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Speaker 1: Caloroga Shark Media.

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Speaker 2: From old Man Mountain. I'm Johnny Mack with your daily

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comedy News, a daily briefing on stand up comedy, comedians

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and the comedy industry. A sentence the algorithm loves h

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only this first story. I don't even have a comment done.

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But just while we're on old Man Mountain, I was

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at the National Donuts chain and a young lady college

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age pulls up, pulls right into the handicap spot, like

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that's totally okay, gets her coffee, gets back in. You're fine,

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It's all about you, but that's not why we're here.

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On comedy, Nikki Glazer was on Alex Cooper's podcast and

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talked about the wonders of the hot husband fetish. Stay

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with me. Nikki Glazer said, in a relationship, I don't

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really care if my boyfriend were to hook up, but

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that's not a two way street. I'm not someone who

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likes to hook up when I'm in a relationship, but

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I don't really care about that. But I don't care

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if someone else were to. In fact, I kind of

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like it. And again, I live old Man Mountain. That's

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where my head explodes. But okay, you do you Nicki.

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She explained this has been a successful, ongoing thing since

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she got with her boyfriend thirteen years ago. Nicki said,

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I didn't really have a boyfriend before that. I would

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always ask him about past hook ups and girlfriends and

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how they got together, like how did you first know

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you liked each other? I love that. She explains. It

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would make me horny to think about him and doing

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that with other girls, So I'd ask about all his

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girlfriends or anyone who had hooked up, with all the

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details about it, and would really be like a foreplay

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for me. I would get revved up talking about it.

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But you see, then he ran out of stories. Nicki

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Glazer explains, it wasn't as exciting anymore because I was

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getting the same stuff. I had never heard of anything

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like this fetish. As the story goes, Nicki Glazer apparently

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encouraged her boyfriend to come home with more stories. Nicki

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Glazer told Alex Cooper, I want a guy that other

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girls want, but there were rules, you know, rules like

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no kissing. Nicki explained, if a guy has a sexual

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connection with a girl and he wants to use protection

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and just have sex for night, I literally wouldn't care

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if my husband did that, I don't know why. If

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he were to watch the Wire with her, do crossword

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puzzles or send memes or stuff, I'd be like, what

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the aff are you doing? That's our thing. Emotional cheating

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would hurt me. Nicky Glazer as a special coming out

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later this month. This next story, I had to check

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to make sure it wasn't an April Fools story that

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I had missed earlier in the week. But no, the

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date line April seventh. Apparently in the Call of Duty game,

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there's a Dave Chappelle for twenty skin. Apparently you'll be

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able to play Call of Duty while dressed up as

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Thurgood Jenkins, the fictional character from nineteen ninety eight to

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Half Baked played by Dave Chappelle. An Activision blog post

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explains there's something good going on at Frankenson's and BurrH Pharmaceutical,

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and Thurgud Jenkins is right in the middle of it.

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The master of custodial Arts takes his chance to have

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some fun and save a friend memorialized in this bundle,

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inspired by the nineteen ninety eight hit comedy Half Baked. Okay, then,

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Judy Gold tells page six She is shocked by how

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brazen anti semites have become at the city's comedy clubs.

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She said she was performing at the New York Comedy

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Club and audience member shouted out. She tells page six,

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this one guy was being really disruptive, and I said,

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you're annoying a comedian. I was just talking to him

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because the crowd was great, and he would just yell stuff.

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I've been doing this since I was nineteen. I can

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handle anything. A sourus tells page six that the bully

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did not go quietly. A witness says he was talking

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to the security guy, wanted to get in his face,

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wanted to fight him outside. Then the next night, Judy

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Gold said, some guy made a comment about Jews being cheap,

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so I said, thanks for bringing that trope back from

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sixteen hundred. She said she hadn't heard that, particularly one

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in thirty years. The last time it happened was thirty

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plus years ago and Marietta, Georgia. Someone yelled out Jews

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of all the money, and I said, yeah, that's why

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I'm doing this gig in Marietta, Georgia, which is a

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great comeback as a New Yorker. Although I haven't lived

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in the city now for a good twenty five years.

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I don't know if to do math. I do find

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that surprising. Again, I'm not going to say people never

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say vile things, but I don't run into such things.

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The Atlantic had an article I found pretty interesting. I'm

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going to go first here and say I have no

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expertise to comment on this at all. I don't have

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the perspective or the experience, but I do want to

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read it to you. It's by Kay Austin Collins. The headline,

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who is black comedy for the subhet or a new book?

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Is nostalgic for the nineties, but the era of crossover

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success was not necessarily the pinnacle of black comedic achievement.

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Kay Austin Collins Rights early in his career, before he

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became a household named Dave Chappelle attempted to get a

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series off the ground at Fox. It was nineteen ninety eight,

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and the network had already welcomed black comedies such as

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Living Single, Martin and In Living Color, shows that implied

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to a vested interest in black taste. Chappelle might have

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expected to find a receptive audience when he presented the

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pilot for Dave Chappelle, a sitcom based on his life

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as a young black comedian. What he reportedly got instead

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was a room full of white executives with a familiar

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set of complaints. There were not enough white people on

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his proposed show, it was not universal enough, meaning it

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was too black, Swap out the black female lead for

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white one, and add an additional white character. He was

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advised all this despite Fox being a Chappelle but at

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the time a network that had built itself on black viewers.

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He refused to cooperate, remarking the incident quote tells every

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black artist, no matter what you do, you you need

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whites to succeed. Cha Austin Collins continues good stuff here.

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Chappelle was caught up in a whirlwind of change in

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the TV landscape. The successes of black sitcombs in the

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nineteen eighties and nineties had made new shows marketable for

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the mainstream parentheses read not just black mainstream audiences, but

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the marketability had come with a catch. In the late nineties,

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there was a broader push for multiculturism, which came to

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be defined in a great many cases as whiteness plus

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white protagonists with their black Asian and Latino friends. Blackness

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not as a set of experiences in itself, but has

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proof positive of the white hero's ability to learn jokes

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that might offend or even just confuse. White audiences became

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harder cells and safe crossover appeal became the norm. A

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few years prior to Shabelle's Bitch keenan Ivory way Ins

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had left his show over issues that reportedly included censorship

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from Fox Cha. Austin Collins continues fast forward half a

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decade to the now famous story of Chappelle's show. He

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mastered a comic style that highlighted the absurdity of racism

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by taking it to its extremes, while also leaning on

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and exploring black in jokes without translating them for white viewers.

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His bits became memes before most of us knew what

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a meme was, and taking advantage of Comedy Central's comparatively

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lacks rules, he insists that on using the N word liberally,

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this Chappelle show was everything that the nineteen ninety eight

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concept couldn't be, and ironically, though the show made no

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effort whatsoever to be universal, it nevertheless won a rabbit

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and diverse audience in two thousand and five, Chappelle walked

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away from a reported fifty million dollar contract he'd signed

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with Comedy Central the previous year. Most people were baffled

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by his decision, but in interviews, he explained that the

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fame and pressure had weighed on him and the show's popularity,

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especially among people who were ostensibly the butt of the jokes,

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indicated that his work had not been received as he'd intended.

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In the end, Chapelle followed the logic had set for

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himself early on in his career. Mainstream approval was never

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more important than the integrity of the material or its maker.

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The book is Black Out Loud, The Revolutionary History of

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Black comedy from Vaudeville to nineties sitcoms. The book is

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by Jeff Bennett. The piece I just read to you

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is in the Atlantic end titled who is Black Comedy?

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Speaker 1: Four?

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Speaker 2: The Boston Globe wrote about Louis c K. They ray,

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you may have heard that Netflix is back in the

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Louis c. K business. Last week, The Dreaming Beemuth announced

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that the once Disgrace comedian will headline the Hollywood Ball

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in May. Fifth Blah blah blah. The Globe rights in

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truth he never entirely went away. Yeah, he immediately lost

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his TV deal with e X, including his series Louis.

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The mainstream entertainment machine shun him for time, but he

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soon began self promoting his own comedy shows in which

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he passively aggressively painted himself as a victim of cancelation.

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He won a Grammy for Best Comedy Album twenty twenty two,

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and he's been slithering back into the public consciousness for

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a while. The Netflix deal didn't happen overnight. I did

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watch some comedy specials during the week. I started with

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Sheng Wang. I really liked his previous special, and I

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was excited for this one and wound up disappointed by

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it and didn't finish it. It's fine. I just found

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it was Mitch Hedberg cover and on the house to

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describe it, even the way he punches words, and maybe

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it's just the way he speaks, but I'm watching it,

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I'm like, this just feels like a Mitch Heedburg cover. Band.

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Kind of disappointed that one. Then I put on Sarah Milkin,

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even though my brain had been poisoned by the Facebook

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group some people had watched it already. It's It's fine.

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It's whatever. I mean. I don't hate it, don't love it,

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didn't make it that much into it. It's fine, it

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is what it is. And then my favorite of the

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three I watched was Aaron Chen's special, this one called

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Funny Garden, and I think it just had an original

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point of view and was pretty good. It's low energy

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and low produced and it kind of works. So out

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of the three, watch Aaron Chen. You'll find all three

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that I just mentioned on Netflix. We're starting to get

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closer to the twenty twenty six Great American Comedy Festival.

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This is the one every year in Johnny Carson's hometown,

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and they have announced that a group of magicians will

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headline the comedy and magic show on Thursday, June eighteenth

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at the Johnny Carson Theater. Festival executive director Pat Jensen

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said all four of these performers have been raved about

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by the other top magicians and comedians. Everyone I talked

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to says, holy cow, what a trio of ACX. Well,

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who are they? There's Julie Chen. In nineteen ninety seven,

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Julie became the first woman and first magician of Chinese

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heritage to win a World championship in the fifty year

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history of the Awkward Pause. Here, as John rolls into

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a set in French, I'm going to half ass translate

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it as the International Federation Magic Society would be my

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rough translation. There, the world's leading organization for the art

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of magic. David Kovak specializes in combining humorous monologues with

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cleverly crafted or magic routines. He has a solo show,

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Fooling Buddha, where he plays ten different characters, including a

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magician and the Evisons. No en in there. Everson's Jeff

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and Tessa Evison are internationally acclaimantalists whose demonstrations of telepathy

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of amazed audiences in more than forty countries. One of

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the few married couples in history to master the rare

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art of second sight, they create the impression that two

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minds are working as one. Pretty cool magic shows Thursday,

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June eighteenth, Improv headlined by Bluebird Improv on June nineteenth

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and Charlie Brens is your headliner Jude twentieth, all at

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the Johnny Carson Theater. Charlie Bran's been making the news

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a lot lately. Let's check in on the Melbourne comedy festival.

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The folks at Sinster went to see Zanab Johnson. They

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wrote there's a point in Talks Optimistic where Zana Johnson

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starts talking about why Americans are so attached to guns,

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and instead of going where you expect, she flips it.

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It's not about politics, not really, it's because, according to her,

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Americans can't fight. That's kind of the rid of them,

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of the whole show. She takes something heavier, at least,

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something that feels like it should be heavy and twisted

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just enough that you're laughing before you've had time to

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brace yourself. Here is a clip I got a gun.

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Speaker 1: Yeah, not on me. I should have said that didn't

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make it through customs. Here's the thing.

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Speaker 2: I didn't want a gun.

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Speaker 1: I got a house, so I got a gun. I'm

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making it seem like it came with the house, right,

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it wasn't three bedrooms in a clock. But here's the thing, Like,

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now that I have it, I know you shouldn't say

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it because for it to be most effective, it should

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be a surprise, right, But I like saying I don't

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know why. I feel like it makes my boundaries very clear.

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You know, if I tell you I have a gun,

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at the beginning of the night. Then you know where

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the night can go. Right. Sometimes I'd just like to

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say it like I'll pull up to a car and

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like a red light, I'll look at the car next

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to me and I'll.

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Speaker 2: Be like, I got a gun.

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Speaker 1: I say it on dates, when I'm on a date,

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I say it really cute, though, I'm like, I got

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a gun. Shut up, Pum pum, pum, shut up, stop pum.

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Speaker 2: They like this show a lot, and not clip is

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really good. They say. Johnson's delivery is clean, almost deceptively sell.

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There's no cast to hide behind, no rambling. Every beat

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feels placed. It gives the material space to land, even

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when she's jumping between ideas that shouldn't quite sit together.

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Good review, and that is your comedy news for today.

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I will catch you tomorrow.