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Yeah it's not sustainable but I've got a kid on the way so there's a countdown going on.
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Aug 6, 2016 02:33
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Sataere posted:
Tell me more about this please
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Aug 6, 2016 02:55
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Mescal posted:Tell me more about this please A bunch of comics always end up moving to NYC it LA in the fall. Every few seasons, the migration is all of the top couple of tiers of talent. I still don't have a good feel for how anyone but the top ten local comics fall in rankings. Of that group, only one guy is moving. A lot of people who definitely are not ready will go too. They'll be back in six months. But when regulars on shows leave, there is a void on some shows. That means there is an opportunity to get more work. Remember though, I am a newbie and my knowledge of this stuff is peripheral at best. Honestly, I should probably make a point of being more involved socially, just so I can know what the gently caress is going on. 
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Aug 11, 2016 23:00
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So I've got an odd one: where, for people, is the line when it comes to breakup material? I've recently been on the recieving end of some soap opera melodrama (TL;DR she left me for my best friend), and I've literally never got better audience response. Also much of it is hilarious. The material I'm using isn't exactly blue or anything as that's not my style, but it includes revelations such as 'now I'm single and on OKCupid, I find her own profile she was using while we were together' which are true, but, well, I want to make sure I'm not coming across as vindictive as the material's more about how you rebuild after a disaster. Where do people here draw the line on ex-relationship material? I'm intending to use this set in a video I'm cutting as well, so it's not like people involved will never hear of it or anything. Obliterati fucked around with this message at 19:19 on Aug 24, 2016 |
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Aug 24, 2016 19:01
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Obliterati posted:So I've got an odd one: where, for people, is the line when it comes to breakup material? I've recently been on the recieving end of some soap opera melodrama (TL;DR she left me for my best friend), and I've literally never got better audience response. Also much of it is hilarious. Is she a fellow comedian? because if not gently caress it, just tell the jokes.
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Aug 24, 2016 19:04
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Bread Set Jettison posted:Is she a fellow comedian? because if not gently caress it, just tell the jokes. She's not, no - I just want to make sure I'm less airing dirty laundry and more doing jokes.
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Aug 24, 2016 19:18
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I'll be honest and say I do not want to hear about OK Cupid anymore. Or Tinder. Or Pokémon Go. Jesus Christ.
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Aug 24, 2016 19:36
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Bread Set Jettison posted:Is she a fellow comedian? because if not gently caress it, just tell the jokes. And, if she is a comedian, gently caress it, just tell the jokes. And I think there's a difference in telling a joke about a tired subject (OK Cupid, Tinder, etc) and telling a joke that involves said tired subject. Airplane jokes have been beaten to death, but I still hear good ones from time to time. Kyle Kinane's bit about the dude eating pancakes out of a bag on a plane is goddamn fantastic.
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Aug 24, 2016 19:50
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I really, really hate "I JUST got out of a relationship with a psychopath. Let me tell you how crazy and awful they were" material. Guess what I think you are if I find out what an rear end in a top hat your long-term partner (up until last week) is? Those jokes bother me so much I can't even use grammar properly. Two people in this scene did their first sets on what assholes their barely-begun-the-separation-24-hours-ago spouses were. After the second one showed up, they immediately started dating. gently caress it, they deserve each other. Most breakups are awful. Most people have had bad relationships. It's usually not "brave" to talk about it - it's merely unkind. Do your jokes. Get it off your chest - it's great you're getting laughs. Expect those jokes to die at the open mics. (PS Google "open mic bingo" and you'll see way-too-soon divorce jokes featured prominently.) Mortley fucked around with this message at 22:49 on Aug 24, 2016 |
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Aug 24, 2016 22:44
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Mortley posted:I really, really hate "I JUST got out of a relationship with a psychopath. Let me tell you how crazy and awful they were" material. Guess what I think you are if I find out what an rear end in a top hat your long-term partner (up until last week) is? Those jokes bother me so much I can't even use grammar properly. You might be tired of break up material, but in the words of Chris Rock, if you want to sell out stadiums, you talk about relationships. Break ups are part of that. It is the best material because it is the easiest for people to relate to. That being said, how you approach the subject matters. XIII nailed it. If you don't like that kyle kinane pancake bit or the not quite as funny but still great Spaniards fooling around on the plane, you are fundementally broken and don't understand comedy. The truth is that if you are serious about comedy, nothing in your life can be off limits. If she has a problem with your set, point her towards a microphone and tell her she can tell her version anytime she wants. (Because that poo poo works both ways ) Edit: and if you get that on tape, post it here because the little you told sounds intriguing and now I want to know the story. Sataere fucked around with this message at 01:58 on Sep 8, 2016 |
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Aug 25, 2016 02:11
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Obliterati posted:So I've got an odd one: where, for people, is the line when it comes to breakup material? I've recently been on the recieving end of some soap opera melodrama (TL;DR she left me for my best friend), and I've literally never got better audience response. Also much of it is hilarious. Try throwing yourself under the bus. You can say anything you want about her if you make yourself look even worse. Make the first line about the time you crashed her car into her aviary or whatever it is you did wrong.
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Aug 25, 2016 02:54
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HEY NONG MAN posted:I'll be honest and say I do not want to hear about OK Cupid anymore. Or Tinder. Or Pokémon Go. They all suck it is known
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Aug 29, 2016 16:36
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Sataere posted:Edit: and if you get that on tape, post it here because the little you told sounds intriguing and now I want to know the story. Sure, why not! https://www.youtube.com/watch?v=7-Sy7daiUqI Couple of things I already know:
e: am poo poo at phone posting, link fixed Obliterati fucked around with this message at 00:48 on Sep 9, 2016 |
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Sep 8, 2016 14:45
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A few thoughts 1) You are very Scottish. I love it. You are very personable. You didn't really need to explain the geography of where you were in your post. It came through on the video, which is good. 2) I love the Norse graffiti joke and the Jane Austin hunger games joke. Very strong, smart jokes. 3) I was disappointed in the relationship stuff, because you have a story about your girlfriend leaving you for your beat friend and we never hear about it. How did they hook up? How did you find out about it? The real humor is in the details. How you feel about all of this as it is happening is huge. How long have you been doing this? EDIT: To be clear, I enjoyed your set. You are engaging. I just think you are only scratching the surface of that story. Sataere fucked around with this message at 02:18 on Sep 9, 2016 |
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Sep 9, 2016 02:16
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Just wrapped up a role in a play (which was successful and a lot of fun) so I haven't had a lot of nights free to go do stand-up. Luckily there's a new comedy club in town that's inside a touristy shopping center and they've been letting my buddy run lunch-time shows. The audiences consist of whoever we can bark in there while they're just kind of touristing around. I'd say median age of about 45. We try to do two shows, with one at the top of each hour. Sometimes there is nobody around so we just don't do a certain hour. But a few of us do short, punchy sets to entirely new (but small... ranging from 2 to 15 people) audiences every time. Really good workout, and we've been fortunate in that even when it's only been two people, they've enjoyed the show. Been kind of a stand-up lifesaver with my nights tied up honestly.
Shovelbearer fucked around with this message at 19:09 on Sep 25, 2016 |
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Sep 24, 2016 17:35
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That sounds awesome. Great way to rapid fire hone sets
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Sep 24, 2016 20:47
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I'm in preliminary talks with a bar to host something comedy related.The room is quite small, the bar is fairly upscale. How much money roughly should I be asking him for to do -A free show on a fri/sat, three comics + me (gear brought by me cause they don't have any) -A Sunday weekly or maybe monthly variety mic (the town's too small to support comedy-only mic I think) Even very rough numbers would help a lot!
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Sep 28, 2016 01:51
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You should pay your headliner and features and be able to cover your promotional budget. $250 isn't unreasonable if you're pulling people in.
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Sep 28, 2016 02:02
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Trying to work up the nerve to actually go to an open mic, but all the ones I'm finding near me are more general open mics rather than comedy shows specifically. What are peoples' experiences with doing comedy at an open mic where the majority if not all of the other performers are musical acts? Seems like it would be hard not to feel like an rear end in a top hat if everyone is singing songs and then I go up and start telling jokes in the middle of it.
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Sep 28, 2016 21:21
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Mescal posted:I'm in preliminary talks with a bar to host something comedy related.The room is quite small, the bar is fairly upscale. How much money roughly should I be asking him for to do When you say the town is too small to support a straight up comedy mic, are you talking suburbs or rural area? If you don't mind sharing, what is the area and how close to the nearest major town? HEY NONG MAN posted:You should pay your headliner and features and be able to cover your promotional budget. $250 isn't unreasonable if you're pulling people in. 100% correct. If he won't put up the money to pay performers, don't even bother. In regards to promoting, it is also important that he does his part to promote the show. I have seen plenty of comedy shows where the establishment wouldn't even advertise an event on their website. It is hard to give an estimate without knowing how far people will have to travel to perform. Plenty of guys would be fine taking less just for the stage time, but you shouldn't be OK with that. I only have a vague idea based on what my producer friends tell me. I'm in the process of scouting out done venues over here myself. NoEyedSquareGuy posted:Trying to work up the nerve to actually go to an open mic, but all the ones I'm finding near me are more general open mics rather than comedy shows specifically. What are peoples' experiences with doing comedy at an open mic where the majority if not all of the other performers are musical acts? Seems like it would be hard not to feel like an rear end in a top hat if everyone is singing songs and then I go up and start telling jokes in the middle of it. I have never done a mixed mic, but I have been told if you are gonna do one, do it before the first couple performers. Audiences are cooler about that if they haven't settled into music mode. Or so I hear.
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Sep 28, 2016 21:49
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I wouldn't do a mixed mic as my first go but I have done them in the past. The trick is to own it and move past the fact that no one else is doing jokes but you. I wouldn't even address it. And to re-iterate my earlier post: if you book a show that is anything more than an open mic and you don't get money from the venue, you're doing harm to your scene.
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Sep 28, 2016 22:33
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I prefer mixed mics now and I would still recommend to start out at pure comedy ones, if possible. If you have a burning desire to do standup, and some kind of other performance experience, then I might recommend starting out on mixed mics. I don't know about not acknowledging that you're the only one telling jokes or going early - I feel like I've broken both of those rules and done fine. Frankly, what seems to make the difference is the host (likely a musician) liking you, which mostly means staying clean and not making fun of paying customers of the bar. Mortley fucked around with this message at 23:42 on Sep 28, 2016 |
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Sep 28, 2016 23:40
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NoEyedSquareGuy posted:Seems like it would be hard not to feel like an rear end in a top hat if everyone is singing songs and then I go up and start telling jokes in the middle of it. Sounds like you just worked out what your opening bit is going to be.
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Sep 29, 2016 20:09
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So after an unintended 5 year retirement from all things comedy, Im back at it again. I sort of remember how to write jokes ok, but man shaking off the cobwebs of being on stage is really awful. I know I just gotta pay some dues for a bit and get the muscle memory back but any advice for getting back into the swing of things? Im currently just hittin 1 to 3 open mics a week, with some improv interspersed in the middle (which is MUCH easier to pick back up). My plan is to get a brand new tight~ish 5 again and then go back to my old home club. I dont want to lean on any jokes I wrote 5 years ago because I was a completely different person with basically no real life experience to draw from.
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Oct 25, 2016 16:48
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In it for a year, learned a lot, and at the point where I need to get out of the scene and get my own room. Hopefully grow some new comedians by providing a venue in a place that doesn't have it. Struck a deal with a bar in a nearby town to do a showcase, they've never had comedy before, I've never organized/promoted poo poo before. Learning experience. If the first show goes well, which I believe it will because I got great comics and the crowd will be full/good unless there's a storm or something, then we'll do more shows and talk about having a variety mic on the regular. The money is not bad--enough to book people and print fliers--and the manager says he'll make it worth my while if the first one goes well. Wish me luck! And give me tips if you've got em!
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Oct 26, 2016 02:10
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How much of an insular circle jerk are your respective scenes? Mine is occupied by an "in-crowd" of people who literally do open mics with their same unvarying 5 minutes they've been doing for 5 years in some cases. Showcases are typically these folks and the unfunny people they are loving currently. It's quite frustrating to get better laughs while doing varied material (at least one new component to every set, if not mostly new stuff). Is doing new stuff seen as unstable? I have demonstrated a handful of five minute sets to these folks I can always fall back on. After a year I've got an opening 10 minute slot on a show, but it's a little frustrating watching people who get repeatedly no response from audiences get invited as filler for competitions and showcases because they play ball. Is rear end kissing just part of this I've got to suck it up and do? I socialize with comedians, I hang with a select crowd that aren't intolerable, I'm just not out there giving accolades for the same sets I've seen a 100 times at this point.
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Oct 26, 2016 02:57
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Are you in Seattle? Because that sounds like Seattle.
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Oct 26, 2016 03:17
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Mescal posted:In it for a year, learned a lot, and at the point where I need to get out of the scene and get my own room. Hopefully grow some new comedians by providing a venue in a place that doesn't have it. Struck a deal with a bar in a nearby town to do a showcase, they've never had comedy before, I've never organized/promoted poo poo before. Learning experience. If the first show goes well, which I believe it will because I got great comics and the crowd will be full/good unless there's a storm or something, then we'll do more shows and talk about having a variety mic on the regular. The money is not bad--enough to book people and print fliers--and the manager says he'll make it worth my while if the first one goes well. Wish me luck! And give me tips if you've got em! I have been lazy about scouting out a room in the suburbs, but this is a good step. No point until after the world series anyway. It sounds like you are doing it right too. The biggest thing I have noticed is don't let your show go over 90 minutes. That seems to be the comedy fatigue threshold. What is your show format going to be? Also, how are you going to approach setting your lineup? revolther posted:Very true All comedy scenes are an echo chamber of how great everyone is. It comes with the territory. But I think it is important to note that being funny isn't always going to be enough, especially when you are new to the scene. (And a year is new. I am approaching two years and am only just starting to get noticed.) Being likeable is important. People won't book you if they don't want to work with you. (Not saying that you aren't likeable, but it does sound like you don't try to get to know other comics.) You don't have to be a kiss rear end to be positive. I try to be positive in all my feedback, but I am always honest. Also, watching shows you aren't on just to support your scene goes a long way. If you just go out and do your own thing, but ignore everyone else, why should they pay attention to you. In any job, networking is important. The only difference with comedy is that networking usually involves shots. And you don't have to do any of that. But it is something that will make your life easier. As long as you continue to fine tune your jokes and consistently do well, opportunities will come. There are just other things you can do to make that process easier. Note: While I am friendly with my entire scene, I am a comedy nomad who doesn't like going to the same rooms regularly, so I actually have very few friends in comedy. Hence the struggles to get noticed. To me, this is a short term negative and a long term positive. Because I don't stay in one area, it is harder for me to get noticed, while a lesser comic from that area will have more opportunities to get shows just by being around. Because of that, I have to work harder to get those laughs. But when I have a five finished, it is usually very strong and almost provides spots in bunches. Or just ask some producers what they are looking for and what you need to do to get on their radar. Take their feedback graciously. You don't have to follow their advice, but it could give you window into what you need to work on. And if you are just a year in, you definitely have things you need to work on. We all do. I am told four to five years in is the sweet spot for really settling into comedy and I only just started to believe that. (Sorry, I am long winded as gently caress)
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Oct 29, 2016 04:39
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about comedy scenes.
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Sataere posted:I have been lazy about scouting out a room in the suburbs, but this is a good step. No point until after the world series anyway. It sounds like you are doing it right too. The biggest thing I have noticed is don't let your show go over 90 minutes. That seems to be the comedy fatigue threshold. What is your show format going to be? Also, how are you going to approach setting your lineup? Fatigue didn't occur to me, but I don't see myself letting comedy go much longer than an hour. I see no time limits hurting so often. Last night went to a no time limit mic and it was goddamn painful for all involved, especially me. I'm excited to host, it really feels like my role, because as comic my material is inconsistent and fluctuates way too much with my mood, but I'm stronger at being in the moment and addressing the audience's emotional reactions etc. The format? I don't know how formats work. I'll have the best comic go first--that is, the new kid dynamo of the night--for maybe ten. Then the slightly less accessible but interesting comic for fifteen. Then a surprise guest, who might feature in the next one, pop in for six--a teaser. Then the headliner. The seasoned person who's not gonna blow your mind but can do 25 easy and keep going if they're feeling it. If the headliner and their buddy are from out of town I'll have them bookend it with locals in the middle. I don't know exactly what you mean by format and setting my lineup but hope that answers.
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Oct 29, 2016 08:23
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I mean are you going showcase style or open / feature / headliner. (It sounds like you are doing the second.) When I talk about the approach to setting up your lineup, I mean how much thought have you given to their style of comedy. If you roll out four middle aged, white males who do observational comedy, it is going to get very boring for your audience. You want a variety of different styles and different points of view. And maybe I am misreading it, but why are you booking a headliner you don't find funny? If you think your opener is funnier than your headliner, he should probably be headlining. If you aren't trying to book headliners who just murder on a regular basis, that is not a good forecast for your show. You don't want your audience walking out sorta pleased with the evening. You want them walking out blown away by how good the comics were. Don't settle for anything less if you want this show to have long term success.
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Oct 31, 2016 06:11
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are there good podcasts on the theory of comedy? Or rapid fire joke showcases? Features that go into why things work and how they should be done to get good?
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Nov 1, 2016 02:52
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Odddzy posted:are there good podcasts on the theory of comedy? Or rapid fire joke showcases? Features that go into why things work and how they should be done to get good? I honestly don't know. I think the problem with a theory of comedy podcast is that every comedy journey is a pretty personal experience. There are so many ways to tell a joke, but most if those approaches wouldn't work from me. I tend to watch more comedy than listen to comics talk comedy, so I am the wrong person to be answering.
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Nov 1, 2016 04:23
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Sataere posted:I mean are you going showcase style or open / feature / headliner. (It sounds like you are doing the second.) Thanks. You've given me some stuff to think about. I do find my headliner very funny, but he's a bit more of an audience pleaser than a comedian pleaser. That's all. I know he's reliable to keep him laughing for any amount of time. I like the opener and feature best but they're only a year in and I don't know that they can kill longer than ten or fifteen minutes. I'd categorize all of them as joke tellers if that makes sense. The first is a young man with emotions. The second is a young woman with a dash of the political. The headliner is a middle aged man with a combo of anecdotes and pure punchliney stuff. They all have likability to the extreme. None of them terribly challenging or gonna alienate everybody. I thought that was a good way to go for first show at a new venue.
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Nov 3, 2016 02:43
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Mescal posted:Thanks. You've given me some stuff to think about. I do find my headliner very funny, but he's a bit more of an audience pleaser than a comedian pleaser. That's all. I know he's reliable to keep him laughing for any amount of time. I like the opener and feature best but they're only a year in and I don't know that they can kill longer than ten or fifteen minutes. I'd categorize all of them as joke tellers if that makes sense. The first is a young man with emotions. The second is a young woman with a dash of the political. The headliner is a middle aged man with a combo of anecdotes and pure punchliney stuff. They all have likability to the extreme. None of them terribly challenging or gonna alienate everybody. I thought that was a good way to go for first show at a new venue. Audience pleaser is more important than comedian pleaser anyway. Comics are all self-important assholes and you can't run a show counting on them to be your audience. If you find him funny and audiences find him funny, that is all that matters. Also, I love your descriptions of the comics because I still only have a vague idea of their styles. Do the other comics not have emotions? If seems like you put a lot of thought into the lineup. I just thought of a bunch more questions. Who is hosting? Is there going to be a cover? What is the set up of the room? Is there a stage? Is there a sound board? Do you have anyone else working with you on this?
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Nov 3, 2016 18:55
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Sataere posted:Audience pleaser is more important than comedian pleaser anyway. Comics are all self-important assholes and you can't run a show counting on them to be your audience. If you find him funny and audiences find him funny, that is all that matters. I'm hosting. I love hosting. It's the only place I feel totally comfortable in comedy because I'm in charge and I don't have to be competitive with... not the other comedians I guess, but the host. And the audience--when I'm hosting, the audience are my friends! No cover. It's an L-shaped room (I know, but it's a GOOD L-shaped room) and I'll set up in the like darts area at the end. NOT in the corner of the L. So you can see the show through the windows walking by. We'll be separated not physically but just in layout from the bar. I absolutely do not want to perform in the front area with the bar. I don't want to intrude on the people who want to drink at the bar and are not there for comedy. There are two dive bar mics in town and one's a shitshow because it's one room. The other one goes great because the front room is separate and you have to CHOOSE to be in the comedy room. There's no stage. No soundboard there... I'm bringing gear. I've got a great amp and a few mixers etc from my rap days. There'll be a musician or two in the room and I'll ask them to set my levels. The manager will be happy cause I'll draw. The audience will be happy because the comics are great. The comedians will be happy because they're not used to making money. "Holy poo poo, he just handed me $50 for 12 minutes." They'll spread the word about the money so comedians will want to do my show. I'll be happy because hey I've got my own show and I can do it the way I like away from all the petty poo poo in the scene. The comedy club is like the worst day of summer camp, every week. I've got a promo person working with me. Posters, promo--can't handle it.
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Nov 5, 2016 19:50
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Mescal posted:I'm hosting. I love hosting. It's the only place I feel totally comfortable in comedy because I'm in charge and I don't have to be competitive with... not the other comedians I guess, but the host. And the audience--when I'm hosting, the audience are my friends! Cool. Last couple of things I will suggest. First, when people show up for the comedy show, make sure you or somebody else is seating them. Make sure to fill the seats from closest to the stage and work your way back. Don't give them a choice, or people will hang back because they don't want comics talking to them. I am nor sure how familiar you are with hosting, but you seem to have a good idea. I enjoy hosting also, but I find it exhausting. Because my set is secondary to establishing a baseline for the audience. Ask the comics how they want to be introduced. If they have anything they want said. Be careful about playfully mocking a comic you are pals with. The audience doesn't know that you are friends and it can change the mood drastically. Please, for the love of God, don't do five minutes between comics. Only do jokes if the comic before bombed and you need to being the energy up. Finally, after the show, try to get email addresses to advertise future shows. Let them know they will only get one email the week of any show, letting them know about it. (Make sure you don't harass them with constant advertising, if you want them coming back.) Sorry for being so long winded. Honestly getting ready start setting up my first room and I used this as an exercise to figure out what I need to do also. Let me know how it goes! Best of luck!
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Nov 5, 2016 20:17
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Sataere posted:Sorry for being so long winded. Honestly getting ready start setting up my first room and I used this as an exercise to figure out what I need to do also. No, be long-winded! You're giving me some tips I hadn't thought of. Appreciate it. On my way to the venue now with fliers!
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Nov 5, 2016 20:24
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These are the best posts this thread has seen in pages. Hell yeah.
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Nov 5, 2016 20:49
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Just bear in mind that I am only a shameless consumer / audience member / garbage person when reading my posts. I have not been able to get out as much recently, but I have noticed that comedy is so much more fun now that I am not over thinking it while performing. I was talking with a road comic last week and he said year four is where it gets really fun and your material is almost secondary and I believe it, because I am having those flashes of just turning with a room and having fun. I got a recording a few weeks back at a nice little showcase that I have not watched, because I already hate the performance. I forwarded it to people I trust and was told it was good, but all I can think about are the missed moments. Interesting side note for that show is they had a new person running their light in the booth and his idea of lighting us was to flash the light for two seconds. I was supposed to do eight and only stopped at twelve when I realized something was going wrong. Everyone went long. 
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Nov 5, 2016 23:06
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I went to my old bandmates concert. Reminded me of what it felt like to go to open mics, felt good
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Nov 7, 2016 18:19
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