Day job
Originally published 10/17/2007
Flying back home to Portland from the Delta, after King Biscuit. I break into song as everyone stands to get off the plane at the Portland Airport. It had been a long and difficult trip, although wonderful in many ways. We had gotten stuck overnight in Salt Lake City the night before, so it was good to finally make it back home. So I started singing out loud, a Ma Rainey tune. Taizz joined in. And a guy standing near us says, “Don’t quit your day job.”
“I don’t have a day job. I am a professional singer,” I told him. “Yes, he’s a national act,” Taizz said. The guy made some kind of little joke and skulked away from the conversation.
Maybe I should have explained to him that that is never a nice thing to say, regardless of whom he’s talking to. People think they’re being funny or at least cute when they say that. But they are actually quashing joy. Other similar, common, mean and joy-killing sayings: “There’s no (singing, dancing, laughing, other happy activity) allowed here!” “You two are having too much fun!” Maybe there are others but you get the idea. Such statements discourage fun, creativity, music and happiness. And reinforce conformity, dullness and dumbness. Of all of them, though, “Don’t quit your day job” is the worst. It tells you to be conformist, dull and dumb not just now, but for the rest of your life.
So let’s eliminate that phrase from our vocabularies. When you see someone laughing, singing, dancing or doing some other fun, creative activity, instead try one of these responses:
1) Compliment the person and suggest that he quit his day job.
2) Join in.
3) Quit your own day job – if you go around saying things like that, you’ve been at it way too long!
Monday, April 28, 2008
"Philadelphia" Jerry Ricks needs help 2007
"Philadelphia" Jerry Ricks needs help
Originally published 9/9/2007
"Philadelphia" Jerry Ricks has been diagnosed with a brain tumor. The tumor is operable and he is scheduled for surgery this week. He and his significant other, Nancy Klein, are expatriate Americans living in Croatia, which (like the United States) does not have socialized medicine. So they need help with medical expenses.
Ricks is a terrific acoustic blues player who absorbed the styles of John Hurt, Furry Lewis, Gary Davis, Skip James and many other masters as a young man in the 1960s, when he was booking them and accompanying them (and often putting them up at his home) when they played at the Second Fret Coffeehouse in Philadelphia. Ricks has lived overseas for much of his adult life. He returned to the U.S. to record a couple of fine albums on Rooster, and lived in Clarksdale, Miss., while he was working on those. He also has taught and performed several times at the Port Townsend (Wash.) Country Blues Workshop & Festival.
Below is a message Nancy sent to the couple's friends, along with a U.S. bank address and account where you can send donations if you want. Thanks! SC.
Dear Friends,
Both Jerry and I wish to express our deepest gratitude for all the
calls of concern and best wishes received for Jerry's full recovery.
The operation to remove his brain tumor is expected this week; we all
hope and pray for the best results.
Since hearing of so many offers for support, accounts have been
established to accept donations for Jerry to help defray the medical
expenses and the costs of the following treatments and rehabilitation.
Again, our deepest appreciation for all your concern through these
difficult times, these miles of Blues...
Sincerely Yours,
Nancy Klein and "Philadelphia" Jerry Ricks
---------------------------------------------------------
Donations may be sent to:
The "Philadelphia" Jerry Ricks Assistance Fund
Account # 004612096194
Bank of America
100 Federal Street
Boston, Ma 02110
Originally published 9/9/2007
"Philadelphia" Jerry Ricks has been diagnosed with a brain tumor. The tumor is operable and he is scheduled for surgery this week. He and his significant other, Nancy Klein, are expatriate Americans living in Croatia, which (like the United States) does not have socialized medicine. So they need help with medical expenses.
Ricks is a terrific acoustic blues player who absorbed the styles of John Hurt, Furry Lewis, Gary Davis, Skip James and many other masters as a young man in the 1960s, when he was booking them and accompanying them (and often putting them up at his home) when they played at the Second Fret Coffeehouse in Philadelphia. Ricks has lived overseas for much of his adult life. He returned to the U.S. to record a couple of fine albums on Rooster, and lived in Clarksdale, Miss., while he was working on those. He also has taught and performed several times at the Port Townsend (Wash.) Country Blues Workshop & Festival.
Below is a message Nancy sent to the couple's friends, along with a U.S. bank address and account where you can send donations if you want. Thanks! SC.
Dear Friends,
Both Jerry and I wish to express our deepest gratitude for all the
calls of concern and best wishes received for Jerry's full recovery.
The operation to remove his brain tumor is expected this week; we all
hope and pray for the best results.
Since hearing of so many offers for support, accounts have been
established to accept donations for Jerry to help defray the medical
expenses and the costs of the following treatments and rehabilitation.
Again, our deepest appreciation for all your concern through these
difficult times, these miles of Blues...
Sincerely Yours,
Nancy Klein and "Philadelphia" Jerry Ricks
---------------------------------------------------------
Donations may be sent to:
The "Philadelphia" Jerry Ricks Assistance Fund
Account # 004612096194
Bank of America
100 Federal Street
Boston, Ma 02110
No-knead no-preheat sourdough bread 2007
No-knead no-preheat sourdough bread
Originally published 4/8/2007
OK, I have to admit I've converted. A longtime sourdough home baker, I was skeptical of this no-knead craze. But I've been doing it for a few months now and the only drawback is that it makes only one loaf at a time (I used to make two and slice-and-freeze one). Of course I could double the recipe. But it's easier to make, so now I just make it twice as often and don't freeze any. No knead, no preheat, no oven-spray, no slash!
I use:
2 cups unbleached bread flour
1 cup mixed whole-grain flours (whole wheat, rye, barley, whatever you like)
2-1/2 tsp salt (yes, I thought it was excessive when I read that number in The Oregonian's no-knead article but it works great)
Mix those dry ingredients, then mix in
1/3 cup (recently recharged) liquid sourdough starter with enough water added to total 1-1/2 cups liquid.
Stir it up well, cover with plastic wrap, wrap bowl with blanket, leave about 15-20 hours, until risen and bubbly. Take it out and fold it over a few times (on well-floured or nonstick surface, with floured hands), cover with wrap, let sit 15 min, shape into ball, cover well with coarse cornmeal, wrap in towel, let it about 3-6 hours, until risen. Flop into cast-iron dutch oven, cover with lid, place into cold oven, turn oven on to 450. Bake 45 min covered, then remove lid and bake another half hour or so, until browned and hollow-sounding when tapped top and bottom. Let cool and eat.
Originally published 4/8/2007
OK, I have to admit I've converted. A longtime sourdough home baker, I was skeptical of this no-knead craze. But I've been doing it for a few months now and the only drawback is that it makes only one loaf at a time (I used to make two and slice-and-freeze one). Of course I could double the recipe. But it's easier to make, so now I just make it twice as often and don't freeze any. No knead, no preheat, no oven-spray, no slash!
I use:
2 cups unbleached bread flour
1 cup mixed whole-grain flours (whole wheat, rye, barley, whatever you like)
2-1/2 tsp salt (yes, I thought it was excessive when I read that number in The Oregonian's no-knead article but it works great)
Mix those dry ingredients, then mix in
1/3 cup (recently recharged) liquid sourdough starter with enough water added to total 1-1/2 cups liquid.
Stir it up well, cover with plastic wrap, wrap bowl with blanket, leave about 15-20 hours, until risen and bubbly. Take it out and fold it over a few times (on well-floured or nonstick surface, with floured hands), cover with wrap, let sit 15 min, shape into ball, cover well with coarse cornmeal, wrap in towel, let it about 3-6 hours, until risen. Flop into cast-iron dutch oven, cover with lid, place into cold oven, turn oven on to 450. Bake 45 min covered, then remove lid and bake another half hour or so, until browned and hollow-sounding when tapped top and bottom. Let cool and eat.
Chezz and Taizz reviewed! 2007
Chezz and Taizz reviewed!
Originally republished (in Steve Cheseborough blog) 3/21/2007
Old-time vaudeville revived in mirthful, mixed acts
Review: Miz Kitty's Parlour shows off more than parlor tricks, though
the result can be tedious
Monday, March 19, 2007
LUCIANA LOPEZ
The Oregonian
The building may have changed, but the parlor's still the same.
The vaudeville and variety show Miz Kitty's Parlour moved to the
Mission Theater earlier this year, but, as Saturday's performance
proved, the long-running pageant's retained its grab-bag mix of acts,
from the musical to the comical to the harder-to-classify, all
presided over by Miz Kitty -- aka Lisa Marsicek, of the old-time band
Flat Mountain Girls.
That eclectic approach is the both the show's strength and its
weakness: Though the variety, surprise and irreverence are welcome,
the blend doesn't always work. Saturday, for example, the parlor
included a hula hoop dance troupe, the whirlyGirlz. Impressive, sure;
it's decent odds most in the audience hadn't even picked up a hula
hoop in years, much less danced choreographed routines while spinning
one about the neck, waist or other body parts. But the Girlz, in
tight, midriff-baring outfits, didn't quite fit the show's old-time
vaudevillian aesthetic.
In the strength column, though, list such acts as the Stomp Down
Rollers, comprising guitarist/vocalist Steve Cheseborough and
vocalist-harmonica player Taizz Medalia. The two had an unassuming
easiness that drew the audience in, and their humor pretty much nailed
the vaudeville vibe. The song "Hot Nuts," for example, was both sweet
and sly, the former for its delivery, the latter for its broad double
entendres.
Somewhere in the middle was the Cavalcade of Beautiful Losers from
Opera Theater Oregon. The Losers performed a mix of pieces, including
a pretty accurate five-minute version of "Faust." The opera let the
troupe show off voices and insight (they're right, Marguerite is a bit
of a twit). But their performance was longer than merely the
mini-"Faust," and the rest of the material felt thrown together,
especially in comparison. For the last song, the woman who played
Marguerite was still in what she called her "Baby Jane" makeup, which
made it a lot harder to buy her singing Diana Krall's "Temptation,"
though she and the singers on backup were in good voice.
Even Miz Kitty herself could be hit or miss.
Marsicek was often funny and charming, as when handing out "rare,
exotic" door prizes, but sometimes her humor felt a little labored,
especially the leprechaun jokes. Yes, it was St. Patrick's Day, so
some Irish jokes were to be expected. In the parlor, those jokes took
the form of two men dressed as (quite large) leprechauns coming on
stage whenever Marsicek mentioned St. Patrick's Day, Irish things, or
leprechauns.
Unfortunately, the joke got, not just old, but obvious. The gag would
have been funnier if it had incorporated more surprise; if, say, the
leprechauns had started appearing for less obvious words.
But we are quibbling here: Even at Miz Kitty's Parlour's weakest, it's
still warm, willing to take risks and a barrel of laughs --
vaudeville, Portland-style.
Luciana Lopez: 503-412-7034; lucianalopez@news.oregonian.com
(c)2007 The Oregonian
Originally republished (in Steve Cheseborough blog) 3/21/2007
Old-time vaudeville revived in mirthful, mixed acts
Review: Miz Kitty's Parlour shows off more than parlor tricks, though
the result can be tedious
Monday, March 19, 2007
LUCIANA LOPEZ
The Oregonian
The building may have changed, but the parlor's still the same.
The vaudeville and variety show Miz Kitty's Parlour moved to the
Mission Theater earlier this year, but, as Saturday's performance
proved, the long-running pageant's retained its grab-bag mix of acts,
from the musical to the comical to the harder-to-classify, all
presided over by Miz Kitty -- aka Lisa Marsicek, of the old-time band
Flat Mountain Girls.
That eclectic approach is the both the show's strength and its
weakness: Though the variety, surprise and irreverence are welcome,
the blend doesn't always work. Saturday, for example, the parlor
included a hula hoop dance troupe, the whirlyGirlz. Impressive, sure;
it's decent odds most in the audience hadn't even picked up a hula
hoop in years, much less danced choreographed routines while spinning
one about the neck, waist or other body parts. But the Girlz, in
tight, midriff-baring outfits, didn't quite fit the show's old-time
vaudevillian aesthetic.
In the strength column, though, list such acts as the Stomp Down
Rollers, comprising guitarist/vocalist Steve Cheseborough and
vocalist-harmonica player Taizz Medalia. The two had an unassuming
easiness that drew the audience in, and their humor pretty much nailed
the vaudeville vibe. The song "Hot Nuts," for example, was both sweet
and sly, the former for its delivery, the latter for its broad double
entendres.
Somewhere in the middle was the Cavalcade of Beautiful Losers from
Opera Theater Oregon. The Losers performed a mix of pieces, including
a pretty accurate five-minute version of "Faust." The opera let the
troupe show off voices and insight (they're right, Marguerite is a bit
of a twit). But their performance was longer than merely the
mini-"Faust," and the rest of the material felt thrown together,
especially in comparison. For the last song, the woman who played
Marguerite was still in what she called her "Baby Jane" makeup, which
made it a lot harder to buy her singing Diana Krall's "Temptation,"
though she and the singers on backup were in good voice.
Even Miz Kitty herself could be hit or miss.
Marsicek was often funny and charming, as when handing out "rare,
exotic" door prizes, but sometimes her humor felt a little labored,
especially the leprechaun jokes. Yes, it was St. Patrick's Day, so
some Irish jokes were to be expected. In the parlor, those jokes took
the form of two men dressed as (quite large) leprechauns coming on
stage whenever Marsicek mentioned St. Patrick's Day, Irish things, or
leprechauns.
Unfortunately, the joke got, not just old, but obvious. The gag would
have been funnier if it had incorporated more surprise; if, say, the
leprechauns had started appearing for less obvious words.
But we are quibbling here: Even at Miz Kitty's Parlour's weakest, it's
still warm, willing to take risks and a barrel of laughs --
vaudeville, Portland-style.
Luciana Lopez: 503-412-7034; lucianalopez@news.oregonian.com
(c)2007 The Oregonian
Chezz and Taizz reviewed! 2007
Chezz and Taizz reviewed!
Originally republished (in Steve Cheseborough blog) 3/21/2007
Old-time vaudeville revived in mirthful, mixed acts
Review: Miz Kitty's Parlour shows off more than parlor tricks, though
the result can be tedious
Monday, March 19, 2007
LUCIANA LOPEZ
The Oregonian
The building may have changed, but the parlor's still the same.
The vaudeville and variety show Miz Kitty's Parlour moved to the
Mission Theater earlier this year, but, as Saturday's performance
proved, the long-running pageant's retained its grab-bag mix of acts,
from the musical to the comical to the harder-to-classify, all
presided over by Miz Kitty -- aka Lisa Marsicek, of the old-time band
Flat Mountain Girls.
That eclectic approach is the both the show's strength and its
weakness: Though the variety, surprise and irreverence are welcome,
the blend doesn't always work. Saturday, for example, the parlor
included a hula hoop dance troupe, the whirlyGirlz. Impressive, sure;
it's decent odds most in the audience hadn't even picked up a hula
hoop in years, much less danced choreographed routines while spinning
one about the neck, waist or other body parts. But the Girlz, in
tight, midriff-baring outfits, didn't quite fit the show's old-time
vaudevillian aesthetic.
In the strength column, though, list such acts as the Stomp Down
Rollers, comprising guitarist/vocalist Steve Cheseborough and
vocalist-harmonica player Taizz Medalia. The two had an unassuming
easiness that drew the audience in, and their humor pretty much nailed
the vaudeville vibe. The song "Hot Nuts," for example, was both sweet
and sly, the former for its delivery, the latter for its broad double
entendres.
Somewhere in the middle was the Cavalcade of Beautiful Losers from
Opera Theater Oregon. The Losers performed a mix of pieces, including
a pretty accurate five-minute version of "Faust." The opera let the
troupe show off voices and insight (they're right, Marguerite is a bit
of a twit). But their performance was longer than merely the
mini-"Faust," and the rest of the material felt thrown together,
especially in comparison. For the last song, the woman who played
Marguerite was still in what she called her "Baby Jane" makeup, which
made it a lot harder to buy her singing Diana Krall's "Temptation,"
though she and the singers on backup were in good voice.
Even Miz Kitty herself could be hit or miss.
Marsicek was often funny and charming, as when handing out "rare,
exotic" door prizes, but sometimes her humor felt a little labored,
especially the leprechaun jokes. Yes, it was St. Patrick's Day, so
some Irish jokes were to be expected. In the parlor, those jokes took
the form of two men dressed as (quite large) leprechauns coming on
stage whenever Marsicek mentioned St. Patrick's Day, Irish things, or
leprechauns.
Unfortunately, the joke got, not just old, but obvious. The gag would
have been funnier if it had incorporated more surprise; if, say, the
leprechauns had started appearing for less obvious words.
But we are quibbling here: Even at Miz Kitty's Parlour's weakest, it's
still warm, willing to take risks and a barrel of laughs --
vaudeville, Portland-style.
Luciana Lopez: 503-412-7034; lucianalopez@news.oregonian.com
(c)2007 The Oregonian
Originally republished (in Steve Cheseborough blog) 3/21/2007
Old-time vaudeville revived in mirthful, mixed acts
Review: Miz Kitty's Parlour shows off more than parlor tricks, though
the result can be tedious
Monday, March 19, 2007
LUCIANA LOPEZ
The Oregonian
The building may have changed, but the parlor's still the same.
The vaudeville and variety show Miz Kitty's Parlour moved to the
Mission Theater earlier this year, but, as Saturday's performance
proved, the long-running pageant's retained its grab-bag mix of acts,
from the musical to the comical to the harder-to-classify, all
presided over by Miz Kitty -- aka Lisa Marsicek, of the old-time band
Flat Mountain Girls.
That eclectic approach is the both the show's strength and its
weakness: Though the variety, surprise and irreverence are welcome,
the blend doesn't always work. Saturday, for example, the parlor
included a hula hoop dance troupe, the whirlyGirlz. Impressive, sure;
it's decent odds most in the audience hadn't even picked up a hula
hoop in years, much less danced choreographed routines while spinning
one about the neck, waist or other body parts. But the Girlz, in
tight, midriff-baring outfits, didn't quite fit the show's old-time
vaudevillian aesthetic.
In the strength column, though, list such acts as the Stomp Down
Rollers, comprising guitarist/vocalist Steve Cheseborough and
vocalist-harmonica player Taizz Medalia. The two had an unassuming
easiness that drew the audience in, and their humor pretty much nailed
the vaudeville vibe. The song "Hot Nuts," for example, was both sweet
and sly, the former for its delivery, the latter for its broad double
entendres.
Somewhere in the middle was the Cavalcade of Beautiful Losers from
Opera Theater Oregon. The Losers performed a mix of pieces, including
a pretty accurate five-minute version of "Faust." The opera let the
troupe show off voices and insight (they're right, Marguerite is a bit
of a twit). But their performance was longer than merely the
mini-"Faust," and the rest of the material felt thrown together,
especially in comparison. For the last song, the woman who played
Marguerite was still in what she called her "Baby Jane" makeup, which
made it a lot harder to buy her singing Diana Krall's "Temptation,"
though she and the singers on backup were in good voice.
Even Miz Kitty herself could be hit or miss.
Marsicek was often funny and charming, as when handing out "rare,
exotic" door prizes, but sometimes her humor felt a little labored,
especially the leprechaun jokes. Yes, it was St. Patrick's Day, so
some Irish jokes were to be expected. In the parlor, those jokes took
the form of two men dressed as (quite large) leprechauns coming on
stage whenever Marsicek mentioned St. Patrick's Day, Irish things, or
leprechauns.
Unfortunately, the joke got, not just old, but obvious. The gag would
have been funnier if it had incorporated more surprise; if, say, the
leprechauns had started appearing for less obvious words.
But we are quibbling here: Even at Miz Kitty's Parlour's weakest, it's
still warm, willing to take risks and a barrel of laughs --
vaudeville, Portland-style.
Luciana Lopez: 503-412-7034; lucianalopez@news.oregonian.com
(c)2007 The Oregonian
Listening spectrum 2007
Listening spectrum
Originally published 1/23/2007
(I adapted this from a jazz newsletter; I think that writer adapted it himself from a music-appreciation class.)
In most clubs, the best it gets is number 3, often it stays at number 2.
When I give a concert I strive, and often manage to, get the listeners up to level 4. That creates a very satisfying experience for me and the listeners.
Level 5 is where you have to go to learn a piece from a record. I try to get my students to do that.
Whichever point you are usually at in listening, try to take it up to the next level!
Listening spectrum
1. Oblivious – Listener is asleep or totally ignoring the music.
2. Somewhat aware – Listener is talking or doing some other activity while music plays in background.
3. Attention engaged – Paying attention, maybe singing along or dancing.
4. Highly attentive – What the musicians and intense listeners do: pay close attention to the music’s structure, almost in conversation with performers
5. Analytical – Breaking it down note for note, concentrating hard and learning the piece as you listen to it over and over, working at it.
Originally published 1/23/2007
(I adapted this from a jazz newsletter; I think that writer adapted it himself from a music-appreciation class.)
In most clubs, the best it gets is number 3, often it stays at number 2.
When I give a concert I strive, and often manage to, get the listeners up to level 4. That creates a very satisfying experience for me and the listeners.
Level 5 is where you have to go to learn a piece from a record. I try to get my students to do that.
Whichever point you are usually at in listening, try to take it up to the next level!
Listening spectrum
1. Oblivious – Listener is asleep or totally ignoring the music.
2. Somewhat aware – Listener is talking or doing some other activity while music plays in background.
3. Attention engaged – Paying attention, maybe singing along or dancing.
4. Highly attentive – What the musicians and intense listeners do: pay close attention to the music’s structure, almost in conversation with performers
5. Analytical – Breaking it down note for note, concentrating hard and learning the piece as you listen to it over and over, working at it.
how to behave with live music 2006
how to behave with live music
Originally published 10/23/2006
I played at a restaurant last night. There were a couple tables of people already there before I started. I played a song, then a second one, and got no reaction at all from any of them. They didn't applaud, didn't even look over to see what this person was doing, onstage singing and playing amplified music. They had certainly seen me carry all my gear and instruments, in multiple trips, into the place and set it up, so it's not like they thought it was a recording. Usually I would just keep playing, figuring "well, I'm getting paid to practice" or something like that. But this time I decided to set them straight. "Hey folks," I said. "It's OK to look at the performer, smile maybe, even clap. I'm playing for you, you know. This is part of the environment in this place." They all looked over and applauded. I thanked them and they continued to pay attention, at least halfway (I mean, I don't mind if they pay attention to their meals and companions too, I just expect to be included somewhat in their fields of attention) and applauded regularly. The house turned over and an hour later I made a similar speech to a new group of diners. This time one man apologized, said he was eating with his daughter, whom he hadn't seen in a week, and was so into the conversation that he hadn't had a chance to get into the music. But then he commented on the last song to show he had been listening a little, and I engaged him in conversation from the stage, and he became very attentive from then on, tipped me well. I think most of the people who I "set straight" did leave tips! I guess this is part of being a live performer in this age -- educating people how to behave, people who are used to recorded music only.
Originally published 10/23/2006
I played at a restaurant last night. There were a couple tables of people already there before I started. I played a song, then a second one, and got no reaction at all from any of them. They didn't applaud, didn't even look over to see what this person was doing, onstage singing and playing amplified music. They had certainly seen me carry all my gear and instruments, in multiple trips, into the place and set it up, so it's not like they thought it was a recording. Usually I would just keep playing, figuring "well, I'm getting paid to practice" or something like that. But this time I decided to set them straight. "Hey folks," I said. "It's OK to look at the performer, smile maybe, even clap. I'm playing for you, you know. This is part of the environment in this place." They all looked over and applauded. I thanked them and they continued to pay attention, at least halfway (I mean, I don't mind if they pay attention to their meals and companions too, I just expect to be included somewhat in their fields of attention) and applauded regularly. The house turned over and an hour later I made a similar speech to a new group of diners. This time one man apologized, said he was eating with his daughter, whom he hadn't seen in a week, and was so into the conversation that he hadn't had a chance to get into the music. But then he commented on the last song to show he had been listening a little, and I engaged him in conversation from the stage, and he became very attentive from then on, tipped me well. I think most of the people who I "set straight" did leave tips! I guess this is part of being a live performer in this age -- educating people how to behave, people who are used to recorded music only.
Subscribe to:
Posts (Atom)