Shortly after midnight on Halloween, I asked Ritsu Katsumata a simple question. Her answer changed the way I think about pretty much everything. It happened at Wealthy Theatre, where Ritsu just concluded a live score of the silent film “Nosferatu” in front of hundreds of people…
When I served a Heineken to Keith Richards in the late 1990s, at an East Village bar, I hadn’t ever listened to the Stones classic, “Star Star,” but I should have. Resisting the temptation to chat with Mr. Richards was a challenge. You naturally want to thank an artist like that, for their body of work – and of course to ask about the full blood transfusion in Canada.
Don’t just call me pessimist. Try and read between the lines. I can’t imagine why you wouldn’t Welcome any change, my friend. -Tool, “Ænema” Kindly click here for a website with all professional and volunteer involvement information for Erin Thomas ...
But, in coming to terms with the news of Gordy’s death, something came clear: what connects us to this history is not lost, and it is not broken. I think about the recent screening of “Nosferatu,” when Ritsu accompanied the silent film on electric violin; and I think about Gordy’s mother accompanying silent films on piano, in the 1920s.
And here’s an interesting statistic: media coverage of people’s dissatisfaction with their experiences at arenas got more attention than all June events at Wealthy Theatre. And it’s ironic because we’re the antidote to what they said poisoned their experience. Our size, and our focus on the artist, provide the remedy…
