Here we are again! Every year I listen to thousands of songs and pick 100 I enjoyed the most. This is the 10th year I've done this and its fun to see what trends I see.

Hip-hop changes so quickly! The market is glut with artists and as soon as one sets a trend dozens follow. It makes the genre change drastically every few years. Right now there is none better than Run the Jewels. They haven't released an album yet .... yet (they dropped RTJ3 on Xmas morning) but their single on the Venom soundtrack was really, really, good. 

Horror-core rap is coming back with H099o9 and 3teeth putting out impressive work and clipping. is really expanding his industrial influences. Annual favorites of Aesop Rock, Death Grips, and Childish Gambino all with great tracks.

Personally, I've really been into noise / experimental more than ever in 2018. Street Sects, Uniform, and new favorite HEALTH have been putting out quality noise work and has really captured my attention. Clown Core, a band consisting of two clowns who perform jazz-noise in a port-a-potty,  I went from ironically liking to genuine adoration with their strange breaks and technical competence.

The depth of good music in existence is staggering. 2018 was no different.

Here are lists from year's passed:

2008 - lost forever
2009 - dusty CD-R in a drawer
2010
2011
2012
2013
2014 - sorry, I was busy having a mental crisis
2015
2016
2017

Here are my favorites from 2018. Enjoy!

Photo by CHQ Music Seen

Look at this goddamn idiot. That's me; Paul Clemente local ... comedian? ...

Our host, Jeremy, asks the area's fastest and most powerful residents what they think about lobsters. Get ready for Lobster Lobby Season 4 who is in post-production now!

Our dutiful host, Jeremy Little pounds the pavement in search of answers. Is Jamestown NY ready for lobsters? Let's find out!

After length litigation, Lobster Lobby Season 4 has -regrettably been filmed and is currently in post-production. It's our most obligated season yet! Our host for Season 4, local man, Jeremy Little is hitting the streets and finding out what the people think about lobsters.

Photo by Jake Truax

Look at this goddamn idiot. That's me; Paul Clemente local ... comedian?

Photo by: Nick Dean

Look at this goddamn idiot. That's me; Paul Clemente local ... comedian?

I hesitated posting this as "Part 2" because I feel like I'm jumping very far ahead from the natural genesis of open mics to this contentious topic of material selection. This is a topic that has been debated forever and will be discuss and argued over long after I'm gone.  I can only offer my viewpoint from my experiences I have had so far in this business.

I'll start with considering material for an audience or venue. I've been lucky enough to book shows in places I've already been familiar with. When preparing for a show or even an open mic I absolutely think about the audience. Let's face facts an audience at a coffee shop is going to have different sensibilities and humor than a dive-bar. Both venues have merit and deserve a good show but it's an undeniable fact that each venue you perform at has different expectations, audiences, and energies. I feel any experienced comedian will tell you the same and that the ability to adapt and read an audience is an essential tool to becoming a good entertainer. You need to bond who is in front of you and assure them that you are one of them and that this is going to be fun.

Comedy works on a wide spectrum of styles and most comedians should find what their voice is and explore different extremes in that spectrum. Not only does it make you more versatile but it gives you a lot of options to perform at different venues.

25-30 written sets. 2 of them are good.

One glaring example is that I hear often is comedians refusing (!!!) to work "clean". Working clean is keeping it PG/PG-13 rated and it is something that a huge chunk of venues ask for.  Some audiences just want to have a good time and not be challenged with their personal moral boundaries. If you don't have a "clean set" try and get one it helps.

An advanced skill set that I have not learned yet is to adjust on the fly to what the audience is feeling. Sometimes a strange, unplanned joke will land (or fail) that will give you insight to who they are as a room. A experienced comedian will change their entire set in their heads mid-performance and continue without thinking too much about it. Again, its all about reading the audience. There is nothing more painful than dying on stage and just going through the motions of struggling with a room despite of the reactions you are getting.

It's easy to lose sight of any comedian's goal to entertain when there are so many more personal benefits to performing comedy but the end result has to be about the audience. I know this seems obvious but I will bring up this point later.

This brings up the fragile argument about what you can or can't say when you are up on stage. I personally feel that you can say whatever you want no matter how abstract, vile, absurd, edgy, and whatever other adjective you can find to express extremes. Comedy arguably the best tool to deal with what's uncomfortable.



Comedy is how - as a society - deals with critic social issues, heals from tragedies, and inspires mental flexibility with complicated subjects. I think there is no subject too taboo to discuss and nothing is off the table as far as a topic. Censorship is a massive disservice to everyone and should never be integrated into the world of comedy.

HOWEVER,

As a comedian broaching a touchy topic such as race, gender, sexuality you have a responsibility to present it dutifully.

A friend of mine, Autumn Echo, wrapped this entire concept up with a perfect bow:

"Every artist has a responsibility for the content they put into the world. You do not get to take a stage without taking responsibility"

The  key word is responsibility.

You can say whatever you want on stage, that is your right but you are responsible for the words you say. Being offensive just for the sake of being offensive is lazy, irresponsible, and no better than a dollar store fart key chain.

Here is an example of horribly irresponsible comedy.



In this bit he shocks the crowd with a hateful slur. In this particular case, he gets the benefit of the doubt because he is a celebrity and we know that this is not how he truly feels. Most comedians do not get this benefit and often the audience does not know you and is seeing you for the first time.

He then explains what he means and makes it clear that he is not being bigoted. Again he says the word and immediately takes responsibility.  He clarifies his meaning of the word and manages the crowd. He took the audience through a spectrum of emotions very quickly and brings them back to "hey everyone, I'm on your side, I'm one of you".

The final point is that the audience needs to like you as a person in order to think you are funny. You need to connect with them in a short amount of time. You need that moment where the room accepts you as a human being and that they are in on the joke and not the joke themselves. This bond that comedians can earn with the crowd is invaluable and needs to be established immediately. There is nothing that segregates you quicker from an audience is hatred, bigotry, and testing an edge that no one asked for.

For some dumb reason, I am perusing this career of comedy and I am a perpetual student of social interactions, performance psychology, and how it all ties together. As comedians we are graced with the opportunity to make people laugh. We are given a -sometimes arduous - task of turning someone's night around to forgetting about their problems and listening to you tell a story and I'm so lucky that I even get that chance.