02022-12-14 | Memories, Travel
I had my ear pierced for the first time in 1978, in Taipei, Taiwan. Walked by a jewelry store and spontaneously decided to buy a little gold stud. Asked the sales person to put it into my right ear. She used a gun-shaped device to knock it into the ear. Why? I am not sure. Perhaps I felt I looked too bürgerlich. That’s an interesting German word that can have a lot of different meanings. Civil and normal would be closest to what I felt. Earrings were often worn by pirates, but also by carpenters and traveling musicians. Perhaps, at this point in my year-long journey I started to feel that I might want to live the life of a musician and the stud was the signal of my intention. I wore the little stud and soon forgot about it.
A few months later I found myself in Thailand, about to board a bus from Bangkok to Phuket Island. A lot of busses were getting hi-jacked and robbed at that time and in order to attract less attention I tried removing the stud from my right ear. I couldn’t find the lock behind the ear and tried pulling out the stud from the front. Something was resisting and it hurt, but I gave it a good tug and the stud came out. Since it seemed a little infected I did not put the stud back into the right ear.
A few months later still, I found myself in New Delhi and staying on the roof of a hotel – the cheapest beds were on the roof, under a tent-like structure, with maybe 10 beds placed under the tent… An Australian girl pierced my right ear, again – by placing a potato behind my ear and jamming a needle with thread through the ear into the potato…
Fast forward about six months and I am walking around Cologne with my brother. Something had been itching in my right ear-lobe for a few days… and I kept touching it. I walked into a restroom and looked into the mirror. A strange shine seemed to emanate from my right ear lobe, only when the light hit it at a certain angle… I leaned forward and closer and started pulling on my ear – and removed the clasp that had been fastened on the stud in Taiwan, and which I could not find in Thailand. Apparently my ear-flesh had grown around and over the clasp while I was in Taiwan and Hongkong, and caused the resistance I experienced in Bangkok when I tried to remove the stud. The girl in New Delhi had re-pierced my ear in a higher spot – above the clasp inside my earlobe. And now the clasp had completed its journey from behind my ear through my ear to the front.
I started wearing an earring in the new, higher hole and soon the weight of that ring made the top hole unite with the bottom hole to form one rather large hole…
Anyway, in the Summer of 1979 I lived in New York and Vermont and it was cool to have an earring in the right ear. In the Fall, however, I moved to Boston. Different rules applied in Boston – I believe Keith Richards commented somewhere on this silliness also: while in New York an earring in your left ear was considered a gay-signal and an earring on the right was a thing a lot of musicians wore, it was the other way around in Boston. My solution was simple, I got a hole in my left ear as well and started wearing two earrings.
The two gold earrings I have worn since 1990 were custom-made since I couldn’t find anything I liked. I wanted simple earRINGs and the solution was to buy two wedding bands and modify them by removing a small section and adding a hinged lock to each.
I remember a conversation with my accupuncturist in Santa Fe, a wonderful woman I went to for many years and to whom I took lots of friends and family. She told me that she figured that some drunken sailor got an earring and by sheer luck the ring went through an acupuncture meridian that can improve the eye sight. Their sight did improve and from then on many other sailors attempted to improve their sight with rings.
Actually, men have worn earrings throughout history. In most depictions the Buddha has elongated earlobes. He probably wore heavy earrings in his youth but later discarded them. Depicting the distended earlobes is supposed to show his rejection of those material possessions. Egyptian pharaoh Tutankhamun’s death mask shows earring boreholes. Friezes from Persepolis, the capital of the Persian Empire (550–330 BC), show warriors wearing earrings.
Like everything else, earrings are cyclical, they come and go. That’s my earring story.
02009-03-16 | Letters to a Young Musician
Dear Friend,
There is practicing and there is performing and they are two very different sides of a coin. Practice is a solitary act while performance involves an audience, large or small. Having an audience changes everything.
Practice is something you will get used to doing every day, like eating, drinking, sleeping. Few artists perform every single day.
The truth is, you can’t practice performing. You practice to practice and you can practice to get ready to perform, but performing is so very different…
You can practice landing, rolling and catching your fall, but you can’t practice parachuting – unless you jump out of a plane. You can train your body to run a long distance, but you can’t train running a marathon race in a large pack of runners – unless you run many marathons.
So that’s how you practice performing – by performing. It’s as simple as that. The more you perform, the better you become at performing. The more you perform the more at ease with performing will you become. True, some people are natural performers, but I find that they are rare exceptions. Most people grow into themselves on stage over time.
After we returned from our first tour in 1990, we did a benefit concert in Santa Fe. Everyone in the band had lots of friends in the audience and we were excited and nervous. As a result we raced through 90 minutes of material in about an hour. Now, many years later the band seems to settle into a certain tempo for a song and that tempo doesn’t change much from performance to performance.
And remember: practicing is practicing and performing is performing. Do both!
02009-03-06 | Letters to a Young Musician
Dear Friend,
Today I am thinking about time. Time is important to a musician, that’s obvious. Music consists of time and pitch. Without time there can be no song. A melody can only exist in time. A melody can only be heard because our minds can store time, for without memory a melody would remain a series of unconnected sonic events. The beauty of music lies in the many different associations and memories a mind can attach to the flow of a melody.
Our perception of those sounds-connected-through-time, or melody, varies from person to person and can be improved by practice. Modern classical music or Bebop Jazz often contain very long melodies that evaporate in most listeners brains. It takes training to follow these long lines, and may be an excellent antidote to a short attention span. I read somewhere that the average listener can hold about 7-9 notes in their attention. Bebop melodies are usually much longer than that.
Time is the essence of music in its guise as the sisters rhythm and melody. And time is also the duration of your practice. Most musicians serve a good portion of their lifelong practice as teenagers. We may never regain that sense of time we have as teenagers – everything is still ahead of us… and four or even eight hours of playing our instrument feels completely natural.
Allow me to give you this advice:
Don’t worry about being popular in school or in college. The unpopular kids have time to practice their musical instruments or paint, take photographs or devise science projects. The popular kids on the other hand are busy going to parties, their social calendars packed with events. Sure, you might watch them with longing, but being popular in school isn’t all that. (((although honestly, how would I know, I wasn’t popular in school and spent most of my free time playing guitar and reading…)))
What happens to the popular kids when they grow up? Maybe they become real estate agents or sell cars or find another profession where they can use the social skills they learned as teenagers?
And since I am on the subject of time…
We always look for the quick fix, don’t we, the silver bullet, the advantage?
That is true in terms of becoming a better player and also true for getting signed by a record company, finding a manager or agent etc. We never think it happens fast enough. What if I tell you that I was signed by a record label exactly when I lost interest in getting signed? Or at least stopped pursuing a recording deal and instead made the music I wanted to make.
I think this also parallels our search for happiness or enlightenment. We may find either exactly when we give up searching. Unfortunately we can’t start out by giving-up-searching… the quest must come first.
Time is the best teacher, but you’ll have to allow yourself and your music to ferment. Think of yourself as a cauldron of soup – let the spices mix, let the flavors develop, let the ingredients get softer… and play the music that makes you happy.
I shall end my letter with this observation:
In the beginning we play out-of-time, because we are scrambling to find the correct notes. When the fingering becomes more familiar, time remains sloppy while we learn to move from note to note. Later the correct rhythm emerges, at first clumsily and then more fluid… and when we listen to a master play music we can hear him/her stretch and squeeze time, playing before or after the beat… but returning to the downbeat at will. Another spiral of learning. At some point we arrive at a new stretching-of-time, only now it has become our choice and an expression of emotion, rather than the inability to move to the next note smoothly.
Time. It is the great puzzler. Enjoy your time…
02009-02-28 | Letters to a Young Musician
Dear Friend,
How should you find your sound?
Well, every hand is different, every nail strikes the strings at a slightly different angle. So, if you play long enough, your sound will eventually emerge somehow. There are rules, but they can all be broken. For example, I file my nails to a shape that is “wrong” according to some experts.
I think there are two elements to “your” sound. The first is the sound-production itself, how your fingers strike the string, where they strike the string. Many guitarists don’t make use of the many different sounds one can coax from the nylon strings and the box. That length of guitar from the fretboard-side of the soundhole all the way to the bridge is rich with different sounds. This can also help with the tuning of the guitar. Sometimes plucking the string in a different position will sound more in tune. (I recently watched a Julian Bream video and was impressed at how he would bend this note in a chord here and that note there… he was always aware of the pitfalls of a fretted instrument and the well-tempered scale)
The second element is what you play. Some guitarists are instantly recognizable, like Carlos Santana for example. Others have a more chameleon-like approach and it takes a while to hear their personality. One is not better than the other. Just different.
Finding your sound is a little bit like finding what you should do for a living, or finding your place in life. It seems to come to us of itself, almost sneaks up in the dead of the night. One day we wake up and from then on we wear our heart in our melodies. Maybe finding your sound has a lot to do with finding yourself and finding yourself comes out of being natural. In the West natural refers to whatever humans have not manipulated, controlled, or despoiled. That’s a dualistic view. It separates humans from nature. In the East, what is natural is what exists according to its true nature. There is no separation, no dualism. That also means that there is no despoiled nature devoid of humans to return to.
What is your nature? What does your nature sound like?
I discovered that at the core of my melody is a slightly melancholy feeling. Even when I am expressing happiness you will find a few notes that speak of longing. But, that is as much a part of me as my crooked right index finger – it turns to the right and because of that turn the nail is perfectly parallel to the string. A flaw may become a pearl in time.
Don’t forget to practice. And keep thinking about what your nature sounds like!
02009-02-18 | Letters to a Young Musician
Dear Friend,
To listen with a mind that flows freely is to listen with your whole body. In Western thought we often separate Body and Brain. But is that correct?
I think Mind happens where Body and Brain meet.
In a groundbreaking New York Times story, Sandra Blakeslee disclosed that new scientific evidence is giving credence to the notion that the human body actually possesses two centers to process knowledge and dictate physical actions. Blakeslee reports:
[Scientists say] that the body has two brains–the familiar one encased in the skull and a lesser known but vitally important one found in the human gut….The gut’s brain, known as the enteric nervous system, is located in sheaths of tissue lining the esophagus, stomach, small intestine, and colon. Considered a single entity, it is a network of neurons, neurotransmitters and proteins that zap messages between neurons, support cells like those found in the brain proper and a complex circuitry that enables it to act independently, learn, remember, and as the saying goes, produce gut feelings.
Musicians can learn to perform with their whole body, that is to follow the flow of the music with their mind, using the brain, ears, body and their “gut”. Eventually we can learn to LIVE with our whole body – if we are willing to do the training. The main obstacle is our own ego/brain that can get in the way by jealously guarding the self it has created. There is nothing to fear but fear itself, and there is nothing separating us from life itself but our own small selves…
Now check out the definitions of Hara and Qi.
Go with your gut! And integrate Body and Brain through your music.
And remember to practice.
(Reference: “Complex and Hidden Brain in the Gut Makes Cramps, Butterflies, and Valium,” Sandra Blakeslee. New York Times, Tuesday, January 23, 1996. p. B5)
