Good shows all throughout the weekend: It'll be more than a five-hour night if you make it through the whole slate of performers tonight at Sidewalk. Bernard King has pulled together another of his all-women bills. While we can debate the merits of gender-based programming, I can without any question give Bernard credit for putting together a slate of fine acts, all of whom I am looking forward to hearing. You may know many of the names, but I heard Anna Haas do a song for the first time Monday at the Open Mic and was very captivated by her voice and style. There are a couple other newcomers on the bill as well. Check out the details here. Also, on Sunday, Sidewalk is presenting its second blackout night. I am a big proponent of unamplified music and so I am looking forward to this show. Unfortunately I had to miss the last one but I heard it was a great night. Here's the bill: Sunday, January 9: BLACKOUT NIGHT at Sidewalk! 8-Steve Espinola, 8:45-Elizabeth Devlin, 9:30-Adam Bricks, 10:15-Ben Krieger, 11-Debe Dalton
Finally, a plug for an intriguing show on Saturday at Bowery Poetry Club. Susan Hwang is playing with an interesting band featuring among others, Julie Delano and Nan Turner as backup vocalists. I will be interested to see how Susan interprets her material with this group. She is opening for Sweet Soubrette who is releasing a new CD called Days and Nights.
Hope to see you at one of the shows. They're a good reason not to stay snowbound.
Friday, January 7, 2011
Friday, December 31, 2010
Landlords!??
I just received a promotional email from a Sidewalk friend that includes a blatantly anti-semitic statement. Maybe you got the email too. The comment was about Chasidic Jews in Brooklyn who my friend says he refers to generically as "Landlords." My friend says how glad he is to see these folks struggling in the snow and that the blizzard was meant by God to smite these landlords, which is signified by it falling on Christmas.
This friend--whose work I admire--is one who likes to be outlandish and provocative. And there's part of me that wants to let this slide based on my friendship with him and my knowledge that maybe he's just trying to be silly or get a response. But I really can't let this one go because I do think from what he wrote that he was at least to some degree serious. And no matter what, it's dangerous (not to mention offensive) to make statements like these that lump together Jews or people from any religion or ethnic group, as having one generalized trait or quality.
First off, just to state the obvious--categorizing all Chasidic Jews as landlords is inherently prejudiced and bigoted. My main encounters with observant Jews come mostly at B and H Photo, where many of them are photographers who moonlight selling cameras. But suffice to say, Chasidic Jews have many different professions. Further, landlords come in all variety of religions, starting with Donald Trump on down (Donald Trump is Catholic). Does my friend think God is dreaming up schemes to smite all landlords or just the Chasidic ones in Brooklyn? (Not to mention the tenants and everyone else who had to deal with the snow).
Fairly recently I heard another Sidewalk performer-whose work I greatly like-say onstage that the downfall of our economy is essentially attributable to the Jews who were running Lehman Brothers. I asked this performer afterward if he had some sort of statistics as to the number of Jews working at Lehman Brothers or some other evidence that a preponderance of Jews were behind the breakdown in our economy. I would think that the blame for the downfall in the economy, if you were looking for someone to blame, would more logically go to the elected officials who eviscerated most of the oversight of the financial industry--and encouraged the broadening of subprime loans.
I find it striking that at a point when we have seen the pernicious effects of prejudice through history that people still have the need to cast certain groups in the role of "other." It seems to me that people are trying to relieve the anxiety of their own day-to-day lives by finding a structural repository for blame. On one hand the Jews are cast in the role of controlling the money. On the other hand waves of new immigrants, including some who are undoubtedly here illegally, threaten the stability of people who have been here longer.
In Nazi Germany the antisemetism that lead to the Holocaust came from blame ascribed to Jews for the extreme inflation and other economic difficulties in Germany at the time. It really doesn't take too much of a leap to see parallels in my friend's enjoyment in seeing the Chasidic "Landlords" struggling with the snow in Brooklyn that he believes was sent by God to smite them.
One of the things that's perplexing about all of this is how to deal with these types of comments from people you basically like and have spent pleasant times with. It's quite discordant to hear stuff like this coming from your friends and acquaintances. In these two cases I have relayed my dismay directly to each person. I suppose this post will serve to amplify my thoughts.
While these kinds of statements stand out most personally to me when they relate to Jews, I find it just as reprehensible when similar generalizations are made about other ethnic groups, religions, races, or people of specific sexual preference. I think it's dangerous to our society to limit our conception of people based on broad labels. For one, most obviously, it constrains the opportunities of those who are discriminated against--and we've seen such prejudice in the extreme lead to violence or death. Aside from that, it narrows the texture of our society. Think about the white-bread culture that was pervasive in the 1950s. That's what we get when we limit our perceptions of people based on anything other than their real skill and ability. Honestly at this stage of the game I shouldn't have to enumerate the hazards of discrimination and prejudice, but based on the comments I've outlined above, it seems as if unfortunately these explanations are still necessary.
This friend--whose work I admire--is one who likes to be outlandish and provocative. And there's part of me that wants to let this slide based on my friendship with him and my knowledge that maybe he's just trying to be silly or get a response. But I really can't let this one go because I do think from what he wrote that he was at least to some degree serious. And no matter what, it's dangerous (not to mention offensive) to make statements like these that lump together Jews or people from any religion or ethnic group, as having one generalized trait or quality.
First off, just to state the obvious--categorizing all Chasidic Jews as landlords is inherently prejudiced and bigoted. My main encounters with observant Jews come mostly at B and H Photo, where many of them are photographers who moonlight selling cameras. But suffice to say, Chasidic Jews have many different professions. Further, landlords come in all variety of religions, starting with Donald Trump on down (Donald Trump is Catholic). Does my friend think God is dreaming up schemes to smite all landlords or just the Chasidic ones in Brooklyn? (Not to mention the tenants and everyone else who had to deal with the snow).
Fairly recently I heard another Sidewalk performer-whose work I greatly like-say onstage that the downfall of our economy is essentially attributable to the Jews who were running Lehman Brothers. I asked this performer afterward if he had some sort of statistics as to the number of Jews working at Lehman Brothers or some other evidence that a preponderance of Jews were behind the breakdown in our economy. I would think that the blame for the downfall in the economy, if you were looking for someone to blame, would more logically go to the elected officials who eviscerated most of the oversight of the financial industry--and encouraged the broadening of subprime loans.
I find it striking that at a point when we have seen the pernicious effects of prejudice through history that people still have the need to cast certain groups in the role of "other." It seems to me that people are trying to relieve the anxiety of their own day-to-day lives by finding a structural repository for blame. On one hand the Jews are cast in the role of controlling the money. On the other hand waves of new immigrants, including some who are undoubtedly here illegally, threaten the stability of people who have been here longer.
In Nazi Germany the antisemetism that lead to the Holocaust came from blame ascribed to Jews for the extreme inflation and other economic difficulties in Germany at the time. It really doesn't take too much of a leap to see parallels in my friend's enjoyment in seeing the Chasidic "Landlords" struggling with the snow in Brooklyn that he believes was sent by God to smite them.
One of the things that's perplexing about all of this is how to deal with these types of comments from people you basically like and have spent pleasant times with. It's quite discordant to hear stuff like this coming from your friends and acquaintances. In these two cases I have relayed my dismay directly to each person. I suppose this post will serve to amplify my thoughts.
While these kinds of statements stand out most personally to me when they relate to Jews, I find it just as reprehensible when similar generalizations are made about other ethnic groups, religions, races, or people of specific sexual preference. I think it's dangerous to our society to limit our conception of people based on broad labels. For one, most obviously, it constrains the opportunities of those who are discriminated against--and we've seen such prejudice in the extreme lead to violence or death. Aside from that, it narrows the texture of our society. Think about the white-bread culture that was pervasive in the 1950s. That's what we get when we limit our perceptions of people based on anything other than their real skill and ability. Honestly at this stage of the game I shouldn't have to enumerate the hazards of discrimination and prejudice, but based on the comments I've outlined above, it seems as if unfortunately these explanations are still necessary.
Saturday, December 11, 2010
Hello
In a comment attached to my last post--someone asked where I've been these days (thanks very much for inquiring, by the way). Well, I guess the short answer is that I've been here but haven't really been getting out so much recently. I think this is a temporary situation, maybe a break from the nights out and the long travels to far flung venues. Also, I have been focused these days on trying to create a place in a new freelance profession and that is taking a lot of my mental energy. And I guess there seems to come a time for most folks who pass through the Sidewalk force field when the excitement of all that expressive energy settles down a little. I don't see a time in the near future when that world is not a significant focus for me, and I'm definitely not giving up on keeping the thread of this blog going. But yes, after six or seven years of deep immersion, other things have captured my attention too--spending more time on photography and trying to get inside the head of that crafty conjuror, Myron the Magnificent.
I always hoped that from time to time other folks would contribute here too. This board is definitely open to any kind of reporting, profiles, reviews, short comments, rants, or musing that anyone wants to send in, provided there is at least some connection to the scene surrounding or emanating from or once related to Sidewalk. If you go to a show and have a few thoughts about it, feel free to share them here. (I guess just sending me what you want to put up is the best way to go about it).
Ok, more soon. Go write a song.
I always hoped that from time to time other folks would contribute here too. This board is definitely open to any kind of reporting, profiles, reviews, short comments, rants, or musing that anyone wants to send in, provided there is at least some connection to the scene surrounding or emanating from or once related to Sidewalk. If you go to a show and have a few thoughts about it, feel free to share them here. (I guess just sending me what you want to put up is the best way to go about it).
Ok, more soon. Go write a song.
Tuesday, November 9, 2010
Kung Fu Crimewave's Rock and Roll Circus, Friday, November 12
Well, finally Kung Fu Crimewave's Rock and Roll Circus is nearly upon us. The show at Goodbye Blue Monday celebrates the release of KFCW's cd Capitol Punishment, as well as the birthday of frontman Luke Kelly. The event will feature performances by: Myron the Magnificent and the Lovely Vera, Kung Fu Crimewave, The Sweet Ones, Purple Organ, and Heroes of the Open End. The only act I'm not familiar with is The Sweet Ones, although the others are all among my favorites, and The Sweet Ones seem to rock from what I can tell by YouTube. I have not heard Heroes of the Open End in quite a while and they should provide a fitting, all out finale to the evening. Come early for the confounding magic of Myron and Vera. I'm assured other circus-y surprises are in store, but you'll have to be there to find out what.
Catching Up
A few things, some a roundup of links you might have seen elsewhere.
Peter Dizozza posted video from a Sidewalk Set going back to 1999. This is definitely worth a look. He opens with a song called "Hell Hole" and then merges into a piece with Jon Berger and Adam Green. There is much spoken word/narrration throughout, accompanied on piano by Peter. The video gives a good visual of an earlier Sidewalk setup before the red curtain was put up and when they had a grand piano on stage. It's also interesting to see younger versions of Peter, Jon, and Adam. I mean, I knew Adam Green was young when he started hanging out at Sidewalk but here he seems like he might have just come from his Bar Mitzvah class.
Major Matt and Nan have documented their tour with the Vaselines in writing and photos. I'll admit I have always had a fascination with life on the rock and roll tour bus. Here is about as close to the experience as you can get (without doing it yourself, of course, which I know you will).
Also, although it's been a few weeks now, I wanted to acknowledge the Debe Dalton/Dan Penta tribute that myself and others performed in on October 23. It was, of course, great to see Debe and to hear the songs by her and Dan. And I was glad to have a chance to play one of my favorite songs by Debe, "Tuesday, Wednesday" (although I'm considering my faulty rendition just a first step in perfecting that song, which I am planning on making a permanent part of my repertoire). However, the overall evening surprisingly had less participation and turnout than I would have thought. Even Dan Penta couldn't make it (because of work obligations). Other performers were: Kung Fu Crimewave, John Roche, Dan and Rachel, Joe Crow Ryan, Neil Kelly, Justin Remer, Ben K. and Morgan Herringer, and probably others who I am forgetting. Debe was at the Open Mic the following Monday, momentarily restoring the balance to a room that has been akimbo ever since she left town a while back. Debe assures me she is returning to NYC permanently in January.
Peter Dizozza posted video from a Sidewalk Set going back to 1999. This is definitely worth a look. He opens with a song called "Hell Hole" and then merges into a piece with Jon Berger and Adam Green. There is much spoken word/narrration throughout, accompanied on piano by Peter. The video gives a good visual of an earlier Sidewalk setup before the red curtain was put up and when they had a grand piano on stage. It's also interesting to see younger versions of Peter, Jon, and Adam. I mean, I knew Adam Green was young when he started hanging out at Sidewalk but here he seems like he might have just come from his Bar Mitzvah class.
Major Matt and Nan have documented their tour with the Vaselines in writing and photos. I'll admit I have always had a fascination with life on the rock and roll tour bus. Here is about as close to the experience as you can get (without doing it yourself, of course, which I know you will).
Also, although it's been a few weeks now, I wanted to acknowledge the Debe Dalton/Dan Penta tribute that myself and others performed in on October 23. It was, of course, great to see Debe and to hear the songs by her and Dan. And I was glad to have a chance to play one of my favorite songs by Debe, "Tuesday, Wednesday" (although I'm considering my faulty rendition just a first step in perfecting that song, which I am planning on making a permanent part of my repertoire). However, the overall evening surprisingly had less participation and turnout than I would have thought. Even Dan Penta couldn't make it (because of work obligations). Other performers were: Kung Fu Crimewave, John Roche, Dan and Rachel, Joe Crow Ryan, Neil Kelly, Justin Remer, Ben K. and Morgan Herringer, and probably others who I am forgetting. Debe was at the Open Mic the following Monday, momentarily restoring the balance to a room that has been akimbo ever since she left town a while back. Debe assures me she is returning to NYC permanently in January.
Thursday, November 4, 2010
Jerry Bock Died
Please excuse the diversion, but one of my personal songwriting heroes, composer Jerry Bock, died yesterday. It might seem like something of a cliché for a Jewish kid from the suburbs to choose the writer of Fiddler on the Roof as a major influence, but while I do think that's a great musical and it has become a landmark piece, it was over years of listening to his body of work, that I grew to love the songs Bock wrote with his partner, lyricist Sheldon Harnick. Moreso than Fiddler, I think the masterpiece of songwriting that they created is a show called She Loves Me which wonderfully uses songs to convey character and dramatic movement.
I know there are some lovers of musical theatre in the Sidewalk scene, but no one really talks about it all that much. While I certainly have my heroes in the rock and pop world, I've been hugely influenced by the great Broadway songwriters, and I think anyone seriously interested in the art of songwriting should go back and listen to some of these works. Bock and Harnick picked up the heritage that was established by writers like Jerome Kern, Irving Berlin, Cole Porter, George Gershwin, Harold Arlen, and Richard Rodgers who came before them. The songs of Fiddler have been so widely heard that at this point they almost seem like clichés themselves. But realize that when they were written there was no precedent for using the sounds of traditional Jewish music to shape and flavor the songs in a Broadway musical. A good example is "If I were A Rich Man," which starts in the key of C major but then brings in minor tonality that gives it that Eastern European flavor (before shifting into another key altogether). The songs in Fiddler feel organic, almost as if they sprang naturally from the characters who sing them. That ease must have taken a lot of work to obtain.
My explanation doesn't really do Bock's inventiveness much justice. I've just been flipping through a book that has some of his songs in it and I'm struck on each page by the fresh approach he took. His instincts for interesting, unusual musical choices was very strong. And most striking of all is how the choices come from and support the dramatic situation at hand.
Without context it can be hard to jump into listening to some of these Broadway musicals and get them right away, especially since sometimes you have to overlook a kind of brassy quality that some poeple find unappealing. But if you ever do have the motivation, try to check out some of the songs from She Loves Me and give them a little bit of a chance to grow on you. They are orchestrated with more subtlety than most shows anyway. In particular I love the sequence that includes the two songs "Where's My Shoe?" and "Ice Cream."
By the way, I don't get as star struck as I used to, but I do have a framed photo of me with Bock and Harnick from a time they appeared at a Library event I helped organize (you can look through Bock's manuscripts at the Library by the way!). Read about it here.
I know there are some lovers of musical theatre in the Sidewalk scene, but no one really talks about it all that much. While I certainly have my heroes in the rock and pop world, I've been hugely influenced by the great Broadway songwriters, and I think anyone seriously interested in the art of songwriting should go back and listen to some of these works. Bock and Harnick picked up the heritage that was established by writers like Jerome Kern, Irving Berlin, Cole Porter, George Gershwin, Harold Arlen, and Richard Rodgers who came before them. The songs of Fiddler have been so widely heard that at this point they almost seem like clichés themselves. But realize that when they were written there was no precedent for using the sounds of traditional Jewish music to shape and flavor the songs in a Broadway musical. A good example is "If I were A Rich Man," which starts in the key of C major but then brings in minor tonality that gives it that Eastern European flavor (before shifting into another key altogether). The songs in Fiddler feel organic, almost as if they sprang naturally from the characters who sing them. That ease must have taken a lot of work to obtain.
My explanation doesn't really do Bock's inventiveness much justice. I've just been flipping through a book that has some of his songs in it and I'm struck on each page by the fresh approach he took. His instincts for interesting, unusual musical choices was very strong. And most striking of all is how the choices come from and support the dramatic situation at hand.
Without context it can be hard to jump into listening to some of these Broadway musicals and get them right away, especially since sometimes you have to overlook a kind of brassy quality that some poeple find unappealing. But if you ever do have the motivation, try to check out some of the songs from She Loves Me and give them a little bit of a chance to grow on you. They are orchestrated with more subtlety than most shows anyway. In particular I love the sequence that includes the two songs "Where's My Shoe?" and "Ice Cream."
By the way, I don't get as star struck as I used to, but I do have a framed photo of me with Bock and Harnick from a time they appeared at a Library event I helped organize (you can look through Bock's manuscripts at the Library by the way!). Read about it here.
Friday, October 29, 2010
Schwervon on Tour with the Vaselines
Congrats to Schwervon who are now on the road playing 4 dates as the opening act for The Vaselines. I only know what Matt and Nan posted on Facebook, which is that the whole deal came together very quickly. They played yesterday in Chicago, then it's Detroit, Toronto and Montreal between now and Sunday. This seems like a very good--and much deserved--opportunity for Schwervon! to reach a new and larger audience for their great tunes.
Tuesday, October 26, 2010
Supercute in the Times
In an article Monday about the CMJ festival The New York Times ran a big photo of our compatriots Supercute, performing on the sidewalk on Ludlow Street. I find it interesting how Supercute has developed a whole image that goes beyond their music to their fashion style, videos, etc. In the Times photo you'll see Rachel and Julia wearing these huge bows that it seems would enable them to fly from gig to gig if they flapped them the right way. It points out to me that somehow the gals are savvy enough in their style to both mock and celebrate their girlishness at the same time. This comes through in their songs too which simultaneously seem genuinely girlish but also ironic. There is a degree of savvy and also strong drive underneath what they are doing. I give them credit for finding a way to stand out.
Tuesday, October 12, 2010
NY Times Review of Jeffrey Lewis - opening for The Vaselines
Jeffrey Lewis and the Junkyard played at Webster Hall last week as part of a show headlined by The Vaselines. Jon Pareles reviewed the show for The New York Times, and while the section on Jeffrey wasn't extensive, it was nice to see that Pareles had some perceptive and positive comments about Jeff's work. Jeff's band, by the way, included Nan Turner and Simon Beins, who each, as you undoubtedly know, play in their own bands and with others connected through Sidewalk, OJ, etc. Jeff has certainly been recognized in the Times before but I always think it's nice when folks on the scene are highlighted in the broader media. Below is an excerpt of the section that mentions Jeffrey. To read the entire article, click here.
Excerpt
Jeffrey Lewis, who opened the show, also keeps his music simple, strumming a few chords on a guitar that may well be held together by the stickers covering its front, and leading a band that piles on a cheerful clutter. But he’s a clever, articulate wordslinger, coming up with rhetorical conceits — one song, “Cult Boyfriend,” compared his romantic appeal to that of cult bands and films — and putting in a lot of preparation.
He’s also a comics artist, and his set included two short films — essentially slide shows of his elaborate drawings — that were finely reasoned histories, in rhyme, of the Soviet Union and the French Revolution, affirming populism through primitivism.
Excerpt
Jeffrey Lewis, who opened the show, also keeps his music simple, strumming a few chords on a guitar that may well be held together by the stickers covering its front, and leading a band that piles on a cheerful clutter. But he’s a clever, articulate wordslinger, coming up with rhetorical conceits — one song, “Cult Boyfriend,” compared his romantic appeal to that of cult bands and films — and putting in a lot of preparation.
He’s also a comics artist, and his set included two short films — essentially slide shows of his elaborate drawings — that were finely reasoned histories, in rhyme, of the Soviet Union and the French Revolution, affirming populism through primitivism.
Thursday, October 7, 2010
Bushwick Book Club Covers Frankenstein, Tuesday, October 5, 2010
"Annoyed" is how most of the songwriters at the Bushwick Book Club described their feelings about the novel Frankenstein. I think mostly it was a reaction to the character Dr. Frankenstein. Having not read the book since I made my way through about half of it in college, I really can't comment except to say that annoyance came up several times during the night.
A number of the songs had to do with love....Susan Hwang's asked "why don't you love your monster" which I took to mean 'why don't you love your creation...your offspring.' Pearl...whose last name I didn't get but was making her Bushwick Book Club debut similarly wrote about love...saying "love is what you learn....teach love." Rachel Devlin and Dan Costello did a very cool 1950s style-number which I later gathered was in the style of Frankie Valli. There were lots more folks who played...as always I was impressed by Phoebe Kreutz's amazing rhymes. Her song urged parents to keep their kids away from science. Sweet Soubrette said to Dr. Frankenstein hey "why didn't you just knock up some pretty girl instead." And the Up Against the Wall String Band sang a funny song about how the book really is not too much like the movie. Justin Remer read a long short story that was sort of a modern day Frankenstein tale. Other interesting songs were written and performed by Mark Palermo, Anna Leuchtenberg, Corn Mo, and Joe Crow Ryan.
I'm always impressed at how much interesting stuff comes out of these Book Club sessions. Lots of times the songs are rough or at least roughly played....one assumes these artists' own creations were in development up until the last minute, but it's always interesting to see fresh new songs being born and how much solid songcraft comes out of these monthly meetings. Congrats as always to Susan Hwang for putting on a good show.
A number of the songs had to do with love....Susan Hwang's asked "why don't you love your monster" which I took to mean 'why don't you love your creation...your offspring.' Pearl...whose last name I didn't get but was making her Bushwick Book Club debut similarly wrote about love...saying "love is what you learn....teach love." Rachel Devlin and Dan Costello did a very cool 1950s style-number which I later gathered was in the style of Frankie Valli. There were lots more folks who played...as always I was impressed by Phoebe Kreutz's amazing rhymes. Her song urged parents to keep their kids away from science. Sweet Soubrette said to Dr. Frankenstein hey "why didn't you just knock up some pretty girl instead." And the Up Against the Wall String Band sang a funny song about how the book really is not too much like the movie. Justin Remer read a long short story that was sort of a modern day Frankenstein tale. Other interesting songs were written and performed by Mark Palermo, Anna Leuchtenberg, Corn Mo, and Joe Crow Ryan.
I'm always impressed at how much interesting stuff comes out of these Book Club sessions. Lots of times the songs are rough or at least roughly played....one assumes these artists' own creations were in development up until the last minute, but it's always interesting to see fresh new songs being born and how much solid songcraft comes out of these monthly meetings. Congrats as always to Susan Hwang for putting on a good show.
Tuesday, September 28, 2010
Reganomics - A Benefit - September 26 at Goodbye Blue Monday
Erin Regan was the focus of a benefit and sort of tribute at Goodbye Blue Monday on Sunday. Kudos to Joanna Kelly and Kate Wheeler for organizing the lovely affair (and anyone else who might have helped who I don't know about). There was a fair amount of Erin Regan merch for sale, including buttons and silk-screened t-shirts that I gather were hand-crafted by Kate and Joanna. It seemed as if even the Erin Regan wrist bands were painstakingly made by someone out of bright pink gaffer's tape.
The performers of the substantially-lengthed event were Daoud, Casey, Dashan, Toby, Kung Fu Crimewave, and the Everybody Knows. Kung Fu Crimewave featured a couple Erin Regan covers in their set, including Your Mom's Car. Erin also played a short set of her own songs. The evening reached a climactic moment in the We are the World-style all-star ballad (see photo) which referenced the hope that her foot heal quickly "for the children." Erin was also presented with one of those oversized checks, like the winner of the million dollar sweepstakes.
Erin has been through an ordeal with a problematic broken foot that hasn't healed and has resulted in financial challenges. Quite a bit of money was raised to help her out the other night.
I wrote in another post about songs I find annoying that are sort of musicalized versions of people's diaries. Somehow, even though Erin's songs draw from incidents in her own life (as far as I know, anyway), they seem to rise well-above these sorts of trivialized journal entries. It's hard to point to exactly why her songs work so well and others don't, but I think it's a combination of sharp imagery, gorgeous melodies, a beautiful voice, and impassioned performance. There have been moments at Sidewalk when Erin has totally swept me away in some deep moment of performance. I wish she was still hanging around the joint.
Wednesday, September 22, 2010
The Fort at Webster
Since he mentions it in his comment in the post below, I gather Lach is ok going public with his upcoming launch of The Fort on Saturday nights at Webster Hall. According to Lach, The Fort won't be an open mic, although there may be some music involved, but a hangout scene woven into Webster Hall's overall Circus night. The Fort will launch October 2 at midnight. More details to come soon, I'm sure. As most folks here probably know, The Fort was the name of Lach's original hangout in his Rivington Street apartment, where the Antifolk scene got its start in the 1980s, and the name has been attached to his succeeding music venues at times as well.
Monday, September 20, 2010
Monday Night Antihoot, September 20 and stuff that's on my mind
I'll admit that I'm in a weird mood or something but I thought tonight was one of the most lackluster nights I've experienced at Sidewalk in a long while. Maybe all the good stuff happened when I was chatting at the bar or something, but when I was in the back it seemed like mostly I was hearing a string of boring songs about frustrated love. I mean of course great songs have been written about love but if you're going to try to take on the Beatles or the Gershwins, or...name your favorite writer of amazing love songs...you better have a damned original way of looking at it. Just because YOU have intense desire, or problems with your mate, or a secret love affair, or whatever, doesn't mean the world needs to hear a song about it unless it opens up some new idea or perspective. Alright, I know that there were some more interesting performances peppered throughout the evening, but I swear during one long swath when I sat there listening it was nothing but "I want you, but I can't see/how come baby you don't love me...(or words to that effect).
Everybody always thinks that their heyday in the scene was the best--and I'll admit that I probably sound like a curmudgeon-y old man by saying (with wobbly, weathered voice) "back in my day....."
Well, it's true, that I have seen many amazing songwriters grace the stage at Sidewalk, and it seems as if many more of them were concentrated in years past--but setting that aside for the moment, what about the sheer over-the-top energy that would frequently strike out from the stage? Just two examples--I only saw him once but I'll never forget this guy Thomas Truax who brought out some sort of Rube Goldberg-like mechanical wheel that had a protruding clapper attached which would make an electronic beat every time it rotated, and of course there's my friend Preston Spurlock who for a long while specialized in creating songs with Casio keyboards, electronic toys, tape recorders, and slide whistles. When Preston and his cousin Chase played a show at Sidewalk they wore matching outfits and pummeled each other with their fists, like something out of an old Loony Tunes cartoon or ancient vaudeville bit.
I'm not arguing that extremity is worthwhile for its own sake. It, of course, has to be accompanied by artistic merit. But what I am saying is that I hope people can push themselves past the easy answer and into uncharted territory of creative expression. Things go in cycles and that goes for Sidewalk too. You never know what's going to happen next week...so I will see you there, for sure.
So while I'm being cranky--I saw from Lach's email today that the Anti-idol competition is returning to the Antihoot at Webster Hall. I beat around the bush about this in my last post, but I still can't quite wrap my head around the idea of grafting a competition onto an open mic. From my perspective an open mic should be the opposite of competitive. This is kind of an ideological issue with me--I don't even really believe in the Academy Awards. How can you have a "best" of anything when you're talking about art? I praise Lach up and down for providing people with opportunities over decades to perform and have their work heard here in New York (I even made a half hour film about that once). He created a brilliant scene that has given thousands of people, including me, a place to grow as artists, meet collaborators and friends, and find an audience. I know that he is doing what he thinks best to keep the scene strong at Webster. But again I say, forget the competition, it's nudity that will draw them in. Try nudity Lach, and cotton candy.
Next time, less pompous ranting, more reporting. Till then....
Everybody always thinks that their heyday in the scene was the best--and I'll admit that I probably sound like a curmudgeon-y old man by saying (with wobbly, weathered voice) "back in my day....."
Well, it's true, that I have seen many amazing songwriters grace the stage at Sidewalk, and it seems as if many more of them were concentrated in years past--but setting that aside for the moment, what about the sheer over-the-top energy that would frequently strike out from the stage? Just two examples--I only saw him once but I'll never forget this guy Thomas Truax who brought out some sort of Rube Goldberg-like mechanical wheel that had a protruding clapper attached which would make an electronic beat every time it rotated, and of course there's my friend Preston Spurlock who for a long while specialized in creating songs with Casio keyboards, electronic toys, tape recorders, and slide whistles. When Preston and his cousin Chase played a show at Sidewalk they wore matching outfits and pummeled each other with their fists, like something out of an old Loony Tunes cartoon or ancient vaudeville bit.
I'm not arguing that extremity is worthwhile for its own sake. It, of course, has to be accompanied by artistic merit. But what I am saying is that I hope people can push themselves past the easy answer and into uncharted territory of creative expression. Things go in cycles and that goes for Sidewalk too. You never know what's going to happen next week...so I will see you there, for sure.
So while I'm being cranky--I saw from Lach's email today that the Anti-idol competition is returning to the Antihoot at Webster Hall. I beat around the bush about this in my last post, but I still can't quite wrap my head around the idea of grafting a competition onto an open mic. From my perspective an open mic should be the opposite of competitive. This is kind of an ideological issue with me--I don't even really believe in the Academy Awards. How can you have a "best" of anything when you're talking about art? I praise Lach up and down for providing people with opportunities over decades to perform and have their work heard here in New York (I even made a half hour film about that once). He created a brilliant scene that has given thousands of people, including me, a place to grow as artists, meet collaborators and friends, and find an audience. I know that he is doing what he thinks best to keep the scene strong at Webster. But again I say, forget the competition, it's nudity that will draw them in. Try nudity Lach, and cotton candy.
Next time, less pompous ranting, more reporting. Till then....
Sunday, September 12, 2010
Monday Night Open Mic and Antihoot returns to Webster Hall
Both of our favorite impresarios are back in town. Ben Krieger was off on a manly man's week in the wilds of Oregon, and Lach has newly returned from a month in Scotland where he performed his one man show and ran the Antihoot as part of the Fringe Festival.
Things were kind of quiet at Sidewalk tonight. On top of the smallish crowd, Ben switched things up by making it a one-song per performer night all the way through. Just as I was leaving at around 10:45 or so they were going into round two in which everyone who stayed around could get up for another song. I like the idea of a one song all around night once in a while but with a smaller crowd I guess people could have stretched out a bit. Anyway, there's something to be said for maintaining a brisk pace.
Despite the low key crowd there were some interesting performers, Love, a Japanese songwriter/DJ performed as did a poet named Sophia who read an intense but interesting piece. It was great to see Ariel Bitran again who played some really cool and intricate guitar stuff. There was a Hungarian guy, Gabor, who lives in Italy who did a U2 medley, and oh yeah, there was me, who played the first new song I've written in quite a while.
Just as a few of us were talking about tomorrow's return of the Antihoot to Webster Hall Lach moseyed in. Word from Britain-at least what I read in the papers--is that Lach is the inspiration for a new breed of English Antifolk comedy--that's a story for another time but it sounds kind of interesting--maybe some of those folks will turn up at the Antihoot. Anyway, with the return to Webster people are wondering if the Anti-Idol competition will also be coming back. I was glad that when that wrapped up at the last show in July the five finalists shared in the prize (they were Tyler, The Fools, Supercute, Rob Shapiro, Cal Folger Day and Crazy and the Brains). Somehow it seems as if it would have been weird had there been a "winner" of the open mic. I get the sense that there are mixed feelings around about the competition with some folks taking it in stride and others feeling that it changed the vibe of the scene. My own thought is that this time around if extra promotion is needed maybe they could try something else like...nudity, for example. Or maybe free cotton candy. Or both. Anyway, I think it's good that the Antihoot is back. A nice scene developed there and it will be interesting to see how it goes as it revs up again. I'm sure that there are plenty of folks out there who will appreciate another place to play and work on their stuff. See you there.
Things were kind of quiet at Sidewalk tonight. On top of the smallish crowd, Ben switched things up by making it a one-song per performer night all the way through. Just as I was leaving at around 10:45 or so they were going into round two in which everyone who stayed around could get up for another song. I like the idea of a one song all around night once in a while but with a smaller crowd I guess people could have stretched out a bit. Anyway, there's something to be said for maintaining a brisk pace.
Despite the low key crowd there were some interesting performers, Love, a Japanese songwriter/DJ performed as did a poet named Sophia who read an intense but interesting piece. It was great to see Ariel Bitran again who played some really cool and intricate guitar stuff. There was a Hungarian guy, Gabor, who lives in Italy who did a U2 medley, and oh yeah, there was me, who played the first new song I've written in quite a while.
Just as a few of us were talking about tomorrow's return of the Antihoot to Webster Hall Lach moseyed in. Word from Britain-at least what I read in the papers--is that Lach is the inspiration for a new breed of English Antifolk comedy--that's a story for another time but it sounds kind of interesting--maybe some of those folks will turn up at the Antihoot. Anyway, with the return to Webster people are wondering if the Anti-Idol competition will also be coming back. I was glad that when that wrapped up at the last show in July the five finalists shared in the prize (they were Tyler, The Fools, Supercute, Rob Shapiro, Cal Folger Day and Crazy and the Brains). Somehow it seems as if it would have been weird had there been a "winner" of the open mic. I get the sense that there are mixed feelings around about the competition with some folks taking it in stride and others feeling that it changed the vibe of the scene. My own thought is that this time around if extra promotion is needed maybe they could try something else like...nudity, for example. Or maybe free cotton candy. Or both. Anyway, I think it's good that the Antihoot is back. A nice scene developed there and it will be interesting to see how it goes as it revs up again. I'm sure that there are plenty of folks out there who will appreciate another place to play and work on their stuff. See you there.
Thursday, September 2, 2010
Jofranna, Honeybird, Major Matt, Yossarian Feedback
The place was packed for Jofranna's ep release event last night. While Jofranna might not exactly rap with traditional rap authenticity, they do so in their own charming Jofrannaesque style. I really liked their songs, including the one about Coney Island and the one about old people (which I identified with to an alarming degree). The gals lathered up Luke Kelly with Vaseline to demonstrate a technique used by some of the kids Jofranna work with in NYC schools to prevent scratches, cuts and other facial marks when they get into fights--that was a little depressing to learn about, actually.
Honeybird was in from Italy and performed a cool song about their butcher. Major Matt gave a very solid solo show, and Yossarian Feedback surrounded himself on the stage floor with effects pedals, and electronics to perform some very cool stuff using recorded ambient sound and synthesized music etc.
Friday, August 27, 2010
Urban Barnyard, 8-26-2010
Urban Barnyard's show last night was really great. Excuse me if I'm not getting these titles right, but they played "Little Cricket's a Sex Machine," "Hot Dog," and "Wolves," among others, plus a cover of a Major Matt tune, and a new song. I hope someone recorded this (I say, selfishly). At the risk of being redundant-since I've written this kind of thing here numerous times before--Urban Barnyard is strong in so many ways--their songwriting is great, and their performing and playing are also excellent, but I think what really gives them extra added dimension is the way they arrange the songs, with interesting vocal harmonies, trading off on singing within songs, and unusual accompaniment ideas. There's something special about seeing them at Sidewalk or really in any intimate setting, with a bunch of fans and friends on their feet dancing. Hope they come back sometime soon--even if it does involve shipping in one of the members from across the country.
Wednesday, August 25, 2010
Hey, check out this article that is kind of about Sidewalk
Evan Schlansky wrote an article in American Songwriter magazine that covers the time he spent playing at Sidewalk. Check it out by clicking: here.
A brief commercial interruption
Many of you may already know this, but I figured I should take a moment here to mention that I have recently wound down my previous career in order to begin another, as a photographer. If you haven't taken a look before, my web site at www.herbscher.com features portraits of many folks from Sidewalk, and I also recently launched a photo blog at www.herbscher.com/blog. Plus there are a smattering of my photos illustrating previous entries in this blog.
I love taking photos of all types and have shot architecture, social events, still life etc. But I particularly enjoy portraits because of the mixture of the planned and unplanned, the collaborative and psychological aspects, and the visual and compositional challenges.
Now back to our regularly scheduled program....
I love taking photos of all types and have shot architecture, social events, still life etc. But I particularly enjoy portraits because of the mixture of the planned and unplanned, the collaborative and psychological aspects, and the visual and compositional challenges.
Now back to our regularly scheduled program....
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