WEBVTT 00:00:00.000 --> 00:00:02.339 You know that feeling? When a comedian just clicks, 00:00:02.560 --> 00:00:04.459 they just get you. It doesn't matter who you 00:00:04.459 --> 00:00:06.019 are or where you're from. Yeah, it's like this 00:00:06.019 --> 00:00:09.119 universal connection, right? Rare stuff. Exactly. 00:00:09.339 --> 00:00:13.140 It's this kind of magic, almost. And today, we're 00:00:13.140 --> 00:00:15.919 diving deep into the career of someone who really 00:00:15.919 --> 00:00:19.489 seems to have mastered that. Dwayne Perkins. 00:00:19.910 --> 00:00:22.030 Ah, Perkins. Yeah, he's definitely crafted a 00:00:22.030 --> 00:00:24.589 unique space for himself. He really has. We're 00:00:24.589 --> 00:00:27.210 talking about an American standup whose career, 00:00:27.230 --> 00:00:30.809 well, it spans decades, continents, tons of TV 00:00:30.809 --> 00:00:33.649 appearances. Born in Brooklyn, lives in LA now. 00:00:34.109 --> 00:00:36.310 But he's more than just a comic, wouldn't you 00:00:36.310 --> 00:00:38.350 say? Oh, absolutely. He's like a craftsman of 00:00:38.350 --> 00:00:40.390 humor. There's a real thoughtfulness there. That's 00:00:40.390 --> 00:00:43.840 the word, craftsman. So our mission today is 00:00:43.840 --> 00:00:46.640 to really unpack his journey. You know, college 00:00:46.640 --> 00:00:49.060 campuses to these huge international stages. 00:00:49.259 --> 00:00:51.060 We want to look at the influences, maybe some 00:00:51.060 --> 00:00:53.359 surprising ones, that shaped his voice. And figure 00:00:53.359 --> 00:00:55.420 out why Rolling Stone called him one of their 00:00:55.420 --> 00:00:57.759 five comics to watch. Right. It's not just listing 00:00:57.759 --> 00:00:59.679 the credits, is it? It's about understanding 00:00:59.679 --> 00:01:02.939 the how. How did he do it? Why does his specific 00:01:02.939 --> 00:01:06.079 kind of subtle approach connect so widely? And 00:01:06.079 --> 00:01:10.189 for that, we're mostly drawing on a pretty comprehensive 00:01:10.189 --> 00:01:12.549 Wikipedia entry. It gives a really solid look 00:01:12.549 --> 00:01:15.370 at his life, the career milestones, and, like 00:01:15.370 --> 00:01:17.329 you said, how his comedy style evolved. Okay, 00:01:17.450 --> 00:01:19.230 good. So it's a structured source, gives us a 00:01:19.230 --> 00:01:21.250 good map. Yeah, it should help us trace that 00:01:21.250 --> 00:01:23.230 development pretty clearly. Okay, let's unpack 00:01:23.230 --> 00:01:25.469 this journey then, starting right at the beginning, 00:01:25.730 --> 00:01:28.409 his roots. What jumps out about Duane Perkins 00:01:28.409 --> 00:01:30.750 from the get -go, before comedy was even the 00:01:30.750 --> 00:01:32.870 main thing? Well, what's really interesting is 00:01:32.870 --> 00:01:35.189 how those early experiences, I mean, even before 00:01:35.189 --> 00:01:37.750 he was doing stand -up full -time, seemed to 00:01:37.750 --> 00:01:39.709 lay this foundation. It's like the groundwork 00:01:39.709 --> 00:01:41.530 was being subtly put in place for everything 00:01:41.530 --> 00:01:43.590 that came later. It wasn't just about grabbing 00:01:43.590 --> 00:01:48.469 a mic one day. The foundation. Early life, education, 00:01:49.010 --> 00:01:51.370 and first laughs. That makes total sense. So, 00:01:51.549 --> 00:01:54.390 Brooklyn roots first. Born March 21st, 1971. 00:01:54.790 --> 00:01:57.569 Brooklyn, New York. Bricklin. It's almost a cliché. 00:01:57.650 --> 00:02:00.189 The comedian crucible, right. But how specifically 00:02:00.189 --> 00:02:02.689 does a place like that become like this crash 00:02:02.689 --> 00:02:04.930 course in human nature for someone developing 00:02:04.930 --> 00:02:07.159 their sense of humor? It's more than just being 00:02:07.159 --> 00:02:10.259 in New York, you know, Brooklyn specifically, 00:02:10.340 --> 00:02:13.180 especially back then, it's this incredibly dense 00:02:13.180 --> 00:02:15.699 tapestry of life. Right. You've got such a mix 00:02:15.699 --> 00:02:18.620 of cultures, different economic levels, just 00:02:18.620 --> 00:02:22.120 personalities everywhere all the time. So constant 00:02:22.120 --> 00:02:24.780 observation fuel. Exactly. Think about the subway 00:02:24.780 --> 00:02:27.960 every single day. It's a parade of characters. 00:02:27.960 --> 00:02:30.840 Yeah. Right. The street life, the different languages 00:02:30.840 --> 00:02:34.400 you hear, the sheer pace and energy. the hustle, 00:02:34.759 --> 00:02:37.099 it forces you, I think, especially if you have 00:02:37.099 --> 00:02:40.460 that inclination, to just watch, to notice the 00:02:40.460 --> 00:02:42.280 little things, the weird interactions, the way 00:02:42.280 --> 00:02:44.699 people talk. It sharpens your ear, maybe. Your 00:02:44.699 --> 00:02:47.639 eye for the absurd. Absolutely. And it probably 00:02:47.639 --> 00:02:50.300 gives you a certain grounded perspective, too. 00:02:50.659 --> 00:02:52.719 A kind of no -nonsense filter, you learn resilience, 00:02:52.900 --> 00:02:54.780 maybe a bit of quick wit just to navigate it 00:02:54.780 --> 00:02:57.099 all. So it's baked into his perspective from 00:02:57.099 --> 00:02:59.599 day one, essentially. I think it has to be. That 00:02:59.599 --> 00:03:01.580 Brooklyn experience is likely a huge part of 00:03:01.580 --> 00:03:04.219 his comedic DNA, that ability he has to find 00:03:04.219 --> 00:03:07.520 humor in very relatable everyday stuff. OK, so 00:03:07.520 --> 00:03:08.939 that's the environment. Then there's this other 00:03:08.939 --> 00:03:11.379 piece that honestly made me do a double take. 00:03:11.900 --> 00:03:14.759 His education. He got a Bachelor of Science degree. 00:03:15.060 --> 00:03:17.419 Yeah, from the New York Institute of Technology. 00:03:17.599 --> 00:03:20.479 It's not the typical path, is it? Not at all. 00:03:20.659 --> 00:03:23.930 A BS degree. For a stand -up comedian, how does 00:03:23.930 --> 00:03:28.110 that even compute? How does a background in science 00:03:28.110 --> 00:03:30.349 and structured thinking influence something as 00:03:30.349 --> 00:03:33.550 fluid and, well, artistic as comedy? It's fascinating, 00:03:33.650 --> 00:03:35.810 right? Because on the surface, they seem like 00:03:35.810 --> 00:03:39.069 opposites. But I think it could actually be a 00:03:39.069 --> 00:03:41.810 huge influence on his specific style. How so? 00:03:41.990 --> 00:03:44.349 Well, think about what science involves. Analytical 00:03:44.349 --> 00:03:48.180 thinking, right? Structure, logic. Problem -solving. 00:03:48.560 --> 00:03:50.500 Okay. And good stand -up, even though it looks 00:03:50.500 --> 00:03:53.460 spontaneous, is often incredibly structured underneath. 00:03:54.039 --> 00:03:56.860 Joke construction, timing, reading an audience. 00:03:57.460 --> 00:04:00.479 There is a science to it, in a way. Like crafting 00:04:00.479 --> 00:04:02.979 a proof or an experiment. Kind of. You observe 00:04:02.979 --> 00:04:05.199 something, human behavior, a weird situation. 00:04:05.360 --> 00:04:07.500 You form a premise, like a hypothesis. Then you 00:04:07.500 --> 00:04:09.560 build the setup, the context, and the punchline 00:04:09.560 --> 00:04:11.300 is your result. You're testing it constantly 00:04:11.300 --> 00:04:13.680 against the audience reaction laughter. Wow, 00:04:13.759 --> 00:04:16.209 I never thought of it quite like that. A hypothesis 00:04:16.209 --> 00:04:19.089 for laughter. Yeah. And maybe that scientific 00:04:19.089 --> 00:04:21.430 discipline, that analytical approach, feeds into 00:04:21.430 --> 00:04:23.769 that matter -of -fact delivery people talk about 00:04:23.769 --> 00:04:26.569 with him. Ah, OK. Like he's presenting his findings 00:04:26.569 --> 00:04:30.149 on human absurdity. Exactly. Calmly. Logically. 00:04:30.750 --> 00:04:32.509 Here's the situation. Here's the funny part. 00:04:33.149 --> 00:04:35.569 It's not overly theatrical. It's grounded in 00:04:35.569 --> 00:04:39.050 observation. So that BS degree, maybe it gave 00:04:39.050 --> 00:04:41.110 him this unique way of processing the world, 00:04:41.170 --> 00:04:44.720 this methodical lens on the chaos. That's a really 00:04:44.720 --> 00:04:47.199 compelling idea. The scientific mind applied 00:04:47.199 --> 00:04:49.860 to joke writing. Okay, so he has this unique 00:04:49.860 --> 00:04:52.980 foundation, college, MCing events there too, 00:04:53.079 --> 00:04:55.199 apparently. Right, he started performing by MCing 00:04:55.199 --> 00:04:57.500 during his college years, getting those early 00:04:57.500 --> 00:04:59.680 reps in. And then he jumps into the New York 00:04:59.680 --> 00:05:03.160 comedy scene proper, but not just anywhere. No, 00:05:03.180 --> 00:05:05.379 he starts at the Uptown Comedy Club in Harlem. 00:05:05.740 --> 00:05:09.180 Okay, Harlem. Performing there, presumably for 00:05:09.180 --> 00:05:11.279 predominantly black audiences, that's a specific 00:05:11.279 --> 00:05:13.459 kind of training ground, isn't it? Oh, absolutely. 00:05:13.779 --> 00:05:17.100 It's a distinct, comedic crucible. The energy, 00:05:17.220 --> 00:05:20.579 the connection, the cultural references, it likely 00:05:20.579 --> 00:05:22.959 demanded a very specific kind of stage presence. 00:05:23.279 --> 00:05:26.199 Maybe more immediate, more responsive, got to 00:05:26.199 --> 00:05:28.879 connect, and fast. Authenticity is key there, 00:05:28.939 --> 00:05:31.560 I imagine. Definitely. And understanding shared 00:05:31.560 --> 00:05:34.439 experiences, cultural viewpoints. And then, he 00:05:34.439 --> 00:05:37.439 makes this big shift. moves to Boston in 1994. 00:05:38.319 --> 00:05:40.439 And the sources say he starts performing there 00:05:40.439 --> 00:05:43.040 for mostly white audiences. Yeah, that's a huge 00:05:43.040 --> 00:05:45.579 pivot, especially early in a career. Monumental. 00:05:45.899 --> 00:05:48.100 You're talking about completely different comedic 00:05:48.100 --> 00:05:51.899 ecosystems back to back. What specific skills 00:05:51.899 --> 00:05:54.779 or aspects of his style do you think came directly 00:05:54.779 --> 00:05:57.000 out of having to bridge that gap, going from 00:05:57.000 --> 00:05:59.819 Harlem to Boston? Well, the sources explicitly 00:05:59.819 --> 00:06:02.649 credit both experiences as major influences. 00:06:02.829 --> 00:06:04.689 And you can see why. It must have been like intense 00:06:04.689 --> 00:06:06.689 cross -training. Right, like learning two different 00:06:06.689 --> 00:06:09.009 languages of comedy. Exactly. In Harlem, maybe 00:06:09.009 --> 00:06:10.990 the rhythm was different, more call and response, 00:06:11.470 --> 00:06:13.110 relying on certain shared understandings, maybe 00:06:13.110 --> 00:06:16.170 a cultural shorthand. Then you go to Boston to 00:06:16.170 --> 00:06:19.569 predominantly white rooms. Those same references 00:06:19.569 --> 00:06:22.370 might not land. The rhythm might be different. 00:06:22.649 --> 00:06:24.829 The expectations are different. He has to adapt 00:06:24.829 --> 00:06:29.610 drastically. He has to. forces you to broaden 00:06:29.610 --> 00:06:31.930 your scope, to find the stuff that works for 00:06:31.930 --> 00:06:34.589 everyone, you probably have to strip away anything 00:06:34.589 --> 00:06:37.769 too niche, too specific to one group, and dig 00:06:37.769 --> 00:06:40.209 deeper for those universal human things. The 00:06:40.209 --> 00:06:42.910 common denominators of humor. Precisely. What 00:06:42.910 --> 00:06:45.629 anxieties, what observations, what absurdities 00:06:45.629 --> 00:06:47.829 cut across those different backgrounds. He had 00:06:47.829 --> 00:06:49.810 to figure that out night after night. It's like 00:06:49.810 --> 00:06:52.170 getting a PhD in audience psychology in real 00:06:52.170 --> 00:06:54.930 time. Wow. So that dual experience wasn't just 00:06:54.930 --> 00:06:57.170 about getting stage time. It was fundamentally 00:06:57.170 --> 00:06:59.870 shaping his ability to connect broadly. I think 00:06:59.870 --> 00:07:02.430 it's the key. It likely forged that versatility, 00:07:02.689 --> 00:07:05.230 that nuanced voice that could speak to different 00:07:05.230 --> 00:07:07.730 people. And it directly explains why he later 00:07:07.730 --> 00:07:10.259 says he prefers broad audiences. He learned how 00:07:10.259 --> 00:07:11.959 to reach them. That makes perfect sense. OK, 00:07:12.019 --> 00:07:15.259 so these foundational years, Brooklyn, the science 00:07:15.259 --> 00:07:19.680 degree, Harlem, Boston, they all converge. And 00:07:19.680 --> 00:07:21.740 that really sets the stage for his big break, 00:07:22.000 --> 00:07:25.079 too. The ascendant comic from Boston breakthrough 00:07:25.079 --> 00:07:28.319 to global stages. So Perkins is grinding. He's 00:07:28.319 --> 00:07:30.680 learning, adapting in these really different 00:07:30.680 --> 00:07:34.540 environments. And then 1999, he's performing 00:07:34.540 --> 00:07:38.040 at the Comedy Studio in Boston and gets scouted. 00:07:38.269 --> 00:07:40.670 by late night with Conan O 'Brien? That's the 00:07:40.670 --> 00:07:42.470 call, right? The one every comic dreams of. I 00:07:42.470 --> 00:07:45.350 mean, scouted by Conan. That's huge validation. 00:07:45.629 --> 00:07:47.629 And in the same period, he's also in the New 00:07:47.629 --> 00:07:49.689 Faces showcase at Just For Laughs in Montreal. 00:07:49.930 --> 00:07:52.389 Right. Another massive deal. JFL New Faces is 00:07:52.389 --> 00:07:54.310 like the comedy draft. Everyone who's anyone 00:07:54.310 --> 00:07:56.029 in the industry is there looking for the next 00:07:56.029 --> 00:07:58.790 big thing. So getting both of those around the 00:07:58.790 --> 00:08:01.980 same time. What does that really do for a comedian's 00:08:01.980 --> 00:08:04.100 career trajectory? It's more than just a confidence 00:08:04.100 --> 00:08:06.259 boost, surely. Oh, it's way more. It's rocket 00:08:06.259 --> 00:08:09.300 fuel. Yeah. The Conan spot, making his TV debut 00:08:09.300 --> 00:08:11.839 in July 99, instantly puts him in front of millions 00:08:11.839 --> 00:08:13.879 of people. It says, this guy isn't just club 00:08:13.879 --> 00:08:16.759 funny. He's network TV funny. Right. He can translate 00:08:16.759 --> 00:08:19.420 to that huge audience. Exactly. And the Just 00:08:19.420 --> 00:08:22.240 For Laughs showcase gives him international industry 00:08:22.240 --> 00:08:25.500 visibility. Agents, managers, casting directors, 00:08:25.540 --> 00:08:28.120 they're all there. It signals that his appeal 00:08:28.120 --> 00:08:32.080 isn't just local. or even national, it has potentially 00:08:32.080 --> 00:08:35.019 global reach. So it validates that whole journey, 00:08:35.139 --> 00:08:38.320 that style he forged in Harlem and Boston shows 00:08:38.320 --> 00:08:41.200 it works on a bigger stage. Precisely. It takes 00:08:41.200 --> 00:08:43.820 him from being a promising regional comic to 00:08:43.820 --> 00:08:46.120 someone with serious national and international 00:08:46.120 --> 00:08:48.659 potential. It just changes the game overnight. 00:08:48.860 --> 00:08:51.080 Huge momentum. I can only imagine. OK, so he's 00:08:51.080 --> 00:08:53.100 got this incredible momentum, this national recognition. 00:08:53.360 --> 00:08:56.330 What's the next logical step? Los Angeles. Of 00:08:56.330 --> 00:08:59.210 course. In 2003, he makes the move to L .A., 00:08:59.210 --> 00:09:01.610 the classic path for comics wanting to level 00:09:01.610 --> 00:09:05.110 up, get into TV, film, be where the industry 00:09:05.110 --> 00:09:06.769 is concentrated. And he doesn't just move there. 00:09:06.789 --> 00:09:08.389 He seems to establish himself pretty quickly 00:09:08.389 --> 00:09:10.669 in some legendary clubs. The Comedy and Magic 00:09:10.669 --> 00:09:12.610 Club, The Laugh Factory are mentioned as his 00:09:12.610 --> 00:09:15.429 main spots, plus The Improv, The Comedy Store, 00:09:15.850 --> 00:09:18.509 The Ice House. Yeah, hitting those top tier L 00:09:18.509 --> 00:09:21.070 .A. clubs regularly is a major statement. It's 00:09:21.070 --> 00:09:23.789 more than just stage time, though, right? Performing 00:09:23.789 --> 00:09:27.450 in those specific venues, they have so much history. 00:09:28.149 --> 00:09:29.830 What does that mean for a comics development, 00:09:30.070 --> 00:09:32.009 performing consistently at that level in LA? 00:09:32.230 --> 00:09:34.370 It means you're playing in the big leagues. Every 00:09:34.370 --> 00:09:37.429 single night. The audiences are often industry 00:09:37.429 --> 00:09:40.250 savvy, sometimes a bit jaded. The competition 00:09:40.250 --> 00:09:43.129 is fierce. Everyone on that stage is incredibly 00:09:43.129 --> 00:09:46.669 talented. So the pressure is immense. Huge pressure. 00:09:47.190 --> 00:09:48.870 You're not just trying out jokes for laughs, 00:09:49.169 --> 00:09:51.879 you're showcasing your talent. for agents, managers, 00:09:52.080 --> 00:09:54.120 producers who might be in the crowd any night. 00:09:54.200 --> 00:09:56.500 Right, constantly auditioning in a way. Pretty 00:09:56.500 --> 00:10:00.379 much. It forces you to be incredibly sharp, consistent, 00:10:00.580 --> 00:10:03.299 and to develop material that really pox stuff 00:10:03.299 --> 00:10:05.480 that's potentially castable or special worthy. 00:10:05.799 --> 00:10:08.000 You have to constantly elevate your game. So 00:10:08.000 --> 00:10:10.080 mastering those LA rooms is like getting your 00:10:10.080 --> 00:10:12.059 black belt in stand up. That's a good way to 00:10:12.059 --> 00:10:15.360 put it. It proves you have the chops, the consistency, 00:10:15.759 --> 00:10:17.659 the professionalism to make it at the highest 00:10:17.659 --> 00:10:21.049 level. OK, so he conquers LA. But his reach didn't 00:10:21.049 --> 00:10:23.669 stop at the California border. He started headlining 00:10:23.669 --> 00:10:25.870 nationally and then internationally. This is 00:10:25.870 --> 00:10:27.789 where it gets really impressive. It really does. 00:10:27.889 --> 00:10:30.490 Headlining places like Gotham in New York, the 00:10:30.490 --> 00:10:32.529 punchline in San Francisco that shows he's a 00:10:32.529 --> 00:10:34.909 draw across the country, but the international 00:10:34.909 --> 00:10:37.809 touring. That's another level. Europe, the UK, 00:10:38.149 --> 00:10:42.049 South Africa, India, the UAE, Hong Kong, Singapore, 00:10:42.450 --> 00:10:46.590 China. The list is amazing. How does performing 00:10:46.590 --> 00:10:49.710 for audiences that diverse? How does that continue 00:10:49.710 --> 00:10:52.389 to shape a comedian's style? It must be incredibly 00:10:52.389 --> 00:10:55.269 challenging. Hugely challenging but also incredibly 00:10:55.269 --> 00:10:57.710 rewarding, I imagine. It forces you to become 00:10:57.710 --> 00:11:00.009 a master translator, not just of language but 00:11:00.009 --> 00:11:03.009 of culture, of nuance, of comedic sensibility. 00:11:03.269 --> 00:11:05.509 You can't rely on local references or shared 00:11:05.509 --> 00:11:07.769 cultural assumptions. Not at all. What's funny 00:11:07.769 --> 00:11:10.309 in Mumbai might fall flat or even be offensive 00:11:10.309 --> 00:11:13.049 in Beijing or London. You have to find those 00:11:13.049 --> 00:11:16.070 truly universal human truths. The shared anxieties, 00:11:16.210 --> 00:11:18.190 the common absurdities, the things about being 00:11:18.190 --> 00:11:19.990 human that resonate no matter where you are. 00:11:20.070 --> 00:11:22.330 It must sharpen your observation skills to an 00:11:22.330 --> 00:11:25.340 unbelievable degree. To the nth degree. You have 00:11:25.340 --> 00:11:27.820 to be so attuned to the audience, reading the 00:11:27.820 --> 00:11:29.940 room, understanding different cultural norms, 00:11:30.340 --> 00:11:32.779 maybe even political sensitivities. It forces 00:11:32.779 --> 00:11:35.240 you to distill your humor down to its absolute 00:11:35.240 --> 00:11:37.620 core essence. It probably reinforces his whole 00:11:37.620 --> 00:11:39.879 philosophy of broad appeal, right? He's literally 00:11:39.879 --> 00:11:43.000 testing it on the broadest possible stage. Exactly. 00:11:43.220 --> 00:11:45.600 He's seeing firsthand what connects universally. 00:11:46.019 --> 00:11:49.559 It makes his material incredibly robust, adaptable 00:11:49.559 --> 00:11:51.899 and deeply human. Being able to consistently 00:11:51.899 --> 00:11:55.460 get laughs in such different places. He speaks 00:11:55.460 --> 00:11:58.179 volumes about his intelligence and his fundamental 00:11:58.179 --> 00:12:00.519 understanding of people. He's like a comedic 00:12:00.519 --> 00:12:02.879 diplomat. A comedic diplomat. I like that. OK, 00:12:02.879 --> 00:12:05.299 this global experience, this unique foundation, 00:12:05.860 --> 00:12:08.580 it all leads directly into his specific, very 00:12:08.580 --> 00:12:10.980 distinct approach to comedy itself. Let's dig 00:12:10.980 --> 00:12:15.470 into that next. Three, the art of subtlety, decoding 00:12:15.470 --> 00:12:17.730 Dwayne Perkins' comedy style. All right, let's 00:12:17.730 --> 00:12:19.649 get to the heart of it. Dwayne Perkins' comedy 00:12:19.649 --> 00:12:21.789 style, his philosophy, the sources make it really 00:12:21.789 --> 00:12:24.509 clear. He consciously aims for broad appeal, 00:12:24.990 --> 00:12:27.210 not niche audiences. Yeah, he explicitly says, 00:12:27.409 --> 00:12:29.090 I don't think you can afford to leave anybody 00:12:29.090 --> 00:12:32.129 out. A stand -up show is a community event. A 00:12:32.129 --> 00:12:35.049 community event. That's such a powerful way to 00:12:35.049 --> 00:12:37.629 frame it. And he contrasts it with growing up 00:12:37.629 --> 00:12:40.090 on comedy before it was marketing based. Right. 00:12:40.269 --> 00:12:42.250 That's a direct shot at how segmented things 00:12:42.250 --> 00:12:46.129 can feel now. Totally. So in a world where everyone 00:12:46.129 --> 00:12:49.129 seems to be targeting very specific demographics, 00:12:50.110 --> 00:12:53.090 what does it really mean practically to view 00:12:53.090 --> 00:12:56.889 stand up as a community event and aim for that 00:12:56.889 --> 00:12:59.350 universal connection? It means you're prioritizing 00:12:59.350 --> 00:13:02.250 inclusivity. You're actively trying not to alienate 00:13:02.250 --> 00:13:05.090 people. It shapes everything, your topic choices, 00:13:05.309 --> 00:13:08.029 your references, your tone. So avoiding inside 00:13:08.029 --> 00:13:10.909 jokes, maybe? Or super specific cultural stuff 00:13:10.909 --> 00:13:13.169 that only one group gets. Exactly. You have to 00:13:13.169 --> 00:13:15.350 find the humor in experiences or observations 00:13:15.350 --> 00:13:17.269 that pretty much everyone can relate to on some 00:13:17.269 --> 00:13:19.789 level. It requires, I think, a deeper level of 00:13:19.789 --> 00:13:23.169 observation, looking for those common human denominators. 00:13:23.210 --> 00:13:26.230 It sounds harder, in a way. It probably is. It's 00:13:26.230 --> 00:13:28.289 easier to preach in the choir, right? But Perkins 00:13:28.289 --> 00:13:30.549 is trying to build a bigger tent. Viewing it 00:13:30.549 --> 00:13:33.389 as a community event means he sees his role as 00:13:33.389 --> 00:13:35.730 bringing people together through laughter, finding 00:13:35.730 --> 00:13:38.129 common ground, rather than highlighting differences 00:13:38.129 --> 00:13:41.690 or picking sides. Using comedy as a bridge. Precisely. 00:13:41.850 --> 00:13:44.389 A bridge, not a wall. It's a more classic, maybe 00:13:44.389 --> 00:13:46.470 more optimistic view of what stand -up can be. 00:13:46.769 --> 00:13:49.529 And this approach, this commitment to broad appeal, 00:13:49.850 --> 00:13:52.649 it wasn't just a theoretical choice. It was forged, 00:13:52.730 --> 00:13:55.149 like we talked about, in those early, very different 00:13:55.149 --> 00:13:57.129 performance environments. Right back to Harlem 00:13:57.129 --> 00:14:00.350 and Boston. That experience wasn't just practice. 00:14:00.509 --> 00:14:02.809 It was the crucible where this philosophy was 00:14:02.809 --> 00:14:05.309 formed. You called it a master class in audience 00:14:05.309 --> 00:14:07.830 psychology before. Can you unpack that a bit 00:14:07.830 --> 00:14:11.529 more? How does navigating those two specific 00:14:11.529 --> 00:14:15.370 different audiences, black audiences in Harlem, 00:14:15.690 --> 00:14:18.629 white audiences in Boston, how does that create 00:14:18.629 --> 00:14:21.830 a more versatile and nuanced voice? Well, imagine 00:14:21.830 --> 00:14:24.110 the specific rhythms you learn in each space. 00:14:24.360 --> 00:14:26.559 In Harlem, maybe it's faster, more interactive, 00:14:27.000 --> 00:14:29.299 playing off shared cultural knowledge. You learn 00:14:29.299 --> 00:14:31.539 that energy, that direct connection. Then in 00:14:31.539 --> 00:14:33.700 Boston, maybe the initial vibe is more reserved. 00:14:34.139 --> 00:14:35.879 You have to work differently to build rapport. 00:14:36.019 --> 00:14:38.120 You can't rely on the same assumptions. You have 00:14:38.120 --> 00:14:40.960 to explain more, perhaps, or find analogies that 00:14:40.960 --> 00:14:42.840 resonate differently. So you're constantly adjusting 00:14:42.840 --> 00:14:45.740 your toolkit. Constantly. You learn what translates 00:14:45.740 --> 00:14:48.000 and what doesn't. You learn how to frame things 00:14:48.000 --> 00:14:49.639 so that different people can find the humor. 00:14:50.120 --> 00:14:52.919 You're essentially A -B testing your material 00:14:52.919 --> 00:14:56.490 across cultures. in real time. Wow. And the result 00:14:56.490 --> 00:14:58.950 is you develop this incredibly flexible instrument. 00:14:59.470 --> 00:15:01.830 You understand instinctively how to connect with 00:15:01.830 --> 00:15:03.889 different sensitivities, how to find that universal 00:15:03.889 --> 00:15:07.909 core. It bakes versatility right into your comedic 00:15:07.909 --> 00:15:10.450 DNA. You learn how to be broad because you've 00:15:10.450 --> 00:15:13.519 had to be. That makes the connection. crystal 00:15:13.519 --> 00:15:16.559 clear. And this adaptability, the search for 00:15:16.559 --> 00:15:18.639 the universal, it seems to extend right down 00:15:18.639 --> 00:15:21.039 to how he delivers the material. The sources 00:15:21.039 --> 00:15:23.500 talk about subtlety. Yes, that's a key element. 00:15:23.779 --> 00:15:26.580 He prefers subtler material, not confrontational 00:15:26.580 --> 00:15:28.940 stuff. He even says he's probably one of the 00:15:28.940 --> 00:15:30.820 best at making points without beating my chest 00:15:30.820 --> 00:15:32.740 while doing it. That's quite a statement. And 00:15:32.740 --> 00:15:35.500 it mentions he includes race in his act, but 00:15:35.500 --> 00:15:38.200 it's not the central focus. Right, which is significant. 00:15:38.580 --> 00:15:42.029 It really is. Subtlety in comedy. It feels like 00:15:42.029 --> 00:15:45.070 walking a tightrope sometimes. It needs intelligence 00:15:45.070 --> 00:15:47.470 from the comic, and it trusts the audience's 00:15:47.470 --> 00:15:50.309 intelligence, too. It's observation over aggression. 00:15:51.049 --> 00:15:52.909 Why do you think that subtle approach can be 00:15:52.909 --> 00:15:55.049 more powerful, especially for someone like Perkins 00:15:55.049 --> 00:15:57.549 aiming for that broad connection? Because subtlety 00:15:57.549 --> 00:16:00.190 invites you in. Confrontation can sometimes feel 00:16:00.190 --> 00:16:02.889 like being lectured, or it creates an immediate 00:16:02.889 --> 00:16:05.450 division. You're either with the comic or against 00:16:05.450 --> 00:16:08.250 them. Subtlety allows the audience member to 00:16:08.250 --> 00:16:11.100 arrive at the point themselves to have that aha, 00:16:11.480 --> 00:16:13.740 moment of recognition. So it feels like a shared 00:16:13.740 --> 00:16:16.340 discovery. Exactly. And that often lands deeper, 00:16:16.720 --> 00:16:19.120 lasts longer. It makes you think, not just react. 00:16:19.320 --> 00:16:21.879 And it aligns perfectly with not wanting to leave 00:16:21.879 --> 00:16:25.259 anyone out. Subtle humor is less likely to polarize. 00:16:25.419 --> 00:16:27.720 And his approach to race seems like a prime example 00:16:27.720 --> 00:16:29.759 of that. It's part of the human experience he 00:16:29.759 --> 00:16:32.860 talks about, not the only thing. Precisely. He 00:16:32.860 --> 00:16:35.399 integrates it into his broader observations about 00:16:35.399 --> 00:16:38.399 life, about people. It makes the points he makes 00:16:38.399 --> 00:16:41.440 about it feel more universal, less like identity 00:16:41.440 --> 00:16:44.559 politics and more like shared human truth or 00:16:44.559 --> 00:16:47.360 shared human absurdity. It's woven into the fabric, 00:16:47.480 --> 00:16:49.639 not slapped on top. It allows people from different 00:16:49.639 --> 00:16:52.019 backgrounds to connect with the observation maybe. 00:16:52.240 --> 00:16:54.700 I think that's the goal. It's smart, it's nuanced, 00:16:54.740 --> 00:16:57.519 and it builds trust. Okay, so you have this philosophy 00:16:57.519 --> 00:17:00.440 of broad appeal forged in diverse settings delivered 00:17:00.440 --> 00:17:03.279 with subtlety, and it all comes together in his 00:17:03.279 --> 00:17:06.059 actual stage presence. The descriptions used 00:17:06.059 --> 00:17:09.640 are likable and matter of fact. Yeah, and those 00:17:09.640 --> 00:17:11.660 two words are incredibly important in understanding 00:17:11.660 --> 00:17:16.359 his appeal. Why likable? Is it just nice? It's 00:17:16.359 --> 00:17:18.430 more strategic than just nice. If the audience 00:17:18.430 --> 00:17:20.170 likes you, they trust you. They relax. They're 00:17:20.170 --> 00:17:22.089 more open to listening, more willing to go along 00:17:22.089 --> 00:17:24.529 with your premises. Even if you touch on slightly 00:17:24.529 --> 00:17:27.109 tricky subjects, it creates instant rapport. 00:17:27.450 --> 00:17:30.430 OK, so it lowers defenses. And matter of fact. 00:17:30.670 --> 00:17:33.190 Matter of fact suggests he's not trying too hard. 00:17:33.630 --> 00:17:35.930 He's not. overly performative or theatrical. 00:17:36.390 --> 00:17:38.750 He presents the observations, the situations, 00:17:38.990 --> 00:17:41.069 almost like he's just stating facts. And the 00:17:41.069 --> 00:17:43.349 humor comes from the situation itself. Exactly. 00:17:43.549 --> 00:17:46.349 The inherent absurdity or the undeniable truth 00:17:46.349 --> 00:17:49.069 of what he's describing. Yeah. It feels authentic, 00:17:49.509 --> 00:17:52.150 grounded, like a smart, funny friend just telling 00:17:52.150 --> 00:17:54.430 you how things are. You lean in because it feels 00:17:54.430 --> 00:17:57.650 genuine. Right. It's relatable. That combination, 00:17:57.970 --> 00:18:00.269 likable, and matter of fact, builds this incredible 00:18:00.269 --> 00:18:02.990 trust and connection. It makes complex ideas 00:18:02.990 --> 00:18:05.430 feel accessible, and it makes the laughter feel 00:18:05.430 --> 00:18:07.890 earned, organic. It's not forced on you. You 00:18:07.890 --> 00:18:10.190 arrive at it with him. It really paints a picture 00:18:10.190 --> 00:18:13.109 of a very specific, very effective comedic persona. 00:18:13.549 --> 00:18:16.109 And it's easy to see how that persona, that style, 00:18:16.369 --> 00:18:19.049 would translate well to television, from late 00:18:19.049 --> 00:18:21.869 night to streaming. Dwayne Perkins, Television 00:18:21.869 --> 00:18:24.210 Presence. Let's talk about that transition to 00:18:24.210 --> 00:18:26.630 TV. We mentioned that Conan debuted in 99. He 00:18:26.630 --> 00:18:28.910 did multiple spots there over the years. But 00:18:28.910 --> 00:18:32.009 then, 2004, he gets his own Comedy Central Presence 00:18:32.009 --> 00:18:34.589 special. How big a deal was that back then? Oh, 00:18:34.710 --> 00:18:38.069 huge. Comedy Central Presence was the platform 00:18:38.069 --> 00:18:41.089 for stand -ups breaking through nationally. Getting 00:18:41.089 --> 00:18:43.609 your own half -hour special meant the network 00:18:43.609 --> 00:18:46.490 believed you had a strong, distinctive voice 00:18:46.490 --> 00:18:49.700 and enough solid material to carry a show. It's 00:18:49.700 --> 00:18:52.079 like a stamp of approval from the comedy establishment. 00:18:52.420 --> 00:18:54.880 Absolutely. It cemented his status as a nationally 00:18:54.880 --> 00:18:58.180 recognized talent. Combined with the repeat Conan 00:18:58.180 --> 00:19:00.900 bookings, it showed he had consistency, that 00:19:00.900 --> 00:19:02.880 he wasn't just a flash in the pan. And these 00:19:02.880 --> 00:19:05.000 TV appearances, they just blow up your reach 00:19:05.000 --> 00:19:07.920 compared to clubs, right? Exponentially. Millions 00:19:07.920 --> 00:19:09.660 of people who might never go to a comedy club 00:19:09.660 --> 00:19:11.759 suddenly see you in their living room. It builds 00:19:11.759 --> 00:19:14.339 that national profile, that fan base, in a way 00:19:14.339 --> 00:19:17.180 live gigs alone just can't. It was a crucial 00:19:17.180 --> 00:19:19.759 step in making him a household name or at least 00:19:19.759 --> 00:19:22.519 a recognizable face and voice. Okay, so he's 00:19:22.519 --> 00:19:24.700 building this national presence and then comes 00:19:24.700 --> 00:19:27.380 a really significant role, not just a guest spot, 00:19:27.900 --> 00:19:31.049 but something more... integrated. Right. The 00:19:31.049 --> 00:19:32.869 Jay Leno Show. He was a regular correspondent 00:19:32.869 --> 00:19:36.670 there. 13 episodes between 2009 and 2010. That's 00:19:36.670 --> 00:19:39.130 substantial. Plus, another spot on The Tonight 00:19:39.130 --> 00:19:42.109 Show with Conan O 'Brien and 09. What does being 00:19:42.109 --> 00:19:45.150 a regular correspondent signify? That's different 00:19:45.150 --> 00:19:47.490 from just doing five minutes of standup. Completely 00:19:47.490 --> 00:19:50.150 different. It means the show trusts you not just 00:19:50.150 --> 00:19:52.630 with your own material, but to participate in 00:19:52.630 --> 00:19:56.339 the show's broader format. skits, recurring segments, 00:19:56.859 --> 00:19:59.440 maybe interviews or field pieces. So it requires 00:19:59.440 --> 00:20:02.559 a different skill set, more versatility. Immense 00:20:02.559 --> 00:20:05.119 versatility. You have to adapt your comedic voice, 00:20:05.259 --> 00:20:07.500 maybe play characters, work within a script, 00:20:08.099 --> 00:20:10.339 possibly improvise with the host or other guests. 00:20:10.680 --> 00:20:12.599 You're part of the show's ensemble. in a way. 00:20:13.079 --> 00:20:15.559 And doing that on Lino's show with that massive 00:20:15.559 --> 00:20:18.440 nightly audience. It's huge exposure and it shows 00:20:18.440 --> 00:20:20.579 the industry you have range beyond just stand 00:20:20.579 --> 00:20:22.660 -up. You can handle different formats, you're 00:20:22.660 --> 00:20:24.720 reliable, you can collaborate. It definitely 00:20:24.720 --> 00:20:27.240 broadens your perceived skill set and marketability. 00:20:27.420 --> 00:20:29.200 It proves you're more than a one -trick pony. 00:20:29.440 --> 00:20:31.539 Exactly. It's a big step towards being seen as 00:20:31.539 --> 00:20:34.170 a well -rounded entertainer. So his TV presence 00:20:34.170 --> 00:20:36.910 is growing, he's showing versatility, and then 00:20:36.910 --> 00:20:39.490 comes some serious critical acclaim, reinforcing 00:20:39.490 --> 00:20:41.970 his status. Yeah, this is where you see the industry 00:20:41.970 --> 00:20:44.769 and critics really acknowledging his artistry. 00:20:44.990 --> 00:20:48.190 August 2012, Rolling Stone names him one of their 00:20:48.190 --> 00:20:50.849 five comics to watch. Rolling Stone, that's a 00:20:50.849 --> 00:20:53.809 major cultural nod. Huge. It's not just about 00:20:53.809 --> 00:20:56.309 laughs, it signals relevance, that you're doing 00:20:56.309 --> 00:20:57.769 something interesting, something worth paying 00:20:57.769 --> 00:21:01.430 attention to. It implies artistic merit and future 00:21:01.430 --> 00:21:04.420 potential. And then the Artist in Residence gig 00:21:04.420 --> 00:21:07.980 in Rotterdam. October 2015 at the Rotterdam International 00:21:07.980 --> 00:21:10.900 Comedy Festival. That's fascinating. Being an 00:21:10.900 --> 00:21:13.500 artist in residence suggests they value his perspective, 00:21:13.980 --> 00:21:16.440 his approach to the craft, not just his ability 00:21:16.440 --> 00:21:18.539 to perform a tight set. It's an intellectual 00:21:18.539 --> 00:21:20.559 recognition almost. Like a comedy ambassador 00:21:20.559 --> 00:21:23.259 again. Right. It solidifies that global reputation 00:21:23.259 --> 00:21:26.700 for thoughtful, well -crafted comedy. And throughout 00:21:26.700 --> 00:21:29.640 this period, the TV appearances just keep coming. 00:21:29.819 --> 00:21:32.359 It's a really long list. Last Comic Standing, 00:21:32.640 --> 00:21:35.720 Craig Ferguson, History of the Joke, Comics Unleashed, 00:21:35.980 --> 00:21:39.319 Tosh .0 multiple times, Wild Noun, Conan again, 00:21:39.539 --> 00:21:42.180 Arsenio Hall, that Netflix special Take Note 00:21:42.180 --> 00:21:45.079 in 2016. It's an incredible run and look at the 00:21:45.079 --> 00:21:47.880 variety. Exactly. How do all these different 00:21:47.880 --> 00:21:50.599 kinds of shows, competition, commentary, talk 00:21:50.599 --> 00:21:53.359 shows, documentary, streaming special, how do 00:21:53.359 --> 00:21:55.500 they showcase different sides of his... Well, 00:21:55.720 --> 00:21:57.500 each one demands something slightly different. 00:21:57.779 --> 00:22:00.720 Last comic standing. You need punchy, competition 00:22:00.720 --> 00:22:03.279 -ready material that hits hard and fast. High 00:22:03.279 --> 00:22:06.980 states. Totally. Tosh .0. Quick wits, satirical 00:22:06.980 --> 00:22:09.319 commentary, maybe some improv chops, talk shows 00:22:09.319 --> 00:22:11.700 like Ferguson or Arsenio. You need your polished 00:22:11.700 --> 00:22:13.779 standup, plus engaging conversational skills 00:22:13.779 --> 00:22:16.099 for the couch segment. Right, the interview part. 00:22:16.140 --> 00:22:17.720 The history of the joke implies they see him 00:22:17.720 --> 00:22:19.799 as someone who can talk intelligently about comedy, 00:22:19.960 --> 00:22:22.599 not just perform it. And the Netflix special, 00:22:22.759 --> 00:22:25.279 take note, that's the culmination. His vision, 00:22:25.339 --> 00:22:28.319 his material presented exactly how he wants to 00:22:28.319 --> 00:22:31.359 a massive global audience. So the sheer range 00:22:31.359 --> 00:22:33.680 of these credits proves his adaptability across 00:22:33.680 --> 00:22:36.009 the board. Absolutely. From network to cable 00:22:36.009 --> 00:22:38.490 to streaming, from stand -up to correspondent 00:22:38.490 --> 00:22:41.289 work to commentary, he's shown he can thrive 00:22:41.289 --> 00:22:44.170 in almost any comedic format. It paints a picture 00:22:44.170 --> 00:22:46.930 of a remarkably versatile and enduring talent. 00:22:47.049 --> 00:22:50.109 It really does. Looking back at all this, nearly 00:22:50.109 --> 00:22:52.849 three decades in the business, what does it tell 00:22:52.849 --> 00:22:55.069 us about his staying power? What makes a career 00:22:55.069 --> 00:22:59.430 like his so robust for so long? V. The enduring 00:22:59.430 --> 00:23:02.930 impact. Longevity and legacy. Okay, let's talk 00:23:02.930 --> 00:23:05.950 longevity. Active since 1995. We're recording 00:23:05.950 --> 00:23:09.769 this September 18th, 2025. He's 54. That is nearly 00:23:09.769 --> 00:23:12.170 30 years doing stand -up professionally. It's 00:23:12.170 --> 00:23:15.039 genuinely remarkable. The comedy world is notoriously 00:23:15.039 --> 00:23:17.240 tough. Careers can be incredibly short -lived 00:23:17.240 --> 00:23:20.099 to stay relevant, working, and respected for 00:23:20.099 --> 00:23:21.960 that long. It requires something special, right? 00:23:22.059 --> 00:23:23.680 More than just being funny. More than much more. 00:23:23.819 --> 00:23:26.740 It requires incredible resilience, for one. You 00:23:26.740 --> 00:23:28.940 have to weather industry changes, shifts in taste, 00:23:29.220 --> 00:23:31.980 personal ups and downs. It demands constant reinvention, 00:23:32.480 --> 00:23:35.180 constantly generating new, strong material. You 00:23:35.180 --> 00:23:37.599 can't coast on your old jokes forever. Not if 00:23:37.599 --> 00:23:39.890 you want to stay relevant for decades. And it 00:23:39.890 --> 00:23:41.990 requires that deep understanding of audience 00:23:41.990 --> 00:23:44.490 connection we keep coming back to. You have to 00:23:44.490 --> 00:23:46.910 keep finding ways to resonate with people as 00:23:46.910 --> 00:23:50.410 times change, as you change. So, what are those 00:23:50.410 --> 00:23:52.549 key ingredients, do you think? Beyond the strong 00:23:52.549 --> 00:23:55.029 material and adaptability we've discussed, what 00:23:55.029 --> 00:23:57.029 else contributes to that kind of career lifespan? 00:23:57.609 --> 00:24:00.009 Well, having that distinct, authentic voice is 00:24:00.009 --> 00:24:03.750 crucial. But I really think his particular style, 00:24:04.049 --> 00:24:06.589 that likable, subtle, matter -of -fact approach, 00:24:07.150 --> 00:24:10.069 plays a huge role in his longevity. How so? Because 00:24:10.069 --> 00:24:12.869 it's less likely to burn out or feel dated compared 00:24:12.869 --> 00:24:15.809 to maybe more aggressive or trend -chasing styles. 00:24:16.509 --> 00:24:18.990 Abrasive comedy can hit big, but it can also 00:24:18.990 --> 00:24:21.250 alienate people quickly or start to feel like 00:24:21.250 --> 00:24:24.250 a gimmick. Perkins' style is built on observation, 00:24:24.490 --> 00:24:27.289 intelligence, relatability. Those things don't 00:24:27.289 --> 00:24:29.410 really go out of style. It fosters a more loyal, 00:24:29.450 --> 00:24:31.950 maybe deeper connection. I think so. It feels 00:24:31.950 --> 00:24:34.269 less like a performance you consume and more 00:24:34.269 --> 00:24:36.109 like a relationship you build with the performer 00:24:36.109 --> 00:24:39.289 over time. People trust his perspective. He delivers 00:24:39.289 --> 00:24:41.970 consistent, smart laughs without relying on shock 00:24:41.970 --> 00:24:44.470 value. That builds loyalty. That makes a lot 00:24:44.470 --> 00:24:46.890 of sense. It's a sustainable model for comedy. 00:24:47.609 --> 00:24:50.369 And he's not just relying on past glories. He's 00:24:50.369 --> 00:24:53.089 still actively connecting with audiences in new 00:24:53.089 --> 00:24:56.009 ways. Exactly. He maintains an official website, 00:24:56.269 --> 00:24:58.730 which is standard, but he also hosts a podcast 00:24:58.730 --> 00:25:02.380 off the top. Right. In today's world, these digital 00:25:02.380 --> 00:25:04.819 platforms feel essential for performers, don't 00:25:04.819 --> 00:25:07.240 they? They really are. They allow for a direct 00:25:07.240 --> 00:25:10.299 connection that bypasses traditional media gatekeepers. 00:25:10.779 --> 00:25:12.880 It lets him share more of his personality, his 00:25:12.880 --> 00:25:15.200 thoughts, his process directly with people who 00:25:15.200 --> 00:25:18.440 want to hear it. It builds community. And a podcast 00:25:18.440 --> 00:25:21.480 specifically. How does that format offer something 00:25:21.480 --> 00:25:23.420 different from his standup? Does it complement 00:25:23.420 --> 00:25:25.700 his style? I think it complements it perfectly. 00:25:26.240 --> 00:25:28.589 Standup is tight. polished aiming for laughs 00:25:28.589 --> 00:25:31.609 per minute. A podcast is conversational, looser, 00:25:31.789 --> 00:25:33.869 more intimate. Allows for more depth. Definitely. 00:25:34.140 --> 00:25:36.819 He can explore topics more fully, share anecdotes, 00:25:37.000 --> 00:25:40.000 have extended conversations. It fits that matter 00:25:40.000 --> 00:25:43.000 -of -fact thoughtful persona beautifully. Listeners 00:25:43.000 --> 00:25:45.599 get to hear the mind behind the jokes in a more 00:25:45.599 --> 00:25:48.400 relaxed, unfiltered way. It deepens the relationship 00:25:48.400 --> 00:25:51.059 beyond just the stage performance. Precisely. 00:25:51.160 --> 00:25:53.440 It creates this multi -dimensional connection. 00:25:53.799 --> 00:25:55.660 You see him live, you listen to his podcast, 00:25:55.819 --> 00:25:58.519 you follow him online. It keeps him present and 00:25:58.519 --> 00:26:01.180 engaged with his audience in a very modern, dynamic 00:26:01.180 --> 00:26:03.779 way. Okay, so looking at this whole picture, 00:26:03.980 --> 00:26:06.380 the long career, the consistent quality, the 00:26:06.380 --> 00:26:08.500 thoughtful approach, the continued engagement, 00:26:08.960 --> 00:26:11.019 what's the big takeaway here? What does Dwayne 00:26:11.019 --> 00:26:16.680 Perkins' journey tell us? Outro. So we've really 00:26:16.680 --> 00:26:19.619 traced this incredible arc today. Dwayne Perkins 00:26:19.619 --> 00:26:22.579 from those early days shaped by Brooklyn, by 00:26:22.579 --> 00:26:25.200 science, by Harlem and Boston. Right, that unique 00:26:25.200 --> 00:26:28.180 foundation. To the breakout on Conan, the huge 00:26:28.180 --> 00:26:30.559 international tours being a fixture on major 00:26:30.559 --> 00:26:33.140 TV shows like Lennox. And developing that very 00:26:33.140 --> 00:26:36.019 distinct style along the way. Exactly. That philosophy 00:26:36.019 --> 00:26:38.279 of broad appeal, the subtle observation, the 00:26:38.279 --> 00:26:40.539 likable matter of fact delivery. It all comes 00:26:40.539 --> 00:26:42.799 together to explain this really impressive decades 00:26:42.799 --> 00:26:46.109 long career. It really is a case study in adaptability, 00:26:46.390 --> 00:26:48.190 intelligence, and building connection through 00:26:48.190 --> 00:26:50.150 thoughtful humor rather than just chasing the 00:26:50.150 --> 00:26:52.890 loudest laugh. He really has shown this amazing 00:26:52.890 --> 00:26:55.410 ability to create community, like he said, through 00:26:55.410 --> 00:26:57.930 comedy, navigating all these different cultures, 00:26:58.150 --> 00:27:00.710 making points subtly without shouting people 00:27:00.710 --> 00:27:02.509 down. Yeah, it's quite something. And it makes 00:27:02.509 --> 00:27:04.869 you think, doesn't it? In a media landscape that 00:27:04.869 --> 00:27:08.029 often rewards the loudest voice, the most aggressive 00:27:08.029 --> 00:27:11.859 take, the super -niche focus. What's the real 00:27:11.859 --> 00:27:15.019 lasting power of a comedian like Perkins? Someone 00:27:15.019 --> 00:27:18.759 who champions universal appeal, nuanced observation. 00:27:19.660 --> 00:27:22.160 What power does that approach truly hold for 00:27:22.160 --> 00:27:24.420 actually bringing people together, maybe finding 00:27:24.420 --> 00:27:26.799 common ground? And what can we learn from his 00:27:26.799 --> 00:27:28.880 way of doing things, finding that shared space 00:27:28.880 --> 00:27:31.000 through laughter? That's a really good question 00:27:31.000 --> 00:27:33.240 to sit with. What is the value of that quieter, 00:27:33.500 --> 00:27:35.500 more connective voice in today's world? Yeah. 00:27:36.259 --> 00:27:37.640 Something to definitely mull over.