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美国国家公共电台 NPR Comedian Neal Brennan on Stand-Up, Chappelle's Show and PC Culture

时间:2018-11-21 06:12:46

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ROBERT GARCIA, HOST:

What's up, everybody? Peace. Just heads up, there may be some strong language in this episode.

ADRIAN BARTOS, HOST:

Ooh (ph) - some bad words.

GARCIA: (Laughter).

NEAL BRENNAN: I did a show on the Lower East Side. It just felt like an inner-city lunchroom. And I felt like the white substitute teacher. I heard a kid at one of the tables go, yo, were you scared? That's the worst heckle because he heckled my soul.

(SOUNDBITE OF JAMES BROWN'S "CHASE")

BARTOS: Hey, everyone. This is Stretch Armstrong.

GARCIA: My name is Bobbito Garcia, aka Kool Bob Love.

BARTOS: You are now listening to WHAT'S GOOD WITH STRETCH & BOBBITO.

GARCIA: ...BOBBITO. Word up. And our guest this week is Neal Brennan.

BARTOS: Yes, this extremely funny man is best known as the co-creator of the legendary1 "Chappelle's Show."

GARCIA: Word up.

BARTOS: He executive produced Chris Rock's 2018 special, "Tamborine."

GARCIA: Hoo-hah (ph).

BARTOS: He directed "Inside Amy Schumer."

GARCIA: (Laughter).

BARTOS: He is that guy that a lot of the best-known comedians2 in the world ask, yo, is this funny?

GARCIA: Right. And he's also a stand-up comedian3 and has been doing that for some time and is really pushing that on tour, right now, with a show called "Here We Go." (Singing) Here we go. Here we go. Here we go. Here we - here we - here we go.

BARTOS: (Singing) Here we go. Here we go. Here we - here we - here we go.

GARCIA: Neal Brennan and Stretch and Bob.

BARTOS: Dom-diddy-dob (ph), diddy-diddy-dob-dob (ph).

GARCIA: (Laughter).

BARTOS: I got to see him at Radio City for Chappelle's run that he had last year. And yeah, he really brought the house down.

GARCIA: He did.

BARTOS: He's - you know, people know him as the dude behind the scenes...

GARCIA: Yeah.

BARTOS: ...But he's going to be known just as much as the dude behind the mic.

GARCIA: Right. Did you sit in front?

BARTOS: Yeah. Yeah (laughter).

GARCIA: Well, I was at - I was invited to this "Chappelle's Show" second season first taping, and I was seated in front. And I was like, why am I up here? Because you know, these stand-up comedians, they - in between the acts, they would have somebody come out. And I was like, oh, man, my hairline is looking busted4. Like, they're going to look at me. Like, did Neal - was he cracking jokes on people in the crowd?

BARTOS: No. It was Radio City, and he had a spotlight5 on. It was dark.

GARCIA: Got you.

BARTOS: But listen, I know what you're getting at. Because when you used to work at Def Jam, and I interned6 at Def Jam, you know, we'd get invited to "Def Comedy Jam" back in the early days.

GARCIA: Yeah. Sure.

BARTOS: And you know how it was of - like, if you were a white dude in the audience, you were getting got, right?

GARCIA: (Laughter).

BARTOS: Right or wrong?

GARCIA: Yeah.

BARTOS: I remember one time I was in the balcony, in the second row, and I still got it.

GARCIA: Word?

BARTOS: Yeah.

GARCIA: (Laughter) All right. Coming up next, your boy, Neal Brennan.

BARTOS: Neal Brennan.

(SOUNDBITE OF MUSIC)

BARTOS: And we are back. We are joined by a very, very, very funny dude, comedian, writer, producer...

BRENNAN: Yo, I direct, too. I direct also.

BARTOS: And director. Excuse me. I knew there was one - hold on. Let me check...

BRENNAN: Thank you. Thank you.

BARTOS: Let me check out these cards.

GARCIA: (Laughter).

BARTOS: Yeah. No. It doesn't say it.

BRENNAN: Thank you, Stretch.

BARTOS: It doesn't say it there. Excuse me. Neal Brennan, welcome to WHAT'S GOOD WITH STRETCH & BOBBITO.

BRENNAN: Thank you.

(LAUGHTER)

BRENNAN: Yes. Good to - good to talk to both of you. This is how old I am, Stretch. I saw you DJ - this sounds like a 2000s Mad Lib - but I saw you DJ the Beastie Boys' 9/11 concert at the Bowery Ballroom7.

BARTOS: At Hammerstein Ballroom.

BRENNAN: At Hammerstein, yes.

BARTOS: Not Bowery Ballroom. Yeah. That - Hammerstein's a little more impressive than Bowery.

BRENNAN: Yeah. Yeah. Yeah. At Hammerstein. Yeah. You do big - you only do the best ballrooms8. Yes.

(LAUGHTER)

BRENNAN: Nothing but the best ballrooms.

GARCIA: Neal, you were a writer on the "Chappelle's Show." You've directed TV - "Inside Amy Schumer." You're doing stand-up now. You did stand-up back in the day. I'm curious about the return to stand-up and this current Neal Brennan.

BRENNAN: Well, I didn't really do it back in the day. That's the thing. It's like I did it a little bit during "Chappelle's Show," then I didn't for, like, three years. Then I started, like, in earnest in 2007 because - the thing when you're in, like, showbiz or whatever you want to call it - especially when I was writing and directing - so much of it is pitching ideas and them getting rejected. And you kind of go, like, I'm pretty sure I'm funny.

(LAUGHTER)

BRENNAN: Like, I feel like I'm funny, despite the fact that I keep getting rejected by people less funny than me. So it was fun to be able to go on stage at night and go, like, oh, right, I am funny. And then it took a few years to sort of get up to speed and get good at it.

GARCIA: Had the preparation of being the producer, director - how well did that fuel you being on stage in terms of your confidence on - you know, to deliver in front of a live audience? Because it's a complete different experience being, you know, in a boardroom.

BRENNAN: Yeah. I mean, you got to - your body has to get used to it. Like, your body has to get used to being in front of people. Like - and you have to be like - you have to be kind of a ham, you know? Like, the thing about writers is they're generally self - comedy writers - self-loathing, sort of play small. And as a, like, performer, you have to think like a comedy writer but act like a performer.

So, I mean, you see it in hip-hop all the time. Like, there are guys that - Swizz Beatz or - you know, the best example being Kanye. The first time he did TV was on "Chappelle's Show." and the first two takes, he had his head down, looking at his shoes, and I - before the third take, I was like, Kanye, you got to pick a camera and play to it. And I said, on some hip-hop shit.

GARCIA: (Laughter).

BRENNAN: You know, if you watch, like, the - one of the - whatever - the "G Thang" video, Snoop's shy, like, and Warren G is shy. Like, they're kind of like - Warren G, like, looks at the weed, and he's kind of like - they're not commanding. They don't really own what they're doing. And Kanye kind of suffered from that on the - when he did - him and Common did "The Food" on the "Chappelle's Show."

GARCIA: You want to hear something crazy? Michael Jordan, in his first commercial with Spike9 Lee, has no lines. Because at that point...

BRENNAN: Michael Jordan didn't have a lot of lines in those commercials at all. Even in "Space Jam" he doesn't have a ton of lines.

GARCIA: Right. It took him a long time to break out of that and feel like the commanding presence. I mean, I think that's just human nature, especially if you're...

BRENNAN: Yes.

GARCIA: In a comedy club aspect, I would think it's - you know, it's kind of like playing ball at West Fourth Street, where you know there's going to be hecklers on the sideline, and you know, you're going to get called out if you're wack.

BRENNAN: Yes. Yes. And I - and thank you, Bobbito, I was.

GARCIA: You were wack.

BRENNAN: I was called out for being wack.

GARCIA: At West Fourth Street or at the comedy club?

(LAUGHTER)

BRENNAN: I did a show - and you were right to heckle me, Bobbito. No, I did a show on the Lower East Side, like 2008 or something, or 2007. And it was really dark. It just felt like an inner-city lunchroom. It was, like, just midnight. And I felt like the white substitute teacher.

(LAUGHTER)

BRENNAN: And I went in. And I heard a kid at one of the tables go, yo, are you scared? And I was like - and in my head I was like, yeah, I am scared. They could tell that I was scared.

(LAUGHTER)

BRENNAN: I got through it. But that's like the worst - that's the worst heckle because he heckled my soul, you know what I mean? Like, it wasn't like, your shirt is wack. It wasn't like...

GARCIA: Right. Right.

BRENNAN: He saw - he really saw me...

GARCIA: Yeah.

BRENNAN: ...And really, like, hit me in a very damaging way that, even 11 years later, I think about it.

(LAUGHTER)

GARCIA: So I guess that wasn't your best performance ever.

BRENNAN: That wasn't great. But no, no, no. But here's the thing. He said it before I even said anything. That's what was so buckwild (ph) about it.

(LAUGHTER)

BARTOS: Oh, my God. Wow. Neal, what year did you get to New York?

BRENNAN: I got there in '91 for NYU film school.

BARTOS: Got you. And...

BRENNAN: Which I subsequently dropped out of after a year.

BARTOS: Yeah. Well, we have that in common.

GARCIA: Whoops10.

BARTOS: I dropped out of Columbia to become a DJ.

BRENNAN: I'd said this yesterday, like, school is a list of books that they tell you to read. That's what school is. And then you read them, and they go, what did you read? And you go, I don't know. And then they explain it to you.

BARTOS: (Laughter).

BRENNAN: So just get the list of books, and save yourself $100,000. You really can. Like, kids, are you listening?

(LAUGHTER)

BRENNAN: Like, you really can help yourself and save yourself a lot of money.

BARTOS: So while you were at NYU, you worked at a comedy club, right?

BRENNAN: Yeah. I worked the - it was called the Boston Comedy Club, in the Village on West 3rd.

BARTOS: And was that because you needed money, or you just really wanted to be around comedy?

BRENNAN: I - well, my brother's a comedian, and I just liked comedians. And also, it was like, I'd be around film students during the day and then comedians at night. And I was like, film students are the biggest jerk-offs in the world.

(LAUGHTER)

BRENNAN: Like, the most pretentious11 douchebags in the world. And then I'd go to a comedy club, and it would literally12 be, like, 18-year-old Chappelle, 24-year-old Jon Stewart, 24-year-old Marc Maron, 22-year-old Louis C.K. Like, and these - none of them were famous or popular, but they were all, like, funny. And I was like, these - I like this better. So I subsequently dropped out and started working the door for, like, no - for, like, $235 a week.

But it was a good time. It's one of those things where you look back, and it was a - it was a crazy time, and I'm grateful for it. But it was more about just, like, developing bonds with dudes. Like, I'm still - I still have friendships from that time.

GARCIA: Were there any women up-and-coming, emerging comedians on the scene?

BRENNAN: Sarah. Sarah Silverman.

GARCIA: Oh.

BRENNAN: So yeah. Like, I've known Sarah since she was 18 and I was 16 or something. Like, I've known Sarah so long, she was the first person that noticed when I started having hair on my face.

GARCIA: Wow.

BRENNAN: She was like, oh, my God. Are you shaving? Like, I've known her so - I've known her that long, since puberty.

BARTOS: Wow. Amazing.

BRENNAN: Yeah.

BARTOS: So I've heard you talk about how, as the door guy at the Boston Comedy Club, you used to offer improvements on how comedians might deliver their lines and offer them, you know, suggestions on how they might tweak something.

BRENNAN: Yes.

BARTOS: Unsolicited.

BRENNAN: Unsolicited.

BARTOS: Of course. Why would anyone ask the door guy, how can my act be better?

BRENNAN: No, of course. And, dude, I was shaggy. If you want to see some idea of what I looked like, I posted on Twitter a clip from - I was on the - I wrote for the sketch13 show "All That" a couple years later. Like, so '92, I'm working the door. '95, I work for "All That." There's this - I'm in a sketch with Kenan Thompson. And I look like a greasy14, grungy dude. And that was when I started making money. So you can imagine what I looked like when I was working the tour.

And I had - but I was pretty funny, so I could - I gave people - I gave Dave - most notably15, Dave - suggestions. And he was like, I can't - that's good - and he would use it, and it would work. And that was like, you know, amazing because just to get, you know, even though it wasn't - it was - sometimes we'd be on TV, like he did a joke we kind of came up with together on "Def Jam." That was super cool.

But, you know, you know those like little breaks you get when you're like - when you're at that stage in your life or career where you're like, it means the world to you? Like that, that was a lot of that period. That's still the same job I have. That's one of the things I do now. It's like I still do, you know, I'm doing stand-up. I'm on the road doing tours and Netflix and all that stuff.

But I help - I helped Rock with his last special. I helped Ellen DeGeneres with her new special that's coming out. That's kind of my job as a director if I direct tv shows or movies or commercials. Like, I'm basically saying like, hey, you know what you should say? Maybe try saying blank. And it's - so it's just - now I just do it at a higher level, I guess.

GARCIA: So you're feeding Dave Chappelle some some humor and, you know, he's taking it on stage. What's the turnaround where you're like just the doorman and the feeder to actually like, OK, me and David now like boys, we're hanging?

BRENNAN: We were hanging the whole time. Basically the way it happened was I moved to LA. So I ended up writing on the pilot for "Singled Out." I then got hired for the second season of "All That." Me and Dave are friends the whole time. He's starting to do well - movies, TV, all that stuff. And then I wrote a script for a movie that was very good, but I had a meeting with this producer named Bob Simons (ph).

A couple weeks later, Dave goes in. He's got a meeting with Bob. And they're like, any ideas you have? And Dave is like, yeah, I got an idea for a weed movie. And they're like, do you want to write it with somebody? He's like, I am writing it with somebody already. And they're like, who? And he's like, trust me, you never heard of him. And they're like, no, who? And he's like, Neal Brennan is the guy's name. They're like, we love Neal. He was here two weeks ago.

(LAUGHTER)

BRENNAN: Just one of those crazy things. He was here two weeks ago. When can you guys pitch us this weed movie? We've never talked about writing a weed movie.

BARTOS: (Laughter).

BRENNAN: This is as far as the conversation went. We saw "Trainspotting." We're walking out of the movie theater. And Shmo (ph) goes, you know you could make one of those for weed. I'm like, yeah, you could. That's the conversation. Months later, I get a call from Bob Simons' office. Julia Dray (ph) Bob's office goes, hey, are you guys writing a weed movie? And I'm like, yeah. A weed movie, that's what we're writing - meanwhile, never heard of it. And they go, when can you pitch it? And I go, I can pitch it in one month. Meanwhile, never talked to Dave about it.

So then we have a month to come up with the idea for the pitch. We, of course, take the full month. We take the full 30 days. The night before - we have a pitch on a Monday. And on a Sunday - one day, a Sunday, we just outlined the movie. So we turn in a a script, and they're like, we love it. You guys got to go to Toronto. And we're like, for what? And they're like, for scouting16. We're like, what? Like, it was crazy. And - now having said that, our power was slowly kind of diluted17 over the period. And we - it wasn't - didn't end up being exactly what we wanted.

But there are like periods in "Half Baked." that I think are really funny. And you can see like, oh, these guys - this is kind of like "Chappelle's Show." 'Cause again, we were just grateful. We were set. You know, $7 million movie when we're 23, having never written anything. It was like, yeah, that seems like. What, you're going to give us per diem and we get to the Brass18 Rail - the strip club in Toronto - every night?

(LAUGHTER)

BARTOS: Take that, NYU film school. Was your friendship with Dave a part of your entryway into into hip-hop or was that just a function of you being in New York City?

BRENNAN: No. You know what? My entryway into hip-hop was - my biggest introduction was obviously like, you know, the Def Jam, Run D.M.C., Beastie Boys, like, that conglomerate19. But when I heard Public Enemy - I heard "Don't Believe The Hype" at a basketball game, my high school basketball game. I might have been - so it might have been '86 or '87. And I heard it. And I was like, wait, what is this? Like one of those things where you just go like, oh, all I want to hear is this for kind of like forever. And then I moved to New York. And it was like, you know, it was '91. So it was like the big - it was a huge year for hip-hop in terms of making - it took a big cultural jump. I think it took a big artistic20 job, obviously, also.

But like, there's a big cultural jump in terms of like it being taken seriously. And I also saw the value of like "Def Comedy Jam" and black comedy, for lack of a better term. I think when a lot of white people were like sort of either put off or scared by it, it didn't - it just seemed like, no, that's - this is good. This is the good stuff.

BARTOS: Going to hip-hop clubs in the late '80s and early '90s and you - you know, when I would see another white dude, like, we kind of see each other, notice each other and give each other like a shady glance like, what are you doing here?

(LAUGHTER)

BRENNAN: Yeah. No. I remember Mike and Adam, the Beastie Boys, saying when they would see each other at hip-hop shows like in the early '80s at the Fever and stuff, they'd be like, screw that guy - even though they were like exactly the same person. It's that, like, teenage self-loathing. You have so much in common. Yeah. And then you become - you give the white guy nod that black guys give to each other in white places.

BARTOS: Right (laughter). Right, except it's a competition. It's a competitive - it's not like, yeah, my man.

BRENNAN: Yeah, of course. There can only be one white. It's a "Highlander21" situation.

BARTOS: (Laughter) But then eventually, you know, being the white guy that's actually writing for black voices, did you ever feel like you didn't belong or that you had to prove yourself in any particular way?

BRENNAN: You know, I got to say, I'm writing something right now with Kenya Barris, who created "Black-Ish," and I feel like my value to black voices is - I think the best illustration of it is we did a sketch on "Chappelle's Show" where Dave does jury selection. He's on the OJ jury, the Michael Jackson jury.

(SOUNDBITE OF TV SHOW, "CHAPPELLE'S SHOW")

UNIDENTIFIED ACTOR: (As character) What about Michael saying it's OK to have children sleep with him?

DAVE CHAPPELLE: (As character) That don't mean anything. I'm sure there's plenty of kids that sleep in the bed with their adults all the time and nothing happens.

UNIDENTIFIED ACTOR: (As character) So do you think Michael Jackson is guilty of the charges against him?

CHAPPELLE: (As character) No. He made "Thriller23."

(LAUGHTER)

UNIDENTIFIED ACTOR: (As character) So you'd let your children sleep with him?

CHAPPELLE: (As character) [Expletive] no.

BRENNAN: And that is exact - that's verbatim conversations, basically. The logic24 that Michael Jackson couldn't have molested25 the kids because he made "Thriller." It's literally just like going like, wait, what? Talk about that. That's a funny vein26 of logic that white people are not familiar with for the most part.

But it is entirely27 understandable - for instance, the jury selection thing because of what the justice system has systematically28 done to black people, you cannot prove anything to black people in the court system beyond a shadow of a doubt because white people just played dirty for so long. So I guess it's just a level of empathy that I might be good at or seeing somebody - something from somebody else's point of view, which might be the Libra in me.

GARCIA: In 2014, there was a Comedy Central special titled "Women And Black Dudes" where you used the N-word.

BRENNAN: I did. And I talked about it...

GARCIA: But you said...

BARTOS: Guilty as charged.

BRENNAN: Yeah, no, that's true.

GARCIA: But you've since stopped. And so what was the transformation29 there?

BRENNAN: Well, the - I don't want to be like like it's a Pryor - like a Richard Pryor thing, like I went to Africa, and I finally like...

(LAUGHTER)

BRENNAN: The way I talked about it was about being called it.

(SOUNDBITE OF COMEDY SPECIAL, "NEAL BRENNAN: WOMEN AND BLACK DUDES")

BRENNAN: I get called the N-word every day. Thanks, fellas. No, I get called the N-word every day - texts, phone, person - constantly. My black friend's constantly calling me the N-word. I remember when my black friends first started calling me the N-word. Let's face it, it was pretty exciting.

(LAUGHTER)

BRENNAN: But also it was confusing because they were doing it to make me feel like part of the group, but it actually had the opposite effect because I couldn't say it back to them. So it just made me feel that much whiter, you know. I'd walk up to the group and they'd be like, what's up, [expletive]? I'd be like....

(LAUGHTER)

BRENNAN: Hello.

(LAUGHTER)

BRENNAN: When you're in a friend circle, you all kind of talk the same way. And it's hard to do on-the-fly radio edits of yourself. We wrote a sketch on "Chappelle's Show" that is the N-word family. I had to call Questlove and sing the song to him. I had to sing the theme song which is N-word heavy. And I didn't say N-word because it wouldn't have made any sense.

So the joke with - I have with Questlove is like if I just - if I'd called the wrong number in Philly, I just called some black dude in Philly and sang the N-word theme song and left it on his voicemail. So the joke was about - the stuff I did in "Women And Black Dudes" is just about being called it because I was talking to a black comedian friend of mine. I was like, I get called it. It's crazy. He's like, you should talk about that. That's interesting. So a black guy said it was fine.

But where I am with it now, it's like, it's just such a bummer. It's just such a bummer. Even though I write it for people or I'll like - saying it publicly is just like, for a white person, it's like Tasing a black person. Every black person who hears a white person say it, even if it's the friendliest, most allied31 white person, it's like Tasing someone.

BARTOS: In doing this podcast, you know, we research people's projects and whatnot. And it regularly makes me feel like I just don't know what's going on in the world.

GARCIA: (Laughter).

BRENNAN: Yeah. You're a 50-year-old man.

GARCIA: You and me both.

BARTOS: It's - you know, when we we did radio in the '90s, we knew what - I mean, we were like The Source for what was going on, what was hot.

BRENNAN: Yeah.

BARTOS: Like, people listened to us because we were the - now I'm like, oh, Neal Brennan - love Neal Brennan. Hilarious32. Saw him - I saw you at Radio City for Chappelle's big splash recently. That was...

BRENNAN: Yeah.

BARTOS: That was great. A magical night. But I didn't know you had a Netflix special.

BRENNAN: Yeah.

BARTOS: So what am I doing wrong with my life?

GARCIA: (Laughter).

BARTOS: Anyway. So your Netflix special, for those that haven't seen it, is called "3 Mics." It's kind of an unconventional comedy act, where you have three mics on the stage. The first mic you do one-liners. The middle mic is where you do deeply personal, often - I would say...

BRENNAN: Gut-wrenching.

BARTOS: Yeah. Really, really sad stuff.

BRENNAN: Yeah.

BARTOS: And then the third is sort of traditional stand-up. And I'm just curious, what was the evolution of this non-traditional concept?

BRENNAN: I had jokes from Twitter that I could - that were just one-liners, basically. And I had a thought one time, like, I should - when I go on the road, I should do, like, stand-up mic and then just have, like, a one-liner mic. Like, over here I'm just going to one-liners.

And then I would listen to, like, "The Moth33" and, like, storytelling shows. And I was like, I feel like I could do something like that. Like, Snap Judgment34, whatever. Even This American Life. I just got the feeling that people didn't know enough about me. So I needed to sort of explain a bit of an origin story. Like, you know when you watch the Olympics and they'll have those, like, video packages of, like, I grew up in a chicken coop, or whatever. You know what I mean? Like...

(LAUGHTER)

BRENNAN: And so basically, I was like, I kind of need to explain myself because there are people who think I'm just Dave's buddy35 or like - or whatever. So I kind of saw it as a bit of an origin story explanation, and I - there were things I thought would be useful to talk about in public that I talked about on the middle mic, like clinical depression, and having a bad relationship with my parent - or my father, and stuff that, you know, people thank me, literally, every day for talking about in public because nobody really talks about it.

GARCIA: Let's peep an excerpt36 of the personal part.

(SOUNDBITE OF COMEDY SPECIAL, "3 MICS")

BRENNAN: I'm depressed37. And not the way you normally hear that, like, oh, I'm so depressed - Kobe retired38. I mean, like, I have clinical depression, the mood disorder39, and I've had it for as long as I can remember. Like, I don't know if you know anything about me, but I'm the youngest of 10 kids. And I don't know if you know much about math or kids, but 10 kids is too many kids.

(LAUGHTER)

BRENNAN: Also, my father was a violent alcoholic40. He didn't hit me that much, but he used to terrorize some of my brothers. They were from - they were born in the 1930s, so they were from the we-did-the-best-we-could generation. If you criticize their parenting in any way, they would just go, oh, we did the best we could. And I always felt like, really? That was the best you could? So, Dad, you'd get drunk, hit your kids and think to yourself, now this is me at my best?

(LAUGHTER)

GARCIA: Yeah. It's not your typical stand-up, particularly...

(LAUGHTER)

GARCIA: ...Particularly the mental illness and depression topics. I would have to think that either you're completely detached from those moments while you're on stage, or you're completely attached to them, and you're feeling super vulnerable, super, like, almost, like, naked on stage and people are laughing. Is that something that you would encourage other comics to - that threshold - to sort of experience and share, or...

BRENNAN: If you have stuff you want to say that is difficult saying in just, like, a sort of joke format30, do it that way. But that's the thing is like even - there's this special on Netflix called "Nanette" - this woman, Hannah Gadsby. And people are super threatened by it because it's - like, parts of it are super-duper serious, so everybody's threatened by it. And it's like, look, man, not everyone has trauma41. Not everyone has tragedy. Not everyone has - some people are just, like, funny, sort of upbeat people.

Just do the thing that suits you best. I'm not of the mind that everybody has to be revealing and stuff now. I think just do the - whatever you need to say, figure out a way to say it. And that was what was good - that's the victory of "3 Mics." It's like, I had some stuff I needed to get off my chest, as it were, and that was the best format I could think of.

BARTOS: In "3 Mics," you said you didn't have low self-esteem. You had no self-esteem. Just curious...

BRENNAN: Yes.

BARTOS: ...How that factored into your comedy.

BRENNAN: I basically used comedy as, like, oxygen, right? In a room that was filling up with water, comedy and getting laughs and having a funny thought or a funny notion was the thing that would sort of keep me alive. And now I have more self-esteem than I've ever had, as a result of the success of "3 Mics." I was - because a lot of my self-esteem was tied into accomplishments42, and a lot of my accomplishments were with Dave. I had, like, haters in my head.

And between doing "3 Mics" and the week I wrote at "Saturday Night Live," when Dave hosted, were big for my self-esteem. Because it was like, oh, I'm pretty good. Like, I'm good at comedy. And then, again, not in a way that's loathsome43, where I'm like walking around pounding my chest. But it's like, all right, voice in my head, you can shut the fuck up. Because I'm - you're just wrong. You just sound like a - I always say, like, the voice in my head are like a caller into a late-night radio show, but it's one of those guys who's, like, kind of a - who calls once every - once a week, and the host is, like, sick of them. Where it's like, you know, Bob from New Rochelle. And he's like, yeah, I just want to say that Neal, you suck.

(LAUGHTER)

BRENNAN: And he's like, dump the call. Dump it.

BARTOS: Haters in your head. I love it.

BRENNAN: Yo. Yeah. I had haters in my head. So like - it was just, like, very, very helpful in eradicating44 that, not forever and not all the time, but mostly.

GARCIA: The name of your new tour is Here We Go. What new topics can we expect from...

BARTOS: Here We Go.

GARCIA: Neal?

BRENNAN: I do a lot of stuff about #MeToo, in that I know the people. Like, I know Louis. I know Aziz. I, like, skipped school at NYU to go work on one of Louis' films. I've known Louis since '91, '92. But having said that, I'm not like - and I'm defending him. I'm just saying, like, it's pretty - it's close to home. Like, I know - you know. So even the title, Here We Go, is about men watching so much porn that, everywhere we are, we expect a porn to break out at any moment. So we'll be in our hotel room, by ourselves, hear an unexpected knock on the door, and be like, here we go.

(LAUGHTER)

BRENNAN: Like, we're just ready to go. So that's kind of the - like, all right. It's on. Let's do it. I wasn't expecting to, but semper fi.

(LAUGHTER)

BRENNAN: And so that's sort of - that's about the stupidity of male entitlement and what we've sort of been, like, trained in some ways to do.

GARCIA: So Mel Brooks45 and Jerry Seinfeld sort of lament46 that the PC culture has been detrimental47 to comedy. Would you agree or disagree with that?

BRENNAN: I would - I don't - I don't really - you know, the PC culture, I think...

GARCIA: And PC means politically correct.

BRENNAN: Yeah. Personal computer.

GARCIA: (Laughter).

BRENNAN: I'm more of a laptop guy.

BARTOS: (Laughter).

BRENNAN: The PC culture - I don't - to me, for the most part, it's, like, the least you can do. As Jay Leno said on Marc Maron's podcast - he said that, you know, when there were the pollution regulations in the '70s, all the American car automakers were, like, sort of dragging their feet and sort of sulking, and the Japanese automakers just did it. And they made - they just did it. They were like, all right, these are the new regulations? That's not a big deal. We'll do that. And they built better cars, and they got 15 years ahead of the American auto48 market.

So I think with the so-called PC stuff, it's not that hard to - you know what I mean? - to, like, show like a modicum49 of respect to marginalized people. You know, I don't think it's - it's not ruin - it's just like, yeah, so the box got tighter, so can you be great in this box?

GARCIA: And creative. Yeah.

BRENNAN: As a guy who talks about race on stage, there's ways to do it. I talk about #MeToo onstage. It can be done, and it can be done in a way that both side's kind of like, oh, that's interesting. Like, I hadn't thought of that. That's pretty true, and it's not - I'm not offended by it.

I'm not offended by, you know - Like, I have a joke where I go, like, sex is the most consequential50 thing we can do with our bodies, but we can't talk about it beforehand. We're, like, looking at a girl, going like, hm (ph)? You thinking what I'm thinking? And if I'm wrong, I'm going to jail? It's a recipe for at least misunderstanding. At the bare minimum, misunderstanding. When it goes well, it's a misunderstanding. And when it goes poorly, it's sexual assault. So, like, there just needs to be more conversation because it's - too many people are getting hurt.

BARTOS: Yeah.

GARCIA: Word.

BARTOS: We're going to take a break and come right back with Neal Brennan.

(SOUNDBITE OF MUSIC)

BARTOS: And we're back. This is WHAT'S GOOD WITH STRETCH & BOBBITO. We're still here with our boy, Neal Brennan.

BRENNAN: Thank you. Thank you.

BARTOS: Anyway, this is the fun part. This is the prize at the bottom of the Cracker51 Jacks22.

GARCIA: (Laughter).

BRENNAN: It's not like drudgery52 of the rest of this podcast.

GARCIA: I don't know if you were prepped for this, but...

BARTOS: This is the part of the show that we call The Impression Session.

BARTOS: And it's pretty simple. We play you a track, you react. Simple as that. Cool?

BRENNAN: All right.

BARTOS: Boom. Who's going first?

GARCIA: I'll go first. I'll go first.

(SOUNDBITE OF COMEDY SPECIAL, "DELIRIOUS")

EDDIE MURPHY: Somebody broke wind in here. I've been trying to like not saying nothing, but somebody farted in this motherfucker. That's some long-distance fart too, boy.

(LAUGHTER)

MURPHY: Don't you - I know you get out with your friends, you have good times, especially fellas, you know, they play that game, play the fart game, you know. You know, you fart around your fellas, and it's funny. Dudes be doing that. They be getting in elevators and farting and laughing and shit. It's nasty. You play the fart game.

GARCIA: (Laughter).

BRENNAN: Never heard of him. Never heard of him.

GARCIA: Eddie Murphy. The track is "The Fart Game." And your impression?

BRENNAN: Eddie Murphy is one of the funniest human beings who's ever lived, one of the most talented, funniest human beings who's ever lived. I even can get behind his farting jokes, which I'm not a fan of generally.

GARCIA: Wait. Not a fan of fart jokes or not a fan of farting?

BRENNAN: I just don't like fart jokes. I don't like farting like - I don't like dudes doing that. Like, don't be farting around me. And, like, I think fart jokes are just sort of like - I don't know. Like, they just seem like low. They seem too easy.

GARCIA: Yeah.

BRENNAN: But having said that, like, the right one is very funny.

GARCIA: So twofold why I played that track for you. A is I want to see if you recall when that album came out because...

BRENNAN: Was that "Delirious"?

GARCIA: Yeah.

BRENNAN: I remember listening to that album when - in maybe the summer of '84 in - I went to a basketball - a sleep-away basketball camp. And somebody had it. And they were talking about ice cream, like all of the bits on there.

GARCIA: The second reason why I played that for you is that Eddie Murphy is a product of "Saturday Night Live." And I realized that a lot of comedians in - it's a long legacy53 who auditioned54 there. And I'm wondering if you had an experience at that platform that you'd like to share.

BRENNAN: I never auditioned. Maybe I submitted like in '93 or something. I had a lot of friends who wrote there. And once I did "Half Baked," you know, I knew Will Ferrell and all - Kattan and everybody. Tracy Morgan I've known forever. And I think that show is amazing. I think that show is an institution. I think it is the high school assembly of America.

BARTOS: All right. Now we're going to go into my selection for The Impression Session with Neal Brennan.

(SOUNDBITE OF SONG, "BURN, HOLLYWOOD, BURN")

PUBLIC ENEMY: (Rapping) Burn, Hollywood, burn. I smell a riot going on. First, they're guilty, now they're gone. Yeah, I'll check out a movie, but it'd take a black one to move me. Get me the hell away from this TV. All the scoops55 and news are beneath me. So all I hear about is shots ringing out, about gangs putting each other's head out. So I rather kick some slang out. All right, fellas. Let's go hang out. Hollywood, or would they not make us all look bad...

BARTOS: Public Enemy - "Burn, Hollywood, Burn" from 1990's "Fear Of A Black Planet." Neal...

BRENNAN: I think we almost did - before Dave quit the show - but we were going to have Cube and Chuck D come on the show and do it.

BARTOS: Really?

GARCIA: Oh, get out.

BRENNAN: It would have been amazing. The Bomb Squad56 sound, it just literally sounds like a riot. It's interesting to see the evolution of Hollywood white people now seeing the value of black material and black audiences and black producers. And, you know, it's - like I said, I'm working with Kenya. And everyone's kind of coming and knocking on his door because they feel like he can help them break the black market. And it's like, dude, the market's not new. I used to do a joke with Dave and Mos Def when - after they'd do a good take on "Chappelle's Show." I'd be like, that was a great take, fellas. Anyway, Hollywood called, and they want you to play cops.

(LAUGHTER)

BRENNAN: Like, the reward for being a great artist is like, you know, Donald's reward for "Atlanta" and all his albums is like, you want to be - you want to play Lando Calrissian and be in Han's - a white dude's movie? It's like, it's still not, for the most part, where it should be.

BARTOS: There it is, not much more to say.

GARCIA: All right, Neal. It was a pleasure hanging out with you.

BRENNAN: Yo, Bob. Nice meeting you, man.

BARTOS: Neal, thank you, man. I had a great time.

BRENNAN: You as well. Let's do this again. Never in person, always via ISDN.

(LAUGHTER)

BRENNAN: All right, fellas.

BARTOS: Neal, take it easy.

GARCIA: Later.

(SOUNDBITE OF MUSIC)

BARTOS: That is our show. This podcast was produced by Michelle Lanz, edited by Alexander McCall, Jordana Hochman and N'Jeri Eaton. And our executive producer is Abby O'Neill.

GARCIA: If you liked the show, you can hear more at npr.org. And please go to Apple Podcasts and rate, review and subscribe57. That's how we know you are listening.

BARTOS: And if you want to follow us, you can do so on Instagram @stretchandbobbito and Twitter @stretchandbob.

GARCIA: Peace.


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点击收听单词发音收听单词发音  

1 legendary u1Vxg     
adj.传奇(中)的,闻名遐迩的;n.传奇(文学)
参考例句:
  • Legendary stories are passed down from parents to children.传奇故事是由父母传给孩子们的。
  • Odysseus was a legendary Greek hero.奥狄修斯是传说中的希腊英雄。
2 comedians efcac24154f4452751c4385767145187     
n.喜剧演员,丑角( comedian的名词复数 )
参考例句:
  • The voice was rich, lordly, Harvardish, like all the boring radio comedians'imitations. 声音浑厚、威严,俨然是哈佛出身的气派,就跟无线电里所有的滑稽演员叫人已经听腻的模仿完全一样。 来自辞典例句
  • He distracted them by joking and imitating movie and radio comedians. 他用开玩笑的方法或者模仿电影及广播中的滑稽演员来对付他们。 来自辞典例句
3 comedian jWfyW     
n.喜剧演员;滑稽演员
参考例句:
  • The comedian tickled the crowd with his jokes.喜剧演员的笑话把人们逗乐了。
  • The comedian enjoyed great popularity during the 30's.那位喜剧演员在三十年代非常走红。
4 busted busted     
adj. 破产了的,失败了的,被降级的,被逮捕的,被抓到的 动词bust的过去式和过去分词
参考例句:
  • You are so busted! 你被当场逮住了!
  • It was money troubles that busted up their marriage. 是金钱纠纷使他们的婚姻破裂了。
5 spotlight 6hBzmk     
n.公众注意的中心,聚光灯,探照灯,视听,注意,醒目
参考例句:
  • This week the spotlight is on the world of fashion.本周引人瞩目的是时装界。
  • The spotlight followed her round the stage.聚光灯的光圈随着她在舞台上转。
6 interned 7006cc1f45048a987771967c7a5bdb31     
v.拘留,关押( intern的过去式和过去分词 )
参考例句:
  • He was interned but,as he was in no way implicated in war crimes,was released. 他曾被拘留过,但因未曾涉嫌战争罪行而被释放了。 来自《简明英汉词典》
  • These soldiers were interned in a neutral country until the war was over. 这些士兵被拘留在一个中立国,直到战争结束。 来自《现代英汉综合大词典》
7 ballroom SPTyA     
n.舞厅
参考例句:
  • The boss of the ballroom excused them the fee.舞厅老板给他们免费。
  • I go ballroom dancing twice a week.我一个星期跳两次交际舞。
8 ballrooms 4cfacdd40438f2765163a9248a551ac1     
n.舞厅( ballroom的名词复数 )
参考例句:
  • It was performed in fashionable Casino ballrooms. 人们在时髦的娱乐舞厅里跳这种舞蹈。 来自互联网
  • Some settled into ballrooms or theaters or hotels for weeks or months at a time. 有的乐队在舞厅、剧院或旅馆作数月甚至数月的逗留。 来自互联网
9 spike lTNzO     
n.长钉,钉鞋;v.以大钉钉牢,使...失效
参考例句:
  • The spike pierced the receipts and held them in order.那个钉子穿过那些收据并使之按顺序排列。
  • They'll do anything to spike the guns of the opposition.他们会使出各种手段来挫败对手。
10 whoops JITyt     
int.呼喊声
参考例句:
  • Whoops! Careful, you almost spilt coffee everywhere. 哎哟!小心点,你差点把咖啡洒得到处都是。
  • We were awakened by the whoops of the sick baby. 生病婴儿的喘息声把我们弄醒了。
11 pretentious lSrz3     
adj.自命不凡的,自负的,炫耀的
参考例句:
  • He is a talented but pretentious writer.他是一个有才华但自命不凡的作家。
  • Speaking well of yourself would only make you appear conceited and pretentious.自夸只会使你显得自负和虚伪。
12 literally 28Wzv     
adv.照字面意义,逐字地;确实
参考例句:
  • He translated the passage literally.他逐字逐句地翻译这段文字。
  • Sometimes she would not sit down till she was literally faint.有时候,她不走到真正要昏厥了,决不肯坐下来。
13 sketch UEyyG     
n.草图;梗概;素描;v.素描;概述
参考例句:
  • My sister often goes into the country to sketch. 我姐姐常到乡间去写生。
  • I will send you a slight sketch of the house.我将给你寄去房屋的草图。
14 greasy a64yV     
adj. 多脂的,油脂的
参考例句:
  • He bought a heavy-duty cleanser to clean his greasy oven.昨天他买了强力清洁剂来清洗油污的炉子。
  • You loathe the smell of greasy food when you are seasick.当你晕船时,你会厌恶油腻的气味。
15 notably 1HEx9     
adv.值得注意地,显著地,尤其地,特别地
参考例句:
  • Many students were absent,notably the monitor.许多学生缺席,特别是连班长也没来。
  • A notably short,silver-haired man,he plays basketball with his staff several times a week.他个子明显较为矮小,一头银发,每周都会和他的员工一起打几次篮球。
16 scouting 8b7324e25eaaa6b714e9a16b4d65d5e8     
守候活动,童子军的活动
参考例句:
  • I have people scouting the hills already. 我已经让人搜过那些山了。
  • Perhaps also from the Gospel it passed into the tradition of scouting. 也许又从《福音书》传入守望的传统。 来自演讲部分
17 diluted 016e8d268a5a89762de116a404413fef     
无力的,冲淡的
参考例句:
  • The paint can be diluted with water to make a lighter shade. 这颜料可用水稀释以使色度淡一些。
  • This pesticide is diluted with water and applied directly to the fields. 这种杀虫剂用水稀释后直接施用在田里。
18 brass DWbzI     
n.黄铜;黄铜器,铜管乐器
参考例句:
  • Many of the workers play in the factory's brass band.许多工人都在工厂铜管乐队中演奏。
  • Brass is formed by the fusion of copper and zinc.黄铜是通过铜和锌的熔合而成的。
19 conglomerate spBz6     
n.综合商社,多元化集团公司
参考例句:
  • The firm has been taken over by an American conglomerate.该公司已被美国一企业集团接管。
  • An American conglomerate holds a major share in the company.一家美国的大联合企业持有该公司的大部分股份。
20 artistic IeWyG     
adj.艺术(家)的,美术(家)的;善于艺术创作的
参考例句:
  • The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
  • These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。
21 highlander 25c9bf68343db897bbd8afce9754ef3c     
n.高地的人,苏格兰高地地区的人
参考例句:
  • They call him the highlander, he is Rory McLeod! 他们叫他寻事者,他是罗瑞·麦克劳德! 来自互联网
22 jacks 2b0facb0ce94beb5f627e3c22cc18d34     
n.抓子游戏;千斤顶( jack的名词复数 );(电)插孔;[电子学]插座;放弃
参考例句:
  • Hydraulic jacks under the machine produce the movement. 是机器下面的液压千斤顶造成的移动。 来自《简明英汉词典》
  • The front end is equipped with hydraulic jacks used for grade adjustment. 前瑞安装有液压千斤顶用来调整坡度。 来自辞典例句
23 thriller RIhzU     
n.惊险片,恐怖片
参考例句:
  • He began by writing a thriller.That book sold a million copies.他是写惊险小说起家的。那本书卖了一百万册。
  • I always take a thriller to read on the train.我乘火车时,总带一本惊险小说看。
24 logic j0HxI     
n.逻辑(学);逻辑性
参考例句:
  • What sort of logic is that?这是什么逻辑?
  • I don't follow the logic of your argument.我不明白你的论点逻辑性何在。
25 molested 8f5dc599e4a1e77b1bcd0dfd65265f28     
v.骚扰( molest的过去式和过去分词 );干扰;调戏;猥亵
参考例句:
  • The bigger children in the neighborhood molested the younger ones. 邻居家的大孩子欺负小孩子。 来自《简明英汉词典》
  • He molested children and was sent to jail. 他猥亵儿童,进了监狱。 来自《简明英汉词典》
26 vein fi9w0     
n.血管,静脉;叶脉,纹理;情绪;vt.使成脉络
参考例句:
  • The girl is not in the vein for singing today.那女孩今天没有心情唱歌。
  • The doctor injects glucose into the patient's vein.医生把葡萄糖注射入病人的静脉。
27 entirely entirely     
ad.全部地,完整地;完全地,彻底地
参考例句:
  • The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
  • His life was entirely given up to the educational work. 他的一生统统献给了教育工作。
28 systematically 7qhwn     
adv.有系统地
参考例句:
  • This government has systematically run down public services since it took office.这一屆政府自上台以来系统地削减了公共服务。
  • The rainforest is being systematically destroyed.雨林正被系统地毀灭。
29 transformation SnFwO     
n.变化;改造;转变
参考例句:
  • Going to college brought about a dramatic transformation in her outlook.上大学使她的观念发生了巨大的变化。
  • He was struggling to make the transformation from single man to responsible husband.他正在努力使自己由单身汉变为可靠的丈夫。
30 format giJxb     
n.设计,版式;[计算机]格式,DOS命令:格式化(磁盘),用于空盘或使用过的磁盘建立新空盘来存储数据;v.使格式化,设计,安排
参考例句:
  • Please format this floppy disc.请将这张软盘格式化。
  • The format of the figure is very tasteful.该图表的格式很雅致。
31 allied iLtys     
adj.协约国的;同盟国的
参考例句:
  • Britain was allied with the United States many times in history.历史上英国曾多次与美国结盟。
  • Allied forces sustained heavy losses in the first few weeks of the campaign.同盟国在最初几周内遭受了巨大的损失。
32 hilarious xdhz3     
adj.充满笑声的,欢闹的;[反]depressed
参考例句:
  • The party got quite hilarious after they brought more wine.在他们又拿来更多的酒之后,派对变得更加热闹起来。
  • We stop laughing because the show was so hilarious.我们笑个不停,因为那个节目太搞笑了。
33 moth a10y1     
n.蛾,蛀虫
参考例句:
  • A moth was fluttering round the lamp.有一只蛾子扑打着翅膀绕着灯飞。
  • The sweater is moth-eaten.毛衣让蛀虫咬坏了。
34 judgment e3xxC     
n.审判;判断力,识别力,看法,意见
参考例句:
  • The chairman flatters himself on his judgment of people.主席自认为他审视人比别人高明。
  • He's a man of excellent judgment.他眼力过人。
35 buddy 3xGz0E     
n.(美口)密友,伙伴
参考例句:
  • Calm down,buddy.What's the trouble?压压气,老兄。有什么麻烦吗?
  • Get out of my way,buddy!别挡道了,你这家伙!
36 excerpt hzVyv     
n.摘录,选录,节录
参考例句:
  • This is an excerpt from a novel.这是一部小说的摘录。
  • Can you excerpt something from the newspaper? 你能从报纸上选录些东西吗?
37 depressed xu8zp9     
adj.沮丧的,抑郁的,不景气的,萧条的
参考例句:
  • When he was depressed,he felt utterly divorced from reality.他心情沮丧时就感到完全脱离了现实。
  • His mother was depressed by the sad news.这个坏消息使他的母亲意志消沉。
38 retired Njhzyv     
adj.隐退的,退休的,退役的
参考例句:
  • The old man retired to the country for rest.这位老人下乡休息去了。
  • Many retired people take up gardening as a hobby.许多退休的人都以从事园艺为嗜好。
39 disorder Et1x4     
n.紊乱,混乱;骚动,骚乱;疾病,失调
参考例句:
  • When returning back,he discovered the room to be in disorder.回家后,他发现屋子里乱七八糟。
  • It contained a vast number of letters in great disorder.里面七零八落地装着许多信件。
40 alcoholic rx7zC     
adj.(含)酒精的,由酒精引起的;n.酗酒者
参考例句:
  • The alcoholic strength of brandy far exceeds that of wine.白兰地的酒精浓度远远超过葡萄酒。
  • Alcoholic drinks act as a poison to a child.酒精饮料对小孩犹如毒药。
41 trauma TJIzJ     
n.外伤,精神创伤
参考例句:
  • Counselling is helping him work through this trauma.心理辅导正帮助他面对痛苦。
  • The phobia may have its root in a childhood trauma.恐惧症可能源于童年时期的创伤。
42 accomplishments 1c15077db46e4d6425b6f78720939d54     
n.造诣;完成( accomplishment的名词复数 );技能;成绩;成就
参考例句:
  • It was one of the President's greatest accomplishments. 那是总统最伟大的成就之一。
  • Among her accomplishments were sewing,cooking,playing the piano and dancing. 她的才能包括缝纫、烹调、弹钢琴和跳舞。 来自《现代英汉综合大词典》
43 loathsome Vx5yX     
adj.讨厌的,令人厌恶的
参考例句:
  • The witch hid her loathsome face with her hands.巫婆用手掩住她那张令人恶心的脸。
  • Some people think that snakes are loathsome creatures.有些人觉得蛇是令人憎恶的动物。
44 eradicating cf9ed8736a32d45cce133ae90d20d180     
摧毁,完全根除( eradicate的现在分词 )
参考例句:
  • Objective: To study the acute and chronic toxicity of Ten-flavor-acne eradicating-capsule. 目的:探讨复方中药合剂十味平痤胶囊的急性及慢性毒性。
  • We are on the verge of eradicating polio in the world. 我们已在世界消除小儿?痹症的边缘了。
45 brooks cdbd33f49d2a6cef435e9a42e9c6670f     
n.小溪( brook的名词复数 )
参考例句:
  • Brooks gave the business when Haas caught him with his watch. 哈斯抓到偷他的手表的布鲁克斯时,狠狠地揍了他一顿。 来自《简明英汉词典》
  • Ade and Brooks exchanged blows yesterday and they were severely punished today. 艾德和布鲁克斯昨天打起来了,今天他们受到严厉的惩罚。 来自《简明英汉词典》
46 lament u91zi     
n.悲叹,悔恨,恸哭;v.哀悼,悔恨,悲叹
参考例句:
  • Her face showed lament.她的脸上露出悲伤的样子。
  • We lament the dead.我们哀悼死者。
47 detrimental 1l2zx     
adj.损害的,造成伤害的
参考例句:
  • We know that heat treatment is detrimental to milk.我们知道加热对牛奶是不利的。
  • He wouldn't accept that smoking was detrimental to health.他不相信吸烟有害健康。
48 auto ZOnyW     
n.(=automobile)(口语)汽车
参考例句:
  • Don't park your auto here.别把你的汽车停在这儿。
  • The auto industry has brought many people to Detroit.汽车工业把许多人吸引到了底特律。
49 modicum Oj3yd     
n.少量,一小份
参考例句:
  • If he had a modicum of sense,he wouldn't do such a foolish thing.要是他稍有一点理智,他决不会做出如此愚蠢的事来。
  • There's not even a modicum of truth in her statement.她说的话没有一点是真的。
50 consequential caQyq     
adj.作为结果的,间接的;重要的
参考例句:
  • She was injured and suffered a consequential loss of earnings.她受了伤因而收入受损。
  • This new transformation is at least as consequential as that one was.这一新的转变至少和那次一样重要。
51 cracker svCz5a     
n.(无甜味的)薄脆饼干
参考例句:
  • Buy me some peanuts and cracker.给我买一些花生和饼干。
  • There was a cracker beside every place at the table.桌上每个位置旁都有彩包爆竹。
52 drudgery CkUz2     
n.苦工,重活,单调乏味的工作
参考例句:
  • People want to get away from the drudgery of their everyday lives.人们想摆脱日常生活中单调乏味的工作。
  • He spent his life in pointlessly tiresome drudgery.他的一生都在做毫无意义的烦人的苦差事。
53 legacy 59YzD     
n.遗产,遗赠;先人(或过去)留下的东西
参考例句:
  • They are the most precious cultural legacy our forefathers left.它们是我们祖先留下来的最宝贵的文化遗产。
  • He thinks the legacy is a gift from the Gods.他认为这笔遗产是天赐之物。
54 auditioned 7a3b64b138cda8b1c7e21f61395dc3b1     
vi.试听(audition的过去式与过去分词形式)
参考例句:
  • None of the actresses we have auditioned is suitable. 我们试听的这些女演员都不合适。 来自《简明英汉词典》
  • What is that, from some script you auditioned for in the '40s? 什么玩意儿是你40年代试的那些剧本吗? 来自电影对白
55 scoops a48da330759d774ce6eee2d35f1d9e34     
n.小铲( scoop的名词复数 );小勺;一勺[铲]之量;(抢先刊载、播出的)独家新闻v.抢先报道( scoop的第三人称单数 );(敏捷地)抱起;抢先获得;用铲[勺]等挖(洞等)
参考例句:
  • two scoops of mashed potato 两勺土豆泥
  • I used three scoops of flour and one(scoop)of sugar. 我用了三杓面粉和一杓糖。 来自辞典例句
56 squad 4G1zq     
n.班,小队,小团体;vt.把…编成班或小组
参考例句:
  • The squad leader ordered the men to mark time.班长命令战士们原地踏步。
  • A squad is the smallest unit in an army.班是军队的最小构成单位。
57 subscribe 6Hozu     
vi.(to)订阅,订购;同意;vt.捐助,赞助
参考例句:
  • I heartily subscribe to that sentiment.我十分赞同那个观点。
  • The magazine is trying to get more readers to subscribe.该杂志正大力发展新订户。

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