AcadianaCasts Presents:
AcadianaCasts Presents:
Stand-up Comedy in Louisiana: Inside the Scene with Tyler Arceneaux
Building a comedy career in Louisiana comes with its own set of challenges—limited stage time, long drives for gigs, and audiences that keep comedians on their toes. Tyler Arceneaux pulls back the curtain on the Southern comedy scene, from the rise of Club 337 to the evolving role of social media in stand-up.
We dive into what makes a great comedy room, how viral clips are changing audience expectations, and the grind it takes to make it in a place with only one open mic a week. Whether you're a comedy fan or just curious about the craft, this episode gives an unfiltered look at life behind the mic.
AcadianaCasts Presents: Tyler Arceneaux!
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See more of Tyler, follow his socials below:
- TikTok
- YouTube
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Thank you to our sponsor, NetScore! Go to netscorepro.com to get your FREE website and Facebook audit for your business today!
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"AcadianaCasts Presents" is the Flagship Podcast of the ACADIANACASTS NETWORK. Lafayette, LA based host, Carter Simoneaux talks with entertainers, business owners, athletes, chefs, and more - anyone who can help tell the story of Acadiana.
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If you want to watch this episode on YouTube, check out our channel!
What's been your favorite room to perform in, let's say, louisiana Club 337.
Speaker 2:Not even close. I mean, in my opinion it is the prime spot in Louisiana. Everyone who is a comedian in the South should be performing there or should be trying to figure out how to perform there. It is the hottest room. Even the shows that are bad are good, and that's normally a great sign.
Speaker 1:Glad to have you. I'm Carter Seminole, host of AcadianaCast Presents. You can follow AcadianaCast on Instagram, facebook, tiktok mostly prevalent on the TikTok and the Instagram right now, but the website will be back up soon. If you want to get into making content, making podcasts, go to AcadianaCastcom. You can reach out to me via info at Acadianaacastcom as well.
Speaker 1:Website's under construction, but we're going to get it nice and running soon and at the meantime, we're just talking to really cool people doing some cool projects and, you know, just trying to build this thing as much as we can. But your support, of course, is the best way to help us keep bringing you the type of content that I want to bring, that you guys want, and we'll just build from there that you guys want and we'll just build from there. Speaking of building, we have an up-and-coming great comic right here from Acadiana. His name is Tyler Arsenault, in the studio with us today. Oh yeah, I've seen him live. I'm just telling you that I saw you the first time after the Robert Kelly show a few months ago back at Club 337.
Speaker 2:Oh, this summer show. Yeah, yeah, yeah, back in like April this summer show. Yeah, yeah, back in like april. Yeah, what a banger man. Yeah, yeah, that's a 420. Yeah, and he did all here. He did our live podcast too, our only live podcast we've done in front of like seven people, but it was live.
Speaker 1:Yeah, what was. So you know, I'm let's kind of start there. I'm obviously in the podcast game. What was it like doing the whole live podcast?
Speaker 2:element. I was nervous, I, you know, because it's it's a little bit different, like you know, whenever you know that you can edit whatever in post and it's just like two or three people, it feels a lot different than, oh, everything I say these people are going to hear. Now there is no editing, you know. So, um, it was nerve-wracking and a little bit of nervous nerves involved, for sure, but uh, I, we kind of just wound up bobby and let him go because he's a consummate professional and he can talk forever. So, you know, I, he really kind of carried the show there, but, uh, it was fun, it was cool doing banter back and forth with some audience members here and there as well, uh, very different than what we normally do. So, and the name of the podcast is we're dying down here dying down here.
Speaker 1:Yeah, now there's a. There's a, and the name of the podcast is we're dying down here. I'm dying down here. Yeah, now there's a. There's a documentary or a show, is it called? We're dying up here.
Speaker 2:Um so, um, I'm dying up here. I'm dying up here. Is the is like a. It is a book, um, that is, it's about this time period in Los Angeles comedy where comedians weren't getting paid. It's like the late 70s, early 80s. There was a lot of problems in the industry during that time and there was a protest where all of the comedians kind of drew a line and were like, hey, we're not performing anymore unless we get paid, and I think somebody ended up committing suicide during that time a guy named Steve Lubeckin. So that's kind of what the book is about. It's chronicling that time period. And then they made a STARS series that was like two seasons and it was loosely based on that, but it was.
Speaker 1:It was fiction um, but um, but yeah, santino's in that?
Speaker 2:absolutely, yeah, santino, and uh, maz Jabroni, a bunch of people, yeah, um, but yeah, it's. So that's obviously a play on that, right, right, uh, you know we're dying down here. The idea is, um, lafayette, louisiana, isn't necessarily the best place to try to be a comedian, but also it kind of is. You know, we're trying to build something, make something happen, but also we're very much so dying down here, where you know, if you're in New York, you get to do 10 open mics in a night. You know you can get on stage as much as you want. It may not be quality stage time, but you can practice the art down here. We have one open mic in this city a week right now. Right, you know it's one that I host with John Merrifield, but yeah, so that's the idea is, we're dying down here. When you live down here, you got to work hard if you want to get good at comedy.
Speaker 1:Tell folks where the open mic is Cité des Arts.
Speaker 2:I'm awful at saying this. Like as long as I've lived here, I've never been able to say this.
Speaker 1:I feel you, we're both EAUX guys. It's so hard for me to do the.
Speaker 2:French stuff, cité Des Arts, every Tuesday night downtown Lafayette. It's a great show. If you've never been to that, it's a nice theater. They have three stages. We do our show on the small stage. In the cafe we serve alcohol, alcohol, um, you know. We have a pretty good crowd every week, anywhere between a dozen to 20 plus comedians. Sometimes we get out of towners all the time.
Speaker 1:We book headliners from different places from houston to florida, so a lot of southern regional comedy acts well, like I was, uh, before we started recording, most of the podcasts that I listened to are comedy podcasts. I love, I love standup comedy. Um uh, the only reason I haven't gotten up on stage to do it myself and try it like an open mic is because I'm scared I'm going to fall in love with it and just go go that route.
Speaker 2:Same thing with like music, Then you're never going to. None of this is ever going to come to fruition.
Speaker 3:Like yeah, right, yeah.
Speaker 1:But, but. But I absolutely love it. And you know you hear comedians talk about different. I love the inside game, kind of inside baseball, about comedy, and you hear a lot of comics talk about how, like, new Orleans is a terrible market for comedy. I know a couple of guys who, who try to get the scene going out, are out there or have been for the past 10, almost 15 years now. But what JP has done and, by proxy, you and some of the other people who are part of this community have really put Lafayette on the map as far as places where comics want to go Right, besides the work that all y'all have done, kind of laying the groundwork for that, what would you attribute that to? Is it the crowds, like?
Speaker 2:what is it? It's the ability to bring in a national comedian. So JP, back in 2014, out of the hookah lounge that we all started in, started bringing I think that year he brought Tom Segura was the first big show. Nate Bergazzi came that year. I mean, see where those guys are now. They were playing. Like I think we sold for Nate 50 tickets and then he just did 7,000 tickets at the Cajun Dome a few months ago. Like what?
Speaker 2:That's insane, crazy. But so that's what helped build it right. You get people in the door and then you get to some of those people will come see the local showcases. And if they come see the local showcases and they start to realize that, like, oh, some of the local comedians you know they got some riz, they're pretty good. Oh, they're working out at these open mics Well, let me go see those open mics. So it's kind of it's a trickle-down effect, I think, working out at these open mics. Well, let me go see those open mics. So it's kind of it's a trickle down effect, I think. And that attracts more comedians and the more comedians you have, the healthier scene you have. So yeah.
Speaker 1:So I wouldn't say the audience of this. It's pretty diverse as far as what people are interested in and you know that's partly my fault because you know I'm just so interested in so many different things and whatnot. But I try to make the hook. You know south louis, but what is what? Could you tell folks who? You know? Comedy is so huge right now. It's in everyone's algorithms. You know comedians are making hand over fist. Some of them are, of course, some aren't. But you know as it becomes. You know more competitive, but there's more, I feel like there's more access points. But what would you tell someone about kind of the art of forming material, like, because you kind of like hinted at it, like you have to have stage time, yeah, so, um, I'll start by saying this comedy and music, for instance, are very different people.
Speaker 2:Maybe people know a little bit more about music as, like, a art form. It's a little bit more, especially here, yeah, it's a little bit more, uh, available to people. Um, so you know, the truth is is is you do need to be on stage. If you're a musician, you need to be on stage to practice as a performer, but not the art itself. You can sit in your room by yourself and become a great guitar player. You may not be the best on stage, but you can sit in your room and practice guitar. You cannot sit in your room and practice comedy. The only way to do it is to get on stage and fail in front of people. It's the only art form by which, in order to get better, you have to practice in front of a live audience. It just is what it is, um. So I think that that is a huge um. That's like the barrier to entry, almost, because some people can never get over stage fright, like so, because they can't sit in their room and practice, the only thing you could do is rehearse lines, which, here, to tell you. That doesn't get you very far in comedy. There's so much more to the nuance of it. Um, but I live by this. Um as a young comedian. You really should be building your act five minutes at a time. Um, not saying that you need one five minute act and then you build another five minute act. I just mean like you need to focus on getting a good five minutes and when that five minutes is good, turn that into seven, turn that into ten. You build a couple minutes at a time.
Speaker 2:But, um, I think we live in an age where, like kill t very popular the one minute Bro. I've seen some awesome comedians that I know are killers, some of the best in their cities, not do well in that minute because they just tried to jam a joke that wasn't a minute long into that minute. I just think that it's such a bad medium for comedy a joke that wasn't a minute long into that minute. I just think that it's such a bad medium for comedy and it's it's kind of given people this false sense of of how comedy is built. Like, like you're asking about the, you know how acts are built. There's a lot of comedians, especially in Austin, who are building their act one minute at a time, and I'm not suggesting that that's not enough, it's just. Comedy is so much more than that. It is like you really do need more than a minute. Some people do not translate in a minute, you know. And the other bad thing about Kill Tony. I know that wasn't the original question, but I'm terrified personally.
Speaker 1:I've heard you not have the most pleasant thing to say about Kill Tony.
Speaker 2:I personally am terrified that even if I have a good minute, I'll have a shitty interview. So it's like what good is it? Because if I look stupid during the interview, nobody's going to care how good my set was.
Speaker 1:Right, and I've also seen people who have just a terrible minute just turn it around the interview.
Speaker 2:And then those people will get booked for some reason.
Speaker 1:Well, some of the the kill tony universe is coming, coming through the lafayette, like I know camp has coming in may. I know that there's like the showcase of, like the guilt some of the kill tony.
Speaker 2:Yeah, there are definitely some exceptions to what I'm saying. Like, camp patterson's a great comedian, but he started in orlando and did comedy for years before he popped on kill tony. Right, ari maddy in yeah, he's another estonia. He's great, um, but yeah, there's, there's just.
Speaker 2:Uh, I think that I don't blame the producers. I don't blame tony. I don't blame any of the comics he brings on. I don't blame any of them. They're trying to create a product and it's obviously working. It's the largest live podcast in the world, um, but what I blame is the, the bookers. But what I blame is the the bookers who look at the people who get famous from Kill Tony and say I'll give you five hundred dollars to come do 30 minutes, when they barely have one, and that's just the reality of it. So I think that it's kind of created a weird state because we're in a comedy boom, but also a big part of the boom is because of, like, all the false profits Isn't the right word, but there's a lot of like comedians that don't have it, that are getting their shots, and this definitely comes from a place of jealousy. I understand that, like, I'm not making any qualms A jealous comedian. I am definitely acting out right now.
Speaker 1:Well, what's what's interesting about you know you talk about comedians needing to get these. What's interesting about you? Know you talk about comedians needing to get these reps. And you know, get your five minutes, then turn into seven minutes, right. But whenever you're doing with the lack of stage time in Louisiana, how are you able to do that when, let's say, the crowds might be the same people over and over and over again? Is that just like you have to get over that? It's tough.
Speaker 1:I've watched this exact same crowd here last night, but I'm here to work on the craft.
Speaker 2:The biggest mistake people make is they're scared to do the same material again, I think, in the beginning, which is like you got to do the same things over and over again until they get good. Like, if you believe in a premise, you, you, you know, feel free to throw it away, but you got to work hard and do them and say them until you're tired of them and and cause that's what it takes to hammer it out. And some people have trouble with that. They also don't realize that's what comedy is. There's so many people who think comedy is just riffing right Blows my mind. Like I literally know every word that I'm gonna say, 90 of the words that I say. I know what I'm gonna say. I leave a lot of room to, like, be in the moment and play with the crowd and and and do stuff like that.
Speaker 2:But my act is my act, you know right, because that's most people.
Speaker 1:Well, right now you see a lot of crowd work on social media on tiktok and instagram reels and and I feel like it kind of feeds into that that idea like oh, that's what a comedy show is. I get to go, I get to like shout at the comedian and then yeah, and then we get to play with each other.
Speaker 2:Thanks, matt rice. Um, yeah, so that is. Yeah, that's bad too, because it's really just that cultivates bad comedy audience members, because the truth is is you should not say anything unless you're spoken to by a comedian at a comedy show. It really has kind of man. The social media aspect of this is crazy. I think it's changed the game in ways that not a lot of us saw Because, like you said, the crowd work stuff, stuff. A lot of people do come to a comedy show, sit in the front and are like just waiting for their turn to talk and it's like, oh no, that's not what it's about. And then bad comics feed into that. They don't know any better. They're trying crowd work but they're not even good enough to do crowd work yet. That happens a lot actually. But you know how's your crowd work? Um, it's pretty non-existent.
Speaker 2:I have like parts in my act where I have no problem stopping um, polling the audience for something and then digging for material, and I do that pretty well from time to time. But I'm so act oriented. My goal is to build an hour, release a special. Then, whatever happens after that, I can feel good about what I've done because I've put my time in. Now I'm over a decade in, so it's like if I walk away from this at any point, it's got to be with something. So I'm really kind of I'm act-oriented, focused on building that hour. I've only got like close to 40 minutes. I say if I, if I was being honest, I could do an hour.
Speaker 1:If somebody told me I needed to, I wouldn't feel good about at least 15 minutes of that yeah, I like the subtle kind of things that comedians do to either enhance a joke or just let people like marinate in it. Like I was just watching some of your reels earlier and you have that microwave joke and I won't give it away, but even though you've already burned it. But I love that joke. But after you say the big punchline, you walk over and you just take a little sip of your drink and put it down and then the laughter starts to build and build and build and build from there.
Speaker 1:So that's an intentional move.
Speaker 2:Yeah. So I learned that because you don't know whether it's going to be a slow-building punchline or not. So when I first said that joke maybe I was just like, okay, everybody get it, everybody. You know. Maybe I expected everybody to laugh right away. I knew it was funny when I first wrote it. It's one of those rare jokes that like it comes off the page and you're like bingo.
Speaker 2:That joke was written in two different parts. It was a joke that's probably seven years old, and then the micro, the part, the, the second part, the part. That's really good. That part is fairly new, like only like a year and a half old or so. Um, so I got to like marry a new joke with an old joke and, um, you never know whether they're gonna just get it immediately or whether it's going to be a slow build. So once I realized that it's always a slow build, I just learned to like sit in it, you know.
Speaker 2:And then I love to do little things, like in that joke, specifically after the big punchline, I say like two more things sometimes when it's like they're not as big laughs as the punchline, but it's okay, I'm like I'm helping people get out of the joke and and we're still making them laugh. Is that a tag exactly? Yeah, we call that a tag. Yeah, I, a lot of comedians will do like tags belong in the front and your big punchline at the end. Dude, sometimes I like to do the big punchline in the middle and then just like, let the joke die. You know, slow down. Yeah, there's some. There's some lines I'm not willing to get rid of. I'm just accepting that they're not as funny as I thought they were when I wrote them, but I still like them and I want them in my act yeah and that's a lot of my tags, so 10 years in um.
Speaker 1:How are you able to get stage time outside of? You live in lafayette. I do live in lafayette, so how do you get more stage time? Do you go to baton?
Speaker 2:rouge. Yes, well, not so much baton rouge, but I I do travel a lot. Um, my goal is a hundred booked shows a year.
Speaker 2:That I did not produce, so I can't book myself on it, and that's easy because I don't produce any shows. But, just in case I ever do, I don't count those. So I try to do two shows a week on average. Some weeks I'll do zero, some weeks I'll do four. Right, it's just. It is what it is.
Speaker 2:But Houston is like my phase two of material, like I will write jokes, work them out at my open mic. I might take them to lake charles. Um, they have open mic in, like two open mics in lake charles, two a week. They got double the open mics we have at the casinos or somewhere else. No, they got a. Uh, they got this guy who's essentially just following jp's blueprint and he's doing it in lake charles. He's good friends of ours and we hook him up with national headliners too. They got a nice venue out there they're building a scene at and they got a mic, two mics. So I'll do that Baton Rouge if I have to. It's been a little while since I've been to Baton Rouge, but I do like that place and then I'll go spend like a weekend in Houston and do six shows in two days and that's like that's where I catch up.
Speaker 2:That's kind of in my opinion. You know not to throw shade at any other comedians, but I think that's one of the things that separates me from some other people who are just doing like that, five minutes a week and that's it. It's like I'm getting that little bit of extra time. When you're doubling or tripling it's, that means a lot. You know, like one to three doesn't feel like a lot, but it's triple the stage time or quadruple the stage time of like the average comedian. So I'd say I, out of all the Lafayette comedians, jp's on stage a lot, but me and JP are definitely the two that are on stage the most by far, but it's. You know I. I'm also privileged in a lot of ways because I have a a good day job and it's super flexible and it affords me the ability to go do these things. What'd you do? I'm? I'm a technical consultant for a company called CGI.
Speaker 2:Oh yeah, yeah, so I I just I've been in the company for eight years. I'm in leadership, so you know I've delegated a lot of like the tough work and you know so I the company is so great A lot of, a lot of leave, a lot of like floating holidays. I really get to take like a lot of long weekends and go do comedy. And because the job is so good, I can like afford to lose when I do comedy, which is something that not a lot of comedians can do, so that lets me do even more shows, because I can like afford to lose when I do comedy, which is something that not a lot of comedians can do, so that lets me do even more shows, because I can look at a show that somebody else would be like that's not worth it. I can't lose money and drive there.
Speaker 2:I can yeah, and that's just, it's privilege, there's no other way to put it like I'm blessed when it comes to that. You know, sure, but you know, you put yourself in that position.
Speaker 1:that's's true, yeah, I did.
Speaker 2:I worked hard to get there. No doubt about that.
Speaker 1:We'll be right back to the episode in just a bit, but first I want to hear from our friends over at Netscore. We're here with the founder of Netscore, tim Benson, a friend of the show. Tim, yes sir, I'm a small business owner with Acadian and Cast. How can NetScore help me and others like me?
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Speaker 1:Okay, how do you guys help out with that?
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Speaker 1:Well, there's all kind of different types of businesses. You know, it's like a snowflake, Each one's kind of unique right, and I use in part of my business, you know, this new AI in certain things, whether it's writing copy or in my editing software. But you guys have like an AI element as well that people can use with Netscore.
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Speaker 1:Help you guys out too Well, thank you Tim, thank you Netscore. Let's get right back to the conversation now. You see all these comedians now with podcasts, and the reason why a lot of them started these podcasts was to help them sell tickets to their shows. Now, of course, the bigger the comedian is, they're able to monetize the show and get all that and get all that. But what was it like building a podcast, or launching one, without an audience?
Speaker 2:Because that's what I did. Well, we still don't have an audience.
Speaker 1:Isn't it sad? Guys Like comment, subscribe yeah.
Speaker 2:I think my last podcast was one of the funnier ones we've done, out of like the 25 or 26 we've done, and it had less than 100 views last time I looked.
Speaker 1:It is what it is, but you get some clips out of it. You're able to knock out some content Every clip.
Speaker 2:I get follows off of every clip. Yeah, exactly Every single clip. I get follows on Instagram Little by little. I'm a YouTube subscriber here or there. That's what I really want to do is build that YouTube.
Speaker 2:But, yeah, podcasting, you know you're putting yourself out there and it podcasting, you know you're you're like you're putting yourself out there and it's just one of those things. You don't know if people are going to like it. You don't know if people are going to care. We do a lot of inside comedy baseball, right, right, so I I meet I do meet like civilians, non comedy people who listen to our podcast and they're like oh, I love your podcast, but like I get that a lot of people don't want to listen to. You know, two white guys with beards talk about comedy.
Speaker 2:Again, that podcast exists a hundred times over. We're doing it right now, right, so I get that. You know we're not really bringing a whole lot of new things to the table, but we, we were really hoping that the national acts would help carry the show, because what happens is we ask the majority of national acts that come through town, of which there are dozens and dozens every year. So plenty of opportunities to get people on and that's been the best. I think I consider what we've done a success just because of that, because I got to interview mark norman in his hotel room, because I had bobby bobby kelly on a live podcast, you know, um, those those types of things I will remember forever, no matter what kind of success we find with it yeah, it's also.
Speaker 1:Yeah, it's fun. You know like it's great, especially in your world, whenever you get to talk with people that you admire. It's got to be just awesome. The hard part is not fangirling in the episode. Yeah, yeah.
Speaker 2:I try to be cool. Jp always fans girls. He's always like, yeah, we've had you six times and I remember in 2014, you were here in 2015 and I'm just like, yeah, well, I'm trying to think of the next joke. Right, you're trying to cook, I'm just playing, but uh, but yeah uh, so what?
Speaker 1:what JP does with Lafayette comedy? Uh, I've you know, part of the reasons why I hear that people like coming to Lafayette is because he's a comedian and he's able to relate to the comedian and make sure that they're taking care of as best as he's able to do. Is that the norm for shows across the US?
Speaker 2:No, no, because I think the norm Well, in scenes like this it is You're not often going to run into a producer who's not also a comedian in smaller scenes. But the clubs that most national acts play at, they're not being booked by a comedian, they're being booked by a booker who works for the club and 100% they do not consider everything there is to consider about comedy. So I don't think I've ever heard that until you said that. But it makes perfect sense of why somebody like you know Mark, who has no reason to come here, by the way, mark, I did a show with Mark, two shows in a weekend where he sold 3000 tickets for those two shows. Why would he come to Lafayette? Well, he likes JP, he likes the city, you know. He likes the scene we've cultivated and he's a workaholic. Yeah for sure, he's addicted to the stage.
Speaker 2:So you know, but yeah, I do. I think that's interesting that you said that, and it makes perfect sense that somebody would look at JP and be like not just a comedian, but a good comedian. I mean, jp is funny and he's earned the right to open for national tour and comedians, not just because he's booking them, but because he's funny. So you know, I think that that all matters.
Speaker 1:Well, that kind of helps me lead into something I wanted to do with you Before I hand you off the phone, and basically what I'm going to do is I'm going to show you a bunch of different comedians, okay, and then you're just going to slide to each one and then later in post I'll put them on screen, okay, so everyone can see it. But first I want you to define what a hack is. Define, uh-huh.
Speaker 2:From a comedian what is a hack? This is going to be very broad, but it's a bad comedian. But they're not. It could be because they don't know any better. That's fine, but it's that they're doing something very specific that the other comedians would find cringe. So a good example of that is telling street jokes. Right, if I get on stage and I do like a little Johnny joke or a Bujon Tibido joke or a knock-knock joke, those are hacky street jokes that everybody's heard before, that would be considered hacky Cheap laughs A meme.
Speaker 2:If I saw a meme that got a bunch of ha-ha reacts on Facebook and I reword that meme in such a way that it's now a joke every other comedian is going to know first of all, so don't do that. But also, that's hacky right. There's things that used to not be hacky, that are hacky now because that's how that works, right, like a lot of low-hanging racial humor type of stuff would be considered hacky. Like just your very stereotypical things that would get you in trouble with DEI HR. Now. Those types of things at one point, when they were brand new, weren't hacky, but they're hacky now.
Speaker 1:The other side of the coin, probably whenever Trump was first getting to the political stage and then every comedian had like Trump jokes Hacky.
Speaker 2:Yeah, again, it's such a broad term it's hard to define, but I think we're doing a good job here. But you're right, it's like the overuse of things that are not funny, and it's just. You know it's bad.
Speaker 1:Well, after that now I want you to you can take my phone. Okay, don't slide until I tell you. Okay, but you tell me the name of the comedian that should be there, and then you tell me whether or not they're a hack.
Speaker 2:All right, Buddy Hackett, despite having hack in his name. This is an example of what I was saying by things are not hacky when they first start. He's too old to call hacky because what he was doing wasn't hacky when he was doing it. If somebody did this now, we'd be like that's a hack, but it's because I hack it right. That's our irony. I wonder if that's where the term comes from uh, buddy.
Speaker 2:Maybe a good example of that is I was watching, um, a buddy of mine, ken edwards, one of my favorite comedians in the world. We were watching the roast of Richard Pryor together and there's a lot of racial humor in it, right, because you got Richard Pryor, you got Paul Mooney and you got a bunch of white comedians like Robin Williams and a whole bunch of white comedians from the time period and there's a lot of racial humor on it and like it's a bunch of jokes I've heard before and I said out loud I was like Ken, this is, I mean, it's funny, but it's hacky. And Ken looks at me and goes, no, this is why it's hacky.
Speaker 2:Right and that's when I realized my view on the whole entire subject was very short-sighted. It's like something can only be hacky if it used to not be hacky. So it's a very interesting thing, and Buddy Hackett is a perfect example of that, I think.
Speaker 1:Okay, who's next?
Speaker 2:Carrot Top. This is kind of similar, right. It's like I think nowadays Carrot Top's hacky, which is why you don't hear much about him. But you know he was so popular for a reason, right, but you can only have like one or two of these kind of people at a time.
Speaker 1:Right.
Speaker 2:Otherwise, the rest of them are hacky and so, yeah, that's interesting.
Speaker 1:I think a lot of people hate this guy. Yeah, he gets shit on all the time but you know, I know he's got like a Vegas residency.
Speaker 2:He's a good comedian. From what I hear too, like people who say they see his act now is like they say good things about it. I haven't seen it, but yeah, I'm a fan of Carrot Top, all right. Next, dane Cook. Okay, dane Cook was one of my first favorite comedians. Same, I loved that first album and then vicious circle. Those were both, um, very good.
Speaker 2:Uh, I see why people would think he's hacky for sure, and I think what it is is like he's not real jokey. He doesn't like write the swerve, he doesn't write the punch line. He does like outlandish, takes on things and he's really big on the act out and real quick explain what an act out is. So whenever you're you're like doing a lot of movement, right, so you're a lot. Some comedians just stand there and talk to the microphone and you got to picture everything that's happening. Or everything that's happening when you're starting to be theatrical on stage and do certain things to mimic maybe what you're talking about. That would be an act out. Robin Williams, 100%, yeah. Or Dane Cook that might have been the cocaine From that first Dane Cook Comedy Central half hour.
Speaker 2:The one that stands out to me as the act out is the Predator impression. You know, like he could have just stood there and done the Predator impression in the microphone, but no, he like put his hands up and he moved his head in a weird way, and so a lot of people think that that's obnoxious. I think that that's just taste. I do not think D dang cook is hacky. However, he has been accused of stealing jokes, which is hacky, so I don't know where that. You know what that's at. You know he's a hybrid hack.
Speaker 1:Yeah, exactly, um uh, but but his original. But like his first few years when he was dominating and, like you know, getting to like the arena, like doing the rounds and not like it was some of the like. It was some of my favorite memories as a kid, with comedy and down to my iPod touch and, oddly enough, as much hate as this dude gets most of the people I talked.
Speaker 2:Like when we talk about Dane Cook, we talk about it like that. We're like he was really good for his time or he uh. Because he's gone now, I mean he's completely irrelevant now, almost um, but there was a time period when he was the comedian, yeah, like the comedian right in there there, and he was so big in social media before anyone else was. That's what really made him successful. Yeah, yeah, early time social myspace myspace crazy rip, all right, who's next? Jeff Dunham is a hack.
Speaker 1:That was another one when I was a kid, Because you know there's a lot of more family-friendly stuff with a hint of an edge, but I remember being a kid and watching a bunch of Dan Cook or not Dan Cook, jeff Dunham?
Speaker 2:Yeah, so I think that using the puppets to say things that you shouldn't be saying is hacky. That's what's hacky to me about it, cause the puppets say things that Jeff Dunham would never say, and I understand that. That's the gimmick, but it's also like, are you hiding behind the puppets to be racist? Like that's like my feelings on it, just be, racist.
Speaker 2:I'm not the exactly Be like Mark Norman and just be right. No, I'm not the kind of person that likes to like throw things like that out. Yeah, but when it's married with hack and unfunny it's like it feels racist Like. But of course we're talking about a guy who's selling out arenas, right.
Speaker 4:We're sitting here judging this guy and his puppets, but he's, you know, making hand over fistful of dollars.
Speaker 1:My setup died a few minutes ago.
Speaker 2:Yeah, yeah, yeah, but there's a uh, there's a joke um by one of my favorite comedians from this area. Uh, he started a few years before any of us in this area and he's from maurice and he there was no shows here and he would travel um to other cities to do comedy. His name was Lane Loyon. He lives in Denver now excellent comedian, still good friends with him. He had a joke, uh, that he would do as a character, uh, gaston Hebert the Cajun Juggalo, so he'd paint his face up like an ICP fan and, like you know, wear crazy outfit. But, uh, he had this joke. It's so funny.
Speaker 2:He goes um who did all them sex crimes? Jeff dunham. It's just, it's just so simple and so funny and like throwing shade at you know somebody like jeff um, but yeah, that's that's funny. It's. It's funny to call this, like I immediately said, he's a hack, but also more successful than probably anyone else on this list. Well, that that's that's funny. It's it's funny to call this. Like I immediately said, he's a hack, but also more successful than probably anyone else on this list well, that that's the thing about, and you kind of saying it earlier with with hacky material.
Speaker 1:You know, sometimes it does get the laugh you know it does, and it's.
Speaker 2:That happens at open mics too, and that's not the audience's fault. They don't know any better, you know, but it does make all the comedians roll their eyes real hard and start talking in group chats all right, I got a couple more sure, andrew schultz I don't think he's a hack. I don't think I've ever heard him say hacky things. I think that he's not as funny as some of his contemporaries for how successful he is. Um, I think that he's real good at the soundbite off the.
Speaker 1:I think, I think he's a genius of marketing a hundred percent Right.
Speaker 2:I mean, the stuff he did during COVID is really what made him blow up. And I, you know, his YouTube special has like 10 million views now or something crazy. And although I watched a special and I enjoyed it, you know somewhat I'm not a big fan of the jokes. I don't think he's hacky, though I do. I think that he's. He's a fairly decent comedian. I just think he's like. You know, his contemporaries are so much better, in my opinion, like Shane Gillis and, uh, joe List and Mark Norman. Those guys are just leagues above him.
Speaker 1:Shane's my, my current goat right now leagues above him, shane's my current goat right now. He's the millennial goat. Millennial goat, yeah, but I wanted to put in one. I guess he could be controversial. He is yeah, someone who you know, who's a national comic right now, who's working 100% in this list. And then we have one more.
Speaker 2:This guy is a hack. Jp Leonard God, the biggest hack on this list by far. Uh, no, that's so funny. Uh, that's a new headshot too.
Speaker 1:I love it oh, yeah, yeah, dude man, like he used to used to be a little bigger, you're a bigger guy like yeah, yeah, you get mad at him for for cutting the weight I'm I'm trying to catch up, I'm working on it it, I'm down 15 pounds.
Speaker 2:I had a lot to lose, so it's going to take a while.
Speaker 1:Is fat funny.
Speaker 2:Yeah, I don't think that you should stay fat to stay funny, though. Right, I don't think that there's a world where that makes any damn sense, but I do think there is something to like. A lot of people lose weight and they're just not funny anymore for some reason. I don't know what that's about. Um, I hope that doesn't happen to me.
Speaker 2:It didn't happen to jp, uh one of the jp is hilarious one of the best jokes I've heard recently was a roast joke written by ken edwards, oddly enough, and um, he said it recently at roast battle league. Jp was judging it and JP was throwing shots at Ken and Ken said uh, um, you're, you're just mad. Uh, you lost all that weight but it's because you stopped eating so much shit on stage. I saw that. I saw that clip. Okay, dude, I fell out my chair, couldn't breathe Cause it's just like such like calling another comedian, especially when they are funny, but finding a funny way to call them not funny is like. That's one of my favorite things to do, especially if it like, if it's like rooted in a little bit of truth and it like can actually like elicit feelings god oh yeah.
Speaker 1:So what was that, uh, that y'all hosted? You know, roast battle is its own thing. Yeah, battle, but it moves around from market to market.
Speaker 2:Yeah, it's mainly out of LA. Brian Moses is the guy who started it. You know, roast battle as a as a brand was really started at the comedy store in LA and so now it's done at the mothership in Austin and they have official leagues. They do them in New Orleans now and they do little spinoff shows. They do them in Dallas. Lafayette got one of the spinoff shows. Brian himself came and hosted it and JP put up a bunch of Lafayette and regional comedians on and I mean tore it up. It was an amazing show. Dustin Poirier was one of the judges, dustin was so funny.
Speaker 2:Bro had no idea how good he was going to be, just killed it. I mean, everything he said was funny. And there's another joke that was said about Dustin, arguably the best joke of the night. Dustin was firing shots at Ken and Ken's response was I'm not scared of you, because all I have to do is get behind a title and you'll never get to me. And, bro, I mean another one Ken Edwards, shout out. We've used his name like three or four times, but he's one of the goats of the area for sure.
Speaker 1:Yeah, I mean we as a society. I feel like you know, from the Friars Club to the Comedy Central, to Netflix, to local and regional with Roast Battle, like we love roasts, audiences do. Why, why do you think that is?
Speaker 2:I do. I give it my best, james Lipson. I think it's fun. I mean, some people just some people don't like it. There are comedians who hate participating in it and refuse to. But the free hall pass to be mean to somebody who doesn't want that, especially if you're not like a mean person, like most of the best roasters I know are the coolest people would never say any of that stuff to you in real life, but they've just been itching, you know, to write something.
Speaker 2:Uh, every week at my open mic I play a you look like game with the comedians where, if they so choose to say a you look like joke about me when they're on stage, whether it be at the beginning of their set, the end or just in their set, I'll say one back to them that I try to write on the spot. Sometimes I repeat myself a lot, but I try to write new ones every week. Um, and my favorite joke about me of that night that person gets to come do extra time and get like a featured spot the next week. So I do that every week. So, um, I think that that has helped cultivate a really cool feeling at our open mics, where not only are you watching comedians get up and be funny, but everybody's trying to take shots at the host because, I'm on the mic every time and I cook people.
Speaker 2:I don't hold back and most my jokes land 95% of the time, so everybody's trying to like get their shit in against me. So I think it's great. Last night somebody told me I look like I go to schools and do hip-hop about how drugs are bad. They told me I look like a school shooter who let the lunch ladies go. This is the best one. You're going to appreciate this. John Merrifield said this about me I look like I watch Theo Vaughn Sorry, the Oven.
Speaker 2:That's yeah that's so good. The one right, that's so good oh, wow, so okay.
Speaker 1:So I've seen the clips from the the you look like yeah, that comes from your, that's its own show.
Speaker 2:So it's. It's yeah, I do that because of you look like, honestly, but you look like is a brand that was started. If I had to guess, I think it was out of Memphis. I know that the guy who runs it now is from the Memphis scene and they used to do you look like shows in Memphis and put them on YouTube. But now he lives in Houston and he runs you look like at a couple different clubs around there, including the improv, which is a huge I mean, that's a huge club, big brand name. They have Improvs all over. So he does a you look like show at the Improv, where it's a roast battle.
Speaker 2:But you're forced to do you look like jokes. You're not doing your typical like deep cut roast jokes. I love that because it forces everybody to be shallow, which is good for me, because the one thing I hate doing is having to preface a joke and teach the audience something first and a lot of your typical roast. When you watch the videos, you'll notice that the comedian has to waste time saying something like Sharon's dad died a few years ago of cancer and then get into their joke. I hate that. I don't like having to set up jokes like that so you look like you don't need to do that, you just do. You know Carter. You know Carter looks like the bass player for Creed. You know, or whatever you know.
Speaker 2:Yeah, yeah yeah, that was a bad one, but Hold me now.
Speaker 1:Well, man, this has been a real pleasure, you know, kind of you know, getting to do the inside baseball with you. I love it and learn more about the kind of art that I love taking in so much. And I've got a whole list of just comedy bits that are mostly probably unusable. But one of these days I'm going to go to an open mic. Yeah, dude, come to mine. Yeah for sure. Yeah, I'll try to bust a couple out Before we kind of wrap up here, kind of. You know, maybe shift the gear a little bit away from comedy, but let's get that.
Speaker 1:You know that Louisiana hook All right Hell yeah, I've been trying to do like a rapid fire of like Louisiana questions and I honestly haven't prepared the way for them that I probably should. You know I really should like. This is something here. I should like outsource some of these questions and get the audience involved and whatnot. But you know I'm an idiot, so it's just whatever the top of the dome. But some of the ones that we've been asking people are do you put potato salad in your gumbo?
Speaker 2:Yes, you do Alongside the rice.
Speaker 1:Okay, yeah, both Okay alongside the rice.
Speaker 2:Yeah, both. Yeah. Scuba rice, scuba potato salad, bam Okay, do you dust your crawfish? I don't mind it either way. I don't boil crawfish, but I don't mind it. I'd probably say I prefer not.
Speaker 1:What is your least favorite road to drive on in Lafayette?
Speaker 2:Johnson Street. What is your least favorite road to drive on in lafayette johnson street? You know I take that back the section of pinhook between like collie saloon that's become a favorite recently is bro, the lanes are reasonably small. Oh yeah, I mean it is. That's terrifying. That's because we know it used to be made for you know horse carriages.
Speaker 2:I'm not a huge fan of the South Side. Like everything Kali, saloom and down, I kind of stay away from Corporate Lafayette. Yeah, it's just like it's become Costco Central. It's like it just feels too guppy.
Speaker 1:Do you have a favorite watering hole?
Speaker 2:oh, uh, cafe cottage. Okay, uh, ken. Uh, my, my buddy ken is the kitchen manager over there. Uh, he has menu items that he created, menu items named after him. Um, that's where we take a lot of national comedians after shows. We just drive a mile down the road to cafe and, uh, you know, hang out. Great food, great atmosphere, great drinks.
Speaker 1:I love that place, yeah place, yeah, what's been your favorite room to perform in, let's say, louisiana Club 337.
Speaker 2:Not even close. I mean, in my opinion, it is the prime spot in Louisiana. Everyone who is a comedian in the South should be performing there or should be trying to figure out how to perform there. Um, it is the hottest room, even the shows that are bad or good, and that's normally a great sign. Uh, as far as Louisiana goes, since we don't have real clubs, we just don't. Um, that's the one I. I, I mean, I've done them all from Shreveport to New Orleans. I've done them all. Uh, pineville, mandeville, I've done every little daiquiri shop along the way, bro, and club three, three, seven is, up to this point, the best thing going.
Speaker 1:So what's been the weirdest show that you've had to do, just trying to grind and get gigs, man.
Speaker 2:I'll be honest, I just mentioned the daiquiri shop thing. That's a thing, bro, I'm a big fan of. Just because they allow you to run a comedy show there doesn't mean you should. I think producers should be a little bit more picky about their spots and I've had to do several shows where you know we're just putting up a PA in Frosty's Daiquiries and there's, you know, people are getting off work, they have no idea what's happening. We're ambushing them with comedy and then starting to do things like demand that they shut up and listen and they don't work out.
Speaker 2:Well, there was this one time I was in Lake Charles doing a daiquiri shop and it's just like I described. There was no tickets sold, there's no signs anywhere saying there's comedy, people are just walking in. You know you got sulfur high school coaches coming in after football practice to to just drink a beer and you see, you know somebody like me up on stage trying to, you know, wrangle the crowd and get people to pay attention and shut up. And um, I was this. There was this one, uh, older gentleman heckling every comedian before me and I was headlining. I was supposed to do like half an hour or something. So I'm already dreading it, because half an hour is a long time and then half an hour in an atmosphere like this is eternity. And the guy was heckling me. Before I got on stage the host brought me up and this guy was talking shit to me as I was walking up to the stage. So I'm going into this with a deficit to me. As I was walking up to the stage, so I'm going into this with a deficit I immediately start kind of like talking shit to this guy. The host walks up to confront him and ask him to be quiet and he immediately stands up and gets in the host's face.
Speaker 2:So before I could even get into anything, I got the host and this random person about to get to fisticuffs, like right in front of everybody and everybody's just like jaw dropped watching this play out and they're in each other's face, yelling at each other and I'm on the mic like trying to do you look like jokes about this old guy. You know I'm like, oh, you look like you collect Marlboro miles in a Lowe's bucket. You know, it's just like I'm just trying to be funny. But you can't always win in those situations, right, and I I remember the feeling of losing, like everything I said was a loss, because I'm not getting him to shut up. He just he's going to keep coming back. It doesn't matter what I say, it doesn't matter how funny it is, it doesn't matter how hurtful it is or how much I put him in his place.
Speaker 2:What I ended up doing a couple minutes in, after just failing over and over again, was he was signaling to his friends, or something. I was like what are you doing? Trying to tell them to steal second base, or something? What are you doing? Man? That got a little bit of a laugh.
Speaker 2:Then I was like look, I want you to understand something. You see, there's a lot of people that are just sitting down trying to watch the show. Right, you're not just like ruining my time right now, you're ruining all of their time. And they started clapping and that got him to say he was sorry and like but I didn't know to do that until I did it right. I spent a lot of time trying to be combative with them. Really, I should have done something like that up top. It was a lesson learned, but that's the one that sticks out as like a battle, because the truth is, most shows are pretty fine, you know, if they're not great, they're fine. Like you know, I won't talk shit on most shows, but that one will always stand out as like I can't believe that happened.
Speaker 1:There's happen. There's got to be a level of personal accountability when it comes to your craft, like, okay, was it the room or was my comedy not up to you know, up to speed but, but, but you've you know you've done enough, especially with, like, using material in different rooms, different rooms. You know what kind of generally, what gets a pop, what does exactly um that's experience yeah um, that it just is what it is.
Speaker 2:A younger comedian is not going to be as good in that moment, and you know we see it all the time. They just don't quite have the experience. They may walk away from that going. All that audience was an enemy.
Speaker 2:I did those jokes the exact same way last night and and everybody loved it. And it's like, well, you didn't have enough material to swap to something else. Like you haven't been doing comedy long enough and don't have the experience to like be like, oh, this ain't going well, let me swap to a different style of jokes, like, let me take some of the edge off of this dirty jokes, I'll swap to this. If you don't have that kind of material, you don't have that option. So you know, unless you're super self-aware, you're going to walk out of those moments, sometimes going that audience sucked. But I'm here to tell you and a lot of good comedians I know will say this as well 90% of the time it ain't the audience, it just ain't. It is sometimes, and it definitely is sometimes, but most of the time it's just that comedian. For whatever reason, whether they are experienced or not, they just weren't able to win on that night and I think that's more often than not what it is. How does Louisiana?
Speaker 1:crowds. Compare to, let's say, just some of our neighbors like a Texas or Alabama or Florida or somewhere else in the Gulf South.
Speaker 2:Texas and Louisiana very similar, hard-working blue-collar people who are ready to laugh at anything. They're not offended by much, which is good. I'm not the I'm not an edgelord by any means, but like the idea that there's some topics that are completely off the table I kind of disagree with. So, like there's a lot of audience members in different places that I've been more you know, like even Austin, for instance, where, like a topic being broached is enough to like turn the audience off completely, regardless of what the comedian's saying, whether they're on the right side or the wrong side. The fact that they're talking about that topic at all is turning people off. You don't find that in Louisiana and Texas quite as much and I think it's because, like, like I said, it's more regular everyday people there. They maybe they're not as involved in politics or care, they just want to go laugh.
Speaker 2:Louisiana, texas was up. Some of the other Southern states are the same, but but yeah, I find Florida's really good too. Florida's, florida's kind of wild Florida. I feel like everybody's drunk all the time. I know people say that about like Louisiana and New Orleans, but in Florida, bro, everybody's chilling and drinking all the time. Um, some of the best shows I've had were in Florida. Uh yeah, they're very similar to Louisiana too. Good, I love the South Southern audiences way better than anywhere else, in my opinion. Um, I haven't like been to places like new york quite yet.
Speaker 2:I'm actually going there this year nice but um, but yeah, compared to, uh, you know, vegas or kansas city or indianapolis, some of those places I've been, the south is is you know good.
Speaker 1:Well, we've got a few episodes backed up, so this will be coming out. I want to say, like maybe mid-March, so don't give me any dates coming up that you've got, but first off, where can?
Speaker 2:people go to find your comedy. You can find me at TheTylerA on everything Instagram, facebook, youtube, venmo wherever. The big one for me, honestly, is YouTube. I would love YouTube subscribers, if I ever. When I release something, it is very likely going to be on YouTube, unless Netflix comes knocking, which, if you're banking on that as a comedian, you're in this for the wrong reasons. So it's likely I release something on YouTube one day and so I'm trying to build a following there, trying to get monetized on YouTube. But yeah, TheTyler the Tyler a, and it's the Tyler acom I sell. I have ticket links to every show I do is on is on my website you can find all kinds of stuff about me.
Speaker 1:Well, you're super hilarious comedian and really down to earth. Guys, as a pleasure getting to talk to you and kind of pick your brain about some of these topics. Um, uh, we've got one little thing that we do to end the episode. But before that, if you give advice to someone, maybe someone in the audience watching this or listening to this hasn't gone to a comedy show in a while, or maybe they do, or they've been seeing all the clips on their algorithm on TikTok and Instagram of all these comics and comedy blowing up on Netflix and Kill Tony and all that. What would be your advice to someone who wants to go to a comedy show as an audience member? How to go about finding the comedian and then, you know, maybe appropriate behavior at a show.
Speaker 2:Um, so they, yeah, really that's. I guess that's a two part question. You got to find the comedian that works for you too, cause I do think that some comedians are not for everybody, and you're going to find that with national acts, just because they're national acts, selling tickets does not mean you're going to like what they have to say, and we do see that where people are like, I didn't know what I was getting into. Well, go watch a youtube video. We got friggin. I'd come here this week that you know, when I was talking, that's what I was was thinking you were on the same page. Yeah, so there's people that are not going to like that, but also, that show is sold out, so there's going to be people there who will like it. So my suggestion is do a little bit of research. Right, if there's a comedian you like and you're seeing their reels, you're going to like them live. You're not going to be surprised. Uh, normally, people are are earnest If they're putting out material for you to see. That's who they are. Um, so do a little bit of research. Um, I, I would suggest, uh, trying to go see some of the bigger names, the ones who are really good uh, shane Gillisate, bergazzi, joe list mark norman, um, some closer to home would be like ali sadiq, he lives in houston, great comedian, um, but yeah, there's.
Speaker 2:Uh, as far as like, finding the right comedian, you just got to do your research. Don't just pick a comedy show, especially if you're the kind of person that's not laid back. Be self-aware about that, right? If you're, yeah, I guess that's true, we're yeah, um, and then how to act? Um, be self-aware, be, be respectful. Understand that you're not the show. I think that there are people who want to be a part of the fun and want to be a part of the show, and, um, there are people who want to be a part of the fun and want to be a part of the show and, um, they're more likely to ruin it with that kind of attitude than anything.
Speaker 2:Um, I'm not saying you can't, you know, be like, if a comedian engages with you and talks to you and is trying to do crowd work, engage back, but don't be the person that's sitting there responding with words to what the comedian is saying. I think people kind of like forget that it's not a two-way thing, right? I don't need you to say things like preach whenever I say something you agree with, or you know, although I appreciate it, the affirmation is great I don't need you to respond with your opinion out loud about something I'm saying, and that happens more often than you would think. Tell him, brother, yeah, exactly, and that's even more okay than kind of.
Speaker 2:What I'm thinking of is somebody literally being like oh no, I can't believe you did that. And it's like oh no, why did you say a whole sentence just now out loud? You realize I'm the only one with the microphone right, there's no one else talking except for me and you like, um, so, yeah, self-awareness, and uh, don't make it about yourself, because it's not. It's about the people on stage. Um, so, yeah, good, good comedy. Audience members, um, understand that. And uh, and yeah, yeah, that's, that's something I feel like I would do if I was a stand-up and, you know, got into Good comedy.
Speaker 1:Audience members understand that and yeah, yeah, that's something I feel like I would do if I was a stand-up and got into a heckling situation is being a musician and knowing the comfortability around microphones and how they work.
Speaker 2:Yeah, yeah yeah. It's just like what. I'm the only one. I'm the only one. Sorry. Reminds me of the wedding singer where he's like I'm the one with the microphone.
Speaker 1:I'll strangle you with my microphone cord, I would melt out for sure. Well, tyler man, once again thanks for coming on. Keep grinding. I can't wait to see where your career goes. Thanks, excited to see in the near future you pop up on of these showcases, that you become a national comedian and whatnot. Grow your wings and fly away from a little old life man, you know.
Speaker 2:I hope I'm still here being successful. I think, that that would be the ultimate goal.
Speaker 1:It seems like more so than ever before, you can do that.
Speaker 2:That's possible now, right, that's. That's what's good about the internet all the negative things we set aside, you can pop where you live now, which was never possible before. People like sam talent, ali sadiq they never. They just go work hard on the road but get to live where they want to live. That's the dream, right? Yeah?
Speaker 1:super cool and then that's coming your way. I totally believe it. We end the show the same way. I'm a hack, so I took Andrew Santino's bit the way that he ends a whiskey ginger every single episode. You take a look at this camera. It could be a word, a phrase, it could be advice.
Speaker 4:It could be something just in part on the Internet land to end this episode with Boats and Hoes. If you want to be a guest, if you just want to berate me, hey, all goes in the same place. Info at AcadianaCastcom, email info at AcadianaCastcom and for more locally sourced podcasts, go to AcadianaCastcom.
Speaker 3:Bye.
