Clif

One Year to Live - Month Three

Wed, 02 Jul 2008 10:12:02 -0700

I wrote a post called One Year to Live a few months ago, and I just thought I'd give an update on how this exercise has changed my life so far, as well as use this opportunity to explain my absence on Fuzz over the last month.

The big news thus far is that we are preparing to move to Kentucky from Seattle at the beginning of September. This is really a huge deal and a major undertaking, as you might imagine. We spent a few days last week traveling around Kentucky and Tennessee visiting family and looking at houses before finally deciding to move into my grandmother's old house in Mayfield, the town where I was born 37 years ago.

I left KY about 12 years ago and moved to Seattle, and my wife is a Seattle area native, so this is a big change for both of us, although in the end I think it will be a great change of pace for us. We've lived in a tiny little house for the past 10 years, doing OK but never getting ahead due to the high cost of living here. Now that I make decent money and have a boss that is willing to let me telecommute full-time, we should be able to live really well in KY, where the cost of living is a fraction of what it is here.

Most of my family lives within easy driving distance, and my oldest son is currently in Nashville, so it will be good to reconnect with the people that matter most to me. It hit me pretty hard when my grandmother passed in November of 2006 because I hadn't seen her in probably 8 years. I don't want to live that regret again by continuing to live so far out of reach of my loved ones.

The other cool aspect of this move is the proximity to Nashville. While Seattle does have a decent music scene, I really think Nashville is going to give me the greatest opportunities as an artist, given my country roots.

All and all, I am excited about the future and the ability to kind of reset and refocus my life on the things that really matter. That's really what the "one year to live" exercise is about.

I've also slowly been working on Clif.tv, which is still very much a work in progress. I've been writing a bit and recently finished a song called How Beautiful She Is that I am happy with. Since I will lose the daily commute and gain about 2 hours a day after the move, I hope to use that time to get a lot more writing and recording done once we've settled in.

That's about it. I'll give another update once we're planted in the Bluegrass State. Thanks for listening. :)

Thanks, Fuzzers

Mon, 30 Jun 2008 21:17:52 -0700

I'd like to take a moment to thank all my friends and listeners here at Fuzz who have inspired me and made me feel at home. It's awesome and humbling to see Echo Root in the number one slot on my favorite music site. Thanks for listening, downloading and purchasing my music over the last few months - it really means a lot.

Take care,
Clif

Fuzzpile Number 6 is up!!

Wed, 28 May 2008 13:52:25 -0700

Do it!

Clif.tv Episode 3

Wed, 28 May 2008 11:51:15 -0700

Episode 3 of Clif.tv is live featuring my song “Carry On.” This is the test run of my new Flip! Video Ultra cam.

I hope you enjoy it. Feel free to leave comments!

Clif.tv Episode 2

Mon, 19 May 2008 00:14:57 -0700

Episode 2 of Clif.tv is now live, featuring "The Love You Leave Behind."

It's been a busy week for me between work and getting the Clif.tv site up and running. The most recent addition to the site is the Songs tab where you will find loads of information on each of my songs, including histories, insights and lyrics.

I've got one new gig pending for the fall over on Bainbridge Island, and I'll get details posted on the events page (and on Fuzz) once everything is firm. I'm planning on swinging into full gear here soon with the bookings, so stay tuned for more dates.

By the way, I wanted to mention that all of my songs are available for free download on my Clifton Lee Johnston profile on Fuzz, or through the ReverbNation player on my site (to the left under the video).

Take care and thanks for listening. See you next week!

Clif

Clif.tv

Wed, 14 May 2008 00:15:02 -0700

I just wanted to let all my Fuzz friends know that my new video blog / official artist site is up and running at http://Clif.tv. please check it out and let me know what you think :)

Take care,
Clif

Fuzzpile Number 5 is Alive!

Thu, 08 May 2008 08:15:34 -0700

Hey, Fuzzers :)

The new list of must-hear artists is up for Fuzzpile Number 5!

Thanks to all of the great folks who have kept this going - demanded it,even! And if you haven't jumped on the Fuzzpile yet... what are you waiting for!?!

This is your chance to hear and be heard, so spread the word! :)

Take care,
Clif

One Year to Live

Tue, 06 May 2008 11:02:00 -0700

This is a reprint of my post at Music in 2D, altered slightly for clarity and relevance.

You’ve heard the question before: What would you do if you knew you had exactly one year to live? I’d like to try and answer that question, from an artist’s perspective.

Maybe it’s the fact that today is my 37th birthday that brings that question to mind. Or perhaps it’s the fact that I am scheduled to see the cardiologist this afternoon. For whatever reason, I’ve begun to seriously ponder this question, and how the answer might impact my art.

Like a lot of artists I know, for most of my life I’ve felt like music was my calling, the one thing I was supposed to do. But somehow, life has always gotten in the way, slowly diminishing the time and energy I have to put into my art, and leaving me somehow regretful for not really doing everything possible to “make it” - whatever that means. I’ve actually given it a shot a few times, but some larger responsibility has always stepped in and pushed my music a few more lines down the list of priorities.

But now seems as good a time as any to consider giving it another go. I’ve always given myself the excuse that Willie Nelson (my number one musical hero if I had to choose one) didn’t really hit until he was 40. And of course he’s given us some of the best songs ever written over the last 3 decades and is still going strong. But that excuse is wearing thin, seeing as how 40 is just 3 years away now, and to be fair, Willie had a bit more traction on his career at 37 than I do now.

I haven’t read Stephen Levine’s book, but I think I understand how spending a year as if it were your last could provide great benefit. And I think I’d like to give it a shot. Of course, there are plenty of aspects of this exercise that I won’t go into here - things like spending more time with my family or getting my affairs in order. But I do believe I can provide some value to my readers at Music in 2D by sharing the aspects of this exercise that relate directly (and sometimes indirectly) to my art.

The main thing that I’m no longer going to do is continue procrastinating, making excuses, or just plain waiting for the “right time” to start getting things done, musically speaking. Because it is the right time - it always has been.

Like most folks, I’ve always been afraid of death, and for me, a big part of that has been this odd fear that I would die with songs in my head that no one has heard - that my songs would die with me. So, I plan on fixing that, by getting all of my songs recorded and uploaded. I have a lot of songs on my site already, but just as many that have never been recorded. So that’s going to be a huge priority.

Also, my thoughts leading up to and following the last couple of posts - regarding my frustration with the current state of music industry blogs, and the need we true independent artists have for one of us to succeed on our own terms, with the tools we all have available - have made me think a lot about this blog (Music In 2D) and how it can really become an invaluable resource for true independent artists. I’ve come to the conclusion that the only way for me to gain true credibility with you, my peers, and to avoid becoming just another music industry theorist, is to practice what I preach. By testing new strategies and new technologies myself, with my own music “career” as the guinea pig, I believe I will be able to provide the insights to help you succeed in your own endeavors.

So my focus over the next year will be to utilize all of the tools at our disposal to get my music out there, connect with more fans, and figure out how to make the most out of this talent I was given. I will use the new ideas and technologies popping up every day to see what works and what doesn’t so that we’ll ALL know.

Or die trying.

P.S. I’d love to hear your answer to this question, so please feel free to leave a comment.

(photo by switchpack used under a Creative Commons license)

New guest post: The Degenrification of Music Consumption

Thu, 01 May 2008 12:45:22 -0700

I have a great new guest post on Music in 2D from musician / designer / label owner Joshua Wentz. Check it out: http://musicin2d.com/?p=45

Fuzzpile Number 4!

Sun, 27 Apr 2008 16:40:22 -0700

OK, OK, I know it's late... but it's good. :)

Here it is... Fuzzpile Number 4!

Clif

Public Beta for Guitarists

Thu, 17 Apr 2008 10:44:00 -0700

Updated to public beta

I am currently holding an open public beta test for a new social network for guitars and their owners called Axepix. As a member, you can post photos and music, join discussion groups, post blogs, etc. Members can also grab widgets to share their music and photos on other sites like MySpace and Facebook.

Check it out!

Thanks,
Clif

This is Your Face on the Web

Wed, 16 Apr 2008 12:26:22 -0700

Hey Fuzzers! I've got a new post up on Music in 2D about avatars featuring a few familiar faces. Check it out: This is Your Face on the Web

Fuzzpile Number 3!

Sun, 13 Apr 2008 17:56:44 -0700

OK folks, Fuzzpile Number 3 is posted! As always, thanks for participating. :)

Music in 2D

Sun, 13 Apr 2008 14:55:12 -0700

OK, it's time to let my fellow Fuzzers in on a little secret project I've been working on. I have soft-launched a new website called Music in 2D: Insights for Independent Musicians. I hope that it will prove to be a valuable resource for musicians here and across the web.

If you've been following my blogs, you'll recognize a lot of the content already. I've cleaned up and re-posted a few of my Fuzz blog posts in order to provide a starting point and some structure to the site. I assure you it will quickly diverge into its own unique experience.

It would be very, very cool if my friends here can help me out by checking out the site, joining the MyBlogLog community (if you're into that), subscribing via RSS or email, etc. I'm hoping that by doing so, you folks can help me troubleshoot the site and feeds, and possibly make some improvement recommendations.

The site is designed to be a tool for musicians on the web, just like you, so please let me know if there's anything you'd like me to research or add to the site. There are several more planned sections, including a place to consolidate and present some of the ideas concerning social capital, info/tutorials on personal branding, industry news, free tools for musicians, and useful sites you should know about.

I do plan on having a "reader's rides" (car mag reference) section for music reviews limited to members of the Music in 2D community. So if you'd like a review in return for your effort, sign up using the MyBlogLog community widget at the upper right and shoot me a message on Fuzz letting me know your user name.

I won't be promoting the site beyond Fuzz for a bit until I get all the kinks worked out, so I really appreciate your help!

http://musicin2d.com/

Take care,
Clif

My Evening of Dialogue and Insight with Joe Satriani

Sun, 13 Apr 2008 13:03:17 -0700

On April 11th, Joe Satriani visited Seattle on the 11th and final stop of a series of clinics at Guitar Center stores around the country. The event was fairly under-publicized (thankfully), but there were still hundreds of fans waiting in line for hours to get a chance to be up close and personal with the Zeus of guitar gods... for free.

Satriani has been recognized as one of the world's top guitarists since his second and possibly most famous album, Surfing with the Alien, hit the charts a little over 20 years ago in 1987. Beyond his own out-of-this-world instrumental music, he's also known for having taught fellow guitar gods Steve Vai, Kirk Hammett, Alex Skolnick (and many others) how to find their way around the instrument.

Joe played 6 songs during the Seattle clinic, which was held in a cramped loading dock. Between songs he offered insights into the songs, his technique and his equipment, finishing up with a short Q&A session before leaving the stage to shake hands and sign autographs.

Setlist
Musterion
Overdriver
Diddle-Y-A-Doo-Dat
Flying in a Blue Dream
Always With Me, Always With You
Satch Boogie

Satch on breaking the rules:

If you do something really different and people like it, then they're probably going to write a rule with your name on it.

When asked about how to make it in the music business, Joe quoted Frank Zappa, saying, "Get a good haircut. Get a good lawyer." He also reminisced about driving around in his Corsair with a trunk full of CDs and a half stack where the passenger seat used to be - a testament to the fact that no matter where you end up, you start at the beginning like everyone else.

Satch explaining the "More" switch on his new pedal, the Vox Satchurator:

It goes beyond infinity; it goes to more-finity.

Satch on manipulating feedback:

It has to do with the feedback goddess and what she wants to give you that day.

Satch on why he started playing guitar:

When Hendrix died, that day, I decided to be a guitar player, and that's when the struggle began.

After the performance, Joe spent another hour or so meeting his fans and signing posters, CDs and guitars. The whole event was a testament to the power and importance of making and maintaining a strong personal connection with your fans, and Joe made sure that no one left without a smile on their face.

Matts with a fresh coat of "creepy claw monster" on his Ibanez, courtesy of Mr. Satriani

Marc with his red Ibanez Joe Satriani Signature model featuring one of Joe's robots.

Be sure and check out Joe's newest album, Professor Satchafunkilus and the Musterion of Rock. I highly recommend the version with the Bonus DVD.

Learn more about Satriani on the official website at Satriani.com

Of Wood and Steel - a poem

Fri, 11 Apr 2008 10:36:24 -0700

I dream of things
With nickel strings
Of wood and steel
That makes me feel
The pull of spirit
The ache of heart
The play of wit
The zen of art

To hear the sound
That swirls around
Inside my head
Become instead
Notes and waves
A melody
These are the things
That set me free

Threads of Thought - a poem

Thu, 10 Apr 2008 14:15:18 -0700

Threads of thought,
Wisps of whispers,
Connecting nodes
On neurospiritual networks.
Nanosecond pauses
In space and time,
They meet but for a moment
But drift forever together
In the cosmic awareness,
The unconscious unknown

An Interview with Eden Maxwell, Author of "An Artist Empowered"

Wed, 09 Apr 2008 23:02:22 -0700

I'm presenting this interview and overview of Eden's new book for two primary reasons. Most importantly, the book is very relevant to musicians as artists and is one of the few books I would recommend that every artist read. Secondly, this thing that we're doing, known as a "blog book tour" in author's circles, has promise as a promotional exercise for musicians as well. So pay attention! :)

Presented between the questions below you will find some pretty amazing visual art by Eden. You can find more of Eden's art at http://www.edensart.com/mainpages/gallery.htm

Now for a few words from Eden:

I want to thank Clif for hosting me on his blog.

Let me preface things by saying that whenever I mention painter or artist, it also means artists of all forms, which, of course, includes musicians.

Music, in many ways, is perhaps the most universal of languages. Wassily Kandinsky, the great Russian painter, is one of the principal founders of abstract painting, which may well be the most radical contribution to 20th century art. As Kandinsky had also studied the piano and cello, he recognized the emotive power and transcendental impact of music - and it was his intention to elevate his painting to that same purity.

Kandinsky realized that nature, as a model for his paintings, was a dead end. Over time, he had fused his insights, experiences, and ear for music into a nonobjective "lyrical" art form - and aptly named his liberated paintings compositions and improvisations.

Also, if you ask any experienced film director, he will tell you that while an audience may forgive inconsistencies in the moving images, you will lose your audience if the quality of sound is poor. Sound and music create a powerful sense of place and mood that stimulates us into emotion - into feeling and reacting.

Betty: 17” x 22”

The title of your book is "An Artist Empowered". So what does it mean to be an empowered artist? And can you give us an example?

I describe in my book that an empowered artist embodies The Eighteen Be-Attitudes - which is a list of qualities that effectively constitute the psychological and spiritual makeup of an artist who - through an intimate relationship with his soul - has transcended the angst of rejection; and by implication this artist is living an authentic life in the present moment of fulfillment instead of future uncertainty, doubt, and hope. Our artist is steadfast knowing not all will be enamored of her work. She accepts this fact, which is a gift of awareness, a point of illumination, not a problem.

An example of a Be-Attitude is self-reliance.

You are resourceful. You find a way, not an excuse, a response that separates doers from wannabes. You turn less into more. You are sure because being unsure inspires no one. You are the man or woman; and you are a creator who makes things happen because you are in control of your own self in a world of circumstances and ambiguity. When confronted by adversity, you are reminded to see that the problem is the lesson, which is that you can do what is necessary yourself. You understand that self-discipline, which is true freedom and the crown jewel of freewill, is ultimately acquired on your own.

A practical example of self-reliance is my book, An Artist Empowered. When, after some time, it became clear to me that my agent and publisher were both intent on editing out the theme of my book, I took the project back, and did it myself. This was a daunting task, but in retrospect, doing it myself produced a quality book that matched my vision. It’s as simple and complex as this; no one can see your vision, so it’s up to you to make it happen. Excuses are what they sound like.

An empowered artist is on a mission; she will always find a way.

Chichen Itza Prophecy: 13” x 19”

I'd like to continue with an Oscar Wilde quote found in your book as a point of discussion.

"A work of art is the unique result of a unique temperament. Its beauty comes from the fact that the author is what he is. It has nothing to do with the fact that other people want what they want. Indeed, the moment that an artist takes notice of what other people want, and tries to supply the demand, he ceases to be an artist, and becomes a dull or an amusing craftsman, an honest or dishonest tradesman. He has no further claim to be considered an artist."

So, on that note, what is your view of what is and isn't art?

First, we can all take a deep breath knowing that it’s all art. The only questions are these: what is the quality of the art, and where did it come from. In the realm of music, I write about technique and feeling in some detail in my chapters: Mozart or Muzak and The Piano Man.

At its essential nature, the answer to what is art is this: If the artist is certain he can do it again, then the edge of creation has been dulled by routine into a thing reproducible, refined again and again - and to what purpose? It is the artist copying himself. Reproduction in this sense shouldn’t be confused with the artisan - a master of a specific craft who represents and understands his work for what it is. For the artist, it is better to copy someone other than himself. If the artist is unsure of the outcome as if going out on that first date and is fully aware that the next set of improvisations, should they transmute into harmony, is a gift, then it is art - the art I am talking about, a unique product of creation.

I often read, but don’t accept the premise, that in today’s world there is no universal agreement on what is art.

You will note that it is never a universal creator who declares this notion of the ambiguous artist. Of course, the art in question here isn’t the premeditated utilitarian art of business, decoration, design, or flattery. It is the art that takes us deeper into the meaning and purpose of our own lives: into consciousness. It is the art that can’t be demystified or pinned down precisely because it is magic. It is the art that you must discern on your own. It is the art that transcends definitions and comparisons.

This art isn’t a qualifier (art therapy) nor is it the object of a modifier (commercial art). This art is what the French refer to as having that 'je ne sais quois' - an indefinable something, which for our purposes is art from the soul: art conjured into existence by the sorceress seeking truth and who isn’t ambivalent or confused about what art is and what it is not.

Whatever the perception of art and artist was in the past, it is time for an unambiguous understanding now - in this present moment. When you know who you are, when you know your dharma, your purpose in life, no one can confound you with bedtime stories.

Remember, "you are on sacred ground when you know where you stand."

Dharma Kites: 17” x 22”

What is the value of art criticism?

Here’s an observation about esthetics from my book made by the painter Barnett Newmann that pretty much also answers the point about art criticism.

In his 1973 documentary Painters Painting, filmmaker Emile de Antonio interviewed many of the figures, including Barnett Newmann, who, after the Second World War, had fueled the abstract expressionism movement in New York City.

Barnett: "Yes, because many years ago at a conference in Woodstock that was held with a panel consisting of philosophers - esthetes, really, professors of philosophy, professors of esthetics - and artists, I declared that even if they were right, and even if they could build a system, an esthetic system that they could claim explained the activity, the creative activity, it would be of no value, because esthetics for the artist was as meaningful as ornithology must be for the birds."

Leave Your Lover: 17” x 22”

How can artists learn to live with rejection? Is there a positive side to rejection?

We must first be clear that rejection is not a synonym for failure.

Rejection is a surface issue; it isn’t the heart of the matter as one might think. For whatever reason, your work wasn’t appreciated or thought to be marketable by whomever. It is also essential to know what has been rejected. Was it your soul work, or an idea you proposed to your art director? I should also point out that while the soul is immune to rejection, doubt, and fear - ego is not.

By rising above self-consciousness, ego, you distance yourself from the psychology of rejection, which in turn provides you with the insight to see rejection for what it is - merely a word, a reaction to action, not an eternal truth, or a life sentence.

Lets dig deeper. Rejection, as it turns out, isn’t the bane most artists believe it is; rejection is a mirror that reveals truth about your dedication; you are compelled to confront your own self and that is a moment of awareness.

The Lotus Flower: 13” x 19”

What are your views on competition in art? Is this just another supply and demand scenario where the "art" that is competing is not really art at all?

Competition in art is a marketing scheme that fuels the establishment’s need for an artist's cachet through galleries, museums, and granting organizations. Those in the performing arts have their own set of similar hurdles to be seen and heard.

There is no such listing in my creator’s handbook as healthy competition among artists making personal art because you can’t ‘compare’ unique, which is a contradiction in terms. It is like saying this shoe is better than this chair. The model is flawed.

Picasso may have felt that he was in competition with Matisse, but it wasn’t about art. Of course, the performing arts or other activities requiring auditions are another matter. I don’t make art to compete; I create art because that is my destiny, my dharma, and when you are in dharma, your purpose for being here, no one does what you do better than you.

Of course, it’s possible for art to find its way into competitions, and it has.

I’m not mounting a crusade against art competitions per se; and I send good thoughts to all who partake. If you are so compelled, I encourage you to investigate competitions where you will learn about the scene firsthand and come to your own conclusions. If the competition is about draughtsmanship, then be sure you know how to draw; if the competition has abstract work as its focus, then be sure your work is abstract. Don’t give them oranges when they want apples. Although winning doesn’t guarantee making it into the big time, it can’t be denied that careers have been launched from the aesthetic combat of art competitions.

And, when it comes to music in more recent days, we need only look at the power of the media and such shows as American Idol. The test of art is to be yourself, to find your voice - simple but not easy to achieve.

There are many out there with vested interests - economic, cultural, and political - in preserving and controlling that which is sanctioned as art, and even what type of art gets shown and supported by way of grants, awards, and fellowships. Let’s face it. Given the hardships that a creator must endure to persevere, it is no surprise that few with a paintbrush or melody have the mettle to confront the gatekeepers who faithfully and dogmatically defend the establishment.

Here’s the rub regarding competitions in art.

On balance, art-funding resources have budgets, and they do want to award grants and fellowships to artists. If you can insinuate yourself into their program organically and you do so on purpose, you are still on sacred ground; however, if you start thinking solely in terms of what funding sources (or audiences for that matter) demand, then you have been co-opted because someone else has dictated what type of art should be made - even if it was your idea.

Process vs. Product: When you know the value of your process you can stand confident knowing the value of the product. Not knowing what or why you are doing some ‘thing’ is the breeding ground for insecurity and discontent. Rejection and its minions are at the door, ready to cause havoc for the unprepared.

Neffi, The Marionette: 17” x 22”

I'd like to bring up another quote from the book: "All great art is self-taught for this reason: no one can teach you to be original."

So, what about art school, piano teachers and writing workshops? Do they have value in the realm of true art?

It’s important to first give this quote, this conclusion time to settle in. This reminds me of an artist and writer I know. She told me that when she was in college, she had friends who didn’t get accepted into one of the Ivy League master’s of fine arts programs. Based on this rejection, they gave up on their dreams to become artists, and went into design or advertising. Unfortunately, these students did not realize that art couldn’t be taught. Keep this in mind, too: knowing the difference between art, design, and craft is a distinction, not a comparison. If you don’t know the difference, how will you create original work?

Given this context, art classes or workshops can have value. Teachers can instruct on technique, materials, and perhaps form. It’s also possible that an intuitive teacher can unleash the creator within a student.

Great design is as rare as great art. However, when it comes to art, original art, you must make that call yourself.

Present Future: 13” x 19”

What core questions should artists be answering for themselves?

Many years ago, in a café near the ocean in Santa Monica, a master artist asked me: “Why do you want to be an artist?” This is, of course, the question; in time, I added the other two.

Why am I an artist?

Where does my art come from?

What is the intrinsic value of my art?

The presumption made throughout my book is that before you present your work to an audience, you have answered each core question to your own satisfaction. Your answers are private; you don’t need to inform anyone else, unless you have a reason, for them to have the desired impact. Everything that matters emanates from your responses, which determine your self-inspiration, discernment, and relationship to your work.

If your replies are truthful, focused, passionate, self-sufficient, and integrated, then you express a secure and resolute foundation that supports the strategy for routing rejection. Indomitability of spirit is the unconscious message you project with your art into the world. Answers that are fragmented, glib, self-effacing, or unconvincing reveal an underlying weakness that is best addressed before stretching your artistic neck onto the public block that is home to the sharp tongues of opinion. There is no shortage of willing executioners.

Nina’s Night: 22” x 17”

What is the primary message you would like readers to take away from your book?

There a few underlying themes that will serve artists well in direction proportion to their dedication - which is genius.

In Zen, there are no lessons, tests, or lengthy discourses; the source of truth is grasped through intuition. Art is the same. The source of all great art is intuition. You experience this when you suddenly, without planning, hear a magic lyric or melody inside your head.

Find out the important things for yourself; secondhand information is what it sounds like. A long time ago, I went out in search of some truth and discovered that art and truth were one in the same. Reading about art and truth is good, but if you want to learn how swim, you must get wet.

A way to truth is through discovering your dharma, your purpose in life, your reason for being here in this world. Remember, it’s finding your dharma, not someone else’s version of why you are here.

Hold it together when it seems to be falling apart, when disillusionment is at the door - this is where you meet your true self. Remain steadfast and you will triumph in soul, spirit, and you will be heard and appreciated. Only the strong survive.

Answer the core questions. Remember the first rule of awareness: don’t believe your own BS. Nothing ever prevented the true artist from living an authentic life.

The New World: 22” x 17”

On a different subject then, for the benefit of my readers, can you tell us a little about blog book tours and how they've worked for you?

As this is my maiden voyage into the world of author’s blog tours, I can’t yet tell about results as it relates to book sales. I can say that I have already connected with a few good people/hosts who appreciate my work and what I’m writing. I can also say that the concept of a blog tour makes sense as you can travel the globe to find other members of your tribe - which is the challenge. If you can find someone sympatico to host you and your work, then you are widening your audience in a geometric progression - and that is how I found Clif, and now you who are reading this blog interview.

I would think that the blog tour concept would work for musicians as well.

Elevate your sense of self, acknowledge the merit of your art, and triumph through self-discipline. Know the score, compose the notes, and play your music.

Get your copy of Eden's new book, "An Artist Empowered" at http://www.lulu.com/content/928739

Check out the related interviews on Riehl Life here and here .

Thanks for listening!

Some of My Favorite Quotes

Tue, 08 Apr 2008 16:39:13 -0700

This is a wiki-list of some of my favorite quotes. Theses were moved from my main page to tidy up a bit.

"If you stop looking for listeners for your music, and start looking for music for your listeners instead, the economics of your business totally changes." - Seth Godin

"Look for connections, form your own opinions. It's the connections that are really important - many people may have the knowledge, but the connections are your own. They are the work of creation." - Martin Frost

"Find what you love and let it kill you." - Derek Sivers

"I enjoy doing anything that is theoretically impossible and making it work." - Frank Zappa

"Failure isn't when someone rejects your art; failure is when you give up on your own self." - Eden Maxwell

"The trick to becoming profoundly knowledgeable is knowing where to go to get the salient, reliably accurate information we need at the moment we need it and presented in a way the average guy can understand it." - William Safire

Automaths and Polymaths

Tue, 08 Apr 2008 16:36:00 -0700

Moving this stuff from my main page to tidy up a bit.

On Polymathy

To avoid unnecessary debates regarding my adoption of the prized "polymath" epithet, my stance is best summed up in this quote from Martin Frost: "...being a polymath is not a state of being, but a state of becoming. Being a polymath is not what one knows now, but what one desires to know. Not a matter of intelligence, but a matter of intellectual and creative ambition and curiosity."

What Happened To Polymaths - audio recording of a lecture by Oliver Morton, Andrew Robinson and Dr John Whitfield at the Royal College of Surgeons of England. Source page is here.

Polymath: a Renaissance Man by Martin Frost

Polymath - Wikipedia entry

The Book of the Courtier - Baldassare Castiglione

The Top 5 Reasons to Be a Jack of All Trades - Tim Ferriss
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Resources for Free Online Education and Self-Study

Free-Ed.net
Lifehacker Article
Jimmyr's List
Wikiversity and Wikibooks
MIT OpenCourseWare
The International Baccalaureate on Wikibooks
MyHappyPlanet Language Learning Social Network
Become an Autodidact
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