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Pre-pandemic, it seemed like the New York stand-up scene had it all.
(Big bucks being a relative term, in an industry thatisnt always lucrative.)
Big-name drop-ins at clubsmade headlines, whilestreaming services competedto see who could out-discover new talent from the Big Apple.
Then, of course, it disappeared overnight.
Now, however, stand-up is back in a big way, and the scene finally feels ready.
In New York, the commitment to pure stand-up sets comics apart.
In LA, you have people writing, doing movie deals.
In New York its just about stand-up, said Soresi.
In theater, you actually have to be good.
Theres also been a shift in how audiences react to live comedy.
Heckling, at least in New York, seems to have disappeared entirely.
We all respect the arts now.
Rowland, like the others I talked to, seemed optimistic about the culture shift in comedy.
Urbano had an even more zen approach: If I do well, its a good room.
If I bomb, theyre too sensitive.
No matter where it is.
I would never take a stand on anything.
Everyone seemed to agree that the old divisions within stand-up circles were starting to fade.
Clubs both new and old havereopened, and theyre picking up new fans.
But those rooms make you better too its the closest thing to working the road in the city.
Also gone are the days where comics felt an (unfair) competition with online-centric comedy.
The algorithms end goal is never to make good art, said Soresi.
Live shows, on the other hand, presented an opportunity for connection that had been missing.
There are killers out here, man, says Rowland.
And half of them,Imscared of how good they are.
