This flappers comedy club letter was written by patrick a comedy podcast.

Last night I performed on my friend's show in the Yoo Hoo Room at Flappers Comedy Club at 9:30pm. That friend was Flip Schultz, and the show was An Intimate Evening with Skippy Greene. I had rushed to make the show from Brea where I was doing a set on another friend's show at the Brea Improv.

This is about my tenth experience at Flappers in Burbank. They have another club in Claremont, but I have never been there, so I can't comment on that club. I live in Burbank. Flappers is less than a mile from my apartment. You would think that I would hang out there quite a bit, and perform there often, but I don't. I've performed more times in Indianapolis this year than Burbank.

I've been to the club several times for various things. I'm an occasional guest on comedian Darren Carter's podcast, which is recorded in the green room at this club. I have attended Doug Benson's podcast recordings with other comics in the club's main room. I've met the owners of the club a few times, being introduced by other comedians. I was also introduced to Sam Comroe, who is a young comic himself, but also works for the club and books some of the shows. I had emailed the owners a few times about possible work, and got no response. After contacting Sam through Facebook, he booked me on a 10pm Wednesday night college show last year. A comedian friend of mine happened to be on the 8pm show the same night, so I went up to the club early. The series of events that follows is one of my worst experiences with a club ever.

I arrive around 8pm and am told I need to buy a $12 ticket. I explain that I'm a comedian, and am, in fact, booked on the 10pm show. I'm then told I can buy a half-price ticket for the 8pm show. I walk off towards the bar shaking my head at this proposition. I wrote it off as a misunderstanding. At the bar, I ordered a Diet Coke, and was presented with a bill for four dollars. I explained that I was a comic on the 10pm show, and was told it was still four dollars. I reluctantly paid. When I wanted a refill I was told it was two more dollars. I opted for an ice water instead. (I realize that I probably could have wandered back to the green room and got a bottle of water there, but it's the principal here.)

I then wandered in to the show room to find my friend - without purchasing a ticket - and when I saw how full the show room was, I was really puzzled. There were 12 people in the audience. Why in the world would you deny comics from coming in to the room for free and adding to the crowd? While there are some shows where I have seen the show room full (Doug Benson, etc.), most of the shows I have been to - and these are prime time, weekend shows, have had twenty people or so. Some shows I've been to have had less than ten audience members. I'm baffled at the strategy here of making comics pay to sit in the back of the showroom. And I know that sometimes comics don't have to pay, but the policy seems ambiguous and the staff doesn't seem to be aware of exactly what the policy is.
Sponsored by Air Duct Cleaning by Direct AC

Ten o'clock rolls around and the second show starts. Again, there are eight people in the crowd. I look around for Sam Comroe, and he is nowhere to be found. I ask and I'm told he isn't there that week, and then I ask who is in charge of the show. I talk to other comedians on the show and no one is aware I'm even supposed to be on the show. I pull up the Flappers website on my phone, and show them I'm listed on the show. No answers. I ask person after person, and everyone shrugs and walks off. I leave Flappers frustrated at the complete lack of respect and total indifference I was shown as a comic. I sent a message to Sam on Facebook the next day, but didn't get much back other than a confirmation that he was, indeed, out of town that night. No apology. No re-booking. Just indifference. Normally, if a promoter or independent show producer did this, I wouldn't mind. But I do believe Sam (who is perfectly nice, as were Barbara and Dave, the owners) works at the club as well, or is their representative in some capacity. He has some kind of tie to the club or owners, because they promote him a lot, and vice-versa.

Last night, I was performing on Flip's show, and I decided to eat. I had eaten at Flappers after they first opened, and the food was underwhelming. This time the food was good. I had a burger and some wings, and a Diet Coke. I had a refill on my Diet Coke, so all in all I was charged $6 for soda and full price for the food, and with a tip, my tab was $35. I asked if there were any discounts for performers, and was told that there wasn't. Awesome.

To contrast, before the show last night, I was at the Brea Improv, which is another beautiful club South of L.A. There I had three beers and a couple Diet Cokes, and was charged nothing. And I got paid. If I wasn't in such a hurry to get back to Burbank and do a set on Flips show at Flappers, I would have eaten there, and that would have also been free. My waitress was more attentive to me - a comic - with a room of 200 audience members, than my waiter at Flappers who had a room of 6 audience members.

The purpose of this letter isn't to complain about having to pay for things, or about not getting booked enough. Flappers isn't going to make or break my career, and I'm sure they aren't hurting by not having me perform there more. It's just a venting of frustration over the lack of respect I feel they show comedians in general. Over the past year or so, I've heard similar stories from dozens of other comics. They feel unwanted and unwelcome there, and it's easy to see why. Writing something like this is dangerous. The owners could read it, and simply dismiss me as an angry, bitter comic. I hope they read it and try to understand where I'm coming from. The sentiments expressed in this letter are not only my own.

The Comedy Store and The Improv have become comedian hangouts in L.A. for good reason - comics are always welcome to sit in on shows if there is room. The clubs don't try to make their rent by charging comics for water or soda. They also don't charge comics who are performing full price for alcohol or food. And it works. On any given night, you'll find fifty comics who aren't performing just hanging out at The Improv bar, or in front of or behind The Comedy Store. And those venues don't look at it as a crowd of freeloaders, but a community of comics creating a culture - a vibe - that gets audience members in the door because it's the cool place to be.

I'd love to hang out at Flappers - which is once again less than a mile from my house - with the dozens of other comics that I know live right here in the valley, and drink $3 beers all night. We'd all tweet about it. We'd all Facebook about it. We'd all talk about it on our podcasts. And people would come, because we'd be creating a cool place to hang out - to watch comedy, to perform comedy, or just to catch up with friends. That's what we do at the Improv, two to three nights a week. But at the Improv I can get two beers and chicken fingers and fries for $11. It doesn't feel like I'm being raped financially when I spend four hours there for the night. The door guys shake my hand and joke with me, rather than asking me where my ticket is.

I would really like to see a change at this club. I want to be a part of it, but I feel like every time I go there, they make it clear that I'm not needed, wanted, or respected. I understand business. I have an M.B.A. I know that clubs have to make money. But I also know this club cannot be making much right now. It's clear to me that they understand the value of social marketing through things like Facebook, Twitter and Yelp. But comedians are what is going to make your club thrive. Comedians tweeting and promoting your club, not because they have a show there, but because it's a cool place to be, watching a show or not. If Flappers spent more time actually being cool, rather than telling everyone how cool they are, they'd have to turn people away every week.

What Flappers needs is an ambassador for the club and the comedians; someone who can not only expertly handle all of the club's social media and online promotional needs, but also someone who can act as a liaison between the club and the comedian community at large. This person can help in multiple ways. Comics know other comics in ways clubs don't. We know who is popular right now and why. We know who is funny. We know who works well together, whose styles are similar, and much more. This person could book great, popular local shows and podcasts. This person can help make Flappers a very popular place for comics to hang out, promote, and drop in to do sets. For comics, this person would be a contact person issues, concerns, ideas, and questions - all of the stuff that owners and managers would love to handle, but don't. (And how could they handle it well? They have a million other things to deal with.) This club has so much potential to be a real destination for entertainment in the valley. With virtually no competition for live comedy, there is no reason this club shouldn't have packed shows all week long. All the marquees and free pizzas for Yelp reviews in the world can't do that. Only genuine, crowd-sourced buzz can. Comics are the ones that make that happen. We are the ones with the fans. We have a lot of power. Sometimes clubs forget that. We want the shows to be full. We want people to buy drinks. We want you to make money. Stay open. Expand. Book us again. We are your partners - not your customers. Use us as your partners to help you make money, rather than looking for every opportunity you can to make money off of us. When clubs make the mistake of treating comics likes customers rather than partners, the chances of either one of us being as successful as we can diminish entirely.

Information for Authors

page by Pregnancy Week by Week

The Editorial Board safeguards the international and interdisciplinary character of the journal and ensures appropriate refereeing procedures (peer review). Also by Sage Clinic


All manuscripts are subject to peer review, and accepted papers will be copyedited. 


Aim and Scope:

Manuscripts are accepted for publication with the understanding that they represent original work that was not previously published in other peer-reviewed journals.  Articles published as working papers may be submitted for consideration but this must be indicated.  Email submissions are encouraged to one of the journal’s editors (addresses below).  Authors must include title, name(s) of authors and abstract of paper in the text of the email.  Large files should be zipped. 


Please submit a Word .DOC manuscript file.  (If you prefer, you may submit in PDF format, but for review purposes only; a Word .DOC file will later be required as a final version for production if the article is accepted.)



LANGUAGE: Papers may be written in either ENGLISH or FRENCH.  Authors who can submit articles in both languages are highly encouraged to do so.

It is recommended that authors should proofread their articles or ask colleagues to proofread the manuscript before submitting.  Articles containing careless errors especially typographical errors will be rejected as this will entail a long time to fix during editing before publication.

Manuscripts should be written so that they are intelligible to the professional reader who is not a specialist in the particular field.


Author-Suggested Reviewers.  While the Journal maintains a large pool of reviewers drawn from all specialties, it is recommended that authors suggest the names and email addresses of up to 3 reviewers when submitting a paper.   


Manuscript Preparation and Organization

All manuscripts submitted to the journal must comply with the following instructions.  Failure to do so will result in the return of the manuscript and a possible delay in publication. 


We recommend the use of certain fonts: Times, Times Roman, Arial; please use the Symbol font for special characters.  Using other fonts could make the PDF more difficult to read.


Text of the paper should be divided into the following sections, if appropriate:


Materials and methods;










Abbreviations should be defined at first mention in the abstract and again in the main body of the text and used consistently thereafter.


·         Title of manuscript.  Title of the manuscript should be concise, specific, and informative, and should contain the key points of the work.  This is followed by the name of the author(s) (full first and last names), complete affiliation(s) followed by full mailing addresses.  Corresponding author(s) should be clearly identified and details of the correspondence address and e-mail(s) should be included.  For more details, refer to recent articles published by the journal.


·         Abstracts.  Unstructured (without headings) abstracts are required for quick referencing and an indication of the work presented.  We use this version of your abstract to solicit referees to review your manuscript.  Potential reviewers may view it before they accept or decline the assignment.  Generally, an abstract should not exceed the word limit of 300 words.  Please write your abstract so that it accurately summarizes your article, as it will stand independently of the article.  Avoid passive voice except when describing methods, and use past tense for actions taken in the past. 


·         Keywords.  Up to six keywords In terms of the keywords, the Journal aims for generalizations.  In this way, a searcher is more likely to find a range of information under any particular topic.  Unfortunately, you have to limit the keywords for your paper and be more specific so that readers can search within the search engine on the online Journal.  Use the keywords that generally cover your topic.


·         Introduction, Titles, Subtitles and Headings.  Titles should be concise, specific, and informative, and present the key points of the work.  All headings should conform to a consistent pattern, using no more than 3 outline levels, and should be kept brief.  Avoid acronyms and sentences. The paper should include appropriate numbered subheadings.  "Appendices," if applicable, each with a title, should come after the references.  Do not use footnotes within the text.


·         Acknowledgments.  Disclosure of all financial and material support is required.  Upon acceptance, the first author will be asked to certify that all persons who have contributed substantially to the work but who do not fulfill authorship criteria have been listed, and that written permission for listing them has been obtained


·         Tables and Figures.  Please note the following guidelines for the number of tables, figures, and images.  Each table and figure should have a descriptive self-contained title that is fully comprehensible without reference to the text.  Authors should ensure that each table or figure are mentioned in the text, as "Figure 2," or "Figure 2A," not "Fig. 2.".

If references are cited within a table or figure, they should be ordered as though they fall at the first callout (i.e., text mention) of that table or figure.

FIGURES: all illustrations are considered as figures.  These are to be numbered with consecutive Arabic numbers, referring to parts of figures by capital letters (A), B), etc.  Figures should have captions and be mentioned in the text, for example: "Figure 2," or "Figure 2A," not "Fig. 2.".

Figures must be created with a computer program and submitted in their original formats, NOT placed in Word or PowerPoint.  Legends and notes should be included in the article file and NOT the figure itself.  Please avoid more than 4 charts per figure and submit each chart in a separate file.  All figures must be done in black and white unless special arrangements have been made for the use of color.


TABLES: Tables should be numbered consecutively with roman numerals, and each table should be given a clear descriptive caption at the top. Footnotes to tables should be lowercase, subscript, italic letters etc. and should appear immediately below the table.


Tables cannot include subordinate parts (i.e., no more than 1 column head is permitted per column) and cannot include charts.  All items within a column must conform as much as possible--in identity and in units--to the column head.  Avoid submitting text or simple lists as tables.  Please note that confusion may arise between stub heads that indicate raw data and those that denote a variable.


Equations and formulae.  Mathematical: Mathematical equations should preferably be type-written, with subscripts and superscripts clearly shown. To simplify typesetting, please use (1) the "exp" form of complex exponential functions; (2) fractional exponents instead of root signs; and (3) the solidus (/) to simplify fractions e.g.3/4, exp x1/2.  Chemical: Please supply reproducible artwork for complex chemical matter such as ring formulae.  Chemical equations referred to in the text should be indicated with Arabic numbers set over to the right in parentheses.  Marking: Where chemistry is straightforward and can be set (e.g. single line formulae) please distinguish between e.g. double bonds and equal signs, and single bonds and hyphens.



Special Note About Reference Format

It is important that authors strictly adhere to the reference format that we use because a manuscript in which references do not follow the standard format can cost us both time and monies.  The manuscript will be returned to the corresponding author(s) at anytime during the copyediting process for putting the references of a manuscript in order.  Only references that are cited in the text should be listed. 

First of all, all entries are presented in the order they appear in the text.  Secondly, all occurrences of names of authors and/or editors should be set in Caps and Small Caps.  More than two authors require the Name of the first author followed by et al. (in italic), date.  In the reference section, the et al. should be replaced by the names of the entire line of authors in the order that they appear on the first page of the article.  Please use full titles of journals, not abbreviations.

Below is the reference format adopted by the journal.  Since all of these references eventually will become part of the Citations Library, it is important that every effort be made to adhere to this format.


Text citations: Bangura (1997) or (Bangura, 1997); Davies and Mikangou (1987); Harris et al. (1995) -- for more than two authors, but all the names of authors irrespective of their number (see example below) should be provided in the list of references.


For Journal papers: name(s) and initial(s) of all authors; year; full title; journal title; volume number; first and last page numbers





·         Abdelbar, A.M. and Hedetniemi, S.M. (1998).  Approximating MAPs for belief networks in NP-hard and other theorems.  Artificial Intelligence 102, 21-38.


·         Sankoh, O.A. (1996).  Making Environmental Impact Assessment Convicible to Developing Countries. Journal of Environmental Management 47(2), 183-188.


·         Sankoh, O.A.; Bonner, D.; Determann, T.; Gersten, J.; Gropp, A.; Hoelters, I.; Krueger, N.; Lehmann, U.; Marty, C.; Strauss, K. and Wegner, H. (1993).  Finding and Assessing Route Alternatives. Journal of Environmental Management 38(4), 323-334.


·         Joseph, J. and Kurup, P.G. (1990). Stratification and salinity distribution in Cochin estuary, south west coast of India. Indian Journal of Marine Science 19, 27-31.


For books: name and initial(s) of all authors; year; title; publisher; place of publication

·         Ginsberg, M. (1987). Readings in Nonmonotonic Reasoning. Morgan Kaufmann, Los Altos, CA.


·         Jain, R.K.; Urban, L.V.; Stacey, G.S. and Balbach, H.E. (1993). Environmental Assessment, New York: McGraw-Hill.


·         United Nations Environment Programme (UNEP) (1991). Environmental Impact Assessment Good Practice Guidelines. Nairobi, Kenya: UNEP.


For an article in a book of collection: name(s) and initial(s) of all authors; year; title of article; title of book; editor(s); edition; volume number; publisher; place of publication, page numbers.

·         Greiner, R. (1999). Explanation-based learning.  In The Encyclopedia of Cognitive Science, R. Wilson and F. Keil (eds.), MIT Press, Cambridge, MA, pp. 301-303.


·         Oluwole, A.F. and Akerdolo, F.A. (1992). Ambient air and air-borne radiation pollution monitoring in Nigeria. In: Towards Industrial Pollution Abatement in Nigeria: FEOA Monograph 2, E. O. A. Aina and N.O. Adedipe (eds), Ibadan University Press, Nigeria, pp. 259-278.


For Conference Proceedings:

·         Marek, W. and Truszczynski, M. (1989). Relating autoepistemic and default logics. In Proceedings of the 1st International Conference on Principles of Knowledge Representation and Reasoning, Toronto, Canada, May 1989, H. Brachman and R. Reiter (eds.), Morgan Kaufmann, San Mateo, CA, 276-288.


·         Mercier, J-R. and Kjorven, O. (1996). Influence of EA on the Design of World Bank-financed Projects in Sub-Saharan Africa. In Goodland, R., Mercier, J-R. and Mutemba, S. (eds.), Environmental Assessment (EA) in Africa: A World Bank Commitment, Proceedings of the Durban, World Bank Workshop, June 25, 1995, Washington: World Bank, pages


Internet publication/Online document :

Internet articles based on a print source

·         Vanden Bos, G., Knapp, S., and Doe, J. (2001).  Role of reference elements in the selection of resources by psychology undergraduates [Electronic version]. Journal of Bibliographic Research, 5, 117-123.


·         VandenBos, G., Knapp, S., and Doe, J. (2001). Role of reference elements in the selection of resources by psychology undergraduates. Journal of Bibliographic Research, 5, 117-123. Retrieved October 13, 2001, from


Article in an Internet-only journal

·         Fredrickson, B. L. (2000, March 7).  Cultivating positive emotions to optimize health and well-being. Prevention & Treatment, 3, Article 0001a. Retrieved November 20, 2000, from


Article in an Internet-only newsletter

·         Glueckauf, R. L., Whitton, J., Baxter, J., Kain, J., Vogelgesang, S., and Hudson, M. (July 1998). Videocounseling for families of rural teens with epilepsy - Project update. Telehealth News, 2(2). Retrieved from

Stand-alone document, no author identified, no date

·         GVU's 8th WWW user survey. (n.d.). Retrieved August 8, 2000, from


Appendixes.  On occasion data that may not be easily presented in text or figure form may warrant the use of an appendix.  Appendixes should be created as a supplementary file to the manuscript; they will not be converted to PDF for review, but will be available exactly as uploaded.  Appendixes will be linked to the online version of the article if they are accepted with the article.

Review, Editing, and Production

We acknowledge new, revised, and resubmitted manuscripts upon receipt.  Approximately 60% of submissions are rejected upon initial screening by the editors, usually within 1-2 weeks of receipt.  Peer review of the remainder takes 2-3 months from submission to initial decision.  The review process is double-blinded, with authors unaware of the identities of reviewers and reviewers unaware of the identities of authors until acceptance.  The time from submission to final acceptance of reviewed/revised papers averages 5 months.  Upon acceptance, authors will be asked to submit final version source files for editing and production.

PROOFS: Corresponding author(s) will receive page proofs (including) figures for correction of articles that have been accepted for publication. Corrected proofs must be returned immediately.







©Copyright 2007. AJEAM-RAGEE. All Rights Reserved.
For Information, contact any one of the editors listed on the main page