Would You Like Fries With That?
January 18, 2008 · Print This Article
Oh the starving artist. The man who sleeps in the streets because a job would only take away from his painting, or the woman who can’t get a job because she might miss an audition. Is there really something to the notion of suffering for your art, or is it possible to persue a dream while working for the man?
Other topics include playing the ethnic card, being a comic and still being a human being, comedy in the classroom, tons of love for Jay Black, and escaping the prison of boring material. Excuse me waiter, I ordered this medium rare.
Email: brianmcomedy@gmail.com and give us a call on 206-203-4692
Sweet a bill hicks quote, a personal idol of mine. god if he were still alive he would have a field day with all this shit.
Brian-
So excited to be on the show! Just to be anal for a second, that clip is from June 2006, so the topical references were actually topical. Luckily, as you pointed out, the fisting jokes never go out of style. Niggling aside, thank you!
As to the day job topic, a fair number of the comics I know who are trying to move from feature to headliner don’t have day jobs, even though they make very little. They have something else that keeps them off the streets–a way with the ladies. It’s like the rodeo cowboys who depend on buckle bunnies to take care of them when they finish out of the money. I wonder who smells worse, comics or cowboys?
Well if you’re a die hard and refuse to work beyond stand-up perhaps Ikea has room for you…
http://www.cnn.com/2008/LIVING/wayoflife/01/08/living.ikea.ap/index.html
I would think working would a job would help generate material, particularly retail/table waiting. Where else can you get that much variety of idiocy and ignorance?
Not only is fisting always comedy gold but so are rubber fists. For reference: Doug Stanhope and probably the only thing I thought was funny about the Borat movie.
Great call Margaret. I know lots of guys that don’t have to shack up in dingy condos because they make a roommate for the week after the first night.
I also forgot to mention that the fellas at Stand Up Orlando were nice enough to have me on the latest episode. Check it out if you haven’t already.
Good job Margaret. I thought the set was really really funny. Nothing like a fisting joke to start off the morning.
Same with Smiley- I loved the original joke of the week. Now I’m afraid to send in my jokes, because I know its not going to win.
I saw an interesting article of Greg Fitzsimmions on dead-frog.com here
http://www.dead-frog.com/blog/entry/interview_greg_fitzsimmons_stand_up_comic/
It talks about how joke stealing is more acceptable early on, as you learn how to perform, before you get your own voice and start writing jokes of your own. I was just wondering what you guys thought about this. Like is it acceptable, or if you are gonna be a comic, not to steal ever is the rule?
And do listen to the new Stand up Orlando episode. It’s pretty funny because Brian seems so out of his element, when he isn’t the center of attention. Also, he tends to take over the show at times, talking over others, not letting people interrupt. Did you warn Ryan #1 about that before hand? Just kidding Brian. Thought it was pretty funny, and you were a good sport, as they got you to watch 2 girls one cup. For everyone to hear on the internet. Surprised you didn’t mention how you are spotlighting listeners though.
There are plenty of comics who didn’t even step on stage the first time until they already had careers and families. Drew Hastings took the plunge at 32. Rex Havens was an attorney for State Farm and started comedy at 36. Mike Armstrong was a cop for I don’t know how long and got nearly an entire act out of it. Ron Shock did a number of jobs - and jail time - and became a comic at 40-ish. So if you’re 20 and doing comedy, you’re already ahead of where these guys were when they started - how’s a job going to hurt?
Also, I think doing nothing but comedy and hanging with comics can, ironically, be a detriment to your act. I suspect the reason so many comics tread the same topics - bad relationships, drinking, whatever’s on TV - is because all they have is a life spent in clubs and TV.
Good show, B-Mo.
Mike (Not Really):
I haven’t read the article yet, but I’m sure most if not all comics would agree that stealing jokes is the ultimate sin. As for doing other people’s material just to fill out your 6 minutes when you’re new - I don’t see the benefit. What’s the use of honing and perfecting your delivery of someone else’s stuff? You’ll have to drop it sooner rather than later, so you’re not learning as much as you might think.
To be fair MNR, I was the only person on the phone. Everyone else was in studio and hearing wasn’t the easiest thing to do. I’m not saying I wouldn’t have tried to take over the show if everything was ideal, in fact it may have been worse.
Dan:
By no means am I using other people’s act or material. Or even thinking about it. I just think its interesting that a professional comic says that he thinks its okay to do so early on.
brian- I’m just giving you shit. I loved the show, thought it was great. And thanks for sending the CD. Just listened to it this morning, and thought it was pretty funny. I love the way he (Rodney) answered questions at the end of the set.
Brian, love the show.
Great job and good times,
Kahn
Really enjoyed this week’s show!
Couple of things:
1. I’m a firm believer in having a life outside of comedy and maintaining a day-job right up until the point you can’t any longer (I stayed a teacher right up until the day before I left for my first full-time college tour of the midwest). I feel this way for a couple reasons:
a) Any art that is trying to become popular needs to be able to appeal to large groups of people. Maintaining a job allows you real-world interactions that you’ll be able to make fun of. There’s a reason so many comics in the 80s talked almost exclusively about airports and hotels and late-night infomercials — that was the sum total of their life experience. Holy hell, I found myself writing an Airport bit myself yesterday… I almost broke down and wept. Everyone has a shitty job — if you’ve got one too, you’re already one step closer to connecting with your audience.
On top of that… if you’re spending all your time immersed in stand-up comedy and thinking about stand-up comedy, you’re very quickly going to want to “deconstruct” stand-up comedy. There’s nothing wrong with being deconstructionalist — I loves me some Ezra Pound — but for every Demetri Martin, there’s 200 guys in New York who are refusing to make eye-contact with the audience because “human contact is hack, man”.
b) The ability to say “no”. This, to me, is the most important aspect of a day job. Early on, I think you should get on every stage you can… but at a certain point, having the ability to say no is the only way you’ll move up. A club doesn’t want to move an emcee to a feature or a feature to a headliner. When you’re ready, you need to be able to tell them, “I’ll only work for you if you’ll headline me.” It might take a few months (or a few years) for them to come through. If you’re desperate for cash, there’s no way you can turn down a feature spot (that’s blood money!) I think a lot of guys who leap into full-time-featurehood get stuck for precisely that reason.
2. A bit of advice for the kid who was 15 and wanting to get into standup… I’ve helped three of my former students perform at regular clubs (2 while they were still in high school). Of all of them, BTB contributor Charles is by far the most successful (he actually started getting regular, paying spots at comedy clubs and tearing-it-up at his college coffee houses), so he might want to chime in on this issue to.
My advice is very close to what Brian said on the show, but I would go a step further and tell him to try to organize a stand-up comedy club at your school. Try to meet weekly, to watch stand-up, to write stand-up, and to perform stand-up. We did that at my school for months before we ever did a show outside of small, improtu “open-mics” in front of the other kids in the stand-up club.
If you’re having trouble getting in at the clubs and you’re in a small enough town (this wouldn’t work in NYC), try approaching the local features writer in your newspaper to do a story on you and the school club. (Believe me, this is right up a local-paper’s alley). Use that impending publication of the article as an enticement to the club. “Hey, I’m going to be featured in the paper this weekend, I’d love to be able to put your club’s name down as where I’m appearing next.” A club is more than happy to trade a guest spot for a free plug.
3. Brian, I thought your analysis of why you tend to go into the “safe route” when you’re performing at colleges was dead on. When you finally learn what works, you stick with it. When you’re making your living off of what works, you REALLY stay with it. It’s doubly so at the colleges where the band of what works narrows to only a few safe subjects.
I’m reminded of a headliner I worked with who told me, “Be afraid of laughs. Laughs are crack. You get addicted to crack, you’re gonna have a hard time ever making it out of the clubs.” I had no idea what he was talking about. I thought the whole point was to get laughs.
I realize now what he was saying: if all you care about is getting laughs, you might as well be a hack. What’s the difference between doing something you don’t like just so you can get a few ha-ha’s and doing the “arms routine”? Or the differences between black people/white people? Or my is so whacky!?
None, really. If all you care about is laughs, there’s a really good chance you’ll wind up a mostly forgettable comic. Originality happens when you stop caring so much about the laugh and start focusing on what you want to say. As Bill Hicks once said: If you can’t be funny, be interesting; it’s almost as good.
(And if you think my third point stands in direct contradiction to my first point, you’re right! That’s the fun of being a stand-up comic!)
4. Sorry this is so long. It’s 9:30 on a Saturday morning and writing here is a lot more fun than working on my act right now.
best,
–jayblack
First off, welcome Kahn. Glad to have you on board.
Second, I think Jay Black may be my soul mate. If only we could get these damn laws changed! Great points all around. I’m especially going to make a point to discuss turning gigs down. I remember the first time a comic told me that, I thought he was nuts. Turn down stage time? At this point in my career I had already done spots in a restaurant, shopping mall and theme park. But eventually you have to stand your ground and it’s nice to know you have a source of income to turn to until things fall into place. Every comic I know has a bag full of gigs that they only do because they need the money.
Mike (Not Really):
I wasn’t assuming you were doing others’ material - sorry if my post suggested that. I was just chiming in on the idea.
as far as that form of joke stealing goes i do find that the fact that many young comics use jokes from other comics, myself included. i thnk every young comic should. it shows us the importance of timing, proper writing structure, and other stuff.
To the 15 year old comedian, or any teen comedian:
1. Start in high school, like Uncle Jay and Uncle Brian say. If you’re going to start an after school comedy club, get your friends in on it and tell the administration that “the purpose is to break the fear of public speaking and get fellow students to find their voice.” They love that angle. Writing, critiquing and criticizing are always better in a group.
2. Always try to write as clean as you can. Especially if you’re going to perform in high school. The administration tends to squash edginess in most situations. Even if you’re performing in clubs, a fisting joke (to call back to the excellent set by Ms. France) may not go over with adults well coming out of the mouth of a 15 year old. So, yeah, free speech is great, but clean is much more versatile.
3. Some things you can do to get stage time are, like Brian said, host an open mic for your school. You can make it all comedy if you want, but it will be much more popular with guitars and poets and all that jazz. If I can add to Brian’s suggestion, if you’re going to try to do an open mic, make it a _charity_ open mic. Donations, a $5 cover, whatever. Schools love hearing the phrase “it’s for charity.”
Also, keep in mind that high school isn’t a club. There’s only X amount of people, and unless you keep writing and making new stuff for every performance, the audience will get bored quickly. So, if you had a stand-up comedy club, you may be able to do a mini-tour to some of the high schools and jr. high schools around the area.
I don’t want to take anything away from Brian, but if you didn’t understand my ramblings, you can always fire me an e-mail, clkuski@yahoo.com.
Sorry, I just remembered this. In the book, Comic Insights (by Franklin Ajaye) there’s an interview with George Wallace, who takes the same stance as Brian. (page 226, for the kiddies reading along at home)
“Q: What were you doing before you tried stand-up? Someone told me you were in advertising–
A: Yeah, vice president of the world’s largest outdoor advertising agency in New York City. All of the spectacle at Times Square, the 5000 buses in New York City–the ten top markets in America: Boston, Detroit, Philadelphia, Los Angeles, San Fransisco. I was vice president of that market. And I loved it. I made a lot of money. The reason I went into advertising before show business was because wen I’d see comics on television, they’d talk about how when they first started, they didn’t know where their next meal was coming from, so I decided that I didn’t want any part of that. I wanted to make a lot of money to get a financial cushion.
Q: So, you did not want to do the suffering-artist route?
A: No sir.”
Review for American Hustle:
Just finished watching Katt William’s American Hustle. And that was a very painful movie to watch. Some of the skits were funny, but they tended to go over the top with the gag.
Honestly, I think it should’ve just been straight up standup. Katt’s opening bit was at first a bit funny, but then quickly became old, repetitive and dull. Some of his bits were interesting, but a lot of it seemed to try and be topical. But the stuff he talked about seemed to be dated by the time we watch it. Another Michael Jackson joke? Really? He also seemed to do a LOT of physical stuff. I haven’t seen any of his other stuff, so I don’t know if its the norm. But some of the gags were a bit worn out. I forget what it was about, but he kept hitting himself in the back of the head, over and over again.
His closer was about how women should give men head to help a relationship also seemed a bit hacky. Like I had heard it before, and done better from other comics (Was it Chris Rock?). But at least he also had some laugh out loud jokes, at least for me. My favorite joke of his set, was when he compared Steve Irwin to a stalker who attacks a victim. And of course, he has to do the entire motion with a chair. But I thought it was brilliant.
The big woman’s (Lanelle?) first joke shown was mediocre at best. I could see the punchline coming a mile away. Otherwise, I don’t remember much more.
To Jay Black and Charles,
Thanks a lot for the advice. Now I have to look for a bunch of similar minded kids. Not a lot of wanna be comedians at my school. But you guys gave me a lot of really good ideas. Thanks.
I don’t necessarily feel that it is “ok” to steal material when you’re just starting out, but it’s understandable. With the cookie cutter garbage that most networks put out as stand up specials, you get used to hearing the same topics rehashed over and over again. What are people just starting out supposed to think?
I don’t think people starting out should use anyone else’s material. I can understand writing just like someone you admire or even stealing by accident, but it seems like a waste of stage time if even the would-be comic doesn’t think he/she has something original to say.
I totally agree with Brian about the homogeneity stand up specials. I just saw Lisa Lampanelli(live), and she’s great on stage and certainly no thief, but there’s so much in that vein of racial stereotype jokes going around right now that it felt stale even though I’d never seen her before.
AMC, Canadian comic, I think when you start out around the playground it’s good to tell other people jokes because its a starting point. I was fifteen and I told Jerry Seinfelds ” Tide joke, about the blood stains” and someone said ” Hey, you know that is seinfeld joke, right.” ” I just ran. And I had to preform a set in front of my Church, and you know when you feel your doing something wrong, ” the called my name and I left to go to Pizza Hut, because I didn’t want to tell other people jokes and I was 17 teen the first time I went up, and 17 was the last time I told another person jokes without quoting who came up with it.
Plus can you define the art of schmoozing,?
thanks, Love the show Brian and I can’t Wait to Mike comes back, and give his review.
AMC Thanks
i agree brian about it not neccesarily being ok but think of it one of two ways. theyre probably not getting paid for it, hell theyre probably still in the cafeteria cracking their freinds up, and eventually theyll wanna create their own jokes. second at that young of an age its more of a homage than anything else. but there is definitely a time limit on it, a year tops. if your a stand up vet of 15 years and your still rippen off carlin do yourself a favor and stop.
haha I agree, with smiley. At a young age hack is not a word in a vocabulary of must beginning comics. Someone has to tell them listen, that is not yours and stop that shit, but you do the jokes to develop a comic timing, and the art of telling a joke. You know those huge books of jokes about ghost, or some topic with a corny setups and punchlines you find in schools, you tell your friends it to try to be funny.
You got to remember, when Richard Pryor started he had a bill Cosby look and act playing it safe, and bill hicks told Woody Allen jokes in front of his Church when he started, eddie Murphy talking about him trying to sound like Richard Pryor when he told jokes about shitting of his special RAWand Brian you said it yourself you had jokes written down of bits of airline food that the eighties comics are doing and you’d believe like you said that you had to preform them better. HAHA, sorry for stealing your thoughts.
What I did was when I was 17 I googled hack and this link came up.
http://faqs.org/faqs/comedy-faq/hack/ written by comedians and Andy Kindler.
It helped me stay away from over used and other stuff that was talked about to death, and then I go on stage and try to develop my own style and unique way of coming up with a conclusion of a joke, that is why I watch open mic comics on youtube.com and specials and comedy hours, to make sure no one has done my jokes, it what works for you right. The word is Subjective:
AMC
haha AMC I agree, with smiley. At a young age hack is not a word in a vocabulary of must beginning comics. Someone has to tell them listen, that is not yours and stop that shit, but you do the jokes to develop a comic timing, and the art of telling a joke. You know those huge books of jokes about ghost, or some topic with a corny setups and punchlines you find in schools, you tell your friends it to try to be funny.
You got to remember, when Richard Pryor started he had a bill Cosby look and act playing it safe, and bill hicks told Woody Allen jokes in front of his Church when he started, eddie Murphy talking about him trying to sound like Richard Pryor when he told jokes about shitting of his special RAWand Brian you said it yourself you had jokes written down of bits of airline food that the eighties comics are doing and you’d believe like you said that you had to preform them better. HAHA, sorry for stealing your thoughts.
What I did was when I was 17 I googled hack and this link came up.
http://faqs.org/faqs/comedy-faq/hack/ written by comedians and Andy Kindler.
It helped me stay away from over used and other stuff that was talked about to death, and then I go on stage and try to develop my own style and unique way of coming up with a conclusion of a joke, that is why I watch open mic comics on youtube.com and specials and comedy hours, to make sure no one has done my jokes, it what works for you right. The word is Subjective:
AMC
haha I agree, with smiley. At a young age hack is not a word in a vocabulary of must beginning comics. Someone has to tell them listen, that is not yours and stop that shit, but you do the jokes to develop a comic timing, and the art of telling a joke. You know those huge books of jokes about ghost, or some topic with a corny setups and punchlines you find in schools, you tell your friends it to try to be funny.
You got to remember, when Richard Pryor started he had a bill Cosby look and act playing it safe, and bill hicks told Woody Allen jokes in front of his Church when he started, eddie Murphy talking about him trying to sound like Richard Pryor when he told jokes about shitting of his special RAWand Brian you said it yourself you had jokes written down of bits of airline food that the eighties comics are doing and you’d believe like you said that you had to preform them better. HAHA, sorry for stealing your thoughts.
What I did was when I was 17 I googled hack and this link came up.
http://faqs.org/faqs/comedy-faq/hack/ written by comedians and Andy Kindler.
It helped me stay away from over used and other stuff that was talked about to death, and then I go on stage and try to develop my own style and unique way of coming up with a conclusion of a joke, that is why I watch open mic comics on youtube.com and specials and comedy hours, to make sure no one has done my jokes, it what works for you right. The word is Subjective:
AMC Thanks
hey guys
love the show
Schmoozing, I believe (and someone correct me if I’m mistaken) is faking or exaggerating how impressed you were with another performer. Especially one that can get you something in return. My teaching bureaucracy class calls it “quid pro quo,” if that helps the definition. Ass-kissing is another synonym.
The art of schmoozing is REAL easy with comedians because, while their egos have the durability of a latex balloon, they can expand from the size of a pea to a beach ball at a moment’s notice.
Like, I was MC’ing a club in NJ, Comedy Cabaret, and the headliner canceled, so the feature moved up and headlined the show. When I was getting everyone’s intro, the guest spot that WAS in front of the feature got 5 more minutes and, since the feature is now the headliner, I pointed out that “wow, dude, it’s awesome that you’re featuring tonight! Really impressed!” And, he talks to me all the time now.
Also, Brian– Giants are in the Superbowl! I’m in South Jersey, so I’m obligated to the Eagles, but I’m so damn sick of the Patriots. Go Giants.
Nice scmoozing definition. I think you keyed in on the crucial aspect of ass kissing. This is not only a skill reserved for people in show business, although it’s pretty important there, but anyone involved in sales or customer service is certainly familiar with the schmooze.
hey guys, whats your take on politicaly incorrect humor (such as mental disabilities)
I do a joke about disabilities, in a way that doesn’t make fun of the them but making fun of the people who decide to call them disabled.
It’s all about what you believe is right, and you believe is funny,
politically incorrect humor is a bit hard to define. i know i use it with joke about midjits and fat people. and i have freinds who tell a few jokes in a retard voice(the fact that i just used that word shows what an inconsidarent fuck i am). and i know plenty of comics use it so personaly i think its just a normal part of the comics arsenal.
I have always advocated the theory that nothing is off limits in comedy, of course by the same token, you can’t get pissed if someone gets offended. Goes with the territory.
Smiley, you’re the only one that I’ve ever seen spell midgets “midjits.” That’s how I’m doing it from now on.
Politically incorrect humor is like anything else, I think. If you have something original to say about it, fine. But if you’re being politically incorrect just to be politically incorrect, then it’s hack. Yes, Mr. Mencia, I’m talking to you!
i have to agree with you on that.
but here is another question….
does mencia really deserve the title “comidian” when all he does is make fun of people, make illigitiment stereotypes, and tell jokes that are seldom funny?
oh, shit i completely missed the other posts
lol
but still i agree
was only woundering because i saw a podcast that was i complete bad taste
You obviously have a well developed notion of comedy John, unfortunately there are millions of zombies out there who think he’s the funniest thing since dancing midjits. And as much as I wish the title “comedian” had to be earned like a masters degree, there is only one criteria. Dude stands on stage, talks into a mic, people laugh, he gets paid.
i agree with that statment,
as for the “well developed notion of comedy”
eh, i eat lunch with the siniors, iv had a few chances to perfect that arguement.
yeah “midjits” is how we spell it in trenton. its amazing were able to feed ourselves.
“mirical” is more like it.
Great show, Brian. Loved the dig at American Idol. Did you see the Xmas special of Ricky Gervais’s show Extras? Gervais’s character reluctantly goes on Celebrity Big Brother and eventually has a nervous breakdown on camera, delivering a brilliant attack on reality tv shows, saying “The Victorian freakshow never went away—now it’s called Big Brother or American Idol, where in the preliminary rounds we wheel out the bewildered to be snickered at by Multimillionaires…”
Hey Behind the Bricks,
Just heard your show for the first time. Great stuff. As I listened to the most recent PODCAST, I was moved emotionally. I was moved more than Jake Gyllenhal was moved at the death of Heath Ledger. Too soon?
See…I too just went though a loss. The loss of guilt and anxiety.
After hearing the last PODCAST, I finally got the chance to listen to someone in the almost exact situation that I am in. I’m 30. I have kids. I love comedy. I need a job. I love comedy. I hate my job. I love comedy.
Thanks Brian for sharing this POV. Awesome show.
Thanks.
John Ross
american idol is a waiste of time and money….
American Idol is a waiste of time.
not to mention its an insult to anyone with real tallent. (if i had any tallant id be offended)
Damn post lag
It’s not a waste of money, they are making huge money, it’s just was turned into a circus now, where any clown can preform, because they want to be the next william hung, which is a great career goal to achieve for any mentally challenged drones., but its a goal.
My goal is to sleep with a female from all major religion and cults, we all have dreams don’t we. haha
Hey John. No offense, and not to be a grammar snob (Sorry Grammar Nazi) but would you mind taking a couple seconds to just go over a cursory glance at your spelling. It’s fine if its once every once in a while, but it sorta makes it aggravating when going through posts, trying to decipher what you are trying to say. Ex: I eat lunch with a bunch of siniors. Wasn’t sure if it was seniors or sinners you were eating with. Either way, great lunchtime pals, it just makes me a touch confused what you are trying to say. Sorry I’m being such a bitch. But yeah…
On another note, I am in the process of starting up a stand up comedy club. Big thanks to Charles and Uncle Jay.
Damn, Mike, that was quick. It took Jay over a Christmas break and a month.
Well, lemme know how it goes, man. Either e-mail or here. Probably here.
Also, with American Idol, how many of those “mentally challenged people” do you think are improv artists trying to get a credit? I’m gonna go ahead and say over 85%.
haha, Credit, haha That would be funny going up to a talent agency and saying ” Remember me in the pink dress singing to “My lovely lady lumps” good luck trying to build a career off of that. They would probably end up doing ribbon cuttings at Chucky Cheese.
Back to stand up Comedy, You ever have people through stuff at you when your on stage, I had some guy through a chair at me( he was drunk of course) have you seen or been through violent heckles before. I was just curious BrIan what your take is.
My very first time on stage was an open mic challenge at a university, and I had this frat guy take a swing at me after the show… he thought his frat buddy (who opened with a badly-organized rohypnol joke with no punch line) should’ve won. But a chair definitely beats a fist!
For me, a label like “politically incorrect” just reinforces the legitimacy of something called “political correctness,” which is in theory a laughable attempt at social engineering by cloistered academics and in practice outright censorship.
I also hate the word “edgy.” The edge of what? When we subscribe to the idea of “edgy” we accept the existence of some boundary in the first place.
The only place this really matters is at the commerce end of comedy. Club owners want to be able to tell their customers that Comic X is dirty and Comic Y is clean, because people like what they like and want to know what they’re getting into before they plop their money down - fair enough. But from a writing/performing standpoint, when you start thinking about edges, you risk painting yourself into a corner.
Sorry about the dead frog.
Ok, looks like we’re all having a good time here but I think the real issue hasn’t really been addressed yet.
If you all listen to the latest Stand Up Orlando podcast you will learn that our host with the most only lasted about 12secs into 2girls1cup!!! B-mo, WTF??? Surely you’ve seen worse stuff than that on the road?
I watched the whole thing then stood up and saluted the flag. I love our society……
Thanks for the mention on the show Brian! Even though I feel good about how I have chosen to prioritize stand-up in regards to my personal life, there is always a bit of residual guilt, so it’s good to hear yourself and others in the same predicament who share a similar viewpoint…I feel validated!
As far as political correctness goes, I’ve always gone with taking what I find funny and sharing it with the audience, no matter the subject. Of course there are constant considerations to factor in: making fun of elderly midget retards probably wouldn’t go over well at the Senior Special Olympics for Little People (I really wish that event existed, I would pay whatever admission they asked for)
But adjusting your material for a particular audience is not the same as trying to please everyone without offending anyone, there’s just a subjectivity to people’s opinions on comedy that will always be different and evolving.
I find the funniest comics are the ones who are able to communicate their true off-stage persona on stage, and this includes whatever subjects that happen to make up their personality, no matter how taboo or “incorrect.”
Looking forward to the next show!
Worse stuff than a chick shitting in a cup and swapping said shit in her mouth on the road? I think you are grossly mistaken about life as a comic. Plus, it was 24 secs. I think Ryan edited it down.
To answer your question AMC, I’ve never had anyone seriously throw anything at me. A chick threw ice at me once, but I’m convinced it’s because she wanted me. I have been joined on stage by audience members twice, but both had peaceful resolutions. Thank god, because how do you top getting your ass kicked?
getting your ass kicked by a hot chick…..
hey guys i got a question
do you recommend that you write out your first routine and practice it or to just wing it
im thinking about stand-up as a hobby
(you can thank jay and brian for that little abomination)
I suggest winging it if you want to crash and burn in the fires of hell. Stand up is supposed to look spontaneous, but trust me, if you go up with nothing prepared, it will end badly.
Shortly after I started doing comedy I did an amateur contest. The first guy on stage was young, maybe 22, and was decked out in baggies, big sports jersey, tilted cap - the whole urban delinquent look. He’s very smiley, though, and has some energy and confidence.
“How’s everyone doin’!”
[cheers and applause]
“So I’m fist-fuckin’ this burn victim, right…”
[chirp, chirp]
He might as well have backed up a dump truck and dropped a load of ice on the stage.
I’ve seen a lot of new guys like the one above - who want to be the edgy comic but haven’t yet figured out how to get the audience to come along for the ride. I’ve made that error myself (though perhaps not as egregiously). That’s forgivable, of course - everyone starts somewhere. But if you listen to the comics who do politically incorrect comedy successfully, you can learn a lot. Check out Jim Norton’s CD, “Trinkets I Own Made From Gorilla Hands,” for example. How he arranges his hour, his level of self-deprecation, and the contexts in which he sets his wrongest bits allow him to get away with absolute murder. It’s a good lesson in the fact that there’s a lot more that goes into creating an act than just the jokes.
By way of contrast to burn-victim guy, there’s a regular at my home club open mike who’s in his late sixties, retired, neatly dressed in that old-guy way with his pants up a bit high. He’s a bit frail and takes the stage slowly.
“How is everyone doing?”
[light applause]
“I like biscuits and gravy.”
[chirp, chirp]
“It reminds me of oral sex.”
Howls of laughter every time.
I would agree, if you want to feel what failure feels like. Wing it. I like to bomb in away, because it tells me I’m not ready, and that I still suck . I want to be a very great comedian, I don’t want to work, I want to improve my work. That is why this show is good because it gives you insight to the world of comedy thanks.
AMC
Brian,
I’m a week behind listening to the podcasts, but what’s new.
Thanks for the mention of my class and the stand-up routine the students have to do for a final. I’ve taught that class twice now, and both times the final exam was a rip-roaring stand-up success. I’ve still not burned DVDs of the second trip, but when I do, I’ll send you another copy.
I have to say I think the knowledge gained from the class — specifically the scientific knowledge behind humor — has a hand in the success of the students in the first stand-up routines. Maybe I should come out to Vegas and start teaching high-priced workshops….
Grammar-Nazi,
What is the exact name of the book you use in your class? I don’t remember it being said on the podcast - where is your class - somewhere in SoCal? If there’s a scientific approach to humor, I’d like to know more.
Re: Day job - Pretty much a “must” in the real world. If you’re 15-21 and living w/parents, and they support your effort, then you owe it to them to go full bore to try to make it. If you’re 21+ and living at home, move now or shoot yourself. If you choose the former (please), you’ll need at least some job until the big comedy buck tsunami hits. Beyond having a job as part of being a self-sufficient adult (as if there is a better reason), a “day job” keeps you from being one-dimensional and boring. Normal people who sit in the audience have normal day jobs. To connect with them, you need to share their pain. If your day is getting up at the crack of noon and then consuming weed and Cheerios until show time, connecting with the audience on the basis of shared experiences is going to be tough - or at least rare.
The real trick, IMHO, is to get a day job that pays enough to bother with it, of course, but allows flexibility in hours and days, and permits/forces one to interact with different people on a conversational level all day (i.e. NOT being the “drive-thru” guy). I try out material on my co-workers every day by slipping it in to the conversation or commenting on the news, for example. None of them know I do comedy, and I don’t present it like it’s “material,” so the reactions are genuine.
Also, the more unique and f’d up the job is, the more bizarre the people are that you work with, the more material. It may be a shitty job, but at least your pain can be turned into other’s laughs.
BTW, I think it is crucial to separate one’s work life from one’s comedy life, and not let the co-workers - and, mainly, the boss - know that the job is a secondary priority. They’ll figure it out soon enough when you stagger in like some sleep-deprived zombie after getting home from the comedy show at 2. Strong coffee and something that doesn’t mandate “sit and stare” at a computer are key.
Russ
Good points Russ. I have always led a double life. Every day job I have ever applied for has never had a mention of comedy. Learned that the hard way when I moved to NY and no one would hire me because they felt I was only taking the job to get by, and would quit when my next gig came by (which was all true).
The math book I think you are looking for Russ is:
Paulos, John Allen. “Mathematics and Humor.” The University of Chicago Press, Chicago and London, 1980.
It’s very interesting.
I am a joke thief.
Not really, but I had one of those depressing moments today where I saw a clip of an established comic doing a bit very similar to one of my own - and the depressing thing is that his clip (OK, it’s Brian McKim) predates my even writing my joke by a year.
The premises are identical: I’m a tall guy and often a woman in a store will say, “You’re tall, can you get this off the shelf for me? I can’t reach it.”
McKim’s punch: “Yeah, sure.” And the next time I see here, I’ll say, “You’re short, can you get this off the bottom shelf for me?”
Mine: “Yeah, sure. You’re short, can you blow me? I can’t reach it. I’ve tried, believe me.”
So my question is, do I drop the bit, or is it different enough that I need not worry about it too much? McKim is a long-time comedy vet, so I’m the one who’ll look the thief to anyone who’s familiar with his stuff. And I’m not sure it’s worth arguing that I wrote mine before ever having seen his clip, which is true. Then again, I’m probably not the second or even third comic over 6′ tall to have had the experience and written a joke about it. Perhaps it’s even a bit hacky?
Anyway, thought I’d run this by you guys for opinions.