Sofla all shook up over prankster
“Sofla” is the portmanteau– or is it simply a contraction?– that’s short for South Florida. And it refers to the community of comedians who toil in that region roughly bound by West Palm on the north down to Miami on the south.
We theorized that the video mini-phenomenon “Stand Up Comedy is NOT Pretty” came from somewhere in Florida, specifically from South Florida. While investigating that connection, we stumbled upon the whole Crackenberry phenomenon.
There’s a person calling himself “Harold Crackenberry,” who is, in the words of one comedian, “terrorizing” the comedians of that market, through a series of Facebook status updates, videos and personal appearances. He’s also put Harold Crackenberry stickers on cars and in other places and has, according to one member of the community, “come up with creative ways to tell South Florida comics that they suck.”
A typical Crackenberry Facebook posting:
Here’s an idea for all of you aspiring South Florida comics…walk away. No one would notice except for a few friends that would get over it faster than you would like to admit to yourself.
There follows the embed of the now-famous “Stand Up Comedy is NOT Pretty” xtranormal video we posted about on the 23rd of August. Says Crackenberry of the video: “The clubs have to use techniques like this because you suck.” (He follows up with the cryptic message that he has “made a deal with the Improv for my very own show. I’ll let you… know when the show is so you can experience what real entertainment is like.” The Improv referred to here is the one inside the Seminole Hard Rock Casino, also known as the Ft. Lauderdale Improv.)
Theories abound. One has it that Crackenberry is not merely one person, but a group of people.
He (or one of his co-conspirators) even went so far as to appear at one open mike show, wearing the head of a fox (ostensibly as “Harold Crackenberry’s lawyer”), and mount the stage to play an audio tape (ostensibly from Crackenberry himself) which insulted comics and contained a filthy, confrontational poem.
We’re mystified as to why the emcee didn’t just reach over and rip the fox head off of Crackenberry!
Not all the comics are terrorized, however. Some admit that many of the stunts and postings are clever and that they demonstrate a knowledge of the scene and it’s denizens. At least one comic wrote on Crackenberry’s FB wall and practically begged the hoaxster to review his set and “give me your worst. I mean, your absolute worst.” So, it seems that one’s annoyance level at Crackenberry may depend on how long one has been plugging away at standup or how much confidence one has in one’s act.
One Sofla comic, Johann Luna, has even posted an answer rap, called “Crackenberry’s A Little Soft Bitch,” which challenges the Foxheaded one to reveal his identity or at least get up onstage and do some jokes.
It’s been going on since February. We only found out about it recently.
One Sofla comic, Will Lopez, going by the name of “Soflunny,” posted an “answer video,” using the Hitler Downfall format:
We must say this might be one of the strangest things we’ve ever seen in standup. We also must say that we’ve never been fans of anonymous criticism. We can only hope that, after some time has passed, that Crackenberry will reveal his true identity and “take the heat.” As it now stands, the entire hoax is causing the Sofla comics to speculate as to who Crackenberry is and accusing this comic or that comic of being the man behind the vitriol. It’s never a good idea when a person or persons is falsely accused. But we suppose that people need someone to blame. The idea of an anonymous, seemingly omnipotent entity that appears to know everyone– and has no compunction about saying mean things about members of the community– is disconcerting. And it has the potential to cause deep, permanent riffs in what seems to be a healthy, somewhat vibrant scene. It’s not too much of a stretch to believe that the perpetrator is a member of the community he is tormenting. Rather like an arsonist who is a member of the fire department and who seeks great pleasure in not just setting the blaze, but witnessing the aftermath and helping to put out the fire. What fun would it be to cause such turmoil among the comics if you weren’t there to see and hear the results of your handiwork?
Why doesn’t this guy go the route of Patrick Milligan of CringeHumor.net? Milligan says the most ghastly things about the comics he doesn’t like. But then he fiercely promotes those acts that he enjoys. And he produces shows that feature those acts.
We just hope that Crackenberry doesn’t have plans to franchise the venture. Something like this has the potential to destroy some of the less robust open mike/up-and-comer communities around the continent.
25 Responses
Reply to: Sofla all shook up over prankster
While your attention is on South Florida why not run an article on a local comedy club gathering all the local comics just to threaten them if they work at any other local clubs they won’t get work from them. Makes more sense than an article on some anonymous jackass bad mouthing comics.
If you root around in the comments on the posting on “Stand Up Comedy is NOT Pretty,” you see that someone commented that the words of the club owner in that video was eerily similar to the threats from the local comedy club. But, in the case of the commenter, he was more specific than you. He said, “This is almost word for word from a lecture that was given to us at the Standup comedy bootcamp class a few weeks ago from one of the bookers of the FTL, Miami, and WPB improvs. This is hilarious.”
The person was referring to the meeting the Improv had and over 125 comics showed up and they proceeded to tell everyone in the room where they cannot perfom.
It was the biggest mistake they ever made because almost everyone in that room including almost all of their own ‘working’ comics have since been going to the New York Comedy Club and National Lampoon alot ever since.
Then to beat that the skumbag owners of the Improv show up to the Lampoon on a night they were having their own open mic so instead of watching their own comics that bring people and money to them, they for some unknown but moronic reason went to that club instead.
Maybe because they have Fred the manager that only cares about getting every single show over with on every given night as soon as he can including regular and open mic nights and let’s audience members continue to yell things out anytime they please.
The funniest part of the whole thing is how the regular “working” comics from the Improv almost never have anything good to say about the Improv other than how they dont’ give a shit.
The management probably don’t give a shit either which is why they go through hundreds of employees. You almost never see the same manager or waitstaff if you go there over a 4 month period.
They are skumbags and that was the point I think sofla was trying to make.
Miami Comic you nailed it.
I think it is clear as day the Improv owners and managers do not care about the local comics or the customers, just the money. The comics that would argue that are so far up owner ass they no longer see reality. The only reason for Improv owner(s) to show up at another club is to a) size up the competition and/or b)
The only thing I would like to say for the record is that I am NOT Harold Crackenberry, nor anyone in the “Berry” family – There is sooooo much more to the Crackenberry story, BTW- if you want some details hit me up – I was actually planning a documentary on the phenomenon, then he disappeared for a while – Glad to see he is back – The SoFla comic scene is alive and well –
I’m not a fan of negativity, and am very proud of our South Florida comedy scene…but I have to admit I get a pretty big kick out of the Crackenberry stuff.
Here’s the deal with the So. Fl comedy scene. You can get onstage 7 nights a week, that’s pretty cool. You can go see a show for free about any night but Saturday. And if the comic on stage sucks there’s probably 2 or 3 good ones coming up next. “So run and tell that home boy home boy home home homeboy”
That’s true but most of the comics including you now go to the New York Comedy Club and the National Lampoon including most of the comics that only went to the Improv before and most of the ones that have been working there for a couple of years.
Does anyone know a good reason why those skumbag Improv Owners would go to other clubs on a night when they have a show for open mic or any other night for that reason?
Were they wanting to see why over 50 comics go to the other clubs in one night and not the Improv that loses alot of money for every comic that does go.
If you bring friends to a club, each comic brings in about 10 people buying 2 drinks @ 7.00 or more meaning the club gets about 250 dollars off each comic.
What happened to the so called showcases they were going to have?? They had some but not a single manager or owner watched the show. They only did it so there would be a Free show for them.
Hypocrites
The Kansas City scene had a “Kevin Crackenberry” for a while. I’m pretty sure he was local becase he knew waaay to many specifics about local comics.
Maybe a “Killroy’ of the comedy scene?
I was a victim of the evil, tyrannical SOFLA comedy scene. The owners of the improvs have no intention of helping the local comics in any way shape or form. The are truly horrible people and are enabling mediocrity.
The Improv is missing the point. Having comics bring 10 people does not work. Putting on comics that make people laugh is the way to go. Dangling the possibility of getting an MC job over everbodys head is BS. While Rene and Fabio sit in the back of the room more interested in their blackberry and nachos than any comic on stage. When was the last time the improv hired someone that didnt go to Stand up boot camp? these cats are paying their own way. I heard Rene was at National Lampoon on open mic night. Maybe she was looking for something she had never seen… A $3 beer.
Oh and Crakenberry, when your commenting on all the local comics videos. Listen for the sound between the jokes, that’s called a live audience laughing. Maybe your not familiar with it you don’t get that kind of feedback on your computer even if people comment on your post LOL in all caps its not the same as putting on a good show. You should try it some time. You seem very clever.
I’m part of the Louisville Comedy Scene and the same owners of the Improvs down there own the Improv here. I must say that I see things a bit different up here. First off, it is not the owners’ responsibility to notice me and come running up to me to beg me to work in their clubs. It is MY responsibility to get their attention. If I’m doing my job, eating nachos and texting will not keep them from noticing me. I work very hard to get noticed and, if anything, the Improv does know me by name. They give me every opportunity to succeed and I KNOW they want me to succeed. The more you guys keep bitching, the more opportunities for me to come work down in Florida will appear. It also always kills me when people bitch about the 10 people bringer rule. The Improvs are the best clubs in the country and people all over the country want the stage time. If you can’t bring 10 people then you don’t want the stage time. The open mics are a training ground for the big shows and there has to be an audience in order to train. I can’t find 10 people to come to every show but I can hand out free tickets downtown before the show. I usually end up bringing 20-30 strangers for every open mic.
As for this Crackenberry, I can tell that anybody that does something like that is not a real comic. It’s somebody that is bitter because he’s not good enough to be a real comic and would rather blame other people rather than put the work in to become a comic. The same thing goes to anybody that would post negative things about a club owner or employee of a club without putting their real name on the comment. Stop bitching and put the work in. If not, step out of the way so that those of us that want to be comics can get the work.
Jamie Utley
Jamie:
You’re right, “it is not the owners’ responsibility to notice you and come running up to you to beg you to work in their clubs.”
No one disputes this. But it is the owners’ responsibility to keep an eye on the talent and honestly assess the talent.
And it’s the owners’ responsibility to pack the house with customers. It’s not the talent’s responsibility.
Which is why the bringer shows are so reprehensible. No matter how you justify them, they’re ghastly.
Can you assist in packing the house? Certainly. But after a certain point, you are a sap for taking over the responsibilities that should rightfully be those of the venue. It should be your choice as to whether you want to expend any energy to promote the night. Club owners should encourage it, they should make it so that it’s pleasant and rewarding, they should reward it. But they shouldn’t penalize any comic who chooses not to engage in the free promotion. And they should do their best to ensure that there’s no hostility between those who do it and those who choose not to.
If such a terrible system had been in place when we started doing standup, we can honestly say that, due to our schedules and our temperament and our realtively small network of friends/acquaintances/co-workers, we would have never advanced and most certainly would have not pursued standup much further. Would the standup world be that much poorer for not having Traci Skene and Brian McKim in it? That’s debatable. But is the standup world that much richer for having a sea of open mikers that are willing to suck up to management and abuse their friends, relatives, strangers and co-workers in order to do the work that is realistically that of the venues?
Imagine all the potentially great standup comics who, because they lack whatever it is you have, will either never attempt standup or washout shortly after attempting it. When we started standup in Philadelphia, no such system existed. Talent was aggressively scouted and encouraged. Spots were awarded based on progress. Those who were honestly attempting to excel at standup were lightly coached, advised, nurtured and no consideration was given to who brought customers into the house.
As for the folks in Sofla who post negative things about a club owner, they’re just blowing off some steam. They’re entitled and we’re glad to assist them.
You automatically assume that an aspiring comic can’t simultaneously bitch about the management of a club and “put the work in.” (This sounds exactly like something a club manager might say.)
You make a mistake when you assume that these comics don’t want to be a comic as much as (or more han) you do. There are a million ways to go about it. Yours isn’t automatically the “right” way, nor is it somehow more honorable than those of the folks in South Florida. We would advise you to get over yourself and realize that you have far more in common with your colleagues in South Florida than you do with the folks who run comedy clubs in this country.
You make some valid points but I must admit that bashing a club that is very good to me really gets under my skin. I get a lot of hate from comics here that say I get more work than they do because I hustle off stage. They fail to note that I also get work at other clubs in other cities where I don’t ever put a single person in a seat. If promoting shows is an easy way to get paid work then everybody would be getting work. You still have to be funny before an Improv will let you emcee or feature at their clubs, and I do both.
I’ve been following this thread with interest and am the one who showed it to Jamie (I’m his wife and–in the interest of disclosure–not a comic or in any way aspiring to be one). I think there’s a problem here and that’s a discussion of the proverbial “apples and oranges.” Jamie is trying to make a living with comedy and is a working paid comic AND earns additional money by doing promotions for the Improv here in town. He’s not an open miker doing bringer shows.
He did do all that…he open miked and did guest sets for free (he still does both when going to a new club he’s not worked before). Now, he gets paid. He works here and at clubs out-of-town (clubs for which he does not and has never promoted or “brought”). I think his comment is more a reflection of the hate he’s gotten in the local scene for getting a lot of paid work at a club for which he also happens to do promotions. A lot of comics in the scene here think the only reason he’s getting that work is the promotion (the “bringing”). But, it’s not the case.
Clearly, there’s a difference between doing paid promotions and having to bring 10 of your closest friends, relatives, or neighbors to an open mic. But, that open mic bringer rule does seem to be across the board at all the clubs…no? And, as an outsider, I will admit I do kind of wonder why it’s such a bone of contention for beginning comics (if in fact, it’s the case everywhere). This thread makes it seem like the Improv is evil because they have this bringer rule–but we’ve yet to find a club in this area that doesn’t (and all, including Improvs, make exceptions for out-of-towners). The Improv has been good to Jamie and helped our family have income while he tries to establish himself…there have certainly been rewards.
Jamie left out the very important fact that he is paid for the promotion work he does for the club. That is important, especially in this discussion. And we would have modulated our reply somewhat had we known. (In fact, our reply would have been totally different.)
You are mistaken, however, if you think that the bringer virus has spread everywhere. It is not the rule at all comedy clubs.
As for the “hate” that Jamie is experiencing from the other comics in town who think he’s getting spots just because he works at the club, well… that’s going to happen. He has to deal with those reactions. We suggest ignoring them. Especially if the allegations have no truth to them. Is that easy? Probably not. But to do otherwise is probably difficult as well. Ignoring them, however, might be healthier.
Comics who “work the door” or “answer the phone” or perform other tasks quite often are paid, but are also privy to information and processes that other comics might not be. As such, they might also be likely to get spots that seem unattainable to other comics. This has gone on since the beginning of comedy clubs. Some very good comics started out by working the door. Their fascination with standup, combined with their willingness to do what it took to be in proximity to a club (and watch as many shows as they could for free) means that they were willing to do the unglamorous job of taking tickets, wrangling audience members or answering a phone or taking reservations. If these comics subsequently hop onstage and perform poorly– over a long period of time– suspicion will dog them. If they appear to be making an honest effort to craft an act, find a voice, write material, etc., the suspicions disappear pretty quickly. Sometimes, they persist, no matter what. There’s just no disabusing some folks of the notion that some people are getting breaks while they’re not.
Jamie:
See our response to your wife’s comment.
Thanks.
I find it very interesting that bringer rule is not the norm for all clubs. We have about 12 clubs within a three hour drive and the ones that I go to are all bringer shows but make exceptions for the out of town showcases. I know that at the Improv here if you don’t have 10 people that they will still try to squeeze you in if there is enough time on the show. I certainly wouldn’t blame them if I got bumped for someone that brought 10 people if I didn’t. I once traveled all the way to the east coast to showcase and when I got there, I was informed that the owner decided to take the night off. It sucked really bad but I didn’t take it personally. I just never went back. The best advice I have ever gotten came from Eddie Pepitone. He told me to go up 100 times to see if I have the stomach for it. I have to have a strong stomach to keep going up. Every Headliner that I have ever talked to has horror stories of what they had to do in the begining. Right or wrong I’ve just always accepted that things often don’t seem fair or the way I want them to be as part of the buisness.
Here’s my question. If a group of comics set up an open mic at a bar, is it the responsibility of the bar or the comics to put people in seats? The comics want the stage time and the bar wants to sell drinks but the bars around here will stop letting you do the open mics if nobody shows up. Does a comedy club have more of a responsibility to the comics than a bar for an open mic? Both are running a buisness that needs people to buy drinks. I really don’t see what the big deal is to bring 10 people because I can get 10 people through the door in less than 10 minutes of work simply because the club here is located in a high foot traffic area.
Yes. A comedy club has more of a responsibility to the comics than a bar does for an open mic.
Because they’re a comedy club. A bar is a bar. A bar that lets a group of comics do an open mike does so with the understanding (with the hope) that the show will bring in people… there is no other incentive. Some bars promote in-house, some don’t. But any group of comics that sets up an open mic at a venue that isn’t a comedy club does so knowing that the bulk of the responsibility to bring in people will fall to them. (The bar agreed to the deal… most likely because they don’t have any traffic on the night they designated as the open mike… and conversely, if they had traffic, they probably wouldn’t agree to have an open mike. It happens, but it’s rare. But all kinds of scenarios play out. Comics looking to produce an open mike seek out “off nights.” And if the bar has a night that is consistently “off,”, it’s probably because they’re all out of any ideas and/or money that would make that night a success. )
Bringer shows aren’t big in this market. They never have been. The only full-time club in Philly has a well-attended open mike that doesn’t require the acts to bring patrons. They promote the show in-house and through the use of social media and conventional advertising.
Thanks to Brian/Traci for the recognition and for “getting it.”
I have always put a face to the horrid stuff I have written, stood by my words, and admitted when I was wrong.
I am now fully focused on promoting who I love instead of the negativity that wastes time.
Take care & thanks again,
-Patrick
The South Florida scene is full of opportunity in my mind. I live within 2 hours of 4 clubs that book A+ headliners. Three of these are Improv’s and one is in Marco Island. Because of the exposure to comedy these clubs create, there has been a “Comedy Boom” lately here. When I was working the Improv Open Mics and Comedy contests 6 years ago and “bringing people”, that was our only option. Now, many comics have started rooms in bars, restaurants, record stores, etc… You really can get up about every day of the week if you have a trustworthy car which is a great thing. The problem is, with the growth of the number of comics down here, there has also been a growth of people that seem to feel entitled to be given MC spots and Guest Sets at the A+ rooms. It’s as competitive as ever to get those paid spots since there are a lot of comics here, so you might as well realize that patience is a necessity if you are going to choose to be comedian. If you are professional, have good sets, and continue to improve, you’ll get your shot. Sooner than you probably think. I have a feeling the anonymous posters above are bitter, without having much experience – especially if they are saying anything negative about Fred, who is a great manager. There are a lot of crappy things about this business, so get used to it and keep going. If you REALLY want to get to the point where you are getting spots at the A+ clubs, and I think these people still do otherwise they wouldn’t post anonymously, then maybe just keep doing spots…if you hate the bringers, then do the small rooms or the other comedy clubs in town…and you’ll get there eventually if you are good enough.
Where’s the like button?
Please allow me come at this “bring 10 friends rule” from a different angle…a business angle. I cannot fault most of you for not understanding the hard monetary facts surrounding open mic nights. On any given open mic night it is at best a break even proposition for the club. Let’s say you get 200 people in the door and they each have an average ticket price of $20, that equates to $4000 for the night. Let’s assume they work on a 75% margin (a bit high but we will use it). That leaves $3,000 to pay for the utilities, hourly wait staff, bar staff, kitchen staff, box office staff, security staff, janitorial services, managerial staff, organizational staff, etc…
From a business perspective there is only one reason to lose money on an open mic night….to help foster new talent that may actually bring in paying customers one day.
From a personal level the only reason the owners would do it is because they love comedy and are trying to help foster new talent….One in the same…
On another note how many open mic’ers out there have had the general public actually pay to see them perform .005%?
Personally I think you owe these owners a thank you…as they do to you…hence the open mic nights….
If it truly is your dream, how hard is it to hand out free tickets….?
As a SoFla Comic that has been fortunate enough to do shows at the Improv for free as well as getting paid a fair amount to do shows at a smaller venues. I have to say I love doing shows at the Improv. The crowds in Ft.Lauderdale on Wednesday night are nearly as large as weekend crowds. My problem with the 10 people rule is that I have found my self counting people and stressing that everyone that guaranteed they would come actually show up by 7:45 on a weeknight, and that does not put me in a mind set to put on the best show. I do feel like its my responsibility to put the word out that I am performing and I always do. I usually have about 15-25 people show up (half of them are late).The catch22 is that I also want to try material thats not my best or work on some of the stuff that my friends have all heard. Its nice to see the reaction from total strangers to gauge the material. And Bob they do sell drinks and food at the Improv, I think that might make up just a small percentage of their income, but I dont have a business degree.