Steve Martin - The Pleasure Of My Company Daniel Pecan Cambridge, 30, 35, 38 or 27, depending on how he feels that day, is a young man whose life is rich and full, provided he never leaves his Santa Monica apartment. After all, outside there are 8-inch-high curbs and there's always the horrible chance he might see a gas station attendant wearing a blue hat. So, except for the occasional trip to the Rite Aid to admire the California girl Zandy and to buy earplugs because they're on sale, he stays home a lot.
For 1979 Steve Martin returned to The Boardinghouse nightclub in San Francisco for his third comedy LP. Comedy Is Not Pretty is rather crude, particularly in Steve's somewhat embarassing sketch on Jackie Onassis. It nonetheless does hold up well, from his accident with a drinking glass onward. His Sound Effects gag is quite funny, and he brings out his Wild & Crazy trademark when he growls that the audience thinks he's A Rubberhead.
The Steve Martin Brothers Editorial Reviews: Steve Martin is the highly successful comedian and actor, with many credits, He issued four excellent comedy albums for Warner Brothers in the late 1970's, one which has never been issued on CD anywhere in the world until now! The Steve Martin Brothers is a unique production, side one of the album contained comedy material from his live shows. Sde two was all bluegrass music, Steve plays banjo along with his cronies John McEuen & Vassar Clements.
In the mid-70s, 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. Born Standing Up is, in his own words, the story of "why I did stand-up and why I walked away". At age 10 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. 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 60s, and the transformative new voice of Saturday Night Live in the 70s.
In this ingeniously funny collection of humorous riffs, those who thought Steve Martin's gifts were confined to the screen will discover what readers of The New Yorker already know: that Martin is a master of the written word. Hilariously funny and intelligent in their skewering of the topic at hand, these pieces, some of which first appeared in The New Yorker, feature Martin at his finest. With a playwright's ear for dialogue, a sense of irony only Martin could muster, and a first-class comic ability to perfectly time the punch line, Pure Drivel will have listeners crying with laughter, and marveling at the fact that in addition to all of his many talents, Steve Martin is also a superb writer.
