be funny now or should I get on another drama? | ||
| Well, I think you should stay funny. | ||
| Just be the funny. | ||
| Just do that. | ||
| Oh, I never completed this, whatever, the story of going through being on the road and then coming back to the store and thinking like, I got it because I've been on the road, right? | ||
| Right. | ||
| Coming back, doing the main room, don't got it at all. | ||
| Dry mouth, terrible set, guy in the front row is miming falling asleep and mouthing to me how boring I am because I'm like... | ||
| Wow. | ||
| It was intense. | ||
| But that's also the beauty of the store because you're like, oh, that was one thing on the road and this is another thing. | ||
| You've got to go deeper and get real. | ||
| It's running with a weight vest on. | ||
| That's what I'd describe it. | ||
| You can run fast with a weight vest on if your legs are strong. | ||
| But otherwise you're gonna be fucked. | ||
| Yeah, I love it. | ||
| Yeah, it's an intense place. | ||
| I remember you and I were talking about something there once, like fairly recently, within the last year. | ||
| Were you like, I don't know what I'm doing. | ||
| Oh yeah, I told you I'm like, I'm quitting. | ||
| I quit. | ||
| Were you serious? | ||
| I couldn't tell if you were serious. | ||
|
unidentified
|
Yeah, of course. | |
| Deadly. | ||
| That's me every six days. | ||
| Or if I take more than two days off. | ||
| I'm done. | ||
| I don't need to talk to anybody or go anywhere or do anything. | ||
| I'm done. | ||
| Like, that's my nature. | ||
| That's what I fight with. | ||
| What brings you back? | ||
| What gets you from there to, fuck it, I'll just go do it? | ||
|
unidentified
|
I just force myself. | |
| But you don't have 100% confidence in your future resolve. | ||
| Like, you don't. | ||
| No. | ||
| In the future, do you think there's gonna come a time where a week turns into a month, turns into a year, and then 24 again comes on. | ||
| Didn't they do 24 with a black guy? | ||
| Wasn't that recent? | ||
| Is that still okay? | ||
| Is it still good? | ||
| No, it's done. | ||
| Yeah, they did it with a whole new cast. | ||
| I think it went one season. | ||
| Well, that's what happens, fucking white people. | ||
| You ruined it. | ||
| Thanks, white people. | ||
| Thanks, white people. | ||
| You didn't promote it good enough. | ||
| You promoted it great for Kiefer Sutherland. | ||
| Oh, I didn't understand where you're going with that. | ||
| Yeah! | ||
| Black actor, and you fucking half-ass and cancel it before people grew to love it. | ||
| I think that was a pretty tough, uh... | ||
| Act to follow? | ||
| Yeah. | ||
| Yeah, I'm sure. | ||
| Yeah, people get angry when you redo something. | ||
|
unidentified
|
Yeah. | |
| You know, you call it the same thing, like, fuck off, it's not 24. How about come up with another name? | ||
|
unidentified
|
Huh? | |
| Yeah, I think that was a hard... | ||
| The World's in Trouble. | ||
|
unidentified
|
Starring... | |
| I like that. | ||
| Super cool black guy. | ||
| Who was the guy that played the... | ||
| Corey Hawkins? | ||
| Is that right? | ||
| I don't know who that gentleman is. | ||
| Yeah, he's great. | ||
| Just, they fucked him. | ||
| Yeah. | ||
| Goddamn white people. | ||
|
unidentified
|
Fucked him over. | |
| White people. | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| Fucking hate white people. | ||
| That's my take on it. | ||
| So, are you gonna do a special, you think? | ||
| I'd like to. | ||
| I'd like to. | ||
| You should. | ||
| I want, yes. | ||
| I think you're very funny. | ||
| Thanks, girl. | ||
| I do. | ||
| Thank you. | ||
| I do. | ||
| I think you're hilarious. | ||
| I'm glad you're doing it still. | ||
| Like, when you were telling me that you were going to quit, I was like, you know. | ||
| You were my angel that night. | ||
| You really were. | ||
| You lifted me up from the depths. | ||
| I love that you're like, were you serious? | ||
| I'm like, no, you lifted me up from the depths of hell. | ||
| Well, I could tell you were really down. | ||
| I was like, that's crazy. | ||
| I know who's funny. | ||
| You're hilarious. | ||
| And you're really nice. | ||
| You know, so I was like, you know. | ||
| It's a weird thing to do. | ||
| It's a weird thing to do. | ||
| And maybe you don't have to. | ||
| None of us do, really. | ||
| I mean, there's going to come a point in my life where I'm probably like, eh, I'm not going to do this anymore. | ||
| But for right now... | ||
| But that's cool that you love the live show as much as you do. | ||
| It's a struggle. | ||
| I really enjoy struggling. | ||
| I do. | ||
| I think it's very important. | ||
| It's very important for my balance as a person. | ||
| Especially me. | ||
| I have maniacal genetics. | ||
| My brain just has to be constantly overrun with things to think about and do. | ||
| My brain just wants to go. | ||
| Just, come on! | ||
| Let's go! | ||
| We need more fucking stimulation! | ||
| Let's go! | ||
| It always needs something. | ||
| So what I do is just stuff it filled with information, work it out, get it to run hills and do jujitsu and yoga and burn that motherfucker out so that I could be calm. | ||
| And so a lot of what people notice today versus how I was like 20 years ago is I understand myself better. | ||
| I'm better at managing my business. | ||
| Like, whatever are the things that make you you, I'm better at managing those to be very positive. | ||
| To just be, just overall, and my attitude is very different too. | ||
| It's overall just nicer to people. | ||
| And how did you become nicer? | ||
| Just realized that when I'm at my best, that's who I am. | ||
| And the only variation between that and when I'm at my worst... | ||
| Wait, do you think you weren't nice before? | ||
| Yeah, I was nice. | ||
| I just wasn't as nice as I am now. | ||
| I've always been nice. | ||
| But I've always been nice. | ||
| I'm quicker to pull the trigger back then. | ||
| Right. | ||
| You know, and I'm less... | ||
| Do you remember when we were at the comedy store? | ||
| This was pretty recently. | ||
| And that guy came into the bathroom when I was in there. | ||
| You totally pulled, like, the best male, like, strong guy. | ||
| It was so good. | ||
| You're like... | ||
| Because I... I think the guy was like on coke or a combo of something And again, it's like, do I not have a regard for my own being? | ||
| Because part of me kind of left my body and was like, wow, this guy is crazy. | ||
| Because he's like, give me a kiss. | ||
| And it's like in the women's bathroom. | ||
| Right, right, right. | ||
| And then I think he had done it to someone else, so it was kind of going around. | ||
| And then I ran into you and I was like, yeah, that just happened to me. | ||
| And you were like, what? | ||
| Where is he? | ||
| And you were immediately like, I'm going to beat his ass. | ||
| But simultaneously, you were like, get security to get this guy. | ||
| It was so awesome. | ||
| Well, that guy was a creep. | ||
| It was so creepy. | ||
| I was upset that I wasn't there as it was happening. | ||
| I know. | ||
| Yeah. | ||
| That's unfortunate that you're always going to have to... | ||
| But I rarely enjoy that response that you had. | ||
| I was like, that was awesome. | ||
| I like this. | ||
|
unidentified
|
You rarely enjoy it. | |
| I could be a lady after all. | ||
| I just don't know how to do it. | ||
| I miss the boat. | ||
| I think the only reason why you can enjoy it is because it is in stark contrast to how I behave when people are nice. | ||
| There's a difference, right? | ||
| It's like, break glass in case of emergency. | ||
| That was an emergency. | ||
| This is a real creep. | ||
| It's cool to see that. | ||
| So many coked up assholes at that fucking store lately. | ||
| There's so many coked up weirdos. | ||
| Are there? | ||
| Coke must be making a comeback in Hollywood. | ||
| It must be. | ||
| Kind of like put my blinders onto it. | ||
| Probably should. | ||
| There's a lot of people with fucking bright eyes and ideas and business plans. | ||
| Ideas. | ||
| They want to fucking pitch you some things. | ||
| By the way, that's what I need. | ||
| If you're the overactive, I'm the opposite. | ||
| Like if I see a bed out of the corner of my eye, I'm like, oh, that could be great right now. | ||
| Like that's my avoidance tactic. | ||
| Just like, just go to sleep. | ||
| Yeah, I can't do that. | ||
| It doesn't work. | ||
| I just lie there and think. | ||
| But my sort of road of discovering, like, my hidden anger core, I'm like, oh! | ||
| Like peeling off the layers of like, oh, she's uncomfortable, she's quiet, she doesn't react, and it's like... | ||
| No, no, no. | ||
| They're in there. | ||
| You've just buried them, like, all of your feelings in, like, politeness. | ||
| So comedy has helped me with that, too. | ||
| Because early on, I was, like, way too reactive. | ||
| I'd be like, oh, what do you think? | ||
| Like, talking to an audience member, it's like, no, no, you're in control. | ||
| Like, you tell them where it's going. | ||
| You steer it. | ||
| Like, yes, you can listen to it, but... | ||
| Um, so that's, it's teaching me that as well, how to like, drive the train instead of like, I'm gonna be open to you and listen and go wherever you want me to go, you know, and just react to you. | ||
| There's also, like, there's a weird feedback loop thing going on there because people like it when you go, oh, well, what do you think? | ||
| So you like the fact that they like that you do that, and then you avoid the conflict that way. | ||
| But then you have to swallow it for the rest of the day. | ||
| Totally. | ||
|
unidentified
|
That's so true. | |
| Yeah. | ||
| Well, I mean, it's like I said, being a person and being a comic are very similar in that you're never done. | ||
| We're just never done. | ||
| You know? | ||
| You're always trying to fix that thing. | ||
| Always trying to tweak it. | ||
| Make it a little better. | ||
| And then, that's like one of the big arguments for writing new material too. | ||
| The idea is that every time you write a new act, especially when you have to, like release a special or something like that, you're going to be better because you understand comedy better than you did two years ago. | ||
| You're just going to be better. | ||
| If you've really been paying attention and you really are looking at it correctly, you're going to be better. | ||
| God, it's so hard because you're right. | ||
| You want to avoid it. | ||
| You want to go to that bed. | ||
| It's right there. | ||
| It's right there, Raylan. | ||
| So comfy. | ||
| So cozy. | ||
| Pets. | ||
| Cats. | ||
|
unidentified
|
Dogs. | |
| Fluffed pillow. | ||
| Oh, you get your pets in the bed with you? | ||
| No. | ||
| Oh, yeah. | ||
| I have to keep them out because of my allergies. | ||
| But then when they sneak in and surround me. | ||
| What are you allergic to? | ||
| Everything. | ||
| You have cats and dogs and you're allergic to them? | ||
| Yeah, my husband got the cat. | ||
| That's what put it over the edge. | ||
| I had two dogs for the longest time and I ignored it. | ||
| And then it's the weather and the cat and I just went over this edge where I always had like this really bad cold. | ||
| And then I finally had to go and I tried all the organic things and I finally had to go and get the like twice a week. | ||
| But when they tested it, it was like everything just like paper and pollen and pets. | ||
| Paper? | ||
| You're allergic to paper? | ||
| Yeah. | ||
| Wow. | ||
| But then I got those shots twice a week. | ||
| And what'd the shots do? | ||
| I kind of miss my allergist. | ||
| We would have little four-minute chats. | ||
| It's like you're inoculating. | ||
| So you start doing a little bit and then you build up your tolerance. | ||
| So they can inoculate you for cat dander? | ||
|
unidentified
|
Mm-hmm. | |
| Really? | ||
| Yeah, that's what an allergy shot is. | ||
| I didn't even know that there were allergy shots. | ||
| Yeah, and it's like a little cocktail of all the things, cocktail for me, of all the things that I'm allergic to, and then I just build up my tolerance. | ||
| Wow. | ||
| So now if you're around a cat, nothing? | ||
| Yeah, I cuddle him. | ||
| No shit! | ||
| We make out. | ||
| Whoa, you make out? | ||
|
unidentified
|
Yeah. | |
| And it used to be if a cat just licked you or touched your hand or something like that, you would get a little rub, a little red area. | ||
| Yeah. | ||
| Or like, yeah, inflamed. | ||
| Yeah, one of my daughters is allergic to cats. | ||
| We had to figure it out. | ||
| Took a while. | ||
| She'd wake up with puffy eyes, and then we got her tested and realized it was a cat. | ||
| So what'd you do? | ||
| She takes a pill. | ||
| No, no. | ||
| The cat went to my other daughter, my oldest daughter. | ||
| Oh, okay. | ||
| So she's got it in her apartment. | ||
| I used to be allergic to feathers. | ||
| I remember sleeping over someone's house. | ||
| It depends on like where my system is of how it affects me. | ||
| Feathers? | ||
| Yeah, like laying on a feather pillow. | ||
| Yeah, down. | ||
| Yeah. | ||
| Whoa. | ||
| I know people that are allergic to like styrofoam. | ||
| I've heard of people who are allergic to certain types of plastic and shit. | ||
| Yeah. | ||
| Just coming in contact with certain plastics make them break out. | ||
| Am I making this up? | ||
| It feels like bullshit. | ||
| I got the EpiPen once from getting the shots. | ||
| That was really exciting. | ||
| So you got the shots, your body went into shock because of all the allergic shots, and then they had a fucking boom right in the thigh? | ||
| Yeah, and my allergist was like, he did it in my arm, but he said I didn't even raise it that much, but I went home and I was reading and I'm like, God, I'm itchy. | ||
| Oh, I must have been sweating, like I worked out and I didn't... | ||
| For like a full 10 minutes, I wasn't conscious. | ||
| I was just subconsciously going, man, I gotta go take a shower or something. | ||
| And then I lifted up and it was like, like traveling. | ||
| And then I just was like, I'm having an attack. | ||
| Like, I need a Benadryl. | ||
| And like, no one was listening to me. | ||
| And I'm like, I think I need a Benadryl. | ||
| And I didn't... | ||
| I was looking for the Benadryl, couldn't find it, called my allergist and he goes, yeah, just come here right now. | ||
| And then I drove there just like so scared because I could feel it traveling and I'm like, you know, panicking, but also trying to like manage, like when you panic and it's a good thing because you have to act fast. | ||
| And then I thought, are my eyes going to close up? | ||
| Is my throat going to close up? | ||
| And then went in there full on EpiPen. | ||
| This is awesome. | ||
| It felt really good. | ||
| It honestly felt like I was about to go on stage. | ||
| Ooh, like a rush? | ||
| Yeah. | ||
|
unidentified
|
Wow. | |
| It was kind of a great feeling. | ||
| What's in those? | ||
| It feels like tinny and real trebly. | ||
| Like you get like, ooh, for a few seconds. | ||
| Tinny and trebly. | ||
| That's interesting. | ||
|
unidentified
|
Yeah. | |
| Yeah, like, not even caffeine, like beyond caffeine, but yeah, like a pure, it felt like a real exciting stand-up show. | ||
| Like, wow, I'm really excited to go on stage right now. | ||
| And that immediately stops the allergic reaction? | ||
| Yeah. | ||
| Wow, that's incredible. | ||
| I don't like it. | ||
| What do you got? | ||
| That's what it is? | ||
| The EpiPen? | ||
| Oh, wow, that's crazy. | ||
| I've done that on an episode of 24 where the character dies and EpiPen in the heart and they wake back up. | ||
| So epinephrine is adrenaline. | ||
| Wow. | ||
| It was awesome. | ||
| I liked it. | ||
| I would do it every day if I could. | ||
| You should do it every day. | ||
| It's a hormone, neurotransmitter, and medication. | ||
| Epinephrine is normally produced by both the adrenal glands and certain neurons. | ||
| Plays an important role. | ||
| The fight-or-flight response by increasing blood flow to the muscles. | ||
| That's the tinny treble feel. | ||
|
unidentified
|
Oh, wow. | |
| Pupil dilation. | ||
| Wow. | ||
| And then that other stuff that you get from cold shock proteins, that's norepinephrine. | ||
| Is that what that is? | ||
|
unidentified
|
Yeah, that sounds right. | |
| What's that? | ||
| Dr. Rhonda Patrick, she's a giant proponent of sauna and also cryotherapy. | ||
| And she was talking about the benefits of cold shock proteins. | ||
| And one of them is your body freaks out when you go into those cryotherapy chambers because it's like 250 degrees below zero. | ||
| So you get this big, powerful burst of norepinephrine. | ||
| You get cold shock proteins, these cytokines, because your body's trying to react to the fact that you have this massive cold environment that you're just trapped in. | ||
| It's like so fucking cold, your body freaks out. | ||
| And it produces this really radical anti-inflammation process. | ||
| And one of them is this stuff. | ||
| Okay, that's why I was like, wait, what? | ||
| It's also known as noradrenaline. | ||
| Oh, it's also known. | ||
| Oh, because adrenaline is epinephrine. | ||
| Okay, so norepinephrine. | ||
| It makes you feel so good. | ||
| It's like one of the reasons why I really like going to the cryo chamber. | ||
| Just to get out. | ||
| So you know how I felt. | ||
| Yeah, you get out. | ||
| You're like, whoa! | ||
| So you're putting your body under stress and then it releases that. | ||
| Yeah. | ||
| Dr. Rhonda Patrick is also a big proponent of that in the sauna and that's why I installed that sauna here. | ||
| But did you call it a protein? | ||
| Yeah, heat shock proteins. | ||
| Heat shock proteins and cold shock proteins. | ||
| It's like proteins that are produced by your body to deal with the effects of extreme heat or cold. | ||
| So your body reacts to stress. | ||
| Too much heat will kill you, for sure. | ||
| Too much cold will kill you, for sure. | ||
| But a little bit is actually very good for you, because your body has a response to that, and that response sort of invigorates your entire system. | ||
| Kind of speaks to what we were talking about, performing and stressing yourself, going through that stress in order to... | ||
| Yeah, I listened to a chunk of that Yoel and... | ||
| Joey Diaz? | ||
| Yeah. | ||
| Which, by the way, was amazing, the way you guys communicated. | ||
| That was, like, a beautiful thing. | ||
|
unidentified
|
It's pretty cool. | |
| But, yeah, the pyramid of... | ||
| Athletics. | ||
| Yeah. | ||
| And your everyday, and your living there, it just made me think about my own life, which, you know, my parents worked really hard to, like, make me comfortable. | ||
| And here's your TV, and you go to school, and you come home from school, and how that's the goal in, like, suburban life is to just... | ||
| Be comfortable. | ||
| Be comfortable. | ||
| We don't realize it, but this is all because people before us weren't. | ||
| We're just only living in the environment where people are supposed to be comfortable. | ||
| But, you know, just two generations back, everyone's an immigrant and everyone's really concerned about starving. | ||
| That's all you have to do. | ||
| Go back to the 1920s. | ||
| Everyone's worried about fucking dying. | ||
| Millions of people died. | ||
| Like, even during World War II. Millions of people died by starvation. | ||
| That was a real concern. | ||
| I remember you saying to him, you're like, yeah, it produces really good athletes. | ||
| It might not be like the nicest situation, but... | ||
| There's no way you get really nice situations that produce the world's best combat sports athletes. | ||
| It just doesn't happen. | ||
| You have to be strong as fuck. | ||
| Mentally, physically, you have to have experienced adversity on a level that most people can never comprehend. | ||
| So that when the shit hits the fan... | ||
| That you could look at the other guy on the other side of the cage like Yoel Romero does and goes, I'm going to go fuck you up. | ||
| I've been through everything already. | ||
| Even then, the other guy's the same way. | ||
| So it doesn't even work. | ||
| Yeah, I don't really relate to that. | ||
| Like trying to fuck up the other dude and going through so much adversity. | ||
| Well, my point of view is like... | ||
| I'm going to do my chores and I'm so comfortable right now. | ||
| Now I'm going to deliberately make myself uncomfortable in order to do what I know is good for me and that I enjoy doing and that I want to have success in and that takes me to another place in my life. | ||
| But it's, you know, I do it in a very small... | ||
| Way, you know? | ||
| You do, but it's still really honestly the same thing. | ||
| What Yoel's doing and what you're doing is the same thing. | ||
| You're doing something very difficult that you struggle to do it. | ||
| It's hard. | ||
| You push yourself. | ||
| But it's recognizing that you want to do it. | ||
| Yes. | ||
| And then through doing it, you get a little bit better at everything. | ||
| Did he talk about... | ||
| I only watched the first chunk of it. | ||
| Did he talk about his desire to do that or not? | ||
| Yeah. | ||
| Yeah, he definitely did. | ||
| And how does that match with kind of being put in that system? | ||
| I think you asked that early on, too. | ||
| It was like, how do you choose... | ||
| What if you have the natural ability, but you don't want to do it? | ||
| Well, then you won't perform, and if you don't perform, you get knocked out of the system. | ||
| So there is the desire along with it. | ||
| There has to be. | ||
| To be as good as he is, there has to be a desire to compete. | ||
| He wanted to be a boxer initially, he said, but his father was a boxer. | ||
| I think his brother is a world champion boxer as well. | ||
| He's just a genetic freak. | ||
| Like, there's genetics in Cuba, and he was explaining it to me, too, during the podcast. | ||
| He was like, anybody that thinks that everyone's on steroids, just go to Cuba, where everybody's so poor, and look at the regular people. | ||
| Just the regular people. | ||
| Forget about the athletes. | ||
| He said, I'll take you to Cuba for two weeks, and you'll come back. | ||
| You're like, I get it. | ||
| I get it. | ||
| Really? | ||
| It was a slave colony. | ||
| They had a hard life. | ||
| I mean, they're Africans that speak Spanish, and they live on an island that's off the coast of Florida. | ||
| I mean, it's a crazy spot. | ||
| The whole thing's crazy, and it was run by a dictator forever. | ||
| And they had some of the best athletes in the world in boxing, in judo, in wrestling, just world-class athletes that had mental toughness the likes of I mean, it's hard for the average person to even comprehend what those people are capable of. | ||
| And a lot of it is because of that really brutal system that you all talked about on the podcast. | ||
| Amazing stuff. | ||
| Yeah. | ||
| Amazing. | ||
| You know? | ||
| Just imagining that this guy went through that, you know? | ||
| It's fascinating, because that's not what I want to do. | ||
| It's not what you want to do. | ||
| Right. | ||
| But you just think, like, there's a person out there that can do that, and look what happens on the other end. | ||
| You get that guy. | ||
| Like, Jesus. | ||
| If you just be in the room with him, it's just... | ||
| He's like a fucking superhero. | ||
| It's like, Jesus! | ||
| That is the product of genetics, ruthless training, ruthless environment, one of the most complex and sophisticated sports training systems in the world, with boxing and with wrestling and with judo. | ||
| I mean, they're just phenomenal over there. | ||
| It was cool. | ||
| It was really inspiring. | ||
|
unidentified
|
He's amazing. | |
| In a different way for someone like me, like, I don't relate necessarily to what he does is, like, foreign and amazing, but through my own life, it's like, oh, I can be not comfortable, and, like, that's why it seems like a contradiction, but it's not. | ||
| It's not. | ||
| And when you get through that, you have a sense of satisfaction, and then your comfort feels better. | ||
| I guess it wasn't something that was introduced to me or taught to me, really. | ||
| I mean, I did sports a little bit. | ||
| Did you figure it out just through the pursuit? | ||
| Yeah. | ||
| There was nothing that I really committed to that much or knew how to. | ||
| Or if I did, it was maybe one small aspect. | ||
| It wasn't really... | ||
| It was, you know, the messaging was, try to get by, try to get some shitty job. | ||
| You know, it wasn't... | ||
| It's weird because, you know, it's not like woe is me, but like just knowing that even that you had choices that you could try to be something great. | ||
| Right. | ||
| That wasn't really something that was discussed or on the table. | ||
| Well, wasn't that, isn't that, that's one aspect of alt comedy. | ||
| Like, there are not a lot of people that talk about success or the process of, it's more of like playing everything low key. | ||
|
unidentified
|
Right. | |
| Right. | ||
| Or like a sarcasm. | ||
| Yes. | ||
| Or a... | ||
| Yeah. | ||
| It's not... | ||
| Like that's the definition of being... | ||
| Sincerity is for saps. | ||
| Yes, yes, yes. | ||
| Of being a hipster is that you've got that distance. | ||
| You're not really... | ||
| That's why I love the Comedy Store as well because it's like... | ||
| The opposite. | ||
| It's the opposite. | ||
| It's like, what's your thing? | ||
| Yeah, and everyone's super honest and open about like bombings and good sets and bad sets and jokes that just fell right in their face. | ||
| Like that back bar area is so brutal when people just come back there and go, oh, I just ate a fat plate of shit. | ||
| Like people are just so honest about it when they come downstairs, you know? | ||
| It's a great place. | ||
| I feel super fortunate. | ||
| Yeah. | ||
| I missed it so much, coming back. | ||
| I mean, there's a place for that sarcasm and the... | ||
| Sure. | ||
| Tom Segura does that all the time, but he's also sincere as well. | ||
| There's a thing that's an insecurity. | ||
| It's like a defense mechanism. | ||
| And that's what a lot of people do it for. | ||
| They pretend they're above it all. | ||
| But no one's above it all, man. | ||
| Don't pretend you're above it all. | ||
| It's ridiculous. | ||
| You can do it for fun, but pretending you're actually above it all, you're missing out. | ||
| Nobody believes you, first of all. | ||
| It's like pretending you're psychic or you know magic. | ||
| Nobody fucking believes you. | ||
| Alright, so you keep that act going, keep your fucking fake mustache on, your cape and your top hat. | ||
| I feel that's like, that's silly. | ||
| Like, doing it occasionally, every now and then, it's fun. | ||
| We all do it to each other all the time. | ||
| But if you have a complete lack of ability to communicate sincerely, that's not being hip or cool. | ||
| That's a defense mechanism. | ||
| And it's a stupid one. | ||
| Because you don't have much time. | ||
| You have a hundred years if you're lucky. | ||
| They go by like that. | ||
| If you have $100, you spend a dollar a day. | ||
| Before you know it, you're fucking broke. | ||
| That's life. | ||
| My son was like, how old was Michael Jackson when he died? | ||
| I was like, ah, in his 50s. | ||
| He was like, oh, okay. | ||
| Like that sounded right to him. | ||
| I'm like, people don't die until much later. | ||
| Basically, that's me. | ||
| Well, Michael Jackson's the craziest case of all time, right? | ||
| Because he was administering anesthesia every night so he can go to sleep. | ||
| Dude. | ||
| I was playing that, I was playing I Want to Be Starting Something and Thriller in the car on the way taking my son to school and I start crying just because it's like, how do you explain what he was and how monumental what he did was? | ||
| Like I can remember seeing him dancing to Billie Jean and like how Kind of like broke the mold for music and the persona that he had and that level of creativity. | ||
| Yeah, it was weird. | ||
| And to be in the car with my kid who doesn't really, knows the name, but didn't, you know. | ||
| Right. | ||
| It's just, that's not part of his, that's not part of his life. | ||
| Maybe you should introduce him to that movie, that documentary. | ||
| What was that one documentary they did? | ||
| This is it? | ||
| Yeah. | ||
| Oh yeah. | ||
| That's right. | ||
| Yeah. | ||
| Does that get into the drugs and stuff? | ||
| And how many years was he doing that for? | ||
| So sad. | ||
| Not very long. | ||
| But here's one of the more fucked up things. | ||
| This is something I speculated a long time ago. | ||
| His doctor who went to jail for giving him the anesthesia also testified that Michael Jackson was chemically castrated by his parents when he was young to preserve his voice. | ||
| That's what I suspected. | ||
| I suspected, I talked about it on the podcast, like, years ago I was saying this. | ||
| I think he was a castrata, which is, they take young boys, and they used to do this with opera, and they would castrate them at a very young age. | ||
| And because of that, their body never developed testosterone, so they would develop this high, piercing, like, haunting voice. | ||
| It's very strange. | ||
| Like, we played some of the... | ||
| There's only a few recordings of actual castratas that are available, or castratos. | ||
| One of those. | ||
| But when you play them, they're haunting. | ||
| Because you realize, like, this is a kid that was castrated as a baby so that he could be a singer. | ||
| Like, this is fucked up. | ||
| And that's what Michael Jackson's doctor said they did to Michael. | ||
| They did it through chemicals. | ||
| They chemically castrated him, the same way they do to pedophiles. | ||
| So his argument is, I'm just trying to regulate a situation that was already far gone. | ||
| Is that his defense? | ||
| No, I mean, there's no defense. | ||
| The doctor's just fucking, you know, he's just... | ||
| He killed him. | ||
| I mean, killed Michael Jackson. | ||
| Let him... | ||
| Get anesthesia until he died. | ||
| His defense wasn't that. | ||
| He was just saying, there's something else. | ||
| Michael Jackson was fucked up. | ||
| His parents literally chemically castrated him to preserve his voice. | ||
| Because he was the lead singer of the Jackson 5 when he was a baby. | ||
| And that was part of what was great about him, was like... | ||
| Oh, baby, give me one more chance. | ||
| Like that voice. | ||
| You got a nice falsetto there. | ||
|
unidentified
|
Thank you. | |
| That voice was nothing like anything that he would be capable of doing as an adult if he grew into a man. | ||
| He would have this big old man, I want to get some pussy voice. | ||
| And people would be like, no, where's little Michael? | ||
| He would have like a, you know, like a Barry White voice or something. | ||
| Like, fuck, you can't have that. | ||
| Like, you're Michael. | ||
| You know, you're ABC. It's the easiest one. | ||
| Well, he may not have gotten that deep with his voice, but I guess if that's to be believed, he'd never had the chance. | ||
| I believe it. | ||
| You know why I believe it? | ||
| Because his voice didn't sound anything like a regular man's. | ||
| And it didn't sound anything like his brother's. | ||
| His brother's all look like regular grown-ass men. | ||
| Michael Japson's deep voice. | ||
| Something's got cold. | ||
| That sounds like Joan Rivers. | ||
| It's still like mid-rangey. | ||
|
unidentified
|
I was looking it up. | |
| All those places I'm seeing that story about him being castrated are like tabloidy. | ||
| It's the sun and that kind of stuff. | ||
| Right, but it wasn't in an interview in like the... | ||
| It was a UK paper. | ||
|
unidentified
|
Yeah, no, I just googled it. | |
| It was the sun, which is like not the best... | ||
|
unidentified
|
Mmm. | |
| That's not the worst, right? | ||
| The Daily Mail's the worst? | ||
|
unidentified
|
Both of them, actually. | |
| Are they the same? | ||
| The equal? | ||
|
unidentified
|
Yeah, I don't think so. | |
| See, I'm hoping that's so true. | ||
| The last time you talked about this, I got some messages. | ||
| I don't know, again, I was getting videos like this of showing, like, examples of his deep talking voice. | ||
| See, that's not deep. | ||
| There's a lot of chicks that have way deeper voices. | ||
|
unidentified
|
Yeah, true that, yeah. | |
| Listen. | ||
| That's his deep voice? | ||
| Come on. | ||
| Let me tell you, motherfucker. | ||
| You listen to the wrong people. | ||
| I mean, think of how many women have ruthlessly deep voices. | ||
| I could tell you a couple right now, yeah. | ||
| I think. | ||
| I think they did it to them. | ||
| His voice was just phenomenal, like human nature. | ||
| Like as an adult, that is such a fucking phenomenal song. | ||
| It doesn't sound like anything that a regular man is capable of singing. | ||
| Like the notes that he hits, like that voice that he had was just haunting, right? | ||
| I'm trying to think of who else is a natural star who has a high voice. | ||
| Well, Prince used to sing in falsetto, but it was very obvious when he was doing it that he was doing it. | ||
| Yes. | ||
| Whereas Michael Jackson, that Human Nature song was one of my favorites because it's such a slow, smooth holding of those sounds. | ||
| These are natural sounds that are coming from him. | ||
| It's like this natural, warm, affectionate tone to it. | ||
| It just doesn't seem like a man's voice. | ||
| It doesn't seem like a woman's voice either. | ||
| You got the right way of talking. | ||
| That's different. | ||
| That's like falsetto. | ||
| Dancing. | ||
| You're saying that's like a force. | ||
| It's like a caricature. | ||
|
unidentified
|
Baby, help me. | |
| Yeah, you could say that. | ||
| Dancing that way. | ||
| What is this? | ||
| You feel like dancing. | ||
| Puberphonia, known as mutational falsetto. | ||
| Hang on, I have a call on my puberphonia. | ||
| Hello? | ||
| It's a type of voice disorder characterized by habitual use of high-pitched voice after puberty. | ||
| Oh, so some people get that? | ||
|
unidentified
|
Yeah, it's like psychogenic in nature. | |
| The other thing is, you look at his body. | ||
| He had no muscle. | ||
| His body was like... | ||
| I mean, he was a very active guy, dancing all the time, but he wasn't built like a dancer. | ||
| He was built like a stick. | ||
| He was a very, very thin guy. | ||
| That's what you would expect from someone who didn't have any testosterone. | ||
| He wouldn't be able to develop any muscle. | ||
| I'm sticking with my theory. | ||
| I might have biases, but... | ||
| They're mine. | ||
| They're mine. | ||
| I'm sticking with it. | ||
| Dig them up. | ||
|
unidentified
|
Make me feel like that. | |
| Dig them up and check the nuts. | ||
| Dig them up. | ||
| So, Marilyn. | ||
| Yes. | ||
| Is there anything you'd like to talk about? | ||
| Anything that's important to you in this day and age? | ||
| Jeez. | ||
| You can't just turn it over to me. | ||
| I'm just trying to figure out where you stand on things. | ||
|
unidentified
|
Um... | |
| What? | ||
| What? | ||
| Um... | ||
| Told you I cried to Michael Jackson. | ||
| Yeah. | ||
| Good reason. | ||
| Uh... | ||
| I... I think I'm a hypocrite. | ||
| In what way? | ||
| The gun control march that is happening. | ||
| Part of me was like, I had a friend, a mom, who said, the march is going on right outside our house. | ||
| Like, who wants to join? | ||
| And as soon as I clicked on the email and saw what it was, in the pit of my stomach, I was like, no. | ||
| No. | ||
| And then I covered it up with, I should do that. | ||
| This would be a really good thing to do. | ||
| And I... Was then fighting with myself because I was like, well, you can't have both things at once. | ||
| Either you want to march and do that, or you don't. | ||
| Like, those are conflicting things. | ||
| What was the no? | ||
| I don't want to do it. | ||
| I don't think it'll help. | ||
| But then there's another part of me that really likes when people march because I do think it changes the attitude. | ||
| Like I'm really happy that the Women's March happened and is happening. | ||
| But I didn't go. | ||
| And I feel like it's like a dirty secret. | ||
| And I have a bit about it that's sort of an unformed bit where I say, yeah, I live in Encino because that's where you go to give up. | ||
| Like, next time you see me, I'm going to be like, I live in Thousand Oaks. | ||
| I'm allergic to the sun. | ||
| Yeah. | ||
| And I described, like, the moment I knew I had given up was, and this is just an exploratory, I still don't have it figured out, the moment I knew I had given up was I was making my stay away from my vagina poster with glitter, and then I marched out to the curb and was like, it's too hot. | ||
| Like, I don't think they'll be parking at the march. | ||
| And went back inside. | ||
| Did you really? | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| I mean, that's the joke version, but I was very conflicted and like, oh, I should go. | ||
| And both times I was doing stuff with my kid and it was, you know, a very small mundane day and I was like, I'm not doing it. | ||
| And then I saw the women that did it and they talked about being in this crowd and how uplifting it was. | ||
| And I was like, that's amazing. | ||
| Like, I'm really happy this is happening. | ||
| But yet, why is it because I don't care and I'm weak? | ||
| Or is it because there's a part of me that believes I don't want to do it? | ||
| And that it's an actual belief. | ||
| And then I was like, you're a hypocrite. | ||
| And then I was like, I'm tired. | ||
| I can't think about it anymore. | ||
| But yeah, the... | ||
| I don't know. | ||
| Is what I'm saying. | ||
| I'm a hypocrite, is what I'm saying. | ||
| I don't know if you're a hypocrite. | ||
| You just have... | ||
| You decide... | ||
| You just decide what you want to do and what you don't want to do. | ||
| You know, and you didn't want to go march that day. | ||
| It doesn't mean you're a hypocrite. | ||
| It means you just didn't want to do it. | ||
| You're a hypocrite if you were saying one thing and voting for another. | ||
| That would make you a hypocrite. | ||
| That just makes you a person who just decided that's not what you wanted to do. | ||
| And also, look, it would be nice if you threw your one into the 600,000 that were marching through the streets of downtown LA, but there's still 600,000 people, even if you're just watching it from the news and go, you go, girl! | ||
| You're not helping. | ||
| But I don't think you're a hypocrite. | ||
| It doesn't make you a hypocrite. | ||
| Does it help? | ||
| Do you think those big marches... | ||
| Well, that's what I'm wondering. | ||
| I think it empowers people. | ||
| It gets people very excited about the cause. | ||
| There's a lot of other people that think like-minded. | ||
| Gets people to watch. | ||
| Gets people to put it on the news. | ||
| People at home watch it. | ||
| Maybe people feel like, hey, even though some fucked up things have gone down with Harvey Weinstein and all this other shit, at least it's turning around. | ||
| Maybe people are bummed out that this guy became the president, but now people are active. | ||
| Maybe people are paying attention more. | ||
| Maybe people are more engaged. | ||
| Absolutely. | ||
| So ultimately it's almost like what we were talking about before. | ||
| You get past that adversity and there's actually a benefit to it. | ||
| And sometimes I think even as a country we might need that because we don't have any war over here. | ||
| Everything is over there. | ||
| We don't see it in terms of like right in front of us on a daily basis. | ||
| But this is like a cultural war and an idea war. | ||
| And so I think that these things happening right in front of us and having these uncomfortable moments Forces these conversations. | ||
| There's just gonna be peaks and valleys in the conversation where people are rude and people are calm and maybe there's gonna be some breakthroughs, but ultimately at least... | ||
| So you're pro, Marcus? | ||
| I'm pro everything. | ||
| Well, I'm pro progress and I think that all of this comes from people being dissatisfied with how things are currently. | ||
| So the best way to I mean, it's very, very inspiring to me that those kids came out and are talking, and that's like, I love that. | ||
| You mean about guns? | ||
| Yes, but it's also sad that so little is happening. | ||
| Yeah. | ||
| It is sad, but there's two things that have to be addressed. | ||
| Guns have to be addressed for sure, but also mental health has to be addressed. | ||
| We have to address psych medicines. | ||
| We have to address how many of these people, whether it's correlation equals causation or not, how many of these fucking people have been on psych medicine? | ||
| And the answer is almost all of them. | ||
| Now, does that mean that they're mentally ill and so that's why they shoot people? | ||
| Or that doing these psych meds, a lot of people call the effects of these things very disassociative, that they allow people to do horrific things they might not have been able to do before or inspire them to do that? | ||
| There's a real argument there. | ||
| It's not exonerating the people that have done these horrific things or exonerating the people that got the guns in their hands. | ||
| It's not doing that, but it is a factor. | ||
| There's a factor that people aren't taking into consideration because it becomes a one or the other thing. | ||
| It becomes an either we need more gun control and we need stricter gun control or we need to do something about the effects of psych medication. | ||
| It's not both, and I think it's both. | ||
| I really do. | ||
| I was just gonna say, well, yeah, based on how you just presented it, it definitely seems like both. | ||
| Yeah. | ||
| There was an article that was, I'm sorry to interrupt you, but there was an article that was written, I gotta remember this, that was written recently that was really ridiculous. | ||
| And it was saying, contrary to popular belief, most of these mass shooters are not mentally ill. | ||
| Well, what the fuck defines mentally ill if they're on psych medication? | ||
| They're all on anti-psychotics and psychiatric meds and SSRIs. | ||
| They're almost all So if they're not mentally ill, why the fuck are they taking medicine? | ||
| How are you shooting people and that in itself is mentally ill? | ||
| If you can just go into a school and shoot 19 children, you have to be mentally ill. | ||
| But the point is, if they're not mentally ill, why are they taking medicine for people who are mentally ill? | ||
| This is a bullshit article. | ||
| And it's an article, who knows what the fucking, whether it's a contrarian point of view that's designed to get clickbait, Hits, or whether it's someone who's trying to set up a narrative that's contrary to what the pharmaceutical drugs companies have known for years. | ||
| There's real effects to those things. | ||
| They're not always positive. | ||
| And it's a goddamn crapshoot whether or not a pill's gonna work for you or not work for you. | ||
| I mean, that's why they have Abilify. | ||
| Abilify is an anti-psychotic they prescribe to people who are on SSRIs, but they think about killing themselves. | ||
| They're like, look, if you're thinking about killing yourself, try this first. | ||
| Try to stack these two together. | ||
| Maybe that's your mixture. | ||
| Wasn't it the number one most prescribed drug in the country? | ||
| See if that's true still. | ||
| Abilify, an anti-psychotic, was the number one most prescribed drug in the country. | ||
| Look, we've got a fucking problem. | ||
| Now, how many of these people are taking medication because they really need it? | ||
| I'm sure some of them. | ||
| How many people are taking medication because drug companies are pushing this shit? | ||
| Abilify is top selling US drug. | ||
| There you go. | ||
| That's fucking crazy. | ||
| The top selling US drug. | ||
| See this. | ||
| Don't blame mental illness. | ||
| Blame men. | ||
| Well, that's true too. | ||
| No, she's right there too. | ||
| I have a bit that I'm doing about all the different fucked up things that men do. | ||
| It's an anti-men's rights bit. | ||
| I don't want to do it on the air because I'll fuck it up before my special. | ||
| But it's that we have to pay attention to all the shit that we do wrong. | ||
| Mass shootings is not just... | ||
| If you want to take credit for the good things that men have done, you have to take credit for all the war. | ||
| That's also what they've done. | ||
| Men have caused all of it. | ||
| In the bit, I go into detail about all these different things. | ||
| It's a build-up to something else, but this also has to be addressed, that it's always men. | ||
| That's real, too. | ||
| It's not blaming every man that didn't shoot up a school. | ||
| We have to figure out, what the fuck is it? | ||
| What combination of psych drugs, guns, and being a man is causing this? | ||
| And if we just want to blame only the tools, that seems to me to be fucking crazy. | ||
| They also want to blame the NRA. Well, I see in one point because you think the NRA is helping people get guns rather more easily. | ||
| I get that. | ||
| But also, no one who is a member of the NRA has ever committed a mass shooting. | ||
| So you have to think of that. | ||
| Well, what does that mean? | ||
| I mean, are you really blaming the group of people that wants gun safety to be paramount and the group of people that doesn't want their rights to be infringed? | ||
| Or are you going to... | ||
| Attack the group of people that are actually shooting these people. | ||
| The real problem is the people that have actually done it. | ||
| And I guarantee you, there's something wrong with every single fucking one of their brains. | ||
| I'm looking for that bed right about now. | ||
|
unidentified
|
Sorry. | |
| No, no, no. | ||
| Because everything you're saying, I'm just thinking that the person that shoots a bunch of people, whether they're on psych drugs, whether they have access to a gun... | ||
| Mental health issues, they're isolated to the point where they can do something like that. | ||
| And that... | ||
| A quiet little statement that someone is isolated is something that we can't address because it's so complicated and it's such the fabric of how we live our lives. | ||
| It's so much easier to blame and fight for all these things, but how do we fix the one guy whose brother was just found with all that porn? | ||
| Yeah, the guy that shot all the people in Vegas. | ||
| How do we address just how fucked up people are in general? | ||
| Or the horrible story about... | ||
| And I'm jumping topics, but the horrible story about that... | ||
| Ugh, can't even talk about it. | ||
| The couple that had all those kids that they... | ||
| Oh, yeah, they kept locked up in their basement. | ||
| Nobody knew. | ||
| Nobody said anything. | ||
| People, yeah, I thought they seemed weird. | ||
| Like, how do we address... | ||
| Our disconnection from each other that we're so fucked up. | ||
| There's definitely going to be people that feel alienated and they always want to, they see these people having a good time around them and they want to just flip over the game. | ||
| They want to say fuck you and burn the whole thing to the ground. | ||
| There's always going to be people like that. | ||
| There's a lot of that that you get. | ||
| What do you mean they see people having a good time around them? | ||
| They see people that are happy, that are enjoying life. | ||
| Like, especially if this kid felt alienated in school and bullied and cast out and targeted, and then he gets free and he sees these people that are having fun. | ||
| He just wants to go back and just punish everyone. | ||
| This is a very common theme. | ||
| You know, people feel real pain. | ||
| How do we change that theme? | ||
| How do we help people who are in pain? | ||
| You're going to have to do a lot of things, right? | ||
| Because, like, think of the people that had their children locked up. | ||
| Who are these monsters and how do they have a kid? | ||
| How is it so hard to get a car license and it's easy as fuck to have a kid and raise another member of our culture, of our society, our community? | ||
| How is that possible? | ||
| You've introduced a poison, toxic member to our community because you did a terrible job of raising them. | ||
| And one of the oldest ones went to college and then they would, I can't remember, I think it was a dude, would come out and the mom would be waiting for him and like, So the oldest one was out in the world and still no one could help. | ||
| Like, whatever mind melds they had on... | ||
| So the oldest one was out and he didn't say that his younger brothers and sisters were locked up? | ||
| I guess. | ||
| Oh, God. | ||
| He should be in jail. | ||
| Yeah, I don't know the whole... | ||
| the details of that. | ||
| I mean, it's not... | ||
| I guess it's not his fault. | ||
| He's probably, like, beyond fucked in the head. | ||
|
unidentified
|
Yeah. | |
| But just the fact that he could keep that a secret, it's like, what? | ||
|
unidentified
|
What? | |
| It's horrific. | ||
| And you just think about, I mean, how many people are fucked by the time they have children. | ||
| Like, it's not even that they're doing a bad job of it. | ||
| They're incapable of doing a good job of it. | ||
| They're too fucked up. | ||
| They're too fucked up from their own upbringing, but they still get horny. | ||
| That's just what happens in this world. | ||
| People like to have sex, they have sex, boom, there's a person, gotta raise it, but I'm fucked up and I love meth. | ||
| What do you do? | ||
| Fucking men, am I right? | ||
| Yeah, it's fucking men. | ||
| It's everybody. | ||
| It's definitely men though. | ||
| And that's my issue with all this masculine bullshit, is a lot of these guys that are proclaiming masculinity are really bitches. | ||
| And that real men wouldn't be doing this stuff in the first place. | ||
| You would look past most of this stuff in the first place. | ||
| You know, there's a lot of people in this world that don't have personal sovereignty, whether it's men or women. | ||
| And they're not raised correctly, and then they didn't go on a beneficial path through life that left them in the current state where they're a helpful member Of our community. | ||
| See, this is a show about family values. | ||
| That's what you're really about. | ||
| It is about community values, like friendship. | ||
| You know, like what we were talking about at the Comedy Store. | ||
| Friendship's giant. | ||
| It's very important. | ||
| And some people don't have any fucking friends. | ||
| And that's a dark place to be. | ||
| Bullied your whole life. | ||
| Don't have any friends. | ||
| You're on medication. | ||
| You're all fucked up. | ||
| And you're one of those guys out there that just wants to go out with a bang. | ||
| You know, just want to walk into a mall with a fucking shotgun and go out with a bang. | ||
| There's a lot of people that think like that. | ||
| They just don't have the courage to do it. | ||
| I mean, even going back to that one night when I said, I don't know if I can do it. | ||
| I mean, it's a smaller example, but still... | ||
| And you just looked at me and said, you can. | ||
| You're good. | ||
| You're doing it. | ||
| Whatever your response was, those little moments of... | ||
| Those are big. | ||
| A real connection. | ||
| Yeah. | ||
| When you know someone really does care about you and someone really does like you. | ||
| And we're not talking every day. | ||
| It was just a moment of kindness and commonality and seeing the other person. | ||
| We fixed it, everybody. | ||
| We fixed it. | ||
|
unidentified
|
We fixed it. | |
| We did it. | ||
| Well, I never had... | ||
| I never knew that you didn't think well of me or of me. | ||
| I never felt like you didn't like me or anything. | ||
| I think I was just intimidated by you. | ||
| Well, I didn't know you, but your vibe to me was like, uh-oh, he doesn't like me very much. | ||
| But that wasn't because of anything I said. | ||
| I'm talking years ago, though. | ||
| This probably would have been 2000, whatever, right? | ||
| But it was never anything where I didn't like you. | ||
| I'm sure I probably was not even really on your radar. | ||
| Or not even a thing of not liking or liking. | ||
| No, we never really had any interactions. | ||
| No, I just felt your power. | ||
| I took it personally. | ||
| I felt your power. | ||
| That's pretty silly. | ||
| Well, we got through that too. | ||
| Yeah, we did. | ||
| So if you do a special, when do you think you'd be gearing up for that? | ||
| Have you thought through it? | ||
| Like you'd be ready in a year? | ||
| You'd be ready in a month? | ||
| Oh my gosh. | ||
| Too much? | ||
| No. | ||
| Where's the bed? | ||
| Where's that bed? | ||
| Where's that bed? | ||
| I have to figure out, because so many comics I know do it themselves. | ||
| Yeah. | ||
| I think I could have the material I want fairly within the next six months, but then I need to figure out the how. | ||
| The how. | ||
| There's a few companies that do that now. | ||
| I need to make it first, right? | ||
| That's how you do it. | ||
| Yeah, definitely. | ||
| Just make it. | ||
| Yeah, that's not a bad move. | ||
| The just making it first is not a bad move because when you just make it first, then you can just sort of sell it somewhere. | ||
| And if it's good, everybody's always looking for new comedy. | ||
| You know? | ||
| We were just talking earlier about Amazon. | ||
| I guess I'm scared a little bit. | ||
| Don't be scared. | ||
| Because I had teed up for it when I first went on the road and had an hour. | ||
| And then my manager at the time, I think, tried to sell it on a high level. | ||
| This was before Netflix is what it is now. | ||
| It was a few years back. | ||
| When they were first started doing hours, I think. | ||
| And they were like, no. | ||
| All the top tier people were like, no. | ||
| No one knows her as a comic. | ||
| We're not buying it. | ||
| And then she was like, let me sell it at the second tier. | ||
| And they were like, no. | ||
| And this whole time I was like, I should have just done it myself. | ||
| But... | ||
| I think I've been lucky enough to get a lot of acting jobs. | ||
| So whenever I'm being my self-starter and then a carrot comes along, I'm like, I'll do that acting job. | ||
| That'll work. | ||
| So I've never had to sort of grind it out in that way. | ||
| And that's why it scares me. | ||
| So then when it didn't sell at that time, I just went, oh, I should have done that myself. | ||
| And now I'm tired of this material. | ||
| And then, you know, time passes. | ||
| I'm like, maybe it's for the best because... | ||
| You know, once I do that, then I'm really out there as that. | ||
| It might be a commitment issue on my part. | ||
| I know that feeling. | ||
| I know what you mean. | ||
| It's just hard. | ||
| It's hard to just fucking dig your heels in and decide to do something that's tough like that. | ||
| And then also the financial investment. | ||
| If you decide to do it yourself, you gotta spend a lot of money and hire a crew and make sure the director doesn't fuck it up and make sure it all comes out well. | ||
| You know? | ||
| Who do I know that did one and they fucked up the shooting of it and he had to wind up putting it online? | ||
| Was it Rory Albanese? | ||
| Did he say that he did one? | ||
| That someone fucked up and he wound up putting it online? | ||
|
unidentified
|
I think Rory hasn't released it yet. | |
| He was thinking about doing it soon. | ||
|
unidentified
|
Some of it was him. | |
| Somebody else then. | ||
| Kurt Metzger? | ||
| Whatever. | ||
| Someone funny. | ||
| Did you do yours yourself? | ||
| I did one of them myself. | ||
| Yeah. | ||
| I've done two of them. | ||
| Two of them myself. | ||
| Yeah. | ||
| But the best was last year, doing it with Netflix. | ||
| That was the best. | ||
| Because they're just so easy. | ||
| They're just like, go ahead. | ||
| They just let you do it? | ||
| Yeah. | ||
| Whatever you want. | ||
| They're like, we like it! | ||
| Yay! | ||
| That's awesome. | ||
| There was like zero feedback, you know? | ||
| They just wanted to make sure it was an hour long. | ||
| Not too long, not too short. | ||
| I kind of want to do a 15-minute special because I have this thing that I've done for years, and I don't do it very often, but it's so dumb. | ||
| It's like, hey, guys, take a break. | ||
| Hey, ladies, fucking guys, am I right? | ||
| Ladies, take a break. | ||
| What's up with these bitches but for 15 minutes? | ||
| What's up with bitches and their scented candles? | ||
| They're always like, smell this, try these sheets. | ||
| Guys, take a break. | ||
| Ladies, guys. | ||
| Give us a ring if you want to. | ||
| Just have the whole thing be that. | ||
| That's funny. | ||
| I like it. | ||
| 15 minutes, that's just something they're doing now. | ||
|
unidentified
|
Right? | |
| That's what I heard. | ||
| I mean, I would love to do an hour for sure, but that's more of a commitment to things and ideas. | ||
| You wanted to have some girth to it. | ||
| Well, you could definitely do it, but we were also talking about how Amazon's doing specials now, too. | ||
| They did Bob Saget's special, and they bought a bunch of other people's specials. | ||
| They bought Brian Callen's special. | ||
| They bought all those specials from CISO. All those specials are now on Amazon. | ||
|
unidentified
|
A lot of places for you, Maryland. | |
| Just do it, is what you're saying? | ||
| Just do it, for sure. | ||
| Yeah, the only terrifying thing is once you do it, then you have to write new material. | ||
| That's where it gets scary, because then you're left without weapons. | ||
| You start from scratch. | ||
| You've got to grind and dig and claw your way back up to the top of the hill. | ||
| You've never done that before, huh? | ||
| A special? | ||
| Well, a special when you have to abandon all the material and start from scratch. | ||
| No, as you were saying that, I was thinking, because I've done one-woman shows, I've done... | ||
| But I'm still pulling from that show, because if it's stuff that I still like, I'll pull it up. | ||
| I have stuff about my son being an infant, and he's nine years old. | ||
| I'll talk about my C-section. | ||
| If it's late at the comedy store, I'm like, let's get into it. | ||
| Because I know they don't want to hear it. | ||
| I'm like, let's talk about it. | ||
| It's 1am. | ||
| Let's talk about the C-section. | ||
| Those 1am sets, those are strength training. | ||
| That's like running with weights on, like a weight vest, weights on your back, and like ankle weights too. | ||
| I've learned to really love them. | ||
| It took me so long to just even leave the house. | ||
| I would be standing there at the comedy store like... | ||
| I had to train myself to be like, this is part of it. | ||
| You have to be awake. | ||
| You have to want to be here. | ||
| It was a weird psychological... | ||
| Part of me is like, I just want to do my set. | ||
| But then I'm like, resenting that I'm out of the house. | ||
| Like, I'm some sort of princess or something. | ||
| How dare... | ||
| It's like, no, you made this choice. | ||
| But connecting the want with what it is. | ||
| I don't know. | ||
| I mean, I've talked to other people who are like, well, don't do midnight shows. | ||
| But clearly, I wanted it, and I wanted it at the comedy store. | ||
| And once I got used to it, I was like, this is the best. | ||
| I love doing those late spots. | ||
| Not that I wouldn't mind an 8 p.m. | ||
| shot... | ||
| You want 845. Shot in my slot every once in a while. | ||
| Nitro. | ||
| Yeah, it makes you talk. | ||
| I didn't even get halfway through. | ||
| I'm taking it easy. | ||
| Well, then you're about 135 milligrams caffeine in. | ||
| It's good. | ||
| It's not bad, right? | ||
| It's really good. | ||
| Do you like espresso? | ||
| Do you drink that kind of stuff? | ||
| Yes. | ||
| Black coffee? | ||
| Yeah, I go both ways. | ||
| I like a latte. | ||
| Strong woman. | ||
| I like a latte too. | ||
| Do you like a latte with like vanilla sweetener and shit in it? | ||
| No. | ||
| Not sugar? | ||
| No. | ||
|
unidentified
|
No? | |
| No, like a straight up nonfat. | ||
| I'll do it all. | ||
| I'll drink a vanilla latte. | ||
| I won't turn my nose at it. | ||
| I'll do a shot of espresso. | ||
| Yeah, it's all yummy. | ||
| Yeah. | ||
| You're kind of on a path of self-improvement through comedy. | ||
| Do you realize that? | ||
| I like that. | ||
| It seems like it, right? | ||
| Yeah. | ||
| Like, you seem more empowered by this. | ||
| I definitely am. | ||
| Yeah, that's true, isn't it? | ||
| It is. | ||
| It is. | ||
| It's helping me. | ||
| You say it so reluctantly. | ||
| So disappointed. | ||
| It's such a strange thing. | ||
| Well, it's what it is. | ||
| You're fighting your alt roots. | ||
| That's what it is. | ||
| You're fighting the smugness and the sarcasm. | ||
| You're fighting it. | ||
| Fighting sincerity. | ||
|
unidentified
|
Ugh. | |
| Sincerity. | ||
| Ugh. | ||
| Self-improvement. | ||
| Oh gosh. | ||
|
unidentified
|
Ugh. | |
| Is that what I'm doing? | ||
| Sure. | ||
| I'm like, oh, if I could just get on a pilot, then I wouldn't have to work anymore. | ||
| No commitment. | ||
| You just zone out. | ||
| You're not even there. | ||
| You do your best, but it's not even your writing. | ||
| Whatever. | ||
| So much easier. | ||
| So much easier if you're on a good sitcom. | ||
| Oh, girl, you're dropping some logic. | ||
| When I was on news radio, when it was smooth. | ||
| I tried to get on a pilot so bad. | ||
| Yeah, go on. | ||
| When it was smooth, so easy to show up. | ||
| Script's good. | ||
| Got a couple good lines. | ||
| Remember them. | ||
| Deliver them. | ||
| Sit in the makeup chair. | ||
| Put the clothes on. | ||
| What's wrong with that? | ||
| Boom. | ||
| Nothing. | ||
|
unidentified
|
Nothing wrong with it. | |
| Check's coming in. | ||
| Someone's bringing you a drink. | ||
| Doesn't feel as good. | ||
| It's not as good. | ||
| The problem is you've already killed Mary Lynn. | ||
| You've already crossed over into the dark lands. | ||
| Oh god. | ||
| When you kill, like Saturday night on the road and you're fucking crushing, right? | ||
| When you put it all together and you remember those dark days and you first started doing it again and now you're killing? | ||
| Yeah. | ||
| How good does that feel? | ||
| It feels great. | ||
| It's amazing. | ||
| But then I'll chip away. | ||
| Like, how long will I let that feel great? | ||
| You know? | ||
| Maybe until the next morning, and then it starts all over again. | ||
| Then you gotta do it again. | ||
| Yeah, you have to. | ||
| That's the thing. | ||
| There's never a point where you're like, oh, I made it. | ||
| Let me sit down. | ||
|
unidentified
|
no that doesn't that place doesn't exist well laughter laughter Well... | |
| You always have the bed. | ||
| Don't worry. | ||
| You can always take those naps. | ||
| It's always there. | ||
| You can always enjoy those naps. | ||
| That pillow's always there. | ||
| You got it now with all your shots? | ||
| The cat can crawl in bed with you? | ||
| No problem. | ||
| I mean, I still have a lot of fear. | ||
| Even last night, how was your stand-up on the spot? | ||
| It was great. | ||
| I loved it so much. | ||
| I spent the entire day going, why did I do this? | ||
| I'm not clever enough. | ||
| I can't think of jokes. | ||
| I'm like, just say the opposite. | ||
| Just get angry. | ||
| Go on a rant. | ||
| I'm coming up with all devices because I'm like, you won't write a joke on the spot. | ||
| You don't know how to write. | ||
| Your brain doesn't work like that. | ||
|
unidentified
|
Like a crazy person. | |
| A nightmare, a living nightmare. | ||
| I spent the day going, oh, really? | ||
| Oh, you're going to just come up with jokes on the spot? | ||
| Like, good luck with that. | ||
| The voice in my head, once I got there, it was delightful. | ||
| I was like, oh, this is my real life. | ||
| This isn't the life in my head. | ||
| It was a delight. | ||
| I had to call my friend afterwards and go, I think I just experienced pleasure. | ||
| I hate to say this, but that was pleasurable. | ||
| Well, that room in particular, that set, for people to stand up on the spot is Jeremiah Watkins' show. | ||
| He used to have a show called Thunder Pussy. | ||
| Yeah, I guess I didn't explain it. | ||
| Oh, really? | ||
| Yeah, that was the same show, but they called it Thunder Pussy for some reason. | ||
| Now, what you do is you go on stage and people just have suggestions. | ||
| I make people put their hands up. | ||
| I point to someone and then they give you a suggestion and right away you just start talking about it. | ||
| And I have some real potential leads for bits from last night, like two solid ones. | ||
| What I do is, I don't want to, but I do. | ||
| When I get home, I'm fucking tired. | ||
| I've had a long day, but I still sit in front of the computer and I play the recordings and I go back over the bit. | ||
|
unidentified
|
Oh, that's good. | |
| Have to. | ||
| That's good. | ||
| Have to. | ||
| It's part of the job. | ||
| Have to. | ||
| Clean your room. | ||
| It's like those things. | ||
| Like, gotta brush your teeth. | ||
| I don't want to go to sleep. | ||
| Brush your fucking teeth. | ||
| Gotta do it. | ||
| Do you know how many, I'm sure this is fairly normal, how many sets I have in my phone that I've never listened to? | ||
| Yeah, it's fairly normal. | ||
| I listen to them all. | ||
| You have to. | ||
| Damn. | ||
| The only time I don't listen to them all is when I'm on the road and I'm doing four sets. | ||
| And then do you erase it after? | ||
| No, I don't have anything. | ||
| You save it. | ||
| Yeah, I'll show you. | ||
| I got all these bitches in here. | ||
| And you've listened to all of them, and they stay there. | ||
| Yeah, look at them all. | ||
| How do you know which one to go back to for stuff? | ||
| I look for the date. | ||
|
unidentified
|
You don't really. | |
| Yeah, I mark them. | ||
| I edit the names, see at the bottom all the names. | ||
| Oh, that's good. | ||
| Yeah. | ||
| But then you won't know... | ||
| How do you remember which bit in this one? | ||
| You just kind of loosely... | ||
| I just record it, and I go over it with a notebook. | ||
| But the thing with me is... | ||
| Okay, that's good. | ||
| The big thing is I know when something happened. | ||
| Like, if I do a set, I'm like, okay, I went on a totally different chain of thought. | ||
| Yes. | ||
| And if this branch of the bit might be a new bit, I have to listen to that bit again. | ||
| Yes. | ||
| And so I'll clearly go over there and make sure. | ||
| So common sense, but it's so hard to do. | ||
| It's discipline. | ||
| Yeah, you're giving me the training right now of the stuff that's like, obviously, you remember when you went off on that thing, go back and listen to it and write it down. | ||
| Think about the things that you've said today that have helped you, right? | ||
| Like how you've had to speak clearly, do all these things. | ||
| And what did that come from? | ||
| Well, that comes from trial and error and focus. | ||
| Like you're focusing on your act because of that. | ||
| That next level of focusing on your act is being super diligent about recordings and writing. | ||
| And that's what a lot of comics don't do. | ||
| There's a lot of comics that think they're grinding. | ||
| And they'll say, I'm out there, I'm doing a lot of sets. | ||
| They're not writing any new material, though. | ||
| You have to write. | ||
| You have to actually write. | ||
| That's what I believe. | ||
| Maybe you can just write all on stage. | ||
| No, it makes sense because you can trick yourself into thinking that you're grinding it out. | ||
| And maybe you are doing a lot of sets. | ||
| And maybe even though you're doing the same set, you're doing it differently. | ||
| And that's fine. | ||
| That's its own thing. | ||
| But you're not going to come up with new stuff from that. | ||
| You're doing something. | ||
| But are you doing everything you could be doing? | ||
| It's like anything else. | ||
| The more time and enthusiasm you put on something, the better you're going to get at it. | ||
| If you're a guy, like say if you're a bowler, and you only like to bowl 40 minutes a day, but you want to be the best in the world, you're not going to be. | ||
| I don't care what you want. | ||
| But the time and enthusiasm is that tricky part. | ||
| That goes back to like... | ||
| Discipline. | ||
| Well, also, I was trying to make a bigger jump, which is how do you connect to being enthusiastic if you don't... | ||
| Well, think about how you were bummed out about your set. | ||
| Right. | ||
| And you got to the store and you had to trick your brain into being more present and more pumped up for your set, right? | ||
| And then when you did... | ||
| It was a joy. | ||
| I guess I'm trying to connect it to what we were talking about earlier about people who get isolated and don't have friends and don't have a feedback and don't have those tendrils of being able to make that leap so that you start eating yourself alive. | ||
| Well, I think with everything it's like little steps. | ||
| You never climb out of the barrel, right? | ||
| Yeah. | ||
| If you're 300 pounds, do not run a marathon. | ||
| Walk around the block. | ||
| And if you're a person who's been living your life with a bunch of fucking negative thinking in your head, take steps in the right direction. | ||
| Take a step, but then you have to acknowledge that step. | ||
| Like, oh, something nice happened to me today. | ||
| I need to remember that. | ||
| Yeah, I need to remember it and I need to build on that. | ||
| And you can do that. | ||
| Anybody can do that. | ||
| You can just do it incrementally. | ||
| I had a great podcast with this guy, David Goggins. | ||
| You ever heard of him? | ||
| He's a Navy SEAL who's also a famous endurance athlete. | ||
| Yes, I think from your podcast. | ||
| Yes, I heard a bit of that. | ||
| And he was talking about how, you know, he was a fat loser who kept making excuses for himself and just, like, drinking chocolate milkshakes every day and working for an exterminator, and he was fat as fuck, and he just decided, I don't want to do this anymore. | ||
| And he had these moments where he went running, he ran three quarters of a mile, then he turned around and walked back home. | ||
| That was his first time running. | ||
| Like, it wasn't quick that he became this guy who runs 100 miles at a time, and he was doing... | ||
| How many fucking... | ||
| 100 milers did he do in a year? | ||
| Wasn't it crazy? | ||
|
unidentified
|
Yeah, a week or every two weeks. | |
| It was insane! | ||
| He played it for, he showed us the website, and he was like, these are all the ones he did in a year. | ||
| It's like, what the fuck? | ||
| Like, every week or two weeks, he was running 100 miles, like in the mountains and shit. | ||
| 100! | ||
| That's a 24-hour race, and he was doing it every week. | ||
| That's fucking insane! | ||
| But this guy started out running three-quarters of a mile and then he quit and turned around and walked back home because he was fat and he was eating milkshakes every day. | ||
| Like, that's the same guy. | ||
| With these little incremental steps and then just deciding, this is who I am now. | ||
| I'm a guy who does what I say I'm supposed to do and I'm fucking serious. | ||
| I'm gonna change my life. | ||
| Oh, he's shredded. | ||
| Just, the guy's a fucking animal. | ||
| I mean, he's just a pure, A machine made out of, like, motivation and discipline. | ||
| Like, you don't get more discipline than that guy now. | ||
| But he wasn't at one point in time in his life. | ||
| And by him expressing that on the podcast is really an inspirational podcast. | ||
| I think it gives everybody hope, because you like to think that, oh, that guy who is really good at this thing, or that guy who's really mentally tough, or this girl who's super disciplined, who just accomplishes thing after thing, she's always been like that. | ||
| No, no, no. | ||
| Nobody's always been like that. | ||
| No one has. | ||
| You start off fucking up. | ||
| You fail. | ||
| You move up. | ||
| You figure it out. | ||
| You make some mistakes. | ||
| You fall back. | ||
| You get back up. | ||
| You go, well, that's not me. | ||
| I'm me now. | ||
| I realized, don't do that anymore. | ||
| Now, instead, don't quit after three quarters of a mile. | ||
| Now we're going to drink water instead of drinking chocolate shakes. | ||
| We're going to eat healthy food. | ||
| And tomorrow we're going to do a whole fucking mile. | ||
| Let's do it. | ||
| And then you do that mile like, holy shit, I did it. | ||
| Mark it down. | ||
| Write it down. | ||
| Did a mile. | ||
| And then maybe take a day off. | ||
| And then maybe the next day try to do it again. | ||
| And then build. | ||
| With everything. | ||
| With comedy, with fucking, I'm sure that's the case with music, with everything. | ||
| And to recognize that that's your choice. | ||
| If I think of myself, there are some mornings where I'm like, I'm going to sit and have a latte. | ||
| And you know, in other mornings where I'm going to work out, those are all my choices. | ||
| Like maybe that one day you're going to be that person that just kind of sits there and stares out the window. | ||
| You know, that would not be work towards my hundred miles that I'm trying to run. | ||
| Right, but it might be a day where you daydream and come up with an amazing idea. | ||
| And I kind of loved that I spent the day leading up to that stand-up on the spot. | ||
| Actually, I thought we had... | ||
| Our podcast was yesterday. | ||
| I had to go back into my text, and I kind of... | ||
| You know how you do when you have something to do at 1? | ||
| So at 11, you're like, well, I can't completely go do something else. | ||
| So I kind of just agonized, and then it was like 12, and I looked, and I was like, oh, it's not even today. | ||
| So now I'm kind of like... | ||
| You know, didn't do stuff I could have done for a couple hours, and now, you know, I thought we were podcasting, so now I have all that time, so I'm just like, well, I have that stand-up-on-the-spot show tonight, so I really was just... | ||
| I love what you do you. | ||
|
unidentified
|
You do you, your lips pursed, and you're looking down, you go... | |
| Like, could I have worked out? | ||
|
unidentified
|
Yeah, but this lady, here she is. | |
| Who's a pretty girl? | ||
| Who's a pretty girl? | ||
| Yeah, so I weirdly, but it was kind of a productive day because then when I got to the end and was so appreciative, it made me so aware of the nightmare of my own head that I was very conscious of what I was doing. | ||
| Yeah. | ||
| That got me to that then when it was so easy. | ||
| It really was like waking up from a bad dream when you're like, oh, this is life. | ||
| It's not that. | ||
| Being engaged and being present and going to do this thing, it was nothing like what I was beating myself up. | ||
| Like, why are you doing that? | ||
| What is that? | ||
| And also, you've done so many shows, but I wasn't even acknowledging that history. | ||
| I was just stewing in Almost because I had the time, and I just let that run rampant in my head, that voice of like, oh, really? | ||
| You think you can construct a joke? | ||
| Good luck! | ||
| You know, like, what? | ||
| Why? | ||
| Right. | ||
| Why did I just feed that monster? | ||
| Yeah. | ||
| It's just a common strategy that people do to avoid accomplishing things. | ||
| Right. | ||
| And you do it subconsciously to give yourself a little bit of a break. | ||
| Because the pressure of being disciplined and doing things is hard. | ||
| It weighs on you. | ||
| Right, so then that becomes an excuse to not... | ||
| We were talking before the podcast about yoga, and I was saying how when I did that 15 days in a month thing, I decided to end it with nine days in a row. | ||
| So I just did nine days... | ||
| I ended like a week early. | ||
| I finished like a week earlier, like five days early, but I did nine fucking days of yoga in a row to end it. | ||
| And I was like, this is crazy. | ||
| I never would have thought... | ||
| Not only that I could do it. | ||
| I mean, I know I could physically do it. | ||
| It's not impossible. | ||
| But I didn't think that I'd ever, like, follow through and do that. | ||
| It just seems too extreme. | ||
| And that was the Bikram? | ||
| The hour and a half? | ||
| Yeah. | ||
| Which people are like, oh, I do it every day. | ||
| I've did 60 days in a row. | ||
| Yeah, but I do, like, eight other things. | ||
|
unidentified
|
Right. | |
| It's not easy to carve out an hour and a half of fucking sweating your dick off in this hot box. | ||
| You mean you're doing your other workout? | ||
| Oh, yeah. | ||
| I'm still lifting weights. | ||
| Oh, you're adding that in. | ||
| Yeah, I'm still doing that, too. | ||
| I'm not just doing yoga. | ||
| And I'm also doing writing and the podcast and whatever UFC shit I have to do. | ||
| I made myself do it, too. | ||
| But in doing so, I realized, like, oh, you just gotta just do it. | ||
| Like, you just gotta say you're gonna do it and just do it. | ||
| Like, I did a thing a while back in, like, 2009, but when I was writing, um... | ||
| I was getting ready to do my Comedy Central special at the time. | ||
| It was on Spike TV, then on Comedy Central. | ||
| I wrote every day for a month in my blog. | ||
| I just decided, and I committed to it online. | ||
| I said, I'm going to write every day for a month. | ||
| And in doing that, I'm like, oh, I could do that. | ||
| It has to be just a thing you do. | ||
| Like, oh, I brush my teeth. | ||
| Oh, I comb my hair. | ||
| Oh, I write. | ||
| Oh, I get up and I run in a while. | ||
| I get up and I lift weights for an hour. | ||
| Whatever the fuck it is. | ||
| Did that yoga tip you one way or the other make you more thirsty or more tired or more aware? | ||
| In the day? | ||
| Yeah. | ||
| It definitely makes you thirsty. | ||
| You fucking sweat so much. | ||
| I feel like I couldn't drink coffee. | ||
| I just was like, I need oranges and water and lemons and oranges and water. | ||
| But you sweat so much. | ||
| But did that affect your other workout that you do? | ||
| Was your body just like, stop. | ||
| No. | ||
| Drink a bunch of water. | ||
| No, I mean, it's easier because if I was going to do the yoga, I would just do stuff like lifting weights or something that night. | ||
| And lifting weights is... | ||
| As opposed to running? | ||
| Yeah, sometimes I'd run. | ||
| I'd like to run, though, in the morning and do yoga later. | ||
| Maybe I'll run at 8 and then do yoga at 10.30. | ||
| I've done that. | ||
| Because it's not a cardio thing, really. | ||
| You know, yoga. | ||
| And also, like, I like doing yoga when my legs are burnt out. | ||
| Because then, like, I get more flexibility out of them. | ||
| I feel like your tissues get really beat up. | ||
| And then they become more pliable if you just force past that little pain barrier. | ||
| You know, I really like lifting weights and then going to yoga is amazing. | ||
| If you do, like, squats and stuff like that. | ||
| Because your legs get, like, super warmed up. | ||
| And it just feels like they're exhausted and you just kind of can pull that tissue apart easier. | ||
| Yes. | ||
| Yes. | ||
| Hashtag yes. | ||
| Hashtag fuck yeah. | ||
| Alright, Mary Lynn. | ||
| Should we wrap this up? | ||
| Yeah. | ||
| I'm glad we did it. | ||
|
unidentified
|
Me too. | |
| Shall we do it again? | ||
| We should do this again. | ||
| I'd love to, yeah. | ||
| I would love to have you on. | ||
| Have you thought about doing one of your own? | ||
| Oh my gosh, I'm gonna leave here today going, I got a podcast, I got a special, and I'm doing yoga twice a day. | ||
| You should do a podcast for sure. | ||
| You could do it. | ||
| I would like to. | ||
| Let's talk about it the second time you come back. | ||
| Okay. | ||
| Okay. | ||
| Thanks. | ||
| Goodbye, ladies and gentlemen. | ||
| Goodbye. | ||
|
unidentified
|
Goodbye. |
Export Selection