The Mystique of the Open Mic
by Gillian Linman
The open mic-it draws us in with its promise of never-before-heard-of talent, and, if we're honest, the guarantee of a few... interesting characters. I mean, come on, it's a mic open to the public to do pretty much whatever they want. Who doesn't want to hear their own voice every once in a while? Oh, you mean I'm the only one? This just became really awkward...
But really, what is it about an open mic that is so enthralling, so appealing? Some people wait all night to get their chance on stage, while others frequent open mic spots every week merely to watch. Take for example Bar 4 in Brooklyn, New York. Every Tuesday night they host an open mic that starts at eight o'clock PM, and usually doesn't end until at least three o'clock AM. In order to perform you have to sign up (for a good spot around six o'clock) and then confirm again at eight o'clock to actually pick a slot. If you're lucky you'll play by ten or eleven, and if you're not, be ready to say "good morning" when you perform. If you add it up, in order to perform at this particular open mic, you must wait at least two hours if you are extremely lucky, but more realistically you must wait four to six hours, just for your ten minutes of fame.
Thus begs the question: is this why open mics are so appealing? Is it simply the chance to perform in front of an audience, the chance of fame and recognition? Or do people just want exposure for their art, and the performance seems just a vehicle for the art? It seems these days there is no sure answer; everyone loves and hates the open mic for various reasons, and there seems to be no rhyme or reason for these opinions. However, in an attempt to get a better grasp of the open mic appeal, I spoke to three performers who live and work in New York City.
Meredith Janke, a poet and student at NYU double majoring in English and Philsophy, has performed her poetry at various talent shows and recently appeared in NYU's famous Ultra Violet Live. UVL showcases open mic-esque talent from across the university.
"Poetry doesn't get a lot of play in open mics," Janke said. "Spoken word poetry holds people's attention in a different way."
Janke expressed that open mics are great, but it is harder to perform spoken word poetry simply because of its nature. It doesn't seem quite as captivating as a song, simply because you lose that performer mentality.
"Performed poetry can be valuable and is fun sometimes," Janke remarked, "but I don't write my poetry in order to perform it; this takes a particular type of poem."
For Janke, it seems open mics are valuable in order to share her art with others, though, as she said, it is harder for her as a poet simply because it takes a different kind of audience to truly appreciate good poetry.
For musician PJ Herring, open mics are a "great place to practice performing, which is something that is hard to do." Herring has played guitar since he was a teenager and recently began writing music a couple years ago. Lately he has been playing weekly at Bar 4.
"It's just a really encouraging environment," Herring said. "You don't feel pressure to be perfect - you're just developing your craft as a performer."
Open mics are a great way to get over stage freight, and in general a great way to get used to playing in front of an audience. However, as Herring points out, it seems this wouldn’t be possible without the lax environment that the open mic provides for artists.
For Zach Williams, a singer/songwriter currently reigning from the great New York City borough of Brooklyn, the open mic "gives musicians a chance to play in front of people who will lovingly critique each other." Williams lends a portion of his musical success to open mics and the community they provide for musicians and artists to collaborate and encourage one another.
"Sometimes I end up hearing a lot of better musicians than me, which is a huge reality check," Williams said, "but this only encourages me to keep writing and to become better at what I do."
It seems open mics provide performers with a somewhat necessary challenging environment, which in many cases can spur them on to create more and better art. Williams also pointed out the diversity of the open mic. You have your professional musicians, your writers, etc., but then there are just the people who want to perform in order to unload frustration or hurt. The combination of these different types of people forms the "voice of a community talking about really personal issues in their lives that otherwise you would never hear." And it seems to be this that makes open mics so unique in our culture. You don't need to be a professional to be on stage; you just need to be a person with a story and a passion, and be willing to share that with your community.
So what is the mystique of the open mic? Yes, it most definitely gives you the opportunity to share your art with others, and perhaps voice your opinions. Yes, it gives performers the chance to do what they love and an environment that is conducive to do so. Yes, it provides musicians and other artists, the chance to be critiqued and reacted to in hopes of creating "better" art. But more than all of these things, the mystique of the open mic lies in that it represents real people with real stories who desire to be heard—and can be. So don't be afraid of the open mic, daunting as it may be. If you have something to say, go and say it - perform you arse out! You owe it to yourself, and you owe it to your community.
