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Don't forget to tip your waitress, a famous line that's used by many stand-up comics.
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So, what goes on in the wild world of serving tables at a comedy club?
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Today we have Scott Edwards, who owned a chain of comedy clubs in the 80s and 90s, to tell us all about it.
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So today's guest is uh gonna be Scott Edwards.
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He's been on the fringe of show business for over 40 years.
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At just 24 years old in 1980, Scott opened Laughs Unlimited, the 12th full-time comedy club in the United States.
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He fell in with comedy legends like Bob Sagitt, Dave Coulier, Gary Shanling, and helped develop talents like Paula Poundstone and Dana Carvey, to name a few.
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Scott worked with icons like Graham Chapman from Monty Python, Soupy Sales, Tommy Chong, love him, and even had Tom Hanks work on his live comedy stage.
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He's produced three TV series, countless concerts, and thousands of live comedy shows.
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This man is an expert in all things comedy, and I'm so excited to have him here with us today.
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Hey Scott, how's it going?
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Yasmin, I'm so excited to be talking to all the waitresses and audience people you have out there.
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It's incredible.
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And yes, I'm R.
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Scott Edwards.
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Thank you.
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Set it down, down and back.
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Here we go.
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We're here to have a good time on the podcast.
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I'm so excited, Yasmin.
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And I've been checking out your podcast.
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You're doing a great job.
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Congratulations.
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Thank you.
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Thank you.
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I mean, there's nothing like talking about the absurd behavior of customers when they come out to dine and to eat.
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They just have there's some great stories, always, always.
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There's nothing like the uh paying public to uh brighten up your day.
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I gotta tell you, first off, let's make it clear I'm not a stand-up comic.
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I am a producer.
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I did produce some TV series, I did several large concerts, and of course, I had three comedy clubs and ran those for about 21 years.
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Uh I'm out of the business now, but I do comedy podcasts now.
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So I love stand-up comedy.
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I've been a part of it for uh most of my life, and uh part of the success I've had is the quality of waitresses that have worked for me over the years, not only in my comedy clubs, but I owned uh a few restaurants, a jazz club, and and a few other things.
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And waitresses are the backbone of any service operation.
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I love that I love hearing that because it's one of these one of these positions that almost feels like an invisible job role to most.
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Um, and what is um I think super interesting is that comedy clubs in specific, I had one shift, one shift at a comedy club, and then I was out of there because it's actually really hard.
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Like serving drinks in the dark, there were stairs to where the the customers were.
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I almost ate shit a few times, like just trying to serve these beverages.
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It is not easy.
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So I'm so interested in some of these cool stories that you have to share with us.
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Well, and yeah, let's educate the uh listening audience because being a cocktail waitress is hard enough uh in a bar and a nightclub, uh, you know, trying to deal with the noise and and the obnoxious customers and the exchange of uh money.
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But a comedy club is like a step above.
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It's like the Mount Everest of waitressing, because for those that weren't aware, when there's a live show going on, you have to make you do have to kind of become invisible, which means whether they're sitting in the front row, which is m where it's mostly important, but even in the back rows, uh my waitresses would have to crouch down to uh deal with in uh you know, do the financial transaction and deal with customers, and then you'd have to whisper so you didn't interrupt the show, so you would whisper and the audience or the customers would hopefully whisper back, and that means you have to hear it over the din of the club.
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And uh the strength it took in the arms and legs to go down at every table and get the order, bring the drinks, it it was uh such a challenging situation.
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And then Yasmin, I come my clubs, uh I'm an old guy, see the gray hair.
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Uh my clubs, I had them in the eighties and nineties.
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So this was before um massive use of credit cards, and so all my waitresses were cash business people.
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They had to provide their own hundred dollar bank.
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Yeah.
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They actually purchased the drinks at the waitress window, and then they would go out and sell them.
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Uh-huh.
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Right?
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Okay.
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So they would go to the table and then say, Hey, you owe me eight bucks or nine bucks or whatever, and they would do the cash transaction right there at the table.
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Again, in the dark, trying not to interrupt the show and trying to make it all, you know, work.
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And then the way you know they got tipped was at the end of the night, uh, they had already purchased their drinks, so anything in their bank over$100 was their money.
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Yeah.
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And my girls uh were making, you know, anywhere from$80 to$150 a night.
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Yeah.
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No, it's 1980s money.
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It was a lot of money.
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It was a lot of money back then.
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Yeah.
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I grew up in like the 80s and 90s, and I I remember that being no, yeah, it's true.
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Oh, I appreciate that.
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Thank you.
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But definitely, like back in the day, like that amount of money was was really, really good.
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Even, I mean, even now, like it's nothing to scoff at.
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Yeah.
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And my young ladies, and and I have to admit, it's a sexist industry.
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I know there's male waitress waiters out there, but in the most nightclubs and especially comedy clubs, it's 100% uh female waitresses.
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I don't, I think it's because they can make more money and and they're very adept at uh the job, uh, to be honest.
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I never had uh a male employee ask to be a waitress.
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I think it's not, as you said, it's a difficult and sometimes a thankless job.
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And uh uh anyway, uh just so excited to share the information because they don't get a lot of attention, and especially my waitresses, which were like family.
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We we always had a kind of a family atmosphere in my club.
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Uh they were such an important part, uh big cog of the machine.
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Yeah.
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Uh I and I don't mean to extrapolate, but as a producer, uh I have to pay the entertainers and I have to pay the staff and I have to pay for rent and lease and pay for all the product.
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So I'm collecting the door money, and I have to make money off the drinks.
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It's a very important part of the operation.
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And uh I would say, you know, 30 to 40 percent of the income comes from uh drink sales, and then you have some food sales, and then of course you have the door.
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But the waitresses really always stepped up, and what was great was because uh they were getting paid minimum wage, but back then it was like$1.75 an hour, I don't know,$2.50 an hour, it wasn't much.
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Their real income came from the tips, so they never lounged around or goofed off because they were losing money if they were not selling drinks.
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Uh now a lot of clubs these days have a what's called a two-drink minimum, Yasmin.
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Have you been out and had to deal with that?
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Oh, definitely.
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Like you just um because a lot of businesses are afraid of the liability if somebody jumps in their car and like oh, two drink minimum.
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Like you have to purchase the two drinks.
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Oh, I work at a casual dining restaurant, so ours, ours is like a two-drink maximum.
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We don't want people drinking, we don't want we don't want grandpa joe being like all over the place, so it's a little bit different with with uh with my restaurant, but the two drink minimum, go ahead.
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I was just gonna make the point that as a uh family man, I didn't believe in the two drink minimum.
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You know, if people wanted to buy a drink, go for it.
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If they didn't want to buy a drink, no problem.
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In fact, we had a situation where if we had a designated driver in a group, they got free sodas and coffee through the uh evening.
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Um, I was lucky because I was doing comedy shows in my nightclubs.
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People would come in, sit down, see an hour and a half show, and leave.
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So they weren't hanging around like a regular bar and where they could get too intoxicated.
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However, of course, people would go and drink before the show and come in.
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And so the waitresses not only were doing financial transactions, trying to make a living, and trying to do it quietly and while crouching in the front row to not interrupt the show, they were also basically the drink police.
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If they had somebody that was uh um uh you know getting a little loud or they could tell was intoxicated, I put it on them to one, let me know, because I not only was the club owner, but I was the bouncer.
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Yeah, but also you know, to limit how much they would serve them.
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You know, like if you had a table that was already somewhat intoxicated, you might not go to them two or three times in the in an hour and a half.
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You might go to them once and then or recommend, hey, would you like some free coffee or water?
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Water, yeah, definitely.
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That's uh industry sort of known when you feel like someone's had too much to drink, you sort of dodge the table so that they don't they don't ask you and you don't have to feel that uncomfortable conversation of telling them like, hey, hey, buddy, you've had too much.
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Yeah.
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Right.
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And then as me as the boss, if I found that the table was a little extra obnoxious or something, I would tell the waitress, hey, give those people low service or um stay away from them, and and then I would deal with them as the bouncer to tell them that it was time to be quiet or leave.
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But uh still the waitresses had a tough job because they were kind of caught between me, uh I won't say me, management of any operation, uh, manager, owner, whatever, the management and the customer that bridge was the waitresses, and then in the front bar to be the bartenders.
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And um it's so important for a business owner or a show producer as I am to trust the people that you're putting in that responsible position.
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Now, you may know Yasmin.
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What type of waitressing were you doing?
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Um, so uh I still still doing it, and it's at a at a casual dining restaurant, it's um a high volume restaurant, it's more families and um retired folks, and that's the the typical clientele that we get.
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But like I said, I did uh I did a shift at a well-known comedy chain, and it's uh it's it's not it's not easy.
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So um uh any sort of nightclub, sort of evening event where there is a lot of alcohol being served, that's an even bigger challenge because, like you said, you have to be that police, but it has to, you also have to make a living, like you gotta keep the lights on at home, you know what I mean?
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Right, right.
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No, no, and that's why I always showed a lot of respect to my waitresses because they were in that delicate position between management and customers, and they had these other jobs where they had to stay quiet, not interrupt the show, and this and that.
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Now, there are some pluses to being a cocktail waitress in a comedy club.
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One, they made really good money.
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I mean, the people were in and out in an hour and a half.
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We would have two shows each night on the weekends, so they could make bank.
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Um, you know, during the week it's quieter, maybe 20, 50, 80 people.
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They don't make as much, but on the weekends, uh, just like the club, they were they were making some good money.
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The other thing was um, one, we treated them like family, so everybody uh would do a lot of uh after show event, you know, we would have some fun, or on uh days off, we would take uh groups of staff out for uh parties or picnics or uh river rafting or whatever, you know, there was a lot of side stuff.
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But I wanted to lead to that one of the things that you probably don't get in a dining restaurant, Yasmin, is that the waitresses were seeing some of the best stand-up comics in the country.
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We're coming through.
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I was in A-list room, much like the improv or the comedy store.
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Yeah, so some of the best, you mentioned some names in the beginning, were coming through the club.
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So the waitresses were also enjoying the show when they weren't working, yeah, and it was so funny because it by the end of the week they could almost do the guy's act.
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Yeah, if you hear the same act over and over for six or seven nights, I didn't memorize yeah, it's not quite as funny, but you have the act down.
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I love it, and that was like a really special time in comedy 80s and 90s stand-up is where a lot of these legends were born, like that's where they were starting really their careers, like your, you know, like Jerry Seinfeld, and um, you know, we have all like Dana Carvey.
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I mean, like, you know, just huge names, and so it must have been so incredible to just be able to see that in you know, in the beginning of their careers.
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Was there anybody that came through that you're like, wow, that was I I can't believe I had that opportunity?
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Well, you know, what's interesting is I've been in show business on the fringe of show business for uh so many decades that uh I don't get wowed like uh an average person, but and as a producer, I was paying them.
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So I was their boss, you know, Ray Romano and and Gary Shangling and some of these guys, Harry Anderson, that were um, you know, really famous.
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Well, not all really famous.
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What's interesting, you named uh dropped a lot of people.
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Paula Poundstone, for example.
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Yeah, we were one of the first clubs that she worked when she left uh Boston, and she was only the only comic I ever let work three weeks in a row so she could find her comedy and find her act.
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And then we introduced her to Gary Sandling, who introduced her to Robin Williams, and they both kind of took her under their wings and helped her develop because she was as she she still is kind of a bizarre entertainer.
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Uh she was much, much more when she was young.
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But my point of the story is um my club is a stepping stone to TV shows like Ray Romano's show or or Bob Sagitt, Dave Coulier with Full House.
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And so they weren't always famous when they were working in the early days, right?
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But some of them became very famous.
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Jay Leno worked for me many, many times, and uh they would come back because they their roots were in my club, so they would come back after their fame.
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Uh, for example, Bob Sagant, Dave Collier co-headline for my 10th anniversary.
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Wow.
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So um it was really uh exciting, not only for me as a producer, but for the staff to have people not only really funny and talented in their youth, but when they became famous or got a TV show that they respected where they came from and would come back and visit.
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And then, of course, we had people kind of drop in and out, like you you mentioned, uh Graham Chapman from Monty Python, Super Sales, Pat Paulson became one of our favorite regulars from uh the Rowan and Martin uh show.
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And so all these people coming through not only were entertaining the audiences, but the wait staff became um able to not only see all these acts, but they became friends with some of the acts.
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Now I do want to mention this is very important, yeah.
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Waitresses out there listen to this, young male comics on the road might be a little lustful.
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Yes.
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So I established and actually had posted in the green room a set of rules, and the famous one was rule number eight, and that was don't mess with my waitresses or I'll mess with you.
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Oh well, it didn't work all the time.
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Oh, it didn't work, but uh I did here after the fact, but it it was you know, these comics come through and they change every week, and a lot of them are uh anywhere from uh you know 20 to 26 and single on the road, so they're trying to live their life um each and every week, and waitresses are right there in the middle of it, and a lot of waitresses are uh beautiful young ladies, and so they uh there was a kind of a natural opportunity for may I say sex?
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And so I took on the role, even though I was 24.
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So I mean I was young when I started this, but still I took my responsibility as the owner manager and bouncer to protect the ladies that work for me.
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And so even though it didn't work all the time, rule number eight did establish a uh kind of a red line that don't pass it.
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You can, you know, hang out with the girls after the show in the club, you can, you can, you know, whatever, go we would go play football, flag football, or volleyball.
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We would do activities together, but I tried to maintain a uh wall, um a personal wall because between the waitresses and the comics, because you really can't build a lifelong relationship in a week.
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Yeah, oh no, you can't.
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Right.
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I mean, they may say, Oh, I love that gal, and I go, Well, it's been four days.
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I don't know how much we really know her.
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Maybe we'll re-evaluate that.
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But exactly.
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But what I I I really resonate with is the fact that you guys were like a family, like the staff was a family, and I think that's so important in the restaurant industry, in the serving industry, where you have people that have your back because sometimes you have, you know, maybe uh not so great interactions.
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Um, and you want, you know, to have that um confidence where you know that your boss or the owner or um is looking out for you.
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Like at one time I had some guy, I cut him off.
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I was like, listen, this is a family restaurant.
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I can't, I can't, I can't give you any more drinks.
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And he was swearing at me, and the owner was like, he's banned.
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Like he absolutely can't be swearing at my servers, that is unacceptable.
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So just having that family dynamic is really, really crucial.
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And I love that one of your rules was you know, what it was, don't mess with the servers, because it does set the tone that hey, like we're a family.
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If you mess with us, we are gonna talk behind your back.
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But well, I would do more, I would uh fire a comic at midweek if I needed to.
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Wow.
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Thankfully, it didn't really happen very often.
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I in fact, I don't know if uh it ever happened because of rule number eight, because when rule number eight was broken, the boss is probably the last one to figure it out.
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Um the other thing was, and I I should mention this, um, I also had food staff.
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You know, when you own a comedy club, it's interesting, Yasmin.
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You're not just producing a comedy show, you have to run a bar.
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Yeah, and there's a whole different set of uh aspects to running a bar.
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Well, in California, you have to sell food to sell drinks, and so I would have to have a kitchen.
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So I'm also a restaurant, and I didn't run it like a restaurant, it was a lot of bar food and and stuff like that.
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But the staff in the kitchen were even younger, you know, 18 and older.
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And uh and when my kids I broke all the child uh labor laws, my kids worked there when they were even under 18, uh 12.
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Um, but uh but the point was um so I was also protecting them.
00:20:33.519 --> 00:20:49.920
In fact, there's a funny story where a comic out of LA uh was and was kind of a horned dog, and and we knew that everybody kind of knew that, and he was in the kitchen and he was kind of getting close to this young lady that worked for me.
00:20:51.039 --> 00:20:58.480
And I was dating um well, I don't want to I'm trying to throw off the story, but anyway, he was hitting on her pretty good.
00:20:59.200 --> 00:21:05.200
And you know, hey babe, you know, you're sure good looking, and what's your name?
00:21:05.359 --> 00:21:11.759
And uh and sh she stopped and she looked at him and she goes, You don't know who I am.
00:21:11.920 --> 00:21:14.799
And he goes, Well, no, you just told me Kelly.
00:21:15.119 --> 00:21:18.160
He goes, Yeah, I'm Jill's little sister.
00:21:18.559 --> 00:21:24.400
Well, Jill was my girlfriend, but also like one of the managers.
00:21:24.640 --> 00:21:25.039
Oh my god.
00:21:25.279 --> 00:21:28.640
And he realized he was like, Oh shit, oh god, yeah.
00:21:30.319 --> 00:21:39.599
And ran away because he realized the one person he was being uh a little bit in uh too direct with was real family.
00:21:39.839 --> 00:21:43.119
Yeah, yeah, not the right person to be saying that to.
00:21:43.839 --> 00:21:52.079
And I think she was, you know, 17, 18 at the time, and you know, she was just a uh uh food server, uh hostess.
00:21:52.240 --> 00:21:56.480
We had hostesses that were also food servers, and they could, you know, they were even younger.
00:21:56.640 --> 00:21:59.200
So yeah, my job as the uh show.
00:22:00.240 --> 00:22:04.720
Producer and club owner was to try to watch out and protect the all the staff.
00:22:04.799 --> 00:22:12.319
But the waitresses, as you mentioned, Yasmin, you understand that uh and everybody listening that's in the industry, that it's pretty transient.
00:22:12.480 --> 00:22:13.839
There's a lot of job changes.
00:22:14.079 --> 00:22:14.400
Of course.
00:22:14.799 --> 00:22:30.960
And because we treated our waitresses the way we did, I had a couple that were with me for over 10 years, and several that were with me over five years, and those are really long job uh stretches in that industry.
00:22:31.200 --> 00:22:31.839
Oh, for two years.
00:22:32.000 --> 00:22:36.799
In fact, we even created uh awards when they made five years and ten years.
00:22:36.880 --> 00:22:37.119
Yeah.
00:22:37.359 --> 00:22:42.160
They all got pendants and and like a uh you know,$500 bonus or something.
00:22:42.480 --> 00:22:52.960
So it, you know, we really respected the work they did and they enjoyed the environment of my club so much that they stayed around for many years, which is unusual.
00:22:53.200 --> 00:22:54.720
Yeah, no, it's fantastic.
00:22:54.880 --> 00:23:00.799
I mean, like you said, it's just such a um like a quick turnover with serving staff.
00:23:00.960 --> 00:23:13.759
Sometimes you get people who just need um are students and they're just doing it temporarily until they get their degree or until they get their diploma, or sometimes somebody just needs some like extra cash temporarily.
00:23:13.920 --> 00:23:17.680
So you don't really have people sticking around long, long term.
00:23:17.839 --> 00:23:24.799
So it's really admirable that that that your staff like hung in with you, and then you have like that, like that mutual respect.
00:23:24.960 --> 00:23:27.119
You're like, you know, they're loyal, they're loyal.
00:23:27.519 --> 00:23:29.519
And I think that makes a big difference, yeah.
00:23:29.839 --> 00:23:30.960
Yeah, they were loyal to me.
00:23:31.119 --> 00:23:32.400
I was loyal right back.
00:23:32.480 --> 00:23:41.920
And as you mentioned, uh waitressing, which is a great career for men and women, because it's usually part-time and you can work around your schedule.
00:23:42.000 --> 00:23:45.200
Now I know nightclubs, so there was no day work.
00:23:45.519 --> 00:23:55.039
So um they could go to school and then come, but it was great because even those that would go away to school when they would come home for the summer, they'd come back and work for me.
00:23:55.359 --> 00:24:01.440
Because they they knew they could make money, they knew the system, they knew me, and I would gratefully take them back every time.
00:24:01.759 --> 00:24:06.720
But it was uh one of the jobs that you could work around someone's schedule.
00:24:07.200 --> 00:24:24.319
And the other thing was, as you know, Yasmin, is that there has to be a little bit of family amongst the employees, because I know the ladies, I call them girls, they were they were young women, and they would uh coordinate, hey, I need Saturday off.
00:24:24.480 --> 00:24:28.000
Okay, I'll cover your shift if you cover my shift, right?
00:24:28.160 --> 00:24:35.279
And when they would come to me, I would say, no, talk to your brethren, your your your fellow employees first.
00:24:35.359 --> 00:24:41.279
Yeah, and then if you absolutely can't swap out something or do something, let me know and I'll see what I can do.
00:24:41.599 --> 00:24:45.359
But I was also the boss, so sometimes I didn't make them happy.
00:24:45.519 --> 00:24:54.319
Yeah, well at the end of the day, you know, it is a business, you gotta run it, gotta make money, gotta have, you know, the proper amount of staff.
00:24:54.400 --> 00:24:56.079
So, you know, it's understandable.
00:24:56.160 --> 00:25:00.160
Sometimes you're like, man, I just wanted the Saturday off, but it's all good.
00:25:00.400 --> 00:25:01.119
It's all good.