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My Week in Burnt Food & Music

OK! Business First, A thru D:

A. SALE ENDS TODAY! Last official day of 25% off Cybersale! Use code "THANKS"

B. ATLANTA = Harp Workshop THIS SUNDAY! Tell your friends in Atlanta (and yes, people who play other instruments besides harp can come even if it doesn't look like they can - just email me if you want to do that)

C. BLUES! My FIRST TIME EVER (Almost) All Blues show at The Center for Arts in Natick - Sat. Jan. 7th! (Their listing doesn't SAY it's (almost) all Blues, because I didn't send them that all-important info yet - I'm telling you first!!)

D. NEW YEAR'S EVE = First Night Worcester (buttons go on sale tomorrow!)

And my Pre-Spring Tour starts sooooo soon! The tourdates are here in various states of informativeness.

And here's what's on my mind:

I'm doing an experiment this week. Instead of 'writing a newsletter' - I'm just writing, like I would to my aunt (who's one of my best friends). So, no editing, here goes and if it's stilted at first, that's OK. I want to get better at just writing to you and I have to start somewhere...

So now that my October/November touring is over, I have just a little breathing space before I start my Jan-March show. I've been wanting to start two projects for the longest time, and it's interesting to watch myself struggle with them.

One is my "Blues by the Dozen" project, which is a series of Blues tunes for electric harp that will give me a chance to pass on what I've learned to other harpists - but also focuses my own brain on playing Blues in a bunch of different keys. I don't have a picture of it, so here's a picture of us playing "Purple Haze" at my 11-11-11 Birthday Extravaganza concert. (See at right: me on e-harp, Jonathan Wyner on Tuba, Ben Wyner on e-guitar, Katya Herman & Veronica Kent on e-harps, Catharine David on tambourine - thanks to Mark S. Hoffman for the photos!)

So, about the Blues ... 'til now, I've focused on only two keys: F and Bb, and because of the way the instrument is built, working out Blues in different keys is kind of a mathmatical problem. So that's fun. But, as usual, it's like pulling teeth to get a project out of my own studio and start sharing it. Which reminds me that I should blog about that, and how I got so resistant (memories of musicians looking at my music scores and saying, "But that's a mistake. If that's how you wanted it played why did you write it like that?" Makes my stomach churn just to remember that. OK, so maybe that's why I haven't blogged about it).

And it's funny I just said it's like "pulling teeth" because I actually just had a wisdom tooth pulled recently and it was ... ha, well, maybe this is a good analogy ... it was agonizing to get myself to actually deal with it, but amazingly fun to actually do it. I credit the oral surgeon for the fun part. He not only offered me nitrous oxide (and yes, I did laugh -- and true to my genetics, didn't just laugh but snorted), and then afterwards his assistant sent me home with written directions and quart of ice cream and I spent the afternoon watching old movies, which is how I decided my student, Katya Herman looks like Grace Kelly [sorry, no time to create a photo tutorial about it here, but you can see her above, leaning back in the photo - the resemblance isn't as striking in that photo - it might be the accent, too - not sure. And no, this observation was in no way affected by the nitrous oxide which was - according to the dental assistant - completely neutralized by ice cream. Or ... I THINK that's what she said.]

OK, so where was I? Oh, right, the other project I'm committed to is "Re-DHC" which is a year-long project of weekly releases of projects, recordings, drawings and stories that I've already created and are just sitting on my shelves (and yes, I do have actual shelves - I am speaking literally - see photo below) And again, wow, it is so hard for me to get over the hump of revealing all this 'imperfect' often 'unfinished' work.

So it was great to get a comment about how meaningful it is for other artists to see 'behind the curtain,' when I wrote my preliminary blog about the first "Re-DHC" video I plan to put up (hopefully today ... or tomorrow) (riiiight ....) (no, really, I'm DOING it) (unh-huunh??) (OK, just watch the blog).

But ... sometimes things just happen and make their own timeline. And ... hmmm... how can I explain this kind of whirlwind of things that happened in the last two weeks? OK ... on 11/11/11 I had my birthday concert (see photos above right) and asked filmmaker Ian Brownell to videotape it. When Ian brought by the edit, we got to talking about projects, like artists do.

So next thing -- and I can't really remember the chronology here, but somehow all these things happened in quick succession: producer Clint Conley from Chronicle in Boston emailed and asked if this was a good time to come do a story about the "Burnt Food Museum," Pee Wee Herman posted about the BFM on his Facebook site resulting in thousands of hits on the site and our first sales of BFM gift items through our Cafe Press store (FINALLY, after 2 years ... though, I gotta admit, it's pretty hard to find our BFM Cafe Press store).

Normally the Museum lives crowded like culinary refugees onto three long kitchen shelves, but since Chronicle was coming to shoot it, we set it up like a real museum ... or sort of. And since it was already up, Ian and director Brian Agosto came over last night and we did our own shoot ("A Tour thru the Burnt Food Museum" - see a photo of them somewhere on this page, seriously considering the best way to shoot "Green Beans Black").

BUT HERE'S MY FAVORITE PART ...

Oh wait ... first... I forgot to say that on Thanksgiving, I walked into the bathroom after dinner and cut my hair. So no more braids. WHICH MEANS ... that suddenly I can be all kinds of people, just by putting on a hat or a wig, or glasses - or whatever. So suddenly, being me means getting to be a lot of people, which is really, really, fun!

SO HERE'S MY FAVORITE PART ...

Last night, with Ian, Brian and Katya's help, for the first time we taped interviews with many of the people associated with the Burnt Food Museum, not just the curator, but the janitor, the Gift Shop Manager Wendy, and Janitor Louise -- who, by the way, is also a contributor to the museum (see photos of those three at right). Also the detective who investigated a sad disappearance of nearly a whole exhibit, an art critic ... and maybe someone else I don't remember just now.

So that's some of what's on MY mind. What's on yours?

See you next week!

p.s. Just now correcting the spelling above, I remembered learning to write words. I was sitting on the livingroom floor in a very tiny apartment, with the exquisite whiteness of tiny pieces of paper. I'd just learned to make letters, just written my NAME and I said to my mother, "So, you just put a bunch of letters together and that makes WORDS??" And she said, "Yes!!"

So I put a whole bunch of letters together, and held it up and said, "So what word is this?" and she said, "That's not a word."

That was my first experience in grammatical betrayal ...or maybe you know the right word for it.

 

Guitar legend Steve Vai calls her the "Jimi Hendrix of the harp." The New York Times credits her with shaping the serenely Olympian harp into a jazz instrument by warping it closer to the Blues."

Deborah Henson-Conant's music ranges from Blues to Flamenco, in a relentless exploration of the instrument that was invented specifically for her by the CAMAC company in France: a 32-string, 11-pound electric harp she slings on like an electric guitar.

She combines music, theater and humor - with a voice, which has been compared to Carly Simon and an onstage energy that's been compared to Elvis Presley and Chuck Berry.

"The instrument forced me to rip apart any preconceptions. Nobody had ever tried to get these sounds out of a harp, so I simply had to stop thinking of it as a harp, and open my mind to everything else it could be," says the composing performer. That led to the development of music that's won her a GRAMMY nomination, PBS television music special, first prize in the International Songwriting Competition, and invitations to perform worldwide as a solo performer and with orchestras.


 
 


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