What Now? with Trevor Noah - Estee Adoram: The Gatekeeper of Funny

Episode Date: July 30, 2026

Estee Adoram is a comedy legend. You've never seen her on a stage, but every comedian you love has had to earn her approval. This week, Trevor, Eugene, and Dave sit down with the legendary talent booker of New York City’s famous Comedy Cellar to talk about her four decades discovering comedic talent. Together, they discuss what it takes to spot greatness before anyone else, how the Cellar has maintained its singular reputation, the evolution of stand-up, the line between comedy and a soapbox, and which rising comedians have her attention today. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Who's your personal favorite comedian? You. No, don't do that. You asked me any possible question. No, but I, like, you asked a question. No, no. It's, I have people are like more than others. Yeah.

But this is like asking a mother that has 15 children. Yeah. Who is your favorite? No, which one would you go downstairs to watch more than the other? There's got to be one child where you're like, and I only mean this because they just happen to like hit everything that you want from the comedy and the do you get on saying? Let me break it down for Estee.

Basically, SD, think of it this way. Don't break it down for me. I know exactly what he is asking. I'm trying not to answer. I'm trying not to answer. This is What Now with Trevor Noah. You're the only person I know who refused to get a cover for your phone. You know, I think I've made a terrible.

No, I'm willing. A screen protector, do you get one? Yeah, but I'm willing. A cover for your phone? Yeah, but I'm willing to extend. that I've made a terrible mistake. Of not getting a cover or getting the orange phone? Yeah, in fact, I'm going to say this.

I'll say this. Phone companies need to just start making the phone in the cover. Wait, are you saying you don't have a phone cover? No, I don't. You know in this world of, you know, in this world of, what's the word, so much consumerism and stuff? Yeah. It's hard to know who's rich and who's not rich.

So it's the little things. Like they tell you. And then a person is like, I don't have a phone cover. Then you're like, this guy's. bowling. He doesn't have phone cover. Yeah. Do you know what I'm saying? Yes. So you don't have a phone cover? No. But what happens if you drop your phone in the cracks?

Isn't your life going to be ruined? No. Yeah, that's like the equivalent of no condom usage because I'm rich and then if I get it and then I'll I'll take air. I'll be fine, guys. No, I mean, you took, I was so you got to have children. Yeah. You guys went very different directions. Yeah. You're inceptioning me. You went like, those are crazy different directions. No, no, no, so let me explain. Let me explain. First of all, you are right.

Like, I don't, I don't actually don't think, one element is like how much money you have, but I think the other one is how much pain you're willing to sustain. If your phone, if your phone falls. Because no matter how much money you have, the phone, you still have to now replace it. You still have to get another one. You still have to transfer the things over.

Then the apps don't work. Now you've got a whole story. Yeah, you're fully in that world. You're fully an app person. No, because he updated his. his phone and then he just gave his other phone to Apple very confidently. He was like, yeah, take the old one. I'm out.

And then gave it as in. You know, he traded it in. Oh, okay, cool. And then now none of his apps, all his apps are like new phone, who this? Yeah. All apps and email. That's like, no, two steps. Because I need to have got two step authentication.

Yeah. And the second step is your phone number. Yes. And then the phone number. I don't change my things. So when my apps, sometimes they're like me. What do you mean you don't change your thing? He doesn't change anything.

I don't change like my technology. No, man. I mean, like my technology. I still have a phone from like six years ago or something. We can tell when we phone him. When we phone him, you can tell that they've still. That kind of phone from six years ago. So what happens with me is the app stop being, it's like you should have passed away by now.

Do you know what I mean? It's like the app stop. They're like, this is not. Oh, yeah, they don't accept no. His technology. Even, even, yeah, the apps can go in. I can't. Yeah, they don't allow it.

They don't allow it. I can't take my. One app space. is bigger than your entire phone. Yeah, like, I know. I saw what Amazon takes up, takes up like 20 gigs. Yeah, but it's gotten ridiculous, man. Actually, okay, sorry, Tripp, I interrupted you.

You were saying. You did. You were saying. No, so I was saying to Eugene that I, because I feel like I've influenced some people in my life with my decisions, especially my friends. And I've noticed the envy that some of you look at me with when I move through the world without a phone cover.

Yeah. and I've seen many of you look at me and you'll all be like wow you don't have a phone cover and I admit that I would flippantly say yeah I'm good I don't need a phone cover

You've never dropped your phone Then people say like Where do you drop your phone? I'm like why drop your phone? You've said that to you Yes I've said that arrogantly as well I admit

I completely admit it and I admit that I was wrong You admit arrogantly that what? No I would say it arrogantly But I admit Like what would you would say What would you drop your phone Yes, I agree with that.

Yeah, but it's an accident. No, no, he's right. He's right. And I apologize, and I want to say to all my friends and all the people I've influenced. If you've ever seen me rolling with a phone without a cover, don't be like me, kids. I've tried it.

I don't think anyone is being like you. A lot of people, I think have tried. No, they've tried. I think they've failed. Because I've seen people, I've seen how people look at me when I use a phone without a cover. You've got a certain, like, because, okay, understand this. Like, having a phone without a cover

is like riding a bicycle without training wheel. Yeah. And most of the world has training wheels now. Yeah. So when you're riding without training wheels, people are like, wow, you're a renegade. I don't think so. I think that having a phone without a cover is when imagine that people made a car but without a roof. John.

Yeah, like a drop top. Yeah, no, I'm saying if cars first came, you know, and then they didn't put a roof. I'm saying that phones without a cover were missing something. A cover is not a, a cover is. You're crazy, bruh. You've got a phone from eight years ago. Your opinion in this technology conversation is even irrelevant actually now that I think about it. No, no, no, no, no.

This is like the opposite of the world you're in. Have you felt what new phones feel like naked? He doesn't. He doesn't know what a new phone is. Okay, wait. Okay, wait. I have, I have done. I have.

Look. What have you done? Okay. Other people have phones, by the way. And I know other people. And I have, I've, you know when I get the phone the most. Yeah. When I get to feel the phone the most is when it's time to take a picture.

and then like of myself, then they're like, don't use your phone, let me use my phone. You see, so I know people's phones. So now what, in a non-crazy way, I'm not trying to be controversial here. No, 100%.

What I'm saying is that it feels to me when they made the phone, the phone. Yes. The original phones were maybe not stronger than Nokia, but the Apple. They were stronger actually, right? Oh, okay.

You know what? Once again, I agree with you. Yeah, you're right. Yeah, yeah. No, no. Then they made this one too delicate. Yes, it is brittle. Yes.

Yes. Because they were like, this is going to be for those people in those Apple ads. Those people, you know when those ads like this almost like Swedish looking homes and stuff? Yes. They don't drop the phone. Yeah, yeah. There's no. Their kids, every child in an Apple ad doesn't look like they've broken anything in their lives.

They're not. Those are the kids who, when you offer them ice cream, they say no thanks. Yes. Do you know what I mean? They're just. I don't want to spike my glycemic index. Yeah. Those are those kids.

That's what Apple imagines. Think of the Apple brand. The Apple brand imagines it as sophisticated and there's no dropping of phones that's happening with Apple brand. People are wearing bone and tope. Yes. Colors. Yeah. All of that.

That's the, like you've seen all their ads when they do like the FaceTime calls. They've never done one way like the people are fighting. Which I think would be a good part of the ad is, you know, when you go like your facetimes are clearer than ever. Oh, miss calls. And just show people like arguing or fighting or just like real. Or someone disappointed because someone didn't pick up a. on the other end. I like this. Yes. That's what I mean.

Yes. So that's their world that they have imagined is their consumer. The default. Yes. I'll tell you, for example, like myself, when I used to do stand-up comedy, at some point I did stand-up comedy, as you know. Are you saying this because our guest is Esty? No, I'm not saying that. I'm saying that. I feel like you've never said that. I'm not saying that. I'm not saying that before. No, I'm not. And then now. Are you announcing your comeback? Because our guest. Because our guest is responsible for many comedy careers.

Now you just conveniently throw in. You know, they did try not to be controversial. I happened to be... I used to. So many years ago. And then you... Then Esty's going to come in

and then you're going to want Esty to be like, why don't you do it anymore, Dave? Come to the comedy seller and do comedy. I won't. I can't. I see what you're doing. I'm not doing that. When Esty comes,

let's make a deal. You cannot mention ever being a comedian. I can't make that deal right now. Oh, wow. Wow, you see what I'm talking about. No, because things may go to a place where I need to use that as, yes, I have once. Yes, because she might get here and be like, Dave, I don't know where to find you, but now that you're here, there's an influx of emails. Yes.

Our inbox is chocker block. People have been asking about you. Funny enough, you've just mentioned that, you know, you gave up the part. But now, this is my real thing that I was saying with the Apple ads. So you see the Apple ads, they have an idea of who they're, who they're, who they. their prospective client is going to be or going to behave. When I just stand-up comedy way back when in South Africa, the funny thing was,

is that my type of fan, the person who loved my comedy, which I thought my comedy was sophisticated and high-brow, but it was like people who were like, I think like almost like crackheads. And I don't even... How do you become almost like one? No, I don't want to...

When you're thinking of doing it or you've done it before? No, you know where you go like... They don't do crack, but their vibe is crack. Yes, their vibe is... I can't tell, but I can. So then I would, honestly, I would, I would be like, it's enough people. One is crackheads and then others fans who ask me for money. So like, like, do you know what I mean?

Because I don't imagine that Julia Roberts is there and people are taking pictures. And then someone's saying, yo, Julia, can you just give me $35? Do you know what I'm saying? Something like that. So I had those two circumstances. And then, because I had to think about it. Then I was like, is it like, where are you seeing me? What is happening here that, that, that I got to it that maybe they appreciate me more

when they're high out of their minds. I don't know, or, you know, like, I couldn't tell why. But when I got into comedy, you know, I was young man. You imagined your fan would be a different. I thought it was going to be, you know, like, really? I thought it was going to be Mick Jagger and me were going to share fans. Do you know what I mean? Yeah.

And it's most certainly we were not, we didn't share fans. at all. It had everything to do with your phone. No. Damn. But I'm saying, so my... Look at your phone. My point being is that when you make a product, you, you can hope for whatever

fan you think you're going to get and you can imagine your fan, but then there's the actual fan. So you make your phone, you imagine that we never drop our phones because we're sophisticated stuff, but we're crackheads. We're crackheads. So we need a cover. That's what I'm saying. And so what I'm saying about you, who...

who is... Rolls naked for... You are the people who... You know when we are like, you need to... Someone needs to pay... The world is suffering. Someone needs to pay more taxes. So then...

So you are those people. And so... Oh, wow. Yes. And so you... You... Life has afforded you the opportunity of experimenting, literally.

This is... Some people are like... Like my child, how come your child didn't go to college? Yeah, because I didn't have a phone cover and then you know how it goes. So now, you see. So now, that's what I'm saying. We've made a deal just so you know. He didn't promise anything.

He didn't promise anything. No, he didn't. Oh my goodness. I can't. And I'm here to vouch for you. I knew this. This is what happens when you bring one of the most, because I mean, if you think about it, Esty Adderam is, I was thinking she's like a fairy godmother and the godfather

combined into one person in comedy. So this is what happened. Esty, how are you? Welcome, welcome. Please, please join us. Please welcome. I'm going to clap. You know why I'm going to clap because I used to be a comedian. So I can.

I can appreciate it. Jesus, my radar just went out. You recognize that? Oh, man. Wow. You get to recognize it right away. Do you have that though? Like, you,

did you ever see those stories of people? You know, they would talk about like when they were famous and they'd go to restaurants and they'd go to certain. No, no, no. It was food critics would talk about this. Yes, they would say once they became famous as food critics, they would go to a restaurant and just by chance, people would come in with like, oh, Mr.

You know, Mr. Smith, compliments of the chef, Mr. Smith, and, oh, Mr. Smith, we noticed you walked in. But then they said, like, as a food critic, the hardest thing to do was actually get the real experience in a restaurant. Because everyone knew that your view of the restaurant could determine whether or not that restaurant succeeds. And I wonder for you as SD, do you think any comedian has a normal relationship with you can't be? And can you even tell? And? And? It's custom-make. It's not run-of-the-mill relationships. Never.

Wait, what do you mean by that? The nature of what I do, people do take a different way of communicating with me, having a relationship with me. because of what I do, not who I am. Oh, okay. All right. You know what I mean? Yeah. If somebody wants to work and get on stage, they put the best face, the best, best representation of themselves.

Right. The avatar. Yeah. Yes. Absolutely. How you would cast them. Exactly. Yeah.

Exactly. Yeah. Avatar, great word. Mm-hmm. So, yeah, I sort of. can see through it. I'm glad that I didn't know who you were when I met you. I did not know who you were either.

This is a perfect relationship. You had no idea. None. None. None, none whatsoever. Once we became friends and he told me who he was back home, you told me that you love to go back and race your car. Yeah.

Oh, yes. You know, this is the time I was racing. I literally got stuck with him on the freeway because we went racing one of my cars. And then we ran out of gas. But yes, I was telling Esty these stories. He was so stories and the relationship developed. And the main thing he got on stage. And I saw what and who he was.

Yeah. Had nothing to do with fame. Zero. Wow. It was your charisma, your personality, you openness. Oh, wow. Thank you, SD. As a person at the table when we were sitting.

Yeah. And then you got on stage and murdered. Thank you very much. You know, it doesn't mean that it would develop to what it did. I mean, I didn't expect that. But when I met you from my side, you can imagine so from my side. What happened was how I came to be at the comedy cellar, if I remember correctly, was I was in New York doing shows at a small theater.

This was on like bleaker streets. And some of the comedians I'd met in the world just generally had told me, If you're in New York, you have to go to the comedy cellar to perform. Like, you just got to try and go to the comedy seller. Then, somewhere along the line, I'd met Will Silvince. Yeah. So Will, just like the sweetest guy ever, we talked, the whole life, okay, whatever. And then Will would bring people to my show at this, like, small theater.

He didn't even know me. And Will would just, he came once to watch. And then he'd come back with people and he'd come back with people and he'd come. And I was like, who is this guy and what is he doing? He had no reason. And then one day he said, you've got to come to the comedy. seller. Everyone said the comedy seller, comedy seller, comedy seller. Anyway, I go to the comedy seller. I don't know how this works. In South Africa, we don't even really have comedy clubs in that

way. The comedy seller wasn't famous in South Africa. So I didn't have this idea. I walk in, I sit down, I talk to Will, I hang out. Esty's sitting at the table. I thought you were one of the comedians. At first. Yeah. So Esty's sitting at a table with a bunch of comedians. So I just thought, oh, okay, she's one of the comedians. Esty's also very funny. Throwing lines out, people roasting each other, having a good time. And then I think like maybe on the third time that we hung out together, because I remember we were eating the borsht. I asked you what I should order and you were like, get the borsed. And I was like, this is the best thing I've ever had in my life. What is the borsed? It's a borsh. It's a soup. It's a bowl. It's a Eastern European.

It's a Russian soup. And it's, most people think that the beads, the red, the red one is a bors. Yeah. But this is, was many, the owners. Right. Mother's recipe. And it's the best borsh ever. Take me through the ingredients. What is? And I'm not going to give you ingredients. I didn't say recipe. Don't try. Don't even try. It's amazing.

Beans? Not amazing. Water? No beats. No beats. No beats. It's vegetables. It's meat. Like flanken meat. Ah. And it just simers forever. No, it's phenomenal. So delicious. It was one of the first things I ate.

You can stop there. I'm getting hungry. It's one of the first things that reminded me of home. Really? Yeah. And so I ate that, Esty, and then we'd like hang out. And then a random comedian came to me and was like, wow. So how do you know Esty?

And then I was like, Esty. I was like, she sits at the table. They're like, yeah, how do you know her? I was like, what do I mean? How do I know her? She sat at the table and one day I sat with her. and then we started talking. It's like, oh, but you guys seem to have a good time.

I was like, yeah, the same way with every other comedian. And they're like, no, she's not a comedian. I was like, oh, cool, she just hangs out here. They're like, no, SD decides whether or not you can be a comedian. I was like, what does that even mean? And then by the time I found out it was late. But I was like, this woman sitting here with us is genuinely, that's why I say, you are like a fairy godmother and the godfather.

At the same time. Of comedy in like the New York world. It's a weird role to have But I don't think it's a role that you can be given How did you even get it? I don't know, how did you get into this? No one said, Esti, here we go, all right? How many years?

It develops. How many years have you been doing it now? Hold on. Can you hold on? I'm ready, I'm ready. 44 years. No ways. Yeah. Since 1981.

I started in 1982. I first came. At the comedy cellar? At the comedy cellar. Jeez. And I started part-time as a host at the door downstairs because I just had a newborn. And all the book about babies said the first three years,

you have to be with them. So I couldn't go back to work. If you didn't have to read the books to know that. All the books about babies. I mean, it's a book said it. The book said it. If it was me, three months in, goodbye. child. But the books, I mean.

Yeah. So for three years, I was a really good mom. You're counting down. And you know, that's exactly what I did. That's exactly what I did. Three years to the day. And I started working there. And I was hosting at the door. No way. So I got, I've never known comedians. of comedy or any, no interest.

I came from a different world altogether. And little by little I started falling in love with the art of stand-up, with comedians. I started recognizing how special comedians are and how different they are from civilians. And 44 years, later, I can give you a report. It's a very interesting

ingredients that the real comedians have as opposed to wannabe or actors or singers. You speak your own words. You speak your own heart. You speak your own self. Not somebody else, not a script. And to be good at it, it's a higher level of intelligence the most.

It's courage, brave, because you're exposed. You're naked on that stage. You're naked. And you never know if there is a Yahoo in the crowd. They'll yell out something. And you have to be fast enough on your feet to respond and respond correctly and to your benefit. So not everybody can do that. Most people can't.

It takes, if you think of people that are very successful in comedy, you will see that there is a threat of this characteristic. You have it. All the big guys really have it. You don't become famous and big and successful for a long period of time. Long period. That's the key. Yeah, Eugene and I talk about this all the time.

It's not a flash, you know, flesh and a consistently. And then there are some people that use comedy in that stage as a stepping stone to this as opposed to true real honest goodness comedian. And today when I look back, the ones that are really true comedians, you, Chappelle, Chris Rock, they're all. famous people, Ray Romano, they still come, they still do stand up, they still create, they're still right, as opposed to others that got a TV show or a movie. And then they're out. That's it. Yeah.

They're out. So that's a difference between A and B. And to be an A comedian, no matter what level, takes something that the others are lacking. don't have it. What I want to understand though is like... Do you agree with that? I agree, but there's something deeper in it that I've never really understood... I've never understood how you're able to achieve it.

Because I love stand-up comedy, genuinely. Yeah. You know, and even when I first came to the comedy seller, my favorite part of being at the comedy seller was, and still is the fact that I got to watch the show. So I would stand there watching the show. from the very beginning, until I'm on stage and then I'll stay afterwards to watch the person who came afterwards or what was happening. To me, it felt like it was like the greatest dream in the world to just be in this mix.

But what I noticed more than anything was how different the comedians were. But then they were all being booked by the same person. The lineups were being chosen by the same person. You know, you go like, oh, SD runs the comedy seller. Or SD is the person who puts people on stage. You name a name. You can go back. you know, Kevin Hart, Amy Schumer, you know, John Stewart, Trevanoa, Dave Chappelle, Michelle Wolf,

just name a name. Yeah. Just name a name. Yeah. At some point, as a young comedian, they came into contact with Estia Adiram. And she said, go on to that stage. And she put them in a lineup with a person and then around a person. It's like a puzzle.

Yeah, but that's what I don't understand. It's like, I don't understand how you, how are you able. to see good comedy beyond the laughs. And what I mean by that is, and I say this with due respect to anyone who may be offended, any idiot can go, ah, that's funny because people are laughing. I've seen SD put on lineups where there's a comedian

who's not necessarily getting a laugh in that show, but then a few years or a few months later, they're gone to become one of the biggest, they just blow up. And then everyone at the seller goes, oh yeah, we always knew them. But I go, yeah, but SD, how did you see beyond where the audience

saw them at that time to see that they were going to be an amazing comedian. I don't understand where you get that from. You've got that. No, not like Est... No, no, no, not like Esti, though, honestly. Honestly. Thank you. I don't want a name drop, but there is somebody...

Drop names. Dave Kibuka? Jad Apato told me that, okay? He says, you are booking good shows because you have good taste. And it's... the good taste and be able to see beyond the obvious. If you get on stage, when I saw Travanoa the first time on stage, I saw the seed that is Travanoa now.

Although you were already polished when I saw you, compared to some of the new comics I see now. But you can see the seed, you can see the root of the essence of who you are and how you project it. The bottom line is, it's a comedy show. People get babysitters and travel and put themselves out to come and have a good time and laugh. Yeah, that's the bottom line. That's the bottom line. And my responsibility is to build a show that,

will give them that entertainment. The thing is you mix it up. You said, I put X, Y, and Z on the show to create an essence, to create the feeling that not boring. They're all different from each other. I can book five people that are very much alike. It's going to be boring. By the fifth person, you already heard it all.

You got to interject something different, something new. The beginnings, I met Chappelle. He was 18 years old. And another comic came to me at 3 a.m. We used to be open really that late. And there was like maybe 10, 15 people in the room at that time. And he said to me, you see this guy? I saw him in D.C. He's really funny. He was sitting in the boot in the olive tree eating.

And I went over and introduced myself and I said, can you go up and do a few minutes for me? And he says, yeah. And he went out and destroyed. Destroyed. This is Dave Chappelleau at 18. 18. And so I kept saying 19. He corrected me that he was 18. And I remember I called Manny, the owner, Manny Dwarman. at 3 a.m. I woke him up and I told him, I said, I saw somebody

really unique, really special. He said, oh, good for you. Hanged up. But you could see then at 3 a.m. The seed.

You could see the essence of that guy. And he was funny. Beyond, I can make it, oh, it's an art. You can know, da,

You know? Yeah. No. You can see it's in your face when it's there. That's how I can do it. It's in my face. I recognize it. I feel like I need to go backwards to try and understand, though, how you got the tools.

Because here's what I mean. I've seen people who pick funny or choose it. Comedy clubs all over the world. One of their weaknesses I find is that their sense of humor is oftentimes limited. So if I come with a black comedian, they won't find them that funny because you find like that comedian's doing comedy from where they're from

and it's got a different vibe you get them saying if I come with a middle eastern comedian they might not really get it if I come with I've met many people who know how to book the comedy for them that they relate to.

No. You got to open your mind. Sometimes I see comedians at the comedy seller and then I go, does Esty know this person's here? And then they go Esty's the one who put them on

ST is the one who puts everyone on. Then I'm like, yes, but I don't understand. How did SDC this comedy in 2026? Because remember, comedy constantly evolves. I mean, you've seen every iteration of comedy. Very much. And I'm telling you, right now, it's such an upswing of new talent. Yeah.

Blow your mind. I can't remember a period in those 44 years as I'm there that it was so rich. Now? Yeah. Why do you think that is? I have no idea. I cannot tell you why. I can just tell you it's there.

And I also love international, really international. And the reason I'm saying is because right now, Australia is sending me gifts of comics that are fantastic. Aaron Chen. You know, Aaron Chen? No. You've got a world. Oh, geez. Every time, Esty, you can't say

He is so good Yes, I believe you, but you judge me every time as if you don't work in like the factory. I judge you all the time and don't work at the factory of fun. Yes, but at least you judge me for things that are judgeable. Estee will just randomly put up a comedian and she'll be like, do you know Peter Wongrick?

And you're like, who's that? How can you not know Peter Wongrick? Because you are in this life. You are in this... Esty, you know every comedian. You are basically hanging up the four. on ST at 3 a.m. I am because you know every comedian.

Wait, okay, so no, no, I need to go back. I'm going to try figure this out. I need to go back. So, so 1982, you've got the newborn. So take us back in... He was born in 79. Oh, 79. So the three years, remember I told you?

Okay, so that was the three years. All right, okay, okay. The countdown. When the countdown ended, SD got the job. All right, so take us back to the beginnings. Where were you born? Where were you raised? Oh, that's another path.

I was born in Poland. Okay. And when they opened the borders and we could leave, because we couldn't leave before, we went to Israel. And I've lived in Israel for 10 years, 11 years, and then I came here. I don't know, oppressive, you know, struggle. all of that thing. But that made me what I am now. But I am really,

Israel has a very soft spot in my heart, always will. And I went to school there and the high, you know, army. And I am emotionally connected. But America is a deja vu for me. I really enjoy being. here. So it's a combination between my roots of Eastern Europe to Israel to here. And so you were, you were drawn. Did you feel the deja vu when you got here? Yes. Yeah. So as soon as you

got here, you're like, this place has always been home. When I first left Israel, I went to England and Europe, different places. And I always fell like a tourist. Okay. When I got to Kennedy and I got off the plane, I felt I'm home. I can't explain why. I felt comfortable. I've told him this before. Yeah, about this place. I felt comfortable. I felt like I belong. Like I've been here before. I've never been here before. But it felt deja vu. What did you study though? What had you, you know, like what were you planning in your life. I mean, I don't think you woke up and said, I want to be one of the most important people in world comedy. No, there was the never thought of it. It didn't exist even. That's my point. I never,

I never thought of it. No, I was in the army and then I got a degree in teaching. I was teaching for a while. Really? I was a makeup artist for a long time, for a very long time. Wait, what were you teaching? Everything. Because when I came here, I was teaching in the rabbi tight. school in New Jersey in Elizabeth, New Jersey. I thought you said you were wearing rubber tides. When you said rubber tights, I was like, why? I thought you said you were wearing rubber tides.

You were teaching wearing rubber tides. Listen, I have an accent. You listen with an accent. That's what happens. I'm so glad you cleared that up. Oh, wow. I was gone with rubber tides. I could.

I could. I could But it's And I was makeup artist for a long time Yeah And then Then I started comedy Question

Real one Do you think the teaching Real one That wasn't real? Thank you ST Hey Watch yourself there

Thank you Do you think the teaching Has a role to play Because the teaching You're sort like examining people's potential. You know, that's like the role of a teacher is like, I'm examining your potential.

I guide you. Yes, exactly. And now in comedy, that's sort of like what you do to some extent, is you look at the people and then you think of their potential. You think of them not right now, but a little bit ahead. Well, I don't think I was very young and I don't think I ever overthought. the teaching the way you are presenting it, which you're correct. But I never thought of it that way.

I don't know. I always sort of rose to top as a leader in my life, maybe my personality or maybe, I don't know. But I always sort of took pride in whatever I did and I always did well. never was fired in my life from anything. Oh, that is impressive. Yeah. And so it's like a common thing in somebody's personality maybe. 100%.

But as a teacher, I never saw myself as a guiding light. I also don't see myself like this in comedy. But people that I form a very close relationship in the world of comedy, I don't know how to put it. I'll give you my advice. I give you my feelings. I don't do it with comics. That's not my job.

Oh, interesting. It's not my job. You have a manager, you have an agent. They're going to tell you what to do or not to do. I'm not. But if I am friends with you, I say, you know, that joke was great. I paid you on the shoulder on that. I'll encourage that.

Right. I don't see myself that important. I really don't. I think that because I'm doing it for so long, people look at me as if I know what I'm doing. You know what I mean? I mean, you do, but it's also a funny thing to say. I do, but I don't think about it that way.

It's a really humble way to approach a situation, you know, because I'm doing it for long. I really don't. As a teacher, I didn't feel like that I transferred information as a teacher. Oh, I like that, actually. That's what the teacher does. A good teacher will transform information and make sure that you do it in a way that the other side receives it in the right way. But not a guiding light at all. I wish billionaires had that humility.

Who? Billionaires. Because what you just said is something, it's profoundly humble and wise at the same time to say, because I've been doing it for a long time, everybody assumes that I know what I'm doing. Exactly. And I wish, like, a lot of billionaires would say, because I have made a lot of money, everyone assumes that I know what I'm doing. But sometimes the two are just happening at the same time.

And it's, I don't know how to explain it. It's also a lot of luck. Yeah. Yeah, that's what I mean. Yeah, it's luck. With me, it's a little bit, it's not luck, but because people want to work at the comics, they make themselves available. Whether it's through other comics who recommended or managers or, you know, YouTube, I don't know.

And so I get to watch a lot. And many said it once, many were my boss. And this, I think, is a key. If you walk into a comedy club in a different country, that you don't speak the language. And you see the reaction of the crowd. You can tell if the comic is good or not. And a lot of comics that struggle and don't do it.

don't do well, lack the ability to listen to the feedback. To the laughter. Yeah, I joke can bomb. Yes, you can have a bad set. But on a consistent level, if you don't learn to listen for your feedback, you'll never become a better comic or grow or flourish. And I think this is the biggest mistake The beginning comic do

Because they They want to support each other, right? Oh, that was a great set, whatever And I can look at the face I said, mm-mm, it wasn't Or they said, oh, the crowd is tired Or they're drunk No

You've heard it all, no, listen Yeah, she's heard every excuse She's drunk, they're too tired Do they even speak English? Yeah, exactly Exactly. And once you're on that stage, you're privileged to get on that stage, use it as a privilege and listen and learn and grow from this.

Instead of, when I started, I saw a comic come on stage and didn't do well and he went like this. To say it went over their heads. I did not know what it means. And so I asked Bill Grantfess who started the, I said, what is this all about? He says, oh, this is his way of saying, it went over your head. I'm smarter than you. You don't get what I'm talking about.

Till today, and that person is famous, I hold a resentment. Wow. Because you cannot assume that the crowd is dumb. You have lawyers and you have doctors and you have construction workers. You have a mix of society sitting in that room. Who are you to go this way? Maybe you didn't deliver it right. Maybe turn it on yourself.

What did I do wrong that they didn't get what I say? And I find that the really successful people, whether you know it or not, you listen. Hmm. I wonder if that applies to the comedy seller itself. It has to. No, because if I can help it. Yeah, but that's what I mean.

It's like I think to myself, you know, one of the things I've noticed over the years in comedy in particular is comedy clubs have come and they've gone. And at some point what happens is a comedy club starts to become more famous than many of the comedians in it. Right. And in that period, the institution doesn't listen. listen anymore. And they don't listen to the comedians. They don't listen to the audience.

They don't. Because the corporation. Yeah, it becomes a corporation. And you see this thing falling. Not the coming. Yeah, but I, I, I have to give a hundred percent credit to Noam, the owner now. Yeah. He is very involved on that part of it. Um, customers are satisfied. And it's not about the dollar amount. It It never was. Never was. Not many and not no one. But to make the club successful, the customer has to be happy. They have to be happy with the show, with the food, the treatment, with the service, all of it.

And if not, it's how to be paid. That's why comedy seller, Macwood, is successful. We're opening another room. you know that right yeah there's going to be like upstairs it's like a gorgeous little theater type thing yes I can't wait gorgeous gorgeous it's got probably next month

fingers gross so you know we have six stages we started with one two shows a night I have 84 shows a week between Christmas and New Year's I book 134 shows for one week

I get between 3 and 500 emails a week with availability and you have to sort it out You know Esty will still text me when I'm coming to do a gig just confirming that you're coming Then I'm like Esty aren't you like busy with things No everybody It's some things don't change

Some things shouldn't change And can't change And because it's not changing. Yeah. We're going to hopefully God willing. Stay on top. We'll be right back after the short break.

I think there's something I'm realizing because I think as a person you learn a lot about your friends through their friends. And when you describe how you guys met, it says a lot about how he treats his friends and how you guys became friends. And I think the welcoming nature that you have is the same welcoming nature

that you have. When I think back of the back of of when we met, like every time you'd go to his house, there would be a mix of everyone. It would almost be like a comedy show. There'd be his cousins. There'd be these cousins' friends. There'll be your little brother. There'll be me.

They'll be a friend. And we'd all get along and he would know how to curate that all of these people have a good time. That answers your question. Yes. That you post to me. Yes. You do the same thing. 100%.

Yeah, but I do it for my people. You do it for every people. Those are her people. But those people are turning to my people. I hear you. ST. I hear you. I hear you.

Yes. Yeah, but this is, okay, so this is what I'm like, what I love about, like, watching your process and having, like, the pleasure of being a part of it is I've also seen, you know, I've also seen you start something in the least obvious place. We had Sam Maril on the podcast. And I remember we were talking to Sam about this and we were going. Sam Morrill? Yeah, Sam Rill. Yeah. Sam Rill.

Yeah. Sam, you're. You're in a moment of blow up now. And everyone can feel it in their career and you can see it from the outside, right? Yeah. And Sam Maril now, you know when now people start texting you, that's how I always feel it, random people.

Have you heard of Sam Maril? And you're like, I've known Sam for years. And he's been funny for years. Yeah. But I'm happy that many of you are discovering him now. Yeah. But when Sam was at the comedy seller, he was doing Sam and he was building Sam at that time.

The audience enjoyed him, but they didn't know that he was going to be, a star. Yeah. And maybe this is what it is, Esty, I'll tell you what it is, actually. You found this balance, and I'd love to know, like, where it came from. Stars at the comedy seller are treated like comedians, and comedians are treated like stars. A hundred percent.

And that's absolutely true. Absolutely true. If a star comes in, I'm going to try to make you as comfortable. as possible that you're one of us. Yeah, as normal as possible. Exactly. I remember years and years ago,

Seinfeld was doing the comic, the movie he was shooting it and the cellar almost every night. And people would come to the table what he was eating or whatever and they were bothering him. And I remember many always posted somebody by a table. So if somebody,

came over to the table to stop them. Let him be. And there was a day that he asked Seinfeld. Tell me what can we do to make you comfortable here or whatever. He says, don't worry about it. I can handle it. Don't worry about it. You don't need to post anybody.

He wanted to be a guy. And if he wanted, I remember somebody asked for a picture. He says, okay, he stood and the guy put his arm around him. He goes, not that close. You know, very simple, right? But he just was, he was working. He was doing something and he couldn't get less. And he didn't want the special treatment of posting somebody by a table.

He wanted to handle the interaction himself. Correct. That was his way of being normal. That's him. Yeah. So we would go out of our way to do what a big-time celebrity needs and wants. But if you don't want it, we let you be. We let you be.

Now, once in a while, people are sitting at a convenient table in eating, and a customer comes up that just sold the show or no Aziz is down now. Yeah, yeah, yeah. That's another one. He flew in from London. London to work out on stand-up. So don't you go over there, you know? They feel comfortable here doing it.

And somebody came over, whatever. And my instinct was like protective, you know. Don't bother him. He's working. He was writing notes. He was eating. Just let them be. And I think that most famous comics that come, they know that,

they are, that we have their back. That level of care. Yeah, but I think what's also almost more impressive to me is the comedian who's not a star that walks in, you have their backs even more, I feel. Yeah. Yeah. Except that they're not going to be bothered by,

yeah, but I mean in comedy you have their backs. I feel like, you know? Yes, yes. The way the show is designed, the way, like at the comedy seller, it was one of the first places I'd ever been. So when I first came to do comedy in the U.S., I went to Pasadena because that was the only place I knew a human being

David Meyer, right? So went to Pasadena and I'm in Los Angeles and when I go to the comedy clubs one of the biggest differences I found not just, you know, East Coast, West Coast, New York versus L.A., but also like let's say comedy seller

and some of the other clubs was that those clubs really delineated fame and talents. Okay. Yeah. If you were famous, the world would open up for you. Anything else.

club would open up for you, but in a way that was dismissive of every other comedian who was in your vicinity. So a famous comedian would walk in and the club would basically be like, you go home, you're not needed anymore, shut up, get away, don't talk to everyone, clear this table, get a and that's just what I thought was normal in America, right? And then I remember going to the comedy seller and one night Louis C.K. walked in and he was like, hey, can I jump on and do a spot? And And you know, one of the managers was there, and I think it was Val. Valerie was there. And she's like, okay, let me see what we can do.

And then what was interesting was the comedians went. So Louis said, who's on? And then the comedians were sitting at the table. And they went, oh, I'm on and I'm on. And then someone said, actually, you know what, you could take my spot because then I'll jump out and then do this. And then the club was like, yeah, we'll still give you the money for your spot because you've been. Oh, yeah. Oh, my God.

Yeah. You see, but that. 100%. Yeah, but I'd never seen that before. A hundred percent. Yeah. So you still get paid. Yeah.

So the club was like, okay, well, here's your money, even though you're not going to be on because you've just been bumped off. But then the comedians among themselves were like, one was like, oh, I want to go have dinner. Louis, please take my spot and we'll shuffle this around. And then Louis, but I had never, I never. Management never said you are out, you're out. Yeah. No, no, no, no. It didn't feel like that.

We don't, you don't disrespect a comedian because this one just showed up. There is room for both of you. and if time, because we have so many shows and one after the other, and you have a line around the block and it's raining, you know, you've got to finish the show on time. You have four shows a night, you know.

But you still get paid. You can still get paid. If possible, we'll put you on another show. Right, yeah, yeah, yeah. Because now we have more ways of doing it. because we have so many rooms. But it is, the main thing is, it's respect. I love comedians on the personal level and respect.

I don't love them all. Some of them are not, not boring. But I respect what they do. And if I think that he's a good comedian, I'm going to use him. So you'll book a comedian even if you don't like them. Oh, yeah. Oh, wow.

Oh, yeah. That's also unique. I'm talking about personality. Yeah, yeah. I mean, I've got to appreciate the comedy. No, but still, there's, but I know people who can't make that. Oh, no, no, no, no. I know a lot of people go like, I don't like that person.

I won't, they won't work here. Yeah, but they're a good comedian. I don't care. I don't like them. I thought that was the rule we used for the podcast. That's different. Oh, sorry. Because we're going to be here.

Unless you talented in podcast, then I haven't developed that skill yet to know. But there's something that you said, Estee, there's no way. You've managed to be part of this successful business for so long because you run it as a business. At some point... You don't. You can't. You can't. You cannot.

Again, Manny, God bless him. He was such a wise guy. Money is a happy byproduct of a good product. What we need to do is put the good product. Oh, man. You said what he... Money? And this is in my head always.

And comics that I don't book and they hate me and they don't like me and they bet them out me, whatever. Oh, it's all about the business. It's not. It's never about the business. It's about the product.

Not only that. I meet with, I used to with many and I with Noam. And before I send out the show, after I booked the show. I want them involved in that because if there are comedians, I don't use, I want them to know it. Oh, okay. Who I use and who I don't use.

Yeah. I don't want it on my conscience and on my back. I find it very, it's sort of protecting myself a little bit. Yeah, yeah, yeah. You know? Sometimes it doesn't work out and whatever. By now I get a little bit credit myself, you know? But people that, oh, Esty and she's feared and she's this.

There's only people that I don't use. I auditioned somebody two weeks ago. If you happen a couple of times, I know how nervous they are. I know that I shake the hand and the palm is sweaty or the shake. I auditioned somebody and I said, look, five minutes I can't really tell. I don't pass people, you know, the word passing somebody. I don't do that. Oh, you don't do that.

Okay. I know. And I tell them, I don't, unless I fall in love with you on the spot. Good to go. You're in. Yeah. But I don't pass because in the five minutes, I can see. see what I'm dealing with, personality, how you come on the stage, the material.

For five minutes, what did you choose to do? Don't come with some vulgarity or bathroom thing and for five minutes you got. Uh-uh. It's not going to work, you know? So to see what they chose, how they are, and then I said, I'm going to give some spots. And let's see how it goes. Oh, that's beautiful. And then maybe if I don't do it now, let's have another audition six months.

Maybe let's try again. So I told that person, I'll give you a few spots, and we'll see how it goes. And I just went like this and burst out crying. I've never seen anything. I felt so bad. I hugged the person and the whole body was shaking like this. Oh, wow. And this kind of situation reminds me what it takes for them to audition.

What they have to go. Yeah. The stepping step, the step that they have to do under the pressure. And that's very humbling. Who gave you a chance, Esty? When I think about it, here you are with a three-year-old in 19. You've come from Israel. You have this new responsibility.

Who gave you a chance? Many. How did you guys meet? The owner. My husband was a musician in many's band. That's how I knew him. And both of them, rest in peace, you know? But whenever somebody left or died,

many says, Esty, can you also do this? And before I know, my job blew up to astronomical proportions. I mean, I used to do everything. I used to, and manually, reservations manually. I mean, we sell out two weeks in advance. Even before I put the lineup now, we used to struggle. There was a time that we had waitresses, take off the aprons,

and sit at the table to make the room look busy. That's how bad it got at some point. Not got it. That's how we started. And we were downtown. All the good clubs were uptown. Industry didn't want to come downtown. We used to pay cap money to comics to come downtown.

Bride them. That's how bad it was. Yeah. This didn't start like this. It seems so obvious now. When you see it now, you can't fathom a world where it wasn't successful. It wasn't like that at all. Yeah.

When did you first notice something shifting in the comedy seller? We have to add a show. We have to add another show. That was a good sign. That was a good sign. Yeah. And I remember when went on the Friday or Saturday from two shows to three. And I said, man, how I'm going to do it?

My God. It's like packing and I'm packing. I was really, you know, panicky. Who are the first comedians in that run when the, when the, when the, when the When you started noticing the seller, like picking up and there must have been like regulars around that time. Oh, we had regulars from the beginning. Yeah. Rita Rodner.

I loved her so much. We were such a good friend. You know her? No. Oh my God. She was fantastic. Rand Darian. Carol Lifer.

I mean, I remember people. from back when. Yeah, no. This is like a different era completely. Completely. Completely. And it was Paul Provenza.

Oh man, Paul, yeah. Yeah? Before he moved out. It just a lot of people that Bill Grants knew from college. They went to Penn State.

Right, right. And Paul Reiser. Wow. And then this is before. Paul Reiser got met about you. Yeah. He took Bill Grampfons as his headwriter.

And Bill left to L.A. And I took over the booking. That was the turning point. That's when things shifted. The turning point of booking. Were you surprised when the first comedian went away to become a superstar and then came back? If I was surprised?

No, I'm saying, were you surprised? Because I mean, so many people would go off and become like a movie star never come back. But then when someone did come back, Did it surprise you? No, I was happy because a lot of those people are my friends now. Yeah. You know what I mean? I remember Mike Swinney, who was the head writer for Conan.

He was, and Mike Royce, who became one of the producers of Ray Robano, everybody as Raymond. I used them especially Sweeney as at them C. I loved that guy so much. I relied on him. He was hilarious. He was funny. He was an attorney, smart, fast. And when he got the gig with Conan, he says, oh, I'll be coming.

Forward 15 years. Didn't see him. He walked in. I said, you were right, you're right. He's still coming. You came back. You came back. I can't believe it.

I gave him so much. I don't want to say the world. So, yeah, I was surprised. He did the life change. Yeah, yeah, yeah, I can imagine. And we was super close. And I had so much affection for him. And it was almost like heartbreaking that he wasn't coming back.

Your friend was gone. Yeah, he was gone. Yeah. because he got a different opportunity, whatever. But then 15 or no, 18 years later, he came in. Question. Has anyone ever been unpast? What?

Oh, interesting. Like, you're past? Okay, cool, you can work at the comedy seller. Has anyone been like, we're taking away your badge? Yes. What was the reason? Epstein Files. I will take you up.

No, what happens is that people that work and they get better and they justify being at a cellar and all that stage. Some people don't get better or they become indulging to their own opinions. as opposed to being a comedian. And not delivering what I would expect them to deliver, it becomes a soapbox. There is a place for that, but not under the heading of comedy. Yeah, the banner of jokes.

Yeah. Entertainment. And so either that or vulgarity. As I said before, I don't mind. I don't mind dirty jokes. Yeah, yeah, yeah. I'll be the first one going, you know,

but vulgarity. And it's somebody I really liked on a personal level. So it was very difficult. And so I had a conversation. I said, please, we cannot have been represented in this kind of a...

So you pull them to... to the side. Yes. Okay. It didn't help. They can't help themselves. Somebody like this, I would step away from. Although I didn't in that case, they took themselves out. It's very interesting how people, we all see ourselves in a certain way, in certain light. And most people think, in Hebrew there's a saying every bastard is a king they actually made a movie with Topol

the title was Every Bastard is a king It's a great phrase Everybody thinks I am the best I am the smartest I am the wit You know

You know it You not And when you learned What I said before Look at the mirror And be truthful With yourself Yeah

It'll serve you much better it'll serve you better as a person, as an artist, as a comedian, if you're true to with yourself. If you think that you're doing it right and I get, you know, when people make reservations now, they get a answer asking, rate the show, how was the show, how was the service, how was the food, how was the automatic. I can't tell you how many, how, some people take.

themselves too seriously with those answers. Well, comedian number one, I give him an A, Manu. He's the same. And I was like, Colin Queen goes, ah. But I have to take it under

consideration. Yeah, you have to listen. Because your question, what happens when the club goes down? It goes down when you stop listening. And the way I want comedians to listen to the respond of the crowd, the jobs and work,

I need to be aware of what the audience says about us. They customize your crowd. How they view us. Right. You know, I don't want to be highbrow. There is room for politics, but not the sellbacks. There's a difference. Yeah, yeah, yeah.

If you cannot make funny your opinions, have your opinions. there's no censorship whatsoever. I'm not going to tell you, I don't want you talking about that. Yeah, yeah, you've never said that. No, I wouldn't. Why would I? As long as you keep it with the realm of comedy. If you get on a soapbox, what's the park in London that they get on the sofa?

Oh, yeah, there's that famous one where you're just going, you literally, they do that. You just go stand and then you shout your opinions in a square. We used to have them a speakeasy in the village. from the 60s yet, where people come and you just laid out. But that's not comedy. But that's not comedy. Do you think that's... And so to answer your question, if somebody doesn't listen and offends the customers,

and you know if you are to the left or the right of politics, but if you get on that stage, F this, this, F all the Republicans, F this, Half of the room might be Republicans. You're going to piss them off. How are you going to have a good time? You want to voice your opinion you're 100% entitled to. You are entitled to. But if you cannot make it funny, if you make it hateful,

if you make it unpleasant, you are defeating the purpose of getting on that. stage. Yeah. How does it serve comedy? Dave used to say we, we had a comedy show that Dave actually, I mean, you started it from randomness. Yeah, very random.

But it became like one of the most successful rooms in South Africa. It was called the Blues Room. And Dave used to come and tell us before every show, he'd go, guys, remember. Who does his accent? Please. He'd go like, guys, remember, this is not a poetry evening. That's what he'd always say. Like, guys, I love poetry, but there's not a poetry evening.

Exactly. Please remember that. We're not doing poetry here. Then you know exactly what I'm talking about then, right? Yes, I do. You understand what I said? No, I completely get it because I think this is, but this is the thing that, you know, I sometimes wonder where we lost the plot.

Like I go, was it social media? Was it, you know, we'd have these conversations. At the daily show, we used to have it. In comedy clubs, we used to have it. We'd go, some people forget that every, space is trying to do the thing that it is trying to do for that reasons. And I mean, that's vague, but what I mean is to your point, comedy. Comedy specifically has told you ahead of time, this is going to be a vehicle that contains funniness in some way, shape or form. And the expectation is

embedded in the... Exactly. And it can deal with anything and everything. Yeah. But the funniness will always be the thing that pops out at the end. It's the same way if you went to a jazz club. Exactly. If the musician got up and sang a song about anything, World War II slavery, relationships, bananas, doesn't matter. But it was jazz.

You would go, I went to a jazz club. Oh, what did the perform? Oh, yeah, this interesting song about bananas. It was crazy. A hundred percent. But it's jazz. You came there for the jazz.

But then in comedy, somewhere along the line, something happened where people started going, no, the purpose is not for it to be funny. The purpose is for it. it to be the opinion, funny doesn't matter.

Then I was like, no, but that's exactly what makes it comedy. I'm not saying your opinion to your point. I'm not saying your opinion doesn't matter. Yeah. But then just don't call a comedy, then we're fine. Exactly. Exactly. A hundred percent. Yeah. The one I personally use, the one I personally use is

is scaring, horror. Yeah. So I go like if you're making a horror movie or a horror thing, a thing that's supposed to scare you, It's very clear. This is supposed to scare me. So I just go, like, even if I'm talking, if I'm thinking of a comedian, I'm almost going, I'm no offense to you, but I didn't get scared.

You know, like, if, you know. Same with laughing. Yeah, yeah, yeah. Yeah. The one I use is, is, am I scared? So if, so I go, like, you are attempting to scare me. Right. Either you scared me or you didn't scare me.

And that's that. You know what I mean? It's very clear. It's very clear whether I was scared or not. Yeah, but this is what I wonder, though, is I wonder when. Oh, when it changed. And it hasn't changed completely. Because there was definitely a moment where it changed in comedy.

Because there are extremes now. Yeah. Same more. There's extremes in politics. There's a real extremes. Yeah. In politics, it was, yeah, I hear you. and it doesn't bother me as much.

Yeah. Now, Yeah, now you write a person off. It bothers you. Yeah. I was driving through on Washington Square that street before coming in and somebody put in the window a sign.

Huge, huge sign in the window. White sign with black lettering and says 100% anti-Trump. Why would you do that? You're going to ask you. Dave, why did you do that? Why? Me?

Why did you do that, Dave? No. Why would you? I'm you asking for a stone through your window? There's somebody going to throw. Do you know what I mean? Yeah. Why?

Okay, so that's your opinion. Good. Great. Why would you chance your life and your window? I'll tell you. I'll tell you what I think. I think there's a few levels to it. I don't think there's one answer.

I'll start with that. Yeah. But I have noticed a few. things. There's one that I always start with. There's the perform the perform what they believe everyone likes or doesn't like it. And I'm not saying that person is or isn't, but I've noticed the performative side. Put a sign in your window and then everyone's like, you're this kind of person. You have performed it correctly. You're with me? You sort of

a lot around like Black Lives Matter. People started putting signs up. Some people supportive, but some people performative. Like that right? Yeah, yeah, completely performative, right? Then there's other people where I actually feel bad for them. Because the best way I can articulate it is this. I've found, and I find it's more severe in America. It's growing in other places in the world, but it's really severe in America. Many people in America now identify themselves by their beliefs first versus, like, who they are.

Does that make sense? Yeah, they go, I believe in this. Yeah, no, so what I mean is like. Not even. Yeah. In South Africa, for instance, you know, one of my joys of like going back home and spending more time there, I realized very quickly, people don't identify by the decisions or the votes they've made. They still are themselves. And then they'll talk about political parties separately.

Right. In America, I've noticed more and more people identifying first as the thing. As a Republican, can I just say that as a Democrat, can I just, and I'm not saying you shouldn't, but what I find is. is if you start every interaction with the most contentious or with the most complicated part of who you are, it's almost, you can even do it with religion as well. You show up in a uniform, basically. Yeah, but you, but you, but you, but you started off with the thing. And then I thought it was just, I thought it was like a unique assumption or an, an,

opinion I was having. And then I actually read a book written by a sociologist and they were talking about how small talk serves one of the most important roles in society. because they said, I know it seems useless, but when someone goes, wow, the weather, huh? And you're like, ah, it was sunny yesterday and it's raining today. I know, I wish it was sunny today.

I wish it was sunny. Ah, what are you going to do about it? Man, this elevator takes long. I know this elevator is so slow. They said that those small statements that we share without us realizing it, signal to the other that we both exist in the same reality. And it just,

it creates these tiny threads between you as people. And then it gets to, so, you work in the building? Yeah, I work in the building. Oh, nice. What floor? Oh, no, I'm on the 38th. Oh, you're on the 32nd. Oh, cool, cool, cool.

You know, and it's those types. Do you have any kids? I've got kids. And as that conversation grows, they've actually shown, like a lot of the time when they do studies about discussions or discourse that people have with each other, those conversations make it easier to unlock the hard conversations.

But if you start with the hard conversation, you can't go the other way. You literally, you just can't go the other way. Speaking of, because I love to say speaking of, because this is the true thing, would you say that the potency of your jokes allows you to be more on the soapbox? And the reason I say that is because

you'll know there's some jokes that it is literally impossible for the crowd not to look. laugh at. You remember your Takos joke? Yeah. It is, it's like if you understand the language that the person is telling it in. Yeah, it's like a physical impossibility. The joke is like so good that it's like physically impossible for somebody not to find it funny. You know, comedians have that kind of, each, it's like having you a hit song. Yes. A comedian has. They'll be like this song, everybody loves this song of mine. Do you find that, um, depending on let's say how many hit songs, the comedian has,

those, that gives them room to say whatever they want. Because if I have three... A hundred percent correct. Yes. A hundred percent. Those people get more leeway. Yes.

But that's because they've earned more leeway, I would argue. Exactly. Because I think, this is what I think it is, to your point. I almost feel like it is, it's about creating a fair transaction with an audience, right? And I think this is any human interaction. For you to assume

that a room of strangers should just listen to your pontifications or... Oh my God. I love you forever. That's why you are traveling. This is exactly the problem. To get what I'm saying.

I'm like, but why? He hit the nail on the hat. That's what it is. This is the key. to unlock the comedy. Secret door. Sensibility. That's got to be it.

It is feeling a lot of comics cannot do it. They're not capable of doing it. They have so much rage in themselves. Right. That it's just, yeah. Poisoning them. the whole atmosphere.

Right. And the comic that has to follow, has to deal with that. I get a lot of complex. And I said, if you are a good comic, you can follow anybody. Yeah, that's true. Unless they spitting,

spitting, hate. Poison. And, yeah. You have to dig. You have to dig a lot. Yeah. The whole atmosphere.

Yeah. It's much more difficult than following somebody that didn't have a good set. Oh, that's deep. Okay, I see what you mean. Much harder. Because you have to neutralize the stink in the room.

Clear the air. Before they are ready for, they have to cleanse the palate. So that's the thing that I think sometimes people misunderstand with comedy is some people will say, I've seen them say to comedians, some have said it to me, to anyway, they'll be like, you know, I don't know why did you have to make that funny? Or why didn't you? I don't, I think you hurt it by turning it into a joke. And then I remember saying to somebody, I went,

what you're saying to me is the equivalent of saying to an anesthesiologist, why did you make the person sleep before the surgery? Why did it? No, I'm too. Then you're like, but that's there. That's why they said that they're an anesthesiologist. They said that this is their job. Right.

If a person says that they are a comedian, you cannot ask them why they have used the tools of humor when approaching anything. Tragedy in their family, politics, difficult things in life, benign things in life, anything. We use the tool because we are saying we are the professionals of that. Do you get what I'm saying? Right.

Yes. And so in the same way, funny enough, a referee in a boxing match will go, hey, stop holding. Yeah. You can't hold if you go to UFC, then holding is part of it. The ref, they won't say stop holding. You know what I mean?

But in boxing, you cannot hold. Right. We are fighting, but you have to use your fists. Please stop holding. Holding is not for this sport. There's another sport where you can go hold. And then even in UFC, there'll be other rules where they go like, no, no, no, you've been like this for too long, actually.

We're here to fight. This is not a soapbox. Do you get what I'm saying? That's what I said, the difference between comedy and soapbox. Yeah. That's exactly what it is. press anything. We've got more.

What now after this? How did you handle, or how have you handled over the years, things in the streets spilling over to the comedy club? Because I know there was like a period, I mean, there've been many periods, but let's say around like Black Lives Matter. Me Too? Yeah, around the Me Too movement or any social movement where there's been an explosion. People have seen it come into their workplaces.

They've seen it come into schools. they've seen it. And in comedy clubs, again, the comedy said I can speak to as a perfect example, no two comedians have the same views on the lineup. You may overlap, but you can have completely different views. Some comedians have your views, but the way they do, their comedy will make you think they don't have your views. Those are some of my favorites. You know what I mean? Atel. Yeah, exactly. Oh, my God. He is. I love Dave Adela. Yeah, but when you're watching the comedian, you go like, I don't even know, I don't know what this person believes, but they're phenomenal. Yeah. I would love to know, like, how you've, how you've, how you've,

foster the space where comedians can continue to come and still have their comedy alongside comedians who don't share the same comedy, but then not create like an atmosphere of animosity. As I said, no censorship. You want to talk about whatever you want to talk, you're okay with this, as long as you make it funny. But have you ever had issues where the comedians themselves are like, I don't want that comedian telling those jokes? not really. There are some comedians

that either resent or don't love others. Yeah. I mean, that's comedy. That's every industry. Yeah, they don't respect. And, and you get this under the nose.

You know. Like, he did it perfectly. Yeah. Yeah. And I would say, why? And sometimes they tell me Sometimes they don't.

They're afraid that I'll say something or, you know. But yeah. So between the comics, it sometimes happens. And usually the A-minus comics would do that. Oh, interesting. They, yeah, the comment, oh, he's a hack. What is a hack? me what the heck is.

That's interesting. You know what I mean? Sorry. A minus is quite a high score. That's why I said it's very interesting. No, there is an A and A plus. Yeah, but that's what I'm saying? You have three degrees.

No, I'm saying you didn't say like a C, you know what I mean? C Comics doesn't work in comedy seller. Damn. Wait, so the. Damn ST just drunk. Oh, me and A minus. Wait, wait. Oh, damn ST.

Yo, that was crazy. Oh, whoa, whoa, whoa, whoa, whoa. Esti was like, whoa, whoa, whoa, whoa, whoa, whoa. C minus. You know, Esti was like, nah, bra. We don't do C's. See you later. Exactly.

Wait, when we're going to drop the bomb hard on that now, huh? The top is A. That's the A plus. Or A plus is number one. There's an A, A minus, B plus. B minus I'm starting to warm up. See what happened. Okay.

Let's see what happens. Okay, got it. So it's interesting. Oh, okay. I can give you the address of other places. Uptown. Go somewhere else. Now the tables have turned.

No, look, I am saying that there's room for everybody. Right. But it takes time to become a seasoned comedian. Yeah. to know how to well-crafted set looks on what you need to do or whatever. That takes time and I'll give you the opportunity to do it. But if I have to book five people and I have A plus A, I'll go there first. Because my job is not to hold every comedian's hand.

It's not. my job is to produce a best show I can with the availability I have I've reached out to people to get them in it's not only that they come to me although mostly they come now but I cannot be your

manager or your teacher or you whatever but I'll give you the opportunity if you do have the seat if you show the potential. And those people grow. There's a whole generation, like you said, Sam Morrill. There's other than Soder, Joe Liz, Mark Norman.

They are all in the same thing that they went up. But it was at the same. It's like we're in the same generation of comedy. You and I in South Africa, like Eugene and I start at the same time. We're in of that. you know if you like cut the trees trunk wear that ring basically with that ring

but I've always wanted are they I'm sure they are which comedians have blown up that surprised you the most because like not everyone's path is linear but some people just find something magic and all of a sudden you go wow

they took it to a whole new level I that's very hard for me to say often I'm asked can you predict when you meet a comedian, who's going to become? I can't. I can't.

There's a lot of people that I think, oh my God, that guy. And it never happens. And then there is somebody very quiet that's very, that I didn't. And I don't want to say it because they are big now. But it's just like, huh? How did that happen? But he did. And you can't find any common thread.

you can't find it just no i think it's it's they're good comedians to begin with yeah good work ethics yeah the timing is perfect yeah they somebody saw them at a certain time yeah yeah yeah yeah yeah yeah yeah yeah yeah i don't say i have they say timing is everything yeah no it is so as long as you're prepared and you have the good ingredients and you're good to begin with and the opportunity and the the opportunity meets you at the right place, you go out. And there's people that are just as good, just as prepared, but the timing never worked. That's probably one of the things I appreciated and still appreciate about the comedy seller the most is it's a comedy club where I felt comedians were always reminded of the fact that they're lucky. And what I mean by that is,

Privilege. Yeah, what I mean by that is in, in, when you're walking through the halls or the rooms or the, or the restaurant of the comedy cellar, there is no comedian I can think of who would lie and say, I don't know comedians who have destroyed as much as I have on many of the nights that I've been there. Right. And so there's a, there's a, I think there's a certain level of humility. I was about to say humility. In understanding that like, that's why I say when, when people would say a name to me and they go, oh, have you heard of this? They've really blown up. Then I go, I'll be honest with you.

From the first time I encountered them, they were amazing. And I guess to your point, timing and luck just hadn't met with their amazing. Exactly. But they were amazing. Yeah. And that's like the hard and humbling aspect of entertainment in general, but especially with comedy is sometimes it's just about meeting the audience, you know? Like I'll never separate like Louis C.K.

from where America was when he like really like mega blew up. He became like the perfect vessel for what America was going through. It was the recession. It was people weren't feeling like things are great. People weren't feeling like. And Louis has this way of like being both optimistic and extremely pessimistic in the same container. But I feel like it met him at the perfect time.

It's so funny because I have books, my booking books. Yeah. from the beginning. So I was booked the shows and then on the bottom I had the late night. For a while there was food spots or the late night. And all those people were on the late night.

Chris Rock, Louis Sike and Jim Norton. They were all on that thing. And look what they are now. In the latest, latest slot. Was that the hardest slot? John Stewart used to be on that slot. John and I talked about...

Well, he said he was like... That's not true. No. John used to be a busboy in Pachitos down the street. Yeah? And he used to come. I might be wrong, but Pinchitos? Pinchitos.

That does not sound like a comedy club. It wasn't a comedy club. It was a Mexican restaurant. I thought it was an ex-and-old. I thought again he were there with the Ramosuit. I was like, oh, no. No. Pachito was a Mexican restaurant.

Right. And he started coming by, I loved him from day one. Yeah. Day one. love about him. I just liked his humor, his performance, his material. He was just a funny as hell. Yeah.

And I started booking him. There was some, was it Chappelle? I think it was the Mark Twain Award that he said. I wasn't really good, but Estes kept booking me. Yes, yes, it was actually, yes. It was Mark Twain, right? I think it was the Mark Twain Prize. I kept booking him because I just believe, I don't know, I believed in him.

He was funny. He was, he was great. I loved him from day one. But that's what I mean. You see, that's an example of... But there was some that took time. I tell you, I tell he took a minute. For you?

Not for me. For the or incest to find him. He always went out last, which he still does. And... people were just the exodus there. Going to Panchitos. It was,

some people took a minute, but they all used to do the late nights. What do you think it was about the late night? They did a documentary once they wanted to see my book and Chris Rack was in the olive tree. And I showed him the book. I said, do you remember that at all?

Was that a lot harder? Huh? It was like 1 a.m., 2 a.m. And there was like 5, 7 minutes. No, but you never know. No, but then. Yeah, but that's why I'm asking. That slot was harder at that time.

It's always hard. Because, I mean, who is in the room at that hour? And wanting to laugh. They want to laugh, but they have a sleep and they have a couple drinks. They've eaten. Well, you know that at the commissary we have a rule about drinking. You know that? No, I didn't know that.

Okay. It's two drinks minimum. Okay. Which is standard in all the industries, not just comedy club. But we have a three drink maximum. I did not know this. Yeah. We don't want you to drink.

If somebody wants afford to drink, they have to get the manager's approval. Got to go and walk. They've got a little line. Press a Liza. No, I mean. You do a little balance test. Come in the seller. Then they bring out Dave at town.

Would a drunk person be able to do this? No, you don't want them drunk. No, but you see, you know, we don't do that. We talk about this. And anybody that says, oh, you are here for the money. They don't know that we have rules like that. But this is what I mean. More drinks.

Yes. Yeah. I say this Dave all the time. I talk to Eugene. I go, I wish more people were able to run businesses and industries in a way that didn't have to extract all the money all the time. Yeah. Because I think you would create something that lost longer

and something that everyone can benefit from for longer. Because I've been to establishments where they'll sell as many drinks as they can to the person because they want to make the money. I remember many having a meeting with Lucian. Remember Lucian? No. Lucian is who run the comic strip. Okay.

He passed. And they were talking and trying to build a business, you hand out two for one and all covers, whatever. How do you make money? You raise the drink and push the drinks. We never did it. Never, ever did we do that. And we have a very clear rule of three drinks maximum.

I didn't know this. Yeah. And as comedians, you feel. You also, you know, I also know. So if somebody comes from downstairs, oh, they're all drunk. How do you are drunk? No, but you know, I just note something as well. Some of us drank before we came.

I know, but listen, we have security, and if you appear drunk, you're not let in. Yes. And we have the rule about the cell phones. Cell phones in the bags. It's all done to protect the comic comics. Yeah. This is all for the comics. I would even argue it protects comedy as a whole.

You know why. Yeah, but you are the vehicle for comedy. No, yes, yes. But what I mean is like one of the reasons. I love the fact that you don't allow people to film the show is because comedy, and I know Chris Rock has spoken about this pretty clear, but like, one of the things people forget with comedy and comedians and clubs in particular is that is where you're going to forge an idea.

Yeah. You're not going there because the idea is perfect. You're going there to start creating out of nothing, something. You know, you're going there to try and like chisel it out and hammer it and find the edges and smooth them. And then when someone watches it on a special on Netflix or wherever, they go, oh, wow, that was great. Yeah, like, yeah, yeah, but there were many nights when this didn't make sense or this was warped or this was, you know. And if people record that and put it out, they're doing two things that they don't realize.

One, they're hurting the comedian because you're not allowing the comedian to put the thing out when they were going to put it out. Yeah. Right. In the way that. So now they can't even sort of stand behind it because you stole it from. from the lab and then you're saying that this product is bad for it's toxic. But it was in the lab. You stole it from the lab.

It wasn't in the stores. But I'd even say what technology takes away or the wrong audience watching you takes away is there's three stages that I think a comic goes through. Yeah. I think sometimes you're on stage at a club because you're trying to find the funny. Yes. Sometimes you're trying to find yourself. And there'll be times where the audience meets you after you found it too.

Oh. When you're in sync with how you're feeling and what you're saying, it all makes sense. But there was a time when the idea was great, but you were not feeling the best. You were not there. Yeah, yeah, yeah, yeah. But all of those have made people have opinions about comics at the wrong time, at the wrong place. And I think I always make this analogy of thinking, have you watched soccer before? Soccer?

Yeah. Sure. So when soccer plays this. Golly. Yeah. Oh, wow. Okay. Superstar.

Really? Really? Yeah. Oh, look at that. SD. Okay. You know when soccer plays security guards that are looking at the crowd, they almost know instinctually what is happening behind them.

So that ability to listen is what you had because you were a host. You were listening to comments without watching them and prejudging them. So you were there to find out when they found the funny, when they were finding themselves, and when the audience has found them and the funny at the same time. So I think technology robs people of that because of that snippet takes away all of that. And you've said before when we're having this chat, you said you give them time. Yeah, you have them.

You give them time to find the two and the audience will benefit. it immensely from it. But the beginning, the starting line now is higher than it used to be because of the availability. I can imagine. Speaking of comedy,

what do you think of, because that's what we're speaking about, your segue is a flawless thing. You could have fooled me. A plus. We were talking about, everything but. everything bad it's like

it's actually modern and recording what do you think about the new movement of like you know there's audience participation that whole thing where crowd work you know Trev the one of I don't mind I like crowd

crowdwork but it's not when you're an emcee and you do crowdwork you sort of bring them in into the space, into the state of mind. Yes, you corral them. Yes. When MC gets on and you start doing bits,

what is that all about? That's wrong. I want the MC to do a crowdwork and warm them up where they are the reception. Yeah, they're receptive to, yeah. You want them to host. Yeah, so I am very pro. I know that a lot of people, especially online,

the crowdwork and all of that, you know, there is a little a Mendoza line for that, you know. It's sometimes too much and not enough substance. But sometimes with crowdwork, you bit comes a, out of it. That's true. Yeah. It comes.

Yeah, you can find the funny there. Well, yeah. And you'll be surprised how entertaining some of the people in the audience can be. They really are. I sometimes watch it and just like a dog that is peanut butter. What? I mean, so there is benefits to it. So you don't.

What happened to the goalie? Huh? What happened to the goalie? Oh, never mind. I can't stop thinking. Nosey, you nosey. Of course, you started. You asked me if I know soccer.

Not only, I know soccer, I'll trump you one. So my crowdwork question is, if you book the host. The crowdwork, you book the host to do crowdwork, obviously. Yes, and let me see. Yes. Then when you book the acts, you're booking them to do a specific set or

you know what I mean? I take under consideration who is the MC with who is on the show. Oh, wow. I take it under that's one of the considerations because the MC contributes to the show. Obviously, I would

prefer most of the time the MC to be high energy. Right. Somebody that will keep the crowd and you know, and once in a while they they throw a little bit here, a little bit there, but they include the audience in it, where an act just comes out and does his ex.

Once in a while, they interact. Yeah. But not that much. With the MC, I do like the interaction because, come on, kids, let's play together. That's what the MC is supposed to do. Yeah. You know what I mean?

Yeah, no, it brings everybody in. And if an MC gets up and says, it starts with bits, he doesn't do, doesn't live up to his role. So do you ever penalize an act for doing crowdwork in your head? Like if an act comes up and then they start doing a lot of crowdwork, do you in your head go, no, I don't like that? It depends who and what they do. Okay, great. Yeah, it's, you can't be very dry cut on that, you know? some of them have a bit that they're coming up with.

They're about to say it. Yeah. And it's a lead in. Oh. They'll turn to the orange. Did you ever? Yeah, yeah, okay. It's just a, it's the beginning of a magic trick.

Yeah. Okay. Does anyone have a quarter here? Yeah, exactly. They were going to do the trick anyway. Yeah. Yeah. Yeah.

That makes sense. So, but this is very liquid. This is very fluid. I want to put you on the spot before. we lose your S.D. Like, who's your personal favorite comedian? You. No, don't do that.

You asked a question. No, but I, like. You asked a question. No, no. It's, I have people are like more than others. Yeah. But this is like asking a mother that has 15 children. Yeah.

Who is your favorite? No, which one would you go downstairs to watch more than the other? There's got to be one child where you're like, and I only mean this because they, they just happen to like hit everything that you want. from the comedy and the, do you get on saying? Let me break it down for Esty. Basically, Esty, think of it this way. Don't break it down for me.

I know exactly what he's asking. I'm trying not to answer. I'm trying not to answer. Which child would you take up to three years and which one would you leave at three months? Did I buy you enough time? That's an interesting way of putting it. Okay, I won't. Who do you want to have born?

No, I won't put you on the spot. No, but I will ask. You heard me, right? I took it further. She lives in a comedy club. Okay, no, then I'll ask you this then instead of, instead of making it that, let's go the other way. Because I think it'll be great for all of us. I mean, us here and the people listening, give me, give me a few names of comedians that we should be watching now that, you know, maybe we're not.

Just, you know, name a few where you go, like, this person's really getting me. Aaron Chan. Okay, Aaron Chan from Australia. He is, yes, he is a Chinese guy from Australia. Okay, cool. He has a show over there that it's a small show that's now on Netflix that's making a lot of waves. He is, it's very difficult to describe him. Okay.

But he is somebody, I would say, if you get a chance, watch him. Okay, great. He's very quiet. He's very sarcastic. He is wonderful. One absolutely wonderful. Okay. I can give you a list for about 10 people.

They are brand new for the seller that I still go down to watch because what else do you have? Give us four. Okay, so we got Aaron Chen. Give us three more. There is Winston from D.C. A lot of new comics are from Chicago now. So there is a whole wave of Chicago comic. It goes with different times.

Chicago, and as I said, right now is Australia. There's a new guy I just Blake Green. What's his last name? I know. I just auditioned him. Wonderful, really funny. Brendan Soglov, that's somebody that's going right now this way. Very funny.

And put her a lady as well. A lady? Yeah. Why? Because. What if the four are guys? Then what, Dave? Then what?

Then what? No, I can give you. There's quite a few women now, too. That where Emma, you know Emma. And it's just become a... She's, yeah. Emmy Blotnik. I love Amy Blotnik.

You asked me once for a writer. Remember Michelle Woolf? I got you. Michelle, Emmy Blatnik is an incredible writer. And she was the head writer for the president man, the show. The president man? Yeah, the president's man.

And now she's creating animation. I mean, she's wonderful. Okay. An incredible person. and sweet, quiet, beautiful person. Very funny. El Orlando is one of the new girls I'm using. I have a lot of faith in her.

Let's see how that goes. You know with your accent when you say, new girl, I'm using. You have such a bad... I'm so sorry, I can't help it. I mean, the comics I'm using. Yeah, thank you. No.

But did you hear his question? He asked me about girls. I don't expect much for him. You on the other hand, you did your 36 months, you raised this child. I have so much hoping you. Oh, man. No, there is, I would need my paper to go through it. But there is a Philip, and I cannot pronounce his last name, Colin Afz de la.

He's Slovakian that work in England for about 10 years. Yeah. Very funny. It's brand new. Those are all new people. I love that you still... Drew Dunn. I still love that you still have this.

Like, I'm watching... Oh, my excitement. But that's what I mean. Yeah. Like, you don't have a... Again, I've met people who've booked comedy their whole lives, whether it's for late night TV or for comedy clubs or... And at some point they have, I've seen it all.

Oh, no. Yeah, they remind me of this person. And you're like, oh, oh, oh. And this person and you still... Till this day, 40, how many years later? Peter, Ravello. Yeah. Did you get to see him yet?

No. You've got to. This is, I mean, I now just have a list of comedy that I have to just go and watch. I'm going to go. I'm going to go. Oh, how about Ethan? Ethan's phenomenal. No, I mean, but, yeah.

Ethan is like, he's my heart. Yeah, Ethan is. I love me so much. Oh, my God. Yeah. Will, I think Will told me about Ethan for you. Who told you? Will.

Oh, Ethan is. And no social media, nothing. And you know what? Not only he's a great comic. I remember a few years back, we booked this week at a comedy seller from Comedy Central. And that's where first time saw him. And between Ethan, Peter, Aaron Chon, Drew Dunn, it'll blow you mind how good they are. It'll blow you mind.

Okay. Those who are making it past 36 months. Those four are making it past 36 months. I'm telling you, they are fantastic. Really fantastic. And yeah, it's gratifying to find somebody that you get excited about. You know what I mean? Exactly what you mean.

Yeah, yeah. I am not blessed about it at all. And that's why we appreciate you. That's why we love you. Thank you so much, Esty. Thank you for everything you do. you know i was thinking like two days ago i was like why is there not a documentary on you i was thinking and then i was like people probably try all the time and then estes the kind of person

who's like i don't want to have you just unless my hand is like twisted you know who's never tried who you twinkle toes twinkle toe okay it's one thing that somebody say described travenor and i would say twinkletoe you've never seen him dance you've never oh no for real este this is thank you very much

thank you for thank you for my pleasure yeah the role you've played in my life the role you know what's amazing the role you've played in everyone's lives without them knowing it

so if people loved Louis's show on on FX or his standard if people loved Aziz's you know master of none if people loved there's so many

comedians that have affected your life and Esty was part of their journey getting to, yeah, John Stewart and then me by extension with the it's just crazy how many comedians. You were already,

you were cooked already. No, but I mean. You were not getting ready, you know. Yeah, but I mean, in America though, yeah, and I mean, still, I would argue doing it at the comedy seller and what you gave me was a home away from home.

Yeah. And you know, one of the biggest things I really appreciated about it was the comedy club didn't possess an air of of like heaviness and no because there's a lot of clubs

that I would go to where it really it felt like you were in the doldrums emotionally it felt there was a there was an extreme difference between

what was happening on stage and what you were feeling in the building I would watch people get on stage and they were the funniest human beings I had ever seen ever and then I'd walk off stage

or I'd see them come off stage and I'd hang out and I'd go this is the most depressing environment of the like it feels it feels suicidal it feels it feels it feels negative it feels like it's not

no but genuine and I don't say I don't say it in a judgmental way I say it in like a scary way and I remember comedians would ask me like some clubs in America that go why don't you come I was like hey man I'll be honest with you I don't ever want to be in that space again

because it didn't feel like anyone there was like, it felt like they worked in happiness, but they weren't trying to be living happiness. That happens in every environment. You have an office that everybody either dislikes each other or undercuts each other and says negative. Yes. Negative, negative.

Yeah, but what I'm saying is that what I appreciated and still appreciate about the comedy seller is the thing in between, like the meals that people share, the way we roast each other, you know, whether it's Keith sitting in a corner and then you're roasting Keith about having a stroke and then he's roasting you. And then he's roasting you and then he's roasting you.

Yeah. Oh, he's the first one to do it. He's the first one to roast you. And then you've got, you know, like someone else walks in and then the roast. I don't know for a fact. But if I tell him, you know what? I did Trevor on our podcast.

You know what he's going to do? That's Keith. Yes. He'll just go. Thumbs down. You know, it's funny. five years ago, a friend of mine introduced me to Bill Grandfest. Yeah.

And we had a call every week for six months or so. And every time on the call, he would speak about how amazing you were. Who did? Bill Granfest. Bill said it? Yeah. And then the other friend that had a lot to say about you who was not in comedy, but just loves comedy, very young kid at the time, was Josh Pinkus.

He spoke so highly about you. And then now him hearing the story for the first time about how you guys met. I have to say there must be something about you that a lot of people appreciate and love. And most things that just have linchpins in life. And it happens that you are one of those. And you are hearing it while you're still alive. Thank you. I'm not trying to be it.

No, no, no. I'm not trying to be that person. Maybe that's why you're good at being it. You know? I just honestly, honestly, with all my heart, I love comedians. I love what they do. I appreciate them. I know how difficult it is.

Yeah. It's not a given. And I think it comes true. I'm being sincere about it. And the people that don't like me is the people I don't book and don't laugh and don't feel that they deserve to be. But yeah, there's a lot of comedians out there.

There's a lot of love going on. You are loved. I hope you know your love. Thank you. Genuinely, yes. Thank you. Thank you very much. This has been amazing.

Thank you for indulging. I know it must be weird for you to have a conversation during the day where there's no comedy club around. Oh no, that... I know this was different for you. That feels very natural. It feels very natural. Thank you, Estee.

This is great. Thank you so much. This is really wonderful. Okay. I loved it. Wow. You're amazing. Good.

What Now with Trevor Noah is produced by Day Zero Productions in partnership with Sirius XM. The show is executive produced by Trevor Noah, Sanaziamen, and Jess Hackle. Rebecca Chain is our producer. Our development researcher is Mars. Ropeu. Music, mixing and mastering by Hannes Brown. Random other stuff by Ryan Harduth. Thank you so much for listening. Join me next week for another episode of What Now?