Dave Attel, who I had not met before, so it was fun to spend some time talking to him. I think he's a brilliant comic. I think his latest special, hot cross buns, is something I'd highly recommend. He's. He's an incredible joke writer and, you know, just getting to know how self deprecating he is about himself and how humble he is about himself. We tried to kind of prop him up a little bit. Yeah, he's super smart and funny, David.

Yeah.

We give him actual awards he's won and things he's done, and he doesn't disregards them. But, yeah, I've always heard positive about a tell. We overlapped a little bit on Saturday Night Live because he was a writer. He came in to write, I think, around Sarah Silverman year and Jay Moore, he said, but got into that grind. He's a comedian guy. He's always been someone that really loves that more than being a performer. As far as sitcoms or whatever, that wasn't his lofty goal. Loved old comics like Mitch Hedberg, Bill Hicks. So he talks about that. He talks about how long a special would be, how to name a special. We got into a lot of, lot of interesting things. And a very, very nice guy.

Yes, he's. As far as stand ups, and if you talk to stand ups, they'll always mention Atel because Dave Chappelle, two days. But they always mention Ital is one of the greats. And I think he truly is. He's so unassuming about it and vulnerable, actually. But, yeah, comedy central kind of was a big part of his career. That's very interesting. And his time on SNL and the way he thinks going forward in his career. So I would just keep driving. If you're driving or if you're shopping or if you're gardening, just keep doing what you're doing and press play.

Yeah, I'd say if you're in the supermarket listening in your earphones, pull the card over in the produce section and just listen. Don't get unfocused by cantaloupes or anything.

Just, yeah, if you're squeezing some french bread and going, is this stale? Right at that moment. Press, press play.

Squeezing french bread going, I just broke my finger. This one's too hard.

When did this get into the store?

Okay, here is a tell.

Hey, can you hear me?

Even worse, I can see you at.

Least recognize my presence. Guys. Hello, fellas. Thanks for having me.

You know, Dana, I just saw Mister Ital. We'll talk about a special in a minute. But I just saw him at kill Tony, you know, he's the wrong guy to do it with. He's too funny.

I.

They should have thrown me some sucker, you know?

Yeah.

What happened there? Because people told me that you just didn't talk.

Who, me?

What was with Spade at kill Tony? That's what I got from my people.

Not even a welcome to the show, just jump right in.

Oh, for you, there's, there's no welcome here. We get right to the gossip.

Kind of like it's, it's like it's always going like eternal, I guess.

Well, we do, we'll do a 20 minutes interview where we'll just talk and.

Oh yeah, we enter, we, we do an intro after you leave. So it's like coming and then it's.

Like our guest coming up.

So yeah, as we used to call it as first I get it.

How do you not have a podcast or you don't want.

I don't have a podcast. That's why I'm excited. You guys look a little jaded. But it was fun doing bill, Tony with Dave. I've always been a fan of Dave. And to say that, to say, I'm just going to say it. I think he classed up the show. He put a paint on it. I thought it was really great that he was a part of it.

Yeah, we definitely had fun. I had fun with it. It was, the hard part for me was first of all, if I didn't talk a lot, that's not really my thing is to rip into people and tell them, crush their dreams. They're here to do 1 minute of stand up. It's kind of, it's a definitely funny process. Kill Tony, Brian, his buddy, get out there. There's a band behind him if you don't know. And then most of Austin comes up to try to get on stage. It's literally most of the town and they all have a minute to do their shit and then we, and then Tony interviews him and then we chirp in with our bullshit. But they know what they're doing. It's very smooth running operation.

Let me ask you guys. Cause I've only seen it once and there was this Robin Williams young guy who was actually kind of great. Oh, this is cool. What is the core reason it's so successful, besides the reality show aspect? Cause I saw one where two guys went at each other like really trying to dominate each other, two comedians. And it was like sort of a turf war. So is that part of the magic of it? It's fun to see people truly angry and kind of humiliated sometimes and also get laughs.

It's a train wreck. And I think everybody loves to watch a. You know, I think everybody loves to watch the drama of it. And I think Dave is right. I mean, like, it is the biggest thing. I mean, like, you can't even, like, you know, God help you if you need an operation that night, because I don't think you're going to be able to get one. I mean, everybody's there.

The ambulance drivers are all there, trying.

To get on everybody. It's like the town shuts down. Like, everybody. It's kil Tony night. That's what we do.

Yeah. So what happened is I sat there and tell is perfect for the situation, because he just can say anything funny about anything and kill. Tony runs the show. So I sit there as a class act and wait for my time to jump in. I wait till I've got a little bit of a joke. But I was happy with it. I thought it was fun. I wasn't super comfortable because I had a fucking f five tornado in front of me blowing a fan in my face. I don't know why there was a arc.

Why do they always put you near air conditioning?

I don't know. I'm such a pussy. It's unbelievable. Is the word not gotten out yet? I'm like. So I put on my shades, honestly, because it was so blowing so hard in my face. So this is a new move. Put your shades on. Then I put my hat on, then I put my coat on, and tell was starting to get worried, like, what's next? So then we watch, but he smokes, and Tony smokes, which, smoking doesn't really bother me as much because I grew up, my mom smoked, and every girl I knew smoked. And so I don't care. It was really the coldness. And then I thought it was fun. Like, people would do a minute. I think that's part of the appeal, Dana. They do a minute, and it's either fucking dead silence. And one guy said, how long have you been doing comedy? And he goes, 13 years. I go, I would have taken the under on that because he fucking. I thought it was one day. And I'm like, oh. So, you know, that's. That's the only meanness I can do to them. Everyone thinks I'm real mean.

Does everybody pad the audience? It seems like you get your college buddies drunk and then you go, do your minute, right? Is there a lot of that going on? I would.

None of these people have friends, they're all lone folks, insults. It was emotionally cold in there. It was really. It was no love in the room. And I think he was the ringmaster. He enjoys this kind of, like, pulling the strings, and he gets into their, like, real lives and everything like that. And I think we're of a different generation where it's like you're supposed to be supportive to the new comics. Oh, hey, you know what? It's a process. You keep doing it, you're going to get better. But Tony, of course, tough love. No, none of that. He goes, right? And, you know, I think at the end of the day, people get it, you know, like, this is kind of like, you know, it's kind of like reverse support, you know, in a way.

Definitely. Definitely something like that. Yeah.

It was pretty fun, though. Did you ever do anything like that in San Francisco? There was a stand up comedy competition, but you went through rounds.

A big deal.

I was in it in college in 77. Did you have any of that out where you were starting?

There was always weird, you know, like, I guess it was always sponsored by somebody, something like that, where it's like. But I don't think it was anything like that scene. And I always, since this is really kind of like our first real meeting is that I always wanted to ask you about, like, that San Francisco back in the day, because I knew slate and I knew a lot of the big names that came out of San Francisco and, like, how important it was to, like, comedy, especially stand up. And then it kind of like, you know, by the time I got there, you know, it was already like. I guess it wasn't as wild as it was back then, but really, like, you know, I always heard all the stories about Robin coming down and even to, you know, the punchline, the original punchline, and then Cobbs, you know, that's really the scene I knew, but you knew, like, the purple onion. What was the onion blade?

Onion. A little tiny room.

What was it called, though? The purple onion or something?

Yeah, the purple onion. Yeah.

Okay, cool. Yeah, I never played there.

And Cobbs moved. Did you ever play Cobbs before it moved?

Yes, I did. There was a fire, a mysterious fire.

Right. That was Larry Bubbles Brown, I think was the arson on that one.

Yeah.

Another unsung hero of comedy, Larry Bubbles, who? Every time I play cops, I make sure he's on the show because I love him. He's great.

He's one of my best friends.

He's.

He's an amazing human and extraordinarily funny, but such a, he makes comedians funnier because he legitimately will. If you say something he thinks is funny, he'll laugh at it and then repeat it and keep laughing. And it's really sincere. Cause we used to have this running gig. We would show up. You know, you drive to the gig and it's like a little theater, and the guy goes, hey, are you with the show? And it's like, we are the fucking show, motherfucker. And I said, you jack him up against the wall. Say, listen, squirt. So to Larry Bubbles Brown, listen, squirt was the funniest thing. And he kept squirt. And it was go for ten years. But yeah, it was. Slayton was amazing. Really hard to follow Michael Pritchard. Robin was always around blowing the roof off. You're about to go on at the little club, and Robin's going to do a set. It'd be like 3 hours. Yeah, it was quite a, quite a scene. I don't know if Boston was sort of the, we had bobcat version. Bobcat came through, and then Paula Poundstone from Boston, and they blew up in San Francisco.

Yeah, San Francisco was definitely the place where people, I think, figured it out. And credit to you, Dana, I think you're one of the few guys that Larry Bubbles will get on a plane for. The guy hates to fly. I mean, look at him. He kind of looks like a dust bowl guy. You know, like back of a, back of a, you know, with his, like, piano or something tied up there.

He's not a flyer, so he's like somebody. It took one day to know him and 20 years to believe it, but I'm not a great flyer, but I've never walked a flight. You know, there's times it's been thunderstorms and all that. I don't enjoy it, but. So I'm meeting Larry, San Francisco SFO, and he's there, and you're good. We're about to board, and Larry goes, I think I, I think I gotta walk the flight. So immediately I was like, that's okay. We'll do it next time. I wasn't gonna shoot on, we'll do it next time. You just, you know, it doesn't matter. We're playing Vegas. And then I said, well, you know, maybe you, if you wanted. He doesn't drink at all. Drinks, diet Coke. But he had, I guess, one drink, and he got on the plane, and then he's like, you know, he never, he's not. I don't think he ever drank after that, but it's like, this is great. This is the way you do it, you know? So that helped him for that flight.

But Larry makes up for it with his incredible knowledge of everyone's birthday. He can tell you the day of your birthday, which is like, that looks.

Good on the resume.

I don't know if that impresses the ladies, but, hey, what's your birthday? And then I'll say, that was a Wednesday, or he'll know.

And his classic liner went to the doctor and I said, what's that lump on my testicle? He said, that is your testicle, you idiot. Or something like that. And then he doesn't know. But you can say to him, Tuesday, 1968, or, yeah, no, March 31, 1968. There's a Tuesday. And I was like, what? And you look it up? Yeah, he's great.

He's a one of a kind.

So I'm just curious. I don't know. I I'm always curious. When did, you know, when did. Let's put it this way. When did people not want to follow you? Yeah, let's just put it that way. When, like, I don't want any part of that fucking middle act, you know? When was it, like, you have to close.

How many years in, like, the New York scene? It was very, you know, back in the nineties, I guess. You know, it was really, there was a lot of really hardcore acts here at that point. But I wouldn't put it against Boston because I think Boston was definitely, like, another level of like, wow, these guys can blow, blow it, you know, blow it out. But I was a late night comic. That's where they put me. And I kind of, like, embraced it instead of, like, going, like, you know, I'm going to move up or anything like that. I felt like at the end of the show, like, it was harder, but it was also freer to some degree where, like, you know, if you get out of them, it was really, like, um, it was really. It was kind of like the pond had already been fished out, but whatever you thought was like a huge whale, you know? So I was like, this is really good for me. But that was really them, like, putting me there, you know? And then I kind of, like, got better at it and better at it. And then when I would move up in the show, and it really has helped me on the road too, which is like, you know, following people and all that kind of stuff, I felt like I was stronger.

I was a stronger act. And, you know, usually that means just more bad habits, you know, like, you know, I knew what to do and how to, how to work the crowd and everything. But in terms of, like, you know, I would say sometime in the nineties, you know, when I became a headliner, I actually really, you know, this is an SNL kind of thing here. I'm kind of like what you would call the, you know, the guy who didn't really, you know, I know SNL is an experience different for everybody, but for me, it was kind of like something I did when I really wanted to do stand up. And, like, you know, agents and managers said this would be great. And, like, you know, I auditioned and more liked me. And I was a writer. I wasn't a performer. And, you know, I really wanted to learn how to do it, but I didn't really have that mindset yet. I really wanted to be a standup. You know, I wanted to be Bill Hicks or Sam Kinison. But that's where I met Dave, who was really kind to me the whole way through.

And I was also a fan of his before I had, you know, been important. I really liked his stand up. I liked the way he did things. And, you know, to be honest, I was like, you know, it told me more about show business than it did about comedy because I saw how things work there in terms of, like, you know, there's a host, and then if you get something on, you get to sit closer to Lauren at the party. And then, you know, there's like, this kind of, like, levels and circles of, like, influence there. But I got to meet Mike Myers and, you know, the late, great Phil Hartman and, you know, Sandler, who always another guy, very cool to me. I got to meet a lot of people who I, you know, going on to great success, and I was glad to, like, know them, but it was never my thing. But I think for you guys, that's really, like, where, you know, like, things gel, like where you got to take all the stuff that you would learn, you know, like, and put it in an ensemble, you know, I guess, format, which, you know, I'm impressed by that to this day.

I really impressed how people can take stuff and turn it into something, a sketch or a movie or something like that.

So, well, in a reverse way, my stand up was pretty goofy. It is now. When I look at jokesmiths or brilliant writing and people who can really take a topic like you do in this latest special, hot cross buns, it's like a magic trick to me. Like, okay, there's the introduction, and then you're turning it and it's like, oh, wow, that's the best turn. That's the best payoff to that setup, and you're doing it over and over again. And for me, I was up there doing chop and broccoli and voices. I'm just doing. Trying to do sketches and clubs with hecklers and blenders. So when I finally got to do sketch, it was okay. That fit me. But you and that Dave David are just great writers of material, just real material.

Well, I can't tell you how many, especially girls I know who would always bring up that chopping up the broccoli thing to me. They'd be like, I've got a joke like that. I'm like, I don't got anything.

I agree. I think it's ridiculous.

I can do that.

Someone's got a joke.

No one's got a joke.

You really, like, hit a nerve with these women. They love that bit, so don't throw it out.

What? Since there is no joke other than a guy who's horrible and is utterly committed to how bad he is.

But that's on Dana's album called you're.

Being humbled out because you are kind of in the, I guess you could say the Mount Olympus of comedy. I mean, like, you know, people really, Mount Olympus too busy being successful to actually, like, do the kind of road that we do now. You know, like, road is like a really. It's never been better for everybody. I mean, like, look at these amphitheaters and these things. I mean, it used to be like in the seventies, eighties, like you saw, you know, like Martin or dice or somebody like that doing that, but not everybody could do it. Now there's like, at least 2030 people who are selling out these mega venues. So, you know, that's not my thing, but I think it's really good for comedy.

You know, comedy's a big deal.

I love where you shot the special and the way it felt at Cobb's, the way it was lit and the tightness of the audience and stuff. I thought it really popped. Specials can sometimes lay there. I've been in a few myself, and they don't quite happen. I think you were kind of saying, you guys are really great tonight. I don't know if you were just celebrating the moment, but it seemed like that taping of you and doing that set was a ten, from what I.

Could gather, which is a rarity.

Really connected, but. Or was it just, did you feel extra good? Cause they don't always go that well.

Right?

The tapings.

Yeah, that's true.

Yeah. No, that's true. Cause, you know, the first year, we had a lot of technical problems. And the director of the special, Scott Gallagher, he's a really good friend of mine. He's done my road work, one, and I met him doing the. He was director of the porn awards, the AVN awards and all. So I've known him for decades now. And the one thing that he can't ever pay someone to do is be passionate. And this guy's so passionate. We edited for so long. We were just trying to put all of these different things that I had done together in a cohesive thing. The crowd, of course, was better than me. My crowd's really good. I'm not just saying that. Every comic I bring on the road, they're like, wow, your crowd gets it. They are really good. They're older. They're like couples who are like, you know, basically, like, this is our night out.

Aficionados, they, like. They know what they like.

Young, judgmental group that you see kind of today now, like, dripping into these clubs, and they really kind of, like, understand sarcasm and, like, it's a joke, and it's not like a. I'm not preaching or anything like that, so they're up for anything. And the crowd that you saw that tonight, especially the second crowd, was. It blew me away because I'm in my head, like, we all know for specials, like, I got to do this and then this, and I don't want to mess it up like I did on the first show. Meanwhile, I should just roll with them the whole way through. It would have been a whole different special. But still, like, you're right. The energy was, like, I was very lucky that night, you know, I was really lucky.

I did, like, that little. I don't. I don't remember if I've seen it before, but there was a camera on the side of the stage you don't see, and then you would kind of look to it like you were like it was a friend or something, a person, you know? And I thought that was kind of nice.

I mean, look at it. I really, really didn't capture my best side there, but, yeah, no, I love that. I'm used to, like, you know, the cat. Whatever it is, I'm trying to work it into the show. I think we all agree, like, those are the most memorable moments. Like, Dave's really good at that. Like, I've seen him, like, you know, something happens in the room where there's somebody in the room, and he'll, like, you know, like, be able to, like. Like, tailor a joke to them or, like, use it as part of a riff or something like that. I love that stuff. I think that's what makes stand up better than, you know, pretty much juggling. I mean, you never see that in juggling, you know?

Well, Dana, what I do that's interesting.

Let's talk about. And what is the name of day? Hot cross buns is a good name.

Because, you know, here's Dana's name is, uh, blenders and hecklers. That's a good name, actually. Hecklers and blenders.

Like that. Yeah. That's what you're thinking for your name of your special.

That's. I'm thinking for the next Dana one, mine.

Oh, okay.

All right.

Hecklers and blenders. Because you said when I was doing it, I was just doing all hecklers and blurting out, yeah, blenders and hacklers is better. Yeah, I like that.

The other thing that I loved about respect, I'll just say the 35 minutes thing or 37 minutes. It's like, I think that we've adapted to sending people stuff, and just this short attention span thing, it felt like the perfect length to me. I'm not just saying it's like, that was just great. Right? Because then there's no low. Everyone knows if you do an hour, you can only kind of go to 40, and then they're too tired or whatever, and you got to fight through the trench closer, and then you got to peek again. So 35, it's just like, bam, bam, bam. You know, playing the recorder. Boom. And it was like, ah. So you have to fight for that. I mean.

Yeah, no, I mean, like, I think the cool thing about Netflix is that they'll let it be any length at this point. Like, the idea, like you said, is, like, it's all about attention span, but it has to be 40 minutes. And I told this to David that it has to be 40 to get in their algorithm to get into, like, their different kind of, like, I guess. So 40 minutes is what it had to be. We had it at 35 and a half or something. And then they told us it's the week of. And once again, Scott, my director, said, whoa, we're going to do it. So we put more stuff in. And actually, the last thing we put in, which is me playing the recorder seals, which we thought was a throwaway, became the talk of the special. So, like, how often does that happen? Like, it was like, wow. You know, like, whatever. I really lucked out on that one. But, yeah, I would say 40 minutes. For me, personally, as a viewer and fan of comedy. Like, I just watched. And I've watched a lot of my friends specials. Like, I just watched Jimmy Carr special.

Really, really cool. He's very funny. Awesome. Like, with the line. I mean, the guy. How long is the classic hour? And, like, it works for him. You know, it's a. It's a great show for me. My jokes are so small, like, three a minute. Like, that's usually what it is, two to three minute. Like, I'm, like, on fumes by, like, 30. I'm really like, oh, okay.

You know, I'd rather go shorter, too. I think Theo's was a little. Was maybe 45, 50. I envy that. I would say the same thing. You don't need it. Because also, then it's going to go out, then it's going to get chopped up, and then everyone wants to see different bits. And no one remembers the whole hour. No one remembers. There's a handful they repeat, you don't know which ones. And then an hour, so long. And I'm sure the algorithm says people last about 20. You feel like you want to front load your best shit now? Because not everyone's waiting for that.

Big 16 is average last time I checked. Oh, is that it?

Best compliment I got. And I'm not really a web guy, but we had to track it for the whole special. Is one guy said, I watched it to the end, and I'm going to watch it again. Usually people watch 50 minutes, then they immediately start judging, like, hey, this sucked. Or whatever this guy trying to do, you know? But, like, all the way to the end, that's a rarity, you know?

Okay, I got another name for your special. Dana Algo nation.

I was gonna call it the other Oppenheimer. No.

I'm gonna call yours white sweater man.

This isn't a sweater, but it's nice. It's a golf pullover, but I appreciate it. It was going to come off earlier, and we had June Gloom in April, but it's all gloomy, and then it's supposed to burn off. Sorry if I lose you with this weather lingo, Dave, but it burns off because in LA, we have may gray. Stay close. Then we have June gloomy.

Yes.

Then what you don't know is July fry. And what Dana doesn't know is foggist.

Foggus covers everything. Yeah, in southern California. Maybe it's. Maybe at the beach. I think it just rhymes. Okay, give me September.

I'm not there yet.

September rain. No.

Yeah.

I thought it was that Simon and Garafunkle tune, but you know, every podcast can handle the weather. Usually people are like, you know, they're going to watch it later, you guys. I like how you dig in. You really believe they're going to watch this weather.

The main thing about podcasting, which you both know, is that everyone that's consuming this entertainment right now is doing something else actively. They are gardening, they are walking somewhere. They're at the gym. So it's lo fi. And they're driving predominantly. They're driving, so they're not even. They space out, but they say they want to hear us legitimately talking. So part of it being not always funny and just being real or kind of boring is actually good.

Dave, do you remember, was Sarah Silverman at your SNL when you were there?

Yeah, it was me, Sarah, and Jay Moore with the new people. Then there was a couple other ones, too. I don't know. I didn't. I really. I should have learned all the cast, but no. And at Norm's memorial, who you were very funny. And let's face Kevin Nealon crush that he was. That guy is, like, gifted. He's such a gifted guy.

He's brilliant. But someone has to do a bit about comedians going to funerals, and no one talks about the guy. It's always about who.

Got, like, no matter how sad you are. Did he kill? Did he kill?

But Nealon always kills in that kind of. He's got that, his style.

He's a great comic, too. He's another guy I was a fan of before I met him. And the, what you call it at Norm's funeral, who, Norm was the new guy that year, too, and he went on to great success there. He was really cool to me. I brought him out to the clubs before he got so busy and everything. But for me, Jay and I, we shared a room. We shared an office then, and we were both kind of, like, for Jay especially, who I thought had all the skillset, like, he could do characters, he could do voices, all that kind of stuff. He was a good looking guy, you know, he's a good looking guy and everything like that. Very funny. You know, I saw the, you know, like, how hard it is the new guy there. For me, I kind of already accepted my fate, but for him, like, I was like, you know, yeah, I can't.

You know, like, you've got a future.

On something, you know? But I guess Farley was like another one that, like, I got to, you know, meet him the late great and, like, no one ever liked him, you know? Like, to this day, I met anybody that kind of comedic power, you know? Do you know what I'm saying? Like that. Like, inner. Like. Like a battery. Like, I just say inner. Like, just, like, constantly funny. So, you know, there was definitely a lot of great experiences, and the most of the names we just talked about went on to great success, you know, Sarah and of course, Norm, you know, still one of the best comics. I think his comedy's underrated, you know? And Jim Downey, who was talking to at the thing, another guy, like, amazing guy. We were talking about, like, just how, like, you know, just norm, like, the master of timing, you know, I mean, like, his comedy was that good.

So as far as master is too much timing, as far as his peers, there's no way he's underrated. I don't know if the public at.

Large, but, yeah, that's what I mean.

Like, yeah, you know, we all know, like, yeah. The norm was also a singularity. Like Farley, God rest her soul. But Norm's timing was so unique, the way he would jump. Yeah. The problem with OJ is, like, he kills people, you know? I don't know, it's just kind of, you know, besides the killing part, he's a great guy. Anyway, Norman's also just, well, Dave at.

The funeral, which, whatever it was, it was a funeral. Memorial, whatever. But, you know, with all these stand ups there, people will speak in quotes, and it's really going to be a mixture of sad, and there's no way no one's not doing jokes, even though it's horrible. The hard part for me was going up, and you're getting a little misty, and here comes a dolly shot. I was like, are we filming this? You know what I mean? You're rarely speaking from your heart. And they're like, can we go again?

Wow.

So it was. Remember that it was filmed, and then we stayed after and.

And Conan was great on that, too.

Conan was always, oh, yeah, Conan was fucking funny. I fell on the way to the stage, and then I told the guy on the side, I go, hey, this step right here is higher than the steps. And I wiped down. He goes, he's a crew guy. Goes, oh, yeah, it's always been like that. And everybody fucking falls. I go, well, maybe look into that. I don't know. You know, you're going to get sued every single day of your life. So I fell, of course. And then afterwards, is that when we stayed after? And then we.

Can I stop you for a second? Homage to Dick Van Dyke. That's what I saw. I saw a guy doing classic Van Dyke.

Yeah, you saw it, right? The classic ACL tear.

And then I'm talking about.

I do because I separated this shoulder doing the Dick Van Dyke stunt at SNL, playing Dan Quayle on Friday to pre tape on little tiny carpet with no stunt. Quarter grade three separated shoulder. Still hurts. Any hurts?

Continue.

Let's get into it. What's the healthcare like? I never stayed long enough to get on their program. Is it good? Oh, it's good.

So do you.

Lauren goes, you're fine, so you're okay.

You're a stand up coming up and stuff. And then from what I read, you got on Letterman first, and then, yes, they show that the Lauren or Lauren sod. So what was Letterman like to go.

On live with Jay and Sarah at a club I think was standing in New York. And then everybody became a performer and I became a writer. And back then it was like, if you're ugly, you're a writer. Okay, I'm ugly. They threw me into the, into the writer thing, and I'm up against these horror guys. And I was like, these guys really? Like, they're almost like, almost like, I guess, robocop, you know, like, really. They're really good at it. And, like, Dave Mandel. And there was a couple other guys who were like, just like, wow. Kind of blew away how young and good they were at this. And, you know, to be honest, like, when you're used to writing for your own voice and then you write something for somebody else and it's good. Giving that up, man, is really hard a couple times where I'm like, I got nothing, but I'm going to use it for my, you know, that kind of thing. Oh.

Did you, did you that they, did you get on update at all? Like, oh, you did, didn't you?

No, no, no.

You didn't get it.

I don't think it was as loose as it is now where, like, if you feel like you got something good, you could try it. But, you know, I really like, to be honest, like, my writing experience, there was what it was. And the guys who really, like, I kind of think got me were like, Jon Stewart. I wrote on both of his shows before the Daily show, and I was a character on the Daily show. So to this day, I'd say John was really the guy who got me. And it was great being a part of that show. But, you know, at the end of the day, I think, you know, you guys probably know it ebbs and flows over there. It's kind of like a it's kind of like a, like a, like a, like an animal has to keep moving, you know, and the people that are parts of it, like, they have years that are stronger than others. But, you know, the two people, the other two people on this podcast, they have definitely made this, this thing that kids grew up watching, and they all want to be a part of it.

I mean, like, to this day, like, there's kids out there right now. That's their goal. And, you know, I know this is something you say at the end of the podcast. We're probably not there yet, but I.

Was like, no, it's over.

Like.

Go ahead.

To finish the thought. It was just like, you know, there was, there was a point there where I was really depressed and I was like, you know, I guess it's not for me. But, like, Bill Hicks died. I think that was like a big deal. Like, he died, and I was kind of the only guy there who seemed to be really upset about it. And I was like, what? I mean, this guy bill, and, like, nobody really kind of got it, you know? And I was like, well, I'm not really, like, connected. Like, I'm not connected to them like I am to, like the comedy world. So I kind of knew that that was like, that's what it is.

Just a little insert there. So I don't know. Did you ever play spellbinders? I think it was in Houston. Anyway, probably, yeah. Anyway, I just went down there a couple times, early eighties, way before I snell in it. And then my opener was Bill Hicks. Wow, he was really young, and he had a big sport coat. He'd come out and he obviously was great immediately. It's like, damn, this is my opener. But like ten minutes in, he would take a beer out of his jacket. He would put a cold beer. It's like I go, it's a long way to go. Time we, our game was, I go, I'm going to do the dice in the cockpit joke. So I was just as my opener, he loved that I was trying to intentionally alienate the audience. I came here on Mexicana Airlines, and the, the pilot had dice in the cockpit, you know, but did you know Bill or work with him?

Met him twice, three times. And, like, he gave me a great compliment. One time he gave me a tag on a joke, and I was like, smiling for like two days after that. But I didn't know him probably the way you did. But I will say one thing is that, like, you know, a lot of people consider him like, the grandfather of alt comedy or woke comedy. But the fact your story says it right there. He was playing a club, a dive club in Houston and like the guy could hold his own against anyone. He played through the south, he played through everywhere, anywhere you could go. And he did this all like when he was like 1718 1920 years old and then he was like, you know what, there's more to this. And that opened his world. And like, you know he, he became a deep thinker and he always was like a well read dude and so like talented. I mean like I remember one time we were at the original improv in New York and he was hanging out with some of us afterwards and he's like hey, is that a guitar?

And he immediately picked it up and it was like Stevie Rain Vaughan came in the room. Like he was that good, you know. But like the guy was always like searching and like trying to push it. And like when you see him on Letterman I think you're not really getting the whole like feel of Bill Hicks. I mean you got to see him live and you know, to this day, his last play at Caroline's, I didn't go that night. I really wish I did. But that was right before he basically said I'm too sick to perform and I'm going back home and I'm going to have to do that. And you know that was kind of the end of it. So I kind of missed out on like, you know, something that would never ever happen, you know, like it was like whatever it was, it was dumb of me not to go that night. So anyway, but how cool was it when he was open for you?

Like, well he wasn't Bill Heck, Bill Hicks then, you know. Yeah, he was just.

Did he change his name?

Did you, Dana?

Could you tell he had something there?

Yes, and I liked him immediately. I could tell he was incredibly bright and. But we were just playing this little goofy club and he had something right right off the bat and then I saw one, I guess he had a special or something. I saw him a few years later and yeah he took it to this whole other idea. Mort Saul meets Sam Cannison or, I don't know, he went very stepped outside the lines of a stand up but remained really funny which is sort of the hat trick. You know, when you were, when you.

Were doing comedy like in the eighties especially how much influence was like the show Seinfeld on you? Because it seems like everybody was like.

You do this till you get the.

Sitcom and then you never have to, right? I'm sure they came at you guys that way.

The whole time I was in that chase and the sitcom dream at the improv, where Tim Allen got picked up and then Roseanne, and it was. Both of those were huge shows. Home improvement. And they're basically looking. They were in the audience a lot because it wasn't about killing, which I didn't get. It was just what Persona can we write a show around? I didn't get that at all. I was sweaty trying to fucking get laughs.

But you were always. I always thought you were. So I just always, like, started. I really dug what you were doing. All right. I remember at the Tempe improv, I think one night I walked in at the end, Dan Muir, who we both know, like, he's like, hey, he's playing over there. You want to come to? I'm like, yeah, I want to check it out. And we watch him from the balcony, and it was just like, so funny, just the way you will, you know, like, you basically had him, so, you know, you got playing with him a bit.

So I love that David doesn't, and I've been guilty this many times of pushing, and David never seems to push. And so it's very calm to watch just his brain working, you know, it's not like he's dancing for his dollar. There's money I get.

I get. The complaints I get sometimes in the road are like, it didn't look like you were even trying. I'm like, all fucking. The whole idea, like, it's all thought out. And you just go. You're just like.

And I go.

I still talk for a straight fucking hour. Like, it's hard to do. Like, have a setup, punchline, have this all weave into each other. But if it looks casual, that's a good idea. You don't need yada dada, you know? Also, I was gonna tell you, I didn't. Bill Hicks and Mitch Hedberg, I didn't really appreciate or get to know after or get to know their work until it was too late. So I was never really. I remember they heard, said, bill Hicks might have been on Conan when I was at SNL. I don't even know if I knew who he was. I just heard that and said, oh, that guy. I'd heard of a little bit, but later on, and even now, you see on TikTok or Instagram, you can see clips. And that's kind of nice because there's so many things I just didn't know, especially Mitch Hedberg. I see on there a lot, but these guys are great guys. It just floated around, and then it just too early.

Well, Mitch especially, I mean, this is, like, something I do know is that people always say all these young comics, they sound like you, like me. That's what they're saying. And I go, if you want to know the one guy who's jacked most, it's Mitch Hedberg. So many generations of comics who now have, like, grown up, I guess, watching him and just his voice, his cadence, and his style, like, I mean, I've seen it a million different ways. And I used to, like, in the beginning, be really angry. Like, that's Hedberg. You're doing Hedberg up there. You know, that's what the guy's doing. And that now I get it. It's just like, they don't really get that it's Hedberg anymore. They just, like, know that it's funny, I think, you know, I don't know. I'm trying to be generous to them, but, I mean, that's really one of those things where it's like Hedberg had a big impact on, on the generation.

Of comedy, you know, I'm just putting this together a little bit. Theo Vaughn and Hedberg, just not, not that he's ripping them off, but both have a quirky, well, Mitch did have this quirky timing, and I don't know was he from the south or any kind of accident, but he just had a really weird way of speaking.

And he was from Minneapolis, Wisconsin, I guess. Minneapolis. And he moved south, and his joke was like, he was driving, and he had something wrong with the front end alignment, and he ended up there, like, he was trying to get to Texas, and the car kept veering left, just.

Pulling to the right. I see.

Yep, something like that. So that's how he got there. And, like, he worked in kitchens. He was just basically kind of like a. Kind of like a stoner kitchen guy, and that's where he started doing comedy, but he definitely had that kind of, like, southern, like, you know, that kind of charm. And Theo also is like, you know, because I always feel of him as, like, cajun, you know, like, he has that cool, like, there's just something there.

Yeah, it's cool. By the way, I just want to. You, you know that you're kind of a touchstone for stand up, right? Like a tell a tale. It's constant for me, coming back from snow now, playing some clubs or playing with Larry, other people you're constantly mentioned and referred to. You know that, right. I just want to, because I always assume that everybody, it's hard to know how people perceive you, but I'm just saying anecdotally, just, oh, yeah, but it tell was there and it tell, it just, I don't know, it's just, I hope it's nice to hear. It's a good rep to have, be.

Less excited about my success.

No, it just kind of angers me quietly. But I just, I thought this wasn't going to be all about you, and it's sort of turning that way.

I mean, we can talk about the weather again.

I mean, oh, my God, there's some monsoonal moisture. I didn't mention earlier.

David's a great, great stand up. Now back to the goat. Yeah, listen.

I was also of that generation of, like, a lot of them passed too quickly. Hedberg, Geraldo. Greg, Geraldo, who's another great line guy. Patrice. So I was of that kind of group, you know, like, of that, of that, you know, that time in comedy. But I would say that the reason why people talk to me is cause I'm out there, you know, like, I really have been doing the club so long now. I mean, honestly, I don't even know, like, what the exit strategy is anymore.

Is like, I don't think you have to have it.

Dan ups a good biz to be.

In to your point. You'll see someone, and we're going to talk about insomniac in a second, but you'll see someone at different times throughout their career. So then the latest thing, I don't pay attention to everyone all the time was this special. And I go, oh, maybe that's his best special, or certainly haven't lost his step or anything. So why would you ever stop? You know? I mean, I don't think there's been any slippage.

I don't know. Do you ever feel, I mean, this is, like, a good crew to ask? It's like when I was first starting out, I felt like my writing and my performing were low. And then, like, as I would keep going, like, the writing would get better, but the performing still sucked. Then the performing for a year was better than the writing, and then it became this. So now I feel like they're both kind of equal. Like, I kind of know what I'm doing, and I can write a joke and, you know, I'm able to, like, turn whatever I want into a joke eventually. I mean, like, we all know we fight that battle every day, but, you know, I'm like, this is a good spot to be in. I'm glad, like, you know, I'm able to do it, and the crowd's still getting it. But, like, am I relevant? Am I any of the things that are important in today's comedy world? No. So I'm also going, like, you know, hey, I'm not doing it for everybody. I'm doing it for my crowd, and I'm doing it for, you know, what I want to do.

But at the end of the day, you got to entertain, right? So, like, what point are you just kind of like, here comes that old hack, you know?

Like, no, you seem like always me saying that, what is relevant today? Like, is it the topics, the style? I mean, seem like.

I don't know. You tell me.

I don't know. It seems like your, your topics were all of today.

Well, that was also a post pandemic special, which the one, the two things that Netflix asked me, and I asked them questions because I go, is name of special important? That's why I like, what's funny that you guys are bringing up these names and they're like, because I don't want to call it hot cross buns. I wanted to call it, you know, I want to call it something else. And they said, oh, that's not that good. And then they said, don't. Don't what? I go, what turns people off? You have all this data now. And they said, over jokes and political jokes, people don't want to hear any of that. So I'm like, I'm sad I don't have any of that stuff. And then I realized I got, like, a COVID joke, political joke in the first five minutes. Even other well hidden jokes.

Well, I liked your little turn on, little political thing. And you go, I'm a, I'm a Biden guy. Hunter. Yeah, Hunter Biden. You know, one of my reps favorite.

Jokes he's always telling me about. Yeah, no, that's a good one. You know, but then it was like, that's a political joke. What do we do? Blah, blah, blah.

Oh, shut it down.

We kept it in.

Yeah, so, you know, al go killer. Al go killer.

Yeah. So, you know, relevant in terms of, like, you know, am I going to preach to the people? I was never that guy. I was really kind of a, you know, a line guy, a joke guy. I'm like, it's all about the jokes for me.

Well, Dave, I think it's the same.

Thing where it's like, even though you think it's a throwaway joke, some people, like, give it a life all its own, and you're, like, taking it too far. It's not that, you know.

Well, Dana, you know, he was just saying a good point. When we started, it was, like, sitcom and all that. There's a point, Nate Bergotte, Theo, right now where you could start as a stand up, and it's actually less money to go into movies and tv, so they're making so much, or they're just on the road that you don't have to do anything other than be a standup. You just keep working. And Dave's been doing it a while, and he keeps making money, and if it keeps working and he's got a crowd, he's got a good rep, and that works. I mean, it's hard to keep it going for a while, but these guys do great. So you could say, I don't want to stop and do a sitcom. I'm going to lose money, or I'm going to. That's so weird, because it's less of that in the world and less comedy movies out there in the world, and more stand up gets bigger.

Both Nate and Burt Kreischner kind of intimating to us that they felt like we were really in show business because they hadn't had a movie or a tv show. We're like, wait a minute. You're the master of your own fate, and you're making more than a sitcom star?

Well, you picked up two great names because Nate and Bert both ends in the spectrum, super funny guys, and both of them went through that process of developing all that kind of stuff. At the end of the day, they're doing exactly what they should do. The crowd loves it. And also really good dudes. They're great to the other comics, right? So they're doing everything right. But they also went through that endless loop of development, and I think it would be great, like, cleansing if, like, everybody bought all the pitches that were ever pitched to you. Like, you could, like, basically whisper it on a rose and drop it in a well, like, you know, and I'm a father taking care of six refugees, and I run a laundromat and just throw that, you know, like, in the. Well, like, that's done. That'll never be used again, you know?

Yeah.

So ask.

Ask about this, because I'm going to ask about something else.

I got.

Mine is about your porn show.

Oh, the porn show.

Great.

Dave's old porn.

And did you. Who are those favorite, favorite porn stars? But go ahead, say something first.

Those were the seventies, iconic age of porn. You know, like, and, you know, I knew them from the Avian award. Like, I had, like, started doing it then with, you know, and we basically wanted the tribute to them because we got, like, I'm, like, the only idiot who bought the rights to use these films because everybody would be like, why would you buy these rights? They're all, like, the Mafia or something like that. So I bought the rights of these legendary films, and they're very dramatic, and they're, like, acting, and there's, like, car chases and all these weird things that you would never see on onlyfans right now. So these guys and ladies, they kind of built, you know, the renaissance of porn. You know what I'm saying? So it was fun to have them watch their things. And then we bring out the younger, the adult stars, and they would also weigh in on it. And then there were comics that went on, like Rogan, Bill Burr, so many great names that were on this thing. Amy Schumer, you know, like, just, like, all the people I knew and, like, having them, like, kind of throw.

Throwing, like, just, like, looking at it, Marin. All these different people. And you would have been great at it. Dude, you don't think you're a porn guy?

I like to just watch stuff and comment on it. That's funny.

Well, there you go. Vh one style.

Yeah, we could do Tracy Lords. Remember Lords?

Of course. Yes. I mean, there was so many. So many names. And that was for Showtime. And I guess this was before, you know, what was their big show over there? Yeah, no, it was. I'm trying to think. I'm not putting them.

It was the Christy Canyon. Had a sitcom over there for.

Well, what happened was, it's like, me and my other guy, who's a great guy, Jeremy, he's the editor, and he was also the director. We threw everything we had into it because we believed in it. We covered all the dirty stuff with interesting graphics. And at the end of the day, I lost money doing a tv show. It was one of those to fail. It was just like, I don't know. I was just a star of a tv show. I'm 100 grand the hole. How did that happen?

I got the rights to seek his catalog.

It was, like one of those things.

So I'm just curious about insomniac because.

That I made money on, but I lost kidney, so there you go.

You lost a kidney?

No, no. It was a lot of drinking. I really drank on the show, and it was a travel show. And, you know, the people who helped me make that also just awesome. People being out all hours of the night for days and days at a time. And that was my idea. That was like, what happens after the show? You go out? And I also wanted to do late night jobs. So, you know, everything that we kind of did on that show became its own entity on other shows. And people like, do you feel that? You know, you. It's like, I don't care. I don't care who's doing it, whatever. When I did it, I did it the best I could. This was before cell phones. It would never work now with all of the technology.

Well, you're the first one that's good.

And to be honest, like, you know, I think Anthony Bourdain did the ultimate travel show. Like, the guy found what it's really about. Food is universal. And I always felt like, you know, this guy, people always like, hey, he's doing a travel. I was like, there's nothing like that show. That guy really, you know, he found the thing, or that was his thing that, like, I mean, you can't. You can't top what he did. So I'm just one of many travel shows of the. Of the. Of the time, so.

Well.

Well, that's.

I belittle every.

Yeah, you're like, this is shitty. That was horrible.

And then that happened.

I don't know. I'm not really.

I think it was ahead of its time to put a comic in that. Those situations, improvising and being real, authentic, you know?

Well, let's talk about Commie Central, because that was like, I think the heyday of Commie Central. The Chappelle show was killing us. To this day, I'd say probably the top, if not the top five, the top three of great sketch shows. I mean. I mean, him and Neil, what they put together there, I mean, amazing. Yeah. And then my show was there. I felt like we were utility show, you know? Like, we were like, they would always go like, okay, we need you to do this and this and this. I'm like, but it's snowing there. It's like, well, you got to do it, you know, because it was an outdoor show most of the time, so it wasn't always the spring break. So it was really tough on us weather wise. Sorry, guys. Also running a bitcoin factory here. So anyway, yeah, so that was what that was. That was, like, the serious travel show. And I would do road after that. But here's the thing. You guys will love this. And I'm sorry if I'm babbling, because this is good. I get asked about the show all the time, but the real, real deal is that a lot of the people who watched it were, like, in high school who couldn't go out yet, so that they.

I was always like, well, if this show is such a hit, how come the club isn't full? Or how come, like, this tour is not making money? And it turns out they weren't old enough yet to go to see a live show. So years later, they all caught up with me and then some. But back then, I was like, you know, I don't get it, man. I mean, where is everybody? Everybody's talking about it. I'm drinking with everybody, like, what's going on here? And then it turned out they just weren't ready to, like, go to clubs yet. So that was it.

So Comedy Central, you had miserable road. Road work.

These my specials.

Your specials, the ugly american.

That's why I did that for Jon Stewart. That was on my character daily. And now, of course, that one is the ugly American. I assume everybody considers us all ugly at this point, but back then it was a lot of fun because you could be inappropriate. Put John down. He always had a great sense of humor.

And then you and Jeff Ross are a cool pair. Bumble.

Yeah, bumping.

That was another one. That was another thing. And we wanted to get Dave on that for sure, which, like, we did the three, we did three episodes in New York at the village underground. And to be, to be fair, you know, bumping mics. That's Jeff's idea. We just started doing it for fun. At the end of the shows, he would come to town, he'd come on stage, I'd bring him on stage. We'd go out each other and, like, you know, he is the roast master. We all know that. So, you know, it was great keeping up with Jeff and then, like, learning, like, how to work together. It's really difficult as, you know, like, to have another voice on stage and how to, like, you know, back, back and forth. We got really good at it. We toured a bit on it and the shows that we did, people still to this day come up and talk about that. So I would say Jeff is fearless. Everything I wanted to cut out of the thing, he kept in, and people loved it. So he was right and he was wrong. And, you know, I guess at the end of the day, I'm a coward because I'm like, oh, we're going to get, we're going to get, we're going to get blowback on this and that.

He's like, what are you nuts? I mean, come on, let's keep it in there. So I always give up to Jeff, like, you know, I guess he could see through the trees, whereas I was like, you know, we're heading in rock. So.

Yeah, I think you did it one night and brought me up and I sat there on the side with a mic with you guys. Is that possible?

Think so, yeah. Do you remember where it was? Was it in New York or LA?

No. Is it possible? No, not largo. I think it was somewhere where I.

Go, we've never done.

Yeah, that was a trick. And you've. You passed. Um, no, I. Maybe it was the comedy store. We've never done it there. Uh, maybe.

Yeah, it was the comedy store, so, you know. But, yeah, both of you would be awesome because let's face it, the crowd is not just a fan of us, but of comedy. So they were like.

Right. They just. They were great. And it's good if you're on the side because you guys talk and get. And carry it, and then I just chirp in.

Yeah, no, I remember now. It was. It was. We had a lot of really great. It was all because of Jeff, because Jeff knows everybody. So we had the late, great Bob Sackett Gilbert, who we're both really good friends with. He did it. And then we had Bob Sackett and Gilbert together, which was like kind of a Khan versus Godzilla moment. It was like an awesome.

Very similar, too.

These two go at it, you know, of course. And what was he. Bruce Willis was on it. I mean, like, we had some really big names that came by, and that was all because of Jeff, you know.

So far, nothing is because of you in this whole. In your whole career.

Yeah. I like to think I'm just kind of like the. I'm the ring around the bathtub. That's a lie.

Can I just ask you, what do you. Well, like, what you're. You're going to tour all the time? Are you out now or what do you. How often are you going out and do you have a new half hour?

Yeah. What do you do with that?

I think we talked about it at the horrible Tony. It's like.

Because you need about 100 great jokes. No, it's so tough to do jokes. I do John Broccoli for 19 minutes. That's. Boom. I repeat one phrase over. But guys like you or Larry, bubbles, brown, it's like really good jokes every 15 seconds, 20 seconds. Hard to get half hour.

I got about 15 minutes of okay. And then probably 30 of like, hey, I'm trying up here, you know, but, yeah, I gave. I, you know, forgive the term. I shot my load on the last one, and, like, I hadn't been in a situation in about four or five years where, like, you got nothing. And I talked to the young comics, like Sam, Morel, Martin. These guys turn hours, like, now. Every, like, months, they're, like, turning hours. And I'm, like, very tough. And they also get it, like, you know, yeah, when you got nothing and then you're going back out there, like, you really, like, you know, it's really a sad, like, you know, it's like, God's love. Where is it? You know, like, you're really there alone, so.

Or you tip the crowd and say, hey, work in my new hour warning.

Have you ever gone up with notes, then, like, with a notepad so they kind of know, uh, hey, I'm just, uh. That's what I do. Like, hey, I don't know what's happening next, but I feel bad for the audience when I'm not.

I like when you do that because I think a lot of the crowd go like, oh, I'm getting to see the process.

Yeah, they do.

Like, wow, I really kind of would like a more finished thing, you know, because. Yeah, yeah, but you guys are getting.

This stuff that, you know, but it's.

A good trick because they laugh hard. You're like, is this anything polished, Joe?

I just go, going to hate this bit, and then I'm going to tell it to you again and point out where, why and where you're going to hate it. So that always helps the bit because they go, yeah, that's true. They're going to hate it. That's not too bad.

But the thing that I like is when, you know, I'll do the jokes that didn't make it, and those are people, like, why didn't that get in there?

Always gets a better laugh. They're like, that's not that bad.

So what's the most money you've made in one single calendar year?

What is that? Oh, you take questions from the audience?

No, I'm gonna. I was asking you. I'm all, I'm really into celebrity net worth and stuff, but I'm just, okay, you don't have to answer that.

I'm making millions more than I actually am, but I'm on tour because my mom has around the clock care. She has dementia, which is very expensive, and, you know, we wanted her to have another disease, which is less.

Good job, Dana.

What she's going with. So this is real.

This is real stuff.

So part of it is like, you know, I'll never quit. You know, I'm a rogue. The other part of me is, like, I got these bills.

You know, I got a can't quit.

So that's part of it. And, like, you know, the other thing is, I really wouldn't know what to do with myself if I wasn't out there. But I would say that, you know, as long as I'm still, you know, everything gets harder. But the actual show, like, the flights, the hotels, all the food, all that kind of stuff, you know, poor us. That's our lives. But it really does kind of grind down on you. But the shows, for me, like, it's like, yeah, there's good ones and bad ones, but, like, as long as I'm coming up with one new thing, then you're like, okay, I guess I'm still able to do this.

So, you know, yep, that is fun. Getting ideas is one of the fun things left in life.

If you get a good idea coming.

Out of old Dave, it's a good code to crack. If you can still go, come up with a bit and just go, oh, fuck. Oh, this is cool. Oh, and then it works. You're like, that gives you a little, uh, juice.

Everybody says that. Everybody. Bob Newhart would say that. You do your same old set. You try one joke out or bit, and if it works, you're just kind of like, oh, that. That was a great night.

You know, it's fun.

I got a new, I got a new toy.

So you can still do it.

Yeah, yeah. But I go back to Chris Rock for what you were saying. It's like, it's a job. Like Lorne. Michael, what do you think of Lorne Michaels? I think he gave me a job. And so the fact is, you're still in demand, and people want to pay you money to go do your thing, so why stop?

Nice.

Well, are you enjoying it now that, like, you know, you could just go out and, you know, like, I guess basically do whatever you feel like doing. You know, there's really no pressure now, like, that you're able to just go out there and, like, enjoy it, you know, so many, so many years. It's either about, like, you know, I got to do this because it might lead to this, all that kind of stuff, like, for you guys especially, like, just go out and have fun with it, right?

Yeah, it's just some days I wake up, I just want to get on southwest today. It's enjoyable.

Yeah. I don't travel that much, but, yeah, in the early days, it's painful to even think about the amount of stage fright I had and the amount of fear.

Really?

Oh, yeah. I was terrified for years. Yeah. I mean, during college days. And Rob Williams was there in the beginning, and then he went and got more committee, but he was always coming back, and it was so powerful and so explosive. It was just sort of like, oh.

Hard to compete with.

I got unfollow, would you say, like, at his heyday, like, there's no way follow him, right?

No, because he. He always thought, he apologized to me once. Like, he took something from me. I go, I try to take your whole act. I mean, he came up with others did it talk about influence. He came up with this conceit of a shakespearean actor that has no actual. And they just pushed him out on stage. And then he learned how to do that. But that spontaneity and, oh, and going jump in the audience at the time, I remember Gary Shanling thinking, why am I even trying?

Why am I doing this? Are we in the same business?

Tornado. But it did make you work harder. You're like, okay, that's the level of killing. Because in those days, you just wanted to just kill. And so Robin did sort of make you go, okay, I got. I got to get better. So that was the good side of it.

But it seems like every laugh was a home run with him, or at least that's what, you know, you see when you look at those old tapes. Just like, it was just crush, crush, crush. Like Jim Carrey, another guy, like, crush, crush, crush. There had to be in the beginning, especially times where people were just kind of like, he was ahead of the crowd. They didn't get him right, like, immediately, did they? Or did they?

Sometimes Robin would come into the holy city zoo, the sixties seater in San Francisco in the late seventies, and, you know, he'd do 2 hours. And in those days, he was kind of drinking and stuff. And sometimes people would start to walk out after just because he was just out there. But I think his rhythm, wherever his voice came from, he's from Detroit and Marin county. But this sort of, like, this voice was. And right now, there's a man going, hello. And after a while, you're just seduced by it. I was on stage doing an improv once, and he's going, right now. There's a man going. The men going, whoa. And he didn't have a line. He still got a line, but his.

Sounds like a joke.

The voice was so. And then he. He wouldn't really use the mic. Was also another thing, you stand away from the mic. Hello. Haha. And this sense that, like, he didn't know what was going to happen. And so it was a nice one of those shooting stars.

Yeah, well, that's another thing that took me a little while to get comfortable and it took me another while to like, figure out what I'm doing. But there are people who are just gifted who like, immediately, boom, they got it. That's who they are. And then they run towards it, you know? So like this just like. I mean, there's definitely a deep bench of guys who. And women are just that good at it, you know? I don't know.

I don't know. You should watch your own special because.

Yeah, Dave's one of the best.

That special. I would. I happily recommend it to our listeners.

Just go on next week, coming from you guys, you know, and I hope this podcast is successful. I mean, eventually you'll get those stands that other podcasts have for the microphones instead of this morning radio. Kind of feel that.

I mean, our parent company is in bankruptcy, so we're on a budget. I'm at a Holiday Inn.

Yeah, that's a set. Dave, thank you for coming on, buddy.

Hey, let's make a plan. If I'm ever that way, you guys, please come on one of my shows. And I'd love to be a part of whatever you guys are doing.

I would love to. I'd love to see you in person, Dave.

Definitely. Thank you, Dana.

All right, bye.

Pleasure.

Hot cross buns Netflix this has been.

A presentation of odyssey. Please follow, subscribe, leave a. Like a review, all the stuff, smash that button, whatever it is, wherever you get your podcasts, fly on the wall is executive produced by Dana Carvey and David Spade, Jenna Weiss Berman of Odyssey, Charlie Finan of Brillstein Entertainment, and Heather Santoro. The show's lead producer is Greg Holtzman.