Estee Adoram: The Gatekeeper of Funny

32:16No. You've got to open your mind. You book Esty. Sometimes I see comedians at the comedy cellar and then I go, does Esty know this person's here? And then they go, Esty's the one who put them on. Esty's the one who puts everyone on. Then I'm like, yes, but I don't understand. How did Esty see this comedy in 2026? Because remember, comedy constantly evolves. I mean, you've seen every iteration of comedy. Very much. And I'm telling you right now, it's such an upswing of new talent that will blow your mind. And I can't remember a period in those 44 years that I'm there that it was so rich. Now? Yeah.

32:56Why do you think that is? I have no idea. I cannot tell you why. I can just tell you it's there. And I also love international, really international. and the reason I'm saying it is because right now Australia is sending me gifts of comics that are fantastic Aaron Chen you know Aaron Chen? no you've got the world oh Jesus every time SD you can't say he is so good yes I believe you but you judge me every time as if you don't work in like the factory I judge you all the time yes I don't work at the factory of funny yes but at least you judge me For things that are judgeable Esty will just randomly Put up a comedian And she'll be like Do you know Peter Wongrick And you're like Who's that?

33:46How can you not know Peter Wongrick? Because you are In this In this life You are in this Esty you know Every comedian You are basically Hang up the phone On Esty at 3am I am Because you know Every comedian Okay Wait okay So no I need to go back I'm gonna try To figure this out I need to go back So So 1982 You've got the newborn. So take us back in... No, he was born in 79. Oh, 79. So that's three years. Remember I told you? Okay, so that was the three years. In the countdown. When the countdown ended, he got the job. All right. So take us back to the beginnings. Where were you born? Where were you raised?

34:25That's another podcast. I was born in Poland. Okay. And when they opened the borders and we could leave because we couldn't leave before we went to Israel and I've lived in Israel for 10 years 11 years then I came here I don't know oppressive you know struggle all of that thing but that made me what I am now. But I am really, Israel has a very soft spot in my heart, always will. And I went to school there and high school, you know, army.

35:16And I am emotionally connected. But America is a deja vu for me.

35:26I really enjoy being here So it's a combination between my roots of Eastern Europe To Israel, to here And so you were drawn Did you feel the deja vu when you got here? Yes So as soon as you got here, you're like This place has always been home When I first left Israel I went to England and Europe Different places and I always felt like a tourist. Okay. When I got to Kennedy and I got off the plane, I felt I'm home. I can't explain why. I felt comfortable. I've told him this before. Yeah, you did too? About this place? I felt comfortable. I felt like I belong. Like I've been here before. I've never been here before.

36:20but it felt deja vu what did you study though what had you you know like what were you planning in your life I mean I I don't think you woke up and said I want to be one of the most important people in world comedy no there was the never thought of it it didn't exist even that's my point I never thought of it no I was in the army and then I got a degree in teaching I was teaching for a while really I was a makeup artist for a long time. For a very long time. Wait, what were you teaching? Everything. Because when I came here, I was teaching in the Rabbi Tite school in New Jersey, in Elizabeth, New Jersey.

37:03Oh, I thought you said you were wearing rubber tights. I was like, Esti.

37:10When you said rubber tights, I was like, why? I thought you said you were wearing rubber tights. You were teaching wearing rubber pants. Listen, I have an accent. You listen with an accent. That's what happens. I'm so glad you cleared that up. Oh, wow. I was gone with rubber pants. I could. I could. I could. I could. But it's, and I was makeup artist for a long time. Yeah. And then, then I started comedy. Question. Real one. Do you think the teaching - The real one? and that wasn't real. Thank you, SD. Hey, watch yourself there. Thank you, SD. Go ahead. Do you think the teaching has a role to play?

37:58Because the teaching, you're sort of like examining people's potential. You know, that's like the role of a teacher is like I'm examining your potential. I guide you. Yes, exactly. And now in comedy, that's sort of like what you do to some extent is you look at the people and then you think of their potential. You think of them not right now, but a little bit ahead. Well, I don't think I was very young and I don't think I ever overthought the teaching, the way you are presenting it, which you are correct, but I never thought of it that way.

38:42I don't know. I always sort of rose to top as a leader in my life, maybe my personality or maybe, I don't know. But I always sort of took pride in whatever I did and I always did well. Never was fired in my life from anything. Oh, that is impressive. Yeah. And so it's like a common thing in somebody's personality maybe. 100%. But as a teacher, I never saw myself as a guiding light. I also don't see myself like this in comedy but people that I form a very close relationship in the world of comedy I I don't know how to put it I'll give you my advice, I'll give you my feelings I don't do it with comics, that's not my job Oh, interesting.

39:43It's not my job. You have a manager, you have an agent, they're going to tell you what to do or not to do. I'm not. But if I'm friends with you, I say, you know, that joke was great. I paid you on the shoulder on that. I'll encourage that. Right. I don't see myself that important. I really don't. I think that because I'm doing it for so long people look at me as if I know what I'm doing

40:20do you know what I mean? I mean you do but it's also a funny thing to say I do but I don't think about it that way it's a really humble way to approach a situation because I'm doing it for long I really don't as a teacher I didn't feel like that. I transferred information as a teacher. Oh, I like that actually. That's what the teacher does. A good teacher will transform information and make sure that you do it in a way that the other side receives it in the right way. But not a guiding light at all. I wish billionaires had that humility. Who? Billionaires. because what you just said is something, it's profoundly humble and wise at the same time to say, because I've been doing it for a long time, everybody assumes that I know what I'm doing.

41:12Exactly. And I wish like a lot of billionaires would say, because I have made a lot of money, everyone assumes that I know what I'm doing. But sometimes the two are just happening at the same time. And it's, I don't know how to explain it. It's also a lot of luck. Yeah, that's what I mean. Yeah, it's luck. But with me, it's a little bit, it's not luck, but because people want to work at the comic still, they make themselves available. Whether it's through other comics who recommend it, or managers, or YouTube, I don't know. Right. And so I get to watch a lot. And many said it once, many it warned my boss.

42:04And this, I think, is a key. If you walk into a comedy club in a different country that you don't speak the language. Yeah. And you see the reaction of the crowd. You can tell if the comic is good or not. And a lot of comics that struggle and don't do well lack the ability to listen to the feedback, to the laughter. Yeah, a joke can bomb. Yes, you can have a bad set. But on a consistent level, if you don't learn to listen for your feedback, you'll never become a better comic or grow or flourish. And I think this is the biggest mistake the beginning comic do. Because they want to support each other, right?

43:08Oh, that was a great set, whatever. And I can look at the face and say, mm-mm, it wasn't. Or they say, oh, the crowd is tired or they're drunk. No. You've heard it all. No. Listen. She's like, I've heard it all. Yeah, she's heard every excuse. They're too drunk, they're too tired. Yeah. Exactly. They even speak English? Yeah. Exactly. Exactly. And once you're on that stage, you're privileged to get on that stage, use it as a privilege and listen and learn and grow from this. instead of, when I started, I saw a comic come on stage and didn't do well, and he went like this. To say it went over their heads.

43:52I did not know what it means. And so I asked Bill Grunfess, who started the, I said, what is this all about? He says, oh, this is his way of saying, it went over your head, I'm smarter than you, you don't get what I'm talking about. Till today, and that person is famous, I hold a resentment. Wow. Because you cannot assume that the crowd is dumb. You have lawyers and you have doctors and you have construction workers. You have a mix of society sitting in that room. Who are you to go this way? Maybe you didn't deliver it right. Maybe turn it on yourself. What did I do wrong that they didn't get what I say?

44:49And I find that the really successful people, whether you know it or not, you listen. Hmm. I wonder if that applies to the comedy seller itself. It has to. No, because - If I can help it. Yeah, but that's what I mean. is like I think to myself, you know, one of the things I've noticed over the years in comedy in particular is comedy clubs have come and they've gone and at some point what happens is a comedy club starts to become more famous than many of the comedians in it. Right. And in that period, the institution doesn't listen anymore and they don't listen to the comedians, they don't listen to the audience, they don't...

45:32It becomes a corporation. Yeah, it becomes a corporation and you see this thing falling and you see it... Not the comedy. And that's, I have to give 100 % credit to Noam, the owner now. He is very involved on that part of it.

45:53Customers are satisfied. And it's not about the dollar amount. It never was. Never was. Not Manny and not Noam. but to make the club successful the customer has to be happy they have to be happy with the show with the food with the service all of it and if not it's how to be paid it is that's why comedy seller knock wood is successful opening another room you know that right yeah it's going to be like the upstairs I heard it's like a gorgeous little theater type thing. Yes. I can't wait. Gorgeous. I cannot wait. It's probably next month. Fingers crossed. So, you know, we have six stages. We started with one, two shows a night.

46:47I have 84 shows a week. Between Christmas and New Year's, I book 134 shows for one week. I get between 300 and 500 emails a week with availability. And you have to sort it out. You know, Esty will still text me when I'm coming to do a gig, just confirming that you're coming. Then I'm like, Esty, aren't you busy with things? No, everybody. Some things don't change. Some things shouldn't change and can't change. And because it's not changing, we're going to hopefully, God willing, stay on top. We'll be right back after this short break.

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49:56I think there's something I'm realizing because I think as a person, you learn a lot about your friends through their friends. And when you describe how you guys met, it says a lot about how he treats his friends and how you guys became friends. And I think the welcoming nature that you have Is the same welcoming nature that you have When I think back of when we met Like every time you'd go to his house There'd be a mix of everyone It would almost be like a comedy show There'd be his cousins There'd be these cousins' friends There'd be your little brother There'd be me There'd be a friend And we'd all get along And he would know how to curate That all of these people have a good time That answers your question Yes That you pose to me Yes You do the same thing 100 % In your way Yeah but I do it for my people You do it for every people Those are her people No but what I'm saying is But those people are turning to my people Yeah I hear you SD I hear you I hear you Yes Yeah but this is Okay so this is what I Like What I love about Like watching your process And having like the pleasure Of being a part of it Is I've also seen You know I've also seen you start something In the least obvious place We had Sam Murill on the podcast And I remember we were talking to Sam about this and we were going.

51:10Sam Murrell? Yeah, Sam Murrell. And we're going, Sam, you're in a moment of blow up now. And everyone can feel it in their career and you can see it from the outside. And Sam Murrell now, you know when now people start texting you, that's how I always feel it. Random people. Have you heard of Sam Murrell? And you're like, I've known Sam for years and he's been funny for years. But I'm happy that many of you are discovering him now. But when Sam was at the Comedy Cellar He was doing Sam And he was building Sam at that time The audience enjoyed him But they didn't know that he was going to be A star And maybe this is what it is Estee, I'll tell you what it is actually You found this balance And I'd love to know where it came from Stars at the Comedy Cellar Are treated like comedians And comedians are treated like stars A hundred percent.

52:03And that's absolutely true. Absolutely true. If a star comes in, I'm going to try to make you as comfortable as possible. And as normal. That you're one of us. Yeah, as normal as possible. Exactly. I remember years and years ago, Seinfeld was doing the comic, the movie he was shooting at the cellar almost every night. and people would come to the table while he was eating or whatever and they were bothering him and I remember many always posted somebody by a table so if somebody came over to the table to stop them let him be and there was a day that he asked Seinfeld tell me what can we do to make you comfortable here or whatever he said don't worry about it I can handle it.

53:02Don't worry about it. You don't need to post anybody. He wanted to be a guy. And if he wanted, I remember somebody asked for a picture. He says, okay. He stood and the guy put his arm around him. He goes, not that close. Very insightful, right?

53:23But he just was, he was working. He was doing something and he couldn't get less. And he didn't want the special treatment of posting somebody by a table. He wanted to handle the interaction himself. That was his way of being normal. That's him. Yeah. So we would go out of our way to do what a big time celebrity needs and wants. But if you don't want it, we let you be. We let you be. Now, once in a while, people are sitting at a comedian table and eating. And a customer comes up, they just showed the show. No, Aziz is in town now. Yeah, yeah, yeah. That's another one. He flew in from London to work out on stand-up.

54:13So don't you go over there, you know? They feel comfortable here doing it. And somebody came over, whatever, and my instinct was like protective, you know? don't bother him he's working he was writing notes he was eating just let them be and and I think that most famous comics that come they know that they are that we have their back that level of care yeah but I think what's also almost more impressive to me is the comedian who's not a star that walks in you have their backs even more I feel yeah yeah Except that they're not going to be bothered by the audience. Yeah, but I mean in comedy you have their backs.

54:59I feel like, you know. Yes, yes. The way the show is designed, the way. Like at the Comedy Cellar, it was one of the first places I'd ever been. So when I first came to do comedy in the US, I went to Pasadena because that was the only place I knew a human being, David Meyer, right? So I went to Pasadena and now I'm in Los Angeles. And when I go to the comedy clubs, one of the biggest differences I found, not just, you know, East Coast, West Coast, New York versus LA. but also like let's say Comedy Cellar and some of the other clubs was that those clubs really delineated fame and talent. Okay. Yeah.

55:33If you were famous, the world would open up for you. Yeah. Anything else. And the club would open up for you but in a way that was dismissive of every other comedian who was in your vicinity. Right. So a famous comedian would walk in and the club would basically be like, you go home. Line-up's gone. You're not needed anymore. Shut up. Get away. Don't talk to everyone. clear this table get up and and that's just what i thought was normal in america right no and then i remember going to the comedy cellar and one night louis ck walked in and he was like hey can i jump on and do a spot and you know one of the managers i was there and i think it was val valerie was there and she's like okay let me see what we can do with the and then what was interesting was the comedians went so louis said who's on and then the comedians were sitting at the table and they went oh i'm on and i'm on and and then someone said actually you know what you could take my spot because then I'll jump out and then do this.

56:26And then the club was like, yeah, we'll still give you the money for your spot because you've been bumped off. Oh my God, yeah. You see, but that - A hundred percent. Yeah, but I'd never seen that before. A hundred percent. Yeah. You still get paid. Yeah. So the club was like, okay, well, here's your money, even though you're not going to be on because you've just been bumped off. But then the comedians among themselves were like, one was like, ah, I want to go have dinner. Louis, please take my spot and we'll shuffle this around. And then Louis, but I had never - Management never said you are out, you're in.

56:52No, no, no, no. It didn't feel like that. We don't, you don't disrespect a comedian because this one just showed up. There's room for both of you. And if time, because we have so many shows, it's one after the other. And you have a line around the block and it's raining. Yeah. You know, you've got to finish the show on time. You have four shows a night, you know. But you still get paid. you can still get paid. If possible, we'll put you on another show. Right, yeah, yeah, yeah. Because now we have more ways of doing it because we have so many rooms. But the main thing is it's respect. I love comedians on a personal level and respect.

57:47I don't love them all. Some of them are not worthy. But I respect what they do. And if I think that he's a good comedian, I'm still going to use him. So you'll book a comedian even if you don't like them? Oh, yeah. Oh, wow. Oh, yeah. That's also unique. I'm talking about personality. Yeah, yeah, yeah. I mean, I've got to appreciate the comedy. No, but still, but I know people who can't make that. Oh, no, no, no, no. I know a lot of people who go like, I don't like that person. They won't work here. Yeah, but they're a good comedian. I don't care. I don't like them. I thought that was the rule we used for the podcast.

58:23That's different. Oh, sorry. Because we're going to be here. Unless you're talented in podcasts. Then I haven't developed that skill yet to know. But there's something that you said, Esti. There's no way you've managed to be part of this successful business for so long because you run it as a business. At some point... You don't. You can't. You can't. You cannot. Again, Manning, God bless him. He was such a wise guy.

58:51Money is a happy byproduct. of a good product. What we need to do is put the good product. Oh man, you said, you said what he, money? And this is, this is in my head always. And, and comics, comics that I don't book and they hate me and they don't like me and they badmouth me, whatever. Oh, it's all about the business. It's not. It's never about the business. It's about the product. And not only that, I meet with, I used to with Manny and now with Noam. And before I send out the show, after I booked the show, I want them involved in that because if there are comedians I don't use, I want them to know it.

59:44Oh, okay. Who I use and who I don't use. Yeah. I don't want it on my conscious and on my back. I find it very, it's sort of protecting myself a little bit. Yeah, yeah, yeah. You know? Sometimes it doesn't work out or whatever. By now I get a little bit of credit myself, you know? But people that, oh, Esty, she's feared and she's this. There's only people that I don't use. Right. I auditioned somebody two weeks ago. It happened a couple of times. I know how nervous they are. I know that I shake the hand and that palm is sweaty or the shake. I auditioned somebody and I said, look, five minutes, I can't really tell.

1:00:41I don't pass people. You know the word passing somebody? I don't do that. Oh, you don't do that. Okay. I know. And I tell them, unless I fall in love with you on the spot, you're in. But I don't pass because in the five minutes, I can see what I'm dealing with, personality, how you command the stage, the material. For five minutes, what did you choose to do? Don't come with some vulgarity or bathroom thing in the five minutes you got. Uh-uh, it's not going to work, you know? So to see what they chose, how they are on stage. And then I said, I'm going to give some spots and let's see how it goes.

1:01:26Oh, that's beautiful. And then maybe if I don't do it now, let's have another audition in six months. Maybe let's try again. Right. So I told that person, I'll give you a few spots and we'll see how it goes. and I just went like this and burst out crying. I've never seen anything. I felt so bad. I hugged the person and the whole body was shaking like this. Oh, wow. And this kind of a situation reminds me what it takes for them to audition. What they have to go, the step that they have to do and under the pressure. And that's very humbling. Who gave you a chance, Esti? When I think about it, here you are with a three-year-old in 1982.

1:02:25You've come from Israel. You have this new responsibility. Who gave you a chance? Many. How did you guys meet? The owner. My husband was a musician in Manny's band. That's how I knew him. Okay. and both of them rest in peace you know but And whenever somebody left or died, many says, Estee, can you also do this? And before I know, my job blew up to astronomic proportions. I mean, I used to do everything. I used to, and manually, reservations manually. I mean, we sell out two weeks in advance, even before I put the line up now. We used to struggle. There was a time that we had waitresses take off the aprons and sit at the table to make the room look busy.

1:03:22That's how bad it got at some point. Not got it. That's how we started. And we were downtown. All the good clubs were uptown. Industry didn't want to come downtown. We used to pay cab money to comics to come downtown, bribe them. That's how bad it was. Yeah. Yeah, this didn't start like this, you know. It seems so obvious now. When you see it now, you can't fathom a world where it wasn't successful. It wasn't like that at all, yeah. When did you first notice something shifting in the Comedy Cellar? We have to end a show. We have to end another show. That was a good sign? That was a good sign, yeah.

1:04:03And I remember when we went on the Friday or Saturday from two shows to three, and I said, man, how am I going to do it? My God. It was like packing and packing. I was really, you know, panicky. Who were the first comedians in that run when the store? Up swing. No, when you started noticing the seller picking up. There must have been like regulars around that time. Oh, we had regulars from the beginning. Rita Rodner. I loved her so much. We were such good friends. You know her? No. Oh, my God. She was fantastic. Ram Darian,

1:04:46Carol Liefer.

1:04:49I mean, I remember people from back when. Yeah, no, this is like a different era completely. Completely, completely. And it was

1:05:03Paul Provenza. Oh man, Paul, yeah. Yeah. Before he moved out. A lot of people that Bill Gromfens knew from college. They went to Penn State and Paul Reiser. Wow. And then when Paul Reiser got mad about you, he took Bill Gromfens as his head writer and Bill left to LA and I took over the booking. That was the turning point. That's when things shifted That turning point of booking Were you surprised when the first comedian went away To become a superstar And then came back If I was surprised? No I'm saying were you surprised Because I mean so many people would go off And become like a movie star and never come back But then when someone did come back Did it surprise you?

1:05:56No I was happy because a lot of those people Are my friends now You know what I mean? I remember Mike Sweeney who was the head writer for Conan he was Mike Royce who became one of the producers of Ray Romano, Everybody's Raymond I used him, especially Sweeney as an MC I loved that guy so much I relied on him he was hilarious, he was funny he was an attorney smart fast and when he got the gig with Conan he said oh I'll be coming forward 15 years to see him he walked in I said you were right you came back you came back I can't believe it I gave him so much I don't want to say the word so yeah I was surprised the life changed Yeah, yeah, yeah.

1:07:04I can imagine. And we were super close. And I had so much affection for him. And it was almost like heartbreaking that he wasn't coming back. Your friend was gone. Yeah, he was gone. Yeah. Because he got a different opportunity, whatever. But then 15 or 18 years later, he came in. Question. Has anyone ever been unpassed? What? Oh, interesting. Like your past, okay, cool, you can work at the Comedy Cellar. Has anyone been like, we're taking away your badge? Yes. What was the reason? Epstein files. I will take you out. I am trying. No, what happens is, what happens is that people that work and they get better, And they justify being at the cellar and all that stage.

1:08:08Some people don't get better or they become indulging to their own opinions as opposed to being a comedian. And not delivering what I would expect them to deliver. It becomes a soapbox. there is a place for that but not under the heading of comedy the banner of jokes and entertainment and so either that or vulgarity as I said before I don't mind I don't mind dirty jokes I'll be the first one going you know but vulgarity and it's somebody I really liked on a personal level. So it was very difficult. And so I had a conversation. I said, please, we cannot have be represented in this kind of - So you pull them to the side?

1:09:18Yes. Okay. It didn't help. They can't help themselves. Somebody like this, I would step away from. Although I didn't in that case, they took themselves out. It's very interesting how people, we all see ourselves in a certain way, a certain light. And most people think, in Hebrew there's a saying, every bastard is a king. They actually made a movie with Topol that the title was Every Bastard is a King. It's a great phrase. Everybody thinks I am the best. I am the smartest. I am the with, you know. You know it. You know it. And when you learned what I said before, look at the mirror and be truthful with yourself.

1:10:12Yeah. It'll serve you much better. It'll serve you better as a person, as an artist, as a comedian, if you're truthful with yourself. If you think that you're doing it right, and I get, you know, when people make reservations now, they get an answer asking, rate the show. How was the show? How was the service? How was the food? How was the automatic? I can't tell you. Some people take themselves too seriously with those answers. Well, comedian number one, I give him an A, Manu. He says, hey, comedian. And I was just like, ah. And then Colin Quincy goes, ah.

1:11:00But I have to take it under consideration. Yeah, you have to listen. Because your question, what happens when the club goes down? It goes down when you stop listening. And the way I want comedians to listen to the response of the crowd, the jokes and work. I need to be aware of what the audience says about us. They customize your crowd. How they view us. I don't want to be highbrow. There is room for politics. But not the sellbacks. There is a difference. If you cannot make funny your opinions, have your opinions. There is no censorship whatsoever. I'm not going to tell you, I don't want you talking about that.

1:11:52Yeah, yeah. You've never said that. No, I wouldn't. Why would I? As long as you keep it with the realm of comedy. Yeah. If you get on a soapbox, what's the park in London that they get on the soapbox? Oh, yeah. There's that famous one where you just go and you literally do that. You just go stand and then you shout your opinions in a square. We used to have a speakeasy in the village from the 60s yet, where people come and you just lay it out. But that's not comedy. But that's not comedy. Do you think that that's... To answer your question, if somebody doesn't listen and offends the customers, and look, you know if you are to the left or the right of politics.

1:12:37But if you get on that stage, F this, this, F all the Republicans, F this, F the... half of the room might be Republicans. You're going to piss them off. How are you going to have a good time? You want to voice your opinion, you're 100 % entitled to. You are entitled to. But if you cannot make it funny, if you make it hateful, if you make it unpleasant, you are defeating the purpose of getting on that stage. How does it serve comedy Dave used to say We had a comedy show That Dave actually I mean you started it From randomness Yeah Very random But it became like One of the most successful rooms In South Africa It was called the Blues Room And Dave used to come and tell us Before every show He'd go Guys remember What is his accent please He'd go like Guys remember This is not a poetry evening That's what he'd always say He'd be like Guys I love poetry But this is not a poetry evening Exactly Please remember that We're not doing poetry here.

1:13:45Then you know exactly what I'm talking about, right? Yes, I do. You understand what I'm saying? No, I completely get it because I think this is the thing that, you know, I sometimes wonder where we lost the plot. Like I go, was it social media? Was it, you know, we'd have these conversations. At the Daily Show, we used to have it. In comedy clubs, we used to have it. we'd go, some people forget that every space is trying to do the thing that it is trying to do for that reason. And I mean, that's vague, but what I mean is to your point, comedy. Comedy specifically has told you ahead of time, this is going to be a vehicle that contains funniness in some way, shape or form.

1:14:27And the expectation is embedded in the description. Yes, exactly. And it can deal with anything and everything. But the funniness will always be the thing that pops out at the end. It's the same way if you went to a jazz club. Exactly. If the musician got up and sang a song about anything, World War II, slavery, relationships, bananas, doesn't matter, but it was jazz, you would go, I went to a jazz club. Oh, what did the performer, oh, he had this interesting song about bananas. It was crazy. A hundred percent. But it's jazz. You came there for the jazz. Yeah. But then in comedy, somewhere along the line, something happened where people started going, no, the purpose is not for it to be funny.

1:15:10The purpose is for it to be the opinion. Funny doesn't matter. Then I was like, no, but that's exactly what makes it comedy. I'm not saying your opinion to your point. I'm not saying your opinion doesn't matter. Yeah. But then just don't call it comedy. Exactly. Exactly. Yeah. A hundred percent. Yeah. The one I personally use, the one I personally use is scaring horror. Yeah. So I go like, if you're making a horror movie or a horror thing, a thing that's supposed to scare you, it's very clear. This is supposed to scare me. So I just go like, even if I'm talking, if I'm thinking of a comedian, I'm almost going, I'm no offense to you, but I didn't get scared.

1:15:55You know, like if you know. Same with laughing. Yeah. You're using the same. The one I use is, am I scared? So I go like, you are attempting to scare me. Right. Either you scared me or you didn't scare me. And that's that. You know what I mean? It's like, it's very clear whether I was scared or not. Yeah, but this is what I wonder though, is I wonder when - Oh, when it changed. When it changed. And it hasn't changed completely. Because - But there was definitely a moment where it changed in common. Because there are extremes now. Yeah. Same more. There's extremes in politics. There's real extremes.

1:16:33Yeah. In politics, it was, yeah, I hear you. And it doesn't bother me as much. Yeah. Now. Yeah, now you write a person off. It bothers you. Yeah. I was driving through on Washington Square, the street before coming in, And somebody put in the window a sign, huge, huge sign in the window, white sign with black lettering. It says 100 % anti-Trump. Why would you do that? You're going to ask. You happen to see, Dave, why did you do that? Me? Why did you do that, Dave? No. Why would you? Aren't you asking for a stone through your window? There's somebody going to throw. Do you know what I mean? Yeah.

1:17:26Why? Okay, so that's your opinion Good, great Why would you trance your life and your window And put it in? I'll tell you what I think I think there's a few levels to it I don't think there's one answer I'll start with that But I have noticed a few things There's one that I always start with There's the performative aspect So I've noticed some people Like to perform what they believe everyone You know, likes or doesn't like And I'm not saying that person is or isn't But I've noticed the performative side Put a sign in your window And then everyone's like You're this kind of person You have performed it correctly You with me?

1:17:58Right? You sort a lot around like Black Lives Matter People started putting signs up Some people supportive But some people performative Like they're in the flag Yeah, yeah, yeah Completely performative, right? Then there's other people where I actually feel bad for them Because I The best way I can articulate it is this I've found And I find it's more severe in America It's growing in other places in the world but it's really severe in America. Many people in America now identify themselves by their beliefs first versus like who they are. Does that make sense? Yeah, they go, I believe in this.

1:18:38Yeah, no, so what I mean is like, not even. In South Africa, for instance, one of my joys of like going back home and spending more time there, I realized very quickly, people don't identify by the decisions or the votes they've made they still are themselves and then they'll talk about political parties separately right in america i've noticed more and more people identifying first as the thing as a republican can i just say that as a democrat can i just and i'm not saying you shouldn't but what i found is if you start every interaction with the most contentious or with the most complicated part of who you are.

1:19:20It's almost, you can even do it with religion as well. You show up in a uniform basically. Yeah, but you started off with the thing and then I thought it was just, I thought it was like a unique assumption or an opinion I was having. And then I actually read a book written by a sociologist and they were talking about how small talk serves one of the most important roles in society. Because they said, I know it seems useless, But when someone goes, wow, the weather, huh? And you're like, ah, it was sunny yesterday and it's raining today. I know. I wish it was sunny today. I wish it was sunny. Ah, what are you going to do about it?

1:19:53Man, this elevator takes long. I know this elevator is so slow. They said that those small statements that we share, without us realizing it, signal to the other that we both exist in the same reality. and it just, it creates these tiny threads between you as people. And then it gets to, so you work in the building? Yeah, I work in the building. Oh, nice. What floor? Oh no, I'm on the 38th. Oh, you're on the 32nd. Oh, cool, cool, cool. Oh, you know, and it's those type. Do you have any kids? I've got kids. I've got you. And as that conversation grows, they've actually shown, like a lot of the time when they do studies about discussions or discourse that people have with each other, those conversations make it easier to unlock the hard conversations but if you start with the hard conversation you you can't go the other way you literally you just you just can't go the other way yeah speaking of because i love to say speaking of because this is a true thing would you say that the potency of your jokes allows you to be more on the soapbox and the reason i say that is because you'll know there's some jokes that it is literally impossible for the crowd not to laugh at.

1:21:09Yes. Do you remember your tacos joke? Yeah. It's like if you understand the language that the person is telling it in. Yeah, it's like a physical impossibility. The joke is like so good that it's like physically impossible for somebody not to find it funny. You know, comedians have that kind of, it's like having your hit song a comedian has. They'll be like, this song, everybody loves this song of mine. Do you find that depending on, let's say, how many hit songs the comedian has, that gives them room to say whatever they want? Because if I have three… 100 % correct. Yes. 100%. Those people get more leeway.

1:21:53Yes. But that's because they've earned more leeway, I would argue. Exactly. Exactly Because I think This is what I think it is To your point I almost feel like It is It's about creating A fair transaction With an audience Right And I think this is Any human interaction For you to assume That a room of strangers Should just listen To your pontifications Or NK I love you forever But why That's why you are Traven This is exactly the problem Do you get what I'm saying? I'm like, but why? He hit the nail on the head. That's what it is. This is the key to unlock the comedy sensibility. That's got to be it.

1:22:52it is

1:22:56feeling a lot of comics cannot do it they're not capable of doing it they have so much rage in themselves that it's they just poison the whole the whole atmosphere and the comic that has to follow has to deal with that I get a lot of and I said if you are a good comic you can follow anybody yeah that's true unless there's spitting hate poison and yeah you have to dig you have to dig a lot the whole atmosphere it's much more difficult than following somebody that didn't have a good set oh that's deep okay I see what you mean yes much harder because you have to neutralize the stink in the room before they are ready for, they have to cleanse the palate.

1:24:00So that's the thing that I think sometimes people misunderstand with comedy is some people will say, I've seen them say to comedians, some have said it to me, they'll be like, you know, I don't know, why did you have to make that funny? or why didn't you, I think you hurt it by turning it into a joke. And then I remember saying to somebody, I went, what you're saying to me is the equivalent of saying to an anesthesiologist, why did you make the person sleep before the surgery? Why did they? No, I'm joking. Then you're like, but that's why they said that they're an anesthesiologist. They said that this is their job.

1:24:43Right. If a person says that they are a comedian, You cannot ask them Why they have used The tools of humor Correct When approaching anything Tragedy in their family Politics Difficult things in life Benign things in life Anything We use the tool Because we are saying We are the professionals Of that Do you get what I'm saying? Right Yes And so in the same way Funny enough A referee in a boxing match Will go Hey stop holding Yeah You can hold If you go to UFC Then holding is part of it The ref they won't say Stop holding Yeah You know what I mean? But in boxing you cannot hold right we are fighting but you have to use your fists please stop holding holding is not for this sport there's another sport where you can go hold and then even in UFC there'll be other rules where they go like no no no you've been like this for too long actually we're here to fight this is not a soapbox do you get what I'm saying?

1:25:34that's what I said the difference between comedy and soapbox yeah that's exactly what it is don't press anything we've got more what now after this Mr. President, my company formed me of the explosion on our rig on October 2nd, causing massive water displacement and triggering a tsunami. They all heap the blame on me. Tom Cruise is Digger got us into this mess and Digger's gonna dig us out. From the director of Birdman and The Revenant. What would happen if I stopped doing it? You starve, you freeze to death, that's what. With great power comes great deniability. I'm not the first daddy. Digger, see the trailer online.

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1:27:23How did you handle, or how have you handled over the years things in the streets spilling over to the comedy club? Because I know there was like a period, I mean there have been many periods, but let's say like around like Black Lives Matter. Me Too. Yeah, around the Me Too movement or any social movement where there's been an explosion. people have seen it come into their workplaces they've seen it come into schools they've seen it and in comedy clubs again the comedy set I can speak to as a perfect example no two comedians have the same views on the lineup you may overlap but you can have completely different views some comedians have your views but the way they do their comedy will make you think they don't have your views those are some of my favorites you know what I mean?

1:28:04Atel yeah exactly oh my god he is I love David yeah but when you're watching the comedian you go like I don't even know I don't know what this person believes but they're phenomenal Yeah. I would love to know how you've fostered a space where comedians can continue to come and still have their comedy alongside comedians who don't share the same comedy, but then not create an atmosphere of animosity. As I said, no censorship. You want to talk about whatever you want to talk, you're okay with this, as long as you make it funny. But have you ever had issues where the comedians themselves are like, I don't want that comedian telling those jokes?

1:28:48Not really. There's some comedians that either resent or don't love others. Yeah. I mean, that's comedy. That's every industry. Yeah. They don't respect. And you get this under the nose. I'm like, he did it perfectly. Well, then you're going to smear me. And I would say, why? And sometimes they tell me, sometimes they don't. They're afraid that I'll say something or, you know. But, yeah, so between the comics, it sometimes happens. And usually the A-minus comics would do that. Oh, interesting. they yeah the comment oh he's a hack what is a hack tell me what a hack is that's interesting you know i mean and sorry a minus is quite a high school that's why i said there is an a and a plus yeah but that's what i'm saying three degrees no i'm saying you didn't say like a c you know what I mean.

1:30:02C-comics doesn't work in comedy, Cella. Damn! Wait, so the... Damn, ST just dropped... There's only... A-minus. Oh, damn, ST. Yo, that was crazy. Oh, jeez. Whoa, whoa, whoa, whoa. ST was like, whoa, whoa, whoa, whoa, whoa. Okay. C-minus. Yo, ST was like, nah, bruh. We don't do Cs. See you later. Exactly. Wait, wait. He dropped the bomb harder than that. So the top is A? A plus. A plus is number one. There's an A, A minus, B plus. B minus, I'm starting to... Warm up. See what's happening. Okay, you're not sure. Let's see what happens. Okay, got it. So it's interesting. C, B, F. Oh, okay. I can give you the address of other places.

1:30:55Uptown. Go somewhere else. Now the tables have turned. No, look, I am saying that there's room for everybody. Right. But it takes time to become a seasoned comedian. Yeah. To know how to well-crafted set looks or what you need to do or whatever. That takes time and I'll give you the opportunity to do it. but if I have to book five people and I have a plus a I'll go there first because my job is not to hold every comedian's hand it's not my job is the best to produce a best show I can with the availability I have. I've reached out to people to get them in. It's not only that they come to me, although mostly they come now,

1:32:02but I cannot be your manager or your teacher or your whatever. But I'll give you the opportunity if you do have the seat, if you show the potential.

1:32:22And those people grow. There's a whole generation, like you said, Sam Morrell. There's other than Soder, Joe Liz, Mark Norman. They are all in the same thing that they went up gradually. No, but it was at the same, it's like we're in the same generation of comedy. You and I in South Africa, like Eugene and I started same time we're in we're of that you know if you like cut the trees trunk wear that ring basically wear that ring but I've always wondered are they I'm sure they are which comedians have blown up that surprised you the most because like not everyone's path is linear but some people just find something magic and all of a sudden you go wow they took it to a whole new level I that's very hard for me to say often I'm to ask, can you predict when you meet a comedian, who's it going to become?

1:33:18I can't. I can't. There's a lot of people that I think, oh my God, that guy. And it never happens. And then there is somebody very quiet that's very, that I didn't, and I don't want to say it because they are big now. But it's just like, huh? How did that happen? But it did. And you can't find any common thread? You can't find, it just... No. I think it's, they're good comedians to begin with. Yeah. Good work ethics. Yeah. The timing is perfect. Yeah.

1:34:00They, somebody saw them at a certain time. Yeah, yeah, yeah, yeah, yeah. You don't say, I heard they say timing is everything. Yeah, no, it is. So as long as you're prepared and you have the good ingredients and you're good to begin with and the opportunity meets you at the right place, you go out. And there's people that are just as good, just as prepared, but the timing never worked. That's probably one of the things I appreciated and still appreciate about the Comedy Cellar the most is it's a comedy club where I felt comedians were always reminded of the fact that they're lucky. And what I mean by that is…

1:34:44Privilege. Yeah, what I mean by that is when you're walking through the halls or the rooms or the restaurant or the comedy cellar, there is no comedian I can think of who would lie and say, I don't know comedians who have destroyed as much as I have on many of the nights that I've been there. Right. And so I think there's a certain level of humility. I was about to say humility. In understanding that like, that's why I say when people would say a name to me and they go, oh, have you heard of this? They've really blown up. Then I go, I'll be honest with you. From the first time I encountered them, they were amazing.

1:35:21And I guess to your point, timing and luck just hadn't met with their amazing. But they were amazing. Yeah. And that's like the hard and humbling aspect of entertainment in general, but especially with comedy, is sometimes it's just about meeting the audience, you know? Like I'll never separate like Louis C.K. from where America was when he like really like mega blew up. He became like the perfect vessel for what America was going through. It was the recession. It was people weren't feeling like things are great. People weren't feeling like, and Louis has this way of like being both optimistic and extremely pessimistic in the same container.

1:36:03But I feel like it met him at the perfect time. It's so funny because I have books, my booking books from the beginning. So I was booked the shows and then on the bottom I have the late night. For a while there was food spots or the late night. And all those people were on the late night. Chris Rock, Louis C.K., and Jim Norton, they were all on that thing. And look what they are now. In the latest, latest slot. Was that the hardest slot? Jon Stewart used to be on that slot. Jon and I talked about... Well, that's not true. Now, Jon used to be a busboy in Panchitos down the street. Yeah? And he used to come...

1:36:47I might be wrong, but Panchitos? Panchitos. Does not sound like a comedy club. It wasn't a comedy club. It was a Mexican restaurant. I thought Danny was there with the ramen suit. I was like, oh no. No. Panchito was a Mexican restaurant. Right. And he started coming by. I loved him from day one. Yeah. Day one. What did you love about him? I just liked his humor, his performance, his material. He was just funny as hell. Yeah. And I started booking him. there was some was it Chappelle? I don't know I think it was the Mark Twain award that he said I wasn't really good but Esti kept booking me yes it was actually it was Mark Twain right?

1:37:39I think it was the Mark Twain prize I kept booking him because I just I don't know I believed in him he was funny he was he was great I loved him from day one but that's what i mean you see that's that's an example that took time i tell you i tell it took a minute for you not for me for the orienters to to find him he always went on glass which he still does and people were just the exit is there going to panchitos going to panchitos it was some people it took a minute but they all used to do the late nights what do you think it was about the late nights they did a documentary once they wanted to see my book and Chris Rock was in the olive tree and I showed him the book I said do you remember that at all

1:38:37was that slot harder huh it was like 1am 2am and there was like 5-7 minutes no but you never know but then Yeah, but that's why I'm asking. That slot was harder at that time. It's always hard. Because, I mean, who is in the room at that hour? And wanting to laugh. They want to laugh, but they have a sleep, and they have a cup of drink. They've eaten. Well, you know that at the commissary, we have a rule about drinking. Yeah. You know that? No, I didn't know that. Okay. It's two drinks minimum. Okay. Which is standard in all the industries, not just comedy club. But we have a three drink maximum.

1:39:22I did not know this. Yeah. We don't want you to drink. If somebody wants a fourth drink, they have to get the manager's approval. Got to go and walk. They've got a little line. No, I mean. You do a little balance test at the comedy cellar. Then they bring out Dave Vatel. Would a drunk person be able to do this? No You don't want them drunk No but You see We don't do that We talk about this And anybody that says Oh you are here for the money No They don't know that we have rules like that But this is what I mean More drinks Yes Yeah I say this to Dave all the time I talk to Eugene I go I wish more people Were able to run businesses and industries In a way that didn't have to extract All the money all the time Yeah Because I think you would create something That lasts longer Yeah And something that everyone can benefit from for longer because I've been to establishments where they'll sell as many drinks as they can to the person because they want to make the money.

1:40:19I remember many having a meeting with Lucian. Remember Lucian? No. Lucian is who ran the comic strip. Okay. He passed. And they were talking and trying to build a business. You hand out, you know, two for one and all covers, whatever. How do you make money? You raise the drink and push the drinks. We never did it. Never ever did we do that. We always, and we have a very clear rule of three drinks maximum. I didn't know this. Yeah. And as comedians, you feel, you also, you know - So if somebody comes from downstairs, says, oh, they're all drunk. And I say, how they drunk at three? No, but you know, I just noticed - Some of us drank before we came.

1:41:10I know, but that's it. Listen, we have security and if you appear drunk, you're not let in. And we have the rule about the cell phones. Cell phones in the bags. It's all done to protect the comics. This is all for the comics. I would even argue it protects comedy as a whole. You know why? Yeah, but you are the vehicle for comedy. No, yes, yes. But what I mean is like one of the reasons I love the fact that you don't allow people to film the show is because comedy, and I know Chris Rock has spoken about this pretty clearly, but like one of the things people forget with comedy and comedians and clubs in particular is that is where you're going to forge an idea.

1:41:53Yeah. You're not going there because the idea is perfect. It's perfect. You're going there to start creating out of nothing something. You know, you're going there to try and like chisel it out and hammer it and find the edges and smooth them. And then when someone watches it on a special on Netflix or wherever, They go, oh, wow, that was great Yeah, but there were many nights When this didn't make sense Or this was warped And if people record that And put it out They're doing two things that they don't realize One, they're hurting the comedian Because you're not allowing the comedian To put the thing out When they were going to put it out In the way that So now they can't even stand behind it Because you stole it from the lab And then you're saying that this product is bad for It's toxic But it was in the lab You stole it from the lab It wasn't in the stores But I'd even say What technology takes away Or the wrong audience Watching you takes away Is the three stages That I think a comic goes through Yeah I think sometimes You're on stage at a club Because you're trying To find the funny Yes Sometimes you're trying To find yourself And there'll be times Where the audience Meets you after you Found the tune Oh When you're in sync With how you're feeling And what you're saying Yeah It all makes sense But there was a time When the idea was great But you were not feeling You were not there Yeah yeah yeah But all of those Have made people Have opinions about comics At the wrong time At the wrong place And I think I always make this analogy Of thinking Have you watched soccer before?

1:43:19Soccer? Yeah Sure So when soccer plays My first boyfriend was Goalie Was a soccer player? Goalie Yeah Oh wow Okay Clearly Superstar Really? In Israel Ah look at that SD Okay You know when soccer plays Security guards That are looking at the crowd They almost know instinctually What is happening behind them Yeah So that ability to listen is what you had because you were a host. You were listening to comments without watching them and prejudging them. So you were there to find out when they found the funny, when they were finding themselves, and when the audience has found them and the funny at the same time.

1:43:53So I think technology robs people of that because of that snippet. Takes away all of that. And you've said it before when we're having this chat. You said you give them time. Yeah, you have to. You give them time to find the two and the audience will benefit immensely from it. But the beginning, the starting line now is higher than it used to be because of the availability. I can imagine. Speaking of comedy, what do you think of, because that's what we're speaking about. Your segues are flawless, Dave. You could have fooled me. A plus. We were talking about everything bad. Everything bad. is like, it's actually modern and recording.

1:44:41What do you think about the new movement of like, you know, there's audience participation, that whole thing. What? Where comedians are, you know, Triv, the one. I don't mind. I like crowd work, but it's not audience.

1:45:01When you're an MC and you do crowd work, you sort of bring them in into the space into the state of mind you corral them when MC gets on and you start doing bits what is that all about? that's wrong I want MC to do a crowd work and warm them up where they where they are the reception Yeah, they're receptive to, yeah. You want them to host. Yeah, so I am very pro. I know that a lot of people, especially online, the crowd work and all of that, you know, there is a little Mendoza line for that, you know? it's it's sometimes too much and not enough substance but sometimes with crowd work your bit comes out of it that's true yeah it comes yeah you can find the funny there well yeah and and you'll be surprised how entertaining some of the people in the audience can be they really are I sometimes watch it and you know like a dog that he's been a bother.

1:46:28What? I mean, so there is a benefit to it. What happened to the goalie? Huh? What happened to the goalie? Ah, never mind. Can't stop thinking. Nosey, you nosey. Of course, you started it. You asked me if I know soccer. Not only I know soccer, I'll trump you one. So my crowd work question is, If you book the host to do crowd work, obviously. Yes, an MC. Yes. Then when you book the acts, you're booking them to do a specific set or you know what I mean? I take under consideration who is the MC with who is on the show. Oh, wow. I take it under, that's one of the considerations because the MC contributes to the show.

1:47:26If it's a, obviously I would prefer most of the time the MC to be high energy. Right. Somebody that will keep the crowd and, you know, and once in a while they throw it, you know, a little bit here, a little bit there. But they include the audience in it where an act just comes out and does his act. Once in a while they interact. Yeah. But not that much. with the MC I do like the interaction because come on kids let's play together that's what the MC is supposed to do you know what I mean? yeah it brings everybody in and even the MC gets up and says starts with bits he doesn't do doesn't live up to his role so do you ever penalize an act for doing crowd work?

1:48:22in your head? Like if an act comes up and then they start doing a lot of crowd work, do you in your head go, no, I don't like that? It depends who and what they do. Okay, great. Yeah, it's, you can't be very dry cut on that, you know? Some of them have a bit that they're coming up with. They're about to say it. Yeah. And it's a lead in. Oh. They'll turn to the audience and say, did you ever... Yeah, okay. It's just the beginning of a magic trick. Yeah, exactly. Okay, does anyone have a quarter here? Yeah, exactly. They were going to do the trick anyway. Yeah, yeah. That makes sense. But this is very liquid.

1:49:03This is very fluid. I want to put you on the spot before we lose you, Estee. Who's your personal favorite comedian? You. No, don't do that. You asked me a question. You asked a question. No, but I like - You asked a question. No, no. No, no. it's I have people are like more than others yeah but this is like asking a mother that has 15 children who is your favorite no which one would you go downstairs to watch more than the other there's got to be one child where you're like and I only mean this because they just happen to like hit everything that you want from the comedy and the do you get on saying let me break it down for Esty basically Esty think of it this way don't break it down for me I know exactly what he's asking I'm trying not to answer.

1:49:49I'm buying you time. I'm buying you time. I'm trying not to answer. I'm happy. Which child would you take up to three years? And which one would you lose at three months? Did I buy you enough time? That's an interesting way of putting it.

1:50:09Okay, I won't. Who do you want to abort? No, no. I won't put you on the spot. No, but I will ask. You heard me, right? I took it further. She lives in a comedy club. Okay, then I'll ask you this then instead of making it that. Let's go the other way because I think it will be great for all of us. I mean, us here and the people listening. Give me a few names of comedians that we should be watching now that maybe we're not. Just name a few where you go like, this person is really getting me. Aaron Chan. Okay, Aaron Chan from Australia. He is, yes, he is a Chinese guy from Australia. Okay, cool. He has a show over there that it's a small show that's now on Netflix that's making a lot of waves.

1:50:51He is, it's very difficult to describe him. Okay. But he is somebody I would say, if you get a chance, watch him. Okay, great. He's very quiet. He's very sarcastic. He is wonderful. Absolutely wonderful. Okay. I can give you a list for about 10 people that are brand new for the seller that I still go down to watch because what else do you have? Give us four. Okay, so we got Aaron Chen. Give us three more. There is Winston from DC. A lot of new comics are from Chicago now. So there is a whole wave of Chicago comics. It goes with different times. Chicago, and as I said, right now is Australia. There's a new guy, just Blake Green.

1:51:57What's his last name? I don't know. I just auditioned him. Wonderful. Really funny.

1:52:04Brendan Sogorov. That's somebody that's going right now this way. Very funny.

1:52:14And put a lady as well. A lady? Yeah. Why? Because. What if the four are guys? Then what, Dave? You see? Then what? Then what? No, I can give you. There's quite a few women now too. That were Emma Weaver. You know Emma. And it's just become a. She's, yeah. Amy Blotnick. I love Amy Blotnick. You asked me once for a writer. Remember Michelle Wolf? I got you, Michelle. Michelle, Amy Blotnick is an incredible writer. And she was the head writer for the President Man, the show. Oh, wow. The President Man? Yeah, the President's Man. And now she's creating animation. I mean, she's wonderful. Okay. An incredible person.

1:53:10Sweet, quiet, beautiful person. Very funny.

1:53:19Elle Orlando is one of the new girls I'm using. Yeah. I have a lot of faith in her. Let's see how that goes. You know with your accent when you say new girl I'm using. You have such a bad... I'm so sorry. I can't help it. I mean the comics I'm using. Yeah, thank you. No, but did you hear his question? He asked me about girls. I don't expect much from him. You, on the other hand, you did your 36 months. You raised this child. I had so much hope in you. Oh, man. No, I would need my paper to go through it. But there is a Philip, and I cannot pronounce his last name, he's Slovakian that worked in England for about 10 years.

1:54:08Very funny It's brand new Those are all new people I love that you still Drew Dunn I still love that you That you still have this Like I'm watching you Oh my excitement But that's what I mean Like you don't have a Again I've met people Who've booked comedy Their whole lives Whether it's for late night TV Or for comedy clubs And at some point They have a I've seen it all Oh no Yeah they remind me Of this person And you're like Oh oh oh Oh, and this person And you still Till this day 40 How many years later? Peter Ravello Yeah Did you get to see him yet? No You've got to This is, I mean I now just have a list of comedy That I have to just go and watch I'm gonna go I'm gonna go Oh, how about Ethan?

1:54:57Ethan's phenomenal No, I mean, but Yeah Ethan is like He's my heart Yeah, Ethan is I love you so much Oh my God Yeah I think Will told me about Ethan Who told you? Will oh etan is and no social media nothing and you know what not only he's a great comic i remember we few years back we booked uh um this week at the comedy cellar for comedy central and that's where first time saw him and i between etan peter aaron john drew dunn It will blow your mind how good they are. It will blow your mind. Okay. Those four are making it past 36 months. Huh? Those four are making it past 36 months. I'm telling you, they are fantastic.

1:55:48Really fantastic. And, yeah, it's gratifying to find somebody that you get excited about. You know what I mean? I know exactly what you mean. Yeah, yeah. I am not blessed about it at all And that's why we appreciate you That's why we love you Thank you so much Esty Thank you for everything you do You know I was thinking like Two days ago I was like Why is there not a documentary on you? I was thinking And then I was like People probably try all the time And then Esty's the kind of person Who's like I don't want to Unless my hand is like twisted Do you know who's never tried? Who? You twinkle toes Twinkle toes?

1:56:31Okay One thing That if somebody say Describe Travano And I would say Twinkletown You've never seen him dance You've never No for real Esty Thank you very much Thank you for My pleasure Yeah the role you've played In my life The role You know what's amazing The role you've played In everyone's lives Without them knowing it So if people loved Louis' show On FX Or his stand up If people loved Aziz's You know Master of None If people loved There's so many comedians that have affected your life And Esty was part of their journey Getting to, yeah, Jon Stewart And then me by extension with the It's just crazy how many comedians Yeah, but you were already You were cooked already No, but I mean You were not getting ready, you know Yeah, but I mean in America though But I recognize it Yeah, yeah, yeah I mean, still I would argue doing it at the Comedy Cellar What you gave me was a home away from home Yeah And you know, one of the biggest things I really appreciated about it was the comedy club didn't possess an air of like heaviness.

1:57:40No, because there's a lot of clubs that I would go to where it really felt like you were in the doldrums emotionally. it felt it it there was a there was a there was an extreme um difference between what was happening on stage and what you were feeling in the building i would watch people get on stage and they were the funniest human beings i'd ever seen ever and then i'd walk off stage or i'd see them come off stage and i'd hang out and i'd go this is the most depressing environment of like it feels it feels Yeah, it feels suicidal. It feels negative. It feels like it's not. No, but genuine. And I don't say it in a judgmental way.

1:58:23I say it in like a scary way. Yeah. And I remember comedians would ask me, like some clubs in America that go, why don't you come? I was like, hey man, I'll be honest with you. I don't ever want to be in that space again because it didn't feel like anyone there was like, it felt like they worked in happiness, but they weren't trying to be living happiness. That happens in every environment. You have an office that everybody either dislikes each other or undercuts each other and is negative, negative, negative. Yeah, but what I'm saying is what I appreciated and still appreciate about the Comedy Cellar is the thing in between, like the meals that people share, the way we roast each other, you know, whether it's Keith sitting in a corner and then you're roasting Keith about having a stroke and then he's roasting you.

1:59:11and then he's roasting you he's the first one to roast you and then you've got someone else walks in I don't know for a fact but if I tell him you know what I did travel on our podcast you know what he's gonna do

1:59:30That's Keith. Yes. You should go. Thumbs down. You know, it's funny. Five years ago, a friend of mine introduced me to Bill Grandfest. Yeah. And we had a call every week for six months or so. And every time on the call, he would speak about how amazing you were. Who did? Bill Grandfest. Bill said it? Yeah. And then the other friend that had a lot to say about you, who was not in comedy, but just loves comedy. very young kid at the time was Josh Pinkus. He spoke so highly about you and then now him hearing the story for the first time about how you guys met. I have to say there must be something about you that a lot of people appreciate and love.

2:00:08And most things just have linchpins in life and it happens that you are one of those and you are hearing it while you're still alive. Thank you. I'm not trying to be it. No, no, no. I'm not trying to be that person. Maybe that's why you're good at being it. You know? I just honestly, honestly with all my heart. I love comedians. I love what they do. I appreciate them. I know how difficult it is. It's not a given. And I think it comes true. I'm being sincere about it. And the people that don't like me is the people I don't book and don't love and don't feel that they deserve to. but yeah there's a lot of comedians out there there's a lot of love going on you are loved I hope you know you're loved thank you genuinely Esty thank you very much this has been amazing thank you for indulging I know it must be weird for you to have a conversation during the day where there's no comedy club around I know that feels very natural it feels very natural thank you Esty this was great thank you so much this was really wonderful okay I loved it wow you're amazing good What Now with Trevor Noah is produced by DayZero Productions in partnership with SiriusXM.

2:01:27The show is executive produced by Trevor Noah, Sanaz Yamin, and Jess Hackle. Rebecca Chain is our producer. Our development researcher is Marcia Robiu. Music, mixing, and mastering by Hannes Brown. Random Other Stuff by Ryan Harduth. Thank you so much for listening. Join me next week for another episode of What Now.

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