So take a visit to my Thumbnail Guide to Oxford Open Mics, Jam Sessions and other Live Music.
So check it out!
So take a visit to my Thumbnail Guide to Oxford Open Mics, Jam Sessions and other Live Music.
So check it out!
1. Most of early June was spent digging out nearly 20 years’ worth of my piled up papers, paraphernalia and trash from my garage and cave in order to make space for Ornella and her TAC Teatro’s paraphernalia from Italy. Cleaning these places led to many wonderful discoveries, but also some very difficult decisions; among the many relics that I found were three never-before-used Zippo lighters with the aforesaid International Herald Tribune’s marketing department’s effort to publicize the newspaper’s coverage of the 2000 presidential elections. Beautiful objects that I had kept but never once used, I now find use for them, particularly for Ornella and my daughter’s smoking habits….I am loving the process of filling these classic lighters with fluid, new flint stones, etc. (I am a little disappointed at how quickly they are losing their paint job, though, as you can see from the photo of this lighter used by Ornella for just one month.) There used to be so much more “process” in the past in our daily lives…. But among the difficult decisions in this vast clean out, was whether I should keep the hundreds of copies of actual newspapers – of the aforementioned IHT – that had the print versions of my articles in them. I had always taken hard copies of the paper home to have a record of the printed work – but I had never had any use for these relics. Now, I found myself with the difficult decision of either throwing them away or else having no further usable space in my storage areas. As I knew that all of the copies existed in microfilm or other electronic form, as well as online in the online archives of The New York Times – many of which copies I also had to decide whether or not to keep – I ultimately decided to throw them all away. It was a heartbreaking moment, but also a feeling of truly moving on into the future. Like the Formula One teams that I had written so much about, I chose to look forward, rather than backwards at personal mementos.
2. Having cleared out these storage spaces, it was time to go on a brief trip to Milan in order to clear out TAC Teatro and prepare the moving van to bring to Paris all of the aforementioned paraphernalia. It was a massively busy and tiring three or four days that also involved very difficult choices. For instance, the most heartbreaking for Ornella was the decision to leave behind the linoleum flooring that she used as the floor of the theater space, and which had come directly from use on the floor of the famous La Scala Opera House, and had, therefore, been danced upon my some very famous performers. But it was just too heavy, massive when rolled up, and required a very good cleaning job, which we had no time for. We nevertheless managed to pack up and transport to Paris two tons of paraphernalia, including seating for at least one hundred spectators, a sound system, a series of spotlights, a piano, keyboard, drum, a workbench table from a famous Italian filmmaker and writer, and countless other items far too long to list here without getting anymore boring than I already risk being. The whole collection of paraphernalia ended up taking two moving vans instead of the original one that had been planned for.
3. We returned to Paris and spent the three or four days waiting for the delivery by finishing the cleanup of the storage space. (Let me note that this was happening in a hot month of June, and with all the dust from the spaces, and the pollen in the air, I wore a face mask nearly full-time to help my breathing.) When the paraphernalia arrived, we then spent two days filling up the storage spaces, but rest easy knowing we can now prepare for the future. It was also very satisfying to have replaced my 20 years’ worth of accumulated crap by this investment in the future of TAC in France.4. No sooner did we catch our breath again, barely able to believe what we had accomplished, than we departed for a quick trip to England, where it was time for some more very satisfying work: The first stop was Nottingham, where I was invited to attend the Second International Colin Wilson Conference in order to do the very first public screening of the interview film that is connected to my book, Colin Wilson: Philosopher of Optimism. Produced by a British film production company as well as the publisher of my book, Michael Butterworth, and his other company, Savoy Books, and directed by Jay Jones, it consisted of an hour and a half interview of Colin Wilson by me. Although the film was done in 2006, it was never quite finished. I recently decided to ask if I could work on the edit through my company, the perfectly named, “Unfinished Business SAS.” I was given the go-ahead, and prepared first a trailer for the film (below) and then I prepared the film for this private showing for the 55 people attending the three day conference, including the members of Wilson’s family – three of his children, and his wife, Joy. That last name is certainly the right word for me to use as well to describe the entire event, and especially the reception of the film: It was a pure joy!
5. From Nottingham, Ornella and I headed on to the Cotswolds for a brief visit to have a reunion more than 40 years after I met him with the man who created my ventriloquist’s figure, and to whom I brought the suspect in question for a facelift (and a body-lift). But on the way there we had a fabulous, three-hour long meeting and tour of the Renault Formula One factory at Enstone.This fell the day after the team’s home race, the British Grand Prix, and at the end of the series’ horrendously tiring triple-header of races in June/July. Although it was the strangest feeling for me to be in England during the race weekend without attending the race itself, the trip was more than compensated for by both our stay overnight in Oxford – where I played in two different open mics (and can now update my Oxford guide), followed by the trip to see Peter Pullon in the Cotswolds. This aforementioned ventriloquist figure builder has become one of the world’s foremost puppet makers, having created some of Britains most famous figures: Rod Hull’s Emu, Honey Monster, the Hoffmeister Bear, Smash Martians and Keith Harris’s Orville. I am waiting with baited breath the renovation of my figure, whose name is Peter McCabe, and for whom I have some future plans that I will talk about on this blog as they happen. (Peter most recently had a cameo role in my video of my cover song of Mad World, by Tears for Fears.
6. No sooner did we return from England than it was off to Sicily for us and a three-week vacation, during which period I have, nevertheless, been using every available moment to make plans for the future year, and my many projects for my new life in Unfinished Business…. We have been staying in Ornella’s hometown of Castellammare del Golfo, and reading on the beach by day, and walking the city streets by night, occasionally finding places to play my guitar and sing. We have done a lot of tourism, as well, which we have posted about copiously on Facebook. The highlights for me have been the visit to Segesta and its ancient Greek temple and above all, its ancient Greek theater.The acoustics of this place are astounding – although I’m not sure the plywood floor they chose to use to cover the rock surface of the stage was wise. And the most painful and touching visit was to the site of the 1968 earthquake, which killed more than 900 people and wiped out two towns. The ruins of many of the buildings remain locked in time in the countryside, and one of the towns, Gibellina, is now covered, encased, in a white concrete monument, or work of art, to mark the tragedy. Walking amongst these ruins and the monument, is a deep, difficult, but valuable experience.
7. I almost forgot to mention that in between all of these activities and right at the beginning of the month, we found a space in Paris that we are looking at as a possible future location for TAC and Unfinished Business. But it represents quite an investment, and it required us to make trips to the bank, an accountant, work on a business plan, and generally occupy all of the free time we had between the above activities! (And we have still not finished working on that.)
So as you can see, I have been busy as anything in the last seven weeks. But now I’ve had a moment to record it all in the web log, and I’m glad to have had so many rich experiences to get down here….
The weekend was also supposed to include setting up the exhibition about peoples’ dreams – Acchiappa Sogni – that Unfinished Business helped TAC Teatro do a few months ago. It was supposed to be set up for the second time at a local public library, but there turned out to be a problem with scheduling. No problem. That can be done another day. I only mention it to talk about the diversity of this weekend in Milan.
Which was the most fun? That’s my point: It was all equally fun, sometimes nerve-wracking, as well as hugely gratifying. And all of it thanks to my association with TAC Teatro. Ornella Bonventre and I first started rehearsing the Friday night show in the TAC Teatro France space in Asnieres last week. At the time, I couldn’t quite believe it would turn into the wonderful event it did. By now, I can believe anything! The story of Ornella’s one-woman-show, called “Avete mai provato ad essere donne…,” is that of a place in heaven for women who have been beaten and eventually killed by their husbands. It is all about the low opinion people have of women – but all done in good humour, as in the section about how one woman was the fourth girl in a family of no boys, and the huge disappointment of the father….
Anyway. my role turned into that of an androgynous glam rock star from the 1970s – Bowie, Bolan, Glitter, etc. – finding himself in heaven, but not sure where to go. He ends up in this women’s part, and he is accepted there, and is invited to play his music as the various women tell their stories. The role just naturally wrote itself, and the final crowning touch was when I remembered I still had my glam circus costume from my days in the circus in 1976 and it still, somehow managed to fit me! It also turned out that I have a large number of cover songs from the 1970s or earlier, touching on subjects that just fit right in – “Father and Son,” “Cat’s Cradle,” “Just Like a Woman,” etc., as well as some of my own songs that fit in, like the sad one, “Memories,” that we closed the show with.
The exhibition was a series of paintings and sculptures by the Italian artist, Roberta Stifano, who gave us a tour of the artworks in the exhibition, “Dal Tunnel…” and explained how they charted her experience in a relationship with a narcissist pervert, and the resulting road from infatuation to pain to torture to separation, and eventual slow recovery. It was clearly a good marriage between the exhibition and Ornella Bonventre’s monologue, entitled “Avete mai provato ad essere donne…”
Saturday was supposed to be the setting up of the Acchiappa Sogni exhibit at a public library, and here I post again the video that I helped to make, and I edited, for that project many months ago. TAC Teatro and Unfinished Business plan to continue collaboration on this and other such projects in the future.
Saturday night, it was time for a break, and I was invited to a birthday party in the top floor of an apartment overlooking Milan, with the Duomo glowing visible in the distance. It was a private party just for me, for my very big birthday that actually happened on Pearl Harbour day. The main interest of this party was the invitation of a private chef from the great dining area of Italy, the Emilia Romagna. She prepared a fabulous lasagna typical of the region – making the sauce and the actual pasta herself. We had a roast porc and some fabulous fried potatoes that has herbs and spices that the cool would not reveal but said were a secret recipe of her grandmother. The dessert was a typical Italian tart, filled this time with fabulous fresh prunes.
After the meal, which by the way was watered by two different Italian wines from the chef’s region, I pulled out my guitar and two other guests pulled out some bongo drums, and we jammed for an hour or so. A better, more relaxing evening could not be had….
The final evening in Milan was the very special one of my first witnessing of the TAC Teatro production of the play called Edipo Rap, written by Angelo Villa, an Italian psychologist who is also the author of many oeuvres. I have not only seen this play in preparation over the last year from auditions to rehearsals, but I have also helped to re-edit the trailer that contains the endorsement by Mogol, the great Italian songwriter. On Sunday, once again I watched a little bit of the rehearsal at TAC Teatro, and gave a little feedback to Ornella Bonventre, the director of the play. But I knew little else about it, and had never seen it performed from beginning to end.
So it was a moment of extraordinary panic when I found myself at the Teatro Binario 7 just an hour before the show and with Angelo Villa present, and I learned that I had been drafted in as the sound and lighting man! I at first refused, saying that not only can I not speak Italian, but I’ve never seen the play! It turned out that the Binary 7 had not included a technical guy to deal with the sound and light, and no one knew this until the moment the troupe arrived at the theater, just an hour and a half before the show.
But Ornella and TAC and the four other actors of the play are the very definition of theatrical troupers. So I was drafted in to do whatever I could to help, while the other actors filled in on the lighting and sound responsibilities whenever they were not on stage! To my great amazement, I managed to perform the lighting and sound function without a hitch, and when it was not my responsibility, the actors did the same, again without a hitch. No audience member – and there were between 120 and 130 of them in a full-house of the small theater – was aware that anything but a professional, smooth production was underway and went from beginning to end without a hitch.
Such is life in the theatrical lane!
And once my duties as the light and sound man were finished I was then invited up onto the stage in my official role – more unfinished business – in presenting the second edition of my book, “Colin Wilson: Philosopher of Optimism,” to the audience as part of the conference after the play. The other invited guests were two emergency workers of the Red Cross, a psychiatrist and Angelo Villa. So I was among distinguished company.
Edipo Rap, in fact, is a play that deals with the problem of drugs, and ultimately, outsiders from society – which is why there was the connection with my Colin Wilson book – Wilson being a specialist on the theme of the Outsider – and the Red Cross had paid to host the play as part of a show of its new service that it offers to people in trouble with drugs and in need of emergency psychological assistance. This service is offered in Monza and Milan, and the space between.
Yes, it was strange for me to find myself performing all of these functions in Monza! For regular readers of this blog will know that I have been visiting Monza annually since 1998 or so to cover the Formula One race – until this year! And so I was back again, symbolically NOT covering the F1 but taking care of unfinished business, in the way of running a theater performance’s lighting and sound system while then appearing and a special guest author.
The play was fascinating even for someone who understands no Italian! The actors were an eclectic group that includes Ornella, who in addition to directing the play, had a small role that opens and closes the action; Cisky, a well-known Italian rap artist (and former prisoner who turned his life around with theater and music); and Jagorart Marco, who is a fantastic circus juggler trying to turn his life around into that of actor.
After the show came the conference, as I mentioned, with Ornella acting as my interpreter. I was pleased to learn that no one in the audience had heard of Colin Wilson – despite many of his books being translated into Italian – and so I was able to give a very short primer on who he was.
After the conference came a return to our local hangout, the Spazio Ligeria, in via Padova, where over a nice meal of pasta and other things, I took a moment to take part in the ongoing jam session that had been providing the soundtrack all evening.
The weekend left a very strong feeling of no unfinished business. I hope I can have many more like it….
I do not recall a single time being able to walk from the MRT station closest to the circuit to the media center of the circuit without having worked up a full-body sweat that led to me adopting the habit of wearing a T-Shirt to go there, and bringing a fresh change of shirt to start the day – or afternoon, rather, since it is a night race. It is a long-haul from Europe to Singapore, and the country is so small and without a long tradition of top auto racing culture; but how can a series that calls itself the pinnacle of racing in the world pretend to be anything like that without actually racing all around the world? For me, the global expansion is both necessary and enriching, for the series, for the fans and for the participants. What a fabulous adventure. And, of course, I personally always enjoyed the discovery of the musical culture, as with my wonderful encounters in the open mics, jams and gigs of Singapore – like the time I met “the Dean Martin of Singapore.”
In my second look-back on this new section of my blog, I am posting my first race preview for the Singapore Grand Prix, published just before the 2008 inaugural race.
As the series continues to negotiate for a new contract with Singapore, and in a season in which a new company has taken over the running of the series – the U.S.-based Liberty Media – I thought it would be a great time to look back at a couple of the stories that I wrote in the past, as well as to start a new auto racing section on this blog. Today I am running what I feel is the biggest story I wrote about Formula One as almost classical theater, a big, world story of glamour, glitz and drama. This was a Page 1 story in the International Herald Tribune, and later ran in the New York Times, and summed up the state of Formula One at the time, at its biggest race of the season: The Monaco Grand Prix. Read the story and tell me if the series is the same today 15 years later?
Tomorrow, I will run my preview for the first ever Singapore Grand Prix, and talk a little more about how the weekends go in Singapore.
By the way, while we all thought the first night race and the collapsing financial markets were the biggest story of the weekend in 2008, it turned out that there was a much, much bigger sporting story going on behind the scenes. But that scandal would only be revealed a year later when Nelson Piquet Jr. told the world that he (and his team directors) had staged a fake crash in order to help his teammate at Renault, Fernando Alonso, with his race strategy. The help would lead to Alonso’s first victory that season, and a year later, to the banning of two of the team’s directors from the series in one of the sport’s worst cheating scandals. Last year also marked the beginning of the Liberty Media story, as the announcement of the takeover of Formula One had just been made at the beginning of the month and Chase Carey, the new boss, visited the Singapore paddock – his first ever visit to a Formula One Grand Prix.
I was wondering when Paris might have a newcomer open mic to rival the great ones of the past (like Earle’s open mic that started at the Shebeen, moved to the Lizard Lounge and then to the Truskel, or like the Ptit Bonheur La Chance open mic), these places that attract a loyal crowd of spectators and musicians and almost feel like – or are – a scene. Last night I found a worthy successor to the best of them at the Rush Bar. And this open mic has only been running for 18 sessions, weekly, which brings it to what, nearly five months?
momentary glance of Charlie Seymour opening the Rush bar open mic
I found all the perfect ingredients at the Rush last night: A bar manager who loves the open mic and music – and no doubt behind him a bar owner – a fabulous, friendly and fair presenter in Charlie Seymour – a longtime Paris expat musician –, and finally, a locale of the kind that seem to always work: A very small, cosy room where everyone is tightly knit together before the stage area. Interestingly, the Rush Bar also has a couple of very cool cellar rooms, and a kind of back room, or secondary room on the ground floor, all of which could host the open mic.
Kinky one at Rush bar open mic
But I think in that immediate entrance room of the bar – that also contains the bar itself – they have found the best location for the open mic. Additionally, this open mic is located in a cool part of Paris, not far from the Bastille, about halfway to Republic. In other words, ALL of the important ingredients are there. And the result is that the Rush Bar open mic has attracted a loyal and very diverse group of spectators and musicians.
French one at Rush bar open mic
The sound system is great for the voice, and not bad for the guitar, and they are open to adding instruments like lead guitar and bass. The styles played last night run the full gamut from folk to pop rock and blues. The age of the performers and spectators also runs the full gamut, from 20s to 60s…at least I think so…! So this is not just a young scene, but a real, vibrant open mic with all sorts of nationalities represented as well: Brits, Irish, Canadian, lots of French, North African and who knows what all else!
Diggin for Gold at Rush
It’s interesting that the Rush Bar open mic has become such a clear success in such a short period of time. There has been apparently not huge labor to attract people to it, for as one spectator and participant said to me last night, there has been practically no internet campaign to make it known. I think it just lit up because Paris still needs great open mics – despite the many it has – and because, above all, of those essential ingredients I mentioned.
nice quiet one at rush
Oh, by the way, I was happy to play near the beginning of the night, because I got to do five songs, even though the usual number is 2 or 3. There were not as many musicians early as there turned out to be later – the place was packed! And I felt that the guitar that was already plugged in was good enough and I chose not to use my new D-42. It did, indeed, turn out fine. I felt great, and what I noticed above all is a detail I have not yet mentioned: The spectators were there to listen. Or if they wanted to talk briefly, they would do so outside the bar, on the street, or on the exterior tables.
Perry at Rush
A perfect open mic evening at the Rush bar. Or as I say in my headline, a real rush!!!
Great Beatles one at Rush
The first event, at TAC, was part of a city-wide event called “Piano City,” in which for a three-day weekend there are small piano concerts all over Milan. TAC hosted one of these little concerts, with a demonstration of four-handed piano playing. It was quite successful, with perhaps close to 30 spectators. When you consider there were dozens of these events in various locations throughout the city on the same day, that must have brought together quite an audience for the piano!
“This year, once again, pianos will invade houses, yards, stations, roofs, farmsteads, museums, schools, libraries, laboratories, parks. Music won’t stop from the sunset to the dawn and from the dawn until the sunset in a continuous love declaration for the piano, its music and for the city of Milan,” says the Piano City web site. “In these last six years, like a kaleidoscope, we changed and shaped ourselves to give voice to the music and to the most surprising urban sites. 2017 edition wants to tell about these five years of changes throughout Milan. A two-day&night journey from the centre to the suburbs on the notes of our pianos spread in the best spaces telling the story of the city from historical locations to new areas.”
That same night, I went to an impromptu open mic at the cool bar/restaurant near the Via Padova called, Salumeria del design. It seems the open mic was part of another related musical day event, but in any case, the bar decided to open the mic to any musicians who wanted to play. It turned out to have a wide-cross-section of styles, if there were only four or five of us in total. But that gave us the opportunity to share the mic throughout the evening.
Fifth at the Salumeria open mic in Milan
And I enjoyed hearing the different Italian musicians singing Italian songs I had never heard, and keeping the English to a minimum – or leaving it to me. I got to close the evening, playing to just a handful of people at the end who wanted to hear me, after quite a raucous night of music before that with the crowd singing along to the popular Italian repertoire….
Second at the Salumeria open mic in Milan
MILAN – Wednesday night in Milan for me has mostly two significations: The Arci Turro jam and the jam at the Milan Joy bar. But last Wednesday I decided after a spell at the Arci Turro – in fact, when it ended at midnight – to go off to the Spazio Ligera bar for a nightcap and forgo the Joy bar jam. But Ligera being Ligera, I found myself invited to open my guitar case and play a few songs. Then one of the owners decided to play a song on my guitar behind the bar, then another one decided to bring out a bongo and invite me to play more while he played the bongos. And so there I was with a jam anyway…!
The Arci Turro was only slightly calmer than the last time I attended and reported about it on this blog. But that too gave me to the opportunity to play more songs behind the mic – and to expose myself as a complete beginner on a classic Chicago blues song….
Jam at Arci Turro
The Spazio Ligera bar proved itself to be the genial, warm and open place I have always said it was. There is often the possibility to just pick up a guitar and play, if not much else is going on – especially not in the concert room in the basement.
jam moment at Spazio Ligera
In any case, it was a fine feeling of fulfilment from the jam point of view last Wednesday in a completely unexpected way – par for the Milan course….
And so began, and so continued for at least four hours, the intimate reading in the round, featuring a fabulous cross-section of writers, poets, musicians, and just plain “normal people” with something to read or say – including a local representative from a refugee squat who had something to say about his peoples’ rights.
I even had my turn to play a couple of songs and break up the literary feel of the evening by a kind of Trou Normande of music. I was not the only musician, there was the poet, writer, storyteller and musician by the name of Alessio Lega, with his guitar and his tales. And there was the up-and-coming rap artist, Cisky, whose discovery of rap and writing led him to rearrange his life during a stint in prison after a false start in life.
The most illustrious guest was certainly Maddalena Capalbi, a well-known, award-winning Milan-based writer. She did not read her own text, however, but left that to a fabulous, dramatic reading by Cisky.
All in all, it was a great evening of warmth in the circle – I just wish I could understand more Italian! But it was a fabulous event that shows once again the vast spectrum of shows that TAC hosts with success, whether that be a serious play like Edipo Rap – in which Cisky appears, by the way – a clown show – in which I have appeared in a kind of George Plimpton moment – a piano show, acting or writing lessons, or a group to defend against violence against women.