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At age 10, Steve Martin got a job selling guidebooks at the newly opened Disneyland In the decade that followed, he worked in Disney's magic shop, print shop, and theater, and developed his own magic/comedy act. By age 20, studying poetry and philosophy on the side, he was performing a dozen times a week, most often at the Disney rival, Knott's Berry Farm. Obsession is a substitute for talent, he has said, and Steve Martin's focus and daring--his sheer tenacity--are truly stunning. He writes about making the very tough decision to sacrifice everything not original in his act, and about lucking into a job writing for The Smothers Brothers Show. He writes about mentors, girlfriends, his complex relationship with his parents and sister, and about some of his great peers in comedy--Dan Ackroyd, Lorne Michaels, Carl Reiner, Johnny Carson. He writes about fear, anxiety and loneliness. And he writes about how he figured out what worked on stage.

This book is a memoir, but it is also an illuminating guidebook to stand-up from one of our two or three greatest comedians. Though Martin is reticent about his personal life, he is also stunningly deft, and manages to give readers a feeling of intimacy and candor. Illustrated throughout with black and white photographs collected by Martin, this book is instantly compelling visually and a spectacularly good read.


Amazon.com Exclusive
Three Bonus Deleted Passages from Steve Martin's Born Standing Up

On Returning to Disneyland
Ten years later, after the Beatles, drugs, and Vietnam had changed the entire tenor of American life, I returned to the magic shop at Disneyland and stood as a stranger. As I looked around the eerily familiar room another first came over me, a previously unknown emotion, one that was to have a curious force over me for the rest my life: the longing tug of nostalgia. Looking at the counter where I pitched Svengali Decks and the Incredible Shrinking Die, I was awash with the recollection of indelible nights where the sky was blown open by fireworks and big band sounds drifted through trees strung with fairy lights. I remembered my youth, when every moment was crisply present, when heartbreak and joy replaced each other quickly, fully and without trauma. Even now when I visit Disneyland, I am steeped in melancholy, because a corporation has preserved my nostalgia impeccably. Every nail and screw is the same, and Disneyland looks as new now as it did then. The paint is fresh, and the only wear allowed is faux. In fact, only I have changed. In the dream-like world of childhood memories, so often vague and imprecise, Disneyland remains for me not only vivid in memory, but vivid in fact.

On Meeting Diane Hall
During the day, I attended Santa Ana Junior College, taking drama classes and pursuing an unexpected interest in English poetry from Donne to Eliot. I would occasionally assist on a college stage production--never appearing in one--as a member of the crew. Years later I was looking through a box of memorabilia and noticed a silk-screened playbill of the musical Carousel, May, 1964, which listed me as a stagehand. The lead actress was Diane Hall. Something connected and I remembered that Diane Keaton's name was once Hall, (hence, Annie Hall). I confirmed with her that she was in that production. Neither of us remembers meeting the other, yet we must have worked in proximity. More evidence that I was a wallflower. Decades later, we ended up "making love" on the floor of a movie set on Father of the Bride.

On the Kennedy Assassination
One Friday in 1963, I had finished a class and was about to drive to Knott's Berry Farm for the afternoon shows when I saw a clump of agitated students across the campus. I asked someone what was going on. "They're saying that the president's been shot."

I drove across town to Knott's and punched radio buttons. I could hear the scheduled programs clicking off and being replaced by live broadcasts. Assassination seemed so ancient and inconceivable, I was sure that someone would soon correct the erroneous report. President Kennedy died that day and I didn't know that news could be taken so personally by a nation. Sitting backstage, watching the Birdcage's black-and-white TV drone out the increasingly grave report, we were all mute. We assumed the performance that night would be canceled, but as show time neared, word came down that we were going on. We couldn't fathom why; we believed no one would show up, much less enjoy us. I still can't explain the psychology, why the very full house that night was able to roar with laughter. The obvious must be correct: our silly show was providing some kind of balm that soothed the ache.

In 2003 I hosted the Oscars on the particular weekend that the United States invaded Iraq. The news was grim and just hours before the show I flipped on the TV and saw a report, subsequently proven false, that our captive soldiers were being beheaded. I quickly turned the TV off, sick. I knew, from my experience forty years earlier with the Kennedy assassination, what my job was, and I harbored a secret knowledge that the audience would laugh. I also felt that soldiers who might be watching would be tuning in to see the Oscars and all its hoopla, not a cheerless comedian doing what he doesn't do best. I decided to acknowledge the circumstances early in the show and then get on with the jokes. The academy had announced that the show would "cut back on the glitz." I walked out for the opening monologue, took a look around the stage at the dazzling, swirling staircases, mirrored curtains and polished floor, and simply said, "I'm glad they cut back on the glitz." It got a laugh of relief and the show could go on.

More from Steve Martin

The Alphabet from A to Y with Bonus Letter Z!

Shopgirl

The Pleasure of My Company

Picasso at the Lapin Agile and Other Plays

Pure Drivel

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Praise for Born Standing Up
"[A] lean, incisive new book about the trajectory of [Martin's] life in comedy...Born Standing Up does a sharp-witted job of breaking down the step-by-step process that brought Steve Martin 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...tightly focused...Born Standing Up is a surprising book: smart, serious, heartfelt and confessional without being maudlin." --Janet Maslin, The New York Times

"Absolutely magnificent. One of the best books about comedy and being a comedian ever written." --Jerry Seinfeld, GQ

"The writing is evocative, unflinching and cool. When Martin takes a scalpel to his life, what you feel is the precision of the surgeon more than the primal scream of the unanaesthetized patient...Born Standing Up is neither fanfare nor confession. It gives off a vibe of rigorous honesty. With lots of laughs." --Richard Corliss, Time Magazine

"A spare, unexpectedly resonant remembrance of things past…Martin's one true subject is the evolution of his comedy--the transcendent moments...A smart, gentlemanly, modest book…winning." --Jeff Giles, Entertainment Weekly, EW Pick: A

"A charming memoir tracking what the great comic characterizes as his 'war years.' Martin offers an eloquent and exacting account... [and] approaches his subjects with generosity, warmth and integrity." --Kirkus Reviews

"Sure to delight fans and create new ones." --Laura Mathews, Good Housekeeping

"What fun to discover the humble beginnings of some of his iconic personas...inspiring." --Rachel Rosenblit, Elle

"The archetypical story of the underdog's rise and a particularly American story...beautifully written, honest, engaging, and quietly brave." --Frederic Tuten, Bomb Magazine

"Son, you have an ob-leek sense of humor." --Elvis Presley

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"I've been a questioner all my life..."

So begins bestselling author and award-winning actress Shirley MacLaine, as she invites readers to join her on the most powerful, provocative journey of her life. Over the years, Shirley has firmly established herself as a fearless, iconoclastic thinker and seeker of truth. Now, as she confronts the realities and rewards of growing older, she reflects on the greater understanding of her own place in the universe that her experiences have brought to her.

Sparked by the experience of moving into a new house, she is inspired to look back across the remarkable professional and personal milestones she has experienced so far. Surrounded by books, pictures, and the artifacts of a life well lived, Shirley is able to recognize the profound power of synchronicity at work around her, discovering the invisible threads that stitch together the seemingly random events of her days, adding meaning even to the mundane.

Having grown older, she is increasingly concerned with the potential pitfalls of modern medicine. She shares personal insights into nutrition, acupuncture, homeopathy, and alternative medicine. Practical and bracing, here is advice for anyone looking to expand his or her understanding of health and well-being.

Moving beyond the physical, Shirley explores what has always interested her most -- those things that are unseen. What is consciousness? What is the purpose of our lives? Are we alone in the universe? And perhaps the greatest mystery of all, what happens to us after death?

Filled with her trademark wit and candor, this is a fascinating, inspiring book that will delight and captivate Shirley's legions of fans and fellow travelers everywhere..
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Cynthia Kaplan, acclaimed author of Why I'm Like This, once again casts her gimlet eye upon the current state of her affairs Also of your affairs, and some other people's affairs as well. Journey with her as she humiliates herself in a variety of locales and fearlessly takes on all the important issues of the day—including her family, intelligent design, Narnia, and New England's deer population.

Leave the Building Quickly is a hilarious, moving, bitingly honest, take-no-prisoners incursion into the kind of real-life daily circumstances that inspire us to crouch in the linen closet at three in the morning. But that's okay because Kaplan's there, too. And she's brought snacks.

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Cynthia Kaplan takes us on a hilarious and sometimes heartbreaking journey through her unique, uncensored world—her bungled romantic encounters and unsung theatrical experiences; her gadget-obsessed father, her pill-popping therapist, and her eccentric grandmothers; her fearless husband, whom she engages in an ongoing battle over which of them is the most popular person in their apartment; and, of course, her vengeful, power-hungry one-year-old son.

Kaplan's voice is a lot like the one in our heads—the one that most of us are only willing to listen to late at night . . . maybe while locked in a closet. What a relief it is that someone finally admits that she is afraid of nearly everything; that she is jealous even of people whose lives are on the verge of collapse; and that she has, at times, tried to pass for a gentile.

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Although Lucille Ball died in 1989, this autobiography written prior to 1964 has only recently been discovered among her papers. She describes a childhood deeply affected by her father's death and her mother's withdrawal from her life. Raised by her grandparents, Ball craved attention and developed a tempestuous, vivacious, fiery, and yet insecure personality that would later lead her to comic stardom. It took years of working from the bottom of show business before she became a television hit, with the help of her husband, co-star, and business partner, former Cuban bandleader Desi Arnaz. Ball abandoned the book for fear of hurting Arnaz, although she gives him credit for the tremendous success she enjoyed with "I Love Lucy.".
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Once a song and dance man, Grandpa reclaims his youth and profession before the delighted eyes of his three grandchildren one afternoon. He simply cannot resist the urge to dress up in clothes left over from his vaudeville days--complete with top hat and gold-headed cane--and to perform tricks, play banjo and tell jokes. He taps, twirls and laughs himself to tears on a thrown-together stage in his attic. Artist Stephen Gammell takes full advantage of lamplight to render Grandpa in shadow and silhouette, trivializing the concept of age and creating a feeling of intense nostalgia. Related from the point of view of the children, the text in Song and Dance Man is soft and understated, and Gammell's artistry is superb. The book won the Caldecott Medal in 1989..
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They were the unlikeliest of pairs—a handsome crooner and a skinny monkey, an Italian from Steubenville, Ohio, and a Jew from Newark, N.J.. Before they teamed up, Dean Martin seemed destined for a mediocre career as a nightclub singer, and Jerry Lewis was dressing up as Carmen Miranda and miming records on stage. But the moment they got together, something clicked—something miraculous—and audiences saw it at once.

Before long, they were as big as Elvis or the Beatles would be after them, creating hysteria wherever they went and grabbing an unprecedented hold over every entertainment outlet of the era: radio, television, movies, stage shows, and nightclubs. Martin and Lewis were a national craze, an American institution. The millions (and the women) flowed in, seemingly without end—and then, on July 24, 1956, ten years from the day when the two men joined forces, it all ended.

After that traumatic day, the two wouldn’t speak again for twenty years. And while both went on to forge triumphant individual careers—Martin as a movie and television star, recording artist, and nightclub luminary (and charter member of the Rat Pack); Lewis as the groundbreaking writer, producer, director, and star of a series of hugely successful movie comedies—their parting left a hole in the national psyche, as well as in each man’s heart.

In a memoir by turns moving, tragic, and hilarious, Jerry Lewis recounts with crystal clarity every step of a fifty-year friendship, from the springtime, 1945 afternoon when the two vibrant young performers destined to conquer the world together met on Broadway and Fifty-fourth Street, to their tragic final encounter in the 1990s, when Lewis and his wife ran into Dean Martin, a broken and haunted old man.

In Dean & Me, Jerry Lewis makes a convincing case for Dean Martin as one of the great—and most underrated—comic talents of our era. But what comes across most powerfully in this definitive memoir is the depth of love Lewis felt, and still feels, for his partner, and which his partner felt for him: truly a love to last for all time..
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Only a handful of showbiz biographers can lay claim to posessing the literary acumen of writers like Michael Holroyd and Peter Ackroyd. Nick Tosches is one of these writers, and his unauthorized biography of Dean Martin stands as a testament to his genius. Several inimitable sequences in which Tosches adopts his subject's perspective (most of which are regrettably unsuitable for quotation here) make the book a real standout.

Dino is a fascinating portrait of a man who had it all--money, fame, women--and didn't give a damn about any of it and suggests that, even as he wallowed in the excesses of Hollywood and the Rat Pack, Martin stayed critically aloof from that world, albeit often in a booze-and-pill-addled haze. He got into showbiz precisely because it required so little effort of him: "I can't stand an actor or actress who tells me acting is hard work," he once said. "It's easy work. Anyone who says it is hard never had to stand on his feet all day dealing blackjack." Nobody could impress Martin. While Frank Sinatra would do anything just to hang out with reputed Mafioso, the Mob would have to make special trips to ask Martin in person to play a show at one of their casinos.

Tosches' portrait, written only a few years before Martin's death in 1996, depicts its subject as nothing so much as a Zen master without the spiritual anchor; after sampling everything that life had to offer and finding it lacking, Martin spent the last years of his life waiting to die in virtual seclusion..
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