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For the comics, the college circuit offers a lucrative alternative to Chuckle Hut gigs out on the pitiless road, spots that pay a couple hundred bucks and a free night in whatever squat the club owner uses to warehouse out-of-town talent.
College gigs pay easily a grand a night—often much more—and they can come in a firecracker string, with relatively short drives between schools, each hour-long performance paid for (without a moment’s ugliness or hesitation) by a friendly student-activities kid holding out a check and hoping for a selfie.
In the lavishly produced, 144-page brochure, I found a densely written block of text that began with a trumpet blast of idealism—“ is committed to advancing diversity development and the principles of equal opportunity and affirmative action through its respective programs”—but wound down to a muffled fart of unintended consequences: “There is no intent to support censorship.”Bringing great artists to colleges is not NACA’s mission.
Its mission involves presenting for potential employment on American campuses a group of entertainers whose work upholds a set of ideas that has been codified by bureaucrats.
Keeping hold of that kid for all four years has become a central obsession of the higher-ed-industrial complex. In part, by importing enough jesters and bards to keep him from wandering away to someplace more entertaining, taking his Pell grant and his 529 plan and his student loans with him. on these people,” Geoff Keith told me over dinner at the Hilton, “or then they think you’re a dick.” He was about to walk through one of the frigid skyways connecting a cluster of downtown hotels to the Minneapolis Convention Center, where he would perform for 1,000 potential buyers, but he evinced not a trace of anxiety other than to glance at his i Phone now and then to make sure he wasn’t late. A few years ago, he was the most-booked college comic, playing 120 campuses. Keith is 31, fast-witted and handsome, possessed of an acute and often witheringly precise ability to assess people and situations.
He rocketed into comedy at a young age; at 22 he spent a year and a half on the road, performing with a popular headliner: Pablo Francisco, who let him do half an hour, and allowed him to tell filthy stories onstage.
around a café table in the chilly atrium of the Minneapolis Convention Center, talking about how to create the cleanest possible set. Representatives of more than 350 colleges had come as well, to book comics, musicians, sword swallowers, unicyclists, magicians, hypnotists, slam poets, and every kind of boat act, inspirational speaker, and one-trick pony you could imagine for the next academic year.
These shows were like episodes of America’s Got Talent—jolly and sparkly, sometimes diverting and sometimes wearisome—but in contrast to the lectures on volunteer retention, the gloomy convention center, and the gelid metropolis beyond, they came to seem like examples of the highest reaches of human achievement, and it was not mere journalistic zeal that had me thundering down the main aisle to grab a good seat for each new showcase.But afterward, two white students from an Iowa college shook their heads: no.He was “perpetuating stereotypes,” one of them said, firmly.They wanted comedy so thoroughly scrubbed of barb and aggression that if the most hypersensitive weirdo on campus mistakenly wandered into a performance, the words he would hear would fall on him like a soft rain, producing a gentle chuckle and encouraging him to toddle back to his dorm, tuck himself in, and commence a dreamless sleep—not text Mom and Dad that some monster had upset him with a joke.Two of the most respected American comedians, Chris Rock and Jerry Seinfeld, have discussed the unique problems that comics face on college campuses.
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“We’re a very forward-thinking school,” she told me. That wouldn’t work for us.” Many others, apparently, felt the same way: Yee ended up with 18 bookings—a respectable showing, but hardly a reflection of the excitement in the room when he performed.