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Dean Edwards Talks About Starring in Racially Themed Parody Play, ‘Race: The Movie: The Play’
May 31, 2023
Race is a topic that has long been prevalent in entertainment, with movies and plays portraying various aspects of it. However, comedians and actors like Dean Edwards are taking a different approach to it - creating a parody about racially themed Oscar award bait movies like The Help, Green Book, Black Panthers, and Django Unchained. Recently, Dean stopped by Sway In The Morning to talk about his role as 'Gene' in the play Race: The Movie: The Play, currently running at The Soho Playhouse.
Dean Edwards plays the character of Gene, a super successful and highly cultured musician. Gene and his brash, ignorant yet lovable driver embark on a road trip, where their series of misadventures lead to their enslavement and a quest for freedom. The play was created as a skit called Not Another Slave Movie and has now taken the form of a slapstick parody that combines the comic genius of Blazing Saddles and The Hollywood Shuffle.
According to Dean, the play is relevant because it offers a tongue-in-cheek commentary on Hollywood by taking on the tropes of Oscar-bait movies based on Black life experiences. The actor shared that he feels that these kinds of movies usually depict how white people overcome their own racist views and become the saviors of the Black experience, and that's where the idea behind Race came from. In contrast, Race shows how Black people, through their strengths and resilience, can stand up for themselves and find ways to overcome obstacles presented by oppressive systems.
Dean spoke about the challenges that came with his role as Gene, stating that he had to tap into a vulnerable side of himself, which he had not explored before. He shared how the team had several readings before the filming began, and they made some changes to the storyline to make the play more relatable to everyone and ensure that the humor was right.
Race: The Movie: The Play premiered in March and is currently running all month at The Soho Playhouse. Dean emphasized in his interview that he believes the play is not just for Black people, but for everyone who wants to challenge problematic portrayals of race in the media. The actor hopes that the play sparks dialogue that will help people think about the way they consume entertainment and bring about social change.
Race: The Movie: The Play offers a unique perspective and an alternative approach to conversations about race in entertainment. The play is a critical reflection of the portrayal of Black lives in Hollywood, and its message is essential now more than ever. Dean Edwards and his team's efforts to create this play are commendable, and we hope that it continues to receive the much-needed attention it deserves. If you are looking for a funny yet thought-provoking play to watch, go check out Race: The Movie: The Play.
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0:00
Our next guest, Race the Movie to Play, that's currently running all month at the Soho Playhouse
0:06
You can get tickets at www.racethemovietheplay.com. And the Soho Playhouse is located at 15 Van Damme Street, if you're in New York City
0:18
I was once a member of the Soho House, and then during the pandemic, I revoked my own membership because they kept charging me
0:26
and it was closed. They said they still got to pay their bills, Sway
0:34
They was like, yo, we still got rent due even though it's a pandemic. Do you know like bills is the only thing
0:40
that didn't stop? During the pandemic. Everything else shut down except for those people in Iowa and Idaho
0:46
and send you them damn bills. Them bills. Baby. Yeah, well, so I stopped my own bill
0:52
I damn near had to threaten them. Really? It was the first time I ever said, hey, you know what I do
0:59
You know, because they didn't want to get me. They didn't want to get you behind the mic. And I kept getting these charges on my credit card
1:04
Anyway, I digress. Tell them how you feel, Swayne. Okay, all right
1:09
Now, this man, my friend, I call him my friend, man. I was talking, telling the story off mic
1:13
The first time I was ever parodied out of the many times I've been parodied since on Saturday Night Live
1:20
I could not believe it. I saw this man dressed up like me who had the head rag and I know his locks were fake
1:28
although mine's were real. And he was interviewing this group that was kind of like a Destiny's Child knockoff
1:34
Gemini's twins. Gemini's twins, right? And he was doing it as me on Saturday Night Live
1:41
My grandmother called and said, son, you're on Saturday Night Live. She thought it was me
1:47
Oh, my God. And it wasn't me, but that did catapult my star
1:52
It made me look so good in front of MTV. That was like, wow, they parented him in this first couple of years working on this platform
2:00
That was my fifth episode. That was your fifth episode? That was my fifth episode
2:04
So what happened was, yo, you got to understand. Yo, what was good, what was dope about it was that Maya Rudolph had wrote this sketch
2:18
and you never knew what you were getting into. When you came in on Wednesday for the table read at SNL
2:24
you just got a stack of sketches, and you would see what sketches you were in
2:27
So Maya Rudolph and Ana Gostai, a shout-out to them, they wrote a sketch
2:34
They had recurring characters called Gemini's Twins. Yeah, they were like Destiny's Child
2:38
They were like Destiny's Child, like a knockoff. And whoever was the guest host would come in and be their third member that was rotating like Michelle
2:45
And so they wrote this joint where they were coming in. Shots fired
2:52
And so they wrote this sketch. I think Gwyneth Paltrow came in
2:58
And she was the guest host. And so they wrote Dean as Sway
3:03
And so, you know, my superpower is doing impressions. And so I was like, well, I watch MTV
3:10
I know I'm a hip hop head. You know, so I was like, I was swaying tech
3:13
So I was like, all right, you know what? I think I got his voice. I know it's in here
3:18
So where did you go to find it, though? No, but you know what? That's just my mental capacity
3:24
Like, if I hear somebody's voice, I kind of know whether or not I can do it since I was a kid
3:30
Wait, hold up. By the way, our guest today is the one and only, the incomparable Dean Edwards
3:35
Dean! What up? What up? And he brought his co-star for Race the Movie to Play
3:40
Brett Rabo right here. My man, Brett Rabo. He's one of the co-writers of the play, Race the Movie to Play, and also my co-star
3:46
Congratulations. Can't do a sway impression. Hope that's okay. That's all right, man
3:51
Tell them about Tracy. You got a Tracy G is here, but she's here in spirit
3:56
The voice of Tracy. Say something. Hey, hey, hey. What's up, y'all? What up, Tracy
4:00
How you doing, man? I'm good, my dear. Good to have you. Hey, Brett, you got a comedian's face
4:05
Hey, I'll take it. That's not a bad thing to say. I do comedy
4:10
Yeah, you do comedy. It works. I want to laugh when I look at you. I have neighbors who just go, I know you're funny
4:21
I know you're funny. I haven't done anything. Brett lives in the Stuy, too
4:25
Brett lives in the heart of Bed-Stuy. He's lived in the part of Bed-Stuy that's not Stuyvesant Heights
4:31
It's still the Stuy. He lives on Jefferson Avenue, deep in the heart of Bed-Stuy
4:36
10 years. 10 years. I call myself OG, original gentrifier. Oh, man
4:44
What a title to claim. Wow. All right. Okay. I started this shit
4:51
All right. All right. This is the last time I'll be on Sway. All right
4:55
Carrying the torch. Spoken like a true colonist, right? All right. So, Dee, what I want to know is where did you find my voice
5:06
Like, how did you, like, physically? Did it come easy? Well, you know, the voice came easy because when you speak, it's on the top of your throat
5:15
It's like right on the pause. It's right there. Right there. On the top of my throat
5:21
The voice, like, so certain people, like Jay-Z is on the top of the roof of the voice
5:29
where Jay and little cool Jay is sort of in the middle, and you're down here, right
5:33
So that's how I hear people's voices like instruments. So I'm like Ice Cube then
5:38
You're like, Ice Cube is right. Ice Cube with the linch mop
5:42
Gotta go. But then if you slow it down and you ask me, that's you right there
5:48
That's perfect. Yeah. Yeah. That's perfect. But that's how I've always heard. Now he's scared to talk
5:54
Denzel Washington sits in the front of his mouth. So when he speaks, he's here
6:00
But then Adam Sandler is also in the same place. but it's a little more manic when he speaks
6:06
Sir, Ian McKellen, he's deeper down the throat. Pause. He's deeper down there, and he slows down
6:14
and everything is delicious when he speaks, but so is Patrick Stewart
6:18
But then his rise is a little bit higher when he speaks
6:22
So that's how I always say. How does Wayne? Little Wayne. He's a wheezy, wheezy
6:27
He hardly opens his mouth. Like, like, like, like, like, he's dragging
6:31
Wayne is dragging his voice. He's dragging his, everything he's saying is like dragging through his throat
6:39
Super poor. So let me ask you this. So because you did, you worked with Shrek, right
6:45
Yeah, yeah, yeah. I was, I'm Eddie Murphy's stunt double when it comes to old things donkey
6:50
They got voice doubles. Yeah. I didn't know that too, like a stunt double that does the stunts
6:56
Yeah. They have voice doubles. Well, you know what happens? So I worked on Shrek the Musical for about a year and a half
7:03
almost two years leading up to Broadway. And then right as they went to Broadway, they replaced me
7:09
because I'm not a vocalist. Honestly, I thought the audition was I was auditioning for a voiceover
7:14
They fired me. I got you to replace. Real talk. You know, Hollywood talk. Hollywood talk
7:18
Yo, replace me. Industry talk. They're like, yeah, you know, we just went a different way
7:24
You're like, I had a job and now I don't. I'm fine. I was employed and now I'm not
7:29
I was getting a check, now I'm not. In a different way. Yeah, so, but Jeffrey Katzenberg
7:35
who was the head of DreamWorks at the time he dug what I did and so they were working on Shrek 3 at the time And he said you know bring Dean in because you know ADR looping When actors do movies shoot movies oftentimes or even do things with voiceovers they don always get a clean take
7:54
So in that particular case, Eddie's not coming in just to loop on a couple of words
7:59
So they were like, oh, Dean, we'll bring Dean in. So next thing I know, I became the voice of Donkey
8:05
And then they just started every time, you know, when they did the Shrek, Scared Shrek list, they'd say, you know what, get Dean
8:12
Because Dean, you know, it's something wonderful about how he captures the voice of Donkey
8:16
and the spirit of Donkey. So I've been working on that Shrek franchise since 06, 07, man
8:22
Oh, my God. Good up for Dean Edwards, man. So great. When the last time you been broke
8:27
Hey, man, inshallah, never again. You know, because I remember I remember I remember eating sandwiches, getting on, you know, the A-Trade, doing like a twenty dollar comedy spot and then saying, OK, this is this is dinner for the next two nights and going to get like go to Bodega, getting their hair on, saying, OK, this half is for lunch and this half is for dinner
8:48
So I'm, you know, Chris Rock said it best years ago. He's like, you know, ever since I've known Lorne Michaels, I've been rich
8:55
And that's the thing. The key is once you get in, the industry is challenging to get in
9:02
But once you get in, you keep working. And you pull in as many people as you can
9:07
And I've always been proud of any time I've gotten an opportunity, whether it's on SNL
9:12
I stand behind this. Before, SNL did not have black writers. And then after my first year, I made it a goal of mine
9:21
I just asked. I said, what's up with getting some black writers in there? and through Push and Shove, they said, really
9:28
And they said, yeah. So we wound up with a black writer on there. And ever since 2002, there have been black writers on SNL since then
9:35
You did that, Dan? I'm not saying they wouldn't have done it. But since I did it, there's always been black writers
9:42
Shout out to Michael Shea and many other, you know, Alex English
9:46
There have been some wonderful writers of color. And the cast members have expanded where when I was on the show
9:53
It was me, Tracy, and Maya, and you didn't always see us in every sketch
9:59
Now, I'm so proud when I turn on SNL and I see four or five black cast members, and shout out to my man Marcelo
10:07
You see color on the show now, and I think they finally got to a place where they understand that comedy is universal and the voices are universal
10:17
So how does that work then, Dean, for a show like SNL specifically
10:22
It's comics, right? But to be a writer, do you have to have a comedy background
10:29
Used to be a comic? You don't have to come from stand-up because there's such a variety
10:36
and diverse categories for comedy. So you have stand-up like myself and Brett
10:42
You have sketch comedy cast that come out of UCB, like Amy Poehler
10:48
You have Second City, Tina Fey, Rachel Dratch. You have ImprovOlympics. You have the Groundlings, Maya Rudolph, Will Ferrell
10:57
And then you have, back when I was on, the Harvard Lampoon was big
11:01
so you had a lot of writers that wrote for the Harvard Lampoon and sort of graduated to writing on SNL
11:07
So now I think, again, they've expanded where they're bringing in different voices
11:12
You know, some are stand-up. Some are people that wrote sketch or did improv
11:18
And they're like, you know what? We have some place for you, maybe not in front of the camera
11:22
So, yeah, but behind the scenes. And they've expanded that diversity, which I'm happy to see
11:28
That's good, man. I see you getting white boys work, too. Yeah, yeah, yeah. You got Bret a job
11:32
OG Bret. OG Bret. You universal for real, huh? For real, for real
11:38
We're struggling, man. We need all the help we can get. White guys
11:43
Come on, man. Screwing up the planet right now, man. Raise your hand if you're screwing up the planet
11:50
Raise your hand. There you go. Oh, my God. up every day, man
11:54
White guy walked. He raised his hand in the hallway. I just saw that guy raise his hand, man
11:59
You know what I'm wondering? Go ahead, Trace. Trace, you got to say something before you say something
12:03
We all kind of look around the room. Everybody looking like, who's the ventriloquist
12:09
The black woman is God. The black woman is God. True indeed. No doubt
12:13
True indeed. I'm wondering, you know how every single human has the capacity to love, right
12:20
and express all these different emotions. Do you both feel like every human has the potential to be funny
12:27
Or is that a trait that's exclusive to just some individuals? That's a great question
12:33
If you want to, I'll say, I think anybody can be funny. I think in order to perform standup, people have an innate gift, you know, like me doing
12:41
the impressions. That's, that's a gift. That's not something I practice, you know, um, but you can learn the mechanics of standup
12:49
but you can also look at people and say, no, they just have something special, you know
12:53
and, and, and you know it though. And the audience knows it when, like there's, when you see, when you see say me on stage
13:00
or, or Godfrey. Godfrey. First of all, round of applause for God
13:04
That's right. That dude. I didn't know there was a whole black hockey team in Canada years ago until I watched God Free
13:14
Wow. And God Free be hitting you in the head. What I love about G's material is you don't realize how intelligent he is
13:21
And I think that's the beauty of what he does with his stand up
13:25
And Chappelle, obviously, and even myself. Like when you when you kind of slide in little lessons that people might not have, you know, walk walked into the show with
13:35
And then they walk out like, yo, you know, I never really thought about that, which is what we do in our show
13:39
It's like, you know, we I think the goal is hitting people, giving, you know, addressing what it what Nina Simone say is the artist's responsibility to speak on the times, reflect on the times
13:50
And so I think that's what Godfrey and so many great comedians, obviously Rock, Chappelle, Donnell, even, you know
13:57
Donnell Rawlings. Yeah, Donnell Rawlings. A funny dude, man. Yeah, Donnell said years ago, he's like, yo, youngin, you know what
14:03
We all just journalists reporting the news in a different way. We all just work for different, our own channels
14:08
Yeah. You know what I mean? And so that's what we all, that's the goal. and someone can walk on stage and hold the mic and present comedy
14:19
but it takes skills, and skills are built. It takes skill. You can have natural ability, but if you don't work it
14:25
you got cats at the barbershop that are funny, but they still need to figure out and learn
14:31
and that comes with practice and fine-tuning, getting in the clubs. Last week, I was exhausted because I was doing Race to the Movie to Play
14:39
at Soho Playhouse at 9 o'clock, and then I was going and getting on stage at the Comedy Cellar
14:43
doing two or three shows a night. Just because, A, I fiend for it
14:47
And also, I don't want to lose my sharp. I gotta stay sharp
14:51
Gotta stay sharp. Brett, you're from Kansas City real quick. Let's let you get in
14:55
on this. Alright. I've been having a great time just listening to the podcast
14:59
Yo, son. Yo, you really are OG colonizer, son. Let's get into it
15:07
So you're from Kansas City, right? I am from Kansas City. So around 1999 I met a guy by the name of Diamond who was Rest in Power who ran an independent record company And part of that company he ran with a producer by the name of Don Juan who still here vibrant doing
15:26
his incredible thing, and they brought an artist to me to manage by the name of Tech Nine
15:32
Yeah. You familiar with Tech Nine? Of course I know of Tech Nine. He's the pride of Kansas City
15:36
Yeah, I used to manage Tech Nine, so I used to be over there in the 50s, hanging out in
15:42
the 50s. You know that neighborhood. No, you don't know that neighborhood. I'm like, he's looking at you like, Sway, stop playing
15:48
I ain't been there in a minute. Sway's talking to me like, I know your area better than you
15:54
But what's your claim to fame? Like what made you want to go comedy, bro? I mean, I've always just loved comedy since I was a kid
16:01
And it just, I fell in love with it in college. And it just became natural to come to New York and do it
16:06
Because it's where the best comedians in the world are. And there can be shows where you would be on with a guy like Dean Edwards
16:12
And that's only going to make you better. because you A, get to watch Maestro's work
16:16
and then if you're also on the same show as them, you have to level up your game to then justify being on that show
16:23
So it's like, I moved to New York because I just knew it was the best place to do this
16:27
Yeah, this is Shaolin Temple for all things stand-up. But I think just entertainment in general
16:33
this is where you come to master your skill, and then people will go to Hollywood
16:37
I would say you come here to train Shaolin, and then you go to Hollywood to fight the Wu-Tang
16:42
For anybody that's into Kung Fu Theater Channel 5, 3 p.m. on Saturday afternoon
16:47
I heard you and Godfrey going back with Bruce Lee dialogue. From what, the Game of Death
16:54
That was Enter the Dragon. Don't think, feel. It is like a finger pointing away to the moon
17:01
Don't concentrate on the finger or you will miss all that heavenly glory
17:08
Bruce Lee was like, yep, keep it real. The boys don't hit back. You know that line
17:11
Yeah, boards, boards, don't hit back. Boards, don't hit back. Like Bruce Lee is the only Asian character
17:18
You had like two or three posters or pictures in your household
17:23
if you were black coming up back in the day. You had a picture of Dr. King
17:28
That's true. You had a picture of Malcolm X. You had a picture of white Jesus
17:33
Black Jesus was still kind of sacrilege in the household, right? And then you had a poster
17:39
You had the velvet, except for that episode of Good Times. Right, except for that
17:43
That was BJ. Come on, BJ. Except for that black Jesus. Hold up, hold up
17:49
Brett, do you know what Good Times is? I've heard the name. Sway, stupid
17:57
He's like, that's a song, right? Good Times by Chic. By Chic
18:03
And you had a poster of Bruce. You had that poster of the Panther, the velvet poster
18:09
with the black lights and you had a poster of Bruce Lee and everybody had that poster of Bruce Lee
18:12
man I had that poster of Bruce Lee probably longer than I should have like well into my teens
18:17
and maybe college years but you know college years yeah yeah it was like Bruce Lee man
18:22
alright man that's good man Bruce Lee be like water my friend
18:28
be like water there it is man this dude get excited he smiles
18:33
when he does Bruce I will definitely not be doing my Asian accent
18:37
on this show no no That's not the place for that. You just stay where you are, Brett
18:42
All right? I'm mad at your people. I'm ready to take it out on you
18:49
All right. Race the movie to play. Tell us about it. Brett, why don't you jump in
18:54
Sure, yeah. This is a play that Christian and I, Christian Duran, a great comedian, and I co-wrote
19:00
We originally wrote it as a movie script called Race the Movie. We won a big screenwriting competition, one of the biggest you can win
19:07
And that gave us access to managers, producers, and agents all in Hollywood
19:11
Everyone we sent it to. It's a spoof, by the way, of cheesy race movies
19:15
So picture scary movie, but for films like Green Book, the help in figures, 12 years
19:21
And everyone in the industry said, this is hilarious, but you know, it's a touchy subject
19:27
And we're like, well, if it's hilarious, we're clearly doing the touchy subject well
19:32
And so rather than be defeated or deflated, we said, you know what? you can't deny something great when it's live
19:38
Why don't we do it as a play? We converted into race, the movie, the play
19:43
And we did a theater festival last year with Dean in it
19:47
And we're 10 shows into our full month long off-Broadway run at Soho Playhouse
19:53
Tickets can be gotten at racethemovietheplay.com. And it's been going incredible. It's been very cathartic and humbling to watch the audience response
20:00
Talkbacks we've done with audience members who are saying how much this means to them
20:04
how a biracial kid said he's going to take his parents to show him this is what it's like
20:10
Because he has two white parents. He's adopted it. So he said, you know what, I want to bring my parents here so they understand what I go through
20:17
and understand what I experience. And that's, I think what's been beautiful for cast members and the people that work on the show is the response
20:26
You know, I posted on my Instagram last week, there's something wonderful about hearing a black woman in the show go
20:32
I know that's right, baby. You know what I mean? Because that's when you know you've connected
20:38
You know what I mean? Oh, in the audience. In the audience. In the audience, yeah. Audience members just saying, like, the applause has been amazing
20:46
We're sort of flipping, you know, the lily white, great white way on its axis and saying, you know what, let's make this more inclusive
20:55
So, I mean, the majority of our cast is black. You know, the majority of our cast is black dealing with, you know, such a touchy subject as race
21:02
but also not taking ourselves seriously. We're taking the material seriously without taking ourselves seriously
21:08
So it's not condescending to our audience. And people are walking out excited
21:14
As a performer that's been doing this for a long time, it's wonderful to have people come up afterwards
21:19
saying, yo, I'm coming back and I'm bringing a friend. And that's how we've been getting in
21:24
And every crowd, I mean, last week we had a couple of sellouts because people like, you know what, I came two weeks ago
21:30
and I wanted to bring my parents out this week to see this. We had a woman drive up from Virginia to come see the show, and she goes, that was 100% worth it
21:38
That's one of the best shows I've ever seen. Okay. Can y'all tour Florida after this
21:43
I think I would love to. Florida will get it when we make this into Race the Movie to play the movie, because that's the ultimate goal
21:53
is proving to Hollywood that this actually stands on its own as an actual funny movie
22:00
as opposed to them trying to say it's funny and you kind of watching and you're like..
22:04
They're not really getting the laughs. We are getting laughs, like gut-busting laughs
22:09
where people are... I think we got a couple of standing ovations last week
22:13
Okay. Race the movie to play, man. Make sure y'all go to www.racethemovietoplay.com
22:19
What's the thesis? I can't quite grab it. It's a satire on this film
22:25
I don't get it. It's a spoof of... I would say it spoofs a lot of white savior movies
22:29
So I play a character whose name is Wyatt Savior, and I am tasked with��
22:34
Take a moment, take a moment. Okay. Can I get that fake applause? No, no, no, no
22:44
I am tasked with driving around a brilliant black musician named Gene Yes, played by the great Dean Edwards, on his concert tour through the 1850s Deep South
22:53
Right. Because it's the 1850s, the Deep South is Pennsylvania and Maryland. Right right And then from there it just spoofs every kind of tone race movie Yeah like he said it like what Scary Movie did with horror movies we using obviously the foundation is Green Book with Viggo Mortensen
23:12
and the Oscar-winning performance by Mahershala Ali. And so I'm playing the Mahershala Ali character
23:18
and he's playing the Viggo Mortensen character from Green Book. And then we just threw in the blender
23:23
We threw in all these other movies to goof on. And I quote Godfrey saying, yo, it was dope, man, because it was funny, but it was crazy because y'all were bouncing between time eras and genres of different types of films
23:37
So I'm not going to give away. But there's drama and there's also a hint of sci-fi and maybe even some Marvel in there
23:45
Like, it's very current. We're making sure that we're addressing current events and current topics that even though these things could have actually happened back in the 1800s, they're still being perpetuated today
23:59
Yeah, I would say it's like if you miss old school slapstick comedy, it's basically that, but it's updated to fit our modern conversation
24:07
Okay. I think Mel Brooks on steroids. Mel Brooks on steroids. Someone said that last week
24:12
Mel Brooks on steroids. Blazing Saddles was the first movie I ever saw as a kid
24:16
Say what? Yeah, man. Oh, wow. At the drive-in. Wow. Wow. I fell asleep
24:21
I was a kid, but I remember it. Right, right. Let me ask you, have you watched it now
24:25
Like, obviously, as you got older, you watched it, and things went over your head when you were a kid
24:28
A lot of stuff went over my head, but Mel Brooks was off the chain. Yeah, yeah, yeah
24:33
With his jokes. They were very, like, I don't know if you can make Mel Brooks movies today without it
24:39
getting protested. And that's the goal of the show. If there's a thesis, it's to prove that you can make very edgy comedy, but it's underscored by a thoughtfulness and an empathy that allows the edginess to exist
24:54
Okay. People always say it. They say Blazing Saddles, one of the best movies ever
24:57
Can't make it today. Right. Right. Yeah. Well, if it's one of the best movies ever, why can't you make it today
25:02
Audiences are smart enough to handle the satire. It's actually talking down to audiences when you think you need to protect them
25:08
Right. Okay. So I think our thing proves that audiences not only are smart enough to get it, but want something silly
25:16
They want something good. Really? You want something funny and good, man. And thought-provoking
25:20
I got to watch it, man. So the remaining dates, mate, you got two days from Wednesday, right
25:25
Yeah. Wednesday through Saturday of this week, they're talking about extending us
25:30
They actually are talking about extending us into June. you know make sure like follow
25:35
follow us cause I'm actually to the point I'm almost sick of promoting it
25:39
but I know this is part of the gig but I'm making sure follow the page race the movie to play
25:45
hashtag race the movie to play you come out to the show if you want to follow me
25:49
at I am Dean Edwards I am Dean Edwards cause that's who I am I'm posting about the show everyday
25:54
if you want to come to this Thursday through Saturday send me a DM and we'll send you
26:01
a promo code to get discount tickets. And we made it affordable. That was our, like, the main goal is we want people that look like me to come out to the
26:11
show, you know what I mean? And so these are not, like, the standard $100 tickets
26:15
Like, our tickets are $40. You're selling the shit out of this right now. Hey, man, I'm a producer
26:20
I'm not just acting. I'm a producer. I'm in my bus to rhyme, son
26:26
When it's that good, you should sell the shit out of it, man. And I'll say, I would agree with that
26:31
One of the things I believe... You gonna sell more? Yeah, I'm here to sell
26:37
I wore my self-promotion shirt. I look like a square. You think I don't have a cooler shirt I want to wear
26:44
No, but I wore the thing with the website on it because if it helps sling tickets, so be it
26:50
There you go, Brent. All right, five fingers of death. Let's go
26:54
You ready? I'm going to be on. Oh, yeah. Yo, what if he could really spit, though
27:00
He just won me over. He won you over. No, but it's true. I believe, very importantly, I don't want the theater, we don't want the theater filled
27:06
with just hoity-toity theater types. That's why we keep the price affordable so real New Yorkers can come out, because this
27:12
is who it speaks to. And we even have worked out a deal with the Local 100 Transit Workers Union to have a
27:18
Transit Workers Union Appreciation Week. We're making incredibly affordable for people who work in the New York Transit, because
27:25
they're in a very important battle for their fair wages and in any small lily power pad of power i
27:31
have i want to make art accessible for people who just aren't uh you know it's not normally sold
27:38
yeah yeah i appreciate that about you thank you give brad a round of applause look at that brad
27:43
you earned your son is he a citizen well let's see throw a beat on What
27:50
Alright. Okay. Oh my God. This is terrifying. Come on, man. This is what happens, man
27:58
You got the head off. Turn this up. Yeah. Turn the beat up. You got the head off
28:02
Turn my headphones down. It's actually hurting my ears. Okay. It's right there. You do it yourself. We don't work for you
28:09
I'm here with Sway. He just told me that I'm straight. I am having fun
28:16
Rapping to the beat. It's the best one. I didn't know I'd rhyme, but I'm just biding my time
28:24
Hoping I don't bomb, cause it would be incredibly embarrassing and I'd go home
28:30
Kind of rhymed. Try my best. There we go, Sway. You know what it is
28:35
I haven't even rapped once in my life. Didn't even freestyle in college when I got drunk
28:41
Oh. Democrips and roboticans. just pulling from Kendrick because he's pretty good
28:49
he's better at it than me I'm so good at rapping I don't even have to rhyme
28:54
because I don't care what happens with this beat this is probably
28:59
incredibly embarrassing for me but that's okay because I'm here to sling tickets
29:04
you go yeah yeah so I'm just hoping I get to keep going
29:08
there you go that's it that's it that's it there you go oh okay
29:12
no no no wow Yo. I'll say this much
29:22
I hope people turned. I hope some of your listeners turned on halfway through that and they're like, what the hell happened to Sway
29:32
Yo, they won't blame me. They know. Brett, I give you respect
29:37
Hell yeah. Right? You got up in and that's your first time ever rapping. It gets nervous, right
29:42
Yeah. You have no idea. I don't think you can empathize with how terrifying it is to be in the hip-hop hub and have Wade Calloway say
29:55
You're rapping. And I'm like, all right, as long as it sells tickets, I don't care. You did a great job
30:00
Get up for my man Brad, man. You did a great job. You made a great effort
30:05
You made a great effort. You get an E-fapper, Playboy. Disagree. I think it's one of the greatest bars written in the history of rapping
30:11
Could be. Could be. We'll put it out to the universe. I would like to be signed
30:17
By the end of this episode, I'm not leaving until I'm signed. Signed. Validation with your parking
30:23
We're going to sign that at the front desk. Yo, Dean Edwards, love you, brother. Thanks for coming through, man
30:28
Congratulations on it all, man. Thank you. Okay, Brett, good to meet you, man. Thank you very much
30:32
You're the sport. Congratulations, too, on everything. Appreciate it. All right, cool, man
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