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high school

Cover songs or originals – which are easier to play?

July 17, 2016 by krisis

We held an unusual rehearsal in our dining room today – three hours of running through the Smash Fantastic cover song repertoire, but as fronted by my Arcati Crisis co-writer and BFF Gina.

gina-peter-1997-sharks-cant-sleep

An incredibly rare, one-of-a-kind shot of the first time Gina and I performed music together on stage (also the first time I sang solo in public!) This was in 1997 at Masterman, peforming “Sharks Can’t Sleep” by Tracy Bonham. From left to right: me, Joanna, Lucy, and Gina.

The strange arrangement is the result of being asked to play a big benefit show during a week where Ashley will be on vacation. It’s a fun show and we love donating our time to it, so Ashley gave her blessing for us to play it with a fill-in vocalist.

Despite you all knowing Gina primarily for her amazing songwriting and intuitive harmony vocals, she is an awesome interpreter and karaoke veteran. It helps that the rest of the band – Jake, Zina, and I – is the same for both Smash Fantastic and Arcati Crisis.

It was a rollicking rehearsal full of surprises – for example, after over 20 years of friendship I found out that Gina loves “Because The Night” as much as I do, but she does not quite know how to sing Queen’s “Somebody To Love.” We also played a rare pair of our own “Holy Grail” and “Better” with Gina on vocals but not on guitars!

The most interesting part for me was the conversation while we packed up. As we were coiling wires, Gina mentioned off-handedly that she found getting the cover songs right to be much more challenging than playing in an original band.

That took me by surprise! Gina is a confident, experienced singer – I would never expect she would be stressed by cover songs. In fact, I invited her to fill in because I thought she’d find singing two hours of covers a relief in comparison to the stress of shredding through our own songs. However, her reasoning resonated: when you’re covering a song, there’s an existing standard to be held to. As great an interpreter as you may be, you’ve got to get the lyrics right and hit the expected high notes before people will even begin to consider if your performance is any good.

I know that’s the reality, but I’ve never considered it that way. For me, cover songs are a fun vacation from the intense challenge of playing original music.

With cover songs, you simply have to capture the spirit of a song people know well. While Jake tends to hew closely to the real basslines of songs, Zina and I approximate their drum fills and guitar riffs. It’s about verisimilitude. If you give a crowd a hint of the real thing, they don’t notice all the elements you leave out.

That works in our favor on songs for which we can’t quite assemble all the elements of a recording, but it also works in our favor – our covers of “Bang Bang” and “Uptown Funk” dress up the more bare originals considerably with additional passing chords, while even on a classic like “The Way You Make Me Feel” Jake has installed a more propulsive bassline that is only implied in the original.

gina-peter-1998-with-or-without-you

The first time Gina and I played guitar together in front of people! This was in 1998 at Masterman, playing U2’s “With Or Without You” for the departing senior class. Psychedelic water damage courtesy of my Sophomore year apartment.

By contrast, playing originals is terrifying! The only context the audience has are the notes coming from the stage. There is no earned good will or existing song that will put a smile on their face. And, even when you’re in top shape with a set of good songs, it’s impossible to know when they’re good enough.

It’s like doing yoga – you can always challenge yourself to sink deeper into a pose. I have songs that are nearly 20 years old that I still haven’t mastered playing; I found extra harmony on one just a few weeks ago that makes it sound more like itself than it ever has before.

Gina doesn’t have that anxiety. To her, an original song is something entirely under her control not only to interpret, but to shape and transform. The entire point of the thing is that it belongs to you and it might continue to evolve. That’s nothing to be afraid of – it’s a joy.

I was so intrigued that as best-friends and co-writers Gina and I could differ on this point, but it explains a lot about our relative comfort over the years as performers. There’s no disputing that I’m more vivid and energetically myself on stage in Smash Fantastic, just as Gina is obviously transfixing in Arcati Crisis when she settles into playing an original like “Song for Mrs. Schroeder.”

It will be an interesting eight weeks of getting 30 songs ready for this cover gig, but I think I’m even more intrigued by what Gina and I will know about ourselves afterward when we turn our attention back to originals for the first time in three years.

Filed Under: arcati crisis, guitar, high school, thoughts, Year 16 Tagged With: Arcati Crisis, Cover Songs, Gina, Smash Fantastic, verisimilitude

the room where it happened

June 14, 2016 by krisis

I sat in an uncomfortable wooden seat in Masterman’s cavernous auditorium. It was my first time attending the annual day of health awareness presented by our Peer Educators, which kicked off with a live program.

masterman-auditorium-by-phillychitchat

Photo by Hugh E. Dillon, © 2010. Used with permission. Link leads to original source article.

The theme that year was awareness of sexual assault. Between speeches, songs, or short plays, a single student would emerge from behind the curtain and stand alone in the spotlight. They stood there and shared a story of assault – not their own, but one solicited from friends or family. The stories were told in the first person, sometimes in the present tense – frank and unfiltered. They weren’t something you would expect to see on a high school stage, but absolutely something that ought to be there.

A portion of the program ended, bringing us to another punctuating monologue. A young man stepped out onto the stage. He had his hair in little twists and a flannel shirt around his waist, as was the style at time. And he just… talked. About being a kid, about joy and wonder, and about how his assault ended that.

It’s not my story to share or repeat, but I remember so many elements of that monologue to this day. Words, but pauses, too. The look on his face.

I was dumbstruck by it. Not because I was a survivor of assault. Not because a man was delivering the story rather than a woman. I was struck because of the piercing honesty of the words. There was no moment of latency between the actor and the performance. I knew they weren’t his own words, but he made it impossible to believe.

Sometime later the lights came up and students filtered out of auditorium to attend workshops on consent, healthy body image, and safe sex. My mind was still on the stage. As I watched my peers have open discussions about their experiences, questions, and fears, I had one thought fixed in my mind: I needed to become a Peer Educator. What they were doing was important. They were not only educating, but creating fundamental shifts in thinking.

2016-tony-awards-leslie-odomThat young man was Leslie Odom, Jr, a frequent supporting player on TV and Aaron Burr in Broadway’s Hamilton. I went to middle school with him, but knew him from a distance only as the kid with the golden voice who sang at assemblies and was an 8th grader playing a lead in the high school play. I actually met him in Freshman year. I sat next to him in geometry; he read the lyrics to Lisa Loeb’s “Taffy” at a poetry slam.

I am sure that Leslie doesn’t recall me. He has no reason to. I don’t recall if we had a single conversation before he switched schools to pursue his creative pursuits. Honestly, I was always a little starstruck by him.

I recall that monologue, though. It was still playing in my head when I joined the Peer Education program during the next call for applications. I still think about it from time to time; I can still play it back.

I spend a lot of digital ink talking about how my BFF Gina made performance look easy and helped me discover my life as a performer, but I often overlook that I also went on to produce pair of those health awareness assemblies and facilitate those workshops. That was a massive part of my transformation and newfound self-confidence as a performer and occasional activist. I had never voluntarily been on a stage before. I became the one delivering the performances and monologues to the school. I’d never have Leslie’s control or gravitas, so I found my own way. I mocked convention. I mocked myself. I tried to make everyone think while they laughed.

On Sunday night, Leslie won a Tony Award. I would give him one myself, if I could, for that one monologue still seared into my brain and how it contributed to changing my life. I’ve now been a performer for more than half of it. I used to file into the auditorium as an audience member, but now I’m at home on stage. It’s how I met my wife. I’m a steadfast advocate for a sexual health and reproductive rights. I’m raising my daughter with the idea that she has autonomy over her body and that consent matters for everyone.

Leslie won a Tony Award and I cried before I even saw his acceptance speech.

Congratulations, Leslie. I am extraordinarily happy for you and I can never thank you enough.

Filed Under: high school, memories, stories Tagged With: Gina, Hamilton, Leslie Odom Jr, Lisa Loeb, Masterman, Theatre, Tony Awards

A Philly Education

September 11, 2013 by krisis

Last night on Twitter the hashtag #PhillyEducation was trending. Unfortunately, it wasn’t a topic to be proud about.

I have been following Philly’s school funding drama enough to know that teachers and administrators have been laid off throughout the district even if I can’t explain exactly the source of the budget shortfall. Yesterday their absence was felt by students and parents on the first day of school. I saw tweets about schools with just one guidance counselor, rooms in new charter schools with no desks because no one had put them together, and this one:

Straight A student. Cant take the honors classes i signed up for because there aren’t any teachers to teach them #philly1stday

— Teairah (@ItsyBitsy_Me) September 9, 2013

It all makes me think back to a September 15 years ago. I was starting my senior year from a new commute, because my mother and I moved from the depths of Southwest Philly to rent a house just off 2nd street in South Philly – almost the entire width of Philadelphia – .

I remember looking at a lot of houses and apartments that summer, but they all failed one major test. No, not my present-day test of how loudly I could play my guitar before the neighbors complain. Back then, the test was if I could get to my public high school at 17th and Spring Garden on my own via SEPTA by only making a single transfer.

The litmus test was that I had to be able to stay in the Philly school district.

That high school, J.R. Masterman Laboratory and Demonstration School, is a public “magnet” school that accepts the top students from throughout the city. It has spent the last two decades perched atop the state’s high school rankings – yes, even above private schools. That’s partially due to the caliber of the students it accepts, but everything to do with the talent and dedication of the staff that develops those students.

I started high school super-smart but uninterested with most subjects. I graduated with an A- average and a huge scholarship to college. Four AP classes and my advanced French skills allowed me to skip almost entire year of course credits at Drexel, which allowed me to start with classes in my own major and to complete minors in theatre and music (and very nearly history). My guidance counselor made sure of that. I learned public speaking skills by becoming a Peer Counselor to kids on the topics of health and sexuality, mentored by my Health teacher. I knew I was interested in theatre because my Biology teacher was also a theatre director, and spent three years nurturing my performance skills until I could hold the stage as a lead. I was interested in a music minor so I could record a third demo CD in Drexel’s studio, having recorded my first lo-fi attempt at home as a senior project with our choir teacher as an advisor. I applied for my job at RJMetrics because I’ve spent a decade teaching myself PHP and MySQL based on programming skills I learned in an elective class my freshman year – I had never had access to a computer before then. I write today because I wrote all the time then, and submitted to an extracurricular school literary magazine every quarter, and because teachers constantly forced me to submit my work to be published outside of school – and it was, repeatedly.

None of those opportunities will be available at Masterman today, or anywhere else in the Philadelphia School District.

This morning I walked into work carrying the same backpack that accompanied me to my first morning as a senior fifteen years ago, but also with a lifetime of skills and experiences built upon a foundation learned in Philadelphia’s School District. I was lucky enough to attend a magnet school, but the real point is that I wanted to learn and I was in an environment where there were many teachers who were happy to oblige.

I’m scared for the students of Philadelphia today, because if Teairah’s tweet is any indication, wanting to learn is no longer enough of pre-requisite to achieve success in the Philadelphia school district.

Filed Under: high school, memories, Philly

#MusicMonday: “Anything We Want” – Fiona Apple

July 9, 2012 by krisis

Fiona at SXSW this spring.

It was 1999, my freshman year of college, when Fiona Apple’s When The Pawn…dropped.

I don’t know if I would have called myself a fan of Apple’s at that time. I had picked up her first album in Junior year of high school thanks to the recommendation of my computer programming teacher, and saw her twice on the tour behind it.

Though I grew to love Tidal over time, it was always a little sleepy for me at the time. I loved “Sleep to Dream” from the start, plus “Criminal” and the thrumming “Carrion,” but on the whole it was subtle for my teenage years. So I can’t tell you exactly why I picked up When the Pawn… If only I had started a blog a year earlier!

What I can tell you is that I thought – and still think – that the LP is a work of utter genius. Every song is an incredible feat of songwriting. Fiona’s voice is throaty and lush. All of the arrangements are imaginative without being over-bearing. It is a five-star effort that I still listen to front to back almost once a month.

I followed all the Extraordinary Machine drama and, as you may recall, I didn’t love the finished product. I did still love the songwriting. It was another all-genius every-time effort. That’s not easy to do twice in a row, especially on your second and third releases!

I was notably cooler in my zeal when Apple’s The Idler Wheel… was announced earlier this year. Sure, new Fiona Apple record – great! But who knows if she could keep up the genius streak or find the right sound for her songs.


(Yes, I know, advertisement, but this performance is so amazing, it’s worth it. If you’re seriously opposed, here’s another great performance on YouTube.)

I don’t know that she achieved either, but she made an arresting, challenging work of art in the process, and she is delivering similarly arresting and somewhat terrifying live shows in support of it. At the Tower Theatre Apple looked like she might shake herself right off the stage, or simply disintegrate where she stands from the sheer intensity of it all. (She also sounded haggard, which is concerning, since we’re still early into her tour, but she sounds better on the video, just a week prior.)

While many are fixated on single “Every Single Night,” I thing early leak “Anything We Want” is the pièce de résistance on this record. It’s the one song where the minimalist pounding-on-things style of found-sound production definitely doesn’t detract from a song that clearly has some intricacies built in.

Also, the lyrics are quite genius – a story of seduction spanning time and space. Witness this clever device.

first verse
My cheeks were reflecting the longest wavelength
My fan was folded up and grazing my forehead
And I kept touching my neck to guide your eye to where
I wanted you to kiss me when we find some time alone

last verse
Let’s pretend we’re eight years old playin’ hooky
I draw on the wall and you can play UFC rookie
Then we’ll grow up, take our clothes off and you remind me that
I wanted you to kiss me when we find some time alone

That’s just stunning. The very oblique seduction in the first verse is resolved by very adult tryst in the final one. Yet, in the final verse she contrasts that lust with pretending that she’s eight years old. Kids kiss, and grown-ups take their clothes off. Is the “let’s pretend” a remembrance of her own youth with a now adult lover – a flashback to more innocent flirtations? Or, should we read the “Let’s pretend… then we’ll grow up” differently – that they are so effortless and comfortable with each other that they regress to their childhood selves and grow forward in the room together, until they are adult enough that he reminds her where she wanted to be kissed hours or days before, since forgotten?

Stunning. The turn of the lyrics keeps me rapt every single time I listen to it.

I want to believe Fiona Apple is healthy and happy at the moment – a recent giggling and quite normal appearance on Jimmy Fallon supports the theory. If she keeps laughing and living and releasing strong work, I’d say it was one of the best concerts I’ve seen in my life, and The Idler Wheel… is a brave experiment by a singer with a still-unbroken streak of excellence – even if it’s never the excellent we expect from her.

Filed Under: concerts, Crushing On, high school Tagged With: Fiona Apple, Tower Theatre

we’ll see how brave you are

January 3, 2012 by krisis

Over the past few months I have been trading a volley of emails with the unrequited crush of my high school life.

(Alright, settle down. This is not an intellectual affair of any sort. E is totally in-the-know about this entire saga. But, as you’ll see, there is still some resonance there.)

Seriously, how cute was I back then? So cute.

Being the unrequited crush of my high school life, she was effectively and simply one of my best friends. In fact, I’d say she was the person I spent the most time with in high school after Gina. Since high school was also ground zero for establishing my taste in music, the entire half of my sonic vocabulary that I don’t share with Gina – Elliott Smith, Rufus Wainwright, Tori Amos –  I do share with her.

(This pronoun business is getting tired already. In the proud and rarely-invoked CK tradition of assigning cursory pseudonyms to former obsessions to pseudo-protect their anonymity and separate them from posts made while I was actually in some form of crush with them, we shall refer to her as “Scarlett.”)

As with all of the few people who have fallen out with me (rather than the other way around), Scarlett’s story became a little too intertwined with mine. I found myself telling everyone I knew about parts of her life that were maybe not mine to tell, either intentionally or through my songs. Except, Philly is a small place, and she eventually told me it wasn’t the kindest thing to do to a girl.

We didn’t have a fight, necessarily, but we left it there, and eventually became Facebook friends, as one does in these situations.

I am not one to harbor regrets, but I regret that. How could she have known what she was getting into by being my friend? Fifteen songs which are now sitting in mothballs in some attic crawlspace of my brain.

(Yes, I do appreciate the irony inherent in now writing about her on my blog. I suppose this is one of my fatal personality flaws.)

Our renewed contact began because, oddly enough, Scarlett has out-of-the blue discovered a love of singing. And, let me tell you, this was a girl that had no interest in singing. You know me and my constant need to turn everyone into an all-singing, all-dancing cabaret version of themselves. I tried that on her in high school, and maybe had something to do with getting her to act in a play with me, but the singing part never came.

Suddenly, in 2011 she was interested in singing and playing, so she emailed me. I suppose I am the stock person that comes to mind when anything of the sort crosses the mind of anyone who has ever met me. Which is good – +1 to personal branding!

Anyhow, we talked, and then she sent me a recording of her singing. Though untrained, she has this wildly cool voice – as well as the instincts and DNA that come from all that music we shared in high school. A few days later I sent the song back with an instrumental arrangement and a choir of ahh-ing auto-tuned Peter’s.

Things have continued like this for a while now, her sending me new songs, us talking about the mechanics of singing, me musing random musings back at her.

Last week I finished a new song I have been chipping away at for – no lie – two years. I had played it for E a few times while working on it, but when I was finally done it was past midnight and I needed to play it for real for someone so I would remember it in the morning.

I recorded a video and sent it to Scarlett. It’s the first song I can remember sending to her or playing for her for over 12 years, even though back when I first learned to play guitar it was the sort of thing I did whenever I finished anything. “Sweet Nothing,” “Other Plans,” “Touch” – all those old ones, she was one of the first people to hear them as a file shared over instant messenger.

And now, in a way, we have transported ourselves back to our instant messages of 1998, firing our volleys of thoughts and songs across the city at each other.

I want her to be the biggest indie star in Philly, because even if I stop having a crush on someone I am still in love with all of their potential.

Filed Under: high school

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