Why Harold Ramis "stopped being the zany"

Animal House. Stripes. Meatballs. Ghostbusters. Caddyshack. Vacation. Groundhog Day. Helluva run. This Harold Ramis obit talks about a realization he had after a performance at Second City in 1972.

“The moment I knew I wouldn't be any huge comedy star was when I got on stage with John Belushi for the first time," he said in a 1999 Tribune interview. "When I saw how far he was willing to go to get a laugh or to make a point on stage, the language he would use, how physical he was, throwing himself literally off the stage, taking big falls, strangling other actors, I thought: I'm never going to be this big. How could I ever get enough attention on a stage with guys like this?

"I stopped being the zany. I let John be the zany. I learned that my thing was lobbing in great lines here and there, which would score big and keep me there on the stage."

Related: The spiritual lessons of Groundhog Day

How mean and vulnerable need each other

Funny = Money is a look at comedy manager Peter Principato. He says, “You have to get yourself out there. You have to make your little YouTube videos. You have to write things yourself instead of waiting for a real Hollywood writer to come along and write you a vehicle.”

One interesting bit from it is the talk about All in the Family. According to Principato, what made Archie Bunker work was his vulnerability/humanity. That's why he could "go there" on race and other stuff the way no one else on TV had up to that point.

In the show, [Rob] Riggle aims to play a Bill O’Reilly-like newscaster, a conservative blowhard with a tremendous ego in the vein of Ted Baxter, from “The Mary Tyler Moore Show.” Principato said the network was concerned about the central character’s likability. He didn’t seem vulnerable enough. Riggle was ready to adapt, but worried about overcompromising. “I think we need to defend a little,” he said. “You know, you could always count on Sam Malone, Woody and Norm from ‘Cheers’ to be themselves. You could always count on Coach to be Coach. You could always count on those characters. Frank Burns was always going to be Frank Burns. . . . ”

Principato interrupted. “But Frank Burns wasn’t the lead in the show.” He cited Archie Bunker, from “All in the Family.” Bunker was a chauvinistic, racist, irascible bully, but his comeuppances were so severe and so frequent, you were always reminded of his frailties.

Riggle’s eyes got a bit misty. “Remember when he got locked in the basement with Meathead and he told the ‘Shoe-Booty’ story?”

Principato laughed. The story was about how poor Bunker had been as a kid — he had to wear one shoe and one boot to school, and the other kids teased him: Shoe-Booty.

Riggle continued. “I cried — I was a kid then, but — that was good stuff.”

Principato pressed his point. “Yeah. So . . . it had the humanity. I think that’s what it was. And I don’t think Hardaway — we didn’t show enough of his humanity. You know what I mean?”

If you want to be dark/mean/edgy/etc, ya better also get it back in some way that makes you seem vulnerable too.

How the Beatles used jokes to go viral

How the Beatles Went Viral talks about how the group went from unknowns to the biggest pop stars in the USA in just six weeks. Their humor was a key part of it. For example, an early gig in front of the Royal Family...

Famously, Lennon introduced the band's finale that evening, "Twist and Shout," with the quip, "Will the people in the cheaper seats clap your hands? And the rest of you, if you'll just rattle your jewelry." It was a display of cheekiness that heretofore one simply didn't exhibit before the Royal Family.. And yet, by narrowing the distance between the monarchy and the working-class foursome onstage, Lennon brought down the house-and in the process managed to make the band all the more beloved in an England where notions of one's proper place were evolving rapidly. Even the Queen Mother came away a fan, calling the Beatles "so young, fresh and vital"...

At 1:20 p.m. on Feb. 7, the Beatles arrived stateside on Pan Am flight 101, greeted by the high-pitched squeals of approximately 4,000 teenagers, plus more than 200 reporters and photographers and 100 police officers. The crowd was larger and louder than that which Sullivan had chanced upon three months earlier at London Airport. At the famous press conference conducted inside the airport, defying the low expectations journalists had of rock'n'rollers in that era, the Beatles' charisma and wit wowed the skeptical crowd. If anything, it was the reporters who appeared to be the dullards, asking banal questions-"What do you think of Beethoven?"-which the Beatles fielded with their patented cheekiness-"Great," Ringo Starr replied. "Especially his poems."

Nothing like a good zinger to get folks on your side.

Jealousy, bitterness, and life after the Half Hour

Two recent thoughtful pieces by comics reflecting on standup:

What Jealousy And Bitterness Can Do For Your Comedy Career by Andy Sandford.

There is very little value in everyone knowing what level you deserve to be on as soon as you have reached that level. You shouldn’t want to get seen by industry people just because you “can” hold your own with the big dogs…it is much better to get as good as you possibly can under the radar so that when you do get seen, you blow everyone’s mind and are more than ready for whatever big break that might come your way. No one owes you anything for your hard work. The only benefit of your hard work is how good it has made you. This is why “years” in stand up almost means nothing. People progress at different rates, and sometimes someone has a breakthrough many years in; or maybe it just took a while for people to be able to appreciate their style. If you have the time to make a note of every thing that some undeserving peer got, then you have the time to put a little more effort into your act, which is the only thing that speaks for you, or should speak for you.

And Ben Kronberg wrote this Facebook post about the year he's had following his Comedy Central Half Hour.

I did a Half Hour last year and am agent-less and manager-less. I booked less colleges this year than I ever have. The guy at the St. Louis funny bone won't return my emails along with a slew of other bookers and gatekeepers who seem to only want to deal with agents or at least not me. I feel the disparity between the singular success and the longevity it should be contributing to. It's like getting married, having a great wedding with lots of love and hugs and gifts, but you get home and you still have all your flaws and insecurities, and the constant nag of that thing that should make it all right, but doesn't...But it's really just the thoughts that sting. The reality is beautiful. I got to perform in Korea and am recording my first album and my mom got to watch me perform the other night. I've used Facebook to correspond and get gigs I never would have known about or thought possible. I'm a comedian. I'm a fucking comedian. I am a lucky fuck to even be able to do this ridiculous thing. WE are lucky fucks. Wake up everyday and look at yourself and say: "I am a lucky fuck." Cuz you are.

Both are solid pieces worth a read.

Bill De Blasio vs. tall Al in Naked Gun

Post by Matt Ruby.

An analysis of "breaking"

An analysis of "breaking" character in comedy, from SNL to this Dean Martin/Bob Newhart sketch:



"More Cowbell" is the one that always comes to mind for me. According to the piece, the conventional wisdom on breaking: You might get a laugh, but it's a cheap one. However: “You’re allowed to break if the audience would never expect you to break.” Also interesting: It's known as corpsing in Britain.

HOT SOUP tonight (Tue) with Soder, Glaser, and more

Fun lineup at HOT SOUP tonight:

Dan Soder (MTV's Guy Code)
Nikki Glaser (MTV, Conan)
Louis Katz (Comedy Central)
Greg Warren (Comedy Central)
Mike Drucker (Fallon)
Kevin Barnett (Comedy Central)
Matt Ruby (MTV)
Gary Vider (AXS TV)

Full event info here. We can't always reveal entire lineup but surprise guests in recent weeks included Aziz Ansari, Nick Kroll, Wyatt Cenac, and Judah Friedlander.

Candor as bond between artist and audience

Lena Dunham profile in Vogue. Get past the pics hubbub and it's an interesting piece for Girls fans.

She came to regard candor as a powerful inventive tool: one that offered the energetic release of an uncorked bottle but also created a bond between artist and audience...

She thinks about an observation Antonoff made one day when she was feeling low.. “He’s like, ‘You know what’s hard? People want the person who wants to share it all.. But they want the person who wants to share it all minus foibles and mistakes and fuckups.. They want cute mistakes.. They don’t want real mistakes.’ If I placed that many censors on myself, I wouldn’t be able to continue to make the kinds of things that I make.. And so I just sort of know there are going to be moments where I take it one step too far.”

The candor-as-bond thing reminds me of Howard Stern's approach ("the secret to my show is honesty") and how he's gotten his legions of admirers.

Bill Burr on Jerry Seinfeld

Bill Burr goes onstage at a charity event right before Seinfeld. Burr apologizes for cursing so much to Jerry. Jerry couldn't care less...



Burr on Seinfeld's act: "There's not a line of fat." [Thx MN]

This just in: Comedians are kinda crazy

In a study in the British Journal of Psychiatry, researchers analyzed comedians and found they score higher than normal people on traits like being impulsive, anti-social behavior, and a tendency to avoid intimacy.

"The creative elements needed to produce humor are strikingly similar to those characterizing the cognitive style of people with psychosis - both schizophrenia and bipolar disorder," said Gordon Claridge of the University of Oxford's department of experimental psychology, who led the study...

"Although schizophrenic psychosis itself can be detrimental to humor, in its lesser form it can increase people's ability to associate odd or unusual things or to think 'outside the box'," he said.

"Equally, manic thinking - which is common in people with bipolar disorder - may help people combine ideas to form new, original and humorous connections."

So basically: If you want to be funny, it's good to be schizophrenic but not TOO schizophrenic.

Vooza: Power Pose and The 5 Whys

A couple of recent Vooza videos:





And we were featured on the front page of Metafilter recently too.

George Burns on Johnny Carson: “When it comes to saving a bad line, he is the master”

Fifteen Years of the Salto Mortale is a fascinating 1978 profile of Johnny Carson. In it, director Billy Wilder gives this eloquent explanation of why Carson was so good.

“By the simple law of survival, Carson is the best,” he said.. “He enchants the invalids and the insomniacs as well as the people who have to get up at dawn. He is the Valium and the Nembutal of a nation.. No matter what kind of dead-asses are on the show, he has to make them funny and exciting. He has to be their nurse and their surgeon.. He has no conceit.. He does his work and he comes prepared. If he’s talking to an author, he has read the book.. Even his rehearsed routines sound improvised.. He’s the cream of middle-class elegance, yet he’s not a mannequin. He has captivated the American bourgeoisie without ever offending the highbrows, and he has never said anything that wasn’t liberal or progressive. Every night, in front of millions of people, he has to do the salto mortale”—circus parlance for an aerial somersault performed on the tightrope. “What’s more”—and here Wilder leaned forward, tapping my knee for emphasis—”he does it without a net. No rewrites. No retakes. The jokes must work tonight.”

The author also talks about Carson's great way with savers. He could dig himself out of any hole.

The unexpected impromptus with which he rescues himself from gags that bomb, thereby plucking triumph from disaster, are also part of the expected pleasure. “When it comes to saving a bad line, he is the master”—to quote a tribute paid in my presence by George Burns. Carson registers a gag’s impact with instant, seismographical finesse. If the laugh is five per cent less than he counted on, he notes the failure and reacts to it (“Did they clear the hall? Did they have a drill?”) before any critic could, usually garnering a double-strength guffaw as reward. Whatever spoils a line—ambiguous phrasing, botched timing, faulty enunciation—he is the first to expose it. Nobody spots flaws in his own work more swiftly than Carson, or capitalizes on them more effectively.

Seinfeld, the Heckle Therapist

How does Seinfeld handle hecklers? He turns into the Heckle Therapist:

Very early on in my career, I hit upon this idea of being the Heckle Therapist.. So that when people would say something nasty, I would immediately become very sympathetic to them and try to help them with their problem and try to work out what was upsetting them, and try to be very understanding with their anger.. It opened up this whole fun avenue for me as a comedian, and no one had ever seen that before.. Some of my comedian friends used to call me - what did they say? - that I would counsel the heckler instead of fighting them.. Instead of fighting them, I would say "You seem so upset, and I know that's not what you wanted to have happen tonight.. Let's talk about your problem" and the audience would find it funny and it would really discombobulate the heckler too, because I wouldn't go against them, I would take their side.

Reminds me of Paul F. Tompkins' advice on dealing with hecklers: "It's worth talking to hecklers to see if they are just goons who are trying to ruin your set or if they are just enthusiastic folks who want to get in on the fun."

Seinfeld's quote is from his recent AMA at Reddit. Another interesting bit is how he claims the show Seinfeld wasn't actually about nothing.

Yeah, I'm always annoyed by people who describe Seinfeld as a show about nothing.. Even in the later years when you guys strayed from the "how a comedian gets his material" formula, it was still about social faux pas and ridiculous social customs.

Seinfeld: FINALLY I have met someone that understands the show.. Thank you for your rare and perceptive analysis.
permalinkparent

Here's a good summary of other interesting bits from it.

Big guests tonight (Tue) at HOT SOUP

TWO huge guests tonight (Tue) at HOT SOUP. These guys normally sell out theaters so we can't name names but there are hints here.

Lineup:
TWO "HE'S SO BIG WE CAN'T ANNOUNCE IT" SPECIAL GUESTS FROM MOVIES/TV
Wyatt Cenac (Daily Show)
Michael Che (SNL)
Christian Finnegan (Conan)
Nikki Glaser (MTV)
Will Miles (Chicago)
Mark Normand (Conan)
Matt Ruby (MTV)
...and more!

Facebook event has more info.

Why Seinfeld works clean

Jerry Seinfeld on how to be funny without sex and swearing:

Keeping his act sex- and swear-free, the way he sees it, is part of this athletic challenge, since it denies him the easiest laughs: "A person who can defend themselves with a gun is just not very interesting.. But a person who defends themselves through aikido or tai chi? Very interesting." Likewise his focus on minutiae.. "It's so much easier when you're talking about something that really is important.. You've already got a better foundation than someone who's bringing up something that does not need to be discussed." Such as? "I do a lot of material about the chair.. I find the chair very funny.. That excites me.. No one's really interested in that – but I'm going to get you interested! That, to me, is just a fun game to play.. And it's the entire basis of my career."

Interesting perspective. Not sure I agree with the idea that it's easier to talk about important things. So it's easier for Carlin or Stanhope than it is for Seinfeld? Important stuff gets people tense and stiff. Observational stuff doesn't do that. And no one walks out on your set because they disagree with your opinion on chairs.

SF shows this weekend

I'll be out in SF doing shows this weekend in case you/someone ya know wants to come out:

Sat, December 21 - 8:00pm - Cynic Cave @ Lost Weekend Video
Sat, December 21 - 9:30pm - San Francisco Punchline (with Ali Wong) - Tickets
Sun, December 22 - 8:00pm - San Francisco Punchline

Merlin Mann: “People like you because of this, but you’re mad because it’s not this other thing.”

Merlin Mann (speaker, podcaster, tech guy) interview. Interesting thought on what to focus on...

It can be very frustrating to keep sucking at something without realizing that it’s not the thing you should be trying to get better at. It’s like when our parents used to tell us as kids, “There is something that you don’t even realize you’re good at,” or, “People like you because of this, but you’re mad because it’s not this other thing.” Part of successfully growing up is letting go of unrealistic ideas that stop us from recognizing something else we’re good at and might enjoy more than what we’re doing now. There could be something 10 times greater than what you’re doing, but you don’t realize it because you’re fixated on the thing you feel like you should be doing.

Fixation is good. Until it blocks out your vision of the bigger picture and alternate paths.

Last HOT SOUP show of the year

Last HOT SOUP show of the year is Tuesday (Dec 17). We're off for the holidays and then return on Jan 7. The lineup:

Reese Waters (Letterman)
Dan St Germain (Comedy Central)
Nate Fridson (Rooftop)
Chris Laker (JFL)
Taylor Ketchum (Rooftop)
Matt Ruby (MTV)
...and more!

Details.

The intersection of art/commerce/PR and making money off what ya do

Smart piece, by the founder of a denim label, on the intersection of art/commerce/PR and making money off what ya do: Ten Lessons from a Maker [via JF].

I) No one knows you exist.

You make a great product. But the world isn’t holding its breath waiting for you. It doesn’t know who you are. It doesn’t know you even exist. Currently, in the pecking order, you are at the bottom. It’s nothing personal. Everyone starts here.

You will have to make your reputation. You have will have to gain peoples attention. You will have to be as good at selling your product as you are making it. It is your job to get people to know you are on the planet.

II) You are not an artist.

You make things. You make things in order to sell them. The difference between you and an artist is you can’t wait years to be discovered.

You have to make what people want to buy. This is commerce. This is not art.

Selling is good. Employing people is good. Having apprentices is good.

Makers are here to make. Makers are here to sell - Van Gogh had to wait till he died before he sold his first painting. You can’t.

Sales after you die don’t count.

III) Make something that people want to buy.

Time is your most valuable resource. Spending your time making something that no one wants is one of the best ways I know to waste your life, and also to kill your business. So before you start, work out what people want. Work out why they will buy your product over your rivals. Work out what sets you apart.

One good way to make sure people want what you have to make is to do it better than anybody else. Another good way is to design it more beautifully than your rival. But the best way, is to do something that no else is doing. And do it so well, they don’t even try to copy you.

I know, I know...you're an artist and you shouldn't have to deal with this stuff. But maybe this is just part of being an artist now?

And speaking of makers, this is a beautiful short about a master woodworker in Eureka, CA. It goes deep. [via JK]

Wings or a gourmet meal?

Mike Birbiglia interview. He's asked, "How does it feel different to you, performing in that more personal style and with a purpose with more at stake?"

I wanted to pick my favorite things about one-person shows and my favorite things about standup comedy and merge them into a thing that is personal and, hopefully, knock on wood, as funny as a regular comedy album, but then also leads up to a point and has like an emotional weight to it in that, in some ways, I’m kind of giving something to the audience...

I always think of it as I like serving a full meal for the audience, as opposed to, like, chicken wings. That’s what I think of jokes — they’re chicken wings or pizza or ice cream or something. I love those things; I’d be the first to line up for all of those foods, but if a chef can deliver you a full meal, that to me is sort of euphoric. And that’s how I want people to feel about it. I want people to feel satiated from it. And I want it to kind of simmer in them. For them to be thinking about it the next day, like, “Oh, remember when we watched that thing?” [Laughs.] That’s really the hope.

I like the wings vs. a full meal analogy. Do you want to give 'em something fast and greasy? Or do you want to give 'em a gourmet meal they'll remember down the road? Both have their pros and cons. Also, it'd be weird if chefs had to prove they could cook wings first before they're allowed to do a gourmet meal. 'Cuz that's what it feels like with standup.