Crushing Krisis

Category Archives: music

Things To Do In Philly, 8/31 Edition

Tuesday, August 31, 2010

Here is my totally biased and personally endorsed calendar of things to check out this week in Philly.

Let me know if you’re headed out to one, and maybe I’ll come too! And, don’t forget about my two upcoming shows:

Saturday 9/11 @ Collingswood 2nd Saturday, 6pm-9pm, Free!

Thursday 9/16 @ Tin Angel w/Dante Bucci, 8pm, $10

Cris Valkyria, as shot by me at the Northstar Bar, earlier this summer.

Wednesday 9/1
What: Amazing local indie rock!
Who: Post Post
Where: 7:00pm, Rittenhouse Square Park, Free!
Why: Filmstar split a bill with Post Post earlier this summer, and Post Post blew me away. Like a cross between Built to Spill & Thao w/the Get Down Stay Down. They will NOT be playing free shows in Philly for long, so get on it now!

Thursday 9/2
What: 90s-esque girl rock!
Who: Cris Valkyria & The Opponents
Where: 8:30pm, The Tin Angel, $8
Why: I was dumbstruck when I first heard the typically acoustic Cris with this fantastic backing band. Shades of Heather Nova, Bjork, Alanis, and Elvish Costello, among others.

Friday 9/3 (I’ll Be There!)
What: Gallery show opening & entrancing music
Who: Jennifer Vessells & Dante Bucci
Where: 5:30pm, Muse Gallery, 52 North 2nd Street, Free!
Why: Jennifer is an amazing visual artist whose paintings I completely lose myself in; Dante is a hypnotic hang drum player who I’m splitting a show with later this month.

Britt Miller's "Pieces of My Heart"

Friday 9/3 (I’ll Be There!)
What: Gallery show, drinks, & mingling!
Who: Britt Miller, my arty partner in FAME
Where: 5-9pm, Drink Philly Office & Gallery, 239 Chestnut St., 2Flr. B
Why: Britt and I keep each other on the path to fame, and this is one of the many gallery shows that are on her road this year. Plus, free food and drinks. Be there!

Friday 9/3
What: Chunky folk riffs!
Who: Andra Taylor supports Charlie Phillips
Where: 7:30pm, Burlap and Bean, Newton Square, PA
Why: Andra is one of my favorite people to split a bill with – if you share my love of Ani DiFranco and Patty Griffin you’ll adore her.

Friday 9/3 – Monday 9/6
What: World premiere play!
Who: Gina & Ocelot on a Leash Theater Company
Where: 3/4 @ 8pm & 5/6 @2pm, The Rotunda, 4014 Walnut Street, $10
Why: My musical other half Gina Martinelli costars in Prudence, a play by one of my former directors Mary Ellen Cosaboon. I got a sneak preview of this last fall, and it’s a legitimately funny – not some freaky unintelligible Fringe-fest-thing.

Saturday, 9/4
What: Local CD release!
Who: Boy Wonder
When: 7:00pm, World Cafe Live, $10
Why: Boy Wonder is a crazy-amazing songwriter – every one of his tunes is immediately catchy with some wicked guitar interludes. Also, one of the nicest dudes I have met in the Philly music scene.

Saturday, 9/4
What: Chill acoustic tunes!
Who: Bill McConney
When: 9pm, Myra’s Place, 615 Macdade Blvd, Collingdale, PA
Why: Bill’s folk riffs and legato baritone voice are sometimes a dead ringer for Nick Drake, but the songs are all his own.

Also filed in Philly, philly music | | Comments (0)

Guest-starring with Filmstar

Tuesday, August 31, 2010

Some things I learned about myself on Saturday, while performing my first gig as substitute-bassist with E’s band Filmstar.

I am not actually a bass player.
I am way hotter playing bass than I am playing guitar.
No matter how much I beat myself up about #1, I can’t even pick out most of my flubs on rewatch unless I was making a nasty face while flubbing.
I’m not actually conflicted about Filmstar.

That last one is the big news and the big surprise. When I last wrote last Friday I was wistful, thinking ahead to my imminent replacement in the band.

Before more blather, please witness our first public performance of my current favorite Filmstar tune, “Fall From the Sky.”

(I know, I’m using my first finger for everything. One step at a time, folks.)

Shortly after that performance I neatly resolved my conflicting emotions over a pint of Abita Purple Haze, a rare beer I will stop my life to drink.

Basically, I realized that – though I love both Filmstar’s songs and sound – what I really love is playing in a full, happy, committed band, with a chance to be significant without always doing the heaviest lifting in the band.

I’m incredibly happy to continue to do that with Filmstar as a bassist or in some other capacity, and I let the band know that in no uncertain terms. I do love their songs and their sound, and if I can push that further I’m all for it!

At the same time, I have to find a way to make my own music into something where I don’t have to be the heaviest lifter all of the time. Am I ever going to cede lead vocals? No – dueting with Gina is the closest I’ll come. But having a drummer, or other instrumentalists? Yes, that would take the pressure off of me – the constant beating myself up and assuming I’m not yet ready for primetime.

That’s what I love about Filmstar – that on Saturday I was not sure I was ready for primetime, but they were sure for me, and it turned out I was.

On the way home I asked E if I could be vain for a few minutes, and I put on the recordings of Gina and I playing Arcati Crisis tunes with Chaz on drums last fall. I’m still in love with them – in love with a recording of me almost a year later! That nearly never happens.

That’s what I want. I’ve got it with Filmstar for the moment, and that’s awesome. But this year I’m going to find it for myself as well.

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In (and out) of Filmstar

Friday, August 27, 2010

I’m conflicted.

Today I am bolting straight from work to rehearse with E’s band, Filmstar. I’ve been filling in as the band’s substitute bass player for about a month now, and tonight is our final rehearsal before I my first gig with the band tomorrow.

(This gig which will also be my first real gig on bass and my first gig ever that involves a road trip).

(!)

I’ve been incredibly energized by playing with Filmstar, even in my temporary capacity.

When it comes down to it I am a rock fan at my core, despite all of my folk-loving and acoustc-playing. I love getting to a point when a song begins to move your body, whether it’s your hips or your banging head.

My favorite example at the moment is probably the outro of this newer tune, “Fall From the Sky”…

“Fall From the Sky” also displays the more intangible aspect of why I’m enjoying myself so much: Filmstar is the sort of band that I adore. I love riff-y, female-fronted rock. Garbage is my favorite band of all time.

Filmstar’s sound is a mashup of influences – from Glenn, the guitarist and songwriter, lots of 70s and 80s Brit Rock, like The Clash and The Cure. In that same period E is a fan of The Pretenders and Joan Jett, but there’s only so far she can push that icier delivery. She’s way more in line with current stuff like Yeah Yeah Yeahs or Eisley.

Add to that drummer Zina’s efficient rhythms, which sometimes have a girl-group swish to them, and the combined set of influences pretty closely resembles… Garbage. My favorite band of all time.

Here I am, in the position of playing a style I really like, with a sound I really like, with people I really like. Oh, and I really like many of the songs, especially the newest batch of them.

It’s temporary. We all know this. My contract states this. Actual bass-players who have been playing bass for more than a cumulative four-month span of their lives are auditioning to take the spot over full time.

And, thus, I’m conflicted. It’s Glenn’s band, and it’s Elise’s passion project, but having peered into it I realize that there’s something there that I don’t have anywhere else. And while I can find that rock for either my solo music or Arcati Crisis, I’m not going to get the Garbage vibe from either of those. I don’t have the right ingredients, and Filmstar does.

So, yeah. I’m conflicted. I’ll report back after our gig tomorrow, perhaps with some video of me as a Filmstar.

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House Concert Highlights: Madonna, Mieka, & Elise

Monday, August 23, 2010

OMG you guys, you missed the best night ever. But don’t worry – I recorded it all for you!

Last night I supported Mieka Pauley at our first ever house concert, which was also ostensibly the CK 10th Anniversary Show. It was amazing. I had a great time playing songs I usually think are pretty hard, and Mieka was both flawless and real several feet away from my sofa.

Here’s two highlights I will treasure forever…

I cover “Ray of Light” for the first time ever, on my baritone guitar, which I had only figured out how to do about 24 hours prior.

Mieka plays her spectacular tune “Colossal” with impromptu, unrehearsed harmony from Elise, my wife and lead singer of Filmstar.

There’s way, way more where that came from. Also, my blog turns 10 in three days.

Did I mention that all happened IN MY LIVING ROOM.

CRAZY.

Also filed in Year 10, demos, madonna, performance, video | | Comments (0)

10 days, 3 bands, 1 brain

Tuesday, August 17, 2010

It is 10 days until Crushing Krisis’s 10th birthday and I am having an editorial calendar failure. And a brain failure.

Really it’s kind of an overarching not being able to do anything except nap and read comic books failure, which as failures go is not such a bad one. It’s way better than the “so overstressed I can feel the ulcers growing” brand of failure I was experiencing two weeks ago.

Actually, I think the napping and the comic books had a lot to do with escaping that particular pit of despair. Napping, comic books, little purple pills, and not drinking a gallon of lemonade every single day.

Meanwhile, in news related to the brain failure, I have discovered that being in three separate musical acts each with their own set of unique arrangements is the functional limit of my brain capacity. The wherewithal to recall all of those songs seems to have jettisoned my ability to return phone calls or schedule home repairs.

I am now off book on seventeen bass arrangements for Filmstar. As long as someone yells out what key we’re in at the start of the song I am fine, except for the one song that only makes sense if I pretend we are playing a David Bowie song. Like, if we begin and I’m like, “Oh, it’s a Filmstar song,” then I am a hot mess and play about two correct notes. But, if I instead say, “This is the secret, unreleased B-Side to ‘Suffragette City,’” then I’m fine.

Meanwhile, as Arcati Crisis Gina and I are working on two new songs, which – per our modus operandi – are completely different in every possible way from anything we’ve done before. One is an acoustic dance song from me equally influenced by Gaga and Heart, which I just previewed on our Facebook page.

(The other is a Gina tune which could be referred to as “Message In a Bottle from an American Girl in Russia,” but is actually called the much more succinct “American Mikaela.” It’s chorus hook is so destructively catchy that I have successfully lobbied to sing it three times as much as Gina originally planned.)

There’s also the musical artist that is me, who I can sometimes forget about in all of the commotion between the other two and commuting to my actual, fully-paid, highly-beloved full time occupation. He’s rehearsing to support Mieka Pauley this weekend at our house concert shindig, where he is rumored to debut a brand new Madonna cover (and, when you rumor something to yourself, it’s pretty sad if it doesn’t come true, so I need to get on that).

Meanwhile, ten years minus ten days ago I was sitting in a dorm room with a broken collar bone, registered for a year of music courses totally outside of my major and wondering if I would have anywhere to live in a month.

Ten years. Wow. What were you doing ten years ago today?

Also filed in Filmstar, arcati crisis, bloggish, comics, rehearsal, thoughts | | Comments (4)

OK Go and the Substitute Person

Thursday, August 12, 2010

Last week I posted about the fantasy of being a substitute person – filling in perfectly for a favorite band with none of the risk of being the permanent solution.

This weekend I saw the phenomenon in action when OK Go pulled a fan out of the audience to play “Here It Goes Again” with them on stage.

(Afterwards, OK Go was impressed by Eric’s performance, noting, “Most people think they know how to play it because they played it on Guitar Hero.”)

As amazing as it is to be the substitute person, it also uniquely rewarding to watch a substitute person succeed at their task. It’s as once-in-a-lifetime for an audience member as it as for the substitute!

My favorite substitute person memory is from 2002. Guster played our Drexel Spring Jam, and a young flautist in the audience convinced them to bring him on stage to play the flute parts at the end of “Fa Fa.”

Not only did he play the exact flute part from the album, he played arrangements of the horn parts and sang backing vocals.

That remains one of my favorite concert memories of all time.

Also filed in video | | Comments (1)

STICKY: Upcoming Shows & Events

Tuesday, August 10, 2010

Hear the music behind the blog – download free albums from me, my duo Arcati Crisis, and my wife’s band Filmstar (I’m currently filling in on bass). Then, see me play live!

Fri. 9/3 – Mon. 9/6 @ Rotunda in Philly: Prudence, a play
See Gina of Arcati Crisis in a Fringe Fest play (i.e., no Peter and not a concert).

Sat. 9/11 @ 6pm in Collingswood: Arcati Crisis, 2nd Saturday
Supported by Sarah Czechowski. Free music on the street!

Thurs. 9/16 @ 8pm @ Tin Angel: Arcati Crisis
Co-bill with the incredible Dante Bucci!

Also filed in Filmstar, Philly, arcati crisis, performance | | Comments (0)

Monday Mixtape, 8/9 Edition

Monday, August 9, 2010

I made you a mixtape!

A few weeks ago I received an email out of the blue from one of my favorite indie songwriters, the fantastic and frequently award-winning Mieka Pauley. Many moons ago I had volunteered our (former) house for a private show, and Mieka was finally ready to redeem our invite.

Such was the genesis of our impending house concert on 8/22, with Mieka Pauley and a special performance by yours truly, because this little shindig is AKA The Crushing Krisis 10th Anniversary Concert.

WOOT! (You can RSVP here.)

Mieka’s been on my mind all week, as is every one of Filmstar’s 17 songs as I try to absorb them all into my bass-playing body. Thus was the genesis of this mixtape. You can download all seven songs as a 38MB zip for a limited time.

1. “All The Same Mistakes” – Mieka Pauley
This was the free advance track from her outstanding 2007 LP Elijah Drop Your Gun. It’s an outstanding song, and probably the reason I chipped in towards her fan-funded album.

(watch on YouTube)

2. “The World Is Mine” – Filmstar
Despite it’s simple bass line, this song is the one that’s vexing me the most in rehearsal. Not coincidentally, it’s my favorite of all of their pre-2010 tunes. Watch it live on YouTube.

Filmstar and The Substitute People

Friday, August 6, 2010

I want to tell you about one of my fantasies.

(Don’t worry, it’s work safe.)

I fantasize about being a substitute person.

If you don’t know what that means, you clearly don’t watch Elizabethtown as much as E and I do. At one point, Kirsten Dunst’s Claire – a perennial second-place finisher in a life and love, muses:

60B!

You and I have a special talent, and I saw it immediately. We’re the substitute people. I’ve been the substitute person my whole life. … I like it that way. It’s a lot less pressure.

I’ve always had the fantasy of being the substitute person, but it took Claire to put words to it. Usually my fantasy goes like this:

A musician I really love – let’s say, Amanda Palmer – is in town, but they are touring without a certain band member – usually a guitarist or harmony singer. I’m at the concert, and when they start to play one of their big hits they stop and ask, “Does anyone know the [guitar/vocal/cowbell/whatever] part to this song? [I raise my hand.] You do? Come up here and try it.”

And then I get up and, of course, play the solo or sing the harmony to perfection, because I am obsessed with it. And then they ask me to sit in for another song. And another one. And then I hang out with them after the show and they fall in love with me.

Sort of like Courtney Cox in the “Dancing in the Dark” video.

I’m sure you have a similar fantasy, even if you aren’t a musician. Maybe it’s about stepping in with a sports team, or filling a hole on a big project in your office. It’s the opposite of the Actor’s Nightmare, where you’re stuck on stage with no idea what to do.

The allure of the fantasy is that we’re the substitute people. Just like a substitute teacher, no one is expecting us to do much more than fill a hole. Then, when we are amazing (or, at least, more amazing than adequate), they fall in love with us.

Having the substitute fantasy doesn’t mean you don’t like your life. I love being half of Arcati Crisis. But, every time I listen to E’s Filmstar demo record I catch myself thinking “I could walk right up and play all of those bass parts, if they needed me to.”

Well, two weeks ago life put my fantasy to the test when I wound up behind a microphone at a Filmstar rehearsal with a brand new bass hanging off my shoulder.

To make a long story short, Filmstar found themselves without a bassist, and I was called on my flippantly mentioned substitute-person fantasy of playing with the band.

I did know their songs pretty well – well enough to noodle along to their EP. Well enough to play bass on all fifteen of their songs? I didn’t necessary know every key, chord, and rhythm.

Oh, and there was the little detail of my not having played bass for seven years.

I decided that didn’t matter – I wanted to be their substitute person. E asked me to fill in on a Thursday. My new bass arrived on Friday. I arranged all the songs for myself on Sunday. I knew all fifteen of them for rehearsal on Wednesday.

We played every one.

This photo of me playing bass is nine years old, and this is as big as you're ever going to see it.

Was I awesome? No. Am I a bassist? Not by trade. But as a substitute person I was solid – I showed up able to fill the entirety of the hole in their lives, probably better than they anticipated I could.

I don’t know how long I’ll keep substituting with Filmstar, or if I’ll keep loving it. At some point a long-term substitute becomes your permanent solution, and surprising adequacy turns into lingering disappointment.

I’ve decided i don’t want to think it through that far. For the moment, I’m living my fantasy, and playing in an awesome rock band with my wife.

Sometimes we get we want in the most unexpected ways. What’s your substitute people fantasy? Have you ever got what you wanted?

Also filed in Filmstar, dresden dolls, elise, over-achievement, thoughts | | Comments (2)

do start believin’

Friday, June 25, 2010

A week ago I had just finished commuting home for the first time to my new house. Presently I am the merch guy for Filmstar as they split a bill with The Shondes at Tritone.

That’s the life, at the moment.

That, a seemingly unlimited amount of cardboard boxes in various states of unpack, and a steely, unflinching resolve to spend money on things like towel hooks and toilet seats. Whatever it takes.

We moved with no issue whatsoever, aside from only sleeping two hours in a 36 hour span. After all of the wacky settlement hijinks it was a bit of a letdown, where “letdown” means “totally awesome gift from serendipity.”

Things have generally been serendipitous lately, in a broad Alanis-Ironic reading of the term. I like to think it’s universe-funded payback for all the not-being-nasty I’ve done in the last year.

It’s hard. I’m nasty by nature. Or, at least, by nurture.

My high school graduation was 1/10 this big.

On Tuesday we walked into Trenton Arena, late for E’s brother’s graduation, to discover his face displayed on a jumbotron singing “Don’t Stop Believin’.” Apparently he was the only tenor confident enough to bring an appropriate amount of NJ rock to that Journey classic (by way of Glee), and so wound up singing Steve Perry lead at his own high school graduation to a half-full arena’s worth of crowd.

And now I am in an increasingly packed rock club, selling merchandise and recording video for my wife’s band while she rocks out in a rather short skirt which I heartily endorse. Later we will go back to our house, and sleep on a mattress on the floor. Tomorrow I will finish setting up my new recording studio and start playing music again.

This is the life.

Also filed in Filmstar, day in the life, elise, family, house, philly music, shopping, thoughts | | Comments (1)

I laugh until my head comes off (Amanda Palmer’s “Idioteque” debuts)

Friday, June 11, 2010

See that Radiohead lyric in the title? That’s my past two days. Work + House has reached absolute critical intellectual mass. Whatever that means.

I love Amanda Palmer, even if I don’t always love everything she does. When she said her next release would be an album of Radiohead covers on ukulele I was beyond skeptical.

The skepticism has ended – behold, her cover of “Idioteque,” released literally minutes ago.

I love it. I just love it. I’ve always loved the song, but the icy, withdrawn version on Kid A has never totally connected with me. Amanda’s sounds instantly familiar, as if it was the version I was hearing in my head all along.

For more on her upcoming album hit her “Idioteque” blog post; of note:

[buy "Idioteque for] a minimum donation of 40¢ (9¢ going to radiohead and the rest to paypal)

the album will be available … for a minimum donation of 84¢…some stuff i’d like you to know about that 84¢:
- 54¢ of it is going directly back into radiohead’s pockets (the cost of selling my covers of their songs)
- the remaining 30¢ will be going to paypal to cover the transaction fee

There is no physical release beyond a limited edition LP, and anything beyond the minimum donation for digital is 100% gross profit for Amanda, which will help her recoup her production costs.

Is this the new model of indie music? I hope so, as it’s exactly what I would do. I guess we’ll see soon enough.

Also filed in dresden dolls, music biz, radiohead, thoughts | | Comments (0)

Wednesday Morning Remainders

Wednesday, June 9, 2010

I could write a post about each of these links, but in ten years would that be interesting to read? Maybe they need the context of each other to create a narrative beyond their end destinations.

Here we go.

1. Ever fantasized about being a globe-trotting musician headlining your own tour? Amanda Palmer does just that, and her no-holds-barred look at managing the business of her music while on tour via email will either thrill or terrify you.

2. On the way back from our aborted-by-clouds skydiving attempt Wes played a hilarious NPR show/podcast called Wait, Wait, Don’t Tell Me, an hour-long quiz show that’s part Daily Show part Whose Line Is It Anyway. As I’ve recently mentioned, I can be a humorless curmudgeon, but the show’s mix of news, puns, and grammatical humor struck a chord with me. Derek Powazek discusses how the Wait, Wait formula is crowd-sourcing done right.

3. Skydiving was my present to Wes for graduating from Temple Law. HuffPost interviewed Nikki Johnson-Huston, who went from homeless to college-dropout to award-winning graduate of Temple Law. (via JoeBeta)

4. My friend and fellow sky-diving companion Chris is the glassblowing apprentice at Old City’s Hudson Beach Glass, where they are having a design-your-own-pint-glasses special through this Sunday to commemorate Philly Beer Week. I’ve been remiss in not dropping by for one of their open-studio days – an issue to be amended soon. (via UWishUNu)

5. Reminiscent of my blog-buddy Unsolicited Analysis, You Are Not So Smart tackles common misconceptions with detailed take-downs. Their recent “Misinformation Effect” addresses a recurring theme of CK, the persistence and reliability of memory. (via Kottke; on a related note, see his post on “mesofacts”)

6. Also in the UnAnal vein, Flowing Data blogs data visualizations, like heat-mapping tourist routes based on the volume of photographs by location.

7. Are you a worry-wart about things like burglaries, shark attacks, and plane crashes? Meg’s Tumblr provides a handy graphic to divert your fears to identity thefts, dog bites, and automobile accidents. The greater, more probable danger is often in plainer sight than the more fearsome, relatively exotic danger.

8. Do you wield your iPhone or iPad outdoors and while mosquitoes enjoy your pale, savory flesh? Grab an anti-mosquito iApp that broadcasts high frequency noise that’s a total buzz-kill for the pests. (via MightyGirl)

9. Speaking of iPad, imagine if every seat at your longest meeting had one. Seth Godin did just that. Would meetings really become more efficient? Seems like it would apply favorably to political processes as well (and I know some congressional or parliamentary bodies use a similar system).

10. Last month Danny Brown presented a post of his 17 top WordPress plugins, many of which I’ve added to CK in the intervening weeks. Now that I see them in action, it turns out they’re as ubiquitous as they are ingenious, and thanks to them my quality of blogging-life has greatly increased – thanks Danny! I’ll add the suggestion ofAfter the Deadline – a proofreading plugin for both WP and your favorite browser.

11. Design blog NotCot presents a detailed look at the farcical Pre-Handshake Handshake Device from artist Dominc Wilcox. I need Dominic to design a body-suit in a similar style for me to wear on the El…

12. … and/or, when I am all hot post-hypothetical-triathlon, I can buying some Matrix-style gear from Ego-Assassin. (via Warren Ellis; I’ve been reading his Planetary)

Wow, they really did end up as a narrative … for me, anyway.

Also filed in Philly, linkylove, music biz, under my skin, weblinks | | Comments (2)

Conan O’Brien, Tina Fey, and The Chuck Norris Rural Policeman Handle

Tuesday, June 8, 2010

Okay, this is the last one, I promise.

(Seriously, if this had happened on television I wouldn’t care at all, but it happened in real, physical space and I want to share it with you because it was just ridiculous.)

Photo via my lovely date for the evening, @brimil

A recurring theme of “The Legally Prohibited from Being Funny on Television Tour” was all of the things Conan O’Brien isn’t allowed to do. He joked that not only is he prohibited from being funny on television until September, but he is prohibited from appearing on TV entirely and so are similar likenesses, such as Johnny Neutron and (hilariously) Tilda Swinton.

Conan made a big deal over wanting to do his “Walker Texas Range Lever” bit for the tour even though NBC may hold the rights to that title. So, he instead presented “The Chuck Norris Rural Policeman Handle.” Each pull of the handle produced a riotously out-of-context Norris clip.

After pulling the handle for a few choice clips on his own, he brought out Tina Fey to do the honors. Except, Tina’s clips weren’t so much hilarious as they were disturbing…

The best part is Tina’s face after the third clip at 4:21. Priceless.

Visit the “Legally Prohibited” tour Wikipedia page for the full list of guest appearances. Only the LA and NYC shows manage to trump Tina Fey and Trey Anastasio as special guests (the first night in Radio City Music Hall featured the ridiculous array of Stephen Colbert, Jon Stewart, Paul Rudd, Bill Hader, John Krasinski, and Vampire Weekend).

Considering I originally bought my quartet of tickets to scalp for a profit to Conan-obsessed fanboys, I’d say that my attending the show and witnessing all of these hijinks this would be the highlight of my year if I wasn’t buying a house in seven days. And this is coming from someone who just jumped out of a plane and was almost murdered by pine barren monsters.

Also filed in concerts, teevee, video | | Comments (0)

Triumph the Insult Dog insults Philly

Tuesday, June 8, 2010

I am an avowed unfan of Conan O’Brien‘s Triumph the Insult Dog, but even the stoic curmudgeon in me must admit that the execution of this bit was hilarious. At one point I shared a look with Melissa that indicated neither of us could breath from laughing so hard.

Also filed in concerts, philly music, video | | Comments (1)

The More You Know (featuring Tina Fey)

Tuesday, June 8, 2010

Things I have learned about myself in the past 24 hours:

Being able to walk six miles in 72 minutes has no bearing on being to run at all for any length of time.
Every jog must begin with the theme from Buffy the Vampire Slayer or “Hypnotize” by Notorious BIG.
Mid-jog rallies should be set to “Build Me Up Buttercup” for maximum effectiveness.
I have a LONG way to go before I’m ready for that triathlon I claim to be doing in August.
My hair is awesome.
Wait, I knew that one already.
Oh, here’s a new one:

I will unleash the most primal, gut-wrenching, OMG-it’s-the-Beatles! scream if Tina Fey suddenly appears in the same room as me.

Conan & Tina backstage @ The Tower, swiped from Conan’s blog.

Usually I am pretty cautious about my voice at shows, using only my particular (and well-supported) soprano wail for cheering purposes. However, last night when Conan O’Brien welcomed Tina Fey onto the stage at the Tower Theatre (making her entrance performing the cheer of what will be my neighborhood high school in eight short days, no less) I completely lost my mind.

And my voice. I can’t especially talk right now.

Allow me to repeat: I was in the same room as Tina Fey. TINA FEY.

(And let the record show that my crush on Tina Fey predates 30 Rock ENTIRELY. I have been in love with her since her first SNL “Weekend Update.” Ask Erika.)

In other news, I have to buy one of those armband iPod holders, because my underwear is not a proper home for my music collection.

Also filed in Philly, concerts, fitness, memories, teevee | | Comments (2)

Oldies Aren’t So Old Anymore

Monday, June 7, 2010

I have been a huge Madonna fan for essentially my entire life – I have distinct memories of spinning the 45 of “Dress You Up” and its b-side “Shoo Be Do,” which came out when I was three-and-a-half.

My father is a different story – and not just on Madonna. I don’t think I’ve ever seen him actively listen to a single song released after I was born (except, occasionally, Billy Joel). His taste in music is firmly rooted in the 50s and 60s – doo-wop, Motown, and early rock – and the radio in his car was permanently and without question tuned to Oldies 98.1, WOGL.

No exceptions, no Madonna tapes. Oldies 98.1 or else. And we spent a lot of time in that car.

When I first was old enough to care about radio stations I thought it was an annoying and restrictive rule. Seriously, no new music? How uncool was that?

Then I got to know the songs. At age five I would perform flawless choreography to “Stop! In the Name of Love” and sing along in parking lots to girl-group classics like “I Will Follow Him” and “Leader of the Pack.”

Those were the obvious oldies – Supremes and Stones, Beatles and Temptations. I’ve owned them for years. But WOGL was more than that – a never-ending stream of doo-wop, 60s pop, deeper cuts, and one-hit wonders. After years of riding around Philly with my dad, to this day I have instant and total recall whenever I hear a classic like “Lightnin’ Strikes.”

Relatively early in my life I remember asking him, “Dad, how old will I be when they play Madonna on WOGL?”

We did some math. Despite playing a lot of Doo-Wop, at the time the majority of WOGL’s songs were grouped around the late 60s and early 70s (disco was relegated to its own hour at night), so my father took The 5th Dimension’s “Age of Aquarius / Let the Sunshine” in as an average example.

“Well, ‘Aquarius’ went to number one in 1969, and now it’s a song we hear a lot on WOGL, in the 1980′s. So, it took it almost twenty years to become an ‘oldie’.”

“So, I’ll hear ‘Holiday’ on WOGL in… um… 2004?”

He laughed. “When you’re 23? Maybe. I don’t know if they’ll ever play Madonna.”

I giggled my agreement – how could Madonna ever be an “oldie”?

Now a full five years past his predicted 23, I’ve heard Madonna on WOGL. It makes a certain amount of sense – she’s an oldie to someone!

What my dad and I didn’t anticipate on our idyllic long rides was that when the oldies’ qualifying line reached forward into the 80s that the oldest tunes would reach their expiry. First it was the more obscure, one-hit doo-wop that went extinct – yes to “The Still of the Night,” but no more spins for The Del Viking’s “Come Go With Me” (very nearly my favorite song all time).

Then it was Doo-Wop entirely. Then the line crept into the sixties pop, slicing through all but the most enduring Motown and Brit Rock – stuff you can still hear on television commercials. Smaller pop singles like Lou Christie’s “Lightnin’ Strikes” went MIA. Now the midday playlist is mostly 70s classic rock and disco in the day time – where it should never show its spangled face.

Songs I once assumed would be forever woven into the fabric of my life have all but disappeared. Now I rely on random trips to the supermarket to jog my memory – that’s what it took to unearth Friend & Lover’s “Reach Out Of the Darkness” – and it’s from as late as 1968!

The same me that grew up with Madonna grew up with those songs, and this morning when Philebrity‘s Joey Sweeney posted his unfinished thoughts on WOGL 98.1 FM’s recent inclusion of hits from the 1980s into the canon of “Oldies” – complete with name-checking “Come Go With Me” – it resonated with me (and, from the looks of the comments, it resonated with a lot of other 20- and 30-somethings as well).

Yes, “Borderline” is an oldie now. But it’s on other formats, and on Greatest Hits CDs still moving thousands of units a year.

What about “Come Go With Me”? Will any eight year old Gaga-loving kid ever have the chance for that to be his favorite song? Has doo-wop seriously gone the way of ragtime and big band – a dusty antique with no relevance to today.

Probably. I guess that means when I have kids I have to alternate between Madonna and doo-wop on every car ride to make sure they know all of their musical fundamentals.

Also filed in essays, family, linkylove, madonna, motown, thoughts | | Comments (1)

Phillyist votes a qualified “NO” on Philly promoter bill (#100267)

Friday, May 21, 2010

Short version: Phillyist used me a source for an article about the proposed Philly promoter bill! They agree with me that the bill is well-intentioned but misguided, and will likely do more harm than good to the city and its blossoming music scene.

Longer version:

Over the past two weeks Philly performers and promoters have been up in arms about a Philadelphia City Council bill (#100267) proposed on April 22 that would require local venues and promoters to be more closely licensed and monitored.

How closely? The following passage is drawing most of the ire:

A Promoter of an event must obtain a promoted event permit from the Police Commissioner for each such event. Application for such promoted event permit shall be made in writing to the captain of the police district in which the event is to take place at least thirty days prior to such event …

The application shall be deemed approved unless it is
denied at least ten days prior to such event.

…must include all of the following:
(i) The promoter’s business privilege license number;
(ii) A detailed security plan…
(iii) A copy of the written contract between the promoter and special assembly occupancy licensee.

Speaking anecdotally from personal experience, let’s just say that I’m not always booked 30 days in advance, the promoter is often me or a friend putting something together on a lunch break, that our shows don’t usually require private security, and that I very rarely have a written contract to refer to as an artist or a promoter!

I have a lot of other things to say about the bill, and how it would have completely altered my opportunities as a musician as well as a promoter for our festival and #blamedrewscancer. While that opinion continues to brew into a post, Joe Ross of Phillyist did a great job of distilling my rambling to two succinct soundbites:

Peter is in support of the petition to kill the bill because it appears to limit the opportunities available to the local music scene, saying that “to try to legislate every performance takes away a lot of those opportunities — not only for artists, but for indie venues and promoters.”

Peter also had doubts about the solution we suggested above. He told us “that might just encourage known promoters to charge new, indie artists and promoters to use them by proxy. The entire system invites abuse.”

For more background on the bill, the petition, and how the two can be reconciled, check out Phillyist’s entire article on the topic.

(Also, many thanks to Joe for the multiple-platform shoutout to both my musicianship and my blogging!)

Also filed in Philly, my music, philly music, politics | | Comments (2)

I’m a dreamer (but I’m no Paul McCartney)

Wednesday, May 19, 2010

Last night I dreamed a song. It was not the first time.

I used to brag in grade school that I could memorize my bible verses by osmosis. I’d just practice them before bed and then sleep with the bible open next to my pillow.

I was joking, of course. It was just the good luck of a procrastinator whose talent for memorization outstripped his clear distaste of repeating maxims from centuries old dead guys.

Well, it turned out that I wasn’t entirely joking. My subconscious studying continued into college, as I would compose French essays in my head while asleep and then jot them down in the morning before class.

Ultimately, the brain – or, at least, my brain – has a lot of extra wiring that our (my) conscious thought can get in the way of. Resting opens those circuits, and when it came to bible verses and French homework it was installing a new stick of RAM into my biological computer.

I don’t recall when I first started dreaming songs. I know the first success was “Standing” which came in so powerfully that it literally woke me up! It also surprised the hell out of me, because the genesis of it occurred entirely while I was asleep. I didn’t have the basic lyrics or a melody worked out, resting next to my head like my erstwhile bible. Like asexual production or spontaneous combustion, “Standing” wrote itself.

If that sounds weird and implausible to you… well, it is, but I’m not the only weird and implausible songwriter out there. Allow me to present exhibit A, Sir. Paul McCartney, describing the genesis of “Yesterday“:

“I woke up with a lovely tune in my head,” Paul McCartney recalled to his biographer, Barry Miles. “I thought, ‘That’s great. I wonder what that is?’” He got up that morning in May 1965, went to the piano, and began playing the melody that would become “Yesterday.” At first, lacking lyrics, he improvised with ” Scrambled eggs, oh my baby, how I love your legs.” While he really liked the tune, he had some reservations: “Because I’d dreamed it, I couldn’t believe I’d written it.” – Betsy Querna, US News

There you go. It’s not totally unprecedented, because a Beatle did it, too.

Dream songs don’t always write themselves. Sometimes a dream person writes them for me. In one instance, Madonna sang me a song while playing it on an acoustic guitar, claiming it was a cover by REM or Wilco. I woke up really wanting to hear the song, but searching it’s lyrics and melody yielded nothing. Or, in the words of Sir Paul:

So first of all I checked this melody out, and people said to me, ‘No, it’s lovely, and I’m sure it’s all yours.’ It took me a little while to allow myself to claim it, but then like a prospector I finally staked my claim; stuck a little sign on it and said, ‘Okay, it’s mine!’ It had no words. I used to call it ‘Scrambled Eggs’. – Paul in Paul McCartney: Many Years from Now

Of course, Paul didn’t have Madonna singing the song to him in his sleep claiming it was a cover! For a precedent on that, I turn to my resident loon muse, Tori Amos, talking about her ballad “Hey Jupiter” from Boys for Pele on VH1 Storytellers:

Let’s see, I was lying in bed. Um, strange things happened to you on tour, Like strange Englishman start sitting at the end of your bed – apparitions of dead guys. And they start singing songs to you. And this guy was definitely dead, and he was definitely singing to me. So I’m confused about the copyright laws. I’m not sure if I need to call his ex-wife and give him part of the song or not. But why should I do that! She’s rich, she’s not nice. So … I kept the copyright, and the song’s mine.

Thus, I didn’t have to credit my imagined Madonna (or anyone else) for the tune, and so the yet-to-be-recorded “Message” became mine.

I’m not sure about last night’s song, yet. It didn’t come with lyrics like “Standing” or “Message,” possibly because in my dream I was distracted by the effort of walking on stilts while I was singing it. However, it did provide a full, two-handed piano arrangement. I literally woke up, walked to the keyboard, and played the song without much pause.

I wonder, what is it I have to put into my brain to have it pop out songs like tiny ping pong balls from a lotto machine? Can it be predicted? Is it something I ingested yesterday? I’m pretty sure I’m not ingesting some of the things Paul and Tori have ingested…

Or, are Paul and Tori and I just wired that way?

Is one of your favorite singer-songwriters also a songdreamer? Please point me towards their story!

Also filed in beatles, songwriting, tori | | Comments (1)

A New Band a Day

Saturday, March 13, 2010

E has a way of ferreting out great new blogs out of nowhere.

Recently one of her finds was an awesome Brit blog A New Band a Day, which provides literate, in-depth looks at young bands on a daily basis. Author Joe Sparrow is deft and opinionated, and the combination makes for a blog filled with love letters to music and withering op eds.

One such op ed that got my attention was “The Trouble With Live Gigs,” which lamented the false promise that live is the only way to hear music. I responded at length in comments, and Joe was so ultimately cool as to collect my commentary into a massive guest editorial, which runs today.

Head over to read The Trouble With Live Gigs: A Response, by yours truly. And stay awhile to discover and download new music.

Bonus new music: Want the Philly local equivalent of New Band a Day? Philebrity just posted ten of their favorite tracks from Philly’s indie music scene, with photos, writeups, and streams for each band.

Also filed in linkylove, philly music | | Comments (1)

Open Mic-ing: Crossroads to McGillin’s, and the distance between

Friday, March 12, 2010

Last night I got it in my head to undertake a feat that I have only succeeding in once before – attending two open mics in one night.

This is especially tricky for me, since I turn into a very unmusical pumpkin if I stay out past midnight, but this week I had motivation – I was determined to get my new tune “Dumbest Thing I Could Do” out of my living room (where I blurrily video-demoed it earlier this week) and into the ears of as many people as possible.

Thursdays present a perfect non-pumpkin opportunity to do just that. First, hit the early open mic at Crossroads hosted by my dear friend Victoria Spaeth. Then hit a standard-timed one, playing in the first half. A popular choice is to hit nearby Buckets bar & Grill after Crossroads, but that puts me farther from home. Instead, I substituted McGillin’s, a super-popular pub in Center City.

Crossroads Coffee
Crossroads is an unpretentious coffee shop on Ridge Avenue in Roxborough/Manayunk. The counter at the front the shop opens up to a two-story, all-wooden room complete with a wrap-around balcony on the second level.

While I wish it had more of their comfortable armchairs and that the balcony was given more attention, I love the space for its golden natural acoustics. You barely need amplification. Also, the staff is super-friendly (shoutout to MIKE!) – full of suggestions of pescetarian food and their favorite drinks (last night: chai latte with a shot of espresso, which would have turned me into a human squirrel, so I just had tea).

The open mic was front-loaded with a lot of my favorite Philly performers. Vicky is quickly becoming one of the best singer-songwriters in the entire Philly scene, and now that she plays with a band it’s a rare treat to see her solo – especially doing newer tunes like “Electric Love.” (I’m still hunting a solo version of “Breathe & Release,” which may wind up being my song-of-the-year if she finishes recording the damn thing).

After our back-to-back sets I caught up with Joshua Popejoy (disclosure: client; awesome acoustic rocker) who is putting the finishing touches on a solo record bearing the title After the Ash. I have been dying for a studio version of at least half of the tracklist, so I encouraged him to FINISH IT ALREADY! (I can shout these things because I actually finished my own long-promised solo record.)

I also chatted up my open mic buds Bill McConney and Alec Stewart, both in fine form. Plus, Aaron Brown, who I’ve rhapsodized over previously. He’s got a songwriters-in-the-round show coming up at Tin Angel on 4/15.

Crossroads Coffee House. Thursday night open mic, signup ~6:30pm, music ~7:15pm. Usually limited to ten acts, two songs each. 6156 Ridge Ave., Philly, 19128. (Hint: Take the 9 bus from Walnut up Ridge Ave.)

After another songwriter (whose name I missed! I’m lame!) I had to excuse myself to bus down to CC, though in retrospect I could have spared another half hour. Deposited at Broad & Chestnut (by a Septa bus that did its best to run me over while I stood INSIDE THE BUS STOP), I wandered in a circle trying to remember which street leads to the special Underland occupied by McGillin’s.

McGillin’s
McGillin’s is the oldest continuously operating tavern in Philadelphia. It’s tavern in the classic sense – not dive-y in the least, a menu full of hearty, affordable food, and a lengthy beer list.

The best time you can have there is with a big crowd – either of your own making, or during one of their famously great karaoke nights. However, it’s a Philly open-secret that they also host an open mic night on Thursdays in their upper level, with its 20-foot antique oak bar.

The McGillin’s open mic is cool for a few reasons. The aforementioned food is high on the list. The setup includes a raised stage, sturdy stools, and a spiffy pair of wireless mics. The room can be still packed from happy hour, which gives you an audience happy to sing along to covers. And, host Mark is the friendliest possible dude in the world – affable, knowledgeable, and he makes me feel like I’m playing Madison Square Garden.

Last night the lineup was sparse, which meant mega sets for all. I played a monstrous five songs, including “Bad Romance” (HUT!) and a slinky, sweaty, rocking version of “Dumbest Thing I Could Do” (YES!).

While Mark played I got to know Philly bassist Mitch Beer. Mitch splits time between his supergroups BAM! and Soulfatronic while gigging with other local and national acts. He toured with Diggable Planets last fall, and might be heading out with them again soon! A very cool dude I hope to meet again.

McGillin’s Old Ale House. Thursday night open mic, signup from 9pm, start varies. 1310 Drury St., 19107. (Hint: Walk south on 13th from Chestnut; Drury is on your right.)

All in all, a great night of music. I even made it home before pumpkin time!

Also filed in performance, philly music | | Comments (1)

Open Mic-ing: Time, and the stuff that happens there

Thursday, March 11, 2010

Tuesday night Gina and I went out to our first open mic in a while as Arcati Crisis. Between a holiday break, my never-ending February malaise, and a death in her family, we’ve probably seen less of each other so far in 2010 than we have in any year since early in college.

As a remedy, our first order of business was to head to one of our favorite open mics – at Time Restaurant on Sansom Street.

Time is one of the nicest rooms hosting an open mic in Philly at the moment. Beautiful atmosphere, great wines and beers, an actual stage(!) with drums and an upright piano, and an always chill audience who actually listen. Plus, a super-cool pair of attentive hosts in Mark and Pete G.

Then there are the artists. Time tends to be a hub of cool musicians, and you never know who you’ll run into. Tuesday it was Cris Valkyria, Casey Alvarez, Dante Bucci, Victoria Spaeth, and a lot of other familiar faces. New ones too – Benn Rabb visiting from Connecticut, and the nicest possible dude named Nathan, whose CD (and last name) is still in Gina’s possession.

Unusually, there was only a single microphone stand around for the night.

If you’ve ever seen (or even heard) Gina and I, nearly every one of our tunes has heavy duty harmony throughout. When I saw the single stand, I had a prima donna moment where I was like, “How can we even do this? WTF?”

I decided to turn a weakness to a strength. What if we did our hardest core of hard core harmony tunes together – face-to-face on a single mic? Wouldn’t it just make the spectacle of us a little more spectacular?

Well, I think it did. And, honestly, it was a lot of fun. We’re so used to our unamplified, unmodified voices that many times striking a perfect blend through a PA system can be more than a little daunting. What better solution than to just put the two of us into a tiny space and let us feel things out?

We played a good set, and had a good time. If you’re a Philly songwriter – or, a Philly wine-lover who also digs singer-songwriters – Time on Tuesday nights is prime destination.

Time Restaurant. Tuesday night open mic starts around 10pm. 1315 Sansom Street, Philly, 19107.

Also filed in arcati crisis, philly music | | Comments (2)

Funk-Breaking with Katie Barbato

Monday, March 1, 2010

Well, here we are in March, with any February funkiness finally shrugged (even though the streets are still not quite cleared).

I have so much weekend to tell you about (Presenting at TrendCamp! Our first Arcati Crisis show of 2010! Another performance upcoming at Tin Angel!), but first I want to focus on my funk-breaking.

Even the cheeriest, most pro-active person (i.e., me, possibly you?) can fall prey to a crummy mood – where nothing we do seems to be worth doing. That was my February Funk.

Of course, funk is not exclusive to or contained within February. Nay, THE FUNK can capture you at any time of year. We’re just most susceptible when it’s dark and icy and we haven’t had a garbage collection for 16 days.

When you are me, and spend your spare time opening up your head and letting art out, THE FUNK is a pretty crippling condition. My internal editor is vicious enough already without any added incentive!

Luckily, I have the good fortune to be friends with many other people who have art inside of their heads, one of whom is Katie Barbato.

I’ve blogged about Katie before. She is an outstanding songwriter, a typically flawless singer, and leader of The Sleepwells, one of my favorite local bands.

Katie, too, had fallen prey to THE FUNK, and invited me over to her apartment for a serious funk break-up session. There was fresh hummus, sugar cookies, a stunning view, and Katie and her amazing songs.

And calling it quits with THE FUNK.

Over several hours Katie and I curated our own special mashup of VH1 Storytellers and Rock Opera, following a narrative from the dumbest things we could do to contending with the apocalypse to the stories of what we had lost in 2009.

Sometimes I can be so insular in my shared songwriting space with Gina that I forget that there are others out there channeling their feelings into songs – and that their feelings can be pretty similar to my own.

Not only did Katie share feelings, but she shared some stunning tunes. A few familiar ones, as well as some brand new ones being birthed. Katie writes with such beautiful, intuitive voice-leading – it was a special treat to follow along from across the couch instead of from across the bar. I should have been jotting down the names of tunes as we went, because I came away with several new favorites.

By the time we made it to our last songs and I played the mated pair of “Shake It Off” and “Regenerate” their equal parts rage and resignation came hurtling through me so strongly that my whole body was trembling for minutes afterwards.

As I wrapped myself up for a walk home through twinkling flakes of snow, I realized that Katie and I had shaken off THE FUNK. It was replaced with the purpose and self-respect I had been missing.

Every day since then has been awesome. Thank you, Katie, for sharing your songs and having the sense to shake us out of THE FUNK!

Gentle readers, if you too find yourself mired in funkiness you should seek out the coolest person you have interests in common with and have them BREAK YOU OUT!

I have a bit more news about Ms. Barbato and The Sleepwells, but that will have to keep for another few days. Let’s just say, you’ll have a chance to see a version of our funk-breaking shtick for yourself very soon…

Also filed in introversion, malaise, philly music, songwriting | | Comments (3)

St. Vincent stuns at First Unitarian

Friday, February 26, 2010

Last night I saw St. Vincent play the final show of her US tour to a captivated audience at the First Unitarian Church.

I have never seen a show at First Unitarian before (blasphemy for a Philly music-lover, I know). The show was upstairs in the church proper – a church in the warmest and most inviting sense, and with wonderful acoustics. It was a perfect fit for St. Vincent’s precise, melodic orchestrations.

Backed by a woodwind player, violinist, bassist, and a spectacular drummer, St. Vincent stunned me throughout her set. I think I was most stunned because I got to take the show in alone and with no context – alone in my head, contending with such a remarkable show.

I like going to concerts alone. For all the fun of sharing a music experience with friends, their proximity can take me out of my connection to the music. Are they comfortable? Can they see? Do they know this song? Why don’t they want to dance? Sitting solo at the end of a pew my connection to the music was direct – some songs found my gaze raptly on her fingers, others eyes closed and inside of my own head.

As for context, I don’t really know anything about St. Vincent – I didn’t even know what instrument(s) she would be playing! That left me completely agog at how her five-piece recreated lush album arrangements with both fidelity and embellishment.

Most of my St. Vincent listening is spent repeating first half of 2009’s Actor, so I was worried I’d be bored after she tore through spotless takes on “Save Me From What I Want,” “Neighbors,” “Laughing With a Mouth Full of Blood,” and a crunchy “Actor Out of Work” for her first four tunes. That boredom never came. Even as we tread into songs I recognized less, each was intelligible and compelling. Neither foreknowledge nor committing songs to memory were pre-requisites for enjoying the performance.

I came away completely in awe of Annie Clark AKA St. Vincent. Her vocals were perfectly controlled throughout the show, on par with or besting her delivery on disc. Especially impressive was her guitar work, which is obscured beneath lush arrangements on LP. At the show it was much more prominent. On “Mouth Full of Blood” she navigated a series of classical-style walks and hammers, but she also worked fuzzed out riffs on the later “Marrow,” and an evocative solo and blast of utter noise on encore “Your Lips Are Red.” Also, her clean guitar tone was simply to-die-for.

Clark was winsome between tunes, gently thanking a crowd that receded into rapt silence after each bout of thunderous applause. She was clearly delighted to be playing for us, and was disarmingly frank when she confessed to the effect of, “Philly shows are great.”

I have to applaud local promoters R5 Productions for the presentation. The show was sold out, but not oversold – everyone was comfortably seated. The mixing was utterly perfect, whether that was due to St. V’s front of house guy or a well plotted sound system (probably both).

Altogether, a fantastic experience. I’m so happy that snow and slow SEPTA didn’t leave me couchbound for the night.

Also filed in concerts | | Comments (1)

It’s good enough for whales, dude.

Saturday, December 12, 2009

We just got through sitting in our parked car eating dumplings, a queer little Saturday night date in the midst of this insanity of rock shows and serious theatre and made up awards.

Based on two visits, I love nearly everything from Vanessa’s Dumpling House on Eldridge Street, but my shrimp dumplings were not what I expected. I’m not sure what that expectation was, but it wasn’t a dumpling with dozens of teeny shrimp all nestled inside with no seasoning to speak of.

Ever since I saw District 9 I’ve been a little leery of shrimp eating, and the dumpling of a thousand shrimps was not making the shrimp-eating experience any less ooky.

I turned to E for some comfort.

P: These dumplings have, like, thousands of tiny shrimp inside of them. It’s a little creepy.
E: Like sea monkeys!
P: You’re not helping.
E: Or krill!
P: Okay, now I’m done.
E: Hey, it’s good enough for whales, dude.

E and the band were pretty good, although I can already tell she’s not going to like the video because she wasn’t happy with her vocals (she’s been pretty sick since Thursday). Every time I mention a good spot she has a bad spot to match.

I’m always inconsolable after a performance, for better or for worse. Either I know in my heart it was awful, and no coaxing can convince me otherwise, or I’m sure I was excellent and need no further discussion on the topic (Monday being a prime example).

I won’t rattle her cage any further about it being good or not. We’re off to peek into bro’s cast party to catch up with various sibling units before bed.

Also filed in Filmstar, Year 10, elise, food, memories, nyc, stories | | Comments (1)

Filmstar @ Fontana’s

Saturday, December 12, 2009

I am in Fontana’s in the middle of Chinatown in New York waiting for Filmstar to play, and Emily Cavanagh is talking to me from the stage.

Well, not just me, but it might as well be, because she has that kind of stage presence where she is drawing us in instead of pushing herself out.

We are in the midst of a Santa bar crawl, she informs me, clad in a short red skirt and candy cane striped, fur-trimmed arm warmers.

Emily’s three piece is fun and jazzy, and I am marveling at the merry-go-round of NYC music. I might hate it here (not really) (okay, really), but there’s such a wide range of music to hear. I mean, there’s a show with this fun jazzy stuff followed by Elise and the band glam-rocking through a Filmstar set.

I don’t feel like that happens in Philadelphia. It’s still more segregated – the jazz kids stay on the jazz side of the line, the acoustic kids hang out with their own, and the bands drive the big shows.

There are more Santas here by the minute. The room is now filled with Santas. Some are bearded and authentic, while others are half-hearted in hats and vests or just striped stockings.

Emily is kind of killing it, first with “Branch,” then “Down the Line,” and something about “Sunday Morning.” I think I’m going to have to say hello to her.

But, first I have to go sit in our parked car and give the appearance of knowing how to drive a car, because our parking pass expires three minutes before parking is free. And god help me if anyone calls that bluff, because I don’t think I know the window wiper fluid from the gas pedal.

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