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Boston Typewriter Orchestra
Boston Typewriter Orchestra

Jamming with the Boston Typewriter Orchestra

Boston Typewriter Orchestra
Boston Typewriter Orchestra

Talking typewriters with the members of the Boston Typewriter Orchestra is like asking for a recommendation on a good Gibson guitar from Eric Clapton.

“The portable Remingtons, they have quicker key strikes, with a higher tenor note to them,” Brendan Emmett Quigley, a professional crossword puzzle maker and part-time musician, tells mental_floss. “A Smith-Corona Galaxy 12 has a power space function that makes a nice metallic clang sound.”

“Some don’t make enough noise,” adds member Jeff Breeze.

“Alex [Holman, a fellow member] is a pro at breaking them,” Quigley says. “He’ll hammer actual type on the type bar. There will be metal shears spiraling off onto the desk.”

The potential for protective eyewear is part of the deal for members of the Boston Typewriter Orchestra, or BTO, a Boston-based musical group that summons the distinctive chirping noise of old manual typewriters to create catchy rhythms. Like something out of a 1940s montage on secretarial labor, the percussive clicking at one of their shows starts out haphazardly before slipping into sync. Melodies like “The Revolution Will Be Typewritten” and “Entropy Begins at the Office” are hammered out until some of them begin bleeding from their fingertips.

“It’s kind of like our own little fight club,” Brendan says. “You’ll see friends or colleagues and say, ‘You know, you should be part of this.’ And a certain type of person will go, ‘I need to be part of that.’”

 
Founded in late 2004, the origins of the BTO began in a diner. An artist named Tim Devin was drinking and was also in possession of a portable typewriter, which he began pecking at. When a waitress asked what he was doing, and possibly asking him to stop doing it, Devin replied that she shouldn’t worry: He was the conductor of the Boston Typewriter Orchestra.

Along with some friends, Devin took the joke and began to take it vaguely seriously, rehearsing with old manual typewriters and getting a feel for their musical abilities at private functions before officially debuting at the Art Beat festival in Boston in 2006.

“We played a little theater but wound up filling it up so it was standing room only,” Quigley says. From there, a rotating cast has performed between four and seven shows annually in and around New England, typically breaking up their sets with an irreverent “office” setting that both mocks and sympathizes with corporate culture.

“We’re sort of pulling from the collective unconscious about bad office jobs and office politics,” Alex Holman says. “It’s sort of an inscrutable performance.”

Word of mouth books most gigs for the Orchestra, which has appeared on National Public Radio and opened for musician Amanda Palmer in between gigs at poetry readings, libraries and clubs. (Quigley says they turned down a gig in Mumbai over a disagreement over travel expenses, but it’s not clear whether he’s serious.) “People hear about it and go, ‘We need to have this at our event,’” he says. Sometimes writing groups or typing-related functions invite them without realizing they really don’t write anything on the typewriters.

“We used paper early on but just got gobbeldygook,” Quigley says of the typed result of their jams. “Generally speaking, there’s no sound difference, so we stopped.”

 
Rehearsals are on Wednesdays. A two-hour practice might be “half beer drinking,” Holman says, and half actual composition. Attendance depends on whether any of the eight current members have other responsibilities. (Among their number: a librarian, an AIDS researcher, and a mortgage broker.) Some tunes have a spoken-word frame, while a few others contain vocals. “It’s a lot of taking a 10 to 15 minute-long groove and cherry-picking parts to make a performable song,” Holman says.

The group will perform next on December 21 at the ONCE Ballroom in Somerville, Massachusetts and is preparing to release their third album and first on vinyl, Termination without Prejudice, Volume 1, after a successful Kickstarter campaign. One new track, "Harold," will feature Holman on "lead roller bar."

“We know we’re a niche thing and we’re happy with that,” Quigley says. “I don’t think any of us could handle overnight success.”

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Henson Company
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Pop Culture
Jim Henson's Labyrinth Is Being Adapted Into a Stage Musical
Henson Company
Henson Company

More than 30 years after its cinematic debut, Labyrinth could be hitting the stage. In an interview with Forbes, Jim Henson's son and Henson Company CEO Brian Henson shared plans to transform the cult classic into a live musical.

While the new musical would be missing David Bowie in his starring role as Jareth the Goblin King, it would hopefully feature the soundtrack Bowie helped write. Brian Henson says there isn't a set timeline for the project yet, but the stage adaptation of the original film is already in the works.

As for a location, Henson told Forbes he envisions it running, "Not necessarily [on] Broadway, it could be for London's West End, but it will be a stage show, a big theatrical version. It’s very exciting."

Labyrinth premiered in 1986 to measly box office earnings and tepid reviews, but Jim Henson's fairytale has since grown into a phenomenon beloved by nostalgic '80s kids and younger generations alike. In the same Forbes interview, Brian Henson also confirmed the 2017 news that a long-anticipated Labyrinth sequel is apparently in development. Though he couldn't give any specifics, Henson confirmed that, "we are still excited about it but the process moves very slowly and very carefully. We're still excited about the idea of a sequel, we are working on something, but nothing that's close enough to say it's about to be in pre-production or anything like that."

While fans eagerly await those projects to come out, they can get their fix when the film returns to theaters across the U.S. on April 29, May 1, and May 2. Don't forget to wear your best Labyrinth swag to the event.

[h/t Forbes]

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Spotify
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Pop Culture
David Bowie Is Taking Over New York City's Subways
Spotify
Spotify

Ground control to Major Tom: New York City subway riders can now channel one of David Bowie’s many personas while “floating 'round a tin can”—or vying for a seat on the train, as Fast Company reports. Created by Spotify in collaboration with the city’s Metropolitan Transportation Authority (MTA), commemorative MetroCards featuring iconic images of the legendary rocker will be circulated for a limited time to promote the ongoing "David Bowie is" exhibition at the Brooklyn Museum.

A promotional David Bowie MetroCard
Spotify

Five different MetroCards are available, each depicting one of Bowie’s iconic stage personas, including Ziggy Stardust, Aladdin Sane, and The Thin White Duke. Past MetroCard promotions have featured characters from cult TV hit Twin Peaks and the logo of skateboard brand Supreme, the latter of which became so popular that some of the cards sold on eBay for prices ranging from $50 to $1000, according to The Verge.

Spotify and the MTA's David Bowie subway takeover
Spotify

The MTA said 250,000 David Bowie cards have been printed. They will be sold at random from station booths and MetroCard vending machines at the Broadway-Lafayette and Bleecker stations.

The stations were chosen because of their proximity to Lafayette Street in SoHo, where Bowie lived for two decades up until his death in 2016. In addition to the MetroCard promotion, Spotify has launched a “ takeover” of the Broadway-Lafayette station, where commuters will see photos of Bowie that are currently on display at the Brooklyn Museum.

A photo of Spotify and the MTA's David Bowie subway takeover
Spotify

The "David Bowie is" exhibition runs until July 15 and includes 400 objects from the David Bowie Archive. Highlights include more than 60 of his performance costumes, 85 handwritten lyric sheets, and oil paintings created by Bowie.

[h/t: Fast Company]

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