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At least he has his mother: This boyfriend failed to win back the affection of his one-time flame by sharing that his mother had made him a 'delicious' meatloaf out of a gift of meat from his ex before their split. Not so pukka: Handing back each others possessions can be one of the hardest parts about a break up. The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline. At 9:15 one evening in early November of 2011, two men and one woman stepped onto a stage in the theater space at the Hudson Valley Resort in upstate New York.
Hillary Foxsong had gotten out of work after a particularly tough day and gone to a pub with some friends for a drink.
At this point, Oyster Bay resident Billy Joel (yes, that Billy Joel) suddenly materialized and asked if he might join in.
When Hillary Foxsong was young, before even attending kindergarten, she would sing along to the first Peter, Paul and Mary album with her mom and grandmother. Hillary sang in church choir and school choruses, but never thought about singing professionally. Hillary got her college degree in art, but found the restrictions of commercial art unrewarding. In Rochester, where Stuart Markus grew up, Stua€™s parents always encouraged his musical pursuits. Vocal harmony made its first impact when a visiting uncle brought Simon and Garfunkela€™s Bridge Over Troubled Water. While still in high school, he also took voice lessons and music theory classes for two years at the Community Education Program at the Eastman School of Music, part of the University of Rochester. At the University of Pennsylvania, he took more music theory classes and played French horn in the marching band and wind ensemble and sang in the University Choir and several a-cappella groups. After four years in Brooklyn, Stu moved out to Long Island and kept going to parties with his guitar, making more friends along the way. By the time he was 12, he had practiced enough to audition and get hired as lead guitarist by a professional band named Focus. Glen had originally discovered the Folk Music Society of Huntington (FMSH) somewhere in the mid-a€™90s. Stu and Hillary joked that they kept showing up at Glena€™s gigs to sing harmony and that he didna€™t seem to mind, because he kept splitting up the tip jar.
After they had been together for a while, Glen suggested teaming up at NERFA, thinking theya€™d go over well. Stu had always wanted to record a version of Peter Yarrowa€™s a€?Light One Candle.a€? Now was the perfect opportunity. During the 2011 NERFA conference, I picked up the sampler for their new album Red Apples and Gold.
All three performers are constantly working these days, staying busy in between Gathering Time gigs. Whatever the sound Gathering Time brings to a listener, the banda€™s history reveals a voluminous repertoire that covers enormous stylistic ground. The formal showcases of the Northeast Regional Folk Alliance Conference were in full swing. Originally started in 2003, ita€™s purpose was to show off the vintage cars of wealthy Long Islanders. Her grandmother, a former professional singer, would tap her on the shoulder, stop her and say, a€?No, honey, therea€™s three parts.
When he was 11 or 12, he heard Crosby, Stills and Nash singing a€?Suite Judy Blue Eyes,a€? and again was impressed with their harmony. In his senior year of high school, the new music teacher formed a jazz choir and Stu joined that.

After a couple of years, he discovered that there were people who were making money playing out in bars, some of them less talented than he. He first met Stu back then at a sister organization called the Island Songwriters Showcase, a workshop group. Stu had already been attending for 10 years, but Hillary asked, a€?Whata€™s a NERFA?a€? So, in November of 2007, they went and for Hillary it was a real eye-opener.
It contained Hillarya€™s first songwriting effort, a€?Remember Mea€? as well as a€?Light One Candlea€? and a number of originals from Stu and Glen as well as one each from fellow L.I. Their set cleared the remaining cobwebs away from some eyes (mine included) and opened a bunch of others. He told me: a€?I recently had the honor of performing in concert with A Few Good Men - a Jazz ensemble comprised of three formerly incarcerated men from Sing-Sing prison, with the Director of Deutsche Bank on drums. She was unaware that Glen had recently run into old acquaintance, accomplished musician and folksinger Stuart Markus, and had extended the same invitation to drop by and sing harmony with him.
You find the part nobody else is singing!a€? Hillary recalled, a€?At times shea€™d get on my part and Ia€™d have to get off and find another part.a€? Hillary had no idea what her grandmother was teaching her (though today she knows that her grandmother knew). After a a€?gooda€? piano lesson his piano teacher would teach him a couple of new chords on the guitar.
They did Manhattan Transfer style arrangements of swing standards and jazz became another genre Stu came to love. His brother brought home some records when he was 6 years old a€” a€?60s girl groups (a€?Please Mr. In time, Glen was negotiating contracts, recording, writing songs and developing marketing materials. FMSH was small and, given his involvement with rock and jazz, didna€™t hold his interest for long. Once formal showcases are over (around 11:30pm), the late-night guerilla showcases and non-stop jamming can draw a neophyte into a frenzied whirlwind.
On her website, along with her fiction, her imagination and creativity can be seen in her digital graphics as well. Hillary is one-third of the Long Island group a€?The Folk Goddessesa€? with Martha Trachtenberg and Judith Zweiman.
The roots of an artista€™s style (vocal or writing) has becomes old for some or perhaps was always annoying in its original form. You find the part nobody else is singing!a€?A  Hillary recalled, a€?At times shea€™d get on my part and Ia€™d have to get off and find another part.a€? Hillary had no idea what her grandmother was teaching her (though today she knows that her grandmother knew). Stu walked up and saw that Glen already had someone else singing with him, but somehow found a third harmony part in the song that, in its original form, had only two parts.
At times, Hillary recalled, a€? Shea€™d get on my part and Ia€™d have to get off and find another part.
Someone would say, a€?Hey, Stu, why dona€™t you play something?a€? Hea€™d play and sing and everyone would sing along to covers hea€™d learned. From 1992 to 2006, Stu was primarily a a€?covers guy a€? who wrote a song here and there, but only occasionally slip them into a restaurant gig. Throughout high school Glen provided guitar, bass, piano and vocal on numerous musical projects, writing, recording, playing and producing. They decided that they needed a name and tried calling themselves a€?Third Wheela€? until an Internet search showed that there were already other groups out there using it.
Stu and Glen agreed that it was a challenge to get Hillary to slow down and get some sleep now and then. The lyrics tell of a letter from a fallen Confederate soldier to his wife and her inner dialogue in response. The smooth-as-silk harmonies were the equal of (and maybe better than) the original by Crosby Stills and Nash.

Stu also continues to perform with Judith in a€?Strike the Bella€? when the opportunity presents itself.
They might not overcome the particular tastes of certain people who hear roots theya€™ve chosen to keep distant, but they will bring many things to many people, hopefully for a long time. As with all other artists in attendance, they sought greater recognition for their talents. While Hillary was not initially thrilled at sharing her role, she had to admit she was impressed with Stua€™s finding that other harmony part. He said that he got guitar lessons in a€?dribs and drabs.a€? There were group lessons in fifth grade and whenever possible, he hung out with players better than him, knowing it was a good way to improve his own playing. With music as an icebreaker, he began making friends and realized that he knew a lot more songs than hea€™d thought at first. When he returned ten years later, FMSH had grown and become well organized and was the center of a huge music scene on Long Island. Together, they performed in centrally located lounge areas and people began asking, a€?Whata€™s your name? That night, in front of a bench on a sidewalk adjacent to the parked antique vehicles, Glen set up and began performing. That said, out of all the instruments hea€™s studied (drums included), guitar is the one on which hea€™s most self-taught. He didna€™t care for the term a€?folksingera€? at first, not realizing how broad a term it was. Stu and Judith then forayed into singing sea chanties as the duo a€?Strike The Bell.a€? That was his introduction into traditional music. After high school, he played solo for a while, and then joined a local band The Passengers. Reprising what I wrote in the review section of our 2011 December NERFA Scrapbook issue: a€?Ita€™s timeless, brilliant and heart wrenching.
From this point forward, the name Gathering Time carried new meaning and bore greater weight.
Stu participated in chorus throughout middle school and high school, but that was just the tip of the iceberg.
Unintentionally, one professional musician lifer had joined forces with another educated talent and one gifted amateur who had never planned to perform professionally. Glena€™s repertoire enlarged and spanned material from Manhattan Transfer and Sinatra to The Beatles and the Rolling Stones. His experience continued to grow with a stint in the Pat Nichols Band (a signed rock project) and his own a€?Buddha Babiesa€? project. Remembering how people gathered around them at NERFA, they began thinking, a€?Gathering a€¦ something a€¦ Moss! A glimpse into their personal lives revealed the fates-in-flight particles of this vortex of talent.
Glen then ran into Stu and embarked on the current path when he extended the aforementioned invitation. It was akin to Jim Crocea€™s a€?Time in a Bottle,a€? a reference to the most precious commodity in life.

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