This is an I Heart podcast. Guaranteed human. Comedy saved me. It's a lot like marriage. You know, my wife and I, you know, you judge success in marriage, but you stay mad at each other in a short period of time. That's it. That's how you judge success. You know, we're gonna yell, we're gonna scream. What's gonna be your, now it's over in a sentence. I'm leaving. No, you're not. You want eggs? That's it. That's the whole thing. I'm Lynn Hoffman and welcome to the Comedy Saved Me podcast. Now, if you like this podcast, I want to recommend another podcast I host called Music Saved Me. It's a podcast that explores the healing power of music. Now, in Comedy Saved Me, we delve into the lives of comedians and explore how laughter has transformed their journeys. Adam Ferrara, that's the correct way of pronouncing it. Lovely. I would like you to say, you know, Emperor Adam Ferrara, but that would be a lie. King Adam Ferrara has performed on Comedy Central and Tonight Show and he's nationally known touring comic. He's also got a new podcast called 30 Minutes You'll Never Get Back. Welcome, Adam Ferrara to Comedy Saved Me. By the way, I love the open to your podcast because you, it's Alexa. Yeah, it's Alexa. Yeah. It's awesome. That's a way to save money on imaging. Yeah, sure. It's easy. All right, let's do this. Thanks for coming on the show. Thanks, man. What comedians, let's start here. What comedians inspired you to start your career in standup and how did their influence shape your style of comedy? Well, as years old, I was going to a party with my parents. My father did kitchens and bathrooms, so we would go to people that had a lot more money than us because my father would, you know, fix their houses, oh, please come and then they would always have a party when everything was done and they would come and this was, you know, they had pools and stuff. So it was it was like the party would be like a Sunday afternoon kind of thing with all the kids and all the families in the neighbors. And that's how my father actually got a lot of business. People saw how what a good craftsman he was. So it was one of those parties. I was about 12 years old. And it's one of those parties where you pull up and you get the warning from your mother in the car like, now, your father does business with these people, but hang yourself. Don't don't clog the toilet. Don't eat everything. Don't hit your brother. Right. Basically, don't be how you are at home. So that was the warning we would get. So all the adults were in the basement watching Richard Pryor, the Santa Monica concert, the kids are outside playing, running around. We couldn't see because of language. So they went upstairs for coffee. I snuck into the basement and there was a VCR and I rewound the tape. And when I stood there, I just stood standing up, watching this. I I remember saying out loud to nobody. I'm all alone in the basement. I went, look what this man can do. Look what this man, he didn't even have an intro. He just walked up and grabbed the mic and started talking. Yeah. And I didn't know I wanted to be a comedian, but I just in my in my little brain, this met this this registered. I don't know what this is, but this is important. This is important. And I stood there watching it and just the I didn't know what I was watching. But the pathos at that time, just the way his the way he would bring you in. So then I I the Columbia record and tape club. Oh, how can you forget that and K tell it all? Yeah, the worst business model ever. In American business history, you get 10, 10, 10 albums for a dollar, a penny, a penny. And you're like, but then you got to join the club. And no, never joined the club. So we just kept getting albums and send it pennies in. And then when they stopped sending us sending us stuff because we've exhausted them, we would send it to our neighbor's house and then run to get there before they came home from work and steal the albums from our neighbor's house. And then we go to the Tri County Flea Market Long Island and sell them. Hey, so all the guys I remember my first albums I got was the who who's next. Neil Young, Live Rust, Billy Joel, The Stranger, and then George Colin and Richard Pryor out. Wow. And what more do you need than that? Really, even today? Yeah, those are my prized possessions. So I would listen to those albums and just the just the rhythm of what of how the rhythm of how the guys were speaking. And in between that and music, there was a subconsciously I was getting a rhythm of things in my head. And then I was doing the material, Colin and Pryor on the school bus on my way to school to keep from getting beaten up. So it was a survival. It was a survival technique. So that's great. So I was doing on the school bus and I so I was actually doing it and and the kids were laughing. And that's how I got, I guess, seduced into what this world was, because you really didn't know it wasn't a job. It was just something that that that when you're a kid grabs your attention. OK, so then cut to I go to college. I'm the first one to go to college in my family, my my tie up, since they came over from Italy, there's I'm the first one ever. And I didn't want to go. I told my father, you're going to go to college. I go, why do I got to go to college? Because you can. I said, no, it's a big deal. Yeah, big deal. OK. So, you know, I said, all right, well, nobody else went to college. And I mean, I said, yeah, they're stupid. So I just I went and I went to college. I got out and then I told my family, well, we've done one of your things. Now I'm going to try one of mine. And I never knew I was going to do this as a profession. I went to an open mic on Long Island July 13th, 1988, Wednesday night. And I made the mistake of telling my mother. Now, my mother was the original Twitter. She would tell everybody. So the entire neighborhood came out. So they sold out this little club, the East Side Comedy Club, on a Wednesday night on an open mic with all my family and friends in my neighborhood, because everyone thought I was funny. I didn't I didn't have any awareness at all. I was just surviving as a kid, you know, surviving school as a kid. And then going to I always worked. I worked at a fence company. So I was working on my hands because they come from blue collar people. And then I came on. I just wanted to try this thing. And the first time I got the laugh on stage, I got that that rush. Yeah, cherry high. And I went, oh. And I didn't it was wasn't I didn't I wasn't kind of set up to know that it was the same feeling of when I was seeing prior. But it was like I remember going, well, this is important. I didn't know how long I was going to last, but I wanted to chase this feeling. So it was the first time you know, when you hit a golf ball, right? You get that pain. I've done it once. Yeah. And then they make you come back. It's like the first ones for free kids, you know, and then you keep changing. So it's like a drug dealer. Yeah. But it was the first time I ever felt I'm going to use the word complete because I don't have a better word. But I belong here is also a statement that kind of registers in that because I grew up with guys that work with their hands. My father could build anything, fix anything. And I love cars, but I can't fix them. And I never had the if then go to statement where I was comfortable doing stuff. And I could change the oil. I can gap a spark plug and I can I can smack the cell in order to get the start of the crank, but I can't pull ahead. You know, I don't know how to do all that stuff, even on the construction site. I don't know how to do. I couldn't be a lead guy in the job. So I always felt less than in my family. Soon as I made everybody laugh. Boom, that feeling went away. So that's when I started. I told my parents, well, we've done one of your things. Now we're going to try one of mine. And I was on Long Island and I had a car. The biggest reason I worked a lot is because I had a car. I was funny. I had a car and I had a good work ethic. So because my father was, you know, small business owner, you just work. You work. That's it. You're like the ox in animal farm. I'll work harder. And you and you have situational awareness on the job. Don't say anything when they're talking. Don't, you know, keep your mouth shut when you just you just kind of know. Yeah. So I knew I knew to look at the terrain. The Art of War Sunsuit, the first thing you do is evaluate the terrain. What what's the ground you're traveling on? So I knew what was important by just listening. What was important to booking agents, what that had these little bars and this little stuff because this was 88. So it was just when right before your VH1, right? Yeah. Everyone was getting their TV show because producers figured out comedy was cheap. Did you ask me if I remember VH1? You were on VH1. Oh, I'm like, I'm like, I'm not battled. Yes, but I was on VH1. Mark Coney came out with the radio. No. Yes. Yes. Do you remember when Edison made the light bulb? Yeah. Yeah. You were on VH1, correct? Yes, I was. Yeah. So when you guys had, you know, I think Rosie was hosting Bobby Collins started, then Rosie O'Donnell was hosting their comedy out. So we got to do all that stuff. I was on TV way before I should have been Lynn because we had the access to it because they were they were producing it, so they needed product. So I was funny. I knew enough to be on time. What happened was I was on Long Island and a lot of the headliners that would work these little clubs in the peripheral of Connecticut and New Jersey lived in Manhattan. So the deal was you drive in, you pick them up at the improv. I think it was on 44. Pick up at the improv. You drive into the gig. You drive them back. You drop them off at the improv. Well, I was always on time picking them up at the improv. The car was clean. I was Uber before Uber. I went there. I got I got I got that guy. I was on time. I got everybody to the gig on time. I knew enough as an opening act. Don't be dirty. Don't wreck the room. Stick to your time. Bring them up. So OK, brought them up. Then I would drive them home. Then we're outside the improv. They're ready to get out of go. Listen, you're going to get in my car to get a cab to get into another car to take you home. Save the cab there. I'll take you home. We're his home. And I would drop more. My gosh. So, um, especially the female comics, they felt comfortable with me. So I they requested me a lot because I knew I knew how to. I knew what the job entailed. You were probably a gentleman, too. I try to be. I try. I'm trying here with you. I don't think you're buying it, but I try here with you. Oh, my God. I mean, I'm playing in sync. I'm playing with you sitting on your front steps. How could I not playing with you? I know, I know. Anyway, so that's why I worked so much as a kid. And that's why the long answer to your question was, I would say Richard Pryor, George Carlin, and then all the guys that I got to work with and all the guys I saw, how they were doing it at the level I wanted to be at. But that isn't that when you say that sort of similar to like. When, you know, people who are wanted to be music stars saw the Beatles for the first time. It would be the when you saw Richard Pryor. Absolutely. Yeah. And then you mentioned something about music, too, which is interesting, because I obviously I host another podcast about music and how that can be healing. And it's interesting. I've had a few people on now mention the fact that it's not just the comedy. It's like a combination of comedy and music that's like even more of a secret sauce for making you feel good. But I think what I think was I think when when when an artist can I'll use the word articulate, but even if you can paint something that that can express a feeling you can't put into words or you can't express yourself. Those are the things that make you go, you know, when you hear a song, you know, that I've been thinking about that for months, you know, when you hear a song like that, like I want to be sedated. I've been thinking that for years. Thank you. Now you just know I just. But yeah, I think that's what the healing power of any kind of art form is. Is if when you say touches you and reaches you and speaks to you, is it it it allows you to express something you don't know how to express. And then there's a new release for that. Does that make sense? Yes, absolutely. And there's some and there's so many things to to touch on. It's almost like you can get into the scientific aspect of it and the the actual breathing and the the vibrations and all of that connected. I'm trying to stop doing that, Lynn. I've stopped thinking. I mean, this this is what this is where I'm at. I'm I want to stop over thinking I've had it with me. As soon as you break shit down to go, now I can do it this way. You feel good? Yeah. Shut up. Feel good. It's going to go away. I like that. I like that. How is I shut up and feel good? Don't try to figure out why. Just just shut up. Yeah. And laugh. You've you've hosted some television shows and have acted in some pretty awesome comedies, like, for example, Top Gear USA. And you were also in Rescue Me, which huge on FX. So you don't miss an episode. How has comedy helped you be able to transition between roles? Because a lot of comedians go into acting and I'm not quite sure why. It makes sense because you're you're playing a part. But the two very different disciplines. They're two, especially drama. It's you have to. Well, why did I go into it? I was off at the parts and I took it. Why? I have a mortgage, Lynn. This is why. How much? I'll do the gig. You want me to do what? All right. I can do that. I was very fortunate to get roles that cultivated both comedy and drama. One of the first major role I got. Well, I did a couple of multi-camera sitcoms. That's the ones with the audience. Yeah, that's so that's so much fun. And that's really fun, because it's almost like a tiny little theater piece every week, because you start with nothing at a table and then you bump it into furniture is all week. And then you actually have a performance in front of an audience. You know, and the best the best was when you were on a Tuesday schedule, because I've been on both. I've been on on a Friday shoot and a Tuesday shoot. I prefer the Tuesday shoot because you get the weekend to process every all the rehearsal you've done during the week. Friday, you start you start cold Monday, Friday, then you go home and you sleep through Saturday. That was that was one discipline that was different because you actually have to let somebody in. When I for me, my experience when I'm on stage is the audience is this big ball of energy that you're interacting with. And then between me and them, we're going some other place. You know, it's all that stuff's coming through me and coming through something higher than me. And that that's the way I see it in my head. When you're on a sitcom with a live audience, you still chew you're working to get the laugh. So it's the space between the two actors. It's the space between the actors. That's where the energy and the currents flowing. So you have to play your part to be that part of the whole to make that reach the audience and come back and you get a buzz that way, too. Single camera acting is the same thing, but there's no big reinforcement. You know, as soon as you do something funny, there's nobody laughing. So you're like, yeah, that must be interesting. That must be challenging for someone who feeds off. I need some reinforce. Somebody better love me now or shit's going to get broken. So we need a flummer. What's the brother got to do? Get get get some reassurance up in this. So could someone fluff the comedian please? And then after that is drama where you really have to be in this space. And and there is, believe it or not, there is a connection to. The year for me, there is a connection to. To your to your fellow player, your other actor in a different in a different place, especially when it's a highly charged emotional place. I had to cry on camera a couple of times, which is just annoying. How do you do it? What's the secret? I look at the credit card statement. Oh, I am. I thought you're going to say onions or onions. No, there's a. Well, there's a breath. I mean, getting into the plumbing of how stuff works, there's breath patterns that, you know, when you when you cry, your body doesn't know the difference between what's real and what's not. You buy just responds to input. So there's the breath pattern of crying is staccato inhaler. And he let emotional on the outhouse. So you just start start cranking up the machine that way. And then you can go back to any kind of sense, memory stuff you got to get. You don't even have to think of anything. It's breath. You start the breath or the body's already in that emotional state. It's like, oh, we're going here now. And then turbocharges, you throw something in there. Since my father died, I can cry like that, like that. I can cry. Um, so and I had to do it a couple of and when you're a guest star, you're only going to get two takes. And if you're first up, they're going to shoot you first because the because the regular is like, I'm not up yet. Let's do the master later. So you're only going to get to. That's just the way it works. So I had to cry a couple of times. The funniest one was when I was on Law & Order and when Jesse Martin was on Law & Order, I was a kid and we went through it. We went through the rehearsal and we shot at Chelsea Pierce in New York Studio. So crew has to set. How cool is that? Yeah. After you do that, the crew has to set. So we're up on the roof, Jesse and I, and we're having a cigarette. I was smoking that. Jesse gives me a cigarette. He likes it. He looks at me, he goes, man, I don't envy you having to do acting shit at eight thirty in the morning. I said, thanks, you're not helping, Jess. You're not helping at all. Then I had to cry again on criminal minds. Again, eight thirty in the morning. First shot up. Sound guys eating an egg burrito, which I can smell as I'm trying to get emotionally to get to in the FBI office because my daughter was abducted and I got to break down in the tears. OK, so I got to get there. You know, I got to get a shooting me first. So I can get there. What I discovered on that shoot, it's not the the issue is for me is not getting the issue for me is getting back because once I open that door, floodgates, you know, now my nervous system is like Chas Pomp and Terri in Bronxdale. Now you just can't leave. OK. You know, I'm sure you've been shoving now. Now it's coming out. Hi, that is so hard. So that must work the opposite way for you to in comedy because once you get that role going, it just flows from there too. So you could go in either direction. Once you get that role going and it flows, the discipline there is to stay out of the way. Once you're out of the way, you got to stay out of the way. Don't help it. Don't try and make it better. Ride it. You got to ride it. And that's pretty much to be an observer. I mean, I don't know. Yeah, I don't like to use the word God because that's how wars start. But if you find that place where you're sitting and you're observing yourself, that that state of grace, whatever that grace is for you, my discipline now is just to remain there, just to dwell there, just to be able and not try and make it better, not try and fix it, not try to input any kind of will on it. Just sit there and then success is judged by how long I can do that. And then when it's ended, it's supposed to end there and not have any judgment about why it ended and why it doesn't continue. So I like marriage, you know, my wife and I, you know, you judge success and marriage, but you stay mad at each other in a short period of time. That's it. I like that. That's awesome. That's it. That's how you judge success. You know, we're going to yell, we're going to scream. What's going to be now it's over in a sentence. I'm leaving. No, you're not. You want eggs? That's it. That's the whole thing. Oh, my God, that's so. I told my wife the other day we had to fight the other day in the bed in the in the in the bedroom. She goes, I'm not the enemy. So I don't think any enemy. But right now you're killing me. I'm going to walk out of this room in 15 minutes. I'm going to come back, kiss you on the head and tell you, I love you. But right now I'm leaving, came back in 10. I love you. That's the best way to fight. That is the best way to fight. But that takes time to get to know someone to be able to get there. Right. How long have you been married? Well, now you're thinking about it. It must have been a long time. Yeah, Jesus performed the ceremony. What are you going back? Here's the thing. I looked at my wife and went, she's pretty. Then everything went black. I woke up and I had a mortgage. That's all I remember. I was Shanghai. Obviously, when you know someone that long, that that is that is the best way to fight fair. And it's the best way to know that you're going to be married forever. That's so awesome. I love to hear that. I'm going to know my wife is stunning. She could walk out. She could start again in a half a block. Oh, you know, it's so funny. You and my husband would get along well. He's like, ah, you get all these guys lined up, whatever. If something happens to me, you'll be fine. My wife turns the corner. It's like, all right, here's the new life. Hello, Lionel. Who's Lionel? I don't know. We'll be right back with more of the Comedy Saved Me podcast. Welcome back to the Comedy Saved Me podcast. How do you think your stand up routines have evolved over the years? And what does personal experience for you have to do with, you know, when you craft some new material for for your shows? The evolution of it now is I'm writing more stuff for me. I've never been an observational comic. I've always been a student of human condition. And I got to the point where my first hour I did for Comedy Central. I did a couple of half hours and then I did an hour. And my dad got diagnosed with cancer and I did a bit about me bringing him to chemo. And I wrote the bit and I wanted to see and I was I was shooting Rescue Me at the time. So I was I was playing with what I could do. You know, what can I do on stage? So I want I emotionally take the audience way down to a point where it's like I sit in the silence for a minute and then the punch line is like a right cross that brings him back. And then you go to a jib shot and as the applause break and then you go into commercial because I built the thing because we had commercials at that time. So that's cool. It was a different format. So I figured out I got from the network. Where's the commercial breaks? How much time? Because what I didn't want is I didn't want people cutting my act in the middle of a joke and coming back after an abyssal commercial to finish the joke. So that's so cool that they gave you that that heads up so you could build the show around the commercials. And I gave it to me. I asked them and demanded it. That's what I did. That's awesome. This is what I need because I got I got to I have to idiot proof the best I can. I work too hard to have someone else cut it. So I gave them the way I wanted the special to be with the times that I knew they had to work in. And then they always want extra time so they could they could craft it. So what I did extra time, I just I just cursed up a storm and sang a Beatles song because I knew they were never going to get the rights to it. And I wouldn't put the filthy stuff on this. And they had to use what I wanted to give them. So that's great. Yeah. So but in that bit and again, that's the terrain. Know the terrain you're cutting in. There was a bit I wrote about my dad going through chemo. And it's it it did what I needed it to do in that moment. It ended that section in an applause break. And I got to experiment a little bit like what I can do as an actor. And so OK, it's good. And then after it aired, I got a call. My manager called me and said, how much do we want? Well, someone wants to license that bit as a teaching tool at Yale Drama and NYU. Professor Eddie Freefeld. By the way, big comedy fan. We become friends and he wrote. I think he did the Mel Brooks book. And I know he did the James Burroughs book, the Sid Caesar book. Oh, my God. Mel Brooks, I might have misspoke. But I know he did Burroughs and Sid. And he teaches at NYU and Yale. And they want to they want to license that bit because because the emotional changes you do in 30 seconds. I said, really? How much you want to go free, free, take it, go show it to the children in the village. Maybe someone can benefit from this because, you know, we write these things. We me and you like we're sitting there writing an opera. But when you when you make any kind of creative thing, there's a point where you have to let it go and it takes on its own life. Let it live in all its many bearings is a Steven. I think it's a Xenophon prayer for it. It was in the book of the War of Art from Steven Pressfield. When you let go of something, you lose control of it. It becomes what it wants to be. And I think it's a great comment. When I wrote that thing, I'm like, all right, I did it for this reason. But now it's serving that purpose. And that's when I knew something was bigger to me coming through. That's that's huge. And also when you were talking about it's like birthing a child. You know, it's your thing. You crafted, you made it. And now you're just let it go to the world. But the hardest part is being judged on that, which I'm assuming is what stops so many people like they self sabotage because they're too scared of what people will think of what they do. And then you've got a college calling you telling you, we would like to have you. And when you have a kid, you have no control over what kind of person it's going to be. And, and, and, you know, after all I've done for that little bastard, you can't take care of me when I'm old. Can you send him over here? Yeah, please. I need somebody to wash me. Oh, my God. It's so refreshing to talk to you. And I know that you're you're a busy guy and you're a guy who's in demand. And and it's it's really just so refreshing to hear from someone who's been doing it for for as long as you have. You've worked on both comedy and drama as we've talked about. Is there a moment that you are using your comedic skills to sort of enhance a dramatic performance or vice versa? You know, going back into did comedy ever play a role in any of the work that you've done elsewhere? Oh, sure. Oh, and how did you not? How do you stay focused? Because, you know, you get people cracking up and then. Everything takes a turn. Well, it also depends on the environment you're working with. Like Rescue Me and there was another show called The Job with a cop show with Leary, kind of the same creative team. And that's the environment you work in. So it's, you know, know the terrain, know your situational awareness. You're allowed to do that. Then when you go on another set, you know, and they're not used to that, you know. Well, you know, you you see the yelling and rescue me was loud. It was loud. You know, it was loud and raucous. It was very much a guy show and Dennis's trailer was the barracks. We all hung out there. ESPN's on. We're all yelling and smoking. The smoke coming out of the trailer. It looked like someone elected a pope. Just coming out of the trailer. Are they going to come off the shoot? Yeah, it wasn't a healthy set by any means. And then I started doing nurse Jackie and that was more of a feminine energy. Yeah. And it was more of a healthy set. We had a juicer and we had a trace on rescue me of a juicer. They wanted to be healthy. Yeah. And then I used to not used to some guy just messing around like me. And so that was a very happy house, too, because I got to bring that energy was accepted. And sometimes, you know, when you're the guest star, you're there for two days, you're company. You know, when they asked me to join the cast with the Jackie, then you become family. It's a big deal. But you got you also have to know what in answer your question when comedy clicks. And it's also when you work with something I just did. Elspeth on CBS. And I was I played a restaurant owner and Alissa Milano played my wife. And we had done a movie together, a movie called Little Italy, where we were husband and wife. So we were together for six weeks. We were in problem. We were having fun. So we had a shorthand between us. And when you ask about comedy coming into the drama, there was a beat we got into an argument. And the beat, it didn't end clean. You know, it just ended. It didn't end clean. It needed something. So I guess because of our report, our chemistry, Milano, I said something. She came right back and they used it in the show. Did she know that you were doing that or was it you were just evoking? We I improv that once in rehearsal, she laughed and then she goes, oh, I can do this. And then we shaped it. But we improv that in commercial in rehearsal and she came right back and then we just shaped it. So in answer to your question, she didn't know. But once she once she saw it. Oh, great. Let's do that. And you know, and we did it. And then then it's out of your hands. Letting and it's out of your hand. Then it's the editors and directors choice. Yes, yes. And that that's a whole. Anytime you're a guest, the script supervisor is coming over. I have to deliver the words that are on the page. Can you just do that? Can you stop ad-libbing? Yeah, we don't know. We have that now. Put the other one in. This is my job. No, but it's it's really cool that you've been able to carve out this career for yourself as well as as the comedy, too, because you've been on so many really cool and influential shows during my life. I'm very grateful. You think there'd be more money. I'm telling you right now. It's shocking, isn't it? What people think when you say that you do these things in television and they're like, oh, you must be rich. Yeah, yeah, OK. Yeah, right. Your podcast, by the way, I mentioned out front. The open is Alexa. I don't know if I should be a little annoyed at this because I do that for my bread and butter imaging voices for television and radio. Well, here's what it is. It's cheap. I. It's not cheap. I made it up. That's just the voice that was on the computer and I typed it. Oh, you made it sound just like Alexa. That was awesome. I made it up. It's not Alexa. I made it up. That's so cool. Well, the podcast is you have guests from all kinds of backgrounds, which I think is really cool. What insights have you gained about the power of humor through the conversations that you have been having on your podcast? I will. It's again, it's I will. I was talking before he passed away. Louis Anderson was a friend. So sweet. And, you know, we met years ago and, you know, you say hi and then life takes you. And before Louis, I didn't realize how ill Louis was. He called my mother because my mother watches him on the in the afternoon. He was on a game show. So he actually called my mother for Mother's Day. And he told me like we had a conversation off there because I could see that this wasn't what I thought it was. You hadn't seen him up until that point. I haven't seen. I knew he was ill and we, you know, happy Thanksgiving, Merry Christmas kind of thing. And then when he said he did it, we kept putting it off. And I said, OK, Lou, whenever you can. So we did it. And I'm lucky I was so grateful I had that moment with him because he said. He he didn't acknowledge what was happening. I think it went on set. He goes, I can't believe that we get to make other people so happy. And I can't believe it took me this long to see it. You know, so he's he I think it registered how much he could make other people happy. Sorry. My mother. You talking about Lou? You just you talked about her and poof, there she is. Oh, that happens all the time. My mother, my mother, please, that's a whole other story. So I think in answer to you, in answer to your question, I think it's a gift for you, for you when you could recognize it's a gift for other people first. And then you try to survive on that, I think, or that's your job. So you try to get. And as you get older, there's the there's the expansion and contraction to a life cycle you go out and you get. And then when you get older, you got to get back, you know, and then you get back. You're like, there's a moment like, what about me? And you realize, Puts, it's been here all along. Puts, this is the gift. I don't know why God speaks Yiddish to me, but he does. Puts. I love it. I love it. I'll take it. So I think. And again, I don't know, but I think that that's if you can see that. Or you can you can have a felt sense of that. That's that that's how the gift of humor affects everybody. Well, that's a beautiful story. And I'm glad that you got to have him on that one last time. And and now Tom, now's the Italian disclaimer, Lynn. But what the fuck do I know? Adam, thank you so much for coming on the podcast and and for your gift and power of laughter. Oh, good to see you. Thanks for having me. Yeah, you too. And and what where can we find you online? First of all, at Adam for our own or socials, F.E.R. R.A.R.A. Oh, so at Adam for our I will make you laugh. Check out my podcast. It's free. It will make you laugh. It's called the Adam for our podcast. Thirty minutes. You'll never get back. Listen to Lynn. Watch Lynn. She's pretty. She's smart. It's a good way to spend some time. Oh, my goodness. Well, thank you so much on that note. I'll see you soon and take good care of yourself. And I'll see you on TV. I hope so. Be well. Good.
