Zach sits down with comedian Roy Wood Jr. to discuss Black comedy and the impact of the coronavirus on our working routines. They talk about their shared experiences as Black fathers, and Roy explains some of the difficulties he experiences working from home in the wake of COVID-19. This episode is explicit, so listener discretion is advised!
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Zach: What’s up, y’all? It’s Zach with Living Corporate. Really excited for this episode. You know, you probably noticed this week we had two big episodes. We had Ken Miller, CEO in the healthcare industry, and now, you know, we’re about to bring you another incredible episode with Roy Wood Jr. Roy Wood Jr., y’all know who Roy Wood Jr. is, man. I mean, if you don’t, I’m about to read this crazy bio. I’m gonna read the entire thing. Shout-out to Roy Wood Jr.’s team. His comedy has entertained millions across the stage, television and radio. In addition to stand-up comedy, producing and acting, Roy is currently a correspondent on Comedy Central’s Emmy & NAACP Award winning The Daily Show with Trevor Noah. During his tenure, he has used The Daily Show’s brand of satire to shed a light on serious issues like Chicago gun violence, police reform, LGBTQ+ discrimination, ICE deportations and PTSD in the Black community. Wood’s recent credits include guest starring roles on the Netflix comedy series Space Force, the AMC series Better Call Saul, and The Last O.G on TBS. Roy expanded his already large role on Comedy Central with a comprehensive “first look” deal and is developing his comedy pilot ‘Jefferson County: Probation.’ In addition, he recently created the Comedy Central series “Stand-Up Playback” in which his fellow comics revisit vintage clips of them performing and see if their old jokes still hold up. Roy also wrote and starred in the Comedy Central web series The Night Pigeon, the story of a Black superhero with minimal powers fighting the biggest baddest gang in his community, The Gentrifiers. Additionally, Comedy Central is committed to produce and air Roy’s third one-hour standup special. His second special, Roy Wood Jr.: No One Loves You, premiered as part of Comedy Central’s Stand-Up Month in January 2019, the network’s highest rated original stand-up premiere since his February 2017 one-hour, Roy Wood Jr.: Father Figure. In 2017, he was also named the new host of Comedy Central’s storytelling series, This is Not Happening. Roy is a graduate of the Florida A&M University with a B.S. in Broadcast Journalism. True to his roots, he is a strong and outspoken advocate for reshaping the image of Alabama and the American South as a whole. In 2018, he penned a New York Times piece on the subject. He is actively working with the Birmingham City Council and the Film Commission to bring more entertainment jobs to the state. During the pandemic, Roy has spent time raising money for the staff of his hometown comedy clubs in Alabama through tipyourwaitstaff.com and Laugh Aid. In October 2006, he made his network television debut on the Late Show with David Letterman. In 2008, he appeared on HBO’s historic Def Comedy Jam, and in 2010 he was selected by America as one of the top three finalists on NBC’s Last Comic Standing. He has appeared on The Late, Late Show with Craig Ferguson, Conan, The Tonight Show Starring Jimmy Fallon, Late Night with Seth Meyers and The Late Show with Stephen Colbert. He has also performed for the troops on numerous USO tours in the Middle East and the Pacific Islands. Prior to The Daily Show, Wood co-starred for three seasons on the TBS sitcom Sullivan & Son. Listen, I read that whole bio. I want you to check this out, okay? We didn’t cut this show. It’s explicit. We cussin’ in there. I’m not cussin’, so Mom, please don’t–please, y’all, don’t get me. I’m fine. I’m not cussin’, but we did say “nigga” a lot. Ooh, this might be the first time we’ve said “nigga” on Living Corporate. But listen, I just need y’all to just prepare yourselves, okay? So there’s some listener discretion advised if you’re sensitive to that type of language, but I think it’s also really important for you to understand how Black folks talk. Some of us, not everybody. Everybody don’t say nigga, but I say it often. Let me just go ahead and be transparent. I say nigga a lot. I feel it is liberating, and it affirms me as a person. There’s plenty of thought pieces about uses and variations of the N-word within the Black community. You should educate yourself on that. Maybe we’ll talk about it another time on Living Corporate with some type of like, I don’t know, professor of Black studies or some linguistic person or–I don’t know, we’ll figure it out, but I just wanted to let y’all know that I’m really excited about this episode. Stay tuned. Here it comes. Peace.
Zach: Roy, man, it’s an honor. Welcome to the show. I feel like this is a loaded question, but I’ma ask anyway. How are you doing these days?
Roy: I’m doing about as decent as I can, you know, considering these quarantine times that we’re living in. You know, that’s it, man. You know, we makin’ it. We makin’ it.
Zach: Right, and we’re gonna get to that a little bit about, like, just the working from home dynamics a little bit later in the conversation, but I’ve been asking folks this fairly regularly, especially people in my Gen X cohort–you know, I’m not calling you old, I promise, but I think it’s important–
Roy: [laughs] Nah, I’ll wear it. It’s fine.
Zach: Okay, okay, cool. So, like, regarding the protests and the collective call to consciousness around anti-racism, like, you know, you were around during the Rodney King protests. Like, have you ever seen anything like this?
Roy: Ooh, no. No. I mean, for Rodney King though, just to give some perspective, that was my freshmen year of high school, and there definitely wasn’t any real rioting going–there was some rioting and protesting in Birmingham. I only remember that because I have an older brother, at the time he was a news anchor, so I just remember his coverage of a lot of that stuff. I’m trying to think, man. I don’t think there’s a time that’s like where we are now in terms of the ripple effect. I’m also feeling like for the first time, as a Black person, feeling heard to a degree. Like, I think that’s the biggest issue.
Zach: I think what’s also been really unique in this moment is, like, seeing so many white folks get beat on camera by the police. I don’t–
Roy: Oh, yeah. Them white folks. Oh, yeah. I’m trying to think. Yeah, white people getting beat in record numbers, but that’s coming because they’re trying to protect Black people. If you’re trying to protect niggas, you might have to take this billy club. And them white people is like, “Go ahead!” Did you see the white lady butt naked in Portland a couple weeks ago? Man. Just Google “butt naked white lady Portland protests.”
Zach: She was out there–
Roy: Man… as they would say in the Black community, “Bust it wide open.”
Zach: Oh, no… I gotta check it out, but, you know, that’s an important part of allyship. I mean, like, even with that in mind, like, there are a lot of white folks out here putting their capital on the line, you know what I’m saying? It’s wild to see, especially in this scope and scale. So okay, let’s get right into it. You know, your career started over 22 years ago, right? How would you describe, like, the collective shift that Black comedy has taken since you got started regarding, like, mainstream consumption? Like, is there anything surprising as you kind of look across the landscape today?
Roy: I think that there’s more diversity in the voices of Black comedians. I don’t think it’s fair to even say Black comedy is restricted to creatives whose origin points are solely in the performative arts. Issa Rae didn’t start in standup or improv as far as I know. Standup for sure she didn’t, improv I don’t know, but I would consider her a part of the Black comedy diaspora and what they’ve done over there. That show doesn’t get made 20 years ago. I feel like a show like Blackish–like, I think the biggest shift is that there’s been a bigger trust in having creators tell the story instead of sort of a network coming in and going, “Hey, we just want to give you a show and plug you in it,” you know? I think that someone like Kenya Barris, who dabbled in standup early on but really made his name as a writer. You know, this brother’s able to bring a bunch of different comedic voices and a lot of different comedic content out to the world, and so, you know, I think the biggest change in Black comedy is that Black comedians aren’t the only gatekeepers of what is funny, you know? You got the young bucks too, you know? A lot of–if this was 10, 15 years ago, a nigga like DC Young Fly woulda had to wait his turn, as they say, you know? Waited, “Do enough standup and then somebody will put you in the show, and then–” No. That boy picked up his phone and, “Fuck you mean just wait?” Into filming television, you know? “Y’all not gonna ignore me. I’m out here. I have an audience,” and it’s he who has the audience that has the power. [The streets?] don’t care where the jokes come from. They just wanna laugh. So if you’re out there and you’re funny and you find the people who agree, you’re gonna have a career, and if you’re nice you’re gonna have a long career, you know? So I think that there’s a real element of–I don’t know how to put it. I just think that there’s more variety, you know? A Black lady sketch show on HBO, you know? There isn’t a single comedian in that cast. Not a standup I think. I would have to check and ask around about Quinta B, but as I recall Quinta B comes from improv. Very funny woman. Ashley Nicole Black is an amazing writer. You know, Gabrielle, like, always been an amazing actress. Can do comedy, can do drama. Robin [?] is an amazing comedic mind, you know? She’s been writing–like, her pedigree on the writing side, the comedy writing side of the game, that’s a 15-year… I don’t want age her, so I’ll say 10-year, that’s a good 10-year run, you know? I don’t know, but her name is rang out with any of the bigger names in comedy. That show probably doesn’t get made 20 years ago, or they would take Robin’s show and go, “All right, but we gotta put in Monique or [?] or someone who’s more forward-facing and prominent, because then we believe people will watch it,” where as now networks are like, “Fuck it. If it’s Black and it’s funny, it’s gonna go. We don’t care whether or not the faces are familiar.” Get to know us. There ain’t a nigga on Insecure that was a household name before that show with the exception of Amanda Seales. Yvonne was doing–and I say this lovingly. You know, Yvonne Orji, that’s the homie, and she was doing comedy, she was doing standup, but the level of prominence that they had when they got cast as leads on that show comparative to any sitcom you can name in the Black comedy diaspora from the 70s until, like, Martin, you had to have already been a star somewhere else to get the shot, where now if you’re talented and it’s a good idea, “We’re gonna take a chance on you,” and I think that’s the biggest difference, you know, that I’ve seen. A show like Atlanta doesn’t get made 20 years ago. It’s too specific. And they wanted Black comedy to be broader. Black comedy has always had to be this broad thing where now it’s like, “No. It is a show about three niggas in Atlanta and their daily struggles.” But what’s the theme? “Hey, there might be an alligator in one episode. There might be a nigga in whiteface whispering in another episode.” But yeah, that only happens if you have network execs that are bold enough to get out of Black creatives’ way and let them tell the specific stories that they want to tell, and that’s what’s finally starting to happen, you know, all over the place, you know? So I know that was a long ass answer, but you asked, so… [laughs]
Zach: No, I did. I appreciate it. Thank you. [laughs] To that point though about the execs, like, there are a few different articles right now discussing Comedy Central’s programming shift in the content that centers more Black and brown voices, stories and perspectives. Like, do you think I’m overstating that your work on The Daily Show, along with Dulce Sloan’s and Jaboukie Young-White and Ronnie Chieng have helped to influence that? Because I feel as if–and the reason I ask is when I think about when Trevor Noah took over for The Daily Show, I mean, I would watch [it] before, but when he took over it was just like–I kind of looked up one day and I was like, “Man, there are a lot of Black folks on The Daily Show.” Like, a lot–
Roy: Yeah, Trevor snuck ’em in. He snuck ’em in one by one, yeah, then you look twice and you’re like, “Wait a minute, where’d all these Black people come from?” I think that the network–The Daily Show has been a great incubator of talent as a franchise full stop. So as Trevor diversifies the show, Comedy Central ain’t dumb. “Let’s start working with these folks to do more stuff with them.” So that’s been the cool part of it, you know, is if you can get your foot in the door with The Daily Show–I’ve had two hour specials with the network. Respectfully, I couldn’t get two hour specials with Comedy Central before I got on The Daily Show, and I know because I tried. So there’s a different world, just different opportunities open up to you once somebody’s able, once you get a look. Half of Black entertainment is just a bunch of talented niggas waiting for somebody to throw ’em the oop. That’s it. And once you get thrown the oop, look at all these slam dunks that’s comin’, that’s just been coming down the pipe in Black comedy in the last 5 years. So, you know, Dulce steps in, Trevor threw the oop, boom, now she’s working on a half-hour. Dropped a half-hour comedy special. Jaboukie’s been writing on animated shows and doing his thing in LA, and Trevor threw him the oop. Boom. Comedy special for him. So there’s a lot of other opportunities, but then I think as–I also think part of it is maybe jealousy from network to network. You don’t want to be the one to miss out. “Oh, they got some Black shit. Shit, we need to get our Black shit.” Now, man, if I could tell you–I can’t, but if I could tell you all of the shows and the diversity inquiries that have been coming down the pipeline since the George Floyd and Breonna Taylor protests started, you know, just with regards to people–even if it’s just performative diversity, fuck it. I’ll take that.
Zach: It’s an opportunity though.
Roy: Yeah. “Hey, Roy. We’re looking for Blacks. Do you know any Blacks that can work on our show?” Man, I been recommending niggas left and right for the past month and a half, most I don’t even talk to no more. Like, bro, I’m out of Black people. Like, I gotta recommend Black people who I know don’t even fuck with me no more, but you right for the job, and I want you to eat because it’s a victory for everybody. Ain’t no hate in my heart when it comes to making money or watching somebody make money.
Zach: Right. I think that leads me into my next question, because there was this article I read today in Black Enterprise about–and it was a critique from a Black lawyer–about how Black Hollywood has a responsibility to have more Black representation within their teams, right? So first of all–
Roy: Oh, yeah. Jaia Thomas, the lawyer. Yeah, yeah. I read that.
Zach: So first of all let me ask you – is it fair to say you’re a member of Black Hollywood, and then two, what has been your approach to how you even, you know, hire folks for your team on the behind the scenes stuff?
Roy: Huh. Am I a part of Black Hollywood? Yes, full stop. I almost said some shady shit. I ain’t gonna say nothing. I’m gonna be respectful. I’m a part of Black Hollywood. Here’s how I put it. If Black Hollywood was the cafeteria in high school, I wouldn’t be at the cool kids table. But I’m in the cafeteria, so shut the fuck up. Be blessed and be thankful. Fine. My approach to diversity is it has to be deliberate. I’ve tried as much as I can when I’m on the road as a touring comedian to take a Black woman comic with me. That choice is usually dictated by the number of tickets you sell in a market in markets where I’m not as popular. I don’t have the leverage, so I’m not gonna sit here and act like I’ve done it every single time, but about 85% of that time, yes, I try to do that. The wonderful, wonderful, highly acclaimed Nina Shaw, Black attorney on the team. Part of the reason why I switched agencies to where I am now was because of diversity, and there was a little bit more diversity on the team that was presented to me at William Morris, and so that was very important to me as I started getting into a place at Comedy Central where I wanted to start selling more television programs, and some of this stuff is specifically Black, and you need someone on your team that understands that. It’s just an ease of execution. So having that mix on the team, that’s all beneficial, and I think more importantly for me is that I was able to benefit from being with a creative partner in Comedy Central who understood this importance for diversity. You know, I’m talking two, three years ago, man, before everybody was, you know, priding and preening around. I shot a pilot for Comedy Central where I play a probation officer. It’s a project that’s still in development, but Comedy Central made me roll that bitch straight to Birmingham, and we shot a network television show–we shot an episode of a network television show in fucking Birmingham, Alabama. That’s… I can’t even overstate how unprecedented that is. There’s film production in Alabama, but not a lot of TV. Not scripted. So that’s jobs. We shot in the middle of the Civil Rights district. So when the conversation about staffing came up, you know, we’re talking 13, 14 roles on the show, everybody Black. Black woman director who went and got a Black cinematographer who went and got a Black VP [?], like, just straight diversity through and through, and that was something that Comedy Central never pushed back on, you know? It’s one of those things where, you know, you throw somebody the oop–somebody threw you the oop, so you gotta throw the oop to somebody else. And so I think that’s the biggest part of it, you know, and I read that article from Attorney Thomas in Black Enterprise, and I really think that she makes a lot of fair points, because a lot of the power and leverage and control in Hollywood and what gets greenlit comes from that executive side that is still disproportionately white. You just have to be able–the unfortunate thing that most minorities are pushed into, if you’re in Black Hollywood but you’re not powerful enough yet. I’m not powerful enough yet. I’m not Will Packer. I’m not Lena Waithe. I’m not [?]. I’m not Kenya Barris. So when you’re not powerful enough yet, you have to fight harder to get people in there to actually do the job for you, and a lot of people won’t listen to you. They straight blow you off. They’ll play you to the left, you know what I’m saying? So there’s this contingency, and when you say Black Hollywood you’re including the whole cafeteria, but really that shift has to start with the cool kids table, with a lot more people who have the power, and a lot of those people in power, they are making those changes. So that’s been the cool thing to see, but when we talk about the overall critique of it, just because you’re in Black Hollywood doesn’t means you have all of the power and leverage just yet. Thankfully I had the leverage because I was with a partner. You know, my show was at a network–I don’t know if any other network would have agreed to shoot a television show in Alabama and straight give me all of the inclusion that I was asking for in 2018. They’ll do it now because they don’t wanna get they ass roasted, but in 2018 I was shocked. Like, I was legit shocked. I was like, “I want to shoot it in Alabama, and I want Black people and real Blackness! And I’ll have Black caterers and Black locals and Black actors, and we’re gonna hire and we’re gonna bring jobs! I want interns to be Black and gay and [?],” and they was like, “Cool.” “…Okay. Well, motherfucker, I want a Black woman director! What you think about that?” “Yeah, fine. We’ll get you a list. You can choose and go do meetings and meet and choose one.” “Oh… okay. Well, then, let’s start. Let’s start production then.” I went into that bitch charged up, bro. I was ready for a fight.
Zach: You were ready to demand, and that’s a pleasant surprise though. So look, Roy, we’re both now comedians. I have a pilot and stuff I’m writing on, but we’re both–so different spaces, but we’re both fathers. I’m curious, how has it looked for you to manage your time with a toddler and managing such a high-visibility profession and kind of time in your career? Like, what has that been like?
Roy: Um… good creative, good father, good boyfriend. Every day, choose two. That’s pretty much the deal, you know? Every day I know I can do two of these really well. One of them I’m going to suck at, you know? And that’s just what it is. I really underestimated how traveling for standup comedy gave me the alone time I needed to create content. So I struggle sometimes with being alone or trying to be alone, because I have people in my space that I can’t ignore because they mean a lot to me. So you can’t just–you know, your kid’s sitting there coloring, doing backflips, and you’re like, “Shut the fuck up! I’m trying to type this shit!” You can’t do that. So I’ve learned how to budget–I’ve literally learned how to partition my day into activities that can be done in his presence versus the ones that cannot, and so the stuff that I know–like, if I’ll catch myself at 11:00 at night doing something I know that I could do around him, I’ll switch to a different activity so that I could spend time and kind of burn the candle at both ends, but, you know, it’s hard. It’s not–this is not ideal. This is not the way that I’ve ever created anything in 20 years, so it’s an adjustment. So you’re trying to decide constantly, “All right, well, I need to write.” Let’s say the goal tonight is to write 10 pages of a script. I got a couple of hours. Can I knock out 10 pages? Let’s see. Well, if I’m trying to do that around them all day and it takes 3 hours, I know if I’d have had solitude I could have done it in an hour and a half, you know, or two hours. So then it’s like, “Well, I’ll just wait ’til tonight,” but then now you’re not sleeping regularly enough. So now you’re groggy around him and her and ain’t nobody getting anything done, so that doesn’t help anyone. So, you know, it’s interesting. It’s very interesting.
Zach: I mean, let me push a little bit. Like, you kind of alluded to how it’s impacted your comedy or how you do the work you do. Do you ever feel anxiety about the world you’re raising your child in? ‘Cause, like, I’m struggling with that right now, and I’m still trying to–so my daughter’s 4 months old, and I’m still trying to deal with–
Zach: Yeah, man. So I’m just trying to deal with the anxiety of–first of all, of course I’ve been Black my whole life, right, similar to you, so these challenges and anxieties aren’t new. They wouldn’t have not been here before, but I think with everything happening–you got a pandemic, plenty of people that I know and love have, you know, contracted COVID, so I’m curious, like, if you have those same anxieties considering everything happening in the world as a parent.
Roy: Yeah, I definitely have some level of fear of what type of world I’m preparing for. I’m trying to make sure he’s not completely unarmed. The biggest thing I struggle with right now is how soon until I have to make my son aware of his Blackness. You know, we’re already working on temper tantrums and how to behave in class, because I feel like, you know, Black kids get unjustly disciplined more, you know, stuff like that. So it’s definitely a concern, but I think the thing that I’m trying to teach him more about is not necessarily how to solve these problems but how to manage his emotions around these issues, when you get frustrated, when you get angry, how to hold on, how to keep believing, how to continue to fight. That’s gonna be the most valuable weapon that I can give my child, because that’s what he’s going to need by the bucket loads, resolve. “When the police do this do this, and then do this, and then when they tell you this–” Okay, fine, but what if a cop still punches you in the mouth?
Zach: Right. You could do everything perfect. Then what?
Roy: Yeah, and then what? And that’s where trying to manage emotions–that’s where all that comes into play.
Zach: I feel like there’s a certain level of absurdity that we’re in right now, that–like, honestly, Roy, there are things that would be funny to me if they weren’t simultaneously so sad and terrifying. I know that, you know, The Daily Show–I mean, y’all do a phenomenal job, of course, at, like, pointing out the absurdity and laughing at it, and I think of course there’s a certain level of performance to that. I’m curious for you, like, how do you even keep joking in times like this, and has there ever been, especially right now, moments even when you’re kind of, like, writing a script or getting ready for the show that, like, you’re frustrated? Like, what does that look like right now?
Roy: I think on the days where we aren’t in a mood to laugh, more than likely America’s in the same place. So if that’s the case, I think you tap into the outrage of what people are feeling, you know? You’re not always going to land every single joke, and sometimes there isn’t a time for a joke. Sometimes there’s just time for a conversation and a discussion. We were off for the first two weeks of the George Floyd protests, and when we came back, those first two episodes, there were not a lot of jokes. It was just real talk and honest conversation, and I think that was the right thing to have at that time. I think we did a panel on that Tuesday back as well where we just dialogued, and I think that was the right choice, you know? I don’t think we’re ever in a place to always be funny. I think we’re always in a place to add levity and, you know, analysis and reason, and sometimes that’s just from a controlled conversation and sometimes that’s from jokes. Most of the time it’s from jokes, you know, but I think that knowing that, you know, a lot of people turned to us for that. You know, I think that a lot of people, you know, watch The Daily Show to laugh, but I think there’s even more people who watch it just so that they can know for sure that they’re not alone in feeling the way they feel about the world, and if you feel a little less alone at the end of an episode, we did our job.
Zach: I love it, man. You know, you talked a little bit about time to jokes and time to not. I mean, I’m really curious, as a comedian with the commentary you have, are there jokes that you can let fly now that you know you wouldn’t have got off, like, 3 or 4 years ago?
Roy: Ooh. Well, it’s hard for me to say because I was doing stuff 2, 3 years ago that I felt, you know–like, cats was reposting my stuff about… like, I had a joke last year on my hour-long special about getting rid of the National Anthem ’cause it’s got a whack beat and we should be singing Bruno Mars as a country, and so when the anthem debate kind of popped up, that was one of the first jokes that I saw recycled, you know, online. I’ve always been trying to fire away, you know? I do think that the trick now–I think a better way to answer your question is I can be a little more angry in my material now and it’s okay, ’cause you know that we’re angry, where as before I had to smile a little bit more when I talked about shit that I was angry about. I always felt this impulse where, “Well, I don’t want to make ’em uncomfortable, so let me show ’em a little teeth. I’ma still talk about police reform, I’ma talk about some heavy shit, but I’ma try to smile every now and then.” And now I just don’t. If I don’t want to I don’t have to, and it’s okay. And I really believe that that’s probably the biggest difference between pre- and post-COVID comedy is that we have the freedom and autonomy to be upset. Kind of like–it’s similar, and I don’t know if enough people tracked this but I did because I’m a comedy nerd, but it’s similar to what happened around the rise of the #MeToo movement with a lot more women comics being much more outspoken on stage with their material and feeling confident and going, “Nah, this what the hell I’ma talk about, and this is what y’all gonna sit here and listen to.” The freedom to be angry is something that, you know, I think is a beautiful thing.
Zach: It is, and I’ma tell you, like, that freedom that you’re talking about, it translates into the corporate world too, right? So I’m in consulting, and so there’s much more space I feel like I have than I’m quote-unquote “allowed to have” without immediate retribution. We’ll see what happens with this whitelash, man. I’m still not trusting it. I don’t know what’s gonna happen in the next 6 months, but for right now we’re able to speak, you know, our minds a little bit. So no, it is a beautiful thing. Look, Roy, this has been great, man. You went over time with me. I appreciate you.
Roy: It’s all love.
Zach: I feel it. Before we let you go, man, any parting words or shout-outs?
Roy: Nah, man. I appreciate you for doing what you’re doing, and just keep bringing some good shit to the folks, man. When I got my little podcast and all my stuff off the ground, man, I’d love to call back in and check in with you.
Zach: Oh, man. I’ma hold you to that.
Roy: All right, man.
Zach: All right, now. Talk to you later.
Roy: Yeah, have a good one.
Zach: Peace. All right, y’all. That’s been Living Corporate. Man, that was a really laid-back, real conversation. First comedian we’ve had on the pod, and I look forward to catching y’all next time. Until next time, this has been Zach. You’ve been listening to Roy Wood Jr., comedian, speaker, leader. Peace.