Moving to Australia was not a career move, but a quality of life issue. It has no guns, no God, and no gangster rap. As an Ethiopian cab driver said to me the other day when I was returning from a gig in Sydney, "Australia is a peaceful, democratic place." I like the relatively stress free lifestyle. It's worth the drop in income.
Franklyn Ajaye Quotes and Jokes
Black cats don’t worry about going bald. We know we don’t have a lot of options, so we adapt to it pretty fast. Black cat will look in the mirror and say, “I’m bald… can’t be pulling no hair from over here and combing it over there… so I just shave this shit off.” White dudes they fight baldness to the death. I know a white guy with one hair, got it swirled all over his head.
When I saw the sign on the freeway that said, "Los Angeles 445 miles," I said to myself, "I've got to get out of this lane."
I have no desire to be hip to the latest black slang and do the stereotypical black thing. I was a Richard Pryor fan, and I have used profanity in my act. But when it becomes a whole thing that defines blacks, we're limiting ourselves. The enemy is us.
Obviously the audience has veto power signified by whether they laugh or not, but you-not them-retain the ultimate power to decide what they’re going to get the opportunity to laugh at.
An aspiring comedian must be determined to get to his or her true feelings on a subject and convey that to the audience. Figure out what you’re feeling or interested in because the goal is to get the audience interested in what you’re interested in. Good stand up comedy is drawing people into your head.
When I've mentioned things that I thought only happened to me, or thoughts that I felt had only had crossed my mind, the audience response indicated that they seemed to have happened to, or been thought of by many people.
Doing panel well is actually more important than doing a good stand-up spot because it’s when the audience observes you in a more “conversational” mode and decides if they like your personality – which is one of the real keys to popularity.
Be prepared to cut your little extra lines that come after a big punchline and move on to the next joke or routine to give your set more punch and crispness. You can keep them in your set, but if the audience applauds your big line, don’t do your tag when it dies down, just move on.
Ideally, you want to be in a fifty-fifty power-sharing arrangement with the audience – both of you are there for a mutually enjoyable experience.
You can’t wait forever for an audience to get the joke, but you should give them at least two seconds to join in before you go on to the next one.
It’s better to play to the host as though in a real conversation and let the audience listen in- which they are.
I advise treating the studio audience like a nightclub audience because that’s the reason you’re doing television – to get them to come see you in a nightclub.
In addition to listening to the audience’s laugh, you want to listen to their silence. Is it bored or interested silence? The silence is quieter and filled with energy when they’re interested. You can hear a pin drop. When they’re bored, you can always hear it.