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If you have questions about the unique spelling of sombr‘s stage name, this week’s Saturday Night Live promos are for you.
The pop singer/songwriter is joined by host Nikki Glaser and cast member Chloe Fineman in the new promos, in which Fineman says, “sombr — it’s such a cool name.” “It is!” Glaser agrees. “It’s like if i called myself ‘Glasr.’”
“What?” sombr replies. “You know, because it’s usually spelled S-O-M-B-E-R — you took the E out,” Glaser explains.
“It is? I’ve been spelling it wrong this whole time and NOBODY TOLD ME?” the pop star explodes, even letting out a primal scream off camera.
This has Glaser giving him a brand-new name: “More like ‘angr.’”
Elsewhere in the promos, Fineman asks, “I’ve always wanted to know: Where does the name sombr come from?” The artist born Shane Michael Boose then says, “Well, my initials are S.M.B.”
“Ohhh!” Glaser says, adding, “My initials are N.R.G. — like energy.” When she turns to Fineman to ask, “What are yours?,” the comedian simply responds, “Cherf” — her creative interpretation of C.R.F., for Chloe Rose Fineman.
Both Glaser and sombr are making their Saturday Night Live debuts this weekend – Glaser as host and sombr as musical guest.
sombr is having a breakout year, with his debut album, I Barely Know Her, arriving in August. The project spun off his first trio of Billboard Hot 100 appearances: the top 20 hits “Back to Friends” (No. 12) and “Undressed” (No. 16), as well as the No. 41-peaking “12 to 12.”
Glaser is set to return as the host of the Golden Globes when the awards show is presented on Jan. 11.
Saturday Night Live airs at 11:30 p.m. ET/8:30 p.m. PT on NBC and streams on Peacock. (See all the options to watch SNL here.)
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If anyone needs further proof that Adam Sandler‘s body of work transcends youth culture, AARP announced today that the actor, comedian and former Saturday Night Live cast member will receive its Movies for Grownups Career Achievement award at its annual ceremony on Jan. 10, 2026.
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Sandler, who won the organization’s Movies for Grownups Award for Best Actor in 2020 for his gripping performance in Uncut Gems, is generating awards buzz for his performance in Jay Kelly as movie star Kelly’s (George Clooney) devoted manager Ron Sukenick. He has already been nominated for an Outstanding Supporting Performance award at the 2025 Gotham Independent Film Awards, which take place Dec. 1.
The film, which opens in theaters on Nov. 14, screened at the Venice and New York Film Festivals, among others, and is receiving largely glowing reviews.
“We couldn’t be prouder to present this year’s Movies for Grownups Career Achievement Award to Adam Sandler, a Hollywood legend whose remarkable career has set a new standard for comedic storytelling, captivating audiences across generations,” said Myechia Minter-Jordan, CEO of AARP in a statement. “Adam’s enduring success, his ability to reinvent himself, inspire laughter, and move us through dramatic performances is a testament to the power of creativity at every age.”
The Movies for Grownups Awards, which originated in 2001, honors the most compelling film and television of the previous year that was created for the 50-plus audience. The ceremony will take place in Beverly Hills, Calif. and broadcast by Great Performances on PBS in February. Alan Cumming will host.
The AARP honor will join a long list of accolades for Sandler. He received the 2023 Mark Twain Prize for American Humor, has also earned three Grammy nominations, seven Primetime Emmy nominations, two Golden Globe nominations and a Screen Actors Guild Award nomination. He won the Independent Spirit Award for Best Male Lead for Uncut Gems (2019), and his performance in Hustle (2022) earned him a Critics Choice Award nomination.
His long-anticipated Happy Gilmore 2 — which co-starred Bad Bunny and featured a cameo by Eminem — also became Netflix’s most-watched U.S. film debut ever and the top opening for any Sandler movie on the service, with 46.7 million views in its first three days and 2.9 billion viewing minutes in its first week, according to Nielsen.
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Leanne Morgan says that when she was three years old, she went on a family trip to Memphis. First stop was the local zoo “before they had glass over the monkeys and they threw their poop at us.” Next stop was Graceland, “where my mama Lucille swears that Elvis Presley‘s father, Vernon, came out on the driveway and said, ‘I’m so sorry you all, you can’t come in. Elvis and Priscilla are here riding horses.’”
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“Mama climbed the gate and saw their heads bobbing, then she put me on her shoulders so that I could see,” Morgan says. “When she set me down, she says Vernon patted me on the head and said, ‘She’s a cute little trick.’ And mama says, “‘I just know that he anointed you and that this is happening for you because Vernon Presley patted your head.’”
As recounted by Morgan, the encounter with Elvis’ father is unfolds like a movie. Storytelling is the foundation of her comedy, and she has built a hugely successful career on it. According to Billboard Boxscore, she is the No. 4 highest grossing woman comedian of the 2020s so far, with $22.1 million in box-office receipts and 352,000 tickets sold over 152 shows. She published a New York Times bestselling book in 2024, What in the World?!: A Southern Woman’s Guide to Laughing at Life’s Unexpected Curveballs and Beautiful Blessings, and her Netflix sitcom. Leanne, which premiered this past summer, was renewed for a second season. And on Nov. 4, her latest, very funny comedy special, Unspeakable Things, premieres, also on Netflix.
A lot of comedians are storytellers, but what sets Morgan apart is her unique perspective as a 60-year-old church-raised mother and grandmother, who always saw herself in entertainment but wanted to raise a family first. To use a comedy term, she kills with kindness. She punctuates her conversation with “honey” and “darling,” and her comedy is clean, often self-deprecating and family-friendly, with a pinch of wickedness that emerges at unexpected moments. After telling the story about Vernon Presley, Morgan alludes to less wholesome things that went on at Graceland. “There’s no telling what went on on all that carpet,” she says, one eyebrow raised. “And there’s a lot of shag carpet.”
Like Nate Bargatze, Morgan’s style of comedy appeals to underserved audiences in the flyover states who aren’t interested in the blue stuff, and Morgan says she is grateful for them. “I’ve got the best fans in the world. They love me and believe in me and they want to see me do well. And they come out, they’ve got money. They want to be entertained, and I think they’ve been ignored.”
Unspeakable Things was shot in Morgan’s hometown of Murfreesboro, Tenn., and it’s a time-traveling collection of tales about her husband — who is always referred to as “Chuck Morgan” — her children, and her experiences filming You’re Cordially Invited with Reese Witherspoon and Will Ferrell in Atlanta, which included a visit to the city’s legendary basement strip club-cum-dive bar, The Clermont Lounge. It is one of the high points of the special — and below, Morgan talks to Billboard about her experiences there, the trajectory of her career, her take on the manosphere, and the magical properties of Mississippi pot roast and Trisha Yearwood’s Chicken Piccata recipe.
What is your process for coming up with new material?
Well, I do work it out in clubs and see what works, but before I start, I have in my head stories that I want to tell. Then I work them out on stage. So, now I’ll be working on a new hour. I’m finishing my tour this weekend in Boston and Philadelphia, so, all this year I’ve been putting stories in my phone. And when I’m with my kids and my husband, they’ll go, “Oh lord, you’ve got to tell when so-and-so did this.” My middle child said, “Mom, you’ve never talked about the outfit dad bought you when you were pregnant with me in the hospital” — which is in this special.
That story is hilarious.
And that’s all true. Chuck Morgan did that. I’m a storyteller, and I like to gather stories and talk about all these babies and these grandbabies, and my parents and all that. And then the occasional strip club that I was forced to go to. Promise me you’ll never go to the Clermont Lounge in Atlanta, honey. It’ll scare you to death.
I love that story. So, anybody can get up there and just dance?
I think those little women get on a list, but it’s not your normal stripper woman. There are women from all walks of life and all shapes and sizes — with prosthetic [limbs] and all shapes and sizes. I mean, I’d never been to a strip club, so when they took me to that I thought, what in the world?
I was on a movie with Reese Witherspoon and Will Ferrell, and the actor that played my little sister, Meredith Hagner, is Goldie Hawn’s daughter-in-law — and she says, “Every time Goldie comes to Atlanta, she has to go to the Clermont.” I thought, what? It’s entertainment, and it’s just nuts. Imagine a circus in a strip club.
Maybe in the next hour I do, I’ll talk about going to Magic Mike Live in Las Vegas. Somebody took me. Maybe it’s because I’m 60 and don’t have any hormones left, but I remember thinking, “I could be their mother” and “Does anybody need their clothes washed?” I felt like I needed to cook for these boys. I look at everything through the lens of a grandmother and a mother.
So, the stories you tell all happened? You’re not making up things for entertainment’s sake?
Yes. There was a time when I stretched things, There was a bit a long time ago — it’s not on a special — about when I found out I was pregnant with my third baby, and I went to Walmart and peed on a stick in front of my two little children. And Charlie, my oldest, who was only three, said, “Is it positive?” But for the most part now, the stories are real. My husband thinks I embellish some, but he doesn’t pay attention to me talking.
You also talk about religion in your set in a way that’s funny but also sounds genuine — not like you’re making it up for an act.
Well, thank you my darling. Everybody in the South was raised in church. And they’re good storytellers. But yeah, all of that is genuine.
What does Chuck Morgan do?
He’s worked for the same company for 30 something years. It’s a Berkshire Hathaway — Warren Buffett — company. It’s manufactured homes. They’re the largest homebuilder in the United States, and Chuck Morgan has done everything in the world for them. I call him a mobile home man. When we met at [the University of Tennessee] he had never stepped in a trailer as they call them. When he was 27, he bought a business that refurbished mobile homes and then went to work for the big company where he works now. I told him he cannot quit. They have wonderful health insurance, and I don’t want him on the road with me because he will eat mixed nuts and watch basketball, and I can’t take a comedy nap.
In the special, you talk about his reluctance to spend money. Looking at your Billboard Boxscore gross for the last five years, I’m thinking, “How can he be concerned about that?” Especially since you are both clearly successful at what you do.
I know. He’s been a saver, and we’ve lived below our means, but he does not believe in spending money. When I talk about all that in my act, that is true. My daughter, who’s my makeup artist, travels with me, and we have shared a hotel room for 150 cities because we don’t want to spend too much money.
People say to me all the time, “How many people are on your team out there? Who’s driving you, and are you on private planes?” I go, “No. We’re in a Mitsubishi rental car. We fly commercial. I’ve got an opener. All I need is a bottle of water, a stool and some cough drops. I don’t have security. Somebody could come up and whip us. We don’t have anything, honey.” It’s just like I’m a road comic from 20 years ago.
What made you want to be a stand-up comedian? You were a housewife before embarking on this career.
From the time I was little bitty, I wanted to go to Hollywood, and I loved SNL. My mom would let me sit up and watch it. I loved Match Game, Paul Lynde, Hollywood Squares. I loved all comedy, stand-up, comedic actors, sitcoms — all that. And I thought, “That’s what I’m going to do.” But I wanted to marry and have babies.
It’s crazy when I look back on it. The whole time I was in the foothills of the Appalachia mountains with him in a mobile home business. I thought, “OK, this is going on now, but I’m going to Hollywood.” And I had three babies before I really could call myself a stand-up. When he went to work for that big company, he opted to go to South Texas. That’s when I did my first comedy club. My kids were then about three, five and seven. But I had been piddling in it back in Tennessee, and when I say that I was doing the Rotary. I would do the luncheon for the Rotary, and they would give me $50 and I’d drop a baby off at Moms Day Out. But I considered myself a stand-up, honey.
Did you ever do stand-up in college?
No. I think there was a comedy club around the University of Tennessee, and Steve Harvey was coming through all the time. But ding-dong me was just making out with boys and smoking cigarettes. Listening to Prince, Annie Lennox and blacking my eyes out. I wanted to be Madonna. In my mind, I thought, “I’m going to do something.”
You lost little time.
And I got to raise my children. I’ve got friends in comedy that would drive 300 miles to make $50 and have to sleep in their car. I was lucky. I had Chuck Morgan, who was a good provider. I skipped a lot of steps that other people had to go through. I did terrible gigs, but financially I could lean on him, so I had it easier than a lot of people.
Leanne. Leanne Morgan in Episode #101 of “Leanne.”
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In addition to your stand-up career, you’ve got a successful Netflix sitcom, Leanne, that was renewed for a second season.
Yes, honey, and it came out at the same time as The Hunting Wives. All those women hunting boars in their panties — I had to be up against that. The first two or three episodes, I did not know what in the world I was doing. It was very daunting, but they put the best around me. My cast, Kristen Johnston, Celia Weston, Ryan Stiles, Tim Daly, Blake Clark. So, it was hard and I was scared — but when you get to about episode six, you’ll go, “OK, I think Leanne can do a sitcom.” I feel like I could really do it well. I feel like this could be a big thing for me.
Has a premiere date been set for season two?
I don’t know about the premiere, but we’ll start shooting again in the beginning of the year. I’ll move back out [to Los Angeles], and we’ll start again. The writing room I think starts at the end of this month and I’ll Zoom in and help.
That is true. I’ve got to ask, why aren’t you doing a Biz laundry detergent commercial? You give them quite a plug in Unspeakable Things.
Why aren’t I? And everything else a woman uses in a household. I swear, I think, “Why aren’t I the spokesperson for Honda vans?…” Maybe Chuck Morgan would quit and get off my back then. I do love Biz though. I don’t know if you’ve needed to get a stain out. Oh, it’s wonderful.
As a very successful woman who does clean comedy, what do you make of the guys who are categorized as the manosphere — the Joe Rogans, Andrew Schulzes and Theo Vons of comedy?
I don’t know those boys. I did meet Andrew Schulz at the Tom Brady roast. Honey. I got to go to Tom Brady’s roast, and I swear, I thought Gronk was flirting with me. I thought, “Lord, I’m a grandmother, is Gronk…?” But he wasn’t. He’s been hit too many times, and his eyes — I thought they were looking at me, but they weren’t. I met Shane Gillis. I never met Joe Rogan. I tell you who I think is so wonderful: Theo Von. The uniqueness of that Theo Von, honey, from Louisiana. I think he’s so funny. I’ve seen him live. and I laughed until I was weak. He talks about hamster bones. I can’t even.
But all those boys doing those podcasts. I don’t listen to them. I’m listening to pop culture, women talking about The Real Housewives and who slapped who in Salt Lake City — which is terrible. I should be listening to something informative. All those boys, they’re a big deal, I guess, and you know I love men. I was on Nate Bargatze’s podcast the other day. We did a charity event last night, and he was hilarious. He talked about going to marriage counseling with his wife, and McDonald’s. He can sit and talk about McDonald’s and blow your mind.
I think I’m in such a lane by myself, even [among] female comedians. I’m 60 years old and a grandma. All these girls doing comedy have got pretty legs and short skirts. I’m in a big girdle.
I celebrate all of them, because I love comedy. I am a huge fan of Dave Chappelle. I love Katt Williams. I guess I should have started a podcast. I did one years ago that talked about menopause. That’s what I talk about, menopause. Not politics. Don’t ask me about politics. I’ll start crying. I don’t like conflict.
Would you consider doing another podcast?
I would and I would love to do one with my daughters. I’ve got funny kids, and my baby is 28 years old. She does not want to be in stand-up, but if she comes out on stage people throw their purse in the air. She’s got something and people beg to see her in videos and all that. She likes money, so she might do a podcast with me if it meant money.
Is that the daughter that, in the special, you say is “fascinated by sin”? I love that line.
Yes, honey, that’s the baby. She said, “Please tell people I try not to commit it, but I am fascinated by it.”
Have you considered writing another book?
I’ve thrown around an idea for a cookbook, but I’m so busy right now I don’t know if I could pull that together. I like to cook. Honey, when I get off an airplane, I go to the grocery store and I start cooking for all these kids and their daddy and the grandbaby. I love that, and I love family, so I think I could do something like that. Then, later on, I do want to talk about all my sin in the ‘80s.
When I wrote that first book, I was starting to tell really twisted stuff, and my literary agent, who is a doll, goes, “Lea, let’s let this first book be an intro to Leanne Morgan.” He goes, “I’m sorry, but you’re not Joan Crawford yet.” So, someday I might tell all my twisted goings on, Frank.
This year, you starred in You’re Cordially Invited with Reese Witherspoon and Will Ferrell. Do you have more movies in the pipeline?
I hope so. I’m talking to people, Frank. I would love to. That was like summer camp. Can you imagine — Will Ferrell just walked around, wouldn’t say a word, and we would all bust out laughing. He was a doll. Jack McBreyer was in it, and has been on my sitcom. I’d like to have more guest stars from that movie, because we had a ball.
In your special, you talk about listening to Prince in college. What is some of your favorite music?
Honey, I’m still a big R&B girl. I’ve seen Earth, Wind & Fire a million times. I love to see live music, and I love to see people perform. It moves me and I feel like I’m an artist, too. But I like all music. I like country. I’ve gotten close to some country music stars because I’m in Nashville. Little Lainey Wilson — I played [against] her in Celebrity Family Feud.
I did, and we beat that little thing. I couldn’t believe it, but Chuck Morgan took it very seriously,
When you cook what’s your go-to dish?
I have been on a Mississippi pot roast tear. I want you to Google that recipe and make it. You will lose your mind. So flavorful. I come from meat people. You know, my little mom and daddy were meat processors, so we eat a lot of red meat.
And then I love a chicken piccata. When everybody is having a birthday they go, “Mom, will you make your chicken piccata?” And I got that recipe from little Trisha Yearwood, honey. Trisha Yearwood’s chicken piccata will blow your mind. Her first cookbook is one of the best cookbooks I’ve ever had. But this winter, I want you to fix a Mississippi pot roast.
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This star-studded sketch is a mini masterpiece that delivers on both a local and national level, and it’s all the better for not wearing its politics on its sleeve. Each of New York’s mayoral candidates — independent Andrew Cuomo (Teller), Democrat Zohran Mamdani (Youssef) and Republican Curtis Sliwa (Gillis) — as well as the city’s current mayor, Eric Adams (Patterson) get their own turn on the spit of this perceptive satire.
Cuomo: “I got us through Covid, and then, yada, yada, yada, honk-honk, squeeze-squeeze,” he says, a reference to the sexual harassment allegations that dog him.
Sliwa: “I’m the only candidate here who’s been dangled by my testicles off the Verrazano Bridge by a little-known gang called The Lords of Flatbush. I was also poured into the foundation of Giants Stadium and crawled my way out. And just on my way here, I was ejaculated upon at the great Stardust Diner by a Times Square Spider-Man.”
For anyone under 60, The Lords of Flatbush was a 1974 film about a motorcycle gang that starred Henry Winkler, Sylvester Stallone and Paul Jabara, and featured a scene that resembles the dangling described by Gillis. Sliwa, who is also the founder of the volunteer crime protection group, the Guardian Angels, was abducted and shot in a cab in 1992 after Gambino crime family boss John Gotti put a hit out on him, has, more recently claimed unverified threats against his life because of his refusal to drop out of the race.
Mamdani: “I’m ready to spend the next hour hearing my opponents pronounce my name in ways you couldn’t begin to imagine. And I know some of you out there are scared of the idea of a young, socialist Muslim mayor. So, allow me to put you at ease by smiling after every answer in a way that hurts my face.” (Youssef, who has one of the best high-beam smiles in show business, is the ideal man for the job.)
And in another response: “I want to be mayor so I can deliver a better New York. Free healthcare, affordable housing, free WiFi,” Youssef as Mamdani says. “As mayor, can I make that happen? I’m not sure yet. But together we’re going to find out… that the answer is no.”
The butchering of Mamdani’s name alone is pretty spectacular here: Gillis as Sliwa calls him “Zoltar Rob Zombie” and Patterson as Adams refers to him as “Zorgon Mamagrama.”
There are also plenty of inside jokes for New Yorkers, such as the debate sponsors: One is the Gristedes supermarket chain, which is owned by billionaire Republican John Catsimatidis, who was pressuring Sliwa to drop out of the race. Others include the latest bane of the city’s pedestrians: bike lanes. (“You want a new way to die? Step into a bike lane,” says Thompson as the debate moderator.)
There are so many jokes in this sketch — which lasts just over 9 minutes — that it bears repeated watching, and Johnson-as-Trump makes an appearance near the end as the answer to the question posed to the candidates: “What is the biggest problem you have to confront as mayor?” Promising to be “very hands on,” Trump motions to Cuomo and says, “This guy knows about hands on, right, Cuomo?”
Wait, there’s more! The sketch ends with Trump performing “The Music of the Night” from the Broadway hit, The Phantom of the Opera. And godd–n, Johnson can carry a tune.
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If Ashley Padilla has anything to say about it, Brandi Carlile will host this weekend’s Saturday Night Live instead of Miles Teller.
In just-released promos for this weekend’s episode, Padilla brings up her brand-new haircut — and she explodes on Teller for not noticing. “I got a haircut, and you haven’t said anything about it!” Padilla yells at the Top Gun: Maverick actor. “Yeah, sorry, I think I didn’t notice, Ashley, because we’ve never met before,” Teller responds.
But guess who did notice? Eleven-time Grammy-winning singer/songwriter Brandi Carlile. “I noticed. The second I saw you, I knew you had that new-haircut glow,” Carlile says. “Thank you, Brandi Carlile! You’re the host now,” Padilla says matter-of-factly, to which Carlile celebrates with a “Yesssss.”
“She’s joking, right?” Teller asks. But Dismukes assures the actor she’s dead serious. “I hope you can sing,” she threatens, and Teller gives a shrug: “I can sing.” (We know that at least Keith Urban agrees: Back in 2016, the country star invited Teller onstage to duet on The Temptations’ “My Girl” during an Albuquerque, New Mexico, concert.)
Watch all the new promos below:
Saturday’s episode will mark Carlile’s fourth time as a musical guest on SNL — and her second time this year. She joined Elton John on the stage back in April to perform songs from their joint album Who Believes in Angels? This time around, she’s promoting her just-released solo album Returning to Myself.
This will be Teller’s second hosting gig after he made his debut in 2022. He’s hitting the show ahead of the premiere of his sci-fi rom-com Eternity, co-starring Elizabeth Olsen and Callum Turner, which arrives Nov. 26 in theaters.
Saturday Night Live airs at 11:30 p.m. ET/8:30 p.m. PT on NBC and streams on Peacock. (See all the options to watch SNL here.)
Trending on Billboard Earlier today (Oct. 29), Billboard published the September Boxscore report, with Chris Brown repeating as the biggest touring act of the month. But while the biggest stars of rock, hip-hop and more packed stadiums, comedians were road warrior-ing their way to sold-out theaters and arenas. Here, we’re looking at the five biggest […]
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“I love to laugh. I love the feeling of it,” says Ryan Bitzer — and since 2016, he and Damion Greiman, have turned their mutual fondness for funny into a multi-format comedy powerhouse that works with the top names in stand-up. The co-founders, who started the company in 2016, estimate it currently generates just under $10 million in gross profits annually, and serves 2.3 million followers and 20 milion comedy fans monthly across its five YouTube channels and social media platforms. The Nashville-based company, which also operates an international division in London, initially worked with stand-up comedians to produce, distribute and market their audio recordings and specials to larger audiences, including such hit YouTube projects as Mark Normand’s Out to Lunch and Matt Rife’s Only Fans, as well as specials for major streamers. They include Leanne Morgan’s I’m Every Woman on Netflix and Sean Patton’s Number One on Peacock. Distribution partners include Kevin Hart’s Laugh Out Loud Network, Bill Burr & Al Madrigal’s All Things Comedy, and its own legacy label, Clown Jewels, which has released works from legends like Lucille Ball, Robin Williams, Gilbert Gottfried, The Smothers Brothers and Bob Newhart. The company is now venturing into producing scripted and unscripted movies, TV shows and documentaries. It announces new content weekly for such comics as Iliza Shlesinger, Fortune Feimster, David Spade, John Crist and Russell Peters; works with Nate Bargatze’s multimedia platform Nateland, and is a producer on the Marc Maron documentary Are We Good? 800 Pound Gorilla has also built a profitable pipeline to spotlight international comedians via its Comedy Exports YouTube channel, and earlier this month, announced that it will begin dubbing content by Rife, Anjelah Johnson-Reyes and Michael Yo in Spanish and French and releasing it on that channel as well. Early in their careers, Bitzer, who mainly handles 800 Pound Gorilla’s business affairs, and Greiman, who focuses on creative development, worked in country music — both in artist management, and Greiman, at Outback Presents, a leading promoter of country music and comedy tours.
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They, along with director of marketing Amanda Zuckerman, who runs point on 800 Pound Gorilla’s marketing, publicity, YouTube engagement and digital strategy, sat for a conversation with Billboard about the company’s growth, the burgeoning popularity of international comics and their methods for building comics’ fan bases. Damion and Ryan, you both come out of country music. Do you think there’s a connection between that genre and comedy?
Damion Greiman: It’s a little bit different for Ryan than it is for myself. I came from Outback Presents. We did country music concerts, but we also did a lot of comedy. We started the Blue Collar Comedy Tour, and my boss at the time, Mike Smardak, started Outback Concerts, and that company became known as the go-to company for comedy. We had other guys focused on rock shows, country shows, different types of concerts, but I gravitated to the comedy side which then led to management, which led to us starting this.
Ryan Bitzer: I was working in music artist management for, I think, 15 years. It was a lot of fun, don’t get me wrong. But one of the things about managing at that time was you weren’t as in control of your artist’s career as you can be now. There were gatekeepers along the way, and if someone wasn’t feeling it, it was, “Sorry,” and two or three years of work that you had put into something shut down overnight. Over here in comedy, it’s such a blue ocean for us because if we get behind our artists, we can elevate their careers. The work you put in, you get out.
When you say gatekeepers, can you be more specific?
Bitzer: In country music, for example, radio drives that business. You could have everything lined up — the right artist, a hit songwriter, someone who’s been on Broadway for eight years and well-polished —doing the rounds, and if the program director says, “We’re not feeling this today,” it’s like, “What do you mean? It’s working.” You do that enough times, and you just lose your zest. It’s been so much fun over here because we can put that same amount of energy into these artists and have a real impact. I’m guessing that a lot to do with Amanda and your digital strategy?
Bitzer: You got it. Post-pandemic we saw a lot of comedians blow up from their socials — like Matt Rife. Amanda, how did that strategy evolve?
Amanda Zuckerman: That’s a great example to start with. I’ve been at the company for a little over eight years now. Our pivot to video and how we handle clips on socials and position these specials in front of the audience online happened around that time. There’s a debate about what’s more important for breaking and maintaining a stand-up career: touring vs. social media. What’s your take?
Zuckerman: I would say touring is really important. Where we come in is helping to position their special online and drive that discoverability across all platforms to feed the touring and funnel back to ticket sales.
Bitzer: You can work things backwards so if someone blows up socially, depending on their art and their work ethic, they can make it work in the club. But [success as a live performer] takes a while. Whereas, if you take a Chad Daniels — someone who’s been touring for close to two decades —by the time he gets to us he’s built up this quiet fanbase.
So, when you finally put something out online properly it’s like lighting gasoline. You’ve just got to get in front of them. Matt Rife really blew up on the internet first. so that worked backwards. But he has the chops. He’s so good at crowd work and what he does online, he can do it live so well.
Greiman: When we’re talking with comics, they typically say, “I want more eyeballs on my videos, and the reason for that is I want more people coming to my shows” It’s usually not about how much money I can make. Of course, they want to make more money on their project, but more importantly, it’s about how is this going to impact my tour numbers? That is what led us to start this company. We were using it as a marketing tool for their tours.
When we were thinking about comedy audio, we didn’t even know that there was a real business there. We just thought this is another way to get an artist out into the world, so that more people go to their shows. What are the milestones that distinguish 800 Pound Gorilla’s past year?
Greiman: Throughout the life of this company, we’ve progressed organically. We started as an audio company and became the record label for Netflix, for Kevin Hart’s company, for Bill Burr and All Things Comedy. That led to us doing video projects. Comics came to us saying they needed help on video projects. We started by spending a lot of money to produce these projects and trying to sell them to major streamers. A lot of times those projects would get passed on, and that forced us to think about building an audience here.
So, that’s what we’ve been doing the last several years because we needed a home for our own projects. The benefit of that is now other comics see us as a home for these projects because we have built this audience of stand-up comedy fans. So, it’s not just about a comedian’s audio project or video project. It’s about the fans that we have that are used to watching long-form stand-up comedy. Our channels are built for that.
We were one of the producers on a Marc Maron documentary, Are We Good? We’re now working on feature films with some of the comics that we work with, so that feels like the next phase. You have five YouTube channels. How would a comedy fan navigate those?
Zuckerman: One thing that we’ve learned is that comedy fans exist online in many different places consuming comedy in different formats. We’ve built channels around those different formats to super serve each of those audiences.
Our main channel, The Whole Banana, is built for our long form stand-up specials. Then there are audiences that like to watch short-format comedy — clips and shorter chapters from the specials. So, we have the Shorts channel that’s built for that. There’s a clean comedy audience out there as well so we have a channel that we call Safe for Work, as well as an international channel, Comedy Exports, that speaks directly to U.K. and Australian audiences. And there’s still an audience for people that want to listen to audio only. So, we have a channel that’s built for that: full specials in audio-only form.
Bitzer: We also have a legacy channel called Clown Jewels and that’s playing Robin Williams, George Carlin, all the legacy acts. The thing that gets me excited now is, four years ago, we didn’t really have an audience, and today, we’re almost up to a million people a day watching something either on the website, YouTube, Facebook — wherever this content lives. Now we can put someone we love in front of a real audience and it moves them faster. We can grow them. What are some of the comedians you’ve done that with?
Zuckerman: Matt Rife is a good example. He definitely already had momentum on his own before he partnered with us. When he partnered with us, his special had about 2 million views on his channel. When he brought it over, and we put it up in front of our audience, our channel had 18 million views, and it revived the special on his own channel, where it shot up to 15 million views. We’ve seen that across the board. We call it the “same movie, different movie theater” approach. It’s the idea that comedy fans are online at different places, and our approach is meeting them where they’re at to expand the discoverability of the content. Ryan Bitzer: Greg Warren is a great example of someone who was the club level, and we did one project with him. We figured out who his audience is, then did a second project that went really well, Where the Field Corn Grows. That got us a conversation with Nate Bargatze.
When we approached Nate, he was trying to build Nateland, and we said, “Hey, let us be your backbone. We know what you want to do. We know how to do this. And you remember Greg, don’t you?” They did comedy together in New York, so it was an easy intro. We partnered up and we did The Salesman, [Warren’s special, which Bargatze directed]. Between us and Nate and Greg’s talent, that blew up. Then Nateland just did The Champion which we all worked on together again. Now when Greg goes back to cities where he might have had trouble moving 50 tickets, he sells out. And to hear that in his voice when he calls is the coolest thing in the world for me.
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How does 800 Pound Gorilla differentiate itself from Punchup Live and Comedy Dynamics?
Bitzer: Punchup Live is sort of a ticketing play. We work with them — we’ll license a piece of content over there, but they’re really interested in working on the live and ticketing side so it’s a totally different company. We’re more of a media company. I think Dynamics maybe is a little closer to how we do business, but this is almost 40 people, and we’re solely focused on stand-up comedy and comedy related film or TV, where Comedy Dynamics is doing shows about toys and decade [retrospectives].
We’re comedy all the time here. We’re here on this earth to make people laugh. We’re also very focused on international. We think that’s been an underserved market. Whenever we hear, “Don’t waste your time on that, there’s no money,” that perks up my ears. It means someone went fishing in this spot with the wrong lure. Sometimes we lose, but when we started the company, we heard, “You don’t market recorded comedy audio because there’s no money in it.” Well, like I said, this is almost 40 people now.
We heard this about international five years ago. If you go over to The Festival Fringe in Edinburgh [Scotland], they’re moving more than 2 million tickets a year. There’s 100,000 people there and they’re all watching comedy shows. You just look around and you’re like, “There’s got to be a business here.” You just have to dig in, and you’ve got to be in it for the long haul. And that’s where we’re at. It took us probably three years to get profitable working in the United Kingdom — signing U.K. acts, putting them on Comedy Exports and building that audience through email. It takes time. Now it’s at a place where it’s a business, there’s an audience, and hey, they may like Kyle Kinane or David Cross, so let’s see if that works. And then vice versa. Could we take Jimmy Carr and Sarah Millican and bring them over here?Those things are working.
Damion Greiman: When we first started, our competition was some of those companies that you pointed out. Now, it feels like we’re competing with Netflix — we’re the Netflix of comedy. It used to be that we when we had conversations with comics, they weren’t going to Netflix [with a special] and wanted to put it out on their own YouTube page. Now we’re working alongside the comics. We can do things like the collab feature with YouTube or we can upload something on one of our channels at the same time, so it’s our team, plus the comic’s team. If you’re releasing on your own, you want to talk to us. Have you done investor rounds?
Bitzer: It’s 100% organic here. We haven’t taken any external money. It’s just been taking the profits and pouring them back into the company every year. Are those profits from YouTube traffic, and production fees?
Bitzer: Yeah, the royalties that come off comedy audio, YouTube, Meta, a little bit from TikTok. We sell direct to the consumer as well and generate a fee for service. I find it interesting that you’re in Nashville. Clearly there’s a comedy scene there, but New York and Los Angeles are considered the de facto capitals.
Greiman: When we first started the company, it was as simple as, we lived in Nashville. Some people in the industry were asking us, “When are you going to move to L.A.? When are you going to move to New York?” And we just said, “What do you mean?” We don’t have any intention of moving. It felt like, right around the pandemic, people really started to realize, yeah, you don’t have to be in one of those places. You can do this from anywhere.
Also, Nashville as a whole and the community here has grown for comedy. One of the biggest, if not the biggest, comic in the world, Nate Bargatze, lives here. There’s a lot of comics that either live here now or are moving here. One of the best comedy clubs in the country, Zanies, is here. So, there is this comedy community now.
Bitzer: I was just going to add the staffing talent here is amazing because you have all the kids at Belmont and MTSU [Middle Tennessee State University] being trained in the entertainment industry, and there’s only 10 jobs that open up in country music a year. So, you get these really talented young adults coming out of school looking for work. You find the one that loves whatever, Theo Von’s podcast or whoever they’re into, and they go, “Oh, I didn’t even know you guys were here.” All of a sudden, you have this amazing young staff. And it’s a lot of fun. It’s probably our greatest achievement as a company.
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Following a year of sold-out shows and more than 135,000 tickets sold nationwide, comedian Matt Mathews will keep the laughter rolling into 2026. The viral sensation and boudoir photographer-turned-comic announced 22 new dates for his Boujee on a Budget Tour, which kicks off February 12 in El Paso, Texas, and runs through June 20 in Davenport, Iowa.
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The newly added leg will bring Mathews’ acclaimed live show to cities including Portland, Seattle, Cincinnati, Boston, Washington, D.C., Orlando, and Baton Rouge, among others. Tickets go on sale beginning Thursday (Oct. 30) at 10 a.m. local time via LiveNation.com, with artist presales opening on Tuesday (Oct. 28).
Now nearing 100 performances, Boujee on a Budget is propelled by Mathews’ raw storytelling, southern wit, and unfiltered perspective on life as a gay man navigating small-town Alabama. His comedic material draws on his experiences as a farmer, barrel racer and boudoir photographer, connecting deeply with audiences who see both humor and heart in his stories.
The tour’s 2025 run will conclude this December with two milestone shows: a special taping at Nashville’s iconic Ryman Auditorium and Mathews’ first hometown arena performance at the Legacy Arena in Birmingham, Ala.
Beyond the stage, Mathews continues to expand his creative footprint. With more than 12 million followers and over 1 billion views across social platforms, his reach extends far beyond comedy clubs. Later this year, he’s set to release his debut self-titled music album, following the singles “What a War” and “Joke’s On Me.”
Fans can expect Mathews’ signature mix of boujee flair and down-home honesty as he brings his blend of humor and humanity to new audiences nationwide.
An artist presale begins Tuesday at 10 a.m. local time through Wednesday (Oct. 29_ at 10 p.m. local. A general onsale launches Thursday (Oct. 30) at 10 a.m. local here.
Check out the new dates for the 2026 Boujee on a Budget tour below:
Feb. 12: El Paso, Texas @ Abraham Chavez Theatre
Feb. 13: Lubbock, Texas @ Buddy Holly Hall of Performing Arts
Feb. 14: Norman, Okla. @ Riverwind Casino
Feb. 19: Portland, Ore. @ Newmark Theater
Feb. 20: Bellingham, Wash. @ Mount Baker Theatre
Feb. 21: Seattle, Wash. @ Paramount Theatre
March 26: Nashville, Ind. @ Brown County Music Center
March 27: Cincinnati, Ohio @ Andrew J. Brady Music Center
March 28: Northfield, Ohio @ MGM Northfield Park
Apr. 9: Boston, Mass. @ Boch Center Shubert Theater
Apr. 10: Hershey, Pa. @ Hershey Theatre
Apr. 11: Washington, D.C. @ Warner Theater
Apr. 30: Evans, Ga. @ Columbia County PAC
May 1: Orlando, Fla. @ Dr. Phillips Center
May 29: Baton Rouge, La. @ L’Auberge Casino
May 30: Bossier City, La. @ Margaritaville
May 31: Brandon, Miss. @ Brandon Amphitheater
June 5: Cherokee, N.C. @ Harrah’s Cherokee
June 6: Danville, Va. @ Caesars Virginia
June 18: Minneapolis, Minn. @ Mystic Lake
June 19: Madison, Wis. @ Orpheum Theater
June 20″ Davenport, Iowa @ Rhythm City Casino
Billboard’s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, click here.
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Three decades ago, Bette Midler eyed trash-filled parks in New York City with a mixture of dismay and anger. But unlike most people who complain about things in NYC, she did something about it—and inspired countless others to follow in her footsteps. In 1995, the actress-singer-comedian tapped her connections and resources to form the New York Restoration Project (NYRP), which over the course of the last 30 years has cleaned up, transformed and created green spaces for New Yorkers across the five boroughs, with a focus on helping underserved communities get the green space they deserve as much as the loaded locales living across from Central Park.
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Part of the NYRP’s fundraising arm is its annual Hulaween gala, an explosion of costumed creativity that took over Manhattan’s Cipriani South Street on Friday (Oct. 24) night to mark 30 years of the Tony-, Grammy-, Emmy- and Golden Globe-winning icon’s nonprofit. And what better way to salute the tart-tongued talent than publicly insult her. “We’re here for the late Bette Midler,” joked surprise performer Buddy Young Jr., aka Billy Crystal resurrecting the character from his 1992 dramedy Mr. Saturday Night. “Talk about a restoration project!”
Backed by a band led by the indefatigable Will Lee, Crystal performed a bawdy tune and cracked a few Borscht Belt-styled jokes (“My wife told me to come upstairs and make love to her; I told her, ‘Make up your mind, I can’t do both!’”), clearly relishing the opportunity to dust off the deliciously kitschy character from his directorial debut and surprise an old friend. By the time Midler took the stage to accept the catalyst award to mark her environmental efforts, she was genuinely in tears, having had no idea Crystal and Marc Shaiman, another longtime friend, would be onstage paying tribute to her.
Midler herself got off a few zingers during her heartfelt speech, which saw her generously praise dozens of people who helped her nonprofit help New Yorkers over the decades. “Credit where credit is due,” she said as she thanked Rudy Giuliani (who was not present) for helping NYRP back when he was the city’s mayor—“back when he was sane,” she added, casting an eye up to the heavens: “God help that young man.”
The 2025 Hulaween theme was “New York, New York, A Helluva Town!”, which inspired dozens of knockout costumes, from a group who did Sesame Street characters to a woman who walked around in a bloody daze with a fallen AC unit smashed around her body. That theme also inspired the musical selections for the evening’s performers: Christopher Cross trotted out his Oscar-winning tune “Arthur’s Theme (Best That You Can Do)”; Ben Platt knocked a funky cover of the Drifters’ “On Broadway” out of the park; Sandra Bernhard belted a killer take on St. Vincent’s “New York” (any song with “motherf–ker” in the lyrics is gonna be a natural fit for Bernhard); Shoshana Bean sang a delightful version of the Ad Libs’ girl-group classic “The Boy From New York City”; and Marisha Wallace dazzled with a powerhouse “New York, New York” in the vein of the original Liza Minnelli version.
The event raised $2.9 million, thanks in large part to a $1 million donation from designer Mica Ertegun (the wife of late music industry titan Ahmet Ertegun) prior to her death. Generous bids from the 500-strong crowd—which included Michael Kors, Darren Criss, Andy Cohen (as Andy Warhol), host Busy Philipps (as Cher in Moonstruck), Jann Wenner, Graydon Carter and Midler’s daughter Sophie von Haselberg—also helped bring in that whopping total for the nonprofit’s 30th birthday.
“That’s what we were put on earth to do,” Midler said at one point during the night. “To share. Not to hoard.”
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Fred Armisen has few equals when it comes to committing to the bit. Whether he’s playing Prince or gold-toothed Venezuelan timbales player Fericito on Saturday Night Live, Dave, Spyke or Bryce on Portlandia, or Uncle Fester on Wednesday, he inhabits his characters so completely that they can be uncomfortable to watch—especially when those characters lack any self-consciousness, are painfully naive, talentless or annoying. It’s a trick he brought to his public persona as well, especially his bits with Seth Meyers as the drummer of the 8G Band on Late Night, explaining that he was releasing his first fragrance (a suspiciously dark liquid that smelled like ink) or launching his own celebrity circus.
So when Armisen appeared on Netflix’s Everybody’s Live With John Mulaney last March and announced he was about to release an album of sound effects on the Drag City label, it was hard to tell if it was real, a joke, or an Andy Kaufman-esque bit that lived in the space between reality and comedy. Even Mulaney seemed uncertain. And when Armisen played a few sound effects, the straightforwardness of it all only fed the uncertainty.
Turns out, Armisen was not kidding — at least not joking about releasing an album of unadorned recordings of . . . sounds. Drag City released 100 Sound Effects in late September. As the Chicago label’s co-founder Dan Koretzky put it: “Fred proposed a sound effects record, and thinking he meant a tribute to The Jam, we were thrilled! When we realized it was a record of actual sound effects, we were overjoyed!” Koretzky was referring to Paul Weller-led band’s 1980 near-masterpiece Sound Affects, and the cover of Sound Effects pays homage to that album. It is also dedicated to the late producer and indie rock icon Steve Albini, who helped Armisen find L.A. recording studios for the project before he died last year.
100 Sound Effects actually contains a 101st bonus track — a throwback to the full flowering of the CD format in the 1990s and 2000s. The recordings range from seven seconds to one minute and 49 seconds. (A nine-track compilation on Spotify combines a number of effects by subject.) Comedian friends also feature on some of the tracks, including Tim Heidecker, Mary Lynn Rajskub (remember her in that torture procedural 24?) and his wife Riki Lindhome.
In interviews for the album, Armisen has said he hopes some of the recordings will actually be used by the entertainment industry. Licensing fees are a little unlikely, given the ready availability of royalty-free sound libraries. But Koretzky does not sound like someone concerned about how much the album sells or streams. Asked why his label would commit to an album with little commercial potential, he replied via email: “We may have different definitions of commercial success.”
Given Armisen’s commitment to the project and his craft, Billboard committed to listening to and ranking the tracks on 100 Sound Effects. That said, 101 entries do not follow. Some of the sound effects are slight variations on a theme, such as breaking glass, and, for the purpose of this article, are evaluated as a group.
Fred Armisen, “100 Sound Effects”
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Track 101: “Fred Walking to Control Room”
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