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Singin’ Guru – An Xperience Column

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Singin' Guru

Singin’ Guru – An Xperience Column – by Jeff and Crystal Moore.

It’s been an amazing run. For the past year or so, The Singin’ Guru has shared tips, truths, and the occasional rant about the joys and struggles of singing. We’ve had a blast doing it—and we owe a huge thanks to Art Fredette and Radioradiox for helping spread the good word (and the good notes).

But like all good performances, this act is taking a bow.

Don’t worry—we’re not leaving the stage entirely. We’re coming back louder, deeper, and a little more eclectic with our brand-new column: Music Notes: The Art, Science & Technique of Music. We’re branching out—from rubber-band box instruments to experimental synths made from trash can lids, from crooners to shredders. Whether you’re a gear geek, a theory nerd, a singer, or a passionate listener, this column is for you.

From the Vault: Minor Key Magic

Let’s close out our Singing Guru run with a juicy theory tidbit:

Did you know there are three forms of the minor scale in Western music (not counting modes)? Here they are:

Natural Minor: 1, 2, ♭3, 4, 5, ♭6, ♭7

Harmonic Minor: 1, 2, ♭3, 4, 5, ♭6, 7

Melodic Minor (ascending): 1, 2, ♭3, 4, 5, 6, 7

Let’s focus on that Harmonic Minor—why raise the 7th?

Because it gives us a leading tone—a half step below the tonic—which pulls us home.

Try this:

Play A Natural Minor: A, B, C, D, E, F, G

Now play A Harmonic Minor: A, B, C, D, E, F, G#

Hear that? The G# begs to resolve to A. It’s seductive. It’s dramatic. It’s rock and roll.

Use the Harmonic Minor scale in your vocal runs or solos to spice up a minor-key song—just be wary of the tritone (your ear will tell you when something’s off). When in doubt, rock it out.

May in Music History

May 1, 1956 – Johnny Cash releases “I Walk the Line”—his first Billboard #1.

May 12, 1967 – Pink Floyd debuts live surround sound at Games for May in London.

May 30, 1968 – The Beatles begin recording The White Album.

Technique Tip: Extending Your Belt Range

Want to belt higher without wrecking your voice?

Try this:

Find your vocal break (see Your Singing Questions Answered: A Handbook for Beginning Singers available on Amazon if unsure).

Start one whole step above your break.

Sing using a medium-mix voice for 10 seconds.

Rest for 10 seconds.

Go up half-step by half-step until you hear distortion or “gravel.” Stop there.

Practice daily for two weeks. You may gain a half-step of healthy belt range, and noticeably more power in your mix.

That’s it, singing fans. The Singin’ Guru is signing off—but stay tuned for Music Notes: The Art, Science & Technique of Music.

See you in the bars,

 

Jeff and Crystal Moore (Peak Music Studios)

 

 

More from Jeff and Crystal Moore…

100 Men and a Gorilla – The Weird Side of the Internet

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100 Men and a Gorilla

100 Men and a Gorilla – The Weird Side of the Internet – by Liam Sweeny.

Sometimes, every once and again, a question comes forth from the global cacophony of bored minds that promiss to captivate and goes on to overdeliver. The following is just such a question. Who can wiin in a contest (a fight), one-hundred ‘dedicated’ men, or one gorilla (also assumed to be dedicated.) Who would win this, and why did it somehow morph into Netflix host John Mulaney putting out a call to fight three fourteen-year-olds?

So, starting with the much larger question of the gorill versus the men. Who would win? Who do you think? I guess it depends on determination, the ‘dedicated’ part. We have to assume that 100 men are not going to survive this, so they have to be ready to die, at least some of them. Donkey Kong is definitely going to kill a few. And does anyone decide who is going to have ‘first go’ and likely not survive. Rock-paper-scissors? I’m thinking any other method of determining who dies would lead to resentment, arguments, and not-gorilla-killing. So we really need to know if there was a plan going in, or do they have to plan while on the run from a charging gorilla, which is one point gorilla.

I’m saying go for the eyes. Gorilla can’t see, a hundred men will have a shot. They’ll have a much better shot if the men were allowed to have guns, which is a whole ‘nother thing, and appropriate to John Mulvaney’s call out for three fourteen-year-olds to fight; the rules here are important but poorly spelled out.

Ultimately, no one is going to allow a hundred men to go kamikaze on a gorilla. All zoos would be like ‘hell no,’ and maybe you could get some celebrity with an exotic animal fixation to loan off a gorilla, but last I heard on the matter, MJ had a primate, but it was only a chimp named Bubbles. Wonder what Diddy had?

 

 

More from Liam Sweeny…

Recap: XWA Xtreme Wrestling Alliance -Pittsfield, MA -5/3/2025

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Words By: Rob Smittix

Pics By: Joshua Scarselli

I (Rob Smittix) have not been to a live wrestling performance in decades, as a matter of fact the last event I attended may have been The WWF’s Royal Rumble at The Knickerbocker Arena on January 19, 1992. So yeah… it’s been a while! But after this past Saturday, I think I’ll be going a lot more often, moving forward.

Saturday afternoon, Joshua Scarselli (Photographer) scooped me up at my place and we set off on our journey to Pittsfield, MA to attend the XWA (Xtreme Wrestling Alliance) event at New Moon Lodge. We arrived early and we got to watch some of the wrestlers warm up, which was a really cool behind the scenes look into the craft that is wrestling. One of my goals was to see if one of the wrestlers would body slam me. Seriously, I thought it would make a very entertaining video piece for our YouTube channel but the XWA’s attorneys decided it was way too risky, even though I offered to sign a waiver.

The regulations as I understand are really strict and vary from state to state but I get it… because what if I actually got hurt? All I envisioned was breaking my neck like Andy Kaufman and having to wear a neck brace for an extended period of time, which would totally clash with my most of my wardrobe. I did get a chance to interview the XWA Champ Justin Rando, which that video will be dropping on our YouTube Channel very soon. Click HERE to SUBSCRIBE!  I may not have gotten body slammed at this event but I was able to thumb wrestle the champ himself and although he won as expected, I think I held my own (for as long as I could).

There were several matches that day and all I can say is wow! I forgot how entertaining wrestling is. Not only do these folks know how to keep the crowd engaged but they are also very skilled athletes. It takes a ton on training and trust to get in that ring with an opponent. I saw the pile-driver move done right before my eyes and I was blown away, it seems like one false move and it could be paralyzation.

I already knew that wrestling was an amazing artform but I guess after not seeing a match live for so long, I had been reminded how dangerous it actually can be. I have nothing but the utmost respect for these amazing athletes and I can’t wait to go again!

 

 

 

RECAP: Reese Fulmer Duo @ Dorn Space, 5/2/2025

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Falling in Love with the Music: Reese Fulmer & Jimi Woodul at Dorn Space

Words and Photography by Penny Piper.

I’ve seen Reese Fulmer before. The first time was at Putnam Place during Wild Adriatic’s album release party. That performance—with the full Carriage House Band—was a 45-minute surge of passion and musicianship that left me intrigued and excited. But what I experienced this past weekend at Dorn Space in Gloversville was something else entirely.

This was intimate. This was personal. This was Reese Fulmer and Jimi Woodul—no band, no lights, no frills—just two artists sitting in front of us, telling stories and sharing songs that made the room feel sacred.

If you’ve never been to Dorn Space, let me paint the picture: it’s a unique, cozy performance space run by Brian and Laura Dorn, along with a group of gracious sponsors. It’s one of those rare venues that instantly makes you feel welcome. For your price of admission, you receive a ticket printed with a poem written by Brian Dorn himself. It’s just one of many small touches that make Dorn Space feel like a home for both artist and audience.

And in that space, something truly special happened.

Reese and Jimi brought us in close. They made us laugh. They made us cry. I watched tears well up in Reese’s eyes as he sang a song he had written about his parents. I learned he’s from Gloucester, Massachusetts—and I learned just how much the ocean lives in his bones.

Reese Fulmer and the Carriage House Band will soon set sail with the Maine Windjammer Association, a legendary fleet of historic schooners that have kept maritime tradition alive for decades along the New England coast. From June 9–14, 2025, they’ll be performing aboard the Schooner American Eagle, a National Historic Landmark built in 1930. This collaboration is more than a gig—it’s a reflection of Reese’s roots and spirit. The sea runs through his songwriting: sometimes vast and chilling, other times soft and sunlit.

And the Dorn performance captured all of it.

Reese’s voice has a smoky, haunted warmth to it, and Jimi Woodul’s harmonies had my jaw on the floor. Jimi’s guitar playing just makes you feel good—there’s something joyful and uninhibited in the way he plays. You can tell he loves making those sounds. And that’s the key, right? If the artist isn’t feeling it in their bones, how can we?

There’s also a wonderful, playful dynamic between the two, full of reverence and mischief. They call each other ma’Lord, which is just as endearing as it sounds, and it’s obvious they’re both completely in love with what they do.

This was a night I’ll never forget. It changed how I hear Reese’s music—I hear it better now. I understand the heart behind it.

Please, keep supporting spaces like Dorn. Keep showing up for artists like Reese and Jimi. Because what they bring to the world is connection, and we need a whole lot more of that.

The Turd: An American Journey, Chptr 5 – Xperience Fiction

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The Turd

The Turd: An American Journey, Chptr 5 – Xperience Fiction – by Liam Sweeny.

The spirit and whole intent of Doctor Frankenstein, in the opinion of Ernest Kreb, did escape the pitchforked masses and the confines of a stormy mountain castle to grab hold of the first mechanics, who would, over a hundred years, give life to a myriad assemblage of parts. Ernest had half a mind to believe that with enough oil and a little bit of trick wrench work, he could’ve given Frankenstein’s monster a satisfying checkup.

Ernest’s father taught him many things, few on purpose. Among Ernest’s lawful education, he learned that if you wanted to be truly cheap, you better know how to fix junk. Hundred-dollar cars paraded through the Krebs’ backyard like ten-dollar hookers with pocketfuls of change. Ernest’s father wasn’t trying to teach him life skills. He needed a wrench servant and sounding board for his many minor under-the-hood triumphs.

Eventually, the esteemed Ernest Kreb the Senoir spent more time asleep in a lawn chair by the car, and Ernest the Junior knew that if they wanted groceries, he’d better take over the fixing. In tenth grade, he went to VoTech to learn auto mechanics formally, picking up a job at the garage which ten years before had fired his dad, they seeing clearly that the apple had fallen a mile from the tree.

Ernest’s gut rumbled. It wasn’t unusual. It was hard for him to describe, even to himself, just what it felt like for his body to hold in a shit for what was then thirty-seven days. A lead weight would have been an easy descriptor, but a wrong one. He felt, quite simply, that he had to go. But every toilet stop was Lucy and the football. A broken promise from his bowels. Toilet paper roll upon toilet paper roll unmolested. Gallons of flushed water sent asunder for the pure comfort it gave Ernest hearing it.

Ernest spent two hours chasing down a wiring issue that kept his neighbor Karl’s passenger side window stuck in mid-lower, which put his controls directly under the aim of the birds in the tree above. White spatter slid down the window’s edge.

He pulled his phone out of his pocket as he broke for lunch, a tuna sandwich, plain, no garlic salt. The phone was useless. He used to spend hours a day on Profiles, ostensibly to look for opportunities for he and Lysette, but truth be told, he was a purveyor of some pretty dank memes, car memes were his favorite. Now shit was every post. Shit selfies, shit memes, shit jokes, life hack articles about shit. Even the ads were shit-related. He stopped going on after seeing an ad that promised scent free shit if you mixed their powder with prune juice.

He chewed and wondered, as he did upon every chew, just exactly where the food he was eating went, if not on the bullet train that normal people called a digestive system. Clearly he would start vomiting. Why wasn’t he vomiting? Why wasn’t his gut white hot excruciating pain at its continual expansion?

He had to go. But he didn’t. He had to admit that it made him productive as hell, a never-ending job to do to get his mind off the binding of the mud serpent.

It took another hour for him to find the faulty wiring and fix it before he made his

way to the front door to give Karl a progress report, and a bill. He knocked on the screen door.

“Come on in, Ernie,” he heard Karl say. “I’m on the porch.”

Karl was a cool guy, the kind of cool guy that came from rich parents and never had a reason not to be cool. He had nice things, top of the line television with a computer built into it, tasteful decorations that were put there by a decorator; probably the African mask didn’t mean anything to Karl, as he’d never mentioned Africa but couldn’t shut up about Paris.

Ernest went to the back porch, all glass, all houseplants, likely none that Karl watered. Probably all fake, but good fake, fake to fool a horticulturist. Karl was sitting in a high-backed office chair staring into a computer screen. Something about it was familiar.

“I’d say she’s looking pretty good,” Karl said. “You’re a pretty generous sort, letting us get a peek like this.”

Ernest got a better look, at his wife, Lysette, barely covered by the lingerie he bought her for Christmas. Red satin, black lace, garter belts and sheer stockings. There she was, exposed, the ionizer in her hand. She was describing the tweak just as she described it to him, excited, holding the device as provocatively as one could hold such a device.

“I have got to say,” Karl said. “She has got great tits. I bet she could feed twins with those. I don’t know how you handle all that, Ernie, my friend. God bless ya’.”

“That’s my wife, Karl.” Ernest was hot. But he was in Karl’s house, so he’d have the cops against him if he strangled Karl. His hand clenched. Then his gut ached.

“No worries, my friend,” Karl said, then he pointed to the screen. “See? She’s got

those kind of hips, Jesus, she could’ve had anyone. You must be king cock over here.” “It’s five-hundred, Karl,” Ernest said. “For the car.”

“Oh yeah.” Karl pulled out his wallet and pulled from it five hundred dollars like he was paying the pizza man.

“I gonna buy the blueprints here,” he pointed to the screen. “An extra five hundred, she’ll call me and help me build it. That’s worth it in my book.”

“You realize if you hit on my wife, I’ll make sure that window goes halfway down and stays down.”

“No need for threats, my friend. I’m here. My hands are here. I’m just trying to help you out.”

“My dad used to get that kind of help,” Ernest said. “They never found some of those guys. No threat, just a little history.”

Karl clicked on the ‘buy’ button. “Always good to know history.” #

#

VidYou was a tale of two cities. If you toured the three-hundred square foot campus, you would be encased in pastoral bliss. The grass was meticulously cut by a grounds crew that dressed in khaki without blemish, carefully trained to not let an errant blade of cut grass grace their fabrics. Rocks carefully placed for professionals to sit on, except the rough rocks placed for aesthetics, also to discourage groups gathering. The hibiscus

trees and the cherry blossoms and the spindly gingkoes provided shade to none; the rocky bed surrounding them didn’t allow for sitting.

That was the first city. The high city that treated the public and prospective professionals to a little spot of heaven in Northern California. Even the wildfire of the year before avoided the campus, likely because the state redirected the fire into a handful of small towns that didn’t have hibiscus, cherry blossoms, and gingko trees. The second city was the city that the “professionals” saw once the cameras and recruiters went away.

VidYou Alpha was in the center of all the other buildings, and twice as tall. Jasen and Ophelia had a good five-minute walk to get there. The hope beyond hope was that the guy they were going to see would be in his office, and not in the cafeteria or the john.

“Do you always leap before you look?” Ophelia said.

Jasen shrugged. “Depends on the situation. Crossing the street? I look. Dicey condom? I check the date. But sometimes you gotta just go with it.”

“You know, technically-,”

“I hate that word,” Jasen said. “I use it, but I hate it. Want to wash my mouth out with soap.”

“Wow, you need a therapist,” Ophelia said. “So technically, you were the one that broke the law. You lied to him; that’s fraud. He could’ve called security and they would’ve arrested you. Hell of a leap.”

“Guy like that, working in the guts – you get there by fucking up elsewhere. I figured he fucked up somewhere else and couldn’t afford another fuck up on his record.”

“Yeah, but, you know, fuck telling me what you had planned. Not like I’m supposed to be on your team here.”

“Okay, well you can do something impulsive, and I’ll go with it.”

Ophelia let out a soft laugh. “Be careful what you wish for.”

The gravel shifted beneath their feet as they gained ground on VidYou Alpha. Every professional, including them, had a distinct shuffle, a product of being constantly surveilled and not wanting some stuffed suit to decide they were beset by laziness. It was a shuffle, not a run, not unless a server was on fire. A shuffle that was synonymous with an army march, the march of tech commerce.

As they got within rock-throwing distance of their destination’s courtyard,

Ophelia tugged at Jasen’s sleeve.

“You plan on telling me what we’re going to do assuming we find him?”

“I was just going to wing it, see what we can pull up.”

“So more on the impulsive,” Ophelia said. “I’m not doing it. I’ll come up with my own plan, and we’re going to have two plans. Or we come up with one plan.”

Jasen stared at her, eyes squinted. “Fine.”

Colby Snoot worked out of an office on the seventeenth floor. They had a pass that, despite Jim’s word, could only get them up to the eighth. Jasen stood by the elevator on the eighth-floor landing, cursing his lanyard. Within a minute, a coder came up, and Jasen convinced the coder that he was showing a new hire, played by Ophelia, her new office on the seventeenth floor, only to be stymied by the idiot who assigns the passes. Ophelia played her part well, freaking out as if she thought she’d screwed something up on her first day.

Upon that, they got a hand in getting to the seventeenth floor.

They got off the elevator to deathly quiet. Soundproofed walls kept trade secrets secret. They followed the signs for 1708, Colby’s office. Jasen rapped on the door, with no answer. He knocked to the same result. He then opened the door.

Colby’s office was magnificent. Glass and marble tables, Angular seats upholstered in black leather. Bauhaus and Art Deco walls.

“Hello?”

A door in the back opened and a scruffy man in briefs came out, a towel over his shoulder, a toothbrush hanging out of his mouth, wild hair that would make Einstein get a paternity test.

“Dudes, what are you doing here?”

“Um, we needed to talk to you,” Ophelia said. “You didn’t answer the door.”

“So you just walk in? Tell me why I don’t call security. Aside from me having to get dressed.”

“We’re trying to track down an algorithm for accounting purposes. They call it the

“Piss Algorithm.”

“No,” Colby said “They call it Algorithm GZ. That’s what accounting would call it.

So what are you really doing here?” Colby picked up his phone.

“Okay, look,” Jasen said. “We got fired, and somehow we’re still working for VidYou, but off the books. We’re supposed to deal with the turd video, like get it off the system. But easier said than done.”

“Yeah, that thing is gold. You aren’t getting that off the air without having something better to replace it.”

“That’s why we’re asking about the piss algorithm.”

“Who’d you hear it from?”

“Jim Banter. He gives out badges.”

“Yeah, he’s a scrub for telling you,” Colby said. “Look, I’ll help you to get you out of my office.” He pulled out a note card and jotted down a name, which he handed to Jasen.

“Tristan Miller,” he said. “She’s an influencer. Allegedly, she used that algorithm to get big. You probably heard of her. I don’t know how she got her hands on it; really, she got her hands on a tech, cause it’s not like she could run it herself.”

“I didn’t give this to you,” he added. “And don’t come back. I had to pinch off a shit when I heard you come in. I’m going to have to wipe for an hour.”

 

 

 

More from Liam Sweeny…

Brick by Brick / KAKOS / Everdredd / The Lycan @ Empire Live, 4/26/2025

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Brick by Brick packed Empire Live for the release of their new CD, “Collapse.” An absolutely stacked undercard kept things rolling straight on through. Our photographer, Tim Reidy, was there to capture performances by The Lycan, Everdredd, KAKOS, and of course, the headliners themselves.

Photography by Timothy Reidy.

 

Brick by Brick

[modula id=”63203″]

 

Kakos

[modula id=”63226″]

 

Everdredd

[modula id=”63217″]

 

The Lycan

[modula id=”63235″]

 

More coverage of the show here …

Œuvre The Top: An Interview with Jan Zehrfeld of Panzerballett

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“Œuvre The Top”: An Interview with Jan Zehrfeld of Panzerballett
By Justin Smulison

Subscribe to our YouTube Channel HERE!

Looking for jazz-metal fusion that will really challenge – and reward – your ears?
Panzerballett is the band for you, and their new album, Übercode Œuvre features a
collective of musicians who play hard, heavy and precise, while also accentuating the
nuances of both genres, with a little funk for good measure.
I had the pleasure of speaking with guitarist and band leader Jan Zehrfeld to discuss the
creative and deconstructive processes for such a dynamic style of music and what to
expect if you are lucky enough to experience the quintet live.
Clips: “Alien Hip Hop,” “Bleed,” “Pick Up The Pieces”
For more on Panzerballett CLICK HERE

TOUR “ÜBERCODE ŒUVRE” MAY 2025
DATES:
08.05.2025 DE – München, Mastermix Studio OPEN REHEARSAL | TICKETS
09.05.2025 CH – Wil, Gare de Lion | TICKETS
10.05.2025 DE – Stuttgart, Club Zentral | TICKETS
11.05.2025 DE – Oberhausen, Ebertbad | TICKETS
13.05.2025 DE – Bremen, Meisenfrei | TICKETS
14.05.2025 DE – Hamburg, Logo | TICKETS
15.05.2025 DE – Berlin, Maschinenhaus | TICKETS
17.05.2025 AT – Wien, Porgy & Bess | TICKETS

Line-up:
Jan Zehrfeld [g]
Virgil Donati [dr]
Anton Davidyants [b]
Rafael Trujillo [g]

Florian Fennes [sax]

Jump The Shark – Interview – Thanks for Asking!

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Jump the Shark

Jump The Shark – Interview – Thanks for Asking! – by Liam Sweeny.

RRX: Music genres are difficult for some artists. Some strictly adhere; others not so much. What is your perspective on the genre you play, or the genres you hover around?

JTS: Yeah, we are three different musicians, with some overlap in our tastes and some not so much. I guess a good thing about us is that we are pretty eclectic. We’ve got some pretty straightforward rock/pop, some pretty danceable indie with a bit of an edge, some alt-folksy stuff. Basically, we let the guy who brings it to the group give a sense of the song at the start, but then it can transform in interesting ways as we write it together. The good news for our audience is that if you don’t like something one of us is doing, then stick around until the next song – it will probably be something new.

RRX: With services like Spotify, streaming revenue can be pretty dismal. Without spilling secrets, do you have a promotional mindset or philosophy?

JTS: We are planning on this interview to skyrocket us to success.

RRX: We do this for the fans. For the blisters also, but mostly for the fans. Who’s one your best fans? Without necessarily giving their name, what are they like?

JTS: We are very grateful to all of our fans. One of them, who is also a buddy of ours, got a tattoo of the cover art of our third album on their shoulder. So that’s the bar by which we judge the rest of our fans.  That’s the one to beat.

RRX: Playing out is tricky because you never know what’s going to happen when you get there. Sometimes everything goes wrong. What was your worst show like?

JTS: What’s funny is how different our reactions are to the shows afterwards. One of us will be feeling like it went well, and another of us will be in his head because of something that he thinks went wrong. Collectively, I don’t know if we’ve had our worst show yet. Who knows, maybe it will be the next one. Here’s hoping!

RRX: Would you rather have one of your songs blow up and make you a one-hit wonder and household name, or would you rather have all your songs be solidly received, but no chart-climbers? (You have to pick one or the other here.)

JTS: One-hit wonder. We’d blow all of the money and end up on some YouTube documentary that wonders where we are now. That would show our parents.

RRX: We all get a little support from those around us. And we also can be impressed by our fellow performers. Who do you admire in your community, and why?

JTS: Oh man, this is tricky. We have so many great friends and talented musicians in our area, as well as fantastic indie media outlets that promote and feature musicians. We’ll just say that local zine Townie by Cassandra Miller and Wayne Carrington’s B-Side Ballroom in Oneonta have been huge supporters of ours, and we want to give them shout outs.

Links:

Spotify: https://open.spotify.com/artist/0msmc12uqBvqg6V2v7GQJ5

BandCamp: https://jumptheshark.bandcamp.com/album/threepiece

Social Media

Instagram: https://www.instagram.com/jtsband/

Facebook: https://www.facebook.com/jumpthesharkoneonta/

 

 

More from Liam Sweeny…

Amity Santa Lucia – An Xperience Interview

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Amity Santa Lucia

Amity Santa Lucia – An Xperience Interview – by Liam Sweeny.

RRX: Tell me a little bit about yourself.

ASL: OK, let’s see. I’m from the area. I went to Shaker High School, and I didn’t stick around too long. I moved to Sweden and I lived there for five years. I studied at a university and it was amazing. I love other cultures, diving into and learning about other cultures. I think that’s really interesting. It’s intriguing. I love it. And Sweden is so small. I couldn’t get citizenship; it was impossible. They didn’t want American influence. So I ended back here and I went on to California for seven years. I lived near LA, San Diego, and I did a lot of modelling and acting there, but I came back. I missed my family. I have a huge family. So I came back, went to college, and I studied fashion and business. I love fashion, as you know, and modelling, and I love to act too, so I’m broadcasting now.

RRX: Yes, you’ve been working with Glenn Slingerland on the Glenn Slingerland Situation.

ASL: For eight years. I’m his main announcer. It’s been eight years, and I’ve really gotten my feet wet with the broadcasting. It’s so different than acting. Yeah,

RRX: When we started our paper (we’re getting on seven years), so when we first came on, you’d already been there a year. Isn’t that crazy? Because we’re seven years – that’s kind of how I measure time – and you might even be measuring time by the Glenn Slingerland show yourself, yeah?

ASL: I had come back from California in 2014. I started with Glenn, you know, soon after.

RRX: Now, I heard you say online that you had your face on Times Square. Can you tell us about that?

ASL: Yes, I’ve had two billboards. Two magazines reached out to me, and I think it’s just from me meeting all these fantastic people, inspiring people in New York City, going and doing the runway shows for New York Fashion Week, etc. And the same people are there, and they have a lot of that going on in their lives, and maybe the magazines went through them. I’m not quite sure how, but they contacted me on Instagram and asked if I would do a billboard for both magazines.

RRX: Wow, that’s really cool.

ASL: The first one I didn’t get to see, and it was a horrible taping … so I went down to New York City to see it. I was like, “I should really go.”

RRX: Did anybody, like, see you see it, and they’re like, “Hey wait a minute…”?

ASL: It was Christmas time (the second time), and the tree was being put up, so it was so crowded. I couldn’t even move when my billboard was up.

RRX: Yeah, they’re like “it’s New York City,” so they’re like, “Yeah, whatever …”

ASL: Probably, yeah, that’s probably what happened.

RRX: You mentioned the magazines contacting you on Instagram. Obviously, there are a lot of what they would call “Instagram models” on Instagram. And sometimes that’s derisively put, but at the same time, like, how would you start any career in modelling? How would you do it other than Instagram? You know, like how else would you do it?

ASL: Nowadays, definitely. But I started at the Barbizon with Maria V. Janis when I was 8 years old. Locally, that’s how long I’ve been doing modeling. Oh wow. Do you remember the Barbs, and when that was a big thing?

RRX: It sounds familiar.

ASL: The only photographer around was Dan Doyle. He was the go-to. He was like the guy to go to, and Evan was there slightly after; Evan Lauber’s his name. But this is ages ago.

RRX: OK, so you said you said “time in Sweden.” Were you modelling in Sweden?

ASL; Yes. Shoot, I wish I had printed my resume out. I have a really long, expensive resume. Because I’ve modelled in California, and I try to keep up with everything. I have to actually go and edit it and add more to it. When I remember something, I go back and put it in. But yes, I modeled for an agency there, and I modeled for some of the companies in Sweden, and I did a runway there. And I also watched kids, too. I was an au pair for a while.

RRX: OK.

ASL: Because I’ve been to Sweden a couple of times.

RRX: When I look at runways, say on television, they look pretty basic, just people walking back and forth. But I’m sure the reality behind the scenes is more complicated. Can you tell us about that?

ASL: Behind the scenes, and no matter where you go – if it’s LA, San Diego, Sweden – it’s chaotic. They always say, “Oh, this shouldn’t be like this,” but it’s chaotic, everybody’s trying to accomplish their role, like the makeup artist. And it’s not like a smooth thing, but that also makes it more exciting. And you’re also mingling with people behind the scenes, which is meeting new people, and that’s nice, but it’s so chaotic. The designer is usually a mess because they want it to go. They’re a nervous wreck, you know? That’s their show, and they want everything to go perfectly. But it all works out in the end, I think. So that’s it. It all ends up coming out smoothly, but it’s really chaotic.

RRX: Looking at it from the stage, you wouldn’t think it was chaotic.

ASL: It comes out that way. You could be in line going out, not next, but in line, and then having someone say, ‘Wait, you can’t wear that. You have to change it.” They’re pinning you, and you know it’s just that crazy. It’s exciting.

RRX: So let’s talk about shoots. For example, the Times Square shoot. What are they like?

ASL:  Actually, it was a local photographer; she’s phenomenal, Natalie Clark Photography. She took the pictures for the billboard. Those are the newest ones that I had, and I asked her if it was OK, and of course, she was all for it. And the makeup artist is new and upcoming in the area, and he’s amazing, too. Alexander Dijon. And he’s now my go-to locally because he does my makeup really well, and he’s got a great personality, and he’s the nicest guy.

RRX: So, LA. I mean, I know, like obviously, Sweden was a whole other world. LA is a whole other world as well. What is it like being a model in LA?

ASL: I was the biggest, the curviest, just to give you a perspective. I weigh 108 pounds, and I was definitely the biggest model there. So it’s kind of sad in a way because I don’t really like that. I’m hoping they’re turning that around. I see that slowly they are. I’m glad to see that because I don’t think it should be about starving, and tiny stick figures are not attractive. I also think personality has a lot to do with it. I remember talking to one of the celebrity photographers that I worked with, Jen Hoffman in LA, and she was saying, ‘Yeah, you’ve got meat on you.” And I like that ‘cause she worked with so many celebrities, and she was so sick of seeing it.

 

 

More from Liam Sweeny…

RECAP: Orleans @ Universal Preservation Hall, 5/2/2025

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Orleans Acoustic Quartet Brings Harmonies and Heart to Universal Preservation Hall

Words and Photography by Stephanie J Bartik.

On May 2, 2025, the Orleans Acoustic Quartet took the stage at Universal Preservation Hall in Saratoga Springs, NY, delivering a deeply nostalgic, musically rich performance to an almost sold-out crowd. With their signature harmonies and stories spanning five decades, the acoustic lineup offered an intimate evening that stirred both emotion and memory.

This special configuration of Orleans featured co-founder Lance Hoppen on bass and vocals, his brother Lane Hoppen on keyboards and vocals, Tom Lane on guitar, and Tony Hooper on guitar and vocals. The stripped-down arrangement—with no drums or electric excess—let the warmth of their vocal blend shine and brought the band’s classic songwriting into crisp focus.

Opening with fan favorites and working their way through a thoughtfully curated setlist, the group immediately evoked the golden days of 1970s radio. As “Dance with Me,” “Still the One,” and “Let There Be Music” rang out through the hall, many in the audience were transported back to beach days on Long Island, where these very songs played through the speakers of WBAB radios on the shores of Robert Moses State Park. The music conjured up sunlit memories and a shared sense of time-travel.

The venue—a former church turned world-class performance space—only added to the experience. With its stunning architectural details and soaring ceilings, Universal Preservation Hall proved an ideal setting for an acoustic show. The room’s natural acoustics allowed the vocal harmonies and gentle instrumentation to envelop the audience in waves of sound that were both subtle and powerful.

What made the night especially compelling was the connection between songs and storytelling. Lance Hoppen, with his warm and conversational tone, shared anecdotes from Orleans’ early years, reflected on their journey as a band, and offered heartfelt introductions that gave context to the music. His presence on stage was both grounding and magnetic—clearly a musician still in love with performing and connecting.

Lane Hoppen’s keyboards added atmospheric layers, enhancing the group’s vocal textures without overwhelming the acoustic format. Tom Lane and Tony Hooper showcased their skills with expressive guitar work, tasteful solos, and beautiful accompaniment. Hooper’s vocals in particular complemented the Hoppen brothers seamlessly, reinforcing that this quartet is a true ensemble, not just a legacy act.

Blending new material with their iconic catalog, the Orleans Acoustic Quartet proved that while their roots are in the past, their artistry continues to grow. Every note felt present, fresh, and alive.

As the show drew to a close, the audience responded with standing ovations and heartfelt applause. This wasn’t just a performance—it was a shared moment between artists and audience, a reminder of how music can connect generations and carry us home.

For those lucky enough to be in the room, the night was a celebration of enduring sound, sincere connection, and the timeless joy of live music played with heart.

 

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