Mar 19, 2022
Mike Isaacson: That’s it! That’s the joke!
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Nazi SS
UFOs
Lizards wearing human
clothes
Hinduism’s secret
codes
These are nazi lies
Race and IQ are in
genes
Warfare keeps the nation
clean
Whiteness is an AIDS
vaccine
These are nazi lies
Hollow earth, white
genocide
Muslim’s rampant
femicide
Shooting suspects named Sam
Hyde
Hiter lived and no Jews died
Army, navy, and the
cops
Secret service, special
ops
They protect us, not
sweatshops
These are nazi lies
Mike: Hello and welcome to another episode of The Nazi Lies Podcast. Join our book club on Discord by subscribing to our Patreon. If you weren’t on the Discord at the beginning of the month, you missed our next guest giving standup comedy lessons. Elsa Eli Waithe is a stand up comedian and educator living in Brooklyn. She’s been in the New York comedy scene for ten years and was recently featured on BET’s new show On the Ropes. She is the founder of the GOLD Comedy School for Girls which teaches primarily teenage girls the craft of comedy. Elsa’s here for Women’s History Month to talk about women in comedy. Welcome to the podcast, Elsa.
Elsa Eli Waithe: Hello, thank you for having me Mike. It's good to talk to you.
Mike: Hey, how are you doing?
Elsa: Doing good. Oh man, comedy’s coming back. There's a little thing like a pandemic or something that happened? Little something-something like that threw everybody off, but I think we're turning the corner, and comedy is coming back. I'm ready to be funny again.
Mike: Good. So before we get into the craft of comedy, how did you come to stand-up comedy?
Elsa: How did I come to stand-up comedy? Oh, my God. So many things in my life, I think, were pointing itself already to stand-up comedy. Of course, I grew up in school as the class clown or whatever. In fact, by the time I started doing stand-up comedy, folks were like, "Oh, wow. I didn't know you weren't already doing that. You were always so funny in school or whatever." And then also, a lot of my jobs were sales jobs, and sales is kind of like a presentation, you know? And it helps to be funny and have a couple of lines that you say all the time. Everything was sort of just pointing towards comedy and stage and the things like that and I just sort of did it a bit on a dare almost. Somebody was just like, "You gotta want to do something else with your life, you should try comedy." And I just sort of tried it and I was just sort of naturally good at it. I did an open mic and I didn't quite know what I was doing, it's just like, "I'm just gonna go talk to this microphone." And then like people laughed. So I was like, "Okay, let's just keep doing it." And then here we go fast forward 10 plus years later, and I'm still doing it.
Mike: Right on. So give us a little behind the scenes. What's the comedy scene like in New York City? How does an aspiring comedian get started, and what should they watch out for?
Elsa: Oh! The comedy scene in New York City is a zoo. But it's my zoo. It's a fun zoo, and you're gonna learn a lot more doing comedy here in one month than you would like a year pretty much anywhere else because there's so many different venues. There's so many different avenues for comedy-- stand-up, sketch, improv, experimental, alt-style comedy-- that you could literally be in three places in one night in New York City. Do stand-up three times in one day.
I think one of the early bits of information or advice I would give somebody starting off comedy in New York is get as much of it as you can without overdosing, right? Like, you get here and you want to do it all because you can do it all and there's all these opportunities and avenues and things. Do as much as you can, but also don't burn yourself out. Because it's easy to spread yourself too thin. So, don't spread yourself too thin. And then when you find your niche, you kind of find your spot, dig into it. Of course, don't be afraid to spread out, but really dig into the thing that really is grabbing you. It's really easy to spread yourself really thin in New York. I think that's what I'm trying to say is try it all but don't spread yourself thin.
Mike: Now you are a woman in comedy. How has the scene treated you and other women compared to men?
Elsa: Oh. Well, we live in a patriarchal society so experiences are going to be different for men and women in every area. It's no different in comedy. I mean, I'm a queer, Black woman, so I got those two things too.
But, you know, when I first started doing comedy I was in the South. I was in Virginia. And very frequently I'd be the only woman, the only Black person, or the only queer, or damn, the only combination. Like, "Hey, you're the diversity hire. You check three boxes, get out there." And then I'd be on the line with all White men, all straight White men or all White men or whatever. It didn't bother me too much down in the South but when I came to New York for that sometimes to still be the case here, I was just like, "Oh, wow!" That was very interesting to see that comedy shows can still be booked in that way, even in the melting pot.
So for me, the whole trick was to just be undeniably funny. That like, "Yes, I want your show to be booked diverse or whatever." But men, the gatekeepers or so in comedy, are often hiring you because you check a diversity box. They're booking you because you check a diversity box. I want to check that diversity box, but I also want to be really funny as well. And just be undeniably funny. I think that's like the extra mission, right? You hear it from Black folks or for women, you know, for gay people, "We got to be two or three times as funny as the next." You know? I want to be just regular as funny as the next and you hire me because that's just the right fucking thing to do. But also, I'm hilarious. [laughs]
Mike: Okay. So regardless of the scene, the craft of stand-up comedy itself is pretty equal opportunity. And as part of your GOLD Comedy school curriculum, you've actually broken comedy down into sort of a science almost. I was definitely taking notes during the book club sessions you gave.
Elsa: Thank you.
Mike: So, what are elements of a good joke?
Elsa: The elements of a good joke? Yeah, when I tell people, when they take my class, it's like I'm gonna break comedy down in a boring way for a second, right? And break it down into some like formulas, and then we'll build it back up, and it'll be funny again. But yeah, I think the elements of a good joke is premise, setup, punch. Right? You need the-- what is this joke about? Which direction are you about to take me in? And then the punch, the twist. What direction do we wind up in? Right?
There's sort of like a little formula for that. So the elements of a good joke I think it's got to have– rooted in realism. This could be a real thing. Even if it's not a real thing, this could be a real thing, it's rooted in something real. And then the exaggeration and the surprise, then we take it to zany heights, you know? Things like that. So it's got to be rooted in something real. You got to show me where we're going and then you got to surprise me and take me in an unexpected direction. So yeah, that's really what I think are the elements of a good joke.
Mike: Now doing standup is more than just having well-crafted jokes. Unless you’re like Mitch Hedberg, you need a routine to tie the jokes together. How do you build a good standup set?
Elsa: You know, for me, there's lots of different ways people do it. Of course, obviously, comedy is an art form so everyone's got their way. My way, for me, is over the years over time I've written what I like to call a stack of jokes for different topics. I got weed jokes. I got gay jokes. I got going-to-the-beach jokes, or whatever.
And what I typically do is when I'm building a set, before I go on stage, earlier that day or the day before, what three things do I want to talk about? Do I want to talk about this pop culture thing that's currently happening? I'm gonna talk about this pop culture thing that's currently happening, I want to do some weed material, and then I want to end with this thing my mom did, you know?
How I sort of weave or blend those things together sometimes just sort of comes across while I'm on stage. But I just sort of go in my head with the couple of topics I want to talk about, and will then pick out the couple of jokes I really want to try out on those topics. And then if I got five minutes/ten minutes, I talk until I feel like I'm done joking about this one thing and then we move on. I just sort of feel it out on stage as best I can.
But I go in with a little bit of a game plan, you know? Do I know everything exactly down to the letter what I'm going to say? No. But I go in with a little bit of a blueprint or a little bit of a game plan and allow spontaneity. You don't know what the audience is going to do, you don't know what is going to happen in the room, so I go in with my game plan and leave room to be spontaneous or to see what the audience is giving me.
Mike: Alright, so with your experience and the framework you've built, I’m sure you’ve witnessed some comedy that’s made you cringe. What do comedians need to stop doing in their sets?
Elsa: One pet peeve I have– This is like a new comic pet peeve, so if I see you doing this, I can almost guarantee you haven't been doing comedy a full year yet. When you take the mic out of the mic stand, move the mic stand. Move the mic stand away from the front of the– Take the mic out of the mic stand and then place the mic stand off to the side or behind you. Oh dear God, why would you take the mic off the mic stand, and then leave the mic stand right there, and then like walk around it? Oh that's one thing that it's a tiny little pet peeve that makes all the difference. It's a rookie move, I don't like that.
Um, I don't like when– I think sometimes people write comedy to be edgy or to be controversial. If the topic you're talking about is edgy or controversial, that's one thing. But, you know, you ever see like a little kid and they're just learning how to curse, so then they just sprinkle curse words into everything, and it doesn't work? Like, "Stop. Stop. Stop." I think some comics want to be edgy or controversial so they'll just jump right to certain topics without any nuance. You know?
Like, "Hey, we're gonna do this abortion ate a baby joke, and then we're gonna do this Holocaust joke, and then we're gonna do this racist Asian trope. I'm gonna ching chong pretend to be Asian nang nang nang whatever" And then it's just like, "Oh wow, maybe that could have been funny if you were talking about something, but you're just rushing to be edgy or controversial."
My thing is always, everything is funny or nothing is. So I would never say you can't say something, but in the rush to be edgy, in the rush to say the clickbaity thing or whatever, we often just skip right past what funny is, you know?
It's okay to be edgy or controversial, but people are people often like, "Comedy is the last bastion of free speech! We're speech and wisdom tellers!" And I'm like, "Eh, our job is to tell jokes." Our job primarily first and foremost is to make people laugh.
Mike: Yeah, I feel like some people just mix up funny and mean, and they just think that they’re the same thing. You know?
Elsa: Oh, yeah. There's a lot of the 'mean girl' mentality in comedy, right? Guys try to say they don't get involved in that, but yeah, no, there's a lot of rushing past what's funny to be to be mean, or to be edgy, or whatever. And a lot of people think that that's what's funny.
People who speak their mind, you know what I'm saying, they often thought about what they say before they say it. A lot of times comedy is undervalued because it does look like I'm just getting on stage and just talking. Right? But I did plan this out. I did craft this. I did work it out. So a lot of people just think you just go up there, and I just say whatever comes to my mind. Maybe, sort of, but not really.
Mike: Yeah. No, you definitely have a list of jokes that I've heard several times.
Elsa: Yeah, I got my stable. I like to say I got my stable of jokes, or I call it my tool belt. I got my tried and true jokes. I got things I know work. I got things that sometimes I go back and I'm like, "Oh, wow, I haven't said this or done this joke in years. Let's try this one again." Just like when you find an old toy or something–
Mike: It’s funny. Sometimes when you're on stage, you'll actually announce that. You'll be like, "This is an old joke."
Elsa: [laughs] Yeah, it's for me. That's for me.
Mike: Okay, I know you probably don’t want to be playing favorites, but I want to make sure people leave this episode listening to women comedians, so who are the up-and-coming women comedians you want to shout out?
Elsa: Oh, I can shout folks out at all sorts of different levels. Okay, so at our national superstar level, please put some Leslie Jones in your face. That's just good, happy fun, crazy comedy. I love me some Leslie Jones. Put Leslie Jones in your face.
And then up-and-coming, definitely up-and-coming, making waves, making a name for herself, a friend of mine, somebody who I really admire, shout out Chanel Ali. Chanel Ali is really funny. We also are going to appear on the BET show together. Yeah, I want to give a big shout out to Chanel Ali. I think she's down to earth, really funny, great energy in her comedy.
Shout out to Joanna Briley. Joanna Briley is kind of the auntie matriarch of stand-up comedy here in New York City. Creator of the Black Women In Comedy Festival, which I think is in its second or third year coming up. She's originator, creator of Black Women In Comedy Festival. And I want to just shout out GOLD Comedy and Lynn Harris. Lynn Harris, not a current comedian anymore, but the creator, innovator, and big brain of GOLD Comedy where I teach, and I'm the founding teacher. Lots of talent, lots of good women and non-binary folks coming out of GOLD Comedy.
Who else? What else? I don't like playing favorites but there are just some folks who are really making waves. Yamaneika Saunders, also the host of the BET show. Yamaneika Saunders, hilarious. Yeah, that's what comes to mind right now.
Oh, Glo!
Mike: Glo?
Elsa: Glo. Glo is hilarious. Check out Glo here in Brooklyn. She is also very funny.
Yeah. Veronica Garza! I want to shout out Veronica Garza. Garza is really funny. You're gonna have to Google these folks, you ain't seen them on TV yet. But it's coming up. Yeah, that's it.
Mike: Well Elsa, thank you so much for coming on The Nazi Lies Podcast to talk about women in comedy. You can catch Elsa on BET’s On the Ropes, and send your daughters to GOLD Comedy School! Are you gonna bring back Affirmative Laughter?
Elsa: Affirmative Laughter is coming back! Check for Affirmative Laughter late March or mid-April. I haven't quite pinned down the date, but we do Affirmative Laughter at The Bureau of General Services—Queer Division, that's inside of The LGBTQ Center at 13th Street in Manhattan. Show is gonna be coming back. Affirmative Laughter is my monthly comedy show where- It's a diversity show as they say, and every month we hire just one straight white man. Just one. Just to show you guys how it feels. Ain't that awkward? That's weird. [laughs] So keep an eye out for Affirmative Laughter. It is coming back soon.
Mike: Very good. All right. Okay, check out Elsa on Twitter @elsajustelsa. Thanks again, Elsa.
Elsa: Yay, thank you!
Mike: If you want to discuss upcoming topics and books with me, join The Nazi Lies Book Club. We hold weekly meetings on Discord where we discuss the books of upcoming guests and every so often we get to talk with the guest themselves. You already missed Elsa’s comedy lessons; don’t miss out on the next exclusive. Sign up on Patreon.
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