Eddie Brill "Comedy Talent Coordinator/Letterman Show" Interview & Comedy Set Show #164

This was a fun interview to do, comic Eddie Brill started as a regular standup comic; but ended up winning "Best Male Comic" Award in New York City ...three times, was warm-up act and comedy talent coordinator for "Late Night with David Letterman" for 17 years, AND started the "Great American Comedy Festival" in Nebraska as a tribute to Johnny Carson. Hear about the opportunities that led to his amazing career.

Hosted by: R. Scott Edwards

Transcript

Scott Edwards: 0:00

Hi, and welcome to this week's show. Hey, before we jump into the podcast, I wanted to share some new news. I just finished writing a book and it's out on Amazon, be sure to look for it. It's 20 questions answered about being a stand up comic. Once again, it's available both for Kindle or for softcover on Amazon. So go check it out. It you can search for the name of the book 20 questions answered about being a stand up comic, or my name are Scott Edwards and get a copy. Okay, here's this week's podcast enjoy.

Announcer: 0:41

This is another episode of stand up comedy, your host and emcee celebrating 40 plus years on the fringe of show business stories, interviews and comedy sets from the famous and not so famous. Here's your host and MC, Scott and words.

Scott Edwards: 0:59

Ladies and gentlemen, welcome back to the show. We have another exciting interview for you today. This gentleman and I have not had the pleasure of working together but he is well known to me and has been for several decades. Let me tell you about him. He is not only a very successful stand up comic, he helped create the great American Comedy Festival in Nebraska. He spent over 17 years as the warm up comic for the Late Show with David Letterman. Boy, that's fun. He was nominated for an Emmy Award will be and the three time winner of the Best Male comic in New York City. That's right, ladies and gentlemen. It's the one and only any bro. Eddie, the crowd goes nuts. We're so honored to have you on the show.

Edie Brill: 1:46

Well, it's my pleasure, Scott. I'm glad that we it took us a took 40 or so years, but here we are.

Scott Edwards: 1:53

Well, we were working. We were swimming in the same waters. We just didn't get a chance to work together. But why don't you share with the audience? How did you end up in stand up comedy and in what age were you?

Edie Brill: 2:07

My family was very funny. My mom was the funniest of the whole family. And we always had comedy albums. And we always like, you know, comedy shows like Carol Burnett and you know, stuff like that. So we were real, funny family, you know, sarcasm and, and joy. And my parents were young. So we were all you know, we had a tight scenario of fun and laughter. We certainly didn't have money, but we made up for it in laughter and we had a lot of fun together. So you know, I never thought you know, and I love comedy. I watch comedy on television. I never thought you know, it will be a career or something I want to get into. Yeah, I went to college in Boston, my stepfather who was fantastic. He ended up having a very short life because of cancer. And I decided that if I was going if life was so short, you know, before you know, when I was like a junior in high school, that life is so short I but I have the you know, do what I love the most and have the most fun doing it. So I went to school to do broadcasting broadcast journalism, most likely sports announcing I love sports. And I had done a lot of announcing while I was in high school and writing. So I wanted to get into you know, combine the two processors and well, I went to the college very small college in Boston called Emerson. And the My uncle was teaching at University of Massachusetts in Amherst, and he recommended Emerson said, Look, you know, if you want to get involved, you know, the great thing about Emerson, it's only like 1700 students, and you'll be able to get on the air, or, you know, do news or whatever I was going to do as a freshman. Whereas, like if I went to Syracuse, so it was some of these bigger universities that we didn't have to wait till your junior.

Scott Edwards: 3:54

Right? No better to be a bigger fish in a smaller pond, you get more opportunities.

Edie Brill: 3:59

Yeah. And so on my very first, you know, like, your second week in college, there was a couple of guys talking about this comedy thing that they were starting up, said what kind of thing is this? And they said, We're going to improv group and, and I said, Well, when's the meeting? And they told me and I went to that meeting, and the rest is history. And there was a lot of people who were very, who became very famous, who were just a we're all kid in this comedy group together, and it was wildly successful, and the history of comedy and Emerson was very rich, and, you know, got richer later on. And Norman Lear was one of the people who had gone to Emerson and I met him and told him what we were doing. And he was very thrilled about this scenario and he put money up, schoolmaster and we had the first time any writing department in the country so all of a sudden there's I'm not doing comedy and then you know, I'm doing improv and sketch and and then radio and comedy shows and I I just kept, kept loving it more and more and more and more. And then I started trying stand up. And you know, I was okay wasn't very good, but I tried it did it for a while graduated, college quit doing stand up because I thought, you know, that was fun, but, you know, whatever, and then I missed it. And so for I have the opportunity to run a comedy club very much like what you did. And I, you know, was hosting every week. So, you know, you know, bringing in these incredible comedians, you know, again, I can name drop the hell out of it, and just tell you, you know, just Adam Sandler's first club, we work that was the club that I was running called the Paper Moon. And it was wildly successful. And then, and then it became the Boston Comedy Club, which became, you know, was a very famous club for a long time. And, but I, you know, I mean, it's just one thing after another, just, I just loved it so much. I'll never forget, and every comedian will agree. The first skit I was in, in the comedy group, I got a laugh, and it was so powerful. And when you get that laugh, it's like a drug and you chase it. You're the rest of your life.

Scott Edwards: 6:09

Yeah, I there's so many things that you put in that opening statement. Edie that rings, so true with many of us in the industry. First off, we want to make it clear, you're in your early 20s, I'm assuming when when this started. And I think the advice from your uncle or what you picked up, it wasn't really advice, but what you learned, sadly, my condolences for the death of your uncle is so poignant and true that when somebody close to you passes at a young age, for me, it was my mom, you realize that there's only so much time, you don't want to waste it doing stuff that doesn't mean anything to you. My theory in life is have fun, and the money and hopefully take care of itself. But I was planning to enjoy life, whatever I did. And in your case, your opportunities in university, got you on the radio, which was something you did endeavor to do. But that, you know, just do circumstance led you to the improv group and then doing some stand up comedy. When you tried stand up comedy. Do you remember any of your first jokes? Was there? Was there a style or some buddy you emulated?

Edie Brill: 7:23

Well, you know, my hero was George Carlin, you know, I saw him on, you know, many shows, on television, and I just, you know, fell head over heels for him, because that's the way I thought I'm very much into wordplay, and, you know, the sort of smart and silly comedy that he did. So I always have that in the, you know, and most comics, I was as guilty as anyone else of acting like a comedian at the beginning, and being very George Carlin in my delivery, until I realized that, you know, the key is really to be your most authentic self. And, you know, there's a great saying that I live by that it's not so much of a saying, but someone told Michelangelo when he was making the statue of David, in awe of this perfect statue and said, How did you make this incredibly perfect statue out of this block of marble? And Michelangelo said, I just chipped away at the pieces that weren't him. Yeah. So that's what I kind of tried to do more and more is that, you know, be as vulnerable as I can be and be myself. And, and not, you know, and to be compelling as a performer, to be compassionate as a human being. And to add all of those things to the really, you know, that would seem very natural. So the question, the original question is, what kind of bits that I do at the beginning of a, you know, a cartoon impressions and I had a few wordplay jokes that I wrote, as, like a kid, he know. And then I, I just put together, you know, I guess it was like 10 minutes. And the crowd was mostly my friends from school. At the tavern, little place we had there, and they all they laughed at all of us. And who knows if we were good or not, we would just, you know,

Scott Edwards: 9:11

well, it's important to have support, right?

Edie Brill: 9:13

We have support and what's interesting. In Boston, there was quite a scene and there was like this hierarchy of these brilliant comedians. And one of the leaders was Barry Crimmins who sort of ran a lot of the Boston comedy community. And he had a club that he ran COVID Dinho, which was in Inman square in Cambridge, Massachusetts. And he you know, really, he was a professional and he was a hard worker and he he got us all work and we I remember he was the you know, I got paid my first paid gig was like seven bucks. We split the door up on you know, the wall, the comedian from the show, and we all you know, most a lot of us have buried to thank for, you know, creating this place with integrity and forcing us to To, you know, be artistic and, you know, so we we learned a lot right away, because we were surrounded by this incredibly talented group of humans.

Scott Edwards: 10:10

Well, I think that it sounds like, it's important that you have stress that it's the community around us that helps us develop into what we want to become. It's kind of like Michelangelo's block of granite. The statue, as he said, was always in there, he had to just get to it. And I think that much like comedy, you have to chip away at the whole concept until you find who you are on stage, we passed over a couple things. First off, I wanted to comment on how everyone starts acting like a comic. In other words, we see other comics or we've seen on TV or heard on an album, what a comic sounds like, and then initially, we'll go up on stage. And that's what we do, we kind of copy out of admiration. It's but you're right, the true comedy, in stand up is ourselves and being ourselves on stage. But I thought it was really poignant for you to say, in the beginning, we are acting like comics. And I had a chance to interview Dennis Blair, who opened for George Carlin for many, many years. And he was saying, how, in emphasizing that Carlin had a style that everybody wanted to be like, initially, because he was so genius and so smart and his honest impression and interpretation of life on stage. But we passed over something a while back, I'd like to go back to Eddie, if it's okay. At one point, you were acting as the emcee and helping book The Paper Moon comedy club. What was it like going from being on stage as a performer to all of a sudden, kind of being the talent coordinator for that room? Did you find it? It taught you a lot? Or was it challenging?

Edie Brill: 12:04

A combination, you know, I had stopped doing stand up. And I was in advertising for a while, you know, doing funny, writing funny commercials and scripts. And it was kind of fun, but I was taking advantage of the young kid and, you know, didn't make a lot of money doing it. But it was really exciting to hear, you know, some of the stuff I wrote, whether it be jingles or copy to be on the air, but it wasn't the same as doing stand up or performing which was really alluring to me. So, at the beginning, you know, I wasn't, you know, the guy I went to college with named Joe Murray Co. He was working at the restaurant upstairs at this venue. And he contacted me and said, Look, they're looking to do a comedy show. And I was, you know, one of the people in charge of the comedy group in college, so he called me because, you know, asked me if I was interested. And at first I was in it, and I said, Yeah, you know, I let me try it. And, and then, you know, because I was comedian first more than a booker. You know, I was running the club. So that, you know, the comedians got are treated with like, gold were treated like, you know, the way they're supposed to be treated. And so it was a very comfortable place for Comp Committee to come and work out. Try new material and you couldn't go wrong. I mean, the, the people in our, you know, we went to school with Stephen right, and then the Flareon, Mario Cantona and Laura Kightlinger, and I mean, I go on and on and on before us it was Bill Dana and Norman Lear, and Henry Winkler and Andrea Martin. And then after us, it was Bill Burr and Anthony Clark. And, you know, Jen Kirkman, and I mean, again, just name all the names. So we were surrounded by good people. When I moved back to New York, and was gonna run this comedy club. I didn't think of myself as running the comedy club, like a business, I was just, you know, found a way to do stand up again, and to call all my friends up, like, you know, Mario, and you know, and Susie Essman and all the people I knew in New York, through comedy, and you know, so we were running, I was running a comedy club, and I was working a day job, and paying the comedians out of my pocket from my day job until we eventually, really, yeah, that's, you know, I wanted comedians to get paid for what they did. Comedians deserve to get paid. You know, a lot of scenarios these days, comedians have to pay to get on stage. And that's really goes against everything a comedian supposed to get paid not pay. Right, right. Yeah. So I, you know, I made sure comedians have a level of some money, feeling good for what they did. And then all of a sudden, the club started doing really well and I started paying the comedians really well. And I was paying him better than all the other clubs in New York City and then all the other clubs hated me because

Scott Edwards: 14:58

I had competition whatever opportunity though that's awesome, Eddie.

Edie Brill: 15:04

Yeah, but you know, I didn't I liked running it in the sense but not, you know, that wasn't my main focus. My main focus was getting on stage. And then having fun each weekend with a bunch of really talented people I started, you know, finding all these comedians from other cities who are contacting me always wanted to work in New York, but they weren't part of the clique that was a catch a rising star or the comic strip. So, you know, I bring in these comics from Boston, San Francisco, LA. And so it's getting different comics to come to New York. people I had met people I had worked with a little bit, and they were always treated really well. We have incredible sound and light system in the club. We had a very artistic lighting director guy who would change the lighting subtly. When he knew the comedian's really well, when they would transfer, they would translate, we go from one bid to the next. And we had a really good thing. It was there was a lot of layers to we're very proud of it. And then it got a little too much where every you know, I didn't have an office. So people call me at home at two in the morning when I'm, you know, with me, and it's only 52 weeks in the year. And you can only have 52 headliners and, you know, there's 1000s of comedians, and here I am a comedian traveling around doing stand up and every person I met, and I don't blame them, they were like, Hey, how can I get to your club, and I used a lot of them, most of the people, I got to recommendations of other comedians. And, you know, that's pretty much how my career has done in the first place. You know, here we are, I'm in New York, I get a call from this guy I know who worked at the restaurant. Now I'm booking a club, you know, one and on and on of all the different opportunities I've gotten, it's pretty much who you know. So you treat everyone with respect. People remember that?

Scott Edwards: 16:50

Well, Eddie, that's great advice for everybody. But talk about opportunities, starting off with leading the group and helping start the group at university led to these connections where you end up working and booking this room, I would imagine that the combination of seeing all that talent, but also being an emcee, you're you're getting a lot of additional stage time, must have really helped you hone who you were on stage.

Unknown: 17:21

Yeah. And I learned, you know, Colin Quinn and I sort of ran the club, Colin helped me, because he had a group of really talented friends that I didn't know. And he introduced me to them. And we sort of put our heads together, and we switch off each weekend thing, just so one person is running the door. And then, you know, that other person is the one at the host for that week. And we did that and Colin really, you know, come from, you know, integrity and hilarity and, and very caring and very good person very, you know, compassionate to other comics. So, you know, surrounded by an amazing community of incredible, incredibly talented people. And, you know, there's a few bad eggs. But in reality, you know, if you really think about it, this mostly incredible comedians that I've had, I've been so lucky to have some of the greatest names and showbusiness helped me my first set on Letterman, I had help from Joan Rivers, and David Brenner on set, you know, they, I was just happen to be in the right place at the right time. Each one of the stories is amazing. But, you know, I got some of the best advice in my life from Joan Rivers who, you know, was there for me at the beginning. And, you know, and when I was I, there was a time when I moved to LA in 1986 87. Live both in New York and LA, and I was living at The Comedy Store, there was a house behind the Comedy Store that I lived in, and I it was the Comedy Store in my living room every day, you know, and I go there at night, every night and hang out and do sets and, and people like Sam Kinison, and, you know, Taylor Negron and Robert Chimo and John Mendoza, these people reached out to me and got me involved and, and took me under their wings. And you know, Kevin's sin was very good to a bunch of us. We were, you know, like Jimmy Schubert, myself, Steven pearl. Larry Serrano, there was a bunch of comics that work in the Comedy Store and we were sort of the, you know, the junior, the JV club, the junior varsity of the Comedy Store, right. Kind of running the place and he, he made sure that we all got stateside

Scott Edwards: 19:37

well again, opportunity shined on you and he I mean, I've interviewed over 80 Different comics and no one's had quite I mean, a lot of people have had luck fall their way and opportunities open for them but you have had a an amazing series of things that let one thing led to Another led to another I mean, doing what you were doing in New York and then coming out to the West Coast to be honest, and I'm sure you know the story, Eddie, hundreds of comics would get good in Boston, San Francisco or New York, you go to LA, and they have to start over. And you got that opportunity by staying at the star and working under Kinison and Mitzi shore. And some of the people that were around at the time, just took your level of comedy, had to help take it to that next level. I mean, it's like, you kept going to class after class to school, much like university. And you know, being that close, and that involved in the Comedy Store is like going to University of comedy I had was,

Edie Brill: 20:47

and then, you know, the Roseanne Barr and Richard Pryor, and you know, all these people would be coming in every night and you just watch and marvel at what they do. And you watch them develop their material as well. And you, you understand, you know, how it works. And, you know, everyone was Louis Anderson, I mean, just the names that I can tell you about the people who helped me when I was starting out, and you know, so I vowed that I would help comedians along the way because the amazing amount of help that I got along the way and then you know, it's just crazy because it's always sounds like I'm name dropping, but I am Don Rickles became my friend and then Carlin became my friend and then you know, it's just like surreal addicts habit and I are really, really close. You know, which is so weird because I am it's funny because I met the cabinet when I was doing the festival in Nebraska. You know, we were looking for someone to get the first Johnny Carson award because that's what the festival was about. And we had a pic cabinet because it just made sense. Cabot from Nebraska, he wrote for Johnny Carson, he they knew each other. So and I love the cab, and I love the show. And so I was really nervous to meet him. And I really haven't been nervous to meet a lot of people but I was kind of nervous to meet Cabot and, and within three seconds, we were best friends. And it was and we were still to the stage like my uncle. You know, it's just like,

Scott Edwards: 22:13

it's so interesting. When are when the people we admire and look up to become our peers. And friends. It's an interesting, interesting transition. Some people don't understand outside of Hollywood, that celebrities are just people and that they have the same interest in in need to interact with people that are think similar to them or in a similar industry. You know, being backstage with Robin Williams hanging out. It's just Robin, you know, it's not the guy you see on stage. It's just Robin is a person. And Dick Cavett is just classic when it comes to entertainment and getting that opportunity again and keep using that word. But Eddie, you've had such a gifted life. I think that's amazing. Now all this exposure to comedy and stage time, you went from, you know, doing some classes and doing an improv class to helping on a club and emceeing and then in building your stand of career. At what point did you really feel successful? What led to your three time? I mean, a three time winner of the Best Male comic in New York? Well, that's a big deal.

Edie Brill: 23:34

Well, you know, that was, there's a big cabaret community in New York City with incredible singers and comedians and actors and, and the Manhattan association of cabarets and clubs. And every year they have, you know, Best Male Best Female comics, you know, I mean, there's no way that you can say someone's the best comic because I certainly, if I'm going to community with Dave Attell, and I'm going to community with Susie Essman, you know, I can't say I'm the best comic, but I was voted by my peers, which means the world to me. As you know, I remember one year Susie Essman and I, where the winners of the male and female. When you get that scenario, you feel like okay, you know, even more important than, you know, having some crowd like you to have your peers think of you because these are the people who voted where, you know, musicians and singers and piano players. I did a lot of Cabaret clubs in that during that time as well. So I wouldn't say I was voted best comic in New York, you know, but I was voted the, you know, three years in a row by the Mac Association and it gave me a nice confidence that, you know, my peers liked what I did. And that's, that's always a really nice feeling. Because, you know, I look at you know, I look at some of the years and then I always think of me, it's always being a kid and always looking up to these older people. pulling stuff. And it turns out, I'm older. But, you know, all along the way, I found young comedians, and I've let them know, just like the other comic said to me, you know, just to come up to me, especially at the beginning and say, Look, you got what it takes, keep going, keep going. And that's where I really found the great opportunity. And then, you know, you know, we were in LA, and we were broke, we were, you know, had no money. But a friend of mine, who lived in New York, lent me her car, you know, I was completely flat broke, I was, you know, we didn't have a lot of money growing up at all. So it never bummed me out. I was able to still have fun and have, you know, make the best of it. But we had no money. So when I went to LA, I was living at The Comedy Store. So I didn't pay any rent. I was only making you know, the money at the comedies, there wasn't a lot of money at all. And then a college friend of mine gave me a phone call and said, Look, I know you're out here in LA. Have you ever done warm up? And I said, Oh, yeah, you know, the warm up, but I didn't really do warm up. I just was looking for some kind of work. And he was working and Saved by the Bell, which was literally across the hall from the Tonight Show with Johnny Carson. I mean, not like far it was like six feet away, maybe five feet away. And I got a job doing warm up at the TV show and it paid me very well. And now I didn't have to worry so much because, you know, I pull into the My friend's car that my friend Holly who lent me her car. She had a Chrysler Baron convertible gold Christ liver, you know, convertible. So when I would pull it to the Comedy Store, these people thought, Oh, my, you know, perception is that is a lot of it is nine tenths of the law or whatever. People would think, wow, this guy must be successful look at his fancy car. But gas in the car, you know, it was very, very, but you know, people thought I was, you know, it's weird how people assessing California, how people in LA people were expecting me because of my car. But anyway, I got the job as the warm up. And, you know, there's so much more that happened in LA, I had mostly like for years, both New York and LA. But I worked a lot in Europe as well during that time, which made me a better comedian. I was lucky to work in England and Ireland and then started working in Paris and, you know, all these incredible place that worked in Australia and, you know, Bangladesh, and Dhaka you know, I mean, I've started doing all these amazing things. And then I moved back to New York 1990. And I got a job warming up the Dana Carvey Show, which was a brilliant show that they had. And it didn't last long, because there wasn't, it was a little too intelligent for a mainstream audience. You know, it's very silly and very smart. And so that didn't work out. So I didn't, I wasn't warming up anymore. And all of a sudden, you know, one of the comics who one of the producers over at the QRP show, worked at the Letterman Show, and they say that said, hey, you know, anyone who could do the warm up, we need a new warm up. And that's how I got the Letterman job. Because I was recommended by you know, it's like that. The one thing about the common business is our entertainment is so you know, yeah, and yeah, it'd be good. But

Scott Edwards: 28:23

right, you have to be good. But you're jumping forward a little bit, Eddie, I just want to bring every buddy up to speed. First off, you're that organization of Cabaret people voting you the male comic three times. Even if it doesn't mean that you're maybe the best in the world. That includes Carlin and other amazing people. It is still respect. And I think that that's, you know, all of us need validation in our life and are looking for some sort of idea of benchmark of how we're doing. And I think that that association of Cabaret entertainers showing the respect they have for what you were bringing to the industry to entertainment, New York, and especially in comedy is it's such a great honor and congratulations for that. I want to get a little more detail before we jump into TV warm up which I want to explain to the audience as well. But how did you manage that world tour? Did you hook up with an agent or was it a USL thing? What were you doing?

Unknown: 29:28

To You know, you know, I went to school with Denis Leary. And we were roommates at times in school, especially and after college. We were roommates. And him and his wife went over to London to go do a television show and his wife is pregnant and she gave birth prematurely to you know, their son. Luckily he's six foot four now but he was this tiny little bean when I met him. And I went over there to see him and I figured you know what month we'll go see if I can get a spot at the Comedy Store and see if I can you You know, pull that off and do a get set and see what happens. And I went on stage, and I luckily had one of the best sets you can ever dream of having, you know, for an audition, and that was under, you know, very intense the comics in England at the time hated the American comics because of the end, weirdly enough for good reason because there was a lot of pandering that went on goes on in America where that they don't put up with that in England. You know, they don't you know, you're funny. You're funny stuff. You know, using pandering to get people to love you. It's not really that sexy to be a pander. In fact, it's, you know, for me, it's there. It's not a Loring at all right, you know, so, so I, you know, a lot of the comments would come over and treat the British comments, like they were lesser people, you know, so there was gonna, and this was 1989 when I went there. So I went over it. And I did, I luckily have a phenomenal audition. And then they asked me if I was safe for the week and two sets. And then I started becoming friends with the comedian's there. And then they took me to Ireland, they took me to all these wonderful places.

Scott Edwards: 31:09

Eddie, another huge opportunity, just by being good in who you met, you weren't part of any tour, you weren't being sent around as an agent, you just met people that took you along for the ride. That's amazing.

Edie Brill: 31:23

Yeah, and you have to learn how to audition, you have to learn how to, you know how to put a set together for if you're only doing five or 10 minutes, you know, you want to it's like a cut from your album, it's, you know, you're not going to play your whole album for the audience. And, you know, it was kind of funny, because when I went in there, that everyone was very cold to me. And the Booker was like, alright, you know, you get 10 minutes, and, you know, give you the lightest at nine. And when you're, you know, and you only get 10 minutes, not like all those other fuckin Americans that come over and, and don't listen to that. I was like, whoa. And then I went up to the emcee, the Compare. And his name was Bob mills. And I said, Well, you know, I was about to go on. And I gave my intro, I did this, I did that. And he looked at me, like, you know, he looked at me like, I was a piece of shit, and he walked away. I'm like, wow. And then there was another comedian who was in the back of the room with his arms folded. And when I went by, and the emcee didn't bring me up with any intro that I had given him. I was like, that's weird. Especially because I follow the music act. And you know how to when you're following music, you sort of need the emcee to do a little time. Right? He didn't do any transition. He brought me up during the other guy's applause. So really try to make it hard for me to follow up. But luckily, I did well, and then later, you know, I hung out every night in the greenroom. And finally, the emcee started talking to me about comedy. And then he saw a book I was reading and he liked it. And, and we started becoming friendlier. And I said, What was that bullshit the first night when I, you know, you were so mean to me. He said, Well, you came up to me, Senator bragging about your career, and they were bragging about my career. What are you talking about? He said, You telling me all these shows you did I go, that's my intro. And he was intro. He said, Why would you have an intro? Why would you tell the crowd how good you are? You know, just show them how good you are. We don't care about that. He said, You know, you're, you know, a lot of comedians who have intros and all these credits, and they suck. They just happen to, you know, be in the right place at the right time, they might have a connection, you know, but you doesn't mean that you're a good comic, because you have these credits. You know, there's a lot of interesting.

Scott Edwards: 33:37

Yeah, that's an interesting perspective, that that hearing it makes sense. I mean, I'm a, ran a club, I was an emcee, I always made sure that everybody had a good intro and a build up because it helped the audience transition, but for the British talent to feel like, you know, screw that you earn it, but

Edie Brill: 33:59

every time you go out, you earn it. And that's how the audience knows if you're funny or not. But if you start telling people, you know, this next person is, you know, as I'm this show this show it again, it doesn't mean that they're good, it just means that they, it could mean that they're good, but you know, it could mean other things as well. And you know, what, an America we're used to it, you know, the intro so the audience is expected, but in England, they didn't. But now more and more in Europe they're doing a lot of people are sort of, you know, westernizing it by doing some intros and talking about the different television shows that they did. But when I was in England, there wasn't a lot of weren't a lot of British comedy shows that were stand up bass. And, you know, I was lucky enough to be able to do a bunch of those. And that got me a lot of exposure over there. And it made me a better comic.

Scott Edwards: 34:47

Yeah, because the opportunities are amazing. Yeah, go

Unknown: 34:51

ahead. Yeah. I'm sorry. But in America, you know, we're, we're up there, you know, on stage and we're just you know, Uh, telling the audience Love me Love me Love Me and asking for their approval. And it really is not again, it's not as alluring as just, you know, going up there with your own truth. And not really, you know, focusing on the audience's love, but more focusing on your truth. And that's the biggest lesson I've gotten in all the years of comedy, is just to go up and tell your truth and not care so much that the audience adores you. It's nice that they do. But it's, you know, the attitude is, you know, the attitude is, it's like, I'm not here to please you kind of attitude, you know, and when I was booking comics, which is a bit of a jump, I would look at the comics who were confident and didn't care about my approval. And that was much more Loring again, to me as a booker, as a fellow comic to see someone like Dave Chappelle, just go out there and tell his truth. And if someone doesn't like it, you know, they don't like his truth, he just kept, he never shied away from it, he didn't know better, the game went out on stage as a young kid told his truth. You know, that's why all the great comics, they, that's one of the things, there's a thread that every great comic has. And one of them, you know, the main one is the truth is the foundation, you know, and the next one is vulnerability, to be able to allow yourself to be vulnerable, and not be afraid to do that. And that really opens you up as a human being to be vulnerable. And then the third thing is to, you know, not try to please the audience to, to actually go out there and do what makes you laugh, what you love. And hopefully the audience will, you know, like, like it as well,

Scott Edwards: 36:44

well, at a year, you're sharing so many important points to this industry, you know, it one of the reasons I love doing this podcast is that I'm sharing with the audience that that stand up comedy is so so much more than just getting up on a stage and doing a joke, which in itself is hard. But to be a true comic where you're invested in what you're doing, you're writing every day, and you're, as you mentioned, you know, you're bringing your truth, and you're showing your vulnerability. Those are things that make the difference between I don't want to be rude, but the the, you know, the hacks versus the people that you and I as club Booker's would respect, which are the people that are really invested in the art form. I just think that these are really important things. And thank you so much for sharing them. Eddie, that great tour that you did, starting in England, which by the way, I interviewed Kelly Monteith. And he was saying the same thing that the attitude towards American comedy worked against him in the beginning, but then he was able to turn it and he became quite the celebrity in England and getting his own show and stuff. But by by earning their respect with his truth and his talents in its, the fact that you took that on to Ireland in in around the world is is part of what makes you such a well rounded entertainer. Let's bring it back to where we were going next. The next step, I wanted to explain to the listening audience. Because a lot of people don't know that sitcoms or anything taped live in television, whether it's New York or LA has a host or MC slash warmup person. And what a lot of people don't know in television is that when you're doing a half hour show, it might take six eight hours to get it all on tape and get all the different takes and camera angles in when you need somebody the glue to hold all those sections together. And that's the host slash warm up of each particular show. So when you were doing the show, saving the bell, I think it was saved by the bell Saved by the Bell. I was a big fan. But that opportunity again, at a you got an opportunity to learn another aspect of the industry. Learn some additional skills. You've already had your MC skills from the Paper Moon Comedy Club, and here you are in front of a TV audience, keeping them focused keeping them entertained in between takes, and that led to meeting other people in the industry. I alluded in your intro you ended up being the warm up comic for the Late Show with David Letterman. You did it for 17 years. Yeah, that you were about to share that story so they saw you working some other rooms. You did you have to audition for David or they just threw you up there and you kicked it.

Edie Brill: 39:55

Well, the you know, Louie CK and a guy named Bill chef both worked at Letterman Louis, was a producer on the Dana Carvey Show. And so he knew that I was the warm up. When we we knew each other from stand up days, the Boston scene and all that. And Bill was I also knew him from the New York scene. And they both told Dave, you know, look, Dave went to them because, you know, comics, no comics. So he, you know, he went to them and they said, You should use Eddie Brill because he's a pretty good warm up comedian. We use them on Dana Carvey Show, and it worked out really well. So I met Dave and you know, as sort of like, got a six week trial period. And it worked out really well, where it went to 17 years. It was,

Scott Edwards: 40:42

yeah, six weeks to 17 years. Yeah, I think you pass the audition.

Unknown: 40:48

Yeah. Amazing. It was like a dream come true, you know, to be on that stage where the Beatles were. And I was, it's one of the greatest theaters I've ever done, stand up them and every night, every night for, you know, 17 years, well, I went 14 years without missing one show. Beginning I had a little more leeway to to take time off to go to gigs, like the Montreal Comedy Festival and stuff. But they wanted me not to take time off. And they treated me really well financially to, you know, for me to promise that I would just stay with Dave whenever we had a taping no matter what. And so, you know, then the next 14 years after the beginning, I was you know, I never took a night off, you know, and, and Dave loved loyalty and the, you know, it worked out really well. It was it was really fun. And then, you know, I got to be on like I said on stage, every night where the Beatles were, were the supreme saying, you know, and then I got to meet, you know, the like, I got to meet Sofia Miranda, you know, my dream, girl, you know, I got to meet Burt Bacharach and sit at the piano with him. I got to be really close with Don Rickles, which was great because my father was a huge fan of records and the records on the air says something really nice about me, saying that he loved me and all that stuff. And it made my father cry, because he was like, wow, my hero comedian loves my son. You know what I mean? That kind of my heart moments, you know,

Scott Edwards: 42:23

that's such a special moment when you could do something. It's funny. We're always our parents, kids. For me. I opened this comedy club, I was having some success. My dad had an amazing sense of humor. And he was a huge fan of Pat Paulson while I was able to meet and bring Pat Paulson in and then Pat and I hit it off. I spent time in his ranch. We were really close. And my dad was just like, thrilled because he was able to hang out and have dinner with his hero, Pat Paulsen from the brothers Comedy Hour, you know, I mean, it's great when we can do that for our fathers. But Don Rickles in all these people, Burt Bacharach, all these people, you got a chance to interact with I imagine night after night. There's always amazing people on the Letterman Show. You're backstage with them.

Edie Brill: 43:13

Yeah, it was pretty amazing. I mean, you know, there was, it was, yeah, it was ridiculous.

Scott Edwards: 43:19

I mean, you couldn't name drop that many names, Edie? I mean, but just to have that experience now. Were you just I don't want to be rude. Were you part of the staff? Or did you and Dave become friendly? Yeah,

Edie Brill: 43:33

I mean, you know, it was part of the staff. Definitely on the staff. I didn't really hang out too much with a lot of the staff. I mostly hung out with the crew and the band. And you know that those were more the people I hung out with. But you know, Dave, and I got close. And you know, me him and Bill chef, were always at the desk every night. And, you know, we're both huge hockey fans. So we started so we would go out to dinners. And I remember one night meet Bill Don Rickles. And Dave went out to dinner, and we laughed for two and a half hours. Go on, and it was like ridiculous. And then we believe that dinner, looked at each other, like, you know, what just happened? Oh, my God, you know? It was pretty amazing. And then, you know, like, they would take us to hockey games. And, you know, it was crazy. And you know, every once in a while I looked down at Dave, because I was lucky to be at his desk and every commercial break and I'm one night and never forget looking down at this. Fucking David Letterman. You know, it's been there for like 10 years or so. But it was just, it was just so surreal to be part of, like some of the things that happened. Like I got to hang out and meet Paul McCartney. And you know, it's amazing. You know, it just was amazing. And i i while it was happening I had was in the middle of it. So I didn't realize what went on. But when it was over and I was heading home, I shook like a leaf because what had just happened was so ridiculously amazing. Anything that I you know, it was like I shook. The cab driver was like, are you okay? And I'm like, Oh man, I'm okay.

Scott Edwards: 45:08

Yeah, I just hung out with McCartney. I think I'm doing all right. Well, you know, Eddie, what's interesting is what we alluded to earlier is that when you go from being a fan, to a peer, in other words, when you're out with you know, these people and David, and you Rickles and David, I mean, they weren't looking at you as a fan, or part of the staff. You were their peer. You guys were three comics, just bullshitting and making each other laugh. I mean, those are magical moments that were probably as important to Don Rickles and David Letterman as it was to you. Because we all need that inner connection and the sharing of the moments. And just God willing, you were blessed with so so many. I'm blessed life.

Edie Brill: 46:01

Yeah, it was, it's been amazing. You know, it really has and, but it's not, you know, the, the key is, is I put the work in and I you know, I never found it in you know, I don't I never believed in being anything but amazing. And that was the great thing about working at Letterman, because we not only had the greatest, you know, one of the greatest broadcasters in the history of the world. David Letterman. We also have the number one cameraman Dave Dorsett was Walter Cronkite cameraman, we had the best lighting people, we had the writers who were on the show, these Harvard guys, you know, and it was the, you know, you work with the best lighting people you work with a band, you know, it was just amazing. So you have to bring your game up to that level, and you play at that level. And it's really, really rewarding and fun, and exciting. And, you know, it was so, so satisfying to be able to do this show. And then when the day was over, forget about it. Because you got another show tomorrow, they

Scott Edwards: 47:04

gotta do it all over again, it is a job, which is interesting, because it's, it's amazing miracle experience each and every day. But each and every day, it is a job that you're going to and you have responsibilities, and that combination of WoW, and work is is just so fun. I can't wait to see the book, you're gonna write Edie, tell me I'm

Unknown: 47:28

waiting to get a publisher. I've written over 320 stories, and I put a lot of them on Facebook, just to get feedback. And you know, I've gotten a lot of that. And, you know, some pretty amazing people are love what I'm doing is to try to get a publisher, because the I'm not like Mr. famous guy, you know, like, I'm not someone that's on TV every night now. And millions of people are watching me and know who I am. And I could go to sell a book. I'm a guy that comedians know, because I was booking.

Scott Edwards: 48:00

Well, then so Castile put you over the edge, don't worry, Eddie.

Unknown: 48:05

We're hoping, hoping for, you know, hoping it would work out this way. But um, you know, it's, it's a very different, you know, it's a very interesting place to be. Because, you know, I'm not like Louis black or George Carlin, or, you know, any of these kinds of people where you walk down the street and everyone notices, but the people do remember me or notice me, I think of that as even more rewarding, because, you know, they, you know, I'm that comic that they saw, but they you know, even if they don't remember my name, it's just nice to get that sort of ego stroke.

Scott Edwards: 48:38

Yeah. And there you've had so much success, Eddie, and in the experiences can't be traded. I had a chance to interview Tom Driessen. And in this guy had so many amazing stories working with Frank Sinatra all those years, but Right, quite honestly, Tom Driessen is not as famous as let's say Leno or Letterman or Carver even, you know, so that doesn't mean that his life or your life wasn't as impactful in the industry. It's just the the it's just that golden ticket of fame, which is nice, but not necessary for the value of your success. Edie? I did want to ask one question. We're running out of time. But can you explain how you took being the warm up act and your experience booking the Paper Moon Comedy Club? I know through my research, do you also help book some of the stand up for this show? Can you elaborate on that a little?

Edie Brill: 49:37

Yeah, well, you know, like I said, I was at the desk and every commercial break, you know, whether it would be just bullshitting about the day or some sporting event or talking about an idea for the next segment or whatever, or you know, just laughing and being silly or picking the song that maybe we can get Paul in the band to play I mean, it was really fun. We talked about the Beatles all the time, that was one of the things that we were able to do, which was great. But at the same time, you know, we talked about comedians we liked, and he tell them, they would bring up, you know, the Comedy Store days. And I, you know, he was before me, and I was able to tell him things about some of the comics of that day. And I told him about the club that I booked, and I knew all these comedians, and we would, you know, just share ideas of what we liked comedy wise. And, you know, and all of a sudden, so we Friedman, but Friedman, and silver Friedman's daughter, who's an amazing, amazing human being very funny, very, very knowledgeable, and it's helped a lot of people in the industry. She was working at the booker over the Letterman Show booking the comedian. And she got a job at Comedy Central that was, you know, 10 times more involved over Comedy Central, she was kind of running the show there. And so she, Letterman, they were looking for a new Booker. And because Dave and I talked about comedy all the time, you know, he asked me if I would take over and, you know, at first I was tentative, because I knew that all of a sudden, now my life would be, you know, running a comedy club, and I had hundreds and hundreds of comedians, but there's going to be 1000s of comedians. And since I worked as a comic all over the world, there was going to be about four or 5000 people asking me to do these 12 spots or 15 spots that the show had comedy on during the year. And he, they've talked me into it and, and I started booking the comics on the show, and, and I got the book, The Smothers Brothers, and I got the book, George Carlin and I got the book. You know, I got to put on the amazing comedians, you know, on the show, and then I got to take some young people who were kind of starting out like Hannibal Burris and you know, Mike Birbiglia, you know, I could, again, give you 1000 million names.

Scott Edwards: 51:58

I mean, as a booker myself, it would be a dream, to, it's, I felt important enough in helping people's careers booking my little chain of comedy clubs, getting the opportunity, and we should tell the audience, you did this for about 11 years, right? That I had a chance to bring in the comedic talent for the Letterman Show. That had to not only be exciting, but just damn fun.

Unknown: 52:29

Yeah, it was fun. You know, it was really, it was really nice, because it was, I mean, it was quite a job. It was really a very intense job alone, that would have been incent job. And I had like five other jobs as a comedian, and, you know, a writer and all these other kinds of things. But, you know, to be able to take see a young comedian, also, I brought a lot of international comedians on the show, like Joe Wong, from China and Tommy Tiernan, from Ireland, and, you know, all these different comics that were, you know, were amazing. The America did no, because, you know, they're from other countries or whatever. But I knew that which comics would, you know, transfer well over to the states and gave a lot of international comics, some breaks to on American television, and I knew how important it was when I got international exposure on TV in Australia, in England. And so it was, it was a very rewarding and also very hard because there were I some of my best friends and some of my mentors. I wanted to book and I wasn't allowed to because they weren't, you know, the producers in the show, you know, you they say no, we don't want this comedian or whatever. You know, it wasn't like I was it puts you in a tough spot. Well, yeah. There are people who there are people who don't like me who don't know me, because and there are people who this is kind of a weird, but honest situation is where some of these comics, you know, I thought that because, you know, they would make a mistake or they weren't right for the show. And they they couldn't accept that the fact that they weren't right for the show, so I was the bad guy and

Scott Edwards: 54:06

Oh, right. No, no, the Booker's always the asshole. I mean, I played that role for 20 years, I made some people really happened was their best friend. And there were lots of people that I, you know, decided didn't have it or wouldn't fit my stage per se. And they blame me as opposed to realizing that it was what they were bringing to the club to the stage that made a difference.

Edie Brill: 54:31

And, you know, I like I could talk for myself, I understood it. I I knew that I had a lot of people who were trying to be my friend because I was I was booking a club and then never looked down on it. I understood it if I was in that position, as I've been before. I you know, you want to see once a booker to see if you want that to happen. So I was I, everyone I have my number my phone, home phone or myself. My email address. There was nobody who couldn't Get in touch with me, you know, you know, so that yeah, I made myself very available. I, you know, and after an audition, like I remember auditioning for some of the Booker's. And after it was over, they'd all leave. And then you never know what you did well, you go to sleep, what you did was good or bad or right. I vowed that, at the end of every show, I would stick around to the end and talk to any comic who wanted

Scott Edwards: 55:25

to. And I did the same thing. It makes such a difference in people's lives. And when you can give them honest feedback. Hey, I wanted to be respectful of your time, Eddie, it's been so great having you on the show. You need to go soon. But before Can you give everybody just a quick explanation of the great American comedy festival because what you did for Nebraska, and in the memory of Johnny Carson is is so impressive. Give us your elevator speech on that event that you helped create.

Edie Brill: 55:57

There was a I got a phone, an email, and then a phone call about they were interested in having me teach a workshop to you know, comics, they were putting on this Johnny Carson amateur Comedy Festival. And I was so interested because I love Johnny. I met with them right away. And the more we talked, I said, Look, you know, this is gonna be a shit show. You're gonna you're gonna expect six they wanted 60 Amateur comics to go on stage, you know, over two days, like 30 Comics a day going on stage, and it just wasn't gonna work out. I knew as a booker, these people were very nice people, but they, and they have, you know, the best intentions, but it was just going to be horrible. And I said, if you know, Johnny Carson, he didn't book amateurs, you know, we can do that. But you know, you should book people on the cusp, people who would if they had the chance to be on the Johnny Carson show that you know, this kind of comics. And so I said, Look, give me the chance, let me become the creative director, let me here's my plan for the thing. And they said, Okay, you have it. So I ran with it. And then we have some of the greatest comics in the world, not only, you know, I brought in like Roy Wood Jr. When he was a young kid. And I brought in, you know, I could just name them. You know, every year we had like, 20 to 25 Great comics as part of the festival. And at the same time, I was bringing in major headliners work, Robert Klein and Paula Poundstone. And, you know, events a Martin Short, and you know, it's just started getting bigger and bigger and bigger. And the 10th anniversary, was one of the most the most proudest moments of my life. 10 years, booking this incredible festival in the middle of cornfields in Nebraska, where Johnny grew up, and all of the town's people were so nice and so lovely to me, and so thankful we became the, the number one tourist attraction in, in Nebraska, you know, we were getting respect all over the world for this comedy festival. And then all of a sudden, then after year 10 When we're rockin and rollin, the people who were the local townspeople pulled the rug out from under me and said, We're gonna do it ourselves.

Scott Edwards: 58:13

Thank you very much. Get the frick out of here.

Edie Brill: 58:16

Right? You know, I trusted them so much, you know, I gave them everybody's phone numbers and email addresses and I got there gave them the agent's phone number so that it was you know, we could work together. And they took all of that stuff and hoarded it and then they, they dropped in, they really were disrespectful. It was one of the most disrespectful things that ever happened in my life. I'm very proud of the festival. But, you know, they they ended up there was a lot of it was very weird, was very Harper Valley PTA kind of stuff. On the end. It's a shame, because, you know,

Scott Edwards: 58:54

you wouldn't think that yeah, it's one of the reasons I hate working with any sort of I do a lot of fundraisers and events. And I, I'm always so challenged to work with anything done by committee, because it doesn't take much to swing that committee down the wrong path. And, you know, let's let that go. Ladies and gentlemen, the great American Comedy Festival, maybe out there may not that for the first 10 years.

Unknown: 59:20

And a lot of the comedians call me and say, hey, look, do you mind if I do the festival? I know what they did to you. And I said, No, do with it state time. And that's the number one thing in comedy to get stage time and do it. And don't worry about all the politics or the small minded people or the you know, the you know, it's not I can go to sleep at night knowing that I did the right thing. You know, you

Scott Edwards: 59:43

did and you made something out of nothing and made it very special and it's too bad. It wasn't appreciated. I just didn't want to end the interview on a down note. So let's remind everybody you're you've been a lifelong success, lifelong, of great opportunity. If you were wise enough to take advantage of and had the talent to make work for you, and I think that's something we can't let go by Eddy is that you had the talent and you put in the work to make all these opportunities pay off for you. And from that end, thank you, and congratulations on all your success because whether it was starting a improv group in your college, or working the Paper Moon comedy club or ending up being the talent coordinator for comedy at the Late Show with David Letterman, took those opportunities and earned the value that you brought to the entertainment industry. And for all that, congratulations.

Edie Brill: 1:00:42

Well, I appreciate it very much. And I you know, it's really fun to talk. Why don't you run comedy clubs anymore, you got sick, a bitter,

Scott Edwards: 1:00:48

I did it for 21 years, there was comedy was changing, the talent was changing. You know, I started before the big wave of comedy back in 1980. And I got to ride that wave. And it was just time. The club I started is still operating. I'm just, I've moved on and I'm doing more philanthropic work and helping with fundraisers and charities, but I still have my toes and comedy.

Edie Brill: 1:01:15

Very good. Very important. You know, the one thing you never lose, you never, you know, it's just like, once once you get that lap once you're involved you never you, you can't leave it's always in there. You look at Seinfeld's, a billionaire from doing all these TVs, great TV show and doing all this great comedy all over. And he still went back out and did stand up, even Lana Leno's, you know, when we're recording this Leno was on fire, just the last week, and that's two weeks ago, and then he was on stage two weeks later, because you just got to do it. But you know, the you know, look at Rickles. And, you know, our good

Scott Edwards: 1:01:52

friend, Bob Saget was on tour when he had his accident and passed away. I mean, all these people worked for me. And at one time, and they were not famous, and now they're rich and famous. And guess what they're still doing? What you mentioned, is bringing their truth and their vulnerability to the stage in stand up comedy. And that's why it's such a special art form.

Edie Brill: 1:02:17

It really is. And I appreciate it. If anyone wants to get in touch with me. You know, I'm an Eddie comic at Instagram. I do have an you know, other ways to get in touch with me and all the other ones but Instagram seems to be like the the one nowadays that people are getting in touch so

Scott Edwards: 1:02:34

well ladies and gentlemen, that's a gift. He's sharing Eddie comic it Instagram. So make sure you reach out and tell him. Thanks for all these done for the industry. Edie? This is a stand up comedy Podcast. I'm going to end this with a little bit of your stand up comedy. But right now I just want to say you've had an amazing message. And obviously some incredible stories. Thank you so much for joining us on the podcast. It's my pleasure. Take care. All right, ladies and gentlemen, stay tuned. Here's some great stand up comedy by the one and only Eddie brill. Ladies Gentlemen, please

Edie Brill: 1:03:10

welcome back our good friend Eddie Brill. Any Come on everybody. You know, when I was growing up, my grandma used to always say the truth will set you free. That you went to prison for perjury. A mine you know if you haven't been lied to lately, try online dating. Nobody tells the truth and online dating. Sometimes they ask questions like what's the worst thing ever did. And you can tell the truth there. Sometimes they lie about their age. Sometimes they lie about their weight. Sometimes they don't have a picture of themselves. So sometimes it's like a horse. You're so insecure, you got to show your horse. Years ago I tried it and I went online and I and the girl in the picture. I set up a date when she was 28 in the picture. When she showed her she was 5252 I thought it was the girl's mother showing up to tell me she couldn't make it. But it didn't know she'd let me ride her horse you know, but we're all insecure to a degree. You know, we grow up thinking we're not good enough. So we go out on a date. We're not going to bring ourselves the date. We don't want that to show up. So we create a character we think the other person wants and they do the same thing. They create a character they think we want. You're not on a date you're you're in a play. And you have lines like so how many brothers do you have? And you didn't care if she has a family? You're just wondering what she looks like without that dress. And girls pack on so much makeup. They show up to the date looking like a kabuki dancer Like he's not gonna see my real face so I know he can provide for me you know, we're like to our whole lives we are, you know, would like to get everything food politics, Santa Claus, the Easter Bunny tooth fairy, Celine Dion. You know? When I was a kid in school, I took religion class, and they told me that sex was the devil's work. Oddly enough, it was taught to me by people who never had sex before. That's like getting hunting lessons from Dick Cheney. But I don't believe there's a devil, because I believe God created everything. So why would he create a devil? He's like, Well, I made this beautiful planet with mountains and trees and dogs and Elvis Costello. enough drama in my life. Let me create some son of a bitch who's gonna go against everything I stand for. And just to really make him mean I'm gonna force him to wear a red jumpsuit with horns, a tail and a fork. Come on. You know, it's funny. The devil has a costume. And here's the weird part. Many people wear this costume to Halloween yet no one dresses My God. And I figured it out. This is what you do. You show up to someone's house in your street clothes in your bag. And you're like trick or treat Nico, who are you? And you go, I'm gone. You go. Where's your costume? Are you kidding me? I made in His image. Now give me some candy but there could be a devil. We don't know. I don't know. If you say you know you're lying. Because no one knows what happened back then. But there was a devil. He would never create sex. And he made deviled eggs. That's cool. And he has that hot sauce with his picture on the bottle. You know? He has good product. You know, he's the devil is good stuff. But he would never create sex. He's the devil. He would never let us have that pleasure. God created sex. And this is how I know what do I yell when we have insects? Oh God, because we're thanking the manufacturer for the wonderful gift that He's given I also have a problem with the story of the first seven days on earth. If you remember the story the first day there was darkness and God said let there be light and there was light. But here's where it gets weird. On the fourth day he creates the sun the moon in the stars. So what the hell was he using for light on the first day when he create a flashlight and run out of batteries on day four. Ever Ready my hands and man wasn't created to the sixth day. So how do we know what happened the first five days? Maybe that's why God created man so we had someone to tell the story to Adam wake up. You're not gonna believe the week I had. First week darkness that I made a flashlight that I ran out of batteries. You don't know what a bitches the phone D cell batteries. Then I took my love and turn it around. Are you listening to me? If you don't pay attention to me, I'm going to create a woman and she's not going to listen to you.

Scott Edwards: 1:08:29

Hey, ladies and gentlemen, that was Eddie Brill live on the Letterman Show. Doing some stand up comedy man, it was such an honor to get a chance to meet and chat with Mr. Birrell. Eddie Brill has had an amazing career. From the early days of working at the college, to ending up doing TV show warm ups and the Letterman Show, you know, winning those awards from the entertainment industry in New York City. Just just an exciting career, and he took the time to share it with us. I hope you had as much fun as I did. Thanks again for listening. Be sure to tell your family and friends let's blow this thing up and get it out there. We'll be back next week with another great show. Bye.

Announcer: 1:09:18

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