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Jerry Corley: Alright, we got, cliff is here, that's all we need. We're ready to start.

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Jerry Corley: As long as I… for some reason, the automation is producing two, two links, so I just want to make sure everybody gets the… gets the link that I'm using.

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Jerry Corley: Because it'd be… it really would suck if we got on the call and it was only Jack Rain.

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Jack Rain: Yeah, I just can't deal with my own voices, it gets dangerous.

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Jerry Corley: So, we'll wait for a few more people to join here. We're talking about, Big Jay Oakerson's crowd work. He's got a unique style, but you'll find it's, similar if you've ever followed Patrice O'Neill.

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Jerry Corley: If Bill Burr did Crowd work, I think you'd find similarities there. He uses a lot of three descriptors, and that's really what we're gonna focus on, is his ability to take the three descriptors, where it comes from, where his speed comes from.

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Jack Rain: Yeah!

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Jerry Corley: phone speed.

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Jerry Corley: So I think you're gonna… I think we're gonna get some value out of this course that way. It's like, sure, it's dirty, but it's more sophisticated than dirty, I would say. So…

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Jerry Corley: I'll give it, we'll wait a couple more minutes, see who else is there. I know Janet is usually on, I know Kaz is usually here, so let me double check. I'm gonna, I'm gonna jump off here for a second, check my email, and make sure that, they've got the right link.

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Cliff Spenger: Okay.

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Jerry Corley: Alright, seems like, the only person who responded was, Steve Berger, but he's on vacation, so that's, well, good to know. We can move on from here. We've got 5 people, that's a good place to start. Well, 5 with me.

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Jerry Corley: And I know lena's joining, she said she would be here today, so, Janet will probably pop on, in a little bit, and we'll get started, but we got all we need. We've got Cliff, we got Jack, we got Jack, we got Karen, we're ready to go. We got Kaz.

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Jerry Corley: We're ready to rock and roll. So,

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Jack Rain: We're just jacking it.

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Jerry Corley: We're jacking it. We are totally jacking it. Well, you jack it, but turn off the video. And the sound. I don't even want to hear that.

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Jerry Corley: So, let's get on with it.

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Jerry Corley: I can select the right window.

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Jerry Corley: Here it is. Okay, we'll optimize that, and hey, look, it's Sara!

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Jerry Corley: Sara, I just saw your email.

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Sara: So it didn't go, like, in the space or whatever?

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Jerry Corley: It didn't go into space. I saw your email, so I'll answer it, and I didn't have time to answer it just now.

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Sara: Okay.

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Jerry Corley: Sir, emailed me? How come I missed that?

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Jerry Corley: So, maybe because it came from France, and the NSA had to study it before they let it come into my mailbox.

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Sara: Yeah, it's a long way.

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Jerry Corley: administration, they're like, okay, is this chick legit? What's going on here? Is this, jerry Corley a spy?

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Jerry Corley: Alright, so, so anyway, just a quick little quote here from, Jay Oakerson kind of gives you a field for how he describes situations. It's like, your girl is only one shot away from the best fuck of your life, or yesterday's spaghetti and your dick hair.

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Jerry Corley: So that line…

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Jerry Corley: I don't know why you're not laughing at that line, it's an hysterical line. It's a little over the top, right? Something to open up the morning with, or it's like the first thing to open with, but this kind of defines Big Jay Oakerson Oakerson. You know, he's a… he's a dirty Crowd work, but it's not just about being dirty, it's about…

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Jerry Corley: the layers he uses to… in descriptions, that's what I think elevates the crowd work, you know, and it's, that's what makes it work, in this case. And so we're gonna take a look at a couple of things about Big J.

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Jerry Corley: We're not just gonna learn about crowd work per se, we're also gonna learn how Big J approaches his crowd work, how we turn spontaneity into what sounds like written material.

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Jerry Corley: We got Kaz raising her hand. Kaz, yes?

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Kaz Okamoto: Okay!

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Kaz Okamoto: Does that mean he was fucking spaghetti?

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Jerry Corley: No, no, he says, let's…

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Kaz Okamoto: Because I… I didn't laugh because I didn't get it, you know?

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Kaz Okamoto: Let me slow…

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Jerry Corley: Slow down, let's slow down.

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Kaz Okamoto: haircare!

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Jerry Corley: Yeah, he's basically talked about how girls drink. So here's the context. He's like, the way girls drink, she's, like, one shot away from either being, you know, a fun person at the party, or, you know.

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Jerry Corley: sick, right? All over you, basically. It's like, so, it's like, your girl is… because he does the algorithm with, like, you know, women have their own, like, formula for…

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Jerry Corley: happy drunk. Yeah. Past that, it goes… can go anywhere. It can go into utter chaos, right? Next thing you know, she's picking fights with the police.

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Kaz Okamoto: That's the part I missed.

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Kaz Okamoto: The drinking part.

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Jerry Corley: I know so…

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Kaz Okamoto: part.

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Jerry Corley: So, yeah, so one shot away, that's the drinking part.

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Kaz Okamoto: Okay, I get it now.

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Jerry Corley: Right? From… and, you know, so it's, like, the best fuck of your life, or yesterday's spaghetti in your dick hair. So it's, like, very descriptive, uses the three descriptors formula to get there, and, and that's, and it kind of, right, really defines a moment. But you're right, Kaz, I'm glad you clarified that, and you needed the context to understand where he was going with that.

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Jerry Corley: So, so in this… so we're gonna learn how you get there, how you get spontaneity, where that comes from. I think, personally, the spontaneity comes from working your listing technique.

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Jerry Corley: Right, so when you have a setup line that has two dissimilar ideas combining, right, converging, then you should practice your listing technique. The more you practice finding the associations in each topic.

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Jerry Corley: Like, in a sentence. The more your vocabulary increases, the more you expand the way your brain sees a topic.

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Jerry Corley: the faster you become. I know that

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Jerry Corley: Writing thousands of jokes at The Tonight Show and doing that listing technique over and over and over again made me faster. I knew it, I could tell, the more I was working the jokes, the quicker I became on stage. So the more you can find something

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Jerry Corley: in the moment, because your brain is now used to looking for associations right away, rather than just being linear like most people are, right? So, in this case, doing that listing technique.

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Jerry Corley: The other thing we're gonna talk about is… We're, you know.

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Jerry Corley: Jay Oakerson. Nobody has ever heard of him. And all of a sudden, he's now making himself known. He's done, Just for Laughs, the Montreal Comedy Festival, he's been on Comedy Central, he's done HBO, you know, a lot of times he's opening… he's started opening for people and opening for music, you know, rock bands and things like that.

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Jerry Corley: And he just sort of picked up from there. Now, Big J is part of those cop podcast bros.

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Jerry Corley: We've spoken about this together. You want to develop

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Jerry Corley: a following, start doing a podcast. It doesn't need to be super popular.

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Jerry Corley: But you've got to take off the mask, and you've got to start talking about stuff with no filter, and being brutally honest, and talking about new ideas. It's not all about being dirty, necessarily, it's about being honest, and not being afraid to say something that could get bleeped, right? And,

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Jerry Corley: If it's really coming from an honest point, don't just intentionally try to do that stuff, because it's inauthentic, but being honest, you know, talking about something that means something to you with passion.

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Jerry Corley: And each time practicing your three descriptors. How can I say this more effectively? How can I say this with more vivid imagery? So that's what three descriptors does, is it teaches you to get vivid imagery. Like, for example, instead of just saying.

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Jerry Corley: I went fishing.

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Jerry Corley: You know? You could say, I went freshwater fishing in a canoe, alright? I went, I went dock fishing in, at Lake Casitas, right? So it's like, you could say something, you know, so, it's like, it was my first time fishing.

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Jerry Corley: And it's like, and then you're, like, you know, looking… going freshwater fishing for the first time for, like, catfish.

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Jerry Corley: what is that like? It's like… it's basically like setting up the most boring afternoon, morning to afternoon, of your life, and wondering, what am I… what am I even doing here? So, that's one way to start to get into a descripture.

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Jerry Corley: So, doing, like, your podcast, or doing a podcast, even if you don't produce it, maybe you and somebody else doing something so you can be spontaneous together.

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Jerry Corley: Will add to your ability to get up on stage and have a conversation with the audience and be spontaneous with your audience.

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Jerry Corley: One of the keys to comedy, especially today.

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Jerry Corley: is the comedy needs to come across as spontaneous. If it comes across as written, or prepared, or wrote, the audience kind of checks out a little bit. So you want to try to keep it like it's a conversation.

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Jerry Corley: So, Big J has done a lot of podcasting and radio, co-hosts a show called Legion of Skanks with comedians Luis Gomez and Dave Smith, also did the SDR show with Ralph Sutton, another comedian, and worked with Dan Soder. We've covered Dan Soder in our a la carte.

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Jerry Corley: They launched the Bonfire, which was a live radio show on SiriusXM. The show eventually moved to the Faction Talk channel.

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Jerry Corley: And then in 2023, Robert Kelly replaced Soder as Oakerson's co-host. So they've done a lot of this, this, these podcasts. The podcasts and radio, like SiriusXM radio.

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Jerry Corley: Has helped with that spontaneity, sharing stories, ideas, working spontaneously with somebody else right beside you.

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Jerry Corley: So, he spent thousands of hours in unscripted conversation. This is what helps with crowd work, is learning to free associate on the fly while… so your crowd work can feel spontaneous and still developing

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Jerry Corley: and adding your three descriptors. That means practice your writing, And in conversation.

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Jerry Corley: Whether it's podcasting or with friends, try to add more… one more piece of detail

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Jerry Corley: to your description. That's it, just one added piece of detail sometimes adds that extra pop, and we'll examine how Oakerson does this.

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Jerry Corley: So…

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Jerry Corley: And we talk about the importance of doing regular podcasts. I can't emphasize that enough, getting out there and building your social, right? So, if you're doing a podcast, and even just talking about you

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Jerry Corley: Learning, and developing and being new in stand-up.

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Jerry Corley: And, like, what about the, you know… so, Sara, you had a couple of complaints in your email about not feeling the room, it didn't have the people in it, and, I mean.

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Jerry Corley: so many other people would love to know how you get over that? How do you get around that? How do you get over… through that? That moment, getting up on stage and there's, like, 8 people in the room, how do you get up there and now perform when you don't feel…

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Jerry Corley: You don't feel like anybody even's there for you, right? So it's like, that's gonna happen, and it's happened to everybody. Every comic has faced this dilemma.

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Jerry Corley: And it's like, so, I used to be the 130 guy at the improv, and so, meaning I was the newest guy on the regular list, and they popped me in at 1.30.

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Jerry Corley: And I would go up there and have to do a show, sometimes for, like, 4 people.

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Jerry Corley: And most… and mostly they were drunk, so it was… but I didn't…

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Jerry Corley: deliver a less effective show, I gave it my all, and that's one of the things that the club owner loved, was that, you know, no matter how many people were in the audience, I give them a show. And, you learn how to give a show to 4 people as opposed to 300 in a room.

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Jerry Corley: So, one of the things that, was interesting is I always like to find out something about the comic. Like, where do they develop their…

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Jerry Corley: their education, their background, and with Big J, if you listen to him speak, he sounds somewhat sophisticated, but in a street-wise manner, not in a,

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Jerry Corley: I wouldn't say that, you know, he's not quoting Shakespeare or anything. What he's up there, and he's like… and then was… I read an interview in the Inquirer, which is in Philadelphia, that's where he's from, Philly.

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Jerry Corley: Where he says he, he calls his sense of humor a street corner humor.

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Jerry Corley: And he wasn't particularly good at being funny in the written word sense.

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Jerry Corley: but was the guy who basically excelled when a group of people were standing around cracking jokes. He likes crowd work, because everybody has something odd and interesting about them that can be uncovered, and then he just starts to expand on that conversation. So, now realize.

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Jerry Corley: When you're doing crowd work, it's kind of what I call a cheat.

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Jerry Corley: Why? Because when you're doing crowd work, the… the expectation

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Jerry Corley: Maybe somebody can answer that for me. Where is the expectation for a joke when you're doing crowd work? Where's that expectation? Is it high or low?

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Cliff Spenger: Very low.

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Jerry Corley: Very low, very low, almost zero, right? Because, like, there… the audience knows what's going on, you're being spontaneous, this is happening right now, this is unscripted, there's no net of safety, right? So it's like,

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Jerry Corley: So there's high tension, anything can happen. This could be a… this could be a, you know, this could be a dumpster fire, a truck crash, it could, you know, anything could happen with this moment. So, when anything happens that makes sense.

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Jerry Corley: There is a…

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Jerry Corley: Urge to laugh to release that tension, because a human being can only hold that tension for so long, and we'll laugh at embarrassing things, we'll laugh at things that make us feel superior in that moment, we'll laugh at self-deprecating things, because that makes us feel superior.

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Jerry Corley: We'll laugh at the fact that this guy's on the spot, that the comedian's talking to, not yourself, so there's recognition of that… that moment.

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Jerry Corley: So if you, like, like.

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Jerry Corley: Like, that's one lesson you can learn from the course, is that

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Jerry Corley: That crowd work, that spontaneity of crowd work.

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Jerry Corley: gives you an opportunity to try something new, and, you know, it's like a powder keg with a lip fuse, and you could get more laughs in crowd work than sometimes doing your regular humor. It's just like if a joke doesn't work, and you say, you know, wow, I know I left something at home, like a punchline. They're gonna laugh at that, because it sounds so…

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Jerry Corley: Spontaneous and real, and…

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Jerry Corley: The idea that you just tried to do a joke and it didn't work, and you're making a joke about a joke that failed and getting a laugh on it, that's… they see that as magic.

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Jerry Corley: But we know that because the tension is so high because the joke didn't work.

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Jerry Corley: They recognize that tension, they feel embarrassed for the joke not working, they feel, like, tense, so you're working, and then you just acknowledge something, like, I left my… you know, I know I left something at home, like a fucking punchline. They're gonna laugh at the fact that you just made a joke about bombing a joke.

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Jerry Corley: The fact that, wow, you can actually do that, you can make fun of yourself.

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Jerry Corley: Because most people don't make fun of themselves, because they're so busy, so concerned about how they appear in front of, you know, a crowd anyway. So, in that case, you know, you can use that to your advantage.

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Jerry Corley: So, so Jack, you know, Jack Raine's probably doing that all the time, because his jokes are always bombing.

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Jerry Corley: I'm kidding, Jack.

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Jerry Corley: You're doing really well lately.

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Jack Rain: I would have been a great air, airline pilot for World War II.

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Jack Rain: In Japan, at least.

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Jerry Corley: Oh, yeah, because you were bombing?

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Jack Rain: See?

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Jerry Corley: See? Alright, which is weird, because you just make some metaphors. You said Japan, then you spoke Spanish.

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Jerry Corley: So, so…

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Jerry Corley: So, that's, that's kind of funny. Well, so when people first watch, Jay Oakerson, they notice he's dirty. He's very dirty. But that's the way he plays. He's from the streets in Philly, right? So he brings that guy to stage. He doesn't… didn't clean up his act.

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Jerry Corley: to do comedy. He stayed real, he's himself, and his audience finds him.

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Jerry Corley: Right? So, either you like him or you don't. If you don't like Dirty, you're probably not gonna like Big Jay Oakerson, right? So that's where he goes. And also, you know, it's fun to watch him take that… take that Crowd work moment and see it blossom, right? Watching enough of his Crowd where you see something that he uses is like…

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Jerry Corley: He doesn't just go to the profanity. There's always a little elevation there in how he does this, usually with,

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Jerry Corley: And I think most of it is through the sophistication of adding the three descriptors, right? And getting into detail of what he's talking about. And he doesn't talk about subject matter that is…

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Jerry Corley: You know, original.

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Jerry Corley: So that's one thing, you know, if he heard me say that, he'd go, what? You know, it's not original, he does…

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Jerry Corley: pretty much the same stereotypes, the same tropes, the same, concepts, the, the… that we see all the time. He takes perception, how do… how do most audiences relate to…

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Jerry Corley: a gay person and a straight person, then he'll do the stereotypes. Yeah, the gay person is redecorating the house, or whatever. And so, now you see…

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Jerry Corley: those same tropes, but he says it in a way that elevates it, right? So it's like, he's not creating anything new, he's very much like Louis C.K. that way. That's how I see, a lot of his work.

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Jerry Corley: So…

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Jerry Corley: So, and that's one thing that we're gonna… we're gonna highlight, is that three descriptors approach, right? So, he makes you see what he's talking about when it's outrageous, right? And, like, an ordinary person will stop describing something at, like, two descriptors.

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Jerry Corley: Whereas, you just add one more, and it really brightens up the detail there. So, and, so, we're gonna investigate that in a second. We're gonna take a look at one of his videos.

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Jerry Corley: And we're gonna see, and we're gonna show you the transcript of that video, and break down where the three descriptors' lines show up.

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Jerry Corley: So the, he's not, so, in the conversation, he's not interviewing the audience.

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Jerry Corley: necessarily just interviewing. He's looking for opportunities. So instead of just asking questions, with each of the answers to the questions, he's looking for an opportunity.

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Jerry Corley: And you'll see…

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Jerry Corley: In this video we show, when he finds that opportunity is when two dissimilar ideas are converging, and then he moves with that, right? So… but he also says, somebody says something, he's like, okay, what's weird with that? What is known about that? What's relatable with that idea? What's a… what's in a… what was… what brought him to the idea in the first place, right? And that's kind of key.

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Jerry Corley: And, and then how specific can I make that picture, right? How can I use the three descriptors to really heighten that, that image?

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Jerry Corley: So… so he spent, you know, decades doing this, but when you know what he's doing.

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Jerry Corley: When you know what he's doing, you can train your brain to get there faster than decades. And that's like, again, the listing technique.

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Jerry Corley: practicing your three descriptors dialogue, and then… and then, and then dishing it out in the public forum, right? So it's like learning to describe something a little more vividly through analogy, through simile, through metaphor, and that added extra descriptor. Kaz, you have your hand up.

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Kaz Okamoto: Yeah,

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Kaz Okamoto: When you did the joke about, you know, what's the difference between a straight guy and a gay guy, a gay guy's in his house, you know, redecorating. So, to make it sound less…

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Kaz Okamoto: Not, I don't know.

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Kaz Okamoto: deflamatory. Could I say… A straight guy would hire a gay guy to be redecorating his house.

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Kaz Okamoto: So, not…

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Jerry Corley: First of all, first of all.

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Jerry Corley: kudos for recognizing that you would… you want to sort of give it an accolade, give it a positive spin, rather than a negative spin. So yes, you're talking him up rather than talking him down.

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Kaz Okamoto: Yeah, because people are so effing sensitive about everything.

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Kaz Okamoto: You know, like, someone asked me, how come you don't like that guy, that comedian? I said, because he's black?

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Kaz Okamoto: And they went, what? And I went, wow, man, relax already. I thought it was funny, you know, because he's not… he's only half black. But, the whole idea that they get appalled at that, and I thought that shit was funny, I realized, -oh, people are just really sensitive about everything.

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Jerry Corley: Are you kidding, or are you… Is that truthful?

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Kaz Okamoto: Oh, haha, it's truthful! No, just kidding. I'm actually kidding, because the guy's just an asshole, he just happens to be black. An asshole.

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Jerry Corley: Right, right, right. So there you go. So it's like, you know, you know, so it's like, it's like, why do you, why don't you like that comedian? Because he's black?

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Jerry Corley: And they're like, oh, what? He's like, of course, I'm kidding. It's not because he's black, because he's an asshole.

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Kaz Okamoto: Because that's the biggest shock. You wouldn't… okay, if I say, oh, he's an asshole, yeah, we all know he's an asshole. But I don't like him because he's black. People go… That's alright, let him go.

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Jerry Corley: do that. It's like, you know, I'm kidding. That's not why I don't like him. I don't like him because he's an asshole.

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Kaz Okamoto: Yeah.

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Jerry Corley: And he, you know, so it's like, and a lot of times, you, you know.

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Jerry Corley: You'll watch Big J, and the thing is, like, a lot of people… when I first was introduced to Big J, I figured he was gonna be acerbic.

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Jerry Corley: You know? And kind of, like, have a mean streak.

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Jerry Corley: But there's no mean streak. I think Andrew Schultz is meaner than he is, right? He's more of a… he kinda has this, like, amicable approach towards his dirty crowd work. So let's take a look at the video. We're gonna take a look at this video, and we're gonna see how he works. This is about a six and a half minute video, so I want you to take down notes.

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Jerry Corley: I want you to see if you notice when he uses three descriptors, or certain moments that you notice, or maybe there's a moment that you notice that, in a response from the audience members, how… where you may have taken that moment, and noticed an opportunity to do a joke. So, let's take a listen.

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Jerry Corley: And, remember to take notes during this if something comes to you, and then when we go back, if there's any place you want to go back and take a look at, let me know, and I'll jump to that video and use the YouTube transcript

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Jerry Corley: to find, the exact location of what you were talking about. So, keep that in mind as well. So, let's take a look.

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Jerry Corley: At this…

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Audio shared by Jerry Corley: White Claw drunk, someone's… White Claw drunk, someone's about to show their titties.

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Jerry Corley: You guys can hear this okay?

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Jerry Corley: Yes, thumbs up, yeah?

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Kaz Okamoto: Yeah, can you make the image bigger?

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Jerry Corley: Yes, I can.

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Kaz Okamoto: Thank you!

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Jerry Corley: So he opens up, he says, White Claw drunk. So obviously, this is edited, right? So they've taken… that's the thing, I think, with the Crowd Work video, is, like, places like Just For Laughs.

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Jerry Corley: And, 800 Plb Gorilla Productions, which does a lot of these Jets for Laps videos, finding an edit point where they can come in.

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Jerry Corley: and start a snippet video, or a, you know, a segment of the big special, right? So, here he comes in with this moment, he says, White Claw drunk, that's…

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Jerry Corley: What is it? And he's describing White Claw Drunk.

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Audio shared by Jerry Corley: White Claw drunk. Someone's about to show their titties out of a moonroof. That's pretty chill.

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Audio shared by Jerry Corley: Slow down.

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Audio shared by Jerry Corley: Don't get too fucked up. Girl drunk is a very fickle bitch. For Girl Drunk to be fun, it's the most exact recipe.

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Audio shared by Jerry Corley: In all of drinking. And yet, also, every girl's recipe is different. Isn't that weird? And in 45 years, almost, of being alive, I've yet to meet a woman who knows her own recipe… for staying fun drunk. Not one girl knows her recipe, like, I stop here, and I'm good. Every girl drunk, it always starts off…

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Audio shared by Jerry Corley: In the daytime, when the girl's like, we're gonna get drunk tonight, have fun, and it's gonna be great. And then, 5 hours later, they come over to you with, like, a wonky eye. And they're like, and you're like, no, you're already, come on, you're doing it, you're having fun, you're drunk. And you think they'd be like, yeah, I did it! No, they're always like, what are you, my dad? What am I doing?

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Audio shared by Jerry Corley: You know, fuck you!

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Audio shared by Jerry Corley: Here's why I say your friends are hot.

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Audio shared by Jerry Corley: My girl just stopped drinking altogether. She had to quit.

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Audio shared by Jerry Corley: That sucks. I mean, good health-wise, I guess.

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Audio shared by Jerry Corley: But man, her good times drunk?

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Audio shared by Jerry Corley: were great.

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Audio shared by Jerry Corley: Those fun hours were great, but…

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Audio shared by Jerry Corley: Never got through a full night without the bad coming around the corner. I never knew her recipe, but I could tell you, around 3 shots of tequila.

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Audio shared by Jerry Corley: She ruled. She beat the bar trying to get puck for both of us. And then one more sip of alcohol, I gotta stop her from fighting a cop or something. She's like, you fucking pig, you're all pigs! And I'm like… Every guy knows that about his girl. Your chick is one sip of alcohol between the best

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Audio shared by Jerry Corley: of your life, or yesterday's spaghetti in your dick hair. And then you gotta be cool. You'll be like, no, it's fine, you're trying not to puke. It's totally, no. You gotta pull it out, you're like, no, I don't care. We're all adults here.

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Audio shared by Jerry Corley: Sorry, guys, that's a very graphic pantomime. You could almost see those noodles reverse plinkoing through my beaver. That was so descriptive. It's cool, we're all adults.

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Audio shared by Jerry Corley: I tried to stop saying the term, I'm an adult. I've never meant it once when I've said it. It's an overused term. I'm an adult. I've only used it to…

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Audio shared by Jerry Corley: Get our way, that's all any guy does, right? If you want to do something nobody else wants to do, you're like, I don't give a shit, I'm doing it anyway, I'm an adult. And then if you don't want to do it, you're like, I don't have to do it, I'm a dope. And that's how I use it. Opposite sides is the same argument, I'll use… any guy will. If you're early dating with somebody.

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Audio shared by Jerry Corley: And the dude wants to fuck, and the girl goes, oh, I would, but I'm on my period, so…

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Audio shared by Jerry Corley: The guy would be like, I don't give a shit about that. Little blood on my dick, I'll fuck right through that period, I'll put a tail down. I don't give a shit, I'm an adult.

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Audio shared by Jerry Corley: And then be living together for, like, 5 years.

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Audio shared by Jerry Corley: And she gets horny on her period one day, she's like, babe, I'm on my period, but I'm so horny, you're gonna be like, I don't know, babe, it's like… I gotta put a towel down, there's gonna be blood all over my… it's like… I gotta wait a few days, I'm an adult, what am I gonna fuck every day? Am I gonna fuck every day now? Now I'm the everyday guy? Come on, grow up. Be an adult.

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Audio shared by Jerry Corley: I'm getting hammered?

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Audio shared by Jerry Corley: What are you drinking?

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Audio shared by Jerry Corley: You don't even know. You're a black woman, and you just let a white bald guy buy you a drink and not tell you what it was? You're just taking his word for it. Wow. That's progress.

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Audio shared by Jerry Corley: Pretty chill. You're a couple, I assume. Nice. First black woman for you?

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Audio shared by Jerry Corley: I didn't think so. First white dude for you, not a chance in hell. Is it really? He was the first? What kind of pressure was that, dude? When you were gonna show her her first white dick ever, dude?

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Audio shared by Jerry Corley: Damn, man, you were fucking fighting for a whole race of people in that moment. You don't even know, that's her forever thought of white dicks. I wouldn't disgrace white men by being the first white dick a black woman saw. No way in hell. No way in hell! He's got a biggie, huh?

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Audio shared by Jerry Corley: Vicki? Yeah. She got tired of those black longies, right? Coming out of her butthole like a goddamn nose piercing.

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Audio shared by Jerry Corley: I'm sorry, I'm very descriptive. It's color for language. First white dude, what happened?

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Audio shared by Jerry Corley: You started wanting to sit at work again?

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Audio shared by Jerry Corley: Can't take those black poundings and have a sit-down job. It's gonna take you 25 minutes to get in your chair. You're gonna be like, pfft, oh, it still stings.

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Audio shared by Jerry Corley: Like, you wanna go get lunch? You're like, no, no, no, no.

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Audio shared by Jerry Corley: Bring me back a hot dog. You were just ready. Has your family met him yet?

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Audio shared by Jerry Corley: Yeah? Does he go to the barbecues and they all laugh while he dances? Yo, Tommy, do that dance you said! Watch this, motherfucker.

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Audio shared by Jerry Corley: Do you dance? Do you do? Does his family do awkward,

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Audio shared by Jerry Corley: Like, black when you're around? They made collard greens for you? Nuh- they tried? Really? They presented this like the food of your people? Damn.

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Audio shared by Jerry Corley: I hope your old white mom came out of dashiki and shit. We're down. We're players. You know, I blew a security guard to go to a Parliament concert once. Flash line. Crowd's too white to get those sick black references. Maybe I should look into a black woman.

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Audio shared by Jerry Corley: Thicky. Impressive. Impressive.

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Audio shared by Jerry Corley: Were you nervous to go out on a date with a white guy for the first time?

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Audio shared by Jerry Corley: It's time for a change. Yeah. Somebody needed a cosigner for a Kia Sportage.

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Audio shared by Jerry Corley: Hell yeah, dude. Hey, boo. Don't you mind throwing your John Hancock down?

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Jerry Corley: Alright, nice. Okay, so… Cliff, you have your hand up.

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Cliff Spenger: Yeah, I was gonna say that, I think,

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Cliff Spenger: Just my own personal opinion. I thought a lot of his, the material about the mixed-race couple, he had already done before.

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Cliff Spenger: Just a thought.

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Jerry Corley: Okay, yeah, yeah, I'm sure you see a lot of that, definitely, right? So, there's, like, Joe Lowers, he's the, president of the World Series of Comedy.

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Jerry Corley: he had a one-man show at… in Vegas for a while, and it was basically all crowd work, right? So… but I would see repeated tropes

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Jerry Corley: Over and over and over again. You'd go to somebody in the crowd, and you'd hear the same jokes. And I was like, dude, you gotta come up with new shit.

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Jerry Corley: If… because people are coming back to see the show, expecting, hey man, that was great crowd work.

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Jerry Corley: And then they come back to see the show again, and you're doing the same jokes, just with different people in the audience.

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Jerry Corley: So, eventually, they're gonna get tired of that, and realize the magic is not what they thought it was. So, but…

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Cliff Spenger: So, the weakness of crowd work.

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Jerry Corley: Yeah, it shows a weakness of…

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Cliff Spenger: We're doing that repeated Crowd work.

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Jerry Corley: Right. There was a couple of things, like, you know, I'm an adult now. I figured when he got to the segment where he says, I'm an adult now, he then went into…

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Jerry Corley: prepared material there. And he even says, he said in an interview that, you know, he said, that's what I like about doing it. I'll go back to prepared material, you know, when it comes up as sort of a spontaneous moment with the crowd, and I'll do the segment of the prepared material, then I'll go back out to the crowd again.

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Jerry Corley: So, you'll see some of that. So, in the, yeah, so…

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Jerry Corley: I would say that a lot of it comes from there. Also, he's got a lot of experience from the streets, in the hood he hung out in, and so interactions with, you know, both his black friends, white friends, so he's not completely naive to the culture.

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Jerry Corley: So it was like, it would be, like, with me hanging out with Mexican soccer players, when I played on that team for years. It was, like, all these friends, I'd go to the parties, and you got to know, you got to understand some of the culture, how people spoke with each other, the interactions there. So, yeah, I'd say that was a good observation. Jack Ray.

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Jack Rain: Yeah, I wrote quite a lot of things on here, like.

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Jerry Corley: Yeah, go ahead and share them.

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Jack Rain: Yeah, the White Claw Drunk, show titties through the moonroof, staying fun drunk.

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Jack Rain: Wonky-eyed. He also did a lot of character act-outs right after he would give it a description. Good times, drunk, 3 shots of tequila, she ruled. That was easy for me to paint a picture, like, females getting, like, really confident after having 3 shots of tequila. Woo!

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Jack Rain: Spaghetti dick here, obviously, and then there was a big character act out with that. Noodles Through My Beaver.

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Jack Rain: It was just another…

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Jerry Corley: Saying that makes me laugh, you know?

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Jack Rain: Like.

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Jerry Corley: Spaghetti noodles through my beaver.

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Jack Rain: Yeah, and that'll go LeBron half.

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Jerry Corley: Unco.

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Jack Rain: too, he was going… he was just… he was milking that one. Was that… I can't… I don't remember if that was,

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Jack Rain: if he… that was prepared material, if that was, crowd work. Alright.

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Jack Rain: And then, there was a running gag.

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Jack Rain: cliche that I wrote in, I'm an adult.

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Jerry Corley: Yeah.

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Jack Rain: He kept throwing that over and over again.

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Jerry Corley: Well, he went into that bit, right? He went into.

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Jack Rain: We're dead.

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Jerry Corley: that I'm an adult.

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Jack Rain: Yes.

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Jerry Corley: And then you could see, this is where I think it was, like, that was part of a prepared piece.

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Jack Rain: Yes, definitely.

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Jack Rain: Show first white dick.

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Jack Rain: And then, fighting for a whole race of people.

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Jack Rain: Taking Dick at sit-down work, followed by a character act-out.

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Jack Rain: Family Barbecue while watching the white guy dance, laughing while the white guy dances, The Food of Your People, with another character act out. Co-signed for Kia Sportage? I couldn't get that last word, and… but there was a character act out followed after that one as well. That's what I got.

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Jerry Corley: Yeah, yeah. You know, it's like, hey, boo, can you throw your John Hancock down on that?

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Jerry Corley: You know, basically, it was like her saying, you know, can you sign this for me? Can you sign as the co-signer for me? Sort of like, so,

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Jack Rain: Is that, like, is he saying, like, a sport car?

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Jerry Corley: This Sportage is a model of the Kia, right?

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Jack Rain: Coffee.

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Jerry Corley: So, it's a Kia Sportage. I think it's a, you know, it's like a, I don't know, a smaller SUV, I think, but it's a common one we've seen on TV and in their ads. Kaz.

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Jerry Corley: You're muted, Kaz, can't hear you.

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Kaz Okamoto: Sorry, I was laughing, because… You said Kia Sportage, and I'm thinking.

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Kaz Okamoto: IKEA. I heard Ikea, this is how.

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Jerry Corley: Oh, funny.

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Kaz Okamoto: I heard Ikea. I go, what the fuck is IKEA Sportage? And you said, oh yeah, you know, where… and when you said car, I went, oh, Kia! Oh, that's why I was laughing. Gotcha.

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Kaz Okamoto: But the one I liked the best was when, you know, when he talked about girl drunk, and how he said, every girl, girl drunk, there's an exact recipe

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Kaz Okamoto: for every girl, and every girl is different, and they don't even know what the recipe is. And then when he went in to talk about his girlfriend with the three shots of tequila, and one sip after that, it, like, turns into a whole other thing. Now, I thought that was hilarious.

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Kaz Okamoto: Because…

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Jerry Corley: Definitely recognition.

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Kaz Okamoto: Yeah, because, I mean, that was something that I'm… I'm sure he wrote, he just didn't think of it off the top of his head, but the whole idea, because there's so much you could do with, you know, and…

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Kaz Okamoto: nobody knows what their own recipe is. Each girl has a recipe, but they don't know what it is. I just thought that was the funniest thing, because it's so true, you know, and I just thought it was hilarious. Sorry.

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Jerry Corley: Yeah, on top of that, on top of that, when he says that… just that line saying that, like, they have… each girl has their own recipe, but they don't know what it is.

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Jerry Corley: So what that is, is he's setting it up where the audience knows, but the person in the story does not, which is comedic irony, which gives us a sense of superiority. We can't hear… we can't wait to hear what happens next.

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Jerry Corley: Right? So it's a great way to create a hook, is to add a dramatic irony technique where the audience knows, like, she doesn't know what it is. And now he's gonna tell us what happens, and so we're tuned in a little more. It's a nice hook.

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Kaz Okamoto: Well, also, it'd be a great way to go back into the crowd and point out a woman and say, do you know what your, recipe is, your exact recipe?

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Jerry Corley: Yes, right, yes, perfect.

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Kaz Okamoto: Maybe flustered, because, you know, when you're… unless you like doing… answering a comedian.

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Kaz Okamoto: it puts you on the spot. So, you know, a bottle of white wine, I mean, who knows what they would say. And then, because every answer from the audience would be different, even if he used this over and over again for crowd work.

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Kaz Okamoto: The answers would be different, so his response would be different.

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Kaz Okamoto: But the setup would be the same, because I've seen comedians do that. Like, you know Jimmy Brogan. Yeah. He says the same basic thing, but when the crowd reacts and he asks questions, you know, asks questions, and the people give different responses, then he gives a different…

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Kaz Okamoto: crowd work response, it's not the same. So, even though I've seen them about, you know, 8 times, it's always funny, because the people are funny, because the answers they give.

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Jerry Corley: Yeah, yeah, it's like, you know, kids say the darndest things, or, you know, it's kind of like that. Everybody's gonna say a little something different. Still, even with the same questions, you have… that's why, you know, what's your name, what do you do for a living, still works, because everybody's gonna say something different, which sets up a possibility for something else to happen. Like, you know, Kira Sultanovich does that whole thing about, you know, she'll ask a couple.

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Jerry Corley: Like, you know, what's your ethnicity? What's your ethnicity? What brought you guys together? So then she'll do the two ethnicities, how that went, you know, how that would work out on a date, or meeting their parents, or whatever. And so, all of that gives her, you know, places to work.

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Jerry Corley: Just asking, but I think that's a good follow-up, would be like, what is… what is your formula? Do you know your formula? What's your formula? You know? And it's like, and, you know, I don't know. If she says, I don't know, see? I told you, that might even get an applause break right there, because it's like, oh my god, it's a magic trick, you were right!

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Jerry Corley: You know, how did he know?

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Jerry Corley: Because he's done this a lot of times, like, you've been out there, and it's like, you know, it's so fun to see that, and I can… I've seen that, I think everybody has seen that sort of thing. Cliff.

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Cliff Spenger: Oh, God.

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Cliff Spenger: Am I mute? Oh, I'm not muted. Sorry. I'm responding to what Kaz was saying, because she heard it wrong. I call it old-age hearing, and I… I misheard this joke about the white-clawed drunk.

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Cliff Spenger: I thought Someone's about to show their titties out of a moo-moo.

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Jerry Corley: No. That's an 8.

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Cliff Spenger: Absolutely.

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Jerry Corley: Yeah, somebody's about to show their titties out of a moonroof.

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Cliff Spenger: No alva mu-mo, and I…

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Jerry Corley: Yeah, right, out of a moo moo, what the… that's a different visual entirely.

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Cliff Spenger: Yeah, you had to take the dress all the way up to there.

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Jerry Corley: Yeah, actually, if it's a Moo Moo, you only have to raise it up to about your knees.

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Cliff Spenger: Anyway, I just want.

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Jerry Corley: That would be good crowd work right there, right? If it happened that way. And you know where that comes from? That, for me, comes from a situation where I was doing crowd work with an audience, and there was a couple, these four gals who were dressed to the nines, right? They were at this sort of Christmas party for this big condo complex, and they were having this Christmas party there. Part of the thing was have a DJ and have a comedian.

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Jerry Corley: But it was in this lobby of a Renaissance hotel, and the lobby had high ceilings, the acoustics were horrible for doing interactive talking, because the audience is

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Jerry Corley: Three rows or more back, couldn't really hear the words.

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Jerry Corley: Plus, I think, because the DJ was playing, there was a little bit of reverb

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Jerry Corley: on the… on the, on the sound, so it was really kind of… they weren't hearing me. And,

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Jerry Corley: So, I was going table to table, and I went up and talked to these gals, who looked very nice, they were dressed well, and I said, bye, ladies are dressed so nicely, you know, it's like, look at this. And there was one gal that had those long boots that go over the knee.

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Jerry Corley: And I said, I love these boots that just go over the knee. These are, like, are so stylish, right? And this guy at the next table, an older guy, starts to laugh, and I said, why are you laughing at that? He goes, I thought you said something else. I said, like, what? And he said, boobs.

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Jerry Corley: Oh, you thought I said I like the way your boobs go? That wouldn't be… if I said boobs, I don't think that would be a compliment.

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Jerry Corley: Right? I like the way your boobs go over your knees, right? That would be, like… and so, now we get into this situation that's entirely different. Kia moonroof type of thing. I thought it said Moo Moo, and she would have to hike the dress up. Actually, if it's a Moo Moo, she would only probably have to hike it up to about her knees.

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Jerry Corley: So, and then we get… so that can come out of that, but that comes from an experience that happened in another show, but I think in general, if you picture a woman in a moo moo.

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Jerry Corley: She's not wearing a bra, she's got big boobs, she's a big lady, the boobs are hanging down low, right? And then you can just make that reference there. So, I mean, that's… that's a… you're doing an association, right?

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Cliff Spenger: That's also a sign to say that might be a possibility. A what? If she's wearing a woo moo in the first place.

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Jerry Corley: Yeah.

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Cliff Spenger: Kind of put you in an age bracket.

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Jerry Corley: Right, gives you an age, certainly. Lina, you had your hand up?

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lina alva: I, I didn't have a specific joke, I just wanted to add, ad that…

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lina alva: A lot of them find that attractive.

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lina alva: Because it reminds them, like, of their mom growing up, and… So, most of the time.

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lina alva: Are looking for that mother…

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Jerry Corley: I've always wanted to fuck my mom.

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lina alva: Unbeknownst to…

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Jerry Corley: Kidding, of course.

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lina alva: No.

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Jerry Corley: So… but you're right, you're absolutely right. That's the Freudian thing, right? Freud said, everybody looks for their mother and their wife. Men look for their mother and their wife. And I said, I don't know about that. There's like…

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Jerry Corley: I think there's, you can, you know… is that really true? You can never call up your mom and go, hey, mom, I'll be home in about an hour, be naked. I mean, you couldn't do that with your mom. I mean, what if you said that to your mom? What would she say? See you in an hour, Oedipus.

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Jerry Corley: Right? So it's that… and that's sort of like, you could play that line, but you're right. And this is what… that's a whole premise. That's an entire premise of…

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Jerry Corley: Every man has a certain type. Some men have multiple types, depending on their mood. So all these women that work on, hey, I've got to be skinny, or I've gotta be, you know, this way, or I've got to be that way, trust me, whatever type you are, there's a man out there who likes that type.

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Jerry Corley: And it's like… and it's like, just, you know, once… because everybody has an impression.

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Jerry Corley: A mental impression of what they think is attractive. So if you understand that, if they look at you and they go, oh, she reminds me of somebody from their past, it could be a teacher, could be a sister, could be a cousin, could be, you know, could be somebody they encountered a lot that was kind to them, and all of a sudden that person resembles that person, there's gonna be a connection.

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Jerry Corley: And so when we realize that, just be you. Stop worrying about being somebody you're not.

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Jerry Corley: And you'll find that, you know, you'll attract the person that is attracted to you. But in that sort of sense, I would love to see a premise, like, talking about the different types, and what that, you know, where that may have come from in that person's past, so to connect that. That would be a fun bit to do. Jack, you have your hand up.

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Jack Rain: I…

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Jerry Corley: You can tell Jack's got a joke on something that would.

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Jack Rain: I said, because he was so…

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Jerry Corley: I thought I could have shared this.

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Jack Rain: I totally agree with Lina. I'm always searching for my mom whenever I'm, you know, having a date with a girl, ever since my mom left me at the orphanage.

348
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Jack Rain: I'm gonna throw that one little phrase out. I'm always looking for my mom, ever since she left me at the orphanage.

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Jerry Corley: So add another descriptor.

350
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Jack Rain: I've always been looking for my mom at the broke baby orphanage, or… I don't know.

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Jerry Corley: authentic, something real, something plausible, that the Catholic orphanage.

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Jerry Corley: Just adding that.

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Jerry Corley: They think, you know.

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Jack Rain: Yeah.

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Jerry Corley: St. John of God Catholic Orphanage.

356
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Jerry Corley: You know?

357
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Jack Rain: at the Ain't My Kid Orphanage.

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Jack Rain: I don't know.

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Jerry Corley: So, it's like, most of the orphanages were Catholic, right? You know, back in the day, that whole thing, it's like, so the St. John of God Catholic Orphanage. I'm just looking for a mom that looks like a nun. That's what I'm looking for. I need a nun. I need somebody who, like, scolds me for talking back

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Jerry Corley: So you can take it, take, expand on that. And if you got… see, saying that, find that third descriptor line. What's that third descriptor? Kaz, you have your hand up.

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Kaz Okamoto: Well, the thing, what Jack was saying, I thought about,

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Kaz Okamoto: you know, yeah, I always date someone who will leave me after 2 weeks, because if his mom left him at the orphanage when he was 2 weeks old, you know what I mean?

363
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Jerry Corley: That's a good one, yes.

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Kaz Okamoto: a way to connect it in that way, or if he was older, I can only stay with someone up to, like, a year, and then I have to go.

365
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Kaz Okamoto: You know, so I'm always looking for that. I just thought that was pretty interesting.

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Jerry Corley: Yeah.

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Jerry Corley: That's… that's good. Like, if you… now, good, Kaz. Like, what you did there is you expanded on the new information once Jack brought an orphanage, then you were like, if that's true, what else could be true? So I want you to write that phrase down. This is something you should have up on your board. Like, if this is true, what else can be true? And that's such a great way to expand on a bit.

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Jerry Corley: Like, so, if Jack was raised in an orphanage, his mom had him 2 weeks, then dropped him off at an orphanage, that's why he can only be in a relationship for, like, 2 weeks at a time.

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Jerry Corley: And it's like, and then he, you know, he feels abandoned, you know, and then they abandon him, because he keeps choosing women that do that, because now… but, you know, he feels secure about it, because it makes him feel like he's nesting.

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Jerry Corley: You know?

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Kaz Okamoto: He could add in the, like, that the girls that he dates have to be Catholic, that, you know, the mother left, you know,

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Kaz Okamoto: A cross on his…

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Kaz Okamoto: neck when he… she was left at the orphanage, so… so I was looking for that, like, adding those descriptors in, always looking for that kind of girl with those symbols of being abandoned at the orphanage.

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Kaz Okamoto: I don't know, it's…

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Jerry Corley: Yeah, yeah.

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Jack Rain: Nesting? What is this, National Geographic for Lonely Boys?

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Jerry Corley: No, no, nesting is, like, when we feel like we're in our nest or home.

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Jack Rain: Yeah, I was playing on words.

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Jerry Corley: Even if it's toxic, yeah, that would be a good comment to say on your own. Like, if you were up there and go, you know, I feel like I'm nesting, you know, nesting, what are we at the, you know, the,

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Jerry Corley: What are we talking about?

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Jerry Corley: Or a family for little boys.

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Jack Rain: National Geo… National Geographic.

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Jerry Corley: Yeah, there you go, that's a good descriptor. Nice job. Good job. Now, you're starting to talk like that, that's good, right? Just getting yourself to talk like that, give it a description, adds to that… adds to that concept. So, if we're gonna go through the transcript here, which I wanted to make sure and include, White Claw Drunk, to me, is funny.

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Jerry Corley: Because that's a unique trunk. Because there's sugar, right? It's that sugar trunk, and White Claw gets their alcohol from fermented sugar.

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Jerry Corley: And it's like, as opposed to, like, bourbon, right? Which gets its, from corn, or mash, or, right? So it's like, vodka gets their alcohol from, potatoes. And it's like, tequila gets their alcohol, from mezcal, right? So it's like,

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Jerry Corley: So, and, what else?

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Jack Rain: It's also K-sounding, white claw drunk. Claw drunk.

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Jerry Corley: claw drunk. Like, blueberry White Claw drunk. Blackberry white claw drunk.

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Jack Rain: There you go, yay.

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Jerry Corley: It's like, she's like Blackberry White Claw drunk, you know? And it takes about 6 of them. And 6 of them, they're in a blackout on Blackberry Whiteclaw, right? And it's like, that is…

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Jack Rain: Black Friday.

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Jerry Corley: Right? Yeah, on Black Friday, that's a terrible combination. So yeah, nice, keep going. That's good. Lina, what do you got?

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lina alva: Did they have to be, like, White Claw? Could it be, like, a Kessler Whiskey Drug?

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Jerry Corley: Yeah, well, you know what? That's a…

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lina alva: bar on a… at a sleazy Tunsa Boulevard bar.

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Jerry Corley: Yes. So, what you just identified is White Claw Trunk. So, in this…

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Jerry Corley: in this sort of, like, this comes from his crowd work, right? It's like, oh, that's White Claw drunk, so obviously somebody was drinking White Claw, because he asked what they were drinking. Now,

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Jerry Corley: You just went… you just jumped in to compare and contrast from White Claw drunk… what is White Claw drunk versus Kessler Whiskey drunk?

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lina alva: Well, one's gonna get you really, like, one's gonna get you super fat within, like, a week, and the other one's just gonna get you really hammered.

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lina alva: at the ER.

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Jerry Corley: Yeah, you wind up… you wind up on a neighbor… you wind up in your… in a… in a… on a friend's couch smelling like old hot dog water.

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Jerry Corley: You know?

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Jerry Corley: That's a great description right there, old hot dog water. Yeah, it's like,

404
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Jerry Corley: And it's like, so that… that's a funny… on a friend's couch, smelling like old hot dog water, that's Kessler whiskey drunk. And what I was trying to think about is, Kessler whiskey sounds like the whiskey, like, bikers would drink, and they're broke, so they get the cheap shit, right? So it's like, Kessler, you know… and I had a roommate for a while that drank Kessler.

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Jerry Corley: Right? And I was like, dude, what are you doing? You know, if you're gonna drink bourbon, drink something decent, at least.

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Jerry Corley: But…

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Jerry Corley: he was able to, you know, get his drunk on, and for, like, $12 a handle, or whatever it was at the time. And so, and, you know, he would wake up, and I said, dude, you know…

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Jerry Corley: It's like, what do you smell like? Old hot dog water. So, White Claw drunk, and then he goes, then he goes, someone's about to show their titties out of a moonroof.

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Jerry Corley: So that's a nice three-descriptor line. It said, if somebody's about to show their titties out of a… out of a car, somebody's about to show their titties. That's, you know, so, that's… and then he goes, that's pretty chill, slow down. But I'll note… you'll notice, after…

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Jerry Corley: He says the, says the, line, somebody's about to show their titties out of a moonroof, right? After he says that three-descript or line, it almost like he gives up.

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Jerry Corley: Right?

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Jerry Corley: And now he's gonna… that's pretty chill, slow down, which is like, oh, my brain just, you know, went into overload there. That's all I've got on that. And then he says, don't get too fucked up. Girl… and then he goes into, girl drunk is a very fickle fucked up. For girl drunk to be fun, it's almost the exact same recipe in all of drinking.

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Jerry Corley: And yet, also, introduces a paradox here. Every girl's recipe is different. Isn't that weird? In the 45 years, I've kind of been almost being alive. That's a funny little line there, instead of just saying, being alive, almost being alive.

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Jerry Corley: I've yet to meet a woman who knows their own recipe for staying fun drunk.

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Jerry Corley: So, not one girl knows their recipe. Like, I stop here, I'm good, every girl… it's like, I'm girl drunk, it always starts off… every girl drunk always starts off in the daytime, girl's like, we're gonna get drunk tonight, and then it goes into the act out. What's this like?

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Jerry Corley: Right? So you could almost see the escalation, which is why you… I'm adding this transcript, because you can see how he builds on this piece, right? Every girl's recipe is different, isn't that weird? 45 years, staying drunk, not one girl knows a recipe, and I just go, what's that look like?

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Jerry Corley: Right? Starts out in the daytime, girl's like, we're gonna get drunk tonight, have fun, it's gonna be great. Then 5 hours later, they come over to you with a wonky eye, and they're like, you shot? And you're like, no, you're all right, come on, you're doing it, you're alright, you're having fun, you're drunk, just let, like, let's stay right there. And it's like, where you are, it's like, yeah, fuck you! What are you, my dad? I'm gonna do what I want, give me another shot, I'm gonna do 9

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Jerry Corley: shots.

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Jerry Corley: Fuck you! Don't tell me what to do! Fuckin'… you know, fucking didn't come out and go home, then!

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Jerry Corley: Right? So it's like… so it's like, so you could say…

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Jack Rain: That turned out to be the most awkward bring-your-daughter-to-work day for the bartender.

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Jerry Corley: Oh, that's good, Jack. Nice reverse. Yeah, that was the most awkward bring-your-daughter-to-work day.

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Jerry Corley: So it's like, that's a fun… that's a funny line, right? And so, here's why I say, and this is like, this is why, you know, fuck you, and he's… and he's acting out his girlfriend. And then he's like, you know, see, that's why I say your friends are hot.

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Jerry Corley: Right? And you notice he never gets mean.

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Jerry Corley: Right? He's not really disparaging, calling her a bitch, saying anything that's super negative. He's making fun of the situation. And this is one thing I like about him, he's charming.

426
00:59:45.210 --> 00:59:46.519
Jerry Corley: And yet…

427
00:59:46.560 --> 01:00:07.070
Jerry Corley: you know, dirty and funny at the same time, so he's, like, harmless. He's amicable with everybody in the audience. He enjoys them being there, and he's playing with them, right? And rather than being mean, or making him feel super uncomfortable. And he mentioned that in an interview, he's like, I don't like when people get super uncomfortable. I'd like to do the crowd work and keep it playful.

428
01:00:07.070 --> 01:00:19.200
Jerry Corley: You know, because that's what makes people… because from the… when you hung out on the street, that's why they went and hung out all the time, is because we'd make fun of each other, but it was always in a playful way, and we'd come back and do it again, because it was fun.

429
01:00:19.200 --> 01:00:39.999
Jerry Corley: It's not fun if you feel uncomfortable, or weird, or singled out, or insulted. It's no longer fun. It's like, and then he says, gets honest, right? He's like, my girl just stopped drinking altogether. She had to quit. Like, that sucks. I mean, good health-wise, I guess, but man, her good times were drunk were great. Those fun hours were great, but never got through a full night.

430
01:00:40.310 --> 01:00:45.259
Jerry Corley: Without the bad coming right around the corner. And this is a great way to say this.

431
01:00:45.670 --> 01:00:48.730
Jerry Corley: The bad coming right around the corner.

432
01:00:49.370 --> 01:00:56.060
Jerry Corley: For the listener, it creates an image, and it creates a sensation that something else is coming up.

433
01:00:56.270 --> 01:01:07.740
Jerry Corley: So, in writing, it's called a hook, right? And when you're doing storytelling, even in longer stories, you have hook to hook to hook to hook. Hook, moment, explanation, act out, hook.

434
01:01:08.400 --> 01:01:21.509
Jerry Corley: Keep them in, keep them involved. And this is why, when you're a headliner, this is super important to understand, because you're gonna get to the point where you're doing 45 minutes to an hour, and right about 28 minutes in.

435
01:01:21.740 --> 01:01:25.229
Jerry Corley: To 30 minutes in, they start putting the checks down on the table.

436
01:01:25.750 --> 01:01:39.419
Jerry Corley: Right? For everybody. And this is where you have to be able to still keep them interested in the story. Once they start going to the check, you know, you could lose… lose the audience right there. So, that's a, how do you keep them on a hook? So…

437
01:01:39.760 --> 01:01:59.430
Jerry Corley: So it's like, now we're waiting for the night that never… without bad coming around, that never got through a full night without the bad coming around the corner. I never knew her recipe, but I could tell you were around 3 shots of tequila, she ruled. She'd be at the bar trying to get pussy for both of us. And then one more sip of alcohol, and I gotta stop her from fighting a cop.

438
01:01:59.430 --> 01:02:19.009
Jerry Corley: You fucking pig! You're all fucking pigs! Like, you know, it's like, oh, come on, she's, yeah, you know, she's not… doesn't mean it, she's the drunk. Like, every guy knows how to vet her… his girl. Like, your chick is like one sip of alcohol between the best fuck of your life or yesterday's spaghetti in your dick hair.

439
01:02:19.040 --> 01:02:25.729
Jerry Corley: Right? So, let's, that was a bit bad transcription, right there. So, spaghetti in your dickhead.

440
01:02:25.730 --> 01:02:31.210
Jack Rain: From the grizz, fuck of your life, to going the worst… oh, fuck in my life.

441
01:02:31.490 --> 01:02:32.350
Jack Rain: Or your life.

442
01:02:32.350 --> 01:02:45.529
Jerry Corley: That's a different way, yeah, that's… it's lacking… it now is… is, compare and contrast, kind of a mirrored phrase, with a little twist. The coincidence comes in, best fuck your lives to the best… oh, fuck.

443
01:02:45.660 --> 01:03:03.480
Jerry Corley: Of your life, you know? So it's like, to the worst, oh, fuck, of your life. So, yeah, that would be a fun little comparison. There is heightened coincidence there. So, but the descriptor, I think, is, like, the one that gets really vivid, because then it leads to his act out, pulling the spaghetti out of his…

444
01:03:03.480 --> 01:03:10.010
Jerry Corley: Like, right? It's like, and it's like… and then you gotta be cool, you're like, no, babe, it's fine, you're trying to… not to puke.

445
01:03:10.010 --> 01:03:29.989
Jerry Corley: You know, it's totally, no, you're good, you're good. He's like, I gotta pull it out, you're like, no, I don't care, we're adults here, you know? Sorry, guys, that was a very graphic pantomime. And him just explaining that got a big laugh, right? So, you can almost see those noodles reverse plinkoing through my beaver. I'm sorry, sorry, that was so descriptive. It's cool, we're all adults, right?

446
01:03:30.380 --> 01:03:49.340
Jerry Corley: You know, I try to stop saying the term, and I'm an adult, and I never meant it once when I've said it. It's an overused term. I'm an adult. I've only used it to get, you know, to get away with stuff, like, it's like, it's like, it's all our guy does, right? It's like, you want to do something nobody else wants you to do? It's like, you're, you know, you're like, I don't give a fuck, I'm doing it anyway. I'm an adult.

447
01:03:49.340 --> 01:03:54.370
Jerry Corley: Right? And if you do want to do it, you're like, I don't have to do it, I'm gonna… I'm a fucking adult.

448
01:03:54.400 --> 01:04:00.810
Jerry Corley: So it's like, it works both sides of the argument, and that's how I use it. Opposite sides of the same argument.

449
01:04:00.810 --> 01:04:15.560
Jerry Corley: I'll bet you guys any guy will. If you're in early dating with somebody, and the dude wants to fuck, and the girl goes, I would, but I'm on my period. So the guy would be like, I don't give a fuck about that, babe, a little blood on my dick, I'll fuck right through that period. I'll put a towel down, I don't give a fuck, I'm an adult.

450
01:04:16.420 --> 01:04:33.400
Jerry Corley: And then, and then be living together, like, 5 years, she gets horny. She goes, I'm on my… babe, I'm horny, but I'm on my period, you know? It's like, I'm, you know, babe, I'm on my period, but I'm so horny. And you're like, I don't know, babe. It's like, I gotta put a towel down, there's gonna be blood all over my dick.

451
01:04:33.400 --> 01:04:37.380
Jerry Corley: It's like, you know, I gotta wait a few days. I'm an adult.

452
01:04:37.490 --> 01:04:48.089
Jerry Corley: What, are we gonna fuck every day? I'm not gonna fuck it every day now. I'm gonna, you know… what now I'm on the fuck every day guy? Right? So it's like, it's funny, because he takes the same argument.

453
01:04:48.110 --> 01:04:58.819
Jerry Corley: Does a compare and contrast. Early in the relationship, it goes like this. Five years into the relationship, it goes like that. So now he's using compare and contrast of that argument, Kaz.

454
01:04:59.950 --> 01:05:03.669
Kaz Okamoto: Yeah, I thought that one was funny. But I was thinking about,

455
01:05:04.170 --> 01:05:13.020
Kaz Okamoto: I'm going back to the white claw thing, because if your audience is not young enough to know what a white claw is, like, if people…

456
01:05:13.110 --> 01:05:19.230
Kaz Okamoto: that are older, so then you can change, like lena said, you change the name of the alcohol, right?

457
01:05:19.280 --> 01:05:24.600
Kaz Okamoto: But then I thought when they did, you know, just, just put your John Hancock here.

458
01:05:24.600 --> 01:05:41.110
Kaz Okamoto: then if you're in an audience with young people, you have to explain what a John Hancock is and why they use it, meaning it's a signature from the largest signature that's on the Declaration of Independence. Because not everybody knows that. I know it sounds silly.

459
01:05:41.230 --> 01:05:42.170
Kaz Okamoto: But,

460
01:05:42.170 --> 01:05:44.160
Jerry Corley: Very true. Yeah, very true.

461
01:05:44.160 --> 01:05:55.940
Kaz Okamoto: A lot of young people who don't remember their history lessons from high school would not remember what that was. Plus, it's a different type of expression.

462
01:05:56.470 --> 01:06:02.169
Jerry Corley: Yes, absolutely right. So if you said, like, if you go white-claw drunk and nobody laughs.

463
01:06:02.810 --> 01:06:13.320
Jerry Corley: and you realize it's an older group. You go, you don't know what a white claw is? You know what that white claw drunk? That blackberry white claw drunk? You don't know what's a white claw? You don't know what a white claw is? It's a… it's a…

464
01:06:13.580 --> 01:06:16.800
Jerry Corley: It's a… it's an alcoholic beverage for pussies.

465
01:06:18.240 --> 01:06:21.600
Kaz Okamoto: Yeah, you could always throw in… well, you remember Zima, right?

466
01:06:21.600 --> 01:06:25.659
Jerry Corley: I was gonna say that exact thing. You remember Zima? Yeah, it's kind of like Zima.

467
01:06:25.660 --> 01:06:27.250
Kaz Okamoto: Kind of like that, but was played…

468
01:06:27.520 --> 01:06:30.800
Jerry Corley: Do you, do you remember, what was it,

469
01:06:30.950 --> 01:06:33.820
Jerry Corley: What was that, that, what was that…

470
01:06:34.090 --> 01:06:37.409
Jerry Corley: Seltzer? What was that thing with the two farmers?

471
01:06:40.140 --> 01:06:42.270
Jerry Corley: Bartles and James.

472
01:06:42.270 --> 01:06:43.630
Kaz Okamoto: Oh, yeah.

473
01:06:43.630 --> 01:06:44.630
Jerry Corley: Cardinals and James?

474
01:06:44.630 --> 01:06:46.089
Kaz Okamoto: I thought that was wine.

475
01:06:46.470 --> 01:07:04.209
Jerry Corley: It's like… it's like a wine cooler, right, with a little soda in it, right? So it's like, it's kind of like… it kind of tastes the same. It's like, it's like they're finding new ways to make alcoholic beverages tasty, you know, if they can only perfect something that tastes like lemonade, like Kool-Aid, but alcoholic.

476
01:07:04.400 --> 01:07:19.230
Jerry Corley: You know, I think it would be, like, I think, you know, everybody would be drinking. So, like, so now you're explaining what it is, right? And now you can go in and, like, but this is a great opportunity for you to do Kessler drunk.

477
01:07:19.400 --> 01:07:21.410
Jerry Corley: Versus White Claw Trunk.

478
01:07:21.580 --> 01:07:36.589
Jerry Corley: You know, and that would be a fun compare and contrast. But you notice he uses that compare and contrast between drinking while you're… or dating while you're young, and then being an adult and dating 5 years in, versus… I mean, you could do… with this idea, you could create a bit

479
01:07:37.230 --> 01:07:52.799
Jerry Corley: This is why I like to… you watch comedians, and sometimes an inspiration will come to you that's not anything… it's not their material, but it's an inspiration. So from this, you can get an inspiration of going, you know what? I want to do a compare and contrast bit on

480
01:07:52.830 --> 01:08:02.799
Jerry Corley: First dating somebody, when you're first dating, what are the behaviors? How do they respond to certain stimuli? And as opposed to when you're 5 years in?

481
01:08:02.880 --> 01:08:19.480
Jerry Corley: Or when you're first dating and you're married, you know, what is that? Or when you're 20s dating versus your 40s dating, what does that look like? So you can… it inspires a whole bunch of ideas, and it's stuff everybody can relate to. Like, so,

482
01:08:19.600 --> 01:08:21.939
Jerry Corley: When he gets to, like,

483
01:08:22.130 --> 01:08:39.400
Jerry Corley: She knew her recipe, and he gets the alcohol. I like this, between the best fuck of your life and yesterday's spaghetti and your dick hair. And because it's so descriptive, he does this act-out where he's, like, pulling the spaghetti out of his dick hair, right? And then he continues with it, he says something like,

484
01:08:40.120 --> 01:08:42.810
Jerry Corley: Something, what is that, like, pulling,

485
01:08:43.420 --> 01:08:47.850
Jerry Corley: He's like, what is it, where does he say? He says something about beaver.

486
01:08:47.979 --> 01:08:51.740
Jerry Corley: Now you guys are imagining You know…

487
01:08:51.740 --> 01:08:55.529
Kaz Okamoto: It's the same thing, pulling spaghetti out of, my beaver.

488
01:08:55.870 --> 01:09:16.680
Kaz Okamoto: And he stood out of his dick hair. But the best part was the way he used his fingers when you try to… if you ever vomited spaghetti on a carpet, it's the same kind of thing of pulling it out of the fibers of the carpet, that you're pulling it up, he's not just, like, grabbing it or whatever, but just the way he pulled his hand up and went like this, like, to get.

489
01:09:16.680 --> 01:09:17.700
Jerry Corley: Yeah, yeah, like, like…

490
01:09:17.700 --> 01:09:19.410
Kaz Okamoto: Oh my god, I thought that was…

491
01:09:19.410 --> 01:09:28.440
Jerry Corley: And he was acting it out, so he was reliving the situation. He wasn't just, you know, he was really pantomiming that moment and how it would be, what it would be like.

492
01:09:28.439 --> 01:09:43.270
Jerry Corley: So it's like, instead of, like, just, like, you know, just act… he was… his whole hand gesture was dealing with soggy spaghetti that was vomited up onto your lap, so it's like when you were obviously naked. I remember,

493
01:09:43.270 --> 01:09:54.309
Jerry Corley: Talking about doing 16 shots of Jagermeister on stage while I was in Helena, Montana, and then waking up with throw-up on the inside of my pants.

494
01:09:55.070 --> 01:09:57.320
Jerry Corley: And going, this didn't…

495
01:09:58.040 --> 01:10:16.570
Jerry Corley: That's not the way the evening started, right? And then, basically, what was weird was just taking off the pants, jumping in the shower, washing the pants in the shower, hanging them up, changing, going downstairs at 9 o'clock in the morning so I could get the free hotel breakfast.

496
01:10:16.920 --> 01:10:21.950
Jerry Corley: And then the bartender who was at the show that night saying, oh my god, you're alive!

497
01:10:22.450 --> 01:10:27.179
Jerry Corley: I said, why wouldn't I be? He said, you did 16 shots of Jagermeister, man.

498
01:10:27.560 --> 01:10:31.910
Jerry Corley: And I said, how was the show? Because, literally, I didn't remember.

499
01:10:32.240 --> 01:10:35.340
Jerry Corley: And he said, amazing, you did two and a half hours.

500
01:10:36.350 --> 01:10:49.459
Jerry Corley: And I went, oh man, I wish I would have had the video for that, right? What does doing comedy in a blackout look like for me, right? And I was like, I didn't have that recorded, that would have been amazing to see what that was like.

501
01:10:49.460 --> 01:11:00.239
Jerry Corley: But he said, I said, was I slurring? He goes, no, that's what was amazing. It's like, you didn't slur your words, everybody loved it, you said goodnight to everybody, and it's like, and you just walked out.

502
01:11:00.380 --> 01:11:18.740
Jerry Corley: I said, that's probably when I went right up to my room and threw up on the inside of my pants. And he's just laughing, but that also was a wake-up call for me, going, wait a second, if I was able to get up the next day and just go down and eat breakfast, that's not a good sign, right? So that, from then on, I stopped

503
01:11:18.740 --> 01:11:26.249
Jerry Corley: doing shots that they sent up to the stage, right? So, but it was, like, that was a… that was a lesson, so in that case, like.

504
01:11:26.380 --> 01:11:31.749
Jerry Corley: You could have those, those moments, it's like, anyway, so you watch him go all the way through this bit.

505
01:11:32.670 --> 01:11:41.869
Jerry Corley: And it says, and he gets, you know, he does the adult thing, he gets stuck on that for a little while, does that bit, so,

506
01:11:42.330 --> 01:12:01.160
Jerry Corley: But he also talks about stuff that's friction, right? Talking about fucking a girl on her period, and the blood on his dick, and things like that. Normal, stuff that we… if we were doing a clean show, we'd leave it out. He intentionally goes to the friction. He likes the stuff that's… that's, you know, sort of like…

507
01:12:01.200 --> 01:12:20.869
Jerry Corley: taboo, right? That's what makes it so interesting, because people go to comedy clubs to misbehave, to be able to be naughty, to be able to talk about stuff that they can't talk about at the office. So, it's one of the reasons they go to those places. So, and then, let's see, then he sees, in this moment, you can see he finishes up

508
01:12:20.970 --> 01:12:26.680
Jerry Corley: Oh, now I'm the fuck every day guy, so he finishes up sort of that adult… Sex.

509
01:12:26.900 --> 01:12:27.890
Jerry Corley: premise.

510
01:12:28.020 --> 01:12:36.690
Jerry Corley: Being an adult, getting hammered. Then he sees a woman. Obviously, she's now been hitting this beverage a few times.

511
01:12:36.870 --> 01:12:42.790
Jerry Corley: And he says, oh, points a finger at her, and he goes, getting hammered, huh? Like, what are you drinking?

512
01:12:43.580 --> 01:12:46.300
Jerry Corley: Crowd work, right, goes back into crowd work.

513
01:12:46.450 --> 01:12:53.540
Jerry Corley: And she goes, I didn't… tequila's something. She goes, oh, you don't even know? He's like, you don't know what you're drinking?

514
01:12:53.650 --> 01:13:05.999
Jerry Corley: And it's like, it's like, you just let… you know, you don't even know… you're a black woman, you just let a bald white guy buy you a drink and not tell you what it was? Right? It's like, you're just taking his word for it? Wow.

515
01:13:06.490 --> 01:13:14.779
Jerry Corley: That's progress, right? So it's, like, pretty chi… and it's like, when he says progress, and they see her just… she almost spits out her drink laughing.

516
01:13:15.560 --> 01:13:24.900
Jerry Corley: And it's like, and it basically introduces this history of how white people treat… white people treat black people in that little moment.

517
01:13:25.130 --> 01:13:32.460
Jerry Corley: Right? That's progress. And then he's like, you're a… and then he goes, that's pretty chill. You're a couple, I assume?

518
01:13:33.070 --> 01:13:35.630
Jerry Corley: Right? Nice… now the conversation is real.

519
01:13:35.880 --> 01:13:46.959
Jerry Corley: First black woman for you? And he goes, no. He goes, I didn't think so. And he goes, first white dude for you? Not a chance in hell. Is it really? So even though he was wrong.

520
01:13:47.070 --> 01:13:49.049
Jerry Corley: He's still having the conversation.

521
01:13:49.280 --> 01:13:55.370
Jerry Corley: Right? Is it really? Oh, shit, like, he was the f- he's the first? Like, what kind of pressure was that, dude?

522
01:13:55.550 --> 01:14:09.379
Jerry Corley: now he gets into the real conflict of the… the pressure of… of, for the black woman of dating a white guy for the first time, and his pressure of, like, when he… what does he do? He goes to the simple…

523
01:14:09.590 --> 01:14:13.790
Jerry Corley: stereotypes, dick size, right? Now…

524
01:14:14.070 --> 01:14:30.219
Jerry Corley: it's where Louis C.K. would go, or anybody else, but he elevates it a little bit. Like, what are you… when you, like, when were you gonna first show her your first white dick ever? Like, you're gonna do that, dude? Like, damn, man, you're fucking fighting for a whole race of people in that moment.

525
01:14:30.970 --> 01:14:46.080
Jerry Corley: And I think that's funny, because he escalates this moment. You're not just showing her your dick, you're fighting for an entire race of people in that moment. You don't even know that's her favorite, you know, you don't even know, dude, that's her forever thought of white dicks.

526
01:14:46.730 --> 01:14:52.670
Jerry Corley: So the pressure is on. I love that line, that's her forever thought of white dicks.

527
01:14:52.800 --> 01:15:00.580
Jerry Corley: Not just… You know, that's a nice, expressive phrase. So, Cliff, you have your hand up.

528
01:15:01.400 --> 01:15:04.729
Cliff Spenger: Yeah, let me see if I'm… am I muted?

529
01:15:05.910 --> 01:15:06.510
Cliff Spenger: Nope.

530
01:15:06.510 --> 01:15:07.660
Jerry Corley: You're on, we can hear you.

531
01:15:07.660 --> 01:15:10.260
Cliff Spenger: Okay, a couple of things. One,

532
01:15:10.870 --> 01:15:13.559
Cliff Spenger: Again, I think he, he,

533
01:15:13.870 --> 01:15:18.580
Cliff Spenger: He talks to interracial couples, and I believe he could go either way on that.

534
01:15:18.890 --> 01:15:22.899
Cliff Spenger: If it was a white girl and a black guy, he'd have material for that.

535
01:15:22.900 --> 01:15:23.969
Jerry Corley: Sure, absolutely.

536
01:15:23.970 --> 01:15:34.599
Cliff Spenger: trying to think about that. And I also think he's, he's gotten feedback about his descriptions, and he himself called attention to it, and said, oh, that's a pretty graphic.

537
01:15:34.710 --> 01:15:38.989
Cliff Spenger: you know, pantomime. So, I think that he…

538
01:15:39.150 --> 01:15:46.870
Cliff Spenger: He's, he's searching out those more graphic situations. It all fits him… fits his persona, is what I'm saying.

539
01:15:46.870 --> 01:15:50.509
Jerry Corley: So, yeah, and I think you might be right there. Maybe somewhere in his career, somebody said.

540
01:15:50.510 --> 01:15:50.949
Cliff Spenger: Good evening.

541
01:15:50.950 --> 01:15:59.349
Jerry Corley: wow, you're… I love how descriptive you are. And he goes, oh, make a note of that, and he made sure he was more and more descriptive. So,

542
01:15:59.600 --> 01:16:02.340
Cliff Spenger: Well, the audience will give you that, too, that the…

543
01:16:02.340 --> 01:16:19.650
Jerry Corley: Sure. Absolutely. And you'll notice, now you know that the three-descriptor technique will heighten your imagery, get it very vivid, and you know that that also introduces a rhythm, and with that rhythm, you actually… that… sometimes that one extra word

544
01:16:20.610 --> 01:16:31.679
Jerry Corley: goes beyond how most people talk, right? And it's like, this is what we're gonna practice a little bit. And I love this one, he goes, she got tired of those black longies, right? And the way he taught longies.

545
01:16:31.820 --> 01:16:39.679
Jerry Corley: So he makes it a little silly, too. Got tired of those black longies, huh? Like, coming out of her butthole like a goddamn nose piercing.

546
01:16:40.720 --> 01:16:53.729
Jerry Corley: And it's like, you can almost feel it coming out of your nose, right? It's like, you know, I'm sorry, I'm very descriptive, it's colorful language. First white dude, what happened? You know, you started wanting to sit again at work.

547
01:16:54.930 --> 01:17:14.900
Jerry Corley: Right? And so, can't take those black poundings and have a sit-down job. It's gonna take you 25 minutes to get in your chair. And then he does a really nice… takes his time with his act out. You know, he doesn't rush it. He really sort of feels it as he's sitting in the chair, so we feel it. Oh, still stings. Oh, I…

548
01:17:15.700 --> 01:17:21.789
Jerry Corley: Okay, okay, okay. Right? So, like, you want lunch? You're like, no, no, just bring me back a hot dog.

549
01:17:21.910 --> 01:17:24.400
Jerry Corley: Like, and then, like,

550
01:17:24.710 --> 01:17:26.820
Jerry Corley: And then she… he goes, what else?

551
01:17:26.910 --> 01:17:49.810
Jerry Corley: Okay, white guy dating a black girl? It's like, has your family met him yet? You know, does he go to the barbecues, and they all laugh while he dances? Like, and she kind of says, yeah, she kind of, like, laughs with him. Yo, Tommy, you know, do that dance you do. Watch this motherfucker, man, you dance, do that dance you do, right? It's like, does his family do awkward, black shit when you're around?

552
01:17:49.810 --> 01:17:58.109
Jerry Corley: They make, collard greens for you? - they tried. Alright, really? They presented this like the food of your people? Damn!

553
01:17:58.110 --> 01:18:02.619
Jerry Corley: Like, your old white mom comes out in the dashiki and shit. We're down, we're players.

554
01:18:02.990 --> 01:18:08.250
Jerry Corley: You know? You know, you know, I blew a security guard once to go to a Parliament concert.

555
01:18:08.540 --> 01:18:11.910
Jerry Corley: Flashlight. Now, he does this reference of Parliament.

556
01:18:12.120 --> 01:18:18.839
Jerry Corley: If anybody knows Parliament, the group, they had a, like, one-hit wonder group. Like, Flashlight was the song.

557
01:18:18.950 --> 01:18:36.279
Jerry Corley: Right, so it's like, and that was a, you know, and it's like… and it's such a reference. It's such an old-school reference. I laughed because I remember that song so well. And it's like… and then he said, Crowd's too white to get those sick black references. You know, maybe I should look into black women. So,

558
01:18:36.820 --> 01:18:55.619
Jerry Corley: And just… it's not just his descriptors, also the way he talks, like when he says, you know, hey boo, you might want to throw your Aunt John Hancock down, rather than, you might want to sign this loan contract, you might want to throw your John Hancock down. So it's just that way, you know, it's the way he describes that. So,

559
01:18:55.840 --> 01:19:04.440
Jerry Corley: So let's go to an exercise now, but you notice, like, he takes all these previous associations, and they come up

560
01:19:04.440 --> 01:19:10.869
Jerry Corley: when a situation arises. And it was so clear to me that we saw a black guy and a white girl, that…

561
01:19:10.870 --> 01:19:24.680
Jerry Corley: two dissimilar, you know, ideas converging. Two dissimilar people right there, black and white, together, oh my god, that's like a juxtaposition. Let's see what we can do with this, right? And that becomes… that's like…

562
01:19:24.800 --> 01:19:29.149
Jerry Corley: So it's like, he… but keep in mind, he not only did…

563
01:19:29.350 --> 01:19:36.499
Jerry Corley: you know, is everything improvised? No. But he also has a… he had a show for a while called What's Your Fucking Deal?

564
01:19:36.500 --> 01:19:58.620
Jerry Corley: And where there was a simple rule in the show. And this is something we should consider doing one night, out, you know, going out and doing a show in Flappers or something like that, and, like, make it, you know, what's on your mind, or, you know, what's, what's, you know, what's next. And the simple rule was, no prepared material.

565
01:19:59.030 --> 01:20:07.069
Jerry Corley: So, we used to do this occasionally at the Friars Club, where everybody had to get up and do 5 to 7 minutes, no prepared material.

566
01:20:07.230 --> 01:20:11.560
Jerry Corley: And the moment you felt like you were out of bullets, you just said, that's it for me.

567
01:20:11.580 --> 01:20:27.989
Jerry Corley: or man, I just ran out of bullets, I can't even think. And the audience would laugh at that, and they'd, you know, then the next comedian would come up and start talking, and basically no prepared material. He'd basically work in and out with the audience, and try to develop a set from that.

568
01:20:28.040 --> 01:20:43.610
Jerry Corley: So, so that became… that… so he's had some workouts with no prepared material as part of the workout. So, I think that's… everybody should try that. And it's like, you have often heard me say, if you're doing 5 mics a week.

569
01:20:43.610 --> 01:20:49.589
Jerry Corley: One of those nights should be just to maybe have 3 bullet points of ideas you want to work on.

570
01:20:49.590 --> 01:21:12.879
Jerry Corley: hit the stage and just talk them out. And explain to the audience what you're doing. Once they understand what you're doing, they'll be working with you, not against you. So, so he's done that, alright? So he's brought these associations he's developed over these years, when music, sex, relationships, race, jobs, cars, movies, television, everything we all get, and he has a unique take on it.

571
01:21:15.060 --> 01:21:26.069
Jerry Corley: So, let's see, like, so cultural influence, we don't have to worry about that right now, so he definitely ties back to that. So I want to get to adding that third descriptor.

572
01:21:26.580 --> 01:21:37.769
Jerry Corley: So, it's like, well, I was mentioning with Jack about this, look at one of, that, when it just… what he does, it's like, somebody needed a co-signer for a Kia. So, that's an image.

573
01:21:37.770 --> 01:21:46.820
Jerry Corley: But if he says most comedians might, like, he might say, somebody needed a co-signer, some comedians might stop at, somebody needs a cosigner.

574
01:21:46.850 --> 01:21:52.199
Jerry Corley: Most comedians would stop there, actually. Somebody needed a… oh man, somebody needed a co-signer.

575
01:21:52.480 --> 01:22:06.089
Jerry Corley: But he adds one more descriptor. Somebody needed a cosigner for a Kia, that's one part, but he adds… goes even further for the image. Somebody needs a cosigner for a Kia Sportage, which is recognition. How many people recognize that

576
01:22:06.090 --> 01:22:12.759
Jerry Corley: that Kia Sportage. I've heard the commercial, Kia Sportage. They talk about the Sportage, right? That's one of the popular

577
01:22:12.760 --> 01:22:20.800
Jerry Corley: cars. So, the sportage is better in that sort of situation. So, adding that sometimes, can I go a little deeper with it?

578
01:22:21.310 --> 01:22:38.970
Jerry Corley: So, it's not a generic car, it's that specific car. Like, you can see it at the dealership, you can see it on the paperwork, you see the model, you know, give me a VIN number, so don't stop at the obvious image, go a little deeper. Somebody's about to show their titties out of a moonroof.

579
01:22:39.270 --> 01:22:46.090
Jerry Corley: He goes deeper with that, right? So it's not some, you know, regular comedian, like, somebody's about to show their tits.

580
01:22:46.500 --> 01:22:55.760
Jerry Corley: And somebody's about to show their tits out of a car window, and Steady goes a more specific location, moonroof. Somebody's about to show their titties out of a moonroof.

581
01:22:56.160 --> 01:23:06.430
Jerry Corley: Now you could really see that. That's almost a scene in a movie at this point, right? So, think about increasing your descriptors. Here's a comedy rule.

582
01:23:07.080 --> 01:23:13.940
Jerry Corley: Description, plus detail, plus one more detail.

583
01:23:14.680 --> 01:23:19.149
Jerry Corley: Alright, get yourself used to that. I don't care if you go to 4 descriptors.

584
01:23:19.750 --> 01:23:28.260
Jerry Corley: You can always dial that back, but learning to train your brain to write the extra descriptor is gonna make you more compelling of a storyteller.

585
01:23:28.260 --> 01:23:42.470
Jerry Corley: Right? So, you're going from a regular image to a specific image to a ridiculously specific image. And her popping out of a moonroof with her titties out is fucking funny, right? So, it's like,

586
01:23:42.470 --> 01:23:50.819
Jerry Corley: And, remember, he's a dirty Crowd work guy. I might not do that, but, you know, he does, and it works for him, right?

587
01:23:50.980 --> 01:23:55.069
Jerry Corley: So, most people communicate until their listener understands.

588
01:23:55.460 --> 01:23:59.680
Jerry Corley: Comedians communicate until the listener sees the image.

589
01:24:01.310 --> 01:24:07.119
Jerry Corley: Right? Can see the image and go, oh, shit! Right? That's what we want to see. Kaz, you have your hand up.

590
01:24:08.330 --> 01:24:26.059
Kaz Okamoto: Okay, so the difference between that and, like, for me, I have, lengthy jokes that add a lot of unnecessary information that needs to be edited out, which would help if it was more descriptors and things that were more succinct.

591
01:24:26.060 --> 01:24:40.860
Kaz Okamoto: But I think I'm filling in because of… I like storytelling, filling in more information by talking more, and you and my daughter both say, cut all that crap out, because it's… you're… get to the punchline already, you know, kind of thing.

592
01:24:40.860 --> 01:24:48.240
Jerry Corley: Yeah, so one of the things I even explain in here is, like, you know, he's practiced this. Keep in mind, he's practiced this, and you're getting better at this, Kaz.

593
01:24:48.240 --> 01:24:48.560
Kaz Okamoto: Yeah.

594
01:24:48.560 --> 01:25:06.599
Jerry Corley: I've noticed that, right? And so we've practiced sayings a lot in a very economic way, you know? It's like my ex-wife would say something and, like, have to keep saying different versions of it until she felt she was, you know.

595
01:25:06.810 --> 01:25:23.989
Jerry Corley: she closed it out. It's like, you keep… you're beating a dead horse. Learn to say it in a succinct way, and just move on. You know, don't keep coming back, oh, and another thing, and another thing, you know? Speaking of this, I was like, Jesus Christ, you have to keep… I get it!

596
01:25:24.030 --> 01:25:29.679
Jerry Corley: Right? What are you looking for? What kind of closure? I've got to say it until I feel like it's done.

597
01:25:29.730 --> 01:25:32.729
Jerry Corley: I said, so you're not considering the other party at all?

598
01:25:33.470 --> 01:25:38.929
Jerry Corley: You know? And in that sort of case, like, how can we say it so the other team goes, oh, I see it?

599
01:25:39.460 --> 01:25:48.999
Jerry Corley: And that's gonna be more impressive than continuing to be the dead horse, saying it in the… and especially, like, in a narrative, if you were, like,

600
01:25:49.230 --> 01:25:58.729
Jerry Corley: John Steinbeck, talking about, you know, a turtle walking up a hill in Grapes of Wrath, you might go 17 pages.

601
01:25:59.050 --> 01:26:17.509
Jerry Corley: describing that turtle walking up a hill, right? But that's literature, right? It's fun to read. When you're doing stand-up, how do you make it succinct, but also vivid in its imagery? So that's the key, I think. Like, so we can take it, and see, watch… we'll quickly watch, like.

602
01:26:17.510 --> 01:26:32.519
Jerry Corley: how he, like, walks through this. Like, look at a line, your chick is one sip away from being the best fuck of your life, or one shot away from being the best fuck of your life, or yesterday's spaghetti on your dick hair, right? Or in your dickhair. Like, there's several stages, right? She might puke.

603
01:26:32.520 --> 01:26:36.689
Jerry Corley: Alright. Meaningful image. Version 2, she might puke spaghetti.

604
01:26:36.710 --> 01:26:44.400
Jerry Corley: Right? Puke chunks. Puke spaghetti. Better, now there's an image. She might puke yesterday's spaghetti in your lap.

605
01:26:44.660 --> 01:26:52.370
Jerry Corley: More specific, but he still goes deeper. Yesterday's spaghetti in your dick hair. But you could go through several drafts to get there.

606
01:26:52.530 --> 01:27:01.920
Jerry Corley: And it makes it so much more interesting, and people can really see yesterday's spaghetti in your dick hair. So…

607
01:27:02.400 --> 01:27:04.260
Jerry Corley: You can almost taste it, Kaz.

608
01:27:04.260 --> 01:27:15.830
Kaz Okamoto: Oh, you can almost face it. Thanks. Thanks for that one! But, the one thing I noticed that I thought was really clever that we normally wouldn't think of, because he said moonroof.

609
01:27:15.900 --> 01:27:28.470
Kaz Okamoto: So that's telling me it's nighttime, because if he said sunroof, it would be daytime, right? And it's such a subtle way of putting us in the time zone.

610
01:27:28.470 --> 01:27:42.469
Jerry Corley: You know… Interesting that you got that, because moonroof is almost like, they actually sell that as an option on a car when you buy it sometimes. You can get it with the moonroof, and that's what they call it, a moonroof. So it doesn't matter whether it's day or night.

611
01:27:42.470 --> 01:27:54.040
Jerry Corley: You know, I guess a moonroof is something that you just can flip and it opens up just a quick layer. A sunroof is something you press the button, the whole thing pulls back and opens up.

612
01:27:54.040 --> 01:28:11.360
Jerry Corley: And I think you pull back the shade, even, and open it up, right? So I think the moonroof, yeah, but moonroof is such a fond description, and it does give us the sense that it is night. It's interesting that you said that, because I did picture it in the evening because of that. So, that was a nice notice. Cliff?

613
01:28:12.000 --> 01:28:13.880
Cliff Spenger: It's, that time, Jerry.

614
01:28:13.880 --> 01:28:21.150
Jerry Corley: Yes, sir. Now, I'm gonna leave you on the break. We're gonna take a 10-minute break, but also I want you to take another 10 minutes

615
01:28:21.160 --> 01:28:35.589
Jerry Corley: I don't want to kill, take away from your break, to, so it's going to be almost a 20-minute break, where you're going to be writing. The exercise, the exercise adding a third detail for the three descriptors. So, take the generic sentence, somebody pulled up in a car.

616
01:28:35.590 --> 01:28:51.290
Jerry Corley: Somebody pulled up in a Kia, somebody pulled up in a Kia Sportage, you could say it anyway, I want to see your car, right? I want to be able to see that car. And then also, here are some other, ones to work with, right? So it's like, she ordered a drink.

617
01:28:51.440 --> 01:28:57.349
Jerry Corley: He drives an old car. They met at a restaurant. She has a little dog. So I want you to do…

618
01:28:57.710 --> 01:29:07.579
Jerry Corley: 1, 2, or 3 of these statements, and make them extra descriptive, and see how that third detail

619
01:29:07.870 --> 01:29:25.829
Jerry Corley: can give us almost like there's an action there, there's something which makes us sink our teeth into it, we can taste it, we can see it, we can smell it, right? We can feel the texture of it. We can live it, right? We almost feel like we're in the car, or we're in the situation. You know, or we could smell the drink she's ordering.

620
01:29:25.970 --> 01:29:28.380
Jerry Corley: You know? So,

621
01:29:28.710 --> 01:29:41.589
Jerry Corley: Yeah, so I want you to take these little moments and take your time, choose 1 to 3, and see how many you can get vividly image, vividly descriptive with. Okay? Sound good? It's about 20 minutes.

622
01:49:27.450 --> 01:49:28.480
Kaz Okamoto: Thanks, lina!

623
01:51:28.210 --> 01:51:29.600
Cliff Spenger: Oh, right.

624
01:56:10.900 --> 01:56:14.229
Jerry Corley: Okay, we're back. Alright, so what'd we come up with?

625
01:56:15.390 --> 01:56:17.280
Kaz Okamoto: I got a headache!

626
01:56:17.280 --> 01:56:18.420
Jerry Corley: Yeah, you always get a headache.

627
01:56:18.420 --> 01:56:19.809
Cliff Spenger: He's gone.

628
01:56:19.810 --> 01:56:21.230
Kaz Okamoto: I always give me a headache.

629
01:56:21.230 --> 01:56:25.330
Jerry Corley: It's like trying to come up with something new, that's the hardest part, right?

630
01:56:29.020 --> 01:56:29.929
Jerry Corley: What do you got, Cliff?

631
01:56:30.250 --> 01:56:33.100
Cliff Spenger: I… let me pull it up here. Hang on one sec.

632
01:56:34.700 --> 01:56:41.300
Cliff Spenger: So, I liked your formula, by the way, it was great. So, he was wearing a suit.

633
01:56:41.570 --> 01:56:47.690
Cliff Spenger: He was wearing a checkered suit, he was wearing a checkered… Board as a suit.

634
01:56:48.220 --> 01:56:53.819
Cliff Spenger: He was wearing a checkered board as a suit, and the checkers as pasties.

635
01:56:56.650 --> 01:57:06.419
Jerry Corley: Or, let's be plausible, right? So it's like… I mean, he was wearing a checkerboard… he was wearing a checkerboard suit. I mean, it was like… I mean, you know, he could…

636
01:57:06.420 --> 01:57:20.249
Jerry Corley: he, you could use, you could take checkers and, and, and, you know, you could play checkers on his suit, right? He's, like, wearing checkerboard suits, so bold, you could play checkers. He could wear… he could wear checkerboard… he could wear checkers as pasties.

637
01:57:20.320 --> 01:57:27.510
Jerry Corley: And nobody would have questioned it, you know, like, you keep, like, you're exaggerating and still making a plot. He could have.

638
01:57:27.730 --> 01:57:45.649
Jerry Corley: Meaning it keeps it in imagination rather than he's really wearing checkers as pasties, right? I mean, this guy was so vivid, this suit was so, like, checkerboard, he could win, you know… Yasser Arafat could have used it as a head… as a head… as headgear.

639
01:57:45.850 --> 01:57:46.590
Cliff Spenger: You know?

640
01:57:46.590 --> 01:58:00.270
Jerry Corley: he was like, he could have, like, he could either use it as a tablecloth in an Italian restaurant, or Yasser Arafat could have used it as a… as a… as his head cover, you know? Whoever remembers Yasser Arafat, you know?

641
01:58:00.560 --> 01:58:04.520
Jerry Corley: But then it's like, He was so bold, he could have played… he could have worn.

642
01:58:04.520 --> 01:58:09.650
Cliff Spenger: Checkers' pasties. That's perfect. Yeah, yeah. Because he always had that.

643
01:58:09.650 --> 01:58:12.990
Jerry Corley: And if you could play checkers as Yasser Arafat, that would be…

644
01:58:12.990 --> 01:58:14.390
Cliff Spenger: Remember Checkers.

645
01:58:14.390 --> 01:58:17.210
Jerry Corley: Yeah, yeah, exactly. You know, king me.

646
01:58:17.860 --> 01:58:22.790
Kaz Okamoto: Jerry, can you go over the 3 things again? Because I'm lost, that's why I have a headache.

647
01:58:23.660 --> 01:58:25.570
Kaz Okamoto: The three…

648
01:58:26.680 --> 01:58:30.480
Cliff Spenger: Added detail, add another detail, added…

649
01:58:30.480 --> 01:58:40.050
Kaz Okamoto: That's what I understand, but what you added into Cliff's thing then took it into a more expanded direction, so I am confused.

650
01:58:40.100 --> 01:58:59.389
Jerry Corley: So, I did… what I did was I was imagining a guy in a checkered suit. Right. Right? And I was like, how can I say this guy's… we're making fun of the checkered suit, in a way. Like, we're kind of, you know, we're kind of, like, talking about this… it was so vivid, it was so bright, it was so bold. A checkered suit that was so bold.

651
01:58:59.390 --> 01:59:00.410
Kaz Okamoto: First one, right?

652
01:59:00.410 --> 01:59:07.400
Jerry Corley: Yeah. It was almost… you're almost like saying he's wearing a checkered suit, right? And it was like, he was wearing a checkered suit that was so bold.

653
01:59:08.010 --> 01:59:11.660
Jerry Corley: You're almost doing a so joke here. Like, he could have worn…

654
01:59:11.770 --> 01:59:18.300
Jerry Corley: Checkers as pasties, and nobody would have questioned him. He could have walked around going, king me! King me!

655
01:59:22.450 --> 01:59:40.770
Jerry Corley: So we're escalating. Once we introduce it being a checkered board, a checkerboard, meaning you're playing checkers, like, like what other, you know, if we, if we called it a chessboard, we could even add, you know, you could walk up to him, you'd basically walk up to him and go, Knight to King 3, you know?

656
01:59:42.110 --> 01:59:50.089
Jerry Corley: And then you, you know, basically you get a nice laugh over that, you know, he's like, every night he's looking at, you know, every night he's looking,

657
01:59:50.420 --> 01:59:54.640
Jerry Corley: You know, he goes to a restaurant, he asks the waitress for a check, he gets checkmate.

658
01:59:57.140 --> 02:00:02.930
Jerry Corley: Right, that kind of thing. So what else can you get from a checkerboard? It's also… it could be a chessboard.

659
02:00:03.220 --> 02:00:06.650
Jerry Corley: Right? And so it's like, so I'm trying to escalate

660
02:00:06.840 --> 02:00:22.150
Jerry Corley: So each one is, like, escalating on the… on the checkerboard suit, checkerboard suit that was so vivid, it was like a checkerboard. I mean, this guy could lay down on a table at a public park, and people would sit down and start playing, right on his suit.

661
02:00:22.340 --> 02:00:23.110
Jerry Corley: Right?

662
02:00:23.830 --> 02:00:27.400
Cliff Spenger: Or he can't lay down in the park, because they'll have a picnic on his sh…

663
02:00:27.400 --> 02:00:36.679
Jerry Corley: Yeah, they'd have a picnic on them, or if you've ever seen those guys who play checkers in the park, or play, you know, chess in the park, do they do that anymore? I don't know if they know what.

664
02:00:36.680 --> 02:00:37.130
Cliff Spenger: Oh, yeah.

665
02:00:37.130 --> 02:00:37.590
Jerry Corley: anymore.

666
02:00:37.590 --> 02:00:38.160
Kaz Okamoto: New York!

667
02:00:38.160 --> 02:00:41.940
Cliff Spenger: They have Czech, chess hustlers.

668
02:00:42.100 --> 02:00:43.109
Jerry Corley: Oh, yeah.

669
02:00:45.730 --> 02:01:03.640
Jerry Corley: So I think that's good, that's a good description, and I like the way you kind of escalate through that, and then you could take it to the act-out, you know? Like, what would that be like if it was actually had checkers as pasties? People would start playing checkers on his suit. It's like, it wasn't a suit you'd get at,

670
02:01:03.700 --> 02:01:07.719
Jerry Corley: You know, it was a suit you'd probably get at the Salvation Army.

671
02:01:08.720 --> 02:01:10.989
Jerry Corley: You know, with the wide lapels?

672
02:01:12.260 --> 02:01:18.069
Jerry Corley: You know, still, it looks like wool. It's like, it's fake wool, because no moth has ever even tried to eat it.

673
02:01:20.370 --> 02:01:29.689
Jerry Corley: You know, so it's like, that could be a fun way to take that, too. And now you're just… it's a way to take that description, it's like, you can almost go off-script and come up with a bunch of other

674
02:01:29.690 --> 02:01:43.170
Jerry Corley: things to escalate the idea of the checkered suit, and then come back to the piece, and it elevates the piece, because you're now adding emotion, description, and now they're like, oh my god, yeah, totally, I know the guy you're talking about.

675
02:01:43.650 --> 02:01:50.260
Kaz Okamoto: So, something like, he could have gotten it at the Goodwill, or, you know, or did he just take a tablecloth off an Italian restaurant?

676
02:01:50.260 --> 02:01:51.469
Jerry Corley: Here you go, yeah.

677
02:01:51.470 --> 02:01:54.570
Kaz Okamoto: restaurant and make his own soup, kind of thing. Right. Is that what you're saying?

678
02:01:54.740 --> 02:02:00.640
Jerry Corley: I'm pretty sure it was an Italian restaurant, because I swear I saw little bolognese on the back tail.

679
02:02:02.290 --> 02:02:18.570
Jerry Corley: So then you have a lot of fun. If it was from an Italian restaurant, what could be next? What would be… what would give that indication? You know? It's got a little white… a little Chianti stain on there, you know? You know the kind of Chianti that shows up in the little basket?

680
02:02:18.570 --> 02:02:19.290
Cliff Spenger: dormant.

681
02:02:19.290 --> 02:02:20.680
Jerry Corley: Yeah, exactly.

682
02:02:21.660 --> 02:02:23.539
Jerry Corley: So that's a fun way to take that.

683
02:02:23.660 --> 02:02:25.940
Jerry Corley: Pappy, good to see you, man.

684
02:02:26.400 --> 02:02:42.599
Pappy: Hey, how you doing? Good. Great after description, because I found I added descriptors instead of expanding on the descriptor I started with, so… but I get… I think I get it better now, but he was wearing a suit.

685
02:02:42.760 --> 02:02:50.089
Pappy: He was wearing a seersucker suit. He was swimming in a ghastly seersucker suit, two sizes large.

686
02:02:50.570 --> 02:02:51.880
Jerry Corley: Nice. He was wearing…

687
02:02:51.880 --> 02:02:58.420
Pappy: He was wearing a CEO's seersucker suit, but his persona said cocksucker.

688
02:03:01.070 --> 02:03:05.349
Pappy: she has a little dog.

689
02:03:05.770 --> 02:03:11.700
Pappy: She has a snouser that looks like a large skunk that was rolled wet on the hairy floor of a barber shop.

690
02:03:12.830 --> 02:03:19.460
Jerry Corley: Oh, nice, hairy floor of a barber shop. Just that by itself is a descriptor I can see and feel.

691
02:03:21.380 --> 02:03:29.299
Pappy: She has a cute little schnauzer that smells like leftover sardines and looks like my grandma's old rug with legs.

692
02:03:31.080 --> 02:03:43.729
Pappy: She has a schnauzer that's more German than Hitler, fatter than Sergeant Schultz and Hogan's heroes, but at least when she puts him in his cage, he's as quiet as an Auschwitz prisoner.

693
02:03:43.730 --> 02:03:47.630
Jerry Corley: Nice, wow, that's a good description. Good job there.

694
02:03:49.900 --> 02:03:53.619
Jerry Corley: Well done. Nice job. Jack Day, what do you got? Good to see you, Jack.

695
02:03:57.420 --> 02:03:58.010
Jerry Corley: muted.

696
02:04:07.780 --> 02:04:08.600
Jack Day: Okay.

697
02:04:09.290 --> 02:04:17.270
Jack Day: He drives a topless Jeep Wrangler with 280,000 miles that hasn't been washed since he went in my dressing.

698
02:04:17.870 --> 02:04:19.160
Jerry Corley: Since he went, what?

699
02:04:19.690 --> 02:04:21.250
Jack Day: mud racing.

700
02:04:21.250 --> 02:04:31.890
Jerry Corley: Mud racing, yeah, there you go. Hasn't been to, like… it's got 275,000 miles, and it hasn't been washed since he went mud racing. You know, it's like… and in what year?

701
02:04:33.030 --> 02:04:34.110
Jack Day: I didn't give the year.

702
02:04:34.110 --> 02:04:36.759
Jerry Corley: Yeah, maybe mud racing in 2012.

703
02:04:37.270 --> 02:04:50.909
Jerry Corley: Since the, you know, that could be fun. Or since the pandemic, mud racing, since the… before the pandemic, that's fun. He's, like, kept it muddy since then. Like, you know, ever see trucks in Wyoming?

704
02:04:51.890 --> 02:05:06.350
Jerry Corley: trucks in Wyoming, they're all… they're all pretty dirty, right? So it's like, and there's, like, you figure in Wyoming, you want to make a living, you just open a car wash, right? These… but there's, see, a lot of dirty trucks, and there's an old saying, the cops…

705
02:05:07.110 --> 02:05:17.979
Jerry Corley: You, like, what layers they use to describe us to spot somebody as a possible suspect, and it's somebody who hasn't washed their car in a while is one of them.

706
02:05:17.980 --> 02:05:29.350
Jerry Corley: Right? If they see you or you're driving, that's one thing, they see you driving and they see your car is dirty, they're like, possible suspect. So it's like, so if you say, like, you know, it's like, they could see, like, your,

707
02:05:29.350 --> 02:05:33.950
Jerry Corley: They use that as an indicator whether you met… whether or not you may have committed a crime.

708
02:05:33.950 --> 02:05:47.629
Jerry Corley: Like, the dirtier your car, the higher odds that you committed a crime. Like, everybody in Wyoming is a suspect. You can say it like that, right? So, I remember doing that joke, a joke like that in Wyoming.

709
02:05:48.090 --> 02:05:58.760
Jerry Corley: And they all laughed at it, because they all understood. They're living that right there. I say, that's the thing of coming out here from LA, you're driving, you know, Wyoming? You know, you know, you realize there's a lot of…

710
02:05:58.990 --> 02:06:15.610
Jerry Corley: A lot of dirty trucks, you know the cops? They suspect you more if you have a dirty truck? Or the odds of their… they actually have an algorithm, like, the odds go up of you committing a crime if you have a dirty truck. Basically, what I'm trying to say is, everybody in Wyoming is a suspect.

711
02:06:15.620 --> 02:06:29.580
Jerry Corley: And they all… they all laughed at that kind of observation. So it's like, having that description is, like, is fun, too. It's like, this guy… and this guy looked like he hadn't washed his car since he did mud racing before the pandemic.

712
02:06:29.810 --> 02:06:37.539
Jerry Corley: And I was like, that… he went mud racing before the pandemic. Adds that little extra descriptor. Anything else, Pappy? Or Jack?

713
02:06:38.180 --> 02:06:43.869
Jack Day: Yeah. He works in a law office located in a former bank.

714
02:06:44.060 --> 02:06:48.849
Jack Day: And he shares the former vault with two workers.

715
02:06:51.010 --> 02:06:54.310
Jerry Corley: With two… he shares the vault with two workers.

716
02:06:54.580 --> 02:06:56.689
Jack Day: Former vault with two workers.

717
02:06:56.860 --> 02:06:58.179
Jerry Corley: Got it, got it.

718
02:06:58.520 --> 02:07:03.439
Jerry Corley: Got it. I'm trying to get to what do you… so what are we trying to describe here? I got lost in that description.

719
02:07:04.370 --> 02:07:10.660
Jack Day: Okay, someone that works in an out-of-the-place position in a legal office.

720
02:07:10.810 --> 02:07:11.650
Jerry Corley: Got it.

721
02:07:11.880 --> 02:07:21.159
Jerry Corley: Oh, okay, it's like, he's like, he's in, he's like, doesn't really work there, he has his own side hustle in a, in a, like, a side of a bank or something like that?

722
02:07:21.580 --> 02:07:23.629
Jack Day: It's a former bank.

723
02:07:23.880 --> 02:07:27.140
Jack Day: And if… Also, now a law office.

724
02:07:27.140 --> 02:07:28.520
Jerry Corley: A law office.

725
02:07:28.520 --> 02:07:32.780
Jack Day: another guy… Work in the form of involved.

726
02:07:33.660 --> 02:07:39.870
Jerry Corley: Oh, he and another guy… oh, got it. So it's like, I mean, he's got a law office, but it is in a former bank.

727
02:07:41.010 --> 02:07:43.890
Jerry Corley: In that bank's old vault.

728
02:07:44.000 --> 02:08:03.809
Jerry Corley: I don't know whether I trust this guy to be my attorney, you know? That's good. I like the idea. It's like, what is the… so what's the point of view? There's like, I don't know if I trust this guy to be my attorney. I went to go to his office. It's actually… he's… he's at a… at a former bank, in a building that's a… it's basically a former bank, but he's… his office is in the vault.

729
02:08:04.150 --> 02:08:05.780
Jerry Corley: Of that former bank.

730
02:08:05.990 --> 02:08:08.420
Jerry Corley: It's like, you can only see them during…

731
02:08:08.890 --> 02:08:11.140
Jerry Corley: You know, the vault open hours.

732
02:08:12.060 --> 02:08:22.279
Jerry Corley: You need to call the bank manager in order to get an appointment. Well, it's 32 to the right, 16 left, 18 to the right. Here we go.

733
02:08:22.640 --> 02:08:24.970
Jerry Corley: Your first… your… your 11 o'clock is here.

734
02:08:25.980 --> 02:08:32.960
Jerry Corley: Something like that. That could, a way to take that to the next level. You know, every time you try to get an appointment with them, you've got to remember the combination.

735
02:08:33.580 --> 02:08:44.090
Jerry Corley: So that's good. Once you have that descriptor, you see how far you can take that with what happens next, what happens next? Alright, that was good. Alright. Anything else, Jack?

736
02:08:44.940 --> 02:08:49.910
Jack Day: Yeah, one other. They met in a shack.

737
02:08:50.520 --> 02:08:55.799
Jack Day: barbecue shack that was 100 yards off the road in Palm Tree Forest.

738
02:08:55.830 --> 02:09:01.850
Jerry Corley: Well, you're breaking up just a little bit there. It might be your, it might be your AirPods.

739
02:09:02.690 --> 02:09:07.110
Jack Day: Okay, they met in a barbecue shack.

740
02:09:07.310 --> 02:09:11.139
Jack Day: That was in a forest road 100 yards off of the highway.

741
02:09:11.880 --> 02:09:21.440
Jerry Corley: Oh, that's good. That's like almost somebody, you know, it's like, you know, where do they meet? You know, you guys look like you met at a barbecue shack about 100 miles off the main highway.

742
02:09:22.130 --> 02:09:32.039
Jerry Corley: That's good, I like that. That's good, and it's like, it's like, in a secluded area, there's nobody else out there. I mean, you guys… guy gets, like, 2 customers a day, you were one of them, she fell in love.

743
02:09:33.070 --> 02:09:42.119
Jack Day: Well, in the redneck South, Most good… the best barbecues are usually in shacks off the main highway.

744
02:09:42.130 --> 02:09:58.789
Jerry Corley: Yes, in fact, when I was, where was it? In Kansas, I think Kansas City. Went to go visit my, son, who was, going to school there, coaching a debate at a school there, and he took me to a barbecue place that was off the beaten path.

745
02:09:58.970 --> 02:10:05.289
Jerry Corley: You know, and we had to drive out of the way, the Uber had to take us out of the way. Man, it was the best barbecue.

746
02:10:05.360 --> 02:10:19.930
Jerry Corley: Yes, that's good. I like that description. It's like, but it's always off the beaten highway. Because, you know, when they started, they started on a shoestring budget with the original recipes, right? And they're still afraid that somebody, if they're on the main highway, somebody's gonna steal their recipe.

747
02:10:20.460 --> 02:10:29.470
Jerry Corley: So I like it, like, finding somebody off the beaten highway. That's good. It's right next to… you'll find it, like, the only thing it's near is maybe,

748
02:10:29.610 --> 02:10:38.229
Jerry Corley: In, underground distillery, you know? Like, it's like maybe, you know, behind the hut there, you're gonna find some Everclear.

749
02:10:39.430 --> 02:10:42.839
Jerry Corley: Nice, good stuff. Kaz, what do you got?

750
02:10:44.150 --> 02:10:49.909
Kaz Okamoto: Okay, I wrote one, and I still… I don't know. Okay. So,

751
02:10:50.060 --> 02:11:05.879
Kaz Okamoto: I, she… you took the thing away, so I forgot all the, examples. I didn't want to do the wearing a suit thing, so… She ordered, a… she ordered a drink. I think that was one of the titles, right? So, she ordered a drink.

752
02:11:06.120 --> 02:11:12.119
Kaz Okamoto: Since… It was so busy at the club, she ordered them two at a time.

753
02:11:14.520 --> 02:11:15.590
Jerry Corley: What were they?

754
02:11:16.410 --> 02:11:17.519
Kaz Okamoto: Oh, the drinks?

755
02:11:18.040 --> 02:11:22.850
Kaz Okamoto: Shit, man, I… Alcoholic!

756
02:11:22.850 --> 02:11:24.490
Jerry Corley: How would you define…

757
02:11:24.760 --> 02:11:30.590
Jerry Corley: Like, she ordered a drink. What would that… how could we escalate that? She ordered a… she ordered a…

758
02:11:32.340 --> 02:11:34.100
Jerry Corley: You know, okay.

759
02:11:34.100 --> 02:11:35.629
Kaz Okamoto: I'll just say martinis.

760
02:11:36.510 --> 02:11:37.980
Jerry Corley: What kind of martinis?

761
02:11:37.980 --> 02:11:41.499
Kaz Okamoto: Mother of God!

762
02:11:41.760 --> 02:11:45.349
Jerry Corley: Vodka martinis, gin martinis, very dry, dry.

763
02:11:45.350 --> 02:11:46.020
Kaz Okamoto: Oh,

764
02:11:46.020 --> 02:11:48.869
Jerry Corley: I'm not saying they were as dry, but the vermouth…

765
02:11:49.140 --> 02:11:53.470
Jerry Corley: would… the vermouth by itself would pucker your lips.

766
02:11:53.470 --> 02:11:58.410
Kaz Okamoto: Okay, she ordered her, Dirty, filthy, more cheese.

767
02:11:58.410 --> 02:11:58.860
Jerry Corley: Yes.

768
02:11:58.860 --> 02:12:03.670
Kaz Okamoto: But two large Spanish, queen olives, two at a time.

769
02:12:04.750 --> 02:12:05.760
Kaz Okamoto: Okay?

770
02:12:05.760 --> 02:12:08.940
Jerry Corley: Yes, good. Yes, I like it, two at a time.

771
02:12:10.950 --> 02:12:18.440
Kaz Okamoto: Oh, I have to write her, vodka, because I, I would, I would use vodka. Okay,

772
02:12:19.020 --> 02:12:21.670
Kaz Okamoto: They called her a two-fisted drinker.

773
02:12:22.040 --> 02:12:29.000
Kaz Okamoto: Apparently, she drinks how she likes her men, two at a time, And double-fisted.

774
02:12:29.000 --> 02:12:31.280
Jerry Corley: Wow! I was like, that's, like, yeah.

775
02:12:31.310 --> 02:12:32.230
Kaz Okamoto: Oh, there, because I used to.

776
02:12:32.230 --> 02:12:34.590
Jerry Corley: That's like a… that's like a German porn.

777
02:12:36.010 --> 02:12:39.520
Kaz Okamoto: Oh, and then… and then they all peed on her, then it becomes…

778
02:12:39.520 --> 02:12:44.100
Jerry Corley: It's like, you can even say that…

779
02:12:44.100 --> 02:12:49.770
Kaz Okamoto: I do, you know, I usually don't do blue comedy, so… I was so proud of myself.

780
02:12:50.190 --> 02:13:01.920
Jerry Corley: That was good, that was very good. Like, two at a time, like our men, two at a time, double-fisted. Like, I was like, wow, I think I just described a German porn. No, I didn't say they peed on her, so that would be a German porn.

781
02:13:01.920 --> 02:13:02.580
Kaz Okamoto: Yeah.

782
02:13:02.580 --> 02:13:04.180
Jerry Corley: that, or a date with R. Kelly?

783
02:13:04.350 --> 02:13:05.340
Kaz Okamoto: There you go.

784
02:13:05.910 --> 02:13:08.420
Kaz Okamoto: So… That's the only one I could think of.

785
02:13:08.420 --> 02:13:16.379
Jerry Corley: Well done, not bad. I mean, you're getting better at this. That used to… you used to bail on those, remember? And not do it. They would still give you a headache.

786
02:13:16.380 --> 02:13:17.990
Kaz Okamoto: Alright, someone's at the door! No, just kidding.

787
02:13:17.990 --> 02:13:20.860
Jerry Corley: Yeah, yeah, it was like, but now you're doing it, so that's great.

788
02:13:20.860 --> 02:13:24.190
Kaz Okamoto: Because I… it helped to listen to…

789
02:13:24.300 --> 02:13:42.719
Kaz Okamoto: the example that you did with Cliff to escalate the descriptions, and then Pappy's and Jack's were also descriptive, especially you, Pappy, and then I thought, oh, oh, I get it. Like, all of a sudden, oop, the light went on, and…

790
02:13:42.930 --> 02:13:44.130
Kaz Okamoto: I kinda got it.

791
02:13:44.330 --> 02:13:51.590
Jerry Corley: So, like, instead of trying to list it all at the same time, you start out, she ordered a drink.

792
02:13:52.030 --> 02:14:06.800
Jerry Corley: She ordered a drink like a drunken sailor. She ordered a drink that was… she ordered… what kind of drink? Double mart… double vodka martinis, you know, as dirty as it gets. As dirty as her date's fingernails.

793
02:14:07.140 --> 02:14:21.320
Jerry Corley: Right? She ordered as dirty as the shelf on the… the third shelf on the, you know, on the back bar, right? Like, she ordered a vodka martini, you know,

794
02:14:21.340 --> 02:14:37.059
Jerry Corley: as, as dirty as the, the hood of a, of a 72 Grand Torino, right? So it's like, you, you know, kind of get more vivid each time. She's like, you know, with, so…

795
02:14:37.690 --> 02:14:42.279
Jerry Corley: Like, as dirty as the hands, and a guy with a mechanic in a tire shop.

796
02:14:42.280 --> 02:14:47.899
lina alva: What about, what about, what about, she ordered a martini as dirty as her ex-husband?

797
02:14:47.900 --> 02:14:49.680
Jerry Corley: Mmm.

798
02:14:50.260 --> 02:14:54.820
Jerry Corley: Let's go deeper now. She ordered a martini as dirty as her ex-husband's taint.

799
02:14:55.300 --> 02:14:57.789
lina alva: Azara's husband's, widow.

800
02:14:58.030 --> 02:15:00.920
Jerry Corley: You know, as her ex-husband's ball sack.

801
02:15:01.130 --> 02:15:01.970
lina alva: Yes.

802
02:15:02.320 --> 02:15:11.199
Jerry Corley: Right? You could see, like, you could see how, oof, you know? And it's like, as her ex-husband's asshole, don't ask me how I know.

803
02:15:11.200 --> 02:15:11.920
Kaz Okamoto: I heard…

804
02:15:12.160 --> 02:15:21.149
Jerry Corley: Right? I heard. Right, that's… that… very good, that's good, that's as Dirty as her ex-husband. Even right there, you're gonna go, Dirty as her ex-husband, don't ask me how I know.

805
02:15:21.240 --> 02:15:45.969
Jerry Corley: Right? So, that's a fun way to take that as well. So, I want you to really take a look at these phrases here, like, each one of them, and then work on your own. Like, what are these common situations you might say about somebody? He works in an office, and that's, like, very vague. If we got more vivid, you know, he was a cashier at 7-Eleven. He was a cashier at Kmart.

806
02:15:45.970 --> 02:15:48.700
Jerry Corley: During the big blue light sail days.

807
02:15:49.290 --> 02:15:53.290
Jerry Corley: you know, Blue Light Special Days, or something like that. It was like,

808
02:15:53.870 --> 02:16:11.220
Jerry Corley: You know, she was as dusty as an old Kmart, you know? Yeah, I don't even remember that. Kmart used to just be dusty. You felt it was dusty. That's when Target came along, and they had higher ceilings, brighter lights, and cleaner floors, you know? So it was like,

809
02:16:11.220 --> 02:16:17.329
Jerry Corley: I remember years ago, my stockbroker says, you should invest in Kmart. They're taking…

810
02:16:17.330 --> 02:16:38.109
Jerry Corley: X amount of millions of dollars and investing it and redoing all the stores. And so, I said, well, I went to my local Kmart, and the floors are… the tile on the floors are still worn and dirty, the end caps are still the same, the store still looks as dank and dusty as it always has, so I don't know what they're doing with the money, but they're not renovating.

811
02:16:38.110 --> 02:16:40.360
Jerry Corley: I'll opt out of Kmart.

812
02:16:40.400 --> 02:16:45.449
Jerry Corley: You know, shortly after, came out filed for bankruptcy. So they actually were stealing money, they weren't investing.

813
02:16:45.459 --> 02:16:47.479
Kaz Okamoto: You're renovating on paper.

814
02:16:47.480 --> 02:16:48.670
Jerry Corley: Yeah, renovating up.

815
02:16:48.670 --> 02:16:51.019
Kaz Okamoto: Are they lying in CEOs' pockets?

816
02:16:51.020 --> 02:16:53.479
Jerry Corley: That's right, exactly. Pappy, what do you got?

817
02:16:54.160 --> 02:16:59.250
Pappy: I just wanted to mention, I think it was starting with the Theo Vaughn class.

818
02:16:59.360 --> 02:17:08.669
Pappy: I'm really… Trying to buy into and really enjoy the full descriptions of something, rather than saying the word.

819
02:17:08.809 --> 02:17:15.470
Pappy: And one the other day I was working with was millionaires, like, so bland, and coming up with

820
02:17:15.590 --> 02:17:22.750
Pappy: phrase that means the same thing, but has a lot better visual image to it. So, anyway, thank you. That was awesome.

821
02:17:22.750 --> 02:17:35.209
Jerry Corley: Nice, nice, like, how do we, you know, he was a millionaire, he was a fake millionaire, you know? He was, he was more fake than Andrew Tate, you know? It's like, his Bugattis were rented.

822
02:17:35.209 --> 02:17:44.559
Jerry Corley: You know, or whatever. He is like, we were just discovering that with Andrew Tate, he's that alpha male, he's got that whole following of alpha males, is that he's now being sued.

823
02:17:44.820 --> 02:18:03.630
Jerry Corley: Or he's now under trial, and he was told that, well, he should be able to afford, you know, an attorney, because he's rich. And his attorney said, well, he's not rich, that's just a facade he puts on for his brand. All of the assets that he has are rented.

824
02:18:03.780 --> 02:18:21.109
Jerry Corley: And so now it's all coming out that he's a big fraud, and it's like, so we get to see the actuality of it, so taking that, that's good. I'm glad that you're now thinking, every time you come up with something, like, how can I make that more descriptive? How can I… you know, I learned that when I was writing scripts.

825
02:18:21.350 --> 02:18:29.410
Jerry Corley: That it not only had to be read by a production company, but it has to be read by a reader before it even gets to the person who reads it.

826
02:18:29.500 --> 02:18:43.830
Jerry Corley: So that reader has to be captivated by the script, and it's gotta be… he's gotta be able to read that, or she's gotta be able to read that, and not… and keep… be so compelled, she can't… she's gotta keep turning the page to see what comes next. And so when I learned

827
02:18:43.830 --> 02:18:53.610
Jerry Corley: Like, even in your descriptions, not just your dialogue, your descriptions have to be vivid as well in a short period of time, because they don't want to read a lot of ink.

828
02:18:53.809 --> 02:19:10.979
Jerry Corley: They want to read… it's got a flow, image to image, and it's like, when you can… when you, like, when you can make it, like, vivid like that, it makes it more interesting to read, and it also makes it more interesting when you're listening to the story, so that's good, you guys are doing a good job with that. Anybody else have one they want to share?

829
02:19:11.290 --> 02:19:12.639
Jerry Corley: Sara, anything?

830
02:19:13.180 --> 02:19:18.220
Jerry Corley: She goes, I am French. It takes me a little while to adjust to the English.

831
02:19:18.440 --> 02:19:21.299
Sara: And I'm shy. I'm super shy.

832
02:19:21.309 --> 02:19:39.399
Jerry Corley: When you take your time with it, like, imagine saying this in French, she ordered a drink, but what would you say, what kind of a drink? Like, was the drink… she ordered a drink, it was like, it was like, it was, it was so sweet, it lacked sophistication.

833
02:19:40.399 --> 02:19:56.029
Jerry Corley: Oh, wow. So, sweet drinks are normally not sophisticated drinks, right? Like a… even something like a gin and tonic is a more… recognized a more sophisticated drink than something that's sweet.

834
02:19:56.059 --> 02:20:09.559
Jerry Corley: Right? Like a… like a whiskey sour, or a lemon drop, or… or something like that. So it's like, if they have it sweet, it usually lacks in sophistication, technically, you know, they say. So, for class.

835
02:20:09.560 --> 02:20:13.340
Kaz Okamoto: Because Sara is French, anything she says sounds great.

836
02:20:13.340 --> 02:20:13.840
Jerry Corley: Yes.

837
02:20:13.840 --> 02:20:15.070
Kaz Okamoto: Sexy.

838
02:20:15.070 --> 02:20:15.345
Sara: That's.

839
02:20:15.620 --> 02:20:18.400
Kaz Okamoto: He could describe gutter water, ugh!

840
02:20:19.330 --> 02:20:21.689
Sara: So I can tell whatever I want.

841
02:20:21.690 --> 02:20:28.669
Kaz Okamoto: Yeah, you're French. It would just, you know, you wouldn't know if you weren't French, right? I think that's a good…

842
02:20:29.030 --> 02:20:31.239
Kaz Okamoto: like, cover.

843
02:20:31.810 --> 02:20:34.449
Sara: Yeah, well, it doesn't work with the French, though.

844
02:20:35.920 --> 02:20:36.769
Kaz Okamoto: What do you mean?

845
02:20:36.770 --> 02:20:41.259
Sara: because French who speak French, between us, we just… just don't get.

846
02:20:41.260 --> 02:20:44.359
Jerry Corley: Yeah, they think it's just French. It's just somebody else.

847
02:20:44.360 --> 02:20:45.739
Sara: Yeah, they'll…

848
02:20:45.740 --> 02:20:47.130
Jerry Corley: saying it in English.

849
02:20:47.600 --> 02:20:48.050
Sara: Yeah.

850
02:20:48.050 --> 02:20:51.140
Jerry Corley: to an English… an American person, they're like,

851
02:20:51.140 --> 02:20:55.029
Kaz Okamoto: No, that, but I'm saying the drink would be in French, whether it's… she's.

852
02:20:55.030 --> 02:20:56.170
Jerry Corley: Oh, yeah.

853
02:20:56.170 --> 02:20:57.540
Kaz Okamoto: water, and the drink.

854
02:20:57.540 --> 02:20:58.590
Sara: Oh, yes.

855
02:20:58.590 --> 02:21:04.229
Kaz Okamoto: So you could do it in English, but then say, you know, oh, and the most beautiful, you know.

856
02:21:04.500 --> 02:21:08.700
Kaz Okamoto: glass in a crystal goblin or glass, and then describe…

857
02:21:08.700 --> 02:21:09.270
Sara: Thank you.

858
02:21:09.370 --> 02:21:17.140
Jerry Corley: It was at an omelette du Fromage in a crystal wine glass, and you're like, egg with.

859
02:21:17.140 --> 02:21:17.690
Sara: Cheese?

860
02:21:17.690 --> 02:21:23.690
Jerry Corley: in a wine glass? What are you talking about? But to Americans, they're like, oh, that sounds great, I want one of those.

861
02:21:24.310 --> 02:21:30.009
Sara: Yeah, it's interesting what you say, because, maybe I look too far, and…

862
02:21:30.150 --> 02:21:36.699
Sara: Using a French word, it's, like, a super image in your brain, like, a feeling.

863
02:21:36.700 --> 02:21:41.149
Kaz Okamoto: Because we don't hear it. You hear it all the time. But it's just like a friend of mine used to say.

864
02:21:41.170 --> 02:21:59.630
Kaz Okamoto: a chef can take, dog shit and stick it on a beautiful platter and do all the garnish and everything, and you think it's something great, but it's still dog shit. He used to tell me that all the time. So, you know, to paint the description, right? Isn't that part of what we're doing? The description of whatever?

865
02:21:59.630 --> 02:22:02.499
Jerry Corley: Yeah, et, parfait de pero.

866
02:22:03.860 --> 02:22:04.489
Sara: I'm sorry.

867
02:22:04.490 --> 02:22:19.099
Jerry Corley: It's kind of like French and Spanish at the same time. It's basically a dog parfait. It's like, oh, I want one of those. I want one of those dog parfaits. Here you go. Smells like shit. Well, you should see how it tastes.

868
02:22:20.170 --> 02:22:39.100
Jerry Corley: So now you have, like, that's a fun, now you're playing with words to get the… get the laugh there. But you'll start to, you know, you'll start, like, instead of a, like, even just saying, like Kaz said, it's not just a drink, it's a drink in a crystal decanter, right? It's like, it's like, it's the one where, when you could just, like.

869
02:22:39.140 --> 02:22:45.750
Jerry Corley: Gently hit it with your finger, and it makes that resonant sound. You can almost feel the vibration.

870
02:22:45.940 --> 02:22:48.270
Jerry Corley: As if you were at a yoga retreat.

871
02:22:48.560 --> 02:22:49.820
Sara: You know?

872
02:22:49.820 --> 02:22:55.780
Jerry Corley: So it's like, in that moment, now we see it, right? You can really get that visual in there. Lina, what do you got?

873
02:22:57.460 --> 02:23:07.859
lina alva: This might be really dumb, but I was just thinking, like, a play on whatever, that's my specialty. I was thinking about a play on words, like,

874
02:23:08.600 --> 02:23:13.790
lina alva: I… a plate of escargot with this… with… primed the Cock.

875
02:23:14.760 --> 02:23:18.430
Jerry Corley: Oh, yes, like a plate of escortot with creme de cock.

876
02:23:18.750 --> 02:23:20.800
lina alva: No, that's not correct, but…

877
02:23:20.800 --> 02:23:24.930
Jerry Corley: But I like the… what did you say? The creme, the creme de cacao? Creme de…

878
02:23:24.930 --> 02:23:30.210
lina alva: A friend, they… they talk, so… like, COCP… Exactly.

879
02:23:30.210 --> 02:23:30.880
Jerry Corley: Immaculate.

880
02:23:31.000 --> 02:23:32.899
Jerry Corley: Almost is what you're saying, right?

881
02:23:34.500 --> 02:23:35.979
Jerry Corley: Cream of a cock?

882
02:23:38.170 --> 02:23:39.339
Jerry Corley: Yeah, or is…

883
02:23:39.340 --> 02:23:40.640
lina alva: Nobody wants to talk about.

884
02:23:40.640 --> 02:23:42.550
Jerry Corley: Creme de cock. What's creme de cock?

885
02:23:42.850 --> 02:23:46.610
Jerry Corley: Are you trying to make the joke being creme de Carte jokes?

886
02:23:47.760 --> 02:23:50.529
lina alva: Got it! As soon as you just repeated it, I realized this.

887
02:23:50.830 --> 02:24:05.529
Jerry Corley: No, it's not fun, it's funny, because it's like you'd said, the first part is, like, exquisite, the second part is, like, with creme de cock, and I'm like, that's hysterical, it's almost like it's got, like, jizz on it, and that's what's funny about it.

888
02:24:05.530 --> 02:24:12.910
lina alva: Yeah, because isn't it C… I mean, I don't know French, it's a beautiful language, but I don't… I don't know French. Isn't C oh cute?

889
02:24:13.010 --> 02:24:19.670
lina alva: part of a word… a word in French, or no? Or am I just sleep-deprived and just think.

890
02:24:19.670 --> 02:24:21.180
Jerry Corley: The coat…

891
02:24:21.540 --> 02:24:26.849
Sara: Cook. Cacao is, yeah, it's a French word, but co… cook is…

892
02:24:26.960 --> 02:24:29.700
Sara: I don't know, it's cocaine? Or coke?

893
02:24:29.700 --> 02:24:33.959
lina alva: No, so then what am I thinking? I'm in another timeline, then.

894
02:24:35.570 --> 02:24:37.060
lina alva: If I'm… I don't seem…

895
02:24:37.060 --> 02:24:38.140
Audio shared by Jerry Corley: It's a…

896
02:24:38.160 --> 02:24:38.860
lina alva: Hmm.

897
02:24:39.600 --> 02:24:48.290
Sara: Our coquin is… well, it's abstract in French, by the way. We have a lot of abstraction, like, kind of thing, and…

898
02:24:49.470 --> 02:25:01.390
Sara: It's complicated. I struggle with that because we usually, like, really, judge things with adjectives, like, really, cerebral things.

899
02:25:01.780 --> 02:25:10.519
Sara: So we don't put the image at all, like, in the language in general. It's really abstract, a little bit like German, or it's…

900
02:25:10.850 --> 02:25:25.569
Jerry Corley: Well, the Germans are… each word is supposed to have, like, a very, almost they have a word that's very specific meaning, you know? A hairline fracture is, like, you don't need 3 words to say it in German.

901
02:25:26.420 --> 02:25:34.830
Jerry Corley: the way you say it, it's just everybody knows what it is, so that's kind of, like, very definitive, words. So maybe it's a little different in the language.

902
02:25:35.780 --> 02:25:39.349
Jerry Corley: So, it's like, what if you were gonna say he works in an office?

903
02:25:40.640 --> 02:25:44.000
Jerry Corley: just… Saying he works in an office.

904
02:25:44.280 --> 02:25:52.620
Jerry Corley: He works in an office, like, where does he work? Like, how can we… if we… how could you say that if you were going to picture, like,

905
02:25:52.860 --> 02:26:01.610
Jerry Corley: Like, if you're sitting there doing crowd work, you're like, you sit at a… and a woman is sitting there, and she goes, you're like, what do you do? And she's like, ugh, I work in an office.

906
02:26:02.330 --> 02:26:07.380
Jerry Corley: Sounds like she's frustrated. So, what kind of office could you put her in

907
02:26:08.210 --> 02:26:11.110
Jerry Corley: That would create such frustration.

908
02:26:12.230 --> 02:26:14.120
Sara: No window, like…

909
02:26:14.330 --> 02:26:21.070
Jerry Corley: Yeah, that could… no windows. You know, the way you reacted is almost like your office has, like, has no windows.

910
02:26:21.270 --> 02:26:24.200
Jerry Corley: And no doors. You were lucky to be here at all!

911
02:26:24.350 --> 02:26:30.310
Jerry Corley: Right? That could be fun, like, it's like, or no windows, what kind of… what business do they do?

912
02:26:35.120 --> 02:26:40.379
lina alva: I… I was… never mind. You know, I… I was gonna say something,

913
02:26:40.660 --> 02:26:43.279
lina alva: The office was as dark as…

914
02:26:43.660 --> 02:26:46.280
lina alva: an office at the World Trade Center on 9-11.

915
02:26:46.280 --> 02:26:54.530
Jerry Corley: Oh, yeah, it's like the office, as dark as the wor… as an office at the World Trade Center at 9-11. Why'd the lights go out?

916
02:26:56.300 --> 02:27:15.250
Jerry Corley: seconds before the collapse, right? That would be like, that's dark, right? But why, you know, you can… nobody says you can't write that. That's visual, that's… that's intense, right? So you can, you know, it's up to you where you want to get… if you said that during crowd work, they might, I said, wait till I get to the part where it collapses on her.

917
02:27:15.570 --> 02:27:16.480
Jerry Corley: You know?

918
02:27:16.750 --> 02:27:26.699
Jerry Corley: And it's like, you don't… you don't… remember, you don't back down, you double down. Anytime you say something, the audience might, you don't back down, you double down. Wait till I get to this part, you know?

919
02:27:26.990 --> 02:27:42.370
Jerry Corley: So it's like, so, that's good. So where… how do we get, sort of, get there? Like, if we're doing crowd work, and here's where I'd like to jump to right now, what gets us to the crowd work? What gets us into the crowd work?

920
02:27:42.630 --> 02:27:44.880
Jerry Corley: Like, that's, I think, the biggest…

921
02:27:45.000 --> 02:27:57.309
Jerry Corley: a complication is, like, in Crowd work is, like, what, what, Big Jay Oakerson does, like, what gets him into the crowd work? Now, I was thinking about this during break, Cliff brought up, like.

922
02:27:57.580 --> 02:28:10.389
Jerry Corley: what part of it's really, truly improv, and what part of it is older material that he's regurgitating and using for this particular moment. I think there's a good, you know, a good variance between there.

923
02:28:10.930 --> 02:28:24.939
Jerry Corley: Because, for me, I like to use crowd work to exaggerate a piece, to make it conversational, right? Sometimes I do pure crowd work, where I just make a reference to something somebody's wearing, or, like,

924
02:28:24.940 --> 02:28:32.059
Jerry Corley: You know, if somebody says something, I can maybe play off of what they just said, how somebody laughs.

925
02:28:32.060 --> 02:28:50.259
Jerry Corley: You know, so one, so there's one… I was doing a show one time, and there was this gal in the class, or gal in the show to my left, and she had this cute little laugh, and she was laughing loudly, and she was a very cute young lady. I think she was, like, maybe 21, right? And…

926
02:28:50.260 --> 02:29:02.960
Jerry Corley: she had said something, and I said, Mike, what a great laugh! I'm gonna take you on the road with me, you're gonna sit right there, and you're gonna make everybody laugh with your laugh, right? And then somebody else in the audience said, oh, he's hitting on this young girl.

927
02:29:04.630 --> 02:29:16.419
Jerry Corley: And I heard him say that. And I was like, you know, so, and I was making a joke about shoes or sneakers or whatever. I went, she's got the laseless shoes right now, you know, because she has… she's not old enough to tie them.

928
02:29:17.190 --> 02:29:36.710
Jerry Corley: Right? And so I made that reference to them, because they thought they'd get away with that little, sort of, like, whisper of, you know, he's hitting on the young girl. I wasn't hitting on her, I was making a joke about her, you know? It's like, it's like, you know, but still, they brought that up, and then I had to work with that. So you're taking those moments.

929
02:29:36.730 --> 02:29:39.819
Jerry Corley: Of, or the way somebody answers you.

930
02:29:40.530 --> 02:29:42.220
Jerry Corley: Like, if you say,

931
02:29:42.780 --> 02:29:53.499
Jerry Corley: if you have your bit… one of the bits I was doing is, like, how do you answer your phone? How do you… how do… when you call somebody to leave your phone number, how do you leave your phone number?

932
02:29:54.580 --> 02:30:11.460
Jerry Corley: So, that was like, because some people, they leave their phone number so fast, you have to rewind the message, like, 10 times just to get the phone number, right? And it's very frustrating. So, I'd be like, but, you know, if you leave your phone number as if you're imagining them writing it down.

933
02:30:12.110 --> 02:30:15.600
Jerry Corley: They're gonna love you, because they only have to listen to it once.

934
02:30:16.760 --> 02:30:29.169
Jerry Corley: And it's like, in fact, like, I remember my ex-wife getting a call from her main office, saying, your husband called, oh my god, he's so, it was so great!

935
02:30:29.170 --> 02:30:37.959
Jerry Corley: And she was like, what? What happened? Like, you know, he was like, well, he left a phone number, and I didn't have to write it down. I only had to write… I only had to listen once.

936
02:30:38.860 --> 02:30:58.229
Jerry Corley: when he left a message, and they talked about it. I was like, that's weird, right? But it was true, right? So it's like, because I learned, leave a… in acting class, leave a message as if you're seeing them write it down, and you'll slow down, and leaving your phone number, or, you know… and so, in this case,

937
02:30:58.350 --> 02:31:02.850
Jerry Corley: What if you were to go to the crowd, And say something like.

938
02:31:03.490 --> 02:31:09.329
Jerry Corley: So I want you to do this. Each one of you, pick a question that you might ask in Crowd Work.

939
02:31:09.590 --> 02:31:12.680
Jerry Corley: And then pick a person you want to ask.

940
02:31:14.230 --> 02:31:22.889
Jerry Corley: In the, in our, in our gallery here, in our, in our, you know, what's on, in our classroom. So, then, based on how they respond.

941
02:31:25.480 --> 02:31:31.720
Jerry Corley: I want you to… Sort of, like, picture what their personality is.

942
02:31:34.040 --> 02:31:40.579
Jerry Corley: And sort of give me a description of what you see their personality as being.

943
02:31:40.720 --> 02:31:50.619
Jerry Corley: For example, I remember I was like, and I said to a guy, like, I mean, how do you leave your phone number? I said, what's your name, dude? And he goes, Mike, dude.

944
02:31:51.240 --> 02:32:01.789
Jerry Corley: He's like, Mike, Mike, something like that. I go, haha, Mike, whoa, dude? He's like, you're like that guy, it's like, Mike, what's up, bro? And he's like, everybody starts laughing.

945
02:32:02.190 --> 02:32:18.929
Jerry Corley: It's like, everything is chill with Mike. You know, you go, hey, Mike, there's a fire, bro. No worries, bro. I know a back way. You know? So everybody starts, like, off that personality, you can now build a quick profile. Can you do that?

946
02:32:19.170 --> 02:32:34.820
Jerry Corley: On the fly. So I want you to ask somebody, like, a generic question, what you might ask somebody, what do you do for a living? Do you work in an office? Did you ever work in an office? Did you work at… have you ever waited tables?

947
02:32:35.490 --> 02:32:40.429
Jerry Corley: You know? And it's like, and then listen to their answer.

948
02:32:41.540 --> 02:32:46.749
Jerry Corley: And then follow it, like, see if you can say, what's your name? And they say…

949
02:32:47.010 --> 02:32:54.060
Jerry Corley: Their name, based on their name. See if you can create a profile based on how they respond to you.

950
02:32:54.620 --> 02:32:57.019
Jerry Corley: You know, some people will say, my name is…

951
02:32:58.030 --> 02:33:00.350
Jerry Corley: And then some people just say their name.

952
02:33:00.900 --> 02:33:13.360
Jerry Corley: You know? It's like they're getting to the point. They get right to the point. They don't even want to say, my name is, right? So they teach you an etiquette class. When somebody says, what's your name? You respond by saying, my name is…

953
02:33:14.440 --> 02:33:16.060
Jerry Corley: And then you give them your name.

954
02:33:16.520 --> 02:33:22.129
Jerry Corley: But if they're… some people don't know that, they're like, what's your name? Kaz.

955
02:33:23.020 --> 02:33:34.809
Jerry Corley: Kaz, wow, Kaz, like in Jazz, but with a K. You know, isn't that weird, that Jazz is the letter before Kaz? Kind of spelled the same. Do you spell with two Zs or one?

956
02:33:36.210 --> 02:33:51.240
Jerry Corley: You see how we're getting… what we're doing there? It's like, once I see the name, now I'm getting… asking more questions, being more inquisitive. And all I want you to do is have 2 to 3 follow-up questions to see if you can take it further with that. Lina, where are you gonna duck out for this, or are you here for this?

957
02:33:52.500 --> 02:33:53.489
Jerry Corley: lina might be taking.

958
02:33:53.490 --> 02:33:55.229
lina alva: No, I'm here, I'm here, I'm here, I'm here.

959
02:33:55.230 --> 02:33:58.829
Jerry Corley: Okay, so, if you can't… if you can be on camera.

960
02:33:58.830 --> 02:34:03.870
lina alva: No, I am. I am. I was just getting something in the kitchen that I didn't want to move like Jack does.

961
02:34:03.870 --> 02:34:04.740
Jerry Corley: goes, okay.

962
02:34:04.740 --> 02:34:05.630
lina alva: It's funny.

963
02:34:05.630 --> 02:34:14.389
Jerry Corley: I know you like these parts, these parts, these types of exercises. So, let's start with Jack Day. Jack, ask somebody.

964
02:34:14.950 --> 02:34:16.979
lina alva: Jack Ray, not Jack Day.

965
02:34:16.980 --> 02:34:18.619
Jerry Corley: Day, not Jack Green. Jack Green's not too

966
02:34:19.430 --> 02:34:21.370
Jerry Corley: Choose somebody and ask a question.

967
02:34:22.390 --> 02:34:26.969
Jerry Corley: Like, ask, have you ever waited tables?

968
02:34:29.010 --> 02:34:30.180
Jerry Corley: You're muted.

969
02:34:30.580 --> 02:34:33.740
Jerry Corley: There we go. Wait, oh, sorry, I muted you by accident.

970
02:34:38.820 --> 02:34:39.230
Jack Day: Alright.

971
02:34:39.230 --> 02:34:39.750
Jerry Corley: go.

972
02:34:41.220 --> 02:34:42.549
Jack Day: I'd ask lina.

973
02:34:43.290 --> 02:34:45.769
Jack Day: Did you have a job when you went to college?

974
02:34:50.630 --> 02:34:52.150
lina alva: What college?

975
02:34:54.890 --> 02:35:00.059
Jack Day: Okay… So… You did not go to college.

976
02:35:00.990 --> 02:35:04.449
lina alva: No… I… I run away from home.

977
02:35:04.700 --> 02:35:06.319
lina alva: When I was 17.

978
02:35:06.980 --> 02:35:08.110
Jack Day: Okay…

979
02:35:08.980 --> 02:35:09.410
lina alva: I'm just kidding.

980
02:35:09.970 --> 02:35:12.150
lina alva: I'm just trying… I'm just trying to bust your balls.

981
02:35:16.160 --> 02:35:18.440
Jerry Corley: That's the most fun I've had with a woman all week.

982
02:35:18.770 --> 02:35:19.509
lina alva: You shouldn't…

983
02:35:22.510 --> 02:35:24.170
Jack Day: You have a hard storyline.

984
02:35:25.250 --> 02:35:27.230
lina alva: That's what they all said.

985
02:35:29.090 --> 02:35:29.840
Jack Day: Bob, what?

986
02:35:31.480 --> 02:35:32.000
lina alva: Interesting.

987
02:35:32.000 --> 02:35:33.770
Jerry Corley: She said, that's what they all said.

988
02:35:34.240 --> 02:35:35.030
Jack Day: Oh, yeah.

989
02:35:35.410 --> 02:35:48.799
Jerry Corley: Yeah, good, good. Now, now you're, like, still that conversation, getting used to in that conversation. Just 3, 2 to 3 follow-up questions is all you need. Like, you said, where did you go to college? She's like, what college?

990
02:35:48.800 --> 02:35:55.440
Jerry Corley: And you were like, oh, you didn't go to college. Like, lina's, lina's like, one of those self…

991
02:35:55.440 --> 02:35:56.740
Jerry Corley: educated.

992
02:35:56.740 --> 02:36:10.990
Jerry Corley: people. So now we're getting to defining what we see. Well, how is that… how does that perception affect you, right? So, you know, it's like, I don't… so you didn't go to college? Right? So it's like, and I was thinking, what,

993
02:36:12.110 --> 02:36:20.560
Jerry Corley: I would say, and if you went to college, I would say, like, it would be like USC, like, USC, one of the prettiest women

994
02:36:21.010 --> 02:36:22.750
Jerry Corley: on this campus.

995
02:36:23.230 --> 02:36:35.080
Jerry Corley: See what I did there? See, I gave her a compliment, see? I could've went the other way, so you didn't go to college, like, it's some underachievement, but instead, if she went to college, it would be too much of a distraction for anybody to get their degree.

996
02:36:35.870 --> 02:36:38.910
Jerry Corley: See, well, see how I now took that to the…

997
02:36:38.910 --> 02:36:56.609
Jerry Corley: next level, based on just interacting with what I felt from when she said I didn't go to college. I was like, what, you know, what do I see? What do I see? I see a pretty lady, I see a pretty young lady, and I'm like, now I'm gonna kind of use my comedic leverage to flirt, maybe?

998
02:36:56.610 --> 02:37:07.519
Jerry Corley: Because that's kind of what I do, right? I'm shy in person, but if I'm on stage, I come alive, right? And it's like… and that's what I see. I see a pretty lady. If she was on campus, what would happen?

999
02:37:07.700 --> 02:37:14.099
Jerry Corley: We wouldn't get any work done. He'd be like, and so what is the… what is the square root of pi?

1000
02:37:18.720 --> 02:37:19.810
Jerry Corley: Pie?

1001
02:37:20.280 --> 02:37:37.040
Jerry Corley: Pie? Pie? Oh, yeah, yeah. I was just like, I just saw something tasty. But anyway, would you ask that question again? I kind of got lost. Yes, Mr. Corley, we saw you did get lost, right? So you could play that act out. You see what I'm saying? Like, that's a fun way to play that act out.

1002
02:37:37.370 --> 02:37:54.460
Kaz Okamoto: Can you do logical ones? Like, if I asked you, where'd you go to school and said, I went to USC, and I said, oh, University of South Carolina? Because we're in LA. People on the East Coast don't really know USC, University of Southern California, so much. If you're…

1003
02:37:54.460 --> 02:37:56.140
Jerry Corley: If you watch football, you do.

1004
02:37:56.140 --> 02:38:06.869
Kaz Okamoto: Yeah, but, you know, if you don't, you don't. So, if you're in South Carolina, you're thinking of University of South Carolina, right? So, if you say, oh, you go to University of South Carolina?

1005
02:38:07.040 --> 02:38:13.909
Kaz Okamoto: No. You know, or whatever. No, University of Southern California. And then my answer would be.

1006
02:38:14.380 --> 02:38:15.870
Kaz Okamoto: Never heard of it.

1007
02:38:16.250 --> 02:38:28.639
Jerry Corley: Yeah, that's very funny. Yeah, definitely. Absolutely, exactly what we're looking for, is you're taking what you… what… how it hits you, what your perception is, and you barely did any…

1008
02:38:28.830 --> 02:38:37.320
Jerry Corley: cognitive work, you were just like, oh, you mean University of South Carolina? Right, you did a twist on it, and they were like, no, University of Southern California.

1009
02:38:38.140 --> 02:38:57.790
Jerry Corley: Oh, never heard of it, right? And that's a very funny line, right? And it's like, never heard of it. That's, you know, like, OJ Simpson went there. I think they just took his number down. Didn't they take his number down? They're pretending he didn't exist, or something like that? So, let's, let's move on to, let's move on to Cliff. Cliff.

1010
02:38:58.880 --> 02:39:01.009
Jerry Corley: Pick a person, ask a question.

1011
02:39:04.500 --> 02:39:06.660
Jerry Corley: Unmute yourself first, so they can hear you.

1012
02:39:09.920 --> 02:39:10.830
Cliff Spenger: Did that work?

1013
02:39:11.910 --> 02:39:12.890
Cliff Spenger: jury.

1014
02:39:12.890 --> 02:39:13.590
Jerry Corley: Yes.

1015
02:39:13.590 --> 02:39:17.790
Cliff Spenger: No, I want to ask the question about somebody who's in a relationship. I'll ask somebody.

1016
02:39:21.510 --> 02:39:24.660
Jerry Corley: Somebody actually has somebody in their life.

1017
02:39:24.950 --> 02:39:30.950
Cliff Spenger: Does anybody have a relationship that's on our panel?

1018
02:39:32.440 --> 02:39:33.310
Cliff Spenger: Panel.

1019
02:39:33.310 --> 02:39:35.910
Jerry Corley: Sara kinda does. Sara kinda does.

1020
02:39:36.280 --> 02:39:37.110
Cliff Spenger: Sara?

1021
02:39:37.690 --> 02:39:43.570
Cliff Spenger: This is a question for you. How long have you been with your, with your significant other.

1022
02:39:43.930 --> 02:39:44.680
Sara: Oh.

1023
02:39:44.880 --> 02:39:46.630
Sara: Should I know?

1024
02:39:50.540 --> 02:39:54.580
Jerry Corley: Just the response is funny, should I know? Ay, yay.

1025
02:39:55.740 --> 02:39:58.489
Sara: I think I don't remember.

1026
02:39:58.490 --> 02:40:03.719
Cliff Spenger: Okay, that's good, that's good, yeah. So, so, not very long.

1027
02:40:03.860 --> 02:40:05.090
Cliff Spenger: Or too long.

1028
02:40:05.530 --> 02:40:07.159
Sara: On and off.

1029
02:40:07.370 --> 02:40:09.739
Cliff Spenger: Oh, on and off, you know, on and off.

1030
02:40:11.740 --> 02:40:12.610
Jerry Corley: That's my favorite section.

1031
02:40:12.610 --> 02:40:13.550
Cliff Spenger: Position.

1032
02:40:16.370 --> 02:40:20.410
Cliff Spenger: No, I've had those relationships on and off, yeah. It usually…

1033
02:40:21.200 --> 02:40:26.029
Cliff Spenger: Well, for me, it ended up off, so I don't know, good luck. I hope it ends up on for you.

1034
02:40:26.960 --> 02:40:29.259
Sara: Off is the best part, yeah.

1035
02:40:29.450 --> 02:40:36.760
Cliff Spenger: Yes. Off is the best part, yes. You, you start, when you're in a relationship, you always cherish alone time.

1036
02:40:38.290 --> 02:40:38.800
Cliff Spenger: And when you're.

1037
02:40:38.800 --> 02:40:39.760
Sara: Hello.

1038
02:40:40.080 --> 02:40:40.460
Cliff Spenger: you'd think.

1039
02:40:40.460 --> 02:40:41.099
Sara: It's a lie.

1040
02:40:41.100 --> 02:40:44.210
Cliff Spenger: time with somebody else. Which is a lie.

1041
02:40:44.490 --> 02:40:48.979
Sara: That off is the best part, it's a lie, I don't believe it.

1042
02:40:48.980 --> 02:40:52.820
Cliff Spenger: No, if you know you have somebody at your back, it's a great thing.

1043
02:40:53.230 --> 02:40:54.300
Sara: It's great.

1044
02:40:54.810 --> 02:40:58.860
Cliff Spenger: That's, we've… I've exhausted my questions, so…

1045
02:40:58.860 --> 02:41:12.030
Jerry Corley: She had a nice ass, so she knew she always had somebody at her back, which has kind of got, for her, got annoying, because I was always at her back. I was like, oh, baby, you feel so good. That's all you think about, right?

1046
02:41:12.030 --> 02:41:20.840
Jerry Corley: But that was good. That was good. Where you took that, it was like, you take… and remember, when you're on stage, you feel pressure of time.

1047
02:41:20.840 --> 02:41:36.340
Jerry Corley: Because time is constricting. You think if you take any time at all, it's too much time. 3 to 5 seconds is all the brain needs to come up with associations that, you know, you feel something, you hear something, you make a quick association of what that means to you.

1048
02:41:36.650 --> 02:41:48.830
Jerry Corley: And then you respond off of that. You know, sometimes we don't even take the time to think about how that affects us before we respond. Like, when she said on and off, I thought it on and off, like,

1049
02:41:49.430 --> 02:42:00.350
Jerry Corley: And it's like, what else is on and off? And it's like, I would say on and off, like, like my ex's sense of humor. It was on and off. It was mostly off.

1050
02:42:00.350 --> 02:42:10.099
Jerry Corley: during the last 10 years of a relationship, but it was like, you could say, like, on and off, what else is on and off? A light switch is on and off. What else is on and off? Sex can be on and off.

1051
02:42:10.100 --> 02:42:23.820
Jerry Corley: Right? Up and down, in and out, on and off, right? So we had 3 different ways we did sex. In and out, up and down, on and off. Like, so it's like, that's just funny by itself, right? Now it's like, what a coincidence those three things can tie in.

1052
02:42:23.820 --> 02:42:36.559
Jerry Corley: To one another. And it's like, so when you say on and off, do you mean, like, you're together, and then you're not together, then you're together, then you're not together? You know, like, it's like, how would you describe that relationship besides bipolar?

1053
02:42:38.140 --> 02:42:49.270
Jerry Corley: Right? And now you have, like, a multiple personality disorder, relationship, you know, and then you said your off time is your favorite time.

1054
02:42:49.460 --> 02:42:53.450
Jerry Corley: So your relationship is a lot like my… a lot like work.

1055
02:42:54.000 --> 02:42:55.930
Jerry Corley: You know? I'd rather be off.

1056
02:42:57.160 --> 02:43:00.279
Jerry Corley: You know, then on, right? So it's like,

1057
02:43:00.280 --> 02:43:02.089
Cliff Spenger: Who went back on that, though.

1058
02:43:02.090 --> 02:43:08.580
Jerry Corley: You know, no, she, I think, stuck with it, right? Like, your off time, your alone time is probably the best time.

1059
02:43:08.890 --> 02:43:10.789
Cliff Spenger: I thought she went back on that and…

1060
02:43:10.790 --> 02:43:14.169
Sara: I went back on that, I changed my mind, but…

1061
02:43:14.170 --> 02:43:16.740
Cliff Spenger: Who listens better, Jerry?

1062
02:43:16.740 --> 02:43:17.669
Jerry Corley: You do, Cliff.

1063
02:43:17.670 --> 02:43:18.600
Cliff Spenger: You're…

1064
02:43:18.600 --> 02:43:22.260
Jerry Corley: That's probably why I'm divorced. And you have a companion.

1065
02:43:23.030 --> 02:43:25.810
Jerry Corley: So yeah, that was good, that was a nice…

1066
02:43:26.150 --> 02:43:28.090
Cliff Spenger: Sorry, I was just teasing you, Jerry.

1067
02:43:28.090 --> 02:43:44.090
Jerry Corley: Oh, yeah, I'm not taking it personally, I think it's funny, right? So, it's like, so, I like this. It's like, you're now… so we see how kind of simple just the conversation becomes, and all you're doing, instead of thinking of something clever.

1068
02:43:44.190 --> 02:43:47.359
Jerry Corley: You're just thinking of what a quick association might be.

1069
02:43:47.520 --> 02:44:01.719
Jerry Corley: And then you let the person you're speaking to fill in a blank, like lena filled in with something funny, Sara filled it in with something funny. Their responses are so unpredictable, they can always bring you something new. So let's go with Kaz.

1070
02:44:02.530 --> 02:44:18.819
Kaz Okamoto: I have a question first, because that's who I am. So, I think, honestly, when someone does it, I like the idea that the rest of us are brainstorming answers, or things to say, while they're saying stuff, you know? Thank you for bringing…

1071
02:44:18.820 --> 02:44:19.529
Jerry Corley: add up.

1072
02:44:19.860 --> 02:44:21.380
Kaz Okamoto: You know what I mean? So I think…

1073
02:44:22.100 --> 02:44:31.540
Kaz Okamoto: It's a… if it's not mine, and I'm listening to somebody else, for some reason, I can come up with other stuff more than trying to come up with my own stuff?

1074
02:44:31.540 --> 02:44:33.360
Jerry Corley: Right? Right? Yeah.

1075
02:44:33.360 --> 02:44:34.440
Kaz Okamoto: I don't know, maybe…

1076
02:44:34.440 --> 02:44:50.140
Jerry Corley: now getting into… you're getting better at being in the state of mind at being able to do that, because I remember when you first started coming to class, way back in the day, that you had, like, 10 years ago, you would be able to have a quip off of something somebody else was doing.

1077
02:44:50.140 --> 02:44:54.529
Jerry Corley: Yeah. Then when you were doing it, you kind of ran into a block, but…

1078
02:44:54.530 --> 02:45:07.360
Jerry Corley: now you're getting better at finding those quick quips in the moment. It's… it's… it's happening. You're just, like, you gotta allow it to happen. And I think, think about it, a lot of it goes back to, I have to behave?

1079
02:45:08.210 --> 02:45:08.650
Kaz Okamoto: Right.

1080
02:45:08.650 --> 02:45:32.510
Jerry Corley: Right? And now you're letting yourself play in these moments, so I think that's good, too. So let's start with, let's start with that, but I'm glad you brought that up. So that's another layer of the crowd work that we don't always consider. The audience is playing along, coming up with their own answers to the questions the comedians are sort of proposing to an audience member, and so they're able to participate.

1081
02:45:32.510 --> 02:45:35.280
Jerry Corley: And what does an audience want to be able to do in the act?

1082
02:45:35.940 --> 02:45:36.689
Kaz Okamoto: Be a part of it.

1083
02:45:36.690 --> 02:45:37.860
Jerry Corley: Be a part of it.

1084
02:45:38.010 --> 02:45:38.719
Jerry Corley: Right, so that…

1085
02:45:38.720 --> 02:45:39.179
Kaz Okamoto: What is the key.

1086
02:45:39.180 --> 02:45:40.269
Jerry Corley: unity of it.

1087
02:45:40.270 --> 02:46:00.239
Kaz Okamoto: like, if I see someone, and they're laughing a lot, and I'll say, hey, what's your name? And they tell me, and then I always say, who's your daddy? And then I go into that song, because I love that song. Is he rich? Is he rich like me? You know, that kind of thing. And I just think… I always think, who's your daddy? But,

1088
02:46:01.880 --> 02:46:05.859
Kaz Okamoto: I tell people I work in the film industry, I used to work in the film industry.

1089
02:46:05.860 --> 02:46:27.180
Kaz Okamoto: And then now, the latest thing I do is ask, has anybody ever heard of the Born Identity film series? And they go, oh yeah, yeah, yeah. I said, well, I never worked on any of those. And then I start naming these films that are really big blockbusters. Yeah, I didn't work on that one either. And then I name other big blockbusters. Yeah, I worked on that one. But it's just the… that misdirect of…

1090
02:46:27.180 --> 02:46:38.329
Jerry Corley: And when you… if you go through two, that you didn't, like, you fooled them on two, I didn't go through that, and you get to that third one, you know, with Star Trek, blah blah blah, and they were like, yeah, I worked on that one. They go, oh!

1091
02:46:39.050 --> 02:46:41.879
Jerry Corley: They're so excited to hear the answer, they applaud.

1092
02:46:41.880 --> 02:46:52.180
Kaz Okamoto: Yeah, the third one's usually How the Grinch Stole Christmas, because everyone kind of knows that one, because there are some people who don't like Star Trek, and they don't like Star Wars. But,

1093
02:46:52.370 --> 02:46:56.570
Kaz Okamoto: Yeah, I just, like you had said, I…

1094
02:46:56.880 --> 02:47:10.499
Kaz Okamoto: good to think quickly, but I always have a hard time slowing my brain down to write it down, and that's when you told me to start recording it and then transcribing it, because I can't write as fast as I'm thinking.

1095
02:47:10.500 --> 02:47:11.690
Jerry Corley: Right, nobody can.

1096
02:47:11.690 --> 02:47:23.449
Kaz Okamoto: But I was always really… lookit, it took a long time from going to… from being a really sarcastic person, and saying… not having any filter on my mouth, to having to change all that.

1097
02:47:23.620 --> 02:47:30.189
Kaz Okamoto: to, suit my job and to, you know, once I got older, and now I have to undo that

1098
02:47:30.390 --> 02:47:32.239
Kaz Okamoto: You know, filter, and…

1099
02:47:32.240 --> 02:47:33.780
Jerry Corley: Right, right.

1100
02:47:33.780 --> 02:47:34.980
Kaz Okamoto: Really weird.

1101
02:47:34.980 --> 02:47:50.999
Jerry Corley: And it's like… and the old filter on your mouth used to be alcohol and drugs. So it's like, whatever came out of my mouth would come out while I was under the influence of something. That's an interesting premise by itself. Like, what cha… so, looking at the difference between…

1102
02:47:51.140 --> 02:47:59.939
Jerry Corley: you know, post-sober and pre-sober, how would you answer certain questions based on the fact that you were supported by, you know.

1103
02:47:59.940 --> 02:48:04.959
Kaz Okamoto: Alcohol or drugs. That's 18 years, right, without any alcohol or drugs?

1104
02:48:05.140 --> 02:48:06.899
Kaz Okamoto: illegal, and

1105
02:48:06.900 --> 02:48:11.029
Jerry Corley: That's how long it took me to learn to talk without them.

1106
02:48:11.030 --> 02:48:17.130
Kaz Okamoto: But, but the biggest thing is, I… because I was always…

1107
02:48:17.210 --> 02:48:35.120
Kaz Okamoto: extremely overweight, I would hurt you before you said something to hurt me. It was my defense mechanism. Yeah, yeah. I would make fun of you, or whatever I saw as a flaw, even though I had all those flaws myself, so I wouldn't feel as hurt. So now, I…

1108
02:48:35.260 --> 02:48:50.939
Kaz Okamoto: I don't do that, because I think, oh, I've been there, so I don't want to hurt someone's feelings, but there are people out in the world that you just want to crush, because they're just such assholes, you know? And like that black guy, who I don't think is funny. No, but,

1109
02:48:51.570 --> 02:48:52.669
Kaz Okamoto: But, you know, so…

1110
02:48:52.670 --> 02:48:54.180
Jerry Corley: I know who you're talking about.

1111
02:48:54.840 --> 02:48:56.169
Kaz Okamoto: So, it's really…

1112
02:48:56.170 --> 02:48:57.849
Jerry Corley: I'm not gonna mention his name, but…

1113
02:48:57.850 --> 02:48:59.759
Kaz Okamoto: He… he… his whole,

1114
02:48:59.760 --> 02:49:01.219
Jerry Corley: It's always at the Chateau.

1115
02:49:01.220 --> 02:49:05.849
Kaz Okamoto: Yeah, his whole glory is opening up for another comedian, black comedian, who's dead.

1116
02:49:06.320 --> 02:49:07.330
Jerry Corley: Yes, yes.

1117
02:49:07.510 --> 02:49:14.220
lina alva: Oh, you… I think… I think, telepathically, I think I… I think lina knows who it is, too, yeah.

1118
02:49:14.220 --> 02:49:15.770
Kaz Okamoto: JK! JK.

1119
02:49:15.770 --> 02:49:18.419
lina alva: It rhymes with Barry Heller, for sure.

1120
02:49:20.970 --> 02:49:24.699
Kaz Okamoto: Anyway, and he hates me, so that makes it really better.

1121
02:49:24.910 --> 02:49:25.990
Kaz Okamoto: Right, exactly.

1122
02:49:25.990 --> 02:49:27.390
Jerry Corley: Exactly. Yeah, yeah. Funny.

1123
02:49:27.390 --> 02:49:29.389
Kaz Okamoto: Your finances up!

1124
02:49:29.390 --> 02:49:32.710
Jerry Corley: Kia, go, sorry, Kaz, go, go, go.

1125
02:49:32.710 --> 02:49:34.779
Kaz Okamoto: Oh, okay. Pick somebody.

1126
02:49:35.940 --> 02:49:40.660
Kaz Okamoto: Copy.

1127
02:49:40.940 --> 02:49:42.770
Kaz Okamoto: Are… are you working?

1128
02:49:44.340 --> 02:49:45.730
Pappy: Fully retired.

1129
02:49:46.150 --> 02:49:48.169
Kaz Okamoto: Oh, really, how long you been retired?

1130
02:49:49.430 --> 02:49:51.790
Pappy: Ever since I stopped working.

1131
02:49:52.190 --> 02:49:53.770
Jerry Corley: Oh my god, that's fantastic!

1132
02:49:53.770 --> 02:49:58.940
Kaz Okamoto: When did you start doing, wanting to do stand-up work?

1133
02:49:59.690 --> 02:50:01.080
Pappy: second grade.

1134
02:50:02.310 --> 02:50:06.239
Kaz Okamoto: Wow. You could remember all that way back then?

1135
02:50:06.580 --> 02:50:07.859
Jerry Corley: I can't, yeah.

1136
02:50:07.860 --> 02:50:11.940
Pappy: Can't remember yesterday, but I remember second grade.

1137
02:50:11.940 --> 02:50:19.360
Kaz Okamoto: Yeah, that's good. So, you know, it's funny, because I'm also retired,

1138
02:50:19.680 --> 02:50:23.059
Kaz Okamoto: I think we're the same age, except I dye my hair.

1139
02:50:23.600 --> 02:50:27.150
Pappy: Yeah, I think we're the same age, too, except you're prettier.

1140
02:50:27.930 --> 02:50:34.229
Kaz Okamoto: Oh, that's so sweet. Obviously, you need an eye exam lately, so… but otherwise, it's pretty good.

1141
02:50:34.600 --> 02:50:46.170
Jerry Corley: Stop right there, Kaz. You know what was interesting? Is Kaz set it up before, and I like this premise, Kaz. I used to make fun of them before they could make fun of me, and what happened when Pappy said something kind?

1142
02:50:47.150 --> 02:50:47.980
Kaz Okamoto: Yeah, I'm sure.

1143
02:50:47.980 --> 02:50:50.519
Jerry Corley: Gave her in a compliment, like, you're so pretty.

1144
02:50:50.670 --> 02:50:52.060
Jerry Corley: She insulted him.

1145
02:50:52.930 --> 02:50:58.110
Jerry Corley: Like, that's because your eyesight is so bad, right? It was, like, quick way for her to get out of there, because she felt.

1146
02:50:58.110 --> 02:51:00.430
Kaz Okamoto: Who the fuck are you to say that to me?

1147
02:51:00.430 --> 02:51:03.819
Jerry Corley: I loved it. How it just… it gave itself away right there.

1148
02:51:03.820 --> 02:51:06.229
Pappy: That would have been better. Who the fuck you think you are?

1149
02:51:06.230 --> 02:51:08.610
Jerry Corley: Yeah, to give me a compliment like that.

1150
02:51:08.610 --> 02:51:10.459
Kaz Okamoto: compliment. I don't know you!

1151
02:51:10.460 --> 02:51:11.460
Jerry Corley: Right, he's funny.

1152
02:51:11.460 --> 02:51:18.280
Kaz Okamoto: Yeah, I got embar- I really got embarrassed. I went, yeah, fuck, what do I say now? Where am I? Who am I?

1153
02:51:18.280 --> 02:51:33.300
Jerry Corley: But that was really good. You used an ins… sort of an… you need to get your eyes examined. And it was, like, so funny, because you just described that. It's like, I would say something, and it wasn't an… it was a tease, it wasn't a mean thing, it was a tease, so we didn't take… nobody took.

1154
02:51:33.300 --> 02:51:35.510
Kaz Okamoto: When I was younger, it was pretty vicious.

1155
02:51:35.510 --> 02:51:50.629
Jerry Corley: So, but I love the… love the banter back and forth. It's like, I can barely… you can remember way back then, and Pappy was like, I remember… I can't remember yesterday, but I can remember second grade. That's funny, because I think a lot of people can immediately relate to that. Yeah, where'd you have for breakfast?

1156
02:51:50.630 --> 02:51:53.259
Kaz Okamoto: I can't remember that one either. Shit.

1157
02:51:53.260 --> 02:51:57.910
Jerry Corley: I can't remember, but miss Thornell in second grade, she had legs…

1158
02:51:58.400 --> 02:52:04.320
Jerry Corley: You know? Do you remember your first, second, third, fourth, fifth, 6th, 7th grade teachers?

1159
02:52:04.840 --> 02:52:07.740
Kaz Okamoto: Up to 6th grade, I can remember my teachers.

1160
02:52:07.740 --> 02:52:11.290
Jerry Corley: Yeah, right? So, I think as at 7th grade, there were multiple

1161
02:52:11.770 --> 02:52:14.510
Jerry Corley: Right? And it's like, so I think…

1162
02:52:14.510 --> 02:52:20.949
Kaz Okamoto: different things, you know? Like, I had a teacher who was from Massachusetts, and she would say, farty.

1163
02:52:21.150 --> 02:52:25.420
Kaz Okamoto: Instead of 40. And the kids thought it was funny, because it's farty,

1164
02:52:25.630 --> 02:52:27.449
Jerry Corley: And she said party!

1165
02:52:28.590 --> 02:52:29.670
Kaz Okamoto: Carte Farr!

1166
02:52:29.670 --> 02:52:30.530
Jerry Corley: Yeah, party, party.

1167
02:52:30.530 --> 02:52:32.180
Kaz Okamoto: Oh my god, you know.

1168
02:52:32.950 --> 02:52:41.829
Jerry Corley: It's like, so that's good. Nice, nice job. That was good. And now, what you would do is go back and say, how can I add that…

1169
02:52:41.910 --> 02:53:00.369
Jerry Corley: add a three descriptors line to that. How can I, you know… now it might be like, well, your memory is like maybe do an analogy to find a third descriptor to get to that note, and adding that extra layer. But the interaction is good. What gets you into the crowd work?

1170
02:53:00.370 --> 02:53:06.500
Jerry Corley: And it's like, it was all good questions. Like, who else hadn't gone yet? Pappy hasn't gone yet.

1171
02:53:10.440 --> 02:53:13.609
Pappy: I see your name's, Sarah. Where are you from?

1172
02:53:17.110 --> 02:53:19.550
Pappy: Oh, I see you're a deaf person, huh?

1173
02:53:20.430 --> 02:53:25.130
Sara: Yes, sorry, it takes time because I'm French, I'm from Paris, so…

1174
02:53:25.130 --> 02:53:30.080
Pappy: Oh, oh, so, Paris, Mississippi, it sounds like, by accident.

1175
02:53:30.750 --> 02:53:34.120
Sara: No.

1176
02:53:34.340 --> 02:53:37.599
Pappy: Just like a Mississippian lying to me already.

1177
02:53:40.380 --> 02:53:44.089
Sara: I… sorry, I don't understand your accent, I just didn't get…

1178
02:53:44.090 --> 02:53:44.510
Cliff Spenger: Oh.

1179
02:53:44.930 --> 02:53:45.840
Pappy: It's funny, funny.

1180
02:53:47.440 --> 02:53:49.529
Pappy: Mississippi for you, then.

1181
02:53:50.100 --> 02:53:54.830
Pappy: Would you like me to speak the Mississippi accent?

1182
02:53:54.830 --> 02:53:56.930
Jerry Corley: No.

1183
02:53:56.930 --> 02:53:57.680
Pappy: fries.

1184
02:54:00.700 --> 02:54:02.890
Sara: I've learned something, thank you.

1185
02:54:02.890 --> 02:54:27.880
Jerry Corley: So, yeah, so, that was good. I liked that, and a nice act out there, you added, you escalated it, Pappy. You went into, you, yes, and you were, like, act… I could see your brain is, like, trying to find an association to tie it to, so we went to, you know, then you did the act out, which I thought is now, is a great place to go in that case, and it was silly, it was playful, it was fun, and it's like, and you infringe, like, a Mississippi person.

1186
02:54:27.880 --> 02:54:42.499
Jerry Corley: it might go to the joke, french fries, right? Which, I'm sure Sarah, being French, has heard from Americans a million times, right? It's like, you know, they're not… they didn't originate in France at all, they're not even French.

1187
02:54:42.500 --> 02:54:49.159
Jerry Corley: Don't even say that. So it's like, so she can play around with that version of it. Sara, your turn.

1188
02:54:50.420 --> 02:54:54.470
Sara: Au la la.

1189
02:54:54.470 --> 02:54:55.340
Cliff Spenger: And you can…

1190
02:54:55.340 --> 02:54:59.869
Sara: Spanish, who is, who is gonna talk? Lina…

1191
02:54:59.870 --> 02:55:24.839
Jerry Corley: That would be… now, if you started to talk to the audience, because I remember you sharing that video with me, you were so honest and vulnerable, and you were just saying exactly how you felt, and you'd say something, and they would laugh at it, because you're like, oh, I feel like I'm on the spot, and they would laugh at that moment. So it was almost easy to get them to laugh just commenting on how you felt. So you're like, la la, I feel so nervous, what am I gonna say? So you're gonna pick on lina

1192
02:55:24.840 --> 02:55:26.560
Jerry Corley: Here we go. So, go, Sara.

1193
02:55:26.560 --> 02:55:29.460
Sara: Lina, hey!

1194
02:55:29.460 --> 02:55:30.020
lina alva: I said.

1195
02:55:30.020 --> 02:55:33.610
Sara: You're so, you're so beautiful. What's your secret?

1196
02:55:35.330 --> 02:55:43.789
lina alva: I basically just drain… anybody that… is in my…

1197
02:55:44.370 --> 02:55:50.329
lina alva: Just saying, any of my, any of my axes, I just drain their energy, so I would say I'm a vampire.

1198
02:55:52.440 --> 02:55:53.650
Sara: Oh, that's weird.

1199
02:55:53.650 --> 02:55:58.820
lina alva: Yeah, it's not everything I hate in this world, but, you know, you hate what you are, and what you eat.

1200
02:55:59.480 --> 02:56:03.429
Sara: Well, I do the same, but I don't feel that confident, so it's…

1201
02:56:03.430 --> 02:56:04.969
Jerry Corley: Oh, no, I…

1202
02:56:04.970 --> 02:56:10.719
lina alva: You know, s… you know, Confidence… what is confidence, really?

1203
02:56:11.820 --> 02:56:17.540
Sara: Well, teach me, like, I'm sorry, guys, we're gonna go together.

1204
02:56:17.540 --> 02:56:19.659
Jerry Corley: This is good, keep going, this is good.

1205
02:56:20.480 --> 02:56:23.400
lina alva: You know what makes me confident?

1206
02:56:24.320 --> 02:56:26.009
Sara: Tell me, I wanna know.

1207
02:56:26.010 --> 02:56:27.990
lina alva: Talking crap about older men.

1208
02:56:29.680 --> 02:56:30.280
Jerry Corley: What?

1209
02:56:30.280 --> 02:56:31.270
lina alva: That's just the wrong thing.

1210
02:56:31.270 --> 02:56:35.149
Jerry Corley: That's your entire audience!

1211
02:56:36.070 --> 02:56:38.110
lina alva: God, that's not…

1212
02:56:39.780 --> 02:56:47.050
Jerry Corley: But how do you save that, right? It's like Sara Show here, so you don't have to worry about it, talking crap. Now Sara can take that and go with it.

1213
02:56:47.050 --> 02:56:49.320
Sara: On the stage, so it's me.

1214
02:56:49.320 --> 02:56:50.909
Jerry Corley: Don't worry about it, don't worry about it.

1215
02:56:50.910 --> 02:56:57.829
Sara: Okay, it doesn't look super efficient, but still, yeah, well, good luck.

1216
02:56:59.330 --> 02:57:07.719
lina alva: Sara, I… I… I… I ruined… I ruined this.

1217
02:57:07.890 --> 02:57:10.730
Sara: Take your time, we have all time.

1218
02:57:12.550 --> 02:57:16.290
lina alva: What was your question? I got distracted.

1219
02:57:16.290 --> 02:57:17.220
Sara: Well, it was…

1220
02:57:17.220 --> 02:57:18.210
lina alva: You're…

1221
02:57:18.210 --> 02:57:22.920
Sara: to just, like, you know, I want your secret, because I want to,

1222
02:57:23.520 --> 02:57:28.430
Sara: I want your sweatshirt, your pink sweatshirt.

1223
02:57:30.130 --> 02:57:38.580
lina alva: My secret… is… Besides, you know, draining men.

1224
02:57:40.030 --> 02:57:40.750
Sara: Oh.

1225
02:57:40.750 --> 02:57:42.079
lina alva: Not doing anything.

1226
02:57:42.450 --> 02:57:46.929
lina alva: I just wake up, I struggled to get out of bed.

1227
02:57:47.600 --> 02:57:51.399
Sara: I do the same! I'm the best beautiful! How do you do that?

1228
02:57:52.610 --> 02:57:56.220
lina alva: Also, I avoid any responsibilities.

1229
02:57:57.270 --> 02:58:06.009
lina alva: as much as I can, because it causes wrinkles, and I mean, like, you can't… I already have enough. And another thing is,

1230
02:58:08.480 --> 02:58:09.079
Sara: Wow, it's…

1231
02:58:09.080 --> 02:58:09.780
lina alva: true to it.

1232
02:58:09.870 --> 02:58:10.400
Sara: Roots…

1233
02:58:10.400 --> 02:58:14.659
lina alva: Right? So you don't ruin your roots, so that you don't fry your hair, but…

1234
02:58:14.660 --> 02:58:17.299
Sara: To see my roots, then please do that, yeah.

1235
02:58:17.300 --> 02:58:23.130
lina alva: And they're white, and you can't even see them because I just spray them on like Rudy Giuliani. Do you know who Rudy Giuliani is?

1236
02:58:23.130 --> 02:58:23.540
Sara: No.

1237
02:58:23.540 --> 02:58:26.059
Jerry Corley: Google him.

1238
02:58:26.060 --> 02:58:27.120
lina alva: Giuliani.

1239
02:58:27.120 --> 02:58:27.620
Sara: Yeah, well.

1240
02:58:27.620 --> 02:58:28.530
lina alva: Oh, I'm okay.

1241
02:58:28.840 --> 02:58:30.949
Sara: I'm on stage, I have no Google here, but…

1242
02:58:32.560 --> 02:58:33.699
lina alva: You don't have Google?

1243
02:58:34.210 --> 02:58:36.319
Jerry Corley: No, she's on stage, she doesn't have Google there.

1244
02:58:36.320 --> 02:58:37.660
Sara: Hi, lina, hello!

1245
02:58:37.660 --> 02:58:38.719
lina alva: Yeah, yeah, well, yeah.

1246
02:58:38.720 --> 02:58:40.129
Sara: I'm forgetting that.

1247
02:58:40.130 --> 02:58:40.970
lina alva: Oh, yeah.

1248
02:58:41.250 --> 02:58:44.169
Sara: That was nice. Amazing.

1249
02:58:44.330 --> 02:58:50.040
Jerry Corley: Okay, that was good, that was good. I, I, you know what was interesting for me, as an audience member.

1250
02:58:50.510 --> 02:58:53.040
Jerry Corley: Hearing ladies talk to each other.

1251
02:58:53.210 --> 02:58:53.629
Sara: Oh, yeah.

1252
02:58:53.630 --> 02:59:01.170
Jerry Corley: Right? And hearing in this honest conversation that was going on, Pappy had put a comment in there, it's so hard to be normal.

1253
02:59:01.500 --> 02:59:11.510
Jerry Corley: in, it's so hard to be normal in this sort of, like, moment, right? So, it's like, they're definitely, and it is like, so…

1254
02:59:11.510 --> 02:59:29.489
Jerry Corley: in that sort of case, I said, you're right, but, you'll notice that they're interacting in real time right now. So they're still trying to come up with some sort of response, and sometimes we feel like we have to come up with a response that's funny, but usually, if a comedian

1255
02:59:29.710 --> 02:59:45.079
Jerry Corley: singles me out, I try not to be funny, because it's not my stage, it's not my mic, right? So it's like, if he says something to me, I try to be very succinct, and just kind of answer the questions as best I can, you know, without… unless he tries to go into an insult.

1256
02:59:45.490 --> 02:59:47.789
Jerry Corley: And then he wishes he never called on me.

1257
02:59:48.370 --> 02:59:52.280
Jerry Corley: Right, so it's like, you know, and if it's a mean insult.

1258
02:59:52.320 --> 02:59:58.589
Jerry Corley: Like, oh, Jerry thinks he's too good to answer me, or this guy thinks he's too good to answer me, you know?

1259
02:59:58.590 --> 03:00:14.229
Jerry Corley: Or some… something. It's gotta be something mean. I usually try to play nice and fair, because I want him to work… flex. I want him to try his stuff. So it's like, I try not to be mean at all. Who else didn't go? Did you ask yet, lena, did you get to play the host?

1260
03:00:15.000 --> 03:00:16.300
lina alva: I think I did, didn't I?

1261
03:00:16.300 --> 03:00:20.700
Jerry Corley: Yeah, I think you all did. Good. Everybody felt like they got a little time out there. Kaz, you have a question?

1262
03:00:20.700 --> 03:00:24.460
Kaz Okamoto: Yeah, so, be-Coz?

1263
03:00:24.850 --> 03:00:40.910
Kaz Okamoto: lina has a more dominant personality than Sarah. No offense, Sarah. I could see how the audi… if she's the audience member, I've seen it before, where the comedian's not so sure of themselves on stage, the audience member takes over the set.

1264
03:00:41.240 --> 03:00:59.600
Kaz Okamoto: You know? And so, I think part of what… like, a lot of people are shy in the audience to talk back, but when you get a few drinks in them, man, they wanna, you know, they start shouting out all kinds of stuff, right? So, it's interesting to watch the dynamic shift.

1265
03:00:59.900 --> 03:01:02.870
Kaz Okamoto: Between the audience and the comedian.

1266
03:01:03.530 --> 03:01:21.609
Jerry Corley: And when that happens, you say just what you said. So if you're a performer, and that happens, you feel like the other person now is like, you're shy. You know, isn't it interesting that when you're shy and somebody's more dominant than you, suddenly they take over? If you said that in that moment, that audience is gonna laugh and probably applaud.

1267
03:01:21.810 --> 03:01:35.199
Jerry Corley: It's just honest, a simple, honest statement in that moment. It's like, I said one thing, and this guy's like, let me tell you about my entire history of my life, you know? And it's like, and now you're turning the tables back on him.

1268
03:01:35.230 --> 03:01:49.700
Jerry Corley: I started a… I came into this world as a poor black child, you know? And he's like, he wants to, you know, he wants to… he's dying for it. I'm… I have a feeling, like, you don't get enough attention, you know? What do you do at work, you know?

1269
03:01:49.790 --> 03:02:07.749
Jerry Corley: And usually it's something, you know, he doesn't have enough… he doesn't get enough exposure, or something like that, he doesn't get enough attention, now he's… now he's bringing it here. But, you know, that's gonna happen. And the thing is, is like, you're just honest about it, and saying, it's always interesting, when I started out trying to do crowd work, he took over.

1270
03:02:08.190 --> 03:02:20.449
Jerry Corley: Right? And it's like, that's what happens when you're a shy comedian just starting. Somebody else is, like, gonna be feeling a little more bold. That's because I think he had two, what, three drinks? What are you drinking? Jack and Coke? That sounds like a Jack and Coke response.

1271
03:02:20.450 --> 03:02:28.210
Kaz Okamoto: And then, can you say stuff like, okay, alright, I confess, I bring him to all my shows, and it's really my cousin. You know, like, that's what it's like…

1272
03:02:28.210 --> 03:02:29.050
Jerry Corley: There, yeah, sure.

1273
03:02:29.050 --> 03:02:29.480
Kaz Okamoto: Like, he's.

1274
03:02:29.480 --> 03:02:30.360
Jerry Corley: Absolutely.

1275
03:02:30.520 --> 03:02:38.770
Jerry Corley: Yeah, because I ran out, I forgot my material, and he's just taken over, right? In fact, he wrote it all. Tell me the punchline of the next joke.

1276
03:02:39.960 --> 03:02:52.799
Jerry Corley: Now it's like, now you've got it, now you're winning it back over and making a playful game, rather than making it make you more frightened. And it's almost just being, what do I feel right now? Just say what you feel at this exact moment.

1277
03:02:52.980 --> 03:02:57.520
Jerry Corley: Like, I knew I forgot some… I forgot my punchlines. If you said that, they'd laugh.

1278
03:02:57.550 --> 03:03:15.140
Jerry Corley: Right? And it's just like, all of a sudden, this absolute vulnerability in that moment, they're gonna applaud that. It's just like when… reminds me of Greg Giraldo, when he was just so frustrated with Larry the Cable Guy having such success monetarily. And it's like, why are you so popular!

1279
03:03:15.140 --> 03:03:32.079
Jerry Corley: You know, you're not as smart as me. I went to Harvard! You didn't go… you know, we didn't say that, but all of that was said in that one statement, and that frustration came out purely as this honest emotion, and the audience just broke out in applause, because it was so honest, and so real, and so surprising.

1280
03:03:32.080 --> 03:03:32.980
Kaz Okamoto: That was not a roast.

1281
03:03:32.980 --> 03:03:33.680
Jerry Corley: probability, yes.

1282
03:03:33.680 --> 03:03:34.670
Kaz Okamoto: Is that the ropes broke, right.

1283
03:03:34.670 --> 03:03:36.900
Jerry Corley: Yeah. Pappy?

1284
03:03:38.530 --> 03:03:57.590
Pappy: I realized, thinking about how, you know, I said it's hard to be an audience member when we're here trying to think to be comedic, but I thought, oh, this is a roast. When you have two comedians doing crowd work against with each other, that's a… that's what a roast is, is that right?

1285
03:03:57.590 --> 03:04:07.300
Jerry Corley: In a sense, in a sense, yeah. So, in this case, though, this roast was an affection fest. It was, like, each giving each other compliments.

1286
03:04:07.300 --> 03:04:08.449
Pappy: A nice roast.

1287
03:04:08.450 --> 03:04:14.389
Jerry Corley: Right? It was a nice roast. It's like, how can I give the best compliment? It's like, it's a marshmallow roast. It's so soft.

1288
03:04:14.710 --> 03:04:21.430
Jerry Corley: And sweet, You know? And don't… never mind, I'm not gonna say that. It's like… it's like…

1289
03:04:22.000 --> 03:04:46.019
Jerry Corley: But it's like, but it is, it's soft and sweet, but it was like a marshmallow roast, perfect description. Get a nice little laugh there, but see all the coincidences that tie in just by continuing the conversation. It's just like they all… they say, if you give, like, if somebody's, like, if you give somebody enough rope, they hang themselves, right? The same thing in this. If you give it enough, like, back and forth, something then ties into a coincidence.

1290
03:04:46.190 --> 03:05:08.430
Jerry Corley: Just like in sales, if you ask enough questions, you have a profile. Then the person says, you know, the person says, I'm looking for something yellow, kind of, I like the color yellow, and I like, you know, I need it to be fast, I needed to have enough room for my two kids, and all of a sudden, you're like, oh, it's like, well, I've got this thing over here.

1291
03:05:09.020 --> 03:05:14.969
Jerry Corley: It's a mini SUV, And it's like, wow, that's just what I'm looking for, how did you know?

1292
03:05:15.290 --> 03:05:17.469
Jerry Corley: They gave you all this information.

1293
03:05:17.620 --> 03:05:26.279
Jerry Corley: Right? And it's like, that same thing happens in Crowd work. You're gathering information, and sometimes there's an instant callback, which is why I like to ask their name.

1294
03:05:26.290 --> 03:05:38.860
Jerry Corley: Because in the name, the name then becomes a possible callback. Let's go back to Ken. He knows about this. All of a sudden, everybody laughs. What a coincidence that happened right here in real time. You raised your hand again, Pappy? What was the other question?

1295
03:05:38.860 --> 03:05:58.199
Pappy: Because I relate everything in my life to pickleball. It's… one of the things that I've learned is, is patience. So… and this is what this sounds like. So you bat the ball back and forth, and you're just looking for the opportunity for them to give you something you can bat to the crowd.

1296
03:05:59.040 --> 03:06:05.519
Pappy: And so having patience to, hey, get through a few of those initial questions, something's gonna hit.

1297
03:06:05.780 --> 03:06:06.690
Jerry Corley: Right, right.

1298
03:06:06.690 --> 03:06:07.930
Pappy: keep going, so…

1299
03:06:07.930 --> 03:06:18.799
Jerry Corley: And it's certainly… so that's definitely one strategy. Like, in tennis, I learned that I really became good whenever I stepped up to that line.

1300
03:06:18.910 --> 03:06:19.899
Jerry Corley: What's that?

1301
03:06:20.740 --> 03:06:22.820
Pappy: I said, fuck you if you play tennis.

1302
03:06:22.820 --> 03:06:31.090
Jerry Corley: You know, I could play pickleball because I want the free orthopedic shoes. Now, the, the…

1303
03:06:31.230 --> 03:06:35.689
Jerry Corley: The, the thing about the… both in pickleball and in tennis.

1304
03:06:35.820 --> 03:06:39.199
Jerry Corley: one of the things I learned, that if I had a plan.

1305
03:06:39.690 --> 03:06:42.329
Jerry Corley: Each time I stepped up to the service line.

1306
03:06:42.520 --> 03:06:50.220
Jerry Corley: If I had a plan, like, I'm gonna go here, then he's probably gonna return it here, and then I'm gonna go cross-court, and I'm gonna make him run.

1307
03:06:50.400 --> 03:06:52.319
Jerry Corley: And if I had that plan.

1308
03:06:52.490 --> 03:07:00.470
Jerry Corley: I won 65-70% of those points. If I didn't have a plan, and it was just working off reaction.

1309
03:07:00.570 --> 03:07:03.820
Jerry Corley: I lost more of those points. So it was like…

1310
03:07:03.820 --> 03:07:27.520
Jerry Corley: In this case, learning to have some jokes in your back pocket, some hip pocket jokes in your back pocket, along with doing the real crowd work. You wait for that opportunity, and then that one idea comes to you that is, you know, maybe inspired by something they say, there's your move. Just like you were… you wait for that time. Just keep continuing the conversation.

1311
03:07:28.060 --> 03:07:36.649
Jerry Corley: asking sometimes them to describe it a little better. Like, what do you mean by that? And then they give you, like, oh, and it sounds like you could either be describing how to make a cake.

1312
03:07:36.970 --> 03:07:51.829
Jerry Corley: Or, or how to find a man, you know? You know, both… it's like you, you know, in the end, you want them to have layers and be sweet, right? So, it's like, now you have a coincidence, you're doing like a man is like a slice of cake, you know, in a sense.

1313
03:07:51.830 --> 03:07:54.679
Pappy: Part of that planning, would part of that planning being

1314
03:07:56.220 --> 03:08:04.939
Pappy: Kind of scanning the audience to find some… somebody who has a characteristic or something about them that you already

1315
03:08:05.490 --> 03:08:08.689
Pappy: No, oh, I can… Work this, or…

1316
03:08:08.690 --> 03:08:24.179
Jerry Corley: Well, a lot of times, it's like, you find the ones who are laughing the most and seem to be enjoying themselves. Sometimes they even will, like, talk during your set in a sense where they're contributing, right? And you know they're really having a good time. Oh, this person will be playful.

1317
03:08:24.180 --> 03:08:43.220
Jerry Corley: And then you, like, something happens, you ask, like, you know, it's like, you know, did you ever find yourself in that situation? What's your name? Sara, you know, have you ever found yourself in a situation where you're in a relationship, you like the person, but you felt like it just wasn't right? Where does that hit you? Does it hit you in your heart or in your gut?

1318
03:08:45.900 --> 03:08:46.750
Kaz Okamoto: wallet.

1319
03:08:47.010 --> 03:09:04.389
Jerry Corley: Yeah, yeah. I found out it hits me in my wallet. That's good. That's good. Nicely done. See what you did? What we did? We created a situation where there's tension, vulnerability, embarrassment, anxiety, relatability, being in a relationship, and all of a sudden you realize this is not where I wanted to go.

1320
03:09:04.390 --> 03:09:13.160
Jerry Corley: And you're like, oh, am I with the right person? Am I… am I… what is… it's… where does it hit you? And I feel it hits me in my gut.

1321
03:09:13.690 --> 03:09:22.409
Jerry Corley: Right? And it's like, I can almost feel that sensation in my gut, and so… and then Kaz went to a different place. Where else can it hit you? Your wallet.

1322
03:09:22.780 --> 03:09:36.620
Jerry Corley: And that makes total sense, you know? And it's like, I remember dating a girl, she would, like, I'd text her, she'd text me back, and then I wouldn't hear from her for a while. And then she would text me back, you know, say, come over.

1323
03:09:36.620 --> 03:09:44.859
Jerry Corley: And it was always around that time of the month for her. You know, you know that time of the month. You know, you know that time. The time, when a rent was due?

1324
03:09:45.840 --> 03:09:59.079
Jerry Corley: So, it was like… you could… something like that, right? So, it's like, and some people would relate to that, some people might not relate to that, but it was like, you know, so that one hit me in the wallet. But, man, that was a great fuck.

1325
03:10:00.640 --> 03:10:05.839
Jerry Corley: So, you see, It's all relatability, and you don't have to work that hard to get there.

1326
03:10:06.260 --> 03:10:09.479
Jerry Corley: It's just, like, really listening, being open.

1327
03:10:09.890 --> 03:10:17.200
Jerry Corley: Now we know how to use three-way build-ups, analogy, compare and contrast. Oh, I remember when I was in my 20s.

1328
03:10:17.800 --> 03:10:22.780
Jerry Corley: You know, and then you could go, when I was in my 20s, I would do this, in my 50s, I now do this.

1329
03:10:22.780 --> 03:10:46.059
Jerry Corley: Or 60s, I now do this. And now, so… and then you could basically ask them, well, how would you handle X, Y, and Z in your 20s? They'd tell you, oh yeah, I wouldn't even know what to do with that. We didn't have phones back then, you know, or whatever, you know what I'm saying? It's like, now you can have fun with those moments, knowing that the compare and contrast works, three-way build-ups work, analogies work.

1330
03:10:46.060 --> 03:10:47.760
Jerry Corley: Three descriptors work.

1331
03:10:47.760 --> 03:10:54.050
Jerry Corley: And the act-out works. So now all these tools are in your back pocket. They don't know those tools, you do.

1332
03:10:55.230 --> 03:11:15.090
Jerry Corley: And it's like, Jack used that reverse. He came up with a reverse in that moment. I thought, that was a good reverse, Jack. And so you know that that's there. Jack Raine, when he was here earlier, did that sort of, like, he created a situation that was like, oh, and it made it change the setting of what we all thought it was. And they're like, so we know those ideas are there, we know those tools are there.

1333
03:11:15.380 --> 03:11:17.650
Jerry Corley: Did you guys like this class? Did you enjoy it?

1334
03:11:17.780 --> 03:11:28.980
Jerry Corley: Do you enjoy the interaction we did right there? This is the first time I've done this in an a la carte. I said, with this group, we can do a quick inter, you know, reaction with each other, and then learning how to take Crowd work and just get started with it…

1335
03:11:29.040 --> 03:11:44.069
Jerry Corley: That's… sometimes people go, I don't even know where to come in on that. And so that's one of the ways to do it. And like Pappy said, you just notice this person's playful, I want to engage them, it looks like we can… you can act… anytime you need to escalate the act, do a little crowd work.

1336
03:11:45.040 --> 03:11:47.199
Jerry Corley: And I think you'll have fun with that. Yes?

1337
03:11:47.340 --> 03:12:04.830
Kaz Okamoto: because I love to ask questions. Is it possible at some time to do, like, how you do in a writer's room? So it's kind of like when I talked about the brainstorming, that we listen to other people's stuff and go, oh, Topper, you know, whatever's coming out of our…

1338
03:12:04.900 --> 03:12:21.439
Kaz Okamoto: brains, to be able to do that, and then… because it would be all recorded and then transcribed when you send it to us, to see where other people in the class, where their mind is when they're triggered by words or something else that somebody else is saying.

1339
03:12:21.530 --> 03:12:24.239
Kaz Okamoto: You know, to see where they get.

1340
03:12:24.430 --> 03:12:26.620
Jerry Corley: Yeah, I think that's a great class to do.

1341
03:12:26.620 --> 03:12:41.179
Kaz Okamoto: Because we have linear thinking, right? So, it kind of goes in one direction. Oh, I think that might be funny, but never always go, like, scramble all over the place. That's what everybody in class helps me think of.

1342
03:12:41.180 --> 03:12:44.829
Jerry Corley: You did that… you're… you're… you don't have linear thinking.

1343
03:12:45.190 --> 03:12:46.270
Jerry Corley: Nobody else is up.

1344
03:12:46.630 --> 03:12:58.320
Jerry Corley: Because you can come up with a… you come up with alternatives. Like, you had… how many times did you quip in what somebody else was saying? Because your mind is allowing yourself to brainstorm. When you feel you're on the spot, you close it down a little bit.

1345
03:12:58.320 --> 03:12:59.799
Kaz Okamoto: of my own shit. That's right.

1346
03:12:59.800 --> 03:13:07.699
Jerry Corley: Right, right, exactly. And learning to… you're starting to learn to get there with your own shit, but it takes practice.

1347
03:13:07.700 --> 03:13:08.430
Kaz Okamoto: Right? Yeah.

1348
03:13:09.320 --> 03:13:20.119
Jerry Corley: So, yeah, I think a brainstorming class would be fun to do. You know, it would be guided brainstorming to keep the class moving, but I think that would be a lot of fun, and it would also help our spontaneity and growth.

1349
03:13:20.120 --> 03:13:36.249
Kaz Okamoto: Well, and especially, you can see who's reoccurring in all your a la carte classes, the same people that take it series after series after series, that we've already built up a relationship and a rapport with each other to be able to do that.

1350
03:13:36.480 --> 03:13:36.890
Jerry Corley: Yeah, definitely.

1351
03:13:36.890 --> 03:13:42.280
Kaz Okamoto: As compared to someone coming in for the first time into the classroom.

1352
03:13:42.720 --> 03:13:53.370
Jerry Corley: So that might be even something to add to the… add on to each one of the classes, like at the end of the class, like the last 20 minutes of class, we do a brainstorming exercise before we depart.

1353
03:13:54.780 --> 03:13:59.480
Kaz Okamoto: Yeah, you could just ask everybody what they think of that. I think that might be a good idea.

1354
03:13:59.480 --> 03:14:03.969
Jerry Corley: And given all of our average age, I should probably choose another word besides depart.

1355
03:14:04.430 --> 03:14:08.260
Jerry Corley: So… What are you trying to show, Gary?

1356
03:14:08.890 --> 03:14:12.400
Jerry Corley: Cliff! What a Cliff? What do you got? Well, your hand is up.

1357
03:14:12.610 --> 03:14:31.579
Cliff Spenger: Well, I was thinking, you know, I do other classes, other types of classes, cartooning classes and writing classes and stuff, and they have a membership and a place where I can post things, and I'm still posting, cartoons every week from this cartooning course that ended, two years ago.

1358
03:14:31.630 --> 03:14:38.300
Cliff Spenger: I was wondering about your exercises, and for me personally, if you had some kind of site where you could post the

1359
03:14:38.640 --> 03:14:49.960
Cliff Spenger: your answers, and it's just… it just sits there, you know what I mean? And… and you can wa… you can look at it, your other students can look at it, but it's… it's just for you to post it someplace.

1360
03:14:50.020 --> 03:14:58.860
Cliff Spenger: And I found it really helpful to just… because then you might get… people might do their homework more, and if they have some.

1361
03:14:58.860 --> 03:15:00.659
Jerry Corley: Yeah, yeah, yeah. And it doesn't…

1362
03:15:00.660 --> 03:15:04.320
Cliff Spenger: just putting it there gives you some reason to do it.

1363
03:15:04.320 --> 03:15:14.610
Jerry Corley: I'm trying to have every… as you know with the classes, after they're done, I take the rendered video, and I put it now on a web page.

1364
03:15:14.610 --> 03:15:24.769
Jerry Corley: Right? Where you can go to that site, and you see the video, and the trans… you know, transcription, and the worksheets are available right there on that page. I'm now trying to add a comment

1365
03:15:24.790 --> 03:15:42.419
Jerry Corley: section. So, in the comment section, that allows for, you know, maybe even posting a meme, or posting a comment, or putting up a joke on there so that we can interact. Either that, or a Facebook group that's dedicated specifically to the out-of-cart classes.

1366
03:15:42.420 --> 03:15:44.430
Kaz Okamoto: You already have that on a website?

1367
03:15:44.620 --> 03:15:45.610
Jerry Corley: No, not yet.

1368
03:15:45.610 --> 03:15:48.779
Kaz Okamoto: Oh, okay, because I thought, God, was I asleep? Am I…

1369
03:15:49.940 --> 03:15:59.890
Jerry Corley: But that's a really great idea, and it's like, I've been like, let me see if I can make this so I can either add comments to each particular course, so it stays on a subject.

1370
03:16:00.120 --> 03:16:06.539
Jerry Corley: Right? And the subject is the title of that course, and then we can interact with that particular subject. Yes, that's a great idea.

1371
03:16:06.540 --> 03:16:15.210
Kaz Okamoto: Like, you could do, like, a joke of the week thing, but it's a, exercise of the week, you know, that correlates with your a la carte class. Yeah.

1372
03:16:15.210 --> 03:16:15.730
Jerry Corley: Great idea.

1373
03:16:15.730 --> 03:16:18.099
Kaz Okamoto: After the a la carte class is over.

1374
03:16:18.100 --> 03:16:19.850
Jerry Corley: Sure, absolutely, yeah.

1375
03:16:20.790 --> 03:16:24.100
Jerry Corley: Alrighty then. Good class. That was a lot of fun.

1376
03:16:24.280 --> 03:16:25.130
Cliff Spenger: Thanks, Jared.

1377
03:16:25.130 --> 03:16:27.389
Kaz Okamoto: This week, no class because of Labor Day?

1378
03:16:27.390 --> 03:16:28.660
Jerry Corley: No, we have class.

1379
03:16:28.850 --> 03:16:30.260
Kaz Okamoto: Oh, Mother of God.

1380
03:16:30.260 --> 03:16:31.789
Cliff Spenger: You don't have to…

1381
03:16:31.790 --> 03:16:40.549
Jerry Corley: Look at that, see, it's got the balloons. Maybe we could do even this for… just in case we want to do some confetti. See if it does…

1382
03:16:40.550 --> 03:16:41.790
Cliff Spenger: Thanks.

1383
03:16:41.790 --> 03:16:42.660
Jerry Corley: Labor Day.

1384
03:16:42.830 --> 03:16:46.810
Jerry Corley: All right, so we'll Yeah, we'll see you guys next week. Bye!

1385
03:16:47.150 --> 03:16:48.220
Cliff Spenger: Bye.