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SING US A SONG

“Piano Man” Wade Preston Returns to CRT

By Bryan VanCampen

Wade Preston, “The Piano Man”, returns to CRT in Cortland on Saturday, October 23 for two performances at 2 p.m. and 7:30 p.m. Preston worked with Billy Joel on the Broadway musical “Movin’ Out” and is back for a fourth time to share Joel’s songs, from the big hits to the deep cuts. Preston spoke to the Ithaca Times about his COVID year, keeping his show fresh, and his new CD.

Ithaca Times: Tell me about your COVID time. Is everybody OK?

Wade Preston: Yeah, I managed to survive it. I laid low. I was fortunate not to contract the disease. I did a number of virtual concerts; some people requested videos, and I had a bit of savings to get me through the rainy days. I came out with a CD in July of 2020, and sold a bunch of those. That helped as well. It gave me something to focus on, ‘cause I was working with this relatively new ensemble, just a bass player and a drummer – The Wade Preston Band 2.0 (laughs) – and it was going really well. We were rehearsing on a regular basis, and I was getting them to sing, so it was really cool having a three-piece band with three-part harmony, and they were really into it, and then COVID hit. The thing that kind of kept me from losing my mind, ‘cause there was so little to do, was staying focused on this CD. So that helped me get through it, psychologically. I had a personal project to focus on.

IT: It must have been nice to say what you wanted to say.

WP: Yeah, it’s funny that you say that. The concerts that I do revolve largely around Billy Joel’s music, and there’s some Elton, and there’s some boogie that I throw in there; the piano pyrotechnics. But I’ve got a lot of original music, and I don’t really get to focus on that a whole hell of a lot. So it’s nice to have something that represents my own sense of individuality. I have my own personality, I have my own music, I have my own, as you say, “things to say.” [laughs]

IT: You’ve played at CRT before.

WP: I believe this is my fourth time.

IT: How do you keep things fresh?

WP: There are certain songs that they’re gonna wanna hear every time. There are classics that if I don’t play, they’ll get upset. But Billy’s catalog alone is so vast that I can always find songs to sprinkle in there to keep it fresh. I have an arrangement of “Forever Young” by Bob Dylan that I’ll probably play. It just seems to draw people in. Just a beautiful song and a beautiful sentiment. I don’t always have to play Billy Joel, and also, I’ve got a CD to push. I wanna try to at least get a couple of originals in there.

IT: What’s the name of the CD?

WP: “Lost in the Noise.” A few years ago, a friend of mine said, “How come you haven’t put a CD of your own out?” And my answer was, “Well, you know, every day I’ve got these long-term goals, but all the short-term goals kind of consume my days, and the long-term goals keep getting put on the back burner.” And she said, “Oh, you’re lost in the noise.” And I said, “And that will be the title of the CD,” [laughs] Lo and behold, about two weeks later, I was in the studio recording the first song.

What makes “Halloween” intriguing is the opportunity to track Curtis’ character over the course of 40 years, from high school student to damaged, triggered grandmother. It’s like some messed-up version of Richard Linklater’s “Before Sunrise” trilogy. Has any other actor played the same role over a greater span of time? I find that fascinating.

The problem with “Halloween Kills” is that Laurie Strode is largely side-lined, recovering from her wounds in the hospital as the focus shifts from her to the townsfolk of Haddonfield, Illinois going full-on Frankenstein’s villagers, picking up hockey sticks, guns and baseball bats to hunt down Myers, chanting “Evil dies tonight!” en masse. (Any similarities to the raid on the Capitol are very flawed and American.) Anthony Michael Hall plays one of the kids menaced back in 1978, now all grown up and — he thinks — ready to kill Michael Myers. Hall is a very good actor, but I just wasn’t as interested in his character as I was in Laurie’s family crisis.

If you’re expecting the same lack of gore and restraint of Carpenter’s original vision, think again. There are a lot of kill sequences, and they’re all on the outer edge of R-rated carnage. If you’re not into blood, brains and extreme splatter, stick with the Carpenter original.

Just in time for Halloween and Christmas, “The Movies That Made Us” on Netflix just dropped season three: “The Holiday Movies That Made Us,” and the first episode is all about the making of Carpenter’s “Halloween.” The series is cool because as much as I know about the movies being profiled, I always learn something or get a new angle on the history of production. I thought I knew everything there was to know about the original “Halloween,” but I did not know that during the shooting of the scene where Michael Myers hijacks Dr. Loomis’s car, actor Donald Pleasance was half-swacked on wine.

Season three is a real holiday grab bag, with episodes about the making of “Friday the 13th” (1980), “A Nightmare on Elm Street” (1984), “Aliens” (1986), “Robocop” (1987), “Coming to America” (1988), “Tim Burton’s The Nightmare Before Christmas” (1993) and “Elf” (2003). I’m still not sure what holiday you’re celebrating when you watch “Robocop” and “Coming to America,” but whatever…

Recommended: “I’m Your Man” at Cinemapolis; “Rita Moreno: Just a Girl Who Decided to Go for It” on Netflix. promoted to the broader public. Often these many and myriad shows of student, faculty, and visitor work embrace what may seem to outsiders esoteric means and ends. Gallery-goers familiar with “townie” art venues may be baffled or bored — not necessarily without good reason.

Although far from a populist or lowbrow show, “Reflections” has a playfulness and immediate energy that belies Bertoia’s deep sophistication. Indeed, his work shares this in common with that of fellow Cornell-affiliated wood sculptors Elliott and Romanoff. Comparing the latter two, at least, is recommended and doable.

Bertoia’s is a metaphorically, as well as formally, ambitious art. In an accompanying statement, he writes that “enclosure, isolation, separation, [and] privacy are among the ideas involved in the work.” This is more than some COVID-era grasping for relevance — rather, the constructions here take the artist’s signature approach and give it richly evocative variation. With their building-like structures and often anthropomorphic presence,

Biblowicz Family Gallery

Occupying an underground corner of Cornell’s Rem Koolhaas-designed Milstein Hall — look for the notorious cantilever over University Avenue, across from the Herbert F. Johnson Museum of Art — the Bibliowicz Family Gallery is open to the general public from Monday through Friday, 9 a.m. to 4:30 p.m. AAP runs a busy calendar of shows and other events free and open to the general public. More information can be found at aap.cornell.edu.

Renzi Cancer Center

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The Renzi Cancer Center offers the latest innovation in radiation technology with the TrueBeam™ Linear Accelerator, which:

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To learn more about The Renzi Cancer Center at Guthrie Cortland Medical Center, visit www.Guthrie.org/RenziCancerCenter.