creativity


I’ve always had a fondness for early organs and synths. Visits to my Uncle Ken were made even more magical when I got to play his Casio, with its multiple stops, rhythms and choruses. More recently, I spent a magical afternoon with Mark Mothersbaugh as he demoed his crazy keyboard collection.

Now a new documentary looks at the Mellotron, an early analogue synthesizer. Hope I get the chance to see it! In the meantime, here’s the trailer, which includes a brief appearance by Jon Brion.

Mellodrama.jpg

occupation

 Try as I might, I can’t stop thinking that I am defined by what I do at any given time.  But as long ago as Grade 5, I was told by a teacher that my generation would probably not stay in one ‘career’ like our parents, but would possibly have as many as six. By the age of 41 I’ve already had several distinctly different jobs.  The question is, in a society where what we “do” is often confused with who we “are”, what is our identity?

Recently I froze during an otherwise great conversation when the other person asked me about my occupation. It’s not just the big changes which can cause this uncertainty. What if you’re using the same groundwork or training to do a completely different task? What if it’s your ‘role’ within a group or organization which changes? How do people view you differently? What if you gain, or lose power, in reality or the eyes of certain people? Is it possible that you might gain or lose friends as a result?  I can tell you, dear readers, oh yes it is.  And what of all your prior accomplishments, the years of accrued skill, the colleagues, and one would hope, the wisdom? Are they lost forever or can you carry them over into your new world?

In moments of clarity I believe that everything is connected. My experience, talents, and probably sense of humour, are the constant in whatever job I choose to do, but it’s how I view the world and move though it that defines who I am.

So just because I’m holding this journal “Ethnomusicology” doesn’t mean that I am no longer a singer, a broadcaster, a dreamer, a hack pianist, a snowboarder, a lover of LA but also of Paris, a wife, a daughter, and as you can guess, a procrastinator. That’s who I am.


The other day I had to remind myself again that there’s no such thing as Music Police– So I should just relax!

Back in the days of Puirt a Baroque, Terry Mackenna and I used to have to tell ourselves this as we tore apart and then recontructed the sacred cows of Gaelic song, and baroque instrumental music. Maybe we could go ahead and do as we liked, and no Music Police would decend on us and charge us with a musical felony.

Over lunch recently we realized that, hey, we don’t even have to remind ourselves of that anymore because we’re living it. What a relief!

  
Lake Locarno, Switzerland, August 2006 

Instant gratification is difficult to resist. The ease of a passing along photos from a digital camera … the print-ready document typed on a laptop… these are conveniences we take for granted.

Today as I was purchasing 120mm film for my Holga, I wondered for a moment why I should bother to do so. It’s possible to fake Holga-type effects with Photoshop in a fairly convincing way. Then I realized that for me choosing a ‘tool’ for creative projects is not about the  end result or the quality — it’s about the process. Grasping the big plastic Holga, or my the awkward box camera, puts me in a different frame of mind, fires different associations or creates a certain mood. It makes me feel different than my digital camera does, so I take different kinds of photos. Sometimes, it’s a simple photograph which I might think was boring if it were framed with my digital camera. But with only 10 or 12 frames per 120mm film, I choose my shots carefully– and sometimes that means choosing simply, or just differently.

It’s the same with writing with a pen in a small notebook– little notes, conversations overheard, or fragments of poems as they come to you. it’s a different experience than sitting down at the computer.

I don’t think I’ll ever go all-analogue again, but now and then, I still choose to take the slow train.