Standup Comedy "Your Host and MC"
Standup Comedy "Your Host and MC"
Cash Levy "Corporate/Improv" Show #221
For this Show, I re-interview standup comic Cash Levy, and he shares some good stories and information on working Late Night TV spots, regular comedy clubs, and also his successful Corporate work. Using quality clean standup material along with engaging with the audience with improvisation material, which includes them, makes for a successful combination in entertainment. Cash is very successful and still working clubs and Corporate shows today...Visit: www.CashLevy.com to connect!
Cash Levy is a professional and talented improv and stand-up comic known for his engaging comedy shows that blend audience interaction with his sharp improv skills. He values the immediacy and presence that audience interaction brings, believing it makes his performances feel more alive and in the moment. This unique approach, which has been showcased at venues like Brad Garrett's comedy club in Las Vegas, is also well-suited for corporate events where he customizes his material to resonate with the specific audience. Cash credits his success to his ability to improvise and adapt based on audience responses, making his shows dynamic and memorable.
(00:01:09) Engaging Improv Comedy by Cash Levy
(00:02:29) Dynamic Comedy Club Performance with Audience Engagement
(00:04:49) Dynamic Exchanges on Late Night Shows
(00:07:53) Navigating Pressure: Stand-up vs. TV Comedy
(00:16:56) Tailoring Jokes: Engaging Corporate Audiences Effectively
(00:25:39) Optimal Early Show Timing for Comedy Clubs
(00:27:27) Improv Comedy Elevates Cash Levy's Success
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This is another episode of stand up comedy.
Cash Levy:Your host in MC celebrating 40 plus.
R. Scott Edwards: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, ladies and gentlemen. Welcome back to the podcast man. I have another fun interview for you this week. A good friend of mine, he used to play the club quite a bit back in the day. All my clubs. He's done lots of television, done a lot of corporate work. We're going to talk about that. He's doing some specialty shows, but right now he's playing at the MGM in Las Vegas. Ladies and gentlemen, welcome to the show, cash Levy.
Cash Levy:Wow. Thank you.
R. Scott Edwards:They're so excited. Sit down, sit down.
Cash Levy:I mean, that's a big. I didn't know you had such a big studio audience for every show. That's amazing.
R. Scott Edwards:Yeah. You know, when you offer free tickets. So you're playing the club MGM, Las Vegas right now. Tell us a little bit about the show you're doing.
Cash Levy:Yeah, I'm at Brad Garrett's comedy club. It's a great club. It's been here for many, many years, and I'm having a good time. Las Vegas is an interesting place to live for a week. It's a full week. It's a Monday through Sunday, so it's a full week here. I spent a lot of time at the pool and most people don't seem to be using the pool, Scott, for swimming. They generally just stand inside of it and drink sort of a, you know, it's like a. So yesterday I actually swam in the pool and people were looking at me like I was crazy. They were like, what is he doing? Where is he. Where is he holding his, where is he holding his beer?
R. Scott Edwards:You know, it's like a wet aa meeting, right?
Cash Levy:It is. And it's like, it's crazy because like. And then the pool, I think that the alcohol content, because people spill their drinks, I think in the pool, I think the alcohol content of the pool increases as the day goes on. So it was like 530. I think I was just swimming in pure grain alcohol at that point.
R. Scott Edwards:Well, it gives the image of Las Vegas something different. Well, I'm sure you'll have a great show there at Brad Garrett's comedy club. You know what's interesting about you, cash? Not only you've been a successful stand up comic for decades, but you're really known for your audience work.
Cash Levy:Yeah.
R. Scott Edwards:And being quick witted on stage, I know you do corporates, you do specialty shows, you do a lot of comedy clubs still like you are this week. Does the audience work really carry your set? Because I know you have set material you've written as well.
Cash Levy:Yeah, of course. Of course. What I do is kind of weave in and out, and I kind of get a feel for what's working better that night, you know? And I like to sort of riff into my material so that it feels more present and in the moment. So I'll like, if I'll ask a question of a crowd member, and then I'll sort of know I have a joke on the other side that is of that topic. So I always have that if I need it. Sometimes I never get to the joke. It's interesting, the joke I plan to tell if I get sidetracked by my improvisation, but that's just kind of how I've been doing it over the years. What happened was, Scott, I would go really far when I was just starting comedy. Then I would go to regions where the material wouldn't work as well, and I would be like, I got to do something here. And I'd start improvising more, and then it would free up the material, and the material would work better also. So it's kind of a combo, and.
R. Scott Edwards:You could be a little more outlandish when it's based on a conversation with somebody in the audience, because now you're taking it to the funny by exaggerating something, and that in itself becomes the material. But I think it shows your professional talents that you can weave in and out of that and that you always have something in the back of your mind. It kind of reminds me, and I'm not comparing you, but Robin Williams had that machine gun style where some topic would come up and boom, he could go off and do several minutes that would lead to some other topic, and all that stuff was in his brain, and he was just able to pull it forward, kind of like a rolodex. Oh, they're talking about airplanes. Okay. I've got this material here that really speaks highly to your talents. Cash. Now, I know you've done a lot of television. You've been on all the shows. One of the ones I wanted to ask you about was, what was it like on the Craig Ferguson show? Because I've read his book. He seems like a funny guy himself. Was that a welcoming environment for a comic?
Cash Levy:Yeah, that was really a good experience. I did that show twice, I think. And, yeah, I did it twice. It was very welcoming. The crowd is really good, and it was a very comfortable situation. I really enjoyed both of those. And he's a really super nice guy, too. You know, late night sets are interesting because you have to pare everything down and it feels a little more like a skating routine. You know, like you're doing like four and a half minutes of the really abbreviated versions of these jokes that you've worked so hard over. You might take a chunk of 15 minutes and cut it down to the tightest, the shortest, most concise four and a half minutes, and it feels a little strange, you know?
R. Scott Edwards:Well, it's interesting you mention that because a lot of headliners for the listening audience, you know, you're expected to do 45 minutes to an hour, and then you're absolutely correct. When you get on a talk show or some sort of television format, not only does it have to be short and concise and exactly to the time limit, it's got to be perfectly clean and you have to somehow set, get the setup and the punchline in this abbreviated presentation, that would be really challenging.
Cash Levy:It is challenging, Scott. It's really interesting. There's different aspects to it that are challenging. Number one, you're not used to, again, shortening everything that much, and you're shortening to probably the biggest parts where you get laughs, which seems like a great thing. Right. But that's not always your favorite part of those bits. I mean, you know, being a comedian that, like, your favorite parts might be some esoteric tag. Meaning tag for the people don't know is like the thing you do after the joke or, or some weird part of the setup. Like, it's not always the thing that you liked best that you're doing on the television show. So that makes it kind of challenging because you should probably pick out the parts that get the biggest laugh out of the joke. But it's not always your favorite. The second thing that's really challenging is sometimes the networks want to change a word or two. Like, there was this one joke and it makes it really awkward because you haven't ever told the joke that well until that night. So, like, at the last minute they'll say, I remember one where they said I had this joke about, like, pulling some things out of my pouch or something, like if people were marsupials, something like that, and I would pull out a hot pot or I pull out skittles at one point and they said, we can't, you can't say skittles because we have, you know, they advertise with us, you know, and so I had to use another product, but it had to be generic, like a chicken leg or a turkey, you know, or whatever, and the joke. And for, like, two weeks, I tried to pull different things out of the pouch for the joke, and none of them worked. And eventually I just pulled the joke. So, like, I can't. It doesn't work without the product itself, you know?
R. Scott Edwards:Oh, that's so funny.
Cash Levy:Like, you're totally, like, adjusting as you go along. Or they say, look, right before you go on, they'll be like, can you change this one phrase? And you're like, okay. I mean, you really. You don't even have the power to say no. You know what I mean?
R. Scott Edwards:Right. And it's almost last minute, so it's not like you can prepare that much. The fact that they gave you a little bit of a heads up and you got a chance to try different things. I think humans. I think humans with a marsupial pouch is a very funny setup, and you could do lots with that. But that is interesting. And going on tv always is. You know, not only have you have to be in the moment, you have to connect with the audience. You want to get your material out, and you're engaging with the host. So there's really a lot of different aspects to doing a tv set that I'm sure makes a professional like you maybe sweat a little more, or did you come to it naturally?
Cash Levy:No, no, no. I think it's one of those, Scott. I think it's one of those stressful things in the industry, because, like I said, you're not doing it naturally like you would normally do. And there's no do overs, so you really feel like, you know.
R. Scott Edwards:You mean you can't yell out, cut. Let me try that again.
Cash Levy:Right, you can. And the other thing, Scott, is you. You're used to doing 45 minutes to an hour, and anything that goes wrong on a comedy show, you can fix it as you go along. Like, in terms of joking. In fact, you could even just joke. If you screw up a joke, you can joke about how you messed it up. I mean, like, it's all part of the moment that you're in with the crowd, and it's this communal thing. But on a tv set, it's just like I said, that's why it feels like a skating routine, because you feel like you want it to be word for word perfect, because there's really no doing it a second time. And you also know that at the time, like, now there's more Internet. Obviously, there's a lot more Internet stuff than tv. Used to be bigger, you know, used to be you know? You know, they used to. Carson was like, made for life, right?
R. Scott Edwards:Right. You did Carson with Johnny, and that could make or break your career. And then being on Ferguson, it had been diluted, but even then there was still late night audience. I don't think it exists anymore.
Cash Levy:Yeah, I don't think it's the same, but at the time, it was nerve wracking because you're like, okay, this is the one time my relatives might see me perform stand up comedy, you know what I mean? And my entire career, my entire career will be based on what happens in the next four and a half minutes in terms of them thinking if I was a successful comedian or not. Like, the pressure of it. It's like, you know, your aunts and uncles that live on the east coast, they're not going to come see you, you know, unless you're nearby. And like, so some people have never seen you before and, you know, like, you know, your parents are going to get a letter from someone saying, hey, you know, you must be proud of them, or, hey, what the hell happened?
R. Scott Edwards:You know, what's with your mutant child? I saw him on exactly what's going.
Cash Levy:On with this pouch mammal joke? What's going on with that? You know, I mean, no, it's really like, it was, it is stressful, the tv stuff, I've always said. I think that most people say, do you get nervous before shows? And I don't get nervous at all for any regular show, but the only thing that makes me nervous is performing for friends, family, relatives. Because part of the whole idea of this is that you think when you're on stage, you're like, I'm not going to ever see these people again. And that gives you the freedom to not have to be perfect, you know, and you don't have to, like, be word for word perfect, but when you have family in the crowd, you know that, like, whatever you do in that night, it's going to define their opinion of you the rest of their life.
R. Scott Edwards:Wait a minute, wait a minute. Saying family and friends might be a little more judgy.
Cash Levy:I don't know what kind of family you have, but, yeah, I mean, it's like, plus, you know, being in this industry, the amount of, like, I think a lot of people think in this industry that if you're not a household name, you're you. You failed. And I don't see it that way at all. I never have.
R. Scott Edwards:Oh, that's not a house. So false. There's so many really good comments that have had a lifelong career, and I. Nobody would know their name, and yet they've had, you know, huge success.
Cash Levy:We both know guys that are funnier than people that are household names. And both of us, you in particular, having, you know, had a comedy club all those years and doing this podcast, and they're just as good, every bit as good as someone that's a household name. And there's a lot of chance involved when you get to that final 2% of people knowing you and. But your friends and relatives sometimes don't know that. Is he still trying comedy? It's like, you know what?
R. Scott Edwards:It's been 40 years. I've got a nice house. I got a nice car. Yeah, I guess he's still trying.
Cash Levy:I always thought when you get to the point where you could, like, support your family and make people laugh and people like what you do, that that's considered success because it's a hard industry, like any other artist. But some of the public perception isn't like that. They're like, they really just think that, like, unless people are household names, they're not, you know, they didn't make it. So you feel a little bit. You feel a little bit more pressure in terms of impressing those people. I find I don't care. I don't care as. Quite as much as I tell people that I.
R. Scott Edwards:You may not realize it, but you say you don't care. But I think what it is is that with experience and I, professionalism, you've got the confidence to know that you're going to do well with an audience, you know, ten times out of ten these days. And like you said, even if you have a bad bit or a. Or even a slow drunk audience, you as a pro know how to make that work. Comfort level.
Cash Levy:Yeah, but, Scott, this is what's weird, and this is why I've always been confused about comedians being so critical of each other, because I've always felt like we're the ones that made it to this thing where we got to do this for a living. Like, why are we being so mean to each other? I don't know why comedians are so hard on each other. It's really interesting. Like, comedians, I don't know if you've ever talked about the show, but they can be real mean about other comics in the green room. And it's like, I don't know, maybe you should be mean to other professions, you know?
R. Scott Edwards:Well, I agree and disagree. I think there's always a. A bit of competition when people are both vying for, you know, the middle wants to be a headliner. The opener wants to be a middle. There's going to be a sense of competition, but I will disagree that I think there is a little bit more of a quote unquote community with comedy, as opposed to magicians who have a community, but they all do the same trick, so.
Cash Levy:Oh, interesting.
R. Scott Edwards:Yeah, they have to find their twist on the rings or the scarf trick or something. And so that competition and that friction, I think, is a little bit stronger. Going back to the Craig Ferguson tv spot, a lot of the host will have cheat notes to ask about things. I got the sense that Craig was a little bit more freewheeling, or did. Did you set him up on things to ask about?
Cash Levy:And I don't remember how that went. I don't think. I don't know if I sat at the couch with him or not.
R. Scott Edwards:Oh, I just would have assumed you would. You are such a big star.
Cash Levy:No, I don't know. I don't think I did. Okay, well, it was just a question.
R. Scott Edwards:That, about, you know, doing tv shots, that when you're doing the late night shows, if you get the couch, you have to. Some people think you have to be prepared with more material, but I think that the industry is a little sharper than that, and they've prepared the host to ask the right things. That leads to more material. You see what I'm saying?
Cash Levy:That's true. That's true. I mean, I think more people used to have, like, a bit ready when they, when they sit on the couch, like, than they do now. They're more free form now, I think. I know, like, when you look at Steve Martin's, like, when he would go to the couch, he would be ready with some, like another, you know, bet.
R. Scott Edwards:Right.
Cash Levy:He'd have a plan.
R. Scott Edwards:Yeah, right. The entertainer themselves have something in mind. Well, I also wanted to bring up that you have been a very successful corporate act. You've done shows for Coca Cola, Home Depot, Ikea. That must have been hard to put together. Bose audio. When you're doing the corporate gigs, I think that you. I'm just assuming. So I want you to verify that because you're so good interacting with an audience and improvising, that what you doing corporate gigs allows you to bring the company and the staff into the show, into the material. But maybe explain to the audience the difference for you doing, let's say, working the MGM in Vegas versus a gig for Ikea or Coca Cola.
Cash Levy:Yeah, it's really interesting, Scott. I think for corporates, and I often tell my wife this, like every, like if the show goes well, I'll say I didn't have to do any material. And that means like, is every minute you're talking about anything from your act, you're losing the corporate crowd because they came to hear about themselves. And the minute you go into your relationship material or what it was like to be at the MGM pool or whatever else, they're losing interest. So I want it to be the way I do the corporates is I write maybe five minutes upfront, maybe even ten about the company itself. I'll ask some questions and find out more about the company and who their rival company is, stuff like that. What it's like at their office. Maybe they've got a broken coffee machine for the last ten years or just something sort of inside baseball type stuff. And then I hit the ground running that way. And then I'll riff with a lot of the people in the company. And the better the show goes, the more I didn't even have to do any material for my act because they really are tickled when it's about their environment. They want it to be about them. And that kind of fits in well with my style because I like to riff anyway. And I don't mind riffing about the HR department and how they messed up that one thing a couple years ago or whatever else you can ask people who their favorite employee at the office is and kind of riff back and forth about stuff like that. And so really for me, it fits in perfectly with my style. I also don't really have any dirty material, so I don't really have to change anything when I do go into my jokes. That helps too.
R. Scott Edwards:I think it's so smart that you're pointing out for the podcast listening audience that it is so important to do material that engages with your audience. So if you're playing the MGM, it's a different audience than a corporate, but also it shows your professionalism and your preparedness and that you're doing a little research so you're not going out cold in front of the CEO of Home Depot. You have some ideas of what you're going to talk about, you know, hey, I know you just had a big sale on ladders. Did that step up things for you? You know, I mean, I.
Cash Levy:Right, I mean, yeah, exactly. And the thing is, what's fun about it is I learn a lot about, I really do enjoy, there's a lot of comedians that just take the paycheck and they don't really enjoy corporates, but I actually like them because I've learned a lot about these different industries and there's all kinds of interesting aspects of these industries I never would have known crazy stuff. And it's fun to know about those different worlds. And then sometimes they'll bring me back and, you know, do their award show and, you know, I'll meet new companies. You know, one thing will lead to another, but I actually really enjoy it. And I think it is fun to write a joke and know that that's the only night you're going to get to tell it.
R. Scott Edwards:Oh, yeah, I hadn't thought of that. That must put an interesting twist on the work for writing comedy material is that, you know, 30, 40 years you've been in show business as a stand up comic, you, the whole idea is to take some lump of coal and form it into a gem of a joke. And that can sometimes take months or years to really get every word and inflection right. And then you do a corporate and you're going by the seat of your pants and improving and hitting and bringing out jokes that are, like you said, are only going to work that night. I could see where that would be challenging and fun.
Cash Levy:It's really rewarding because how many times, and I'm sure you've done this numerous times, where you write a bit and you want to protect the bit. You don't want to unveil it on a night where the crowd's not great and you want to put it, you want to give it a nice nesting spot in the middle of your set where you feel confident. And then two or three nights in a row, you're like, I don't know if this is the right crowd for this bit. And you kind of bail and you evacuate that bit with the corporates. Every single thing I write, I'm like, I'm going to do this. I don't care if it's written down on a napkin from the airplane napkin. I'm going to do this bit because I can't ever try it again. And it's a funny idea and I'm just going to try to workshop it in front of this corporation. And generally they give you the benefit of the doubt of the corporate because I think they're flattered you wrote something about them anyway. So the degree of expectation is as high about that particular, you know, perfection of that bit. So it's kind of fun, you know, and if it doesn't work, they know you just did it that no one night for them, you know?
R. Scott Edwards:Right, right. It's really kind of a win win situation. I wanted to point out that I thought it was really smart of you to mention how you nestle. I love the verbiage nestle a new bit into the middle of a set because we've often shared with our audience that when you're a comic and you've had, you want to use the set close, you want to start strong. So that's like your a material is your close, your b material is your open, and everything else in the middle is stuff you're working on. And your description of taking a new bit, nestling it into the middle of a set or, I mean, that is so, paints the right picture. Well, you've had so much success on corporate, and we were talking about the tv appearances, and I know currently you're working at Brad Garrett's club clubs all over the country. There's not as many now as there were back in the eighties and nineties. But the audiences, as I mentioned, you work for me a lot back in the day. Are you finding the audiences are similar, different? Is it the same gig now than it was 20 years ago?
Cash Levy:I think they are. I think they're pretty similar in terms of like, I don't think it's changed as much as some people describe it. I know there's a lot of talk about how people are more sensitive right now because of political correctness and stuff like that, but I think that's more of a regional thing. I've always thought that the entire thing is more regional. Like, you know, you had enough clubs where the entire feeling of a club is different, like even 20 to 30 minutes on one side of town versus another. Right.
R. Scott Edwards:Well, actually, almost audience to audience night tonight. I mean, you know, exactly Thursday night it could be drunk cowboy night, Friday night, late shows, always a hell
R. Scott Edwards: show. And then you got Saturday 08:00
R. Scott Edwards:where it's packed with somewhat sober, interested people. So it is true what you're saying is that every audience and every night can be different. But regionally speaking, I think you're also making a good point, is that the people that are concerned, let's say a little more woke or liberal, are going to be found in California and New York or the two coast. And if you're doing gigs in Vegas and in Oklahoma and up in Chicago, you're going to get a better mix and less sensitive people. Is that correct or am I judging?
Cash Levy:I mean, like I said, I do think it's still within those regions. It still has to do with the city you're in, you know, because there are conservative parts of California and there's really liberal parts of Chicago. So, like, I still think it's more, you know, in terms of what, you know, area code you're in within a region even, you know, so I. But you can feel it as you're doing. It's not as I think if you've got a guy that's just does the same thing every show, that's got to be hard if you're just in the wrong place. You know what I mean? Like, I see what you're saying.
R. Scott Edwards:I mean, if you took emo Phillips and you put him in a highly conservative, you know, strict atmosphere, they're not going to flow with his esoteric material.
Cash Levy:Much like some guys. Yeah, but, but I'm kind of flowing with what's happening anyway with the improv. So, like, for me it doesn't really matter because I can sort of feel it as it goes along and I'll be like, all right, I'm not going to do that joke that even mildly hints at religion. Not in this area, or I should. I'm not going to stay away from this or this is the perfect time to do this bit that I really like. That's a little bit more on the edge. And you can kind of feel that along as, you know, as you go along. When you asked about things that have changed, though, I'd say one thing that I think the clubs have improved on. A lot of them is I think a lot of clubs are doing earlier shows so that the Late show isn't quite as crazy.
R. Scott Edwards:I can see that that would be a smart move. I mean, my shows were always at eight and ten and we were always out the door by midnight. So we didn't, we weren't doing the late, late stuff.
Cash Levy:Yeah, yours weren't in wild areas, so I think that was, you know, that's. But some, there are some city clubs now that are going like seven and nine. And it kind of makes, because in those particular cities, you know, previously, maybe they would have done a 1030 or eleven and it was just something we would dread, you know, like, let's be real. Like, it was like, it's not worth.
R. Scott Edwards:It for the audience. Yeah, it's so funny because people. Well, some club owners think that, you know, okay, the comic is this week's meat and we're just going to throw them bump on stage and we're going to, you know, make some money selling drinks and we don't care about anything else. And that is so incorrect. I mean, it should always be about the audience, and that should always be about the entertainer having the best possible opportunity to do his craft. And then, you know, you hope you make money, but it is so important because the audience isn't going to come back unless you do a good job. And the comic is going to have a good time and connect with the audience if he's not having a good time. Now, maybe it's different in Vegas, where the audience is never coming back, but in a local club, which is what you mostly work in, it is so important that you have the audience, comic interaction, give it the best possible platform you can for success. Right?
Cash Levy:Absolutely. Yeah. No, and I think there's a lot of comedy clubs that are aware of that, and there's a few that aren't. And sometimes those aren't the ones that survive, you know. Right. If they're not cognizant of that, totally. Yeah.
R. Scott Edwards:Well, I think it's been made clear, and we're going to share with the audience some of your improv audience material. But I think an important key that you explained, and I'm just going to reiterate it for my listening audience, is that as a longtime professional entertainer, you're able to do two things that make you the success you are cash. One is that you self edit so that you are always able to put in the material that you think is going to work for that particular moment in that particular audience on that particular night. And because of your gift of improvisation and audience work that you can, as you said earlier, weave your material in and around the audience that not only presents that material on the best possible platform, but also the audience is that much more engaged and willing to take that trip with you. They're going to go with you on the story or the joke or the premise, because they already liked you and feel like you're one of them, you know? See what I'm saying?
Cash Levy:Yeah, yeah, yeah. You know, there was a. It's a. What I. What I love most about this is the communal feeling that comes out of it sometimes, and the communal, like, we were all in this together type thing. And there was a show, like, two or three weeks ago where I went home and I was like, I don't even know if, like, I was the conduit to this funniness that happened amongst all of us. Like, I was just sort of a. Like, I was a director of this. Of this crazy sort of confluence of these people in this room, and we had this communal togetherness, and it was really a special night that doesn't happen all the time. And that's very unique to have it feel that out of body, but sometimes it feels like you're channeling the energy of the room.
R. Scott Edwards:Yeah. The audience is part of, they become part of the entertainment.
Cash Levy:Right, right, absolutely. And you see that with like, you know, different improv shows. And that's what's special, I think, about improv, but because it's like we're all in this together and we all sort of had the same, they're just nights where you're like, we all have the same sensibilities. You know, that's what's so fun about it. When that happens, when it doesn't happen, you're, you know, you've got the material that works still. So that's the beauty of it.
R. Scott Edwards:Foundation or something you can fall back on.
Cash Levy:Exactly. Because some of the, I think some of the people, some improvisers just don't have any material. And then that's troublesome also, because sometimes that communal thing isn't happening. Well, then he's got some jokes that really work, and that's great, too, you know. So you've got, you know, got kind of both, both angles there.
R. Scott Edwards:Cash, you've mentioned so many important things, not only about the industry, but what has made you such a success. And I'm going to share a little bit of your audience improv with this listening audience to show your skills. But thanks so much for coming back on the podcast and talking about not only your great success on tv and in clubs around the country, but your corporate work. And, ladies and gentlemen, if you're interested in booking cash for one of your corporate events, how best to reach you.
Cash Levy:Yeah, go to cashlevy.com.
R. Scott Edwards:Wow.
Cash Levy:It's that difficult? It's that easy. Yeah. And you can just fill out a form and it goes to, goes to my agent and we just take it from there. It's a simple process. I love doing it. That's all you do. Cashlevy.com. and Scott, I will say before we go, you know, you really helped me in those embryonic years, and, you know, I appreciate the support you always gave me, and I'd love to come back and do the podcast again. Enjoy the podcast.
R. Scott Edwards:Oh, well, thanks so much for saying that. And it was such a joy not only for me to work with you and have you on my club, but I got to tell you, you always, as we've been talking about, brought it from my audience, and to me, that's really what it made it all worthwhile. Where, ladies and gentlemen, if you want to see them in a local club, you want to use them for corporate, check out cash levy.com. that's cash cashlevy.com. and get a chance to bring this really professional, talented improv slash stand up comic, the guy that can do it all to your event. Cash, always great to have you. Ladies and gentlemen, sit back. We have a little bit of his material and cash continued success out there.
Cash Levy:Okay, thanks, guys. Appreciate it.
R. Scott Edwards:All right, ladies and gentlemen. Hey, let's listen to some of cash Levy's material right now.
Announcer:That's great, man. Why would you be a moose? Where are you from? North Carolina, where there's no. No moose. Okay, this is getting off to a rocky start. I knew this was going to be a little bit of a strange crowd. I could tell. We really could have done this in a hot tub, couldn't we? It's a cozy group. People are still kind of filing in. They're like, what's going on? I don't even know if you guys knew there was a show tonight. Somebody just kind of sat down. You were gambling, you were tired. We came out, started talking. You're like, oh, we don't want to be rude. I guess we'll stay for a while and tell him we'd like to be a moose. North Carolina. That's wonderful. What do you do out there?
Cash Levy:Sales.
Announcer:Sales? Okay. You don't want to break that down for me, do you? Not very specific. A lot of people kind of narrow it down. This guy just goes door to door. Hey, you want to buy something? They call me the moose. I'm from North Carolina. That's great. What do you sell? Coffee. Coffee? Oh, I would think that kind of sells itself. Moose. I'm not sure you're necessary. Area is anybody like, I'd like to get some coffee, but I don't know where the hell to find it. I better find somebody to help me. Maybe that moose guy. You're an animal, man. What kind of animal would you be? A bobcat. Do they live out there in North Dakota?
R. Scott Edwards:Yes, they do.
Cash Levy:They do.
Announcer:Okay. And you like them?
R. Scott Edwards:I work for a company called Bobcat.
Announcer:You work for a company? So you want to be the animal mascot of the corporation you work for? This is one loyal employee like Bob. What's up with you? You're on all fours. I want to be a bobcat. That's going to take this standardized group to the next level. Where do you work?
Cash Levy:Air Force.
Announcer:Okay. Yeah, that's gonna be hard to make fun of. How long you two love birds been together seven years.
Cash Levy:Wow.
Announcer:Congratulations. Yeah. You guys married? Not yet, no.
R. Scott Edwards:Yeah.
Announcer:Don't want to rush into anything.
Cash Levy:Man.
Announcer:Just keep your options open. Camouflage. You're 40 now. What do you got around your neck? A shot glass. Okay, that's good.
Cash Levy:Seven years.
Announcer:Where did you two lovebirds meet?
R. Scott Edwards:His boat.
Announcer:On his boat? Okay. I didn't expect to hear that in Nevada. I haven't seen a drop of water since I've been here. Puts it out in the middle of the desert. He's like, no, it's not a mirage. Come on over.
R. Scott Edwards:We hope you enjoyed this episode of stand up comedy.
Cash Levy:Your host and Mc. For information on the show, merchandise and.
R. Scott Edwards:Our sponsors, or to send comments to Scott, visit our website at www.standupyourhostandmc.com. look for more episodes soon and enjoy the world of stand up comedy.
Cash Levy:Visit a comedy showroom near.
