Into The World Of Stand Up Comedy - Brittany Brave

SPEAKER_00 0:04

This is the Beyond the Story Podcast, a show that goes way beyond the story. And now, Sebastian Bro. Brittany Braves in the house.

SPEAKER_03 0:25

Hi.

SPEAKER_00 0:26

Welcome to the studio. You're like the second interview ever in the studio.

SPEAKER_03 0:29

Oh my God, really?

SPEAKER_00 0:30

Yeah, the other one was with my degenerate lawyer.

SPEAKER_03 0:32

Oh, okay. I'm just kidding. Is he looking for more clients? Because he I have a degenerate client that he could hire, and it's me. Yeah. Yeah.

SPEAKER_00 0:39

It's a sports show. It's called We Kind of Know Sports.

SPEAKER_03 0:42

Oh, I could totally do that. I kind of know sports.

SPEAKER_00 0:44

Me too. I just read the headlines and just say whatever shows up in my mind.

SPEAKER_03 0:47

It was just Super Bowl weekend, and I really love hockey. So um I do too.

SPEAKER_00 0:52

We're gonna get into the comedy, but I was just telling you about like Florida, Florida Panthers.

SPEAKER_03 0:56

Well, I'm honored to be the second person. That means I wasn't that means I wasn't priority enough in your life to be number one, but I've accomplished double the work in half the time to make it to number two. And for that, I'm grateful.

SPEAKER_00 1:08

And you got here early too.

SPEAKER_03 1:09

I'm a I'm a punctual little bitch.

SPEAKER_00 1:11

All right. Well, listen, this is what we're looking for around here: punctual, which is an extremely rare trait in uh in Miami.

SPEAKER_03 1:17

Yeah, yeah, and in comedians as well, too. Yeah.

SPEAKER_00 1:20

Yeah. Have you ever been to a to a mic in Miami? Show starts at nine, wink wink.

SPEAKER_03 1:25

Right. And the flyer says 7:30, and it still doesn't actually start until 10, and everybody blows a light.

SPEAKER_00 1:30

Bro, we need a line, bro. Yeah, yeah, yeah. Bro, it's gotta look busy, bro.

SPEAKER_03 1:34

That's funny. I was just saying that about Miami. Everybody calls everybody bro. Everybody's pronouns in Miami are bro. Everybody.

SPEAKER_00 1:40

And if you leave Miami and you call someone a bro, it's a little weird.

SPEAKER_03 1:45

It's very weird. Yeah, but in Miami, it's like bro. You say bro to like your female girlfriends and you say bro to like your abuela. Like you're just like, bro, why you doing that? Bro, bro.

SPEAKER_00 1:54

And it's just it's a it's a unique, it's a unique uh verbiage we use here, you know? It's that spanglish Miami.

SPEAKER_03 2:03

Yeah.

SPEAKER_00 2:04

You only get it here. It only works in Miami. You can't go to Fort Lauderdale and be like, bro, dale, bro.

SPEAKER_03 2:08

No, Miami is really its own thing. Like, you're not from Florida, you're not even from South Florida, you're from Miami. And it's really true because, like, yeah, like how you said, you even just go 45 minutes out of here to Broward, which you would think is close enough in proximity. Like, Jersey and New York aren't like that. Like, Jersey and New York are very close and also very similar. Right. Like they have their differences, but you can see in the proximity that they're really kind of the same.

SPEAKER_00 2:30

Well, if you don't live in Manhattan, you don't live in Manhattan.

SPEAKER_03 2:33

Okay, well, listen, it's COVID and so the pandemic, and nobody lives in Manhattan. So how about that? Yeah.

SPEAKER_00 2:39

Haboken, maybe, right over right over the Yeah.

SPEAKER_03 2:41

I was a Jersey girl. I'm from Jersey and from New York, and I lived in Jersey, and I lived in New York, and you know.

SPEAKER_00 2:48

You get back there often. I see you rocking some mics up there.

SPEAKER_03 2:50

I do, yeah. I still I still kind of try to double dip.

SPEAKER_00 2:53

Did I see the comedy seller?

SPEAKER_03 2:55

Did you just no, not yet, but hopefully soon. Say it. No, say it more. Britney at the comedy seller, manifest.

SPEAKER_00 3:01

Yeah, I'm looking forward. This summer, Brittany Brave, comedy seller. Right.

SPEAKER_03 3:04

I don't know if this summer, I think maybe three more years, but yes, we're working on it. Yes. That's the goal.

SPEAKER_00 3:08

Again, this summer, Britney Brave, comedy seller.

SPEAKER_03 3:11

This summer is subjective. Yes, Brittany Brave, the comedy seller.

SPEAKER_00 3:14

So let's talk about Miami. Let's talk about comedy in New York for a second here. So it's not like comedy in Miami, where you can the barrier to entry is pretty easy. I mean, they let me do comedy. So it's pretty fucking simple.

SPEAKER_03 3:26

Pretty simple here, ladies and let a lot of people do comedy down here that shouldn't. Yeah.

SPEAKER_00 3:30

Correct. Sorry, shots fired. Cut the mic?

SPEAKER_03 3:33

Yeah. No, no, actually turn the volume up.

SPEAKER_00 3:35

Right. Right. So how does it work in in New York? How do you you would actually have to go to an open mic night that would be happening? And I'm assuming that there's those aren't there's not an abundance of those.

SPEAKER_03 3:48

Yeah, I think that's a good entry point for the New York Miami comparison is that um we don't have a lot of pure mics down here in South Florida. Like truly like gritty workout rooms where the majority of the room is just comics. Maybe there's a couple normal human beings, normal mortals in the room as well, too. Sure. But a kind of low enough stakes that you really can feel like you could just get in, work it out. Yeah. And it is kind of like, and you have like thousands of them in New York where you hundreds, you know, whatever, in New York, where it's it's great and it builds that camaraderie between comics and it make, I think it builds a respect too, because it's like, hey, I'm doing this. This is new. Do you guys like it? And you actually get to like kind of work it out. Um, down here are mics are just rooms that have a little bit of a lower barrier to entry or are weekly or nightly or whatever. And but there's usually still like a hot real Miami crowd, and then you you kind of get torn with this pressure of like, do I do the new stuff and it bombs, or like, do I win them over?

SPEAKER_00 4:47

And like or do I get them to shut the fuck up long enough to tell a joke?

SPEAKER_03 4:50

Yeah, yeah. Except well, that too. Well, Miami has the worst attention span.

SPEAKER_00 4:54

Okay, cool.

SPEAKER_03 4:55

Ever.

SPEAKER_00 4:55

I was just making sure because I was like, wait a second, but like the the the buried entry with comedy is laughs in Miami. It's getting them to shut up and then laughs.

SPEAKER_03 5:05

Get them to pay attention, get them to give a shit. And you usually get them to give a shit by saying something about Miami. Miami loves Miami. You gotta be like, yeah, I'm one of you. I'm from Kendall, joke about Kendall, joke about the palmetto, joke about a croquetta, right? And then they're like, okay, and then you can kind of take them wherever. But um, to your point, I think like that, yeah, I think it's a beautiful and also dangerous thing in Miami that the barrier to entry to stage time is so low.

SPEAKER_00 5:28

Yeah.

SPEAKER_03 5:29

Because I think a lot of comics don't realize how easy it is. We're in New York for open mics. The mic starts at five, the signups at four, the line for the sign-up at four is at 1 30.

SPEAKER_00 5:38

Wow.

SPEAKER_03 5:39

And certain mics that are really good. And you don't know, I don't think people down here know the hustle of like my spot is at 8 07. I'm doing seven minutes. I have to hop off stage at 8 14, be on the train by 8 22.

SPEAKER_00 5:51

Let's clap, not be on the table. I'm learning. It's all new here. I have noise. Oh, that makes noise.

SPEAKER_03 5:56

I'm a percussion.

SPEAKER_00 5:57

Okay, so mic starts at seven. The line, the the the mic starts at five, the line starts at one.

SPEAKER_03 6:03

For some of them, the line will start that the mic starts at seven, the sign-up might start at five, let's say, and the line for the sign-up might start at three. And you have to go and take your break at work and rush on the train down, get a good spot in line to sign up for that mic, because that mic is really good. Or like, or it's like what makes the mic really good. Just like a good audience, it's run well, it's organized, it's not too long. There's a good host, stuff like that. And it's like, that's what all of us do in New York all day. Like, it's not just like getting handed, like in South Florida, you get booked on shows where people paid to see comedy and it's a full room. And like in New York, it's like we do like six, seven, eight mics before we even hit the paid shows or club spots that we're doing at night. And like we're doing comedy all day from afternoon to night, and you gotta actually be good and hustle to kind of get on the and you definitely gotta be good and hustle to get into the clubs. Right. So I think it's a beautiful thing for South Florida, but I think it it makes it harder for people, South Florida comics, when they try to go to New York or elsewhere, and they're like, oh my God, but I'm like killing it in Miami. And you're like, this is New York. Hang on, this is Chicago, this is like yeah, yeah.

SPEAKER_00 7:11

Okay, interesting. So um, yeah, because I've always wondered that because I I travel a lot with you know, with work and and my adventures, and I always anytime I'm in a new city, I've I've been Googling, you know, San Diego open mic. And usually you can find these things, you know, they're not but like in New York, New York and LA, completely different animal. You and I were talking about um comedy on Clubhouse and uh what Leah Lamar has been able to build over the past couple of years with Hot on the Mic. And uh uh I've had a chance to get in a few of those rooms, and uh there's a lot of West Coast talent out there, but those you talk about workout rooms. I mean those are but at the same time, just a lot of comics and they're getting tipped, you know? It's like, hey, you know, you want to give uh I forget what they say. Did anybody want to give flowers? Yeah, they were you want to give flowers to anybody? Uh and people are, you know, there is a way it's incredible that you can open up your phone, tell some jokes, and someone could pay you if they appreciate uh your your content and what you're doing.

SPEAKER_03 8:01

Um and it makes it really easy to network without necessarily needing to travel to LA. Like I I've made friends off of Clubhouse and gotten lots of followers off of Clubhouse and you know, had to and then I met people when they've come to New York or Miami that we met on an app where we were speaking into it, which is kind of it's kind of cool. I mean, listen, I don't, I I love what I love Clubhouse and Leah and everything like that. And I think she would even probably agree that like nothing compares to real stage time. I think nothing, yeah. You know, like actually physically being in front of people and feeling out an energy of the room.

SPEAKER_02 8:31

Sure.

SPEAKER_03 8:32

But I think with the pandemic talk comics was like the it just does it doesn't matter. Just if you really care about it, just work it out. Right. Find a way to work it out. You'll you'll perform. Don't be a snob, you'll perform for four people. Sure. Cause that's just what you got to do. Or you'll do clubhouse if it's a pandemic and there's nowhere else for you to tell jokes. You'll yell into your phone to do it. Like that's that's the love of the game, really. Like what was it?

SPEAKER_00 8:56

Drive-in, it was drive-ins and uh clubhouse. That was the only availability for for comedy.

SPEAKER_03 9:02

And Zoom did a lot of Zoom comedy.

SPEAKER_00 9:04

Really?

SPEAKER_03 9:04

That did not not make me want to ram my head into the wall. No, actually, I had a lot of fun on Zoom comedy and I made a lot of money, but nothing like the real thing, baby.

SPEAKER_00 9:13

So let's talk about this hustle. So you've been doing this full-time for how long?

SPEAKER_03 9:17

Three years.

SPEAKER_00 9:17

Okay.

SPEAKER_03 9:18

Yeah.

SPEAKER_00 9:18

So what did you do before that?

SPEAKER_03 9:20

I was in PR and marketing in the music business. Okay. And I was doing comedy on the side. I've been performing comedy for over 15 years in some capacity, like improv sketch, or acting, but I I it wasn't the main thing. So I was trying to be a full-time publicist at record labels and hustling in New York while also on my after hours running to improv classes and improv jams and being in sketch shows and stuff like that. And then, you know, the boom come to Jesus moment three years ago. That was like, I actually hate this, and the thing I want to do is that. And then the pivot kind of was made.

SPEAKER_00 9:53

So what did that look like? You quit your job and just were like, okay, let's go find some work.

SPEAKER_03 9:57

Yeah, I had um left a corporate job. I was working at agencies and record labels, and I left to start my own PR business with the intent of why not be your own boss, A. And then B, I can this will now free up time for me to do comedy. And the second I had the freedom of choice between that, I just was like, comedy, comedy, comedy. Like that's just that's exactly where I was pulled to and all I wanted to do. So I was fortunate that since it was my own business, I could kind of pretty easily back out of everything. Like, I just kind of had really candid conversations with my clients, and I was like, hey, I'm gonna wrap up this campaign for you and do the best that I can do. But after that, like I will point you in the direction of a new publicist because I'm gonna go do my own thing. Right. And they were musicians and artists, so they got it. They were like, good, you should go, you know. So here we are.

SPEAKER_00 10:46

So how's it been going for three years?

SPEAKER_03 10:48

Awesome. Yeah, awesome. I will say it was like uh, you know, I think you get it too. You know when you're doing the right things that you're meant to be doing.

SPEAKER_02 10:57

Sure.

SPEAKER_03 10:58

I've had a very wonderful, smooth ride. Like the second I it was like the second I was like, I'm doing this. Yeah, that's it. The universe was like, thank God. And it's been it's been great. It's been going very well.

SPEAKER_00 11:13

So there's so there's enough comedy going on in in South Florida to to turn it into a business, to make money doing it.

SPEAKER_03 11:20

Yeah, for sure. Yeah.

SPEAKER_00 11:21

And and so aren't most comedy shows at night, or is there stuff you're uh ancillary things you're doing, or is there any, you know, you're doing any corporate brand stuff, or how's that all working?

SPEAKER_03 11:31

We always do the corporates. Um, I do have sponsors and the brand and stuff, branded stuff and stuff like that. Um, the corporate gigs are very different than the regular gigs, because the regular gigs, you could usually just do whatever you want. And the corporate gigs, it's like, don't say that. Right. Don't talk about that. But you know, unfortunately, the corporate gigs pay your bills. Sure. And the branded stuff pays your bills, and the bar show pays you a mozzarella stick, and but you get to talk about and a course light. And a course light.

SPEAKER_00 11:56

A warm one.

SPEAKER_03 11:56

Right, like piss, right. And but you get to talk about whatever you want for 10 minutes, and you know, so it's just kind of the balance. Yeah.

SPEAKER_00 12:04

So um you're starting to do some bigger shows like of your own. Yeah. So you're doing your own stuff. So it's not to be not necessarily being part of other shows and other things taking place or other yeah, other yeah, third party shows, I guess it would be. Um what did it take to get there? Was it just reps and and and and stage time? And the more shows you did, the more experience you had, the more ability you you had to be able to say hey. I mean, because you you're doing a show on the improv at the end of the month. You don't just walk in there and be like, hi, I'm Britney. I want to do a show at the end of the month.

SPEAKER_03 12:33

No, I think a lot of people down here think that that's how I got it, which is hysterical. Like, but that's just haters and like weird stuff. They're just like, oh, did you just like ask to have your own night headlining? I was like, Do you know how anything works? Like, no, that's not how anything works. But um, yeah, I've been, I will say that one thing with stand up. Um you have to like you stand up specifically, and I think maybe comedy at large, but like you gotta really like live it, eat it, breathe it in order to really get good at it and in order to really advance. Cause everyone's trying it, everyone thinks they're funny to some extent. Everyone is funny, kind of thing. So for my personal journey, I I just became obsessed with it. And it's I I really try not to go a day without going on stage. I try not to go a day without writing.

SPEAKER_00 13:20

So you're telling me you do a mic almost every day?

SPEAKER_03 13:23

I get on stage every day. It's just what it is at this point. It's just like in great. And I think once you actually become a comic, and if you really identify as that and like you really like, it genuinely feels weird to not get on stage some days. Like it's it's just like a but yeah. Yeah. It's just second nature. You're like, yeah, I had a couple mics, and uh, and then I will carry on with my day or yeah, I have a short.

SPEAKER_00 13:46

So there's mics during the day?

SPEAKER_03 13:47

In New York there is.

SPEAKER_00 13:48

Really?

SPEAKER_03 13:49

Yeah. They start at what are you doing for lunch?

SPEAKER_00 13:51

I'll go into an open mic.

SPEAKER_03 13:52

Oh, yeah, they start at like 2 p.m. It's great.

SPEAKER_00 13:54

That is fan. Now, now that's an open mic program I can get down with.

SPEAKER_03 13:58

Yeah.

SPEAKER_00 13:58

This Miami program of like, let's go hang out till 9, 10, 11 o'clock at night to get on a mic, is just a little crazy.

SPEAKER_03 14:04

It's tricky. Yeah, I don't like it either. And it's like it just it's it favors the hang a little bit too much because then it's just I think then the lines get blurred with younger comics. Like, do you really like the comedy or do you really like the hang and the drinking? Like, what are you really in this for? Sure kind of thing.

SPEAKER_00 14:18

Um I never even thought about that. That is a great perspective. It is. I mean, these people are not here for comedy, they're here to fucking hang, get drunk, and hopefully laid later. And maybe the com oh, there's a comedy show going too, by the way. Like my experience versus the club atmosphere. I I've lived in Southern California for 10 years, and I would I was obsessed with the Irvine Improv. I would be there every Saturday night and I would go for both shows. And um, so my appreciation for comedy was always from a show aspect. It wasn't from a brewery or a bar or an unconventional space. So that was really new for me because when you're in a club environment, people are, well, number one, they're paying to be there. Right. Number two, um, they can they have the best of both worlds. It's a social environment. You can have a drink, you can be on a date, except, but you're there for a comedy show. Yeah, you're no flash photography, the show begins, no talking, you will be escorted out. Like there's uh there's some some structure to it. Not available with open mics down here. Now, I'm assuming a little bit more structured in New York or LA.

SPEAKER_03 15:20

A little bit, or at least I think the open mics in New York are predominantly comics who know to behave at mics and like really support each other. Like if you like it, laugh at it. If you don't, don't like, don't bump each other. Like just shit like that. And like, yeah, that was one of the first observations I had coming down from New York. All of the independent shows were at bars, like noisy bars and all the workout rooms. And I was like, I guess, like that serves its purpose in some ways. It it like thickens your skin. But like that was one of my first biggest observations. I was like, guys, produce shows not at bars or breweries. Like find an event space, find a co-working space that has like after hours, like, or a theater that'll give you a random night, or a or a music venue, or I don't know. You know what I mean? So yeah, it's just different.

SPEAKER_00 16:08

It's it's it's well, I think that you know the comedy world is not, you know, it's not uh completely liquidated in like unlimited budgets of like being able to put shows on and things of that nature. And we're to go rent a venue. Most people want to be paid for it. And, you know, with an existing unconventional space that's already open that does somewhat cater to what your audience would be, I I could see how it comes about, but at the same time, um, and it's that's not the easiest task either. I thought about starting them uh a night, a Thursday night, to here in Coral Gables, and it's like pulling teeth to find a venue to like, hey, can I have some people come spend money in your venue? And we cover carve out a little corner of your space and do a comedy show. Um, people are like, security?

SPEAKER_03 16:48

Yeah, literally. Yeah. Well, yeah, I think it's really hard to find a venue that's actually supportive. And that's something that like in New York venues are, I mean, obviously they range and stuff like that, but New York is not so foreign. I mean, with comedy. Right. Comedy's also foreign in New York. It's the comedy mecca. So it's a lot easier to get shows in New York and and because there's comedy at clubs and there's comedy at your local bodega, and there's comedy on the street and the subway.

SPEAKER_00 17:11

And so they do have that setup that that they they do have the unconventional setup in New York, but it's not the main. Like you have comedy shows in unconventional spaces.

SPEAKER_03 17:19

And they're just run really well. Like even the independent shows, the ones that have been going on, are running good spaces or run really well and stuff like that. And I think that Miami has all this potential with comedy, and it and now it's about us to like set the tone and steer it in the right direction. Like we've done so much growth. We have so much potential. We are one of the hottest up and coming comedy markets. But I also think we need to realize that we are up and coming. Like we still have to like introduce comedy to venues. We still have to train rude as fuck Miami audiences to be quiet, listen. You know so bad. And unfortunately, you're not gonna train them by fighting with them, yeah, getting dirty and going blue, constantly doing crowd work. Like sometimes you have to like get them to pay attention and then really just like suffer through your material. Train them to listen to jokes. Like, train them to, or you know, if you're producing a show and there's somebody in the back being loud at the bar, be like, I'm sorry, there's a produced comedy show happening here. Shut the fuck up or leave.

SPEAKER_01 18:16

Right, right.

SPEAKER_03 18:16

Like that's it. Like make them learn that, like okay, you know how to behave when there's a DJ at 11. Learn how to behave when there's a comic telling jokes. Right.

SPEAKER_00 18:25

When there's a stripper on stage, you're not talking.

SPEAKER_03 18:27

Yeah, you're jerking off. When good for you, you know, good for you. Find your peace, namaste. But yeah, and it's and I love that. And I I'm so excited and I'm so honored to have been a part of this like comedy renaissance in Miami, to have come down to when I did, done what I've done, and like be like, oh sh, we got a scene scene now. Cool. But I'm also like, guys, the work is just beginning.

SPEAKER_02 18:47

Sure.

SPEAKER_03 18:47

We gotta up our game with the kind of rooms we're running. Us as comics, start writing. No more of that crowd work shit. Like, let's like really give a shit about this. And if you don't give a shit about it, that's cool. Just don't do it.

SPEAKER_00 18:58

Right. It's funny you say that because I always think that crowd work is a big part of the art. And while I think it it is, but I and I've I've been doing comedy for less than a year. I started, I think it was October, I did my first show. And but I wrote from the get. I write, right, right. I mean, nonstop. And again, a lot of it's with I have very funny friends, I told you, where we can get on a phone call and really start digging in. But friends that they're they're incredible writers, but they're huge comedy fans too, which helps tremendously. Like one of my main buddies that does 90% of my writing was obsessed with Skankfest. Oh, yeah. He went out for three days and was, I'm like, so you're telling me you go to comedy for he goes three days straight and unconventional, like the best of the best, and like this, I didn't even know this whole world even existed.

SPEAKER_01 19:43

Yeah, yeah, yeah.

SPEAKER_00 19:44

So, but I've I've I've hung my hat on making sure that I write. Now, whether it's funny or not, it's to be determined. But the crowd work seems to be the harder part for me. And I'm I'm I feel like I'm pretty quick with conversation. But again, are they talking? Are they even paying attention? Do I want to do crowd work? Do it, is this gonna land? How's it all gonna work? Let's talk about that for a minute.

SPEAKER_03 20:04

Yeah, um that's great that you write. I don't think you can be a comic and not write to some extent. Like not. And by writing, writing can mean that you physically write on paper or your laptop, or you really are a one-liner person or set up punch, or you find what writing means to you.

SPEAKER_00 20:20

Um I do hieroglyphics on my wall at home.

SPEAKER_03 20:23

That's nice.

SPEAKER_00 20:24

In my underwear.

SPEAKER_03 20:24

That's perfect. That's a process.

SPEAKER_00 20:27

I sit there and I look at the letter and I say, what does this mean to me?

SPEAKER_03 20:29

Me, caveman, you audience. Yeah, that's right, right, right. I love it. I love it. Um, I think crowd work is a wonderful tool tool. I personally employ it a lot. I like it. I have fun with it. I use it to set up my bits, but I write every single day. And I think that um being I and I say this crowd work predominantly because in Miami or beyond, there's a lot of predominantly crowd work comics. And you can tell because it's just kind of like everything they're saying is is hinged on what's happening in the crowd. They're letting the crowd kind of dictate whether they're single, they're married, they're here with their man, they're here with their girl, whatever it is. And that's very fine, well, and good, but that's not a special. Like, that's not like that's not a body of work. That's not a message, that's not a premise. That's not like, you know what I mean? So keep doing like you can't skip writing. You can't skip figuring out like what it is you are about as a comic and what your message is and your voice is to some extent. Right. Because just fucking around on stage and riffing is fun, but that's only gonna get you so far.

SPEAKER_00 21:30

Sure.

SPEAKER_03 21:31

I was thinking about that. And that's so contingent on if they're down for you to fuck with them like that, and if there's something fun happening in the correct, there's a lot of variables there, it's exactly what I thought about.

SPEAKER_00 21:40

Like some people you go and they're like, How are we doing tonight, sir? And they're kind of roll their eyes, you're like, This is not gonna go well.

SPEAKER_03 21:45

Right. And then that's when like, but you know what always you can always lean on is like damn good material that you've written and that you just keep honing and tweaking each word and adding a tag.

SPEAKER_00 21:54

What about what about reusing content? Do you reuse the same content at different on different mics?

SPEAKER_03 21:58

Oh, yeah. Well, on mics, no. Mike, Mike, you're you're doing a disservice to yourself if you do old shit at Mike's.

SPEAKER_00 22:04

I think I'm sorry, shows.

SPEAKER_03 22:06

Shows. Yeah. Oh, yeah, for sure. You have your killers. You have your ones. That's just being a good comic. Okay.

unknown 22:11

No.

SPEAKER_00 22:12

But do you ever get sick? I I find myself getting sick of the j old jokes that I wrote.

SPEAKER_03 22:15

Yeah.

SPEAKER_00 22:15

Okay, cool.

SPEAKER_03 22:16

And you'll put them on the shelf sometimes and then you'll take them off and you'll be like, oh my God, I see this with a fresh new pair of eyes. I'm gonna redo this again.

SPEAKER_00 22:22

And like you just kind of keep is it almost like a like a like a like a bank of jokes in your brain? Like the more you write, the more like some stuff sticks, some stuff doesn't. But it like eventually I'd like to see like a year from now, I will have written a lot of con uh lot of content and a lot that I know landed and a lot that didn't. So when I find myself, because I found myself multiple times on stage going, oh fuck, what am I gonna say next? While I'm finishing a joke. Yeah. I'm like, what am I gonna say? So to be able to tap into that well and yank another joke out real quick, I think is is another aspect of the art that's it comes from writing.

SPEAKER_03 22:53

Writing, writing, writing, getting up a lot, a lot, a lot, figuring out individual lines that even work, bigger bits that work. Maybe you don't always use that bit. Like I have a bit about like yoga that I think is like fun and silly and how I hate it. And it's like this whole thing. And I don't really do it all the time, but like damn straight, if I do crowd work and someone's like, I teach yoga or I do yoga, I'm like, boom. I have a joke about yoga. I also have a joke about baseball. I have a joke about flight attendants. Is it gonna go in my special someday? Maybe not, maybe, but like that's why you write. That's why you keep so you're prepared for anything that can happen. You've you've got something for it, you know.

SPEAKER_00 23:27

Didn't you open up for um a headliner at the improv couple weeks ago?

SPEAKER_03 23:31

Yeah, I've opened up for a couple.

SPEAKER_00 23:32

I opened up the the the shiny buff lady. You want uh she does the the Oh Angela Johnson?

SPEAKER_03 23:38

Yes. I didn't open up for her, but I did get to interview her for Only and Dade. So, but she's wonderful. She was really funny.

SPEAKER_00 23:42

You were there. Okay, because my sister was at the show, she's obsessed.

SPEAKER_03 23:45

She was Yeah, she's great. She's great. Yeah, she's very kind too.

SPEAKER_00 23:48

So and I oh she yeah, she said, or I saw someone. I'm like, my friend Brittany was there.

SPEAKER_03 23:51

I wonder if she I wonder if she had No, but I did get to interviewer backstage, which was cool. Yeah. Yeah. Then I'm I'm opening for a couple people. I'm opening for Jared Fried and Ricky Velez tomorrow night and at the improv.

SPEAKER_00 24:02

Yeah. So you've been doing a lot of stuff over there.

SPEAKER_03 24:03

Now I think I'm I'm a little bit more in the rotation, but it doesn't happen overnight. It's a comedy club. You know, you have to look at it.

SPEAKER_00 24:08

It's a big place, too, huh? It's a big club.

SPEAKER_03 24:10

It's a big club. That's you know, I'm I'm headlining there on February 27th, 8 p.m. tickets on sale now. Yes, they are. It's my show too. So wow we wa.

SPEAKER_00 24:18

Um who else who else are you who's opening up for you?

SPEAKER_03 24:21

I have all of my favorite comics and people. They're genuinely all my best friends down here. Um, you might recognize Carlos Hernandez and Luis Diaz from Only in Days. Of course. Ellie Rodriguez, who produces a monthly show at the Improv. Absolutely. Carmen Zita, um, Daniel Bergamini, Danny Benevente, uh Oriel Rodriguez. Those are all like Cindy Anne Boisson, she's a Broward South Florida comic. She's wonderful. Um, they're all my best friends. And and they're comics. I genuinely love. I it's such a it's a Venn diagram. Wonderful people, wonderful comics, real narrow.

SPEAKER_01 24:54

Right.

SPEAKER_03 24:58

I'm so excited to have such a like a big night for me and just kind of like give to them time and have them be a part of it.

SPEAKER_00 25:05

That's a big part of comedy, is the community. It really, really is.

SPEAKER_03 25:07

So we're brothers and sisters. Yeah.

SPEAKER_00 25:10

Because you think it would not be. I don't know that it would be that that I mean, maybe it is. Maybe I'm wrong. In LA and in New York wouldn't be as but I people think New York is mean.

SPEAKER_03 25:21

As like a subway.

SPEAKER_00 25:22

It kind of is. Nobody knows directions or anything. It's a little mean.

SPEAKER_03 25:24

It's a little, it's just New York.

SPEAKER_00 25:26

I just want to know where the subway is. And they're like, I don't know.

SPEAKER_03 25:28

You know what's interesting though? Miami's nice on the surface, but fake.

SPEAKER_01 25:33

Yeah.

SPEAKER_03 25:33

New York is not so nice on the surface, but kind.

SPEAKER_01 25:36

Okay.

SPEAKER_03 25:36

Like I feel like nice and kind is like nice as pleasantries, kind as behavior. New York, they'll be like, go fuck yourself. Or if you don't know where you're going, they're like, figure it out, get out of the way. Right, right. Or you're like, I tried engaging with someone and they really weren't having it. And I'm like, they probably were on their way to like an audition or a meeting, and they're just, it's just, yeah, it's not personal in New York. But what I will say about New York is like, if you were on the side of the street, like a stranger would in no second, like stop and give you the shirt off their back. Like I've seen New York come together. New York comes together when it matters. And like, you know, and I feel it's a little different in Miami where Miami's nicer and maybe a little friendlier.

SPEAKER_00 26:13

But like Miami was like Miami's like, I just bought this shirt. There's no fucking way.

SPEAKER_03 26:17

Legit, I have a bit that I talk about where an old man like collapsed in a bar and it's this whole bit that I talk about, and he ended up being fine. He was fine. But like nobody even batted an eye at this karaoke bar in Brickle. Like, and I like the punchline is I'm like, a man is dying, but some bottle service girl was like, better, I'm killing it. Like, you know, like like, and it's just like you're like, hello.

SPEAKER_00 26:37

Anyone have a lighter?

SPEAKER_03 26:39

Yeah, like, oh my God, who's gonna buy me shots? And I'm like, a man is dying. She's like, what? Like, you know, it's just different cities.

SPEAKER_00 26:46

I my God.

SPEAKER_03 26:49

It's like, okay, well, like, but Santeria, like, okay, yeah. And you're like, hello, like, so New York's not mean. I'll say that forever. It's a wonderful place. It's just people, like, I think people come to New York and they're used to people catering to them in other cities.

SPEAKER_00 27:04

Yeah. So when New Yorkers don't there's no sense of entitlement available in New York.

SPEAKER_03 27:07

Yeah, they're like, damn, like you're mean, or like you didn't pay enough attention to me, or you weren't like whatever. And it's like they're just doing their thing, man.

SPEAKER_00 27:14

I was listening to uh Rogan had Jim Gaffigan on. Phenomenal. Yeah. Phenomenal. I don't know if you listen to it, but it was a great, great conversation. Um, they covered every topic on the planet. Um, but one thing Gaffigan said, well, they were talking about Corona. Of course, his most recent special is he did probably 30 minutes on just the pandemic, which was great. Um but he said that the end of it was the end of last year when things started to get busy again. He was crazy. It was back to back, on the road, nonstop from like October to December. And he said it was literally do a show, leave the theater, go back to my hotel, write, wake up, go do a show, come back. And I did that for three months straight.

SPEAKER_03 27:54

And it was just the most that's how you bang it out.

SPEAKER_00 27:56

Yeah. He said it was the most beautiful. He said that's the most beautiful part of being a comedian. It is. It is like the true definition of the art to be able to be like on the grind of being able to go to go do all that. Um but these guys have been doing comedy how long? Galagin's been doing comedy. Years and years and years.

SPEAKER_03 28:14

It just becomes what you do, and and you start to really care about the product, I think, and like what it is you're saying. And um, you gotta get okay with not like you gotta get okay with bombing. You also gotta get okay with replaying the sets back and the grit of it all. I think that's why a lot of people, like I had older comics in New York say, like, whenever like random stuff comes up or whatever, older comics in general, like they're like, a lot of people won't be doing this in five years. Like, in order to really get there, you have to care about it enough to like end your show, not go out and party, go back to your hotel room, listen to your 45 minute set, cringe at some parts, laugh at some parts, analyze it word for word, hate yourself a little bit, love yourself again, go to bed, ruminate on it, get up and write again in the morning, and then like and hit a couple open mics. And you gotta love it enough to be like, I just bombed so badly in front of like 10 people in a shitty bar pub. But you know what? I'm better for it than had I not done that. Yeah. I'm still a step ahead than had I not done that. And it's like, yeah, that's how you you you have to love it on that level, not just love it. You can't, it's like a it's like a relationship. You can't just love it when it feels good. You can't just love it when you kill it.

SPEAKER_00 29:21

And that's why I'm single. Yeah. There we go. All right, that makes sense now. Okay, got it.

SPEAKER_03 29:25

You can't just be like, I had an amazing night of comedy. I love it. Like you have to have a night that's awful and you get heckled and you don't get it a lot, and you really bomb and you really struggle, and you have to still be like, I still love it.

SPEAKER_00 29:35

Right.

SPEAKER_03 29:36

I still love it, and I'm gonna do it again.

SPEAKER_00 29:38

That was some of the that was some of the initial advice like a manny gave me, right? Right right in the beginning. He said, You gotta be willing to bomb like a man. And I'm like grace, yeah, bomby then. I I don't know that I've bombed yet. Uh, bomb is no laughs, right? Is that for your whole set or no laughs or bomb?

SPEAKER_03 29:56

Okay, we're gonna get philosophical. Like, this could apply to life too. Like, everybody makes mistakes. Like, not every day you're a hundred percent on the mark, right? Like, think about it like working out, right? Some workouts, you work out, it's amazing. You kill it, you hit it. Oh, you hit a stride, you really whatever. Other days, you just kind of do it and you get through it and whatever. I think the bomb is when you let it affect you. This is real Buddha shit. But the bomb is when you can tell the comic knows they're bombing and they can't handle it.

SPEAKER_00 30:27

Right.

SPEAKER_03 30:28

Like they don't address it, they hate it.

SPEAKER_00 30:30

I've seen it happen.

SPEAKER_03 30:32

They're letting they don't re or worse, they don't realize they're bombing, and they're like laughing at their jokes, and you're like, I'm glad you're laughing.

SPEAKER_00 30:38

That's what I saw happen.

SPEAKER_03 30:39

No one else is. I see it all the time. And like it's so freeing to watch a comic like be like, I'm bombing. And the quicker I accept it, it's like life. Like, the quicker you accept it, the quicker you can like deal with it and like fix it.

SPEAKER_00 30:53

What about bringing notes up with you?

SPEAKER_03 30:56

I do all the time, but not if it's a paid gig. Right. If it's at the improv, no, if I'm opening for some.

SPEAKER_00 31:01

You know who I noticed did that is um another Miami guy, uh Marcello.

SPEAKER_03 31:05

My favorite.

SPEAKER_00 31:06

Is he great? He's he's fancy. Tim Dylan. But he's got like a notebook on the back of his phone that he'll I see how he'll hold because he's always studying that before he goes on stage. And he'll put that right on, and then he'll if he if he's getting to the end of one bit, we'll for sure go over. And that's that's the next thing I was gonna ask. So is it is it is it no is it the norm to go. So what else do we got?

SPEAKER_03 31:30

Yeah, I think it's a crutch a little bit.

SPEAKER_00 31:32

I thought so too.

SPEAKER_03 31:33

It is a little bit, but like I think if you're genuinely working stuff out, I had like I've had people randomly, like somebody the other night at a work at a show locally here, not a bar show, just a random show. And I brought my notebook up because I genuinely have to remember to work out these five, six things that need a little more work. And I will I had my roadmap. I had the things I wanted to like. Somebody was like, Don't bring that up there. And I was like, go fuck yourself. Like, I'm I'm not gonna do this when I'm headlining or on a big show or if I'm opening for somebody or at the improv, but like I'm this is a I this time is mine to work my shit out.

SPEAKER_00 32:07

Right.

SPEAKER_03 32:07

I need to get out of once you're a pro like Marcello, or like once you're doing this like a working comic, you're like, I need to get what I need to get out of these 10 minutes.

SPEAKER_00 32:16

Yeah.

SPEAKER_03 32:17

That's it. And it doesn't even matter if I don't kill. It doesn't matter. I have five things.

SPEAKER_00 32:22

He kills.

SPEAKER_01 32:22

And he kills.

SPEAKER_03 32:23

No, no, no, he kills. He's amazing, he's so good. But like, it's like you're like, I gotta get like, and I think a lot of comics get let their ego get in the way, and then they rely on crowd work or they rely on dirty or they rely on old shit. And I'm like, being a comic is being like, I have 10 minutes on this spot. There's five things I need to work out that I haven't yet figured out, and I'm just gonna I am bringing my notebook up because you know what? It's gonna be a waste of my 10 minutes if I don't hit these five things. Even if I bomb through the five things. Okay, now I know like that doesn't work. This does. Okay. That's that's the process.

SPEAKER_00 32:56

Yeah, I get that.

SPEAKER_03 32:58

That's the process.

SPEAKER_00 32:59

I get that. I like I I kind of did. I've not I've not brought notes up. Um, I like to remember the the the main point in my head. So like the four, whatever the main thing is for the joke. I remember like Florida Panthers, and then I'm able to re if I can remember like four to five of those beginners, um, then I can usually go. But sometimes the tank does run empty at the end. I'm like, what was next? What was next?

SPEAKER_03 33:21

Okay, and that'll come with time. Yeah, that's you know, yeah.

SPEAKER_00 33:24

Find out. Um, I I in my hand here, I've got a uh I've got I've got a set of uh pod decks for my friends at uh poddecks.com. They're a deck of cards, and uh he's got like 14 different decks now available. But these are random questions, these are some of the original ones on here. It does, or a popcorn.

SPEAKER_03 33:41

Yeah.

SPEAKER_00 33:41

So let's pull a card out of here and just ask him. We'll talk about little we'll riff a little bit here on some uh shooting from the hip. Uh what's what's the biggest lie you once believed was true?

SPEAKER_03 33:58

Catholicism.

unknown 34:00

Oh gosh.

SPEAKER_03 34:01

All right. All right. Oh, I'm gonna get deep for a second. That your family is always right or your parents.

SPEAKER_00 34:07

Those are the first ones to shit on your ideas and goals and dreams.

SPEAKER_03 34:10

Yeah, but you know, when you grow up, you kind of idolize and like glorify your family, as you should. Like if you have a good relationship with your family, like sure. And I think that's like really, and I love my family, by the way. Like, I have no daddy issues. My parents are together, I'm best friends with both my parents. I'm an only child, like all that. But I think like a part of growing up is realizing like it's okay to not take your parents' advice.

SPEAKER_00 34:27

Sure. Oh, it really is.

SPEAKER_03 34:28

Yeah.

SPEAKER_00 34:29

All right, one more. What's what is the most important thing to carry with you at all times?

SPEAKER_03 34:33

I mean, if if you're a single woman, fucking mace and pepper spray. Um, are you kidding me? Like, I mean, that's hello. Um, no, I um important thing to carry with you at all times. You know what? I'm I'm feeling like really, I don't know if it's the Cortadito or whatever, but um self-awareness. Oh, ho ho ho. How about that, baby? She just turned 31. She's thinking about life and death, baby.

SPEAKER_00 34:58

That's it. Well, I'm glad you didn't say a nine millimeter. That's always, you know.

SPEAKER_03 35:02

No. Yeah. Don't scare me. Yeah. And hey, listen, Second Amendment, all the way, but those scare me. Yeah, yeah, yeah.

SPEAKER_00 35:08

I mean too. I uh there was a somebody posted the other day on Facebook in a group that I'm in. What's the best place to get a concealed weapon? Or what do you have a gun? And I'm done. I go, I owned a double barrel super soaker one time. Yeah, yeah. Yeah, yeah.

SPEAKER_01 35:22

Yeah, guns. A nerf gun?

SPEAKER_00 35:23

Guns scare me. I don't I don't do guns. I did pellet maybe a pellet or a BB gun as a but you gotta shoot your eye out. I've always stuck with that.

SPEAKER_03 35:30

So like arching or whatever the axe throwing. Like my friends go axe throwing. Those things bounce. They bounce, and like, I don't know, man. I can't even do it. Like, I just stay. And like here's how I feel about the right to bear on. Like, I love that constitutional right. I get it, and I get the freedom to do it, but I also think day to day, I'm like, why does anybody? We are all out of our minds. That's why we have school shoes. Let's give them guns. Yeah. Yeah. Like, why does anybody really need to carry a gun? Like, I'm like, that's so aggressive.

unknown 35:56

Okay.

SPEAKER_00 35:57

How long, uh, how long's your set gonna be at your show?

SPEAKER_03 36:00

And I'm probably gonna do an hour. I might do 45. 45 to one hour.

SPEAKER_00 36:04

Did you already write the show?

SPEAKER_03 36:05

Uh well, it's been everything I've been working on. I have I have probably over two hours of material, but uh I think that's a long time.

SPEAKER_00 36:12

An hour's a long time.

SPEAKER_03 36:13

Yeah. I've done an hour a couple times last year, like a handful of times. I did over an hour.

SPEAKER_00 36:18

Were you exhausted when you were done?

SPEAKER_03 36:19

Yeah. You feel like uh you ran a marathon, drained and awake at the same time. But I lots of different things. And I I can't tell if I want to do like a really tight 45 of everything that absolutely hits, or if I want to stretch it to an hour, excuse me, hour plus and kind of do things I don't normally do. I'm probably I'm gonna do a lot of material that I wouldn't necessarily normally do at a bar show or at other shows because it's mine. I have the time to do it. It's gonna be a lot of storytelling, a lot of some darker things from my past that I don't owe, that I can't really truncate into a one-liner. And they're funny, they're engaging, but they're dark. And like I can't necessarily really get into that at a bar show because I can't really cut corners with a bit like that.

SPEAKER_02 37:00

Right.

SPEAKER_03 37:01

But on my show, and I think that's a special part of my show as well, too, is that like people are gonna get to hear things they don't hear, bits they haven't always heard, but also stuff they don't get to hear when they just come and see me at a bar or at any other thing, you know.

SPEAKER_00 37:15

But an hour is still a long time, I think. Yeah, watching comedies. I watched Ralphie May go for three and a half hours one night in an improv. Yeah, the God rest his soul. Chappelle and all those he turned the lights back on and was like, tip everybody out, we're gonna keep it rolling three and a half hours. I think it was it was the late show. It was the 10 o'clock show, and we we got out at about 1:30 in the morning and he was taking pictures. And I'm like, that's comedy right there.

SPEAKER_03 37:36

Long sets are amazing, they're great. And you learn like, and that's why the whole lapse per minute thing is like so outdated now.

SPEAKER_00 37:42

Yeah, I feel so much better about that.

SPEAKER_03 37:44

It is. Well, it is. I mean, if you've got a five-minute set, yeah, of course you wanna bang, bang, bang, bang, bang, bang, bang. You got 10 minutes, you want to make sure every minute or so they're laughing. Don't get me wrong, but like long sets are the sweet spot. And that's when you really learn that you can really take them on like a it's not always about pissing them, pissing, laughing, and applause breaks. Sometimes it's yeah, you're like, oh, right, get the fuck out of here. Or like, well, what? Or you want them to like engage with you, and you have that liberty with a longer set.

SPEAKER_00 38:13

What about really? I I've never, and again, Friday's my second favorite F word. And I cussed, well, I found that feminist is my first. I well, I learned that I live listening back to to my sets, um uh fuck is a filler word as a comic, especially and it's a way to mitigate nerves. And I that's why I don't like to lean on it constant because I look back and I was like, what? Because I had a buddy give me some feedback. He's like a lot of fucks in that set for five minutes.

SPEAKER_03 38:40

Yeah, you use that sometimes. I mean, I think we all do that, like cursing and going blue to sub so to substitute uh a punchline. We all do it. We all like I mean, I think I listened to my earlier sets too, and you know, I think use a fuck. I love the word, but I think I love it when it's actually has meaning and it really uses a few. I like it use a fuck in the right, exactly.

SPEAKER_00 39:00

Or, or of course, you fuck. Yeah, that's a great context, right?

SPEAKER_03 39:04

Right. Like if it makes sense. Or I even think, like, you know, you got a new one. I learned something very early on when I was doing improv, actually. Shout out, improv. And they had said about how you can, there's no such thing as being too clear with an audience, especially with improv. Well, with stand up too. Like nine times out of ten, if you think it's funny, if they're not laughing, it's because they don't get it. If you genuinely think it's funny, it's probably funny. If they're not laughing, they don't get it. They don't get it. Like, take it from their perspective. They're like, how do we get here? What's she talking about, or something?

SPEAKER_02 39:33

Right.

SPEAKER_03 39:33

And in improv, they had told they they're like, what did they say? Never assume the audience's intelligence or something. Go, I'm gonna butcher this so badly. But it was like, it goes, um uh you never wanna overestimate their knowledge and don't underestimate their intelligence.

SPEAKER_00 39:53

Yeah.

SPEAKER_03 39:54

They need clarity. They need they weren't there when that thing happened to you. Don't assume they know knowledge, information, but don't be dumb. Don't go so blue.

SPEAKER_01 40:03

Sure.

SPEAKER_03 40:04

Don't don't lie to them either. Don't make up a detail that didn't really happen. That's you underestimating their intelligence.

SPEAKER_00 40:11

Ah, I heard another word.

SPEAKER_03 40:13

Like, and it's like, you know what I mean? Be like, I know you guys get it. You'll be on board. Respect them, but don't assume they know. Sure. Walk them through. Like, I have a bit about improv where I have to literally say, for those who haven't done improv, there's a rule in improv called yes and. Like, but I had to even take it back two steps and be like, explain to some people what improv is. Cause there might be people in the crowd that are like, huh? They you don't know. You might be like, I did improv. For those who don't know, improv comedy is comedy that's off the off the chain. Oh you riff, it's also not funny, anyways. Like, or whatever. Like, I always get like, you know, so what's the yes and yes and is a rule. It's uh you're down for anything. So in order for an improvised piece of comedy to work, you have to be supportive and open to anything happening. So the rule is yes, I agree with your idea, and I'm going to add to it, right? Like I'm down for anything. Okay. And then I have a bit about dirty talk in the bedroom where this guy said, You like this tiny dick. And I thought, oh my God, improv, don't fail me now. And I was like, Yes.

SPEAKER_00 41:17

And I'm gonna go get a glass of water. And I gotta go.

SPEAKER_03 41:20

Yeah, exactly. Yeah. And time for me to I go and I have work in the morning. I do.

SPEAKER_00 41:25

I do. I have to organize my soccer this evening.

SPEAKER_03 41:28

Right, exactly. Exactly. So yeah, yeah.

SPEAKER_00 41:31

Um interesting perspective. What about being just ridiculously raunchy and just inappropriate?

SPEAKER_03 41:38

If that's what you think is funny, I think if there's comedic value, you can do anything. I think you can be as fucked up as possible, political as possible, dark as possible, dirty as possible, as long as there's something. People shit on like female comics just talk about sex. And I'm like, you can talk about sex in a way that's not like, and then he came in my ear and I let him bukaki my sister, and blah, blah, blah. Like that, or I see girls that are like, anal, he stuck it in my ass, and then it was so big, and uh, and I'm like, that's not even funny. That's just like shock value kind of thing. So, but I think with raunch, like shock value, just like don't beat them over the head with it. There's only so long they can like literally, literally don't beat them over the head. Yeah. I think it's the same thing with one line. Uh you gotta get them in a rhythm. It's all a rhythm.

SPEAKER_00 42:24

Yes, it is. It's all it's a dance.

SPEAKER_03 42:26

By the way, if you ever become a comic to anybody listening, this is how you start thinking. Like, you really have like existential views on not only comedy, but like people, communication, society. Like after a long set that goes great or bad, and you're decompressing, you're like, you start thinking things like never assume anyone's knowledge, but don't underestimate your own. It's like the one-on-one. Yeah.

SPEAKER_00 42:48

One thing that really sticks in my head, like speaking 101, Les Brown always says, never make a point without telling a story, and never tell a story without making a point.

SPEAKER_03 42:57

Sure, yeah.

SPEAKER_00 42:57

And that's I think that's that's very applicable to to comedy too.

SPEAKER_03 43:01

Um the story provides the context for the point, but also don't tell a story without getting to something.

SPEAKER_00 43:06

Correct. That's been a big hurdle for me. Because as a podcaster, you can tell stories. As a speaker, you can tell stories, you can walk people through the park.

SPEAKER_03 43:12

Yeah.

SPEAKER_00 43:13

You're you're you're skipping through the park with comedy. You need to be a little bit more physical.

SPEAKER_03 43:18

Write the story out, and then every like, let's say, two to three lines, find where you could be like, like how I said, like, improv is a kind of comedy that's unscripted and off the cuff. And also not funny. Boom, there's a joke, like right there. Okay. It's a quick little thing that's gonna be like you guys may have seen it. You guys may have even been at an improv performance, and you noticed that you didn't laugh once. Okay, like, you know, like that's it's funny you mentioned the improv.

SPEAKER_00 43:42

It's it's funny. I I've had several people hitting me up.

SPEAKER_03 43:45

I love improv.

SPEAKER_00 43:45

I'm talking about I know, I know, I know. Told me I should go to Just the Funny, that I would absolutely take a class and just see what shows up. Uh and that I would do it.

SPEAKER_03 43:55

Villain Theater's wonderful.

SPEAKER_00 43:56

Well, I live behind Just the Funny. It's around the corner. I can walk.

SPEAKER_03 43:59

Villain Theater is worth the drive. No, but just the funny's great. I've done both. Yeah, they're great. Um, I think everybody should take an improv class. I used to teach it in New York. I still have stuff.

SPEAKER_00 44:07

I'm gonna do it. And then my phone call, I had a phone call right before you came to the studio, and she was like, Oh, do you know the guy was the guy that owns Just the Funny? I was like, Oh, and we weren't even talking about Yeah, yeah, yeah.

SPEAKER_03 44:16

Yeah.

SPEAKER_00 44:16

We weren't even talking about me taking the class.

SPEAKER_03 44:18

Universe is telling you you're about to get scammed out of $5,000.

SPEAKER_00 44:24

Well, this is I'm kidding. I'm kidding. I'm glad we finally got a chance to connect her. I know you're a busy girl. I'm glad you could pencil me in here.

SPEAKER_03 44:29

Thank you for penciling me in. And it's your birthday week, so it is.

SPEAKER_00 44:32

Well, this is a heck of a way to kick things off here, ladies and gentlemen. So, Britney Brave, ladies and gentlemen, if you're local here to Miami, it's going down at the Miami Improv on Sunday, February. February 27th. Showtime 7.

SPEAKER_03 44:44

8 o'clock.

SPEAKER_00 44:45

8 p.m.

SPEAKER_03 44:45

But Miami?

SPEAKER_00 44:46

7 p.m.

SPEAKER_03 44:47

6 p.m. is the showtime. So you still get there at 8 45.

SPEAKER_00 44:50

Well, you can get it's you know, it's it's city place. You can get a drink, you get some dinner.

SPEAKER_03 44:54

The food at the improv is delicious. The drinks are very good. There's parking, it's in Durral. It's pretty centrally located to everybody, not really, but whatever. We're marketing.

SPEAKER_00 45:03

Yeah. Yeah. Come on out. Get your tickets. Uh, MiamiImprov.com, isn't it?

SPEAKER_03 45:07

Yeah, or my socials too.

SPEAKER_00 45:08

Yeah, our social uh at Brittany Brave. All those links are gonna be in the show notes if you're wondering where in the world can I find all of her information. I want to connect with her. Yes. You'll be able to do that in the description of this podcast episode. Brittany, I'm inspired by your uh comedic journey and the and you've just really wholeheartedly embraced your your your craft and you're doing a damn damn good job of it. I uh we're gonna remember these conversations. I'm gonna look back and turn Netflix on and be like, I remember when I opened that podcast to do that one time, and she was on her way to film with only in Dade, and we got that great conversation. I'm gonna remember that. I'm gonna in fact I'm gonna just turn this episode into a fucking NFT. So when you blow up, boom, boom, residuals forever, baby.

SPEAKER_03 45:46

I I listen, the quickest way to live forever is to exist in the metaverse.

SPEAKER_00 45:50

That's it. Just ask Snoop Dogg. Oh, goodness. All right, we'll come back, come back sometime soon, will you?

SPEAKER_03 45:57

Awesome. We'll do.

SPEAKER_00 45:58

Brittany Brave, ladies and gentlemen. Until next time. Thanks so much for tuning into this episode of the Beyond the Story podcast. Be sure to appreciate it. If you haven't done so already, make sure you're subscribed to the show. This way you'll get updates as new episodes become available. If you feel so inclined, please leave us a review. Be sure to appreciate it. Signing off from the podcast, LaunchLab.com studios. We'll talk to you next time.