Think About the Venues You Want to Support

​Imagine for one second a Good Samaritan tax was magically put into order all over the world and 5%-10% of your income would be transferred to a few people of your choosing. Who would you pick? Your mom and dad? Your best friend? A co-worker? A celebrity? The CEO of an Insurance Company? Or how about the owner of a comedy club or show producer? Weird question, I know. But to answer the question, you'd want your money going to people you like, respect, trust, etc. But yet, I hear comics complain about this booker or this club and this producer, but then they do their shows, festivals, classes, etc., only keeping the vicious capitalistic cycle going. 

There were nights in comedy that I realized I saved the show with how many friends came to support. Some bookers I liked helping more than others. Dave McNary at The Ice House was a good man, and helping him make the show great was a pleasure in my first few years. But over the years I saw there were producers and venues that undercut comics, ran bad shows, and mistreated staff. Those places no longer get me to help them make money. And I would highly suggest you rethink who you support as you start planning out your Fall and Winter schedules. 

Your Friends' Money Will Make Someone Wealthy
When you think about how comedy business models work, it's a racket. When you have friends buy tickets or food at a show, someone gets that money. Statistically, it isn't you. So when you promote a show you aren't producing or get a door deal on, think about how you're helping the places you choose to perform at. 

Looking back, had I known better, I would have started producing much earlier, taking advantage of early support. Instead, my friends got dragged to awful shows in bars and clubs, where the food was expensive, the drinks were weak, parking was a nightmare, and the ticket prices were too damn high for the talent on the card. Now, you only know what you know, but I've reached a point in my career where I'd rather do 20 great shows a year than 100 crappy ones. I'd rather be a part of shows with great lineups than associate myself with lousy ones. 

It might reduce your stage time, but your mental health and integrity will remain intact. That long drive home after having a bad experience or working with bad promoters is what builds comedy plaque around your soul.  

Even Participating in Shows You Don't Promote Helps Venues
Whenever I have these conversations with comics about how performing at crappy clubs is okay with them, I hear the argument, "but I don't bring" or "I don't even promote it." Fine, but being funny and making the show better only helps the promoters. 

Imagine a weird scenario where a friend is hating a show, thinking they just are going to ask for the check and leave after their bringer friend gets up. Instead, you jump onstage, get the crowd recharged, and now they order more drinks. Guess what you just did...yeah, you put more money into the club's pocket.

Or maybe you kill it and after the show the bringer's friends say, "that was great, let's come back the next time you do this show." Because that's literally how it goes and how the cockroaches of comedy survive. This is why it's upsetting to see A listers support producers and shows that have terrible reputations. Just remember that every time you bring your A game and effort to a show, you are making it better and more reputable.  

Final Thoughts
I've played a lot of venues, and I've had to make choices if I want to support certain clubs and bookers. It's cost me a lot of stage time, but at least when I drive home from gigs I feel good about myself - regardless of the show's turnout or pay. Because when I only work with bookers and comics I like and respect, I can justify my current existence. 

While many will say, "I need the stage time" or "all stage time is exposure" to counter these above arguments, I will always say that the crappy shows never made anyone famous. A-listers rarely have plucked a bringer from a bringer show to be their new right hand comic. Plus, your face plastered on a poster with ten other unknown comics doesn't really add any value to your comedy brand. 

And while it might suck not having as many gigs, what I can promise you is that your friends and family will thank you for not sending them to a bad show. And you will thank yourself avoiding the clubs begging you to bring more people. We all hate that email, right?

What I can promise you if you set these boundaries is that you won't feel dirty knowing infamous bookers and comedy club owners profited off you. So yes, you can get the stage time, but what does it profit a comic if they inherit the whole comedy scene but lose their soul? 

​So back to my original question: Who do you want to give 5%-10% of your comedy time to? It's probably the least thought of question of all.