There are some very different classifications of comedy. The two schools of development are improvisational comedy and standup comedy. Improv comedy works with a troop of people riffing off each other spontaneously. At this time, there is a bit of a telepathic involved. It was always there, but it was divine, and thus unconscious. Charisma of players, and chemistry between players, happens behind the scenes in both workshops and "off campus" socialization. Improv is then performed FOR an audience to get laughs and appropriate clapping, but not to promote audience participation. It needs to stay that way for regulation purposes. Standup comedy is written by a performer behind the scenes. It is a private venture. It comes from the experiences of the individual and the performer's own creativity. It is then performed by the person in front of a crowd. It does call for audience participation to not alienate the performer, and to get a spontaneous riff going. That part is imbuement of both performer and attendee and is spontaneous energetic exchange. Performers do hang out together at comedy clubs around sets, but do not socialize with each other. It is very big and serious business that is very competitive, and too much speech will promote telepathic stealing. Even a handshake can allow tunnel through affecting that performer's auditions and performances and also can steal his/ her ideas. The touch is imbuement. Abusive audience members are used as fodder by great comedians to make their spontaneous comedy better. It is a way to thin the herd in that industry and keep the scene elite, especially in NYC. Then sketch comedy came to be. It takes elite standup comedians with some improv artists who can also do impersonations, and uses their abilities to write sketches and perform. The top in history is Saturday Night Live and is live on TV. Well paid union stagehands for AISTE are always on the set and are the BEST in industry. They keep the "oopsy" flagrant lies, defamation, character assassination, hate speech, and derogatory speech off of TV through tunnel through done by imbuement weekly by hard drug use with cast members. Kids in the Hall was the best, actually. No drug use for those individuals and no need for imbuement to regulate. It was Canadian. A lot of those people went to comedy scene in Chicago after that. Katherine O'Hara is still one of the best in the industry. My Grandfather James King started CBS radio and then CBS TV. He knew that I would end up in comedy via his strong Irish King gift of prophecy. Comedians are crazy drug abusers as a whole, but I am not. He was not either. He knew that I would have to go undercover for the military and all international intelligencia against psychiatry, medicine, and chemical dependency treatment industries. He knew I would hold off my comedy gifts until the end. I now develop my gifts privately in my apartment performing for only my cat. My grandfather hated comedy and comedians, but he loved me. He began an underground improv scene in L.A. in 1953. It was top secret and was held in a brick building that is now The Rainbow Room on Hollywood Blvd. Participants had to portal in an out of there. Lucille Ball was the queen and Dezi Arnez was her king. Her shows were all actually improv planned just with sets, outfits, and props. Dick VanDyke was also birthing abilities there. His shows were scripted with just a bit of improvisation. These two shows birth half hour comedy into American hearts for eternity. My grandfather planned it to keep both comedy and live news regulated. He actually established the FCC. His best friend was Walter Cronkite. It was to keep my innocence as all around me fell down and to keep the semblance of family in the midst of Paganism, affairs, and divorce in my family. It also allowed my sensitivities to be honored. Thanks Grandpa. I will always love you for never touching me inappropriately and for keeping me safe to handle this scene to honor you and Ireland today. Love, Jenny
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