Franklyn Ajaye Quotes

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.

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.

Originality is never embraced as quickly as the commonplace.

Very few blacks will take up golf until the requirement for plaid pants is dropped.

This whole urban rap thing needs to be pulled back some. The ghetto is being glorified, and there's nothing good about the ghetto except getting out of one.

Bombing teaches you how badly you want to become a comedian. Because unless it's a burning desire, you'll quit when the consistent bombing becomes too much to take.

Don't try to give a funny opinion; give your opinion in a way that will be funny.

Being black and speaking properly are not mutually exclusive. My father was an African, and he spoke beautifully at home. Nelson Mandela speaks beautifully. Should Mandela put his hat on backwards and say, 'Yo, homey, this is Nelson. Yo, Winnie, yo, this is def'?

I don't like the fact that most black people or black comedians have to present themselves in a flamboyant way. It's good if you can do that, but I don't like to think that's the way all black comedians are. I'm not that type.

Black people drink lots of beer. However, you won't see us skiing down a mountain for one, or see us diving for Frisbees on concrete for one.

If I'm crisp and economical in my delivery, have smooth transitions, movement and animation, and flights of fancy, that would get me an A.

When I saw a sign on the freeway that said, "Los Angeles 445 miles," I said to myself, "I've got to get out of this lane."

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.

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.

Taping yourself and making yourself listen to the tape of each performance no matter how bad is really important. There's always a nugget line or a direction pointed out to you in even the worst show.

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.

Being a professional comedian is doing it right and good, when you don't feel like it.

Evaluate every performance on: stage presence, concentration, delivery, material and lessons learned.

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.

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.

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.

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.

I don't think that comedians have a tradition of trashing the next generation.

A technique I developed quite naturally to help me make smooth transitions was to use a word or phrase from the next routine in the preceding one.

You must study their deliveries, their use of their bodies, their timing, and their use of audio and vocal effects.