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Caloroga Shark Media. The Lucille Ball Comedy Festival kicks off tonight. Hello, I’m Johnny Mack with your Daily Comedy News. My guest on today’s program is Journey Gunderson. Journey is the executive director of the National Comedy Center, the United States official cultural institution dedicated to comedy as as designated by the US Congress.
That is pretty cool, as you will listen here. The museum is super impressive. Their approach to something specifically, we’ll talk about it in the interview. The areas of comedy that get a little wonky. You know, somebody says something or somebody does something in the real world and then you look at their body of work and you’re like, huh, they are handling that well.
I don’t want to spoil the interview. The National Comedy Center is in Jamestown, New York. Why it’s Lucille Ball’s hometown. Lucy wanted Jamestown to celebrate up and coming artists and that is part of the thirty fourth Lucille Ball Comedy Festival. Tonight, the festival Nicole Buyer seven o’clock.
By the way, seven o’clock, not eight o’clock. This old man love it. Imagine I could go see Nicole Byer and we’re done by nine oh one. I’m back in the hotel room half asleep by nine thirty. That sounds amazing.
But there’s also comedy late night comics from around the nation who’ve appeared on ConA and America’s Got Talent, The Late Late show Late Night with Seth Meyer’s Last Comic Standing and Moore will be performing their newest and sometimes a bluest mid ceial. The event takes place in Ricky Ricardo’s nightclub. What a cool venue, right, So let’s jump in the pool. Here’s my guest, Jerny Gunderson. Maybe you can help me.
This is a topic that’s been coming up on the show. When we talk about comedy, especially on my program, we tend to talk through a lens of stand up comedy, but branching out the form, where do we start talking about it? I could argue for Shakespeare, I could argue for Bob Hope. Jimmy Carr made a wonderful argument that Richard Pryor and George Carlin are like the John the Baptist of the modern stand up comedy, bringing it out of the clubs. In to the arenas.
So for you, obviously, Lucy, part of this, where do we start? I’m maybe because I’m a museum person and we have created the first official archive, I tend to go further back in my milestones. You know, when people go through the stand Up Comedy Lounge exhibit, you know, they’re seeing Gene Carroll and they’re learning about Frank Fay and it’s you know, moms maybly. So I tend to focus less on when they filled bigger venues and more focus on the art form and the craft and what they contributed that might have been unique before maybe it was even called stand up And in terms of sketch and other genres. You know, we’ve got original Vaudevilliera scripts from the Marx brothers with their hand annotations on them, and so we go back as far as we can.
I know, one of the things at the museum that would love for you to talk about rather than me and try to explain it not having seen it, is the comedy Continuum. I just found this fascinating as we tie together the history of it and influences. If you could just walk the listeners through that, please, sure. So, the Comedy Continuum it’s my favorite exhibit. It was the hardest one to build and bring to life.
It’s like the game six Degrees of Separation or six Degrees of Kevin Bacon on steroids. In comedy, it’s this massive, seventy or eighty foot wide actually radar interactive wall, and you’re building a web of connections that you continue to expose and build of collaborations in comedy. These are connections based on people who have worked together that you might otherwise not realize of work together or connections of influence. And what’s neat is that not only are you uncovering these early in career collaborations between people who often end up as huge solo names in their own right, you’re making connections between other visitors. So we see like a father and a son, or a grandfather and his grandson, and one has uncovered like Trevor Noah in political comedy, and then it connects with mort Saul and they’re having a moment together of realizing that maybe their tastes and sense of humor isn’t that different.
And guess what those who do political comedy now stood on the shoulders of those who came before them. It’s interesting to me, I was prepping for this and listening to you on some other interviews you mentioned, or the interview I mentioned how quickly some comedians not get forgotten, but just time marches on. Over the weekend, I was listening to Joe Rogan and he name checked Richard Jenny and he name checked Robert Schimmel. And when I first got into this working at Series XM, a new Shimmel, pretty well, he was at the top. And I don’t think I’ve really heard Robert’s name.
For those who don’t know Robert passed away, it’s probably fifteen, maybe twenty years now, but you know, here’s a comedian that was at the top, and just for whatever reason, in the zeitgeist, those names don’t come up as often. So it’s great what you guys are doing. Thank you for saying that. And I couldn’t agree with you more. And I admit that what I guess annoy is a strong word.
But what annoys me day and day out is how often you hear people commenting that, oh, the new style in comedy or new voices in comedy are so much more vulnerable, or they’re talking about their issues with mental illness et cetera. And they’re so much more candid. I don’t see that that much. I mean, certainly there was an era where no one talked about that. But when Richard Lewis passed away, you know, what better reminder do we need?
That there have been decades of people willing to be vulnerable and pull back the curtain on neuroses, you know, than that. And so there are these heroes. I guess what that puts a finer point on is that there are heroes of this art form that are sadly, so quickly glossed over by it, you know, the TikTok generation, and things move so fast now that the saddust example. This is really a downer thing to say, but you know, we tour sometimes high school groups through and I wasn’t shocked when, you know, only a smattering of hands went up. Who knew George Carlin or why they should care?
Because they’re seventeen and eighteen years old, and so we’re, you know, introducing them to his brain. In comedy, we do a deep dive with his joke notes and you see process of one of the most prolific comedic minds the world we’ve ever know. But Robin Williams is now a name that when young like seniors in high school, come through, they aren’t familiar. And if that doesn’t speak to the need for a museum and a cultural institution like this one to put quote unquote these paintings on the wall for the next generation to be educated about, I don’t know what does. These are heroes and they deserve to be memorialized for generations to come.
I teach a college class about radio, and I remember, and even this story is maybe ten years old. I remember mocking through how a morning shod team works, and whatever example I was using, I said, you know, and that would be an example where somebody could throw in a JFK impression. They had no idea what I meant by a JFK impression. So then I tried to bring it forward and I said Mayor Quimby from the Simpsons, and they still had no idea of the reference. I remember another time I was talking about Late Night and I said Carson, and they thought I meant mister Daily and it just I know, I’m up here on old Man Mountain now, but the time goes by, back to the estates.
I think it’s great that you’re working with the estates. In the course of my career, I’ve worked with the Hope people. I’ve worked with Jeff stottzing with Carson, I know Kelly Carlin fairly well, and I think for those are three estates in particular that are in good hands where it’s not about money, it’s about keeping the legacy alive and getting the name out there. So again, kudos to you in the museum on keeping those names out there. George Carlin in particular, like, you know, I get it.
You know, how would you know George Carlin unless you showed up on TikTok. Although specific to car arln his last two albums, which I didn’t love at the time quite honestly and thought at the time, Ah, has George lost his fastball? It just sounds so angry now when I play his last two albums in twenty twenty four, topically, they sound like they could have been recorded this morning. I know. Every time there’s something that they need is somebody does something off, usually from those albums.
Yeah, it’s like wine. Sometimes it’s better with age or these brilliant, prolific minds are sometimes ahead of their time right, So it is interesting to look back on comedy from different eras, because actually, as W. Kamal Bell, who’s an advisory board member of ours, said, he gave a speech at the grand opening, and you know, it’s comedy is so temporal, right, It’s so of the moment that there’s a lot to be learned. In addition to just appreciating the humor and having good laughs. There’s so much to be learned from observing what was funny and what was a punchline at an exact point in time in our culture.
And so when people come to the National Comedy Center, not just enjoying themselves and laughing at a really well done curation and examination of comedy’s greatest hits and heritage, they’re also given the opportunity to learn about truth tellers from every era. How do you handle things that have fallen out of fashion, whether it is Amos and Andy or Flip Wilson or something more recently. Is there a tendency to go, oh, let’s park this exhibit for a while. Is it out there with an explainer? It’s funny because it just depends on what sometimes makes it onto the internet or goes viral in the wrong way.
Because Bill Hicks is a good example. I was recently listening to an old I think his early nineties era Bill Hicks album, and there’s some stuff in there that wouldn’t hold up now in terms of homophobic type of commentary. And I think that is so it is so common, and as artists have said before, I’m saying it now. Everyone evolves, We all evolve, and I don’t think anybody stands by every word they’ve ever said, and you know, insists that it was perfect. But there’s something to be learned, even in that we have a blue room level of the museum for this reason, right, We’re not.
We didn’t build a blue room level, which is leaning into the most boundary pushing material of all time in different eras. We didn’t build it to endorse it and say like these things are fine to say. We built it because we’re a museum. And that’s the conversation that we’re trying to have is look at what was okay to say when, or look look at how controversial it was when Lenny Bruce was making jokes about the Catholic Church and being arrested for it, or making jokes about the government and being hauled off stage and having to spend the night in jail. That’s why we feature it.
And so whether it’s a Dave Chappelle joke that’s considered transphobic that’s also in the Blue Room, or Louis c. K’s material in our lens on the topic of too soon, we do it. There’s an exis it on the concept of too soon? And when is it okay to joke about tragedies through all of these different stories and lenses, And we tell this story through the lens of nine to eleven in the aftermath and comedy that came out. And so there’s Gilbert Godfried who had toured through this exhibit, and he’s an example of it not going well right at the Hugh Hefner roast making a nine to eleven joke in what many considered in the room too soon, and someone even called that out.
But Luis c. K’s material on nine to eleven is in that exhibit. You know, you asked, how do we handle a controversial subject matter because we didn’t approach the whole story of comedy as one of glorification of individuals. Anyway, when we designed the museum, it was really about the art and the contribution and the craft and the substance of it, the work product. We didn’t suffer too badly.
It wasn’t you know, Cosby was on trial when we were in the throes of media production getting ready to open. And because we didn’t build a Cosby wing, it was okay. Because we didn’t omit the Cosby Show from the exhibit on television comedy, because you can’t tell the story of comedy on television without it. And again, it’s really about the work and the subject matter that comes out of this process. I love that approach.
Some articles and maybe it’s maybe it’s cool, maybe it’s a little lazy. I’ll see your museum compared to Cooperstown, And for me, I often when I have baseball arguments, I’ll say, you cannot tell the story of baseball without Barry Bonds. I’m sorry, he should be in the Hall of Fame. I will make you litigate somebody else’s museum today. But I love your approach of you can’t tell the story without the Cosby Show.
The Cosby Show happened. That’s a thing. Comparing it to baseball in the Baseball Hall of Fame, if I go out and hit eighty five home runs, they still make me wait five years after I retire before I get in. In terms of an exhibit, especially here in the twenties, we see shooting stars in comedy. Somebody will get super hot on TikTok.
Again, we’re both here to celebrate comedy, but there, you know, there’s a guy who’s selling a lot of tickets right now who doesn’t have the thirty years. Doesn’t mean that he’s not good at comedy. But do I have to wait to get an exhibit or can I just you know, if the UFO lands today and I slam the bid on Wednesday, can I be in the museum next week? That’s such a great question. And our feeling on that is that And it’s often said museums should stay respectfully one step behind the art form.
So it is often only with the benefit of hindsight that anything can be properly evaluated. So we try not to expend valuable, precious resources. You know, we’re a nonprofit to jump to celebrate or build an exhibit about the latest, as you said, shooting star in comedy unless there’s a story there to tell, right, like a story of comedy might be. How during the pandemic, a lot of lay people, I’ll say, would say like, oh, well, can’t you just do comedy on zoom? And people who perform comedy understand that the audience, the relationship between the artist and the audience is actually crucial and that energy and the acoustics of the laugh and the timing of that, and how that can work and not work in different mediums, And so moving to drive ins and performing to cars like that’s a story.
And so really we’re about telling the meaningful stories of the craft and the art form more than staying or picking the stars that are worthy. I’d rather focus on what was contributed and why it was unique. Let me come at at from a different angle. It’s a Thursday afternoon in the summer. We’re all looking forward to summer Friday.
It’s late in the day. Bob Newhart has passed away. Do we immediately react and see what we have in the back room and put it on display or how do you handle something like that? That is true, We do go into the archives and see what we have, and we start to reflect as everyone does and hearing the news, and we ask ourselves, okay, what unique ground on did he stand on? Which did he stand?
So? Is it one thing I’d say about New Heart is he was known for that deadpan delivery, and so you can see the influence and so many that came thereafter. He was also able to succeed, Like one of my favorite things about New Heart is that he won Grammys for Album of the Year, including Album of the Year, going against like Frank Sinatra and Harry Belafonte, and so here’s comedy beating rock stars. And that makes me smile because this was early on and so he had to go toe to toe and beat them out for Album of the Year. He was also notably a great talk show guest.
Not all comedians are great guests, and he was fantastic on Carson. So we have some of that in the museum in our Johnny Carson exhibit. Then you go to the Television Comedy exhibit, and there he is in a piece about workplace comedy. And as we reflect again, we step back and say, like, what is the unique ground. I think he will also go down as having the distinction of sticking the landing as best as well as anyone can in a series finale.
Television series finales are difficult, and he nailed it. And I love that that goes down in history. Is one of the greatest of all time. It’s amazing that he’s the one that who had the number one album because of his persona. If you had told me Dice Clay was the first to do it when there was dice Mania.
If you had told me Dane Cook did it early this century, okay, I would have believed it. But Bob Nehart, the salesman, the low key, deadpan guy, beating out Elvis is just amazing. Yeah, that’s like one of my favorite stories of comedians as quote unquote rock stars for once, because you’re right, the vibe was not such and Dice Clay is a great example in content. All right, we’ll head towards a break here. The National Comedy Center, Jamestown, New York, was named best New Museum in the Country by USA Today.
It is one of Time Magazine’s World’s Greatest Places, one of People Magazine’s one hundred Reasons to Love America, and one of the twenty five Best family weekend getaways by US News and World Report. Just three blocks away, the Lucille Ball Desi or Nez Museum celebrates the live’s curism legacy of the first couple of comedy, the impact they had on the world, and also the story of Desilu Studios, which not only produced Lucy Stuff, but produced the original Mission Impossible, and most importantly, Star Trek. I wish Desilu still controlled Star Trek. Don’t get me on a Star Trek rant, Don’t do it. Did you see the section thirty one trailer?
Did you see they’re making a Star Trek sitcom? I obviously like comedy. Don’t make a Star Trek sitcom? All right, be right back. So the reason I invited you on today is because it is the Lucille Ball Comedy Festival kicking off again Kudoston Museum.
This is something that’s been around for quite a while, but I think the museum has brought more daylight to it. It has definitely been on my radar the last few years. So what can we expect to see this weekend? Who’s coming? What should we do encourage people?
I’ve talked about this in the past. If you drew a circle from Cleveland to Boston to New York, you can get there, and it’s a really pretty part of the country for people who aren’t familiar with it. So why should we come up this weekend? Because now a trip to Jamestown, New York, it’s like an immersion in by day, you’re immersed in an award winning museum experience where you are given the chance to really appreciate generations of artists, and then in the evening take in the best live voices in comedy. And I just can’t think of a better way to spend a weekend.
And it almost it’s funny because museums contextualize. That’s what we do. We provide some context so things can be appreciated. We aren’t just showing clips and saying isn’t this funny? And so I think that what is unique about tending the Lucille Ball Comedy Festival relative to other festivals is because you’re in the setting of the National Official Archive and the museum, it contextualizes the comedy you’re going to see that evening live on stage and just engenders in the audiences in an even greater appreciation for what these people are doing.
I love that it’s come full circle that Nate Bargetzi is headlining a sold out arena show. And my first festival was really when we got the festival back to being a comedy festival and less of a nostalgia I Love Lucy reflection. It originated as a comedy festival with the young Ellen DeGeneres, a young Ray Romano, Bob Newhart, in fact, the Smothers Brothers, George Wallace, And that was Lucille Ball’s intention for her hometown, and that it become a destination for the celebration of the art form in all of these ways.
And then, like any strong brand, whether it’s Elvis or Star Trek, the fan com…
And it was actually the estate you mentioned, the estates. The estate raised its hand and said it was supposed to be more broad than this. It was supposed to be about all comedy. And so twenty eleven, the hundredth birthday of Lucille Ball, that anniversary year was really the first year that we set forth saying we’re building the National Comedy Center, the first national archive and museum, and the festival will get back to its roots about being, you know, entirely about comedy. And Nate Barghetsi was the first comedian ever booked, and he was in our showcase, you know, then largely unknown and now here he is hosting SNL, starring in one of the most viral sketches in SNL history, on the brink of its fifty year anniversary, and you know, headlining our festival in the arena.
So there are dozens of other amazing comedians coming to town. I like to say that you can, you know, experience what you can otherwise only experience in the greatest, most legendary clubs coast to coast by coming to Jamestown that weekend. We have Ofira Eisenberg, Dave Hill, Aaron Jackson, Matt Koff, who’s an Emmy winning writer for The Daily Show, Nina Daniels, Ali mccofsky, and more. Specific to Nate, I don’t know what you nailed it. And here’s why I’m saying this, and I don’t mean this about look how cool I am.
When the initial releases came out about the festival, there was a line paraphrasing quite and another headliner to be announced. You hadn’t yet announced Nate, and I mentioned on the pod. For some reason, the universe was telling me it was going to be Nate. I had no inside knowledge, there was nothing. I didn’t read an article telegraphing it.
I just said it just felt like it was going to be Nate, and then when it was Nate, I was like, ooh, look at that. The universe somehow community communicated that to me. I think you guys have done a great job. You spend a lot of time around comedians. I’ve spent a lot of time around comedians.
Sometimes it’s not all sunshine and roses, and there’s jealous or I’ve talked up on the podcast of the New York City brick Wall cigarette smoking crowd. We’ll give the LA people a hard time. Now there’s the Austin contingent. Everybody’s mad at the blue collar people. You’ve worked with fox Worthy.
You know, he’s the nicest guy on the world. You know that, Larry the cable guy. And I’ll tell this to Larry’s I’m friends with him. Larry’s the nicest guy in the world unless Jeff Foxworthy’s in the room, right. I mean, these are just wonderful people.
So kudos to you that the comedians seem to be backing this thing. Like my sense is, you know, you’re you’re able to ask people to come and they come for whatever reasons. People are motivated to come, but you’re getting people, they’re not giving you nos, and the artists seem to genuinely love this thing, you know, whether you’re involved with somebody like Lewis Black, so that that just speaks volumes about the work you’re doing. Thank you so much for saying that. Yeah, it’s I often lay awake at night in the ten years building it, going, oh, this was a really bad idea, Like, you know, the comedy community doesn’t ever take kindly to outsiders telling its story because in comedy, authenticity is paramount right through and through.
And you just cited, you know, the cynicism and to build a museum an institution for the most anti establishment population of people who are really good at making fun of things, I was like, oh, maybe this is daunting and probably a bad idea. And so one of the things that we don’t tout often, but some people have noticed in the museum is that there is no third party voice the media pieces. All of the storytelling is in the voices of artists and creators and crafts people themselves, directors, producers, stand ups. So we relied really heavily on getting the story right by talking to and interviewing hundreds of comedians, so that we didn’t make the mistake of being this third party institutionalized voice telling comedy story for it. Yeah, and I think it’s funny too, because comedians wouldn’t have built it for themselves, you know, they’re not.
They have a complex relationship with awards and awards systems, right, That’s why, like the American Comedy Awards, I suspect has come and gone and never found its sure footing, and so comedy becomes the red headed step child of the oscars, for example, the Academy Awards. And so I think that’s maybe why there was a void for so long of an institution that exists to celebrate it. And I’m glad that the toughest crowd, which is comedians themselves, have loved it every time they’ve toured. Like I love when you see a John Mulaney on his tiptoes peering into Rodney Dangerfield’s leather monogrammed duffelbag that has like his actual jokes and joke notes stuffed into it that he would carry on the road with him as a briefcase because they didn’t have iPhones, nothing was digital. I love seeing laugh at Joan Rivers type written sheet of paper she carried in her little briefcase on the road, seventeen ways to handle a heckler.
It wasn’t a bit, it was like those were her seventeen ways she was ready with. These were her working papers. And I’m really excited that in starting at twenty twenty five, we’re going to be able to get really creative about showcasing and making an exhibit of the sixty five thousand typewritten joke notes joke cards of Joan Rivers that span from the nineteen fifties through twenty fourteen. It’s like this amazing history of comedy through one perspective. I believe it now.
I wish I had picked up some scraps of paper twenty years ago. I produced Joan Rivers radio show for a few years circa two thousand and one, and she would work openly with two writers, an older guy and a younger guy, and they would pass her. They would scribble down a punchline and hand it to her. And I mean this very respectfully. She might not even have re what the reference meant, but they would hand her a piece of paper.
She would read it, get the laugh, deliver it, timing everything about it.
And then throw the piece of paper on the floor and they were just feeding her…
It was just amazing to watch, just a pros pro. Yeah, it’s funny. I mentioned Dangerfield’s notes, and what stands out to me is every single centimeter of the sheets of paper is filled with handwriting of his in three or four different utensils, ink lad everything, and they’re dog eared and they’re wrinkled because he used them for so long. And in the upper left hand corner it says what a crowd parentheses two x, like he wrote down that when he took the stage, he was going to say, what a crowd? What a crowd?
And that was in the upper left hand corner of that little sheet of paper. And So because good comedy looks easy, I think the lay person or the casual consumer of it doesn’t have a great level of respect for what goes into it. You know, they go to an art museum and see an incredible painting and go, oh my god, like how they can’t even imagine. But the equivalent in comedy is the thousand hours on stage, the iterative honing that goes on, and no one appreciates that. It’s down to every syllable and the emphasis on each part of a word that can sink or make a joke.
And that’s part of what we try to do in the participatory Wing. We didn’t build a participatory wing because people are good at it, like quite the opposite. We built it because it shows visitors. For example, in comedy karaoke, we could give you a teleprompter with the strongest stand up bits of all time, and you’ll bomb because you don’t have the delivery. And it teaches them the difference between or the layers of the onion, right, Like it’s the writing has to be good, but the delivery and the timing and every part of it is so much a part of the sauce.
And that’s what we That was our compass in building the entire museum was pull back the curtain on how hard this is and that there’s a level of precision, and that it really is an art science. I want to circle back to something you said a few minutes ago about not having a third party person tell the story that speaks to me. I had the privilege of working with the Pythons for their fortieth anniversary. We put together Monty Python Radio for series XM and one of the creative decisions that my team and I made was every piece of audio had to come from the Pythons. So the liners were by the Pythons themselves, but the soundscape, all the quirky noises were all from episodes of the TV series.
They had granted us a waiver for the weekend to make the radio station, and it all came out of the Python Universe, which made the project sing in a way that using generic rock liner number four and a DJ voice going Monty Python Radio would have just been lame. Having Eric Idol tell a story about John Clees that’s what made it sing. So again, I think everything you’re doing is just absolutely on point. I have tremendous props for you. I mean, I’m a guy recording a podcast in the basement who cares, but as a fan, awesome job.
So let me ask you. Sometimes I burn out on comedy. I do this most of the day, and I explained to the listeners. Then ten pm comes and like, I don’t want to watch the latest YouTube special. I just want to watch something.
I’ll watch the Universe and just let somebody tell me about Saturn’s rings just to turn my brain off. So what do you do when you’re not doing this? And follow up question, if we come up to Jamestown other than all the comedy events, what else should we do? Where do we eat? Where do we hang out?
Okay, so first question, my struggle is just having anywhere near adequate time to catch the latest special or late night show, because in a nice way, like someone once said, you know, managing success is harder than managing failure, and so like I said, there’s such a void for so long of an institution doing this work that now the floodgates have opened once people got to Jamestown and realized this is the place and that it wasn’t going anywhere, and that this was for real. You know, the amount of archives there are to preserve, the amount of estates we’re working with day and day out. You know, we’re presenting Nate Bargetti in an arena one night, or you know, inviting Jeff Frost to town. But on the other arm, we’re preserving Don Rickles archives and working with his estate, and so some of them aren’t public yet. And so I don’t want to speak out of turn or accidentally do a press release via this podcast, but just insert the next dozen names you can think of whose comedy archives you would like to see preserved, and we’re talking with them now.
So it’s funny, it’s ironic. I guess you could say, to have very little, very few hours left in the day for our staff to actually now say, okay, we’ve got to be consuming what’s new. You know, the pantheon comedy is pretty large, you know, when you’re going back to the Marx Brothers and then trying to have your finger on the pulse of today, it’s like it’s endless, but it’s a nice thing to be buried in. That’s the luci obell All Comedy Festival, kicking off tonight through the fourth Thank you so much for your time. This is fantastic.
I am definitely going to hit you up next time a topic comes up to see if you can come on again. I’ve got a million more questions about the museum and I do need to make it up there. So thank you so much for your time today. Thank you for having me. It’s been great talking with you because you are a guy who’s so steeped in comedy.
Let me give you a little behind the scenes there. So during her last answer, the internet was getting a little wonky. Now, the system I use it records locally, so if I’m interviewing you, it’s recording my files on my computer, your files on your computer, and then at the end we both upload to the central core whatever it is. That way we both have a clean copy. So I didn’t want to interrupt her and be like, oh, I can’t hear you, because I knew she was giving a thorough answer.
I just couldn’t hear it. I’m sharing that with you because you may have noticed I didn’t ask a follow up about some of the estates and some of the legacy coming up. I’m very curious about it. But that’s why I didn’t follow up there, because I couldn’t really hear her. After she finished speaking, I took a full time and we kind of fixed stuff, and then I tacked on that close there.
So that’s what went on there. That’s why I didn’t fall up there. Just thought i’d share with you. I will wildly speculate Richard Pryor would make a lot of sense, Bob Newhart would make a lot of sense, and Richard Lewis came up during the interviews, so maybe those are clues. Who knows.
Wild speculation. Here’s what’s scary too, the folks at the National Comedy Center. Some of them listen to this podcast. That’s a lot of pressure. I’m just a dude in the basement.
Kind of cool though, Jereney Gunderson, thank you for coming on the show. Best of luck with the Lucy Oldball Comedy Festival this weekend. Back with a normal episode tomorrow, See you then,