WEBVTT

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<v Speaker 1>You're listening to Later with Moe Kelly on demand from

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<v Speaker 1>KFI AM six forty.

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<v Speaker 2>Munster High Ultimate, Spider Man, Naruto, Barbie, Dreamhouse Adventures, Stretch,

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<v Speaker 2>Armstrong and the Flex Fighters, Red Dead, Redemption two Game,

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<v Speaker 2>and more under his belt. You may not know his name,

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<v Speaker 2>but for the last twenty five years, I think even more,

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<v Speaker 2>Oji Banks the third has been the voice behind some

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<v Speaker 2>of the world's greatest characters in cartoons, animated films, and

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<v Speaker 2>video games. I know that was a quick list, but

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<v Speaker 2>what did I forget? What did I forget?

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<v Speaker 3>That was good?

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<v Speaker 4>Muppet Babies, Muppet Baby, Yeah, Mupping Babies is one. And

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<v Speaker 4>Avengers Avenge Lego Avengers is my new one.

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<v Speaker 3>That's the new one.

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<v Speaker 2>But I mean, you did a lot of things for

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<v Speaker 2>Disney as well along the years, along the way with

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<v Speaker 2>Disney XD as well.

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<v Speaker 3>Yes, yes, yes, yes yes.

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<v Speaker 2>How many characters do you think that if you've probably

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<v Speaker 2>done over the past twenty five to thirty years.

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<v Speaker 3>Wow, hundreds, hundreds.

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<v Speaker 4>And here's here's the reason why too, Because when I'll

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<v Speaker 4>get on a show and they'll hire me for one character,

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<v Speaker 4>but when I'm on the show, I'm usually doing like

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<v Speaker 4>four or five characters.

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<v Speaker 3>On that one show. So it adds up pretty quickly.

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<v Speaker 3>Give me an example.

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<v Speaker 2>Are the wide and variation in the forest of four

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<v Speaker 2>characters you may do on a given show.

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<v Speaker 4>Yeah, like on the show Goes for us, I play

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<v Speaker 4>I play the kid.

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<v Speaker 3>You know, I played a kid, you know like this.

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<v Speaker 4>You know, guys, guys, you know I'm very you know,

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<v Speaker 4>inquisitive and everything. But then I also play the dad.

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<v Speaker 4>I play the father as well, you know, so I

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<v Speaker 4>also play my father. So I have a lot of

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<v Speaker 4>scenes where I talk to myself back and forth like

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<v Speaker 4>a crazy person.

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<v Speaker 2>Do you channel real people in your life? If you're

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<v Speaker 2>going to do the father character, do you channel Ojibanks Usenka.

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<v Speaker 4>I do a little, yes, I do. I do a

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<v Speaker 4>little Yes. My father does come out just naturally.

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<v Speaker 2>For those who don't know, Ogibanks and I grew up

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<v Speaker 2>next store to each other. And I say next door,

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<v Speaker 2>I mean house house, literally next door to each other. Yes,

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<v Speaker 2>And we both moved into Harbor City in nineteen seventy five,

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<v Speaker 2>within maybe three to four months of each other, and

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<v Speaker 2>both our families had moved in. I think I was

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<v Speaker 2>five years old when you were two two and a

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<v Speaker 2>half years old, and we became instant friends, and he

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<v Speaker 2>would usually have these great birthday parties, Yes, where you

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<v Speaker 2>invite the kids from school or in the neighborhood and

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<v Speaker 2>we have dance contests.

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<v Speaker 3>How many times did I win? Yeah?

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<v Speaker 4>Yes, you would win and he would be No, he

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<v Speaker 4>would always win the prize.

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<v Speaker 3>I got moved. He would always win every year.

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<v Speaker 2>Yes, So why did you stop having birthday parties at

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<v Speaker 2>dance contests?

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<v Speaker 4>Because it was the same thing every year. You just

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<v Speaker 4>come in and take all the prizes dancing.

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<v Speaker 3>It's so funny because.

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<v Speaker 2>I don't think either of our parents or families would

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<v Speaker 2>have any idea that you would end up doing what

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<v Speaker 2>you are doing now and what I am doing now.

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<v Speaker 3>I know your parents would listen.

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<v Speaker 2>To KFI religiously, and I think one morning they heard

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<v Speaker 2>me filling in for Bill Handle or something.

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<v Speaker 3>He said, oh my mom my, mom my mom.

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<v Speaker 2>Yes, yes, And I think my parents like saw your

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<v Speaker 2>name in the credits one time on one of the

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<v Speaker 2>Disney XD series and they'd say, oh my gosh, oh Gi.

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<v Speaker 3>What is it.

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<v Speaker 2>And the reason I bring that up is what does

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<v Speaker 2>it mean to have that type of affirmation from parents

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<v Speaker 2>and family.

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<v Speaker 4>Oh, it's the best, It's the best because you know,

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<v Speaker 4>they you can tell them I'm going to do this, but.

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<v Speaker 3>They're like, what are you really going to do? When

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<v Speaker 3>are you gonna go out and get a job.

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<v Speaker 4>Yes, either, when am I going to see these results?

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<v Speaker 4>So when the project actually comes out and we're able

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<v Speaker 4>to watch it together and they're actually able to see

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<v Speaker 4>me and hear me and look at my name on

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<v Speaker 4>the credits come in, it's very fulfilling. It's like, see,

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<v Speaker 4>I told you, I told you I was doing this.

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<v Speaker 2>I remember when I came out of college and I

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<v Speaker 2>started working in the music business. My parents were not

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<v Speaker 2>really happy with that. It's like, hey, we spent all

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<v Speaker 2>this money, we sent you to Georgetown University. Now you

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<v Speaker 2>want to work in the music industry. You didn't need

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<v Speaker 2>to go to school for that, and now you're out

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<v Speaker 2>here just trying to you know, play record executives and

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<v Speaker 2>and and spend some money. It's like, that's not what

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<v Speaker 2>we expected of you. Because our generation. I remember we

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<v Speaker 2>would play in his room and I think you had

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<v Speaker 2>like the Lord's Prayer on your you know, father navy man.

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<v Speaker 3>Crat oh No.

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<v Speaker 2>I remember because because he was very he was very

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<v Speaker 2>upright and circumspect as far as what he expected of you,

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<v Speaker 2>and if I were going to be playing with you,

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<v Speaker 2>I was not going to be a bad influence on you.

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<v Speaker 3>And so I needed to learn the Lord's prayer as well.

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<v Speaker 3>You know, it's not a problem, but.

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<v Speaker 2>It's it's it's interesting how we can have these birds,

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<v Speaker 2>I wouldn't say birds, but expectations placed upon us, and

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<v Speaker 2>they propel us, and they also compel us to meet

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<v Speaker 2>their standards.

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<v Speaker 3>Because even to this day.

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<v Speaker 2>When I open up the mic, I always want to

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<v Speaker 2>be careful and conscious of that. I don't say anything

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<v Speaker 2>that my mother, who's probably listening, would disapprove of. Yes,

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<v Speaker 2>And I'm always conscious of that. It's like, would my

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<v Speaker 2>mother be okay with that?

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<v Speaker 3>Now? If you met my mother, you would know that

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<v Speaker 3>she is as profane as anyone.

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<v Speaker 2>So I have a lot of room to work with.

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<v Speaker 2>But their approval has always meant something to me. How

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<v Speaker 2>did you navigate that?

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<v Speaker 3>Oh?

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<v Speaker 4>It was hard. My dad, like you said, he was

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<v Speaker 4>the strict one. My mom was the one that was more.

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<v Speaker 3>Like, go baby, you can do it, you can.

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<v Speaker 4>Do it, and she drove me to my auditions and everything, and.

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<v Speaker 3>It was a real struggle.

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<v Speaker 4>But my dad is the one that taught me, you know, well,

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<v Speaker 4>if you're gonna do this, you.

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<v Speaker 3>Gotta do it. You got to take it seriously.

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<v Speaker 4>This isn't something that you can just will and nelly

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<v Speaker 4>and just you know, do whatever you have to like

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<v Speaker 4>really be strong and take it serious. And so and

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<v Speaker 4>that balance of the tough with the soft really helped

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<v Speaker 4>because whenever I was down, my mom was there to

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<v Speaker 4>bring me up, and if I was too up, my

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<v Speaker 4>dad was there to be like, you know, don't get

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<v Speaker 4>too a you know, there's more to come, There's there's tomorrow.

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<v Speaker 4>So with that balance it really helped me. And that

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<v Speaker 4>propelled me to, like, you know, when I did actually

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<v Speaker 4>book something and had a project and was able to

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<v Speaker 4>share it with them, that's why, you know, it brought

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<v Speaker 4>me so much joy because of all that hard work

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<v Speaker 4>of not only going to the auditions and going to

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<v Speaker 4>the rehearsals and all that, but the family aspect of

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<v Speaker 4>you know, some believing in you, some not. There's times

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<v Speaker 4>when they both do and that you know, it's just

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<v Speaker 4>that whole dynamic.

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<v Speaker 3>How many times did you hear no before you finally

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<v Speaker 3>had a yes? Oh hundreds and thousands before you had

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<v Speaker 3>a yes? Oh yeah, thousands of times. Yeah before yes, yeah,

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<v Speaker 3>how does that not break you in your spirit? Oh?

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<v Speaker 3>It does, it does? Yeah, yeah, I've Yeah.

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<v Speaker 4>At the beginning, I stopped several times, you know, I

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<v Speaker 4>was like, this isn't gonna work. Oh, But then you

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<v Speaker 4>try to find your way.

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<v Speaker 3>You know.

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<v Speaker 4>It's like, okay, if you know, if I'm not doing

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<v Speaker 4>well in this, let me try to tweak this here,

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<v Speaker 4>or take more classes here to learn something, or maybe

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<v Speaker 4>try something else, but still within the field. So I'm

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<v Speaker 4>still learning. But the nose, you know, and you know

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<v Speaker 4>you're taught that that's part of the game. That's part

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<v Speaker 4>of it. It's a numbers game. But the numbers were

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<v Speaker 4>so high on the nose. I was like, what kind

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<v Speaker 4>of game is this? You know, this is not a

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<v Speaker 4>game I like, you know. But once I got that

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<v Speaker 4>first yes, the magic and the confidence and the Hollywood

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<v Speaker 4>magic like kind of just came through me and it

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<v Speaker 4>started coming together a little bit more.

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<v Speaker 2>It's almost this is a crude analogy, but this is

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<v Speaker 2>the only way I can explain it. No one thinks

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<v Speaker 2>you're sexy until someone finds you sexy, and when someone

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<v Speaker 2>tells you yes, and all of a sudden, people start

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<v Speaker 2>looking at you was like, Ooh, what have I been

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<v Speaker 2>missing out on? Or what is it that person has

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<v Speaker 2>that I have not realized yet. It's very true as

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<v Speaker 2>far as radio, it's like once you get on the year,

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<v Speaker 2>then people want to hear more of you. Usually beginning

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<v Speaker 2>on the air is a very difficult process.

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<v Speaker 3>That first. Yes, do you remember what it was? Yes? Yes, yes, yes,

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<v Speaker 3>great question. Yes.

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<v Speaker 4>It was for a frozen pizza and it's.

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<v Speaker 3>Not out today.

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<v Speaker 4>It was a kid's frozen pizza and I played the

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<v Speaker 4>puppy dog.

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<v Speaker 3>Oh you weren't even a person.

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<v Speaker 4>No, I was not even a person. I didn't I had.

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<v Speaker 4>I said something like come and get that, get your pizza,

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<v Speaker 4>and I said the name of the pizza. But that

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<v Speaker 4>was about it. And uh yeah, and I was the

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<v Speaker 4>puppy dog.

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<v Speaker 3>For the commercial. Was commercial? I believe?

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<v Speaker 5>So?

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<v Speaker 3>Yes, okay, so Payday? Yes it was, Yes, it was.

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<v Speaker 3>It was. What was your first TV show that you booked?

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<v Speaker 3>The first TV show? Wow? Good question. Oh it was

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<v Speaker 3>pretty good at what I do? Whole Street High, Whole

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<v Speaker 3>Street High?

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<v Speaker 4>That remember that one that was back when Parker Can't

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<v Speaker 4>Lose That TV show? I remember that that was our rival.

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<v Speaker 4>It was Parker can't lose. In Whole Street High, we

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<v Speaker 4>were up against Parker can't lose, and you remember Parker

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<v Speaker 4>can't lose because they won.

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<v Speaker 2>But also I remember my mom was so proud of

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<v Speaker 2>you when you booked Newsies.

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<v Speaker 4>Yes, yeah, yeah, that changed my life.

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<v Speaker 3>What did you do with Newsies Newsy's I played Boots.

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<v Speaker 3>I was.

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<v Speaker 4>An actor dancer. I was an actor who danced. Well,

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<v Speaker 4>that movie took to that took two years to make

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<v Speaker 4>because we did a whole year of rehearsal and then

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<v Speaker 4>a whole year of you know, actually you know, filming.

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<v Speaker 4>But there was that was on the Universal lot. I remember,

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<v Speaker 4>and I remember that the tram would come through, we

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<v Speaker 4>would make we made special dances for the tram. We

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<v Speaker 4>would make them special Newsies dances. We would We knew

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<v Speaker 4>when the trams were coming and we were like, we

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<v Speaker 4>were so enthrowed, like.

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<v Speaker 3>We have to do something for them.

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<v Speaker 4>So we all came up with, like Kenny Ortega, the

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<v Speaker 4>directors like, why don't we come up with like a

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<v Speaker 4>cool little dance room. So when they came through sometimes,

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<v Speaker 4>you know, if we were on break, they'd be like, five,

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<v Speaker 4>why didn't we do this dance?

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<v Speaker 3>And everybody. It was so much fun. It was so

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<v Speaker 3>much fun.

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<v Speaker 4>And to be at the Universal back lot just to

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<v Speaker 4>work work there and to be there every day, Uh,

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<v Speaker 4>that was magical.

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<v Speaker 3>That was just magical.

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<v Speaker 4>And because you're working on a film there, but there's

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<v Speaker 4>another film going on right next door over here, there's

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<v Speaker 4>a TV show going on right over here. I snuck

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<v Speaker 4>over to the set over here and met Bruce Willis.

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<v Speaker 4>You know, I wasn't supposed to, but I just ran

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<v Speaker 4>br Yes, I did.

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<v Speaker 2>It's weird because as much as we enjoy working in this,

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<v Speaker 2>we're fans, well, we enjoy being part of it, not

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<v Speaker 2>necessarily the center of it.

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<v Speaker 3>So OCHI, what was your before we go to break?

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<v Speaker 2>What was Have you had that one role where you

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<v Speaker 2>said yes, thank you I finally met because let me

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<v Speaker 2>for example, for me just being in news and radio

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<v Speaker 2>and talk. The first time I appeared on CNN for

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<v Speaker 2>the National Feet and my friend saw me from coast

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<v Speaker 2>to coast.

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<v Speaker 3>And I wanted so long to just have that one moment.

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<v Speaker 3>Didn't get paid for.

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<v Speaker 2>It, but it was one of those things. It was

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<v Speaker 2>the affirmation I need. It's like I might be able

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<v Speaker 2>to do this. I'm long here and I'm gonna stay here.

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<v Speaker 2>Did you have a similar.

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<v Speaker 3>Moment, Yes, yes, I did.

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<v Speaker 4>My My moment with that was, you know, it was

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<v Speaker 4>really the my first Marvel gig, the first Marvel gig

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<v Speaker 4>I did when I was a power man.

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<v Speaker 3>You know how many Marvel gigs have.

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<v Speaker 4>You had several several that that was pretty much the

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<v Speaker 4>jump start.

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<v Speaker 3>Okay, so that was that moment, were like, I'm here.

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<v Speaker 4>That was, you know, because that was like my first

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<v Speaker 4>like real superhero and it was like a series. I

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<v Speaker 4>was on that and I'm on every like every episode.

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<v Speaker 3>I was on every episode.

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<v Speaker 4>I'm going there every week, and there were celebrities on

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<v Speaker 4>the show, and I'm just like, and I'm part of

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<v Speaker 4>the show.

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<v Speaker 3>You know.

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<v Speaker 4>They would read and my part would come and I

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<v Speaker 4>would forget to read because I'm like, oh.

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<v Speaker 3>I, oh, that's right, I'm part of the show too.

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<v Speaker 4>Oh I need to wrangle myself in and be a

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<v Speaker 4>part of the show.

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<v Speaker 3>But that was the moment, because.

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<v Speaker 4>Yeah, that I mean, and plus getting the athletes from

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<v Speaker 4>the people that I work with too, you know, yes,

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<v Speaker 4>from the family, but the people I work with too,

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<v Speaker 4>knowing that I'm you're doing a good job.

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<v Speaker 3>But that was that was the one that was the one.

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<v Speaker 2>When we come back, let's get into Lego Marvel Avengers,

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<v Speaker 2>the animated show in which you are starring as Captain

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<v Speaker 2>America Sam Wilson himself. And that's against the backdrop of

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<v Speaker 2>the Captain America four movie, which is coming out in February,

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<v Speaker 2>which is not gonna.

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<v Speaker 3>Hurt what you're doing. Yes, no, you got that right.

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<v Speaker 3>So O.

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<v Speaker 2>G Banks is joining us in studio right now as

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<v Speaker 2>part of Later with Mo Kelly's Halloween Swell Ray. And

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<v Speaker 2>also we want to say a special thanks to BJ's

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<v Speaker 2>Restaurants for setting up our party with pizza, wings and

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<v Speaker 2>salad for this party.

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<v Speaker 3>Put your hands together for.

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<v Speaker 2>BJSDJ More with Ogbanks, just a moment. Canf I Am

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<v Speaker 2>six forty Live everywhere the iHeartRadio app.

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<v Speaker 1>You're listening to Later with Moe Kelly on demand from

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<v Speaker 1>KFI AM six forty.

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<v Speaker 2>We're not done yet, caf I Am six forty Live

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<v Speaker 2>everywhere the iHeartRadio app.

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<v Speaker 3>It's Halloween Later with Mo Kelly.

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<v Speaker 2>My guest right now is og Banks the third and

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<v Speaker 2>his latest project is Lego Marvel Avengers Mission Demolition, where

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<v Speaker 2>he co stars as Captain America Sam Wilson himself. Before

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<v Speaker 2>the break, we were talking about how you got started

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<v Speaker 2>working with Marvel.

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<v Speaker 3>What is it like working with Marvel? For Marvel?

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<v Speaker 2>Because I look at it as from an outsider, from

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<v Speaker 2>a fan. I enjoy their animated properties, I enjoy their

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<v Speaker 2>live action properties. I'm a Marvel fan through and through.

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<v Speaker 2>But we're looking for a company like that. Maybe difficult

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<v Speaker 2>in the sense of usually sworn to secrecy. Their NBA's everywhere.

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<v Speaker 2>You can't tell anything about anything. How is it navigating

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<v Speaker 2>that space?

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<v Speaker 3>Good question, it's a.

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<v Speaker 4>It's it is a little difficult, but but it's fun difficult, Okay,

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<v Speaker 4>if I can say, you're right, there is secrecy.

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<v Speaker 3>You can't say anything.

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<v Speaker 4>You can't say a word, and you you have all

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<v Speaker 4>this going on. You're so excited, but there's nothing you

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<v Speaker 4>can say. And working for them, it's like with Sam Wilson.

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<v Speaker 4>I I got every piece of footage they send me

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<v Speaker 4>all the all the footage everything Sam Wilson like and

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<v Speaker 4>and mister Mackie, did you know, like you have to

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<v Speaker 4>prepare you know.

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<v Speaker 2>So it's like, so you are working in concert with

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<v Speaker 2>the live action portion in large parts, so there's uniformity.

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<v Speaker 4>Yes, yes, they totally want that they totally want, they

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<v Speaker 4>totally want that. It's still that essence of the character,

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<v Speaker 4>because you know, the essence of the character, the coolness

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<v Speaker 4>of the character, all that. So I had to study

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<v Speaker 4>basically all his stuff, like the Falcon stuff, all the

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<v Speaker 4>way till he did like you know, the Captain America thing,

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<v Speaker 4>you know, so just and so that and and working

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<v Speaker 4>for Marvel. You know, it's like, Okay, that's the that's

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<v Speaker 4>the one. So you know, you prepare you you know,

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<v Speaker 4>you're you're doing your homework.

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<v Speaker 3>You're doing your homework.

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<v Speaker 4>You're watching for hours and hours, practicing my voice, practicing

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<v Speaker 4>my cool, doing my thing, and you're doing it to

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<v Speaker 4>the point where you know there's nobody there to help you.

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<v Speaker 4>The director's not there when you're practicing, you know. So

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<v Speaker 4>you're doing that all all on your own. And it's

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<v Speaker 4>not like I have the script yet, So I'm still

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<v Speaker 4>just getting the essence of the character, just getting in

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<v Speaker 4>the mood, just really feeling them out, so that by

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<v Speaker 4>the time that it comes to where the script is

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<v Speaker 4>presented to me and I am in front of everybody,

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<v Speaker 4>I am prepared in the mood the you know how

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<v Speaker 4>he's going to be. So whatever they bring to me

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<v Speaker 4>or whatever they have for me. I'm able to just

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<v Speaker 4>slip right in and be that character.

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<v Speaker 2>Marvel is an iconic brand, Lego is an iconic brand,

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<v Speaker 2>and since the original Lego movie, high expectations are placed

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<v Speaker 2>on their properties as well. Are you ever concerned about

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<v Speaker 2>trying to meet those expectations?

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<v Speaker 3>Yes, I am, Yes, I am. And that's why.

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<v Speaker 4>It's that's why when I when I'm working, I'm in

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<v Speaker 4>the booth, I will sweat so much because I am

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<v Speaker 4>so worried and I'm like, did.

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<v Speaker 3>I say the correctly? Did I say it correctly? Did

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<v Speaker 3>that type of minutiation?

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<v Speaker 4>Yeah, Because I'm an actor, so I get crazy in

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<v Speaker 4>my head, you know, especially when you're in the booth,

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<v Speaker 4>because you can say a line, you can say, hey,

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<v Speaker 4>are we gonna go there? And then you don't hear

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<v Speaker 4>anything because they're in another room, you know, with the engineer.

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<v Speaker 3>Do you you don't have a scene partner or anything?

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<v Speaker 4>Sometimes you do, sometimes you do, but sometimes you don't.

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<v Speaker 4>And when you don't, you're there on your own and

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<v Speaker 4>you and even if you do have a partner, both

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<v Speaker 4>of you are there on your own, and you're too neurotic.

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<v Speaker 3>Actors and you're like, did we do a good job

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<v Speaker 3>or not because we.

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<v Speaker 4>Didn't hear anything back. And then finally they'll say great

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<v Speaker 4>job after five vents. But within that five ins we're.

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<v Speaker 2>Like, ah, how many takes might you do on a

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<v Speaker 2>given seed that's not not going perfectly?

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<v Speaker 4>Oh, that's not going Oh I can say a line

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<v Speaker 4>twenty times sometimes just one line. I can say one

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<v Speaker 4>line twenty times sometimes if if that's how they are,

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<v Speaker 4>if you are not getting it, if you're not in

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<v Speaker 4>the right part of the scene, if you the tone

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<v Speaker 4>of your voice or anything, if they're not feeling it,

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<v Speaker 4>they're not getting it. And I'm like, wow, this is

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<v Speaker 4>one line, and I'm saying it again and again and again,

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<v Speaker 4>and even I have to like, who were you taking?

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<v Speaker 4>Take the notes? Take the notes? You know they might

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<v Speaker 4>change a little bit here and there. But yeah, I

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<v Speaker 4>can sometimes it'll be twenty times.

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<v Speaker 3>Okay.

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<v Speaker 2>We started with the secrecy my word of Marvel. The

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<v Speaker 2>reason I asked that is you may not have a

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<v Speaker 2>scene partner. Are you getting your sides in other words,

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<v Speaker 2>your lines for the complete episode.

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<v Speaker 3>Or only what you're slither of what you need? Oh

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<v Speaker 3>sliver what you need?

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<v Speaker 4>Yeah, good question, and I'm lucky that I get the

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<v Speaker 4>whole episode, they get the context. Yes, yes, yes, I

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<v Speaker 4>understand everything that's going on. And and also the director

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<v Speaker 4>they're there, so like, even if I didn't quite understand anything,

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<v Speaker 4>they fill me in with all the juices and berries

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00:18:19.000 --> 00:18:19.799
<v Speaker 4>and all the good stuff.

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<v Speaker 2>All right, well, take us to this orchard. Tell us

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<v Speaker 2>about Lego Marble Avengers mission demolition.

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<v Speaker 4>Oh, well it is, Well, it's it's a you know,

404
00:18:30.160 --> 00:18:32.319
<v Speaker 4>it's a continuation of the Lego Avengers.

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<v Speaker 3>They they've been doing it for a while.

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<v Speaker 4>And of course you have all your famous the thor

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00:18:38.160 --> 00:18:42.359
<v Speaker 4>the Iron Man, all these people. And in this particular

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<v Speaker 4>episode there's.

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<v Speaker 3>A new bad guy in here. And with the new

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<v Speaker 3>bad guy.

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<v Speaker 4>Comes the Avengers coming in again, and I am included.

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<v Speaker 4>Sam Wilson is included this time with the Avengers. In

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<v Speaker 4>the past they didn't have Sam Wilson, but on this

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<v Speaker 4>one they do have Sam Wilson, and going forward they

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<v Speaker 4>should have Sam Wilson hopefully.

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<v Speaker 3>But with Sam Wilson, Sam Wilson and the Avengers.

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<v Speaker 4>It's about really, the episode is about being yourself.

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<v Speaker 3>That's what the whole episode is. It's about being yourself

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<v Speaker 3>through all this chaos.

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<v Speaker 4>And everything that's going on with the Avengers and the

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<v Speaker 4>bad guy and everything. The moral of the story throughout,

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<v Speaker 4>it's not just at the end you figure it out,

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<v Speaker 4>but throughout it's about just being yourself, taking the time

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<v Speaker 4>to know yourself and be yourself.

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<v Speaker 3>That's what I could say. The episode is about that.

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<v Speaker 3>That's what I got from it.

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<v Speaker 2>Well, Ogbanks, I appreciate the friend that you've been. I

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<v Speaker 2>think if he's your brother, because we literally grew up

429
00:19:36.680 --> 00:19:40.559
<v Speaker 2>together our bedrooms from maybe i'll say fifty feet away

430
00:19:40.880 --> 00:19:44.400
<v Speaker 2>from each other. How can people follow you on social media?

431
00:19:44.440 --> 00:19:46.480
<v Speaker 2>You're very big on social media? How can people join?

432
00:19:46.519 --> 00:19:49.240
<v Speaker 3>Answer? Yes, it's my name. It's so easy.

433
00:19:49.279 --> 00:19:53.680
<v Speaker 4>It's just my name, Og Banks, og I e b

434
00:19:53.759 --> 00:19:54.880
<v Speaker 4>a n ks.

435
00:19:55.240 --> 00:20:04.079
<v Speaker 3>You can commercial Facebook all that like and subscribe Ogi

436
00:20:04.240 --> 00:20:07.000
<v Speaker 3>e beks. Yes, yes, yes.

437
00:20:06.920 --> 00:20:08.759
<v Speaker 2>Well when I say my brother and my friend, I

438
00:20:08.880 --> 00:20:12.599
<v Speaker 2>mean absolutely that. Obviously I've said it because of about

439
00:20:12.680 --> 00:20:14.960
<v Speaker 2>other people that I said in regard to you. Your

440
00:20:15.039 --> 00:20:17.720
<v Speaker 2>success is our success. I love you, I appreciate you,

441
00:20:17.799 --> 00:20:20.160
<v Speaker 2>and I salute you. And let's be sure to do

442
00:20:20.200 --> 00:20:21.079
<v Speaker 2>this again in the future.

443
00:20:21.200 --> 00:20:22.960
<v Speaker 4>Yes, thank you so much for having me on your show.

444
00:20:23.000 --> 00:20:24.839
<v Speaker 4>My man, I so appreciate you, O G.

445
00:20:25.000 --> 00:20:27.960
<v Speaker 3>Banks. It's Later with Moe Kelly.

446
00:20:28.000 --> 00:20:29.839
<v Speaker 2>We would have their original cast back up here in

447
00:20:29.920 --> 00:20:31.680
<v Speaker 2>just a moment, can if I am six forty. We

448
00:20:31.759 --> 00:20:35.200
<v Speaker 2>are live everywhere on the iHeartRadio app. In fact, Stephan,

449
00:20:35.279 --> 00:20:36.960
<v Speaker 2>you need to bring your ass up here. You've been

450
00:20:37.039 --> 00:20:39.559
<v Speaker 2>hiding in the back too long. Let the people see you.

451
00:20:39.720 --> 00:20:41.599
<v Speaker 2>We're gonna hear from Stephan when we come back.

452
00:20:42.319 --> 00:20:45.920
<v Speaker 1>You're listening to Later with Moe Kelly on demand from

453
00:20:46.000 --> 00:20:47.559
<v Speaker 1>KFI AM six forty.

454
00:20:48.200 --> 00:20:52.279
<v Speaker 2>And as we continue on with this great, great, great

455
00:20:52.400 --> 00:20:55.119
<v Speaker 2>gathering what I would call or friends, I feel like

456
00:20:55.200 --> 00:20:55.759
<v Speaker 2>you're friends.

457
00:20:55.799 --> 00:20:59.160
<v Speaker 3>I've known you for ever. And that's the beauty of radio.

458
00:20:59.240 --> 00:21:02.519
<v Speaker 2>There's this level of what we call intimacy where you

459
00:21:02.640 --> 00:21:05.079
<v Speaker 2>get to know someone a little bit more than just

460
00:21:05.680 --> 00:21:08.839
<v Speaker 2>reading a teleprompter on a screen. I think you know

461
00:21:08.960 --> 00:21:12.759
<v Speaker 2>more about me than I share with just any random person.

462
00:21:12.799 --> 00:21:17.039
<v Speaker 2>It's a strange relationship because I'll tell you about growing up,

463
00:21:17.119 --> 00:21:19.200
<v Speaker 2>my next door neighbors, or the things that I would

464
00:21:19.200 --> 00:21:21.160
<v Speaker 2>do as a child, or when I was trick or treating,

465
00:21:21.200 --> 00:21:24.720
<v Speaker 2>and those are conversations you just don't have with anyone,

466
00:21:25.359 --> 00:21:29.160
<v Speaker 2>and you find, especially in radio, you will get to know,

467
00:21:29.400 --> 00:21:31.440
<v Speaker 2>and it's a relationship that goes back and forth.

468
00:21:31.480 --> 00:21:33.519
<v Speaker 3>I learn more about you and you learn more about

469
00:21:33.559 --> 00:21:34.240
<v Speaker 3>me as well.

470
00:21:34.799 --> 00:21:39.519
<v Speaker 2>And with that in mind, Stephen who not only is

471
00:21:39.559 --> 00:21:42.079
<v Speaker 2>the technical director for the Tim Conway Junior Show, but

472
00:21:42.200 --> 00:21:44.000
<v Speaker 2>is also our technical director.

473
00:21:44.079 --> 00:21:46.279
<v Speaker 3>He wears the literal.

474
00:21:45.920 --> 00:21:50.680
<v Speaker 2>Definition of many hats, and he is not someone that

475
00:21:50.720 --> 00:21:54.680
<v Speaker 2>you're often going to see in public on a microphone.

476
00:21:55.119 --> 00:21:58.400
<v Speaker 3>So, like Mark Runner, this is a special occasion.

477
00:21:59.279 --> 00:22:05.559
<v Speaker 2>You may not ever see this again, right, Yeah, exactly, so, Stephan,

478
00:22:05.680 --> 00:22:09.319
<v Speaker 2>I don't even know your full radio story. Like I've

479
00:22:09.319 --> 00:22:11.440
<v Speaker 2>talked to Mark Runner who's back with us, and he's

480
00:22:11.440 --> 00:22:14.160
<v Speaker 2>told us some of his story, but your story as

481
00:22:14.160 --> 00:22:16.279
<v Speaker 2>far as how you found your way into radio.

482
00:22:16.839 --> 00:22:20.920
<v Speaker 6>I essentially just started listening to podcasts for from about

483
00:22:20.920 --> 00:22:23.119
<v Speaker 6>two thousand and five two thousand and six, fell in

484
00:22:23.119 --> 00:22:28.400
<v Speaker 6>love with it, started applying to different local podcast companies.

485
00:22:28.799 --> 00:22:31.720
<v Speaker 6>I got hireds a intern, then quickly a producer, then

486
00:22:31.799 --> 00:22:35.160
<v Speaker 6>quickly a program director. Then it all fell apart and

487
00:22:35.200 --> 00:22:38.440
<v Speaker 6>then had to start all over again, and then got

488
00:22:38.480 --> 00:22:43.279
<v Speaker 6>into almost actually a competitor series XM, but it didn't

489
00:22:43.319 --> 00:22:47.000
<v Speaker 6>work out because the pandemic happened, So then I had

490
00:22:47.039 --> 00:22:50.599
<v Speaker 6>to wait around. I kept applying, like they were saying before,

491
00:22:50.759 --> 00:22:54.480
<v Speaker 6>get used to knows, get used to failures and.

492
00:22:54.440 --> 00:22:56.200
<v Speaker 3>All that, because it took a lot.

493
00:22:56.519 --> 00:22:59.400
<v Speaker 6>And one day I get an email that I legitimately

494
00:22:59.440 --> 00:23:03.680
<v Speaker 6>thought was bam asking me to come on as a

495
00:23:03.720 --> 00:23:08.119
<v Speaker 6>technical director board op for KFI. Replied, because you never know,

496
00:23:08.480 --> 00:23:10.960
<v Speaker 6>and that ended up being the beginning of my journey

497
00:23:10.960 --> 00:23:11.640
<v Speaker 6>here at KFI.

498
00:23:12.160 --> 00:23:16.160
<v Speaker 2>I gotta ask, Yeah, you can go ahead, applaud that absolutely.

499
00:23:17.039 --> 00:23:20.160
<v Speaker 2>I gotta ask because some of us are in radio

500
00:23:20.359 --> 00:23:23.359
<v Speaker 2>intentionally and some of us are biding our time in

501
00:23:23.480 --> 00:23:25.680
<v Speaker 2>radio because they want to do other things. I get

502
00:23:25.720 --> 00:23:27.799
<v Speaker 2>the sense, now that I've worked with you a couple

503
00:23:27.839 --> 00:23:29.839
<v Speaker 2>of years, that you love radio.

504
00:23:30.160 --> 00:23:31.160
<v Speaker 3>I really do. Yeah.

505
00:23:31.279 --> 00:23:34.759
<v Speaker 6>I mean that's kind of what because from well my generation,

506
00:23:35.000 --> 00:23:37.920
<v Speaker 6>it started with podcasting, but I listened to talk radio

507
00:23:38.079 --> 00:23:41.079
<v Speaker 6>even before that, and I always loved it, and I

508
00:23:41.079 --> 00:23:45.119
<v Speaker 6>always loved the like I said, theater of radio just

509
00:23:45.160 --> 00:23:46.519
<v Speaker 6>how we have to listen to it, but you have

510
00:23:46.559 --> 00:23:49.000
<v Speaker 6>to have descriptions of it. And you know, working with

511
00:23:49.039 --> 00:23:51.839
<v Speaker 6>people like Mo and Tim, it's been great because they

512
00:23:52.039 --> 00:23:54.240
<v Speaker 6>put on such a fantastic show and they give you

513
00:23:54.319 --> 00:23:57.079
<v Speaker 6>the it's like you're in the room so that's what

514
00:23:57.119 --> 00:23:58.640
<v Speaker 6>I really appreciate about it, what.

515
00:23:58.680 --> 00:24:01.599
<v Speaker 2>I appreciate most about Step And I know Toiwala knows

516
00:24:01.640 --> 00:24:03.400
<v Speaker 2>this to be true because we've talked about it in

517
00:24:03.440 --> 00:24:05.680
<v Speaker 2>a number of times. When we first started working together,

518
00:24:06.200 --> 00:24:08.119
<v Speaker 2>it took us a minute to get a rhythm, so

519
00:24:08.160 --> 00:24:10.279
<v Speaker 2>we can get a feel for each other. And I

520
00:24:10.440 --> 00:24:13.000
<v Speaker 2>was telling you as far as if I make a

521
00:24:13.079 --> 00:24:15.240
<v Speaker 2>music reference, don't wait for me, just go ahead and

522
00:24:15.279 --> 00:24:20.039
<v Speaker 2>play it. Because if I say, you know, any song,

523
00:24:20.200 --> 00:24:23.079
<v Speaker 2>like a disco song or something, and the audience doesn't

524
00:24:23.079 --> 00:24:26.480
<v Speaker 2>readily recognize it, they want to know exactly what song

525
00:24:26.480 --> 00:24:27.400
<v Speaker 2>I'm talking about, So just.

526
00:24:27.400 --> 00:24:28.200
<v Speaker 3>Go ahead and play it.

527
00:24:28.559 --> 00:24:33.240
<v Speaker 2>And he was so good at that, finding the music

528
00:24:33.279 --> 00:24:35.920
<v Speaker 2>and immediately playing it. He was one of the few

529
00:24:35.920 --> 00:24:39.039
<v Speaker 2>people who understood me just immediately, and that helped the

530
00:24:39.119 --> 00:24:42.319
<v Speaker 2>show grow. If I make some obscure reference to something,

531
00:24:42.359 --> 00:24:44.200
<v Speaker 2>I don't need to even tell him. If I make

532
00:24:44.279 --> 00:24:47.359
<v Speaker 2>reference to an old commercial pepto bismol or something, he

533
00:24:47.440 --> 00:24:50.119
<v Speaker 2>will go find it. And it made the show all

534
00:24:50.160 --> 00:24:52.160
<v Speaker 2>that much better. And then when you had someone like

535
00:24:52.240 --> 00:24:56.559
<v Speaker 2>Mark Ronner who had his own library of obscure references,

536
00:24:56.880 --> 00:24:59.160
<v Speaker 2>he knew to do that as well, and so it

537
00:24:59.240 --> 00:25:03.759
<v Speaker 2>made the whole show so much better. And he's another individual.

538
00:25:03.960 --> 00:25:06.640
<v Speaker 2>If you like anything about this show, it has a

539
00:25:06.640 --> 00:25:09.039
<v Speaker 2>lot to do with this guy right here, and.

540
00:25:09.079 --> 00:25:13.400
<v Speaker 3>He deserves his flowers. He absolutely deserves his flowers. Thank you.

541
00:25:14.319 --> 00:25:17.039
<v Speaker 2>Now we have to work out something that's gonna get uncomfortable.

542
00:25:18.519 --> 00:25:20.480
<v Speaker 2>If you listen to the show, you know that Mark

543
00:25:20.519 --> 00:25:22.799
<v Speaker 2>and I are going back and forth. We're battling for

544
00:25:22.880 --> 00:25:26.640
<v Speaker 2>rim shots to see who is funnier. He is the

545
00:25:26.720 --> 00:25:30.000
<v Speaker 2>keeper of the rim shot. He gets to decide whether

546
00:25:30.079 --> 00:25:33.559
<v Speaker 2>something is funny or not. Now we both try to

547
00:25:33.599 --> 00:25:36.640
<v Speaker 2>work the ref and try to cajole him and coerce

548
00:25:36.720 --> 00:25:39.839
<v Speaker 2>him into giving us a rib shot, but he's the

549
00:25:39.880 --> 00:25:42.799
<v Speaker 2>only one who gets to decide if he laughs, and

550
00:25:42.880 --> 00:25:45.599
<v Speaker 2>we can see each other by video monitor. If he laughs,

551
00:25:45.640 --> 00:25:47.960
<v Speaker 2>that means we're supposed to get a rim shot. Now

552
00:25:48.119 --> 00:25:52.079
<v Speaker 2>you get to say who is funnier between Mark and me,

553
00:25:52.759 --> 00:25:54.519
<v Speaker 2>and if you get it wrong.

554
00:25:55.599 --> 00:25:56.960
<v Speaker 3>There's gonna be a misunderstanding.

555
00:25:58.880 --> 00:26:03.440
<v Speaker 5>I want a forensic audit of his bank account because

556
00:26:03.480 --> 00:26:05.480
<v Speaker 5>I think he's in your pocket.

557
00:26:06.039 --> 00:26:07.559
<v Speaker 3>As long as he comes up with the right answer,

558
00:26:07.599 --> 00:26:09.440
<v Speaker 3>I don't care where he is. Yeah, No, Mo is

559
00:26:09.440 --> 00:26:13.039
<v Speaker 3>always the funniest much. Good night, can if I am

560
00:26:15.440 --> 00:26:16.440
<v Speaker 3>nice knowing everybody?

561
00:26:18.400 --> 00:26:22.839
<v Speaker 2>Now, when did you feel comfortable enough Stefan? Because I said,

562
00:26:22.960 --> 00:26:25.839
<v Speaker 2>don't wait for me, just go ahead and trust your gut.

563
00:26:26.160 --> 00:26:27.200
<v Speaker 3>How long did that take you?

564
00:26:28.400 --> 00:26:32.839
<v Speaker 6>I can still actually recall the night that I that

565
00:26:32.960 --> 00:26:36.319
<v Speaker 6>I felt like we connected was when we talked about

566
00:26:37.480 --> 00:26:41.000
<v Speaker 6>something had to do with ice Cube and Tucker Carlson,

567
00:26:41.519 --> 00:26:44.799
<v Speaker 6>and we were talking about how, uh you know, ice

568
00:26:44.799 --> 00:26:46.559
<v Speaker 6>Cube can't pretend that he's this and they also be

569
00:26:46.599 --> 00:26:49.480
<v Speaker 6>tending in this side. And as you finished your sentence,

570
00:26:49.480 --> 00:26:51.640
<v Speaker 6>I don't know if you remember it, I started just

571
00:26:51.640 --> 00:26:57.440
<v Speaker 6>bringing up uh nwa ice Cube's lyric and you guys

572
00:26:57.480 --> 00:26:59.680
<v Speaker 6>lost your mind when we went to the break, And

573
00:26:59.720 --> 00:27:01.319
<v Speaker 6>after that, I was like, I know.

574
00:27:01.440 --> 00:27:03.720
<v Speaker 2>What to do, yeah, because I don't have time to

575
00:27:03.799 --> 00:27:06.400
<v Speaker 2>talk about it on air, then find it on the computer,

576
00:27:06.799 --> 00:27:09.279
<v Speaker 2>then play it, and also stay in the thought of

577
00:27:09.680 --> 00:27:12.839
<v Speaker 2>the moment. So he has to be my third arm,

578
00:27:12.920 --> 00:27:16.279
<v Speaker 2>if you will, and keep the show moving. And I

579
00:27:16.319 --> 00:27:18.920
<v Speaker 2>know it's even more difficult because, as I said, Mark

580
00:27:18.920 --> 00:27:22.319
<v Speaker 2>will have his own references, and you know, with your

581
00:27:22.359 --> 00:27:25.039
<v Speaker 2>skill you manage to be able to pull up any

582
00:27:25.039 --> 00:27:27.640
<v Speaker 2>of our references within a reasonable amount of time. Like

583
00:27:27.680 --> 00:27:30.599
<v Speaker 2>I may say, you know the Gloria Gainer song I

584
00:27:30.680 --> 00:27:33.440
<v Speaker 2>Will Survive or what have you, and I will start

585
00:27:34.079 --> 00:27:37.680
<v Speaker 2>just spitballing and sort of just just sort of vamping

586
00:27:37.920 --> 00:27:41.519
<v Speaker 2>until you find the song. But we have these recurring jokes,

587
00:27:41.519 --> 00:27:43.400
<v Speaker 2>and it's a lot of times because he is so

588
00:27:43.559 --> 00:27:46.200
<v Speaker 2>good at being able to find material in a short

589
00:27:46.200 --> 00:27:48.599
<v Speaker 2>amount of time. You may not know that, but that's

590
00:27:48.720 --> 00:27:51.160
<v Speaker 2>part of the behind the scenes in terms of the magic.

591
00:27:51.480 --> 00:27:53.400
<v Speaker 2>And there are times that I'll go back and listen

592
00:27:53.400 --> 00:27:56.480
<v Speaker 2>to the podcast and I will laugh out loud because

593
00:27:56.519 --> 00:27:59.039
<v Speaker 2>he will have done something that I didn't hear in

594
00:27:59.079 --> 00:28:01.559
<v Speaker 2>the course of doing the show live. It's a very

595
00:28:01.559 --> 00:28:04.160
<v Speaker 2>different show when you're listening to it as opposed to

596
00:28:04.200 --> 00:28:08.079
<v Speaker 2>actually doing it. And when he makes me laugh out loud,

597
00:28:08.359 --> 00:28:11.279
<v Speaker 2>I know that he's adding something to the show. This

598
00:28:11.359 --> 00:28:14.319
<v Speaker 2>guy never makes me laugh, but this guy always makes

599
00:28:14.359 --> 00:28:16.480
<v Speaker 2>me laugh because when he laughs, it's.

600
00:28:16.440 --> 00:28:18.960
<v Speaker 3>Genuine there we go ripshot and everything.

601
00:28:19.680 --> 00:28:22.799
<v Speaker 2>When Stephen actually laughs, you know, okay, he's not laughing

602
00:28:22.839 --> 00:28:25.559
<v Speaker 2>for effect, he's not laughing to please anyone. He's laughing

603
00:28:25.559 --> 00:28:28.599
<v Speaker 2>because it's genuinely funny and the hardest part of radio.

604
00:28:29.480 --> 00:28:32.519
<v Speaker 2>And I don't know if if anyone really understands, it's

605
00:28:32.559 --> 00:28:34.599
<v Speaker 2>the hardest part of radios. You're in this box, and

606
00:28:34.640 --> 00:28:36.880
<v Speaker 2>you get to see the box when we do the

607
00:28:36.920 --> 00:28:41.000
<v Speaker 2>tour of the studios after the show. You're talking pretty

608
00:28:41.039 --> 00:28:44.240
<v Speaker 2>much to a wall, and the wall doesn't talk back

609
00:28:44.279 --> 00:28:44.480
<v Speaker 2>to you.

610
00:28:44.880 --> 00:28:46.440
<v Speaker 3>The wall doesn't give you any feedback.

611
00:28:46.480 --> 00:28:49.079
<v Speaker 2>The wall doesn't laugh, the wall doesn't say and that

612
00:28:49.160 --> 00:28:51.359
<v Speaker 2>was kind of funny on the wall doesn't say that

613
00:28:51.480 --> 00:28:55.799
<v Speaker 2>really sucked. You just have to look for any type

614
00:28:55.799 --> 00:28:59.920
<v Speaker 2>of feedback which is available, and he'll give it to us.

615
00:29:00.000 --> 00:29:02.519
<v Speaker 2>He's not funny, he's just not paying attention. He's just

616
00:29:02.880 --> 00:29:05.279
<v Speaker 2>off in his own world. You realize, Okay, that's not working,

617
00:29:05.359 --> 00:29:08.839
<v Speaker 2>let's move on. But he is someone that helps the

618
00:29:08.960 --> 00:29:11.720
<v Speaker 2>show grow from night tonight tonight.

619
00:29:12.839 --> 00:29:14.960
<v Speaker 5>I feel like earlier you were building up to sing

620
00:29:14.960 --> 00:29:16.680
<v Speaker 5>in the diarrhea song, and I kind of want to

621
00:29:16.720 --> 00:29:19.240
<v Speaker 5>hear that diarrhea.

622
00:29:20.359 --> 00:29:22.519
<v Speaker 3>Okay, thank you, you're welcome. Now.

623
00:29:22.920 --> 00:29:25.319
<v Speaker 5>Fush is fast on the YouTube trigger, and you can

624
00:29:25.359 --> 00:29:27.680
<v Speaker 5>tell how fast he is by the way we screw

625
00:29:27.680 --> 00:29:29.880
<v Speaker 5>it up when we try it. Like I tried to

626
00:29:29.960 --> 00:29:32.839
<v Speaker 5>hit a needle scratching across a record effect last week,

627
00:29:33.079 --> 00:29:34.839
<v Speaker 5>and of course it went Haywire, and we made a

628
00:29:34.920 --> 00:29:38.079
<v Speaker 5>joke about that because we're so inept with the technical stuff.

629
00:29:38.079 --> 00:29:41.440
<v Speaker 5>But Fush is an expert at that. He's a savant

630
00:29:41.480 --> 00:29:41.720
<v Speaker 5>at that.

631
00:29:41.920 --> 00:29:44.759
<v Speaker 2>So when we say he's the technical director, we mean

632
00:29:44.880 --> 00:29:47.039
<v Speaker 2>that when we're trying to get in and out of breaks,

633
00:29:47.039 --> 00:29:48.799
<v Speaker 2>when we're coming back from break, he's the one who's

634
00:29:48.839 --> 00:29:51.720
<v Speaker 2>playing the bumper. He's the one who is playing any

635
00:29:51.720 --> 00:29:54.519
<v Speaker 2>type of the media that you hear during the show.

636
00:29:54.880 --> 00:29:56.839
<v Speaker 2>There are the times that I'll play audio and you'll

637
00:29:56.880 --> 00:29:58.440
<v Speaker 2>hear me mess it up, like, oh, and I blame

638
00:29:58.480 --> 00:30:00.559
<v Speaker 2>it on the computer. No, it's actually me because I'm

639
00:30:00.640 --> 00:30:02.720
<v Speaker 2>I'm an idiot when it comes to that stuff. True,

640
00:30:02.759 --> 00:30:05.559
<v Speaker 2>I'll mess it up. All I'm hidden is the space bar.

641
00:30:05.880 --> 00:30:08.640
<v Speaker 2>There's really nothing to mess up. So if it doesn't play,

642
00:30:08.720 --> 00:30:11.799
<v Speaker 2>it is my fault. That's our secret. Don't tell anyone else.

643
00:30:12.400 --> 00:30:15.440
<v Speaker 2>But the show when it's at its best is because

644
00:30:15.680 --> 00:30:19.240
<v Speaker 2>Stephan is dialed in and and true story, I refuse

645
00:30:19.279 --> 00:30:21.359
<v Speaker 2>to call you Stuffush because that's what Tim Conway Junior

646
00:30:21.440 --> 00:30:21.839
<v Speaker 2>calls you.

647
00:30:22.079 --> 00:30:23.920
<v Speaker 3>That's your love story between you and him.

648
00:30:24.000 --> 00:30:26.359
<v Speaker 2>Okay, you're Stephan to me because what you do for

649
00:30:26.400 --> 00:30:28.759
<v Speaker 2>me is different from what you do for Tim Conway Jr.

650
00:30:28.839 --> 00:30:31.119
<v Speaker 3>No disrespect, but I always try to keep that separate.

651
00:30:31.119 --> 00:30:35.160
<v Speaker 2>But what Stephan does is he I think what works

652
00:30:35.240 --> 00:30:38.400
<v Speaker 2>best is to Wallace sense of humor is very similar

653
00:30:38.440 --> 00:30:41.400
<v Speaker 2>to my sense of humor, which is very similar to

654
00:30:41.440 --> 00:30:43.839
<v Speaker 2>his sense of humor, and very similar to Mark sense

655
00:30:43.880 --> 00:30:47.640
<v Speaker 2>of humor. So we kind of know where a joke

656
00:30:47.720 --> 00:30:50.000
<v Speaker 2>or a bit is going to go and something else.

657
00:30:50.039 --> 00:30:53.000
<v Speaker 2>When we're doing humor, there is a science to it.

658
00:30:53.480 --> 00:30:55.680
<v Speaker 2>We can't all try to be funny at the same time.

659
00:30:56.279 --> 00:30:58.240
<v Speaker 2>So if there's a time where Mark, I know, is

660
00:30:58.279 --> 00:30:59.960
<v Speaker 2>really hitting it and he has a lot of joke

661
00:31:00.200 --> 00:31:03.200
<v Speaker 2>coming one after the other, day after the other, I

662
00:31:03.279 --> 00:31:05.359
<v Speaker 2>know I have to play the straight man because when

663
00:31:05.359 --> 00:31:07.759
<v Speaker 2>everyone's trying to be funny, that means nobody's gonna be funny.

664
00:31:08.000 --> 00:31:10.519
<v Speaker 2>So there are times where I'm running the jokes and

665
00:31:10.559 --> 00:31:14.200
<v Speaker 2>then Mark will be the straight man and vice versa.

666
00:31:14.319 --> 00:31:17.160
<v Speaker 2>And that's how the magic works behind the scenes. And

667
00:31:17.200 --> 00:31:21.599
<v Speaker 2>if I can get someone like you to laugh, and

668
00:31:21.680 --> 00:31:25.759
<v Speaker 2>I'll hear from you through an Instagram message or a

669
00:31:25.799 --> 00:31:29.079
<v Speaker 2>Facebook message, or if we should be talking on the phone,

670
00:31:29.160 --> 00:31:31.039
<v Speaker 2>or name that movie called classic, like we'll do at

671
00:31:31.039 --> 00:31:34.359
<v Speaker 2>the end of the week. That means everything to me

672
00:31:35.160 --> 00:31:38.720
<v Speaker 2>because to believe, to know that you've brought some sort

673
00:31:38.720 --> 00:31:42.279
<v Speaker 2>of affirmative joy in someone's life to make them laugh

674
00:31:42.319 --> 00:31:45.640
<v Speaker 2>out loud, not only is that almost impossible to do

675
00:31:45.720 --> 00:31:49.440
<v Speaker 2>in today's world, it is a wonderful feeling to know.

676
00:31:50.039 --> 00:31:54.039
<v Speaker 2>So when I know that he is laughing, or you're laughing,

677
00:31:54.400 --> 00:31:57.720
<v Speaker 2>or if I'm laughing, even on listening to the podcast,

678
00:31:57.759 --> 00:32:00.119
<v Speaker 2>I know that we're doing something just a little right

679
00:32:00.160 --> 00:32:03.440
<v Speaker 2>and seeing you all here tonight is the feedback that

680
00:32:03.519 --> 00:32:07.160
<v Speaker 2>we all want and love. So once again, thank you

681
00:32:07.160 --> 00:32:10.599
<v Speaker 2>for coming out tonight. We have one more segment here

682
00:32:10.599 --> 00:32:13.920
<v Speaker 2>on Later with mo Kelly for this Halloween swore a

683
00:32:14.200 --> 00:32:18.079
<v Speaker 2>special caf I AM six forty Live everywhere on the

684
00:32:18.119 --> 00:32:19.200
<v Speaker 2>iHeartRadio app.

685
00:32:19.599 --> 00:32:23.160
<v Speaker 1>You're listening to Later with Moe Kelly on demand from

686
00:32:23.279 --> 00:32:24.839
<v Speaker 1>KFI AM six forty.

687
00:32:29.079 --> 00:32:31.880
<v Speaker 3>I AM six forty is Later with mo Kelly Halloween Special.

688
00:32:31.920 --> 00:32:35.119
<v Speaker 2>We're live everywhere the iHeartRadio app and joining me right now,

689
00:32:35.359 --> 00:32:35.799
<v Speaker 2>and it's.

690
00:32:35.680 --> 00:32:37.440
<v Speaker 3>Only appropriate that we're joined by the.

691
00:32:37.359 --> 00:32:42.400
<v Speaker 2>One, the only, George Norrie of Coast to Coast. Am George,

692
00:32:42.400 --> 00:32:43.319
<v Speaker 2>how you doing, sir.

693
00:32:46.599 --> 00:32:47.200
<v Speaker 3>Georgia? There?

694
00:32:49.680 --> 00:32:52.200
<v Speaker 2>Yeah, technical difficulties that's what happens with live radio. I

695
00:32:52.240 --> 00:32:59.920
<v Speaker 2>cannot hear George George going once yes, someone might have

696
00:32:59.920 --> 00:33:01.119
<v Speaker 2>abducted George.

697
00:33:01.680 --> 00:33:03.519
<v Speaker 3>Well we tried, we tried.

698
00:33:04.359 --> 00:33:06.799
<v Speaker 2>Before we get out of here, I do want to

699
00:33:06.839 --> 00:33:09.319
<v Speaker 2>say once again, we want to spend a Senday special.

700
00:33:09.319 --> 00:33:12.480
<v Speaker 2>Thanks to Bjay's Restaurants for setting our party up with pizza,

701
00:33:12.559 --> 00:33:17.200
<v Speaker 2>wings and salad for the Halloween soare hope you enjoyed.

702
00:33:16.920 --> 00:33:18.039
<v Speaker 3>That, And of course.

703
00:33:19.240 --> 00:33:23.440
<v Speaker 2>Ron Ross with Wendy's for the great food and the

704
00:33:23.519 --> 00:33:28.759
<v Speaker 2>spread this evening. And also to Walla Sharp, where did

705
00:33:28.799 --> 00:33:31.440
<v Speaker 2>you go? Did he leave already? Okay, he's around here somewhere.

706
00:33:31.759 --> 00:33:34.599
<v Speaker 2>We'll get tawallap here to give his final thoughts. Mark

707
00:33:34.640 --> 00:33:36.359
<v Speaker 2>your final thoughts on this evening in this.

708
00:33:36.319 --> 00:33:38.359
<v Speaker 5>Show too, I think George bailed on us because he

709
00:33:38.359 --> 00:33:39.000
<v Speaker 5>heard the show.

710
00:33:40.039 --> 00:33:44.480
<v Speaker 2>Probably probably see see how he treats me. It's okay,

711
00:33:44.640 --> 00:33:45.480
<v Speaker 2>it's okay.

712
00:33:45.799 --> 00:33:48.000
<v Speaker 5>We didn't want tonight to be any different than a

713
00:33:48.000 --> 00:33:48.519
<v Speaker 5>normal night.

714
00:33:48.599 --> 00:33:48.720
<v Speaker 3>Now.

715
00:33:48.799 --> 00:33:51.160
<v Speaker 2>This is this is how we rib each other every

716
00:33:51.480 --> 00:33:53.160
<v Speaker 2>single day on the air.

717
00:33:53.240 --> 00:33:54.160
<v Speaker 3>Off the air, we.

718
00:33:54.119 --> 00:33:57.160
<v Speaker 5>Actually have conversations about, Oh Jesus, what's Georgia gonna think

719
00:33:57.200 --> 00:33:59.519
<v Speaker 5>of the craft we've been talking about, right, now he

720
00:33:59.559 --> 00:34:00.839
<v Speaker 5>wants no part of this, right.

721
00:34:00.960 --> 00:34:03.799
<v Speaker 2>Yeah, if the show gets a little too risky, then

722
00:34:04.400 --> 00:34:06.240
<v Speaker 2>we know to leave George out of it, because.

723
00:34:06.160 --> 00:34:10.000
<v Speaker 5>George scold's callers when they say something innocuous like crap

724
00:34:10.039 --> 00:34:11.639
<v Speaker 5>on there, he'll just stop the car.

725
00:34:11.920 --> 00:34:12.920
<v Speaker 3>He will, he will.

726
00:34:13.519 --> 00:34:16.480
<v Speaker 7>Yeah, I've heard him say, hey, watch that language, yes,

727
00:34:16.840 --> 00:34:18.880
<v Speaker 7>like crap you know.

728
00:34:18.960 --> 00:34:20.840
<v Speaker 2>And and we eat a little blue with our language.

729
00:34:20.840 --> 00:34:22.920
<v Speaker 2>Every now and then we like to push the envelope.

730
00:34:22.920 --> 00:34:24.760
<v Speaker 2>We try to get right up to the line.

731
00:34:25.159 --> 00:34:25.360
<v Speaker 3>You know.

732
00:34:25.719 --> 00:34:27.880
<v Speaker 2>I'll let a mother father know, you know, every once

733
00:34:27.920 --> 00:34:32.039
<v Speaker 2>in a while sometimes we go almost read almost almost

734
00:34:32.079 --> 00:34:34.360
<v Speaker 2>And I know my program director Robin Berta Lucci want

735
00:34:34.400 --> 00:34:34.880
<v Speaker 2>to thank her.

736
00:34:34.960 --> 00:34:37.920
<v Speaker 3>She will sit me down and saying, no, you can't.

737
00:34:38.400 --> 00:34:41.280
<v Speaker 3>You can't use that language. So why I'm not saying

738
00:34:41.320 --> 00:34:43.119
<v Speaker 3>the words that you have? But other people know what

739
00:34:43.159 --> 00:34:46.840
<v Speaker 3>you mean, and you know, if they're not only really

740
00:34:46.840 --> 00:34:48.880
<v Speaker 3>paying attention, they think you actually said the word.

741
00:34:48.880 --> 00:34:51.119
<v Speaker 2>And then I get the email and I get the complaints,

742
00:34:51.199 --> 00:34:53.719
<v Speaker 2>and then I got to come back to you, and

743
00:34:53.760 --> 00:34:54.280
<v Speaker 2>I just want to.

744
00:34:54.199 --> 00:34:56.559
<v Speaker 3>Avoid all that. Okay, Well, let that mother father know

745
00:34:56.639 --> 00:34:59.760
<v Speaker 3>that is I'm not going to change. Get over them.

746
00:34:59.840 --> 00:35:04.960
<v Speaker 3>Da the kissed my ass. I'm sorry, as we were.

747
00:35:04.880 --> 00:35:11.599
<v Speaker 2>Saying, and I wanted to make sure that you, Tula,

748
00:35:11.679 --> 00:35:14.320
<v Speaker 2>got your flowers as well, because we talked about.

749
00:35:14.000 --> 00:35:17.440
<v Speaker 3>This many many, many many years ago when.

750
00:35:17.320 --> 00:35:19.800
<v Speaker 2>Twala Sharp first came to KFI, I had been here

751
00:35:20.000 --> 00:35:23.639
<v Speaker 2>not much longer before him, and I said, Tula, I'm

752
00:35:23.639 --> 00:35:26.239
<v Speaker 2>trying to do this new thing, talk radio. Make it

753
00:35:26.360 --> 00:35:28.599
<v Speaker 2>sound a little bit different. It's going to be different

754
00:35:28.880 --> 00:35:31.639
<v Speaker 2>because we came from a music environment. I was working

755
00:35:31.920 --> 00:35:35.239
<v Speaker 2>with the great music labels and he was working in

756
00:35:35.280 --> 00:35:38.760
<v Speaker 2>commercial radio and where I came from. They said, you

757
00:35:38.880 --> 00:35:44.480
<v Speaker 2>can't have music on talk radio, true story, right. They

758
00:35:44.519 --> 00:35:46.920
<v Speaker 2>did not want to have music outside of bumpers. You

759
00:35:46.920 --> 00:35:51.599
<v Speaker 2>wouldn't have music conversations, You wouldn't feature music as part

760
00:35:51.719 --> 00:35:55.119
<v Speaker 2>of the show, either in topic of discussion or in

761
00:35:55.159 --> 00:35:57.920
<v Speaker 2>the background. And I said, no, that doesn't have to

762
00:35:57.960 --> 00:35:59.960
<v Speaker 2>be like that. There's a space in place for that.

763
00:36:00.079 --> 00:36:03.159
<v Speaker 2>There's a way that you can have different conversations where

764
00:36:03.159 --> 00:36:08.119
<v Speaker 2>we're not just mad about everything all day long, every

765
00:36:08.599 --> 00:36:09.840
<v Speaker 2>single day.

766
00:36:10.360 --> 00:36:11.679
<v Speaker 3>That doesn't have to be talk radio.

767
00:36:11.760 --> 00:36:13.800
<v Speaker 2>And I was talking about that what Twala said, there's

768
00:36:13.800 --> 00:36:17.400
<v Speaker 2>an opportunity for us to change the way talk radio sounds.

769
00:36:17.920 --> 00:36:23.599
<v Speaker 2>This right, now this today is the embodiment of that,

770
00:36:23.960 --> 00:36:25.880
<v Speaker 2>where there's something just a little bit more joyful, a

771
00:36:25.920 --> 00:36:29.000
<v Speaker 2>little bit less angry, a little bit more inclusive, and

772
00:36:29.039 --> 00:36:31.480
<v Speaker 2>where you get to hear different voices and I mean

773
00:36:31.519 --> 00:36:35.199
<v Speaker 2>different voices, color, texture, huge viewpoints, all of those things,

774
00:36:35.239 --> 00:36:38.599
<v Speaker 2>because I think everyone has something worthy to add to

775
00:36:38.719 --> 00:36:41.440
<v Speaker 2>the conversation. And it's not like we're gonna leave here

776
00:36:41.440 --> 00:36:44.960
<v Speaker 2>and we're gonna agree on everything. Okay, I oftentimes don't

777
00:36:45.000 --> 00:36:46.960
<v Speaker 2>agree with myself the things that I believe. Last week

778
00:36:47.159 --> 00:36:49.920
<v Speaker 2>new information, I may feel differently about it, and it's

779
00:36:49.960 --> 00:36:54.960
<v Speaker 2>okay because that's how we all grow together. And Tuala

780
00:36:55.079 --> 00:36:57.679
<v Speaker 2>has been very much a part of this every step

781
00:36:57.719 --> 00:37:01.519
<v Speaker 2>of the way, and there have been obstacles every step

782
00:37:02.039 --> 00:37:04.280
<v Speaker 2>of the way. People say, you know my glory, but

783
00:37:04.320 --> 00:37:06.239
<v Speaker 2>you don't know the story. You know, this has been

784
00:37:06.280 --> 00:37:08.239
<v Speaker 2>a long time coming to get to this point, and

785
00:37:08.280 --> 00:37:11.199
<v Speaker 2>you need to have someone who's with you in your corner,

786
00:37:11.719 --> 00:37:15.679
<v Speaker 2>who beyond you, will fight with you, not just fight

787
00:37:15.760 --> 00:37:18.480
<v Speaker 2>for you, but fight with you. So brother, I wanted

788
00:37:18.480 --> 00:37:20.760
<v Speaker 2>to thank you for fighting with me each step of

789
00:37:20.840 --> 00:37:21.159
<v Speaker 2>the way.

790
00:37:21.280 --> 00:37:22.440
<v Speaker 3>No, I appreciate that.

791
00:37:23.639 --> 00:37:29.280
<v Speaker 7>I wholeheartedly appreciate that, and that right there is what

792
00:37:29.519 --> 00:37:32.880
<v Speaker 7>had me come over because my background was in urban

793
00:37:32.960 --> 00:37:35.760
<v Speaker 7>music radio. And when he asked me to come over

794
00:37:35.800 --> 00:37:40.039
<v Speaker 7>to KFI, I was like, no, like I cannot come

795
00:37:40.039 --> 00:37:43.519
<v Speaker 7>to CAFI. And I remember he got the same comments

796
00:37:43.559 --> 00:37:46.639
<v Speaker 7>that this is a career in her you go to

797
00:37:46.960 --> 00:37:48.280
<v Speaker 7>talk radio, this, that and the other.

798
00:37:48.360 --> 00:37:52.119
<v Speaker 3>You'll never come back to music. You're ending your career.

799
00:37:52.199 --> 00:37:52.920
<v Speaker 3>What are you doing?

800
00:37:53.199 --> 00:37:56.840
<v Speaker 7>That's that's where people go to dying radio. And mostly

801
00:37:56.920 --> 00:38:00.400
<v Speaker 7>she said, no, Tea, if we do this right, we

802
00:38:00.440 --> 00:38:04.199
<v Speaker 7>can do something special. We can change the landscape, we

803
00:38:04.280 --> 00:38:07.599
<v Speaker 7>can change the nature of the conversation and feature and

804
00:38:07.679 --> 00:38:10.679
<v Speaker 7>do things on radio that have never been done before.

805
00:38:10.920 --> 00:38:13.400
<v Speaker 7>And when he said it, he was so sincere, so

806
00:38:13.599 --> 00:38:18.639
<v Speaker 7>passionate about it. I said, man, let's go. And this

807
00:38:18.800 --> 00:38:22.519
<v Speaker 7>by far has been the greatest journey in my now

808
00:38:22.559 --> 00:38:26.320
<v Speaker 7>going on close to thirty year radio career, where I'm

809
00:38:26.400 --> 00:38:29.639
<v Speaker 7>just like, every single day this is a joy. We

810
00:38:29.760 --> 00:38:32.280
<v Speaker 7>have fought long and hard to get to the point

811
00:38:32.320 --> 00:38:35.519
<v Speaker 7>where we can have a Monday through Friday show and

812
00:38:35.639 --> 00:38:38.480
<v Speaker 7>every Saturday we would come on when we just had Saturdays,

813
00:38:38.519 --> 00:38:41.440
<v Speaker 7>we would treat Saturdays like it was Monday through Friday.

814
00:38:41.480 --> 00:38:44.119
<v Speaker 7>We would prepare all week for one night of a

815
00:38:44.119 --> 00:38:46.639
<v Speaker 7>week just to say we have to show and prove.

816
00:38:46.760 --> 00:38:49.239
<v Speaker 7>That was our demo, that was our chance. And when

817
00:38:49.239 --> 00:38:51.400
<v Speaker 7>they gave us this, we were all ready to go

818
00:38:51.800 --> 00:38:53.440
<v Speaker 7>late night television.

819
00:38:52.920 --> 00:38:53.920
<v Speaker 3>On the radio. YEP.

820
00:38:54.119 --> 00:38:56.280
<v Speaker 7>That's what we envision and that's what we try to

821
00:38:56.280 --> 00:38:57.920
<v Speaker 7>bring to the airwaves every day.

822
00:38:58.159 --> 00:38:59.679
<v Speaker 3>So really it's always.

823
00:38:59.320 --> 00:39:02.079
<v Speaker 7>My pleasure to have been invited on this journey and

824
00:39:02.159 --> 00:39:04.239
<v Speaker 7>to be able to share these moments with you all.

825
00:39:04.280 --> 00:39:07.679
<v Speaker 7>Thank you all for coming out tonight. This is literally

826
00:39:07.960 --> 00:39:09.679
<v Speaker 7>a dream come true.

827
00:39:10.039 --> 00:39:14.280
<v Speaker 2>So we're gonna keep the dream alive the first annual

828
00:39:14.679 --> 00:39:17.880
<v Speaker 2>Later with Moe Kelly Halloween sore. So I guess that

829
00:39:17.960 --> 00:39:20.320
<v Speaker 2>means we're gonna see you next year, right around this time.

830
00:39:20.199 --> 00:39:22.559
<v Speaker 3>Right again.

831
00:39:22.639 --> 00:39:24.360
<v Speaker 2>Before we get out of here, we gotta say thank

832
00:39:24.400 --> 00:39:27.039
<v Speaker 2>you to BJ's Restaurants for setting our party up with pizza,

833
00:39:27.079 --> 00:39:30.119
<v Speaker 2>wings and salad for this Sarra, thank you to Wendy's

834
00:39:30.440 --> 00:39:33.800
<v Speaker 2>and more, and thank you to you. Now let's go

835
00:39:33.920 --> 00:39:37.119
<v Speaker 2>to the after party, not the p Diddy party. After party.

836
00:39:38.199 --> 00:39:46.679
<v Speaker 2>AM okay, you're leaving now, KM I am six forty.

837
00:39:46.719 --> 00:39:49.480
<v Speaker 3>We are alive everywhere on the iHeartRadio app.

838
00:39:50.079 --> 00:39:53.639
<v Speaker 1>You're listening to Later with Moe Kelly on demand from

839
00:39:53.760 --> 00:39:55.360
<v Speaker 1>KFI AM six forty
