A.k.a. street musicians…
Being in a city that, according to locals, has the best of everything… you might think that is the case with buskers. Evidently, not so.
Yesterday, as I transferred from the 3 train to the M train, I had to walk what felt like a mile through a tunnel to the other train. And as I headed into this tunnel, I heard a man with a guitar… and it sounded bad. The rhythm was off, but most apparent was his complete tone deafness.
He had positioned himself smack in the middle of the tunnel making it possible to aurally assault commuters on both ends of the tunnel. He was strumming away with idyllic rapture. I was struck by the complete lack of tune, melody, you name it.
At first I thought it might be something from the Beatles – Rubber Soul album. Then as I recognized none of the words… except that they were probably English… I realized this was his own concoction. It seemed like if he kept with a melody or at least the same chord as his guitar that things might have improved drastically. But, I realized that even the guitar was off switching from note to note and essentially key to key with gusto but zero finesse. He wasn’t dressed like a crazy person – he seemed like a cool cat… but he was blithely oblivious to the pain he was causing me and everyone around me.
I bring him up not as the exception but seemingly the rule for subway performers. There have been the exceptions… a guy at Grand Central who plays upturned buckets like they were true bongos. Actually there was a dynamic duo of bongo players on my 3 train once who were so good, I did give them money. They were awesome, in fact. There is also, at Times Square station on one of the levels a guy who wears a paper crown while he plays the blues. He is soulful and his music has stopped people in their tracks. All of these examples are the exceptions.
Usually, it’s the guy singing La Bamba with a karaoke machine who not only doesn’t know the words but he keeps playing the same song over and over again. Or, it’s the kid on the S train – a frustratingly tedious ride also known as the 42nd St. shuffle which takes passengers from Times Square to Grand Central running under 42nd St. – playing two buckets with drum sticks so loudly and badly that most passengers plug their ears and glare at him. There’s also the reggae player who apathetically tries to emulate Bob Marley, but he never succeeds.
This collection of less than mediocre is what accompanies me through the underbelly of New York, frequently and gratingly. I long for the virtuoso… and every once in a while I find it. The cello player who periodically hides out on the platform as I wait for the train to take me to Brooklyn. I’m a sucker for the cello, and his playing is both smooth and deeply delicious. He doesn’t appear to have a regular time, and yet neither do I. But when the planets align, musically speaking, the four minutes I wait for the train are stirring and calming all at once. For a brief few minutes I am transported,
As ever,
K. Quinn