It is time to jump on the Marc Maron bandwagon. Really. Do it right away because, well, things could go bad at any moment. I know this because I have been following Maron for almost six months now. Six months of unadulterated laughter at a guy who builds his material on the core fact of his life: things could go bad at any moment. Maron is having a good year in the public realm. He is making money and getting praise from critics and new fans alike. And it is all deserved. He is provocative (which means he is funny but pisses people off) and likable (which means that he is funny but people feel sorry for him). Maron has already earned some attention on HA!. For two excellent pieces, see: Matthew Daube on Marc Maron; ABE on Marc Maron.
He is cooking on all burners, putting out wonderful material in the last couple of years: Thinky Pain, an album and concert video on Netflix) and This Has to Be Funny being released in August 2014, Attempting Normal, a book with solid praise thus far, and Maron, the wonderful television show in its second season on IFC and available on Netflix.
Here is a brief scene from the sitcom Maron as he interviews C.M. Punk: Interview with C.M. Punk on Maron
He is an overnight twenty-five-years-in-the-making success. And the time to jump in an enjoy this dynamo is now because, well, who knows what is around the corner? He’s just a guy trying to be an adult, OK? Sometimes it goes well. Sometimes, not so well. Maron has found a way to make his pain pay. (He just got $ 4.99 from me for a premium membership of WTF). The podcast started in 2009 and still runs out of his garage. In spite of this humble setting (or related to it, perhaps), Maron draws in some of the biggest stars of comedy and Hollywood, as well as in the music industry. Here are a few of his guests just from the last few months: Josh Groban, Billy Gibbons, Vince Vaughan, Ivan Reitman, Lena Dunham, Laurie Kilmartin, and Will Ferrel, and so on. WTF is an ideal text for studying the state of American humor. I would consider it a valuable (perhaps essential) forum for anyone interested in studying/learning the craft of American stand up comedy and its interdependence on all facets of American pop culture, especially music.
Over the last several years, Maron via WTF has steadily put together a remarkable collection of interviews of some of the best comic minds of our time, along with a wide array of other artists of varying interests. If you have yet to listen to WTF, well, wtf?
Just this past week, WTF hit its 500 podcast. Here is a link to a list of the episodes and the guests: WTF Episode Guide. The most recent 50 are available free via the the app or online here: WTF Podcast Home
Rolling Stone (Rolling Stone Article) listed Maron as on The 10 Funniest People, Videos and Things of the Coming Year in 2011. In this brief article, Jonah Weiner calls Maron an “acid-tongued rage-prone satirist.” That is just the thing. Maron causes critics to use hyphenated terms to describe him. He is THAT good. Actually, Weiner makes the right call as he talks about WTF as his most important work to date. He calls it a “series of unvarnished shit-shoots with comedians that move from laugh-geek joke autonomy to quasi-therapeutic venting.” Geez, three more hyphenated terms in one sentence. Do you see what Maron can do? I did not know how important hyphens were to Rolling Stone, but I digress. Underneath the god-awful (hyphen!) phrasing of the description is a crucial point.
WTF balances formidable discussions of the craft of humor (what Weimer calls “joke anatomy”–what? no hyphen?) and psychoanalysis, all of which teeters on disaster at any given moment, and all of it thoughtful. Marc Maron is a funny comic writer; he is solid performer in his sitcom; and he is compelling on stage, but he is a master of the interview. He does not know why. In the 500 episode he acknowledges the praise for his interviewing skill but seems baffled by how it came about. It reminds me of the anecdote about Bob Newhart, a master of stammering timing. Newhart, when asked how he managed to so perfectly create the illusion of talking on the phone, for instance, responded that he simply waited the amount of time it would take for someone on the other end of the fictional conversation to say something. Brilliant. Newhart deflects any praise for his skill and pretends that his timing is innate and open to anyone. Nah. Newhart has it; Maron has it, too. It has something to do with talent, but it is also a work in progress. In either case, Maron comes across as genuinely curious about how his guests struggle with craft (whether it is comedy, music, acting, writing, whatever) AND their inner demons. And he gives them the space to explore the humor and challenges of both. He also makes them talk about his own issues. Maron has issues.
In the New York Times (Jan. 2011; NYTimes Article on Maron), calls him “angry probing, neurotic and a vulnerable recovering addict.” Well, American comedy, right? He has been called a mix of Woody Allen and Lenny Bruce, which is both accurate and too easy. As he states in his introduction provided on the WTF website, he prefers the combination one of his fans provided: an Iggy Pop Woody Allen. Yes, American comedy of anxiety with a punk ethos. To give you a taste of this Maron mix, note the following three quotes included in the banner for the “about” section of the WTF website:
–“TV is great because no one knows when to retire and you can watch the full arc of success, sadness and decay.”
–“I’m glad to be part of the war on sadness. I’m a part time employee of the illusion that keeps people stupid.”
–“In most cases the only difference between depression and disappointment is your level of commitment.”
It’s time to jump on the Marc Maron bandwagon with a deep level of commitment. I just paid five bucks for premium access for the next six months. And I am looking into a 20 dollar mug.
Last week I took a class called Getting Paid to Talk: Making Money with Your Voice. I had never seen this class in our local Parks and Recreation catalogue—usually dedicated to Acting for Youngstars! or Wine Glass Fun. As the title bordered on George Carlin’s superfluous redundancy, I wanted to attend, but could not commit until that day, as children have a habit of ruining the best-laid plans.
I was a child when voices first captured my attention. Yes, I get we all were children when first fascinated by speech, but my concern was delivery. Daffy’s lisp, Porky’s stutter, the Kentucky drawl of Foghorn and da Brooklyn cant of Bugs. I grew up with Looney Tunes the way American education used to teach rhetoric, before it gave up. We watched Disney movies at the Rec Center—a different Rec Center, not the Wine Glass Center—back when video stores were not yet born now long dead, and cable included the cord connecting your TV to thirty-seven possible channels. The only thing on demand was our need to be specific places to watch specific things when other people did the same. The images caught our attention, but the voices kept it. Every one was distinct, and many times they had to be to help differentiate the characters. These products began in an age of radio, when actors used their talents aurally, because they could not offer an audience (Audio, Audire, Audivi, Auditus—to hear) any talents visually.
May may just be the month of Marc Maron. The stand-up comedian is not new to the scene, having begun his forays into show business alongside the likes of David Cross, Sarah Silverman, and Louis C.K. in the late ’80s and early ’90s, but it is only in the last few years that he has garnered considerable attention due to the success of his podcast interview show WTF. In early 2011, the New York Times featured Maron’s podcast as a “must-hear” for comedians, and of course he has come up on Humor in America, most recently as “a revelation.”
This May, Maron is popping up in the mainstream as never before, issuing a new book entitled Attempting Normal, getting interviewed by Terry Gross, Howard Stern, and Jay Leno — and debuting his own television show on IFC, simply titled Maron.
One of the main reasons that stand-up comedians continue to have television shows built around their personalities is that the stand-up trade requires the creation of a detailed-yet-instantly-recognizable persona. It’s easily transposed to television, but Maron frequently refers to himself as an acquired taste, not for everyone. Indeed, the plot of the premiere episode makes much of that, as Maron cajoles a woeful Dave Foley into accompanying him on a hunt for someone who’s been pseudonymously insulting the podcaster via Twitter.
(By the way, I highly recommend Dave Foley’s real-life appearance on WTF for a discussion of the Kids in the Hall star’s ups and downs in Hollywood, including patented WTF-glimpses into Foley’s tangled personal life.)
For example, Dragonmaster tweets Marc Maron: “I would say don’t quit your day job, but you don’t have one, and it’s too late to get one.” Maron fans will recognize that as an external manifestation of Maron’s internal self-judgment. The dude is a volcano of self-judgment.
Episode One does a decent job setting up some of the Maron essentials. This includes his Twitter addiction, of course. His first ex-wife. His cats. The tension between his exhausting self-involvement and his deep self-awareness. The podcast set-up in his garage.
The comic space is crucial. Stand-up comedy grew up in establishments of almost uncomfortable intimacy, and on a recent trip to Los Angeles, I was reminded of just how close together the Hollywood comedy establishments are.
A. Largo has been at its current La Cienega Boulevard location since 2008 and hosts both musicians and comedians in an intimate 280-seat theater. It’s an insider establishment – the kind of venue where Justin Bieber and Selena Gomez will go for a date night. I was there to see Sarah Silverman & Friends perform on a Thursday night, and after a full ninety minutes, Silverman introduced her “surprise guest from across the Atlantic” – Russell Brand. It’s all very Hollywood.
The recent comedy podcast boom is something I explore in my work outside the blog. The comedy podcast landscape has become something of a boomtown. The 2008 Writer’s Guild strike drove a number of comedians to explore Internet comedy as an alternative production environment, and given the low barrier to entry, self-publishing became an increasingly popular practice. Today, you can find a comedy podcast to suit any of your tastes. Like serious conversations about the craft and about the lives of comedians? Try Marc Maron’s very popular WTF. What about movies? Given Doug Benson a shot. Are video games your thing? Kumail Nanjiani and The Indoor Kids have you covered. The list goes on and on.
Of course, the shift to Internet comedy has not been a totalizing one. Real, live stand-up still exists! As proof I offer a slew of video recordings. Here are some of the comedians of comedy podcasting.