Kenny Rooster: Comedy, Drag, and the Art of Collaboration

Rob Lee: Welcome to the truth in this art. I am your host, Rob Lee. And today I am delighted to be in conversation with the dynamic Kenny Rooster. Welcome to the podcast.
Kenny Rooster: Well, thank you for having me. I am delighted to be here.

Rob Lee: Thank you for making the time and coming on. We were able to chat a little bit earlier. Like, I try to do this thing where I do sort of the the trial, like the the podcast, because a lot of times it's through Zoom or remote. That's the trial package of getting to know Rob Lee, right? The real package is having a drink with Rob Lee. in real life sort of thing. So I'm sure I'm sure we'll make that happen. But before we get into sort of the main crux of the conversation, I want to open it up. Give us give us the the back story. You know, who are you? What are you what are we doing and what are we going to talk about here? Like, you know, I see, you know, this background. I see comedy. I see drag. I see performative a performer. I see artist. But, you know, give us your sort of like introductory story and like where does creativity begin for you?

Kenny Rooster: Oh, my God. OK, well, what a tale it is. I suppose that my humble origins could really be cited back to in burlesque specifically. My parents were both lawyers in D.C. and they would have these fancy parties with all of their colleagues. And my mom is obsessed with French people. She's not French, even a little bit at all. No relation. But she is obsessed with French people and French culture. And so that meant that they made intriguing decisions while raising me, like they would let me run around naked in the front yard. And all of their like, you know, American neighbors would be like, what the fuck is happening? and all of their European neighbors were like, who are you? Let's have wine. There's more to this. But so they would have these fancy parties and I would put on whatever my Halloween costume had been, which was, you know, invariably some sort of princess. And then at the stroke of 8.30 p.m., I would, in the middle of the party, rip off all my clothes and then just run around in circles until someone was like, please put that naked child away. We are all unbelievably uncomfortable. But really, theater was my first love. Theater was my first love. It started when I was five years old. I have always loved performing and storytelling. And my parents were really supportive and let me go to theater camp and whatnot. We were very lucky that they were able to afford to send me there. And then my middle school, you know, I'm going way too far back. This origin story is going to be the entire two and a half hour Marvel film. There's. I'm going to get to the action scene. OK, I'm fast forwarding. So I was really obsessed with theater. I really loved it. And I was like the best, you know, person in my horrific middle school play. The bar was on the floor, but I was still like, this is the closest to an Oscar I'll ever get. My arch nemesis mom coming up to me and being like, you were great. were phenomenal. You have a real future. Tree number four. I did have a speaking part, not to brag, but I then went to high school, as one does, and I was doing theater for a hot second in high school, but I ended up As it turned out, I had been playing sports for a year, which I should already never do. I'm not a talented athlete. I just have broad shoulders and it really throws people off. Every time I went to the pediatrician, they were like, you should row, crew. And I was like, you should not do that. I am a poor swimmer. But I ended up playing sports on a broken ankle for a year and then rolling both of my ankles a multitude of times over that year. And I came from a very like walk it off family. My dad grew up on a hog farm. And so we went to the emergency room. I should have known that it was, you know, not going to be the most trustworthy experience because the ER person smashed my gurney into the wall at least thrice. And he was like, you're fine. I wasn't. So I ended up having to get ankle surgery, which then on both of my ankles. And then I ended up getting an antibiotic resistant infection. And yeah, during a snowstorm, it was that in and of itself is an entire story. But it really changed the course of my life and also I have since like developed quite a lot of chronic health issues. And that was really transformative because of the way that it caused me to relate to my own ability or lack thereof, because I spent almost my entire freshman year of high school either in a walking cast in a wheelchair or on crutches. And I also went to a horrific Catholic high school that did not have any elevators, so I had to hop up the stairs. And you got detention if you were late for class. So the other kids would bulldoze me on the way up the stairs. And then I would end up dropping a crutch. It goes to the bottom of the stairs. I crawl up to the top of the stairwell and just like hide out in the corner for a little while until finally some good Samaritan is like, I'll bring you your crutch if you tell my teacher so that I don't get detention. Like, that's fine. I'll vouch for you, friend. So. Oh, my God. See, again, I'm too long winded. I have ADD and it's all over the place. You can't ask me my origin story. It's getting out of hand. But I ended up I loved theater, but the way that I was able to engage in theater at that point was hard. And I think, you know, there's there's also something I have always had authority issues. It's always been a thing about me. And yeah, right. And high school drama teachers love authority their own specifically. So that was also a conflict of interest. I ended up having to leave After my sophomore year, I had to leave the school because I ended up getting chronically ill. I like had a lot of health issues. I missed more than half the days of school. And they were like, we're not going to invite you back. Because one thing about Jesus is that he canonically hated the sick and the children. So you can go suck a fat one on that. So I ended up going to Oh, my God, I grew up in DC. It was it was Woodrow Wilson Senior High School when I went there, but that is not what it is anymore. And I fully support that, but evidently not enough to remember the new name. There is. But I ended up finding slam poetry, of all things. And that really changed my life and was this perfect fusion. I had also done creative writing before that. And it was this perfect fusion of writing and performance and art as competition, which really just psychologically destroys a person. But I was I was, you know, psychological turmoil anyway, so that was fine. But slam poetry was really incredible. And then I ended up getting involved with some like student run theater organizations. And I did very well there because because I was talented if chaotic and charming so it was really slam poetry I think was actually almost the first sort of like whisper of comedy ironically that I had in my life because along with all of the poems I wrote about you know the worst thing my mother ever said to me thank you is I wrote funny poems and poems that weren't quite as sad. And that ended up being an advantage to us in a lot of the slam competitions because it gave us a tonal shift. And isn't it absolutely insane that they were like, young people, please express yourself through art, please heal in this. And also, we will be giving you a numerical score and there will be winners and losers. So if your trauma isn't moving enough, you're out. But yeah, then I ended up going to college. I went to Sarah Lawrence College, a place as chaotic and anti-authoritarian as I am. And I ended up having a horrible breakup at the beginning of my sophomore year. And I signed up for anything and everything that there was to sign up for, including the improv team. That's right. I'm so cool. It's all meaningful. And then Sarah Lawrence has a comedy sort of track. There are multiple comedy classes that you can take over your your stay there or whatever your education. And it the the sort of culminating one is called Comedy Workshop. And you spend the last half studying stand up and you write stand up. It's like a group of 12 kids and young adults, whatever. And you all write stand up and you critique one another. And then you have to do a big showcase in New York City. And then, yeah, at this very exclusive vegan restaurant. Let me tell you, all the most popular talent scouts were there.

Rob Lee: The cauliflower tower.

Kenny Rooster: Yeah, exactly, exactly. And then for the student body. And that was a really incredible experience that allowed me to come at stand up for the first time with a, wow, blacked out for a second, just perfect. All right. Yes, it allowed me to come at stand up with a really incredible edge because there is a formula to these things. I think a lot of people get into trouble because much like I would have done had I not taken the class, they watch a standup special and they're like, oh, that's so funny. I also tell hilarious stories to my friends and they love them. So I also should get up and do that on stage. And those are two super duper different skills. And there is like a formula to writing jokes and to assembling sets. And it was really incredible to be able to learn in that environment and especially learn in a group of other people who all under the tutelage of one person collectively got better and made each other better. So that was that was really incredible and sort of how I how I ended up in stand up. And I fell in love with stand up because with stand up, you don't need anyone else to tell you you're good enough or you deserve to be on the stage. with theater, you have to audition and like, you know, you have to somebody has to think that you're sexy enough or you look wise enough or they, you know, have to whatever, believe in what you're capable of or not have enough friends in the area to have precasted already. Whereas with stand up, it is trial by fire, bitch. You get up there and the people either like you or they do not. And you have to just confront that in your own right. And nobody can stop you. You know, keep getting up on those open mics.

Rob Lee: I mean, here's one of the things like I definitely and this is sort of part of this arc to give you a chance to get some some liquids in your system. Part of this arc where, you know, I was thinking about in this season of what do I like and kind of really focusing and using that as part of the curatorial process. Who do I want to talk to? I want to talk to people who are creative, people who have those personalities, people who are funny in this particular part, like, You know, comedy. I dig that. And going to one of the things you touched on, there's a formula to it. There's a process to it. I know how to run bits. I know how I did a podcast while I was improving on like different or riffing. I'll call it riffing because that's what it was, riffing on different pieces of news. And just like I'm not preparing anything other than we have these stories, me and my co-host, and we're playing off of each other. But with that, it's like, hey, you should do improv. I was like, absolutely not. I don't have I don't have that. And I joke in some ways, because a lot of the folks that I like are comedians. A lot of it. And I see the artistry that goes into it. I see the sort of respect that goes into it and all of that. And I joke on occasion that I just want to be a 90s hat comedian. I just want to put a fucking fedora on and, you know, a big suit, you know, just Patrisse O'Neal on stage style and just like giving it up. But I don't know. I don't know if that works for me.

Kenny Rooster: There is only one way to find out. Trial by fire, baby. I'm running an open mic at seven. It will start at 730.

Rob Lee: So I got to ask this, and we're definitely going to going to go back because I think we're going to be able to pepper stuff back in with some of these sort of subsequent questions. So, you know, having this diverse background, as you touched on from, you know, I feel like it's a autobiography in there somewhere, like from ankle injuries to stand up. I don't know. I don't know. We'll workshop it. Yeah. Is there a venue? Is there a particular scene? You touched on the one in New York a bit. Is there is there a particular scene or venue or experience that you had getting on stage that was very, like, transformative, whether it was, you know, the trial by fire, actually, you got burnt or it was just like, this has gone really well.

Kenny Rooster: Oh, absolutely. OK, so I I now run a lot of shows and I also am now doing drag, I'm doing burlesque, I do theater but separately and more I like think of myself as doing theater. I'm not actively participating in that quite as much because I don't have the time but Before I was doing all of that, I was obviously like an open mic comedian. And I have always thought that I was hilarious, because if you don't think that you're hilarious, even against, you know, certain degrees of your better judgment, then you will fail at this business. Because there will always, no matter how good you are, be at least a hundred thousand people who think you're not shit. And so I like thought that I was very talented. I ended up getting this gig super randomly because this one pal like got it for me. It was at a somebody's house, it was like very bizarre. But a touring comedian was there and he saw my set and he was like, hey, I am on the admissions board for the Seattle International Comedy Competition and you should apply. And I was like, absolutely, I should and I'm gonna win it and I'm gonna crush it and I'm gonna kill it. Okay, so I get everything ready. I'm so excited and I really have it in my heart and soul that I am going to blow the competition out of the water. I show up. And we get there the first day. I'm meeting all of the other comedians. I was like, oh, my God. Oh, my God. This is so cool. I'm like doing comedy in a new place. I'm basically famous and probably I will have be on Netflix after this. And the way that they do the competition is every night. It's it's a series of weeks and a series of rounds. So round one is Thursday to Sunday and you do one show a night in a different part of Seattle and the surrounding areas and you get ranked numerically by a panel of judges. Now also keep in mind that I am non-binary but that practically will not ever matter in my life quite as much as I'd like it to because people see me the way that they see me and that's as a lady. And so, and they're not 100% wrong, which makes it more complicated. Are you confused? Because so am I. But the point is, right, that a woman, if we're going on the binary system, has won, I think, two times in like 52 years. I don't have the stats on gay people, but I'm guessing it's no. And so, right, I don't let this deter me. I don't think twice of it because I am essentially Jesus. Come back to inspire the comedy world to get on my level. And so this first night, I get second to last. I was second to last. I have never felt More. Oh, my God. Right. So I was like, OK, that was super weird. I hated that. I hated every second of that. But it was a fluke and it was a fluke. And I just went too late in the lineup and the person before me killed. And like, it wasn't even my fault. Like, you know, it's totally fine. And honestly, Seattle's homophobic. And it was actually crushing because Seattle, that first night was the most gay people we ever had in the audience. But the next night, right, we had to do a clean show. And I don't know if you're getting this vibe from everything about me, but that is not my forte. So I decide, oh, they also have a thing where if the audience applauds for a full five seconds after you get off stage, you get an extra point. And almost everyone always gets it. Except at this clean show, not only do I mostly bomb, I did not get the clap. I truly, and I wasn't even bad. That was the thing. I wasn't on par. I was competing with people who have been in this game for a decade, for years and years, who, like, are so much more seasoned than I am. I was, I am retrospectively very honored to have been allowed on stage with them, right? But it's not that I was, like, terrible. I just really wasn't these people's cup of tea. And I'm sure also had I, you know, been watching myself as the comedian that I am now, I would have been like, who let that bitch on? But, right, I get off stage and I am about to have a full mental breakdown. One of the people running the festival felt so bad because she had watched as like I was, it was all the gay people didn't get the five claps except one of the ones that was older because the crowd was old and they were like, solidarity, we see you. You're gay, but you're our kind of gay. None of this newfangled non-binary shit. And so, right, I end up she like tried to be like oh my god I'm so sorry like you really like it like this is just like oh my god I like don't even and I was like it's fine but you were great very professional of me really kept it in and then I storm out of the community center thank you that we're performing in and I silently sob as I walk in the night around all of these pine trees at some weird golf course and I'm singing I'll Make a Man Out of You from Mulan. Why? I don't know. But it was the only thing between me and the brink, the only thing keeping me from diving into the golf pond or whatever those bodies of water are that they always have there. And I was on the phone. I ended up calling one of my partners and I was like, honestly, I think I'm going to quit comedy. I was like, this is the most horrific experience I have ever had. I have never felt worse about myself. I have never felt less talented. I like, I don't know. what is happening, but I think that this is genuine. I'm not even religious, but this is God. God came for me. I am being smote right now, but it's me. I'm doing it. I'm just bad. The smoting happened with the talent he didn't give me. And my partner was like, this is super not how I thought this experience was going to go for you, but it's okay. You're fine. Take some deep breaths. Do whatever. Now I did and I don't even remember exactly, no I do remember what it was, the next day we had to travel. We traveled to get to our next location down this mountainous road and I was in a car with three other people. One of them was the head of the festival who had invited me there and He is whipping it at like 80 miles an hour. We are on the mountain. I have the guy next to me who's like, yeah, my friend just died. I watched him die in a horrific car crash on a night much like this when we were also late to go to a show. lost it like and then my other friend didn't die but like had such severe brain damage that he just like started like saying racial slurs all the time like he wasn't even himself anymore. I am listening to this like oh my god but it has already been made clear like there there was a lot of like casual misogyny happening that was like oh my god I just like don't understand why like women can't give critique and like, oh my God, like all of this stuff. So I was like, well, I can't be like a critiquing woman that's like, please don't murder us on this mountainside by going 85 miles per hour. So, right, I am just in the back, like every part of me was clenched. The guy next to me who just experienced a car crash, you know, like a year or two years ago was also just like, oh my God, both of us for this entire like two hour drive are just, I was like, I don't even do witchcraft, but I was like, I will Google it. I'm Googling on my phone protections that I was like, I just need. So I was praying. I was like, Jesus, we can be friends again. Please come back into my heart. Like, oh, my God, we make it. We get out of this car. And I went on stage that night and I had never cared less. my entire life about how I did because I was so happy that I had survived the drive and I killed. I still ranked bottom mid, but for my track record in that competition, I like knowing that I just was not the judge's cup of tea. I killed and everybody came up to me afterwards and was like, oh my God, like you did really good. And I was like, thank God, you know, I'm funny now. This is. been devastating and then for the last and I was like a phoenix reborn from the ashes between those two experiences I was just like oh my god it doesn't matter like nothing matters and all you can do is like do your best especially when it comes to comedy like any sort of comedy competition is you know wicked fun but is so stupid because comedy is so subjective and I could watch somebody do a set that I think is so deeply horrific and then I see them getting booked on a show the next week. It's like, you know, there's no rhyme or, I mean there is some rhyme and reason, but you know, not at certain levels and the finals, the finals of that first round, would you believe didn't make it through to the second round. But I watched all of these comedians who had been killing it this entire time, who were so talented, who were like making me a better comedian just by letting me hear their same five minute set over and over and over again. have psychological meltdowns about this competition and about how horrible it is to have a number ranking attached to what you do, especially when it is so personal and it is so intrinsic to who you are. And when you are sharing yourself with people and then everyone's like, oh, 5.7. You're like, oh my God.

Rob Lee: That's one of the things I would throw out there that, you know, I've I've taught like students in this whole podcasting thing. Right. And I've been doing it for a long time. And, you know, you know, I've had students that are like, this is an elective. They are going in a whole different area, but they're art students. And I wanted to do the wild critique and do the ranking and be kind of like the dick professor, the dick teacher. Like, yeah. So I see a lot of y'all under this under this five now. It's a lot of low numbers here. And I was just like, I would kill them creatively. And I was just like, no, I can't do that. So definitely knowing the sort of wracking nature that happens or, you know, even doing this, like, you know, when I go in there and I look at the analytics, I'm like, oh, that one didn't hit. Yes, I guess I'm over. Yes, it's done, guys. And, you know, having those sort of dialogues and there's there's certain things where When I'm doing this, I look at this podcast, right, as collaborative in nature. It's a collaborative art project. I'm, you know, I think I'm only as good as, well, the interview is only as good. I'm great. The interview is only as good as the guests and sort of that dynamic that's there. So if, you know, I'm unprepared, if the guest is disinterested or whatever, that's what we're going to get. It's just like you can't, you know, I can't pass the rock over, you know, with no little pass of the other person doesn't have hands. And I don't care about this. I'm going to just, you know, hands in their pockets or have you're not interested. So I think, you know, collaboration is a is a big piece and being able to do that, that sort of check in and being able to have that. And you touched on it a bit that that experience of kind of level setting a bit like You know, I find sometimes I hate getting on stage, right, with whether it's being an emcee, whether it's doing anything. I like to just do this where I have the glass shield of protection that keeps all of you lessers, the guests, away from me. But it is that dynamic when you're out there in public, you're like, what if somebody hates me? I'm really tall. I'm a big dude. It's like I'm six four. It's kind of like just people just roll up on me. Hey, man, what? What do you want? And, you know, but there are times where when if I have like something crappy that happens, like maybe personal or it's just like I got a bunch of weird energy going into it. all those nerves of me bombing or me doing bad or me forgetting my dialogue before getting on stage, all of it goes away. And then you'll have people say, you did really good there. It's like, you're great. I was like, I don't remember any of it because I hate being on the stage. So I want to move into a little bit into some of the work that's happening here in Baltimore, what have you. I see collaboration, Dicolas Cage. Let's talk about it. Let's talk about it. You know, I like names. You know, I like bits. I like names. So I see collaboration with Dicolas Cage. And you've been a part of the Baltimore scene. I've seen you pop up. You referred to me, by the way, as we talked about a little bit before starting. And, you know, talk about sort of your background and collaborating, how that dynamic works and putting on these shows and bringing these sort of unique and I would imagine there's a DIY component to this area, because Baltimore does things a certain way. And when I've seen like the social media presence and sort of the referral nature of how we got connected, I'm like, you just fit into what we're doing here. So tell us about that experience with collaboration at the forefront.

Kenny Rooster: Absolutely. OK, well, I do. I do have some news. I can't tell if you know or not. I am also Dicholas Cage. Go on. Go on. This is my favorite thing. That's like part of the magic of the shows is that I transform from Dicholas to Kenny during the show. But yes. No, I mean, he is horrific to collaborate with, let me tell you.

Rob Lee: It's like I saw it and I was like, I'm going to stick with this the way that is written. No, I love it. I was like, is it a twin? What are we doing here?

Kenny Rooster: That's the dream, that you are not the only person that's confused. But that's my favorite thing. I even had somebody, I booked someone on the show that was like, I kept seeing Penny Rooster and Nicolas Cage and I was so confused. And then I did the show and I was like, Oh, it's just you. But would you believe in spite of the fact that it is not well represented by my collaboration with Dicolas Cage that we are very different? I do. I love I love collaboration. I and I there is such an intense DIY component to everything that I do all the time, which I think I was really actually set up for. I didn't because I went to Sarah Lawrence and then I studied at the Eugene O'Neill Theater Institute. in Waterbury, Connecticut or Waterford. Honestly, not sure. Please edit that out so I look like I know what I'm talking about. Both of those programs really encouraged you to be able to do what you want to do without resources. I think that a lot of like the really impressive well-funded programs like NYU, they provide students with incredible resources, the likes of which I could never dream of now or then. But I think that that means that if you are then not provided with those resources out in the world, you don't know what to do. Whereas, oh, girl, give me a tarp and a microphone and we got a show, bitch. I I yeah, I have one of my partners helps me run sound for my shows. But other than that, I do it myself. I do the marketing. I do the promo. I hit the streets to flyer. I talk to people on the ground. I talk to businesses to try to get them on board. I like meet folks. I book all of the people. I do. All of the things that go into making the show, but I think something that I really love is what I have tried to do is use that background in theater. and bring that into the shows that I am making now, even though they are not, technically speaking, theater productions. They're not theater production speaking any type of language or way. But I think that I use that theater background and that theater training in those shows all the time, not just in the scrappiness of the production, but also in the layout, in the form. I am incredibly in like the performance of transforming from one person to another in the fact that I think that stand up comedy is incredible and I love it so much, but it is really hit or miss in terms of the audience can get a really talented comedian and either fuck with their vibe or not fuck with their vibe. And there's really not anything that you can do about that. And you won't even know it's happening until it's too late. Right. And I think that's that. Adding in drag and burlesque. My drag and burlesque shows are my babies. I love those. But adding in drag and burlesque. resets the energy in a really incredible way that allows even if, you know, somebody wasn't, you know, loving a certain stand-up comedy set, they will get back involved when the drag performance happens or when the burlesque performance happens, which means that then when the next stand-up performer comes on, the energy has been reset. They are ready and willing to receive that person with more generosity than they otherwise would have. I really think and feel and believe. It also allows me to look at my lineups and say, OK, I want like not just diversity in terms of like visual appearance, but I want a diversity of styles and stories. And where do I put these people so that they can really, really shine. I won't say that I am always knocking it out of the park, but I will say that I am quite proud of what I do do. And I think that it's also been just really incredible and amazing the way that I have been able to begin because I've only been running shows for less than a year. And I am really hopeful that I can continue to create community as well as art and community in art. And that goes for the performers themselves, who I feel so lucky and so blessed that I've had multiple performers come up to me and be like, hey, I love being on your shows. your shows are my favorite shows to do and like I will always do them. And that is like all I could ever ask for. And I've had audience members that are like every show of yours that I have gone to, I have loved. Or I had somebody say, I'm new to the area and I didn't know any queer folks. And I came to this show and I like met friends. And that's that's incredible. And that is what I dream of. And also maybe one day having any money. That would also be cool.

Rob Lee: I get similar responses to folks when they do this podcast. They're like, this is the first time someone's reached out to me. This is the first time this, this is this. And man, this feels so comfortable. It feels like it's just a conversation. It doesn't feel too like stilted and I got to try to impress you or whatever the thing is. I think, and I want to get your thoughts on this, I think it's a sense of being an outsider, being a, I don't know what I'm doing, so I don't have a rule book. I know what I'm looking for, but I don't have, well, you have to have this many followers before you come on to this podcast of the illustriousness of the professor. It's just like, look, do I think your work is interesting? You know, someone asked me, like, how do you curate it? How do you pick your guests? I was like, if they pop over my radar, they must be doing something right because I don't spend time in it. And not to sound pretentious or dick about it, but it's essential. It's as simple as that. And it's essential for me to see, like, oh, OK, I like your work. You can't fake enthusiasm. You know what I mean? So if there's someone that kind of like just gets my attention, And I'm like, they are interested in chatting and they can have a conversation. Let's let's do it. And outside of that, there are no real rules in doing this other than, you know, maybe have a pulse, maybe be alive, I guess. But aside from that, it's like, you know. So so what is that for you when it when it comes to sort of the dynamic? Because, you know, what I what I heard there and how you're describing is not only burlesque, it's not only drag, it's not only comedy, it's not only theater. It is an overarching experience that brings all of those elements together. And it takes in the sort of dynamic of the LGBTQWX, all of that whole community. But bringing in like sort of these different folks of different backgrounds and really the level setting, I like the way you described it of like, you know, you might have a comedian is like, I mean, we're not really feeling you, but let's bring them back in. We got sort of the audience, bring them back in. We have the burlesque component. Oh, that's going to get your attention. Oh, we have the drag. That's going to get your attention. So when that next comedian comes on or that next part of the show happens, the crowd isn't dead. The crowd isn't disinterested.

Kenny Rooster: Yeah and even you know even if the crowd like loves the stand-up I think that stand-up does just like it can get monotonous and it can like laughter is obviously energy but there's you it is very rare that a comedian is going to have everybody laughing the entire time and I think that so even if it's it's not yeah that was not your question even a little bit at all that was just me

Rob Lee: No, no, no, no, no. But but I think that's that's the piece of it of like, you know, being able to have sort of your your own roles and taking that, you know, taking into account your experience and being in these various places and having these different experiences, you know, being a person who's interested in each one of these areas and being able to really look at and it's like, let's tweak this. This person fits because of this reason. This setup fits because of this reason.

Kenny Rooster: I think that I think you're absolutely right about the way that a sense of being an outsider in my own right has really lent itself towards me trying to make community spaces or really being focused on the way that other people experience my shows or experience the art that I create, both as audience members and as performers. I think it's really little things that go a long way. I mean just genuinely as a person, I love people and I love art and I get so excited by it and I love to laugh and I love to scream and I love to be odd and I love to look at titties and so I freak out if you can do the splits. Like it is just So I watch the whole show except when I'm changing and my biggest dream, my like biggest high-tech dream is A, that I would have people to help me change faster and B, that I would have somebody to do my makeup because, you know, I'm clearly like five YouTube videos in. There is so much and that and MUA does not make But really the biggest, you know, high budget thing is I would love to have a TV backstage so that I can watch people's performances. Like my least favorite part of the show is not being able to watch the entire show. But when I am in the audience, I am laughing. I am yelling. I am screaming. I am throwing ones. I am trying to make and then backstage as well. I make sure to tell everybody like you did a great job and I'm so happy you're here. And like just that very simple thing is something that I have experienced very rarely in the performance arts that I do because I think everybody is, I think that that's not really how people often engage with things. I think that like I think that I also have, like, my own unique energy and I want to, you know, like, not everybody is quite as like, hey, how are you doing? What's going on? Talk to me.

Rob Lee: I get on stage and it is so curmudgeonly. And they're like, oh, hey, there's Rob. I'm like, not right now. It's just the thing. I could give you this and we're going to wrap up in a moment because I got some rapid fire questions I want to hit you with. But there is this thing where I remember doing a creative mornings thing a few, you know, probably like two years ago at this point. And I'm on the stage and we're actually leading up to it. It's like a prepared talk and all of this different stuff. And I'm like, I am not this. I was like, this is going to be this is all me. This is just me. No collaboration. Oh, oh, this is a solo. So, you know, I try to do some comedy to kind of diffuse my own thing, you know, because, you know, you're up there on stage, you're sitting there, you got a bunch of people looking at you and it's like, oh, right. But when everything wraps and I'm upstairs on the stage and I'm feeling questions and all of that. And I don't know what to do next. Right. Once we wrap and they give you flowers, like, you know, if you were, you know, performing like on stage or something like in a play or something on those lines. And there's this sort of different vibe in this different dynamic. And, you know, one of the things that I want to do in doing this is I think in part because I've been teaching you know, students being able to have a podcast festival. And really, I think for me to tell people sort of the truth about a lot of these things of it's not a lot of money in it. So when people are doing this, you're trying to figure it out. It's very DIY. And lending on sort of these relationships of having these connections is like, I want to put on the podcast festival that feels like the right way of doing it, like Hey, man, this is great, man. Do it this way. Your mic was already set. You didn't have to do all the promotion yourself. And, you know, you can show up and just be the talent and just do this one part of this overarching process. And I think that's what I was hearing from your vantage point.

Kenny Rooster: Yes, I certainly try. I certainly try. I just. I want my artists to feel supported. I mean, I won't say that everything goes smoothly all the time. I certainly won't say that. But I will say that I always want everybody I work with to know how much I appreciate them and how talented I think that they are. how much I appreciate like and even even at open mics and stuff like folks who come out who didn't have to who could have like done other things with their time but who came out and especially if I know that they came out to because I was there. Like, you know, I just those those things really mean a lot or like watching. I run a drag stand up burlesque open mic that is mostly drag and burlesque. And. That pays me absolute dog shit, but it is one of my favorite things that I do because I get to watch a lot of folks who don't have a stage get to have a stage or who don't have a community get to have a community or who want to try something in like a safe and affirming space. And I try to go up to every single person and be like, I am happy that you are here and you did an amazing job. And like this show would not have been what it was without you. And I think that like honestly in a – because it is like I think art is so personal. And I think that sometimes people get jaded or they get so busy or like in capitalism where everything is about money and nobody is making enough money and nobody has money and everybody wants money and whatever, whatever, whatever. I think that people forget how much that means. If you just like look at somebody and you're like, I see you and I see what you do. And I appreciate that. And I like, appreciate you for doing that. And I want you to feel good. Like people really respond very well to that. Would you believe?

Rob Lee: That's a beautiful sentiment. And I think that's a good spot for us to kind of wrap on the real questions. And thank you for that. Because, you know, I relate. We're here. So, all right. I got to hit you with these rapid fire ones. I've been editing as we've gone along. Love it. You know. All right. So as I tell everyone, do not overthink these. It's like, look, I said what I said. This is what it is at this moment. It could change, but that's what it is. So here's the first one. And in thinking in terms of your most recent time on stage, what is one word that would describe the feeling before you got on stage? Walk. That's a great one. Which leads to my next question. What is your favorite curse word? That was the question.

Kenny Rooster: Definitely talk.

Rob Lee: In a different podcast, I would just turn that into a running bit. This is what I like to ask creative folks all the time. What is your favorite color?

Kenny Rooster: I could never pick one, but if I had to pick one right now, I would say rainbow. No, I'll go. I'll go blue.

Rob Lee: And lastly, so I had this conversation a few months back with this musician. He's a jazz musician. He was talking about like trying out songs or what have you. And I was like, that gives me comedian vibes where they're working on their bits or what have you and just going through the circuit. He's like, I've never thought about it that way. And I was like, you know, there's a lot of overlap, you know, between, you know, just the way the lifestyle, I suppose. And he's like, that's a really interesting take. He's like, I'm going to apply things that way. So one of the things I think that's like always there for folks that are in these sort of intimate settings that have these late night vibes is late night eats. So for you, what is your favorite thing to eat? Like it's a late night. Got to eat something that's good. Doesn't have to be healthy. But what is the thing for you? Is it pizza? Is it wings? What is that late night food for you?

Kenny Rooster: Oh my God, it is a cheese board like it doesn't even have to be a fancy. It could be like crackers, some like Trader Joe's crackers, some cheddar cheese, some olives, get fancy, throw something random on there like an apple, throw a Hershey's just to put little snacks, just go treasure hunting in the cabinets and put it all on a little cutting board and then it's so beautiful.

Rob Lee: I make a bougie cheese board with me and my partner whenever we're doing any like like Oscars, Academy, anything along those lines. Right. It's like, all right, but we've got to drop one hundred and fifty dollars in cheese at like Whole Foods. That's what we're doing. And I'm there cutting it with the bougie ass knives. And I'm like, I found some lingonberry jam. Should we have it with these like mint crackers? Yes, yes, yes, we should. We should. And there's always this is this is how ridiculous this is all me, by the way, not not her. She's like, I'll drink and I'll eat you, you know, chop chop. So this will give you some really good context. So I came up with a drink that I call the Prince 75. And it's basically just a French 75, but you use the purple gin.

Kenny Rooster: Yeah.

Rob Lee: Yeah. This is this is the thing I'm on. Or I think I made a cocktail because I was like, you know, Moonlight's going to win. This is years ago at this point. Right. I was like, you know, Moonlight's going to win the Academy Award. And she's like, I think it should. But we'll see. And then you saw how that whole thing went down. But I had a cocktail specific for Moonlight. This is this is what I do. Like, give me a menu.

Kenny Rooster: OK, well, you have to invite me to a party because that sounds incredible. It sounds like maybe you're one upping my there's one Hershey's Kiss and five Ritz crackers.

Rob Lee: I had a conversation with a dude who was talking about making making what is it? A chili crunch. And I was like, oh, I bought a momofuku stuff. He was like, you're bougie. I was like, what are you talking about? And I'll share with you one thing that I do that I've gotten famous for. Only certain folks have had it. In this region, you know, obviously you're from the area of DMV. Crab cakes, right? We got that thing. I make a Japanese style smoked crab ball. That's what I make. That's one of my specialties.

Kenny Rooster: Oh, my God. Yes, it's very bougie. That sounds unreal. That sounds so incredible.

Rob Lee: I'll put you on. I'll put you on. Yes, please. But with that, one, I want to thank you so much for your time and coming on and being a part of this podcast. And in two, I want to invite and encourage you to share with the folks where they can check out all your updates. You know, it's no really telling when episodes are going to be released sometime. You know, where can they check you out? Where can he follow you? All of that good stuff to catch up on everything. Kenny Rooster, the floor is yours.

Kenny Rooster: So I have my own personal Instagram account, which is at Kenny Rooster Comedy. And then Nicholas and I co-run together in the spirit of collaboration at the at Hen House Show Instagram page, where we post about any shows that the two of us are doing or that he is doing alone. He won't run his own. He's afraid that he's not going to be able to amass an adequate number of followers. So he mooches off of mine.

Rob Lee: Thank you. And again, there you have it, folks. I want to again thank the very funny Kenny Rooster for coming on and chopping it up with me. And I'm Rob Lee saying that there's art, culture and community in and around your neck of the woods. You've just got to look for it.