Thursday, Jul 9: Marc Evan Jackson

WBSM 1420 AM
57 followers
Jul 12, 2026
Tim talks with actor Marc Evan Jackson ("Brooklyn Nine-Nine," "Parks and Recreation," "The Good Place") about his upcoming improv show at the Narrows Center in Fall River with the Bluebird Improv collective.
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Video Summary
AI GeneratedThis broadcast segment covers a diverse range of topics, including a listener's frustrations with tariffs and corporate monopolies, a detailed exploration of improvisational comedy with actor Mark Evan Jackson, and local business promotions for AllSecurityCo and Rewind Restaurant and Arcade. It blends civic discussion, artistic philosophy, and community event announcements.
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The Tim Weisberg Show.
And welcome back in third and final hour of the program here on Thursday morning.
And let me take a phone call here.
508-996-0500.
Good morning. You are on WBSM.
Good morning, Tim.
How are you doing?
I got to ask you a question.
Sure.
Because I'm confused about this.
This to me, this is bad news.
Okay, let's say I own a business.
And I paid the tariffs out of my money $5 million.
Okay, the Supreme Court said that Trump's going to give all this money
back to the people, right?
They got to rebate you all the money that you paid in tariffs.
Am I correct about that?
Well, I don't know what the, I don't know what the-
Yeah, that's what the outcome was.
No, but I don't know what the mechanism is in place to be able to do that.
Yeah, they had to, in other words, the company that I owned, I had to keep records.
So if I paid $5 million to the government, they're going to rebate me the money back.
So here's the question, Tim.
Okay, this is just a few examples of it.
If I go to the, if I went to him and I always paid $4.58 for coffee,
and I'm paying him $6.99 for coffee, right?
Okay, the next thing I want to show an example of, the tomatoes came from Canada and Mexico.
I was paying $2.99 a pound for tomatoes that were $1.29 a pound.
All this extra money I paid for different things.
Well, if he's getting all his money back, well, how the hell am I getting my money back?
You see, who's benefit?
People like that are benefit.
We're not the benefits.
I just looked it up.
So they've returned it to the lower courts to resolve the refund process.
So that's what I was saying.
I didn't know what the mechanism was to be able to do that.
I didn't know.
But so the courts, the lower courts are going to figure out how to do that.
So they just ruled on whether or not the tariffs were appropriate or illegal.
And then they let the lower courts decide how they're going to get the money back.
So that hasn't been, I guess, adjudicated yet because I haven't heard about it.
So Tim, why I'm upset is if the guy's getting back all his money from the big corporation,
and I paid him all this extra money as time went on me and all the others.
Well, we're the losers.
Right.
I would guess that.
So this is what's upsetting.
I mean, maybe I should get a check for $300 or $400 and everybody else in the country.
I would guess that you'll probably have some corporations that pay these tariffs that would
say, we're going to do something.
We might give a rebate to people.
When we get that money, we might reimburse the people what we paid.
You might get some companies that do that.
You might also get some ones that say, we're doing like a thank you sale.
Like you mentioned the tomatoes, maybe the supermarket does a special thing.
But I think the bottom line is in the end, if they already charge you that money and
you already paid it, they're going to feel like they don't need to give it back to you.
Yeah.
And you know, Tim, I could only get tomatoes from Mexico and Canada and $2.99 a pound.
Right now, I looked at my paperwork.
It's down to $1.29 a pound now.
Look at all that extra money that went to somebody.
But I feel as though we all should get a rebate, everybody in America for what went on.
Well, supposedly we were getting tariff checks, right?
Weren't we all supposed to get a check for all the money that we made in the tariffs?
And I'm still waiting for the doge check to come.
No, I didn't hear that.
No.
Yeah, that was one of the things that they were talking about is, oh, we got so much
money from the tariffs, we're going to send people checks.
Where's the money?
In Trump's bank account?
I don't know.
Okay, Tim, I thought I went to call you because I'd like to know that answer.
And everything takes so long that they do.
My God, just get it done and get it over with.
Well, if you've ever tried to get a settlement in a lawsuit like those, why is it escaping me?
When everybody gets together and they all sue and you get a massive group of people that are
charged high user fees or something.
So class action, that was what I was looking for.
So a class action suit, when you try to get your money back, it takes years to get that money back.
Tim, there's one that I just signed a few weeks ago.
Comcast, somebody went in and stole all the information.
In September, that case is going to court.
And it said on the paperwork I got that each individual will get at least a $50 check
from Comcast after the judge makes his determination.
Now, I don't know, the other day they made a mistake with the mail.
I got somebody else's mail and I brought it upstairs.
I say, this belongs to you.
Sign it and date it and send it back because they're going to have the court case in September.
And I said, after that, the judge is going to say, well,
as far as I can see, every person that was stolen all this, you're going to get a check for $50.
So there's going to be a lot of other people beside me in this area that they did that too.
And I don't know, did you hear about that?
I did not.
So I would just want to be careful when you get some of those notices,
because a lot of times they're not legitimate.
A lot of times they're just trying to get your information.
You didn't give any bank information or anything, right?
Oh, no, I didn't know.
It was just your signature and the date of the signature,
because it had to be in by a certain date.
Because if I remember, I got it on my bureau there.
The court case is September 23rd.
I may be wrong, but I do believe when there's a class action lawsuit,
I believe that the company has to post something about it.
I might be wrong in that.
But I know that there are people that put out these fake class action suits.
How do they get that information?
These big companies have computers, right?
And they hide the information.
How do these people, what do they work all day trying to get the code?
And then finally they get the code and they steal it.
Like for the scammers?
Yeah, how?
Oh, all the scammers have to do is send an email to everybody saying,
were you wrong by Comcast?
Because everybody here has Comcast, right?
Everybody in New Bedford has Comcast.
There is no other cable option.
No, so you just send a correspondence to everybody in New Bedford saying,
this happened with Comcast and there you go.
90% of the people probably have it.
Although probably less now because people are cutting the cord.
But that's how you do it.
And that's the danger sometimes of having only one company.
But Jim, how do they get that information out?
That they're able to break the codes?
I mean, there's a lot of companies getting in trouble in the United States because
these people are able to steal all the information.
Yeah, well, oh, so the original people, that's okay.
Yeah, so basically it all depends on the kind of cyber security
that the original company offers.
Especially when it comes to like credit card payments and things like that.
So a lot of times they're able to hack into those systems and that's how they get it.
It's not like the company did anything wrong.
Sometimes it's that the vendor that they utilize to process those cards,
they might have been the ones to get hacked.
They do that at the colleges and they do that at the school systems too.
They're able to go in and do bad things.
That's why these companies hire what they call white hat hackers,
who are good guy hackers that work for the company
to try to figure out how they can hack into the system to try to find any exposed flaws.
And I was telling my son, I was like, that'd be a great job for you.
Because he was really into computers.
I was like, that'd be a great job for you because
you get to do something wrong and get paid for it at the same time.
Yeah, yeah, that's right.
You're right, yeah.
Before I go, I just got to tell you this.
I got three calls from the cable there, the Wednesday, Thursday, and Friday of last week.
I told them, listen, I don't want to bother you people.
So I told them on the phone, I said, you know what's wrong with you people?
You have no competition.
I said, you own all the wiring for the cable and all this stuff and there's no competition.
I said, you people need competition.
Because you know why I said that, Tim?
Because I got my television and my phone on the cable.
You know how much that costs?
$215 a month for my cable and for my phone.
And I said, you people need competition.
Because somebody told me the mayor is the one that does that.
He says, oh, we're going to have this company.
Yeah, the city signs a contract with them.
Who else are we going to have?
So that's what I told them.
And I don't know why I had three different people call me up about it.
And I shut them off because, number one, I don't want to buy anything.
They're trying to sell me other stations.
I figure, you know, these are the stations where you have to pay $7 a month to see a
show or something, to wrestling.
So, you know, I get upset with that because I like competition.
If somebody come up to me and said, listen, that $215 a month you're paying, how would
you like to pay $175?
Oh, I said, sure I would.
The same service?
Yes, the same service.
Well, that's what I mean, Tim.
We need competition and we don't have competition.
Yeah, I agree.
I got to hold you there.
That's how I feel about that.
I got to hold you there.
I have to go to a break.
OK, OK, Tim.
I thought I talked to you about this.
I appreciate it.
Thank you for the call.
Oh, you're welcome.
Let me know what you hear on that refund too.
Sorry.
All right, I got to get a break in here.
We are up against it.
Before I take the break really fast, tonight is a big night over at the vault.
If you are a fan of comedy, they have the Portuguese kids with their brand new show.
So listen, if you've never seen the Portuguese kids, it's nonstop laughter.
They've gone from doing these funny videos online to actually creating entire stage shows,
entire performances.
And tonight, it is going to be the Portuguese kids hilarious new show, No Recipe Needed.
So there are still some tickets available at vaultnb.com.
There'll be some available at the door as well.
But if you're just looking for a fun night, you've had a stressful day.
You just want to laugh.
Tonight is the night.
The Portuguese kids at the vault with No Recipe Needed.
And then on Sunday, they're also going to have a show with Plight of the Pire,
Fate of the Damned, The Suffering Within, and Ravager.
That's happening on Sunday afternoon at the vault.
So you can get tickets to those shows and more at vaultnb.com, vaultnb.com.
All right, I've got to get this break in here.
I don't think we're going to be able to play that interview now.
So maybe I'll just have to play two interviews tomorrow.
But we'll be back in a few moments.
Order for Jennifer C.
Is this my double shot, double cream, double froth, double pump, double whip, double sleeve?
Uh, yeah.
Can you handle that much coffee?
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That's great.
Seriously, did you know Discover automatically doubles all the cashback you've earned
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Did you say I just said that?
Yeah, I'm cutting you off.
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Why not?
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The people that come in and do that, it's usually three separate companies.
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All right, I'm gonna do something a little bit unorthodox here,
because I wanna get this interview in with Mark Evan Jackson about the Bluebird Improv
Show coming to the Narrow Center on Thursday, July 16th.
You can get tickets now at NarrowCenter.com, and they'll also be available on the day of
the show, but you wanna make sure you get them ahead of time.
And so this is gonna feature Tim Meadows from Saturday Night Live.
It's going to feature Matt Walsh from Veep and other folks who you've seen on numerous
other things doing improv comedy.
And Mark Evan Jackson, you'll recognize him from his appearances on shows like Brooklyn 99,
Parks and Recreation, The Good Place, and more.
And he's gonna talk with us a little bit about improv comedy and about his career.
I think, Mark, that a lot of people go to a comedy show and they have one idea of it,
but they might not understand the difference between going to a comedy show and going to
an improv show.
Improv is a whole different world.
Obviously, we're seeing a lot online, stand-up comedians doing a lot of crowd work,
which I suppose is a form of improvisation.
They don't know what answers they're going to get from the people in the audience when
they ask them where they're from or what they do or if they're a couple and that sort of thing.
So that's a little bit looser of a brand of stand-up.
But the remainder of a stand-up comedian's act is fully scripted and has probably been
tested and honed over years.
I mean, it truly, I dabble in that world a little bit as well, and it takes truly years
to develop 20, 30, 40 minutes worth of material that you know consistently works in most venues.
Improvisation is completely different.
Our shows are absolute unicorns, different one from another based completely on the situation
that you find yourself in with the audience.
For instance, with Bluebird Improv, what we typically do is come out on stage at the beginning
of the show, and we're typically on the road.
We're typically traveling.
So we might just amongst ourselves, the four or five or six of us, talk about our experience
in the airport or something that we've noticed on the ground in the city that we're in.
But then we'll talk to the audience about issues facing the area or who thinks that
they themselves or are with somebody who has an unusual job.
And then we'll just sort of interview them a little bit.
And all of their answers, the specific answers to where they're from or what issues are facing
the city or who thinks they've come from the farthest or any of that sort of thing, that
all becomes kind of a table of contents of suggestions that we then use for the next
hour or so to make up completely improvised, absolutely unscripted, unplanned theater.
And we've all been doing it for some time now and are fairly decent at it.
And I will confess that it consistently comes off as a magic trick.
It appears impossible.
It appears like sorcery.
We just did some shows in the childhood home of Johnny Carson in Norfolk, Nebraska, a couple
of weeks ago.
And the moment the show was over, a very kindly older man asked us if we did all our writing
together, which is flattering, I suppose, in the sense that he simply didn't believe
that it was possible that we made all that up in the moment.
And then the guy that drove us two hours back to the airport in Omaha,
truly, Matt Walsh and I got in the car with him early the next morning.
And he said, how did you trick us into giving you the answers that you wanted?
And it was like, oh, my goodness, sir, the show was improvised, we promise.
We absolutely did not plan a single bit of what you just saw.
So it's truly an inside, like you have to be there kind of thing.
It's an inside joke amongst the hundreds of people that show up each time.
Each show is completely improvised, 100% unplanned and unique.
And of course, you and the rest of the Bluebird Improv Collective, you have chemistry amongst
yourselves and you're able to work off of each other, but you've also got to develop
instant chemistry with the audience because the audience becomes a big part of what you're
doing.
Absolutely, yes.
I mean, one of the early things, there are a handful of rules to improv.
It turns out that you can rehearse, you can practice improvising.
So one of the early rules is yes and, which means that you're going to accept what's going
on.
You're going to say the word yes, or at least emotionally accept what's going on.
And then and, meaning that you're going to add to it.
So that's when somebody says, it's a beautiful day here at the beach.
You don't go, what are you talking about?
We're on the space station.
You go, yes, it's a beautiful day at the beach, and I'm so glad to be here with my fiancee
or whatever.
And then slowly, line by line, you build what was a moment ago, just two people on stage
with nothing but a couple of chairs to a beautiful tapestry and a vivid scene that the entire
audience, it's a shared hallucination that the audience all has together with us on stage.
But the biggest thing is listening, that you're accepting what everybody's saying, but you're
listening to it.
So we listen to the audience very deeply, very intently to hear all the details in what
they're describing about their day or their job or the problem at work or the fact that
nobody knows how roundabouts work in their town or whatever the things are.
So yes, chemistry is a huge part of it.
But improv over time does become sort of a universal language.
And you'll play with other experienced people that you've never worked with before.
But using the same techniques and listening and yes, and somehow the magic trick works.
I mean, it's definitely a team sport because it's not about just doing the best performance
you can, but it's about setting up the scene partners to have success as well.
You have to make sure that you're giving them something that they can work with.
Or do you like to really just try to challenge them and almost say a little bit of, yeah,
let's see what you can do with that.
Oh, there's some of each.
Are you an improviser?
You sound like you might be an improviser.
No, but I've looked at it and said, I'd like to try that someday, but I have not made the plunge.
Oh, my goodness.
You absolutely should.
Everybody on the planet should.
You're obviously in a performance career and a forward facing career as a public figure.
So certainly people that do what we do for a living should.
But everybody should, including those people that say, oh, I could never,
especially the people that say like, oh, I'm so shy or I'm not quick on my feet
or people who have no intention of being in the public eye or on stage or an actor or a comedian
or whatever.
It's good for everybody.
Improvisation, in addition to being fun and funny, is such a good tool to gain confidence
and erase fear and to develop listening and respect for others and empathy.
It shows you every moment is improvised in life.
There's no script for what we're doing right now.
There's no script for when you get out of bed in the morning and getting in the car and going
to work or going to the gas station or going to the diner for lunch or any of that sort of thing.
Every bit of it is improvised.
Uncertainty is everywhere.
And improv through practice teaches you that uncertainty isn't that scary, that failure,
which is going to come because life is unpredictable and not everything is going to go
perfectly the first time, that failure or not being perfect right away is not a fatal or
lasting condition.
And so all of life becomes a little bit less scary, and it's the very best thing.
But to your earlier point, yes, the making your scene partner look good and working together,
it is the teamiest of sports, improv is.
It is the, if anybody's showboating, if anybody's out there for themselves,
for even a moment, you're not fully focused and listening, you're going to let others down.
It is the SEAL Team 6 of performance arts.
And boy, oh boy, everybody has to be fully focused on one another and
doing it for the team and not for yourself.
Well, I was going to ask you if you have any nerves or anxiety stepping onto the stage,
working without a script, if that kind of makes you anxious about getting into each performance.
But it sounds like you're coming at it from a perspective of it's just a muscle.
It's just something that you're able to flex when you need to.
I mean, it is a muscle.
It's a skill.
It's a technique for sure that improv is impossible.
It should never have worked once in the history of humanity.
The fact that it does so routinely is a testament to the technique of it all.
But I mean, cards on the table, it is the unknown, right?
So very briefly, from time to time, most of the time, I can't wait to get out there and do it.
And it feels like jumping in a giant pool of fun.
But every once in a while in the wings, just before we're announced and take the stage,
I do come to my senses and go, this is a terrible idea.
Hundreds of people have paid $40 each or whatever it is to come see us.
And we have nothing planned for them.
We have not prepared for this in any way aside from the 35 years of training and experience.
But there's no script for what's about to happen for the next 60 minutes.
And so it does sometimes feel, for three-eighths of a second, you're like,
what have we done?
This is a terrible idea.
And then you step out on stage and you remember, oh, this is what I do for a living.
This is where I live.
This is my joy.
And then I'm sure it doesn't take very long, once everything starts firing off on all cylinders,
to just really kind of take all of that energy and funnel it into the performance.
It's fun.
It's a good spur.
It's a good nervous.
Because you do go out on stage going, we don't know where we're going to be in an hour.
We truly have nothing planned.
We have to get information from these folks to work with to do what we do for a living.
So it's a tightrope with no net.
So that brand of encouragement, I think, is a motivator for sure.
It's exciting.
I mean, and as such, you're with a group of people, like you said,
have a lot of experience in this, that are recognizable people.
So when you're going through all of this, you could probably just get those one
suggestion at the beginning and go for an hour.
How do you balance being able to continue on with what you're doing,
but then also keep the audience involved and engaged?
Oh, I think that it depends on where we perform.
For instance, many people that we met in Norfolk, Nebraska, a couple of weeks ago,
truly said, I've never seen an improv show before.
Really looking forward to this.
Or didn't like the show, love the show, didn't know what to expect kind of thing.
So in those cases, sometimes it's a bit of a
translation at the beginning to demonstrate what we're doing.
You're going to see that you mentioned that your high school teacher was named Mr. Butka,
and we're going to use that in a scene, maybe about high school, maybe not.
So we're teaching people that.
In major cities, New York, Chicago, Los Angeles, wherever,
where people are a little bit more improv savvy, there's less of that
kind of bringing people up to speed.
But yes, the audience learns to trust us along the way.
We prove that we're funny.
We prove that we're using the material.
There's no way that we could have planned this scene that happened in the specific playground
that was mentioned five minutes earlier by an audience member who's not a plant
and that sort of thing.
So yes, it's the audience begins to trust us.
And we often don't know when we step down into a scene.
We're not coming out because we have an idea.
We're coming out because the scene prior was done, like they had done their job.
They had exploited, used a suggestion and explored it.
And that needed to be done.
And so very often you're making eye contact with your scene partner in the next scene
going, what happens next?
And I would also assume that, you know, of course, we know you from so many great roles
on television.
And I would assume that improv makes you a better actor when it comes to working with
a script.
I can't imagine being an actor without being an improviser.
That would seem so scary to me to only have the words and not be able to envision more
about your character than is typed in the middle of a page of script kind of thing.
Being an improviser allows you to see.
Because in the course of the set that we'll play on July 16th in Fall River, I imagine
I'll be playing old people and young people and nice people and mean people and dumb people
and smart people and rich people and poor people.
And so in the course of one improv set, we'll play a dozen or more characters probably.
And that lends itself to exploring perspective.
And, you know, you have to get into these characters very quickly sort of thing.
So when you're handed a piece of material, a script for a television show or a play or
a movie, I think improvisers have a real advantage because we are able to see very vividly the
full spectrum of this being dirge, tragedy, all the way to slapstick comedy.
And we're able to pinpoint a couple of places along that long arc to go,
how am I going to play this one?
And it also encourages you, as all acting does, but I think improv just gives you more
reps at this, more experience with this, to look at a scene and go, what kind of day is
my character having?
Is this, you know, day 1000 of infinity and it's drudgery or is this a special day?
What was my character doing on the way here?
Are they looking forward to this moment that we're about to dramatize or are they not?
And then what are they going to do the moment that the scene is over?
When they walk out of this room, are they relieved?
Are they, you know, tortured by what they have to now go and do?
It's a lot of different looks at it.
There are certainly actors who are not improvisers.
I can't imagine it.
Well, and I'm sure that you've worked with plenty of directors who appreciate that, and
I'm sure you don't have to name any names, but I'm sure you've worked with some writers
who don't, you know, like, well, you're taking things beyond kind of what I had the character,
but you have to inhabit these characters.
You have to have some ownership and connection with them.
It's true.
Some, I have a meeting later today with a writer director for an independent film that
I'm considering, and the true question is going to be, are you precious about your words
or are you open to some play?
Because very often improvising beyond, like Mike Schur is a perfect example.
He's created shows like Parks and Recreation and Brooklyn Nine-Nine and The Good Place
and Man on the Inside and new things that haven't dropped yet.
His shows work so efficiently and are so great.
The casts and crews are so wonderful.
He has a no jerks rule.
So everybody that works there in any capacity is good at what they do.
They're happy to be there.
They're getting paid.
They know they're going to be home for dinner.
Everybody has no ego, no defensiveness.
They're a great team member.
And so the shows work very efficiently.
And so very often the scripts are, you know, hilarious on their own.
So we'll shoot those, but very often there'll be plenty of time
and they'll introduce the notion of a fun run.
They'll come to us and say, okay, we got the, we shot the scripted part.
We're good.
Is there something you'd like to try?
And very often with Mike Schur's cast, we're all, many of us are improvising.
We're like, absolutely.
I'd love to ruin this scene right now.
And so you do your world's worst ideas sometimes.
And you add, you know, the things that you've been
holding back on saying during the scripted portion.
And it turns out that lots and lots of that makes the final edit.
A little bit less so with shows like The Good Place,
because the world building on The Good Place,
which was a half hour sitcom about the afterlife,
starring Ted Danson and Kristen Bell.
That was a little bit more canonical.
There were, there was more that we had to live by.
So we improvised some, but a little bit less on that show
than we did, for instance, on Parks and Recreation or Brooklyn Nine-Nine.
But it's an awfully fun world where you are given gold to begin with.
And then are offered the opportunity to
turn that into something even, you know, even more fun.
Well, out of all the characters that you've played,
and you mentioned some of the programs you've been on,
who is probably the one that people come up to you and recognize you as the most?
It depends on where I am on the planet.
If I'm in Canada or Europe, it's very often Kevin Cosner from Brooklyn Nine-Nine.
That happens in the United States too.
But The Good Place is, I played a character named Sean.
I played Ted Danson's boss on a show called The Good Place.
And that one, I think, gets a little bit more play in the United States proper.
But in New Zealand and Australia and various places,
Brooklyn Nine-Nine is wildly, wildly popular.
I mean, it was one of the funniest shows ever.
And since I'll never...
I probably won't get the chance to ask Michael Schur this question myself.
I'll ask you.
You're as adjacent as I can get.
But one of my all-time favorite jokes in any of his work
is actually the card at the end of the show when it says Fromulon.
And I heard the voice and I said, that sounds like Nick Offerman.
So I googled, does Nick Offerman say Fromulon?
And it took me to a website called doesnickoffermansayfromulon.com.
And then when I clicked on that website, all that was on that website was one word.
Yes.
So I don't know who...
I don't know if Michael came up with that,
but that is the funniest thing that I've ever seen.
They did it on set one day.
I think they had the audio team stop, you know,
when they were moving on from a setup on Parks and Recreation.
I think there might even be video of it if you really go digging.
I'll see if I have it and we'll send it to you if I find it.
But yeah, they just had them say it like five times, I think.
And they were like, we got it.
It's great.
Yeah, they've used that too.
There's an Easter egg.
Nick Offerman's voice is of a demon in the bad place too,
a gigantic sort of fire monster that walks past at one point.
Or actually, no, I think it's a way more fantastic character.
But yes, they like to...
Mike is a big fan of Easter eggs.
So there are, if you watch The Good Place,
there are allusions to Parks and Recreation within it.
There's John Ralphio's is in a magazine ad.
And Jason Manzoukas' character has some things as well.
There are references to various shows within each other.
Well, I love it.
And I love the idea of all of this, you know,
this kind of working together and everybody making everybody better.
That's what we need more of in the world.
And we can look at comedy as a way to kind of guide us toward that.
Positively, yeah.
Mike, sure, in addition to having a no jerks rule,
has a best idea wins rule.
So if, you know, it's the guy whose job it is
to bring in all the heavy cables and lights,
have an idea for a line in the show, they're going to consider it.
It's not about packing order or whatever.
Best idea wins.
And so they're very open and it makes it a very collaborative,
very collegial, very kind workplace.
It's the most fun.
It makes you wonder when you get in the car to go home at night,
why the rest of the world doesn't work this way.
Absolutely.
Well, people are going to get to see it up close and personal
in Fall River on July 16th with Bluebird Improv.
It's going to be a fantastic show.
And I hope that the Fall River crowd does not disappoint you.
You're probably going to get some Portuguese words thrown at you.
I don't know if you'll understand them,
but they're going to try to trip you up with,
you know, things like linguiça and chorizo.
But you'll definitely have some fun with this crowd.
Those both sound like sausages to me.
Are those both sausages?
I hope those are both sausages.
Yes.
Hey, somebody, somebody will probably have some for you to try while you're there.
Oh, I'd love it.
Can't wait.
All right.
Thank you so much, Mike.
This has been a fantastic discussion and you've inspired me.
Maybe I will give some improv a try.
Oh, do it.
It'll be it's briefly uncomfortable because you're making yourself vulnerable
and you truly don't know what's about to happen.
But the payoff is tremendous.
And everybody in the world should take an improv class.
All right.
Well, thank you so much, sir.
We look forward to seeing you on the 16th.
Thank you very much.
Looking forward to it.
All right.
That is Mark Evan Jackson of the Blue Bird improv group.
They're going to be at again at the Narrow Center on July 16th.
You can get tickets now at NarrowCenter.com.
All right.
I'm going to get a break in here before I take that break.
If you're looking for some adult beverages,
you know, my favorite place to go is Stevie's Wine and Spirits in Fairhaven,
115 Huddleston Avenue.
And if you like coconut flavored drinks right now,
select coconut flavored liquors, whether it be rum, whether it be vodka,
whether it be liquors, whatever it is.
These coconut flavored items are all 10% off.
So you can get that taste of summer and save a little as well at Stevie's Wine Spirits.
And don't forget, bring canned goods with you because for every canned good
or non-perishable food item you bring over to donate to the Fairhaven Council on Aging,
for every one you bring, you'll get a raffle ticket to win
the Sun Cruiser bicycle that's on display in the beer room.
So stop by and see it for yourself.
And make sure you get yourself some raffle tickets over at Stevie's Wine and Spirits,
where they have all kinds of stuff for you to check out
and where they're always doing something good for the community.
And keep July 18th circled on your calendar.
That's going to be their big summer tasting event with all kinds of different things for you to try.
And I'll be hanging out there as well.
So you can come on over and I'll, radio air quotes, buy you a drink.
That's what I always say.
Well, let me buy you a drink.
And you know, it's just samples.
So anyway, Stevie's Wine and Spirits, 115 Huddleston Avenue in Fairhaven,
home of the Purple Dot, where you can try before you buy.
All right.
I've got to get a break in here.
We will be back in a few moments.
Order for Jennifer C.
Is this my double shot, double cream, double froth, double pump, double whip, double sleeve?
Uh, yeah.
Can you handle that much caffeine?
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Welcome back in.
So I was telling you earlier during the Gen X Files that today is karaoke night at Rewind
Restaurant and Arcade on Main Street in Wareham.
So not only can you stop in and have some delicious food, but you can also take part
in karaoke.
And by take part, I mean you can either sing if that's what you like to do, or you can
just sit and watch, which is what I like to do.
That'll be happening later on this evening.
But tomorrow they're introducing the Friday night dance party at Rewind.
So out of nowhere, Rewind just installed a light up dance floor.
See, that's the thing is Phil's always tinkering with Rewind over there.
He's always coming up with new ideas of how we can make things cooler and more fun.
And so they put in this light up dance floor.
And so now they're going to be christening it with a dance party this Friday night starting
at 9 p.m. with DJ Ruckus at Rewind Restaurant and Arcade.
So you can come in, have some dinner, go down into the arcade, play some games, and then
at 9 o'clock, go back upstairs and jump on the dance floor and dance the night away.
So just remember, it is 21 plus after 8 p.m. at Rewind.
So that includes the restaurant side.
But also keep in mind, too, you can't come and be a stick in the mud.
Everything about Rewind is about fun.
And you can't help it when you're there.
You're just gonna, it's just everything about the place just naturally lends itself to wanting
to have a good time.
The neon lights, the TVs with the music videos playing, the 3D glass, everything.
The payphones, the real working payphones on the wall, RoboCop on the wall, Prince's motorcycle.
So many things you have to see when you walk.
It's sensory overload when you walk into Rewind.
But you're gonna feel like it's Gen X heaven.
You gotta see it for yourself.
And it sounds like either tonight's karaoke event or tomorrow night's dance party will
be the perfect chance to do so.
Rewind Restaurant and Arcade on Main Street in Wareham.
And if you have any trouble finding parking, because the lot will fill up pretty quickly,
if you have trouble finding parking, just park right behind the Cumberland Farms on Main Street.
And then just, you know, walk up through the parking lot and across the street,
and you're right there.
It's that easy.
All right.
I do have one more break I've got to get in before the end of the morning.
Let me do that and make sure that we get everything taken care of.
And then we can come back and wrap things up.
We might have time for a call.
508-996-0500.
If not, Chris McCarthy's got you coming up at nine.
So you can always call him as well.
We'll be right back.
All right.
I got about one minute, one minute left.
You can wrap things up.
What's on your mind?
Hey, Tim, the past hour, as I'm listening to you, on Alexa, for instance, it keeps kicking
back to listen to TuneIn, and it goes back to your show.
It's been doing that for like the last hour.
Is there a reason?
It sounds like it might be an issue with the device, maybe your connection.
I don't know.
Oh, it just happens.
It's just for the last hour, it's been doing that constantly.
All right.
Sorry to bother you, bud.
No, no problem.
Have a great day.
You also.
Bye-bye.
So for that to happen, we would have to have, there's elements in our playlist that when
they fire, they'll cause your device to insert commercials or things like that.
And I haven't played any of those elements outside of a commercial break.
So like during the course of that interview, it shouldn't have done anything like that.
So I would think that might be a, it might be losing the connection and then reconnecting
and then loading an ad, that kind of thing.
So you might want to just maybe reboot your router or reboot your Alexa device.
Hopefully that helps.
All right.
That's going to do it for me for today.
Stick around for Chris McCarthy and South Coast now.
Gee, Chris, do you have anything to say about this election thing, about these election
monitors?
I've been waiting, waiting, waiting.
