Comedy Schools

“Yes, you can teach comedy. It is a skill as much as an art.” When I tell people I teach comedy. The first thing I usually hear is: “there’s such a thing as comedy schools?” “I didn’t know you could teach comedy!

That’s a point of contention with a lot of people; whether or not you can teach comedy. Well, I can sit here and tell you, unequivocally, that YES, you can teach comedy and, yes, Virginia, there is such a thing as comedy schools. Whether most of them are any good or not is an argument for another day.

I’ve been a professional comedian for 25 years. I’ve toured 40 weeks plus during each of  those years. I also wrote for “The Tonight Show with Jay Leno” for 8 years. About 4 years ago I got the “teaching bug.” I know, sounds like a sickness, right? I opened my own comedy school in Burbank, California. In fact, out of all the comedy schools that are listed here in the Los Angeles area, I think I’m the only comedy teacher in Southern California that has a studio dedicated to comedy 24/7. I have first-hand experience that you CAN teach comedy, because my students go up at the Comedy Store in Hollywood, CA and are told by complete strangers that they are “funny,” and I have comedians who are regulars at the Comedy Store come up to me during their showcases and say, “Those guys are students?” It’s in the stucture.

I don’t know what they do in the other comedy schools, I can only tell you what happens in mine. Time and time again, I get people coming to my comedy school saying they learned more in 1 hour in my classes than they learned from an 8-week course in the other classes. I’m not saying that to blow my own horn—well, partially—I think the reason I’m writing this is to let you know that there is a lot of crap out there. Before you go out and blow four to five-hundred dollars on any of these comedy schools, you need to do your research.

Here’s a quick 3-step process for checking out any of these comedy schools:

  1. Look up the instructor in the internet. Does he have any video of himself performing comedy? Does he have any samples of his work in written form any where? Blogs, joke lists, comedy-writing submission packages for any of the talk shows? If they don’t have any sample work for you to see then throw out their number.
  2. If they  have video or samples of their joke-telling or joke-writing ability, ask yourself: “Does it make me laugh?” “Does this guy/girl seem to know how to formulate a joke? Do they have timing? Are they getting laughs?
  3. If they don’t make you laugh, if they don’t seem to know how to formulate a joke and if you don’t think they have timing and can execute, then repeat step 1—throw out there number. Because going to one of those comedy schools where the teacher can’t seem to execute, is like taking flying lessons from someone who’s not a pilot. Eventually, you’re going to crash and burn.

Then ask them if you could sit in and “audit” a class. That’s where you get to see them in action, you get to see how a class is run, whether or not you fit with the “groove” of the comedy teacher and find out who they are.

I’m constantly writing and I still tour. I’m actively doing what I absolutely love and that’s comedy; both writing and performing. As far as video is concerned, you can check out a clip of me below. And it’s not just some random clip of a 2 or 3 minute segment that I pieced together with just the best stuff. It’s an hour set. Take a look! Scan through the bits. Fast forward and go back. When you get to the end, you’ll see a standing ovation. And again, I’m not telling you this to blow my own horn—(really, this time!).

I’m telling you this because I teach what I do and I do what I teach. I teach structure. It’s in the structure where the laughs come from. And I structure my whole set so that at the end there’s a build up and a release that causes the audience to respond with an ovation. It’s all in the structure.

There’s a guy online who’s offering an online comedy course (which I will be launching shortly). I tried to look for video of him online and there is none. He claims it’s because he’s worried that if he makes a come-back to stand up comedy, people will have stolen his material. I’ve got lot’s of video online. The way I figure it, if people steal my material, I’ll just write more…because I can. And so can most of my students, because that’s what I teach them. Comedy schools should teach you COMEDY, don’t you agree; both writing and performing.

So, if you’re looking for comedy schools, I would love for you to check mine out, The Stand Up Comedy Clinic. As you can tell I don’t try to mince words. I tell it like it is. Even if it’s brutal. In the words of Steve Martin, “Comedy is not pretty.”

And if you’re looking for comedy schools that you can take online, please do drop me an email and let me know. I will keep you posted when mine is completed and up on line, (ETA: October 1, 2011). This is my passion, my art, it’s what I live for and I love it. Thanks for taking a second to hear me rant on comedy schools.

Enjoy the video (it’s when I had hair!). And please leave a comment to tell me what you thought. Good or bad. Because we make our greatest strides when we learn from our mistakes. Keep laughing, my bitches! (And I mean that with love and in jest…so shut your pie hole!).

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What is Funny?

comedy_tragedyWhat is funny?

You really want to know what’s funny? How ‘bout some dumb-ass blogger trying to write an article entitled “What is Funny?!”

Funny is such a subjective term. How is anyone going to write about how to be funny? It’s almost like trying to definitively answer, “Who is God?” Or “What is Love?”

As a comedian of 25 years, a comedy writer for Jay Leno and The Tonight Show, comedy instructor and founder of The Stand Up Comedy Clinic, (a comedy workshop in Los Angeles), the question is posed to me, literally, every single day. So I thought I’d get serious about it for a minute and try to come up with a possible answer.

Please remember, this is just my theory and by no means a definitive answer. So keep the nasty comments to yourself. I’m still searching too! In other words, shut your conch! J

What is “funny?” You could ask that question in many different ways–“What is funny?” “What is funny?” “What is Funny?” Or even “What’s so funny, bitch?!…” and still come up with a blank stare. I’m not going to proclaim that I know what’s funny to everyone. Funny is very subjective. What is funny to one person is not necessary going to be funny to another. In a nutshell, we’re just guessing, the audience is the judge.

Here’s what I can do. I can analyze funny. In fact, let’s do it together. According to the dictionary, the number one definition of “Funny” is “to cause laughter or amusement.” Most people can agree on that. I was going to say “all people can agree on that, ” but people will find any reason not to agree—just watch the U.S. Congress.

So, for the purpose of this article, let’s all agree on the definition of “Funny;” that it causes laughter or amusement. In this case, since we are looking for laughs, let’s focus on laughter.

Because amusement is even more subjective. To some, the “Tilt-a-Whirl” at a carnival causes amusement. For me, it causes vomit. And here I think we can all agree that—and I’ve done a little research in this area—that vomiting is only amusing…if it’s not you.

Okay, back to what is funny?. How do we find funny? Well since we know that funny equals laughter we can start by looking at the science of laughter. When we do, we discover that according to experts on human behavior, the number one element that triggers human laughter is surprise.

Now by answering that, do you have any idea how far we’ve come now solving our initial question? It’s almost algebraic. It’s almost an “if-then” statement: What is funny is something that causes laughter. What causes laughter? Surprise, and if A=B and B=C, then A=C, then if Funny=Laughter and Surprise=Laughter, then Funny=Surprise! Got it?

Some people say that you can’t teach stand up comedy or for that matter teach somebody how to be funny. And while I do believe you are born with talent and you develop skill, I also know that if you have a reasonable amount of intelligence and a command of the English language you can learn the structures of how to manipulate words to take something seemingly mundane and turn it into something funny. I teach a comedy class in the Los Angeles area and I can teach just that to average, but amazing people and I’ve had tremendous results. How, you ask?

All it takes is a little surprise. Sid Caesar said, “Comedy is a story with a curlicue.” If you tell me a story and you give it a surprise ending, you have just written your first joke. Tell me something about yourself:

Comedian Tim Bidore used to open with this joke: “I come from a large family…four Moms, five Dads…” He just took something mundane, a cliché of everyday life and really just changed the ending. It’s a curlicue. It’s unexpected. Hence, it’s a surprise. Is it Funny? Let’s go back to the formula If Laughter=Funny, and Surprise=Laughter, then Surprise=Funny.

But we also understand the adage, the audience is the judge and in this case the audience still laughs at that line every time…and what is laughter equal to? FUNNY! Now we’re starting to get it!

Let’s look at it in another way…

How about when you go to the grocery store? When you check out, what does the clerk always say? “Did you find everything you were looking for?” Right? How do you usually respond? By saying, “Yes.” Because even if you didn’t find everything you were looking for, you just don’t want to deal with it.

What if you really took a moment, looked at that question and answered it in a unique way and surprising way?

First, look at the question: “Did you find everything you were looking for?” We know what he/she means when they ask that question. What they’re asking is: Did you find everything you were looking for while you were shopping today.

What if we blew it up a little? What if we took the meaning to the next level? “Did you find everything you’re looking for?” But this time we analyze it in a more “universal” sense, what do most people look for, not at the store, but in life; the meaning of life, or a soul mate, or love?

So what if we took one of those interpretations and responded to the question differently? Does it change? Let’s look:

Clerk: Did you find everything you were looking for?

Me: (Looking at the items on the conveyor) Well, I found some wine and some candlelight, but I couldn’t find my soulmate. You had Mahi-Mahi, but I’m just not into twins.

But then you realize that sometimes there might be someone that thinks you’re trying to relate women to fish. So you change it just to be silly:

Clerk: Did you find everything you were looking for?

Me: Well, I found the wine and the candles, but I couldn’t find my soul mate. So instead, I got Cheeze Whiz!”

Now you have something that’s clever and unique. It will get a laugh every time at the grocery store and since it’s impossible to hate someone who makes you laugh, the next time you go into that store, they’re going to have everything you’re looking for!

Of course this is only one way to create laughter. This method creates surprise by saying something unexpected by using a comedy formula called, Double Entendre. It’s French. The literal interpretation is: “Two meanings.”

In my comedy courses I’ve broken down ten major comedy formulas that are used in contemporary comedy today. These formulas are used, literally, by all the comedians working today. Bottom line is if they make you laugh they are using one of these formulas.

When you learn these formulas and learn how to properly apply them, you can learn to effectively create surprise and as we learned earlier, surprise is the number one element that triggers human laughter.

That’s it for now! Stay tuned for my next article: “Who is God…or is God Love?”

Jerry Corley’s Stand Up Comedy Clinic is an 8-week comedy class based in Los Angeles. Jerry teaches the fundamentals of comedy and humor writing and works hand-in-hand with students to help them create their own 5-7 minute stand-up act, which they perform in a Los Angeles Comedy Club.

How I Made 50 Bucks While Sitting On The Crapper

By Jerry Corley | Founder – The Stand Up Comedy Clinic

under the stallStrange title for a blog you say? Well, wait for my follow-up, “How I flushed 50-Bucks On The Way To Vegas, Just To Warm Up!”

I write this blog entry as a follow-up for my previous entry, which was “Shut Up and Write!” It was written to inspire and light a fire under the backsides of all of us—including myself—who get lazy and don’t write. I don’t know why we do it.

Some people say there’s no motivation to write when there’s no money. Well money shouldn’t be the only motivation. It’s nice to make a living in comedy; I’ve been doing it for over 20 years and I have to tell you that the feeling just can’t be fully quantified, to get paid what what you love doing.

 

I always write because I love it. Sometimes there’s money, but that’s not why I do it, but you never know. Hence, this story:

I was just sitting on the toilet the other day. I usually take my Droid in with me. I can check emails and respond to texts…My sister sends me a text:

“Two guys wearing ‘Children’s Musical Theatre Summer Camp’ shirts walk into a European Wax Center…(you finish the joke).”

I quickly texted these:

…One of them asks the clerk: “how much to remove the hair from my asshole?” The clerk looks at one of them then looks back at the one who spoke and says, “We would first need his permission.”

…One guy asks, “what makes this a European Wax Center?” The clerk says, “we wax you until you call America to bail you out again.”

…One guy says, “What makes this a European Wax Center?” The clerk says, “We wax everything; your arms, your legs, your back, your chest…everything. But we don’t touch your precious area…your armpits.”

…they each pay 300 dollars to get ‘the works.’ Upon leaving, one of them turns to the other and says, “So you think NOW we can pass as one of the children?”

…They both walk out of the wax center red and in pain. One says to the other, “That’s the last time I volunteer to do a rendition of “HAIR” on “Opposite” Day.

My sister then said, she was “wiped.” And I quickly texted, “What did one turd say to the other?” “Whew! I’m wiped!”

Viola! It was then that I realized that I had a client who loves to do adolescent shit humor. So I quickly texted that stupid turd joke to him. He loved it and deposited 50 bucks in my PayPal account. NO KIDDING!

So write for the fun, write for the passion. The money might just a happen as a result!

It would be wrong and inappropriate to button this with …and remember sometimes shit happens…okay, see? I told you it was wrong!

Lessons New Comedians Learn From “Bringer Shows”

By Jerry Corley | Founder of The Stand Up Comedy Clinic

comedy-storeLet’s face it, one of the new realities in the comedy landscape in L.A. (and probably New York and San Francisco), is what is known as the “Bringer Show.” So we’re all on the same page, here’s the idea behind the bringer show: A bringer show ‘producer’ (usually a comedian), develops an arrangement with a local comedy club or bar, to produce comedy shows so that both the producer and venue make money.

Usually all the promotion of the show is up to the producer. On occasion, the venue will post a marquis or sign that bears the name of the show, but other than that all the promotional responsibility is on the producer. The producer, in turn, puts that responsibility on the comedian. How do they do this? By forcing the comedian to bring a minimum amount people (audience members) to the show as a requisite for getting stage time. That’s right. If you bring 10 people minimum, the producer will give you stage time. Of course those audience members have to pay a cover charge and are usually subject to a drink or “item” minimum. This assures that the venue sells product and makes money.  The producer usually takes the door or a percentage.

This is not a new concept. Music venues have been doing this with bands for over 30 years. Is this good for the comedy industry?

I am an old-school thinker with regard to shows and show business so initially the bringer concept and I didn’t get along at all. I’m not a big fan of “pay-to-play” schemes for artists—and let’s face it, when the artist is forced to bring the audience and have them pay a cover, plus a drink minimum—it’s “pay-to-play.”

In my opinion, this business model promotes a quantity over quality mentality and that has never worked out successfully in the long term for any business and I can go on about how this diluting mentality is having a long-term negative impact on the public’s perception of comedy, but that’s for another time. I want to focus on how this affects the comedian.

There are advantages and disadvantages to this show-producing mentality and a comedian needs to have a thorough understanding of the advantages and disadvantages of the “bringer show” concept, especially early in his career. If a comedian understands that he/she has been asked to work the venue based solely on the fact that they have brought enough people, then the comedian is one step ahead of the game.

The advantage to this is that the comedian can use the bringer show to get some stage time in a quality venue or invite some industry (casting director, agent, manager, etc.). They get to see you perform while you have a decent sized audience. You, as the performer must make sure you bring enough people,   however. If you don’t, you risk getting a lousy slot in the lineup (like last), or you risk not getting on stage at all. If you brought an agent and he/she had to wait and was forced to slog through mediocre talent before they got too see you, then their appetite for coming to see you in the future will be seriously diminished. But if done right, the bringer show can be very useful.

The disadvantage to the bringer show, (if I didn’t already reveal it), is that if the comedian doesn’t understand that most likely, the ONLY reason the producer is having you perform at his/her venue is because you ‘bring’ people, then you may suffer the impact of that harsh reality like the unexpected pass of a basketball to the face. The rejection or even rudeness in some instances from producers can be a major disappointment when the comedian fails to bring people. In addition, the subsequent lack of future bookings in their shows, due to the fact that you are no longer bringing people, may promote a setback in your confidence and in your motivation to write or perform comedy.

In this case, knowledge is power. If you already know that the only thing a bringer show producer wants from you is the money your people bring when they buy tickets and drinks, then you will be better prepared for the inevitable day when none of your friends is accepting the invitations to your shows and the producer stops booking you. 

A Solution?

Use the bringer show sparingly and use it to your advantage. Don’t take every bringer show offer. Politely turn down some of the gigs. I usually say, “Love to, but sorry, I’m booked on that date.” That way you don’t wear out the people you have in your life who come to see you and you can save those invitations for really important gigs. Also, don’t get offended when the bringer show producers stop calling you when only two people showed up at your last gig. But most importantly, DO NOT USE the bringer show as your only way to get stage time. Hit the open mics and hit them regularly and often. You’ll eventually find the ones that are worth it and the connections you’ll make can be invaluable.

“I’m Getting Bored With My Comedy Writing”

By Jerry Corley | Founder – The Stand Up Comedy Clinic

I just had a session with one of my private students at my studio. After he ran some of his material, I asked him what happened to some of the other bits he was working on last time we met. He said, “I’m getting bored with it.” Does that sound familiar? It does to me!

I remember writing material, working on it then after doing it on stage once or twice, getting bored with it, despite the fact that it was good and getting laughs. Worse, I would get a showcase for a spot in a club or a television show and I would abandon my trusted material because I thought it would be best if I wrote new material for the showcase.

Problem is when you do that, the material might be fresh, but it’s untested and when it’s untested and you’re in a higher tension situation like an audition, the new material sounds like just that, “new.” Therefore, you sound “new.”  It doesn’t sound honed. It doesn’t tight, because you’re still working out the kinks and you don’t quite “own” it.

When you showcase, audition or make an important appearance at a club, you want your act to look effortless. You want it to look like it’s just coming out of your mouth for the first time even though it isn’t and that takes rehearsal, practice and stage time.

Anthony Hopkins reads a script two hundred times before he starts to work on it. That way the material is now a part of who he is. Does his work ever look stale? Does he ever look bored?

My father, Pat Corley, a character actor for almost sixty years said that it takes eight hours of rehearsal to “own” five minutes of material. You can memorize that material in far less time, but owning it, is a completely different story. It has to be a part of you.

Jay Leno said, whenever you’re working on new material, do the “tried and true” up front, slip some new material in the middle and close with the “tried and true.”

Rita Rudner adds a new joke or a new routine every week and in a year she has a whole new act.

Part of being a professional is learning to continue to make the material you’ve been doing sound fresh every night. That’s part of your craft.

I saw Kevin James, (star of “King of Queens, ” a hit show on network T.V. for many seasons), when he did his first showcase in L.A. for network executives. He did material I’d seen him do for years. But the networks guys were seeing for the first time. He killed. It resulted in a sitcom that made him a star.

To build an act, you must have material to build on. That material might be stuff you’ve done enough to get bored with, but the guy in the club drinking a beer, has probably heard it for the first time.