For a song cycle to work, you have to feel these things when you hear them and you either have an emotional reaction to it or you don’t. The plotline is something that gets woven together in the backstory.
There’s a richness to the old works if you look before the 1950s. The chord progressions and the language was more complicated, especially in the jazz and classical world.
Over the last few hours I’ve allowed myself to feel defeated, and just like she said if you allow yourself to feel the way you really feel, maybe you won’t be afraid of that feeling anymore.
I am finding that vulnerability gives me great strength, because you’re not hiding anymore. It’s really about being a pioneer for myself, going into the places where I am not being taught. I have to teach myself.
Musically, I always allow myself to jump off of cliffs. At least that’s what it feels like to me. Whether that’s what it actually sounds like might depend on what the listener brings to the songs.
I collect art books. I have hundreds and hundreds of them and they get me to start hearing things. Sometimes people look at them, but I find that visual art gets me listening, gets me hearing things.
The way I see it, the men that I’m with, whoever they are, it’s like look, you have to accept the fact that I like ice cream, and I know it shows up on my hips but if you can’t accept that, then leave. Go away, toodles. It is non-negotiable.
