Interview with Marvin Kanarek, RIP January 18 1947- December 19 2012

(Sept. 2010 Interview reposted in honor of a lovely man with a terrific sense of humor. Marvin left this world far too soon – as is evidenced by his poetic and profound response to the question, “Any life lessons you’d like to share?” MARVIN: “Don’t know yet. I feel like I’m still in the middle of the storm. According to legend, we will know during those final moments that we draw our last breath. I’ll either have a smile on my face, or someone at bedside will be slapping it. I’ll know then.”    Our thoughts are with his family.)

Original interview:

This amazingly multi-talented Guest Star has lived the COOLEST lives – that’s right – plural! No, he’s not reincarnated…that I know of…

Born in Havana, Cuba, raised in Toronto, Marvin Kanarek has lived everywhere from Paris to LA.  He has worked as a studio drummer and toured extensively (HOW COOL IS THAT?!?) with: Rough Trade, The Bonedaddys, Burton Cummings (The Guess Who), Randy Bachman (BachmanTurner Overdrive), Janis Ian, Bo Diddley, The Beach Boys, and that’s only the beginning!!

My head was spinning from all he’s done, but I think I covered it pretty well…

Kristi: Welcome, Marvin Kanarek, I’m thrilled to have you on HowDidYouGetThere. Please tell our readers what you do for a living?

Marvin Kanarek: I am a multi-disciplined artist. I am a drummer–“don’t be afraid!”– singer-songwriter, painter, writer, architectural designer and according to my brother, a pretty good photographer. I am also working on my black belt in Bordeaux tasting.

Kristi: That’s a lot of discipline! Let’s start with drummer/singer/songwriter–Yes, I’m terrified, but in a cool way, like when I used to sneak home after curfew.

Marvin Kanarek: (nods, smiling) Stay up to watch the sunrise?

Kristi: No…I had to be home before sunset.  But once I missed my curfew!

Marvin Kanarek: No!

Kristi: Yea! It was totally dark when I got home!! I was such a rebel…that one time… WILD times.

Marvin Kanarek: (wonders if he’s ever even gone out before dark) Wow.

Kristi: So how long have you been a musician?

Marvin Kanarek: Too long to remember.

Kristi: This memory problem – was it brought on by too much music? I’ve read that can happen.

Marvin: No it can’t.

Kristi: What can’t?

Marvin Kanarek: Music can’t give you a bad memory.

Kristi: You have a bad memory?

Marvin Kanarek: No, I have a great memory… Music is actually good for the brain. Ever heard of the Mozart Effect?

Kristi: Mozart? (checks notes) I thought your name was Marvin.

Mavin Kanarek: (wonders if it’s too early for a glass of Bordeaux)Of course I’m Marvin.

Man in the Middle, by Marvin Kanarek

Kristi: (smiles, extends hand) Nice to meet you, I’m Kristi. Thank you for meeting me. So what do you do?

Marvin Kanarek: F*ck it. (signals waitress for a bottle) I believe we were discussing my being a drummer/singer/songwriter?

Kristi: (plays really bad air drums) A drummer!! How Cool is that?! What do you like most about it?

Marvin Kanarek: (smiles, because the wine has arrived) The spontaneity and freedom. I am a practitioner of the ”Do what you love and never work again” philosophy.

Kristi: You’re a Philosopher?! I’ve never interviewed a Philosopher before!

Marvin Kanarek: Uh, no… I’m NOT a philosopher. I adopted this philosophy after not being able tofunction in the regimented 9-5 world. I had no choice.

Kristi: I see… so…what’s it like being a Philosopher who has no choice?

Marvin Kanarek: (hopes Kristi’s terrible childhood is the reason she’s like this) I couldn’t say, really…

Kristi: Couldn’t say? –Or choose not to? No, wait. If you have no choice then you can’t choose not to say. That doesn’t make any sense. And I love making scents –I learned how in arts and crafts.

Marvin Kanarek: Right…(Suspects Kristi was born like this, her poor parents were probably trying to protect her through isolation) Anyway, as a musician I’ve had a wealth of choices.

Kristi: Oh my God! You’re a Musician, too?! This is WAY Cool!! (high-fives Marvin) Who have you worked with?

Marvin Kanarek: (laughs because it hurts too much to cry) Well, let’s see, I’ve worked as both a touring and studio drummer for many Canadian and American artists: Rough Trade, The Bonedaddys, Burton Cummings and Randy Bachman of The Guess Who and Bachman Turner Overdrive, and DJ Massive, DCB, Janis Ian, Bo Diddley, Junior Walker, The Beach Boys, and more. And I’ve had my own bands as well.

Kristi: Wow—Impressive!! What kind of music do your own bands perform?

Marvin Kanarek: One of my groups included a Chilean DJ, a country-rock guitarist and a reggae singer. We had a House music hit which stayed on the U.K. club charts for 13 weeks.  And as a solo artist, “2forty6″ was my first album, titled after the place that will always be home in Toronto, and “Looking Back Ahead” is the latest one.

Kristi: And the other disciplines you mentioned?

Marvin Kanarek: As an architect, I’ve worked on many residential projects and as an artist I’ve had many one man and collaborative art shows. I am now concentrating on following my muse just to see what “comes out”. Mainly in my music and art. Occasional architecture, if it interests me.

Kristi: Oh! – I know of a muse if you need one, but I think she may be busy working for your brother…

Marvin Kanarek: Really? I’m in the market for a muse…

Benjamin Kanarek: (storms up to outdoor café) Hey, forget it! Frédérique’s my muse and you can’t have her.

Marvin Kanarek: Oh yea?!

(horrible fight ensues: screaming, kicking, chairs and tables fly.

The Brothers Kanarek finally get Kristi to calm down and stop flinging furniture. They leave the waitress a very large tip, apologizing profusely as they carry Kristi out, one on each arm.)

Kristi: That was a riot! Rock and Roll!! Any life lessons you’d like to leave our readers with?

Marvin Kanarek: Don’t know yet. I feel like I’m still in the middle of the storm. According to legend, we will know during those final moments that we draw our last breath. I’ll either have a smile on my face, or someone at bedside will be slapping it. I’ll know then.

Kristi: If you need anyone there to slap you, here’s my number. But until then – Thank You so much for Playing!!

Interview with MET Stage Director Knighten Smit

Mee-may-my– Oh! Hello you darling people! I’m doing vocalises because today’s Guest Star is an Opera Stage Director at none other than New York City’s Metropolitan Opera!! You heard that right, The MET!! He’s assisted and directed over 25 productions in 14 years!  Yeeeeeee-Haaaaaawww (That’s a vocalise I learned in the deep south, clears sinuses and ear canals)

He’s also worked at Juilliard, the Salzburg Festival, Bregenz Festival, Berlin Staatsoper, Covent Garden, MET tour of Japan, Santa Fe Opera, Banff Festival, the LA Opera, the San Diego Opera, Israeli Opera, and soon to be in Montreal working on the MET’s highly anticipated new Ring Cycle, said to be a “wizardly high-tech version” celebrating Wagner’s 200th anniversary.

This is it – my BIG BREAK!! OK, I haven’t sung professionally – or unprofessionally–since I had my daughter twelve years ago, but I’m sure it’s like riding a bike. Only with your mouth. (nervous high pitched laugh)

I shall remain composed, up-right, and speak only with pure, open vowels. (adjusts ball gown) Here he comes!

Kristi: (deep curtsy to floor) Welcome, Maestro, to my humble blog.

Knighten Smit: (picks gigantic camellia off floor) I believe this fell from your …em… big hair?

Kristi: (elegant arm gesture) How kind.

Knighten Smit: Your hand’s cold… I hope you’re not nervous?

Kristi: I’m a real ‘Che gelida manina’, Maestro! My sweaty palms keep my hands nice and cold.

Knighten Smit: (wipes his hand on jeans) “Maestro” is for orchestra conductors and chorus masters. I’m a stage director. So you can call me “Your Highness”.

Kristi: Of course, what was I thinking, Your High–

Knighten Smit: I’m kidding.

Kristi: I knew that. (shrill laughter, then sings) Won’t you sit doooooown?

Knighten Smit: (blank expression) Oh. I get it. You’re making fun of opera singers by singing terribly. How clever and unique…

Kristi: (stops singing) Making fun? No, not at all, I used to sing oper–

Knighten Smit: (smiles towards grand piano)Your pianist isn’t bad, though.

Pianist: (beams thanks, continues playing arpeggios up and down keyboard)

Kristi: (Diva stance, arm in air) How loooooong have you direeeeeeeeeeeeeec-ted?

Knighten Smit: Good Lord, enough, didn’t that gag go out with the Marx Brothers?

Pianist: (agreeing eye roll, plays “Miserere” from Il Trovatore)

Kristi: (stage whisper) Just answer the question.

Knighten Smit: I’ve been an opera director for 18 years, working at the MET for 14.

Kristi: (sweeps to yon balcony, deep diaphragmatic breath) Wh–

Knighten Smit: STOP– I can’t take it!

Kristi: Me either! (shouts) Where the hell’s my follow spot?

Knighten Smit:  (throws hands up, heads towards exit)

Kristi: No, no–please don’t go!

Pianist: (snickers, plays “Addio del passato” from La Traviata)

Kristi: (crosses to pianist, slams down lid) Laugh, clown, laugh!

Pianist: (exits stage left with director’s phone number, peels of laughter from wings)

Kristi: And I was about to have my big moment.

Knighten Smit: Look, it used to be about the music, but now it’s rare that an “opera moment” makes me pause.

Kristi: You mean I made you pause?

Knighten Smit: Like a heart attack.

Kristi: (glowing) So tell me what drew you to directing?

Knighten Smit: (sits back down) I like the collaborative essence of the art form. That’s what took me away from the solidarity of practicing scales at the piano – the combination of Music/Theater/Art/Drama/Voice. I like that the work is sporadic: busy rehearsals, more relaxed during performances, weeks off between productions.

Kristi: Is it exciting to travel all over the world?

Knighten Smit: The travel is nice, though I’ve made something of a lifestyle choice not to bop around too much. New York is my home, and in my profession working in your hometown is an intoxicating luxury. A nice trip or two a year is enough.

Kristi: Do you have any favourite performances, other than mine just now?

Knighten Smit: You mean “those opera moments” that are fantastic and cannot be compared to anything except…well, you know?

Kristi: Except what?

Knighten Smit: I’d say it but I don’t want you to get any of those “for a hot time…” bots trolling your site.

Kristi: (lifts eyebrow) Are you implying people don’t have a hot time on HowDidYouGetThere?

Knighten Smit: OK, it starts with an “s” and ends with an “x”.

Kristi: Oh - SAX!

Knighten Smit: (winks) Right. Let’s see… great opera moments in my career? Well, in no particular order:

1) Hei-Kyung Hong‘s Liu from TURANDOT — beauty of voice, dignity of character, understanding of leveled emotion — Wow.
2) Karita Mattila final scene from JENUFA. An opera about compromised, adult love — with a bitter-sweet ending.
3) Watching Jimmy Levine and Placido Domingo work through the Flower Song from CARMEN in a rehearsal room (five feet away from me) when only, say, four years earlier I was standing in line at the Vienna Staatsopera for hours to hear Domingo in standing room. Of course, fast forward less than a year later and I’m eating a cheese burger in the booth while Domingo’s singing away. Since then I’ve worked with all of the “Three Tenors” but that’s a story, or series of stories for another time.
4) Sharon Sweet singing Turandot in a room. She never made it to the stage, herniated disc. She wanted to sing sitting on a stool. Volpe said no. But in the room, absolutely glorious — full, round, rich sound, never screaming as can happen in that role.

Knighten Smit (con’t): SAX is SAX, opera is opera and never the twain should meet. I have had more great SAX than great opera moments — Thank Bacchas!
When the reverse is true you get opera queens. I’ve broken up with exes whom I’ve realized didn’t understand the difference.

Kristi: An opera director who plays saxophone– How cool are you?!

Knighten Smit: (confused) I play piano.

Kristi: Right, saxophone AND piano.

Knighten Smit: No. I’ve never played the saxophone. I got my Bachelors’ degree in Piano Performance, followed by a Master’s in Musicology.

Kristi: So your training in musicology, piano performance and great sax paved the way musically. How did your innate qualities add to your success?

Knighten Smit: Well, I have never had qualms speaking/directing in front of crowds, probably due to speech and forensics in high school. I’m pretty personable… humour helps.

Kristi:  Did you hear the one about the–

Knighten Smit: –and I’m quite organized on the job. I’ve the skill set of a type A personality, but am a definite type B.

Kristi: Gets along well with Divas – check! Any interesting jobs prior to stage directing?

Knighten Smit: I waited on tables for a good decade, through college, grad school, and bartended while figuring out how to get on the career ladder.

Kristi: You’re a shrink, too? Bet that comes in handy with the Tenors.

Knighten Smit: Moved to New York and worked, non-paid, at the amazing Amato Opera while I…. waited tables. Got a gig at Juilliard, as an Assistant Administrator at Vocal Arts—glorified secretary—so I could Assistant Direct with Frank Corsaro and others. I left Juilliard to work at Santa Fe for the summer, but returned to no job, so I … waited tables again.

Kristi: I guess cash flow and experience don’t always go hand in hand.

Knighten Smit: No, but it was a good year, met folk that are still the closest to me. Got the MET contract–too soon–but I proved myself.

Kristi: Too soon? I thought Younger was always Better in the arts!

Knighten Smit: Only in the minds of TV producers and internet hackers. The rest of the world demands experience.

Kristi: I see.

Knighten Smit: So I had a short-ish MET contract the 1^st time, the most humbling thing having to return to waiting tables after my first year. It took all my self-restraint—which I famously lack—not to throw hot pea soup on laps or stretched faces of upper East side women. It’s now been a healthy 13 years since waiting tables, so far so good, but NEVER to be taken for granted.

Kristi: How did you get your first shot?

Knighten Smit: Luck. I worked with a director at Santa Fe Opera Festival and at the end of the summer I had a please-give-me-advice-lunch with him. He, at the time, worked often at the MET and advised me to apply, said he’d give a good word.

Kristi: You must’ve been over the moon!

Knighten Smit: Actually I was thinking, “What? Too soon, I was looking for this in five years!” but my colleague suggested “Just meet with the Executive Stage Director. What harm would it do?” so I thought “I’ll scrap together a resume and FABRICATE!!”

Kristi: Lying is highly under rated.

Knighten Smit: (winces) I don’t recommend it. Several years later I needed a C.V., found my file, saw my first resume for the MET and literally said: “Wow, I would never have hired me!” My boss heard me and said, “I hired you in a safety position. If you failed, no harm done, I had enough back up. If you passed muster I’d consider hiring you again.”  In short, no ego = no ego.

Kristi:Any otherprevious employment you’d like to share?

Knighten Smit: I taught business English after studying at the Vienna Hochschule — where I learned German, got the opera bug (DAMMIT!!) and drank. Favourite teaching day: my students brought food and booze, and I brought a video of MOONSTRUCK. Picture a Dutch Calvinist–my father was a missionary–with a bunch of Austrian Business Folk explaining Brooklyn Italian Catholics.

Kristi: (head still spinning) And lastly, any life lessons you’d like to leave us with, preferably ones that don’t involve dying romantically of tuberculosis?

Knighten Smit: If I wanted to get all Oprah on you, I’d talk about the definition of luck. Opportunity + preparation = Luck. Right? Well, I wasn’t so prepared. I’m just damn good on my feet — an innate talent I use to this day, not to mention still good on my SAX.

Kristi: But I thought you said–

Knighten Smit: Gotta go!

Kristi: (Hops to feet, Diva stance) Thank You, Knighten for Plaaaaaaaaaaaying!! (falls dramatically to floor after high note, dead)

And now, for your listening and viewing pleasure…a few opera moments!

Anna Netrebko and Rolando Villazon (Oo-la-la) “Sempre libera” La Traviata by Verdi, Salzburg 2005

The GOD-like Placido Domingo and Monserrat Caballe  ”O soave fanciulla” La Bohème by Puccini

Maria Callas, “Una voce poco fa” Il Barbiere di Siviglia by Rossini, 1958 Paris

For you Wagner fans: Hildegard Behrens as Brünnhilde and Jessye Norman as Sieglinde in Walküre by Wagner

And Kristi’s favourite transcendant moment…pull out the kleenexs for Strauss’s Der Rosenkavalier performed at the James Levine Anniversary Celebration  by Renee Fleming, Anne Sophie von Otter and Heidi Grant Murphy  

To end on a comic note — here’s a how a baritone enters the room…at least in Rossini’s Cenerentola!

Interview with John Trimble, Tango Bandit

Just when you think you know a person they reveal something shocking.  But don’t worry, readers, I’ve held my ground with some tough characters — you  may recall my interview with True Crime Writer Niamh “Bugsy” O’Connor– I was not about to shrink away from this one…

Oh, he was cunning at first, fast on his feet…Take a look!

Kristi: Welcome to How Did You Get There, I understand you work with the Dallas Symphony?

John Trimble:            Why, yes, Kristi. I’m a data analyst, prospect researcher and IT liaison for the Dallas Symphony’s Development Department.

Kristi: A Development Department for liaising with “It”? “It” must be important. Can you elaborate?

John Trimble: Development is a polite word for Fundraising that’s obsessed with saying ‘Thank you’.

Kristi: You’re welcome.

John Trimble: For what?

Kristi: You just said Thank you.

John Trimble: I did? Sorry, habit.

Kristi: What would an ordinary day be for you.

John Trimble: My days consist principally of setting up the business practices and software so we can track fundraising efforts. Then I find out more from outside sources so I can report things like, So-n-So gave a million $$ to the Opera, but only $5 to the Symphony, and his carriage will be passing through Sherwood Forest in a fortnight.

Kristi: Oh! I know a Free-Lancer if you need help with that.

John Trimble: Thanks, but we’ve got it covered.

Kristi: You’re welcome.

John Trimble: For what?

Kristi: You just said—never mind. How long have you done this?

John Trimble: IT consulting 9 years, Dallas Symphony almost 3 years, Teaching Argentine Tango 11 years.

Kristi: Argentine Tango? Is that the “It” you’ve been referring to?!

John Trimble: Um…

Kristi: You mean YOU’RE the TANGO BANDIT!

John Trimble: The what?

Kristi: Not “What” Señor — “It”  Short for BAND-IT! (locks John’s eyes with dramatic stare)

John Trimble: I’ve never even heard of the Tango Bandit.

Kristi: It’s in all the papers.

John Trimble: I haven’t read it.

Kristi: Well…you will, after I tell them.

John Trimble: Wha—why would you do that?

Kristi: (nose-to-nose) I don’t make the rules, Señor, only enforce them. I will stick to you like glue– I’m your worst nightmare!

John Trimble:  (backing off) I’m starting to see that.

Kristi: So how did you become this Tango Bandit?

John Trimble: Gosh…I can’t remember…I never knew I was one until now…

Kristi: Leave it to me to uncover the hot scoop! (does Happy dance)

John Trimble: … I have had some rather unusual jobs…

Kristi: Start from the beginning, I’ll get to the bottom of this.

John Trimble: You will? I’d appreciate that.

Kristi: There has to be a reason for this Bandit behavior, perhaps a deep-seated psychological illness—especially since you don’t remember any of it.

John Trimble: (looks pale)

Kristi: You look like a decent guy. I won’t let ‘em take you to jail. We’ll shoot for the nut house.

John Trimble: (takes a seat) Well, I got my first job when I was 14 years old, on the opening day of the second ever Taco Bell in Texas. I paid for my high school band trip. We marched in Richard Nixon’s 2^nd inauguration parade.

Kristi: Hard working kid. I didn’t know Taco Bell hired that young?

John Trimble: (face falls) I lied. I told them I was 16.

Kristi: Lying and Nixon worship…that’s where it starts…

John Trimble: (wipes sweat from brow) It wasn’t like that! Besides, the owner/manager who hired me eventually sold the chain for millions of dollars, due almost entirely to the hard work of his early hire minimum wage employees, who received none of his eventual profits.  How well I recall his nightly phone calls to find out how much money we’d made for him on any given day!

Kristi: Robin Hood had a beef with that same thing, as I recall… was he one of your idols, John!? You did mention Sherwood Forest!!

John Trimble: (calculates how many traveling dance steps to nearest exit) Did I?

Kristi: Continue…

John Trimble: Oh – here’s a good one. I worked as a birthday party Clown, when I was younger. That’s where I learned to dress for success.   (ba-DUM-bum, jazz hands)

Kristi: You think this is funny, Clown? Just keep joking. I’m trying to help you here!

John Trimble: I know, thanks.

Kristi: You’re welcome.

John Trimble: For what?

Kristi: (dead stare)

John Trimble: Ok, let’s see…I worked in drug stores, too, during school. I learned the chemical names of common over the counter drugs, which saved me tons of money in brand name mark ups over the years.

Kristi: Drugs, too? Not helping, John. Work with me!

John Trimble: I worked a couple of summers as an oil field roughneck during college.

Kristi: Good! Honest, hard working stiff. What came of it?

John Trimble:  I learned to cuss– which allows me to entertain my clients while I repair their computers. I think it may have a beneficial effect on the computers, too.

Kristi: Hmmm, might be able to use that as a defense, since it applies to your DAY job…we’ll see. Keep going.

John Trimble: I was a VISTA volunteer after college where I learned I’m not the only one who struggles. Then I was an attorney’s assistant, which put me off the plans I’d held to attend law school.

Kristi: Good, good…

John Trimble: Then I made furniture for many years (and enjoyed it for the first few) but more than that I took advantage of the “freedom” of owning a business which allowed me to try my hand at things like drumming and journalism.

Kristi: Drumming and furniture making sound good, but journalism…that’s iffy, we might leave that one out.

John Trimble: I had a creative job at a Children’s Museum where I learned a lot, had health insurance and enjoyed a lot of collegiality with colleagues and schedule flexibility—

Kristi: Excellent!

John Trimble: –but it was taken over by a more enterprising operation that killed everything we all loved about the dear old place.

Kristi: Darn. That must’ve fueled your pesky resentment build-up.

John Trimble: Then I helped set up an endowments department at a university before ending up here at the Symphony combining IT, data analysis and prospect research.

Kristi: Which is where you’ll have your final curtain call, Señor Tango Bandito…I hope you’ve learned something from this.

John Trimble: The experiences I value most haven’t been job related–though I certainly value the experience of having a roof over my head and money to pay the bills, and have enjoyed some aspect of almost every job I’ve ever held.  I’m sure the dumpster behind my life is full of other people’s treasures.

Kristi: That’s what I’m worried about!

John Trimble: What I mean is– things that looked like mistakes to me might appear as successes to people who have trouble taking risks.

Kristi: Would you stop mentioning your risky lifestyle?  And as always, Señor — Thank You for Playing!!

Interview with Peggy Monastra

Seasons Greetings, to all my wonderful How Did You Get There readers!! Guess where I’m meeting this week’s Guest Star?

What could be more festive than the Big Apple at Christmas time? That’s right – I’m standing in front of Radio City Music Hall in New York City because my next guest has a little something to do with the music scene!!

I told her I’d be the one in festive attire…Geez, it’s freezing out here…

Little Boy pointing at Kristi:  Look Mommy there’s one of the Rockettes!

Mommy:         Don’t be silly, sweetheart. She’s way too old to be a Rockette.

Kristi:  (looks to see who their talking about, as she tightens the belt of her Santa’s Little Helper outfit.)

Kristi:  Here she is now. Yoo-hooo, Peggy Monastra– Welcome to How Did You Get There!

Peggy Monastra:       Thanks, Kristi. Wow– don’t you look… festive… Aren’t you cold in that?

Kristi:  (teeth chattering) Not at all, the warmth of the holiday season is all I neeeeeeeeed. But let’s step into the lobby.

Peggy Monastra:       OK.

(fight crowd to enter Radio City Music Hall lobby)

Kristi:  Please tell our readers what you do for a liv— Hey watch it lady! (Kristi elbows elderly lady)

Elderly Lady’s Husband: Hey!

(Inside, Peggy smiles apologetically to now angry elderly couple)

Kristi:  Some people! Sorry, Peggy. Please tell us what you do.

Peggy Monastra: I’m the Director of Promotions for a major international music publisher. I oversee Promotions in North America, collaborate with colleagues overseas and manage a roster of active, top level composers—

Kristi: Like Barry Manilow or Burt Bacharach?

Peggy Monastra: (starts to giggle)  Not exactly. I represent classical composers.

Kristi:  Haven’t worked your way up to the biggies yet, huh?

Peggy Monastra: (realizes Kristi isn’t kidding)    Oh, they are Oscar winners, Grammy winners, Pulitzer Prize winners, Grawemeyers winners, MacArthur Grant geniuses…. you name it – they’ve won it.

Kristi:  I see, like Andrew Lloyd Webber, “Phantom of the Opera”?

Peggy Monastra:      No– he writes musical theatre– we represent composers who write contemporary music for opera houses, dance companies, orchestras…

Kristi: OMG– You represent Mozart and Beethoven?

Peggy Monastra: They’re dead. (bites lip, hates laughing in someone’s face this close to Christmas)

Kristi:  (makes mental note to read the obituaries more often)

Peggy Monastra:       But Tan Dun’s alive! He won the Oscar for Best Original Musical Score for the movie Crouching Tiger Hidden Dragon. One of his operas, “The First Emperor”, premiered at the MET at Christmas, 2006.

Kristi: How long have you represented Oscar and Grammy winning composers who are NOT pop stars, but ARE alive?

Peggy Monastra:       16 years, though my position has evolved over the years. I’ve been Director of Promotion since 2003-04.

Kristi:  What do you like most about it?

Peggy Monastra:       The connections with all the artists – composers, performers, choreographers, programmers. It’s exciting to meet the absolute top level in the industry. I love living in the history of music making– while it is happening…

Kristi:  Totally–history is so much better when it’s happening. Why people read about the past I’ll never understand.

Peggy Monastra: It is exciting conferring with living composers and the wonderful artists, administrators, commissioners/funders, etc. who make it happen. Also eavesdropping on audiences while they experience new music for the first time.

Kristi:  Oh- I love eavesdropping!

Peggy Monastra: I often remind myself that I’m one of the lucky ones, hearing it for the first time.

Kristi:  I wonder what it was like for the first audience to hear Chopin’s preludes. He is dead, right?

Peggy: (thrilled Kristi gets it) Yes!

Kristi:  (thrilled Peggy sees she gets it) Or Rudolph the Red Nosed Reindeer.

Peggy: (amazed at how quickly Kristi lost it)

Kristi: What attracted you to music promotions?

Peggy Monastra:       I’m an outgoing person. I’m passionate about the Art of our time. I’m also a Gemini, and try to see both sides of each situation.

Kristi: It’s easy to promote the classics­–like ‘Grandma Got Run-over By A Reindeer’–but what about the stuff no one’s heard yet?

Peggy Monastra: Part of my job is to describe pieces for people in search of repertoire ideas. I try to find ways to be a salesperson without ‘selling’, acting as a collaborator or a repertoire advisor to heads of orchestras, opera companies etc.

Kristi:  Say—I have a repertoire question! My Christmas Carolling group has had a nasty falling out. I want more upbeat songs like Here Comes Santa Clause, something we can snap to, while Marjorie insists on keeping it morbidly slow with her We Three Kings—

Peggy Monastra:       (looks at watch, smiles)

Kristi:  Think you can talk to her?

Peggy Monastra:       Um… I’d hate to impose.

Kristi: There’s no need to be shy around Marjorie.

Peggy Monastra: I have no problem meeting strangers. I love meeting creative people who are passionate about what they do… not just musicians and composers.

Kristi:  That sounds like Marjorie, I don’t know about creative but she’s passionate about more than Christmas Carolling—always wants to sing a few extra songs at Mr. Peterson’s—if you get my drift…

Peggy Monastra:  (at a loss to respond to this) I thought I was here to discuss my job?

Kristi:  Oh. Right. Let’s see…Have you developed these skills on the job or were they innate?

Peggy Monastra:       Both. I’ve learned a lot from my colleagues within the company and without, as well as from the composers themselves – what to say and absolutely what NOT to say….

Kristi:  So you think you could help Marjorie with what NOT to say—?

Peggy Monastra: …a lot of it is in the timing, sensing when and where it’s appropriate to put something forward….

Kristi:  —you know, to keep her big mouth shut?

Peggy Monastra:       (eyebrows raised) …and simply being able to say “I’ll get back to you” with full confidence…

Kristi:  Glad we got that settled. I’ll set up a meeting between you and Marjorie. Can’t wait to see her reaction!!

Peggy Monastra:       (wonders exactly which conversation Kristi was having)

Kristi:  Where did you work immediately before this?

Peggy Monastra:       The Library of Congress – Music Division.

Kristi:  The Library of Congress!? Did your political background lead to your current position?

Peggy Monastra:       I’ve never been in politics, but working with the very recent musical past –the Aaron Copland Collection in particular–convinced me that I wanted to help make history happen instead of researching it after the fact.

Kristi:  What other jobs have you had?

Peggy Monastra:       I taught piano and music history in a private girls’ school – the same one I’d attended, as a matter of fact. Teaching piano was fun because you get to know people while they’re doing something they enjoy. My favourite students were always the youngest and the oldest.

Kristi:  What ages were they?

Peggy: One year I had a student who was only 6 (maybe 5 1/2) and another who was 85.

Kristi: In summary, you went from being a piano teacher to being the Promotions Director of a major music publishing company.

Peggy: Yes–I taught high school music history, which led me to study musicology – which led me to pursue the Library of Congress and my current work today.

Kristi:  Any life experiences you’d like to share?

Peggy Monastra:       As much as I love my job, being a mom is my favourite work now. I learned so much from all my students, about relating to kids of all ages.

Kristi:  We’ve learned a great deal from you, Peggy Monastra. Thanks so much for sharing your fascinating career with us, and as always Thank you for Playing!

Interview with Ferdia Mac Anna

I’m very excited to have Ferdia Mac Anna as my next guest. Ferdia’s path has been as twisted and knotted as they come. In the Irish rock scene of the 70s and early 80s he was known as Rocky of Rocky de Valera and the Gravediggers and later formed The Rhythm Kings, after which he worked for RTE television in production and direction.

I can personally testify he is an fascinating and highly sought after screen writing instructor, as well as a veteran features writer and rock reviewer for several Irish newspapers. If that is not enough his novel, Last of the High Kings, was made into a movie staring Gabriel Byrne.

OK, I know what you’re thinking. He’s famous. I’ve let down my readers. Haven’t I said my main focus is on ordinary people in out of the ordinary lives?

You caught me. But if you’re going to throw my own writing back in my face I have something else I’d like to say…Thank you for noticing!

What are rules for if not to be broken?  Besides, I have an excellent loophole for this one.  It’s the title of Ferdia Mac Anna’s memoire: The Rocky Years, Story of an (almost) legend. See? (ALMOST.) We’ll just forget the fact that everyone from the Irish Rock scene of the 70s and 80s, including Bono, knows him and leave it at that!

I recommend The Rocky Years because you’ll get three entertaining reads in one:

• Schooling under brutal corporeal punishment of the Irish Christian Brothers, in contrast to a not so ordinary life as the son of the Tony Award Winning director of Dublin’s renowned Abbey Theatre.
• Irish Rock Scene: If you liked The Commitments as much as I did (which Ferdia Mac Anna proof read for its author Roddy Doyle to fact check the Irish rock scene), you’ll love reading what it was like for someone who really lived it—hilarious!
• Cancer Survivor: A very tender and honest perspective of surviving this struggle as a young man. It will change your perspective.

Kristi:        Hello Ferdia, please tell our readers what do you do today.

Ferdia:         I work as a television producer/director, mostly in drama or comedy but sometimes in daytime TV.  I write books.  I teach part-time at IADT (National Film School of Ireland).  I dream.

Kristi:        Most of us mortals dream, but your dreams seem to be in IMAX 3-D.  Please tell us how you had the idea for your first band, Johnny Jurex and the Punk Pistols. Is it true you got your first gig before the band even existed, making the name up on the spot?

Ferdia:         True. It happend in UCD in 1976. Myself and my friend Seamus McClelland made up the name on the spot. Inspired by Punk and the DIY ethos we decided that we could form a band, write songs and perform live for people purely on the basis that we could not play any musical instrument and/or sing. We figured that if we had a memorable (ie attention grabbing) name the rest would follow. Anyway, we played a gig during Rag Week and the crowd was so impressed by our performance that they tried to electrocute us.

Kristi:        In The Rocky Years you mention your restless youth. Would you say this was pushing back against the oppressive and often brutal Christian Brothers who taught school, or because of the broadening travel opportunities you had with your father directing in places such as Iceland, Paris and New York City?

Ferdia:         I’m still restless. Just the other day I was thinking of emigrating to the USA with my wife and kids. It’s something I have been trying to do all my life, but have failed miserably. Maybe one day…

When I was young. I saw myself as a rebel. However, most who remember me from that period say I was a quiet boy who was very helpful to younger kids.

My dad was always working abroad directing plays or lecturing in colleges. At the end of each summer he brought me home albums by bands like The Doors and The Allman Bros Band. The Allmans are still my all time favourite band.

I have never been able to decide between music and book and so I ricochet between the two. I like it that way.

Kristi:        What spurred your interest in writing?

Ferdia:         I have been writing since I was six (The Man From UNCLE was a big influence, as were The MONKEES and Sesame Street). I have led a number of lives over the years but I have been active in the present lot since the 80s.

Kristi:        What is your favorite aspect to your work?

Ferdia:         Work has an aspect? Well, work has dignity (sometimes) and it pays. I like work.

Kristi:        What quality / skill or both do you feel makes you particularly suited to wearing so many different hats?

Ferdia:         I have a tough neck. I get a buzz from it. I sometimes think BIG.

Kristi:        Are there any more twists in your professional path that we don’t know about?

Ferdia:         Well, I once worked as a ship inspector in Dublin airport. My job was to arrest illegal animals.

Kristi:        Did this lead to your current position?

Ferdia:         Yes. Anything was better than being a ship inspector.

Kristi:        Of your many past incarnations, which ones stood out the most?

Ferdia:         I was a rock and roll singer 1977-1983.

It was kind of hard to forget that gig. Then again, I kept diaries. If I ever want to find out what kind of mad eejit I was back then, all I have to do is dig into an old diary.

I was a housedad 2003-2005. Tough but it rocked, and I got to see my kids.

About the rock and roll: The girls.  The noise. The music.  The guitars. And in that order.

About being a housedad:    My kids pleading with me not to cook.

Kristi:  Thank you Ferdia, it’s a pleasure having you!