Podcasts about The Arsenio Hall Show

Enjoy the full podcast

What do you consider to be the most memorable talk show moment?  Tom Cruise's couch-jumping interview? Presidential candidate Bill Clinton's saxophone performance of “Heartbreak Hotel?” The shocking announcement that a certain morning talk show host had just been fired for sexual misconduct?  Listen to this fun, nostalgic episode to hear OUR top picks!  Join us as we peek behind the scenes of memorable moments from “The Oprah Winfrey Show,” “The Dick Cavett Show,” “The Arsenio Hall Show," ”The Tonight Show Starring Jimmy Fallon,” “Late Night With David Letterman,” and “The Tonight Show Starring Johnny Carson.” Thank you to listener Randall for his top-of-the-episode shout-out!  MINISODE: For our SW members, in this month's bonus *video* episode we share more memorable moments from talk show history. Join the fun as we discuss incidents from “The Today Show,” “The Geraldo Rivera Show,” and “The Drew Barrymore Show” that still linger in our public consciousness. Can you guess which ones we picked? As always, thank you to the supporters who make Scandal Water Podcast possible!  Find (and subscribe to!) the show on your favorite podcast app or the Scandal Water Podcast Youtube channel. How to support Scandal Water: Rate, review and subscribe! Send your shoutouts to scandalwaterpodcast@gmail.com. Give a gift through buymeacoffee.com/scandalwaterpod or patreon.com/ScandalWaterPodcast– which will also grant you access to fabulous bonus content! #jerryspringer #trashtv #aprilfools #TalktoMe #talkshow #talkshowhost #daytimetv #truecrime #tabloid #Oprah #OprahWinfrey #DickCavett #ArsenioHall #JimmyFallon #DavidLetterman #JohnnyCarson #TomCruise

From the story of a young sex worker to one about an aging star, another about a transgender drug lord, and another about a troubled immigrant and brilliant architect, this year’s Academy Award nominees for Best Picture tell stories that are both epic and intimate. Pete Hammond walks us through the nominees and what to watch for on Hollywood’s Night of Nights. Hammond, widely considered to be one of the pre-eminent awards analysts for both film and television, has for the past 14 years been Deadline's Awards Columnist covering the year-round Oscar and Emmy seasons. He is also Deadline's Chief Film Critic, having previously reviewed films for MovieLine, Boxoffice magazine, Backstage, Hollywood.com and Maxim, as well as Leonard Maltin’s Movie Guide for which he was a contributing editor. In addition to writing, Hammond is also host of the PBS SoCal Cinema Series and the weekly PBS television series "Must See Movies." He previously held producing positions at "Entertainment Tonight," "Extra," "Access Hollywood," "The Arsenio Hall Show" and "The Martin Short Show." Hammond is only the second journalist to have received the Publicists Guild of America’s Press Award twice, in 1996 and 2013. See omnystudio.com/listener for privacy information.

Happy New Year and welcome to the first episode of Season 4 of the podcast. In todays episode I talk with Victoria Theodore - an American pianist/music director/singer/songwriter and producer, best known for her work as keyboardist for multi platinum selling artist - Beyoncé, and keyboardist and background singer for music icon -Stevie Wonder. Victoria was also the keyboardist and singer on the 2013 version of the Arsenio Hall Show and in addition to the many different hats she already wears also releases music with her project - EnSPirits (a collaboration with multi-hyphenate artist, Dave Tweedie). Victoria is extremely well respected for her wide-ranging musical versatility and prowess and I found her energy to be contagious during this interview, please ensure you check her our and follow all things 'Victoria' related by visiting here website - www.victoriatheodore.com Also, don't forget to check out our affiliate partnership with the lovely folks over at Soundbrenner by visiting - https://www.soundbrenner.com/pages/affiliate-travis-marc For all things Travis Marc or Musicians-Mentor related please visit - www.musicians-mentor.com

The next sequel we will discuss is "The Three Stooges". For it, I chatted with one of the most interesting folks around, Antonio Sabato Jr. He's an actor, writer, producer, director, boxer, reality show contestant, you name it, Antonio has done it. Antonio talked about his father's acting, moving to California from Italy as a kid, working with his dad on set, landing General Hospital, being on the Arsenio Hall Show, and much more. Epic chat to kick off 2025. Antonio's IMDb https://www.imdb.com/name/nm0004645/?ref_=nv_sr_srsg_0_tt_1_nm_7_in_0_q_antonio%2520sabat Link to one of Antonio's books: https://www.amazon.com/Sabato-Untold-Story-Antonio-Jr/dp/B08FP9XBW8 Your homework is to watch "The Three Stooges" which costs 4 bucks online to rent. Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

In this engaging episode, host Marina Franklin is joined by comedians Calise Hawkins and Jackie Fabulous for a lively discussion. They share their experiences of performing stand-up comedy in front of diverse audiences, talk about the unique challenges and laughter involved, and delve into personal and societal topics such as menopause and its impact on their lives and careers. Additionally, they address pertinent issues like the influence of AI on creativity, the effect of outdoor dining sheds in New York, the wild world of cryptocurrency art, and social media regulations for minors. Check it out! Calise Hawkins is a stand-up comedian and writer. She has performed her standup on Late Night with Jimmy Fallon , Nick Mom's Night Out and she was a cast member of Oxygen's Funny Girls. She has written for Comedy Central's @midnight , Hood Adjacent with James Davis, HBO's That Damn Michael Che, and  Hulu's Everything's Trash. Jackie Fabulous is a stand-up comedian rated one if Variety's 10 Comics to Watch for 2024, actress and writer who's been featured three times on The Tonight Show with Jimmy Fallon, America's Got Talent: All Stars, Showtime's Flatbush Misdemeanors, The Arsenio Hall Show,, That Damn Michael Che and much more. In addition to her television appearances Jackie's hilarious and affable stand-up can be seen across the country as she tours America's top comedy clubs. Her hour special “Menoplause” is available now.  Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf.  

Heads up - this episode has lots of profanity! Lea DeLaria has never been one to hold back—and thank goodness for that. From making history as the first openly gay comic on late-night TV to her unforgettable role as Big Boo in Orange Is the New Black, Lea's fearless authenticity has paved the way for countless others. In this episode, she takes us through her groundbreaking comedy career, her love affair with jazz and theater, and the unyielding passion that fuels her activism. Along the way, we dive into hilarious behind-the-scenes stories, her creative process, and the ways she continues to use her platform to fight for LGBTQ+ representation. Lea shares the origins of her famous brunch series at 54 Below, her experiences blending stand-up and music into a signature performance style, and her advice for embracing rejection in the entertainment industry. She also reflects on the highs and lows of her journey, reminding us all to keep pushing forward with humor, heart, and a little bit of rage when needed. This episode is equal parts inspiring, entertaining, and unapologetically Lea. Lea DeLaria is an award-winning comedian, actress, jazz singer, and LGBTQ+ activist. She made history in 1993 as the first openly gay comic to appear on a late-night talk show with her debut on The Arsenio Hall Show. Her Broadway credits include On the Town (1998), The Rocky Horror Show (2000), POTUS (2022), and a national tour of Chicago as Mama Morton. Lea is best known for her SAG Award-winning role as Big Boo in Netflix's Orange Is the New Black. A celebrated jazz musician, she has released several albums, blending comedy and music into her performances. Lea continues to champion LGBTQ+ representation in the arts and hosts a monthly brunch series at 54 Below in New York City. Connect with Lea: Website: leadelaria.com Instagram: @realleadelaria TikTok: @realleadelaria Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: Patreon.com/TheTheatrePodcast YouTube: YouTube.com/TheTheatrePodcast Threads, Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com My personal Instagram: @alanseales Learn more about your ad choices. Visit megaphone.fm/adchoices

Arsenio Hall is an American comedian, actor and talk show host. He hosted a late-night talk show, The Arsenio Hall Show, from 1989 until 1994, and again from 2013 to 2014. He has appeared in Martial Law, Coming to America, Coming 2 America, and Harlem Nights. Howie Mandel Does Stuff available on every podcast platform Howie Mandel Does Stuff Merchandise available on Amazon.com here https://www.amazon.com/shop/howiemandeldoesstuff Join the "Official Howie Mandel Does Stuff" Reddit: https://www.reddit.com/r/HowieMandelPodcast/ Say Hello to our house band Sunny and the Black Pack! Follow them here! YouTube: https://www.youtube.com/@BlackMediaPresents TikTok: https://www.tiktok.com/@blackmediapresents Spotify: https://open.spotify.com/artist/01uFmntCHwOW438t7enYOO?si=0Oc-_QJdQ0CrMkWii42BWA&nd=1&dlsi=a9792af062844b4f Facebook: https://www.facebook.com/SunnyAndTheBlackPack/ Instagram: https://www.instagram.com/blackmediapresents/ Twitch: https://www.twitch.tv/blackmediapresents Twitter: twitter.com/blackmedia Arsenio Hall Talks Trump Defending P. Diddy | Howie Mandel Does Stuff #211 https://youtu.be/8Y1bbRzltYk @howiemandel @jackelynshultz @arseniohall

It is an honor and privilege to welcome singer-songwriter and performer Liv Warfield to The Jake's Take with Jacob Elyachar Podcast.  A former track star and gymnast, Peoria, Illinois-born Liv Warfield began building her legend in Portland, Oregon. Despite having no formal background in singing, she gained the respect of local superstars and became an icon in her own right. While she takes cues from musical influences like Nina Simone, Etta James, Mavis Staples, Sade, Tina Turner, and Mary J. Blige, Warfield has carved out a style all her own, which can best be described as “alternative soul with a lil bit of Rock ‘n' Roll.” In 2006, she self-released her debut album, Embrace Me. By 2009, she caught the eye of the one-and-only Prince and ultimately joined his group, the “New Power Generation.”  After touring for several years and soaking up as much knowledge as she could from the ultimate music mentor, Warfield made her big splash on the national scene in 2014, first as a featured artist for VH1's “You Oughta Know” campaign and then with the release of her major label debut album “The Unexpected,” which was executive produced by Prince. What followed were show-stopping performances on The Tonight Show Starring Jimmy Fallon, The Late Show with David Letterman, and The Arsenio Hall Show; a 2014 Soul Train Music Award and nominations for two others; a BET Best New Artist Award nomination; an interview with National Public Radio; and high-profile cosigns from Lionel Richie, Cyndi Lauper, and Nancy Wilson of HEART. That same year, Warfield's performance closing out Essence Fest was hailed as one of the most memorable after-shows at the New Orleans House of Blues. In 2015, the accolades grew, with Warfield and the NPG Hornz being named one of the top 10 bands to see at the Montreux Jazz Festival in Switzerland. It's no wonder she has left celebrities like Letterman declaring it's time to “cancel show business!”   In 2017, Warfield began the next phase of her ascension, collaborating with another of her childhood influences, the aforementioned Nancy Wilson, to create the band Roadcase Royale. Their lead single, “Get Loud,” was featured prominently in the 2017 Women's March, and they released their debut album, First Things First, later that year. If that weren't enough, their remake of HEART's “These Dreams” was featured in Molly's Game, which starred Idris Elba, Jessica Chastain, and Kevin Costner. Warfield recently recorded music for the Oscar-nominated HBO documentary Da Bronx. She also tipped her hat into the theater realm to rave reviews playing Madame ZinZanni in the Chicago version of Teatro ZinZanni.  This past summer, Liv Warfield auditioned for the NBC talent competition America's Got Talent: Season 19. Liv and her band performed an original song: “Stare,” that received a standing ovation from not only judges Howie Mandel, Heidi Klum, Sofia Vergara, and Simon Cowell but also a Golden Buzzer from the Got Talent creator.  During the AGT: Season 19 Quarterfinals, Liv and the band blew the audience away by performing “The Unexpected,” a song Prince wrote for her.  In this edition of The Jake's Take with Jacob Elyachar Podcast, Liv Warfield spoke about the lessons she learned from Prince, her time on AGT, and performing in Teatro ZinZanni. Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

Moms Mabley bridged the gap between vaudeville and modern standup comedy. She was the first successful female standup comedian who had a career that spanned over 50 years. Our guest Rhonda Hansome, who has appeared on SNL, The Arsenio Hall Show, and has performed with Aretha Franklin and Diana Ross, recently portrayed Moms on stage, and we do a deep dive into the history of this iconic comedian Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the television landscape of 1998, there was a need for late night programming on FOX and other channels not part of The Big Three networks, something to fill the void when The Arsenio Hall Show ended.  Enter the NBA hoopster with a million dollar smile and the energy to match.  Unfortunately, said hoopster didn't have the chops to host.  It didn't help the show's sidekick got the boot during the 3rd episode.

This week Tom & Zeus breakdown KISS' 1993 appearance on the Arsenio Hall Show. Arsenio Hall was the coolest late-night talk show in the 1990's. KISS was in their Revenge lineup era and paid a visit to Arsenio to promote KISS Alive III. The band performed two songs from KISS Alive III, Detroit Rock City & Deuce. In between the songs, Arsenio interviewed, Gene, Paul, Bruce and Eric. The guys breakdown the appearance in SIOL fashion and discuss the Revenge lineup as well. The guys then rank this KISS TV appearance against the previous KISS TV appearances they have reviewed so far. Tune in the see if the band's performance makes the Dog Pound & the KISS Army go hmmm. For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Tom & Zeus breakdown KISS' 1993 appearance on the Arsenio Hall Show. Arsenio Hall was the coolest late-night talk show in the 1990's. KISS was in their Revenge lineup era and paid a visit to Arsenio to promote KISS Alive III. The band performed two songs from KISS Alive III, Detroit Rock City & Deuce. In between the songs, Arsenio interviewed, Gene, Paul, Bruce and Eric. The guys breakdown the appearance in SIOL fashion and discuss the Revenge lineup as well. The guys then rank this KISS TV appearance against the previous KISS TV appearances they have reviewed so far. Tune in the see if the band's performance makes the Dog Pound & the KISS Army go hmmm. For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode is sponsored by "Magic Mind" magicmind.com Save up to 48% off your First Subscription or 20% off one time purchases with my code LOSLOUNGEPOD20 at checkout magicmind.com/losloungepod Menu: Introduction/Comedy Show. The Impact of the Arsenio Hall Show. The Tragic Case of Avonte Oquendo and school security. The Supreme Court continues to disappoint/Political Frustration. Where is Wendy Williams? Hidden Cameras in Air BNB Rentals. Fatherhood Fog brain. True Or False. Remembering Eartha Kitt. Follow us on Instragram @loslounge_podcast and hit subscribe on the YouTube Channel.

A music director, producer, session drummer, composer, and mix engineer. He has worked with the likes of Scott Weiland, Bebe Rexha, Tori Kelly, Hailee Steinfeld, Nick Lachey, Disney, and many others. He has appeared on TV shows such as Good Morning America, The View, The Arsenio Hall Show, Late Night with Seth Meyers, and Last Call with Carson Daly. He has achieved multi-platinum success as a drummer and engineer as well as music directed multiple major label tours. And, he has composed, recorded and produced songs for feature films, movie trailers and TV shows. Send your questions or comments about this episode via https://featuredup.com/nhte

Comedian Carlos Mencia is best known for his raw and unfiltered style of comedy, which he has showcased to great success on comedy stages, and in television shows and movies. He has recently gone back to his comedic roots on his No Hate No Fear comedy tour, sharing his newest material with smaller, more intimate audiences. As a comedian who finds the hilarious irony in both the day-to-day and the newsworthy events, Carlos is never lacking in material; he recently shot two stand-up specials due out later this year. Carlos will also reprise his role as Felix Boulevardez in Disney+'s "The Proud Family: Louder and Prouder," the revival of the groundbreaking animated series "The Proud Family." The show is heading into its second season. Mencia comes from a humble background, born in San Pedro Sula, Honduras, the 17th of 18 children. His parents sent him to the United States when he was three months old, where he was raised in the Maravilla Projects in Los Angeles by his aunt and uncle. In his early teens, Mencia moved back to Honduras. When Mencia returned to Los Angeles, he showed such educational prowess that he pursued a career in engineering. But an amateur night at the world-renowned Laugh Factory comedy club would change his path, and a career in comedy began. He became a regular at The Comedy Store, performing nightly. After he found success on the Los Angeles comedy circuit, Mencia was named International Comedy Grand Champion from Buscando Estrellas (the Latin version of Star Search), eventually landing on shows such as "In Living Color," "The Arsenio Hall Show," and "An Evening at the Improv." Mencia continued his journey up the comedy ladder by headlining stand-up tours and starring in stand-up TV specials. In 2002, he received a CableACE Award nomination for Best Stand-Up Comedy Special for his HBO special. Comedy Central soon took notice and the show "Mind of Mencia" went into development. Created by Carlos and comedy producer Robert Morton, the comedy series featured Carlos and his crew with their merciless mix of up-close stand-up, unconventional street interviews, and shocking commercial parodies. The show was an instant hit, and propelled Mencia to the comedy elite. After the first season, Comedy Central signed Mencia back for an original stand-up special, "Carlos Mencia: No Strings Attached," the first Comedy Central Stand-up Special DVD to achieve Platinum sales status. Throughout the four seasons of “Mind of Mencia,” Carlos never stopped performing live, headlining shows across the country and internationally. “Comedy is my art, and fans are my passion,” he has said. Always looking to give back to those fans, Mencia has entertained troops serving overseas for USO tours in Turkey, Kirkuk, Baghdad, Qatar, Afghanistan, and many other countries. Later, Mencia went on to star on the big screen. He starred opposite Ben Stiller and Michelle Monaghan in "The Heartbreak Kid," and in the family-comedy "Our Family Wedding," alongside America Ferrara and Forrest Whitaker.www.betterhelp.com/TheBarnhttp://www.betterhelp.com/TheBarn www.BetterHelp.com/TheBarnhttp://www.betterhelp.com/TheBarn http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and presented to you by The Barn Media Group.

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency (U Michigan Press, 2023) sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency (U Michigan Press, 2023) sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency (U Michigan Press, 2023) sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency (U Michigan Press, 2023) sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency (U Michigan Press, 2023) sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency (U Michigan Press, 2023) sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Hollywood's annual night-of-nights is upon us with the Academy Awards around the corner. Pete Hammond helps us take stock of the film industry and the films singled out for their powerful storytelling this year.   Hammond, widely considered the pre-eminent awards analyst for film and television, is Deadline's Awards Columnist covering the Oscar and Emmy seasons. He is also Deadline's Chief Film Critic, having previously reviewed films for MovieLine, Boxoffice magazine, Backstage, Hollywood.com and Maxim, as well as Leonard Maltin's Movie Guide where he was a contributing editor. In addition to writing, Hammond also hosts the KCET Cinema Series and the weekly KCET television series "Must See Movies." Previously, he held producing positions at “Entertainment Tonight,” “Extra,” “Access Hollywood,” “The Arsenio Hall Show,” “The Martin Short Show” and AMC Networks. He has received five Emmy nominations for writing and is only the second journalist to have received the Publicists Guild of America's Press Award twice, in 1996 and 2013. See omnystudio.com/listener for privacy information.

On this REMIX edition of Something To Wrestle, Conrad give us the very latest on Bruce's recovery from tricep surgery and how he hurt it in the first place. Then he takes us back 30 years to revisit Survivor Series 1993. To say the fall of October 1993 was a tough time for the WWF is an understatement. Vince McMahon and Titan Sports are going to be facing serious charges from the the Federal Government where they would face millions in fines and perhaps lose Titan Towers (and everything in it!).  Hulk Hogan is gone so they get Randy Savage back in the ring but before they do, Savage goes on JR's radio show and calls out Hulk Hogan for lying on the Arsenio Hall Show. Vince has decided to shift gears to a different type of main event attraction to feature Bret Hart and his feud with Jerry Lawler is the hottest in the company... and then Lawler got arrested. Despite business being down, they sold out the Boston Gardens in record time. How?  Bruce explains a new strategy that worked to move tickets and how they had to pivot away from Lawler in the main event. Why was Shawn chosen? Who were the Knights supposed to be? How were the other Hart brothers to work with? What was the original plan before it was Bret-Owen? Plus we discuss sidebars about Ludvig Borga, Ray Combs, and of course the creation of Reo Rodgers. Don't miss the show Bruce has wanted to cover since we started the podcast, Survivor Series 1993! MANSCAPED - Get 20% Off and Free Shipping with the code STW at https://www.manscaped.com/ FANATICS - An easy way to support your favorite podcasts! Shop official WWE gear and apparel by using our special URL: https://shop.wwe.com/en/?SSAID=5036600&_s=afl_impact&irclickid=TGqUDyR%3AaxyPT79QyoThCyA5UkHwy0SnUzlX3s0&irgwc=1&utm_medium=affiliates&utm_source=Impact THE AMAZING KIND - The Amazing Kind, plant-based pain relief balms, creams & gels for muscles & joints and infused oils for mood support and sleep, only at TheAmazingKind.com - Buy now at TheAmazingKind.com and get 20% off all orders with promo code: Wrestle – Your body will thank you! https://theamazingkind.com/ STARRCAST - Be part of the very first international STARRCAST in Australia! Get tickets and information at https://www.starrcast.com/ SAVE WITH CONRAD - Stop throwing your money on rent! Get into a house with NO MONEY DOWN and roughly the same monthly payment at https://nationsgo.com/conrad/ ADVERTISE WITH BRUCE - If your business targets 25-54 year old men, there's no better place to advertise than right here with us on Something to Wrestle You've heard us do ads for some of the same companies for years...why? Because it works! And with our super targeted audience, there's very little waste. Go to https://www.podcastheat.com/advertise now and find out more about advertising with Something to Wrestle. FOLLOW ALL OF OUR SOCIAL MEDIA at https://nationsgo.com/conrad/ On AdFreeShows.com, you get early, ad-free access to more than a dozen of your favorite wrestling podcasts, starting at just $9! And now, you can enjoy the first week...completely FREE! Sign up for a free trial - and get a taste of what Ad Free Shows is all about. Start your free trial today at https://adfreeshows.supercast.com/ Get all of your Something to Wrestle merchandise at https://boxofgimmicks.com/collections/stw Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this REMIX edition of Something To Wrestle, Conrad give us the very latest on Bruce's recovery from tricep surgery and how he hurt it in the first place. Then he takes us back 30 years to revisit Survivor Series 1993. To say the fall of October 1993 was a tough time for the WWF is an understatement. Vince McMahon and Titan Sports are going to be facing serious charges from the the Federal Government where they would face millions in fines and perhaps lose Titan Towers (and everything in it!).  Hulk Hogan is gone so they get Randy Savage back in the ring but before they do, Savage goes on JR's radio show and calls out Hulk Hogan for lying on the Arsenio Hall Show. Vince has decided to shift gears to a different type of main event attraction to feature Bret Hart and his feud with Jerry Lawler is the hottest in the company... and then Lawler got arrested. Despite business being down, they sold out the Boston Gardens in record time. How?  Bruce explains a new strategy that worked to move tickets and how they had to pivot away from Lawler in the main event. Why was Shawn chosen? Who were the Knights supposed to be? How were the other Hart brothers to work with? What was the original plan before it was Bret-Owen? Plus we discuss sidebars about Ludvig Borga, Ray Combs, and of course the creation of Reo Rodgers. Don't miss the show Bruce has wanted to cover since we started the podcast, Survivor Series 1993! MANSCAPED - Get 20% Off and Free Shipping with the code STW at https://www.manscaped.com/ FANATICS - An easy way to support your favorite podcasts! Shop official WWE gear and apparel by using our special URL: https://shop.wwe.com/en/?SSAID=5036600&_s=afl_impact&irclickid=TGqUDyR%3AaxyPT79QyoThCyA5UkHwy0SnUzlX3s0&irgwc=1&utm_medium=affiliates&utm_source=Impact THE AMAZING KIND - The Amazing Kind, plant-based pain relief balms, creams & gels for muscles & joints and infused oils for mood support and sleep, only at TheAmazingKind.com - Buy now at TheAmazingKind.com and get 20% off all orders with promo code: Wrestle – Your body will thank you! https://theamazingkind.com/ STARRCAST - Be part of the very first international STARRCAST in Australia! Get tickets and information at https://www.starrcast.com/ SAVE WITH CONRAD - Stop throwing your money on rent! Get into a house with NO MONEY DOWN and roughly the same monthly payment at https://nationsgo.com/conrad/ ADVERTISE WITH BRUCE - If your business targets 25-54 year old men, there's no better place to advertise than right here with us on Something to Wrestle You've heard us do ads for some of the same companies for years...why? Because it works! And with our super targeted audience, there's very little waste. Go to https://www.podcastheat.com/advertise now and find out more about advertising with Something to Wrestle. FOLLOW ALL OF OUR SOCIAL MEDIA at https://nationsgo.com/conrad/ On AdFreeShows.com, you get early, ad-free access to more than a dozen of your favorite wrestling podcasts, starting at just $9! And now, you can enjoy the first week...completely FREE! Sign up for a free trial - and get a taste of what Ad Free Shows is all about. Start your free trial today at https://adfreeshows.supercast.com/ Get all of your Something to Wrestle merchandise at https://boxofgimmicks.com/collections/stw Learn more about your ad choices. Visit megaphone.fm/adchoices

Jay Haizlip is the Founder and Lead Pastor of The Sanctuary in Orange County, CA. Jay was once a professional vertical skateboarder. He was the first skateboarder to ride for Vision Skateboards. Known as Jay “Alabamy”, he gained respect and celebrity status for his aggressive style in pool skating. He also developed a drug addiction. With over 20 years in leadership and ministry experience, Pastor Jay continues to preach a powerful message of hope, purpose and passion in Christ.  Pastor Jay has appeared on TBN's Praise the Lord, The 700 Club, and in James Dobson's Focus on The Family publications. He has also made appearances on The REAL, The Arsenio Hall Show, Extra TV, omg! Insider, MSNBC, BET, The Wendy Williams Show, and various radio programs. Pastor Jay starred in the UPRISING reality series as well as the Oxygen Network's docu-series titled PREACHERS OF L.A. Pastor Jay and Christy reside in Newport Beach and have three children.

We're joined today by Rod and Karen from The Black Guy Who Tips Podcast. In this episode we talk about younger people not knowing old school rappers, some classic Arsenio Hall Show moments, Chubby Checker's history with The Twist, hearing classic songs at the grocery store, listener comments, some crazy oxtail recipes, David Tepper throwing a drink on a fan, and the video of a defendant attacking a judge. Join our Patreon at www.patreon.com/threeguyson to get the YouTube link for today's show. -------------------------------------- Intro music provided by Felt Five. Outro music provided by Infrared Krypto.

Rob looks back at his MTV watching days as a child in the late 80s before turning his attention to Lenny Kravitz. Along the way in his monologue, Rob highlights Kravitz's appearance on ‘The Arsenio Hall Show' in 1991 and the perceived disconnect between black radio/publications and Kravitz's music. Later, Rob is joined by writer Elamin Abdelmahmoud to further discuss Kravitz's recent comments on this disconnect. Host: Rob Harvilla Guest: Elamin Abdelmahmoud Producers: Jonathan Kermah and Justin Sayles Additional Production Support: Chloe Clark Learn more about your ad choices. Visit podcastchoices.com/adchoices

Promotion for Diamonds and Pearls involved two high-profile television appearances - the 1991 MTV Video Music Awards and a take-over of The Arsenio Hall Show. We talk about the scandalous to the captivating in some of the best Prince TV ever. Visit us on Facebook: https://www.facebook.com/TMATSPodcast/Twitter: @TMATSPodcastEmail: TMATSPodcast@gmail.com

This week comedian and GaS comrade, Robbie Goodwin joins the show! Dave fills us in on his one week post-op state, we talk why Kenny G changed the game and speculate if he was the one playing for Bill Clinton on The Arsenio Hall Show and then take a deep dive into the hilarious book recommended by our NNFA fan from our livestream, “Pastors Eat Pwussy Too!”It's definitely another splendiferous episode…this is No Need for Apologies!-----------------HOW TO HELP US GROW:1. Like this and every video2. Comment for the algorithm 3. Subscribe to NNFA on YouTube4. Listen & Subscribe on Apple Podcast & Spotify or anywhere you listen to podcasts5. Review and Rate all 5 stars!6. Share with friends & on Social Media "Hey check out this podcast?!"7. Buy NNFA Merch8. Subscribe to NNFA on GasDigital.com/NNFA using promo code “NNFA”9. Follow Dave & Derek on social media10. Come back Next week and Repeat!-----------------FOLLOW NO NEED FOR APOLOGIES!This Week's Guest:Robbie GoodwinIG - https://www.instagram.com/robbiegoodwin/ The Hosts:Derek GainesIG - https://rb.gy/3okmfe Twitter - https://rb.gy/ovoex8 Dave TempleIG - https://www.instagram.com/imdavetemple/ Website - https://www.davetemplecomedy.com/ The Podcast:No Need For Apologies IG - https://www.instagram.com/nnfapodcast/ TikTok - https://www.tiktok.com/@nnfa.podcast Production:Producer - Teona Sasha IG - https://www.instagram.com/teonasasha/ TikTok - https://www.tiktok.com/@teonasasha?lang=en Engineer - JorgeEdited By - Rebecca KaplanIG - https://www.instagram.com/rebeccatkaplan/ TikTok - https://www.tiktok.com/@rebeccatkaplan?lang=en -----------------WANT THE FULL CATALOG? Go to https://gasdigitalnetwork.com/NNFA Use Code: “NNFA” for a 7-day free trial on the entire GaS Digital subscription.Gain access to all things NO NEED FOR APOLOGIES - ALL of the episodes, uncensored, in Full HD, AND a week earlier! -----------------To advertise your product on GaS Digital podcasts please email jimmy@gasdigitalmarketing.com with a brief description about your product and any shows you may be interested in advertising on.SEND US MAIL:GaS Digital StudiosAttn: NNFA151 1st Ave # 311New York, NY 10003“NNFA” is a GaS Digital Production. New Episodes drop WEDNESDAYS on GaS Digital for subscribers ONLY and SUNDAYS for limited release on YouTube.-----------------#NoNeedForApologies #NNFA #DerekGaines #DaveTemple #Comedy #Podcast #ComedyPodcast #GasDigitalNetwork #NNFAPodcast #AudioBook #Audible #PastorsEatPwussyToo #EBooks #RobbieGoodwin #CrazyRichAsians #SpongeBob #TMNT #KennyG #BillClinton #ArsenioHall #TheBay #BiggieSmalls #NineEleven #911NeverForget #FaithEvans #StatenIsland #BurningMan #50Cent #TSASee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Andrew For America presents the eighth installment of his supercut show, which is an artfully assorted arrangement of clips prepared for you, to illustrate the current status quo, the zeitgeist, the spirit of the times that we are living in. Starring: Professor Richard Wolff, George Carlin, Jim Caviezel, Ken O'Keefe, Shawn Ryan and Buck Sexton, the Pritzger family and Obama, Dr. Michael Yeadon, Alex Azar, the Black Nobility, the Orsini family, Transhumanism/Occult/Freemasons, Andrew Bustamante on CIA mind control developmental stages, Ishtar, Moloch, Baal, Baphomet, King Charles, the WTF files, Eddie Murphy on the Arsenio Hall Show, hip hop artists talking about the dark side of the music industry, Robert Kennedy Jr., John McAfee, Andrew Tate, Alex Jones on Piers Morgan, Graham Hancock, Matt Graham, Thomas Sowell destroys Frances Fox Piven (co-creator of the Cloward-Piven Strategy), the late Grey State filmmaker David Crowley, Klaus Schwab, Roger Morneau, and psychedelic pioneer Danny Goler. Visit altmediaunited.com and check out all the awesome podcasts! Visit allegedlyrecords.com and check out all of the amazing punk rock artists! Visit soundcloud.com/andrewforamerica1984 to check out Andrew's music! Like and Follow The Politics & Punk Rock Podcast PLAYLIST on Spotify!!! Check it out here: https://open.spotify.com/playlist/1Y4rumioeqvHfaUgRnRxsy... politicsandpunkrockpodcast.com https://linktr.ee/andrewforamerica

From March 13, 2018: Comedian Jimmy O. Yang called in for a fun conversation about his book How to American: An Immigrant's Guide to Disappointing Your Parents.ABOUT JIMMY O. YANGJimmy O. Yang is an actor, stand-up comedian, and writer best known for his portrayal of Jian Yang on HBO's Emmy-nominated series Silicon Valley and his dramatic turn opposite Mark Wahlberg in the highly acclaimed film Patriot's Day. Born in Hong Kong, Yang moved to Los Angeles when he was thirteen, where he eventually made his television debut on the CBS series 2 Broke Girls and his first late-night stand-up appearance on The Arsenio Hall Show, where he received a rare standing ovation. He lives in Los Angeles.

The impact of The Arsenio Hall Show was far-reaching and has never been replicated. It's the only time in late night history that the culture was at the forefront. From Magic Johnson's appearance following his HIV announcement, to Bill Clinton playing the saxophone, to the Queer Nation clip that still makes the rounds on social media, Arsenio brought Black excellence to network television long before the term was popular. 

Keith graduated from San Jose State University with a degree in Business Management. After his graduation pursuit of his real dream began; Keith moved to Los Angeles to become a fashion designer. While studying at the Los Angeles Trade and Technical College, he met and became an assistant designer to his mentor the late Bill Whitten. With the help and support of Bill Whitten, Stella Ruata, Bessie Nelson, Warren R. Caton- he reached his goal rather quickly. Keith was working with entertainers such as Don Cornelius, Dolly Parton, Jermaine Stewart, Chico Debarge, Blair Underwood, Bobby Brown, Whitney Huston, Michael Jackson, Heavy D, Boyz II Men, GUY, New Edition, Johnny Gill, LSG, Patti Labelle, The Body Sisters, Sam Kinison, Little Richard, The Temptations, Surface, Barry White, Chante Moore and Latin super star Juan Gabriel. Some of his memorable and stylish pieces were displayed for “A Renaissance Gypse Affair” gala at Cielo Celeste Farm hosted by Celeste Huston and attended by Angelica Huston, Bo Derek, Jacqueline Stallone and other celebrities and dignitaries from around the world. Recently at Keith Holman Presents “7 Decades in Hollywood,” costumes and archives were presented from Michael Jackson, Dame Elizabeth Taylor, the 1939 Judy Garland version of “The Wizard of Oz” and other legendary performers. The next natural step for Keith was to branch out and produce a clothing line, Holman Harper Designs, which was picked up by major retailers and specialty boutiques including Macy's, H. Lorenzo, Exclusive, Fred Siegel and others. Shortly after, Keith took his creativity to music, television and movies. He designed clothing and wardrobe for more than two hundred music videos designed for special episodes of hit TV shows, such as LA Law and Doogie Howser, M.D., for various award shows including the Grammy's, Soul Train Music Awards, Academy Awards, and American Music Awards. Keith's designs also were showcased on major artists' tours including Michael Jackson's, Victory, Bad, Dangerous and History tours; Dolly Parton's Treasures tour; New Edition's Tours; Bobby Brown; Johnny Gill; L.S.G; Heavy D and Boys to Men; Guy; Cassandra Pierson “Elvira Mistress of the Dark;” the late Sam Kinison and others. Wanting to strengthen and expand his talent and creativity into the interior/exterior design industry, Keith studied at Thomas Schoos Designs. His unerring eye moved from the body to the home in the design of custom water features, indoor and outdoor furniture pieces, furniture accessories and landscaping. The list of celebrities that have put their home decorating into Keith's capable hands includes Bernadette Peters, Eddie and Nicole Murphy, Mary Kate and Ashley Olsen, Jamie and StevenTisch, Tracey Bregman-Recht, Kim Novak, Mrs. John Huston, Will and Jada Smith, and Countess Maria Cortez. During this time, he also began facilitating the sale of antiques and designing meditation gardens for his top clients. Effortlessly moving between personal and commercial spaces, Keith's restaurantdesigns include Koi Restaurant in Las Vegas and Los Angeles. Working alongside Icrave Design, Keith decorated and designed for casual elegance One Sunset on the Sunset Strip, STK Restaurant in West Hollywood, Coco De Ville in West Hollywood and Boudoir West Hollywood. During this time, Keithcontinued to create costume masterpieces for his celebrity clientele for events, premiers and their personal wardrobes. Keith has been featured in television and radio on shows like Entertainment Tonight, the Arsenio Hall Show and more. He's been written about in articles for Ebony Man, GQ, Boston Globe, LA Times, The London Mail, and more. He has received several awards such as the coveted Gold Thimble Award and the humanitarian NAACP Image Award for Black Designers, Humanitarian Award “Kids Feeding The World,” RSMA Legends Award, and the 30th Anniversary Thriller Award. Keith donates his time and money to various charities and foundations. --- Support this podcast: https://podcasters.spotify.com/pod/show/moviemakingpod/support

What a CreepSeason 19, Episode 7Bill MurrayBill Murray is a comedy legend who first came to fame as one of the “Not Ready for Primetime Players” on Saturday Night Live from 1977-1980 and has gone on to star in classic films like Stripes, Rushmore, Ghostbusters, What About Bob?, and Groundhog Day--to name a few.He also has won Emmy Awards, been nominated for an Academy Award, and received the Mark Twain Prize for American Humor in 2016. He is also known to be an abusive Creep who has been a bully in just about every sense of the word on set and off since the beginning of his career and only in the last year faced anything resembling consequences. We are also big fans, but this shit needs to be discussed. Sources for this episodeDeadlineNew York TimesCNBCWikipediaVanity FairVanity Fair Geena Davis reviewBill Murray creeping on Geena Davis on the Arsenio Hall Show in 1990 (YouTube)Los Angeles TimesJezebelThe Smoking GunTop 10 Beyond the Screen (ignore the bad pronunciations)Los Angeles Times podcast “Asian Enough” with Lisa LiuNikki Swift.comEntertainment WeeklyThe AV ClubNew York PostPage 6 History of Bill Murray BeefsSlash FilmGeena Davis's memoir Dying of PolitenessTrigger warning: Domestic Violence, Assault, and Workplace Abuse. Be sure to follow us on social media. But don't follow us too closely … don't be a creep about it! Subscribe to us on Apple PodcastsTwitter: https://twitter.com/CreepPod @CreepPodFacebook: Join the private group!Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.comWe've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.comOur logo was created by Claudia Gomez-Rodriguez. Follow her on Instagram @ClaudInCloud

The Arsenio Hall Show and The Effect It Had On Hip-HopSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Act Out - S01E17 - Comedian Q Duck sits down with Comedian Q to discuss his career in comedy, his production company, doing comedy on cruise ships, and what the future holds! Check out Comedian Q's show SUN JAN 22 @ 7PM: https://improvtx.com/addison/event/q+coleman/12787195/ Listen on your favorite Podcast App: Spotify, Stitcher, Podbean, Itunes. Just search "The Improv Tx Comedy Network" Listen Now on Podbean: https://improvtx.podbean.com/e/the-act-out-s01e17-comedian-q/ Listen Now on Youtube: https://youtu.be/bHcZZnTQ3Gw Bio: Q has had several appearances at Addison and Arlington Improvs, (Recently being awarded having his signed picture placed on the Arlington Improv Wall) Q taped a set for the Aspire Network on a show called Comics Edge. 2018 Q even had an impromptu cameo with Arsenio on the Arsenio Hall Show. 2018 Q will be featuring on BET's new reality show “Ladies Night” which stars the groups SWV, Salt N Pepa and DJ Spinderella! (Airs April 2019) Q will also be featuring along with his fiancé Deidra Roper aka “DJ Spinderella” on the Own Network's new show “Love Goals” spring 2020 Q is the creator and host of a comedy series called “Comedian Q's We Got Next Comedy Series,” showcasing the country's hottest up-and-coming comics. (Longest running comedy series in the south) “We Got Next” has toured Oklahoma City, Killeen,San Antonio, Chicago, Houston, Vegas, Waco, Wichita, and has been running in Dallas for 12 years. Q has added his We Got Next Comedy Series Brand to the Grown And Sexy Cruises. Making him and all the comics he books international comedians! In the last 5 years WGN has been featured on 15 cruises. Performing in front of thousands from all over the country. Having that type of exposure has help grow the WGN brand in different cites in the US. In 2021 Q, along side DJ Spinderella will be co creator of Spinderella's Comedy Jam featuring comics from all over showcasing in different cites with Brooklyn and Dallas being some of the 1st stops! Along side comedy, Q is an influencer in the DFW metroplex promoting unique events catered to live entertainment with his company “Quality Events Dallas” with the mission statement “We invite you to.....Step Out The Club” Q truly embodies the diligence to succeed. With his authentic rapport with countless power plays and the makings of a phenomenal talent, there are no limits as to where he will ascend. He is quickly accelerating into Dallas legendry and beyond.  Facebook: https://www.facebook.com/qgotjokes Instagram: https://www.instagram.com/qgotjokes/ About the Addison Improv: Tired of going to dinner & a movie? Change it up with a night at the Addison Improv! It's the perfect place for a date night, birthday, Bachelor/Bachelorette party...all together a good ol' time! Ticket prices may vary, depending on the comedian.  Facebook: https://www.facebook.com/AddisonImprov Instagram: https://www.instagram.com/addisonimprov/ Twitter: https://twitter.com/AddisonImprov TikTok: https://www.tiktok.com/@improvaddison #theimprovtxcomedynetwork #standupcomedy #laugh #joke #laughter #jokes #standupcomedian #comedian #standup #funny #humor #podcast #fun #memes #lol #hilarious #viral #comedyshorts #haha #improv #addisonimprov #arlingtonimprov #houstonimprov #chicagoimprov #sanantoniolol

Danny Zuker is a TV Writer and Producer known for Modern Family, Just Shoot Me, Off Centre, and Grace Under Fire.Show NotesDanny Zuker on IMDB: https://www.imdb.com/name/nm0958521/Danny Zuker on Wikipedia: https://en.wikipedia.org/wiki/Danny_ZukerDanny Zuker on Twitter: https://mobile.twitter.com/dannyzukerDanny Zuker on Instagram: https://www.instagram.com/dannyzuker/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptsDanny Zuker (00:00):So like, the people interested on the podcast who are aspiring and whatnot. Yeah. I mean, it is, and you can attest to this, and everybody I know can attest to it. Is he getting punched in the face contest? I mean, and there's no shame in stopping. It's just how many times he can get punched in the face. Because you will continually, I mean, I recently been punched, you know, I did a pilot and it was like all the way and boom, punched in the face and it's like, it never stops hurting. And at some point you just decide not to get up. I'm just not there yet.Michael Jamin (00:26):You're listening to Screenwriters. Need to hear this with Michael Jamin.(00:34):Hey everybody, welcome back to Screenwriters. Need to hear this. I'm Michael Jamin. I got a special, very special guest today, Mr. Danny Zucker. You don't know who he is. You don't know who. I barely, we worked together on many for many years on a show called Just Shoot Me. But I want to, man, I want to, this guy is, you don't understand this guy in the industry. He's known as a joke machine. He is known as the guy who comes in and hits that home run joke that makes everyone just laugh out loud in every episode. And so, let me just talk about his credits and I'm gonna bring him in. He's got a ton of credits. So I guess we'll talk about this, but we, I guess he started out on the Arsenio Hall Show as a joke writer, evening Shade, which I didn't, I forgot about that cuz I was a PA on that show. But not when he was there. Roseanne, listen to his credits. Roseanne Grace Under Fire fired up. He probably, do you want, is it okay if I mention No, I guess I shouldn't mentionDanny Zuker (01:26):That one. No, you can totally mention all the terribleMichael Jamin (01:28):Ones. jhu Me. We were, we, we worked together. Jesse Off Center, which he created Coupling the Men's Room, another show he created Surviving Suburbia, the Unusuals modern Family, which you've just got off of. So he was there for many seasons. But then also God the Devil and Bob Norm watching Ellie Oliver Bean come to Papa Stacked. I mean, dudeDanny Zuker (01:54):Act I'm glad you finished on Stacked ByMichael Jamin (01:56):Though. Yeah, that was a, yeah, . But what a man, dude, you have some, you have some you in in this podcast right now, I would say you have the second best credits.Danny Zuker (02:07):Who have you had who've hadMichael Jamin (02:09):? No, I'm talking about me. Oh, no, your, your, your credits are fantastic, dude. I mean, aDanny Zuker (02:14):Lot.Michael Jamin (02:15):Oh,Danny Zuker (02:16):But great memoir in me when I want to get out of the business.Michael Jamin (02:19):Oh, but also you do, well, you, well, you can start writing it now, I suppose. . How dare you. How dare. But also can I even talk about this? Do you have a famous book about where you, you and Trump? You got into a this is before he was president, right?Danny Zuker (02:34):Yeah, it was, it was I think 2014 back when everybody hated Trump. Not just people who could readMichael Jamin (02:41):, but, and so you just started trolling him on TwitterDanny Zuker (02:44):Just randomly and just a little, like, just a small little tweet. It was like, and then he exploded and then we went onto a month long with hundreds of tweets back and forth. And if you go back and look at it, cause it went rebal when he got the nomination. But if you look at it, he didn't like I was just a beta test. There's nothing he said about anybody else, whether it's like whoever he wants to talk about that he didn't first try out on me to no effectMichael Jamin (03:08):Really.Danny Zuker (03:09):And always bugged me when the Democrats would say like well it's so hard to fight against. It's like, no, just read what I did. It's not that hard. I feel like anybody could dunk on him.Michael Jamin (03:18):I remembered thinking though you, that he picked the wrong fight. You don't pick a, a Battle of Witch with professional comedy writer. That's not what you want to do,Danny Zuker (03:25):. It's all I do. It's, yeah, it's like, it's like me getting into a Dunking contest with LeBron. It's not gonna work out. I have one skill period. I can't do anything other than this. It's all I was trained to do.Michael Jamin (03:36):And this was at Modern Family where you were a writer, and did you, did you wanna, did you bounce off any jokes off of anybody?Danny Zuker (03:42):No, in fact, I mean, I would, he started to go after Modern Family, like when he would, you know, and that became like something he would pick out at that point that when he started doing that, I went and I talked to the cast and the other writers and the cre co-creator Steve and Chris, and I said, Hey, like, you know, my show, I would just go forward, but it's your show, right? And they were like, no, get him. It's like, fine. And it was like, I have to say, like back then, you just have to remember like, he was a, he was such a safe target. Like I would have to scroll for scroll and scroll and scroll to find one tweet that supported him. Like one reply that supported him. And I'm sure it came from somebody in his office. What was weird and why I knew like, oh, shit's different is it went viral again in like 20 16, 20 17.(04:31):At which point I got a lot of like, you are an asshole. Y O U R. I got like, it was like, there was a lot of hate. Like people were on his side all of a sudden. It was like, what? Because it was Republicans, he was a joke. Right. You know? Right. and, and so it was like, whoa. It was really weird. And it was yeah, I mean it was, you know, I, I continued, I continued to be a voice, but, you know, I I, I had threats. I was hacked. I had a lot of stuff go down that was like sort of yeah, it was like, it, you know, it, it got a little bit scary. I mean, it's scarier for women who went up againstMichael Jamin (05:05):Him. But at, at some point though, did he just block you?Danny Zuker (05:08):Oh, within the middle of that. And then by the end, after months, he blocked me and I stayed blocked all through his presidency. .Michael Jamin (05:15):And then how did that become a book?Danny Zuker (05:17):Well, I was doing it like at the 20, what was it? The the midterms, the 2018 midterms. I was part of like a democratic affiliation. Like there was some fundraiser. And they had asked me if I wanted to do like a live reading of my Twitter war. And like, you know, Tim Simons from a VE was there and he said he had an un enviable job of being Trump. And we did it. And then another friend of mine who does a lot of this stuff says we should put that out as a book. And, and then we just, I just wound up doing it.Michael Jamin (05:47):That's fantastic.Danny Zuker (05:48):Yeah. I mean, it's just a little, it's a hundred pages. It's like, it could not be sort of, and and, and I comment on the little tweets as they go along and Yeah. So . But and then I gave it to ch Yeah. And then I gave it to charities like, you know, Uhhuh legal aid for people at the border and Planned Parent, like all the things he, ohMichael Jamin (06:04):Good. Oh, now tell me. So I don't, I remember, it's so funny cause we worked together 20 something yearsDanny Zuker (06:10):Ago. I know a lot,Michael Jamin (06:12):But I, you remember, just so my audience knows, you were the guy who all of us wanted to impress in the room to make laugh. You were the guy cuz it was your approval. Yeah, it was. Because if we could make Danny laugh then Paul Yeah. Because you were the home run hitter.Danny Zuker (06:29):But that, but that room had, I felt like that room had a lot of heavy hitters. It's very flattering to know that. I mean, I always thought, you know, I thought you and your partner Siever were like, it was just, everybody was good.Michael Jamin (06:40):We were, we were all baby writers. But it, I mean there were definitely, it was a really talented, I think that might have been one of the most talented rooms I've been in, to be honest.Danny Zuker (06:47):It was certainly one of the, it was one of those rooms where like, cuz Just Shoot Me was a show that really survived on jokes. Like, it was like, the way it was built, it was like, it wasn't, you know, it wasn't about like a lot of touchy-feely moments, you know, or we'd get to them occasionally. But it, what it was most successful at was like, you know, what are the s in that world? Yeah. And, and, and so, and we had a lot, you know, it was a lot of really good people. So,Michael Jamin (07:11):Man, and then, but you started, I forgot about this as a, as a joke writer on the Arsenio Hall Show.Danny Zuker (07:17):Yeah, it was weird. I mean, I got , I mean, I was quite young. I was like, I think like 24 or 25, and I managed to get like a like a pa job on that show. Cause I'd worked on as a pa on another show with a producer there. And anyway, I got there and, you know, we're doing run through things and it, you know, writers there had 13 week contracts. And in the first 13 weeks that show became an amazing hit. Like he was on the Coming Time magazine and he wound up purging a lot of the staff on a Friday. And I just went home. This, you know, I went home that night and now long ago, and on a typewriter looking at newspapers typed up a bunch of jokes and on Monday handed up, you know, my submission to some of the other writers there to put it in with the packet.(08:03):You know, they, because I knew they were looking and they knew I wanted to write. And on Monday, like he did one of my jokes. And then like on Tuesday he did two of my jokes. And on Thursday I had a good amount of jokes in. And on that Friday, the following Friday, he hired me. Wow. So it was like, but I, you know, I'd been doing jokes, you know, I don't, I wasn't, it's funny, I was like, we were doing a move in our house, like we were remodeling, something had to move out and we get, so go through all of these boxes and in one box I found, oh, my Arsenio jokes, like a big book of my Arsenio jokes. And I thought, this is a gold mine. I can sort of recycle some of these and put them in things. And I started reading through them and they were also shit. It was like, it was nothing salvageable , but I guess it worked for there.Michael Jamin (08:43):That's so, you know, cause I was a joke writer on the mic and Maddie's show for a little bit, and I had thisDanny Zuker (08:48):That's right.Michael Jamin (08:49):But I would go through my material. I, I have the same like a binder like gold. Right. And I looked at it recently, I was, was like, there's nothing in here. It's terrible. It'sDanny Zuker (08:57):Terrible. I would never hire this fucking guy.Michael Jamin (08:59):. But, but was it your goal, like in high school to be like a on to work, like late night or what? Or scripted?Danny Zuker (09:07):Yeah, it was. I mean, I really, you know, I wanted, I, I mean I, in high school I was doing some standup poorly, you know, cause I had nothing to say and, but I really did. I wanted to be on Letterman or snl. And and, you know, I got outta college and I did, like, I put together this reel that people seemed to like, and I got into Letterman it as like, you know, I talked to like Gerard Mulligan and a couple people there, and I mission and then, and I got my first rejection letter from them and the second one from snl. And and and I still have those. And they're, they, they, they're, because, you know, you go through that. I wound up getting a job with but glad up getting a job with Howard Stern, who was doing some box pilots.(09:44):He was gonna be the show that followed Joan Rivers Show. Right. And they never went, but it was, it was a couple months producing a week of shows, you know, practice shows. And well, a couple good things came outta that one. I've been friends with him for 30 something years as a result. Bob who was in my wedding, and right. But then, but then I also met a producer on that show who liked me, and he brought me out to, you know, he brought me out. He said, I have a a pa job out here if you want it. And, you know, so it all led from that. So,Michael Jamin (10:12):But you never decided to like resubmit to SNL orDanny Zuker (10:16):Letterman? I did. I mean, I was, you know, I was absolutely planning, but then I wound up getting an opportunity to be, you know, I, I got, I, I I wanted to. And then I came out here. It's funny because before I got the Arsenio Hall ugh, this is a really dark, like, horrible story. Before I got the Arsenio Hall show , I got I was like up for like, to be a baby writer. If you remember Pat Sack had a late night talk show mm-hmm. . Yeah. That was Pat s Show. And was a lot of my friends, a lot of good people were there. Like, you know, Fred Wolf who went on to write a lot of stuff for all those movies for David Spade and Chris Farley. But like, so I was submitting packages and the head writer there, this guy Monty, I don't mind trashing him on this.(10:52):He, he he put me through the ringer. Like I kept submitting like over the course of you know, weeks of submitting to him and with notes. And I was like, fine. I was like young and prolific. Anyway, I wind up going in and I get there and there's another guy, there's writer Rob Young, who went on to write Forleo for many, many years. And he and Mon said, here's the thing, you're both baby writers, so if you don't mind, I'll make you a baby writer team. You know, you'll means splitting a salary and all that and you have to be okay with it. And we're like, I was broke and had gotten no credit card. We were like, yeah, let's do it. My family was in town, my mom and my two sisters and and my stepdad and we're like all getting ready to go out and celebrate.(11:34):And as I'm getting out the door, the phone rings and it's Monty. And he said, you know what? We've re he gave me a key to the office, by the way. We've reconsidered. We're just gonna go with Rob. Oh my God. Like, after offering me the job. And I literally like my knees buckle and it was like the darkest meal ever. So I was really depressed for exactly 12 hours. And the next day Marla, this woman who went up to Bruce, the Arsenio Hall show called me and said, I can't offer you a writing job yet, but if you want, you can come in here and be like, like a, like a segment pa. And I was like, yes. And so that's all I wanted was the opportunity. So it was like literally I had disappointment for 12 hours andMichael Jamin (12:14):But still that is crippling that disappointment.Danny Zuker (12:16):It was crippling. I've never forgottenMichael Jamin (12:18):The Yeah. I feel it just the way you saidDanny Zuker (12:21):It, it was really cruel. I mean, it was like I described, I mean, to like the people interested on the podcast who are aspiring and whatnot. I mean, it is, and you can attest to this, and everybody I know can attest to, is he getting punched in the face contest? I mean, and there's no shame in stopping. It's just how many times he can get punched in the face. Because you will continually, I mean, I've recently been punched, you know, I did a pilot and it's like all the way going and boom, punched in the face and it's like, it never stops hurting. And at some point we just decide not to get up. I'm just not there yet, but, you know. Right. But butMichael Jamin (12:53):People don't, yeah. I think that's important to know. Like even us at our level, is none of it's a cake walk. Everything's, you know, a lot of rejection.Danny Zuker (13:03):It, it's true. And I'll never forget this cuz so there's a writer under studio Hall show. He's about like eight or nine years older than I was. And, and like we would pretty young staff and, but, and we were going like, all the way to Vegas, why did you ever come to Vegas with us? And he's like, you know, and he pulled me aside, he took me for a lunch. He goes, he said, you, you're good. You don't wanna stay here in late night the whole, your whole career. You should, like, I'm taking the time. A friend of mine is doing a pilot. I'm helping him with it, and I'm pu you know, and I think you should be thinking about like starting to speck out half hour. And I thought, okay, you know, he's very avan Well, that pilot he was working on was, and his friend was Larry David, who was working on the Seinfeld pilot. He was Larry Charles. Right. and, and, and, and, you know, so he, you know, it was a real inspirational thing that moved me forward. And years later when I'm first getting like my first like, you know, I'm a story editor on like evening shade or one of those things. And I remember running, talking to him and I said, it must be nice to not worry about the next thing. And he is like, oh, I worry every single day. AndMichael Jamin (14:01):This is who, who? Larry Charles said thisDanny Zuker (14:02):Larry. Charles, yeah. Mm-Hmm. . And I thought, like, I thought, is he just saying that to make me feel good? But then, you know, as I saw it, I saw like the people from friends leaving the hottest show on friends, like not, you know, scr you, it, it doesn't carry over. It's like you, you, you get in the door more. Right. But you're still subject to the same humiliations most of the time.Michael Jamin (14:24):Why did they tell you, why did he tell you you don't want to be in late night for the rest of your career?Danny Zuker (14:29):He thought that I want, he said, if you, he, he more said it this way. He said, do you want to be in late night? Do you have aspirations to do more? Because it can be a golden, you can, it can be like a golden handcuffs because what can happen is it becomes comfortable and you won't do anything else if you wanna do something else. And he thought, and he, and he said he thought I was good enough to, he thought I had the ability to go do something else. I, and and that was all it was. It wasn't like he was belittling it mm-hmm. , he just knew I had aspirations beyond it. And he said, while you are working on something good is a great time to be working on the next thing. Right. And I, I, I, I took, I I, I took him seriously. IMichael Jamin (15:06):Mean, but you had to learn a whole different thing. You had to learn how to write stories. That's aDanny Zuker (15:09):Whole different thing. You don't, and but didn't you find this for you? So you started as a joke writer. You don't know if you can do it consistently until you do it. And then you find out, oh, I can. Right. It's the same thing with half hour. It's like, I don't know if I can do this consistently until you find out you can.Michael Jamin (15:22):But I remember the first couple specs I wrote the first were terrible. Then I wrote a couple that were decent. And then after wrote that first decent one that got me an agent. I remember the, I got soundbite agent and then I remember thinking, I, I don't know if I can do this again. I think that's it. I think I got lucky.Danny Zuker (15:37):Oh dude, I'm utter, even to this day, I have to tell you, like I've, I, I'm utterly convinced that every job I have is the last job I'll ever have for my whole career. And that this is the script where I'll be found out.Michael Jamin (15:53):. Yeah. Yeah.Danny Zuker (15:55):Where the, where the big, where the, you know, it's it's imposter syndrome I think. But it, I don't know. I, I've never met somebody who turned into script and was so freaking proud of it to me or something like that. It's like, oh, this one's gonna kill where that was any good . You know? Right. Like, that kind of confidence doesn't means you haven't like, questionedMichael Jamin (16:11):It. And what were those early days like for you on those early shows like Roseanne and like, what was that like?Danny Zuker (16:17):I loved it. I mean, cuz I, I did discover I was good at it and they were like, it was competitive, which I liked mm-hmm. . And it was like, you know, I held my own. I was like, you know, I did a really good, I felt like I did a really good job on Evening Shane. And they recommended me to Right. Roseanne. And I was a good hire there. And I'm, you know, the Roseanne was one of these situations where like 30 something writers, cuz she would hire all these people. But there was one like, main room and, and, and, or like, like two, you know, of the main writers. And it was very egalitarian, you know, it wasn't just like, okay, you're co-executive producer, you're gonna be in that main room. Or the, it was egalitarian. And, you know, I had worked, you know, as a second job. I worked myself into the main room. Now keep in mind that also meant working on weekends, but it was still,Michael Jamin (17:00):What do you mean as a second job? What do you mean?Danny Zuker (17:03):Well, no, it wasn't a second job. It was like I said that you would, I, it meant that if I got into the main room, Uhhuh , I would, you know, I would work longer for the same about someone here. Oh, oh, I see what you're saying. Yeah.Michael Jamin (17:16):Yeah. Right. And and they were, yeah. Cause the hours were really tough on Roseanne. I rememberDanny Zuker (17:20):They were hard. No.Michael Jamin (17:21):Yeah. I remember getting, it's funny, I remember getting interviewed to be in the night pa on Roseanne. I was like, the night pa Yeah. You start around midnight. I'm like, oh, start at midnight. . That doesn't sound like a good job.Danny Zuker (17:35):Yeah. I remember, I think at one 30 in the morning, Rob hen at one point saying, guys, if we just let's focus, we can get out here earlyMichael Jamin (17:42):. But he wasn't. So what time, what were your hours? Like what time did you usually work until ?Danny Zuker (17:50):It depended, but like, you know, cause she would blow up the script several times and you had to deliver it. Yeah. And you know, sometimes we'd have to start from scratch. And so, you know, we saw more than, you know, I saw several sunrises. We called it working from Howard to Howard. Like, you'd come in listening to Howard's Stern and you go home listening to Howard's.Michael Jamin (18:04):Oh my God. And that's, and that's rough. I mean, I've been at a coupleDanny Zuker (18:08):Young though. It, it helped to be young.Michael Jamin (18:10):Right. I know. Imagine doing that now. You'd be, I don't know guys, it's getting, it's, it's right five-ish. It's getting dark . I go, nowDanny Zuker (18:18):I wanna eat my dinner at four 30 now. So it's like differentMichael Jamin (18:21):. So then all your other jobs afterwards. Just interesting to follow. How were they just mostly connections or your agents submitting you? How haveDanny Zuker (18:29):Almost all were con like, so what happened was, so yeah, so Evening Shade led to a connection because Victor Fresco was friends with Rob Yuen. Mm-Hmm. and then Tim Doyle who was coming in also. And, and, and so I got there from there. When I went to Grace Under Fire, it was Kevin Abbott. It was like a, a a splinter group. Us went on to that. From there Kevin wound up getting like a brillstein deal off of that. And then they were like, he, they were asking who else is good over there? And he recommended me. So then I got a Brillstein deal and did my first pilot. And when that didn't go, I was like on, I was somewhere like on vacation, you know, my wife. And, and I got a call from my agent that about like, Hey, they're looking to bring somebody on the show, just shoot me. And you know, you know, I read the script, which I liked. I, you know, I hadn't seen the first pilot and I was wrapping up and so I, I don't how many You were there from the beginningMichael Jamin (19:23):Right? From the pilot. Yeah.Danny Zuker (19:24):Yeah. So what was how many did you do that first season? Because I came in in, in at the le Yeah. So I came in on episode six of thatMichael Jamin (19:32):First season. You were there, you were there for the first episode. Final episode of Season of Season One. I don't rememberDanny Zuker (19:37):That. Yes, I was, yeah. Wow. Okay. Yeah. Cause we were, yeah. Cause I, yeah. And so yeah. So it was yeah. So that, and that's how that led. And then from there, you know, that led to a lot of different things. And, and you know, you know, it is, you start to develop a name, so then you at least Right, you can at least get in the door, you know, a little bit. So,Michael Jamin (19:56):And then, but even now, okay, so how does it work for you now? What is it? I mean, even like, I know you just, you just had a pilot what it felt like. What was that process like?Danny Zuker (20:05):Well, it's, it's, you know, it's, hopefully it's gonna be alive again. But we, we gotten into some, some, a little good news, but, you know, I was talking about a couple pilots, but like, I, you know, I got, I having the same manager as I'm at Brillstein again as a management company. And over Covid, they were like, Hey, you know, you wanna sit down with Kevin Neon as this idea?Michael Jamin (20:25):Oh, right.Danny Zuker (20:26):Kevin and I wound up writing something that I really love. And hereMichael Jamin (20:29):We go. Let's give him, give him a shout out.Danny Zuker (20:32):Oh, you gotMichael Jamin (20:33):It. Yeah, because Kevin was a Kevin, Kevin's so sweet. He was the voice on, he was actually the voice on this animated show. He did. He's over there andDanny Zuker (20:41):Oh really? Which one?Michael Jamin (20:43):Glen Martin dds. So I work with Kevin. Oh,Danny Zuker (20:45):That's right. IMichael Jamin (20:46):Remember that. And he's, so, he's the sweetest guy. And so he'sDanny Zuker (20:51):Been, he's been a pleasure to be in my life. Yeah. So yeah, it's, it was a real blessing.Michael Jamin (20:56):Well, I was just gonna say, so when he put his book out, I was like, yeah, I gotta give, I gotta help promote his book. Cuz he's just the sweetest guy, youDanny Zuker (21:02):Know? Yeah, he is, he's the greatest. And, but, you know, there's a perfect example. So it's Kevin Neen who has always acclaim. I don't have no acclaim. And, and like we write a pilot That's great. And we still get fucked around with, you know, it's like, sort of what I was saying, you know, it's like there's no, it never endsMichael Jamin (21:18):. Yeah, no, it doesn't end. And so, yeah. So that, so just so people understand those work, so the, you've sold it to, well, your, your studio paid, youDanny Zuker (21:27):Don't just We the studio. Yeah. And it was like, developed for tbs. Okay. And and then the whole TBS structure went out the window mm-hmm. like in, in the midst of doing it. And, and we just got screwed. Now it came back to us and knock wood, we have something. But, you know, and then, you know, I'm just developing other things right now.Michael Jamin (21:46):Yeah. So you'll try to shop that. Right. And so,Danny Zuker (21:48):Yeah. Yeah. I mean this is the, this is the first year though when I, because I've been working on this animated show, housebroken mm-hmm. , it's their second season. It's on Fox. My first animated show I've everMichael Jamin (21:57):Oh, I know that. Oh, wait, wait, I know that one.Danny Zuker (22:00):It's with, yeah, it's with Gabby Al Gabby and Jen Friton did, and Ku it's like bunch of pets and group therapy. Right. Which is really a funny idea. Right. And it was super fun to do when it ended, like, in, in, I don't know, September, I mean, we're still doing post-production, but when it ended in September, I had a couple offers to staff or thinking like this. And I just, I said I, unless it was something I really wanted to do, this was the first time I decided not to do that. Not to run really in my whole career because I, I felt like I don't want to do that right now. I'm tired of racing and I wanted to, and I got to travel and I wanted to do certain things and work on what I wanted to work on. Right. It just sort of have faith in the process. Cause cause you know how it is, you miss a lot of life if you don't do that. SoMichael Jamin (22:45):Yeah, well it's, there's that, yeah. It's like that trade off. Do you go on staff or, or try to develop on your own and you're justDanny Zuker (22:51):Yeah. And I'll go, but I also, it's just a trade off of like, if I don't go on staff now and I wanna go on staff later, I'll find something. You know, it's like, I'm not gonna just not do it in there, you know? Right. So,Michael Jamin (23:03):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.(23:27):Right. So now you're just coming up with ideas or teaming up with other people.Danny Zuker (23:31):Yeah, I'm, I'm actually supervising a couple pilots that I like and I'm writing one, you know, developing one on my own. And then, and, and, you know, it's been super fun and, you know, I'll start submitting again when, you know, shows get picked up. But it was fun. I got to go around the worldMichael Jamin (23:45):Interest Oh, go around the world for for what? Oh, oh, because you're on yourself. You, youDanny Zuker (23:49):Just Yeah, my, yeah, yeah, yeah.Michael Jamin (23:51):Right. Interesting. And then, and so what was go, so your last, I guess your last big credit was Modern Family. So what was that a called, what was that like?Danny Zuker (24:00):Wow, I mean, what a credit. Oh, here's the thing. So I'm 44 when that show gets, you know, picked up and, you know mm-hmm. , especially like in comedy. Right. You know, you think like, I went prior, so it's kind of funny. So prior to modern Family, you know, a year before that happened, a full year, you know, we had a writer's strike. And right before that, Steve Leviton, who we know from Just Shoot me and, and Chris Le Lloyd were doing a show with Kelsey Grammar and Patricia Heaton called back to Back to You. Back to You. Yeah. Yeah. And and, and I didn't get hired for it, and I was like, really? I've done everything for, and it would've meant like I could've logged my deal and, and then the writer strike happened. It was the first time I went a year, like basically almost a year without working on anything.(24:49):Right. And so I started to spec out a couple, I specked out a pilot that was a little bit more dramatic and wound up getting hired on a drama that Noah Hawley was doing in New York called The Unusuals. And it was like, and it was really fun to do a drama and easier by a mile. Right. And so BEC but and it was like, I was the funny guy in this, like, people, other writers would come to me if they need because it had, shouldn't have had a rye aspect to it and this cop drama. And so I could punch up and I was able to write a drama a script. And it was great. And that show didn't get picked up. But then I had a couple offers on other dramas when Steve called me and said, Hey, Chris and I have done this pilot.(25:27):I think you should come in and take a look at it. You might be interested in it. Now in my head I'm thinking, I can't wait to watch this pilot and say, no, I don't wanna do it. Right. , it's like hired other stuff. But I got five minutes into the Modern Family Pilot. And honestly, to me, it's the best comedy pilot I'd ever seen. Yeah. Like, for just like, it, it felt so fully formed already. Yeah. Like, but that cast, and it just like, everything clicked in a way that was magical. And I was like, I gotta get hired on this show. And so people asking, you know, it was gonna be a hit or did you know this? We had, there was a lot of pressure that first season to do something as good as the pilot and to be in that world. And, but we could feel it. We, you could, you know, you could feel something building like you could feel, yeah, this is something special. And and yeah, it was an amazing ride and I'm sort of glad to have that happen to me in my forties. It was particularly after a year of sort of, oh, slightly slimmer picking. So I really appreciated it and I knew it won't, I, I knew this doesn't go on forever. Like I know that that's a very unusual Yeah. And rarefied thing to happen.Michael Jamin (26:35):It's kind of like the last big, big hit, youDanny Zuker (26:38):Know? It feels like it, I mean, it, it, it's especially a broadcast hit. It's like Yeah. It just like, like it, it went from the beginnings of like, screaming is a possibility to like, no one watches network television at the time it's on anymore.Michael Jamin (26:53):Right. What's interesting about, I, I always love like writing in that show is like you've literally watched those children grow up to be adults, you know, on theDanny Zuker (27:03):Air same age. So Luke, the kid who played Luke and the kid who played Manny and Alex for that matter, Uhhuh were all the same age as my twin girls. And my son was younger. So I, I, I used to joke that I, I got to watch the kids who make me money grow up with the kids who cost my moneyMichael Jamin (27:19):, but, and how odd is it to write new stories? Like, it just seems like it's, you know, it's almost odd that because they're older now and you get, you're writing stories for them being older, you know?Danny Zuker (27:29):Yeah. But it's like you, that is actually, oh, for me, I did not mind that because I felt like in those first couple seasons it was very, you know, we in all purged our lives for like stories. Right. And so I was just waiting for my kids to grow up and do something more interesting.Michael Jamin (27:48):Right,Danny Zuker (27:48):Right. You know, you know, and I think, and, and I think a lot of us were, and so I didn't mind that you were moving into those, those stories. I mean, it gets hard though. I mean, you know, we joked like, you know, everybody's like, oh, you know, it wasn't as good in season eight or whatever. It's like, well, let me put it this way. It's like the most interesting family, you know, most like the Obama's, let's say when they're at a dinner party, they have at most 15 to 20 stories they tell me. Yeah, yeah. That's it. Tho those are their go and they're the most interesting family, you know, like, we did 250 episodes, or each family had like, it's hard, you know, you, you, it's, it's, it's different. And we're not like animated, so they have to be somewhat ground. It's all you can do like meta episodes, like you can do like on The Simpsons or things like that. Although I wish we could have , butMichael Jamin (28:34):But I, and I always, cause I always talk about like how writer's mind their own life for stories. But you have a famous, you famously took a story from your life, I think, right? And you said in one of the, at least one of the episodes was the, it was the fire. It was the fire. I'm thinking of the firemen.Danny Zuker (28:47):Yeah. I didn't write it, but I, I told it in the room. I had had a okay. So yeah, it was like the, the, I live in Manhattan Beach and the the e EMT workers there are like famously good looking dudes. Like I Right. Some, I, it makes me question where I am on the sexuality spectrum.Michael Jamin (29:06):.Danny Zuker (29:07):Anyway, I wound up having an attack, which I thought was a kidney stone. It turned out to be gallbladder. It was like, but at two in the morning and I wake up and I feel like I'm being stabbed to death. Right. And my, my wife Annette. Annette, you gotta call nine one one. You gotta call 9 1 1. It's like, she was like, okay, it's gonna be fine. She calls 9 1 1 and then I'm on the floor and I don't see her, when I hear the, the firemen like knocking on the door like, Annette, Annette, where are you? And then she comes out of her closet and she's dolled up like she, cause it was the middle of the night she put on, she's looking you up for the fire bitch. And we just did that word for there.Michael Jamin (29:40):Right. So you go in to, and you tell the story the next day in the writer's room, and then it goes right in the script.Danny Zuker (29:45):It's amazing. And it's amazing cause you start to lose any shame. So like, one of the things like I'd worked, I had known Brad Walsh who was part partnered with Corgan and Walsh. Right. I'd known him for many, many years before this. Worked on a show with him, a couple shows with him and never, and, but we get into that first season of Modern Family and we're like looking for stories. And he is like, and I see him struggling and he is like, okay, fine. My sister and I were part of an ice dancing team. . Like, it's something he wouldn't tell us ever except we needed it.Michael Jamin (30:16):He, you needed stories, right? Oh, you give, yeah.Danny Zuker (30:19):Yeah.Michael Jamin (30:19):You'll give your mother. I mean, people don't realize, like you're, it's late at night, you're trying to come up a story and like you do, you'll swab someone's arm for a story. You know, like a good story is so hard to get.Danny Zuker (30:31):Now I've only like, like there's a time on like, it was actually just shoot me, I think it was. But like, we're looking for a story on some kind. And it was the only time I'm tell it here, but it was like that my wife at the time, she, she actually said I would rather you didn't do this cuz they, they want, they'll watch her. But it was, it was, it was this very simple story. It was like, like I used to fly my in-laws out here before they moved out here to come see the grandkids. I was like, you know, of course you're gonna come over there and say I'd fly and I do this back and forth. Happy to do it. I'm a generous guy. It likes been good. But then I found out like they'd get the ticket and then at the airport would pay for the upgrade to first class . And it like, sort of like, wait a minute, . And it shouldn't have bothered me, but it didMichael Jamin (31:13):Wait. But, but they were paying it out, the upgrade outta of pocket. They were paying for the upgrade.Danny Zuker (31:18):They were paying for the upgrade. But it was like, I guess you pay for the upgrade. You like what? Like,Michael Jamin (31:23):Oh, if they can pay for that, when they could pay for the ticket, you're saying? Yes, I got,Danny Zuker (31:25):Well not even, but but of course that's me. That was not like, and even as when I was pitching the story, I said, this is gonna be my problem not thereMichael Jamin (31:33):.Danny Zuker (31:34):But I said, so I, so I, I put the ki on, I, I stopped, but that's about the only time I have I all embarrassed people in our lives, you know?Michael Jamin (31:43):And, but, and so yeah, I mean, so, but, but basically there, so there are other stories in Modern Family you took from your, from your life as well, basically?Danny Zuker (31:49):Oh, tons. All of us did. Yeah. We, we, we, we, we had one like five twin daughters and at one point, like, so we had to go to a we had to go to a parent teacher conference when they were like in, I don't know, second grade. And my daughter, it's Lily and Charlie, my daughter Charlie, I mean Charlie, my daughter Charlie, you know, we're sitting there and it's and and then I say, Hey, so your dad and I, you know, tonight your dad and I are gonna need to split up. And and it's like, so do you, is there, do you have a preference? And it's like, and she just thought about it for a second. She goes, well I love dad, but I think you'll take better care of me. And she thought like we were, and she was so calm about us splitting up. Like she just like, yeah, I get like obviously that's . So she was like, it was just such a weird, and so we had Luke basically do that with Claire and and Phil.Michael Jamin (32:47):So yeah. Wow. That's so, yeah. You just got, it's like you're just gonna be conscious for your life. But go, but go ahead. WhatDanny Zuker (32:52):You were gonna say? No, we had a lot. I mean, Steve's kids walked in on him having sex in the pilot when Luke, they do the thing, we're gonna shoot you Luke. Right. That is the deal. If you shoot your sister, he has actual footage of him doing that to his son. .Michael Jamin (33:07):Yeah. That I remember thinking that this, I remember watching the pilot thinking this had to be from his life. And it doesn't sound right. . He shouldn't have done that.Danny Zuker (33:15):Yes, exactly. Yeah.Michael Jamin (33:17):Now, when you go about creating a pilot, other than the Kevin Neon thing, which is, you know, a little different cuz he has this like how do you go about, how do you start thinking about ideas?Danny Zuker (33:26):It's, it's a variety of ways. Like there's some that are just like, oh, this is an idea that's been sort of itching that, that I've been itching to do. I mean, and in the day, you know, I would think like, you know, but there's just an idea that I'll get in your head. The other way is somebody comes to you with an idea or a piece of casting. I have one right now that was kind of a, I'm not gonna talk about it here, but it was like, right. But it's, it's cause I'm, I'm, I'm down the road. But it, it was so wild idea that came to me with like, some good casting associated, but it was just one line and it's broad and silly. And I was like, how am I gonna make that work? Right. And they actually went away and on a trip and, and somebody just clicked how I would do it. And so I'm, you know, I've written up treatment and so hopefully that thing goes, but it's, sometimes it's an actor. Sometimes you read an article.Michael Jamin (34:13):Do you, are you, do you develop sometimes with actors? Cuz we never, we develop for comedians but never actors really.Danny Zuker (34:19):It depends. I have developed for an actor why They're usually a comic actor though. Yeah. You know? But yeah, that's, that's about it. Yeah. I have, I mean, I know where do you guys get your, what do you do with your ideas? I mean, and don't they mostly come from your heads? Are you talking about it or it's such a hard target to chase?Michael Jamin (34:37):Is this a hard part of it that we struggle with? Cuz you always hear this as like, why are you the only ones who can tell this story? And you're like, well I'm, we're not. You know, I mean, and, and the other thing is like, well I'm a writer, I can kind of make up stuff. Like, so they, but they always want to hear like, why is so you have to always, it always has to be personal, which is a little hard. It's like you run out of the personal things. And so yeah.Danny Zuker (35:02):It sound like an obvious, this is gonna sound like a question, and maybe this just speaks to me not being a good guy, but I, I know this, but don't you lieMichael Jamin (35:10):. But you, you, you exaggerate, you, you basically say, you know, you try to extrapolate, well this is, I this didn't happen to you, but something similar happened to me, you know,Danny Zuker (35:20):But I'll be like, okay, so this is based on a guy I went to school with.Michael Jamin (35:23):Right. But is that good enough? Because then they'll, but then they'll say, okay, but then go get the guy who you went to school with. Hey, get him in here. It's his story.Danny Zuker (35:32):. No, no. I mean, I, I no, what I will say, this is my real, real, you know, I'll, I don't know. I can, first of all, I do think when you're writing a show, no matter what you're putting yourself right in all of those characters, I think it's a silly request. I do try, even if it was like something science fiction or it was something like broad and big, I will always try to craft an origin story that is usually mostly true. But just like, you know, I had this experience, like how do I explain like I'm doing something with somebody right now, an animated show that I'm supervising that has a lot to do with mental health stuff. Right. And this girl cracked it. And it was like, so when I'm coming in I say like, I've tried to do mental health issues for a long time. Never found the key. I think she did. This is like, and, and so that's my, that's my part of the sales pitch in this. AndMichael Jamin (36:20):It's so interesting cuz we don't even supervise. It's not, it's not that I'm opposed to it, but there's not a lot of money to supervise something. And you wind up doing a lot of the work. So,Danny Zuker (36:33):Well, I'm very careful with what I pick in the supervision. Mm-Hmm. . And I'm also very careful what my, you know, rate will be. So I, for me it was like, oh, okay. I, but, but, but it's like, no, but it's like I'll take, I, I, you know, somewhere along the way it's gonna be a gamble, but I wanna be with somebody who I know is gonna, and I'm very explicit about that. I always say like, if I'm going to wind up co-writing this, we are going to be back here to renegotiate because my deal is very specifically not for scripts. And OhMichael Jamin (37:00):Really? Okay.Danny Zuker (37:01):Yeah. And I'm, and I'm pretty clear with that, with my management and stuff like that. Because if I'm gonna do that, then I'm gonna take a piece of it. I normally, I don't, I I don't want to, I wanna help them do it and then I'll run it if it goes right. But I, but I'm just, when I was younger, I had a couple people, I had one person in in particular who's sort of supervising me, who took over something and I feel like Crash landed it before I was ready. And, and I'm so careful not to do that. I'm just there. So I, I really do wanna make it that person show.Michael Jamin (37:33):But the problem is cuz and I, I haven't, we haven't done this, I haven't experienced, but my fear is you'll turn it in the studio will not be happy with it, with their work, with their draft. And then you will have to do all that work. You will have to do all that regretting.Danny Zuker (37:51):Well, I'll have to do some work. Uhhuh . But I'm, I'm picking people I think who's have a pretty good sense of, right. I, I'm betting on certain people. I'm not betting on like somebody who is just like a comic. I'm betting on somebody who is at least writing or has some workMichael Jamin (38:09):To. And so those people, they don't come to you out of the, I should be clear, they probably don't come to you out of the, off the street. They come to you through channels, through agents, managers, stuff like that. Yeah.Danny Zuker (38:17):Or through, or through like pods. They, somebody we're developing this or we, we love this pitch. And that's sort of what happened with this, this animated oneMichael Jamin (38:24):Doing so. Right, right. Interesting. Now have you done a lot of animation? That's something I I didn't know you got the all thatDanny Zuker (38:30):Just this housebroken show. That's the first night I've ever done.Michael Jamin (38:34):It's been very all on Zoom.Danny Zuker (38:36):All on Zoom practically. Yeah. Yeah. All on Zoom. But it was a real blast. Now I kind, I didn't mind it.Michael Jamin (38:43):Right. Well you had to be in your house, get to relax too.Danny Zuker (38:46):It was kind of fu It was. Yeah. I mean, and also just having something like, you know, it was, again, we went into the pandemic, nothing was going on during that. I was just sort of sitting home riding pilots and, and doing stuff. And I was like, oh God, am I done again? Am I done? Then I got a call from mm-hmm. , you know, Gabby and Jen and that production company that if I was interested, I could come there. And it's like, I loved every, you know, I love those guys and it's all these a bunch of really great people over there. It's like basically the whole cast of Veep is isn't that thingMichael Jamin (39:14):? Oh yeah, I know. AndDanny Zuker (39:15):It's a, and and, and it was just like, it's just been a blast, so. Right.Michael Jamin (39:20):Wow. And so, and I also know, I, I noticed you've been, you've been performing a lot too.Danny Zuker (39:25):Yeah, I have. I started doing I started doing standup a little bit. I'm, I took a little break, but I've been going, yeah, I took like a 30 something years break from standup. But it's been fun. Cause like I have stuff to talk about and I don't care what happens. Cause I already have a career. Like there's no stakes in it at all.Michael Jamin (39:41):And you go, I mean, and so you go up, how often do you up?Danny Zuker (39:44):Well, when I was doing it more, I was going up a couple times a week and little clubs, little club shows. I was actually I shortly before the Pandemic was going through a divorce and but I was dating somebody who was a comic and so, and she did a lot of club shows and would put me on. And then we just recently broke up, so now I need another Ed doing club shows. What I wound going though, I wound up going to Edinburgh. A friend of mine who's a comic was doing a show at Edinburgh at French Fest. And I opened for him, like, for four shows. And it was really a blast.Michael Jamin (40:12):It's so interesting. We're talking about doing that. What, what was your experience there? I I would definitely talkDanny Zuker (40:17):About that. Loved it. Yeah. We have to talk. I'm actually thinking about putting something up there myself.Michael Jamin (40:22):Oh. And they gotta talk now. We definitelyDanny Zuker (40:23):Have to talk. Yeah. Yeah. We'll talk afterwards.Michael Jamin (40:26):Wow. Now I wanna, I wanna stop this conversation talk, but, and so, but do you wanna do more? It's so interesting. Like, do you wanna do more performing? BecauseDanny Zuker (40:36):I always like, I love to perform. I don't need to do it as a career. What I find is I just like the process of it. Right. I like the way it makes, like, I had this epiphany when I started getting up on stage, like right before the pandemic, a friend of mine was doing the DC improv and at this point I had like, and was gonna needed a, like a, a feature. And so I was like, she's like, do you have 15, 20 minutes? And at the time, I had five. And she's like, and I had a week to go. It's like, well, I'll figure it out. So I, you know, I, I, I, I, I, I, I, you know, just on all the way over, I get it. And I got there and I'd written some stuff and like, there was a joke I had in the act that I thought was, it's gold.(41:16):Like I, I just know the stroke is gonna work as an open. Yeah. And the first night it didn't really work that well. And I, I came back, my first night was a little rocky, but my fir there were two shows a night, two, I mean, so the first show first night was a little rocky, not terrible. It was not like I bombed it, not terrible. So, and but from second show, I started to figure stuff out and it got, got good, except that joke didn't work again. And I was like, well, I don't know, keep going. It'll work tomorrow. Third try still doesn't work. And with that and so forth, Joe, I abandoned it. But what it, what was interesting about it for me was this, I'll write a joke for a script and a table read and it won't go well. And I will be convinced. I don't, I didn't go out to table read, but it's a good joke, right. And it'll work and I'll fight for it. And sometimes it'll get on. And now I'm thinking it should be a very obvious realization to anybody who's not a complete narcissist. But to me it's like maybe, I don't know,Michael Jamin (42:11):. But the thing is, Danny, if I was, if I had to, but if I had to bet, if I had to say who could, what comedy writer do I know could go and put together a standup act in an evening li or you know, in a couple of hours who could write a fricking five or 10 minutes in a couple of hours and kill it would be you. Because it's just, it's just easy. If, you know, if one thing bomb, whatever you can, you'll pitch on it. You get the one that works.Danny Zuker (42:36):I, I, I feel like that's the case for me. And I also think like, you know, you know this, there's like the two kinds of comedy writers. There's the extroverted ones, and then there's the ones who are just like quiet, but like, you know, good on the page and like, you know, really, and, and you know, will pitch. They're assassins when they pitch, but they're not, like, they don't have that perfor, they're not frustrated performers. Right. And and I just, I just really enjoy it. I mean like, and again, I enjoy it wherever it is. Like I enjoy it in a club with 10 people or in a theater with like 200. It's like, for me it's like been, it's been really kind of, it's just about the process. Like I am no goal to, like, I, I'm not looking to get a Netflix hour. Like I don't, none, none of that appeal. None of that happens. I just like doing it. I find that the process of it works a different part of my brain and like my, you know, I, you know, like I said, like in like in the course of a couple years, my marriage ended, my job of 11 years ended and then the world ended and it was like, yeah. So I was like, grasp, you know, so it was like, it was a lifeline.Michael Jamin (43:37):Were you, did that, I mean, did that panic you at all? Did all that, that's a lot to hit at one timeDanny Zuker (43:43):By the ti? Well, no, because by the time the world ended, my, my marriage like was, that was going through nine months and I'd survived the worst of it in Annette and Ireland we're super close. We're like, we're best friends. It's like the best. And then the show ended did, which was a little bit trauma, you know, traumatic and it was going on. But having survived the uncertainty of a show ending and a marriage ending, by the time, like everything shut down, I felt like, I was like, oh, I've been living in chaos for a while. Come on in, I'll show you. You know, it's like, lemme show you around,Michael Jamin (44:11):Let me show you. And that was, and that's kind of what your act is now? I mean, or no,Danny Zuker (44:15):No, no. My, my most of my act. I mean, it depends. I mean, I do a lot of my act about like oh my God, how far have I fallen? Or I talk about, I talk, I talk a lot about, like, I talk about like when a joke doesn't work or something like that. It's like, oh, they, you know, thing doesn't work. The, the Academy of Television Motion pictures and scientists really liked it though. And like, I'll talk about like my, I, I'll, I'll, I'll be falsely humble about that. Right. And also it's, it's been interesting to, to discover, you know, when I go out to a lot of these club shows, I am considerably older than a lot of the comics who are there. But like in my head, it doesn't feel that way to me. But I can tell that that's how I perceive. And that's also been interesting to talk about just being older.Michael Jamin (44:58):Do you think, cuz so many of these comments wanna get into actually sitcom writing, and do you think they look at you and like you're the guy? Oh, there's,Danny Zuker (45:06):There are some who look to me who there you can, but you know, this can't you tell when someone's talking to you and wants an opportunity? Or is just like being cool? I I, I, I can usually tell.Michael Jamin (45:18):Well, but no, but I wonder if, I wonder if, not that they're like sucking up to you, but if they're just in awe of you because of everything you've written. You know,Danny Zuker (45:25):I think they're, I think there are some people, yeah. I mean, I'm sure that they would be impressed with that aspect of it. Uhhuh . I, I, I'm pretty good at putting people at ease though. Cause that makes me uncomfortable. If people start doing that. I mean, I know it's all coming from a good place. I just, right. I, I don't, I don't like it's too much pressure to be vaunted. It's like I will like, cause all I can think of when someone's looking up to me, it's like, I'm gonna so let you down. It's like you have no idea how disappointed you be, reallyMichael Jamin (45:53):See it. It's interesting cuz that whole reinventing, okay, so even in the comedy room, even, I remember, like you were, there were times you'd be on stage in the con there were 10 of us in the writer's room and you're on stage. And so it seems like you are a perfor. You really are a performer, but this is you, this is like a big deal. Reinventing yourself, especially at this age. It's kind of, it's very intimidating, I think, or no for not for you.Danny Zuker (46:16):No, no. I love it. It's, it's, I I am so much more afraid of stagnation and things like that. Uhhuh . And it's, you know, and it, it's, it's interesting because, you know, especially as you get older and in comedy writing, you know, my full career, they were like, you hear like a certain subset of writers as they got into forties talking about ageism, which I'm not saying doesn't exist. Of course it exists. Mm-Hmm. . But what's interesting is some of the voices that were complaining and the loudest about ageism I would see on the show. And then we'd be pitching some, they'd be pitching something and then somebody like younger might say, yeah, that feels like a little famil, you know, familiar. It'd say, Hey, it worked on this, you know, and then they would disregard. It's like, this is what worked on, you know, growing pains.(46:57):It's gonna work here. Right. And I, I really clocked that. And so for me, part of doing standup and hearing, like I say very, like, I'm interested in comedy as an exploration date. And I think writers don't understand that. It's like a lot of people, comedy people don't understand it. It's like, yes, this was really funny and you could be upset that you can't say this word or this word anymore, but you rolled your eyes at the generation that came before you too. Right. Like, remember that. And you have to like, it is constantly changing. You must, the big experiences I've had is like, I can't wait to show my kids when they would get older when starting to get older. This is classic comedy. And to watch when you watch it again for the, there's certain things that hold up, but a lot of it doesn't hold up that well.Michael Jamin (47:41):Yeah. Right. If someone said like, okay, they wanna put you on tour and you tore the whatever, like a, like a, like a road comic, would you do it?Danny Zuker (47:50):I mean, if I, I might, I mean now in the, it's different. I, if you asked me this before, the age of Zoom, Uhhuh , I'd probably say no. Now if I, if I got to that point where, you know, I would wanna be good enough, like I have many opportunities to cut the line given to like, you know, my status. I know people who, like, if I wanted to, I could suck up to somebody in a much bigger club and say, Hey, gimme a couple spots here in a way that younger comics wouldn't. Right. But I, I, I desperately don't want to do that because I wanna be good enough to get that spot, you know, I'll work it out there and when I get there, you know, so, yeah. I don't know. I have a weird ethos about the whole thing. It's probably just the way of me procrastinating doing more, butMichael Jamin (48:34):, that's interest. It's so interesting. I, anyway, I I know you, we actually, you do have a, you have a little of a time limit, but I wanna, and I wanna talk more off camera, but I want to, is there, yeah. Is there, is there anything I can pro plug or send people send if they wanna know more about what you're doing?Danny Zuker (48:51):Yes. I'm on all social media @DannyZucker, Z U K E R and, and yeah. What else? I got nothing to promote right now. I, I don't know, I don't have any dates till after the new year, so I don't know what those are gonna be. We're able to performing, but but yeah, that's it.Michael Jamin (49:07):But follow there to know when your next pilot gets picked up or whatever. , when your next show. Yeah.Danny Zuker (49:12):Thank you for saying when,Michael Jamin (49:13):When, when. All right everyone, thank you so much, Danny. I can't thank you so much. I'm so happy that you did this. This is oh,Danny Zuker (49:20):I'm so fun. Respond to you, man. You've always, you've, and also you've always been one of my favorites, so dude, like I a handful full of people in there that IMichael Jamin (49:27):Dude, you're kind. So that's it everyone. Thank you so much. Yeah, continue. What am I gonna say at the end of the podcast? Well, if you wanna get on a free newsletter, go sign it for that. I send it out once a week at michaeljamin.com/watchlist. And and that's it. Continue following you know, on Instagram and TikTok @MichaelJaminWriter. Okay. Thank you so much, Danny. Thank you again. AllDanny Zuker (49:48):Right, you're welcome.Phil Hudson (49:51):This has been an episode of Screenwriters. Need to Hear This with Michael Jamin. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep riding.

Peoria native Liv Warfield takes cues from musical influences like Nina Simone, Etta James, Mavis Staples, Sade, Tina Turner and Mary J. Blige, but has carved out a style all her own, which can best be described as “alternative soul with a lil bit of Rock ‘n' Roll.” In 2006, she self-released her debut album Embrace Me. By 2009, she caught the eye of music icon Prince and ultimately joined his group the New Power Generation. After touring for several years and soaking up as much knowledge as she could from the ultimate music mentor, Warfield made her big splash on the national scene as a featured artist for VH1's You Oughta Know campaign, and then with the release of her major label debut album The Unexpected, which was executive produced by Prince. What followed were show-stopping performances on The Tonight Show Starring Jimmy Fallon, The Late Show with David Letterman and The Arsenio Hall Show; a 2014 Soul Train Music Award and nominations for two others; a BET Best New Artist Award nomination; an interview with National Public Radio; and high-profile cosigns from Lionel Richie, Cyndi Lauper, and Nancy Wilson of Heart. That same year, Warfield's performance closing out Essence Fest was hailed as one of the most memorable after shows at the New Orleans House of Blues. In 2015, Warfield and the NPG Hornz were named one of the top 10 bands to see at the Montreux Jazz Festival in Switzerland. In 2017, Warfield collaborated with another one of her childhood influences, Nancy Wilson, to create the band Roadcase Royale. Their lead single “Get Loud” was featured prominently in the 2017 Women's March and they released their debut album First Things First later that year. If that weren't enough, their remake of Heart's These Dreams was featured in the film Molly's Game. Warfield recently recorded music for the Oscar-nominated HBO documentary Da Bronx. Her third album Olivia is coming in 2023. 

While Pam continues globe-trotting, we are joined by guest co-hosts Megan McCafferty and Kim Reed for a discussion of the fashion (etc.) of the October 1989 issue! We're painting our feet, squinting at boots, sewing crap to the bottom of our blazers...okay, we're only doing some of that -- but we're talking about all of it. Prepare yourself for a deep dive on the "Welcome To Bedrock" fashion story, which instantly finds itself in the top 5 weirdest in the magazine's young life. Plus! Ads, letters, desks, the '20s, and so much more!QUICK LINKS

In the DEBUT EPISODE of The Snake Pit with Jake Roberts, the Hall of Famer himself Jake "The Snake" Roberts and Marcus DeAngelo look back to 1991 to watch his match from This Tuesday in Texas, the first singles match between Roberts and Savage following the infamous cobra attack! Jake discusses his relationship with Randy, thoughts on Flair's arrival in WWF, appearing on The Arsenio Hall Show, and much more! ATHLETIC GREENS - Right now, it's time to reclaim your health and arm your immune system with convenient, daily nutrition! It's just one scoop in a cup of water every day. That's it! No need for a million different pills and supplements to look out for your health. To make it easy, Athletic Greens is going to give you a FREE 1x year supply of immune-support Vitamin D AND 5 FREE travel packs with your first purchase. All you have to do is visit http://athleticgreens.com/DDPSNAKE to take ownership over your health and pick up the ultimate daily nutritional insurance! NORDVPN - Grab your EXCLUSIVE NordVPN Deal by going to http://nordvpn.com/DDPSNAKE to get a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk-free with Nord's 30-day money-back guarantee! SAVE WITH CONRAD - If you have credit card debt or in a 30 year loan? Well, we can help you get out of that pinch and save money at the same time! Head over to http://SaveWithConrad.com for a quick quote. Did you know you could be enjoying The Snake Pit with Jake Roberts early on http://ADFreeShows.com? ADFreeShows.com is a SUPER Patreon page that brings all Conrad's podcasts under one roof, early and AD FREE! Not only do subscribers get the regular shows, they also have access to BONUS content you won't see or hear anywhere else! Join ADFreeShows.com for as low as $9 a month or choose a higher tier for more access to your favorite podcasts! Follow The Snake Pit with Jake Roberts at @snakepitpod on all social media platforms, follow Jake on Twitter at @JakeSnakeDDT, and follow his co-host Marcus DeAngelo on Twitter at @MarcusPDeAngelo Learn more about your ad choices. Visit megaphone.fm/adchoices

In the DEBUT EPISODE of The Snake Pit with Jake Roberts, the Hall of Famer himself Jake "The Snake" Roberts and Marcus DeAngelo look back to 1991 to watch his match from This Tuesday in Texas, the first singles match between Roberts and Savage following the infamous cobra attack! Jake discusses his relationship with Randy, thoughts on Flair's arrival in WWF, appearing on The Arsenio Hall Show, and much more! ATHLETIC GREENS - Right now, it's time to reclaim your health and arm your immune system with convenient, daily nutrition! It's just one scoop in a cup of water every day. That's it! No need for a million different pills and supplements to look out for your health. To make it easy, Athletic Greens is going to give you a FREE 1x year supply of immune-support Vitamin D AND 5 FREE travel packs with your first purchase. All you have to do is visit http://athleticgreens.com/DDPSNAKE to take ownership over your health and pick up the ultimate daily nutritional insurance! NORDVPN - Grab your EXCLUSIVE NordVPN Deal by going to http://nordvpn.com/DDPSNAKE to get a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk-free with Nord's 30-day money-back guarantee! SAVE WITH CONRAD - If you have credit card debt or in a 30 year loan? Well, we can help you get out of that pinch and save money at the same time! Head over to http://SaveWithConrad.com for a quick quote. Did you know you could be enjoying The Snake Pit with Jake Roberts early on http://ADFreeShows.com? ADFreeShows.com is a SUPER Patreon page that brings all Conrad's podcasts under one roof, early and AD FREE! Not only do subscribers get the regular shows, they also have access to BONUS content you won't see or hear anywhere else! Join ADFreeShows.com for as low as $9 a month or choose a higher tier for more access to your favorite podcasts! Follow The Snake Pit with Jake Roberts at @snakepitpod on all social media platforms, follow Jake on Twitter at @JakeSnakeDDT, and follow his co-host Marcus DeAngelo on Twitter at @MarcusPDeAngelo Learn more about your ad choices. Visit megaphone.fm/adchoices

Ned Arnel "Carlos" Mencía (born October 22, 1967) is a Honduran-American comedian, writer, and actor. His style of comedy is often political and involves issues of race relations, Latin American culture, criminal justice, and social class. He is best known as the host of the Comedy Central show Mind of Mencia. Mencia performed at venerated LA stand-up venues such as The Comedy Store and The L.A. Cabaret. His success in these venues led to appearances on The Arsenio Hall Show and Buscando Estrellas, where he attained the title "International Comedy Grand Champion." Then, in 1994, Mencia was chosen to host HBO's Latin comedy showcase Loco Slam. He has performed with people like Chappelle, and George Lopez and has been mentioned as top three funniest comedians. He firmly believes that if you are not laughing, you are not living!   In this episode, Brad and Carlos break down the TRUTH about comedy and Carlos' journey in his career and what he is now overcoming.   00:00 Intro 01:40 The internet trying to cancel Carlos 03:49 Bomb: Hard work is not all you need to climb out of the “rat race” 06:30 The sense of humility taught  08:32 The road to comedy 11:50 The Comedy Store 14:40 What got him big 18:00 The internet attacks 23:00 The unfolding 30:00 Gag Gifts 34:18 Where the focus is 40:06 Comedy etiquette 47:00 Accused of stealing jokes 51:52 Bomb: The positive 57:00 Eddie Murphy 01:04:00 The reverse engineer 01:10:50 Bomb: The other side of pain 01:11:20 Bomb: “No matter how bad it is just keep on living.” - Carlos Mencia 01:12:55 Joe Rogan 01:19:45 Brad's highschool reunion  01:26:00 Unification of Latinos 01:37:55 French 01:42:37 Follow Carlos @carlosmencia everywhere and look into his show at The South Point 01:46:55 Listen up #Bombsquad!  

TikTok has reshaped the Internet in under a three-year span, but if its parent company, ByteDance, has its way, the platform's dominance is just getting started. This week I brought Stan founder Denisha Kuhlor back onto the show to discuss TikTok's ambitious plans for total media domination.In the past few months, TikTok has announced plans for several new features — each aimed at competing with current media giants such as Google, Spotify, and Ticketmaster. Features include extending video-length capacity to 10 minutes, the TikTok Music streaming service, better internal search capabilities, and a ticketing platform, among many others.Recent history in Western culture is not kind to companies trying to be an all-in-one platform. Google and Facebook stumbles come to mind. To predict how TikTok might fare, Denisha and I hit the new features point-by-point, weighing TikTok's advantages and disadvantages at breaking into each. Here's our main talking points: [0:50] TikTok's masterplan[7:02] Prediction: 10-minute-long TikTok videos[11:50] Prediction: TikTok music streaming service[15:43] Prediction: Enhanced TikTok search[22:00] Prediction: SoundOn music distribution[25:42] Prediction: In-app ticketing [29:46] Are consumers creator or platform loyal?[33:18] TikTok's impact on creator economy [37:22] TikTok's geopolitical issuesListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Denisha Kuhlor, @denishakuhlor  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Denisha Kuhlor: It has become this trend where we have more affinity to the platform and the platform's ability to curate the content than some of these content creators themselves. And in a world where I think these content creators are so driven to following the algorithm and getting promoted by the algorithm, what they don't realize is kind of the uniformity in content that is created.  [00:00:30] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:50] Dan Runcie: All right. We're joined again today by Denisha Kuhlor, who is the founder and CEO of Stan. And today we're going to talk all about TikTok. And TikTok has been a topic I know you and I have talked about offline, we've both covered it and have our opinions on it, but I want to talk today about talk's grand plan to try to take over everything. Just to name a few headlines from the past couple of months, TikTok is planning to extend into 10-minute long videos. It is launching its own music distribution service called SoundOn. It filed a trademark for its own streaming service called TikTok Music. They are enhancing their search function to identify key terms. They're also adding in a text-to-image option as well so that people can start to do that. And it sounds like a lot, the company has grown quite a bit, so it's understandable. But do we think that TikTok is going to be able to do all of these things? What's your thought? [00:01:47] Denisha Kuhlor: Yeah. So TikTok's been really interesting to watch these last few months and honestly, really from inception, my initial hunch is that it's hard to do a lot of things well. And as TikTok grows and somewhat through replication and also a bit through innovation, I do think they're going to struggle to really get to scale for all the new features that they want to launch. [00:02:11] Dan Runcie: Yeah. I think the tough thing with this, and it's something that has been ingrained with big tech companies for a while is when the big social network grows and they have this huge following. TikTok now is the fastest to reach 1 billion monthly active users. We can see the trajectory of it potentially getting to be as big as Facebook is now. And Facebook, of course, is another company that has tried and is still trying to do every possible thing under the sun. But I think the part that's important is there are a few examples when these companies have succeeded. Instagram copying Snapchat is of course the primary example that people often look back to, but more often than not, most of these attempts don't actually work that well. And one of the reasons they don't work as well is because they don't necessarily solve a true need that the core users are looking for to be solved from that app. And I think that's one of the important things about Instagram Story specifically because Instagram Stories copy Snapchat worked because Instagram already had a hub of influencers as its core users. And these core users wanted to be able to both post pictures, but they also didn't want to feel the pressure of needing to have this polished picture that was on their feed all of the time. So their thought was, okay, if they could copy this feed that they see Snapchat's doing, they already had the core users there and having something that's more ephemeral. It can go away in 24 hours was perfect. It worked as good as you could probably expect it to. And honestly, it worked better than Snapchat because Instagram already had the home base of those core users whereas Snapchat, at the time, they had a bit of penetration from Gen Z, a bit of DJ Khaled here and there, but it just wasn't to that same level. And I think when you look at a lot of the other attempts that Facebook has tried to copy from others and even Instagram as well with seeing with Reels, that's the piece that I go back to. If these successes and these copycat attempts haven't worked, it's usually because there's some type of disconnect between what the core users on that app are looking for and whether or not that new feature helps them do that.[00:04:23] Denisha Kuhlor: Totally. And I think it creates a culture even internally for these organizations of duplication versus innovation, right? So now you see these organizations going and seeking the desire to duplicate and get to market as quickly as possible, whereas before they had no choice but to be innovative. And to do that, I think they really had to listen to their users and the folks on the app. So it also just even changes, in a way, the culture of what the app is about because now folks are so used to see or expecting to see things that have already been done before, rather than excitement towards really where the platform could take things. [00:05:01] Dan Runcie: Yeah, it's interesting because, on one hand, I do understand the aspect of copying what's already successful. You see it's there and you know that you have those users on your platform already. So why not make an attempt, why not use your resources, especially because of how much money these companies print on ads, then, yeah, you could take the chance with Google having its Google X or Facebook opening up its own VC firm or in many ways, treating all these new initiatives as its own VC firm. But to your point, you do lose the innovation and that's exactly why these apps became relevant in the first place. They offered something newer. They did it in a truly unique way. And when you think about why TikTok has blown up, the genius of it is that For You page. They made it so frictionless to be able to stay entertained, to scroll. You don't have to think about who to follow. You don't need to do any of those things. And that is its biggest strength, but I think it also makes it very challenging to have any type of new feature that is harder or requires more user- input or more activity than the mindless scrolling that has worked in its favor up to this point.[00:06:11] Denisha Kuhlor: Yeah, I completely agree. I feel like the For You page really was the magic and to, in some ways, see them stray away from that, or even improving that in other ways does feel a little unfortunate. Some of the features that you listed, while exciting, I think are just not necessary in the sense that so many other folks are out there doing it. But it will be interesting to see how it fits within maybe the grand scheme or the grand vision for TikTok users and creators. I mean, when it comes down to maybe offering a more seamless experience, then it gets a little bit more interesting. But how big of a problem is that right now for creators, especially when you think about, like, some of the plays towards distribution and features around that? The problems don't seem prevalent enough to justify the investment. But maybe there's a grand vision within all of that, in which it makes more sense. [00:07:02] Dan Runcie: So let's break those down. Let's go through each of 'em. Let's start first with TikTok extending into 10-minute videos. I do feel like this is probably the least friction out of each of them, but what's your thought on this expansion and clearly a move to compete more directly with YouTube? [00:07:18] Denisha Kuhlor: Yeah, I think this one is interesting because it really, in some ways, is probably the least painful in the sense that if content is compelling enough, you could argue that an individual is just going to keep watching, if the initial, you know, piece of content is compelling enough. What actually is, like, somewhat fascinating to me is that in some ways you could argue that TikTok took away or has hindered people's ability to focus for that long of time. So going to like the corollary of now having 10-minute videos, I do think will be interesting 'cause it's like a different habit, right? Even just focusing on something for 10 minutes versus like 6 seconds is a very different habit. So to see how or to see what type of users actually adapt to that, I think it will be interesting. I do think though there'll probably be some niche communities that emerge as a result of that feature who do want to take deep dives much to content, right? There's folks that like read casually about the music industry and then folks that like really, I think, deep dive, much as a testament to Trapital's content. And so I do think, like, some interesting, like, subsections of the feature will rise. However, I think the bulk of the users aren't even, like, able to watch a video for that long.[00:08:33] Dan Runcie: I think that if it is extending the videos into that length, I agree with you. This is the least friction one. I think it does have the highest likelihood of success. But if I'm thinking about music videos specifically or something that ends up being at least that length, it changes the format to look like what the videos for the most successful YouTubers often look like and the science that goes behind that. I'm picturing what NBA YoungBoy does in the beginning of his videos or even someone like MrBeast. There's some hook there that gives you some tease and that keeps you engaged, just to make sure that you end up watching the whole thing to see what it is. So I feel like if artists start creating music videos or start creating videos in general to be more like 10 minutes. And I think the format of how those videos look will be a lot different and everything will be how do we keep people engaged so that, okay, if we keep them for the first 15 seconds, how do you get them for the next 15 seconds and after that. Like, you can't have these long buildups that I think you can have for certain types of videos on YouTube, just give the audience. But I think it will change things in that format. No different than when MTV blew up, there was a type of video vibe that people tried to go after. I think that if this is the route that TikTok is really trying to go. I think we may see videos lead more into that where, yeah, everyone does start creating videos where you may look like you're trying to be a YouTuber. You're trying to be a TikTok dancer, whatever it is. But I feel like that's where it could head if it's as successful as it could be. [00:10:04] Denisha Kuhlor: Yeah, that's actually really interesting in the sense that a lot of folks, like, point to their desire to use TikTok because it does feel like less polished, in a way more authentic. I was listening to a podcast where a TikToker says she makes more content on TikTok because she has to like, yeah, just be less prepared in a way or prepare herself to get on TikTok in the way you would for on Instagram. So I think if that does happen, it'll probably have an effect they don't want, which is a longer timeline to people creating and posting content. And like, just a harder barrier to entry because now folks will feel like, well, I don't have all the things needed to start a TikTok or to really start posting on TikTok, which is really against, I think what the platform did in its early days. [00:10:50] Dan Runcie: Right. Yeah, you're right. That whole instant, making it easy as possible is part of it. It almost brings me back to Vine to an extent. Maybe that's a better comparison for what this looks like 'cause of course someone like a MrBeast or NBA YoungBoy, they have big teams at this point. But some would be able to take a Vine and having this whole narrative story in that 6-second, 7-second clip, maybe it's getting a bit back to that. But even that takes time and there's clearly a difference between that. And, you know, while Vine was popular, it didn't blow up the way that TikTok has blown up. So I feel like you're right. It may change the app in a way that users aren't ready for. But we'll see. I obviously know that this is kind of what happens when you're trying to do everything. You're going to risk having some type of frustration that comes from the core users. [00:11:37] Denisha Kuhlor: Exactly. Much to your point, I do think there will be a really active, like, community or communities around that in which like 10 minutes of content works really well and TikTok is just like an easy medium to do that [00:11:50] Dan Runcie: For sure. All right. The second one here, this one I will be interested to dive into. TikTok Music and TikTok filing this trademark. It clearly wants to launch its own music streaming service. We had heard rumors about ByteDance, TikTok's parent company, wanting to do this, but how do you see this one playing out?[00:12:09] Denisha Kuhlor: Yeah, this one, I just kind of felt like, okay, like another music streaming service You know, one, I don't think people realize or really think through just like how complex streaming services are as a business. I mean, thankfully, you know, a lot of platforms have kind of, pioneered some of the heavy lifting that came with making deals with labels and really like getting the content onto the platform. But that's all still to be said that it's a very unique and complex business model that's driven on another party, right? And how another party feels about giving you access to your content? What does seem somewhat interesting about it is, in the same way that TikTok democratizes content creation and the barrier to entry to post, you could probably argue that it in a way, democratizes that for music, and so more artists are able to get more volume or traction as a result. And so I do think if they focus on maybe content from newer creators or newer musicians who don't necessarily have some of that on the platform, that could be interesting, like in terms of a new streaming platform being able to get access to these independent artists at rates that could be favorable. I think that's interesting, but I don't know if that works at scale. And frankly, like, songs from independent artists, I don't think, is enough to keep a consumer satiated. And there's an even harder barrier to entry to have two streaming platforms at once. [00:13:35] Dan Runcie: Yeah, this is the one I'm probably the most skeptical of its success and for very similar reasons. Say what you want about Spotify. I know people have a number of issues about how that platform is operated and how it distributes its money. But the fact that it's helped the music industry, A, get to this point, says something and just the type of deals it's been able to negotiate to make it all work the way that it has that's enabled all the other types of revenue-generating opportunities that have came from it. And then additionally, it's hard to get to that point. Again, you may not agree with all the decisions that they make, but it is very hard to get to that point. And while I understand, from a strategic perspective, why TikTok may initially want to do this. Of course, if you have and you own the top of funnel that exists in the industry today, why wouldn't you want to at least think about what it could be like to keep that attention on your platform? If your platform is where discovery is happening for both the new fans, for artists to get initial exposure, and for that, you know, the record labels are already seeing, I understand why you would want to think about keeping more of that in-house. But it is a lot tougher than they think for the reasons you mentioned. And also going back to the usability of the app streaming services are a type of consumer experience that requires much more active engagement. People don't just scroll through Spotify and Apple Music. You're going there actively to find something that you're looking for. I mean, I don't even know that many people that are actively relying on that discover weekly playlists to find anything. You're still searching for the things that you want. Even if you're looking for a playlist, it's probably that's much more catered toward the mood or genre that you have. So I think anything that requires that level of agency or action from the consumer side will always be a bit of a challenge for TikTok there. So yeah, I'm skeptical on the success of that one. Unless it tries to go more of the YouTube route of things, which ties back into the 10-minute video things that we talked about before. There's some potential there, but even there, I think there's still some question marks.[00:15:41] Denisha Kuhlor: Yeah. I'm aligned with you there. [00:15:43] Dan Runcie: Yeah. The next one is TikTok Search. A lot of us had seen the viral tweet that someone had. I don't Google I TikTok. And a lot of that spoke to how a lot of folks in Gen Z are looking for information and I get it, I've even done it myself, my wife and I were recently searching to buy a new mattress. And you know what? I didn't want to go through a Google Search and just read some sponsored content about a mattress. I wanted to see a video of someone unboxing this thing to see what it looks like. [00:16:10] Denisha Kuhlor: Exactly. [00:16:10] Dan Runcie: And TikTok was the quickest place to do that, even quicker than YouTube. YouTube's going to show me a mix of explainer videos and then also concept from the company. I just wanted to see some random person be like, oh, hey, here's what I think about this bed. And here's what I think about that bed. It was quick, it was easy. So I do think that that works, but I think there's a few caution flags with it. A, I still think that even though TikTok was able to offer that, there's still deeper search functionality that went into how Google got to be as good as it is, even going back thinking about 20 years ago about like why Google succeeded where Lycos and AltaVista and all those other go.com, .com era search engines didn't work. So I don't know if TikTok has all of that baked in to really go beyond just, you know, people like me looking for random purchases that they want to look through here or there or just want to look up a certain topic. And I also think the other bigger, more important pieces, the misinformation, and just being able to correct for that because that's already been an issue on TikTok. And I think that could potentially continue if there isn't some way to relegate what's happening in search. So, high likelihood success, but still some trepidation. [00:17:23] Denisha Kuhlor: Yeah, this one is one I'm actually a little bit more excited about. I do think it's really interesting, like in the sense of search, because it is something that we naturally do more. I first started to search on social media using Instagram. And I think they've even done a greater job of like adding more functionality to do that search, whether it's by location and showing you things surrounding that location or even venues or event spaces. So I think that it's a growing feature and a great feature. Like you said, the reviews, whether people sought them to be that way or just inherently more, right, they're showing you video. Most times they're talking through it and you can just consume and walk away with a more educated viewpoint for a time that's favorable, right? A 30-second or 1-minute video can really give you a lot of feedback about whatever you're searching. I think, honestly, this is where a TikTok should spend some time doubling down. I think we want to see more of that functionality from them playing around with maybe the highest use cases, whether that's locations or certain venues, or even like festivals. As I think about it, like, I see so often on TikTok, like you can see a certain event from multiple vantage points and understanding what it's like at a festival from someone in VIP versus general admission versus backstage, even, right? Like, Rolling Loud, you see, like, every single vantage point, even sometimes down to the artist manager with them. So I think, like, them doubling down on a few use cases that really highlight the immersiveness of search is something that excites me. And I think just naturally follows up on what the users are already doing on the platform. [00:19:02] Dan Runcie: That ties into the another announcement I saw from them about enhancing its ability to search for things locally, or being able to find things from that level because to your point if you are seeing multiple vantage points at Rolling Loud or at Coachella, you may want to meet up with someone that is there, or you might be able to see their vantage point. You might have times I've been to a music festival and it's like, where are you? I'm at the main stage. But what part of the main stage, you know, they got this quarter over here, they got that quarter, but if someone could just do a quick, like, boom. And maybe that could be even easier than them trying to send me a FaceTime video or something like that, where there's no service, but if they could at least post it up on TikTok or wherever, then it could be like, okay, I see your angle. I'll be there. I'll come see you in a minute.[00:19:44] Denisha Kuhlor: Yeah, I think that's great. And to that point, too, it kind of like puts on other users in terms of like, okay, wow, I didn't enjoy my experience at like Rolling Loud 'cause I was GA. So maybe VIP is worth it to me or I should consider doing that. And so I actually think more artists should be embracing and recognizing that search feature. The only thing is too is because so many people are using it, you in real-time, right, seem to get updates. So like, Kizz Daniel who's come under fire in Tanzania for not showing up to his performance. I already, like in my mind was like, well, Kizz Daniel was four hours late to his DC show. And how did I know that? Or DC or New York? I'm sorry, but how did I know that? Like, because I saw it on TikTok and so that's like twice in a row. So how likely am I as a fan to justify the cost of a ticket in the event that he is going to be near me? So I think it's like a good maybe transparency or accountability measure. But with that search, we maybe do sometimes need to recognize like, what do they say that like, people are most likely to post or leave reviews when they either have a really great experience or a really bad experience. And so sometimes you might not just get what the true experience is in the case of like a service-based search. [00:21:02] Dan Runcie: That's true. That's a really good point. And that goes back to the quality of the results and how they can find a way to measure that piece 'cause I think that's the piece that ties back into why Google has been good at what it does over its competitors. So that TikToks can actually survive and not, you know, become someone else that may do video search even better. [00:21:23] Denisha Kuhlor: Yeah. And maybe, you know, to the extent they would consider this, like, there's an opportunity for collaboration, right? Like Google's done a great job of, you know, when you ask certain questions, they have a definitive answer, but they also pull like multiple sources. And so what if, like, on a Google search, you search a restaurant and you're also seeing like TikToks in the area? I think the aggregation of that repository of information could be really great. And also a way for them to continue to like maintain their dominance in search. [00:21:55] Dan Runcie: Let's take a quick break to hear a word from this week's sponsor. [00:22:00] Dan Runcie: Definitely. So the next one, this one's interesting, music distribution. TikTok recently launched SoundOn, which is a service that in many ways is set to compete with a lot of the music distributors. And I think similarly, it could be seen as its opportunity to capture its top of funnel attention as well. You already have the artists, why not make it easier for artists to use your platform, to distribute the music that they have? What are your thoughts on this one? [00:22:31] Denisha Kuhlor: Yeah, and this isn't personal, but I'm just not really excited by music distribution. Nowadays, like in a lot of ways we're listening to a song on a streaming platform is a commodity, right? Like listening to Drake on Apple Music sounds the same as, like, Spotify. I feel that way with music distribution, like, as a consumer, the consumers have no idea, right? They just know they go to their streaming platform and the song is there. The reverse engineering of how it got there and the back end is really not of much interest to them. On the artist side or for them to do this, I think it requires a really deeper investment in artist education. And so I'm curious to see, you know, especially as they double down on creator programs and things of that nature how willing they are to invest both on a content and community side, but also a capital side, in artist education to incentivize users to distribute through that platform. When you think about switching costs in terms of getting set up on a new platform and just probably some of the like new things you have to adjust to by doing it. I feel very underwhelmed hearing about this, and I'm really curious to see how it goes. [00:23:39] Dan Runcie: I think you called it right in the beginning. Music distribution is a tough business. It is purely a commodity at this point. And I think you can win a few ways. You win by trying to achieve massive scale with it, which Distrokid clearly has just given everything else. But if you don't have that scale, you try to find something unique to position yourself with. I think we've seen that a bit with United Masters, but even that's a bit of a unique business model because, A, they've done a bunch of partnerships with different platforms and companies in sports and entertainment to try to use that as a way both to attract artists and give them an opportunity. But it's also attached to an ad agency with translation, which essentially can, you know, offset any costs or anything like that if there are already losses that come through with the business. So that part of it is unique there. But then even with some of the other services, I think a lot of them have adapted their business models over time because that customer service piece is so timely. It's so expensive. And yeah, when you have an artist that maybe generated less than $20,000 a year, and they're calling your service every other week because they're trying to feed their supporters and making sure that every one of their fans can get their music. How do you justify that cost when you want to be able to support the fans? But the economics of it don't make sense if you're also trying to compete with Distrokid where it costs very little money to be able to use their service on a regular basis. And the same could be said about TuneCore and the others. So it's a tough business to enter. [00:25:16] Denisha Kuhlor: And I think, you know, artists and management teams don't really have any particular affiliation to, you know, to like any platform. Maybe there are things that they like about certain platforms or that keep them there. But when you talk to artists and management teams, it's kind of just this is what we use, it works, it gets the job done. And it's not an area of the business as long as things are working, they're going to particularly spend a lot of time overly evaluating. [00:25:42] Dan Runcie: Right. The next piece of this and the next thing that TikTok's been trying to do is ticketing. And while this is less of a big initiative the way they have it right now, it's an integration with a Ticketmaster who, of course, owns most of the medium size to large venues from a ticketing operation, given their relationship with Live Nation. I have to imagine that TikTok's ultimate stream would actually be trying to do what we just saw from Spotify to try to launch its own ticketing service. But even that has plenty of issues and challenges there, but what's your take on at least this first step of the Ticketmaster integration for TikTok and where it could go from here?[00:26:23] Denisha Kuhlor: Yeah. On the ticketing side, it's interesting. And just like having a background in venture and tech and startups, like, I've seen a lot of folks try to solve ticketing in many areas, right? The curation that comes with ticketing, ticketing from all over the world and in different currencies, and just a better user experience overall. I will say while I don't think I'm, like, particularly mad at TikTok's, like, foray into ticketing, I do think it's a missed opportunity to probably focus on like events that have organically grown through the platform. And something that's like so interesting is I think you've seen more and more promoters or even event producers, like really like leverage TikTok to create those events and grow their followings in their community. And that's not what TikTok's ticketing platform is really targeted with as evidenced by, you know, a partnership with Ticketmaster. And so while I feel like it's somewhere in the direction, I do think it could be a bit more directionally accurate by focusing on, kind of the, yeah, the smaller organic events that just naturally have grown through TikTok and like TikTok partnering with those events to help users produce more content and like, it can truly be mutually beneficial in a way that I think some of those event organizers would welcome. And so while I could understand why they went for the validity and reputation that comes with a bigger brand, such as Ticketmaster, I think they could have got more bang for their buck with a smaller, more targeted partnership with folks that already found interesting use cases to grow ticketing for the respective events.[00:27:54] Dan Runcie: Yeah. I feel like there's a bit of a balance there because I hear you and I do think that it ideally would be, yeah, great for them to double down on the creative uses of the, especially some of the more emerging artists that are using this platform to bring folks together, right? Almost similar to what you may see people trying to do, whether it's seeing things virtually in Twitch or bringing those types of audiences in real life to particular things. I think that's really cool and unique. I do feel that for TikTok though, specifically with what we're seeing them do on the music side, in the back of my mind I always wonder, okay, if it weren't for Doja Cat and Megan Thee Stallion and some of these other major artists that are using the platform, what percentage of their impact is making up the overall pie of TikTok Music? Just thinking about that, they had that pie chart from a few years back about the genres and how hip-hop was over-indexed and how Megan Thee Stallion was the most popular artist. So if you're trying to cater to the biggest artist on your platform, you know, Megan Thee Stallion and Doja Cat are definitely at the Ticketmaster level of what they're doing. So if they are going to have an event, could you have something that keeps them in, right, because I think that the more organic things that we've seen likely are more of a direct competition to what we see from Eventbrite, let's say, which I think is much more in that sweet spot of everything from like a birthday party up until you get to like, you know, a small club concert or event, right? But then obviously Ticketmaster is everything else. So yeah, it's like, my heart wants to be like, oh yeah, stay with the types of cool events you've had. But also just thinking about how YouTube leaned into its biggest customers and like, if you're TikTok then yeah, it's the Megs, it's the Dojas, and ones like that. [00:29:38] Denisha Kuhlor: That is interesting and I think a good corollary. Maybe it does, like, trickle down on more of like a hybrid approach. Yeah, that's interesting. [00:29:46] Dan Runcie: I do think this taps back into something that you had mentioned before just about the platform itself and as this platform continues to grow, where does the loyalty sit for the consumer, right, whether it's with the artist or with the platform. [00:30:03] Denisha Kuhlor: Yeah. I think this is such a big thing, right, and that comes with building a fan base or even just like your notoriety on TikTok. You see the changes that were made to Instagram and kind of everybody from the Kardashians, right, calling them out. And I think it has become this trend where we have more affinity to the platform and the platform's ability to curate the content than some of these content creators themselves. And in a world where I think these content creators are so driven to following the algorithm and getting promoted by the algorithm, what they don't realize is kind of the uniformity in content that is created. Even when it comes down to, like, some of the events or experiences or those types of videos, sometimes, like if you've seen one, you've seen them all. And I think that's why there's other creators, whether it's, like, more comedian-focused or other topics that really excel because it forces them to kind of have to do something different, even if they do have to be relatable. And so unfortunately I think that, you know, artists who are employing TikTok and kind of using this, especially as they build their name and their brand, need to think a lot about like, okay, I have X amount of followers on TikTok, but the barrier to entry to get someone to follow you on TikTok looks very different compared to other platforms. And then taking that a step further, it's like, what does that mean? Because while people might like you, how willing are they to migrate to another platform? They ultimately have that ultimate affinity and loyalty, in my opinion, to TikTok. [00:31:38] Dan Runcie: I couldn't agree more, and it makes me think about how I use these apps today. For instance, we're recording this now August 26th, and this is a few hours after DJ Khaled released his album and Jay-Z had his four-minute-long verse on GOD DID. And I've seen everyone from ESPN's account to all of the hip-hop blogs and everyone else posting about this. And of course, you get it. And it's all these memes you see about people posting, okay, what Hov did on this track and they're getting photos of LeBron's best games or LeBron's game six against the Boston Celtics and things like that. But I bring that up because speaks to the uniformity of how all of these platforms or all these accounts on these platforms end up doing the same types of things because they know it works and they know what is effective. And it comes to the point now, when I'm scrolling through Instagram, I don't really know who the account is that is there that's posting something that I see unless it's something that's super specific to that person, right? Like if a friend is posting something from, you know, one of their kids starting in kindergarten, then it's like, okay, I know that that only comes from you. But if someone's posting something that's happening in media or something, that's happening in the news, you have to, like, look at that account at the top to really know who it is. And I think that's something they probably got from TikTok more so that, unless you're really looking to see where that account's coming from, it's a bit hidden now, right? Like that's part of, I know some of the frustration people had had, whether it's with Google searches or how social media was sharing links and they made all the links look the same, whether it's something from The Wall Street Journal or your friend's blog, right? And it kind of goes back to that point. [00:33:18] Denisha Kuhlor: Yeah. And it probably has like real implications for the creator economy now that we're talking about it, like, I think, you know, living in New York, I see, I like casually probably see a few TikTok creators a month and maybe even sometimes I follow them. But you know, what's interesting? Like, rather than noting, other than noting to myself, like, oh, I follow them on TikTok, kind of the like je nais se quois or like the magic of like, oh my God, like I'm seeing this person in real life feels like it's disappeared a bit to me in a way that used to exist with YouTube or some of these other platforms where it felt like a weird, like breaking of the screen. But now that everybody's behind the screen and as a result, even some of the content they're showing is so accessible. I do think it probably, like, leads to this dynamic of where we're just like, okay, let's just see interesting things. The people creating said interesting things are no more interesting in some ways than like you or they just did a great job at doing this. And I see that with, there's a lot of debate and, like, discourse around some of the lifestyle blogs or, you know, like people showing their lifestyle, like waking up in the morning, like obviously, you had to set the camera up before to do that. But a lot of folks in the comments argue like this is just a type of content. Like, it's a type of cinematography that people like to view and people like to see. And so as a result, these people are continuing to make these videos, but if that's just a type of content that people like to see, TikTok is simply going to provide that content all the time, regardless of really any affiliation to one creator, which makes it a lot tougher on these creators, I think, to build these networks and conversely artists.[00:34:55] Dan Runcie: Right, and this brings me back to the whole issues that people have with Web 2.0 to begin with and why they wanted to be able to solve some of this with Web 3.0. It's because the platforms commoditize your content, and then in return, they're the ones that hold the power. [00:35:10] Denisha Kuhlor: You know, I think though folks have to be honest. In some ways, it's what the user likes or what the, yeah, the users do like this because if not, you know, we're long past exclusives being standard in the industry, but if not the exclusives would've worked. Like having, you know, Chance the Rapper's album on Apple Music for two weeks, that would work. But the industry shied away from that because ultimately consumers cared more about choice and the ability to choose and experience and be exposed to all types of artists. And so I do think it's a dangerous game because it doesn't recognize like that's why malls exist, right? Like, you go and you want to go to multiple stores. And so I do think sometimes while I understand and recognize and very much like honor the need to, you know, differentiate and be able to have your core audience and provide to those things, I think we'd be remiss if we also didn't realize, like, natural human behavior comes from choice and like the brevity of choice. And so that's sometimes the interesting thing between Web 2.0 and even Web 3.0 and with crypto, for me, because ultimately, like, the barrier to entry is so high, right, to get someone, a true fan to download an artist NFT because that insinuates their true fans. And I think a lot of artists have actually had to face the music in some ways with realizing their perceived fan base isn't as big as they thought and the mechanism to realize that has been some of these drops.[00:36:40] Dan Runcie: Well said, well said. The engagement piece and what you need to have a true fan is harder than people think, so, yeah, I couldn't agree more. Well, we're getting to the tail end, but before we close things out, we have to talk about the elephant in the room for TikTok, and that is its geopolitical standing and all of the things that it wants to do while, whether or not they will be successful, a lot of it depends on the company's viability in the US and whether or not it's current status, especially given the fact that the Chinese government does have this data and there are unknown questions about what that means, what it can do with this data, how do you see this piece it?[00:37:22] Denisha Kuhlor: Yeah, I think it's tricky in some ways, because, you know, as consumers, we're now kind of privy to the implications of tech and big data. And even just being on our phones, being on our phones in general, what I will say is and a lot of the like research indicates that true, like avid TikTok users are just, like, hooked in a way where they don't or they might say to you they don't care. Now how much is that true, I guess we'll find out. But I do think it's concerning because maybe to some extent, we don't even fully realize everything and all the factors that are at play here, right? Like, you're just giving that summary, I'm like, whoa. But as a user coming on every day, you're not thinking about that. And so often with big data and some of these platforms, in a way, you don't realize just the implications it had until it was too late, right? Until we're now talking about the ramifications of a platform existing in that way. And so I think it's going to be really interesting to see how, seriously consumers want to take it and beyond consumers, like the US, the US in general. I mean, I would be remiss if I didn't say that some of the data is concerning, right, learning about some of the data TikTok has access to is concerning. But ultimately like as more and more people post and the ecosystem grows larger and there's now 10-minute videos and your favorite artists are on there and they have a streaming platform and all these things in this ecosystem, it starts to get hard to really stray away. And so I think that's going to be a challenge because it feels like it almost has to be a collective push for folks to disintermediate from the platform. But I'm really curious your thoughts on this, too.[00:39:00] Dan Runcie: Yeah. So the first attempt of this was in fall 2020. So it was around two years ago at this point, when Trump had tried to shut down TikTok. That didn't work for a number of reasons. There were a number of things going on in the world that the attention just wasn't there. And I don't think that the argument was made in a concise and effective way that could have necessarily gotten the job done. And TikTok had other challenges at the time, Kevin Mayer had his short term and then he had left shortly after. So there were a number of issues there. This though, I think that even though you're starting to hear some senators say certain things about it, I think things will be pretty mum, I would guess, until the 2022 midterm elections coming up just 'cause think from a strategic perspective, they want to keep momentum on things that they can confirm can get votes. So while I think I've probably heard more of the concern, if I'm being honest, coming from democratic senators, their biggest concern right now is okay, how can we continue to try to celebrate Joe Biden's victory so that they can not lose seat coming up with this election, I feel like. And because of that, like, we kind of see how this whole thing plays out. I do think though that we could be facing a potential situation where it's almost like the Facebook thing where people know that this is an issue, but it's not going to happen proactively. It happens reactively. It's going to be like, when shit hits the fan and then people are going to be like, oh shit, now we need to do something. [00:40:27] Denisha Kuhlor: Exactly. Exactly. Out of curiosity, how do you think TikTok, and I'm sure it'll vary, right, but how do you think TikTok is going to be used with the upcoming election cycle? [00:40:37] Dan Runcie: Oh, good question. I don't see it impacting 2022 as much, but I could see it playing a factor more so in 2024 because I just think that even though there's plenty at stake coming up with this election, the presidential elections always get more in place. I do think that, especially as this group of voters does tend to grow and as more and more older people do get on TikTok, a lot of the same types of activities and nefarious behavior that we saw on Facebook here is going to make its way onto. TikTok. The bigger challenge is though, I think, it's even tougher to navigate all those things. I mean, we even saw that there was misinformation back in 2020 when you had a lot of the Black Lives Matter uprisings and people, they were censoring certain things related to those hashtags. So I do think that those things are going to cause big problems. I think the difference though, and this is part of it is that when these issues happen for Facebook, it's one thing if you have mark Zuckerberg coming to Congress and it can kind of be this thing where he could be media training, he can kind of have these like, you know, haha moments where it's like, Senator, we sell ads, that's how we make money. That doesn't exactly work with the Chinese government in the same way 'cause I don't think that that type of congressional hearing would necessarily work in the same way. So it would have to be some type of, you know, harder crackdown that happens with it. So, yeah, it's tough. I feel like we're not going to see anything actually happen until shit does hit the fan. And unfortunately, that could be the 2024 presidential election in the US, but maybe it could be something sooner. [00:42:19] Denisha Kuhlor: Yeah, no, we'll definitely have to see how it plays out. I also think we could potentially see, like, new candidates that come to the result from easily being able to build followings on a platform like TikTok. So I'm curious to see what, like, TikTok- native candidates emerge as well. [00:42:36] Dan Runcie: Right, like kind of like how Obama was the Facebook champion in 2000. [00:42:41] Denisha Kuhlor: Exactly. [00:42:43] Dan Runcie: Yeah. It's funny, right? Because I feel like, you know, back then it was like, oh, look at all the great things that Facebook could do with 2008. And just, I think given some of the political leanings at the time, but then 2016 in many ways was a very opposite case with it. So I do feel like we're a bit more jaded and cynical of the powers of social media than we were then. But there is always a candidate that rises up with these things, that does these things, right? Like, I don't know, thinking back to the days of candidates that are just entering a different thing or new platform, whether it's Bill Clinton going on the Arsenio Hall Show playing his saxophone or something like that. Like, who's going to be that on TikTok? I don't know. I don't follow any politicians on TikTok. I'm sure they have accounts, but I'm sure they'll probably be doing that. And who knows? They'll probably have a debate on Hot Ones for all I know. [00:43:35] Denisha Kuhlor: It's definitely going to be interesting. [00:43:37] Dan Runcie: Yeah, for sure. All right. Well, this was great. We covered a bunch in this, so we'll definitely have to revisit this topic at some point. And we'll see how TikTok succeeds over this for the next few months. I think we both have our internal scorecards ready, but we'll definitely have to touch base on this again at some point. [00:43:54] Denisha Kuhlor: Agree. Thanks so much for having me.[00:43:56] Dan Runcie: For sure. Thank you.[00:43:58] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

Neil's last WINZ show, and his last Saturday show ever. One lady can't find WZTA on the dial, and another one thinks she is talking to Doug Young on the Trade Line show on WIOD. The Bird drops in at noon. Rick Riley from WAXY's Rick and Suds Show gives Neil a call. Some reminiscing about Neil's time on WINZ Howard Stern spy report, he was kicked off the Arsenio Hall Show. The end of an era.

Arsenio Hall joined Stephen Colbert for a fascinating and wide-ranging discussion encompassing stories about his relationship with Johnny Carson, the infamous moment when Bill Clinton played saxophone on "The Arsenio Hall Show," and the inside story of why he and Eddie Murphy finally created the "Coming To America" sequel fans have spent decades begging to see. You can find "Coming 2 America" now on Amazon Prime! Learn more about your ad choices. Visit megaphone.fm/adchoices

Kris & David are guestless for this week's episode of Between the Sheets, where we will be talking about the (almost) week that was July 28-August 2, 1992. We talk about Ron Simmons becoming the WCW World Heavyweight Champion in shocking fashion at the TV tapings in Baltimore, including the importance of the win and just the overall greatness of the moment in general. We also talk about what led up to Simmons getting the shot at Big Van Vader, specifically the big angle with Jake Roberts making his surprise debut attacking Sting, Vader's originally-scheduled challenger. We also talk about the other happenings at the Baltimore taping, as well as other news and views, including a Mike Mooneyham column about the morale in WCW under Bill Watts, which was quite the read.We then go international, talking about Jumbo Tsuruta's "injury" that's about to shake up AJPW, FMW & W*ING doing big business without television, the AAA wrestlers forming their own union in Mexico, and lots more.Then we go back to the U.S. for Ricky Morton sending in a promo to SMW TV to undo his WCW heel turn, Reno Riggins making quite the debut in Memphis, Global Wrestling Federation and BIG D craziness from Dallas, and much more.We then close with the WWF, where we talk about Randy Savage appearing on The Arsenio Hall Show, plans for Ric Flair at SummerSlam, Nailz cutting a promo on TV for the first time, and the end of the WBF.Extremely fun show, so check it out!!!!Timestamps:0:00:00 WCW1:08:33 Int'l: AJPW, NJPW, FMW, W*ING, PWFG, AJW, CWA, AAA, CMLL, Monterrey, & UWA1:38:13 Classic Commercial Break1:41:52 Halftime2:03:09 Other USA: ECW, SAPW, SMW, WVEU Superstars of Wrestling, ICWA, Suncoast Pro, USWA, GWF, Big D, Steve Gatorwolf, Wrestling Insiders, & Pro Wrestling Spotlight2:37:30 WWF3:18:04 Patreon Preview: Cheryl Vasquez's Titangate-inspired protest outside a WWF house show in PoughkeepsieTo support the show and get access to exclusive rewards like special members-only monthly themed shows, go to our Patreon page at Patreon.com/BetweenTheSheets and become an ongoing Patron. Becoming a Between the Sheets Patron will also get you exclusive access to not only the monthly themed episode of Between the Sheets, but also access to our new mailbag segment, a Patron-only chat room on Slack, and anything else we do outside of the main shows!If you're looking for the best deal on a VPN service—short for Virtual Private Network, it helps you get around regional restrictions as well as browse the internet more securely—then Private Internet Access is what you've been looking for. Not only will using our link help support Between The Sheets, but you'll get a special discount, with prices as low as $1.98/month if you go with a 40 month subscription. With numerous great features and even a TV-specific Android app to make streaming easier, there is no better choice if you're looking to subscribe to WWE Network, AEW Plus, and other region-locked services.For the best in both current and classic indie wrestling streaming, make sure to check out IndependentWrestling.tv and use coupon code BTSPOD for a free 5 day trial! (You can also go directly to TinyURL.com/IWTVsheets to sign up that way.) If you convert to a paid subscriber, we get a kickback for referring you, allowing you to support both the show and the indie scene.To subscribe, you can find us on iTunes, Google Play, and just about every other podcast app's directory, or you can also paste Feeds.FeedBurner.com/BTSheets into your favorite podcast app using whatever “add feed manually” option it has.Support this podcast at — https://redcircle.com/between-the-sheets/donationsAdvertising Inquiries: https://redcircle.com/brands

This was our first time meeting Jackie, but hoo-boy, did we get INTO it! Maybe you know Jackie from America's Got Talent or The Tonight Show. Maybe you know her from That Damn Michael Che or The Arsenio Hall Show. Or maybe you've seen her BRAND NEW special Menoplause! Either way, you've never heard her like this! We talk all about her fiance and Jackie really breaks down whether she even wants to get married again. There was so much real talk, Jackie Venmo-ed us a co-pay after! PLUS, obvi, we answer YOUR advice questions! If you'd like to ask your own advice questions, call 323-524-7839 and leave a VM or just DM us on IG or Twitter!Also! Get tickets for Naomi's next Largo show on August 12th! Or Andy's old casiopop band's lost album! And discounted Couples Therapy Quarantine Crew t-shirts here (if you don't get one, we're gonna have A LOT of nightshirts over at the ol' Beckperigin household!)! Also, you can support the show on Patreon (two extra exclusive episodes a month!) or with a t-shirt (or a Jewboo shirt) and check out clips on YouTube! (Every once in a while we'll do a Twitch show, if you want to also follow us there). See acast.com/privacy for privacy and opt-out information.

Legendary prodigy drummer and visionary Terri Lyne Carrington shares her stories of being a confident child amongst the greats. She breaks down earning the respect of the architects of Jazz, working on the Arsenio Hall Show, and appearing in Beat Street.  See omnystudio.com/listener for privacy information.

Pete Hammond discusses being an NBC Page, Johnny Carson, Ed McMahon, working at the Arsenio Hall Show, Lauren Bacall, Mel Brooks, & Bette Davis.