Counter Culture Ep. 6
Counter Culture: A talk show in a diner with PBS39's Grover Silcox. This week's guests are Steven Horn, creator of The Chef's Kitchen, Bill Golderer, President and CEO of United Way, GPSNJ, and comedian, Jeff Pirrami.
-Welcome to "Counter Culture" -- a talk show in a diner.
On this episode of "Counter Culture,"
I welcome "Chef's Kitchen" creator, Steven Horn...
-I get this gray envelope in the mail,
and it says, "Steven, I think you would like this."
It was a picture of George Harrison and me talking to him,
in black and white.
-...the CEO of the United Way of Philadelphia
and South Jersey, Bill Golderer...
-We are gonna welcome you here no matter who you are
or where you've been or what you've done.
-...and funnyman Jeff Pirrami.
-I remember the last show you did.
I surprised you still have a job.
-[ Laughs ] Thanks.
All right here, on "Counter Culture."
-Welcome to "Counter Culture."
I'm your host, Grover Silcox,
coming to you from Daddypops Diner
in beautiful downtown Hatboro.
Now, I'm going to bet that our first guest feels right at home
in an eatery like this diner because he is the creator
and producer of "The Chef's Kitchen" --
a popular cooking program that features top chefs
demonstrating unique recipes and offering tips and techniques
that viewers can use in their own kitchen.
But that's not all.
In his long career, he has created and produced
a wide array of programs and projects,
covering subjects such as the law,
the arts, music, women's issues.
You name it. He's probably done it.
It is a pleasure to welcome a true
Renaissance man Steven Horn.
Steve, welcome to the counter.
-Thank you. -So, where did you grow up,
and what did you want to be when you were a kid?
-I'm a native Philadelphian.
And when I was growing up,
I thought I was gonna be a lawyer.
I've actually -- I graduated as an accounting major in college.
-Where'd you go? -Temple.
-Fellow alumnus. [ Chuckles ]
-I think I graduated before you did.
-You might have. You might have.
And I was an accounting major, and I hated it.
And I took a course -- I went to graduate school for accounting.
I thought I needed my MBA.
And I read a book by David Ogilvy
called "Confessions of an Advertising Man."
And when I read that book,
I decided I wanted to be in advertising.
So that was how I changed my career path at that point.
-And one thing sort of lead to another.
Is that how it happened? -It was really strange.
I had a job in advertising with an industrial company
out in Montgomeryville for a couple of years.
I was there for two years,
and I decided that I wanted to go out on my own.
So I took my portfolio and went to get a job in an agency.
No one would hire me.
They said my experience was not agency experience.
I said, "Well, I'll get coffee. I'll get the mail.
Just let me get experience."
They said, "No, you have to have experience to get a job."
I said, "Well, how am I gonna get experience
if I can't get anything."
-Exactly. -So I decided
that I would open my own agency.
And I rented an office on 12th Street for $50 a month.
When I did my agency, my goal was I wanted to dress
the way I wanted to dress because I was a hippy back then.
I had long hair, and I was into the music scene.
And I wanted to have a job that was fun and I could make money.
Print advertising is really something that motivated me.
I really love photography. I love shooting models.
When you go to New York and shoot the models
in New York, there's nothing like it.
-Yeah. -Yeah, when they get in front
of the camera and they start moving,
it's really miraculous what they can do
in just a small movement back and forth.
And you see that, you're really -- it's mesmerizing.
So I really gravitated to doing women's fashion
as my career in print advertising.
I was in Glamour, Vogue, The New York Times.
I did a lot of bridal things.
It really gave me the ability to see things in a perspective
that was really very interesting.
'Cause when you're shooting women like that,
it's fun -- number one.
And they're sexy -- number two.
And it's just an enjoyable situation.
So I really loved what I was doing.
And I used the the top girls. I shot Gia before she died.
Kim Delaney I shot when she was 16.
Harry Connick Jr's wife.
Jill Goodacre when she was a lingerie model.
-So, I shot the top girls country for many, many years.
-Wow, how about that? Now, we talk about music.
You actually published Concert Magazine, right?
-Yeah. -Tell me about that.
-Well, Concert Magazine was something that I got into
with Larry Magid
and Alan Spivak in the early days of Electric Factory.
-Right. -And we did a program book
where we featured the acts
that were going to be on Electric Factory.
And then the round that we wrapped around that with --
national music news.
Because then there was no Internet,
and people wanted to know about the rock stars.
So we did record reviews,
and we did a lot of interviews with pretty famous people.
And we published in Philadelphia.
Then we also published in Washington and Chicago.
-Wow, now, who were some of the musicians that you worked with?
-Just name anybody --
Alice Cooper, Elton John, James Taylor.
-These are the biggest names in music -- in popular music.
-And I had met George Harrison
when he did "Thirty Three & 1/3."
He had just left The Beatles.
And we had an opportunity to go down to Washington to meet him.
And I went down there with my partner.
And I go in, and they had this gigantic sculpture of ice
with "Thirty Three & 1/3."
And they had in the ice, they had clams and oysters.
They had all this. And I'm into food, obviously.
And I'm looking at this sculpture
and my partner says, "There's George."
I said, "George who?" He said, "George Harrison."
I said I was into the ice. I go over, and I meet him.
And he was really a sweetheart.
He's a really nice -- -Really?
So, I said to him, "Hi, George.
You know, I'm Steven Horn. I publish Concert Magazine.
He said, "Oh, I love your magazine."
And I said to myself, "He never read my magazine.
You know, what are you saying."
I said, "What'd you like about it?"
And he quoted a story about from my magazine.
It blew me away. I was just shocked about that.
About a month later, I get this gray envelope in the mail.
And it says, "Steven, I think you would like this."
It was a picture of George Harrison and me
talking to him in black and white.
-Wow, any of The Beatles are icons.
I mean they're almost untouchable.
You can't even imagine being in their presence.
And yet they all seemed in their own way very accessible.
-But his music was very spiritual,
and I'm very spiritual.
I'm a devout born-again Christian.
So, you know, I'm a messianic Jew as they say.
So I was really into his spiritual aspect
'cause he had a really spiritual album.
-How do you mix, it's interesting
because you started out in the accounting,
you know, major at Temple University
and then went on to pursue business
but also all these creative endeavors.
How do you blend or mix 'cause a lot of people always segregate,
you know, the left side of the brain
with the right side of the brain --
that you're either creative or you're a business person.
But, yet, really you communicate --
both sides of the brain communicate.
How do you mix those two?
'Cause you run a business
and yet you're a very creative person.
-I hated accounting.
I just could not stand doing that.
And creative --
I just wanted to create what I wanted to create.
So I never worked for an agency.
I never worked in television in my life
before I got into television.
I just decided I wanted to be in it.
To create my show, I went to Herb Lipson,
the publisher of Philly Magazine.
-Yes. -He underwrote my pilot
which was called "The Sommelier,
the Marriage of Fine Food and Wine."
And I created the show with Tony Clark and Georges Perrier.
-All the big names in culinary. -I take it to ABC, locally,
Channel 6, Channel 10. They all loved it.
They thought it was a great show.
I said, "You gonna air it." They said, "Oh, no.
We're not airing it. We're not gonna air that."
-That's the business end, right? -Yeah, right.
So I was stuck.
And what happened was my sales person from Channel 10 --
we came up with an idea of doing a show called,
"In the Kitchen with Philly's Famous Chefs" --
a 90-second vignette run in the news.
And I had a client, Fred's at the time,
which was the distributor for Wolf and Sub-Zero Appliances.
I got them to build me a kitchen studio saying,
"I'll bring chefs to your studio and show people
how to use home equipment
for, you know, how to to cook it, you know,
like great chefs cooking on this stuff you're selling them."
And I got Channel 10 to run the vignette.
-Wow. -Did it for six months and then
Comcast came to me asking to do a cooking block
on their new network CN8.
And I launched the cooking block.
-The show is actually a marketing vehicle.
It's not just a cooking show.
I use it, the body of the show,
to market products and services to people
because I'm still a marketing guy.
But people like the show 'cause I have the top chefs
doing things that they want to learn
about and using great equipment and a great studio.
I'm the only cooking show on television
for 19 consecutive years.
And I'm the only real cooking show.
It's not a game show.
Chefs get 25 minutes from your pot to plating.
There's no takes. There's no script.
There's no home economist. They cook it.
They have to plate it once and eat it.
So you know it's real cooking. -I don't know how you do that.
That is -- like, the timing is so critical
and they get it right on the mark.
That's amazing. -You have to have great talent.
If you're not a great chef, you can't be on my show.
'Cause I like to cook myself. I was a cook in the army.
People don't know that. -Really?
-Yeah. I know about cooking and in my studio,
which is at PBS39, is all home equipment.
So if you're a home cook,
we're cooking on stoves that you're cooking on.
It's just that the techniques and how they do it.
-So, you created and produced "The Chef's Kitchen."
How many households does that cover?
-Well, it's nationally syndicated now.
And we started out just locally,
but now we're on 75 million households nationally.
-Wow. And then they can go online
and get the recipe itself and go through it.
-If they go on chefskitchen.tv, I get a little plug for myself,
you can download the recipe.
And then you can watch the video the chef does.
So, here you have the recipe.
Now you watch the chef do it himself.
So you really learn how to do it that way.
-When you're not busy with your, you know,
you cooking show or "The Chef's Kitchen"
and all your other things, you're a collector.
You're busy collecting cameo jewelry if I'm not incorrect.
-I have over 600 pins.
-Are they all cameos or different pins?
-No. I start out with marcasites.
Marcasites are the Mayan stone.
It looks like diamonds.
And a lot of them have initials in them.
So they're right from the '20s and '30s.
Then I have picture pins, which are like graveyard pins.
When people die, they used to put either hair
or pictures in these pins.
I have a lot of those. And then I got into cameos.
Cameos are more expensive.
So, you know, I had to wait till I got able to buy them.
-But I like cameos a lot. -Well, I want to thank you for
for coming to the counter and joining us.
-This is it? -Yeah, this is it.
Is there anything you'd like to add that we haven't touched on?
You got so much I don't know where to start.
-You wouldn't be able to interview your next guest.
I don't want to take their time.
-Well, I thank you for taking your time out to be here
'cause I know you're a busy guy. Thanks so much.
-Thank you very much for having me.
-Yeah, Steven Horn, a true Renaissance man.
-My next guest has set his sights on improving the lives
of the poor, the homeless,
and the underserved communities in and around our neighborhoods.
He's the founder of Broad Street Ministries in Philadelphia
and as of last year, the president and CEO
of the United Way of Philadelphia and South Jersey.
Bill Golderer, thanks for joining us at the counter.
-Hey, Grover. Thanks for having me.
-When did you get into this work?
What led you into it?
You became a minister.
-Became a minister, but my first church
was in downtown Chicago on,
if you know Chicago, on the Magnificent Mile --
a very wealthy context.
And it was a very wealthy church,
very prosperous church that did some good things.
But it wasn't until I came to Philadelphia,
I was offered the keys to a church
that is on South Broad Street,
which is a prominent avenue in the heart of downtown.
This congregation was the home to John Wanamaker,
who's one of the great citizens of Philadelphia.
-Great retailer. Yes, of course.
-But it had been abandoned for about 30 years.
And so I was given the keys to say,
"There was something here once. What should be here now?"
And we started playing with language,
which is, you know, we're gonna welcome you here
no matter who you are or where you've been or what you've done.
-We're gonna practice radical hospitality.
And, really, whatever you believe.
I'm interested in knowing you.
-About what year was this? -2005.
-And what happened, which is kind of like a cosmic trick,
is who we thought would come is not who came.
Probably the most desperate, the most vulnerable, the most --
people whose needs were so large.
And we were just a small group of people who we didn't think
we were capable of doing anything to be of help at all.
But we opened ourselves up to say,
"Well, we can't do everything."
And this is true of anybody in their life.
You can do anything, but you can't do everything.
-Right. -So what could we do?
And that's how we started it.
-Now, what do people need to do to get a real understanding
and empathy for?
-I think when people talk about poverty
and people experiencing homelessness,
people think of that as like, you have in your mind,
or many people do, maybe somebody sleeping
on a grate or outside exposed to the elements
and that one day through whatever set of circumstances
that's where they arrived, our neighbors,
and that's where they'll always be.
So it's like an eternal destination
that you are sentenced to.
And the reality is, in my experience,
that poverty and homelessness is not a static problem.
It's not a state of being.
But it's a dynamic problem.
People all the time fall into and rise out of this situation.
And the sooner there is a coalition
and a coalescing of people
who are there to catch you if you fall into the situation.
-Right. -And your life is resource
in such a way that there are resources there
to lift you out, you will leave.
There are circumstances, as you can imagine in your life,
where there are things that happen to people
who fall into tragedy that has nothing to do with
what they willfully did or didn't do.
-What is the current political climate --
how is that effecting homelessness and poverty?
-Our lawmakers, in my opinion, in too many cases
our not proximate to people's pain.
And so when you come across a force of a citizen
who really knows what's going on, they listen.
And you can be a better advocate
when you really not just know about people's pain,
but you're involved and invested.
-Exactly. So what can people do?
-If you are just coming to, you know,
"I really want to do something.
I want to get involved."
What I will tell you is you want to join in
by strengthening the work that's already underway.
United Way -- I've been able to sort of get a front-row seat
to the heroism of people who have for, in some cases
decades, been along side their neighbors
who are trying to learn how to read on grade level
or get the right skills they need for a better job
or a better opportunity or learn
how to live an economically empowered life.
-You founded the Broad Street Ministries.
Just describe that.
What does that do in Philadelphia?
-Broad Street Ministry, I like to say,
is the widest front door in Philadelphia.
9,000 unduplicated Philadelphians
walk through that front door every year looking for hope,
looking for opportunity, and looking for community.
And you go in there. You can get a meal.
We offer a mail service there.
We can get clothing there.
But there's also connection to legal services.
There's healthcare delivered there.
There's housing opportunity that's there.
There's job training there.
So it's sort of a one-stop shop for anybody
who is feeling vulnerable
and is really worried about what their future holds.
-And was it through Broad Street Ministries where you partnered
with some entrepreneurs to create the Rooster soup kitchen?
-Sure, so, Broad Street is lined with --
it's a five-star neighborhood.
The Ritz-Carlton's there.
Four Seasons is a couple blocks away.
And so, what I would say to folks who work there,
I'd say, "We're in the same business, you know.
I'm in the hospitality business.
You're in the hospitality business.
We just operate at a different price point.
Like, you charge people and we do it for nothing.
-And that resonated with a lot of,
and two restaurateurs, my very close friends --
a guy called Mike Solomonov and Steve Cook.
And they own several restaurants in Philadelphia.
And they would volunteer at Broad Street with their team.
And they said, "We want to do something more
than what we're doing now."
And the one guy said, "You know, I make chicken soup
that would knock your socks off.
Why don't I give you
an unlimited supply of chicken soup.
And I said, "You know, if that soup's
as good as you say it is,
I want to sell it because I need dollars."
-Revenue coming in. Support.
-"I got to pay social workers.
I have to pay people who help people get jobs.
You know, I need money."
He's like, "Oh, I didn't think of that."
So, we decided to do a Kickstarter campaign --
a crowdfunding campaign to say, you know,
if we opened a restaurant
where 100% of the proceeds from the restaurant
went back into helping vulnerable Philadelphians,
you know, would you support that?
What if you could help your neighbor just by eating lunch --
was sort of the, like, idea.
And that thing went viral
and we raised like $190,000 in 20 days.
-Wow. -People, $25 at a time,
saying, "I would love that."
And Philadelphia's known as the city of brotherly love
and sisterly affection.
So we were saying, you know, let's show that love
through this restaurant.
And today on 1526 Sansome Street
you can go to Rooster Soup Company.
You can get a beer.
You can get lunch or breakfast or brunch.
They even have late-night karaoke,
which the kids love.
But it's really --
And what you see there is on the menus it even shows
you how you can get further involved in helping people,
you know, move forward. -100% of the profits
go to help folks. -Yeah.
And it's a lot of money 'cause people love it.
-And I think it gets a 4.5 on TripAdvisor.
-Oh, it does? I have to check the rating.
-I did check it, and that's what it was.
-I might have been padding that a little bit.
-[ Chuckles ]
Well, Bill, thanks so much for joining us
and sharing your experiences and this important work.
And keep it up, and good luck.
-Thanks Grover. I appreciate it.
-All right. Bill Golderer --
a man on a mission, and he wants you to join him.
-My next guest doesn't raise funds,
but he does lift spirits with laughter.
He's what we call in the stand-up comedy biz
as an audience man.
He loves to work the crowd.
I've worked with him for years, and he is hilarious.
Even other comedians are laughing at the guy.
Jeff Pirrami, welcome to the counter.
-Grover, how are you? -Good to see you.
-That opening put me in a coma.
Are you all right? -Are you all right now?
-I'm good. -You seem wide awake.
Yeah. -I'm good.
I've been here since 2:00.
It's nice here at the -- -Well, look,
at least you wound up with an apron.
-He gave me this apron. I said, "Give me something..."
And the coffee --
the coffee is hot as hell here over here at the diner.
I love coming here... -[ Laughs ]
-But the coffee's -- This is a great little place here.
-Yes, it is.
Let me say this. -Whatever you want.
Say whatever you want, Grover.
-I said you like to work the crowd
'cause I know when we would do shows,
I would go on -- it'd be a rough crowd.
And I'd have to do everything I could to try
to turn them around. You'd come on stage
and go at them and have them rolling in the aisles.
-And then he cut his set short, and I got to do extra time,
bring the crowd back.
-Yeah, how do you do that? How do you do that?
-You just got to be in the mood.
You got to enjoy what you're doing.
Listen, I don't care what I did yesterday
or the day before or tomorrow. It's the show.
When I'm on stage, I got to do whatever I got to do
to make people laugh that night
'cause that how they remember you -- your last show, Grover.
I remember the last show you did.
I'm surprised you still have a job.
-[ Laughs ] Thanks. Anyway.
So, what is it. How do you go at a crowd?
Do you have to pick some things up?
Do you have to know a little bit about someone in the audience?
-First of all, you never want to offend a crowd.
That's your crowd. -Right.
-So whenever I do a joke or something, I just see and watch.
It's like thin ice. A fat guy on thin ice.
That's any ice.
You just got to watch. Don't go too far.
I got a lot of problems in shows.
I got some fights and everything.
I went a little too far and not see if people can take it.
-Right. How many years have you been doing it now?
-30 years. 1986 I started.
I had a dream I was doing this.
My wife was nine months pregnant with my son.
I moved out from Buffalo, worked at the newspaper
in Trenton, New Jersey.
And then I had a dream I was doing it.
I got up at 4:30 in the morning in my underwear.
I wrote down 40 jokes. I put them in order.
I told my wife, "I'm gonna go down to the Comedy
Works, the Factory Outlet -- both of them.
-Wow. The comedy clubs in Philly.
Tuesday and Wednesday open mics.
Yeah, I'd wait in line and I remember I met
Keith Robinson at the door.
-Yes, another funny comedian. -Another funny comedian.
-Still out there. -He's doing good.
He had a stroke. He's doing good, though.
He's doing good. Opens up for Wanda Sykes.
-Good. -I remember I said to him,
I was so nervous to go on.
I think I went on about 1:45 in the morning.
And I got up there, he said, "Just relax."
I did like three minutes.
And I got off and he says, "They like you."
That's 90% of being a comedian if they like you.
-Right. -And so then that was it.
And then I just kept going more.
Let me keep doing until I feel good.
-How did the wife feel about that?
-What? Terrible. She hated me.
-You're going from like a newspaper job to --
-Right, but she was nine months pregnant.
And I'm out every night, Tuesday,
Wednesday nights till 3:00, 4:00 in the morning.
-You have a lovely wife. I've met your wife.
-How do you know she's lovely?
-I've met her. She's very nice.
And your children are well-adjusted.
How did that happen? -I got my son's 32.
As long as I've been doing comedy is how old he is.
He's 32. My daughter -- I have a daughter,
29, who moved back home with her little g--
I have my little grandson. He's 3 now.
-I understand that. -So that's perfect for me.
Out till 3:00 in the morning.
Up at 6:00 with the grand--
But it was nice with the grandson.
It's like the circle of life.
-Yeah. -Now I go,
"I'm gonna go fishing."
She go, "No, you can't go fishing."
"I'm gonna take the grandson fishing."
"Go ahead. Take him fishing."
So that's how it is. It's the circle of life.
Yeah, do you think people are too serious today?
You think they take things too seriously?
-Come on, Grover.
People got to lighten up. It's terrible anymore.
-Well, you lighten them up. -I don't care.
I just do what I want. You don't like it,
if they fire me, I don't do the show again.
-Right. Well, people love you, though.
People love you.
-If I get to a punch line of a fat joke
and I happen to be turned this way in the audience,
and I see a big fat lady sitting there I slowly turn to the right
and finish the punch line over here.
I don't want the crowd looking at her.
I'm not here to offend her.
I'm ready to make people laugh. -Right.
-And if I see I'm going to far, then I back up a little.
We know. You learn it in the business.
You make fun of yourself.
It brings them to your level, like, you know what I mean?
And I'm not -- they go you're so dirty.
I'm dirty. That's the way I am.
That's the way I talk. I'm not doing nothing --
You know, I'm lucky in this business.
I've gotten to do what I want to do
being who I am, what I do all the time.
There's some jerks in the business.
-Of course. Where you a funny kid?
-You stalking me, pal? -[ Laughs ]
-I was a funny little buzzard. -Were you?
Yeah, where did you grow up in --
-Buffalo, New York.
Buffalo, New York.
They got two seasons in Buffalo.
They got winter and July 27th. Born and raised in Buffalo.
I worked for a newspaper for years and --
Here's what happened, I was a -- you want a union steward and --
-What did you do at the newspaper?
-I did everything. I was a paper boy.
Then I was truck driver.
Then I was delivery -- that was advertising.
District manager. I did everything.
But I was always funny.
I always saw life as a funny -- -Right.
-I worked at Borgata.
I host a burlesque show at the Borgata.
-Yes, I was gonna get to that.
-Oh, get out -- -Is that the name of the show?
-No, it's called The Burlesque Show.
-Oh, okay. -The Burlesque Show.
But I coined a phrase.
I'll tell a dirty joke and they'll moan.
I go, "Come on, it's burlesque." -A little risque!
And we pack it in. 900 people every Thursday night.
It starts April 25th this year.
This'll be my seventh year doing the show.
-In Atlantic City, Borgata. -Allen Valentine, producer.
Borgata in Atlantic City.
Allen Valentine -- his wife Christine is one of the dancers.
And her sister Jill is the choreographer.
-And you're the host? -And I'm the host.
-You start the whole show off. -It started out doing this,
an eight minute spot for comics.
They're gonna rotate them.
But the second week one comic wanted more money.
So they said, "Yeah if you want to do it."
We made a deal. Ba-ba-boom.
Eight years -- seven years coming.
-How many years now? -Seven years.
It'll be just seven years. -Seven years?
-It's like a Vegas show in Atlantic City.
You got beautiful girls and then a big fat buzzard comes out.
One of the girls made the Rockettes.
-They did? Wow.
-Let me tell you about these girls.
These girls, they dance -- don't get naked at all.
And then when the show's done, half these girls catch a bus
at Resort's, go to New York 'cause they're teaching class.
They're teaching little kids.
-Hard workers. -I respect those girls.
I'm telling you.
-It's almost like a family after seven years.
-Oh, yeah. We know them all.
I watch them grow up and everything.
Oh, my God.
Nobody's performed more at the Borgata,
any entertainer alive than me.
-Wow. -Think about it.
-Yeah. -I've been there seven years.
And every year, I'm telling you, it's a whole new show.
The owners, the president said, "We want --
I don't want to hear any repeated jokes."
-Really? -It sounds easy, but it's tough.
We do little skits.
-But you perform all over the country.
-All over the country. You kidding me?
-You think your kids will get into comedy?
-My daughter's pretty funny. My daughter's pretty funny.
-Is she? -My middle daughter
and now she's going to broadcasting.
My youngest daughter is a radiologist, going through that.
And my son is a respiratory therapist and gonna be a nurse.
-Wow, serious jobs.
-Well, they're all doing that because I'm sick.
I'm sick, Grover.
-That's right. -I had open-heart surgery.
-Exactly. -I'm a fat bag --
-You're a comedian. -We got the stupid life.
I'm eating dinner at 3:00 in the morning, you know.
-Yeah. It's not the healthiest lifestyle sometimes.
-I have dinner. I go to a gig.
-Yeah. -They got food.
I eat the food.
I got a two-hour ride home.
I got to eat something to keep me awake.
-Well, Jeff Pirrami,
I want to thank you for coming to the counter.
-It was a pleasure, Grover. -Yeah, it's a good place.
-And where can people catch you? At the Borgata.
-I'm at the Borgata every Thursday night
starting April 25th.
-I'm so glad you came to the counter.
-I wish you the best.
-Oh, there we go, a little toast to laughter.
If you don't laugh, then don't come to my show.
-Jeff Pirrami. -Salute.
-Jeff Pirrami, a working comic who loves to work the crowd.
-Well, that's all for this episode.
I want to thank my guests -- comedian Jeff Pirrami...
-People got to lighten up.
-...United Way's Bill Golderer...
-Broad Street Ministry, I like to say
is the widest front door in Philadelphia.
-...and producer/director Steven Horn.
-I wanted to dress the way I wanted to dress
'cause I was a hippy back then -- long hair
and I was into the music scene.
-Don't forget to stop by next week when we'll have
more fun and excitement on "Counter Culture."