Wednesday, December 29, 2010

DOUBLE YOKO HOUSE PARTY

12/20/10
Fandrich Piano Studio

chamber improvisations for the masses....and the eclipse...

THE TROOPS CONTINUE TO EXPAND



MUSIC FOR BLINDFOLDED ENSEMBLE

12/16/10
MCMC Composers Vol. 2
Chapel Performance Space

Musicians featured:
Samantha Boshnack - trumpet
Michele Khazak - voice
BF - clarinet
Michael Owcharuk - piano
Paul Kemmish (PK) - bass
Adam Kozie - drums

(photos by Cat Stulik)

Movement Exercise No. 1
http://monktail.com/mp3/2010.12.16/2010.12.16_15_fleenor.mp3

Movement Exercise No. 2
http://monktail.com/mp3/2010.12.16/2010.12.16_16_fleenor.mp3











THE BLINDFOLDED PIECES

Rehearsals:

Movement Exercise No. 1 for Blindfolded Ensemble


Movement Exercise No. 2 for Blindfolded Ensemble



I have started a series of compositions called Movement Exercises for Blindfolded Ensemble. (The first one came over the summer in preparation for a concert in July 2010)

The core of the work is about unifying collective energy and moving it throughout an ensemble in real time - building the ability to communicate with each other without overt signaling.....namely, being able to make collective group/musical decisions based solely on energy conduction. Yes, being able to communicate with each other using only sound and energy.

This is something that naturally happens when improvising with a group, but I wanted to try to find a way to practice, and heighten a few particular principles....

There's this magical thing that happens when you're really connecting musically, or when you play with people you connect with personally - you can feel internal/external things moving in the ensemble - the energy. Like if things are building and a soloist is about to break through to be featured, you can feel it happening - or about to happen - the build up. Another example is when everyone collectively feels than an improvisation is done and over and they let it end. Other more subtle motions are happening all the time - like when the band crescendos together, no one is specifically directing this to happen, the composition just asks to move there and the musicians follow suit. There are millions of examples.

The Blindfolded Pieces are set up to provide a form to practice moving energy throughout an ensemble.

By restricting sight, our other senses are heightened and we learn to focus on our connection to each other in new ways. We feel each other and hear each other in new ways. The physicality of the sound is magnified and we begin to communicate more clearly with our intention/energy.

Here's some crappy images of the scores from my phone. (I will scan them and post eventually, once there are more in the collection)

Exercise No. 1













Exercise No. 2

OWCHARUK 5 HOUSE PARTY




















































Fandrich Piano Studio 12/20/10

FLEENOR/OWCHARUK - UKRAIZIAN UKRAINIAN

PK & WHAT ARMY?







































Photos by Chris Davis at the Seamonster Lounge (Seattle)

MORE TRUTH

Fear and insecurity make humans do shitty things. It can be quite ugly, and if you look closely it is at the root of most of our issues both individually and internationally. And by the way, if you're not fulfilled by yourself then you aren't truly fulfilled - it's called seeking false validation. ♥

WORLD'S MOST POWERFUL FOUR LETTER WORD

To think that LOVE doesn't change everyday, every single second, is a disservice to its capacity, resilience, and nature.

It cannot be truly defined, confined OR destroyed.
and like my great friend often says - it's a verb.

Love freely and openly and it will multiply and magify.
The world needs this more than anything else.

Please - LOVE.

Open your heart.

MUSIC FOR THE HUTCH

Music by Kelly Wyse for Fred Hutchinson Cancer Research Center
(BF clarinet improvisation at the opening)

Monday, December 20, 2010

A NOTE FROM FRANK

On behalf of all of the artists and organizations affiliated with the Frank Agency, THANKS SO MUCH for your support!

For the last six years we have worked diligently to assist in the clarification, articulation, and amplification of as many artistic efforts as possible. Concerts, tours, large scale productions, multimedia works, installations, encounters, festivals, the list goes on and on...and we couldn't have done it without you.

It is our belief that an emphasis on creativity in a culture gives rise to creative solutions to social problems, and in particular, in these difficult times, it is imperative that humans have opportunities to engage with the arts....to engage in aesthetic experiences.

We need opportunities to express, deepen, purge, release and grow...to learn, collaborate, rehabilitate, and innovate...to communicate...to cultivate...to commiserate...to expand.

We need opportunities to connect, and to see and honor our relationship to the world - and we need to have opportunities to understand and embrace ourselves....opportunities to have new ideas.

So the way we see it - the arts are necessary to our existence - the arts are necessary for our survival.

Thanks for continuing to support live music & performance work - and here's to another year!

Cheers,
Frank

FOR YOU 9

In all honesty, I think I might have drowned in myself and my sorrows this year if my mother hadn't been standing by me - helping to keep my head out from being under the water too long. Never before have I felt so much support. It's big things like helping with the rent when the student loan company hijacked my entire savings, or listening to me talk endlessly about my dreams for projects that make little sense to her, and little things like sending me shampoo and toilet paper, which she's been doing EVERY MONTH FOR THE LAST YEAR.

My mother has stood firmly by me ever since my decision to move to Seattle and pursue a life as an artist in 1998. Everything changed for us in 1998.

But what she has done this past year, as I've returned to a life of freelancing that is dedicated to my priority - MUSIC - has been unimaginable....and I cry in awe and thankfulness for her support almost daily.

Making jewelry and monkey cards doesn't begin to say or do enough, but it's what I have to give.

Never underestimate the power of a person's belief in something. And never underestimate the power of being believed in.


FOR YOU 8

for my grandmother - a repair of her favorite earrings...and a bunny thrown in for good measure

Saturday, December 18, 2010

SCORES

working on the blindfolded pieces...hopefully eventually there will be a book of movement exercises for blindfolded ensemble, today there are 2 with a third in the works.

EXPANDING THE TROOPS

Thursday, December 16, 2010

KULE KULE

Jherek Bischoff arrangement of the Konono no. 1 song Kule Kule



(when the video gets pasted into the blog the right side is cut off...there is a bass clarinet there, along with the Jherek)

Wednesday, December 15, 2010

TEATRO DE LA PSYCHOMACHIA












This is an incredibly special space and it was an honor to perform "Frozen Hummingbirds" with Vanessa Skantze (butoh) there for the second time.

KULTUR SHOCK TROOPS

P-Honey (aka: Paris Hurley) whipped us into shape for a featured moment on the new KS recording Ministry of Kultur - a stomp chorus for the new revolution!















BOP! FOR PEACE

YOU HAVE TO ACTUALLY DO SOMETHING

Just voting and not changing your daily life is not addressing our issues...

Think about a doughnut-
you hold it in your hand and say "this is bad for me and its going to negatively impact my body......."

But even though you have voiced that opinion, even though you have that knowledge, if you put it in your mouth it will still impact you - it doesn't lose its effect just because you acknowledged that it was going to have that effect.

The only way to avoid the negative consequences is to put down the doughnut - which is particularly hard since instant gratification tastes so good...


SO PUT YOUR MONEY WHERE YOUR MOUTH IS
If you have complaints about what is happening to our collective body, our national body, our international body - think about where you're spending your money. If you don't want negative consequences then step away from the corporations that are behind the issues and put your money towards something you support.

a change in funding = change in reality

It's easy to criticize - it's hard to really DO something.
MAKE A CHOICE

ECONOMY

What about the economy of humanity - the economy of the soul.
Whose out there fighting to push through initiatives on behalf of that?

UNITY = SURVIVAL

There's something gravely wrong with a world that doesn't recognize and honor its unity.
stop and look - all this fighting, chatter, and money money money, where does it lead to? Is there a destination?

We have to acknowledge our necessary connection to each other, and our necessary connection to our planet.

It is very simple. This is what survival is about.

OWCHARUK 5 MEMORIES

NYC September 2010 - with special guest Elsa Nilsson (flute)
Bar 4 - Brooklyn



Kobzar CD Release April 2010
Tula's - Seattle


OWCHARUK 5 from the archiver on Vimeo.






Rehearsal April 2010


BF/FRANK BRAIN STATION

processes processing experiences
processes processing experiences

....a guided tour of the BF/Frank Brain Station....

Wednesday, December 8, 2010

THE NEWS TODAY

AESTHETIC vs. ANESTHETIC

AESTHETIC
–adjective

pertaining to, involving, or concerned with pure emotion and sensation as opposed to pure intellectuality


ANESTHETIC

–adjective
pertaining to or causing physical insensibility


(collaboration is the stuff of growth)

Tuesday, December 7, 2010

BELIEF














What do you believe?
What do you make believe?

Monday, December 6, 2010

REMINDER

keep your mind open and you will be filled with new ideas
keep your heart open and you will be filled with love

Saturday, November 27, 2010

ALWAYS – MUSIC FIRST. REPEAT AFTER ME – MUSIC FIRST.

Something happened on the bandstand last night and when I woke up this morning my mind was flooded with an ongoing rant – it’s a rant that comes and goes, and has for many years now, but for some reason today, maybe because of recent recurring situations, I feel like articulating some of it out loud….

The musician area was tiny which meant the two horn players were standing on the steps in front of the wee-stage to be able to have more room. In the middle of the second set, horn in mouth, all players feverishly playing, building heat, pushing to what would eventually become a pretty explosive climax, I felt a tap on my left shoulder – the one facing the audience while the rest of my body turned to the band.

Getting touched randomly by someone when you are deep in the zone is a weird feeling – for me, when I’m as deep in as I was in that moment, having someone touch you is like having your face shoved into cold water – BAM, you’re out of it, and can’t breathe, like you’ve been punched. It’s not the same as if someone bumped you accidentally or something like that….tapping someone on the shoulder is calling their attention to you – calling their energy away from what they are doing, and directing it towards what is being asked. So, startled, I turned……

People do this shit all the time when you’re playing in bars, try to talk to you while you’re playing - can I get a photo now, hey do you know this cover song, I dropped my money by your foot can you grab it for me, whatever kind of stuff that you excuse because they are just partying and aren’t thinking about the fact that you are in the middle of doing your job – but I’ve never had someone tap my shoulder, get my attention, pull my energy away from the music, TO BLOW A FUCKING KISS IN MY FACE on his way out of the bar.

WHAT THE FUCK DO YOU THINK YOU ARE DOING?
What makes you feel like you have the right to stop me – to INTERRUPT me – so that you can display that you find me attractive? What makes you think that is in any way wanted or acceptable? And would you ever, in a million years, interrupt a man playing music to do the same. I don’t think so.

Just because I am a young woman playing music in public, men think it is ok to make sexual advances at me – oftentimes they think I want it, like it’s a compliment, like they’re doing something nice for me….mostly it is just rude, obnoxious, disturbing and disgusting.

Now let me pause for a second – I’m a person that believes in complimenting people. I think that people don’t get enough GENUINE compliments and that it is a very important part of human expression….people need to hear that they are loved, hear that they are beautiful, be reminded that they are infinite- it’s good for the soul. People need to be seen, truly, and honored. And I’ve been one to stop someone in public and tell them they are beautiful and that I have been moved by their beauty, on more than one occasion. And I’ve had people approach me randomly in public and had positive complimentary experiences. I once had a gentleman stop me in the grocery store to say that he thought I was enchantingly beautiful – this made my day, and in turn I found myself telling a cafĂ© worker later that evening that she was inspiringly graceful….it was a compliment that kept extending out into the world.

The difference is first - the lack of respect, second - the interruption, and third - ignoring my job…I guess really they are all about no. 1 – LACK OF RESPECT.

Since I started the blog, exposing practice videos and such, I’ve received many emails from many admirers – it’s a part of the exchange…I put this stuff out there for the public and the public reacts in many different ways. Once I release it, I give over control of the material and people can receive it however they want. I accept and honor that. And if someone is moved by my work, in any way positive or negative, then I have done my job.

But the amount of emails that are more sexual than musical is really disturbing. (part of this is the advent of facebook where people feel comfortable messaging would be date requests they’d never have the guts to initiate in person). From the comments, you’d think I was wearing a latex body suit that heaves cleavage, singing seductive songs that say “I just want to fuck you” over and over again….if you have seen my videos/work you see the joke here….

For me music/art is spiritual – it’s my religion. It’s my life force – it’s the thing I believe can change and heal the world. I see it as humanity’s most important unifying force. I have dedicated my life to perpetuating it, to propagating it for myself and as many others as possible. It is pure – direct – infinite – and healing. I do not work in the entertainment industry (though I recognize and honor it’s value as well) and honestly, even if I was in a latex body suit with my boobs hoisted to your eyes, it still doesn’t make it ok to disrespect me as an artist.

You would never go up to a surgeon and say “that mask makes you look so hot – and by the way, thanks for saving my grandma” or approach a cop and say “you look so cute the way you have your hair under that hat – and I’m glad you stopped that intruder from breaking into my house” or tell a minister “that robe shows off the sway of your incredible hips, thanks for visiting my dad in the hospital”……so why would you approach a musician and compliment their looks before their sound? WHY? We are the same as any other public servant.

I deal with the showing up at clubs and people thinking I’m the girlfriend of the band instead of the band leader, and I deal with people assuming that because I’m a woman I am gonna play weak and suck (yes, this is still true in 2010, sadly) – but the going out of one’s way to approach me in a musical setting, only to disrespect me with some sexual bullshit is tired. So very tired.

I’m laughing right now actually, because I’ve played in bands with dudes that are disappointed and feel like less as musicians if they aren’t getting sexual attention (That’s another post all together: spirituality vs. ego validation in music…not gonna go there right now) – and yet most of the women in music I know, fight AGAINST this bullshit constantly just struggling to play….to be HEARD MORE THAN LOOKED AT.

There is a part of me that wants to sit here on Saturday morning and craft an intelligent essay on the role of women in the arts, but I refuse to spend any more of my day thinking about this – I just needed to bitch and get it out of my system. I need to use my energy to practice and write music.

Since the blog is about my process more than the final product, I felt you should be privy to my issues. I know women have only been allowed to vote in America for like 90 years or something but let’s try to pretend that its 2010 and that we believe that all people are in fact equal and respect them as such.

So - If you like me, talk to me. If you like something you hear, talk to me about it.
Talk to me about music – about philosophy, metaphysics, politics, humanity, creativity, the occult, food, quantum mechanics, ANYTHING REAL – but don’t come talk to me about my pigtails or my ass or my southern smile. (keep that shit to yourself)

ALWAYS – MUSIC FIRST, LOOKS SECOND….SAY IT WITH ME: MUSIC FIRST – LOOKS ARE SECONDARY.

Saturday, November 13, 2010

LIVING ROOM PARTY 38

DEVELOPMENT_SINGING & PLAYING THE DARBUKA AT THE SAME DAMN TIME....DAMNBUKA...

This song is called: Sojka Ptica

I learned it from Gino Yevdjevich to be used as reference material/incorporated in the Butoh piece developed with Vanessa Skantze.



Mark my words, someday - SOMEDAY.....I try to remember that I've been working on the clarinet for 20 years and it still kicks my ass daily, and I won't even start in on the bass clarinet and it's ass whipping tendencies....so it's ok that the drumming is a bit rocky - you have to start somewhere. I've always loved darbuka, and tapped around whenever a friend would let me hold one, like for example before a rehearsal or show. After the Kultur Shock tour with Gino in June/July 2009 I decided I was ready to really learn something. I had a short lesson with Gino in May 2010. My first public performance was the following June. The collaboration with Vanessa Skantze this November is my second.

It is possible to walk the great wall of China, but first you have to take a step.

BUTOH COLLABORATION WITH VANESSA SKANTZE


















Another goddess - another soul mate...Vanessa Skantze.

I could fill an entire page with adjectives describing this deeply moving artist/human....captivating and entrancing, strong, authentic, sensual, spiritually connected - the kind of spiritual connection that you can feel is rooted deep into the earth, but extends far out into the darkest parts of the universe. And there seems to be, in my opinion, some kind of symbiosis between my sound and her movement. Like they were the same entity that we plucked from the cosmos and infused in each our souls - manifesting individually as "sound" and "movement."

She moves the way my body wants to move - the way I move in my mind. Watching her work makes me want to leap up and join the dance - letting life reel through me....instead I hang on and open up even further, letting the sound pour out like an electrical waterfall.







Friday, November 12, 2010

MATANA ROBERTS

MATANA ROBERTS: COIN COIN
Thursday, October 28
Chapel Performance Space
Earshot Jazz Festival
Presented in association with Nonsequitur
photos by Daniel Sheehan



















What an honor.....over the years I've worked with some incredible artists, and honestly, the last year and a half in particular has been a huge landslide of one amazing experience after another.

Within that endless sea there have been a handful of collaborations, often instigated at someone else's hand, that have pulled me into an artistic arena that I desperately needed to experience at precisely the moment I needed to experience it, greatly & dramatically nourishing my growth, perspective and voice.

That is exactly what happened with Matana Roberts. Meeting/playing with her was like finally running into someone who speaks your language when you're traveling in a foreign country. I don't have the time or energy at this moment (like so many of the blog posts - which is why this functions more as a sketch book than a journal) to adequately find the words to try to describe Matana, her vision/sound or impact.

I'll just say Matana Roberts is a gift - both to my life and to the world.



COIN COIN was performed by Matana Roberts with Seattle musicians: Tom Baker (guitar), Angelina Baldoz (trumpet), Brian Cobb (bass), Marchette DuBois (accordion), Greg Campbell (drums/percussion), Beth Fleenor (clarinets), Lori Goldston (cello), Tari Nelson-Zagar (violin), and Greg Powers (trombone).

(special thanks to Steve Peters for making it happen)

http://www.earshot.org/Festival/artistinfo/matanaroberts.html

Thursday, November 4, 2010

LIVING ROOM PARTY 37

SKETCH_BATTLE CRY (formerly MUSH)

LIVING ROOM PARTY 36

SKETCH_WING NA NO

LIVING ROOM PARTY 35

SKETCH_MOHAI RITUAL

LIVING ROOM PARTY 34

DEVELOPMENT_THE BOWL + VOICE

(motor skillz.....yeah, it's tricky....that whole trying to improvise when I don't have control over my hands thing....ahem)

Wednesday, October 27, 2010

MOTHER MAY I - DEVELOPMENT



























"Mother May I learn from you but find my own voice, learning from difficulties of the past to create opportunities in the future"

Support is mounting for the Mother May I Project. I received notification from the Seattle Office of Arts & Cultural Affairs that they are supporting the project with a CityArtist grant!

This is a big step forward. I have been working as a professional grant writer for about a decade now, having raised hundreds of thousands of dollars for other people's projects. This is the first of my artistic projects to receive monetary support!

There's a long road ahead to do this project the way I want - many many more organizations to approach, but the first stones of the path have been set.

HOORAY!!

FRANK'S WEB




INTERSECT.
INTERACT.
INTEGRATE.




Established in an effort to open the lines of communication, the frank agency is an innovative arts management organization dedicated to bridging the spaces between artists, presenters, and audience members.

MORE ABOUT FRANK

FRANK'S PROGRAMS

FRANK'S ROCKIN TOO

October 2010

all month
10/01-10/30
WAYNE HORVITZ CURATES UNIVERSITY OF THE STREETS SERIES (NYC)

The University of the Street Curators Series begins in October, featuring artists selected by internationally renowned composer/keyboardist Wayne Horvitz. Filled with innovative and visionary talent such as Vincent Chancy (Sun Ra, Lester Bowie, Elvis Costello), Kenny Wollesen (Norah Jones, Tom Waits), Robin Holcomb, Elliot Sharp, Briggan Krauss, and a long A-list of other performers, OUTS kicks off this new monthly series. As a part of the month-long series of activities Horvitz also curated VOICES OF THE FUTURE, a mini-series highlighting dynamic young artists.

Information: www.universityofthestreets.org


10/01
DOUBLE YOKO (Beth Fleenor & Paris Hurley)
and special guests ORKES MANOHARA

Experimental performance duo Double Yoko, featuring Beth Fleenor and Paris Hurley, weave their unusual blend of lush orchestral scoring, pointillism and keening noir-pop, using clarinet, bass clarinet, violin, voices and electronics. Stripping away layers of comfort to expose the raw core of each individual voice, Double Yoko steps to the edge of their personal abilities, calling on each other to stretch past the point of expectation. Through a disciplinary practice that involves time spent digesting daily experiences as much as composing new matter and materials, Double Yoko is a constantly shifting time-based entity that strives to process individual and collective experience to encourage growth and healing.

Orkes Manohara - Krusnedi Sukarwanto (cello/guitar/Javanese ukuleles) and Maeg O'Donoghue-Williams Sukarwanto (voice / sruti box) - will start the evening with a set of experimental and traditional Javanese keroncong music, centered around the cello and voice. First in a series of Orkes Manohara performances concerning the deceivingly fleeting, ephemeral quality of culture.

Information: www.thefrankagency.org/paris or www.thefrankagency.org/beth



10/08 & 10/10
MONKTAIL'S ANNIVERSARY WEEKEND
with NON GRATA

Organized by founder and director John Seman, Monktail represents a breadth and depth of musical experience unmatched in the region. Ensembles as diverse as their flagship improv big band NON GRATA, the overtone choice SEATTLE HARMONIC VOICES, the celebrated funk and jazz onslaught of REPTET, the bopcore trio FLOSS, chamber oriented DEAL'S NUMBER, Beth Fleenor's shape-shifting FIGEATER, as well as death-jazz trio SPECIAL O.P.S. all find their home under the umbrella of Monktail. While in Seattle, Monktail has earned top honors as an arts organizaiton, including Earshot Golden Ear Awards in 2002 & 2006 for Emerging Group, Best Outside Group (Reptet), and Concert of the Year (Monktail Raymond Scott Project). Monktail Records celbrated their ninth full-length release in 2010.

Information: www.monktail.com


10/09
SONNY CLARK MEMORIAL SEXTET
Music of Ornette Coleman

Wayne Horvitz (piano), Al Keith (trumpet), Craig Flory (reeds), Willem de Koch (trombone), Geoff Harper (bass), Andy Roth (drums).

Information: www.waynehorvitz.net



10/11
SEATTLE JAZZ COMPOSERS ENSEMBLE

As a kick-off event, marking the efforts of this developing jazz advocacy group, and a new season of unparalleled productions, the SJCE will perform original arrangements of Ennio Moricone's music and compositions by local composers Jim Knodle, Beth Fleenor, Josh Rawlings, Ethan Thomas, Nelson Bell, Michael Owcharuk, and Nate Omdal, among others. All proceeds from the event go to the SJCE's efforts to become a non-profit organization dedicated to propagating the work of local jazz composers.

Information: www.seattlejazzcomposersensemble.com



10/14
SONNY CLARK MEMORIAL SEXTET
Music for the Baroness Nica
Earshot Jazz: Art of Jazz Series

Wayne Horvitz (piano), Al Keith (trumpet), Craig Flory (reeds), Willem de Koch (trombone), Geoff Harper (bass), Andy Roth (drums).

Information: www.waynehorvitz.net


10/14
WAYNE HORVITZ / SWEETER THAN THE DAY
with Special Guest CUONG VU

Sweeter Than the Day, Wayne Horvitz's piano-based acoustic band welcomes Cuong Vu (trumpet) for a special Seattle performance. Joining Horvitz (piano), Keith Lowe (bass), and Eric Eagle (drums), Cuong Vu will be performing in place of Sweeter Than the Day guitarist Tim Young who is unable to attend the performance.

Information: www.waynehorvitz.net/projects/sweeter.html


10/15 & 10/16
WAYNE HORVITZ / SWEETER THAN THE DAY
(OREGON SHOWS)

Wayne Horvitz (piano), Timothy Young (guitar), Keith Lowe (bass), and Eric Eagle (drums).

Information: www.waynehorvitz.net/projects/sweeter.html


10/21
DOUBLE YOKO (Beth Fleenor & Paris Hurley)
with ASHIA GRZESIK


10/29
FIGEATER (performing unit: ECO-Fig)
with SLOW SKATE
Josephine

Figeater performing unit: ECO-Fig takes flight for its first trio adventure to Eat, Consume, and Obliterate the FIG. Featuring Beth Fleenor (clarinets / beth boxing), Stephen Parris (guitar), Mark Ostrowski (drums).

Information: www.thefrankagency.org/Figeater

ROCKTOBER

This month has been awesome - the collection of collaborations is really quite beautiful....so much!!

I've been so immersed in it all that I rarely have the capacity for words...or rather more words than Frank demands on a daily basis.

Here's just a couple of the highlights...




10/01_Double Yoko_8pm
Chapel Performance Space
Good Shepherd Center

10/02_Music with PK_1-5pm
Alhambra
1st & Pine

10/08_MCMC's Non Grata_7pm
Egan's
1707 NW Market St

10/09_SJCE_8pm
Shunpike's Golden - WA Hall

10/11_SJCE Kick-Off Party_7:30pm
Tula's
2214 2nd Ave

10/21_Double Yoko_8pm
Can Can
94 Pike St (at 1st)

10/25_Owcharuk 5
Waids

10/28_Matana Roberts_8pm
Earshot Jazz Festival
Chapel Performance Space
Good Shepherd Center

10/29_Figeater
Josephine
with Slow Skate

10/31_Seattle Pianist Collective with Michael Owcharuk_2pm
Seattle Asian Art Museum

Saturday, October 9, 2010

BUNNIES BUNNIES EVERYWHERE

(it's like they're on parade.....I am loving the increasing engagement of the rabbit...soon the world will be ours - muwaaahaahaaha! smiles abound!!!!)



Friday, October 8, 2010

FUNDAMENTAL PRINCIPLE

Like any individual thing, maybe it can't solve all the problems in one swoop, but WHAT IF creativity / imagination / the arts can help heal/engage individual people one at a time, giving them a way to deal with themselves and thereby the rest of it - isn't it one of our most valuable resources for sustainability?

Mission Objective:
Cultivate sustainable daily systems - Cultivate sustainable social systems.

Theory:
An emphasis on creativity in a culture gives rise to creative solutions to social problems

And Another Thing:
Being an Artist IS a job - and it is just as important as any other civil servant.

Thursday, September 30, 2010

DOUBLE YOKO SKELETONS

SKETCH_ALONE

(version 1)


(version 2)


(version 3)





SKETCH_MAY DAY




SKETCH_11 TRACK 11



original outlines by Paris Hurley - arranged by Double Yoko

Monday, September 27, 2010

LIVING ROOM PARTY 33

SKETCH_PINBALL SONG

(oh how I wish I had piano skills...that must be a fun time, I'm sure of it)

LIVING ROOM PARTY 32

SKETCH_OUT AROUND AND BACK AGAIN

ANOTHER LIFE

that was then.
then is gone.
we are now.
and there you have it.

Sunday, September 26, 2010

BOP! 4

BUNNIES ON PARADE
meet the newest addition to the family

















*smile - yay!!!*

Saturday, September 25, 2010

REALITY

There are some people who have been taking particularly special care of me in the last year - this is a moment of thanks for that. I really don't know what I would have done without you.

*big heart*

*big big heart*

Friday, September 24, 2010

LAP 30-5

NEW ROBOT IN ACTION