Just this past week, my band, the Felus Cremins Band, released our latest album. It’s called American Romantic Music, and you can stream it right here, or check it out on our Bandcamp page.
To mark the occasion, I asked my bandmate and partner Brian Cremins to join me to chat specifically about the making of the title track, the song “American Romantic Music.”
Rather than slogging through a whole boring track-by-track rundown of the entire album, I thought it might be instructive to focus just on this one song. I think the process by which it came to be written and recorded is particularly illustrative of the way that we collaborate.
In addition to our chat, you’ll also get to hear how the song progressed from its first demo to its first live performance to the final recorded version that’s the heart of the new album.
Many of you will be familiar with Brian’s work as a writer and scholar, but he is equally insightful about listening to, writing, and playing music. So I really think you’re going to be delighted by our conversation here.
Brian first started playing guitar when he was 16, and he joined his first bands while attending Dartmouth College in the ’90s. Some of the most memorable of these bands were The Frost Heaves, Hamlet Machine, and Wonderland Accident.
While in grad school at the University of Connecticut, he played guitar and sang in the rock trio The Confessors. They played all over the East Coast at notable venues including CBGBs, TT the Bear’s, and Toad’s Place, and lots of other clubs that have been turned into parking lots since then.
In Chicago, he’s played with and written songs for the bands Ten Hundred, Short Punks in Love, Tiny Magnets, and Pet Theories.
Though primarily self-taught, Brian has been studying jazz guitar with John Moulder for the past four years, and is currently also learning to play the oud.Read More
If you were on Twitter the day that the 2019 Oscar nominations were announced, you may have noticed a little viral excitement about an alternate set of awards called the Elsie’s.
16 year old actress Elsie Fisher, who’s probably best known for her starring role in the 2018 film Eighth Grade, took to Twitter to declare that, “I’ve decided to start my own film awards because sometimes other ones suck, so here are the nominations for the first annual Elsie Awards.”
And from there she proceeded to announce her nominations for the typical categories like Best Actress and Best Director, as well as innovations like Best Horror Feature, Best Young Performer, and Best Independent Feature.
Her nominations referenced films with impeccable cool cred–like The Lighthouse, The Farewell, Hustlers, and Us–and sought to implicitly critique the lack of diversity among the actual Oscar nominations.
I think I first saw the thread when comedian Patton Oswalt tweeted about it, but there were a bunch of articles posted about it within the day on sites like Teen Vogue and Indiewire praising Fisher for her good taste, inclusivity, and plucky ingenuity for taking matters into her hands.
However, to a select handful of people, this whole idea of the Elsie’s sounded strangely familiar.
See, there’s another individually produced, underground movie awards ceremony that’s been around for nearly 30 years now, and that’s the Nick Movie Awards.
Established in 1992 by Nick Ivankovic, the Nick Movie Awards began as a way for Nick to honor his favorite films and performances each year. In the years since, the Nick Movie Awards have grown from a literal bedroom project to an annual event that has included parties, trivia, viewer’s choice categories, online voting, and even its own signature menu items.
Nick grew up in Schererville, Indiana, and attended Butler University as an Accounting major. He’s been a finance professional for 20 years and is currently based in Los Angeles, California.
I asked him to join the show this week to talk through the history of the NMAs (as they’re affectionately known) and to give a more in-depth glimpse into his nominations for the 2019 movie year.Read More