A Comic Conversation Ep 22 - Joey D'Auria - Meadowlark Comic Con 23

[00:00:00] Good morning, good afternoon and good evening! This is Comic Con Radio!

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[00:00:18] Comic Con Radio. Get ready to enter our universe. Let's go!

[00:00:23] Get ready to clown around, nerds. He's one of the world's most famous clowns to ever...

[00:00:41] Well... clown. Is that a verb?

[00:00:44] We're ready for another...

[00:00:46] A Comic Conversation!

[00:00:50] This episode we talk with Bozo the Clown himself, Joey DAuria.

[00:00:54] We also cover his humble beginnings in dinner theater, his appearances on the gong show,

[00:00:58] and his extensive anime voice catalog. So sing a note while your hand is on fire,

[00:01:04] summon yokai through your favorite ghost butler, and do a little clown dance. It's time for...

[00:01:09] A Comic Conversation!

[00:01:11] Yeah!

[00:01:13] So let's get this going, ladies and gentlemen. Our guest is the voice of Whisper in Yo-Kai Watch,

[00:01:20] Butch the Cat and Droopy Dog in Tom and Jerry, Alistair in Ratchet and Clank, A Crackin' Time,

[00:01:25] and so many others. Besides his work voicing characters in animation, cartoons, movies, video games, and anime,

[00:01:32] Joey was WGN-TV's Bozo the Clown in Chicago from 1984 to 2001.

[00:01:39] He was also a frequent contestant on the original gong show, and actually won the gong show trophy with his act,

[00:01:47] Dr. Flamo, an act that he repeated on The Tonight Show with Johnny Carson.

[00:01:51] Ladies and gentlemen, please welcome to the stage, you're already here, Joey Da'Aria!

[00:01:57] Yeah! So awesome!

[00:01:59] Stop!

[00:01:59] No, stop, stop, really.

[00:02:01] More, more, but stop, but also more.

[00:02:03] Oh my goodness, it's wonderful to be here with you guys.

[00:02:06] Welcome! We're a long ways away from the Chicago area.

[00:02:10] Long way from Chicago. Of course, I recently moved to Idaho, and that's where I first ran into you,

[00:02:16] was at the Gem State Comic Con.

[00:02:18] Right, right.

[00:02:18] And then we were in California.

[00:02:21] California. You're getting around, look at you go.

[00:02:23] Yes, I know.

[00:02:24] The clown business is treating you well, sir.

[00:02:27] Oh, actually, it's very funny, but I was in Los Angeles a month ago.

[00:02:32] Oh.

[00:02:33] To attend a memorial service for a very good friend of mine, Milt Larson. He's the man who founded the Magic Castle in Hollywood.

[00:02:41] Oh, okay.

[00:02:41] And I worked for Milt for many years, and while I was there, I ran into David Arquette.

[00:02:47] Oh, nice.

[00:02:47] Now, David Arquette, who you might know from, I guess, the...

[00:02:51] Scream?

[00:02:52] Yes, Scream.

[00:02:53] He was also a WCW wrestling champion.

[00:02:57] There you go.

[00:02:57] Thank you very much.

[00:02:58] Technically he was a champion, you're right.

[00:02:59] Yeah. And he also did a reboot of Sigmund and the Sea Monsters, which was an old Sid and Marty Croft show.

[00:03:09] Yeah, it was Sid Croft. Okay.

[00:03:10] Yeah.

[00:03:11] Yeah. Well, I'll get to... Don't worry, I'll get to Whisper.

[00:03:14] Yeah.

[00:03:15] But it's very interesting. When they did the reboot of Sigmund and the Sea Monsters, the original boy who was befriending Sigmund and the other Sea Monsters was Johnny Whitaker, who was on Family Affair.

[00:03:28] Okay.

[00:03:29] Family Affair with Kathy Garver, who we're going to interview very shortly.

[00:03:33] And in the reboot, Johnny Whitaker, who's now in his 40s, was a, I guess, sort of a bit player. He had a small sort of cameo role, which was kind of interesting. But that was it. And while I was with David Arquette, we discussed Sid and Marty Croft. And I also asked him a lot about Bozo the Clown because he did, you know, he has taken over the franchise.

[00:03:58] And...

[00:03:58] Wait, what? He has the rights?

[00:04:00] He now owns Bozo the Clown.

[00:04:01] Oh, okay. Okay.

[00:04:03] He bought the rights to Bozo the Clown from Larry Harmon Pictures.

[00:04:08] And the last thing he said to me was that they are thinking of doing it. You're getting this because you're the first group I've...

[00:04:15] The exclusive.

[00:04:16] Yes, you're the first group I've actually been able to tell this to.

[00:04:19] I love it.

[00:04:19] Is going to produce a Bozo movie.

[00:04:22] Oh, no.

[00:04:23] Yeah.

[00:04:23] That's awesome.

[00:04:24] Which is kind of interesting.

[00:04:26] And he couldn't talk about it at the time because of the writer's strike.

[00:04:31] Of course.

[00:04:32] Right.

[00:04:32] But in fact, I heard from him just the other day and it's on and I'm hoping to get more information on it.

[00:04:39] So that's going to be something that he's working on.

[00:04:41] I'm kind of excited to learn more about it.

[00:04:43] That's how we start a con.

[00:04:45] Yeah.

[00:04:45] We get exclusives right off the bat.

[00:04:48] Hollywood exclusives.

[00:04:49] There you go.

[00:04:50] That's awesome.

[00:04:50] Well, actually, not so much Hollywood.

[00:04:51] He was in Hollywood, but basically he's now living in Nashville.

[00:04:55] Oh, my goodness.

[00:04:57] I meant Hollywood as in movies.

[00:04:59] I was going to say, this is just appropriate for what we just announced.

[00:05:05] Why didn't you do that when I came in?

[00:05:07] I tried to.

[00:05:08] Because we have real people to clap for.

[00:05:10] Well, that's true.

[00:05:10] But it would have kind of, you know, bolted up a little.

[00:05:12] Oh, there you go.

[00:05:13] Anyway.

[00:05:13] I was trying to, but I didn't get it off in time and the timing would have been wrong.

[00:05:17] Oh, well.

[00:05:17] Comedy timing is everything.

[00:05:18] Yeah, that's true.

[00:05:19] Ask me what the secret.

[00:05:21] Ask me, what is the secret of comedy?

[00:05:23] What is the secret of shit?

[00:05:24] Anyway.

[00:05:26] That's so good.

[00:05:28] Anyway.

[00:05:28] I'm going to steal that one.

[00:05:29] I'm going to steal that one.

[00:05:30] You're going to do it to me on every show.

[00:05:31] Oh, it's going to be great.

[00:05:32] It's going to be great.

[00:05:33] All right.

[00:05:35] We have an interview to do.

[00:05:36] We have a segment on our show called Growing Up Geeky.

[00:05:39] So what is something you geeked out on as a kid?

[00:05:44] As a kid.

[00:05:45] As a kid.

[00:05:47] As a kid.

[00:05:47] A child.

[00:05:48] As a child.

[00:05:50] When I was a child.

[00:05:51] A baby clown.

[00:05:52] There wasn't that much geeky.

[00:05:53] It was mostly a lot of cowboy shows.

[00:05:56] You can geek out on cowboys.

[00:05:57] You can geek out on cowboys.

[00:05:57] Yeah.

[00:05:58] You know, there was a show called Wild Bill Hickok with Andy Devine as his sidekick Jingles.

[00:06:06] There was Wyatt Earp with Hugh O'Brien.

[00:06:10] You know, a lot of old westerns like that.

[00:06:12] But as I got older, I got into a lot of the old black and white sci-fi films that were made in the 50s and 60s.

[00:06:20] Those were a lot.

[00:06:21] I mean, that's what you had to geek out on back then.

[00:06:24] Yeah, that was it.

[00:06:25] You geeked out with what you had.

[00:06:27] Yeah, yeah, yeah.

[00:06:28] But I mean, if you think about it, all that stuff is the precursor to say George Lucas creating Star Wars,

[00:06:34] basing his mythology on westerns, on, you know, Japanese shoguns and samurais, things like that.

[00:06:42] Well, it's interesting.

[00:06:43] Yeah, because the, you know, back then when I was living in California,

[00:06:48] Star Wars had just come out and was playing at the Grumman's Chinese Theater.

[00:06:53] Oh, that's awesome.

[00:06:53] So if you've ever seen any of those photos of the huge Grum, literally,

[00:06:57] my wife and I stood in line for two showings before we were able to get in.

[00:07:02] Oh, my gosh.

[00:07:03] So, I mean, that was pretty wild back then.

[00:07:05] I didn't know.

[00:07:06] You didn't share that with us before.

[00:07:08] I've got to come up with something new.

[00:07:10] We always learn new things when we talk with you, and there's always good stories.

[00:07:13] I'm old.

[00:07:14] I have a lot of stories.

[00:07:16] We haven't even got to Adam West yet.

[00:07:18] Okay.

[00:07:19] Let's side quest.

[00:07:20] Let's side quest into Star Wars real quick.

[00:07:22] So you were there for, like, the initial push of Star Wars.

[00:07:26] What was the buzz like going into?

[00:07:29] Oh, it was incredible.

[00:07:29] People could not wait.

[00:07:30] The word of mouth, you know, and, you know, the lines in front of the big movie theaters,

[00:07:35] like Grumman's, were around the block.

[00:07:37] And, you know, the next two, The Empire Strikes Back and The Return of the Jedi and, you know,

[00:07:42] those three.

[00:07:43] Back in the late 70s to early 80s, those were movie events.

[00:07:48] And people were in line for those.

[00:07:52] And, I mean, especially in a movie town like L.A.

[00:07:55] Yeah.

[00:07:55] So that was wild.

[00:07:57] I was working at Universal Studios at the time.

[00:08:00] You worked at Universal Studios, too?

[00:08:02] Yes, I worked at Universal Studios.

[00:08:04] It was a, they had a tourist attraction called Castle Dracula.

[00:08:09] And that was because the Frank Langella Dracula movie had just come out.

[00:08:15] Yeah, you're nodding like, I don't remember that.

[00:08:17] Frank who?

[00:08:18] Yeah.

[00:08:18] But, yeah, that was the big film.

[00:08:22] Langella had played Dracula on Broadway.

[00:08:24] And they basically redid Dracula and did it, again, it was a reboot.

[00:08:29] For the film.

[00:08:30] For film.

[00:08:31] For film.

[00:08:31] And so they built this enormous set that looked like Dracula's castle.

[00:08:36] And I played Renfield.

[00:08:38] And there's a voiceover actor, Richard Epcar.

[00:08:40] I don't know if you know his name.

[00:08:42] But, ah, of course you know Richard Epcar.

[00:08:45] Yes, Richard Epcar is an incredible guy.

[00:08:47] Richard Epcar.

[00:08:48] Richard got me started in looping.

[00:08:51] Yeah, Richard was working in a lot of Japanese animation and stuff where we had to loop foreign

[00:08:58] films to make sure the words fit the lip flaps.

[00:09:01] I love lip flaps.

[00:09:03] Yeah.

[00:09:03] I love when you say lip flaps.

[00:09:04] It's James' favorite term.

[00:09:06] It's my favorite voiceover term.

[00:09:08] Ah, well.

[00:09:09] That's not creepy.

[00:09:12] He's a creepy guy.

[00:09:13] I'm creeping the clown out.

[00:09:15] Yeah.

[00:09:17] I made my morning.

[00:09:19] But, yeah, so, I mean, Richard and I and a whole bunch of people would work at a studio

[00:09:25] called Intersound on Sunset Boulevard.

[00:09:28] And we would get there at 10 o'clock at night and we would be looping foreign films until

[00:09:32] six in the morning.

[00:09:34] That sounds awesome.

[00:09:35] Well, because during the day, they had Spanish-speaking actors in.

[00:09:38] And they would bring in the Spanish-speaking actors, be looping Happy Days, Laverne and Shirley,

[00:09:45] you know, all of those shows into Spanish.

[00:09:48] So that was where their real bread and butter was because, you know, Paramount was paying

[00:09:52] that bill.

[00:09:53] And so they would, you know, dub all those films in Spanish and then send them down to

[00:09:57] Mexico and South America.

[00:09:59] So that was, you know, that was, it was a busy place.

[00:10:01] That studio never closed its doors.

[00:10:03] It was going 24 hours a day.

[00:10:05] That is awesome.

[00:10:07] So how did you, how did you know what the characters were saying since?

[00:10:11] We would be given scripts.

[00:10:12] Oh, okay.

[00:10:13] We didn't make it up.

[00:10:15] Let me just make up a story based on what I think that whisper is going to say.

[00:10:19] Yeah.

[00:10:19] Well, now, guys like Richard Epcar and another friend of mine, Michael Sorich, basically,

[00:10:25] they would get the script from Japan.

[00:10:27] This is the story.

[00:10:29] It would be the timelines for each character so that you would be able, there would be like

[00:10:33] numbers running along at the bottom of the screen so that you could count and see, okay,

[00:10:38] this is where he's saying this.

[00:10:39] And sometimes the character would say, hello.

[00:10:42] But the lip flaps would go on for five minutes because apparently it takes a long time to

[00:10:46] say hello in Japan.

[00:10:47] So they'd have to go, okay.

[00:10:49] It's like, hello, how are you doing today?

[00:10:54] Just, you know, I'm fine, by the way.

[00:10:57] I mean, literally, they would be adding more lines because sometimes the lip flaps were more

[00:11:03] numerous than the lines.

[00:11:04] And in Japan, they don't worry about the lip flaps.

[00:11:07] Right.

[00:11:08] They just do it.

[00:11:09] And, you know, I've watched a number of Japanese anime films where it's like your character's

[00:11:15] still talking and he just stopped, you know, his lips stopped moving.

[00:11:18] But in the States, it bothers people.

[00:11:21] So they really have to work to get it really tight.

[00:11:25] And so we had a good time doing that.

[00:11:29] We did a Spanish film.

[00:11:32] It was a series called The Three Musketerriers.

[00:11:35] It was a story of the three musketeers.

[00:11:37] And it was done with dog, cats, and pigs, and chicken ducks.

[00:11:41] And I was doing Cardinal Richelou.

[00:11:44] And it's the same voice as I used for Whisper.

[00:11:48] That's awesome.

[00:11:48] And Richard said, well, you know, we can't just bring you in for one character because

[00:11:53] Richelou's only in a few scenes.

[00:11:54] Oh, there's a pig in this scene who has to, has a run-in with the three musketarriers.

[00:12:00] Do a few lines for the pig.

[00:12:01] So they'd give me the dialogue.

[00:12:02] I'd do a few pigs.

[00:12:03] There's a duck who's going to be in this next scene, you know, with the queen.

[00:12:07] You know, be the duck's assistant.

[00:12:10] And I would just come up with characters.

[00:12:12] Well, one day I got a panic phone call at one in the morning.

[00:12:15] And Richard said, get down here right away.

[00:12:17] And I said, I thought you said you didn't need me.

[00:12:19] I thought so too.

[00:12:20] But it turns out, you know, all those little characters you played, like the duck, the pig,

[00:12:25] the monkey, the chicken, the cow.

[00:12:28] I said, yeah.

[00:12:29] They're all partitioning the king.

[00:12:33] So I need you to do all of these characters.

[00:12:35] I need you to do it.

[00:12:36] Do you remember all of the voices?

[00:12:38] I said, no.

[00:12:40] And he said, okay, I'm going to be pulling some of the scenes.

[00:12:43] And so, you know, you can hear the voices to refresh your memory.

[00:12:46] But that was it.

[00:12:47] I ended up driving from Pasadena into Hollywood.

[00:12:50] I got there around 1.30.

[00:12:51] And from 1.30 to 4 in the morning, I was redoing all of those different voices.

[00:12:57] I'm sure it was the standard voice acting practice where it's like, yeah, we don't have to pay

[00:13:03] you again until your fourth character.

[00:13:04] Yeah.

[00:13:05] Well, actually, with these, if you were going to be there for like a four-hour period, they

[00:13:11] would pay, and this was great money back then, $1,000 for the night.

[00:13:15] They never paid residual.

[00:13:16] Right.

[00:13:16] That was the kill.

[00:13:18] That's how they get it.

[00:13:19] Yeah.

[00:13:19] Now, the stuff that I've done, like The Loud House and Tom and Jerry, I did Top Cat Begins,

[00:13:28] which was a movie.

[00:13:29] And I also did A Curious George.

[00:13:32] I'm still getting checks for those.

[00:13:34] I just got a big check from Curious George just last week, 47 cents.

[00:13:39] Hey!

[00:13:40] That, by comparison to some of the stuff I've seen, is amazing.

[00:13:44] Yeah.

[00:13:44] And the thing is, it used to be that you would get them in the mail.

[00:13:48] And sometimes, yes, it costs more to mail a seven or eight cent check.

[00:13:53] Right.

[00:13:54] You know, but now it's all done online.

[00:13:57] So, big saving.

[00:13:58] Right, right.

[00:13:59] Big saving.

[00:13:59] Keep those 47 cent checks.

[00:14:02] Yeah.

[00:14:02] Exactly.

[00:14:03] 47 cent deposit.

[00:14:04] That's definitely paying the rent.

[00:14:05] Yes.

[00:14:06] So, okay, we jumped into you being in LA.

[00:14:09] Right.

[00:14:09] Where did you go to school?

[00:14:11] Where are you from?

[00:14:12] I went to school in New England.

[00:14:13] I grew up in New York.

[00:14:15] And I went to school in Connecticut.

[00:14:18] And you're going to make poor, you're going to make poor Wizzle airsick if you keep swinging

[00:14:23] him around like that.

[00:14:24] I know.

[00:14:25] But I did, I did a lot of, I did a lot of acting in school, high school.

[00:14:30] And then I went to the American Academy of Dramatic Arts in New York.

[00:14:33] And then I did dinner theater.

[00:14:36] I don't know if they still have, but I did dinner theater in Ohio, a little town called

[00:14:41] Miamisburg, Ohio.

[00:14:42] And the theater went bank.

[00:14:44] Well, fast forward about 35 years later, I'm doing an evening of old time radio.

[00:14:50] And we had Betty White on the bill, Jonathan Winters, Gary Owens, a lot of wonderful people.

[00:14:57] That's awesome.

[00:14:58] And I'm sitting there in the green room and there's a number of young people that were

[00:15:03] working and he looks around and he goes, so how did some of you people get into show business?

[00:15:07] And I had a great story.

[00:15:09] I said, well, my big start was doing a dinner theater in Ohio.

[00:15:13] And he went, well, I'm a, I'm a dating boy.

[00:15:15] I said, really?

[00:15:16] I said, well, that's interesting because the theater was foreclosed on by the Winter's Bank.

[00:15:21] And he went, foreclosed on by the, well, that was my granddad's bank.

[00:15:25] And he said, foreclosed on your theater, huh?

[00:15:28] I said, yeah.

[00:15:28] He said, my mother would have loved that.

[00:15:30] That old broad hated the theater.

[00:15:34] Jonathan Winters.

[00:15:35] Jonathan Winters.

[00:15:36] Jonathan Winters.

[00:15:37] If you go back and watch, say like Morgan Mindy, he was in Morgan Mindy.

[00:15:41] Great actor, comedian, good, amazing time.

[00:15:44] Incredible improvisational comedian.

[00:15:45] You're just going over everyone's head right now, James.

[00:15:48] I know.

[00:15:48] I'm trying to help out.

[00:15:49] Most of the people who I've had run-ins, no one would remember.

[00:15:52] All right.

[00:15:53] Show of hands.

[00:15:54] Billy Barty.

[00:15:55] Wow.

[00:15:56] Interesting.

[00:15:56] Okay.

[00:15:57] Cary Grant.

[00:15:58] Okay.

[00:15:59] Cary Grant.

[00:16:00] Yeah.

[00:16:00] Thank you.

[00:16:01] Betty and White.

[00:16:03] But, you know, but people like that.

[00:16:06] It was very interesting.

[00:16:08] I'll tell the Cary Grant story then because enough of them remember Cary Grant.

[00:16:11] And I just, this is facetious as hell, but before or after he was the president of the Screen Actors Guild.

[00:16:18] Much, much after.

[00:16:20] Okay.

[00:16:20] But this was when I was working for Milt Larson at the Variety Arts Center.

[00:16:24] We did a, we did a show about the Ziegfeld Follies.

[00:16:29] And we did a recreation of some of the performers of the 1914 Ziegfeld Follies.

[00:16:34] Will Rogers, Fanny Bryce, W.C. Fields, and Eddie Cantor.

[00:16:40] And I was doing W.C. Fields.

[00:16:42] I was in full makeup.

[00:16:43] I got a costume, Western costume.

[00:16:46] When I was looking at the jacket, it was from Paramount Studios.

[00:16:49] Oh, wow.

[00:16:49] Oh, wow.

[00:16:50] Which was pretty cool.

[00:16:51] So anyway, I'm there and I'm about to get out of makeup when Milt Larson runs backstage and he goes,

[00:16:56] Cary Grant is in the alleyway.

[00:16:58] I don't want to bring him up the main elevator because he'll get mobbed.

[00:17:01] Pick the freight elevator and bring him up through the kitchen.

[00:17:04] I said, but I'm in, he says, don't worry about it.

[00:17:07] Go.

[00:17:07] So I'm dressed as W.C. Fields.

[00:17:09] I ride down in the freight elevator.

[00:17:10] As I open the door, Cary Grant is smoking a cigarette.

[00:17:13] He looks up and he sees me and he goes, my God, Bill Fields is all I live and breathe.

[00:17:20] And he got into the elevator with me and he told me stories all the way up.

[00:17:25] He mentioned one where he belonged to a group called the High Hatters Club.

[00:17:29] And a lot of big Hollywood stars would meet at Chasen's Restaurant in Beverly Hills.

[00:17:34] And they'd get there at midnight when the restaurant was closed and they would drink and tell stories.

[00:17:39] Edgar Bergen, the ventriloquist with Charlie McCarthy.

[00:17:43] Just so many different people.

[00:17:45] Gene Fowler.

[00:17:47] John Barrymore.

[00:17:49] They would all be there and they would just have a great time.

[00:17:52] Anyway, so Cary Grant said after two months of this, he says, we would get there at midnight

[00:17:56] and we wouldn't leave until six in the morning.

[00:17:58] He says, when we had to get in our limos and get to our various studios.

[00:18:02] And I turned to Bill Fields and I said, Bill, this is too much.

[00:18:05] I have to quit.

[00:18:06] And Bill Fields called me a sissy.

[00:18:12] That's awesome.

[00:18:13] Yeah.

[00:18:13] It just sounds like a fun conversation with Cary Grant.

[00:18:16] Yeah.

[00:18:17] It was just unbelievable.

[00:18:19] There was a lot of weird stuff.

[00:18:21] You know, and I would be working nights sometimes as a waiter.

[00:18:23] It was like one in the morning.

[00:18:26] I stopped off at a supermarket to get some milk for my cereal.

[00:18:29] And I'm standing in line behind John Travolta.

[00:18:32] So many Hollywood stories.

[00:18:34] So many things that, you know, so many people you run into.

[00:18:37] It was wild.

[00:18:38] When were you behind John Travolta?

[00:18:41] This was like after Saturday Night Live?

[00:18:44] No, this was during Welcome Back Carter.

[00:18:47] Oh, Welcome Back Carter.

[00:18:48] Yeah, this was during the Welcome Back Carter year.

[00:18:50] That's how far back that goes.

[00:18:51] And I just saw your eyes just rolled up and it went, huh?

[00:18:55] Yes.

[00:18:56] There was an old thing we used to call television.

[00:18:58] Back in the day.

[00:18:59] People used to watch it instead of their phones.

[00:19:02] Now television is on the internet.

[00:19:04] Well, there you go.

[00:19:05] We haven't even got to Bozo and Flamo.

[00:19:08] I was taking an improv comedy.

[00:19:12] And as we were all getting together, one of the kids in the class comes running in.

[00:19:18] He was a little late.

[00:19:19] And he said, I just got word Chuck Berris is so desperate for acts for the gong show

[00:19:25] that he's paying after a minimum.

[00:19:27] After a minimum back then was $100.

[00:19:30] That was my rent.

[00:19:31] That's how far back that goes.

[00:19:33] I lived in Beverly Hills in an apartment about the size of this stage.

[00:19:38] It had a little Murphy bed and a hot plate.

[00:19:40] That was it.

[00:19:41] You got $150 in Beverly Hills.

[00:19:43] $150 in Beverly Hills.

[00:19:45] So I figured if I could come up with one stupid act a month, I got my rent covered.

[00:19:49] And so I did.

[00:19:50] I came up with several different acts.

[00:19:52] And eventually I came up with this one act called Dr. Flamo.

[00:19:55] I had a table with seven candles, little tiny ones, very big thick ones.

[00:19:59] And I would hold my hand over each flame and scream in a different key, depending on the

[00:20:04] size candle.

[00:20:06] And I did the song Smoke Gets In Your Eyes.

[00:20:09] And I figured I was going to lose.

[00:20:11] And I figured, yeah, I'll do the bit.

[00:20:13] They'll boo me off the stage.

[00:20:14] I'll go home.

[00:20:15] I put $150.

[00:20:16] So I'm waiting to go on.

[00:20:18] And there was a very, I would have to describe her as a very unfortunate looking girl.

[00:20:23] She was to be kind, homely.

[00:20:25] To be cruel.

[00:20:27] She was, she was, she was not an attractive, but she was sitting there.

[00:20:30] It's me.

[00:20:31] Yeah.

[00:20:32] I went back.

[00:20:32] Ah, well, there you go.

[00:20:33] It was me.

[00:20:33] But she was dressed up in a pretty dress and she was getting ready to go on.

[00:20:37] And she turns to me because she was, she was ahead of me and she turned and she said,

[00:20:41] I know I'm not very attractive.

[00:20:43] And I went, no, no, no.

[00:20:45] She says, please, I know I'm not attractive.

[00:20:48] She said, but Barbara Streisand is not attractive.

[00:20:51] And she is a great singer.

[00:20:54] I said, well, yes, that's true.

[00:20:55] She's a great singer.

[00:20:55] And she said, and I am a great singer.

[00:20:59] I said, well, good for you.

[00:21:00] Confidence.

[00:21:01] Yeah, that was good.

[00:21:02] So she got, now the big song back then was a song called You Light Up My Life.

[00:21:06] That was a big song.

[00:21:07] Debbie Boone, daughter of Pat Boone.

[00:21:09] She, she did that song.

[00:21:10] The big hit.

[00:21:11] And she gets on stage and they start the music and she starts to sing.

[00:21:16] She managed to not get a single note that was in that song.

[00:21:21] I couldn't believe that someone could be both flat and sharp at the same time.

[00:21:27] And it was like, oh dear, mother of mercy.

[00:21:31] Oh my God.

[00:21:32] And the audience, I mean, there were like the crowds in ancient Rome.

[00:21:36] There was, yeah.

[00:21:37] I mean, they were horrible.

[00:21:39] And I just watched this girl leave in tears.

[00:21:42] It's like, oh, they're going to love me.

[00:21:44] But I didn't care because I knew the act was stupid.

[00:21:47] So I get up there and I said, I just need a moment to make sure the candles are in tune.

[00:21:52] And I went, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah.

[00:21:59] Close enough.

[00:22:00] And I heard someone in the audience yell, he's hurting himself.

[00:22:05] And I did the act and they cheered and I ended up winning.

[00:22:09] And, you know, I'm standing there and Chuck Berris is next to me.

[00:22:11] And I went, you like that?

[00:22:13] And he elbows me in the ribs and he goes, shut up, kid, you're a hit.

[00:22:18] Anyway, so I'm going backstage and I'm going, oh, what did I win?

[00:22:23] You know, he said, well, first prize is $1,000.

[00:22:26] And I went, wow, unless you want the trophy.

[00:22:29] I went, huh?

[00:22:29] If you want the trophy, then you only get $850.

[00:22:34] So you charge $150 for the trophy.

[00:22:37] Well, at first I was going to say no, but then I thought I'm getting $150 anyway because

[00:22:42] I'm going to get my, my, uh, my after payment.

[00:22:44] So I said, okay.

[00:22:45] So I have a honest to goodness gong show trophy in my, in my office at home.

[00:22:51] That's like six months worth of rent right there.

[00:22:53] At least exactly.

[00:22:55] The other thing is, and this has been in my head the entire time.

[00:22:58] What was the length of time that you had to go through to get a medical license in burning

[00:23:02] your hand?

[00:23:04] I did.

[00:23:05] I, it was pretend.

[00:23:09] Don't, don't give away your secrets.

[00:23:11] I'm an actor.

[00:23:14] And in spite of that, I'm not stupid.

[00:23:19] Well, I was trying to find out for myself.

[00:23:21] Yeah.

[00:23:21] Okay.

[00:23:21] Well, there you go.

[00:23:22] Actually, I found out that there was a guy in Las Vegas stole my act.

[00:23:26] See?

[00:23:26] Yeah.

[00:23:27] And he was doing that act in Vegas.

[00:23:29] More recent or back then?

[00:23:30] Uh, about, well, about 20 years ago I found out.

[00:23:33] I mean, it's still pretty recent.

[00:23:34] Yeah.

[00:23:35] That's still pretty recent because a friend of mine, Marshall Brodine went down to Las Vegas

[00:23:39] regularly and he went to see Lance Burton's show and his warmup comic and he came and

[00:23:45] he said, you know, I know the guy who originated that act and the guy went, ha ha.

[00:23:49] Oh, he's like, oops.

[00:23:50] Yeah.

[00:23:50] Uh, a few years later I was in Las Vegas and I went and I got tickets to Lance Burton's

[00:23:55] show.

[00:23:55] Found out I was in the audience.

[00:23:57] Completely changed his warmup act.

[00:23:59] No way.

[00:24:00] So, so that was it.

[00:24:02] You're like, I kind of want to see it.

[00:24:03] Yeah.

[00:24:04] He's like, no, Dr. Flamo is in the audience.

[00:24:07] Do not do that act.

[00:24:08] Yeah.

[00:24:09] I guess if I had pushed it, I probably could have sued him, but I did not want to go through

[00:24:13] all of that.

[00:24:14] Right.

[00:24:14] Ah.

[00:24:14] But Flamo got you to.

[00:24:16] Flamo, well, Flamo got me on the Tonight Show.

[00:24:19] This goes back to Milt Larson and the Variety Arts Center.

[00:24:22] Uh, Johnny Carson's casting director was a man called Jim McCulley.

[00:24:27] And Jim McCulley would go to all the comedy clubs to see all the latest comics and he would

[00:24:32] book them on the Tonight Show.

[00:24:34] But McCulley had a reputation of he never laughed.

[00:24:38] He would sit in an audience stone-faced, analyzing what made your act funny.

[00:24:43] Comedians loved to see him in the audience because they knew he was looking for talent

[00:24:49] for the Tonight Show.

[00:24:50] Right.

[00:24:50] They hated seeing him in the audience because they couldn't tell if he was enjoying his act

[00:24:55] or not.

[00:24:56] So I'm doing that.

[00:24:57] But I was lucky because he had two guests with him that night, Tim Conway and Harvey

[00:25:02] Corman.

[00:25:03] Oh.

[00:25:03] And I, and Milt said, Jim McCulley is here to see a couple of magicians.

[00:25:08] One of them does a very messy act.

[00:25:09] I'm going to close the curtain, clean the stage and get ready for the second magician.

[00:25:13] Would you go in front of the curtain and do Dr. Flamo?

[00:25:15] So I said, sure.

[00:25:16] Do you know why I had to play the piano for me that night?

[00:25:19] Who?

[00:25:19] Dick Sherman of the Sherman Brothers.

[00:25:21] The man who, who wrote the music for Mary Poppins and Chitty Chitty Bang Bang.

[00:25:25] Dick was a friend of Milt's.

[00:25:26] So he was there and played Smoke Gets in Your Eyes for me.

[00:25:29] Anyway.

[00:25:29] So I did the act and Tim Conway and Harvey Corman wrote, Tim Conway literally slid off

[00:25:35] his chair and fell under the table.

[00:25:38] And as I'm putting my props away, Milt comes backstage and he says to me, Jim McCulley

[00:25:43] wants to talk to the bar.

[00:25:44] Oh, wow.

[00:25:45] And that's how I got booked on The Tonight Show.

[00:25:47] And The Tonight Show got me a personal manager.

[00:25:49] And the person or manager pretty much poisoned my name in Hollywood by saying, oh, he doesn't

[00:25:55] do under five line parts.

[00:25:58] Oh, no.

[00:25:58] Yeah.

[00:25:59] So after pretty much poisoning my name with every casting director, I was in trouble and

[00:26:03] I was lucky because Bozo the Clown came along and I sent The Tonight Show tape to Chicago

[00:26:09] and that's what got me the job.

[00:26:10] They watched me burning my hands to music and said, that's the kind of man we want entertaining

[00:26:15] children.

[00:26:16] The sacrifice.

[00:26:18] Yeah, exactly.

[00:26:18] If this clown, he'll make a good clown.

[00:26:20] Yes.

[00:26:21] Anyway, have I talked too much or you?

[00:26:23] Never.

[00:26:24] No, this is great.

[00:26:25] By the way, if you guys have questions, we have a mic set up.

[00:26:27] Just raise your hand.

[00:26:28] We'll get to them in a bit.

[00:26:30] We haven't even talked about Yo-Kai Watch.

[00:26:32] That's right.

[00:26:32] Or anything like that.

[00:26:33] Come on.

[00:26:34] I guess we can transition.

[00:26:35] Yes.

[00:26:35] Have a question?

[00:26:36] Come on.

[00:26:36] Come under the microphone.

[00:26:37] Step up.

[00:26:38] Don't be shy.

[00:26:39] Don't be shy.

[00:26:39] Disappear in that hat.

[00:26:40] We know you're not shy.

[00:26:41] We've seen you at Animate for you had a great old time.

[00:26:47] Hi.

[00:26:48] Hi.

[00:26:49] No need to be nervous.

[00:26:51] The Pope is here.

[00:26:55] What was it like on Yo-Kai Watch?

[00:27:01] Uh-huh.

[00:27:02] What was it like on Yo-Kai Watch?

[00:27:04] Yeah, what was it like working there?

[00:27:06] Okay, well.

[00:27:07] Was it fun and all?

[00:27:08] It was a lot of fun.

[00:27:10] Allison Packard, who plays Jibanyan, she was a very good friend of mine.

[00:27:15] And we had done a lot of work together.

[00:27:16] And we would record a lot of stuff.

[00:27:18] Um, it's like, oh, you're a cat.

[00:27:21] And I mean, we would just, we would just stay in character and throw insults at each other.

[00:27:25] It would be, it was always a lot of fun.

[00:27:27] And, uh, the director, Mark Risley, uh, who directed us, uh, he, um, he was, um, he was, uh, always a lot of fun to work with.

[00:27:36] In fact, I also worked with Griffin, who you'll be talking to later.

[00:27:39] Uh, he and I worked with the same director, Mark Risley.

[00:27:41] So, uh, I know he was on Yo-Kai.

[00:27:43] Uh, no, yeah, I was on Yo-Kai.

[00:27:45] And it was on another project, um, called, um, uh, Fairytale Forest.

[00:27:51] Okay.

[00:27:51] And a couple of other things.

[00:27:52] So, so that was it.

[00:27:53] Very cool.

[00:27:54] Thank you.

[00:27:55] Thank you so much.

[00:27:56] Let's talk about voice acting.

[00:27:58] How did you get into voice acting?

[00:28:00] Because you've always been on stage.

[00:28:02] Well, I was always a stage actor.

[00:28:04] I was always a stage actor.

[00:28:05] I was interested in film and television.

[00:28:06] But when I was working at Universal and I was working with Richard Epcar, Epcar said,

[00:28:11] you know, you can do a lot of weird voices.

[00:28:13] Why don't you come down this, uh, the studio with me?

[00:28:15] And so I, I went there and I sat there one night and he, he literally taught me how to

[00:28:20] loop, how to, how to do the, uh, the looping.

[00:28:24] You would, you would, you know, watch it once.

[00:28:26] And back then it wasn't digital.

[00:28:28] And so the recordings would be on, on, on tape.

[00:28:31] And if it was like, oh, you went a little long or you put a, you put too long a pause

[00:28:35] there, hang on.

[00:28:36] They would cut the tape and shorten it and then re-tape it.

[00:28:39] That's yeah.

[00:28:40] That's, you know, that's how they did it back in olden days.

[00:28:43] Reel to reel.

[00:28:44] Yes.

[00:28:44] The, yes.

[00:28:45] The, the recorders ran on coal.

[00:28:48] Shoved it in.

[00:28:49] That's funny.

[00:28:50] But that was it.

[00:28:50] That's not far from the truth.

[00:28:52] Yeah.

[00:28:52] Not far.

[00:28:53] So did, did voice acting in, in animation get you into video games or?

[00:28:59] Well, I did a lot of anime in LA prior to going to Chicago.

[00:29:04] Right.

[00:29:05] Then when I went to Chicago, I did a lot of voiceover commercials, which, which wasn't

[00:29:10] animation.

[00:29:12] Then when I came back to LA, I looked up Richard Epcar and he found a couple of jobs for me

[00:29:17] and he introduced me to a couple of other people and I worked with them.

[00:29:21] And, um, people say, how do you get into voiceover?

[00:29:25] Be very, very lucky.

[00:29:26] Be lucky.

[00:29:27] You know, that's, that's about all I can tell you because another guy said, Hey, you, you,

[00:29:31] you used to write for the Bozo show too.

[00:29:33] I said, yes, I have a friend who's got a new kids show, but he needs writers.

[00:29:36] So I wrote for a kids show called Betsy's kindergarten adventures, which had, um, it had Sally Struthers,

[00:29:44] that Tom Bosley, Fred Willard.

[00:29:46] Uh, it had, um, uh, Duvet.

[00:29:49] She, she did the voice for Lilo and Lilo and Stitch.

[00:29:52] She played Betsy and they had all these big name talent.

[00:29:55] And so I started writing scripts for them.

[00:29:57] And at the time my wife was teaching kindergarten.

[00:30:00] So I would go over my wife's kindergarten curriculum and would base the scripts on real kindergarten.

[00:30:06] And the producer of the, of the show, his wife was a kindergarten teacher

[00:30:10] and she always applies scripts over anyone else's because, yes, this is real kindergarten curriculum.

[00:30:16] So, yeah, so, so that worked out.

[00:30:17] But then I got smart.

[00:30:18] I started throwing in characters that no one could do the voices for.

[00:30:22] And they'd go, uh, we need somebody to be a German, uh, teacher who is running the, um, planetarium.

[00:30:30] And I went, yes, well, I can do that voice right there.

[00:30:32] They went, thank you.

[00:30:32] So I would, so you're doing it for yourself.

[00:30:35] And then I would write New England, New England mailman.

[00:30:39] And I went, yeah, well, we've got another letter for you, Betsy.

[00:30:42] And it was like, okay, great.

[00:30:44] And so I would throw in small parts for myself, which meant besides getting paid for the, um, paid for the, uh, writing,

[00:30:51] I was getting, I was getting after minimum, which by now was a thousand dollar, $1,200.

[00:30:58] Wow.

[00:30:58] A job.

[00:30:59] So, yeah.

[00:31:00] So I was doing, I was doing very well there.

[00:31:02] And one day the agent or Tom Bosley and Sally Struthers came in and said, you're funny.

[00:31:08] Uh, who are you with?

[00:31:09] Well, my, my other agent had just dropped me.

[00:31:12] So I said, well, I'm thinking of making change.

[00:31:15] And they said, come down and see me.

[00:31:17] So I did.

[00:31:17] And I have been with CESD in, uh, Los Angeles ever since.

[00:31:21] Look at you.

[00:31:22] But that's, but that's about it.

[00:31:23] You know, I mean, people ask about getting into voiceovers.

[00:31:27] A lot of it is who you know.

[00:31:29] Mm-hmm.

[00:31:30] Okay.

[00:31:30] Let's, let's talk about voice actors because, you know, there's always like voice actors or people

[00:31:34] that are growing up on anime these days that potentially see it as something they want

[00:31:39] to do, which is interesting to me because like when I grew up and I watched cartoons

[00:31:42] and I loved cartoons, I never thought I could do it.

[00:31:45] But you know, people nowadays, they're like, that's what I want to do.

[00:31:48] So kudos to you for doing it in generations.

[00:31:51] Right.

[00:31:51] Do you have any, do you have any tips for say a potential voice actor, um, maybe like

[00:31:57] how to develop a reel or, or, or tips on how to flush out a character?

[00:32:00] There are so many places in California where you can produce.

[00:32:04] Produce a reel.

[00:32:05] There are so many voice actors who make money having a bunch of people come down, they talk

[00:32:11] about themselves, they talk about their career, they have scripts and they have you try out

[00:32:15] different voices, you know, um, different kinds of things.

[00:32:19] Uh, and then you, you know, you do those voices and you put them on a reel and you send them

[00:32:24] out to agents.

[00:32:25] Now back then you actually produced a reel.

[00:32:28] Right.

[00:32:28] Not anymore.

[00:32:29] Now it's all digital.

[00:32:30] Well, everything's on cassette now.

[00:32:31] Yeah.

[00:32:31] We reverted.

[00:32:32] Yeah.

[00:32:33] Right.

[00:32:33] We're going retro.

[00:32:34] Yeah.

[00:32:35] Yeah.

[00:32:35] Eight track.

[00:32:35] Yeah.

[00:32:36] Eight track tape.

[00:32:37] But no, you, you have it, you have it on a, on a digital, um, thing.

[00:32:41] And if you write to an agent, I'm a voice over here.

[00:32:44] Here is a sample of my work and you can send a, uh, send that to an agent.

[00:32:48] A reel.

[00:32:49] It's a reel, but it's not.

[00:32:51] It's a reel in the sense of what it is.

[00:32:53] It's a digital, it's a digital, what do they call it?

[00:32:55] Just a, a, a digital download.

[00:32:57] A soundbite.

[00:32:58] Yeah.

[00:32:58] Yeah.

[00:32:58] I mean, it's just real is now just the term for what that type of recording is versus

[00:33:04] what it actually used to be.

[00:33:05] When I was in my twenties.

[00:33:07] Yes.

[00:33:07] You would have a reel of either real commercials and real things that you've done.

[00:33:11] You'd have it, you'd go to a studio.

[00:33:13] They would edit it down, put it on there.

[00:33:14] You would then make a, you know, a hundred copies and you would go around to agents and

[00:33:19] producers dropping that stuff off.

[00:33:20] Interesting.

[00:33:20] That's not done anymore.

[00:33:22] Oh yeah.

[00:33:22] That's.

[00:33:23] You just email it to them.

[00:33:24] Pretty much.

[00:33:25] Yeah.

[00:33:25] You email it.

[00:33:26] Does anybody have any more questions?

[00:33:27] I just realized we went to questions and kind of skipped back.

[00:33:30] No.

[00:33:30] Remnants.

[00:33:31] Joey's going to be at his table, which is inside this building to the left all day long.

[00:33:35] You got pins and stickers.

[00:33:37] I've got pins.

[00:33:37] I've got stickers, magnets, uh, photos.

[00:33:40] Photos design.

[00:33:40] A lot of great photos.

[00:33:41] Me with, uh, Harry Carey, if you're a baseball fan.

[00:33:44] Harry Carey.

[00:33:45] Harry Carey from the Chicago Cubs.

[00:33:48] Yes.

[00:33:49] And, um, Michael Jordan.

[00:33:51] I was going to say.

[00:33:52] I'm waiting for your Michael Jordan impression.

[00:33:54] Don't.

[00:33:55] Stop.

[00:33:55] Dribble, dribble.

[00:33:56] Dribble, dribble.

[00:33:58] And, uh, yeah.

[00:33:59] Get some help.

[00:34:00] Yeah.

[00:34:01] But, uh, we also, I also have the autograph cards and selfies, so I hope to see you down

[00:34:05] there.

[00:34:05] Awesome.

[00:34:06] Thank you all so much.

[00:34:07] Wait, before you go, before you go, we got some stuff for you still.

[00:34:09] Uh, so what would be a dream franchise for you to be in?

[00:34:13] Something that you haven't been in yet.

[00:34:15] Whether it's acting or voice acting.

[00:34:17] Just anything.

[00:34:18] Just any, any project, no matter what it is.

[00:34:20] What was something that you.

[00:34:21] I would love to get involved in any of the Disney Star Wars franchise thing.

[00:34:27] You know?

[00:34:27] Okay.

[00:34:28] That'd be very full circle for you.

[00:34:29] Play a character in any one of those.

[00:34:31] Um.

[00:34:31] Especially now that it's like, like everything is blowing up again.

[00:34:34] Oh yeah.

[00:34:34] Yeah.

[00:34:35] It's incredible.

[00:34:36] Yeah.

[00:34:36] So, um.

[00:34:37] Star Wars is a good one.

[00:34:38] Star Wars is, I've always liked Star Wars.

[00:34:40] Yeah.

[00:34:40] I always liked Star Trek, you know?

[00:34:42] Oh yeah, yeah.

[00:34:43] Yeah.

[00:34:43] Thank you.

[00:34:44] I would have liked, I would have liked to see, since they've been doing all of these reboots,

[00:34:49] to do something as Harry Mudd.

[00:34:51] Yes.

[00:34:51] Oh.

[00:34:51] One of my favorites.

[00:34:52] Yes.

[00:34:53] Roger C. Carmel mustache.

[00:34:54] Yeah.

[00:34:55] There you go.

[00:34:55] There you go.

[00:34:56] Um, but the, uh, but I heard that I think they are actually thinking of doing a Harry

[00:35:01] Mudd thing.

[00:35:01] So, I'm not surprised.

[00:35:02] I can see that because they're going retro with like, um, is that, uh, Brave New World?

[00:35:07] Yep.

[00:35:07] I mean, you gotta talk to Chase later and get you in there.

[00:35:10] Yeah.

[00:35:10] Yeah.

[00:35:10] I like it.

[00:35:11] Apparently Chase is the person to get you in there.

[00:35:13] Yes.

[00:35:14] I'm, yes.

[00:35:15] Definitely, definitely want to talk to Chase.

[00:35:16] There you go.

[00:35:17] All right.

[00:35:17] Um, what do you, what are you currently nerding out on right now?

[00:35:20] Currently nerding.

[00:35:22] My grandchildren.

[00:35:23] Yes.

[00:35:23] Something to nerd out on.

[00:35:24] Yeah.

[00:35:24] We moved, we moved up to Idaho to be closer to our grandchildren.

[00:35:27] I've been up there for two years.

[00:35:29] I'm now thoroughly sick of them.

[00:35:33] Uh, yeah.

[00:35:34] No good dinner theater in, uh, Poiseum?

[00:35:36] No, actually, I, I, I would like to get back into theater again.

[00:35:40] Um, I have to, I have to explore that.

[00:35:42] Yeah.

[00:35:43] Okay.

[00:35:43] Very cool.

[00:35:44] How often do you have to tell your grandchildren to stop climbing your leg?

[00:35:46] No, actually, well, they're, they're 12 and 10, so no, they don't climb anymore.

[00:35:51] Stop climbing my leg.

[00:35:52] You're 10.

[00:35:53] They just, they just annoy, you know, actually, they're very busy.

[00:35:57] Um, my grandson has gotten into baseball talking of nerding out.

[00:36:00] He is a walking encyclopedia of baseball facts.

[00:36:04] That's awesome.

[00:36:05] You know, he's, he's one of those.

[00:36:06] Uh, he'll talk about RBIs and stuff like that.

[00:36:09] Very cool.

[00:36:10] Very cool.

[00:36:10] My granddaughter is in gym.

[00:36:11] It's fun.

[00:36:12] Nice.

[00:36:12] Nice.

[00:36:13] Maybe there'll be, uh, action actors later on.

[00:36:14] You never can tell.

[00:36:15] Yeah.

[00:36:16] Right.

[00:36:16] Uh, so we've asked you this many times, but I mean, it's a new, uh, audience here.

[00:36:20] And you're going to ask again.

[00:36:21] I'm going to.

[00:36:22] Okay.

[00:36:22] I'm going to ask you this one more time.

[00:36:24] Uh, probably many more times in the future.

[00:36:26] What is your favorite kind of taco?

[00:36:28] My favorite kind of taco?

[00:36:30] I would have to say a carne asada.

[00:36:31] Yeah.

[00:36:32] Lover of the meat.

[00:36:33] With cheese or without cheese?

[00:36:35] Oh, with cheese.

[00:36:35] With cheese.

[00:36:36] Yep.

[00:36:36] With cheese, a little pico de gallo, lettuce on the side just to look at.

[00:36:41] Yeah.

[00:36:41] Just to look at.

[00:36:42] I mean, your taco needs a garden.

[00:36:44] Exactly.

[00:36:45] To play in.

[00:36:46] To admire.

[00:36:46] Yeah.

[00:36:48] That's great.

[00:36:49] Um, so what's, what's next for you?

[00:36:51] Uh, well actually in two weeks I will be in Big Spring, Texas doing the, uh, Comic-Con

[00:36:57] and Toy Show down there.

[00:36:58] Oh, that's awesome.

[00:36:59] Fun.

[00:36:59] So if anybody here is, uh, heading down to Texas.

[00:37:02] Yeah.

[00:37:02] Go and, uh, check Joey out down over there.

[00:37:05] Uh, again, I've asked this before and, uh, and, and I.

[00:37:08] Carne asada.

[00:37:10] Oh.

[00:37:10] I always love your answer on this.

[00:37:12] Bozo versus Krusty the Clown in a laugh off.

[00:37:16] In a laugh off.

[00:37:16] That's hard.

[00:37:17] That's a tough one.

[00:37:18] Uh, it's, it's interesting.

[00:37:19] The voice of Krusty the Clown is done by the actor, um, Dan Castellena.

[00:37:24] Thank you.

[00:37:25] Well, Dan Castellena was doing improv comedy in Chicago.

[00:37:28] So he lived in Chicago for many years.

[00:37:31] Uh-huh.

[00:37:31] And watched Bozo with the fellow who did it before me, Bob Bell.

[00:37:36] And his, Bob Bell had a friendly voice right about here, but he was a chain smoker and as

[00:37:41] he got older, the voice got here.

[00:37:43] And that's what he based Krusty the Clown voice on.

[00:37:46] Uh.

[00:37:48] Was Bob Bell.

[00:37:49] That's great.

[00:37:51] So, but in a laugh off, yeah, I'd, I'd, I'd, I'd do Krusty some dirt.

[00:37:56] Yeah.

[00:37:56] Like, it comes down to like, who's funnier, you or Krusty the Clown?

[00:38:00] Oh, well, that's hard.

[00:38:01] It's Krusty the Clown.

[00:38:02] That's easy.

[00:38:03] Come on.

[00:38:04] He's like, Krusty's funnier than me.

[00:38:06] Just all day.

[00:38:07] Uh.

[00:38:08] Where can everybody follow you if they want to find more?

[00:38:10] Do you have social media?

[00:38:11] Not yet.

[00:38:11] Not yet.

[00:38:12] I'm working on it.

[00:38:13] I really am.

[00:38:14] It'll, it'll be there eventually.

[00:38:16] But drop by the table, say hi.

[00:38:17] Yes.

[00:38:18] We'll go from there.

[00:38:19] Joey, it's so great talking to you.

[00:38:20] Ladies and gentlemen, let's give a round of applause for Jory D'Aria.

[00:38:23] Thank you.

[00:38:24] Now push the button.

[00:38:25] Now push the button.

[00:38:28] Oh, never mind.

[00:38:29] It's too late now.

[00:38:30] No, it's not.

[00:38:31] Yes, it is.

[00:38:31] No, it's not.

[00:38:31] Keep going.

[00:38:32] We hope you enjoyed this week's comic conversation.

[00:38:38] This was a production of the Distance Nerding Podcast and Time for Tacos Media.

[00:38:42] For more content, follow us on Facebook, Instagram, Twitter, Twitch, YouTube, and TikTok, all at Distance Nerding.

[00:38:48] If you enjoy our content, please leave us a review on Apple Podcasts, Spotify, or wherever you get your podcasts.

[00:38:53] Thanks, and keep nerding together.

[00:38:55] Good morning, good afternoon, and good evening.

[00:38:58] Signing out from another amazing episode of Comic-Con Radio.

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