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The Hang

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The Hang

It’s hard for me to hang out. I took a class in college called “The American Hang Out” in which students were instructed to hang around the lecture hall and do nothing but shoot the shit with eachother for like an hour and a half. I’m pretty sure I was the only one who didn’t get an A.

The truth is that I rarely showed up. I didn’t find much of a point in gathering together in a controlled environment to gab about what Trump tweeted the day before or the latest viral video.

It takes a lot for me to be genuinely interested in what someone has to say unless I have something to gain. It’s selfish and I feel bad for thinking that—and as a wannabe comedian, I feel like it holds me back.

When it comes to comedy, the hangout is an “in” with certain clubs. If you want to get on stage, you have to know someone who can help you. Networking is part of the game any field, but the thought of schmoozing is ingenuine to me.

Last week, Stand Up NY’s podcast “Passed” with Jon B and Kevin Hurley featured veteran comedian Tom Kelly, who expresses his distaste for hanging out in comedy clubs in the season 4 episode titled “A Realist Comedic Point of View.”

Kelly reflects on the time he spent hanging around comedy clubs in his earlier years as a comedian. He struggled to find meaning in spending time and doing favors for other comedians.

“I can’t tell you how many favors I’ve wasted on people who could not return the favor,” Kelly says. “That’s the hard part about [going] tit for tat. I’ve gotten very dark when I haven’t gotten a tat for my great tits.”

Ultimately, however, Kelly says, “Just be a good human being. Make friends for the sake of being friends. Be kind to somebody who can’t do anything for you.”

Kelly has a good point. There’s a lot to be said there about the comedy hangout and hanging out in general. It’s not always about networking.

The point of that “American Hang Out” class wasn’t to find successful people to add to your LinkedIn network. The primary point was probably pretty simple: be friendly to one another. Maybe a friendly relationship can lead to something, but that should be a secondary benefit to finding a new friend.

Written by Will Flaherty

Twitter: WillFlah3rty

Instagram: WillFlah3rty

 

Mentions Tom Kelly

Twitter: @TomKellyShow

Instagram: @TomKellyShow

Website: https://thomasjkelly.com/

To Bring or Not To Bring

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To Bring or Not To Bring

Has a comedian friend of yours ever asked you to come to their show? Maybe you’d have to say their name when you bought the tickets. Once inside the club or bar, you must satisfy a drink minimum. If any of this sounds familiar, congrats, you’ve been to a “bringer” show!

A bringer show is exactly as it sounds: each performer must bring a certain amount of paying guests to the venue in order to get stage time. It makes sense — comics yearn to tell their jokes in front of an audience who actually meant to be there, and the business wants guaranteed ticket and drink sales. Sounds like a win-win, right?

There are some definite upsides about the bringer show composition and outcome. If done in at a legit comedy club, it allows the comic to do a little sidestep of the open-mic scene, if only for a night. Working out your set at a bar downtown in front of (or more accurately, among) patrons loudly ordering their nth happy hour Corona, on top of the other comics looking down at their notebook and scurrying out immediately after giving the microphone back to the host, can get pretty old. Don’t get me wrong, it’s a vital part of coming up in comedy, and you can meet some equally-frustrated yet hopeful comedians who you can keep doing shitty mics with until you find the ones worth the haul. So what makes the bringer show worth it?

I chatted with comedian Tim Sturtevant about the big question of “to bring or not to bring?” He stands by the notion that starting out doing bringer shows may not be the best option for new comics. “Would you invite people to a concert if you’d only been practicing guitar for three months? No, you wouldn’t, because if you did, everyone who came to support you would lie and tell you, ‘wow, you’re so great at guitar already!’ and then you’d confidently suck at it because of the biased feedback you were given by friends and family,” Tim proclaimed. “Seek out strangers, perform for them, make them laugh. Do that consistently until you’ve got a goal. Doing bringers without a goal in mind is pointless. If you’re only goal is to make Aunt Jeanine laugh about that one time you burnt Santa’s oatmeal cookies, don’t do a bringer. If you want to submit to a festival, or need a tape to send to other clubs, a bringer is a great option.”

I can’t argue with that. I have to say, it feels pretty swell to bring people who love and support you to see your show. It feels even better to bask in the afterglow of their compliments. It feels natural to cling to their praise when you’re just starting out. But Tim has a point. Strangers need to think you’re funny, too, not your closest friends who, and I’m quoting him “have seen our dicks during middle school gym class (but like not in a gay way).” Charming stuff, Tim.

OK, so the audience at a bringer show is guilty of consisting of the buddies, coworkers, and family of any given comedian in the line-up. They’re laughter doesn’t always translate. Unlike when you may have actual bookers or scouts in the audience, no one is going to give you a sitcom if you crush. Then again, no one was going to do that regardless.

However, at the end of the day, even if it is full of ex-jocks you traded cups with in high school or whatever, a great crowd is a great crowd. If you can catch them on tape vibing with your material, and you have somewhere you want to send that tape, you’ve gotten yourself a huge asset. That being said, I would not do a bringer show if a tape isn’t part of the deal, especially if you’re not getting any kickback on the ticket sales you generated. The pay-to-play mentality is inevitable in a comedy scene packed to the brim with so many eager jokesters, such as in NYC, but we can only give so much! Yes — most open mics in the city charge the performer five bucks to get up and entertain people.

“Keep in mind that the bringer is a means to an end,” Tim adds. “If someone is promising you paid work based off your performance on a bringer show, be weary.”

Wait, paid work? That sounds dope, though. Why be weary?

“Because producers who run bringers often use those [comedians] without goals to fulfill goals of their own: to fill a venue and collect ticket sales,” Tim explained. “Don’t help them fulfill their goals without fulfilling any of your own.”

That definitely makes sense. A bringer show, with its professional tape, and high-brow club logo in the background, and even higher-energy audience members (shout out to Auntie J!), can be a useful and rewarding outlet for comedy. The key in choosing whether or not to participate is largely around timing. Is there something coming up to which you’d like to submit a tape? Have you gotten around to enough seedy mics and made uninterested strangers do a spit-take with their well gin and tonic? Was it a 4:30pm on a Tuesday when you did that? If any of this sounds familiar, congrats! You’re ready for a bringer show.

Article written by Ellen Harrold

Twitter: @whorsdoeuvres

Instagram: @ellewoodz

 

Featuring Tim Sturtevant

Twitter: @tstrurdcomedy

Instagram: @conwayjest

A Stand Up Show That Stands Out For Comics

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Ahh, the New York comedy scene – where stage time is compensation enough in itself, and a solid tape of your performance is like crack. Here at Stand Up NY, I guess we can consider ourselves enablers.

This past summer, we began opening up our stage here at Stand Up NY to on-the-rise comedians through our New Headliner Series. Lucy’s Laugh Lounge does a similar headliner show at their location in Pleasantville, New York. Similarly at both clubs, these hour-long spots are usually held on Fridays, and give comics a chance to not only deliver their jokes in a longer format, but to a larger-sized, more mainstream audience.

To get an idea of what specifically these up-and-coming comedy killers get out of doing a spot like this, we asked a couple of our past headliners what exactly it was that made the night stand out: the highlights, the lowlights, the differentiators. The deets, juice, dirt – whatever you want to call it – follows below!

Winner of Season 3 of New York’s Got Talent, Elon Altman, owned our stage for the series this past Friday, noting that the experience was “unique in that it takes place at primetime on a Friday night, so you know you’re going to have a lively, weekend crowd.” Altman also reflected that being the sole source of promotion for a show “can be daunting,” but appreciated that SUNY was “frequently promoting the show through their own social media.” No problem, Elon. What are interns for, after all?

For Jay Jurden, awarded best LGBTQ comic in the 2018 Manhattan Comedy Festival, the sweet, sweet hour-long tape was “a huge win.” Jurden understands that “being able to tell producers, agents, managers, and industry people that you have an hour is great, but being able to show them is even better.”

After speaking with some of the fantastic comics who have presented their hour for this series, we could determine that they value an almost family-like support system in creating, shaping, promoting, and carrying out a headliner show. Even more pleasing news is that they found this in the Stand Up NY team. Jay Jurden specifically thanks Sydnee Washington, Mike Lasher, Robb Coles and Jon B for helping him achieve the show he envisioned. He has been building this 50-minute set for 20+ years, very creatively, yet accurately, calling it his “incredibly queer, racially aware, sexually inappropriate baby.” Well said, Jay.

“Stand Up NY is my home club,” proclaims Ashley Morris, who will be our headliner this Friday evening, October 5th. Morris considers the folks here “some of her best friends and family,” and feels “honored” to take the stage. “What is something that feels different about preparing for this show compared to others shows you’ve done?” we inquired with Morris. She replied, “I live three blocks away, so I’ll actually be on time. I’ll have my pants on.”

You can catch Ashley Morris tonight, Oct. 4th, on Murphy Brown on CBS at 9:30PM, to give you a little taste before she headlines at Stand Up NY this Friday, Oct. 5th,  at 7:30pm.

O.K., so it looks like we did not end up touching on any lowlights of the New Headliner Series. But that’s only because none of the comics could think of any. So, yeah, this show is awesome!

 

 

Article written by Ellen Harrold

Instagram: @ellewoodz

Twitter: @whorsdoeuvres

Inquiries: harroldellenj@gmail.com

 

 

 

 

 

 

Respect The Nerds

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RESPECT THE NERDS

We live in a paradoxical world. Cities are banning plastic straws, but machine guns are A­OK. It’s cool to pop opiates if they’re prescribed, but don’t you dare touch that green stuff, Cynthia Nixon.

The most prevalent and perhaps the most important societal paradox that deserves our utmost attention is the fact that normal, everyday people are—and I shudder to say it—are now calling themselves nerds to seem cool.

I’m not saying all nerds are phonies. I’m just saying that buying a Dark Knight poster and downloading a few comics doesn’t make someone a Batman nerd. Being a nerd is less casual than that.

So what does it actually mean to be a nerd? How can we tell if someone is a nerd if everyone else is claiming they’re nerds as well? To answer these crucial questions as nerd culture bursts into the mainstream, we should look back to see who the real O.G. nerds are.

Patton Oswalt wrote an article for Wired on the deterioration of geek culture. In the article, Oswalt relates the Japanese word otaku—meaning one who has “obsessive, minute interests”—to nerds such as himself.

Oswalt says that traditional geeks have obsessive, minute interests in the things they like. It could be a comic book series, a movie, an underground band, or cats.

However, Oswalt believes that due to the internet, the depth and meaning of otaku—as it relates to nerds—is stripped away. Thanks to the world wide web, all it takes now is a quick Google search to find The Green Lantern’s backstory and *boom* you think you’re a super nerd.

Well it wasn’t that easy for the O.G. nerds back in the day. These are the nerds who had to wait for the next issue of Watchmen to come out instead of downloading it onto their computer. In the time these O.G. nerds spent waiting for the next issue, they went back, re­read, and studied the old issues. They didn’t have the convenience of the internet—they had to work with what they physically had.

Comedian Tom Franck is an O.G. nerd and deserves the same kind of respect Oswalt calls for in his Wired article. Franck grew up in the time of having to wait for the next episode of that super robot show. In fact, he is a renowned collector of Japanese robot toys. Here’s a video of Franck showing—with an obsessive and minutely detailed explanation—his robot collection.

That’s as otaku as otaku gets, ladies and gentlemen.

O.G. nerds deserve respect not only because they’re passionate enough about their interests to explore them in obsessively, but also because they do it against the flow of the mainstream. Not following the mainstream is what made nerds uncool. They rejected the norm and obsessively studied their quirky personal interests.

But now the mainstream is flowing in a nerdy direction. Superhero films are everywhere. Graphic novels are consistently being adapted into television shows. Comic­con has been growing consistently for the past several years. There’s something for everyone out there. People now know the distinction between anime and hentai. Crazy. The point is that nerd interests are now everyone’s interests.

So where are the nerds now? They’re still out there—some are probably just a little harder to find. Your Average Joe might be able to name every Avenger, but a true O.G. might be familiar with every comic backstory to every Avenger hero ever written from every issue.

This can be applied to people of different interests as well. It’s nice that Average Joe might know the names of dog breeds, but can he look at a mutt and tell what breeds are mixed in?

So next time you call yourself a nerd, think about how passionate the O.G’s are about their interests. Think about how much time goes into learning about your interest. Think about how common your interest is.

I am not a nerd. Maybe one day I will find something I can go otaku­crazy for—but currently, I cannot make claim to nerd culture—as it is not my own. I understand that there’s no shame in that. But most importantly, there’s no shame in being an O.G. nerd.

On Thursday, October 4 (right after the first day of Comic­con!) Stand Up NY will host Tom Franck’s comedy series “Comics and Comics”—which features O.G. comic nerds. Franck, the creator of “Comics and Comics”, is a seasoned comedian with appearances on Comedy Central and SyFy. Reserve your FREE tickets here!]

Written by Will Flaherty

Twitter: WillFlah3rty

Instagram: WillFlah3rty

A Musing: Meet Your New Blog Contributor Who Talks About His Feelings

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A Musing: Meet Your New Blog Contributor Who Talks About His Feelings

I work at a fancy country club in addition to my internship at Stand Up NY. On the first day, my boss took me to a garage where I was told to clean golf carts.

“You know, we usually hire, like, 16 year olds to do your job,” he said. “I’m used to telling these kids over and over again how to do everything. You seem to be picking it up pretty well, though.”

I was flabbergasted. This man was genuinely trying to compliment my work ethic by telling me I’m better than high schoolers. It made me feel like the smartest kid on the short bus.

What do I even say to that besides, “yeah, no shit?” I settled with giving him the same kind of “thanks” you give to someone that hands you a flyer on the street.

But what my boss said also made me think: Is this really where I want to be?

I just moved to New York after living in my parents’ apartment as a post-grad with a creative writing degree. During that time with my parents, I slowly rotted from the inside out as I tried and failed to get entry-level jobs at hip startup companies in Boston. These are the kind of places with ping-pong tables and free beer in the break room to help you forget about that client who told you to go fuck yourself.

I realized that if my job involves being glued to a phone attempting to upsell clients all day, I’d hate my life. So I moved to New York. And now I clean golf carts.

But I also stumbled upon this opportunity to intern at Stand Up NY. For the first time, I get to see what it’s like to work for a company that promotes something deeply important to me: creativity.

In college, the only thing I was truly passionate about was my own writing. I enjoyed sitting down to craft poems, stories, and essays. I did it as much as I could, because I knew that once I graduate, I’d have a real job doing real work for a real company. I never had faith that I’d find something I enjoy doing.

But here I am, writing on a blog that maybe 12 people skim. I may be on the very bottom rung of the ladder for now, but it’s a start. So yes, I really am where I want to be and I’m willing to do worse things than clean golf carts to make sure I am here for a while.

In the golf cart garage, my boss told me he was leaving me alone for a minute. He said to clean a couple golf carts while he was gone. He left me for an hour. When he came back, I had every golf cart cleaned.

“Wow. You definitely aren’t a 16 year old,” he said.

Yeah, no shit. What else do you need me to do?

Article written by Will Flaherty

Twitter: WillFlah3rty

Instagram: WillFlah3rty

C.K. Calling, Who Will Pick Up?

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At the myriad of notorious comedy clubs scattered across New York City, it is part of the game for big-name comics to drop in unannounced for a set. Before they can grace the stage, however, it is under the discretion of those running the club that night–be it a booker, manager, owner, whoever ranks highest–whether their stage is one that needs any gracing. With Louis C.K. evidently back on the scene, and executing that surprise-visit technique flawlessly, the protocols for this drop-in method become, well, a bit more blurred, and a lot more dependent on who is making the decision.

When looking at C.K.’s talk-of-the-town rebirth at the Comedy Cellar the other week, he was reportedly welcomed back with open arms, as shown by the club owners who were comfortable with having him and the crowd who gave him a standing ovation. The Twitter world’s uproar was largely to the opposite effect. The consensus is that his “time to listen” has not nearly been long enough nor filled with any sort of restitution. The fact of the matter is that just like each audience–from comedy club patrons in the flesh to Tweeters to fans in general–is comprised of differing opinions, so is the workforce of a comedy club. If and when C.K. strolls in to do a set at our club, his request to perform will receive a different answer depending on the night.

So what is the role of a booker or owner in this situation? The stage is a vessel, a platform for art, opinion, thought, trial and error. Is it the club’s duty to bring even a controversial comic on stage for the sake of keeping the flow of said vessel? How does that reflect on the club as a whole, from reputation to revenue?

In a post on her take on the situation, one of our bookers concluded that though she is not a “judge, jury, cop, or ‘comedy’ police” she definitely reserves the right to say ‘no’ if Louie were to walk in and ask to jump on stage. “I wouldn’t make a scene, I wouldn’t call attention to it. I would simply say, ‘I’m afraid it’s not possible,’” she wrote. However, if it were, say, a Tuesday instead of Thursday, with a different set of staff on deck and a different person at the top to say yay or nay, our audience would be hearing some new, hot-off-the-presses C.K. material that night.

There are a couple takes on this that can be outlined immediately to support a yes or no answer to a drop-in by Louis C.K. Both want to ensure that “vessel” concept of the stage. For one, we want to foster a creative, kick-ass space for comics to spit their stuff, perfect it, play with it, and give an audience a night out to remember that they know they can relive any night of the week just by coming in. We want to provide enjoyment, excitement, entertainment. That partially means creating a safe space for that creativity to flow, for that enjoyment to be had unapologetically. One could say C.K. definitely compromised and may continue to compromise the safety of a working environment. Who are we to let him in to jeopardize it again? On the other hand, some say that #MeToo offenders, namely Louis C.K., should be able to “serve their time and move on”. A considerable number of folks are hankering to see Louis back in the comedy game, and who are we to deny audiences that if he is ready to give them a show?

So where does that leave the audience, the unsuspecting patrons of the club on any given evening? Many on Twitter say, if you are a champion of #MeToo-related causes, that it is your obligation to get up and leave if you were to be a member of an audience like the one at the Cellar who received C.K. the other week. I can’t help but wonder, though, if that expectation is a little far-fetched. Imagine, you’re at one of the most acclaimed comedy clubs in the city–maybe the world–and the once-adored now-social-pariah from whom no one has seen or heard in the comedy realm for months appears before your very eyes. Everyone around you gets on their feet. What is he going to say? You’re going to be one of the people who takes in the jokes of his very first comeback set. But, you know he did some really shitty things and put a number of women in what you can only imagine were really shitty situations, sometimes even in the workplace environment. What has he done in his time served to repent for the wrong he’s done to these women? How long has it even been anyway? Oh well, everyone around seems fine with it, and I may miss out on something if I leave.

Anyone getting deja-vu here? Louis put the Cellar audience that night in the same position as those women in the room over the years. The option is there to refuse, to say no, to “just leave”. But there is more to the equation than that. You feel like you ought to stay. Here he is, back from his sentence, whether you find it way too short or too long or just right, wielding that same power. If you were in the audience, what would you do when Louie stepped under the lights?

More importantly to the theme of this particular blog, would you feel like it is the club’s responsibility to not put you in that situation in the first place?

Louis being back on stage and the way he chose to go about it no doubt raises ample amounts of contrasting emotions and opinions. The decision-making is no longer just reserved for ownership. As a patron, as a booker, as an owner, as a general fan with a voice, what are you going to do when Louis C.K. inevitably calls? Trick question: he probably won’t call to let you know he’s on his way. He’ll just drop in.

Article written by Ellen Harrold

Instagram: @ellewoodz

Twitter: @whorsdoeuvres

5 Great Jokes About America From Our Favorite Comedians

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Stand up comedy is like pizza in America — we may not have created it, but we sure as hell made it better.

From Lenny Bruce to The Smothers Brothers, George Carlin to Jon Stewart, there’s a long history of comics who have a love-hate relationship with the ol’ Red, White, and Blue.

And with Independence Day around the corner, we couldn’t think of a better way to celebrate than with some of our favorite comedians sharing their thoughts, dreams, and occasional fears about our great country. Here are our 5 favorite comedians talking about America:

Judah Friedlander — “America is the Greatest Country in the United States

Judah is a regular here at Stand Up NY and we were lucky enough to see him work out some of the material off his 2017 Netflix special “America is the Greatest Country in the United States” right here at our club.

Check out this clip where Judah shares his presidential platform for health care, climate change, and gun control:

Trevor Noah — “Sports in America

Sometimes the best observations on a subject come from the outside. Trevor Noah moved to the U.S. from his native South Africa in 2011, but it didn’t take him long to really get a pulse on the one thing Americans love the most: sports.

Watch this hilarious clip from his 2013 special, “African American” where he breaks down how American priorities may need a little adjusting:

Jerry Seinfeld — “Comedians in Cars Getting Coffee

If you haven’t seen Seinfeld cruising in a 1963 Chevy Corvette alongside our country’s 44th President, carve out 20 minutes from the hot dog eating and Bud Light drinking this July 4th and watch it now. Seinfeld goes for the deep cuts, like Obama’s underwear preference and his most embarrassing presidential moment.

Michelle Wolf — “White House Correspondents Dinner

It doesn’t get much better than this. We used to see Michelle Wolf grinding it out at our open mics here at the club. Now, she’s on the main stage taking down President Trump and politicians on both sides of the aisle. This may be the best piece of political humor for 2018:

Sarah Silverman — “I Love You, America

Sarah’s been an amazing comedian for years, but her new Hulu show, “I Love You, America” may be her best work yet. Check out this promo clip where Sarah gets to the core of America’s issues…magicians.

That’s it! Have a happy Independence Day, America! We love you.

 

Advice From a NY Comedian: Never Phone It In

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Ian Hunt is a NY-based stand up comedian by way of Michigan. He is the winner of the 2017 New York Comedy Festival, a contributing writer for Mad Magazine, and co-creator of the hit webseries, Insta Boyz. Ian produces a popular monthly show in Brooklyn called “Good For You.”  



I generally hate comedy advice.

Most of it seems arbitrary to me. My knee-jerk reaction when someone tries telling me I “have to” do something is to snap back with “who are you and why should I listen?”

Maybe that’s part of a comedian’s brain — an impulse that says, “don’t tell me what to do.”  

Or maybe I’m just an asshole.

But, so much advice comes from people I don’t know without any context.

And so, I’m going to tell a story about me here. I’m going to give some context to an important lesson I learned about comedy because I think it’s good advice and maybe if I can express how I learned it (and from whom) assholes like me will be more apt to take it.

Here it goes:

I was two years into comedy in New York City and fortunate to get booked on a bar show in the West Village.  

Now, bar shows in New York can be notoriously tough. Even a great producer who does all the right stuff — reaches out to press outlets, posts on social media, even barks audience members in — can end up with a rough show.

But, this one was especially brutal.

When I showed up, the “audience” consisted of four people sitting as far away from the stage as possible. Two of them were tourists from Sweden who didn’t seem to speak much English. On top of that, nothing seemed organized. The host greeted me, hopped on stage, shifted through some notes, and then looked at me and from the stage asked “Do you want to go first?”

No, I don’t, I thought. I want to wait. Maybe more people will show up. Put one of the other comics up first. Also why are we figuring this out now in front of the “crowd”?

I said “sure.”

Then, I sped through my set to the sounds of empty silence. No real effort on my part. When I got the light, I didn’t even bother to use my final minute. I got off stage and walked straight to the bar to grab a drink and stew in my own misery.

What a waste, I thought to myself. I knew I was a nobody, but I was better than this show. Hitting an open mic would have been a more productive use of my time. I watched the comic after me go down the same path of frustration and resignation as he too sped through his set and got off stage as quickly as possible.

Then Myq Kaplan showed up.

He took the stage and immediately engaged the audience. Both me and the second comic had done a little crowd work (with no success), but Myq’s approach was totally different. He didn’t have the defeatist attitude we had on stage.

He was excited to be on the show and the crowd knew it.

To my surprise (and the host’s too, frankly), the audience came alive. Turns out the two Swedes spoke English just fine and all four attendees were ready and willing to chat and laugh. Myq was by far the most accomplished comic on the show — at this time, he already had late night sets on Conan and Letterman under his belt in addition to a Comedy Central Presents — but he was not above this 7PM on a Wednesday bar show for four people.

He was tap dancing. He was on. I had gone on stage and punished the people who had showed up. I was like the teacher who yells at their class for skipping: “Why are we in trouble?! We’re the ones here!”

Mark Normand says “you’re not above anything.” And I know he means it because I heard him say it on an open micer’s podcast that sounded like it was recorded on a broken iPhone. It probably was, and Mark Normand has played Madison Square Garden.

The lesson here is simple: never phone it in.

Comedy doesn’t owe you anything. There are so many comics in New York alone who want that spot so bad. Who want to “make it.” You can’t afford to not give it your everything. Rolling with the punches makes you better. Saving a tough show feels amazing. You’re in control: every show is fun if you let it be. Doesn’t matter if you’re performing for four people or four-thousand.

Never phone it in. Take every spot. You’re not above anything.

 

Comedy & Charity

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Let talk about support, baby! Now that you are full grown we can have a more intimate conversation about it… New York City is a great big place, but like all great places we have our ups and downs, issues, and causes to handle. Thankfully NYC is also a comedy hub filled with amazing comediennes and comedians with all shapes and sizes of heart! Many organizations have put two and two together to create scores of outstanding charities and organizations to help bring comedy to those in need as well as fulfill needs through comedy. To mention just a few…

Comic Relief USA – “We are built on the foundation that the power of entertainment can drive positive change and help people who need it most, in America and around the world.”

Founded in the UK in dedication to Any Kaufman, comedy writer and producer Bob Zmuda worked with HBO Executive Chris Albrecht to found the US version in 1986. Focused on raising funds to help those in need, specifically America’s homeless, Comic Relief USA has historically put on televised fundraising events hosted by comedians Robin Williams, Billy Crystal, and Whoopi Goldberg. Entertainers performed various segments including stand up comedy, sketch comedy, speeches, live music, and impressions with the goal of entertaining and enlightening. Check out their upcoming events here.

Red Nose Day – “Red Nose Day brings people together to have fun, raise money and change the lives of kids who need our help the most.”   

A fundraising campaign off-shoot of Comic Relief, Inc., Red Nose Day was launched in 2015 to help end child poverty. The symbol of the Red Nose was adopted to remind us of the power of laughter; it is a simple yet powerful, visible and playful, symbol meant to break down barriers. Kicking off on May 24th, 2018 you better run out to purchase a Red Nose at a local Walgreens (Duane Reade for New Yorkers) so you can go “Nose to Nose” to raise awareness and funds to help children in need. Plus, tune into NBC for their special night of programming to celebrate Red Nose Day 2018!

Comedy Cures – “provides joy-filled, therapeutic entertainment to kids and grown-ups living with illness, depression, trauma, and disabilities.”

Founded by Saranne Rothberg in 1999 after being diagnosed with early stage IV Cancer, Comedy Cures grew from Saranne’s first “Chemo Comedy Party.” Truly putting the meaning behind “laughter is the best medicine,” Comedy Cures hosts a multitude of events through a therapeutic comedy program for people living with chronic and or acute illness, depression, trauma and disabilities plus their caregivers and family members. Comedy Cures brings comedians into venues or events to perform stand up comedy or entertain their guests and bring laughter back into their lives. Try them out yourself! Call into their LaughLine (1-800-HA-HA-HA-HA / 1-800-424-2424) to listen to a joke or laughter! If you are a comedian or aspiring to be one call in and press 3 to leave your joke or just leave your laughter for others to enjoy later!

Night of Too Many Stars – “Giving children and adults with autism the chance they deserve to learn, to contribute and to live the fullest lives possible.”

This televised program and event brings together entertainers from across the spectrum to raise funds to give children and adults with autism the chance they deserve to learn, contribute, and live the fullest lives possible. Hosted by HBO and NEXT for Autism (Historically New York Collaborates for Autism) this program has raised more than $30 million since 2006 to fund autism programs focused on creating and supporting exceptional education, clinical, and vocational programs geared towards affecting fundamental shifts in current approaches to autism services.

Donate The Door with Stand Up NY!

Did you know Stand Up NY loves to support all charities and organizations through our new program affectionately called “Donate the Door”? This program allows us to partner up with causes to raise donations for great organizations. We host stand up comedy showcases every night of the week, so what better way to give back than to provide what we do best!? To help forward each organization’s brand and mission we engage across social media platforms advertising the showcase. Stand Up NY loves having this amazing way to bring a lighthearted appeal to donations for amazing charities. The way this works? A majority of total ticket sales from the evening’s show goes to the organization represented that evening.

Check out a few of our upcoming Donate the Door opportunities:

The New York Women’s Foundation creates an equitable and just future for women and families by uniting a cross-cultural alliance that ignites action and invests in bold, community-led solutions across the city.”

“Leading the fight to treat and cure ALS through global research and nationwide advocacy while also empowering people with Lou Gehrig’s Disease and their families to live fuller lives by providing them with compassionate care and support.”

The Lymphoma Research Foundation’s mission is to eradicate lymphoma and serve those touched by this disease.”

Action Against Hunger is a global humanitarian organization that takes decisive action against the causes and effects of hunger. We save the lives of malnourished children. We ensure families can access clean water, food, training, and health care. We enable entire communities to be free from hunger.”

Why not enjoy yourself while giving back? Join Stand Up NY for Comedy supporting great causes! Check our website and calendar to plan your next night to donate! All Donations are included in the regular ticket price.  For future shows please purchase tickets here or make a reservation today. If you want your own opportunity to make your way into the stand up comedy world, join us for our Open Mics every weekday, Monday – Friday at 5PM. Think you’ve already got a great set going? Then check out our Bring It show every Saturday at 6PM with more info on how to sign up here. Join us on Twitter or Instagram!

Comedy Club Intern Insider

ByonwithComments Off on Comedy Club Intern Insider

When I first started at Stand Up NY, I wrote a little piece about how I learned how to overcome my initial anxiety, take on projects, and get them done. The cycle of nervousness, hard work, and accomplishment has been a constant in my time here, but there’s been a lot more ups and downs as well. Now that it’s coming to an end, I’d like to add to the list of things I’ve learned at SUNY:

  1.     How to fit an absurd amount of information on a tiny graphic.
  2.     The nuances of
  3.     Crazy people like to call after your boss leaves. Learn their caller IDs so you don’t have to listen to a grown man explain his budding stand up hobby to you for 10 minutes.
  4.     College students really don’t want to pay for anything. At all.
  5.     Podcasts are cooler than I thought.
  6.     Hootsuite is your best friend and your worst enemy.
  7.     You know a comedian has made it when you don’t have to type “comedy” after their name when googling them.

Most of all, I’ve learned how to make myself available and open to new situations, jobs, and experiences. What I ended up experiencing here has been completely different from what I expected going in. I’ve gotten so much better at organizing my time and commitments, managing my schedule, and wrangling comedians over email. I also might have discovered a talent for graphic design with help from Canva (thank you Canva!).

Some days it felt like I was spending my time writing tweets that no one would read, but something would always happen that would make me grateful for this opportunity, whether it be a chance to meet a favorite comic, a new perspective on the industry, inside knowledge of cool shows, or even just seeing that people actually did like my tweets! Overall my time here has been full of laughs, drinks, and endless black and magenta design templates, and I wouldn’t have it any other way.