http://blogs.wsj.com/metropolis/2013/05/13/auditions-for-subways-underground-music-scene/

By KATHRYN CUSMA and SELIM ALGAR

Dozens of street musicians — hailing from Brooklyn to Burkina Faso — battled it out yesterday for a handful of coveted spots on the MTA’s roster of official buskers.

The winners get prime real estate and time slots in the busiest subway stations across the city — which means more donations from riders.

More than 200 groups at Grand Central Terminal tried to pluck, tap and warble their way into the hearts of a judging panel — who will ultimately pick 20 to become part of the MTA’s “Music Under New York” program.

“This is a very coveted event,” said Kevin Moehringer of the Brooklyn-based High and Mighty Brass Band.

“You can sneak into the subway, but to have an official permit is like a rite of passage in this hip underground music scene.”

Some musicians impressed the judges by playing rare instruments — like Brooklyn’s Naomi Frank, 26, who played an Appalachian dulcimer.

For those not up on their music history, that’s a three-to-four- string instrument with a “fretted” neck, not unlike a guitar.

“Musicians get very territorial, especially in high-traffic areas,” Frank said, explaining why competition for the program has become so fierce.

One Norwegian national, who now lives in Queens, squeezed out Outkast covers on the unlikeliest of instruments — an accordion.

Julian Hintz, 37, said he picked up the instrument to land tips — and ladies.

“I used to tell girls that I played the drums, and it was, like, OK, another drummer,” he explained.

“Then I just decided to say I played the accordion, because it’s sexier.”

Other musicians competed because they’re out of work and see it as a good way to make money.

“I’ve been unemployed for a while and have had time to practice, so I figured I should just go and do it. Like, why not?” said Kate Demagistris, 27, of Westchester, who plays the baroque harpsichord.

The former piano player admitted to ditching the instrument because of her small hands and “weird thumbs.”

Candidates played for five minutes before the panel of judges composed of MTA officials and fellow musicians and artists.

There are currently 200 acts in the MUNY program.

http://m.nypost.com/p/news/local/rail_funky_music_xCHhx5yi0UlGbvV6w70yAP#search

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A musician performing in Burlington this month combines two very different styles as he squeezes out a living.

Julian Hintz performs under the name JULZ-A. He’s from New York City
but is appearing at Nectar’s in Burlington for the next three
Saturdays. He raps while playing the accordion. JULZ-A has performed at
the world-famous Apollo Theater, rapping about how difficult it
sometimes can be to fit in. The performer believes he’s the only
touring artist who combines these musical forms.

Hintz says, “It’s definitely not your usual mixture of sounds,
instrument, and voice. And most people don’t believe it when I tell
them. And sometimes even after they see it they don’t believe. But I
always tell people they have to see it to believe it.”

You can see it, and believe it, for yourself. JULZ-A will take the
famous stage at Nectar’s July 7th, 14th, and 21st at seven o’clock each
night. Those shows are free.

Jack Thurston – WCAX News

http://www.wcax.com/Global/story.asp?S=6734691&nav=4QcS

The New York Times

Hip-Hop, Fresh Squeezed

By ANDREW ADAM NEWMAN

July 31, 2005

White guys and live instruments may be minorities in hip-hop, but

they are not so rare. Julian Hintz, who performs as Julz A, still

manages to be a hip-hop anomaly, however: he rhymes while playing the

accordion. The instrument is less apt to roll with the posse than

roll out the barrel, but onstage Mr. Hintz, 27, is polka’s

antithesis. Fingers fanned out at chest level, terry-cloth band on

his wrist, leaning back slightly, he strikes a classic rapper’s pose

despite playing an instrument that has been relegated to Dorkville at

least since the Beatles. Mr. Hintz has long aimed to sex up the

squeezebox: after he picked up the accordion at 16, the first song he

learned to play was “Purple Haze.” Today he uses a wah-wah pedal and

distortion on tracks like “Julz-A.com” (“What’s that new sound/

accordion lowdown” and “the accordion man/ with the rockin’ hand”)

from his first solo EP, “Squeeze Rock,” to be released at a Knitting

Factory show on Aug. 30. Mr. Hintz discussed a few other modern

appearances of the accordion with Andrew Adam Newman.

“ROCKY RACCOON,” the Beatles (1968): “This is one of those songs

where the accordion fills a theatrical role. It comes in for about 10

seconds – when ‘the doctor comes in, stinking of gin’ – and then

disappears again. And it’s intentionally played badly – the style of

drunk playing.”

“COLD, COLD GROUND,” Tom Waits (1987): “Every time I tell people I

play the accordion, they say, ‘You must love Tom Waits.’ I don’t. The

way he uses the accordion is a gimmick. He’s just taking accordion

waltzes and sticking them into a minor key to create this scene, and

even though he’s trying to create this dark mood it still seems sort

of goofy.”

“THE DOWNEASTER ALEXA,” Billy Joel (1989): “It’s a beautiful swooping

ballad with solid songwriting and a great melody. I can’t really

complain about it except that the accordion is not featured. I

personally play accordion as if it’s the guitar in a rock band – the

accordion is playing the main riff rather than the guitar player

doing it. But in pop music the accordion oftentimes works as padding

to give harmonic support.”

“PARTICLE MAN,” They Might Be Giants (1990): “The riff for the

accordion is the most similar approach to what I do in these

examples. It has a unique line that uses no traditional accordion

style. There’s no one-two style (boom, chick, boom, chick) that’s so

prevalent in traditional accordion music.”

“JESUS DOESN’T WANT ME FOR A SUNBEAM,” Nirvana (1993): “I’m a big

Nirvana fan. The accordion-playing was very traditional, but it was

still a traditional punk-rock song. It had a melancholy quality that

was kind of sweet.”

http://www.nytimes.com/2005/07/31/arts/music/31newm.html

NYTimes7-31-05

JULZ-A, RAPPING ACCORDION PLAYER

Defend Yourself!

by CHASE STAUFFER

March 22, 2006

Julz-A (aka Julian Hintz) has contributed to the current New York scene a shtick so twisted that not even Nick Sylvester could have dreamt it up: The dude raps and he plays accordion. At the same fucking time. Hintz—a California-native punker turned Brooklyn bellow-blaster—hits the road soon to unleash his particular brand of old-skool polyrhythms and hand gestures on the unsuspecting folk at The Lily Pad. Be cautious, but not afraid: Julz-A has never had to clip a fool … yet.

So I think I may have misread your press release. You rap and play … accordion.

Yes.

Simultaneously.

Yes.

What is the most difficult part of that?

Working out the polyrhythms that arise because of it. I like to play at the same time for a couple reasons. One, it’s a difficult thing to do, and I’ve never seen too many people do it. Uhhh—it’s basically like singing while you play, but I’m rapping.

OK.

And the other thing is, you get a lot of classic rapper poses playing the squeezebox. The way the hands move, with the bellows, are exactly—or not exactly, but very similar to the hand positions that classic MCs used.

How does one go from accordionist to MC?

As I got into the poetry of songwriting, rap just sort of seemed easy and just like the right thing to do. But, you know, it just started progressing as I learned more and more about different MCs, popular culture and the underground—and eventually I joined a hip-hop band.

So would you say you’re more East Coast? West Coast?

Bottom line is, I’m mostly old-skool.

So you’re strapped with the accordion … all the time?

Again, I try to stay away from gangsta lingo and lyrics. I’ve called it my axe before.

Ever tried to start a beef with a harpist, or, like, a French horn player?

I have not done it yet, but I do have a sort of a mini-weekend tour coming up with a ukulele player. So—

—oh, god. That’s like Biggie and Tupac going on tour together.

[laughs] Yeah.

Anything else in defense of accordionist MCs?

Oh … well. Uhhh. Keep squeeze rockin’.

http://weeklydig.com/index.cfm/fuseaction/Article.view/issueID/4f2377d5-d8b7-4f61-9796-90e70897a221/articleID/de344e52-2f8a-4f9e-84ad-3cdbcb41db31/nodeID/5666324c-2898-4bdc-a362-4afcac799fcd

March 24, 2006

Ghorar Deem Express & Julz-A — If you think you’ve seen it all, you haven’t — at least not until you’ve attended this concert, which includes not one but two performances by accordion-playing rappers…

http://www.boston.com/ae/events/articles/2006/03/22/top_picks_of_the_week/

If he wanted to create something truly unique, he succeeded…In fact, he might just be one of the must-see acts of NXNE.

http://www.nowtoronto.com/issues/2006-06-08/music_discs10.php

July 21, 2006

Layering slinking beats over the sounds of his squeezebox, Julz-A … rewrites nearly every rock precept laid down before him, ushering a new realm of artistry and experimentation into the hip-hop pantheon.

http://www.jerseyshorenow.com/apps/pbcs.dll/article?AID=/20060721/ISLANDER/607210497/1183/JSNNIGHT

Ladies and Gentlemen, step right up! For the pleasure of your ears and eyes is a man who came to entertain. Accompanied by accordion (hence the title of his first album, "Squeeze Rock") and donning a vested suit, Julz A’s catchy compositions are a colorful time-trip mash-up. Taking the stage like a rock/hip-hop turn of the century carnival, Julz will amuse at the January 24 Songwriter Showcase.

Julz A is a showman whose persona is made unique by his high-energy formally-attired performances, humorous attitude, and entertaining feats. On one live highlight video, Julz is seen playing a ‘baby accordion’ in one song, performing as an almost vaudevillean lounge singer in another, and breaking out a solo dance routine to top things off. In 2006, Julz performed on Showtime At The Apollo.

According to his website, Julz A has been described as "a rapping version of Jimi Hendrix on the accordion." To get an idea of his sound, consider influences such as Red Hot Chili Peppers, Beck, and OutKast. Julz’s own description of his music as being "fundamentally alternative rock" is accurate — the backbone of his compositions echo 90′s alt-rock song structures, chord changes, and tempos.. except that from behind his bowtie Julz raps most of his lyrics, and accordion, ever-popular in rock and roll, is the predominant accompanying instrument.

http://www.jezebelmusic.com/weblog/pivot/entry.php?id=194