Honorable Rock and Roll: This Weekend’s Benefit for Lucinda’s Kids

Most of us worry about jobs, dating, world affairs, and such; we go to sleep at night and we wake up the next day….we get through. For some, the pressures become too great – whether real or perceived – and they check out. The choice to commit suicide often leaves us stunned and helpless. For loved ones left behind, it is a defining moment that is impossibly hard to understand and move on from. I, unfortunately, have lost a few to suicide. Recently, a life-long friend of mine Alex Gubbiotti took his life. I was, and remain, caught up in a cycle of "what if’s", "if only I had’s, “I should have’s,” and other feelings of helplessness, guilt, and sadness. I can’t imagine what the children of Lucinda Gallagher have gone through. Lucinda was described to me as "a 37-year-old super music fan from Hoboken who took her life in December." The rock and roll community is rallying to raise money at a two-night Bowery Electric benefit. 

One hundred percent of the money raised will go to a trust fund for her children and The Samaritans of New York, a 24-hour suicide prevention hotline. Gillian Stoll alerted me to the benefit. She said, "We want to make it clear that the focus is on her children and their future. The last thing we want to do is to glorify suicide or give anyone the impression that it offers an easy solution to life’s hardships. While this is a great event, the struggle and sadness that these kids are faced with far outweighs the fun that can be had at a concert. No matter how alone you might feel, there’s a community out there and there are people who want to help before it’s too late."

The line-up for the two nights is impressive:

Sunday, April 29, doors at 6 p.m.
Marah
Jesse Malin
Wille Nile
Jimmy Gnecco & Dave Milone
Jim Boggia
Aaron Lee Tasjan (The Madison Square Gardeners)
Petter Ericson Stakee (Alberta Cross) Buy tickets.

Monday, April 30, doors at 7 p.m.
Tommy Stinson (The Replacements)
HR (Bad Brains)
Alan Vega (Suicide)
James Maddock
Aaron Lee Tasjan Buy tickets.

Tickets are $20 and there will be an auction as well. Auction items from Fender, Mary Louise Parker, Danny Clinch, John Varvatos, Bob Gruen and many, many more will be soon up online – check the Facebook page for details. Certain auction items, as well as raffle items, will be up at the concerts only.

Jim Boggia added: “Honestly, this cause would be well worth your support even if the bill wasn’t that great, and this show would be a great one to come to even if it weren’t helping some incredible people. This show does both.”

I asked organizer Harry Greenberger and Bowery Electric owner/rock star Jesse Malin some questions:

Why are you doing this?
Harry Greenberger: Our friend Lucinda tragically took her own life. Those of us who knew her, many of us in a particular NY music scene, saw our thoughts immediately shift to those who we could still help Lucinda’s two teenage kids, both of whom are amazing kids: strong, smart, witty and, like their mom, obsessed with music. Nobody who knew them doubted that we had to do what we could. A portion of the proceeds will go to The Samaritans of New York, but most will go directly to making Lucinda’s kids’ lives better in any way we can.

Jesse Malin: Part of my experience over the years with rock and roll music is that it has a great connection to its community. There is a real give and take between the performer and audience. After hearing the news of this awful tragedy, I couldn’t help but think of her two children and what it must be like for them. When I learned of their financial situation, I felt a need to do something to help these kids. As someone who lost his mom at a young age, I could relate on some level and wanted to contribute through my music.

Who was she? What is the meaning of all this effort and talent and use of the space gathering around Lucinda?
HG: Lucinda was a wonderful woman, but the focus of this event is on the children – to pool all of our resources and try to restore options to the lives of her surviving kids. This benefit is not a tribute or memorial to Lucinda; that deserves to happen but will be another day.

JM:Over many years of playing music and touring the world, you realize how important the fans and the people who really support you are. Lucinda Gallagher was one of those people who traveled around to many shows for the artists that she loved and constantly spread the word about new and upcoming bands as well as established ones. She gave people rides to shows and let people crash at her place even if she didn’t know them. If you were a fan of something she believed in, she opened her doors. These types of people are few and far between in an often superficial show business world. The main focus of this event, though, is not the tragedy that took place in December, but the lives and future of these kids who were left with nothing.

How did this tragedy spur people to do something positive?
HG: The truth is, there are no positive sides of this; there are only less negative ones. We’d all rather have helped Lucinda stay with her kids than to help ease the tragedy afterward, but suicide is a permanent solution to a temporary problem. The positive things that have happened are because of who these kids are and that a strong community has risen and come together to protect their interests, but there’s no doubt that we cannot restore or replace what is lost. We can try to make what comes now better than what came before and we can make sure that these kids know that they are not alone.

JM:Music is what brings us all together, and rock and roll – being sometimes and somewhat outside of mainstream society – is still a great way to give back and take care of each other in times of need. Many of the artists that she would go see regularly and people that worked for them – from roadies to managers and good friends –  want to get together to raise money for the children who are left in a very tight spot financially and, of course, emotionally. If we celebrate with music most of the time, we also can use it to mourn and see and heal our problems.

How did you get these musicians together?
HG: Largely due to my years of working with Jesse Malin and his efforts as well, we had access to a number of very talented musicians. Those who knew Lucinda and those who never did stepped forward and have given of themselves and their time to this great cause. We’ve established a foundation to build on towards the kids’ future.

JM: Harry Greenberger, my one-time stage manager, guitar tech, and good friend, was persistent and dedicated to making this happen any way possible, as well as several of Lucinda’s friends. There were many musicians who knew her and others that, just hearing this tragic story, wanted to pitch in and be a part of it. I think it’s a great mix of some of my favorite artists, friends, and heroes.

Is This the Best Cover of Radiohead’s ‘Creep’ Ever?

Apart from being popular when it was released in the early ’90s, Radiohead’s song "Creep" has lived on in people’s musical hearts due to several cover versions of the song, by everyone from Kelly Clarkson to Macy Gray–a version sung by Belgian choir group  Scala & Kolacny Brothers even served as the anchor of the trailer for The Social Network. But could this version, sung by Broadway actress-cum-recording artist Carrie Manolakos, be the best one ever? Only one way to find out! Check out the video, via Gawker, after the jump (and skip ahead to 2:25 if you’re too impatient to listen to the whole thing).

Bruce Springsteen Crashes Crowd, Chugs Beer at Concert

How cool is The Boss? During his concert with the E Street Band  in Philadelphia on Wednesday night, Bruce Springsteen made his way into the audience during a performance of "Raise Your Hand," eventually popping a squat in a vacated seat. He was then offered a half-drank beer from a female fan. So what’d Springstreet do?

He chugged the entire thing and then, without missing a beat, continued on with his performance, naturally.

Bruce Springsteen: Busy being cooler than you since 1949. [via The Daily What]

Our Man in Miami: Radiohead’s First Concert of Tour Very Ho-Hum

If Radiohead were a book, they’d undoubtedly be a literary novel; something lauded by both critics and independent booksellers and, perhaps most importantly, cherished by the type of folks who aren’t afraid of spending time alone, undoubtedly reading literary novels. While there’s (still) something to be said about those who (still) write literary fiction, not to mention folks who (still) find solace in open books, the twain don’t make for a great night out at the arena. Which is to say that Radiohead’s Miami showing would’ve made for great headphone, but it sure didn’t make for great spectacle.

Last night’s American Airlines Arena appearance was one of the most highly-anticipated events on an ever-crowded concert calendar — and rightly so too. Radiohead have long been sticking to their proverbial guns and making the kinda music that makes the distinguished minions go mad. They are sharp. They are true. And they are wowful. They’ve also showed that the world can be won on one’s own terms, provided of course one’s willing, if necessary, to go it alone.
 
Of course, it’s been a very long time since Radiohead had to go it alone, or deal with the kind of rigors faced by arch independents. Nevertheless, they remain the epitome of non-compromisers, and their fans treat (and worship) them accordingly. Problem is, said legions seem to spend so much time congratulating themselves on their impeccable taste, they forget what it was that gave everything flavor in the first place.
 
At the Triple A, in the first of a US tour that will take Radiohead to scores of arenas pretty much just like the one where the Heat hold court, thousands upon thousands of like-minded souls stood patting themselves on their proverbial backs. Radiohead, in turn, sang them new-fangled lullabies. Oh, there were a few bright, shining moments (notably the pairings of both “Lotus Flower” with “There There” and “Airbag” with “Body Snatchers”), and, with few exceptions (i.e. a loop glitch in “Give Up the Ghost”), the band played on. But that’s just it: Radiohead played on instead of being on; they weren’t the inspired, soarful wonders we’ve come to know and dig. They were, in a term, ho-hum.
 
I know I’ll get a lotta flack for this, but I’d gone seeking transcendence. We wouldn’t accept anything less in my literary fiction, why should we accept less in our most literary of bands?