Born Standing Up: A Comic's Life
  • Born Standing Up: A Comic's Life
  • Born Standing Up: A Comic's Life

Born Standing Up: A Comic's Life

4.2 101
by Steve Martin
     
 

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The riveting, mega-bestselling, beloved and highly acclaimed memoir of a man, a vocation, and an era named one of the ten best nonfiction titles of 2007 by Time and Entertainment Weekly.

In the mid-seventies, Steve Martin exploded onto the comedy scene. By 1978 he was the biggest concert draw in the history of stand-up. In 1981 he quit forever. This

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Overview

The riveting, mega-bestselling, beloved and highly acclaimed memoir of a man, a vocation, and an era named one of the ten best nonfiction titles of 2007 by Time and Entertainment Weekly.

In the mid-seventies, Steve Martin exploded onto the comedy scene. By 1978 he was the biggest concert draw in the history of stand-up. In 1981 he quit forever. This book is, in his own words, the story of “why I did stand-up and why I walked away.”

Emmy and Grammy Award–winner, author of the acclaimed New York Times bestsellers Shopgirl and The Pleasure of My Company, and a regular contributor to The New Yorker, Martin has always been a writer. His memoir of his years in stand-up is candid, spectacularly amusing, and beautifully written.

At age ten Martin started his career at Disneyland, selling guidebooks in the newly opened theme park. In the decade that followed, he worked in the Disney magic shop and the Bird Cage Theatre at Knott’s Berry Farm, performing his first magic/comedy act a dozen times a week. The story of these years, during which he practiced and honed his craft, is moving and revelatory. The dedication to excellence and innovation is formed at an astonishingly early age and never wavers or wanes.

Martin illuminates the sacrifice, discipline, and originality that made him an icon and informs his work to this day. To be this good, to perform so frequently, was isolating and lonely. It took Martin decades to reconnect with his parents and sister, and he tells that story with great tenderness. Martin also paints a portrait of his times—the era of free love and protests against the war in Vietnam, the heady irreverence of The Smothers Brothers Comedy Hour in the late sixties, and the transformative new voice of Saturday Night Live in the seventies.

Throughout the text, Martin has placed photographs, many never seen before. Born Standing Up is a superb testament to the sheer tenacity, focus, and daring of one of the greatest and most iconoclastic comedians of all time.

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Editorial Reviews

Janet Maslin
Born Standing Up does a sharp-witted job of breaking down the step-by-step process that brought him from Disneyland, where he spent his version of a Dickensian childhood as a schoolboy employee, to both the pinnacle of stardom and the brink of disaster…Even for readers already familiar with Mr. Martin's solemn side, Born Standing Up is a surprising book: smart, serious, heartfelt and confessional without being maudlin. Decades after the fact he looks back at a period of invention and innovation, marveling at the thought that his efforts might have led absolutely nowhere if they had not wildly succeeded.
—The New York Times
Publishers Weekly

Neatly combining his personal and professional worlds, beloved comedian, filmmaker, author, magician and banjoist Martin (Pure Drivel) chronicles his life as a gifted young comedian in this evocative, heartfelt memoir, which proves less wild and crazy than wise and considerate-though no less funny for it. The typically reticent performer shares rarely disclosed memories of childhood-his father, a failed actor, harbored increasing anger toward his son through the years-and the anxiety attacks that plagued him for some two decades, along with his early success as a television comedy writer, first for The Smothers Brothers Comedy Hour, and the evolution of his stand-up routine. Sharp insight accompanies stories of his first adult gig (at an empty San Francisco coffeehouse), his pioneering "no punch lines" style ("My goal was to make the audience laugh but leave them unable to describe what it was that had made them laugh"), appearances on programs like The Steve Allen Comedy Hourand breakthrough moments with small, confused audiences. Though the book is vivid and entertaining throughout, Martin doesn't dish any behind-the-scenes dirt from Saturday Night Liveor The Tonight Show; rather, he's warm and generous toward everyone in his life, including girlfriends and colleagues. Tellingly, this intimate early career recap ends not with Martin's decision to give up live performance or his first starring role in The Jerk, but with a visit to his parents and Knott's Berry Farm, where he first performed as a teenager. (Nov.)

Copyright 2007 Reed Business Information
Library Journal

In analyzing the development of his stand-up comedy career, Martin considers to have written a biography of someone he used to know. With a preteen passion of becoming a master magician, he escaped domestic turmoil by working at a magic shop in Disneyland. Once he gained confidence in performing live, his eclectic brand of humor was honed at coffee clubs and in local theater productions. Along the way, Martin studied philosophy, which allowed him to observe comedy as social commentary. Within a few years, he stumbled into television writing, working for the controversial Smothers Brothers Comedy Hour. He was a regular guest on the Tonight Show, but it was his exposure on Saturday Night Livethat catapulted Martin to success. In the early 1980s, he decided to leave stand-up comedy and become the film star we know today. Martin has always taken his life and the art of comedy seriously; his wonderful catchphrases (e.g., "Excuuuuse me"; "I'm a wild and crazy guy") will live on forever in our vocabulary. An intelligent biographical assessment recommended for all libraries. [See Prepub Alert, LJ8/07.]
—Richard A. Dickey

Kirkus Reviews
A charming memoir tracking what the great comic characterizes as his "war years."Despite gaining renown as one of Saturday Night Live's "wild and crazy guys," Martin (The Pleasure of My Company: A Novella, 2004, etc.) didn't set out in search of celebrity. From his boyhood forays onstage in the '50s through the late '70s, when he somewhat unwittingly became a huge star, he sought, above all, comic originality. Foregoing the common compromise made by young comedians that trades fresh and authentic hilarity for fame, Martin became famous on his own terms. During one period of his stand-up career, he purposefully developed an act entirely devoid of jokes, and he always approached his material with dedication and diligence. Martin offers an eloquent and exacting account of his fumbling early shticks, illuminating the type of humor, and humorists, that interested him the most. He set an unspoken deadline for himself-age 30-by which to have found success or to throw in the towel, but then abandoned it as that age came and went and he was still toiling on the road. After gigs on television shows like The Smothers Brothers and The Tonight Show, Martin's popularity steadily increased. Some of the funniest material here is delivered in an offhand manner, often in the form of photo captions or narrative asides. Martin also offers an emotional-but not overly nostalgic-account of his relationship with his father, who was a distant and disapproving figure until the end of his life, when he and his son reconciled. In all of his relationships, whether familial or romantic, Martin approaches his subjects with generosity, warmth and integrity. Heartfelt and very, very funny.
From the Publisher
"Absolutely magnificent. One of the best books about comedy and being a comedian ever written." - Jerry Seinfeld, GQ

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Product Details

ISBN-13:
9781416553656
Publisher:
Scribner
Publication date:
09/02/2008
Edition description:
Reprint
Pages:
224
Sales rank:
100,492
Product dimensions:
7.74(w) x 11.02(h) x 0.66(d)
Age Range:
15 - 18 Years

Read an Excerpt

Born Standing Up

  • I DID STAND-UP COMEDY for eighteen years. Ten of those years were spent learning, four years were spent refining, and four were spent in wild success. My most persistent memory of stand-up is of my mouth being in the present and my mind being in the future: the mouth speaking the line, the body delivering the gesture, while the mind looks back, observing, analyzing, judging, worrying, and then deciding when and what to say next. Enjoyment while performing was rare—enjoyment would have been an indulgent loss of focus that comedy cannot afford. After the shows, however, I experienced long hours of elation or misery depending on how the show went, because doing comedy alone onstage is the ego’s last stand.

    My decade is the seventies, with several years extending on either side. Though my general recall of the period is precise, my memory of specific shows is faint. I stood onstage, blinded by lights, looking into blackness, which made every place the same. Darkness is essential: If light is thrown on the audience, they don’t laugh; I might as well have told them to sit still and be quiet. The audience necessarily remained a thing unseen except for a few front rows, where one sourpuss could send me into panic and desperation. The comedian’s slang for a successful show is “I murdered them,” which I’m sure came about because you finally realize that the audience is capable of murdering you.

    Stand-up is seldom performed in ideal circumstances. Comedy’s enemy is distraction, and rarely do comedians get a pristine performing environment. I worried about the sound system, ambient noise, hecklers, drunks, lighting, sudden clangs, latecomers, and loud talkers, not to mention the nagging concern “Is this funny?” Yet the seedier the circumstances, the funnier one can be. I suppose these worries keep the mind sharp and the senses active. I can remember instantly retiming a punch line to fit around the crash of a dropped glass of wine, or raising my voice to cover a patron’s ill-timed sneeze, seemingly microseconds before the interruption happened.

    I was seeking comic originality, and fame fell on me as a by-product. The course was more plodding than heroic: I did not strive valiantly against doubters but took incremental steps studded with a few intuitive leaps. I was not naturally talented—I didn’t sing, dance, or act—though working around that minor detail made me inventive. I was not self-destructive, though I almost destroyed myself. In the end, I turned away from stand-up with a tired swivel of my head and never looked back, until now. A few years ago, I began researching and recalling the details of this crucial part of my professional life—which inevitably touches upon my personal life—and was reminded why I did stand-up and why I walked away.

    In a sense, this book is not an autobiography but a biography, because I am writing about someone I used to know. Yes, these events are true, yet sometimes they seemed to have happened to someone else, and I often felt like a curious onlooker or someone trying to remember a dream. I ignored my stand-up career for twenty-five years, but now, having finished this memoir, I view this time with surprising warmth. One can have, it turns out, an affection for the war years.

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