Street Music 101 -- a guide to performing in public places

Here's another piece I wrote some years ago, about playing music "on the street", 
or in public places. Since I've been playing banjo and horns, sometimes solo and
sometimes with partners, in downtown Jerusalem and lots of other places, I have 
gleaned a lot of wisdom about making street music.

In Jerusalem there is a pedestrian mall area that covers several blocks of 
downtown. No cars, so it's relatively quiet, and usually a lot of people 
walking around. There are other places to play, both here and in other 
cities and towns. Here's how we try to operate:

******** Street Performing 101 ********

1. Pick a location that lends itself to becoming a "stage". Preferably with
something behind you, like a wall, closed store, tree, street sign, lamp post.

2. Never block the entrance or display windows, etc., of any business or
workplace.

3. There should be space for an audience to gather without disrupting traffic
flow too much.

4. Know the law: If you need a permit ... get one!

5. Know the law: Are there hours when noise is restricted? Are amps permitted?
Do not play when or where you can be legally required to shut down.

6. Courtesy: Set up far enough away from other musicians/performers so as not to
disturb their act if they were there first.

7. Courtesy: Avoid playing directly towards the doors of shops so as not to
drive the people inside crazy.

8. Courtesy: Don't play in the same spot for too long or too often. Pedestrians
will enjoy your act; shopkeepers will grow to hate you. Give them a rest.

9. Courtesy: Take breaks and allow the air to clear. Maybe alternate with
another performer such as a juggler, magician or balloon artist who makes less
noise.

10. Demand courtesy in return. Nobody owns the street. There is no such thing as
"my spot". The early birds get the best spots. If someone sets up too close to
you or otherwise steps on your act, first request politely that he move. If he
refuses, then become his worst nightmare so he won't do it to you again. Under
no circumstances allow him to profit from upstaging you, or soon you will find
yourself playing on the road out of town. BUT, never get physical with him or
his equipment. Just get in his way.

11. Know your rights. There is one in every crowd, a shopkeeper who will
complain, a local resident who rents a flat on the busiest downtown street and
then expects it to be quiet in the afternoon and evening, etc. If you are
observing the law and normal courtesy and someone still complains, try to make
them laugh. They usually won't, but you can at least enjoy the scene. My rule
is, I will move if the police tell me to move. Otherwise, I tell the complainer
that he is also bothering ME. By the way, the police have NEVER told me to move.
If a policeman does ask you to move, ask if you are breaking the law. If not,
politely insist on your own right to continue your legal activity. They
generally will let you. 

[I have been known to produce a complaint form, or a roll of numbered tickets, 
and when someone comes to complain, I tell him to take a number and fill out 
the form and we will process it and respond within 60 days. You could be 
obnoxious and ask for a processing fee. Of course, they won't think it's funny, 
but have a camera ready to catch the expression on their faces when they realize 
what you're doing to them. It's priceless.]

12. Don't just play songs; put on a show. If you don't have a costume, or
uniforms for multi-piece acts, wear something colorful or an unusual hat, or all
wear the same color shirts or the same ties, or anything that will let people
know you're not a bunch of strangers waiting for a bus. The show begins when you
arrive, and ends when you leave. Carry balloons or wrapped candies or little
trinkets to give to kids while you're setting up. Talk to the crowd, let kids
see and hear your instruments, tell jokes, get people involved in your act.

13. Play to the crowd. Look into people's eyes. Get them to smile. Talk to them.
Sing to them. If you have a washboard or rattle or anything percussion they can
play along with you, let someone do it now and then.

14. Money and promo. You're not there for your health. Put a tasteful,
interesting, funny or cute receptacle for people to put money into. (It helps if
it's one-way, and people cannot see how much money is inside, or easily get
money out. Watch for bills that could be blown away by wind.) Don't be ashamed.
Be creative. Don't just open your case. It's only begging if YOU think it's
begging. Put business cards where people can see them and take them. Tell them
who you are. Tell them it's OK to put money into the hat. Tell them there is
plenty of room in the hat, and if it should fill up, you'll MAKE room for them.
Tell them you can be hired for their parties and events. Believe it or not, this
often does not occur to people. Usually you can't charge a fixed price. You take
what people give you. But you can cajole them into being more generous. Ask
where they're from and play a song from/about their home town. Pick songs that
somehow identify with someone who is there, or passing by. Encourage people to
sing along. If you have CDs, band T-shirts, or other merchandise, display them
prominently and sell them (be sure it's legal to do that). When you're done
playing, pack up, go somewhere else, and count the money. Better not to do it
where you performed.

15. Watch out for upstagers. Real artists will ask if they can join you, or give
you some indication that they have something to offer, and then let you invite
them to join in. Idiots will just barge into your space and start dancing,
singing, or doing their thing. Don't give them what they're trying to take from
you -- attention. Finish your current song, take a break for 5 minutes, then
continue. This will lose most people of this type. Drunks or other persistent
annoyances, keep the energy level low. Don't get into a pissing contest with
them. Try to gently steer them out of your way. Get help from police if you need
it, but discreetly, quietly. Don't let a situation escalate and get out of hand.
Use your judgment. If it's just someone blowing off steam for a few seconds, let
it pass. Otherwise, take the spotlight off them, some of you work the crowd
while others gently handle the problem. Most of the time, stopping the show
briefly will do the job.

Whew! Hope that's enough to get some of you started. Enjoy, and spread the simchah!

Ruin a Terrorist's Day ... with Jazz

Here is another piece I wrote about 10 years ago. (Yeah, yeah, I'll start writing new pieces
soon. I've been thinking about this for so long and putting it off, that I had to do something
to get started. And anyway, this is good stuff ...

I maintain that the music played by Doctor Jazz is a powerful weapon against the
kinds of threats our modern world is facing. Why? The humor and normal-ness of
our music melts the fears in people and makes them feel better, stronger, more
positive. I have long been maintaining that the best way to combat terrorism is
to not be afraid. Or as President Roosevelt put it during World War II, "We have 
nothing to fear but fear itself."

I have been playing Dixieland in Israel, mostly in downtown Jerusalem, for going 
on 9 years now. It is one of the reasons I came here from quiet San Diego. I make 
a point of frequenting and playing in places that have been or are considered to be
targets. Yet I have never witnessed or been close to a terror attack.

Or, to put it another way, there has never been a terror attack on my watch. I
have been considering offering the services of the Doctor Jazz Band to the IDF.
My theory is that the music repels terrorist types. It creates an atmosphere
where the potential "victims" of an attack are relaxed, comfortable, confident,
and not afraid. Since the terrorist thrives on fear, this atmosphere will be
repulsive to him, and defeats his purpose.

Don't believe me? Try it sometime. Go play in your downtown centers a couple
times a week for a few weeks. Watch the changes that happen. Watch how people --
shopkeepers, police, trash collectors, shoppers, bums, whoever is out there,
will light up when you arrive and start setting up. People will dance and sing
with you. You'll start getting comments that you made someone's day.

Now there are people who don't want this to happen. They are the people who like
to keep the masses subdued and under control. Government authorities, cranky
businessmen, and our neighborhood terrorists. They like it when people are weak
and afraid and miserable. There is always someone around who can't stand to see
anyone having a good time, and will do what they can to shut you down.

So I say, ruin a terrorist's day, and don't let him ruin yours. Go out and have
a good time in public. Travel. Go where you want and enjoy yourself. And best of
all, play that classic happy jazz.

In fact, come on over to Israel and dance or play with Doctor Jazz. Friends who
have been here will confirm that they feel surprisingly comfortable and
safe here. (That was your cue to speak up, folks!) Our police and army do a 
wonderful job of keeping things quiet for us. I can't promise you a paying gig, 
but I can almost surely fix you musicians up with a chance to play with and for 
some local folks. And my wife Krina is a tour guide, so we are happy to meet 
visitors and show you around.

Nu, what's taking you so long?

Jerusalem presents "Doctor Jazz"!

Shalom jazz fans!

I am Elazar Brandt, also known as Doctor Jazz. This month, March 2014, I am 

celebrating 18 years living in Jerusalem. When I came to live in Israel, I decided to
do what I never dared to try in America -- to make my living as a jazz musician. 
Now I am starting this blog to share the joy of making the world's happiest music
in the world's most exciting place.

It will take me some time to get used to the formatting. I decided to begin with
a piece I wrote about 10 years ago that gives a picture of the experience of making
happy music in public in downtown Jerusalem. So here it is:

Here in Israel we have some traditional ballroom dancing, but not a lot. There
are dance studios that teach it, and there are some places to dance, but usually
at private parties. Some of our religious folks often don't do mixed dancing in
public. And other people just don't hear the music that much, which is why
Doctor Jazz is out there playing in the streets.

What we do see is a lot, I mean a real lot of natural bodily responses to the
bounce of our music. It is a rare day when we do NOT see people in the streets,
of all ages and ethnic origins, doing some kind of dance as they walk by and our
music grabs them. Bodies seem to know how to groove with the bouncing beat if
their owners let them do it. We see elderly couples actually embrace and dance
together in the square in front of us. We see ultra-religious fellows doing, or
trying to do their more spiritual brand of dance to our beat. Young folks
saunter past stepping it out in clear time with our music.

Once I was playing alone on banjo, and suddenly found a troupe of 8 dancers,
apparently pros, doing a perfectly coordinated routine to the song I was
playing. Another time a tap dancer and his camera crew asked me for a song to
tap dance to. I don't remember what I played, but he improvised his routine
through the whole song. I heard it turned up on TV later. I probably got a
couple coins in my hat for my trouble. Oh, well.

Many times people respond to the banjo by making the strumming motion. I see
this a lot, especially with teens and younger kids. I remember once a group of
about 8 or 10 soldiers passed by and all together held their rifles as though
they were banjos and began strumming. It was classic. If I only had a camera!

But I think my favorite was one Friday afternoon when our Dr Jazz trio was
playing downtown before Shabbat, and we were especially in the groove and
drawing a good crowd. Two little kids, a boy and a girl, who couldn't have been
more than 5 years old, held each other in nearly perfect form and started doing
ballroom dance style moves to our music. They continued through several songs,
maybe for more than 15 minutes, and became something of an attraction
themselves. Who knows from where they ever even knew how to do it, but they did,
and it was one of the cutest things I've ever seen.

There is indeed something timeless and classic about our music, something that's
good for the body and the soul. Long live Dixieland jazz!