If a Comedy Club Falls Do Comedians Make a…

I was disappointed to learn earlier this Summer that the Joke Joint clubs in St Paul, MN and Houston, TX had closed.  They were two of three venues to book me as a headliner so I just lost 67% of the rooms that headline me (though I say with no humility, but total honesty that I can probably torch 67% of the comedians headlining A-list rooms today).  They were venues that gave some comedians who were strong features, but not well known or well-represented comics a chance to headline, which almost always means more money and better merchandise sales (in St Paul – the policy for years had been if you buy a comedian’s merch he would give you a free pass to a future show – obviously a big help to road comedians).  And it allowed real experience in headlining (which requires not just material quantity, but reps doing that length of time).  The Houston location came under fire from some comedians for headlining porn star Stormy Daniels, who obviously is not a stand up comedian and drew an angry response from most comedians.

 

Now I have made many jokes about A-list comedy clubs booking YouTube stars, actors, Instagram celebs and WWE wrestlers to headline their clubs, but the Daniels booking did not make me feel the same way. Perhaps it was some personal bias, but the Joke Joints were basically C-list clubs.  They were not owned by a chain. They were owned by one guy who was giving opportunities to comedians who otherwise would not get that opportunity.  So with that goes a need to boost attendance in other ways.  If the JJs were booking A-list acts they wouldn’t need to stunt book, but they were giving working/struggling/up and coming/down on their luck comedians opportunities that other clubs couldn’t (and can’t) bother to provide. That should be understood and celebrated.  That is why I defended JJ’s specific booking of Daniels.

I emailed the owner of the JJs recently to thank him for his years of bookings and to wish him luck and say that I was sorry the clubs had to close.  He thanked me, but then said something that made me sad, but also confirmed a lot of my cynicism of the “comedy community.”  He told me that he was sort of surprised at how few people had reached out after the closings.  I was sad because this was not a business owned by a some faceless conglomerate – the owner was on site most of the time.  He did the bookings for the clubs. In St Paul, before he moved to Houston, the comedy condo was the top floor of his own family’s house (kept very nice with a separate entrance for comedians). You could not have an owner with a more personal connection to the comedians. And the response to the clubs’ closings was mostly silent ingratitude.

For years I have hoped for a groundswell of comedians to push for a guild (Hassan Minhaj’s Netflix show recently highlighted a push by video game developers to unionize – so now gamers are ahead of comedians on labor rights), but said many years ago that you probably cannot organize a work force that already acts with the self-centered desperation of  a scab.  But this demonstrated to me that comedians are just as big a problem to the comedy bubble that has already burst for the working class.  It is an industry littered with a workforce with Boiler Room ethics.  I have consistently blamed the management and business classes of stand up for its problems, but it takes two to tango and a stand up community filled with equal parts opportunistic social media and podcast stars and actual comedians  is not going to be the place to look for moral or ethical behavior.

I know it’s a small sample size, but there are top tier comedians and nobodies who have made their way through the Joke Joints and the club has been opened for many years.  That’s hundreds of comedians who have walked through their doors, many for their first or only headlining opportunities (hopefully local comedians were more thoughtful and appreciative than the headliners).  But as my comedy career winds down, to my deep disappointment (though a new doorman at my building found out I did comedy and binge watched my YouTube channel last night with his wife and loved it! #HopeSpringsEternal), I can take a perverse comfort in knowing that, although there are good people at all levels of the stand up comedy world, perhaps it is a community that I will be better off without.  I hope the JJ owner is better without it as well if he chooses to be done with the business.

Gary Gulman: Putting The Funny Back in Painfully Funny

2000 years ago a lean Jew with a gift for analogies died for the sins of mankind and reshaped the world in the process. While not nearly as historic or dramatic, two thousand years later at a low point (in this writer’s opinion) for the art of stand up comedy, a lean Jew just turned his suffering into a comedy special that may save comedy-kind from its own downward artistic trajectory.  I am speaking, if you missed the title of the blog, of stand up comedian Gary Gulman (full disclosure I am friends with Gulman and have been a huge fan and deep admirer of his comedy for the last 15 years. But the friendship is not of the nature that I would lie if his new special was less than great. I would be silent if I felt like what I saw was mediocre or even merely very good). What I saw Saturday night in Brooklyn (this will contain no spoilers as far as material) was as important a special as there has been in the last decade. But its importance does not merely stem from its deep dive into Gulman’s mental health struggles, which give the framework to The Great Depresh. Rather, it stems from the fact that it is hilarious. In this age of cop out one man shows, mediocre stand ups elevated for their social media followings or podcast metrics and teary confessionals being praised as great comedy, despite the paucity of laughs, Gulman has offered definitive and hilarious proof that stand up comedy can still be used to turn pain into laughter, and not just applause and whispers of “how brave.”

When I arrived at Roulette on Saturday there was a long line (I was attending the second show). As my girlfriend and I (she bought the tickets – I was offered comped tickets, but in this age of “gimme free content” I believe in paying for great musical, comedic and pornographic artists) approached the entrance Judd Apatow exited the building (he is producing Gulman’s special for HBO).  I briefly contemplated kidnapping Apatow (he was only surrounded by three women, all of whom I think I could take) and demanding he produce a special for me, but I thought better of it.  When we got to our seats (the balcony – we were too late for the lower level) and it was the only time I was disappointed the whole night.  The leg room was a tight fit, which felt ironic because Gulman, at 6’6″, is the patron saint of tall comedians (apologies Brad Garrett).

Only drawback to the show was doggystyling the guy in front of me #TallProblems

Without discussing any of the specific jokes I can tell you that Gulman’s set, running about 70 minutes, started with an upfront admission of his recent mental health struggles.  I actually briefly feared that he was going to do a one man show confessional (I was the Doubting Thomas to Comedy Jesus), but within a minute he was into classic Gulman. It almost played like a comedic biopic, where the movies starts a little before present day to showcase the low point, but then we go back to childhood and work our way forward chronologically.  It was all the language and in-depth story telling that are signatures of Gulman’s brilliant comedic style, but applied almost exclusively to autobiographical material (if Apatow is reading this I would like to nominate myself to play Gulman in the biopic or limited series).

So the show was an A. That’s the easy part. When a great comedian takes his game to a more personal level it should not be surprising when it is great.  But what made me happiest, as someone who cares about stand up, is that this special will re-set the current standard for personal pain as great stand up. No longer should we have to choose between good comedy and teary confessional spoken word as two branches of stand up – stand up comedy requires laughs and Gulman’s latest proves that a truly great comedian need not sacrifice laughter for truth and depth.

And on another note I think this is exactly the special that HBO needs.  They have been in a particularly long drought (with exceptions for Michelle Wolf’s strong special a few years ago), which is painful for a network that gave us Chris Rock, George Carlin, Dave Chappelle and others. Netflix now has a gluttonous chokehold on specials (but seriously Netflix – call me, I’m really good and need the money), but with Amazon inking a deal with Jim Gaffigan and now Gulman delivering a masterclass for HBO perhaps the prestige can return to HBO, or at least loosen the Netflix monopoly.

So hopefully my “Comedy Jesus has come to save comedy and HBO” has not set the expectations too high for Gulman, but on an equally serious note for Judd Apatow, if you don’t want to cast me as Gulman in a limited series (though please consider my tour de force sketch as Gulman in Comedy Academy Episode 3) my other thought is developing a movie with Gulman and Jon Bernthal playing brothers (Gulman is the big sensitive brother, Bernthal is the ex-military jerk who gets kidnapped and requires his large, but gentle and cerebral brother to save the day. Hilarity and life lessons ensue). I think it’s comedy and cinematic gold!  But if not, at least Gulman and Apatow are going to give the world a great and needed comedy special.

The Comdedy Bubble Has Already Burst

At the end of 2018 (way back then) I decided to ditch Facebook and Instagram. Aside from the negative psychological impacts of Facebook, their actions related to the 2016 Election, privacy and just their overall deplorable corporate conduct made me realize that I had to delete my accounts (Facebook owns Instagram for those that don’t know). And full disclosure, Facebook’s 5+ year saga to crush content that was either hosted on other sites (blogs, YouTube, etc.) through their constantly evolving greed algorithm made it easier to depart as my content was not even benefiting the way it did years before. So, as I told fans/friends/followers in a few posts in December that they could still follow my site, YouTube and Twitter for my content, a few of my 4000+ “friends” followed me, a majority didn’t see it (a vast majority thanks to Facebook’s work) and the rest offered something akin to obituary comments. Some explained that they hated Twitter (but were apparently OK with Facebook, a far more morally and psychologically corrupt company) and others just had no compelling interest to continue to consume my content (the overwhelming majority of which is free – only my 6 stand up albums cost money – my weekly podcast, blogs, videos and tweets are all free and occur with far more regularity than the roughly 2.5 years in between stand up album releases) despite near daily amusement (which I assume from the many likes compiled every day). It dawned on me that most of these people liked my comedy, but liked Convenience a lot more.

I live in NYC, a fairly liberal city at least in how it votes. But every time I see people from my midtown Manhattan building ordering Uber (a company I ditched much faster than Facebook for many of the same reasons), or see Starbucks recycling cans stuffed with non-recyclables (or recyclables in the garbage can right next to the recyclables can), or witness thousands of people shuffling along zombie like on crowded rush hour streets and subway stairwells or a thousand other things I realize, even in some of our most ostensibly progressive/liberal places, we are now in the era of Convenience. And I capitalize it, at the risk of appearing Tom Friedman-ish, because I think it is a social movement that trumps almost everything else (somewhere Progress was replaced by Convenience, but we never stopped calling it Progress). If a city with extensive public transportation and a fleet of yellow cabs cannot separate themselves from the convenience and control of hailing a cab to their door, even if they must wait longer and contribute to an epidemic of traffic and pollution in NYC, then what chance is there (let alone ethical right to moralize to) to get more conservative (individual liberty leaning) people in redder parts of the country to agree to give up their way of life, especially when the sacrifices they are asked to make often are part of a much more substantive change to their lives?

I am only examining the small microcosm of comedy in this obviously very large problem of Convenience. Our addiction to Convenience has already decimated lower-middle class and middle-class jobs (Amazon is at least 5 years past the point where they should have been broken up on Antitrust grounds… yes I quit Amazon/Amazon Prime/Whole Foods as well) and is still at least an equal force as the GOP in stopping our needed commitment to fight climate change – the metaphorical asteroid headed for Earth. However, I do think examining stand up comedy is instructive. Comedy is something most people enjoy on some level, but have come to expect it to be curated and delivered to them with the least amount of physical or intellectual effort (if clubs could book memes at this point I am sure they would). So as Comedy Central and HBO have abdicated their previously vital role of stand-up comedy cultivation, Netflix has entered to dominate the realm with a gluttonous oversaturation. They are in the business of eyeballs and will deliver more comedy than is necessary, good or wanted just to achieve more eyeballs. They are literally devaluing the concept of a special before our very eyes. Meanwhile, social media, especially Facebook, has given people loads of free content, while also cultivating an environment that makes the average person appear on par with comedians as algorithms cultivate feeds and motivate people to get thumbs, hearts and smiles. I learned this the hard way when I saw how many people were unwilling to either ditch Facebook (not really my point, but it would be nice to see) or add a less putrid social media site to their rotation to follow a comedian for whom they expressed enjoyment . In other words, the platform now trumps the content and eve more so, the content creator. And I think this is a clear sign that the Comedy Bubble is set to burst, if it hasn’t already.

Of course, I have other anecdotal evidence that suggests to me that the Comedy Bubble that has built up will burst and burst big. The Funny Bones – one of the big chains of comedy clubs has joined the Helium chain (a smaller, but prestigious collection of clubs) in only offering 5 show weeks (eliminating Thursday shows). Now if you are to ask and listen to comedians already in the money, they will tell you stand up comedy is fine and the only threat is “PC culture” or some other boogeyman. I will address that later, but when the biggest chain of clubs decides that a 17% reduction in shows is better for the bottom line it should be making more headlines for comedians than what a comic said at Columbia University. Mind you – middle acts are not getting an increase in pay (making it 30+ years at the $100 a show rate, but now with fewer shows and higher transportation costs than in 1988) but this also has not really registered for the “comedy community” either. Money in stand up is like the stock market at this point – those with the leverage, power, management and means to be at the Netflix special level or a similar perch see money and pilots being thrown around and think it’s a Bull Market for comedy. But to borrow an analogy from politics – Main Street comedians are making less than their counterparts in 1988 from club work. Not to mention the fact that many more headliners (both elites who sell out rooms and guys lucky enough to just have the spots) are bringing their own features which in many cases is elevating mediocre comics ahead of the once normal selection process because of… Convenience (multiple A Comedy Club bookers have told me this, though all you need is eyes and ears to know this). Some do it because they want a friend. Some do it because they want a shitty opener. Some may have another reason. But for a profession that often likes to proclaim itself as a meritocracy this is about as Un-Darwinian as it gets.
So why isn’t there an uprising among comedians? Some form of concerted action? A guild? People simply giving a shit? One easy reason is that like country bumpkin Republicans who vote against most of their own interests, rank and file comedians often think they are going to be the next elite comedian and want all the riches and privileges that come with it, so why change it? But a more widespread reason, in my opinion is that Facebook is now the nation’s comedy club and the majority of comedians (the comedy proletariat) who make nowhere close to a living are content to thrive on social media and people are content to absorb tons of humor (and try their hand at it) from Facebook. My new album was the worst selling of my career, despite me having my largest social media reach to date and it being my best album. I think it is because the idea of paying for comedy (especially from a *gulp* “nobody”) has never been a tougher sell. If you don’t have a streaming subscription already to a Spotify or Apple you just are no longer programmed to pay for content that way.

Sidebar – I wrote many years ago that Louis CK selling his special for $5 set a bad marker. He had the power to cut out the middle man and as someone who has self-produced every one of my stand-up albums, I respect it. But by creating a new expectation that the best in the business only asks for $5 I thought it might have had an Amazon-like psychological effect on the comedy market. If a comedy star places that price on their work, why would the standard $10 from me or someone in my position be enticing? As it turns out sites like Apple and Spotify one upped him with a “How about all the comedy AND music for $10 a month?” But I digress.

If I cannot get fans to sign up to Twitter to follow me, what the hell chance is there of them opening a wallet? And this is all fine, except how can the stand-up comedy art expect to grow in a substantive way when it is borderline impossible to make a living at it (as in survive without a day job – I am not expecting to be rich, or even thrive at the middle level), except at the highest level?

I know this is just my own experience, but I am smart enough and more than experienced enough in this business to see that these are not isolated experiences that I am having. A population programmed to value the convenience of content over the provider of the content thanks mainly to Facebook, a workforce that largely doesn’t actually work at any level where labor issues might concern them (sort of the Uberfication of stand-up comedians – treat an art like a side hustle and you’ll never be motivated to join forces or value the art) and a streaming platform that cheapens the special-ness of live stand-up comedy is a toxic combination that has brought stand-up comedy to a brink. Combine that with a powerful class of comedians blinded by riches at the top and a mentality that is unfiltered Paul Ryan – an almost absurd, self-serving belief that those at the top are simply more meritorious than some of those stalled on the way up and you have a recipe for a massive decline in stand-up comedy.

So while Facebook, whose likes, if not the new opiate of the masses, certainly are the opiate of the comedians, joins forces with Netflix (both metaphorically and in stolen data) to drive comedy this way we also have a cultural civil war going on in stand up comedy. We are starting to see the results of when stand up comedy, overexposed and overinflated through the Internet smashes up against the scrutiny of the Internet, the very means of much of its exponential, short cut growth. It is very much the chickens coming home to roost. And I for one welcome it. I am not saying I agree with all the arguments on either the left or the right (though the Kumia Kompound Krowd tends to scream bloody murder whenever one of their favorites is called out for offensive content or slurs, but responds with a chorus of “shut the fu*k ups” to those who voice disagreement, unable to see the irony through their MAGA hoods apparently). But as the traditional path to stand up quality and success (writing and performing and travelling – the path I have taken that has made me an excellent comedian and an economic failure) has faltered and been replaced with an Internet and social media warp speed path, weaker comedy and bigger opinions have filled the void. This has led to failure. Certainly not economic failure (I’m sure the mean income of comedians is fine, but the median income is undoubtedly dogshit), but a larger failure for the quality and stature of stand up. Just because it suddenly got easier to be booked as a headliner for a select few, did not suddenly make the process of creating good stand up any easier. And the cultural battle within stand up that has spilled into the public square has problems on both sides. I see the right-wing folks demanding that their preferred voices not be diminished at all, as if benefitting from the greater and accelerated exposure should not or cannot come with anyone validly objecting. And on the other side I see left wing voices willing to throw away context and respect for an art embraced for pushing envelopes to satisfy their day job. human resources department concept of right and wrong. And often both sides are expressed with an aim of accumulating responses on social media.

I will tell you my two favorite specials this year were from a woman who hadn’t done stand up in 15 years (If I need to tell you who then why are you even reading a long essay on stand-up comedy?) and a Showtime special (Erik Griffin) that most of my contemporaries (let alone non-comedian friends) hadn’t watched. I saw HBO hit new lows, numerically and qualitatively. with stand up and I watched Netflix present a veritable parade of mediocrity (I cannot and did not watch everything, but I found myself largely unimpressed). There is no incentive or for the public to buy/support unknown comedians thanks to social media. There is no incentive for the business to develop or rigorously scrutinize specials and acts because Netflix is basically a blank check. And there is no incentive for comedians to stand up for what’s right because a majority don’t make enough, don’t expect to make enough, or just don’t plain care to treat it like a real job (you know, when they aren’t “Roast Battling”). So instead overly sensitive stand-up comedy neophytes, who have been convinced that their social media reach has magically enhanced the quality and importance of their opinions (and in some cases their stand-up), do battle with crude morons cloaking themselves in “free speech” while the foundations of the art and business crumble beneath them.

So in 2019 I think the Comedy Bubble will burst more. I say more because every time I see a club advertising a YouTuber, a WWE wrestler or a washed-up actor I realize it already has burst. It’s just time for it to continue leaking until enough people notice. “The medium is the message” is a phrase coined by Marshall McLuhan and I think it applies perfectly to comedy in 2019. Facebook and social media ARE the comedy. Comedians are the only ones who still seem to think they are important to the process.

The No-Name Comedian Manifesto for 2017

As 2016 rapidly approaches its conclusion I am reflecting on a year that has been by far my most successful financially as a comedian and also in some ways the most frustrating.  I have made the most money of any year, in part thanks to royalty payments for my albums, in part thanks to President-Elect Donald Trump and in part thanks to 13 years of diligence in trying to get booked as a feature at as many comedy clubs as I am able.  I had an album reach #1 on iTunes and have made repeated performances on the top podcasts in the country.  All done on my own with no representation.  However beneath the veneer of budding success lie harsh truths.  I have been unable to build an infrastructure for my career.  Unlike a regular job, having a good year does not guarantee anything of the sort next year.  There are no linear promotions in stand up comedy, at least not for the unrepresented among us.  Having a good year in 2016 simply means I will have to redouble efforts in 2017 just to maintain the level I achieved this year and hope for recognition, notice and/or opportunity in 2017 that may allow me to surpass where I am currently.  But the difficulty is that even if you double the money I made in comedy this year I would still need another source of income to continue living the pleasant, but month-to-month existence I have had for the last several years.  So what that amounts to is that as I approach my 14th year in comedy (and look up the lyrics to Guns N Roses’14 years for a solid description) in what at times feels more like compulsion than enjoyment, I will have to work at a pace that didn’t fatigue me when I was working as a full time attorney and open mic comedian 10 years ago, but now exhausts me. And unlike the comedian I was in 2006 a lot has changed since then.  In 2006 I had to worry about stage time, writing and getting clips to bookers. Today there are a dozen social media platforms, YouTube videos and podcasts all of which help you expand a fan base, but all of which take time and energy (in some cases money) and are not stand up comedy.  And without a larger platform, media presence, or gatekeeper, you are only likely to expand linearly (my podcast has grown from 200 to 1000 listeners a week since I started it over 4 years ago, which is nice and from a larger comedy business perspective, completely irrelevant) and in this business exponential growth is needed and is still almost always controlled by powerful players in the business.  However, just like state lotteries, the powerful in and around comedy have no qualm feeding the myth that the average guy with some pluck and a $1 can be the next success.  So as we approach the conclusion of my most successful year as a comedian I offer some words of how comedians can help themselves and how the business can help comedians.  Do I expect any of these to take hold? No. But I need this Starbucks coffee to cool off so might as well write.

Comedians Need a Guild

Having attended law school and practiced as an attorney I wish I were more well versed in labor law, but I am not.  But I do know that stand up comedy needs a guild.  Now I would not expect it to wield as much power or prestige as the Screen Actors Guild, nor provide certain things like health insurance because the economies of comedy clubs are not what they are for film studios, but certain protections and rights need to be enshrined for comedians at some point.  For example – the fact that feature acts continue to be the most squeezed of the three comedian levels (emcees – often locals, entry level, middle acts – who have to do the travelling of headliners and perform more time than emcees for a fraction of the money headliners get).  The pay per show of feature comedians has not gone up in 30 years.  Half the clubs now do not provide lodging for feature acts. That means a feature act, who presumably is the next decade’s headliner (after he or she waits for the Vine stars, Instagram stars and MTV2 stars to leapfrog him or her) must find a way to travel and lodge themselves and hope that frugality and merchandise sales can help them make a little money.  And of course the real reason to do it for net gain of maybe a few hundred dollars is to make contacts, hone your act and possible make some fans.  But this is no longer really a viable path for people to earn a living and become great comedians. Therefore a Guild should guarantee lodging and/or increased pay for features. Now clubs can be organized by levels (colloquially we call them A or B (or C) rooms – based on crowds, location, prestige, etc. and those levels can be required to pay features a certain level. For example if no lodging is provided then an A room would have to pay a feature $150 per show instead of the standard $100 per show.  These are just figures meant to illustrate my point as several clubs already do pay $100 per show plus room, but obviously there is something wrong with a job that is paying the same or less than the same job in 1986 (in real dollars, not adjusted for inflation).  Like America, the Middle Class of comedy has been the one most decimated by cutbacks at clubs. In fact, I would argue that they are the only ones paying.

Another issue I would want a comedy guild to address is an outright ban on clubs managing talent. SAG for many years (I could not find out if the rule was lifted recently) banned talent agencies from producing content because of the obvious conflict of interest.  I manage you; I make a movie; I cast you ahead of other talent and then I collect 10% of the salary I pay you for being in the movie.  However, there are clubs that manage talent, allow that talent to monopolize spots at their club or clubs and then force feed their talent on showcases for networks under the guise of presenting a cream of the crop of talent for networks to select from.  In this age of everyone telling comedians that gatekeepers don’t matter – they still matter a lot.  We can keep producing free content while being sold a false dream or we can wake up and realize that for every Bo Burnham there are 10,000 people producing free content, some of it good, with no shot of breaking through without an established entity or gate keeper paving the way.

These are just two ideas I have regarding a comedy guild, and I realize they, along with other ideas, would require a collective action that the comedy community may not be capable of.  I have said this with some scorn and also some self-blame, but it is hard to organize a labor force when the majority already act and think of themselves as scabs.  New comics are afraid of ruffling feathers, comics with some heat and opportunity are afraid of squandering what feels like a shot at the dream and big time comics are too removed from their struggling days to relate or care about the diminished outlook for comedians today.  Of course, nothing is guaranteed, but with the Internet demanding more of comedians than ever, having a business that is increasingly stacked against the middle class of comedy cannot and should not be tolerated by comedians at any level.

 Facebook is not Your Friend

I have a buddy who is a comedian, but also owns and operates a hugely successful non-comedy Internet company.  He has over 2 million fans on his business Facebook page. And over the last couple of years, as Facebook has approached 2 billion users worldwide it has become more and more difficult for him to reach his fans with posts because of the algorithms Facebook has instituted.  Facebook has become immensely profitable and their answer to that has been to squeeze the people, business and creators that have helped make it successful.  Google pays successful video makers and Twitter does not hide posts – there is still an egalitarian spirit in their business model, unlike Facebook, which basically holds its creators hostage.  Facebook, as many of you know, discourages YouTube videos from being seen. As an example, 3 years ago I had a YouTube video link go viral. It had 81 shares and 200,000 views in 3 days.  Last year I had a video get 80 shares and it had 5,000 views.  There are other factors to explain some disparity, but none to explain that large a disparity other than Facebook’s algorithm.  Now Facebook wants its users to directly upload through Facebook and your reward is the ego boost of more views, but nothing else. No compensation, no credits for ads. Nothing.

Facebook is a media giant. Make no mistake about it.  They deserve to be treated like CBS, ABC and NBC and I hope the criticism from fake news stories being spread finally gets them to wield the power they cultivated with more responsibility.  And as their ads continue to cost more and more money it will reach a point where your feed will be flooded by only the companies and entities that can afford to advertise on radio and television.  So like many things in this country, they are driving their success on the backs of content creators, but making it unaffordable for those creators to get exposure (get exposure and make no money or upload a YouTube clip and get no views).  Once again, at least Google pays people (there are plenty of issues with Google as well, but trying to keep this under 3000 words).  My solution, as unrealistic as it is, would be for comedians to not upload any content directly to Facebook.  Once again, this would have to be some sort of hashtaggy moment to draw attention, but we are now addicted to likes and clicks like a digital heroin, so I know it is unlikely.  Facebook is just another big, bad company, except they actually don’t make anything. They steal ideas from other apps and they use free content from its users.  And comedians should consider themselves one of the main foods on the plate of the social media parasite.

Do Not Use a Label to Produce Your Album(s)

I have self produced 5 albums and self producing has had real financial benefits. This year I will make a little over $15,000 in royalties because I am both the artist AND owner of my material.  I have produced good content, but I have never been able to get a label to produce any of my albums.  Now this comes with a caveat before I continue. If you are a major artist you can negotiate a deal that works for you. Like most things in comedy (and America) if you come into a deal with power you will leave with power and lots of money.  Or if you are an up and coming artist and Comedy Central wants to work with you and produce your album that relationship has immense value for your career because of their reach and their numerous platforms.  However, if you don’t fit into these categories I would advise you to take to heart what you half-heatedly tell yourself when trying to justify continuing a rocky career path: do it yourself.

This is one of the few areas where there is an ability to do it yourself (this assumes you are at a level of skill and talent where your material is at a point where it is worth putting down in an album and can find, if not an audience, at least respect, if people hear it).  I get the breakdown of my royalties each month and it is roughly 47% to the artist and 53% to the  rights owner.  Now I probably make a decent amount relative to most no name comedians, but let’s say you are a comedian with one kick ass album. Maybe your label even negotiated a good deal for you, but bottom line is they will make half of your money in perpetuity of your album(s). Why? Because they put up the up front costs for you and got you a nice venue – it may not be a deal with the Devil, but I assure you it is not angelic either.  Once again the lure of a top notch production and immediate gratification lures comedians to wager their long term benefits.  These labels aggregate albums from big time people and dozens if not hundreds of no-namers like myself.  So while you make $500 a month they may make $550 a month x 100 (or more) comedians. Individually, like class action lawsuits, you have no reason to really challenge, but as a collective comedians could change this industry.

If you look at the iTunes comedy charts you will usually see albums from 5 labels dominating and they will also occupy the “New and Noteworthy” spots with high profile placement.  My album Israeli Tortoise hit #1 on the comedy charts in August, but it had no backing, no label and never got placement as new and noteworthy, even though one might think reaching #1 in its first week might make it both new and noteworthy.  The point is that the only way to change the business is to practice what we preach, or at least pretend to believe.  In an era where music labels, television studios and movie studios face increasing competition, comedians continue to be a reliable source of entertainment slave labor where large companies feed the narrative that “gatekeepers are not necessary” to encourage free content, while simultaneously benefiting from their monopoly on real and concrete opportunity as… gatekeepers.

Of course I must admit that I do not know how each of the major labels operate or the nature of the deals they sign with comedians. I can only extrapolate what I know from my payment breakdown, how I see working no name comics treated by the business and the general lessons of history when powerful interests and business operate without restriction or restraint.

And In Conclusion…

America recently elected Donald Trump president.  This was the insane result of many things and one of them was working class people willing to buy a lie wrapped in a fairy tale because they were desperate to believe something that catered to their anger and diminished clout.  In comedy there is no need for a Trump because it is already run as if Trump is in charge. Contradictory policies, false promises and the middle men and no-namers buy in against their own interests.  As my friend Mike Payne said perfectly (and hopefully now famously?) “Comedians talk about the world like Karl Marx and then become Paul Ryan when speaking about comedy.”  I am not here to say that I am going to burn myself in front of a comedy club like a monk during Vietnam, either literally or metaphorically (though some might say this blog is doing just that), but there is no better industry more emblematic of income inequality and a rigged system than the broken backs of the middle class of comedy.  The question is – will comedians ever band together and do anything about it because it is only getting worse.

Get J-L’s new stand up albums KEEP MY ENEMIES CLOSER &  ISRAELI TORTOISE on iTunes, Amazon & Google.

The Jim Gaffigan Show: TV’s Funniest and Best Depiction…

With Veep‘s season over (please Silicon Valley people be quiet – SV is a very good comedy, but it is not in Veep‘s league), my binging of Unbreakable Kimmy Schmidt long over, no more OJ-themed TV shows on the horizon and Game of Thrones 10-500 months away from its seventh season, there was a major hole in my TV roster for great comedy and/or must-watch-TV.  However, those vacancies have been filled admirably and surprisingly by the 2nd season of The Jim Gaffigan Show, which to me, is the best and most satisfying depiction of stand up comedy that I have ever seen.

As far as depictions of stand up comedy (calm down Seinfeld people – that show featured a stand up comedian, but was famously a “show about nothing”) in my memory I can think of Louie, which before I gave up on it had glimpses of greatness (the episode featuring Dane Cook still stands out as the best one and his season 1 episode going to Birmingham was incredibly authentic and funny, and not just because I too got heckled at a large room in Birmingham) and Funny People – the bait and switch 4 hour movie by Judd Apatow that was “about stand up comedy,” but turned out to be another rom com that was too long that happened to have some scenes at stand up comedy clubs.  I may be forgetting other things, but for me that is irrelevant because TJGS has been brilliant in its humor this season and specifically in its simultaneous depiction and parodying of stand up comedy in 2016.

Season 1 of The Jim Gaffigan Show was very good, but it felt like more of a focus on the family and personal life of Gaffigan. It made me laugh and was a pleasant diversion from life, exactly what most would want from a 30 minute sitcom.  The cast was excellent, especially a longtime favorite of mine, Adam Goldberg, in what I think must be some sort of amalgamation of different comedians Gaffigan has been friends with (I always thought it might have been Greg Giraldo, but the character, Dave Marks, is too much of a quasi-loser, underground figure to be an exact parallel). At the end of season 1 I thought, “I hope that show gets renewed.” And it did.  And even though Gaffigan and Louis CK have different sensibilities and styles, I thought TJGS was more of what I hoped Louie would be. Instead, Louie morphed into a largely unfunny (to me) homage to Woody Allen movies.  Fortunately, season 2 of TJGS is not a Kubrick-esque exploration of art and family, but instead has turned into a brilliant depiction of stand up comedy that combines accuracy and parody seamlessly.

Whether the show found its voice more clearly, hired additional writers or if simply this was its natural progression, season 2 has been one of the 3 or 4 best comedies I have watched on TV all year (I would have to imagine ABC which, given Gaffigan’s clean and widespread appeal and well known family of 7, would have seemed to have been the ideal landing spot for TJGS. Instead it is on TV Land).  And the main reason to me is the brilliant direction the show has gone with stand up comedy in particular.  The last two episodes (pardon the recency bias) have mocked the alternative scene (“Union Hall is actually a mainstream alternative room”), the idea of road comedy (“I do theaters,  I don’t know if that makes me a ‘road comic'”), the obligations to your friends in comedy (“You gotta have your buddy open for you”), seeing your friends not help you out in comedy (“Oh THAT Q.E.D”) and portrayed the struggles of a non star comedian with tremendous humor and accuracy (“I might have to get a day job”).  What makes this more impressive is that Gaffigan’s actual career is far removed from the professional struggles he portrays.  That is either a credit to his mind and memory, a credit to the writing staff, or both.

There are literally too many moments from the last two episodes for me to recall all of the jokes that hit so well on truths in stand up comedy, but the tight rope of parodying something, while still accurately depicting it is really impressive.  Perhaps stand up in 2016 has already become a parody of itself and TJGS is merely reflecting it, but to anyone out there who wants to laugh and wants to see something that really and truly depicts the world of stand up comedy, set your DVR to The Jim Gaffigan Show.

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! And look for J-L’s new stand up album ISRAELI TORTOISE in August 2016.

Comedy Central Announces 2016 Roster for The Half Hour

I am happy to announce that after years of blogging about stand up comedy from an insider’s perspective I have my first major, confirmed scoop – Comedy Central will announce their roster of 16 new choices for their stand up series, The Half Hour, in the next month, but I have obtained the list of the chosen comedians this weekend!  Before giving you the specific choices (congrats to all those who have been selected) here is the demographic breakdown: average age 29 years old, average gender: cis male with hipster sensitivities and average beard length: George Clooney when not filming a movie. So without further adieu, please read up and offer congrats to 2016’s choices (who will now realize that they have at least 400 people who consider them close friends):

3 Women – With 2016 being the 5th consecutive year of “the year of women in comedy” it is refreshing that Comedy Central has bumped up their usual number of half hour specials from 2 to 3.  One woman will be a woman of color, one will be an attractive white woman who shares tales of her sexual adventures and one will be a “regular” white girl who hates Tinder and generally hates societal judgment.

4 Bearded White Men – Despite recognizing the importance of reaching the key youthful demographic of sperm, the industry still has a soft spot for the residual effect of Zach Galifianakis blowing up in The Hangover 7 years ago. Beards became all the rage back then and their presence is still with us in the comedy industry’s tastes, as evidenced by 4 bearded white men chosen for this year’s slate (3 awkward, alt personalities and one guy who is a mainstream comedian who just happens to have a beard).

3 Veteran Comedians – These are the spots for skilled comedians with over a decade of experience in stand up (one of who will most likely be recording his or her 2nd Comedy Central Half Hour).  These are nice token gestures by the producers to show that occasionally old people over 28 need to be represented in stand up, even if that forces Comedy Central to commit the sin of including comedians born during or before Reagan’s presidency (who?).

1 D-list celebrity – I won’t name names here, but there is a comedic actor with almost 18 months of stand up experience and over 30,000 Twitter followers who is likely to drop hot fire in a Half Hour this summer (despite his agent trying to strong arm for an hour, known in the industry as “The Donald Glover Deal”).  There is a rumor, however, that this spot may actually be given to a Vine/Instagram celebrity (TBD).

2 Non Threatening Male Comedians of Color – 1 black guy who is a nerd and/or hipster and for the other male POC spot an Asian, a Latino and a Black guy will choose straws on Feb 26th (so specific name TBD).

7 Comedians with 1 Conan Appearance Each – As the only real showcase for stand up on a consistent basis in the late night sphere this may seem like easy picking, but with only 7 chosen, that still leaves 411 1-time Conan appearance comics without a Half Hour.

There is some overlap if you add up the list, but if you think that is a mistake you are wrong and you have the problem – ARE YOU SUGGESTING A WOMAN OF COLOR COULD NOT ALSO BE A GUEST ON CONAN OR THAT A VETERAN COMEDIAN COULDN’T ALSO HAVE A BEARD????? There is overlap here, but this list is confirmed so offer congrats to the comedians and managers who made some dreams come true in 2016.

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 New Wave of Harmless Diversity in Comedy

In law school (what a pretentious way to begin a blog post about comedy) we studied, among hundreds, the case Bakke v. Regents of California.  It was a 1970s case where the Supreme Court took on affirmative action for the first time.  It ruled that although racial quotas were unconstitutional in college admissions, using race as a “plus factor” was allowed, with the vision, correct in my estimation, that different races can provide different perspectives and value to a college experience that can benefit all students.  The sharing of different experiences and the exposure to people who many do not meet regularly in a largely segregated society (America as a whole, so please don’t tell me about how your neighborhood is different Astoria comedians!) is of value, as is addressing some inequities ingrained in our society.  Perhaps you do not believe in race based classifications of any kind and if that is the case thank you for reading my blog angry white person or Clarence Thomas.  But I think, on the whole, racial diversity is important for various reasons, exposure, familiarity and diversity of life experiences all making up its relevant components.

Last week I had a show in Brooklyn in front of a fairly mixed crowd, racially speaking.  Normally when I am doing material with either racially infused commentary or racial insensitivity I preface some of that material with autobiographical details. I discuss my mixed race heritage (Haitian father, Irish mother) which seems to set people more at ease to laugh and/or think about my material.  But on Thursday I opted to go right for one of my better bits of the last couple of years on black bouncers.  Here it is on YouTube from the DC Improv last October:

For the DC Improv crowd I had already prefaced it with my personal details, but last week I went right into the bit with no details (and because Winter has just ended and I cannot afford a tanning bed session, let alone a sunny vacation, I am at my lightest skin coloring possible).  And the response was the most mediocre it has ever been for the joke.  The crowd laughed/unclenched their progressive butt holes when I concluded the bit with “Maybe I should have prefaced that with telling you that my father is black. My mother just happens to be Irish which is the hateful bleach of racial mixing so I came out like this. But now maybe you can start laughing because a half black guy is talking about racism instead of the hateful guinea you think I am.”

(Now mind you laughs persisted even though I had dropped a blatant Italian slur, despite having no Italian heritage, unless you consider seeing The Godfather 40 times Italian).  Not to mention that the bit is really about the lingering and hidden racism of white people (or the perception of it – you decide), which you think might play better in a hip Brooklyn space.

In a career of frustrating false starts and setbacks this was a weird one. Granted it was one show, but in 12 years of performing I have noticed that my material and opinions, which usually stand on solid comedic and logical premises require some sort of checked box before I can share them with most crowds, especially crowds today.  I have a handful of sets I can recall where I have done material (mind you, I never drop N bombs or anything like that) without offering my racial identity ahead of time and they have all been less well received than when I do mention my racial bona fides.  Sometimes I refrain from explaining context if I think a joke should stand on its own, regardless of who is telling it, just to spite an audience, rather than pander to their preconceptions of what should be said and who should say it.  Sadly, these experiences have made me realize more than ever, pursuant to some discussions I have had on my podcast with comedian Josh Homer, that comedy audiences (and the industry for sure) now crave useless, or at least harmless diversity more than ever.  Let me explain.

In the Supreme Court example previously mentioned, diversity was not intended as its own end. Instead, diversity’s importance stemmed from the exchange of ideas, of perspectives, of experiences and opinions that would make diversity useful and desired.  And yes, there was, and still is, the idea of addressing certain socially ingrained problems and offering redress through diversity.  But now throughout society and inside comedy in particular it seems we want the presence of diversity, without any real substance to it. The visual of diversity has become paramount and feels more important than the meaning within it.  President Obama, who avoided race, much to the chagrin of some of his black and liberal supporters, immediately become a race baiter/hustler/divisive when he addressed the Trayvon Martin case in personal tones, years into his administration.  Eric Holder, who has been the racial issues pit bull for the Obama administration is reviled by the GOP.   We are so post racial that we get very angry when anyone actually gets racial.

In comedy it has been an interesting swing.  The new preview for Last Comic Standing seems to have accelerated the push for diversity from last year.  Last year featured a lot more color than previous years. There have been articles about a new wave of black male comedians steeped less in racial narratives and more in nerd and alt sensibilities. It seems to be a high water mark for diversity, especially black, in comedy, except it seems there are no new Chris Rocks (he dropped Bring The Pain at the age of 31). It seems the best path to rise from obscurity today in comedy seems to be a black guy who rarely discusses anything about being black unless it is innocuous or if it is used to mock black people (hi Key and Peele).  One need only open a newspaper or watch a news program to realize that racial issues are still at the forefront of American culture whether we wish them to be or not. And comics, who are so quick to cite their role as mirrors on society when defending their mocking the death of a celebrity in tweets, seem to be less likely to engage in some of these issues now.

Before I continue, I don’t want what I am saying and about to say to be confused for its simpler and uglier cousin “Hey, why can’t we just pick the funniest people and leave it at that.”  That is an easy cop out to defend the status quo in terms of opportunity and voice.  Just like the Rooney rule in the NFL, which requires teams to interview at least one coach of color before picking a coach, sometimes it is necessary to introduce new people and groups into the spotlight because the process has largely ignored them.  Keeping things fair and color blind will lead to no opportunities because one group has such a definitive, and in many ways unfair head start.

Now I must say that no one comedian can or should be required to deliver any kind of message or comedy. A comedian must be free to explore their own voice and that voice does not need to be, nor should it be required to be, some bullhorn for social issues.  But when the industry, in the aggregate, begins supporting a comedy whose mere pigment is supposed to represent a message, while muting or not presenting more defiant voices, that is an easy way out for audiences and industry alike.  Obviously W. Kamau Bell (admittedly never watched, but certainly observed the way it was marketed) and Larry Wilmore represented some of what I am thinking about, but Bell is off the air and Wilmore’s show has quickly diverted to a whole range of topics, perhaps because it doesn’t want to alienate people too much, or perhaps it is still too small a sample size to draw any conclusions.  But these are not the wave of new black comics people are raving about anyway.

Of course I do not know every single black comedian, but I do know the type the industry seems to be grabbing for with both hands.  We want to see diversity, but in comedy what we see is less important than what we hear and it seems that we hear a lot less than we see.  When one considers the tradition from Pryor to Rock to Chappelle it is striking to see that the fastest way to success now seems to be as a black comedian who avoids challenging people on race, especially in light of all that is occurring in our society today.  There have always been black comedians who did not make their act race based, but there were also comics who did because in America that is still something worth exploring and challenging.  I won’t make a field slave/house slave comparison (that would be as hyperbolic as the hundreds of people and things that get compared to Hitler on a weekly basis), but when the emerging landscape seems to be black comics who avoid these topics there is either a wholesale abandoning of a perspective by the industry, or a pandering by artists to be what the industry seeks. And neither is very positive in the aggregate.

This brings me back to my bit (what would my blog be without some self-aggrandizing).  A lot of my material over the last few years has been about my perspective as a (to a majority of people) white looking guy who has a black father to dissect some of the things I have seen.  But it seems like a lose-lose-lose situation. If I tell the crowd I am half black it gives me the perceived racial standing to criticize from within, but then it can be uncomfortable for people, usually white, who don’t want to be lectured on the persistence of racism from a guy whose face appears to have “white privilege,” even if he claims a different heritage.   If I don’t announce my racial background the reaction can be even more stand offish, often from both sides of the pigment aisle, even though my opinions tend to be left of center on all things racial.  The only perspective left is to pretend to be a hostile, conservative white comic who is “truth telling” to the masses with “I’m not afraid/I went there” posturing, except then I would not be true to myself or my actual feelings since the few comic voices that lean that way tend to be somewhere between conservative and racist.

I just think between my experiences in life and as a comedian and observing the trends taking hold in comedy (bearded non sequitur spewers have now given way to black/ethnic, “but there’s nothing different about us” comics in the passing of the “what industry is desperate for” torch) diversity doesn’t and shouldn’t mean abandonning or disregarding social commentary.  Perhaps the rise of politically correct watchdogs in comedy coupled with the rise of alternative comedy have created less demand for confrontational comedy (or less comfort with it).  But whether it’s softer audiences, more selective industry, both or neither it would be nice to have more challenging voices join the rising powers.  And if an Italian looking dude with a black dad can’t get away with it then someone with two black parents needs to before we all find out we are all similar and happy and no one is thinking or laughing.

And I am aware that diversity encompasses more than black and white issues, which is why I am predicting a gay winner of Last Comic Standing this Summer, without knowing anything regarding who has advanced, etc.  But in entertainment, as well as in America, black and white issues will dominate the narrative for some time the same way they did this blog.

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 Rise of the TV Comedy Without Laughter

Anyone who follows me on Twitter knows that I was very disappointed when I saw the almost entirely humorless Transparent won Best TV Comedy at this year’s Golden Globe Awards.  Anyone that I am friends with on Facebook know that I find the more bizzare-than-LOL homage to Woody Allen named Louie on FX to be more a testament to Louis CK’s work ethic and enjoyment of Allen’s films than actually funny.  And then there is HBO’s 800 lb Gorilla (no not Lena Dunham, but Girls, the show that generates more smirks and whimsy than laughter).  All that seems left for critics and comedy awards to gush over is if Wes Anderson decides to bring his quirky, critically acclaimed nonsense to a Showtime series before television comedy can finally usher in the apocalypse.  It is really time for some of these “comedies” to start getting a new category saved for people who are occasionally humorous, but cannot compete in the realm of full comedy: spoken word shows.

To put this in perspective, imagine that there were stand up comedy awards and the nominees were Bill Burr, Dave Chappelle, Henry Rollins and a Steve Martin art discussion.  Two of those are comedians. One is a guy who rants for an hour and occasionally throws in a joke to amuse a crowd while they are not in awe of his re-telling of adventures that show how open minded and worldly he is.  And the last is a comedian who is not doing comedic things.   Well this appears to be happening in TV, as shows that are not particularly funny (I deem funny by the ancient test of “does it generate laughter”), but clearly cannot compete in the age of incredibly great dramas, are being allowed to hog some of the spots for best comedies.

For example HBO – Veep has lots of laughs and gets critical and award recognition.  But Hello Ladies or the 1st season of Eastbound and Down got nothing.  Can anyone reasonably tell me that they laugh more at an episode of Girls than at Hello Ladies or Eastbound and Down?  To say nothing of the fact that those shows are actually just better shows, they are certainly better at generating laughs.  I understand that there are reasons why Ace Ventura: Pet Detective did not get nominated for Golden Globes for Best Comedy – it is funny, but it is obviously not a “good” movie.  Tone Loc and Dan Marino are rarely going to have large speaking roles in high quality entertainment. So I understand that there needs to be a quality threshold to be considered.  But once a show meets that threshold then humor should be the deciding factor.

HBO is not alone.  I just recently mowed through 4 seasons of a long running comedy on FX It’s Always Sunny in Philadelphia.  The show is absolutely hilarious.  Please correct me if I am wrong, but I do not think it has ever been nominated for a Best Comedy Emmy.  Perhaps the network is ignored?  Well, that is not true because Louie continues to compile nominations (as well as wins – hey if Louis CK can win for playing himself then why didn’t Eminem win for 8 Mile?) for best comedy even as the show continues to generate fewer and fewer laughs (and viewers).   But on a humor scale it is not even close as to which show is funnier.

Workaholics on Comedy Central also stands out for me.  Admittedly I have found the show inconsistently funny over the last 2.5 seasons, but when it hits, it hits huge, which you would think might generate a writing nomination (for an episode), but not when Girls is generating at least 4 smirks per episode!

 

And then we arrive at Transparent, which may be the apex (or nadir) of this humorless comedy movement. The show is a critical (and I would say Hollywood liberal) darling because it stars a usually hilarious Jeffrey Tambour and is the first show to have a transgender character driving the narrative.  I laughed 3 times during the 10 episodes of Transparent‘s first season.  What makes it even more bizarre is that Transparent is the 3rd comedy on Amazon’s video service and it is overwhelmingly the least funny of the three (I strongly recommend Alpha House and also recommend Mozart in the Jungle).  Despite my critiques of stand up I am actually a relatively easy laugh, especially by the standard of stand up comics.  But that show, which I watched half of the weekend it went up on-line (so I was not biased by any awards) and found it annoying.  But even allowing for difference in tastes, it just was not very funny.  Even half of the people I have engaged with on social media over the show who like it admit that they don’t think it really qualifies as a comedy.  But once again, what is easier to challenge for awards – Breaking Bad and Game of Thrones or Girls and The Big Bang Theory?

So now we live in a world of comedies that don’t make people laugh, but rather think and smirk?  The question is why?  When did laughter, even in awards that have categories to honor comedy, become a handicap instead of a strength?  I would argue it is what happens when a culture begins to cater to hipsters and nerds. Comedy is not jazz!!!  It is not the laughter you cannot hear that makes it fun!  But I think the need to create your own sense of cool and to reject the mainstream and “know more” or have inside knowledge has given rise to these comedies that are the laughter equivalent of The Emperor’s New Clothes.  In an effort to cater to the cool kids of the day shows that are unfunny except to people who hate the sound of out loud laughter, these shows have cut a far too large slice of the comedy award pie.  So hopefully the pendulum swings back soon. It is bad enough the Oscars tend to not honor comedies (though seriously shut the fu*k up if you thought Bridesmaids deserved Oscar recognition) but in awards like the Emmys and Golden Globes it is time to give actual laughter more weight in determining what makes a worthy comedy.

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.