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“The 50th Law” Quotes (1 of 2)

I just finished reading The 50th Law by Robert Greene and 50 Cent. It’s a strategic book about being fearless and I found a lot of the quotes apply to stand up. I highly recommend this book (especially the last 150 pages) to any comedian or anyone looking for ways to improve themselves, as well as Robert Greene’s other strategy books The 48 Laws of Power and The 33 Strategies of War.

I’ve bolded the quotes I feel most important and applicable to comedy.

50th law“Your fears are a kind of prison that confines you within a limited range of action. The less you fear, the more power you will have and the more fully you will live.” (x)

The greatest fear people have is that of being themselves. They want to be 50 Cent or someone else. They do what everyone else does even if it doesn’t fit where and who they are. But you get nowhere that way; your energy is weak and no one pays attention to you. You’re running away from the one thing that you own – what makes you different.” (18) (50 Cent quote)

“Dependency is a habit that is so easy to acquire. We live in a culture that offers you all kinds of crutches – experts to turn to, drugs to cure any psychological unease, mild pleasures to help pass or kill time, jobs to keep you just above water. It is hard to resist. But once you give in, it is like a prison you enter that you cannot ever leave.” (59)

“A lower paying position that offers more room to make decisions and carve out little empires is infinitely preferable to something that pays well but constricts your movements.” (63)

“The only way to gain self-reliance or any power is through great effort and practice. And this effort should not be seen as something ugly or dull; it is the process of gaining power over yourself that is the most satisfying of all, knowing that step-by-step you are elevating yourself above the dependant masses.” (68)

“Even the worst shit that happens to you can be converted into gold if you are clever enough.” (73)

“Every negative is a positive. The bad things that happen to me, I somehow make them good. That means you can’t do anything to hurt me.” (75) (50 Cent quote)

“Negative energy that comes at you in some form is energy that can be turned around – to defeat an opponent and lift you up.” (86)

“If bad publicity comes your way, think of it as a form of negative attention that you can easily reframe for your purposes. You can seem contrite or rebellious, whatever will stir up your base. If you ignore it, you look guilty. If you fight it, you seem defensive. If you go with it and channel it in your direction, you have turned it into an opportunity for positive attention. In general, obstacles force your mind to focus and find ways around them. They heighten your mental powers and should be welcomed.” (86)

“Move before you think you are ready. It is as if you are making it a little more difficult for yourself, deliberately creating obstacles in your path… When you feel that you must work harder to get to your goal because you are not quite prepared, you are more alert and inventive. This venture has to succeed and so it will.” (87)

“Remember: as Napoleon said, the moral is to the physical as three to one – meaning the motivation and energy levels you or your army bring to the encounter have three times as much weight as your physical resources. With energy and high morale, a human can overcome almost any obstacle and create opportunity out of nothing.” (88)

“What you must do instead is accept the fact that all events occur for a reason, and that it is within your capacity to see this reason as positive.” (90)

“If anybody wants to keep creating they have to be about change.” (93) (Miles Davis quote)

“By a paradoxical law of human nature, trying to please people less will make them more likely in the long run to respect and treat you better.” (132)

“Any titles, money, or privilege you inherit are actually hindrances. They delude you into believing you are owed respect.” (159)

“Only your actions can prove your worth.” (159)

“Your own level of excitement and self-belief will convince people that you know where you are going and should be followed.” (168)

“The public is never wrong. When people don’t respond to what you do, they’re telling you something loud and clear. You’re just not listening.” (183) (50 Cent quote)

“If you feel superior at all, part of some chosen elite, then this seeps out in the work. It is conveyed in the tone and mood. It feels patronizing.” (191)

“To interact closely with the public and get its feedback might mean having to adjust your “brilliant” ideas, your preconceived notions.” (191)

“In this day and age, to reach people you must have access to their inner lives – their frustrations, aspirations, resentments. To do so, you must crush as much distance as possible between you and your audience. You enter their spirit and absorb it from within.” (194)

“Any kind of group tends to close itself off from the outside world. It is easier to operate this way. From within this bubble, people will delude themselves into thinking they have insight into how their audience or public feels.” (196)

“The goal in connecting to the public is not to please everyone or to spread yourself out to the widest possible audience. Communication is a power of intensity, not extensity and numbers. In trying to widen your appeal, you will substitute quantity for quality and will pay a price. You have a base of power – a group of people, small or large, which identifies with you.” (198)

“Our egos can inflate to any size. But when we produce something that fails to have the expected impact, we are suddenly faced with a limit – we are not as brilliant or skilled as we had imagined. In such a case, our tendency is to blame others for not understanding it or getting gin our way. Our egos are bruised and delicate – criticism from the outside seems like a personal attack, which we cannot endure.” (198-199)

“Beware of feedback from friends whose judgments could be tainted by feelings of envy or the need to flatter.” (199)

“When your work does not communicate with others, consider it your own fault – you did not make your ideas clear enough and you failed to connect with your audience emotionally. This will spare you any bitterness or anger that might come from people’s critiques. You are simply perfecting your work through the social mirror.” (199)

If you like the quotes, buy and read the book here.

Click here for Part 2

“Truth In Comedy” Quotes

I recently read “Truth in Comedy” by Del Close and Charna Halpern, the founders of improvisational comedy and thought I’d post my favorite quotes from it.

truth in comedy

“The truth is funny. Honest discovery, observation, and reaction is better than contrived invention.” (15)

“When we’re relaxing, we don’t have to entertain each other with jokes. And when we’re simply being ourselves up to each other and being honest, we’re usually funniest.” (15)

“Where do the really best laughs come from? Terrific connections made intellectually, or terrific revelations made emotionally.” (25)

“Many actors don’t understand the difference between a joke and a laugh. A joke is only one way – and seldom the best way – to get a laugh; jokes can get laughs but, obviously, laughs don’t always result from jokes.” (26)

“A comedian who tells jokes is basically a salesman, trying to sell the audience a clever story or punch line, while hoping to be paid back in laughter.” (27)

“When players worry that a scene isn’t funny, they may resort to jokes. This usually guarantees the scene won’t be funny.” (27)

“The situation is similar to a relationship between a man and a woman – the more they talk about it, the less time they spend on it.” (28)

“The audience laughs at agreement – a secret of comedy that very few people realize.” (51)

“Improv is much closer to ping pong than it is to chess. Actors create an improv scene in the same spontaneous way.” (71)

“You should always assume that the audience is one step ahead of you.” (72)

“If everyone justifies everyone else’s actions, there are no mistakes.” (73)

“A scene is almost never about what the players think it’s going to be about.” (73)

“No matter what the setup, however, the event is crucial to every scene – the situation that makes this day different from all the rest. This is where the action begins.” (81-82)

“Del said, ‘We don’t care if it works for the audience – it has to work for us,’ “ (83)

“The only real mistake here is ignoring the inner voice.” (91)

“After an improviser learns to trust and follow his own inner voice, he begins to do the same with his fellow players’ inner voices. Once he puts his own ego out of the way, he stops judging the ideas of others – instead, he considers them brilliant, and eagerly follows them!” (92)

“They always accept the ideas of the other players without judging them to be “good” or “bad,” always thinking, “This is now our idea.” (93)

“Objects in a scene are there to help lead a player who feels stuck. They should prompt the improviser to discover, rather than invent.” (104)

“Experienced performers learn that their dialog isn’t about their activity. Instead, the lines should be saved for the relationship with the other player.” (107)

If you liked the quotes, please buy the book here.

Book Review: Chocolate, Please

Disclaimer: I received a complimentary review copy of this book. I’d like to think it didn’t influence my review, but who knows. (If you’d like me to review something comedy related on my site, contact me.)

chocolate

“Chocolate, Please” by Lisa Lampenelli is unlike many books by comics I’ve recently read. Instead of taking her best hour of stand up, adding another two hours of second rate jokes and typing them up, Lampenelli takes the reader on a voyage of her struggles with weight, food and men, and the rehab clinics she attended because of them. This isn’t to say the book isn’t funny, it is, but this book stands on its own without you needing to be a fan of the writer or her comedy beforehand. (I was only vaguely familiar with her myself.)

Being a comedian I wanted to read more about Lampenelli’s comedy career struggles and less about her weight struggles. But then again, that seems to be her point: You can be really successful in one part of your life and a complete failure in other parts, and the success doesn’t fully matter until you’ve dealt with the failing parts. Along that train of thought, the line “As I believe is true in anything and especially comedy, all you need is one person who believes” struck me as especially poignant.

When Lisa does mention comedy, she hits the nail on the head with such observations as, “Comedy is a strange profession. People who have been onstage two times in their lives have business cards that say “Comedian.” Therefore, a comic’s entire career is focused on separating himself from the delusional wackos.” Other good observations include, “Comics who stand at the bar after their sets are either drunks or trying to get laid”, “When you’re an adult, it’s easy to ruin someone’s life. But when you can do it as a kid – that’s a gift” and “Our entire economic system is based on people succeeding just to stick it up the ass of people who were mean to them in high school.”

While I enjoyed reading the book, I would’ve liked it more without the last section, which drops her story and goes into random jokes and musings. (Although if you’re already a Lampenelli fan, you’ll probably like that section.)

Overall: This is an above average book in the comedy genre because it’s honest and follows an actual storyline. Read this book if you’re  struggling with relationships and/or self image, or if you like a good “hero’s journey” type of autobiography. This also makes for a great gift if someone is just getting out of, or on their way to, rehab.

Book Review: I’m Having More Fun Than You

Disclaimer: I received a complimentary review copy of this book. I’d like to think it didn’t influence my review, but who knows. (If you’d like me to review something comedy related on my site, contact me.)

more-funAaron Karo’s third book, “I’m Having More Fun Than You” spends 241 pages arguing that “being single is more fun and fulfilling than being in a relationship, and that getting married in your twenties is akin to signing fun’s death sentence.” And while I’d agree with that sentiment, if you’ve read the previous quote, you’ve practically read the book. “I’m Having More Fun Than You” felt like a standup comedy act that was written out and not fully tightened. I wanted more actual stories and less generalizing of experiences. However, if you like the Todd Barry / George Carlin type books, you’ll probably like this book too.

In fairness, I was entertained enough to finish the book and I laughed out loud at lines like “Some of us worry about dying alone. The rest of us fret about going home alone” and “A best friend is someone you’ve known for more than a decade, but if you had never met him before, and then hung out with him today for the very first time, you’d remark, “Wow. What a dick.”

I also shook my head in full agreement about Karo’s statements like “The true benefits of bachelorhood are just as much about what you don’t have as what you do have – one cannot truly live the dream without both the presence of options and the absence of annoying obligations to a significant other” and “Taking a girl to dinner is just about the most mature thing I’ve ever done. When I’m in the middle of a date I can’t help but think I’m still eighteen and soon everyone is going to expose me as a fraud.” Basically, if you can’t articulate the benefits of being a bachelor, this is the treatise for you. Then again, if you don’t yet know the benefits, you’re probably already married.

Overall: This is an average but entertaining book that makes a good souvenir if you like Karo’s standup and a better gift to give a groom at his bachelor party. If you’re not yet a fan, go see him perform instead of reading this book.

“Born Standing Up” Quotes

I read Steve Martin’s auto biography of his years doing stand up comedy a little while ago and thought I’d post my favorite quotes from it.

I did stand-up comedy for eighteen years. Ten of those years were spent learning, four years were spent refining, and four were spent in wild success.” (1)

The comedian’s slang for a successful show is “I murdered them,” which I’m sure came about because you finally realize that the audience is capable of murdering you.” (2)

I was seeking comic originality, and fame fell on me as a by-product. The course was more plodding than heroic: I did not strive valiantly against doubters but took incremental steps with a few intuitive leaps.” (2-3)

Perseverance is a great substitute for talent.” (53)

Despite a lack of natural ability, I did have the one element necessary to all early creativity: naivete, that fabulous quality that keeps you from knowing just how unsuited you are for what you are about to do.” (54)

Teaching is a form of show business.” (86)

I concluded that not to continue with comedy would place a question in my mind that would nag me for the rest of my life: Could I have had a career in performing? Everything was dragging me toward the arts; even the study of modern philosophy suggested philosophy was nonsense.” (87)

Comedy is a distortion of what is happening, and there will always be something happening.” (104)

Sign of encouragement… Bill Cosby said that early in his career, when the audience wasn’t laughing, he could hear the waitresses laughing, and they saw the show night after night.” (106)

A laugh forms when the storyteller creates tension, then, with the punch line, releases it.” (110)

I gave myself a rule: Never let them know I was bombing: This is funny, you just haven’t gotten it yet.” (112)

Another rule was to make the audience believe I was fantastic, that my confidence could not be shattered. They had to believe that I didn’t care if they laughed at all, and that this act was going on with or without them.” (112)

Every entertainer has a night when everything is clicking. These nights are accidental and statistical: Like lucky cards in poker, you can count on them occurring over time. What was hard was to be good, consistently good, night after night, no matter what the abominable circumstances.” (139)

The more physically uncomfortable the audience, the bigger the laughs.” (165)

It is possible to will confidence. My consistent performing schedule had kept me sharp; it would have been difficult to blow it.” (171)

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