INDIE FILM REVIEW: Busking the System

I am an opinionated woman, full of mid-life feist and charm; biases and predisposed attitudes.

I like movies and I love documentaries. Documentaries allow me to learn something from the comfort of my own couch and pajamas, while eating Doritos and Bonbons, martini in hand. They also allow me to contribute something substantial to the proverbial water cooler conversations, if ever I chanced upon one.

I like independent artists; those willing to put in long hours for little pay, to bring us something of value. I like good stories. I love busking and street performance; and I the people who make up this lively culture.

So when Busking The System, a documentary about street performing, written and directed by independent film maker—Justin Morales, was released on DVD, I was first in line to grab my copy. Biases in check, I expected to like this film. What I didn’t expect was how much I would like this film.

Documentaries come in a variety of guises from the pathos drenched political diatribes to the saccharine saturated after school specials. Fortunately, Busking The System falls prey to neither of these extremes. It is a good story, of real people, doing real things; the sorts of things we can see ourselves doing, or know someone who might.

The Big AppleIt is the story of three musicians from across the country who make their way to New York City and take a bite out of. Morales ran an open call on Craigslist, that online flea market where you can find everything from coffeemakers to Happy Endings, to find his subjects. From Seattle, Washington, Matt Ritchie, Blues Guitarist; Kansas City, Missouri brought us Phillip Bradley and Nathan Corsi came from Akron, Ohio. We meet them and follow their stories, their dreams, from inception in their hometowns to fruition, which is their time on the streets of New York City. Laced with interviews and original music, the film is a good reality check, for those considering this type of adventure and a good story told in simple, relatable terms for those who wish to live vicariously through them.

There were interviews with performers and experts of varying degrees woven throughout. They added context and layers to the main story, without detracting from it. Phillip Bradley, one of the participants, had it right when he said, “If you don’t live in New York, you don’t know what busking is.” Some of the interviews were standouts, some were not.

For me, Susan Bloodworth Director of MTA Arts for Transit Program was a standout. Articulate and definite of purpose, she represents the consummate bureaucrat; a person who understands the context in which she lives and can adapt and flourish within that ecosystem. She explains the program with razor like precision, helping outsiders grasp the intricacies of the policy that surrounds Music Under New York.

Another interesting commentator was Alexander Case an Assistant Professor of Sound Recording Technology at UMASS in Lowell. He talked about how the acoustics in the subway are unique and provide a different listening experience to the audience; he explained why that was and the relevance in today’s environment.

Stephen Baird of Buskers Advocate is a well known fixture, not only on the street scene, but the legislative arena as well; specifically the First Amendment.

Ben Yee from one of our favorite blogs, Concrete Beat, checked in, with his predictions and thoughts about the outcome of our starry eyed participants. He brought a much appreciated balance and objectivity—a third person credibility to the game. Spoiler alert, he was right on.

Conversely, it was Benjamin Franklin who said, “Blessed is he who expects nothing, for he shall never be disappointed.” These would have been wise words to heed in anticipation of Susie Tanenbaum and Steven Zeitlin’s comments throughout. Perhaps it was the uncertain manner of speaking or the ,but for me, credibility soon became a moot point. It was Morales’ ability to stay focused on the heart of the story, that saved He is mistaken now, and he was mistaken then.

If you are not interested in the politics, the bureaucracy, the laws or legislation, the music from our street performers alone, makes this film worth the admission price. Flawlessly executed, authentically captured with heart and soul, these musicians, deliver bang for your buck. And from his hand held cam, Morales delivers a slice of life, gritty and unvarnished.

Billy Rogan, probably one of the best finger style guitarists you will ever hear, was present, with his boyish charm and youthful face. Captured here is one of his earliest forays into the world of street performing. His energy, honesty and enthusiasm for his craft are contagious. Today you can still find Billy performing underground, (with slightly more facial hair). He has evolved as a person, an artist and a musician without becoming jaded.

It takes a special type of person to joyfully perform on the streets. Natalia Paruz, The Saw Lady, is such a person. Her talent and genuine joy are always a delight, and I don’t think any documentary about New York City busking would be complete without her.

Mark Nicosia, is attitude; from his stance, demeanor and technique, he unflinchingly delivers New York style and verve with unmistakable passion and a true sense of knowing who he is.

It was great to see Larry Wright, who is an icon on the New York street scene, ‘playing the buckets’. Honestly, ‘playing the buckets’ would not exist without Larry.

Then there was Theo Eastwind, an enigma of great proportions. This Austrian baker turned busker, is a massively talented Singer/Songwriter with a voice like a young Sting or David Grey, a consummate performer both above and below ground, a pioneer for change in the ever evolving landscape of street performance and an active voice in the political arena, He delivered, what I consider one of the best lines in the film; “Freedom doesn’t stop at the turnstile,” delivered straight from the heart.

There were other fantastic performers; Larry Wright, Floyd Lee, Luke Ryan and Mystro Dee to name a few.

The why’s, how’s, glory and guts of it all, were brilliantly portrayed and brought to life by Morales and his team. Well written, walking a tightrope between policy and art; polemical prose and unprejudiced reporting, Busking The System is insightful and original. Who succeeded? Who failed? Well, we won’t tell you here. Those are stories for the water cooler.

Brief Q&A With Writer/Director Justin Morales:

TNBTA: Is this your first feature length film? If not, what are the others?

Justin: Not exactly: The easy answer is my IMDB Page: Justin Morales IMDB

TNBTA: What was your biggest challenge in making this film?

Justin: Capturing everything! There was so much life not enough tape. TNBTA: What was the most rewarding thing in making the film?

Justin: The most rewarding thing was the music I heard and the subculture I learned about. TNBTA: Did you campaign and solicit backers for financial backing? Or was it purely out of your own pocket?

Justin: A lot of everything. I used the Independent Documentary Association as well a few backers. TNBTA: Any advice for filmmaker wannabes?

Justin: Advice for Filmmakers? Have an exit strategy. Have a plan on what to shoot, how to shoot, when you’re done, and know how to find your audience before you start shooting. TNBTA: Would you do anything differently the next time around?

Justin: I would have kept rolling in certain circumstances but otherwise I’m happy with what I got

Don’t be fooled. It’s hard. I know. I’ve done it. My first week on the street earned me ten New York City condoms, a sushi roll and sixty bucks. On the seventh day, a burning bush appeared in the form of a man named FlyBoi. “Girl, you betta get addicted to hustle and allergic to broke…real fast,” he commanded. My guess is, these musicians, didn’t have a FlyBoi.

The film is filled with stunning musicianship and original songs, and also includes insightful comments from experienced buskers and experts who weigh in on the historical, legal and practical challenges of making a living below NYC.

#buskers