They Don’t Want Your Comedy Show As Much As They Say They Do
The first show I ever ran was at my college. When I asked about it, they said I’d have to make a club. That would let me set up a mic in the campus café (which is all I wanted). It also camewith $500. I convinced ten of my friends to sign up for my ‘club’ so I couldmake the shows happen, and reserved the café on days they had free cake. Icalled the show “comedy and cake.”
Theactivity office was often too busy to help promote the shows, so I had to learn
to take care of everything myself. An experience I only would have expected if
the show took place outside the school, at a bar or something. I should have
seen it coming, considering the school’s job placement program was a man in a
tiny office who would go on craigslist and tell you ‘nope, nothing today.’ After
conquering that steep learning curve, I figured out I could use the club money
to pay local comedians to headline. ‘It’s my tuition money after all,’ I
I don’t know what possessed me to think this was a good design.
first few shows were a challenge. The mic batteries went out on the first show,
and the headliner had to yell the rest of his set (even though I told him he
didn’t have to). The others were a difficult because of a café employee. He
would sneer at the mention of a comedy show, but he sneered at most people. He wore
eyeliner and a gelled fauxhawk with black nail polish. He’d graduated months
before, and was clearly “above this job.” He was 24ish, and looked like he
still shopped exclusively at Hot Topic except for the polo’s the café made him
following semester I went to the club fair for newly arriving students. I
managed to get about twenty emails. I don’t think any of them ever came to a
second show I ran was a live podcast recording. I tried my hand at writing a
few ten-minute radio plays, and others were willing to write for it as well. I
literally had a headache every time. The show itself was fun once it got going,
but everything leading up to it, organizing, promoting, figuring out how to transport the equipment to & from without a car and dealing with the
folks who owned the venue hurt. The show was held at a friend’s art collective,
and I booked a date through him. I was checking, and double-checking that the
show was a go as the date neared.
away, and more than a month after I’d sent out all the promotional material,
another person from the collective told me no one had any idea the show was
going on. Everything was booked and promoted I told him, and they let it
happen. I confirmed with several members after the first show that it could
continue the same time next month.
Venue address is redacted. Design is better than the last one.
things were not as smooth as I would have liked. First I didn’t book the space
right, then they’d want to move the show a day back to combine it with another
event after I’d promoted with posters, fliers, press release etc. As I attended
their other events, I found I wasn’t the only one. I met many who’d tried to
collaborate with them, only to have their event canceled on them two weeks
before go time, sometimes after they’d moved all their art pieces into the
gallery! The show only lasted four months, but I learned that running a four mic
live podcast was hell to book, promote, record & set up for all by
yourself, especially when the owners don’t want you doing a show in their
space. The overwhelming scent of patchouli oil & weed should have been the
tip off to either bad art or poor organization. They didn’t want to work with
me, and I don’t really want to work with people that don’t want to work with me.
held a few shows at my apartment (10 housemates), and got about 15 people to
went about the next eight months without a show. Meanwhile, I started working,
and graduated college. At work, a customer discovered I was a comedian, and
said he and his business partner wanted a show at their bar/art gallery. I was…
unconvinced. I reluctantly accepted when I saw the beautiful space with low,
7ft ceilings. That, and the owner made bold promises of bolstering the crowd
with their social media and email list. Even still, I stressed that it would
take about six months to build the show that would meet his current expectations.
“Laughing Stock” lasted exactly seven months, ending on the biggest potential
show we had. I was lucky enough to book Mary Mack and Tim Harmston on their
west coast tour that year. That was the 3rd or 4th show,
and the most successful one we had.
the shows went on, the owner’s confidence waned from, “we’re going to blow this
show up with my list of 1,000+ emails,” to “Why isn’t there anyone here?”
an art gallery first, it wasn’t a bar with regular hours, so it was only open
afternoons and for special events like erotic art shows etc. As a result, there
were no regular bar customers. It was a real event space holding parties,
corporate events & gallery openings that would bring in over a thousand
people on an opening night. We were lucky to bring in 20 or 30. Aside from the
Mary Mack show, the only other time we made money, we got ten bucks ($5 was
mine for change). The doorman left the cash-box, and the owner ended up chasing
a crackhead out who stole all of it. I hope he got some decent crack.
big show was the Valentines day show. I had a killer lineup, and a great door
deal that got the show on all the top picks of the major blogs. This was going
to be the biggest show ever.
day of, I sidewalk chalked hearts and arrows pointing people to the venue. Late
in the day, the gallery was still locked. I called, and texted, and called
again. I finally gave up, and contacted a mutual friend. Only after they told
the owner to get in touch with me did he text me back. No call, just a text.
said he couldn’t open the gallery because he gave his only key to the business
he owns to a bartender the night before who happened to be out of town. He also
said his partner was across the bay (not even an hour trip by public transit),
and that since it was Valentines Day, and he was with his wife, he “would not
be coming into San Francisco.” In other words, I found out I had no show two
hours before go time, after we were on all the blogs top picks, and only after
their usual business hours. Regardless, I messaged them all thanking them, and
apologizing profusely. I even called around to see if anyone had a venue that’d
be willing to take us in last minute, but to no avail. Equally bad was having to contact the comics and explain why there wasn’t going to be a show.
that evening, my friend called to ask if there was going to be a show.
Why?” I asked.
I’m out here waiting in line,” He said.
yeah. There’s like… twenty people out here wondering when it starts,” he said.
was so exciting and disheartening at the same time. Laughing Stock lasted six shows.
Seven if you include Valentines Day. Two months later, the place closed it’s doors, and it has recently been leased to a new business.
Months later, two of my roommates were booked on a show at a gay leather
bar for $150. The booker and host never showed up, and the owners ended up
asking my roommates if they knew anyone who would be willing to host the show.
They slipped my name, and a few weeks later I was hosting. After three or four
months, I finally figured out a name and a date for the show. Every 2nd-5th
Wednesday would be an open mic, and every 1st Wednesday would be a
showcase called “Safe Words – A comedy show at a leather bar.”
been running it for a while, and I didn’t keep track of when it began because I’ve
grown cynical in my dealings with venues (as you might imagine). There was even
a non-incident-incident. One comedian was yelling his set into the microphone
at the open mic. Just yelling. Nothing negative either. He’d done the set many
times before, and pretended to be a conspiracy theorist, convincing folks that
fast food practices are made to pacify the masses. People chuckled (myself
included), but one of the employees was upset, and thought he was yelling out
of spite that ‘no one was laughing,’ and to say ‘fuck you’ to the bar. The
manager came out, said to pull the plug, and the show was over. He told me, “We’ll
have a meeting and see if this will happen again next week.”
an informal chat with the owners (not the angered manager), none of us really
understood why anyone was upset, and everyone who was upset couldn’t explain why.
I told them the situation as I understood it above, and they said, “Yeah… it’s
an open mic. Not everybody is going to like everything.” That was what I hoped
to hear, and far more than I was expecting. The caveat was that the comedian in
question was banned. Not from the mic, but from the bar (something I’m trying
to change). A few Wednesdays ago saw the return of the show, and a week later,
the open mic (two weeks after the kerfuffle). I saw the manager again, asked
how he was. “We’ll see,” he said. It was probably the best mic we’ve had so
far, and it doesn’t look like we’ll stop anytime soon.
The open mic runs every 2nd-5th
Wednesday (5:30 sign ups) from 6-8pm at the SF Eagle in SOMA. Safe Words, a comedy show at a
leather bar, runs every 1st Wednesday from 8-10pm. There are free
hot dogs, and it has received a tremendous amount of support from the bar owners, the bartenders (usually a Mr. Steve Dalton), the regulars & San Francisco’s comedy community. Margaret Cho even stopped by for the show, and now runs her
charity events for #beRobin there from time to time.
SF Eagle || 398 12th
St || San Francisco, CA 94103
I also co-host a show called “Gettin’ Weird” at the Milk Bar on Haight St. every 1st Monday of the month with Brandon Stokes. It has been going well. People come a few minutes late which can be scary, but it fills up.
11/29. Storking Comedy @ Stork Club. 2330 Telegraph Ave. Oakland. 6:30pm-9:00pm. Free. Featuring Andrew Holmgren, Colleen Watson and Ivan Hernandez. Open Mic Sign Ups: 6:00pm. Hosted by OJ Patterson
You are cordially invited to Storking Comedy, a one-of-a-kind comedy show in the heart of downtown Oakland. Hosted by OJ Patterson (no relation), Storking Comedy features amazingly funny local comedians working on their craft. Following each act, an interview with the host provides in depth elaboration coupled with ribbing rapport.
Our first spotlight performers:
Ivan Hernandez (Spirited, loquacious, enthusiast, “Boars, Gore, and Swords” Podcast) Colleen Watson (Sarcastic, daring, macabre, San Francisco Punch Line) Andrew Holmgren (Evergreen, quick-witted, stoner, Get Yucked Up)
Also, accompanying the merrymaking is of course: you. All comedians, hobbyist, amateur or professional, are welcome to participate limited open mic happening from 6:30-8:00pm. Sign-up: 6:00pm.
Had a great time last night at Dirty Trix Saloon! Hadn’t gotten up in a while and this was an awesome room to re-pop my cherry. Big thanks to Andrew’s Moore and Holmgren and Justin Gomes for putting on a hell of show!
This shit is like a Thanksgiving feast where you eat the pumpkin pie FUCKING FIRST and skip all those lame-ass vegetables and dry turkey.
Comics will cut out most of their bullshit act and leave you with the joke/jokes they keep closest to their hearts- their closers. Jam packed with their own personal favorites, old faithfuls and maybe even some new tricks, I’ll Leave You With This will teach these comics their ABCs- ALWAYS. BE. CLOSING.
(!!! BE SURE TO BUY TICKETS ONLINE BEFOREHAND AS WE HAVE SOLD OUT BEFORE IT HAPPENS THE SHOW IS SO VERY POPULAR) This month we get to welcome some rad out of towners, some Bay Area heavy hitters, lovely ladies from afar, a few weirdos Andrew Holmgren I’m looking at you) and maybe even a special guest or two! Our guests are-
The Blackstronauts, encapsulated in the far reaches of the cold, dark vacuum, recall a recent simulation. This simulation had them half-intoxicated in AT&T Park, rooting for the San Francisco Giants – en route to a championship – alongside the premier Giant’s enthusiast, comedian Andrew Holmgren. Hologram recollection is often fragmented, especially at Mach David Gborie, but the trio does the their best to remember the Earth-day that once was.
Chicago’s debate show comes to San Francisco for the first time!
Tuesday Feb 24th LINEUP:– - Dave Ross vs Jessica Sele (America vs North Korea) - Trevor Hill vs Johan Miranda (NASA vs NASCAR) - David Gborie vs Andrew Holmgren (Pumps vs Bumps) - Irene Tu vs Jesse Hett (Mtn Dew vs Mt. Rushmore)
BIO:Half comedy show, half rhetorical fight to the death, Arguments & Grievances is live comedy series and podcast featuring comedians debating outlandish topics with audiences deciding the victor. Live shows run monthly in Chicago, and weekly podcast offerings include bonus content from hosts and post-debate interviews with performers as they tackle such heated issues as: “McRib vs. MacBeth”, “Hugs vs. Drugs", and “Dr. Dre vs. Dr. Seuss". Started in Chicago in 2013, the Arguments & Grievances podcast has appeared at numerous comedy festivals (Crom, Chicago Comedy Exposition, Memphis Comedy Festival, Beast Village), run a successful set of Midwest and east coast tours, and featured at The Nerdmelt theater in Los Angeles. Producers also recently expanded the podcast to include content from a Denver incarnation of the show. The podcast is produced by Chicago comedians Goodrich Gevaart, Kevin Brody, Kevin White, and Zach Peterson.
“It’s smart, high-stakes tomfoolery disguised in a brilliant, faux-brainy conceit….This show is a riot.”
9/14. Good Times at the Grotto @ Sports Basement. 1590 Bryant St. SF. Free. 6PM. Featuring Luke Lockfeld, Keith D'Souza, OJ Patterson, Clare O'Kane, Amy Miller, Andrew Moore, David Gborie and Andrew Holmgren. Hosted by Anthony Medina. RSVP: Here.
This Grotto Show is a Sylvan Productions Takeover! Get ready for some creativeness!