funny

Gary Owen’s Reality at the Funny Bone

August 14, 2016 By Nikki Nett

Started at Talawanda now we here

Gary Owen, local-ish comedian, is about to take over the world. Ok, he’s not super local, but he grew up in the Cincy area and now calls Cincinnati home, so that counts, right? Just say yes, and let’s keep it moving.

When he’s not yelling “Who Dey!”, Gary is making people laugh. Hysterically. A lot of people, actually, and they’ve been laughing for over a decade.

You may know him as Mr. Broccoli from Daddy Day Care, Zach the barber from House of Payne, or any number of his scene stealing movie roles. Don’t act like you weren’t hoping your boyfriend was taking notes during his role as Bennett in Think Like A Man (and Think Like A Man Too), we know better. We know.

But you have to take it back a little further. After high school, Gary enlisted in the U.S. Navy. After serving on the Presidential Honor Guard, he found comedy. Being named “Funniest Serviceman in America” was only the beginning. He quickly found a huge African American fan base and was named the “Funniest Black Comedian” in San Diego. Soon he could be seen gracing the stage of BET’s ComicView, with appearances that lead him to the hosting gig.

Now the whole team’s here

Now, it’s coming full circle. Once again, Gary answered when BET called, except this time, it was for his own reality tv show. A statement from BET reads as follows:

“Gary Owen is arguably Black America’s most beloved non-Black comic. He became part of the family as the first Caucasian man to host BET’s ComicView, and confirmed he was here to stay with his star turns in the Think Like A Man films, Ride Along and Meet The Blacks. He also starred in his own hit stand-up comedy specials including ‘I Agree With Myself,’ ‘True Story’ and the upcoming ‘I Got My Associates.’ Now, he brings his own interracial and blended family to BET in a 30-minute unscripted series that is colorful, truthful and hysterical. Gary Owen loves his wife so much, he wants to marry her again — and the path down the aisle is paved with non-stop laughter as he balances planning a wedding with raising his three rambunctious children and growing his white-hot career. ‘GARY OWEN FAMILY’ is produced by Bunim/Murray Productions. Bunim/Murray’s Gil Goldschein and Jeff Jenkins serve as executive producers along with Gary Owen, Stella Bulochnikov, Brian Sher and TIP ‘T.I.’ Harris,”

**Gary Owen Family is currently in production

Truuue Storyyy**

You can catch Gary Owen at the Dayton Funny Bone (click for tix) this week, August 16 & 17 at 7:30pm. This is a special engagement and WILL sell out, so make sure you get your tickets. I’ve seen Gary perform dozens of times and I can promise you, this ticket will be worth every cent. He’s hilarious. Oh, and make sure you smile for the cameras.

Lucky for you, Dayton Most Metro has partnered with the Dayton Funny Bone to give away a few FREE tickets! We’ll hold the contest on our Facebook page, so keep an eye out!

**if you didn’t read that header in Gary Owen’s voice, go on ahead and look for his special, titled True Story and thank me later, after your abs heal from the laugh-crying.

What The Hell is Beer? Presentation at Pecha Kucha Dayton

February 28, 2012 By Max Spang Leave a Comment

[yframe url=’http://www.youtube.com/watch?v=jB6MIMSungI’]

On February 23, 2012, I was invited to present at Pecha Kucha Dayton Volume 10. Pecha Kucha ( also called PK Night ) is a series of presenters that are required to show 20 images each lasting 20 seconds long. This format allows for a rapid, fast-paced, and eclectic group of presentations.

For more information, please visit
http://www.pecha-kucha.org/
http://www.pecha-kucha.org/night/dayton/

This video can also be found at Snobby Beer.

The Theater Of The Strange

December 15, 2010 By J.T. Ryder Leave a Comment

Comedian Dow Thomas Reminisces About The Dayton Comedy Scene

12/15/10

It’s very rare for someone to be able to meet any of the people that were instrumental in warping the needle on their moral compass. For example, in the future, the odds are astronomically against my kids ever meeting up with Snooki, the creator of Grand Theft Auto or any or the Real Housewives of Poughkeepsie. I, however, was able to talk with one of the people who were instrumental in changing my vision and giving me the ability to see the world through laughing eyes: Dow Thomas. Dow is a musician, comedian and actor, who was, at one time, a script writer and musician for the notoriously wonderful local program shown on channel 22 and hosted by Dr. Creep called Shock Theater…a show that I was an avid fan of when I was a kid.

I was able to speak with Dow recently from his Floridahome. The first question I asked was whether or not Shock Theater was his introduction into the world of comedy.

“No. I was actually doing comedy in 1972, but at that time there weren’t any comedy clubs, so I was just doing comedy along with my music. I got with Dr. Creep in the late seventies when it was called Saturday Night Dead because they had him on after Saturday Night Live, so it was kind of a neat spot.” Dow reflected on the first time he was on Dr. Creep’s show, saying, “I wrote The Ballad of Dr. Creep and went on there with my girlfriend at the time, Astrid Socrates. I remember some of the early stuff. It was juvenile jokes and stuff, but that was what they (the television station) wanted because they wanted everything clean, stupid and quick.”

If there were no comedy clubs, what venues did he perform in? Dow told me that he would just play in the local bars, places like the Trolley Stop, The Bar and The Iron Boar.

“I would get hired as a musician/entertainer and just add in the comedy in between songs. I would always put on masks and stuff…I just can’t help myself from clowning around. I’d have the gig and eventually I had bands, but when I clowned around, everyone clowned around with me. What was always part of the show was me being stupid.” Dow said. “Sailcats was one of the early comedy songs I wrote which got people to throwing plates at me and that just started it all. We used to sing The Wonderful World of Toilet Paper and we used to TP all the clubs like Clancy’s and the old Wiley’s, which was The Iron Boar originally. But comedy was always a thing with me.”

Since this was predating the eighties comedy boom, I wondered how the comedy scene evolved inDayton. After talking with Dow over an hour, I got a sense of how paradoxically brutal and liberating the process was.

“I was doing The Iron Boar only on Sundays and Wiley had hired me to do it by myself and so I basically got rid of the band…but I still had jam sessions. I was primarily a single act and that’s when I went almost strictly comedy. Back then, I had to do five hours, like from nine to two in the morning, so you had to have a lot of material.” Dow added a couple of memories from the early days ofDaytoncomedy, saying, “We had a comedy night on Tuesdays…and people still bitched about the dollar door charge! It was just crazy. I remember D.L. Stewart came in and did a little bit one night and then wrote an article about the experience.”

Since he had seen the whole evolution of the comedy scene, I wondered whether he felt that it had become too rigid, too structured.

“Yeah…yeah I do. Back then I could have Emo Philips come in and do twenty minutes and then I’d get a chance to go to the bathroom. Then maybe Judy Tenuta would come in and do twenty to thirty minutes…and then I’d get a chance to go to the bathroom.” Dow related that, “For me, I thought it should go on all night because I had been out to the Comedy Store and all of these places. I mean, I had moved out toL.A.in 1983 and I spent a couple of years out there going to different clubs. Back then, nobody closed their bar after the show. A lot of times, we’d all be up doing improv.”

Dow was not a native resident of Dayton, having moved here to attend Wright State, but he quickly adopted the city as his own. He became a habitué of the Arcade, the local bars and the dinner clubs ofDayton. I asked when he had moved from Dayton to his current residence inFlorida.

“Uh…let’s see (yelling to his wife)…Kay! When did we move down here? What year was that? 1997.” Dow the related a funny anecdote. “After we moved, aDaytonnewspaper im

mediately voted me the funniest man inDayton…then they did it again the next year. They voted me the funniest man inDaytonfor two straight years and I wasn’t even living there!”

The paper in question used to be called The Dayton Voice…then Impact Weekly…and now it is known as the Dayton City Paper. Maybe we were just still pretending that our Uncle Dow hadn’t left our fair city.

[yframe url=’http://www.youtube.com/watch?v=llpMWbmXDY0&list=PLC369CAD7BFD06170&index=1&feature=plpp_video’]

The Aug Man Cometh

April 25, 2007 By J.T. Ryder Leave a Comment

Auggie Smith and the Subtle Dangers of Censorship

There are comedians who carpet bomb the audience in the statistical hope that most of their hurled bon mots and humorous bits land on target with an explosion and not a fizzle. Auggie Smith does not succumb to this temptation, instead relying on his rapid-fire delivery, spewed forth in a breathless scream of consciousness that leaves the audience no quarter. Aug is more of a consummate storyteller, weaving reality with the absurd so flawlessly as to draw the audience into a world of his own design. There are no “jokes” or “bits”, just an unpretentiously intelligent torrent of guttural humor and angst that rises and falls, peaking at precisely the right moments. The reaction from the audience range from apoplectic laughter to a shocked indignation, as if they had just received a Cheney scatter shot to the face. One walks away from the performance not remembering a single line verbatim, just a different viewpoint and an afterglow of a cathartic release.

His comedic fodder is comprised of broad political satire and a repertoire of staccato rants ranging from the oppressive fear being foisted on the American public to Barbie getting raw dogged by G.I. Joe while he suffers a ‘Nam flashback. He draws from the world at large, but he doesn’t feel the need to use the stage for his own political agenda.

“Personally, I may have particular views and vote for particular people and I don’t

care, you know, that I don’t expect people to have my political opinions when I’m on stage.” Auggie said during a recent phone interview. “I’m not trying to change minds, I’m trying to make people laugh.”

Freedom of speech is of paramount importance to Auggie, as it is the structure on which his craft is based, but also on a personal level that all people should be attuned to.

“Yeah, well, people’s view of what freedom of speech is completely messed up now.” he said. “Freedom of speech means that you might get your feelings hurt, and that’s exactly what it means. It doesn’t mean we don’t offend anybody. Freedom of speech is that people will be offended and that’s the point of it, and when you take that away, we’re, we’re done.”

The political and social sensitivity welling in this country and the ease in which people in general have the uncanny knack of finding offenses where none truly exist, seems to make the comedic landscape a minefield waiting for a big ol’ clown shoe to come along.

“Yeah, yeah….maybe they shouldn’t leave the house if they’re going to be offended by other people’s words. It’s probably best that you never come into contact with anybody else.” Auggie stated, somewhat perturbed. “That’s probably the best game plan for them…and what it is, is people have to be morally superior over others and they decide ‘Well, morally, I’m better than you so I can decide what you can and cannot say and what’s morally objectionable’ and here’s the thing; it doesn’t offend me. So is there something wrong with me? Am I a bad person for not being offended by that? You know, because that’s the way the logic has to go.”

It seems that the current political atmosphere is so devoid of humor that one is loath to joke about the powers that be for fear of risking a heated confrontation. It used to be that anyone could make a joke about Clinton’s indiscretions or Dan Quayle’s complete ineptitude, and there would be a laugh, regardless of any affiliations. Now it is like a simple satirical jest can get you labeled as being anti-American.

“The problem, you…you’re talking about a couple of different issues here. If you’re talking specifically about the current administration here, yeah. I think there are people who have forgotten that it is our job to be anti-establishment.” Auggie went on to state that, “It is the comedian’s job to, uh, comment on the government and it is a comedian’s job to have a problem with the powers that be. We’ve become so aligned with our various political parties, uh, that we do not see the humor in them anymore. That is true. Um, and the fact that this, this turf war that we have going between Democrats and Republicans, and so one political party has your best interest at heart, yeah, right, for Christ’s sake! Like they’re not just a collection of millionaires that are designed to further people’s political careers, and instead are… for you, the common man. That bothers me, that people are under that assumption.”

When Auggie Smith takes the stage, he is not there to entertain you; he is not there to tell you a couple of amusing little jokes. He shall rise to become your personal, self-proclaimed Sherpa, shepherding you through life’s mysterious and often frightening landscape. Give your life over to the Aug Man and he will guide and protect you from all of the sharks, senior citizen NASCAR drivers and violently voracious vending machines that besiege you on your chosen path. Praise be to Aug.

[yframe url=’http://www.youtube.com/watch?v=IqqKFB4Le6I’]