Home Blog Page 81

Frankenstein? – The Weird Side of the Internet

0

Frankenstein? – The Weird Side of the Internet – by Liam Sweeny.

What was Frankenstein? The doctor, of course, and some argue the monster himself. The monster, a patchwork of butchered body parts, stitched and shocked with lightning into consciousness. A monster, a magnet for flaming pitchforks. It’s a cautionary tale, and we get closer than ever to turning books like Frankenstein from prose to prophecy.

He Jiankui. A biophysicist, prosecuted in 2018 for editing the genes of three embryos, brought to term, with a resistance to HIV.

I’m thrilled that we have such an ability to neutralize a deadly disease. But is it fair to call He JianKui “Dr. Frankenstein?” I mean the point of the horror of the book was that it was corpses being stitched together, not having their DNA rewritten. This, I think, goes beyond Frankenstein, and I struggle to figure out what horror story this is more like. Actually, “FrankenKids” aren’t even horror anymore. This is where we start getting superpowers.

Who’s going first? I can imagine billionaires having kids with super genes. I don’t see why that wouldn’t happen. Way too expensive to get if you’re broke. So you know you made it when your three year-old can fly.

There will eventually be special situations. Like toughening up soldiers and breeding workers with specific aptitudes.

The moral arguments here are enormous, but I would add this to the conversation: what if we are meant to self-evolve? What if things like gene editing are how every species that gets as far as we do goes further. Maybe the real hesitation is because we know it’s just not going to be done for the best of the species. Like advancement has provided us a solid A to B vehicle, and we’re nervous because we know we’re shitty drivers.

One thing, though. It’s going to be hard not to do this stuff when they start being able to erase more things. And maybe we should ask ourselves how much of “us” is made of things that can be erased.

 

 

More from Liam Sweeny…

XWA Rumble Royale

0

The 3rd Annual XWA Rumble Royale was held on January 24 at New Moon Lodge in Pittsfield.

 

Matches included:

Cowboy Duke vs. Music Man

Superfan vs. Punk

Doink the Clown vs. The Mercenary with Ayatollah Casanova 

Justin Rando and Mikey Cheese vs. The Unleashed

Vile the Villainess vs. Shannon LeVangie

Photography by Joshua Scarselli.

More from the XWA here …

Lithium, Chptr 24 – Xperience Fiction

0

Lithium, Chptr 24 – Xperience Fiction – by Liam Sweeny.

Mel rubbed his wrists the next morning beyond their actual pain. Something about being restrained, the panic of not being able to move and the vulnerability of being exposed to any manner of harm, not to mention the inability to take his mind off it while he was in the four points, made him humble and guarded.

Everyone who walked by him averted their gaze. He got it. One thing people fear about going into a psych ward is being thrown in the mix of a psychotic outburst, and it was he that now validated that fear in so many eyes. He did feel shame, as much as he could.

His mind was fogging on him. He had decided, after Amanda had gone, that he was in four-point restraints because he was the sacrifice of a dying God, and when he was released, he took over as God. He made it a point not to tell anyone, content merely to walk amongst his creations. In his gut he felt a desperation, a knowing that he wouldn’t be God for much longer, and he would run out of cosmic beings to inhabit before he would have to go out to the desert to burn. He was tired and hungry, and the pancakes he requested were tasteless even with the packet of imitation maple syrup.

Critter, Ramon and Magda walked over and set their breakfast trays down.

“How was the bondage sesh?” Critter said.

“It was okay,” Mel said. “You don’t get the ball gag unless you want the shocks.” Mel surprised himself by being able to make a joke. Maybe God has a sense of humor.

“What happened?” Magda said. “You went at those paintings like I don’t know what.”

“My son was taken by D- something. I gotta’ find out and write that down.”

“DFCS,” Critter said. ‘Da Fuckin’ Child Stealers’ if that helps.”

“It might,” Mel said.

Ramon took some powdered eggs in his spoon. “They took my kids too,” Ramon said. “I mean I got it, but they don’t take kids when other people are sick. And if they do, they give ‘em back. It’s tough, man. I feel for you.”

“You’re lucky you’re not a woman,” Magda said. “They got a creepy orderly here. He jokes about dating women in here, like we’re a captive audience. I couldn’t imagine having that guy watch me tied up and shit.”

“Speaking of shit, did you have to?” Critter set his fork down. “Or piss? How does that work?”

“We’re trying to eat, Crit, man, c’mon,” Ramon said.

“Didn’t have to,” Mel said. “Shit. I was lucky.”

 

Mel attended two groups after breakfast. One was about cognitive distortions. It was part of something called Cognitive Behavioral Therapy, something that wasn’t big the last time Mel was in the wards but had gained popularity since. He heard more about it from Sarah, who swore by it, and Orrin, who saw it as High Society’s way of convincing the little guy to change their state of mind rather than change what’s wrong with the world. Mel just found it to be something to occupy his mind until he had his next appointment, a twelve-thirty with a social worker.

They met in one of the group rooms that wasn’t being used at the time. It was common practice, since there was a shortage of offices, and the doctor’s office was occupied twenty-four seven.

Maggie Carlyle was a round woman, pear shaped, with hairdo Mel would place in the beehive family. She had jewelry, pearls, and pendants. He imagined the pearls were fake; after all, who would bring valuables somewhere they could so easily get destroyed?

“So, Mr. Miller, if we’re going to get you any help, we’re going to have to fill out some paperwork. So I’m going to need to ask you some questions. I need you to pay attention; are you able to do that?”

Mel nodded. “I can,” he said. “But I need a favor.”

“One favor at a time,” she said. “I’m doing you a favor filling this out.”

“I just need to get out of here,” Mel said. “I don’t need all kinds of paperwork.”

“Mr. Miller, if you leave here without us creating a case for you, you’ll be guaranteed to go right back out on the street. I’m trying to help you.”

“Okay,” Mel said. “Let’s do it.”

Maggie asked him his vitals, social security number. birthdate, race, gender he identified as – and he answered them in the trance that prisoners of war get when they give their name, rank, and serial number.

“Are you a smoker?” She asked.

Mel shook his head. “No,” he said.

“Do you drink?” Mel didn’t know whether to be completely honest about the question, not knowing who was going to get it.

“On rare occasion?” He said.

“How often?” She asked, bringing her pen to a halt.

“I don’t know, about a drink a month? Not spaced out like that, but about that much?”

“Okay, in the past year, how much have you had in one sitting?”

“Is there a reason you’re so laser-focused on my drinking?” Mel asked.

Maggie took a breath. “Can you please answer the question?”

“Most I can remember drinking at once was three beers,” Mel said. “I am… was on meds. It would’ve hurt me to drink more.”

Maggie jotted his words down, at least the part she needed.

“Okay, drug use?”

“I used to smoke pot a long time ago,” Mel said.

The pen stopped. “How long ago?” She asked. Mel was getting a little crispy from the grilling.

“I don’t know, maybe thirteen years?”

“You don’t know exactly?” Maggie said.

Mel thought about it, referencing elections to peg dates.

“Fourteen years,” he said.

“If you’re using now, I should tell you that we do urinalysis in order to sign you up for help.”

“Why do you mistrust me?” Mel said. “You just met me, and you’ve got me pegged as an alcoholic drug addict.”

“I’m just trying to help you, Mr. Miller.”

“Why would you help someone you don’t trust?”

“It’s my job.”

“They say if you get a job doing what you love, you never work a day,” Mel said. “I’d say you seem very overworked.”

 

***

 

It started in group. Mel had, over the past few days, discovered that most things started in group. They started out boring until they became raw, and wounds opened, and words led to shouts and, if lucky, that was all it end up being. As far as Mel was aware, his outburst was still the only bit of violence to happen on the ward since he’d been there. And Mel really didn’t want to be a part of any additional strife while he had to be there. He had ascended to God, hopped down to Satan, and was burning in the desert. Soon he knew he would become just a man again.

The group leader, a soft-spoken man in a powder blue polo shirt named Tom, passed around a box of colored pencils for art therapy. Mel was ecstatic at the chance to ply his trade. Colored pencils were just brushes with harder tips.

Mel didn’t listen to the instructions. He didn’t have to. It was art, it was subjective, and no matter what the assignment, unless it was ‘draw an apple,’ he could squeeze an interpretation to fit it.

Mel drew a house. Not the kind of house you would list with a realtor and advertise the number of bedrooms and bathrooms and give open houses. It was essence of house, which brought it to the essence of home. He angled the pencils to shade without cross-strokes and blended adjacent colors on the color wheel he had memorized. He blanked out the background noise and drew with wild imagining and yearning. He almost didn’t hear Tom ask everyone put down their pencils. But he caught it and sketched as much as he could before Tom mentioned him by name.

“Okay, everybody, hold up your artwork,” Tom said. Most everybody did.

“I don’t want to,” Magda said. “It sucks. I’m embarrassed.”

“The point of this exercise it to not be afraid to show people who you are. Your artwork is an extension of who you are. You don’t have to, Magda, but you’ll find you’re no better or worse than anyone else here.”

“Yo, nobody’s as good as Mel,” Critter said. “Look at that shit.”

Everyone checked out Mel’s drawing and whispered among themselves. Mel glanced at everyone else’s work and realized that the instructions might have just been ‘draw an apple.’ There were a couple of good ones, some half as good, and some that could’ve been done in preschool.

“Okay,” Ted said. “Mel, a little off topic, but phenomenal. Now, if your drawing doesn’t look like Mel’s don’t worry.” He looked at Mel. “You must be an artist, right?”

“You could say that,” Mel said. He could say more than that.

“Good job, Mel.” Mel felt like a five-year-old who scored a spot on the refrigerator and a pat on the head.

He walked out of group when it was over and went to the day room. The nurses were busy with shift change, and unfortunately, Amanda was going off shift. Favors were better granted when she was on.

He tried to watch television, but he couldn’t get into soap operas. It was the white noise of television, beaten only by static. Static, then soap operas.

“Rembrandt,” Critter said as he walked over. “Where did you learn to draw?”

“Been drawing since I was a kid,” Mel said. “Painting more than drawing.”

“They might have paints somewhere.” Critter slapped a deck of playing cards down. “You should check that out. Maybe you can replace the paintings you ripped up.”

“Those weren’t paintings. Those were prints.”

“Painting, prints; what’s the difference?”

“The difference between me ripping up fifty bucks and me ripping up fifty million.”

“Oh, like, the originals.”

“Yup,” Mel said.

“So if you painted some stuff to replace those other ones, they’d actually be more valuable.”

“Technically.” Mel said. “If my name meant anything. It doesn’t.”

“It should,” Critter said.

“I’m gonna ask the nurses if they can get some paints and a canvas so I can do actual work here. I’m hoping they can do it.”

“If they have them here, yeah,” Critter said. “If they have to get them, probably not. But try. Show them that. Tell them you want to make good on what you did with the other… prints, right?” Mel nodded.

 

Mel waited until after the first rounds of the new staff before going up and making his pitch. He had his drawing, and if he had to lay it all on the line, he would. Painting would give him redemption.

Laura was the head nurse. She was polite but no nonsense. She wasn’t happy with him after his outburst, but no nurse was, not even Amanda. It had been a couple of days with no incident. Now or never.

“Hi Laura,” Mel said.

“Hi, Mel, what do you need?”

Me unfolded the drawing and handed it to her. Lead with strength.

“Wow, that’s really nice,” she said. “Did you do this?”

“I did. In group. Took me about an hour.” Laura slid him the paper.

“Well, that’s really good, Mel. You’re talented,” she said.

“Can I ask a favor?”

“Sure,” she said. “Can’t promise anything, though.”

“I want to make good on what I did, ripping up the paintings. If I can get some paints and a canvas, I can paint you all something that will more than make up for it.”

“Mel, I don’t know if we have any,” she said. “I don’t think we do. And I know we don’t have canvases. It’s not something in the program, so that stuff would have to come out of somebody’s pocket.”

Mel’s heart dropped at the fact that the first clear idea that had hit his head in weeks was going down in the wastebasket.

“It could be a part of my program,” Mel said. “It’s the only thing I have going for me, and if the hospital can get me a canvas and a small thing of paints, I could get back on track. I mean, they would give a man crutches if he was having trouble walking. I’m having trouble getting my thoughts together. Painting would help.”

“I’m sorry, Mel, we can’t.”

“I have one of my paintings in the Getty Center. It was in the Guggenheim; just look for Roy Miller. You can find out. My paintings pay for more than themselves.”

“We really can’t,” Laura said. “I wish we could.”

Mel wanted to argue, but he glanced down the hall at the bare section of wall, at the fact that maybe one or two people may have drawn comfort from a print he trashed, and now they didn’t have it anymore. He walked back to his room, collapsed on his bed and held the blanket to his face to absorb the coming tears.

 

***

 

Sleep was Mel’s refuge. It was the comfort and the solace that washed over him like a gentle, soaking rain. He slept after he wept and wept after he slept. He wasn’t depressed; he knew that because he could feel the pain of his situation to his core, and his depressions robbed him of feeling. And his thoughts raced still while his depressed thought stalled. But his racing thoughts attacked him until he could scarcely bear it and he cowered in narcoleptic bliss.

He dreamt of Andy almost exclusively. He dreamt of a grand adventure, free of worry, absent the struggle to survive and the uncertainty of desolation. They drove to lakes and beaches, climbed mountains and hiked forests. They stopped in little shops on colorful streets in lands that didn’t speak their language, and they laughed and made up words to say that sounded right.

In between the flights of fancy, Hope fell down a well and he couldn’t catch her. She drove away from him and though he raced, he couldn’t catch her. She dropped Andy from a cliff and it drug Mel over by gravity. But in one dream that repeated over the past few days was of he and Hope by the pond, naked, in each other’s arms, and she reaches into her chest and pulls out a radiant glow.

The staff woke him up for meals and meds, and he didn’t say much to Critter, Ramon and Magda when they shared a table. They said that they understood that it was the med-hole, and everybody went through it. New meds kicking him in the dirt and so on, and so on.

By the weekend, he was picking up energy. He wasn’t God, or Satan, and he had stopped crying and burying himself in criticism and self-deprecation. He was able to talk, really talk, and for once, he could see a light coming.

“You’re looking better,” Amanda told him. “You even took a shower this morning. I’m impressed.”

“Thanks, it felt good. Refreshing.”

“You have a meeting with your social worker today,” she said. “Why I came in. Listen, I know you didn’t really gel with Maggie the last time she came. That’s right?”

“Yeah,” Mel said. “She just harped on my bare amount of drinking and the pot I haven’t done in fifteen years.”

“I know, and I know how frustrating that can be, but she sees people that are full-on addicts that tell her they haven’t touched a needle in their lives.”

“But that really isn’t me,” Mel said.

“I know. I mean, I believe you. But there really is help out there, and Maggie has to make sure that, of the people in here, the ones who the help can actually do something for are the ones who get it.”

“I don’t know if she’ll be open to giving me help,” Mel said. “I don’t see how I deserve it.”

“When you go in, just be honest. Be yourself. Her second visit, she’ll give you a chance to tell your story. Tell it. Even if it hurts, tell her stuff like you told me when I was watching over you.”

Mel waited in the day room until Maggie walked in the entranceway and called out to him. He followed her into an empty group room with small talk.

“Ms. Carlyle,” Mel said when he sat down. “I just want to apologize for the way I was acting last time. It wasn’t right. I wish I could blame the illness, but I really can’t.”

Maggie set her pack of papers to the side. “Just so you know, I do love my work,” she said. “For every hundred people I encounter in places like this, maybe ten, maybe, take the help and make something of it. The other ninety are a revolving door. But I go home feeling good about that ten. And I will always want you to be in that ten.

“And it’s not a judgment, me asking you about the drinking and drugs,” she said. “If you told me you shot heroin ten minutes ago, I could still find a program for you. Probably a detox.”

“I was being honest about the drinking and drugs,” Mel said. “I get it, but just for your knowledge. I’m pretty clean.”

“It’s good to know,” Maggie said. “So you’re homeless. We don’t have an address for you, and you did tell me you were between places last time. I can assume you’re homeless, right?”

“I am.”

“How long have you been homeless?” Maggie asked.

“Not that long,” Mel said. “I got evicted a little over a month ago.”

“In Albany?”

“Thereabouts.” Mel said. “A city called Watervliet. North of Albany.” Maggie asked him to spell it and jotted it down.

“And you said you have a son, is that right?”

“Yeah, his name is Andy, and DFCS took him when I came in here. I haven’t talked to him, and if they send him back to his mother, he will definitely be abused. That’s why I had custody.”

“Okay, I’ll look into that for you. But be aware that since you’re here, and you’re homeless, they aren’t exactly just going to hand him to you. There’s a process.”

“I figured as much.” Mel couldn’t begin to gauge his chances with a process that grinds through bureaucracy.

“We can help you, but you have to help us help you,” Maggie said. “Now, when was the last time you worked?”

“About six, seven months ago. On the books,” he said, “Off the books, about a week ago. But he barely paid me, so I guess that doesn’t count.”

Mel had tucked the drawing he had done in his pocket before the meeting, and he pulled it out and unfolded it.

“I have a skill,” he said. “I’m an artist.” He showed her the drawing. “Mostly a painter. I have a photographic memory.” Mel told her about his painting in the Guggenheim. He also told her of his swan song in the Getty Center.

“I am really lost without that painting,” Mel said. “I don’t know if it’s even possible, but can you see if they still have it? They won’t let me call the Getty Center. I know you have a lot of stuff on your plate, but you’d never see someone smile wider. It could be a game-changer for me.”

“It’s an unusual request,” she said. “There is no way I could promise anything, and that’s assuming I have the time to do it,” she said. “But you got me curious.”

 

 

More from Liam Sweeny…

Women Are Making Music (WAMM) Showcase

0

The latest Women Are Making Music showcase was held at Ophelia’s on January 20 and featured Mark & Jill, the Bluebillies, and Erin Powers, along with host Niki Kaos.

Photography by Timothy Reidy.

More from WAMM here …

Back in Black Coming to the Strand Theatre Feb. 6th

0

On Friday Feb. 6, 2026 @ 7:00pm, Back In Black with guest opener Sister Christian are coming to the Strand Theatre!

Welcome to BACK IN BLACK – The Best AC/DC Experience! Special guest LiveWire 518’s Motley Crue tribute opens the show at 7pm.

Back In Black is armed with an impressive song list of AC/DC music. Experience the electrifying performances and timeless classics that made AC/DC a legendary band. From “Highway to Hell” to “Thunderstruck,” you’ll feel like you’re back in the glory days of rock ‘n’ roll.

Expect a show filled with head-banging anthems and electrifying guitar solos. Going to be an epic night of classic rock anthems!

Brought to you by E1 PRESENTS.

$25 balcony (excludes balcony front row). $35 balcony front row. $35 lower level (excludes front row). $40 lower level front row.

Tickets are available at the Strand Box Office; cash or check only or online at Eventbrite.com. For more info and the ticketing link, please go to www.mystrandtheatre.org. Doors into the coffee shop, lobby and box office open at 5:30pm.

The Strand Theatre is located at 210 Main St, Hudson Falls, NY.

Please visit our website, Facebook or Instagram accounts for a list of upcoming events at the Strand!

Xperience Visiting Friends – Justin Furstenfeld – Troy Savings Bank Music Hall

0

Justin Furstenfeld – Xperience Visiting Friends – by Art Fredette.

Performing January 31st, 2026 at 7pm at Troy Savings Bank Music Hall, Troy, NY.

Originally published in November 2022.

JF: How are you doing buddy?

RRX: I’m doing great, thank you for taking the time to talk to me here today, we’re very excited about you coming to town on November 23rd at The Egg in Albany.

JF: Super excited too. I just love New York, whatever part of New York it is. It’s my favorite, my favorite ,favorite, favorite! I love touring so that will be an added bonus so… thank you for taking the time my friend.

RRX: I have second row seats, I can’t wait.

JF: I could’ve gotten you first row seats, I know the lead singer.

RRX: (Laughs) I never want to be that presumptuous and do that radio guy thing.

JF: Well let me get you backstage passes and you can come back stage and see how old I actually am because I sit there and do crossword puzzles.

RRX: I would love that. It’s funny because I have met you at a couple of the meet and greets over the years.

JF: Oh, that’s great!

RRX: Buffalo, Syracuse and Open Book in New York City. We bring our daughter, our fifteen year old to many of the shows and she would always bring you a pound of Deathwish Coffee.

JF: Oh my gosh, I remember this! That’s the only time I’ve ever gotten Deathwish Coffee, it is so strong.

RRX: Well, we’ll see you this time too. This is a big deal for me, I own the paper and I usually don’t do interviews, so this is weird for me; so bare with me my friend. The new record that just came out, I’ve listened to the whole thing with my wife probably a dozen times. I read the Spin interview and of course you mention The Cure, The Smiths and bands like that. Especially on “Love Isn’t Good Enough” I felt more of a Leonard Cohen or a Nick Cave approach, was any of that in your mind or did it just naturally evolve.

JF: After it was done, I was like man that reminds me of “Everybody Knows.” I love Leonard Cohen.

RRX: It reminded me also of “Traveling Light” on his final LP.

JF: It reminds me a lot of what Tom Waits would’ve done or Nick Cave and the Bad Seeds. Just that whole kind of spoken poetry but so raw and so honest that it kind of makes you uncomfortable.

RRX: Exposed nerve type approach.

JF: I like the way you said that, that’s a really nice way. It’s a lyric that exposes a nerve, yeah.

RRX: Also on the new record the other song that really stood out to me was “Don’t Say it Wasn’t Love,” you wrote that with Billy Corgan?

JF: Yeah.

RRX: How was that different than writing with the other partners that you’ve had over the years?

JF: It was great, I mean… his part in it was… I couldn’t figure out a verse melody and he’s really good at verse melodies. I just played him the music and I didn’t have a verse yet and he started (singing melodically) “da, da, da, da…” I was like oh, my God that’s beautiful, that’s amazing. That was his contribution and I just put the words in it any it worked.

RRX: I tell you the song is a true stand out on the record, I adore it.

JF: Thank you, I appreciate that. Wow.

RRX: I go back with you guys all the way to the answers. I’m an old fart, you know? An old Blue fan I guess you could say. There’s an evolution in every band’s music, I’m sure there’s some push back from the fans. Artistically, how do you deal with that?

JF: I haven’t had any push back yet, I kind of person that doesn’t sit there and read what people think. I just make it because it was what was going on in my life and it’s what I wanted to try. I grew up on people like David Bowie, Peter Gabriel, John Michel Basquiat, Andy Warhol, Willie Nelson, Neil Diamond, Marvin Gaye and Michael Jackson.

RRX: That’s a hall of fame list right there, man.

JF: And then Johnny Cash. So I have all of these different styles of music that I love. My Mom was listening to Anita Baker, Earth, Wind and Fire and bands like that so… If you were to tell me that I had to play only one genre of music for the rest of my life, I’d say I’m bored and I don’t want to do it anymore. I’d go cut hair or be a barber, you know?

RRX: Right, that’s like having the same pizza for the rest of your life. I love pizza but I just don’t want to eat the same thing every night.

JF: I think that unless you’re changing, you’re not growing. With growing comes growing pains but that’s one thing I’ve always liked about the way my brain works. I get obsessed with something and then I get tired of it and I move on and find a new obsession. It’s kind of the same way with music I never want to just play boring regular music. I want to keep growing aesthetically and musically. There’s always going to be push back but I’m powerless over what you think of me and maybe because that’s what came out of my heart and that’s what my heart sounds like. You’ve have to be thick-skinned and I think I probably have a very thick-skin. I’m just grateful that it’s my job, I’m grateful that I get to make music for a living and I’m grateful that my therapy is songwriting. Through songwriting I can get better, I can heal, I can dance and take care of my kids at the same time.

RRX: That’s a cool sentiment. You’re songs tend to be autobiographical, confessional almost to a point and that really connects with a lot of us. Does it ever get to be heavy being THE JUSTIN with the fanbase?

JF: No it doesn’t because like I said I don’t feed into that. I don’t really go trolling the internet and read what people think about the album. I stay out of that. It’s not my job to make you think anything. It’s just my job to be honest and real about art. This new video I edited for “Shut Up I Want You to Love Me Back,” came out last night. I wanted to show the funny sides of the band, so I made it on an iPhone and I edited it all together and I thought it was perfect. And you know, it is perfect, it’s perfectly flawed. But there’s some stuff in it a lot of the guys were like “I don’t know if that’s funny, people might take offense to that.” I’m like man, if you live in fear of what people’s opinions are… they’re going to be so mad because I’m hitting my face with a spring roll… I can’t live lie that, you know? I was always taught to make art, be kind and don’t offend people literally. If your art offends people then it means it struck a nerve.

RRX: Right.

JF: So as long as I keep my side of the street clean, as long as I keep my humility strong, as long as I keep God in my life and doing things with the intensions of kindness and sweetheartedness then everything seems to work out. I just don’t feed into the whole… oh Justin, you did this for me, if I did that, that’s where the ego starts. I’d rather just say thank you, oh my gosh that’s great.

RRX: In one thing I’ve seen having met you, one thing I see is the genuine joy in your fans and the humility the whole band displays when they’re out in public. Like hey, thanks for coming out we all just had a big party together and a great time.

JF: Yeah and it’s awesome, that’s the way it should be. Once you start taking yourself too seriously and you see yourself as something better than the people that are out there watching and supporting you, then you’re sh*t’s going to fall apart. You know, we’re all the same people, I just know how to shake my butt real good and look real sexy when I’m singing sad songs, you know? That’s just my thing, God but me here to look sexy, I don’t know.

RRX: (Laughs) That’s wonderful. I’ve got a couple more questions, I don’t want to take up too much of your time.

JF: You’re good, take your time, my friend.

RRX: Your guitar players, you’re onto what, number four now?

JF: I don’t know, I just find guitar players that sound good with the band and that I vibe with. As far as I’m concerned I’ve got like six guitarists in this band right now. One of them is me, one of them is Will (Knaak), one of them is Matt Noveskey, one of them is Ryan Delahoussaye, one of them is Steve Schiltz from Longwave and one of them is Sus Vasquez. So as far as people going oh, Will left the band and Will’s doing this now… Will didn’t leave the band, he got an opportunity and he’s going to go tour with a nationally acclaimed artist and learn the country ropes for a little bit. If he wants to come back later, we welcome it! I’m just blessed that I’ve got like six bad ass guitarists that are always on stock baby! I call them up and they’re like aight (slang for alright) and they show up.
People like to dramatize it as much as they can but I’ve got a lot of cool people that I work with and I am blessed that I’ve been kind to all of them. Oh and I forgot we’ve also got Matthew Ostrander. He came by the other day and said “hey man, I’m ready to go if you need me.” Steve called “I’m ready to go if you need me,” Sus called “I’m ready to go if you need me.” I’m so blessed bro, I’ve got so many good people in my corner and I’m so proud of Will, he’s going to learn a lot.

RRX: We were lucky enough to interview Will a while back. He was just a wonderful guy and so gracious. I expected nothing less.

JF: Yeah, wonderful human being.

RRX: And the fact that his father played in 13th Floor Elevators, is pretty cool too.

JF: Like for real, are you serious? You know about that. That’s some dope sh*t, right?

RRX: Right. That leads me to this, you guys are a Texas band and Texas has a real pedigree of musicianship. How much does being from Texas affect the way you write, what you write or how you play?

JF: You know, I think the one thing that I get from Texas is the humility, I guess; the kindness, the manners and the gentleman aspect of it. Except for in “Any Man in America,” I’ve never been bluntly rude, you know what I’m saying? But… I think I get my manners, my swing and my twang from Texas. There’s always a little bit of southern drawl in these songs. Like (sings) “who do you run from, man?” That’s a good one and then you’ve got (sings) “sweet and somber pigeon wings,” you know? I’m trying to think of one off of each album. Then you’ve got (sings) “you gotta make her know how it feels to miss you.”

RRX: I love that line, I love that song.

JF: Then you’ve got (sings scat style), and then you’ve got “how could I let it go?” There’s so many. There’s always one track or a few tracks on each one of the albums that are just so country that I’ve got to calm it down, so people don’t say “ahhh,” you know?

RRX: Well, it’s funny the first time I heard “Home,” I said to myself that’s a straight-ass country song and that was the charm of it. That was really the hook for me.

JF: Yeah man. You know that Keith Urban wanted that song. He wanted to use it for his album and I said no. Just because I wanted to use it. I was super proud of it, plus I couldn’t get them to commit to releasing it as a single. I said if you release it as a single then maybe we can talk. I was super grateful that his writer thought of me, to write with me. So now I have this guy in Nashville I can go write with anytime I want. What a blessing is that! You’ve just got to be nice to people, that’s it. You just got to be nice. It’s easy.

RRX: It really is easy but sometimes it’s the hardest thing in the world for people, which is just a paradox until itself. I’ve got one last question and it’s something I ask everybody I interview. Everybody that’s into music or is a musician has that one band they don’t tell any of their friends that they love. Who is your guilty pleasure? I’m a Carpenters junkie.

JF: Hmmm… Justin Beiber man. I really adore that guy, he’s a hard worker and he has some really good songs. Carpenters are amazing bro and by the way throw Abba in there.

RRX: The other one for me believe it or not is Air Supply.

JF: Get this, my Mom just yelled from the other room and says “you love Bread!” Bread’s one of the best song-writers out.

RRX: “I Want to Make it With You,” isn’t that them?

JF: (Singing) “I want to make it with you, and I would give everything I own,” Yeah man.

RRX: Well Justin, thank you so much.

 

 

 

More from Art Fredette…

Debutants – Thanks for Asking!

0

Debutants – Thanks for Asking! – by Liam Sweeny.

RRX: Love is a big part of music. We’re talking first loves here. Lots of cool stories about first loves and the things we do for those loves. Can you (or, in the case of a band, one member) talk about your first love, especially if you did something cool to express that love? (No names needed.).

Lauren: When I was 15, I met my first love. We started hanging out and talking as two people interested in eachother do. One night I snuck out of my house and walked over to his house since he lived close by. A storm was rolling in, as the lightning was lighting up the dark streets. I arrived and he was on his front porch strumming his guitar. I walked up and sat next to him as he strummed and soon enough conversation began, but for reason this time it was in british accents. As we began to sing together and harmonize, it began to sprinkle and that was the moment I knew this relationship would last a lifetime, even if we moved on romantically. Fast forward to today, we still perform together on occassion.

RRX: What was the very first reaction to your music, from the first person to ever hear so much as a practice jam or the demo of your first song?

Sean: As a teenager, just graduated from high school, I took my first trip to Ireland. I had been playing Irish music for a very short while at that point and only knew a few tunes.  I also hadn’t been drinking for very long and didn’t have a good sense of restraint or much of a tolerance for it.  In a small coastal town, known for the high quality of traditional music, I wormed my way into the session in the local pub.  After several pints, I was attempting (very badly) to play along with a song I didn’t know.  I thought it sounded great, but I guess maybe I was the only one who thought so.  After several minutes of this, a woman sitting close by leaned in and said, “Can you stop?  I’m trying to hear the music.”  I wanted to disappear.  I left quicky, but that has always stuck with me.  Listen first!!

RRX: “The best laid plans of mice and men…” I don’t really know the quote, but I know this one; sh*t happens. When we least expect it, calamity befalls us. Sometimes just comic inconvenience. Please tell us a story about some comic inconvenience that happened to you whilst performing?

Sean: We were playing in Vermont one rainy night and loading out our gear at 1am into the aging Volkswagon Vanagon that we were traveling in.  I took the key out to open the back hatch and proceeded to break off our one and only key in the lock.  Somehow we found a locksmith who was willing to come out to cut us a new key.  We couldn’t get the key out of the lock, but somehow he had made enough keys for that type of van that he was able to cut us a key from memory.  I’m not totally sure how that worked, but the key worked for the rest of the tour and we got ourselves down the road.  I remember standing with him in the rain, holding the umbrella while he worked on the key.

RRX: My singer punched my drummer out. Memorable moment, though nothing to brag about. But we have these things that, when summing up your endeavor, an incident comes to mind. What do you got?

Sean: One time, the band was split into two different vans.  One van had broken down and someone’s girlfriend had driven another van down to rescue us, so now there were two vans and a couple of extra people.  To pass the time, we decided to play a joke on the other van and called our buddy who was driving to say that the Republican party wanted to hire the band for a gig.  We knew that our buddy was a die hard Democrat so we decided to see how much of a price tag he would put on his convictions….bad idea if you are trying to keep a

RRX: We have to play somewhere, and sometimes those places have more going for them than a stage and a power outlet. What is a memorable place you played, and bonus points if it’s not a well-known place.

Jon: One time we were playing this homegrown festival in central Indiana.  Super nice folks and very hospitable on some private land, but sometimes, the weather doesn’t cooperate. It was a really hot and muggy summer night in August.  We were supposed to be the late night band, but then a thunder storm rolled in and we got delayed until the lightning cleared out.  So to pass the time, we were hanging backstage and drinking whiskey.  There might have been another lightning delay after the first one.  Needless to say, by the time we got onstage we were well intoxicated and really sweaty.  The sound crew was also feeling no pain and struggling to deal with a 7 piece band with acoustic instruments.  I think by this time it might have been around 1 or 2 am.  Finally, we decided to go for it and the MC announced from the stage that the music was about to start again.  I’m not sure of the temperature, but it was still ridiculously hot!  About halfway through the set, we all looked around and realized that our bass player wasn’t wearing anything but his boxers and the banjo player was missing his pants! After the set, we jammed pretty late and I finally stumbled off to where I thought my car was…I got lost in the woods.  Finally getting to the car about 4am, I put my bug net on the window and then rolled down the window…the wrong one!  When the sun came up, I was hung over and covered in mosquito bites.  Best festival ever!

RRX: You sing or you rap, you play guitar, play drums, what have you, you have no doubt struggled to learn music. Something probably tripped you up. What was it for each of you? What did you have to overcome (bands, pick a member)?

Ellen: When I was 10, I was on my way to my very first gig.  Our sibling band had been hired to play Pomp and Circumstance for the local homeschool co-op graduation ceremony.   I didn’t have a case for my cello, but so far it hadn’t been a problem…mostly because I had never taken it out of the house!  My sister helped me load it into the back of the van and we took off down the road.  My sister had been driving about a year at this point and could not have been accused of driving too slowly.  Halfway to the gig, we crossed a set of railroad tracks.  She didn’t slow down for the crossing.  As you might expect from an extended 15 passenger van going 60, the back end of the van got a little bouncy and actually may have gotten some air as we crossed the tracks.  When we arrived at the gig, my cello was in two pieces.  So I sat in the audience listening to the rest of my family play what would have been my first gig!

 

More from Liam Sweeny…

Diva and the Dirty Boys @ Lark Street Tavern, 1/18/2026

0
Diva and The Dirty Boys brought some special guests to the Lark St. Tavern on a Sunday Afternoon.

Photography by Timothy Reidy.

Read an interview with Diva and the Dirty Boys here …

Run Rabbit Run Turns Cohoes Music Hall Into a Pink Floyd Time Machine

0

By Stephanie J Bartik.

Cohoes Music Hall became the best place to be on January 24, 2026, when Run Rabbit Run: A Tribute to Pink Floyd filled the room for a sold-out show, despite outside temperatures in the lower single digits and a snowstorm expected after midnight. Inside, winter disappeared the moment the lights dropped.

Made up of a Capital Region “supergroup” of veteran performers, Run Rabbit Run doesn’t simply cover Pink Floyd—they recreate the sound, atmosphere, and emotional pull that made the originals legendary. The lineup features Carl Blackwood (guitar/vocals), Sean Fortune (bass/vocals/samples), Cody Bingham (drums/vocals), Lady T (vocals/percussion), Chris Andreski (keys/synths/vocals), Willo (vocals/percussion), Scott Vorwald (sax/clarinet/synths), and Eric Halder (guitars/vocals).

The band delivered all the must-hear moments fans come for, including “Another Brick in the Wall” and the sweeping, goosebump-inducing “Shine On You Crazy Diamond,” while tapping into the epic scale and spirit of The Wall and beyond. Close your eyes, and you could swear you were transported back to the heyday of 1970s psychedelic rock—only sharper, tighter, and performed with modern-level precision.

Visually, the experience was enhanced by dark, rich jewel-toned lighting, giving the room a cinematic glow and pulling the crowd deeper into the journey. From the quiet, spacey passages to the explosive crescendos, the group’s tightness and professionalism were undeniable—and the fans weren’t just watching, they were fully immersed.

Next up, Run Rabbit Run brings the experience to Lark Hall in Albany on April 17, 2026.

Photography by Stephanie J Bartik.

More from Cohoes Music Hall here …

Caffe Lena – Week at a Glance

0

Greetings – What are you going to sing as you swing that snow shovel later today? Just keep the rhythm steady and the lyrics flowing, and before you know it the driveway will be showing! As many have noted over the past few days, this is an important time to get to know your neighbors. A few minutes spent helping someone dig out can be the start of a neighborly friendship that helps everyone feel grounded and connected.

Speaking of neighbors, we’re flying our 518 Folk Flag this week. Julia Alsarraf, Kate McDonnell, Question Of the Century and Honeysuckle are all Capital District based. Why is there so much folk talent around here? I think it’s more than fair to say that Caffe Lena has something to do with that. This isn’t Nashville or Asheville—yet!–but the number of nationally touring artists deciding to make this area home is growing. I hope you’ll come enjoy some of that backyard talent with us at Lena’s this week.

See you at the show,
Sarah