James Johann

In 1991, James Johann began his stand-up career in Kansas City. His youthful appearance, self-deprecating sense of humor, and high-energy style all come together to create a unique on-stage persona.

In July 2004, James performed in the "New Faces Of Comedy" category at the Montreal Just For Laughs Comedy Festival and was featured on Comedy Central’s Premium Blend in 2005.

James headlines comedy clubs nationwide, including the 2003 Paying For The New Trailer theater tour starring Jeff Foxworthy & Larry the Cable Guy. From 2005 to 2007, James also was part of The Slackers Tour, a national tour from one of the producers of The Blue Collar Comedy Tour.


James Johann

Gettin' Inspired


Advice from the Green Room: Who is your comedic inspiration?

James Johann: My taste in comedy is as varied as my taste in music. Whereas I have Billie Holiday next to Slayer in my music collection, I have Bill Hicks next to Steve Martin next to Pigmeat Markham next to Stanhope. This is not to say that I am a die-hard fan of any of these people, but I think it's important to expose yourself to all kinds of styles--especially early on. Also, anything my family does is inherently funny to me. For better or worse, many of my comedic heroes are related to me.


In the Beginning


AGR: How long have you been doing this? How did you get started?

James Johann: I started in 1992 or so. I couldn't find a job I could tolerate after high school and one day my mom said, "Well, you think you're so goddamned funny, why don't you go down to the comedy club and find out?" The rest, as they say, is history.

AGR: What joke got you your first "big laugh?" (Do you still use it?)

James Johann: I honestly can't remember, but yeah, I probably still do it.


Makin' It


AGR: How long did it take you to get to headlining status? Describe the journey.

James Johann: It took quite a long time to get to headline. Many years. How did I get there? Sleeping at truck stops and rest areas. Often eating an Almond Joy and an orange Shasta for dinner. Sleeping on condo floors that were stickier than a 2-year-old hands. Making phone calls 4 days a week to club owners who were in perpetual "meetings." Shouting jokes over clacking pool tables and beeping dart machines. Riding in a van to a godforsaken college in Maine, smelling some other comics stinkin-ass feet and listening to their bad music for 1400 miles. Being awakened by overzealous maids for 12 years. Washing my hair with bar soap. But, of course, still digging it enough not to quit.


Bookin' It


AGR: How did you get the gig with Larry the Cable Guy?

James Johann: I had worked with Larry about 4 times back when he was still working comedy clubs. Colleen Quinn, who manages the Omaha Funny Bone, always put me on as Larry's opener at her club. I'm sure this was an intentional move on her behalf because she has an innate sense of what works well. Even back then there were lines around the corner of the club of people waiting to get in and the club would be adding extra shows. It was easy to see that Larry was getting ready to pop. One night after the last show, he came up to me and said, "You do a good job every time I work with you." He gave me the number of his management company. He said "call these guys." I imagine he put in a word or two for me, because they picked me up about two weeks later and I've been with them ever since. That's how it happened.

AGR: How did you get the set on Premium Blend?

James Johann: I sent a tape like everybody else.


Get it "Write!"


AGR: What's your (daily) writing routine? (ritual)

James Johann: I'm not sure if getting drunk and scrawling smart-ass comments on bar napkins is a ritualistic writing activity, but that's how I do it. Usually. Yeah, I've sat and stared at a blinking cursor before for 3 fruitless hours wondering, "What's funny about a ...tree?" But that method just doesn't work for me. I'm usually in a social setting, or shootin' the shit with my brother and I just say something that I know will work on stage. A lot of my comedy also comes from personal experience--stuff you can't really "write" because it has to happen to you. Once it happens you can embellish and exaggerate. But I feel it's a more organic way of writing. It usually rings true, and it's fairly honest.

AGR: How do you choose the opening joke? Closing joke?

James Johann: It's my belief that an opening joke should be quick to get a laugh. The sooner you make an audience feel that you're at least capable of making them laugh, the better shot you have at keeping the laughs coming. Now I know there are 1000 different opinions in this area. I'm just pointing out what works for me. I also feel that the closing joke is almost secondary to the build up to it. There is a rhythm to a good set, usually. After the checks are paid and the focus of the crowd has returned, you have a short amount of time to build to that final climax. The joke itself should be something strong, but I feel the timing and the build leading up to it is equally as important.


Stage Persona


AGR: Describe your comedic style. What makes you unique?

James Johann: I'm very self-deprecating and I don't like going too terribly long without a good solid laugh-line. I envy certain comics who can use silence to their comedic advantage, but frankly, it scares the shit out of me. I write some things that are generally too mean or preachy for my act, and usually I choose to leave that material out. That's of course a personal choice which I am duly chastised for by certain elite know-it-alls. But as of today, I almost instinctively know what should be in and what should be out of the act.

AGR: How and when did you find your voice?

James Johann: When I finally got the guts to pull the veil back a little on who I really am. Not 100% there yet, but working on it.


Stage Business

AGR: How do you handle a heckler?

James Johann: A shotgun would be nice. Actually, I've found that hecklers only seem to come in two varieties. The first of which is the heckler who is being somewhat playful and good spirited about it, and even though he or she may be annoying and interruptive, a good comic can use someone like this to his or her advantage. The second kind of heckler is the mean-spirited (usually drunken) heckler who is hell-bent on jacking up your show by yelling the most incoherent and obnoxious crap his beer-soaked brain can conjure up. A good comic can also use this to his advantage - but its important not to jump on any heckler too quickly. If the crowd isn't as fed up with the heckler as you are, you can come off looking like the asshole for tearing into them too soon.

AGR: What techniques do you use to get the crowd back (after a dud opening act, bad joke, etc.)
How important is it to work clean? When is "blue" okay?


James Johann: If things aren't going well in your set for whatever reason, I feel it's always good to acknowledge that it isn't. When the laughs aren't good or you're getting crickets on every line, I think it only makes it worse to keep pushing forward and ignoring the fact. Even a quick and subtle acknowledgement that you realize its not going well usually helps to bring the crowd back around to your side. Or you could just say "Screw you people, you don't know funny!" throw the microphone down and walk offstage. Its up to you. As far as blue material is concerned, I say do whatever you find funny. If "blue" works for you, do it.


Workin' It


AGR: What advice do you have for an up and coming comic?

James Johann: There is always the obligatory answer of writing everyday and getting on stage as much as possible - which is actually very good advice, but let's get down to brass tacks here. We all gotta eat. Perhaps more practical advice would be to learn how to say "no" to certain things when the time is appropriate. By this I mean that there comes a time in your personal comedic development when you have to stand up for yourself as a performer. It is important to keep in mind that it is the job of the club booker to get the best talent he/she can for the smallest price. When you're in the beginning stages of comedy--sure--whore yourself out a little. Drive 300 miles for 40 bucks and a ham sandwich. Do a string of one-nighters where you spend more on gas and candy bars than you earn for 9 shows. It's ok. You're young and hungry and working cheap is forgivable. But 3 years later, when you're act is honed and your confidence is high, quit driving to Duluth, Minnesota or Brownsville, Texas to work a Holiday Inn lounge for chump change - it's just pathetic. As soon as you begin to say "no" to certain types of work, your schedule will probably dry up. Mine did. But once you take a stand and say to bookers - "Hey, I'm not an emcee anymore!" or "Hey, I no longer wish to hump it across nine states in my Toyota Corolla with bad brakes and one windshield wiper for $250.00!" You have to stick to your guns. In time, people will realize that you are indeed worth more money or more time or both. But also be wise in knowing when that time is right. Just because you can go onstage and talk for 30-45 minutes doesn't necessarily mean you should automatically get a bigger check and a better spot. Be honest with yourself about the quality of show you are selling. Get what you're worth, but don't push it. Aside from that, when on the road, it's cheaper to go to the grocery store once than McDonald's 15 times.

AGR: How important is "who you know?"

James Johann: Knowing people never hurts. But constant name-dropping gets annoying. Comedy, like anything else, can rely a lot on your personality and how easy or difficult you are to work with. Making contacts and establishing good relationships can help you along the way. Then once you're a big, rich, super comedy star--you can be a prick to everybody. Gotta love show-biz.