(The My 3 Things FAQ.)
0. Update: THANK YOU for helping me fund the theater workshop in Alabama
You did it!!
In last month's My 3 Things, I told you about the work I am doing at BAMA Kids, an after-school program in Wilcox County, Alabama. I'd already raised $2750 and needed an additional $1250 to send seven New York actors from the theater outreach non-profit Zara Aina to work their story-telling, confidence-building magic for a week.
You generously gave $1775!
Wow! Hell yes!
You are making a direct impact on the lives of these kids. Because of you, they will create and perform an original piece of theater and through that creation develop crucial life skills like determination, self-confidence, and cooperation.
I met with the actors last week! A cheeky, cheery crew ... right?!
The actors will arrive at BAMA Kids in less than one week! I can't wait to share more pictures and lots of stories with you!!
1. LISTENING: The Stanley Turrentine Sextet on "Sugar"
My first guitar teacher -- the late, great John Dougherty of Wilmington, Delaware -- loved this song and it was one of the very first he taught me when I began lessons with him at age 11. These laid-back, bluesy, triplet-y burners were right in his wheelhouse and he had me playing them before I played anything else.
For the past week, I've been transcribing saxophonist Turrentine's solo on this track. So much tasty goodness in every bar! And not just from the saxophone. The other musicians on the track (Freddie Hubbard - Trumpet, George Benson - Guitar, Lonnie Smith - Electric Piano, Ron Carter - Bass, Billy Kaye - Drums) are killing it too. Enjoy!
2. SEEING: Kinyatta A.C. Hinkle's show "The Evanesced" at the California African American Museum
Akimbo. A-swirl. Asleep. Aslant. A-sway. A hundred notebook-sized drawings of a hundred missing African American women doing everything from sitting, to stooping, to flying, to falling, to flapping, to being bent way beyond backwards, to cowering, to careening. These aren't portraits, they are gestures of emotions and expressions. There is pain here, but there is also joy.
Hinkle's deliberate choice of simple materials -- uniformly sized recycled paper, India ink, and a brush she created from bits of Spanish moss -- give these "un-portraits" incredible power. They represent every woman and no woman. “I wanted to make this kind of being that is flesh and not flesh,” Hinkle told the Huffington Post. “Becoming and unbecoming, defined and not defined. There is this push and pull between both worlds.”
In creating these drawings, Hinkle wanted to highlight a terrible erasure: "missing black women in America and the African diaspora, historically and to the present day." Her mark-making imagines the every day narratives of thousands of black women who have disappeared due to homicides, human trafficking, colonialism, poverty, and other forms of going unseen.
Hinkle is one to watch. The show is on through June 25, 2017. If you are in or near LA, it is a must-see. We often talk of an artist's body of work. Here, Hinkle's body of work is quite literally a collection of work made of women's bodies. It feels familiar and intimate, often devastatingly so.
3. GEEKING OUT: Tabata Songwriting aka using a Tabata Timer for focused periods of songwriting
If you know anything about me, you know that I am an athlete, through and through. Even now, when I don't have to, I work out at an elite level.
Wanting to shake up my songwriting practice, I decided to try an experiment: I took something from my workout routine and tried using it in my songwriting routine.
I used the Tabata Timer on my phone to increase my focus and output when writing a new song.
In the fitness world, a Tabata is a form of high-intensity interval training (HIIT) that last 4 minutes. Work out as hard as you can for 20 seconds, rest for 10 seconds, complete eight rounds and you have done one Tabata. (Read more about Tabata workouts here. There are lots of Tabata timers in the app store. I happen to like this one because it's fully customizable.)
So how did I adapt this to songwriting? Did I work as hard as I could for 20 seconds on lyrics, then rest for 10 seconds, then repeat eight more times, and in four minutes I had the perfect pop song?
I set my Tabata Timer to do four rounds of 12 minutes on, two minutes off.
For 12 minutes, I worked on accomplishing a very specific songwriting goal, for example: "write a rough draft of a first verse, lyrics only." During the two minutes off, I documented the result of that work, noting if I achieved the goal or not and if not, why not. I also -- in that two minutes -- set up the specific outcome for the next 12 minute burst of activity.
Why this works
In short, my Tabata Songwriting method works because it forces me to focus and to commit to accomplishing a clear goal in a very short period of time.
With the timer counting down, I immediately drop into state of deep focus; I don't have the luxury of letting my attention waiver. I had to iterate song ideas faster, even really bad ideas. This helped me to create and work with a "good enough" idea sooner than I would if I had unlimited time.
Did I write the greatest song ever using this method? No.
Did I write a finished song? Yes.
In a shorter amount of time than usual? Hell yes.
I finished a song in two hours and twenty minutes. That's pretty damn quick for me.
(Because I am dead serious about songwriting, I keep track of these things. Most songs take me between four to eight hours to write. Some songs have taken me as long as two months, some as long as two years.)
Will I always use a Tabata timer when writing songs? Hell no. There are currently a couple of songs on my "to write" pile that I know would not benefit from this approach. I want to take more time with them; I want to luxuriate in the infinite possibilities of lyrics and chords.
The point is I don't want to be precious about writing songs. I used to be that way and it sucks. Over the last few years, I've spent considerable time, energy, and thought creating new ways of being around songwriting. Now, I am free and getting freer.
Inventing this new and (let's face it) ridiculous way of songwriting is evidence of that freedom. And I am thrilled about it. It's just one more arrow in my songwriting quiver. Watch out!
OUTRO: I'd love to hear from you
What do you think of these 3 things?
Leave a comment below and let me know what you're listening to, what art shows you're seeing, and what tools you're using to get your art work done. I read every comment!