Don McEnery Comic/Writer Interview & Comedy Set Show #168

Donald McEnery has been doing standup comedy since 1979 and worked all over the East Coast. Along the way he toured with Howie Mandel and worked a lot in Vegas. But is real success came when he teamed up with comic Bob Shaw and together they formed a writing team that worked on Pixar's "Bugs Life", Disney's "Hercules" and TV shows for George Carlin, Gene Wilder, and Arsenio Hall. This writing team was also nominated for an "Emmy" for their work on the Seinfeld Show. As a script writer and "Punch-up" man, Don formulated a wonderful career that continues as a standup today.

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 at words.

Scott Edwards: 0:58

Ladies and gentlemen, welcome back to the show. We have another terrific interview for you. This gentleman is a very successful writer. He was nominated for an Emmy Award for writing on the Seinfeld show, he wrote for George Carlin Gene Wilder and our city hall. But even more exciting for me as a Disney fan who worked on Pixar is Bug's Life, Disney's Hercules movie and Sony's Stewart little three the call the wild all started with stand up comedy. He toured with Howie Mandel and his work clubs across the country. Please welcome to the show, Donald MC Neary.

Don McEnery: 1:42

Sit down, please. Thank you.

Scott Edwards: 1:44

It's Donald McHenry. We were talking about the best way to say his name. Don, thanks so much for being on the podcast. You've had such an amazing career. And we want to get to some of the highlights but it all started with stand up comedy. When did you kind of find your comedy legs in stand up?

Don McEnery: 2:04

You know, I do have a clue where that went. So I wanted to be a singer and a songwriter. And when I was like 25, or something like this, I like my only one in like, panic attack. I was in bed amount of panic attack. And you're never going to be a singer and a songwriter? What are you crazy when something stupid? Having a panic attack, and then an instrument that you should be a comedian. And they went, and I calm down? And there's nobody that I told after that. That said, that's not a good idea, including my mother.

Scott Edwards: 2:37

Oh, wow. So for your idea what age was that?

Don McEnery: 2:43

I was I went on stage late. I was weak people on my 25th person who I went on stage for the first time.

Scott Edwards: 2:50

Yeah, that's a little late by standards. But still, you were in your 20s you still had a lot of time ahead of you. And that youthful energy that it takes to be a comic.

Unknown: 3:01

Yeah, while you do it, when you do it, you know, you can do something be willing to do it. So.

Scott Edwards: 3:07

And were you doing open mics? Did you start? You? I know, you ended up being a prolific writer. Was that your key to your success as a comic? Or did you learn to perform first

Unknown: 3:18

performing versus writing? In my house? I'm sitting you know, I, you know, back in the day back when they were I don't know that you would even call them open mic nights. And I guess they were but you know, but it was on Long Island. And it was a place called my father's place and rather than New York was on Long Island. Yeah, it was a Long Island. Haha, I think every Thursday, we're like Jackie martling. Bob Nelson, Eddie vaccine, lab, Bartlett, always people were doing it. And I said, Okay, that's where I'm gonna start doing it. So I went on stage, I will say like six months ago, they have announced so I decided to write stuff up and went in six months later to go on my birthday. And for the first time,

Scott Edwards: 4:13

so you actually that is a little different than a lot of stand ups done in that you spent some time writing before your first real stage push. A lot of guys would just go up and kind of wing it or do other people's material and kind of, you know, see if they could get that first laugh, but you actually put some energy out and wrote some original material. How did it go over? Do you remember any of your first jokes?

Don McEnery: 4:39

Well, you know, I, I never understood anybody wanting to do other people to do this. But I also had been doing clown work and juggling, too, you know, at that time. So the first thing I ever did on stage was a stupid trick where I toggle on my nose. Oh, yeah. And then I and then I go, Oh, thank you and it brings me I have my head tilted back. And then when I tilt my head, the ball still stays there, you know, it's glued to my nose, you know, Spirit come on. And that's the first thing I ever did. But I noticed, I noticed in my person I, you know, I still have a mental image of this, but I also had my, my app on index cards, I would look at an index card. Okay, next card, next card. And then if it didn't work, I threw it away, like, I toss it not gonna last. And then near the end ago that I got, I had three or four cards are gonna be like, Oh, I gotta clean up my app. You know, I made it up at the time and got a laugh. You know, there's, there was a little you know, I noticed a little bit of that I could add live whether that was funny or not, I could still do it. Well, that was

Scott Edwards: 5:49

Tom was 25 years old. I mean, that is a realization that a combination of antics like juggling, and in you know, the ball balancing on the nose is kind of magical and juggling, but also the ad libbing stuff, you're already learning that trick of interacting with the audience kind of naturally, right?

Don McEnery: 6:13

Yeah, but I think I always was a natural comedian. So I mean, I noticed, you know, my mother told me that when I told there's gonna be a comedian, you know, your first grade teacher told me she had to keep a handkerchief in her desk, because she didn't want you to see that she was laughing when you were saying stuff. And I was the class clown, you know, in grammar school, and you know, things like that. So I was voted class clown, whatever that actually means. But same thing. So I, you know, I make people laugh when I'm, you know, I noticed that I do it like, you know, don't try to be funny.

Scott Edwards: 6:54

Yeah, you didn't have to really work at it. You had a natural sense of humor about you that people acknowledged and realized early on, which gives you a huge heads up as a stand up, because so many of us are neurotic. Nervous balls of sweat when we go up there the first time. So being naturally humorous, I'm sure gave you an edge. And you already were doing a lot of writing was that something that came natural to you?

Don McEnery: 7:22

No. And I didn't really write like I you know, I would get ideas and put them down and just think about them. I never really wrote stuff out at that time. Especially stand up. I hardly ever write out. Stuff on stand up. I just did an idea and work on it or whatever. Writing thing. Much later.

Scott Edwards: 7:44

Well must have worked for you. You ended up working in Vegas and touring with Howie Mandel. At what point you got a late start 2425 years doing some open mics and stage time. At what point did you feel like you turn pro?

Don McEnery: 8:01

I had a bet I was laying rugs here. I'm doing carpets, both installing carpets. You know, for a living, I had a business. And one of my friends. When I said to the community goes, We're never gonna make money as a community. I'll bet you whatever the bet was $1,000 whatever stupid that we made, that I'll make money within six months doing gambling and I won the bet.

Scott Edwards: 8:25

Well, that's the first time I've heard that story that you were prompted to make money in comedy through a bet. That's hilarious.

Unknown: 8:33

I don't think that's wrong doesn't make them any good. But I just knew that, you know, there's money to be made. I mean, people were making stuff. I didn't make much money. You know, I didn't make enough to cover the bed had I lost?

Scott Edwards: 8:46

Well, it's still you put yourself out there and and started making some money. And I think that the combination of getting laughs and getting paid can be a real driver of this industry.

Don McEnery: 8:59

Well, yeah, I mean, within a year five, so I, me and my buddy, another buddy, MMA guy was my partner. We disbanded the business. We wanted to go into nursing homes, the crews and cold through stuff. And so we had a house we lived in, we had a house in Long Island and the pool and you know, it was nice, I made money. I made a lot of money. Chicken rugs, you know. And I went in, you know, we just expanded the business. I moved back into my mother's house for a while. You know, we all live with my mother when my kids because my mother my father died young. So there was room and she needed people. So until I met my wife, I stayed there for a year or so. Wow. And you know, and then I that's all I did was comedy. You know, I just went in and started going. It was Eastside comedy on on Long Island. A lot of clubs opened up at that time, that was like a boom of the comedy.

Scott Edwards: 9:59

Was that the Yeah, early 80s, mid 80s.

Don McEnery: 10:02

Yeah, no, you know, 1979

Scott Edwards: 10:06

Yeah. Yeah, that's really what I opened my club in 1980. And that was right at the precipice of the big move of stand up comedy as an industry. Well, that's, that's exciting. Now, you obviously got very good at it because you were touring around different clubs, and you ended up hooking up with Howie Mandel early on. Did you tour with him for a while?

Don McEnery: 10:31

Yeah. And that wasn't even that was probably in the 90s. Yeah, I think like a year and a half or so. I'm trying to remember who I got, oh, yeah, I got a call from somebody some Booker's that, Hey, you want to go on three rates, three days, cooler with Howie Mandel. And he's doing a bus tour on the East Coast. And then from that, he ordered me and then I moved to LA and I worked with him a lot more, you know, Sly, that was private yesterday stuff. So that was like a year and a half. That I did that.

Scott Edwards: 11:07

Well, that kind of road work in in opening for somebody like Howie who was a big star at the time, gives you so much more experience and gives you more opportunity to grow as a performer. But as you alluded to, you've actually had 10 years at that point, building up your act. So you've been working clubs around the East Coast and kind of built yourself up. Were you headlining?

Unknown: 11:33

You know, yes or no, but not I never was headlining act. And then, you know, I could have been the band when I went into the running, I stopped really going on the road. And, you know, all I did on the road was maybe work one week, a month there, but freedom and I do improv in Vegas, out here in Palm Springs or whatever, and Tahoe so I didn't work that much. So I was out of the locker radar and

Scott Edwards: 12:03

at that point, so let's let's track this for the audience. So you're doing comedy, you're you're making some money, you get tapped to tour with Howie for a while. And that exposes you to Vegas in LA in different cities. It can you explain at what point you kind of started writing in in when that became an important, comedic or creative outlet for you?

Don McEnery: 12:30

Yeah, yeah. I never, in my mind, never thought I was gonna be a writer, writer. I never even considered it. And then I met another comic, Bob Shaw, who was fantastic comic. And we met in New York at the Improv, and we talked a little and then we work together, we did like a two week tour of Tennessee in the South for a couple of two weeks. And he was getting tired of doing comedy. Because he was the headliner. And it was up near the end of the business, you know, it's like, you know, it wasn't, as you know, wasn't as booming, let's say, and even keel, and they go, we want you back, but we can't give you as much money. So he was tired of doing that. He didn't want to do it anymore. Yeah, the roads. And he said, you know, you had come up a lot of stuff. While we're talking one. Why don't we try writing something I know, I'm sure. I mean, I was enamored of the service, but I remembered, see, I don't know if you've ever bought yours, but you won't promise. And I remember we're sitting down smoking a joint that's the the improv that was, everybody's gonna go to this middle stairway and two doors down or whatever. And I go, I remember you, you performed when I was in college. I saw him when I was at Nassau Community College. But I remembered exactly because I didn't remember that stuff. And so he, he asked me if I wanted to write. So we started writing something. And then we're trying to write a movie he had an idea for. And then one day later, David Cole, and so they want to let go, because he was really good. He's really good friends with Larry David. And so Larry called him and asked him to pitch me some ideas. So we pitched him ideas, like the ideas that okay, you got it. We got to go to an agent to an agent who just said, Okay, we got to get

Scott Edwards: 14:30

Wow, that's, by the way that's unusual in the business for everybody listening that doesn't know show business. Normally it goes through an agency and or a booker in all kinds of people that are tapping into it. But to be asked directly by Larry David and working with Bob Shaw, who was huge at the time. What a great opportunity, Dawn. And that first script for Seinfeld, obviously did very well it got nominated for an Emmy Award. What Was it like converting from stage work as a comic to the hard work of writing?

Unknown: 15:08

Well, monetarily, it was fantastic. You know, then I moved to we then moved to LA after that Larry Dodson agent, area manual at the time was a big agent. And so we had an agent, we pitched ideas got stuff, we did a lot of reo. And then we got Disney, what is really what happened, we were, we were bouncing around town trying to get gigs and got to a meeting of Disney for I think it was for I don't know, that move on. But a different movie. So I knew like destiny.

Scott Edwards: 15:46

Yeah, so you'd already built yourself up in that short time from at that conversion from stand up comic to using your humor with Bob Shaw and doing some writing, getting the Seinfeld and then then now you have the agent, somebody to represent you and shop your work. Did the movie you guys work on ever worked out? Or was that just a practice? That never happened? Just a good learning tool?

Unknown: 16:14

Yeah, well, it was something to keep us, you know, try and get your first script. You know, we fell into writing and rewriting more than writing, which was probably why we're not working together anymore. But

Scott Edwards: 16:30

so to explain to the audience, a lot of times when there's an original script, or a book being converted into a movie, the studio or producer will hire writers like Don, to go in and really spruce up a script or, you know, add more comedy and make it a little more well rounded. Is that a good explanation?

Don McEnery: 16:55

Yeah, and at first, it was more like with Disney, they brought us in on one I can't remember was hunchback or Mulan. And they liked us that they said, you know, our sensibilities weren't right for that project is although we have another movie that will call you maybe we just go out there blowing smoke up our ass, we're gonna get the gig. And then a few weeks later, they sent us scripts for Hercules. You know, they had they had heard the news. And they wanted us to punch it up. And then I remember this very distinctly, because we had to go in the next day or whatever. And it was a blackout, all of LA was blacked out. And we had to read the scripts by candlelight. And everything. And then we went in the next day, and I didn't even pick one joke. I tell them, Oh, I just said, you know, there's this and this, like, structural things, I guess, you know, you really, you really, you know, he's sacrificing themselves so he can get laid, you know, yesterday really arrow, you know, nothing and all these things. And they liked all the ideas. And they said, you know, did write some jokes. Tell me one of the things you wrote, and I just opened up the script. And I said, isn't a joke joke, but it's a character called the source, where anything that they like it, you know, it just means the key words or anything you said, you know, Oh, that hurts. It's painful. You know, whatever. I can remember the whole thing, whether they laugh at that, and you got to do

Scott Edwards: 18:27

well, that's interesting that you had a different view of the movie, or at least to some of the characters. And by sharing that you made it. I mean, I remember Hercules. It's actually one of the funnier Disney hero movies. And, you know, punching it up and making it more engaging with an audience. I mean, that is a talent. Now, we kind of jumped around a little I know you did a little writing for Carlin and Gene Wilder, and Arsenio Hall and some other

Don McEnery: 19:00

sumio I was on Yesenia Oceano for a week. Oh, we got married and one. So did that man and was on their honeymoon? I couldn't look another week. But there was a weekend between the government going to stay. I lived in New York. I read manual because the writers Shinya like it was yesterday. Do I go okay? Yeah.

Scott Edwards: 19:24

But writing for George Carlin and was he doing a show or what's it for?

Unknown: 19:29

George Carlin. Okay, yeah, man. We had that sitcom through our fan. Simon was a producer and the creator and that was the second season they never got aired because the show never went on again. It got canceled. But we got to spend time with him a little bit of time and it Sam Simon we spent a lot of time with and

Scott Edwards: 19:49

it's it's interesting who you can meet in show business. I'm sure Carlin from one comic to another. We had to be one of your heroes and all of a sudden getting a chance to work. work with him on a show had to be pretty exciting. Did you find it difficult or easy writing for others?

Don McEnery: 20:11

Nothing's easy. So just as easy as writing for me, I guess. Yeah, I find it any more difficult than writing jokes? You know, I don't know. It's hard. It is hard to write. So yes.

Scott Edwards: 20:26

Well, I just meant that I've spoken to a couple other writers that have done TV sitcoms and stuff. And they were saying that they some of them found it easier writing in the comedic voice of somebody else, and others found it challenging. I was just wondering if this all just kind of happened naturally for you, or if you had to really work at it?

Don McEnery: 20:50

Yeah, I think it happens semi natural, you know, and then you do the work. And again, we only wrote the one episode for Carlin show, and never got produced because the show would never pick up my curtain. But Gene Wilder thing was the first gig I ever had writing. And that was in New York does. That's the best time I've ever had. I lived in New York. I was working at tach and the improv every night, MC making money there. And then we got this gig. I biked over the bridge to Queens to go to Astoria studios for work every day. That was fun.

Scott Edwards: 21:30

What was your project if you don't mind me?

Unknown: 21:34

It was called eligible dentist. The modeling is very more than it was about a guy whose wife died and his wife this dog, and he's a dentist. He lives in Rhode Island in Newport, Rhode Island. He's a dentist in Newport, Rhode Island, and he's trying to pick them up. But he's but he still sees his wife and dances with her and sings with him. And but it was Wallace Shawn was in it. Jill Claiborne was in me, buddy was a big

Scott Edwards: 22:10

star. Well, Jake Wilder is one of those guys that attracted talent around him because he his talent, people wanted to work with him and getting a chance to write for that show early in your career, as a writer had to have been a good lesson for you good experience for you. I think you've had some really unique and special opportunities. Was there anybody you worked with that kind of took your breath away? Or was extra exciting,

Unknown: 22:41

famous people? Exactly. You know, with with Disney, especially Hercules, we got to work with a lot of the actors in the recording Stephens. Like we would make suggestions and stuff like that. So you know how Holbrook got to spend an afternoon with Tor torn, and that was one of the greatest few days in my life with torn was just that story of the stories is just so great.

Scott Edwards: 23:09

Everyone says, Yeah, I've talked to other people that have worked with Rip Torn, he was just such a character in front of him behind the camera people got so much out of him. Well, that had to be really exciting. Now, I know that you also did some work with the Sony company on Stuart Little was at the same kind of thing where you punching up and working with

Unknown: 23:33

Scratch, and it's terrible. I would not recommend it anymore.

Scott Edwards: 23:39

Three, Stuart Little three called the wild you did from scratch, and don't go see it.

Unknown: 23:47

But this was a funny story. We we pitched it that we had pitched it to the producers and even the producers that produced Gladiator, you know, red wagon, there's a big production company, and they liked it, you know, and they said, Okay, now we have to tell because it was going straight to video the whole time is never, never a theater release. But we add a picture to the head guy. And that guy looks like the guy from Dave. That'll be painful. I can't remember his name right now. In LA Confidential. Anyway,

Scott Edwards: 24:25

was that a scary moment going in and pitching that? No,

Don McEnery: 24:29

I love Pitching. I love it. So we went in. It was late in the afternoon on a Friday, and the guy fell asleep during the course. He's an older guy, and it was late in the afternoon. You never want to pitch after lunch, especially on a variety and want to go in the morning, never after lunch. And he fell asleep and you know, I can remember things better than Bob. So I could pitch a story. And I'm looking at him and he's looking at me and I just kept going to finish the pitch The guy wakes up and goes, Okay, let's do it. Well aim is to put everybody to sleep, and then maybe I'll get a gig with him.

Scott Edwards: 25:10

Well done. It seems like you had kind of a naturally growing career starting with stand up comedy and ending up writing for TV and then writing some feature films, and all animated basically. Such. It's so interesting, because it kind of naturally happened for you. It you worked out. Yeah.

Don McEnery: 25:35

I fell into it.

Scott Edwards: 25:37

Yeah, I mean, that's exciting. And all those things I'm sure. Created for a good living for you. I know that writing for TV and for the film industry can be profitable. I mean, you You have done well with it, right?

Don McEnery: 25:55

House in the hills? Sit down on the deck, right now it's open, you can do that.

Scott Edwards: 26:02

So do you put any credit to your years as a comic in to what helped you be a punch up artist and in writing for TV and movies? did stand up comedy helped develop your writing skills or your performing skills?

Unknown: 26:18

I definitely yeah. So of course, yes. You know, I mean, my pitch meetings were mainly what we did after we did what Pixar and Disney was a lot of rewrite, work, you know, wherever they would, you know, Astroboy line action, a lot of things. So we'd have to go in and pitch what we would do. So the move, and that was fun, you know, we come up with it, we go in and pick it up, okay, you got the gig, and then you get$500,000 or whatever, and then you go write it up, and then the movie never gets made anyway. You're the you're the fifth people on that script, hey, give me a script. And go. We don't like the characters you don't like any of the comedy. And then we will watch it by then they probably paid a million dollars for that originally, because we like the idea. All they do is like the idea. Well, then, you know, so

Scott Edwards: 27:11

yeah, the Hollywood system is interesting that way, and that there's a lot of gambling going on where people pitch ideas, or they have a script, or they have something they like, but it's not ready for the public in their eyes. And so then they, as you said, we'll hire a series of writers to try to get it to where it can. But you pointed out quite clearly, there's a lot of projects that never see the light of day. And yet people like you make good money on it.

Don McEnery: 27:40

Yeah, they mostly don't. And that doesn't exist anymore. You can't go in and pitch an idea and get a contract. You have to now have a script. And you have to have the thing done and you don't need everyone with an idea anymore. And they'll pay you to write it up. You write it up. And then you're

Scott Edwards: 28:02

interesting. When did it was there a time? And that that changed? Do you know what might have made that change?

Unknown: 28:10

I think the economy mostly? No, it's been over 10 years. That's pretty true. You know that? Right? Yeah. So not going in with a clip.

Scott Edwards: 28:23

Yeah. So back around 2000 Things were shifting and the economy changed in in the Hollywood system, adjusted with the economy, but still fascinating how in your career you were able to translate from stand up comic to television writer to movie script, punch up artist and CO writer. And And again, we've already said this, but it was happened so naturally for you don it. It's kind of part talent and part luck, right? Oh, it's 90. Well, you've been doing some writing now you're closer to my age kind of retired or semi retired? Are there any projects you're looking forward to for the next year to

Unknown: 29:14

know I haven't been real? I've been doing that to do comedy. Once in a while. I don't even look at my

Scott Edwards: 29:21

Oh, you're back on stage. That's great. And you live in LA? So you're hitting some of the clubs down there?

Unknown: 29:27

Not really. I do, you know? I do. And again, I'm only featured because I didn't you know rising in the ranks while I was, you know, in those years, those 10 years or so I was writing and then yeah, I did the cruise ships for a while.

Scott Edwards: 29:45

Oh, really? Okay. So you're put yourself back out there as a pro. You're not just going on stage for your own creative use of stage. Tanya I want to be working.

Unknown: 29:58

And I don't work a lot of mine. It was until January 8, and ruin the punch line in Vegas. second week of January. Well, then

Scott Edwards: 30:09

Donald MC enery is been a very successful comic and writer and now you're back doing the stage. I just think that's great. We've mentioned before on some of the other shows that stand up does have a way of pulling you back. I mean, Jay Leno is back on the road. Our friend Bob Saget was on the road when he passed. Jerry Seinfeld's just still doing stand up guys that have no need for the money. They just love that interaction with the audience.

Don McEnery: 30:40

I can think of anything I'd rather do except the singing in a song.

Scott Edwards: 30:47

Yeah, yeah. Remember, we got to remember the beginning of your life, you wanted to be a singer. So you know, you need to put yourself out there, get on stage and sing a song.

Don McEnery: 30:59

Once in a while I do a little music input only song parodies every once in a while, you know, when I headline. Or when I do ship screw and you have to do four different shows or whatever. I'll bring out the mandolin and do some song powders and stuff.

Scott Edwards: 31:17

Yeah, well, good for you, Don. Well, it has been so great. hearing your story you've had such huge success is both a stand up comic and a writer. We really appreciate you sharing it with our audience. And ladies and gentlemen, as always, here on this podcast. We have a little bit of great stand up comedy by Don. Don, thanks so much for joining us today. My pleasure. Thanks for calling. Ladies and gentlemen. Here's a little great stand up comedy by Donald NRA, McHenry. McHenry. I'll get it right ladies and gentlemen, here's the comedy.

Don McEnery: 31:56

Something new for my wife every single day. I know that small to say I don't care. I'm a smoker. I learned something new from it. I learned I'm a big dumb lazy slob. Sorry, marriage counselor on TV. This guy should win a Nobel Prize in marriage counseling if such a thing existed, and it shouldn't become existed. Because this guy was a genius. He said to a hate relationship with your wife. You should treat her as if it's our last day on earth. I spent the day making jewelry and I saw the new black suit. I ordered a lot of flowers. And I even dug the hole in the backyard. I love my wife thinks I'm gonna be an idiot for stupid, stupid I am the other week I was watching a rerun of jeopardy. I still didn't know any of the guy new matches I wrote away somebody I was just very nervous. Anybody getting married to get married? Nobody ever. It's no grounding in mags. I will just tell you I have some rehearsals. Rehearsals as always under open. I was just getting married and getting a family behind you. And then the priest asked me the big question was do you take this woman for Richard from poor from Daniel worse? I said yes. No, yes, no. Back in New York, I went to Catholic school 12 years and that depresses me every time I go by my own school and it was counseling against winning black men don't clap for 12 here. I just wanted to kind of slow but I have to admit I have been made the benefit of a Catholic education. And that is I've noticed as a third grade that I'm going to have something wrong in the third grade and uncertain because you're going to help another one. Stuff by analogy means I'm the meanest man in the world assistant Benito CTD. Back she was scared she was wasting she has stained glass superimposed the postman for sloppy handwriting. She beat your knuckles with all the other sloppy handwriting. In the fourth grade. I got arthritis. I'm 10 years old. I can't sing anyway, thank you, Jeff. I guess you're in any bigger book. You're the guy DMI how many of us have to go to Cat school man? Five years five years 12 and 12 years and one black Nun you have ever black Nun human being by only have a one black, the very militant black militant Nun Sister - sister

Scott Edwards: 35:25

ladies and gentlemen, that was Donald McHenry on stage He is a talented stand up comic. He is a prolific writer has done a lot of the movies that we've all grown up with. And it was just really great to have him on the podcast. Hey, we hope you enjoyed it as much as I did. continue listening. We'll have another great show for you next week. Tell your family tell your friends. Let's build this up. Thanks so much for listening. Bye.

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