
Joe Rogan Experience #1096 - Todd Glass
Joe Rogan (host), Todd Glass (guest), Narrator, Narrator, Narrator, Narrator
In this episode of The Joe Rogan Experience, featuring Joe Rogan and Todd Glass, Joe Rogan Experience #1096 - Todd Glass explores inside Comedy’s Craft: Intimacy, Impulse, And Modern Distraction Wars Joe Rogan and Todd Glass spend this episode geeking out over the craft and environments of stand-up comedy, from ideal room design and lighting to the feel of an intimate crowd versus a theater. They dive into audience etiquette, phone addiction, and why tools like Yondr bags and sharp pre-show announcements matter for live shows. The conversation wanders—by design—into weed habits, discipline around food and health, emotional honesty in relationships, and big-picture worries about technology, politics, and population growth. Throughout, they trade stories about legendary comics, insane road moments, and the often messy but magical realities of making stand-up work.
Inside Comedy’s Craft: Intimacy, Impulse, And Modern Distraction Wars
Joe Rogan and Todd Glass spend this episode geeking out over the craft and environments of stand-up comedy, from ideal room design and lighting to the feel of an intimate crowd versus a theater. They dive into audience etiquette, phone addiction, and why tools like Yondr bags and sharp pre-show announcements matter for live shows. The conversation wanders—by design—into weed habits, discipline around food and health, emotional honesty in relationships, and big-picture worries about technology, politics, and population growth. Throughout, they trade stories about legendary comics, insane road moments, and the often messy but magical realities of making stand-up work.
Key Takeaways
Room design and atmosphere can make or break a comedy show.
Glass details how lighting, seating direction, and overall vibe (like turning a small space into a high-end jazz-club feel) dramatically change audience engagement, making shows feel like an event rather than an afterthought.
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Clear, thoughtful pre-show announcements significantly reduce phone use and distractions.
By directly but calmly telling audiences that using phones makes them ‘look like a dick,’ Glass finds people self-police better, improving the experience for everyone without needing to be a tyrant.
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Intimate rooms often outperform big theaters for both laughs and experimentation.
They agree that smaller, well-designed clubs (Helium, Comedy Works, Laughing Skull) let comics feel the crowd’s energy, take more risks, and create a ‘hang’ rather than a distant performance.
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Smartphone addiction is new, pervasive, and genuinely reshaping attention and social behavior.
Rogan frames constant phone use as a 10–15-year-old phenomenon that’s already rewiring how people experience live events, process information, and even sets the stage for deeper human–tech integration like implants.
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Creative impulsiveness that fuels great comedy can undermine diet and life discipline.
Glass is brutally honest about struggling with food control, and Rogan points out that the same ‘fuck it, let’s do it’ impulse that makes him hilarious on stage makes dietary discipline tough—self-knowledge has to guide realistic strategies.
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Being able to publicly change your mind is a key modern skill.
They argue you’re not your ideas; if you haven’t revised important opinions over 10+ years, you’re probably clinging to identity, not truth—good discourse requires visible course-corrections.
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Club owners and infrastructure quietly shape entire comedy ecosystems.
They highlight figures like Mitzi Shore and Wendy at Comedy Works as people whose booking choices, standards, and room design literally built scenes, underscoring how much comics depend on good venues and fair operators.
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Notable Quotes
““Once someone made me turn my chair to face the stage, I enjoyed the show better.””
— Todd Glass
““We’re in a movie about a person that becomes a machine.””
— Joe Rogan (on smartphone and tech integration)
““If you pull your phone out after this announcement, you look like a dick.””
— Todd Glass (describing his pre-show phone speech)
““You are not your ideas. Just because you believed something doesn’t mean you should be locked into it.””
— Joe Rogan
““Small, but like it’s a jazz club in New York City that’s 150 bucks to get in and holds 100 people—that’s what I wanted my special to feel like.””
— Todd Glass
Questions Answered in This Episode
How much should comics and venues police audience behavior versus just adapting to the new phone-driven reality?
Joe Rogan and Todd Glass spend this episode geeking out over the craft and environments of stand-up comedy, from ideal room design and lighting to the feel of an intimate crowd versus a theater. ...
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Is the trade-off between joint smoking and vaping worth it for comics who rely on their voice and energy every night?
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To what extent does a comedian’s lack of discipline in life actually fuel their creativity on stage, and can they change without losing that edge?
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How could clubs, comics, and audiences collaboratively redesign the live comedy experience for a smartphone-saturated generation?
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What responsibilities do famous comics have, if any, to model healthier relationships with technology, food, and substances to fans and younger comics?
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Transcript Preview
... equipped, insulated walls put in (hands clap) the-- five, four, three, two, one. Someone's got a new Netflix special. (laughs)
(laughs) (claps) (door creaks) Ha.
(laughs) Couldn't think of any other way to start.
The opposite of what I thought you... (laughs)
(laughs) (burps)
Wow.
Dun-dun-dun. So you do have a new Netflix special, though?
I do.
I don't want this to be, like, an interview.
No, but I, but I, but I, but I, I like it. I'm actually proud of it. You know, it's like, I'm still proud of it, you know?
That's awesome.
Usually, a certain amount of time will go by where I'm like, "Ugh."
Yeah.
Like, by the time I'm even... Now, I've gotten it better on the road, 'cause you know, I was-
Right.
... you know, the day after you shoot it, you go out on the road-
And you're a murderer.
... and you have a little fun with it.
Yeah, yeah, yeah.
And that's when you go, "Ugh," and then you go... But I'm still proud of it. It was my favorite thing I've... It, it... The guy did, Jeff Rowe is the guy who... And Scott Moran, but just everything I wanted, they did it perfect.
That's awesome.
The look, the lighting.
Where'd you do it?
I did it at The Lyric, but... And The Lyric is great, but there's no doubt-
This, is The Lyric in LA?
The Lyric is in LA. It's like at Melrose and, Melrose and La Brea.
Ah.
Pretty... But, but they sort of used it as a shell, and it's already a pretty cool club, but... You know, it's so... The b- the biggest compliment I got, someone said, "You know what's weird about your special? I wanna go there and it doesn't exist."
Ah.
What it looked like.
Right, right.
Like, "Where is that?"
They had good set people.
They... It just looked like a cool jazz club in New York City that was maybe, but not... It wasn't small 'cause it was an aft... You know, sometimes it's small, but it's shitty. It's, but it's-
Right.
That's the look. And it's cool. It's sort of a ki... What's the word? Kitschy or...
Yeah, I don't know what that word is. I don't... See, written-
Yeah, but it's charming and that's the look they want. I didn't want that. Not that I think that's bad, but... 'Cause some people have done that really well and it's a cool way to see a comedian just in a cool little raw space. But I wanted small, but like, like it's a jazz club in New York City, but it's like 150 bucks to get in and it holds 100 people. It's like a... That type of thing, run like a theater, you know?
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