I posted a similar blog to the Godless Grief myspace page, and to the blogspot page, but I didn't post to the comedy blogs yet, and I think it needs to be said- a huge chasm exists between self-editing for the sake of the audience and self-censorship for a demanding person or persons. Let me explain.
I did a show a few weeks back in the daytime, where my audience was predominately in their early to late 80's, (no exaggeration), and it wasn't quite yet noon. I had a show written out, and I looked at the audience and figured out- many comments I would make would simply fall flat for being too demographically slanted to another audience, and more so, too unrelated to the previous shows that happened for this organization. There was a section that I would normally use but a recent guest talked about a similar topic and since I am very aware of that person's take on the subject- I didn't want to beat that horse with a Steven Seagal bluntness that would again, fall flat.
Therefore, I decided to use the ideas that I often play to people here in Vegas- and on stages around the country- that stereotypes are the only time people who censor themselves seem to tell the truth. That's an underlying theme for much of my work, and the point I kept making is, "Not that I would censor myself, like I would normally talk about..." then I would go ahead and relay the topic, "But I can't do that here." Okay.. a lot of the crowd got that, laughed, emailed, and even said they hadn't heard it put that way before. Then there was the ONE person- and there always is at least one- who was so rapt in the phrase, "I would normally talk about.." that he missed the idea that I had, in fact, exactly talked about, xyz.
He came up to me and said, "I kept wishing you would just say whatever it was you were going to say.." In fact, I had. I had talked about racism. I had talked about sex. I had talked about porn. I had talked about censorship. All the things I said, "I would normally talk about.." I actually DID talk about. This guy never once figured that out. Instead, he spent a full 15 minutes AFTER the event to tell me his take on the issues with comedy, trying to explain to me what is funny, and oh, by the way, actually ended up censoring me by not letting me respond in any way other than nodding at his comments. My guess is that wasn't his intent, and yet that was his action.
Every comedian who works more than 5 years- is aware of trying to GET to know the audience you play for before a show. Well, this particular event, I was not only not given that time- but, I was taken aside by at least 3 people prior to entering the performance space just so I could hear a rant, a monologue, or an "explanation" about those particular people's point of views. In fact, they were letting me know exactly who this audience was- they were people who really each had their own reason to present words, and each wanted individualized and PERSONAL attention. I knew from the moment I walked in- there were going to be people who hated me, and others who were right there, by my side, getting all that I was saying.
The ones who didn't get me were very vocal afterwords. Again, we had the self-appointed comedy critic who gave me an unending statement worded sixty-five-hundred ways about "but I just wanted to hear a comedian say..". Then, there was the "huff" fellow. He was in a huff from the minute he walked into the building, needed a target to spew his angst of the day on- never even taking into account he was actually being the kind of person he claims he is against- he wanted me to NOT say something EVER again. The something was a comment, a basic throw-away that every comic uses- the guy walked into a room as the sound of a toilet flushed a full 20 minutes after the event started, and YES I made a comment to him about it.
I saw one person who looked up at me as if I stabbed to pope in the eye with a fork- and realized, that guy is a boil in this organization and he's always ready to pop off. I nodded in her direction, and she was laughing, but I could see her avoid eye contact with that other guy. So, not three seconds after the house lights are up - he is demanding that I "NEVER EVER talk to ANYONE in the audience like that again." I asked him what he meant- he huffed a bit more, ranting about "You insulted me, you are rude, I was done with you from that minute on." Okay what did I say, then he came out with, "You should NEVER discuss anyone's penis in public I don't care WHO you are." Okay.. so I tried hard not to laugh at the huff-man's point, but I get he was hurt that he was singled out, and I apologized for THAT, but man, to tell someone to never rag on an audience member- at a meeting of Free Thinkers? Uhm. no. Not going to happen. He can remain out of my demographic, thanks. I was later told he is a hair-trigger kind of guy and some days he's a gem and others he's a spoiled egg. Guess which one he was that day? He gave me material!
So, the final censorship. When someone says, "I thought you were very funny, and I liked what you said about the religions but don't ever pick on the Jews. It's just not true." I had to have her repeat herself. First, she was interrupting the comedy critic, but to actually say to someone, "yes, you can say what you want, but not about MY people", is just twisted. That is censorship in it's basic form. It's telling someone- You can have opinions as long as they're completely in line with mine. Again, Free thinking organization. Again, I was pointing out the stupidity of stereotypes- and yet... the lady was there as long as comedy critic.
Fortunately, a man in his 80's came up and saved me from the "Editing Committee". His name is Del and he calls himself the oldest living male feminist. I just enjoyed chatting with him and he GOT everything I was talking about. In fact, the majority of the people who went apparently liked me enough to ask me to return, and I have dozens of letters from the audience members who didn't feel I missed a mark, or those who said I made them laugh about the silliness of people. I had edited my show for THESE people, and that worked out just fine.
There is a substantial difference between those who want to laugh and those who want to dictate what others should be laughing at to begin with. There's a distinct difference between those who listen to comedians and those who go to watch a ballet. In a ballet, you wouldn't hear of someone sitting by the stage, and taking a dancer aside to tell him how he needed to demi-plie in a way that didn't show his jock strap. But, in comedy, this is kind of a job hazard.
Someone will come up and tell you a joke and follow it with, "oh and you can use it if you want". Others will come up to you and let you know how THEY would tell your jokes. But, when you turn around asking if they are comedians, "Oh no, I could never do that." So don't tell me how to do it. I ask advice from people I've seen on stage and who have seen my show- they have work experience in my field. I would never think to go to a nursing station and tell an RN "Yeah you should probably use a 3mm needle and then wrap surgical stockings on anyone who says they're republican." Why? What would I do that for? It makes no sense. Yet, it's exactly the thinking people have when they try to "help" a comedian. In fact, they're censoring. Telling someone what to say and how to say it is the ultimate form of censorship when its relative to the whole "free speech" thing.
A comedian knows what is working by hearing laughs. It's the principle. It's the payoff. It's the interest, too. When my porn stuff wasn't working, I moved on to the other stuff. The TV stuff worked just fine. The show was okay- not my worst, not my best, but for a day show- it's one of the better ones- despite the self appointed editors.
I'm editing a new show.. about people who censor comedians. It's called "fuck censorship".
Wednesday, March 11, 2009
Wednesday, February 18, 2009
Classes, Competitions and Contests
The C words of comedy-- Classes, Competitions and Contests- they're supposed to bring you fame and fortune far sooner than if you had years of stage time, but is that the case? If you go to a comedy club and see "As Seen on Last Comic Standing" you may find yourself watching the middle act, not the headliner. Seems as if the reality of being a comedian who can handle all audiences is an issue for those who shortcut. It's not like karaoke, ala American Idol, where you can practice in front of your bathroom mirror and grandparents. A good comic knows that the audience on Wednesday may rock, and one on Friday may look at you as if you had a penis growing out of your forehead.
The Hollywood dream of comedians finding a producer in the audience worshiping every word, and begging her to write the next major sitcom, is a rare and more often unrealized one. Yet, if you go to the clubs in Los Angeles you'll find a lot of very pretty people ACTING like comedians. Some hire writers. Others creatively borrow from other real writers, and discover that dialing it in isn't working. When they wake up and see that their not getting movie role offers, the clubs have suffered the consequences. No one wants to see unfunny comedy. The glut of comedians in the 80's produced hundreds of dead clubs.
So comics avoided the clubs that seemed to put more prettier-than-life people on mics. They searched for other ways to get noticed. One started a show called "Last Comic Standing" which was supposed to be Real World meets Survivor meets American Idol. Comedians were going to out-funny each other, and get network notice. Well, it sort of backfired when the reality HIT the reality TV circuit- and it was discovered that the networks were pushing judges to select the pretty-made-for-tv-actor-comics over those who had the chops, and the skills, to keep an audience laughing. The show failed comedians the way the comedy clubs in LA were failing- not dealing with the idea that people wanted to laugh with a comedy writer/performer, rather than see an idealized version of what a comedian should be. That fails both the comedian and the audience- and yet thrives because pretty people who fail make great TV.
There is a comedy class in nearly every major city in the United States. Do comedy classes help people? Yes. You will get personalized guidance, and you will get tips on how to handle stage situations from those who have been through the trenches. People who fail at classes are those who assume that material will suddenly appear out of nowhere, who don't put the writing first, and those who assume that fame is part of the comedy equation. It's not. The three parts of comedy are Performance, Writing, Audience Reaction. If you can't ace all three, you will never be a comedian. The classes help in getting people past obstacles involving all three. But, they only work if the performer is willing to put effort into it. The comedian will save months of stage time if s/he immerses into the process rather than just does the class, and nothing else. You have to perform, you have to be on stage, you have to write. And you have to fail.
This is the competition corner of the blog- Competition is great for those who are better performers under pressure. For those who pepper themselves with the tiniest bit of self doubt- you are not someone who will do well in a competitive environment. It only takes one moment of "I wonder if that's working?" to fall flat on your face. If you feel doubt, the audience and judges feel it, too. And, even if you win a competition, you still have to be consistent to get gigs. Some people are great competitors but don't bring the funny EVERY time on stage. To succeed you need that edge- the bookers will see if you aren't getting a response, and you can't rely on one competition to make your career. Yet, that seems to be the option for those who really aren't ready to be career comedians.
The short cuts only work if you have the chops to begin with and certainly only work with those who are going to be putting out the effort well after those experiences end. There are pretty people in comedy. There are mediocre stars. There are those who have taken the shorter routes, but still managed to keep their career going. Dedication to yourself, your idea of funny, and writing will get you farther. The ability for those to appreciate your efforts ensure your comedic future. Quitting doesn't do anything to improve your chances of being the next big star. And, sometimes a shear comprehension of bombing well does.
The Hollywood dream of comedians finding a producer in the audience worshiping every word, and begging her to write the next major sitcom, is a rare and more often unrealized one. Yet, if you go to the clubs in Los Angeles you'll find a lot of very pretty people ACTING like comedians. Some hire writers. Others creatively borrow from other real writers, and discover that dialing it in isn't working. When they wake up and see that their not getting movie role offers, the clubs have suffered the consequences. No one wants to see unfunny comedy. The glut of comedians in the 80's produced hundreds of dead clubs.
So comics avoided the clubs that seemed to put more prettier-than-life people on mics. They searched for other ways to get noticed. One started a show called "Last Comic Standing" which was supposed to be Real World meets Survivor meets American Idol. Comedians were going to out-funny each other, and get network notice. Well, it sort of backfired when the reality HIT the reality TV circuit- and it was discovered that the networks were pushing judges to select the pretty-made-for-tv-actor-comics over those who had the chops, and the skills, to keep an audience laughing. The show failed comedians the way the comedy clubs in LA were failing- not dealing with the idea that people wanted to laugh with a comedy writer/performer, rather than see an idealized version of what a comedian should be. That fails both the comedian and the audience- and yet thrives because pretty people who fail make great TV.
There is a comedy class in nearly every major city in the United States. Do comedy classes help people? Yes. You will get personalized guidance, and you will get tips on how to handle stage situations from those who have been through the trenches. People who fail at classes are those who assume that material will suddenly appear out of nowhere, who don't put the writing first, and those who assume that fame is part of the comedy equation. It's not. The three parts of comedy are Performance, Writing, Audience Reaction. If you can't ace all three, you will never be a comedian. The classes help in getting people past obstacles involving all three. But, they only work if the performer is willing to put effort into it. The comedian will save months of stage time if s/he immerses into the process rather than just does the class, and nothing else. You have to perform, you have to be on stage, you have to write. And you have to fail.
This is the competition corner of the blog- Competition is great for those who are better performers under pressure. For those who pepper themselves with the tiniest bit of self doubt- you are not someone who will do well in a competitive environment. It only takes one moment of "I wonder if that's working?" to fall flat on your face. If you feel doubt, the audience and judges feel it, too. And, even if you win a competition, you still have to be consistent to get gigs. Some people are great competitors but don't bring the funny EVERY time on stage. To succeed you need that edge- the bookers will see if you aren't getting a response, and you can't rely on one competition to make your career. Yet, that seems to be the option for those who really aren't ready to be career comedians.
The short cuts only work if you have the chops to begin with and certainly only work with those who are going to be putting out the effort well after those experiences end. There are pretty people in comedy. There are mediocre stars. There are those who have taken the shorter routes, but still managed to keep their career going. Dedication to yourself, your idea of funny, and writing will get you farther. The ability for those to appreciate your efforts ensure your comedic future. Quitting doesn't do anything to improve your chances of being the next big star. And, sometimes a shear comprehension of bombing well does.
Tuesday, January 27, 2009
What an Emcee Can do to Suck the Room Dry
The community in comedy is small. Someone you work with at a coffee house open mic this week may be the big star on some sitcom next week. Case in point, Jim Carrey was working at Thrifty Drug Store in Los Angeles WHILE he was on In Living Color because he had been burned by the Hollywood Promise before and wanted to ensure Janey, his daughter, and his wife Melissa, (this was a while ago...wayyyy before Holly and McCarthy), had food on the table and a place to live. Melissa was waitressing, and I remember meeting the little kid -with her dad a few times in front of the Comedy Store.
The place has an open area, where there's an outdoor bar, and on any day you'd find Eddie Griffin chatting with Bruce Baum chatting with Emo chatting with just a newbie from Boston hoping to make it big on the stage someday. The place kept everyone on one level- a casual, real, warm, we do this too place. No one was a star, yet everyone was there, and it was time when John Pinnette was just as new as anyone else, even though he was a star in his New England home. We all were. All the people who worked that club during the late 80's had a modicum of success. We had road gigs and college gigs and late night bar gigs under our belts.
And, we each had stories. We had stories about the worst emcees who had ever walked onto a stage, taken the air right out of the room, and still work in the clubs we left behind us. We had stories about the people who like to use the word "comedy" to describe what they provide, despite the truth- the long winded, uninteresting, street-joke spewing, ego stroking nonsense that never amounts to anything other noise. It was a relief to see that the most seasoned and the newest members of the club each shared one common bond- Bad Emcees ruin shows, and they are our common enemy.
The MC is the Master of Ceremonies. Some are expected to monitor the time of comics, some are supposed to ensure that the club is in communication with the comedian. Some are supposed to set up lights, run sound, and even ensure there are comped drinks to VIPs.
The nightmare emcee doesn't understand the role first of all. S/he has an idea that the show is secondary to their needs. An emcee isn't supposed to take a show and turn it into "Love the Emcee, screw our guests this evening."
S/he isn't supposed to do twenty minutes, then give the comedians on the bill less time than a commercial break so he can continue his next twenty minutes. Then, s/he closes the show with his "real set" which ends up being another 30 minutes of ranting, without any obvious signs of humor in any of it.
The Producer Emcee usually is someone who has a bit more stage experience, but I've been in shows when the Producer Emcee is someone who hasn't even done comedy before but thought his friends thought he was funny, so he figured he would talk a restaurant into letting him host a show. The ego is enormous and the talent is just dismal. If s/he gets that the audience isn't giving a great response s/he will keep his intros short, and let the comics do their jobs. However, the bad emcee will suck the room dry from all laughs, be obviously uncomfortable with material or public speaking, and use stage time to humiliate and annoy audiences and comics alike. They are poison.
There is a road gig I took with three other people who happen to be from Boston. The guy emceeing kept trying to imitate JFK, and expected us to prattle on about being Democrats and eating Clam Chowder. That was his perception of Boston. None of us had the plan of playing to his whims. The guy showed another aspect of crappy emcees. He had no idea of the comics he was introducing, put assumptions in his intros, and just sounded like an idiot. He used his scintilating understanding of the English language to see how many cuss words he could fit into one intro. Pleasant. He also hit on every single female in the audience, so many left by the time the headliner made it to the stage.
Emcees who heckle are fairly common, whether we want them to or not. They'll scream out punchlines, make wisecracks about waitresses, or worse, they'll simply be just as obnoxious as the most ardent loud mouth. The excuse is usually, "I thought you could take it!" Or they'll sit in another part of the room, with a friend, or a member of the staff, ignore what's going on stage-wise, and talk sport scores, sex acts, and manners of cleaning bodily fluids from the floor of the club.
The ones who drink nonstop, during a show, and then show their inability to handle liquor as the night progresses are embarrassing to themselves and the club. They certainly aren't funnier, and often they just come across as frat boys pretending to be comics. If they're so stoned they forget to speak words, have drunk friends in the audience, and only talk to them, or if they are dogging the bartender for not providing enough liquor they're space wasters, and should be replaced. (That is, unless of course, the club caters to stoned, drunk frat boys who can't speak words, mostly books paranoid schizophrenic comics, hires only waiters who are selling drugs, and runs between the hours of 3 and 5 in the morning. THEN it's cool.)
When an emcee has solid material, it's a joy. You are part of a show that is warmed up by someone who has comedy chops. The audience can tell, and the rest of the line- up knows, the show will work out great. If a comic has a bad set, a good emcee usually can rewarm a room. If there are problems with an unruly crowd, a great emcee knows how to shut down the worst and call security on the seriously vile. And, a great emcee will make a cursory attempt at learning about your previous work and material so as not to do similar stuff, or not to trample on your act by introing with your punchlines.
But there are times when the emcee thinks it would be okay to use YOUR material to introduce you. That's bad. Nothing is worse than hearing the crowd zone out during the second tellling of your tale.
There are times when Crappy Emcee will use your material after you have left the club- and do it badly. That's not only bad for you, but bad for any other comic who has to work with you later, and didn't know the lines were lifted. Not good.
There are times when an emcee uses a microphone badly- getting it wet with beer, or sucking on it, or another nasty trick that not only causes tech issues, but health issues. One woman in some state, we'll call Texas, thought it was funny to wipe her running nose on the mic. Ugh.
There are times when an emcee will prattle on about how badly he is doing- so much so that it's not funny, and begins to sound like a forced group therapy session. The audience doesn't want a life story they want to laugh. They're trying to get their own lives out of their head for a while- and laugh. That's why we do this, not to work out what our bosses said to us that day that made us really sad. (Well, unless there's a lot of material there..then...you know...use it.)
And, a really bad emcee will con a club into thinking he has years of experience and is a funny person, when really his ego trip is just wasting everyone's time. If the guy claims he has a radio show, but it turns out to be a podcast, and the podcast is produced via his cell phone- run. This is not the person you want. And, if he says he's really funny, make sure you get written proof of this from legitimate press, comments on his online videos, and something other than a business card to prove his experience. Again, the comedy community is very small. We all know what happens in one town soon gets talked about in the next. Maybe not always by the most famous comic on the tour, but a bad emcee will be the reason other comics won't do a club date again.
To all who are great emcees- we talk about that too. You are what makes a show worthwhile for many comedians. Thanks to the good emcees good rooms exist. You are the heroes of the club, and all of us- comics, audiences, bookers, and club owners know it. Thank you.
The place has an open area, where there's an outdoor bar, and on any day you'd find Eddie Griffin chatting with Bruce Baum chatting with Emo chatting with just a newbie from Boston hoping to make it big on the stage someday. The place kept everyone on one level- a casual, real, warm, we do this too place. No one was a star, yet everyone was there, and it was time when John Pinnette was just as new as anyone else, even though he was a star in his New England home. We all were. All the people who worked that club during the late 80's had a modicum of success. We had road gigs and college gigs and late night bar gigs under our belts.
And, we each had stories. We had stories about the worst emcees who had ever walked onto a stage, taken the air right out of the room, and still work in the clubs we left behind us. We had stories about the people who like to use the word "comedy" to describe what they provide, despite the truth- the long winded, uninteresting, street-joke spewing, ego stroking nonsense that never amounts to anything other noise. It was a relief to see that the most seasoned and the newest members of the club each shared one common bond- Bad Emcees ruin shows, and they are our common enemy.
The MC is the Master of Ceremonies. Some are expected to monitor the time of comics, some are supposed to ensure that the club is in communication with the comedian. Some are supposed to set up lights, run sound, and even ensure there are comped drinks to VIPs.
The nightmare emcee doesn't understand the role first of all. S/he has an idea that the show is secondary to their needs. An emcee isn't supposed to take a show and turn it into "Love the Emcee, screw our guests this evening."
S/he isn't supposed to do twenty minutes, then give the comedians on the bill less time than a commercial break so he can continue his next twenty minutes. Then, s/he closes the show with his "real set" which ends up being another 30 minutes of ranting, without any obvious signs of humor in any of it.
The Producer Emcee usually is someone who has a bit more stage experience, but I've been in shows when the Producer Emcee is someone who hasn't even done comedy before but thought his friends thought he was funny, so he figured he would talk a restaurant into letting him host a show. The ego is enormous and the talent is just dismal. If s/he gets that the audience isn't giving a great response s/he will keep his intros short, and let the comics do their jobs. However, the bad emcee will suck the room dry from all laughs, be obviously uncomfortable with material or public speaking, and use stage time to humiliate and annoy audiences and comics alike. They are poison.
There is a road gig I took with three other people who happen to be from Boston. The guy emceeing kept trying to imitate JFK, and expected us to prattle on about being Democrats and eating Clam Chowder. That was his perception of Boston. None of us had the plan of playing to his whims. The guy showed another aspect of crappy emcees. He had no idea of the comics he was introducing, put assumptions in his intros, and just sounded like an idiot. He used his scintilating understanding of the English language to see how many cuss words he could fit into one intro. Pleasant. He also hit on every single female in the audience, so many left by the time the headliner made it to the stage.
Emcees who heckle are fairly common, whether we want them to or not. They'll scream out punchlines, make wisecracks about waitresses, or worse, they'll simply be just as obnoxious as the most ardent loud mouth. The excuse is usually, "I thought you could take it!" Or they'll sit in another part of the room, with a friend, or a member of the staff, ignore what's going on stage-wise, and talk sport scores, sex acts, and manners of cleaning bodily fluids from the floor of the club.
The ones who drink nonstop, during a show, and then show their inability to handle liquor as the night progresses are embarrassing to themselves and the club. They certainly aren't funnier, and often they just come across as frat boys pretending to be comics. If they're so stoned they forget to speak words, have drunk friends in the audience, and only talk to them, or if they are dogging the bartender for not providing enough liquor they're space wasters, and should be replaced. (That is, unless of course, the club caters to stoned, drunk frat boys who can't speak words, mostly books paranoid schizophrenic comics, hires only waiters who are selling drugs, and runs between the hours of 3 and 5 in the morning. THEN it's cool.)
When an emcee has solid material, it's a joy. You are part of a show that is warmed up by someone who has comedy chops. The audience can tell, and the rest of the line- up knows, the show will work out great. If a comic has a bad set, a good emcee usually can rewarm a room. If there are problems with an unruly crowd, a great emcee knows how to shut down the worst and call security on the seriously vile. And, a great emcee will make a cursory attempt at learning about your previous work and material so as not to do similar stuff, or not to trample on your act by introing with your punchlines.
But there are times when the emcee thinks it would be okay to use YOUR material to introduce you. That's bad. Nothing is worse than hearing the crowd zone out during the second tellling of your tale.
There are times when Crappy Emcee will use your material after you have left the club- and do it badly. That's not only bad for you, but bad for any other comic who has to work with you later, and didn't know the lines were lifted. Not good.
There are times when an emcee uses a microphone badly- getting it wet with beer, or sucking on it, or another nasty trick that not only causes tech issues, but health issues. One woman in some state, we'll call Texas, thought it was funny to wipe her running nose on the mic. Ugh.
There are times when an emcee will prattle on about how badly he is doing- so much so that it's not funny, and begins to sound like a forced group therapy session. The audience doesn't want a life story they want to laugh. They're trying to get their own lives out of their head for a while- and laugh. That's why we do this, not to work out what our bosses said to us that day that made us really sad. (Well, unless there's a lot of material there..then...you know...use it.)
And, a really bad emcee will con a club into thinking he has years of experience and is a funny person, when really his ego trip is just wasting everyone's time. If the guy claims he has a radio show, but it turns out to be a podcast, and the podcast is produced via his cell phone- run. This is not the person you want. And, if he says he's really funny, make sure you get written proof of this from legitimate press, comments on his online videos, and something other than a business card to prove his experience. Again, the comedy community is very small. We all know what happens in one town soon gets talked about in the next. Maybe not always by the most famous comic on the tour, but a bad emcee will be the reason other comics won't do a club date again.
To all who are great emcees- we talk about that too. You are what makes a show worthwhile for many comedians. Thanks to the good emcees good rooms exist. You are the heroes of the club, and all of us- comics, audiences, bookers, and club owners know it. Thank you.
A Comic Walks into An Atheist Convention
On February 22, 2009, the Atheists United hosts their monthly get-together at 11am, at the Center for Inquiry. Comedian and author, Cathe B. Jones is the featured entertainer, providing comedy relief, and discussing her books, Godless Grief, and My Doctor Is Killing Me. The event is free, and the day show also serves as a luncheon. Cathe's humor is described as vibrantly witty, thought provoking, and emphatically not politically correct, taking on the topics of atheism, racism, and political satire.
Led by indomitable Bobbie Kirkhart, the Atheists United (a 501(c)(3) non-profit organization) has a three-fold mission:
* To promote atheism through education and outreach;
* To promote the First Amendment and the separation of government and religion;
* To create and support a vibrant atheist community.
AU has a full schedule of events, often inviting vibrant speakers, and highly evolved discussions. The meeting on February 22nd is held at Center for Inquiry-West, 4773 Hollywood Blvd, Los Angles CA. This general meeting is Free and open to the public, and begins at 11am.
Kirkhart is currently the president AU, but also led organizations including Atheist Alliance International, Secular Coalition for America, and serves as board member to Humanist Studies and Darwin Day Celebrations. Her first article published nationally was "I Protest: A Santa Claus God", and was written by a woman who was devoutly protestant. Later, she learned through the efforts of her work as social worker, that her world wasn't created by any religion or gods, and since 1983, she has been a member of AU. As public speaker, author, and leader she continues to inspire atheists here and abroad with her wit, fiery sense of purpose, and ability to reach even the most ardent of the religious right.
Cathe B. Jones has performed stand-up comedy in three countries, since 1981. She has three shows in Las Vegas, performing several times a week. As an Atheist Author, Cathe works to inspire other atheists to proactively promote the idea that kindness and free thought should be practiced in all aspects of life. As a writer, her themes are action-based and humanitarian based, serving advocacy pieces. Godless Grief is the first book written about loss for and from the atheist perspective. My Doctor Is Killing Me is a patient advocacy hand book for those who have not been heard by the medical community. Her husband, Mike Jones, is the music director for Penn & Teller, and they reside in Las Vegas with their pets and pianos.
Monday, January 19, 2009
Test Run at Fitz Room- ROCKED!
Tanyalee Davis, personal hero, awesome gal, and all around kick-ass comedian and I had a show at the Fitzgerald Casino ("Fitz of Laughter") room run by Kevin Burke, Roland Witt, and John Bentham. Kelly Hunt, and up and coming impressionist comic, whom I met through the Short Bus Comics show, served as the opener- and she also, rocked.
We were test-running the room for a show we're putting up starting in February. Kevin Burke, aka Defending the Caveman -Vegas, has worked 7 nights a week since he's lived here, and finally had an idea- he should, could, and may be able to have a night off if he found competent comedians who could take the show over for him. His Caveman show runs at the Excalibur, recently moved from The Goldent Nugget. After his grunting walk-through the world of a couple-psyche, he trapsed over to the Fitgerald Casino, to pick up on the stage that certainly gives a great space for comedy. He's helped build an audience, and certainly, John and Roland are capable stage managers and room managers.
I've known Kevin for a lot of years. For a majority of the time, we never even met in person- it was through our comedy that we're friends. I got to meet a few dozen great funny folk through an online newsgroup, Alt.comedy.standup. Some of us were seasoned pros, others were newbies, and still others were fans who always wanted to be comedians, but were afraid to try. Some of my Space and Facebook friendships are through that very source. It's been a great way to network for jobs- Steve Marmel, the Nickelodeon Darling, was a regular in one of my rooms in Orange County, for instance. I did a regular stint in a club in Sacramento, and San Francisco through another comic. We shared war stories, Tribble Run stories, and of course... Vegas stories.
So, years later, Kevin and I are both in the same town, and we're hanging out a bit more. Friends do that. We have him over for dinner, and superbowl, and that stuff. But we haven't worked together at all. He called me and said, "I need, I think, to have a break, do you want to book the room on Sunday nights so you can bring your crazies to the stage?" My crazies are the Short Bus Comics, and friends in town- and of course, YES. I would.
Kelly Hunt and I have been planning out ideas to bring another "Women in Comedy" show to the area. It was perfect timing. Tanyalee Davis is in town, Kelly and I are prepped from the months of working Short Bus, and it would be a great run to try for the first time whilst Kevin enjoyed a show, for one of the the first times since he's been here, that was on his day off. We could do a one-night of the Women show, and if it worked out, and they liked us enough, we could start February, a new weekly show.
We got to the venue, and Roland was generous, offering us his skills as a warm-up. He did fine, and Kelly took to the floor. She's got a few bugs to work out, but they're minor, and her set was ably done- lots of laughs, and the audience got her impressions. I went up next, and the crowd- unsure as to what to make of the ADHD style seemed to really appreciate the energy, and laughed lots. Lots. Lots and lots. Too much! I went over time! I never go over time! But it was happening! They were a great group- laughing in spots I had hoped were funny, and laughing at the riffing. Loved those people. I intro'd Tanyalee for the first time since I think- the show we did at the Greek Isles. I honestly don't remember if that was it, or if it was another show. Regardless... she gave me what to say, I said it.
The crowd adored her. She'd already done a few nights in the room, and the club BUILT her a stage. Whilst Kelly and I worked around it, the audience wasn't quite sure what to make of it. We gave no hints. She took to the stage and the crowd went nuts. She did her set wonderfully- with the facial expressions only Tanyalee can do. She used the word "Midget" and one lady just about fell out of her chair. Fellow comedians Greg Stevens and his friend, Chris "CJ" Jones, (yeah, I thought it was funny too), were laughing so hard, they bounced out of their seats a few times.
Afterwards, we went to the doorway, so she could sell some DVD's, and we could hear what the crowds were saying. It was a hit. We did a great job, and the room was happy. The opener was happy. Everyone seemed delighted, so we're definitely going to have a lot of fun with the new room. I still haven't emailed Kevin yet to see how his day off went... I'm guessing great.
More to come!
We were test-running the room for a show we're putting up starting in February. Kevin Burke, aka Defending the Caveman -Vegas, has worked 7 nights a week since he's lived here, and finally had an idea- he should, could, and may be able to have a night off if he found competent comedians who could take the show over for him. His Caveman show runs at the Excalibur, recently moved from The Goldent Nugget. After his grunting walk-through the world of a couple-psyche, he trapsed over to the Fitgerald Casino, to pick up on the stage that certainly gives a great space for comedy. He's helped build an audience, and certainly, John and Roland are capable stage managers and room managers.
I've known Kevin for a lot of years. For a majority of the time, we never even met in person- it was through our comedy that we're friends. I got to meet a few dozen great funny folk through an online newsgroup, Alt.comedy.standup. Some of us were seasoned pros, others were newbies, and still others were fans who always wanted to be comedians, but were afraid to try. Some of my Space and Facebook friendships are through that very source. It's been a great way to network for jobs- Steve Marmel, the Nickelodeon Darling, was a regular in one of my rooms in Orange County, for instance. I did a regular stint in a club in Sacramento, and San Francisco through another comic. We shared war stories, Tribble Run stories, and of course... Vegas stories.
So, years later, Kevin and I are both in the same town, and we're hanging out a bit more. Friends do that. We have him over for dinner, and superbowl, and that stuff. But we haven't worked together at all. He called me and said, "I need, I think, to have a break, do you want to book the room on Sunday nights so you can bring your crazies to the stage?" My crazies are the Short Bus Comics, and friends in town- and of course, YES. I would.
Kelly Hunt and I have been planning out ideas to bring another "Women in Comedy" show to the area. It was perfect timing. Tanyalee Davis is in town, Kelly and I are prepped from the months of working Short Bus, and it would be a great run to try for the first time whilst Kevin enjoyed a show, for one of the the first times since he's been here, that was on his day off. We could do a one-night of the Women show, and if it worked out, and they liked us enough, we could start February, a new weekly show.
We got to the venue, and Roland was generous, offering us his skills as a warm-up. He did fine, and Kelly took to the floor. She's got a few bugs to work out, but they're minor, and her set was ably done- lots of laughs, and the audience got her impressions. I went up next, and the crowd- unsure as to what to make of the ADHD style seemed to really appreciate the energy, and laughed lots. Lots. Lots and lots. Too much! I went over time! I never go over time! But it was happening! They were a great group- laughing in spots I had hoped were funny, and laughing at the riffing. Loved those people. I intro'd Tanyalee for the first time since I think- the show we did at the Greek Isles. I honestly don't remember if that was it, or if it was another show. Regardless... she gave me what to say, I said it.
The crowd adored her. She'd already done a few nights in the room, and the club BUILT her a stage. Whilst Kelly and I worked around it, the audience wasn't quite sure what to make of it. We gave no hints. She took to the stage and the crowd went nuts. She did her set wonderfully- with the facial expressions only Tanyalee can do. She used the word "Midget" and one lady just about fell out of her chair. Fellow comedians Greg Stevens and his friend, Chris "CJ" Jones, (yeah, I thought it was funny too), were laughing so hard, they bounced out of their seats a few times.
Afterwards, we went to the doorway, so she could sell some DVD's, and we could hear what the crowds were saying. It was a hit. We did a great job, and the room was happy. The opener was happy. Everyone seemed delighted, so we're definitely going to have a lot of fun with the new room. I still haven't emailed Kevin yet to see how his day off went... I'm guessing great.
More to come!
Friday, January 9, 2009
2009 Las Vegas Comedy News....
For all who are contacting me regarding jobs in Las Vegas- if you live here now, please PM me as there is a new club opening up at the Palace Station. The chain, Bonkerz is working to hire local comics, not just the east coast/LA bunch, and they've invited us to the grand opening on Jan. 14th. If you are in Las Vegas, and want to be included on the guest list, please PM me with your name.
I am NOT booking this club, and I am NOT managing this club. It's just a way to support and assist the local LIVE COMEDY COMMUNITY. If you are going to the opening, the owners and booking agents WILL be there, and will take DVD's and promo materials from comics. You can also leave your promotional materials with the club during nights it's open and the right people will see you.
For the locals who were there when it was Laff Trax, LA Comedy Cabaret, et al- I don't know if the stage is different or if the club will be in a different room. The issues with the stage primarily was the height. You tower over the audience, and it's also not wheelchair accessible, but the techs are good about helping people get up there. The station casinos generally have good sound people.
Other news- Improv-Vegas has classes starting up. There's some great Second City folks involved, and starting this session, there's stand up classes. Okay- for the nay-sayers- it's not a "write a joke" class- it's a performance class. You learn to work, onstage, with a mic, with audiences, and with a little confidence. You learn about booking, road work, and getting college gigs. And you learn about speaking in public without feeling like a dork. I know, I'm teaching it.
You can sign up for classes by visitinghttp://improv-vegas.com/Classes.html
and calling the school
Onyx Theater news- The Short Bus Comics show is monthly for now but we're also hoping for another venue to add more shows. We had a near full house Friday night, and filmed some promo materials. Roman the Serial comic books the show, and you can reach him by emailing VegasComedians@yahoo.com or visiting ShortBusComics.com
The venue I'm working for- it's still not running yet... and I don't have any news. As soon as I'm aware of what we're doing , I'll post it here. The Fitgerald's room now has Kevin Burke nightly. Tanyalee Davis did a run there, and would be a great regular for the stage. I also know that there is a new Women in Comedy show starting up, with Kelly Hunt, me, and several other locals to the area. More on that as we know more.
Happy New Year, y'all- keep laughing-cheaper than gas, and better for you in the long run.
cbj
I am NOT booking this club, and I am NOT managing this club. It's just a way to support and assist the local LIVE COMEDY COMMUNITY. If you are going to the opening, the owners and booking agents WILL be there, and will take DVD's and promo materials from comics. You can also leave your promotional materials with the club during nights it's open and the right people will see you.
For the locals who were there when it was Laff Trax, LA Comedy Cabaret, et al- I don't know if the stage is different or if the club will be in a different room. The issues with the stage primarily was the height. You tower over the audience, and it's also not wheelchair accessible, but the techs are good about helping people get up there. The station casinos generally have good sound people.
Other news- Improv-Vegas has classes starting up. There's some great Second City folks involved, and starting this session, there's stand up classes. Okay- for the nay-sayers- it's not a "write a joke" class- it's a performance class. You learn to work, onstage, with a mic, with audiences, and with a little confidence. You learn about booking, road work, and getting college gigs. And you learn about speaking in public without feeling like a dork. I know, I'm teaching it.
You can sign up for classes by visitinghttp://improv-vegas.com/Classes.html
and calling the school
Onyx Theater news- The Short Bus Comics show is monthly for now but we're also hoping for another venue to add more shows. We had a near full house Friday night, and filmed some promo materials. Roman the Serial comic books the show, and you can reach him by emailing VegasComedians@yahoo.com or visiting ShortBusComics.com
The venue I'm working for- it's still not running yet... and I don't have any news. As soon as I'm aware of what we're doing , I'll post it here. The Fitgerald's room now has Kevin Burke nightly. Tanyalee Davis did a run there, and would be a great regular for the stage. I also know that there is a new Women in Comedy show starting up, with Kelly Hunt, me, and several other locals to the area. More on that as we know more.
Happy New Year, y'all- keep laughing-cheaper than gas, and better for you in the long run.
cbj
Thursday, December 4, 2008
Aunt Jeanne, Final Sleep December 4, 2008
She Got Me Back into Stand-up
When I got the call from my Dad, the first response I had was "wow", but in my head, I was thinking, "Wow-how are all of the women in Nana B's family going to sit in one room to talk and still get through in one single day."
For the last few months, she had been trying to desensitize us to her illness. She was talking about accepting that she wasn't going to be around, and that wasn't easy to hear. But she made sure she said something every time we talked to her to remind us- we'd have to live without her and she was really going to be okay with the idea. She was really ready for this. She was the one who understood that every day was another day closer for the end for her. And , she wanted to make sure we heard her laughing as much as possible.
The day she talked to me about her illness for the first time, she was excited about getting to buy wigs- like a movie star. She wondered if she'd get too skinny. Like a movie star. She was awe inspiring- and much smarter than any movie star. Even now I can't picture her without her big old smile, saying, 'Yeah, I know it, I know it'.
The last time we talked she was out of breath, and had just a few seconds in her. But she talked about seeing Frannie's grandbaby, and how excited she was that she was going to go to Vegas, and maybe even have a drink. Jeanne was looking forward to seeing everyone. As usual, she hid how much she was hurting, and didn't want to talk about it too much. She made a quick joke about being too skinny and that she was thinking of Burger King. But she couldn't talk very long and that was the last time we chatted.
I have several of her phone messages. She called on my birthday, on Ricky's birthday, and even on Lincoln's birthday. We talked at least once every couple of weeks, but I never felt like we talked enough. On Thanksgiving, by the time we got home from a friend's house- it was too late that day, and I put off calling her because I worried she would be out of breath. I figured- she'll be here in a week, I'll say hello in person. I can almost hear her in my mind saying, "How did that work out?" and laughing about it. The last message I had was her telling me that she decided to go visit people- and she was giggling about it. She was just thrilled that she was going to have what she called, her "Big Bang Party" and was eager to see everyone.
Her family was the reason she stayed around so long. She loved her grand-kids and was sad about being sick around them. She joked with me a lot about Ricky and their lives as kids. I won't repeat a word. But I'll smile a little more around my dad, now. That was her magic. She wanted to laugh, and she was really great at it. That's what her legacy really is- and that's why I think everyone should think of that smiling face and not the illness that took her. That's all I can see now. That's what she gave me- and it was worth a billion dollars, six countries, and a bottle of cola. Maybe a Whopper, Jr., too.
Thanks to the comedians in Comed-o-Therapy, she was able to have a night where she laughed that BIG laugh, wore that movie star hat, and even was surrounded by family. It was a lot of her in that room- and a lot of laughter that she needed. I can't thank the comedians enough. The next show will be in her memory rather than her honor. And we will carry her laughter.
When I got the call from my Dad, the first response I had was "wow", but in my head, I was thinking, "Wow-how are all of the women in Nana B's family going to sit in one room to talk and still get through in one single day."
For the last few months, she had been trying to desensitize us to her illness. She was talking about accepting that she wasn't going to be around, and that wasn't easy to hear. But she made sure she said something every time we talked to her to remind us- we'd have to live without her and she was really going to be okay with the idea. She was really ready for this. She was the one who understood that every day was another day closer for the end for her. And , she wanted to make sure we heard her laughing as much as possible.
The day she talked to me about her illness for the first time, she was excited about getting to buy wigs- like a movie star. She wondered if she'd get too skinny. Like a movie star. She was awe inspiring- and much smarter than any movie star. Even now I can't picture her without her big old smile, saying, 'Yeah, I know it, I know it'.
The last time we talked she was out of breath, and had just a few seconds in her. But she talked about seeing Frannie's grandbaby, and how excited she was that she was going to go to Vegas, and maybe even have a drink. Jeanne was looking forward to seeing everyone. As usual, she hid how much she was hurting, and didn't want to talk about it too much. She made a quick joke about being too skinny and that she was thinking of Burger King. But she couldn't talk very long and that was the last time we chatted.
I have several of her phone messages. She called on my birthday, on Ricky's birthday, and even on Lincoln's birthday. We talked at least once every couple of weeks, but I never felt like we talked enough. On Thanksgiving, by the time we got home from a friend's house- it was too late that day, and I put off calling her because I worried she would be out of breath. I figured- she'll be here in a week, I'll say hello in person. I can almost hear her in my mind saying, "How did that work out?" and laughing about it. The last message I had was her telling me that she decided to go visit people- and she was giggling about it. She was just thrilled that she was going to have what she called, her "Big Bang Party" and was eager to see everyone.
Her family was the reason she stayed around so long. She loved her grand-kids and was sad about being sick around them. She joked with me a lot about Ricky and their lives as kids. I won't repeat a word. But I'll smile a little more around my dad, now. That was her magic. She wanted to laugh, and she was really great at it. That's what her legacy really is- and that's why I think everyone should think of that smiling face and not the illness that took her. That's all I can see now. That's what she gave me- and it was worth a billion dollars, six countries, and a bottle of cola. Maybe a Whopper, Jr., too.
Thanks to the comedians in Comed-o-Therapy, she was able to have a night where she laughed that BIG laugh, wore that movie star hat, and even was surrounded by family. It was a lot of her in that room- and a lot of laughter that she needed. I can't thank the comedians enough. The next show will be in her memory rather than her honor. And we will carry her laughter.
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