#Speaking of Music with Jason Faber

[thislovintime]

Performing in Houston on October 27, 1979; photo via RockinHouston dot com.

“The Great American Food and Beverage Company is an institution in [Santa Monica, Calif.]. […] A waiter in his ‘30s, older than the others, made his way to the podium, banjo in hand. He seemed strangely familiar in an unusual outfit whose suspenders gave him a whimsical air. He was very thin, with an angular, almost bony face and straight, mid-ear length dirty blond hair that was parted in the middle. That was all fine. But he also had a mustache and bags under his eyes that somehow didn’t seem quite right. […] Then came the memory of who he was. His name was Peter Tork, and more than a decade ago he was one of the four Monkees […]. And now Tork was a singing waiter. I assumed that few would recognize him — and that he’d probably rather not be recognized. So I decided to respect his privacy. But then, on the way out, he overheard me mention to someone that I was a writer visiting California to do some celebrity interviews, and he said to me, just a trace of bitterness in his voice, ‘Hey, how’d you like to do a story on a former great?’ Peter Tork now lives with his wife and two small children in Venice, Calif., […]. His home is a ramshackle duplex with badly chipped white paint on the outside and a gate that’s locked by a clothes hanger. Inside, the apartment has second-hand furniture with wobbly legs and sports bare wood floors of the kind it’s not fashionable to leave uncovered. An old sheepdog with a very doggy smell lies under an even older piano. In 1965, Peter Tork was washing dishes in Huntingon Beach, Calif., for $50 a week when he was recommend for the Monkees by a musician friend named Stephen Stills […|. ‘In those days we were both folksingers, and we were known as the two cats who looked alike,’ Tork said. ‘He turned me on to the situation.’ […] Today Peter Tork is 36. In his three years as a Monkee, he guesses he made a million dollars. Except for a trust he can’t touch until 1985, it’s all gone. ‘It just poured through,’ he recalled, without being at all maudlin. ‘It was like a tidal wave after a drought. The amount was so grotesque that I didn’t know what to do with it. I spent hundred-dollar bills like quarters.’ He calls himself a socialist now and says he’d be ‘philosophically and religiously prone to give that kind of money away anyway. But I dribbled it away.’ And that bothers him. ‘
I lived in Studio City in a big house that cost too much. I didn’t know how good I had it. I had no basis of comparison. I never got competent professional advice (from his producers, on how to invest his money). I’m bitter about that. They didn’t know how to handle a flash rather than someone who’d clawed his way to the top. Now I’ve been on the fringes. Now I know what it’s like to claw.’ Among other things, the fringes found him busted for alleged dope dealing. ‘It was ‘72. I was caught coming across the border from Mexico with some hash in my pocket,’ he said. ‘For a while, they thought they’d get me for a big smuggling rap. I ended up spending just three-and-a-half months in custody. I recommend it to all my good friends.’ After that experience, he worked for three years as a teacher. Then the school closed in the midst of a strange embezzlement scandal. So Tork decided to take another stab at show business. He has reactivated some old contacts and recently tried out at Paramount for comedy spots on ‘Happy Days,’ ‘Laverne and Shirley’ and ‘Mork and Mindy.’ ‘
I’m trying comedy because I know I’m glib, and I know I’m good at it,’ he said. ‘And I’m taking acting lessons. I’ll be glib one day in drama too. ‘Maybe first I can get a walk-on, then some solid comedic roles, then maybe in time a feature role in another series, then films, then maybe I can make enough to finance my music, which is really what I want to do,’ he said, the bounds of his quite sincere fantasy mushrooming in a minute. […] In the meantime, while he waits for a casting call, his show-business career still consists of The Great American Food and Beverage Company, where he has worked since last summer. ‘It’s something to do with my hands while I’m waiting,’ he said. ‘It’s a place where you’re allowed to sing, and everybody uses it to keep their chin up while waiting for their big break — like “The Gong Show” or something.’ A touch of bitterness there, again. ‘It’s just that the people don’t shut up (at the restaurant). I wish they would. You basically have to drown them out. But… it is a chance.’ With that, Peter Tork picked himself up to go to work. It was his turn to wash dishes.” - article by Steve Sonsky, The Miami Herald, February 18, 1979

“Well, what I thought was great was that [Peter] always seemed to be humble and very, very gracious in his actions and his attitude. He always treated everybody with respect. He stayed low-key until we would kick up with a group number and then he would join in. […] Everybody else has been joking about how he wasn’t Pete, he was Peter. You can tell a lot about a person when they do whatever they need to do for their family. And the only thing else that I would add is that the fact that he stayed so humble and so gracious after a lot of us had grown up with him as an icon means a lot.” - D J Barker, Tales of the Road Warriors, 2019 (x)

“I worked with Peter in the mid seventies. A kinder, gentler, gracious and giving human being you could never find. His sense of humor and positivity was a gift to all of those lucky enough to be around him. He loved his life, (in spite of it sometimes!)[.]” - D J Barker, Facebook, February 13, 2023 (x)

“There was a period where I was broke. And I called home, I said, ‘Send money.’ ‘No, sorry, kiddo, you’re on your own.’ So there was a restaurant, a two-restaurant chain, there were two restaurants — a short chain, a very small chain, two links — in L.A. called The Great American Food and Beverage Company. And the trick to this establishment was that you had to be a musician, you had to audition to work at this restaurant. And I really, really, really, really, really didn’t want to work there, but I really, really, really needed the money. Anyway, so I’m standing in the kitchen, it’s my first day, and I’m dressed in this ridiculous outfit, and a bunch of us are lined up. And the coked up manager was marching up and down in front of us like a drill sergeant. And as we’re standing there listening to this madman, the kitchen door swings open, and who should walk in but none other than Peter Tork from The Monkees. And I watch Peter Tork walk by me, take a time card and punch in the time clock and get in line right next to me. And my mouth dropped open. And it became evident at that point that he was working as a waiter at the restaurant. And this is Peter Tork from the fucking Monkees. This man was, you know, as big, if not bigger, than The Beatles in the U.S. at one point in his career. And I watched my whole life pass before my eyes.” - Matthew Wilder, Speaking of Music with Jason Faber

More about Peter's time at the Great American Food and Beverage Company in a second post.

[celticmythpodshow]

CMP032 Faerie Days and Faerie Knights

Pwyll travels to the Land of the Dead!

We love getting your feedback, please email garyandruth@celticmythpodshow.com, or call us on Speakpipe

  Show Summary:

In the last episode, Pwyll, the Welsh Prince of Dyfed, strikes a bargain with the Grey Lord, Death Himself - Arawn, Lord of Annwn. To make up for his great insult, he agrees to enter into single combat and fight a mighty King in the Otherworld on Arawn's behalf. Arawn uses his magic to change his shape with that of Pwyll, so that each looks like the other and then escorts him through the worlds to his castle in Annwn.

In this tale, Pwyll finds his way around the Court of Arawn, seeing many strange marvels and meeting many mysterious people. As the time of the evening Feast approaches, he finally gets to meet the Great Queen herself..!

This episode is the third episode in our Mabinogion series and continues the story of Pwyll, the Prince of Dyfed.

Full Shownotes, with sources and credits, can be found on our main Website at http://celticmythpodshow.com/welsh3 Show Summary:

Running Order:

Intro 0:42

News & Views 1:57

Story 3:49

Promo - Woody Tales 28:30

We hope you enjoy it!

Gary & Ruthie x x x

  Released: 13 Dec 2012, 35m

  News & Views

We tell everyone that we're going to closer down our Forums. We explain that they are not being used any more and that most folks talk to us on Facebook.

You can find us on our Facebook Show page, Gary's Profile, Ruthie's Profile or add us on Twitter @CelticMythShow.

You can also get hold of us by email at garyandruth@celticmythpodshow.com

We also offer a big thanks to our Special Guest actors, Damh the Bard and Cerri Lee. You can find out more details at the bottom of these Show-notes.

  Faerie Days and Faerie Knights: Part 3 of the First Branch and Part 3 of the Mabinogion

Episode 3 is also the third episode of the First Branch: Pwyll, Prince of Dyfed. At this stage of the tale, Pwyll (wearing the shape of Arawn) is in the Otherworld, so we can't offer any maps! However, the names used (in order of appearance) in the story are listed below.

In this tale, Pwyll finds his way around the Court of Arawn, seeing many strange marvels and meeting many mysterious people. As the time of the evening Feast approaches, he finally gets to meet the Great Queen herself..!

Names Used in this Story

Listed in order of appearance

Pwyll

Dyfed

Arawn

"Storm"

Elaine

Tylwyth Teg

Romani

Berwyn

Gwyneth

Promo - Woody Tales

Barry Patterson

How do you put across the idea of caring for the environment without talking down to people? The Wild Man of the Woods is probably the widest traveled Green Man in Britain! The show explores our changing relationship with nature and the landscape through songs, stories and humour - ancient and modern. He's been promoting natural history and local distinctiveness with considerable passion from Sunderland to Torquay, from Sherwood Forest to the inner city since 1991!

  You can find Barry Patterson's website at songandstory.co.uk and his Podcast is hosted on Soundcloud with a link and credits on his songandstory website.

You can also get in touch with Barry on Facebook or Twitter @wildmanofwoods.

  Huge Thanks to our Guest Actors

Damh the Bard

Damh is a modern-day Bard whose spirituality, and love of folk tradition, is expressed through his music, storytelling and poetry. Drawing on the Bardic traditions his performances are both entertaining and educational, weaving a tapestry of myth, peace, and anthems that speak directly to the heart, but never without a good splash of humour.

Damh is a musical storyteller who works within the world of myth that cannot be proved; where the Faerie really do dance on Midsummer's Eve, where the trees talk, and the Hollow Hills take you into the realms of Annwn. Where the Goddess rides her horse, guiding you to magic, and the Horned God of old calls us from the shadows of the Greenwood. [source]

Damh is also the relaxed voice behind Druidcast, the podcast from the Order of Bards, Ovates and Druids (OBOD).

You can find outmore about Damh and his work on his website at paganmusic.co.uk or on our Contributor page.

  Cerri Lee

Cerri Lee is a multi-talented visonary artist who can turn her hand to almost anything creative. She is inspired by nature, and the ancient Pagan myths and legends of many cultures, her beliefs as a modern day Druid as well as those around her. She can create anything from Rights of Passage gifts and altar pieces to wedding and birthday gifts, and will happily take on commisions. Each piece of artwork she creates is individual and can be personalised to you or your loved ones. Her artwork has been used for album covers, featured in leading Pagan magazines, used as tattoos, and her sculptures are sent throughout the world.

Cerri is equally in her element when she is up to her elbows in clay or painting one of her fabulous pictures. She is partner to Druid musican and long-time supporter of our show, Damh the Bard and can be found supporting him at many of his performances. You can see a gallery of Cerri's artist work on our website at Cerri's Gallery and you can find out more about Cerri and her work on her website or on our Contributor Page.

  Extra Special Thanks to Show Friends

Anne Roos

We are pleased to be able to bring you a superb piece by Anne, Adieu Mon Chou from her album Mermaids and Mariners. Thank you, Anne! You can find out more about Anne on her website or on her Contributor Page.

  Portcullis

A special thank you to Jason, Sue and Haydon for the wonderful courtly sounds of Portcullis that can be heard as the Minstrels playing at the court of Arawn in this episode. You can find out more about Portcullis on their website or on her Contributor Page.

  Phil Thornton

We are proud to debut Phil in this show as he provides the music for the dance of the Tylwyth Teg with the track Summer Solstice from his album, Solstice. You can find out more about Phil's wonderful music and services on his website or more details on his Contributor Page.

  Sources used in this Episode

The Mabinogion, pp ix-xxxvi, 3-21, 227-232, Sioned Davies , Oxford, 2007, ISBN 978-0-19-283242

The Mabinogion, pp 9-41, 45-65, Jeffrey Gantz, Penguin, 1976, ISBN 0-14-044322-3

The Mabinogion, pp ix-xliv, 3-24, 275-278, Gwyn Jones & Thomas Jones, Dent & Dutton, 1977, ISBN 0-460-01097-2. Can also be found online at www.donaldcorrell.com

Pwyll Pendeuc Dyfed, Lady Charlotte Guest, Mary Jones

Pwyll, Prince of Dyfed, Lady Charlotte Guest, 1877, Sacred Texts

Notes to Pwyll, Prince of Dyfed, Lady Charlotte Guest, 1877, Sacred Texts

The Mabinogion, Lady Charlotte Guest, 1849, Project Gutenberg

The Mabinogi of Pwyll, W. M. Parker, mabiongi.net. Notes at mabinogion.info

'The Lord of Dyfed', from Legends of the Celts, p.134ff, Frank Delaney, HarperCollins, 1991, ISBN 0-586-21151-9

Tales from the Mabinogion, Gwyn Thomas & Kevin Crossley-Holland, Gollancz, 1984, ISBN 0-575-03531-5

Celtic Myths & Legends, p.147ff, Michael Foss, Selectabook Ltd., 1998, ISBN 0-75252-402-X

Prince of Annwn, Evangeline Walton, Del Rey, 1974, ISBN 0-345-27060-6

Encyclopaedia of Celtic Wisdom, p.117, 156, Caitlin & John Matthews, Element, 1994, ISBN 1-85230-560-6

The Celts, p.211, Frank Delaney, Grafton, 1989, ISBN 0-586-20349-4

Women in Celtic Myth, Moyra Caldecott, Arrow, ISBN 0-09-955920-X

Celtic Heritage, p.41 ff, Alwyn & Brinley Rees, Thames & Hudson, 1978, ISBN 978-0500110089

Pagan Celtic Britain, p.288, Anne Ross, Constable, 1967, ISBN 0-09-472330-3

'Myth in the Mabiogion', from A Celtic Reader, p.151, John Matthews, Aquarian, ISBN 0-85030-935-2

Celtic Myths and Legends, p.356 ff, T. W. Rolleston, 1995, ISBN 978-1859580066

Celtic Folklore: Welsh & Manx Vol.2, pp 499ff, John Rhys, Wildwood House, 1980, ISBN 0-7045-0406-5

The White Goddess, p.215ff, Robert Graves, Faber, 1952

And, of course, the Awen - inspiration and imagination!

  Special Thanks

For incidental music:

Zero Project, Winter Princess from Fairytale, and the Age of the Unicorn, The Lower Dungeons from Fairytale 2. From his amazing Disabled Emotions Suite, you can hear Part 1 and Part 4. See the Contributor Page for more details.

Torchomatic, Sunrise from his podsafe music. See the Contributor Page for more details.

Diane Arkenstone The Secret Garden. See the Contributor Page for details.

Kim Robertson, Angels in Disguise, All or None . See the Contributor Page for details.

Jigger Time Ticks Away. See the Contributor Page for details.

  For our Theme Music

The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.

  Extra Special Thanks for Unrestricted Access to Wonderful Music

(in Alphabetic order)

Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page.

Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page.

Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page.

Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor page.

The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page.

Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page.

Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page.

Phil Thornton Extra Special Thanks go for permission to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page.

S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page.

Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page.

Get EXTRA content in the Celtic Myth Podshow App for iOS, Android & Windows

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      Check out this episode!

[papermoonstheatricaldiary]

AVENUE Q

January 21, 2007

AVENUE Q is musical conceived by Robert Lopez and Jeff Marx, who also wrote the music and lyrics. The book was written by Jeff Whitty.  Originally conceived as a television series, the show was developed for the stage at the Eugene O'Neill Theater Center in 2002. It opened Off-Broadway in March 2003 and transferred to Broadway in July 2003 (see below).  There were also Las Vegas and West End productions, two national tours, and a variety of international productions.  The show is now available for amateur production and an “Avenue Q: School Edition” is also available.  

The show is an adult musical satire on TV's “Sesame Street” with human and puppet characters interacting on topics affecting modern urban life.  The show is notable in that the puppeteers are in full view of the audience.  

AVENUE Q began performances at Broadway's John Golden Theatre on July 2, 2003 and played a total of 2,534 regular performances and 22 previews.  It was directed by Jason Moore, with choreography by Ken Roberson.  The puppets were conceived by Rob Lyon, with settings by Anna Louizos, costumes by Mirena Rada, and lighting by Howell Binkley.  The original Broadway cast was Jennifer Barnhart (Mrs. T.), Natalie Venitia Belcon (Gary Coleman), Stephanie D'Abruzzo (Kate Monster / Lucy the Slut), Jordan Gelber (Brian), Ann Harada (Christmas Eve), Rick Lyon (Nikcky / Trekkie), and John Tartaglia (Princeton / Rod). The ensemble was Jodi Eichelberger and Peter Linz.   

In January 2007 the cast was: Jennifer Barnhart (Mrs. T.), Haneefah Wood (Gary Coleman), Mary Faber  (Kate Monster / Lucy the Slut), Evan Harrington (Brian), Ann Sanders (Christmas Eve), Robert McClure (Nicky / Trekkie), and Howie Michael Smith (Princeton / Rod). The ensemble was Jonathan Root and Matt Schreiber.

AVENUE Q won three 2004 Tony Awards, including Best Musical. As of this writing the off-Broadway transfer continues to run at New World Stages.  The Broadway run currently ranks 23rd on the list of longest running shows in Broadway history although in June 2017 it will be surpassed by The Book of Mormon.

This show was a field trip with the staff of Paper Mill Playhouse to see our own Jersey boy and Rising Star winner, Rob McClure.  This was not Rob's Broadway debut, that was as understudy for Gilly in the short-lived revival of I'm Not Rappaport starring Judd Hirsch and Ben Vereen.  That production started at Paper Mill and was shepherded to Broadway by the late Roy Miller, who was then cutting his teeth as a Broadway producer.  AVENUE Q was Rob's Broadway Musical debut, however, so he was in his element.  He later returned to Paper Mill a star in Honeymoon in Vegas after lighting up the Great White Way in Chaplin. But that was during my illness and so missed both productions.  He is now on tour with the Something Rotten, which he closed on Broadway.

I grew up on “Sesame Street” and loved the Muppets.  I put on puppet shows in my backyard when I was a kid.  I’m in the barrel in the below 1970 photo.  

I remember going to Channel Lumber to see Gordon and got an autographed photo!  I guess things were tough for Gordon if he was appearing at New Jersey lumber stores, but I remember it well. AVENUE Q was perfect timing and so funny.  It has managed to survive topical references to Gary Coleman (who died in 2010) and George Bush (not dead yet). Speaking of politics, Rob was “Donald Trump” when AVENUE Q staged a mock debate with “Hillary Clinton” (played by Rob's real-life wife Maggie Lakis). The act even got national TV attention!  In light of recent events, I wonder if the lyrics of the song “For Now” will reflect the newly inaugurated president?  

“Don Trump! Is only for now!”  

We can only hope.

AVENUE Q rates 4 Paper Moons out of 5