A Quote by Scott Rogowsky

When you get started in comedy, you're at the bottom of the totem pole. Not only are you not getting paid at these open mics. You're actually paying to do them. — © Scott Rogowsky
When you get started in comedy, you're at the bottom of the totem pole. Not only are you not getting paid at these open mics. You're actually paying to do them.
With studio work, I'm always the bottom man on the totem pole.
I looked at game show hosting as the bottom of the totem pole, one step away from infomercials. I never watched them myself. However, it's been a lot of fun.
My second year of college, I started performing comedy at an open mic. It was good to do open mics with the kids. It's a good, safe spot to start, you know?
I did so many open mics. I would write jokes on Twitter constantly, and then slowly, over time, open mics turned into shows. If you can get a joke to work at an open mic, it's a good joke.
I think the bottom of the totem pole is African-American women, or women of colour. I think they get the least opportunities in Hollywood.
Years ago, I worked at a fashion magazine. I was the lowest man on the totem pole, one of the only men on that particular pole: a little brother with a dozen older sisters whose grace and glamour I so admired.
In America, we have three major sports - baseball, football and basketball. They get the most coverage. Then there's things like golf which mop up most of what is left. But track and field? We are way at the bottom of the totem pole.
Rise above the way society is going to see you and society is going to see you at the absolutely bottom of the totem pole because not only are you female, you are Black. Never believe it and never give into that, that that's where you live or that's who you are.
Standup comedy was my weird hobby. I would drag my poor parents out to the only open mics that were in coffee shops instead of bars. I'd get up and go, 'Hi, I'm 17, and I have jokes about matriculation!' At the time I was like, 'Why is no one laughing?'
I was a sharecropper's son. That's as low as you can get on the totem pole.
Michael Bennett, Tommy Tune and Agnes de Mille fought to be director-choreographers. They were just not going to do it any other way because the choreographer is so often at the bottom of the creative totem pole when you put a show together. So with that power you get a more direct point-of-view and that helps something called style.
I love bad comedy more than I love good comedy, so I love open mics. Or I used to. But the thing that delights me more than anything else in an open-mic performer is when the comic has one joke that requires some kind of prop. But only one. The prop is always produced very awkwardly, and it never, ever pays off. The resulting embarrassment is savory and delicious.
I started working full time as a comedian in 2005, shortly after we did the Vince Vaughn 'Wild West Comedy Show.' I worked at the Four Seasons hotel from 1998 to 2005, so about seven years, just trying to put some food on the table and pay the rent while I went out to the open mics and got my feet wet with stand-up comedy.
I started going to the open mics every day in 2003. You make the comics laugh, they get you work, and you build up your reputation. It was a slow process.
People say they start from the bottom. If you want to see someone who's started from the bottom, go and look at my career. My first 10 fights, I think I paid for them myself. I've fought three times in one month.
I started by doing a little funny story, and then I started going to open mics. I realized I had a lot of work to do - you have to get over the stage fright and get your stage presence up. It took me some time, but I finally feel that I'm at a point where I feel comfortable on stage and giving my point of view.
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