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Nothing in my house as a child
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contributed to my comedy. Uh I I talked
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about listening in the car radio as we'd
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make family trips, but that was silent.
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You know, I'm listening and and just
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loving these great performers.
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Uh
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but my house was not a a an artistic
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household at all. I got lucky in one I
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developed a interest in comedy ma magic
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and performing. Great thing about magic
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is you could buy a trick and then it had
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instructions
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and it had patter. Patter means talking
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and you'd say the great Egyptian god fu
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and you had your whole uh act kind of
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defined for you. You didn't have to
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think too much and you could be on
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stage. Well, on stage I mean you know
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doing your doing a performance at your
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parents bridge party. Um,
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and so I had collected this and and also
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I had heard about uh performers and they
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had a funny joke and I thought, "Oh,
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that I didn't I didn't realize jokes
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were property."
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And uh there was a great uh comedy
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magician named Carl Ballentine who had a
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fantastic
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joke where he said now the appearing
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dove and he would blow up a paper sack
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the appearing dove and he'd go like this
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and then you just get feathers
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and um so I thought well of course I can
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use that and so uh I had an act and I
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had actually thought up a couple of
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jokes on my own. I had a um
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I had the a disappearing candle and it
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was a candle like this and I would put a
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silk over it and then I would hold it up
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and then I would go like this and the
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candle was gone and then I would do
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this. Thank you. Thank you very much.
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Thank you. And it would get a laugh cuz
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my arm was sticking out. And I had a few
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little jokes. I remember I was I was in
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high school and I was a cheerleader in
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high school because I injured myself. I
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really wanted to play football. So glad
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I didn't. Um I ended up being a
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cheerleader. And the reason I wanted to
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be a cheerleader, I thought
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that's show business standing up there
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in front of those people. I'm in show
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business.
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As I got into college, you know, I I met
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people who were inspirational to me, um,
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I I got into a philosophy class. So, I
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started thinking about, you know, philos
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philosophy is about the willingness to
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think about anything and break it down
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and find out if it's true or false. And
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I started thinking that way and I
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thought, what if I applied that to
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comedy? you know, I'm just a a kid in my
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teens,
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but it helped me get excited about it,
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and it helped me find something new
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about it, even if I'm making it up, even
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if it's incorrect. I thought,
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gee,
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I don't see a future in me doing a magic
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act.
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But I did notice something. I said, I've
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got to I've got to just kind of slip
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into a little more comedy material.
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And I thought, you know what? They love
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it when the tricks don't work. So, I
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started edging into like from a serious
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magician into, hey, it's kind of funny
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when the tricks don't work. And then I
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started thinking maybe I could just do a
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little bit of just regular comedy
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materials, blah blah blah. And I put the
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magic that that shape of that act stayed
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with me my whole life where I put the
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magic act at the end. It's kind of
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silly. And did all this comedy up front.
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So now I've got a little standup and I
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and I thought I need time. I don't have
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any time. Uh I don't have an act. My act
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is 10 minutes long. I played the banjo.
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So I I'll put the banjo in. So now I'm
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accidentally creating a variety show and
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I started with everything. I I played
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the banjo and read poetry.
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I I put everything in. I juggled. I put
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in juggling and did like funny bits with
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juggling
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and
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so slowly you're building. So, so now
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I'm thinking, okay, so I'm I'm writing a
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few jokes and that's fine. And then I
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got this job on the Smother's brother's
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comedy hour and I became a comedy writer
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and I didn't know how to write a word. I
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had written little funny stories that
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were bizarre that had titles like uh you
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know cruel shoes and the day the dopes
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came over little kind of kind of
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creative original but they had no
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you know no outlet no purpose so there I
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am writing now I have a little
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background in uh writing sketches
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whatever but I decide
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um I don't really want to be here behind
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the scenes I want to be in front of the
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scenes so I quit
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and went on the road with my act. And
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out there
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in all these little towns, these little
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clubs where you perform in a corner with
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no elevated stage, where you're running
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the lights yourself, you know,
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everything
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meant something. Every lesson was
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learned. every drunk person is dealt
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with. Um,
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and you're getting this backlog of
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experience that you don't even know you
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have that I I remember uh once in the
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90s I did uh the play Waiting for GDAU
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on at Lincoln Center with Robin Williams
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directed by Mike Nichols F. Murray
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Abraham.
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And I thought I haven't done a play in
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what was it 35 years. But when I was 18,
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I worked for three years at Knottberry
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Farm at a little theater uh where we did
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a play four times a day. And I thought
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this is exactly the same. Only the words
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are different. The words are fantastic
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and great, but the experience is the
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same as that little thrust stage that we
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perform to 200 people four times a day
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and sometimes no people.
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Uh sometimes we perform for two people.
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So I have that in my head somewhere. How
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to manage that? Uh how to not be
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intimidated by three people or 18,000
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people.
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There's many ways to self-define success
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and I've gone through many many stages
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of it because at the same time you're
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saying
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um I'm on the cover of time. Uh I must
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be successful. At the same time you're
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thinking when's it all going to be over?
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And uh I've had many of those moments
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from I think the cover of time was like
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I don't know 85 or something like
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Newsweek was or 78 Newsweek and I
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thinking well this happened this
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happened where I became successful
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and so you can notch that off. You say I
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never thought it would happen but that's
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your first moment of success. You could
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go yeah I became successful now. Now
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what happens now what is it? Is it this
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for the rest of your life or is it
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whatever? I I had no no clue.
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Fortunately, I got into movies. So then
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you have a hit. Go, oh, hit. This is so
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great. Then you have some flops. Now
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you're going like this. And it was only
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until like the late 80s I kept thinking,
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you know, I kept thinking I was going to
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go away, but I never went away. So why
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am I wasting all that
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grief, you know, for my on what am I
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putting that on myself? It's it's
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survived somehow by the skin of my
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teeth. And some of that is luck and some
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of it is just luck.
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There's this moment in in this long
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career uh where you where you suddenly
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kind of relax.
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in this strange way that you never
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thought you always thought you were
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relaxed before but the truth was you're
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very nervous and you're uh you know a
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big project comes up like I said you
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think about it for months and months and
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months and then there's a sort of
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elegance either maybe it's age or maybe
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it's continued success or maybe it's
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some kind of weird confidence even false
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confidence
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where it actually started to become fun
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you know you finish a show and it's you
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just feel ecstatic IC. I still feel that
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today. I mean, if I play a show, say I
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work with a band, the Rangers, or I work
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with Marty, and we feel it went well,
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we're we're high, you know, we really we
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we discuss it and say, "How about that
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in that moment?" And then we're still
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high. Then, of course, the next day you
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start over. And uh you know, I mean,
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that that high doesn't last you through
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the week. And I'm at that stage now. I'm
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maybe I've lost the uh feeling that I
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have to prove myself. And that's a big
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relief.
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So I went to London. I was so close to
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Paris. I decided to go over there. So I
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saw London and I saw France and then I
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saw someone's underpants.
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How many people have plans to go to
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France? Raise your hand. Okay. Now
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listen.
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If you're going to France, let me give
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you a warning. In France, chapo means
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hat. Ru means street. It's like those
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French have a different word for
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everything.
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They do it to screw you up. I'm not
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kidding.16744
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