Posts from the ‘Culture’ Category

Cry Me A River …

 

 

“Tears are a river that takes you somewhere … Tears lift your boat off the rocks, off dry ground, carrying it downriver to someplace better.”

 

The above quote is from Clarissa Pinkola Estes ground breaking book – ‘Women Who Run with The Wolves’. In this work, about the power of story, dream and myth, she also describes tears as being what makes – literally manufactures as though it were a substance – that mysterious thing we call, soul.

 

What follows is no scientific treatise on grief, gender, tears or emotions. Tears defy science, logic and explanation.

 

Crying is such a powerful experience and social significant act, it’s hard to really describe. In some cultures and situations, to cry is a sign of extreme weakness and will be punished. Elsewhere, it’s not just expected, it’s required. The legitimacy of tears depending on gender roles and expectations is also a minefield of different meaning, with different rewards and punishments. Crying goes in and out of fashion – seen as both soft and strong. As a man, do you repress tears because you were told that boys don’t cry? Women do you repress them too ? We are also shamed and attacked if we cry, especially if we do it in the workplace. Our crying is seen as not ‘real’ but something manipulative, ‘turning on the waterworks’ for sympathy and worst of all, ‘proof’ that we are weak. These days, male crying is increasingly seen as something attractive – a sign of modernity, vulnerability and metrosexuality. Again, there are huge cultural variables. In North Korea, people are conditioned to cry, in ecstasy or grief depending on the fortunes of their great leader – and there are penalties for not crying on cue. And in the South, male Kpop idols breaking down in sobs at the end of their gig is absolutely de rigueur.

 

So go ahead, cry. When’s the last time you did? Are you someone who prides themselves on not? Can you no longer – or are circumstances such that it’s all you can do? How many songs have crying as a subject? What’s your crying style? Do you weep, wail, bawl, sob, boo and hoo or are you more of a silent tear rolling down a stoically stony face kind of crier? Are you a secret crier or a public one? Do you feel empowered or weakened if others see you cry? What’s the evolutionary function of tears? How do we navigate the connection between social shame or stigma and crying?

 

That moment when we know, suddenly and unexpectedly, that we are going to cry – especially if others are present, has a frisson of danger, of taboo intimacy to it.  It represents a surrender, a small death of illusion and of control. Like vomiting, or falling in love – there is a moment of no return. And in those moments we are as honest as we ever can be. No hiding. No pretending. Feelings don’t lie, they simply are.

 

The last time I cried was on my own this Saturday, in Ronnie Scotts, listening to bass player and singer, (and pianist and producer/band leader) Richard Bona. He settled into a chord progression that hit my heart and made me bury my face in my hands and practically choke. it was a moment for me alone. I can’t explain why or what it was about. Just the sheer beauty and intensely high quality vibration, I suppose. I know that I felt better for it. And soon I was laughing too. I have had parents in my music for babies and toddlers classes literally weep when I sing ‘Puff The Magic Dragon.’ Which is definitely a mystery to me! It seems that some melodies or frequencies just set us off.

 

Go ahead and cry if you want to – and cry for those that can’t. It’s natural and normal. You might just add years to your life.

 

Some fun things:

 

Sam Taylor Johnsons famous weeping men photos

 

Only in Japan: Rent a hot guy to make you cry then wipe your tears away

More handsome weeping boys of Japan

 


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Love Fiercely. Love Fearlessly …

A demonstrator protesting the shooting death of Alton Sterling is detained by law enforcement near the headquarters of the Baton Rouge Police Department in Baton Rouge, Louisiana, U.S. July 9, 2016. REUTERS/Jonathan Bachman TPX IMAGES OF THE DAY

A demonstrator protesting the shooting death of Alton Sterling is detained by law enforcement near the headquarters of the Baton Rouge Police Department in Baton Rouge, Louisiana, U.S. July 9, 2016. REUTERS/Jonathan Bachman TPX IMAGES OF THE DAY

 

‘’Anything we love can be saved.’’ (Alice Walker)

‘’Witches have a saying – where there’s fear, there’s power.’’ (Starhawk)


Globally, things are serious right now. Problematic life and times, with more complexities in the post, in the years ahead. Many karmic chickens coming home on a micro and macrocosmic level – as personal, planetary and galactic evolution enters a crucial phase – it’s as though we’ve left the womb and are in the birth canal and it’s fairly uncomfortable. We are challenged to remember that our psycho-spiritual faculties are wondrously powerful. Apparently we only use about 6% of our capability. Whether or not we engage in protest or demonstration we can also do a lot in the subtle, energetic dimensions to augment/compliment all of the necessary 3D actions that we make.

This is about 2 things: (a) the urgent necessity of having a concrete spiritual/energetic framework or practice in your life and (b) long-term thoughts I have had about different layers of oppression in society and ways to effect change in the power balance. Reinforced by lucid dreams and visions that I have had that show the energetic equivalent of everything that happens here and the power of fear to control people. What do we do about those who choose to take up arms and oppress fellow citizens on behalf of the state? I’m taking mainly about racist police, private security firms, detention centre guards, companies that manufacture weapons and torture devices – and those who then use them.

The latest wave of racist police brutality in the US has shocked and sickened me. Since about 2014 there seems to be something akin to demonic possession going on in US law enforcement. It’s not a new thing, but the immediacy of cell phone reportage by civilians, is bringing the information home on a daily basis. I am saddened and disgusted by it and disturbed by the lack of political outrage from the international community. At the same time – inspired, because random and organised acts of bravery, leadership and community are now everywhere.

What used to be the official political ‘alternative’, is now an international groundswell of anti-authoritarian, anti-elite grassroots majority, who want social justice, equality, welfare, education, civil rights, clean energy, healthcare and respect for the environment. Also an end to bogus ‘austerity’ measures, an end to sexism, racism, homophobia and fascism of all kinds. This drive for a fairer world now seems global. Our governmental, economic and military/industrial complexes are hanging on by a thread of ideological credibility – which is manifesting in panic and brute force. No-one wants war anymore, except a tiny handful of profiteers. Information on how to create a new society is here and we can do it. It’s possible that the new self-governing structures of the future are being born in the protest movements of today.

Authors Octavia Butler, (dystopian but visionary science fiction) Suzanne Collins (Hunger Games) and Starhawk (author, witch and activist), have written fiction that foresees a dystopian future that necessitates super-human levels of courage from a defiant population. Such books are arguably, a blueprint for a revolution, though they may not have been intended as such. Anyone following the news in America, will have seen acts of protest that are shamanic in scope – the lone woman in a dress (pictured above, later identified as Leshia Evans from Brooklyn) confronting heavily armoured riot police, the man with the sign that says, ‘’We may have to die for this’’ (he knows and is ready) or Diamond Reynolds as she live-streamed the murder of Philando Castile as both her battery and he were dying. Deeds of self-possession, dignity and strength that shame both the police and those whose complicity allows the system to exist.

Here’s something that I urge people to do. You might not be able to participate physically in all the amazing intersectional challenges to authority that are happening. (Here are some them. Please visit their websites and social media streams for links to further resources and info. Black Lives Matter, OccupyStand Up To RacismMovement for Justice, Revolutionary Communist Group, Black Dissidents, Million Women Rise.)

But EVERYONE in these times can and should have a spiritual strategy. An ability to call on transpersonal, higher power. Call it what you will, but it needs to be on speed dial and well practised. Now is the time to have some sort of energetic discipline – not just a vague inclination, but a regime. This can include meditation, prayer, shamanic journeying, martial arts, kickboxing, Tai Chi or, whatever. There’s loads to choose from and something for everyone. Have something that trains your mind, body and spirit to endure, transcend and transform.

We know that first, we need to send love to the victims and survivors of the brutality …

Next, try this: I’ve long had a theory that the power dynamic would be utterly transformed if the people who joined the armed forces, police, prison guards, detention centre guards etc – could be encouraged to choose other routes. The elite needs automatons to do the dirty work and without them, would fail. Imagine a world where there were no more workers left to build tasers, electric batons, handcuffs, shackles, guns or bullets. No police left to wear helmets, boots and shields and no-one bothering to manufacture such things. No armies and no-one interested in joining them. I believe that focused intention can target this group of people. The power of prayer, magical intent and visualisation, IS REAL. Anyone who uses these techniques on a regular basis can attest that results can be profound in ways that transcend both place and time. Fear can be melted. Ignorance can be infiltrated with light. People (everything in fact) are nothing but fast vibrating energy and reality can be altered. Dare to reach in and alter it. 

As you go about your daily regime of whatever it is – take time to light a candle, run to your favourite spot on a high hill, gaze into the fire, or a bowl of water, or go deep into prayer, or trance. Spend a good, long intentional moment – anything from 10 mins to an hour – sending a fierce wave of loving containment towards lost and ignorant souls within the police and army. Start somewhere – anywhere – and know that it’s time well spent. (I’m feeling particularly motivated about the Black Lives Matter movement and US police brutality but there are other situations that need attention, too.) There are instances of police breaking down in tears when confronted with protestors holding up mirrors or offering flowers. If it can happen just once, to one individual – it’s possible. Make your visualisation real, with full production, sound, colour, light, the works. I find holding a crystal that has profound colour energy – especially rose or deep pink, helps. Once you’ve got the picture up and running, use your mind to melt it and kelp melting until the whole frame is suffused and the structure starts to transform. Be uncompromising. Be unrelenting. Go deeper and deeper in and MELT the picture …

If people were to do this in large numbers and then synchronised with others, the results might be surprising. 

Am I saying we have to love everyone and just offer virtual hugs to racists until they are healed? No. I am under no illusions. With regard to America specifically, it’s a systemically violent gun culture based on conquest and slavery. Police officers are trained like robots assassins, with racially biased arrest quotas that make sure the prisons are filled and plenty of money is being made through fines and spurious traffic violations and unbelievably, even ‘walking whilst black’  – baggy, low slung trousers – offences. (Yes, that is a real thing by the way – check out Reggie Yates recent Ferguson documentary.)

Thoughts about the ultimate nature of evil are possibly beyond the scope of this particular piece of writing. Where violence occurs, certain non-human energies feed and they can’t just be hippie-hugged and healed with rainbows, especially if there is no thread or connection to any kind of emotional spectrum. And terms of protest, we still have to put our bodies on the streets and fight for justice.

But there is hope. Love can win. ‘Light’ – as brilliantly defined by Pleiadean channeller and writer Barbara Marciniak, as INFORMATION, can win. Some police officers and soldiers (not all) started off believing that they were actually serving and protecting. That too, is love and if there is even a spark left of that, it can be used in this type of visualisation.

So … give it a try. Human minds and hearts are powerful. Let’s use them.


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Poetic Flow and Gender Fluidity in K Pop

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I am a secret K pop fan. Actually I’m secret K pop addict. Get me talking, or read on and you’ll find I know way more than I should. I know that a SHAWOL (linguistic mashup) is a fan (usually teenage, American, female) who spends too much time on the internet appreciating heartthrob K pop band ShinEE. I know that 2MIN is the slang mash-up for the constant fan speculation over whether Taemin and Minho from ShinEE are gay bromance partners. I know that the Girls Generation members might have surgical enhancements – or so says word on the street. I know that the internet is full of fan made homage to K pop stars, sometimes in the form of wishful written or pictorial pornography embroidering both gay and straight fantasy scenarios between K pop personalities.

… … … …

Why is K pop culture so seductive?

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Cursory research reveals the K pop machine to be exactly that – a comprehensive in-house assembly line of picture perfect 20 somethings with athletes bodies and models faces, made even more slick by makeup and in some cases, plastic surgery. The music, lyrics and dance moves, which are shamelessly derivative of US R ‘n’B are created in studio by cadres of session musicians and composers employed by Seoul Media – the centralised empire of K pop product. Seoul Media is its own world, with an olympic sized stadium at which acts ‘debut’, then regularly present shows or ‘stages’ – during which fans chant and wave glo-sticks in ecstatic unison. K pop is often written in English, translated back in to Korean, then peppered with English phrases spoken in American accents, finished off with devilishly slick production and dance routines which inspire mass devotion and group participation. K pop stars may enjoy the celebrity spotlight but they work for their money. Already virtuoso singers, dancers, actors and athletes, they perform and record relentlessly, with an obligatory round of product endorsements, game show appearances, solo projects, soap opera roles and promotional stunts – some of which are deliberately compromising, challenging and embarrassing. Like being made to kiss seedy game show hosts or being hypnotised on national TV. Shows like ‘We Got Married’, (self-explanatory) ‘Hello Baby’ (pop stars get to baby sit a toddler for a month) and ‘Running Man’ (silly sport stunts) really take this to hilarious extremes. Every now and again, boy groups will do their own version of the girl group songs, a few keys down, with the same dance moves. The air hostess glamour of Girls Generation song ‘Genie’ translates into high camp when the boys do it dressed as pink ribboned sailors. It’s hard to say which version is better. (You decide – watch the girls HERE and the boys HERE.)

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It could be said that K pop is uniquely Korean – a national character of steadfast service, obedience to tradition and goodwill, a must try harder and better, (whilst having fun) work ethic – which at the end of K pop concerts erupts into orgies of repressed emotion. Watch any of ShinEEs big concerts – by the penultimate song, lead singer Jonghyun will start crying and can barely sing, to the point where I have wondered whether it’s a stunt.  It’s not, it’s real. Footage of their French tour has them all in hysterics with the entire crowd chanting in French, ‘Don’t Cry.’ (which they must have heard in every language by now)

… … … …

But, K pop is also an incredibly skilful mimicry of Western, American pop and soul, with acutely observed and replicated physical and vocal motifs that owe everything to Michael and Janet Jackson, Paula Abdul and Prince. K pop singers can also rap like African-American rappers and dress accordingly too – almost past the point of good taste/political sensitivity, with nuances that might well be lost on the performers themselves. K pop is a performance art that has done the West better that  it could do itself – then exported the product back across the water. South Korea as a nation has in the last 20 years seen a meteoric rise, especially in the realm of technology and business and the ‘soft power’ of the creative and entertainment industries. Always in the shadow of the unpredictable North, a war survivor and a ‘catch up’ nation good at copying, not innovation, South Korea has now emerged into an undisputed global contender, with brand names, catch phrases, fast foods and household names that economists foresee will become ubiquitous in the West. K pop is an energy exchange, manipulated, arguably, by the older generation for the young, but in the hands of the young, has a life of its own. Go on YouTube and you will find that US high school girls are learning Korean just so they can understand their favourite K pop lyrics. They are also crushing heavily on the androgynous beauty of Korean men as a welcome contrast to American standards of  hyper masculinity. From the other side, delve behind the Korean fashion industry and you will see beauty products, accessories, makeup tutorials and whole streets of plastic surgery clinics devoted to making Korean eyes look more European. (also prevalent in China)

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Is this East/West love affair unbelievably messed up or – is something potentially more interesting going on?

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OK, so pop culture is mass manipulation – which has suckered me along with everyone else – but let me now focus on the positive. I first saw the the video to ShinEE’S ‘Hello’ playing at my favourite Korean restaurant where I sometimes stop before going to my teaching job. I was utterly taken. My first thought was how like Michael Jackson they were, in sound and choreography. Then, what genuinely good singing. But mainly they seemed to have a pink haired drag queen/LadyBoy singing with them – how progressive, unusual and refreshing. How gay! Was this a gay act? Of course it was K pop phenomenon Lee Taemin, youngest member and ‘maknae’ (trainee) of the group, (joined at 14 now 22) whom SHAWOL fag hags all over the world passionately hope is fellow member Choi Minhos gay lover.

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I began to follow ShinEE, to the point of even tracking down imports from now defunct HMV. Their whole act fascinated me. Not just their music, (they are great singers, each very distinctive) but also hilarious fan-made mashups, parodies and mistranslations that gently satirise group members quirks and also manage to reference the down low yet obvious gay undertones of the group. Here’s what was refreshing to me, since I am a gay act with virtually no role models.  I don’t like all their releases or – fashion phases, (blue contact lenses – no!) but at best, their energy is a perfect storm of male and female energy that makes more sense to me than anything I am seeing in the western music world, male or female, gay or straight. As a lesbian person, songwriter and performer – I am craving some sort of reflection back to myself of something that feels like me – a kind of third path. Femininity that’s tough, baggy trousered, streetwise, desirous of female company and not afraid to grab it’s crotch. Masculinity that’s camp, glam, kind, silly, funny, gentle and homo-erotic. They really are my honorary lesbians…

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And what about Amber (pictured above) – female rapper and dancer with K pop group FX? This super fit and bendy dancer was born and raised in the US, and can be under no illusions as to what her style suggests to a generation used to ‘The L Word’, ‘Orange Is The New Black’ and Ruby Rose. Amber is a pure delight, whether body popping on daytime TV, promoting her cosmetic line, ‘Talent’, filming her army reality TV experience (which positions her as a straight tomboy falling for the male officer – but we don’t believe her) or hanging out with the ShinEE boys singing, (google it) the Llama song. She radiates affability, humour and ease. She’s especially cute hanging out on the Eat Your Kimchi show – eating Bertie Bott’s Every Flavour beans – which may be a a fictional confection from the Harry Potter books – but also exist as a real product that’s big in South East Asia. She too, has attracted speculation as to whether she was involved with ShinEE members. They all grew up around each other in a celebrity environment so, who knows?

.. … … …

At the end of the day, K pop kids, your gay fans don’t care that much if you are gay or not – we love that you might be. You make a product that is inspiring and ever so slightly challenging enough that it might just soften up the world we live in. We hope you didn’t have to sleep with unsavoury people to get to the top, that you are not too tired, dieting and working out constantly, and that you are not contractually forced into plastic surgery and that you are not mind controlled robots and that you get to see and spend some of those earnings. In the West we have a LGBT movement with lots of visibility and social acceptance. I understand that in South Korea – for all that Seoul has Gay Pride and a gay district – that things are much more on the ‘down low’ and less accepted in the conservative mainstream, especially with the older generation. Still, like in Thailand there seems to be a very unaffected natural same sex erotic flow that is actually more laid back than in UK media and society. No-one shouts ‘gay’ as a insult if men hold hands in the street (do they?) whereas in the UK, they will. Amber can look like a dyke in broad daylight on national TV and is safe to do so. Maybe visible K pop Bromance is a way for hidden but ‘genuine gays’ to hide in plain sight. Maybe it’s just affection and us ‘real gays’ in the west are guilty of sexualising everything. It’s hard to believe the love between this lot is not real. It comes across onstage as more than an act. And the widely available fan cam, candid and casual footage of these stars just hanging out, is filled with chemistry, attraction and affection. Who knows for sure?  Can these worlds meet? The wonderful combination of not having to call it what it is, but having the human right to do so, and yet one day not even having to. AND YET, being proud. Because love is love. Even as a distant dream – this is a world worth imagining.  So come out when you’re ready, guys and gals.

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 ShinEE fighting! 화이팅 ! Amber too! Gay Icons (or not) forever! 

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Resources:

Eat Your Kimchi  Hugely enjoyable quirky travel and culture show by straight, but gay friendly Canadian couple Simon and Martina.

What the Pineapple  Ambers recently launched entertainment channel.

Sweet and Tasty TV  Language lessons, travel, food, culture and ‘KWOW’ (Korean word of the week) from sweet and tasty, age-defying, gender-bending Professor Oh.


 

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A Woman’s Worth…

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(The picture is of Norma Jean Wofford, also known as ‘The Duchess’ – lead guitarist with Bo Diddley from ’62-’66. She doesn’t appear in the book I’m talking about here, but this image goes very well with my blog post title. There were dozens of artists that I could have envisaged in the project. Would I like to see Giving Birth to Sound volume II and III and beyond? Yes.  Also a CD compilation and a dedicated music festival? You bet. I’m dreaming big…)

This post is about the worth and significance of musicians – female ones in particular – our capacity as story-tellers, mediums, healers, visionaries, agitators, collaborators entertainers and communicators. Every week, I am still riding the wave of momentum generated by ‘Giving Birth To Sound’ – the new book by Cologne jazz publisher Buddy’s Knife. With a foreword by legendary jazz pianist Amina Claudine Myers and featuring 48 female musicians – including myself. Over a year ago, I was approached by the editor, Renate da Rin. Would I like to be interviewed for a book about female musicians in jazz and creative music? I was up for it of course, and now suddenly the book has arrived and it’s an absolute dream. I am honoured and happy to be sitting side by side with some of my influences and industry legends. A rich collection of personal histories and records of incredible achievement. The contributions have all been translated into English but each artist tells of a very personal relationship to sound, with a diverse range of nationalities, cultures, languages and instrumentation.

All the artists in the book are receiving our copies at different times and reading the final creation at different paces. Needless to say, with a sense of unfolding wonder and high hopes for further contact and projects. This feels unstoppable! For my part, I feel determined to draw attention to what has been achieved here and why it’s important. Despite distinct differences in age, race, language, education and geography, attitude to music, society and concepts of ‘womanhood’, there are common themes amongst the participants – which speak volumes about the times we are living in. An awareness of injustice, a recognition of global inequality and an economic climate where poverty is being demonised and money worshipped, the natural world being destroyed. A recognition that things are in some ways worse not better. A proud, fearless independence, but love of collaboration. An almost mystical, ecstatic reverie that comes from the creative process. Early exposure not just to musical stimulus, but to the worlds of the imagination. A generous passion and hope for the music above all – often expressed in words that are non-linear, poetic, idiomatic and rhapsodic. The book actually reads like a piece of music itself.

Women and girls have been told so many times that we can’t do stuff – either that we’re weak, incompetent and decorative … or in other periods of history and geography, that we are only good for sex, childcare, menial labour and social scapegoating, physical/emotional punchbags, with no access to self-improvement. I don’t say that lightly. In some areas, women have lower status than a domestic animal. Though happily, neither extreme is my own personal experience – the reality of worldwide abuse of women and girls is now so widely known about, that the concept of  female emancipation can no longer be ridiculed as some special interest feminist minority issue. It’s affecting the gender which is actually the majority. So it brings me joy when I see initiatives that really celebrate women. Our stories need to be heard. Some of them are shocking.

 (Here’s what I wrote to the editors:)

”The more I read of the book, the more I am blown away, with love and inspiration, heart quakes and shakes, tears of solidarity and empathy and also a fair bit of socio-political outrage. Today, reading the story of the musician who was accused as a child of being a liar – (TWICE) as her work was so advanced they didn’t believe it was hers… (this happened to me at school, with a play I wrote.)”  * I remember too, after a performance at the Isle of Wight Jazz festival, being approached by the (drunk) director of another prominent UK jazz festival. He accused me of not being the author of my own songs, which he threatened to  research and expose as classic standards which I had in fact plagiarised. Talk about a compliment and insult at the same time. I later received an apology …

 (I also wrote this to the editors:)

”I have to say, a book, (so much more than just a ‘book’) of this nature could not have happened at this time in the UK. We’re beset here with a governmental drive towards austerity that is unbelievable. But there are valiant pockets of rebellion and creativity resourcefulness, generosity and people-power all the more amazing, as we are operating against the odds here. A common theme amongst some of the contributors seems to be the increasing punishment of the poor and of poverty by government and media, affecting all artists – so maybe this economic trend is worldwide. BUT I am so thankful to you creative jazz loving folks at Buddys Knife – for your intellectual courage, determination and artistic integrity in doing this project.
Each one of these 48 contributors is not just a musical creator, but leader, visionary and dare I say it – shaman/sorcerer/witch/wizard/world-bridger and changer of epic proportions. Each with her own networks of international creativity. There are some global possibilities here. As with all creations – a mixture of strong desire/intent and a trust and ALLOWING… the inevitability and momentum of dreams coming to fruit : ) Thinking big. Loving large. Powering the imagination. Women are rising again.”

Here is the intro on the back cover, which says it beautifully. Here’s why you need to read this book! Please order it and buy copies for your friends, libraries, schools, jazz cafes. By doing so you will be helping to support the next stage of our journey – you too will be ‘giving birth to sound!’

”Giving Birth to Sound is about Her-story as told by some of the most brilliant and creative women musicians in the world. Individual thinkers and movers who have been brave enough to devote their lives to the making of music the way they hear it. They were not afraid to sing and speak in the name of sound, showing us that they are a family of unique individuals, separate but united. Read their words and listen to their music whenever you can – it will take you even closer to the great mystery called life.”
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   How to buy the book:
   http://www.buddysknife.de/our-titles/
   info@buddysknife.de
   Available on amazon.com and amazon.de.
Thank you for reading!

 

 

 

Giving Birth To Sound

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This month I am pleased and proud to announce that I am featured in this amazing book, Giving Birth To Sound. Created by specialist Cologne jazz publisher Buddys Knife and a host of contributors working in the field of music – not just jazz, but uniquely personal interpretations of jazz, improvisation and creative sound. The line-up includes some major artists of the 20th century, some of which have influenced and inspired me greatly. What an honour – and I can’t wait to see what happens next! Here is some background from the website:

”Renate Da Rin and William Parker have invited 48 creative women sound artists to share their experiences in the process of creating music and living as an artist. These women come from North and South America, Europe, Africa and Asia.”giving birth to sound” is about Her-story as told by some of the most brilliant and creative women musicians in the world. Individual thinkers and movers who have been brave enough to devote their lives to the making of music the way they hear it. They were not afraid to sing and speak in the name of sound, showing us that they are a family of unique individuals, separate but united.

Read their words and listen to their music whenever you can – it will take you even closer to the great mystery called life. Foreword by Amina Claudine Myers.

Among the great musicians we find Jay Clayton, Marilyn Crispell, Claudine François, Terry Jenoure, Joëlle Léandre, Marilyn Mazur, Nicole Mitchell, Maggie Nicols, Angelika Niescier, Lisa Sokolov, Ijeoma Chinue Thomas, Fay Victor, Jessica Williams … ”

Excited? Like a copy of the book? CLICK HERE  to order.

 


 

 

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Guy Kawasaki – those ’12 tips’ reframed…

 

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In this post, I thought I’d revisit some ideas I picked up (and am still processing) from author, entrepreneur, public speaker and self-styled business ‘evangelist’ Guy Kawasaki. Kawasaki worked at Apple with the late Steve Jobs. He now has dozens of free videos online, books, a blog, courses and classes. (His recent book, ‘Enchantment – The Art of Changing Hearts, Minds and Actions’, is available through his website. )


 

As a musician, I am still getting to grips with this new business model of the 360 degree DIY artist/’solo-preneur’. No matter how many times I hear that the industry is now better for us – a global, open playing field where we can sell our wares directly to our customers via the internet and social media – I still find business speak difficult. At times I think artists are more vulnerable than ever to marketing gurus willing to take our money, in return for a kind of bogus access to the wider world via ‘tweets’ and Facebook ‘likes’.

Most of us weren’t taught this at school, and the learning curve can be steep. The myth of the rock star is etched into our modern culture. Traditionally, musicians are supposed to be volatile, semi-nocturnal, booze-addled egomaniacs with little thought for routine, pre-planning or self-analysis – at least not the business side of what we do. That was left that to managers, fixers, agents and record companies – with positive and negative results. But what does come naturally is: flights of inspiration, ‘blue sky thinking’, spiritual reverie, spontaneity and lateral thinking. Creative people already live in that space. That’s why I like this inventive and irreverent list – based on broad, sometimes random, cross-disciplinary principles. I’m going to unpack it from a musicians point of view.  The original film is full of humour and some great anecdotes – well worth a look.

Here we go with:

Guy Kawasakis 12 tips learnt from Steve Jobs:

1. Experts are Clueless. In other words, beware the aura of respectability that goes with traditional education. True knowledge comes from the bones, the body, the years and years of doing it. Trial and error. Experience. The humility of knowing that as we perceive something – it changes and so do we. The more we think we know, the less we know. There is everything to learn and nothing is ever quite what it seems. I’d like to expand this point to say that true experts can be found away from the self-appointed gurus or motivational speakers, scholars or graduates of any field. The best speakers and educators teach through the power of story, anecdote, humour, proven success, spectacular failure, exceptions to every rule, last minute turn arounds, luck and co-incidence.

2. Customers Cannot Tell You What Whey Want.  Most people do not know what they want and are highly suggestible. However, generally we all want to feel these things: prosperous, attractive, sexually desirable, powerful, youthful, respected, inspired, hopeful, loved, comforted and connected – to belong. Part of the whole, yet, special.  Advertisers know this and exploit it to the hilt, whether they’re selling beer, movie tickets, cars, razors, depilatory cream, ready meals, extreme sports holidays, condoms, clothes, weddings, perfume, luxury flats or organic produce. For artists, remember, the power is  in your hands. Despite what others may tell you, you do not have to conform to the latest trend. Write your music the way you hear it and speak your truth. Know yourself and stick to you plan. Bring the audience round, win them over, reel them in. The vast majority of potential customers quite like to be told what to do, what to wear, what to listen to, what products to buy, relieved of the burden of choosing, in a busy fast paced world. Every weekend people buy sunday papers with a colour section filled with explicit consumer directives, lists, selections, reviews and surveys. Literally, ‘Buy this. Eat this’ etc. That’s in addition to the adverts.  You can manipulate this too, to a degree. I believe artists make art primarily for ourselves – our sanity depends on it. If we can sell enough to keep doing it that’s a bonus and if we discover some sort of spiritual mandate about raising the collective vibration in the process, so much the better. Remember your art comes from you, or at least through you. You are the boss. believe it. Embody it. Love it. Then let your natural persuasion flow.

3. Biggest Challenges Beget the Best Work.  If something scares you – do it. If you feel the urge to resurrect  an aspect of your skill set that you neglected, but which your soul is crying out to express – do it. Bite off more than you can chew, feel the terror and watch as your entire career grows and expands. This is hard for artists – every day already feels like a challenge, in terms of money, time, sleep, energy levels and the ongoing search for recognition. It’s worth reaching for the impossible and expanding beyond your limits. However it’s also worth saying that you have to balance this with adequate self-care and nurturance of yourself as the art-producing organism. Give yourself a time frame for your challenges and take yourself seriously enough that when you leap for the stars you have some support in place. Victory loves preparation and I think that fortune favours those who are ready.

4. Design Counts. There is an initial moment in every encounter where style does trump substance. It’s the first impression and it’s usually visual. People respond on this level in a way that’s instinctive and emotional. Something that looks and feels visually coherent and harmonious invites further engagement. Past this point, the non-visual qualities take over, but if you want to hook people in from the get-go, visuals matter. For musicians, decent photos are a must – so are clear graphics, text and pleasing colours for websites, posters, album covers etc.

5. Big Graphics/Big Font. Obvious and yet sometimes overlooked in attempts to be overly artistic and clever, especially in publicity and marketing. Make sure the information you want to convey is coming across. It can make the difference between customers buying your music, or proceeding to the next new face on iTunes whose biog and links they can actually decipher. There are people who willing to go the extra mile to read smaller text and rules can be broken in the name of artistic license. I write this blog with pale text on a brown background – which is not to everyones liking – but the overall impression reflects my style better than a more conventional black on white format.

6. Jump Curves not ‘Better Sameness’.  I like this – and also find it scary. It strikes a chord which applies to all learning. Jazz musicians know that true improvisation is not about playing your known scales as competently as possible. It’s about leaping into the ocean and letting intuition take over. Musicians need to respond to the changing times. What worked for the last year might suddenly not be relevant anymore. There’s no point in doggedly finding better, more persuasive ways to get record label execs to listen to your CD. These days, you’d best get your YouTube channel up and running, because that’s what they’ll expect to see. As an artist, you may have a trademark –  a good line in sad, bluesy love songs, or an affinity with an instrumental sound for which you are known. One day, be prepared that you may never write on that theme again, it’s time for a make-over and having previously been a guitarist you now only want to play the trumpet. Or ditch your backing band, shave your head and release a solo unplugged album. Which your existing fans may hate – but which your expanding audience is ready for. Embrace these quantum transformations wholeheartedly! The emergent butterfly no longer needs to excel at being the best caterpillar. Things move on. Respond. There’s enormous freedom in editing, speeding and cleaning your flow – be it songwriting, recording, networking or marketing. Minimum effort, maximum result is a mantra that works for me.

7. Something Works or Doesn’t Work. The best songs? Nice hooky melodic flow, not too long, beginning, middle and end. The best singing? From the heart, keeping it real on a subject you know about. The best breathing technique? Get it in, get it out. Best customer/fan PR? Draw the people in, give them something real, communicate your message, honour the time spent together, give thanks, let them choose whether to deepen their relationship with you. Be excited about what you do – desire is the rocket fuel that drives any project and pulls people in, making them feel part of a wider community all buzzing on a compatible vibe. Lack of desire for your own art will repel people. All artists go through ’empty shell’ periods where their marketing speak or concert patter becomes reactive, repetitive. Times like this, it’s worth stepping back from the public eye and rekindling the passion.

8. Value is Different from Price. Very important when a musician is negotiating for  session/gig/consultancy/teaching wages. If new instrumental students baulk at my fee, I remind them that the expertise I will bring to them is literally priceless. An investment that will give them hours and hours of potentially infinite satisfaction and empowerment beyond the initial lesson. Same for a gig or function. I’m confident that my value far exceeds the amount of money paid – which is really only an offering of energy in return for the raw material of my soul. Knowing your worth is hugely important these days, more so now that music has been devalued by a saturated marketplace where entertainment is free and ubiquitous. It’s hard not to be affected by this, lowering your prices and standards and also saying ‘yes’ to engagements which are exploitative. When there is a lot of genuine talent out there, how do you price yourself above or below the next person? Only you know if you have something that makes you truly special. Know your value. Then be bold and communicate that value through your actions and words.

9. ‘A’ Players Hire ‘A’ Players. A difficult one, as we’ve all hired staff who are functioning at a sort of intern level and whom we have to train on the job. This is ok for secretarial staff. It’s not so good for band members, session players, business consultants, photographers, engineers or publicity and marketing assistants who are going to be making crucial  phone calls to industry figures. How do you know at interview stage, if you are dealing with an equal and potential peer? They will not be awed by you, they will come across as genuinely self-possessed. They’ll be honest about their experience level and able to negotiate and discuss their own wages and value with an air of confidence. They’ll know your industry and the people in it and have shared reference points, gained through experience. They’ll be able to challenge you in a constructive way and have the right strengths to compliment your weak spots.

10. Real CEOS can Demo. The classic application of this is the music teacher who can play the piece, who knows the landscape inside out, has travelled the territory that the map indicates. Not all music teachers can! The practitioner who is immersed, body and soul in their craft. Not just the musicianship, but the realities of the industry coal face. Taken to a more metaphysical level – like Thomas Dorsey, if you are ‘living the life you sing about in your song’  if there is a congruence between your walk and your talk – this will translate to the punters. So many of whom are looking for something authentic and soulful with which to resonate.

11. Real Entrepreneurs ‘Ship’. Unless I’ve hilariously misunderstood this – this does not mean ‘shipping in the US slang sense, meaning relationship (like customer PR in this context.) This means get your product flying off the shelves  – let go of it and send it into the marketplace even though it may not be flawless and may have elements that could be improved. In other words, ‘done is better than perfect’. Be careful with this one. If it’s your musical product, it’s you that has to live with it being out there in the public domain and it’s counter-intuitive to plug and promote stuff that you feel is not your best. Still, I like the concept of not being too precious and embracing that moment when our art has to live independently.

12. Some Things Need to be Believed to be Seen. Popular books about the ‘Law of Attraction’ talk about this a lot. Have a vision. Everything that has ever existed, existed first, in the mind. See it. Make it real. I’d extend the definition of believed to also mean ‘felt’, in a vibrational sense. If you only work with what you know to be possible, or what you previously thought to be doable, you are not open to the unique path that is your very own. The future isn’t written, nor are the tools for writing it fixed, nor is the vocabulary set in stone. This is very true right now in music and entertainment, concerning media technologies and consumer habits. On an economic, ecological, global and galactic level, all is subject to change. So let your music career truly become a vision quest, holistic and grounded, right from creative inception to the online music store, to the movie sync deal, to the world tour, to the guest appearance at the protest march. Live your dream whilst creating the kind of world, you want to create music in and for. Let your ethical values shine through. If you don’t have some kind of  spiritual practice in your life, now is the time to explore that and to start working in a deliberate way with the tools of visualisation and manifestation. Guide your life from the inside out, design your own path and enjoy the journey.

 I hope you enjoyed this journey!

 


 

Guy Kawasaki is the chief evangelist of Canva, an online, graphics-design service, trustee of the Wikimedia Foundation, and executive fellow at the Haas School of Business at U.C. Berkeley. Formerly, he was an advisor to the Motorola business unit of Google and chief evangelist of Apple. He is the author of The Art of the Start 2.0, The Art of Social Media, Enchantment, and ten other books.

Here is the original film from Silicon Valley Banks CEO Summit in 2011: 12 Lessons Steve Jobs Taught Guy Kawasaki.

 


 

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Faye Patton Camden ‘mini-tour’… ‘Gilgalive’ 11th March

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Just a quick bulletin – I am really excited to be appearing at Gilgalive @ Camden’s sumptuous Gilgamesh club on March 11th.  I have dates at the Green Note on March 22nd and April 19th, so am going to be glad to warm up and gather a cool Camden crowd around me! Come on down – it’s free entry and if you haven’t visited Gilgamesh yet, it’s a beautiful venue and vibe.

GILGAMESH LIVE! is a regular Wednesday night showcase of some of the most talented acoustic musicians in the UK. Hosted by Rachel Rose in the Gilgamesh Lounge.

Come and enjoy 2-4-1 on selected drinks from 6pm, with performances kicking off from 8 ’till late.

Enjoy a mid-week beverage and some pan Asian aperitifs to the accompaniment of live music. To book a table, call 07534676008.

Gilgamesh, The Stables Market, Camden Market, Chalk Farm Road, London NW1 8AH 020 7428 4922


 

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