Let's end the speculation and share the latest in the "kaleidoscopic" saga...
MUSIC--are you beautiful?
If you are, then your beautiful soul and its bootylicious body-temple will be diggin' on bella soul!
http://www.bellasoulmusic.com/
www.myspace.com/bellasoulmusic
www.twitter.com/bellasoulmusic
We're back in the saddle in a big way, with an unprecedented rollout that demands we show up and show off with all cylinders blazing. A few months ago, I had a cold and lonely moment in my basement where I totally disassembled the Lady Blue music repetoire binder, not really too certain when or if another scenario would happen anytime soon. Fast forward to today, where we are now looking at new originals, new cover tunes, new re-workings of a few Lady Blue nuggets, and new playmates to share all the fun with! When Joe Lawler from Juice called yesterday (his blog is here) about featuring us on the "Meet The Band" page, I told him that this was a fusion of rock and soul, as I myself am, given my chocolate and vanilla genetic status, and that the vibe was very Aretha meets Ann Wilson. I also said rather incredulously that we intend to explore a wide range stylistically, and that given the current soup state of the music industry, I believe the future belongs to those rulebreaking niche-defiant renegades who dare to step out and pull what I'll call a Schwarzenegger; in other words, everything supposedly wrong about you according to the status quo, yet you manage to spin it all into your own uniquely compelling artistic expression. Need proof of this prophecy? Two words: Susan Boyle (relive the amazing 7-minute moment here).
In the interim, I've learned a few things about myself as a musician and as a person, the main one being how lacking in joy I can be. I used to hang out with a friend named Joy, and we would joke that she was Joy and I was Sorrow. The saying goes, there's no such thing as a happy genius. I would like to prove that theory wrong, in music and in life. I am simply fed up with wasting time, spinning wheels, being beholden to illusionary faux-rules that have absolutely no basis in reality, once you back up far enough to see them clearly. I've reached an exciting, if a little inconvenient, point on my journey where I'm just in the mood to perform what I want, when I want, where I want, how I want. Not in some selfish, controlling way, but setting a new unselfish standard of boundry-less musical freedom. So watch out world, bella soul is coming to rain down a storm of musical power and joy on your beautiful soul.
BUSINESS--the kaleidoscope is changing...
I like to think of it as graduating actually. After banging our heads too many times against too many walls, plans for a studio re-launch have been put on the backburner for now, as we continue to tie up loose ends from the Urbandale 104th Street days. It's been weird, but good, showing up for projects at other studio settings, such as Andy's basement for my SNAFU guest spot (www.myspace.com/thebandsnafu), Logan's house for my Dustin Smith guest spot (http://www.loganchristianaudio.com/ and www.myspace.com/dustinsmithmusic), and several times at http://www.livingsoundstudio.com/, where we've been fortunate enough to rehearse with the band the last two weeks. Bittersweet though it may be, I once again have learned a lot about the business of recording, and the business of business itself.
We are "hearing new visions and seeing new songs". Our kaleidoscopic dreams are by no means dead, they will be resurrected in what we are calling The Kaleidoscope Musical Initiative, a project that will not be limited by the scope of only one little business effort in Des Moines, but will literally reach out far beyond what we've ever dared to imagine before. Keep scoping out the scope...it's coming soon, really it is. In the last 3 years, we've put many of our own musical dreams on the backburner, in order that we might help others, and learn more of what we need to move forward when the time came to revisit them.
That time is now. These transitional months have not been without disappointment, disillusionment, probably a little of every negative "dis" word you could think of. Along with some vocal coaching, junior high mentoring, consulting on and contributing to others' artistic endeavors, the focus is finally swinging back to performing. During the Lady Blue days, we basically performed in between times we could get away from the business. Now we're going to practice our entrepreneurship in and around performing.
This blog is shifting and clarifying its focus. The appearance and content will be changing to reflect the new Kaleidoscope Musical Initiative, and all of its aspirations. I'll be weighing in more often at, you guessed it, the blog at www.bellasoulmusic.com. Please consider hooking up with us throughout our various social media outlets, and let us know how we can support and promote all of your good kaleidoscopic creatiVEntures!
Some tunes to end a blog with:
www.twiturm.com/38rc
www.twiturm.com/phbi
01 April 2009
A fusion of project review and love letter...
If you know me even a little bit, you know that Stevie Nicks has been my all-time top musical she-ro ever since my childhood. Fast forward to this week, which sees the release of Stevie's newest product, the Live in Chicago Soundstage CD and DVD. It's a lovely tribute to someone more than just an artist, but an enduring, multi-platinum selling, Rock and Roll Hall of Fame icon, who has above all remained true to herself and to her own personal "brand" for 40 years.
Let's just get this out of the way first and foremost: Stevie is 60, and she is hot...slammin' hot! Still workin' those fringy shawlish ensembles and the platform boots, every twirl, bounce, and high kick clearly shows that she's still got the goods. The wispy haziness has been replaced by a fiery wide-awake maturity with passion gloriously undiminished.
You know Stevie can do absolutely no wrong in my book, but I'll still do my best to be objective here. The setting itself strikes a strange vibe, as it isn't quite full-blown rock concert-size but isn't quite intimate either, being shot in a very controlled set, with a very controlled, politely enthusiastic audience. As for the song selection, Stevie has always been at her best in the extremes, succeeding with extraordinary resonance in the lowest lows (How Still My Love) to the highest highs (Fall From Grace, Enchanted). She also scores in her non-original cover interpretations (Crash Into Me by Dave Matthews, Circle Dance by Bonnie Raitt, and of course the big finale of Rock and Roll by Led Zeppelin). Unfortunately she has always spent more time than necessary in a "mid-tempo" mode, where the songs aren't quite as danceable or singable, and admittedly comes pretty close to self-indulgence. Heck, she goes way over the line here and there, but guess what? It's Stevie, rock's most beautiful gypsy survivor emeritus; and by weaving her mystical poetic spell the way that only she can, all is well, and she gets away with what for other artists would be called murder.
There is no such thing as too many versions of Gold Dust Woman, Rhiannon, and the "white winged dove" song--Edge of Seventeen, all delivered in stunning new renditions here. And when Stevie sings Landslide for the umpteenth time, it feels even more potent now that, at last, she and all of us are really "getting older, too." These moments of songwriting brilliance, sophistication, and perception, show us once again why Stevie is a legend. In a way, she's always been about the beauty of moments even more than whole songs, the staggering impact of certain lines delivered with certain "hauntingly familiar" emphasis.
As an artist myself, I am so different than Stevie on the surface. I don't look or sound a bit like her. And yet more than anyone else, she has without a doubt been my greatest inspiration. She was the first rock and roll woman who refused to sacrifice the femininity of her identity. Other women throughout rock history have come across too much as either one of the ragged jagged guys, or overtly sexual to the point of excruciating excess. Stevie has always been, is now, and will always be not just a woman, but a Lady. While watching this new gift of her artistry at 3:00 a.m., I celebrated along with her all the things we both have made it through; still singing, dancing, twirling, and weaving musical spells for all those who care to embrace us. You may or may not embrace me; however, you MUST embrace the original Lady of Rock, Stevie Nicks. It's true that not all her studio projects have showcased her the best over the years (combination of substandard production values, performances, and well-documented personal sagas). But over time, the body of work ultimately tells the story. Both solo and with Fleetwood Mac (with whom she is on tour right now), the story of Stevie is a story of a conqueror, whose failures in life have always been overcome and ultimately overshadowed by her greatest success, a splendid 40-year marriage to her music and to her fans, of which I will forever be one of her most devoted.
Let's just get this out of the way first and foremost: Stevie is 60, and she is hot...slammin' hot! Still workin' those fringy shawlish ensembles and the platform boots, every twirl, bounce, and high kick clearly shows that she's still got the goods. The wispy haziness has been replaced by a fiery wide-awake maturity with passion gloriously undiminished.
You know Stevie can do absolutely no wrong in my book, but I'll still do my best to be objective here. The setting itself strikes a strange vibe, as it isn't quite full-blown rock concert-size but isn't quite intimate either, being shot in a very controlled set, with a very controlled, politely enthusiastic audience. As for the song selection, Stevie has always been at her best in the extremes, succeeding with extraordinary resonance in the lowest lows (How Still My Love) to the highest highs (Fall From Grace, Enchanted). She also scores in her non-original cover interpretations (Crash Into Me by Dave Matthews, Circle Dance by Bonnie Raitt, and of course the big finale of Rock and Roll by Led Zeppelin). Unfortunately she has always spent more time than necessary in a "mid-tempo" mode, where the songs aren't quite as danceable or singable, and admittedly comes pretty close to self-indulgence. Heck, she goes way over the line here and there, but guess what? It's Stevie, rock's most beautiful gypsy survivor emeritus; and by weaving her mystical poetic spell the way that only she can, all is well, and she gets away with what for other artists would be called murder.
There is no such thing as too many versions of Gold Dust Woman, Rhiannon, and the "white winged dove" song--Edge of Seventeen, all delivered in stunning new renditions here. And when Stevie sings Landslide for the umpteenth time, it feels even more potent now that, at last, she and all of us are really "getting older, too." These moments of songwriting brilliance, sophistication, and perception, show us once again why Stevie is a legend. In a way, she's always been about the beauty of moments even more than whole songs, the staggering impact of certain lines delivered with certain "hauntingly familiar" emphasis.
As an artist myself, I am so different than Stevie on the surface. I don't look or sound a bit like her. And yet more than anyone else, she has without a doubt been my greatest inspiration. She was the first rock and roll woman who refused to sacrifice the femininity of her identity. Other women throughout rock history have come across too much as either one of the ragged jagged guys, or overtly sexual to the point of excruciating excess. Stevie has always been, is now, and will always be not just a woman, but a Lady. While watching this new gift of her artistry at 3:00 a.m., I celebrated along with her all the things we both have made it through; still singing, dancing, twirling, and weaving musical spells for all those who care to embrace us. You may or may not embrace me; however, you MUST embrace the original Lady of Rock, Stevie Nicks. It's true that not all her studio projects have showcased her the best over the years (combination of substandard production values, performances, and well-documented personal sagas). But over time, the body of work ultimately tells the story. Both solo and with Fleetwood Mac (with whom she is on tour right now), the story of Stevie is a story of a conqueror, whose failures in life have always been overcome and ultimately overshadowed by her greatest success, a splendid 40-year marriage to her music and to her fans, of which I will forever be one of her most devoted.
27 March 2009
If only we could sing away all the pain...
Throughout our time in the Urbandale studio, and now ensconced in "the studio of life", it has been our aspiration to make music "kaleidoscopically" and help others do the same. Someone said "the best way to predict the future is to create it." So in this transitional season, we've bravely allowed ourselves to dream, wish, spend valuable time in what Julia Cameron (The Artist's Way) calls "the i-magic-nation."
The personal reflections born during this time have had a lot more to do with "how NOT to do music kaleidoscopically" than "how TO do music kaleidoscopically." It's been a time of backing up from the musical universe in which we've been so enmeshed. When you're too close to something, you can't see it clearly. Only when you back up does the fuzzy picture come into focus. And as wacky, weird, wild, way-out-on-a-limb as this might sound, here's a little of what's been percolating:
If only we could...
sing away all the dysfunctional, out-of-balance, self-destructive, world-destructive crap
sing away all the disease, the disasters, the disgrace
sing away all the depression and anxiety
sing away all the harm, the hopelessness, the hate
sing away all the headaches and heartaches
sing away all the greed, illusion, and disillusionment
sing away all the small and shallow thinking and feeling
sing away all the milquetoast mediocrity passed off as the standard
sing away all the pain, SING AWAY ALL THE PAIN...
So much of what transpires in musicmaking, both onstage and off, doesn't really amount to a hill of beans. Sorry, but it's true; and not just true, but very overwhelmingly obviously true. And yet we go on, both as artists and audience, making our choices based on an insane, out-of-control web of untruth. I'm not elaborating any farther, it's something each of us has to arrive at our own conclusions about (but I'd be happy to dive in further with you over "brandy and cigars" sometime!).
The nature of a root can be known by its fruit. So I humbly ask you to look, listen, back up, question, and thoughtfully analyze the fruit of our musicmaking system. At that point, you may realize that we've been put on a planet in desperate need of the healing power that music possesses. You may wake up and say to yourself, "Sucker!" You may even start creating some plans of your own to do music differently, truthfully, kaleidoscopically!
Please don't think that we think we could dare say what the truth really is, on this or any other matter. It's very simple. We just want what is best, for both artists and audience, for both ourselves and you. I hope you are reminded from the statements above that we as world-citizens have a ton of "singing away" to do. And we need new paradigms and procedures about the power of music and all art, that will enable us to do the maximum musical healing we were put on the planet to do.
If only we really could sing (and play) away the world's pain. Guess what? We can...and we must.
The personal reflections born during this time have had a lot more to do with "how NOT to do music kaleidoscopically" than "how TO do music kaleidoscopically." It's been a time of backing up from the musical universe in which we've been so enmeshed. When you're too close to something, you can't see it clearly. Only when you back up does the fuzzy picture come into focus. And as wacky, weird, wild, way-out-on-a-limb as this might sound, here's a little of what's been percolating:
If only we could...
sing away all the dysfunctional, out-of-balance, self-destructive, world-destructive crap
sing away all the disease, the disasters, the disgrace
sing away all the depression and anxiety
sing away all the harm, the hopelessness, the hate
sing away all the headaches and heartaches
sing away all the greed, illusion, and disillusionment
sing away all the small and shallow thinking and feeling
sing away all the milquetoast mediocrity passed off as the standard
sing away all the pain, SING AWAY ALL THE PAIN...
So much of what transpires in musicmaking, both onstage and off, doesn't really amount to a hill of beans. Sorry, but it's true; and not just true, but very overwhelmingly obviously true. And yet we go on, both as artists and audience, making our choices based on an insane, out-of-control web of untruth. I'm not elaborating any farther, it's something each of us has to arrive at our own conclusions about (but I'd be happy to dive in further with you over "brandy and cigars" sometime!).
The nature of a root can be known by its fruit. So I humbly ask you to look, listen, back up, question, and thoughtfully analyze the fruit of our musicmaking system. At that point, you may realize that we've been put on a planet in desperate need of the healing power that music possesses. You may wake up and say to yourself, "Sucker!" You may even start creating some plans of your own to do music differently, truthfully, kaleidoscopically!
Please don't think that we think we could dare say what the truth really is, on this or any other matter. It's very simple. We just want what is best, for both artists and audience, for both ourselves and you. I hope you are reminded from the statements above that we as world-citizens have a ton of "singing away" to do. And we need new paradigms and procedures about the power of music and all art, that will enable us to do the maximum musical healing we were put on the planet to do.
If only we really could sing (and play) away the world's pain. Guess what? We can...and we must.
17 March 2009
The Glory And The Magic of PERFORMING Music
Performing/Creating/Listening/Watching
Performing music has been one of the great joys of my life - it is literally one of the things I'm very certain that I was put on the planet to do. Now that I am becoming "a woman of a certain age", it gives me additional pleasure to help and encourage others in their performance lives, as well as to keep fanning the flames of my own. I've done it in countless settings publicly since I was 3, and as an adult here in Des Moines since I was 18, over 25 years ago. That said, I'm still such a student in the subject, with my most powerful learning tool being the art of "unlearning". What a thrill it is to wave the flag for musical performance excellence, especially in the face of all the mediocrity that's out there. No matter what your genre, there are performance principles that apply across the board, including those from the article below. Enjoy, and I wish you the glory and the magic that can only be found onstage!
A piece about musical performance HERE
A singing tribute to the great joy of singing and all performing by Wynonna
Another singing tribute to singing--as well as a call for compassion & justice from Annie Lennox
Performing music has been one of the great joys of my life - it is literally one of the things I'm very certain that I was put on the planet to do. Now that I am becoming "a woman of a certain age", it gives me additional pleasure to help and encourage others in their performance lives, as well as to keep fanning the flames of my own. I've done it in countless settings publicly since I was 3, and as an adult here in Des Moines since I was 18, over 25 years ago. That said, I'm still such a student in the subject, with my most powerful learning tool being the art of "unlearning". What a thrill it is to wave the flag for musical performance excellence, especially in the face of all the mediocrity that's out there. No matter what your genre, there are performance principles that apply across the board, including those from the article below. Enjoy, and I wish you the glory and the magic that can only be found onstage!
A piece about musical performance HERE
A singing tribute to the great joy of singing and all performing by Wynonna
Another singing tribute to singing--as well as a call for compassion & justice from Annie Lennox
09 March 2009
Music and the Farmers' Market
What does music have in common with the Farmers' Market?
This past year, I've had a little epiphany regarding the state of music in general, and the state of my own music. As an artist, I've enjoyed plenty of diverse success, making my mark in many different genres and settings across our city and state. As a businessperson, I've also enjoyed success, albeit disguised as failure in some ways, but success nonetheless as lessons learned and self-awareness/life awareness gained. Spiritually and creatively, it's with sanity not vanity, gratitude not greed, that I count myself as one of the wealthiest artists that I know, even though this hasn't equalled mega-millions of dollars or earthly star-studded accolades.
So with the music world spinning out of (and I believe ultimately back into) control, I have needed to touch base with myself once again, and re-examine what I aspire to be about as a musician, and as a human, and how it is meant for me to live out those values, visions, and dreams.
Long story short, this brings me to the Farmers' Market. What do we always see as the "catch-phrase" for supporting these grassroots gatherings? It is this: think globally, act locally.
How much sense would it make for me, a Des Moines/Highland Park dweller, to buy my groceries on an ongoing basis from some impersonal faraway grocery stores in Nashville, New York, and Hollywood? My grocery haunt is Linn's on 6th Avenue, where it sounds like somebody's boom box is the overhead music source, and they cut fresh meat on site every day--adorable, unpretentious, and right down the street from where I live.
As absurd as that question might seem, this is precisely what we have been conditioned to do regarding our artistic expression of, and audience support of, music; specifically our purchase and consumption of our "musical groceries." Maybe it's my experience as a small business leader that has tattooed me with this new perspective, but I'm proud to say that my support of local businesses and local musicians, while always high, is on a vigorously exponential increase.
Des Moines is a city with world-class musical talent of its own that is deserving of enthusiastic, committed support. Am I a fan of Sheryl Crow? Sure, but I'm an even bigger fan of our own jazz legend Susie Miget. Am I a fan of Justin Timberlake? Of course (to my husband's constant chagrin), but I'm an even bigger fan of our own internationally renowned organ genius Sam Salamone. Do I get into the occasional Beyonce groove? Yes indeed, but I will follow Gwen Page Schlepphorst's keyboard (Mooseknuckle/Floodplane) anytime, anywhere I can sit under the spell of her exuberant jammy brilliance.
Brandon and I are humble enough to know that as humans, we seem to screw up far more than often than not, and seem to be wrong far more often than right. On this particular sentiment, however, I think we're getting it; and are eager to do our best, as artists, as businesspeople, as ordinary/extraordinary citizens of our city and the world, to be role models of this concept in the best of ways.
Remember the Farmers' Market (whether it be melons or especially music):
think globally, act locally.
This past year, I've had a little epiphany regarding the state of music in general, and the state of my own music. As an artist, I've enjoyed plenty of diverse success, making my mark in many different genres and settings across our city and state. As a businessperson, I've also enjoyed success, albeit disguised as failure in some ways, but success nonetheless as lessons learned and self-awareness/life awareness gained. Spiritually and creatively, it's with sanity not vanity, gratitude not greed, that I count myself as one of the wealthiest artists that I know, even though this hasn't equalled mega-millions of dollars or earthly star-studded accolades.
So with the music world spinning out of (and I believe ultimately back into) control, I have needed to touch base with myself once again, and re-examine what I aspire to be about as a musician, and as a human, and how it is meant for me to live out those values, visions, and dreams.
Long story short, this brings me to the Farmers' Market. What do we always see as the "catch-phrase" for supporting these grassroots gatherings? It is this: think globally, act locally.
How much sense would it make for me, a Des Moines/Highland Park dweller, to buy my groceries on an ongoing basis from some impersonal faraway grocery stores in Nashville, New York, and Hollywood? My grocery haunt is Linn's on 6th Avenue, where it sounds like somebody's boom box is the overhead music source, and they cut fresh meat on site every day--adorable, unpretentious, and right down the street from where I live.
As absurd as that question might seem, this is precisely what we have been conditioned to do regarding our artistic expression of, and audience support of, music; specifically our purchase and consumption of our "musical groceries." Maybe it's my experience as a small business leader that has tattooed me with this new perspective, but I'm proud to say that my support of local businesses and local musicians, while always high, is on a vigorously exponential increase.
Des Moines is a city with world-class musical talent of its own that is deserving of enthusiastic, committed support. Am I a fan of Sheryl Crow? Sure, but I'm an even bigger fan of our own jazz legend Susie Miget. Am I a fan of Justin Timberlake? Of course (to my husband's constant chagrin), but I'm an even bigger fan of our own internationally renowned organ genius Sam Salamone. Do I get into the occasional Beyonce groove? Yes indeed, but I will follow Gwen Page Schlepphorst's keyboard (Mooseknuckle/Floodplane) anytime, anywhere I can sit under the spell of her exuberant jammy brilliance.
Brandon and I are humble enough to know that as humans, we seem to screw up far more than often than not, and seem to be wrong far more often than right. On this particular sentiment, however, I think we're getting it; and are eager to do our best, as artists, as businesspeople, as ordinary/extraordinary citizens of our city and the world, to be role models of this concept in the best of ways.
Remember the Farmers' Market (whether it be melons or especially music):
think globally, act locally.
03 March 2009
MMD--Mental Musical Database
In our "offseason" time of transition, we've been doing what we can to grow both personally and professionally as preparation for ascending into the next phase of Kaleidoscope. Here are some sources we've recently been blessed by, and wholeheartedly recommend for your own body of creative knowledge:
Moving To Higher Ground--a book by Wynton Marsalis
This man's artistry is simply inspirational. From a jazz frame of reference, he makes a compelling case for musical expression as flowing through interconnected veins of character, creativity, and citizenship. When he was in town for a Bucksbaum lecture at Drake a few years ago, it was one of those evenings that I wished every artist I knew could have been present, both for his speaking as well as his band playing. I'm still impacted at the mere remembrance of it.
1000 Songs To Change Your Life/Lost In The Grooves
Another interesting collection of musical perspectives to examine and see what clicks...
Victor Wooten's Groove Workshop DVD
How lovely it is to sit side by side with the spouse in our living room taking notes together on this power-packed video session. Inspirational plus informational--this guy is a really gifted communicator both on and off the bass guitar.
Derek Trucks everything 1
Derek Trucks everything 2
Just saw him at Hoyt-Sherman the other night, and was fed a splendid feast of musical soul food. Derek is still so young, yet has already achieved so much. (And of course, my spouse and I are drawn to him and his wife Susan Tedeschi because of the unique life status we have in common!)
Moving To Higher Ground--a book by Wynton Marsalis
This man's artistry is simply inspirational. From a jazz frame of reference, he makes a compelling case for musical expression as flowing through interconnected veins of character, creativity, and citizenship. When he was in town for a Bucksbaum lecture at Drake a few years ago, it was one of those evenings that I wished every artist I knew could have been present, both for his speaking as well as his band playing. I'm still impacted at the mere remembrance of it.
1000 Songs To Change Your Life/Lost In The Grooves
Another interesting collection of musical perspectives to examine and see what clicks...
Victor Wooten's Groove Workshop DVD
How lovely it is to sit side by side with the spouse in our living room taking notes together on this power-packed video session. Inspirational plus informational--this guy is a really gifted communicator both on and off the bass guitar.
Derek Trucks everything 1
Derek Trucks everything 2
Just saw him at Hoyt-Sherman the other night, and was fed a splendid feast of musical soul food. Derek is still so young, yet has already achieved so much. (And of course, my spouse and I are drawn to him and his wife Susan Tedeschi because of the unique life status we have in common!)
20 February 2009
C.A.D.S.
Cultural Advocacy Day Singers! C.A.D.S.! That's what I told Robert John Ford, writer/director of CAUCUS! The Musical, Sleeping Dogs, and the upcoming Six-On-Six musical, that he could entitle a song in a new production he could create based on the experience of a group of singers I was fortunate to be a part of on Wednesday, February 18, which was indeed Cultural Advocacy Day here in Iowa.
Lyric excerpt from the song our group performed:
FUND THE ARTS (to the tune of "Be Our Guest" from Beauty And The Beast)
by the witty, intelligent, low-brow in a high-brow way, Robert John Ford!
Fund the arts, fund the arts, at least match our counterparts
In Missouri! Please do hurry before everyone departs
If you fill up our till, I can guarantee it will
Keep our minds from atrophying, keep our college kids from fleeing
In return, you will earn new tax revenue to burn
And an atmosphere that fosters new Mozarts
Ah, what a thing of beauty if you do your duty
Fund the arts, fund the arts, fund the arts
Fund the arts, fund the arts, prove to us that you've got hearts
Be true leaders, not impeders, like a bunch of mean old farts
There's no hitch to our pitch
Unlike Rod Blogojovich
Honest values we ascribe to cuz we can't afford to bribe you
Join our fight, do what's right, help us overcome our plight
If you don't we're homeless, pushing shopping carts
C'mon now, be our heroes, add some extra zeroes
Fund the arts, fund the arts, fund the arts
PLEASE FUND THE ARTS!
Now wouldn't that have been a perfect way to begin the morning session at the State Capitol, an entertaining tongue-in-cheek reminder of the fact that Iowa is ranked 45th in state arts funding? Alas, it wasn't meant to be, for when we arrived for our pre-approved, pre-planned performance, literally at the doorway to "the room where it all happens", the grand and glorious chamber which itself is a stirring display of the power of art, we were swiftly halted and cited for "inappropriateness." An alternate plan to use the time with me singing the National Anthem alone, which I've done in that setting previously, was also silenced. Without going into detail, let's just say that it was indeed a disappointment, and dreadfully symbolic of the cultural advocacy predicament. However, we did perform the song several times at the "Cabaret Iowa" legislative reception event later at the Historical Building, to greatly appreciative and enthusiastic response.
Since I wasn't able to rave and rant in their faces that day, I'll just unleash my imaginary response right now.
Dear Legislators, I'd like to remind you that you have ART to thank for:
The chairs you are sitting in
The chamber and the entire beautiful building you are meeting in
The clothes on your back
The car you drove to come to this session
The roads you drove on to come to this session
The music/programming you listened to while you drove to come to this session
The house you left and most of the possessions in it, to come to this session
But a tiny little reminder of that, on a once-a-year occasion that is supposedly dedicated to the greatness of arts and culture, the answer is...closed doors, closed minds, closed hearts.
C.A.D.S.! I'm seeing it, I'm hearing it, it'll practically write itself!
Iowa Cultural Coalition
The work of Robert John Ford
Lyric excerpt from the song our group performed:
FUND THE ARTS (to the tune of "Be Our Guest" from Beauty And The Beast)
by the witty, intelligent, low-brow in a high-brow way, Robert John Ford!
Fund the arts, fund the arts, at least match our counterparts
In Missouri! Please do hurry before everyone departs
If you fill up our till, I can guarantee it will
Keep our minds from atrophying, keep our college kids from fleeing
In return, you will earn new tax revenue to burn
And an atmosphere that fosters new Mozarts
Ah, what a thing of beauty if you do your duty
Fund the arts, fund the arts, fund the arts
Fund the arts, fund the arts, prove to us that you've got hearts
Be true leaders, not impeders, like a bunch of mean old farts
There's no hitch to our pitch
Unlike Rod Blogojovich
Honest values we ascribe to cuz we can't afford to bribe you
Join our fight, do what's right, help us overcome our plight
If you don't we're homeless, pushing shopping carts
C'mon now, be our heroes, add some extra zeroes
Fund the arts, fund the arts, fund the arts
PLEASE FUND THE ARTS!
Now wouldn't that have been a perfect way to begin the morning session at the State Capitol, an entertaining tongue-in-cheek reminder of the fact that Iowa is ranked 45th in state arts funding? Alas, it wasn't meant to be, for when we arrived for our pre-approved, pre-planned performance, literally at the doorway to "the room where it all happens", the grand and glorious chamber which itself is a stirring display of the power of art, we were swiftly halted and cited for "inappropriateness." An alternate plan to use the time with me singing the National Anthem alone, which I've done in that setting previously, was also silenced. Without going into detail, let's just say that it was indeed a disappointment, and dreadfully symbolic of the cultural advocacy predicament. However, we did perform the song several times at the "Cabaret Iowa" legislative reception event later at the Historical Building, to greatly appreciative and enthusiastic response.
Since I wasn't able to rave and rant in their faces that day, I'll just unleash my imaginary response right now.
Dear Legislators, I'd like to remind you that you have ART to thank for:
The chairs you are sitting in
The chamber and the entire beautiful building you are meeting in
The clothes on your back
The car you drove to come to this session
The roads you drove on to come to this session
The music/programming you listened to while you drove to come to this session
The house you left and most of the possessions in it, to come to this session
But a tiny little reminder of that, on a once-a-year occasion that is supposedly dedicated to the greatness of arts and culture, the answer is...closed doors, closed minds, closed hearts.
C.A.D.S.! I'm seeing it, I'm hearing it, it'll practically write itself!
Iowa Cultural Coalition
The work of Robert John Ford
13 February 2009
MMD--For your Mental Musical Database
Inspirational, informational, knock yourself out! Glean from our recent research vaults, and respond as you see fit. Or we should say, respond as WE see fit for you, by making fabulous new music!
Wired "Kaleidoscopic" Interview
Annual February Recording Challenge
Wired "Kaleidoscopic" Interview
Annual February Recording Challenge
05 February 2009
Body of work--a sweet girl indeed
She sang and played with a bunch of friends in one of the biggest parks in the world one night. Some guy named Eric played guitar and sang a little ditty called "White Room" with her. Three chicks from Dixie harmonized with her. Another guy named Keith played some obscure tune he wrote called "Happy" with her. Best of all, a beautiful gypsy named Stevie shared the stage doing one of the great rock music mood paintings, "Gold Dust Woman". Stevie even went on to write a song about this friend of hers called "Sweet Girl".
Of course, we are talking about the lady who "likes a beer buzz early in the morning", former school teacher as well as background singer for Michael Jackson, Miss Sheryl Crow. The evening described above is captured on a project called "Sheryl Crow and Friends--An Evening in Central Park" and includes not only star power cameos, but a great retrospective of her hits.
It's interesting to consider how the songs for such a project, or any concert or recording, are chosen. Luckily for Miss Crow, she has amassed an incredible body of work from which to choose, since the days of the "beer buzz" song--her first hit, "All I Wanna Do (is have some fun)". And luckily for us, her considerable singing, writing, and arranging talents have been preserved for us through the magic of recording.
That's a powerfully potent achievement worth aspiring to by us all, a body of musical work that contributes some kind of positive vibration to the world. Miss Crow is one example; through the magic of recording, you could be next...
Of course, we are talking about the lady who "likes a beer buzz early in the morning", former school teacher as well as background singer for Michael Jackson, Miss Sheryl Crow. The evening described above is captured on a project called "Sheryl Crow and Friends--An Evening in Central Park" and includes not only star power cameos, but a great retrospective of her hits.
It's interesting to consider how the songs for such a project, or any concert or recording, are chosen. Luckily for Miss Crow, she has amassed an incredible body of work from which to choose, since the days of the "beer buzz" song--her first hit, "All I Wanna Do (is have some fun)". And luckily for us, her considerable singing, writing, and arranging talents have been preserved for us through the magic of recording.
That's a powerfully potent achievement worth aspiring to by us all, a body of musical work that contributes some kind of positive vibration to the world. Miss Crow is one example; through the magic of recording, you could be next...
27 January 2009
Another January, Another Genesis
The book of the Bible that me and the general public have read the absolute most is...GENESIS. Because you know how it is, you hit the big month number one again and it's time to start over (like Charlotte's Sex In The City book -- Starting Over Yet Again--don't you love how I just linked the Bible and Sex In The City in the same sentence?). Anyway, it is that kind of time for Kaleidoscope and all of its CreatiVEntures, so here my dears is the scoop, the skinny, the straight from the horse's mouth update:
BUSINESS:
In the last few months, we have been investigating a number of properties and still haven't settled on the one that is, in the words of the 3 bears, "just right." We have also been working on an overhaul and reinvention of the budget structure and management system that was at the foundation of our days at 2771 104th. Happily, along with our good-intentioned mistakes, we have been discovering the things we did well, that are now providing a kick-ass foundation upon which to build Kaleidoscope Phase 2. A reminder that we are still serving many musical needs including vocal coaching (coming soon--a vocal coaching jam!), songwriting and arranging, event consulting, etc. In short, even though we are temporarily out of the studio, the studio is definitely not out of us.
BAND:
Drum roll please...the name has been chosen! That's all you get here, but suffice it to say, it has been met with great response to the few who do know it, and we're excited to officially unveil it at the appointed time. The new repetoire will include the best of both the Groove Merchants and Lady Blue eras, plus some new and familiar covers--surprises galore are coming, and of course our babies--the original compositions. Meanwhile, Brandon has stepped up on a short-term basis to play with one heaven of a rhythm section, Ernie Terrell on bass and Reggie Upshur on drums, in the area's most soulful power trio, VooDoo3. So between that and our own gigs, here's where we hope to see your friendly faces soon--check links for gig details:
Deacon and The Lady:
Fri 1-30 Cory's Irish Pub/Bondurant
Mon 2-9 3rd Annual Deacon's Day Bash at Blues On Grand--the birthday blowout for Brandon!
Sun 2-22 Botanical Blues Series
Brandon with VooDoo3:
At The Main Gate--info link
Sun 2-1, Sat 2-7, Sun 2-8
(and every Sunday night they host the jam)
also w/VooDoo3:
Fri 2-6 Hessen Haus
another jam we want to promote:
Thu 2-5 at Corys in Bondurant led by our friend Kyle Dean Patten (last time we went was absolute magic--good vibrations galore, and we'll be there with bells on!)
There's more to be shared but this is enough for now, and we wish you all blessings as you "make your own kind of music, sing your own special song, make your own kind of music, even if nobody else sings along..."
Bye for now, friends--peace and prosperity in all your kaleidoscopic creatiVEntures!
BUSINESS:
In the last few months, we have been investigating a number of properties and still haven't settled on the one that is, in the words of the 3 bears, "just right." We have also been working on an overhaul and reinvention of the budget structure and management system that was at the foundation of our days at 2771 104th. Happily, along with our good-intentioned mistakes, we have been discovering the things we did well, that are now providing a kick-ass foundation upon which to build Kaleidoscope Phase 2. A reminder that we are still serving many musical needs including vocal coaching (coming soon--a vocal coaching jam!), songwriting and arranging, event consulting, etc. In short, even though we are temporarily out of the studio, the studio is definitely not out of us.
BAND:
Drum roll please...the name has been chosen! That's all you get here, but suffice it to say, it has been met with great response to the few who do know it, and we're excited to officially unveil it at the appointed time. The new repetoire will include the best of both the Groove Merchants and Lady Blue eras, plus some new and familiar covers--surprises galore are coming, and of course our babies--the original compositions. Meanwhile, Brandon has stepped up on a short-term basis to play with one heaven of a rhythm section, Ernie Terrell on bass and Reggie Upshur on drums, in the area's most soulful power trio, VooDoo3. So between that and our own gigs, here's where we hope to see your friendly faces soon--check links for gig details:
Deacon and The Lady:
Fri 1-30 Cory's Irish Pub/Bondurant
Mon 2-9 3rd Annual Deacon's Day Bash at Blues On Grand--the birthday blowout for Brandon!
Sun 2-22 Botanical Blues Series
Brandon with VooDoo3:
At The Main Gate--info link
Sun 2-1, Sat 2-7, Sun 2-8
(and every Sunday night they host the jam)
also w/VooDoo3:
Fri 2-6 Hessen Haus
another jam we want to promote:
Thu 2-5 at Corys in Bondurant led by our friend Kyle Dean Patten (last time we went was absolute magic--good vibrations galore, and we'll be there with bells on!)
There's more to be shared but this is enough for now, and we wish you all blessings as you "make your own kind of music, sing your own special song, make your own kind of music, even if nobody else sings along..."
Bye for now, friends--peace and prosperity in all your kaleidoscopic creatiVEntures!
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