Jules Avalon occupies a Central Park bench alongside his amp and open guitar case which has propped up a peg letter board displaying his information. In between songs he is approached by strangers that ask him about his musical abilities as well as inquiring about potential song requests. Seeing this, others do so as well and the space in between each song grows longer with each friendly conversation in between.

    As I begin to film, Jules promptly transitions from one song into “The Fool On The Hill” by The Beatles without breaking strum. In a way, it feels as if the crowd that Jules has attracted has become companionable with him. A man sitting next to me has lowered his newspaper, giving way to tapping his foot and miming the lyrics to the tune.

    Even though no one sits in assigned seating, Jules approachability has garnered a miniature concert-like crowd. Those sitting on the benches beside him turn their head perpendicularly to participate. It is the impromptu and informal nature of public music that facilitates moments like these.