"Fart" Blows Up a Controversy in Song "Marriott on Wheels"

Trish Lewis, a radio DJ for WUCX-FM in Saginaw, Michigan, spends every Monday afternoon, 1-3pm, hosting a show called "The Eclectic Chair". She plays all kinds of indy rock/pop, folk, and jazz music. A few months ago, Lewis began airing my songs, "Little Gracie" and "Rollerskate", into her diverse set lists.

Recently, Lewis spun my environmentally friendly song, "Marriott On Wheels," which contains the lyrics "knowing you chose a non-green death machine, you're doing your part to fart on the world."

Immediately following the show, the station manager received an anonymous email that if Lewis "aired any more excretion or any other (precious bodily fluid) words again [they] would have no choice but report [Lewis] and The Eclectic Chair to the Federal Communications Commission".

Lewis was shocked at the idea that she could be fired from a cushy volunteer radio position over the word "fart".

"FART for heaven's sake?! " stated Lewis. "Anonymous must mean it's silent but deadly?..My gosh if you knew all the words I've aired with permission of Howard Sharper my program manager (& mentor!) you would not believe I'd just been warned [for the use of "fart"]."


Essentially, my music was being banned. The first feeling I had was utter coolness. I have made it into the ranks of greatness. Being censored gives edge, rebellion, creating something that the mass media wants to hide from others. It's way hip.

The second was shock at the absurd. In an age when pop groups are dancing like strippers, while singing lyrics about humps, licking, grinding, being dirty, having sex, gangsta rappers are singing about drugs, pimps, bitches, hos, hustlin, killing, there's little me; a hippie with a metaphoric joke about how SUV exhaust emissions are "farting on the world" and it is a controversy.

I find this story to be utterly hilarious. I hope "fart" one day is freed from the political grips that imprison it's use on the airwaves.

Trish Lewis, said it best: "It's just too funny...that up here in Michigan a gal cannot sing fart even if she has a panty full!" http://radiochair.com




Set list on the day of fart reckoning:
THE WUCX-FM ECLECTIC CHAIR WITH TRISH LEWIS #2127


Introduction Mike Henderson and the Bluebloods “Mister Downchild” (Thicker Than Water) 1998 Dead Reckoning Records

♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫HOUR ONE♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫

1.) Miss Tess & The Bon Ton Parade “Pokey McMumbles” (Modern Vintage) 2007 Self www.misstessmusic.com

2.) Drake “Art School Girl” (These And Other Things) 2006 Drake the Band http://www.myspace.com/draketheband

3.) Amos Lee “Sweet Pea” (Supply And Demand) 2006 Blue Note Records

4.) Lyle Lovett and His Large Band “All Downhill” (It’s Not Big It’s Large) 2007 Lost Highway

5.) Old Crow Medicine Show “Down Home Girl” (Big Iron World) 2006 Nettwerk Productions

6.) Eric Lindell “Lay Back Down” (Low On Cash, Rich In Love) 2008 Alligator Records

7.) Eric Lindell “Lady Day and John Coltrane” (Low On Cash, Rich In Love) 2008 Alligator Records

8.) Roomful of Blues “Every Dog Has It’s Day” (Raisin’ A Ruckus) 2008 Alligator Records

9.) Joe Tex “I’ve Got To Do A Little Bit Better” (David Allen Coe Presents Joe Tex) 2002 Coe Pop Records

10.) Abbey Lincoln “Bird Alone” (Abbey Sings Abbey) 2007 Verve

11.) Koko Taylor “Piece Of Man” (Old School) 2007 Alligator Records

12.) Elvin Bishop “My Dog” (Booty Bumpin’) 2007 Blind Pig Records

13.) Guy Clark “Out In The Parkin’ Lot” (Workbench Songs) 2006 Dualtone Records

14.) Guy Clark “Analog Girl” (Workbench Songs) 2006 Dualtone Records

15.) Martha Scanlan “Call Me Shorty” (The West Was Burning) 2007 Sugar Hill Records

♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫HOUR TWO♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫♫

16.) Roomful of Blues “Lower On Your List of Priorities” (Raisin’A Ruckus) 2008 Alligator Records

17.) The Bridge “Get Back Up” (The Bridge) 2007 Hyena Records

18.) Tinsley Ellis “Stare At The Sun” (Moment Of Truth) 2007 Alligator Records

19.) Lee Rocker “String Bass, Guitar & A Drum” (Black Cat Bone) 2007 Alligator Records

20.) Ry Cooder “Green Dog” (My Name Is Buddy-Another Record By Ry Cooder) 2007 Nonesuch Records

21.) Miss Tess & The Bon Ton Parade “When Tomorrow Comes” (Modern Vintage) 2007 Self www.misstessmusic.com

22.) Lauren Molina “Marriot On Wheels” (Doo-Be-Doo) 2007 Self www.laurenmolina.com

23.) Kieran Kane & Kevin Welch with Fats Kaplin “Somewhere In The Middle” (You Can’t Save Everybody) 2004 Dead Reckoning / Compass Records

24.) Dave Van Ronk “The Outcast” (Wounded Heart Of America-Tom Russell Songs) 2007 HighTone Records

25.) Andrew Bird’s Bowl of Fire “Minor Stab” (Thrills) 1998 Rykodisc

26.) Tom Waits “Table Top Joe” (Alice) 2002 Anti Records

27.) Peter Karp “Strange Groove” (Shadows And Cracks) 2007 Blind Pig Records

28.) Bob Dylan “Beyond The Horizon” (Modern Times) 2006 Sony

29.) Laurence Blatt “Say Hello To Yesterday” (Out Of The Woodwork) 2007 LMB Music http://cdbaby.com/cd/lawrenceblatt

Rehearsals and San Francisco

Rehearsals convened at Chelsea Studios in NYC. I was so immediately impressed by all the new Sweeney company members. After our meet and greet, we plunged into rehearsal at "the top of the story" (as Doyle likes to say). The new members had a week of rehearsal before the Broadway members arrived.

Some of them already had their instrumental music memorized. Edmund Bagnell has a gorgeous 1760 violin, plays the score with stunning precision, and makes a great Toby. Katrina Yaukey blows my mind with her musical abilities (especially on accordion), her sick sense of humor, and she makes a fierce Pirelli. Everyone brings something unique to the story.

I must admit that I had a tinge of sadness and nostalgia on the first day of rehearsal. I missed that feeling of creating something for the first time. I missed the old members of the company who aren't on this tour. I missed that feeling of butterflies in your stomach from the nervousness and excitement of performing Sondheim's music in a small rehearsal space for Sondheim.

Because the show had been set on Broadway, Adam Hunter, as the Associate Director, gave everyone their blocking first. We also worked on music with David Loud and Andy Einhorn. John Doyle would come in for a few hours and give individuals their motivations and talk about the characters. However, it was very different on Broadway when we spent so much time improvising, and figuring out who we were, and what our purpose was in this asylum. I felt bad that the new cast members couldn't experience those invaluable acting exercises.


The Rehearsals flew by in 3 weeks, and before we all knew it, we were flying out to San Fran. My cello had it's very own seat next to me on the plane.

As I got off the plane, I received a text from playwright Israel Horovitz, my friend, who said his son Adam had a show at the Warfield and asked if would I like to go. Adam is in the Beastie Boys. My first night in San Fran and I already have a sick night planned. I went with Ben Magnuson we stood a few feet from the stage, danced all night (though we were so tired), and went backstage afterwards. It was a perfect welcome to the city.

The next day, we had the morning off. I went to the Ferry Building Farmers Market. I was in heaven. So much organic produce, delicious cheeses, and the atmosphere is so refreshing. Everyone is so nice here. The air is clean, the weather is beautiful.

Then began the killer tech rehearsals. 10 out of 12s. The smoke was so brutal on the first day that I lost my voice by the end of the day. Then to make matters worse, my allergies started kicking in. I've been on claritin and mucinex, so I can still sing out.

We had an invited dress rehearsal last night for a few hundred people. I think it went pretty well. We open in previews tonight. I can't believe how fast this month has flown by.

Sweeney Todd part deux - the tour - Back to the Beginning

On August 6th, 2007, I will begin Sweeney Todd rehearsals for a year long international tour. August 24th, 2007 I leave New York for San Francisco.

The cast is a fantastic mix of new and old members. The sassy and fierce singer, Judy Kaye, is Mrs. Lovett, and incredible actor, David Hess, is Sweeney Todd. I'm thrilled to have Ben Magnuson reprising his role as Anthony- it will be so fun and comfortable for both of us. Sadly, my uber talented, and hot boyfriend, Mano Felciano, who played Tobias in the Broadway Revival will not be joining the tour. He will certainly be missed. Edmund Bagnell will be playing Tobias on tour, and though I am biased, I'm sure he'll be awesome too :) Of course everyone from the Original Broadway Cast who's not going on tour will be missed, but this show will have it's own energy and madness. That's what is so cool about Doyle's vision. Each actor brings his or her own unique interpretation to the roles they create.

Here are the other killer cast members:
Keith Buterbaugh - Judge Turpin
Benjamin Eakeley - The Beadle
Katrina Yaukey - Pirelli
Diana DiMarzio - Beggar Woman
John Arbo - Jonas Fogg


After putting away the Sweeney Todd score for eleven months, I finally dusted it off, opened my new red hard Brack cello case, took out my 3/4 size cello and began to navigate Sondheim's music again. I put the ST cast recording in my cd player, and sat with the CD player remote control at my side. I pressed play.

I immediately felt a rush. Ah yes, the opening ballad, I remember this. "It will be like riding a bike", I thought, "it will come right back to me..." I continued to practice, trying not to look at the music for as long as possible, testing my memory of the material. Unfortunately, the music is ridiculously hard, so it didn't last long. I began drilling difficult sections, rewinding my CD player, all the while laughing at myself and saying, "oh my G*d, i used to be able to play this music in my sleep, now I suck." I know all I need is some patience and it will come back.

As I played along with "Johanna" sung by Ben, I began to tear up. It was so beautiful, and I began to vividly remember that moment onstage when he sings to me. I am up atop the coffin, blinding light cloaks us, and I soak in his words whilst rapturously playing the cello. I remember almost fainting onstage at that moment once; I bent my head backward and felt dizzy from the intensity. Fortunately, I didn't pass out during the show. :)

I had to take a break after 3 hours of practicing. My brain was fried. I went back the next day, to tackle the music, and it had surprisingly retained itself in my overwhelmed brain.

I've practiced now 4 days in a row, and I have to say, it's finally coming back. Thank G*d. "Epiphany" is still the hardest piece to play, but I think I'm in a good place by getting a start with the music now. I can't wait to get in the room with the rest of the cast and make some serious music again.

Why It's worth it

On Monday morning, I recieved a call, at 8:30am, asking me to do a last minute gig on Wednesday morning at 9am. The gig was for the "Taste of Broadway", performing for 1500 kids at Town Hall who are most at risk for dropping out of school. So I agreed to it, thinking that it was a good deed...despite the fact that i had to wake up so early, sing really high, and I am already exhausted from overcommitting to so many other gigs.

So, I arrived at Town Hall, with cello in hand, I rehearse with the pianist a few times, then wait for the children to arrive. In addition, Todd Buonapone, from "The 25th Annual Putnam County Spelling Bee" who is also one of my friends from the University of Michigan, was slotted to perform, followed by Frenchie, from American Idol, who is now starring in "Rent".

I was the first performer called out to sing. Not knowing how these young, primarily african-american, inner-city kindergarters thru 3rd grade would react to me singing "Green Finch and Linnet Bird" from "Sweeney Todd", nor my rendition of "On My Own" from "Les Miserables" while also playing the cello, I braced myself and began. I thought to myself, they will be talking throughout and not understand what i am singing about anyway...

When I stepped up to the mic and began singing, the room fell silent, I felt each of their curious hopeful eyes soaking in the music and embracing the song. Most of these children had never seen a live performance before, especially a musical theatre performance. When I came to the final phrase of "Green Finch", where the lyric soars "If I cannot Fly..." the entire audience cheered wildly and applauded madly. These children were so excited by the high note that they couldn't help but react. It was so honest and pure. I love how children don't censor themselves. If they like something they cheer, if they are upset they cry.

I had to wait a moment, before I could complete the song "...let me sing". A sudden rush of joy came over me. These kids were so happy, and all I did was sing them a song. I gave these kids something they have never been exposed to before. How powerful the gift of music. How simple and right.

Before I started my second song, I asked the kids to raise their hands if they'd seen a cello before. Most of them thought it was a violin, but only about 20% had seen one. As I played, the music elicited the same response within the kids; Cheering on the high notes, hoots and hollering at the end. It made me want to always perform for kids...they need it, they want to be creatively challenged, music inspires them.

My last task was to answer questions from the audience...This part could not have been any cuter. Just imagine in really high pitched voices, such questions as "How old are you?" to "How can I be on Broadway?"

So that was it. I had a feeling of "this is why it's worth it to be a singer and actor", "this is why we do it".... I left around noon and went over to the Eugene O'Neill to do my Sweeney at 2pm and then again at 8pm.

Death of a Green Finch

"How can you jubilate sitting in cages?"

For opening night of Sweeney Todd, a friend of mine gave me a green finch as a gift. Yes, a real live bird in a cage. How crazy, yet poetic and thoughtful...so I named her Johanna Bird. She was he was a rare green Lady Gouldian Finch from Australia. She was beautiful, and would chirp all day. Another friend of mine, who knew they thrived in pairs, bought me a boyfriend bird for Johanna Bird a few weeks later. I named him Picasso because of his bright bold coloring. As soon as they were together, they were so much happier. Chirping all day, scurrying and flying around the cage, they seemed to be content, they seemed like they loved each other...

"Are you discussing, or fussing, or simply dreaming? Are you crowing? Are you screaming?"

Finches are very fragile and delicate. They need special care and attention. They are prone to sickness and must be warm at all times....

Yesterday afternoon, I returned home from running errands and my birds weren't making any noise. I thought it odd, but continued my routine. After a few more minutes, I walked up to the cage to find them both dead in the bottom of the cage. They were laying close together. Head to toe, facing each other. Johanna's eyes were open and Picasso's were closed. It was so poetic and sad. I began to cry, thinking that maybe the finches were sick and I had no way of knowing. Or maybe the changing temperatures from my apartment heater made them die. It is still a mystery. I wondered if Johanna died first, and then Picasso refused to hold on for life. I wondered if they tried to help each other up, chirping to each other, staring at each other. It was such a Romeo and Juliet moment...starstruck lovers, trapped in a caged existence.

"If I cannot fly, let me sing."

Looking at the place where the cage used to sit, I am strangely at ease. Birds aren't supposed to be in cages. Though beautiful and seemingly content, living in a small cage in a west village apartment is not where a bird should live. They are free now, to sing and fly, somewhere. When I sang "Green Finch and Linnet Bird" last night at the show, my thoughts of confusion, death, freedom, rest, and sadness for the birds surfaced. They will always be in my mind now when I sing this song...

First Blog

This is my first blog, welcome to the site.