The scene is not my usual gem box theatre, crowded club, or palatial performance space, but a campus teeming with tents filled with books, publishers, and writers’ organizations. While I’m a dedicated bibliophile and a dabbling writer, the significant part of my focus at the Los Angeles Times Festival of Books on Saturday, April 13, 2019 was on music.
My favorite thing about the Festival of Books is the readings, conversations, and interviews that are held inside the USC campus buildings, and the free events held on the outdoor stages. I arrived early enough in the morning that some exhibitors were still setting up their booths, which enabled me to attend a total of seven scheduled events that day. My morning was spent learning about: the cultural history of Los Angeles as seen through recently published books, identifying a good story with the L.A. Times staff, and immersive storytelling using the platforms of virtual and augmented reality, escape rooms, and immersive theatre. In the afternoon, I attended the three events that focused on music.
LANDLIGHTS Instant Choir
When I saw The Instant Choir on the schedule, I knew immediately that I would be attending that session, no matter what the other options where in the same time slot. It was (accurately) advertised on the Festival website as such:
In less than an hour, acclaimed vocal educator Greg Delson (founder of the LANDLIGHTS Center for Voice) will transform a group of us (mostly non-singers) into a full-fledged choir, alongside a live band. No singing experience, talent or ability required. This is a unique opportunity to try something new together. And don’t worry – no one will have to sing alone! Multiple studies have correlated group singing with reduced stress, anxiety and fatigue. Moreover, group singing quickly forms positive bonds and fosters a sense of human connection, which is so critical in today’s world.
Source: Los Angeles Times Festival of Books Event Schedule
Upon entering the Norris Theater a few minutes before the start of the session, I glanced across the audience of predominately women of varying ages and about a dozen men. On the stage, a three-piece band of piano, drums, and guitar, was loosing playing some funky music, something like “Use Me” by Bill Withers as people walked in and chose seats. We weren’t sitting for long though, as vocal leader Greg Delson, soon had us on our feet singing a call and response warm up while stepping side-to-side in time to the drum beats.
Next, he had everyone move to the front of the theater and walk around in an altered version of musical chairs, but when the music stopped, you stopped and talked to the person next to you, sharing your name, where you were from, and your singing experience. This was a friendly, little ice breaker, forcing me to bust out of my usual anonymity in a crowd and generally brightened the faces of the participants.
We set to work after that, it only being a 60-minute session. Greg asked us to cluster together near the front of the seating area and divide ourselves into lower voices on one side of the space and higher voices on the other, with a few of the tenors, altos, and unsure people in the center. The screen up front displayed the chosen song divided into two columns, one for each group. Greg taught each line by singing it and having the group echo it; turn taking when singing lines and two-part harmony was built into the arrangement. The song was the familiar, and clearly very well known by some, hit by the Backstreet Boys, “I Want It That Way.”
The session was pure fun and a highlight for me, though I inevitably had that song stuck in my head for the remainder of the day. Through the experience, it was easy to see how enjoyable this might be for a longer time session or across multiple weeks. It was a very quick way to connect with strangers and create a loose bond through the shared experience of singing. It certainly had me missing my high school choir days, from which some of my fondest teenage friends and memories were created. I’m pretty sure we humans should all sing together more often for no particular reason other than to just do it; I know it would boost spirits and create greater happiness.
Drop the Beat
It was fairly obvious to this music blogger to attend a conversation titled, “Drop the Beat: Writing About Music.” The session was moderated by legendary radio personality Greg Mack and featured music lovers and authors: Hanif Abdurraqib, Will Ashon, and Gerrick Kennedy. The event listing promised, “Into the now-venerable tradition of writing the history of hip-hop come these panelists’ most recent books, which go deep on rap group giants A Tribe Called Quest, the Wu-Tang Clan and NWA.” Though outside of my typical music listening area, I desired to hear what these authors had to say about music and the experience of writing about the creators of music.
After the introductions, Will Ashon kicked off the discussion, first sharing the story of how a white boy from England got into hip hop in its early days, when it was an American, black culture-dominated musical expression of life in city neighborhoods (short answer — in a search to find the modern equivalent of the essence of jazz). I loved what was said about music genres at this point, that genres are “squeezing things into boxes created after the music” was created. His recently published book is titled, Chamber Music: Wu-Tang and America (in 36 Pieces).
The Los Angeles Times had one of their own on this panel, music journalist Gerrick Kennedy. What I learned from Gerrick was to focus on the themes of the music above the way the musician presents himself/herself. I also liked what was said about N.W.A., that they “saw themselves as street reporters.” That statement really clicked with me on how to better understand what’s behind the lyrics of hip hop songs. Another poignant statement was that “people can honor their ancestors in music.” I greatly appreciated this clarity on the “why” behind the music. Gerrick may keep busy with interviews with musical artists and writing compelling features for the L.A. Times, but has also authored the book, Parental Discretion is Advised: The Rise of NWA and the Dawn of Gangsta Rap.
Seldom have I witnessed a person that has impressed me so quickly, transforming from unknown quantity to sheer inspiration over the course of an hour, as happened when I heard Hanif Abdurraqib speak. He had a quiet air about him, but would interject carefully fashioned pearls of wisdom into the conversation (in referring to many layered, heavy production, “silence too, is a sound”). One statement he made that I, as an ardent and steadfast super fan of multiple bands, loved, was his take on fandom as “a long constantly unfurling love letter that doesn’t expect anything in return.” His considerable love letter is the book, Go Ahead in the Rain: Notes to A Tribe Called Quest.
During the discussion it was observed that, “In a (music) group, people are trying to extract the one with the most talent.” For example, you would pick Beyoncé out of Destiny’s Child. In some instances, the group as a whole is clearly greater than the talent of any one member, which was the message coming through about these hip hop groups. The speakers sustained a natural conversation that I am sure that was due to Greg Mack’s expertise on the subject matter (having been present in the history of some of the content) and with fostering discussion. Each panelist brought his own assets to the table, Will with his education and enthusiasm, Gerrick with his knowledge and experiences talking with those in the industry, and Hanif with his easy manner, yet pinpoint accurate and eloquent observations. Such a fantastic group, but I wondered if Hanif was actually the gold nugget extracted from the stream of gold specks that skyrockets the fortune of the prospector.
After the panel was over, I immediately purchased Hanif’s book as well as another one of his that is a series of short, music-based essays, They Can’t Kill Us Until They Kill Us. I was able to meet Hanif briefly and have him sign my books. When we talked he told me that he started out as a music blogger, which felt re-affirming for my decision to buy these books and learn from his example. I dove into this book that same night and I am thoroughly enjoying his prose and observations in print. I’m getting through it slowly because when songs are mentioned that I don’t know (which happens often as a mainly alt-rock geek reading a hip hop influenced – though not exclusively – tome), I stop reading and listen to the songs to help better understand the context and broaden my music experience. I thank Hanif for the lyrical compositions, the music exposure, and the inspiration.
Hanif’s Book of Music Essays
Music by Maddie Ross
When planning my agenda in the days preceding the Festival of Books, I noted that there was a music performance on the schedule to close the day — Maddie Ross, a young and upcoming L.A. musician, who graduated from USC just a few years ago. I decided to listen one of her songs and comment on it in my recently added blog section called, “Music New to My Ears.” Being curious to hear her live after spending over an hour listening to, thinking about, and writing about one of her songs, I stopped by the USC Stage as she and her supporting band members (playing lead guitar, rhythm guitar, bass, and drums) were getting ready to perform.
The event schedule describes that Maddie “writes pop-punky love songs and guitar-driven anthems about her producer, co-writer, and longtime girlfriend Wolfy. Often performing under the influence of teen movies, Ross is known for high-energy performances and candid love songs about being queer and proud.” Wolfy, who was handling rhythm guitar and backing vocals, told some of their songwriting secrets when introducing songs. It was true that they drew much inspiration from movies as they explained the creation of songs to complement an existing soundtrack or a tune that might underscore an imagined alternate scene.
The band rocked the stage and provided strong support to back Maddie, who looked like she was having a fantastic time as she powered her vocals through her original tunes. The live versions of the songs were pretty faithful to the recordings that I listened to and their pop sounds and energetic rhythms had the children at the festival dancing in the pit. During her set she announced that they were about to go on tour opening for KT Tunstall. I stayed for all of the half hour set, because a free concert of fresh music with little kids dancing without any worries is a fine diversion on a sunny Saturday evening.
