![]() ![]() ![]() I landed a midnight residency on Saturdays residency at the Detention Lounge, which was great, but the venue was short lived. The bartender enjoyed my show, but that wasn’t enough to get me booked at the famed venue for a second chance. It snowed a several feet on the night of my a twenty-minute set at CBGB’s Gallery. At the latter, I’d sign up at 7:30pm, leave, come back at midnight, and get on stage by 3am to do five minutes for a small crowd of other performers who were barely awake, and awaiting their turn.Įventually I got a few decent gigs: a spot on Sunday (AKA weird act night) at The Living Room. I tried performing at other NYC open mics: The Raven hosted by Joie Dead Blonde Girlfriend, and Lach’s marathon Antihoot open mic at the Sidewalk Cafe. I attended a few times, but I didn’t like paying money to possibly get five minutes onstage. ![]() The Moth was new to hosting its now-famous story slam, which was based on the popular poetry slams of the 1990s. Reluctant venues told me, “we tried storytelling,” if I managed to get them on the telephone after repeated attempts at trying to book a gig. I wasn’t quite a folktale teller, nor was I a singer-songwriter, but I tried working in those circles, because where else? There were very few NYC performance venues for storytellers-let alone a solo bass playing storyteller like me. Storytelling was not cool back in the early 2000s. Secret Storytelling Shows (Sssh.) were live guerrilla busking shows that happened in the parks, streets, and subways of New York City and San Francisco. 1999-2003 Secret Storytelling Show equipment ![]()
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