Manuel Marino, Music and Thoughts » creativity

The Successful Way to Become A Stand-Up Comedian

Hank Evans — Wed, 10 Mar 2010 08:58:51 +0000

A stand-up comedian is a performer who performs for a live audience with the aid of a microphone. To become one, you should have the ability to make an audience laugh. You have to be smart, witty and full of guts to be able to go onstage and create a comical atmosphere.

A small notebook and a pen are very essential to any aspiring stand up comedian. Always bring these with you whenever you go as you can’t tell the time when an idea will cross your mind. In case it does, make sure to jot it down so you won’t easily forget it.

Write whatever you think is funny, but do not restrict your creativity on writing for a character. When you are on stage just be yourself and let your own character come to life as you deliver your jokes and it will just come out naturally. Never set foot onstage not knowing what to say or where to begin. Remember that in comedy, timing is everything. You will also need to master your ad lib in case you suddenly forget your script. This will make you save yourself from embarrassment. Even your mistakes will be funny.

Before going onstage, know whom you are performing for so that you can come up with an appropriate setting. Do not belittle your audience and do not act superior to them because it is embarrassing if the audience dislikes you.

Keep in mind that even before you start opening your mouth, your audience may already have formed an opinion about you, but don’t let it intimidate you. Approach the crowd with extreme confidence but without appearing showy. Take control of the situation and make your audience feel relaxed and comfortable.

Many professional comedians have fixed schedules on certain venues. If you have to perform several times a week in one given place, come out with new antics and new sets of jokes every time. You have to consider the possibility that you may be performing before the same group of people and they will certainly not want to hear the same jokes again and again. Explore your creativity and try out different styles.

If you are not taking charge of the situation, you will begin to lose your audience’s confidence, and you certainly wouldn’t want that; else you’d just have to consider getting a career change instead.

Pursuing a career as a comedian is not a joke. Practicing and learning how to deliver a joke with the right timing are very significant to a good comedian. You have to be prepared because it is going to be a long way for you to go and the pay sometimes is not as rewarding as the effort. Stay funny and know what makes your audience laugh; then, you will be fulfilling your goals soon.

Hank Evans appreciates you taking the time to read this article. If you enjoyed it, you are invited to visit Hank Evans at Watch NCIS Online and Watch Royal Pains Episodes Online.

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Social Networking and the Left Coast Eisteddfod 2009

Manuel Marino — Mon, 02 Feb 2009 18:16:35 +0000

Ceri Shaw is a Web Designer and freelance writer. If you remember, he wrote What is Anglo-Welsh Literature and why Should Anyone Care?. Ceri is a former college lecturer from Cardiff, South Wales. He wrote this article for us.

Social Networking and the Left Coast Eisteddfod 2009

There is an art to constructing social networks. Anyone can join Facebook, start a group, give it a catchy title and invite everyone on their contacts list. But building a true online “community” involves a lot more than that. My preferred tool for this job is the “Ning” platform.

One such project that I am involved in at the moment is Americymru. The site itself is an American Welsh heritage site and it welcomes members from anywhere in the world who are either Welsh, of Welsh ancestry or who have a love of Wales ( Cymruphiles? ) for whatever reason. The site has proved highly popular and is rapidly approaching the 1000 member mark.

The question is, of course, what purpose should such a site serve? Should we all vie with one another in forum discussions for the distinction of being the most enthusiastic supporter of Welsh culture? Should we all devote ourselves to learning the Welsh language? ( not a bad idea ) Or perhaps we should all exchange holiday snaps of our most recent visits to Snowdonia? Of course Americymru is a social network and so it is used for all of the above purposes and a host more besides.

How much better though to put these networks to a novel and creative purpose. In Wales the “Eisteddfod” tradition ( which is basically a talent competition ) dates back to the 12th century. Here is how the Wikipedia defines it:-

‘An eisteddfod is a Welsh festival of literature, music and performance. The tradition of such a meeting of Welsh artists dates back to at least the 12th century, when a festival of poetry and music was held by Rhys ap Gruffydd of Deheubarth at his court in Cardigan in 1176 but, with the decline of the bardic tradition, it fell into abeyance. The present-day format owes much to an eighteenth-century revival arising out of a number of informal eisteddfodau. The word eisteddfod is derived from the Welsh word eistedd, meaning “sit”.’

We decided to use Americymru to organise an international “online” Eisteddfod.

We have departed from the traditional formula in several significant respects. There are Welsh Pirate Lookalike and Tom Jones Impersonators competitions along side the standard literary and poetic categories. We feel that these features will enhance the appeal of the “event” and give it a more contemporary feel

All the competitions are open to everyone. Neither Americymru membership nor Welsh origin are requirements.

The poetry and short story competitions are already starting to attract some talented entrants and judges Lloyd Jones ( short stories ) and Peter Thabit Jones and John Good ( poetry ) will have some hard choices to make.

The online Eisteddfod will culminate in a live event in Portland in August 2009. It is here that winners will be announced and prizes awarded. It is also our intention to hold a series of concerts featuring major Welsh and American Welsh artists and performers. In short the “Left Coast Eisteddfod” will be a celebration of all things Welsh and in particular of the American Welsh heritage which has so enriched the history of the American nation. It will also introduce this tradition to a whole new audience and seek to involve the widest possible participation.

It is also possible to build a “constellation” of supporting blogs around your social networking “event”. In our own case we have been fortunate to enjoy the support of artists such as David Western who is probably the worlds finest carver of traditional Welsh lovespoons. He explains the reasons and the means of his supoport for the event in the following quote from his “David Western’s Portland Eisteddfod Lovespoon” blog:-

“To support the development of the Left Coast Eisteddfod next year, I am donating a handcrafted, one-of-a-kind Welsh lovespoon which Americymru will raffle off to help raise needed funds.

I’m proud to be able to contribute to the creation of the Eisteddfod and to help highlight Welsh people and their culture here in North America. Everyone knows the Scottish and Irish and it is through events like the Eisteddfod that people will come to know the Welsh.”

David’s blog has already encouraged others to try their hands at this ancient craft and his work in general is vital in order to ensure that this art form continues and thrives into the 21st century.

It is my belief that the potential for social networks to drive artistic creation and collaboration is immense and I am very excited to be a part of a project which is exploring this potential.

In closing I would urge you check out the online Eisteddfod ( linked and accessible from the home page of Americymru ), consider entering one of the competitions and above all, think of novel ways to utilise your own social networks so that they can become a real spur to human creativity and not merely glorified “chat” rooms.

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Art, Communication, Connectivity

Manuel Marino — Thu, 28 Feb 2008 19:32:37 +0000

Michael Marcus (also known as “Jacques Treatment”) is a published author, poet, artist, and game designer; with George McVey, he has been publishing comics as “The Hamtramck Idea Men” on the very sensible grounds that they live in Hamtramck, have many ideas, and they are men. Joint work can be found at http://idea-men.us while his earlier work sits at http://www.treatmentlabs.com.

Art, Communication, Connectivity

When first approached by Manuel Marino to write an article, I found myself excited in the extreme — first, because I had been noticed in the vast sea of high-noise/low-signal called the Internet as someone worth approaching, and second, because it would be an opportunity to promote the work that George McVey and I were doing with our comic books, games, t-shirts, and other fine arts, and third, because it would give me an opportunity to vent about the apparent lack of creativity in the comics biz and why we are producing the finest comic books in the field. Then, when I sat down to write, I thought I would write about my own particular love of game design and how it mixes the art (and in some cases, storytelling) with what is essentially a mathematical process to produce something attractive and entertaining without giving one player or another an inherent advantage. In the end, however, as passionate as I am about both subjects, attempts at writing the articles proved dry to any but the most familiar of audiences, and the last thing I wanted to do is bore people. Instead, the subject that came to mind is the one behind everything I do: communication.

Communication is inherent, even if it is nearly forgotten, in almost every work of art. Whether it is the artist communicating an idea to the canvas or, eventually, to an audience by means of the canvas, the interaction spawned by the processes of a good game, the telling of stories by a good book or comic book, or the conveyance of mood and message by a good song or other musical piece, it is the very fact THAT there is signal being transferred and translated that often gets lost. Whereas Marshall McLuhan may have said, “The medium is the message,” I would hold instead that it provides a context wherein meaning is derived — while a book may describe an experience, for example, a comic book or film may share the same experience more clearly, but the same message carries differently with the immediacy of dramatic theater, wherein the wall of the participants and the audience can find itself weakened or even torn down by force.

What, then, of surrealist work, or work done by surrealist means, wherein chance plays the greater part in creating the artifice than does a preconceived message? That depends on the type of work being attempted, whether it is to provoke a sense of whimsy or provide an initiation into an otherworldly space, whether it challenges the audience to “fill in the blanks” through a sense of mystery or negative space, or whether it encourages the reader to follow along with the author’s thought processes and achieve a similar critical or rational context along the same lines as the author. Where automatic writing encourages the latter, for example, Gysin’s “cut-ups” (wherein the pages of a written piece are quartered and refitted before publication) invite the reader to “connect the dots” and reassemble meaning, providing a disorienting challenge to the mind in the process. It is in this way that the surrealist confronts his or her audience with a work of art that engages the human tendency to attempt to make order from chaos, when the primary meaning is in the confrontation itself (and the secondary meaning is in the absurdity, whimsicality, or atonal nature of the process).

This, then, illuminates why I design games, write prose, paint, and create other things the way I do: They provide a context by which I might share an experience, or, more likely, the effect that something that I have experienced has had upon me. This is why I find that the most successful works that I have done are not necessarily those which I have created in a state of inspiration as much as those where I have had more of a dialog with the medium of the communication itself–that is to say, the pieces that seem to communicate best to the people who experience them, whether by being viewed (in the case of visual arts) or being played (in the case of a game), are the ones where I studied the piece itself as it proceeded, even if the result has less craftsmanship or less of my personal interest in the piece itself. For example, in my portion of the Hamtramck Idea Men art gallery the piece that has the most meaning for me is “Augmentation of Chaos,” which is gives chaos a “face” based on its connotations to me. The one, however, that seems to garner the most favorable interest is “Frustrated Joy,” which came to that title based both on the color scheme (the “Joy” in question) and how much it failed, at every step of creation, to become anything like my visualization and plan for the piece. It is as if the piece radiates my energy through the process of creation despite the fact that it has the least meaning for me.

If there is one thing that I have noticed with the advent of technology, it is that more and more experience come without the direct interaction of two people; the computer becomes an intermediary in most communication; this is true even in chat-rooms, where the users’ ability to edit what they say (at the very least, since some adopt alternate personae that they role-play) changes the nature of the exchange. Similarly, analog photographs lose some of their resolution (and with the advent of PhotoShop, still more of their original content), brush strokes lose some of the wondrous elements of their textures, and even digital sampling loses some of the fidelity of sound quality (even the best sample fails to be perfect). This is why, when I designed Gamer’s Dozen, I desperately wanted to create a set of games that anyone could play, face-to-face, at any skill level, with nigh-infinite replayability. I wanted something that facilitated communication and interaction between people without computer interfaces in the way. That, then, would have to be the source of my desire to create–to make a connection with the outside world, something that tends to be rather difficult these days.

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An Artist Portrait (Part One)

Manuel Marino — Fri, 12 Oct 2007 22:29:48 +0000

This is a fantastic article written exclusively for my Weblog by Frank V. Cahoj. Please feel free to comment here or send him emails. He’ll be happy of this.

An Artist Portrait (Part One)

My name is Frank Cahoj and I have been an artist since I was born. I can say this in confidence without remembering my birth or much of the first years of my life: I can say this because one is either an artist or one is not. Technical skills, knowledge, know-how, are all irrelevant. There is something in the genetic makeup of a human being that makes them an artist, and it is sewn within them from birth. However, there are those who do not recognize this, as being part and parcel to their existence, and may still not become an artist even though they possess the blueprint. It is through recognition as well as possession that an artist can truly exploit their divine talent. Since birth, I have attempted to hone in on this skill, at times successfully, at times bitterly unsuccessful, most often unknowingly, and to use it to my advantage in life, business, social and cultural situations.

I spent most of my childhood dreaming these unbelievably lofty dreams. I created a furniture manufacturing company when I was eight years old—I was going to build furniture out of two by four scraps my uncle had in the garage and sell the pieces to anyone willing to buy. I created a barbershop when I was five, in the backyard, with the goal of cutting neighborhood kid’s hair and inadvertently horrifying countless parents. I created an advertising agency—Icon Solutions Inc., when I was eleven; the business plan is still in a trapper-keeper folder in an attic somewhere. I knew nothing about any of these things, yet my drive to create and be creative at a grassroots level negated any lack of knowledge I had on the subject. I wanted to see things cultivate. I wanted to be inside of a creative process at all times, without the responsibility of seeing any of it through. I thought, “if I can perpetually be in a state of creating—I will never get anywhere—but I won’t be bored!” So I created these things that never happened, because I never let them. Once the creating was done, I went on and created something else.

Somewhere along the way I matured, partially, and primarily out of necessity. My parents were divorced early in my life, and the burden of growing up, and growing up quickly, was a condition of survival. I learned about money, and what it means to have money, and what it means to not. I realized that creations that amount to nothing and never materialize become ghosts and vanish without a legacy or a memory of them. I had created so many things that I had no idea what I had created and why. Suddenly I had no use for all of these things; they were invisible to me. My focus shifted. I became instantly a perfectionist. I began to analyze and research everything I did before I became too involved. I would weigh the pros and cons long before implementation of anything I wanted to do, whether it be going to the park or writing a story or playing a video game. I became anal. And I became very, very, very bored. I stopped creating for a while. I didn’t feel like it. I played with toys and became entrenched in sports; I gravitated to things that were physically concrete, that I could touch and use and that were practical. I left the abstract for the benefit of escaping my own drive to create, in fear of utter and lifelong disappointment. This, all before the age of thirteen.

You’ll read Part Two in the next days.

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Music Arts, Orchestra Music, Music Compositions…

Manuel Marino — Thu, 11 Oct 2007 21:59:52 +0000

Music Arts, Orchestra Music, Music Compositions… being Artists, Fine Arts, Poetry…

In few words: Music, Arts, People and Ideas.

What links all these words together? It’s not difficult. But first let’s begin studying the term “artist”. It means “One, such as a painter, sculptor, or writer, who is able by virtue of imagination and talent or skill to create works of aesthetic value”, but also “A person whose work shows exceptional creative ability or skill”.

If we agree that whenever we have exceptional ideas and we are able to create from them a work of aesthetic value we can be considered “artists” then you know what links all those words together: creativity, the ability or power to create.

And on these pages you’ll read about Arts in general, and much about Music (my world), about Ideas and People who had them and created through them… and about You, yes about You, reader, because maybe you don’t know, but there’s an Artist somewhere, think about it… somewhere inside yourself.

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