Posted in music | pictures on January 21, 2011

words by Andrew Frisicano, photos by David Andrako

Dan Deacon

I was prepared to be disappointed by the Dan Deacon/So Percussion collaboration on Thursday night. I've seen Dan Deacon several times over the past few years and it has always seemed like more or less the same show ("Hey, it's that people-bridge thing."). With So Percussion, the last I saw of them was an evening-length piece at BAM titled Imaginary City. There the music was competently performed, but presentation was underwhelming; the ensemble got swallowed in their junkyard of instruments, too delicately played for the large theater space. My hope was that the group would be less calculated and more playful, which is when they're at their best, with Deacon (the amazing finale of their Matmos collaboration had them alternately chugging and playing beer cans).

Another reason to be skeptical: if you can remember back to May 2009, So Percussion described a Deacon-penned piece they'd be playing at a performance that month. An e-mail from the group warned that the piece "may include pouring liquids onstage, amplified coke bottles, and other oddities..." Well, it didn't end up coming together in time for the show. But it did last night. I figure, any project delayed more than two years is either a catastrophic trainwreck (Chinese Democracy) or a landmark breakthrough (Finnegans Wake or something). Part of that curiosity is what drew me to the show.

Dan Deacon

The night was divided into two halves, the first with So Percussion and Dan Deacon performing individual sets, then with the groups together. So Percussion's Jason Treuting was absent for the evening, off spending time with his new baby, who'd just been born two hours earlier, and substitute drummer Eric Rosenbaum did a great job of filling in. The band had the crowd sing "Happy Birthday" into a cell phone for the newborn, which was the first of several crowd-performances of the night.

Their opening set comprised of several short pieces, mostly based on videos submitted by friends: a bearded man using an electric toothbrush, a child playing with an orange balloon (replicas were thrown into the crowd to play with), and Martin Schmidt from Matmos looking very John Cage-ish, straight-backed and in a bow tie, playing a succession of musical objects into the camera. The ensemble improvised over the clips in meditative waves, aided by guitarist Grey McMurray.

Up next was Dan Deacon's solo set, which he didn't really perform in at all. In an obvious reach-out to prose scores (by John Cage and others I'm less familiar with) and aleatoric pieces like Terry Riley's In C, Deacon passed out a 24-step pamphlet with instructions for audience members to perform in their seats. The steps were to be repeated variously, before moving to the next in the sequence. Some instructions said to focus on breathing, others instructed you to sing a tone or scream, several involved using a cell phone, either to set off its alarm, create feedback with a neighbor's phone, or call a friend and have them sing to you (one stranger serenaded the near-silent hall to "Proud Mary"). The gambit paid off, both as a natural extension of the crowd-participation Deacon has previously employed and as a link to "new music" tradition.

There was an intermission, then "Ghostbuster Cook: The Origin of the Riddler," a collaborative piece with So Percussion, whose performance centered on drumming a row of soda bottles of varying sizes. They emitted a marimba-like sound that Dan Deacon manipulated with a row of effects. The next stop was a series of bass drums and congas, that sounded at times like a drum corps. When Dan Deacon fired up his sequencers, which took a few moments to lock in with the drums, it was the closest the night would get to a standard Dan Deacon set: overwhelming sound with chaotic execution (So Percussion didn't seem exactly at ease with their cues here). The group moved back to the pitched containers while members emptied more soda bottles into plastic tubs. Stoppers at the bottom of two playable bottles were let out and a misting sound filled the hall. Then, the silence. For what must have been more than ten minutes, So Percussion stood perched over their marimbas and vibes waiting for the running water to stop (no doubt a reference to the silence of John Cage's 4'33"). One enraged audience member exclaimed "Are you fucking kidding me?" before storming out the back. Then the water ended, and the group came in with an arrangement of twinkling mallet percussion, with a melody that hinted at Danny Elfman's film scores and polyrhythms that tugged in several different directions.

Was the night a success? Partly. Dan Deacon seemed serious about his concert hall debut; the prose score was fun and effective. So Percussion's solo set was a stellar example of what makes the group great: aural treats born out of playful experimentation. Their collaboration was a risk that had an admirable scope, and paid-off in parts, but stopped short of making a cohesive whole (again, the thing was called "Ghostbuster Cook: The Origin of the Riddler"). If Deacon and the group had put together a suite of short pieces, with spots to recalibrate and adjust, I suspect the result would have been a full success.

As it was, only one crowd member in a sold-out crowd leaving (as far as I could tell) is more than a minor victory. The biggest regret is the fact that the program's final piece, So Percussion's "I Love You, Goodnight," didn't happen. They skipped that song, possibly for time, or perhaps because Jason was absent, but I wish I had a video of it to post here: It's an amazing lullaby to send off an audience.

More pictures from the Ecstatic Music Festival show at Merkin Concert Hall (the next one is Craig Wedren, Jefferson Friedman & ACME on Saturday) below...

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon

Dan Deacon



Comments (59)


Posted by Anonymous | January 21, 2011 2:18 PM

too many words

Posted by Anonymous | January 21, 2011 2:20 PM

dork central

Posted by Anonymous | January 21, 2011 2:30 PM

Why is this dude still making music?

Posted by Anonymous | January 21, 2011 2:37 PM

ha, these comments are great. I was thinking of going and then I didn't buy a ticket in time. Go to the Bang on a Can Marathon this summer. 12 hours of free live music nonstop at the Wintergarden (it used to be 48 hours or something ridiculous like that), all weird nerdy "noise" like this!

Posted by Anonymous | January 21, 2011 2:44 PM

time to start calling his old channel 59 buddies

Posted by Anonymous | January 21, 2011 2:44 PM

Deakin > Deacon

Posted by Anonymous | January 21, 2011 2:50 PM

Wow, people actually pay to see this shit? What's worse: this or Disco Biscuits?

Posted by TheSloot | January 21, 2011 2:51 PM

LOL!!!!!! yeah dude...the end is near if this guy is still relevant. prepare for armageddon! nitrous mafia! file under: stuff people pretend to like.

Posted by mike gordon's dildo | January 21, 2011 2:59 PM

nice green shirt on the fat one.

Posted by Anonymous | January 21, 2011 3:01 PM

Nice orthotics Dan! Pull some fat, buddy!

Posted by Anonymous | January 21, 2011 3:03 PM

this shit is fucking stupid retarted. dan mehcon can play my merkin ball.

Posted by Anonymous | January 21, 2011 3:06 PM

whaa! this doesn't have lyrics! different ideas are bad!!! SMASH! me comments on internetz are importants! hahaha! Me ego huge now! I can shit on people who are more smart than me without them laughingz in me face or know who me am!1! mwahahahaha!

Posted by Anonymous | January 21, 2011 3:10 PM


Posted by Anonymous | January 21, 2011 3:27 PM

nice review, thanks.

Posted by Anonymous | January 21, 2011 3:37 PM

i personally liked the show.

Posted by Anonymous | January 21, 2011 3:39 PM

I liked the narrative of the review as well. My quibble is that this isn't exactly his concert hall debut. He has a master's degree in composition, and has given a way a lot of his previous "art music" work.

Posted by Anonymous | January 21, 2011 3:40 PM

the new piece was awesome. the rest of it was strange. that's not a bad show (though yeah a little expensive). crowd was cool about the strangeness.

Posted by Anonymous | January 21, 2011 3:53 PM

i don't know what to say...

Posted by Anonymous | January 21, 2011 4:04 PM

What is wrong with an extended, written review?
The YouTube generation speaks its mind once again!

I wish I went. I bet it was entertaining, interesting, odd.

Posted by Anonymous | January 21, 2011 4:05 PM

I heard from a reliable source that dan deacon is a hummus afficianado.

Posted by Anonymous | January 21, 2011 4:05 PM

He makes an interesting "avent gard" blend in which cilantro and paprika are mixed in with the chickpeas. I'm not sure how good it tastes, but I will try any hummus once.

Posted by Anonymous | January 21, 2011 4:07 PM

@ 3:40 A concert hall performance is very different from bedroom recordings.

"whaa! this doesn't have lyrics! different ideas are bad!!! SMASH! me comments on internetz are importants! hahaha! Me ego huge now! I can shit on people who are more smart than me without them laughingz in me face or know who me am!1! mwahahahaha!"

Pure beauty.

Posted by Anonymous | January 21, 2011 4:09 PM

Dan Deacon always enjoys that blend prior to his performances. He feels the phyto-nutrients locked within the chickpea makes his button turning much more frantic and enjoyable.

Posted by Anonymous | January 21, 2011 4:11 PM

Last time I went to see Dan Deacon I thought I saw a tan smudge on one of his keyboards...
Just a word of advice dan, don't use the instruments as a table. The olive oil content can damage the micro electronics and cause an unwanted buzzing sound that may interfere with your other buzzing sounds.

Posted by Anonymous | January 21, 2011 4:14 PM

hummus is a proven cause of chronic flatulence. eat at your own risk.

Posted by Anonymous | January 21, 2011 4:17 PM

oh god, oh god. please just shut up with the hummus. it's just not funny at all

Posted by Anonymous | January 21, 2011 4:18 PM


Posted by Anonymous | January 21, 2011 4:26 PM

I was the person who said "Are you Fucking Kidding me". This show was terrible. No other way to describe it than absolutely terrible. My friends and I ended up pounding Brooklyn Lagers in the lobby in an effort to salvage the night. Dan Deacon owes me $25.

Posted by Dave M | January 21, 2011 4:28 PM

look at those fucking hipsters.

Posted by Anonymous | January 21, 2011 4:29 PM

hummus is a forced meme

Posted by Anonymous | January 21, 2011 4:30 PM

When me and my band, "Ali Bone $ The Chickpea Eaters" toured the west coast... We were eating lots of hummus off of our micro-korg on the tour bus. As we were traversing the Rocky Mountains a large pot hole caused some major turbulence and caused the hummus to tip and spill right into the mod-wheel and create a short within the electronics and from that point on the only sound the micro-korg would make was a sound like - "hhhhhummmm".

Posted by Anonymous | January 21, 2011 4:35 PM

Dave, you're such a rebel. Some people don't get you but I do, man, I get it. You are fo f-in cool. You're like Haulden Cauffield cool. You're like the people who rioted during the Rite of Spring. Don't let the man bring you down.

Posted by Anonymous | January 21, 2011 4:40 PM

Posted by Anonymous | January 21, 2011 4:40 PM

After singing Happy Birthday, watching horrible videos of babies and a guy using his sonicare, I got to listen to the audience play their cell phone rings and make fart noises. I WAS SO HAPPY HE CALLED AN INTERMISSION.Couldn't bare to stay after any longer. Definitely the worst show I have been to in a long time.

Blah...and it's not that I "don't get it". I do and have seen it done before so many times and so much better.

Posted by J | January 21, 2011 4:42 PM

I was at this show, and although 4:42's comment about the annoyance of the crowd playing cell phone rings is accurate in having a rather high annoyance factor... I felt the low point of this concert was actually the beginning when dan deacon was preaching to the crowd about the importance of eating hummus a minimum of 3 times per week.

Posted by Anonymous | January 21, 2011 4:56 PM

What a corny show.

Posted by Anonymous | January 21, 2011 5:06 PM

Andrew needs a spell checker.

Posted by Anonymous | January 21, 2011 5:12 PM

I don't really enjoy the hummus comments but I admire the dedication.

Posted by Anonymous | January 21, 2011 5:15 PM

If the idiot who posts all the stupid hummus comments instead spent his time learning to play an instrument or doing volunteer work, he could potentially do some good. Right now, he's got the lamest shtick in the world, that he already ran into the ground a long time ago.

Posted by Anonymous | January 21, 2011 6:13 PM

watch out for the brown hummus. it will give you the squirts. you will spackle the bowl.

Posted by Anonymous | January 21, 2011 6:55 PM

Dan... Don't be upset that hummus is smeared all over your comments section... It is a sign of love. We hummus eaters are a positive bunch who smile and live healthy from all the phyto-nutrients locked within the chickpea.

Posted by Anonymous | January 21, 2011 7:58 PM

Thanks for a thoughtful review BV. We really appreciate when people take the time and care to engage with the music that we are making. I always learn something from honest criticism, and y'all have been great over the years.

I don't normally do comments sections, but I'm really appalled at what some people would throw up here and not have the courage to put their names or identities to. I realize I'm being naive...

We are comfortable with the idea that people may not like everything we present. A lot of the music that happened at Merkin was an experiment, much of it influenced by very conceptual folks like John Cage and the Fluxus artists. To our minds, that's what experimental music is all about: if we only calculated what would make the largest number of people comfortable with what they had consumed, we'd be making commercial music. Which is a perfectly wonderful thing to do, but not quite what we were trying.

If some people believed that our experiments failed, I respect that. It should be part of the dialogue about art and music in our society.

But it's a hell of a lot harder to put yourself out there in front of 450 people with some new ideas than to troll around comments sections anonymously.

Adam Sliwinski
So Percussion

Posted by Adam Sliwinski | January 21, 2011 11:35 PM

the funny part was when dave and i thought the tv monitor in the lobby was frozen or broke. we were like wtf? so we made an attempt to walk back in and i had no choice but to laugh wen i saw people just frozen still on stage. i actually appreciated the humor. like "hahah i just made loot of these people".

the fact is we all got yoko ono'd.

also u guys should no the truth. dave was part of the show. he's boys with dan deacon.

Posted by don | January 22, 2011 1:52 AM

you all should know the truth. the guy above this comment talks really stupid and no one cares who he is and yoko ono is 100x cooler than he is.

Posted by Anonymous | January 22, 2011 4:13 AM

Adam, I hear you. Before I met Dan, I didn't really care for his music, but having known him for a while now, I am inspired by his energy, his warmth, his willingness to collaborate with anyone and just experiment with ideas. He has the courage to put stuff out there even when they might not go the way he planned. He works harder than almost any other musician I know.

As artists, we're all just trying to communicate with people. Sometimes our ideas work, sometimes they don't. We understand some people might not like our music, but we would hope that they would respect us as people who work hard at what we do, just as we respect their right to not care for what we do.

I'll tell you what keeps me going, though. We played a show in Eugene, OR, in a little art theater in an old church, to a tiny crown of maybe 25 people. Right when our set ended, I heard a girl right in the front of the audience say, "I think my heart just fell out." I say this because I know we are able to reach people, even if it's just one person at every show, and that's all we want. We want to reach them in a real honest way, we're not trying to appeal to as many people as possible by all means necessary.

Despite the countless people who have said vitriolic things about my band in the past, despite the ongoing dismissals of us as a "hipster" band, I have faith in what we are doing because I can see how people respond at each and every show we do. We put our souls into this shit, we lose money, we break our backs hauling gear all over the country, we scream until our throats bleed, and it's worth it.

We're not here to dance like monkeys for you. We're not here to just entertain you. We're here to share and communicate with people who may resonate with our ideas and perhaps understand where we're coming from, and if it doesn't work sometimes, it's ok. If we were trying to get rich and rip you off, boy are we doing it the wrong way.

Dan knows what I am talking about. He has influenced lives. He has genuinely connected with thousands of people. Who cares what some anonymous trolls have to say about him? What he does is real and honest, whether you like it or not.

If any of you are actually in touring bands, or are seriously making art or music of your own, I can't understand how you can feel smug about trash talking like this. But based on these comments, I can only believe you're all a bunch of office-drones who gave up on your own dreams years ago.


Gerry Mak of Bloody Panda

Posted by Gerry Mak | January 22, 2011 4:56 AM

that's an excellent write-up by Andrew Frisicano !

although i loved the crowd performed piece
and thought it was very clever and interesting, the crowd itself took the "do it on your own pace" to the max and that made it linger for more than it needed to and had weaken the total experience.
it seemed that dan felt the same.
but hey, it was done for the first time and he should continue do it in the future.
maybe just tighten the timeline a bit.

Posted by me | January 22, 2011 6:28 AM

"We understand some people might not like our music, but we would hope that they would respect us as people who work hard at what we do, just as we respect their right to not care for what we do."

The problem is that Deacon comes from a particular background (accessible and dancey) whereas So Percussion is an experimental band. People expect weirdness from them, but Deacon's demo is going to be fairly perplexed by the "strangeness" and want something resembling a toe-tapping moment. He's just slumming. It's a little like when Ogre became a nerd in "Revenge of the Nerds II" - no one believed it then, and we sure don't fucking believe it now.

Anyway, why the fuck is Gerry Mak inserting himself into a discussion that has nothing do with him? Hey, fucknuckle - even if you turn it down to eleven or so on the Opportunistic Asshole Scale, you still make Gwyneth Paltrow look understated.

Posted by Crosseyed Sniper | January 22, 2011 7:48 AM


oh yeah so funny soo funny ha ha

Posted by Anonymous | January 22, 2011 1:50 PM

Hummus is not intended to be a comical thing.
It is simply a delicious snack that should be eaten a minimum of 3 times per week.

Posted by Dan D. | January 22, 2011 2:50 PM

just so my comment/recanting of the night has some context: i have a masters in composition and musicology, and i teach/taught courses in composition, music theory and musicology at several universities. i've never been to this site before and only came upon it because its one of the only reviews of this concert i can find online. considering how small the "new music" community is in new york i am going to remain 'anonymous' as well. i don't want the hate this blogs' readership bring down upon the people covered on its pages.

it seems odd to me that this performance has only received coverage from pop/rock music press. the only reviews i can find are this blog and the village voice blog. upon further looking it seems that both reporters seem to mainly write only about pop music or food reviews (the writer of this blog)! no offense to the reviewers but if almost all of their writing is in pop/rock music (and restaurants) what the hell are they doing being the only ones reviewing this show? if the publications wanted to actually review this show they would of sent writer with a background in new music and not just send someone to write something uninformed up.

its a shame that this concert has only been reported by reviewers that seem ignorant to most 20th and 21st century composition as there were some really nice elements to the concert last night that a more informed and musically educate reviewer could of brought to light.

i am especially disappointed in andrew frisicano, the writer of this review. its crazy that the author would write "In an obvious reach-out to prose scores (by John Cage and others I'm less familiar with) and aleatoric pieces like Terry Riley's In C..." and expect to be taken seriously. broadly referencing john cage and 'in c' is like a music journalist comparing radiohead to michael jacksons thriller because they both have guitars on them. also, what elements of danny elfman did the frisicano hear in the final 'movement' of deacons "ghostbuster cook" piece?

puja patel on the village voice site review didn't seem to offer any greater insight to the concert than frisicanos review but at least he didn't expose his ignorance to music as heavily as his peer did. the fact that the first thing the article does is poke a jab at deacon in a caption by stating how the composer was "wearing a shirt with a collar on it" left me thinking that the concert was reviewed before the writer even entered the hall. regardless of what the writer had to say after that first caption was pointless as tabloid style mocking just makes any publication and its writer look like ignorant assholes rather than informed critics. however, patels reference to oliveros actually delighted me and after that i was expecting some actual coverage of the MUSIC rather than a list of the instruments used to make it, sadly the review never went there.

after seeing what else the writer has covered for the voice, i felt the paper should of assigned someone more accustomed to reviewing a recital of art music in a concert hall rather than dj-culture scene reporting.

while writing this long 'comment' was most likely nothing more than a waste of my time, i just wanted to make my views heard. in my opinion deacons music that evening was the embodiment of the spirit the ecstatic music festival is trying to achieve. i doubt there was ever an evening of music in that hall that had the energy so percussion and deacon brought. while the music had its flaws and its contrivances it was still extremely unique sounding at times, engaging to watch and left me a little less jaded about music than when i came into the hall. considering that was deacons first concert of his art music in a "seated venue" (according to what he said on stage that night) and that he mainly writes and performs dance music his compositions that evening were an exciting set of pieces by a new composer trying to gain his footing. almost unfortunately for him he already has a following and the media seems to already have him pegged as something much narrower than he actually has the potential to be.

i think if given the chance deacon could actually become a force in the composition world, especially if the media didn't just poke fun at him for being overweight and bald (i can only imagine what this website who say about morton feldman if he were on the scene today). i wonder how deacon would fair if he didn't have his pop music persona getting in the way of his more "serious" music? the fact that so percussion are aligning themselves so strongly with deacon is a great sign to me that his art music career will have life. i've been around long enough to see music journalism destroy countless creative people that seem to have genuine excitement and energy about them. i hope that doesn't happen with deacon.

Posted by Anonymous | January 22, 2011 5:02 PM

In a post about ignorance of music, you show an incredible amount of ignorance about this site. Andrew and most of the kids writing for free on brooklynvegan are amateurs with very little experience and knowledge about music. Bill Pearis is the exception. The site isn't a serious music review location, its primarily a cut and paste promo site for PR companies to dump info about their latest clients. The concert coverage is mostly photos, sometimes a setlist, and either a cursory review, a cut and paste review from elsewhere, or a high school level "review" from one of these amateurs.
To expect anything more from this site is completely unrealistic.

Posted by Anonymous | January 22, 2011 5:25 PM

In response to 5:02's long winded manifesto... After the first paragraph you created such a massive boredom in me with your ivory tower nonsense that I threw up in my mouth. Have you ever heard of "ROCK & ROLL"? I think you didn't. Your words bore me as much as your music... And I find certain restaurant and food reviews to be helpful. Especially when they are establishments that serve hummus.

Posted by Anonymous | January 22, 2011 7:07 PM

Oh snap, Adam from So Percussion is calling out the "trolls" on BV. Wait...what? First, I suppose anyone who criticizes what they are doing is immediately a troll. Second,regarding Gerry Mehk's post, I didn't know that it was a prerequisite that you be a musician or in a touring band to have an opinion. It's great that people can move to America and play avant garde doom metal...hell it's the American Dream! but, it's not for everyone. Kudos to you for breaking your back and playing crappy bars for no money. Unfortunately, a lot of people feel the need to settle down and earn a paycheck. However, I'm not sure how this makes their musical opinions void. I'm sure many of the people who come to see your show are of the working class. Do you go up on stage and request that all non-touring band musicians must leave the venue? After all, if they don't have a right to an opinion, why would you want these assholes to support you?
Again, Adam it seems like you guys already have a stick up your ass. You're crying because people are anonymously criticizing your performance, but I don't see why that makes much difference. Did you try to find the people who blatantly walked out on whatever this was? Would you prefer that people stand up and boo, or walk onstage and tell you that you suck? I think the bottom line is people paid a decent amount for a ticket, and got stuck listening to some ring-tone, soda bottle, pringles can, toothbrush, some dude shitting, or whatever the hell else was going on. Maybe you're just uptight because you guys realize that the "experiment" didn't work. Either way, I'm saying that in my opinion, it's garbage and I wouldn't waste $.50 on seeing it. And as to not be names Carter Riley. I'd be more than happy to relay my feelings to you in person as well. I'll be in NYC most of the next week if you want to see my beautiful face, and so I can break free of my anonymous trollin' identity.

Posted by TheSloot | January 22, 2011 7:12 PM

To whoever Andrew Frisicano is...

I don't care if you write a shitty review on Brooklyn Vegan but please don't take this tone of disappointment like you know better to fall for Deacon's tricks and then say that the running water was 'no doubt' a reference to 4'33" "cuz you know, it doesn't have notes or whatever". You would have applied the freshman references you stole from your new friend at nyu no matter what the lineup was.

If you are going to try to make a name for yourself on this industry spam blog then at least TRY to sell the idea before you resort to pretentious criticism. Wait until you are older, your lazy aspiring writer kid is showing.

Posted by Anonymous | January 23, 2011 11:02 AM

holy crap! everyone calm down. all I was saying is that "Merkin" is a funny name for a hall. look it up. Merkin.
-mister anonymous guy.

Posted by Anonymous | January 23, 2011 12:46 PM

I mean I dont really like Dan Deacon all that much, but what are you guys doing? Sitting on your laptops bagging on everything, bra-vo...

Posted by Anonymous | January 23, 2011 11:10 PM

"I think the bottom line is people paid a decent amount for a ticket, and got stuck listening to some ring-tone, soda bottle, pringles can, toothbrush, some dude shitting, or whatever the hell else was going on."

"Either way, I'm saying that in my opinion, it's garbage and I wouldn't waste $.50 on seeing it."

These are vague observations that don't actually critique the performance in any positive or even negative way. I believe that artists such as Dan Deacon and So Percussion often turn to their audiences for feedback on their creativity. Of course they do not expect to please all the people all of the time but they do hope to please some of them some of the where have I heard that before?

I am a percussion student living in Baltimore and have become very influenced by Dan Deacon's music over the past couple of years. I had the misfortune of not being able to attend this concert (Which is a shame because there is no bigger So Percussion fan than myself). However, that is not to say I would have fallen in love with what they had presented.

I attended Deacon's Whartscape festival concert series in a old parking lot in downtown Baltimore with So Percussion during the summer of 2010. The variety of experiemtal music and soundscapes that happened in that parking lot closed off with bed sheets across metal fencing was pretty astonishing. (you can only imagine how that looked) I by no means liked everything I saw and I don't think anyone expected me to.

So, I think what Adam is trying to say is that in order to contribute to our society and growth as a cultural community, criticisim is mandatory. You might say the group of people that walked out of the concert hall thinking it was the worst experience they've ever had have a more important role in this "cultural community" than the ones that absolutely loved it. Truth is we all have a right to our own thoughts and words but we must be very careful as to how we choose them. Vague comments only allow us to backpedal. Nothing is a mistake. There's no win and no fail, there's only make.

Victor Caccese
Student of So Percussion

Posted by Victor Caccese | January 23, 2011 11:16 PM

I think the guy subbing for jason's name is Ian Rosenbaum.

Posted by Anonymous | January 24, 2011 1:19 PM

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