Comedy Round Table Starring: Steve Bruner, Cody Cotulla, Ray Engan Show #101

Season 3 starts with something different....Standup Comedy Round Table featuring a conversation with 3 professional comics. This podcast showcases Steve Bruner, Cody "Blaine" Cotulla, and Ray Engan,...all professional comics. It was fun and fast, as we discuss standup comedy and all its good and bad parts. Many strong laughs, and overall a good time shared with the audience...Enjoy!

Hosted by: R. Scott Edwards

Transcript

Announcer: 0:04

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 Edwards.

Scott Edwards: 0:22

Hey, welcome back to the great podcast stand up comedy host and emcee and we're trying something a little different this season. That's right, ladies and gentlemen, we're doing a comedy roundtable and I have three terrific comics. Ladies and gentlemen, it's Cody kotula Steve Bruner and re ng

Steve Bruner: 0:42

I know all of them.

Ray Engan: 0:44

We all look the same.

Scott Edwards: 0:47

Good to have you guys here. Let's let's introduce everybody though. We'll start with Cody. Tell the audience who you are and how you got into stand up comedy or what you did in stand up comedy have some fun with it.

Cody Blaine Cotulla: 0:59

All right, that's a great question. Scott. How did I get into comedy? Well, I was gonna be a doctor or a stand up comic. I think the world is better placed because I'm I'm not a doctor. I myself I performed as a as Cody Blaine. That's my middle name Cody. Blaine kittila. Now I go by my first and last name primarily because on the internet, if you search for Cody playing you primarily see mugshots and people who are in jail and things like that. A great name for a murderer is Cody is Cody

Ray Engan: 1:28

line. So I recognize you. So yeah, so

Cody Blaine Cotulla: 1:32

I did comedy for about 10 years. I probably my favorite club. Honestly, first club ever saw comedy in was laughs unlimited horse plays that ever worked. For my first weeks of work, you know what I think of as real comedy was that at laughs unlimited. So I said to Connie for about 10 years, took a significant amount of time off. I won't say how old I am. But let's just say I'm more than half a century old now. I think I do my first week at last when I was 21. Yeah. So it's been a while anyway. So what I really add to my focus these days is still going out writing a lot being funny, funny and my work funny on the job and also doing professional public speaking. And my big focus is trying to figure out how, how the heck does comedy work? And how can you get people who aren't professional comics to use humor and comedy in their lives and I tell you what,

Scott Edwards: 2:24

passing on some wisdom good for you Cody wisdom. Also joining us the very funny Steve Brunner. Steve Good to

Steve Bruner: 2:31

have you everybody. And also I was wondering if the last show you did was it laughs Cody I've been doing comedy we are I think we all kind of started together so back in the day and been doing it since then. And my first week was also at laughs unlimited.

Scott Edwards: 2:54

Two for two. Yeah, no

Steve Bruner: 2:55

pressure Ray had been doing a stand up but clubs and colleges and cruises and corporate and in my living room during COVID.

Scott Edwards: 3:05

Well, we should say that Cody did go in and out of the business. But Steve, you've been an ongoing professional comic for 30 years, 30 years and still doing it and we just did some work together in recent years and it's great. So

Steve Bruner: 3:20

it is work being with Scott. It is work.

Scott Edwards: 3:25

Alright, well with that we're going to re ladies and gentlemen, comic professional Rangan. Hey there, I

Ray Engan: 3:32

was waiting for the big applause and everything like that. Yeah, sorry. No, my my very first foray into comedy was a bunch of guys sitting around a table like this having a few beers at UC Santa Barbara and I saw a sign that said amateur comedy competition and I was drinking so I said yeah, I could win that and my friend signed me up so I had to do I actually did win the contest maybe it would have been better to come into second place to second place got Tom Petty tickets I got the host and air guitar

Scott Edwards: 4:08

so that's kind of interesting prize that's

Ray Engan: 4:10

that's my comedy career and I think my first week I'll just say it was at last

Scott Edwards: 4:16

there you go. Yeah, the pad go with the flow was great to have all of you guys here on the podcast and in a comedy roundtable. It's kind of a a new idea for me. It's been tried on TV a couple of times. But what I thought we'd do is talk about what we've gotten out of this industry which is so unique and so different. For example, is there something that you know, now as a professional that you wish you knew when you were an open mic or

Steve Bruner: 4:41

Well, stepping in I would say that listening to people suggestions would have helped me a lot more. I was so excited about doing comedy that when I finally got around to actually listening to advice, it cut down my learning curve which is why I value you know, Cody doing is How can people get funny? And and I also would have probably networked a little bit more. I didn't understand. I mean, I don't think there was the word networking back

Scott Edwards: 5:11

then. Yeah, well, my comedy course, one of the things we talked about is that a lot of comics didn't realize it's a business and you're the product. So you have to sell that product. And that means sales marketing, get your word out there, Cody, was there anything you know, now you wish you knew, then

Cody Blaine Cotulla: 5:28

I mean, I think I guess the pick up on the whole on the whole networking thing. And they really, it's, you know, I think the, you have to know people, I mean, and I don't mean no people in like, you know this person, because they're going to help you, they're gonna give you this job. But you, you basically, it's, you're up on stage alone, and I and you're up on stage alone, and you need support. And when you're first starting out, often you're performing to other comics, and that's all and so you're listening to other comics. And if you've, if you're up on stage, really, and you feel like you're completely alone, it's horrible. But if you're up on stage, and I've talked to Ray about this, but if you're up on stage, and you're doing a joke, and you believe it's funny, and you know, it's it's funny, and the audience is laughing, and you've got that one friend, in the back, who goes gives you that. And it's a laugh of support and having that and really I think cultivate and pity or I'll take giving that and given that took a bit really understanding that this is a you're up on stage by yourself, but you need to help other people and be willing to be helped by other people. I think that is a big

Scott Edwards: 6:40

comedy is a committed community and cultivating those relationships, I think on or off stage gives you support because it's a really tough industry. Ray, have you picked up something is with age that you wish you knew when you were just starting?

Ray Engan: 6:57

That nobody gets successful by themselves? And in the history of mankind, basically. And but of course, when I did comedy, I didn't get represented by anybody. I didn't let anybody help me. It's like I did all this stuff by myself. And that's I think most comments think the business is fun. But that's not really it. The business is money. And you have to be able to show the club owner that you can bring people into the place that drink heavily butts in the seats. Yeah, butts in the seats. And it doesn't matter how funny you are. It's how many people you can bring in for

Scott Edwards: 7:29

the sale. Yeah, and being funny helps.

Steve Bruner: 7:32

That's right. I did read something. I don't know if it's Sylvester Stallone that said, a lot of people that enter into show business focus on the show. Very few focus on the business and businesses that way bigger word. And it doesn't mean that everybody's mercenary because I mean, I told a million people if they'd listen that I do, if I could find something that was half as fun. And I can make half as much money, I'd probably do it. There's some times you're driven into certain things. Comedy is definitely an art form that you you kind of get driven into even if you're driven out of it. You still have that there's something about it that is so drawn,

Scott Edwards: 8:10

we and we've taught it Yeah. And we've talked about that a lot in the interviews in the shows, and maybe even with you guys I've interviewed all three of you. But there's something about getting a laugh from a roomful of strangers, that addictive. It's it's something that you once you get it, you want to get that feeling right. It's like crack, I guess. Not that I've ever had crack. But you know what I mean?

Steve Bruner: 8:32

Speaking from experience,

Ray Engan: 8:35

funny and fentanyl started.

Scott Edwards: 8:38

There you go.

Cody Blaine Cotulla: 8:39

Yeah, I mean, I think yeah, yeah, I was gonna say I think one of the it is kind of the other, just to stay. I was I'm gonna come back to this one topic. That's the whole show. For me. It's gonna be one topic. Okay. But I think the other thing that I would if I was starting out if now what about something I wish I knew that would be the, it's like this little joke. What do you want to be in five years? Right? Where do you want to be in five years? Where do you were having a plan? Thinking about? What do you want to accomplish? And what are you going to take? Because I think that as a comic, so often it is you are living show by show. And so you are just always up there and sort of like that last show suck, die suck. Oh, let's show is really good. I'm great. And kind of thing instead really had that show you? Oh, right. You know what I'm saying? Instead thinking instead of really kind of thinking of like, what kind of Who do I what kind of character I want to build, who's the audience that I want and being willing to sort of work a plan for five years because you know, I think honestly, most of that business in five years.

Scott Edwards: 9:34

But I would think that is a much higher plateau for people to be thinking about because as we all know, when we started in your early 20s, late teens in some cases, I mean, what teenagers thinking about next year, let alone

Steve Bruner: 9:50

a few that become superstars. Yeah, well, that's

Scott Edwards: 9:53

true. If you've got that in you. Most don't

Unknown: 9:56

Yeah, and this is the question, What is something you wish you knew? No, no. Are you?

Scott Edwards: 10:02

Sure Cody got it? Good job, good job.

Steve Bruner: 10:08

Guys that said, think about not the spaghetti dinner you're working tomorrow? What piece are you doing, you know, grow, grow, grow, grow, go home, when it finally sank in to you're going for 20 minutes, you're going for 30 minutes John can to ram the holy city zoo, my first paid gig. And he was like your first it's your five, then it's your 10, then it's your 15. And he told me one time when I had 18 minutes, maybe of material, don't get off that stage until 30 minutes is done. You need to prove to yourself that you can do it. And I got off at 28 talk slower. And he was mad that he gets I gave you 30 minutes and you only did 28 What are you thinking about? And it mattered? It mattered that 30 minute.

Scott Edwards: 10:51

Yeah, and that's another thing that has been I've tried to beat into new comics as a producer. Now I'm in a room full of comics. I'm a producer. So we might see things a little different. But stage time is so precious, that you don't want to waste it or abuse it. Yeah. So like your friend, John, who I knew, said, Hey, you have 30, you as an artist, you want to try to take advantage of that offer, because you're not going to get it everywhere you go. At the same time. There are some arrogant young comics that go well, I know, I only, you know, scheduled for five minutes, but I got 30 minutes, so I'm just gonna go. And that's not how it's supposed to be.

Steve Bruner: 11:31

system we started there was a lot of that in our group. In that time, there were not there were so many more experienced people that would have just shut you down so many Booker's that wouldn't have let you on, there was not a lot of running the light

Unknown: 11:46

on it when you're going on stage at 12:31am. There are very few

Ray Engan: 11:52

people that dead dog

Scott Edwards: 11:55

in the audience, right?

Ray Engan: 11:56

That was a good 90 seconds. done all my Well, it was just like the sex life, you know, 90 seconds done.

Scott Edwards: 12:04

Well, we use Dave, you guys remember the original club, we actually had a big metal hook. And every now and then when somebody would be abusing the stage, I'd stick the hook through the back curtain, and the audience would just burst into laughter and the comic would turn around go, okay, because they've asked for they've already ignored the light, Oh, I I kept looking for the pool. He's got to go shepherd's hook, not run on the knock in there. You know, I try. So I'm so. So keeping the flow going. And we were talking about what we know now that we wish we knew then. But I think comedies really changed. So I've always feel blessed with my memories of what comedy was like in the 80s and 90s. But one of the reasons I sold the clubs and retired at a comedy in 2001 Was I could see the writing on the wall things seem to be changing. There was less emphasis on quality and clean. propounded See, I don't know what the right word would be. But that's not that's not it. There was a lot more

Steve Bruner: 13:10

shepherd's hook.

Scott Edwards: 13:12

There was a lot more abuse of the audience trying to get shock humor. Yeah. And so let me ask you guys, and we can go around the table, you could just jump in, how would you say comedy has been changed from the 80s and 90s? To let's say, the last decade?

Cody Blaine Cotulla: 13:29

Well, I mean, always first, I like to just I always have a little joke about this, this idea about offending, right. It's like, what's the what's the difference between being funny? And do you know the difference between being funny and being offensive? And the answer is obviously not. I mean, I think and I think but that's I think a piece really was this idea of going from well, you know, anybody could get laughs which is a not true. But anybody could get last. But what I want to do is I want to make people angry or upset and I think not really realizing, you know, what people showed up angry and upset, are trying to escape. It's our job is to get away from that. And I think this idea of almost like authenticity and a belief that authenticity, authenticity meant you were shocking people You're upsetting people. So

Unknown: 14:16

that's great. I didn't change when when they I think 87 or something like that clean was not particularly in and I it's just how I grew up. So I wasn't going to add words that I was unfamiliar with and, and I

Ray Engan: 14:31

like words, I knew the words. I'd see him in books before, but I never

Steve Bruner: 14:36

grew up around him. So and I remember people that influenced me didn't use the language for Chaka and I always thought and I don't know if somebody pointed this out, but if the joke needed it to work, like shock word in it, that then maybe it wasn't that strong of a joke. And also, I got a ton of work really early on because guys knew that I didn't drop an F bomb or what Ever so they got me work as an opening, suffering act sometimes, so that they could drop the bomb and have the shock value of the first thing and I got more work as an opener, just because I was different. Yeah, clean.

Scott Edwards: 15:15

Well, we should tell the audience if you haven't heard Steven some of the other podcast is one of the funniest headliners out there, but also one of the cleanest. I mean, I've known you 30 years in comedy, and you don't need an F bomb. You don't need shock humor

Steve Bruner: 15:28

on the golf course.

Ray Engan: 15:31

I know that even right now he looks very clean and well groomed. Shirt is pressed, the jeans are lined up perfectly.

Scott Edwards: 15:38

But the point is to anybody listening that wants to get into the business just like I tried to explain to my online comedy courses, you need to realize there's more work for clean comic than there is sure we can name a couple super comedy stars that got the golden ticket that were dirty, but far more made a living being cleaned. You may not all be famous, although Jerry Seinfeld, Jay Leno always clean who those guys okay, you able to Ray? What would you think?

Ray Engan: 16:06

Well, what I think it because I have a friend that started an open mic in Northern California. And he had me come out just to support him and check it out. And when we used to do open mics, and when we started out, we would sit there and we would say something and somebody would come like after you're set Cody would come and go, Hey, if you tried this, and Steve would say hey, here's a here's a tag for that. Right? And and I noticed these guys there, that first guy got up and started talking about rape. And I go, Oh, there's a cheery subject. You know, and tags for that. Maybe I didn't hear it. Maybe it was grape D high. But and none of them were talking to each other. And it was there was no, no kind of joy in the room from the other other other. Well, and

Scott Edwards: 16:51

that's the problem. And this has come up on clubhouse, when we've talked is that some comics feel it's a competition, as opposed to a community. In other words, instead of supporting your fellow comic, they feel like oh, if he does, well, I can't do well, which is totally not true. You want everyone to kill, because the happier the audience is, the easier sets gonna go. And when

Steve Bruner: 17:10

we started, there were 800 clubs. I mean, there were you just needed what they say a car faster than your reputation. You could play you can play by the time you got back around, they forgot who and then things kind of closed up. And now it's on. There are so many places to play online and stuff that it's a different animal. But I gotta be true to the person that brung me.

Cody Blaine Cotulla: 17:33

Yeah, I think I think kind of what you're talking about Scott and Ray about talking people talking to each other community. I think a big aspect that's, that's really different is that when we were starting out, and doing comedy in the 80s, and 90s and 2000 today, but start when you're really starting out you were you're hanging out with people, yeah, right. There's nothing it's like, you know, if you're hanging out at the, at a club or at a bar at, you know, from eight until one in the morning, and you and you have to talk to each other, right? I mean, you maybe you only talk to one person, but now because you can be you know, you're can be on your phone. And it really I think damages the the social community aspect of comedy, and particularly in terms of holding people. Like, if you're not in and you're a new guy showing up someplace, there's gonna be a coldness that you're gonna have to,

Ray Engan: 18:28

you're gonna feel that separation. I don't even think we had pagers back then.

Scott Edwards: 18:32

No, no, there was no it was there was nothing to focus on. But the alcohol and it was a great.

Steve Bruner: 18:39

It was I remember missing an open mic for like three weeks because I I literally had stage fright for a period of time when a show didn't go back. And when I went back, people said, hey, where you been? where you've been? They knew I was around, and hey, you had some funny style

Ray Engan: 18:53

today? It's why are you here? Yeah. Yeah,

Scott Edwards: 18:57

fans have changed.

Unknown: 18:58

I have given a suggestion in a two at a showcase or whatever. And and a buddy of mine said, Don't talk to him. Don't Don't Don't give him that suggestion. I'm like, it's what I do, man. I just here's it. I think the word running is better than skipping in there. Here's why. Here's the logic. And to my friend had to jump in because the guy wanted to get into a fight. And

Scott Edwards: 19:20

we were trying to help him and he took it personally took

Steve Bruner: 19:22

that I who am I? Who am I didn't know

Scott Edwards: 19:25

what what's funny. And what is it? Let's see. 30 years in the business. Yeah,

Unknown: 19:29

no, it wasn't like I was introduced like that. We didn't know any when I moved from San Francisco, which was a very warm environment, you know, like a chick under a hot light, a

Scott Edwards: 19:41

lovely woman talking about real women. And an act of love.

Steve Bruner: 19:48

And then you got to de la. It was definitely a different vibe. Yeah, it was I think it was more competitive. And there was less even though there were more clubs down there. There was it was it was

Scott Edwards: 19:59

even the clubs were segregated. I mean, you know, if you played the story, you may not be welcomed at the Improv and vice versa. Or the Ice House. I mean, there's different things. So we've gone back over the past and done this comparison. Let's bring a little comedy into it. Cody, do you remember one of your first jokes or bits?

Cody Blaine Cotulla: 20:16

Go to Steve. Okay.

Steve Bruner: 20:18

I used to have a prop. I remember one of the first jokes I ever did is, I would wear I have a sock that was cut off. And I so you couldn't see it in my thing. I'm go, Hey, everybody, and I lived on my pant leg. I say I'm wearing my warning socks. And yeah, it's time to do laundry. I'm wearing my warning. So I'm glad I didn't have a show tomorrow night because I'm down to my warning pants

Ray Engan: 20:46

about warning signs. So many saw.

Cody Blaine Cotulla: 20:50

Actually, one of the first jokes I ever had was actually because it was a story that my my father had told me, which was about being in the Army. And he talked about this thing called defender. He talked about this thing, this joke called. He said yeah, and army they taught us this thing called defend doing so that's if somebody needed these things he would actually do but basically what if somebody put it on your shoulder or somebody grabbed your wrist? Right how to defend yourself? Right? And so I always say, I've never been in a fight where somebody pushed on my shoulder or grabbed my wrist. So I've been a crap but I mean, I'm gonna grab my wrist.

Scott Edwards: 21:21

I remember that. It worked because it was a little physical. You could do the animation of it. Yeah. grabbed my about you, Ray and remember, it's

Ray Engan: 21:30

the very first joke I did at that open mic. Santa Barbara. Santa Barbara joke was I don't know people ask me about doing this last night so you nervous has no I'm not nervous. I slept like a baby last night. Which means I cried puke, pissed Kraft and Cabernet.

Scott Edwards: 21:48

But I'm bummed oh, wait a minute. I have that on

Cody Blaine Cotulla: 21:50

here. I love that joke. Yeah.

Scott Edwards: 21:52

Nice. That's good. We'll see that all three of those work in their basic form.

Ray Engan: 21:58

I should bring back the warning signs.

Scott Edwards: 22:00

Well, I'm not saying 30 years ago, they weren't? No, no. My point was that that the art of comedy? Well, okay, I'm gonna jump out and say it. But the podcast, I'm enjoying doing so much. The interviews are great. But showcasing comedy. I was just editing a show with Matt and Jamie. And it's from like, 1986 I was laughing all the way through while I'm editing. I mean, it was so funny in it. That my point is, is that funny is funny. And that even though some of the material might be quote, unquote, dated, if it was funny, then chances are it's funny now, and I think that that's a way to keep Ken sharing your laughter with people now you guys had those early jokes. You've you've come on. We were talking about how you're all pros at one time or another. Steve still is Ray's gone pro a different way. Cody's was a pro and then failed, not me went on and how fail fail is right. No, I didn't mean I was trying to be funny. Oh, sorry. Sorry. Sorry. I was trying to be funny. But that begs the question, and we'll get we'll go around the table. What what do you think makes a comic a pro now the the definition in Webster's dictionary is getting paid. But you that could be $5 $1 or a million dollars. But I think as a producer, I have a different definition. I'd like to hear yours. Are we starting with Ray? We're gonna go backwards. Okay, counterclockwise.

Ray Engan: 23:33

So what makes somebody a professional?

Scott Edwards: 23:35

No to you when a comic what at what point does a comic become a pro? When they can live off of it? Okay, so when they're making a living so that's a great standard,

Ray Engan: 23:45

though. I looked it up. Oh, and and the top one half of 1% of the profession that starts where people can make a living doing comedy. So if you're, if you're going live by yourself making comedy in the one half 1% of your profession now. You have to move up to that x that next quarter percent for Have you people walk in and people can see you on the street. That's like Seinfeld.

Scott Edwards: 24:11

Right, right. I call that a golden ticket. We did. We can.

Ray Engan: 24:15

Yeah, you're in the top one quarter of that.

Scott Edwards: 24:19

But that's a very definitive description and would be a tough one for a lot of people that were just starting out to think that way. Steve, would you say it differently?

Steve Bruner: 24:26

I used to always think I've always wanted to question two, what do you attribute your long career in comedy and I had this answer just patently set up my ability to go long periods of time without food. I've always wanted to say that always been because I just thought it was true for various times of my life. But no, I I I was told early on by some Booker that said how many times you've done it and I said 50 And he goes, Hey, when you get paid 100 times you're a professional and I counted and I said do all sudden it was 100 times I was really happy and I was middling, I think for will Durst Oh, when I hit 100 gigs for for money and, and he goes, What are you so happy for, you know, your set went okay, I don't know, I know a guy told me 100 times and he goes, No, no, you're not. You're not until you've done it 300 times, and I'm like, Oh 300 times, but I was working with another big name comic at 300 times and he goes, No, you're not at a professional comic until you've bombed 300 times for money. Because going to get the check. After you've done badly for three, that is when you're your leather skinned and you've, you've been in it, you've been in the trenches. So wow, I don't know, the percentage or whatever. But I figure, there's guys that have made. If you've if you've bought one round of drinks, or a pizza for your friends that drove with you, you're a professional. I don't know what it takes. But I know, but those are all making a living, because I would have

Scott Edwards: 26:04

those are all interesting as I would have done answering the question,

Unknown: 26:08

I would have had some other job to make money to augment my, my comedy career. And I did for a while. And then when I stopped that job, I had to get real serious about comedy. Well

Scott Edwards: 26:19

going to raise definition. I mean, that could be a multi faceted question in that, well, professional versus career. Right. So that's a whole nother question, really. But I was going for professional. Because the basis in Webster's is, if you're getting paid to do something, you're considered a pro and they don't stipulate how much money but there's a lot more reality to what you guys are saying.

Ray Engan: 26:45

Oh, we also have this this thing where you have to kind of get over the the poverty comic mindset. Yes. Which you start doing it, you walk in with 25 bucks, you have a couple beers, you do do a set, you walk out with 3750. And you're like, Man, that's great.

Scott Edwards: 27:02

And that's all better perspective, really. But that's, that's the way most

Unknown: 27:05

like, I'm ahead, you know, me. But to make a living out of it, you have to kind of sit there and go, Oh, well, what's going to make it so I can pay my rent? Right? Right. Right. I think that's a big difference. I think so I first I will joke sort of, you know, nice. I gotta get the jokes. Here. We're here with a joke. It's sort of like, yeah, it really depends, right? We're talking about, you know, what is it? What does it take to be, you know, how many times you have to get paid and sort of like I was thinking, what does it take to make you a pro? If you're doing sex, once you get paid?

Scott Edwards: 27:36

You get paid once

Ray Engan: 27:38

there's film on you forever.

Cody Blaine Cotulla: 27:40

You're always a pro. It doesn't matter how

Scott Edwards: 27:43

to perfect. That's a title I

Ray Engan: 27:44

want on my resume. CO headlining with Connie Peter.

Cody Blaine Cotulla: 27:47

I liked it. I mean, I think the thing that I like thinking about is this idea of pro and what's and to me, it's really it's to me, it's less about the money, and it's less about getting paid to me. A Pro is the is the comic, who you know, that when you put them up on stage in whatever environment, they're going to do the job, right, they're gonna deliver, they're gonna deliver and they're gonna, they're always, they, they're gonna kill a lot. But no matter what happens, they are going to put on a show, and they're going to put on a show that they're proud of and that you're proud of, even if the audience doesn't like it, you're gonna know what these people got a good show. And I think that is the to me, that's what it means to be a pro to be that guy or that woman. And I

Unknown: 28:32

think you also they have to realize that you become a pro when you realize the pressure of what you're doing and what you have to do. So you have to have this audience on the edge of their seat enjoying what you're doing. So the guys can stay there and sell the drinks and all that it's the same kind of thing with professional speaking the keynoter who gets paid a ton of money has to set the tone for the entire day. Not tell people what to do, but get them excited do those kinds of things. And Friday, Saturday nights are like date night shows and we're we're responsible for the sex lives of 300 people in this smoke filled room.

Scott Edwards: 29:05

Yeah, you don't make my girlfriend laugh. I'm not getting a good evening. That a little pressure.

Ray Engan: 29:11

It's in the red apple

Steve Bruner: 29:12

in Wenatchee. And we're getting people late. I've given some nice philosophy and in I think it was Houston, Texas and the club owners my first time headlining and he said, you know, he paid me the money and he goes, Hey, you did pretty well, this week. Here's an extra$100 or whatever. And he said, he goes, you know, David Letterman just signed a contract for 15 million for one year, one year 15 million. And he goes, here's what you got. And I think it's 1500 and, and David Letterman, and he goes, there's a lot of room in between there for you to be really happy. And I remember him saying and that's actually good advice. It was really he goes, he goes, there's one David Letterman. He goes, but we need you know, we need people like you. And I'm gonna give you more money when you come through again and and then at that time, I'm pretty sure my rent was about $470 So I was looking ahead.

Scott Edwards: 30:02

But you know, that was actually really cool for him to say that because it was bringing into perspective for a talented headliner who you'd already made, you know, you were already doing the job. But we all aspire to be the Letterman's or the Leno's. And the fact is, there's only going to be a few of those. In fact, one of my questions I'd like to get answered and this could be a perfect segue is with that in mind, and I call it the golden ticket, there's only going to be and I was very blessed to work with many of them. Robin Williams, Jay Leno, Dana Carvey, Jerry Seinfeld, you can go on and on. But the point is, I know

Unknown: 30:37

many more guys, that was the sound of names being dropped, yes.

Scott Edwards: 30:41

But like the three here in this room that are very funny can entertain an audience, and you can go down the street and trust me, people don't know you. But that doesn't mean you weren't a professional that you couldn't entertain that you couldn't take the audience where they needed to be taken. And as a producer, I was happy to pay you crap money

Steve Bruner: 31:00

to eat was cheap to take the audience

Ray Engan: 31:05

straws in our drinks.

Scott Edwards: 31:07

Take the audience down that road. So with all that in mind, I mean, is anybody in the industry that you look up to that, you know, maybe didn't get the golden ticket, but is a consummate pro Cody.

Cody Blaine Cotulla: 31:21

You know, I think there's somebody that I just actually it's a good friend of mine. I love Laurie Kilmartin. I mean, she's a She's great. She's a you know what I mean? I you know, I've seen her obviously, she's done. Conan few other network shows. You watch her worst work in person. And her, you know, the power of her writing the power of her persona, her ability to handle a crowd and all aspects of it. Professionalism, funny, great material. She's somebody I just think it's the whole package.

Scott Edwards: 31:52

Yeah, no, Laurie is is I was blessed to work with a lot of talented comedians, but Laurie would be near the top of the list. Steve, who, who?

Steve Bruner: 32:00

I think Jack Gallagher is probably he had a TV show. i He's the funniest person I've ever seen. He's I saw him right before COVID. And he was still the funniest person I've ever seen. My wife was at the show. And I said, this is the funniest guy I've ever talked to I've ever been on stage with. He's one of the nicest people. I think. He's massive talent. That's not I mean, he's done a one man shows here in Sacramento. Uh, sorry, we're not here in Sacramento. It's the bomb goes off. But but he is he's the kind of person that I mean him and I there's a guy Kelly mon teeth that had a great show in Britain. So it wasn't as famous here. But he can't walk down the street. So I don't know what disqualifies whom. But those guys I saw. And I went, I want to do that. And my wife, I lived in my hometown now and I see people that I went to kindergarten with they go hairdo or comic, how'd you do? And I'm like, oh, you know, I'm still doing it. I'm still doing it. And that's all well, you know, never got famous or whatever my wife stepped in and oh, no, he's not famous. He just he just real successful.

Scott Edwards: 33:08

So your, your, that was a great comment by your wife, because it put in again, went into perspective, the difference between being somebody famous when when there's maybe 10, or 20, if you really stretch 30 people that we can name that are, quote unquote, famous comics, and yet we've all four of us know, hundreds of really funny people that made a career and a good living doing comedy. I'll jump in and say that for me, Larry Miller, was one of those people. And he's kind of famous if I if you showed his picture to people, but I don't know if he'd be recognized going down the street. And if he's not a name, actually can't say Larry Miller. It's like Seinfeld. Right? But one of the funniest guys on stage ever. And what was incredible about Larry is that he could do a one liner, but he was at his best when he would do a 20 minute story bit, and you're laughing all the way through and then just on the floor, by the end. I mean, it was nonstop.

Unknown: 34:05

That sunlight was God's flashlight. Yeah. That's

Scott Edwards: 34:10

one of his closers, the drunk the stages of drinking. Yeah. And Steve mentioned the skiing wine. Yeah, the little five year olds.

Unknown: 34:19

He also was the wit's end. saw him do that. Well on a notebook, and he was adding jokes as we were going, I mean, as he was going, and I was just, it just keeps getting better and better.

Scott Edwards: 34:31

He was a genius. Ray, who do you

Steve Bruner: 34:34

still live so he's still a genius.

Ray Engan: 34:36

He was also the suck up guy and pretty woman.

Scott Edwards: 34:38

Yeah. Which is a really funny scene in the movie.

Ray Engan: 34:41

Yeah. A couple people come to mind. One is Milt Abel. Oh, yeah. Milt will like to hear that. Yeah, he was fantastic. And you know, he when he talked about being a cat, he became the cat. And he had the want to buy the car. Yeah, what's it going to take to the car today? First of all, get off my leg. Today Yeah, I'll give you a really good deal at the end of the day of the screen. But today, you get to screw me Come on

Scott Edwards: 35:10

What I loved about Milt, and it's sad, because you can't see it in a podcast was he had like the rubber face. Yeah. And that he could do whatever and express it on stage. So the audience was getting even more than you could get on a podcast, they were getting the visual, like, I remember when he would do the car sales bit and, and he goes the picture, the eyes behind the painting, watching you, you know. Anyway, so So we've touched on a few people that we've really enjoyed, and admired in the business that are golden ticket winners aren't necessarily household names, but made terrific, financially successful careers out of comedy. And everybody in this room has made a living at a comedy one time or another. But what, let's kind of wind this down. Now, we were talking earlier before we turned on the recorder, about how sports athletes can, you know, they can, you know, strain a muscle or with age, you know, you know, might be a great baseball player. And by 28 they're too old. You know, I mean, it's just some of these sports are so difficult on age wise, right? I mean, that's one of the reasons I love playing golf, my wife and I can play golf until we drop, right? She used to be really good at volleyball, and she had the wind injury, boom, she can't play anymore. So that's just an analogy. But in comedy, I was wondering if the three of you had any ideas of what might have changed or affected you? How did you change as a person doing comedy over a period of time? They all look very pondering might have thrown too much at him.

Cody Blaine Cotulla: 36:51

All right, I'll call it Ray go.

Scott Edwards: 36:55

God, he's really good at throwing that

Ray Engan: 36:58

he threw to me this hotel room isn't that big, but Cody's gonna bust to throw people. But I left right around the turn of the century. And I went into I went into sales and sales management. And and what I did very well in that is I taught my people, the principles of stand up in business, not the good part where you get to hang out with drunk people and tell jokes, but having to shut up like five bikers playing pool for $500 A game. And you have to get them to shut up by in five minutes. Because your show starts in five minutes, right? Taking control over reveals the people skills and comedy, I think are the biggest things that I that I took out of it. And you know, I like to think of it you take comedy? Well, you can speak humorously in front of businesses now and they give you more money. I call that the senior circus.

Scott Edwards: 37:55

Well, I think that's so true. And a lot of people can learn from that, that it's more than just telling jokes or drinking at the bar. It's it. You know, part of my job as the emcee of all those shows, was to get control the room get the focus of the audience, which are key things. Cody, what are your thoughts on this?

Cody Blaine Cotulla: 38:14

So what was the question against? What? What do you think? 30

Steve Bruner: 38:19

minute question.

Scott Edwards: 38:21

What do you what do you think, over the years, as we've done comedy, are some of the things that we may have, are getting more challenged with now, I'll give you a great example. If I was to go on stage now to try to get the attention from everybody's phone, or all the people that are there offended if you say, you know anything, you know, the sky is blue.

Unknown: 38:46

What? Your blue shaming, Scott? Yes, yes, yeah.

Scott Edwards: 38:49

So I mean, those are a couple examples of how I've aged out.

Unknown: 38:53

Yeah, you know, I think in some ways, I think it comes, I think comedy comes full circle. And I guess this is, you know, maybe this just for me, right, which is, when I was a kid, there'd be something funny that I saw, I'd see something funny on TV, I'd see something, I'd read something funny. And I would want to share that with my friends. And I got good at doing that. And I started writing my own jokes. And I got to go up on stage and entertain strangers. And it's still great and still wonderful to make strangers laugh. The other thing though, is that it starts to come full circle, which is I see something funny, whether it's something funny that I turned into my own joke, or I see a funny person, tell do something funny and I take that and I guess this is funny, and I want to share it with somebody and I share it with people at work I share it with my my family and so it's that kind of idea of recognizing that, you know, flees from it. I got into I got into comedy because I love I love making people laugh one but I also love taking something that I think is funny and share it with somebody else and so that I mean I do that constantly every day with people around me so

Scott Edwards: 39:55

not something that's actually aged out what you're saying is something that you learned doing stand up comedy and in using it as a career that adapted you so that as you move forward and and get older, you have that ability to see things and share things in a funnier aspect that maybe you could have before.

Unknown: 40:16

Yeah, you're bringing I think you're just just like he used to bring stuff up on stage of strangers. You're just bringing things you're adding to whatever you're doing if you can take something you saw, and I saw this thing. Let me tell you, you

Scott Edwards: 40:28

know, at work, they're going you know that Cody guy, if you get him in a restroom, He is hilarious.

Unknown: 40:34

He puts joy on top of joy right here at the urinal. I almost spit up hate.

Cody Blaine Cotulla: 40:40

Thank goodness, I work from home.

Scott Edwards: 40:43

Steve, any thoughts on this convoluted question?

Steve Bruner: 40:46

My filters a little bit better. I think. I know.

Scott Edwards: 40:50

That's a good point.

Steve Bruner: 40:51

I think that I'm I'm better at seeing what I what will work out in my viewpoint, which I didn't I was kind of shotgun for many, many years when I started out. And oh, I'd narrow it down by what they laughed at, as opposed to what I thought was funny. So I may have transitioned into this is funny from a perspective that I hold better, it's still kind of shot Gunny, because I'm kind of the boy next door that's not not creepy kind with kids underneath the floorboards. But I'm just like the average guy. And that's kind of the perspective that I talked about. And that's kind of how I think I just think better about it now.

Scott Edwards: 41:29

So actually, the My question was absolutely horrible. It's not what we've lost with age. It's actually what we've gained with age. Through the experience we've had in this I've lost the

Steve Bruner: 41:41

lack of having a filter.

Ray Engan: 41:44

I've gained 27 pounds.

Cody Blaine Cotulla: 41:47

I think the other I think the other thing that changes and as a comic just to kind of pull back to this thing about what changes is, you know, you have to be if you want to be up on stage entertaining, people who are 2025 30 You know, you've got to let go of a little bit of things that you used to think that were funny to people 25 years ago. If you're still hanging on you're upset because you can't talk about subject X they used to be able to talk about because

Scott Edwards: 42:13

I got a great Reagan joke.

Unknown: 42:15

My VCR says I'm funny. You go binge. Wow, you have to if you're gonna, you know, know your audience, if you Oh, you want to entertain baby better be benefited. Feel entertained, you know, bitter 55 year olds, like some of us are, you know what, you can do those jokes if you want to entertain, you know, angry. Kids.

Scott Edwards: 42:38

Yeah, I know. But I think you brought that around perfectly for the end of this podcast, because what it comes down to is all of us had that talent of relating to the audience back in the 80s or 90s. In some of us, Steve Brunner can continue to relate to the audience and make a living at it and have a career at it today. But it is not easy. Because even though our comedy may be consistent, the audience keeps changing. Yeah. Oh, that was supposed to be profound.

Ray Engan: 43:11

Every year the high school seniors get younger and younger.

Scott Edwards: 43:16

All right. All right. Well, we're gonna we're gonna widen this up. I didn't plan this. I know you guys don't have anything planned. But for the audience or for future comics, any words of wisdom as we go around the table, and I'm gonna say Cody, and he's gonna

Cody Blaine Cotulla: 43:35

get good work on your craft. Become a pro, somebody who people can depend on

Scott Edwards: 43:41

what you talked about early that define of a pro get be somebody that you somebody producer like I could depend on. Do your job. How about you, Steve,

Unknown: 43:50

I'm planning to turn pro next year. And write as much as you can just just write as just get your ideas out, because they're not going to do any good. If you don't, if you

Scott Edwards: 44:02

don't try and ya know, try and try trial, you're right. Well, the first part is get them on paper, get them on paper, get them onto them, get them on the stage and

Unknown: 44:09

get them on the stage and honor your craft.

Scott Edwards: 44:12

There you go. Ray.

Unknown: 44:14

I think that the key thing that I learned because when I left, and I kind of came back into into speaking I met some a lot of the people that I knew during stand up with Facebook and things like that. The people that made it might not be the been the best comics, but they just never gave up.

Scott Edwards: 44:33

They were persistent. Yes. Well, but persistency pays off. If you're writing and performing, that even if it's a certain level, you suck, you are going to improve with time.

Unknown: 44:45

So take suck less by the way. Take all these three pieces of advice. Put it together, you win.

Scott Edwards: 44:52

All right. Well, ladies and gentlemen, thanks for joining us for our first comedy roundtable. Well, I want to thank my friends Cody kotula for joining us say goodbye Cody life guy. I want to say thank you to Steve Bruner for joining us. I will also say goodbye. And Ray again. Thank you, Scott. All right. Thanks, everybody for joining us. We'll see you next week for another tremendous podcast from stand up comedy or hosted MC buy.

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