My Final Trip to the Derek Jeter Shopping Mall

Last night I went to what I assume will be my final Yankee game of this season (proud to say I have not yet paid for tickets in the new shopping mall known as Yankee Statdium) and witnessed a boring 4-3 loss to the Tampa Rays. On the plus side the weather was nice and it was definitely great to hang out with my extremely busy brother for a night.  Now I must preface the rest of the post that if you love the Yankees and/or Derek Jeter you will dismiss this as more “hating” by me or something close to verbal half-black on half-black crime, but what Yankee Stadium has become, and more specifically the Derek Jeter farewell industry, is disgusting.  I think the Yankees, Jeter and sports memorabilia pimp Brandon Steiner have turned a storied franchise into a shameless cash engine.

Anyone who has been to the new Yankee Stadium has to have noticed the exponential explosion of gift shops and space allocated to gift shops.  After the fifth inning I accompanied my brother to the gift shop for him to look for a trinket for his kids.  I gladly joined him because baseball is extremely boring. What was shocking was that the store was jam packed.  In the middle of a game the store was jam packed like a Black Friday sale was going on. That is when I realized that the new Yankee Stadium feels more like the Mall of America – a bunch of places to spend money, but instead of an amusement park in the center, an overpriced baseball team performs with accomplished mediocrity.  Contrast this with the open and beautiful feel of Citi Field where the game is always visible as you walk around the stadium and feels like the most important thing going on, which is sad since the Mets suck so bad, but at least the stadium’s heart is in the right place.

At the center of the store, and by center I mean 60% of the store were dozens of shirts, hats, trinkets, used condoms and pubic hairs commemmorating Derek Jeter’s final season.  And then in the next store area a few sections over was the Brandon Steiner store with all sorts of manufactured memorabilia commemmorating Jeter’s career.  And all I could think was how shameless and hypocritical this whole charade was.  For a sport that keeps claiming to be based on nostalgia and creating memories and respect for tradition and history it seems that now this stadium only serves to force feed you manufactured memories and memorabilia, which of course negates the organic development of real history and nostalgia.

People will always praise Jeter as one of the guys who plays the game the right way.  However he was either a little jealous of all the fan fare Mariano Rivera got last year, or he saw dollar signs in his eyes like a cartoon villain, so he announced his retirement at the beginning of his final season.  Plus there had to have been a Yankee-Steiner-Jeter agreement to cash in on the tens of millions of additional dollars of merchadise “commemmorating” the occasion.  I always liked the way John Stockton, a first ballot NBA Hall of Famer, retired. He played his final season. Then he talked to his family and team management and announced his retirement.  No whoring. No self-serving farewell tour. No millions of dollars in merchandising.  And of course it is savvy business decision for Jeter (for a man with hundreds of millions of dollars already), but for a guy always hailed as a great ambassador of the game, it comes off as a shameless money grab.

Then there is the aforementioned explosion of intentionally generated memorabilia.  The whole point was that items gained prestige over time from their unforeseen value and/or personal attachment.  Now thanks to our culture and pimps like Brandon Steiner everything can become memorabilia.  Time and experience should determine the value and meaning of game items.  Someone might frame their ticket the last time they saw Mickey Mantle or Ted Williams, but now we have the Stadium and Steiner telling us that the 19 limited edition t-shirts, signed game jerseys that were never worn and 3 hat set with certificate of authenticity (yes this was offered on the big screen last night) are what we really need.  People often said of comedy that you will love it less when it becomes a business to you and that is sort of true to a certain extent.  Well, memorabilia loses most of its cache when you are instructing me what I need to experience sentimental feelings about an experience, instead of letting nostalgia occur naturally.

The there is Jeter the sports business icon.  Like his idol and business partner Michael Jordan, Jeter has always struck me as cold.  Jordan once famously said that “Republicans buy sneakers too” when he declined to endorse a candidate in North Carolina versus the bigoted Senator Jesse Helms.  Jordan operated with two things in mind – winning and Jordan, Inc. But he was so gifted and successful that we all applauded his accomplishments and never expected him to be a decent human being, as long as he was not a criminal.  I feel like the partnership of Jeter as Jordan brand’s #1 athlete endorsement is a perfect fit.  Jeter has never uttered a charismatic word in his life, he is aloof and is not afraid to whore his image of “playing the game the right way guy” into tens of millions of dollars of shameless merchandising.  But he won and that makes everything great, as long as you are not a criminal.  So congrats to the Yankees and Jeter for turning a hallowed space of baseball into a cheap shopping mall.  I just hope when Jeter gives his hook ups memorabilia bags that he doesn’t charge them since they are “Farewell to the Captain” gift bags.  That concludes this week hate session.

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on iTunes and/or STITCHER. New Every Tuesday so subscribe for free!

Salad Guys: The Celibate Bartenders of NYC

Bartenders have been doing well for themselves for decades.  You don’t have to look like Tom Cruise or flip bottles like he did in Cocktail to collect numbers, though depending on the establishment they usually stack the deck in favor of the bartender.  You hire good looking bartenders and women arrive, get intoxicated and look to bang the bartender.  It’s like a legal way of banging your Saturday night therapist. If you build it, they will cum. You get the vulgar point I am making. Whether it is the classy dude at the swank location, or the bro wearing sweatbands talking about how cross fit has changed his life, bartendinng is like being a firefighter in the vagina obtaining game, except unlike firefighters, bartenders put their clients in more danger, instead of saving them from it.  You may be asking, why is J-L talking about bartenders? Shouldn’t he exposing and overinflating an injustice in the comedy business?  Well, as my comedy career possibly winds down it is time for me to be exploring bigger injustices in the world, not just in the navel gazing comedy community.  And there is an injustice going on of epic proportions to the salad making community in NYC.  They are the bartenders of daylight, but getting none of the vaginal benefits of bartending. And this needs to change.

Every day for the last few months I have been going to Chop’t, a very popular salad chain (co-founded by a class of ’93 alumnus of my high school – just another way for me to feel unaccomplished on a daily basis while eating lunch) in NYC.  I have dropped a good amount of weight and have been very impressed with the workers at my local Chop’t.  They work with sharp blades and never get injured, they work at breakneck speed and they have to remember more salads than a Starbucks barista has to memorize coffee drinks.  But I have yet to see a phone number handed over by one of these demanding “tofu, hearts of palm, avocado, kale salad” ordering chicks (or guys – no judgment).  So let’s break it down.

Health

In this day and age of obsessively healthy eating who is doing your more good?  The guy who makes you a $10 salad full of nutrients or the guy who “makes” you a $7 fireball shot?

Equality and Efficiency

At a crowded bar you can wait 5-10 minutes for a drink… and that is if you are a hot 24 year old chick.  Well at Chop’t it doesn’t matter if you have tits spilling out of your work inappropriate  outfit or if you are a grandmother with varicose veined cankles, the staff at Chop’t will deliver your product fast.  And there is no room for error.  At lunchtime during the work week people treat their break as sacred and will snap if things don’t move quickly enough. At a bar on the weekend, take your time Broseph – give me a watered down drink for too much whenever is conveninet for YOU!

 

 

Meat Market

At my Chop’t the ratio of male to female salad makers is about 11:1. And they are all Latin, a people generally known for their passionate love making.  So let me get this straight – you would rather go for the bro riddled with HPV who has his pick of the litter every weekend or Miguel, the guy working his ass off, starved for vagina because he is surrounded by dick all day, just looking for a woman to have his 8 babies?  For every woman that walks into a Chop’t saying they can’t find a man or are running our of time to have kids, Angel should cut off one of their fingers with the blade they cut salads with. (On a side note – having a woman chop your salad is fine – but try to avoid them picking the ingredients for you – they have small hands and cannot scoop as much chicken in your chicken salad as a dude. In fact, Chop’t should hire a 6’8″ inner city black teen basketball player as an intern and his job is simply to scoop chicken with his Kawhi Leonard hands – Chop’t gets associated with a potential NBA player while doing good for the community and I get 3 lbs of chicken in my salad. Everybody wins).

Latinos Are The Future

I have met very few Latino batenders in NYC.  However, Chop’t looks like a South American soccer team.  When Chad or Brint from the nighclub “Blessed” (doesn’t exist yet) turns 50 (if you make a go of it) and the magic is gone what are you left with?  A bunch of dumb kids that are good looking enough to pull some high school tail and then be underachieving, aspiring actors until you die.  You hook up with Carlos from Chop’t? You have a kid that speaks the language of the future (Spanglish) and looks like the future.

So basically it boils down to this: if you like a hardworking person who makes your life better, has the skills of a bartender and the hardware and tattoos of Machete, do the right thing and throw a bang in the direction of your local salad chopper. Either that or you are a dumb racist.

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on iTunes and/or STITCHER. New Every Tuesday so subscribe for free!

The Case for Lebron James

I felt like last night’s blow out win by the Spurs over the Heat probably made many people feel the way I felt when Joffrey died on Game of Thrones. Sure it was good that his character ended, but you wanted a more satisfying and violent revenge, perhaps at the hands of one of the Stark children.  Perhaps that is what would have been better for Lebron haters.  Perhaps seeing him blow out both knees while being dunked on by Kawhi Leonard as his family was executed by a Dan Gilbert led death squad, like the Czar and his family during the Russian Revolution, would have been more satisfying end to the bizarre fixation that the country has with Lebron.   All of this is supposedly based on The Decision (which you all watched – you only seemed to turn righteous and pious once he didn’t choose your team, esecially you NY Knick fans) and the pep rally the Big Three had.  Really? So he lost in the Finals to the Mavericks, giving you the schadenfreude you needed, but then wins back to back titles against a young upstart (Thunder) and a great, respected veteran team (Spurs) and still all that pent up envy and resentment came spilling out after the “cramp game” four years later?  And now the world of ill informed, semi-literate sports fans whose hoops expertise often extends no further than NBA2K games  can finally declare Lebron as a much lesser player than everyone who has ever won a title.  His stats put him slightly ahead of Larry Bird (in 2 fewer seasons AND a career that started right out of high school, though Bird’s final few seasons were back-injury hampered so maybe that cancels out Lebron’s youth), his championships put him with Wilt Chamberlain and Isaiah Thomas’s careers and his overall career trajectory in terms of overall stats has no real equal at this age. So here are a few points I would like to make in defense of Lebron (it was nice having last year off, though I did love writing this right BEFORE his epic Game 6 against the Celtics in 2012):

Stop Calling Wade and Bosh Superstars

I know it is convenient to cite Bosh and Wade as superstars that Lebron ran to to get his titles, but that is not Raptor Chris Bosh and that is not 2006 Dwyane Wade playing out there.  If Lebron signed with a team that had Bill Russell and Michael Jordan on its roster would you say “Lebron’s a pussy who signed with 2 of the 5 greatest players of all time to win titles” or would you say “those old dudes ain’t doing shit for Lebron.”  Wade has allowed Lebron to carry a heavy load the last two years for him during the regular season in the name of him being healthy come playoff time.  The result has been a horrible playoffs last year leading into the Finals where Wade was admittedly solid and this year’s finals where Wade was horrific.

As for Bosh – he is a jump shooting small forward in a power forward’s body.  He was outplayed by anyone the Spurs put down low.  Legitimately Boris Diaw appeared to be a better player than Chris Bosh. Now are you willing to call Boris Diaw a “superstar?”  I didn’t think so.  That label has not applied to Wade or Bosh for a few years, but it sticks, because it is simply a tool to diminish Lebron’s standing as the great player of his day.

The Spurs Are a Great Team with a Great Coach – Better Than Any Team Michael Jordan Beat for A Title

Lost in this really has been the greatness of the Spurs.  Tim Duncan now has 5 titles.  He has won 4 with Tony Parker and Manu Ginobli, making them the only trio to win four titles since Magic Johnson, Michael Cooper and (I think) James Worthy.   But instead of viewing the Heat’s loss to them as a great achievement by the Spurs, it if offered as proof that “Lebron is not as good as Michael Jordan.” Two points here – one – if the first insult constantly hurled at a player, whose game and body have no resemblance to Michael Jordan, is to say “he is no Michael Jordan,” then you are obviously constantly comparing him to Michael Jordan and doing it for a reason.  Like if the UN is debating if genocide is occurring, my instinct is to say “if you are thinking about it, let’s just assume for safety sake that it is genocide.”  Similarly, if you are obsessing over a comparison between MJ and Lebron then just admit that his talent and unique brilliance is there and the comparison is worth talking about halfway through his career.

The second point is that  I do not think Michael Jordan ever beat a team as good as the Popovich Spurs.  Not to say he would not have. He had a better cast and a better coach than Lebron, as well as greatness that earns him the benefit of the doubt.  But no team MJ ever beat was as good as the Spurs.  The closest two teams I can think of are the Utah Jazz and the NY Knicks.  The Jazz were a system based team led by Hall of Famers that produced good play out of mediocre supporting cast members (an upper-middle class Spurs).  But they were never as good as the Spurs. Clearly.  The Knicks on the other hand played the Bulls tough with a rough style from a great coach, Pat Riley. But they never had more than 2 stars and Ewing was a low level superstar if you want to elevate him above simple “star” status.   So if you are going to say that losing in the Finals, as Lebron has done three times (to be fair he lost in the finals twice at an age younger than Michael Jordan’s 1st Finals appearance – don’t penalize him for being too good, too young), is clear and convincing evidence of Jordan’s superiority (as I have seen many people write) then be honest and realize that these Spurs much more resemble the Rockets that Jordan never played.  Except these Spurs are better than those Rockets as well.

Shaq, Rodman & Pippen

If you want to compare Kobe, MJ and Lebron on pure title numbers then let me ask you this – who would you pick 1st, 2nd and 3rd of these supporting stars:

1998-2004 Shaq and a loaf of bread

1995-1998 Scottie Pippen and Dennis Rodman

2012-2014 Chris Bosh and Dwyane Wade

Lebron won 60+ games twice with Cleveland and made the NBA Finals with Anderson Verejao and Mo Williams as his two best mates (and the now fully exposed Mike Brown as coach – Lebron should also have Brown’s coach of the year award).  Kobe won his first 3 titles with the most dominant physical force in the NBA since Wilt Chamberlain.  Do you honestly think Lebron could not have won multiple titles in his first 7 years as a pro if he was playing with the Black Mountain (Game of Thrones reference and my preferred moniker for Shaq in his prime)? Do you think playing with Scottie Pippen and Dennis Rodman in mid 90s form – a glue-like defender and multi-skilled offensive player and a tenacious rebounder (someting sorely lacking from the Heat) would not have been better than a phsically and mentally defeated Wade and a jump shooting Euro big man in a dinosaur’s body named Bosh?  If your answer to the above question is Bosh and Wade then as Adam Carolla says “you’re either stupid or a liar.”

You don’t hate Lebron; you might just dislike yourself (plus he became “uppity”)

This year alone Lebron spoke out in the Trayvon Martin case and took an early stance against Donald Sterling.  This may seem meaningless (though he put more than a hashtag on the line when he did so), but it was a lot more than Kobe or MJ did with their clout at leading stars of the NBA.  Since The Decision Lebron has been a great ambassador of the game, a model citizen (at least in the ways we as fans could know) and a spectacular player on the court.  So why do we hate him?  Because we can never be him. And for a split second with The Decision, he let us all know that to our faces.  He changed jobs and it was ESPN’s highest rated program of the year. We change jobs – not even our Facebook friends really give a shit.  He is a physical marvel, a savvy business man and appears to have a happy family life.  In other words – he has it all nd he did not have to be in a Dove Soap natural beauty commercial to prove it.  But unlike Tim Duncan, Lebron made us feel a bit of shame and envy. What man wouldn’t want to go to warm climate, play ball with his friends and be a sports icon?

The rich irony I have observed over the last few years watching playoff games in bars surrounded by guys who work in finance calling Lebron James a “scumbag” or an “arrogant douche” would make me laugh if it was not so insidious.  Money manipulation and moving from their cities to bigger, cooler cities like NYC are both apparently noble pursuits, but when Lebron does it, he’s a villain.  As I have said before I felt bad for Cleveland when Lebron left. I like the city and I, like many sports fans can romanticize the homegrown talent connection to sports teams.  But what happened with Lebron was worse, and yes there is a racial component to this.  He was the good boy who stayed home, helped the town, knew his role was allowed to flourish and have praised heaped on him as long as he stayed that nice humble boy from the town.  But when he wanted to go the big city he got a little too “uppity.” I would have not made these references before, but the jealousy and rage of Lebron have lingered too long to be based on any rational reason.  NBA fans, including the rage filled white fans (according to a recent poll Lebron lost popularity among black and white fans, but has since become more popular with black fans, but is still not even at pre-The Decision levels of popularity with white fans), basically had the burden of being fans’ favorite house servant – giving us amazing feats of enjoyment with humble habits right in our living rooms and sports bars.  So of course the betrayal felt even worse when he became perceived as the league’s most brash field hand (even though neither was ever true, but that is how the perception was). If you are going to be better than most of America Lebron you better not let them know it.  Barry Bonds can be a jerk and disliked because he was always a jerk. BUT LEBRON – you made us think you were a good one – someone who would entertain us, but never make us jealous – and then you turn around and act like you are better?  That is unforgivable.  We would never let Allen Iverson in our home so we would never feel duped, but Lebron, you were the humble, hard working one!  Never again!

So let’s just hope if Kawhi Leonard’s career keeps up its star trajectory that he keeps his mouth shut for the rest of his career (which actually seems like a distinct possibility).

Great watching you play Lebron and I hope you make your haters eat shit next year.  And as it should be, the final words should be about the Spurs – great run, great team and led by a guy all of America can root for – a wife cheating, former teammate-wife banging, French point guard named Tony Parker. #AmericanRoleModel

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on iTunes and/or STITCHER. New Every Tuesday so subscribe for free!

Comedy Career Advice: Keep Your Day Job. Seriously.

I am sitting on an Amtrak train, on my way to Raleigh, NC, as I write this.  I will be featuring at Goodnight’s Comedy Club for the next three nights, and all that stands in my way is 9 more hours on an Amtrak train.  The club is relatively close to Duke University, but Belle Knox and the Duke Lacrosse team have yet to respond to my Facebook invite to the show.  And as a Utah Jazz fan I plan on having lunch with Jabari Parker and selling him on the virtue of playing for the Utah Jazz, where, despite being very talented and Mormon he will still play second fiddle to Gordon Hayward in the hearts of Jazz fans (to quote Clayton Bigsby… “WHITE POWER!”).  But I am burying the lead right now.  Because for the 7 hours after I complete this blog I will be reviewing legal documents for a thing called (this may be an unfamiliar term to most mid-level comedians) money.  After a half a decade of living off of savings, comedy work and NYC subway break dancing I have gone back to using my law degree for money.  It’s like the exact opposite of Hustle and Flow with Terrence Howard – I am using legitimate money to help fund a career that makes me feel like a prostitute in the back of a Cadillac in Memphis.

 

There is a silver lining to this that I did not understand for a while.  Needing money is an incredibly stressful feeling (huge revelation here, I know).  I rank it somewhere between having a gun pointed at your face and getting a false positive on an HIV test.  It makes you more irritable,  more tense and more uncomfortable with just about everything.  During my first stint as an attorney I worked for the government, but lived at home to pay off my student loans, so it was like I was making double what I was making because I had such little overhead.  Then I went into private practice and was literally able to buy whatever I wanted/needed (I have fairly modest tastes) and was still saving money.   I never even thought about money for those years.

So once I was laid off in 2009, along with lots of lawyers and other people in that time frame, I had so much money saved and a fire in my belly to be a full time comedian that I made the decision not to pursue any more legal work.  So after changing my occupation on Facebook (though it is customary to call yourself a comedian on Facebook after your 8th open mic, I opted until it was my main source of income), I went about booking as many gigs as I could and auditioning at as many clubs as I could.  I started to get a decent amount of road work and from 2009 to 2012 I got more bookings each year than the year before.  In late 2011 I started doing some part time work just to provide some steady income, but the trajectory seemed to validate my choice to go full time: I was getting more work and more money each year from comedy.

And then in 2012, I had a steep decline in work.  Perhaps it was because I was no longer a fresh face or any number of other criteria, but I had at least 1/3 fewer gigs than the year before.  Coming off of a tough 2012 I made a commitment in 2013 to double down on comedy, to invest what I had into my comedy and to go balls out.  That started with blogs I had been writing, but went to the next level with many of the YouTube videos I made in 2013 up to the present.  They gained me more fans (and infamy) than even my performance on The Late Late Show had, but led to no increase in income.   So after feeling like I had doubled down on my comedy career at least 4 or 5 times I talked to a few lawyer friends of mine and decided to start doing document review work.

To put it in perspective readers of this blog can understand, going back to working a day job in the law is like living Breaking Bad in reverse. Sure comedy is killing me, but the autonomy and thrill of creating and being your own boss is powerful.  Going back to the day job world in earnest feels the same as watching Walter White if he had gone back to teaching high school chemistry in the finale.

 

Now I understand this cannot be unique to me, as there are aspiring writers, actors, etc that do this kind of legal work.  But as I try to do a good job there is little time to write during the day (hence why the blog has dwindled to one a week and the movie reviews have ceased to exist) and little energy to go to mics at night.  That is because when I had an every day day job I was conditioned and had the energy (and desire) to hit mics at the end of the day.  Now, all I want to do is go home, eat dinner and sleep before waking up at 530 to go to the gym before work.

Now before you start thinking this is another depressing diatribe there is a big positive – money.  And not just for bill paying.  There is a satisfying feeling each week getting money. even if the work ranges from mildly interesting to mind numbing.  It is a weekly reminder that something you did had some value.  Working in comedy at my level feels like a lot of moral victories (and as I once said on stage a long time ago – you know what another word for a  moral victory is? A loss) and a lot of doing comedy “for the love of” comedy.  At least in the regular business world, your boss speaks with money. When you get paid that is your thank you. In comedy, it is the same way – if a club pays you, they consider you worth something. If they don’t pay you – they don’t.  But because comedy clubs traffic in the hopes and dreams of a lot of its talent, there is a grey area where the talent feels good about what they are doing so not getting paid is not as hurtful.  If I did 50 hours of legal work in a week and only got a Facebook like for it I would go postal.  But because getting laughs at a show is a good consolation prize  for unpaid work (or having your videos or blogs shared on popular sites) a lot of hostility is avoided.

The point of all this is for comedians with some heat or an itch to give it all you’ve got to your comedy career: don’t. Not yet anyway.  There is only one time you should leave your day job (because comedians often overlook or become numb to the benefits of a day job – forced socialization, a routine outside of your own head, steady income and therefor steady reinforcement that you have contributed something tangible to the world) – when you have to.  When opportunities are coming in that cannot be missed  and that a job is actually in the way of, then you should quit.  I would not even put a dollar amount on savings you should have. I had an amount that I was certain would carry me until I “made it.”  And it did not.  But the other key thing to not leaving a regular job is that your are conditioning yourself well.  If you can keep a day job, write on your lunch hour and hit at least one mic a night then you are doing something more difficult than full time comedy.   Because as I am learning, it is tougher to adjust your comedy career when you need to go back to a day job after a long hiatus (especially when the relief of making solid money feels equal to or better than the relief of getting to perform on stage after a long day of work).  I am not unique to this I am sure, but had I just kept myself in the legal world for the last five years I am sure not much would have changed in my comedy career.  I would have had fewer road gigs (which are great for the ego, but not particularly useful in advancing your comedy career in a macro way in today’s comedy world), but nothing else would have changed for the worse.  On the plus side, money would not have been an issue which would have a positive effect.  I have always had a competitive streak in me, so I don’t want to act like seeing some people succeed in comedy with questionable talent would not irk me, but when you are also trying to sustain yourself off of comedy money, slights start to feel personal and not just professional (even if that is just subjective).  As an example – look at what happened to Ice Cube once he became rich – he talked about hating cops and killing people and two decades later he is making family movies and being a buffoon in beer commercials.  Now imagine the opposite and you have my comedy career.

My apologies if this was long winded, but if I am going to give advice to new or up and coming comedians, ignore the people you see on Facebook having huge success. Congratulate them, even admire them, but do not model yourself on them. They are lottery ticket winners on some level, either talent, hard work, look, connections, etc.  Maybe it’s just one, but probably a combination of several factors that got them where they are and chances are you do not have the combination that they have.   The longer you can put off making a career of comedy, the better off you will be.  Keep it as your creative and emotional outlet.  Work and hope that you get to a place where comedy clubs want or need you. Because when you are at a point where you need the comedy work you very well might be on the wrong path.  I do not know if this sounds overly cautious to people, but comedy is a perfect microcosm for the American economy (maybe I will just write this into book or script form). There are lots of opportunities for low income workers (bar shows, local emcees, guest spots) and lots of wealth for the elite (national headliners) – but the people in the middle are working harder for less.  If you want to roll the dice and try to be one of the elites, be my guest. but the smart move, even for the talented people out there who have not “made it,” is to try to be as comfortable in the middle as you can be, lest you become one of the people on the bottom.

Of course, for me, the idea that I will not need comedy for money  may just be more freeing to me artistically (if that is possible at this point).  A year ago I decided that the comedy business was not giving me what I felt I deserved and I had my best year on several metrics (web traffic, YouTube hits, podcast downloads and yes… comedy income). So if being annoyed in 2013 gave me a good year, perhaps not giving a sh*t at all will yield a great year in 2014.  Either way my bills will be paid.  Time to review these documents.

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on Podomatic, iTunes and NOW on STITCHER. New Every Tuesday so subscribe on one or more platforms today – all for free!

Comedy Road Work: Fool’s Bronze

One of the things I hear from younger comics, the ones not afraid to speak to me, in conversation is the following: “I need to get on the road.”  A much more accurate derivation of this that I hear is “I want to get out on the road.”  That one word change makes all the difference and it took me several years of ongoing frustration to learn the difference.   Many comics want to get on the road – it is fun, you feel like you are earning your keep (travel, receiving a check, filling out a tax form – it almost feels like a job!) and you gain experience and stories.  But the idea of “needing” to get on the road is really nonsense.  Now, of course I am speaking to a majority of comedians, but excluding some: headliners and their personal opening acts, this does not apply to you.

As one of the last of a generation of comedians raised early on advice like “write… perform… repeat” as the key to becoming a good comedian (back then becoming a “good comedian” implied that the quality would render you a  “working comedian”). Internet and television opportunities may be plentiful, but with the industry prioritizing different metrics beyond (or above) the actual quality of stand-up comedy, working on your stand up act has never been more irrelevant to being a working comedian (better to be “decent” with additional factors in your favor, than just a great stand up). But the mythology surrounding road work still persists: the idea that working the road is necessary in light of tremendous evidence that it cannot help you build your career or your bank account.  I have said it many times before, but like America in general, stand up comedy is becoming a business where the middle class is being squeezed out. It is not financially viable for up and comers (without management or heat or other entertainment income) to work full time at their stand up so the only people incentivized to dedicate themselves to comedy are locals who are increasingly employed by penny pinching clubs (don’t cut the headliner’s $20,000 pay check; instead, cut the feature pay/value from $900 total dollars to $500) or headliners who continue to be more central to the club’s bottom line.

So why are comedians still drawn to the road? Ego. That is the main reason. It serves no real financial purpose. And no matter how many emails you collect as a feature act or a low level headliner, without a massive Internet or television presence (or industry/management backing willing to leverage their more famous clients to benefit your budding career – very common) you are not going to build the kind of fan base that will elevate you to the level you want or need (or by the time you collect 15 years of e-mails we will be on to the next tech thing you “must do” to advance.  But you feel like a real comedian on the road – if you are coming from NYC, LA or Chicago club audiences treat you like a D-list celebrity if they like you, drinks are cheap, laughs are plentiful and you might even sell some merchandise.  But at the end of the day, the dwindling quantity of road work that pays a decent week’s wage is not worth the ego boost.  And many of the clubs (not all, there are still some good managers and owners still treating their comedians like professionals) are nickel and diming comedians more and more so that it sometimes is not even worth missing a week of work back home.  Think of it this way, to be available to even do 20 weeks of road work in a year you cannot really have a full time job.  But to become great at stand up you need the freedom to work at least that much.  It is a real Catch 22 – if you have the time to work on your act you will almost likely get too poor to continue that lifestyle, but if you work a full time job to pay your bills your opportunities for stage time, road work and crafting longer sets will be greatly diminished.

And then there is my personal favorite that deserves a small note – the road booker’s “last minute replacement” list.

Several years ago I received a few bookings from a prominent club booker.  I did very well with the clubs I work, as evidenced by the unsolicited e-mail I received from the booker saying “I have heard great things about you. I am moving you up my list.” I assumed this meant I would receive more bookings. Since that e-mail I have not worked any of his rooms.  I did not realize that I was moved “up” from the “sometimes booked” to the “fu*k this guy” portion of his list.  I would think that would be a step down, but clearly I don’t get the industry.  But then I realized that I had actually been moved to the “last minute replacement” list for this booker, as well as another unrelated booker.  This list is the “Oh no someone cancelled and I need someone within 1-7 days.”  Now, obviously some of the people receiving these e-mails may be within driving distance to these clubs, but for many these e-mails come off as borderline insulting.  If you are paying me $600 and the flight I must now book costs $500, what is the incentive?  Or is this just a half-acknowledgement that the booker knows the desperate environment they have helped cultivate among comedians that someone will grab it just for the chance to ply their trade for a week?

Of course when I sent a professionally worded email to a booker concerning my lack of opportunities I was told by a third party that my email may have been received poorly (this was an inference, not direct knowledge). In other words, simply corresponding like a regular person may rub these fief lords the wrong way.   So my advice to young comedians would be to leave the road alone, no matter how tempting it is, unless you fall into small exceptions (and on a side note – if you are going to do festivals – treat them more like vacations to meet and talk with other comeidans – if you treat them like realistic opportunities for career advancement, odds are you will leave disappointed, or at least eventually become dissatisfied with them).  Everyone knows the “chicken or egg” dilemma, but what came first, the nickel and dime booker or the headliner who decided to bring their own feature?  Now I have seen some headliners bring their own feature, driven mostly by insecurity, but many others want someone who will work well with them personally and on stage. Totally understandable.  One would think this would be the job of the booker to coordinate good talent that has general chops and also works well with the headliner.  Some bookers take this responsibility seriously. Others don’t give a fu*k because booking good mid-level acts (both as individual performers and in coordination with headlining acts) takes giving a damn about comedy and not just the bottom line.

Comedy bookers (to reiterate, not all, but enough to shape the industry) have further driven a scab mentality into working comedians, so a union will never be possible (how do you form a union when the labor force is replete with scab-mentality workers?).  So I think my advice to up and coming comedians is to forego the road.  It will do nothing concrete for your career.  Now if you are working with a headliner and have a personal relationship that can drive you forward professionally then embrace it. Or are you someone with management and road middle work is just a truck stop on your way to headlining and more heat then ignore this as well.  But to everyone else, the road has nothing to offer you. Perhaps a decade ago it was fool’s gold, but the economics of stand up comedy now have rendered it fool’s bronze – not even worth the foolhardy chase on which you want to embark.  If you think me hypocritical for pursuing road work, understand that my carer has his an all-time high for notoriety, which is a good thing, and a credit to the products I have worked hard to put out, but also near a low point economically because of several of the factors I have included above, so any opportunity to make money from comedy is one I cannot pass up.  Is this where you want your career to be?  Pursuing any and all work, out of equal parts desire and necessity?  Play the long game, not the short game and your comedy career and life will be much better off.  In the age of Facebook and Twitter every comedian’s insecure need (or perhaps to show to fans and industry that they are working and relevant) to post messages of false humility and blatant braggadocio of the clubs they are going to work or have just worked can get any comedian seeking opportunities to feel jealous. That is the short game.  Remember – getting on the road in many cases now is not a necessity, but a desire.  Unless you fit into exceptions I have written steer clear of the temptation.

So my advice is to work locally on your act.  Work on your YouTube channel. Work on your Twitter account. If this sounds cynical, it is.  But it is also true.  I have reluctantly, but fully embraced this.  It is simply reality at this point.  I know that I will have to become a headliner for many of these clubs to employ me again, but my stand up skills are not a well known enough draw to make it happen (yet?).  Comedy works less like General Motors and more like Silicon Valley now.  So work on your act and comedy portfolio in a way that benefits you, because I assure you, many club owners’ agendas are in direct opposition to the advancement of your career and bank account. Don’t let them throw you scraps in the dumpster and act like they are feeding you dinner.

If this concerns any of you it should. It means there are fewer and fewer careers possible in stand up comedy.  But if you are willing to go for it – the way to do it is to either connect with connected people, or become a headliner – in talent or, more beneficial, in fame/reach.  So get cracking on all things that are not stand up comedy if you want to be a working stand up comedian.

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on Podomatic, iTunes and NOW on STITCHER. New Every Tuesday so subscribe on one or more platforms today – all for free! COMING THIS WEEK – WHO SHOULD REPLACE DAVID LETTERMAN. 

The Silent Majority of Comedy (I hope)

There is a saying in stand-up comedy, “it takes ten years to find your voice.” I don’t know who invented this saying. Perhaps it was a club owner running bringer shows wanting to postpone frustrations of the semi-slave labor being manipulated with tapes and compliments. Perhaps it was a well-meaning veteran comedian trying to encourage a frustrated, younger comedian. Or maybe it is just true.  After all I feel like around 5 years in is when my comedy started to shift to the more personal and opinionated and around 8 years in when it merged with my sense of frustration and injustice with the way the comedy business worked, both as a business and as an art.  After all, it may take 10 years to find your voice, but from half of the casting and showcase lists you see from major comedy players, it can sometimes appear that you find your manager and your opportunity after your first pubic or facial hair sprouts, “voice” development be damned.  But in my 10th year is when all the things I had been writing, performing and producing hit a new stride and grew my audience.   So now I have, for better or worse, carved out a niche in the business through my videos, podcasts, blogs and stand up as sort of a guy who at best, offers funny and unflinching shots at anything I see wrong, even if it is with the business that I am trying to succeed in, or, at worst, is committing career suicide for his peers’ enjoyment.

What has perplexed me is that on a weekly basis I get messages, e-mails and texts from fellow comedians, many of who are friends or at least people with whom I am friendly, pointing me in the direction of some comedy news/blog/practice/etc or something they at least think will anger me into producing new content making their argument for them.  I don’t mind it, and am certainly not calling out any friend or acquaintance in particular.  But I have gotten suggestions for podcasts, blogs and videos from numerous people over the last few months and the question I want to ask is “You are a comedian, why don’t you do something with it?”

Some of the examples that come to mind include a blog last year, made as humorous and as complimentary as I could about an experience I had at a club (fun club, great staff) where the condo was infested with roaches in a pretty shitty building.  And the blog may have gotten me banned at that club.   But since then I have had private communications with several comedians about those accommodations and how terrible it was and other comedians cancelling gigs there.  But I am on the hook as the person who made a public stink of conditions that the department of health would take issue with, let alone hard working entertainers.  When the comedy business (or just a comedy business) treats performers poorly they should be ashamed and crawl into hiding, not the comedian who has a legitimate gripe about maltreatment.  And my post was only meant to be my personal humorous experience, until I heard at least a dozen comedians describe a similar experience.

There was Comedy Academy, my web series, which has passed 26,000 views total in a month and the most private messages of congratulations I have received in the last year but, per video, the fewest public shares on social media of all my videos, in the last year.  The people who were most likely to share the videos were people at the lower rung of comedy or people located in the untouchable upper rung of comedy, like Adam Carolla and Sebastian Maniscalco.  And while I deeply appreciate every share and post, I was disappointed by the fact that more of the videos were not shared.  It reminds me of how so many lower class and middle class Republicans in America vote against their interest.  They believe the American Dream so hard they ignore things right in front of their face.  Similarly, in comedy whether it be manipulation, poor payment (forget $5 spots at UCB when features on the road are getting paid the same (or less when you factor in the disappearance of paid-for lodging on the road at many places) as comedians 25 years ago, or just calling out bullshit professionally or artistically, so many up and comers are about “playing the game,” which most of them cannot win.  Just like the economic ladder in America, the comedic ladder, towards a career in comedy, especially stand-up is more difficult than ever.

Then there was my Facebook post about the Laughing Devil in Long Island City being booked by the people at The Stand.  People were nervous about what that post implicated because it looked like a shot at The Stand, which is the rising challenger in the NYC club scene with great buzz.  But what I was actually questioning, which was missed by most people who were afraid I was taking a shot at The Stand, was why did a cozy club in Long Island City, which was providing paid spots to comics like me, that are not getting them elsewhere in the city (it was nice to have a club not directly tied to talent management in the way some of the bigger clubs in NYC are) and free spots to comics that were not getting many elsewhere in NYC, switch booking practices… and not tell their roster of comics?  I know this because I was fortunate to at least be on the list for avails that The Stand sent out, but I know several people who were only on the Laughing Devil roster who knew nothing about a change and just assumed they needed to submit more avails for spots.  I don’t know why the change was made to different bookings on weekends because the last three weekend shows I did at the Laughing Devil were all packed, but that was a business deal/transaction to which I am not privy.  I feel like it is going to eventually become The Stand East (I don’t actually know that, but as an up and coming neighborhood with a built in audience it would make sense to get a foothold in it, especially since it was close to being sold last year) and can now be a workout room for spillover from The Stand’s roster.  Why am I saying all this?  Because clubs and comics like to speak of “community””, but unless I am completely off base this flies in the face of that.  And yes, having recorded an album and my biggest YouTube video at that club I feel particularly annoyed by the change, but that is business.  But individual comedy club ownership is a small business and should treat their comedians like part of a small business, not like a cog at Wal-Mart.

My point with a few of these examples is that if comedians are only speaking up or being bold about the business or art of stand up when they have the cover of industry or fame or are taking generally accepted “bold stance”” topics within the comedy world (like scoring tried and true points attacking conservative politics as an example), then how can it actually stand for anything anymore?  If everyone in stand up spoke out on bullsh*t, demanded more equitable treatment on the road (why does $200-$300 have to come out of the feature worker, when you can afford to pay a headliner anywhere from $2-$20K per week?  It is the same “job creator” argument we hear in politics, except in this case it is the “seat fillers.”  Will your audience stop coming if every food item is raised 25-50 cents to pay a decent week’s wage and accommodation to a hard working middle class (literally) comedian?

These are just some of the things I try to attack with serious writing, but also with humorous personal stories (self-deprecating to depressing) and funny sketches.  I guess I should be thankful that not many people, if any, take this sort of approach to the comedy business because it has allowed my name and reputation to rise slightly higher than where my actual career is right now financially.  But it also makes me wonder what happened that comedy because so full of cowards or at least people too afraid of repercussions for doing or saying the right thing (honesty is the right thing and what I believed was the hallmark of comedy versus other arts with more sullied reputations in the popular culture).  This is what confuses me above all: if comedians don’t treat stand up as a profession and an art on its own (and not just a pit stop on their way to television deals) then how can the industry possibly do better.  As philosopher Katt Williams once said (and he could have been making a decent defense for the comedy industry), “How can I ruin your self-esteem? It’s esteem of yo muthafuckin self!”  I think there is a lot of shabbiness by the industry, but there seems to be little push back or standing up for oneself in the comedy world (UCB “controversy” aside, which still led to no pay).  I want to believe that there could be a strike or a union or improved work for comedians, especially on the road, but comedians are almost conditioned at this point to think and act like desperate scabs – so how do unionize workers when the work force already consists of scab mentality?

Just under a year ago, when I made my Louis CK Tells The Classics video I remember one of the very first YouTube comments I got was “This would have been funny if you were making fun of Dane Cook, but not Louis.”  And I feel like that all the time in comedy now.  Like there is an acceptable way to question or challenge things in comedy.  I don’t think there is, as long as it is either valid or funny.  Or ideally, both.

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on Podomatic, iTunes and NOW on STITCHER. New Every Tuesday so subscribe on one or more platforms today – all for free!

Roaches vs. Man – My Alamo in the Comedy…

Week 2 of my San Antonio journey officially began yesterday as I moved from the outskirts of San Antonio into the heart of downtown to work at Rivercenter Comedy Club.  A quick breakdown of the two clubs – The LOL Club gets you free admission to the best movie theater in America (Alamo Drafthouse) and quick access to a Cheesecake Factory and a Chick Fil-A.  On the downside you are sort of isolated and the only gym you can workout at is Planet Fitness – a gym that bans jump rope and heavy weights, but does have tootsie rolls and pizza parties.  Now I am at the Rivercenter Comedy Club.  Pluses – near the Alamo, which could be defeated by an athletic high school basketball team (if the tall Dutch were attacking instead of miniature Mexicans it would have been taken faster – the thing is small and short), near a Fogo De Chao (a Brazilian steakhouse that serves unlimited filet mignon) and a free week pass to the Gold’s Gym.  There is a movie theater, but it is not free and not as good, though it is a solid AMC.  So at this point it is hard to draw an overall winner.  Each club has its strengths and weaknesses.  The tie breaker is simple:

LOL Club – comedians get a hotel.  At Rivercenter – comics get the condo.

Whenever a comedian gets booked on the road there are three possibilities: one is the club provides a hotel, the next is they provide a condo – an apartment the club owns or rents and have cleaned once a week for the incoming comedians (do yourself a favor and DO NOT bring a black light – better to live in ignorance) and the last is that the club provides nothing.  Shockingly the lack of any lodging is sometimes preferable to the condo.

The first time I performed at Rivercenter was in Fall 2011 and I did not see one bug the whole week.  So despite other comedians ripping on the condo I had no problem coming back to it.  And during the day I saw nothing.

I did the show that night and had a great set – excellent crowd.  Had fun chatting with the emcee George and the headliner Cory, who was my condo-mate (the headliner gets the room with the 14 inch tube television – BALLER).  However, as I walked back with Cory to the condo after the show he began telling me haunting stories about his last time at the club (which was Fall 2012 – so more recent and relevant) and the high quantity of roaches he saw throughout the apartment (to be fair there are a lot of combat traps and 2 bottles of Raid in the condo).  And like Beetlejuice or Candyman it was as if Cory summoned the evil spirits of roaches and waterbugs by saying their name because when I got back to the condo I saw a large roach climbing the side of my dresser. I promptly smashed it (#hero), but was now convinced/paranoid that the apartment was teeming with them.  I put all my stuff into my suitcase and sprayed every inch of the room with Raid.

We then went out where I decided a few beers might put my already tired ass into a coma so I could pass out without thinking about my new roommates.  We ended up going to this excellent place Mad Dog’s British pub, which featured outstanding karaoke hosts (they looked like an older Amy Poehler and Mya Rudolph performing a sketch about two older women hosting karaoke).  When Cory and I walked in we got great looks of “who ARE these guys” because Cory is short but very jacked and bears a little resemblance to Michael Vick, while I look like a back-up long snapper for an NFL team (hey we both made this fictional roster).  One of the karaoke highlights was one guy wearing a Roger Staubach jersey who did a phenomenal version of Cherry by Franki Valli and the Four Seasons.  The staff was hot, the crowd was fun and the hosts were great (singing, dancing and joking around – I guess women in their mid forties do have something to contribute after all!) and I started to relax.  After a thoroughly enjoyable couple of hours we left to go back to the condo.

We were talking in the kitchen area and I was starting to feel comfortable (all the lights on in the apartment) and then a roach just sauntered out towards me in the light of the kitchen.  This roach was like Blade – it was of the night, but could also walk in the light.  I then noticed one on the wall and Cory informed me that a stain on the floor was his handiwork earlier in the day (dead roach stain, not a Cory stain).  I promptly stepped on the one approaching me and declared “I’m out of here.” I felt like those brave souls at the Alamo that I was now so close to – outnumbered by aggressive, tiny, brown creatures.  I then booked a room at a nearby Doubletree for a surprisingly low rate (this blog is sponsored by hotels.com).  When I got to the Doubletree at 3 am the man at the desk looked at me and said “No offense, but you look deathly tired.  Here are a couple of cookies.”  And then I fell asleep in my beautiful room at the Doubletree.

Remember the Condo!

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on Podomatic or iTunes. New Every Tuesday!

Why Lebron Will Never Please You

The question of who is the greatest basketball player of all time is not historically settled, by the very nature of History – people are always making it and adapting from and surpassing the past.  It is of little debate that at the present moment, by almost any standard one can apply that Michael Jordan is the greatest basketball player of all time.  He has the stats, championships, individual and team accolades and perhaps most importantly, a series indelible marks left upon the imaginations of millions of Americans.  Jerry West may be the logo of the NBA, but Michael Jordan is its most shining symbol of glory.  Others who have tried to lay claim to the throne have fallen short, most notably Kobe Bryant, the closest approximation to Jordan in style (if not in success) to the point that if Kobe could have killed Jordan on a boat, assumed his identity (along with press conference cadence, fadeaway jumper and gum chewing) and called himself The Talented Mr. Jordan, he might have.  But the danger in replicating a great is that no matter how great you are, unless you surpass the original in every way you can never be considered greater.  And this goes beyond stats and number of titles, but also the spirit of the legend.  Which is why I have found Lebron James so damn intriguing.

Lebron James, I have always said, is the only modern player with a chance to surpass Jordan (read the words haters – a chance – not a declared certainty or a present-day fact) because he is a different model.  Kobe challenged Jordan on Jordan’s turf. Lebron’s eventual legacy will challenge Jordan from a new template – a point guard mind- power forward body phenom.  He will never score as much as Kobe or MJ, but he impacts the game in a way I have never seen.  He is a defensive force and only Scottie Pippen has been as versatile a defender in my life.  What other player in NBA history goes chest-to-chest with Tim Duncan and rejects his post shot and then resumes guarding Tony Parker out on the perimeter?  Defensive player of the year Marc “Hodor” Gasol?

To watch the San Antonio defense you would think no one on the court exists except Lebron  They guard him with multiple players, a layered scheme and are only willing to concede the worst shot statistically in basketball – the 17-19 foot range jumper.  He is a gifted passer, a savant of the game and a physical freak, but he has only shown glimpses of an assassin’s mentality on the court and because Jordan set the framework and Kobe followed it, the fact that Lebron does not adhere to that model means in the hater/hoops-simpletons’ minds that he can never be as good or better than those who operate with that mindset.

And yet, Lebron is one game from winning his 2nd NBA title a year before Michael Jordan won his 2nd NBA title.  He has collected 3 triple doubles in his last 7 NBA Finals games.  He has thrived offensively in a league that, although not as physically dirty than the one Jordan played in and that Kobe began in, is much more sophisticated defensively and the statistics bear that out.  Better athletes, more zone defense and more complex stats and schemes make scoring a bigger chore in today’s NBA (not necessarily individually, but the game is a lot slower than in the 80s).  Am I in any way suggesting the MJ would not thrive in today’s NBA?  Of course not.  I think he would excel.  But this is more to defend Lebron.

Lebron is playing under a microscope that no other NBA player has ever played under.  Jordan felt the glare, but that was the glare of an adoring spotlight for most of  his career.  He was a Madison Avenue darling very early on and became the toast of the league for the second decade of his career.  Once MJ broke through, he was never questioned again, at least not pejoratively.  This has not been the case since Lebron won.  Lebron has had the spotlight, but much of it has come from the ever present 24 hour news cycle and the 200 foot troll of a magnifying glass known as social media.  Every game Lebron plays is not specific enough evidence of greatness or failure – he has every play dissected.  After willing the Heat back from the brink of destruction all 4th quarter in Game 6 last night, the instant reaction from haters was that Ray Allen had “bailed Lebron out” with his incredible three pointer.  What is Lebron Moses?  He gets to lead his team to the Promised Land, but not get to experience any of it?

The problem for Lebron is not that he is not talented or clutch or great.  He is all of those things.  The real problem for Lebron is that he is the greatest athletic specimen we have on the planet, other than perhaps Usain Bolt, and that shames a lot of the public.  See, we live in a society now where everyone’s opinions, thoughts, pictures and mundane activities are on display making us all feel like important celebrities in our individual, mundane circles.  Mediocrity has never been more famous and self-important and Lebron has been reminding us for the last three years that he is better than us.

We were OK when he was a nice kid from Ohio, toiling away, earnestly failing to achieve his profession’s highest goals.  But then he made THE DECISION.  I did not like it, but I got over it, mainly because I enjoy watching him play so much.  But what Lebron said is “watch me America – I am important and you will watch me.” And we did watch and then we hated him for showing us how much we cared and how shallow we all felt (THE DECISION was a huge ratings success).  We became champions of Cleveland’s dignity, even though many people watching were just hoping their team would be the one to break Cleveland’s heart (Hello Knicks and Bulls fans). Rather than apologize for our own hypocrisy we turned Lebron into a massive villain.

But don’t forget he was arrogant at a free pep rally fgor Heat fans!

And then he lost in the Finals to Dallas and it proved that he was being punished for his hubris and we could all feel good.  It was a text book case of schadenfreude.  We determined he deserved a comeuppance,  he got it and we delighted! Good riddance King James! Except rather than fade away into the Tracy McGrady and Vince Carter wing just outside of the NBA Hall of Fame for underachieving athletic freaks he bounced back and destroyed his rivals en route to his title in 2012.  Yes he played with Chris Bosh and Dwyane Wade, but only a truly delusional hatred could ignore that Lebron was the Sun that the other Heat players revolved around.  And he never had that iconic moment in the NBA Finals last year because he destroyed the OKC Thunder so thoroughly.  So other than Boston Game 6 (and Indiana Game 3 if you paid attention), his 2012 playoffs did not give us Jordan over Ehlo or Jordan (shoving) shooting over Russel.  Another strike against Lebron!

So we arrived at 2013. The Heat win 66 games, 27 in a row and Lebron puts together the most or oneof the most efficient seasons in NBA History.  And then the playoffs happen and it appears that by the Pacers’ series Lebron is no longer part of a big three.  He is the Big One and is alternating between dragging his teammates and creating for them.  He single handedly vanquished a very tough and balanced Pacers team that specifically were strong where the Heat were weak.

And now the Finals.  Standing in Lebron’s way are a 4 time champion player and coach, a team with size and a team with a devastatingly good point guard – all weak spots for the Heat. And with some help, finally, Lebron is one game away from defeating the team that swept him when, like a Mozart of basketball, he took a terrible Cavs team to the Finals in 2007 with only his individual natural brilliance.  But now Lebron has mastered basketball.  Does that mean he is perfect? No.  Did Jordan shoot below 33% in the final game of the 1996 Finals?  Did Kobe go 6-24 in Game 7 of the 2010 Finals?  Yes and yes.  Does that diminish their legacies? No.  Yet Lebron for that he has accomplished before the age of 30 and the brilliance with which he plays is still having every dribble examined with heightened scrutiny.  So if he were to score 40 and go 15-15 from the field on Thursday, but Tony Parker hits a buzzer beater to win Game 7, this will somehow render Lebron’s admission to the upper elite of the sport null and void.  He cannot please these people because they want him to fail.  They need him to fail.

Lebron James has shown us that he is great. Greater at what he does than we will ever be at what we do.  He has also shown us that he knows he is great and better than us.  Not in a brash Terrell Owens sort of way where it feels cartoonish. Rather, Lebron was blessed by God, fate or nature with incredible potential for greatness.  He was not born Peter Parker or even Bruce Wayne – he was BORN as Spider Man and Batman. And what is worse is that he is fullfilling that great potential and enjoying it in beautiful Miami.  Lebron is better than us, knows it, but what really stings is that we could never be him.  No matter how hard we work and dedicate ourselves he was always going to be better. Kobe and MJ gritted their teeth, yelled at and in MJ’s case, punched, teammates – they had the gifts, but they also exhibited the grit that made us feel better about them being better.  Lebron is just enjoying a game he has mastered and fullfilling his promise, but with something closer to a child’s enjoyment than a mob boss’ ruthlessness.  And in an age where we all think we are so important and special he has shown us that we are not.  But that he is.

Good luck in Game 7 Lebron.  And get ready to hear “but MJ and Kobe threepeated” or “now Tracy mcGrady has as many titles as you” right after.   And then have a hearty laugh.

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on Podomatic or iTunes. New Every Tuesday!

Stand Up Comedy – The Quintessential American Business

No other business in my opinion represents America like stand up comedy. I do not know where or how it exactly originated, but it is clear that America has the lion’s share of the top tier talent.  Comedy has been at the forefront of the 1st Amendment in entertainment.  It has produced cultural icons.  It has opened doors, pushed boundaries and offered Americans of all varieties windows into the worlds of people different than them in ways that social interaction may not have always allowed.  And like the American Dream – comedy was an art form where if you had a dream, a spark of talent and motivation you could become successful, albeit, moderately in many cases, if you just stuck with it and worked hard. People could make careers in stand-up comedy.

But just like the American Dream, which has basically died except for hard core Americans who believe more in the sanctity of platitudes than the reality of life, comedy has undergone a profound shift in recent history.  Just like an America where the rich have rigged the rules so that if you start ahead, you will most likely finish further ahead (while simultaneously lecturing the have-nots on the virtue of hard work and fair play), the comedy business has become an increasingly rigged business where the haves continue to grow in wealth and opportunity while instructing the have-nots (at least those rich in talent, lacking in most other things) of all the new ways they must work hard and build their brand – because their effort and skills are the only things holding them back.

THE RICH GET RICHER AND THE POOR CANNOT FORM A UNION

The truth is America is rigged and you need to be an exception to make it by with hard work – the social contract of work hard, contribute to society and stay out of trouble is no longer enough for many people to have a successful life.  We are not all equal and we will not all live equally, but somehow a notion that permeated our country and thrived for decades, the idea that if you “work hard and play by the rules,” to quote Bill Clinton, is now not virtuous anymore.  You are either some wealthy kick ass person worthy of our admiration or someone who has fu*ked up or is not working hard enough – a janitor may not be a glamorous job, but if a guy puts in 40 hours a week cleaning toilets shouldn’t he be OK at least?  Now comedy is an art and by no means as important as basic life necessities.  And talent is necessary (and subjective).  But hard work, talent and staying out of trouble are no longer enough in comedy.  Because the game is increasingly rigged.

The “rich” in comedy have consolidated power by creating a near monopolistic control of the A comedy clubs in America, making it easier for their headlining clients to earn commissions for them.  So if you manage the talent and manage the venues that book the talent to perform, it seems fairly obvious who will perform there.  Now this monopolistic, incestuous booking/management/ownership practice may doom the comedy club business in the long run, but this apocalyptic future is of little consolation to comedians who have spent 10-20 years building a career only to see the equivalent of their factory close down or outsource or downsize in the last couple of years.

Now in many professions, a union used to be the way to even the score between undervalued workers and powerful owners and employers, but many decades removed from some of the worst worker abuses that made unions necessary in the first place, we now live in a society where more and more people belittle and denigrate the purpose of unions.  And a comedy union, which was tried a decade or so ago, has even less likely a chance of coming to fruition today than it did before.  Here is a comment I wrote about comedy unions on Facebook last week:

 It won’t work because only a small minority of comedians would actually benefit from a union. Assuming things like standard rates for showcase sets, emcee, feature and headlining gigs would be what a union would seek it would not work because headliners and stars would have little incentive to join, rising stars (MTV 2 and Comedy Central stables) would not want to harm their ascent, and local comedians around the country would not like it because they might and probably would suffer if more top flight features were sought out and guaranteed room and a decent week’s pay (since clubs abiding by union regulations would be paying more for talent they would be incentivized to guarantee customer satisfaction with the show). So the only people who would benefit would be the top tier feature level talent who would be able to stay afloat to possibly reach headline status and would have more opportunities if clubs no longer had a financial incentive to get emcees and features on the cheap.

In other words, just like in America – the rich workers have no incentive to support unions, employers have incentives NOT to support unions and the poorest and least skilled have little to benefit from joining them (local comedians in many cases being almost the equivalent of government assistance recipients) so the people who get squeezed and lose out on the would-be benefits of a comedy union are the middle class of comedy – hard working people who have the skills, but are no longer offered social mobility in the business.

THE MEDIA CARES MOST ABOUT THE MEDIA

Also, like in America, where the media has become a slave to the whims of the public and web traffic statistics instead of being solely concerned with valuable information (Lindsey Lohan “news” coverage ring a bell), the most popular sites for comedy news appear to be those dedicated to promoting the established stars and rare do-it-yourself tales of people making it from outside the industry – the kind of stories that are not as likely to enlighten or add weight to comedy criticism or information, but will boost Google Analytics for the provider of the story.  Stories of Bo Burnham are well known, as are Louis CK’s bucking the industry.  But these are exceptions – a kid becoming a star from his bedroom or a performer who spent decades within the industry finally accruing enough power to then buck the system.  However, just like reality television, which provides us with dozens of shows about “real Americans” to make us believe industry and working class people are still thriving and full of entertaining life, these comedic anecdotes are like opiates – making comedians believe that the business is more accessible than ever and not more rigged than ever.  The notion being f you just work hard and come up with something creative you will be rewarded. It was always a tough business, but every time you read a story of do-it-yourself successes in comedy, there are two more clubs being swallowed up into a monopoly that will not hire you unless you have made yourself a star already.  Then they will want your piece of your slice of the pie that you earned.  And the comedy sites will then be there to tell your story.

OVER-SATURATION LEADS TO APATHY

The brilliance of this new comedy business model is that comedy has never been as accessible and widespread as it is today.  Just as the general public is flooded with more information than ever before, breeding a level of apathy and cynicism in the general public (stories get bigger faster and become irrelevant faster from news fatigue), so too are people inundated with comedy all over their computers, phones and social media.  So it has never been easier to reach an audience, but simultaneously an audience has never had less monetary value.  As soon as YouTube fully grasped the success of YouTube they began promoting certain people and creating their own original content.  Comedy Clubs of the established variety are the last sort of seal of industry approval that audiences recognize.  But they are becoming more and more closed off to a lot of comedians.  And I am not just speaking of people in my position – there are a lot of experienced people beyond me who are feeling this pinch.

I wish I had a solution for this.  And maybe ten or twenty years from now the model will have exploded and things will reverse or get back to a little less Gilded Age approach to the comedy business.  But that won’t help people now – being historical footnotes during a Comedy Club oligarchy as the powers that be decided which headliners would survive and which up and coming acts they would try to make stars out of.

Instead of insuring the life blood of comedy, the powers that be seem like they want to suck it dry so it no longer exists when they leave.  That might explain why there is now Laughstub which is a Ticketmaster for comedy.  Because everyone loves Ticketmaster, right?  Just a few years ago, this did not exist at most clubs, but now people looking for a moderately priced evening of entertainment can tack on service charges that go to who – the employees of the clubs? I doubt it.

But the message sent to comedians – the working class soldiers in the comedy business?  Work harder – that is what is holding you back.  So while the haves keep increasing their share of the pie and inventing new slices to carve up, the blame is placed at the feet of the comedians just trying to work and earn a buck. The stand up comedy business is now so American that Ken Burns should make a documentary about it and Paul Krugman should write a column about how corrosive it is.

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on Podomatic or iTunes. New Every Tuesday!

10 Observations from 10 Years In Comedy

In my decade of performing, observing, enjoying and being despondent over stand up comedy it has been a very interesting and unique time to be a comedian.  When I began I still sent physical VHS tapes for auditions (quickly moving on to DVDs, both of which sit in warehouses like the one where the Arc of the Covenant is stored in Raiders of the Lost Arc).  The biggest comedian in the world was Dane Cook.  Beards were worn primarily by drifters and the homeless and women were just not considered very funny.  And in a decade my how some of those things have changed!  Now I send video clips and avails by email, which no longer have to be discarded into basements or (physical) trash bins; Louis CK is the biggest comedian, who unlike Dane Cook never uses non-sequiturs or voice inflection as the driving force of a joke; beards are an industry gold standard, like a foot long dong in porn; and now women are the funniest gender on the planet if you are reading the Huffington Post.  So to give you some perspective on the last tumultuous and game-changing decade in comedy here is my list:

1) Chris Rock may be the last stand up legend to be judged critically.  Bring the Pain is the greatest hour of comedy I have ever seen.  I do not think it will ever be surpassed.  Every bit on that is a greatest hit.  It was strong, relevant, thoughtful and most importantly hilarious.  Chris Rock’s next special was an A, but not the A+ that BTP was. But then Rock did Never Scared and I remember critics and comedians were not that warm to it.  I was at a taping of it in DC and enjoyed it, but knew that it was not to the level of the first two.  But I did not try to choke slam the first person to say they did not like the special.  Because in comedy you should be judged by the product and not merely reputation (that might actually benefit me).  Sure, fans can get caught up in the hype, but at least comedians should be able to give honest assessments.  However, guys like Dave Chappelle (who’s show was tremendous and whose stand up career has someone how been inflated to the level of Chris Rock (or beyond by some) as he gained unwarranted mythical status) and Louis CK have been unassailable and infallible in their stand up.

I saw Chappelle in 2003 I believe, headline the DC Improv and watched someone deliver a lackluster hour for $45 a ticket.  The material and the effort were not worthy of the ticket price.  Also, Louis CK’s last two specials were fine.  Some highlights, but the almost instant reaction from comedians to them was “brilliant” and “amazing” across social media platforms, and could not be justified.  So apparently it is now a great time to be a legend in comedy.  Our colective need for man made deities in an increasingly secular age with more and more Internet interaction has made hero worship more necessary and more personal to people.  Myths can be worshipped, but a real comedy legend should still be scrutinized and judged on the work.  So for my money (which is not much) I think Chris Rock may be the last comedy legend we see for a while and definitely over the past decade.

2) Dane Cook used voice inflection as a punchline, which is now panned… by people who love comics who use voice inflection.  Starting my decade of comedy, Dane Cook was the biggest thing in comedy (more Kevin Hart than CK, but still a huge deal).  Ten years later, Cook can do nothing right in the eyes of some.  His formula, though not for everyone, was unique and he had honed it – it relied a lot on personality, charisma and story telling, but his signatures were voice inflection and accompanying gesticulations.  I do not describe it this way to denigrate it, but only because that is how someone studying his success might portray it.  He worked hard, worked through the clubs, made it to late night television and when his moment came he became a monster success.

Now Dane Cook is a guy with “no jokes” and “stupid fans” to a lot of the in-the-know comedy crowd who gravitate towards a new scene of comics who use plenty of voice inflection and gesticulation to either punctuate a joke – or to replace conventional punchlines entirely.  But some of this new inflection class are more humble and pulling less pussy than Cook so they are viewed as vanguards of authenticity.  So in a way nothing has changed on this front in ten years, except for a lot of blind hypocrisy.

3) Chappelle’s Show Was the Last Great Sketch Show.  I still watch and enjoy SNL, but since Chappelle’s Show, sketch comedy took a nosedive the last ten years.   It seems that Chappelle’s Show was the last sketch (and possible comedy overall) to be hugely entertaining with meaningful social commentary and risk-taking that was not meant to shock, simply for the sake of shock.  If I showed you season 2 of Chappelle Show 10 years ago (approximately) and then showed you a futuristic glimpse of Key and Peele ten years later, you might assume an apocalyptic event had taken place.

4) It is better to be lucky or local as a middle comic.  Road work, once the lifeblood of the up and coming comedian has basically dried up.  Even if you are successful and connected enough to secure a lot of weeks of work as a middle, the nickel and diming barely allows you to make ends meet.  But if you are a local comedian across the country with any chops you can probably secure more work at your local clubs than someone with television credits can across the country (I am thinking of no one in particular).  Of course, if you are lucky enough to connect with an established headliner than you may secure as many feature weeks as they have headlining weeks, but generally being local or being lucky beat being good if you are trying to get middle work.  I felt like I saw a lot more people slightly ahead of me in the early part of my decade in comedy securing solid amounts of feature work.  Maybe that was an illusion, but when in 2013 a booker refers to it as a “buyer’s market” to you and another booker apologizes that they cannot pay you more (not because they are strapped for cash, but because local features have set the rate lower for that market) it probably is not.

5) The comedy community has reached a critical mass of self-absorption.  Comedy controversies have become as important to the comedy community as telling good jokes.  Mind you a comedy controversy is as valuable to the world as what you ate for breakfast is.  A funny joke on social media is almost as important as who told it with regard to re-tweeting and liking something.  No I am not suggesting that ass kissing somehow emerged in the last decade, just that it is now more in your face and having exponential growth BECAUSE it is in everyone’s face.  Ten years ago, the road and television appearances were badges of honor and benchmarks in a career.  Now every comedian who cannot or will not make effort to get booked outside of their three favorite venues is proclaiming “the old order is dead – we don’t need the clubs!”  Right, and now instead of some people having viable careers we have almost everyone scraping by at the same level.  I am mad at the clubs because they are cheap and hurting the chances of genuine talent sustaining their careers in comedy, but I still want the clubs because they have the built in audiences who like comedy and purchase CDs.

My favorie little anecdote showing people’s lack of gloabal awareness may have been a few years ago when a new-sish comic spoke of another new-ish comedian (both less than 4 years performing) and said “he is really influencing a lot of people right now.”

6) The best comics I have seen throughout the decade were the 10-12 year guys.  I mean this to say the “unknown” comedians that I have liked the best have always been the guys with enough experience to be great at what they do, but enough humility and time to have shifted their focus from bullsh*t.  Two of my favorite comics right now are Yannis Pappas and John Moses (who may not want to be affiliated with me or this post).  They are both sharp, unique comedians with distinct points of view and are starting to get success.  This is who should be getting the showcase opportunities from the industry, not having to be do-it-yourself cottage industries.  Of course this is a Catch 22 – perhaps if they had been coddled and embraced sooner they would not have become as good as they are.  But now that comics like Yannis and John and many others have molded their acts under increasingly brutal (do it all yourself and if we like you we will take 10% to help you cross the finish line) industry conditions I want to see them doing half hour specials.  Not as speculative chances, but as proven commodities.

I laughed when someone recently told me that they thought Joe DeRosa’s new comedy central half hour was “great.”  I laughed because I am sure it was.  Joe is a comedian who is well known in comedy circles, has been doing it for over a decade and has worked very hard.  Comedy specials on television should be the reward of people who have earned a certain status, not a polling station for what tests well with millennials.  Half hours on Comedy Central over the past few years in some cases (but certainly not all) have felt like testing ground for potential new stars, instead of a selection of proven comedians.  So when someone tells me that Joe DeRosa “was great” I laugh because I wonder why every year does not have 12-14 Joe DeRosa’s selected.  And if they cannot find that many, why do they have that many episodes?  Video killed the radio star and one day someone will write that Millennial polling drowned the stand up comedian.

7) Still waiting for a Latin comic who can make the Latin experience have cross over appeal.  Just a thought. Ten years and although there are comics of Latin descent (Giraldo being one of my all time favorites) who are excellent I find it weird that in a country where Latinos are now (I believe) or soon to be the largest minority in the country there is no breakout/crossover star of Latin comedy.  George Lopez is the most successful, but where is the Latin Chris Rock or Richard Pryor or Dave Chappelle – someone lending an insider’s perspective and experience from a large community to the mainstream?  Oh wait, I forgot about Carlos Mencia.  It just makes me wonder if Latin comedians are too insular with their material (try enjoying a George Lopez special without Rosetta Stone) or if the industry is ignoring some up and coming talent(s) who might add a needed new perspective.  Either possibility would not surprise me.

8 ) Men dominate comedy but the only thing that has changed is that it is now inappropriate to ascribe any qualitative value to the fact that dominate.  Most people still think men are funnier than women. All that has happened is vocal members of the comedy comunity have rendered this notion the equivalent of  hate speech so most people will no longer express that opinion explicitly.  #progress

9) There is no middle class left in comedy.  You are either a star, a star in the making, or a hobbyist. – Close to #4 so just read this.

10) I went from too new to too old without ever hitting the “just right” phase.  As I was moving up the ranks from “open mic-er” to “respected open mic-er” to “why is he still doing this open mic” to “hey I got a guest spot at a good club” to “emcee” to “feature” I was always impatient.  Club owners assured me that I was new and I was young and my time and voice would come.  Now I am 34, 10 years in the game and working my ass off and I see a lot of late twenty-somethings making it big (at least relatively speaking).  But maybe I just missed that specific day when I was 31 years old, but looked 29 and had just had a good workout and wrote a really solid new joke and had a little bit of 5 o’clock shadow – that was the moment when I was just right for comedy success.

So if this is the last ten years of comedy I hope for my sake AND for the sake of stand up that this circles back around a little bit. Because if this was the ten years leading up to now, the next time you see Key and Peele on your television set there very well may have been a stand up comedy apocalypse.

Have a great weekend!

For more opinions, comedy and bridge burning check out the Righteous Prick Podcast on Podomatic or iTunes. New Every Tuesday!