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Troy Savings Bank Music Hall Announcing Two New Shows

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TROY, NEW YORK:     The Troy Savings Bank Music Hall is excited to welcome two incredible shows this fall! Pre-sale tickets for Troy Savings Bank Music Hall Members are available Tuesday at 10am!  Single tickets will go on-sale at 10am to the public this Thursday August 1st!  Learn more below about Zakir Hussain and Rahul Sharma & Eddie B!

Zakir Hussain and Rahul Sharma – October 18th

In the annals of Hindustani music, Pandit Shivkumar Sharma stands tall. Widely acclaimed and highly esteemed, he brought his Kashmiri folk music instrument, the santoor, to the classical concert stage. His concerts with Zakir Hussain were considered among the greatest musical feasts of our time. After 5 decades of accompanying this great artist, Zakir is bringing their relationship forward in duet wiith his son and worthy successor, the brilliant Rahul Sharma, who has established himself as the premier santoor maestro of his generation

Troy Savings Bank Music Hall and Johnson Communications present:

Eddie B – November 2nd

Eddie B. soared to new heights by creating his own opportunity starting with his series of comical videos titled “What Teachers Really Want to Say”. In a matter of hours, those videos sparked the attention of educators all over the country when they realized that they were not alone and finally had someone to joke about the things they were reluctant to say out loud.

Shortly after, Eddie decided to take his videos to the stage selling out comedy clubs, theaters, and arenas with his “Teachers Only Comedy Tour” in 2017-2018 and the “I’m Already Professionally Developed Tour” in 2019- 2020. When the worldwide pandemic made it impossible for Eddie to see his fans in person he began performing his “Teachers Only” comedy virtually! Now that things are getting back to normal Eddie B is ready to give educators more of his unfiltered comedy beginning with his ” Teachers Only Summer Break Tour” in 2021!

Eddie B has established himself as the official voice of teachers across the globe. Educators from America to Africa, Dallas to Dubai, New York to New Delhi (and beyond) are getting a lesson in the funniest ways to express their worst frustrations and they are loving every second of Eddie B’s uncensored, raw, and hysterically realistic portrayal of a teacher’s hectic life, from the point of view of an actual teacher!

Tickets are on sale at 10am Tuesday, July 30th to Music Hall Members.  Anyone can become a member and gain access to the pre-sale.  Single tickets go on sale to the general public Thursday, August 1st, at 10am via phone, (518) 273-0038, in person, or online at www.troymusichall.org.   More information on the Troy Savings Bank Music Hall and upcoming programs is available on the website at www.troymusichall.org.

Extra! Extra! Xperience Monthly August 2024 Digital Edition is out. Get it Here!

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Xperience Monthly.

The dog days of summer, we got Snoopy throwing house parties out back and McGruff has gone vigilante. But this month, we also have Blackcat Elliot, author Sharon Watts, and Ohzhe!

Art Along the Aether – Chapter One – Xperience Fiction

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Art Along the Aether I – Xperience Fiction – by Liam Sweeny.

The flare of the flash bashed her cheek, sought the angel’s angle and struck purgatory, crashing over her overwrought blush. The cigarette he dropped in his coffee cup twelve minutes ago rose high in the onyx, dancing along his lower lip upon an absent sip. His finger had fat knuckles; that finger, the only finger laid out as gift to the paparazzi, a cheap green-skin ring slung low on the fuck you flicker, a prybar only could remove it if he hadn’t seen in it a perfect metaphor for their love. She pulled her sweater sleeve over the wrong side of her tracks, on her forearm, between her toes. Thirty days healed and a golden coin that, should she run it through her fingers like a worry stone, might turn her palms as green as his carpal tunnel.

Never underestimate the circus pulse of two dozen Home Run breakfast plates shoveled into hungry maws, a two a.m. Taco Bell, but with class. He’s on the table now, shirt off and plaid shorts to follow. No; not that guy, the other guy. He’s in a band, and he’s ticking boxes for the interview, under the bright lines in Los Angeles when he says his peace to it over a Zoom call. He shouts to laughs and brows furrowed, two waitresses resigned to nod toward the phone that won’t call the cops because in all honesty, it was a show and they could use the tips.

She won’t eat her eggs, just sculpts them into that cloud she saw, the pink one when the junk was out and the sick was out and they told her she had the keys to her future and she only needed to drive under the speed limit. But the world moved so fast. And that fucker keeps snapping pictures, like they were anything but local celebrities whom you’d know if you knew, and this asshole clearly knew. Flash and a snap sound synthesized by a liar phone.

“Fuck outta here,” he said to his photographer. “No press.”

Laughter and chipmunk chatters. Three girls with bedtimes hanging on three guys who couldn’t wait for them to seek strange new beds. Scum. She squirms in her seat and he clutches her forearm because it was ink-numb and it was the only place he could touch her in public and she didn’t flinch. One time he got a love letter from a cop, call-collect from a concerned citizen with a hunch that he beat her because she flinched and he had a tattoo on his neck and his hair was greasy. The part that wasn’t shaved; if they looked close enough to see the tattoo on the side of his head, they would’ve suggested murder and necromancy.

She looked down and stopped squirming. He got up and found the press corp. Full plates and vape pens and his fist pounding the space in between. Jumps, three. Two freeze, including the cameraman. He leaned in and matched faces and a tincture of cotton candy weed passed between the confluence of their breaths.

“Don’t ever come to one of our shows, you piece of shit.” He pulled a dirty napkin and wiped the shooter’s face with syrup, sausage grease and pancake crumbs. He walked back and a hushed what an asshole followed him, and he wondered if they truly thought that, or had read the tattoo on his head and was giving it recital.

Shine, diamonds; crystal cascades traverse the globe of the sodium lights and their Doc Martens push it down, compact it in industrial footprints less the patterns, only stars and bars. He held her through the jerks and the bracing for the rough hand he didn’t have for her. The love for her, the passion for her touch and the sad gleam in her eye that squeezed his ducts to tears that oiled his heart to slide.

“Do you think we’ll make it?” She drew her sight to his stiff jaw and he had no words but he gave them in absentia.

“Fuck that guy,” he said. “We’re gonna blow after tomorrow night. Everybody gotta go through shit to get big, Sarah, it’s all built on shit. You take peoples’ garbage and you build a fucking mountain with it.”

She smiled in silhouette. “We gonna play a show on a garbage patch?”

“Very top.”

Sarah, aware of the sounds of the sirens and of the oceans of city fires squeezed his hand, found in it a maelstrom to guard against a night that would see the sadness of distant death. He matched pressure and his intent was twin, for only they knew what it was like on the floor of the trap house where they met, sharing a can of paint huffed, depleted, left only to a trickle scrawl, and they joined forces between highs and lows to paint pictures of puppies with posies dressed as farmers upon a Krylon harvest.

Sarah pulled a Plexiglas pick from her coat pocket. She made it from an abandoned panel on the side of the road. She sanded and shaved and ran a lighter over it to melt the surface, and it was the greatest pick she’d ever used. Her bass was parts incorporated into an LLC, a miracle in logistics. Its pickups came from a smashed guitar, from the show the fall before when Zack Brody from Pickle threw his axe at the wooden wall of the stage, but it didn’t sink in. She bought the wreck for an album cover sketch and a concert poster.

He had a name that sounded like Ollie so he claimed it and bought the website. He was the lucky one, the singer, the one unassisted melody in the practice room. He would be the one to get the girls except the one girl he could never get was the only one that got him. The two of them together could make any sound a song and any triumph a wrong and they used this odd effect to gather the rejects to the empty warehouses and the landfills and tunnels anywhere that held electrical outlets for their emotional outlets, their artistic outlets.

Neon fire slithered over glass tubes, gas within raining punches on gas without and splattering color on the backs of Ollie’s eyes. Sarah wore shades like a goddess trapped on earth with peepers that annihilate the moon in their spare time. The polished steel doorframe’s slick encapsulated the slow drift of the red braking lights of a brand-new Chevy Tahoe that Ollie only knew about because the driver’s got an asshole for a mouth and he shat his praises. They move slush and try the door.

Ten years off the clock, and a man was murdered by the beer coolers. And the evidence tech had the sheer audacity to chalk right over an errant box of stuffing that the decedent grabbed on the way down. Each year added a new dollar to the six packs and a new inch of cockroach bedding behind the shelf of three-year-old peaches, priced to escape justice for another solid slice of decade.

Ollie ushered Sarah in with a warm hand at the small of her back. He long ago reached the epiphanic state in which one realized that the smell of coffee was as dark as the pools of it evaporating away in an engaged pot. Blunt wraps, pungent, on the rack, sundry accoutrements of slackers on medicine that calls itself that. Marlb Reds and Newports in a foot race to the counter, nails in a coffin debut on a chalkboard for the good-health gurus that cough and wave their hand at a nicotene drift.

He, the fat he who was the genius that named his corner of heaven simply ‘Mini Mart,’ was bored, a man on a seat on a mission to beat the clock while making bank and paying off his second mortgage. He flipped the page on a magazine he didn’t have to pay for but would make him leap to tell a kid it wasn’t a library should they take a peek. His shirt was urban sportswear, which meant it put on airs and was easy to counterfeit. He eyed Sarah and Ollie in blinks between headlines. He knew them. They knew him. The police knew them both from the same reports.

“Y’all can’t just stand around in here,” he said. “and keep your hands out of your pockets. And you can’t hide from the cops like last time… ground’s got six inches of powder on ya.”

Ollie’s lips sneered as his fingers coiled around the handle of the soda box, one for the register and two for the ragged tear in a bomber jacket too big for his frame and a perfect fit for his predilections. Two sodas nestled in matted cotton; two magic acts in plain sight of the biggest cocksucker on the block to hold a business license.

Ollie glanced at Sarah as if to read her haul through the number of times she smiled at the prick, at the arc of her back as she bent over and drew his eyes like a water pail, a fifty-five-mile-an-hour thirst trap. Ollie hit him with a stare, made him shake off his street-girl fantasy, and brought the haul, the first beat of the peekaboo, to the counter.

“These are warm,” Ollie tapped the tip of a twenty-ounce ginger ale gingerly with a crooked finger. “You need to fix that cooler. How much do I get off for warm-ass soda?”

All truths laid out, it was a ruse, a jukebox playing pop but hiding blistering punk rock wrapped up in two silver aluminum cans. Ollie would’ve drank a rustwater smoothie; his thirst having taken over his body, drained by the salt of the sausages and the rental equipment between his piss-pouch and Denny’s coffee. But a man put on defense plays shittier offense.

“There’s nothing wrong with the cooler. Soda and chips is five bucks.” Hand out, a target tattoo on his meaty palm. Ollie pried a roll of dimes and set it on the counter, letting it roll under his own palm.

“That ain’t five bucks.”

“I can count it out,” Ollie said. “Slowly. Read the dates on each dime. Take a picture and look em up, see if any are worth real money. I could polish em.”

The proprietor, visibly annoyed and assumed even more bored, grabbed the roll and punched the register with a finesse that only a man in love with his cashbox could apply, the kind of love that popped it open beyond mechanical reason. Ollie smiled and took just enough of a bow to hold fast his criminal enterprise. Sarah twirled around, giving the Minimart sentinel a wraparound view of an ass that had landed them friendly dealers on more than one cold, desolate night. She smirked as she reached for Ollie’s hand as they reached for the door and freedom from a crap camera that wouldn’t pick them up if they were the only ones it ever saw. Why everybody stole from the place. That, and the well-established fact that el capitan offered cigarettes and beer for blowjobs and the dirt on his hands wasn’t from cleaning the place.

The sedan floating across the snow squealed to a jagged stop, nearly laid them out. How those two assholes got a lease couldn’t be explained by either science, history, or sociology. The earth was round, the Battle of Hastings was 1066, and two dopers without any verifiable source of income secured a lease on a 2010 Accura. It should’ve got the lender wise when they paid the bill in curled up twenties, but word in the rumor mill was that Donnie Bacos Auto laundered cash on permanent press. They swaggered their thirty-five hundred pounds of ill-gotten gains through into the groove that had stopped them and nearly clipped Ollie again before skidding to a second halt.

“Holy shit, it’s Ollie,” Deke said from the driver’s seat. “I almost hit Ollie. Hey, get in. We’re doing mailboxes.”

Ollie checked with Sarah with a shrug and she returned, and no objections put the question to the growing snow and the swirls of a bitter wind tunnel that had them feeling like God was testing their aerodynamics. Ollie opened the back seat to weed, cigarettes, and peppermint Schnapps, reminding him of his father’s shed in the fourth grade when he and his friends continued their education beyond the rudiments of grammar.

Ollie slid over for Sarah, who coughed in the face of the bouquet. Ollie couldn’t tell if the cough was organic or a guttural display of mock sanctimony over a life they’d outgrown.

“You guys got a dollar-fifty?” Harry, the passenger, said.

Ollie shook his head, then realized they couldn’t see him. “Nah,” he said.

“You got five, then?”

“I got a Coke.”

Harry turned around. “You got coke?”

“A Coke,” Ollie pulled out one of his pilfered cans. “A can of Coke.”

Harry scoffed and turned back around. “Can’t do nothing with that,” he said. “Hey, can I have the can when you’re done?”

“Sure.”

“I seen your pops today, Sugar,” Sarah’s name on stage. “He damn near looked like he wanted to take a shit in the percolator. I was scared; I actually spelled his name right on the cup. He still want to crush Ollie’s nuts like he said?”

“No, he said I’m dead to him. I don’t know why he was pissed at you.”

“Maybe he just had to shit?” Deke said.

“We have a bathroom.”

“Maybe it was full.”

“Maybe your mother was in there giving handjobs and he couldn’t get it up,” Harry said.

“How you gonna say that in front of Sugar?”

“I hope he can’t get it up,” Sugar said. “Serve him right. I already got a piece of shit brother. I don’t need two.”

“You can’t get a brother from handjobs,” Harry said.

Deke pulled a cigarette out of the pack on the dash. “Maybe he just heard about your shitty coffee and he was desperate and couldn’t go anywhere else.”

“What are you guys doing to mailboxes? Where’s the bat?” Ollie asked.

“Nah, Ox,” Ollie’s stage name. “We’re selecting winners for the Drug Pushers’ Clearinghouse. Seven lucky mailboxes get a dimebag of the best weed they’ve ever smoked.”

“You’re giving away weed?” Sarah asked. “You guys just have it like that, huh.”

Harry rolled down the window, giving the wind a chance to slap both Ollie and Sarah in the face. “You can’t make it in the business world if you don’t advertise,” he said. “This will be on the news.”

“They’re not going to say how good it was.”

“Nope. But they’ll show it.” Harry reached into the glovebox and pulled out a baggie. “Check this shit out.”

He cupped a bud in his hand and slid it back. The fruit of the poisonous stalk, sticky as cotton coated in spray glue, THC like the lining of a geode, translucent white; more crystal than crop. It reminded Ollie of the snowflakes tumbling down outside, which, if they had an urge to get toasted, would surely congregate on the bud he palmed. He shouldn’t have hold of it. He turned to see Sarah looking at it like it was a movie monster, only thing missing was the stage lighting shining up her features. She couldn’t take it, and so Ollie couldn’t take it, so he handed it back.

Harry nudged Deke. “Pull over,” he said. “That one. The one looks like a windmill. That’s Holland. They gotta be smokers.”

They slid over to the side sans finesse and the mailbox door creaked as Harry played postman and benevolent dealer in one fluid motion. Ollie hoped the owner wouldn’t come out in their robe ready to play baseball, or even worse, skeet.

“We’re gonna go to the warehouse. Y’all in?”

Deke’s invitation was a chip of concrete chiseled in calligraphic flair. The warehouse. The ground floor back wall origin of the myth of Ollie’s sobriety, before the legend made the man and Ollie first resisted the apple. The bull-headed All American assault dealers operating out of the tips of their steel-toe boots, pushing their hard sell on Ollie’s ribs. Sarah’s ribs were thinner than his and their bruises bloomed to win the state fair domestic violence poster. But the back wall of the ground floor of the warehouse could never flip the thesaurus and end up “domestic.”

The car picked up speed and Deke hung his arm out the window and the snowfall, not content to be kept out of good company, floated in and nestled in Ollie’s jet black disheveled hair.

“Can you drop us off at the radio station instead?” The station, a twelve-by-twenty-four mass of mixers, sliders, faders, and grip-mangled husks of twenty-four ounce paper coffee cups. Sean was there sharing dank, existential memes on Facebook, and the owner, Fred, probably also sharing dank, existential memes in synchronicity with the application of prospective advertiser names onto a rolling white board that served as a room divider. A safe haven.

Sarah tugged on Ollie’s arm. He looked over and her eyes were hungry for something that couldn’t be mixed and sucked up in a needle.

“We go,” she said. “To the warehouse. I want to. Please.”

Ollie rubbed the back of his hand across her cheek to feel the damp of her cheekbone but found only a dry and flush landscape she’d not painted for him since the Christmas past when their last high found them streaking Memorial Park.

Ollie turned to face the road ahead, between Deke adjusting his mirror to give him cleavage access and Harry rolling a joint and pointing out mailboxes that he was sure would draw the hands of quasi-suburban burnouts.

Deke and Hairy delivered an ounce in eighths over an eight-block radius in a asymmetric route that would make the 6 a.m. postal run a one man Woodstock if he happened to reach into to any of the bud-laden drop boxes. Ollie sweated it out hot and Sarah played a cool peek-a-boo with her tedium, since weed was always just a plant to her.

Eventually the two up front found Sarah’s boredom as attractive as they found her, and that could only mean that the warehouse was on the GPS, if they’d ever needed it. They hit 32, the vein parallel to the thin strip of highway that served as the Hudson River’s artery, the warehouse somewhere between, a tumor that took turns over the years being malignant and benign.

 

 

 

More from Liam Sweeny…

Bryan McPherson / Danny Quane / Xavier Morris @ Twisted Fiddler, 7/27/2024

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Photography by Joshua Scarselli.

 

 

More from Joshua Scarselli …

The Record Company / Sirsy @ Alive at Five, 7/25/2024

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Musical treats were had in Albany with blues for dinner and pop that rocks. Fine weather at Riverfront Park.

Photography by Timothy Reidy.

 

 

More from Timothy Reidy …

Spite and Mount Fuji – The Weird Side of the Internet

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Spite and Mount Fuji – The Weird Side of the Internet – by Liam Sweeny.

The world runs on tourism. People go to iconic places just to be there, for the bragging rights and one-upmanship, and no horizon expansion would be complete without a full complement of photos.

But the flow of cash that rolls in to a town from tourists isn’t the only flow that runs in. Garbage in the form of litter flows in, as well as traffic, and annoying encounters with people who feel they own the land of which they don’t know the lay.

But so it goes; it’s a trade-off. And the money is good. Everywhere, it seems, except the small Japanese town of Fujikawaguchiko, where the residents have simply had enough. With a middle finger as high as Mount Fuji just off in the distance, the town has erected a giant black barrier, blocking the view of the best place to snap a pic of the world-famous peak.

It’s always amused me when people organize themselves to produce construction the sole purpose of which is spite. This, the walls that get built purely to keep a neighbor from enjoying the view of their sculpted lawns. Tops was a story I heard of a man that built a house on a six- or seven foot strip of land just to block the house of a hated foe.

But it all comes at a cost. Fujikawaguchiko will lose revenue, and that barricade will likely get graffiti with as little care as the town has for the tourists themselves. But poetic justice would be if the barricade itself became a tourist attraction.

Besides, I doubt it will cover the entire view of Mount Fuji.

 

 

 

More from Liam Sweeny…

Train @ SPAC, 7/23/2024

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Pat Monahan and the boys co-headlined (with REO Speedwagon) at Saratoga Performing Arts Center Tuesday night.

Photography by Stephanie J Bartik.

 

 

More from Stephanie J Bartik …

Blues for Breakfast @ Rockin’ on the River, 7/24/2024

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Blues for Breakfast headlined this week’s Rockin’ on the River at Riverfront Park. Lots of jam was provided.

Photography by Timothy Reidy.

More from Timothy Reidy …

Pony In The Pancake – Xperience History

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Pony In The Pancake – Xperience History – by Liam Sweeny.

There’s a quality to a band, an unspoken quality that tells you you’re listening to music and not windchimes coincidentally keeping time to a busted trash can lid flapping in the wind. Yes, it’s unspoken… but I pay for ink by the barrel, so let me try. It’s solidity. The whole of a song can’t be broken down. As the rhythm wraps around the drums and the melodies and harmonies slither through it all like veins and capillaries, you wind up with a solid thing that’s greater than the sum of its parts.

Pony in the Pancake is a solid band with some solid songs. They’re in touch with what it means to be musicians, and they get their crowds going because they’re just like the crowd, only facing a different way on the stage.

I sit down with the band and we talk about the breeze on a bygone summer day.

RRX: I’m listening to “Dead Inside” and was just watching on YouTube. It’s a great song, something I could relax and kick back to. And the video is very what you see is what you get. It’s refreshing. I don’t think everybody that’s in music gets that at it’s core, it’s people. Was there any overall way you wanted to go when you recorded “Dead Inside”?

(l - r) Rob Flynn, Dan Prockup, Ben Garrett, and Bob Forget.
(l – r) Rob Flynn, Dan Prockup, Ben Garrett, and Bob Forget.

PIP: We approach music with the philosophy of The Uncarved Block. We believe that killer tunes exist in nature and it is our job to uncover them. All of our songs are written at the moment we record them. We believe that we need to meet nature half way in order to uncover a universal hit. We take our own experiences/influences, and try to tap into the collective unconsciousness. Through this process, a hit song can be brought into existence. We don’t necessarily write songs, we channel them. For the song “Dead Inside” we tried to capture that feeling when your lover completely and totally has no feeling for you anymore. It is a crushing feeling, one of the worst that a living creature can experience. When this happens, you may look normal and healthy to anyone passing by. But inside, you are dead. It’s called being Dead Inside. You look at the world through your window, and it passes by. You just sit by you window. Dead Inside. We have all been there. The song almost wrote itself.

RRX: Your music has a real solid, driving feel to it. I’m obviously not talking distortion and full “gods of rock” overdriven thing. I mean it seems like it has the purpose of getting people to get off their asses and move. When you all go out and play, do you favor places with a good dance floor, or are you not that picky?

PIP: We are not that picky. We feel it is privilege to play music for anyone, anytime. If people dance, it is a bonus. We definitely feed off their energy, and they, ours. It creates a space in eternity that echos through time and space. When a band and an audience can “merge” together the sun smiles. We play for the sun and the moon and the sky and the air. If any of those things are present, we will play. And rejoice in the glory of existence.

RRX: I like to listen to a band before I come up with questions; in fact I need to – it’s a part of my own jam. And I did find “Dead Inside” and an MP3 on your website, but I’ll always go the extra mile and buy the album. Did I just not see one, or are you either putting an album together or talking about it?

PIP: All of our proper albums are on Bandcamp. I believe we have over 100 or songs currently on it. Listeners can download most of our music for free. We released a greatest hits collection called Cordial Greens through the Canadian label Chuchabta Records. We have really enjoyed our partnership with them and have enjoyed playing concerts in the Montreal area. On September 20th of this year we will be releasing an album, Summer Sun, with the Albany based Five-Kill Records. We re-recorded some of our all time greatest hits. Rick Spataro of Onlyness produced the album and it sounds fantastic. We are really excited to have it see the light of day this fall. We also have live shows posted on The Pony in the Pancake Blog, as well as numerous videos and concerts on YouTube.

RRX: So now you guys do the holiday show, which, incidentally, is what I’m listening to right now, your set at the 2018 show. There were a lot of cool bands at that show, including many I’ve never heard of, a few that will probably find these pages in the near future. Can you tell us a little bit about this?

PIP: We have been putting on an annual holiday for 15 years now.  This began at Valentines around 2003.  We got our start as a band at Valentines.  One day we walked in to Jim Lanthrop’s Open Mic on our friend’s Dave’s birthday, looking have a beer.  We walked back to our apartments and got our guitars.  We put on a show without any preparation.  It was our first show.  At this point it was just two of us on acoustic guitar. (Cousin’s Robert Flynn and Dan Prockup) With the support of Jim, Mike McGrath, and Barry Muscatello we became a staple of the open mic.  Howard started booking us to play shows.  We added members, and the rest is history.  We are forever grateful to Valentines and the people who supported us.  Howard really gave us a chance to mature as a band.  Our Holiday Show is our celebration of Valentines and our beginnings.  Our first Holiday Shows would be on Wednesday nights.  Dan and I would play for 4-5 hours.  It was epic.  We eventually moved to Friday/Saturday nights and started to invite other local bands that we were friends with.  Bands that have played are Brother T, Bear Grass, Abyssmals, Rechorduroys, Haley Moley, Onlyness, Christina Abbott, Los Espejos, Neversink, Better Pills, Great Mutations, Sea of Trees, Sinkcharmer…There are probably over 100 bands that have played our holiday shows over the years.  We will continue this year at the Low Beat on Saturday, December 21st.  We are working on the line-up now.  It is always a magical evening full of love and surprises.  The Birth of the New Sun is something we take very seriously.

RRX: I mentioned in an above question that, at its heart, music is people. And that’s something I definitely pick up off of listening to Pony In the Pancake, is that it’s a family feel, not necessarily the blood kind, though I’m sure that too. Are there any bands, or venues, or “nodes” of the Capital Region musical experience that you’re up to sharing?

PIP: We believe that everything is connected.  And as musicians, we try to ride that connectedness.  There are different genres and styles, but the kind of music we play is intwined and rooted in the Sun and the Spirits of the North East of America and Outer Space and Time.  We do not make up songs.  We uncover them.  If you open yourself to the magic of the universe, it will flow through you.  We just try to channel existence and joy through our playing.  Play is at the root of our music.  Improvisation in our live shows is just as important as our pop songs.  We love to play as a band.  We love to dance in the whirlwinds of eternity, riding the Sun’s waves with our instruments and our smiles.

RRX: I noticed Pony In the Pancake is very “earthy.” Very to the roots, to nature. You guys alluded to that in your influences on social media – “the ocean and the clouds and outer space” (outer space counts.) How does nature, or the great outdoors (or the great outer space) affect your songs, your playing, the gear you use?

PIP: We are currently part of the Swordpaw Collective Studio in Troy. It is a studio practice space in the basement of the Oak Wood Church. There are a number of bands that belong, write, and rehearse there. (Bear Grass, Great Mutations, The Elements, Haley Moley, Front Biz, and Paint Brush Charlie). We share instruments, ideas, and play on each other’s albums. It is an awesome collective to be a part of.
Through the local music scene we also met the other members of our band. Bob Forget is a member of the psych rock band the Abysmals. He plays the smoothest bass in town for Pony and has a voice like an angel. Ben Garret of Party Boat and Rherodorys plays guitar and has the pop sensibilities of Neil Young and Brian Wilson. They are both indispensable members of our band. We met through playing local shows. The Capital District has a great music scene. We’ve played shows with so many bands and have played with so many killer musicians over the years.
As a band we hope to keep communicating and merging with nature to uncover more hits. We love what we do and do it for the joy it brings. We would love to share it with the whole world. We feel honored to live under this sun. Pony in the Pancake is our love letter to the wonders of being alive.

RRX: This is where you get to answer the question I didn’t ask. Does a pontoon boat in the middle of a lake have good acoustics? Do they rent pontoon boats to bands? Enlighten, educate, emote – the floor is yours.

PIP: Pony had the opportunity to play on a Tom Sawyer like raft a few years ago. It was put together by some friends. We floated on Saratoga Lake and played. We had a generator on the raft and speakers to blasts our sounds out over the water. We must have passed 100 boats that day, each sharing smiles and waves. Our friends also hooked up speakers under the water so they could listen while SCUBA Diving. We have always pictured ourselves as a band with an awesome underwater sound. That day, our dream became a reality. I can remember at the height of our jams the water began to eddy and swirl all around the raft. I think our sound even lifted the raft a bit towards the heavens. It was one of the greatest concerts we ever played. We hope to do it again someday. We would like to take our sound to the ocean in a submarine or play Howe Caverns.

 

 

 

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WRPI – Return of the Tower

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WRPI – Return of the Tower – by Liam Sweeny.

College radio stations are a bastion of creative exploration is music and listenership. Flexible formats and young, passionate DJs make for an experience that you can’t get spilling out of a 50,000 watt transmitter. But the size of a college radio station’s transmitter doesn’t matter; not if it’s down.

WRPI has been giving us an eclectic mix of both music and persona for decades. And their struggle over these past few months is emblematic of the spirit of college radio.

RRX: WRPI is putting together a “Coming Back Campaign.” Now someone who hasn’t been a steady listener, or a listener at all, they may not know what you’re coming back from. Can you give us a brief history; a “One stormy night…” ?

Mari: One stormy night, on March 23rd, 2024, New York’s Capital District was hit with a strong snow and ice storm. As a result of the climatic weather, WRPI’s tower had its power hit and shut down, as multiple components that were important for broadcasting were affected by the ice and snow. Power was restored to the tower the following day; however, we were quick to notice that there was no connection between our home station and the tower. After communicating through on-campus channels about the issue and receiving no information, a few of our Executive Committee (Ecomm) members visited our tower to investigate for possible damages.

For the technical among us, what essentially happened was that the Power Over Ethernet (POE) Injector had filled with water and shorted as a result. The POE Injector is the main communicator to the microwave dish that connects the on-campus studio’s audio and internet to the off-campus tower site. It was also discovered that the cable for the microwave dish was disconnected and also leaking water, which also led to the shorting issue. The cable and POE were repaired and replaced, however that didn’t resolve all of our issues. After more investigation, it has been concluded that the dish on the tower itself, and a dish on the RPI campus, both need to be replaced (among other smaller pieces such as an ice shield and other equipment). We have been diligently working on getting all of the necessary parts ordered so that we may be back on the air near the end of August.

RRX: Post calamity, you didn’t just wither and die. You found a way to continue to serve your listeners. How was/is that, and how can new listeners get onboard until you’re back with your tower? And will you discontinue these methods once you’re back up?

Mari: Throughout the past couple of years, WRPI has been running a webstream alongside our FM radio. It seems 2024 is the year that Murphy’s Law has hit the station, as our webstream was down a few months prior to the transmitter, as our servers were being upgraded to fit RPI’s current security standards. However, during the brief quiet period with no transmitter or webstream, WRPI upheld the “Bridging” tradition by briefly transitioning our operations to the streaming website twitch.tv.

Bridging is our end-of-semester tradition where our DJs run 24/7 live broadcasted  programs during RPI’s study days and finals week as a last hurrah. WRPI DJs adapted to the Twitch format by hosting “gaming” streams alongside the usual programs seen during Bridging (album listen-throughs, playlist shuffling, hours revolving around specific genres or themes, etc).

A month after Bridging, and through the intense and diligent work of our Vice Chief Engineer Jose Luchsinger, our homepage and webstream was brought back in its most basic form. Now equipped with an avenue to broadcast, WRPI has been operating on a near-normal basis by having a set schedule with both student and community DJs, hosting interviews with local and visiting bands, and having our automation playing music 24/7.

RRX: As a radio host myself, one thing I know is that having an on-air personality is a warm alternative to the algorithms of a corporate playlist like Spotify. And college radio is itself different than corporate radio. What makes college radio, and WRPI in particular, the place to set your ears?

Mari: One of WRPI’s nicknames is “The Upstate Underground”, and for good reason. Unlike many stations found on FM radio, WRPI’s music and shows carry a wide variety for people to choose from, and they often highlight the new and unknown artists and genres. This is due to the freedom the station offers to its DJs, allowing them to explore and air whatever their heart desires to share.

Some examples of shows from before the calamity:

Mostly Synthetic with Alistair –  an exploration of electronic music from the 60s, 70s, and beyond.

Soulful Spectrum with Soulspinner – a show that focuses on a genre or artist of African descent that has contributed to the current state of Western music and media.

Shut Up For A Bit with DJ N Timmy – a two-hour show that exclusively focuses on instrumental albums.

Chaos Theory with The Undisclosed DJ  – a two hour block that exclusively focuses on an eclectic mix of psychedelic rock and new wave era rock.

Awas-e-Pakistan with Haider Khwaja  – a cultural radio program for the students and community that has been on-air since 1990.

Prime Time TV with DJ Frog  – a weekly exploration into the soundtracks of television shows and movies interspersed with facts about the media and soundtrack composer.

Freshman Freestyle with Julian and Liam – a talk show with a group of RPI’s freshman class where they talk about anything from classes to music and more.

Not Quite My Tempo with  NMC and Joe Jazz – a weekly dive into jazz history through its eras, artists, and various subgenres.

Album by Album with DJ Corrin – a listen-through and discussion through a different album of various genres every week.

Grown Man Rap Show with DJ Toast – a show that has been on air for 30+ years, DJ Toast brings you 2 hours of the best in old school and true school hip hop.

RRX: Latching on to that last question, I’m not just a radio personality. I have a life and times, a bio of sorts. Can you give me two or three of your current on air people and tell me a just a little bit about them?

Mari: David Liebig is one of WRPI’s avid community member DJs. Many know him as an on-air personality, and current DJ, for the long-running show HomoRadio, the weekly 3+ hour-long talk show revolving around LGBTQ+ issues and news. Outside of the station, David is an avid listener to classical music, and can often be seen swimming freestyle laps or reading non-fiction literature. David has a complex background in music, as he was classically trained to play the piano as a child, and grew up singing in his church choir. As he studied for an education major at Alfred University, he expanded his musical horizons as he was taught to play the pipe organ and carillon.

Maverick Brendli is one of WRPI’s student DJs, and is the current president of WRPI. Once a week he goes by The Mav and hosts his show Pick it Up!, an hour dedicated to ska and punk rock music. He is a current student of the 2025 senior class at RPI, studying an undergraduate degree in civil engineering. Outside of WRPI, Maverick is active in many civil engineering clubs on campus, such as ASCE and Chi Epsilon. He is also an active member of LEAP (Leadership Educators Advising Peers), an experiential learning club that runs workshops for other clubs/organizations at RPI to help them improve their group dynamics and problem solving skills. He also likes exploring the outdoors by going backpacking, camping and kayaking.

RRX: We chose to be an online station, for a few reasons, but we can’t say that cost wasn’t one. But we’re a business, and WRPI is an extension of RPI, the school. When your radio tower went out, what were the overall financial challenges involved in getting it back up?

Mari: One of the biggest challenges was facilitating the funding to order the parts that are necessary to repair the transmitter. As a Union affiliated club here at RPI, we have a set amount of funds provided to us to put towards all necessary purchases, including but not limited to: office supplies, replacement parts for studio repairs, merchandise, and the parts for the transmitter. Each year we are given this set budget, and we have to distribute that money to each department that may need it. We do have “reserve funds” that we have saved up over time, however we only dip into that pool for emergencies. We are going to use a significant amount of our reserves to fund these repairs, so we are looking towards potentially running a fundraising campaign or reaching out to RPI’s “WeRGold” fundraising program to get extra cash to cover everything.

However, this isn’t the main concern when it comes to our finances and the troubles we faced when trying to order parts for our tower. Since we are an RPI Union affiliated Club, we have to work through the proper channels in order to get things done. Firstly, we have to contact the Union about what exactly the issue is, what parts we may need, and our relative timeline. Then the Union discusses this point further with our representative on their staff. Once everything that is needed is outlined, the Union then has to contact a contracting company that the student Ecomm has to meet and discuss with. Once we cycle through all of the necessary meetings, and the contracting company is approved by the Union board, the financial department can finally order the parts for us and take the funds out of our account. These little steps can often take days or even weeks at a time, and can often cause stalls if there is a lack of communication between parties. These processes are often out of our control and can cause some stress but the resources available to us through the Union have been invaluable throughout this process.

As a bit of a reprieve and source of joy on our end, most of the back-end aspects of our return is now past us. Recently, some of the crucial parts that were ordered have arrived at the Union office, finally letting us see the light at the end of this technical mess of a tunnel. With this advancement, we are hopeful to hit our deadline and get the transmitter repaired on time.

RRX: What can we expect from a “Come Back Campaign”? Is it just getting the word out like this, or will there be events like concerts or parties?

Mari: Due to our large audience of both on and off-campus listeners, this campaign is designed to reach as many people as possible. One of the initial “waves” I have been planning is a “take-over” of downtown Troy and potentially downtown Albany. Flyers and advertisements will be posted on nearly every street corner and public bulletin board, announcing to the local community that we will soon be back on the air for them to enjoy. Specifically, it would be advertising our big on-air celebration: a mini Bridging event. For as long as we possibly can, we will have different DJs play music or host shows 24/7. These shows can range from their usual blocks to specialized events such as a “podcast-in-the-park” type of talk show in the RPI Student Union building. If possible, we would also be hosting live shows from local bands, airing their live performances out to air and allowing students to come watch from within the station. We will also be hosting a massive social media campaign in order to reach the majority of our off-campus audience. From a countdown to our tower turning back on, to posts highlighting our returning DJs, and more, we hope to broadcast to everyone on the internet that we are back and louder than ever. Finally, we are also planning on hosting a mini party at the transmitter site itself, with good food, music, and games as we sit beneath the transmitter’s shadow. And that is just a taste of this campaign, as we are discussing designing special merch for our “Returning Era”, hosting monthly karaoke events in the station, and more throughout the year.

RRX: This is where you answer I didn’t ask. Comments? Remarks? Educate, enlighten, emote – the floor is yours.

Mari: As one of the newer faces here at WRPI, as I joined the club late last fall and am a current senior student here at RPI, I feel incredibly honored to be a part of this group of people and to be one of the spearheads for our return-to-form. Behind the scenes, our EComm board is filled with amazing individuals who have been working their butts off to ensure our transmitter gets fixed in a timely fashion. Without them and their persistence, WRPI’s current status and possible future would still be uncertain. WRPI is a true gem here at RPI, as it is an open space for anyone to be their true selves and to share what makes their heart sing. It provides students and community members an artistic avenue to express themselves, both on-air and within the station itself. While not sitting in Studio A speaking into the microphone, many of our members practice instruments in our live studio, or are in the tech department messing with technology. I consider WRPI to be a diverse and welcoming family, one that I have always been drawn to, and am glad that I finally took the leap to be a part of.

 

 

 

 

More from Liam Sweeny…