turns out, a bunch of people knew about this guy. the parking lot was jammed and lots of jovial folks were giggling in anticipation, toting books under their arms as they hustled to the front doors. i was figuring it out - he's a writer, he'll probably read some of his stuff, i bet it's funny, and he'll sign some books afterward. greg had good seats - 2nd row. i felt guilty sitting so close, not having any type of appreciation for the evening's promise. david sedaris came out, rather unassuming, and started reading from his latest book. the only time i had ever seen anyone do a reading was in the open mic scenes from that movie love jones (with a killer soundtrack). this was a far cry from that. he was hilarious. tactfully brash. cleverly condescending. artfully illustrative. and he dug sharing it - even in lames iowa!!!
folks were falling out all night, me included. everyone laughing at the big jokes, several of us laughing at delivery or foreshadowed humor or upon reflecting on where this was all going. i wonder - does he think he's funny? does he write to be funny or realize that he simply is. some say that i'm funny (not my wife, however) and i don't know if i am or not, but i sure do love it when people laugh at something that i say. he played a snippet of some legendary broadway lady (whom he said that, if you haven't heard of her, you're not homosexual) reading an excerpt of his writing, and tee-heed like a school girl throughout her recitation of his work.
he told jokes, which was charming, but not the complete schtick. he more or less shared stories and snapshots of his mind's incorrigible access with us. he used a pencil occasionally, making edit marks on his manuscript while reading (later confessing that they were cuts he wanted to make or words he wanted to eliminate for further readings). can musician's do this? do i play something and, midway, mark in a breath that i wish i had taken? should i be circling chord changes that i need to shed or quickly transcribe an idea i just had so i can reuse it again?
i was soaking it all in, not making an effort to pack some of it in such a way that i could regurgitate it to sonja later that evening. i'm terrible at that - can't remember jokes to save my life, don't retain song titles, and lose the chronology of events in movies. i'm always jealous of those that have that instant recall. do people do that same thing when they go hear music shows? remember turnaround licks, money chords, certain idiomatic techniques? is it more important to absorb information in a macro or micro fashion... or both?
he also chose particular material to share. something from the new book, something from an older book, an article from the new yorker, diary entries, and even snippets from another guy's book that he really dug. does this set rotate for the type of venue (large/small, midwest/coast) or is it the same lineup each time, regardless of demographic? i know it's folly for band groupies to get their hands on set lists from different shows, comparing and hypothesizing why a certain tune made it in wichita yet got bumped in austin. does this happen with writers? should i be tailoring my set lists for the audience or for myself? i don't want to get bored with what i'm playing yet fear that i may alienate a group of listeners by playing shit that i want to play and who cares if you're down with it just sit there and take it because you need to hear this it's good for you i'm blazing new paths in the music world baby and it's time for you to recognize.
artists need the audience ... and furthermore ... need the audience to need the artists
david sedaris was brilliant. i am so thankful that greg thought to ask me. and i actually remember a joke from that evening. before sharing, he told the audience that it was the best joke in the world, so i tried to momentarily silence my a.d.d. and pay attention. --what's the worst part about blowing willie nelson? --when he says "i'm not willie nelson"
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