Though it’s not in the title, this is technically part 10 in the “how to book a comedian” series.
There is a sad obsession with fame in this country world.
We tend to think that if we’ve seen someone on television, they must naturally be better than us.
Not only are people on television not “better” than everyone else, oftentimes the opposite is true.
In comedy, talent and originality do not guarantee success.
Rubbing elbows, having someone in your corner… that’s how you make it in this business.
I personally know someone who never got a single laugh in his comedic career. Wasn’t funny.
Moved to a big city, made a few friends, got the opportunity to showcase for some talent agents.
For his showcase, he stole another comedian’s jokes, had a great set…
And was hired on at a certain well-known weekend variety show that has birthed many of our country’s most famous comics and actors.
He quickly flamed out and was fired, but the public doesn’t really care. They see that show on his resume, and that’s good enough for them to believe he’s talented and funny.
Rodney Dangerfield said he didn’t get any respect. It was his most famous hook, and mostly a lie.
Everyone respected Rodney…but only after he was famous.
To be fair, “I get no respect” was born in honesty: stand-up-comedy as a whole isn’t respected.
Comedy is the only performance art form where heckling occurs.
There’s an old line, “You never see anyone bring a guitar to a concert and start playing back at the band.” Meanwhile at comedy shows people yell out whatever enters their peabrain.
That doesn’t happen at the theater.
(“Yo, Hamlet! You suck!”)
Even worse than heckling, however, is the fact stand-up comedy is the one thing anyone thinks they can do.
Returning to the guitar analogy, no one grabs a guitar for the very first time and says, “Time to get on stage and get discovered!”
In Los Angeles, however, actors and actresses are told that very thing. Showcases are chock full of people whose agent barked, “Get to an open mic and seen!”
Which I understand; LA is about image.
Check out the full “How to hire a comedian” series
In Los Angeles, if you’re not famous, you’re nothing.
In Los Angeles, every studio and network looking for the next person who can play the kooky neighbor, the weird boss, or whatever slot they need filled. But they’re not looking for actual comedians. New York City is for comedians. Los Angeles is for actors. I learned that my first week in California.
I was at a showcase, and an actor a few years removed from an extremely popular television show was going up that night.
“This should be good!” I thought.
It wasn’t.
It was anything but good.
Bad, even.
Awful.
Just. Not. Funny.
(Or original.)
But there he was, trying to reboot his career and taking stage time away from aspiring comedians. He was a celebrity, and that’s all that mattered to the club promoting, “Look who we have on stage!”
Several years later, that man made national news for shouting racial slurs at a heckler.
Everyone was shocked; “How could Kramer do such a thing?”
I was surprised by his response, but not by the fact he floundered. As a comedic actor, he was unparalleled. As a stand-up-comedian, he was awful.
Anyone and everyone who has an itch should try their hand at an open microphone, but “celebrity” shouldn’t automatically grant you a paid slot.
Unfortunately, celebrity comedians don’t just get showcases in Los Angeles, they get actual gigs across the country. A celebrity two months into their comedic career can get booked on a gig before an unknown who has cut their teeth for years.
Point is, even if you’re not famous, you can still be great.
There are hundreds of unknown comedians strewn around the country.
Maybe they decided to choose family over career, and stayed in the Midwest, instead of moving to Chicago, New York City, or Los Angeles.
Maybe they never met the right person, got the right connections, or had a lucky break.
Back in the day, talent agencies sent out scouts to look for talent.
Now, they just want social media numbers.
The world trades on fame.
That’s just the way it is.
Want to skip the rest? Head on over to my corporate page.
Here’s the thing: I’ve been a comedian for a long time.
I have performed for more corporate events than you can shake a stick at, and for high school after proms.
I’ve released eight albums, gained over 280,000 followers across social media and over 100 million views on YouTube (and counting).
I have a “Disney Clean” act (about 20 minutes), a PG act (45 minutes to an hour), PG-13, (hour and 15 minutes) and then a no-holds barred act that can go for two hours.
I make rooms of people laugh so hard their sides hurt. I’m funny (and I’m not a narcissist, I’m telling the truth here).
And yet, I’m not famous.
A comedian does not need The Tonight Show on his/her resume to be funny.
They do not need to be a “known” name in showbiz to be talented.
It is okay — in fact, recommended, because it’s much less expensive — to hire a no-name-but-hilarious comedian for your performance.
Anyway, thanks for making it this far!
Now, if you’ve been reading this overly-long series of blogs, you know that this is the part where I turn things over to AI, to see what our future computer overlords have to say on the subject.
So, what does the prompt, “Does fame equal talent” give us?
Fame and talent are often seen as two sides of the same coin, but in reality, they are distinct qualities that don’t always align. While talent can often lead to fame, being famous doesn’t necessarily mean a person possesses exceptional skill in a particular field. Fame is driven by visibility and public interest, while talent is an intrinsic ability, cultivated and honed over time. Let’s break down why these two attributes, though sometimes linked, are not synonymous.
Fame: A Product of Visibility and Popularity
Fame, at its core, is about recognition. In a world where media and social platforms play a massive role, fame can result from various factors beyond talent. For instance, many people become famous for their personalities, viral moments, or public personas rather than any particular skill set. Influencers on platforms like Instagram or TikTok often build large followings through charisma, visual appeal, or relatability, not necessarily through a unique talent. Studies have shown that fame can be more a result of “social currency” than any measurable skill (Marwick & Boyd, 2011).
Moreover, fame is increasingly attainable through reality television and social media, where individuals can gain massive visibility without traditional accomplishments. Kim Kardashian, for example, gained fame initially through reality television and has since built a highly successful brand, though her fame didn’t stem from a particular talent in the arts, sports, or sciences. This type of fame may still require effort, marketing skills, and strategic planning but isn’t inherently tied to a unique talent.
Talent: A Product of Skill and Dedication
Talent, on the other hand, is generally understood as a natural aptitude or skill in a particular area, be it music, sports, acting, or even scientific innovation. It requires dedication, practice, and continuous improvement to reach an exceptional level of skill. For example, musicians like Yo-Yo Ma and athletes like Serena Williams are recognized for their extraordinary abilities, honed through years of practice and performance. Their fame is, in part, a byproduct of their demonstrated expertise and the respect they’ve earned through their work.
Talent doesn’t always lead to fame, though. Many highly talented individuals work behind the scenes or in fields that don’t offer the public visibility that fame requires. For example, talented screenwriters, scientists, and composers might not be household names, even if they’re highly respected in their fields.
The Role of Media in Shaping Fame
The media plays a significant role in blurring the lines between fame and talent. News outlets, social media, and advertising often highlight personalities based on their “marketability” rather than their abilities. This focus on visibility means that individuals who understand how to cultivate a public image—regardless of their skill in a particular area—can still achieve fame. Sociologists like Chris Rojek have discussed this phenomenon, referring to “celetoids” or individuals who attain fleeting fame without significant achievement. In his book Celebrity, Rojek describes how our society often values and amplifies public personas rather than talents (Rojek, 2001).
Fame and Talent: When They Do Align
While fame and talent don’t always go hand-in-hand, they can sometimes align. When talented individuals receive fame due to their exceptional abilities, they often reach legendary status. Artists like Freddie Mercury, Meryl Streep, and Albert Einstein are celebrated for their talents and recognized universally. These individuals’ fame isn’t solely based on visibility; it’s rooted in the transformative impact of their talents.
However, it’s also possible for an untalented individual to become famous and for a talented person to remain obscure. Fame, therefore, is more of a reflection of cultural interests, media dynamics, and social trends rather than a direct measure of talent.
Conclusion: Fame and Talent Are Not the Same
Fame and talent may intersect at times, but they are distinct concepts that don’t necessarily rely on one another. Fame is often a result of strategic exposure, social interest, and media focus, while talent is a skill that requires dedication and hard work. Although it’s tempting to assume that famous people possess extraordinary abilities, it’s important to recognize that fame doesn’t always reflect true talent. In a media-driven world, understanding the difference allows us to appreciate genuine talent, even if it doesn’t always come with fame.
Man, that time, sources were cited.
That means you know it has to be good.
(I wouldn’t know, I don’t actually read those things. I just write until I feel I’ve said too much, and then throw the computerized assist on at the end of all this. Will my experiment work? Who knows? But, it never hurts to try. It’s not like it takes up big chunks of my time. I write these while “watching” football every Sunday.)
Point is, everyone from the guys in Jackass, to Stormy Daniels, have used their fame to jump to the front of the comedy line.
They made their fame elsewhere, but then translated it to sold out comedy clubs.
Sometimes it works…
Quite often, it doesn’t.
Because, to repeat, fame doesn’t make you funny.
You hear from the staff whether or not the audience had a good time, and you wonder if those people will ever be back.
“If that famous person isn’t funny, then why would I see someone who hasn’t ‘made’ it?”
Because the person who hasn’t “made” it has probably worked their butt off for years, and is actually funny.
So, don’t hire off of fame, hire based on what you see when you research your comedian.
Photo by Monica Silvestre