Twitter god takes to the stage
Can 657,437 followers ... Can 657,438 followers ... Can 657,439 followers (and counting) be wrong? Possibly. Twitter god Rob Delaney is a genius at being hilarious at 140 characters or fewer, but that doesn’t mean his comedy works the same way on stage. “It’s very different,” says the writer-comedian, who plays the Music Hall tomorrow evening. “On Twitter, I’ll do anything to elicit a laugh. I’ll say things I don’t mean. I’ll pretend that I’m crazy, or ignorant on certain issues.”
And his standup routine? “I’m just me, talking. A real person talking about things I care about.”
One thing he cared about was not having Mitt Romney elected as president of of the United States. One Mitt quip compiled more than 8,500 re-tweets alone: “I was considering voting for @mittromney, but then I remembered I ENTERED THE WORLD THROUGH A VAGINA.”
Few people have benefited from Twitter as much as Delaney. “It’s insane,” he says. “It’s night and day, before and after Twitter.”
The thing is, by just knowing his Twitter persona, his online fans might not know Delaney as well as they think they do.
Fiddler tests limits of her instrument
As a violinist with Bell Orchestre and the Grammy-winning rockers Arcade Fire, young Sarah Neufeld made a name for herself. Now, she’s trying her hand at making music by herself. She recently contributed a body of music for solo violin for a short film for Italian Vogue, Scalpel/Stradivarius. And in January, she heads to Berlin to record an album of material she’ll be showcasing tonight, unaccompanied, at the Drake Hotel Lounge. She spoke to us from her home in Montreal.
There’s a video at outoftownfilms.com in which you play an untitled piece. Is that the kind of thing we can expect from you?
That’s one of the pieces, yeah. My solo works are more related to Bell Orchestre than any other of my projects. Bell Orchestre was a project where we explored the potential and the limits of instrumental music, as individuals and as collaborators. It’s the same approach. I’m trying to reach somewhere else, outside of the violin, through the violin.
Are you talking compositionally or technique?
Both. I play very chordally and rhythmically. It’s close to fiddle music, because of that rhythmic approach and all the string crossing. But melodically and harmonically, I’m coming from somewhere else. I probably have more in common with pop music than traditional fiddle music. It’s a challenge, after all these years of working with my instrument, in all these different ways, to now say, “Okay, now I’m going to isolate this thing and try to push it, and push myself with it. Without looping or relying on effects, can I really make this full world of music that I hear in my mind? Can I make it on this one instrument, and can I do it alone?”
You sound like saxophonist Colin Stetson when you talk like that.
Colin’s been a tower of support, inspiration and critique. We bounce ideas off each other. He heard the results of what I’d been doing, and said, “Just keep going with it and then maybe you can open some of my shows.” So, I kept writing, and it became this direction. Before I knew it, I had a body of music.
ART & MUSEUMS
André Kertész: Self-Portraits
He was a man ahead of his timer. André Kertész, a pioneer in self-portrait photography (without the benefit of an iPhone), is the focus of an exhibit on an artist who couldn’t get enough of himself. To Nov. 24. Stephen Bulger Gallery, 1026 Queen St. W., 416-504-0575.