Thursday, February 26, 2009

Racing to Save Lives with TNT -- Again!


After much internal debate, I decided to go for it, folks! I enjoyed the physical and philanthropic challenge of training for last year's Wildflower Olympic Triathlon so much that I had to repeat the experience! I had hoped to sign up for the Escape from Alcatraz, even though it scares the bejeezus out of me, but I didn't get a spot in the race via the lottery. So... I'm back for another year as a member of The Leukemia & Lymphoma Society's (LLS) Team In Training, and my goal is to improve my time on the Wildflower Olympic distance triathlon. Heck, given my schedule I'll be happy to complete it again!

The scenic Wildflower triathlons are held on May 2 at Lake San Antonio in Monterey County, California. The Olympic distance consists of a 1500 meter (.9 mile) swim, a 40 km (25 mile) bike race and a 10 km (6.2 mile) run. Last year I believe my time was around two and a half hours. I guess I ought to go back and look.

More important than my time is my purpose, however. All of us on Team In Training are raising funds to help stop leukemia, lymphoma, Hodgkin lymphoma and myeloma from taking more lives. I am completing this event in honor of my grandmother, who died of leukemia as a young mother. Through Team in Training I have met many other cancer survivors, young and old, who inspire me to live as fully as I can.

That's why I humbly ask you to please help advance LLS's mission by making a donation. Last year, with your help I raised over $3000. This year, I'm aiming for a similar amount, though in actuality I have a little wiggle room as there have been adjustments made to accommodate the shrinking economy. This is a quality charity that uses 80% of all donations to directly fund cancer researchers, clinicians and patients. In this economy, LLS has made sure that it runs as efficiently as possible so that your generosity can have the profoundest effect on the lives of cancer patients.

Finally, you may be wondering how I have time to do this. I myself wonder sometimes. However, I find that when I push myself physically, I perform better in all areas of my life. I think accomplishing a goal such as this, that is outside your professional and artistic sphere, is useful because it shows you that so much more is possible than you ever thought. Two years ago being a triathlete seemed like a superhuman feat that I could only barely imagine. Now I have learned that with consistency, discipline and a lot of support, I can achieve something grand. The success last year rippled into other areas of my life and helped me see what's important. If you can go from zero to triathlete in four months, what else can you achieve?

Please lend a hand! Thank you!

P.S. Here's a video from last year's training swim in the SF Bay:

Wednesday, February 25, 2009

Alexa Weber Morales Trio at the Hedley Club this Friday in San Jose!

John Steinbeck's Love for California

This past Valentine's Day weekend, I had two gigs in Monterey. The band leader put us up in Salinas, about 30 miles from Monterey, so I brought my family and we went to the National Steinbeck Center in Salinas, author John Steinbeck's birthplace. It's a very nice museum, and it achieves a difficult goal, which is to take an author's words and visualize them with artifacts and rooms that follow his life and collected works.

There were far too many things I did not know about Steinbeck -- though I can't say I completely absorbed the exhibits as my kids were acting like winged monkeys on the loose. I finally forced my older son to listen as I read many of the passages from Steinbeck's works to him, and he started to get involved. However, the take-home point for him was that Steinbeck loved Edgar Allan Poe as a child; he kept asking me about the "horror stories" afterwards and seemed to be under the impression that Steinbeck had written them.

I did not know that Steinbeck received the Nobel Prize for literature, nor that he had written so many novels, nor that he'd traveled extensively in Mexico, working on The Pearl, a Mexican film that received widespread American distribution. He learned fluent Spanish and also worked on a film about Emiliano Zapata and my husband's birthplace, Cuautla, Morelos.

What I found most memorable was the fact that Steinbeck set his stories and their global, human themes in California's central valley. Though he eventually traveled the world as a war correspondent and journalist, he never suffered the disease so many do, of despising his rural, small-town origins. I can't find it right now, but that reminds me of a thought by Abraham Maslow that the greatest journey is in one's own backyard, not in trekking the world. It resonates for me because I can't seem to leave the Bay Area, even though my parents and siblings have. When I feel bad about this fact my husband reminds me of how spectacularly gorgeous it is here.

It's human nature to devalue the places we leave behind to justify our move elsewhere. But these gently folded hills, redwood forests dotted with forget-me-nots and salty Bay air are simply a part of me. Maybe some day I'll leave them. I did briefly when I went to college in Pennsylvania, where I suffered physical homesickness for the natural environs I'd known. I had to get back, so I left after two years.

At the end of the museum exhibit there's the old Chevy truck and camper Steinbeck used for his journey around the U.S. with his dog, documented in Travels with Charley: In Search of America. I smiled in recognition -- I had a beautiful old '64 Chevy for years that looked just like it.

Here are some quotes I scribbled down on the back of my show set lists while I was there at the museum:

"I think I would like to write the story of this valley, of all the little towns and all the farms and the ranches in the wilder hills. I can see how I would like to do it so that it would be the valley of the world," Steinbeck wrote in a letter to his friend George Albee in 1933.

"If a story is not about the hearer he will not listen. And here I make a rule -- a great and interesting story is about everyone or it will not last." -- Steinbeck, East of Eden

"Having too many THINGS they spend their hours and money on a couch searching for a soul."
--Steinbeck, letter to Adlai Stevenson, 1959

"I have spoken of the rich years when the rainfall was plentiful. But there were dry years too, and they put a terror on the valley. The water came in a 30-year cycle... And it never failed that during the dry years the people forgot about the rich years, and during the wet years they lost all memory of the dry years. It was always that way."
--Steinbeck, East of Eden

Tuesday, February 24, 2009

President replaces N-word News Clip

Thursday, February 12, 2009

Alexa Weber Morales Band with Rueda Con Ritmo and Sabrosona!



Join the Alexa Weber Morales Band with special guests Rueda Con Ritmo and Sabrosona for the first of several shows over the next few months.

The fun starts Thursday, February 19 at 7 pm at Senzala, a delicious, spacious Brazilian eatery and cultural center located at 250 E. Java Dr. in Sunnyvale, Calif. Tickets are $12 and include a Cuban circle dance class, two sets by the Alexa Weber Morales Band, and two performances by two new dance troupes, Rueda Con Ritmo (couples) and Sabrosona (all women)! Senzala is an all-ages venue and children are welcome.

Senzala is fast becoming a hot-spot for Latin American and Brazilian dance and music events, and has expanded their event schedule to a new night: Thursdays! Peninsula residents are urged to spread the word that affordable, high-energy and family-friendly fun is now in the neighborhood! Here's the schedule for next Thursday, February 19:

7-7:30 Rueda de casino dance class taught by Sidney Weaverling and Ryan Mead

7:30-8:30 First set, Alexa Weber Morales MiniBand featuring Grammy-nominated percussionist Omar Ledezma, pianist Jonathan Alford, bassist Sam Bevan and singer-songwriter Alexa Weber Morales!

8:30-8:45 Dance performances by Rueda Con Ritmo and Sabrosona

8:45-9:30 Second set, Alexa Weber Morales MiniBand

ABOUT RUEDA CON RITMO

Ryan Mead was studying jazz percussion at the New England Conservatory when he took his first trip to Cuba, and his life was changed forever. He became an avid student of Cuban dance and music, both popular and folkloric, making several trips to Cuba (most recently on a grant from Stanford). Fluent in Spanish, he has studied Cuban and Miami-style salsa and rueda in Washington DC, Miami, and throughout the San Francisco Bay Area, and has been teaching for 4 years.

Sidney Weaverling is a longtime contributer to of the currently thriving Cuban-style salsa scene in the SF Bay Area, with more than 10 years of experience as a teacher, performer, and choreographer. Apart from her remarkable proficiency with Cuban popular dance, she has extensive knowledge of Brazilian and African styles. She has studied at the Escuela Nacional de Arte (ENA) in Cuba and hosted study trips for her students at myriad schools in Miami, notably SalsaLovers and Salsa Racing. Sidney not only has a beautiful, fluid style – she has the experience to transform and inspire dancers at any level.

ABOUT THE ALEXA WEBER MORALES BAND

Alexa Weber Morales is a dynamic, multilingual singer-songwriter who has had success at the Bay Area's major jazz venues (Yoshi's, the San Jose Jazz Festival, Santana Row, The Improv San Jose, Jazz at Pearl's, the Sonoma Jazz + Wine Festival, The Carnelian Room, The Top of the Mark, Bach Dancing and Dynamite Society) and has also performed as a guest artist with the Reno Jazz Orchestra and many other venues outside the Bay Area. Since 2004, she's made 6 studio recordings and 2 solo CDs (produced by three-time Grammy nominee Wayne Wallace), Jazzmérica and Vagabundeo. Her latest CD reached number 13 on the JazzWeek World Music chart in 2007 and achieved charting airplay during all 10 weeks of promotion.

Omar Ledezma Jr. is a tireless Bay Area percussionist/vocalist born in Caracas and introduced to the U.S. music scene by way of a college scholarship to Berklee. Recently Grammy-nominated for his work with Gonzalo Grau Y La Clave Secreta, on the album Frutero Moderno, Omar always shines onstage!

Jonathan Alford is an Oakland-based pianist who has graced many Bay Area Latin bands including Avance, Los Compas, Los Kimbos, Julius Melendez , Machete Ensemble and others. He is also jazz pianist who lends his talents to accompanying singers like Daria, Elaine Lucia, Jenna Mamina, Maria Marquez and Roberta Donnay. Trained classically, Jonathan started learning jazz at the late age of 25, studying with Mark Levine. Check out his album, Tenaya, on CD Baby.

Sam Bevan is a rhythmically powerful, emotionally charged and musically gifted bass player blessed with monster Latin chops in spite of (or because of?) his Mormon upbringing in Utah. He plays with the Venezuelan Music Project, Candela, Mazacote and many other Bay Area bands.

For more information, visit any of the links below.

CD :: http://www.cdbaby.com/cd/alexawm2 (Vagabundeo)
CD :: http://www.cdbaby.com/cd/alexawm (Jazzmerica)
WEB :: http://www.alexawebermorales.com
BLOG :: http://www.alexawebermorales.com/blogger.html
VIDEO :: http://www.youtube.com/profile?user=awebermorales

CD Baby at the Grammy's: The Changing Indie Music Scene

I just got this update from the president of DiscMakers, which recently acquired CD Baby from its founder, Derek Sivers. It's pretty impressive, actually. Oh, and if I may boast of fame by association, Omar Ledezma, who plays percussion and sings vocals with the Alexa Weber Morales Band, was a Grammy nominee this year by virtue of his work on timbales with fellow Venezuelan Gonzalo Grau Y La Clave Secreta for their album Frutero Moderno (see below):
Hi Alexa,

The music world has changed forever. How do we know?

Grammy nomination madness for CD Baby artists!
When CD Baby first started, it was nearly unheard of for a truly independent artist to earn a Grammy nomination (much less win one). Now, a little more than 10 years later, at least 15 (yes, 15!) of our artists were recognized for their outstanding achievements with a Grammy nomination in 2008 alone! The list, with links to the artists, is included at the end of this email, and we are thrilled to report that veteran independents (and CD Baby artists) Burning Spear and Pete Seeger both got to take home one of those little golden gramophones! Congratulations to you and all of our nominated artists.

CD Baby artist payments in 2008 up 28% to a record $34 million!
As the major label machine loses its stranglehold grip in the awards arena, it is taking some heavy hits in the sales department, too. While CD sales from major labels and large indies were down 14% in 2008, CD Baby's CDs grew (2%) thanks to hard-working music makers like you. And digital revenues were up a whopping 45%. In total, CD Baby's artist payments were up 28% in 2008. Since our inception, CD Baby has paid out $98 million to independent artists. How's that for an accomplishment?

To get more detailed sales reports, check out my post on our forum from a couple of weeks ago.

45 issues of the CD Baby DIY Musician's podcast, and counting...
When CD Baby was taking its first steps in the late '90s it was enough of a challenge for us to simply secure a spot for indie artists in the online marketplace. We wanted to “level the playing field.” Today, as we survey the current musical landscape, it appears that the field has been fairly flattened. But you've still got to play ball, especially since more people than ever before are releasing music to the masses!

Now that CD Baby has become the largest and most trusted name in physical, digital, and one-stop distribution for indie music, we're making it a bigger part of our mission to ensure that you've got the skills and knowledge to get on the field and knock one out of the park.

As part of this ongoing mission, we've just posted our 45th episode of the CD Baby DIY Musician Podcast. This has proven to be a great FREE resource for artists who want to hear more about promotion, recording, booking, licensing, trademark and copyright law, putting on a good show, the music press, labels, blogging, and countless other topics. Click here to listen to any previous episode or subscribe on iTunes for weekly updates.

Who in the world is Brian Felsen?
I've thoroughly enjoyed being the face and voice of CD Baby for the past few months – sending these emails, posting on cdbaby.org, and working with the team. But amidst all the hoopla, my good friend Brian Felsen has been CD Baby's official president, quietly working side by side with the rest of the CD Baby team since Derek handed over the reins.

Brian has years of experience in the music industry (in addition to being a poet, filmmaker, artist, and photographer), and he's one of the smartest guys I know. I can't think of anyone more qualified to steer CD Baby into the future, and I'm pleased to introduce you to him now. You'll be hearing more from Brian in the coming weeks and months, particularly as he'll be the one writing these emails and broadcasting the news of CD Baby. (Don't you worry, I'll still be posting on the forums and continue to be actively involved. You're not rid of me by a long shot.)

As always, if you have any questions, comments, concerns, confessions, sordid tales, or success stories, please give a holler (by posting your responses here).

Sincerely,

Tony van Veen
CD Baby

P.S. As promised, the talented CD Baby artists who were nominated for a Grammy. Check 'em out (and if you like what you hear, support them by buying their music).

Best Traditional R&B Vocal Performance
Linda Jones - Baby I Know

Best Urban/Alternative Performance
Wayna - Higher Ground

Best New Age album
Peter Kater - Ambrosia

Best Tropical Latin Album
Gonzalo Grau Y La Clave Secreta - Frutero Moderno

Best Tejano Album
Tortilla Factory - All That Jazz

Best Traditional Blues Album
Elvin Bishop - The Blues Rolls On

Best Traditional Folk Album
Tom Paxton - Comedians & Angels
Peggy Seeger - Bring Me Home
Winner! Pete Seeger - At 89

Best Hawaiian Music Album
Various Artists - Hawaiian Slack Key Kings Master Series, Vol. 2

Best Reggae Album
Winner! Burning Spear - Jah is Real

Best Zydeco Or Cajun Music Album
Cedric Watson - Cedric Watson

Best Polka Album - Vocal or Instrumental
LynnMarie & Charlie Kelley as The Boxhounds - Speechless
Walter Ostanek and His Band, Jerry Darlak and The Touch, Bob Kravos and His Band -
Back To Back Hall of Fame Polkas

Best Musical Album For Children
Brady Rymer And The Little Band That Could -
Here Comes Brady Rymer And The Little Band That Could

Best Spoken Word Album For Children
Buck Howdy With BB - Around The Campfire

Best Recording Package
The Ditty Bops - Summer Rains

Wednesday, February 11, 2009

SEO Drivel: The "Lean-Forward" Approach to Reading

I probably shouldn't post this, because it's from a company with which I could potentially apply for a job -- well, if I wanted to commute one hour each way and fill my days with underpaid, soul-killing minutia. A friend whom I've recommended for several jobs sent it my way. But when I clicked on a link at their site that promised freelance writing opportunities, I got this:
[Redacted] is looking for fast, savvy, accurate SEO writers ... to craft original content for a project providing good advice on the how-to's of making good business decisions, which will be targeted toward business decision-makers. Each article is short (450-650 words) and is intended to help businesses solve a problem by delivering specific resources and solutions in a fast-read format. While we've used the term "article," these are not articles in the old-media sense. Understanding that today's readers seldom have the time to take the traditional "lean-back" approach to reading, these how-to guides constitute the "lean-forward" approach, providing action-oriented, expert written, "1-2-3s" of how to solve a problem and where to find the best solutions on the Internet to "get it done." Topics and required SEO keywords will be provided to writers. Plagiarism will not be tolerated. Writers will be paid $28 per article; copyeditors will be paid $8 per article.
A prime example of how marketing is destroying literate culture. I'd never seen the terms "lean-back" and "lean-forward" -- though for all I know they are standard in the world of SEO (search-engine optimization, for the "old-media" types). Also, gotta love the pay rate. Four cents a word, huh?

Finally, the writing gives "good advice" about "good business decisions" for "business decision-makers." I suppose it's a step up from "I am the decider." Barely.

Monday, February 09, 2009

The Universe is Conspiring

There is so much data out there. Our collective intelligence is overwhelmingly powerful. And yet we flounder in shallow pools of drivel. Every once in a while, though... Have you ever had that sensation that the universe is conspiring to show you just the information you need when you are ready to receive it? Something that's only barely misfired through your neurons in the past suddenly blazes a connection, and then like a plot in a scifi movie the message begins appearing in magazine articles, in the TV programs you encounter channel-surfing, in the conversations you have. Strange, all too rare -- but true.

Tips on Being a Professional Translator

I received this request the other day from Brandon, a college senior in New York. He gave me permission to post it, as I thought the question was a good one. He wrote, "I am a jazz musician, but I am interested in interpretation as a possible profession. I would like to ask for any advice you can give to a graduating senior getting his foot in the door."

Here are my thoughts:

1. The most important thing in written translation is to have a love for and facility with written language -- grammar, spelling, subtleties of meaning. I can't comment on spoken interpretation because I haven't done that professionally (although I speak several languages well, and some fluently).

2. In written translation you always translate INTO your first language. Only rarely are there interpreters qualified to translate both ways. Again, it has to do with subtleties of meaning that only a native speaker knows.

3. You have to know your limitations, and constantly learn. If you don't know something, find someone who does. Read, listen (radio, music, TV), converse and immerse yourself in the foreign languages you wish to master.

4. It goes without saying, but I'll repeat it anyway: The single best way to learn a foreign language fluently is to live in a country where it is spoken. Barring that, you need to live with someone who only speaks that language!

5. There are areas where specific vocabularies or jargon are important, such as music, science, business, medicine, technology. Specializing in one or more of these areas can be a good career option.

6. An important concept to be aware of is register, meaning the appropriate socioeconomic level of the language -- we all know that street slang is not what you'd use in a business meeting.

7. It's often useful to find and compile glossaries of terms you frequently encounter and use. Also make sure you own the standard dictionaries (in Spanish that is the two-volume Diccionario de la Real Academia Española -- unlike English, Spanish spelling is standardized through most of the world, though usage and vocabulary vary by region). Style guides are valuable too.

8. Always check your work with several qualified people who know the vocabulary/field/concepts you are working with and who are good writers/editors in the target language.

9. Certain multinational organizations use many translators. The World Bank is often a source for people wishing to find translators for freelance work.

Best of luck to you, Brandon!

Jill Sobule's I Kissed a Girl: That Cursed Song and Katy Perry

Last night, watching the Grammy's, I finally got an earful of I Kissed a Girl, the hit song penned in 1995 by singer-songwriter Jill Sobule (awesome website, by the way!), and covered recently by 24-year-old poptart Katy Perry. Perry has a good voice and, perhaps more importantly, amazing quirky pinup style that often results in dresses I would die for. Last night's show was no exception, when Perry emerged from a giant banana -- or was it a rocket? -- to cut a swath through an all-female dance crew dressed in slightly androgynous white suits and fedoras. Perry was wearing a sequined fruit bowl minidress that I thought was fabulous, being a fan of fruits, bright colors and sparkles (I'm kind of like a raccoon that way).

Hearing the song reminded me of an article in the June 2008 issue of Performing Songwriter, in which Jill Sobule explains the origin of what she calls "That Cursed Song": It wasn't a soft-p-word* scenario nor a coming-out anthem (for her, anyway), it just was "a song about the excitement and nervousness of a first kiss, but from an adult perspective." Here's what she has to say about its enduring fame:
It's been over 10 years, and I am still, for many, the "Kissed a Girl" girl. And as annoying as that has been, I've recently come to embrace it. "I Kissed a Girl" was the first song to break that barrier on radio and MTV, and I am very proud of that. ... One time, a big-boned gal came up to me after a show and told me that when she was in the Army they would whistle that song as a secret sign of who was gay or not gay. (I was happy to help our girls in the service but thought they could have chosen a less conspicuous tune.) I also had one angry drunk man try to engage me in a fistfight. He said his girlfriend left him because of the single. I would have loved to take credit, but I had a sneaking suspicion it was more than just the song.
More interesting facts about Sobule: She launched the site jillsnextrecord.com in January 2008 to raise funds for her next album (due out April 2009), and apparently raised $75,000 in 53 days. At the recent MIDEM conference in France, Sobule used her own impressive experience to illustrate emerging music business models in the Internet era. In fact, she exceeded her goal because the donations kept coming in and she's now at $90,000. The things I could do with $90,000!!! Frankly, I don't need that much for an album. I could do a lot with half that. Stay tuned...

* Sorry for the inconvenience, but I avoid the four-letter p-word in the blog** to keep the freaks from finding it. I don't know if this is effective, so I also always wear a heavy garland of braided garlic around my neck.

** Because I am constantly discussing topics that relate to the p-word. It comes up all the time -- dinner, business meetings, with other moms at the PTA...

Saturday, February 07, 2009

Let Me Entertain You

I'm almost recovered from last night's gig. It was a typical club date -- typical in a way I hope to eventually move past in my career. Standing on stage for four hours in heels, dancing my ass off, singing my voice out and blowing my hearing -- despite in-ear monitors -- is not all it's cracked up to be, let me tell you. It is so dang hard to get the monitor mix right. Terrie, my fellow lead singer, turned to me after every set and asked, "Are you deaf in the right ear? Because when I take my monitor out my right ear is like blocked or something." Unfortunately I was suffering the same problem -- and we weren't ever able to resolve it last night (to the best of our knowledge it was not a question of balance or panning on the board, although that would seem the likely culprit). In the last set I took to putting an ear plug in my right ear just to give it a break.

Someday, over the rainbow, I will have a dedicated sound engineer. He will follow me everwhere, scattering rose petals before my cushioned feet, adding reverb and the most ideal EQ to my voice and lovingly tweaking my monitor mix.

That said, I am not an ungrateful diva. Because you get me on stage, you play me some funky music, you give me a mic, and something happens to me. I become a conduit for the music and the rhythm, and I receive the energy from the dancers and I reflect it back. It's like a triangle of prismatic refraction. There is energy from above, energy from the band and energy from the audience: a feedback loop. I don't always feel that. Sometimes it's a fleeting climax that I strive for but am always just beneath. But performing is a skill, too. The best performers seem entirely authentic to themselves, I think, but also know how stoke that feedback loop.

When the show was over, a man I had virtually danced with (I was on stage, he was on the dance floor) came up to compliment me. As the new, recession-fueled CD-selling machine that I have become, I immediately said, "If you like what I do, I know you'll love my CD." He bought it! We ended up talking for a bit and he said something that I'm still thinking about now: "You are a great entertainer."

As Stanislavsky said, "There are no small parts, only small actors." For musicians, it might be modified: "There are no bad gigs, only bad performers." Many, many, many, many, many times the gig sucks, and always, always, always, something is not working the way it should. All too often it's not my night. But I am glad that sometimes I do my job well, and that someone notices.

Friday, February 06, 2009

Concert Review: Paula West at the Rrazz Room


I had the opportunity last night to go see singer Paula West at the Rrazz Room as the guest of guitarist Ed Cherry, and I took it! About a decade ago I attended a class Paula taught at the Jazz Camp Weekend held at Mills College in Oakland. Ever since then I've been a fan, and this show -- only the first week of a seven-week run she'll be doing at the swank San Francisco club with the New York-based George Mesterhazy Quartet -- did not disappoint.

The show began with an instrumental. "This is 'I'm Confessing That I Love You' in Bb," announced Mesterhazy, holding a Melodica which he played with a lyrical touch through the first piece. The young Jerome Jennings on drumset, the ebullient Barak Mori on upright (and later some electric) bass and the aforementioned Cherry (who played with Dizzy Gillespie from 1978 to 1992) had an easy, collaborative spirit and wonderful dynamic range. The band launched into the second tune, New Day Coming, as Paula made her way to the stage. Her rich alto voice is a beautiful instrument all its own, blessed with a lovely vibrato sometimes reminiscent of a young Judy Garland, but also capable of straight tones and rhythmic flair.

The second song, The Beat Goes On, was a seamless transition from the first, and it ended with piano and finger-snaps by all the band members. Finally, Paula spoke to the audience: "The first song I did was inspired by current events," she said, explaining that she'd been in an airport in Tel Aviv during the inauguration and had stood "bawling my eyes out" when she found a TV showing the event. "Really there are only two things to sing about: Affairs of the world or affairs of the heart." With regards to And the Beat Goes On, she explained that the tune, by Sonny Bono, was one "I never thought I'd sing in this room."

West is known for her astute and quirky repertoire choices, as the entire show illustrated. "I have A.D.D. when it comes to musical taste," she joked. The Rodgers and Hart standard A Lady Must Love was followed by Gentle On My Mind, a John Hartford song best known via Glenn Campbell. The band did an effective, full-sounding jazz interpretation of the pop tune's slightly western feel.

With West, you never miss a lyric -- or a verse, those often-neglected introductions to standards. Her selections included Dylan's The Times They Are a Changin', Cole Porter's I'm In Love Again (and later, You've Got That Thing), Brother Can You Spare a Dime, Lennon and McCartney's For No One, and the Nina Simone tune I Wish I Knew How It Would Feel to Be Free. This she introduced by saying that while the election had been historic, there was still work to be done -- referring to the passage of the anti-gay marriage law in California. As with all her choices, the lyrics were powerful and precise:

I wish I could say
All the things that I should say
Say 'em loud say 'em clear
For the whole round world to hear
I wish I could share
All the love that's in my heart
Remove all the bars
That keep us apart
I wish you could know
What it means to be me
Then you'd see and agree
That every man should be free

In every case, the arrangements by Mesterhazy breathed considerable rhythmic and dynamic life into the evergreen songs. But the moment I absolutely adored was one that showcased what is perhaps Paula West's signature: her incredible breath control.

About midway through the show, she announced they would now do the "oldest song in the set." It was Oh Shanandoah. Her neverending held notes defied possibility, beautifully accompanied by bowed bass. West comes across onstage as she does in person: contained, thoughtful, even reserved. But her repertoire choices perfectly showcase the unique qualities of her voice and the dramatic, often lonely songs that appeal to her. As she drew out the vowels of Shenandoah, flicking the "ah" almost imperceptibly at the end of the word, her face tilted into the light and her eyes glistened. The sadness of the wanderer ("'Tis seven years I've been a rover") was palpable in the room, and I couldn't help thinking of a very different songbird, Edith Piaf, as I watched her pour her heart, unafraid, into those notes.

Sometimes I Feel Like a Nut

Last night I went out to see Paula West at the Rrazz Room in San Francisco. I'm going to write a review, but to prime the pump I thought I'd share something more important first: what I wore. Now, I haven't gone clothes shopping for 6 months (I'm not much of a shopper anyway), but in the past year or so I have gotten some nice pieces at great deals, and my closet is full of interesting things from my teen years, my grandma, and hats my husband has given me.

So I wore a cobalt blue trench coat (I love that lots of fabrics are in that color now, because it is my favorite -- I now have three cobalt blue dresses, one cobalt blue trench coat and one pair of amazing teal-and-cobalt blue heels) over a colorful teal/green/white graphic print dress I got at Mervyn's (RIP), black stockings and my awesome black stretchy stilletto lace-up boots. I carried my red patent-rubber tote and to top it off I wore my sort of bulbous Russian black wool cap that Emilio gave me years ago. Now, I had to wear the hat because my hair was damp from the shower and also because I haven't gotten a haircut in seven months.

I checked myself out at home and thought I looked pretty good -- rather Sex in the City, though not quite as adventurous as Carrie. I love bright colors, and I had that going on. But when I got to the club and checked myself out in the bathroom mirror I looked old and forgetful. Or desperate. Or like I might have a posse of cats waiting up for me back home. But hey, I still had to work it! So while my expression and tone may have said "successful singer out on the town" my self-image was "crazy hat lady."

Ah well. What are you gonna do?

Thursday, February 05, 2009

Be a Better Artist: See a Shrink

I'm writing today about something I haven't made public before. The topic of seeing a therapist is personal, and talking about it makes me a bit uncomfortable, but I think my story is helpful for other artists -- or anyone who wants to reach their full potential.

We all know that beginning a conversation with "My therapist says..." makes you look like a wacko -- or if you didn't know that, you ought to. Frankly, there's a stigma about mental health, and implying you are anything less than completely stable can damage your social and professional standing. However, there are times when a therapist, psychologist, psychiatrist, shrink, analyst, counselor, priest, rabbi, guru or licensed clinical social worker can really help you sort your life out.

In my case, about seven years ago, having had my first child and going through the tempestuous struggles of being a new professional mother with a baby, I sought out a therapist via the pages of my health plan's directory of mental health professionals. I had good insurance back then -- it actually covered behavioral health! I began dialing numbers. One guy was nice at first, then got creepy. By the end of our phone conversation, he was making dire pronouncements about my future if I didn't come see him immediately. Jeez. He even called back later to urge me to become his client. I guess he didn't have a lot of followup business for his doomsday approach.

And I have to say I had a lot of skepticism about therapy. I grew up in Berkeley, California, surrounded by hippies who talked about crystals and chakras and karma and 12-step programs. I also remember the "recovered memory" scandals that were the result of unscrupulous therapy, because someone close to me actually went through that process. I saw first-hand how destructive much of the psychologizing of the past could be.

But miraculously, decades later, as a new mother, wife and professional, I found someone on my provider list who was a fit for me. Close to my age and female, she got to work sorting me out by showing me, first off, what was NOT wrong with me.

We live in a society where technology and pharmaceuticals converge in often wonderful ways, but also as part of a health-industrial complex that pathologizes many natural processes unnecessarily. All that is a wordy way of saying that we put scary psychological labels on ourselves and others that are often inaccurate. "Manic-depressive" was a term I'd heard before. Or was I obsessive-compulsive? Clinically depressed? Passive-aggressive? Dysfunctional? Codependent? An enabler? Addicted to certain emotions? I knew people who swore by one pharmaceutical or another. Did I need drugs too?

Over time, in some of my worst moments, I learned that my reactions were normal, not pathological. I learned ways to deal with the situational stressors in my life that, while not miraculous solutions, expanded my repertoire of coping mechanisms. Basically, I became wiser -- no pharmaceuticals necessary, in my case.

While I was at a natural turning point in my life by virtue of age and circumstance, the primary catalyst for me seeing a therapist was this: an article in which a musician said that if you weren't reaching your potential as a performer or a professional, there could be fears or creative blocks that were holding you back. This person had found it useful to go to therapy. That electrified me. When I began seeing my therapist, I explained that no matter what personal or family issues we might discuss, my number one goal was to move my music career forward. Over the course of seven years, she never forgot that. At the end of every single session, she would praise my musical achievements. I am so profoundly grateful to her for that. And in that respect, she was a lot like what they call a "life coach," which could well be a viable substitute for a therapist -- especially if you fear "analysis paralysis" and believe, as I do, that actions can precede and inform emotional understanding.

I'm a big talker. The words just come tumbling out like a tidal wave sometimes. So many of our sessions were like a brain dump. The cynic in me says, "Great, you got someone to listen to you babble for an hour. How sad that you had to pay for that privilege." But she not only listened, she observed. She made astute comments and repeated things back to me that I did not remember. She saw patterns. She put a positive spin on things. Her expressive face reflected outrage when I'd been treated poorly and exuberance when I'd accomplished something great.

After several years, I read somewhere that therapists offer "unconditional positive regard" to their clients. I remember telling her it was exactly what she had given me. That's a gift few of us know how to share. Eventually, I began thinking through things as if she and I were conversing. I came to know myself, and my goals, and discovered that even the things I was most ashamed of were human, not heinous.

Sometimes when I wasn't busy talking about myself I detected a sadness in her. Over the years I hoped that she was happy, but there was no way, verbally, for me to discover if my heart's instinct about her was right. I knew from the very rare times that she talked about herself that her life was dedicated to service. Sometimes I wanted somehow to help her, the way a friend helps a friend. But the professional barrier was there. As it is probably supposed to be.

I would have continued to see her on an intermittent basis forever, if it weren't for the cost. In recent years I haven't had fancy health insurance and while she charged a reasonable rate I finally decided it was a luxury I could no longer afford. When we held our final session a few months ago, she said she'd gone back into her records and had been amazed to realize I'd been seeing her for seven years. "See, I told you -- I'm long term!" I crowed. She told me her door is always open. I do hope to go back and see her again. Sometimes I wonder if we could become friends. Then I think the temptation would always be there to fall into our pattern -- not so much for her to abuse the relationship as for me to, obligating her to listen to me and analyze everything in my life.

If you've read this, and it's inspired you to see a therapist, do your homework. You are going to be sharing a lot with this person. They could abuse this trust and make you feel even more crappy than you already do. No one is perfect, and no philosophy is fool-proof. But if the voices in your head are saying "you suck" or life's dramas are dragging you down, maybe a therapist can help you find new ways to achieve your best and find some solace.

Wednesday, February 04, 2009

How Not to Interview for a Job

Like every other American right now, as of late last year I lost some key sources of freelance writing income and have been looking about for new work -- and there's not much out there, as you all know. I have a pretty smashing resume if I do say so myself and on those rare occasions where I submit it it often does the trick. But a recent interview illustrated the new job market -- and reminded me of what not to say next time.

I had submitted my resume to a Craigslist posting for a contract senior editor position for a web publication, covering general business topics. Ideal for me, really. But I think I screwed up the interview by being the Alexa of, say, the 2003 job market, rather than the Alexa of the 2009 market. In a nutshell, I was too honest. See, the old way of being an editor or writer was to show off your intelligence with a certain irreverent expressiveness. The new way of being a writer is to kiss ass. Whatever they want you to write, why yes, that's ideal.

"Can you write headlines for ticker-tape news displays about SEC filings?" "Not only can I do that, I actually dream in ticker tape, and play SEC bingo all the time," I will reply brightly in the future.

"What about enforcing deadlines for 200 unpaid contributors?" The old Alexa might say, "I'm not really an anal, managing editor type, but I certainly understand the importance of deadlines and adhere to them." The new Alexa will say, "I schedule my bathroom breaks according to my biorhythmic productivity levels. In fact, I punch a time clock at home to stay motivated. Finally, I think it's wonderfully efficient that you're combining the duties of copy editor, managing editor and senior editor in one position."

To practice for future job interviews, I suggest doing a dry run with someone whose politics you violently disagree with. If you can get through an argument with them without once expressing a negative opinion, you might have a chance in the job market of 2009.

Tuesday, February 03, 2009

Running the Kaiser Half-Marathon on a Half-Night's Sleep

So this Sunday was the half-marathon (13 miles) I've been training for with some buddies and my former mentor for Team in Training. To my amazement, I ran the thing, even though I'd had a gig the night before and only got 4.5 hours of sleep rather than my usual 8. I credit that to two things. First, I got a lot of sleep the week before the race (and most crucially two nights before). Second, I made good money at my gig, which filled me with feelings of abundance and generosity rather than misery and desperation, two emotions not generally associated with endurance sports.

While the competitive side of me wants to compare my time to that of some of my fellow trainees, the zen side of me is happy that I achieved my goal pace of just under 10 minutes per mile. It was a beautiful run through Golden Gate Park and out along Ocean Beach on the Great Highway. Well, those five miles out and back on the Great Highway aren't so great. They're pretty boring, and it was very hard not to slow down.

I can't blame it all on boring, either. I have come to the realization that about three-quarters of the way through a race my instinct for self-preservation will kick in and I will not push myself until I fly across the finish line a trembling, puking mess. No, I will cruise across with enough gas left in the tank for a post-race hike. My brain will begin bargaining with my body, saying things like, "This is pretty good. Come on, you've run 8 miles at 9:30 pace. That's more than you'd hoped for. Let's just trot the rest of the way."

As I begin to trot, my brain gets drunk on power and says, "You know, a walk break would be great right now. Your body needs to walk. Humans aren't designed to run long stretches like this without a break. Just take a minute." I walk for 30 seconds, then start running again. "That felt pretty good," my brain says. "Let's take a minute break." My body resists until I pass another mile marker. "Psst." It's my brain again. "Try taking a minute-long break this time." I can't resist. But then I start running again. Once I turn the corner back into the park and hit that final half-mile hill, I'm actually feeling pretty good. Granted, I'm running 11:30 pace now, so the pressure is off.

I cross the finish line and really can't say I feel too bad. I'm not saying it's easy, or I could do it all over again back-to-back. But the point is, maintaining my pace all the way through, or ideally running the second half of the race faster, just hurts too much. Indeed, I may not in fact have trained hard enough to even do that. And I'm OK with that. I'm not a bad runner, or a good one -- I am literally an average runner. And running is a stress reliever for me, not something to obsess about.

I remember reading an account in Runner's World a few years back about a woman who had run the Iron Man many years in a row. She talked about how it was nice not to be an elite athlete, because of course an elite is going through all the stresses of winning, strategy, career, etc. while she's just enjoying (might not be quite apt when describing an Iron Man) the event.

The other question I find myself asking is, what is my ideal distance? Being short and muscular, I'm not built like a long-distance runner (or a swimmer for that matter). Having run a marathon and now a half-marathon, I can also say without a doubt that while a half does not give me much pause, a marathon still does. Those women running the Olympic marathon this past summer were a visual reminder of how hard the event is on your body. And when I trained for a marathon, by the time the race came around my feet hurt, my knees hurt, my hip hurt, my back hurt ...

I guess that's why they say once you go tri, you don't go back. The cross-training of triathlons is just wonderfully interesting and good for your body.

Monday, February 02, 2009

Selling CDs Onstage Gets Easier in a Recession


If you are a musician you know that selling CDs at your gigs is a major source of income. I've read many tips on how best to do this. Ideally, you have someone manning a merchandise table with all your wares on display, and this person is honest, helpful and great at closing the deal. Even better, you have several people who are circulating in the crowd with mailing list sign-ups and baskets of CDs for sale.

OK. So you don't have any of that, or even more for sale than a CD or two.

Then you and I are on the same page. On many gigs it's up to me to sell my CDs. I can tell you from experience: As much as we might wish they did, CDs will not sell themselves. You must tell the audience in witty or blunt terms that these are available for purchase. Now, I am not fond of doing this. And I have a few flaws in my approach. For instance, depending on how full my tank of self-esteem is, I may feel I have to justify a sale to a potential customer. Sometimes, I worry they won't like my CDs, and I try to ask them up front what types of music they prefer. These are concerns a car salesman does not share when he's trying to get you to buy a Hummer (not that my CDs are the musical equivalent of a Hummer).

Well, this weekend changed all that.

I had a gig with the funk band I perform with out of San Jose. Now, the music I sing with them is completely different from the latin jazz, Brazilian and originals on my two CDs. But for the first time, prompted by the desire to make a bit more money on the gig, I brought my CD display cases and asked the band leader if he minded my selling them. "You do what you gotta do," he said -- his standard response. However, as is often the case, during the first set I forgot to say anything, and then when I remembered, it didn't seem like the right time to say anything.

At the first break, he said, "Hey, you haven't mentioned your CDs being for sale." I shook my head: "I know, it's hard for me sometimes. But I know they won't sell themselves." On the second set, the sweetheart bandleader made an announcement about my CDs.* That's all it took. At the next break and after the show, I sold enough to make a good night's work great. And as the various audience members were buying, I buried that concern bubbling up inside: "What if they don't like it? It's not funk or latin pop." Another, louder internal voice was arguing back: "Maybe their minds will be opened to new sounds. How many pop albums have people bought that they didn't like? You need the money."

This recession is causing profound changes everywhere. But they're not all bad. When selling your art becomes a need rather than a want, you lose the self-consciousness and the worries about judgment. I admit that the title of this post is a bit misleading. I mean it gets easier to do the selling -- but there's no guarantee these days that the audience will do the buying. However, you know your chances of them taking a piece of you home with them is that much greater than if you hadn't said anything because you felt too awkward about it.

*That's another tip: Ideally, someone other than the artist announces the CD sales from the stage or over the PA.