Riff 14 Comedy Conversation [The Comedian Next Door]
FLF, LLC
FLF, LLC
4.7 • 957 Ratings
🗓️ 3 October 2024
⏱️ 49 minutes
🧾️ Download transcript
Summary
Takeaways
Natural conversation is key in stand-up comedy, and segues are not always necessary.
Internet connectivity can be unpredictable, causing interruptions in online conversations.
The ironclad beetle is a fascinating creature that can withstand immense pressure.
Being in the same room during a podcast recording can eliminate technical issues and improve the overall experience. Incorporating elements of a rock concert into a comedy show can add excitement and enhance the comedic experience.
Audience participation can be a fun and engaging way to involve the crowd in the comedy show.
Breaking up with a realtor can be awkward, but it's important to be upfront and honest about your decision.
The real estate industry can be confusing, with different types of agents and agreements, but it's important to understand the process when buying or selling a house.
Sound Bites
"You don't need segues, just transition to whatever it is and who cares."
"There's a beetle that you can drive a car over and not crush it."
"They're testing sharks for cocaine."
"There's no bad time to worship John."
"I could do a comedy rock and roll show or a rock comedy show."
"The more low budget, the better with all of this stuff, the more garage made."
Transcript
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| 0:00.0 | Okay, well, I had a show. |
| 0:03.0 | So you had yet again another wonderful show? |
| 0:05.0 | Or is that sarcasm? |
| 0:08.0 | No. |
| 0:10.0 | No. |
| 0:11.0 | No. |
| 0:12.0 | Okay. You don't want to talk about it now? |
| 0:14.0 | Oh, we've talked about it now. |
| 0:15.0 | Why don't we continue, let's continue what we were discussing with Luke? |
| 0:20.0 | So Luke was talking about how he has a lot of material, more material than he has time to do because he works and has a family and has to maintain a property and vehicles and live a life and |
| 0:40.3 | doing comedy honestly I was telling before you came in Brian and before we started the recording, |
| 0:46.7 | I said, I don't know what to tell you. I don't know how, I don't know how to proceed from there because I had it's a different world than |
| 0:59.1 | when I was doing comedy I had two decent open mics that I could go to in the area and it just |
| 1:11.1 | it isn't that way anymore. |
| 1:13.4 | There were terrible open mics as well, but I didn't I didn't do them. |
| 1:17.6 | I had the open mics were at the club. |
| 1:20.4 | They were they were important, they paid attention to the comics that were doing time, and they selected |
| 1:28.9 | comics that were doing well at the open mics and move them up into paid, you know, MC work. And that was how I did it. |
| 1:38.8 | I got, you know, I cut my, cut my teeth on open mic, but then when my material was good enough, I got work. |
| 1:50.0 | And I just, I don't know how, I don't know how to do it anymore. You know? |
| 2:00.5 | I don't. |
| 2:09.4 | Specifically, the question was about, because I have core material that's very personal and very narrative and it follows a timeline and all that jazz but then I have material |
... |
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