What’s the difference between a good comedian and a not-so-good comedian?  Jokes, folks.   A comedian without jokes is like a cat without claws and eyes.  It’s not much of a cat, really.  If a comedian is going to survive and (potentially) thrive, he’s got to develop jokes.

As I’ve mentioned before, the quality of a comedian’s jokes aren’t nearly as important as the quantity. Quantity begets quality. This evolution is a byproduct of successful and productive time management (that’s right, I went straight to middle management jargon). Simply put, a good comedian has discipline.

Writing good jokes is a process. It starts with an idea that is written into a joke. The joke is performed and then tweaked over and over and over and over again. The final product is a fine gem: a joke that sounds so fresh, you’d think the comedian just came up with it.

Realizing this process, however, we can make the assessment that a good joke is stale to the comedian (and his wife). He has said it so many times that the words have lost meaning yet, he continues to fill the words with significance.  He tries to mold his creation further even though he has exhausted any and all fresh permutations.  He fully commits to the joke and sells it each and every time he performs; at every dive bar open mic, every comedy show and every event. To him, it’s a painstaking process, yet he sticks it out.  This is discipline.

The benefit for a comedian is that he has an endless stream of thoughts and ideas that can make this transformation.  As a joke loses its appeal, a comedian can hang it up and repeat this process on something new.  Once again, it takes a certain amount of discipline to get sucked into that void.  Some people dig it, though.

Good comedians are those that enjoy the process and regularly take the time to transform their material.  It’s the only profession I can think of where hard work and commitment are laughable.

 

Thus far, I have managed to accomplish some work in the field of stand up comedy.  By “some work”, of course, I mean “I have made a complete ass of myself”.  In any case, it’s hilarious…here, have a listen:

Apr 18 Standup by wolsamnoraa

If you don’t understand the part about Tourette’s Syndrome, you’ll just have to come out and see it.

 

Buckin’ Harley’s is an open mic comedy show on Monday nights, located at 1451 Cortez St, Denver, CO, 80221, (303) 487-0020.

THE GOOD:

Buckin’ Harley’s has an excellent stage: it’s well lit and has lots of space to roam around.

Buckin’ Harley’s gets out just in time to make it to the Lion’s Lair for a second set for the night. If you’re looking to rack up the stage time on a Monday night Buckin’ is a great first show to hit.

Buckin’ Harley’s is very new-comic friendly. This is not a stage where you have to worry about hecklers. If you’re new to comedy than hitting one of the late-late shows with a drunken audience might be daunting. None of that going on here. The audience is very supportive of new comics and first timers still trying to work out kinks in their material.

All the comics I’ve met at Buckin’ Harley’s are very friendly. This is not a ‘clicky’ venue where you won’t feel welcome if you’re not on the in-crowd. It’s an excellent place to network. Many comics will hang out after their set, drink, smoke on the patio, and trade stories.

There’s a great mixture of seasoned comics and newbies. This is good for the audience as well as the comics. If a comic bombs than you can be sure there’s a seasoned comic who’s ready to get the show back on track.

The audience isn’t roudy. The show starts early, so you won’t find drunk audience members shouting during your set. Even the people playing pool on the other side of the room don’t get out of hand.

The number of comics per night is usually low. Many open mics you might end up number 20 on the list for the night. By the time you hit the stage the audience is exhausted (if they stuck around at all). There’s usually between 5-8 comics on a given night here, so the audience won’t be sick of watching comedy by the time you hit the stage.

The producer is very relaxed about stage time. He’s not going to cut the lights off on you if you go a little over. Since there’s few comics he’ll usually work with you if you want a longer set (as long as you keep the audience laughing).

The show ends with a headliner. Audience members rarely leave before the show is over. So no worrying about a comedian bringing 10 people who all get up and leave before you get on stage.

It’s a true open mic. You don’t need to know anybody and there’s no signing up in advance. Show up and you will get some stage time.

THE BAD:

Audience dynamics can get a pretty tough at Buckin’ Harley’s. Audience members tend to spread themselves out in this large venue. The audience is situated on a large dance floor with a couple audience members per table and lots of empty space inbetween. Making a connection and engaging the audience can be difficult. If you’re not careful you can lose the audience to table talk.

The laughter can disipate quickly, making it tough to figure out just how many laughs you’re getting. This is because Buckin’ Harley’s has one giant room instead of a seperate room for shows. There are always several people way in the back of the club listening, but you’re never going to hear them laughing cause they’re simply too far away from the stage.

There’s no light to let you know you’re running out of time. The producer usually makes an “X” with his arms to let you know your time is up. This is very easy to miss. So if you’re use to longer sets make sure you keep an eye out for the producer.

This review was written by Drew Volle, comedian and host of www.creativestandup.com and author of the book, The Making of Great Comedy which can be found on his website.

 

You’ll often hear that quality is a better attribute than quantity.  For most things this is true.  While eating my weight in Snickers sounds heavenly, my waistline and wallet are better off if I just savor one or two.

Quality often supersedes quantity but not within the realm of comedy.  This sounds counterintuitive.  It seems that the comedian with quality material is a better comedian.  What gets overlooked in this example is that comedic material takes time to develop.

Rarely is a good joke written.  Usually a good joke is one that is rewritten and rehearsed over and over.  With time and practice, a joke can evolve into a prized piece.  As a series of jokes take shape, a bit forms and soon a comedian might have a decent two minutes.

Of course, not every concept makes a good joke.  A comedian must note each idea and invest time and energy turning that idea into a joke.  Dozens of ideas a day run a gamut of tests to prove their hilarity.  Some make laughs while others find their way into the ever growing pile of bad ideas/my jokes.

It is for this reason that quantity is of the utmost importance in comedy.  The more ideas that a comedian has, the more opportunity he has to create quality material.  Quantity leads to quality.

So, the next time you hear a comics’ great joke, take a moment and think of the process.  Realize it is the quantity of ideas, time and effort that made you giggle and then tip accordingly.

 

stand up comedy bountyYou read right.  I’m a paid comedian.  Actually, I won twenty dollars in a comedy contest last night at Old Chicago’s Comedy on the Rocks contest.  I was in the zone.  I brought the energy up in the room so high that they had to scrape it off the ceiling with a broom, or so they said.  I did a few stories.  I told a pun.  I had the benefit of having my lovely wife and several compatriots attend the show also.  I pretty much ran the gamut and pulled out all the stops.  I plan to do it again.  Here, have a listen: Feb 24 Standup by  wolsamnoraa

 

I’ve always wanted to be a stand-up comedian.  Looking back over the years, I’ve gotten a huge response from people just by talking and acting the way that I do.

I read this article that explained making your friends laugh doesn’t actually make you a funny person.  Sure, my friends laugh at me, but they laugh at lots of other stuff, too; real comedians, for example, or the musical stylings of  the Play-him off cat (see below), to name something else.

Fortunately for me and my dream, I have an uncanny ability to make strangers laugh or, at the very least, cringe.  While I believe in my inherent abilities to humor people, my desire to get up on stage is hindered by a small hurdle.  Quite frankly, I am scared to be on stage.  I attribute the fear to a poor performance I gave in the third grade.  I was playing Anonymous Man #2 alongside the wonderfully talented Falon Mahoney in the Westgate Elementary sensation, A Christmas Carol.  I had one line – “I’m just a man whose anonymity should remain intact”.

I bombed in front of the whole school, parents and talent scouts.  I forgot the line.  I stammered on my speech and on my feet.  I tripped into the set and knocked over a backdrop which broke a spot lamp above the stage.  It fell directly on top of our school’s only prodigy and the play’s leading man, Nathan Hale.  He was injured instantly.  After that hack job, I second guessed myself whenever I got in front of an audience bigger than five deaf-mutes.

The underlying problem may be that I have just convinced myself that I’m scared.   I haven’t actually performed on stage since then and it stands to reason that I don’t know what I’m scared of.  I’ve always heard that courage is something you gain after you overcome your fear.

Maybe the best way to achieve my goal is to just go out there and give it a try with my nerves fluttering.  But if I accomplish my goals, what will I have to complain about not achieving?

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