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asrisgratitudejournal · 10 months

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Lyon

Jam 16.14 waktu Lyon and I am here in the ampitheatre of Palais de Congress de Lyon (… or some sort), sorry ga hapal nama benerannya in French, tapi intinya lagi conference ajasih seminggu ini. Namanya Goldschmidt, this is the biggest geochemistry conference in the world probably. I mean, HUGE conference in the world of Earth Sciences ada EGU, dan lalu AGU (Jujur kepanjangan dari 2 conference ini gatau apa) (oh habis googling, apparently just the name of the organization??? EGU stands for European Geosiciences Union and AGU American Geosciences Union, tbh the term “American” doesn’t sit right to me because ofc it’s only “The USA” but just their audacity to take the name of the whole continent for an association name??? Anyway…). Specific sub-study seperti geophysics ofc will have their own conference, dan juga ada yang super super specific lagi kaya khusus planetary geoscience misalnya, or volcanology. This Goldschmidt is my 2nd conference that I attended and talk in since I started my PhD, so that’s good I guess (?). My first one was a very intimate 2-day conference with specific theme held by Geological Society of London in Burlington House, London. Was it November last year? Lupa. Iya tapi intinya beda banget scale-wise. There was no parallel session, everything is done in that one room.

Masing-masing model conference ini ada benefit dan caveatnya sih. Kalau kecil banget modelan conferencenya, you get to meet (maybe) just the right people to talk to, karena specific bgt kan topiknya, dan ya yang dateng mostly emang orang yang ngerjain apa yang kita kerjain juga. Nah tapi saking kecilnya, kadang the “big star” – the profs, the PIs, the ones you cited most, bisa ga datang karena mungkin they think it might not worth their time to “boast about their discovery” to such limited number of people. Nah kalau yang gede banget modelan Goldschmidt ini, you can almost be sure that the big star would be there. Tahun ini Tamsin dateng, kemarin w ngeliat Bergquist, tadi ada Ros Rickaby, Chris Ballentine, Anthony Chappaz (salah satu reviewer paper w), dll dsb. Keuntungan lain dari big conference adalah: saking gedenya, you could be invisible and mabal easily if you want to (LOL). Dari kemarin, ku sendiri cuma papasan sama Joost di sesi Bergquist dan Isabel. Belum sempat ketemu sama Tamsin samsek juga. Bakal ketemu di hari Jumat anyway karena beliau yang akan meng-convene session w. Kekurangannya dari big conference, consequently, adalah the VERY broad range of people and science you’re going to encounter. There are TOO many options all at once that you started to get overwhelmed and therefore get excited, confused and exhausted at the same time. Kadang bisa ada 2 sesi parallel yang amat sangat menarik going on at the same time (VERY frustating), tapi kadang ada juga time slots yang ku gaada interest at all jadi bingung mau ngapain (seperti sekarang ini). Hmm apalagi ya. Oh juga karena tempatnya sangat besar (karena saking banyaknya parallel sessionnya), kadang you have to move from one end of a building to another (which will take 5-7mins). Untungnya gedungnya ber-AC sih, so that’s not too bad. Ada juga tapi ruangan-ruangan yang cuma bisa di-reach pake tangga manual (sangat tidak disable-friendly). Anywayyyyyy terlepas dari modelan conferencenya, I find going to conference very refreshing (compared to mundane boring routine of going to the lab and writing and plotting stuff in Excel). It also helped me realize that I do have a community, that I am not alone and isolated and what I’m doing is actually pretty cool. Therefore, I aim to go to AGU as well nearing the end of the year (finger-crossed I get the US visa smoothly), and also EGU next year in the last leg of my PhD (SEMOGA AAMIIN).

How was these past 2 days been? Sangat fun, and exciting, yet also very overwhelming and exhausting. There was SO MUCH SCIENCE!!! And more to come tomorrow, Thursday, and Friday (the day I’m actually going to give my talk). Kemarin (Senin) sebetulnya mayan kecapean jadi cuma dateng beberapa sesi, but today dari pagi banget first session udah disuapi talknya Isabel (post-doc-ku yang sekarang sudah menjadi faculty di PSU – sangat cool), terus lanjut nonton talknya Aya yang hybrid dari UT Austin. Terus randomly masuk ruangan bahas Fe(II) di floodplain keren bgt namanya Maya Engel yang present. Tadi sempet ngikutin sesi Hydrogen juga tapi rame banget dan panas jadi ga ngikutin sampe selesai. Terus udahdeh, sekarang di sini. Menulis ini. I really should look over and do practice again with my talk actually, tapi itu bisa dikerjain abis ini lah ya. OH iya, sebelum lunch juga tadi datang ke plenary lecture juga si Phoebe Lam bahas MnO2 di marine particulate berguna dalam meng-attract trace metal (mostly dia bahas Th sih tapi). Very interesting.

Terus laper kan, jadi tadi lunch ke city buat makan poke! Sangat senang. Balik lagi langsung catch sesi Hydrogen tadi terus jujur ngantuk bgt sampe literally merem-merem dan akhirnya memutuskan to get my third cup of coffee today.

Btw ini currently di huge amphiteatre sekarang kayanya ada ~50 orang juga yang duduk sendirian buka laptop lalu mengetik, entah bekerja, balas email, atau ngedraft tumblr post juga seperti saya ini. Tapi lagian what to expect deh, gaada juga orang yang akan bisa duduk di lebih dari 10 talks in one day??! Meledak kepala yang ada.

Oh iya kemarin ku diajakin dinner sama Isabel, sama Joost juga kayanya, gatau ada Tamsin apa nggak, tapi ku-skip karena capek aja. Berujung ku jadi jalan-jalan sendirian di Lyon sambil cari dinner dan berhasil menemukan tempat makan Corndog, Cikin, and Xing Fu Tang! Ku berhasil sampai hotel room at 22.50, setelah keanehan di bis (I tweeted this), tapi one thing that I realized: Lyon ini sangat enak tempatnya huhu. The city is big enough that they have integrated public transport system (bus, tram, metro), but not that big yang mengharuskan kita lama-lama stay di bis. Kayanya dari kemarin ku di bis kurleb 10-15mins aja, pas pulang sampe 30mins sih tapi itu juga karena ada insiden kan.

Terus ya di sini yang ku suka juga adalah jalannya, tipikal France road juga aja. Gaada jalan yang GEDE banget to the level it’s overwhelming (kaya jalan raya Gatsu/Sudirman yang >3lanes, I HATE big intimidating road), dan banyak banget jalan yang low traffic, cuma ada boleh pejalan kaki/sepeda aja. I love my walkable city.

OH! I need to recount the story of… yesterday’s adventure, too! Kenapa bisa capek banget. Capeknya sebetulnya akumulasi dari banyak banget hal sih. Dimulai dari the LONG week, Senin-Jumat di mana ku basically “Cuma” bikin slide aja. Ada meeting sama Erdem juga sih, terus ada Arum visiting dari Abu Dhabi, jauh-jauh datang ke Oxford untuk ngambil data di Lumex. Terus Sabtu emang paling pinter udah beli dari Desember tiket nonton The Weeknd di London Stadium, yang mana minggunya terbang dari Luton jam 10.30am… Jadi yaudah tidur minimal kan. Sampe Lyon hari Minggu ber-ide datang ice-breaking yang mana sangat sia-sia bikin capek doang, terus yaudah tidur mayan nyenyak tu Minggu malam. Lalu kebangun jam 03.50am-an gara-gara chat Vannia bahas Zayyan Xodiak (yes sangat penting emang). Terus ku malemnya sudah ngeplan akan ngechat semua (laptop dan hp) pas pagi hari. In which I just REALISED I didn’t have the adaptor for France. Colokan bulet dua kaya di Indo di sini tuh modelannya. Ku bawa adaptor tapi versi UK kayak... ngapaen dah Non. Jadi yaudah tu pagi-pagi jam 7 kebingungan hp laptop semua batere habis dan gabisa ngecas. Udah jalan ke 2 minimarket depan rumah, dua2nya ga jualan adaptor. Terus nanya ke reception hotel dibilang harus beli di big supermarket di city. Nah masalahnya karena hp mati, nda bisa ngegooglemap ke city gimana juga kan… Akhirnya yaudah nekat aja diberangkatin dulu ke venue conference terus untung ada student helper around jadi akhirnya pinjem hp mereka buat googling cara ke mall. Ku inget banget hari Minggu pas jalan dari stasiun ke halte bis ngeliat mall westfield gede banget samping library jadi ku-arahkan aja diriku ke sana.

Student helpernya Chinese sepertinya karena hpnya fontnya semua in Chinese. Terima kasih lagi dik student helper (salim). Ku ke mall langsung ke fnac, cukup confident dan tau where to go karena baru sadar ku pernah hidup setahun di France before. Di fnac muter-muter karena gaada yang bisa ditanyain, malah lihat-lihat S23 ternyata ga mahal-mahal banget kalau ga yang ultra harganya masih terjangkau 799EUR gitu(?). Terus yaudah setelah nanya akhirnya ketemu-lah itu adaptor, tapi yang murah kayanya habis stoknya jadi dengan terpaksa harus beli yang mahal yaitu 30EUR. Perasaan waktu easter break kemarin beli di fnac la defence cuma 15-20EUR huhu. Tapi yang ini emang ada buat USB-nya juga sih… tapi tetep aja… Terus yaudahdeh sedari situ ku kembali ke venue, cari tempat ngecas, lesehan, terus for an hour gabut akhirnya lapar dan balik ke hotel buat makan sisa dinner jajan Minggu malam. Ku beli kebab deket hotel tapi asin banget tapi yaudah namanya juga laper ya abis-abis aja. Ku kembali ke venue jam 16-ish kayanya, awalnya mau dateng sesiny Zoltan salah satu postdocnya Tamsin juga tapi entah kenapa gajadi dan akhirnya ke ruangan Hg. Di situlah ku bertemu Joost dan Isabel. And the rest is what I told you above.

Hmm apa lagi ya yang mau diceritain kok asa banyak tapi udah lupa dan habis. Udah kali ya. Ini 17.35 waktunya poster session kayanya mau ngambil snack yang banyak terus gatau ke mana, apakah pulang, apakah hang around…. We’ll see.

Tapi yaudah sangat senang bisa ada waktu untuk reflect back menulis ini semua di tengah-tengah kehectic-an conference (AH! Which reminded me kemarin juga sempat hektik karena email dari Erdem yang kecewa kenapa Alex udah ngasih respon dia padahal kan Erdem mau nyelesein bagian dia dulu gitu-gitu, mayan rempong). But anyway, good stuff ini semua. Sangat senang dan bersyukur. Semangat 3 hari ke depan! (Lah nyemangatin diri sendiri naon). Have a great week too everyone!

17:38 L’amphiteatre Venue Goldschmidt 11/07/2023

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musicisthelife · 4 years

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#music #fox #foxtv #empire #terrence howard #empire fox #lucious lyon #lucious #jam session #follow

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cheesecakeandabottleofwhiskey · 3 years

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I copied my CV from a PDF and it all lined up to make me laugh ...

Solo Shows/ PAINTING Galerie MOTUL LE, Chateau Kerduel, 2015 First Glimpse, Edinburgh, Scotland, 2015 Galerie Davimsy, 2015, Paris Galerie Rauchfeld, 2013, Paris LDE&O, 2013, Paris la petite conciergerie, 2012/13, Paris Annette Huster, 2011, Paris Galerie R9, 2011, St. Saveur en Puisaye Galerie Monica de Champfleury, 2011, Paris Galerie Le 5 opéra, 2010, Paris Galerie aeViard, 2009, Venasque Kirchman Gallery, 2008, Johnson City, Texas Galerie Valéria Ruiz, 2007, Paris Culturissimo, ITG, 2006, Paris Espace Bassano, 2006, Paris Galerie Jacques Lévy, 2004, Paris Espace Cinna-Bastille, 2003-2006, Paris Galerie Le Garage, 2002, Lorgues Galerie Jacques Lévy, 2002, Paris Espace Bassano, 2001, Paris Galerie Jacques Lévy, 2000, Paris Annette Huster, 1999, Paris Group Shows / PAINTING Maire, Saint-Didier, 2017 Annette Huster, 2014, Paris Le Medicis, 2014, Paris Galerie Caroline Vachet, 2011, Lyon Annette Huster, 2009, Paris Russell Collection, 2009, Austin, Texas Benini Foundation and Sculpture Ranch, 2008, Johnson City, Texas Kirchman Gallery, 2008, Johnson City, Texas Maison des Arts, 2008, Carcès Annette Huster, 2007, Paris Galerie Valéria Ruiz, 2007, Paris The Benini Foundation & Sculpture Ranch, 2006, Johnson City, Texas 5e Symposium de Peinture de la Place Dauphine, 2006, Paris L’été contemporain, 2005, Draguignan Annette Huster, 2005, Paris Maison des Arts, 2004, Carcès Elan Gallery, 2004, Rockport, Maine Galerie Jean Fournier, 2004, Paris Annette Huster, 2004, Paris Espace Klee, 2003, Paris Galerie Jacques Lévy, 2001,Paris Annette Huster, 1999, Paris Art Fairs / PAINTING Venice Biennale/L’art de l’apparence/l’apparence de L’art, 2011 NEXT/art chicago, 2011 Scope Miami, 2010, Miami Cutlog, 2010, Paris Salon de Montrouge, 2001, Montrouge Scenographies / La tagueuse élégante Drite Warniging, Gothenberg, Sweden 2018 Hotel de Crillon, 2017/19 Le Fournil de Venasque, 2016/2017 La Mousse Gourmande, Pernes les Fontaines, 2016 Violette, Avignon 2016 Liquides Imaginaires, Paris, 2016 Céline Wright, Paris, 2016 Violette, Avignon, 2016 Musée des Beaux Arts de Tournai, Belgique, 2016 Hotel de Crillon, 2016, Paris Maison et Objet, Stand Expressions Ephémères, 2016 B I S O N, Paris, 2015/16 La Mousse Gourmande, Pernes les Fontaines, 2015/16 VEOMA & Co, 2015, Paris Assuroféminin, 2015, Paris Réseau Daubigny, 2014/2015, Paris La Ferronnerie, 2014, Paris Heilmeyer und Sernau, 2014, Berlin Launch, Baby & Co, 2014, Seattle Osiatis, 2014, Paris Banque CIC, Paris, 2014 Le MEDEF, 2014, Paris La Grande Crypte, 2013, Paris American Friends of the Musée d’Orsay, Paris, 2014 Etat Libre d’Orange, 2013, Paris Ken Okada, 2013, Paris #1, The Craftshop, 2013, Paris la petite conciergerie, 2012, Paris marina life, 2012, PARIS and private client living rooms. Performances/ Corona Improv Sessions, Ars Electronica, 2020 All Women’s Networked Jam Session, Ars Electronica, 2020 Upside Down Goats, 2018, Mojave Desert La Cage Royale, London, 2017 GIF, Newcastle, England, 2017 Ecris-moi une lettre sur la beauté, Montreuil, 2017 Cross Reference, Saint Didier, 2017 Be Precise in Your Abandon, Saint Didier, 2017 Instant Pudding! Impromptus, PARIS, 2010 - 2017 La tagueuse élégante and the Dandy, Avignon, 2017 Mathematical Poetry, Avignon, 2017 Pure Improvisation, Théatre Christiane Stroë, Bouxviller, 2016 Liquide Imaginaire, PARIS, 2016 Find Your Island, with Laura Sarah Dowdall, Berlin, 2016 Words, Les Egarés, Jonquières, 2016 Presence Perfect, Festival Territori, Bellinzona, Suisse, 2016 Pourquoi Pas? , Avignon, 2016 DIVA POP, Boutique Céline Wright, Paris, 2016 Calendrier de l’Avent, Tanzhaus Zurich, 2015 Pure Improvisation, Théatre Christiane Stroë, Bouxviller, 2015 Batir Pluri-elles, Bouygues Construction Nord Nord Est, Lille, 2015 Cocotte Power, October Rose, Paris, 2015 Galerie Motul LE, Kerduel, Bretagne, 2015 IMPROXCHANGE, BERLIN, 2015 Going Dutch, The Core Project, Chicago, 2015 (with Sudden Geography) Presence Perfect, Scuola Téatro Dimitri, 2015, Verscio, Switzerland Stay Put and Look at the World, Scuola Téotro Dimitri, 2015, Verscio, Switzerland La Petite Robe Noire, Paris, 2015 La Pause, CGPME 13, 2014, Marseille 20PARIS2014, 2014, Paris Writing the Future, Eating the Dust, (bones), 2014, Paris Celebrate Everyday, La Maison Pernoise, 2014, Pernes les Fontaines Darkness, Baby, Chateau Unang, 2014, Provence A pudding for lunch, or just a drink?, Prickig Katt, 2014, Gothenberg Live your Love, Baby & Co, 2014, Seattle Le Médicis, 2014, Paris Le MEDEF, 2014, Paris Where is the Chicken?, and related ideas, 2013, Venasque Splash, Galerie Rauchfeld, 2013, Paris Galerie Christian Berst, 2013, Paris Courrèges, 2013, Paris Emergences, Hotel du Sauroy, 2013, Paris PerformancesKalendar, Rosskha Museum, 2012, Gothenberg Espace Pierre Cardin, 2012, Paris Solutions RH, 2012, Lyon et Paris Unlimited Bodies, Palais d’Iena, 2012, Paris Carpet Talk, Palais Royal, 2010, Paris Festival International de Théâtre dans la Rue, 2007, Aurillac Residences / Murmurings, Davidson Studio, The Hague, 2021; Dansverk, Gothenburg Sweden, upcoming, Château de Monthelon, Invited Artist with Lara Buffard, 2017 The Banff Centre, CANADA, Invited Artist, 2014 l’Arpège, Le Gros Chesnay, Fillé sur Sarthe, FRANCE, Artist in Residence, 2008 - 2010 Publications / Play x Play, Seymour Magazine, 2014 Implicit in Viruosity, PROVA, Royal College of Art, 2018 Andrew Morrish in Conversation with Anat Ben-David and 20 students, Critical Correspondence, 2019 The World getting Smaller, Imagined Theatres, Emergency, April 2020 What’s the Matter, with Anat Ben-David, Journal of Embodied Research, 2020 Prosody, Prodigy – Language as a Lyrical Tool, Inprofil, Autumn 2020, upcoming What IIIF? Nowhere & Everywhere, Improfil, Autumn 2020, upcoming Passages - Moving with the Minor, Thought in Motion, with David Roussel, Cole Robertson, Agata Kit and others, projected Spring 2021 Education / PhD in Improvisation, Royal College of Art and in private residency. Certificate of Advanced Studies in Performance, Accademia Téatro Dimitri, Stéphanie Lupo, 2015 Improvisation and Performance - Masterclasses with Soraya Djebbar, Yumi Fujitani, Julyen Hamilton, Andrew Morrish, Miquel de Jong, Maya M. Carroll, Heini Nukari, Stéphanie Lupo, SOIF Compagnie, SITI Company NYC (2002 - present) i-Lead Coaching, 2004 - 2008 Dialogue Coach, 2005 Rotary Fellow, DESS, Institut des Relations Internationales du Cameroun, 1983 Georgetown University, Bachelors of Foreign Service, 1982

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sinceileftyoublog · 3 years

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Doug Clifford Interview: Shuffle & Flow

Photo by Brent Clifford

BY JORDAN MAINZER

For All the Money in the World is a time capsule. The album, written by Creedence Clearwater Revival drummer Doug Clifford and Greg Kihn Band bassist Steve Wright, was recorded in 1986 but won’t see the light of day until the end of the month. Since then, it’s been waiting in Cosmo’s Vault--the self-proclaimed storage area for Clifford’s unreleased music--until the right time. “There’s some good music on this album,” Clifford told me over the phone earlier this month. “Right now, more than ever, we need some good music that’s uplifting and makes you feel good.” Plus, for Clifford himself, the tunes have barely scratched the surface: “To me, it’s still new.”

After Creedence Clearwater Revival broke up in 1972, Clifford released a solo album and later joined the Don Harrison Band, which also featured former CCR bassist Stu Cook. In 1995, he and Cook formed Creedence Clearwater Revisited to play CCR songs live without singer John Fogerty, who retained artistic control over CCR. Revisited’s last show was in February 2020 in Mexico, and based on what Clifford told me, that’s likely their last, at least in this version, as Clifford is suffering from Parkinson’s Disease. All in all, though, he’s ready to move on from those songs, instead choosing to look into different parts of the past. Last year, he unearthed his lost second solo album Magic Window. And now, with For All the Money in the World, released under the name Clifford/Wright, he’s beginning to revisit a series of recorded writing collaborations whose release never came to fruition.

Though Clifford/Wright was formed around the rhythm section, the rest of the band that plays on the album is nothing to sniff at: guitarists Greg Douglass (Steve Miller Band), Jimmy Lyon (Eddie Money) and Joe Satriani and keyboard players Tim Gorman (The Who) and Pat Mosca (Greg Kihn Band). The lead vocalist picked for the project was Keith England, whose emotive howl ties it all together on the title shuffle and stadium anthem “I Need Your Love”. While the first two songs sound like something you might expect to be recorded in 1986, other tracks operate under different styles and recording aesthetics. The rockabilly echo of “She Told Me So” lies in stark contrast to the ripping guitar jaunts of “Lost Pride Fever” and “Weekends” and the funk snap of “You Keep Runnin’ Away” and “Just In The Nick Of Time”. Indeed, some songs on here sound like they could be Steve Miller or Eddie Money jams, but for the most part, they sound like lost relics of rock radio, comfort food for troubling times.

Clifford hopes For All the Money in the World is more than nostalgia, though. For one, he’s “calling the shots,” releasing the album on his own label, Cliffsong Records, with a distribution deal through Bob Frank Entertainment. “It’s like a publisher’s outlet for the songwriters involved,” he said. “It’s really kind of exciting.” His hopes are that the songs do land on today’s rock radio or do well streaming so they can release it on vinyl. “I still get a kick out of it,” Clifford said about hearing his songs on the radio. Not bad for somebody who started playing in bands at age 13. And while it’s very much not a CCR album, he’s excited for CCR fans to hear it, okay with the long-disbanded legendary outfit as the connecting bridge for listeners. They might just come away with a new favorite song.

Pre-save/pre-order For All the Money in the World, out August 27th, here, and read my conversation below with Clifford, edited for length and clarity.

Since I Left You: I was struck by the variety of styles on this album. You think to yourself, “What would music written around the 80′s sound like?” There’s some of that, but there are other sounds, too. Do you remember consciously trying to write in a number of styles?

Doug Clifford: Yes, because we were trying to get a record deal. We were the only writers in the group, and we wanted them to know we could write more than just “Bad Moon Rising”. There’s really not much in there that sounds like Creedence. With Steve Wright on bass, that changes a lot of things. It puts a different spin on it from the standpoint of the house the songs are built on, the rhythm section. It’s exciting. I listen to it as if it’s another band. [laughs] Normally, I don’t do that. Steve passed away in [2017], so we won’t do any more writing or playing, but this album is a chance to hear a great bass player and songwriter. I’ve got three terrific guitar players in there, too, Joe Satriani, Greg Douglass from Steve Miller Band, and Jimmy Lyon from Greg Kihn and Eddie Money. A guitar extravaganza. A lot of good stuff coming from this record.

SILY: Not only does the record sound different from CCR, but I heard a lot of the other projects the players were involved in, like Eddie Money and Steve Miller.

DC: Yeah, but when we were doing the writing, those guys weren’t in the band. Steve Miller is one of my best friends. He loves “She Told Me So” on this record. He sent me an email all excited that said, “I was dancin’ around my studio! You still got it!” [laughs] I love that guy.

SILY: I like songs like that, that have a little more of a shuffle.

DC: That would be [the title track], too. I love shuffles.

SILY: You’ve said people need songs like this at a time like now. When you wrote and recorded them, did you know you’d put them away for a while?

DC: Not really. If you’re a songwriter, you want to have versions of your songs that sound radio-ready instead of just [recorded on] an acoustic guitar. I produced everything that we wrote, so we had good versions of our work and presented it that way. The idea was not to put these things out as albums, but for record companies. Then you’d go out and play, and they’d send their A&R guy. Steve didn’t want to play in any of the clubs we’d have played in, and you need a band that plays, so that started the tailspin of this project. [After that,] I did a solo singer-songwriter album [Magic Window], and I did projects for areas that had overgrown forests and droughts. I had kids that were going to school. So I sort of slowed down on the music and slapped [these songs] in Cosmo’s Vault. That’s where they stayed till a year or so ago. I [finally released Magic Window], but nothing happened because...COVID hit, and it really changed everything. There’s been enough time that we’re all living through the virus that it’s time to hear [For All the Money] on the radio to make me feel good. It’s a labor of love that all songwriters have. Allowing people to hear the excellent musicianship of Steve Wright playing bass. There’s a little difference in my playing as well. It’s fun, really enjoyable.

SILY: When you were originally writing the lyrics and instrumentation, were you going for a feel-good, uplifting type thing?

DC: When you’re looking for someone to invest in you and put you on their label, you want them to like your music, too. I’ve never been a guy to write songs that make you feel bad. [laughs].

SILY: What were you looking for in a vocalist, and why did you end up going with Keith?

DC: We were so fortunate to have Keith in many ways. He was the youngest guy we were working with. I would be the guy to teach him the songs, as the writer of the words. He had to sing those words and get the idea of the song across, which is a big job for any singer. He took special care to get the essence of the song. It makes a big difference to learn the words and melody. I took extra time to write the melody, because I’m putting the words out there, and a lot of time, the melody would depend on what the words were. You have to give the singer places to breathe. I gave Keith liberty to let me know if something wasn’t working for him vocally, to sing it the way he was comfortable. He always came through. The idea of a song is like a chapter in a book. It has to have meaning and a certain ambiance and feel to it. That’s at least my approach to writing and performing, really. He nailed every song in a very professional approach. That’s not an easy thing to do, especially over 11 songs.

There are other songs in the vault from the sessions that he did. He was the only singer we had. I’d like to see success, not just for myself and Steve, but for Keith. He was the only guy on the session that wasn’t in a band that had a Gold or Platinum album, and he’s very deserving of it. I’d love to see this thing be successful on that level because I’d love to walk up to his front door and knock on it and hand him a Platinum album. He’s still trying to do it. He has been for 30-some odd years. He can still hit most if not all of those notes. He doesn’t complain about it, he just stays at it, trying to get to that spot. I’d like to see that happen for him.

SILY: This album was recorded in a number of different studios, and some tracks do sound a bit lower-fi or raw. Did the difference in sounds among the tracks correspond to the different studios you recorded in?

DC: Not really for that reason. What’s really important is trying to get an attitude out of a certain song. It is rock and roll after all. The sound of the studio wasn’t something that dictated the direction.

SILY: At what point did you decide to name the album after the title track?

DC: That song, the first time I heard it, it was one of those that Steve said, “Listen to this!” He had the chorus and the lyrics. [sings] “For all the money in the world, girl / For all the kisses in the sea, baby...” I went, “That’s a hit.” Whenever I play that song for people, they all say, “That’s a natural hit.” Being a shuffle adds a lot to do with it. Shuffles have a magic to them. You just can’t help but tap your foot. Your body moves with it. The approach to have it be a shuffle is right up my alley. Creedence didn’t ever do one, and I always wanted to have a shuffle to record. There it was! It was a natural as the first song on the record. The second one that’s out now is a different type of song, to show the album’s versatility, but I had an inkling that it might be a good idea to name it after the first song on the album.

SILY: At what point did you come up with the order of the tracks?

DC: Listening. [laughs] That’s very important. Again, they’re like chapters in a book or story. I did a lot of shuffling around--there’s that shuffle again--seeing which order played best. It took a while, but that’s something worth spending time on. You want to get it right.

SILY: You’ve said any of these songs could be a single. Do you have a favorite?

DC: [The title track] is probably my favorite for that reason. It’s simplistic in its style, and usually, those are the best ones, the easiest ones to understand, though everybody has their own understanding of music. It is art; you can look at a painting, and 10 different people can have different opinions on it. It’s the same with music. Each song has a different meaning to a different person. That’s great; that way you can touch millions of people instead of 10.

SILY: What’s the story behind the album art?

DC: The story behind the album art is my son [Grady Clifford] did it and I needed a cover. That’s it! I didn’t tell him anything. When I saw it for the first time, I just went, “Wow!” He’s very talented. He did the Revisited cover. Whenever I need art, I don’t tell him what to do. He just does it. My wife [Laurie Clifford] is an artist, too. She did the artwork for [CCR]’s first album. Very recently, she got it in the de Young Museum. They had a show of album covers from the 60′s. The Clifford family has a drummer and artists. One of the things about going from vinyl to CDs is the art is a pretty good size. I miss a lot of aspects of the packaging. I have a couple of good album cover folks within the confines of the house here.

SILY: What’s next from the vault?

DC: A project I did with the same songwriting concept. Two of us did all the writing. The other guy was Bobby Whitlock. I’ve got a Bobby Whitlock album with a group we had for a short while. Bobby’s wife didn’t like living in the East Bay. She wanted to live in the Northeast. Happy wife, happy life, so we had to split when we were close to getting a deal. Another addition to Cosmo’s Vault!

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cylsrecords · 4 years

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@RecountYourLuckyStars 027. PLEASE FOLLOW US ON OUR SOCIAL NETWORKS. Audio/social links via link in our bio/cylsrecords.com CYLS 026: @footballetc "The Draft" Release date: 2/8/2011 Format: 12"/Digital Pressing Info: First Pressing: 150 Black 350 Bone White Second Pressing: 200 Baby Pink 300 Coke Bottle Green Co-Release with strictly no capital letters Alright, we're back from a week off! I'm feeling refreshed and rearing to go, besides the fact that my computer froze while I was writing this and I had to start all over again. Lame! It felt good to take a week off, so expect another one of those every few weeks to keep me fresh. We return today with Football, etc.'s debut LP, "The Draft". Before we go anything further, we need to take a minute to acknowledge the loss of an incredible talent that was instrumental to this album and to the Houston music scene. Last year, James Lyon Vehslage passed away. His was an extremely talented and creative drummer. He tackled every endeavor with energy and passion. He also built and ran a wonderful all-ages DIY venue called The Summit where countless bands played fantastic shows, including my own. RIP James, you are missed. This album came out shortly after our label partner Conor left, and there were so many things that he did that I had no clue how to do. One of them was graphic art. There was an issue where the art was saved to the low-res template and the art became pixelated/very poor quality. Somehow, through the entire chain, this mistake was not caught. As a result, the jackets came out looking somewhat less than desirable. We fixed this in the second pressing with a little assist from our buddy, Jeff Ramirez. Thanks, Jeff! This album has my favorite Football song of all time, and if you know this band, you can probably guess what song this is. That's right, we are talking about track number 3, "Safety"- a jam that slays for days. Don't get me wrong, every song is good, but Safety belongs in the top ten of the genre. Watch a Violitionist Sessions with of three songs live from 2011 that is The Draft-era specific. There's a neat interview you can read too: http://violitionist.com/2011/12/football-etc/ https://www.instagram.com/p/CAEDnHjAORZ/?igshid=eft0kbxjbagt

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kunstformbmx · 5 years

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yeahh on the way to #bmxstreetstation 2019 in lyon 🇫🇷 the @theshadowconspiracy & @subrosabrand team with @matt1ray, @jabejones, @smilesridesbikes, @jiriblabol, @mo_nussbaumer and @bjarkihardarson will pass our BMX Shop in Stuttgart on thursday 12 th of september and we will run a smooth street jam arround stuttgart with an after session at stuttgart finest indoor street spot @_stuttpark_ ! Kickoff will be 3pm in our BMX Shop in Stuttgart! Super excited!! 🔥🔥🔥 #bmx #subrosa #theshadowconspiracy #streetjam #stuttgart #goodtimes @unitybmx (hier: Kunstform BMX Shop) https://www.instagram.com/p/B1a4u1boU96/?igshid=r7zqyxsyzmb5

#bmxstreetstation #bmx #subrosa #theshadowconspiracy #streetjam #stuttgart #goodtimes

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umichenginabroad · 5 years

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My first full day at INSA!

On Friday, I joined my INSA buddy for breakfast and boy was I glad that she had suggested we eat at 7:15am, the tiny eatery was empty enough that the two of us could go at a snail's pace so I could comfortably figure out how the breakfast line worked.

The options were relatively basic, bread, plain yogurt, various little packets of jam and Nutella, and some fruit. There were also some drink dispensers, for hot drinks, milk, fruit juices, and ol' water. Speaking of water: while the tap is safe to drink and sinks are obviously everywhere, I noticed there was a distinct lack of drinking fountains on campus. I haven't seen /any/ in my time here.

After breakfast, I made a quick shopping trip to a store about 5 minutes away to grab some various items I'd need for the dorm (tissues, toilet paper, dish sponges, etc).

I noticed cars parallel parked in between tree fixtures, which I guess is one way to prevent the problem of That One Guy who takes up two designated parking spots, and it also took us ages to find out where the store actually was.

The grocery store, Carrefour, also had these shopping carts/baskets/basket-carts, which were really convenient

We quickly scurried back to campus with an armful of items because there is a bag tax here--plastic bags cost an additional 5 centimes. Most of the people in the checkout line were quite prepared with bringing their own reusable bags or just simply using an empty backpack, and at around 10am, we began our tour of campus.

Not only were several buildings in the process of being renovated, but there was a bunch of construction along the roads, and preparations being made for a campus-wide event this weekend. It's almost like I never even left Ann Arbor 🙃 All of the buildings were of similar shapes and colors, with the main exception of a bright [Ross-]orange building that had a giant traffic cone in front of it.

there's a PokeStop for the cone in PokemonGo, and it’s dubbed the “VLC”, presumably in honor of the video streaming application

Once our tour and brief orientation session wrapped up, a couple other exchange students and yours truly briefly went to a mall in Part-Dieu to do some shopping.

Lyon has been coined one of the smartest cities in France, and the way tech has been embedded into facets of everyday life, like this funky tram map, has been cool to see. Now if only our dorm could have WiFi...

There were a couple familiar stores, mostly those that sold cosmetics. I specifically saw Sephora, M.A.C., L'Occitane, The Body Shop and I smelled also found a Lush store. I stopped by a tiny food stand to grab a quick bite to eat, and I thought I held the conversation in decent French, but upon getting my card back from the cashier and receiving my food, she said "Thank you" in English, which caught me by surprise. I was genuinely worried that my French was so bad she resorted to using English. When I had paid for my groceries in the morning, the card reader initially had a display in French ("Insert/Tap your card", "please wait", etc.), but the "Remove card" message was in English. Maybe there's something embedded in my card that somehow affects the language of the card reader? And maybe that’s how she knew I wasn’t French...

In the afternoon, we had a cooking demonstration + apéro* planned from 2:30pm through about 8pm. An English teacher at INSA joined us for the spectacle in order to translate instructions and general comments that chef Dominique had made. We helped peel some asparagus, but after that point, chef Dominique and his assistants took care of the rest (with the exception of one student volunteer piping the whipped cream on the strawberries).

The menu for tonight consisted of:

cured ham, asparagus, and some very-well seasoned mayonnaise/hollandaise sauce

broccoli, small potato pancakes, and duck served with a vinegary-orange duck-based sauce

some cheese (I didn't take a picture of this, but I assure you, you will see a lot more photos of cheese)

freshly cut strawberries that were macerated with sugar

That was all happened Friday, and next up: Vieux Lyon (Old Lyon--a very beautiful, colorful, historic, and cobblestony part of Lyon about 20-25 minutes away from campus)

a+,

Christina

Computer Science

Entrepreneurship with INNOV@INSA

Lyon, France

Two fun facts because I forgot some in my last post, thanks for sticking around:

"prendre l'apéro" - "to have an aperitif" is the literal translation, where an "aperitif" would typically refer to a drink consumed before a meal, but this was a whole ordeal where we had some kir, savory finger food, and of course, the food that we watched the chefs prepare in the kitchen. It was delicious, so far, I've been fairly impressed with the food here, and Lyon is living up to its name as the gastronomic capital of France.

AND

Most, if not all, plastic water bottles I've seen with the smaller caps snap open/close, instead of being a screw top. This is supposedly an intentional design to prevent the caps from getting completely lost, and the Carrefour store also had several different kinds of recycling bins, including one dedicated to bottle caps. It’s interesting to see this much consideration toward bottle caps, now if only I could find a recycling bin on campus...😬

#umichenginabroad #christinaliu #IPE Summer19 #IPELyon

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leanpick · 2 years

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The Best TV Episodes of 2021

Television today comes in big portions, as anyone who spent seven-plus hours with the Beatles over Thanksgiving weekend can attest. But just as a marathon jam session can yield a few tight singles, the most memorable TV is still often the well-crafted individual episode. As Mike Hale, Margaret Lyons and I end another year’s binge as TV critics for The New York Times, here are a few of the…

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everythingadelaidemusic · 3 years

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This week, I talked to one of my new favourite Adelaide Bands, Broken Waves.

Can you tell us a little history of Broken Waves? Members etc?

Broken Waves are a 5-piece indie-rock band who formed over the course of 2017 & 2018 when Ben (lead singer and bassist), Will, (lead guitarist) and Declan (rhythm guitarist) started jamming together and all went from there. Dec eventually brought his brother, Heath, into the group as the drummer and only recently Matt (keys/synth) joined us. Over the past couple years we’ve taken a pretty steady approach to releasing our material and playing live but we’re ready for a busy next couple months with lots of things in store.

How did Covid change your approach to releasing music and your approach in general?

Covid actually didn’t have too much of an effect on us as we were already on the back end of having a writing and recording break from playing live. It did prolong the recording of our debut EP ’Turning Point’ but we were definitely lucky in the sense that no major gigs got cancelled unlike some of our friends who had to postpone months of work for already setup gigs.

I am a big fan of your song “ throne”. Can you tell me about this song?

‘Throne’ is actually our oldest song, it was written in 2018 and then we just set it aside and saved it for when we felt we could do it justice. The only thing was when we picked it back up again we all thought we could make it better by adding and re-writing some sections; the build-up/horn section in particular was an addition that made it worth the wait and revisiting. The song itself is broadly about the many individuals throughout history who were never accepted in their own time but became legends after their death, specifically being loosely inspired by the death of Socrates.

What is your career highlight?

Our career highlight so far would have to be the recording and release of our debut EP ’Turning Point’. We were very lucky to be accepted for Carclew’s Project and Development Grant which allowed us to record the project to its full extent, for example, we worked with some very talented session musicians for ‘Throne’ that we wouldn’t have been able to do without it.

Where is your favourite venue in Adelaide to play?

Our favourite venue would have to be The Lab. It is a relatively new venue in Adelaide but it is truly something special; they have an incredible visual display setup there. We recently held our EP launch there and were really pleased with the turn out and the support from their team.

Have you got an opinion on the Adelaide Music scene?

The Adelaide music scene, much like any other local scene, can be both really supportive and a bit exclusive. It’s a weird dynamic, there is a very specific niche that’s quite popular at the moment and it can be hard to get attention if you’re more of an outsider. However, at the same time there is a big group of very supportive and creative people and it's great that there’s such a big industry for such a small city.

Who are the other Adelaide bands worth checking out?

Some other Adelaide bands worth checking out are Lost Woods, Wanderers and Bermuda Bay :)

Finally, where can people find out more about you?

Check out our debut EP ‘Turning Point’ on Spotify, Triple J Unearthed, Apple Music and all other streaming services.

Otherwise you can keep up to date with us on all social media platforms, Instagram, Facebook, Youtube, etc. @brokenwavesband

https//www.Instagram.com/brokenwavesband

#spotify #australia #music #newmusic #broken waves #guitar #bass #drums #singer #songwriter #throne #adelaide #south australia #musicsa

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thatsoundssobeautiful · 1 year

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1 HOUR BEST OF NEO SOUL / JAZZ / HIP HOP (Relaxing, Smooth, Chill)

Our editorial, based in Lyon, offers you the best of jazz and neo-soul music right from France. Since 2013, our writers have been pushing to the world the most noteworthy musicians. In 2023, we keep up the mission with this curation of 1 hour of smooth tunes. Enjoy the finest jam sessions from breath-taking Neo Soul artists, emerging from Lyon, to London and the US. Some of you might recognize…

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#1 hour playlist #rnb

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mitchbeck · 3 years

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CANTLON: PACK BEAT PROVIDENCE BREAK LOSING STREAK

BY: Gerry Cantlon, Howlings MARLBOROUGH, MA - The Hartford Wolf Pack marched into the New England Sports Center and erased a nine-game winless streak by toppling the Providence Bruins 4-2 in an old-style, physical Providence-Hartford meeting. The Wolf Pack record improves to 4-6-1-0 (9 pts). Providence’s record drops to 11-3-1-0 (23 pts) and is still tops in the Atlantic Division by 14 points over Hartford. The Wolf Pack face-off against the 3-7-0-0 (6 pts) Bridgeport Sound Tigers on Saturday at 1 PM at the XL Center. All the tweaks to the Wolf Pack lineup had their desired effect in what was their most complete game since the start of the season.

PACK DOMINATE FIRST PERIOD

The first twenty minutes added up to the best period since their opening game and where the Wolf Pack did their most damage of the day. The team's moribund power play, which entered the game operating at 12%, awoke scoring on their first two chances. Rookie James Sanchez scored his first professional goal as he got the puck back after a shot on goal. Paul Thompson dislodged it from Bruins starting netminder, Jeremy Swayman. He couldn’t cover the puck, and Sanchez swooped in and jammed it home at 8:03. Just 2:01 later, the Wolf Pack cashed in on an instigator penalty that was issued to the Bruins' Ian MacKinnon in a wrestle/scrap with Patrick Sieloff. Tarmo Reunanen cut to the middle of the ice just below the blue line and made a high-end, behind-the-back pass to Anthony Greco at the right point. Greco sent a low shot on the net. Morgan Barron was positioned in front and deflected the shot off the crossbar for his sixth goal of the season. The offensive roll for the Pack continued in gaining a 3-0 lead with a solid transition play. Justin Richards got Tim Gettinger moving. As he crossed the Bruins blueline from left-to-right, he was tripped by Urho Vaakanainen and a penalty was called. During the delayed penalty, Gettinger was on the ice and swept the puck back. Ty Ronning quickly got to the loose puck and picked it up and swept across the net. He snuck a backhander past Swayman to the short side for his third goal of the season at 17:22. The Pack outshot the Bruins 16-5 in the period and were committed to stepping in front of pucks and blocking shots which benefitted goaltender, Adam Huska, who made his first start since February 27th, just his fifth start of the entire season, who also looked solid throughout.

LET'S GET READY TO RUMBLE

After having already played each other eight times to this point in the season, in the third-period tensions spilled over and the gloves came off. The Pack's 6’7 rookie, Auston Rueschhoff, outdueled Matt Filipe in the first pro fights for both players. Mason Geersten was battling in front protecting Huska when the Bruins' Jakub Lauko took an extra swipe at the puck. That act sent the two to pair off for a battle. Lauko, a rookie and a willing combatant, fought the much larger Geersten who scored a TKO as he cut Lauko open, sending him to the locker room for repairs. With 2:09 left in the game and a screen in front of Huska (23 saves), Robert Lantosi's snapshot found the back of the net spoiling the shutout for the former UCONN Husky netminder. It was his first win since playing in Slovakia. Before the goal was scored there was a final eruption of hostilities. The officials prevented it from turning into a major melee with MacKinnon trying to go with Huska and everybody paired off. No punches were thrown and MacKinnon was tossed at 14:56

SECOND PERIOD

The Wolf Pack managed to avoid their season-long second-period blues. They did so by widening their lead and surrendering just one on a power play. They exited the period up 4-1. The Pack clamped down on the Bruins, holding them to just two shots on goal in the first ten minutes of the period, and made it 4-0 on Barron's excellent effort. Barron received a pass from Reunanen in the Pack zone. He took that pass and went upright, thru center unchecked. Barron gained entry into the Bruins' end of the ice and ripped a 35-foot wrist shot past Swayman (27 saves) for his second goal of the game and seventh of the season at 11:57. The loss was Swayman's first of the season against seven wins. The Wolf Pack had to kill a roughing call to Geersten, who was roughing it up with MacKinnon in front of the Wolf Pack bench. The Bruins took advantage after Brady Lyle's first shot was blocked by Richards, he launched another from the left point. Huska made the save, but Anton Blidh, who was alone in front, jammed in the rebound for his third goal of the season at 14:33 to make it 4-1. With 25 seconds left in the period and the Wolf Pack again on the PK, Greco had a shorthanded breakaway bid late in the PK, but Swayman stopped him. Huska responded for the Pack with a big and timely stop on Alex-Olivier Voyer with two seconds left in the period. Filipe made a strong play on a pass from behind the net, but Huska kept the advantage to three goals. There was some rough stuff as the period ended between Thompson and Voyer, the Bruins Josiah Didier with Sieloff, and a Euro shoving match with Reunanen and Vaaakanainen.

LINES

Newell-Barron-Greco Richards-Gettinger-Ronning Khordorenko-Thompson-Whelan Sanchez- Rueschhoff-Geersten Raddysh-Crawley LoVerde-Reunanen Giutarri-Sieloff Huska Wall

SCRATCHES

Gabriel Fontaine (upper-body injury) Jeff Taylor Will Cullye Michael O’Leary Ryan Dmowskinewly Zach Bezzola Michael Lackey Francois Brassard

COACHES

Pat Boller Jeff Malcolm Brook Ballard It was Boller's first time, since 2016-17 when he was an assistant to Ken Gernander, that he was behind the bench. He's coaching his third game since head coach Kris Knoblauch and associate coach Gord Murphy were recalled to the New York Rangers last Wednesday after David Quinn and his entire staff were subject of COVID protocols. Malcolm, the team’s goalie consultant, and a Yale grad is handling the defensemen, and Ballard is one of the Rangers skills coaches.

THREE STARS

- Morgan Barron (2 goals) - Tarmo Reunanen (2 assists) - James Sanchez (first pro goal)

HONORABLE MENTIONS

- Ty Ronning - Patrick Sieloff - Darren Raddysh

NOTES

The Wolf Pack adds another defenseman as Hunter Skinner is recalled from his loan to the Utah Grizzlies (ECHL). Skinner, 19, was a fourth-round (112th overall) selection in 2019 from London (OHL). Since the OHL has not been in session, the 6’3 200-pound rearguard has been playing in Utah. Boston recalled goalie Callum Booth (Salisbury School) to their taxi squad and simultaneously reassigned both Swayman and defenseman Vaakanainen to Providence. Ex-Pack captain, Steven Fogarty, was recalled by the Buffalo Sabres from the Rochester Americans. He has five goals (four on the power play) and eight points in ten games, which is good for the second-best on the Americans roster. Heading back to Rochester and three others is ex-Wolf Pack goalie, Dustin Tokarski, after returns after two NHL starts, one of them against the Rangers earlier this week. The Avalanche returns ex-CT Whale, Jayson Megna, to the Colorado Eagles. Philadelphia recalls goalie, Alex Lyon (Yale University), from the Lehigh Valley Phantoms to be on their taxi squad. The same thing for Mark Kastelic, the son of former Hartford Whaler Ed Kastelic, as he is recalled from the Belleville Senators by Ottawa. Mike McKee (Kent School) is loaned to the Tucson Roadrunners (AHL) by the Tulsa Oilers (ECHL). Marc Johnstone, the captain for the last two years at Sacred Heart University (AHA), signs a deal with the South Carolina Stingrays (ECHL). Former Wolf Pack great, Derek Armstrong, saw his youngest son, Easton, lace them up with the WHL's Regina Pats. They are in their limited hub city playing a 25 game schedule with Regina’s Brandt Centre being one of the sites. The team GM and VP of Operations is Wolf Pack great, and AHL Hall of Famer, John Paddock. The younger Armstrong is pointless in five games though he played earlier this season with brother Dawson for six games tallying six points with the Utah Outliers (USPHL-Premier). The team did go to the league national finals losing in the quarterfinal round to the Chicago Cougars in Virginia Beach, VA, the home of the USPHL's Hampton Roads Whalers. The team did win the Mountain Division title beating the Pueblo (NM) Bulls 5-3 back on March 14th. Dawson Armstrong finished the season with 15 goals and 31 points in 45 games, second on the team while sporting the very familiar number 17 jersey that his father Derek wore with the Wolf Pack. That very same 17 is one of three numbers that should be retired by the organization. GAME CENTER HOME Read the full article

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somervillesongwriters · 5 years

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Interview with upcoming artist (October): Lauren Pratt

You've attended some songwriting camps in recent years; what have been your most important experiences in these places?

A few weeks prior to recording my newest album Young American Sycamore in Nashville last summer, I was fortunate enough to attend Patty Griffin's songwriting workshop. The last song on YAS, "Doubt", is an a cappella song I wrote for Patty's class. She told me not to change it and that it was "done". Never thought twice about it and I cherish that track.

Two weeks after that, I was in Nashville for Mary Gauthier's songwriting workshop and the lead singer of Jars of Clay, Dan Haseltine, was there. Jars of Clay was ever-present in my life growing up, and to work on a song with Dan was surreal. That song became "Cocaine Gospel", a song about addiction, and the feedback I received from Mary, a vocal proponent of mental health and substance abuse recovery, resonated deeply with me.

In August, I attended the Planet Bluegrass' Song School in Lyons, CO ahead of competing in their Songwriter Showcase where I won 2nd place! Planet Bluegrass has been very prevalent in my life, as most of my wins and honorable mentions have come through them (Telluride, Folks Fest). Song School was a haven of music-making and beauty set among the red rocks of Colorado and it fed my soul. I had the opportunity to spend one on one mentoring time with Ellis Delaney and Pat Pattison, songwriting guru. There's something otherworldly about playing a late-night jam with new friends in the darkness of an outdoor stage lit only by distant thunder clouds and the light of a full moon.

You've also studied classical voice formally; Does that affect your performing and songwriting at all? What is the relationship between singing songs and writing them for you?

I trained classically because I wasn't in a program for contemporary songwriting or performance. For someone who wears boots and chacos most of the time, I quite enjoy upper classic activities, and opera is the uppest of the uppers. I quickly came to love opera and its body of literature. As a young woman just coming into my voice, I found it empowering to project my sound across an auditorium. I don't sing classically very much anymore, although I do enjoy performing the odd German art song at a Christmas concert, and when my Great-grandfather had a park named for him in Dorchester, I sang the National Anthem in front of Governor Baker and Mayor Walsh. I couldn't believe I made it through. I'm fairly certain I blacked out from fear of singing "O Canada" by mistake.

Your songs have been getting a lot of attention lately in songwriting competitions. What has it been like participating in those events? What has been your favorite such experience so far?

I absolutely adore entering and winning songwriting contests. It's one of the only things I've felt I truly excelled at in life, and it's the main way I express myself, so it's affirmation both of me as an artist and also as a person. Is it wise to place this much importance on judgment and winning? I'm not sure. For a kid who had lots of participation ribbons growing up, it sure is a great feeling to come home from a festival and hang a poster on the wall listing me alongside my songwriting heroes.

The songs that have put me in the top 3 of any competition thus far have always been the ones I wrote for myself or another person in a serious struggle. I do not write unless I have something to say, and I measure out my words carefully when constructing a song. I don't have flippant or place-holder songs because there is always something of value to say if one looks for it. I would rather write about alcoholism and homelessness than sitting on a pickup tailgate with my girl drinking a beer. There's a place for those, but not in my lineup.

While I am usually humble and demur about accomplishments, I am proud of every single one of those awards. I can't wait to write more and better songs.

Lauren will be playing on Saturday, October 5th, 7:30 p.m., in the Somerville Songwriter Sessions, along with Susan Levine and host Beth DeSombre, at the Somerville Armory Cafe, 191 Highland Ave, Somerville MA. (Great music, great food, free parking.) The show will be preceded by a 30-minute open mike: [email protected] to reserve a slot.

#somerville #somervilleMA #artsatthearmory #somervillearmory #songwriters #laurenpratt #songwriting #livemusic

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gyrlversion · 5 years

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Everything You Need to Know About the Mauna Kea Protests In Hawaii

By Kēhau Lyons

Nearly ten years ago, a multibillion-dollar international collaboration led by the University of California and the California Institute of Technology planned to build the largest telescope in the Northern hemisphere on the summit of Mauna Kea, a sacred Hawaiian mountain. It is the tallest mountain in the world when measured from the ocean floor; higher than even Mount Everest. In 2015, kiaʻi, protectors of the mountain, prevented that work from starting and Hawaiʻi’s Supreme Court repealed the telescope’s permit.

But the battle didn’t end there. On October 30, 2018, a ruling was handed down by the Hawaiʻi Supreme Court allowing Hawaiʻi’s Board of Land and Natural Resources (BLNR) to issue a highly-contested conservation district use permit, allowing the Thirty Meter Telescope (TMT) to move forward with construction this year. On July 10, Governor David Ige announced that construction on Mauna Kea would begin on the week of July 15.

As a result of Governor Ige’s announcement, a major gathering of kiaʻi have gathered on sacred and once-pristine Mauna Kea and demanded that the TMT International Observatory abandon construction of the TMT, which is slated to stand 18 stories tall with two stories gouged underground and has been designed as one of the largest telescopes ever built-in existence. That it is situated on environmentally sensitive, sacred, Indigenous land seems almost like an afterthought to its creators.

Since the beginning of our history, Kānaka Maoli, the indigenous people of Hawaiʻi, have traveled up the smooth, graceful slopes of Mauna Kea to honor our sacred and most cherished Mauna a Wākea, the piko (umbilical cord) and location of our origin story. The mountain is within an environmentally sensitive and fragile conservation district and is a part of ceded lands, which are crown lands from the Hawaiian monarchy that were stolen and given to the U.S. government when Hawaiʻi was illegally overthrown in 1893 and annexed into the U.S. in 1898. Years later, when Hawaiʻi became a state in 1959, the federal government gave those crown lands to the newly established State of Hawaiʻi via the Statehood Act, with the condition that they must be held in trust specifically for the benefit of the Native Hawaiian people.

By Jaysen Patao

Yet even with the handful of organizations dedicated to helping Native Hawaiians, the state of Hawaiʻi and the United States federal government has made it extremely difficult for Native Hawaiians to thrive and prosper in our homeland. In the case of Mauna Kea, they are benefitting off a history of imperialism and white supremacy and trampling over Indigenous rights in the name of science.

Hawaiians are not anti-science, we are anti-desecration. “We are against the building of anything 18 stories over our watershed, water aquifers, on our sacred mountain. It could have been anything; it just happens to be a telescope,” Hawaiian kiaʻi and organizer Pua Case told Democracy Now.

The TMT is a $1.4 billion endeavor and has become a symbol of modern-day colonialism. The University of Hawaiʻi, regulated by the BLNR, manages the lands on Mauna Kea, and pays the state of Hawaiʻi $1 a year to lease the land, then subleases to the observatories for $1 a year. The practice began in 1964 when the school signed a 65-year lease with the state of Hawaiʻi with the intention of building a single observatory, but a long history of mismanagement soon followed. This ignorance and willful apathy has become a devastating pattern in which settlers and haoles (non-Hawaiians) in positions of power disregard the will of Native Hawaiians, the indigenous people of Hawaiʻi.

Why are Native Hawaiians continually ignored, cast aside, and devalued? Why should we stand aside when other people commodify and monetize our language, culture, traditions, and land? Why can’t non-Hawaiians understand us when we say Mauna Kea is sacred to Native Hawaiians? Why do we have to prove why the mountain is sacred and how it is sacred to us?

Ultimately, our language and culture exist for us and by us, and it’s up to us to ensure its preservation. Mauna Kea is where our aliʻi (royalty) are buried, their bones in the ground; it is where Hawaiians generation after generation, a long and surviving lineage, have gone to gather and sing, to chant, to dance hula, to pray, to be within the living presence of mauna. As native people, we know and recognize that our mountains, water, and air are all connected on this earth. Where is your mountain? Where is your river? What are you doing to protect her?

When word spread that Governor Ige would be announcing the construction of the TMT, organizers quickly discussed plans over encrypted messages — they planned to arrive at the intersection of Saddle Road and Mauna Kea Access Road on Friday, July 12, with only a few cars at first. Soon, the crowd would swell into the thousands. By Monday, July 15, the kiaʻi assembled peacefully from the early hours of the morning in the freezing cold with ti leaf lei draped gently between each of them. The kūpuna (elder) line, three rows deep, volunteered to be on the frontline.

DLNR and heavily-armed Hawaiʻi Island police, including officers flown in from the City and County of Honolulu, were present the first two days of the stand-off; neither police nor kiaʻi budged. On July 17, the third day consecutive day, the arrests started amid tears and heartbreak. Following an emergency proclamation by Governor Ige, who granted himself more immediate powers to dispatch Hawaiʻis National Guard, 33 of the kūpuna were systematically detained and arrested, each taken to a nearby police vehicle and driven away. “Some willingly walked, but others were in wheelchairs and had to be pushed out. At least one man was lying on the ground and had to be lifted by police,” KITV4 reported. Tiare Lawrence, a community organizer from Maui, said on Instagram that many of the protesters who were arrested on Mauna Kea“were also on Kahoʻolawe fighting the same fight over 40 years ago. Their commitment to aloha ʻāina (love of the land) is unwavering.”

The arrests haven’t stopped others from gathering, as thousands of people began showing up at the sanctuary site, Puʻuhonua o Puʻuhuluhulu, with their cars lined up along Daniel K. Inouye Highway (known as Saddle Road). Protecting the land cannot fall to Native Hawaiians alone, either. The upswell of support for kiaʻi on Mauna Kea has been a steady growing wave; Senators Bernie Sanders and Elizabeth Warren, Representatives Tulsi Gabbard and Alexandria Ocasio Cortez, and celebrities like Leonardo DiCaprio, Bruno Mars, and Bretman Rock have all expressed support for Native Hawaiians and called for a peaceful non-violent resolution. The Rock, who is of Samoan descent and has ties to Oʻahu; singer Jack Johnson; and Native Hawaiian actor Jason Momoa have all traveled to Mauna Kea to join the joyful, emotional blockade where there has been a steady stream of hula, mele (singing), ʻoli (chanting), and jam sessions.

Things seemed to quell on Wednesday, July 24, when the Hawaiʻi Island city council passed a moratorium for a 60-day break from construction to ease tensions. Subsequently, Governor David Ige took back his emergency proclamation but he also instructed his state agency, the BLNR to grant the TMT project a two-year extension to start construction.

But the fight isn’t over, and protesters will undoubtedly need help from allies — and there’s plenty of ways to help even if you don’t have the time or money to travel to the island and protest in person.

By Jaysen Patao

If you can, support by donating.

All kiaʻi are ultimately at risk for arrest on Mauna Kea. You can donate directly to the Hawaiʻi Community Bail Fund to help protectors with cash bail, to HULI for nonviolent community organizing, logistics and training, or to the KAHEA Aloha ʻĀina Support Fund, which prioritizes frontline logistical support for non-violent direct actions taken to protect Mauna Kea from further industrial development including supplies, transportation, technical services, bail, and community meetings. You can also donate any extra Hawaiian Airlines Miles to help other kiaʻi travel to Mauna Kea, or buy a flight directly for a Native Hawaiian eager to join kiaʻi on Hawaiʻi Island.

Support by contacting the decision makers.

The state of Hawaiʻi is currently asking for comments supporting or opposing the Thirty Meter Telescope to be submitted through a Google Form. You can also contact key decision-makers including Governor David Ige, Hawaiʻi Island Mayor Harry Kim, and folks at the University of Hawaiʻi to express your support for Mauna Kea and the kia’i and encourage them against supporting the TMT project. You can also contact the people at the TMT directly and encourage them to relocate the project.

Support by using your voice.

Join an event in your community to show your steadfast support or email [email protected] to start your own. If you are a student, alumni, or affiliated with one of the schools made up of the Association of Universities for Research in Astronomy (AURA), you can sign this petition facilitated by Stanford Hui O Nā Moku to “meaningfully object to AURA’s support of the desecration of indigenous sacred land masquerading as a pure, innocent form of science.” You can also join the more than 200,000 Mauna Kea supporters opposing “any construction made on sacred land without the free, prior and informed consent of Kānaka Maoli,” and calling for the permanent halt of construction by the TMT.

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tetesaxman · 5 years

Text

My Boston and New York Trip Summary

I wrote this as part of my WLJ Internship.

Staff Diary :

We have many talented staff: full-time, part-time, interns, volunteers working with us towards strengthening our jazz community. From time to time we’d like to feature a personal thoughts of them. For this entry, we would like to feature our loving intern Te and about his first big trip to the States to Los Angels, Boston and the jazz capital, New York City!

MY BOSTON AND NEW YORK TRIP SUMMARY Pongthipok Sootthipong (WLJ SG intern)

BOSTON DAY 1 - Wally’s Cafe Jazz Bar

As I was in the car driving from Merced to San Francisco Airport to take a flight to Boston, I’ve already looked up some jazz bars in Boston. Without thinking about how cold it was gonna be when I arrive in Boston, I planned to go to Wally’s Cafe Jazz Bar, which has been established since 1947. There were two things that made me decide to go to Wally’s that day, number one, how close it is to the hotel I was staying at and it advertised itself on its website as ‘Musicians Training Ground’. Since, I really wanted to see what the Berklee kids are doing musically, there was no hesitation.

I reach Boston at 6 or 7pm, It was about 4 degrees Celsius, which I was told, was quite warm for Boston’s winter temperatures. I was literally freezing. I didn’t rethink my decision though, I took the metro to Wally’s. My description of Wally’s would be a space where the growing musicians can come and grow. It was a small bar with barely more space than the space of one ground floor shop house unit. It didn’t help with the fact that the place was packed back to front. I couldn’t get anywhere past the door.

As for the music at Wally’s, It was a saxophone quartet. I don’t know who it was but they were quite talented and young so I had my suspicions that they were Berklee or New England Conservatory students. To be honest, the level of musicianship on that day was pretty high, despite the loud talking and intoxicated audience. I felt like I didn’t appreciate their music as much as I should. This is purely because they were playing modern jazz, straight eighth kinda feel, which I haven’t studied and therefore do not understand. I stayed for 1 and half set. I had to leave because it was too hot inside the bar, too cold outside the bar and I needed to catch the train back to the hotel. Overall, it was a mixed experience stompin’ in at Wally’s but I blamed that on my level of musical understanding.

BOSTON DAY 2 - BERKLEE COLLEGE OF MUSIC

The second day of my Boston trip, I was scheduled to meet with the Singaporean bassist studying abroad at Berklee College of Music, Mr. John Koh. We scheduled to meet at 160 Massachusetts Avenue at 12pm or as I called it, the Berklee new building. Prior to my meeting John, i’d like to do some CD shopping. After a search on Google Maps, I discovered that the best thing to do is to head to a music shop at the New England Conservatory, which was only down the road from my hotel. I was expecting the shop to be a CD shop, but instead it was a music shop, full of scores and other stuff. I bought a Brecker book then left. I discovered that I could walk from NEC to Berklee in 10 mins. Hence I did.

As I walked up to Berklee on that cold saturday afternoon, I see the vibe, the practice vibe. Everybody was walking into or out of the Berklee College of Music buildings with their instruments and with their friends. The vibe was incredibly positive and friendly. There were Wendy’s restaurant, some bars, musical instrument shops and 7-eleven across the street.

After I met up with John Koh, he took me for a trip around the campus of Berklee Boston. Their recording studios and suites are massive and state of the art. They have loads of fully equipped ensemble rooms littered throughout the campus buildings. They have a library full of music books. They have a big computer lab and a Stan Getz saxophone on display.

However, their practice rooms are extremely tiny when compared to anything we are used to here at the college I studied at, LASALLE College of the arts or any other practice studios at Yong Siew Toh Conservatory of Music. Their piano rooms can only fit one upright piano and a bench and that’s it. In fact, when I came back to Singapore and told my teacher, Greg Lyons about Berklee. Being an alumni, he described the practice rooms for saxophone as telephone booths. All of this didn’t matter because on this saturday afternoon a week before christmas, everybody was practicing and shedding and hanging around Berklee. In fact, the day I was there, there happened to be an assault that took place at the 7-eleven opposite to the campus, but it didn’t matter because, everybody was still hanging around campus at 10pm. Massachusetts Avenue was still alive on this cold saturday night.

NEW YORK CITY

Two days later I was cruising through jazz bars in New York City. I went to the infamous Village Vanguard where I’ve paid 35 dollars for two nights for a 10:30pm set to watch Kenny Barron and Vanguard Jazz Orchestra. The set at Village Vanguard ended around midnight. Both nights, I was starstrucked to be able to watch some of my heros such as Kenny Barron and Dick Oatts performed live in front of me. The set at Village Vanguard ends around midnight. I would then grab a pizza from the store next door and walk down a block to Smalls. I love Smalls. It’s really a proper underground (literally) jazz bar you would envision to see in New York City. I was also there for two nights. I caught Ben Zweig Trio “After-hours” at 1am playing proper, super swingin’ swing music on the first night, and Jon Elbaz Trio “After-hours” at 1am playing more third-stream music which I’ve yet to understand. The will to find out more about the music made me stay for the after jam session on that night.

It was closing in on 3:30am at Smalls. The after hours jam session is coming to the last song. The last song they played was ‘If I were a Bell’. Since It was getting late, each jammers was only allowed to take one chorus. There were about 6 saxophonists and a few more trumpeters and trombonists. Each jammers looks like they are college kids or younger. I could have sworn that they are 25 and younger. However, their level of playing is beyond beliefs. The language, the connection to the music, the communication within the band stand is astonishing. I’d never forget that last song. Each players were trying their best, all different sounds with one common goal, to play as good as they can play.

I cannot put into words how inspired I am from taking this trip to Boston and New York as well as Los Angeles, where I actually jammed. I made new friends in these three cities last December and I’m glad. I’m glad that I’m fortunate enough to have experience what the music is really like in one of the best jazz schools in the world as well as the city which has been at the center of jazz music for the longest time. Prior to my journey to the states, I felt really stuck and uninspired, the jazz scene in Singapore was not doing so well and I’ve no new inspiration. No new experiences to fill that urge of wanting more even though I tried to get myself to be inspired, I practiced more, I transcribed more, I listened more. But at the end of the day, It was same old same old. Same places, same tunes and same acts. It was as though nobody cares about the music anymore. It was as though we lost that connection that bonded music to us.

Why not move to New York? I’d love to put myself in New York City, but that’s still a long journey away. Obviously there are many disadvantages of living in New York both musically and physically. However, I’m never someone who plans ahead that much, I’m more of a guy who make what now matters. I figured that the thing I can do now, is try to bring New York City back to me. To be the best of what I am. To push beyond expectations and limitations. To be inspired and eventually inspiring. There won’t be an end.

In Singapore now and doing my thesis for my four months left at LASALLE College of the Arts, I have one big goal. My one and only big goal is to aim high, to aim to be as good as the New York Cats I saw ; jamming ‘If I Were a Bell’ at Smalls at 3:30am in the morning. I know it’s a long shot but it’s worth a try. This is because at the end of the day, you learn from your actions.

MORE PICTURES

VINCENT HERRING at SMOKE, New York City

Vanguard Jazz Orchestra at Village Vanguard, New York City

Jam Session at Mezzrow Jazz Club, New York City

ALL BUT TWO jazz bars I went in the US was overground.

Masami Kuroki at Rhythm Room, Los Angeles

Written by Tete with help and inspiration from Aya Sekine: Somewhen in early 2019

tetesaxman.com

welovejazz.org

#singapore #singaporejazz #berklee #newyorkjazz #lasalle #welovejazz #welovejazzsg

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